MUSHKETER HER MAJESTY MUSIC – MAXIM DUNAEVSKY
We can say with confidence that, contrary to the common saying, nature had no time to rest on a child of genius when Maxim Dunaevsky was born. He had to combine all the creative potential of both parents – outstanding and extraordinary people. He successfully coped with this, becoming a famous composer. Many songs by Maxim Dunaevsky (“Call me, call!”, “The Wind of Change”, “Everything Passes”, “Fortune Teller”) are enjoyed by people of different ages on different continents, because they are surprisingly melodic and amazingly positive. It is for this reason that it’s hard not to fall in love with his work.
Maxim Isaakovich wrote hundreds of songs in his life, was a composer in several dozens of his favorite films, the author of musicals, his name thundered throughout the Soviet Union and now Dunaevsky’s music is in demand – famous performers of the CIS countries have worked and continue to work with him.
The cannonade of the Second World War still rattled, millions of people throughout Europe had to endure hardships and hardships. Here at such a difficult time on January 15, composer Maxim Dunaevsky, 1945, the son Maxim was born in the family of composer Isaac Dunaevsky and his common-law wife – ballerina Zoya Pashkova.
The famous father was absorbed in work and could not give his son as much attention as he would like. But Maxim from childhood was absorbed in art and attached to the world treasury of music: all the newest, most popular and interesting appeared in their house earlier than others. Unfortunately, in 1955, when Maxim was only 10 years old, his father died of cardiac spasm. Mother had to leave the service in the theater and fully engage in raising her son. She never forced him to do anything, did not restrict freedom and did not bind herself to herself by all means. He later admitted that it was such a model of education that turned out to be the most effective in his particular case. The boy was happy to study at a music school, showed extraordinary abilities, was comprehensively developed and educated.
By the way, after the death of his father, Maxim had to dwell on the thresholds of the authorities for a long time to be recognized as the son of Isaac Dunaevsky. Since the marriage of the parents was not registered and Isaac Osipovich was not divorced from his first wife, Maxim was considered an illegitimate child. To achieve legal status, a special resolution of the USSR Council of Ministers was required.
Film composer Maxim Dunaevsky
Success in the music school helped him pave the way to the school at the Moscow P. Tchaikovsky Conservatory. composer Maxim Dunaevsky There he became a student of the Theoretical and Composer Faculty and wrote exclusively classical works all his years of study. Maxim Dunaevsky did not even think about pop music or film music. Moreover, he considered all this to be a frivolous affair, and the genre itself was completely useless to anyone. He was lucky to learn from the great masters of his time – Alfred Schnittke, Tikhon Khrennikov, Andrei Eshpay and Dmitry Kabalevsky. With such educators, and with his genetic inclinations, really talent may not develop.
Only dreams of classical music were mercilessly broken by one fateful meeting. It happened in the student theater at Moscow State University. It was there that his leaders, Ilya Rutberg and Mark Rozovsky, introduced Dunaevsky to music for the theater. Symphonic and vocal works were not his only passion. In the mid-1960s, Maxim Dunaevsky awoke a creative interest in music for theater and cinema.
A guiding star led him in the right direction, because it was the films that made Maxim Dunaevsky famous and beloved by millions of moviegoers. Composer Maxim Dunaevsky And with the development of the film industry, new horizons also opened up for the composer. Films that became legendary brought him unprecedented success – “D’Artagnan and the Three Musketeers”, “Carnival”, “Mary Poppins, Goodbye!”, “In Search of Captain Grant” and dozens of others. He earned recognition for his extraordinary talent and hard work, and not for his famous surname or someone else’s patronage. Even the most venerable composers of the USSR could envy such a dizzying take-off. By the way, the competition in their midst was serious at that time, and movie studios worked only with the best of the best, because music is just as important in the film as the play of the actors.
Friendship is not a hindrance
His work in the film about the adventures of three musketeers was a fluke. It turns out a few years before his appearance, Maxim Dunaevsky, in collaboration with Mark Rozovsky and the poet Yuri Ryashentsev, created a musical about fellow musketeers, which successfully went on stage at the Theater of the Young Spectator. The popular production inspired the director Jungwald-Khilkevich to create a full-fledged multi-part film. It would be foolish to refuse the existing material that sounded in the musical, so the work began to boil.