Mikhail Glinka and his works. Fost Yuri Nikolaevich

Founder of the Russian school of composition.

1. Life and creativity

Born in the village of Novospasskoye, Smolensk province. His great-grandfather was a Polish nobleman from the Glinka family of the Trzhaska coat of arms (pol. Trzaska) - Victorin Vladislav Glinka (pol. Wiktoryn Wladyslaw Glinka ). After Poland lost Smolensk in 1654, V.V. Glinka accepted Russian citizenship and converted to Orthodoxy. The tsarist government retained his possessions in the Smolensk region and the privileges of the nobility, including the coat of arms.

The composer's childhood passed on the estate of his father, retired captain Ivan Nikolaevich Glinka. In 1817, Mikhail’s parents brought him to St. Petersburg and placed him in the Noble boarding school under the Chief pedagogical institute(in 1819 renamed the Noble Boarding School at St. Petersburg University), where its tutor was the poet, Decembrist V.K. Kuchelbecker. In St. Petersburg, Glinka takes lessons from leading musicians, including the Irish pianist and composer John Field. At the boarding house, Glinka meets A.S. Pushkin, who came there to visit his younger brother Lev, Mikhail’s classmate.

In 1830 he traveled to Italy and met many musicians, including Bellini and Donizetti. In 1833-1834 he lived in Berlin, where he studied harmony and counterpoint with Z. Dehn. After returning to Russia, Glinka began work on his first opera, “A Life for the Tsar” (premiere in St. Petersburg on November 27, 1836). He was appointed conductor of the Court Choir (he remained in this position for about two years.

The year the premiere of Glinka's first opera took place - "Ivan Susanin", which, at the insistence of state ministers, was staged under the title "Life for the Tsar". This opera is considered the first Russian opera. The premiere of the second opera? Ruslan and Lyudmila" based on Pushkin's poem, did not take place very successfully in 1842, although later this particular opera was recognized greatest achievement composer.

Mikhail Glinka repeatedly visited Chernigov and Ichnya, Nezhin, Grigorovka, Monastyrische. And in Kachanovka, on the Tarnovsky estate, in 1838 he worked on the opera “Ruslan and Lyudmila,” excerpts from which were first performed by the choir of philanthropist Grigory Tarnovsky. A street in the city and a gazebo in Kachanovka are named after him.

In the fortieth year of his life, Glinka went on a long journey through Spain and France. While in Madrid and Seville, he recorded several folk melodies, which he later used in his works (symphonic overtures “Night in Madrid” and “Aragonese Jota”) in Paris, he met and became close to Berlioz. Then Glinka returned to Russia for some time; last years his life was spent in ceaseless wanderings. In addition to two operas, Glinka composed many romances, a number of pieces for piano and orchestra (including Kamarinskaya and Waltz Fantasy), and several chamber instrumental ensembles. Glinka died in Berlin on February 3 (15), 1857.

2. List of works

Literature

• Asafiev B.V. Glinka. - M., 1947; 1950; L., 1978.
• Elena Anfimova about Mikhail Glinka, Modest Mussorgsky, Sofia Kovalevska, Konstantin Tsiolkovsky, Anna Akhmatova] / E. Anfimova. - Kyiv: Grani-T, 2009. - 88 pp.: Il. - (Life of outstanding children). - ISBN 978-966-2923-77-3. - ISBN 978-966-465-233-6
• Bernstein N.D. Mikhail Ivanovich Glinka. - St. Petersburg, 1904.
• Walter W. Glinka's opera "Ruslan and Lyudmila". - St. Petersburg, 1903.
• Vasina-Grossman V. Glinka's life. - M.: State Musical Publishing House, 1957.
• Weymarn P. Mikhail Ivanovich Glinka. Biographical sketch. - M., 1892.
• Berkov V.O. Glinka's Harmony. - M., 1948.
• Ganzburg G.I. Rossini and Glinka: what do they have in common? / / Music and Time. - 2003. - No. 5. - P. 32-35.
• Glinka in the memoirs of his contemporaries / Ed. A.A. Orlova.- M., 1955.
• Glinka M.I. Notes and correspondence with relatives. - St. Petersburg, 1887.
• Derzhavina M. N. Searches for real church music // Church Bulletin. - 2004. - No. 12
• Dmitriev A.N. Musical dramaturgy Glinka Orchestra. - L., 1957.
• Ilyinsky A.A. Mikhail Ivanovich Glinka. His life and musical works. - M., 1908.
• Kann-Novikova E.I. M.I.Glinka. New materials and documents. Vol. 1-3. - M.-L., 1950-1955.
• Kashkin N.D. Selected articles about M.I. Glinka. - M., 1958.
• Kolmovsky A. Biography of Glinka with a portrait and facsimile attached. - Smolensk, 1885.
• Kuznetsov K.A. Glinka and his contemporaries. - M., 1926.
• Larosh G.A. Selected articles about Glinka. - M., 1953.
• Levasheva O.E. M.I.Glinka. T.1-2. - M., 1987-1988.
• Chronicle of the life and work of M.I. Glinka. M., 1978.
• Levenson A. From the field of music. Glinka: Biography. - M., 1885.
• Livanova T.N., Protopopov V.V. M.I.Glinka. T. 1-2. - M., 1955
• Nikolaev A. Mikhail Ivanovich Glinka. - St. Petersburg, 1904.
• Obolensky V., Weymarn P. Mikhail Ivanovich Glinka. - St. Petersburg, 1885.
• Odoevsky V.F. Articles about M.I.Glinka. - M., 1953.
• Orlova A.A. Glinka in St. Petersburg. - L., 1970.
• Protopopov V.V. M.I.Glinka.- M., 1949.
• Protopopov V.V."Ivan Susanin" by Glinka. Music theoretical research. - M., 1961.
• Serov A.N. Memories of Mikhail Ivanovich Glinka. - L., 1984.
• Stasov V.V. Selected articles about M.I. Glinka. - M., 1955.
• Tyshku S.V., Mamaev S.G. Glinka's wanderings. Part 1-2. - Kyiv, 2000-2002.
• Tyshku S.V., Kukol G.V. Glinka's wanderings. Part 3. - Travel to the Pyrenees, or Spanish Arabesques. - Kyiv, 2011.
• Findeisen N. Mikhail Ivanovich Glinka. Sketch of his life and musical activity. - M., 1903.
• Tsukkerman V.A."Kamarinskaya" by Glinka and its traditions in Russian music. - M., 1957.
• Chernov K."Life for the Tsar." Opera by M.I. Glinka: Thematic and aesthetic analysis. - M., 1907.
• Chernov K."Ruslan and Ludmila". Opera by M.I. Glinka: Thematic and aesthetic analysis. - M., 1908.
• Shlifshtein S. Glinka and Pushkin. - M.-L., 1950.
• Engel Yu. The great button accordion of the Russian land, composer M.I. Glinka. - M., 1904.

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

The boy started playing 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, Mikhail’s classmate.

In 1822, the young man completed his studies at the boarding school, but did not intend to give up his music studies. He plays music in noble salons, 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, in front of me.”

In addition, he meets other composers and constantly improves his style. In the spring of 1830, the young man went to Italy, staying a little in Germany. He tries his hand at the genre Italian opera, and his compositions become more 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 the legend of the great Ivan Susanin as a basis. Three years later he finishes 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 it. He believed that Glinka was too young for operas. Trying to prove this, the director showed the opera to Caterino Cavos, but he, contrary to expectations, left the most flattering review of Mikhail Ivanovich’s work.

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

“Yesterday evening my wishes were finally fulfilled, and my long work was crowned with the most brilliant success. The audience received my opera with extraordinary enthusiasm, the actors went wild with zeal... the Emperor... thanked me and talked with me for a long time”...

After such success, the composer was appointed conductor of the Court Singing Chapel.

Exactly six years after “Ivan Susanin,” Glinka presented “Ruslan and Lyudmila” to the public. He began working on it during Pushkin’s lifetime, but had to finish the work with the help of several little-known poets.
The new opera was subjected to severe criticism, and Glinka took it hard. He went to big Adventure around Europe, stopping in France and Spain. At this time, the composer is 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 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 associated with the campaign of the Polish gentry against Moscow. Dedicated to the feat of the peasant Ivan Susanin, who led an enemy detachment into an impenetrable 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. Patriotic War 1812 aroused people's interest in their history, stories in Russian became popular historical topics. Glinka composed his opera twenty years after Katerino Cavos's opera on the same theme. At some point on stage Bolshoi Theater At the same time, both versions of the popular plot were staged. And some performers took part in both operas.

Ruslan and Lyudmila (1843)

Mikhail Ivanovich Glinka became the father of Russian national music

Mikhail Ivanovich Glinka became for Russian national music what Pushkin became for the Russian language.

Just as Pushkin reformed the word, making it alive and bright, finishing the work of his predecessors and giving reliable ground to his descendants, so Glinka improved the music of Russia.

Mikhail Ivanovich traveled all over Europe, looking for melodies that would be in tune with Russia; of course, he did not look for them in foreign countries, meeting foreign composers, among whom was Hector Berlioz. Glinka looked for melodies in his own heart, in his soul, which loved and revered Russia.

The result of the work of the great composer was a unique Russian style in classical music, combining melodies and melodies of the distant past of Rus' with instruments, sounds, and manner of performance that were contemporary to Glinka.

As for Scandinavia, Glinka for Russia became a singer of the national spirit, a beacon for numerous followers - Mussorgsky, Dargomyzhsky, he laid the foundation on which grew the magnificent house of Russian national music, which is rightfully loved all over the world.

Mikhail Ivanovich Glinka was a friend of many great people of his era, his search unique sound did not start from a blank slate - he was friends with Pushkin and the Decembrists, maintained warm relations with outstanding artists, writers, musicians.

Among Glinka’s acquaintances were Griboyedov, Zhukovsky, the famous painter Serov, all of them influenced the genius, and he equally influenced them. Some of Glinka's first works were romances, the sound of which has not subsided for two centuries.

He created many songs that are still performed today, and Mikhail Ivanovich’s “Patriotic Song” was even the anthem for ten years Russian Federation. Glinka's operas “A Life for the Tsar” and “Ruslan and Lyudmila” became the basis of the Russian operatic sound.

A symphonic fantasy on two Russian themes, “Kamarinskaya,” written by Glinka in 1848, became, as Tchaikovsky put it, an “acorn” from which grew the powerful tree of Russian symphonic music.

“Glinka’s keys sang from the touch of his little hand. He mastered the instrument so skillfully that he could express everything he wanted with precision; it was impossible not to understand what the keys sang under his miniature fingers... In the sounds of improvisation one could hear a folk melody, and tenderness characteristic only of Glinka, and playful gaiety, and a thoughtful feeling. We listened to him, afraid to move, and at the end we remained for a long time in a wonderful oblivion.” This is how A.P. wrote about her first impression of Glinka. Kern.

For children about their native land

How children's composer Mikhail Ivanovich Glinka is primarily known for his romances and the opera “Ruslan and Lyudmila”, which absorbed and strengthened the impression of fabulousness laid down by A.S. Pushkin in the work of the same name.

Glinka's music, written for children - songs, romances, symphonic fantasies, opera and even the iconic "Kamarinskaya" itself - had a lot of common features, issuing amazing style composer.

“Happy composer! If only he could have known that, a hundred years after his death, there are very few forgotten or rarely performed works in the collection of his romances! The word “popularity” is insignificant and insufficient here. Glinka's melodies were included in popular consciousness, they live". B. Asafiev very aptly defined the peculiarity of Glinka’s romances and songs.

Glinka’s music is strong, powerful, bright, combining the rhythms of folk songs, tales, even ditties - it sounds the way Russia itself should sound - broad and smooth. Glinka’s children’s works teach to love one’s homeland, appreciate its heritage, remember the past and care about the future; she reveals all the richness of Russian culture, the enormous heritage that is hidden in sometimes simple melodies.

“I have a project in my head, an idea... It seems to me that... I could give our theater a work worthy of it... I want everything to be national: first of all - the plot, but also the music - so much so that my dear compatriots feel myself at home, but abroad they didn’t consider me a braggart, a crow who decided to dress up in other people’s feathers.” This is how M.I. himself wrote about his plans. Glinka in those days when his plan still remained undisclosed.

Glinka created unique Russian music that helps both children and adults love their country, appreciate and be inspired by the images of their native land embedded in the melodies of the great composer.

The work of M. I. Glinka marked a new historical stage of development - classical. He managed to combine the best European trends with national traditions. All of Glinka’s work deserves attention. All the genres in which he worked fruitfully should be briefly described. Firstly, these are his operas. They have acquired enormous significance because they truthfully recreate the heroic events of past years. His romances are filled with special sensuality and beauty. Symphonic works are characterized by incredible picturesqueness. IN folk song Glinka discovered poetry and created a truly democratic national art.

Creativity and Childhood and youth

Born May 20, 1804. His childhood was spent in the village of Novospasskoye. The fairy tales and songs of nanny Avdotya Ivanovna were vivid and memorable impressions for a lifetime. He was always attracted by the sound of bells, which he soon began to imitate on copper basins. He began reading early and was naturally inquisitive. Reading the ancient publication “On Wanderings in General” had a beneficial effect. It aroused great interest in travel, geography, drawing 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 St. Petersburg to a boarding school, where he spent four years. Studied with Boehm and Field. Glinka's life and work in the period from 1823 to 1830 were very eventful. From 1824 he visited the Caucasus, where he served until 1828 as assistant secretary of communications. From 1819 to 1828 he periodically visited his native Novospasskoye. Afterwards he meets new friends in St. Petersburg (P. Yushkov and D. Demidov). During this period he created his first romances. This:

• Elegy "Do not tempt me" to the words of Baratynsky.
• "Poor singer" to the words of Zhukovsky.
• “I love you, you kept telling me” and “It’s bitter for me, it’s bitter” to the words of Korsak.

He writes piano pieces and makes his first attempt to write the opera “A Life for the Tsar.”

First trip abroad

In 1830 he went to Italy, visiting Germany along the way. 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 was in Italy until 1833, mostly in Milan.

Glinka’s life and work in this country are successful, easy and relaxed. Here he met the painter K. Bryullov and Moscow professor S. Shevyryaev. Of the composers - with Donizetti, Mendelssohn, Berlioz and others. In Milan, with Riccordi, he published some of his works.

In 1831-1832 he composed two serenades, a number of romances, Italian cavatinas, and 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 contrapuntist Z. Dehn. Subsequently, under his leadership, he wrote the Russian Symphony. At this time, the composer's talent was developing. Glinka’s work becomes freer from other people’s influence, he treats it more consciously. 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 arrived in Novospasskoye. He thought about going abroad again, but decides to stay native land. In the summer of 1834 he went to Moscow. He meets here with Melgunov and restores his former acquaintances with musical and literary circles. Among them are Aksakov, Verstovsky, Pogodin, Shevyrev. Glinka decided to create a Russian He took on romantic opera"Maryina Roshcha" (based on the plot of Zhukovsky). The composer's plan was not realized, the sketches did not reach us.

In the fall of 1834 he came to St. Petersburg, where he attended literary and amateur circles. One day Zhukovsky told him to take the plot of “Ivan Susanin”. During this period of time he composed the following romances: “Don’t call her heavenly”, “Don’t say love will pass", "I just recognized you", "I'm here, Inesilya". A big event is happening in his personal life - marriage. Along with this, he became interested in writing Russian opera. Personal experiences influenced Glinka's work, in particular the music of his opera. Initially, the composer planned to write a cantata consisting of three scenes. 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 4,000 rubles for this. A couple of months later he appointed him bandmaster. In 1839, for a number of reasons, Glinka resigned. During this period, fruitful creativity continues. Glinka Mikhail Ivanovich wrote the following compositions: “Night View”, “North Star”, another scene from “Ivan Susanin”. Accepted for 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 “brothers” (1839-1841), he created 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 stunning. After 53 performances the opera was no longer performed. The composer decided that his brainchild was underestimated, and apathy sets in. Glinka's work is suspended for a year.

Traveling 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, becomes friends with Berlioz. Glinka was impressed by his works. He studies his programmatic works. In Paris he maintains friendly relations with Merimee, Hertz, Chateauneuf and many other musicians and writers. Then he visits Spain, where he lives for two years. He was in Andalusia, Granada, Valladolid, Madrid, Pamplona, ​​Segovia. Composes "Aragonese Jota". 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 of the work "Night in Madrid". From Glinka’s letters it becomes obvious that in Spain he rests his soul and heart, he lives very well here.

last years of life

In July 1847 he returned to his homeland. Lives for some time in Novospasskoye. The work of Mikhail Glinka resumed during this period with new strength. He writes several piano pieces, romance “You will soon forget me” and others. In the spring of 1848 he went to Warsaw and lived here until the fall. He writes "Kamarinskaya", "Night in Madrid", romances for the orchestra. In November 1848 he came to St. Petersburg, where he was sick all winter.

In the spring of 1849 he again went to Warsaw 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 composes extremely rarely. 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 interested in Russian singer D. Leonova. She creates arrangements for her concerts. On April 27, 1856 he left for Berlin, where he settled next door to Dehn. He came to visit him every day and supervised his classes in strict style. The work of M. I. Glinka could continue. But on the evening of January 9, 1857, he caught a cold. On February 3, Mikhail Ivanovich died.

What is Glinka's innovation?

M. I. Glinka created the Russian style in musical art. He was the first composer in Russia who combined with the song culture (Russian folk) musical equipment(this applies to melody, harmony, rhythm and counterpoint). Creativity contains quite vivid examples of this kind. This is his folk musical drama "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 classical master of world significance.

Symphonic creativity

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

The main features of his symphonic overtures:

• Availability.
• The principle of generalized programming.
• Uniqueness of forms.
• Conciseness, laconism of forms.
• Dependence on the general artistic concept.

Glinka’s symphonic work was successfully characterized by P. Tchaikovsky, comparing “Kamarinskaya” to an oak and an acorn. And he emphasized that this work contains a whole Russian symphonic school.

The composer's operatic legacy

"Ivan Susanin" ("Life for the Tsar") and "Ruslan and Lyudmila" make up operatic creativity Glinka. The first opera is a folk musical drama. It intertwines several genres. Firstly, this is a heroic-epic opera (the plot is based on historical events 1612). Secondly, it contains the features of epic opera, lyrical-psychological and folk musical drama. If "Ivan Susanin" continues European trends, then "Ruslan and Lyudmila" represents new type dramaturgy - epic.

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

• Slow development.
• No direct conflicts.
• Romantic tendencies - colorfulness and picturesqueness.

Romances and songs

Vocal creativity Glinka was created by the composer throughout his life. He wrote more than 70 romances. They embody a variety of feelings: love, sadness, emotional impulse, delight, disappointment, etc. Some of them depict pictures of everyday life and nature. Glinka is capable of 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. This is an Italian barcarolle and spanish bolero. The forms of romances are quite diverse: three-part, simple verse, 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 of many romances is the melodious melody of wide breathing. The piano part plays a huge role. Almost all romances have introductions that introduce the action and set the mood. Glinka's romances are very famous:

• "The fire of desire burns in the blood."
• "Lark"
• "A 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, in front of me."
• "Confession".
• "Night View".
• "Memory".
• "To her".
• "I'm here, Inesilla."
• "Oh, you're a night, little night."
• "At a difficult moment in life."

Glinka's chamber and instrumental works (briefly)

The most striking example of an instrumental ensemble is Glinka’s major work for piano and string quintet. This is a wonderful diversion based on famous opera Bellini "Somnambula" New ideas and tasks are embodied in two chamber ensembles: the Grand Sextet and the Pathetic Trio. And although these works feel dependent on the Italian tradition, they are quite distinctive and original. In the “Sextet” there is a rich melody, a prominent thematic theme, and a harmonious 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 personality is gloomy and agitated.

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

Conclusion

Glinka's musical creativity combines the best European trends with national traditions. Associated with the name of the composer new stage in the history of the development of musical art, which is called "classical". Glinka's creativity covers various genres, which 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 dramaturgy. "Ivan Susanin" is a folk musical drama that combines various features. "Ruslan and Lyudmila" is a fairy-tale-epic opera without pronounced conflicts. It develops calmly and slowly. It is characterized by colorfulness and picturesqueness. His operas have acquired enormous significance as they truthfully recreate the heroic events of past years. Symphonic works little has been written. However, they were able not only to please listeners, but also to become a real asset and the basis of Russian symphonism, since they are characterized by incredible picturesqueness.

The composer's vocal work includes about 70 works. They are all charming and delightful. They embody various emotions, feelings and moods. They are filled with special beauty. The composer addresses different genres and forms. As for chamber instrumental works, they are also few in number. However, their role is no less important. They expanded the performing repertoire with new worthy examples.

M. I. Glinka

ABSTRACT ON HISTORY Completed by: student of 8th grade

MINISTRY OF EDUCATION OF THE RUSSIAN FEDERATION

SECONDARY SCHOOL No. 5

Belorechensk

1999

Introduction

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

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

Glinka's childhood

Mikhail Ivanovich Glinka was born on May 20, 1804, at dawn in the morning, 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 the newborn, right under her bedroom window, in a dense tree, a ringing voice nightingale. Subsequently, when his father was dissatisfied with the fact that Mikhail left the service and studied music, he often said: “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, handed over the upbringing of her son to Fekla Alexandrovna, his father’s mother. He spent about three or four years with her, seeing his parents very rarely. Elementary education received at home. Listening to the singing of serfs and the ringing of the bells of the local church, he early showed a craving for music. He became interested in playing the orchestra of serf musicians on the estate of his uncle, Afanasy Andreevich Glinka. Music classes 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 sharp sounds and knew how to deftly imitate bell ringers on two copper basins. Glinka was born, spent his first years and received his first education not in the capital, but in the village, thus his nature absorbed all those elements of musical nationality that, not existing in our cities, were preserved only in the heart of Russia...

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

Start of independent life

At the beginning of 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 children of nobles. After graduating, the young man could continue his studies in one or another specialty or go to public service. In the year of the opening of the Noble boarding school, Lev Pushkin entered there - younger brother poet. he was a year younger than Glinka, and they met and became friends. At the same time, Glinka met the poet himself, who “came to visit his brother at our boarding house.” Glinka's tutor taught Russian literature at the boarding school. In parallel with his studies, Glinka took piano lessons from Oman, Zeiner and S. Mayr, a fairly 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, he successfully played Hummel's piano concerto publicly. Then Glinka entered the service of the Department of Railways. But since she took him away from his music studies, he soon retired. While studying at the boarding school, he was already an excellent musician, he played the piano delightfully, and his improvisations were charming. At the beginning of March 1823, Glinka went to the Caucasus to use mineral waters, but this treatment did not improve his health. At the beginning of September, he returned to the village of Novospasskoye and took up music with new zeal. He studied music a lot and stayed in the village from September 1823 to April 1824; in April he left for St. Petersburg. During the summer of 1824 he moved to Faliev's house, in Kolomna; around the same time he met Italian singer Belolli and began to learn Italian singing from him.

The first unsuccessful attempt at composing with 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 increasingly captured Glinka’s thoughts and time. The circle of friends and admirers of his talent expanded. He was known as an excellent performer and writer, both in St. Petersburg and Moscow. Encouraged by his friends, Glinka composed more and more. And this early works many have become classics. Among them are the romances: “Don’t tempt me unnecessarily”, “Poor singer”, “Memory of the heart”, “Tell me why”, “Don’t sing, beauty, in front of me”, “Oh, you, darling, are a beautiful maiden”, “ What a young beauty." At the beginning of the summer of 1829, the “Lyrical Album” was published, published by Glinka and N. Pavlishchev. In this album, the romances and dances he composed, cotillion and mazurka, were published for the first time.

First trip abroad (1830-1834)

In the spring of 1830, Glinka 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 made trips to other Italian cities. It was also assumed that the warm climate of Italy would improve his poor health. After living 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 autocracy, therefore, contrary to the wishes of the composer, the opera was called “A Life for the Tsar.”

The premiere of the work, called “Life for the Tsar” at the insistence of the theater management, on January 27, 1836, became the birthday of the Russian heroic-patriotic opera. The performance took place from great success, was present at it royal family, and among Glinka’s many friends in the hall was Pushkin. Soon after the premiere, Glinka was appointed head of the Court Singing Chapel. After the premiere, the composer became interested in the idea of ​​​​creating an opera based on the plot of Pushkin’s poem “Ruslan and Lyudmila”.

Back in 1837, Glinka had conversations with Pushkin about creating an opera based on the plot of “Ruslan and Lyudmila.” In 1838, work began on the essay,

The composer dreamed that Pushkin himself would write a libretto for it, but premature death the poet prevented this. The libretto was created according to a 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 development features. Work on the opera lasted more than five years. In November 1839, exhausted by domestic troubles and tedious service in court chapel, Glinka submitted his 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 View” to the words of Zhukovsky, “I Remember a Wonderful Moment” and “Night Zephyr” to the words of Pushkin, “Doubts”, “Lark”. The "Waltz-Fantasy" composed for piano was orchestral, and in 1856 it was converted into an extensive orchestral piece.

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, leading cultural figures greeted the work with delight (although there was no unanimity of opinion 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.

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 based on 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 French composer Hector Berlioz. A concert of Glinka's works was held in Paris with great success. On May 13, 1845, Glinka left Paris for Spain. There he met Spanish folk musicians, singers and guitarists, using recordings folk dances, Glinka in 1845 wrote the concert overture “Aragonese Jota”; having returned to Russia, Glinka writes another overture “Night in Madrid”, at the same time the symphonic fantasy “Kamarinskaya” was composed on the theme of 2 Russian songs: a wedding lyric (“Because of mountains, high mountains") and a lively dance.