Mikhail Ivanovich Glinka is not just another talented Russian composer. This is the founder of classical Russian music and with creator of the first national Russian opera. The most talented person and patriot of his Motherland, who devoted his whole life to music. Glinka's works had a huge impact on the work of composers of the next generation.

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Russian music before Glinka was concentrated in the field of romance and theater, as well as around liturgical needs. It was a kind of "situational", dependent art. Glinka was the first who was able to make it an independent way of speaking, which draws the means of embodiment, logic and meaning in itself.

Brief biography of Mikhail Glinka

Biographers of Glinka Mikhail Ivanovich experience constant difficulties. He wrote a short biography of his life himself. Moreover, 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 features of the rhythm and voice leading of Russian folk music. His work, which was based and grew on the basis of folk songs and ancient Russian choral art, is deeply national. But at the same time, it is surprisingly connected with the advanced European musical culture.

The composer's work contains almost all musical genres, but the main one, of course, is the opera. In musical drama, Mikhail Ivanovich became an innovator - he refused to use colloquial dialogue, and the opera form received the integrity of symphonic development.

Childhood

According to legend, on the day when Mikhail Glinka was born, nightingales sang around his house all morning. It happened on May 20, 1804 in the estate of his father, Ivan Nikolayevich Glinka, located in the village of Novospasskoye. Mikhail was the second child in the family. But his older brother died before he even lived a year. This circumstance was the reason that little Misha was taken in by her grandmother, practically blaming her parents for the death of her first son.

The future composer had the opportunity to get acquainted with professional music in early childhood. On his uncle's estate, classical plays and Russian songs were often played by the serf orchestra. The boy learned to play the violin and piano from early childhood.

At the age of 6, Mikhail returns to be raised by his mother, as his grandmother dies. The boy is brought up at home for another 6.5 years. Then, at the age of 13, the parents send their son to study at the St. Petersburg Boarding School, located at the Pedagogical Institute. It was a prestigious educational institution where only noble children could study. In St. Petersburg, Mikhail meets Lev and Alexander Pushkin, Vasily Zhukovsky, Evgeny Baratynsky and Vladimir Odoevsky.

The heyday of creativity

In addition to basic studies, the future musical genius begins to take lessons from the famous pianist Karl Mayer. Glinka claimed that it was this teacher who influenced the formation of his musical taste. In 1822, the training ends. At the graduation party, Mikhail plays Hummel's concerto on the piano. The performance was highly appreciated by all who attended the celebration.

Over the next 13 years, the future composer continues to improve his musical talent. Besides the fact that he directs his uncle's serf orchestra and plays music in the home noble salons, 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:

• "Do not tempt me unnecessarily";
• "Autumn night, dear night";
• "Do not 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 around Germany, which eventually stretched so much that the composer only gets to Italy at the beginning of autumn. Settles in the center musical culture that time in Milan. In Italy, he studies the Italian style of singing - bel canto. Meets composers Vincenzi Bellini and Domenico Donizetti.

After living in Italy for about 4 years and composing several works in the Italian style, Glinka leaves 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 announcement forces him to return to Russia without completing his studies.

The birth of Russian opera

The musician returned from a trip with big 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 called A Life for the Tsar and, despite obstacles from the director of the imperial theaters, was staged on November 27, 1836. The performance was a resounding success, the emperor himself personally spoke with the composer and thanked him.

Just one year after the launch "Life for the Tsar", the author proceeds to create his second opera. This time, as a plot for the work, he chooses a poem by his friend Alexander Pushkin - "Ruslan and Lyudmila". Glinka was sure that he would plan the opera according to Pushkin's instructions. Unfortunately, the death of the poet did not allow these plans to come true.

The opera was born for quite 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 resounding success of A Life for the Tsar, Liszt was delighted with the new opera and marveled at the enormous talent of its creator.

New departure from Russia and foreign success

Glinka experienced criticism of the new opera quite 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 upon Mikhail Ivanovich prompted him to give in the capital of France a charity concert, which consisted entirely of his works.

In May 1845 the composer moving on to Spain. There he collects and records Spanish folk melodies, studies the language and culture. In Spain, creative inspiration and self-confidence return to the composer. Impressed by the trip, he creates such works:

• "Aragonese hunting";
• "Memories 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 world quickly tires the composer and he goes to Warsaw. Here he creates his symphonic fantasy Kamarinskaya.

In 1851, the musician briefly returned to St. Petersburg, and already in 1952 he again left on a trip, the purpose of which was Spain. Tired of moving, Glinka decides to stop and rest in France. As a result, he stays in Paris for about 2 years, where he works on Symphony "Taras Bulba". The beginning forced the composer to return to his homeland without finishing the symphony.

Glinka arrived in Russia in May 1854. He spent the summer at a dacha in Tsarskoye Selo, and then returned to St. Petersburg, where he began writing 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 visited such countries:

1. Germany;
2. Italy;
3. Austria;
4. France;
5. Spain;
6. Poland.

Personal life

It is rather 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 ended, unfortunately, unhappily.

Friends and relatives did not believe that Mikhail Ivanovich was able to break 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 turned out to be 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 fiancee had kind heart, moderate in desires and very reasonable.

Literally a few months later, Glinka realized that he had connected his life with a woman who was only interested in clothes and jewelry. Instead of caring, the young wife endowed her husband with constant nit-picking; as a result, he tried to be at home as little as possible.

Only 4 years after the wedding, the musician found out 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 met Ekaterina Kern and immediately fell in love with her. The girl loves him back. For several years, she becomes Glinka's muse, who dedicates several small works to her, as well as a romance based on A. Pushkin's poems "I Remember a Wonderful Moment."

In 1841, Catherine received hope for a quick divorce between Glinka and his wife, as it became known about the secret wedding of Maria Petrovna with the cornet Vasilchikov. Mikhail Ivanovich tries to complete the case as soon as possible, as Catherine informs him of her pregnancy. The hopes of Glinka and his chosen one for a speedy 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 recriminations 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. And without waiting, she married another at the age of 36.

Composer's death

In the winter of 1857, Mikhail Ivanovich fell ill. At that time he was in Berlin. The content of the composer's conversations with the doctors who treated him is unknown. But from those notes that he managed to write during this time, we can conclude that the doctors not only did not give him any forecasts, 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, which was on the original grave, of the composer was transferred to the Berlin Russian Orthodox cemetery. Her photo can be found on Wikipedia.

Composer Mikhail Ivanovich Glinka remained in history as a great composer of music and the founder of the Russian classical direction in it, as well as the author of the first Russian opera. His work influenced the emergence of other talented names in music world Russia. This master is revered not only at home, but also far beyond its borders.

Mikhail Ivanovich Glinka is a great Russian composer.

early years

Future composer was born in 1804 in the village of Novospasskoye, Smolensk province. His father, a wealthy nobleman, was a former army captain. Until the age of 6, Misha was raised by his grandmother.

As a child, Mikhail did not hear almost any music - only the overflowing of the church bell and the songs of the peasants. But it was these motives that helped him create complex dramatic compositions in the future, not at all similar to the elegant European melodies of that era.

Young Misha with his sister and mother in a painting by an unknown artist.

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

The beginning of the composer's career

The next years of Mikhail's life are spent in St. Petersburg. There he enters a boarding school (closed school) for noble children and in parallel studies composition with renowned maestro John Field and Karl Zeiner, who taught in St. Petersburg in those years. Glinka wrote his first musical composition at the age of 13.

After graduating from the boarding school, the young man receives a position as an official in the Ministry of Foreign Affairs. The service leaves him a lot of free time, and the aspiring composer is actively involved in musical life cities.

By this time, he had already gained his first fame. Glinka writes a lot, especially romances(this is the name of songs on gentle, lyrical verses).

At the age of 26, M.I. Glinka went on a big trip around Europe. He
meets everywhere famous composers, attends classes at conservatories, listens to the best singers.

Mikhail Glinka is rightfully considered the founder of Russian opera.

At the same time, Mikhail comes to understand that his place is in the Motherland, that it is for his people that he must create.

The heyday of creativity

In his journey, Glinka experienced great love. And although she did not end in marriage, she became an impetus for creativity.

In 1836, the young composer's opera A Life for the Tsar appeared. Its original name is "Ivan Susanin" in honor of a peasant who, during the Russian-Polish war of 1612, led an enemy detachment into an impenetrable swamp.

The opera was a huge success. Tsar Nicholas I accepted it with delight and presented the composer with an expensive ring.

At the same time, the composer writes instrumental compositions for keyboards and wind instruments, as well as wonderful romances based on verses by Russian poets.

Soon work began on a new opera, Ruslan and Lyudmila, based on the fairy tale by Alexander Sergeevich Pushkin. This work was shown to the public in 1842 and was very disliked by music connoisseurs.

Modern production of the opera "Ruslan and Lyudmila".

Glinka was so upset by the criticism that he even left Russia. From now on and until the end of his life, he will return to his homeland only for a short time.

Later years. Death

Last years Mikhail Ivanovich's life was spent in almost continuous travels. In the south of Europe, in France and Spain, he collects and processes folk melodies.

In Paris, he meets the famous composer Berlioz and writes works for a symphony orchestra.

In Warsaw composes a musical play "Kamarinskaya", where it combines the melodies of Russian folk songs - melodious wedding and incendiary dance.

At work.

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

Facts from life

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

1. Glinka called himself a "mimosa" because of his grandmother's too caring upbringing.
2. In his youth, the composer had a beautiful voice, even Italian singers admired him.
3. The author found performers for the choir in his operas in different provinces of the Russian Empire.
4. Glinka had a special relationship with Pushkin. They were friends during the life of the poet. Alexander Sergeevich wrote a poem "I remember a wonderful moment" and dedicated it to Anna Kern. And Mikhail Ivanovich was in love with Katenka Kern, Anna's daughter, and wrote a romance based on these verses.

Heritage. Meaning

The legacy of M.I. Glinka composed 2 operas, several symphonic works, compositions for piano and strings, romances and songs, church themes. Pieces for one instrument were sometimes remade for an orchestra (for example, the famous Fantasy Waltz).

Composer became the founder of the Russian trend in classical music. His melodies were based on folk traditions, and the themes of most musical compositions were inspired by the events of Russian history.

It was with the recognition of Glinka's work that our culture began to occupy an increasingly prominent place in the world.

Three conservatories are named after the composer. Monuments were erected to him in Smolensk, St. Petersburg, Kyiv. The estate where he was born has been turned into a house-museum.

Monument to M.I. Glinka in St. Petersburg.

"Patriotic Song" by M. I. Glinka sounded like the official anthem of Russia in 1991 - 2000.

Creativity M.I. Glinka

PLAN

1. The historical role of Glinka in music.

2. Researchers of Glinka's creativity.

3. Creative way. Characteristics of creativity.

4. Opera dramaturgy.

5. Symphonic music.

6. Chamber instrumental music.

7. Romances.

The historical role of Glinka in music can be compared with the role of Pushkin in Russian literature. In the very nature of the talent of the two contemporaries, there is much that is related. According to Belinsky, like Pushkin, Glinka was able to combine "an elegantly humane feeling with a plastically elegant form." It is this quality that made the work of the poet and composer a model of truly classical artistic creativity, which is based on the fusion of deep inner truth and breadth of content with harmonic clarity, harmony and completeness of form. Like Pushkin Glinka is universal . In his work, he showed the diverse aspects of Russian life and the Russian character. He creator of Russian classical opera and Russian classical romance . He laid the foundations of classical Russian symphonism . The great historical significance of Glinka determined another quality - a deeply national artist, he had the gift of comprehending the psychology and way of thinking of other nationalities. His East, Italy, Spain are an example of the creative recreation of authentic living images.

The heyday of Glinka's work coincided with the era of romanticism in Europe. Glinka was close to the romantics' concept of national identity and specificity. But Glinka did not become a romantic, even in the fantastically colorful opera Ruslan and Lyudmila. He is not characterized by the specific features of romanticism - increased attention to the individual, the subjective, a skeptical attitude towards the environment, pathetic expression of feelings. Alien to national limitations, Glinka's work, for all its classicism, does not belong to either classicism or romanticism. But from romanticism he inherited progressive features - the ability to find beauty in the ordinary. In the history of Russian music, he was the first to achieve perfection in the unity of the truthful and the beautiful, conveying the images of the surrounding reality in an elegant, harmonious and perfect artistic form.

With the work of Glinka, musicology in Russia acquired a worthy object of study for posing major musical and aesthetic problems, and professional literature about music arises on the basis of an analysis of his work. Glinka's works are considered in historical, aesthetic, musical and creative aspects. His works serve as the subject of critical articles on the problems of musical theater and musical performance, the problems of operatic dramaturgy, the principles of symphony, and the specifics of the musical language. V.F. Odoevsky, A.N. Serov, V.V. Stasov, G.A. Larosh, P.P. Weinmarn, N.F. Findeizen, N.D. Kashkin, A.N. B.V. Asafiev, D.D. Shostakovich, V.V. Protopopov, T.N. Livanova - a far from complete list of researchers. Glinka's work.

The creative life of M.I. Glinka is reflected in his "Notes", in which the composer divides his creative life into four periods:

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

2. The path to mastery (1830-1836).

3. Central period (until 1844).

4. Late period (1844-1854). -

His statements speak of the composer's amazing modesty, strict requirements for himself, sincerity and truthfulness.

Mikhail Ivanovich Glinka was born in the Smolensk province, in the village of Novospasskoye. Since childhood, he listened to Russian folk songs, fell in love with them and developed Russian folk music throughout his life. Glinka's first acquaintance with professional music took place in early childhood. Russian songs, classical plays and dances formed the repertoire of his uncle's small band of serfs. From early childhood, learning to play the piano and violin begins.

1818-1822 - the years of Glinka's teachings in St. Petersburg, where he received a thorough general education. Showing brilliant abilities and interest in literature, theater, poetry, he is seriously engaged in music. A special role was played by the teacher Sch. Mayer, who not only gave a good pianistic school, but also helped in Glinka's first composing experiments. Meetings with future participants in the Decembrist uprising and close contact with the Decembrist 8.K.Kyukhelbeker had a huge impact on Glinka. The tragic events of December 14, 1825 made an indelible impression on the young Glinka, faith in his people and the desire to serve the Motherland strengthened in his heart. After 1825, the vocation of Glinka as a composer was finally determined, he completely devoted himself to creativity. Cycles of piano variations, sketches of overtures, chamber ensembles - these are the first experiments. Then there are significant works-romances "Do not tempt", "Poor singer", "Do not sing, beauty, in front of me", variations on the theme of the Russian folk song "Among the valley of the level". At the same time, his performing skills as a pianist and singer are growing. By the end of the 1920s, Glinka's name was becoming widely known. He greedily absorbs all the best that gives him environment. He was close with Pushkin, Griboedov, Zhukovsky, Mickiewicz, he plays music with Odoevsky, Varlamov, performs in the music salon of the Polish pianist Maria Shimanovskaya.

At the same time, Glinka feels dissatisfied and seeks to get acquainted with the musical life of the West. In 1830, his first foreign trip will take place. He is going to Italy , where he lives in Milan, visits Naples, Rome, Venice. Then he goes to Austria And Germany ; he is fond of Italian opera culture and classical vocal performance, in which he sees a combination of classical harmony, distinctness of performance with ease. A number of piano variations on Italian themes written by him in Italy speak of his passion for Italian art. During a trip abroad, Glinka gets acquainted with the best achievements of Western European culture. All this broadened the horizons of the composer and gave new aspirations. A thorough acquaintance with the opera house helped Glinka realize his true calling. He decides to create a Russian opera. In Berlin, Glinka studies under the guidance of the theoretical musician Siegfried Dehn, with whom he put his theoretical knowledge in order and worked on the technique of polyphonic writing.

In 1834, Glinka returned to his homeland and began to implement the idea of ​​a national opera by writing opera Ivan Susanin. He dreams of a big heroic opera. The plot was proposed by the poet Zhukovsky. The work went on with great enthusiasm, but the difficulties were due to the fact that there was no libretto. The writing of the text was entrusted to G. F. Rosen, a poet close to the court. The original title of the opera Ivan Susanin was changed to A Life for the Tsar. By means of music, Glinka embodied the main idea of ​​a folk tragedy - to show the greatness of the feat of a peasant who gave his life for his homeland.

The premiere of the opera took place on November 27, 1836. Pushkin, Gogol, Odoevsky perceived the opera as a huge historical event. Secular music lovers had the opposite opinion, calling the opera "coachman's music." Pushkin predicted Glinka's great future.

A new streak has begun creative life composer - a period of brilliant creative flowering. His art is recognized at home and abroad. Glinka begins work on a new opera "Ruslan and Lyudmila" and at the same time on the music for the tragedy by N.K. Kukolnik "Prince Kholmsky", a cycle of romances "Farewell to St. Petersburg". Known romances of this period: "Doubt", "Night review", "I remember a wonderful moment." The production of the opera Ruslan and Lyudmila took place on November 27, 1842. At the premiere, the emperor and his retinue left the hall before the end of the performance, but music critics highly appreciated the opera. In the 40s, Glinka was a mature artist, with well-formed aesthetic views and big plans. But the external conditions of life were unfavorable. As a composer of the court singing chapel, he was burdened by the role of a court servant. Envy and petty chicanery of the chapel distracted the composer from creative work. Unsuccessful was the marriage to M.P. Ivanova, a secular young lady, far from the creative interests of her husband. All this forced Glinka to break off his former ties in the aristocratic world.

In 1844, Glinka again went abroad, to France and Spain. In Paris he meets Hector Berlioz. A concert of Glinka's works was held in Paris with great success. For two years the composer was in Spain. Using recordings of folk dances, in 1845 he wrote a concert Overture "Jota of Aragon" in 1848 already in Russia Overture "A Night in Madrid" Then it was written symphonic fantasy "Kamarinskaya".

In recent years, M.I. Glinka lived in St. Petersburg, Warsaw, Paris, Berlin. Poets, singers, writers, composers, actors, young musicians, Balakirev, music critics Serov and Stasov gathered in the composer's house. Glinka died in Berlin in 1887. His ashes were transferred to St. Petersburg.

Characteristics of creativity.

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

The defining element of his music is the melody. The melody is characterized by chanting, smoothness, turns are typical: sixth and hexachord (six-sound) chants, singing of the fifth (fifth degree of the mode) tone, a descending move from the fifth to the tonic of the mode. Songliness is characteristic of his vocal and instrumental compositions, where "singing harmony" permeates the entire orchestral fabric.

MI Glinka penetrated deeply into the very nature of folk music, understanding the essential features of folk musical thinking, folk melody, mode and rhythm. The language of folk song became his own, native language.

The smoothness of voice leading, the relief of the melodic pattern - all these are the root traditions of folk vocal polyphony. The freedom of voice leading, characteristic of Glinka's harmonic and polyphonic thinking, his technique of layering voices, his love for transparent two and three voices - all this is connected with the style of folk polyphony. Glinka mastered the method of variant development to perfection. Glinka's polyphony is both similar and not similar to classical samples. The composer uses classical Western European forms of fugue, canon, imitation, mobile counterpoint, but they are of a national Russian character. Tchaikovsky, Rakhmaninov and many other composers of the next generations used the methods of variant-song development after Glinka.

Glinka poetically translated the Russian folk flavor, using original modal turns, the principle of modal variability, typical modes of Russian folk songs - mixolydian major, natural minor.

Opera art. Glinka created two leading operatic genres of Russian music - the folk historical musical drama "Ivan Susanin" and the fabulously epic opera "Ruslan and Lyudmila".

"Ivan Susanin" opens the mature period of Glinka's work. The plot of the opera was proposed by Zhukovsky, based on a historical fact - the heroic deed of the peasant Ivan Osipovich Susanin in 1612, when Russia was occupied by invaders. Moscow has already been liberated. But one of the remaining Polish detachments entered the village of Domnino. The peasant Ivan Susanin, agreeing to be a guide, led them into a dense forest, thereby destroying them and dying himself. Glinka was inspired by the idea of ​​patriotism of the Russian people.

The idea of ​​love for the fatherland runs through the opera. The consistent development of the conflict is fully reflected in the musical composition.

Opera begins overture . The overture is all built on themes found in the opera, and embodies the main idea of ​​the opera in a generalized form. It is written in sonata allegro form with an introduction. The main part (G minor) is the disturbing, impetuous theme of the folk choir from the finale of Act III, where the people are shown in a patriotic impulse. In the development of the overture, this theme acquires a dramatic tense] character. A secondary theme is Vanya's theme, "How Mother Was Killed." Already in the exposition, a contrast is given - the linking party in triple meter with the intonations of a mazurka represents the Poles. The same theme is heard in the opera in the scene of the arrival of the Poles in Susanin's hut. Thus, the “arch” is thrown to one of the climaxes of the opera. In the code, the juxtaposition is even brighter - the disturbing motives of the main part turn into frozen chords that will sound in Susanin's answers to the Poles in the forest. Further mazurka phrases sound like a threat to the Poles. These phrases grow, but the three-part is replaced by two-part and this results in bell chimes. The theme of the main part in G major sounds victorious. Thus, the entire course of the opera is shown in the overture.

The opera has four acts and an epilogue. IN first act the characteristic of the Russian people and the main characters of the opera is given. This is Ivan Susanin, his daughter Antonida, adopted son Vanya, Antonida's fiancé - warrior Sobinin, people. The first act opens with a monumental choral scene-introduction. In the introduction, two choirs alternate several times - male and female. The theme of the male choir is close to peasant and soldier songs of a heroic-epic nature (“You rise, the red sun”). For the first time in Russian art, music of a pronounced folk style conveys high heroic pathos.

The melody of the second choir - female - sounds first in the orchestra, and a little later appears in the vocal part. Lively, joyful, it resembles round dance songs of peasant girls dedicated to the spring awakening of nature.

The main melodic images of the introduction are contrasting with each other. Thus, the introduction shows different aspects of the image of the people: their will and cordiality, their courageous steadfastness and loving perception; native nature.

After a monumental choral introduction, Glinka gives musical portrait one of actors- Susanin's daughter Antonida.

Antonida's aria has two sections: the cavatina and the rondo. The slow thoughtful cavatina is in the spirit of Russian lyrical songs. A gentle cavatina is replaced by a lively, "graceful rondo. Its light, fresh music is also songlike.

Antonida answers Susanin. This is the "exposition" of the main image of the opera. Susanin's recitatives are typical of Glinka's style. They are melodious, they have a lot of smooth moves at wide intervals, chants on separate syllables. Thus, the composer immediately shows the organic unity of Susanin and “the people.

Appears and new hero opera - Bogdan Sobinin. The main feature of Sobinin is "successful character". It is revealed with the help of ardent and sweeping song phrases with an elastic, clear rhythm, sustained in the spirit of valiant soldier's songs.

The finale of Act I is sustained in a marching movement and is full of patriotic enthusiasm. Susanin, Antonida and Sobinin act as choir leads and soloists

II act presents a striking contrast to the former. Instead of simple peasants on the stage - pans feasting in the castle of the Polish king. Four dances: polonaise, krakowiak, waltz and mazurka form a large dance suite. The main theme of Krakowiak, thanks to the syncopated rhythm, is particularly elastic; the waltz is elegant on 6/8, the presence of a syncopation on the second beat makes it related to the mazurka, giving it a Polish flavor. The waltz is notable for its particular subtlety and transparency of orchestration. The polonaise and the concluding mazurka are of a completely different character. Polonaise sounds proud, grand and militant. His intonations are reminiscent of fanfare calls. A carefree, bravura mazurka with a sweeping melody and sonorous chords is full of dashing and brilliance.

With the intonations and rhythms of this dance, Glinka paints a portrait of the Polish invaders, behind whose external brilliance greed, arrogance and reckless vanity are hidden.

Before Glinka, dance numbers were introduced into the opera, but usually only in the form of an inserted divertissement, but they had no direct relation to the action. Glinka, for the first time, gave dancing an important dramatic significance. They have become a means of figurative characterization of actors. From the "Polish" scenes of the second act, Russian classical ballet music originates.

III act can be divided into two halves: the first - before the arrival of enemies, the second - from the moment they appear. The first half is dominated by a calm and bright mood. The character of Susanin is shown here - a loving father in the family circle.

The action begins with the song of Susanin's adopted son Vanya. The song, with its simplicity and natural melody, is close to Russian folk songs. At the end of the song, Susanin's voice is included in it and the song goes into a stage, and then into a duet. The duet is dominated by march-like intonations and rhythms; it finds expression of the patriotic upsurge of father and son.

The dramatic climax of the whole opera is the scene with the Poles in IV action . Here the fate of the protagonist of the opera is decided.

The picture begins with a chorus of Poles wandering in the darkness of the night through a dense forest covered with snow. To characterize the Poles, Glinka uses the rhythm of the mazurka. Here it is devoid of bravura and militancy, it sounds gloomy, conveying the oppressed state of the spirit of the Poles, their premonition of imminent death. Unsteady chords (increased triad, diminished seventh chord) and dull timbres of the orchestra enhance the feeling of darkness and longing.

The main features of the hero's appearance at the decisive hour of life are revealed in his dying aria and the subsequent recitative monologue. The introductory short recitative "They smell the truth" is based on Susanin's usual wide, unhurried and confident intonations of the song structure. This is one of the best examples of Glinka's melodious recitative (example No. 8). In the aria itself (“You will come, my dawn ...”), the mood of deep mournful reflection dominates. Susanin retains his inherent masculinity, loftiness and fortitude. There is no melodrama in this. Susanin's aria is a vivid example of Glinka's innovative approach to folk song. It is here, on the basis of Russian folk-song intonations, that music for the first time arises, imbued with genuine tragedy. This aria includes the words of Odoevsky that Glinka "managed to create a new hitherto unheard of character, to elevate the folk tune to tragedy."

The opera ends with a grandiose picture of a folk celebration on Red Square in Moscow.

Epilogue consists of three sections: 1) the chorus "Glory" in the first presentation; 2) scenes and trio of Vanya, Antonida and Sobinin “Ah, not to me, the poor ...” with a choir; and 3) the finale - a new, final presentation of "Glory".

The heroic image of the victorious people is embodied in the ingenious "Glory" with the utmost convexity and clarity.

"Ivan Susanin" is the first Russian opera based on continuous musical development, there is not a single spoken dialogue in it. Glinka implements the principle of symphonism in the opera and lays the foundations for the leitmotif method, later developed with such skill by Tchaikovsky and Rimsky-Korsakov. Together with Ivan Susanin, Russian music embarked on the path of symphonic development . The pinnacle of Russian dramatic symphonism is the scene in the forest, an example of a deep symphonic disclosure of the psychological subtext of the drama.

In characterizing his heroes, Glinka uses a variety of forms - from an ariose recitative to a complex multi-part aria of the classical type. A specific feature of the opera is the presence of Polish scenes of cross-cutting development, which actively promote the action of the drama. But the aria is an important center of the operatic composition, in the aria it is a characteristic of the character.

Glinka's high skill manifested itself in ensembles, in which they combine the principles of classical polyphony with the nature of the folk-Russian polyphonic style. In the finale of act I in the trio "Don't suffocate, darling," Glinka uses the form of polyphonic variations in a new way, with a gradual layering of voices. In the funeral trio from the epilogue, the techniques of Russian folk polyphony are used. The monumental quartet from act III approaches the symphonic cycle - an introduction, anedgeyo, a slow movement and a fast finale,

In the opera "Ivan Susanin" there is a truly symphonic method of through development. The meaning of Glinka's dramatic comparison of two opposing forces is not only in the national-genre contrast - Russian and Polish, song and dance, vocal and instrumental, symphonic beginning as the main means of characterization. The meaning of the contrast is also in something else - the image of the people is interpreted as the main character of the tragic story - the defender of the Motherland. Hence the different approach and different scales in the interpretation of both groups. Polish gentry are shown in a generalized way. And the Russian people are shown in many ways; that is why the folk-song language of the opera is so rich. The choral scenes of the opera define the national style of Glinka's opera. The basis is the Russian song in all its genre varieties. The subtlest features of the intonational and modal structure of Russian folk songs were first fully embodied only by Glinka, which was expressed, for example, in the five-beat rhythm of the girls' choir, in the flexible modal variability in the rowers' choir. Folk intonations receive free development, re-transforming in the classically harmonious forms of Glinka's music. The variational form, corresponding to the nature of Russian folk themes, is widely used by the composer.

The main role belongs to two choral scenes. The people in them appear as a "great personality", united by one feeling, one will. These folk choirs, with their oratorio style, were unparalleled at that time.

The final scene of the opera - the epilogue expresses the scene of popular rejoicing. Glinka's contemporary Serov wrote: "In its Russian originality, in its faithful transmission of the historical moment, this choir is a page of Russian history."

The theme of the choir combines the features of chant and movement. Its entire figurative structure conveys the unhurried pace of the people's procession.

The origins of the choir are manifold. Here is a folk song, and the style of choral partes singing, a solemn cant of the 18th century. In the overall composition of the choral scene, Glinka uses his favorite form of variations and sub-voice-polyphonic development techniques.

Glinka also uses coloristic techniques to achieve a general impression of joy, celebration - a full symphony orchestra and a brass one on stage participate in the finale, a group of basses and bells join the main choir, the diatonic (C major) is enriched with harmonic colors (E major, B major). All means are applied with a sense of proportion, harmony and beauty of form.

IN opera "Ruslan and Lyudmila" Glinka used the traditional fairy tale plot with exploits, fantasy, magical transformations to show a variety of characters, complex relationships between people, creating a whole gallery of human types. Among them are chivalrous and courageous Ruslan, gentle Lyudmila, inspired Bayan, ardent Ratmir, faithful Gorislava, cowardly Farlaf, kind Finn, treacherous Naina, cruel Chernomor.

The overall composition of the opera is subject to the strict principle of symmetry. Glinka's typical techniques of reprise and completeness of form determine the individual elements of the opera and its entire composition as a whole. The prologue and epilogue frame the work, which corresponds to the epic warehouse of the opera. The harmony of the operatic form is created by means of musical framing: the thematic material of the overture is repeated again in the finale of Act V, in the solemn final choir in the same key of D major. The extreme acts paint majestic pictures of Kievan Rus. Contrasting scenes of the hero's magical adventures in the kingdom of Naina and Chernomor unfold between them, a 3rd part is formed. This principle will become typical for fairy tale and epic operas of Russian lyrics. At the same time, the opera, symphonic, conflict, intense and dramatic development is replaced by the principle of contrast.

The new genre of fabulous-epic opera determines the features of the musical dramaturgy of Ruslan and Lyudmila. Based on the classical tradition of closed, completed numbers, Glinka creates his own type of epic narrative operatic dramaturgy. The unhurried narrative course of development with wide thematic arcs over long distances, the slowness of the stage action, and the abundance of themes made it difficult to perceive the work.

Music critic Stasov, having an exceptional breadth of artistic views, was able to see in Glinka's music a whole trend of Russian art - an interest in the folk epic, in folk poetry. The epic style of Glinka's opera gave rise to a system of images and dramatic techniques that retain their significance in the Russian lyrics of the subsequent time.

Symphonic creativity. Glinka wrote a small number of works for the symphony orchestra. Almost all of them belong to the genre of one-movement overtures or fantasies. The main ones are “Kamarinskaya”, Spanish overtures “Jota of Aragon” and “Night in Madrid”, “Waltz Fantasy”, music for the tragedy “Prince Kholmsky”. However, their historical role turned out to be so significant that they can be considered the basis of Russian classical symphony. Essential, new principles of symphonic development are laid down in the general principles of Glinka's aesthetics. The accessibility and genuine nationality of the musical language, the principle of generalized programming are the features of his symphonic overtures. Glinka developed a concise, concise form of the overture. In each individual case, the form is uniquely new, it is always determined by the general artistic concept. "Kamarinskaya" begins in the form of double variations, in "Aragonese Jota" a sonata structure, "Waltz - Fantasy" in the form of a rondo. All compositional features were prompted by the very nature of the material.

Romances and songs. Glinka addressed the romance genre throughout creative way. He wrote over 70 romances. They express various feelings: love, disappointment, delight, spiritual impulse. In some romances, pictures of nature and life are captured. Glinka covers all types of everyday romance contemporary to him: "Russian song", elegy, serenade, ballad, everyday dances - waltz, mazurka, polka. He turns to genres characteristic of the music of other nations: to the Spanish bolero, the Italian barcarolle. The forms of romances are also diverse - a simple couplet form, a three-part form, a rondo, a complex form, where there is a change of different episodes connected by a single line of continuous dramatic development.

Mikhail Ivanovich Glinka was born on June 1, 1804 in the village of Novospasskoye, the estate of his parents, located one hundred miles from Smolensk and twenty miles from the small town of Yelnya. The systematic teaching of music began rather late.

(May 20 (1.6). 1804, Novospasskoye village, now the Elninsky district of the Smolensk region, - 3 (15) .2. 1857, Berlin)

Mikhail Ivanovich Glinka was born on June 1, 1804 in the village of Novospasskoye, the estate of his parents, located one hundred miles from Smolensk and twenty miles from the small town of Yelnya. The systematic teaching of music began rather late and in much the same spirit as the teaching of general disciplines. Glinka's first teacher was a governess Varvara Fyodorovna Klamer invited from St. Petersburg.

Glinka's first experience in composing music dates back to 1822, the end of the boarding school. These were variations for harp or piano on a theme from the Austrian composer Weigl's fashionable opera "The Swiss Family". From that moment on, continuing to improve in playing the piano, Glinka paid more and more attention to composition and soon composed a lot, trying his hand at various genres. For a long time he remains dissatisfied with his work. But it was during this period that well-known romances and songs were written today: "Do not tempt me without need" to the words of E.A. Baratynsky, "Do not sing, beauty, with me" to the words of A.S. Pushkin, "Autumn Night, Dear Night" to the words of A.Ya. Rimsky-Korsakov and others.

However, the main thing is not the creative victories of the young composer, no matter how highly they are valued. Glinka "with constant and deep tension" is looking for himself in music and at the same time comprehends the secrets of composer's skill in practice. He writes a number of romances and songs, honing the vocal melody, but at the same time persistently looking for ways to go beyond the forms and genres of everyday music. Already in 1823 he was working on a string septet, an adagio and a rondo for orchestra, and on two orchestral overtures.

Gradually, Glinka's circle of acquaintances goes beyond secular relations. He meets Zhukovsky, Griboyedov, Mitskevich, Delvig. In the same years, he met Odoevsky, who later became his friend. All kinds of secular entertainment, numerous artistic impressions of various kinds, and even the state of health, which was increasingly deteriorating by the end of the 1820s (the result of an extremely unsuccessful treatment) - all this could not interfere with the composer's work, which Glinka devoted himself to with the same "constant and deep tension" . Composing music became an inner need for him.

During these years, Glinka began to think seriously about traveling abroad. He was motivated to do this by various reasons. First of all, the journey could give him such musical impressions, such new knowledge in the field of art and creative experience, which he could not have acquired in his homeland. Glinka also hoped in other climatic conditions improve your health.

At the end of April 1830, Glinka left for Italy. Along the way, he stopped in Germany, where he spent the summer months. Arriving in Italy, Glinka settled in Milan, which at that time was a major center of musical culture. The opera season of 1830-1831 was unusually eventful. Glinka was completely at the mercy of new impressions: "After each opera, returning home, we picked up sounds to remember our favorite places we heard." As in St. Petersburg, Glinka still works hard on his compositions. There is nothing student left in them - these are masterfully executed compositions. A significant part of the works of this period are plays on the themes of popular operas. Glinka pays special attention to instrumental ensembles. He writes two original compositions: the Sextet for piano, two violins, viola, cello and double bass and the Pathetic Trio for piano, clarinet and bassoon - works in which the features of Glinka's composer's style are especially clearly manifested.

In July 1833 Glinka left Italy. On his way to Berlin, he stopped for a while in Vienna. From the impressions associated with staying in this city. Glinka notes little in the Notes. He often and with pleasure listened to the orchestras of Liner and Strauss, read Schiller a lot and rewrote his favorite plays. Glinka arrived in Berlin in October of the same year. The months spent here led him to reflect on the deep national roots of the culture of each people. This issue is now of particular relevance to him. He is ready to take a decisive step in his work. "The idea of ​​national music (not to mention operatic music) became clearer and clearer," notes Glinka in Zapiski.

The most important task facing the composer in Berlin was to put in order his musical and theoretical knowledge and, as he himself writes, ideas about art in general. In this matter, Glinka assigns a special role to Siegfried Dehn, a famous music theorist in his time, under whose guidance he studied a lot.

Glinka's studies in Berlin were interrupted by the news of his father's death. Glinka decided to immediately go to Russia. The foreign trip ended unexpectedly, but he basically managed to carry out his plans. In any case, the nature of his creative aspirations had already been determined. We find confirmation of this, in particular, in the haste with which Glinka, having returned to his homeland, begins composing an opera, without even waiting for the final choice of plot - the nature of the music of the future work is so clearly presented to him: I didn’t have it, but “Marina Grove” was spinning in my head.

This opera briefly captured the attention of Glinka. Upon his arrival in St. Petersburg, he became a frequent visitor to Zhukovsky, at whom an elected society met weekly; predominantly engaged in literature and music. Regular visitors to these evenings were Pushkin, Vyazemsky, Gogol, Pletnev.

“When I expressed my desire to take on Russian opera,” writes Glinka, “Zhukovsky sincerely approved of my intention and offered me the plot of Ivan Susanin. The scene in the forest was deeply embedded in my imagination; I found in it a lot of originality, characteristic of Russians.”

Glinka's enthusiasm was so great that "as if by magic action ... the plan of an entire opera was suddenly created ...". Glinka writes that his imagination "warned" the librettist; "...many topics and even development details - all this flashed in my head at once."

But not only creative problems concern Glinka at this time. He is thinking about marriage. The chosen one of Mikhail Ivanovich was Marya Petrovna Ivanova, a pretty girl, his distant relative. “In addition to a kind and pure heart,” Glinka writes to her mother immediately after her marriage, “I managed to notice in her the properties that I always wanted to find in my wife: order and frugality ... despite her youth and liveliness of character, she is very reasonable and extremely moderate in desires." But the future wife knew nothing about music. However, Glinka's feeling for Marya Petrovna was so strong and sincere that the circumstances that subsequently led to the incompatibility of their fates at that time might not seem so significant.

The young people got married at the end of April 1835. Shortly thereafter, Glinka and his wife went to Novospasskoye. Happiness in his personal life spurred his creative activity, he set to opera with even greater zeal.

The opera was advancing rapidly, but to achieve its staging on the stage of the Petersburg Bolshoi Theater turned out to be no easy task. Director of the Imperial Theaters A.M. Gedeonov stubbornly prevented the acceptance of the new opera for staging. Apparently, in an effort to protect himself from any surprises, he gave it to the judgment of Kapellmeister Kavos, who, as already mentioned, was the author of an opera on the same plot. However, Kavos gave Glinka's work the most flattering review and withdrew his own opera from the repertoire. Thus, "Ivan Susanin" was accepted for production, but Glinka was obliged not to demand remuneration for the opera.

The premiere of "Ivan Susanin" took place on November 27, 1836. The success was huge. Glinka wrote to his mother the next day: “Last night my desires finally came true, and my long work was crowned with the most brilliant success. me and talked to me for a long time... "

The acuteness of the perception of the novelty of Glinka's music is remarkably expressed in Henri Merimee's "Letters on Russia": Mr. Glinka's "A Life for the Tsar" is distinguished by its extraordinary originality... This is such a truthful summary of everything that Russia has suffered and poured out in song; in this music one can hear such a complete expression of Russian hatred and love, grief and joy, complete darkness and a shining dawn ... This is more than an opera, this is a national epic, this is a lyrical drama raised to the noble height of its original purpose, when it was frivolous fun, but a patriotic and religious ceremony.

The idea of ​​a new opera based on the plot of the poem "Ruslan and Lyudmila" came to the composer during Pushkin's lifetime. Glinka recalls in "Notes": "... I hoped to draw up a plan at the direction of Pushkin, his premature death prevented the fulfillment of my intention."

The first performance of "Ruslan and Lyudmila" took place on November 27, 1842, exactly - to the day - six years after the premiere of "Ivan Susanin". With Glinka's uncompromising support, as six years ago, Odoevsky spoke, expressing his unconditional admiration for the genius of the composer in the following few, but bright, poetic lines: "... a luxurious flower has grown on Russian musical soil - it is your joy, your glory "Let the worms try to crawl onto its stem and stain it, the worms will fall to the ground, but the flower will remain. Take care of it: it is a delicate flower and blooms only once in a century."

However, Glinka's new opera, in comparison with Ivan Susanin, aroused stronger criticism. F. Bulgarin, who at that time was still a very influential journalist, was the most violent opponent of Glinka in the press.

The composer takes it hard. In the middle of 1844, he undertook a new long trip abroad - this time to France and Spain. Soon, vivid and varied impressions return Glinka's high vitality.

Glinka's works were soon crowned with new great creative success: in the autumn of 1845 he created the Jota of Aragon overture. In a letter from List to V.P. Engelhardt, we find a vivid description of this work: "... I am very pleased ... to inform you that "Hota" has just been performed with the greatest success ... Already at the rehearsal, understanding musicians ... were amazed and delighted with the lively and sharp originality this charming piece, embossed in such fine contours, trimmed and finished with such taste and art! and to the end!What the happiest surprises, abundantly emanating from the very logic of development! "

Having finished work on "Jota of Aragon", Glinka is in no hurry to take on the next composition, but devotes herself entirely to a further in-depth study of Spanish folk music. In 1848, after returning to Russia, another overture appeared on a Spanish theme - "Night in Madrid". Remaining in a foreign land, Glinka cannot but turn his thoughts to a distant homeland. He writes "Kamarinskaya". This symphonic fantasy on the themes of two Russian songs: a wedding lyric ("Because of the mountains, high mountains") and a lively dance song, was a new word in Russian music. In "Kamarinskaya" Glinka approved new type symphonic music and laid the foundation for its further development. Everything here is deeply national, original. He skillfully creates an unusually bold combination of different rhythms, characters and moods.

In recent years, Glinka lived in St. Petersburg, then in Warsaw, Paris and Berlin. The composer was full of creative plans, but the atmosphere of enmity and persecution to which he was subjected hindered his creativity. He burned several of the scores he had begun.

A close, devoted friend of the last years of the composer's life was his beloved younger sister Lyudmila Ivanovna Shestakova. For her little daughter, Oli Glinka composed some of his piano pieces. Glinka died on February 15, 1857 in Berlin. His ashes were transported to St. Petersburg and buried in the cemetery of the Alexander Nevsky Lavra.

Russian Civilization

Glinka's biography is saturated interesting facts and events. The huge legacy left by Mikhail Ivanovich includes romances, works for children, songs and compositions, symphonic fantasies. The main work of the composer is the opera "Ruslan and Lyudmila", which became famous all over the world. Music critics call Glinka Pushkin in music. Mikhail Ivanovich Glinka, whose biography is replete with extraordinary facts, wrote the first Russian opera based on historical events. In this article, we will follow life path great composer. Glinka Mikhail Ivanovich short biography which is full of unpredictable turns, has been in love with music since childhood.

Origin

The composer was born on his father's estate on May 20 (June 1, according to the old style), 1804. The first home of Glinka was the village of Novospasskoe, Smolensk province. Mikhail Glinka's father was a retired captain - Ivan Nikolaevich Glinka. Their family descended from the gentry. The composer's mother is Evgenia Andreevna. Immediately after the birth of the boy, the grandmother, Fyokla Alexandrovna, took him. She was so diligent in raising the boy that already in childhood he became painfully touchy. By the age of six, Misha was completely removed from society, even from his own parents. In 1810, the grandmother dies, and the boy is returned to be raised in the family.

Education

Mikhail Glinka, whose brief biography is incredibly interesting, was convinced from an early age that he would devote his life to music. The fate of the musician has been known since childhood. While still a small child, he learned to play the violin and piano. The boy was taught all this by the governess Varvara Klammer from St. Petersburg. After Mikhail has mastered the first basics in art, he is sent for education to the St. Petersburg boarding school, which is located at the Pedagogical Institute. Wilhelm Küchelbecker becomes his first tutor. Glinka takes lessons from great music teachers, including John Field and Karl Zeiner. It is here that the future composer meets Alexander Pushkin. Strong friendships are established between them, which last until the death of the great poet.

The heyday of creativity

Glinka, whose biography is full of many events, was passionate about music from an early age, by the age of ten he was already skillfully handling the piano and violin. Music for Mikhail Glinka is a vocation from an early age. Already at the end of the Noble Boarding School, he gives performances in salons, is actively engaged in self-education, studying the history and characteristics of Western European music. At the same time, the composer composed the first successful works for piano and harp. He writes romances, rondos for orchestras, as well as string septets and orchestral overtures. The circle of his acquaintances is replenished by Zhukovsky, Griboedov, Mitskevich, Odoevsky and Delvig. Glinka's biography is interesting not only to his admirers, but also to everyone who is interested in music.

Mikhail Ivanovich spends several years in the Caucasus. But already in 1824, the young composer got a job as an assistant secretary in the Main Directorate of Railways. However, despite being busy, already at the end of the twenties, together with Pavlishchev, he published the Lyric Album. It also includes Mikhail Ivanovich's own compositions. As you can see, Glinka's biography is interesting with unusual events and unexpected twists and turns.

Since 1830, a new period begins, which is characterized as Italian. Before it starts, Glinka makes a summer trip to German cities, and then stops in Milan. At that time, this city was the central point of musical culture throughout the world. It is here that Mikhail Glinka meets Donizetti and Bellini. He does research and studies bel canto in detail, after which he composes works in the Italian spirit.

A few years later, in 1833, the composer settled in Germany. Studying with Sigrifid Den, he hones and polishes his musical talent. However, the news of his father's death in 1834 forces the composer to return to Russia. Glinka, whose brief biography is interesting not only to the inhabitants of the Russian Federation, but also to Europeans, gave the world two great operas.

"Life for the King"

His dreams are directed towards the creation of a Russian national opera. Working hard, he chooses Ivan Susanin and his feat as the central figure. The author devotes the whole three years of his life to his work and in 1836 he completes a grandiose opera, which was called “Life for the Tsar”. The first performance took place on the stage of the Bolshoi Theater in St. Petersburg and was accepted by the society with great enthusiasm. After the overwhelming success of Mikhail Glinka, he was appointed to the post of Kapellmeister of the Court Chapel. The year 1838 the composer devoted to rest and travel around Ukraine.

1842 is the year of the release of the opera Ruslan and Lyudmila. The work is accepted by the public ambiguously and is hotly discussed.

Life abroad

Mikhail Glinka, whose biography is rich in facts and events, devoted many years to studying the cultures of different European peoples. The year 1844 was marked by a new journey abroad for the great composer. This time his path lies in France. Here his works are performed by the great Berlioz. In Paris in 1845, Mikhail Ivanovich gives a huge charity concert, after which he goes to sunny Spain. Studying the local culture, he composes several symphonic overtures on Spanish folk themes, and the Aragonese Jota overture is also created here.

In 1827, the composer again came to his native Russia, and then immediately went to Warsaw. It is here that he composes the famous "Kamarinskaya". It has become the newest type of symphonic music, which combines a variety of rhythms, moods and characters. 1848 - the year of the creation of "Night in Madrid".

Composer influence

In 1851 Glinka returned to St. Petersburg again. Here he finds time to give lessons to the new generation, to write opera parts. Thanks to his influence, a Russian vocal school is even being created in this city. Glinka Mikhail Ivanovich, whose brief biography is interesting for its unpredictability, is the founder of many musical trends.

Just a year later, the composer resumes traveling around Europe. On his way to Spain, he lingers in Paris for two years. He devotes all the time to the Taras Bulba symphony, but it remains unfinished.

In 1854, the composer returned to his homeland, where he wrote his memoirs and his Notes. However, it does not last long, and he again goes to Europe, this time heading for Berlin. Glinka, whose biography begins in Russia, managed to visit many European cities, creating his brilliant works there.

Family life

In 1835, Mikhail Ivanovich Glinka married his distant relative Maria Petrovna Ivanova. However, their marriage did not work out, and they soon separated.

Three years after the first marriage and unsuccessful union, Glinka met Ekaterina Kern. It was to her that the best works of the composer were dedicated. Glinka loved this woman until the end of his days.

Composer's death

His biography is of great interest. Glinka M. I. is great composer and a true patriot.

In February 1857, while in Berlin, Mikhail Glinka died. On February 15, when he died, he was buried first in the Lutheran cemetery. However, a couple of months later, his ashes were transported to Russia and reburied at the Tikhvin cemetery in the city of St. Petersburg.

Main achievements

• Mikhail Ivanovich Glinka, whose biography allows us to consider him a national treasure, managed to create a lot of beauty in his life, while influencing many of his followers-composers.
• He founded the Russian National School of Composers.
• Glinka's works influence the development of Russian and world music. In particular, Dargomyzhsky and Tchaikovsky developed his original ideas in their musical compositions.
• Glinka created the first Russian national opera called A Life for the Tsar, based on a historical plot.
• Thanks to the influence of the composer, a Russian vocal school was formed in St. Petersburg.

Glinka's biography is of interest to adults and children.

• Not many people know that Fyokla Alexandrovna, the grandmother of Mikhail Glinka, the mother of his father, took the boy to be brought up for a reason. A year before the birth of Misha, a son was born in the family, who died in infancy. The grandmother blamed the mother for this, and therefore, with the advent of Misha, she took the child to her. She possessed unbridled autocracy, and therefore no one dared to object to her - neither her daughter-in-law, nor even her own son.
• The first wife of Mikhail Ivanovich, Maria Petrovna, was uneducated. She also knew nothing about music, and she did not even know who Beethoven was. Perhaps this was the reason that their marriage was unsuccessful and so fleeting.
• Glinka created patriotic music that was the anthem of the Russian Federation for almost ten years - from 1991 to 2000.

• During the transportation of the ashes of the composer from Germany to Russia, on the box in which the coffin was packed, it was written in large letters: "PORCELAIN".
• During his life, Mikhail Ivanovich created about twenty songs and romances, six symphonic works, two great operas, as well as several chamber-instrumental compositions.
• Glinka, whose brief biography is studied in Russian and European schools, devoted his life to music.
• In the native estate of the composer, in Novospasskoye village, the museum of Mikhail Glinka was created.
• In total, three monuments to the composer have been erected in the world: in Kyiv, Berlin and Bologna.
• After the death of Glinka, the State Academic Chapel in the city of St. Petersburg was named after him.

From all the facts and events described by us, his biography is formed. Glinka M.I. made a huge contribution to Russian culture, many European composers were guided by it.