A brief history of Kamarinskaya dance. From folk dances to symphonic music. Excerpt characterizing Kamarinskaya

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 instrumental creativity Russian composers were mainly associated 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 his 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 recent 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 essay has its own way of formatting musical material. In “Kamarinskaya” the composer turned to the form of double variations, in “Aragonese Jota” he preferred a sonata structure, in “Memories of a 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 Russian 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, the 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 close-up the original appeal of the themes is visible in their meaning. 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:

	Section I	Section II	Section III	Section IV
Vst.	Drawing	Plyasovaya	Drawing	Plyasovaya	code
	Theme and three variations on a sustained melody	Theme and 13 variations 1-6 - to a sustained melody, 7-13 - figurative variations, thematic modulation	Variations on a sustained melody. 3 incomplete runs	6 + 11 variations on a sustained melody
d-moll	F major	D majord-moll	F major	B majorD major	D major

The compositional method used in Kamarinskaya is derived from the typical Russian song folklore chant variations. 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. At the same time, 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 string 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 symphony school, What "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 similar to Gorislava’s cavatina from the opera “Ruslan and Lyudmila” (“Am I in my prime…”). The double implementation of romance lyrical intonation (with a raised IV step, a tritone move, romance sighs, a 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.

Fantasy on the themes of wedding and dance songs (1848)

Orchestra composition: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, trombone, timpani, strings.

History of creation

The idea of “Kamarinskaya” dates back to 1848. Glinka, already a famous composer, author of two magnificent operas, lived then in Warsaw. We remembered our native lands, folk songs, so different from the recently heard Spanish tunes. “At that time, by chance, I found a rapprochement between the wedding song “Because of the mountains, mountains, high, mountains,” which I heard in the village, and the Kamarinskaya dance song, known to everyone.

And suddenly my fantasy ran wild, and instead of the piano, I wrote a piece for the orchestra under the name “Wedding and Dance.” I can assure you that when composing this play I was guided solely by my inner musical feeling, without thinking about what happens at weddings, how our Orthodox people party and how a belated drunk can knock on the door so that it will be opened for him. Despite this, F.M. Tolstoy (Rostislav) at the rehearsal of Kamarinskaya (as I later, on the advice of Prince Odoevsky, called this play) himself told me that he, explaining to the Empress (now Dowager) Alexandra Fedorovna my Kamarinskaya, in the last part of this play, namely, where the horns are first holding the pedal to Fis, and then the pipes to C, told Her Majesty that this place depicts a drunkard knocking on the door of a hut. This consideration seems to me like a friendly treat that is served more than once in life.” The composer's indignation is understandable, but we must do justice: the music is really so bright that it gives rise to imagination to paint a wide variety of pictures of people's life.

“Kamarinskaya” was written very quickly. At the beginning of the score there is the date August 6, at the end - “September 19 / October 10, 1848. Warsaw.” It was first performed in a concert on March 15, 1850, together with two.

Music

The beginning of the fantasy is the powerful unisons of the entire orchestra, prepared by the descending moves of the strings and bassoons. They end with a tutti chord in fortissimo. And after a general pause, the strings, in unison, without accompaniment, begin to sing an old folk wedding song. It moves on to the woodwinds, is entwined with echoes, enriched, and colored with different orchestral colors. But the initial unisons sound again, after which gradually, as if thinking, the perky, mischievous Kamarinskaya unfolds. The melody sounds lonely at first from the violins, then the violas sing in opposition to it. Next, the theme proceeds in double counterpoint: the melody is carried out by the second violins, the counterpoint goes to the first. The sonority increases, more and more instruments of the orchestra enter. The two main melodies of fantasy alternate and sometimes sound simultaneously, emphasizing similar elements. The sonority then intensifies, then subsides and, finally, grows to gigantic proportions. Suddenly everything falls silent except for the lonely first violins intoning the beginning of the Kamarinsky melody. They are answered by the empty fifth of the horns. Once again, slowing down, the same opening motif is heard, and again the faint echo of the horns responds. And suddenly, as if having gathered with with the last of my strength, the Kamarinskaya theme sounds loud and affirming, ending with the final chord tutti.

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

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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"

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”.

Warp

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).

Works of Mikhail Ivanovich Glinka
Operas	Life for the Tsar Ruslan and Lyudmila
Works for orchestra	Symphony on two Russian themes Overture "Kamarinskaya" Brilliant capriccio on the theme of Aragonese Jota Waltz - fantasy
Vocal works	Patriotic song
Chamber instrumental ensembles	Pathetic Trio in d-moll for piano, clarinet and bassoon Grand Sextet Es-dur for piano quintet and double bass

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Synonyms:

See what “Kamarinskaya” is in other dictionaries:

KAMARINSKAYA, Russian folk dance song of a comic nature. Used by M.I. Glinka in 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 Dictionary of Synonyms. V.N. Trishin... Dictionary of synonyms

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

Kamarinskaya or Komarinskaya (road)- 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.

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 hips”), then spread to the sides. There is also an element of squatting, jumping, spinning and walking in a circle. While dancing, the dancer claps his hands, belly and heels.

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.”

Text option B

Words by L. Trefolev

Text option B

Oh, you son of a bitch, Kamarinsky man!
Where are you running along the street?
- And I run to the tavern for a hangover,
A man can't live without a hangover!

The tavern is full of joy and soda.
The drunken house went wild and danced!
Who has pennies jingling in his bosom,
Hey, dance, dance, dance, dance, dance!

In a cheerful, revelry tavern
The man is rushing around in a drunken stupor.
It will jump, then bend into three arcs,
Trampled my greasy boots!

Oh, he is a son of a bitch, a Kamarinsky man!
He yells and screams at the whole tavern!
And he moves his arms and shoulders,
And the accordion saws, saws, saws, saws!

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Operas

Works for orchestra	Symphony on two Russian themes Overture "Kamarinskaya" Brilliant capriccio on the theme of Aragonese Jota Waltz-Fantasy

Vocal works

Chamber instrumental ensembles

Excerpt characterizing Kamarinskaya

Denisov considered it dangerous to attack another time, so as not to alarm the entire column, and therefore he sent forward to Shamshevo the peasant Tikhon Shcherbaty, who was with his party, to capture, if possible, at least one of the French advanced quarterers who were there.

It was an autumn, warm, rainy day. The sky and horizon were the same color of muddy water. It seemed like fog fell, then suddenly it began to rain heavily.
Denisov rode on a thoroughbred, thin horse with toned sides, wearing a cloak and a hat with water flowing from it. He, just like his horse, who was squinting his head and pinching his ears, winced from the slanting rain and looked anxiously ahead. His face, emaciated and overgrown with a thick, short, black beard, seemed angry.
Next to Denisov, also in a burka and papakha, on a well-fed, large bottom, rode a Cossack esaul - an employee of Denisov.
Esaul Lovaisky - the third, also in a burka and papakha, was a long, flat, board-like, white-faced, blond man, with narrow light eyes and a calmly smug expression both in his face and in his stance. Although it was impossible to say what was special about the horse and the rider, at the first glance at the esaul and Denisov it was clear that Denisov was both wet and awkward - that Denisov was the man who sat on the horse; whereas, looking at the esaul, it was clear that he was as comfortable and calm as always, and that he was not a man who sat on a horse, but man and horse together were one creature, increased by double strength.
A little ahead of them walked a thoroughly wet little peasant conductor, in a gray caftan and a white cap.
A little behind, on a thin, thin Kyrgyz horse with a huge tail and mane and with bloody lips, rode a young officer in a blue French overcoat.
A hussar rode next to him, carrying behind him on the back of his horse a boy in a tattered French uniform and a blue cap. The boy held the hussar with his hands, red from the cold, moved his bare feet, trying to warm them, and, raising his eyebrows, looked around him in surprise. It was the French drummer taken in the morning.
Behind, in threes and fours, along a narrow, muddy and worn-out forest road, came the hussars, then the Cossacks, some in a burka, some in a French overcoat, some with a blanket thrown over their heads. The horses, both red and bay, all seemed black from the rain flowing from them. The horses' necks seemed strangely thin from their wet manes. Steam rose from the horses. And the clothes, and the saddles, and the reins - everything was wet, slimy and soggy, just like the earth and the fallen leaves with which the road was laid. People sat hunched over, trying not to move in order to warm up the water that had spilled onto their bodies, and not to let in the new cold water that was leaking under the seats, knees and behind the necks. In the middle of the stretched out Cossacks, two wagons on French horses and harnessed to Cossack saddles rumbled over stumps and branches and rumbled along the water-filled ruts of the road.
Denisov's horse, avoiding a puddle that was on the road, reached to the side and pushed his knee against a tree.
“Eh, why!” Denisov cried out angrily and, baring his teeth, hit the horse three times with a whip, splashing himself and his comrades with mud. Denisov was out of sorts: both from the rain and from hunger (no one had eaten anything since the morning), and the main thing is that there has still been no news from Dolokhov and the person sent to take the tongue has not returned.
“There will hardly be another case like today where transport will be attacked. It’s too risky to attack on your own, and if you put it off until another day, one of the big partisans will snatch the booty from under your nose,” thought Denisov, constantly looking ahead, thinking of seeing the expected messenger from Dolokhov.
Having arrived at a clearing along which one could see far to the right, Denisov stopped.
“Someone is coming,” he said.
Esaul looked in the direction indicated by Denisov.
- Two people are coming - an officer and a Cossack. “It’s just not supposed to be the lieutenant colonel himself,” said the esaul, who loved to use words unknown to the Cossacks.
Those driving, going down the mountain, disappeared from view and a few minutes later appeared again. Ahead, at a tired gallop, driving his whip, rode an officer - disheveled, thoroughly wet and with his trousers billowed above his knees. Behind him, standing in stirrups, a Cossack was trotting. This officer, a very young boy, with a wide, ruddy face and quick, cheerful eyes, galloped up to Denisov and handed him a wet envelope.
“From the general,” said the officer, “sorry for not being completely dry...
Denisov, frowning, took the envelope and began to open it.
“They said everything that was dangerous, dangerous,” said the officer, turning to the esaul, while Denisov read the envelope handed to him. “However, Komarov and I,” he pointed to the Cossack, “were prepared.” We have two pistos... What is this? - he asked, seeing the French drummer, - a prisoner? Have you been to battle before? Can I talk to him?
- Rostov! Petya! - Denisov shouted at this time, running through the envelope handed to him. - Why didn’t you say who you are? - And Denisov turned around with a smile and extended his hand to the officer.
This officer was Petya Rostov.
The whole way Petya was preparing for how he would behave with Denisov, as a big man and an officer should, without hinting at a previous acquaintance. But as soon as Denisov smiled at him, Petya immediately beamed, blushed with joy and, forgetting the prepared formality, began to talk about how he drove past the French, and how glad he was that he had been given such an assignment, and that he was already in battle near Vyazma, and that one hussar distinguished himself there.
“Well, I’m glad to see you,” Denisov interrupted him, and his face again took on a preoccupied expression.
“Mikhail Feoklitich,” he turned to the esaul, “after all, this is again from a German.” He is a member." And Denisov told the esaul that the contents of the paper brought now consisted of a repeated demand from the German general to join in an attack on the transport. "If we don't take him tomorrow, they will sneak out from under our noses." “here,” he concluded.
While Denisov was talking to the esaul, Petya, embarrassed by Denisov’s cold tone and assuming that the reason for this tone was the position of his trousers, so that no one would notice, straightened his fluffed trousers under his overcoat, trying to look as militant as possible.