Mikhail Ivanovich Glinka (1804-1857) played a special role in the history of Russian culture:
in his work, the process of formation of the national composer school was completed;
in his person, Russian music for the first time put forward a world-class composer, thanks to which she was included in the context of the pinnacle of art achievementsXIX;
it was Glinka who gave a generally significant content to the idea of Russian national self-expression.
The first Russian classical composer, a contemporary of Pushkin , Glinka was a representative of a turbulent, critical time, full of dramatic events. The most important of them are the Patriotic War of 1812 and the Decembrist uprising (1825). They determined the main direction of the composer's work (“Let us dedicate our souls to the Fatherland with wonderful impulses”).
Key facts of creative biography, periodization
The most reliable source of information about the composer is his "Notes", which area remarkable example of memoir literature (1854-55). In them, Glinka, with his characteristic propensity for accuracy and clarity, clearly outlined the main stages of his life.
First stage - childhood and youth (until 1830). Born May 20, 1804 in the village of Novospasskoye, Smolensk province. The strongest impressions of childhood: Russian peasant song, uncle's serf orchestra, church choir singing, rural church bells ringing.
A beneficial effect on Glinka was his stay in the St. Petersburg Noble Boarding School (1817-22), where his tutor was V. Kuchelbecker, the future Decembrist.
The main creative achievements of the young Glinka are associated with the romance genre..
Second phase - the period of professional development (1830 - 1835). At this time, many bright artistic impulses were given to the composer by travel: a trip to the Caucasus (1823), a stay in Italy, Austria, Germany (1830-34). In Italy, he met G. Berlioz, F. Mendelssohn, V. Bellini, G. Donizetti, became interested in Italian opera, and studied the art of bel canto in practice. In Berlin, he seriously studied harmony and counterpoint under the guidance of the famous theorist Z. Dehn.
Startcentral period (1836 - 1844) was marked by the creation of the opera "A Life for the Tsar" . At the same time, romances based on Pushkin's poems, the vocal cycle "Farewell to Petersburg", the first version of "Waltz-Fantasy", music for N. Kukolnik's tragedy "Prince Kholmsky" appear at the same time. For about 6 years Glinka worked on the second opera - Ruslan and Lyudmila (based on the plot of Pushkin's poem, staged in 1842). These years coincided with the active teaching activities of Glinka. An excellent vocal teacher, he trained many talented singers, including S.S. Gulak-Artemovsky, author of the classic Ukrainian opera Zaporozhets beyond the Danube.
Late period creativity (1845-1857).Glinka spent the last years of his life in Russia (Novospasskoye, St. Petersburg, Smolensk), often traveling abroad (France, Spain).Spanish impressions inspired him to create two symphonic pieces: The Hunt of Aragon and Memories of a Summer Night in Madrid. Next to them is the ingenious “Russian scherzo, Kamarinskaya”, created in Warsaw.
In the 1950s, Glinka's connections with the younger generation of Russian musicians - M.A. Balakirev, A.S. Dargomyzhsky, A.N. Serov (to whom he dictated his Notes on Instrumentation).Among the unfinished plans of these years are the program symphony "Taras Bulba" and the opera-drama "The Two Wife" (after A. Shakhovsky).
In an effort to "tie the knot of legal marriage" Russian folk song and fugue, in the spring of 1856 Glinka went on his last trip abroad to Berlin. Here he died on February 3, 1857, and was buried in the cemetery of the Alexander Nevsky Lavra in St. Petersburg.
Glinka's style, like the style of his contemporaries Pushkin, Bryullov, is inherently synthetic. Classicist rationality, romantic ardor and young Russian realism intertwined in an inseparable unity, the heyday of which was yet to come.
The parallels between Glinka and Pushkin have become textbook. Glinka in Russian music is the same "our everything" as Pushkin in poetry. Pushkin's muse inspired Glinka to create a number of romances and the opera Ruslan and Lyudmila. Both composer and poetcompared with Mozart, speaking of the "Mozartian perfection" of their talents. With Pushkin, Glinka is related by a harmonious perception of the world, the desire for the triumph of reason, goodness, justice, an amazing ability to poeticize reality, to see beauty in everyday life (signs of the aesthetics of classicism).
Like Pushkin's poetry, Glinka's music is a deeply national phenomenon.It fed on the origins of Russian folk art, assimilated the traditions of ancient Russian choral culture, innovatively implemented the most important achievements of the national composer school of the previous period.The desire for national identity has become an important link between the art of Glinka and the aesthetics of musical romanticism.
Both Pushkin and Glinka were greatly influenced by folk art. The famous words of the composer “the people create music, and we, the artists, only arrange it” (recorded by A.N. Serov) quite specifically express his creative credo.
It is natural that Glinka was especially attracted by the poetry of Pushkin, where the emotional and logical beginnings are merged in a unique unity. Composer and poet are closest to each other in the classical sensebeauty artistic work. It is no coincidence that Asafiev says that Glinka was "a classic in his entire mindset, only seduced and admired by the artistic culture of feeling - romanticism ...".
Growing up on Russian soil, the art of Glinka -not only a national phenomenon. Composerwas unusually sensitive to the folklore of different peoples. Probably, this feature was formed in childhood: the folk culture of the Smolensk region, where he spent his childhood, absorbed elements of Ukrainian, Belarusian, Polish folklore. Traveling a lot, Glinka eagerly absorbed impressions from nature, from meetings with people, and from art. He was the first Russian composer to visit the Caucasus . The Caucasus and, more broadly, the theme of the East since the time of Glinka have becomean integral part of Russian musical culture.
Glinka was an excellently educated person, he knew European languages.He came to his highest achievements by studying the experience of the great Western European masters. Acquaintance with Western European romantic composers broadened his horizons.
The comprehension of the experience of modern history was vividly refracted in the most important theme of Glinka's work - the theme of sacrificial deeds in the name of Holy Russia, the tsar, faith, and family. In the composer's first opera, A Life for the Tsar, this heroic themepersonified in the specific historical image of the peasant Ivan Susanin. The novelty of this work was appreciated by the most advanced minds of that time. Zhukovsky:
Sing in delight, Russian choir,
A new one has come out.
Have fun, Russia! Our Glinka -
Not clay, but porcelain.
Characteristic features of the style
perfect sense of form, classical harmony of proportions, thoughtfulness of the smallest details of the entire composition;
the constant desire to think in Russian, the closeness of the Russian folk song. Glinka rarely uses quotes from genuine folklore melodies, but his own musical themes sound like folk ones.
melodic richness. Fthe melody function is the leading one in Glinka's music. melodious melody,chant makes Glinka's music related to Russian folk songs; especially typical are the sixth and hexachordal chants, the singing of the fifth tone, the descending stroke of V-I;
in Glinka's music, freedom and smoothness of voice leading, reliance ontraditions of subvocal polyphony;
the predominance of variant-singing and variational development. Variation as a method of development is inherited by the composers of The Mighty Handful, Tchaikovsky, Rachmaninov.
mastery of orchestral coloring. Using the method of differentiated orchestration. In "Notes on Instrumentation" Glinka defines the functions of each orchestral group. Strings - "their main character is movement." Woodwinds are the exponents of the national color. Brass - "dark spots in the picture." Special coloristic nuances are created by using additional instruments (harp, piano, bells, celesta) and a rich group of percussions.
many features of Glinka's harmony are associated with the national specifics of Russian music: plagality, modal variability, widespread use of side steps of the mode, variable mode, folk music modes. At the same time, the composer uses the means of modern romantic harmony: augmented triad, dominant nonchord, major-minor tools, whole-tone scale.
Glinka's creative heritage covers all major musical genres: opera, music for drama, symphonic works, piano pieces, romances, chamber ensembles. But the main merit of Glinka is the creation of Russian classical opera.Glinka's operatic work became the mainstream for Russian opera, defining its two main directions - folk musical drama and fairy tale epic.According to Odoevsky, “Glinka's opera is something that has long been sought and not found in Europe - a new element in art, and a new period begins in its history: the period of Russian music.
Both operas played a huge role in the development of Russian symphony. Glinka for the first time abandoned the previous distinction between instrumental presentation into “zones” of accompanied recitative and through symphonic presentation.
Glinka's biography is full of interesting facts and events. The huge legacy left by Mikhail Ivanovich includes romances, works for children, songs and compositions, symphonic fantasies. The main work of the composer is the opera "Ruslan and Lyudmila", which became famous all over the world. Music critics call Glinka Pushkin in music. Mikhail Ivanovich Glinka, whose biography is replete with extraordinary facts, wrote the first Russian opera based on historical events. In this article we will trace the life path of the great composer. Glinka Mikhail Ivanovich, whose brief biography is full of unpredictable turns, has been in love with music since childhood.
Origin
The composer was born on his father's estate on May 20 (June 1, according to the old style), 1804. The first home of Glinka was the village of Novospasskoe, Smolensk province. Mikhail Glinka's father was a retired captain - Ivan Nikolaevich Glinka. Their family descended from the gentry. The composer's mother is Evgenia Andreevna. Immediately after the birth of the boy, the grandmother, Fyokla Alexandrovna, took him. She was so diligent in raising the boy that already in childhood he became painfully touchy. By the age of six, Misha was completely removed from society, even from his own parents. In 1810, the grandmother dies, and the boy is returned to be raised in the family.
Education
Mikhail Glinka, whose brief biography is incredibly interesting, was convinced from an early age that he would devote his life to music. The fate of the musician has been known since childhood. While still a small child, he learned to play the violin and piano. The boy was taught all this by the governess Varvara Klammer from St. Petersburg. After Mikhail has mastered the first basics in art, he is sent for education to the St. Petersburg boarding school, which is located at the Pedagogical Institute. Wilhelm Küchelbecker becomes his first tutor. Glinka takes lessons from great music teachers, including John Field and Karl Zeiner. It is here that the future composer meets Alexander Pushkin. Strong friendships are established between them, which last until the death of the great poet.
The heyday of creativity
Glinka, whose biography is full of many events, was passionate about music from an early age, by the age of ten he was already skillfully handling the piano and violin. Music for Mikhail Glinka is a vocation from an early age. Already after the end of the Noble boarding school, he gives performances in salons, is actively engaged in self-education, studying the history and characteristics of Western European music. At the same time, the composer composed the first successful works for piano and harp. He writes romances, rondos for orchestras, as well as string septets and orchestral overtures. The circle of his acquaintances is replenished by Zhukovsky, Griboedov, Mitskevich, Odoevsky and Delvig. Glinka's biography is interesting not only to his admirers, but also to everyone who is interested in music.
Mikhail Ivanovich spends several years in the Caucasus. But already in 1824, the young composer got a job as an assistant secretary in the Main Directorate of Railways. However, despite being busy, already at the end of the twenties, together with Pavlishchev, he published the Lyric Album. It also includes Mikhail Ivanovich's own compositions. As you can see, Glinka's biography is interesting with unusual events and unexpected twists and turns.
Since 1830, a new period begins, which is characterized as Italian. Before it starts, Glinka makes a summer trip to German cities, and then stops in Milan. At that time, this city was the central point of musical culture throughout the world. It is here that Mikhail Glinka meets Donizetti and Bellini. He does research and studies bel canto in detail, after which he composes works in the Italian spirit.
A few years later, in 1833, the composer settled in Germany. Studying with Sigrifid Den, he hones and polishes his musical talent. However, the news of his father's death in 1834 forces the composer to return to Russia. Glinka, whose brief biography is interesting not only to the inhabitants of the Russian Federation, but also to Europeans, gave the world two great operas.
"Life for the King"
His dreams are directed towards the creation of a Russian national opera. Working hard, he chooses Ivan Susanin and his feat as the central figure. The author devotes the whole three years of his life to his work and in 1836 he completes a grandiose opera, which was called “Life for the Tsar”. The first performance took place on the stage of the Bolshoi Theater in St. Petersburg and was accepted by the society with great enthusiasm. After the overwhelming success of Mikhail Glinka, he was appointed to the post of Kapellmeister of the Court Chapel. The year 1838 the composer devoted to rest and travel around Ukraine.
1842 is the year of the release of the opera Ruslan and Lyudmila. The work is accepted by the public ambiguously and is hotly discussed.
Life abroad
Mikhail Glinka, whose biography is rich in facts and events, devoted many years to studying the cultures of different European peoples. The year 1844 was marked by a new journey abroad for the great composer. This time his path lies in France. Here his works are performed by the great Berlioz. In Paris in 1845, Mikhail Ivanovich gives a huge charity concert, after which he goes to sunny Spain. Studying the local culture, he composes several symphonic overtures on Spanish folk themes, and the Aragonese Jota overture is also created here.
In 1827, the composer again came to his native Russia, and then immediately went to Warsaw. It is here that he composes the famous "Kamarinskaya". It has become the newest type of symphonic music, which combines a variety of rhythms, moods and characters. 1848 - the year of the creation of "Night in Madrid".
Composer influence
In 1851 Glinka returned to St. Petersburg again. Here he finds time to give lessons to the new generation, to write opera parts. Thanks to his influence, a Russian vocal school is even being created in this city. Glinka Mikhail Ivanovich, whose brief biography is interesting for its unpredictability, is the founder of many musical trends.
Just a year later, the composer resumes traveling around Europe. On his way to Spain, he lingers in Paris for two years. He devotes all the time to the Taras Bulba symphony, but it remains unfinished.
In 1854, the composer returned to his homeland, where he wrote his memoirs and his Notes. However, it does not last long, and he again goes to Europe, this time heading for Berlin. Glinka, whose biography begins in Russia, managed to visit many European cities, creating his brilliant works there.
Family life
In 1835, Mikhail Ivanovich Glinka married his distant relative Maria Petrovna Ivanova. However, their marriage did not work out, and they soon separated.
Three years after the first marriage and unsuccessful union, Glinka met Ekaterina Kern. It was to her that the best works of the composer were dedicated. Glinka loved this woman until the end of his days.
Composer's death
His biography is of great interest. Glinka M.I. is a great composer and a true patriot.
In February 1857, while in Berlin, Mikhail Glinka died. On February 15, when he died, he was buried first in the Lutheran cemetery. However, a couple of months later, his ashes were transported to Russia and reburied at the Tikhvin cemetery in the city of St. Petersburg.
Main achievements
- Mikhail Ivanovich Glinka, whose biography allows us to consider him a national treasure, managed to create a lot of beauty in his life, while influencing many of his followers-composers.
- He founded the Russian National School of Composers.
- Glinka's works influence the development of Russian and world music. In particular, Dargomyzhsky and Tchaikovsky developed his original ideas in their musical compositions.
- Glinka created the first Russian national opera called A Life for the Tsar, based on a historical plot.
- Thanks to the influence of the composer, a Russian vocal school was formed in St. Petersburg.
Glinka's biography is of interest to adults and children.
- Not many people know that Fyokla Alexandrovna, the grandmother of Mikhail Glinka, the mother of his father, took the boy to be brought up for a reason. A year before the birth of Misha, a son was born in the family, who died in infancy. The grandmother blamed the mother for this, and therefore, with the advent of Misha, she took the child to her. She possessed unbridled autocracy, and therefore no one dared to object to her - neither her daughter-in-law, nor even her own son.
- The first wife of Mikhail Ivanovich, Maria Petrovna, was uneducated. She also knew nothing about music, and she did not even know who Beethoven was. Perhaps this was the reason that their marriage was unsuccessful and so fleeting.
- Glinka created patriotic music that was the anthem of the Russian Federation for almost ten years - from 1991 to 2000.
- During the transportation of the ashes of the composer from Germany to Russia, on the box in which the coffin was packed, it was written in large letters: "PORCELAIN".
- During his life, Mikhail Ivanovich created about twenty songs and romances, six symphonic works, two great operas, as well as several chamber-instrumental compositions.
- Glinka, whose brief biography is studied in Russian and European schools, devoted his life to music.
- In the native estate of the composer, in Novospasskoye village, the museum of Mikhail Glinka was created.
- In total, three monuments to the composer have been erected in the world: in Kyiv, Berlin and Bologna.
- After the death of Glinka, the State Academic Chapel in the city of St. Petersburg was named after him.
From all the facts and events described by us, his biography is formed. Glinka M.I. made a huge contribution to Russian culture, many European composers were guided by him.
GLINKA Mikhail Ivanovich, Russian composer, founder of Russian classical music. He was the author of the operas A Life for the Tsar (Ivan Susanin, 1836) and Ruslan and Lyudmila (1842), which laid the foundation for two directions of Russian opera - folk musical drama and opera-fairy tale, opera-epic. Symphonic compositions: "Kamarinskaya" (1848), "Spanish Overtures" ("Jota of Aragon", 1845, and "Night in Madrid", 1851), laid the foundations of Russian symphony. Classic of Russian romance. Glinka's "Patriotic Song" became the musical basis of the national anthem of the Russian Federation. The Glinka Prizes were established (by M. P. Belyaev; 1884-1917), the Glinka State Prize of the RSFSR (in 1965-90); the Glinka Vocal Competition has been held (since 1960).
Childhood. Studying at the Noble Boarding School (1818-1822)
Glinka was born into a family of Smolensk landowners I. N. and E. A. Glinka (former second cousins). He received his primary education at home. Listening to the singing of serfs and the ringing of the bells of the local church, he showed an early passion for music. He was fond of playing the orchestra of serf musicians on the estate of his uncle, Afanasy Andreevich Glinka. Musical lessons - playing the violin and piano - began rather late (1815-1816) and were of an amateur nature. However, music had such a strong influence on him that once he remarked to a remark about absent-mindedness: "What to do? ... Music is my soul!"
In 1818, Glinka entered the Noble Boarding School at the Main Pedagogical Institute in St. Petersburg (in 1819 it was renamed the Noble Boarding School at St. boarding house to his brother. Glinka's tutor was V. Kuchelbecker, who taught Russian literature at the boarding school. In parallel with his studies, Glinka took piano lessons (first from the English composer John Field, and after his departure to Moscow - from his students Oman, Zeiner and Sh. Mayr - a fairly well-known musician). He graduated from the boarding school in 1822 as the second student. On graduation day, Hummel's Piano Concerto was played in public with great success.
The beginning of an independent life
After graduating from the boarding school, Glinka did not immediately enter the service. In 1823, he went to be treated at the Caucasian Mineral Waters, then went to Novospasskoye, where he sometimes "directed his uncle's orchestra, playing the violin," then he began to compose orchestral music. In 1824 he was hired as assistant secretary of the Main Directorate of Railways (he resigned in June 1828). The main place in his work was occupied by romances. Among the works of that time are "The Poor Singer" to the verses of V. A. Zhukovsky (1826), "Do not sing, beauty, with me" to the verses of A. S. Pushkin (1828). One of the best romances of the early period is an elegy on poems by E. A. Baratynsky "Do not tempt me without need" (1825). In 1829 Glinka and N. Pavlishchev published the Lyric Album, which included Glinka's plays among the works of various authors.
First overseas trip (1830-1834)
In the spring of 1830, Glinka went on a long trip abroad, the purpose of which was both treatment (on the waters of Germany and in the warm climate of Italy) and acquaintance with Western European art. After spending several months in Aachen and Frankfurt, he arrived in Milan, where he studied composition and vocals, visited theaters, and traveled to other Italian cities. In Italy, the composer met V. Bellini, F. Mendelssohn and G. Berlioz. Among the composer's experiments of those years (chamber-instrumental compositions, romances), the romance "Venetian Night" to the verses of I. Kozlov stands out. Glinka spent the winter and spring of 1834 in Berlin, devoting himself to serious studies in music theory and composition under the guidance of the famous scholar Siegfried Dehn. At the same time, he had the idea of creating a national Russian opera.
Creativity M.I. Glinka
PLAN
1. The historical role of Glinka in music.
2. Researchers of Glinka's creativity.
3. Creative way. Characteristics of creativity.
4. Opera dramaturgy.
5. Symphonic music.
6. Chamber instrumental music.
7. Romances.
The historical role of Glinka in music can be compared with the role of Pushkin in Russian literature. In the very nature of the talent of the two contemporaries, there is much that is related. According to Belinsky, like Pushkin, Glinka was able to combine "an elegantly humane feeling with a plastically elegant form." It is this quality that made the work of the poet and composer a model of truly classical artistic creativity, which is based on the fusion of deep inner truth and breadth of content with harmonic clarity, harmony and completeness of form. Like Pushkin Glinka is universal . In his work, he showed the diverse aspects of Russian life and the Russian character. He creator of Russian classical opera and Russian classical romance . He laid the foundations of classical Russian symphonism . The great historical significance of Glinka determined another quality - a deeply national artist, he had the gift of comprehending the psychology and way of thinking of other nationalities. His East, Italy, Spain are an example of the creative recreation of authentic living images.
The heyday of Glinka's work coincided with the era of romanticism in Europe. Glinka was close to the romantics' concept of national identity and specificity. But Glinka did not become a romantic, even in the fantastically colorful opera Ruslan and Lyudmila. He is not characterized by the specific features of romanticism - increased attention to the individual, the subjective, a skeptical attitude towards the environment, pathetic expression of feelings. Alien to national limitations, Glinka's work, for all its classicism, does not belong to either classicism or romanticism. But from romanticism he inherited progressive features - the ability to find beauty in the ordinary. In the history of Russian music, he was the first to achieve perfection in the unity of the truthful and the beautiful, conveying the images of the surrounding reality in an elegant, harmonious and perfect artistic form.
With the work of Glinka, musicology in Russia acquired a worthy object of study for posing major musical and aesthetic problems, and professional literature about music arises on the basis of an analysis of his work. Glinka's works are considered in historical, aesthetic, musical and creative aspects. His works serve as the subject of critical articles on the problems of musical theater and musical performance, the problems of operatic dramaturgy, the principles of symphony, and the specifics of the musical language. V.F. Odoevsky, A.N. Serov, V.V. Stasov, G.A. Larosh, P.P. Weinmarn, N.F. Findeizen, N.D. Kashkin, A.N. B.V. Asafiev, D.D. Shostakovich, V.V. Protopopov, T.N. Livanova - a far from complete list of researchers. Glinka's work.
The creative life of M.I. Glinka is reflected in his "Notes", in which the composer divides his creative life into four periods:
1. Childhood and youth, the formation of creative principles (until 1830).
2. The path to mastery (1830-1836).
3. Central period (until 1844).
4. Late period (1844-1854). -
His statements speak of the composer's amazing modesty, strict requirements for himself, sincerity and truthfulness.
Mikhail Ivanovich Glinka was born in the Smolensk province, in the village of Novospasskoye. Since childhood, he listened to Russian folk songs, fell in love with them and developed Russian folk music throughout his life. Glinka's first acquaintance with professional music took place in early childhood. Russian songs, classical plays and dances formed the repertoire of his uncle's small band of serfs. From early childhood, learning to play the piano and violin begins.
1818-1822 - the years of Glinka's teachings in St. Petersburg, where he received a thorough general education. Showing brilliant abilities and interest in literature, theater, poetry, he is seriously engaged in music. A special role was played by the teacher Sch. Mayer, who not only gave a good pianistic school, but also helped in Glinka's first composing experiments. Meetings with future participants in the Decembrist uprising and close contact with the Decembrist 8.K.Kyukhelbeker had a huge impact on Glinka. The tragic events of December 14, 1825 made an indelible impression on the young Glinka, faith in his people and the desire to serve the Motherland strengthened in his heart. After 1825, Glinka's vocation as a composer was finally determined, he completely devoted himself to creativity. Cycles of piano variations, sketches of overtures, chamber ensembles - these are the first experiments. Then there are significant works-romances "Do not tempt", "Poor singer", "Do not sing, beauty, in front of me", variations on the theme of the Russian folk song "Among the flat valley". At the same time, his performing skills as a pianist and singer are growing. By the end of the 1920s, Glinka's name was becoming widely known. He greedily absorbs all the best that the environment gives him. He was close with Pushkin, Griboedov, Zhukovsky, Mickiewicz, he plays music with Odoevsky, Varlamov, performs in the music salon of the Polish pianist Maria Shimanovskaya.
At the same time, Glinka feels dissatisfied and seeks to get acquainted with the musical life of the West. In 1830, his first foreign trip will take place. He is going to Italy , where he lives in Milan, visits Naples, Rome, Venice. Then he goes to Austria and Germany ; he is fond of Italian opera culture and classical vocal performance, in which he sees a combination of classical harmony, distinctness of performance with ease. A number of piano variations on Italian themes written by him in Italy speak of his passion for Italian art. During a trip abroad, Glinka gets acquainted with the best achievements of Western European culture. All this broadened the horizons of the composer and gave new aspirations. A thorough acquaintance with the opera house helped Glinka realize his true calling. He decides to create a Russian opera. In Berlin, Glinka studies under the guidance of the theoretical musician Siegfried Dehn, with whom he put his theoretical knowledge in order and worked on the technique of polyphonic writing.
In 1834, Glinka returned to his homeland and began to implement the idea of a national opera by writing opera Ivan Susanin. He dreams of a big heroic opera. The plot was proposed by the poet Zhukovsky. The work went on with great enthusiasm, but the difficulties were due to the fact that there was no libretto. The writing of the text was entrusted to G. F. Rosen, a poet close to the court. The original title of the opera Ivan Susanin was changed to A Life for the Tsar. By means of music, Glinka embodied the main idea of a folk tragedy - to show the greatness of the feat of a peasant who gave his life for his homeland.
The premiere of the opera took place on November 27, 1836. Pushkin, Gogol, Odoevsky perceived the opera as a huge historical event. Secular music lovers had the opposite opinion, calling the opera "coachman's music." Pushkin predicted Glinka's great future.
A new phase of the composer's creative life began - a period of brilliant creative flowering. His art is recognized at home and abroad. Glinka begins work on a new opera "Ruslan and Lyudmila" and at the same time on the music for the tragedy by N.K. Kukolnik "Prince Kholmsky", a cycle of romances "Farewell to St. Petersburg". Known romances of this period: "Doubt", "Night review", "I remember a wonderful moment." The production of the opera Ruslan and Lyudmila took place on November 27, 1842. At the premiere, the emperor and his retinue left the hall before the end of the performance, but music critics highly appreciated the opera. In the 40s, Glinka was a mature artist, with well-formed aesthetic views and big plans. But the external conditions of life were unfavorable. As a composer of the court singing chapel, he was burdened by the role of a court servant. Envy and petty chicanery of the chapel distracted the composer from creative work. Unsuccessful was the marriage to M.P. Ivanova, a secular young lady, far from the creative interests of her husband. All this forced Glinka to break off his former ties in the aristocratic world.
In 1844, Glinka again went abroad, to France and Spain. In Paris he meets Hector Berlioz. A concert of Glinka's works was held in Paris with great success. For two years the composer was in Spain. Using recordings of folk dances, in 1845 he wrote a concert Overture "Jota of Aragon" in 1848 already in Russia Overture "A Night in Madrid" Then it was written symphonic fantasy "Kamarinskaya".
In recent years, M.I. Glinka lived in St. Petersburg, Warsaw, Paris, Berlin. Poets, singers, writers, composers, actors, young musicians, Balakirev, music critics Serov and Stasov gathered in the composer's house. Glinka died in Berlin in 1887. His ashes were transferred to St. Petersburg.
Characteristics of creativity.
M.I. Glinka, having absorbed the achievements of Western European musical culture, having mastered high skill to perfection, developed his own system of aesthetic views, to which his style is subordinated. He created the national style and language of Russian classical music, which was the foundation for the entire future development of the Russian classical school.
The defining element of his music is the melody. The melody is characterized by chanting, smoothness, turns are typical: sixth and hexachord (six-sound) chants, singing of the fifth (fifth degree of the mode) tone, a descending move from the fifth to the tonic of the mode. Songliness is characteristic of his vocal and instrumental compositions, where "singing harmony" permeates the entire orchestral fabric.
MI Glinka penetrated deeply into the very nature of folk music, understanding the essential features of folk musical thinking, folk melody, mode and rhythm. The language of folk song became his own, native language.
The smoothness of voice leading, the relief of the melodic pattern - all these are the root traditions of folk vocal polyphony. The freedom of voice leading, characteristic of Glinka's harmonic and polyphonic thinking, his technique of layering voices, his love for transparent two and three voices - all this is connected with the style of folk polyphony. Glinka was fluent in the method of variant development. Glinka's polyphony is both similar and not similar to classical samples. The composer uses classical Western European forms of fugue, canon, imitation, mobile counterpoint, but they are of a national Russian character. Tchaikovsky, Rakhmaninov and many other composers of the next generations used the methods of variant-song development after Glinka.
Glinka poetically translated the Russian folk flavor, using original modal turns, the principle of modal variability, typical modes of Russian folk songs - mixolydian major, natural minor.
Opera art. Glinka created two leading operatic genres of Russian music - the folk historical musical drama "Ivan Susanin" and the fabulously epic opera "Ruslan and Lyudmila".
"Ivan Susanin" opens the mature period of Glinka's work. The plot of the opera was proposed by Zhukovsky, based on a historical fact - the heroic deed of the peasant Ivan Osipovich Susanin in 1612, when Russia was occupied by invaders. Moscow has already been liberated. But one of the remaining Polish detachments entered the village of Domnino. The peasant Ivan Susanin, agreeing to be a guide, led them into a dense forest, thereby destroying them and dying himself. Glinka was inspired by the idea of patriotism of the Russian people.
The idea of love for the fatherland runs through the opera. The consistent development of the conflict is fully reflected in the musical composition.
Opera begins overture . The overture is all built on themes found in the opera, and embodies the main idea of the opera in a generalized form. It is written in sonata allegro form with an introduction. The main part (G minor) is the disturbing, impetuous theme of the folk choir from the finale of Act III, where the people are shown in a patriotic impulse. In the development of the overture, this theme acquires a dramatic tense] character. A secondary theme is Vanya's theme, "How Mother Was Killed." Already in the exposition, a contrast is given - the linking party in triple meter with the intonations of a mazurka represents the Poles. The same theme is heard in the opera in the scene of the arrival of the Poles in Susanin's hut. Thus, the “arch” is thrown to one of the climaxes of the opera. In the code, the juxtaposition is even brighter - the disturbing motives of the main part turn into frozen chords that will sound in Susanin's answers to the Poles in the forest. Further mazurka phrases sound like a threat to the Poles. These phrases grow, but the three-part is replaced by two-part and this results in bell chimes. The theme of the main part in G major sounds victorious. Thus, the entire course of the opera is shown in the overture.
The opera has four acts and an epilogue. AT first act the characteristic of the Russian people and the main characters of the opera is given. This is Ivan Susanin, his daughter Antonida, adopted son Vanya, Antonida's fiancé - warrior Sobinin, people. The first act opens with a monumental choral scene-introduction. In the introduction, two choirs alternate several times - male and female. The theme of the male choir is close to peasant and soldier songs of a heroic-epic nature (“You rise, the red sun”). For the first time in Russian art, music of a pronounced folk style conveys high heroic pathos.
The melody of the second choir - female - sounds first in the orchestra, and a little later appears in the vocal part. Lively, joyful, it resembles round dance songs of peasant girls dedicated to the spring awakening of nature.
The main melodic images of the introduction are contrasting with each other. Thus, the introduction shows different aspects of the image of the people: their will and cordiality, their courageous steadfastness and loving perception; native nature.
After a monumental choral introduction, Glinka gives a musical portrait of one of the characters - Susanin's daughter Antonida.
Antonida's aria has two sections: the cavatina and the rondo. The slow thoughtful cavatina is in the spirit of Russian lyrical songs. A gentle cavatina is replaced by a lively, "graceful rondo. Its light, fresh music is also songlike.
Antonida answers Susanin. This is the "exposition" of the main image of the opera. Susanin's recitatives are typical of Glinka's style. They are melodious, they have a lot of smooth moves at wide intervals, chants on separate syllables. Thus, the composer immediately shows the organic unity of Susanin and “the people.
There is also a new hero of the opera - Bogdan Sobinin. The main feature of Sobinin is "successful character". It is revealed with the help of ardent and sweeping song phrases with an elastic, clear rhythm, sustained in the spirit of valiant soldier's songs.
The finale of Act I is sustained in a marching movement and is full of patriotic enthusiasm. Susanin, Antonida and Sobinin act as choir leads and soloists
II act presents a striking contrast to the former. Instead of simple peasants on the stage - pans feasting in the castle of the Polish king. Four dances: polonaise, krakowiak, waltz and mazurka form a large dance suite. The main theme of Krakowiak, thanks to the syncopated rhythm, is particularly elastic; the waltz is elegant on 6/8, the presence of a syncopation on the second beat makes it related to the mazurka, giving it a Polish flavor. The waltz is notable for its particular subtlety and transparency of orchestration. The polonaise and the concluding mazurka are of a completely different character. Polonaise sounds proud, grand and militant. His intonations are reminiscent of fanfare calls. A carefree, bravura mazurka with a sweeping melody and sonorous chords is full of dashing and brilliance.
With the intonations and rhythms of this dance, Glinka paints a portrait of the Polish invaders, behind whose external brilliance greed, arrogance and reckless vanity are hidden.
Before Glinka, dance numbers were introduced into the opera, but usually only in the form of an inserted divertissement, but they had no direct relation to the action. Glinka, for the first time, gave dancing an important dramatic significance. They have become a means of figurative characterization of actors. From the "Polish" scenes of the second act, Russian classical ballet music originates.
III act can be divided into two halves: the first - before the arrival of enemies, the second - from the moment they appear. The first half is dominated by a calm and bright mood. The character of Susanin is shown here - a loving father in the family circle.
The action begins with the song of Susanin's adopted son Vanya. The song, with its simplicity and natural melody, is close to Russian folk songs. At the end of the song, Susanin's voice is included in it and the song goes into a stage, and then into a duet. The duet is dominated by march-like intonations and rhythms; it finds expression of the patriotic upsurge of father and son.
The dramatic culmination of the whole opera is the scene with the Poles in IV action . Here the fate of the protagonist of the opera is decided.
The picture begins with a chorus of Poles wandering in the darkness of the night through a dense forest covered with snow. To characterize the Poles, Glinka uses the rhythm of the mazurka. Here it is devoid of bravura and militancy, it sounds gloomy, conveying the oppressed state of the spirit of the Poles, their premonition of imminent death. Unsteady chords (increased triad, diminished seventh chord) and dull timbres of the orchestra enhance the feeling of darkness and longing.
The main features of the hero's appearance at the decisive hour of life are revealed in his dying aria and the subsequent recitative monologue. The introductory short recitative "They smell the truth" is based on Susanin's usual wide, unhurried and confident intonations of the song structure. This is one of the best examples of Glinka's melodious recitative (example No. 8). In the aria itself (“You will come, my dawn ...”), the mood of deep mournful reflection dominates. Susanin retains his inherent masculinity, loftiness and fortitude. There is no melodrama in this. Susanin's aria is a vivid example of Glinka's innovative approach to folk song. It is here, on the basis of Russian folk-song intonations, that music for the first time arises, imbued with genuine tragedy. This aria includes the words of Odoevsky that Glinka "managed to create a new hitherto unheard of character, to elevate the folk tune to tragedy."
The opera ends with a grandiose picture of a folk celebration on Red Square in Moscow.
Epilogue consists of three sections: 1) the chorus "Glory" in the first presentation; 2) scenes and trio of Vanya, Antonida and Sobinin “Ah, not to me, the poor ...” with a choir; and 3) the finale - a new, final presentation of "Glory".
The heroic image of the victorious people is embodied in the ingenious "Glory" with the utmost convexity and clarity.
"Ivan Susanin" is the first Russian opera based on continuous musical development, there is not a single spoken dialogue in it. Glinka implements the principle of symphonism in the opera and lays the foundations for the leitmotif method, later developed with such skill by Tchaikovsky and Rimsky-Korsakov. Together with Ivan Susanin, Russian music embarked on the path of symphonic development . The pinnacle of Russian dramatic symphonism is the scene in the forest, an example of a deep symphonic disclosure of the psychological subtext of the drama.
In characterizing his heroes, Glinka uses a variety of forms - from an ariose recitative to a complex multi-part aria of the classical type. A specific feature of the opera is the presence of Polish scenes of cross-cutting development, which actively promote the action of the drama. But the aria is an important center of the operatic composition, in the aria it is a characteristic of the character.
Glinka's high skill manifested itself in ensembles, in which they combine the principles of classical polyphony with the nature of the folk-Russian polyphonic style. In the finale of act I in the trio "Don't suffocate, darling," Glinka uses the form of polyphonic variations in a new way, with a gradual layering of voices. In the funeral trio from the epilogue, the techniques of Russian folk polyphony are used. The monumental quartet from act III approaches the symphonic cycle - an introduction, anedgeyo, a slow movement and a fast finale,
In the opera "Ivan Susanin" there is a truly symphonic method of through development. The meaning of Glinka's dramatic comparison of two opposing forces is not only in the national-genre contrast - Russian and Polish, song and dance, vocal and instrumental, symphonic beginning as the main means of characterization. The meaning of the contrast is also in something else - the image of the people is interpreted as the main character of the tragic story - the defender of the Motherland. Hence the different approach and different scales in the interpretation of both groups. Polish gentry are shown in a generalized way. And the Russian people are shown in many ways; that is why the folk-song language of the opera is so rich. The choral scenes of the opera define the national style of Glinka's opera. The basis is the Russian song in all its genre varieties. The subtlest features of the intonational and modal structure of Russian folk songs were first fully embodied only by Glinka, which was expressed, for example, in the five-beat rhythm of the girls' choir, in the flexible modal variability in the rowers' choir. Folk intonations receive free development, re-transforming in the classically harmonious forms of Glinka's music. The variational form, corresponding to the nature of Russian folk themes, is widely used by the composer.
The main role belongs to two choral scenes. The people in them appear as a "great personality", united by one feeling, one will. These folk choirs, with their oratorio style, were unparalleled at that time.
The final scene of the opera - the epilogue expresses the scene of popular rejoicing. Glinka's contemporary Serov wrote: "In its Russian originality, in its faithful transmission of the historical moment, this choir is a page of Russian history."
The theme of the choir combines the features of chant and movement. Its entire figurative structure conveys the unhurried pace of the people's procession.
The origins of the choir are manifold. Here is a folk song, and the style of choral partes singing, a solemn cant of the 18th century. In the overall composition of the choral scene, Glinka uses his favorite form of variations and sub-voice-polyphonic development techniques.
Glinka also uses coloristic techniques to achieve a general impression of joy, celebration - a full symphony orchestra and a brass one on stage participate in the finale, a group of basses and bells join the main choir, the diatonic (C major) is enriched with harmonic colors (E major, B major). All means are applied with a sense of proportion, harmony and beauty of form.
AT opera "Ruslan and Lyudmila" Glinka used the traditional fairy tale plot with exploits, fantasy, magical transformations to show a variety of characters, complex relationships between people, creating a whole gallery of human types. Among them are chivalrous and courageous Ruslan, gentle Lyudmila, inspired Bayan, ardent Ratmir, faithful Gorislava, cowardly Farlaf, kind Finn, treacherous Naina, cruel Chernomor.
The overall composition of the opera is subject to the strict principle of symmetry. Glinka's typical techniques of reprise and completeness of form determine the individual elements of the opera and its entire composition as a whole. The prologue and epilogue frame the work, which corresponds to the epic warehouse of the opera. The harmony of the operatic form is created by means of musical framing: the thematic material of the overture is repeated again in the finale of Act V, in the solemn final choir in the same key of D major. The extreme acts paint majestic pictures of Kievan Rus. Contrasting scenes of the hero's magical adventures in the kingdom of Naina and Chernomor unfold between them, a 3rd part is formed. This principle will become typical for fairy tale and epic operas of Russian lyrics. At the same time, the opera, symphonic, conflict, intense and dramatic development is replaced by the principle of contrast.
The new genre of fabulous-epic opera determines the features of the musical dramaturgy of Ruslan and Lyudmila. Based on the classical tradition of closed, completed numbers, Glinka creates his own type of epic narrative operatic dramaturgy. The unhurried narrative course of development with wide thematic arcs over long distances, the slowness of the stage action, and the abundance of themes made it difficult to perceive the work.
Music critic Stasov, having an exceptional breadth of artistic views, managed to see in Glinka's music a whole trend of Russian art - an interest in folk epos, in folk poetry. The epic style of Glinka's opera gave rise to a system of images and dramatic techniques that retain their significance in the Russian lyrics of the subsequent time.
Symphonic creativity. Glinka wrote a small number of works for the symphony orchestra. Almost all of them belong to the genre of one-movement overtures or fantasies. The main ones are “Kamarinskaya”, Spanish overtures “Jota of Aragon” and “Night in Madrid”, “Waltz Fantasy”, music for the tragedy “Prince Kholmsky”. However, their historical role turned out to be so significant that they can be considered the basis of Russian classical symphony. Essential, new principles of symphonic development are laid down in the general principles of Glinka's aesthetics. The accessibility and genuine nationality of the musical language, the principle of generalized programming are the features of his symphonic overtures. Glinka developed a concise, concise form of the overture. In each individual case, the form is uniquely new, it is always determined by the general artistic concept. "Kamarinskaya" begins in the form of double variations, in "Aragonese Jota" a sonata structure, "Waltz - Fantasy" in the form of a rondo. All compositional features were prompted by the very nature of the material.
Romances and songs. Glinka turned to the romance genre throughout his entire career. He wrote over 70 romances. They express various feelings: love, disappointment, delight, spiritual impulse. In some romances, pictures of nature and life are captured. Glinka covers all types of everyday romance contemporary to him: "Russian song", elegy, serenade, ballad, everyday dances - waltz, mazurka, polka. He turns to genres characteristic of the music of other nations: to the Spanish bolero, the Italian barcarolle. The forms of romances are also diverse - a simple couplet form, a three-part form, a rondo, a complex form, where there is a change of different episodes connected by a single line of continuous dramatic development.
While maintaining the unity of his style, Glinka managed to display in the music of the romance a poetic image, features of the poetic language inherent in various authors. In the vocal parts, Glinka showed an excellent knowledge of the possibilities of the voice. The melodious melody of wide breathing, sometimes with separate recitative pictorial intonations, is distinguished by the unity of all elements. The harmonic language of Glinka's romances is not complicated, but very interesting harmonic strokes can be found in them: a lowered VI degree and a large number of subdominant harmonies. The piano part plays an important role; in most romances, the introductions introduce the mood and setting of the action. Widely known are his romances "Doubt" to the words of the Dollmaker, in "The fire of desire burns in the blood" and "I remember a wonderful moment" to poems by Pushkin.
Mikhail Ivanovich Glinka is a composer whose compositions had a strong influence on the formation of the next generations of musicians. The ideas of his works were developed in his work by A. S. Dargomyzhsky, members of the Mighty Handful, P. I. Tchaikovsky.
Mikhail Glinka. Brief biography: childhood
Mikhail was born in June 1804 in the distant village of Novospasskoye, which belonged to his parents and was located 100 versts from Smolensk, and 20 from the small town of Yelnya. They began to systematically teach the boy both music and general disciplines rather late. The governess V. F. Klamer, invited from St. Petersburg, was the first to deal with him.
M. Short biography: first experiments in composition
In 1822, just after completing his studies at the boarding school, Mikhail wrote several variations for harp and piano on the theme of one of the fashionable operas of that time. They became Glinka's first experience in composing music. From that moment on, he continued to improve and soon wrote a lot and in a wide variety of genres. Dissatisfaction with his work, despite recognition, leads him to search for new forms, to meet creative people. In composing music, neither secular parties nor deterioration in health could interfere with him. It became his deep inner need.
M. I. Glinka. Brief biography: travel abroad
Several reasons prompted him to think about going abroad. This is, firstly, an opportunity to get new impressions, knowledge and experience. And he also hoped that the new climate would help him improve his health. In 1830 he went to Italy, but on the way he stopped in Germany and spent the summer there. Then Glinka settled in Milan. In 1830-1831, the composer composed especially a lot, new works appeared. In 1833 Glinka went to Berlin. On the way, he stopped briefly in Vienna. In Berlin, the composer intended to put his theoretical knowledge of music in order. He studied under the guidance of Z. Den.
M. I. Glinka. Short biography: homecoming
Glinka was forced to interrupt his studies in Berlin by the news of his father's death. When Mikhail Ivanovich arrived in St. Petersburg, he often visited Zhukovsky. Writers and musicians gathered at the poet's every week. At one of the meetings, Glinka shared with Zhukovsky his desire to write a Russian opera for the first time. He approved the composer's intention and offered to take the plot of Ivan Susanin. In 1835, Glinka married MP Ivanova.
Happiness not only did not become an obstacle to creativity, but, on the contrary, spurred the composer's activity. He wrote the opera "Ivan Susanin" ("Life for the Tsar") rather quickly. In the autumn of 1836, its premiere had already taken place. She was a huge success with the public and even with the emperor.
M. I. Glinka. Short biography: new works
Even during Pushkin's lifetime, the composer had the idea to write an opera based on the plot of his poem "Ruslan and Lyudmila". She was ready in 1842. Soon the production took place, but the opera was less successful than A Life for the Tsar. It was not easy for the composer to survive the criticism. Two years later he went on a trip to France and Spain. New impressions returned creative inspiration to the composer. In 1845, he created the overture "Jota of Aragon", which was a great success. Three years later, Night in Madrid appeared.
In a foreign land, the composer increasingly turned to Russian songs. Based on them, he wrote "Kamarinskaya", which laid the foundation for the development of a new type.
Mikhail Glinka. Biography: recent years
Mikhail Ivanovich lived either abroad (Warsaw, Berlin, Paris), or in St. Petersburg. The composer had plenty of creative plans. But enmity and persecution interfered with him, he had to burn several scores. Until the last days, L.I. Shestakova, his younger sister, remained next to him. Glinka died in Berlin in February 1857. The ashes of the composer were transported and buried in St. Petersburg.
