Vladimir Vysotsky
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Vladimir Semyonovich Vysotsky (Влади́мир Семёнович Высо́цкий) (January 25, 1938 – July 25, 1980) was a great Russian singer, songwriter, poet, and actor whose career has had an immense and enduring effect on Russian culture. The multifaceted talent of Vladimir Vysotsky is often described by the word bard that acquired a special meaning in the Soviet Union, although he himself spoke of this term with irony. He thought of himself mainly as an actor and writer, and once remarked, "I do not belong to what people call bards or minstrels or whatever." Though his work was largely ignored by the official Soviet cultural establishment, he achieved remarkable fame during his lifetime, and to this day exerts significant influence on many of Russia's popular musicians and actors who wish to emulate his iconic status.
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[edit] Biography
Vladimir Vysotsky was born in Moscow. His father was an army officer and his mother a German language translator. His parents divorced shortly after his birth, and he was brought up by his stepmother of Armenian descent, whom he called "aunt" Yevgenia. He spent two years of his childhood living with his father and stepmother at a military base in Eberswalde in the Soviet-occupied section of post-WWII Germany (later GDR). In 1955, Vladimir enrolled in the Moscow Institute of Civil Engineering, but dropped out after just one semester to pursue an acting career. In 1959, he started acting at the Aleksandr Pushkin Theatre where he had mostly small parts.
Vysotsky's first wife was Iza Zhukova. He met his second wife, Ludmilla Abramova, in 1961. They were married in 1965 and had two sons, Arkady and Nikita.
In 1964, on invitation from director Yuri Lyubimov, who was to become his close friend and mentor, he joined the popular Moscow Theatre of Drama and Comedy on the Taganka. He made headlines with his leading roles in Shakespeare's Hamlet and Brecht's Life of Galileo. Around the same time, he also appeared in several films, which featured a few of his songs, e.g., Vertikal ("The Vertical"), a film about mountain climbing. Most of Vysotsky's work from that period, however, did not get official recognition and thus no contracts from Melodiya, the monopolist of the Soviet recording industry. Nevertheless, his popularity continued to grow, as, with the advent of portable tape-recorders in the USSR, his music became available to the masses in the form of home-made reel-to-reel audio tape recordings, and later on cassette tapes. He became known for his unique singing style and for his lyrics, which incorporated social and political commentary into often humorous street vocabulary. His lyrics resonated with millions of Soviet people in every corner of the country; his songs were sung at house parties and amateur concerts.
After his divorce, Vysotsky fell in love with Marina Vlady, a French actress of Russian descent, who was working at Mosfilm on a joint Soviet-French production at that time. Marina had been married before and had 3 children, while Vladimir had two. Fueled by Marina's exotic status as a Frenchwoman in the USSR, and Vladimir's unmatched popularity in his country, their love was passionate and impulsive. They were married in 1969. For 10 years the two maintained a long-distance relationship as Marina compromised her career in France in order to spend more time in Moscow, and Vladimir's friends pulled strings in order for him to be allowed to travel abroad to stay with his wife. Marina eventually joined the Communist Party of France, which essentially gave her an unlimited-entry visa into the USSR, and provided Vladimir with some immunity against prosecution by the government, which was becoming weary of his covertly anti-Soviet lyrics and his odds-defying popularity with the masses. The problems of his long-distance relationship with Vlady inspired several of Vysotsky's songs, including "07" and "She Was In Paris."
By the mid-1970s, Vysotsky had been suffering from alcoholism for quite some time. Many of his songs from the period deal – either directly or metaphorically – with alcoholism, insanity, mania, and obsessions. This was also the height of his popularity, when, as described in Vlady's book about her husband, walking down the street on a summer night, one could hear Vystotsky's recognizable voice coming literally from every open window. Unable to completely ignore his musical phenomenon, Melodiya did release a few of his songs on vinyl in the late 1970s, which, however, constituted only a small portion of his creative work, which millions already owned on tape and knew by heart.
At the same time, Vysotsky gained official recognition as a theater and film actor. He starred in a hugely popular TV series Mesto Vstrechi Izmenit' Nel'zya about two cops fighting crime in late 1940s Stalinist Russia. In spite of his successful acting career, Vysotsky continued to make a living with his concert tours across the country, often on a compulsive binge-like schedule, which, it is believed, contributed to the deterioration of his health. He died in Moscow at the age of 42 of heart failure, which was possibly triggered by his drinking habit.
Vysotsky's body was laid out at the Taganka Theatre, where the funeral service was held. He was later buried at the Vagankovskoye Cemetery in Moscow. Thousands of Moscow citizens left the stadiums (as it was the time of the Olympics) to attend the funeral. Although no official figure was released, it was later estimated that over one million people attended Vysotsky's funeral [1], almost as many as that of Pope John Paul II in 2005. The Soviet authorities, taken aback by the unexpected impact on the masses of the death of an underground singer, and agonized over the country's image during the already highly controversial Olympics, ordered troops into Moscow to prevent possible riots. In years to come, Vysotsky's flower-adorned grave became a site of pilgrimage for several generations of his fans, the youngest of whom were born after his death. His tombstone also became the subject of controversy, as his widow had wished for a simple abstract slab, while his parents insisted on a realistic gilded statue. Although probably too serious to have inspired Vysotsky himself, the statue is believed by some to be full of metaphors and symbols reminiscent of the singer's life. One of the more obvious symbols is the angel-like wings that wrap the statue's body. The angel wings are supposed to symbolize Vysotsky's importance to all oppressed peoples; they are wrapped around his body to represent the fact that he was never allowed to fully spread his talent and flourish during his lifetime due to the oppressive regime. Another symbol is the two horse heads, which might refer to his landmark song "Koni Priveredliviye".
Shortly after Vysotsky's death, many Russian bards wrote songs and poems about his life and death. The best known are Yuri Vizbor's "Letter to Vysotsky" (1982) and Bulat Okudzhava's "About Volodya Vysotsky" (1980).
Every year on Vysotsky's birthday, festivals are held throughout Russia and in many communities throughout the world, especially in Europe. Vysotsky's impact in Russia is often compared to that of Bob Dylan in America.
Years after her husband's death, urged by her friend Simone Signoret, Marina Vlady wrote a book about her years together with Vysotsky. The book pays tribute to Vladimir's talent and rich persona, yet is uncompromising in its depiction of his addictions and the problems that they caused in their marriage. The book was written in French and translated into Russian in tandem by Vlady and a professional translator. It is widely read in Russia by fans seeking to understand the man who gave them so many beloved songs.
The asteroid 2374 Vladvysotskij, discovered by Lyudmila Zhuravleva, is named after Vysotsky (orbit image).
[edit] Music
The poet accompanied himself on a Russian guitar, with an intense voice singing ballads of love, peace, war, and everyday Soviet life. He had the ring of honesty and truth, with an ironic and sometimes sarcastic touch that jabbed at the Soviet government, which made him a target for surveillance and threats. In France, he has been compared with French singer Georges Brassens. In Russia, however, he was more frequently compared with Joe Dassin, in part because they were the same age and died in the same year; however, their ideologies, biographies, and musical styles are very different. Vysotsky's lyrics and style greatly influenced Jacek Kaczmarski, a Polish songwriter and singer who touched on similar themes.
The songs—over 600 of them—were written about almost any imaginable theme. The earliest were Street songs. These songs were based either on the life of the common people in Moscow (criminal life, prostitution, and extreme drinking) or on life in the Gulags. Vysotsky slowly grew out of this phase and started singing more serious, though often satirical, songs. Many of these songs were about war. These war songs were not written to glorify war, but rather to expose the listener to the emotions of those in extreme, life threatening situations. Most Soviet veterans would say that Vysotsky's war songs described the truth of war far more accurately than more official "patriotic" songs.
Nearly all of Vysotsky's songs are in the first person, although he is almost never the narrator. When singing his criminal songs, he would adopt the accent and intonation of a Moscow thief, and when singing war songs, he would sing from the point of view of a soldier. In many of his philosophical songs, he adopted the role of inanimate objects. This created some confusion about Vysotsky's background, especially during the early years when information could not be passed around very easily. Using his acting talent, the poet performed his role play so well that until told otherwise, many of his fans believed that he was, indeed, a criminal or war veteran. Vysotsky's father said that "War participants thought the author of the songs to be one of them, as if he had participated in the war together with them."
Many film soundtracks, especially those featuring the singer, incorporated Vysotsky's songs. One of the most notable examples is Vertikal.
Not being officially recognized as a poet and singer, Vysotsky performed wherever and whenever he could - in the theater (where he worked), at universities, in private apartments, village clubs, and in the open air. It was not unusual for him to give several concerts in one day. He used to sleep little, using the night hours to write. In his final years, he managed to perform outside the USSR and held concerts in Paris, Toronto, and New York City.
Despite Vysotsky's anti-establishment bend, The Soviet leader Brezhnev (who was alleged to be a fan of Vysotsky, himself) allowed Vysotsky to perform live on Soviet television. This was the first time something or someone so cynical towards the regime was allowed on Soviet TV. One of the songs he played was "I do not like," which he would later perform on American television in an interview with 20/20.
With few exceptions, he wasn't allowed to publish his recordings with "Melodiya", which held a monopoly on the Soviet music industry. His songs were passed on through amateur recordings on vinyl discs and magnetic tape, resulting in his immense popularity. Cosmonauts even took his music on cassette into orbit. — His writings were all published posthumously except for one poem printed in 1975.
Status as a Pop Icon
Vysotsky is often billed as the "Russian Elvis" due to his iconic status as a pop entertainer. The parallel is further re-enforced by his untimely death that shook the public to its core (most people in the former Soviet Union who are old enough will be able to tell you exactly where they were and what they were doing when they heard of Vysotsky's passing). Also, much like in Elvis' case, his death was brought on by a self-destructive lifestyle and occurred at the age of 42.
Musical Style
Musically, virtually all of Vysotsky's songs were written in a minor key, and tended to employ from three to seven chords. Vysotsky composed his songs and played them exclusively on the Russian seven string guitar, often tuned a tone or a tone and a half below the traditional Russian "Open G major" tuning. This guitar, with its specific Russian tuning, makes a slight yet notable difference in chord voicings than the standardly tuned six string Spanish guitar, and it became a staple of his sound. Because Vysotsky tuned down a tone and a half, his strings had less tension, which also colored the sound.
His earliest songs were usually written in C minor (with the guitar tuned a tone down from DGBDGBD to CFACFAC), using the following chord shapes:
| Chord name | Fret numbers (bass to tenor string) |
|---|---|
| C minor | [0 X 3 3 2 3 3] |
| A sharp 7 rootless | [X 0 5 5 3 5 5] |
| A major | [X 5 5 5 5 5 5] |
| E major | [X X 6 X 5 6 7] |
| F 7 rootless | [X X 7 7 5 7 7] |
| D minor | [X 0 8 8 7 8 8] |
| F major | [2 2 2 2 2 2 2] |
Songs written in this key include "Stars" (Zvyezdi), "My friend has left for Magadan" (Moi droog uehal v Magadan), and most of his songs about criminals.
At around 1970, Vysotsky began writing and playing exclusively in A minor (guitar tuned to CFACFAC), which he continued doing until his death. The main chord shapes he based his songs on were:
| Chord name | Fret numbers (bass to tenor string) |
|---|---|
| A minor | [X X 0 4 4 3 4] |
| A major | [X X 4 4 4 4 4] |
| D minor | [X X 5 5 4 5 5] |
| E 7 | [X X X 4 3 2 2] |
| F major | [2 2 2 2 2 2 2] |
| C major | [X X X 0 2 3 4] |
| A 7 rootless | [X X 4 4 2 4 4] |
Vysotsky used his fingers instead of a pick to pluck and strum, as was the tradition with Russian guitar playing. He used a variety of finger picking and strumming techniques. One of his favorite was to play an alternating bass with his thumb as he plucked or strummed with his other fingers.
Often, Vysotsky would neglect to check the tuning of his guitar, which is particularly noticeable on earlier recordings. According to some accounts, Vysotsky would get upset when friends would attempt to tune his guitar, leading some to believe that he preferred to play slightly out of tune as a stylistic choice. Much of this is also attributable to the fact that a guitar that is tuned down more than 1 whole step (Vysotsky would sometimes tune as much as 2 and a half steps down) is prone to intonation problems.
[edit] Filmography
- 1959 — Sverstnitsy (Сверстницы) - Mosfilm; Director: V. Ordynskii
- 1961 — Karyera Dimy Gorina (Карьера Димы Горина) – M. Gorkii Studio Director: F. Dovlatyan & L. Mirskii
- 1962 — 713-ii Prosit Posadku (713-й просит посадку) – Lenfilm; Director: G. Nikulin
- 1962 — Uvolneniya na bereg (Увольнение на берег) – Mosfilm; Director: F. Mironer
- 1963 — Shtrafnoi udar (Штрафной удар) – M. Gorkii Studio; Director: V. Dorman
- 1963 — Jyvyi i mertvyi (Живые и мёртвые) – Mosfilm; Director: A. Stolper
- 1965 — Na Zavtrashnei Ulitse (На завтрашней улице) – Mosfilm; Director: F. Filipov
- 1965 — Nash Dom (Наш дом) – Mosfilm; Director: V. Pronin
- 1965 — Stryapuha (Стряпуха) – Mosfilm; Director: E. Keosyan
- 1966 — Ya rodom iz detsdva (Я родом из детства) – Belarusfilm; Director: V. Turov
- 1966 — Sasha-Sashenka (Саша-Сашенька) – Belarusfilm; Director: V. Chetverikov
- 1967 — Vertikal (Вертикаль) – Odessa Film Studio; Director: Stanislav Govorukhin & B. Durov
- 1967 — Korotkie vstrechi (Короткие встречи) – Odessa Film Studio; Director: K. Muratova
- 1967 — Voina pod kryshami (Война под крышами) – Belarusfilm; Director: V. Turov
- 1968 — Interventsyya (Интервенция) – Lenfilm; Director: Gennady Poloka
- 1968 — Hozyain taigi (Хозяин тайги) – Mosfilm; Director: V. Nazarov
- 1968 — Slujyli dva tovarischya (Служили два товарища) – Mosfilm; Director: E. Karyelov
- 1969 — Opasnye gastroli (Опасные гастроли) – Odessa Film Studio; Director: G. Yungvald-Hilkevich
- 1969 — Belyi Vzryv (Белый взрыв) – Odessa Film Studio; Director: Stanislav Govorukhin
- 1972 — Chetvyertyi (Четвёртый) – Mosfilm; Director: A. Stolper
- 1973 — Plohoi horoshyi chelovek (Плохой хороший человек) – Lenfilm; Director: I. Heifits
- 1974 — Yedinstvennaya doroga (Единственная дорога) – Mosfilm & Titograd Studio; Director: V. Pavlovich
- 1975 — Yedinstvennaya (Единственная) – Lenfilm; Director: I. Heifits
- 1975 — Begstvo mistera McKinley (Бегство мистера Мак-Кинли) – Mosfilm; Director: M. Shveitser
- 1976 — Skaz pro to, kak tsar Pyetr arapa jenil (Сказ про то, как царь Пётр арапа женил) – Mosfilm; Director: A. Mitta
- 1977 — Ök ketten (Они вдвоём) – Mafilm; Director: M. Mészáros
- 1979 — Mesto vstrechi izmenit nelzya (Место встречи изменить нельзя) – Odessa Film Studio; Director: Stanislav Govorukhin
- 1980 — Malenkie tragedii (Маленькие трагедии) – Mosfilm; Director: M. Shveitser
[edit] Bibliography
- Wladimir Wyssozki. Aufbau Verlag 1989 (DDR) : Zerreißt mir nicht meine silbernen Saiten....
- Vysotsky, Vladimir (1990): Hamlet With a Guitar. Moscow, Progress Publishers. ISBN 5-01-001125-5
- Vysotsky, Vladimir (2003): Songs, Poems, Prose. Moscow, Eksmo. ISBN
- Vysotsky, Vladimir / Mer, Nathan (trans) (1991): Songs & Poems. ISBN 0-89697-399-9
- Vysotsky, Vladimir (1991): I Love, Therefore I Live. ISBN 0-569-09274-4
- Vlady, Marina (1987): Vladimir ou Le Vol Arrêté. Paris, Ed. Fayard. ISBN 2-213-02062-0 (Vladimir or the Aborted Flight)
-
- Влади М. Владимир, или Прерванный полет. М.: Прогресс, 1989.
-
- Vlady, Marina / Meinert, Joachim (transl) (1991): Eine Liebe zwischen zwei Welten. Mein Leben mit Wladimir Wyssozki. Weimar, Aufbau Verlag. ISBN
[edit] Discography
[edit] Lifetime
- Алиса в стране чудес / Alice in Wonderland (1977) [2 vinyls]
Musical play, an adaptation of Alice in Wonderland,
with Klara Rumyanova, Vladimir Vysotsky, V. Abdulov.
Lyrics and music: Vladimir Vysotsky
[edit] Post mortem
[edit] France
[edit] Germany
[edit] Russia
- На концертах Владимира Высоцкого / At Vladimir Vysotsky's concerts
- Marina Vlady / Vladimir Vysotsky (1996) [CD] [Melodiya]
- MP3 Kollektsiya: Vladimir Vysotsky [SoLyd Records]
Concert and Studio recordings
- Platinovaya Kollektsiya: Vladimir Vysotsky (2003) [2 CDs]
[edit] See also
[edit] External links
- (English) V.S. Vysotsky Foundation (Mariya Shkolnikova) "Everything Vysotsky"
- (Russian) V.S. Vysotsky Foundation (Mariya Shkolnikova) "Everything Vysotsky"
- (English) http://vagalecs.narod.ru/Vysotsk.htm
Collected Poems (Songs) from Vladimir Vysotsky Translated from Russian by Alec Vagapov
"Vladimir Vysotsky - speaking in tongues" Collected Poems (Songs) from Vladimir Vysotsky. Bilingual Version. Translated from Russian by Alec Vagapov
- (English) Eugenia Weinstein (private site, with English translation of some songs)
- (Russian) bards.ru (lyrics to most of his songs)
- (Russian) vysotsky.km.ru (scores of photographs, a wealth of information)
- (Russian) vv.uka.ru ("fonoteka": most of his songs in MP3 format)
- (Russian) zeuhl.academ.org (Another source for MP3 files)
- (Russian) www.zipsites.ru (Over 900 MP3 files from 32 disk box set)
- (English) Speaking In Tongues (Vysotsky's father: "This Is What Our Son Was Like")
- (English) V. Vysotsky. The Monument. English translations
- (English) The Word of Vladimir Vysotsky, by Akbar Ali Muhammad
- (English) Vladimir Vysotsky at the Internet Movie Database
- (English) Another Biography of Vladimir Vysotsky
