Glinka, Mikhail Ivanovich - short biography. Mikhail Glinka: music is my soul Where did Mikhail Ivanovich Glinka study

Mikhail Ivanovich Glinka is one of the greatest Russian composers, the creator of an independent Russian musical school. He was born on May 20 (old style) 1804 in the village of Novospasskoye, Smolensk province, and was brought up in the countryside by his parents, landowners. Already in childhood, he was strongly attracted by church singing and Russian folk songs performed by his uncle's serf orchestra. By the age of 4 he was already reading, and at the age of 10 he was taught to play the piano and violin.

In 1817, the Glinka family moved to St. Petersburg, and the boy was sent to a boarding school at the Pedagogical Institute, the course of which he completed after 5 years. Meanwhile, Glinka successfully studied piano playing with Weiner, K. Mayer, the famous Field, and singing with Belloli. At the age of 18, he began to compose: these were first variations on fashionable themes, and then, after classes in composition with K. Mayer and Zamboni, romances.

Mikhail Ivanovich Glinka. Photo from the 1850s

In 1830, Glinka, who had been in poor health all his life, went to Italy on the advice of doctors, where he stayed for three years, studying the art of writing for singing and writing a lot in the Italian spirit. Here, under the influence of homesickness, in Glinka, by his own admission, a spiritual upheaval took place, pushing him away from Italian music and directing him to a new, independent path. In 1833, Glinka went to Berlin and there, together with the famous theorist Den, took a course in music theory in 5 months, which greatly enriched and systematized his musical knowledge.

A year later, Glinka returned to Russia. In St. Petersburg, he met M. P. Ivanova, whom he married in 1835. At this time, Glinka often visited the famous Zhukovsky circle, where he was very sympathetically greeted with his idea of ​​\u200b\u200bRussian opera and offered her a plot from the legend of Ivan Susanin. Glinka diligently set to work; parallel to the work of the composer, Baron Rosen wrote the libretto. First of all, the overture was sketched, and by the spring of 1836 the whole opera, A Life for the Tsar, was already ready. After all sorts of difficulties, it was finally accepted onto the state stage, learned under the direction of Kavos, and on November 27, 1836, it was performed with tremendous success.

Geniuses and villains. Mikhail Glinka

After that, Glinka was appointed bandmaster of the court choir, but in 1839 he left the service due to illness. By this time, he had become especially close to the “brotherhood,” a circle that included the brothers Kukolnikov, Bryullov, Bakhturin, and others. Illness and family troubles (Glinka separated, and a few years later divorced his wife) slowed things down a bit, but finally on November 27, 1842, the new opera was staged in St. Petersburg. The underdevelopment of the majority of the public, who had not yet grown up to understand the musical height and originality to which Glinka rose in Ruslan and Lyudmila, was the main reason for the comparative failure of this opera. A year later, she was removed from the repertoire. Disappointed and ill, the composer left for Paris in 1844 (where Berlioz successfully performed some of his compositions in two concerts), and from there to Spain, where he lived for three years, collecting Spanish songs.

Returning to Russia, Glinka lived in Smolensk, Warsaw, St. Petersburg; at this time he wrote two Spanish overtures and "Kamarinskaya" for orchestra. Almost all the time, however, a dejected state of mind and malaise did not leave him. Deciding to devote himself to Russian church music, in 1856 Glinka again went to Berlin, where, under the guidance of Den, he studied ancient church modes for about 10 months. There he caught a cold, leaving one court concert, fell ill and died on the night of February 3, 1857. His ashes were subsequently transported to St. Petersburg, and in 1885, with funds raised by a nationwide subscription, a monument was erected to him in Smolensk, with the inscription "Glinka - Russia."

In addition to the above, Glinka also wrote an overture and music for the drama puppeteer"Prince Kholmsky", solemn polonaise and tarantella for orchestra, up to 70 romances, of which the series "Farewell to Petersburg" and other compositions are considered the best. Having borrowed from the French the variety and piquancy of rhythm, from the Italians the clarity and convexity of the melody, from the Germans the wealth of counterpoint and harmony, Glinka managed in his best compositions, most of all in Ruslan and Lyudmila, to translate all this and recreate it in accordance with the spirit of the Russian folk song . Glinka's instrumentation was perfect for his time. Thanks to all this, his compositions, distinguished by artistic completeness and high mastery of form, are at the same time imprinted with inimitable originality and depth of content, characteristic of the best examples of folk songs, which made it possible for them to become the basis of an original Russian musical school.

Glinka's ability to musically depict nationalities is remarkable: this is how Russian and Polish music are compared in A Life for the Tsar; in "Ruslan and Lyudmila", next to Russian music, we meet the Persian choir, Lezginka, Finn's music, etc. Glinka's beloved sister L. I. Shestakova prompted him to write his extremely interesting "Autobiography".

Essays on other great musicians - see below in the block "More on the topic ..."

The Russian composer Glinka left a significant mark on world music, stood at the origins of a kind of Russian composer school. His life contained a lot: creativity, travel, joys and difficulties, but his main asset is music.

Family and childhood

The future outstanding composer Glinka was born on May 20, 1804 in the Smolensk province, in the village of Novospasskoye. His father, a retired captain, had sufficient wealth to live comfortably. Glinka's great-grandfather was a Pole by origin, in 1654, when the Smolensk lands passed to Russia, he received Russian citizenship, converted to Orthodoxy and lived the life of a Russian landowner. The child was immediately given to the care of the grandmother, who raised her grandson in the traditions of that time: she kept him in stuffy rooms, did not develop him physically, and fed him with sweets. All this had a bad effect on Michael's health. He grew up sickly, capricious and pampered, later calling himself "mimosa".

Glinka almost spontaneously learned to read after the priest showed him the letters. From an early age, he showed musicality, he himself learned to imitate bell ringing on copper basins and sing along to the nurse's songs. Only at the age of six does he return to his parents, and they begin to take care of his upbringing and education. A governess is invited to him, who, in addition to general education subjects, taught him to play the piano, later he also masters the violin. At this time, the boy reads a lot, is fond of travel books, this passion will later turn into a love of changing places, which will own Glinka all his life. He also draws a little, but music is the main place in his heart. The boy in the fortress orchestra learns many works of that time, gets acquainted with musical instruments.

Years of study

Mikhail Glinka did not live long in the village. When he was 13 years old, his parents took him to the recently appeared in St. Petersburg Noble Boarding School at the Pedagogical Institute. The boy was not very interested in studying, since he had already mastered most of the program at home. His tutor was the former Decembrist V. K. Küchelbecker, and his classmate was the brother of A. S. Pushkin, with whom Mikhail first met at that time, and later became friends.

In boarding years, he converges with the princes Golitsyn, S. Sobolevsky, A. Rimsky-Korsakov, N. Melgunov. During this period, he significantly expanded his musical horizons, got acquainted with opera, attended numerous concerts, and also studied with famous musicians of that time - Boehm and Field. He improves his pianistic technique and receives his first lessons in composing.

The famous pianist S. Mayer worked with Mikhail in the 1920s, teaching him the work of a composer, correcting his first opuses, and giving the basics of working with an orchestra. At the graduation party of the boarding house, Glinka, paired with Mayer, played a concert by Hummel, publicly demonstrating his skills. Composer Mikhail Glinka graduated from the boarding school second in performance in 1822, but did not feel the desire to study further.

First writing experience

After graduating from the boarding school, the composer Glinka was in no hurry to look for a job, since his financial situation allowed him. The father did not rush his son with the choice of a job, but did not think that he would be engaged in music all his life. Composer Glinka, for whom music becomes the main thing in life, got the opportunity to go to the waters in the Caucasus to improve his health and abroad. He does not leave music lessons, studies the Western European heritage and composes new motives, this becomes a constant inner need for him.

In the 1920s, Glinka wrote the famous romances “Do not tempt me without need” to the verses of Baratynsky, “Do not sing, beauty, with me” to the text of A. Pushkin. His instrumental works also appear: adagio and rondo for orchestra, string septet.

Life in the light

In 1824, the composer M. I. Glinka entered the service, became an assistant secretary in the Office of Railways. But the service did not work out, and in 1828 he resigned. At this time, Glinka acquires a large number of acquaintances, communicates with A. Griboyedov, A. Mitskevich, A. Delvig, V. Odoevsky, V. Zhukovsky. He continues to study music, participates in musical evenings at Demidov's house, writes many songs and romances, and together with Pavlishchev publishes the Lyric Album, which collected works by various authors, including himself.

Foreign experience

Traveling was a very important part of Mikhail Glinka's life. He makes his first big foreign voyage after graduating from the boarding house.

In 1830, Glinka went on a long journey to Italy, which lasted for 4 years. The purpose of the trip was treatment, but it did not bring the proper result, and the musician did not take it seriously, constantly interrupting therapy courses, changing doctors and cities. In Italy, he met K. Bryullov, with outstanding composers of that time: Berlioz, Mendelssohn, Bellini, Donizetti. Impressed by these meetings, Glinka writes chamber works on themes by foreign composers. He studies a lot abroad with the best teachers, improves his performing technique, and studies music theory. He is looking for his strong theme in art, and homesickness becomes such for him, she pushes him to write serious works. Glinka creates the "Russian Symphony" and writes variations on Russian songs, which will later be included in other major compositions.

Great composer's work: M. Glinka's operas

In 1834, Mikhail's father dies, he gains financial independence and begins writing an opera. While still abroad, Glinka realized that his task was to write in Russian, this was the impetus for creating an opera based on national material. At this time, he entered the literary circles of St. Petersburg, where Aksakov, Zhukovsky, Shevyrev, Pogodin visited. Everyone is discussing the Russian opera written by Verstovsky, this example inspires Glinka, and he takes up the sketches for the opera based on Zhukovsky's short story Maryina Grove. The idea was not destined to come true, but this was the beginning of work on the opera A Life for the Tsar based on the plot suggested by Zhukovsky, based on the legend of Ivan Susanin. The great composer Glinka entered the history of music precisely as the author of this work. In it, he laid the foundations of the Russian opera school.

The premiere of the opera took place on November 27, 1836, the success was grandiose. Both the public and critics received the work extremely favorably. After that, Glinka was appointed bandmaster of the Court Choir and became a professional musician. Success inspired the composer, and he begins work on a new opera based on Pushkin's poem "Ruslan and Lyudmila". He wanted the poet to write the libretto, but his untimely death prevented the implementation of these plans. In his work, Glinka demonstrates a mature composer's talent and the highest technique. But "Ruslan and Lyudmila" was received more coolly than the first opera. This upset Glinka very much, and he again decided to go abroad. The composer's operatic heritage is small, but it had a decisive influence on the development of the national school of composers, and these works are still a vivid example of Russian music.

Symphonic music by Glinka

The development of the national theme was also reflected in the author's symphonic music. Composer Glinka creates a large number of works of an experimental nature, he is obsessed with finding a new form. In his compositions, our hero shows himself as a romantic and melodist. The works of the composer Glinka develop such genres in Russian music as folk-genre, lyrical-epic, dramatic. His most significant compositions are the overture "Night in Madrid" and "Jota of Aragon", the symphonic fantasy "Kamarinskaya".

Songs and romances

The portrait of Glinka (composer) would be incomplete without mentioning his songwriting. All his life he writes romances and songs, which become incredibly popular during the life of the author. In total, he wrote about 60 vocal works, of which the most notable are: “I remember a wonderful moment”, “Confession”, “Accompanying song” and many others, which today are part of the classical repertoire of vocalists.

Private life

In his personal life, the composer Glinka was not lucky. He married the lovely girl Ivanova Marya Petrovna in 1835, hoping to find in her a like-minded person and a loving heart. But very quickly a lot of disagreements arose between husband and wife. She led a stormy social life, spent a lot of money, so that even the income from the estate and payment for Glinka's musical works was not enough for her. He was forced to take on apprentices. The final break occurs when, in the 1840s, Glinka becomes infatuated with Katya Kern, the daughter of Pushkin's muse. He files for divorce, at which time it turns out that his wife secretly married cornet Vasilchikov. But the separation dragged on for 5 years. During this time, Glinka had to go through a real drama: Kern became pregnant, demanded drastic measures from him, he subsidized her getting rid of the child. Gradually, the heat of the relationship faded, and when the divorce was obtained in 1846, Glinka no longer had the desire to marry. He spent the rest of his life alone, indulging in friendly revels and orgies, which had a detrimental effect on his already poor health. Glinka died on February 15, 1857 in Berlin. Later, at the request of his sister, the ashes of the deceased were transported to Russia and buried at the Tikhvin cemetery in St. Petersburg.

Biography

Mikhail Ivanovich Glinka was born on June 1 (May 20, old style), 1804, in the village of Novospasskoye, Smolensk province, in a family of Smolensk landowners I. N. and E. A. Glinok(former second cousins). He received his primary education at home. Listening to the singing of serfs and the ringing of the bells of the local church, he showed an early passion for music. Misha was fond of playing the orchestra of serf musicians on his uncle's estate, Afanasy Andreevich Glinka. Musical lessons - playing the violin and piano - began rather late (in 1815-1816) and were of an amateur nature. However, music had such a strong influence on Glinka that once, in response to a remark about absent-mindedness, he remarked: “What to do?... Music is my soul!”.

In 1818 Mikhail Ivanovich entered the Noble Boarding School at the Main Pedagogical Institute in St. Petersburg (in 1819 it was renamed the Noble Boarding School at St. Petersburg University), where he studied with his younger brother Alexandra Pushkin- Leo, at the same time he met the poet himself, who "He used to visit us at his brother's boarding house". tutor Glinka was a Russian poet and Decembrist Wilhelm Karlovich Küchelbecker who taught Russian literature at the boarding school. Parallel to study Glinka took piano lessons (first from an English composer John Field, and after his departure to Moscow - from his students Oman, Zeiner and Sh. Mayr- a well-known musician). He graduated from the boarding school in 1822 as a second student. On the day of graduation, he successfully played a piano concerto in public Johann Nepomuk Hummel(Austrian musician, pianist, composer, author of concertos for piano and orchestra, chamber instrumental ensembles, sonatas).

After boarding school Mikhail Glinka did not enter service immediately. In 1823, he went to the Caucasian mineral waters for treatment, then went to Novospasskoye, where sometimes "he managed his uncle's orchestra, playing the violin" At the same time he began composing orchestral music. In 1824 he was hired as assistant secretary of the Main Directorate of Railways (he resigned in June 1828). The main place in his work was occupied by romances. Among the writings of that time "Poor Singer" on the verses of a Russian poet (1826), "Do not sing, beauty, with me" to poetry Alexander Sergeevich Pushkin(1828). One of the best romances of the early period - an elegy on verses Evgeny Abramovich Baratynsky "Do not tempt me unnecessarily"(1825). In 1829 Glinka and N. Pavlishchev from afar "Lyric Album", where among the works of various authors there were also plays Glinka.

Spring 1830 Mikhail Ivanovich 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 traveled to other Italian cities. In Italy, the composer met the composers Vincenzo Bellini, Felix Mendelssohn and Hector Berlioz. Among the composer's experiments of those years (chamber-instrumental compositions, romances), the romance stands out "Venetian night" to the poetry of the poet Ivan Ivanovich Kozlov. Winter and spring 1834 M. Glinka spent in Berlin, devoting himself to serious studies in music theory and composition under the guidance of a famous scholar Siegfried Dehn. At the same time, he had the idea of ​​creating a national Russian opera.

Returning to Russia Mikhail Glinka settled in Petersburg. Attending evenings at the poet's Vasily Andreevich Zhukovsky he met with Nikolai Vasilievich Gogol, Pyotr Andreevich Vyazemsky, Vladimir Fedorovich Odoevsky and others. The composer was carried away by the idea presented Zhukovsky, write an opera based on a story about Ivan Susanin, about whom he learned in his youth, having read "Duma" poet and Decembrist Kondraty Fedorovich Ryleev. Premiere of the work, named at the insistence of the theater management "Life for the King", January 27, 1836 became the birthday of the Russian heroic-patriotic opera. The performance was a great success, the royal family was present, and in the hall among many friends Glinka were Pushkin. Shortly after the premiere Glinka was appointed head of the Court Choir.

In 1835 M.I. Glinka married his distant relative Marya Petrovna Ivanova. The marriage was extremely unsuccessful and overshadowed the life of the composer for many years. Spring and summer 1838 Glinka spent in Ukraine, selecting choristers for the chapel. Among the newcomers was Semyon Stepanovich Gulak-Artemovsky- subsequently not only a famous singer, but also a composer, author of a popular Ukrainian opera "Zaporozhets beyond the Danube".

Upon returning to St. Petersburg Glinka often visited the brothers' house Platon and Nestor Vasilyevich Kukolnikov, where a circle gathered, consisting mostly of people of art. There were a seascape painter Ivan Constantinovich Aivazovski and painter and draftsman Karl Pavlovich Bryullov, who left many wonderful caricatures of the members of the circle, including Glinka. On verses N. Kukolnika Glinka wrote a cycle of romances "Farewell to Petersburg"(1840). Subsequently, he moved to the brothers' house because of the unbearable domestic atmosphere.

Back in 1837 Mikhail Glinka had conversations with Alexander Pushkin about creating an opera based on a plot "Ruslan and Lyudmila". In 1838, work began on the essay, which premiered on November 27, 1842 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 dramaturgy). At one of the shows "Ruslana" visited the Hungarian composer, pianist and conductor Franz Liszt, who highly appreciated not only this opera Glinka, but also its role in Russian music in general.

In 1838 M. Glinka met with Ekaterina Kern, the daughter of the heroine of the famous Pushkin poem, and dedicated his most inspirational works to her: "Waltz Fantasy"(1839) and marvelous romance on verses Pushkin "I remember a wonderful moment" (1840).

Spring 1844 M.I. Glinka went on a new trip abroad. After spending several days in Berlin, he stopped in Paris, where he met with Hector Berlioz, who included several compositions in his concert program Glinka. The success that fell to their lot prompted the composer to give an idea to give a charity concert in Paris from his own works, which was carried out on April 10, 1845. The concert was highly appreciated by the press.

In May 1845 Glinka went to Spain, where he stayed until the middle of 1847. Spanish impressions formed the basis of two brilliant orchestral pieces: "Jota of Aragon"(1845) and "Memories of a Summer Night in Madrid"(1848, 2nd edition - 1851). In 1848 the composer spent several months in Warsaw, where he wrote "Kamarinskaya"- an essay about which the Russian composer Peter Ilyich Tchaikovsky noticed that in her “like an oak tree in a stomach, all Russian symphonic music is enclosed”.

Winter 1851-1852 Glinka spent in St. Petersburg, where he became close to a group of young cultural figures, and in 1855 he met Mily Alekseevich Balakirev who later became head "New Russian School"(or "Mighty bunch"), who creatively developed the traditions laid down Glinka.

In 1852, the composer again left for Paris for several months, from 1856 he lived in Berlin until his death.

"IN many respects Glinka has the same meaning in Russian music as Pushkin in Russian poetry. Both are great talents, both are the founders of the new Russian artistic creativity, both created a new Russian language - one in poetry, the other in music ", - so the famous critic wrote Vladimir Vasilievich Stasov.

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

Mikhail Ivanovich Glinka died February 3 (February 15, old style), 1857, in Berlin and was buried in the Lutheran cemetery. In May of the same year, his ashes were transported to St. Petersburg and buried in the cemetery of the Alexander Nevsky Lavra.

Mikhail Ivanovich (05/20/1804, the village of Novospasskoye, Elninsky District, Smolensk Province - 02/3/1857, Berlin), Russian. composer, founder of the Russian classical music. The works of G. determined the national and world significance of Russian. music culture. The composer summarized the traditions of folk songwriting (an old peasant song and urban folklore), Old Russian. church singer art, achievements of Russian. composing art XVIII - early. 19th century

The first bright muses. G.'s impressions are connected with the ringing of bells, which he tried to imitate in domestic conditions (“on copper basins”), and with folk songs. G. liked to listen to the concerts of the serf orchestra, participated in them. Primary home music. G. continued his education while studying at the Noble Boarding School (1818-1822), studying with J. Field, S. Mayer. In the 20s. G. enjoyed fame among music lovers as a singer and pianist, author of romances. Visiting Italy (1830-1833), Berlin (1833-1834, 1856-1857), Paris (1844-1845, 1852-1854), Spain (1845-1847), Warsaw (1848, 1849-1851), he got acquainted with . life of the largest European centers, mastered the experience of world music. culture.

In the mature period of his work, G. created 2 major operas: the “domestic heroic-tragic” Life for the Tsar (1836) and the fabulously epic Ruslan and Lyudmila (1842), which combined the frivolous-ironic nature of Pushkin’s poetry and frankly sensual coloring of G.’s music. The idea of ​​​​creating a “Russian opera” based on the plot of Ivan Susanin, which corresponded to G.’s thoughts about national music, was proposed to the composer by V. A. Zhukovsky with the choir from the 1st picture of the Epilogue). According to Prince V. F. Odoevsky, it was originally conceived as a stage oratorio "Ivan Susanin" (perhaps under the influence of "Duma" by K. F. Ryleev with the same plot basis - Stasov V. V. New materials for the biography of M. And Glinka: Two Letters of Prince V. F. Odoevsky // Yearly Imperial Theatre, 1892-1893, pp. 472-473). A significant part of the libretto, written by Baron E. F. Rosen (fragments of the text belong to N. V. Kukolnik, V. A. Sollogub), adapted to the music already created by G.. Both in the 1st (staged in 1836) and in the 2nd (staged in 1837) editions, the opera A Life for the Tsar retained the genre features of the oratorio, which manifested themselves primarily in the significance of the constructive and semantic function of the choir (the choral framing of the opera in the form Introduction and Epilogue, choirs of peasants, choirs of Poles in the 2nd "Polish" act and in the scene in the forest from the 4th act). The choir (people) and heroes simultaneously represent both historical and ideal mystical reality. The mystical nature of the opera is embodied in the idea of ​​an ideal fatherland (“High and holy is our royal house and the fortress of God all around! Under it, the power of Russia is intact, and winged leaders stand on the wall in white clothes” - 3rd act, a scene in Susanin’s hut with the Poles ) and about the family as its exact reflection, about the God-given sovereign and the tsar - the people's chosen one (“The Lord Himself granted him to us as king, the Lord Himself of the king is separated from the enemies. By the powers of heaven. He is separated” - 4th act, scene at the gate of the mon -rya) and in almost hagiographic images of Vanya, an orphan boy and an angel messenger (“My voice, like a bell, will sound, everyone will hear, even the dead” - Ibid.), who defended the legitimate tsar, and the folk hero, the peasant Ivan Susanin, who sacrificed himself to the tsar and the fatherland (“Lord, You support me, in my bitter hour, in my terrible hour, in my hour of death”, “Keep your spirit in truth, and take your cross” - 4th act, scene in forest). Originality, novelty, high professionalism of the opera and its significance for Russian. cultures were evaluated in a comic poetic form by Zhukovsky, Prince. P. A. Vyazemsky, A. S. Pushkin, gr. M. Yu. Vielgorsky (together with Prince V. F. Odoevsky set this text to music in the form of a canon), and also, with all seriousness, the French. critic A. Merimee (letters from Moscow dated 1840, published in March 1844 in the Revue de Paris): “This is more than an opera, this is a national epic, this is a musical drama raised to the noble height of its original purpose when it was still not frivolous fun, but a patriotic and religious rite. The music of the opera organically combined national choral traditions (church, including early partes, and peasant polyphony), the high style of Western Europe. choral writing (G. F. Handel, L. van Beethoven), knowledge of solo vocal technique (implementation of bel canto culture on Russian soil), mastery of orchestral writing.

A high professional level is also distinguished by the works of G. in other genres: romances, in which G. achieved complete harmony of music and poetic text and for the first time reached the level of Pushkin’s poetry (“I remember a wonderful moment”, the vocal cycle “Farewell to Petersburg”), “Waltz-Fantasy” (written for piano in 1839, orchestrated ed. 1856), music for the tragedy “Prince Kholmsky” by N. V. Kukolnik (1840).

Under the impression of a trip to Spain, G.'s orchestral overtures Jota of Aragon (1845) and Night in Madrid (1848, 2nd edition 1851) arose, which are distinguished by filigree, transparency and accuracy of orchestral writing and laid the foundation for genre symphonism, later. developed by the composers of The Mighty Handful. In the "Russian scherzo" for orchestra "Kamarinskaya" (Warsaw, 1848), G. revealed the features of the national music. thinking, synthesized the richness of folk music and high professionalism. His compositions are characterized by an aristocratically impeccable taste, refined forms, artistry.

In 1837-1839. G. served as bandmaster of the Court Choir and studied music. the education of singers. From Apr. to Sept. In 1838 he was in Little Russia, selecting singers for the chapel. In 1837, wanting to “test his strength in church music” (Notes, p. 280), G. wrote the “Cherubic Hymn” for 6 voices in the Russian style. choral concert con. XVIII - beginning. 19th century (Fragments of draft autographs are stored in the OR GPB. F. 190. No. 11. L. 42-43; No. 67. L. 1 rev.). In the same style, a choral fugue was started, but not completed (perhaps, it is the fugue “Praise, I will call on the Lord”, autograph in the OR GPB. F. 190. No. 11. L. 34-39 rev.). Established in the XVIII - early. 19th century the traditions of church singing, apparently, did not satisfy G.

In shaping the composer's ideas about domestic sacred music, trips to Little Russia, acquaintance with the best church choirs, regents, and choristers could play a significant role. It was at this time that G. “for the first time seriously thought about the fate of Orthodox liturgical singing in general and about the ways of its reform” (Tyshko, Mamaev, p. 41). In the spring of 1838 he studied the circle of church singing. In the 40s. in conversations with V. F. Odoevsky, V. V. Stasov, G. often discussed issues of the modal organization of Old Russian. tunes, noting its similarity with the church modes of Western Europe. medieval music, as well as national specifics. The reason for G.'s serious thoughts about Rus. Sacred music began to communicate in 1855 with St. Ignatius (Bryanchaninov), at that time the rector of the Trinity-Sergius, is empty. near St. Petersburg. His "considerations about domestic church music" G. intended to express Bishop. Ignatius at the meeting, and they remained unrecorded (Letters. T. 2B. S. 95). Echoes of conversations with G. may be contained in Art. St. Ignatius "Christian Shepherd and Christian Artist", dedicated to the issue of church music. creativity (BT. 1996. Sat. 32. S. 278-281).

For the monks of the Trinity-Sergius is empty. in the spring of 1856, G. wrote "Lectanies" for alto, 2 tenors and bass and "May my prayer be corrected" in Greek chant for 2 tenors and bass, which, according to G., "produced some success" (Letters. T 2b. pp. 142-143). The first hymn, published by Jurgenson's publishing house in 1878 under the title Litany I, is probably the great litany for the liturgy. These chants are distinguished by their reliance on diatonic, modal variability, plagality, variation, characteristic of Russian. music. In “Let my prayer be corrected”, G. opens up new ways of melodic-harmonic processing, in particular, he turns to three-voice, since clarity, transparency of texture was for G. one of the criteria for the beauty of sound. In "Notes on Instrumentation" he wrote about the preference for harmony "as rarely as possible four-voice - always somewhat heavy, confusing" (T. 1. S. 183). G.'s arrangement is qualitatively different from the arrangements of his contemporaries A.F. Lvov, N.M. Potulov. Holy Mikhail Lisitsyn wrote in 1902 that “May my prayer be corrected” is “a revelation from which the whole mass of transcribers has drawn and still draws” (Lisitsyn M.A. Modern and latest church music // Music and singing. 1902 No. 2, p. 2).

In 1856, Mr.. G. studied the theory of church tones and the strict writing style of Western Europe. Middle Ages and Renaissance in Berlin with the theorist Z. V. Dehn. “The Almighty can vouchsafe me to produce church Russian music” - this is the main idea of ​​G.'s letters from Berlin in 1856 (Letters. T. 2B. C. 153). G. left work on the symphony "Taras Bulba", search for Russian. national style completely moved into the field of liturgical singing. In order to create the “Liturgy of John Chrysostom for 3 and 2 voices, not for the choir, but for the clerks” (Letter to V.P. Engelhardt of July 11 (June 29), 1856 - Vol. Berlin collection of old tunes. In the style of bud. compositions were to combine the principles of church and folk music. creativity in the conditions of "tidy" (competent, logical) writing. However, the most important question remained open about the relationship between the polyphonic technique of strict writing, including canons, and the national coloring of the bud. essays.

In the Berlin drafts of G., 4 versions of "Christ is Risen" have been preserved, in one-voice and 3-voice presentations (Uchebnye rabota, p. 112). One of the polyphonic variants is accompanied by the inscription: "As it is usually sung by deacons and the people." The words of the composer can be attributed to 2 others: "As I wanted to do for the deacons and the people." Differences in the harmonization of G. from the “Dyachkovo-folk” one consist in the fact that the tertian second is not always sustained, the bass melody is more widely deployed, the harmonic minor is replaced by natural, and there are no parallelisms of all voices.

G. did not have time to realize his plans, but he laid the foundation for the subsequent development of sacred music in the work of P. I. Tchaikovsky, S. I. Taneev, N. A. Rimsky-Korsakov, A. D. Kastalsky and other composers of the . XIX - beginning. 20th century

At the insistence of G.'s sister, L. I. Shestakova, the composer was reburied in the Alexander Nevsky Lavra in St. Petersburg, but a monument to him in the cemetery in Tegel has survived to this day. time.

Cit.: Notes. L., 1930. M., 2004; Notes on instrumentation // PSS: Lit. prod. and correspondence. M., 1973. T. 1; Letters // Ibid. M., 1975. T. 2A; 1973. T. 2B; Educational work: Exercises in the church. frets // Collected. cit.: In 18 t. M., 1969. T. 17.

Lit .: Odoevsky V . F . On the question of ancient Russian. chants // Day. 1864. No. 17. S. 6-9; Kompaneisky N . AND . Influence Op. Glinka on the church. music // RMG. 1904. No. 19/20. Stb. 494-503; Kann-Novikova E . AND . M. I. Glinka: New materials and documents. M., 1950. Issue. 1; Stasov V. IN . M. I. Glinka. M., 1953; Glinka in flashback contemporaries / Under the general. ed. A. A. Orlova. M., 1955; Levashev E . M . Traditional Orthodox genres. chanter art in the work of Russian. Composers from Glinka to Rachmaninoff: 1825-1917: Notograph. ref. M., 1994. S. 6-8, 31; Plotnikova N . YU . Experiments and plans of M. I. Glinka in Russian. Sacred Music // Days of Glory. writing and culture: Mat-ly Vseros. scientific conf. Vladivostok, 1998, pp. 142-149; Tyshko S. V ., Mamaev, S . G . Glinka's Wanderings: Comment. to Notes. K., 2000. Part 1: Ukraine; Deverilina N . V ., Queen G . TO . "I will open my heart to you." Smolensk, 2001; Glinka E. A . Letters. M., 2002; Plotnikova N . YU . Enter the courtyard of Christ // Cultural and educational work ("Meeting"). 2004. No. 5. S. 15-17.

N. Yu. Plotnikova, I. E. Lozovaya

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

Glinka's vocal lyrics are marked by the harmony of the worldview. Diverse in themes and forms, it included, in addition to Russian songwriting - the foundation of Glinka's melody - also Ukrainian, Polish, Finnish, Georgian, Spanish, Italian motifs, intonations, genres. His romances to the words of Pushkin stand out (including “Don’t sing, beauty, with me”, “I remember a wonderful moment”, “The fire of desire burns in the blood”, “Night marshmallow”), Zhukovsky (ballad “Night review” ), Baratynsky (“Do not tempt me unnecessarily”), Puppeteer (“Doubt” and a cycle of 12 romances “Farewell to St. Petersburg”). Glinka created about 80 works for voice and piano (romances, songs, arias, canzonettes), vocal ensembles, vocal etudes and exercises, choruses. He owns chamber instrumental ensembles, including 2 string quartets, the Pathétique Trio (for piano, clarinet and bassoon, 1832).

The following generations of Russian composers remained faithful to the basic creative principles of Glinka, enriching the national musical style with new content and new means of expression. Under the direct influence of Glinka, a composer and vocal teacher, the Russian vocal school was formed. Singing lessons were taken from Glinka and singers N. K. Ivanov, O. A. Petrov, A. Ya. M. Leonova and others A. N. Serov wrote down his Notes on Instrumentation (1852, published 1856). Glinka left memoirs ("Notes", 1854-55, published 1870).