Alexander Rosenbaum
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| Alexander Rosenbaum | |
|---|---|
 A C.G. sketch of Alexander Rosenbaum
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| Background information | |
| Birth name | Aleksandr Yakovlevich Rozenbaum |
| Also known as | Ayarov |
| Born | September 15, 1951 |
| Origin | Leningrad, Soviet Union |
| Genre(s) | Bard music Pop-Jazz |
| Occupation(s) | Musician Songwriter Member of Parliament Doctor Actor |
| Instrument(s) | Vocals Acoustic Guitar Piano |
| Years active | 1983 — Present |
| Website | www.rosenbaum.ru |
| Notable instrument(s) | |
| Ovation Legend acoustic guitar | |
Alexander Rosenbaum (Russian: Алекса́ндр Я́ковлевич Розенба́ум, Aleksandr Jakovlevič Rozenbaum) (born September 15, 1951 in Leningrad, Soviet Union) is a Russian-Jewish bard from Saint Petersburg. He is best known as an interpreter of the blatnaya pesnya (criminal song) genre.
Rosenbaum graduated from the Pavlov Medical School in 1974, and worked in the medical field for four years. His musical education consists of piano and choreography courses at a musical school. In 1968, while still a student, Rosenbaum started writing the songs for which he is famous. His early songs were for student plays, but he soon also wrote for rock groups and started performing as a singer-songwriter in 1983, sometimes under the pseudonym "Ayarov".
Among his most famous songs are the ones about the Soviet-Afghan War, Cossacks, and the Jewish Mafia in Odessa. Songs such as "Gop-Stop" (a comedy about two gangsters executing an unfaithful lover) and "Vals-boston" (Boston (dance)) are popular across Russian social groups and generations.
Rosenbaum accompanies himself on either a six- or twelve-string acoustic guitar, using the Open G tuning adopted from the Russian seven string guitar.
His attitude toward the criminal song genre can best be illustrated by his own words:
| “ | Only a dull-witted person would think that this should not be, that this is wrong. All those songs that I call "songs of confinement," that have lasted and will last, are works of art, and as a rule they are written by cultured and educated people. Because everything that is composed in huge quantities at penitentiaries can very rarely be described as [high quality] work... It is very important to understand why those songs are composed, for whom and how. ... They are set in a criminal context, they contain criminal themes, but they are not at all about that. If you read and listen to them carefully, they will tell you of faithfulness, love and many other things. ... I am sometimes asked: "Why do you not write blatnaya pesnya anymore?" I am not interested in it today. The nondescript chaos now has abated somewhat, fortunately, but three, four or five years ago you switched on the crate - and had low-down trash rushing at you... Not the blatnaya pesnya that I treat with respect, but cheap blatota.[1] | ” |
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[edit] Titles
On 16 May 2001, by president Putin's decree, Rosenbaum was awarded the title of People's Artist of Russia[2], probably the highest title in the artistic field of activity in Russia.
[edit] Songwriting/Performing Characteristics
Rosenbaum sometimes employs peculiar musical time signatires and patterns in his songs, striving to sound fresh and unique - a bit atypical for a songwriter that employs gangster and criminal slang elements in his lyrics. Though many of his songs are elaborate in their instrumentation, the stress is placed on the primary melodies of his songs and their messages, as is usually the case in bard music.
His lyrics are quite often heart-wrenching, telling stories of people in insufferable pain, suffering implacable fates, and of love powerful enough to enslave a man. He sees himself not so much as a critic, but a true patriot who sees the worst sides of his country, but loves its people still.
He has stated that his wide lyrical scope is due to his being a sort of medium. For example, he wrote many crime-related songs using their jargon, but he never lived the criminal life in reality. Similarly, many of his songs about the Cossacks were written without the benefit of ever having a single relative from that community.[3]
Rosenbaum's most popular and culturally relevant song to-date, and his greatest hit, is "Vals-Boston" (Russian: Вàльс-бостòн), which translates to "The Boston Waltz." The title refers to a dance called the American Waltz, or alternatively the Boston. Below is a translation of the Russian text that attempts to preserve the original metre:
- On tan leaves, like on a carpet,
- Dressed in a simple frock,
- Made from crêpe de Chine, a gift given by the high-wind,
- Autumn danced a Boston Waltz about a common block
- At the close of the day
- A husky sax laid its stock
- And the people gathered round from all the neighbourhood
- And from all the nearby roofs birds flocked together,
- Beating their wings, as if applauding the dancer, dressed in gold…
- It’s been long, oh, so long… the old-time tune and the mood
- And I again have that dream
- My wonderful dream of old
- Where autumn dances a Boston Waltz for us, it seems
- The leaves won’t cease falling down
- A record going around:
- “My dear, my sweet, stay yet awhile, don’t leave me now.”
- Am I again in that dream?
- My wonderful dream of old
- Where autumn dances a Boston Waltz for us, it seems
- Careless, tipsy from enjoyment
- So unlike his age
- Ancient house, long lost in love with his own childhood
- Reeling all his walls, his windows open far and wide
- And this marvel he gave
- To all that lived in his side
- And as all the echoes faded in the shadowed night –
- For all things come to an end that have a beginning –
- Autumn wistfully, in raindrops, cried just a little…
- How I miss that old waltz, it felt so good and so right
In concert, Rosenbaum performs either alone or with his band, usually consisting of at least six other members (drummer, bass guitarist, two keyboardists, lead electric guitarist, and violinist). In his solo concerts, his guitar accompaniment tends to be different every time in some way. He is known for the way he stretches or, contrarily, cuts the length of musical bars in a song, making the song unique and unpredictable every time.
Rosenbaum is strongly opposed to lip synching during his concerts, a practice that has become increasingly widespread in Russia after the Soviet era. Once, during a festival concert, where many performers lip synched, Rosenbaum, all the time speaking into his live microphone, ascerbically asked the sound mixer: "Can you turn up my guitar a bit, guys? After all, the little thing's live!"
[edit] 2000s
[edit] Political Career
On December 7th, 2003 Alexander Rosenbaum took office as a member of the Russian parliament (the fourth Duma) for Yedinaya Rossiya and deputy chairman of the State Duma Culture Committee. When asked by a journalist about what he had to sacrifice to be able to run for MP, Rosenbaum answered:
| “ | Spare time. Ostensible respect of a certain group of people. Because it is so easy to kitchen-talk about what had better be done, while never attempting anything yourself. They are false people who think you are a more progressive person if you stay underground barking at the ones in power, rather than take up a seat in the State Duma.[4] | ” |
He was not listed as an MP in the fifth Duma.[5]
[edit] Business
Rosenbaum is co-owner of a growing (as of 2007) network of beer-halls in Saint-Petersburg, called "Tolstiy Frayer"[6]. The name has a gangster slang air to it and can roughly be rendered as "Regular Fat Chap".
[edit] Discography
- Pamyati A. Zvezdina-Severnogo (In memory of A. Zvezdin-Severniy; April 1982)
- Noviye pesni (New Songs; November 1983)
- Epitafiya (Epitaph; 1986)
- Moi dvory (My Home Streets;1986)
- Narisuyte mne dom (Paint Me a House; 1986)
- Doroga dlinoyu v zhizn (The Life-long Road; 1988)
- Kazachyi pesni (Cossack Songs; 1988)
- Anafema (Anathema; 1988)
- Nyu-Yorkskiy kontsert (A New-York Concert; 1987)
- Gop-stop (Gop-stop;1993)
- Goryachaya Desyatka (Hot Ten; 1994)
- A. Rozenbaum i “Bratya Zhemchuzhniye” 11 let spustya (A. Rosenbaum and the “Zhemchuzhniye brothers”, 11 years after; 1994)
- Veshchaya sudba (Prophetic Fate; 1994, compilation)
- Nostalgiya (Nostalgia; 1994)
- Vyalotekushchaya Shizofreniya (Schizophrenia in Slow Progress; December 1994)
- Byloye i diski (The Past and the Disks; volumes 1, 2 and 3)
- Antologiya 1. Domashniy kontsert (Anthology 1. A Home Concert; 1981)
- Antologiya 2. Posvyashcheniye posvyashchayushchim (Anthology 2. Devoted to the Devoters; 1983)
- Antologiya 3. Kontsert v Vorkute. (Anthology 3. A Concert in Vorkuta; 1984)
- Antologiya 4. Kontsert na LOMO (Anthology 4. A Concert at LOMO; 1987)
- Rozoviy zhemchug (Pink Pearls; August-November 1995)
- Na plantatsiyah lyubvi (On Plantations of Love; March-May 1996)
- Kontsert v den rozhdeniya (A Birthday Concert; September 1996)
- Vozvrashcheniye na Argo (The Return to Argo; February 1997)
- Iyulskaya zhara (July Heat; November 1997)
- Luchshiye pesni (The Best Of; 1982-1997, compilation)
- Transsibirskaya magistral (Trans-Siberian Railway 1999)
- Odinokiy volk (Lonesome Wolf; 2001, compilation)
- Nastoyashchiy soldat (Real Soldier; April 2000)
- Staraya gitara (Old Guitar; 2001)
- Ya lyublyu vozvrashchatsya v svoy gorod... (I Love Coming Back to My Town…; 2003)
- Strannaya zhizn (Strange Life; 2003)
- Ya vizhu svet (I See the Light; December 2005)
- Poputchiki (Fellow-travellers; October 2007)
[edit] References
[edit] Russian
[edit] External links
- Rozenbaum.ru - Official site, includes many recordings and lyrics.
- Duma.gov.ru - State Duma official site
