The 95th anniversary of the birth of Arno Babajanyan is marked on January 22nd. Today we understand that the golden age of Russian variety art would be impossible without "Beauty Queen", "The Best City in the World", "Ferris Wheel", "Wedding" and "Nocturne". The actor and musician Ara Babajanyan shared memories with 'Culture' about his father Arno Babajanyan.
Culture: What activities are planned to mark the ocasion of this important date?
Babajanyan: Starting in 1991, the fund, established in memory of my father Arno Babajanyan has been organizing music festivals every five years. This year we are also planning some creative events. The finale will be a big concert at the State Kremlin Palace, which is scheduled for early December.
In addition, we are nurturing the idea of the project 'Songs of Babajanyan by Hvorostovsky'. Unfortunately, Dmitry's illness disrupted our plans a little bit, but I hope that, if we manage it, it will be a real gift for fans of Dmitry, and Arno Babajanyan.
We have an idea of organizing a series of concerts in cities of Russia. The Babajanyan evening at the House of Music will become some intermediary link. The other day I met with Renat Ibragimov, who expressed a similar initiative. It was quite logical: Renat has always been one of the major singers of my father's songs, and he has recently recorded a new album.
We would like to hold a few memorable events on the territory of the former Soviet Union: Armenia, Kazakhstan, as well as abroad – in France, the United States. In addition, we intend to release several discs on which my father's songs will be sung by famous actors, singers and budding vocalists. You see that we have grandiose plans. As you can see the 'map' is also varied. May God grant us strength and health to realize our plans successfully.
Arno Babajanyan and his son Aro
Culture: Arno Babajanyan composed his first song at the age of seven. At the age of seventeen he moved from Yerevan to Moscow and entered the third course of the Gnesin Music College. Was your father a child prodigy?
Babajanyan: You could say that. The history of the first song, the 'Pioneer march’, is very interesting. Wonderful poet Yeghishe Charents lived in Armenia in the early XX century. After the revolution he was responsible for culture matters. So, Yeghishe Abgarovich and parents of my father were good friends. One day he came to their place and, as it usually happens when a family has a musically gifted child, asked to play something. Dad performed his work. Charents was astonished and asked: "Maybe you have notes?" ‘‘I have,’’ confirmed Arno. Yeghishe Abgarovich put a resolution right on the sheet of music paper: "publish 1,000 copies." This is how the work of seven-year- child was officially released in Armenia...
With Aram Khachaturian
Culture: And how was further formation looking place after the successful "baptism of fire’’?
Babajanyan: There was a school for gifted children in Yerevan that time that accepted my dad. After graduation he was proposed to go to Moscow. He was recommended by Aram Khachaturian himself, who played significant role in my father's creative destiny. Father arrived in the capital with a dream to be in a class of Konstantin Igumnov [outstanding pianist and teacher, Professor at the Moscow Conservatory, People's Artist of the USSR. – the Culture’s note]. He successfully passed all exams with excellent marks, but he didn’t find his name in the lists of students. It turned out that Yerevan received information that Babajanyan left without an official permission, and sent a telegram to Moscow demanding to return of the runaway. Certainly, Dad was upset, went to Khachaturian and told him the situation. Aram said: ‘‘It is too difficult to speak with bureaucrats, I’d better introduce you to Yelena Gnesina. I have friendly relation with her. She will arrange an audition, and then decide what to do. "Sooner said than done. Daddy's playing the piano impressed Gnesina very much and she decided to accept him for in the third year of school.
However, it didn’t put an end to ordeals. Yerevan sent letters during a long period of time with the following content: let him come back to Armenia and complete his education here. Dad flatly refused, saying that it would be shameful for him as if he was incompetent. It would be present in this way: he fail to achieve success and was dropped out, that’s the reason of his return. It was better to go to the station to unload bags in order to earn money and live in Moscow.
As a result, dad's fate was determined almost at the state level. When Chairman of People's Commissars of Armenia Aram Piruzyan paid a visit to the capital Elena Gnessina signed up to see him and convinced in the course of the conversation that Babajanyan would have been better continue to study in Moscow. In general, dad remained in Moscow and successfully graduated from the college and then entered first course of the Moscow Conservatory.
Culture: The war began soon ...
Babajanyan: Yes, Dad together with other first-year-students were sent to build defense lines near Moscow. Soon the Conservatory, students and staff were evacuated to Saratov. Along with studying Arno Babajanyan led a variety orchestra that existed on the basis of local signal school. Later, Father recalled that it was good help during hungry times: the soloist of the orchestra was a cook and often fed his colleagues.
After a while Babajanian was allowed to travel to Yerevan. Many professors of the Conservatory was also sent there, including Konstantin Igumnov. In 1945 Dad returned to Moscow and three years later he graduated from the piano department at the Conservatory, and at the same time he continued his education as a composer at the House of Culture of Armenia 1946-1948.
Culture: Babajanyan is an author of many important academic works – the Sonata for Violin and Piano, the Piano Trio, several musicals – "Heroic Ballad" for piano and orchestra (its author was awarded the Stalin Prize)... However, Father is better known to the vast majority of hos compatriots primarily as a composer of songs. Was there a turning point when the Arno Babajanyan realized what his creative mission?
Babajanyan: By the mid-50’s Dad was more or less well-known composer and he was invited to work in cinematography: the "Path of Thunder’’ was filmed in 1956, and after a couple of years the "first love song’’ was composed. Father composed the music for both films. And it happened that the melody of the work became popular and immediately accepted by the people. Dad told me that once when he was on tour in Siberia (where he performed the "Heroic Ballad" with an orchestra), he was walking around the city and met a group of young guys who sang songs about Yerevan. Arno Babajanyan was very pleased that people in the far and cold city of Tomsk know and love the song about his native warm city.
Shortly after the song’s success his creative connections significantly extended: he worked with many famous artists – Vladimir Troshin, Maya Kristalinskaya and George Otsom. Songs were could be heard on radio and television. So almost everyone knew the name of Arno Babajanyan in our country at the beginning of the 60’s.
With Muslim Magomayev and Robert Rozhdestvensky
Culture: If I am not mistaken the determining meeting for your father was acquaintance with Muslum Magomayev took place in 1961.
Babajanyan: A solemn event dedicated to the culture of Azerbaijan took place in the Kremlin Palace. That concert was shown on TV. Mom really liked the performance of the handsome young man. And our neighbor was a famous Baku composer Asya Sultanova. My mother turned to her asking to invite a gifted singer. Maybe she and Arno will make a creative alliance. Once Muslim came to our place, sat down at the piano and played a few Neapolitan songs, cavatina Figaro, some other works.
As the saying goes, the other is history. The first son that Arno proposed to Magomayev, was ‘‘I remember Bulgaria’’. Dad composed it together with Alexander Zharov. The Arts council liked the song, but initially the singer's candidacy wasn’t approved. They had a doubt: why do we need a young singer from Azerbaijan? Probably he speaks Russian not well. It was better to be performed by an experienced singer, we have a lot of them. But my father stranded up for Muslim. Time has shown that he was absolutely right. This is how many years of fruitful cooperation started between Babajanian and Magomayev. After the success of the "Bulgarian" song, Muslim Magomayev sang "The best city in the world", "Do not hurry," "Be with me", which brought all-union fame to Magomayev.
Culture: How relations were between Muslim and Arno? Two major creative individuals, but in addition, the one was Armenian and the other Azerbaijani ...
Babajanyan: They worked easily with each other. During the Soviet times the national question could be sharp by definition. Attention was not paid to such aspects, especially by so prominent people as my father and Muslim Magomayev. Representatives of different nationalities – Russian, Armenians, Jews worked in the Muslim Magomayev orchestra... And above-mentioned Azerbaijani Asya Sultana was a member of our family. There were no ethnic disagreements at those times. It is very sad that it is otherwise today…
Father and Muslim Magomayev had great mutual respect, based on a professional attitude. Muslim was an extremely musical person. Songs, composed by my father, perfectly harmonize with Muslim Magomayev’s temperament and his vocal quality. In other words, Magomayev and my dad were almost perfect creative tandem.
With Iosif Kobzon
By the way, when Father was composing a song he always knew who will perform it. He is very felt details of vocal characteristics of the particular artist. It is remarkable that many versatile singers from Lyudmila Zykina to Sofia Rotaru, from Yuri Gulyaev to Jean Tatlyan worked with him, saying nothing of Iosif Kobzon who sometimes jokingly took offence at my father, saying that the main hits were sung by Muslim, but he occasionally got little out of them. Although the first performer of the famous ‘‘Nocturne", was Kobzon and not Magomayev contrary to the popular opinion. Initially, Dad created this work in order to perform it on the piano himself. I remember how we toured with the Silantevsky orchestra, how he came out to the stage and played this soulful melody. Once Kobzon told Babajanyan said: "Arno, let's ask Robert to write lyrics as I really want to perform this song." Father replied "No, you should not do it. Do what you want when I pass away." Indeed, after Father's death, Iosif Kobzon turned to Rozhdestvensky who wrote very strong lyrics. If I am not mistaken the first performance of "Nocturne" took place in 1984 at a concert in the House of Unions.
Culture: Let's revisit the 60s-70s, when one after another, the masterpieces of Babajanyan – ‘Beauty Queen’, ‘The Best City in the World’, ‘Ferris Wheel’ and ‘Wedding’ literally blew through the Soviet air... These songs are now considered to be almost folksongs, but how easily did they find a way to a wide audience? Were there obstacles arising from the arts councils? Was your father accused of levity, a lack of ideology and propaganda of bourgeois ideals?
Babajanyan: You've got to the point, that's what sometimes happened. For example, once, hearing ‘The Best City in the World’ on the radio, Khrushchev got angry: "What a disgrace! Singing about Moscow in the rhythm of the twist?! Forbid it immediately!" The composition was removed from the air. Later, in an interview, Magomayev recalled that soon after Khrushchev changed his tune, Muslim went to one of the big bosses of the radio broadcasting corporation with the words: "Well, we did our job along with Babajanian – Khrushchev was removed. Now it depends only on you whether to return the ‘The Best City in the World" to the air or not.’
A similar story occurred with the ‘Beauty Queen’. ‘Soviet Culture’ announced a contest for the song of the year. According to the results of the voting, first place was taken by my father's tune. The Composers' Union accepted the news without enthusiasm. They arranged a meeting, at which the members of the Union began vying to be indignant: "How can we prevent this! The work with young people is being done very badly! Otherwise, how to explain that some twist has been declared the best song?" And when the word took Nikita Bogoslovsky, he said something like this: ’’I know two Babajanyans. The one who writes serious chamber and symphonic music, I respect. And the other, the author of cheap twists and shakes, is not close to me." My father, who remained silent, could not resist this time: "I know these composers, who speak better than they compose music."
With Dmitry Shostakovich
By the way, not only the songs received that – sometimes the chamber works were carped. In the mid '60s he wrote a violin sonata, which received negative reviews, he was accused of formalism, in general, it was a ‘debriefing’. Dad came home upset, and suddenly the phone rang. On the other end there was Dmitri Shostakovich. "Arno Arutyunovich, I want to congratulate you on a wonderful piece!" My father was perplexed: "Dmitry Dmitriyevich are you kidding? I've just been scolded in the worst way, and you say "great work". Shostakovich replied: "Do not be surprised, all my life I was accused of everything, if I had listened to everyone, no nerves would suffice. And I honestly tell you that the music is beautiful, I really liked it." Dmitri was right: today this work is in the repertoire of many famous violinists.
Culture: Tell us a little about the lyrical content of the songs of Arno Arutyunovich. Among the co-authors of your father, other than those mentioned, there were Robert Rozhdestvensky and Alexander Zharov, Leonid Derbenyov, Andrei Voznesensky, Yevgeny Yevtushenko ... How did the cooperation evolve technically? Was Babajanyan looking for lyricists for his tunes or did the poets themselves find him?
Babajanyan: Dad always wrote music without counting and wondering what would happen at the end: a song or instrumental piece, a chamber piece. A certain topic was coming, and he tried to fix it. And the melody could arise at any moment. I remember my father was sometimes yelling if my loud-sounding tape coincided with a moment of his creative inspiration. In such moments he needed absolute silence, so that he could concentrate fully.
No specific forms of cooperation with the authors of the lyrics existed, dad invited poets to listen to the new product, and they offered their services. The story of creating the first joint song of Arno Babajanyan and Yevgeny Yevtushenko: in 1961, father celebrated his birthday in Ruza, in the House of Composers. Yevgeny arrived a little earlier than the other guests. My father played him his new tune. Yevtushenko immediately responded: "Old man, let's bet that tonight I will write lines to this music." They bet for a certain amount of Armenian brandy. Then Yevgeny, armed with a pen, a notebook and a bottle of ‘Borjomi’, asked not to be disturbed and retired to a room. He spent the whole evening there, and the guests all gathered, Yevtushenko was called to the table, but he was adamant, saying that "while I am working, I cannot think about anything else." In the end, he left the room with a prepared text, which formed the basis of the song ‘Do Not Hurry.’
With Andrei Voznesensky
It was different with Andrei Voznesensky. Prior to joining Babajanyan, Andrei did not write lines for songs. But when my father had an idea of a teamwork, Voznesensky accepted it with enthusiasm. True, he and my father were worried a lot: what if it would not work? But, as time has shown, they worried in vain. ‘The Year of Love’, ‘White Fluff’, ‘Give Me Back to Music’ and their other joint works are still loved by people.
Culture: To what extent were you influenced by your father as a musician, singer and actor?
Babajanyan: Dad just did everything he could to get me out of the music (laughs). When I was seven years old, it was decided to send me to music school. There was an unwritten rule: children entering the Central Music School had to have already engaged in at least one year with a tutor. I had no such experience, I went virtually unprepared.
I was not accepted into the piano classes, I took cello classes. And I did not like it too much, and I was lazy, perhaps, like many kids who prefer to run in the yard and not to sweat over the gamma. In addition, we were living in a small two-room apartment: in the same room my dad was working, and in the other – my mother (she was also a musician, who taught at GITIS). So I had to practice in the kitchen. The cello is not the quietest instrument. Apparently, my father, with his high notions of musical art, did not like all the sounds produced by me. Therefore, despite the fact that I graduated from the first class with an excellent grade (and in the Commission, among others, was Mstislav Rostropovich, and he personally praised me), my father withdrew me from the second class. The headteacher was surprised: "Arno Arutyunovich, how can it be? Usually we withdraw someone by ourselves and disgruntled parents come and complain, they say" my child is Beethoven, and you kicked him out undeservedly." But in your case – on the contrary. " "Yes,’’ my father answered. ‘’This is probably because he is not a Beethoven.’’ That's how my first stage of musical study ended.
Then I went to school with an intensive study of English, I even thought about entering the Institute of Foreign Languages, the MGIMO, or something like that. But fate decreed otherwise. In the tenth grade I went to an audition for the Gorky Film Studio, where at the time the movie ‘Cross the Threshold’ was in production. I was confirmed in the cast, then, in general, my artistic life began. Deep down, I think, I always dreamed of such activities. Therefore, I decided to enter GITIS. While I was studying there, I was lucky enough to act in a few films ...
Ara Babajanyan in the "Hot Snow" film
Culture: At least one of them, ‘Hot Snow’, has become a true classic of Russian cinematography. What memories are preserved of the shootings involving Georgiy Zhzhenov, Anatoly Kuznetsov and Vadim Spiridonov?
Babajanyan: Unfortunately, I did not act with them on stage. It so happened that in the scenes with my participation these actors were not there: by the time I arrived on the set, they had already left. The whole team involved in the production of the movie met only at the premiere. My partners were Boris Tokarev, Nikolai Eremenko Jr. and Yuri Nazarov. With them, as well as with the great director Gabriel Egiazarov, it was very pleasant to communicate.
The shooting took place in Novosibirsk, it was bitterly cold – that's probably the main memory of this film (laughs). And if it was only minus forty degrees, it could have been possible to get along with it. But a fan was working to create an even better effect of a fierce winter.
Culture: If we go back to your dad, how much did the work of Babajanyan reflect his inner world? Can we say that the composer was completely dissolved and wrapped up in his own music?
Babajanyan: My father was a sincere and natural man. Many recall that he was like a child who openly expressed his emotions. Babajanyan wrote very honest music, perhaps this is his main feature. In general, he liked to say: "We must always tell the truth." He could not stand falsity of any kind – from wrong notes to hypocrisy in human relations. It did not matter with whom he communicated at this particular moment – with a minister or a plumber. He did not pay attention to ranks, titles or other privileges. He always radiated kindness, perhaps he was loved so much for that.
It is sad, but my father was very ill. For thirty years, from 1953 (when he was diagnosed with sarcoma) and until his death in '83, my father, in fact, was constantly fighting for his life. Maybe that's why there is so much drama in the music of Babajanyan. After all, realizing the seriousness of his condition, dad remained a cheerful, sociable person who loved jokes, laughter, jokes, all kinds of jokes. These two vital principles were constantly vying with each other. And the music, no doubt, fueled my father and helped him resist the disease.
With his wife and son
Culture: You have mentioned that Arno Arutyunovich on his own will took you away from the music school. Perhaps we can conclude that he was tough as a music teacher. And what about being a father?
Babajanyan: Caring, attentive and spontaneous. Moderately severe, moderately tender. He could praise, and could easily weigh a cuff. He tried to instill a love of languages in me, believing that the more you know, the better. From an early age he watched me growing up healthy. I remember once we went on holiday in Dilijan, father woke me in the morning to exercise, running around, doing all kinds of exercises. In general, he loved sport, played soccer, volleyball, table tennis. We always went to football and hockey matches. And at one time we were part of a fairly representative fan company where, in addition to us with father, there were Alexandera Pakhmutova, Nicholay Dobronravov, Maya Plisetskaya and Rodion Shchedrin ...
Dad tried not to put pressure on me, understanding that forceful hammering was meaningless. If he wanted to convey something important to me, in his view, idea, then this was not done directly, but surreptitiously. And it worked flawlessly, I tried to adopt the same line of conduct.
Culture: Did Babajanyan leave any plans or creative projects unrealized?
Babajanyan: Dad wanted to write a ballet. But he didn't have time for it, although Plisetskaya and Timofeev asked him about it. Father wrote only a few sketches for the team of Lavrovsky Sr. ‘Ballet on Ice’. Also he wrote the choreography ‘Sunny Duet’, which was danced by Ludmila Semenyaka. In general, it was a series of sketches. So, we, the members of the Foundation for the Memory of Arno Babajanyan, have an idea to put together all these songs and skits in order to get a good ballet. I hope we will be able to implement this idea for dad's centennial.
