“… I dedicated my work to youth. Without exaggeration, I can say that when I write a new song or other piece of music, in my mind I always address it to our youth”.
AND ABOUT. Dunaevsky
Isaac Dunaevsky was born on January 30, 1900 in the small Ukrainian town of Lokhvitsa, located in the Poltava province. His father, Tsale-Yosef Simonovich, worked in a bank, and also had his own enterprise, a small distillery. Almost everyone played music in the relatives of the future composer. Mom, Rozalia Isaakovna, sang and played the piano magnificently, grandfather worked as a cantor in the local synagogue and composed Jewish hymns, Uncle Samuel was a famous guitarist, songwriter, and also the owner of an unimaginable wealth in Lokhvitsa - a gramophone. The Dunaevsky spouses had six children (a daughter and five sons). Subsequently, all the boys linked their future with music: Boris, Mikhail and Semyon became conductors, and Zinovy and Isaac became composers. Her daughter Zinaida chose the profession of a physics teacher.
Isaac's outstanding musical ability began to manifest itself in his earliest childhood. Already at the age of four, on the piano, he picked up by ear the melodies of marches and waltzes, performed by a small orchestra in the city garden on weekends. A huge influence on the little boy was exerted by an eccentric uncle, who from time to time stopped by to visit and arranged guitar concerts for the whole family. They began to teach the music of the future composer only at the age of eight, for which an official of the excise department, a certain Grigory Polyansky, was invited to the house, who gave Isaac his first serious violin lessons.
In 1910 the Dunaevsky family moved to Kharkov. Isaac was sent to a classical gymnasium and at the same time to the conservatory (at that time it was called a music school), where he studied with the famous musicologist Semyon Bogatyrev (in composition) and violin virtuoso Joseph Akhron (in playing the violin). During these years, young Isaac wrote his first musical works. They were sad and sad, the future composer called them “Tosca”, “Loneliness” and “Tears”.
Isaac Dunaevsky in 1914
In 1918 Dunaevsky graduated from high school with a gold medal and entered the law faculty of Kharkov University. It should be noted that in those years, most young men from Jewish families sought to receive a legal education in order to obtain the right to cross the Pale of Settlement. Simultaneously with his studies at the university, the young man continued to study at the music school in the direction of violin and successfully graduated from this educational institution in 1919. At the same time, Dunya, as his comrades called him, fell in love for the first time. The lady of the heart was the actor Vera Yureneva. She was already over forty, and she quickly lost interest in the Jewish youth-musician, who recited the Song of Songs to her by heart. With grief, young Isaac married an unloved girl, a university student. By the way, this marriage was very short - the couple separated as easily as they met.
After studying for one year at the university, Dunaevsky realized that the legal profession was not for him. The time was difficult, there was a civil war, and Isaak Osipovich, who chose music, in order to feed himself and his family, had to earn money as a pianist and violinist in the orchestra of the Kharkov Russian Drama Theater. Soon director Nikolai Sinelnikov drew attention to the young, but incredibly talented musician. He invited Dunaevsky to compose music for one of his performances. The composer's debut was successful, and soon Isaak Osipovich was offered several positions in the theater at once - conductor, composer and head of the musical department. This moment marked the beginning of his ascent to the heights of musical fame.
In the twenties, Dunaevsky had to compose a variety of music - songs, overtures, parodies, dances. In addition, he managed to lead army amateur performances and lecture. Any other musician with a classical education at a prestigious conservatory would consider it an insult to work in such genres, but Isaac Osipovich believed otherwise. With rapture, he composed music even for the theaters of revolutionary satire. Many years later, the great composer noted in one of his letters: “Thirty years ago, could you have thought that a young admirer of Borodin, Beethoven, Brahms and Tchaikovsky could become a master of the light genre? But it was this musical leaven that helped me in the future to create light music by serious means."
In 1924 the composer moved to Moscow and got a job as the head of the musical section of the Hermitage pop theater. Together with him, his new love Zinaida Sudeikina came to the city. The composer met her in the early twenties in the Rostov Music Hall, where she worked as a prima ballerina. Young people in the capital got their signatures officially in 1925. They lived in a small room in a communal apartment, renting it for a small fee. In 1926, Isaak Osipovich took over the direction of the musical part of the Satire Theater and took part in the musical design of new productions. Colleagues who worked with Dunaevsky recalled that if a young composer had to hear reproaches in his address about missed deadlines, then "a frantic writing spirit was born in him." In December 1927, the operetta "Grooms" was staged in Moscow, which became the first to be composed by Dunaevsky. Then five more operettas came out from under his pen: in 1924 "Both ours and yours", in 1927 "Straw Hat", in 1928 "Knives", in 1929 "Polar Passions" and in 1932 "A Million Torments". In addition, his operetta "Premiere's Career" was successfully performed on the provincial stage.
In 1929, the talented composer was invited to Leningrad, to the newly opened Music Hall pop theater, by the way, the same one that later became famous for the productions of Leonid Utesov. By the time of his arrival in the northern capital, Dunaevsky's musical baggage was already very solid. He wrote music for sixty-two drama performances, twenty-three variety reviews, six vaudeville, two ballets and eight operettas. The composer worked a lot in the field of chamber art, having created over ninety different works - romances, quartets, pieces for piano.
In the Music Hall, Dunaevsky and Utesov had a creative union. In 1932, together they created the "Music Store" - a musical and variety show that became a true hit of the genre. It should be noted that by the time the Music Store appeared, Isaak Osipovich had masterfully mastered all the techniques of jazz orchestration. The composer deliberately avoided "grinding", "dirty" chords, focusing on clear rhythms and trying to evoke a cheerful and good mood with his music. Utyosov said that he never missed the opportunity to personally listen to Isaak Osipovich's play: "Everyone loves Dunaevsky's music, but those who have not sat with him at the piano cannot fully imagine the full degree of talent of this truly wonderful musician."
In the same year, 1932, a representative of the Soviet Belarus film factory approached the composer. Isaak Osipovich was invited to take part in the creation of one of the first sound films "First Platoon" directed by Korsh. The proposal of the film factory interested Dunaevsky, and he accepted it. After "First Platoon" there was work on the tapes "Lights" and "Twice Born", which now no one remembers. Subsequently, Isaac Osipovich wrote music for twenty-eight films. At the same time, a boy was born to Zinaida Sudeikina and Isaac Dunaevsky, who received the name Eugene.
All-Union glory to Dunaevsky came in 1934, after the release of the tape "Funny guys". In August 1932, Soviet film director Grigory Aleksandrov returned to his homeland after working in Europe, Mexico and America. He pondered the creation of a national musical comedy film and decided to turn to Dunaevsky, already quite famous in the film industry, for advice. Their first meeting took place at Utesov's apartment, the conversation revolved around the future film. In the end, Isaak Osipovich approached the piano and, saying: "About this piece, the music that is already approaching us, I want to say …", put his hands on the keys. When the last sounds of his improvisation melted away, Dunaevsky asked: "Well, at least a little similar?" Struck, Grigory Vasilyevich could not utter a word and only silently looked at the composer. This evening was the beginning of their many years of joint creative path. For Aleksandrov's film, Isaak Osipovich composed over twenty completely different musical numbers - Kostya's song, Anyuta's song, a violin lesson, a gallop, a waltz, tango, ditties, a herd invasion, a musical fight, animated screensavers and much more. Before being shown on the wide screen, the picture, along with other works of domestic film masters, was presented at the international cinematographic exhibition in Venice. The film, titled "Moscow Laughs", was a great success and was awarded the prize of the film festival. Charlie Chaplin, looking at the picture, said with delight: "Alexandrov has discovered a new Russia, and this is a huge victory." But the music of Aleksandrov's comedy became especially famous in Venice. Translated into Italian, "The March of the Merry Fellows" was performed on every corner. In addition, Neapolitan ensembles and small orchestras with enthusiasm in their own musical presentation played Kostya's song, composed in the rhythm of tango. Subsequently, the film "Funny Guys" went around the entire Soviet Union, and the song "which helps to build and live" was sung in all corners of the vast country.
Meanwhile, Isaak Osipovich was expecting many new proposals, including the film Three Comrades, which was filmed at Lenfilm. Back in early 1934, the director Semyon Timoshenko asked the composer to compose music for this picture. Unlike Dunaevsky's previous works in Three Comrades, music only accompanied the action, and only the Song of Kakhovka based on Mikhail Svetlov's poem received an independent life. And in 1935 the composer received an invitation from Mosfilm to take part in the creation of the adventure film The Children of Captain Grant. The participants in this film recalled how Isaak Osipovich came to their pavilion after a hard day at Aleksandrov's (here, at Mosfilm) and immediately energetically joined the work, developing suddenly born melodies on the fly and depicting almost the entire orchestra. One of the composer's colleagues wrote: "Dunaevsky always wanted his music to be" real "and his song contagious and sincere." It is a well-known fact that the relationship between lyrics and music is important in songs. Outdated, weak or talentless lyrics can be saved with high quality music. In Dunaevsky's songs, the dignity of music is a determining factor, therefore they are popular today. People enjoy beautiful and vivid melodies without thinking too much into the meaning of words and using them only as a support for singing. For example, the main musical theme of the film based on the novel by Jules Verne turned out to be not only successful, but universal. When, in a completely different era, Stanislav Govorukhin was filming his series "In Search of Captain Grant", he did not dare to replace the famous work of Dunaevsky, leaving it as a symbol.
In 1936, the film "Circus" was released on the screens of the country, for which Isaak Osipovich composed over twenty pieces of music. The main feature of the film was "Song of the Motherland". It was sung by the builders of Komsomolsk-on-Amur and Magnitka, metallurgists of Kuzbass and Belarusian collective farmers. This song, broadcast on the radio every morning from the beginning of 1938 at five minutes to six, started a new working day for the Soviet Union. "Song of the Motherland" fought against fascism - it was the password of the partisans of Yugoslavia, it was sung in the liberated cities of Hungary, Czechoslovakia, Bulgaria and Poland. And in 1938 Isaak Osipovich wrote the music for the film "Volga-Volga", becoming not just a composer, but one of the co-authors of the comedy. This work was as exciting and interesting for him as it was difficult and responsible. "Volga-Volga", like no other film by Dunaevsky, is permeated by his symphonic works, songs, couplets, dance rhythms and musical episodes.
It should be noted that Isaak Osipovich has a lot of music, created "on the go", without much inspiration and interest. However, when he really got carried away with the material, the process and the result were completely different. Thanks to the composer's rare melodic gift, some original melodies were born by him almost instantly. But the bulk of his work was the product of the meticulous work of a professional. Textbook example "Song of the Motherland". Dunaevsky worked for six months, composed thirty-five versions and, finally, found the only one - the thirty-sixth, upon hearing which the great Chaliapin said: "This song is for me." Another example is the story of the famous composer Solovyov-Sedoy about how Dunaevsky composed the chorus to the March of Enthusiasts for the Light Path tape (1940): “I remember that he never had a chorus. There was a moment when the composer, desperate to compose it, invited his colleagues in the genre, including me, to finish the chorus in the order of co-authorship. However, in the end, of course, he did everything himself. The Electrosila plant helped him in this. On one of his visits to the workers, Isaak Osipovich spoke at the largest turbine generator shop. Returning after the concert, Dunaevsky saw a group of workers walking in unison in the yard of the plant. The rhythm of their steps told him something. The composer shouted to the mourners: "My friends, this is the March of Enthusiasts!" Take me quickly to the piano."
At the end of the thirties, Isaak Osipovich was already a well-known cultural figure of the USSR. Along with intensive musical work, the composer found time and energy for public work, in particular, he headed from 1937 to 1941 the board of the Leningrad Union of Soviet Composers, and in 1938 was elected to the Supreme Soviet. In June 1936, Dunaevsky was awarded the title of Honored Artist of the RSFSR, in December 1936 he received the Order of the Red Banner of Labor. Finally, in 1941, the composer was given the title of laureate of the Stalin Prize of the first degree. From the Leningrad City Council Dunaevsky was allocated a luxurious four-room apartment in the city center. The composer was paid huge royalties, which gave him the opportunity to buy cars and play at the races, which, however, he soon gave up. He loved his friends and made them expensive gifts, lent money, and never remembered debts. Having become a public figure of high rank, Isaac Osipovich tried to meet his position in everything. For example, in the late thirties, he vigorously fought against various non-traditional trends in Soviet music. Was Dunaevsky a "glorifier"? Undoubtedly, however, he glorified not the political regime, as some believe, but the romantic belief in a fabulous and kind country where all people are healthy, happy, young. At the same time, he, like most citizens of the Soviet Union, was fanatically loyal to Stalin. In the thirties, at the dawn of his popularity, the composer tried to compose a work dedicated to the leader. This is how the Song of Stalin was born. However, Joseph Vissarionovich himself did not like it. There was a story among the musicians that the head of state, hearing it for the first time, said: "Comrade Dunaevsky applied all his extraordinary talent so that no one sang this song." Isaac Osipovich made no more attempts to glorify the leader in his creative activity.
During the war, Dunaevsky worked as artistic director of the Dance and Song Ensemble of Railway Workers. In the same carriage, together with his team, the composer traveled almost the whole country, having visited Central Asia and the Volga region, the Urals and the Far East, instilling courage and confidence in the home front workers. At the same time, Isaak Osipovich wrote over seventy musical works on military themes - courageous and harsh songs that gained popularity at the front. As for his family, his wife and son have lived in Vnukovo at their dacha since 1941, but in October they were evacuated to Siberia. They returned to the capital in 1944, settling in the composer's office in the Central House of Railway Workers.
It is curious that, despite the nationwide fame, Dunaevsky was "restricted to travel abroad." The composer was allowed abroad only once - in 1947 he briefly traveled to Czechoslovakia during the filming of the film Spring. There, without the consent of the Soviet embassy, he gave an extensive interview to a right-wing newspaper. Subsequently, Isaac Osipovich wrote with bitterness: “… In my years, being a prominent creator in art and a financially secure person, I have not seen and will hardly see the lakes of Switzerland, the waves of the Indian Ocean, the fjords of Norway, the jungle of India, the sunset in Naples and much, much more that a simple, decently earning writer or artist can afford."
In the first years after the war, Dunaevsky, like many other artists, actively joined the struggle for peace, composing the music of an operetta called Free Wind. The composer concentrated the musical wealth of this work, dedicated to the struggle of peoples for a peaceful life, in the Song of the Free Wind. In 1947 Isaak Osipovich wrote the wonderful Spring March for the comedy Spring. And two years later, popular songs to the tape "Kuban Cossacks" appeared. According to the memoirs of contemporaries, the works "What You Were" and "Oh, the viburnum is blooming" from this film became national hits. The composer himself and his family were forced to tightly close the windows every day, as the sounds of these fashionable songs poured from everywhere. At such moments, Isaac Osipovich, obviously, cursed his work. And in 1950, in the documentary film "We are for Peace!" a wonderful lyric anthem of the world was played - the song "Fly, Doves", which gained worldwide fame and became the emblem of the sixth World Youth Festival held in Moscow. The works of Dunaevsky, by the way, were listened to with pleasure in the Kremlin, and therefore in 1951 the composer was awarded the second Stalin Prize.
The composer's second son, Maxim Dunaevsky, recalled: “When my father worked, he never closed himself in the room, so that he would not be disturbed. On the contrary, he could work in any situation, under any conditions, in any condition. With any number of people, he could suddenly turn off and, wrinkling his forehead, supporting his head with his hand with a cigarette, start recording some melody … Dad loved the classics, but not only it was heard in the house. From abroad, he was brought and sent records - all the new musicals, all the new jazz. And, on the contrary, the music written by his father was rarely heard in the house, he himself never played it. Why? I don't know, probably because it was his job."
In addition to song music, Dunaevsky, like any creative person, tried himself in other genres. He became the author of many operettas that have become classics of Soviet art. However, in 1948, when Khachaturian, Shostakovich and Prokofiev were accused of cosmopolitanism, Isaac Osipovich also got it. One critic, speaking of his operetta "Free Wind", said that "there is no feeling of a Soviet person in it, but an attempt to squeeze the thoughts and feelings of our contemporary into Western, alien plots." In one of his reply letters, Dunaevsky noted: “They are constantly poking at us as examples of Chekhov, Tolstoy, Glinka, Tchaikovsky, Surikov, Repin. And at the same time they forget that we do not have the opportunity to compose the way they composed … ". His other letter contains the following lines: “An opera libretto was sent from Leningrad … In the first act, the heroine sets a record, sets a record in the second, puts it in the third and fourth. And how can I work?.. The Bolshoi Theater asks to write the ballet "Light". But how to write about a collective farm power plant? Two dozen stories have been written about her, there are films and so on. As much as possible … I cannot be interested in the plot, where the heroine in each scene explains her love to the combine."
In 1952, Isaak Osipovich's cousin, professor-urologist Lev Dunaevsky, was arrested in the "case of pest doctors". After that, the composer himself was summoned to the MGB, and the threat of arrest hung over him. But the first secretary of the Union of Composers, Tikhon Khrennikov, intervened in the matter, in whose subordination was Dunaevsky, who headed the direction of light music in the Union. After the intervention of Tikhon Nikolaevich, Dunaevsky was left alone. Zinaida Osipovna, the composer's sister, recalled: “During this mess, I talked on the phone with Isaac and inquired about his health. He answered me: “Zinochka, I have lost the habit of praying. If you haven't lost this ability, then pray for the Russian Tikhon to our Jewish God. I owe him my life and honor."
In everyday life, Isaak Osipovich was a very sociable person. He also had a hobby - the composer collected LPs brought to him from Greece by his good friend, the Soviet collector Georgy Kostaki. By the mid-fifties, Dunaevsky had one of the largest collections in the entire USSR. In addition, the composer's family had their own tape recorder and television, which at that time was an unheard of luxury. Dunaevsky's letters were a separate topic. The composer wrote a huge number of them, trying to answer almost all the people who turned to him. Sometimes correspondence with admirers of his talent grew into real written novels. These messages, which have become the property of historians today, reveal a rare subtlety of observation and a literary gift of Isaac Osipovich. However, the most important thing is that in them Dunaevsky appears as a real romantic, a man of amazing spiritual purity. Maxim Dunaevsky recalled: “My father was a very generous and democratic person. He liked to gather people anywhere - in the house, in the country, in a restaurant. I always paid for everyone. He loved to break into restaurants with noisy companies and arrange the brightest revelry. His friends were not some kind of stars, on the contrary, they were good, simple people. For example, dancing couple Tamara Tambute and Valentin Likhachev, engineer Adolf Ashkenazi with his wife. There were many such typical Moscow families in which my father did not cherish a soul. And no celebrities, pathos, glamor. As soon as my father gave a conspiratorial wink: "I know one interesting place," and the whole company in one second was thrown off the spot. Father could, pulling his cap deep over his forehead, so that he would not be recognized, drink beer with friends, eating fish, on the station square. The same company they came to our dacha in Snegiri. Often these were whirlwind arrivals, real spree. And then, at about six o'clock, when everyone was still fast asleep, my father got up and sat down to work … That he also loved … flowers and nature in general. The dacha was one of his favorite places. Wonderful people lived next door to us - Bolshoi Theater soloists Maria Maksakova and Ivan Kozlovsky, brilliant conductor and composer Aram Khachaturian, many academicians, representatives of medical professors and serious fundamental science … I remember how fun it was when everyone met at the same table. We organized costume evenings. They could dress in absolutely incredible outfits, paint up and, having drunk beforehand for courage, in this form go out into the street, scaring away passers-by. They could, for example, hide someone's car, which in those years was a great luxury. How the boys spent the whole day on this. They collected leaves, chopped branches and hid the car with delight under them. I remember once they hid Kozlovsky's car. In the morning he came to us completely exhausted, his face was not on him, and with hope in his voice quietly asked: “Isaac, did you accidentally see my car?.. Father was not a great athlete, but in his youth he played volleyball and tennis well. Over time, he began to play less - he smoked a lot, and early vascular and joint diseases began to torment him. However, he remained an ardent fan, closely followed the Moscow Dynamo, loved to go to the stadium … Father read a lot and quickly, and absolutely unexpected books. He could get carried away with Oliver Twist, find some science fiction novel, science fiction book, or, which is hard to believe, re-read War and Peace just because he wanted to.
It should be noted that the official marriage did not prevent Dunaevsky from falling in love again and again with enviable power and elevation of feeling. The maestro treated each of his love responsibly, and for this reason, as a result of the dramatic situations that developed, he suffered more than all the participants. Despite his modest appearance, the composer managed to win the hearts of the most prominent women. For example, in 1943 the beautiful dancer Natalya Gayarina fell in love with him. And five years later, the same thing happened with the rising star of Russian cinema, Lydia Smirnova. Maxim Dunaevsky wrote: “Dad, a famous womanizer, had a lot of fans. And this is despite his small sprout and bald head. However, his father's charm was such - this is recognized by many people, both women and men - that in one second he could capture the attention of any audience. Dad possessed some kind of natural, cosmic magnetism. " An affair with Lydia Smirnova began after filming the film "My Love", in which the actress played the main role. Dunaevsky, who was in love, did not skimp on manifestations of feelings - every day from Leningrad he sent telegrams and letters to the married Smirnova. Lydia's attention was flattered by Isaak Osipovich, but when he proposed to her, she refused. This was the end of their romance. Soon after breaking up with Smirnova, the composer became interested in the nineteen-year-old dancer of the Ensemble. Alexandrova by Zoya Pashkova. Maxim Dunaevsky wrote about the circumstances of the meeting between his parents: “Father was over forty, and he was fantastically famous. People, seeing him on the street, immediately surrounded the crowd. My mother, a very young dancer, only from a choreographic school, could not even imagine that this extraordinary person would be interested. It all happened very simply. My father was invited to one of the performances of the Alexandrov ensemble. Seeing his mother on stage, Isaak Osipovich was completely fascinated by her. I wrote a note and passed it backstage. Many years later, my mother showed it to me: "When you appear on stage, the hall seems to be illuminated by the light of a bright sun." Of course, the young girl was embarrassed and confused. At the next performance, a gorgeous bouquet was waiting for her, and then the first date followed."
Soon Pashkova was arranged by Dunaevsky in the Ensemble of Railway Workers, and in 1945 gave birth to Isaak Osipovich a child - the future hit composer Maxim Dunaevsky. After the appearance of the illegitimate son, Isaak Osipovich's life became very difficult. For many years he literally rushed between two families, unable to choose one of them. His wife knew very well about the romance with the dancer, in one of the letters Dunaevsky told her: “Sometimes it seems to me that I am hopelessly and tragically confused. It turns out that no power of passion can turn my feelings away from you … I feel deeply unhappy. In the last year of his life, Isaak Osipovich procured an apartment for himself and his young mistress in the composer's cooperative on Ogarev, but did not live to see the housewarming.
The last hours of the famous composer's life are known practically by the minute. On the morning of July 25, 1955, Dunaevsky woke up early and decided to write a letter to his longtime acquaintance, the correspondent Vytchikova. In it, he said, among other things: “My health is playing tricks on me. My left arm hurts, my legs hurt, my heart has ceased to be good. Because of this, the mood drops dramatically, as it is necessary to be treated, which I do not like, because I do not believe medical instructions and do not want to obey doctors … I am completing a new operetta "White Acacia". This is my only job now, except for her I do nothing. To shake things up, he traveled to Leningrad and Riga for author's concerts. It was there that I caught a cold, I was diagnosed with inflammation of the left shoulder bag … ". At eleven o'clock in the morning, literally a few minutes after the end of the letter, Dunaevsky died. His body was found by a driver, all relatives at that time were at the dacha. The death certificate stated: “Heart hypertrophy. Coronary sclerosis ". The authorities allowed only two central publications to publish an obituary for the death of the brilliant composer: Literaturnaya Gazeta and Soviet Art.
Meanwhile, soon after the death of Isaac Osipovich, a rumor began to spread among the people that the composer had allegedly committed suicide. On this occasion, Maxim Dunaevsky noted: “I have heard different versions of his death. But the facts do not confirm this, let alone from a psychological point of view … Everyone who knew his father, who was friends and worked with him, could never imagine that such a cheerful, never discouraged, cheerful person could part with life of his own free will. The norm for him was vigorous activity, he slept for only a few hours, and the rest of the time he devoted to work and communication. Nothing could unbalance him to such an extent as to commit suicide … Father had heart problems, he did not want to go to the hospital and was treated only with music … With music in his heart and left."
After the death of Isaac Osipovich, Zoya Pashkova turned to the relatives of the deceased with a request to recognize Maxim as the son of the great composer and to give his father's patronymic. Since everyone was well informed about whose son it was, the request was not denied. And after a short time, Pashkova officially married. Zinaida Sudeikina lived after Dunaevsky's departure for more than twenty years, but in 1969 she suffered a stroke and was paralyzed. The composer's wife died in 1979. All rights to the works of Isaak Osipovich belong to his sons - Maxim and Eugene. By the way, Dunaevsky's two sons practically did not communicate with each other during their father's life, but after his death they became friends.
