'began a long-drawn-out soldiers' song, commencing with the words: "Morning dawned, the sun was rising," and concluding: "On then, brothers, on to glory' (...)

a marcha para a batalha, a música e os diversos grupos. (excelente colecção de música da guerra civil americana por Kenneth Johns, que inacreditáveis meios temos, este meu espanto é testemunha da minha idade). aqui, the fife and drums.
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"And here, friend, the people are quite beggarly. There they all seemed to be Poles- all under the Russian crown- but here they're all regular Germans."

"Singers to the front " came the captain's order.

And from the different ranks some twenty men ran to the front. A drummer, their leader, turned round facing the singers, and flourishing his arm, began a long-drawn-out soldiers' song, commencing with the words: "Morning dawned, the sun was rising," and concluding: "On then, brothers, on to glory, led by Father Kamenski." This song had been composed in the Turkish campaign and now being sung in Austria, the only change being that the words "Father Kamenski" were replaced by "Father Kutuzov."

Having jerked out these last words as soldiers do and waved his arms as if flinging something to the ground, the drummer- a lean, handsome soldier of forty- looked sternly at the singers and screwed up his eyes. Then having satisfied himself that all eyes were fixed on him, he raised both arms as if carefully lifting some invisible but precious object above his head and, holding it there for some seconds, suddenly flung it down and began:

"Oh, my bower, oh, my bower...!"

"Oh, my bower new...!" chimed in twenty voices, and the castanet player, in spite of the burden of his equipment, rushed out to the front and, walking backwards before the company, jerked his shoulders and flourished his castanets as if threatening someone. The soldiers, swinging their arms and keeping time spontaneously, marched with long steps. Behind the company the sound of wheels, the creaking of springs, and the tramp of horses' hoofs were heard. Kutuzov and his suite were returning to the town. The commander in chief made a sign that the men should continue to march at ease, and he and all his suite showed pleasure at the sound of the singing and the sight of the dancing soldier and the gay and smartly marching men. In the second file from the right flank, beside which the carriage passed the company, a blue-eyed soldier involuntarily attracted notice. It was Dolokhov marching with particular grace and boldness in time to the song and looking at those driving past as if he pitied all who were not at that moment marching with the company. The hussar cornet of Kutuzov's suite who had mimicked the regimental commander, fell back from the carriage and rode up to Dolokhov.

Hussar cornet Zherkov had at one time, in Petersburg, belonged to the wild set led by Dolokhov. Zherkov had met Dolokhov abroad as a private and had not seen fit to recognize him. But now that Kutuzov had spoken to the gentleman ranker, he addressed him with the cordiality of an old friend.

"My dear fellow, how are you?" said he through the singing, making his horse keep pace with the company.

"How am I?" Dolokhov answered coldly. "I am as you see."

The lively song gave a special flavor to the tone of free and easy gaiety with which Zherkov spoke, and to the intentional coldness of Dolokhov's reply.

"And how do you get on with the officers?" inquired Zherkov.

"All right. They are good fellows. And how have you wriggled onto the staff?"

"I was attached; I'm on duty."

Both were silent.

"She let the hawk fly upward from her wide right sleeve," went the song, arousing an involuntary sensation of courage and cheerfulness. Their conversation would probably have been different but for the effect of that song.

"Is it true that Austrians have been beaten?" asked Dolokhov.

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"The devil only knows! They say so."

"I'm glad," answered Dolokhov briefly and clearly, as the song demanded.

"I say, come round some evening and we'll have a game of faro!" said Zherkov.

"Why, have you too much money?"

"Do come."

"I can't. I've sworn not to. I won't drink and won't play till I get reinstated."

"Well, that's only till the first engagement."

"We shall see."

They were again silent.

"Come if you need anything. One can at least be of use on the staff..."

Dolokhov smiled. "Don't trouble. If I want anything, I won't beg- I'll take it!"

"Well, never mind; I only..."

"And I only..."

"Good-by."

"Good health..."

"It's a long, long way.
To my native land..."

Zherkov touched his horse with the spurs; it pranced excitedly from foot to foot uncertain with which to start, then settled down, galloped past the company, and overtook the carriage, still keeping time to the song.

--
Tolstoi no início da parte 2 do livro 1.
nada menos do que a verdade. a propos: the origin of music, de dannie abse.
há um livro recente, the origins of music, que reúne inúmeros especialistas das mais variadas áreas que escalpelizam a origem da música dos vários pontos de vista que representam. não posso deixar de pensar que este episódio aparentemente tão fácil afirma mais do que esse tratado. o escalpelo não costuma ser bom conselheiro.




informação que acompanha o filme no youtube:

Published on May 16, 2013
Vasily Mikhailovich Goncharov (Russian: Василий Михайлович Гончаров) (1861 -- 23 August 1915) was a Russian film director and screenwriter, one of the pioneers of the film industry in the Russian Empire. 

The premiere took place on the 30th of July 1912. The film was shot to mark the centenary of that historical event and was titled "1812". A year before the anniversary, two film-making companies asked the Imperial Court for permission to make a film about the war against Napoleon. They were the Russian "Joint-Stock Company Alexander Khanzhonkov" and the French "Pathe-Freres". They both were given permission and started shooting the film, the cinema historian Svetlana Skovorodnikova told "The Voice of Russia":

"The "Pathe-Freres" film was based on paintings by outstanding Russian artists, in particular, Vasily Vereshchagin. Some episodes of the film look as if they were animation of Vereshchagin's pictures "Napoleon on the Kremlin Wall" or "Council of War at Fili". In Khanzhonkov's version mass scenes prevailed, with troops participating. His film also offered a lot of breath-taking open-air winter scenes. The film could hardly be called historical without them."

Cossacks and soldiers and people from the near-by villages took part in shooting the Russian film. The work was in full swing but neither the Russian nor the French crews managed to meet the deadlines. So, an unprecedented decision was made to combine both versions under the brand "Pathe and Khanzhonkov". The former rivals became co-authors. In the final version of the film, two Napoleons were kept: actor Pavel Knorr from the French film and Vasily Seriozhnikov from the Russian one.

The 33-minute (original speed) black-and-white silent film "1812" caused a sensation in Moscow. The film was accompanied by live music, the orchestra performed "Marseillaise" and "1812 Overture" by Tchaikovsky. The cameraman was very highly praised. Many techniques were used for the first time, for example, "the depth sequence". Today it is common knowledge but at the beginning of the cinema it was genuine know-how.

The French Invasion of Russia in 1812, also known as the Russian Campaign in France (French: Campagne de Russie) and the Patriotic War of 1812 in Russia (Russian: Отечественная война 1812 года), was a turning point during the Napoleonic Wars. It reduced the French and allied invasion forces (the Grande Armée) to a tiny fraction of their initial strength and triggered a major shift in European politics as it dramatically weakened French hegemony in Europe. The reputation of Napoleon as an undefeated military genius was severely shaken, while the French Empire's former allies, at first Prussia and then the Austrian Empire, broke their alliance with France and switched camps, which triggered the War of the Sixth Coalition. The Grand Armée had lost some 380,000 men dead and 100,000 captured. Napoleon then abandoned his men and returned to Paris to protect his position as Emperor and to prepare to resist the advancing Russians. The campaign effectively ended on 14 December 1812, when the last French troops left Russia.

For more information about cinema history: http://blog.ecla.de/tag/cinema-history/

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Napoleon and Napoleonic Wars, outra impressionante coleccção aqui.
o jogo Napoleon: Total War, não sei quem duvida que o ensino deixou de ser linear e predominantemente linguístico.

colecções de marchas:
Russian Imperial Marches
Tsarist Russian March Music

é curioso comparar com as mais actuais canções de guerra: afeganistão, chechnya.



You can never get used to the silence
At war, at war, at war
Silence is only a lie, just a lie
On a twisted path
In a stranger's land
We step out for a caravan

A caravan is the joy of victory and the pain of loss,
Caravan, I'm waiting to meet you
Caravan, and Afghanistan turns rosy with blood
Caravan, Caravan, Caravan

You can never get used to a civvie life
Over there, it's all clear, there's a friend and a foe
But here, it's hard to see the souls of people
Through the fog
And it's a pity your friend
Isn't here
He was taken by the caravan for good

The caravan is a flask of water
And without it, you're dead
The caravan, it means you CAN
The caravan - killing the "shuravi" is ordained by the Quaran
Caravan, Caravan, Caravan

You can never get used to not having your shoulder
Weighed down by the AKM
To roadside bushes not being mined,
There are no "spiritual" gangs here
But somewhere over there,
In my footsteps,
Someone's storming the caravan

The caravan is a hundred grenades
That missed
The caravan is salt on your face
The caravan. The third toast. A moment of silent.
Someone's lost, someone's won . . .
Caravan, caravan, caravan.

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