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. The 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 his grandmother, all the hardships of raising a grown-up son fell on the mother, who, to her credit, rushed to re-educate Mikhail with renewed vigor.

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

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

In addition, he gets to know other composers and constantly improves 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 finished 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 set off on a great trip to Europe, stopping now in France, 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, subjects 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 story were staged at the same time. And some performers have participated in both operas.

Ruslan and Lyudmila (1843)

The founder of Russian classical music, Russian bel canto. M.I. Glinka was born on June 1, 1804 in the village of Novospasskoye, on the estate of his parents, which belonged to his father - retired captain Ivan Nikolaevich Glinka - located a hundred versts * from Smolensk and twenty versts * from the small town of Yelnya. Glinka lived in St. Petersburg from 1817. He studied at the Noble Boarding School at the Main Pedagogical School (his tutor was the poet, Decembrist V.K.Kyukhelbeker). He took piano lessons from J. Field and C. Mayer, violin - from F. Boehm; later he studied singing with Belloli, theory of composition - with Z. Dehn. In the 20s. In the 19th century he was famous among Petersburg music lovers as a singer and pianist. In 1830-33. Glinka traveled to Italy and Germany, where he met outstanding composers: G. Berlioz, V. Bellini, G. Donizetti. In 1836 Glinka was the conductor of the Court Singing Chapel (retired from 1839).
Mastering the experience of domestic and world musical culture, the impact of progressive ideas that spread during the Patriotic War of 1812 and the preparation of the Decembrist uprising, communication with prominent representatives of literature (A.S. Pushkin, A.S. Griboyedov, etc.), art, art criticism contributed to expanding the composer's horizons and developing innovative aesthetic foundations of his work. The creativity of Glinka, folk-realistic in its aspiration, influenced the further development of Russian music.
In 1836, Glinka's heroic and patriotic historical opera Ivan Susanin was staged at the St. Petersburg Bolshoi Theater. Contrary to the concept imposed on the composer (the libretto was compiled by Baron G. F. Rosen in the spirit of monarchical officiousness, at the insistence of the court the opera was called “Life for the Tsar”), Glinka emphasized the folk principle of the opera, glorified the patriotic peasant, the greatness of character, courage and unbending staunchness of the people ... In 1842 the premiere of the opera Ruslan and Lyudmila took place at the same theater. In this work, colorful pictures of Slavic life are intertwined with fairy-tale fiction, pronounced Russian national features with oriental motifs (this is where Orientalism begins in Russian classical opera). Reconsidering the content of Pushkin's playful, ironic youthful poem, taken as the basis of the libretto, Glinka brought to the fore the stately images of Ancient Rus, the heroic spirit and multifaceted emotionally rich lyrics. Glinka's operas laid the foundation and outlined the paths for the development of Russian opera classics. "Ivan Susanin" is a folk musical tragedy based on a historical plot, with a tense, effective musical and dramatic development, "Ruslan and Lyudmila" is a magic oratorio opera with a measured alternation of wide, closed vocal and symphonic scenes, with a predominance of epic, narrative elements. Glinka's operas affirmed the world significance of Russian music. In the field of theatrical music, Glinka's music to N. V. Kukolnik's tragedy "Prince Kholmsky" (post. 1841, Alexandria Theater, St. Petersburg) is of great artistic value. In 1844-1848. the composer conducts in France and Spain. This trip confirmed the European popularity of the Russian genius. Berlioz became a great admirer of his talent, performing in the spring of 1845 Glinka's works at his concert. Glinka's author's concert in Paris was a success. In the same place, in 1848, he wrote the Kamarinskaya symphonic fantasy with Russian folk themes. This is an unusually cheerful fantasy full of humor, enjoying which associations with Russian folk holidays, folk instruments and folk choral singing arise. Kamarinskaya is also a brilliant masterful orchestration. In Spain, Mikhail Ivanovich studied the culture, customs, language of the Spanish people, recorded Spanish folk melodies, observed folk festivals and traditions. The result of these impressions were 2 symphonic overtures: "Jota Aragonese" (1845) and "Remembrance of Castile" (1848, 2nd edition - "Remembrance of a summer night in Madrid", 1851 ).
Glinka's musical art is characterized by the fullness and versatility of the coverage of life phenomena, the generalization and convexity of artistic images, the perfection of architectonics and the general light, life-affirming tone. His orchestral writing, combining transparency and impressive sound, has a vivid imagery, brilliance and richness of colors. The mastery of the orchestra manifested itself in many ways in stage music (overture to Ruslan and Lyudmila) and in symphonic pieces. Waltz-Fantasy for orchestra (originally for piano, 1839; orchestral versions 1845, 1856) is the first classical example of a Russian symphonic waltz. "Spanish Overtures" - "Aragonese Jota" (1845) and "Night in Madrid" (1848, 2nd edition 1851) - laid the foundation for the development of Spanish musical folklore in world symphonic music. The Kamarinskaya Scherzo for Orchestra (1848) synthesized the wealth of Russian folk music and the highest achievements of professional skill.

Glinka's vocal lyrics are noted for the harmony of the worldview. Diversifying in themes and forms, she included, in addition to Russian songs - the foundation of Glinka melody - also Ukrainian, Polish, Finnish, Georgian, Spanish, Italian motives, intonations, genres. Stand out his romances to the words of Pushkin (including "Don't sing, beauty, with me", "I remember a wonderful moment", "The fire of desire burns in the blood", "Night marshmallow"), Zhukovsky (the ballad "Night Review" ), Baratynsky ("Do not tempt me unnecessarily"), Puppeteer ("Doubt" and a cycle of 12 romances "Farewell to St. Petersburg"). Glinka created about 80 works for voice and piano (romances, songs, arias, canzonets), vocal ensembles, vocal studies and exercises, choirs. He owns chamber instrumental ensembles, including 2 string quartets, the Pathetique Trio (for piano, clarinet and bassoon, 1832).

The following generations of Russian composers remained faithful to the main creative principles of Glinka, enriching the national musical style with new content and new expressive means. The Russian vocal school was formed under the direct influence of Glinka, a composer and vocal teacher. Glinka took singing lessons and prepared opera parts and a chamber repertoire with him by singers N.K. Ivanov, O.A. Petrov, A. Ya.Petrova-Vorobyova, A.P. Lodiy, S.S. M. Leonova et al. A. N. Serov wrote down his Notes on Instrumentation (1852, published 1856). Glinka left a memoir (Notes, 1854-55, published 1870).

abstract

on the topic of

Glinka M.I. - composer

Students of grade 8 B

secondary school number 1293

in-depth study

in English

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 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, 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 ability at this time was expressed by a "passion" for bell ringing. Young Glinka eagerly listened to these harsh sounds and was able to deftly imitate 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. It was then that Glinka 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.

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, 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. In early 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; about 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 "Do not 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 composer's wishes, 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 theaters 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 its developmental features. 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 the 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 symphonic music, 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), "Healthy 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 XIX century, "ROSMEN" 2003.

5. Internet.

Appendix (illustrations)

Mikhail Ivanovich Glinka

Name: Mikhail Glinka

Age: 52 years

Activity: composer

Family status: was divorced

Mikhail Glinka: biography

Mikhail Glinka is a Russian composer, founder of the Russian national opera, author of the world famous operas A Life for the Tsar (Ivan Susanin) and Ruslan and Lyudmila.

Glinka Mikhail Ivanovich was born on the family estate of his family in the Smolensk region on May 20 (June 1) 1804. His father was a descendant of a Russianized Polish nobleman. The parents of the future composer were distant relatives to each other. Mikhail's mother Evgenia Andreevna Glinka-Zemelka was the second cousin of his father, Ivan Nikolaevich Glinka.

The boy grew up as a sickly and weak child. For the first ten years of his life, Mikhail's mother was raised by his father's mother, Fyokla Aleksandrovna. The grandmother was an uncompromising and strict woman, cultivated suspiciousness and nervousness in the child. Fyokla Alexandrovna's grandson studied at home. The boy's first interest in music appeared in early childhood, when he tried to imitate bell ringing with the help of copper household utensils.

After the death of his grandmother, his mother took up the upbringing of Mikhail. She arranged for her son in a St. Petersburg boarding school, in which only selected noble children studied. There Mikhail met Lev Pushkin and his older brother. Alexander Sergeevich visited a relative and knew his close friends, one of whom was Mikhail Glinka.

At the boarding house, the future composer began to take music lessons. His favorite teacher was the pianist Karl Mayer. Glinka recalled that it was this teacher who influenced the formation of his musical taste. In 1822, Mikhail graduated from the boarding school. On the day of graduation, he, together with teacher Mayer, publicly performed Hummel's piano concerto. The performance was a success.

Carier start

The first works of Glinka belong to the period of graduation from the boarding house. In 1822, Mikhail Ivanovich became the author of several romances. One of them "Don't sing, beauty, in my presence" was written in poetry. The musician met the poet during his studies, but a few years after Glinka graduated from the boarding school, the young people became friends on the basis of common interests.

Mikhail Ivanovich had been in poor health since childhood. In 1923 he went to the Caucasus to undergo treatment with mineral waters. There he admired the landscapes, studied local legends and folk art, and took care of health. After returning from the Caucasus, Mikhail Ivanovich did not leave his family estate for almost a year, creating musical compositions.

In 1924 he left for the capital, where he got a job at the Ministry of Railways and Communications. Not having served even five years, Glinka retired. The reason for leaving the service was the lack of free time to practice music. Life in St. Petersburg gave Mikhail Ivanovich acquaintances with outstanding creative people of his time. The environment kindled the composer's need for creativity.

In 1830, Glinka's health deteriorated, the musician was forced to change the St. Petersburg dampness to a warmer climate. The composer went to Europe for treatment. Glinka combined his health trip to Italy with professional training. In Milan, the composer met Donizetti and Bellini, studied opera and bel canto. After four years of his stay in Italy, Glinka left for Germany. There he took lessons from Siegfried Dehn. Mikhail Ivanovich had to interrupt his studies because of the unexpected death of his father. The composer hastily returned to Russia.

Career heyday

Music occupied all of Glinka's thoughts. In 1834, the composer began working on his first opera, Ivan Susanin, which was later renamed A Life for the Tsar. The first title of the work was returned to Soviet times. The opera takes place in 1612, but the choice of the plot was influenced by the war of 1812, which happened during the author's childhood. When it began, Glinka was only eight years old, but her influence on the musician's mind persisted for several decades.

In 1842, the composer finished work on his second opera. The work "Ruslan and Lyudmila" was presented on the same day as "Ivan Susanin", but with a difference of six years.

Glinka took a long time to write his second opera. It took him about six years to complete this work. There was no limit to the composer's disappointment when the work did not have the desired success. A wave of criticism crushed the musician. Also in 1842, the composer had a crisis in his personal life, which affected the emotional and physical health of Glinka.

Dissatisfaction with life prompted Mikhail Ivanovich to take a new long-term trip to Europe. The composer visited several cities in Spain and France. Gradually he regained his creative inspiration. The result of his trip was new works: "Jota Aragonese" and "Remembrance of Castile". Life in Europe helped Glinka regain her self-confidence. The composer went to Russia again.

Glinka spent some time in the family estate, then he lived in St. Petersburg, but the social life tired the musician. In 1848 he ended up in Warsaw. The musician lived there for two years. This period of the composer's life was marked by the creation of the Kamarinskaya symphonic fantasy.

The last five years of his life, Mikhail Ivanovich spent on the road. In 1852, the composer went to Spain. The musician's health was poor, and when Glinka got to France, he decided to stay there. Paris favored him. Feeling the rise of vitality, the composer began work on the symphony "Taras Bulba". After living for about two years in Paris, the musician with all his creative endeavors went to his homeland. The reason for this decision was the beginning of the Crimean War. The Taras Bulba symphony was never finished.

Returning to Russia in 1854, the musician wrote his memoirs, which were published 16 years later under the title "Notes". In 1855, Mikhail Ivanovich composed the romance "In a Difficult Moment of Life" to verse. A year later, the composer went to Berlin.

Personal life

Glinka's biography is a story of a person's love for music, but the composer also had a more ordinary personal life. During his travels across Europe, Mikhail became the hero of several amorous adventures. Returning to Russia, the composer decided to marry. Following the example of his father, he chose his distant relative as his companion. The composer's wife was Maria (Marya) Petrovna Ivanova.

The couple had a fourteen-year age difference, but this did not stop the composer. The marriage was unhappy. Mikhail Ivanovich quickly realized that he had made the wrong choice. The marriage bond connected the musician with his unloved wife, and the heart was given to another woman. Ekaterina Kern became the composer's new love. The girl was the daughter of the muse of Pushkin, to whom Alexander Sergeevich dedicated the poem "I remember a wonderful moment."

Glinka's relationship with her beloved lasted almost 10 years. For most of this time, the musician was officially married. His legal wife Maria Ivanova, not having lived a year in a legal marriage, began to look for amorous adventures on the side. Glinka knew about her adventures. The wife reproached the musician for wastefulness, scandalized and cheated. The composer was very depressed.

After six years of marriage with Glinka, Maria Ivanova secretly married the cornet Nikolai Vasilchikov. When this circumstance was revealed, Glinka received hope for a divorce. All this time, the composer was in a relationship with Catherine Kern. In 1844, the musician realized that the intensity of love passions had faded away. Two years later, he received a divorce, but he never married Catherine.

Glinka and Pushkin

Mikhail Ivanovich and Alexander Sergeevich were contemporaries. Pushkin was only five years older than Glinka. After Mikhail Ivanovich crossed the line at twenty, he and Alexander Sergeevich developed many common interests. The friendship of young people continued until the tragic death of the poet.

Glinka conceived the opera Ruslan and Lyudmila in order to be able to work with Pushkin. The death of the poet greatly slowed down the process of creating the opera. As a result, her production almost failed. Glinka is called "Pushkin from Music", because he made the same contribution to the formation of the Russian national opera school as his friend made to the development of Russian literature.

Death

In Germany, Glinka studied the works of Johann Sebastian Bach and his contemporaries. Not having lived in Berlin for a year, the composer died. Death overtook him in February 1857.

The composer was modestly buried in a small Lutheran cemetery. A few months later, Glinka's younger sister Lyudmila came to Berlin to arrange the transportation of her brother's ashes to their homeland. The coffin with the composer's body was transported from Berlin to St. Petersburg in a cardboard box with the inscription "PORCELAIN".

Glinka was reburied in St. Petersburg at the Tikhvin cemetery. An authentic tombstone from the first grave of the composer is still in Berlin on the territory of the Russian Orthodox cemetery. In 1947, a monument to Glinka was also erected there.

• Glinka became the author of the romance "I remember a wonderful moment", which was written on the verses of Alexander Sergeevich Pushkin. The poet dedicated lines to his muse Anna Kern, and Mikhail Ivanovich dedicated the music to her daughter Catherine.
• After the composer received the news of his mother's death in 1851, his right hand was taken away. The mother was the closest person to the musician.
• Glinka could have children. The musician's beloved was pregnant in 1842. The composer was officially married during this period and could not get a divorce. The musician gave Ekaterina Kern a large amount of money to get rid of the child. The woman left for the Poltava region for almost a year. According to one of the versions, the child was still born, since Catherine Kern was absent for too long a period of time. During this time, the musician's feelings faded away, he left his passion. By the end of his life, Glinka regretted very much that he had asked Catherine to get rid of the child.
• The musician has been seeking a divorce from his wife Maria Ivanova for many years, intending to marry his beloved Ekaterina Kern, but having received freedom, he decided to refuse to marry. He left his passion, fearing new obligations. Ekaterina Kern has been waiting for the composer to return to her for almost 10 years.

The work of M.I. Glinka (1804-1857) marked a new one, namely - classic stage development of Russian musical culture. The composer managed to combine the best achievements of European music with the national traditions of Russian musical culture. In the 30s, Glinka's music did not yet enjoy wide popularity, but soon everyone will understand:

“A splendid flower has grown on Russian musical soil. Take care of it! It is a delicate flower and blooms once a century ”(V. Odoevsky).

• on the one hand, a combination of romantic musical and linguistic means of expression and classical forms.
• on the other hand, the basis of his work is melody as a carrier of a generalized meaning(interest in specific details and recitation, to which the composer rarely resorted, will be more characteristic of A. Dargomyzhsky and).

Operatic creativity of M. I. Glinka

M. Glinka belongs to innovators, discoverers of new musical paths of development, is the creator of qualitatively new genres in Russian opera:

— heroic-historical opera by the type of folk musical drama ("Ivan Susanin", or "Life for the Tsar");

- an epic opera (Ruslan and Lyudmila).

These two operas were created 6 years apart. In 1834 he began work on the opera Ivan Susanin (A Life for the Tsar), originally conceived as an oratorio. Completion of work on the work (1936) - year of birth the first Russian classical opera on a historical plot, the source for which was the thought of K. Ryleev.

Mikhail Ivanovich Glinka

The peculiarity of the drama of "Ivan Susanin" lies in the combination of several opera genres:

• heroic-historical opera(plot);
• features of folk musical drama... Traits (not full embodiment) - because in a folk musical drama the image of a people must be in development (in the opera, he is an active participant in the action, but static);
• features of an epic opera(the slowness of the plot development, especially at the beginning);
• traits of drama(activation of action from the moment the Poles appeared);
• features of lyric-psychological drama, associated mainly with the image of the main character.

The choral scenes of this opera go back to Handel's oratorios, the idea of ​​duty and self-sacrifice to Gluck, the liveliness and brightness of characters to Mozart.

Glinka's opera Ruslan and Lyudmila (1842), which appeared exactly 6 years later, was received negatively, in contrast to Ivan Susanin, which was enthusiastically received. V. Stasov was perhaps the only one of the critics of that time who understood its true meaning. He argued that Ruslan and Lyudmila was not an unsuccessful opera, but a work written according to completely new dramatic laws, previously unknown to the opera stage.

If "Ivan Susanin", continuing line of European tradition, gravitates more towards the type of dramatic opera with features of folk musical drama and lyric-psychological opera, then "Ruslan and Lyudmila" is a new type of drama, dubbed epic. The qualities perceived by contemporaries as shortcomings turned out to be the most important aspects of the new opera genre, dating back to the art of epic.

Some of its characteristic features:

• a special, wide and unhurried nature of development;
• the absence of direct conflict clashes of hostile forces;
• picturesque and colorful (romantic tendency).

The opera "Ruslan and Lyudmila" is often called

"A textbook of musical forms."

After Ruslan and Lyudmila, the composer began work on the opera-drama The Two-Man (the last decade) based on A. Shakhovsky, which remained unfinished.

Glinka's symphonic works

P. Tchaikovsky's words about "Kamarinskaya" can express the meaning of the composer's work as a whole:

“Many Russian symphonic works have been written; we can say that there is a real Russian symphony school. And what? She's all in Kamarinskaya, just like the whole oak tree is in acorn ... ”.

Glinka's music outlined the following paths for the development of Russian symphony:

1. National genre (folk genre);
2. Lyric-epic;
3. Dramatic;
4. Lyric and psychological.

In this regard, it is especially worth noting "Waltz-Fantasy" (written for piano in 1839, later there were orchestral editions, the last of which dates back to 1856 and represents the 4th direction). For Glinka, the genre of waltz turns out to be not just a dance, but a psychological sketch that expresses the inner world (here his music continues the development of a trend that first manifested itself in the work of G. Berlioz).

Dramatic symphony is traditionally associated with the name, first of all, L. Beethoven; in Russian music, it receives the most striking development in connection with the work of P. Tchaikovsky.

Composer's innovation

The innovative nature of Glinka's works is fully expressed in connection with the line of folk-genre symphony, characterized by the following features and principles:

• the thematic basis of the works, as a rule, is made up of genuine folk song and folk dance material;

• widespread use in symphonic music of means and methods of development characteristic of folk music (for example, various methods of variant-variational development);

• imitation of the sound of folk instruments in the orchestra (or even their introduction into the orchestra). Thus, in the "Kamarinskaya" (1848) violins often imitate the sound of the balalaika, and in the scores of the Spanish overtures ("Aragonese Jota", 1845; "Night in Madrid", 1851) castanets were introduced.

Glinka's vocal works

By the time the genius of this composer was flourishing, Russia already possessed a rich tradition in the field of the genre of Russian romance. The historical merit of the vocal creativity of Mikhail Ivanovich, as well as of A. Dargomyzhsky, is the generalization of the experience accumulated in Russian music of the first half of the 19th century. and bringing it to the classic level. It is in connection with the names of these composers Russian romance becomes a classic genre of Russian music... Having equal importance in the history of Russian romance, living and creating at the same time, Glinka and Dargomyzhsky follow different paths in realizing their creative principles.

Mikhail Ivanovich in his vocal work remains lyricist, considering the main thing - the expression of emotions, feelings, moods. Hence - dominance of melody(only in later romances features of declamation appear, for example, in the only vocal cycle of 16 romances "Farewell to St. Petersburg" at the station of N. Kukolnik, 1840). The main thing for him is the general mood (as a rule, it is based on traditional genres - elegy, Russian song, ballad, romance, dance genres, etc.).

Speaking in general about Glinka's vocal work, it can be noted:

• the predominance of song and elegy genres in romances of the early period (1920s). In the works of the 30s. most often he turned to poetry.
• in the romances of later times, there is a tendency towards dramatization (“Don't say that it hurts your heart” is the most striking example of the manifestation of the declamatory style).

The music of this composer synthesizes the best achievements of European musical culture with national tradition. The legacy of the first Russian musical classic stylistically combines 3 directions:

1. As a representative of her time, Glinka is an outstanding representative of Russian art;
2. (in the ideological sense, it is expressed in the importance of the image of the ideal hero, the value of the ideas of duty, self-sacrifice, morality; the opera "Ivan Susanin" is indicative in this regard);
3. (means of musical expression in the field of harmony, instrumentation).

The composer is also realized in the genres of dramatic music

(music to the Puppeteer's tragedy "Prince Kholmsky", romance "Doubt", cycle "Farewell to St. Petersburg"); about 80 romances are associated with lyric poetry (Zhukovsky, Pushkin, Delvig, Kukolnik, etc.).

Chamber instrumental creativity consists of the following works by Mikhail Ivanovich:

• piano pieces (variations, polonaises and mazurkas, waltzes, etc.),
• chamber ensembles ("Big Sextet", "Pathetic Trio"), etc.

Orchestration by Glinka

The composer made an invaluable contribution to instrumentation development, having created the first Russian textbook in this area ("Notes on instrumentation"). The work includes 2 sections:

• general aesthetic (indicating the tasks of the orchestra, composer, classifications, etc.);
• a section containing the characteristics of each musical instrument and its expressive capabilities.

Orchestration by M. Glinka is distinguished by accuracy, subtlety, "transparency", which G. Berlioz notes:

"His orchestration is one of the easiest alive in our time."

In addition, the musician is a brilliant master of polyphony. Not being a pure polyphonist, he brilliantly mastered it. The historical merit of the composer in this area lies in the fact that he was able to combine the achievements of Western European imitation and Russian sub-voice polyphony.

The historical role of the composer M.I. Glinka

It lies in the fact that he:

1. Became the founder of Russian classical music;
2. He showed himself as the brightest innovator and discoverer of new ways in the development of Russian musical culture;
3. He summed up the previous searches and synthesized the traditions of Western European musical culture and the peculiarities of Russian folk art.