Composer Vyacheslav Dobrynin died
In Moscow, composer Vyacheslav Dobrynin died from the consequences of a third stroke at the age of 79. He wrote more than a thousand songs, which were performed by many singers and VIA, and very often by the author himself.
Many popular songs by Vyacheslav Dobrynin are suited to the epithet “table”. He himself did not object to such a definition, he even considered it a compliment and generally did not try to seem like anyone more than the author of hits. He even had a nickname - Doctor Schlager. Why be ashamed of what works well and give up what works well? The masses know nothing about Vyacheslav Dobrynin’s experiments in symphonic music or ballet, because they did not exist. In fact, his career is divided into only two periods: when he was just composing songs - and when, starting in the mid-1980s, he also began performing them.
The first songs of Vyacheslav Dobrynin sounded from televisions and radios when he was already quite mature, a 25-year-old art historian - he graduated from Moscow State University in this specialty and worked in graduate school. Song "Love Lives on Earth"which became Dobrynin’s first hit, was written to the poems of Leonid Derbenev. Derbenev had a special flair when it came to pop writing. By 1972, his author’s duet with Alexander Zatsepin had already formed, perhaps the most striking alliance of hitmakers in the history of Soviet song.
“Love Lives on Earth” is the most correct “entry” to Vyacheslav Dobrynin’s gigantic catalog, the key to his composing method.
At the beginning of the song, “Merry Guys” play a completely Western-sounding, one might even say glam-rock guitar riff, and then the musicians’ voices begin the rampant “la-la-lay” typical of the VIA subculture. Lead singer Alexander Lerman had a wonderful “trademark” voice, and the song, in fact, was American “southern” rock and roll, it’s not for nothing that on the “Melody” record it was adjacent to the “Merry Fellows” cover of “Down On The Corner” » Creedence Clearwater Revival.
Subsequently, Vyacheslav Dobrynin honed this technique to perfection. In 1975, she and Leonid Derbenev wrote a song "Goodbye"the first performer of which was Igor Ivanov (he also later recorded “From the Vagants” by David Tukhmanov). The composition was released on the VIA record “Leisya, Song”. Dobrynin said that before “Farewell” was released, the ensemble performed it at concerts, and the public demanded this unknown song again and again. The disc sold 30 million copies, and the composer, by his own admission, received 9 rubles for it. However, when the song entered the repertoire of Lev Leshchenko, and then Dobrynin himself, this hit became one of his main sources of income. In the second half of the 1970s, having become one of the most popular composers in the country, he could boast of earnings comparable, for example, to Yuri Antonov, that is, he received up to 15–16 thousand rubles. per month with an average salary in the country of about 140 rubles.
By the way, Dobrynin’s real name was Antonov. The composer took the surname Dobrynin from distant relatives when Yuri Antonov’s songs began to gain popularity. Dobrynin, by the way, we could well recognize as Petrosyan - it was the name of his father, whom he never met. But it is hardly possible to seriously talk about any Armenian influences in Dobrynin’s music. Rather, it reflected a certain all-Soviet idea of an unofficial, mass song accessible to everyone.
In “Farewell,” the author reduced the guitar intro to a minimum, and the vocal riff, consisting of the same magical sounds “l” and “a,” began immediately, even before the first verse. So that the audience can immediately sing along.
So that the public in the restaurant immediately starts dancing. Vyacheslav Dobrynin actually created the formula for a variety restaurant hit, which he later actively exploited.
In the late 1970s and early 1980s, Dobrynin began to listen carefully to Italian pop music, traces of which can easily be detected in the songs that he gave, for example, to Mikhail Boyarsky, and later sang himself. "Blue Fog" And "Don't rub salt in my wound" They would hardly have been born if not for the influence of Toto Cutugno. However, let's say "Witch Lake" - this is already a native Soviet “tavern” in its purest form, absolute Dobrynin know-how, which made it a classic of the genre. In fact, the entire repertoire of “Radio Chanson” at one time grew not so much from a criminal song, but from restaurant hits by Vyacheslav Dobrynin, in which there were no unnecessary chords, but there was this feeling of “walking like it was the last time.” Remembering Dobrynin’s songs and their success, one can talk about undemanding taste, or one can also say that for some they became a lifeline. Some were pulled out of depression, some marched to them on the parade ground, and for others they actually brightened up everyday life in prison. If there was a “doctor”, then there was a healing effect.
