Because of what Glinka died. Mikhail Glinka: music is my soul

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, the vocation of Glinka 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 valley of the level". 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 mastered the method of variant development to perfection. 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. IN 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 climax 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.

IN 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 epic, 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 touches 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

Name Mikhail Ivanovich Glinka It is no coincidence that in the history of Russian art stands next to the name of Pushkin. They were contemporaries, almost the same age (Glinka is five years younger), the composer turned to the poet's work more than once, wrote romances based on his poems, created the opera Ruslan and Lyudmila.

But many turned to Pushkin both before Glinka and after him. It is important that both brilliant artists had a single task, brilliantly solved by them: to find a way along which Russian artists will come out on a par with the classics of world art. This was done, first of all, by themselves - Pushkin and Glinka, becoming the founders of Russian literary and musical classics. Pushkin and Glinka are brought together by a clear, bright and optimistic view of the world, despite all its imperfections and contradictions. Hence the harmony and clarity of their own works.

Glinka realized his vocation very early. In the landowner's house in the village of Novospasskoye, near the town of Yelnya (now the Smolensk region), where he was born and spent his childhood, music sounded constantly: the serf orchestra played, music lovers who came to visit played music. Misha Glinka learned to play the piano, a little violin, but most of all he liked to listen to music. “Music is my soul,” the boy once said to the teacher, who reproached him for the fact that the next day after one of the home musical evenings he was unusually absent-minded and did not think about the lessons at all. Glinka M.I. Portrait.

The St. Petersburg Noble Boarding School, where Glinka entered at the age of thirteen, gave him a good education. Among the teachers were people devoted to science, who loved art. Glinka was lucky: his closest tutor - tutor - was a young teacher of Russian literature, Wilhelm Karlovich Küchelbecker, Pushkin's lyceum comrade (in the future, a participant in the Decembrist uprising). Kuchelbecker organized a literary society in the boarding house, which included Glinka and Lev Pushkin, the poet's younger brother. The music lessons continued. Glinka studied with the best Petersburg teachers, in particular with Charles Mayer, a young pianist, whose lessons soon turned into a joint - on an equal footing - playing music. But in the eyes of the family, the music education of the future composer was, like most of his contemporaries, only part of the usual secular education. After the boarding school, Glinka entered the State Institute of Communications

After graduating from the boarding school, Glinka entered the service, which had nothing to do with music - in the Main Directorate of Railways. In appearance, his life was similar to the life of other young people of his time and his circle, but the further, the more he was possessed by a thirst for creativity, a thirst for musical impressions. He absorbed them everywhere and everywhere - at opera performances, at amateur musical evenings, during a trip to the Caucasus for treatment, where his hearing was struck by folk music, not at all like European. He composed romances, and we can still classify some of his early experiments as treasures of Russian vocal music. Such is the elegy to the words of E. Baratynsky “Do not tempt me without need” or the romance “Poor Singer” to the words of V. Zhukovsky.

The bitterness and disappointment that sounded in some of the writings of the early period were not only a tribute to romantic fashion. Glinka, like the majority of Russian honest people, was deeply shocked by the defeat of the December uprising of 1825, especially since among the rebels were both his boarding comrades and his teacher Kuchelbecker.

From childhood, Glinka had a passion for travel, his favorite reading was books describing distant countries. Not without difficulty, overcoming the resistance of the family, in 1830 he went to Italy, which attracted him not only with the luxury of nature, but also with musical beauties. Here, in the homeland of opera, he got to know the work of world-famous composers, in particular, Rossini, the favorite of Europe, and met Vincenzo Bellini personally. It was here that Glinka first conceived the idea of ​​writing an opera. This intention was still not entirely clear. The composer only knew that it was to be a national Russian opera, and at the same time an opera in which music would be an equal part of the musical-dramatic whole, and would not be included in the action in the form of separate episodes.

However, to write such an opera, one had to have a large stock of knowledge and experience. Acquainted everywhere, where possible, with the creations of the great masters. Glinka has already learned a lot. But it was necessary to bring knowledge into order and system. And so, having stayed in Italy for about four years, filled with unforgettable impressions of the nature and art of this country. Glinka went to Berlin in the autumn of 1833, to the famous "musical healer", as he put it in a letter to his mother, the theoretical scientist Siegfried Dehn. A few months of classes turned out to be enough for Glinka to feel self-confident and, upon returning to his homeland, to begin to fulfill his cherished dream - to create an opera. Glinka's opera "Ivan Susanin"

The plot of the opera was suggested to Glinka by the poet Zhukovsky. It was a historical fact: the feat of the peasant Ivan Susanin, who, during the war with the Polish gentry, who invaded our land in order to put the Polish prince Vladislav on the Russian throne, led an enemy detachment into a dense forest and died there, but also killed the enemies. This plot has already attracted the attention of Russian artists more than once, since the events of the beginning of the 17th century were involuntarily associated with the invasion of Napoleon experienced by Russia, and the exploits of Susanin with the exploits of famous and unknown partisan heroes of 1812. But there was one work that stood apart: the poetic “Duma” by Kondraty Ryleev, the Decembrist poet, who embodied in it the direct, uncompromising, majestic character of a patriot peasant. Glinka set to work with enthusiasm. The plan for the opera was soon ready, as was most of the music. But there was no text! And Zhukovsky advised Glinka to turn to Baron K.F. Rosen, a fairly well-known (though not of the first rank) writer. Rosen was an educated man, extremely interested in dramaturgy. He enthusiastically welcomed Pushkin's "Boris Godunov" and even translated it into German. And most importantly, he knew how to write poetry for already finished music.

On November 27, 1836, an opera about the feat of a Russian person and the Russian people was released. Not only the plot was national, but also the music based on the principles of folk musical thinking, folk art. As the music writer V. Odoevsky put it then, Glinka managed to "elevate the folk tune to tragedy." This applies both to Susanin's part and to the wonderful folk choirs. And as a contrast to the simple and majestic folk scenes, Glinka created a picture of a brilliant Polish ball, at which the gentry seemed to be celebrating a victory over the Russians in advance.
Glinka's opera "Ruslan and Lyudmila"

The success of "Ivan Susanin" inspired Glinka, and he conceived a new composition - the opera "Ruslan and Lyudmila". But the work moved slowly and intermittently. The service in the court singing chapel was distracting, the home environment was not conducive to creativity - discord with his wife, who turned out to be a person deeply indifferent to Glinka's life's work.

Years passed, and Glinka himself began to look differently at Pushkin's youthful poem, seeing in it not only a string of exciting adventures, but also something more serious: a story about true love that overcomes deceit and malice. Therefore, only the overture to the opera flies in full sail, to match the poem, yet the action unfolds slowly, epicly.

“The Wizard of Glinka,” A. M. Gorky once called the composer. And indeed, the scenes in the palaces of the sorceress Naina, in the gardens of Chernomor, are depicted with extraordinary vividness in the opera. They transform the sound images of reality - and the melodies of the peoples of the Caucasus heard in youth, and the Persian melody, God knows what ways flew into St. Petersburg, and the melody that the Finn cab hummed to himself, who drove Glinka to the Imatra waterfall ...
Opera Ruslan and Lyudmila (Head) by Glinka

"Ruslan and Lyudmila" - an essay in which we still discover previously unheard beauties, at one time was appreciated by a few. But among them, in addition to Russian friends, was the world famous Hungarian composer and pianist Franz Liszt. He transcribed Chernomor's March for piano and performed it brilliantly.

Despite life's difficulties, in the "Ruslan years" Glinka created many other wonderful works - music for Nestor Kukolnik's drama "Prince Kholmsky", a cycle of romances "Farewell to Petersburg" - also to the words of Kukolnik. The memory of Glinka's deep feeling for Ekaterina Kern (daughter of Anna Kern, once sung by Pushkin) was the wonderful romance "I Remember a Wonderful Moment" and the symphonic "Waltz-Fantasy" - a kind of musical portrait of a young girl against the festive background of the ball.

Mikhail Glinka with his wife

In the spring of 1844, Glinka went on a new journey - to France, and from there - a year later - to Spain. The original, hot and passionate folk music of Spain captivated Glinka and found a creative reflection in two symphonic overtures: “Aragonese Jota” (jota is a genre of Spanish songs, “inseparable from dancing,” as Glinka said) and “Memories of a Summer Night in Madrid” - writings that Glinka, in his words, wanted to make "equally reportable to connoisseurs and the general public." The same, in essence, goal was set and achieved in the famous "Kamarinskaya" - a fantasy on the themes of two Russian songs, wedding and dance. In this composition, as Tchaikovsky later said, “like an Oak in a stomach, all Russian symphonic music is contained.” The last years of Glinka's life were filled with new ideas.

An illustrious master, known both at home and abroad, he did not get tired of studying, mastering new forms of art. In particular, he was attracted by ancient Russian church melodies, in which the inspiration and skill of many generations of chanters who came from the people were invested. Glinka's old acquaintance Siegfried Den, now, of course, no longer a teacher, but a friend and adviser, had to help find a suitable setting for these musical treasures. And Glinka, who in these years, as of old, was possessed by "wanderlust", went to Berlin. This was his last trip, from which he never returned.

February 3 (15 - new style), 1857, Glinka died. A few months later, the coffin with his body was transported to his homeland and buried in St. Petersburg. In the last years of his life, in those short months that Glinka spent in St. Petersburg, he was surrounded by musicians and music lovers, representatives of the younger generation. These were the composers A. S. Dargomyzhsky and A. N. Serov, the Stasov brothers (Vladimir - a historian, archaeologist, critic and Dmitry - a lawyer), V. P. Engelhardt - an amateur musician, a famous astronomer in the future. All of them idolized Glinka, admired everything that came out from under his pen. And for this generation, and for the next, just entering the musical road. Glinka became a teacher and founder.

An interesting fact is that the first anthem of the Russian Federation from 1990 to 2000 was the "Patriotic Song" of Mikhail Ivanovich Glinka. The anthem was sung without words, there was no generally recognized text for it. An unofficial text was planned to be introduced in 2000:

Glory, glory, motherland - Russia!
Through centuries and storms you have passed
And the sun shines on you
And your fate is bright.

Above the old Moscow Kremlin
A banner with a double-headed eagle is flying
And sacred words sound:
Glory, Rus' - my Fatherland!

But the new President V. Putin chose the melody of the Soviet anthem.

Basic writings.

Operas:

• "Ivan Susanin" (1836)
• "Ruslan and Lyudmila" (1843)
• Music for the tragedy by N. Kukolnik “Prince Kholmsky” (1840)

For orchestra:

• "Waltz Fantasy" (1845)
• 2 Spanish overtures - "Jota of Aragon" (1846) and "Night in Madrid" (1848)
• "Kamarinskaya" (1848)

Chamber Ensembles:

• Grand Sextet for Piano and Strings (1832)
• Pathetic Trio (1832) and other compositions

• 80 romances, songs, arias on poems by Pushkin, Zhukovsky, Lermontov
• cycle “Farewell to St. Petersburg” (words by N. Kukolnik).

Mikhail Ivanovich is an outstanding and very famous Russian composer. His authorship stands on many works that are known throughout the world. This is a very bright and creative person who deserves attention due to his talent and interesting life path.

Young years.

Mikhail Ivanovich was born in May 1804. The place of birth is the village of Novospasskoye. He grew up, quite enough, in a wealthy family. Mikhail was brought up by his grandmother, and his own mother took part in his upbringing only after his grandmother died. At the age of ten, Mikhail Glinka began to show his creative abilities and master the piano. He was a very musical and talented boy.

In 1817, his studies began at the Noble Boarding School. After graduation, the young talent began to devote a lot of time to music. During this time period, Mikhail created his first works. However, Glinka was not satisfied with his work and constantly strived to expand his knowledge and bring the created works to perfection.

Creative dawn.

The years 1822-23 are distinguished by the composer's excellent works, songs and romances. This is a fruitful time that gave the world real masterpieces. Mikhail makes acquaintances with prominent people Zhukovsky and Griboyedov.

Glinka travels to Germany and Italy. He was very impressed with Italian talents such as Bellini and Donizeti. Thanks to them, Mikhail improved his own musical style.

After his return to Russia, Glinka diligently worked on the opera Ivan Susanin. The premiere took place in 1836 at the Bolshoi Theater and brought tremendous success. The next well-known work, Ruslan and Lyudmila, no longer enjoyed such great popularity, received a lot of criticism, and under this influence Glinka left Russia and went to Spain and France. The return home will take place only in 1847.

Travel was not in vain and gave a large number of amazing works of Glinka. Mikhail managed to try himself as a singing teacher, prepared operas. He made a huge contribution to the formation of classical music.

Last years. Death and legacy.

Michael died in 1857. His body rested at the Trinity cemetery. And later the ashes of the composer were transported to St. Petersburg and reburied.

Glinka's legacy is very rich. The composer created about 20 songs and romances. He also wrote several operas, 6 symphonic works. Mikhail Glinka has invested a lot of work and contribution to the development of the music industry. His works touch our hearts and make us admire a great man.

Option 2

Mikhail Ivanovich Glinka was born in 1804 and died in 1857.

Mikhail Ivanovich was born into a wealthy family. From an early age, he showed interest in music, and that is why he entered the St. Petersburg Institute and devoted all his free time, both during training and after graduation, to music.

Glinka was raised by her grandmother, although her own mother was also not dead. Mom was allowed to raise her son only after the death of her grandmother, which is of particular interest in his biography.

Glinka always saw a flaw in his creations and sought to improve each composition, allowing himself to experiment. Mikhail Ivanovich always pursued some ideal. And so, in search of this very knowledge about Glinka's ideal, he went abroad, and so he settled there for a year. This happened already at the end of his career and life. He died in Berlin and was cremated. The ashes of the composer were safely delivered to his homeland and scattered over the great city of St. Petersburg, where all the most important changes in Glinka's life took place.

Many of his works are still popular and are broadcast in many opera houses.

3rd grade, 4th, 6th grade for children

Creation

Surprisingly, at the beginning of his career, the great Russian composer was extremely dissatisfied with himself and his creations. Remarks and ridicule from even people far from music did not add confidence. So on the day of the premiere of the famous opera A Life for the Tsar, someone shouted that such a melody is only suitable for coachmen. "Ruslan and Lyudmila" Tsar Nicholas I defiantly left without waiting for the end. However, time put everything in its place. He could not stand modern pianists, and once spoke unflatteringly about the playing of Franz Liszt. He considered himself equal to Chopin and Gluck, he did not recognize the others. But all this will be later, but for now ...

The first nightingale trills on June 1, 1804 announced the village of Novospasskoe, Smolensk province, which, according to legend, indicated the extraordinary abilities of the boy who appeared at that hour. Under the overly watchful eye of his grandmother, Mikhail grew up as an unsociable, pampered and sickly child. Music lessons on the violin and piano with the governess Varvara Fedorovna allowed me to get distracted for a short time and immerse myself in the world of beauty. A demanding and uncompromising person for life formed the perception of a six-year-old child that art is also work.

The cutting of talent continued already at the Noble St. Petersburg boarding school, and a year later at the Pedagogical University, where the musical taste of the future composer finally took shape. Here he meets A.S. Pushkin. At the graduation party, the gifted young man shone with a virtuoso piano playing and a diploma of the second best student. Small forms - rondos, overtures written during this period, were acclaimed by critics. He tries to write orchestral music, but the main place of the 20s of the 19th century is occupied by romances based on poems by Zhukovsky, Pushkin, Baratynsky.

There is no limit to perfection

A passionate dreamer's thirst for knowledge attracts a closer acquaintance with Western European art. And in the spring of 1830, Glinka went on a trip abroad. Germany, Italy, France, where he studies the basics of composition, the vocal style of bel canto, polyphony, saw an already mature master. It is here, in a foreign land, that he decides to create a Russian national opera. A friend comes to the rescue - Zhukovsky, on whose advice the story of Ivan Susanin formed the basis of the work.

He died in Berlin on February 15, 1957, then, at the insistence of his sister, the ashes were transported to Russia. He entered the history of world art as the founder of Russian classical music of two directions - folk musical drama and fairy tale opera, laid the foundation for national symphony.

Biography of Composer Mikhail Glinka for children

Glinka Mikhail is the greatest Russian composer who wrote numerous great symphonies as well as operas.

Date of birth - May 20, 1804, and date of death - February 15, 1857. Since childhood, the composer was brought up by his grandmother, and his own mother was allowed to raise her son only after the death of her grandmother.

Remarkably, at the age of ten, Mikhail Ivanovich began to play the piano. In 1817, his studies began at a boarding school at the Pedagogical Institute of St. Petersburg. 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.

Biography by dates and interesting facts. The most important.

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Glinka Mikhail Ivanovich - famous Russian composer.

Biography

Childhood

Father, Ivan Nikolaevich, was a retired captain, a native of the gentry. Mother, Evgenia Andreevna, from the very birth of her son was removed from his upbringing by her imperious mother-in-law, Fyokla Alexandrovna. The grandmother took care of her grandson too carefully, making him painfully touchy by the age of 6. In 1810, Fyokla Alexandrovna dies, and Misha returns to be raised in his father's house.

Education

Mikhail began to learn to play the violin and piano from childhood. This was taught to him by a governess discharged from St. Petersburg, Varvara Fedorovna Klammer. Then the boy is sent to the St. Petersburg Noble Boarding School at the Pedagogical Institute. Here Wilhelm Küchelbecker becomes his tutor. Glinka takes lessons from excellent music teachers - John Field, Karl Zeiner. It is also here that Glinka meets A. S. Pushkin, which develops into friendship until the end of the poet’s days.

creative path

Music becomes a vocation for Glinka immediately after graduating from the boarding school: he actively studies the history of Western European music, performs in salons. He composed his first successful works: variations for piano and harp, romances, string septet, rondo for orchestra, orchestral overtures. The circle of his acquaintances includes Zhukovsky, Griboyedov, Mitskevich, Delvig, Odoevsky.

He is resting in the Caucasus. And since 1824, he got a job at the Main Directorate of Railways as an assistant secretary. By the end of the 1920s, together with Pavlishchev, he published the Lyric Album, which included his own compositions.

Since 1830, the Italian period begins in the life and work of Glinka, which is preceded by a short summer trip to Germany. Milan at that time was the center of world musical culture. Here Mikhail Ivanovich met G. Donizetti and V. Bellini, studied bel canto and began to compose himself in the "Italian spirit".

Since 1833, Glinka settled in Germany, where he continued to hone his musical talent with Siegfried Dehn. His studies in 1834 were interrupted by the news of his father's death, and Glinka returned to Russia.

He dreams of creating a Russian national opera, and chooses a historical moment as a plot - the feat of Ivan Susanin. The composer has been working on it for almost three years, and finally, in 1836, a grandiose opera was completed, called A Life for the Tsar. Her production on the stage of the St. Petersburg Bolshoi Theater was successful: the opera was received with enthusiasm in society. After this success, Glinka was even appointed Kapellmeister of the Court Chapel. In 1838 Glinka rested and worked in Ukraine.

In 1842, Glinka's new opera, Ruslan and Lyudmila, saw the light, which caused heated discussions in society.

In 1844, Glinka set off on a new trip abroad: first to France, and then to Spain. In Paris, Berlioz himself performs his works. In 1845, Glinka gives a big charity concert in Paris, after which he goes to Spain. Here he creates symphonic overtures on Spanish folk themes, as well as the Aragonese Jota overture.

In 1847, Glinka returned to Russia, then went to Warsaw, where he created his famous "Kamarinskaya", which became a completely new type of symphonic music, which combines various rhythms, characters and moods. In 1848, Night in Madrid appears.

Since 1851, Glinka has been living in St. Petersburg, giving singing lessons, writing new opera parts. Under his influence, the Russian vocal school is taking shape here.

In 1852, Glinka wanted to go on a trip to Spain, but the road tired him, and he stopped in Paris for two whole years. Here he is working on the symphony "Taras Bulba", which remained unfinished.

In 1854, Glinka returned to Russia and began to write "Notes", memoirs.

In 1856 Glinka left for Berlin.

Personal life

In 1835, Glinka married his distant relative, Maria Petrovna Ivanova, with whom the marriage did not work out at all.

In 1838, Glinka met Ekaterina Ermolaevna Kern, whom she loved until the end of her days, dedicating her best compositions to her.

Death

Glinka died in Berlin on February 15, 1857. He was buried there, at the Lutheran cemetery, but a few months later his ashes were transported to Russia and reburied in St. Petersburg at the Tikhvin cemetery.

The main achievements of Glinka

• Glinka became the founder of the Russian national school of composers.
• His compositions had a strong influence on the further development of Russian music and on such composers as A. S. Dargomyzhsky, members of the Mighty Handful, P. I. Tchaikovsky, who developed his ideas in their musical works.
• The first creator of the Russian national opera ("Life for the Tsar").
• Under the influence of Glinka, a Russian vocal school developed in St. Petersburg.

Important dates in Glinka's biography

• 1804 - birth
• 1804–1810 - raised by grandmother
• 1814 - begins to study music with Klammer
• 1817–1822 - studying at the St. Petersburg Noble Boarding School at the Pedagogical Institute
• 1823 - a trip to the Caucasus
• 1824-1828 - work as assistant secretary in the Main Directorate of Railways
• 1829 - edition " Lyric album A"
• 1830 - Italian period, Milan
• 1833 - German period, Berlin
• 1834 - father's death, return to Russia
• 1835 - marriage to M.P. Ivanova
• 1836 - opera " Life for the king»
• 1836–1838 - bandmaster of the court choir
• 1838 - a trip to Ukraine, acquaintance with E. E. Kern
• 1842 - opera " Ruslan and Ludmila»
• 1844 trip to France
• 1845 - charity concert in Paris, trip to Spain, overture " Aragonese jota»
• 1847 - " Kamarinskaya»
• 1848 - overture " Night in Madrid»
• 1851 - life in St. Petersburg
• 1852–1854 – life in Paris
• 1854 - return to Russia
• 1856 life in Berlin
• 1857 - death

• A year before the birth of Michael, a son was born in the family, who died in infancy. Fyokla Alexandrovna, the grandmother, blamed Glinka's mother, Evgenia Andreevna, for this death, and with her unbridled autocracy, which she possessed in the family, she took her newborn grandson to her upbringing.
• Justina Küchelbecker, the sister of that same Wilhelm, married the cousin of the composer's father, Grigory Andreevich Glinka.
• Glinka's wife, Maria Petrovna, was completely uneducated and did not understand anything about music. She didn't even know who Beethoven was.
• When the ashes of the composer were transported from Berlin to St. Petersburg, the coffin was packed in cardboard, on which it was written in large letters: "PORCELAIN".
• The patriotic song to the music of Glinka was the anthem of the Russian Federation from 1991 to 2000.

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 writing

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.