When Mikhail Glinka was born. Mikhail Glinka National Epopea

Composer Mikhail Ivanovich Glinka remained in history as a great music writer and the founder of the Russian classical direction in it, as well as as the author of the first domestic opera. His creativity influenced the emergence of other talented names in musical world Russia. This master is honored not only in the homeland, but also far beyond.

Mikhail Ivanovich Glinka - the Grand Russian Composer.

early years

Future composer born in 1804 in the village of Novospassky Smolensk province. His father, a rich nobleman, was in the past army captain. Up to 6 years, Misha brought up her grandmother.

Music in childhood Mikhail did not hear almost no - only overflowing church bell and songs of peasants. But it was these motives that helped him create complex dramatic compositions in the future, not quite similar to the elegant European tunes of that era.

Young Misha with a sister and mom on the picture of an unknown artist.

The first serious musical works The boy heard in the estate of her uncle, where he moved after the death of her grandmother. There was an orchestra with a good repertoire - Gaidna, Mozart and Beethoven played. At the same time young talent Began to take violins and piano lessons.

Start Career Composer

The next years of the life of Mikhail proceeds in St. Petersburg. There he enters the boarding school (closed school) for noble children and in parallel the compositions of the famous maestro John Field and Karl Zeiner, Which in those years were taught in St. Petersburg. The first musical essay of Glinka wrote at 13 years old.

After the end of the boarding house, the young man receives a place of an official in the Ministry of Foreign Affairs. The service leaves him a lot of free time, and a beginner composer actively participates in music Life cities.

By this time he had already acquired the first fame. Glinka comprehensies a lot, especially romances (so called songs on tender, lyrical poems).

At 26 years old, M.I. Glinka goes to big Adventure in Europe. It
Everywhere meets with famous composers, visits classes in conservatory, listens to the best singers.

Mikhail Glinka is rightfully considered the founder of the Russian opera.

At the same time, Mikhail comes an understanding that his place is in his homeland, what exactly for his people, he must create.

Flowering creativity

In his journey, Glinka survived large love. And even though she did not end with marriage, but it became an impetus for creativity.

In 1836, the opera of the young composer "Life for the king" appears. Her name is "Ivan Susanin" in honor of the peasant, who during the Russian-Polish war of 1612, started the enemy's detachment into an impassable swamp.

Opera had a huge success. Tsar Nikolai I took it with delight and presented the composer an expensive ring.

In parallel, the composer writes instrumental compositions for keyboard and wind instruments, as well as wonderful romances to poems of Russian poets.

Soon, work began on the new opera "Ruslan and Lyudmila" on the fairy tale of Alexander Sergeevich Pushkin. This work was shown in the public in 1842 and did not really like the musical connoisseurs.

Modern formulation of the Opera Ruslan and Lyudmila.

Glinka was so distressed with criticism, which even left Russia. From now on, until the end of the life, he will be returned to his homeland only for a while.

Late years. Death

The last years of the life of Mikhail Ivanovich passed almost in continuous travel. In the south of Europe, in France and Spain, he collects and processes folk melodies.

In Paris meets with famous composer Berlioz and writes works for the symphony orchestra.

In Warsaw composes the music play "Kamarinskaya", Where combines the melodies of Russian folklore songs - singing wedding and incendiary dance.

Working.

Berlin became the last city of the composer, where he suddenly died of a cold in February 1857.

Facts from life

There are many autobiographical notes of the maestro, as well as messages about him friends and contemporaries:

1. Glinka called himself "mimosa" because of too caring grandmother's education.
2. In his youth, the composer was beautiful voiceThey admired even Italian singers.
3. Performers for choir in their operating operators found in different provinces of the Russian Empire.
4. Special connection was in Glinka with Pushkin. They were friends at the poet's life. Alexander Sergeevich wrote a poem "I remember a wonderful moment" and dedicated him to Anna Kern. And Mikhail Ivanovich was in love with Katnyk Kern, the daughter of Anna, and wrote a romance for these verses.

Heritage. Value

Heritage M.I. Glinka make up 2 operas, several symphony works, compositions for piano and strings, romances and songs, church themes. Pieces for one tool were sometimes reworked under the orchestra (for example, the famous fantasy waltz).

Composer he became the founder of the Russian direction in classical music. His melodies were built on folk traditions, and themes of most musical writings Were inspired by the events of Russian history.

It is with the recognition of the art of Glinka that our culture has become an increasingly visible place in the world.

In honor of the composer, three conservatory are named. He was erected monuments in Smolensk, St. Petersburg, Kiev. Manor, where he was born, turned into a house-museum.

Monument M.I. Glinka in St. Petersburg.

"Patriotic Song" M. I. Glinka sounded as the official anthem of Russia In 1991 - 2000.

Creativity M.I. Glinka

PLAN

1. The historical role of Glinka in music.

2. Researchers Creativity Glinka.

3. Creative way. Characteristic of creativity.

4. Opera dramaturgion.

5. Symphonic music.

6. Chamber instrumental music.

7. Romance.

Historical role of Glinka in musicyou can compare with the role of Pushkin in Russian literature. In the very character of diving two contemporaries, many related. According to Belinsky, like Pushkin, Glinka knew how to combine "" elegantly humane feeling with a plastically elegant form. " That is, the quality made the creativity of the poet and the composer with a model of genuinely classic artistic creativity, which is based on the confluence of the deep inner truth and the latitude of the content with harmonious clarity, the harmony and completeness of the form. Like Pushkin Glinka Universalen . In his work, he showed the diverse sides of Russian life and Russian. It creator of the Russian classical opera and Russian classical romance . It laid the foundations of classic Russian symphony . Great historical meaning Glinka identified another quality - the artist is deeply national, he possessed the gift of comprehension of psychology and the image of the thought of other nationalities. His East, Italy, Spain - an example of creative recreation of genuine living images.

The flourishing of Glinka's creativity coincided with the era of romanticism in Europe. Glinka was close to the concept of romantics about national identity and characteristics. But the romance of Glinka did not, even in fantastically colorful opera Ruslan and Lyudmila. It is not peculiar to the specific features of romanticism - enhanced attention to personality, subjective, skeptical attitude towards the surrounding, pathetics of the expression of feelings. Alien to national limitations, the creativity of Glinka with all its classicalness does not belong to any classicism or romanticism. But from romanticism he inherited progressive traits - the ability to find a beautiful in the ordinary. In the history of Russian music, he first reached perfection in the unity of the truthful and beautiful, transmitting images of the surrounding reality in an elegant, slim and perfect artistic form.

With the work of Glinka, music studies in Russia acquired a worthy object of research for the formulation of great musical and aesthetic problems, professional literature on music arises on the basis of the analysis of his work. The works of Glinka are considered in historical, aesthetic, musical and creative aspects. His works serve as a subject of critical articles on the problems of musical theater and musical execution, problems opera Dramaturgia, Simphonism principles, the specifics of the musical language. V.F. Modeevsky, A.N.Serov, V.V.Stasov, G.A. Lyoshrh, P.P. TVinmarn, N.F. Fineseen, N.D. Kashkin, A.N. Rimsky-Korsakov, B.V. Aasafiev, D.D.Shostakovich, V.V. Potopopov, T.N.Vanova - Four incomplete list of researchers. Glinka.

Creative life M.I. Glinka was reflected in his "notes", in which the composer divides his creative life on four periods:

1. Childhood and youth, the formation of creative principles (until 1830).

2. The path to the skill (1830-1836).

3. The central period (until 1844).

4. Late period (1844-1854). -

His statements speak about the amazing modesty of the composer, about the strict requirements for themselves, on sincerity and truthfulness.

Mikhail Ivanovich Glinka was born in Smolensk province, in the village of Novospassky. Since childhood, he listened to Russian folk songs, loved them and throughout his life developed people's Russian music. The first acquaintance of Glinka with professional music took place in early childhood. Russian songs, classic plays and dances constituted the repertoire of the small orchestra of the fortress peasants of his uncle. From early childhood, learning the game on piano and violin begins.

1818-1822 - years of the teachings of Glinka in St. Petersburg, where he received a solid general education. Showing brilliant abilities and interest in literature, theater, poetry, seriously engaged in music. Special role She has played teacher Sh. Maer, who not only gave a good piano school, but also helped in the first composite experiments of Glinka. A huge impact on Glinka had meetings with future participants of the Decembrist uprising and close communication with the Decembrist 8.k. Kühhelbecker. The tragic events on December 14, 1825 produced an indelible impression on the young Glüka, in his heart the faith was strengthened into his people and the desire to serve the Motherland. After 1825, the vocation of Glinka was finally determined, it is completely given to creativity. Cycles of piano variations, sketches of overture, chamber ensembles are the first experiments. Then there are significant works-romances "not tempt", "poor singer", "do not sing, beautiful, with me," Variations on Russian people's song "Among the valley is flat." At the same time, its executive skill of pianist and singer is growing. By the end of the 20s, the name of Glinka is becoming widely known. He greedily absorbs all the best that gives him environment. He was close to Pushkin, Griboedov, Zhukovsky, Mitskevich, he musitizes with Odoevsky, Varlamov, performs in the music salon of the Polish pianist Mary Shimanovskaya.

At the same time, Glinka feels dissatisfaction and seeks to get acquainted with the music life of the West. In 1830 his first overseas trip will be held. He rides B. Italy where he lives in Milan, visits Naples, Rome, Venice. Then he goes to Austria and Germany ; He is interested in Italian opera culture and classic vocal executive, in which he sees a combination of classical harness, the delicacy of execution with ease. A series written in Italy piano variations Italian themes talk about his enthusiasm to Italian art. During the overseas trip, Glinka meets the best achievements of Western European culture. All this expanded the composer's horizons and gave new aspirations. A thorough acquaintance with the opera house helped Glinka to realize their true calling. He decides to create a Russian opera. In Berlin, Glinka is engaged in the leadership of the musician-theorist Siegfried Dena, with whom he put in order his theoretical knowledge and worked on the technique of a polyphonic letter.

In 1834, Glinka returns to his homeland and processes the embodiment of the idea of \u200b\u200bthe National Opera writing opera "Ivan Susanin". He dreams of a big heroic opera. The plot was proposed by the poet Zhukovsky. The work was with a big lifting, but the difficulties were due to the fact that there was no libretto. The writing of the text was instructed by G.F. Tanneu, poet close to the court. The initial name of the Opera "Ivan Susanin" was replaced by "life for the king." The means of music Glinka embodied the main idea of \u200b\u200bthe people's tragedy - to show the greatness of the furthest of the peasant who gave life to his homeland.

The premiere of the opera took place on November 27, 1836. Like huge historical event Perceived Opera Pushkin, Gogol, Odoevsky. The opposite view had secular music lovers, calling the opera "Kucher Music". Pushkin predicted the Great Future of Glinka.

The new band began creative Life Composer - a period of brilliant creative heyday. His art gains recognition in his homeland and abroad. Glinka begins work on a new opera "Ruslan and Lyudmila" And at the same time over the music to the tragedy N.K.Kolkolnik "Prince Kholmsky", the cycle of romance "Farewell to Petersburg". The romances of this period are known: "Doubt", "Night-looking", "I remember a wonderful moment." The operating of the opera Ruslan and Lyudmila took place on November 27, 1842. At the premiere, the emperor and his retinue was left before the end of the performance, but the musical critics were highly appreciated by Opera. In the 40s, Glinka is a mature artist, with formed aesthetic views and big plans. But the external conditions of life admitted adversely. As a composer of courthouse sing CapellaHe was painted by the role of the court minister. Envy and minor quarrels chapels distracted the composer from creative labor. The marriage was unsuccessful to M.P.Ivanova, the secular lady, far from creative interests His husband. All this forced Glinka to break the former connections in the aristocratic world.

In 1844, Glinka again leaves abroad, to France and Spain. In Paris gets acquainted with Hector Berlioz. A concert from the works of Glinka was held in Paris with great success. Two years, the composer was located in Spain. Using the entries of folk dances, he wrote a concert in 1845 overture "Aragon Khota", In 1848, already in Russia overture "Night in Madrid". Then it was written symphony fantasy "Camarinskaya".

In recent years, M.I. Glinka lived in St. Petersburg, Warsaw, Paris, Berlin. The house of the composer gathered poets, singers, writers, composers, actors, young musicians, Balakirev, musical critics Serov and Stasov. Glinka died in Berlin in 1887. His dust was transported to St. Petersburg.

Characteristic of creativity.

M.I. Glinka, absorbing the achievements of Western European musical culture, perfectly mastered high skill, developed its own system of aesthetic views, which is subordinate to his style. He created the national style and language of Russian classical music, which was the foundation of the entire future development of the Russian classical school.

The decisive element of his music is a melody. The melody is characterized by a mission, smoothness, typical of turns: sectoral and hexahord (six-talked) speakers, squinting the quint (fifth level of Lada) tone, downward move from Quinta to Lada Tonic. The song is peculiar to its vocal and instrumental compositions, where "singing harmony" permeates the entire orchestral tissue.

M.I. Glinka deeply penetrated into the very nature of folk music, which has understood the essential features of popular musical thinking, folk melody, Lada and rhythm. The folk song has become his own, native language.

The smoothness of the vote, the relief of the melodic pattern is all the indigenous traditions of the folk germination polyphony. Freedom of vote, characteristic of harmonic and polyphonic thinking of Glinka, his technique bundle votes, love for transparent two and three-chassity - all this is connected with the style of popular polyphony. Glinka perfectly owned the method of variant development. Glinka polyphonia and is similar and not similar to classic samples. The composer uses the classic Western European forms of fugues, canon, imitation, moving counterpoint, but they are nationally Russian. Receptions of variable developmental development following Glinka used Tchaikovsky, Rachmaninov and many other composers of the following generations.

Glinka Poetically crossed the Russian national flavor, applying the original lads, the principle of road variability, typical Lada of the Russian People's Song-Mixolidian Major, Natural Minor.

Opera creativity. Glinka created two leading opera genres of Russian music - People's historical musical drama "Ivan Susanin" and the fabulous epic opera "Ruslan and Lyudmila".

"Ivan Susanin" opens mature period Creativity Glinka. The plot of the opera was proposed by Zhukovsky, it was based on a historical fact - the heroic feat of the peasant Ivan Osipovich Susanin in 1612, when Russia was occupied by the invaders. Moscow has already been released. But one of the remaining Polish detachments entered the village of Domnino. The peasant Ivan Susanin, agrees to be a guide, started them in a deaf forest, thus destroyed them and killed himself. Glinka inspired the idea of \u200b\u200bpatriotism of the Russian people.

The idea of \u200b\u200blove for the Fatherland is pass-through in the opera. The consistent development of the conflict is fully reflected in the musical composition.

Opera begins overtool . Overture is all built on the topics encountered in the opera, and embodies the basic idea of \u200b\u200bthe opera in a generalized form. It is written in the form of Sonata Allegro with entry. Main Party (Sol Minor) is anxious, rapid topic folk Chora From the final stage III, where the people are shown in the patriotic impulse. In the development of an overture, this topic acquires dramatically tense]. The side theme - the theme of Vanya "as a mother was killed" already in the exposition, there is a contrast - the binder party in a three-rank meter with the Poles intonations represents Poles. The same topic sounds in the opera in the scene of the arrival of Poles to the Izbu Susanin. Thus, the "Arch" is being transferred to one of the culminating moments of the opera. In the code, more brighter comparison -proving motifs main Party Transfer to frozen chords that will sound in the answers of Susanin Poles in the forest. Further, assistant phrases, like the threat of Poles. These phrases are growing, but three-hearty is replaced by two-slim and it is poured into bell tower chimes. The topic of the main party in Sol Majer sounds victorious. Thus, the entire course of the opera is shown in an overture.

In opera four actions and epilogue. IN first action The characteristic of the Russian people and the main heroes of the opera is given. This is Ivan Susanin, his daughter Antonida, foster-son Vanya, the groom Antonida - Warrior Sobin, the people. The 1st action opens with a monumental choir scene -introduction. In the introduction several times alternate two choirs - male and female. The theme of the male choir is close to the peasant and soldiers' songs of a heroic-epic character ("You will go up, the sun is red"). For the first time in Russian art, the music of a pronounced folk warehouse transmits high heroic pathos.

The melody of the second choir - female - sounds first in the orchestra, and a few later appears in vocal Party. Vivalent, joyful, she resembles dangling songs of peasant girls dedicated to the spring awakening of nature.

The main melodic edges of the introduction are contrasting among themselves. Thus, the introduction shows different sides of the appearance of the people: its will and cordiality, his courageous resistance and love perception; native nature.

After monumental choral introduction, Glinka gives music portrait one of acting persons - Daughters Susanin Antonida.

Aria Antonida consists of two sections: Cavatina and Rondo. Slow thoughtful cavatina is withstanding in the spirit of Russian lyrical songs. Gentle cavatin is replaced by a lively, "Graceful Rondo. Its light, fresh music is also a song character.

Antonida answers Susanin. This is the "exposure" of the main image of the opera. Susanin Recatalogs are typical for Glinka style. They are singers, in them there are many smooth moves on the wide intervals, branches on separate syllables. Thus, the composer immediately shows the organic unity of Susanin and "People.

Appears I. new hero Operas - Bogdan Sobinin. The main feature of Sobinin is "delete character." It reveals with the help of fervent and squeezed song phrases with a elastic clear rhythm, weathered in the spirit of young soldiers' songs.

Final I actions is set aside in the marching movement and full of patriotic inspiration. Susanin, Antonida and Sobin are acting as sowing and soloists

II action Represents a striking contrast to the first. Instead of simple peasants on stage - pouring in the castle of the Polish king Pan. Four dance: Polonaise, Krakowak, Waltz and Mazurka form a big dance suite. The main theme of Krakowyak, due to the syncous rhythm, is distinguished by special elasticity; Waltz is elected at 6/8, the presence of a syncop on the second share of him with a Mazurka, giving him the Polish flavor. Waltz is distinguished by the special subtlety and transparency of orchestration. A completely different character is polona and final Mazurka. Polonaise sounds proudly, paradamously and militant. Its intonation resemble fanfare appeals. Nastry and brilliance are full of careless, brixura Mazurka with swallow melody and ringing chords.

In the intonations and rhythms of this dance, Glinka draws a portrait of Polish invaders, behind the external shine of which latter, arrogance and reckless vanity.

Glinka was introduced into the opera dance rooms, but usually only in the form of a plug-in divertiment, but they did not have a direct relation to action. Glinka for the first time gave dancing important dramaturgical significance. They became a means of the figurative characteristics of the actors. From the "Polish" scenes II of action takes the beginning of Russian classical ballet music.

III action You can divide into two half: the first - before the arrival of the enemies, the second - from the moment they appear. In the first half, a calm and bright mood dominates. The character of susanin is shown here - loving father in the family.

The action begins the song of the reception son Susanina Vanya. The song is similar to Russian folk songs with its simplicity and natural feedback. At the end of the song, the voice of Susanin and the song turns into the scene, and then in the duet. The duet dominate march-shaped intonations and rhythms; It finds the expression of the patriotic rise of the father and son.

The dramatic climax of the entire opera is the scene with the Poles in IV action . The fate of the main hero of the opera is decided here.

The picture begins the pool choir, worsted in the night darkness on the snow-laid forest. For the characteristics of the Glink Poles uses the rhythm of the Mazurka. Here it is deprived of infrared and militancy, it sounds gloomily, transmitting the oppressed state of the Polyakov spirit, the premonition of them by the ambulance. Unstable chords (increased sober, reduced septakcord) and the dull timbres of the orchestra enhance the feeling of darkness and longing.

The main features of the hero's appearance in a decisive hour of life are revealed in his death aria and the subsequent speech monologue. The introductory brief speech of the "Fighter Truth" is based on the usual for Susanin wide, leisurely and confident intonations of a song warehouse. This is one of the best samples of the Glinka Opening Recatative (Example No. 8). In the Aria itself ("You will come, my dawn ...") the mood of deep mournful meditation dominates. Susanin retains the masculinity inherent in him, the elevation and the hardness of the spirit. There is no melodramatism in this. Aria Susanina - bright example innovative glinka approach to folk song. It is here that, on the basis of Russian national-songy intonations, for the first time, music imbued with genuine tragedy arises. This Aria includes the words of Odoevsky that Glinka "managed to create a newly unheard of Dotola, elevated popular entry to the tragedy."

Opera ends the grandiose picture of the national celebration on Red Square in Moscow.

Epilogue Consists of three sections: 1) Choir "Nice" in the first presentation; 2) scenes and trios of Vanya, Antonida and Sobinina "Ah, not me, poor ..." with a choir; and 3) final-new, final presentation "nice."

In the genius "nice" with the limiting convexity and clarity is embodied the warrior image of the winning people.

"Ivan Susanin" is the first Russian opera, based on continuous musical development, there is not a single conversational dialogue in it. The glint exercises the principle of Simphonism and lays the base of the leitmotive method, later with such skill of the Tchaikovsky and Roman-Korsakov developed by Tchaikovsky and Roman. Together with Ivan Susanin, Russian music joined the path of symphonic development . The top of the Russian dramatic simphonism is a scene in the forest, an example of a deep symphonic disclosure of the psychological subtext of the drama.

In the characteristics of their heroes, the glint uses diverse forms - from an aryo-cleaner to a complex many classic type aria. The specific feature of the opera is the presence of Polish scenes of through development, which actively promote the action of the drama. But the aria is an important center of the opera composition, in Aria - the characteristic of the acting person.

High mastery of Glinka manifested itself in ensembles, in them the combination of the principles of classical polyphony with the nature of the national Russian polyphony style. In the finals of the actions in Trio "Not Tomi, the goddamy", the glint applies a form of polyphonic variations in a new way, with gradual layering of votes. In the mourning trio from the epiloga, the techniques of Russian folk grain polyphony are used. The monumental quartet from the III action is approaching the symphonic cycle - entry, anoongeo, slow part and fast finals,

In the opera "Ivan Susanin" a genuine symphony method of through development. The meaning of the dramatic comparison of the two opposing forces in Glinka is not only in the national genre contrast - Russian and Polish, song and dancing, vocal and instrumental, symphony began as the main means of characteristics. The meaning of contrast and in the other - the image of the people is interpreted as the main acting face of the tragedy story - the defender of the Motherland. Hence the various approach and various scales in the interpretation of both groups. Polish gentry shown is generalized. And the Russian people are shown diverse; Therefore, the People's Language of the Opera is so rich. Opera choir scenes define the National Glinka Opera style. The basis is the Russian song in all its genre varieties. The finest features of the intonational and lade system of Russian folk songs for the first time only in Glinka found a complete embodiment, which was expressed, for example, in the five-dolimal rhythm of the choir of girls, in flexible way to choir rowers. Folk intonations get free development, re-implemented in the classically slender forms of Glinka music. A variation form corresponding to the nature of Russian folk topics is widely used by the composer.

The main role belongs to two choral scenes. The people appear in them as a "Great Person", cohesy by one feeling, of one will. These folk choirs With their oratorile style at the time were unprecedented phenomenon.

The final scene of the opera - the epilogue expresses the scene of popular education. The contemporary of Glinka Serov wrote: "In his Russian peculiarity, in its correct transmission of the historical moment, this Choir is a Russian history."

The topic of the choir connects the features of the disposal and movement. All its shaped system transmits a leisurely flow of the national procession.

The origins of the choir are diverse. Here is a folk song, and the style of choral parties, a solemn club of the XVIII century. In the overall composition of the choral scene, the Glinka uses the favorite form of variations and pebbing and polyphonic development techniques.

Glinka to achieve the overall impression of joy, the celebration uses and colorful techniques - a complete symphony orchestra and copper on the stage participates in the final, the group of bass and bells are attached to the main composition of the choir, the diction (Major) is enriched with harmonic colors (Major, C Major). All means are applied with a sense of measure, slimness and beauty of the form.

IN opera "Ruslan and Lyudmila" traditional fabulous plot With the feats, fantastics, the magic transformations of the Glinka used to show a variety of characters, complex relationships between people, creating a whole gallery of human types. Among them are knights noble and courageous Ruslan, gentle Lyudmila, inspired accordion, ardent Ratmir, faithful Gorislava, a cowardly Farlaff, good Finn, insidious Naina, a cruel Black Sea.

The general composition of the opera is subordinate to the strict symmetrical principle. Typical reprisal reprisality techniques and the finishes of the form determine individual elements of the opera and the entire composition as a whole. Prologue and epilogue framed the work, which corresponds to the epic warehouse of the opera. Sleeping of the Opera Form is created by the Music Framing: Thematic material of the Overture is repeated again in the V Actions final, in the solemn concluding choir in the same tonality of re Major. The extreme acts are drawn by majestic paintings by Kievan Rus. There are contrasting, scenes of the magic adventures of the hero in the kingdom of Nain and Chernomora, 3-part is formed. This principle will be typical for the fabulous and epic operas of the Russian lyrics. At the same time, opera, symphonic, conflict, stress-dramatic development is replaced by the principle of contrast.

The new genre of the fabulous epic opera determines the features of the musical drama "Ruslana and Lyudmila". Relying on the classical tradition of closed, completed numbers, the glint creates its type of narrative opera playing of the epic plan. A leisurely narrative course of development with broad thematic arches at large distances, the slowdown of the stage action, the abundance of the perception of the work made it difficult.

Music critic Stasov, possessing exceptional latitude of artistic views, managed to see in the music of Glinka a whole direction of Russian art - interest in the national epic, to folk poetry. The epic style of the Glinka Opera gave rise to a system of images and dramaturgical techniques that retain their importance in the Russian lyrics of subsequent time.

Symphony creativity. Glinka written not a large number of Works for the symphony orchestra. Almost all of them belong to the genre of one-room overture or fantasy. Main - "Camarinskaya", Spanish Overtures "Aragon Hot" and "Night in Madrid", "Waltz Fantasy", music for the tragedy "" Prince Holmsky ". However, their historical role turned out to be so significant that they can be considered the basis of Russian classical simphonism. Significant, new principles of symphonic development are laid in general principles of Glinka aesthetics. The availability and genuine population of the musical language, the principle of the generalized software - the features of his symphony overturn. Glinka developed a compressed, laconic unformed form. In each individual case, the form is uniquely new, it is always determined by the general artistic concept. "Kamarinskaya" begins in the form of double variations, in the "Aragon desi" a sonate structure, "Waltz - Fantasy" in the form of Rondo. All composite features were suggested by the character of the material.

Romances and songs. To the genre of Roman Glinka turned throughout creative path. It has been written over 70 romances. Various feelings are expressed in them: love, disappointment, delight, spiritual impulse. In some romances, paintings of nature and life are imprinted. Glinka covers all types of modern household romance: "Russian song", an elegue, serenade, ballad, domestic dances - Waltz, Mazurka, Polka. He addresses the genres characteristic of the music of other nations: to Spanish Bolero, Italian Barcarole. The diverse and shape of the romance is a simple tweak form, three-part, Rondo, complex form, where there is a change in different episodes associated with a single line of continuous dramatic development.

Keeping the unity of his style, Glinka managed to display a poetic image in the music of Romance, features a poetic language inherent in various authors. In the vocal parties, Glinka showed a wonderful knowledge of the possibilities of voice. The singular melody of wide breathing, sometimes with separate recipatative visual intonations, is distinguished by the unity of all elements. Harmonic Language Glinka's romances are not complicated, but they can meet very interesting harmonic strokes: a reduced VI step and a large number of subdomiton harmonies. A large role is played by the piano party, in most romances, entry is injected into the mood and environment of action. His romance "doubt" on the words of the puppeteer, in "Blood burns the fire of the desire" and "I remember a wonderful moment" on Pushkin poems.

Glinka can rightly be considered the creator of Russian musical Classics. Artistic perfection and professional skill of his works have brought Russian music to the global level. The problem of national music was solved in a new way. The composer created samples of the best National Russian lyrics and the Russian heroic spirit is expressed in music.

In the work of Glinka Opera was acquired by the nature of solid development. They were written two operas:

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

2. "Ruslan and Lyudmila" is the first fabulous epic opera. She is absolutely not similar to Opera "Ivan Susanin". Glinka, she was named "Big Magic Opera".

Glinka was written more than 70 romances. This genre was raised by the composer to a new high step. Glinka - singer, and therefore, when writing romances, he took into account all the features human VoiceWhat made melodies natural and comfortable for singing. In them is traced national Chert and Italian Bel Canto.

It is believed that Glinka created a Russian genre simphonism. They were written such overs folk themes:

- "Kamarinskaya",

- "Night in Madrid",

- "Aragon Hot".

Glinka is a source of lyrical symphony. According to Tchaikovsky's statement, all the symphonic Russian school appeared from the symphonic music of Glinka.

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

Wholeness

Objectivity,

Harmony

Clarity view on the world

Harmonic equilibrium between good and evil,

Light perception of the world

Balanced forms.

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

Glinka was so educated by a person His time. He owned six languages, so he could communicate with many musicians in the world, to learn all the achievements of world music.

Since childhood, Glinka studied the orchestra of his uncle. In addition, he studied the orchestra at Siegfried Dena, which made textbooks on polyphony and harmony specifically for Glinka.

Also Glinka was written many chamber ensembles, piano works, Alto Sonatas, Music to performances. The composer also wrote musical accompaniment To the tragedy "Prince Kholmsky".

Russian composer Glinka left a significant mark in world music, stood at the origins of a kind of Russian composer school. His life contained a lot: creativity, travel, joy and difficulties, but its mainstream is music.

Family and childhood

The future outstanding composer of Glinka was born on May 20, 1804 in the Smolensk province, in the village of Novospassky. His father, retired captain, had a sufficient state to live without. Praded Glinka was a Pole by origin, in 1654, when Smolensk lands switched to Russia, he received Russian citizenship, accepted Orthodoxy and healed the life of the Russian landowner. The child was immediately given to the care of her grandmother, which raised her grandson in the traditions of that time: held it in stuffy rooms, did not develop physically, he ordered his sickness. All this poorly affected Mikhail's health. He was painful, capricious and ramp, he himself later called Mimosa.

Glinka almost spontaneously learned to read after the priest showed him the letters. FROM early age He showed musicality, he learned to imitate on copper pelvis bell ringing And sing along the nanny songs. Only at six years he returns to parents, and they begin to engage in its upbringing and education. To him invite a governess, which in addition to general education items taught his game on the piano, later he still masters the violin. At this time, the boy reads a lot, fond of travel books, this passion will turn into a love for the change of places that will own Glinka all his life. He also draws a little, but the music occupies the main place in his heart. The boy in the serf orchestra learns many works of that time, meets musical instruments.

Years of study

Lived in the village of Mikhail Glinka not long. When he was 13 years old, his parents took him to the noble board recently appeared in St. Petersburg at the Pedagogical Institute. Learning the boy was not very interesting because most He has already mastered the programs at home. His governer was the former Decembrist V. K. Kyhehelbecker, and a classmate - Brother A. S. Pushkin, with whom Mikhail met for the first time at this time, and later became friendly.

In the boarding years he converges with the princes of Golitsyn, S. Sobolevsky, A. Rimsky-Korsakov, N. Melgunov. During this period, it significantly expands his music horizon, meets the opera, visits numerous concerts, and also engaged with famous musicians of that time - bemp and film. He improves his pianistic technique and receives the first lessons of the composer profession.

Famous Pianist Sh. Mayer was engaged in Mikhail in the 20s, teaching him the work of the composer, the right of his first emises, giving the basis of work with the orchestra. On the graduation evening Glinka Pension Parabe with Meier played a gummel concert, publicly demonstrating his skills. Composer Mikhail Glinka graduated from the boarding school second under good performance in 1822, but the desire to learn did not experience further.

First writing experiments

After graduating board, the composer of Glinka was in no hurry to seek the service, good financial situation This allowed him. Father did not hurry the son with the choice of place of work, but did not think that he would have a whole life with music. Composer of Glinka, the music for which becomes the main thing in life, got the opportunity to go on the water to the Caucasus for amendments and abroad. He does not leave music, studies the Western European heritage and composes new motives, it becomes a constant internal need for him.

In the 20s, Glinka writes the famous romances "Do not tempt me without need" to the poems of Baratynsky, "do not sing, beautiful, with me" for the text A. Pushkin. Appear and it instrumental works: Adagio and Rondo for Orchestra, String Septhet.

Life in the world

In 1824, the composer M. I. Glinka enters the service, becomes an assistant secretary in the office of the communication paths. But the service was not set, and in 1828 he resigns. At this time, Glinka is becoming large quantity Familiar, communicates with A. Griboedov, A. Mitskevich, A. Delvig, V. Odoyevsky, V. Zhukovsky. He continues to play music, participates in music evenings In the house of Demidov, he writes a lot of songs and romances, publishes with Pavlischev "lyrical album", where the works of different authors were collected, including him.

Stamp experience

Travels were a very important part of the life of Mikhail Glinka. The first big foreign voyage he makes after the release from the boarding house.

In 1830, Glinka goes on a great trip to Italy, which was stretched for 4 years. The purpose of the trip was treatment, but it did not bring due results, and the musician did not work seriously, constantly interrupting therapy courses, changing doctors and cities. In Italy, he meets C. Bryrylov, with outstanding composers of that time: Berlioz, Mendelssohn, Bellini, Donizetti. Under the impression of these meetings, Glinka writes chamber works on topics foreign composers. He is engaged in a lot abroad with the best teachers, improves performance techniques, is studying the theory of music. He is looking for his strong theme in art, and so for him becomes longing for his house, she pushes him to writing serious works. Glinka creates a "Russian symphony" and writes variations on Russian songs, which will then be included in other major writings.

Large composer work: Opera M. Glinka

In 1834, Mikhail dies his father, he receives material independence and starts writing the opera. Still abroad, Glinka realized that his task was to write in Russian, it was the impetus for the creation of the opera on the national material. At this time he enters literary circles St. Petersburg, where the Aksakov, Zhukovsky, Shevyrev, Pogodin. Everyone discusses the Russian opera written by the Versta, this example is inspired by Glinka, and he is taken for sketches to opera on the Novella Zhukovsky "Maryina Grove". The plan was not destined to be realized, but this was the beginning of work on the opera "Life for the king" in the plot, suggested by Zhukovsky, based on the legend of Ivan Susanin. Great composer Glinka entered the history of music precisely as the author of this essay. He laid the foundations of the Russian Opera School.

The premiere of the opera took place on November 27, 1836, success was ambitious. Both the public and critics accepted an essay extremely favorably. After that, the Glinka receives the appointment of the Capereister of the court singing chapel and becomes professional musician. Success was covered by the composer, and he starts working on a new opera on Pushkin's poem "Ruslan and Lyudmila". He wanted the libretto to write a poet, but his untimely end prevented the implementation of these plans. In the composition of the glint demonstrates a mature composer talent and the highest technique. But "Ruslan and Lyudmila" was accepted more cool than the first opera. It was very upset by Glinka, and he again got ready to go abroad. The overall heritage of the composer is small, but it had a decisive influence on the development of the national composer school, and so far these works are a bright example of Russian music.

Symphonic music Glinka

Development national topic It was reflected in the symphonic music of the author. Glink's composer creates a large number of experimental essays, he is obsessed with new form. In their writings, our hero shows itself as a romantic and melody. The works of the composer Glinka develop such genres in Russian music, like a people's genre, lyrical epic, dramatic. The most significant writings are Overshots "Night in Madrid" and "Aragon Khota", the symphonic fantasy "Kamarinskaya".

Songs and romances

Portrait of Glinka (composer) will be incomplete if not mentioning it song creativity. All his life he writes romances and songs that become incredible popularity upon the life of the author. Everything is written about 60 vocal worksFrom which the most noticeable are: "I remember a wonderful moment", "recognition", "passing song" and many others, who today are part of the classical vocalist repertoire.

Private life

In the personal life, the composer Glinka was not lucky. He married a nice girl Ivanova Marie Petrovna in 1835, hoping to find like-minded people in it loving heart. But many differences between her husband and wife appeared very quickly. She was stormy lifeShe spent a lot of money, so even the income from the estate and payment for the musical works of Glinka was lacking. He was forced to take students. The final gap takes place when Katya Kern is fond of Katya in the 1840s, the daughter of Muse Pushkin. He submits to a divorce, at this time it turns out that his wife secretly married the cornet of Vasilchik. But parting is delayed for 5 years. During this time, Glinka had to go through the real drama: Kern became pregnant, demanded decisive measures from him, he subsidized her getting rid of the child. Gradually the fear of relations UGAS, and when the divorce was received in 1846, Glinka no longer had the desire to marry. He spent one's residue, was fond of friendly feasts and orgies, which had fallen on his already weak health. On February 15, 1857, Glinka died in Berlin. Later, at the request of his sister, the dust of the deceased was transported to Russia and buried at the Tikhvin Cemetery of St. Petersburg.

Glinka Mikhail Ivanovich - Famous Russian composer.

Biography

Childhood

Father, Ivan Nikolayevich, was the retired captain, originally from the gentry. Mother, Yevgeny Andreevna, from the very birth of the son was removed from his upbringing with his power mother-in-law, Fedo Alexandrovna. The grandmother took care too carefully about the grandson, making it to 6 years since the painful lag. In 1810, Focla Alexandrovna dies, and Misha returns to raising his father's house.

Education

The game on the violin and the Piano Mikhail began to study from ornamental years. It was taught by her governess, discharged from St. Petersburg, Varvara Fedorovna Klong. The boy is then given to the St. Petersburg Noble Pension at the Pedagogical Institute. Here, His goverr becomes Wilhelm Kyhehelbecker. Glinka takes lessons from beautiful music teachers - John Field, Charles Zeiner. Here the Glinka acquaintance with A. S. Pushkin, which develops into friendship until the end of the poet.

Creative way

Music becomes for Glinka immediately after the end of the guesthouse: it actively studies the history of Western European music, performs in the salons. He composes his first successful works: variations for piano and harp, romance, string septo, Rondo for orchestra, orchestra overtures. The circle of his friends includes Zhukovsky, Griboedov, Mitskevich, Delvig, Odoyevsky.

He rests in the Caucasus. And since 1824 it is arranged to work in the General Directorate of Communications to the post of assistant secretary. By the end of the 20s, together with Pavlishev, publishes a "lyrical album", which includes his own essays.

Since 1830, the Italian period begins in the life and work of Glinka, which is preceded by a small summer journey in Germany. Milan for that period of time was the center of world musical culture. Here Mikhail Ivanovich meets from Donizetti and V. Bellini, studies Belkanto and begins to compose in the "Italian spirit".

Since 1833, Glinka in Germany has been in Germany, where he continues to test his musical talent in Siegfried Dena. His classes in 1834 interrupts the news of the death of his father, and Glinka returns to Russia.

He dreams of creating a Russian national opera, and as a plot chooses a historical moment - the feat of Ivan Susanin. For almost three years, the composer works on it, and finally in 1836 a grand opera was completed, called "life for the king". Her setting on the stage of the Petersburg Big Theater. It was successful: Opera took in society with delight. Glinka after this success was even prescribed by Kapellasister of the court chapel. In 1838, Glinka rests and works in Ukraine.

In 1842, the light saw new Opera Glinka, "Ruslan and Lyudmila", which caused hot discussions in society.

In 1844, Glinka goes to a new overseas trip: first to France and then to Spain. In Paris, Berlioz himself performs his works. In 1845, Glinka gives a big a charity concert In Paris, after which he goes to Spain. Here he creates symphonic Overtures into Spanish Folk Topics, as well as the Aragon Hot Overture.

In 1847, Glinka returns to Russia, then rides in Warsaw, where he creates his famous "Kamarinskaya", which became a completely new type of symphonic music, which combines various rhythms, characters and moods. In 1848, "Night in Madrid" appears.

Since 1851, Glinka lives in St. Petersburg, gives the lessons of singing, writes new opera parties. Under his influence there is a Russian vocal school.

In 1852, Glinka wanted to go on a trip to Spain, but the road tired him, and he stops in Paris for half two years. Here he works on the symphony of Taras Bulba, which remained unfinished.

In 1854, Glinka returns to Russia and begins to write "notes", memoirs.

In 1856, Glinka went to Berlin.

Personal life

In 1835, Glinka married his fellow relative, Maria Petrovna Ivanova, with which the marriage was completely failed.

In 1838, Glinka meets Catherine Yermolayevaya Kern, which he loves to the end of his days, devoting her best writings.

Death

Glinka died in Berlin on February 15, 1857. He was buried in the same place, at the Lutheran cemetery, but after a few months his dust was transported to Russia and reburied in St. Petersburg at the Tikhvin cemetery.

Main achievements Glinka

• Glinka became the founder of the Russian national composer school.
• His writings had a strong influence on further development Russian music and on such composers as A. S. Dargomyzhsky, members " Mighty bunch", P. I. Tchaikovsky who developed in their musical works His ideas.
• The first creator of the Russian National Opera ("Life for the King").
• Under the influence of Glinka in St. Petersburg there was a Russian vocal school.

Important glinka biography dates

• 1804 year - birth
• 1804-1810 - upbringing grandmother
• 1814 - begins to make music with a clummer
• 1817-1822 - Study at the St. Petersburg Noble Guesthouse at the Pedagogical Institute
• 1823 - a trip to the Caucasus
• 1824-1828 - work as a secretary assistant posts in the main management of the communication
• 1829 - edition " Lyrical albumbut"
• 1830 - Italian period, Milan
• 1833 - German period, Berlin
• 1834 - death father, return to Russia
• 1835 - marriage to M. P. Ivanova
• 1836 - Opera " Life for the king»
• 1836-1838 - Capereaster of the court chapel
• 1838 - a trip to Ukraine, acquaintance with E. E. Kern
• 1842 - Opera " Ruslan and Ludmila»
• 1844 - a trip to France
• 1845 - a charitable concert in Paris, a trip to Spain, Overture " Aragon Khota»
• 1847 - " Kamarinskaya»
• 1848 - Overture " Night in Madrid»
• 1851 - Life in St. Petersburg
• 1852-1854 - Life in Paris
• 1854 - Return to Russia
• 1856 - Life in Berlin
• 1857 - death

• A year before the birth of Michael in the family, a son was born, who died in infancy. Focla Alexandrovna, grandmother, accused the mother of Glinka in this death, Evgeny Andreevna, and his unrestrained self-balance, which she possessed in the family, took the newborn grandson to her upbringing.
• Justina Kyhehelbecker, his sister of that very Wilhelm, married cousin Father composer, Grigory Andreevich Glinka.
• Glinka's wife, Maria Petrovna, was completely uneducated and did not understand anything in music. She didn't even have the idea who was such Beethoven.
• When the prah of the composer was transported from Berlin to St. Petersburg, the coffin was packed in a cardboard, on which it was written in large letters: "Porcelain".
• Patriotic song on music Glinka was anthem Russian Federation From 1991 to 2000.