Carl orff short biography for children. Karl Orff: biography, interesting facts, creativity

In 1920, Orff married Alice Solscher (Alice Solscher), a year later he was born only child, Godel's daughter, and in 1925 he divorced Alice.?

In 1923, he met Dorothea Günther and in 1924, together with her, created a school of gymnastics, music and dance ("Günther-Schule" ["Günther-Schule"]) in Munich. From 1925 until the end of his life, Orff was the head of the department at this school, where he worked with young musicians. Having constant contact with children, he developed his theory of music education.

Although Orff's connection (or lack thereof) with the Nazi Party has not been established, his " Carmina Burana" was very popular in Nazi Germany after its premiere in Frankfurt in 1937, performed many times (although Nazi critics called it "degenerate" - "entartet" - alluding to the connection with the infamous exhibition "Degenerate Art" that arose at the same time) . It should be noted that Orff was the only one of several German composers during the Nazi regime who responded to the official call to write new music for Shakespeare's play A Midsummer Night's Dream, after the music of Felix Mendelssohn was banned - the rest refused to take part in this. But then again, Orff worked on the music for this play in 1917 and 1927, long before the Nazi government came.

Carl Orff's grave in Andechs

Orff was a close friend of Kurt Huber, one of the founders of the resistance movement "Die Weiße Rose" ("White Rose"), sentenced to death by the People's Court of Justice and executed by the Nazis in the year. After World War II, Orff stated that he was a member of the movement and was himself involved in the resistance, but there is no evidence other than his own words, and various sources dispute this statement (for example,). The motive seems clear: Orff's declaration was accepted by the American denazification authorities, allowing him to continue composing.

Orff is buried in the Baroque-style church, Andechs Abbey's brewing Benedict monastery in southern Munich.

Creation

Orff resisted having any of his works simply called an opera in the traditional sense. His works "Der Mond" ("Moon") () and "Die Kluge" ("Wise Woman") (), for example, he attributed to the "Märchenoper" ("fairy tale operas"). Both works have a feature: they repeat the same sounds devoid of a sense of rhythm, in which no sounds are used. musical techniques of the period in which they were composed, so that they cannot be said to belong to any particular era. Melodies, rhythms and, along with them, the text of these works are manifested in the union of words and music.

Pedagogical work

In educational circles, he is probably best known for his work "Schulwerk" ("Schulwerk", -). Its simple musical instrumentation allowed even untrained child musicians to perform parts of the pieces with relative ease.

Orff's ideas, together with Gunild Keetman, were embodied in an innovative approach to music education children, known as "Orff-Schulwerk". The term "Schulwerk" is a German word meaning " school work". Music is the basis and brings together movement, singing, playing and improvisation.

Literature

• Alberto Fassone: "Carl Orff", Grove Music Online ed. L. Macy (Accessed November 27 ), (subscription access)
• Michael H. Kater, "Carl Orff im Dritten Reich," Vierteljahrshefte für Zeitgeschichte 43, 1 (January 1995): 1-35.
• Michael H. Kater, Composers of the Nazi Era: Eight Portraits. New York: Oxford University Press, 2000.

Carl Orff was born on July 10, 1895 in Munich. German composer, musicologist, teacher.

As a child (from the age of five) he learned to play the piano, organ, and cello. Further musical education received at the Munich Academy of Music; student of A. Beer-Walbrunn, G. Zilcher (graduated in 1914). Subsequently (1921-1922) he studied with the famous polyphonist G. Kaminsky.

From 1915 to 1919 conductor in Munich, Mannheim, Darmstadt. In 1924 he founded in Munich, together with D. Günther, a music school (Günterschule), on the basis of which he built a system musical education children with the help of movement (gymnastics, dance) and music, developed new type musical instruments(“Orff instruments”). The results of this work are presented in special musical teaching aids (1930-1935).

At the same time, he directed the concerts of the Bach Society. Since 1950, he has been a professor of composition at the Munich Conservatory. Member
Bavarian Academy of Arts, Academy of Santa Cecilia, Honorary Doctor of Philosophy of the University of Tübingen.

Orff is a pronounced humanist artist. The main area of ​​​​creativity is musical and stage works of various genres, including original forms of combining recitation, singing, pantomime, dance and music both within stage action, and in the concert (cantata-oratorio) plan. Some of them are connected with the Bavarian folk musical and poetic art.

"On the background musical life 20th century the art of K. Orff is striking in its originality. Each new composition of the composer became the subject of controversy and discussion. Critics tended to accuse him of an outright break with that tradition. German music, which comes from R. Wagner to the school of A. Schoenberg. However, the sincere and universal recognition of Orff's music turned out to be the best argument in the dialogue composer - criticism.

... Orff made an invaluable contribution to the field of children's musical education. Already in his younger years, when he founded the school of gymnastics, music and dance in Munich, Orff was obsessed with the idea of ​​​​creating a pedagogical system. At the heart of it creative method- improvisation, free music-making of children in combination with elements of plasticity, choreography, theater.

* “Whoever the child becomes in the future,” Orff said, “the task of teachers is to educate in him creativity, creative thinking…

The instilled desire and ability to create will affect any area of ​​the child's future activities. Established by Orff in 1962, the Institute for Musical Education in Salzburg has become the largest international training center music educators For preschool institutions And general education schools". (http://belcanto.ru/orff.html)

“Unlike Stravinsky, Hindemith, Bartok, whose work is changeable and unpredictable, like a city landscape, Orff is smooth and clean, like an uninhabited plateau. When compared to his great contemporaries, he loses to any of them. However, it certainly wins one - it is the simplest.
... In the creations of Orff, the word sounds in ancient and new languages, the Italian comedy of masks, folk farce, mystery and farce, vagantes and minnesingers, Sophocles and Aeschylus come to life.
... Orff was the first to lead the language of music to a decisive and conscious simplification - and his simplicity cannot be denied genuine sophistication.
Fundamental homophony, ostinato formulas - with complete indifference to polyphony and thematic development, a taste for ancient forms of singing, Gregorian or Byzantine, folk-dance rhythmic energy, a combination of colorfulness and asceticism in an orchestra, from which melodious strings were gradually removed, but the number of pianos and percussions of multinational origin increased.
Orff embodied the world of legends and myths, multicolored, multilingual, sometimes terrible. Modernity in art filled him with disgust.
... (In the 1960s) ... it turned out that the models found by Orff are suitable for almost any national culture who decided to look for inspiration near her origins. "Kursk Songs" by Georgy Sviridov, ... * or "Creole Mass" by Ariel Ramirez are just random examples of this ...")

The Belcanto Foundation organizes concerts in Moscow featuring Orff's music. On this page, you can see the poster for upcoming concerts in 2019 with Orff's music and buy a ticket for a date that suits you.

Orff Carl (1895–1982) - German composer, teacher (Germany). Member of the Bavarian Academy of Arts (1950), National Academy "Santa Cecilia" in Rome (1957). Since 1915 Kapellmeister of drama theaters. In 1924, together with D. Günther, he founded the School of Gymnastics, Dance and Music (Günterschule) in Munich. In the early 30s. together with the musical ethnographer K. Huber collected and processed Bavarian folk songs and dancing, which was reflected in the style of his musical works. The main field of creativity is musical stage works (about 15), which are characterized by the simplicity of the musical language (mostly diatonic), connection with modern theatrical dramaturgy and with the democratic tradition of Western European musical and theatrical art (mystery, puppet theater, Italian comedy of masks). Starting with the first significant work - the stage cantata "Carmina Burana", Orff developed a new type musical performance. It is characterized by: a close connection between music, text and stage movement; organization of musical dramaturgy through long rhythmic ostinatos. In 1950-54, he published the 5-volume collection Music for Children (Schulwerk), which became the basis of Orff's musical and pedagogical system, which received worldwide recognition and distribution. In 1950–60 he taught at the Higher music school in Munich. In 1961, the Orff Institute (Institute for Musical Education at the Higher School of Music and performing arts Mozarteum). Among the students: V. Egk, P. Kurzbach, G. Zoetermeister. National Award GDR (1949).
Creative activity Orff continued for a long time, until his 80th birthday. Fate seemed to compensate the composer for the "belated" success with the public. He became a prominent figure in modern German art only after the premiere of the stage cantata Carmina Burana. The first performance of this musical bestseller of the 20th century took place in 1937, when the composer was already over forty. By this time, representatives of his generation - Paul Hindemith, Arthur Honegger, Sergei Prokofiev - had long won worldwide fame.
Orff's later stage cantatas - "Catulli Carmine" and "Triumph of Aphrodite" - together with "Carmina Burana" made up the triptych "Triumphs".
The stage cantata genre has become initial stage on the way of the composer to the creation of other synthetic theatrical forms, representing the innovative theater of Orff. This:
Instructive musical tales- “Moon”, “Clever Girl” (both based on the fairy tales of the Brothers Grimm), “Sly” (“Astutuli”).
Mysteries - "The Mystery of the Resurrection of Christ", "The Miracle of the Birth of a Baby", "The Mystery of the End of Time".
Conversational musical dramas intended for dramatic actors, singers, choir and orchestra - Bernauerin, Sly, Dream in midsummer night».
Ancient tragedies - "Antigone", "Oedipus Rex", "Prometheus" (antique trilogy).
If stage cantatas and ancient tragedies are entirely musical compositions, then in the mysteries choral singing alternates with conversational scenes, and in plays for dramatic actors, only the most “important” moments are voiced by music. Astutuli stands apart, Orff's only piece with almost no use of sounds of a certain pitch. Its main musical component is the percussion rhythm and the rhythm of the Old Bavarian speech. Unusual means of expression, in particular, not a singing, but a speaking choir, the composer used in his later works. An example is his last composition - "Pieces" for a reader, a speaking choir and percussion on the verses of B. Brecht (1975).

The activity of Orff, who discovers new worlds in the culture of the past, can be compared with the work of a poet-translator who saves the values ​​of culture from oblivion, misinterpretation, misunderstanding, awakens them from a lethargic sleep.
O. Leontieva

Against the backdrop of the musical life of the XX century. the art of K. Orff is striking in its originality. Each new composition of the composer became the subject of controversy and discussion. Critics, as a rule, accused him of a frank break with the tradition of German music that comes from R. Wagner to the school of A. Schoenberg. However, the sincere and universal recognition of Orff's music turned out to be the best argument in the dialogue between composer and critic. Books about the composer are stingy with biographical data. Orff himself believed that the circumstances and details of his personal life could not be of any interest to researchers, and human qualities the author of music does not help at all to understand his works.

Orff was born into a Bavarian officer family, in which music constantly accompanied life at home. A native of Munich, Orff studied at the Academy there musical art. Several years later were devoted to conducting activities - first in the Munich theater Kammerspiele, and later in the drama theaters of Mannheim and Darmstadt. During this period, there early works composer, but they are already imbued with the spirit of creative experimentation, the desire to combine several various arts under the auspices of music. Orff does not acquire his handwriting immediately. Like many young composers, he goes through years of searching and hobbies: the then fashionable literary symbolism, the works of C. Monteverdi, G. Schutz, J. S. Bach, wonderful world lute music of the 16th century

The composer shows an inexhaustible curiosity to literally all aspects of his contemporary artistic life. His interests include drama theaters and ballet studios, diverse musical life, ancient Bavarian folklore and national instruments of the peoples of Asia and Africa.

The premiere of the stage cantata Carmina Burana (1937), which later became the first part of the Triumphs triptych, brought Orff real success and recognition. This composition for the choir, soloists, dancers and orchestra was based on the verses to the song from the collection of everyday German lyrics of the 13th century. Starting with this cantata, Orff persistently develops a new synthetic type of musical stage action, combining elements of oratorio, opera and ballet, drama theater and medieval mysteries, street carnival performances and Italian comedy masks. This is how the following parts of the triptych Catulli Carmine (1942) and The Triumph of Aphrodite (1950-51) are resolved.

The stage cantata genre became a stage on the composer's path to creating operas, innovative in their theatrical form and musical language, The Moon (based on the fairy tales of the Brothers Grimm, 1937-38) and Good Girl (1941-42, a satire on the dictatorial regime of the "Third Reich") . During World War II, Orff, like most German artists, withdrew from participation in public and cultural life countries. A kind of reaction to tragic events war was the opera "Bernauerin" (1943-45). The peaks of the composer's musical and dramatic work also include: Antigone (1947-49), Oedipus Rex (1957-59), Prometheus (1963-65), which form a kind of ancient trilogy, and The Mystery of the End of Time ( 1972). The last essay Orff appeared "Plays" for a reader, a speaking choir and percussion on the verses of B. Brecht (1975).

The special figurative world of Orff's music, his appeal to ancient, fairy-tale plots, archaic - all this was not only a manifestation of the artistic and aesthetic trends of the time. The movement "back to the ancestors" testifies, first of all, to the composer's highly humanistic ideals. Orff considered his goal to be the creation of a universal theater understandable to everyone in all countries. “Therefore,” the composer emphasized, “and I chose eternal themes, understandable in all parts of the world ... I want to penetrate deeper, rediscover those eternal truths of art that are now forgotten.”

The musical and stage works of the composer form in their unity the "Orff Theater" - the most original phenomenon in musical culture 20th century “This is a total theater,” wrote E. Doflein. - “It expresses the unity of history in a special way. European theater- from the Greeks, from Terence, from the drama of the Baroque up to the opera of modern times. Orff approached the solution of each work in a completely original way, not embarrassing himself with either genre or stylistic traditions. The amazing creative freedom of Orff is due primarily to the scale of his talent and the highest level composer technique. In the music of his compositions, the composer achieves the ultimate expressiveness, it would seem, with the most simple means. And only a close study of his scores reveals how unusual, complex, refined and at the same time perfect the technology of this simplicity.

Orff made an invaluable contribution to the field of children's musical education. Already in his younger years, when he founded the school of gymnastics, music and dance in Munich, Orff was obsessed with the idea of ​​​​creating a pedagogical system. Her creative method is based on improvisation, free music-making of children in combination with elements of plasticity, choreography, and theatre. “Whoever the child becomes in the future,” said Orff, “the task of teachers is to educate him in creativity, creative thinking ... The instilled desire and ability to create will affect any area of ​​the child’s future activities.” Created by Orff in 1962, the Institute of Musical Education in Salzburg has become the largest international center for the training of music educators for preschool institutions and secondary schools.

Orff's outstanding achievements in the field of musical art have won worldwide recognition. He was elected a member of the Bavarian Academy of Arts (1950), the Academy of Santa Cecilia in Rome (1957) and other authoritative musical organizations in the world. IN last years life (1975-81), the composer was busy preparing an eight-volume edition of materials from his own archive.

In 1920, Orff married Alice Zollscher (German). Alice Solscher), a year later his only child was born, the daughter of Godel, in 1925 he divorced Alice.

Orff was a close friend of the Gauleiter of Vienna and one of the leaders of the Hitler Youth, Baldur von Schirach.

Orff was also a close friend of Kurt Huber, one of the founders of the White Rose resistance movement (German. Die Weisse Rose), sentenced to death by the People's Court of Justice and executed by the Nazis in 1943. After World War II, Orff claimed to have been involved in the movement and was himself involved in the resistance, but there is no evidence other than his own words, so some sources dispute this claim. The motive seems to be clear: Orff's declaration was accepted by the American denazification authorities, allowing him to continue composing. It is known that Orff did not dare to use his authority and friendship with von Schirach to protect Huber, citing fears for own life. At the same time, he did not make any public statements in support of the regime.

Orff resisted any of his works simply being called an opera in the traditional sense. His works "Der Mond" ("Moon", German. Dermond , ) and "Die Kluge" ("Clever Girl", German. Die Kluge , ), for example, he referred to "Märchenoper" ("fairy tale operas"). The peculiarity of both works is that they repeat the same rhythmless sounds, do not use any musical techniques of the period when they were created, that is, they cannot be judged as relating to any particular time. Melodies, rhythms and, along with them, the text of these works appear only in the union of words and music.

Premiere latest work Orff, "De Temporum Fine Comoedia" ("Comedy for the End of Time"), was held at the Salzburg Music Festival on August 20, 1973 and was performed Symphony Orchestra Radio Cologne and a choir conducted by Herbert von Karajan. In this in the highest degree In his personal work, Orff presented a mystical play in which he summed up his views on the end of time, sung in Greek, German and Latin.

"Musica Poetica", which Orff composed with Gunild Ketman, was used as the main musical theme to Terrence Malick's film "Desolate Lands" (). Hans Zimmer later reworked this music for the film True Love ().

Pedagogical work

In educational circles, he is probably best known for his work "Schulwerk" ("Schulwerk", -). Its simple musical instrumentation allowed even untrained children to perform parts of the piece with relative ease.

Orff's ideas, together with Gunild Keetman, were embodied in an innovative approach to the musical education of children, known as the "Orff-Schulwerk". The term "Schulwerk" is a German word meaning "school work". Music is the basis and brings together movement, singing, playing and improvisation.

Memory

In the village of Varna, there is a school named after Karl Orff, where children are taught music according to his programs.

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Literature

• Leontieva O. Carl Orff. - M.: Music, 1964. -160 p., notes. ill.
• Alberto Fassone"Carl Orff" // Grove Music Online ed. L. Macy (Retrieved November 27),
• Michael H. Kater"Carl Orff im Dritten Reich" // Vierteljahrshefte für Zeitgeschichte 43, 1 (January 1995): 1-35.
• Michael H. Kater"Composers of the Nazi Era: Eight Portraits" // New York: Oxford University Press, 2000.
• Andrea Liess, Carl Orff, Idea und Werk, Atlantis Musikbuch-Verlag, Zürich 1955. Zweite überarbeitete Auflage, Atlantis Musikbuch-Verlag, Zürich 1977, ISBN 3-7611-0236-4 . Taschenbuchausgabe Wilhelm Goldmann-Verlag, München 1980, ISBN 3-442-33038-6
• Andrea Liess, Zwei Essays zu Carl Orff: De Temporum Fine Comoedia, Bohlau Verlag, Wien-Köln-Graz 1981

Notes

Links

• Zakharova O. A., Zakharov N. V. // Electronic encyclopedia"The World of Shakespeare".

An excerpt characterizing Orff, Carl

He leaned on the table with a pen in his hand, and, obviously delighted with the opportunity to quickly say in a word everything that he wanted to write, expressed his letter to Rostov.
- You see, dg "ug," he said. "We sleep until we love. We are the children of pg`axa ... but you fell in love - and you are God, you are pure, as on the peg" day of creation ... Who else is this? Send him to the chog "tu. No time!" he shouted at Lavrushka, who, not at all shy, approached him.
- But who should be? They themselves ordered. The sergeant-major came for the money.
Denisov frowned, wanted to shout something and fell silent.
“Squeeg,” but that’s the point, he said to himself. “How much money is left in the wallet?” he asked Rostov.
“Seven new ones and three old ones.
“Ah, skweg,” but! Well, what are you standing, scarecrows, send a wahmistg “a,” Denisov shouted at Lavrushka.
“Please, Denisov, take my money, because I have it,” said Rostov, blushing.
“I don’t like to borrow from my own, I don’t like it,” grumbled Denisov.
“And if you don’t take money from me comradely, you will offend me. Really, I have, - repeated Rostov.
- No.
And Denisov went to the bed to get a wallet from under the pillow.
- Where did you put it, Rostov?
- Under the bottom cushion.
- Yes, no.
Denisov threw both pillows on the floor. There was no wallet.
- That's a miracle!
“Wait, didn’t you drop it?” said Rostov, picking up the pillows one at a time and shaking them out.
He threw off and brushed off the blanket. There was no wallet.
- Have I forgotten? No, I also thought that you were definitely putting a treasure under your head, ”said Rostov. - I put my wallet here. Where is he? he turned to Lavrushka.
- I didn't go in. Where they put it, there it should be.
- Not really…
- You're all right, throw it somewhere, and forget it. Look in your pockets.
“No, if I didn’t think about the treasure,” said Rostov, “otherwise I remember what I put in.”
Lavrushka rummaged through the whole bed, looked under it, under the table, rummaged through the whole room and stopped in the middle of the room. Denisov silently followed Lavrushka's movements, and when Lavrushka threw up his hands in surprise, saying that he was nowhere to be found, he looked back at Rostov.
- Mr. Ostov, you are not a schoolboy ...
Rostov felt Denisov's gaze on him, raised his eyes and at the same moment lowered them. All his blood, which had been locked up somewhere below his throat, gushed into his face and eyes. He couldn't catch his breath.
- And there was no one in the room, except for the lieutenant and yourself. Here somewhere,” said Lavrushka.
- Well, you, chog "those doll, turn around, look," Denisov suddenly shouted, turning purple and throwing himself at the footman with a menacing gesture. Zapog everyone!
Rostov, looking around Denisov, began to button up his jacket, fastened his saber and put on his cap.
“I’m telling you to have a wallet,” Denisov shouted, shaking the batman’s shoulders and pushing him against the wall.
- Denisov, leave him; I know who took it,” said Rostov, going up to the door and not raising his eyes.
Denisov stopped, thought, and, apparently understanding what Rostov was hinting at, grabbed his hand.
“Sigh!” he shouted so that the veins, like ropes, puffed out on his neck and forehead. “I’m telling you, you’re crazy, I won’t allow it. The wallet is here; I will loosen my skin from this meg'zavetz, and it will be here.
“I know who took it,” Rostov repeated in a trembling voice and went to the door.
“But I’m telling you, don’t you dare do this,” Denisov shouted, rushing to the cadet to restrain him.
But Rostov tore his hand away and with such malice, as if Denisov was his greatest enemy, directly and firmly fixed his eyes on him.
– Do you understand what you are saying? he said in a trembling voice, “there was no one else in the room except me. So, if not, then...
He could not finish and ran out of the room.
- Oh, why not with you and with everyone - there were last words that Rostov heard.
Rostov came to Telyanin's apartment.
“The master is not at home, they have gone to the headquarters,” Telyanin’s orderly told him. Or what happened? added the batman, surprised at the junker's upset face.
- There is nothing.
“We missed a little,” said the batman.
The headquarters was located three miles from Salzenek. Rostov, without going home, took a horse and rode to headquarters. In the village occupied by the headquarters, there was a tavern frequented by officers. Rostov arrived at the tavern; at the porch he saw Telyanin's horse.
In the second room of the tavern the lieutenant was sitting at a dish of sausages and a bottle of wine.
“Ah, and you stopped by, young man,” he said, smiling and raising his eyebrows high.
- Yes, - said Rostov, as if it took a lot of effort to pronounce this word, and sat down at the next table.
Both were silent; two Germans and one Russian officer were sitting in the room. Everyone was silent, and the sounds of knives on plates and the lieutenant's champing could be heard. When Telyanin had finished breakfast, he took a double purse out of his pocket, spread the rings with his little white fingers bent upwards, took out a gold one, and, raising his eyebrows, gave the money to the servant.
“Please hurry,” he said.
Gold was new. Rostov got up and went over to Telyanin.
“Let me see the purse,” he said in a low, barely audible voice.
With shifty eyes, but still raised eyebrows, Telyanin handed over the purse.
"Yes, a pretty purse... Yes... yes..." he said, and suddenly turned pale. “Look, young man,” he added.
Rostov took the wallet in his hands and looked at it, and at the money that was in it, and at Telyanin. The lieutenant looked around, as was his habit, and seemed to suddenly become very cheerful.
“If we’re in Vienna, I’ll leave everything there, and now there’s nowhere to go in these crappy little towns,” he said. - Come on, young man, I'll go.
Rostov was silent.
- What about you? have breakfast too? They are decently fed,” continued Telyanin. - Come on.
He reached out and took hold of the wallet. Rostov released him. Telyanin took the purse and began to put it into the pocket of his breeches, and his eyebrows casually rose, and his mouth opened slightly, as if he were saying: “Yes, yes, I put my purse in my pocket, and it’s very simple, and no one cares about this” .
- Well, what, young man? he said, sighing and looking into Rostov's eyes from under his raised eyebrows. Some kind of light from the eyes, with the speed of an electric spark, ran from Telyanin's eyes to Rostov's eyes and back, back and back, all in an instant.
“Come here,” said Rostov, grabbing Telyanin by the hand. He almost dragged him to the window. - This is Denisov's money, you took it ... - he whispered in his ear.
“What?… What?… How dare you?” What? ... - said Telyanin.
But these words sounded a plaintive, desperate cry and a plea for forgiveness. As soon as Rostov heard this sound of a voice, a huge stone of doubt fell from his soul. He felt joy, and at the same moment he felt sorry for the unfortunate man who stood before him; but it was necessary to complete the work begun.
“The people here, God knows what they might think,” muttered Telyanin, grabbing his cap and heading into a small empty room, “we need to explain ourselves ...
“I know it, and I will prove it,” said Rostov.
- I…
Telyanin's frightened, pale face began to tremble with all its muscles; his eyes still ran, but somewhere below, not rising to Rostov's face, and sobs were heard.
- Count! ... do not destroy young man... here's the poor money, take it ... - He threw it on the table. - My father is an old man, my mother! ...
Rostov took the money, avoiding Telyanin's gaze, and, without saying a word, left the room. But at the door he stopped and turned back. “My God,” he said with tears in his eyes, “how could you do this?
“Count,” said Telyanin, approaching the cadet.
“Don’t touch me,” Rostov said, pulling away. If you need it, take this money. He threw his wallet at him and ran out of the inn.

In the evening of the same day, a lively conversation was going on at Denisov's apartment among the officers of the squadron.
“But I’m telling you, Rostov, that you need to apologize to the regimental commander,” said, turning to the crimson red, agitated Rostov, the high headquarters captain, with graying hair, huge mustaches and large features of a wrinkled face.
The staff captain Kirsten was twice demoted to the soldiers for deeds of honor and twice cured.
"I won't let anyone tell you I'm lying!" cried Rostov. He told me that I was lying, and I told him that he was lying. And so it will remain. They can put me on duty even every day and put me under arrest, but no one will make me apologize, because if he, as a regimental commander, considers himself unworthy of giving me satisfaction, then ...
- Yes, you wait, father; you listen to me, - the captain interrupted the staff in his bass voice, calmly smoothing his long mustache. - You tell the regimental commander in front of other officers that the officer stole ...
- It's not my fault that the conversation started in front of other officers. Maybe I shouldn't have spoken in front of them, but I'm not a diplomat. I then joined the hussars and went, thinking that subtleties are not needed here, but he tells me that I am lying ... so let him give me satisfaction ...
- That's all right, no one thinks that you are a coward, but that's not the point. Ask Denisov, does it look like something for a cadet to demand satisfaction from a regimental commander?
Denisov, biting his mustache, gloomy look listened to the conversation, apparently not wanting to join it. When asked by the captain's staff, he shook his head negatively.
“You are talking to the regimental commander about this dirty trick in front of the officers,” the headquarters captain continued. - Bogdanich (Bogdanich was called the regimental commander) laid siege to you.
- He didn’t siege, but said that I was telling a lie.
- Well, yes, and you said something stupid to him, and you need to apologize.
- Never! shouted Rostov.
“I didn’t think it was from you,” the headquarters captain said seriously and sternly. - You do not want to apologize, and you, father, not only before him, but before the whole regiment, before all of us, you are to blame all around. And here's how: if only you thought and consulted how to deal with this matter, otherwise you directly, but in front of the officers, and thumped. What should the regimental commander do now? Should we put the officer on trial and mess up the entire regiment? Shame the entire regiment because of one villain? So, what do you think? But in our opinion, it is not. And well done Bogdanich, he told you that you are not telling the truth. It’s unpleasant, but what to do, father, they themselves ran into it. And now, as they want to hush up the matter, so you, because of some kind of fanabery, do not want to apologize, but want to tell everything. You are offended that you are on duty, but why should you apologize to an old and honest officer! Whatever Bogdanich may be, but all honest and brave, old colonel, you are so offended; and messing up the regiment is okay for you? - The voice of the captain's staff began to tremble. - You, father, are in the regiment for a week without a year; today here, tomorrow they moved to adjutants somewhere; you don’t give a damn what they will say: “Thieves are among the Pavlograd officers!” And we don't care. So, what, Denisov? Not all the same?
Denisov remained silent and did not move, occasionally glancing with his shining black eyes at Rostov.