Title of the article:



Ekaterina A. Zaitseva

Information about the author/authors

Elena A. Zaitseva — PhD in Art History, Associate Professor, A. G. Schnittke Moscow state Institute of music, Marshal Sokolovsky Str., 10, 123060 Moscow, Russia. E-mail: mlad61@mail.ru


History of Arts




Vol. 48


Pp. 264–279


November 27, 2017

Date of publication

June 15, 2018

Index UDK


Index BBK



The article is dedicated to the implementation of “Kamarinskaya” in the works of Western European classical composers of the last third of the 18th – the first third of the 19th centuries. We analyze the genesis of the famous Russian dance song that existed in the Komaritskaya Volost of the Sevsk district (now territory of the Bryansk Region), and the etymology of this word, which allows two variants of writing: Kamarinskaya and Komarinskaya. Authors carry out a comparative analysis of the contemporary folklore source recorded in 2000 in the Bryansk region, with the themes and principles of development of J. Haydn's works — the play “Der Dudelsack” for clock organ, of I. M. Jarnovik — Final of Violin Concerto No 7, of P. Vranitsky — J. Kinsky — ballet “Waldmädchen”. The paper explores the specifics of the realization of the Russian ethnomelos in the works of L. Beethoven as exemplified by Twelve variations for the Russian dance from the ballet “Forest Girl” and by Scherzo’ trio from his Ninth Symphony and reveals historical, geographical, sociocultural, and genre specifics of the migration of the song and dance theme of “Kamarinskaya” in Western European music.


Pre-Glinka’s “Kamarinskaya”, Russian ethnomelos, Viennese classicism, J. Haydn, I. M. Jarnovik, P. Vranitzky, J. Kinsky, L. Beethoven, M. I. Glinka.


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