Biography

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

In 1818 Mikhail Ivanovich entered Petersburg in the Noble boarding house at the Main Pedagogical Institute (in 1819 it was renamed the Noble boarding house at St. Petersburg University), where he studied with his younger brother Alexandra Pushkin- Leo, at the same time he met the poet himself, who "Went to our boarding house to his brother"... Governor Glinka was a Russian poet and Decembrist Wilhelm Karlovich Kuchelbecker, who taught Russian literature at the boarding school. In parallel with studies Glinka took piano lessons (first from the English composer John Field, and after his departure to Moscow - his students Oman, Zeiner and S. Mayr- a fairly famous musician). He graduated from the boarding school in 1822 as a second student. On the day of graduation, he played a public piano concert with success Johann Nepomuk Hummel(Austrian musician, pianist, composer, author of concerts for piano and orchestra, chamber instrumental ensembles, sonatas).

After the end of the boarding house Mikhail Glinka did not immediately enter the service. In 1823, he went to the Caucasian mineral waters for treatment, then went to Novospasskoe, where sometimes "I directed my uncle's orchestra myself, playing the violin", then he began to compose orchestral music. In 1824 he was appointed assistant secretary of the Main Directorate of Railways (he retired in June 1828). Romances occupied the main place in his work. Among the writings of that time "Poor Singer" on the verses of a Russian poet (1826), "Don't sing, beauty, with me" to poetry Alexander Sergeevich Pushkin(1828). One of the best romances of the early period - an elegy to poetry Evgeny Abramovich Baratynsky "Do not tempt me unnecessarily"(1825). In 1829 Glinka and N. Pavlishchev from afar "Lyric Album", where among the works of different authors there were also plays Glinka.

In the spring of 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 composers Vincenzo Bellini, Felix Mendelssohn and Hector Berlioz. Among the composing experiences of those years (chamber instrumental compositions, romances), romance stands out "Venetian Night" on poetry Ivan Ivanovich Kozlov... Winter and spring 1834 M. Glinka spent in Berlin, devoting himself to serious studies of music theory and composition under the guidance of a famous scientist Siegfried Dehn... It was then that he conceived 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 Nikolai Vasilievich Gogol, Pyotr Andreevich Vyazemsky, Vladimir Fedorovich Odoevsky etc. The composer was carried away by the idea presented Zhukovsky, write an opera based on a story about Ivane Susanin, about whom he learned in his youth, after reading "Duma" poet and Decembrist Kondraty Fedorovich Ryleev... Premiere of a work named at the insistence of the theater directorate "Life for the Tsar", 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 Singing Chapel.

In 1835 M.I. Glinka married his distant relative Marya Petrovna Ivanova... The marriage turned out to be extremely unsuccessful and darkened the composer's life for many years. Spring and summer 1838 Glinka spent in Ukraine, selecting choristers for the chapel. Among the newcomers was and 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 Plato and Nestor Vasilievich Kukolnikov, where the circle gathered, which consisted mostly of people of art. There was a marine painter Ivan Constantinovich Aivazovski and painter and draftsman Karl Pavlovich Bryullov, who left many wonderful cartoons of the members of the circle, including Glinka... On poetry N. Kukolnika Glinka wrote a cycle of romances "Farewell to St. Petersburg"(1840). Subsequently, he moved to the brothers' house because of the unbearable domestic atmosphere.

Back in 1837 Mikhail Glinka interviewed Alexander Pushkin about creating an opera based on a plot "Ruslana and Lyudmila"... In 1838, work began on the composition, 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, the leading cultural figures greeted the composition with enthusiasm (although there was no consensus this time, due to the deeply innovative nature of the drama). At one of the performances Ruslana visited the Hungarian composer, pianist and conductor Franz Liszt who highly appreciated not only this opera Glinka, but also his role in Russian music in general.

In 1838 M. Glinka met with Catherine Kern, the daughter of the heroine of the famous Pushkin's poem, and dedicated his most inspired works to her: "Waltz-fantasy"(1839) and a wondrous romance to poetry Pushkin "I remember a wonderful moment" (1840).

In the spring of 1844 M.I. Glinka went on a new trip abroad. After spending several days in Berlin, he stopped in Paris, where he met with By Hector Berlioz, who included several compositions in his concert program Glinka... The success that fell to their lot prompted the composer to give the idea of ​​giving in Paris a charity concert 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 mid-1847. Spanish impressions formed the basis for two brilliant orchestral pieces: "Aragonese Jota"(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 a Russian composer Peter Ilyich Tchaikovsky noticed that in her, "Like an oak in an acorn, all Russian symphonic music is contained".

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

In 1852, the composer again went to 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 creation, both have created a new Russian language - one in poetry, the other in music "- this is how the famous critic wrote Vladimir Vasilievich Stasov.

In creativity Glinka two major directions of Russian opera were defined: folk musical drama and fairy-tale opera; he laid the foundations of Russian symphonic music, 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 the acquaintance with the works of the great master, whose deeply moral content is combined with a perfect form.

Mikhail Ivanovich Glinka died on 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 Glinka is a Russian composer, founder of the Russian national opera, author of the world famous operas A Life for the Tsar (Ivan Susanin) and Ruslan and Lyudmila.

Glinka Mikhail Ivanovich was born on the family estate of his family in the Smolensk region on May 20 (June 1) 1804. His father was a descendant of a Russianized Polish nobleman. The parents of the future composer were distant relatives to each other. Mikhail's mother Evgenia Andreevna Glinka-Zemelka was the second cousin of his father, Ivan Nikolaevich Glinka.

Mikhail Glinka in recent years

The boy grew up as a sickly and weak child. For the first ten years of his life, Mikhail's mother was raised by his father's mother, Fyokla Aleksandrovna. The grandmother was an uncompromising and strict woman, cultivated suspiciousness and nervousness in the child. Fyokla Alexandrovna's grandson studied at home. The boy's first interest in music appeared in early childhood, when he tried to imitate bell ringing with the help of copper household utensils.

After the death of his grandmother, his mother took up the upbringing of Mikhail. She arranged for her son in a St. Petersburg boarding school, in which only selected noble children studied. There Mikhail met Lev Pushkin and his older brother. Alexander Sergeevich visited a relative and knew his close friends, one of whom was Mikhail Glinka.

At the boarding house, the future composer began to take music lessons. His favorite teacher was the pianist Karl Mayer. Glinka recalled that it was this teacher who influenced the formation of his musical taste. In 1822, Mikhail graduated from the boarding school. On the day of graduation, he, together with teacher Mayer, publicly performed Hummel's piano concerto. The performance was a success.

Carier start

The first works of Glinka belong to the period of graduation from the boarding house. In 1822, Mikhail Ivanovich became the author of several romances. One of them "Don't sing, beauty, in my presence" was written in poetry. The musician met the poet during his studies, but a few years after Glinka graduated from the boarding school, the young people became friends on the basis of common interests.

Mikhail Ivanovich had been in poor health since childhood. In 1923 he went to the Caucasus to undergo treatment with mineral waters. There he admired the landscapes, studied local legends and folk art, and took care of health. After returning from the Caucasus, Mikhail Ivanovich did not leave his family estate for almost a year, creating musical compositions.

In 1924 he left for the capital, where he got a job at the Ministry of Railways and Communications. Not having served even five years, Glinka retired. The reason for leaving the service was the lack of free time to practice music. Life in St. Petersburg gave Mikhail Ivanovich acquaintances with outstanding creative people of his time. The environment kindled the composer's need for creativity.

In 1830, Glinka's health deteriorated, the musician was forced to change the St. Petersburg dampness to a warmer climate. The composer went to Europe for treatment. Glinka combined his health trip to Italy with professional training. In Milan, the composer met Donizetti and Bellini, studied opera and bel canto. After four years of his stay in Italy, Glinka left for Germany. There he took lessons from Siegfried Dehn. Mikhail Ivanovich had to interrupt his studies because of the unexpected death of his father. The composer hastily returned to Russia.

Career heyday

Music occupied all of Glinka's thoughts. In 1834, the composer began working on his first opera, Ivan Susanin, which was later renamed A Life for the Tsar. The first title of the work was returned to Soviet times. The opera takes place in 1612, but the choice of the plot was influenced by the war of 1812, which happened during the author's childhood. When it began, Glinka was only eight years old, but her influence on the musician's mind persisted for several decades.

In 1842, the composer finished work on his second opera. The work "Ruslan and Lyudmila" was presented on the same day as "Ivan Susanin", but with a difference of six years.

Glinka took a long time to write his second opera. It took him about six years to complete this work. There was no limit to the composer's disappointment when the work did not have the desired success. A wave of criticism crushed the musician. Also in 1842, the composer had a crisis in his personal life, which affected the emotional and physical health of Glinka.

Dissatisfaction with life prompted Mikhail Ivanovich to take a new long-term trip to Europe. The composer visited several cities in Spain and France. Gradually he regained his creative inspiration. The result of his trip was new works: "Jota Aragonese" and "Remembrance of Castile". Life in Europe helped Glinka regain her self-confidence. The composer went to Russia again.

Glinka spent some time in the family estate, then he lived in St. Petersburg, but the social life tired the musician. In 1848 he ended up in Warsaw. The musician lived there for two years. This period of the composer's life was marked by the creation of the Kamarinskaya symphonic fantasy.

The last five years of his life, Mikhail Ivanovich spent on the road. In 1852, the composer went to Spain. The musician's health was poor, and when Glinka got to France, he decided to stay there. Paris favored him. Feeling the rise of vitality, the composer began work on the symphony "Taras Bulba". After living for about two years in Paris, the musician with all his creative endeavors went to his homeland. The reason for this decision was the beginning of the Crimean War. The Taras Bulba symphony was never finished.

Returning to Russia in 1854, the musician wrote his memoirs, which were published 16 years later under the title "Notes". In 1855, Mikhail Ivanovich composed the romance "In a Difficult Moment of Life" to verse. A year later, the composer went to Berlin.

Personal life

Glinka's biography is a story of a person's love for music, but the composer also had a more ordinary personal life. During his travels across Europe, Mikhail became the hero of several amorous adventures. Returning to Russia, the composer decided to marry. Following the example of his father, he chose his distant relative as his companion. The composer's wife was Maria (Marya) Petrovna Ivanova.

The couple had a fourteen-year age difference, but this did not stop the composer. The marriage was unhappy. Mikhail Ivanovich quickly realized that he had made the wrong choice. The marriage bond connected the musician with his unloved wife, and the heart was given to another woman. Ekaterina Kern became the composer's new love. The girl was the daughter of the muse of Pushkin, to whom Alexander Sergeevich dedicated the poem "I remember a wonderful moment."

Glinka's relationship with her beloved lasted almost 10 years. For most of this time, the musician was officially married. His legal wife Maria Ivanova, not having lived a year in a legal marriage, began to look for amorous adventures on the side. Glinka knew about her adventures. The wife reproached the musician for wastefulness, scandalized and cheated. The composer was very depressed.

After six years of marriage with Glinka, Maria Ivanova secretly married the cornet Nikolai Vasilchikov. When this circumstance was revealed, Glinka received hope for a divorce. All this time, the composer was in a relationship with Catherine Kern. In 1844, the musician realized that the intensity of love passions had faded away. Two years later, he received a divorce, but he never married Catherine.

Glinka and Pushkin

Mikhail Ivanovich and Alexander Sergeevich were contemporaries. Pushkin was only five years older than Glinka. After Mikhail Ivanovich crossed the line at twenty, he and Alexander Sergeevich developed many common interests. The friendship of young people continued until the tragic death of the poet.

Glinka conceived the opera Ruslan and Lyudmila in order to be able to work with Pushkin. The death of the poet greatly slowed down the process of creating the opera. As a result, her production almost failed. Glinka is called "Pushkin from Music", because he made the same contribution to the formation of the Russian national opera school as his friend made to the development of Russian literature.

Death

In Germany, Glinka studied the works of Johann Sebastian Bach and his contemporaries. Not having lived in Berlin for a year, the composer died. Death overtook him in February 1857.

The composer was modestly buried in a small Lutheran cemetery. A few months later, Glinka's younger sister Lyudmila came to Berlin to arrange the transportation of her brother's ashes to their homeland. The coffin with the composer's body was transported from Berlin to St. Petersburg in a cardboard box with the inscription "PORCELAIN".

Glinka was reburied in St. Petersburg at the Tikhvin cemetery. An authentic tombstone from the first grave of the composer is still in Berlin on the territory of the Russian Orthodox cemetery. In 1947, a monument to Glinka was also erected there.

• Glinka became the author of the romance "I remember a wonderful moment", which was written on the verses of Alexander Sergeevich Pushkin. The poet dedicated lines to his muse Anna Kern, and Mikhail Ivanovich dedicated the music to her daughter Catherine.
• After the composer received the news of his mother's death in 1851, his right hand was taken away. The mother was the closest person to the musician.
• Glinka could have children. The musician's beloved was pregnant in 1842. The composer was officially married during this period and could not get a divorce. The musician gave Ekaterina Kern a large amount of money to get rid of the child. The woman went to the Poltava region for almost a year. According to one of the versions, the child was still born, since Catherine Kern was absent for too long a period of time. During this time, the musician's feelings faded away, he left his passion. By the end of his life, Glinka regretted very much that he had asked Catherine to get rid of the child.
• The musician has been seeking a divorce from his wife Maria Ivanova for many years, intending to marry his beloved Ekaterina Kern, but having received freedom, he decided to refuse to marry. He left his passion, fearing new obligations. Ekaterina Kern has been waiting for the composer to return to her for almost 10 years.

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

(20.5 (1.6) .1804, Novospasskoye village, now Elninsky district of 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 a hundred miles from Smolensk and twenty miles from the small town of Yelnya. Systematic teaching of music began quite late and in about the same spirit as teaching general disciplines. The first teacher of Glinka was the governess Varvara Fyodorovna Klamer, invited from St. Petersburg.

Glinka's first experience in composing music dates back to 1822 - the time of the end of the boarding house. These were variations for harp or piano on a theme from the then fashionable opera "The Swiss Family" by the Austrian composer Weigl. From that moment on, continuing to improve in playing the piano, Glinka pays more and more attention to composition and soon already composes a lot, trying her hand at a variety of genres. For a long time he remains dissatisfied with his work. But it was during this period that the well-known today romances and songs were written: "Do not tempt me unnecessarily" to the words of E.A. Baratynsky, "Don't 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 valued they are. Glinka "with constant and deep tension" is looking for himself in music and at the same time in practice comprehends the secrets of composing. He writes a number of romances and songs, honing the vocal melodic, 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, adagio and rondo for orchestra and on two orchestral overtures.

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

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

At the end of April 1830, Glinka left for Italy. On 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 busy. Glinka was completely at the mercy of new impressions: "After each opera, returning home, we selected sounds to recall the favorite places we heard." As in St. Petersburg, Glinka is still working hard on her 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: Sextet for piano, two violins, viola, cello and double bass and Pathetic Trio for piano, clarinet and bassoon - works in which the features of Glinka's composer's handwriting are especially clearly manifested.

In July 1833 Glinka left Italy. On the 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 enjoyed listening to the orchestras of Liner and Strauss, read Schiller a lot and rewrote his favorite pieces. 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 nation. This problem is now acquiring special urgency for him. He is ready to take a decisive step in his work. "The idea of ​​national music (not to mention opera music) has become clearer and clearer," Glinka notes in Notes.

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

Glinka's studies in Berlin were interrupted by the news of the death of his father. Glinka decided to leave for Russia at once. The trip abroad ended unexpectedly, but he mostly managed to carry out his plans. In any case, the nature of his creative aspirations was already determined. We find confirmation of this, in particular, in the haste with which Glinka, upon returning to his homeland, starts composing an opera, without even waiting for the final choice of a plot - the nature of the music of the future work is so clear to him: I didn't have it, but "Maryina Roshcha" was spinning in my head.

This opera briefly captured Glinka's attention. Upon his arrival in St. Petersburg, he became a frequent visitor to Zhukovsky, at whom a select society gathered weekly; mainly engaged in literature and music. Pushkin, Vyazemsky, Gogol, Pletnev were regular visitors of these evenings.

“When I expressed my desire to start Russian opera,” writes Glinka, “Zhukovsky sincerely approved my intention and offered me the plot of Ivan Susanin. The scene in the forest cut deeply into my imagination; I found in it much that was original, characteristic of Russians.”

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

But not only creative problems concern Glinka at this time. He is thinking about getting married. 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 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 destinies, at that time, might not seem so significant.

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

The opera moved quickly, but getting it staged on the stage of the St. Petersburg Bolshoi Theater was not easy. Director of the imperial theaters A.M. Gedeonov obstinately obstructed the acceptance of the new opera for production. Apparently, in an effort to protect himself from any surprises, he handed it over to the Kapellmeister Kavos, who, as already mentioned, was the author of an opera based on the same plot. However, Kavos gave Glinka's work the most flattering review and removed his own opera from the repertoire. Thus, "Ivan Susanin" was accepted for production, but Glinka was ordered not to demand a fee for the opera.

The premiere of "Ivan Susanin" took place on November 27, 1836. The success has been tremendous. Glinka wrote to his mother the next day: “Yesterday evening my desires were finally fulfilled, and my long work was crowned with the most brilliant success. The audience received my opera with extraordinary enthusiasm, the actors lost their temper with zeal ... the Emperor ... me and talked with me for a long time ... "

The acuity of perception of the novelty of Glinka's music is remarkably expressed in "Letters about Russia" by Henri Mérimée: "A Life for the Tsar" by Mr. Glinka is distinguished by its extreme originality ... This is such a true result of everything that Russia has suffered and poured out in the 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, elevated to the noble height of its original purpose, when it was not yet frivolous fun, but a patriotic and religious rite. "

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 - day after day - six years after the premiere of "Ivan Susanin". With the uncompromising support of Glinka, like six years ago, Odoevsky spoke out, expressing his unconditional admiration for the composer's genius 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 strive to crawl onto its stem and stain it, - the worms will fall to the ground, and the flower will remain. Take care of it: it is a delicate flower and blooms only once a century. "

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

The composer takes it hard. In mid-1844, he embarked on a new long trip abroad - this time to France and Spain. Soon, bright and varied impressions return Glinka to a high vitality.

Glinka's works were soon crowned with a new great creative success: in the fall of 1845 he created the overture "Jota Aragonese". In Liszt's letter to V.P. Engelhardt, we find a vivid characteristic of this work: "... I am very pleased ... to inform you that" Hota "has just been performed with the greatest success ... At the rehearsal, the understanding musicians ... were amazed and delighted with the lively and poignant originality of this charming piece, minted in such delicate contours, finished and finished with such taste and art! What delightful episodes, wittily connected with the main motive ... what subtle shades of color, distributed over the different timbres of the orchestra! .. What a fascination of rhythmic moves from the beginning and to the end! What the happiest surprises, abundantly emanating from the very logic of development! "

Having finished work on "The Aragonese Jota", Glinka is in no hurry to start the next work, but devotes herself entirely to further in-depth study of Spanish folk music. In 1848, after returning to Russia, another overture on a Spanish theme appeared - "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 ("From behind the mountains, high mountains") and a lively dance song, has become a new word in Russian music. In "Kamarinskaya" Glinka approved a new type of symphonic music and laid the foundations for its further development. Everything here is deeply national and distinctive. 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 hostility and persecution to which he was subjected interfered with creativity. He burned several 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

If Russian science began with Mikhail Lomonosov, poetry - with Alexander Pushkin, then Russian music - with Mikhail Glinka. It was his work that became the starting point and example for all subsequent Russian composers. Mikhail Ivanovich Glinka is not only an outstanding, but very significant creative person for our national musical culture, since, based on the traditions of folk art and relying on the achievements of European music, he completed the formation of the Russian school of composition. Glinka, who became the first classical composer in Russia, left a small but impressive artistic legacy. In his beautiful works, imbued with patriotism, the maestro sang the triumph of goodness and justice in such a way that even today they do not cease to admire them and discover new perfection in them.

A short biography of Mikhail Ivanovich Glinka and many interesting facts about the composer can be found on our page.

short biography

In the early morning of May 20, 1804, according to family legend, under the trills of a nightingale, Mikhail Ivanovich Glinka was born. His small homeland was his parental estate in the village of Novospasskoye in the Smolensk region. There he received both his first musical impressions and primary education - the Petersburg governess taught him to play the piano, violin and Italian songs. According to Glinka's biography, in 1817 young Misha entered the capital's Noble boarding school, where V. Küchelbecker became his mentor. It was there that he met A.S. Pushkin, who often visited his younger brother. They maintained good relations until the death of the poet. In St. Petersburg, Mikhail Ivanovich began to study music with even greater zeal. However, at the insistence of his father, after graduating from the boarding school, he entered the civil service.

Since 1828, Glinka devoted himself entirely to composing. In 1830-33, while traveling across Europe, he met his great contemporaries - Bellini, Donizetti and Mendelssohn , studies music theory in Berlin, significantly expanding his composing activity. In 1835, Glinka married the young Maria Petrovna Ivanova in the Church of the Engineer Castle. It was a fast-paced romance, a casual acquaintance of the young took place just six months earlier in the house of relatives. And the very next year, the premiere of his debut opera " Life for the king ", After which he was offered a position in the Imperial Court Chapel.

In his work, success and recognition began to accompany him, but family life did not work out. Just a few years after his marriage, another woman appeared in his life - Ekaterina Kern. Ironically, the daughter of Pushkin's muse Anna Kern became the composer's muse. Glinka left his wife, and a few years later began divorce proceedings. Maria Glinka also did not feel a heartfelt affection for her husband and, while still married, secretly married another. The divorce dragged on for several years, during which the relationship with Kern ended. Mikhail Ivanovich did not marry anymore, he also did not have children.

After the failure " Ruslana and Lyudmila »The musician moved away from Russian social life and began to travel a lot, living in Spain, France, Poland, Germany. During his rare visits to St. Petersburg, he taught vocals to opera singers. At the end of his life he wrote his autobiographical Notes. He died suddenly on February 15, 1857 of pneumonia, a few days after the Berlin performance of excerpts from A Life for the Tsar. Three months later, through the efforts of his sister, his ashes were transported to St. Petersburg.

Interesting Facts

• M.I. Glinka is considered to be the father of Russian opera. This is partly true - it was he who became the ancestor of the national trend in the world of opera, created the techniques of typically Russian opera singing. But it would be wrong to say that A Life for the Tsar is the first Russian opera. History has preserved little evidence of the life and work of the court composer of Catherine II V.A. Pashkevich, but his comic operas that were staged on the capital's stages in the last third of the 18th century are known: "Misfortune from the carriage", "The Miser" and others. He wrote two operas to the libretto of the Empress herself. Three operas for the Russian court were created by D.S. Bortnyansky (1786-1787). E.I. Fomin wrote several operas at the end of the 18th century, including those based on the libretto of Catherine II and I.A. Krylov. Operas and vaudeville operas also came out from the pen of the Moscow composer A.N. Verstovsky.
• Opera by K. Kavos "Ivan Susanin" for 20 years was shown in theaters on a par with "Life for the Tsar". After the revolution, Glinka's masterpiece was consigned to oblivion, but in 1939, in the wake of pre-war sentiments, the opera again entered the repertoires of the country's largest theaters. For ideological reasons, the libretto was radically revised, and the work itself received the name of its predecessor, "Ivan Susanin", which had sunk into oblivion. In its original version, the opera saw the scene again only in 1989.
• The role of Susanin became a turning point in the career of F.I. Chaliapin. As a 22-year-old boy, he sang Susanin's aria at an audition at the Mariinsky Theater. The very next day, February 1, 1895, the singer was enrolled in the troupe.
• Ruslan and Lyudmila is an opera that has broken the concept of traditional vocal voices. Thus, the part of the young knight Ruslan was written not for a heroic tenor, as an Italian opera model would require, but for a bass or a low baritone. Tenor parts are presented by the kind magician Finn and the storyteller Bayan. Lyudmila is the part for the coloratura soprano, while Gorislava is for the lyric. It is striking that the role of Prince Ratmir is female, he is sung by the contralto. The witch Naina is a comic mezzo-soprano, and her protégé Farlaf is a bass-buffo. Lyudmila's father, Prince Svetozar, sings in a heroic bass voice, who is given the role of Susanin in A Life for the Tsar.

• According to one version, the only reason for negative criticism of Ruslan and Lyudmila was the demonstrative departure of Nicholas I from the premiere - the official publications had to justify this fact by some shortcomings of the creative part of the opera. It is possible that the emperor's act is explained by too obvious allusions to the real events that led to the duel of A.S. Pushkin, in particular, suspicions about the relationship between his wife and Nikolai.
• The part of Ivan Susanin marked the beginning of a series of great bass roles in the Russian opera repertoire, including such powerful figures as Boris Godunov, Dosifei and Ivan Khovansky, Prince Galitsky and Khan Konchak, Ivan the Terrible and Prince Yuri Vsevolodovich. These roles were performed by truly outstanding singers. O.A. Petrov - the first Susanin and Ruslana, and thirty years later - and Varlaam in "Boris Godunov". The director of the St. Petersburg Imperial Theater accidentally heard his unique voice at the fair in Kursk. The next generation of basses was represented by F.I. Stravinsky, father of the famous composer, who served at the Mariinsky Theater. Then - F.I. Chaliapin, who began his career in the private opera of S. Mamontov and grew into a world opera star. In Soviet times, M.O. Reisen, E.E. Nesterenko, A.F. Vedernikov, B.T. Shtokolov.
• Mikhail Ivanovich himself had a beautiful voice, a high tenor, and performed his romances to the piano.
• "Notes" by M.I. Glinka became the first composer's memoirs.

• The composer, who looked impressive on the monumental monuments, was actually small in stature, which is why he walked with his head thrown back in order to appear taller.
• During his life, Glinka suffered from various ailments. In part, they were due to grandmother's upbringing in the early years, when he was pretty wrapped up and was not allowed out on the street for many months. Partly because the parents were second cousins ​​to each other, and all the boys in the family were in poor health. Descriptions of his own diseases and their treatment are given a considerable place in his "Notes".
• The musician had 10 younger brothers and sisters, but only three survived him - sisters Maria, Lyudmila and Olga.

• Glinka admitted that he prefers the female to the male society, since the ladies liked his musical talents. He was amorous and addicted. His mother was even afraid to let him go to Spain, because of the hot morals of local jealous husbands.
• For a long time it was customary to represent the composer's wife as a narrow-minded woman who did not understand music and loved only secular entertainment. Was this image consistent with reality? Maria Petrovna was a woman of a practical kind, which probably did not live up to the romantic expectations of her husband. In addition, at the time of the wedding, she was only 17 years old (Glinka - 30), she just entered the period of going out into society, balls and holidays. Should she be punished for the fact that she was carried away by clothes and her beauty more than her husband's creative projects?
• Glinka's second love, Ekaterina Kern, was the complete opposite of his wife - an ugly, pale, but finely feeling intellectual, understanding art. Probably, it was in her that the composer saw the features that he vainly tried to find in Maria Petrovna.
• Karl Bryullov drew many cartoons of Glinka, which hurt the composer's pride.

• From the biography of Glinka, we know that the composer was so attached to his mother Evgenia Andreevna that during his life he wrote to her every week. After reading the news of her death, his hand was taken away. He was not at her funeral or at her grave, because he believed that without his mother, the trip to Novospasskoye had lost all meaning.
• The composer, who created the opera about the struggle against the Polish invaders, has Polish roots. His ancestors settled near Smolensk when it belonged to the Commonwealth. After the return of the lands under the rule of the Russian state, many Poles converted to Orthodoxy and swore allegiance to the tsar to stay and live on their land.
• Mikhail Ivanovich was very fond of songbirds and kept about 20 in his house, where a whole room was allotted for them.
• Glinka wrote "Patriotic Song" in the hope that it will become a new Russian anthem. And so it happened, but not in 1833, when they chose "God Save the Tsar!" A.F. Lvov, and in 1991. For 9 years, while the "Patriotic Song" was a national symbol, no words were written to it. Including for this reason, in 2000, the music of the State Anthem of the USSR by A.B. Alexandrova.
• The Bolshoi Theater opened in 2011 with the premiere of Ruslana and Lyudmila directed by D. Chernyakov.
• The Mariinsky Theater is the only one in the world where both of the composer's operas are shown in the current repertoire.

Creation

Mikhail Glinka is equally famous for his operas and romances. It was with chamber music that his composing career began. In 1825 he wrote the romance Don't Tempt. As rarely happens, one of his first creations turned out to be immortal. In the 1830s, instrumental compositions based on opera music by V. Bellini, Sonata for viola and piano, Big Sextet for piano and string quintet, and Pathetique Trio were written. During the same period, Glinka wrote his only symphony, which he never completed.

Traveling around Europe, Glinka became increasingly rooted in the idea that the work of a Russian composer should be based on the primordial folk culture. He began to look for a plot for the opera. The theme of the feat of Ivan Susanin was suggested to him by V.A. Zhukovsky, who took a direct part in the creation of the text of the work. The libretto was written by E.F. Rosen. The event structure was fully proposed by the composer, since the poems were already composed for ready-made music. Melodically, the opera is built on the juxtaposition of two themes - Russian with its draft melodies and Polish with its rhythmic, loud mazurka and Krakowiak. The apotheosis was the chorus "Glory" - a solemn episode that has no analogues. "Life for the Tsar" was presented at the Bolshoi Theater of St. Petersburg on November 27, 1836. It is noteworthy that the production was directed and conducted by K. Kavos, who 20 years earlier had created his own "Ivan Susanin" on the basis of material from folk art. The public opinion was divided - some were shocked by the simple "muzhik" theme, others considered the music too academic and difficult for perception. Emperor Nicholas I treated the premiere favorably and personally thanked its author. Moreover, earlier he himself suggested the name of the opera, previously named Death for the Tsar.

Even during the life of A.S. Pushkin Glinka decided to transfer the poem to the music scene "Ruslan and Ludmila"... However, this work began only in the mournful year of the death of the great poet. The composer had to involve several librettists. The writing took five years. In the opera, semantic accents are placed in a completely different way - the plot has become more epic and philosophical, but somewhat devoid of irony and Pushkin's trademark humor. In the course of the action, the heroes develop, experience deep feelings. The premiere of Ruslan and Lyudmila took place at the Moscow Bolshoi Theater on November 27, 1842 - exactly 6 years after A Life for the Tsar. But on the date the similarities between the two premieres are exhausted. The opera was met ambiguously, including due to unsuccessful changes in the artistic composition. The imperial family defiantly left the hall right during the last act. It was a truly scandalous incident! The third performance put everything in its place, and the audience gave Glinka's new creation a warm welcome. What the critic didn’t do. The composer was accused of loose drama, non-stage performance and protractedness of the opera. For these reasons, they almost immediately began to reduce and redo it - often unsuccessfully.

Simultaneously with work on "Ruslan and Lyudmila" Glinka wrote romances and a vocal cycle " Farewell to St. Petersburg», "Waltz-Fantasy". Abroad, two Spanish overtures and "Kamarinskaya" ... The first ever concert of Russian music, consisting of his works, was triumphantly held in Paris. In recent years, the composer has been full of ideas. In his fateful year, he was moved to Berlin not only by the performance of A Life for the Tsar, but also by classes with the famous music theorist Z. Den. Despite his age and experience, he did not stop learning, wanting to keep up with the trends of the time - he was in a brilliant creative form J. Verdi , was gaining strength R. Wagner ... Russian music made a name for itself on European stages, and it was necessary to promote it further.

Unfortunately, Glinka's plans were interrupted by fate. But thanks to his work, Russian music developed significantly, many generations of talented composers appeared in the country, and the foundation of the Russian music school was laid.

M.I. Glinka is little known abroad, so his music is mainly used by domestic cinema. The most famous films:

• Russian Ark (directed by A. Sokurov, 2002);
• The Orphan of Kazan (directed by V. Mashkov, 1997);
• “Big Change” (directed by A. Korenev, 1972).

Two films were released based on the biography of Glinka in 1940-50. The first of them, Glinka, was created in 1946 by director Lev Arnshtam, with Boris Chirkov in the title role. The image of the composer is lively and authentic, much attention is paid to his personality and private life. It is noteworthy that the second most important character in the picture is the serf Ulyanych (in this role V.V.Merkuriev), whose prototype was Uncle Ilya, who accompanied Mikhail Ivanovich for many years. The 1952 film The Composer Glinka, directed by G. Aleksandrov with Boris Smirnov in the title role, covers a narrower period of the musician's life, dating back to the creation of two of his operas. The picture did not escape the influence of time when depicting the events of pre-revolutionary history. One of her last roles, the composer's sister, was played by L. Orlova.

As is often the case with geniuses, the meaning Mikhail Ivanovich Glinka for Russian art it became obvious only after his death. The composer left a musical legacy that was small in number, but impressive in scope, innovation and melody. His operas are infrequent guests of the stage, primarily because their production requires a scale and high-quality diverse voices that only the largest theaters can afford. At the same time, it is impossible to imagine a vocal evening of romances without his compositions. Streets and educational institutions are named after him, his memory is immortalized both at home and abroad. This suggests that Glinka received exactly the kind of fame he dreamed of - popular recognition and love.

Video: watch a film about Glinka

Mikhail Ivanovich Glinka(May 20 [June 1], Novospasskoye village, Smolensk province - February 3, Berlin; buried in St. Petersburg) - Russian composer. Glinka's works influenced the largest Russian composers - A. Dargomyzhsky, M. P. Mussorgsky, N. A. Rimsky-Korsakov, A. P. Borodin, P. I. Tchaikovsky and others. In the words of V. V. Stasov, "both [Pushkin and Glinka] created a new Russian language - one in poetry, the other in music."

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  Mikhail Glinka was born on May 20 (June 1), 1804 in the village of Novospasskoye, Smolensk province, on the estate of his father, retired captain Ivan Nikolaevich Glinka (1777-1834). His mother was his father's second cousin - Evgenia Andreevna Glinka-Zemelka (1783-1851). The composer's great-grandfather was a nobleman from the Glinka clan of the Tshask coat of arms - Viktorin Władysław Glinka (Polish: Wiktoryn Władysław Glinka). After the Commonwealth lost Smolensk in 1654, V.V. Glinka took Russian citizenship and converted to Orthodoxy. The tsarist power retained for the Smolensk gentry land holdings and noble privileges, including the former coats of arms.

  Childhood and adolescence

  Until the age of six, Mikhail was brought up by his grandmother (on his father's side) Fyokla Alexandrovna, who completely removed the mother from raising her son. He grew up as a nervous, suspicious and painful child-touchy - "mimosa", according to Glinka's own characteristics. After the death of Fyokla Alexandrovna, Mikhail again passed into the full control of his mother, who made every effort to erase the traces of his previous upbringing. At the age of ten, Mikhail began to study piano and violin. The first teacher of Glinka was the governess Varvara Fyodorovna Klammer, invited from St. Petersburg.

  In 1817, his parents brought Mikhail to St. Petersburg and placed him in the Noble boarding house (in 1819 it was renamed into the Noble boarding house at St. Petersburg University), where his tutor was the poet, Decembrist V.K. -1871) married G.A. Glinka (1776-1818), a cousin of the composer's father.

  In St. Petersburg, Glinka took private lessons from prominent music teachers, including Karl Zeiner and John Field. In 1822, Mikhail Ivanovich successfully (the second student) graduated from the course at the Noble Boarding School at the Imperial St. Petersburg University. At the boarding house, Glinka met A.S. Pushkin, who came there to see his younger brother Lev, a classmate of Mikhail. Their meetings resumed in the summer of 1828 and continued until the death of the poet.

  Periods of life and creativity

  1822-1835

  Glinka fell in love with music. After graduating from the boarding school, he studied intensively: he studied Western European musical classics, participated in home music making in the salons of the nobility, and sometimes led his uncle's orchestra. At the same time, Glinka tried himself as a composer, composing variations for harp or piano on a theme from the opera The Swiss Family by the Austrian composer Josef Weigl. From that moment on, Glinka pays more and more attention to composition and soon already composes a lot, trying her hand at a variety of genres. During this period, he wrote well-known today romances and songs: "Do not tempt me unnecessarily" to the words of E. A. Baratynsky, "Do not sing, beauty, with me" to the words of A. Pushkin, "Autumn night, night dear "to the words of A. Ya. Rimsky-Korsakov and others. However, he remains dissatisfied with his work for a long time. Glinka is persistently looking for ways to go beyond the forms and genres of everyday music. In 1823 he worked on a string septet, adagio and rondo for orchestra and two orchestral overtures. In the same years, Mikhail Ivanovich's circle of acquaintances expanded. He met V. A. Zhukovsky, A. S. Griboyedov, Adam Mitskevich, Anton Delvig, V. F. Odoevsky, who later became his friend.

  In the summer of 1823, Glinka made a trip to the Caucasus, visited Pyatigorsk and Kislovodsk. Acquaintance with the music of the peoples of the Caucasus left a significant mark on the creative mind of the composer and was reflected in his later works on oriental themes. Thus, on the basis of the Azerbaijani folk song "Galanin Dibinde", the composer created the "Persian Choir" for his opera "Ruslan and Lyudmila". From 1824 to 1828, Mikhail worked as assistant secretary of the Main Directorate of Railways. In 1829 M. Glinka and N. Pavlishchev published "Lyric Album", where among the works of various authors were also plays by Glinka.

  At the end of April 1830, the composer set off for Italy, stopping along the way in Dresden and making a long journey through Germany, stretching out over the summer months. Arriving in Italy in early autumn, Glinka settled in Milan, which at that time was a major center of musical culture. In Italy, he met the outstanding composers V. Bellini and G. Donizetti, studied the vocal style of bel canto (Italian bel canto) and wrote a lot in the "Italian spirit" himself. In his works, a significant part of which consisted of plays on the themes of popular operas, there was no longer anything student-centered, all the compositions were performed masterfully. Glinka paid special attention to instrumental ensembles, having written two original compositions: Sextet for piano, two violins, viola, cello and double bass, and Pathetic Trio for piano, clarinet and bassoon. In these works, the features of Glinka's composer's style were especially clearly manifested.

  In July 1833 Glinka set off for Berlin, stopping for some time in Vienna on the way. In Berlin, under the guidance of German theorist Siegfried Den, Glinka studied polyphony and instrumentation. Having received the news of his father's death in 1834, Glinka decided to immediately return to Russia.

  Glinka returned with extensive plans for a Russian national opera. After a long search for a plot for the opera, Glinka, on the advice of V. Zhukovsky, settled on the legend about Ivan Susanin. At the end of April 1835, Glinka married Marya Petrovna Ivanova, his distant relative. Soon after, the newlyweds went to Novospasskoye, where Glinka with great zeal began to write an opera.

  1836-1844

  1844-1857

  Hardly experiencing criticism of his new opera, Mikhail Ivanovich in the middle of 1844 undertook a new long trip abroad. This time he went to France and then to Spain. In Paris, Glinka met the French composer Hector Berlioz, who (later) became an admirer of his talent. In the spring of 1845, Berlioz performed at his concert works by Glinka: Lezginka from Ruslan and Lyudmila and Antonida's aria from Ivan Susanin. The success of these works prompted Glinka to give a charity concert of his works in Paris. On April 10, 1845, a large concert by the Russian composer was successfully held at the Hertz Concert Hall on Victory Street in Paris.

  On May 13, 1845 Glinka went to Spain. There Mikhail Ivanovich studied the traditional culture, customs, language of the Spanish people, recorded Spanish folk melodies. The creative result of this trip was two symphonic overtures written on Spanish folk themes. In the fall of 1845, Glinka completed the overture "Jota Aragonese", and in 1848, after returning to Russia - "Night in Madrid".

  In the summer of 1847, Glinka set off on the return journey to his ancestral village Novospasskoye. Glinka's stay in her native places was short-lived. Mikhail Ivanovich again went to St. Petersburg, but having changed his mind, he decided to spend the winter in Smolensk. However, invitations to balls and evenings that haunted the composer almost daily drove him to despair and to the point of deciding to leave Russia again [ ]. But Glinka was denied a foreign passport, therefore, having reached Warsaw in 1848, he stopped in this city. Here the composer wrote a symphonic fantasy "Kamarinskaya" on the themes of two Russian songs: the wedding lyric "From behind the mountains, high mountains" and a lively dance song. In this work, Glinka approved a new type of symphonic music and laid the foundations for its further development, skillfully creating an unusually bold combination of various rhythms, characters and moods. Pyotr Ilyich Tchaikovsky said this about Glinka's work:

  In 1851 Glinka returned to St. Petersburg, where he gave singing lessons, prepared operatic roles and a chamber repertoire with such singers as N.K. Ivanov, O.A. Petrov, A. Ya.Petrova-Vorobyova, A.P. Lodiy , D. M. Leonova and others. The Russian vocal school was formed under the direct influence of Glinka. Visited MI Glinka and AN Serov, who wrote down his Notes on Instrumentation in 1852 (published 4 years later). AS Dargomyzhsky often came.

  In 1852 Glinka set off on a journey again. He planned to get to Spain, but tired of traveling in stagecoaches and by rail, he stopped in Paris, where he lived for a little over two years. In Paris, Glinka began work on the Taras Bulba symphony, which was never completed. The beginning of the Crimean War, in which France opposed Russia, was an event that finally decided the issue of Glinka's departure to his homeland. On the way to Russia, Glinka spent two weeks in Berlin.

  In May 1854 Glinka arrived in Russia. He spent the summer in Tsarskoe Selo at the dacha, and in August he again moved to St. Petersburg. In the same 1854, Mikhail Ivanovich began to write memoirs, which he named "Notes" (published in 1870).

  In 1856 Glinka left for Berlin. There he studied the works of J.P. Palestrina and J.S. Bach. In the same year, Glinka wrote music for Church Slavonic liturgical texts: Litany and "May my prayer be corrected" (for 3 voices).

  Death

  Mikhail Ivanovich Glinka died on February 15, 1857 in Berlin and was buried in the Lutheran cemetery. In May of the same year, at the insistence of M.I.I. ) the ashes of the composer were transported to St. Petersburg and reburied at the Tikhvin cemetery.

  During the transportation of Glinka's ashes from Berlin to Russia, “FARFOR” was written on his coffin packed in cardboard. This is very symbolic if we recall the canon composed by Glinka's friends after the premiere of Ivan Susanin. On the grave of Glinka, there is a monument created according to the sketch of I.I.Gornostaev.

  In Berlin, at the Russian Orthodox cemetery, there is a monument that includes a tombstone from the original burial place of Glinka at the Lutheran Trinity cemetery, as well as a column-shaped monument with a bust of the composer erected in 1947 by the Military Commandant's Office of the Soviet sector of Berlin.

  Memory

  Main article: Memory of Mikhail Glinka

  The name was given to the Novosibirsk State Conservatory.

  Glinka's addresses in St. Petersburg

  Glinka International Vocal Competition

  The second most important vocal competition in Russia is named after Mikhail Glinka - the Glinka International Vocal Competition, which was organized in 1960. From 1968 to 2009, the permanent chairman of the jury was a singer and teacher, People's Artist of the USSR, Hero of Socialist Labor, laureate of the Lenin Prize and State Prizes of Russia, academician, professor Irina Konstantinovna Arkhipova.

  Over the years, such outstanding artists as Vladimir Atlantov, Sergei Leiferkus, Yuri Mazurok, Evgeny Nesterenko, Elena Obraztsova, Maria Gulegina, Olga Borodina, Dmitry Khvorostovsky, Vladimir Chernov, Anna Netrebko, Askar Abdrazakov, Ildar Abdrazakov, Olga became laureates of the Glinka Competition. Trifonova, Elena Manistina, Mikhail Kazakov, Albina Shagimuratova, Vladimir Vasiliev, Ariunbaatar Ganbaatar and other singers.

  Major works

  Opera

  • A Life for the Tsar (Ivan Susanin) (1836)
  • Ruslan and Lyudmila (1837-1842)
  Symphonic works
  • Symphony on two Russian themes (1834, completed and orchestrated by Vissarion Shebalin)
  • Music to the tragedy of Nestor Kukolnik "Prince Kholmsky" (1842)
  • Spanish Overture No. 1 "Brilliant Capriccio on the Theme of the Aragonese Jota" (1845)
  • "Kamarinskaya", a fantasy on two Russian themes (1848)
  • Spanish Overture No. 2 "Memories of a Summer Night in Madrid" (1851)
  • "Waltz-Fantasy" (1839 - for piano, 1856 - expanded edition for symphony orchestra)
  Chamber instrumental compositions
  • Sonata for viola and piano (unfinished; 1828, finalized by Vadim Borisovsky in 1932)
  • Brilliant divertissement on themes from Vincenzo Bellini's opera La Sonnambula for piano quintet and double bass
  • Brilliant rondo on a theme from Vincenzo Bellini's opera "Capulet and Montague" (1831)
  • Large Sextet Es-dur for piano and string quintet (1832)
  • "Pathetic Trio" in d-moll for clarinet, bassoon and piano (1832)
  Romances and songs
  • Venetian Night (1832)
  • Patriotic song (was the official anthem of the Russian Federation from 1991 to 2000)
  • "I am here, Inesilla" (1834)
  • "Night Review" (1836)
  • Doubt (1838)
  • "Night Marshmallow" (1838)
  • "The fire of desire burns in the blood" (1839)
  • Wedding song "The Wonderful Tower Is Standing" (1839)
  • Vocal cycle "Farewell to St. Petersburg" (1840)
  • "Passing song" (from the cycle "Farewell to St. Petersburg")
  • "Lark" (from the cycle "Farewell to St. Petersburg")
  • "Recognition" (1840)
  • "Do I Hear Your Voice" (1848)
  • "Healthy Cup" (1848)
  • "Song of Margaret" from Goethe's tragedy "Faust" (1848)
  • Mary (1849)
  • Adele (1849)
  • "Gulf of Finland" (1850)
  • "Prayer" ("In a difficult moment of life") (1855)
  • "Don't Say It Hurts Your Heart" (1856)
  • "I remember a wonderful moment" (on a poem by Pushkin)

  Notes (edit)

  1. Levasheva O. E., Lebedeva-Emelina A. V. Glinka // Great Russian Encyclopedia. - M., 2007. - T.7. - S. 233-235.
  2. // Encyclopedic Dictionary of Brockhaus and Efron: in 86 volumes (82 volumes and 4 additional). - SPb. , 1890-1907.
  3. Findeisen N.F.// Russian biographical dictionary: in 25 volumes. - SPb. - M., 1896-1918.
  4. Rozanov, A.S. M.I. Glinka. Album. The first period of life in Novospasskoye (unspecified) ... - M.: Music,. - "The domineering old woman," not very well "treated the serf servants, pampered her grandson" to an incredible degree. " Retrieved September 25, 2014. Archived September 25, 2014.
  5. // Small Encyclopedic Dictionary of Brockhaus and Efron: in 4 volumes - St. Petersburg. , 1907-1909.
  6. Great friendship of the Azerbaijani and Russian peoples / Compiled by P. A. Azizbekova, Shikhali Kurbanov. Executive editor I. A. Guseinov. - B.: Publishing house of the Academy of Sciences of the Azerbaijan SSR, 1964. - P. 214.
  7. Karagicheva L. Kara Karaev. - M.: Soviet composer, 1960 .-- P. 9.
  8. Бәдәлбәјли Ә. B. M.I. Glinka (azerb.) // Әdәbiјјat vә inҹәsәnәt. - May 29, 1954.
  9. We are talking about the original piano version of the famous waltz-fantasy, known to everyone in the orchestral edition, one of the most striking works of Glinka with its heartfelt beauty
  10. Maria Petrovna Ivanova (Glinka) b. 1817. Record: 234301 (unspecified) ... Rodovid. - “April 26, 1835 marriage: Mikhail Ivanovich Glinka; March 15, 1841 marriage: Nikolai Nikolaevich Vasilchikov; October 1846 divorce: Mikhail Ivanovich Glinka. Date of treatment June 5, 2014. Archived June 5, 2014.