What Glinka wrote the work. Glinka mikhail ivanovich

The main works of Glinka. Operas: "Ivan Susanin" (1836) "Ruslan and Lyudmila" (1837-1842) Symphonic Pieces: Music to the Puppeteer's Tragedy "Prince Kholmsky" (1842) Spanish Overture No. 1 "Aragonese Jota" (1845) "Kamarinskaya" (1848) Spanish Overture No. 2 "Night in Madrid" (1851) "Waltz-Fantasy" (1839, 1856) Romances and songs: "Venetian Night" (1832), "I am Here, Inesilla" (1834), "Night View" (1836 ), "Doubt" (1838), "Night Marshmallow" (1838), "The Fire of Desire Burns in the Blood" (1839), the wedding song "A Wonderful Tower Stands" (1839), "Traveling Song" (1840), "Confession" (1840), "Do I Hear Your Voice" (1848), "Healthy Cup" (1848), "Marguerite's Song" from Goethe's tragedy "Faust" (1848), "Mary" (1849), "Adele" (1849), "Gulf of Finland" (1850), "Prayer" ("In a difficult moment of life") (1855), "Do not say that it hurts your heart" (1856).

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Glinka

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

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

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

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

The value of Glinka's creativity
The value of Glinka's creativity. In many ways Glinka has the same meaning in Russian music as Pushkin in Russian poetry. Both great talents, both founders of the new Russian artist

Mikhail Glinka was born in 1804, on the estate of his father, in the 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 "greenhouse conditions" in which he grew up as a sort of "mimosa" - a nervous and pampered child. After the death of her grandmother, all the hardships of raising her 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, a classmate of Mikhail.

In 1822, the young man graduated from a boarding school, but was not going to give up music lessons. He plays music in the salons of the nobility, and sometimes leads 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 gets to know other composers and is constantly improving his style. In the spring of 1830, the young man went to Italy, staying a little longer in Germany. He tries his hand at Italian opera, and his compositions 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 as a basis the legend about Ivan Susanin. 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 Cavos, but the latter, contrary to expectations, left the most flattering review about the work of Mikhail Ivanovich.

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

"Yesterday evening my desires were finally fulfilled, and my long work was crowned with the most brilliant success. The audience received 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 this success, the composer was appointed Kapellmeister of the Court Singing Chapel.

Exactly six years after Ivan Susanin, Glinka presented Ruslana 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 big trip to Europe, stopping in France and then in Spain. At this time, the composer was working on symphonies. He travels for the rest of his life, staying in one place for a year or two. In 1856 he travels to Berlin, where he dies.

"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 impassable 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, plots on Russian historical themes are becoming popular. Glinka composed his opera twenty years after Caterino Cavos's opera on the same theme. At some point, on the stage of the Bolshoi Theater, both versions of a popular plot were simultaneously staged. And some performers have participated in both operas.

Ruslan and Lyudmila (1843)

Mikhail Glinka was born in 1804, on the estate of his father, in the 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 "greenhouse conditions" in which he grew up as a sort of "mimosa" - a nervous and pampered child. After the death of her grandmother, all the hardships of raising her 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, a classmate of Mikhail.

In 1822, the young man graduated from a boarding school, but was not going to give up music lessons. He plays music in the salons of the nobility, and sometimes leads 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 gets to know other composers and is constantly improving his style. In the spring of 1830, the young man went to Italy, staying a little longer in Germany. He tries his hand at Italian opera, and his compositions 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 as a basis the legend about Ivan Susanin. 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 Cavos, but the latter, contrary to expectations, left the most flattering review about the work of Mikhail Ivanovich.

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

"Yesterday evening my desires were finally fulfilled, and my long work was crowned with the most brilliant success. The audience received 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 this success, the composer was appointed Kapellmeister of the Court Singing Chapel.

Exactly six years after Ivan Susanin, Glinka presented Ruslana 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 big trip to Europe, stopping in France and then in Spain. At this time, the composer was working on symphonies. He travels for the rest of his life, staying in one place for a year or two. In 1856 he travels to Berlin, where he dies.

"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 impassable 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, plots on Russian historical themes are becoming popular. Glinka composed his opera twenty years after Caterino Cavos's opera on the same theme. At some point, on the stage of the Bolshoi Theater, both versions of a popular plot were simultaneously staged. And some performers have participated in both operas.

Ruslan and Lyudmila (1843)

Mikhail Ivanovich Glinka became the father of Russian national music

Mikhail Ivanovich Glinka became for Russian national music what Pushkin became for the Russian language.

As Pushkin reformed the word, making it alive and bright, completing the work of his predecessors and giving a reliable basis for descendants, so Glinka improved the music of Russia.

Mikhail Ivanovich traveled all over Europe, looking for melodies that would be in tune with Russia, of course, he was not looking for them in foreign countries, getting acquainted with foreign composers, among whom was Hector Berlioz. Glinka was looking for melodies in his own heart, in the soul that loved and revered Russia.

The result of the work of the great composer was a unique Russian style in classical music, combining melodies and tunes of the distant past of Russia with modern Glinka instruments, sounds, and manner of performance.

As for Scandinavia, Glinka for Russia became a singer of the national spirit, a beacon for numerous followers - Musorgsky, Dargomyzhsky, he laid the foundation on which a magnificent house of Russian national music, which is rightfully loved all over the world, grew up.

Mikhail Ivanovich Glinka was a friend of many great people of his era, his search for a unique sound did not begin from an empty slate - he was friends with Pushkin and the Decembrists, maintained warm relations with outstanding artists, writers, musicians.

Among Glinka's acquaintances were both Griboyedov and Zhukovsky, the famous painter Serov, they all influenced the genius, and he equally influenced them. One of Glinka's first works were romances, the sound of which has not subsided for two centuries.

He created many songs that are still performed today, and Mikhail Ivanovich's "Patriotic Song" was even the anthem of the Russian Federation for ten years. Glinka's operas A Life for the Tsar and Ruslan and Lyudmila became the basis of Russian operatic sound.

The symphonic fantasy on two Russian themes "Kamarinskaya", written by Glinka in 1848, became, in Tchaikovsky's words, an "acorn" from which a powerful tree of Russian symphonic music grew.

“Glinka’s keys sang from the touch of his little hand. He was so skillful with the instrument that he could express exactly what he wanted; it was impossible not to understand what the keys were singing under his miniature fingers ... In the sounds of improvisation one could hear a folk melody, and tenderness peculiar only to Glinka, and playful gaiety, and a thoughtful feeling. We listened to him, afraid to move, and at the end we remained for a long time in a wonderful oblivion. " So wrote about her first impression of Glinka A.P. Kern.

For children about their native land

As a children's composer, Mikhail Ivanovich Glinka is primarily known for his romances and the opera Ruslan and Lyudmila, which absorbed and strengthened the impression of fabulousness laid down by A.S. Pushkin into the work of the same name.

Glinka's music, written for children - songs, romances, symphonic fantasies, opera, and even the iconic Kamarinskaya itself - had many features in common, revealing the composer's amazing style.

“Happy composer! If only he could have known that a hundred years after his death, there are very few forgotten or rarely performed works in the collection of his romances! The word "popularity" is negligible and insufficient here. Glinka's melodies have entered the people's consciousness, they live. " B. Asafiev very aptly defined the peculiarity of the romances and songs of Glinka.

Glinka's music - strong, powerful, bright, combining the rhythms of folk songs, legends, even ditties - sounds the way Russia itself should sound - wide and even. Glinka's children's works teach to love their homeland, appreciate its heritage, remember the past and take care of the future, she reveals all the richness of Russian culture, a huge heritage that is hidden in sometimes simple melodies.

“I have a project in my head, an idea… It seems to me that… I could give our theater a work worthy of it… I want everything to be national: first of all, the plot, but also the music, so that my dear compatriots feel myself at home, but abroad they did not consider me a braggart, a crow who decided to dress up in other people's feathers. " So M.I. himself wrote about his plans. Glinka in those days when his plan was still unrevealed.

Glinka created unique Russian music that helps both children and adults to love their country, appreciate and be inspired by the images of their native land inherent in the melody of the great composer.

If Russian science began with Mikhail Lomonosov, poetry - with Alexander Pushkin, then Russian music - with Mikhail Glinka. It was his work that became the starting point and example for all subsequent Russian composers. Mikhail Ivanovich Glinka is not only an outstanding, but very significant creative person for our national musical culture, since, based on the traditions of folk art and relying on the achievements of European music, he completed the formation of the Russian school of composition. Glinka, who became the first classical composer in Russia, left a small but impressive artistic legacy. In his wonderful works imbued with patriotism, the maestro sang the triumph of goodness and justice in such a way that even today they do not cease to admire them and discover new perfection in them.

A short biography of Mikhail Ivanovich Glinka and many interesting facts about the composer can be found on our page.

short biography

In the early morning of May 20, 1804, according to family tradition, Mikhail Ivanovich Glinka was born under the trills of a nightingale. His small homeland was his parental estate in the village of Novospasskoye in the Smolensk region. There he received his first musical impressions and primary education - the Petersburg governess taught him to play the piano, violin and Italian songs. According to Glinka's biography, in 1817, young Misha entered the capital's Noble boarding school, where V. Küchelbecker became his mentor. It was there that he met A.S. Pushkin, who often visited his younger brother. They maintained good relations until the death of the poet. In St. Petersburg, Mikhail Ivanovich began to study music with even greater zeal. However, at the insistence of his father, after graduating from the boarding school, he entered the civil service.

Since 1828, Glinka devoted himself entirely to composing. In 1830-33, while traveling around Europe, he met his great contemporaries - Bellini, Donizetti and Mendelssohn , studies music theory in Berlin, significantly expanding his composing activity. In 1835 Glinka married the young Maria Petrovna Ivanova in the Church of the Engineer Castle. It was a swift romance, a casual acquaintance of the young took place just six months earlier in the house of relatives. And the very next year, the premiere of his debut opera " Life for the king ”, After which he was offered a position in the Imperial Court Chapel.

In his work, success and recognition began to accompany him, but family life did not work out. Just a few years after his marriage, another woman appeared in his life - Ekaterina Kern. Ironically, the daughter of Pushkin's muse Anna Kern became the composer's muse. Glinka left his wife, and a few years later began divorce proceedings. Maria Glinka also did not feel a heartfelt affection for her husband and, while still married, secretly married another. The divorce dragged on for several years, during which the relationship with Kern ended. Mikhail Ivanovich did not marry anymore, he also did not have children.

After the failure " Ruslana and Lyudmila »The musician moved away from Russian social life and began to travel a lot, living in Spain, France, Poland, Germany. During his rare visits to St. Petersburg, he taught vocals to opera singers. At the end of his life he wrote his autobiographical Notes. He died suddenly on February 15, 1857 of pneumonia, a few days after the Berlin performance of excerpts from A Life for the Tsar. Three months later, through the efforts of his sister, his ashes were transported to St. Petersburg.

Interesting Facts

• M.I. Glinka is considered to be the father of Russian opera. This is partly true - it was he who became the ancestor of the national trend in the world of opera, created the techniques of typically Russian opera singing. But it would be wrong to say that A Life for the Tsar is the first Russian opera. History has preserved little evidence of the life and work of the court composer of Catherine II V.A. Pashkevich, but his comic operas that were staged on the capital's stages in the last third of the 18th century are known: "Misfortune from the carriage", "The Miser" and others. He wrote two operas to the libretto of the Empress herself. Three operas for the Russian court were created by D.S. Bortnyansky (1786-1787). E.I. Fomin wrote several operas at the end of the 18th century, including those based on the libretto of Catherine II and I.A. Krylov. Operas and vaudeville operas also came out from the pen of the Moscow composer A.N. Verstovsky.
• Opera by K. Kavos "Ivan Susanin" for 20 years was shown in theaters on a par with "Life for the Tsar". After the revolution, Glinka's masterpiece was consigned to oblivion, but in 1939, in the wake of pre-war sentiments, the opera again entered the repertoires of the country's largest theaters. For ideological reasons, the libretto was radically revised, and the work itself received the name of its predecessor, "Ivan Susanin", which had sunk into oblivion. In its original version, the opera saw the scene again only in 1989.
• The role of Susanin became a turning point in the career of F.I. Chaliapin. As a 22-year-old boy, he sang Susanin's aria at an audition at the Mariinsky Theater. The very next day, February 1, 1895, the singer was enrolled in the troupe.
• Ruslan and Lyudmila is an opera that has broken the notion of traditional vocal voices. Thus, the part of the young knight Ruslan was written not for a heroic tenor, as an Italian opera model would require, but for a bass or a low baritone. Tenor parts are presented by the kind magician Finn and the storyteller Bayan. Lyudmila is the part for the coloratura soprano, while Gorislava is for the lyric. It is striking that the role of Prince Ratmir is female, he is sung by the contralto. The witch Naina is a comic mezzo-soprano, and her protégé Farlaf is a bass-buffo. Lyudmila's father, Prince Svetozar, sings in the heroic bass, who was given the role of Susanin in "A Life for the Tsar".

• According to one version, the only reason for negative criticism of Ruslan and Lyudmila was the demonstrative departure of Nicholas I from the premiere - the official publications had to justify this fact by some shortcomings of the creative part of the opera. It is possible that the emperor's act is explained by too obvious allusions to the real events that led to the duel of A.S. Pushkin, in particular, suspicions about the relationship between his wife and Nikolai.
• The part of Ivan Susanin marked the beginning of a series of great bass roles in the Russian operatic repertoire, including such powerful figures as Boris Godunov, Dosifei and Ivan Khovansky, Prince Galitsky and Khan Konchak, Ivan the Terrible and Prince Yuri Vsevolodovich. These roles were performed by truly outstanding singers. O.A. Petrov - the first Susanin and Ruslana, and thirty years later - and Varlaam in "Boris Godunov". The director of the St. Petersburg Imperial Theater accidentally heard his unique voice at a fair in Kursk. The next generation of bass was represented by F.I. Stravinsky, father of the famous composer, who served at the Mariinsky Theater. Then - F.I. Chaliapin, who began his career in the private opera of S. Mamontov and grew into a world opera star. In Soviet times M.O. Reisen, E.E. Nesterenko, A.F. Vedernikov, B.T. Shtokolov.
• Mikhail Ivanovich himself had a beautiful voice, a high tenor, and performed his romances to the piano.
• "Notes" by M.I. Glinka became the first composer's memoirs.

• The composer, who looked impressive on the monumental monuments, was actually small in stature, which is why he walked with his head thrown back in order to appear taller.
• During his life, Glinka suffered from various ailments. In part, they were due to grandmother's upbringing in the early years, when he was pretty wrapped up and was not allowed out on the street for many months. Partly because the parents were second cousins ​​to each other, and all the boys in the family were in poor health. Descriptions of his own diseases and their treatment are given a considerable place in his "Notes".
• The musician had 10 younger brothers and sisters, but only three survived him - sisters Maria, Lyudmila and Olga.

• Glinka admitted that he prefers the female to the male society, since the ladies liked his musical talents. He was amorous and addicted. His mother was even afraid to let him go to Spain, because of the hot morals of local jealous husbands.
• For a long time it was customary to represent the composer's wife as a narrow-minded woman who did not understand music and loved only secular entertainment. Was this image consistent with reality? Maria Petrovna was a woman of a practical kind, which probably did not live up to the romantic expectations of her husband. In addition, at the time of the wedding, she was only 17 years old (Glinka - 30), she had just entered the period of going out into society, balls and holidays. Should she be punished for the fact that she was carried away by outfits and her beauty more than the creative projects of her husband?
• Glinka's second love, Ekaterina Kern, was the complete opposite of his wife - an ugly, pale, but finely feeling intellectual, understanding art. Probably, it was in her that the composer saw the features that he vainly tried to find in Maria Petrovna.
• Karl Bryullov drew many cartoons of Glinka, which hurt the composer's pride.

• From the biography of Glinka, we know that the composer was so attached to his mother Evgenia Andreevna that during his life he wrote to her every week. After reading the news of her death, his hand was taken away. He was neither at her funeral, nor at her grave, because he believed that without his mother, trips to Novospasskoye had lost all meaning.
• The composer, who created the opera about the struggle against the Polish invaders, has Polish roots. His ancestors settled near Smolensk when it belonged to the Commonwealth. After the return of the lands under the rule of the Russian state, many Poles converted to Orthodoxy and swore allegiance to the tsar to stay and live on their land.
• Mikhail Ivanovich was very fond of songbirds and kept about 20 at home, where a whole room was allotted for them.
• Glinka wrote "Patriotic Song" in the hope that it will become a new Russian anthem. And so it happened, but not in 1833, when they chose "God Save the Tsar!" A.F. Lvov, and in 1991. For 9 years, while the "Patriotic Song" was a national symbol, no words were written to it. Including for this reason, in 2000, the music of the State Anthem of the USSR by A.B. Alexandrova.
• The Bolshoi Theater opened in 2011 with the premiere of Ruslana and Lyudmila directed by D. Chernyakov.
• The Mariinsky Theater is the only one in the world where both of the composer's operas are shown in the current repertoire.

Creation

Mikhail Glinka is equally known for his operas and romances. It was with chamber music that his composing career began. In 1825 he wrote the romance Don't Tempt. As rarely happens, one of his first creations turned out to be immortal. In the 1830s, instrumental compositions based on opera music by V. Bellini, Sonata for viola and piano, Big Sextet for Piano and String Quintet, and Pathetique Trio were written. During the same period, Glinka wrote his only symphony, which he never finished.

Traveling around Europe, Glinka became increasingly rooted in the idea that the work of a Russian composer should be based on the primordial folk culture. He began to look for a plot for the opera. The theme of the feat of Ivan Susanin was suggested to him by V.A. Zhukovsky, who took a direct part in the creation of the text of the work. The libretto was written by E.F. Rosen. The event structure was completely proposed by the composer, since the poems were already composed for ready-made music. Melodically, the opera is built on the juxtaposition of two themes - Russian with its draft melodies and Polish with its rhythmic, loud mazurka and Krakowiak. The apotheosis was the chorus "Glory" - a solemn episode that has no analogues. "Life for the Tsar" was presented at the Bolshoi Theater of St. Petersburg on November 27, 1836. It is noteworthy that the production was directed and conducted by K. Kavos, who 20 years earlier had created his own “Ivan Susanin” based on the material of folk art. The public opinion was divided - some were shocked by the simple "muzhik" theme, others considered the music too academic and difficult for perception. Emperor Nicholas I treated the premiere favorably and personally thanked its author. Moreover, earlier he himself suggested the name of the opera, previously named Death for the Tsar.

Even during the life of A.S. Pushkin Glinka decided to transfer the poem to the music scene "Ruslan and Ludmila"... However, this work began only in the mournful year of the death of the great poet. The composer had to involve several librettists. The writing took five years. In the opera, semantic accents are placed in a completely different way - the plot has become more epic and philosophical, but somewhat devoid of irony and Pushkin's trademark humor. In the course of the action, the heroes develop, experience deep feelings. The premiere of Ruslan and Lyudmila took place at the Moscow Bolshoi Theater on November 27, 1842 - exactly 6 years after A Life for the Tsar. But on the date the similarities between the two premieres are exhausted. The opera was met ambiguously, including due to unsuccessful changes in the artistic composition. The imperial family defiantly left the hall right during the last act. It was a truly scandalous incident! The third performance put everything in its place, and the audience gave Glinka's new creation a warm welcome. What the critic didn’t do. The composer was accused of loose drama, non-stage performance and protractedness of the opera. For these reasons, they almost immediately began to reduce and redo it - often unsuccessfully.

Simultaneously with work on "Ruslan and Lyudmila" Glinka wrote romances and a vocal cycle " Farewell to St. Petersburg», "Waltz-Fantasy". Abroad, two Spanish overtures and "Kamarinskaya" ... The first ever concert of Russian music, consisting of his works, was triumphant in Paris. In recent years, the composer has been full of ideas. In his fateful year, he was moved to Berlin not only by the performance of A Life for the Tsar, but also by classes with the famous music theorist Z. Den. Despite his age and experience, he did not stop learning, wanting to keep up with the trends of the time - he was in a brilliant creative form J. Verdi , was gaining strength R. Wagner ... Russian music made a name for itself on European stages, and it was necessary to promote it further.

Unfortunately, Glinka's plans were interrupted by fate. But thanks to his work, Russian music has developed significantly, many generations of talented composers have appeared in the country, the foundation of the Russian music school was laid.