Mikhail Ivanovich Glinka is briefly famous for what he is famous for. Glinka, Mikhail Ivanovich - short biography

Mikhail Ivanovich Glinka(May 20 (June 1), 1804 - February 3 (15), 1857) - great Russian composer, founder of Russian classical music.

Biography

Childhood and youth

M.I. Glinka was born on May 20 (June 1), 1804, in the village of Novospasskoye, near Yelnya, Smolensk province, on the estate of his father, a retired captain, Ivan Nikolaevich Glinka. A sickly and weak child, he was brought up by his grandmother (paternal), a tough and domineering woman, a storm of serfs and her loved ones. Elementary education received at home. Music lessons with a governess invited from St. Petersburg, Varvara Fedorovna Klamer, playing the violin and piano began rather late (1815-1816) and was of an amateur nature. Musical ability at that time they expressed their "passion" for bell ringing, Glinka knew how to deftly imitate bell ringers on copper basins.

At the beginning of 1817, Glinka was taken to St. Petersburg, where he was placed in the newly opened Noble Boarding School at the Main Pedagogical Institute. This guesthouse was privileged educational institution for children of nobles. In the year of the opening of the Noble boarding school, Lev Pushkin entered there - younger brother poet. He was a year younger than Glinka, and when they met, they became friends. At the same time, Glinka also met the poet himself, who "went to visit us at his brother's boarding house." In parallel with his studies, Glinka took piano lessons. He studied music with the best Petersburg teachers of that time: violinist Franz Boehm, pianist John Field, Charles Mayer. The Italian Todi M. Glinka began to study singing. In the early summer of 1822, Glinka was released from the boarding school, being one of the best students. On the day of graduation, he, along with his teacher Mayer, successfully played in public piano concert Hummel.

Creative years

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 an extremely large amount, trying his hand at the most different genres. For a long time he remains dissatisfied with his work. But it was during this period that they were written well famous 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 early March 1823, Glinka went to the Caucasus, to mineral waters, but this treatment did not improve his poor health. In September he returned to Novospasskoye and set to music with new zeal. He studied music a lot and stayed in the village until April 1824, and then went to St. Petersburg and entered the service of the Ministry of Railways (1824-1828). But since the service tore him away from music, Glinka soon retired. Gradually, Glinka's circle of acquaintances in St. Petersburg goes beyond secular relations. He meets Zhukovsky, Griboyedov, Mitskevich, Delvig, Odoevsky. In April 1830, deteriorating health forced Glinka to leave for treatment in Germany and Italy.

After spending several months in Aachen and Frankfurt, he arrived in Milan, where he studied composition and vocals, visited theaters, and traveled to other Italian cities. In Italy, Glinka studied bel canto and Italian opera, met Bellini and Donizetti. After living in Italy for about 4 years, Glinka went to Germany in July 1833. There he met the talented German theorist Siegfried Dehn and took lessons from him for several months. Abroad, Glinka wrote several vivid romances: "Venetian Night", "The Winner", etc. At the same time, he had the idea of ​​​​creating a national Russian opera.

In 1834, he began working on the opera Ivan Susanin, the plot of which was suggested to Glinka by Zhukovsky. Glinka's studies in Berlin were interrupted by the news of his father's death. Glinka immediately leaves for Russia. The foreign trip ended unexpectedly, but he basically managed to carry out his plans. Returning to his homeland, Glinka takes up composing a Russian opera. Neither family losses (the death of his father, and later his brother), nor acquaintances and amorous adventures (like the story of the German Louise), nor matchmaking and marriage could interfere with this work.
(In April 1835, Glinka married, Marya Petrovna Ivanova, a pretty girl, his distant relative, turned out to be the chosen one. But this marriage turned out to be extremely unsuccessful and overshadowed the composer's life for many years).

The opera was advancing rapidly, but to achieve its staging on the stage of the Petersburg Bolshoi Theater turned out to be no easy 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 the Kapellmeister Kavos, who was the author of the 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 the opera "A Life for the Tsar" (in the following productions - "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 with me for a long time..."

A Life for the Tsar was followed in 1837 by the ingenious Night Review and an excellent musically"Cherubim", written for the St. Petersburg Court Chapel, where Glinka, after the brilliant success of his first opera, received the position of bandmaster (1837-1840). Back in 1837, Glinka had conversations with Pushkin about creating an opera based on the plot of Ruslan and Lyudmila. In 1838, work began on the composition, the composer dreamed that Pushkin himself would write a libretto for her, but premature death the poet prevented this. The opera was created at a difficult time for Glinka. He divorced his wife, and in November 1839, exhausted by domestic troubles, gossip and tedious service in the Court Chapel, Glinka submitted his resignation to the director; in December of the same year, Glinka was fired.

In 1838, Glinka met Ekaterina Kern, the daughter of the heroine of the famous Pushkin poem, and dedicated his most inspirational works to her: "Waltz-Fantasy" (1839) and a romance based on Pushkin's poems "I Remember wonderful moment" (1840).

In the spring of 1842, Glinka completed work on his second opera, Ruslan and Lyudmila, which stretched out for more than five years. Her first performance took place on November 27, 1842, the same day 6 years after the premiere of Ivan Susanin. However New Opera Glinka, in comparison with "Ivan Susanin", caused stronger criticism. royal family left the box before graduation premiere performance, soon the opera was completely removed from the stage; "Ivan Susanin" was also rarely staged. 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. In 1845 he wrote the concert overture "Jota of Aragon", and after returning to Russia (1848) Glinka wrote another overture "Night in Madrid" (1851), at the same time the symphonic fantasy "Kamarinskaya" was composed on the theme of Russian songs.

In May 1851, the composer's mother, E.A. Glinka. The news received shocked the composer so much that he right hand. Mother was the closest person, and it turned out to be difficult to live without her. Glinka was not yet fifty, and physical forces weakened him. In 1852, Glinka hoped to improve his health in Spain, but when he reached Paris, he stayed there for two years. Last years Glinka lived in St. Petersburg, then in Warsaw, Paris, and since 1856 - in Berlin. He was full creative plans, but lacked the strength to bring the planned works to the end. Glinka was getting weaker, and on February 3 (15), 1857 he was gone.

He died in Berlin, in a foreign land, away from his family and friends. He was buried there in a modest grave in the Lutheran cemetery. In May of the same year younger sister composer Lyudmila Ivanovna Shestakova with friends transported the body to Kronstadt by steamer. On May 24, 1857, the coffin with the body of Glinka was lowered into Russian soil at the Tikhvin cemetery of the Alexander Nevsky Lavra in St. Petersburg. In 1859, at the grave of M.I. Glinka, a monument was unveiled (architect I.I. Gornostaev, sketch N.A. Laveretsky), and 46 years later, in January 1906, L.I. Shestakov. graves of Glinka M.I. and Shestakova L.I. Initially, the composer and his sister were buried near the entrance to the cemetery, in 1936, during the reconstruction of the necropolis, the ashes of M.I. Glinka and L.I. Shestakova was moved deep into the cemetery, to the Composer's Path.

Major works

operas

• "Life for the Tsar" (1836)
• "Ruslan and Lyudmila" (1837-1842)

Symphonic works

• Symphony on two Russian themes (1834, completed and orchestrated by Vissarion Shebalin)
• Music for the tragedy by N. V. Kukolnik "Prince Kholmsky" (1842)
• Spanish Overture No. 1 "Brilliant Capriccio on the Jota of Aragon" (1845)
• "Kamarinskaya", fantasy on two Russian themes (1848)
• Spanish Overture No. 2 "Memories of summer night in Madrid" (1851)
• "Waltz Fantasy" (1839, 1856)

Chamber instrumental compositions

• Sonata for viola and piano (unfinished; 1828, revised by Vadim Borisovsky in 1932)
• Brilliant divertissement on themes from Bellini's La sonnambula for piano quintet and double bass
• Grand Sextet Es-dur for piano and string quintet (1832)
• "Pathetic Trio" in d-moll for clarinet, bassoon and piano (1832)

Romances and songs

• "Venetian Night" (1832)
• "I'm Here, Inezilla" (1834)
• "Night Review" (1836)
• "Doubt" (1838)
• "Night Zephyr" (1838)
• "The fire of desire burns in the blood" (1839)
• wedding song "Wonderful tower stands" (1839)
• "Song of the Way" (1840)
• "Confession" (1840)
• "Do I hear your voice" (1848)
• "Healthy Cup" (1848)
• "The Song of Margarita" from Goethe's tragedy "Faust" (1848)
• "Mary" (1849)
• "Adele" (1849)
• "Gulf of Finland" (1850)
• "Prayer" ("In a difficult moment of life") (1855)
• "Don't Say Your Heart Hurts" (1856)

Anthem of the Russian Federation

The patriotic song of Mikhail Glinka in the period from 1991 to 2000 was the official anthem of the Russian Federation.

Memory

• At the end of May 1982, the House-Museum of M. I. Glinka was opened in the native village of the composer Novospasskoye

Monuments to M. I. Glinka

• in Smolensk created on folk remedies, collected by subscription, opened in 1885 in the east side of the Blonier garden; sculptor A. R. von Bock. In 1887, the composition of the monument was completed by the installation of an openwork cast fence, the drawing of which is made up of musical lines - excerpts from 24 works of the composer
• in St. Petersburg, built on the initiative of the City Duma, opened in 1899 in the Alexander Garden, at the fountain in front of the Admiralty; sculptor V. M. Pashchenko, architect A. S. Lytkin
• In Veliky Novgorod, on the Monument "1000th Anniversary of Russia" among 129 figures of the most prominent personalities in Russian history(for 1862) there is a figure of M. I. Glinka
• Petersburg was built on the initiative of the Imperial Russian musical society, opened on February 3, 1906 in the square near the Conservatory (Teatralnaya Square); sculptor R. R. Bach, architect A. R. Bach. Monument monumental art Federal value.
• opened in Kyiv on December 21, 1910
• in Zaporozhye was opened in 1956 opposite the entrance to concert hall named after Glinka
• in Chelyabinsk it was opened on July 20, 2004 on the square in front of the Academic Opera and Ballet Theatre; sculptor Vardkes Avakyani, architect Yevgeny Alexandrov
• On May 20, 1899, the house in Berlin, where M. I. Glinka died, was immortalized with a memorial plaque

Prizes and festivals named after M. I. Glinka

• In 1884, M. P. Belyaev established the Glinkin Prizes, which lasted until 1917
• From 1965 to 1990 there was State Prize RSFSR named after Glinka
• Since 1958, the All-Russian music Festival named after M. I. Glinka
• Since 1960, the International (formerly All-Union) Glinka Vocal Competition has been held.

Films about M. I. Glinka

• In 1946, Mosfilm filmed the feature biographical film "Glinka" about the life and work of Mikhail Ivanovich
• In 1952, Mosfilm released a feature biographical film Composer Glinka.
• In 2004, a documentary film about the life and work of the composer “Mikhail Glinka. Doubts and passions ... "

Mikhail Glinka in philately and numismatics

• Postage stamps of Russia dedicated to the 200th anniversary of the birth of M. I. Glinka, 2004, (TsFA (ITC) #942-944; Mikhel #1174-1176)
• In 1951, a postage stamp of the USSR was issued for the 175th anniversary of the Bolshoi Theater in Moscow, on which portrait gallery Russian composers are headed by the portrait of M. I. Glinka (TsFA (ITC) #1613; Scott #1554)
• In 1954, two stamps, dedicated to the 150th anniversary of the birth of M. I. Glinka (CFA (ITC) # 1781-1782; Scott # 1723-1724), one of them depicts a portrait of the composer, the other - a scene from the opera "Ivan Susanin"
• In 1957, two postage stamps of the USSR were issued, dedicated to the 100th anniversary of the death of the composer (TsFA (ITC) #1979-1980; Scott #1907-1908)
• In 1958, stamps with the portrait of M. Glinka were issued by the post offices of Bulgaria (Mikhel #1052) and Romania (Mikhel #1712)
• In 1991, as part of " International Year of Russian Culture” The Ministry of Communications of the USSR issued an envelope with an original stamp, the original portrait on which was I. Repin’s painting “M. I. Glinka composing the opera "Ruslan and Lyudmila", and on the envelope - a reproduction from the lithograph "M. Yu. Vielgorsky Quartet"
• On May 20, 2004, the Russian Post issued three postage stamps for the 200th anniversary of the birth of M. I. Glinka. On one of the miniatures there is a portrait of M. Glinka, on the other two - scenes from the operas "Ivan Susanin" or "Life for the Tsar" and "Ruslan and Lyudmila". The coupon, uniting all the stamps into a single whole, contains a facsimile of the composer and a sheet with notes of the hymn-march "Glory" (ZFA (ITC) #942-944; Mikhel #1174-1176)
• On June 18, 2004, the Bank of Russia issued a 2 ruble commemorative coin
• In 2004, B. G. Fedorov financed the minting of a commemorative medal with the image of the composer in honor of the 200th anniversary of his birth.

In honor of M. and Glinka are named

• State Academic Chapel of St. Petersburg (in 1954).
• Moscow Museum musical culture(in 1954).
• Novosibirsk State Conservatory (Academy) (in 1956).
• Nizhny Novgorod State Conservatory (in 1957).
• Magnitogorsk State Conservatory.
• Minsk Musical College
• Chelyabinsk academic theater opera and ballet.
• Petersburg Choir School (in 1954).
• Dnepropetrovsk Musical Conservatory named after Glinka (Ukraine).
• Concert hall in Zaporozhye.
• State String Quartet.
• The streets of many cities in Russia, as well as cities in Ukraine and Belarus. Street in Berlin.
• In 1973, astronomer Lyudmila Chernykh named the minor planet discovered by her in honor of the composer - 2205 Glinka.
• Crater on Mercury.

1. Once, friends gathered in Glinka's house and on the three pianos that the composer had in the hall, they all together began to play Beethoven's works. I must say that all of them, although they loved Beethoven's music, were amateurs. Five minutes later, Glinka, with his hands behind his back, began to pace the room nervously.
- Mikhail Ivanovich, what's the matter with you? Why are you stomping like that?” Turning around, one of the guests playing music finally asked.
- You can't do that, gentlemen! Glinka exclaimed in despair. - You have been torturing the already unfortunate martyr Beethoven for half an hour. Have mercy! Beethoven never wrote your entrecha!

2. They say that in his youth, Mikhail Ivanovich Glinka had a phenomenal beautiful voice. He had a tenor that delighted the audience. One day quite a lot of people gathered. Among those gathered was the junker of the Jaeger regiment, the young prince Kastrioto Skanderbek. He heard Glinka for the first time.
Mikhail Ivanovich was at his best and sang inexpressibly well. When he fell silent, it turned out that the poor cadet was close to fainting ...
- What's wrong with you, prince? - they asked the young man, spraying him cold water and brought to life.
- It seemed to me that the angels were singing, and I was afraid that the Last Judgment would begin now ...

3. Glinka's mother-in-law was very fond of musical hobbies Mikhail Ivanovich and even called him "my little Mozart".
Hearing this appeal, one of the friends asked the composer:
- She loves Mozart so much?
- What you! - Glinka waved his hands. - She doesn’t know him, but somehow she heard that Mozart became terribly rich thanks to music, she hopes that this fate will befall her son-in-law ...

4. Glinka's wife was completely indifferent to music. Once Glinka came home after a concert in which Beethoven's Seventh Symphony was performed, shocked to tears. The wife asked fearfully:
- What's the matter with you, Michel?!
- Beethoven ... - Glinka could hardly pronounce and began to cry.
- My God, what did he do to you, this Beethoven?

5. Of all the composers, Glinka recognized only three: Gluck, Chopin and ... himself - he played only these composers. He could not stand the brilliant and famous pianists, saying: "They play loudly, but not well-sounded." Liszt, who was captivated by Glinka's work, was adored by the composer for some time, but then he preferred not to speak about him at all, referring those who asked for an opinion about Liszt's playing to his friend Kalmykov, who voiced Glinka's opinion: "He has a thin face, long hair and blond. A bogey in one hand, stakes in the other. He sat down, jumped up: the hall shook, and many pregnant women threw out "...>

6. Working with singers on opera parts, Glinka rehearsed for a very long time and unsuccessfully with the singer Lileeva. She had a wonderful, but inexpressive voice. And in the part of Gorislava in Ruslan and Lyudmila, first of all, there should have been expressiveness of singing. Glinka, in order to somehow stir up the singer, crept up behind and pinched her painfully. Lileeva screamed heart-rendingly.
- Here! This is what I need! Mikhail Ivanovich laughed. - Now you yourself see, my soul, that in this phrase you can add both life and expressiveness. Sing like that, otherwise I will repeat my little pedagogical trick again ...

7. Grand Duke Mikhail Pavlovich did not like Glinka very much and could not stand his music. When it was necessary to put his guilty officers under arrest, he sent them to the performance of Glinka's opera Ruslan and Lyudmila, saying:
- I can’t think of a more terrible torture for my guys! ..

8. It is known that Mikhail Ivanovich Glinka wrote some of his compositions abroad, namely in Switzerland. He settled somewhere within the Canton of Geneva, so beloved by the British and Russians. His name was already famous then. Not always disposed to idle chatter with idle compatriots, he sometimes allowed himself not to receive anyone.
He was bothered more than others, he was visited by some young man from his fellow countrymen. On one of these days, the young man went to the composer.
- Is the master at home? he asked the servant.
- They left.
- Will he be back soon?
- Unknown.
Mikhail Ivanovich, who ordered not to receive an annoying visitor under any circumstances, listened to the conversation behind the curtain. The young man deftly turned on his heel and, singing a song, went out.
“Run, gate quickly,” the composer suddenly shouted to the servant, hastily running out into the anteroom.
The surprised servant obeyed.
- The master ordered you to ask, - he turned to the young man in embarrassment.
The young man, of course, returned.
- I ask you to forgive me a thousand times, - Mikhail Ivanovich said with a smile, meeting the guest. - Giving the order to the servant, I completely forgot to exclude you from the number of persons not initiated into my work, and even waited for you.
The usual lunch hour was approaching.
- Would you deliver me great pleasure if they had not refused to dine together, which God sent, - added Mikhail Ivanovich.
The young man did not expect such courtesy and considered it a special honor to take advantage of the offer of a musical celebrity. He, of course, could not guess that the intent here was different.
At dinner, Mikhail Ivanovich was very cheerful, joking, laughing, not wanting to seem boring to the young interlocutor.
- Tell me, do you remember that song that you sang when you left me? he suddenly asked the young man.
I don't think I sang anything.
- They hummed, I myself heard, but hastily and confusedly, so that I could not catch the motive.
The young man, wishing to please the hospitable host, went through the entire stock of his repertoire from operas and chansonettes; finally attacked the Kamarinskaya.
- She, she! This one, - exclaimed the overjoyed composer and immediately brought the whole motive into the score.
This is the occasion to which we owe the appearance in the work of the great Russian composer of the old dance folk song now known to everyone.

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 . Great historical meaning Glinka was determined by another quality - the artist is deeply national, 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 are the subject of critical articles, dedicated to the problems musical theater and musical performance, the problems of operatic drama, the principles of symphony, 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 gives him environment. 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 meets the best achievements 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 streak has begun creative life composer - 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. 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 an unsettling, impetuous theme 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 comparison is even brighter - disturbing motives main party 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 musical portrait one of actors- 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.

Appears and new hero 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. Susanin's character is shown here - loving father in the family.

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. Aria Susanina - a prime example 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 at that time were an unparalleled phenomenon.

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" traditional fairy story with exploits, fantasy, magical transformations, Glinka used 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, was able to see in Glinka's music a whole trend of Russian art - an interest in the 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. Clay is not written a large number of works for 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 addressed the romance genre throughout creative way. 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 is an outstanding and very famous Russian composer. His authorship stands on many works that are known throughout the world. It is very bright and creative person, which deserves attention due to its 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 native mother took part in his upbringing only after his grandmother died. At the age of ten, Mikhail Glinka began to show Creative skills and learn to play the piano. He was a very musical and talented boy.

In 1817, his studies began at the Noble Boarding School. After its completion, 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.

1822-23 are distinctive great work, songs and romances of the composer. This is a fruitful time that gave the world real masterpieces. Michael makes friends 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. Following famous 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 amazing works 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. WITH early years showed interest in music and that is why he entered the St. Petersburg Institute and that's it free time that during training, that after graduating from the institute, devoted to music.

Glinka's upbringing was done by her grandmother, although own mother she wasn't dead either. Mom was allowed to raise her son only after the death of her grandmother, which causes special 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 famous opera“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. contemporary pianists he could not stand it, and once spoke unflatteringly about the game 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, with Pedagogical University, where it finally took shape musical taste future composer. Here he meets A.S. Pushkin. On 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

Passionate dreamer thirst for knowledge leads to get to know 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. Also known fact is 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 new round his creativity. 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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Pushkin V. N.

In 1804, on May 20, in the Smolensk province, a boy was born in the family of the landowner Ivan Nikolaevich Glinka, who was destined to become the founder of Russian classical music. From birth the child was weak and sickly. He spent his entire childhood surrounded by women. Such an influence was naturally reflected in the character of Glinka, already very soft. Subsequently, the softness of his character often turned into weakness and helplessness in everyday affairs.

One of the most bright first the boy's musical impressions were church singing and bell ringing. On holidays, Misha was taken to church. Returning home, he collected copper basins, and rang them for a long time, imitating church bells. At the age of seven, when the boy was in the city, he could unmistakably distinguish the ringing of each church. Music made an amazing impression on little Glinka. Once, at a drawing lesson, the teacher, noticing Misha's absent-mindedness, asked him - "You are probably all thinking about yesterday's music." - "What to do, - answered the dreamy boy, - music is my soul." A serf violinist taught Misha to play the violin, and a governess taught him to play the piano. However, music lessons at home were far from perfect.

In 1817 the Glinka family moved to Petersburg. There Mikhail was assigned to the Noble Boarding School Pedagogical Institute. IN student years Glinka often visited the theater, being fond of ballet and opera. During summer holidays he practiced conducting with his uncle's fortress orchestra.

After graduating from the boarding school, Glinka received the position of assistant secretary in the office of the Council of Railways. The service did not burden the composer, and he continued to engage in the main business of his life - music. Soon, due to a conflict with his superiors, Glinka was forced to resign, but this event did not upset the composer in any way. By that time, his works had already been published, he was widely known in St. Petersburg as a composer and rotated in the highest St. Petersburg society (counts M. Yu. Vielgorsky, Tolstoy, Shterich, princes Golitsyn). So the young years of the composer passed cloudlessly. It seemed that the brightest future lay ahead of him. The only thing that overshadowed his life during these years was illness. What Glinka was really ill with, we do not have reliable information, just as the doctors who treated the composer did not have them. After vain attempts by doctors to improve Glinka's health, he is sent abroad.

In 1830 the composer left for Italy. Living in Milan, Glinka admires Italian music. During this period, he wrote a large number of arias in the Italian manner. But soon first impressions began to lose their charm. Glinka concluded that for all the attractiveness of Italian music, it lacks depth. In the end, the composer was overcome by a feeling of longing for Russia and for Russian art. So far from the Motherland, Glinka had the idea of ​​creating Russian national music.

In 1834, Mikhail Ivanovich returned to St. Petersburg, and enthusiastically set about composing an opera about the patriotic deed of the Russian people in the image of Ivan Susanin. The plot was suggested to the composer by the poet Zhukovsky. The opera "Life for the Tsar" was enthusiastically received by the public, and strengthened the fame of the composer.

In 1837, Glinka was appointed bandmaster in the court Singing Chapel (Today, the St. Petersburg Chapel bears the name of this great composer.) Glinka is in the prime of his work. But his life is overshadowed by an unsuccessful marriage.

The discord with his wife acted depressingly on the composer's vulnerable soul, and eventually led to a public divorce, which had a very bad effect on Glinka's reputation. The composer saves himself from all life experiences by working on the opera Ruslan and Lyudmila.

It took five years to work on this piece. However, everyone to whom he showed the opera did not like the opera. Glinka was disappointed, he said bitterly: “From Ruslan, I could make ten such operas as A Life for the Tsar.” The performance of the opera turned out to be very weak. IN next season Opera was completely removed from the theater repertoire. Under such sad circumstances, the composer left Russia.

This time Glinka leaves for France and Spain. In Paris, Mikhail Ivanovich meets the famous French composer Hector Berlioz.

In 1857 Glinka caught a cold. The disease developed very quickly, and on February 3 the composer died in Berlin. His ashes were transported to St. Petersburg and buried in the cemetery of the Alexander Nevsky Lavra.

Glinka can rightly be considered the creator of the Russian musical classics. artistic excellence and professional excellence his works brought Russian music to the world level. He solved the problem of the national in music in a new way. The composer created samples of the best national Russian lyrics and the Russian heroic spirit is expressed in the music.

In the work of Glinka, the opera acquired the character of continuous development. He wrote two operas:

1. Life for the Tsar (Ivan Susanin) is the first folk musical drama, the first Russian dramatic opera. Glinka himself defined the genre of this opera as "domestic heroic-tragic opera".

2. "Ruslan and Lyudmila" is the first fabulously epic opera. It is completely different from the opera "Ivan Susanin". Glinka called it "a great magical opera."

Glinka wrote more than 70 romances. This genre was raised by the composer to a new high level. Glinka is a singer, and therefore, when writing romances, he took into account all the features of the human voice, which made the melodies natural and convenient for singing. They show a connection national traits and Italian bel canto.

It is believed that Glinka created Russian genre symphonism. He wrote such overtures on folk themes:

- "Kamarinskaya",

- Night in Madrid

- Aragonese jota.

Glinka is the founder of lyric symphonism. According to Tchaikovsky, symphonic music Glinka, the entire symphonic Russian school appeared.

Glinka and Pushkin were contemporaries and became classics. They have a lot in common:

Wholeness

Objectivity,

slenderness,

clarity of view of the world,

Harmonious balance between good and evil,

bright perception of the world,

The balance of forms.

Glinka penetrated the essence of the folk song, devoted a lot of time to its study.

Glinka was very human-educated of his time. He spoke six languages, so he could communicate with many musicians of the world, learn all the achievements of world music.

From childhood, Glinka studied his uncle's orchestra. In addition, he studied orchestra with Siegfried Dehn, who compiled textbooks on polyphony and harmony especially for Glinka.

Glinka also wrote many chamber ensembles, piano works, viola sonatas, music for performances. The composer also wrote musical accompaniment to the tragedy "Prince Kholmsky".