Mikhail Ivanovich Glinka: biography, interesting facts, creativity. Glinka Mikhail Ivanovich - a short biography of the composer Glinka's most famous orchestral work

20.06.2019

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abstract

on the topic

Glinka M.I. - composer

Students of grade 8 B

secondary school number 1293

in-depth study

of English language

Chaplanova Christina

Moscow 2004

1. Introduction

2. Childhood Glinka

3. The beginning of an independent life

4. The first trip abroad (1830-1834)

5. New wanderings (1844-1847)

6. The last decade

8. The main works of Glinka

9. List of Literature

10. Appendix (illustrations)

Introduction

The beginning of the 19th century was the time of the cultural and spiritual upsurge of Russia. The Patriotic War of 1812 accelerated the growth of the national self-consciousness of the Russian people, its consolidation. The growth of the national consciousness of the people during this period had a tremendous impact on the development of literature, visual arts, theater and music.

Mikhail Ivanovich Glinka is a Russian composer, the founder of Russian classical music. The operas A Life for the Tsar (Ivan Susanin, 1836) and Ruslan and Lyudmila (1842) laid the foundation for two directions of Russian opera, folk musical drama and opera-fairy-tale, opera-epic. Symphonic works, including Kamarinskaya (1848), Spanish Overtures (Aragonese Jota, 1845, and Night in Madrid, 1851), laid the foundations for Russian symphonism. A classic of Russian romance. Glinka's "Patriotic Song" became the musical basis of the national anthem of the Russian Federation.

Glinka's childhood

Mikhail Ivanovich Glinka was born on May 20, 1804, in the village of Novospasskoye, which belonged to his father, a retired captain, Ivan Nikolaevich Glinka. This estate was located 20 versts from the city of Yelnya, Smolensk province.

According to the mother's story, after the first cry of a newborn, under the very window of her bedroom, in a thick tree, the ringing voice of a nightingale was heard. Subsequently, when his father was not happy with the fact that Mikhail left the service and studied music, he often used to say: "It was not for nothing that the nightingale sang at the window at his birth, so the buffoon came out." Soon after his birth, his mother, Evgenia Andreevna, nee Glinka, transferred the upbringing of her son Fekla Alexandrovna, the father's mother. With her, he spent about three or four years, seeing his parents very rarely. Grandma doted on her grandson and indulged him incredibly. The consequences of this initial upbringing were felt throughout life. Glinka's health was weak, he could not stand the cold at all, he constantly caught cold and therefore was afraid of all kinds of diseases, easily lost his composure for any reason. As an adult, he often called himself "touchy", "mimosa". He received his primary education at home. Listening to the chanting of serfs and the ringing of the bells of the local church, he showed an early desire for music. He was fond of playing the orchestra of serf musicians in the estate of his uncle, Afanasy Andreyevich Glinka. Musical studies of playing the violin and piano began quite late (1815-16) and were of an amateur nature. At the age of 20, he began to sing in tenor.

Musical abilities at this time were expressed by a "passion" for bell ringing. Young Glinka eagerly listened to these harsh sounds and was able to deftly imitate the bell ringer on 2 copper basins. Glinka was born, spent his first years and received his first education not in the capital, but in the countryside, thus, his nature took in all those elements of the musical nationality that, not existing in our cities, were preserved only in the heart of Russia ...

Once, after Napoleon's invasion of Smolensk, Kruzel's quartet played with a clarinet, and the boy Misha remained in a feverish state all day. When the drawing teacher asked about the reason for his inattention, Glinka replied: “What can I do! Music is my soul! " At this time, the governess, Varvara Fedorovna Klyammer, appeared in the house. With her, Glinka studied geography, Russian, French and German, as well as playing the piano.

The beginning of an independent life

In early 1817, his parents decided to send him to the Noble Boarding School. This boarding house, opened on September 1, 1817 at the Main Pedagogical Institute, was a privileged educational institution for the children of the nobility. After graduating from it, the young man could continue his studies in a particular specialty or go to government service. In the year of the opening of the Noble Boarding School, Lev Pushkin, the poet's younger brother, entered it. he was a year younger than Glinka, and when they met, they became friends. At the same time Glinka also met the poet himself, who "used to come to our boarding house to see his brother." Glinka's governor taught Russian literature at the boarding school. In parallel with his studies, Glinka took piano lessons from Oman, Zeiner and Sh. Mayr, a rather famous musician.

In the early summer of 1822, Glinka was released from the Noble Boarding School, becoming the second student. On the day of graduation, Hummel's piano concerto was successfully played in public. Then Glinka joined the Ministry of Railways. But since she was tearing him away from his music studies, he soon retired. While at the boarding house, he was already an excellent musician, he played the piano delightfully, and his improvisations were delightful. At the beginning of March 1823, Glinka went to the Caucasus to use the mineral waters there, but this treatment did not improve his health. At the beginning of September, he returned to the village of Novospasskoye and with renewed zeal began to play music. He studied music very much and stayed in the village from September 1823 to April 1824; in April he left for Petersburg. During the summer of 1824 he moved to Faliev's house in Kolomna; around the same time he met the Italian singer Belolli and began to study Italian singing with him.

The first unsuccessful attempt at composing with the text dates back to 1825. Later he wrote the elegy "Don't tempt me unnecessarily" and the romance "Poor Singer" to the words of Zhukovsky. Music more and more captured the thoughts and time of Glinka. The circle of friends and admirers of his talent expanded. He was known as an excellent performer and songwriter, both in St. Petersburg and Moscow. Encouraged by friends, Glinka composed more and more. And many of these early works have become classics. Among them are romances: "Do not tempt me unnecessarily", "Poor singer", "Memory of the heart", "Tell me why", "Do not sing, beauty, with me", "Oh, you, darling, red maiden", " What a young beauty. " At the beginning of the summer of 1829, the "Lyric Album" was published, published by Glinka and N. Pavlischev. In this album, romances and the dances cotillion and mazurka composed by him were published for the first time.

First overseas travel (1830-1834)

In April 1830 Glinka received a passport for a trip abroad for a period of three years and went on a long trip abroad, the purpose of which was both treatment (on the waters of Germany and in the warm climate of Italy) and acquaintance with Western European art. After spending several months in Aachen and Frankfurt, he arrived in Milan, where he studied composition and vocals, visited theaters, and traveled to other Italian cities. It was also speculated that Italy's warm climate would improve his frustrated health. Having lived in Italy for about 4 years, Glinka went to Germany. There he met the talented German theorist Siegfried Dehn and took lessons from him for months. According to Glinka himself, Den brought his musical theoretical knowledge and skills into the system. Abroad Glinka wrote several bright romances: "Venice Night", "Winner", "Pathetic Trio" for piano clarinet, bassoon. It was then that he conceived the idea of creating a national Russian opera.

In 1835 Glinka married M.P. Ivanova. This marriage turned out to be extremely unsuccessful and darkened the composer's life for many years.

Returning to Russia, Glinka enthusiastically began to compose an opera about the patriotic feat of Ivan Susanin. This plot prompted him to write a libretto. Glinka had to turn to the services of Baron Rosen. This libretto glorified the autocracy, therefore, against the wishes of the composer, the opera was called A Life for the Tsar.

The premiere of the work, entitled A Life for the Tsar at the insistence of the theater directorate, on January 27, 1836 was the birthday of the Russian heroic-patriotic opera. The performance was a great success, the royal family was present, and Pushkin was among the many friends of Glinka in the hall. Soon after the premiere, Glinka was appointed head of the Court Singing Chapel. After the premiere, the composer got carried away with the idea of creating an opera based on Pushkin's poem Ruslan and Lyudmila.

Back in 1837, Glinka talked with Pushkin about creating an opera based on Ruslan and Lyudmila. In 1838, work began on the composition,

The composer dreamed that Pushkin himself would write a libretto for her, but the poet's premature death prevented this. The libretto was created according to the plan drawn up by Glinka. Glinka's second opera differs from the folk-heroic opera Ivan Susanin not only in its fairy-tale plot, but also in the peculiarities of its development. The work on the opera took more than five years. In November 1839, exhausted by domestic troubles and exhausting service in the court chapel, Glinka submitted a letter of resignation to the director; in December of the same year, Glinka was fired. At the same time, music was composed for the tragedy "Prince Kholmsky", "Night Review" to the words of Zhukovsky, "I remember a wonderful moment" and "Night Marshmallow" to the words of Pushkin, "Doubt", "Skylark". Composed "Waltz-Fantasy" for piano was orchestral, and in 1856 it was converted into an extensive orchestral piece.

In 1838 Glinka met Ekaterina Kern, the daughter of the heroine of the famous Pushkin's poem, and dedicated his most inspired works to her: Waltz Fantasy (1839) and a marvelous romance to Pushkin's poems I Remember a Wonderful Moment (1840).

New Wanderings (1844-1847)

In 1844 Glinka again went abroad, this time to France and Spain. In Paris, he meets the French composer Hector Berlioz. A concert of works by Glinka was held in Paris with great success. On May 13, 1845, Glinka left Paris for Spain. There he got acquainted with Spanish folk musicians, singers and guitarists, using recordings of folk dances, Glinka in 1845 wrote the Spanish overture "Brilliant Capriccio on the Theme of Aragonese Jota" later renamed Spanish Overture No. 1 "Aragonese Jota". The musical basis for the overture was the melody of the Spanish dance "jota" which Glinka recorded in Valladolid from a folk musician. She was famous and loved throughout Spain. Returning to Russia, Glinka wrote another overture "Night in Madrid", at the same time a symphonic fantasy "Kamarinskaya" was composed on the theme of two Russian songs: a wedding lyric ("From behind the mountains, high mountains") and a lively dance song.

The last years of his life Glinka lived in St. Petersburg, then in Warsaw, Paris, Berlin. He was full of creative plans.

In 1848 - Glinka began to compose major works on the theme "Ilya Muromets". It is not known whether he then conceived an opera or a symphony.

In 1852, the composer began composing a symphony based on Gogol's story "Taras Bulba".

In 1855 he worked on the opera The Two Man.

Last decade

Glinka spent the winter of 1851-52 in St. Petersburg, where he became close to a group of young cultural figures, and in 1855 he became acquainted with the head of the New Russian School, who creatively developed the traditions laid down by Glinka. In 1852 the composer again left for Paris for several months, and from 1856 he lived in Berlin.

In January 1857, after a concert at the Royal Palace, where the trio from A Life for the Tsar was performed, Glinka fell seriously ill. Before his death, Glinka dictated to VN Kashpirov the theme for the fugue, moreover, he asked to finish the "Notes". He died on February 3, 1857 in Berlin and was buried in the Lutheran cemetery. In May of the same year, his ashes were transported to St. Petersburg and buried in the cemetery of the Alexander Nevsky Lavra.

The value of Glinka's creativity

“In many ways Glinka has the same meaning in Russian music as Pushkin in Russian poetry. Both great talents, both founders of the new Russian artistic creation, ... both created a new Russian language, one in poetry, the other in music, ”wrote the famous critic.

In the work of Glinka, two major directions of Russian opera were defined: folk musical drama and fairy-tale opera; he laid the foundations of Russian symphony, became the first classic of Russian romance. All subsequent generations of Russian musicians considered him their teacher, and for many, the impetus for choosing a musical career was the acquaintance with the works of the great master, deeply moral content, which is combined with a perfect form.

The main works of Glinka

Opera:

Ivan Susanin (1836)

Ruslan and Lyudmila (1837-1842)

Symphonic pieces:

Spanish Overture No. 1 "Jota Aragonese" (1845)

"Kamarinskaya" (1848)

Spanish Overture No. 2 "Night in Madrid" (1851)

"Waltz-Fantasy" (1839, 1856)

Romances and songs:

"Venetian Night" (1832), "I am Here, Inesilla" (1834), "Night Review" (1836), "Doubt" (1838), "Night Marshmallows" (1838), "The Fire of Desire Burns in the Blood" (1839 ), wedding song "Wonderful Tower Stands" (1839), "Passing Song" (1840), "Confession" (1840), "Do I Hear Your Voice" (1848), "Happy Cup" (1848), "Margarita's Song" from the tragedy of Goethe "Faust" (1848), "Mary" (1849), "Adele" (1849), "The Gulf of Finland" (1850), "Prayer" ("In a difficult moment") (1855), "Do not speak that hurts the heart "(1856).

Bibliography

1. Vasina-Grossman V. Mikhail Ivanovich Glinka. M., 1979.

2. TSB. M. 1980

3. Musical literature. M., Music, 1975.

4. Russian music until the middle of the 19th century, "ROSMEN" 2003.

5. Internet.

Appendix (illustrations)

Mikhail Ivanovich Glinka

The famous Russian composer Mikhail Ivanovich Glinka, the most important facts of whose biography will be considered in this short article, was born at the very beginning of the 19th century, on the first day of summer.

In Russian musical culture, this composer tried to draw a portrait of the era with notes.

M.I. Glinka - the great Russian composer

The years of the musician's life - 1804 - 1857. Glinka's music covers more than one genre. Throughout his life, the Russian composer was able to adapt the works of Italy and France to his creative ideas.

The most famous musical works of Glinka

Every educated person should know what Mikhail Ivanovich wrote during his life:

Vocal creativity

Of the most famous stands out "Patriotic Song", which became the anthem of Russia immediately after the collapse of the USSR and until 2000.

Glinka dedicated a whole cycle to the city on the Neva, which he called “Farewell to St. Petersburg”.

Among the works of the cycle can be noted "Lark" and "Passing Song". He transcribed Alexander Pushkin's poem "I remember a wonderful moment" to music.

In 1825, Glinka wrote for the first time "Do not tempt me unnecessarily." A work that was dedicated to some of Baratynsky's statements. The romance is one of the best sentimental lyrical vocal compositions.

Opera creativity

It was the operas that brought Mikhail Ivanovich his first fame, the main of them being Life for the Tsar (1836), although a few years later it was renamed Ivan Susanin.

In the same period of his life, the Russian composer composed one of his best operas, Ruslan and Lyudmila, which he completed in 1842.

The exotic plot and daring original music of the opera did not play in favor of the author, did not find popular recognition, although Franz Liszt was struck by the novelty of the work.

Symphonic creativity

"Symphony on Two Russian Motives" is one of the first works outside of Russia, written for an orchestra. Also famous are "Kamarinskaya" and "Spanish Overtures No. 1 and No. 2".

Chamber instrumental compositions

It is worth recalling the sonata for viola and piano, "brilliant rondo", "patriotic trio", "brilliant divertissement" and many others, not familiar to a wide circle, but well known among musicians.

Biography of Mikhail Ivanovich Glinka

Let's highlight the main moments in the life of the great musician, the founder of Russian opera.

Parents

The musician's father is Glinka Ivan Nikolaevich. Mother - Evgenia Andreevna Zemelka.

Mikhail Ivanovich spent the first years of his life at his father's estate.

While living there, he discovered in himself a love for local folk music, which remained with him throughout his life and greatly influenced the composer's further work. Delighted with these sounds, he strove to convey the experienced impressions in future work.

The nanny, Avdotya Ivanovna, was able to instill in little Misha a love of national folklore, telling amazing fairy tales and singing the motives of folk songs.

Childhood

Glinka spent the first six years in the company of his autocratic grandmother, who almost ruined him. Mikhail's grandmother not only spoiled him by giving him everything he wanted, but she was overprotective. Once, she wrapped the boy in furs and kept him in an overheated room for several hours.

Mikhail grew up as a weak, nervous, sick child who was manipulated by an overly protective and protective grandmother until she died in 1810. After her death, the future musician returned to his parents. His musical horizons have expanded.

Youth

Glinka first became interested in music at the age of 11. His uncle had a serf orchestra, which the young man loved to listen to.

It was thanks to the folk orchestra that Mikhail carefully studied and became imbued with the overtures, as well as the symphonies of Haydn, Mozart and Beethoven.

However, Bernard's clarinet quartet awakened all his passion for music in Glinka. The orchestra often performed Russian folk songs.

Mikhail was so captivated by their sound that he often stood completely still, listening to them or trying to pick up an instrument to join.

The future musician was especially fascinated by the sounds of the violin and flute. He even conducted the orchestra when he grew up a little.

The music made such an indelible impression on Mikhail that he asked to be taught music, along with the lessons of Russian, German, French and geography, which were supervised by his governess V. Klammer.

Education

In the seventeenth year of the nineteenth century, at the behest of his parents, Mikhail was sent to St. Petersburg. Mikhail studied at the Noble Boarding School for children of noble origin at the Main Pedagogical Institute. Before writing romances, his favorite subjects were foreign languages. Glinka also loved geography and zoology.

Music was not included in the curriculum of the institute; nevertheless, the talented young man was sent to the best masters of St. Petersburg. He took piano, violin and vocal lessons from teachers of Italian, German and Austrian descent.

The deepest impression was made by the lessons of the famous Irish pianist and composer John Field, later he studied with Charles Mayer. It was Mayer that the composer was grateful and grateful for his contribution to the development of musical abilities.

By 1822, Mikhail Glinka was able to perform in public a minor concerto by Hummel, accompanied by Mayer, accompanying the second piano.

The beginning of the creative path

The starting point for a creative career was the city of Petersburg, since in this northern town of Russia Glinka met famous contemporaries engaged in literary activities:

Pushkin (his younger brother studied with Alexander at the boarding school together with Glinka);
Delving;
Zhukovsky;
Griboyedov.

Mikhail made friends with Alexander Sergeevich especially close, despite the fact that Glinka was born five years later than Pushkin. By the time they met, the young composer was already the author of many romances and piano pieces.

But only a tiny handful were of special value to him. The music composed at this time did not have an individuality. Glinka imitated whoever he heard, be it the works of Rossini, Haydn, Mozart, Beethoven, or simply dance music.

Flourishing

There he fell in love with Italian culture and became a friend of composers Gaetano Donizetti and Vincenzo Bellini. But Glinka's interest in Russian music continued, and in Italy Mikhail Ivanovich not only wrote a group of works on Russian themes, but also began planning a Russian opera.

Glinka spent three years in sunny Italy listening to fashionable music, meeting famous people, including Mendelssohn and Berlioz. On the way back to Russia, Mikhail Ivanovich traveled through Vienna, where he first heard the music of Franz Liszt.

Glinka composed two important works during this time: a capriccio and an unfinished symphony on Russian themes. Glinka was about 30 years old when he completed his theoretical education.

Death of a musician

In the second half of the nineteenth century, the composer traveled to the German capital to study Western techniques with the German musicologist Siegfried Dehn.

At this time, the musician often communicates with the German-French composer Giacomo Meyerbeer.

Mikhail Ivanovich could not leave for his native land - he died in Berlin a few weeks after he caught a cold. He was buried in the German capital, but after a few months his body was taken to the Northern city, from which his career and education began - St. Petersburg. Reburied at the cemetery of the Alexander Nevsky Monastery.

Some interesting information as a conclusion:

Glinka was in love with Anna Kern's daughter, Catherine, to whose mother Pushkin dedicated "I remember a wonderful moment." Young 17-year-old Ekaterina became a muse and inspiration, joy and joy for Mikhail Ivanovich. The composer dedicated works - a waltz fantasy and music to the poems "If I meet you" and "I remember a wonderful moment."
Glinka was born five years later than Pushkin, lived the same number of years with Tchaikovsky.
The work and talent of Mikhail Ivanovich was admired by the foreign composer Hector Berlioz. The French musician performed the works of Glinka, they gave concerts together, which were excellently received by the public.
While in Paris, Glinka began working on the Taras Bulba symphony, which, unfortunately, was never completed;
The composer wrote music for Church Slavonic liturgical texts. So in 1856 he wrote the Litany and the prayer "May my prayer be corrected."
After the death of Glinka on February 15, 1857 in Berlin, his ashes were first buried in the Lutheran cemetery. In May of the same year, Mikhail's sister, who devoted the rest of her life to caring for her brother and did everything possible so that his work was not forgotten, arranged a transport of the composer's ashes and reburial at the Tikhvin cemetery in St. Petersburg.

M. I. Glinka

ABSTRACT ON HISTORY Completed: student of 8 "b" grade

MINISTRY OF EDUCATION OF THE RUSSIAN FEDERATION

SECONDARY SCHOOL № 5

Belorechensk

1999 year

Introduction

Glinka's childhood

Mikhail Ivanovich Glinka was born on May 20, 1804, in the morning at dawn, in the village of Novospasskoye, which belonged to his father, a retired captain, Ivan Nikolaevich Glinka. This estate was located 20 versts from the city of Yelnya, Smolensk province.

According to the mother's story, after the first cry of a newborn, under the very window of her bedroom, in a thick tree, the ringing voice of a nightingale was heard. Subsequently, when his father was not happy with the fact that Mikhail left the service and studied music, he often used to say: "It was not for nothing that the nightingale sang at the window at his birth, so the buffoon came out." Soon after his birth, his mother, Evgenia Andreevna, nee Glinka, transferred the upbringing of her son Fekla Alexandrovna, the father's mother. With her, he spent about three or four years, seeing his parents very rarely. He received his primary education at home. Listening to the chanting of serfs and the ringing of the bells of the local church, he showed an early desire for music. He was fond of playing the orchestra of serf musicians in the estate of his uncle, Afanasy Andreyevich Glinka. Musical studies of playing the violin and piano began quite late (1815-16) and were of an amateur nature.

Musical abilities at this time were expressed by a "passion" for bell ringing. Young Glinka eagerly listened to these harsh sounds and was able to deftly imitate the bell ringer on 2 copper basins. Glinka was born, spent his first years and received his first education not in the capital, but in the countryside, thus his nature took in all those elements of the musical nationality that, not existing in our cities, were preserved only in the heart of Russia ...

The beginning of an independent life

At the beginning of the summer of 1822, Glinka was released from the Noble Boarding School, becoming the second student. On the day of graduation, he successfully played a public piano concert of Hummel. Then Glinka joined the Ministry of Railways. But since she was tearing him away from his music studies, he soon retired. He was already an excellent musician while studying at the boarding house, he played the piano delightfully, and his improvisations were delightful. At the beginning of March 1823, Glinka went to the Caucasus to use the mineral waters there, but this treatment did not improve his health. At the beginning of September, he returned to the village of Novospasskoye and with renewed zeal began to play music. He studied music very much and stayed in the village from September 1823 to April 1824; in April he left for Petersburg. During the summer of 1824 he moved to Faliev's house in Kolomna; around the same time he met the Italian singer Belolli and began to study Italian singing with him.

First overseas travel (1830-1834)

In the spring of 1830 Glinka set off on a long trip abroad, the purpose of which was both treatment (on the waters of Germany and in the warm climate of Italy) and acquaintance with Western European art. After spending several months in Aachen and Frankfurt, he arrived in Milan, where he studied composition and vocals, visited theaters, and traveled to other Italian cities. It was also speculated that Italy's warm climate would improve his frustrated health. Having lived in Italy for about 4 years, Glinka went to Germany. There he met the talented German theorist Siegfried Dehn and took lessons from him for months. According to Glinka himself, Den brought his musical theoretical knowledge and skills into the system. Abroad Glinka wrote several bright romances: "Venice Night", "Winner", "Pathetic Trio" for piano clarinet, bassoon. It was then that he conceived the idea of creating a national Russian opera.

In 1835 Glinka married M.P. Ivanova. This marriage turned out to be extremely unsuccessful and darkened the composer's life for many years.

Returning to Russia, Glinka enthusiastically began to compose an opera about the patriotic feat of Ivan Susanin. This plot prompted him to write a libretto. Glinka had to turn to the services of Baron Rosen. This libretto glorified the autocracy, therefore, against the composer's wishes, the opera was called "A Life for the Tsar."

Back in 1837, Glinka talked with Pushkin about creating an opera based on Ruslan and Lyudmila. In 1838, work began on the composition,

On November 27, 1842 - exactly six years after the first production of Ivan Susanin - the premiere of the second opera Ruslan and Lyudmila took place in St. Petersburg. Despite the fact that the royal family left the box before the end of the performance, the leading cultural figures greeted the composition with enthusiasm (although there was no consensus this time due to the deeply innovative nature of the drama). Soon the opera was completely removed from the stage; "Ivan Susanin" was also rarely staged.

New Wanderings (1844-1847)

In 1844 Glinka again went abroad, this time to France and Spain. In Paris, he meets the French composer Hector Berlioz. A concert of works by Glinka was held in Paris with great success. On May 13, 1845, Glinka left Paris for Spain. There he got acquainted with Spanish folk musicians, singers and guitarists, using recordings of folk dances, Glinka in 1845 wrote the concert overture "Aragonese Jota", returning to Russia Glinka writes another overture "Night in Madrid", at the same time the symphonic fantasy "Kamarinskaya "On the theme of 2 Russian songs: a wedding lyric song (" From behind the mountains, high mountains ") and a lively dance song.

Mikhail Glinka was born in 1804, on the estate of his father, in the Novospasskoye village in the Smolensk province. After the birth of her son, the mother decided that she had already done enough, and gave little Misha to be raised by his grandmother, Fyokla Alexandrovna. Grandmother spoiled her grandson, arranged for him "greenhouse conditions" in which he grew up as a sort of "mimosa" - a nervous and pampered child. After the death of her grandmother, all the hardships of raising her grown son fell on her mother, who, to her credit, rushed to re-educate Mikhail with renewed vigor.

The boy began to play the violin and piano thanks to his mother, who saw talent in her son. At first, Glinka was taught music by a governess, later his parents sent him to a boarding school in St. Petersburg. It was there that he met Pushkin - he came to visit his younger brother, a classmate of Mikhail.

In 1822, the young man graduated from a boarding school, but was not going to give up music lessons. He plays music in the salons of the nobility, and sometimes leads his uncle's orchestra. Glinka experiments with genres and writes a lot. He creates several songs and romances that are well known today. For example, "Do not tempt me unnecessarily", "Do not sing, beauty, with me."

In addition, he gets to know other composers and is constantly improving his style. In the spring of 1830, the young man went to Italy, staying a little longer in Germany. He tries his hand at Italian opera, and his compositions mature. In 1833, in Berlin, he was caught by the news of his father's death.

Returning to Russia, Glinka thinks about creating a Russian opera, and he takes as a basis the legend about Ivan Susanin. Three years later, he completes work on his first monumental piece of music. But it turned out to be much more difficult to stage it - the director of the imperial theaters opposed this. He believed that Glinka was too young for operas. Trying to prove this, the director showed the opera to Katerino Cavos, but the latter, contrary to expectations, left the most flattering review about the work of Mikhail Ivanovich.

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

"Yesterday evening my desires were finally fulfilled, and my long work was crowned with the most brilliant success. The audience received my opera with extraordinary enthusiasm, the actors lost their temper with zeal ... the sovereign-emperor ... thanked me and talked with me for a long time" ...

After this success, the composer was appointed Kapellmeister of the Court Singing Chapel.

Exactly six years after Ivan Susanin, Glinka presented Ruslana and Lyudmila to the public. He began to work on it during the life of Pushkin, but he had to finish the work with the help of several little-known poets.
The new opera was severely criticized, and Glinka took it hard. He went on a big trip to Europe, stopping in France and then in Spain. At this time, the composer was working on symphonies. He travels for the rest of his life, staying in one place for a year or two. In 1856 he travels to Berlin, where he dies.

"Evening Moscow" recalls the most significant works of the great Russian composer.

Ivan Susanin (1836)

Opera by Mikhail Ivanovich Glinka in 4 acts with an epilogue. The opera tells about the events of 1612 connected with the campaign of the Polish gentry against Moscow. Dedicated to the feat of the peasant Ivan Susanin, who led the enemy detachment into an impassable thicket, and died there. It is known that the Poles went to Kostroma to kill 16-year-old Mikhail Romanov, who did not yet know that he would become king. Ivan Susanin volunteered to show them the way. The Patriotic War of 1812 aroused people's interest in their history, plots on Russian historical themes are becoming popular. Glinka composed his opera twenty years after Caterino Cavos's opera on the same theme. At some point, on the stage of the Bolshoi Theater, both versions of a popular plot were staged at the same time. And some performers have participated in both operas.

Ruslan and Lyudmila (1843)

The work of M.I. Glinka marked a new historical stage of development - the classical one. He managed to combine the best European trends with national traditions. All of Glinka's work deserves attention. All genres in which he worked fruitfully should be briefly characterized. First, these are his operas. They have acquired great importance, since they faithfully recreate the heroic events of past years. His romances are filled with special sensuality and beauty. The symphonic works are characterized by incredible picturesqueness. In folk songs, Glinka discovered poetry and created a truly democratic national art.

Creativity and Childhood and adolescence

Born on May 20, 1804. He spent his childhood in the village of Novospasskoye. The fairy tales and songs of the nanny Avdotya Ivanovna were bright and memorable for a lifetime. He was always attracted by the sound of the bell ringing, which he soon began to imitate on copper basins. He started reading early and was naturally inquisitive. The reading of the old edition "On wanderings in general" had a favorable effect. It sparked a keen interest in travel, geography, painting and music. Before entering the noble boarding school, he took piano lessons and quickly succeeded in this difficult task.

In the winter of 1817 he was sent to Petersburg to a boarding house, where he spent four years. Studied with Behm and Field. The life and work of Glinka in the period from 1823 to 1830 were very eventful. Since 1824 he visited the Caucasus, where he served until 1828 as an assistant secretary of railways. From 1819 to 1828 he periodically visits his native Novospasskoye. Then he met new friends in St. Petersburg (P. Yushkov and D. Demidov). During this period, he creates his first romances. It:

Elegy "Do not tempt me" to the words of Baratynsky.
"Poor Singer" to the words of Zhukovsky.
"I love, you told me" and "Bitter for me, bitter" in the words of Korsak.

Writes piano pieces, makes the first attempt to write the opera "A Life for the Tsar".

First trip abroad

In 1830 he went to Italy, on the way was in Germany. This was his first trip abroad. He went here to improve his health and enjoy the surrounding nature of an unexplored country. The impressions he received gave him material for the oriental scenes of the opera Ruslan and Lyudmila. He stayed in Italy until 1833, mainly in Milan.

The life and work of Glinka in this country proceed successfully, easily and naturally. Here he met the painter K. Bryullov, Moscow professor S. Shevyryaev. Composers - with Donizetti, Mendelssohn, Berlioz and others. In Milan at Riccordi's, he publishes some of his works.

In 1831-1832 he composed two serenades, a number of romances, Italian cavatines, a sextet in the key of E flat major. In aristocratic circles, he was known as Maestro russo.

In July 1833 he went to Vienna, and then spent about six months in Berlin. Here he enriches his technical knowledge with the famous counterpointist Z. Den. Subsequently, under his leadership, he wrote "Russian Symphony". At this time, the composer's talent develops. Glinka's work becomes freer from other people's influence, he is more conscious of it. In his "Notes" he admits that all this time he was looking for his own path and style. Longing for his homeland, he thinks about writing in Russian.

Homecoming

In the spring of 1834, Mikhail arrives at Novospasskoye. He thought to go abroad again, but decides to stay in his native land. In the summer of 1834 he went to Moscow. He meets Melgunov here and restores his former acquaintances with musical and literary circles. Among them are Aksakov, Verstovsky, Pogodin, Shevyrev. Glinka decided to create a Russian one. He took up the romantic opera "Maryina Roshcha" (based on a plot by Zhukovsky). The composer's plan was not implemented, the sketches did not reach us.

In the fall of 1834 he came to St. Petersburg, where he attended literary and amateur circles. Once Zhukovsky suggested to him to take the plot of "Ivan Susanin". During this period of time, he composes such romances: "Do not call her heavenly", "Do not say, love will pass", "I only recognized you", "I am here, Inesilla." In his personal life, he has a big event - marriage. Along with this, he became interested in writing Russian opera. Personal experiences influenced the work of Glinka, in particular the music of his opera. Initially, the composer decided to write a cantata consisting of three paintings. The first was to be called a rural scene, the second - Polish, the third - a solemn finale. But under the influence of Zhukovsky, he created a dramatic opera, consisting of five acts.

The premiere of "A Life for the Tsar" took place on November 27, 1836. V. Odoevsky appreciated it. Emperor Nicholas I gave Glinka a ring for 4000 rubles for this. After a couple of months, he appointed him Kapellmeister. In 1839, for a number of reasons, Glinka resigned. During this period, fruitful creativity continues. Glinka Mikhail Ivanovich wrote the following compositions: "Night Review", "Northern Star", another scene from "Ivan Susanin". Takes up a new opera on the plot of "Ruslan and Lyudmila" on the advice of Shakhovsky. In November 1839 he divorced his wife. During his life with the "brethren" (1839-1841), he creates a number of romances. The opera "Ruslan and Lyudmila" was a long-awaited event, tickets were sold out in advance. The premiere took place on November 27, 1842. The success was overwhelming. After 53 performances, the opera was stopped. The composer decided that his brainchild was underestimated, and he became apathetic. Glinka's work is suspended for a year.

Travel to distant countries

In the summer of 1843, he travels through Germany to Paris, where he remains until the spring of 1844.

Renews old acquaintances, makes friends with Berlioz. Glinka was impressed by his works. He is studying his programmatic compositions. In Paris, he maintains friendly relations with Mérimée, Hertz, Chateauneuf and many other musicians and writers. Then he visits Spain, where he has lived for two years. He was in Andalusia, Granada, Valladolid, Madrid, Pamplona, Segovia. Composes "Aragonese Hota". Here he takes a break from pressing St. Petersburg problems. Walking around Spain, Mikhail Ivanovich collected folk songs and dances, wrote them down in a book. Some of them formed the basis for the work "Night in Madrid". From Glinka's letters it becomes obvious that in Spain he is resting with his heart and soul, here he lives very well.

last years of life

In July 1847 he returned to his homeland. Lives for a certain time in Novospasskoye. Mikhail Glinka's creativity during this period is renewed with renewed vigor. He writes several piano pieces, the romance "You Will Soon Forget Me" and others. In the spring of 1848 he went to Warsaw and lived here until autumn. Writes for the orchestra "Kamarinskaya", "Night in Madrid", romances. In November 1848 he came to St. Petersburg, where he was ill all winter.

In the spring of 1849 he went to Warsaw again and lived here until the autumn of 1851. In July of this year, he fell ill after receiving the sad news of his mother's death. In September he returns to St. Petersburg, lives with his sister L. Shestakova. He rarely composes. In May 1852 he went to Paris and stayed here until May 1854. From 1854-1856 he lived in St. Petersburg with his sister. He is fond of the Russian singer D. Leonova. For her concerts he creates arrangements. On April 27, 1856, he left for Berlin, where he settled in the neighborhood of Den. He came to visit him every day and supervised classes in a strict style. Mikhail Glinka's creativity could have continued. But on the evening of January 9, 1857, he caught a cold. On February 3, Mikhail Ivanovich died.

What is Glinka's innovation?

MI Glinka created the Russian style in musical art. He was the first composer in Russia who combined musical technique with the song warehouse (Russian folk) (this applies to melody, harmony, rhythm and counterpoint). Creativity contains quite vivid examples of such a plan. This is his folk musical drama A Life for the Tsar, the epic opera Ruslan and Lyudmila. As an example of the Russian symphonic style, one can name "Kamarinskaya", "Prince Kholmsky", overtures and intermissions to both of his operas. His romances are highly artistic examples of lyrically and dramatically expressed songs. Glinka is rightfully considered a classic master of world significance.

Symphonic creativity

The composer has created a small number of works for the symphony orchestra. But their role in the history of musical art turned out to be so important that they are considered the basis of Russian classical symphony. Almost all of them belong to the genre of fantasy or one-part overtures. "Aragonese Jota", "Waltz-Fantasy", "Kamarinskaya", "Prince Kholmsky" and "Night in Madrid" are Glinka's symphonic works. The composer laid down new principles of development.

The main features of his symphonic overtures:

Availability.
The generalized programmatic principle.
Uniqueness of forms.
Concise, laconic forms.
Dependence on the general artistic concept.

The symphonic work of Glinka was successfully described by P. Tchaikovsky, comparing "Kamarinskaya" with an oak and an acorn. And he emphasized that this work contains a whole Russian symphony school.

The operatic legacy of the composer

"Ivan Susanin" ("Life for the Tsar") and "Ruslan and Lyudmila" are Glinka's operatic works. The first opera is a folk musical drama. Several genres are intertwined in it. First, it is a heroic and epic opera (the plot is based on the historical events of 1612). Secondly, it contains features of an epic opera, lyric-psychological and folk musical drama. If "Ivan Susanin" continues European trends, then "Ruslan and Lyudmila" is a new type of drama - epic.

It was written in 1842. The audience could not appreciate it, it was incomprehensible to the majority. V. Stasov was one of the few critics who noticed its importance for the entire Russian musical culture. He emphasized that this is not just an unsuccessful opera, it is a new type of drama, completely unknown. Features of the opera "Ruslan and Lyudmila":

Leisurely development.
No direct conflicts.
Romantic tendencies are colorful and picturesque.

Romances and songs

Glinka's vocal work was created by the composer throughout his life. He wrote over 70 romances. Various feelings are embodied in them: love, sadness, emotional impulse, delight, disappointment, etc. Some of them depict pictures of everyday life and nature. Glinka is subject to all types of everyday romance. "Russian song", serenade, elegy. It also covers such everyday dances as waltz, polka and mazurka. The composer turns to genres that are characteristic of the music of other peoples. These are Italian barcarole and Spanish bolero. The forms of romances are quite diverse: three-part, simple couplet, complex, rondo. Glinka's vocal work includes texts by twenty poets. He managed to convey in music the peculiarities of the poetic language of each author. The main means of expression for many romances is the melody of a wide breath. The piano part plays a huge role. Almost all romances have introductions that introduce action into the atmosphere and set the mood. Glinka's romances are very famous, such as:

"The fire of desire burns in the blood."
"Lark".
"Passing song".
"Doubt".
"I remember a wonderful moment."
"Don't tempt."
"You will soon forget me."
"Don't say it hurts your heart."
"Don't sing, beauty, with me."
"Confession".
"Night Review".
"Memory".
"To her".
"I am here, Inesilla."
"Oh, you night, little night."
"In a difficult moment of life."

Glinka's chamber and instrumental creativity (briefly)

The most striking example of an instrumental ensemble is Glinka's large work for piano and string quintet. This is a wonderful divertissement based on Bellini's famous opera La Sonnambula. New ideas and tasks are embodied in two chamber ensembles: "Big Sextet" and "Pathetic Trio". And although in these works there is a feeling of dependence on the Italian tradition, they are quite distinctive and original. In "Sextet" there is a rich melody, relief thematicism, slender form. concert type. In this work, Glinka tried to convey the beauty of Italian nature. "Trio" is the complete opposite of the first ensemble. His character is gloomy and agitated.

Glinka's chamber work significantly enriched the performing repertoire of violinists, pianists, violists, clarinetists. Chamber ensembles attract listeners with an extraordinary depth of musical thoughts, a variety of rhythmic formulas, and the naturalness of melodic breathing.

Conclusion

Glinka's musical creativity combines the best European trends with national traditions. A new stage in the history of the development of musical art, which is called "classical", is associated with the name of the composer. Glinka's work covers various genres that have taken their place in the history of Russian music and deserve attention from listeners and researchers. Each of his operas opens up a new type of drama. "Ivan Susanin" is a folk musical drama that combines various features. Ruslan and Lyudmila is a fabulous and epic opera without pronounced conflicts. It develops calmly and unhurriedly. She is characterized by colorfulness and picturesqueness. His operas have gained enormous importance, since they faithfully recreate the heroic events of past years. Few symphonic pieces have been written. However, they were able not only to please the audience, but also to become a real asset and the basis of Russian symphony, as they are characterized by incredible picturesqueness.

The composer's vocal work includes about 70 works. They are all adorable and delightful. They embody various emotions, feelings and moods. They are filled with special beauty. The composer addresses various genres and forms. As for chamber instrumental works, they are also few in number. However, their role is equally important. They have replenished the performing repertoire with new worthy samples.