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.

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  • The birthplace of the great Russian composer is the small village of Novospasskoye in the Smolensk province. The large Glinka family lived there from the very time that their great-grandfather, a Polish nobleman, took the oath of allegiance to the Russian Tsar and continued to serve in the Russian army.
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Mikhail Ivanovich Glinka was born on May 20, 1804. They say that at the birth of Mikhail, nightingales sang all morning near his house. Among his ancestors there were no outstanding creative personalities, perhaps that is why no one, at first, betrayed this sign of particular importance.

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His father is a retired captain of the Russian army, Ivan Nikolaevich. The first years of the boy's life, his upbringing was done by his paternal grandmother, who did not let his mother near him.

Grandmother was too kind to her grandson. The child grew up as a real "mimosa". The room in which he was kept was heavily heated, and they took him out only in warm weather.

Already at an early age, little Misha was sensitive to folk fun and songs. Folklore made a great impression on the boy, which he tremblingly kept all his life.

These impressions and experiences will later be reflected in the work of the great Russian composer.

Biography of Mikhail Glinka

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But the training had to be interrupted (due to the death of his father) and return home. After returning to Russia, all the composer's thoughts are occupied with music. He lives in St. Petersburg, attends poetry evenings with V.

Zhukovsky and dreams of composing his first opera. This idea haunted him even in his youth. This is how the opera Ivan Susanin was born, the successful premiere of which took place at the Bolshoi Theater in 1836.

This date can be safely called the birthday of the Russian patriotic opera. And already in 1842. the composer finished work on the second opera "Ruslan and Lyudmila".

Important

But this essay was less successful and was criticized. The not very successful premiere of the opera and the crisis in his personal life spurred the composer on a new trip abroad. In 1845.

he settled in Paris, where he gave a charity concert from his works. Then he went to Spain, where he lived until 1847.

Brief biography of Glinka

His dissatisfaction with the style required improvement, which the composer worked on scrupulously. The 30s brought a move to Italy and a trip to the cities of Germany. Living on Italian soil, Glinka, whose brief biography reveals to us the essence of how the composer tries to create Italian operas, and he succeeds.

In 1833 he moved to Berlin, where he got a job. And with the receipt of a letter about the death of his father, he leaves for his homeland. Being in his native country, Mikhail Ivanovich had the idea to create a Russian opera. As evidenced by his painstaking work on the tradition, which he chose to embody the idea.
The choice of the hero in the legend fell on the well-known among the people, Ivan Susanin. In the same year, Mikhail got married and moved to Novospasskoye, where he continued his work.
The result is an opera, A Life for the Tsar, which appeared in 1836.

Brief biography of Mikhail Glinka

After Glinka graduated from the boarding school, he began to devote all his free time to music. It was during this time period that his first works were written. It is also a well-known fact that the composer himself did not really like his early works. He constantly improved them to make them better. The heyday of the work of this great man falls on the period from 1822 to 1823.

It was in this time period that such compositions as “Do not tempt me unnecessarily” and “Do not sing, beauty, with me” were written. After that, the composer sets off on his journey through Europe, which gives a new round to his work. Upon returning to Russia, the composer still writes not a single great work.

Mikhail Glinka short biography

Mikhail Glinka short biography Mikhail Ivanovich Glinka (1804 - 1857) is a great Russian composer. Born May 20, 1804 in Novospasskoye, Smolensk province.

Mikhail began to play the piano at the age of ten. Since 1817, he began to study at the Noble Boarding School at the Pedagogical Institute of St. Petersburg. After graduating from the boarding school, he devoted all his time to music and created his first compositions. As a real creator, Glinka does not fully like his works, he seeks to expand the everyday genre of music. In 1822-1823, Glinka wrote well-known romances and songs: “Do not tempt me needlessly” to the words of E. A. Baratynsky, “Do not sing, beauty, with me” to the words of A. S. Pushkin and others. In the same years, he met the famous Vasily Zhukovsky, Alexander Griboyedov and others. After traveling to the Caucasus, he goes to Italy, Germany.

M. i. clay. short biography of the composer

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.

Brief biography of Mikhail Ivanovich Glinka

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.

Interesting facts 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.

Mikhail Ivanovich Glinka

She was a huge success with the public and even with the emperor. M. I. Glinka. Brief 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 of symphonic music. Mikhail Glinka.

Mikhail Ivanovich Glinka short biography about the most important

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 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 at 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.

The work of M.I. Glinka (1804-1857) marked a new one, namely - classic stage development of Russian musical culture. The composer managed to combine the best achievements of European music with the national traditions of the national musical culture. In the 30s, Glinka's music was not yet widely popular, but soon everyone will understand:

“A luxurious flower has grown on Russian musical soil. Take care of him! It is a delicate flower and blooms once a century” (V. Odoevsky).

• on the one hand, a combination of romantic musical and linguistic expressive means and classical forms.
• on the other hand, the basis of his work is melody as a carrier of a generalized meaning(interest in specific details and recitations, to which the composer resorted infrequently, will be more characteristic of A. Dargomyzhsky and).

Opera works of M.I. Glinka

M. Glinka belongs to the innovators, discoverers of new musical ways of development, is the creator of qualitatively new genres in Russian opera:

— heroic-historical opera according to the type of folk musical drama (“Ivan Susanin”, or “Life for the Tsar”);

- epic opera ("Ruslan and Lyudmila").

These two operas were created with a difference of 6 years. In 1834 he began work on the opera Ivan Susanin (A Life for the Tsar), originally conceived as an oratorio. Completion of work on the work (1936) - year of birth the first Russian classical opera on a historical plot, the source for which was the thought of K. Ryleev.

Mikhail Ivanovich Glinka

The peculiarity of the dramaturgy of "Ivan Susanin" lies in the combination of several operatic genres:

• heroic-historical opera(plot);
• features of folk musical drama. Features (not full embodiment) - because in the folk musical drama the image of the people must be in development (in the opera it is an active participant in the action, but is static);
• features of epic opera(slowness of plot development, especially at the beginning);
• drama features(activation of action since the appearance of the Poles);
• features of lyric-psychological drama associated mainly with the image of the protagonist.

The choral scenes of this opera go back to Handel's oratorios, the ideas of duty and self-sacrifice - to Gluck, the liveliness and brightness of characters - to Mozart.

Glinka's opera Ruslan and Lyudmila (1842), which was born exactly 6 years later, was received negatively, in contrast to Ivan Susanin, which was enthusiastically received. V. Stasov is perhaps the only one of the critics of that time who understood its true meaning. He argued that "Ruslan and Lyudmila" is not an unsuccessful opera, but a work written according to completely new dramatic laws, previously unknown to the opera stage.

If "Ivan Susanin", continuing line of European tradition tends more towards the type of dramatic opera with features of folk musical drama and lyric-psychological opera, Ruslan and Lyudmila is new type of drama called epic. The qualities, perceived by contemporaries as shortcomings, turned out to be the most important aspects of the new opera genre, which goes back to the art of the epic.

Some of its characteristic features:

• special, wide and unhurried character of development;
• the absence of direct conflict clashes between hostile forces;
• picturesqueness and colorfulness (romantic tendency).

The opera "Ruslan and Lyudmila" is often called

"textbook of musical forms".

After "Ruslan and Lyudmila" the composer starts work on the opera-drama "Two-wife" (the last decade) based on A. Shakhovsky, which remained unfinished.

Symphonic works of Glinka

The words of P. Tchaikovsky about "Kamarinskaya" can express the significance of the composer's work as a whole:

“Many Russian symphonic works have been written; we can say that there is a real Russian symphonic school. And what? All of it is in Kamarinskaya, just like the whole oak tree is in an acorn ... ".

Glinka's music outlined the following development paths for Russian symphonism:

1. National genre (folk genre);
2. Lyric-epic;
3. Dramatic;
4. Lyrical-psychological.

In this regard, the "Waltz-Fantasy" is especially worth noting (in 1839 it was written for piano, later there were orchestral editions, the last of which dates back to 1856, represents the 4th direction). For Glinka, the waltz genre turns out to be not just a dance, but a psychological sketch expressing the inner world (here his music continues the development of a trend that first manifested itself in the work of G. Berlioz).

Dramatic symphonism is traditionally associated with the name, first of all, L. Beethoven; in Russian music, the most striking development is in connection with the work of P. Tchaikovsky.

Composer's innovation

The innovative nature of Glinka's works is fully expressed in connection with the line of folk-genre symphonism, characterized by the following features and principles:

• the thematic basis of the works, as a rule, is genuine folk song and folk dance material;

• the widespread use in symphonic music of the means and methods of development characteristic of folk music (for example, various methods of variant-variational development);

• imitation in the orchestra of the sound of folk instruments (or even their introduction into the orchestra). Thus, in Kamarinskaya (1848), the violins often imitate the sound of the balalaika, and castanets are introduced into the scores of the Spanish overtures (Jota of Aragon, 1845; Night in Madrid, 1851).

Glinka's vocal works

By the time of the heyday of the genius of this composer, Russia already had a rich tradition in the field of the Russian romance genre. The historical merit of the vocal work of Mikhail Ivanovich, as well as A. Dargomyzhsky, lies in the generalization of the experience gained in Russian music in the first half of the 19th century. and bringing it to the classical level. It is in connection with the names of these composers Russian romance becomes a classical genre of Russian music. Having equal importance in the history of Russian romance, living and creating at the same time, Glinka and Dargomyzhsky follow different paths in realizing their creative principles.

Mikhail Ivanovich in his vocal work remains lyricist, considering the main thing - the expression of emotions, feelings, moods. From here - dominance of the melody(only in late romances do features of recitation appear, for example, in the only vocal cycle of 16 romances “Farewell to Petersburg” at N. Kukolnik’s station, 1840). The main thing for him is the general mood (it relies, as a rule, on traditional genres - elegy, Russian song, ballad, romance, dance genres, etc.).

Speaking in general about Glinka's vocal work, it can be noted:

• the predominance in the romances of the early period (20s) of the genres of song and elegy. In the works of the 30s. most often turned to poetry.
• in romances of the late period, a tendency to dramatization appears (“Don’t say that your heart hurts” is the most striking example of the manifestation of a declamatory style).

The music of this composer synthesizes the best achievements of European musical culture with the national tradition. The heritage of the first Russian musical classic in stylistic terms combines 3 directions:

1. As a representative of his time, Glinka is an outstanding representative of Russian art;
2. (in ideological terms, it is expressed in the importance of the image of the ideal hero, the value of the ideas of duty, self-sacrifice, morality; the opera Ivan Susanin is indicative in this regard);
3. (means of musical expression in the field of harmony, instrumentation).

The composer is also realized in the genres of dramatic music

(music for the tragedy of the Dollmaker "Prince Kholmsky", the romance "Doubt", the cycle "Farewell to St. Petersburg"); about 80 romances are associated with lyrical poetry (Zhukovsky, Pushkin, Delvig, Kukolnik, etc.).

Chamber-instrumental creativity consists of such works by Mikhail Ivanovich:

• piano pieces (variations, polonaises and mazurkas, waltzes, etc.),
• chamber ensembles (“Grand Sextet”, “Pathetic Trio”), etc.

Orchestration at Glinka's

The composer made an invaluable contribution to instrumentation development, having created the first Russian manual in this area (“Notes on instrumentation”). The work includes 2 sections:

• general aesthetic (indicating the tasks of the orchestra, composer, classifications, etc.);
• a section containing the characteristics of each musical instrument and its expressive possibilities.

M. Glinka's orchestration is distinguished by accuracy, subtlety, "transparency", which G. Berlioz notes:

"His orchestration is one of the lightest, liveliest of our time."

In addition, the musician is a brilliant master of polyphony. Not being a pure polyphonist, he mastered it brilliantly. The composer's historical merit in this area lies in the fact that he was able to combine the achievements of Western European imitation and Russian subvocal polyphony.

The historical role of the composer M.I. Glinka

It lies in the fact that he:

1. Became the founder of Russian classical music;
2. He showed himself as the brightest innovator and discoverer of new ways in the development of national musical culture;
3. He summed up the previous searches and synthesized the traditions of Western European musical culture and the features of Russian folk art.

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Mikhail Ivanovich Glinka was born on June 1, 1804 in the village of Novospasskoye, the estate of his parents, located one hundred miles from Smolensk and twenty miles from the small town of Yelnya. The systematic teaching of music began rather late.

(May 20 (1.6). 1804, Novospasskoye village, now the Elninsky district of the Smolensk region, - 3 (15) .2. 1857, Berlin)

Mikhail Ivanovich Glinka was born on June 1, 1804 in the village of Novospasskoye, the estate of his parents, located one hundred miles from Smolensk and twenty miles from the small town of Yelnya. The systematic teaching of music began rather late and in much the same spirit as the teaching of general disciplines. Glinka's first teacher was a governess Varvara Fyodorovna Klamer invited from St. Petersburg.

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 fashionable opera "The Swiss Family". 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 well-known romances and songs were written 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, 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 kinds of secular entertainment, numerous artistic impressions of various kinds, and even the state of health, which was increasingly deteriorating towards 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 think seriously 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. Along 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: the Sextet for piano, two violins, viola, cello and double bass and the 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. From the impressions associated with staying in this city. Glinka notes little in the Notes. He often and with pleasure listened to the orchestras of Liner 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 operatic music) became clearer and clearer," notes Glinka in Zapiski.

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, begins 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 it, but “Marina 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. Regular visitors to these evenings were Pushkin, Vyazemsky, Gogol, Pletnev.

“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 embedded in my imagination; I found in it a lot of originality, characteristic of Russians.”

Glinka's enthusiasm was so great that "as if by magic 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 immediately after her marriage, “I managed to notice in her the properties that I always wanted to find in my wife: order and frugality ... 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 moved quickly, but getting it staged on the stage of the St. Petersburg Bolshoi Theater proved to be a difficult task. 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 desires finally came true, and my long work was crowned with the most brilliant success. me and talked to me for a long time... "

The acuteness of the perception of the novelty of Glinka's music is remarkably expressed in Henri Merimee's "Letters on Russia": Mr. Glinka's "A Life for the Tsar" is distinguished by its extraordinary originality... This is such a truthful summary of everything that Russia has suffered and poured out in 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 genius of the composer 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 onto its stem and stain it, the worms will fall to the ground, but the flower will remain. Take care of it: it is a delicate flower and blooms only once in a century."

However, Glinka's new opera, in comparison with Ivan Susanin, aroused stronger criticism. F. Bulgarin, who at that time was still a very influential journalist, was 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 new great creative success: in the autumn of 1845 he created the Jota of Aragon overture. In a letter from List 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 with the lively and sharp originality this charming piece, embossed in such fine contours, trimmed and finished with such taste and art! and to the end!What the happiest surprises, abundantly emanating from the very logic of development! "

Having finished work on "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 songs: a wedding lyric ("Because of the mountains, high mountains") and a lively dance song, 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.

Russian Civilization

A short message about the life and work of Mikhail Glinka for children in grades 2, 3, 4, 5, 6, 7

1804 - the village of Novo Spasskoye, Smolensk province, a family with a grandfather, a composer, a Polish gentry, was replenished with a child. A boy was born, they named him Misha.

Later, family heirlooms and a family coat of arms were inherited by Mikhail. After Russia's victory in the war, the Smolensk region became a Russian region, with the Russian city of Smolensk. And Glinka himself, in short, took and changed his citizenship and accepted the faith of the Russian Orthodox.

The upbringing of the child fell on the shoulders of the grandmother, Fekla Alexandrovna. His mother did not raise him. This is probably the main reason why Mikhail grew up nervous, in the form of a kind of mimosa.

But how the grandmother died, the guy began to live with his mother, who tried to re-educate the boy. The boy mastered playing the violin already in the tenth year of his life, by eleven he knew how to play the piano. Glinka received the musical basics from a governess. After some time, his parents arranged for him in the St. Petersburg boarding school of nobility. Here Mikhail had the honor to meet Alexander Sergeevich Pushkin.

In 1822, he graduated from a boarding house, but this did not become a reason to stop making music. Glinka began to play music in the salons for the nobility, and sometimes replaced his uncle, who was the leader of the orchestra.

During these years, Mikhail first declared himself as a composer. He tries to write works with different genres, even tried writing romances. And how famous were his songs "Do not tempt me unnecessarily" and "Do not sing beauty in front of me", their words and music have survived to this day.

Success among familiar composers made its own adjustments to Glinka's work. His dissatisfaction with the style required improvement, which the composer worked on scrupulously.

The 30s brought a move to Italy and a trip to the cities of Germany. Living on Italian soil, Glinka, whose brief biography reveals to us the essence of how the composer tries to create Italian operas, and he succeeds.

In 1833 he moved to Berlin, where he got a job. And with the receipt of a letter about the death of his father, he leaves for his homeland.

Being in his native country, Mikhail Ivanovich had the idea to create a Russian opera. As evidenced by his painstaking work on the tradition, which he chose to embody the idea. The choice of the hero in the legend fell on the well-known among the people, Ivan Susanin. In the same year, Mikhail got married and moved to Novospasskoye, where he continued his work. The result is an opera, A Life for the Tsar, which appeared in 1836. In order for the production to be seen by the people, she had to go through Katarino Kaovusovsky court, the decision of which was a flattering review of the play.

About Glinka, in short, it should be said that his works have gained maturity, there is no trace of youth left. This is evidenced by the work on the creation of the symphonic genre. Glinka, in short, spent most of his life traveling. He then lived in Paris, then in Italy, then in Berlin, but still periodically returned to his homeland. On one of these trips in 1856, Glinka left for Berlin, where on February 15 his life left him.

Mikhail Ivanovich Glinka was born on May 20, 1804. They say that at the birth of Mikhail, nightingales sang all morning near his house.

Among his ancestors there were no outstanding creative personalities, perhaps that is why no one, at first, betrayed this sign of particular importance.

His father is a retired captain of the Russian army, Ivan Nikolaevich. The first years of the boy's life, his upbringing was done by his paternal grandmother, who did not let his mother near him.

Grandmother was too kind to her grandson. The child grew up as a real "mimosa". The room in which he was kept was heavily heated, and they took him out only in warm weather.

Already at an early age, little Misha was sensitive to folk fun and songs. Folklore made a great impression on the boy, which he tremblingly kept all his life. These impressions and experiences will subsequently be reflected in the work of the great.

Mikhail Glinka grew up as a pious boy. The days of church holidays made a strong impression on him. He especially liked the ringing of bells, which captivated the heart of a little genius.

Once, Misha heard the ringing of an ordinary copper basin in the room. He did not lose his head and, going up to him, began to tap sounds on the pelvis that resembled a bell ringing.

Grandmother ordered to bring another basin, the boy gave a real concert. Soon the priest of the local parish brought Misha small bells from the belfry. The boy's joy knew no bounds.

When he was six years old, his grandmother died. His mother begins to raise his son. Four years later, Glinka will begin to learn to play the violin and piano.

In 1817 he moved to the capital of the Russian state. In St. Petersburg, he enters the Noble Boarding School at the Main Pedagogical Institute. In the capital, Mikhail Ivanovich takes private lessons from the strongest musicians of his time.

An interesting fact is that Mikhail's classmate was his younger brother, Leo. The great poet often visited his brother, so Glinka met Pushkin.

In 1822, Mikhail Ivanovich graduated from a boarding school. Since that moment, he has been actively involved in music, trying himself as a composer, looking for his own creative niche, working in different genres. During this period, he writes several well-known and today, romances and songs.

Glinka was a creative person, naturally in need of communication with interesting people. Soon he meets Zhukovsky and other famous personalities.

In the spring of 1830 the composer went to Germany. The journey lasted all summer. In the autumn he visited Italy, Milan made a special impression on him. Three years later, Mikhail again goes to Germany, visiting Vienna along the way.

In 1834, Glinka returned to his homeland, with a lot of thoughts in his head. He dreams of creating a Russian national opera and is looking for a plot for it. As a plot, on the advice of Zhukovsky, the story of about.

In 1836, work on the opera A Life for the Tsar was completed. The premiere took place on November 27th. Society has long been under the impression of the opera, the premiere was a great success.

After the opera "Life for the Tsar", the composer wrote such brilliant works as "Ruslan and Lyudmila", "Kamarinskaya", "Night in Madrid", "Waltz - Fantasy".

Glinka traveled extensively in European countries, discovering new horizons and spaces for the flight of thought and creativity. He was a truly brilliant man, on whose works more than one generation of Russian composers grew up.

At the end of his life, Mikhail Ivanovich began to compose and remake church melodies. From his undertaking, something worthwhile, subsequently well-known, should have come out. But the disease cut short the life of a talented Russian composer. In February 1857 he died. Mikhail Glinka was buried in Berlin, but soon, at the insistence, his ashes were transported to the capital of Russia.

Mikhail Ivanovich was a wonderful composer, whose work was carried by the Russian people through decades. Glinka was not only a talented composer, but also a true patriot. After all, only a true patriot could write a wonderful opera - "Life for the Tsar."

He greatly experienced all the events that took place in the country during his lifetime. made a strong impression on Glinka. He did not so much sympathize with the ideas of the people who organized it, but with their subsequent suffering.