Where was Glinka born? Mikhail Ivanovich Glinka short biography about the most important

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Mikhail Ivanovich Glinka- Russian composer, founder of Russian classical music. 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 fairy tale opera, epic opera.

They laid the foundations of Russian symphony.Classic of Russian romance.

First you need to get acquainted with the personality of the composer, for this I suggest you familiarize yourself with the biography of Mikhail Ivanovich.

Born June 1, 1804. in the village of Novospasskoye, Smolensk province, in the family of a landowner. In 1818 he entered the Noble boarding school at the St. Petersburg Pedagogical Institute, from which he graduated in 1822. In the boarding house, Glinka began to compose music and became popular as the author of wonderful romances. In total, he wrote 80 works for voice and piano, among which are masterpieces of vocal lyrics: the elegy "Do not tempt", "Doubt", the cycle "Farewell to St. Petersburg" and others.

After graduating from the boarding school, Glinka entered the Main Directorate of Railways, but soon left the service in order to devote himself entirely to music.

In 1830-1834. he undertook a great journey through Italy, Austria and Germany, getting acquainted with European musical traditions and improving his composing skills. Upon his return, he began to realize his cherished dream - to write a Russian opera. The plot was suggested by V. A. Zhukovsky - the feat of Ivan Susanin. Already in 1836Petersburg premiere of the opera"Life for the King" . After the success, Glinka set to work on a second opera, this time based on Pushkin's plot. The work went on, albeit intermittently, for about six years. In 1842 pre miera "Ruslan and Lyudmila", which became the first fabulously epic opera in the history of the Russian music.

Glinka's work was highly valued by musicians - his contemporaries. Thus, F. Liszt transcribed for the piano "March of Chernomor" from "Ruslan and Lyudmila" and very often performed it in his concerts.

In 1844-1847. Glinka traveled in France and Spain. The images of Spain are reflected in the overtures The Hunt of Aragon (1845) and Night in Madrid (1851). The composer embodied in symphonic music the image of his native country no less colorfully. Being
in Warsaw, he wrote the orchestral fantasy "Kamarinskaya" (1848) on the theme of two Russian folk songs. P. I. Tchaikovsky said about this work that, “like an oak in an acorn, all Russian symphonic music is contained in it.”

In 1856, Mikhail Ivanovich went to Berlin to study the polyphony of the old masters in order to resurrect the ancient Russian znamenny church tunes in his work. It was not possible to realize the plan: on February 15, 1857, Glinka died.

Now it's time to introduce you to two operas by M. Glinka, for this, watch the presentation.

Two operas by M. Glinka

Two operas by M. Glinka

Listen to Susanin's Aria

YouTube video

This document presents the main significant works of the composer.

Glinka's works

Glinka's works

Glinka's first experience in composing music dates back to 1822, the end of the boarding school. These were variations for harp or piano on a theme from the Austrian composer Weigl's opera The Swiss Family, which was fashionable at the time. From that moment on, continuing to improve in playing the piano, Glinka paid more and more attention to composition and soon composed a lot, trying his hand at various genres. For a long time he remains dissatisfied with his work. But it was during this period that the well-known romances and songs “Do not tempt me needlessly” were written to the words of E. A. Baratynsky, “Do not sing, beauty, with me” to the words of A. S. Pushkin, “Autumn night, Dear night” to the words of A. Ya. Rimsky-Korsakov and others.

However, the main thing is not the creative victories of the young composer, no matter how highly they are valued. Glinka "with constant and deep tension" is looking for himself in music and at the same time comprehends the secrets of composer's skill in practice. He writes a number of romances and songs, honing the vocal melody, but at the same time persistently looking for ways to go beyond the forms and genres of everyday music. Already in 1823 he was working on a string septet, an adagio and a rondo for orchestra, and on two orchestral overtures.

Gradually, Glinka's circle of acquaintances goes beyond secular relations. He meets Zhukovsky, Griboyedov, Mitskevich, Delvig. In the same years, he met Odoevsky, who later became his friend.

All sorts of secular entertainment, numerous artistic impressions of various kinds, and even the state of health, which was increasingly deteriorating by the end of the 1820s (the result of an extremely unsuccessful treatment) - all this could not interfere with the composer's work, which Glinka devoted himself to with the same "constant and deep tension" . Composing music became an inner need for him.

During these years, Glinka began to seriously think about traveling abroad. He was motivated to do this by various reasons. First of all, the journey could give him such musical impressions, such new knowledge in the field of art and creative experience, which he could not have acquired in his homeland. Glinka also hoped to improve his health in other climatic conditions.

At the end of April 1830, Glinka left for Italy. On the way, he stopped in Germany, where he spent the summer months. Arriving in Italy, Glinka settled in Milan, which at that time was a major center of musical culture. The opera season of 1830 - 1831 was unusually eventful. Glinka was completely at the mercy of new impressions. “After each opera, returning home, we picked up sounds to remember our favorite places we heard.” As in St. Petersburg, Glinka still works hard on his compositions. There is nothing student left in them - these are masterfully executed compositions. A significant part of the works of this period are plays on the themes of popular operas. Glinka pays special attention to instrumental ensembles. He writes two original compositions Sextet for piano, two violins, viola, cello and double bass and Pathetic Trio for piano, clarinet and bassoon - works in which the features of Glinka's composer's style are especially clearly manifested.

In July 1833 Glinka left Italy. On his way to Berlin, he stopped for a while in Vienna. Of the impressions associated with his stay in this city, Glinka notes little in Zapiski. He often and with pleasure listened to the orchestras of Lanner and Strauss, read Schiller a lot and rewrote his favorite plays. Glinka arrived in Berlin in October of the same year. The months spent here led him to reflect on the deep national roots of the culture of each people.

This issue is now of particular relevance to him. He is ready to take a decisive step in his work. “The idea of ​​national music (not to mention opera music) became clearer and clearer,” notes Glinka in Zapiski.

Best of the day

The most important task facing the composer in Berlin was to put in order his musical and theoretical knowledge and, as he himself writes, ideas about art in general. In this matter, Glinka assigns a special role to Siegfried Dehn, a famous music theorist in his time, under whose guidance he studied a lot.

Glinka's studies in Berlin were interrupted by the news of his father's death. Glinka decided to immediately go to Russia. The foreign trip ended unexpectedly, but he basically managed to carry out his plans. In any case, the nature of his creative aspirations had already been determined. We find confirmation of this, in particular, in the haste with which Glinka, having returned to his homeland, starts composing an opera, without even waiting for the final choice of plot - the nature of the music of the future work is so clearly presented to him. I didn’t have words, but “Maryina Grove” was spinning in my head.

This opera briefly captured the attention of Glinka. Upon his arrival in St. Petersburg, he became a frequent visitor to Zhukovsky, at whom an elected society met weekly; predominantly engaged in literature and music. Pushkin, Vyazemsky, Gogol, Pletnev were regular visitors to these evenings.

“When I expressed my desire to take on Russian opera,” writes Glinka, “Zhukovsky sincerely approved of my intention and offered me the plot of Ivan Susanin. The scene in the forest was deeply engraved in my imagination; I found in it a lot of originality, characteristic of Russians. Glinka's enthusiasm was so great that "as if by a magical action ... the plan of an entire opera was suddenly created ...". Glinka writes that his imagination "warned" the librettist; "... many topics and even development details - all this flashed in my head at once."

But not only creative problems concern Glinka at this time. He is thinking about marriage. The chosen one of Mikhail Ivanovich was Marya Petrovna Ivanova, a pretty girl, his distant relative. “In addition to a kind and pure heart,” Glinka writes to her mother during the phase after marriage, “I managed to notice in her properties that I always wanted to find order and thrift in my wife ... despite her youth and liveliness of character, she is very reasonable and extremely moderate in desires. But the future wife knew nothing about music. However, Glinka's feeling for Marya Petrovna was so strong and sincere that the circumstances that subsequently led to the incompatibility of their fates at that time might not seem so significant.

The young people got married at the end of April 1835. Shortly thereafter, Glinka and his wife went to Novospasskoye. Happiness in his personal life spurred his creative activity, he set to opera with even greater zeal.

The opera advanced rapidly, but getting it staged at the St. Petersburg Bolshoi Theater proved to be a difficult task. The director of the imperial theaters, A. M. Gedeonov, stubbornly prevented the acceptance of the new opera for staging. Apparently, in an effort to protect himself from any surprises, he gave it to the judgment of Kapellmeister Kavos, who, as already mentioned, was the author of an opera on the same plot. However, Kavos gave Glinka's work the most flattering review and withdrew his own opera from the repertoire. Thus, Ivan Susanin was accepted for production, but Glinka was obliged not to demand remuneration for the opera.

The premiere of Ivan Susanin took place on November 27, 1836. The success was huge. Glinka wrote to his mother the next day, “Last night, my wishes finally came true, and my long work was crowned with the most brilliant success. The audience accepted my opera with extraordinary enthusiasm, the actors lost their temper with zeal ... the sovereign-emperor ... thanked me and talked with me for a long time ... "

The sharpness of the perception of the novelty of Glinka's music is remarkably expressed in "Letters on Russia" by Henri Mérimée "A Life for the Tsar" by Mr. Glinka is distinguished by its extraordinary originality ... This is such a truthful summary of everything that Russia has suffered and poured out in the song; in this music one can hear such a complete expression of Russian hatred and love, grief and joy, complete darkness and a shining dawn ... This is more than an opera, this is a national epic, this is a lyrical drama raised to the noble height of its original purpose, when it was frivolous fun, but a patriotic and religious ceremony.

The idea of ​​a new opera based on the plot of the poem "Ruslan and Lyudmila" came to the composer during Pushkin's lifetime. Glinka recalls in "Notes" "... I hoped to draw up a plan at the direction of Pushkin, his premature death prevented the fulfillment of my intention."

The first performance of "Ruslan and Lyudmila" took place on November 27, 1842, exactly - to the day - six years after the premiere of "Ivan Susanin". With Glinka's uncompromising support, as six years ago, Odoevsky spoke, expressing his unconditional admiration for the composer's genius in the following few, but bright, poetic lines: “... a luxurious flower has grown on Russian musical soil - it is your joy, your glory. Let the worms try to crawl up onto its stem and stain it - the worms will fall to the ground, but the flower will remain. Take care of him, he is a delicate flower and blooms only once a century.

However, Glinka's new opera, in comparison with Ivan Susanin, aroused stronger criticism. F. Bulgarin, at that time still a very influential journalist, came out as the most violent opponent of Glinka in the press.

The composer takes it hard. In the middle of 1844, he undertook a new long trip abroad - this time to France and Spain. Soon, vivid and varied impressions return Glinka's high vitality.

Glinka's works were soon crowned with a new great creative success in the fall of 1845, he created the Jota of Aragon overture. In Liszt's letter to V. P. Engelhardt, we find a vivid description of this work “... I am very pleased ... to inform you that “Hota” has just been performed with the greatest success ... Already at the rehearsal, understanding musicians ... were amazed and delighted by the lively and poignant originality of this lovely piece, minted in such delicate contours, trimmed and finished with such taste and art! What delightful episodes, witty connected with the main motive... what subtle shades of color, distributed over the different timbres of the orchestra! What the happiest surprises, abundantly emanating from the very logic of development!”

Having finished work on the Jota of Aragon, Glinka is in no hurry to take on the next composition, but devotes herself entirely to a further in-depth study of Spanish folk music. In 1848, after returning to Russia, another overture appeared on a Spanish theme - "Night in Madrid".

Remaining in a foreign land, Glinka cannot but turn his thoughts to a distant homeland. He writes "Kamarinskaya". This symphonic fantasy on the themes of two Russian wedding songs, lyrical (“Because of the mountains, high mountains”) and lively dance, was a new word in Russian music.

In "Kamarinskaya" Glinka approved a new type of symphonic music and laid the foundations for its further development. Everything here is deeply national, original. He skillfully creates an unusually bold combination of different rhythms, characters and moods.

In recent years, Glinka lived in St. Petersburg, then in Warsaw, Paris and Berlin. The composer was full of creative plans, but the atmosphere of enmity and persecution to which he was subjected hindered his creativity. He burned several of the scores he had begun.

A close, devoted friend of the last years of the composer's life was his beloved younger sister Lyudmila Ivanovna Shestakova. For her little daughter Oli Glinka composed some of his piano pieces.

Glinka died on February 15, 1857 in Berlin. His ashes were transported to St. Petersburg and buried in the cemetery of the Alexander Nevsky Lavra.

Mikhail Glinka is a Russian composer, founder of the Russian national opera, author of the world-famous operas A Life for the Tsar (Ivan Susanin) and Ruslan and Lyudmila.

Glinka Mikhail Ivanovich was born in the family estate of his family in the Smolensk region on May 20 (June 1), 1804. His father was a descendant of a Russified Polish nobleman. The parents of the future composer were distant relatives of each other. Mikhail's mother, Evgenia Andreevna Glinka-Zemelka, was a second cousin of his father, Ivan Nikolaevich Glinka.

Mikhail Glinka in recent years

The boy grew up as a sickly and weak child. For the first ten years of his life, Mikhail was raised by his father's mother Fyokla Alexandrovna. Grandmother was an uncompromising and strict woman, she cultivated suspiciousness and nervousness in the child. The grandson of Fyokla Alexandrovna studied at home. The boy's first interest in music manifested itself in early childhood, when he tried to imitate the ringing of bells with the help of copper household utensils.

After the death of his grandmother, his mother took up the upbringing of Mikhail. She arranged for her son in a St. Petersburg boarding school, in which only selected noble children studied. There Mikhail met Lev Pushkin and his older brother. Alexander Sergeevich visited a relative and knew his close friends, one of whom was Mikhail Glinka.

In the boarding house, the future composer began to take music lessons. His favorite teacher was the pianist Karl Mayer. Glinka recalled that it was this teacher who influenced the formation of his musical taste. In 1822, Mikhail graduated from boarding school. On graduation day, he performed Hummel's Piano Concerto publicly with teacher Mayer. The performance was a success.

Carier start

The first works of Glinka belong to the period of release from the boarding school. In 1822, Mikhail Ivanovich became the author of several romances. One of them, "Do not sing, beauty, in front of me" was written in verse. The musician's acquaintance with the poet happened during his studies, but a few years after the release of Glinka from the boarding school, the young people became friends on the basis of common interests.

Mikhail Ivanovich was distinguished by poor health from childhood. In 1923, he went to the Caucasus to be treated with mineral waters. There he admired the landscapes, studied local legends and folk art, and took care of his health. After returning from the Caucasus, Mikhail Ivanovich did not leave his family estate for almost a year, creating musical compositions.

In 1924 he left for the capital, where he got a job in the Ministry of Railways and Communications. After serving for five years, Glinka retired. The reason for leaving the service was the lack of free time for music lessons. Life in St. Petersburg gave Mikhail Ivanovich acquaintances with outstanding creative people of his time. The environment fueled the composer's need for creativity.

In 1830, Glinka's health deteriorated, the musician was forced to change the Petersburg dampness to a warmer climate. The composer went to Europe for treatment. Glinka combined a health trip to Italy with professional training. In Milan, the composer met Donizetti and Bellini, studied opera and bel canto. After four years of his stay in Italy, Glinka left for Germany. There he took lessons from Siegfried Dehn. Mikhail Ivanovich had to interrupt his studies due to the unexpected death of his father. The composer hastily returned to Russia.

Career heyday

Music occupied all Glinka's thoughts. In 1834, the composer began working on his first opera, Ivan Susanin, which was later renamed A Life for the Tsar. The first title of the composition was returned to Soviet times. The opera takes place in 1612, but the choice of plot was influenced by the war of 1812, which happened during the author's childhood. When it began, Glinka was only eight years old, but her influence on the consciousness of the musician remained for several decades.

In 1842, the composer completed work on his second opera. The work "Ruslan and Lyudmila" was presented on the same day as "Ivan Susanin", but with a difference of six years.

Glinka wrote his second opera for a long time. It took him about six years to complete this work. The composer's disappointment knew no bounds when the work did not have the due success. A wave of criticism crushed the musician. Also in 1842, the composer had a crisis in his personal life, which affected Glinka's emotional and physical health.

Dissatisfaction with life prompted Mikhail Ivanovich to undertake a new long-term journey to Europe. The composer visited several cities in Spain and France. Gradually, he regained his creative inspiration. The result of his trip was new works: "Jota of Aragon" and "Memories of Castile". Living in Europe helped Glinka regain her self-confidence. The composer again went to Russia.

Glinka spent some time in the family estate, then he lived in St. Petersburg, but social life tired the musician. In 1848 he ended up in Warsaw. The musician lived there for two years. This period of the composer's life was marked by the creation of the symphonic fantasy Kamarinskaya.

Mikhail Ivanovich spent the last five years of his life on the road. In 1852 the composer went to Spain. The musician's health was poor, and when Glinka got to France, he decided to stay there. Paris favored him. Feeling the rise of vitality, the composer began work on the symphony "Taras Bulba". After living in Paris for about two years, the musician went home with all his creative endeavors. The reason for this decision was the beginning of the Crimean War. Symphony "Taras Bulba" was never completed.

Returning to Russia in 1854, the musician wrote memoirs, which were published 16 years later under the title Notes. In 1855, Mikhail Ivanovich composed the romance "In a difficult moment of life" to verse. A year later, the composer went to Berlin.

Personal life

Glinka's biography is a story of a person's love for music, but the composer also had a more ordinary personal life. During his travels in Europe, Mikhail became the hero of several amorous adventures. Returning to Russia, the composer decided to get married. Following the example of his father, he chose his distant relative as his life partner. The composer's wife was Maria (Maria) Petrovna Ivanova.

The spouses had a fourteen-year age difference, but this did not stop the composer. The marriage was unhappy. Mikhail Ivanovich quickly realized that he had made the wrong choice. Marriage tied the musician to his unloved wife, and his heart was given to another woman. Ekaterina Kern became the composer's new love. The girl was the daughter of Pushkin's muse, to whom Alexander Sergeevich dedicated the poem "I remember a wonderful moment."

Glinka's relationship with her lover lasted almost 10 years. Most of this time, the musician was officially married. His legal wife Maria Ivanova, having not lived even a year in a legal marriage, began to look for amorous adventures on the side. Glinka knew about her adventures. The wife reproached the musician for squandering, scandalized and cheated. The composer was very depressed.

After six years of marriage with Glinka, Maria Ivanova secretly married cornet Nikolai Vasilchikov. When this circumstance was revealed, Glinka received hope for a divorce. All this time, the composer was in a relationship with Ekaterina Kern. In 1844, the musician realized that the intensity of love passions had faded. Two years later, he received a divorce, but he never married Catherine.

Glinka and Pushkin

Mikhail Ivanovich and Alexander Sergeevich were contemporaries. Pushkin was only five years older than Glinka. After Mikhail Ivanovich crossed the line of twenty years, he and Alexander Sergeevich had many common interests. The friendship of young people continued until the tragic death of the poet.

Glinka conceived the opera Ruslan and Lyudmila in order to be able to work with Pushkin. The death of the poet greatly slowed down the process of creating the opera. As a result, her production almost failed. Glinka is called "Pushkin from music", because he made the same feasible contribution to the formation of the Russian national opera school, as his friend to the development of Russian literature.

Death

In Germany, Glinka studied the work of Johann Sebastian Bach and his contemporaries. Not having lived in Berlin for a year, the composer died. Death overtook him in February 1857.

The composer was modestly buried in a small Lutheran cemetery. A few months later, Glinka's younger sister Lyudmila arrived in Berlin to arrange the transportation of her brother's ashes to their homeland. The coffin with the composer's body was transported from Berlin to St. Petersburg in a cardboard box with the inscription "PORCELAIN".

Glinka was reburied in St. Petersburg at the Tikhvin cemetery. An authentic tombstone from the first grave of the composer is still located in Berlin on the territory of the Russian Orthodox cemetery. In 1947, a monument to Glinka was also erected there.

• Glinka became the author of the romance "I remember a wonderful moment", which was written to the verses of Alexander Sergeevich Pushkin. The poet dedicated the lines to his muse Anna Kern, and Mikhail Ivanovich dedicated the music to her daughter Ekaterina.
• After the composer received the news of his mother's death in 1851, his right hand was taken away. Mother was the closest person for the musician.
• Glinka could have children. Beloved musician in 1842 was pregnant. The composer during this period was officially married and could not get a divorce. The musician gave Ekaterina Kern a large amount of money to get rid of the child. The woman left for the Poltava region for almost a year. According to one version, the child was still born, since Ekaterina Kern was absent for too long a period of time. During this time, the musician's feelings faded, he left his passion. Glinka, towards the end of his life, was very sorry that he asked Catherine to get rid of the child.
• For many years, the musician sought a divorce from his wife Maria Ivanova, intending to marry his beloved Ekaterina Kern, but, having received freedom, he decided to refuse to marry. He left his passion, afraid of new obligations. Ekaterina Kern waited almost 10 years for the composer to return to her.

Mikhail Ivanovich Glinka(May 20 [June 1], Novospasskoe village, Smolensk province - February 3, Berlin; buried in St. Petersburg) - Russian composer. The works of Glinka influenced the largest Russian composers - A. S. Dargomyzhsky, M. P. Mussorgsky, N. A. Rimsky-Korsakov, A. P. Borodin, P. I. Tchaikovsky and others. In the words of V. V. Stasov, "both [Pushkin and Glinka] created a new Russian language - one in poetry, the other in music."

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  Mikhail Glinka was born on May 20 (June 1), 1804, in the village of Novospasskoye, Smolensk province, on the estate of his father, retired captain Ivan Nikolaevich Glinka (1777-1834). His mother was his father's second cousin, Evgenia Andreevna Glinka-Zemelka (1783-1851). The composer's great-grandfather was a gentry from the Glinka family of the Trzaska coat of arms - Viktorin Vladislav Glinka (Polish Wiktoryn Władysław Glinka). After the loss of Smolensk by the Commonwealth in 1654, V. V. Glinka accepted Russian citizenship and converted to Orthodoxy. The tsarist government retained land holdings and noble privileges, including the former coats of arms, for the Smolensk gentry.

  Childhood and youth

  Until the age of six, Mikhail was brought up by his grandmother (paternal) Fyokla Alexandrovna, who completely removed the mother from raising her son. He grew up as a nervous, suspicious and sickly child, touchy - "mimosa", according to Glinka's own characteristics. After the death of Fyokla Alexandrovna, Mikhail again passed into the complete disposal of his mother, who made every effort to erase the traces of her previous upbringing. From the age of ten, Mikhail began to learn to play the piano and violin. Glinka's first teacher was a governess invited from St. Petersburg, Varvara Fedorovna Klammer.

  In 1817, his parents brought Mikhail to St. Petersburg and placed him in the Noble Boarding School (in 1819 it was renamed the Noble Boarding School at St. Petersburg University), where his tutor was the poet, Decembrist V.K. -1871) married G. A. Glinka (1776-1818) - cousin of the composer's father.

  In St. Petersburg, Glinka took private lessons from prominent music teachers, including Karl Zeiner and John Field. In 1822, Mikhail Ivanovich successfully (second student) completed a course of study at the Noble Boarding School at the Imperial St. Petersburg University. At the boarding house, Glinka met A. S. Pushkin, who came there to his younger brother Leo, Mikhail's classmate. Their meetings resumed in the summer of 1828 and continued until the death of the poet.

  Periods of life and creativity

  1822-1835

  Glinka loved music. At the end of the boarding school, he worked hard: he studied Western European musical classics, participated in home music making in noble salons, and sometimes led his uncle's orchestra. At the same time, Glinka tried himself as a composer, composing variations for harp or piano on a theme from the Austrian composer Josef Weigl's opera The Swiss Family. From that moment on, Glinka paid more and more attention to composition and soon composed a lot, trying his hand at various genres. During this period, he wrote well-known romances and songs today: “Do not tempt me without need” to the words of E. A. Baratynsky, “Do not sing, beauty, with me” to the words of A. S. Pushkin, “Autumn night, night dear" to the words of A. Ya. Rimsky-Korsakov and others. However, he remains dissatisfied with his work for a long time. Glinka is persistently looking for ways to go beyond the forms and genres of everyday music. In 1823 he works on a string septet, an adagio and a rondo for orchestra, and on two orchestral overtures. In the same years, the circle of acquaintances of Mikhail Ivanovich expanded. He met V. A. Zhukovsky, A. S. Griboedov, Adam Mitskevich, Anton Delvig, V. F. Odoevsky, who later became his friend.

  In the summer of 1823 Glinka traveled to the Caucasus, visiting Pyatigorsk and Kislovodsk. Acquaintance with the music of the peoples of the Caucasus left a significant mark on the composer's creative mind and was reflected in his later works on oriental themes. So, on the basis of the Azerbaijani folk song “Galanyn dibinde”, the composer created the “Persian Choir” for his opera “Ruslan and Lyudmila”. From 1824 to 1828, Mikhail worked as an assistant secretary of the Main Directorate of Railways. In 1829, M. Glinka and N. Pavlishchev published the "Lyric Album", where Glinka's plays were among the works of various authors.

  At the end of April 1830, the composer went to Italy, stopping along the way in Dresden and making a long journey through Germany, stretching for all the summer months. Arriving in Italy in early autumn, Glinka settled in Milan, which at that time was a major center of musical culture. In Italy, he met the outstanding composers V. Bellini and G. Donizetti, studied the vocal style of bel canto (Italian bel canto) and composed a lot in the "Italian spirit". In his works, a significant part of which were plays on the themes of popular operas, there was no longer anything student-like, all compositions were masterfully executed. Glinka paid special attention to instrumental ensembles, writing two original compositions: the Sextet for piano, two violins, viola, cello and double bass and the Pathetic Trio for piano, clarinet and bassoon. In these works, the features of Glinka's composer's style were especially clearly manifested.

  In July 1833 Glinka traveled to Berlin, stopping for a while in Vienna along the way. In Berlin, under the guidance of the German theorist Siegfried Den Glinka, he studied polyphony and instrumentation. Having received news of his father's death in 1834, Glinka decided to immediately return to Russia.

  Glinka returned with extensive plans for a Russian national opera. After a long search for a plot for the opera, Glinka, on the advice of V. Zhukovsky, settled on the legend of Ivan Susanin. At the end of April 1835, Glinka married Marya Petrovna Ivanova, his distant relative. Soon after, the newlyweds went to Novospasskoye, where Glinka set about writing an opera with great zeal.

  1836-1844

  1844-1857

  Hardly experiencing criticism of his new opera, Mikhail Ivanovich in the middle of 1844 undertook a new long trip abroad. This time he went to France and then to Spain. In Paris, Glinka met the French composer Hector Berlioz, who (later) became an admirer of his talent. In the spring of 1845, Berlioz performed Glinka's works at his concert: Lezginka from Ruslan and Lyudmila and Antonida's aria from Ivan Susanin. The success of these works led Glinka to the idea of ​​giving a charity concert in Paris from his compositions. On April 10, 1845, the great concert of the Russian composer was successfully held in the Hertz Concert Hall on Victory Street in Paris.

  May 13, 1845 Glinka went to Spain. There, Mikhail Ivanovich studied the traditional culture, customs, language of the Spanish people, and recorded Spanish folklore melodies. The creative result of this trip was two symphonic overtures written on Spanish folk themes. In the autumn of 1845, Glinka completed the Jota of Aragon Overture, and in 1848, upon his return to Russia, Night in Madrid.

  In the summer of 1847, Glinka set off on his way back to his ancestral village of Novospasskoye. Glinka's stay in his native places was short. Mikhail Ivanovich again went to St. Petersburg, but after changing his mind, he decided to spend the winter in Smolensk. However, invitations to balls and evenings, which haunted the composer almost daily, drove him to despair and to the decision to leave Russia again [ ] . But Glinka was denied a foreign passport, therefore, having reached Warsaw in 1848, he stopped in this city. Here the composer wrote a symphonic fantasy "Kamarinskaya" on the themes of two Russian songs: a wedding lyric "Because of the mountains, high mountains" and a lively dance song. In this work, Glinka approved a new type of symphonic music and laid the foundations for its further development, skillfully creating an unusually bold combination of different rhythms, characters and moods. Pyotr Ilyich Tchaikovsky spoke of Glinka's work in the following way:

  In 1851, Glinka returned to St. Petersburg, where he gave singing lessons, prepared opera parts and chamber repertoire with such singers as N. K. Ivanov, O. A. Petrov, A. Ya. Petrova-Vorobyova, A. P. Lodiy , D. M. Leonov and others. Under the direct influence of Glinka, the Russian vocal school took shape. He visited M. I. Glinka and A. N. Serov, who in 1852 wrote down his Notes on Instrumentation (published 4 years later). A. S. Dargomyzhsky often came.

  In 1852, Glinka again set off on a journey. He planned to get to Spain, but tired of moving in stagecoaches and by rail, he stopped in Paris, where he lived for just over two years. In Paris, Glinka began work on the Taras Bulba symphony, which was never completed. The beginning of the Crimean War, in which France opposed Russia, was an event that finally decided the issue of Glinka's departure to his homeland. On the way to Russia, Glinka spent two weeks in Berlin.

  In May 1854 Glinka arrived in Russia. He spent the summer in Tsarskoye Selo at his dacha, and in August he again moved to St. Petersburg. In the same 1854, Mikhail Ivanovich began to write memoirs, which he called "Notes" (published in 1870).

  In 1856 Glinka left for Berlin. There he began to study the work of J. P. Palestrina and J. S. Bach. In the same year, Glinka wrote music for Church Slavonic liturgical texts: Litany and “May my prayer be corrected” (for 3 voices).

  Death

  Mikhail Ivanovich Glinka died on February 15, 1857 in Berlin and was buried in the Lutheran cemetery. In May of the same year, at the insistence of the younger sister of M. I. Glinka, Lyudmila (who, after the death of their mother and two of her children, from the beginning of the 1850s devoted herself entirely to caring for her brother, and after his death did everything to publish his works ) the ashes of the composer were transported to St. Petersburg and reburied at the Tikhvin cemetery.

  During the transportation of Glinka's ashes from Berlin to Russia, "PORCELAIN" was written on his coffin packed in cardboard. This is very symbolic, if we recall the canon composed by Glinka's friends after the premiere of Ivan Susanin. A monument was erected on the grave of Glinka, created according to the sketch of I. I. Gornostaev.

  In Berlin, at the Russian Orthodox cemetery, there is a monument that includes a tombstone from the original burial place of Glinka at the Lutheran Trinity Cemetery, as well as a monument in the form of a column with a bust of the composer built in 1947 by the Military Commandant's Office of the Soviet Sector of Berlin.

  Memory

  Main article: Memory of Mikhail Glinka

  The name was given to the Novosibirsk State Conservatory.

  Glinka's addresses in St. Petersburg

  M. I. Glinka International Vocal Competition

  The second most important vocal competition in Russia is named after Mikhail Glinka - the International Competition of Vocalists named after M.I.Glinka, which was organized in 1960. From 1968 to 2009, the permanent chairman of the jury was the singer and teacher, People's Artist of the USSR, Hero of Socialist Labor, laureate of the Lenin Prize and State Prizes of Russia, academician, professor Irina Konstantinovna Arkhipova.

  Over the years, such outstanding artists as Vladimir Atlantov, Sergey Leiferkus, Yuri Mazurok, Evgeny Nesterenko, Elena Obraztsova, Maria Gulegina, Olga Borodina, Dmitry Khvorostovsky, Vladimir Chernov, Anna Netrebko, Askar Abdraza have become laureates of the Glinka Competition. kov , Ildar Abdrazakov , Olga Trifonova, Elena Manistina, Mikhail Kazakov, Albina Shagimuratova, Vladimir Vasiliev, Ariunbaatar Ganbaatar and other singers.

  Major works

  operas

  • "Life for the Tsar" ("Ivan Susanin") (1836)
  • Ruslan and Lyudmila (1837-1842)
  Symphonic works
  • Symphony on two Russian themes (1834, completed and orchestrated by Vissarion Shebalin)
  • Music for the tragedy by Nestor Puppeteer "Prince Kholmsky" (1842)
  • Spanish Overture No. 1 "Brilliant Capriccio on the Aragonese Jota" (1845)
  • "Kamarinskaya", a fantasy on two Russian themes (1848)
  • Spanish Overture No. 2 "Memories of a Summer Night in Madrid" (1851)
  • "Waltz Fantasy" (1839 - for piano, 1856 - extended version for symphony orchestra)
  Chamber instrumental compositions
  • Sonata for viola and piano (unfinished; 1828, revised by Vadim Borisovsky in 1932)
  • Brilliant Divertimento on Themes from La Sonnambula by Vincenzo Bellini for Piano Quintet and Double Bass
  • Brilliant Rondo on a Theme from Vincenzo Bellini's "Capulets and Montagues" (1831)
  • Grand Sextet Es-dur for piano and string quintet (1832)
  • "Pathetic Trio" in d-moll for clarinet, bassoon and piano (1832)
  Romances and songs
  • "Venetian Night" (1832)
  • Patriotic song (was the official anthem of the Russian Federation from 1991 to 2000)
  • "I'm Here, Inezilla" (1834)
  • "Night Review" (1836)
  • "Doubt" (1838)
  • "Night Zephyr" (1838)
  • "The fire of desire burns in the blood" (1839)
  • Wedding song "Wonderful Tower stands" (1839)
  • Vocal cycle "Farewell with Petersburg" (1840)
  • "A Passing Song" (from the cycle "Farewell to St. Petersburg")
  • "Lark" (from the cycle "Farewell to St. Petersburg")
  • "Confession" (1840)
  • "Do I hear your voice" (1848)
  • "Healthy Cup" (1848)
  • "The Song of Margarita" from Goethe's tragedy "Faust" (1848)
  • "Mary" (1849)
  • "Adele" (1849)
  • "Gulf of Finland" (1850)
  • "Prayer" ("In a difficult moment of life") (1855)
  • "Don't Say Your Heart Hurts" (1856)
  • “I remember a wonderful moment” (to a poem by Pushkin)

  Notes

  1. Levasheva O. E., Lebedeva-Emelina A. V. Glinka // Big Russian encyclopedia. - M., 2007. - V.7. - S. 233-235.
  2. // Encyclopedic Dictionary of Brockhaus and Efron: in 86 volumes (82 volumes and 4 additional). - St. Petersburg. , 1890-1907.
  3. Findeisen N. F.// Russian biographical dictionary: in 25 volumes. - St. Petersburg. - M., 1896-1918.
  4. Rozanov, A. S. M. I. Glinka. Album. The first period of life in Novospasskoye (indefinite) . - M.: Music, . - “The domineering old woman, who treated the serf servants “not very well”, spoiled her grandson “to an incredible degree”.” Date of treatment September 25, 2014. Archived from the original on September 25, 2014.
  5. // Small Encyclopedic Dictionary of Brockhaus and Efron: in 4 volumes - St. Petersburg. , 1907-1909.
  6. Great friendship between the Azerbaijani and Russian peoples / Compiled by P. A. Azizbekova, Shikhali Kurbanov. Managing editor I. A. Guseynov. - B.: Publishing House of the Academy of Sciences of the Azerbaijan SSR, 1964. - S. 214.
  7. Karagicheva L. Kara Karaev. - M.: Soviet composer, 1960. - S. 9.
  8. Badalbaјli Ә. B. M. I. Glinka (Azerbaijan) - May 29, 1954.
  9. We are talking about the original piano version of the famous fantasy waltz, known to everyone in the orchestral version, one of Glinka's works that amaze with their soulful beauty.
  10. Maria Petrovna Ivanova (Glinka) b. 1817 . Entry:234301 (indefinite) . Rodovod. - “April 26, 1835 marriage: Mikhail Ivanovich Glinka; March 15, 1841 marriage: Nikolai Nikolaevich Vasilchikov; October 1846 divorce: Mikhail Ivanovich Glinka. Retrieved June 5, 2014. Archived from the original on June 5, 2014.

  Mikhail Ivanovich Glinka is one of the greatest Russian composers, the creator of an independent Russian musical school. He was born on May 20 (old style) 1804 in the village of Novospasskoye, Smolensk province, and was brought up in the countryside by his parents, landowners. Already in childhood, he was strongly attracted by church singing and Russian folk songs performed by his uncle's serf orchestra. By the age of 4 he was already reading, and at the age of 10 he was taught to play the piano and violin.

  In 1817, the Glinka family moved to St. Petersburg, and the boy was sent to a boarding school at the Pedagogical Institute, the course of which he completed after 5 years. Meanwhile, Glinka successfully studied piano playing with Weiner, K. Mayer, the famous Field, and singing with Belloli. At the age of 18, he began to compose: these were first variations on fashionable themes, and then, after classes in composition with K. Mayer and Zamboni, romances.

  Mikhail Ivanovich Glinka. Photo from the 1850s

  In 1830, Glinka, who had been in poor health all his life, went to Italy on the advice of doctors, where he stayed for three years, studying the art of writing for singing and writing a lot in the Italian spirit. Here, under the influence of homesickness, in Glinka, by his own admission, a spiritual upheaval took place, pushing him away from Italian music and directing him to a new, independent path. In 1833, Glinka went to Berlin and there, together with the famous theorist Den, took a course in music theory in 5 months, which greatly enriched and systematized his musical knowledge.

  A year later, Glinka returned to Russia. In St. Petersburg, he met M.P. Ivanova, whom he married in 1835. At this time, Glinka often visited the famous Zhukovsky circle, where he was very sympathetically greeted with his idea of ​​\u200b\u200bRussian opera and offered her a plot from the legend of Ivan Susanin. Glinka diligently set to work; parallel to the work of the composer, Baron Rosen wrote the libretto. First of all, the overture was sketched, and by the spring of 1836 the whole opera, A Life for the Tsar, was already ready. After all sorts of difficulties, it was finally accepted onto the state stage, learned under the direction of Kavos, and on November 27, 1836, it was performed with tremendous success.

  Geniuses and villains. Mikhail Glinka

  After that, Glinka was appointed bandmaster of the court choir, but in 1839 he left the service due to illness. By this time, he had become especially close to the “brotherhood,” a circle that included the brothers Kukolnikov, Bryullov, Bakhturin, and others. Illness and family troubles (Glinka separated, and a few years later divorced his wife) slowed things down a bit, but finally on November 27, 1842, the new opera was staged in St. Petersburg. The underdevelopment of the majority of the public, who had not yet grown up to understand the musical height and originality to which Glinka rose in Ruslan and Lyudmila, was the main reason for the comparative failure of this opera. A year later, she was removed from the repertoire. Disappointed and ill, the composer left for Paris in 1844 (where Berlioz successfully performed some of his compositions in two concerts), and from there to Spain, where he lived for three years, collecting Spanish songs.

  Returning to Russia, Glinka lived in Smolensk, Warsaw, St. Petersburg; at this time he wrote two Spanish overtures and "Kamarinskaya" for orchestra. Almost all the time, however, a dejected state of mind and malaise did not leave him. Deciding to devote himself to Russian church music, in 1856 Glinka again went to Berlin, where, under the guidance of Den, he studied ancient church modes for about 10 months. There he caught a cold, leaving one court concert, fell ill and died on the night of February 3, 1857. His ashes were subsequently transported to St. Petersburg, and in 1885, with funds raised by a nationwide subscription, a monument was erected to him in Smolensk, with the inscription "Glinka - Russia."

  In addition to the above, Glinka also wrote an overture and music for the drama puppeteer"Prince Kholmsky", solemn polonaise and tarantella for orchestra, up to 70 romances, of which the series "Farewell to Petersburg" and other compositions are considered the best. Having borrowed from the French the variety and piquancy of rhythm, from the Italians the clarity and convexity of the melody, from the Germans the wealth of counterpoint and harmony, Glinka managed in his best compositions, most of all in Ruslan and Lyudmila, to translate all this and recreate it in accordance with the spirit of the Russian folk song . Glinka's instrumentation was perfect for his time. Thanks to all this, his compositions, distinguished by artistic completeness and high mastery of form, are at the same time imprinted with inimitable originality and depth of content, characteristic of the best examples of folk songs, which made it possible for them to become the basis of an original Russian musical school.

  Glinka's ability to musically depict nationalities is remarkable: this is how Russian and Polish music are compared in A Life for the Tsar; in "Ruslan and Lyudmila", next to Russian music, we meet the Persian choir, Lezginka, Finn's music, etc. Glinka's beloved sister L. I. Shestakova prompted him to write his extremely interesting "Autobiography".

  Essays on other great musicians - see below in the block "More on the topic ..."