Composer Glinka and his works. Mikhail Ivanovich Glinka

The main works of Glinka. Operas: Ivan Susanin (1836) Ruslan and Lyudmila (1837-1842) Symphonic pieces: Music for the tragedy of the Dollmaker Prince Kholmsky (1842) Spanish Overture No. 1 Jota of Aragon (1845) Kamarinskaya (1848) Spanish Overture No. 2 "Night in Madrid" (1851) "Waltz Fantasy" (1839, 1856) Romances and songs: "Venetian Night" (1832), "I'm Here, Inezilla" (1834), "Night Review" (1836) ), “Doubt” (1838), “Night Marshmallow” (1838), “The Fire of Desire Burns in the Blood” (1839), the wedding song “Wonderful Tower Stands” (1839), “Accompanying Song” (1840), “Confession” (1840), “Do I hear your voice” (1848), “Healing Cup” (1848), “The Song of Margaret” from Goethe’s tragedy “Faust” (1848), “Mary” (1849), “Adele” (1849), "The Gulf of Finland" (1850), "Prayer" ("In a difficult moment of life") (1855), "Do not say that your heart hurts" (1856).

End of work -

This topic belongs to:

Glinka

The Patriotic War of 1812 accelerated the growth of the national identity of the Russian people, its consolidation. The growth of the national consciousness of the people in .. The operas A Life for the Tsar (Ivan Susanin, 1836) and Ruslan and Lyudmila (1842) .. Glinka's childhood Mikhail Ivanovich Glinka was born on May 20, 1804, in the morning at dawn, in the village of Novospassko that belonged to him..

If you need additional material on this topic, or you did not find what you were looking for, we recommend using the search in our database of works:

What will we do with the received material:

If this material turned out to be useful for you, you can save it to your page on social networks:

All topics in this section:

Glinka's childhood
Glinka's childhood. Mikhail Ivanovich Glinka was born on May 20, 1804, in the morning at dawn, in the village of Novospasskoye, which belonged to his father, a retired captain, Ivan Nikolaevich Glinka. This estate was in

The beginning of an independent life
The beginning of an independent life. At the beginning of 1817, his parents decided to send him to the Noble Boarding School. This boarding house, opened on September 1, 1817 at the Main Pedagogical Institute, was instilled

last decade
last decade. Glinka spent the winter of 1851-52 in St. Petersburg, where he became close to a group of young cultural figures, and in 1855 he met the head of the New Russian School, which creatively developed

The value of Glinka's work
The value of Glinka's work. In many respects Glinka is as important in Russian music as Pushkin is in Russian poetry. Both great talents, both founders of the new Russian artist

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 (as a rule, he relies 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, there is a tendency to dramatization ("Don't say that your heart hurts" - the most striking example of the manifestation of the 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.

Born on May 20 (June 1), 1804 in the village of Novospasskoye, Smolensk province, on his father's estate.

An important fact of Glinka's brief biography is the fact that the boy was raised by his grandmother, and his own mother was allowed to see her son only after the grandmother's death.

M. Glinka began to play the piano and violin 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. At the same time, the first compositions of the composer Glinka were created. As a real creator, Glinka does not fully like his works, he seeks to expand the everyday genre of music.

The heyday of creativity

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. Under the influence of the Italian composers Bellini, Doniceti Glinka changes his musical style. Then he worked on polyphony, composition, instrumentation.

Returning to Russia, Glinka diligently worked on the national opera Ivan Susanin. Its premiere in 1836 at the Bolshoi Theater in St. Petersburg turned out to be a huge success. The premiere of the next opera Ruslan and Lyudmila in 1842 was no longer so loud. Strong criticism pushed the composer to leave, he left Russia, went to France, Spain, and only in 1847 returned to his homeland.

Many works in the biography of Mikhail Glinka were written during trips abroad. From 1851 in St. Petersburg he taught singing and prepared operas. Under his influence, Russian classical music was formed.

Death and legacy

Glinka left for Berlin in 1856, where he died on February 15, 1857. The composer was buried at the Lutheran Trinity Cemetery. His ashes were transported to St. Petersburg and reburied there.

There are about 20 songs and romances by Glinka. He also wrote 6 symphonic, several chamber-instrumental works, and two operas.

Glinka's heritage for children includes romances, songs, symphonic fantasies, as well as the opera "Ruslan and Lyudmila", which became even more fabulous after its embodiment in music by the great composer.

Music critic V. Stasov briefly noted that Glinka became for Russian music what Alexander Pushkin became for the Russian language: they both created a new Russian language, but each in his own field of art.

The famous Russian composer Glinka Mikhail Ivanovich, the most important facts of whose biography will be discussed in this brief article, was born at the very beginning of the 19th century, on the first day of summer.

In Russian musical culture, this composer tried to paint a portrait of the era with notes.

M.I. Glinka - the great Russian composer

The years of the musician's life - 1804 - 1857 Glinka's music covers more than one genre. Throughout his life, the Russian composer was able to adapt the works of Italy and France to his creative ideas.

The most famous musical works of Glinka

Every educated person should know what Mikhail Ivanovich wrote during his life:

Vocal creativity

Of the most famous, the “Patriotic Song” stands out, which became the anthem of Russia immediately after the collapse of the USSR and until 2000.

Glinka devoted a whole cycle to the city on the Neva, which he called “Farewell to St. Petersburg”.

Among the works of the cycle, one can note "The Lark" and "A Passing Song". He set Alexander Pushkin's poem "I remember a wonderful moment" to music.

In 1825, Glinka first wrote "Do not tempt me without need." A work that was dedicated to some of Baratynsky's statements. Romance is one of the best sentimental-lyrical vocal works.

Opera creativity

It was the operas that brought Mikhail Ivanovich the first fame, the main one being A Life for the Tsar (1836), although a few years later it was renamed Ivan Susanin.

During the same period of his life, the Russian composer composed one of his best operas Ruslan and Lyudmila, which he completed in 1842.

The exotic plot and daring original music of the opera did not play in favor of the author, did not find popular recognition, although Franz Liszt was struck by the novelty of the work.

Symphonic creativity

"Symphony for two Russian motifs" is one of the first works outside of Russia written for orchestra. Also known is "Kamarinskaya" and "Spanish Overtures No. 1 and No. 2".

Chamber instrumental compositions

One should remember the sonata for viola and piano, the "Brilliant Rondo", "Patriotic Trio", "Brilliant Divertimento" and many others that are not familiar to a wide circle, but are well known among musicians.

Biography of Mikhail Ivanovich Glinka

Let us highlight the main moments in the life of the great musician, the founder of Russian opera.

Parents

The father of the musician is Glinka Ivan Nikolaevich. Mother - Zemelka Evgenia Andreevna.

Mikhail Ivanovich spent the first years of his life on his father's estate.

While living there, he discovered in himself a love for local folk music, which remained with him for the rest of his life and greatly influenced the further work of the composer. Fascinated by these sounds, he sought to convey his experiences in his future work.

The nanny, Avdotya Ivanovna, was able to instill in little Misha a love for national folklore, telling amazing tales and singing folk songs.

Childhood

Glinka spent the first six years in the company of his autocratic grandmother, who nearly killed him. Mikhail's grandmother not only spoiled him, giving him everything he wanted, but also took care of him too much. Once, she wrapped the boy in furs and kept him in an overheated room for several hours.

Mikhail grew up as a weak, nervous, sick child, manipulated by his overprotective and protective grandmother until she died in 1810. After her death, the future musician returned to his parents. His musical horizons have expanded.

Youth

Glinka first became interested in music at the age of 11. His uncle had a fortress orchestra, which the young man liked to listen to.

It was thanks to the folk orchestra that Mikhail carefully studied and imbued the overtures, as well as the symphonies of Haydn, Mozart and Beethoven.

However, Bernard's clarinet quartet awakened in Glinka all his passion for music. The orchestra often performed Russian folk songs.

Mikhail was so captivated by their sound that he often stood completely still, listening to them or trying to pick up an instrument to join in.

The future musician was especially fascinated by the sounds of the violin and flute. He even conducted an orchestra when he grew up a little.

Music made such an indelible impression on Mikhail that he asked to be taught music, along with lessons in Russian, German, French and geography, which were supervised by his governess W. Klammer.

Education

In the seventeenth year of the nineteenth century, at the behest of his parents, Mikhail was sent to St. Petersburg. Mikhail studied at the Noble Boarding School for children of noble origin at the Main Pedagogical Institute. His favorite subjects, before writing romances, were foreign languages. Glinka also loved geography and zoology.

Music was not included in the curriculum of the institute, nevertheless, the talented young man was sent to the best masters of St. Petersburg. He took piano, violin and vocal lessons from teachers of Italian, German and Austrian origin.

The lessons of the famous Irish pianist and composer John Field, who later studied with Charles Mayer, made the deepest impression. It was to Mayer that the composer was grateful and grateful for his contribution to the development of musical abilities.

By 1822, Mikhail Glinka was able to perform Hummel's minor concerto in public, accompanied by Mayer, who accompanied him on the second piano.

The beginning of the creative path

The starting point for a creative career was the city of St. Petersburg, since in this northern town of Russia Glinka met famous contemporaries involved in literary activities:

• Pushkin (at Alexander's boarding school, his younger brother studied with Glinka);
• Delving;
• Zhukovsky;
• Griboyedov.

Mikhail became especially close friends with Alexander Sergeevich, despite the fact that Glinka was born five years later than Pushkin. By the time they met, the young composer was already the author of many romances and piano pieces.

But only a tiny handful was of particular value to him. The music composed at that time had no individuality. Glinka imitated whoever he heard, whether it was the work of Rossini, Haydn, Mozart, Beethoven or just dance music.

heyday

There he fell in love with Italian culture, became a friend of the composers Gaetano Donizetti and Vincenzo Bellini. But Glinka's interest in Russian music continued, and in Italy, Mikhail Ivanovich not only wrote a group of works on Russian themes, but also began to plan a Russian opera.

Glinka spent three years in sunny Italy listening to trendy music and meeting famous people including Mendelssohn and Berlioz. On the way back to Russia, Mikhail Ivanovich traveled around Vienna, where he first heard the music of Franz Liszt.

Glinka composed two important works during this time: a capriccio and an unfinished symphony on Russian themes. Glinka was about 30 years old when he completed his theoretical education.

Death of a musician

In the second half of the nineteenth century, the composer traveled to the German capital to study Western techniques with the German musicologist Siegfried Dehn.

At this time, the musician often communicates with the German-French composer Giacomo Meyerbeer.

Mikhail Ivanovich could not leave for his native land - he died in Berlin a few weeks after he caught a cold. He was buried in the German capital, but a few months later his body was taken to the Northern City, from which his career and education began - St. Petersburg. Reburied at the cemetery of the Alexander Nevsky Monastery.

Some interesting information as a conclusion:

1. Glinka was in love with Anna Kern's daughter, Ekaterina, to whose mother Pushkin dedicated "I remember a wonderful moment." The young 17-year-old Ekaterina became Mikhail Ivanovich's muse and inspiration, joy and joy. The composer dedicated works - a waltz to fantasy and music to the poems "If I meet you" and "I remember a wonderful moment."
2. Glinka was born five years later than Pushkin, lived the same number of years as Tchaikovsky.
3. The foreign composer Hector Berlioz admired the creativity and talent of Mikhail Ivanovich. The French musician performed the works of Glinka, they gave concerts together, which were excellently received by the public.
4. While in Paris, Glinka began to work on the Taras Bulba symphony, which, unfortunately, was never completed;
5. The composer wrote music for Church Slavonic liturgical texts. So in 1856 he wrote the Litany and the prayer "May my prayer be corrected."
6. After Glinka's death on February 15, 1857 in Berlin, his ashes were first buried in the Lutheran cemetery. In May of the same year, Mikhail's sister, who devoted the rest of her life to caring for her brother and did everything possible so that his work would not be forgotten, arranged for the composer's ashes to be transported and reburied at the Tikhvin cemetery in St. Petersburg.

Mikhail Glinka was born in 1804 on his father's estate in Novospasskoye village in the Smolensk province. After the birth of her son, the mother decided that she had already done enough, and gave little Misha to be raised by his grandmother, Fyokla Alexandrovna. Grandmother spoiled her grandson, arranged for him "hothouse conditions", in which he grew up with a kind of "mimosa" - a nervous and pampered child. After the death of his grandmother, all the hardships of raising a grown son fell on the mother, who, to her credit, rushed to re-educate Mikhail with renewed vigor.

The boy began to play the violin and piano thanks to his mother, who saw talent in her son. At first, Glinka was taught music by a governess, later his parents sent him to a boarding school in St. Petersburg. It was there that he met Pushkin - he came to visit his younger brother, Mikhail's classmate.

In 1822, the young man graduated from a boarding school, but he was not going to give up music lessons. He plays music in the salons of the nobility, and sometimes directs his uncle's orchestra. Glinka experiments with genres and writes a lot. He creates several songs and romances that are well known today. For example, "Do not tempt me unnecessarily", "Do not sing, beauty, with me."

In addition, he meets other composers and improves his style all the time. In the spring of 1830, the young man travels to Italy, having lingered a little in Germany. He tries his hand at the genre of Italian opera, and his compositions become more mature. In 1833, in Berlin, he was caught by the news of his father's death.

Returning to Russia, Glinka thinks about creating a Russian opera, and he takes the legend of Ivan Susanin as a basis. Three years later, he completes work on his first monumental piece of music. But it turned out to be much more difficult to stage it - the director of the imperial theaters opposed this. He believed that Glinka was too young for operas. Trying to prove this, the director showed the opera to Katerino Kavos, but he, contrary to expectations, left the most flattering review of Mikhail Ivanovich's work.

The opera was enthusiastically received, and Glinka wrote to his mother:

“Last night, my desires finally came true, and my long work was crowned with the most brilliant success. The audience accepted my opera with extraordinary enthusiasm, the actors lost their temper with zeal ... the sovereign emperor ... thanked me and talked with me for a long time "...

After such success, the composer was appointed bandmaster of the Court Choir.

Exactly six years after Ivan Susanin, Glinka presented Ruslan and Lyudmila to the public. He began to work on it during the life of Pushkin, but he had to finish the work with the help of several little-known poets.
The new opera was severely criticized, and Glinka took it hard. He went on a long journey through Europe, stopping in France and then in Spain. At this time, the composer is working on symphonies. He travels for the rest of his life, staying in one place for a year or two. In 1856 he went to Berlin, where he died.

"Evening Moscow" recalls the most significant works of the great Russian composer.

Ivan Susanin (1836)

Opera by Mikhail Ivanovich Glinka in 4 acts with an epilogue. The opera tells about the events of 1612 connected with the campaign of the Polish gentry against Moscow. Dedicated to the feat of the peasant Ivan Susanin, who led the enemy detachment into an impenetrable thicket, and died there. It is known that the Poles went to Kostroma to kill 16-year-old Mikhail Romanov, who did not yet know that he would become king. Ivan Susanin volunteered to show them the way. The Patriotic War of 1812 aroused people's interest in their history, stories on Russian historical topics are becoming popular. Glinka composed his opera twenty years after Caterino Cavos' opera on the same theme. At some point, on the stage of the Bolshoi Theater, both versions of the popular story were staged at the same time. And some performers participated in both operas.

Ruslan and Lyudmila (1843)