For about three centuries now, the daring dance song “Kamarinskaya” has been heard in Russia. It is one of the most striking, characteristic and famous Russian folk dance songs - along with “Barynya”, “Semyonovna”, “Kalinka”, “Podgornaya”. This song, like the accompanying dance, perky, humorous, crudely satirical, was generated by the difficult circumstances of the life of Sevryuk men in XVII-XVIII centuries. In it, the singer/dancer laughs at himself and at his masters:

Oh you son of a bitch

Kamarinsky man,

(Or: Ah, son of a bitch, thief...)

You didn't want your master

serve!(Or: to his lady)

Taking off my pants, pants

running down the street(Or: trousers)

He runs, he runs, he stumbles

Himself over his master

makes fun of...(Or: lady)

With its acute social orientation, peasant rough humor, dynamism and colorful melody, “Kamarinskaya” is reminiscent of the satire of buffoons. By its nature, this is a typical piece of that recklessly daring Russian folk poetry, conveying the image of an indomitable freestyler, an enemy of decency, a mischief-maker.

The name of Plyasovaya comes from the name of the volost in which it originated - Komaritskaya. Formed in the second half of the 16th century, probably as one of the measures to strengthen the southwestern borders. The administrative center of the volost is originally Bryansk, since 1627 - Sevsk. She supplied bread for the sovereign's service people. In case of military danger, datka people were recruited from among the peasants of the volost. In the 17th century The residents of the volost performed dragoon service. In the 18th century Due to large distributions of land to landowners, the volost disintegrated. These border lands long time were at the center of the struggle of Muscovy, Lithuania, the Polish-Lithuanian Commonwealth, and Crimean Tatars stretched out their hands to her. The indigenous population of the Komaritsa volost - freedom-loving and enterprising, accustomed to the need to constantly repel any invasions, was replenished with “walking” people who fled from enslavement from the central regions. In January-March 1605, the volost was devastated by tsarist troops due to the support of its population for False Dmitry I.

It was in such a rebellious environment, under such circumstances, that the cocky “Kamarinskaya” was born.

The colorful and life-affirming melody of “Kamarinskaya” was widely known. It was included in the first collection of Russian folk songs, published in 1790. M.I. Glinka immortalized the folk pearl, creating on its basis the symphonic fantasy “Kamarinskaya” (1848), P.I. Tchaikovsky wrote the piano piece "Kamarinskaya" for his " Children's album"(1876).

Popularized in the overture of the same name by Mikhail Ivanovich Glinka (1848). In it, Glinka imitates Russian folk singing with echoes, when the theme is first performed in one voice, and then with each new performance new echoes are added. Both themes are absolutely contrasting to each other in character, tonality, size and texture.

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✪ Russian song Kamarinskaya

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✪ Kamarinskaya - Russian folk song

Subtitles

Dance

The dance is based on step movements. The foot is placed either on the heel or on the toe. This element has different names: heaving, trampling (knocking mud off the boot). Hands are placed on the belt (“hands on your sides”), then spread to the sides. There is also an element of squatting, jumping, spinning and walking in circles. While dancing, the dancer claps his hands, belly and heels.

History of creation

According to local historian G. M. Pyasetsky, the Russian folk song “Komarinskaya” (“Kamarinskaya”) has remained “ a monument to the betrayal of the residents of the Komaritsa volost to Boris not only as the sovereign, but also as their landowner-master" There is also a version that Kamarinskaya appeared as an expression of the joy of “people who managed to escape from Tatar captivity.” According to another version, Kamarinskaya reflects the realities of the Time of Troubles.

By chance I found a connection between the wedding song “Because of the Mountains, the High Mountains” and the village dance song Kamarinskaya, known to everyone. And suddenly my imagination ran wild, and instead of the piano, I wrote this piece for the orchestra under the name “Wedding and Dance.”

Text option B

Words by L. Trefolev

And how on Varvarinskaya street
Kasyan, a Kamarinsky man, is sleeping.
His beard is tufted,
All stained with cheap stuff.
Scarlet streams of fresh blood
May sunken cheeks be covered.
You are a dear friend, my dear Kasyan,
Yes, and today you are a sane person, which means you are drunk.
There are twenty-nine days in February,
On the last day the Kasyans sleep on the ground.
And February twenty-ninth
Yes, a full glass of damned wine
Kasyan poured into the sinful womb
Yes, I forgot my dear wife
And your own children,
Twins and little ones.
Having tossed his hat on one side,
He went to his godfather's kuren,
And his godfather baked balls for him,
Baba was kind and beautiful.
Yna baked him a hot roll,
She respected me again, again, and again in another.
With an unpleasant sadness
Kasyanov’s wife is dozing and sleeping,
Waiting for my drunk husband.
She thinks her husband is in a tavern,
Well, her husband is running around in a trap.
It will bend, then jump with three legs,
I trampled my greasy boots.
Now he moves his hands, now his shoulders,
And the accordion keeps sawing, sawing, sawing.
Kasyan says, clutching his sides:
“Listen to the order line.”
Disgraced nobility:
"Your boorish brat,
For such reproach
I will file a petition against you"

Description of the presentation by individual slides:

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Glinka “Kamarinskaya”, “Waltz-Fantasy” Presentation was made by: 4th grade student Larina Elizaveta Teacher: Surovova T.V.

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Glinka “Kamarinskaya” Kamarinskaya is a Russian folk dance (dance), popularized in the overture of the same name by Mikhail Ivanovich Glinka (1848). In it, Glinka imitates Russian folk singing with echoes, when the theme is first performed in one voice, and then with each new performance new echoes are added. Both themes are absolutely contrasting to each other in character, tonality, size and texture. The dance is based on step movements. The foot is placed either on the heel or on the toe. This element has different names: heaving, trampling (knocking mud off the boot). Hands are placed on the belt (“hands on hips”), then spread to the sides. There is also an element of squatting, jumping, spinning and walking in circles. While dancing, the dancer claps his hands, belly and heels.

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History of creation According to the local historian M. Pyasetsky, the Russian folk song “Komarinskaya” (“Kamarinskaya”) - “Oh, you son of a bitch, Komarinsky man, you didn’t want to serve your master...” - remained “a monument to the betrayal of the residents of Komaritsa volost Boris not only as the sovereign, but also as his landowner-master.” There is also a version that Kamarinskaya appeared as an expression of the joy of “people who managed to escape from Tatar captivity.” According to another version, Kamarinskaya reflects the realities of troubled times. By chance I found a connection between the wedding song “from beyond the mountains, the high mountains” and the Kamarinsk village dance song, known to everyone. And suddenly my imagination ran wild, and instead of the piano, I wrote this piece for the orchestra under the name “wedding and dance.” Later, Vladimir Odoevsky advised Glinka to name the work “Kamarinskaya”.

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The basis of the form of the work is double variations. Two themes are used: The first is “Because of the mountains, the high mountains.” F major (F major). This is a drawn-out Russian song that was used in wedding ceremonies. After the theme there are several variations: A - the strings play in unison. A1 - only woodwinds, but with backing vocals. A2 - only cellos with echoes. A3 - tutti. Everyone plays. General “choral” sound. The second is “Kamarinskaya”. D major (D major). Lively dancing. In variations on this theme, the violins play pizzicato and the woodwinds imitate the Russians folk instruments. Development of Themes After two sections, new groups of variations on themes A and B are heard. There are no special changes in theme A, but in theme B there are many inventions, changes in keys, and syncopation. The pace is accumulating, faster and faster. The key of theme A is F-dur (F major). Before the end of the overture there is a slight slowdown, the theme of the second section (B) is played by one violin, but then the whole orchestra plays again and everything ends with theme B in fortissimo (ff).

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Waltz fantasy - musical composition M.I.Glinka. Originally written for piano (1839), then orchestrated (1856). As in the Polish dances from the opera "A Life for the Tsar", Glinka outlines the path of waltz symphonization, which was followed by another great composer, Peter Ilyich Tchaikovsky. Waltz Fantasy is one of the composer's most significant, famous and performed works. Glinka "Waltz-Fantasy"

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E. Kern played a significant role in Glinka’s life and in his work, although their romance did not last long. Their meeting probably took place on March 28, 1839. Glinka's relationship with his legal wife at this time completely went wrong (on November 7 of the same year, he separated from her forever). In the Kern house, Glinka found friendship and complete understanding. He wanted to marry E. Kern, but he did not have a formal divorce from his wife. Therefore, Glinka could not enter into a second marriage. He even had the thought of going abroad with E. Kern without formalizing the marriage, but Glinka’s mother objected to this. Moreover, she insisted that Glinka go abroad alone, hoping that this way he would sooner forget his new hobby. It so happened that in the spring of 1840 E. Kern fell ill and went south, where she stayed for about two years. For Glinka himself, the divorce process lasted six years; for some time he could not leave St. Petersburg, as he was bound by a written undertaking not to leave. As time went. Glinka enthusiastically began working on the opera Ruslan and Lyudmila. In 1842, E. Kern returned from the south, but the meeting with her no longer had the same meaning for Glinka. In 1843, Glinka returned her letters to her. Their relationship became simply friendly. In 1844, Glinka went abroad, without feeling any regret about being separated from her. The short period of the affair with E. Kern is characterized by an upsurge creative activity composer. Waltz-fantasy is one of the peaks of this rise. It is no coincidence that Glinka associated the theme of love with the waltz: balls were the main place for love dates, and the hope for happiness and the threat of separation seemed to hover in the ballrooms. At the ball, a decisive explanation of Onegin and Lensky took place, at the ball Onegin met Tatyana again, and at the balls the love of Natasha and Andrei Bolkonsky, Anna Karenina and Vronsky arose. The popularity of the Waltz-Fantasy is evidenced, in particular, by the following message in the Northern Bee, placed in one of the issues for 1840: “In the newly opened music store in Engelhardt’s house [on Nevsky Prospekt; now the Small Hall of the St. Petersburg Philharmonic], every day many guests crowd with difficulty behind Glinka’s piano, behind his charming almanac, compiled from the works of our best composers, behind his charming waltz, which resounded with flower beds of the Pavlovsky station for 2 summers in a row

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Waltz Fantasy has a long history. It has undergone quite a lot of changes. The autograph of the first version of the work - a piano piece written in the summer of 1839 - has not survived. Waltz was published at the same time (no later than July 1839). On title page we read (in French): “Waltz-fantasy, performed by the orchestra of Mr. Herman. Composed by M. Glinka and dedicated to his relative and friend Dmitry Stuneev.” The reference to the orchestra's performance by J. Hermann is apparently not accidental: it was supposed to serve as a kind of “quality mark” and attract buyers. J. Herman - conductor; in 1838 - 1844 he was the conductor of the orchestra in Pavlovsk. Summer concerts here began with the Tsarskoye Selo railway and the device of the Pavlovsk voxal. The grand opening of the road from St. Petersburg to Pavlovsk took place on May 22 (June 3, n.s.) 1838. In the 19th century, buildings for passengers' rest were called voxals; to distinguish a railway station from a concert station, concert hall in Pavlovsk they began to call it musical voxel. The reason for organizing the concerts was commercial considerations - it was necessary to strengthen the work of the railway, increase the number of passengers; The Pavlovsk Station with its orchestral evenings became a bait. An orchestra was established, and J. Hermann became its director. For concerts, a new repertoire was always required, and it was composed of works that were sometimes not orchestral, which were arranged by the orchestra leader. The score made by the director of the Pavlovsk concerts has not survived. Perhaps it remained with Herman, who probably treasured the wonderful work, and his work as an arranger. Be that as it may, the score was compiled from the surviving parts of the instruments. V.P. Engelhardt, a friend of Glinka, who did a lot to perpetuate the memory of the composer, collected his autographs and, in the end, donated his collection to the Public Library in St. Petersburg, ordered its production. The score prepared in this way has the following title on the title page (also in French): “Melancholy Waltz, instrumented for orchestra according to the composer’s instructions by Herman, conductor in Pavlovsk.” The score described above was thus the second - orchestral - version of the Waltz-Fantasy.

Glinka’s symphonic work constitutes the most important stage in the birth of the Russian symphonic school, which in the first halfXIXcentury was in the process of formation. At this time, the instrumental creativity of Russian composers was associated mainly with home music playing. Individual examples of large symphonic forms (like Alyabyev’s one-movement symphony) were episodic phenomena. Only the overture genre was developed as an introduction to an opera or drama.

In Western European music of the 1830s-40s, the main achievements in the symphonic field are associated with the genre of the great symphony (symphonies of Glinka's contemporaries - Berlioz, Mendelssohn, Schumann). Glinka did not write a cyclic symphony (the plans for 1824 and 1834 remained unfinished). He was closer genre program symphony , based on the development of folk song and dance themes.

In their symphonic works the composer did not strive for a musical presentation of specific plot details (unlike, for example, Berlioz). He used the software in a generalized form. Picturesqueness and artistic generalization folk life- this is what made up the real program of his symphonic overtures - “Kamarinskaya” (1848), “Aragonese Jota” (1845), “Nights in Madrid” (1851, first edition 1848). In these works, as well as in Waltz-Fantasy (1856), the foundations of Russian classical symphonism were laid. All of them were created in last years Glinka's life.

While developing the plan for the symphonic overture, Glinka experimented with the form of the composition and never repeated it. Each composition has its own way of arranging the musical material. In “Kamarinskaya” the composer turned to the form of double variations, in “Aragonese Jota” he preferred a sonata structure, in “Memories of summer night in Madrid" - a concentric composition. Most importantly, the composer managed to find innovative principles of symphonic development, which were further implemented in the work of Russian composers.

"Kamarinskaya"

Fantasia for orchestra on themes of two Russian songs (1848)

The idea of ​​this brilliant “Russian scherzo” (as the composer himself called “Kamarinskaya”) is simple. Glinka caught something related in two seemingly dissimilar Russians folk songs. One is a drawn-out wedding song “Because of the mountains, high mountains”, the other is a dance song “Kamarinskaya”. Both songs have a common smoothly descending chant, which becomes the basis for their gradual convergence in the process of development. The initial contrast between the drawn-out and dance, root, typical of Russian folklore, can be considered as an artistic generalization of the two sides of the Russian character (in the words of Pushkin - “then daring revelry, then heartfelt melancholy”).

"Kamarinskaya" is written in the form of double variations. The variations are arranged in groups on each theme, forming several sections:

introduction;

Section I - variations on the theme of a drawn-out song;

Section II - variations on a dance song;

Section III - the return of the lingering, its further variation;

IV - new variations of a dance song;

In a close-up view, the original appeal of the themes according to their meaning is visible. The leading theme - “Kamarinskaya”, which gave the name to the entire composition - comes second (in the main key of D-dur), and the subordinate, drawn-out theme comes first. The tonal plane is open (F-D), based on colorful tertian comparisons that became widespread in the era of romanticism.

Strict variations on a sustained melody predominate: in a drawn-out melody - everywhere, in a dance melody - for the most part.

Scheme:

The compositional method used in “Kamarinskaya” is derived from the variation of chant typical of Russian folk songs. Glinka emphasizes two basic principles of the thematic development of Russian folk music: its subvocality (in a wedding song) and its variational ornamentation (in a dance tune).

In a small energetic introduction(strings and bassoons, then tutti ff) outlines the main tonality of the work - D. Moreover, the first theme of the variations, appearing after the general pause, is presented in the secondary key of F -dur. This is an old wedding tune that is sung stringed instruments in unison, without accompaniment. Intonationally, it is related to the introduction, but sounds softer. In the three subsequent variations, more and more new voices join the solo chorus - the main melody is overgrown with melodious echoes according to the principle Glinka variations(the melody remains unchanged, the register, timbre, dynamics, texture, instrumentation change). In general, the entire section is built on the model of a choral verse song, the development of which is directed from the solo chorus to the majestic sound of the choir. 1st variation - pastoral, in woodwinds, 2nd - in a lower register, overgrown with echoes, 3rd climax, in orchestral tutti.

The second section of the fantasy is formed by polyphonic variations on the lively dance Kamarinskaya. Its playful melody in a clear rhythm sounds first from the violins in unison, then accompanied by an alto voice. This section of the theme and 13 variations is divided into two groups of strict (Glinkinsky) and freer variations. The music evokes the idea of ​​a cheerful Russian dance; one can hear the playful and flute play of the wind instruments, the “balalaika” string melodies (pizzicato), or the intricate ornamental patterns of the clarinet. The gradual accumulation of voices in the first five holdings leads to tutti in the 6th variation.

The similarity of the two folk melodies is of the same nature as the derivative contrast characteristic of the classical sonata form (in particular, Beethoven's sonatas). On this basis, Glinka builds a “thematic modulation” from a dance theme to a song theme. In the second group of variations (from 7 to 13), the principle of a retained melody is replaced by a new, free variation. The theme gradually changes its melodic appearance and is enriched with patterned “balalaika” ornaments. There is a feeling that it is “replete with transformations without end and without edge” (Asafiev). In the process of variant transformations, a new melody (subtheme) grows from the Kamarinsky theme, closely related to the wedding song, which is also subject to variation. Such a rethinking introduces symphonic features into the fantasy.

The third section can be called a reprise: the song “Because of the Mountains” returns in F major. It sounds 3 times, undergoing subvocal variation and re-instrumentation.

IN fourth section, a kind of “subdominant reprise” of the Kamarinskaya appears - the dance theme goes into B major (6 variations). The tonal novelty is also enhanced by the timbre renewal. The first clarinet plays the role of the main soloist, which is subsequently joined by an understudy soloist - the bassoon.

Next there is a sharp turn to the main key of D-dur. The tonal reprise is also a timbral reprise, since the Kamarinskaya melody returns to the violins. 11 melodically unchanged performances follow, at the same pitch, with the same instruments. The main means of variation becomes harmony, the role of which until now has been relatively modest.

Code is based on the variational development of the dance theme in the main key. The melodic ostinato is now joined by “basso ostinato”. Starting in a large octave, it rapidly rushes upward, conquering ever new heights. The rhythm of this ostinato is a final reminder of the wedding song.

Glinka saturates the coda with bright dynamic and timbre contrasts, humorous effects (the famous horn pedals, then trumpets, discordant with the main theme, unexpected pauses that interrupt the theme). The ending is cleverly conceived, where the replica of the lonely voice of the violin is answered by an empty “questioning” fifth of horns.

With the creation of Kamarinskaya, Glinka proved the possibility of building a comprehensive musical form on the purely folk principle of multiple varied repetition.

The historical role of “Kamarinskaya” was emphasized by P.I. Tchaikovsky, who wrote about the Russian symphonic school that "She's all in Kamarinskaya , just as the whole oak is in the acorn". In essence, these same words can describe the meaning symphonic creativity Glinka in general.

A musical picture from Russian folk life acquired the significance of a symbol of national musical thinking. From this work numerous threads stretch to further stages in the development of Russian music.

"Waltz Fantasy"

In addition to folk-genre symphonism, Glinka laid the foundation for the development lyrical-psychological directions in Russian instrumental music. The creation of “Waltz-Fantasy” is associated with the composer’s deep personal experiences. This essay is dedicated to Ekaterina Ermolaevna Kern, the daughter of Anna Petrovna Kern, glorified by Pushkin. The range of images makes it similar to elegiac romances and piano pieces (in particular, the nocturne “Separation”).

By Glinka's time, the waltz was a pan-European ballroom tradition. It meant not only a certain standard of secularism, but also a sphere of personal communication and lyrical sentiments. It is not without reason that it was the waltz, and not the mazurka or minuet, that became a universal democratic dance, the most popular in all strata of European society.

Glinka poeticizes everyday dance. His “Waltz Fantasy” is both a brilliant picture of a ball and a lyrical and psychological sketch. Embodying the lyrical concept, the composer limits himself to a small orchestra, with its transparent, chamber-intimate sound, corresponding to the character of dreamy sadness.

The elegiac tone is set by the theme-refrain of the waltz, intonationally akin to Gorislava’s cavatina from the opera “Ruslan and Lyudmila” (“Am I in my prime…”). The double implementation of the romance lyrical intonation (with a raised IV degree, tritone move, romance sighs, weak ending) corresponds to the intensive development of the dance dotted line. The natural non-square structure (three-bar phrases), coming from folk roots, gives the music a “flight” aspiration.

In it, Glinka imitates Russian folk singing with echoes, when the theme is first performed in one voice, and then with each new performance new echoes are added. Both themes are absolutely contrasting to each other in character, tonality, size and texture.

History of creation

By chance I found a connection between the wedding song “Because of the Mountains, the High Mountains” and the village dance song Kamarinskaya, known to everyone. And suddenly my imagination ran wild, and instead of the piano, I wrote this piece for the orchestra under the name “Wedding and Dance

Later, Vladimir Odoevsky advised Glinka to name the work “Kamarinskaya”.

The basis

The form of the work is double variations. Two themes are used:
The first is “Because of the mountains, high mountains.” F major (F major). This is a drawn-out Russian song that was used in wedding ceremonies. After the theme there are several variations:

• A - the strings play in unison.
• A1 - only woodwinds, but with backing vocals.
• A2 - only cellos with echoes.
• A3 - tutti. Everyone plays. General “choral” sound.

The second is “Kamarinskaya”. D major (D major). Lively dancing. In variations on this theme, the violins play pizzicato, and the woodwinds imitate Russian folk instruments.

Theme development

After two sections, new groups of variations on themes A and B are sounded.

There are no special changes in theme A, but in theme B there are a lot of inventions, key changes, and syncopation.

The pace is accumulating, faster and faster. The key of the theme is A - F-dur (F major)

Before the end of the overture there is a slight slowdown, the theme of the second section (B) is played by one violin, but then the whole orchestra plays again and everything ends with the theme B in fortissimo (ff).

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See what “Kamarinskaya” is in other dictionaries:

KAMARINSKAYA, Russian folk dance song of a comic nature. Used by M.I. Glinka in the orchestral work Kamarinskaya... Modern encyclopedia

Kamarinskaya- KAMARINSKAYA, Russian folk dance song of a comic nature. Used by M.I. Glinka in the orchestral work Kamarinskaya. ... Illustrated encyclopedic Dictionary

- (Komarinskaya) Russian folk dance song and dance (mainly male), re-dance, mostly of a comic nature. Musical time signature is 2/4, sometimes 3/4... Big Encyclopedic Dictionary

KAMARINSKAYA, Kamarinskaya, female 1. Russian folk dance song, the hero of which is a drunk Kamarinsky man. Dance to Kamarinskaya. 2. Dance performed to this song. Dance Kamarinskaya. Dictionary Ushakova. D.N. Ushakov. 1935... ... Ushakov's Explanatory Dictionary

KAMARINSKAYA, oh, female. Russian folk dance song, as well as dancing to the rhythm of this song. Ozhegov's explanatory dictionary. S.I. Ozhegov, N.Yu. Shvedova. 1949 1992 … Ozhegov's Explanatory Dictionary

Noun, number of synonyms: 3 song (161) dance (21) dance (264) ASIS synonym dictionary. V.N. Trishin... Synonym dictionary

Or Komarinskaya Russian dance song, soon tempo 2/4. M. I. Glinka used it for his orchestral fantasy under the same name. In the same fantasy, the author also used a Russian wedding song. The fantasy was completed in 1848 in Warsaw. N... Encyclopedia of Brockhaus and Efron

Kamarinskaya- famous people dance song. Was especially popular as an instrument. performance accompanying the dance (under the same name). K.'s dance had no definition. figures and was of an improvisational nature, solo or group, male. re-danced. In music attitude... ... Russian humanitarian encyclopedic dictionary

- (“Komarinskaya”), Russian folk dance song and dance (mainly male), a re-dance of a comic nature, in an even meter. Used by M. I. Glinka in his orchestral work “Kamarinskaya” ... encyclopedic Dictionary