What genre is the work of Camarinskaya. From folk dances to symphonic music
Fantasy on the themes of the songs of wedding and dance (1848)
The composition of the orchestra: 2 flutes, 2 bouse, 2 clarinets, 2 fagota, 2 French horn, 2 pipes, trombone, liter, string.
History of creation
The plan "Kamarinskaya" refers to 1848. Glinka, already a famous composer, author of two magnificent operas, lived then in Warsaw. Native land, folk songs, so different from the newly heard Spanish messs, were remembered. "At that time, I accidentally found a rapprochement between the wedding song" because of the mountains, mountains, high, the mountains, which I heard in the village, and the dance of Kamarinskaya, I know.
And suddenly the fantasy was played out, and I wrote a play on the orchestra under the name "wedding and dance" instead of the piano. I can assure that I was guided by writing this play by the only inner musical feeling, without thinking about what was happening at the weddings, how our Orthodox people walks, and how can a belated drunk knock on the door so that he was taken away. Despite this, F.M. Tolstoy (Rostislav) at the rehearsal of Kamarinskaya (as I subsequently called this play for the advice, I told me that he, explaining the Empress's sovereign (now widowing) Alexander Fedorovna My Kamarinskaya, in the last part of this play, namely, where the first French Hold the pedal on FIS, and then the pipes on C, told her Majesty, that this place portrays how drunk knocks on the door of the hut. This consideration seems to me a friendly treat, which are not hidden in life. " The indignation of the composer is understandable, but it is necessary to give justice: the music is really so bright, which gives the reason for fantasy to draw the most different pictures of the people's life.
"Kamarinskaya" was written very quickly. At the beginning of the partitions, the date of August 6, at the end - "September 19 / October 10, 1848. Warsaw". For the first time, it was performed in a concert on March 15, 1850 along with two.
Music
The beginning of fantasy is powerful unions of the entire orchestra, prepared by descending strokes of strings and feeds. They are completed by the Tutti chord on Fort Fortissimo. And after the general pause, the string in unison, without the accompaniment, die an old folk wedding song. It moves to wooden winds, wounded by pegs, is enriched, solid orchestral paints. But the initial uninsions are again sounded, after which it seems, as if informing, the valid, mischievous Camarinskaya unfolds. The melody sounds at first lonely in violins, then the antisosite of it is sinking alto. Next, the topic passes in a double counterpoint: second violins lead the melody, the opposition goes to the first. The temptation increases, all new instruments of the orchestra are entering. Two major fantasy melodies alternate, then they sound at the same time, they are underlined similar elements. The soundness is increasing, it will fall and, finally, grows up to gigantic sizes. Suddenly silent everything, except for lonely first violins that intonating the beginning of the Kamarin melody. They are answered by empty Quinta Valtorne. Once again, slowing down, hears the same initial motive, and again in response, barely audible evhvuk. And suddenly, as if he gathered with the last forces, the topic of Camarinskaya sounds loud and arguing, concluded by the final chord of Tutti.
The dance arose in ancient times and, as a rule, has a definite national basis. Each people have their own dancing distinguished by the national originality. Music of dancing can give an idea of \u200b\u200bthe life and customs of different peoples, their culture both in the distant past and in the present.
Lebedev K. Daja
Dancing only later entered the creativity of composers. The music of ancient dance, created by composers, is performed in our time and listen, but no longer dance.
Dancing every nation have peculiar and unique beauty and have musical differences: their pace, size, rhythmic pattern. But there are some common features. So, for Russian Camarinskaya, Caucasian Lezginka, Italian tarantellah is typically fast, rapid movement.
Tarantella
And for French Menuet - calm, restrained. Waltz and Mazurka necessarily have a three-tested size, and the cadrille and polka - two-dollars.
There are dance works intended for concert or chamber performance. Dance Pieces are in Suites I.S. Bach, among the piano works of Schubert, Chopin, Grieg, Tchaikovsky, Scriabin ... Concert places of a dance character for a symphony orchestra created a glyc, glazing, rare, Sibelius. But the beginning of everything posted folk dances, folk dances.
From Russian folk dances received widespread kamarinskaya. She is inherent in the cheerful, progress. Subtly managed to prevent the features of the people's dance in his fantasy for the orchestra "Kamarinskaya" M.I. Glinka. Two topics are used in the work: the first is "because of the mountains, high mountains." (Fa Major). This is an extensive Russian song that was used in wedding rituals. The second is "Camarinskaya". (D Major). Big dancer.
M.I. Glinka. "Camarinskaya"
Kamarinskaya melody attracted other composers. Tchaikovsky included a small play called in his "children's album" "Camarinskaya".
P.I. Tchaikovsky. "Children's album". Kamarinskaya.
Chamber Orchestra "Gnesin Virtuosos"
Artistic director and conductor Mikhail Khokhlov
Trepak (Russian dance) from the ballet "Nutcracker"
Among the Ukrainian folk dancers are universal love hopak. It is a remote, cheerful dance in a moving pace. The hopak is repeatedly found in Russian classical music.
It can be heard in the opera "Mazepa" Tchaikovsky (on Pushkin's poem "Poltava")
In the opera "Sorochinskaya Fair" Mussorgsky (according to the same story of Gogol)
By the number of well-known Ukrainian dances belong cossack - Live and fun dancing. In the Symphony Fantasy "Malorossiysk Cossack" DargomyzhskyUsing the famous folk melody, draws a scene of a funny Ukrainian dance.
All these dances belong to Slavic peoples and have a lot of common features. Dancing the peoples of the Caucasus differ significantly from them. And the most common them - lezginka. This dance is very picturesque: the fiery swiftly alternates in it with a soft grace.
Lezginka from the opera A.Vubystein "Demon"according to the poem of Lermontov
Dance of Europe's peoples are rich and diverse, many of which served as the basis for the works of great composers, especially rich in bright and diverse themes "Norwegian dancing" of Griga, "Hungarian Dancing" Brahms, "Slavic Dancing" Dvarakik, "Spanish Dancing" of Granados, but this The topic of another post ...
Description of the presentation on individual slides:
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Glinka "Kamarinskaya", "Waltz Fantasy" Presentation fulfilled: Pupil 4th grade Larina Elizabeth Lecturer: Surovova T.V
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Glinka "Kamarinskaya" Camarinskaya - Russian People's Dance (dance), popularized in the eponymous Overtool Mikhail Ivanovich Glinka (1848). In it, Glink imitates Russian folk singing with pegs, when the topic is carried out at first one-heading, and then with each new holding new pegs are added. Both themes are absolutely contrasting each other in character, tonalities, size and texture. The dance is based on stepper movements. The foot is put on the heel, then on the sock. This element has different names: discharge, plowing (knocking down the dirt from the boot). Hands are put on the belt ("Hands in Boki"), then bred to the sides. Also there is an element of the field, swelling, reference and walking in a circle. During the dance, the dancer clap into his hands, in the stomach and heels.
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The history of the creation according to the statement of the historian - M. M. Pisetsky, the Russian folk song "Komarinskaya" ("Kamarinskaya") - "Ah you, Sukin Son, Komarin's man, did not want to serve Barina to serve ..." - remained "the monument to the treason of the inhabitants of Komaritsky Boris's volosts not only as a sovereign, but also as its landowner-Barina. " There is also a version that Kamarinskaya appeared as an expression of the joy of "people who managed to escape from the Tatar captivity." By another version, Kamarinskaya reflects the realities of the troubled time. By chance, I found a rapprochement between the wedding song "because of the mountains, the mountains of high" and the village dance of Kamarinsko, everyone known. And suddenly my fantasy played out, and I, instead of the piano, wrote this play on the orchestra under the name "Wedding and Dance". Later, Vladimir Odoyevsky advised Glinka to call the product "Kamarinskaya".
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The basis of the work form is double variations. Two topics are used: the first is "because of the mountains, high mountains." F-DUR (Fa Major). This is an extensive Russian song that was used in wedding rituals. After the topic there are several variations: and - strings play in unison. A1 - Only wooden winds, but already with pegs. A2 - only cello with pegs. A3 - Tutti. Play everything. General "choral" sound. The second is "Camarinskaya". D-DUR (re major). Big dancer. In variations on this topic, pizzicato is played on this topic, and the wooden brass imitates Russian folk instruments. The development of topics after two sections sound new groups of variations on themes A and V. In the topic and there are no special changes, but in the topic in many faiths, shifts of tonalities, syncop. The pace goes with accumulation, faster and faster. The a - F-DUR theme tone (Fa Major) is used before the end of the unloading is a small slowdown, the topic of the second section (c) is one violin, but then the entire orchestra plays again and everything ends with the topic 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 dance from the Opera "Life for the Tsar", the Glinka marks the path of the symphony of the Waltz, according to which another great composer went, Peter Ilyich Tchaikovsky. Waltz fantasy is one of the most significant, well-known and executable works of the composer. Glinka "Waltz Fantasy"
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E. Kern played a prominent role in the life of Glinka and in his work, although their novel lasted long. Their meeting took place, probably on March 28, 1839. The relationship of Glinka with his legitimate wife at this time was completely broken (on November 7 of the same year he broke out with her). In the house of Kern Glinka found friendship and complete understanding. He wanted to marry E. Kern, but he did not have a formal divorce with his wife. Therefore, Glinka could not enter into a second marriage. He melded the thought even to leave from E. Kern abroad without marriage, but Glinka's mother objected against this. Moreover, she insisted that Glinka go abroad one, hoping that he would rather forget his new passion. It happened so that in the spring of 1840, E. Kern got sick and left for south, where he stayed for about two years. At the most Glinka, the scroll-produced process lasted six years; For some time he could not leave St. Petersburg, as it was associated with a subscription on the wrong season. As time went. Glinka with hobby began working on the opera "Ruslan and Lyudmila". In 1842, E. Kern returned from the south, but there was no longer a meeting with her for Glinka. In 1843, Glinka returned her letters to her. Their relationship switched simply into friendly. In 1844, Glinka leaves abroad, without feeling no regret for separation from her. The short period of the novel with E. Kern is characterized by the rise of the composer's creative activity. Waltz fantasy is one of the vertices of this lift. It was not by chance that the theme of love was associated with Glinka with Walza: the balls were the main place of love dates, and the hope of happiness and the threat of separation of the separation was Vitali in the ballroom halls. On the ball there was a decisive explanation of Onegin and Lensky, on the ball Onegin again met Tatyana, and the love of Natasha and Andrei Bolkonsky, Anna Karenina and Vronsky, originated on Balah. The popularity of Waltz-fantasy testifies, in particular, such a message in the Northern Pchele, placed in one of the rooms for 1840: "In a newly open music store in Engelgardt's house [in Nevsky Prospekt; Now the small hall of the St. Petersburg Philharmonic] Every day, the many guests can hardly be crowned behind the Royal Glinka, behind his adorable almanac, composed of the works of the best of our composers, behind his charming waltz, who announced the 2-year-old flower beds of Pavlovsky Station
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Waltz-fantasy has a long story. He has undergone quite a lot of changes. The autograph of the first essay option is a piano play, written in the summer of 1839, was not preserved. Waltz was published at the same time (no later than July 1839). We read on the title page (in French): "Waltz-fantasy, performed by the Orchestra of Hermann. Omchen M. Glinka and dedicated to his relative and friend Dmitry Stunyev. " Indication for the execution of the orchestra Y. Herman, apparently, it is not by chance: it should have served as a kind of "quality mark" and attract buyers. J. Herman - Conductor; In 1838 - 1844 was the conductor of the orchestra in Pavlovsk. The beginning of summer concerts here was found to hold the Tsarskoye railway and the device of Pavlovsky Voxala. The solemn opening of the road from St. Petersburg to Pavlovsk took place on May 22 (June 3, n. P.) 1838. In the XIX century, the passenger recreation buildings were called vocal; To distinguish the railway station from a concert vocal, the concert hall in Pavlovsk began to be called. Musical voxal. The reason for the concert device was commercial considerations - it was necessary to strengthen the work of the railway, increase the number of passengers; The bait made Pavlovsky vocal with his orchestral evenings. Orchestra was established, and his leader was J. Herman. For concerts, a new repertoire was required all the time, and it was made up of works sometimes not orchestral, which arranged the head of the orchestra. The score made by the head of Pavlovsky concerts was not preserved. Perhaps she remained in Herman, who probably treated the wonderful work, and his work of the arranger. Be that as it may, the score was drawn up on the preserved parties of the instruments. It ordered it to be made by V.P. Engelhardt, a friend of Glinka, who made a lot to perpetuate the memory of the composer, who collected his autographs and, in the end, who passed his meeting with the Public Library in St. Petersburg. The scores made in this way has such a name on the title page (also in French): "Melancholic Waltz, toofed for the orchestra in directions of the composer by Hermann, conductor in Pavlovsk." The score described above was, thus, the second - orchestral - version of the Waltz-fantasy.
In it, Glink imitates Russian folk singing with pegs, when the topic is carried out at first one-heading, and then with each new holding new pegs are added. Both themes are absolutely contrasting each other in character, tonalities, size and texture.
History of creation
By chance, I found a rapprochement between the wedding song "because of the mountains, the mountains of high" and the village dance of Kamarinsko, everyone known. And suddenly, my fantasy spiked, and I, instead of the piano, wrote this play on the orchestra under the name "Wedding and Dance
Later, Vladimir Odoyevsky advised Glinka to call the product "Kamarinskaya".
The foundation
The form of the work is double variations. Two topics are used:
The first is "because of the mountains, high mountains." F-DUR (Fa Major). This is an extensive Russian song that was used in wedding rituals. After the topic, there are several variations:
- And - String play in unison.
- A1 - Only wooden winds, but already with pegs.
- A2 - only cello with pegs.
- A3 - Tutti. Play everything. General "choral" sound.
The second is "Camarinskaya". D-DUR (re major). Big dancer. In variations on this topic, pizzicato is played on this topic, and the wooden brass imitates Russian folk instruments.
Development Topics
After two sections, new groups of variations on themes A and V.
In the subject but there are no special changes, but in the subject in many faiths, shifts of tonalities, syncop.
The pace goes with accumulation, faster and faster. The tonality of the topic A - F-DUR (Fa Major) is used
Before the end of the overture, a slight slowdown, the topic of the second section (c) is played by one violin, but then the entire orchestra plays again and everything ends with the theme in Fortissimo (FF).
| Works Mikhail Ivanovich Glinka | ||
|---|---|---|
| Operas | Life for King Ruslan and Lyudmila | |
| Works for orchestra | Symphony into two Russian topics Overture "Kamarinskaya" Brilliant Capriccio on the theme of Aragon Hot Waltz - Fantasia | |
| Vocal works | Patriotic song | |
| Chamber instrumental ensembles | Patetic Trio D-Moll For Piano, Clarinet and Fagota Large Sextet ES-DUR for Piano Quintet and Double Bass | |
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Synonyms:Watch what is "Kamarinskaya" in other dictionaries:
Kamarinskaya, Russian folk dance song of a comic character. Used M.I. Glinka in the orchestral work of Kamarinskaya ... Modern encyclopedia
Kamarinskaya - Kamarinskaya, Russian folk dance song of a comic character. Used M.I. Glinka in the orchestral work of Camarinskaya. ... Illustrated Encyclopedic Dictionary
- (Komarinskaya) Russian folk dance song and dance (mainly male), bumbled, mainly comic. Musical size 2/4, sometimes 3/4 ... Big Encyclopedic Dictionary
Kamarinskaya, Kamarinskaya, wives. 1. Russian folk dance song, whose hero is a drunken Camarinsky man. Dance under Kamarinskaya. 2. Dance executed under this song. Dance Camarinskaya. Explanatory dictionary of Ushakov. D.N. Ushakov. 1935 ... ... Explanatory Dictionary Ushakov
Kamarinskaya, Oh, wives. Russian folk dance song, as well as a dance in the rhythm of this song. Explanatory dictionary of Ozhegov. S.I. Ozhegov, N.Yu. Swedov. 1949 1992 ... Explanatory dictionary of Ozhegov
SUT., Number of synonyms: 3 song (161) dance (21) Dance (264) Dictionary of Synonyms ASIS. V.N. Trishin ... Synonym dictionary
Or the Komarinsky Russian dance song, in the near Tempev 2/4. She took advantage of M. I. Glinka for his orchestral fantasy at the same name. In the same fantasy, the author also applied a wedding Russian sleep. Fantasy ended in 1848, in Warsaw. N ... Encyclopedia Brockhaus and Ephron
Kamarinskaya - The famous Nar. Dance song. It was especially popular in the instrument. execution accompanying a dance (under the same name). Dance K. did not have definitely. Figures also wore the character of improvisation., solo or group, husband. Republing. To music. relation, ... ... Russian Humanitarian Encyclopedic Dictionary
- ("Komarinskaya"), Russian folk dance song and dance (mainly male), bone of a comic nature, in an even amount. Used M. I. Glinka in his orchestral work "Kamarinskaya" ... encyclopedic Dictionary
Kamarinskaya or Komarinskaya (road)- Russian folk dance (dance), popularized in the eponymous Overtool Mikhail Ivanovich Glinka (1848). In it, Glink imitates Russian folk singing with pegs, when the topic is carried out at first one-heading, and then with each new holding new pegs are added. Both themes are absolutely contrasting each other in character, tonalities, size and texture.
Dance
The dance is based on stepper movements. The foot is put on the heel, then on the sock. This element has different names: discharge, plowing (knocking down the dirt from the boot). Hands are put on the belt ("Hands in Boki"), then bred to the sides. Also there is an element of the field, swelling, reference and walking in a circle. During the dance, the dancer clap into his hands, in the stomach and heels.
History of creation
According to M. M. Pisetsky's historian, the Russian folk song "Komarinskaya" ("Kamarinskaya") - remained the monument to the treason of residents of Komaritskaya Vosti Boris not only as a sovereign, but also as its landowner Barina" There is also a version that Kamarinskaya appeared as an expression of the joy of "people who managed to escape from the Tatar captivity." By another version, Kamarinskaya reflects the realities of the troubled time.
By chance, I found a rapprochement between the wedding song "because of the mountains, the mountains of high" and the village dance of Kamarinsko, everyone known. And suddenly my fantasy played out, and I, instead of the piano, wrote this play on the orchestra under the name "Wedding and Dance".
Text B.
Words L. Timpolev
And how on the street of Varvarina
Slept Kasyan, Man Kamarinsky.
The beard is sick,
All the cheapest is used.
Fresh blood jets scarlet
Yes, covers the cheeks shouldy.
You're a cute friend, my darling my kasyan,
Yes, and today you are the epics, then - drunk.
Twenty-nine days happens in February,
On the day, the latter sleeps kasyany on the ground.
And February twenty ninth
Yes, the stermines of the damned
Villed Kasyan in the womb
Yes forgot my wife's heart
And their birth of deubs
Twins and young people.
Family Family Happiere,
He went to his kuma in the smoke,
And Kuma his boots' boards,
Baba good, beauty was.
Yna speckled him Kalachik hot
I also respected, even in another.
With unpleasant Kruchino
Dormlet-sleeps wife Kasyanov,
Waiting for her husband drunk.
She thinks husband in Kabaska,
Well, and her husband rushes into the trepac.
It will be bent, it will shook in three legs,
Iptal his lubricant boots.
Then with your hands, then the shoulders are moving,
And in harmonia, all saws, sawing, saw.
Says Kasyan, seeking the sides:
"You are listening, an ordrine string."
Disgraced Hona:
"Your Hamovovo Neudia,
For such a pioneering
For you feeding the petition. "
Text version B.
Oh, you, Sukin Son, Camarinsky Men!
Where are you running along the street?
- And I run for a hangover in a zucchini,
Without a hangover, you can not live a peasant!
In the kabaska post fun and soda.
Floored, broken a drunk house!
Who is branded for the sinus
Hey, dances, dances, dances, dances, dances!
In cheerful, in ragble
A peasant rushes in a drunken trepac.
Then jumpers, it will be bent into three arcs,
Iptal his lubricant boots!
Oh, he, Sukin Son, Camarinsky man!
He is yelling screaming to the whole cab!
And makes her hands and shoulders,
And the harmonic of saws, saws, saw, saw!
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Excerpt characterizing Camarinskaya
Denisov was attacking another time, so as not to alarmed the entire column, and therefore he sent forward to the Shamishevo of the former Tikhon Shcherbathe's guy party - to seize, if you can, at least one of the former French advanced apartment agers there.There was an autumn, warm, rainy day. The sky and the horizon were the same color of muddy water. That fell as if fog, then suddenly let out oblique, big rain.
At the pionee, thin, with the horses-taut sides, in the beard and dad, from which the water flowed, Denisov was rode. He, as well as his horse, mowing his head and pumped ears, wrinkled from oblique rain and concernedly looked forward. Embroidered and threw a thick, short, black beard face seemed angry.
Next to Denisov, also in Bourca and Papakh, the Cossack Esaul was driving in a large Donets - Denisov employee.
Esaul Lovyky - the third, also in the berth and dad, was long, flat, like a board, a white, blonde man, with narrow light eyes and a calmly smug expression and in the face and landing. Although it was impossible to say, in which the feature of the horse and the saddle consisted, but at first glance at Esaul and Denisov it was seen that Denisov and wet and awkward, - that Denisov was a man who sat on a horse; Whereas, looking at Esaul, it was seen that he was as comfortable and deceased, as always, and that he was not a man who sat on a horse, and a person along with a horse, enlarged by double force, creature.
A little ahead of them walked through a grooved guy conductor, in a gray cafetan and a white cap.
A little behind, at the thin, thin Kyrgyz horse with a huge tail and mane and with her lips dyed into the blood, a young officer was driving in blue french chinel.
A hussar was driving with him, visiting a boy's horse in a french ruffled mundair and blue cap. The boy was kept red from the cold with his hands for the hussar, stirred, trying to warm them up, his bare feet, and raising her eyebrows, looked around him in surprise. It was the French drummer taken in the morning.
Behind, three, four, in a narrow, stretching and rejected forest road, hussars stretched, then the Cossacks, who are in the Bourca, who are in the French styling, who in the afternoon, thrown on the head. Horses, and redheads and beggars, all seemed to be raven from the rain running off. The neck of horses seemed strangely thin from the growing mane. Couples rose from horses. And clothes, and saddles, and reins - everything was wet, Squilisko and Raskisoklo, as well as the Earth, and the fallen leaves, which the road was laid. People were sitting behind, trying not to move to senten the water that shed to the body, and do not miss a new cold, leaked under the seats, knees and for the neck. In the middle of the Cossacks of the Cossacks, two wagons on the French and burned in the saddles of the Cossack horses were loud on the stumps and bunches and wound along the road filled with water.
Denisova's horse, bypassing a puddle, who was on the road, stretched to the side and pushed him his knee about the tree.
"E, Cheg" T! "Denisov's viciously cried and scolding his teeth, the horse hit his screaming, spattered himself and mud comrades. Denisov was not in the spirit: and from rain and from hunger (in the morning no one ate anything), and The main thing is that from Dolokhova still did not have news and the sent to take the language was not returned.
"Another such case will be released, as now, attack the transport. One thing to attack is too risky, and to postpone to another day - from under the nose will capture the prey from any of the big partisans, "Denisov thought, constantly looking forward, thinking to see the expected sent from Dolokhov.
Leaving at the spot, according to which it was visible far to the right, Denisov stopped.
"Someone goes," he said.
Esaul looked in the direction indicated by Denisov.
- Two goes officer and the Cossack. Only not allegedly for the lieutenant colonel himself, "said Esaul, who loved to use the words unknown to the Cossacks.
Lost, descending under the mountain, hid out of the species and after a few minutes it seemed again. Ahead of the tired gallop, by chase Nagaika, was driving an officer - disheveled, covered with the knees and whipped above the knees of palsions. Behind him, standing on the stirrups, was lyry the Cossack. This officer, a very young boy, with a wide ruddy face and quick, funny eyes, prompt to Denisov and filed a wet envelope.
"From General," said Officer, "sorry that it's not quite dry ..."
Denisov, frowning, took the envelope and began to print.
"That was said to have been dangerous, dangerous," the officer said, turning to Esaulu, while Denisov read the envelope filed. "However, we are mosquito," he pointed to the Cossack, "prepared. We have two pistops ... And this is what? - He asked, seeing the French drummer, - a twist? Have you been to the battle? Can you talk to him?
- Rostov! Peter! Denisov shouted at this time, running the envelope filed. - Yes, how didn't you say, who are you? - And Denisov with a smile, turned around, stretched out his hand to the officer.
This officer was Peter Rostov.
At the whole path, Petya prepared for the time he, as he follows the whole and officer, not hinting for the previous acquaintance, will keep himself with Denisov. But as soon as Denisov smiled at him, Peter immediately spawned, blushed from joy and, forgetting the cooked official, began to talk about how he drove past the French, and how he was glad that he was given such a guide, and that he was already in battle Under Vyazma, and that one hussar distinguished himself.
- Well, I'm g "to see you, - interrupted him Denisov, and his face took a concerned expression again.
"Mikhail Feoklites," he turned to Esaulu, "because it's again from the German." He is GHG "and it consists." And Denisov told Esaulu that the content of the paper brought now was repeated demand from the German General to join for the attack on transport. - If we are trust "and we will not take me from under the nose. "Vut," he concluded.
While Denisov spoke with Esaul, Petya, confessed by the cold tone of Denisov and suggesting that his pantalon was the reason for this tone, so that no one would notice this, the whipped pantalons corrected it, trying to have the appearance as militant as possible.