Biography and creativity of Glinka (briefly). Works of Glinka

Creativity MI Glinka marked a new historical stage in the development of musical culture - the classical. He managed to combine the best European tendencies with national traditions. Attention deserves all the work of Glinka. Briefly describe all the genres in which he worked fruitfully. First, it's his operas. They have acquired immense importance, since they truly recreate the heroic events of the past. His romances are filled with special sensuality and beauty. Symphonic works are inherent incredible picturesqueness. In the folk song Glinka discovered an inexhaustible source of poetry and created a truly democratic national art.

Creativity and biography of Glinka. Childhood and youth

He was born on May 20, 1804. His childhood was spent in the village of Novospasskoye. Bright and memorable for life impressions were the tales and songs of the nurse Avdotya Ivanovna. He was always attracted by the sound of a bell-ringing, which he soon began to imitate on copper basins. He began to read early and was curious by nature. Favorably affected the reading of the old edition of "On wanderings in general." It aroused great interest in travel, geography, drawing and music. Before entering the noble boarding school, he studied piano lessons and quickly succeeded in this difficult matter.

In the winter of 1817, he was sent to Petersburg to a boarding house where he spent four years. He studied with Bem and Field. The life and work of Glinka in the period from 1823 to 1830 were very full. Since 1824, he visited the Caucasus, where he served until 1828 as assistant secretary of the railways. From 1819 to 1828 periodically visits his native Novospasskoe. Afterwards he meets new friends in Petersburg (P. Yushkov and D. Demidov). During this period he creates his first romances. It:

• Elegy "Do not tempt me" into the words of Baratynsky.
• "Poor singer" in the words of Zhukovsky.
• "I love, you told me" and "Bitterly, bitterly" at the words of Korsak.

He writes piano pieces, makes the first attempt to write the opera "Life for the Tsar".

First trip abroad

In 1830 he went to Italy, on the way he was in Germany. It was his first trip abroad. He went here to improve his health and enjoy the surrounding nature of an unknown country. His impressions gave him material for the eastern scenes of the opera Ruslan and Lyudmila. In Italy, he was until 1833, mainly in Milan.

Life and creativity of Glinka in this country proceed successfully, easily and at ease. Here his acquaintance with the painter K. Bryullov, the Moscow professor S. Sheviryayev, takes place. From composers - with Donizetti, Mendelssohn, Berlioz and others. In Milan, Riccordi publishes some of his works.

In 1831-1832 he composed two serenades, a number of romances, Italian Cavatins, a sextet in key in E flat major. In aristocratic circles, he was known as Maestro russo.

In July 1833, he went to Vienna, and then spent about six months in Berlin. Here he enriches his technical knowledge with the famous contrapuntalist Z. Dehn. Subsequently, under his leadership, he wrote the "Russian Symphony". At that time the composer's talent is developing. Creativity Glinka becomes more free from the influence of others, he is more conscious of him. In his "Notes" he admits that all this time he was looking for his way and style. Deserted at home, think about writing in Russian.

Homecoming

In the spring of 1834, Mikhail came to Novospasskoe. He thought about going abroad again, but he decided to stay on his native land. In the summer of 1834 he went to Moscow. He meets here with Melgunov and restores his former acquaintances with musical and literary circles. Among them, Aksakov, Verstovsky, Pogodin, Shevyrev. Glinka decided to create a Russian national opera. He took up the romantic opera "Marina Grove" (on the plot of Zhukovsky). The composer's plan was not realized, the outline did not reach us.

In the autumn of 1834 he came to Petersburg, where he visited literary and amateur circles. Once Zhukovsky told him to take the story of "Ivan Susanin." In this period of time composes such songs: "Do not call her heavenly," "Do not say, love will pass," "I only knew you," "I'm here, Inezilya." In his personal life, he has a great event - marriage. Along with this, he became interested in writing Russian opera. Personal experiences influenced the work of Glinka, in particular the music of his opera. Initially, the composer decided to write a cantata, consisting of three paintings. The first was to be called a rural scene, the second - Polish, the third - a solemn ending. But under the influence of Zhukovsky, he created a dramatic opera, consisting of five acts.

The premiere of "Life for the Tsar" occurred on November 27, 1836. V. Odoevsky appreciated it. Emperor Nicholas I presented Glinka with a ring for 4000 rubles. A couple of months later he appointed him a conductor. In 1839 for several reasons Glinka resigns. In this period, fruitful creativity continues. Glinka Mikhail Ivanovich wrote such compositions: "Night review", "Northern star", one more scene from "Ivan Susanin". It is accepted for a new opera on the plot of "Ruslan and Lyudmila" on the advice of Shakhovsky. In November 1839, he divorced his wife. In the period of his life with the "brotherhood" (1839-1841) creates a series of romances. Opera "Ruslan and Lyudmila" was a long-awaited event, tickets were bought up in advance. The premiere took place on 27.11.1842. The success was staggering. After 53 performances, the opera ceased to be staged. The composer decided that his brainchild was underestimated, and he was apathetic. Creativity Glinka suspended for a year.

Traveling to distant countries

In the summer of 1843 he traveled through Germany to Paris, where he remained until the spring of 1844.

Renews old acquaintances, is friends with Berlioz. Glinka was impressed with his works. He studies his program works. In Paris, he maintains friendly relations with Merimee, Hertz, Chateonf and many other musicians and writers. Then he visits Spain, where he lives for two years. He was in Andalusia, Granada, Valladolid, Madrid, Pamplona, Segovia. He writes "Aragon Hotu". Here he rests from the pressing Petersburg problems. Walking through Spain, Mikhail Ivanovich collected folk songs and dances, wrote them down in a book. Some of them formed the basis of the work "Night in Madrid". From Glinka's letters it becomes obvious that in Spain he is resting heart and soul, here he lives very well.

last years of life

In July 1847 he returned to his homeland. There is a certain time in Novospassky. The creativity of Mikhail Glinka in this period is renewed with renewed vigor. He writes several piano pieces, the romance "You will soon forget me" and others. In the spring of 1848, he went to Warsaw and lived here until the fall. He writes for the orchestra "Kamarinskaya", "Night in Madrid", romances. In November 1848 he came to Petersburg, where he was ill all winter.

In the spring of 1849 he again travels to Warsaw and lives here until the fall of 1851. In July of this year, he fell ill, after receiving the sad news of his mother's death. In September, he returns to Petersburg, lives with his sister L. Shestakova. He writes extremely rarely. In May 1852 he went to Paris and is here until May 1854. From 1854-1856 he lives in Petersburg with his sister. He is fond of Russian singer D. Leonova. For her concerts she creates arrangements. April 27, 1856 he left for Berlin, where he settled in the neighborhood of Den. Every day he came to visit him and supervised classes in a strict style. Creativity MI Glinka could continue. But on the evening of January 9, 1857, he caught a cold. On February 3, Mikhail Ivanovich died.

What is the innovation of Glinka?

MI Glinka created the Russian style in musical art. He was the first composer in Russia who connected musical equipment with the song store (Russian folk music) (this concerns melody, harmony, rhythmics and counterpoint). Creativity of the composer Glinka contains enough vivid examples of such a plan. This is his folk musical drama "Life for the Tsar", the epic opera "Ruslan and Lyudmila." As an example of the Russian symphonic style, you can name "Kamarinskaya", "Prince Kholmsky", overtures and interludes for his both operas. His romances are highly artistic examples of lyrically and dramatically expressed songs. Glinka is rightfully considered a classic master of world significance.

Symphonic creativity

For the symphonic orchestra, the composer created a small number of works. But their role in the history of musical art has proved so important that they are considered the basis of Russian classical symphonism. Virtually all belong to the genre of fantasy or one-parted overtures. "Aragon Hota", "Waltz-Fantasy", "Kamarinskaya", "Prince Kholmsky" and "Night in Madrid" constitute Glinka's symphonic work. Composer laid new principles of development.

The main features of his symphonic overtures:

• Availability.
• The principle of generalized program.
• Uniqueness of forms.
• Compression, conciseness of forms.
• Dependence on the general artistic concept.

Symphonic creativity Glinka successfully described P. Tchaikovsky, comparing the "Kamarinskaya" with oak and acorn. And he stressed that in this work there is a whole Russian symphonic school.

Opera legacy of the composer

"Ivan Susanin" ("Life for the Tsar") and "Ruslan and Lyudmila" constitute the operatic work of Glinka. The first opera is a folk musical drama. It is intertwined with several genres. Firstly, it is a heroic-epic opera (the story is based on the historical events of 1612). Secondly, it contains features of an epic opera, a lyric-psychological and folk musical drama. If "Ivan Susanin" continues European trends, then "Ruslan and Lyudmila" is a new type of dramatic art - epic.

It was written in 1842. The audience could not appreciate it, it was incomprehensible to the majority. V. Stasov was one of the few critics who noticed its importance for the entire Russian musical culture. He stressed that this is not just an unsuccessful opera, it's a new type of drama, completely unknown. Features of the opera "Ruslan and Lyudmila":

• Slow development.
• Absence of direct conflicts.
• Romantic trends - colorful and picturesque.

Romances and songs

Vocal creativity of Glinka was created by the composer throughout his life. He wrote more than 70 songs. They embody various feelings: love, sadness, spiritual impulse, delight, disappointment, etc. In some of them pictures of life and nature are imprinted. Glinka is subject to all kinds of domestic romance. It is a ballad, a "Russian song", a serenade, an elegy. It covers such everyday dances as waltz, polka and mazurka. The composer turns to genres that are characteristic of the music of other peoples. This is an Italian barcarole and a Spanish bolero. The forms of romances are quite diverse: three-part, simple verse, complex, rondo. Vocal creativity of Glinka includes the texts of twenty poets. He managed to convey in music features of the poetic language of each author. The main means of expressing many songs is the melodic tune of wide breathing. A huge role is played by the piano part. Virtually all romances have introductions, which are introduced into the atmosphere of action and set the mood. Very well-known are such Glinka's songs as:

• "In the blood burns the fire of desire."
• "Skylark".
• "Accompanying song".
• "Doubt".
• "I remember a wonderful moment."
• "Do not tempt."
• "You will soon forget me."
• "Do not say that the heart hurts."
• "Do not sing, beauty, with me."
• "Confession".
• "Night review."
• "Memory".
• "To her".
• "I'm here, Inesilia."
• "Ah, are you the night or the night?"
• "In a minute of life difficult."

Chamber-instrumental creativity of Glinka (briefly)

The brightest example of the instrumental ensemble is a large work for the piano and the string quintet of Glinka. This is a remarkable divertissement based on the well-known opera Bellini "Somnambula". New ideas and tasks are embodied in two chamber ensembles: the "Big Sextet" and the "Pathetical Trio". And although in these works the dependence on the Italian tradition is felt, they are quite original and original. In "Sextet" there is a rich melody, relief thematicism, a slender form. This ensemble is a concert type. In this work, Glinka tried to convey the beauty of Italian nature. "Trio" is the exact opposite of the first ensemble. His character is gloomy and worried.

Chamber music of Glinka greatly enriched the performing repertoire of violinists, pianists, viola players, clarinetists. Chamber ensembles attract listeners with the extraordinary depth of musical thoughts, the variety of rhythm formulas, the naturalness of melodic breathing.

Conclusion

The musical creativity of Glinka combines the best European tendencies with national traditions. A new stage in the history of the development of musical art is associated with the name of the composer, which is called "classical." Creativity Glinka covers different genres that have taken their place in the history of Russian music and deserve attention from listeners and researchers. Each of his operas opens a new type of drama. "Ivan Susanin" is a folk musical drama, which combines various features. "Ruslan and Lyudmila" is a fabulously epic opera without pronounced conflicts. It develops calmly and leisurely. It is inherent in color and picturesqueness. His operas have acquired great importance, as they truly recreate the heroic events of the past. Symphonic works written a little. However, they were able not only to please listeners, but also to become a real treasure and the foundation of Russian symphonism, since they are characterized by incredible picturesqueness.

The composer's vocal work totals about 70 works. They are all adorable and adorable. They embody different emotions, feelings and moods. They are filled with special beauty. The composer turns to different genres and forms. As for the chamber-instrumental works, they are also few. However, their role is no less important. They replenished the performing repertoire with new and worthy examples.