Glinka - biography. M
Mikhail Ivanovich Glinka is not just another talented Russian composer. This is the founder of classical Russian music and with Founder of the first national Russian opera... A talented person and a patriot of his homeland, who devoted his whole life to music. Glinka's works had a huge impact on the work of the next generation of composers.
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Before Glinka, Russian music concentrated in the field of romance and theater, as well as around liturgical needs. It was a kind of "situational", non-independent art. Glinka was the first who was able to make it an independent way of expression, which draws the means of embodiment, logic and meaning in itself.
Brief biography of Mikhail Glinka
The biographers of Mikhail Ivanovich Glinka experience constant difficulties. He wrote a short biography of his life himself. And he did it in such a dry and clear language that there is practically nothing to add to what the composer himself has already said. Therefore, biographers can only retell what has already been written.
Glinka created in the history of Russian music new historical period... In his compositions, he used the peculiarities of the rhythm and voice-leading of Russian folk music. His work, which was based and grew on the soil of folk song and ancient Russian choral art, is deeply national. But at the same time, it is surprisingly connected with the advanced European musical culture.
Almost all musical genres are represented in the composer's work, but the main one, of course, is opera. In musical drama, Mikhail Ivanovich became an innovator - he refused to use spoken dialogue, and the operatic form received the integrity of the symphonic development.
Childhood
According to legend, on the day Mikhail Glinka was born, nightingales sang around his house all morning. It happened on May 20, 1804 on the estate of his father, Ivan Nikolaevich Glinka, located in the village of Novospasskoye. Mikhail was the second child in the family. But his older brother died before even a year. This circumstance became the reason that little Misha was taken up by his grandmother, practically blaming the parents for the death of their first son.
The future composer had the opportunity to get acquainted with professional music at an early age. On his uncle's estate, classical plays and Russian songs were often played by a serf orchestra. From early childhood, the boy learned to play the violin and piano.
At the age of 6, Mikhail returns to be raised by his mother, as his grandmother dies. The boy is raised at home for another 6.5 years. Then, at the age of 13, parents send their son to study at the St. Petersburg boarding house, located at the pedagogical institute. It was a prestigious educational institution in which only noble children could study. In St. Petersburg, Mikhail meets Lev and Alexander Pushkin, Vasily Zhukovsky, Evgeny Baratynsky and Vladimir Odoevsky.
The flowering of creativity
In addition to his main studies, the future musical genius begins to take lessons from the famous pianist Karl Mayer... Glinka argued that it was this teacher who influenced the formation of his musical taste. In 1822, the training ends. At the graduation party, Mikhail performs Hummel's concert on the piano. The performance was highly appreciated by everyone who attended the celebration.
Over the next 13 years, the future composer continues to improve his musical talent. In addition to directing his uncle's serf orchestra and playing music in the salons of the nobility, he continues to study European musical classics. At this time, he is especially fond of composition and begins to try his hand at different genres.
In this period the following songs and romances were written:
- “Don't tempt me unnecessarily”;
- "Autumn night, dear night";
- "Don't sing, beauty, with me."
Also at this time, successful orchestral overtures, string septets, works for harp and piano appeared. All works are successful, Glinka's popularity is growing rapidly. Despite this, the composer remains dissatisfied with himself, does not recognize and does not believe in his talent.
In the spring of 1830, Mikhail finally realizes his dream and goes to Italy. On the way, he decides to make a short trip to Germany, which eventually stretched out so much that the composer arrived in Italy only at the beginning of autumn. Settles in the center of the musical culture of that time - in Milan. In Italy, he studies the Italian style of singing - bel canto. Meets composers Vincenzi Bellini and Domenico Donizetti.
Having lived in Italy for about 4 years and having composed several works in the Italian style, Glinka left for Germany. There he plans to improve his knowledge of musical theory, which he did not know well enough. To do this, he takes lessons from many famous teachers, including Siegfried Dehn. Unfortunately, father's death message forces him to return to Russia without completing his studies.
The birth of the Russian opera
The musician returned from the trip with extensive plans. He decided to create his main work - the first Russian opera. After a long search, the plot was finally found. On the advice of Vasily Zhukovsky, the composer opted for a story about a Russian heroine.
The opera was named A Life for the Tsar, and despite obstacles from the director of the imperial theaters, it was staged on November 27, 1836. The performance was a resounding success, the emperor himself spoke to the composer personally and thanked him.
One year after the production "Lives for the Tsar", the author begins to create his second opera. This time, as a subject for the work, he chooses the poem of his friend Alexander Pushkin - "Ruslan and Lyudmila". Glinka was sure that he would draw up a plan for the opera according to Pushkin's instructions. Unfortunately, the death of the poet did not allow these plans to come true.
Opera was born for a long time, almost 6 years. The premiere of the new work took place in November 1842. The famous composer F. Liszt came to the performance. Despite the fact that Glinka's new work could not repeat the deafening success of A Life for the Tsar, Liszt was delighted with the new opera and was amazed at the enormous talent of its creator.
New departure from Russia and foreign success
Glinka took the criticism of the new opera rather hard. The composer decides to change the situation and in 1844 leaves for France, where he meets the composer Hector Berlioz. At one of his concerts, Berlioz decides to include some of Glinka's works in the program. The success that fell on Mikhail Ivanovich prompted him to give a charity concert in the capital of France, which consisted entirely of his works.
In May 1845, the composer goes on to Spain... There he collects and records Spanish folk melodies, studies language and culture. In Spain, creative inspiration and self-confidence return to the composer. Impressed by the trip, he creates the following works:
- "Aragonese Hunt";
- "Remembrance of Castile".
In the middle of 1847, Glinka returned to Russia, to his native estate. Then he decides to spend the winter in Smolensk, but the increased attention of the light quickly tires the composer and he goes to Warsaw. Here he creates his symphonic fantasy "Kamarinskaya".
In 1851, the musician returned to St. Petersburg for a short time, and already in 1952 he again went on a trip, the purpose of which was Spain. Tired of moving, Glinka decides to stop and rest in France. As a result, he remains in Paris for about 2 years, where he works on symphony "Taras Bulba"... The beginning forced the composer to return to his homeland without completing the symphony.
Glinka arrived in Russia in May 1854. He spent the summer at a dacha in Tsarskoe Selo, and then returned to St. Petersburg, where he began to create his memoirs. And this time the musician could not stay in one place for a long time and after 2 years he left for Berlin.
In all my life the composer managed to visit such countries:
- Germany;
- Italy;
- Austria;
- France;
- Spain;
- Poland.
Personal life
It is quite difficult to briefly retell the musician's personal life, despite the fact that there were only 2 serious novels in his life. Relations with both women were quite tense and, unfortunately, ended unhappily.
Friends and relatives did not believe that Mikhail Ivanovich was able to tear himself away from his notes even for a minute. Therefore, they were shocked when in 1835 they learned that he was getting married. The chosen one was Maria Petrovna Ivanova, a woman without education and fortune, who hated music and did not even have a pretty appearance. The composer wrote to his mother that his chosen one has a kind heart, is moderate in desires and very reasonable.
Literally a few months later, Glinka realized that he had linked his life with a woman who was only interested in outfits and jewelry. Instead of caring, the young wife presented her husband with constant nagging, and as a result, he tried to be at home as little as possible.
Only 4 years after the wedding, the musician learned what all his friends had known for a long time - his wife practically openly lives with another man and even secretly married him. The composer filed for divorce. The process turned out to be far from being as fast as Glinka had expected. In the end, he managed to get a divorce only in 1846.
In 1840, the composer meets Catherine Kern and immediately falls in love with her. The girl responds to him in return. For several years she became the muse of Glinka, who dedicated several small works to her, as well as a romance to the poems of A. Pushkin “I remember a wonderful moment”.
In 1841, Catherine received hope for an early divorce of Glinka and his wife, as it became known about the secret wedding of Maria Petrovna with the cornet Vasilchikov. Mikhail Ivanovich is trying to complete the case as soon as possible, since Catherine informs him of her pregnancy. The hopes of Glinka and his chosen one for a quick outcome of the case are not justified. Ekaterina Kern begins to lose patience and accuses the composer of indecision, who eventually gives her money in order to get rid of the child.
Constant reproaches and quarrels with Catherine led to the fact that the composer did not dare to marry a second time and left the girl. For 7 years, she expected Glinka to return to her. Without waiting, she married another at the age of 36.
Death of a composer
In the winter of 1857, Mikhail Ivanovich fell ill. At this time he was in Berlin. The content of the composer's conversations with the doctors who treated him is unknown. But from the notes that he managed to write during this time, we can conclude that the doctors not only did not give him any predictions, but did not even try to treat the patient, just waiting for his end.
The composer died on February 15. Mikhail Ivanovich was buried in Berlin, at the Lutheran cemetery. In May 1857, his ashes were brought to Russia and reburied at the Tikhvin cemetery. The tombstone that was on the original grave of the composer was transferred to the Berlin Russian Orthodox cemetery. A photograph of her can be found on Wikipedia.
Mikhail Ivanovich Glinka
Name Mikhail Ivanovich Glinka it is no coincidence that it stands in the history of Russian art next to the name of Pushkin. They were contemporaries, almost the same age (Glinka is five years younger), the composer more than once turned to the poet's work, wrote romances to his poems, created the opera Ruslan and Lyudmila.
But many people turned to Pushkin both before Glinka and after him. It is important that both brilliant artists had a single task, brilliantly solved by them: to find a road along which Russian artists would come out on a par with the classics of world art. This was done, first of all, by themselves - Pushkin and Glinka, becoming the founders of Russian literary and musical classics. Pushkin and Glinka are brought together by a clear, bright and optimistic view of the world, despite all its imperfections and contradictions. Hence the harmony and clarity of their own works.
Glinka realized his calling very early. In the landowner's house in the village of Novospasskoye, near the city of Yelnya (now the Smolensk region), where he was born and spent his childhood, music sounded constantly: the serf orchestra played, music lovers who came to visit were playing. Misha Glinka learned to play the piano, a little on the violin, but most of all he loved to listen to music. “Music is my soul,” the boy once said to a teacher, who reproached him for the fact that the next day after one of his home musical evenings he was unusually distracted and was not thinking about lessons at all. Glinka M.I. Portrait.
Petersburg Noble boarding school, where Glinka entered the age of thirteen, gave him a good education. Among the teachers were people devoted to science, who loved art. Glinka was lucky: his closest tutor - a tutor - was a young teacher of Russian literature Wilhelm Karlovich Kuchelbecker, a Lyceum comrade of Pushkin (in the future, a participant in the Decembrist uprising). Kuchelbecker organized a literary society at the boarding school, which included Glinka and Lev Pushkin, the poet's younger brother. Music lessons also continued. Glinka studied with the best Petersburg teachers, in particular with Charles Mayer, a young pianist, whose lessons soon turned into joint - equal - playing music. But in the eyes of the family, teaching music to the future composer was, like most of his contemporaries, only part of the usual secular upbringing. After boarding school, Glinka entered the State University of Railways
After graduating from the boarding house, Glinka entered the service, which had nothing to do with music, in the Main Directorate of Railways. Outwardly, his life was similar to the life of other young people of his time and his circle, but the further, the more he was possessed by a thirst for creativity, a thirst for musical impressions. He absorbed them everywhere and everywhere - at opera performances, at amateur musical evenings, during a trip to the Caucasus for treatment, where his hearing was struck by folk music, which was not at all like European. He composed romances, and we can still attribute some of his early experiments to the treasures of Russian vocal music. Such is the elegy to the words of E. Baratynsky "Do not tempt me unnecessarily" or the romance "Poor Singer" to the words of V. Zhukovsky.
The bitterness and disappointment in some of the early period was not only a tribute to romantic fashion. Glinka, like most honest Russian people, was deeply shocked by the defeat of the December uprising of 1825, especially since among the rebels were his fellow boarding school and his teacher Kuchelbecker.
From childhood, Glinka had a passion for travel, his favorite reading was books describing distant countries. Not without difficulty overcoming the resistance of his family, in 1830 he went to Italy, which attracted him not only with the luxury of nature, but also with musical beauties. Here, in the homeland of the opera, he became better acquainted with the work of world famous composers, in particular the darling of Europe, Rossini, and met with Vincenzo Bellini in person. It was here that Glinka first conceived the idea of writing an opera. This idea was not yet completely clear. The composer only knew that it was supposed to be a national Russian opera, and at the same time an opera in which music would be an equal part of the musical and dramatic whole, and would not be included in the action in the form of separate episodes.
However, in order to write such an opera, one had to have a large store of knowledge and experience. Getting acquainted, wherever possible, with the creations of great masters. Glinka has already comprehended a lot. But it was necessary to put knowledge in order and system. And now, having stayed in Italy for about four years, filled with unforgettable impressions of the nature and art of this country. Glinka in the fall of 1833 went to Berlin, to the famous "musical medicine man", as he put it in a letter to his mother, theoretical scientist Siegfried Dehn. A few months of classes were enough for Glinka to feel confident and able, upon returning to his homeland, to start fulfilling his cherished dream - to create an opera. Glinka's opera "Ivan Susanin"
The plot of the opera was suggested to Glinka by the poet Zhukovsky. It was a historical fact: the feat of the peasant Ivan Susanin, who, during the war with the Polish gentry who invaded our land in order to plant the Polish prince Vladislav on the Russian throne, led an enemy detachment into a deep forest and died there, but also killed the enemies. This plot has more than once attracted the attention of Russian artists, since the events of the beginning of the 17th century were involuntarily associated with the invasion of Napoleon that Russia experienced, and the feat of Susanin - with the exploits of famous and unknown heroes-partisans of 1812. But there was one work that stood apart: the poetic Duma by Kondraty Ryleev, a Decembrist poet who embodied in it the direct, uncompromising, majestic character of a patriotic peasant. Glinka enthusiastically set to work. Soon the plan for the opera was ready, and most of the music. But her text was not there! And Zhukovsky advised Glinka to turn to Baron K.F. Rosen, a fairly well-known (although not of the first rank) writer. Rosen was an educated man, extremely interested in issues of drama. He enthusiastically greeted Pushkin's Boris Godunov and even translated it into German. And most importantly, he knew how to write poetry for ready-made music.
On November 27, 1836, an opera about the feat of the Russian people and the Russian people was published. Not only the plot was national, but also the music based on the principles of folk musical thinking, folk art. As the music writer V. Odoevsky put it then, Glinka managed to "elevate the folk tune to a tragedy." This applies both to the part of Susanin and to the wonderful folk choirs. And as a contrast to the simple and majestic folk scenes, Glinka created a picture of a brilliant Polish ball, at which the gentry seemed to celebrate the victory over the Russians in advance.
Glinka's opera Ruslan and Lyudmila
The success of Ivan Susanin inspired Glinka, and he conceived a new work - the opera Ruslan and Lyudmila. But the work proceeded with difficulty and intermittently. The service in the court singing chapel was distracted, and the home environment did not contribute to creativity - discord with his wife, who turned out to be a person deeply indifferent to the work of Glinka's life.
Years passed, and Glinka himself began to look differently at Pushkin's youthful poem, seeing in it not only a string of fascinating adventures, but also something more serious: a story about faithful love that conquers cunning and malice. Therefore, only the overture to the opera flies in full swing, to match the poem, yet the action unfolds slowly, epic.
"The Magician Glinka" - once called the composer A. M. Gorky. Indeed, scenes in the palaces of the sorceress Naina, in the gardens of Chernomor are painted with extraordinary vividness in the opera. Sound images of reality are transformed in them - both the tunes of the peoples of the Caucasus heard in youth, and the Persian melody, God knows by what ways, flew into St. Petersburg, and the melody that the Finnish cabman sang to himself, who drove Glinka to the Imatra waterfall ...
Opera "Ruslan and Lyudmila" (Head) by Glinka
"Ruslan and Lyudmila" - a work in which we still discover previously unheard beauty, at one time was appreciated by a few. But among them, in addition to Russian friends, was the world famous Hungarian composer and pianist Ferenc Liszt. He transcribed “March of Chernomor” for piano and performed it brilliantly.
Despite the difficulties of life, during the Ruslan years, Glinka created many other wonderful works - music for the drama of Nestor Kukolnik “Prince Kholmsky”, the cycle of romances “Farewell to St. Petersburg” - also to the words of Kukolnik. The memory of Glinka's deep feeling for Ekaterina Kern (daughter of Anna Kern, once sung by Pushkin) is the wonderful romance I Remember a Wonderful Moment and the symphonic Waltz Fantasy - a kind of musical portrait of a young girl against the festive background of the ball.
Mikhail Glinka with his wife
In the spring of 1844, Glinka set off on a new journey - to France, and from there - a year later - to Spain. The distinctive, hot and passionate folk music of Spain captivated Glinka and was creatively reflected in two symphonic overtures: "Aragonese hote" (hota is a genre of Spanish songs, "inseparable from the dance," as Glinka said) and "Memories of a summer night in Madrid" - essays, which Glinka, according to him, wanted to make "equal reports to connoisseurs and the common public." The same, in essence, goal was set and achieved in the famous "Kamarinskaya" - a fantasy on the themes of two Russian songs, wedding and dance. In this work, as Tchaikovsky later said, "like an oak in an acorn, all Russian symphonic music is contained." The last years of Glinka's life were filled with new ideas.
A renowned master, known both at home and abroad, he never tired of studying, mastering new forms of art. In particular, he was attracted by the old Russian church tunes, in which the inspiration and skill of many generations of chantsters who came from the people were invested. Glinka's old acquaintance Siegfried Den, now, of course, no longer a teacher, but a friend and advisor, was to help find a suitable setting for these musical treasures. And Glinka, who in these years, as in old times, was possessed by the "wanderlust", went to Berlin. This was his last journey, from which he never returned.
On February 3 (15 - according to the new style), 1857, Glinka passed away. A few months later, the coffin with his body was transported to his homeland and buried in St. Petersburg. In the last years of his life, in those short months that Glinka spent in St. Petersburg, he was surrounded by musicians and music lovers, representatives of the younger generation. These were composers A.S.Dargomyzhsky and A.N.Serov, the Stasov brothers (Vladimir is a historian, archaeologist, critic and Dmitry is a lawyer), V.P. Engelgardt is an amateur musician, in the future a famous astronomer. All of them idolized Glinka, admired everything that came out of his pen. And for this generation, and for the next one, which has just entered the musical road. Glinka became a teacher and founder.
It is also interesting that the first anthem of the Russian Federation from 1990 to 2000 was the “Patriotic Song” of Mikhail Ivanovich Glinka. The hymn was sung without words, there was no generally accepted text for it. The unofficial text was planned to be introduced in 2000:
Glory, glory, homeland - Russia!
Through the centuries and thunderstorms you have passed
And the sun is shining over you
And your fate is bright.
Over the old Moscow Kremlin
A banner with a two-headed eagle is hovering
And the sacred words sound:
Glory, Russia - my Fatherland!
But the new President V. Putin chose the melody of the Soviet anthem.
Major works.
Opera:
- Ivan Susanin (1836)
- Ruslan and Lyudmila (1843)
- Music to the tragedy of N. Kukolnik "Prince Kholmsky" (1840)
For orchestra:
- Waltz-Fantasy (1845)
- 2 Spanish Overtures - Jota Aragonese (1846) and Night in Madrid (1848)
- "Kamarinskaya" (1848)
Chamber ensembles:
- Large Sextet for Piano and Strings (1832)
- Pathetic Trio (1832) and other compositions
- 80 romances, songs, arias on the verses of Pushkin, Zhukovsky, Lermontov
Mikhail Ivanovich Glinka (1804 - 1857).
The founder of Russian classics, the first composer in the history of the country, with an extraordinary breadth and power to reveal the national character in his music. Mikhail Glinka raised the music of the Russian people to the highest heights of world art. It is no coincidence that Glinka is compared with the progenitor of new Russian literature, the poet A.S. Pushkin.
In his native village of Novospasskoye, Smolensk province, from childhood, the future composer absorbed the bright intonations and spiritual breadth of folk peasant songs. By the age of ten with his uncle's orchestra, where he mastered playing various instruments, classical music also entered his life.
Glinka began to receive musical education at the age of fourteen at the St. Petersburg Noble Boarding School, where he first turned to writing. Here he met the future Decembrists (one of Glinka's teachers was V.K.Küchelbecker) and communication with them had a great influence on the formation of the personality of the young musician.
Gradually, music becomes the work of his whole life. However, at that time in Russia there was still no systematic composer education and in order to improve his skills, the composer went to Germany, Austria and Italy for new impressions, which especially attracts the musician with its nature, historical monuments and perfection of melodies. The well-known overtures "Jota Aragonese" and "Night in Madrid", written later in the period 1845-1851, became the embodiment of the romantic images of this country.
Returning from a trip, under the influence of the poet V.A. Zhukovsky, Glinka began composing an opera, which became a breakthrough in the history of Russian art and marked the beginning of a new period in the development of Russian music. In 1936, the patriotic opera Ivan Susanin, originally titled A Life for the Tsar, was staged at the Bolshoi Theater of St. Petersburg. For the first time, the folk tune sounded in the "serious" opera genre.
Continuing the Russian theme in his work, Glinka turns to the plot of the poem of A.S. Pushkin "Ruslan and Lyudmila", on which he has been working for six years. In 1842, the premiere of the new opera took place with unchanged success. Like the poet himself, the composer was able to penetrate in her into the character and musical intonations of other peoples.
In 1856, Mikhail Ivanovich Glinka again visits Berlin, intending to study the European school of polyphonic skill more deeply. His intentions are to resurrect ancient Russian church tunes. However, these plans were not destined to come true. In February 1857, the composer passed away, leaving behind a huge legacy of the Russian symphony school.
"Ivan Susanin" ("Life for the Tsar"). Big opera in 4 acts with an epilogue. Libretto by G.F. Rosen (1835–1836) Additional scene in the monastery - libretto by N.V. The Puppeteer (1837).
"Ruslan and Ludmila". Great magic opera in 5 acts after A. Pushkin. Libretto by V.F. Shirkov (1837-1842).
"Prince Kholmsky", music to the tragedy in 5 acts by N. Kukolnik (1840).
Vocal and symphonic works
"Prayer" ("In a difficult moment of life"), words by M. Lermontov - for contralto, chorus and orchestra (1855). See also Prayer for piano (1847).
Farewell song of the pupils of the Catherine Institute. Words by P. Obodovsky (1840).
Farewell song for the pupils of the society of noble maidens. Words by Timaev (1850).
Tarantella for choir and orchestra. Words by I.P. Myatlev (1841).
Vocal works
"You will not come again." Duettino. Words by an unknown author (1838).
Romances, duets, songs, arias
Adele. Words by A. Pushkin (1849).
"Oh, you darling, red maiden." Folk Words (1826)
"Oh, you, it’s night, little night." Words by A. Delvig (1828).
Poor singer. Words by V. Zhukovsky (1826).
Venetian night. Words by I. Kozlov (1832).
"The fire of desire burns in the blood." Words by A. Pushkin 2nd edition (1838-1839)].
Memory. ("I love a shady garden"). Words by an unknown author (1838).
"Here is a secret meeting place." Stanzas Words by N. Puppeteer (1837).
"Where is our rose." Words by A. Pushkin (1837).
"Bitter, bitter for me" (1827). "Gudewiter". Words by V. Zabela (1838).
"Grandpa, the girls told me once." Words by A. Delvig (1828).
"Dubrava is making noise." Words by V. Zhukovsky (1834).
"If I meet you." Words by A. Koltsov (1839).
Wish. ("Oh, if you were with me"). Words by F. Romani (1832).
"Will I forget?" Words by S. Golitsyn (1828).
A healthy cup. Words by A. Pushkin (1848).
“In one moment” (French words Pour un moment). Words by S. Golitsyn (1827).
"Bird cherry blossoms". Words by E. Rostopchina (1839?).
"How sweet it is for me to be with you." Words by P. Ryndin (1840).
To her. Mazurka. Words from A. Mitskevich, transl. S. Golitsyn (1843).
"Loving you, sweet rose." Words by I. Samarin (1843).
Mary. Words by A. Pushkin (1849).
My harp. Words by K. Bakhturin (1824).
"Don't say love will pass." Words by A. Delvig (1834).
"Don't say it hurts your heart." Words by N. Pavlov (1856).
"Don't tempt me unnecessarily." Words by E. Baratynsky (1825).
"Don't call her heavenly." Words by N. Pavlov (1834).
"Don't sing, beauty, with me." Words by A. Pushkin (1828)
"Do not chi nightingale." Words by V. Zabela (1838).
"The night marshmallow streams the ether." Words by A. Pushkin (1838)
Night review. Ballad. Words by V. Zhukovsky (1836).
"Autumn night, dear night" (1829).
"Oh, dear maiden" (Rozmowa) Words by A. Mickiewicz (1849) Memory of the Heart. Words by K. Batyushkov.
Song of Margaret from Goethe's Faust, translated by E. Huber (1848).
Winner. Words by V. Zhukovsky (1832).
Farewell to St. Petersburg. Collection of 12 romances, words by N. Kukolnik (1840):
1. "Who is she and where is she" (romance by Rizzio).
2. Jewish song ("Fog fell from the mountainous countries").
3. "Oh, my wonderful virgin." Bolero.
4. "How long have you bloomed a luxurious rose?" Cavatina.
5. Lullaby ("Sleep, my angel, rest").
6 Traveling song ("The smoke is boiling up").
7. "Stop, my faithful, stormy horse."
8. "The blue fell asleep." Barcarolla. Fantasy.
9. Knightly romance. Virtus antiqua ("Sorry, the ship flapped its wing").
10. Lark ("Between Heaven and Earth").
11. To Molly ("Do not demand songs from the singer").
12. Farewell song.
Disappointment ("Where are you, oh first desire"). Words by S. Golitsyn (1828).
"The moon shines in the cemetery." Words by V. Zhukovsky (1826).
North Star. Words by E. Rostopchina (1839).
"Say why". Words by S. Golitsyn (1827).
Doubt. For contralto, harp and violin. Words by N. Kukolnik (1838).
"I just recognized you." Words by A. Delvig (1834).
"You will soon forget me." Words by Y. Zhadovskaya (1847).
The Gulf of Finland. Words by P. Obodovsky.
"What, a young beauty." (Russian song). Words by A. Delvig (1827).
"I love you, even though I am furious." Words by A. Pushkin (1840).
"I am here, Inesilla." Words by A. Pushkin (1834).
“I love, you told me”, later “Le baiser”. Words by S. Golitsyn (1827).
"I remember a wonderful moment." Words by A. Pushkin (1840)
Symphonic works
Aragonese Jota. [Spanish Overture (1845)].
Waltz-fantasy. (Scherzo. Op. In 1839; 1st orchestral revision 1839; 2nd orchestral revision 1845; 3rd revision 1856).
Memories of a summer night in Madrid. (Spanish Overture No. 2. 1851).
Kamarinskaya. (Wedding and dance. 1848).
Tarantella. Fantasia for Orchestra (1850).
Overture-symphony on a circular Russian theme (1834).
Chamber instrumental ensembles
Variations on a Theme by Mozart for Harp and Piano (1822).
Nocturne for Piano and Harp (1828).
Sonata for viola and piano (1825).
Pathetic Trio for clarinet, bassoon and piano (1832).
Sextet for piano, 2 violins, viola, cello and double bass.
Serenade on a theme from Anne Boleyn by Donizetti for piano, harp, viola, cello, bassoon and French horn (1832).
Serenade on a theme from Bellini's Somnambula (piano sextet. 1832).
Piano works
Piano 2 hands
Variations on the theme "Even among the valleys" (Air russe 1826).
Variations on the Benedetta sia la madre (1826).
Variations on a theme from "Anne Boleina" by Donizetti (1831).
Variations on a theme from "Montagues and Capulet" by Bellini (1832).
Variations on a Russian Theme (1839).
Variations on the theme "Nightingale" by Alyabyev (1833).
Variations on a theme from op. The Swiss Family (1822)
Variations on a Scottish Theme (1847).
Children's polka (1854).
Quadrille based on motives from Ivan Susanin (1836).
Mazurka, composed in stagecoach (1852).
Prayer (1847) see also Vocal symphonic works.
Polka (1849).
Hello homeland. Two pieces for piano (Barcarolla and Remembrance of the Mazurka. 1847).
"Parting". Nocturne (1839).
Rondo on the theme "Montagues and Capulets" by Bellini (1831).
Tarantella on the theme "There was a birch tree in the field." (1843).
Finnish song (1829).
Capriccio on two Russian themes [four hands (1834)].
The original polka [four hands (1840-1852)].
Hummel - "In memory of friendship." Nocturne for Symphony Orchestra (1854).
Concepts and sketches
Opera "Hamlet" after Shakespeare (1842-1843).
Opera "The Two Man" (based on the drama by A. Shakhovsky, libretto by Vasilko-Petrov (1855).
Opera "Maryina Rosha" after V. Zhukovsky (1834).
Opera "Matilda Röckby" after W. Scott (1822-1824).
Italian Symphony (1834).
Symphony (1824).
"Taras Bulba". Ukrainian Symphony after N. Gogol (1852).
Literary works
Autobiography (1854).
Alsand. Poem (1827-1828).
Instrumentation Notes (1852).
Notes (1854-1855).
Texts to musical works.
"Oh, sweet maiden." Russian text to a Polish romance to words by Mickiewicz (1852).
"Oh, if only you were with me" Russian text to the Italian romance "It desiderio" ("Desire") by Romani (1856).
Farlaf's scene with Naina and Farlaf's rondo from the opera Ruslan and Lyudmila (1841?).
V.N. Pushkin
In 1804, on May 20, in the Smolensk province, a boy was born into the family of the landowner Ivan Nikolaevich Glinka, who was destined to become the founder of Russian classical music. From birth, the child was weak and sickly. He spent all his childhood surrounded by women. This influence naturally reflected on Glinka's character, which was already very soft. Subsequently, the gentleness of his character often turned into weakness and helplessness in everyday affairs.
One of the boy's brightest first musical impressions was church singing and bell ringing. On holidays Misha was taken to church. Returning home, he collected copper basins, and rang them for a long time, imitating church bells. At the age of seven, when the boy was in the city, he could unmistakably distinguish the ringing of every church. The music made an amazing impression on little Glinka. Once at a drawing lesson, the teacher, noticing Misha's absent-mindedness, asked him - "You probably all think about yesterday's music." Misha was taught to play the violin by the serf violinist, and the governess taught the piano. However, music lessons at home were far from perfect.
In 1817, the Glinka family moved to St. Petersburg. There Mikhail was assigned to the Noble Boarding School at the Pedagogical Institute. During his student years, Glinka often visited the theater, taking a great interest in ballet and opera. During the summer holidays, he practiced conducting with his uncle's serf orchestra.
After graduating from the boarding house, Glinka received the position of assistant secretary in the office of the Council of Railways. The service did not burden the composer, and he continued to deal with the main business of his life - music. Soon, due to a conflict with his superiors, Glinka was forced to resign, but this event did not upset the composer in any way. By that time, his works were already published, he was widely known in St. Petersburg as a composer and moved in the highest Petersburg society (gr. M. Yu. Vielgorsky, Tolstoy, Shterich, princes Golitsyn). The young years of the composer passed so cloudlessly. It seemed that the brightest future awaited him ahead. The only thing that darkened his life during these years was illness. What Glinka really was sick with, we do not have reliable information, just as the doctors who treated the composer did not have them. After the doctors' vain attempts to improve Glinka's health, he was sent abroad.
In 1830 the composer left for Italy. Living in Milan, Glinka admires Italian music. During this period he wrote a large number of arias in the Italian manner. But soon the first impressions began to lose their charm. Glinka concluded that for all the attractiveness of Italian music, it lacks depth. In the end, the composer was overcome by a feeling of longing for Russia and for Russian art. So, far from the Motherland, Glinka had the idea of creating Russian national music.
In 1834, Mikhail Ivanovich returned to St. Petersburg, and enthusiastically set about composing an opera about the patriotic feat of the Russian people in the image of Ivan Susanin. The plot was suggested to the composer by the poet Zhukovsky. The opera "A Life for the Tsar" was enthusiastically received by the public and strengthened the composer's fame.
In 1837 Glinka was appointed Kapellmeister in the Court Choir Choir (Today the St. Petersburg Chapel bears the name of this great composer.) Glinka is in the prime of her creative work. But his life is overshadowed by an unsuccessful marriage.
The discord with his wife acted depressingly on the composer's vulnerable soul, and eventually led to a public divorce, which had a very bad effect on Glinka's reputation. The composer saves himself from all life experiences by working on the opera Ruslan and Lyudmila.
The work on this piece has been going on for five years. However, everyone to whom he showed the opera did not like the opera. Glinka was disappointed, he said with bitterness: "From" Ruslan "I could make ten such operas as" A Life for the Tsar. " The production of the opera turned out to be very weak. The next season, the opera was completely removed from the theater's repertoire. Under such sad circumstances, the composer left Russia.
This time Glinka leaves for France and Spain. In Paris, Mikhail Ivanovich meets the famous French composer Hector Berlioz.
In 1857, Glinka caught a cold. The disease developed very quickly, and on February 3, the composer died in Berlin. His ashes were transported to St. Petersburg and buried in the cemetery of the Alexander Nevsky Lavra.
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