Kamarinskaya

The word “Kamarinskaya (song, dance)” came from the phrase “Kamarinskiy peasant”. Presumably, the word arose from the toponym Kamarichi - the name of one of the volosts in the Oryol province . This volost was previously under the rule of the Polish-Lithuanian Commonwealth , and the revenues brought by this volost came into personal use ( Kamaru - hence the name Kamarichi) of Polish and Lithuanian feudal lords ^[3] .

T. A. Martemyanov, the first researcher of the dance song “Kamarinskaya”, believes that the name of the volost comes from the words of the chamberlain, the chamberlain . So in Severshchina they called people who did not have their own homes and who lived in other people's huts and chambers. Komaritskaya volost, due to the intensified colonization to strengthen the southern borders of the Moscow state, carried out at the behest of Tsar Ivan the Terrible, was a land of homeless people, vagrants. The name of the volost owes them its name ^[4] .

A popular Russian folk daring dance, mainly for men, which is a daring dance with the song of the same name.

The dance is based on stepping movements. The foot is placed on the heel, then on the toe. This element has various names: evacuation, trampling (knocking dirt off a boot). Hands are placed on the belt (“ hands on hips ”), then they are spread apart to the sides. There is also an element of squatting , jumping, spinning and walking in a circle. During the dance, the dancer claps his hands, on the stomach and on the heels.

According to the instigator and tyrant Thomas Opiskin from the novel “The Village of Stepanchikovo and Its Inhabitants” by Fyodor Dostoevsky : the Kamarinsky dance carries immorality, and it can only be played by the most stupid bumpkin. This attitude is due to the fact that other people sing and dance fun.

In the eighteenth and nineteenth centuries, Kamarinskaya was included in the program of Russian assemblies and balls, where she was usually danced by all those present.

According to the historian-local historian G. M. Pyasetskiy , the Russian folk song “Komarinskaya” (“Kamarinskaya”) remained “a monument to the betrayal of the inhabitants of the Komaritskaya volost by Boris, not only as sovereign, but also as his landlord-barin ”. There is also a version that Kamarinskaya appeared as an expression of joy "of people who managed to escape from the Tatar captivity" ^[5] . According to another version, Kamarinskaya reflects the realities of the Time of Troubles ^[6] .

The folklorist E. Lineva pointed to "the antiquity of this tune and its kinship with the songs of buffoons" ^[7] . T. Martemyanov believed that: “In the eyes of our people, Kamarinsky is an indomitable freethinker, a bogeyman, a mischief, and, moreover, an undoubted anti-serfdom. I <...> myself have repeatedly had to observe the conscious emphasis by the singers of Kamarinskaya of precisely such typical features of this hero, moreover, his stubborn unwillingness to “serve the lady”, to recognize the imperial power was especially vividly emphasized ” ^[8] .

There are several variations of the song ^[9] . The most famous:

Oh you son of a bitch Kamarino man
He lifted his legs on the stove.
Lies, lies that flutters,
He twitches his right leg.

He blinks at the girls,
He scammers over his wife:
“You get up, young wife!”
Make breakfast soon, Satan!

Oh, you mosquito, our Kamarin man,
Gathered in the forest, running along the path.
He runs, runs, jokes,
It twists its antennae.

Hush, hush stomp!
Do not break the floor!
We have water under the floor,
Do not drown in water!

I went to dance
I stamped my foot.
Already the hut swayed
And the door slammed.

Good, girlfriend, dance!
Well you beat fractions!
Only one and not good,
What a refrain you don’t sing! ^[ten]

The poem “A Song about the Kamarin Peasant ” (“How Kasyan the Kamarin Peasant Sleeps on Kasyar Street”) by L. Trefolev , written in 1867 on the motive of a folk song, is known.

Creation History

Kamarinskaya is a one-part overture by Mikhail Ivanovich Glinka, written in 1848. The idea of ​​"Kamarinskaya" refers to 1848. The composer went to live in Warsaw. Still quite fresh were the impressions of Spain, embodied in the overnight “ Night in Madrid ”, based on folklore musical material. Longing for his native land, Glinka began to recall Russian folk motifs, which were very different from the tunes of other European peoples. Suddenly, he found a great similarity between two famous Russian folk songs “Because of the mountains, mountains, high mountains”, which is usually performed at wedding festivities , and the dance “Kamarinskaya”. Glinka decides to create a work in imitation of Russian folk singing with echoes, which are added with each new theme. Glinka began to write the score in early August 1848. The work progressed quite quickly and in October the work was completed. It was first performed at a concert on March 15, 1850 in St. Petersburg along with two Spanish overtures.

There are four major sections in Kamarinskaya. After the introduction, after a general pause, the first section follows, which is built on the theme of the wedding song “Because of the mountains, mountains, high mountains”. The second section - variations on the theme of "Kamarinskaya". The third is the return of the wedding song, the fourth is six new variations on the theme of “Kamarinskaya” ^[11] .

Initially, a small piano piece was conceived. But in the end I got a rather interesting orchestral piece called “Wedding and Dance”. Vladimir Odoyevsky advised Mikhail Glinka to name the work “Kamarinskaya”. The form of the work is double variations: two themes are used. “Russian Scherzo” - so the composer liked to call his work.

P. I. Tchaikovsky said that in this work "all Russian symphonic music is enclosed."

In 1980, the animated film directed by Inessa Kovalevskaya “Kamarinskaya” was released to the music of the composer in the USSR from a series of adaptation of folk songs and masterpieces of Russian classics.

First Topic

The first theme is the wedding song "Because of the mountains, mountains, high." F-dur (F major). The character is lyrical, pensive. After the topic there are several variations:

• A - strings play in unison.
• A1 - only woodwinds, but already with echoes.
• A2 - only cello with echo.
• A3 - tutti (that is, the whole orchestra plays). General "choral" sound.

Second Topic

The second theme is the dance "Kamarinskaya". Key - D-dur . By nature, she is brisk, swift, dancing. The development is carried out by polyphonic techniques - the variations affect precisely the echoes. Such a technique helps to create intricate and diverse music. In variations on this theme, violins play pizzicato , and woodwinds imitate Russian folk instruments.

Party Development:

• The first six variations: the immutability of the theme, variations on accompaniment.
• The enrichment of the topic with figurations, characteristic mainly for balalaika.
• Creation of new melodies related to the dance’s intonational structure.

Variation Groups

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

In topic A there are no special changes, but in topic B there are a lot of notions, changes of keys, syncop.

The pace goes with accumulation, faster and faster. The key of theme A is used - F-dur (F major)

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

• Kamarinskaya (cartoon)
• Trepak
• Cossack

• Kamarinskaya // Etymological Dictionary of the Russian Language / Comp. G.A. Krylov. - SPb. : LLC Polygraphuslugi, 2005.
• Sokolov Yu. Kamarinskaya, Kamarinsky // Literary Encyclopedia 1929-1939 / Ch. Editor A.V. Lunacharsky. - M .: Soviet Encyclopedia , 1931 .-- T. 5 .
• Martemyanov, T. A. The truth about Komaritskaya and Baryn . // Historical Bulletin. October 1900
• Kamarinskaya // Germanov V.G. Dance Dictionary. Dancing balls and discos . - M .: ASTA, 2009 .-- ISBN 978-5-9901591-1-2 .

• “Kamarynskaya” and “Barynya” - Letapis AntydzyarzhaNaststi? (belor.)