The main works of clay. Mikhail Ivanovich Glinka

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)

Founder of the Russian composer school.

1. Life and work

Born in the village of Novospasskoye, Smolensk province. His great-grandfather was a Polish gentry from the Glinka family of the Trzaska coat of arms (pol. Trzaska) - Viktorin Vladislav Glinka (pol. Wiktoryn Wladyslaw Glinka ). After the loss of Smolenskaya by Poland in 1654, V. V. Glinka accepted Russian citizenship and converted to Orthodoxy. The tsarist government retained his possessions in the Smolensk region and gentry privileges, including the coat of arms.

The composer's childhood passed on the estate of his father, retired captain Ivan Nikolaevich Glinka. In 1817, his parents brought Mikhail to St. Petersburg and placed him in the Noble Boarding School at the Main Pedagogical Institute (in 1819 it was renamed the Noble Boarding School at St. Petersburg University), where his tutor was the poet, Decembrist V. K. Kuchelbecker. In St. Petersburg, Glinka takes lessons from leading musicians, including the Irish pianist and composer John Field. In the boarding house, Glinka meets A. S. Pushkin, who came there to his younger brother Leo, a classmate of Mikhail.

In 1830 he traveled to Italy, met many musicians, including Bellini and Donizetti. In 1833-1834 he lived in Berlin, where he studied harmony and counterpoint with Z. Dehn. After returning to Russia, Glinka began work on his first opera, A Life for the Tsar (premiered in St. Petersburg on November 27, 1836). He was appointed Kapellmeister of the Court Singing Chapel (he remained in this position for about two years.

The premiere of Glinka's first opera "Ivan Susanin" took place, which, at the insistence of state ministers, was staged under the title "Life for the Tsar". This opera is considered the first Russian opera. The premiere of the second opera "Ruslan and Lyudmila" based on Pushkin's poem was not very successful in 1842, although later this particular opera was recognized as the composer's greatest achievement.

Mikhail Glinka repeatedly visited Chernigov and Ichna, Nizhyn, Grigorovka, Monastery. And in Kachanovka in the Tarnovsky estate in 1838 he worked on the opera "Ruslan and Lyudmila", excerpts from which were first performed by the choir of patron Grigory Tarnovsky. A street in the city and an arbor in Kachanovka are named after him.

In the fortieth year of his life, Glinka went on a long journey through Spain and France. While in Madrid and Seville, he recorded several folk melodies, which he later used in his works (symphonic overtures "Night in Madrid" and "Jota of Aragon") in Paris, he met and became close to Berlioz. Then Glinka returned to Russia for some time; the last years of his life were spent in incessant wanderings. In addition to two operas, Glinka composed many romances, a number of pieces for piano and orchestra (including Kamarinskaya and Waltz Fantasy), several chamber instrumental ensembles. Glinka died in Berlin on February 3 (15), 1857.

2. List of works

Literature

• Asafiev B.V. Glinka. - M., 1947; 1950; L., 1978.
• Elena Anfimova about Mikhail Glinka, Modest Mussorgsky, Sofia Kovalevsky, Konstantin Tsiolkovsky, Anna Akhmatova] / E. Anfimova. - Kyiv: Grani-T, 2009. - 88 p.: Il. - (Life of outstanding children). - ISBN 978-966-2923-77-3. - ISBN 978-966-465-233-6
• Bernstein N.D. Mikhail Ivanovich Glinka. - St. Petersburg, 1904.
• walter v. Glinka's opera "Ruslan and Lyudmila". - St. Petersburg, 1903.
• Vasina-Grossman V. Glinka's life. - M.: State Musical Publishing House, 1957.
• Weymarn P. Mikhail Ivanovich Glinka. Biographical essay. - M., 1892.
• Berkov V.O. Glinka's harmony. - M., 1948.
• Ganzburg G.I. Rossini and Glinka: what do they have in common? / / Music and Time. - 2003. - No. 5. - S. 32-35.
• Glinka in the memoirs of his contemporaries / Ed. A.A. Orlova.- M., 1955.
• Glinka M.I. Notes and correspondence with relatives. - St. Petersburg, 1887.
• Derzhavina M. N. The search for real church music / / Church Bulletin. - 2004. - No. 12
• Dmitriev A.N. Musical dramaturgy of the Glinka Orchestra. - L., 1957.
• Ilyinsky A.A. Mikhail Ivanovich Glinka. His life and musical works. - M., 1908.
• Kann-Novikova E.I. M.I. Glinka. New materials and documents. Issue. 1-3. - M.-L., 1950-1955.
• Kashkin N.D. Selected articles about M.I. Glinka. - M., 1958.
• Kolmovsky A. Biography of Glinka with a portrait and a facsimile. - Smolensk, 1885.
• Kuznetsov K.A. Glinka and his contemporaries. - M., 1926.
• Larosh G.A. Selected articles about Glinka. - M., 1953.
• Levasheva O.E. M.I. Glinka. T.1-2. - M., 1987-1988.
• Chronicle of the life and work of M.I. Glinka. M., 1978.
• Levenson A. From the field of music. Glinka: Biography. - M., 1885.
• Livanova T.N., Protopopov V.V. M.I. Glinka. T. 1-2. - M., 1955
• Nikolaev A. Mikhail Ivanovich Glinka. - St. Petersburg, 1904.
• Obolensky V., Weimarn P. Mikhail Ivanovich Glinka. - St. Petersburg, 1885.
• Odoevsky V.F. Articles about MI Glinka. - M., 1953.
• Orlova A.A. Glinka in Petersburg. - L., 1970.
• Protopopov V.V. M.I. Glinka.- M., 1949.
• Protopopov V.V."Ivan Susanin" Glinka. Musical-theoretical research. - M., 1961.
• Serov A.N. Memories of Mikhail Ivanovich Glinka. - L., 1984.
• Stasov V.V. Selected articles about M.I. Glinka. - M., 1955.
• Tyshku S.V., Mamaev S.G. wanderings of Glinka. Ch. 1-2. - Kyiv, 2000-2002.
• Tyshku S.V., Kukol G.V. wanderings of Glinka. Part 3. - Journey to the Pyrenees, or Spanish arabesques. - Kyiv, 2011.
• Findeisen N. Mikhail Ivanovich Glinka. Essay on his life and musical activity. - M., 1903.
• Tsukkerman V.A."Kamarinskaya" by Glinka and its traditions in Russian music. - M., 1957.
• Chernov K."Life for the King". Opera by Mikhail Glinka: Thematic and aesthetic analysis. - M., 1907.
• Chernov K."Ruslan and Ludmila". Opera by Mikhail Glinka: Thematic and aesthetic analysis. - M., 1908.
• Shlifstein S. Glinka and Pushkin. - M.-L., 1950.
• Engel Yu. Great button accordion of the Russian land, composer M.I. Glinka. - M., 1904.

M. Glinka

(Brief chronology of life and work)

LIST OF MAIN WORKS OF GLINKA

operas

"Ivan Susanin" (1834-1836)

"Ruslan and Lyudmila" (1837-1842)

Symphonic works

"Overture-symphony" on two Russian themes (1834, unfinished)

"Jota of Aragon" (1845)

"Kamarinskaya" (1848)

"Night in Madrid" (1849-1852; 1st ed. - "Memories of Castile", 1848)

"Waltz-Fantasy" (orc. ed. - 1856)

Music for the tragedy "Prince Kholmsky" (1840)

More than 70 romances and songs (including the Farewell to Petersburg cycle, 1840)

Sonata for viola and piano (unfinished) "Pathétique trio" for piano, clarinet and bassoon

Grand Sextet for piano, two violins, viola, cello and double bass

"Brilliant divertissement on themes from Bellini's La sonnambula" for piano, two violins, viola, cello and double bass

Serenade on a theme from Donizetti's "Anna Boleyn" for piano, harp, bassoon, horn, viola, cello or double bass

2 string quartets

"Kamarinskaya" (1848)

The development of Glinka's symphony proceeded in the musical and dramatic sphere. "Ivan Susanin", music for the tragedy "Prince Kholmsky", the epic opera "Ruslan and Lyudmila" are works in which Glinka's creative method as a symphonist finds full, perfect expression. And only in the later years of his life, armed with the experience of a composer-playwright, a master of the opera genre, he comes to his classical orchestral works.

1 M. I. Glinka. Literary heritage, vol. I, p. 149.

Such is the remarkable symphonic fantasy Kamarinskaya (1848). “The Russian symphony school is all in Kamarinskaya,” Tchaikovsky noted in his diary. Indeed: a small work, written easily and naturally - a picture of folk life - has acquired a fundamental, milestone significance in the history of Russian symphony. In the idea of ​​orchestral fantasy, the composer seems to pick up a thread drawn from the early instrumental music of the 18th century, from everyday variations on folk themes, from the folk-genre overtures of Pashkevich and Fomin. But, as in Glinka's operas, the very approach to folk material here was essentially new. Instead of a domestic scene, a brilliant "Russian scherzo" arose - a remarkable in its brightness embodiment of the Russian folk character, folk humor and lyricism. As in monumental operas, in the miniature "Kamarinskaya" Glinka comprehends the "formation of the people's soul." Based on popular, current themes, he gives them a high poetic meaning.

In "Kamarinskaya" Glinka found his own, organic method of developing Russian folk themes, born from the depths of folk artistic practice, folk musical art. This was the aim of his predecessors; for many years the composer himself, the author of the Overture-Symphony, was moving towards this. But only in "Kamarinskaya" he completely overcame those traditions of everyday, home music-making, with which his first symphonic experiments and the best compositions of his contemporaries - Alyabyev, Verstovsky - who worked on folk themes, were associated.

The dramatic idea of ​​the fantasy is distinguished by its genuine Glinka unity. “At that time, by chance, I found a rapprochement between the wedding song “Because of the Mountains, High Mountains, Mountains,” which I heard in the village, and the dance “Kamarinskaya”, howling famous,” Glinka wrote in Zapiski. This “rapprochement” prompted the composer to develop two completely dissimilar, contrasting, at first glance, themes. The majestic melody of the wedding song turns out to be internally close to the cheerful and perky dance tune of Kamarinskaya. The general descending chant - a move from the subdominant to the tonic of the mode - combines two images, serves as the basis for their gradual rebirth, rapprochement with each other:

Creating in "Kamarinskaya" a single integral form, Glinka does not resort to the traditional classical sonata. The general composition of fantasy is based on variational development. At the same time, each of the two topics, which are presented in turn, varies. The general form of fantasy develops in the form of double variations with the original, open tonal plan: F major - D major.

Such a free, unconventional development of musical material speaks of a completely new approach to the instrumental form, which bears the features of improvisation. Obeying the traditions of the folk style, Glinka gives more and more new versions of themes, which, in the apt expression of Asafiev, "replete with transformations without end and without edge." And at the same time, how harmoniously and smoothly the development of thought flows, how closely both folk melodies merge into a single whole! Expanding the smooth, majestic wedding song, accompanying it with the lively tune of Kamarinskaya, Glinka seems to admire the inexhaustible richness of folk fantasy, the breadth of the folk soul.

Two fundamental features of the folk musical style found in "Kamarinskaya" a classically perfect expression: the principle of folk

1 M. L. Glinka. Literary heritage, vol. I, p. 267.

subvocal polyphony and the principle of instrumental variations with fine, refined ornamentation. Both principles fully correspond to the genre characteristics of the themes chosen by Glinka: polyphonic development - in the song, variational ornamentation - in the dance instrumental tune.

Naturally and flexibly, more traditional methods of classical imitation polyphony, vertically movable counterpoint (in the first variations on a dance theme) are also applied. The subtle combination of the techniques of Russian folk and Western European classical polyphony does not at all contradict the deeply national style of Glinka's fantasy: the composer mastered this synthetic method much earlier, in the introduction of Ivan Susanin, linking the "Western fugue with the conditions of Russian music."

The general development of music is characterized by dynamism and striving. An active, dance theme dominates; the smooth unfolding of the wedding song is perceived as an introductory section. It is a group of polyphonic variations: the unhurried, ceremonious theme of "Wedding" is gradually enriched with contrapuntal voices, the texture thickens, the orchestra passes from a transparent sing-song to the sonority of a powerful choir. This whole group of variations prepares the appearance of a contrasting image of Russian dance.

The main section is variations on the theme of "Kamarinskaya". It sounds cheerfully and provocatively on the violins - first in unison, and then accompanied by an undertone (viola), which forms a double counterpoint with the main theme. The music evokes the idea of ​​a cheerful Russian dance with unexpected "antics", "knees" of various instruments: a cheerful chirping of woodwinds, a "balalaika" melody of strings, whimsical divorces from the clarinet are heard.

In the seventh variation, where the oboe enters as a new "protagonist", the dance theme suddenly takes on the features of a wedding theme:

The minor version of the dance completes this "rebirth" of the theme. In its further variation, the composer uses bright dynamic and timbre contrasts, on which the entire final section of the fantasy is built, depicting the height of a folk dance. It is characteristic that the composer does not use the technique of simultaneously combining two contrasting images-themes in Kamarinskaya: his method of synthesis is more complicated. "Beating" the common intonations of two folk tunes, he develops the principle of derivative contrast, which was widely developed in the work of the greatest symphonist, revered by Glinka, Beethoven.

Of particular importance in "Kamarinskaya" are the effects of a humorous plan. The meaning of the "Russian scherzo" (this is how Glinka liked to call this work) is clearly expressed in the finest details of orchestral writing, in refined, witty rhythmic combinations. Here are sharp pauses that suddenly break off the development of the theme, and expressive dissonant organ points in the final section (persistent, ostinato motif on the horns, and then on the trumpets), and an unexpected piano of a solitary violin voice in the elegant ending of Kamarinskaya, full of warm humor.

Using in his imagination a very limited, small composition of the orchestra (with one trombone), Glinka achieves subtle artistry in conveying the national, original color of Russian folk music. The diverse use of strings - from a smooth, songful cantilena to an energetic "balalaika" pizzicato, the widespread use of woodwinds - entirely in the traditions of folk performance (imitation of the intricate tunes of a flute, horn, zhaleika), and most importantly - an amazing clarity and purity of orchestration, masterfully shading fine weaving voices - these are the features of the orchestral score of "Kamarinskaya". From here comes the further development of the "Russian genre" in the symphonic music of the classics, starting from the first overtures by Balakirev, created under the direct influence of Glinka, and ending with the exquisite folk miniatures of Lyadov, who managed to draw from Glinka the most important thing - the poetry of folk humor.

http://dirigent.ru/o-proizvedenijah/302-glinka-hota.html

"Aragonese jota"

In the "Brilliant Capriccio on the Aragonese Jota" (the original name of the overture), the composer turned to the most popular, current melody of Spanish folk dance. Simultaneously with Glinka, Liszt masterfully developed the same theme in his Great Concert Fantasy (1845), which he later revised into Spanish Rhapsody. Glinka studied jota in the folk tradition, in the tunes of Spanish guitarists. He deeply comprehended the very manner of performing Spanish dances, which in folk practice are accompanied by singing: each verse, as a rule, is performed with a text and ends with an instrumental refrain - tune. This tradition was reflected in Glinka's music (melodies are recorded with text in his notebooks) and laid the foundation for those figurative oppositions with which the cheerful and full-blooded music of the "Spanish overtures" is saturated.

The overall composition of the "Jota of Aragon" is distinguished by bright contrast. In the classically harmonious form of this overture, Glinka combines the principles of sonata and variation, freely uses both variational development and the method of motive development. The main contrast is created between the solemn, strict introduction (Grave) and the festively jubilant themes of the sonata allegro. The interpretation of the sonata form revealed the typical features of Glinka's dynamic symphonism: continuity of development, overcoming the inner facets of the form (exposition develops into development, development into reprise), the intensity of the "stepped" development, the bright aspiration of music to the climax, the compression of the thematic material" in dynamic reprise.

After a stern introductory Grave with powerful "calls" fanfare, the themes sound easy and transparent main party overtures: the melody of the Aragonese jota and the melody, full of restrained passion, the melody of the woodwinds - clarinet, bassoon, oboe. The structure of the main party - dance and song - forms the so-called "double three-part form", based on the principle of repetition of two alternating themes. The instrumentation brilliantly conveys the flavor of Spanish folk music - castanets are heard, the first theme is performed by a solo violin and harp against the background of pizzicato strings. As if woven from light, ringing timbres, Glinka's music creates a poetic image of a guitar tune:

Side party- main variant. This is an elegant, scherzo image based on the same symmetrical rhythmic formula of jota (structure according to four bars, sequence: tonic - dominant, dominant - tonic). Its development is dominated by polyphonic techniques: first, an intricate counterpoint is added to the theme - a motive borrowed from the main melody of the jota; then a new, melodious and expressive melody enters (the second theme of the side part), sounding first on the strings, then on the trombones, accompanied by a harp:

Development is subject to a single growth line. It dynamically develops the thematic figure of a swift “run-up”, suddenly interrupted by a formidable tremolo by the timpani; slow syncopations recall the fanfare theme of the introduction. The last wave of development leads to an enthusiastic, jubilant climax, marked by powerful chords from the entire orchestra (harmony altered double dominant). This pre-reprisal moment is a turning point.

The reprise continues the variation of themes (more active and concise), shown in a dazzlingly bright, sparkling orchestral outfit. The overture ends with a brilliant coda, where sharp, syncopated fanfare turns are reminiscent of the solemn images of the introduction.

History of Russian music, part 1 M., 1972

http://dirigent.ru/o-proizvedenijah/304-glinka-fantasy.html

"Waltz Fantasy"

Along with the poetic "Night in Madrid", among the most refined and subtle works of Glinka is the "Fantasy Waltz", which arose on the basis of the original piano version.

In Glinka's work, "Waltz-Fantasy" occupies a special place as the highest expression of the lyrical line of his symphony. Constantly working on dance music of a more brilliant, imposing style (polonaises with a choir, "big waltzes"), the composer set another task in "Fantasy Waltz" - the embodiment of intimate intimate lyrical images. Arising in a critical, pre-Ruelan period, this work was to some extent a “page from the composer’s diary.” It reflected dreams of the elusive beauty, of the fragile images of youth, of light and fleeting beauty.

The circle of images touched upon in the "Fantasy Waltz" makes this work related to Glinka's elegiac romances, with his lyrical piano pieces (the nocturne "Separation", "Memories of the Mazurka"). origins

1 The waltz was secretly dedicated to Ekaterina Ermolaevna Kern, the daughter of A.P. Kern, sung by Pushkin. The poetic passion for this young girl was one of Glinka's most profound life impressions; it was reflected in a number of works of the late 30s - early 40s.

it, as Asafiev correctly noted, is by no means laid down in “brilliant waltzes” of the ballroom type, but in chamber, intimate dances that are widespread in Russian everyday music (recall the lyrical waltzes of Alyabyev, Esaulov, N. A. Titov, Griboyedov and other composers Pushkin era). At the same time, Glinka picks up and develops here the general tendency to poeticize everyday dance, which brightly appeared in the pan-European music of the era of romanticism. And the very rhythm of the waltz, associated with images of light, “airy” movement, with images of soaring and flying, deeply entered the spirit and structure of romantic music of the 19th century. In "Waltz Fantasy" Glinka gave his own, independent continuation of this line, creating an inspired lyrical poem based on everyday dance.

Like "Night in Madrid", Glinka's waltz did not crystallize immediately, but received its final expression only as a result of hard and long work. The first version of this work was written for piano (1839). Then the composer created his own orchestral version of the waltz (1845), which has not survived to our time. The final orchestral version, first performed in the spring of the same year in St. Petersburg, dates back to 1856.

Orchestration"Waltz-fantasy" does not at all pursue the goals of external showiness, ceremonial brilliance. In one of his letters, Glinka speaks of the novelty of his instrumentation: "...no reliance on virtuosity (which I absolutely can't stand), nor on the vastness of the mass of the orchestra" 1 . The lyrical idea of ​​the work is in complete harmony with the elegant orchestration: Glinka is limited to the classical small composition of the orchestra, in which, in addition to stringed bowed and woodwind instruments, a small group of brass instruments (2 pipes, 2 horns, 1 trombone) participate. But each of the tools plays a responsible role. The composer makes extensive use of orchestral solos and the technique of undertones in the orchestra. The main themes entrusted to the strings and woodwind are expressively set off by the singing voices of the solo instruments of a contrasting timbre (horn, trombone, bassoon). The light transparent orchestration fully corresponds to the poetically sublime warehouse of airy, "soaring" themes, fanned by dreamy sadness.

The lyrical nature of the waltz is due to the songlike thematics. Unfolding in a dance rhythm, Glinka's melody is distinguished at the same time by a smooth melody of intonations. A peculiar fusion of song and dance gives it a special touch of sincerity, intimacy, warmth. The bearer of the main lyrical image is the main theme of the Fantasy Waltz, marked by an expressive falling intonation of an increased fourth (mi-sharp - si). The characteristic technique of singing unstable sounds (an abandoned introductory tone to the dominant, a stop on the second degree of the mode) brings this theme closer to the elegiac chants of Gorislava's cavatina (cf. example 168):

1 M. I. Gl and n to a. Literary heritage, vol. II, p. 574.

The main image alternates with lighter, major episodes. The themes of soaring, flight movement dominate. In their free and flexible alternation, the melodic richness typical of Glinka is manifested: “it is felt that the composer, in the inescapable generosity of his imagination, does not have to radiate melody after melody, one is more captivating ...” ". Note the elegant D major episode with a light spiccato of the strings or a “soaring” G major theme with whimsical cross-rhythms - a kind of effect of metro-rhythmic mismatch in different voices:

1 B. V. Asafiev. Selected Works, vol. I, p. 367.

The refinement of the rhythmic pattern gives a special charm to the music of the Fantasy Waltz. Glinka intentionally avoids here the squareness of the rhythm, the monotonous and symmetrical structure of the themes. This is already indicated by structure of the main theme, consisting of three-bar asymmetrical motifs. The exquisite "rhythmic play" in Glinka's score is in good agreement with the overall idea of ​​the work: it is not for nothing that the composer defined it as "fantasy" or "scret".

The general structure of the Fantasy Waltz is also typical, subject to the principles of rondo. The periodic return of the main theme, the main idea creates a special psychological effect. The main image is subtly set off by contrasting, lighter episodes, which, however, do not fall out of the general plan of dreamy-lyrical moods. A symphonic “poem about a waltz” unfolds before the listener, permeated with a single “plot core”. Similar images, close in character, can be found in the work of Glinka's Western contemporaries: these are Weber's "Invitation to Dance", the lyrical waltzes of Chopin and Schubert. It is impossible not to notice that the very principle of the alternation of dance episodes that make up a single chain of lyrical images is the most characteristic of the dance genres of the era of romanticism. Glinka's art manifested itself in the ability to create a figurative unity within the framework of a free rondo-shaped composition. He achieves this by sharpening the climaxes, highlighting the main, leading themes, by synthesizing images in a dynamic reprise (techniques familiar to us from the Spanish Overtures). In the overall rondo-like composition of the piece, there are also signs of three-chapterity: the composer clearly distinguishes a new episode in the center of the work (C major - G major):

The last performance of the main theme by the entire fortissimo orchestra sounds brightly, which has the meaning of a general, final reprise of a large waltz.

The unity of the work is also due to its tonal development. In the overall composition of the waltz, Glinka avoids sharp tonal contrasts and develops all themes within close, related keys (B minor, G major, D major). Wise economy of colorful effects gives the waltz a noble simplicity, emphasized "modesty" and restraint of musical expression.

The value of "Waltz-Fantasy" in the history of Russian symphony turned out to be wider than the composer himself could have foreseen. Glinka's lyrical poem, full of sincere inspiration, showed Russian composers a special way of symphonizing dance. By creating this work, Glinka to a large extent foresaw the future principles of the development of lyrical images in the work of Tchaikovsky, a composer whose waltz genre and the very techniques of waltz rhythmic movement acquired a special, unique artistic meaning. The high poetization of the waltz in the work of Tchaikovsky and Glazunov, the development of the waltz in the classical ballet scores of these masters, the through line of "waltz" in Tchaikovsky's symphonies - all this was already incorporated in Glinka's symphonic dances. And if, according to Tchaikovsky's true expression, "Kamarinskaya" gave rise to the development of Russian symphonic classics, then we should not forget that other mature symphonic works by Glinka played a similar role, giving rise to a whole system of artistic images in Russian music. A genuine, deep assessment of the composer's symphonic method is possible only on the basis of a complete, comprehensive study of his orchestral heritage in all genres.

History of Russian music, part 1 M., 1972

http://istoriyamuziki.narod.ru/qlinka_kamarinskaya.html

"Kamarinskaya"

Kamarinskaya is a variation on the themes of 2 Russian songs (double variations). 1 of them is the wedding song “Because of the mountains, high mountains”, the other is dancing "Kamarinskaya". They differ not only in genre, but also in character. - 1st lyrical, thoughtful, at a slow pace, 2nd - cheerful, fast. However, with all the contrast, Glinka noticed a common feature in their melodic structure - the presence of a downward progressive movement per fourth. This made it possible to bring together and unite both tunes in the process of development. Each theme develops according to its warehouse. The slow, song theme is developed on the model of lingering songs, at first it sounds in unison - like a solo sing-along, then variations follow, where the choir seems to enter - the main melody, remaining unchanged, is overgrown with new melodious undertones. The dance theme also develops partially polyphonically - by varying the accompaniment, in which there are intricate undertones. In the first 6 variations, the dance theme remains unchanged, only accompaniment develops. In the next performances, the theme already changes its melodic appearance. It is enriched with a patterned ornament, which makes one recall the figurations common in the practice of folk performers - balalaika players. In a number of variations, new melodies grow out of the theme, intonationally related to it. The last of the new transformations is close to the theme of the wedding song. Thus, Glinka skillfully reveals the thematic relationship of 2 contrasting melodies in order to achieve the intonational unity of the entire fantasy.

Along with intonational development, ornamental variation, Kamarinskaya also uses orchestral variation. The orchestration changes all the time, it helps to reveal the subvocal warehouse of the music. The wedding song begins to vary with woodwind instruments, reminiscent of their sound of zhaleika, flutes, horns, and the dance song takes place at the strings playing pizzicato and reproducing the sound of a balalaika.

The dance theme, without changing, is harmonized by Glinka now in D major, now in G minor, now in B minor. Against its background, the signals of French horns (fa#) suddenly sound, and then the trumpets, stubbornly hammering the sound of do-bekar, which creates a humorous effect.

Glinka's "Kamarinskaya" was of fundamental importance for all Russian symphonic music. Without using the usual methods of symphonic development for Western European music (motivational development with fragmentation of the theme, sequence, modulation), Glinka achieves continuity and purposefulness of movement. Through subvocal variation and intonational transformation of contrasting themes, he brings them closer and unified (coda).

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spanish overture

Jota Aragonese (Brilliant Capriccio on Aragonese Jota)

Spanish Overture No. 1 (1845)

Orchestra composition: 2 flutes, 2 oboes, 2 clarinets, 3 bassoons, 4 horns, 2 trumpets, 3 trombones, ophicleide (tuba), timpani, castanets, cymbals, bass drum, harp, strings.

"A Night in Madrid" (Memories of a Summer Night in Madrid)

Spanish Overture No. 2 (1848-1851)

Orchestra composition: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, trombone, timpani, triangle, castanets, snare drum, cymbals, bass drum, strings.

History of creation

In 1840, Glinka spent several months in Paris. In his Notes, he recalled: “... I found out that Liszt went to Spain. This circumstance aroused my long-standing desire to visit Spain so strongly that, without delay, I wrote about this mother, who did not suddenly and not even soon agree to this undertaking of mine, fearing for me. Wasting no time, I set to work.

The "case" was a hasty mastering of the Spanish language and went very well. When the composer went to Spain in May 1845, he already spoke Spanish almost fluently. He visited Burgos, Valladolid. He got a horse and made trips around the neighborhood. “In the evenings, neighbors, neighbors and acquaintances gathered at our place, sang, danced and talked,” Glinka continues her memoirs in Notes. - Between acquaintances, the son of a local merchant ... smartly played the guitar, especially the Aragonese jota, which with its variations I kept in my memory and then in Madrid, in September or October of the same year, made a play out of them under the name "Capriccio brilliante" , which later, on the advice of Prince Odoevsky, he called the Spanish Overture. Even later, the composition became known as the Spanish Overture No. 1, but it received the greatest fame as the Aragonese Jota. The first performance took place on March 15, 1850. Odoevsky’s response to this concert has been preserved: “The miracle worker involuntarily takes us to a warm southern night, surrounds us with all its ghosts, you hear the rattling of a guitar, the cheerful sound of castanets, a black-browed beauty is dancing in front of your eyes, and the characteristic melody is either lost in the distance, or again appears in all its glory."

From Valladolid Glinka went to Madrid. “Shortly after arriving in Madrid, I set to work on the Jota. Then, having finished it, he carefully studied Spanish music, namely the melodies of commoners. One zagal (a stagecoach mule driver) came to me and sang folk songs, which I tried to catch and put on notes. Two Seguedillas manchegas (airs de la Mancha) I especially liked and subsequently served me for the second Spanish Overture.

It was created later, in Warsaw, where the composer lived in 1848-1851. Glinka originally called his work "Memories of Castile". It was performed in St. Petersburg on March 15, 1850, in the same concert as the Aragonese Jota. Not completely satisfied with the result, in August 1851 the composer worked on the second edition. It was she who began to be called "Night in Madrid", or "Memories of a Summer Night in Madrid", was dedicated to the St. Petersburg Philharmonic Society and was first performed in St. Petersburg under the direction of K. Schubert on April 2, 1852 in a concert of this Society; the concert program was entirely composed of Glinka's compositions. This edition was later published, and remained as the only true one.

"Aragonese jota" opens with a slow introduction, full of restrained power and grandeur, with solemn fanfare, alternating fortissimo and secretly quiet sounds. In the main section (allegro), first in the light pizzicato of the strings and plucking of the harp, and then the bright, cheerful theme of the jota sounds more and more saturated and full. It is replaced by an expressive melodic melody for woodwinds. Both themes alternate in a bright bloom of orchestral colors, preparing the appearance of another theme - an elegant and graceful melody with a touch of playfulness, reminiscent of a mandolin tune. In the future, all topics become more excited, tense. Their development brings drama, even severity, to the music. One of the jota motifs is repeated in a low register against the backdrop of the fanfare of the introduction, which acquires a formidable character. Expectation kicks in. With the roar of the timpani, fragments of the dance appear, gradually the theme of jota takes on more and more clear outlines, and now it sparkles again in full splendor. A stormy, unrestrained dance absorbs everything in its whirlwind. All the themes, intonation approaching, sweep in a jubilant stream. The majestic, triumphant tutti completes the picture of folk fun.

"Night in Madrid" begins, as it were, gradually, as if the future melody is being groped in separate motifs, interrupted by pauses. Gradually, the theme of jota is born, it becomes more and more distinct, and now, flexible, graceful, it sounds in a brilliant orchestral outfit. The second theme is close to the first in character and seems to be its continuation. Both melodies are repeated, varying, intricately intertwined in a subtle and colorful orchestral sound, creating an almost visible picture of a warm southern night saturated with aromas.

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.

Selected and most famous

works by M.I. Glinka

I. Operas and compositions for the stage 1) A Life for the Tsar (Ivan Susanin) (1836), a grand opera in 4 acts with an epilogue. Libretto G.F. Rosen. 2) Music for the tragedy "Prince Kholmsky" by N.V. Kukolnik (1840). 3) "Ruslan and Lyudmila", a large magic opera in five acts (1842). Libretto by V.F.Shirkov based on the poem by A.S.Pushkin. II. Symphonic works 1) Overture-symphony on a circular Russian theme (1834), completed and instrumented by V. Shebalin (1937). 2) Brilliant capriccio on the Jota of Aragon (Spanish Overture N1) (1843). 3) Remembrance of a summer night in Madrid (Spanish Overture N2 for orchestra) (1848-1851). 4) "Kamarinskaya", fantasy on the themes of two Russian songs, wedding and dance, for orchestra (1848). 5) Polonaise ("Solemn Polish") on the theme of the Spanish bolero (1855). - 6) Waltz-fantasy, scherzo in the form of a waltz for orchestra (third instrumentation of the work of the same name for piano, 1839) (1856) III. Chamber-instrumental ensembles 1) String quartet (1830) 2) Brilliant divertissement on themes from the opera La Sonnambula by V. Bellini (1832). 3) Serenade to some motifs from the opera "Anne Boleyn" by G. Donizetti (1832). 4) Grand sextet on their own themes (1832). 5) "Pathetic Trio" (1832). IV. Works for piano 1) Variations on a Theme of a Russian Song, Among the Flat Valley "(1826). 2) Nocturne Es-Dur (1828). 3) "New Country Dance", French Quadrille D-Dur (1829). 4) "Farewell Waltz "(1831). 5) Variations on the theme of the song "Nightingale" by A. Alyabyev. (1833). 6) Mazurka F-Dur (mazurka dedicated to his wife) (1835). 7) "Melodic waltz" (1839). 8) "Counterdance" G-Dur (1839) 9) "Favorite Waltz" F-Dur (1839). 10) "Great Waltz" G-Dur (1839) 11) "Polonaise" E-Dur (1839). 12) Nocturne "Separation" (1839). 13) "Monastery", country dance D-Dur (1839). 14) "Waltz-Fantasy" (1839). 15) "Bolero" (1840) 16) Tarantella on the Russian folk song "Vo a field of birch stood" (1843). 17) "Prayer" (1847). (For voice, choir and orchestra - 1855). 18) Author's arrangement for piano of the Epilogue of the opera "A Life for the Tsar" (1852). 19) "Children's Polka "(on the occasion of the recovery of Olga's niece (1854) 20) Andalusian dance "Las Mollares" (1855). 21) "The Lark" (1840) (arranged for piano by M. Balakirev). V. Vocal works with piano accompaniment 1) Elegy "Do not tempt me needlessly" (1825). Words by E.A. Baratynsky. 2) "Poor singer" (1826). Words by V.A. Zhukovsky (1826). 3) "Consolation" (1826). Words by V.A. Zhukovsky. 4) "Oh, you, darling, a beautiful girl" (1826). Folk words. . 5) "Memory of the heart". Words by K.N. Batyushkov (1826). 6) "I love, you told me" (1827). Words by A. Rimsky-Korsak. 7) "Bitter, bitter to me, red girl" (1827). Words by A.Ya. Rimsky-Korsak. 8) "Tell me why" (1827). Words by S.G. Golitsyn. 9) "Only a Moment" (1827). Words by S.G. Golitsyn. 10) "What, a young beauty" (1827). Words by A. A. Delvig. 11) "Grandfather, the girls once told me" (1828). Words by A.A. Delvig. 12) "Disappointment" (1828). Words by S.G. Golitsyn. 13) "Do not sing, beauty, with me." Georgian song (1828). Words by A.S. Pushkin. 14) "Will I forget" (1829). Words by S.G. Golitsyn. 15) "Autumn Night" (1829). Words by A.Ya. Rimsky-Korsak. 16) "Oh, you, night, night" (1829). Words by A. A. Delvig. 17) "Voice from the Other World" (1829). Words by V.A. Zhukovsky. 18) "Desire" (1832). Words by F. Romani. 19) "Winner" (1832). Words by V.A. Zhukovsky. 20) Fantasy "Venetian Night" (1832). Words by I.I. Kozlov. 21) "Do not say: love will pass" (1834). Words by A. A. Delvig. 22) "Oakwood makes noise" (1834). Words by V.A. Zhukovsky. 23) "Do not call her heavenly" (1834). Words by N.F. Pavlov. 24) "I just recognized you" (1834). Words by A. A. Delvig. 25) "I am here, Inezilla" (1834). Words by A.S. Pushkin. 26) Fantasy "Night Review" (1836). Words by V.A. Zhukovsky. 27) Stanzas "Here is the place of a secret meeting" (1837). Words by N.V. Kukolnik. 28) "Doubt" (1838). Words by N.V. Kukolnik. 29) "The fire of desire burns in the blood" (1838). Words by A.S. Pushkin. 30) "Where is our rose" (1838). Words by A.S. Pushkin. 31) "Gude wind velmy in poli" (1838). Words<украинск.>V.N.Zabella. 32) "Do not chirp, nightingale" (1838). Words<украинск.>V.N.Zabella. 33) "Night marshmallow" (1838). Words by A.S. Pushkin. Wedding song (1839). Words by E.P. Rostopchina. 35) "If I meet you" (1839). Words by A.V. Kozlov. 36) "I remember a wonderful moment" (1840). Words by A.S. Pushkin. 37) "Farewell to Petersburg", a cycle of 12 songs and romances (1840). Words by N.V. Kukolnik. 38) "How sweet it is for me to be with you" (1840). Words by P.P. Ryndin. 39) Confession ("I love you, even though I'm mad") (1840). Words by A.S. Pushkin. 40) "I love you, dear rose" (1842). Words by I. Samarin. 41) "To her" (1843). Words by A. Mitskevich. Russian text by S. G. Golitsyn. 42) "You will soon forget me" (1847). Lyrics by Yu.V. Zhadovskaya. 43) "I hear your voice" (1848). Lyrics by M.Yu. Lermontov. 44) "Healthy Cup" (1848). Words by A.S. Pushkin. 45) "Song of Margarita" from the tragedy of W. Goethe "Faust" (1848). Russian text by E. Huber. 46) Fantasy "Oh dear maiden" (1849). Words - imitation of the poems of A. Mitskevich 47) "Adele" (1849). Words by A.S. Pushkin. 48) "Mary" (1849). Words by A.S. Pushkin. 49) "Gulf of Finland" (1850). Words by P. G. Obodovsky. 50) "Oh, if I had known before" (1855). An old gypsy song to the words of I. Dmitriev, arranged by M. Glinka. 51) "Do not say that your heart hurts" (1856). Words by N.F. Pavlov.