Mikhail Vasilievich Kuznetsov Born in the village of Agarino, not far from Serpukhov, near Moscow, on November 7, 1913. From 1921 he lived in Moscow, after finishing school of the 2nd stage he worked at a factory. In 1933, on party mobilization, he was sent to the school of naval pilots (Yeisk VMAU). WITH

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(15.05.1929 – 06.11.1999)

Laureate of the State Prize of the USSR (1980)

Hero of Socialist Labor

Awards

Two Orders of the People's Republic of China

Order of the Badge of Honor

The order of Lenin

Hammer and Sickle Gold Medal

Medal "For labor distinction"

Medal "For Valiant Labor"

short biography

Mikhail Ivanovich Kuznetsov was born on May 15, 1929 in the village of Vokhma, Vokhomsky District, Kostroma Region.

In 1952, after graduating from the institute, Mikhail Ivanovich worked as a foreman, shift supervisor of the smelting shop of the Ust-Kamenogorsk lead-zinc plant. At the age of 24, he became disabled, having received severe poisoning at work. He was treated in Leningrad.

From 1954 to 1957, Mikhail Ivanovich worked as an engineer, head of the laboratory of the plant, post box 729 of the USSR Ministry of the Radio Engineering Industry.

From November 1957 to February 1959, Mikhail Ivanovich worked as an engineer, and then as the head of the facility in Krasnoyarsk-26.

In February 1959, Mikhail Ivanovich moved to work in Tomsk -7, where he worked his way up from shift supervisor to director of the chemical and metallurgical plant of the Siberian Chemical Combine.

To provide practical assistance to the Chinese comrades, by decision of the Government of the USSR, specialists from the enterprises of the Ministry of Medium Machine Building of the USSR, including Mikhail Ivanovich Kuznetsov, were sent to the fraternal country. For his work in China, he was awarded two orders of the People's Republic of China.

For his work, Mikhail Ivanovich was awarded the Order of the Badge of Honor, the medal "For Labor Distinction", the medal "For Valiant Labor", and the medal "Veteran of Labour".

For great merits in the implementation of the five-year plan for the production of special products, the introduction of new equipment and advanced technology, he was awarded the title of Hero of Socialist Labor with the Order of Lenin and the Hammer and Sickle Gold Medal

In 1980, Mikhail Ivanovich was awarded the State Prize of the USSR for the creation of technology that helps protect products (components of nuclear warheads) from corrosion.

Since 1983, Mikhail Ivanovich moved to the city of Sosnovy Bor and began working as a leading engineer at VNIPIET, where he worked until his retirement in 1991.

Mikhail Ivanovich Kuznetsov participated in the liquidation of the consequences of the accident at the Chernobyl nuclear power plant.

Literature about the person

Articles from books

1. River of time. Sosnovy Bor - year by year / ed.-comp. G.V. Diamonds. - SPb., 2008. - S. 433.

2. Rendel K.A. Born at dawn: Dedicated to VNIPIET in Sosnovy Bor in connection with the 35th anniversary of the Institute / K.A. Rendel; on the idea and initiative of V.M. Lipkansky. - SPb., 2006. - S. 179-180.

Articles from periodicals

3. Staselko A. A word about a real person (Text) / A. Staselko // Mayak. - 1999. - November 13. - p. 3.

About VNIPIET engineer, Hero of Socialist Labor, holder of the orders of Lenin and the Badge of Honor

Gennady Ivanov - "Famous and famous Bezhechan"

1904 - 1985

In Bezhetsk, of course, there was the era of Mikhail Ivanovich Kuznetsov. In the sixties and seventies of the last century, he was a well-known, original, attractive and significant figure in the region.

What was it like for a regional town against the backdrop of the vast Soviet Union to have an amateur orchestra of folk instruments that performs on Central Television (then it was written with a capital letter), on All-Union Radio (also, it seems, with a capital letter, so that they respect and understand the significance), performs at the Kremlin Palace of Congresses, becomes a laureate of the All-Russian amateur art show, travels abroad! For the district town, but at a time when there was no such flood of pop music as it is now, when people still understood the beauty of classical music, folk songs, for Bezhetsk the creator and leader of this orchestra was like a god. Everyone knew him, his surname in the region was no less famous than, say, the surname of Pugacheva is now in Russia. May the students of Mikhail Ivanovich forgive me for this comparison.

Therefore, quite naturally, after the death of Kuznetsov, albeit not immediately, but only in 1994, a street in Bezhetsk was named after him. His name replaced the name of M.I. Kalinin himself on the street. And in 1999, the head of the administration of the Bezhetsky district, M.A. Shibanov signed a decree on awarding the name of M.I. to the orchestra of folk instruments of Bezhetsk. Kuznetsova.

In addition, he was not only a musician, but also an artist. His paintings, his exhibitions were also always an event for the city.

Then he was a very educated person. People were drawn to him for knowledge and communication. There are formal leaders and there are genuine ones. Sometimes it does, but rarely.

His wife, Vera Sergeevna, provided some materials, including Kuznetsov's autobiography, written by him in 1966. Here is how he briefly imagined his life: “I, Kuznetsov Mikhail Ivanovich, was born in 1904 in the village of Tolstokosovo, Bezhetsky district, Kalinin region, in the family of a middle peasant Ivan Vasilyevich. In 1910, my father moved to Bezhetsk, which was located 8 kilometers from the village of Tolstokosovo. When I was 8 years old, I entered elementary school, studied well. After graduating from school, he entered the city school, where he also studied well.

Under the Communist Youth Union, an orchestra of folk instruments of mixed composition was organized, and there I played the alto balalaika and the bass balalaika. In 1918, our orchestra was sent to the villages with a propaganda and educational purpose. It was winter, and we were taken on sledges from one village to another. This concert trip lasted about a month. In 1920, there was a big fire in Bezhetsk, and our Kashinskaya street almost completely burned down, and our house also burned down. At that time I was fond of music and drawing. At the school of painting, sculpture and drawing, where I was the most capable student, I was sent to study in Moscow. When I entered the VKhUTEMAS (Higher Artistic and Technical Workshops, an educational institution that was transformed into an institute in 1926), I was not accepted because of my minority: I was only 15 years old. Disappointed, I went to the rector's apartment and showed him my work. After looking at them, he gave me a note, and they accepted me.

Having studied until the Christmas holidays in very difficult conditions of hunger and cold, I again came to Bezhetsk. Here, my former drawing teacher N.N. Chistyakov advised me to go to Petrograd and enter the Academy of Arts.

On the very first day of my arrival in Petrograd I fell ill with typhus and was ill for a whole month. I was denied admission to the academy because the admission was over. After studying as a volunteer in the studio of the artist Natan Altman for several months, he returned to Bezhetsk during the summer holidays. Here I decided to finish my secondary education and in 1923 I again went to enter the Higher Art and Technical Institute, which I graduated in 1929.

Returning to Bezhetsk, he entered the pedagogical college as a teacher of fine arts and methods, where he worked for two years. The desire to improve myself as an artist and musician made me go to Leningrad again. There I worked as an artist at the Naval Club and at the Volodarsky Institute of Agitation. As an amateur musician in 1928, he received a diploma at the Leningrad Regional Contest of Entertainers and a guitar as a gift.

In 1932, I was invited to the Scientific Research Institute of the Music Industry NIIMP, where I worked on improving the external and sound qualities, submitting drawings to the Lunacharsky factory. In the evenings, he often visited the Leningrad House of Artists, where sketch competitions were held for the best people in our country, such as Babochkin, Shostakovich, Chukovsky, etc. Many of my works have been awarded.

After marriage, he moved to live in Moscow. In Moscow, I work hard as an artist and guitarist. I work at the Tretyakov Gallery and as the artistic director of the portrait and copy workshop of the Moscow Association of Artists, I was also a member of the artistic council.

In 1945 I was illegally arrested, and I am serving 4 years in a corrective labor colony. After serving my term, I had no right to live in Moscow and came to Bezhetsk in 1949 to my stepmother. Here he again began to work as an artist and musician.

Rehabilitated in 1962.

He organized an art studio in the House of Culture and participated in regional exhibitions with the studio and with a solo exhibition and received 6 certificates of honor.

In 1957, an idea arose in the homeland of V.V. Andreev to revive the culture of folk instruments, and I eagerly set about organizing an orchestra of folk instruments at the House of Culture. Years of hard work have brought the team love and recognition from both their townspeople and listeners of Kalinin, Leningrad and Moscow, where we performed during a review of rural amateur performances. Now I am making new efforts to show the new creative successes of the orchestra and art studio at the review in honor of the 50th anniversary of Soviet power in 1967.

This autobiography was written in 1966. In it, however, Kuznetsov forgot to say that for his success at the All-Russian Review and for his merits in his selfless work in culture in November 1965, he was awarded the honorary title " Honored Worker of Culture of the RSFSR".

As for the arrest, Vyacheslav Ivanovich Bragin, who led the district from 1973 to 1982 and knew Kuznetsov well, told the following story: “Everything would be fine with Mikhail Ivanovich and he would live in the capital cities, if not for his stubborn character and political atmosphere in the country. Difficulties with the guardians of "social legality" began with him as a student. Kuznetsov's diploma work was shown at an exhibition of the best student works, which was unexpectedly visited by the famous Soviet military leader Tukhachevsky. After lingering near the canvas of the Bezhetsky student, he expressed his opinion: “This is not Bolshevik!” The institute authorities demanded that Kuznetsov take another topic as his thesis. He refused. Similar services did not forget ...

In 1945, he was arrested for carelessly throwing a word in the company of artists, someone denounced him, he was accused of anti-Soviet agitation and sent to a camp near Astrakhan for 4 years.

Kuznetsov told Bragin that later from Bezhetsk he appealed to the authorities twice to restore justice and reconsider his case. But he got rejected. He said that surveillance oppressed him most of all, in Bezhetsk there was almost open surveillance of him. Apparently, so that others do not lead astray ...

It is difficult for us now to understand the inner state of the people of that time. And then, after all, how it was: if you had already been imprisoned once, then at any moment you could be arrested again and again. So it was with Lev Nikolaevich Gumilyov, and with many then. Of course, these surveillances unnerved and frightened people.

Bragin told me that Kuznetsov once showed him a small oil painting of Stalin. “It was a filigree work of a real master!.. Mikhail Ivanovich portrayed the Secretary General of the CPSU (b) in a marshal's tunic, with numerous awards. It is difficult today to answer the question of what motives prompted the artist to turn to the image of Stalin. Perhaps in this way the artist wanted to draw attention to himself, to demonstrate his loyalty to the regime. It is not at all excluded that the image of the leader, despite all the troubles of fate, remained sublime in his attitude. In any case, according to him, this portrait was highly appreciated in the artistic and ideological authorities of Moscow, and was recommended for printing as an official portrait of the Generalissimo.

In a word, Kuznetsov remained in Bezhetsk forever. His daughter Lida will then go to Moscow and enter the Gnessin Institute, become a professional musician, now she works in the orchestra of the famous Pyatnitsky choir. Lives in Moscow.

Still, there is a suspicion that, if not for the arrest, Kuznetsov would have developed into a great artist in the capital's artistic environment.

But in Bezhetsk he did a great job. And above all, with his generous artistic gift, he attracted hundreds and hundreds of children, distracted many from the street, in the sense of hooliganism, helped many, very many to find themselves in this life. Vera Sergeevna read out excerpts from letters written by Kuznetsov's pupils from the army or from other cities. Some grateful words. Sasha Yakovlev writes: “Mikhail Ivanovich! I don't even know how to thank you. After all, you did so much for me, you tried everything to make a real musician out of a bully boy, and because of this you made all the concessions to me. And now, at a difficult moment for me, you again came to my aid - you gave me a balalaika ... " Or here is a letter from Udmurtia from Valentina Medvedeva: "... Recently I listened to the program" The Secret of Music ". This is about you, Mikhail Ivanovich! .. I am very glad that you have been recognized as the right of the most noble person and sensitive musician-educator. I join your pupils and say: thank you for knowing you, for musical communication with you ... "

Boris Alekseevich Nikitin, who played in the Kuznetsov orchestra, recalls: “Children flocked to Mikhail Ivanovich from all over Kashinskaya Street and adjacent lanes. He took everyone who had a hearing and some abilities, worked with them, regardless of time, developed children's abilities.

During the first meetings, he himself played the domra or balalaika, showed the playing technique. The children's eyes lit up, they also wanted to learn, but not everyone could go through the difficulties of this science. Once in a conversation, he mentioned that one in ten remains. I thought that if there are 30 people in the orchestra, then three hundred passed through his hands. What a job!

During this period there were many children in the city. After graduating from seven classes, many left for vocational schools, technical schools, left the city due to a change of residence, others came to take their place. So for 5 years more than one hundred children passed through the string circle.

One of the main tasks set for himself by Mikhail Ivanovich was the task of distracting numerous children from the street in those difficult years. Crowds of children gathered in companies, climbed the gardens, fought, and hooliganized. The pavement was the only place for games ... "

Not only the guys were drawn to Kuznetsov. Many in the city played various instruments, there were enthusiasts, there was an orchestra in the Palace of Culture. But they were all self-taught. And everyone saw in Kuznetsov a master and a generous master for help. After meeting with Kuznetsov, says Nikitin, most amateurs had to relearn, since all the self-taught did not know either the correct placement of hands or how to produce sound. Still, Kuznetsov talked a lot with well-known professionals, played in Leningrad in an ensemble of guitarists with Isakov, a very famous guitarist at that time.

Kuznetsov made several of his exhibitions in Bezhetsk and Kalinin. The exhibitions were a success with the audience. Lots of good things in the reviews. Such, for example: “Dear artist Mikhail Ivanovich! I am very happy that I had the opportunity to learn about your work. Great portraits, amazing scenery. I would even say that your landscapes resemble the best examples of the great masters. And for some reason they remind me, first of all, of Fyodor Aleksandrovich Vasiliev. The artist Vasilyev at one time was a student of Shishkin, traveled with Repin along the Volga, painted several landscape paintings that became classics. The artist lived only 23 years. His works are in the Tretyakov Gallery and in the Russian Museum.

Or here, too, from the Book of Reviews. The architect S. Gusev writes: “In Kalinin one does not often see such an exhibition. And in color, and in composition, and in drawing - everything is convincing! Thank you from the bottom of my heart to the artist for telling about the wonderful Bezhetsk region.”

Another review: “In every canvas one feels great love and understanding of Russian nature. Landscapes are filled with air, full of life and immediacy. Kuznetsov's portrait works attract attention... His portraits are a whole gallery of unique images. Each of them reveals the inner world of the one depicted by the artist. I especially like the portrait of A.P. Lomakin. In this portrait, in my opinion, the artist wanted to reveal the image of a man in love with music. G. Govorova.

Pictures, music... Music, pictures... This is how this man lived on earth. He strived for perfection as much as he could. And he wanted to bring the orchestra to the level of professional performance. He did what he could, how many people he brought happiness.

Nikitin, a pupil of Kuznetsov, also recalls the life of the orchestra. About the zonal review in Leningrad: “It was an unforgettable business trip. Very successful. There were many speeches and useful meetings. We performed at the Vyborg Palace of Culture, at the turbine plant, at the Mariinsky Theater (at that time the Kirov Opera and Ballet Theatre), and in other places. Mikhail Ivanovich arranged for us a meeting with the Andreev Leningrad Orchestra of Russian Folk Instruments. We were at the rehearsal of this orchestra, talked with the musicians, and it was like a master class. Experienced musicians, among whom were teachers of the Mussorgsky Music College, shared with us the secrets of mastery. After the end of the rehearsal, they played Andreev's waltz "Faun" for us. We also played it at that time, and there was an opportunity to compare, improve something in our performance, which Mikhail Ivanovich took advantage of, he introduced additional instruments and corrected our parts. It was a very useful meeting.

On that trip, Mikhail Ivanovich introduced me to the well-known guitarist in Leningrad, B.A. Pavlov. This is Mikhail Ivanovich's friend from the Leningrad period of his life. We met at the apartment, played each other in turn and talked about music... One of the main results of that trip for me was an order for me at the Lunacharsky factory for a guitar. The order was completed after 9 months. I received a wonderful instrument made by master Khomyachkov. I still have this guitar, and I haven’t looked for anything better and haven’t seen it in stores.” Bragin believes that thanks to Kuznetsov in Bezhetsk there was never a “fashion” for balalaika or domra.

There were moments when the orchestra fell into a crisis, people either left or plunged into family concerns and no longer found time for systematic music lessons. Then Mikhail Ivanovich was very worried and felt as if guilty before the townspeople. But he didn’t ask anyone for anything, Bragin recalls. He himself went to schools, made friends with his new pupils. And again a miracle happened! Boys and girls the size of a balalaika swarmed around Kuznetsov again, again he leaned towards them, showing them how to hold the instrument, sorted out musical notation with them ... Some time passed and the team revived again, went to competitions, to reviews, brought prizes . Slavil Bezhetsk.

According to the orchestra of M.I. Kuznetsov, they say, our fellow countryman, People's Artist of the USSR, soloist of the Bolshoi Theater Alexei Petrovich Ivanov, who also turned 100 years old in 2004, loved to sing. And here is another detail: Vera Sergeevna said that Ivanov was at their silver wedding with Mikhail Ivanovich and sang “Many years!”

Many good musicians have grown up in the orchestra. The game of some of them was celebrated with prizes, they were written about in the press. Orchestra soloist Julius Pakkanen became, together with M.I. A. Nikitin, V. Kolesnichenko, L. Kuznetsova (the youngest orchestra member, daughter of Mikhail Ivanovich), I. Novikova, the Artist of the Kalinin Philharmonic Arkady Kovalev, once wrote in a letter to Kuznetsov: “I am very glad that I know a person like you, from whom one can learn selfless service to art and people...”

People learned from Kuznetsov during his lifetime, this is understandable, but it turns out that even today young people learn from him. He delves into the history of his life, writes essays about him. One of these essays was shown by Vladimir Anatolyevich Mikhailov, the former director of the school, and now the deputy head of the district administration. He showed me the work of Irina Kezanova from school number 1. Interestingly, she lives on Kuznetsova Street. So, she wrote a competitive essay “Artist, musician, teacher, intellectual M.I. Kuznetsov. This essay was sent to Moscow for the competition of historical research works for high school students "A Man in the History of Russia".

What would it be to write off from Irina?

She has a good beginning of the composition, the intonation is good, melodious, very appropriate when talking about a musician:

“Who just two decades ago did not know Mikhail Ivanovich Kuznetsov in Bezhetsk - a descendant of village blacksmiths, an artist, musician, creator of the Bezhetsk orchestra of folk instruments, teacher and educator of many of today's Bezhetsk artists and musicians, Honored Worker of Culture of the RSFSR, great worker!

Everything began for him in the village of Tolstokosovo, eight miles from our ancient Bezhetsk. It began with the songs of the mother, from alluring distances and dewy meadows, rye, clover and flax fields ... From the wide, abundant beauty of Mologa, from the ringing of the bells of the Resurrection City Cathedral, from the singing of the church choir ... "

Vera Sergeevna said that Mikhail Ivanovich was baptized and was not an atheist. And she recited to me by heart the good Orthodox verses of the long-forgotten poet Rosengelmets “The Empty Church”. She and her husband read a lot to each other in the evenings. Vera Sergeevna is a teacher of Russian language and literature by profession. Honored School Teacher of the RSFSR.

God willing, Bezhetsk will celebrate not only the 100th anniversary of Mikhail Ivanovich, but also the 100th anniversary of the Orchestra, which now bears his name.