The main themes and problems of the early poetry of A. Voznesensky

The poetic process of the 60s was a broad, complex, and ambiguous phenomenon. There was even an opinion about a crisis in the poetry of this time. The revitalization of literary life was greatly facilitated by the work of then-beginning poets - E. Yevtushenko, R. Rozhdestvensky, B. Akhmadulina, A. Voznesensky, who spoke with topical civic poems. It was from these poets that the term “pop poetry” originated.

Let us turn to the work of Andrei Voznesensky, and specifically to one of his most striking poems - “Live not in space, but in time...”. Voznesensky is an “urban” poet, but he sometimes got tired of “being” and turned to “eternal themes” and emotional experiences.

In fact, in this poem the author moves away from everyday themes that are so characteristic of his poems. Merging together two dimensions in a person’s life - temporal and spatial, he does not draw conclusions and does not impose a single solution for everyone. Voznesensky leaves the choice to the person, although he himself, of course, chooses a “temporary” life, which is measured not only by earthly life, but also by eternal life.

The work of Andrei Voznesensky developed in a complex way. The poet’s extraordinary talent and his search for new possibilities of the poetic word immediately attracted the attention of readers and critics. In his best works 50s, such as the poem “Masters” (1959), the poems “From a Siberian Notebook”, “Report from the opening of a hydroelectric power station”, convey the joy of work, the optimistic feeling of life of a creative person. Lyrical hero Voznesensky is full of thirst to act, to create:

I'm from the student bench

I dream that the buildings

Step rocket

Soared into the universe!

However, sometimes at that time he lacked civic maturity and poetic simplicity. In the poems in the collections “Parabola” and “Mosaic” (1960), energetic intonations and rhythms, unexpected imagery and sound design sometimes turned into a passion for the formal side of the verse.

The poems of his first two books are full of youthful expression. The author strives to convey in them the fierce pressure of the surrounding world. But already in the collection “Antiworlds” (1964), Voznesensky’s poetic style becomes more refined and rationalistic. Romantic expression seems to “freeze” into metaphors. Now the poet not so much participates in the events he talks about, but rather observes them from the outside, choosing unexpected and sharp comparisons for them .

For the first time, Andrei Voznesensky's poems were published in Literaturnaya Gazeta. In the 70s, collections of poems were published: “Shadow of Sound”, “Look”, “Release the Bird”, “Temptation”, “Selected Lyrics”.

The poet Sergei Narovchatov, analyzing the book of Andrei Voznesensky “Master of Stained Glass,” traced the connection between its poetics and the art of stained glass. As you know, the connection between literature and fine arts is long-standing, but these days this “commonwealth of the muses” has become even stronger.

In A. Voznesensky’s poems “The Grove”, “The Beaver’s Cry”, “Evening Song” the idea that, destroying surrounding nature, people destroy and kill the best in themselves, putting their future on Earth in mortal danger.

In Voznesensky’s work, moral and ethical quests noticeably intensify. The poet himself feels the urgent need to update, first of all, the spiritual content of poetry. And the conclusion from these thoughts are the following lines about the life purpose of art:

Eat highest goal poet -

Break the ice on the porch,

So that we can go warm up from the frost

And drink confession.

These impulses and aspirations were voiced in the books “Cello Oak Leaf” (1975) and “Stained Glass Master” (1976), “I Long for Sweet Foundations.” They also determined the appearance of other motifs, figurative strokes and details, for example, in the perception of nature. Hence - "Lovely groves of a shy homeland (the color of a tear or a harsh thread)..."; “A dead pear tree, alone in the thicket, I will not disturb your beauty”; “Pine trees are blooming - candles of fire are hidden in the palms of future cones...”; “Fresh shavings are hanging from the bird cherry trees...”. The poet admits to himself with some surprise: “It’s as if I see for the first time the lake of beauty of the Russian periphery.”

“Explaining why he does not regret the years devoted to architecture, Voznesensky wrote in the preface to the “Oak Leaf of the Cello”: “Any serious architect begins an examination of the project with a plan and a structural section. The facade is for the uninitiated, for onlookers. The plan is the constructive and emotional unit of a thing, indeed its nerve.”

Voznesensky works on works of great poetic form; he wrote the poems “Lonjumeau”, “Oza”, “Ice69”, “Andrei Palisadov” and others. His poems naturally grow from his poems and rise among them, like trees among bushes. These poems are swift, the images do not get stuck on everyday life and scrupulous descriptiveness, they do not want to stall. Space is given in flight: “television centers beyond Mur are flying like a night cigarette.” In the spotlight - Time (with a capital T), epic Time:

I enter the poem

How we enter a new era.

This is how the poem Longjumeau begins.

The poet's reaction to the modern, vitally important is instantaneous, urgent, first aid and fire brigade his words are 24/7 and reliable. Painful, humane, piercing decisively and clearly characterizes the poet’s work.

All progress is reactionary,

If a person collapses.

Andrei Voznesensky also wrote articles on problems of literature and art, did a lot of painting, and some of his paintings are in museums.

In 1978 in New York he was awarded the International Poets Forum Prize for outstanding achievements in poetry, and in the same year Andrei Voznesensky was awarded the USSR State Prize for the book “Stained Glass Master.”

According to Voznesensky, man is the builder of the time in which he lives:

... minute trees are entrusted to you,

own not the forests, but the clocks.

And here the poet says that time is above everything. And it is precisely this that protects humanity, its life from oblivion and destruction: “live under minute houses.” The idea is paradoxical, but very accurate, it seems to me.

Thus, we can say that the author clothes everything material, spatial, in a temporary fabric. Even the House is equated with time. These are two parallel lines that eventually intersect. Voznesensky even suggests replacing clothes with time, because it is more valuable than the most valuable furs:

and shoulders instead of sable for someone

wrap yourself up in a priceless moment...

Indeed, time is the best gift for any person, but, unfortunately, giving it is in the power of only higher powers, God.

It is worth noting that rhyme is not at all characteristic of Voznesensky’s poems. In this poem, he rhymed only the first and second stanzas - those that are devoted to the material side of human existence. The other two stanzas are not only not rhymed, but also constructed asymmetrically (five and two verses each). They are the same as time itself, as the poet says in the first verse of the third stanza: “What asymmetrical Time!”

The pathos of the poem “Live not in space, but in time...” is built on the opposition of time and space. And although the poet puts them at different poles of human life, one is impossible without the other. However, people cannot exist without them.

It is interesting that there is no specification in the poem - there is neither a lyrical hero, nor an appeal to someone personally. Everything is generalized, and at the same time applies to everyone.

Voznesensky proves that his life is not the same as the reader’s, but it is one to which the reader must certainly strive. And although this is not stated directly in the poem, it is felt. To become an artist, a person, you need to live “in time.” That is, while emphasizing the distance, Andrei Voznesensky simultaneously called for overcoming it.

And this real, alluring achievability of joining the world of art fascinates and seduces. After all, it is people like the poet who live in time for a long time, even after their bodily life.

Strange comparisons, very accurate and frightening, are given by the author in the penultimate stanza. It makes you shiver from the realization that it is true that:

The last minutes - in short,

The last parting is longer...

And there’s nothing you can do about it - that’s the way it is. The creation of an atmosphere of hopelessness in the stanza, but the possibility of changing everything, of choice, is emphasized by the repetition of the word “last”.

They die - in space,

They live in time.

And here the choice is up to everyone - where he wants to live, what kind of memory he wants to leave behind. This is probably one of the eternal, but so strangely expressed in a poem by a modern poet, question.

Andrey Andreevich Voznesensky- Russian Soviet poet, publicist, artist, architect. One of the most famous poets of the sixties.

Andrei Andreevich Voznesensky was born on May 12, 1933 in Moscow. Father - Andrei Nikolaevich Voznesensky (1903-1974), hydraulic engineer, doctor technical sciences , professor, director of the Hydroproject, Institute of Water Problems of the USSR Academy of Sciences, participant in the construction of the Bratsk and Inguri hydroelectric power stations, Honored Worker of Science and Technology of the Uzbek SSR; mother - Antonina Sergeevna (1905-1983), born. Pastushikhina was from Vladimir region. Andrei Andreevich's great-great-grandfather, Andrei Polisadov, was an archimandrite and rector of the Annunciation Murom Cathedral in Posad.

Voznesensky spent part of his childhood in Kirzhach, Vladimir region. During the Great Patriotic War, Andrei and his mother were evacuated from Moscow and lived in the city of Kurgan in the family of a machinist. Andrei studied in 1941-1942 at school No. 30. Later, remembering this time, Andrei Andreevich wrote: “What a hole the evacuation threw us into, but what a good hole it was.”

After returning from evacuation, he studied at one of the oldest Moscow schools (now School No. 1060). At the age of fourteen, he sent his poems to Boris Pasternak, whose friendship later had a strong influence on his fate. Graduated in 1957 Moscow architectural institute . He lived in marriage for 46 years with the writer, film and theater critic Zoya Boguslavskaya.

The poet's first poems, which immediately reflected his unique style, were published in 1958. His lyrics were characterized by their desire to “measure” modern man categories and images of world civilization, extravagance of comparisons and metaphors, complexity of the rhythmic system, sound effects. He is a student not only of Mayakovsky and Pasternak, but also of one of the last futurists - Semyon Kirsanov. Voznesensky wrote the poem “Kirsanov’s Funeral”, later set to music under the title “In Memory of the Poet” by Kirsanov’s great admirer David Tukhmanov (the song was performed by Valery Leontyev).

Voznesensky’s first collection, “Mosaic,” was published in Vladimir in 1959, and incurred the wrath of the authorities. The editor, Kapitolina Afanasyeva, was fired from her job and they even wanted to destroy the circulation. The second collection - “Parabola” - was published in Moscow and immediately became a bibliographic rarity. One of best poems of this period - “Goya”, which non-standardly reflected the tragedy of the Great Patriotic War, - was accused of formalism.

At that time, numerous meetings with poets were organized. Famous evenings took place at the Polytechnic Museum, where Voznesensky’s lines were heard:

Fire in Architectural Blaze widely Cowsheds in cupids District clubs in rococo.

Voznesensky, along with Yevtushenko and Akhmadulina, aroused sharp rejection among some of the Soviet literary community. This rejection was also expressed in poetry - for example, in the poem “Fashionable Poet” by Nikolai Ushakov, 1961 ( He once captivated young people with his changing weekly fashion. / So why are you, a handmade flower, / not blooming fashionably today?) or in Igor Kobzev’s poem “To Komsomol activists”, 1963 ( They use shaking jazz as a weapon / And various overseas abstract nonsense. / They say they even have / Their own popular poet...). On Gorky Street in “Windows of Satire” already in the 60s a worker is depicted sweeping out “evil spirits” with a broom - and among the evil spirits Voznesensky was depicted with the collection “Triangular Pear”. In March 1963, at a meeting with the intelligentsia in the Kremlin, Nikita Khrushchev sharply criticized the poet. To the applause of most of the audience, he shouted: “Get out, Mr. Voznesensky, to your masters. I will order Shelepin, and he will sign your foreign passport!” Voznesensky repeatedly traveled to various foreign countries for performances: 1961 - Poland; 1961, 1966, 1968, 1971, 1974, 1977, 1984 - USA; 1962, 1966, 1969, 1976, 1977, 1983 - Italy; 1962, 1963, 1973, 1982, 1984 - France; 1967, 1977, 1983 - Germany; 1971 - Canada; 1964, 1966, 1977, 1981 - Great Britain; 1973 - Australia; 1968 - Bulgaria; 1981 - Mexico and many others. etc. He became one of the most popular Russian poets in the USA. Voznesensky became friends with the beat poet Allen Ginsberg and became a family friend of Arthur Miller. His meeting with Marilyn Monroe was later captured in the lines: “I am Marilyn, Marilyn. / I am the heroine / Of suicide and heroin.” Other verses are even more explicit:

In America, smelling of darkness, Camellia and ammonia. Puffing like tractors, Informers follow me... It is unbearable to be crucified, Through every mole, When eyes are planted in you from lips to heels everywhere... Let it go, handsome Quasimodo, My soul aches and bleeds From the gaze of freedom And the tender gaze of the informer.

A year after the collection “Triangular Pear”, Voznesensky’s poem “Lonjumeau” dedicated to Lenin was published. The collection of poems “Antiworlds” served as the basis for the famous performance of the Taganka Theater in 1965. For this performance Vladimir Vysotsky wrote music and sang “Akyn’s Song” based on Voznesensky’s poem.

In the 1970s, Voznesensky began to be published quite well; he appeared on television and received the USSR State Prize in 1978, but in the same year he took part in the uncensored almanac Metropol (1978).

Voznesensky was friends with many artists, whose meetings he recalled in articles and memoirs and biographical books. He was an interlocutor with Sartre, Heidegger, Picasso, and met Bob Dylan.

Popular pop songs were written based on the poet’s poems: “The girl is crying in the machine gun,” “Give me back the music,” “I’ll pick up the music,” “Dance on the drum,” “Encore song” and the main hit “Million” scarlet roses“, where the poet retold in verse Paustovsky’s short story about the artist Pirosmani’s love for the French actress. With the author of the last four songs Raymond Pauls Voznesensky collaborated a lot. Rock opera " "Juno" and "Avos"", written on Voznesensky's libretto by Alexei Rybnikov, was staged in 1981 by Mark Zakharov at the Moscow Lenin Komsomol Theater and has not yet left the stage. The most famous is the romance “I will never forget you,” based on the poem “Saga.”

He lived and worked in Peredelkino, near Moscow, next to the dacha-museum of Boris Pasternak, where twice a year, on February 10 (Pasternak’s birthday) and May 30 (the poet’s death day), he held poetry readings. Voznesensky’s book “I am Fourteen Years Old” is dedicated to his meetings with Pasternak.

The poet suffered his first stroke 4 years before his death. In 2010, Andrei Voznesensky suffered a second stroke, from which he never fully recovered.

Andrei Andreevich Voznesensky died on June 1, 2010 after a long illness at the age of 78 at home in Moscow. The poet's funeral service according to the Orthodox rite took place at noon on June 4 in the Church of the Holy Martyr Tatiana at Moscow State University. Andrei Voznesensky was buried on June 4, 2010 at the Novodevichy cemetery in Moscow next to his parents.

Andrei Voznesensky is one of the heroes documentary film Vladislav Vinogradov “My Contemporaries” (1984)

Many popular songs have been written based on Voznesensky’s poems (mostly based on his already published poems). He also successfully acted as a songwriter and wrote the poem “The Voice” dedicated to Sofia Rotaru.

The song “The Girl Is Crying in the Machine” performed by Evgeny Osin, which became popular in the early 90s, has been known since the late 60s as one of the numbers of the courtyard musical city culture. In fact, this is a song based on the poem by A. A. Voznesensky “First Ice”. The words in the song have been changed in some places.

Andrei Voznesensky is mentioned (and according to eyewitnesses he treated this with humor) in the song of the rock group “Ado” “Behave Well” (1996):

Don't teach your dog to fly
Don't feed candy to fish
And don’t read Voznesensky out loud
This is very funny
Very funny

Repeatedly mentioned as the hero of real and unreal stories in the works of V. Aksenov, S. Dovlatov.

A. A. Voznesensky participated in the adoption positive decision about the release of the first disc of the Aquarium group at the All-Union recording company “Melodiya” in 1987 (a giant disc composed of songs from the tape albums “Silver Day” and “Children of December”). Famous article by A.A. Voznesensky about B. Grebenshchikov was placed on the sleeve of this record. Voznesensky named the leader of the group, Boris Grebenshchikov, who is prone to complex metaphors in his poetic work, as his successor in poetry.

In 2001, he signed a letter in defense of the NTV channel.

Andrei Voznesensky considered himself a follower of Vladimir Mayakovsky and was the only student of Boris Pasternak. Voznesensky was the first to work in a new genre of poetry - video. He wrote the libretto for the legendary play Antiworlds and the world famous rock opera Juno and Avos, and pop songs with Voznesensky's lyrics remain famous today.

Pasternak's only student

Andrei Voznesensky was born in Moscow in 1933. He wrote his first poems at the age of 10. Four years later, the young poet sent his works to Boris Pasternak for review. After some time, Pasternak called Voznesensky and invited them to meet - this is how their long-term friendship began. Pasternak did not recognize the institution of apprenticeship: he considered it a waste of the poet’s energy. However, Andrei Voznesensky became his only student. They often met and talked about life, fate, poetry.

After school, Andrei Voznesensky entered the Moscow Architectural Institute. The poet recalled: “This is Pasternak. He forbade me to go to the Literary Institute, because he said: “They won’t teach you anything there, they will only spoil you,” and I went to the Architectural Institute.”.

Andrey Voznesensky. Photo: andreyvoznesensky.ru

Andrey Voznesensky. Photo: andreyvoznesensky.ru

When Voznesensky was finishing his studies, there was a fire at the Architectural Institute. Students were delayed in defending their diplomas for two months, and the poem “Fire at the Architectural Institute” appeared in the poetic portfolio of the young poet-architect.

Fire in the Architectural!
According to the halls, drawings,
amnesty for prisons -
fire, fire!

Along the sleepy façade
shameless, mischievous,
red-assed gorilla
the window is flying up!
And we are already graduates,
It's time for us to defend.

Cracking in the closet under the seals
my reprimands!

Everything burned out completely.
There are plenty of police.
It's all over!
Everything has begun!
Let's go to the cinema!

Andrey Voznesenskaya. Excerpt from the poem “Fire at the Architectural Institute”, 1957

Andrei Voznesensky and Boris Pasternak. Photo: bulvar.com

Andrey Voznesensky and Bella Akhmadulina. Photo: andreyvoznesensky.ru

Andrei Voznesensky and Vladimir Vysotsky. 1960s. Photo: andreyvoznesensky.ru

Voznesensky graduated from the Architectural Institute in 1957. He used his professional knowledge only twice: he designed the architectural part of the “Friendship Forever” monument on Tishinskaya Square in Moscow and created a memorial composition on the grave of his parents.

Thaw: glory and disgrace

Voznesensky often attended friendly readings at Pasternak's house in Peredelkino. There he read his first poem, “The Masters,” about the blinded architects of St. Basil’s Cathedral. In 1959 it was published by Literaturnaya Gazeta.

“I'm in the hospital. These cruel diseases began to recur too often. This coincided with your entry into literature, sudden, impetuous, stormy. I am terribly glad that I lived to see it. I have always loved your way of seeing, thinking, expressing yourself. But I didn’t expect that she would be able to be heard and recognized so soon.”

Boris Pasternak

In 1960, two collections of poems by Andrei Voznesensky were published almost simultaneously, one in Vladimir, the second in Moscow. The Vladimir collection “Mosaic” immediately fell out of favor. The word “pregnant” used in the poems was regarded by censors as pornography, and the work “I am Goya”, dedicated to the tragedy of the Great Patriotic War, was regarded as formalism. The editor of the book publishing house, Kapitolina Afanasyeva, was fired with a scandal, the circulation was ordered to be arrested and destroyed, but the decision was made too late: all copies were sold out. A similar situation arose with the Moscow collection “Parabola”. However, censorship could not stop Voznesensky’s poetry: his books acquired bibliographic value, fans passed the collections from hand to hand, copied poems and poems in notebooks.

Despite strict censorship, there was no ban on Voznesensky’s performances and he, along with other sixties poets, read his poems at stadiums, concert halls, in the squares. Voznesensky was popular not only in the USSR - he performed at concert venues in France, Great Britain, Poland, Norway, Sweden, and Hungary. He read poetry in the USA, where he met the family of President Kennedy and film star Marilyn Monroe. Brother read Voznesensky's poems American President Robert Kennedy, he translated them into English.

In March 1963, at a meeting between the First Secretary of the CPSU Central Committee Nikita Khrushchev and the intelligentsia, Voznesensky was accused of being “anti-Soviet” and shaking the foundations of the socialist system. To which Voznesensky said from the podium: "Like my teacher, Vladimir Mayakovsky, I am not a member of the Communist Party." He was not allowed to finish his speech, and Khrushchev threatened to expel the poet from the country.”.

“Studies”, surveillance, and scandals in the Writers’ Union followed. At this time, Voznesensky tried not to appear in Moscow and did not perform at Luzhniki and the Polytechnic Museum. He traveled a lot around the country, holding meetings with readers in the regions.

At this time, Zoya Boguslavskaya, a writer, critic, playwright, “Oza” from Voznesensky’s poems, appeared in the poet’s life. In 1964 they got married. Poetry evenings and friendly meetings were often held in the house of Voznesensky and Boguslavskaya. Guests were Vladimir Vysotsky, Bella Akhmadulina, Yuri Trifonov, Boris Khmelnitsky, Oleg Tabakov, Valery Zolotukhin, Lyudmila Maksakova. Friends of the family living abroad also visited here - playwright Arthur Miller, writer Kurt Vonnegut, poets Jay Smith and Stanley Kunitz, brother of the American President Edward Kennedy and his family.

Andrei Voznesensky and Zoya Boguslavskaya. Photo: voznesolog.ru

Andrei Voznesensky and Zoya Boguslavskaya. Photo: newizv.ru

Andrei Voznesensky and Zoya Boguslavskaya. Photo: stories-of-success.ru

Dramaturgy and videos

At the end of 1964, Yuri Lyubimov invited Andrei Voznesensky to perform his poems at the Taganka Theater. Lyubimov recalled: “Pasternak introduced us. I asked Boris Leonidovich which of the young poets I should take a closer look at and read carefully. He said - to Andryusha Voznesensky". Initially, Lyubimov planned to organize the “Poet and Theater” evening. Rehearsals lasted two months. Vladimir Vysotsky, Alexander Vasiliev, Boris Khmelnitsky took part in the production. Gradually, the project grew into a full-fledged performance based on Voznesensky’s poems “Antiworlds”. Its premiere took place on February 2, 1965. The performance remained in the repertoire of the Taganka Theater for the next 15 years, was shown almost 800 times and always sold out.

Another famous theater project in creative biography Andrei Voznesensky - libretto for the rock opera “Juno and Avos”. Its premiere took place at the Moscow Theater. Lenin Komsomol July 9, 1981. Then the Western press assessed the rock opera as an anti-Soviet performance. Because of this characteristic, the theater troupe was not allowed to tour abroad with Juno and Avos, but through the efforts of Voznesensky this ban was later lifted.

“Voznesensky played a huge role in the development of our theater, about 30 years ago he came up with a work that was recognized business card troupes. The play “Juno and Avos” gained wide popularity not only in Russia, but also abroad. And this happened largely thanks to Voznesensky’s friendship with the great fashion designer Pierre Cardin, whose authority contributed to the show of the production in Paris, New York and others largest cities peace."

Mark Zakharov

The release of the audio version of the rock opera was deliberately delayed; the album “Juno and Avos” was released only in 1982. The play is still staged at the Lenkom Theater. The musical theme from the rock opera “I'll Never See You” has been performed more than once by modern singers.

In total, Andrei Voznesensky published about 20 collections of prose and poetry, and in 1983 he released a three-volume collection of works. Pop songs based on his poems became famous in the last quarter of the 20th century: “A Million Scarlet Roses”, “Encore Song”, “Start from the Beginning”, “The Girl is Crying in the Machine”. Also in the work of Andrei Voznesensky, the genre of video appeared - visual poetry, where there are no familiar stanzas: the words are arranged in geometric shapes, and objects replace letters or parts of words. Exhibitions of Voznesensky's videos were held in Paris, New York, and Berlin.

A. A. Voznesensky was born in 1933. In the 50s of the 20th century, a new generation of poets entered literature, whose childhood coincided with the war, and whose youth occurred in the post-war years. This replenishment of our poetry developed in conditions of rapid changes in life and the growing self-awareness of the people. Together with poets of the older and middle generations, young authors strove to sensitively grasp the demands of developing life and literature and respond to them to the best of their ability. V. Sokolov and R. Rozhdestvensky, E. Yevtushenko and A. Voznesensky and many others in their themes and genres, images

And in intonations, turning to different artistic traditions, they sought to embody the features of the spiritual appearance of modern man, his craving for intense thought, creative search, and active action.
The work of Andrei Voznesensky developed in a complex way. The poet’s extraordinary talent and his search for new possibilities of the poetic word immediately attracted the attention of readers and critics. His best works of the 50s, such as the poem “Masters” (1959), poems “From a Siberian Notebook”, “Report from the Opening of a Hydroelectric Power Station”, convey the joy of work and the optimistic sense of life of a creative person. Voznesensky’s lyrical hero is full of thirst to act and create:
I'm from the student bench
I dream that the buildings
Step rocket
Soared into the universe!
However, sometimes at that time he lacked civic maturity and poetic simplicity. In the poems of the collections “Parabola” and “Mosaic” (1960), energetic intonations and rhythms, unexpected imagery and sound writing sometimes turned into a passion for the formal side of the verse.
The poet Sergei Narovchatov, analyzing the book of Andrei Voznesensky “Master of Stained Glass,” traced the connection between its poetics and the art of stained glass. As you know, the connection between literature and fine arts is long-standing, but these days this “commonwealth of the muses” has become even stronger.
In A. Voznesensky’s poems “The Grove”, “The Beaver’s Cry”, “Evening Song” the idea is sharpened to the limit that by destroying the surrounding nature, people destroy and kill the best in themselves, putting their future on Earth in mortal danger.
In Voznesensky’s work, moral and ethical quests noticeably intensify. The poet himself feels the urgent need to renew, first of all, the spiritual content of poetry. And the conclusion from these thoughts are the following lines about the life purpose of art:
There is the highest goal of the poet -
Break the ice on the lid,
So that we can go warm up from the frost
And drink confession.
These impulses and aspirations were voiced in the books “Cello Oak Leaf” (1975) and “Stained Glass Master” (1976), “I Long for Sweet Foundations.” They also determined the appearance of other motifs, figurative strokes and details, for example, in the perception of nature. Hence - “Lovely groves of a shy homeland (the color of a tear or a harsh thread) ...”; “A dead pear, alone in the thicket, I will not disturb your beauty”; “Pine trees are blooming - candles of fire are hidden in the palms of future cones...”; “Fresh shavings of bird cherry trees are hanging…”. The poet admits to himself with some surprise: “It’s as if I see for the first time the lake of beauty of the Russian periphery.”
For the first time, Andrei Voznesensky’s poems were published in Literaturnaya Gazeta. In the 70s, collections of poems were published: “Shadow of Sound”, “Look”, “Release the Bird”, “Temptation”, “Selected Lyrics”.
Voznesensky works on works of great poetic form; he wrote the poems “Lonjumeau”, “Oza”, “Ice-69”, “Andrei Palisadov” and others. His poems naturally grow from his poems and rise among them, like trees among bushes. These poems are swift, the images do not get stuck on everyday life and scrupulous descriptiveness, they do not want to stall. Space is given in flight: “television centers beyond Mur are flying like a night cigarette.” The focus is on Time (with a capital T), epic Time:
I enter the poem
as they enter a new era.
This is how the poem “Lonjumeau” begins.
The poet’s reaction to the modern, vitally important is instantaneous, urgent, the ambulance and fire brigade of his words are round the clock and reliable. Painful, humane, piercing decisively and clearly characterizes the poet’s work.
All progress is reactionary,
if a person collapses.
“Oza”
Andrei Voznesensky also writes articles on issues of literature and art.
The poet does a lot of painting; a number of his paintings are in museums.
In 1978, in New York, he was awarded the International Poets Forum Prize for outstanding achievements in poetry, and in the same year, Andrei Voznesensky was awarded the USSR State Prize for the book “Stained Glass Master.”
Voznesensky's poems are full of sound energy. The sounds flow easily, naturally and - most importantly - meaningfully. This is not a thoughtless game of words, but a constant young breakthrough to meaning, to essence..

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Other writings:

1. A. A. Voznesensky (b. 1933). One of the early poetry collections of Andrei Andreevich Voznesensky was called “Achilles' Heart” (1966). On its inside cover there was a picture of a cardiogram. It's hard to imagine best image to understand the poet. Achilles, i.e. unprotected, vulnerable, easily wounded, heart Read More ......
2. A. A. Voznesensky was born in 1933. In the 50s, a new generation of poets entered literature, whose childhood coincided with the war, and whose youth occurred in the post-war years. This replenishment of our poetry developed in conditions of rapid changes in life, growing self-awareness Read More ......
3. I will step Through the lyrical volumes, Like a living person speaking to the living, V. Mayakovsky The topic of the purpose of a poet and poetry in Russian literature is not new. Derzhavin and Karamzin, Pushkin and Lermontov, Nekrasov and Blok, Mayakovsky and Voznesensky paid tribute to her. Poem by Andrei Voznesensky Read More ......
4. A. A. Voznesensky’s poem “The Christmas Tree” is distinguished by a festive New Year’s mood. The atmosphere of renewal, expectation of a miracle and simply the fun of parties are interspersed with a love theme. New Year traditionally celebrated as family holiday. He always wants to meet his loved ones: “Love is always the eve. In Read More......
5. A. A. Voznesensky’s poem “Fate, like a rocket, flies in a parabola...” embodies the filibuster spirit of the sixties. At the center of the work is the personality of the person making his way life path. What sets it apart is its atmosphere creative search, overcoming difficulties, life's adversities. The plot of the poem is based on the technique of antithesis. Read More......
6. A. A. Voznesensky’s poem “Fate, like a rocket, flies in a parabola...” embodies the filibuster spirit of the sixties. At the center of the work is the personality of a person charting his life path. It is distinguished by an atmosphere of creative search, overcoming difficulties, and life's adversities. The plot of the poem is based on the technique of antithesis. Read More......
7. The most important theme for Tyutchev is the chaos contained in the universe, this is the incomprehensible secret that nature hides from man. Tyutchev perceived the world as ancient chaos, as a primordial element. And everything visible and existing is only a temporary product of this chaos. This is connected with the poet’s appeal to Read More......
8. He who knows how to hear and, having heard, is Perishing - he is with us. And here he has all the tenderness of our damned lyrical soul. And all the damned dishes from our demonic table. A. Blok In the epigraph I included the words of A. Blok, with which he once invited Read More......

Born on May 12, 1933 in Moscow. He started writing poetry while still in school. Being a big fan of Boris Pasternak's work, Voznesensky, while in the sixth grade, sent him his poems. The poet appreciated the teenager’s creative endeavor and invited him to visit. This determined future fate Voznesensky.

In 1957, Andrei Voznesensky graduated from the Moscow Architectural Institute (MARCHI).

In 1983, collected works were published in three volumes, in 2006 - collected works in seven volumes.

Voznesensky's cycle of poems "Antiworlds" (1964) was staged in the form of scenes and songs by the Taganka Theater, where Vladimir Vysotsky first appeared on stage with a guitar. The play “Take Care of Your Faces” was also staged at Taganka, filmed immediately after the premiere.
The rock opera "Juno and Avos" (music by Alexei Rybnikov) based on Voznesensky's poem "Avos" in Lenkom and in other theaters in Russia, near and far abroad, gained enormous popularity and became a classic of the genre.

Many popular pop songs were written based on the poet’s poems, including “A Million Scarlet Roses” (music by Raymond Pauls), “Encore Song” (music by Raymond Pauls), “Start Over” (music by Evgeny Martynov), “The Girl Cries in the Machine "(music by Evgeny Osin), as well as many romances to the music of Mikael Tariverdiev.

Andrei Voznesensky also worked in the genre of visual poetry. He combined poetry readings with music and demonstrations of so-called videos. Exhibitions of these works - video - were successfully held at the Museum fine arts named after A.S. Pushkin in Moscow, Paris, New York, Berlin. His author's evenings took place in many cities around the world.