Where the future composer was educated Glinka. Brief biography and works of Mikhail Ivanovich Glinka

Childhood and adolescence

Mikhail Glinka was born on May 20 (June 1), 1804 in the village of Novospasskoye, Smolensk province, on the estate of his father, retired captain Ivan Nikolaevich Glinka. Until the age of six, he was brought up by his grandmother (on his father's side) Fyokla Alexandrovna, who completely removed Mikhail's mother from raising her son. Mikhail grew up as a nervous, suspicious and sickly child-touchy - "mimosa", according to Glinka's own characteristics. After the death of Fyokla Alexandrovna, Mikhail again passed into the full control of his mother, who made every effort to erase the traces of his previous upbringing. At the age of ten, Mikhail began to study piano and violin. The first teacher of Glinka was the governess Varvara Fyodorovna Klammer, invited from St. Petersburg. In 1817, the parents brought Mikhail to St. Petersburg and placed him in the Noble boarding house at the Main Pedagogical Institute (in 1819 it was renamed the Noble boarding house at the St. Petersburg University), where his tutor was the poet, Decembrist V.K. In St. Petersburg, Glinka takes lessons from major musicians, including the Irish pianist and composer John Field. At the boarding house, Glinka meets A.S. Pushkin, who came there to see his younger brother Lev, a classmate of Mikhail. Their meetings resumed in the summer of 1828 and continued until the death of the poet.

Creative years

After graduating from the boarding house in 1822, Mikhail Glinka is intensively engaged in music: he studies Western European musical classics, participates in home music in the salons of the nobility, sometimes leads his uncle's orchestra. At the same time, Glinka tried himself as a composer, composing variations for harp or piano on a theme from the opera The Swiss Family by the Austrian composer Josef Weigl. From that moment on, Glinka pays more and more attention to composition and soon already composes a lot, trying her hand at a variety of genres. During this period, he wrote well-known today romances and songs: "Do not tempt me unnecessarily" to the words of E. A. Baratynsky, "Do not sing, beauty, with me" to the words of A. Pushkin, "Autumn night, night dear "to the words of A. Ya. Rimsky-Korsakov and others. However, he remains dissatisfied with his work for a long time. Glinka is persistently looking for ways to go beyond the forms and genres of everyday music. In 1823 he worked on a string septet, adagio and rondo for orchestra and two orchestral overtures. In the same years, Mikhail Ivanovich's circle of acquaintances expanded. He meets Vasily Zhukovsky, Alexander Griboyedov, Adam Mitskevich, Anton Delvig, Vladimir Odoevsky, who later became his friend.

In the summer of 1823, Glinka made a trip to the Caucasus, visiting Pyatigorsk and Kislovodsk. From 1824 to 1828, Mikhail worked as assistant secretary of the Main Directorate of Railways. In 1829 M. Glinka and N. Pavlishchev published "Lyric Album", where among the works of various authors were also plays by Glinka.

At the end of April 1830, the composer leaves for Italy, having lingered on the way to Dresden and made a long journey across Germany, which stretched out over the summer months. Arriving in Italy in early autumn, Glinka settled in Milan, which at that time was a major center of musical culture. In Italy, he met the outstanding composers V. Bellini and G. Donizetti, studied the vocal style of bel canto (Italian bel canto) and wrote a lot in the “Italian spirit” himself. In his works, a significant part of which are plays on the themes of popular operas, there is no longer anything student-centered, all compositions are performed masterfully. Glinka pays special attention to instrumental ensembles, having written two original compositions: Sextet for piano, two violins, viola, cello and double bass and Pathetic Trio for piano, clarinet and bassoon. In these works, the features of Glinka's composer's style were especially clearly manifested.

In July 1833 Glinka set off for Berlin, stopping for some time in Vienna on the way. In Berlin, Glinka, under the guidance of the German theorist Siegfried Dehn, works in the field of composition, polyphony, instrumentation. Having received the news of his father's death in 1834, Glinka decided to immediately return to Russia.

Glinka returned with extensive plans for a Russian national opera. After a long search for a plot for the opera, Glinka, on the advice of V. Zhukovsky, settled on the legend about Ivan Susanin. At the end of April 1835, Glinka married Marya Petrovna Ivanova, his distant relative. Soon after, the newlyweds went to Novospasskoye, where Glinka with great zeal began to write an opera.

In 1836, the opera "A Life for the Tsar" was completed, but Mikhail Glinka, with great difficulty, managed to get it accepted for staging at the St. Petersburg Bolshoi Theater. The director of the imperial theaters, A.M. Gedeonov, obstinately prevented this from happening, and he handed it over to the "director of music" Katerino Cavos, the "music director". Kavos, on the other hand, gave Glinka's work the most flattering review. The opera was accepted.

The premiere of "A Life for the Tsar" took place on November 27 (December 9), 1836. The success was enormous, the opera was enthusiastically received by the society. The next day Glinka wrote to his mother:

Soon after the production of A Life for the Tsar, Glinka was appointed Kapellmeister of the Court Choir Choir, which he directed for two years. Glinka spent the spring and summer of 1838 in Ukraine. There he selected choristers for the chapel. Among the newcomers was Semyon Gulak-Artemovsky, who later became not only a famous singer, but also a composer.

In 1837 Mikhail Glinka, not yet having a ready-made libretto, began working on a new opera based on the poem by Alexander Pushkin "Ruslan and Lyudmila". The idea of ​​the opera came to the composer during the poet's lifetime. He hoped to draw up a plan according to his instructions, but the death of Pushkin forced Glinka to turn to secondary poets and amateurs from among his friends and acquaintances. The first performance of Ruslan and Lyudmila took place on November 27 (December 9), 1842, exactly six years after the premiere of Ivan Susanin. In comparison with Ivan Susanin, the new opera by M. Glinka drew stronger criticism. The most fierce critic of the composer was F. Bulgarin, who was still a very influential journalist at that time.

Grieving the criticism of his new opera, Mikhail Ivanovich in the middle of 1844 undertook a new long trip abroad. This time he leaves for France and then Spain. In Paris, Glinka met the French composer Hector Berlioz, who became a great admirer of his talent. In the spring of 1845, Berlioz performed at his concert works by Glinka: Lezginka from Ruslan and Lyudmila and Antonida's aria from Ivan Susanin. The success of these works prompted Glinka to give a charity concert of his works in Paris. On April 10, 1845, a large concert by the Russian composer was successfully held at the Hertz Concert Hall on Victory Street in Paris.

On May 13, 1845 Glinka went to Spain. There, Mikhail Ivanovich studies the culture, customs, language of the Spanish people, records Spanish folk melodies, observes folk festivals and traditions. The creative result of this trip was two symphonic overtures written on Spanish folk themes. In the fall of 1845 he created the overture "Jota Aragonese", and in 1848, after returning to Russia - "Night in Madrid".

In the summer of 1847, Glinka set off on the return journey to his ancestral village Novospasskoye. Glinka's stay in her native places was short-lived. Mikhail Ivanovich again went to St. Petersburg, but having changed his mind, he decided to spend the winter in Smolensk. However, invitations to balls and evenings that haunted the composer almost daily drove him to despair and to the point of deciding to leave Russia again, becoming a traveler. But Glinka was denied a foreign passport, therefore, having reached Warsaw in 1848, he stopped in this city. Here the composer wrote a symphonic fantasy "Kamarinskaya" on the themes of two Russian songs: the wedding lyric "From behind the mountains, high mountains" and a lively dance song. In this work, Glinka approved a new type of symphonic music and laid the foundations for its further development, skillfully creating an unusually bold combination of various rhythms, characters and moods. Pyotr Ilyich Tchaikovsky said this about the work of Mikhail Glinka:

In 1851 Glinka returned to St. Petersburg. He makes new acquaintances, mostly young people. Mikhail Ivanovich gave singing lessons, prepared opera parts and a chamber repertoire with such singers as N.K. Ivanov, O.A. Petrov, A. Ya. Petrova-Vorobyova, A.P. Lodiy, D.M. Leonova and others. The Russian vocal school was formed under the direct influence of Glinka. He visited MI Glinka and AN Serov, who in 1852 wrote down his Notes on Instrumentation (published in 1856). AS Dargomyzhsky often came.

In 1852 Glinka went on a journey again. He planned to get to Spain, but tired of traveling in stagecoaches and by rail, he stopped in Paris, where he lived for a little over two years. In Paris, Glinka began work on the Taras Bulba symphony, which was never completed. The beginning of the Crimean War, in which France opposed Russia, was an event that finally decided the issue of Glinka's departure to his homeland. On the way to Russia, Glinka spent two weeks in Berlin.

In May 1854 Glinka arrived in Russia. He spent the summer in Tsarskoe Selo at the dacha, and in August he again moved to St. Petersburg. In the same 1854, Mikhail Ivanovich began to write memoirs, which he named "Notes" (published in 1870).

In 1856 Mikhail Ivanovich Glinka left for Berlin. There he began to study old Russian church tunes, the works of old masters, choral works of the Italian Palestrina, Johann Sebastian Bach. Glinka was the first of the secular composers to compose and process church melodies in the Russian style. An unexpected illness interrupted these studies.

Mikhail Ivanovich Glinka died on February 15, 1857 in Berlin and was buried in the Lutheran cemetery. In May of the same year, at the insistence of M.I. During the transportation of Glinka's ashes from Berlin to Russia, “FARFOR” was written on his coffin packed in cardboard. This is very symbolic if we recall the canon composed by Glinka's friends after the premiere of Ivan Susanin. On the grave of Glinka, there is a monument created by the architect I.I.Gornostaev. Currently, the slab from the grave of Glinka in Berlin has been lost. On the site of the grave in 1947, the Military Commandant's Office of the Soviet sector of Berlin erected a monument to the composer.

Memory

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

• Monuments to M.I.Glinka:
  • in Smolensk created with folk funds collected by subscription, opened in 1885 in the eastern side of the Blonie garden; sculptor A.R. von Bock. In 1887, the monument was compositionally completed by the installation of an openwork cast fence, the drawing of which was composed of musical lines - excerpts from 24 works of the composer
  • in St. Petersburg was 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, at the 1000th Anniversary of Russia Monument, among 129 figures of the most prominent personalities in Russian history (as of 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 park near

Mikhail Ivanovich Glinka

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

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

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

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

After graduating from the boarding house, Glinka entered the service, which had nothing to do with music, in the Main Directorate of Railways. Outwardly, his life was similar to the life of other young people of his time and his circle, but the further, the more he was possessed by a thirst for creativity, a thirst for musical impressions. He absorbed them everywhere and everywhere - at opera performances, at amateur musical evenings, during a trip to the Caucasus for treatment, where his hearing was struck by folk music, which was not at all like European. He composed romances, and we can still attribute some of his early experiments to the treasures of Russian vocal music. Such is the elegy to the words of E. Baratynsky "Do not tempt me unnecessarily" or the romance "Poor Singer" to the words of V. Zhukovsky.

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

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

However, in order to write such an opera, one had to have a large store of knowledge and experience. Getting acquainted, wherever possible, with the creations of great masters. Glinka has already comprehended a lot. But it was necessary to put knowledge in order and system. And now, having stayed in Italy for about four years, filled with unforgettable impressions of the nature and art of this country. Glinka in the fall of 1833 went to Berlin, to the famous "musical medicine man", as he put it in a letter to his mother, theoretical scientist Siegfried Dehn. A few months of classes were enough for Glinka to feel confident and able, upon returning to his homeland, to start fulfilling his cherished dream - to create an opera. Glinka's opera "Ivan Susanin"

The plot of the opera was suggested to Glinka by the poet Zhukovsky. It was a historical fact: the feat of the peasant Ivan Susanin, who, during the war with the Polish gentry who invaded our land in order to plant the Polish prince Vladislav on the Russian throne, led an enemy detachment into a deep forest and died there, but also killed the enemies. This plot has more than once attracted the attention of Russian artists, since the events of the early 17th century were involuntarily associated with the invasion of Napoleon that Russia experienced, and the feat of Susanin - with the exploits of famous and unknown heroes-partisans of 1812. But there was one work that stood apart: the poetic Duma by Kondraty Ryleev, a Decembrist poet who embodied in it the direct, uncompromising, majestic character of a patriotic peasant. Glinka enthusiastically set to work. Soon the plan for the opera was ready, and most of the music. But her text was not there! And Zhukovsky advised Glinka to turn to Baron K.F. Rosen, a fairly well-known (although not of the first rank) writer. Rosen was an educated man, extremely interested in issues of drama. He enthusiastically greeted Pushkin's Boris Godunov and even translated it into German. And most importantly, he knew how to write poetry for ready-made music.

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

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

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

"The Magician Glinka" - once called the composer A. M. Gorky. Indeed, scenes in the palaces of the sorceress Naina, in the gardens of Chernomor are painted with extraordinary vividness in the opera. Sound images of reality are transformed in them - both the tunes of the peoples of the Caucasus heard in youth, and the Persian melody, God knows by what ways, flew into St. Petersburg, and the melody that the Finnish cabman sang to himself, who drove Glinka to the Imatra waterfall ...
Opera "Ruslan and Lyudmila" (Head) by Glinka

"Ruslan and Lyudmila" - a work in which we still discover previously unheard beauty, at one time was appreciated by a few. But among them, in addition to Russian friends, was the world famous Hungarian composer and pianist Ferenc Liszt. He transcribed “March of Chernomor” for piano and performed it brilliantly.

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

Mikhail Glinka with his wife

In the spring of 1844, Glinka set off on a new journey - to France, and from there - a year later - to Spain. The distinctive, hot and passionate folk music of Spain captivated Glinka and was creatively reflected in two symphonic overtures: "Aragonese hote" (hota is a genre of Spanish songs, "inseparable from the dance," as Glinka said) and "Memories of a summer night in Madrid" - essays, which Glinka, according to him, wanted to make "equal reports to connoisseurs and the common public." The same, in essence, goal was set and achieved in the famous "Kamarinskaya" - a fantasy on the themes of two Russian songs, wedding and dance. In this work, as Tchaikovsky later said, "like an oak in an acorn, all Russian symphonic music is contained." The last years of Glinka's life were filled with new ideas.

A renowned master, known both at home and abroad, he never tired of studying, mastering new forms of art. In particular, he was attracted by the old Russian church tunes, in which the inspiration and skill of many generations of chantsters who came from the people were invested. Glinka's old acquaintance Siegfried Den, now, of course, no longer a teacher, but a friend and advisor, was to help find a suitable setting for these musical treasures. And Glinka, who in these years, as in old times, was possessed by the "wanderlust", went to Berlin. This was his last journey, from which he never returned.

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

It is also interesting that the first anthem of the Russian Federation from 1990 to 2000 was the “Patriotic Song” of Mikhail Ivanovich Glinka. The hymn was sung without words, there was no generally accepted text for it. The unofficial text was planned to be introduced in 2000:

Glory, glory, homeland - Russia!
Through the centuries and thunderstorms you have passed
And the sun is shining over you
And your fate is bright.

Over the old Moscow Kremlin
A banner with a two-headed eagle is hovering
And the sacred words sound:
Glory, Russia - my Fatherland!

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

Major works.

Opera:

• Ivan Susanin (1836)
• Ruslan and Lyudmila (1843)
• Music to the tragedy of N. Kukolnik "Prince Kholmsky" (1840)

For orchestra:

• Waltz-Fantasy (1845)
• 2 Spanish Overtures - Jota Aragonese (1846) and Night in Madrid (1848)
• "Kamarinskaya" (1848)

Chamber ensembles:

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

• 80 romances, songs, arias on the verses of Pushkin, Zhukovsky, Lermontov

Glinka's biography is full of interesting facts and events. The huge legacy left by Mikhail Ivanovich includes romances, works for children, songs and compositions, symphonic fantasies. The main work of the composer is the opera Ruslan and Lyudmila, which became famous all over the world. Music critics call Glinka Pushkin in music. Mikhail Ivanovich Glinka, whose biography is replete with extraordinary facts, wrote the first Russian opera based on historical events. In this article, we will trace the life of the great composer. Glinka Mikhail Ivanovich, whose short biography is full of unpredictable twists and turns, has been in love with music since childhood.

Origin

The composer was born at his father's estate on May 20 (according to the old style - June 1) 1804. The first house of Glinka was the village of Novospasskoye, Smolensk province. Mikhail Glinka's father was a retired captain - Ivan Nikolaevich Glinka. Their family originated from the gentry. The composer's mother is Evgenia Andreevna. Immediately after the birth of the boy, his grandmother, Fyokla Aleksandrovna, took him away. She was so diligent in raising the boy that already in childhood he became painfully touchy. By the age of six, Misha was completely removed from society, even from his own parents. In 1810, the grandmother dies, and the boy is returned to be raised in the family.

Education

Mikhail Glinka, whose short biography is incredibly interesting, was convinced from an early age that he would devote his life to music. The fate of the musician has been known since childhood. As a young child, he studied violin and piano. The boy was taught all this by the governess Varvara Klammer from St. Petersburg. After Mikhail mastered the first basics in art, he was sent to education in the St. Petersburg boarding school, which is located at the pedagogical institute. Wilhelm Küchelbecker becomes his first tutor. Glinka takes lessons from great music teachers, including John Field and Karl Zeiner. It is here that the future composer meets Alexander Pushkin. Strong friendships are established between them, which last until the death of the great poet.

The flowering of creativity

Glinka, whose biography is full of many events, was fascinated by music from an early age, by the age of ten he already skillfully handled the piano and violin. Music for Mikhail Glinka is a vocation from an early age. After graduating from the Noble Boarding School, he gives performances in salons, is actively engaged in self-education, studying the history and features of Western European music. At the same time, the composer composes the first successful works for piano and harp. He writes romances, rondos for orchestras, as well as string septets and orchestral overtures. Zhukovsky, Griboyedov, Mickiewicz, Odoevsky and Delvig replenished his circle of acquaintances. Glinka's biography is interesting not only to his admirers, but also to everyone who is interested in music.

Mikhail Ivanovich spends several years in the Caucasus. But already in 1824 the young composer got a job as an assistant secretary in the Main Directorate of Railways. However, despite being busy, already at the end of the twenties, together with Pavlishchev, he published "Lyric Album". It also includes Mikhail Ivanovich's own works. As you can see, Glinka's biography is interesting with unusual events and unexpected turns.

Since 1830, a new period begins, which is characterized as Italian. Before its start, Glinka makes a summer trip to German cities, and then stops in Milan. At that time, it was this city that was the central point of musical culture all over the world. It is here that Mikhail Glinka meets Donizetti and Bellini. He researches and studies bel canto in detail, after which he composes works in the Italian spirit.

A few years later, in 1833, the composer settled in Germany. Learning from Zigrified Den, he hones and polishes his musical talent. However, the news of the death of his father in 1834 forces the composer to return to Russia. Glinka, whose short biography is interesting not only to the residents of the Russian Federation, but also to Europeans, gave the world two great operas.

"Life for the Tsar"

His dreams are directed towards the creation of a Russian national opera. Working hard, he chooses Ivan Susanin and his feat as the central figure. The author devotes three whole years of his life to his work, and in 1836 he finishes a grandiose opera, which was called "A Life for the Tsar". The first production took place on the stage of the Bolshoi Theater in St. Petersburg and was received by the society with great enthusiasm. After the overwhelming success of Mikhail Glinka was appointed to the post of Kapellmeister of the Court Chapel. The composer devoted 1838 to rest and travel across Ukraine.

1842 is the year of the release of the opera Ruslan and Lyudmila. The work is received ambiguously by the public and is hotly debated.

Living abroad

Mikhail Glinka, whose biography is rich in facts and events, has devoted many years to the study of the cultures of different European peoples. The year 1844 was marked by a new trip abroad for the great composer. This time, his path lies in France. Here his works are performed by the great Berlioz. In Paris in 1845, Mikhail Ivanovich gave a huge charity concert, after which he went to sunny Spain. Studying the local culture, he composes several symphonic overtures on Spanish folk themes, and the Aragonese Jota overture is also created here.

In 1827, the composer again came to his native Russia, and then immediately went to Warsaw. It is here that he composes the famous "Kamarinskaya". It has become the newest type of symphonic music that combines a variety of rhythms, moods and characters. 1848 - the year of the creation of "Night in Madrid".

Influence of the composer

In 1851 Glinka returned to St. Petersburg again. Here he finds time to give lessons to the new generation, to write opera parts. Thanks to his influence, a Russian vocal school was even created in this city. Glinka Mikhail Ivanovich, whose short biography is interesting for its unpredictability, is the founder of many musical trends.

Just a year later, the composer resumes his travels in Europe. On his way to Spain, he stays in Paris for two years. He devotes all his time to the Taras Bulba symphony, but it remains unfinished.

In 1854, the composer returned to his homeland, where he wrote his memoirs and his "Notes". However, he was briefly enough, and he again went to Europe, this time heading for Berlin. Glinka, whose biography begins in Russia, managed to visit many European cities, creating his brilliant works there.

Family life

In 1835, Mikhail Ivanovich Glinka married his distant relative Maria Petrovna Ivanova. However, their marriage did not work out, and they soon separated.

Three years after the first marriage and an unsuccessful union, Glinka meets Ekaterina Kern. The best works of the composer were dedicated to her. Glinka loved this woman until the end of his days.

Death of a composer

His biography is of great interest. Glinka M.I. is a great composer and a true patriot.

In February 1857, while in Berlin, Mikhail Glinka died. On February 15, when he was gone, he was first buried in the Lutheran cemetery. However, a couple of months later, his ashes were transported to Russia and reburied at the Tikhvin cemetery in the city of St. Petersburg.

Major achievements

• Mikhail Ivanovich Glinka, whose biography allows us to consider it a national treasure, managed to create a lot of beauty in his life, influencing many of his composers-followers.
• He founded the Russian national school of composition.
• Glinka's works have an impact on the development of Russian and world music. In particular, Dargomyzhsky and Tchaikovsky developed his original ideas in their musical compositions.
• Glinka created the first Russian national opera entitled "A Life for the Tsar", which is based on a historical plot.
• Thanks to the influence of the composer, a Russian vocal school was formed in St. Petersburg.

Glinka's biography is of interest to adults and children.

• Not many people know that Fyokla Aleksandrovna, the grandmother of Mikhail Glinka, the mother of his father, took the boy for upbringing for a reason. A year before Misha was born, a son was born in the family, who died in infancy. The grandmother blamed the mother for this, and therefore, with the appearance of Misha, she took the child to her. She possessed unrestrained autocracy, and therefore no one dared to object to her - neither her daughter-in-law, nor even her own son.
• The first wife of Mikhail Ivanovich, Maria Petrovna, was uneducated. She also did not know anything about music, and she did not even know who Beethoven was. Perhaps this was the reason that their marriage was unsuccessful and so fleeting.
• Glinka created patriotic music, which was the anthem of the Russian Federation for almost ten years - from 1991 to 2000.

• During the transportation of the composer's ashes from Germany to Russia, the box in which the coffin was packed was written in large letters: "PORCELAIN".
• During his life, Mikhail Ivanovich created about twenty songs and romances, six symphonic works, two great operas, as well as several chamber instrumental compositions.
• Glinka, whose short biography is studied in Russian and European schools, devoted his life to music.
• In the native estate of the composer, in Novospasskoye Selo, the Mikhail Glinka Museum was created.
• In total, three monuments to the composer have been erected in the world: in Kiev, Berlin and Bologna.
• After Glinka's death, the State Academic Chapel in the city of St. Petersburg was named in his honor.

From all the facts and events described by us, his biography is formed. Glinka M.I. made a huge contribution to Russian culture, many European composers were guided by it.

Mikhail Ivanovich Glinka is not just another talented Russian composer. This is the founder of classical Russian music and with Founder of the first national Russian opera... A talented person and a patriot of his homeland, who devoted his whole life to music. Glinka's works had a huge impact on the work of the next generation of composers.

In contact with

Before Glinka, Russian music concentrated in the field of romance and theater, as well as around liturgical needs. It was a kind of "situational", non-independent art. Glinka was the first who was able to make it an independent way of expression, which draws the means of embodiment, logic and meaning in itself.

Brief biography of Mikhail Glinka

The biographers of Mikhail Ivanovich Glinka experience constant difficulties. He wrote a short biography of his life himself. And he did it in such a dry and clear language that there is practically nothing to add to what the composer himself has already said. Therefore, biographers can only retell what has already been written.

Glinka created in the history of Russian music new historical period... In his compositions, he used the peculiarities of the rhythm and voice-leading of Russian folk music. His work, which was based and grew on the soil of folk song and ancient Russian choral art, is deeply national. But at the same time, it is surprisingly connected with the advanced European musical culture.

Almost all musical genres are represented in the composer's work, but the main one, of course, is opera. In musical drama, Mikhail Ivanovich became an innovator - he refused to use spoken dialogue, and the operatic form received the integrity of the symphonic development.

Childhood

According to legend, on the day Mikhail Glinka was born, nightingales sang around his house all morning. It happened on May 20, 1804 on the estate of his father, Ivan Nikolaevich Glinka, located in the village of Novospasskoye. Mikhail was the second child in the family. But his older brother died before even a year. This circumstance became the reason that little Misha was taken up by his grandmother, practically blaming the parents for the death of their first son.

The future composer had the opportunity to get acquainted with professional music at an early age. On his uncle's estate, classical plays and Russian songs were often played by a serf orchestra. From early childhood, the boy learned to play the violin and piano.

At the age of 6, Mikhail returns to be raised by his mother, as his grandmother dies. The boy is raised at home for another 6.5 years. Then, at the age of 13, parents send their son to study at the St. Petersburg boarding house, located at the pedagogical institute. It was a prestigious educational institution in which only noble children could study. In St. Petersburg, Mikhail meets Lev and Alexander Pushkin, Vasily Zhukovsky, Evgeny Baratynsky and Vladimir Odoevsky.

The flowering of creativity

In addition to his main studies, the future musical genius begins to take lessons from the famous pianist Karl Mayer... Glinka argued that it was this teacher who influenced the formation of his musical taste. In 1822, the training ends. At the graduation party, Mikhail performs Hummel's concert on the piano. The performance was highly appreciated by everyone who attended the celebration.

Over the next 13 years, the future composer continues to improve his musical talent. In addition to directing his uncle's serf orchestra and playing music in the salons of the nobility, he continues to study European musical classics. At this time, he is especially fond of composition and begins to try his hand at different genres.

In this period the following songs and romances were written:

• “Don't tempt me unnecessarily”;
• "Autumn night, dear night";
• "Don't sing, beauty, with me."

Also at this time, successful orchestral overtures, string septets, works for harp and piano appeared. All works are successful, Glinka's popularity is growing rapidly. Despite this, the composer remains dissatisfied with himself, does not recognize and does not believe in his talent.

In the spring of 1830, Mikhail finally realizes his dream and goes to Italy. On the way, he decides to make a short trip to Germany, which eventually stretched out so much that the composer arrived in Italy only at the beginning of autumn. Settles in the center of the musical culture of that time - in Milan. In Italy, he studies the Italian style of singing - bel canto. Meets composers Vincenzi Bellini and Domenico Donizetti.

Having lived in Italy for about 4 years and having composed several works in the Italian style, Glinka left for Germany. There he plans to improve his knowledge of musical theory, which he did not know well enough. To do this, he takes lessons from many famous teachers, including Siegfried Dehn. Unfortunately, father's death message forces him to return to Russia without completing his studies.

The birth of the Russian opera

The musician returned from the trip with extensive plans. He decided to create his main work - the first Russian opera. After a long search, the plot was finally found. On the advice of Vasily Zhukovsky, the composer opted for a story about a Russian heroine.

The opera was named A Life for the Tsar, and despite obstacles from the director of the imperial theaters, it was staged on November 27, 1836. The performance was a resounding success, the emperor himself spoke to the composer personally and thanked him.

One year after the production "Lives for the Tsar", the author begins to create his second opera. This time, as a subject for the work, he chooses the poem of his friend Alexander Pushkin - "Ruslan and Lyudmila". Glinka was sure that he would draw up a plan for the opera according to Pushkin's instructions. Unfortunately, the death of the poet did not allow these plans to come true.

Opera was born for a long time, almost 6 years. The premiere of the new work took place in November 1842. The famous composer F. Liszt came to the performance. Despite the fact that Glinka's new work could not repeat the deafening success of A Life for the Tsar, Liszt was delighted with the new opera and was amazed at the enormous talent of its creator.

New departure from Russia and foreign success

Glinka took the criticism of the new opera rather hard. The composer decides to change the situation and in 1844 leaves for France, where he meets the composer Hector Berlioz. At one of his concerts, Berlioz decides to include some of Glinka's works in the program. The success that fell on Mikhail Ivanovich prompted him to give a charity concert in the capital of France, which consisted entirely of his works.

In May 1845, the composer goes on to Spain... There he collects and records Spanish folk melodies, studies language and culture. In Spain, creative inspiration and self-confidence return to the composer. Impressed by the trip, he creates the following works:

• "Aragonese Hunt";
• "Remembrance of Castile".

In the middle of 1847, Glinka returned to Russia, to his native estate. Then he decides to spend the winter in Smolensk, but the increased attention of the light quickly tires the composer and he goes to Warsaw. Here he creates his symphonic fantasy "Kamarinskaya".

In 1851, the musician returned to St. Petersburg for a short time, and already in 1952 he again went on a trip, the purpose of which was Spain. Tired of moving, Glinka decides to stop and rest in France. As a result, he remains in Paris for about 2 years, where he works on symphony "Taras Bulba"... The beginning forced the composer to return to his homeland without completing the symphony.

Glinka arrived in Russia in May 1854. He spent the summer at a dacha in Tsarskoe Selo, and then returned to St. Petersburg, where he began to create his memoirs. And this time the musician could not stay in one place for a long time and after 2 years he left for Berlin.

In all my life the composer managed to visit such countries:

1. Germany;
2. Italy;
3. Austria;
4. France;
5. Spain;
6. Poland.

Personal life

It is quite difficult to briefly retell the musician's personal life, despite the fact that there were only 2 serious novels in his life. Relations with both women were quite tense and, unfortunately, ended unhappily.

Friends and relatives did not believe that Mikhail Ivanovich was able to tear himself away from his notes even for a minute. Therefore, they were shocked when in 1835 they learned that he was getting married. The chosen one was Maria Petrovna Ivanova, a woman without education and fortune, who hated music and did not even have a pretty appearance. The composer wrote to his mother that his chosen one has a kind heart, is moderate in desires and very reasonable.

Literally a few months later, Glinka realized that he had linked his life with a woman who was only interested in outfits and jewelry. Instead of caring, the young wife presented her husband with constant nagging, and as a result, he tried to be at home as little as possible.

Only 4 years after the wedding, the musician learned what all his friends had known for a long time - his wife practically openly lives with another man and even secretly married him. The composer filed for divorce. The process turned out to be far from being as fast as Glinka had expected. In the end, he managed to get a divorce only in 1846.

In 1840, the composer meets Catherine Kern and immediately falls in love with her. The girl responds to him in return. For several years she became the muse of Glinka, who dedicated several small works to her, as well as a romance to the poems of A. Pushkin “I remember a wonderful moment”.

In 1841, Catherine received hope for an early divorce of Glinka and his wife, as it became known about the secret wedding of Maria Petrovna with the cornet Vasilchikov. Mikhail Ivanovich is trying to complete the case as soon as possible, since Catherine informs him of her pregnancy. The hopes of Glinka and his chosen one for a quick outcome of the case are not justified. Ekaterina Kern begins to lose patience and accuses the composer of indecision, who eventually gives her money in order to get rid of the child.

Constant reproaches and quarrels with Catherine led to the fact that the composer did not dare to marry a second time and left the girl. For 7 years, she expected Glinka to return to her. Without waiting, she married another at the age of 36.

Death of a composer

In the winter of 1857, Mikhail Ivanovich fell ill. At this time he was in Berlin. The content of the composer's conversations with the doctors who treated him is unknown. But from the notes that he managed to write during this time, we can conclude that the doctors not only did not give him any predictions, but did not even try to treat the patient, just waiting for his end.

The composer died on February 15. Mikhail Ivanovich was buried in Berlin, at the Lutheran cemetery. In May 1857, his ashes were brought to Russia and reburied at the Tikhvin cemetery. The tombstone that was on the original grave of the composer was transferred to the Berlin Russian Orthodox cemetery. A photograph of her can be found on Wikipedia.

Biography of Mikhail Glinka

Mikhail Ivanovich Glinka (1804 - 1857) is a great Russian composer. The author of such famous works as: the opera "Ruslan and Lyudmila", "Kamarinskaya" symphony and "Waltz-fantasy", "Pathetic trio" and many others.

early years

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

An important fact of Glinka's brief biography is the fact that his grandmother was involved in raising the boy, and his own mother was admitted to her son only after the death of his grandmother.

M. Glinka began to play the piano and violin at the age of ten. From 1817 he began to study at the Noble Boarding School at the Pedagogical Institute of St. Petersburg. After graduating from the boarding house, he devoted all his time to music. At the same time, the first works of the composer Glinka were created. As a real creator, Glinka does not fully like her works; he seeks to expand the genre of everyday music.

The flowering of creativity

In the years 1822-1823, Glinka wrote well-known romances and songs: "Do not tempt me unnecessarily" on the words , "Don't sing, beauty, with me" to the words of A. Pushkin and others. During these years he met famous , and others.

After traveling to the Caucasus, he leaves for Italy, Germany. Under the influence of Italian composers Bellini, Donizety Glinka changed her musical style. Then they worked on polyphony, composition, instrumentation.

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

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

Death and legacy

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

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

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

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

He gave the following characterization to one of Glinka's works: “The entire Russian symphony school, like the whole oak in an acorn, is contained in the symphonic fantasy“ Kamarinskaya ””

The Glinka Museum is located in Novospasskoye Selo, in the composer's native estate. Monuments to Mikhail Ivanovich Glinka were erected in Bologna, Kiev, Berlin. The State Academic Capella in St. Petersburg was also named after him.