A short message about the work of Glinka. Brief biography and works of Mikhail Ivanovich Glinka

Creativity M.I. Glinka

PLAN

1. The historical role of Glinka in music.

2. Researchers of Glinka's creativity.

3. Creative way. Characteristics of creativity.

4. Opera dramaturgy.

5. Symphonic music.

6. Chamber instrumental music.

7. Romances.

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

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

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

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

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

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

3. Central period (until 1844).

4. Late period (1844-1854). -

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

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

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

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

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

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

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

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

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

Characteristics of creativity.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Symphonic creativity. Clay is not written a large number of works for symphony orchestra. Almost all of them belong to the genre of one-movement overtures or fantasies. The main ones are “Kamarinskaya”, Spanish overtures “Jota of Aragon” and “Night in Madrid”, “Waltz Fantasy”, music for the tragedy “Prince Kholmsky”. However, their historical role turned out to be so significant that they can be considered the basis of Russian classical symphony. Essential, new principles of symphonic development are laid down in the general principles of Glinka's aesthetics. The accessibility and genuine nationality of the musical language, the principle of generalized programming are the features of his symphonic overtures. Glinka developed a concise, concise form of the overture. In each individual case, the form is uniquely new, it is always determined by the general artistic concept. "Kamarinskaya" begins in the form of double variations, in "Aragonese Jota" a sonata structure, "Waltz - Fantasy" in the form of a rondo. All compositional features were prompted by the very nature of the material.

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

While maintaining the unity of his style, Glinka managed to display in the music of the romance a poetic image, features of the poetic language inherent in various authors. In the vocal parts, Glinka showed an excellent knowledge of the possibilities of the voice. The melodious melody of wide breathing, sometimes with separate recitative pictorial intonations, is distinguished by the unity of all elements. The harmonic language of Glinka's romances is not complicated, but very interesting harmonic strokes can be found in them: a lowered VI degree and a large number of subdominant harmonies. The piano part plays an important role; in most romances, the introductions introduce the mood and setting of the action. Widely known are his romances "Doubt" to the words of the Dollmaker, in "The fire of desire burns in the blood" and "I remember a wonderful moment" to poems by Pushkin.

Pyanova Yana

class 6 of the specialization "Music Theory", MAOUDO "Children's Art School No. 46",
Russian Federation, Kemerovo

Zaigraeva Valentina Afanasievna

scientific adviser, teacher of theoretical disciplines of the MAOUDO "Children's Art School No. 46",
Russian Federation, Kemerovo

Introduction

Mikhail Ivanovich Glinka is often called the "Pushkin of Russian music". Just as Pushkin discovered with his work classical era Russian literature, Glinka became the founder of Russian classical music. Like Pushkin, he summed up the best achievements of his predecessors and at the same time rose to a new, much more high step, showed Russian life in all its manifestations. Since that time, Russian music has firmly taken one of the leading places in world musical culture. Close Glinka Pushkin and bright, harmonious perception of the world. With his music, he speaks about how beautiful a person is, how much sublime is in the best impulses of his soul - in heroism, devotion to the motherland, selflessness, friendship, love. This music sings of life, affirms the inevitability of the victory of reason, goodness and justice, and the famous Pushkin's lines could be put as an epigraph to it: "Long live the sun, let the darkness hide!"

Glinka took the professional side seriously. Integrity, harmony of form; clarity, accuracy of the musical language; thoughtfulness of the smallest details, balance of feeling and reason. Glinka is the most classical, strict and honest among all composers of the XIX century.

In his work, Glinka turned to various musical genres- opera, romance, symphonic works, chamber ensembles, piano pieces and other writings. His musical language, having absorbed the peculiar features of Russian folk songs and Italian bel canto, the Viennese classical school and romantic art, became the basis of the national style of Russian classical music.

Style of Mikhail Ivanovich Glinka

1. The melody is characterized by a pronounced melodiousness. It has a special smoothness, cohesion, originating in Russian folk songs

3. A striking sign of the national style is the composer's technique of interval and melodic development, associated with the principle of variation.

4. Glinka's peculiar approach to musical form in large scale: in the methods of symphonic development, he for the first time masterfully carried out, characteristic of the Russian classical school, the synthesis of sonata and variation, permeating the sonata form with variational development.

Founder of the Russian classical school

Russian musical classics was born precisely in the works of Glinka: operas, romances, symphonic works. The era of Glinka in Russian music falls on the period of the nobility freedom movement in Russia. His historical role as the initiator of a new classical period Russian music Glinka performed, first of all, as an artist, absorbing advanced ideas Decembrist era. “People create music, and we, artists, only arrange it”- Glinka's words about the idea of ​​nationality in his work.

The wide dissemination of Russian music at the world level began precisely with the work of Glinka: trips abroad, acquaintances with musicians from other countries.

In 1844, Glinka's concerts were successfully held in Paris. With patriotic pride, Glinka wrote about them: "I am the first Russian composer who introduced the Parisian public to my name and my works written in Russia and for Russia."

Figure 1. M.I. Glinka

Glinka's work marked a new, namely, the classical stage in the development of Russian musical culture. The composer managed to combine the best achievements European music With national traditions national musical culture. However, his work did not belong to either classicism or romanticism, but only borrowed certain features. In the 1930s, Glinka's music was not yet widely popular, but soon it was understood and appreciated. The basis of the author's style of Glinka are:

On the one hand, the combination of romantic musical and linguistic means of expression and classical forms;

On the other hand, the basis of his work is the melody as a carrier of a generalized meaning.

Through persistent searches, Glinka came to the creation of a national style and language of classical music, which became the foundation of its future development.

Glinka's creative principles

for the first time represents the people in a multifaceted way, not only from the comic side, as in the 18th century (the people in "Ivan Susanin")

unification of general and particular principles in the figurative sphere (embodies general idea in specific images)

Return to origins folk art(epic "Ruslan and Lyudmila")

use of quotes (“Kamarinskaya”, “Ivan Susanin”, “Down the mother, along the Volga ...”)

essay in folk style("Let's walk")

modal basis of Russian folk songs (choir of rowers from "Ivan Susanin")

plagality

use of ritual scenes (wedding scenes from operas)

a cappella presentation of music ("My Motherland")

variant method of melodic development (from Russian folk song)

The main creative principle of Glinka was to enable subsequent generations of Russian composers to look up to his work, which enriched the national musical style new content and new expressive means.

In the words of P.I. Tchaikovsky about "Kamarinskaya" by M.I. Glinka can express the significance of the composer's work as a whole: “Many Russian symphonic works have been written; we can say that there is a real Russian symphonic school. And what? All of it is in Kamarinskaya, just like the whole oak is in the acorn.

Types of Glinka's symphonism

Glinka's symphonic works are not numerous. Almost all of them are in the genre of one-movement overtures or fantasies. The historical role of these works is very significant. In "Kamarinskaya", "Waltz-Fantasy" and Spanish overtures, new principles of symphonic development are original, which served as the basis for the development of symphony. By artistic value they can stand with the monumental symphonies of Glinka's followers in the same row.

Glinka's symphonic work is a relatively small, but extremely valuable and important part of his legacy. His greatest interest symphonic works present "Kamarinskaya", Spanish overtures and "Waltz Fantasy", as well as symphonic numbers from the music for the tragedy "Prince Kholmsky"

Glinka's music marked the following paths of Russian symphony:

National genre

lyrical-epic

Dramatic

Lyrical-psychological

In this regard, it is worth noting the "Waltz-Fantasy" in particular. For Glinka, the waltz genre turns out to be not just a dance, but a psychological sketch expressing the inner world.

Figure 2. "Waltz Fantasy"

Dramatic Symphony in foreign music traditionally associated with the name of L. Beethoven, and in Russian music it is most vividly developed in the work of P.I. Tchaikovsky.

Glinka's orchestral writing

Glinka's orchestration, based on carefully developed and deeply thought-out principles, is distinguished by high merits.

An important place in the work of Glinka is occupied by plays for symphony orchestra. Glinka loved the orchestra from childhood, preferring orchestral music every other. Glinka's orchestral writing, combining transparency and impressiveness of sound, has a vivid imagery, brilliance and richness of colors. A master of orchestral coloring, he made a most valuable contribution to world symphonic music. The mastery of the orchestra was revealed in many ways in stage music. For example, in the overture to the opera "Ruslan and Lyudmila" and in his symphonic pieces. Thus, "Waltz-Fantasy" for the orchestra is the first classical example of the Russian symphonic waltz; "Spanish Overtures" - "Hunt of Aragon" and "A Night in Madrid" - marked the beginning of the development of Spanish musical folklore in world symphonic music. The Kamarinskaya scherzo for orchestra synthesizes the richness of Russian folk music and excellence in professional excellence.

The specificity of Glinka's writing is deep originality. He expanded the possibilities of the copper group, special coloristic nuances are created by applying additional tools(harp, piano, bell) and the richest percussion group.

Figure 3. Overture to the opera "Ruslan and Lyudmila"

Romances in the works of Glinka

Throughout his career, Glinka turned to romances. It was a kind of diary in which the composer described personal experiences, longing for separation, jealousy, sadness, disappointment and delight.

Glinka left behind over 70 romances, in which he described not only love experiences, but also portraits of various persons, landscapes, life scenes and paintings of distant times. The romances contained not only intimate lyrical feelings, but also those that are generally significant and understandable to everyone.

Glinka's romances are divided into early and mature periods of creativity, covering a total of 32 years, from the first romance to the last.

Glinka's romances are not always melodic, sometimes they contain recitative and pictorial intonations. The piano part in mature romances - draws the background of the action, gives a description of the main images. In vocal parts, Glinka fully opens up the possibilities of the voice and complete mastery of it.

Romance is like the music of the heart and it must be performed from within, in complete harmony with yourself and the world around you.

The richness of the genres of Glinka's romances cannot but amaze: elegy, serenade, also in the form of everyday dances - waltz, mazurka and polka.

Romances are also different in form: both simple couplet, and three-part, and rondo, and complex, so-called through form.

Glinka wrote romances based on verses by more than 20 poets, maintaining the unity of his style. Most of all, the society remembered Glinka's romances to the verses of A. S. Pushkin. So accurately convey the depth of thought, bright mood and clarity - no one has yet been able to and will not succeed for many years!

Conclusion

Mikhail Ivanovich Glinka played a special role in the history of Russian culture:

In his work, the process of formation of the national composer school;

Russian music was noticed and appreciated not only in Russia, but also abroad

· It was Glinka who gave a generally significant content to the idea of ​​Russian national self-expression.

Glinka appears before us not only as a great master who knows all the secrets of composing, but above all as a great psychologist, a connoisseur of the human soul, able to penetrate into its innermost corners and tell the world about them.

The inexhaustibility of Glinka's traditions is the stronger, the more time moves us away from the noble personality of the great Russian artist, from his creative feat, his quest. Glinka's brilliant operas are still waiting for their new readings; still waiting opera stage new, excellent singers of the Glinka school; there is still a great future ahead in the development of the chamber vocal tradition laid down by him - the source of high and pure artistry. Long gone into the realm of the classics, Glinka's art is always modern. It lives for us as a source of eternal renewal. Harmoniously merged in him, truth and beauty, sober wisdom and courage of creative daring. And if Glinka was destined to open " new period in the history of music”, then this period is still far from its end.

Bibliography:

1. Glinka M.I. To the 100th anniversary of his death / ed. EAT. Gordeeva. - M., 1958.
2. Glinka M.I. Research and materials / ed. A.V. Ossovsky. - L.-M., 1950.
3. Glinka M.I. Collection of materials and articles / ed. T.N. Livanova. - M.-L., 1950.
4. Levasheva O.M.I. Glinka / O. Levasheva. - M., 1987, 1988.
5. Livanova T.M.I. Glinka / T. Livanova, V. Protopopov. - M., 1988.
6. In memory of Glinka. Research and materials. - M., 1958.
7. Serov A.N. Articles about Glinka / A.N. Serov // Selected articles: in 2 volumes / A.N. Serov. - M.-L., 1950 - 1957.
8. Stasov V.M.I. Glinka / V. Stasov // Fav. cit.: in 3 volumes / V. Stasov. - M., 1952. - T. 1. - M., 1952.

Born on May 20 (June 1), 1804 in the village of Novospasskoye, Smolensk province, on his father's estate.

An important fact of Glinka's brief biography is the fact that the boy was raised by his grandmother, and own mother was admitted to her son only after the death of her grandmother.

M. Glinka began to play the piano and violin at the age of ten. Since 1817, he began to study at the Noble Boarding School at the Pedagogical Institute of St. Petersburg. After graduating from the boarding school, he devoted all his time to music. At the same time, the first compositions of the composer Glinka were created. As a real creator, Glinka does not fully like his works, he seeks to expand household genre music.

The heyday of creativity

In 1822-1823 Glinka wrote extensively famous romances and songs: “Do not tempt me without need” to the words of E. A. Baratynsky, “Do not sing, beauty, with me” to the words of A. S. Pushkin and others. In the same years, he met the famous Vasily Zhukovsky, Alexander Griboyedov and others.

After traveling to the Caucasus, he goes to Italy, Germany. Under the influence Italian composers Bellini, Doniceti Glinka changes his musical style. Then he worked on polyphony, composition, instrumentation.

Returning to Russia, Glinka diligently worked on the national opera Ivan Susanin. Its premiere in 1836 in Bolshoi Theater Petersburg turned out to be a huge success. The premiere of the next opera Ruslan and Lyudmila in 1842 was no longer so loud. Strong criticism pushed the composer to leave, he left Russia, went to France, Spain, and only in 1847 returned to his homeland.

Many works in the biography of Mikhail Glinka were written during trips abroad. From 1851 in St. Petersburg he taught singing and prepared operas. Under his influence, Russian classical music was formed.

Death and legacy

Glinka left for Berlin in 1856, where he died on February 15, 1857. The composer was buried at the Lutheran Trinity Cemetery. His ashes were transported to St. Petersburg and reburied there.

There are about 20 songs and romances by Glinka. He also wrote 6 symphonic, several chamber-instrumental works, and two operas.

Glinka's legacy for children includes romances, songs, symphonic fantasies, as well as the opera "Ruslan and Lyudmila", which became even more fabulous after its embodiment in music by the great composer.

Music critic V. Stasov briefly noted that Glinka became for Russian music what Alexander Pushkin became for the Russian language: they both created a new Russian language, but each in his own field of art.

Pushkin V. N.

In 1804, on May 20, in the Smolensk province, a boy was born in the family of the landowner Ivan Nikolaevich Glinka, who was destined to become the founder of Russian classical music. From birth the child was weak and sickly. He spent his entire childhood surrounded by women. Such an influence was naturally reflected in the character of Glinka, already very soft. Subsequently, the gentleness of his character often turned into weakness and helplessness in everyday affairs.

One of the brightest first musical impressions of the boy was church singing and bell ringing. On holidays, Misha was taken to church. Returning home, he collected copper basins, and rang them for a long time, imitating church bells. At the age of seven, when the boy was in the city, he could unmistakably distinguish the ringing of each church. Music made an amazing impression on little Glinka. Once, at a drawing lesson, the teacher, noticing Misha's absent-mindedness, asked him - "You are probably all thinking about yesterday's music." - "What to do," answered the dreamy boy, "music is my soul." A serf violinist taught Misha to play the violin, and a governess taught him to play the piano. However, music lessons at home were far from perfect.

In 1817 the Glinka family moved to Petersburg. There, Mikhail was assigned to the Noble Boarding School at the Pedagogical Institute. AT student years Glinka often visited the theater, being fond of ballet and opera. During summer holidays he practiced conducting with his uncle's fortress orchestra.

After graduating from the boarding school, Glinka received the position of assistant secretary in the office of the Council of Railways. The service did not burden the composer, and he continued to engage in the main business of his life - music. Soon, due to a conflict with his superiors, Glinka was forced to resign, but this event did not upset the composer in any way. By that time, his works had already been published, he was widely known in St. Petersburg as a composer and moved in the highest St. Petersburg society (counts M. Yu. Vielgorsky, Tolstoy, Shterich, princes Golitsyn). So the young years of the composer passed cloudlessly. It seemed that the brightest future lay ahead of him. The only thing that overshadowed his life during these years was illness. What Glinka was really ill with, we do not have reliable information, just as the doctors who treated the composer did not have them. After vain attempts by doctors to improve Glinka's health, he is sent abroad.

In 1830 the composer left for Italy. Living in Milan, Glinka admires Italian music. During this period, he wrote a large number of arias in the Italian manner. But soon the first impressions began to lose their charm. Glinka concluded that for all the attractiveness of Italian music, it lacks depth. In the end, the composer was overcome by a feeling of longing for Russia and for Russian art. So far from the Motherland, Glinka had the idea of ​​creating Russian national music.

In 1834, Mikhail Ivanovich returned to St. Petersburg, and enthusiastically set about composing an opera about the patriotic deed of the Russian people in the image of Ivan Susanin. The plot was suggested to the composer by the poet Zhukovsky. The opera “Life for the Tsar” was enthusiastically received by the public, and strengthened the fame of the composer.

In 1837, Glinka was appointed bandmaster in the court Singing Chapel (Today, the St. Petersburg Chapel bears the name of this great composer.) Glinka is in the prime of his work. But his life is overshadowed by an unsuccessful marriage.

The discord with his wife acted depressingly on the composer's vulnerable soul, and eventually led to a public divorce, which had a very bad effect on Glinka's reputation. The composer saves himself from all life experiences by working on the opera Ruslan and Lyudmila.

It took five years to work on this piece. However, everyone to whom he showed the opera did not like the opera. Glinka was disappointed, he said bitterly: “From Ruslan, I could make ten such operas as A Life for the Tsar.” The performance of the opera turned out to be very weak. The following season, the opera was completely removed from the theater's repertoire. Under such sad circumstances, the composer left Russia.

This time Glinka leaves for France and Spain. In Paris, Mikhail Ivanovich meets the famous French composer Hector Berlioz.

In 1857 Glinka caught a cold. The disease developed very quickly, and on February 3 the composer died in Berlin. His ashes were transported to St. Petersburg and buried in the cemetery of the Alexander Nevsky Lavra.

M. I. Glinka

SUMMARY ON HISTORY Completed by: student of 8 “b” class

MINISTRY OF EDUCATION OF THE RUSSIAN FEDERATION

MIDDLE SCHOOL #5

Belorechensk

1999

Introduction

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

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

Glinka's childhood

Mikhail Ivanovich Glinka was born on May 20, 1804, in the morning at dawn, in the village of Novospasskoye, which belonged to his father, a retired captain, Ivan Nikolaevich Glinka. This estate was located 20 miles from the city of Yelnya, Smolensk province.

According to the mother's story, after the first cry of the newborn, under the very window of her bedroom, in a dense tree, the sonorous voice of a nightingale was heard. Subsequently, when his father was not pleased that Mikhail left the service and studied music, he often said: “It was not for nothing that the nightingale sang at the window at his birth, and so the buffoon came out.” Soon after his birth, his mother, Evgenia Andreevna, nee Glinka, transferred the upbringing of her son to Fekla Alexandrovna, the mother of his father. He spent about three or four years with her, seeing his parents very rarely. Elementary education received at home. Listening to the singing of serfs and the ringing of the bells of the local church, he showed an early passion for music. He was fond of playing the orchestra of serf musicians on the estate of his uncle, Afanasy Andreevich Glinka. Music lessons violin and piano playing began rather late (1815-16) and were of an amateur nature.

Musical abilities at this time were expressed by "passion" for the bell ringing. Young Glinka eagerly listened to these sharp sounds and was able to deftly imitate the ringers on 2 copper basins. Glinka was born, spent his first years and received his first education not in the capital, but in the countryside, thus his nature took into itself all those elements of the musical nationality, which, not existing in our cities, were preserved only in the heart of Russia ...

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

The beginning of an independent life

At the beginning of 1817, his parents decided to send him to the Noble Boarding School. This boarding house, opened on September 1, 1817 at the Main Pedagogical Institute, was a privileged educational institution for children of nobles. After graduating from it, the young man could continue his studies in a particular specialty or go to public service. In the year of the opening of the Noble boarding school, Lev Pushkin entered there - younger brother poet. he was a year younger than Glinka, and when they met, they became friends. At the same time, Glinka met the poet himself, who "went to visit us at his brother's boarding house." Glinka's tutor taught Russian literature at the boarding school. In parallel with his studies, Glinka took piano lessons from Oman, Zeiner and S. Mayr, a fairly well-known musician.

At the beginning of the summer of 1822, Glinka was released from the Noble Boarding School, being the second student. On the day of graduation, he successfully played in public piano concert Hummel. Then Glinka entered the service in the Department of Railways. But since she interrupted him from music, he soon retired. His boarding school was already an excellent musician, he played the piano admirably, and his improvisations were delightful. In early March 1823, Glinka went to the Caucasus to take advantage of mineral waters but this treatment did not improve his health. In early September, he returned to the village of Novospasskoye and set to music with new zeal. He studied music very much and stayed in the village from September 1823 to April 1824; in April he left for Petersburg. During the summer of 1824 he moved to Faliyev's house in Kolomna; around the same time he met Italian singer Bellolli and began to learn Italian singing from him.

First unsuccessful attempt in the composition with the text refers to 1825. Later he wrote the elegy "Do not tempt me needlessly" and the romance "Poor Singer" to the words of Zhukovsky. Music increasingly captured the thoughts and time of Glinka. The circle of friends and admirers of his talent expanded. He was known as an excellent performer and writer, both in St. Petersburg and Moscow. Encouraged by friends, Glinka composed more and more. And this early works many have become classics. Among them are romances: “Do not tempt me unnecessarily”, “Poor singer”, “Memory of the heart”, “Tell me why”, “Do not sing, beauty, with me”, “Oh, you, darling, a beautiful girl”, “ What a young beauty. At the beginning of the summer of 1829, the Lyric Album was published, published by Glinka and N. Pavlishchev. In this album, for the first time, romances and the cotillon and mazurka dances composed by him were printed.

First overseas trip (1830-1834)

In the spring of 1830, Glinka went on a long trip abroad, the purpose of which was both treatment (on the waters of Germany and in the warm climate of Italy) and acquaintance with Western European art. After spending several months in Aachen and Frankfurt, he arrived in Milan, where he studied composition and vocals, visited theaters, and traveled to other Italian cities. It was also speculated that Italy's warm climate would improve his deranged health. After living in Italy for about 4 years, Glinka went to Germany. There he met the talented German theorist Siegfried Dehn and took lessons from him for months. According to Glinka himself, Den brought his musical and theoretical knowledge and skills into the system. Abroad, Glinka wrote several vivid romances: "Venetian Night", "Winner", "Pathetic Trio" for piano clarinet, bassoon. At the same time, he had the idea of ​​creating a national Russian opera.

In 1835 Glinka married MP Ivanova. This marriage was extremely unsuccessful and overshadowed the life of the composer for many years.

Returning to Russia, Glinka enthusiastically began to compose an opera about the patriotic deed of Ivan Susanin. This plot prompted him to write a libretto. Glinka had to turn to the services of Baron Rosen. This libretto glorified the autocracy, therefore, contrary to the composer's wishes, the opera was called "Life for the Tsar."

The premiere of the work, named at the insistence of the directorate of the theaters "A Life for the Tsar", on January 27, 1836, became the birthday of the Russian heroic-patriotic opera. The performance was a great success, attended by royal family, and in the hall among the many friends of Glinka was Pushkin. Soon after the premiere, Glinka was appointed head of the Court Choir. After the premiere, the composer became interested in the idea of ​​creating an opera based on the plot of Pushkin's poem "Ruslan and Lyudmila".

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

The composer dreamed that Pushkin himself would write a libretto for her, but the untimely death of the poet prevented this. The libretto was created according to the plan drawn up by Glinka. Glinka's second opera differs from the folk-heroic opera "Ivan Susanin" not only in its fabulous plot, but also in its developmental features. Work on the opera dragged on for more than five years. In November 1839, exhausted by domestic troubles and tedious service in the court chapel, Glinka submitted a letter of resignation to the director; in December of the same year, Glinka was fired. At the same time, music was composed for the tragedy "Prince Kholmsky", "Night review" to the words of Zhukovsky, "I remember a wonderful moment" and "Night marshmallow" to the words of Pushkin, "Doubts", "Lark". The composed "Waltz-Fantasy" for piano was orchestral, and in 1856 it was remade into an extensive orchestral piece.

November 27, 1842 - exactly six years after the first production of "Ivan Susanin" - the premiere of the second opera "Ruslan and Lyudmila" took place in St. Petersburg. Despite the fact that the royal family left the box before the end of the performance, leading cultural figures greeted the work with delight (although there was no unanimity of opinion this time due to the deeply innovative nature of the dramaturgy). Soon the opera was completely removed from the stage; "Ivan Susanin" was also rarely staged.

In 1838, Glinka met Ekaterina Kern, the daughter of the heroine of Pushkin's famous poem, and dedicated his most inspirational works to her: "Waltz-Fantasy" (1839) and a marvelous romance based on Pushkin's poems "I Remember a Wonderful Moment" (1840).

New wanderings (1844-1847)

In 1844 Glinka went abroad again, this time to France and Spain. In Paris, he meets the French composer Hector Berlioz. A concert of Glinka's works was held in Paris with great success. On May 13, 1845, Glinka left Paris for Spain. There he got acquainted with Spanish folk musicians, singers and guitarists, using records folk dances, Glinka in 1845 wrote the concert overture "Jota of Aragon", returning to Russia, Glinka wrote another overture "Night in Madrid", at the same time the symphonic fantasy "Kamarinskaya" was composed on the theme of 2 Russian songs: a wedding lyric ("Because of mountains, high mountains") and lively dance.