The work of M. I. Glinka marked a new historical stage in development - the classical one. He managed to combine the best European trends with national traditions. Attention deserves all the work of Glinka. Briefly characterize all the genres in which he worked fruitfully. First, these are his operas. They have acquired great significance, since they truly recreate the heroic events of past years. His romances are filled with special sensuality and beauty. Symphonic works are characterized by incredible picturesqueness. AT folk song Glinka discovered poetry and created a truly democratic national art.

Creativity and Childhood and youth

Born May 20, 1804. His childhood passed in the village of Novospasskoye. Fairy tales and songs of the nanny Avdotya Ivanovna were vivid and memorable impressions for the rest of my life. He was always attracted by the sound of bell ringing, which he soon began to imitate on copper basins. He began to read early and was inquisitive by nature. Reading the old edition of "On wanderings in general" had a favorable effect. It aroused a great interest in travel, geography, drawing and music. Before entering a noble boarding school, he took piano lessons and quickly succeeded in this difficult task.

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

  • Elegy "Do not tempt me" to the words of Baratynsky.
  • "Poor singer" to the words of Zhukovsky.
  • "I love, you kept telling me" and "It's bitter for me, bitter" to the words of Korsak.

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

First trip abroad

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

The life and work of Glinka in this country proceed successfully, easily and naturally. Here he met the painter K. Bryullov, Moscow professor S. Shevyryaev. From composers - with Donizetti, Mendelssohn, Berlioz and others. In Milan, with Riccordi, he publishes some of his works.

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

In July 1833 he went to Vienna, and then spent about six months in Berlin. Here he enriches his technical knowledge with the famous contrapuntalist Z. Den. Subsequently, under his leadership, he wrote the Russian Symphony. At this time, the composer's talent develops. Glinka's work becomes freer from other people's influence, he treats it more consciously. In his "Notes" he admits that all this time he was looking for his own way and style. Yearning for his homeland, he thinks about how to write in Russian.

Homecoming

In the spring of 1834, Mikhail arrived in Novospasskoye. He thought about going abroad again, but decides to stay on native land. In the summer of 1834 he went to Moscow. Here he meets Melgunov and restores his former acquaintances with musical and literary circles. Among them are Aksakov, Verstovsky, Pogodin, Shevyrev. Glinka decided to create a Russian one. He took up the romantic opera Maryina Grove (based on Zhukovsky's plot). The composer's plan was not realized, the sketches did not reach us.

In the autumn of 1834 he arrived in St. Petersburg, where he attended literary and amateurish circles. Once Zhukovsky suggested to him to take the plot of "Ivan Susanin". During this period of time, he composes such romances: "Don't call her heavenly", "Don't say, love will pass", "I just recognized you", "I'm here, Inezilla". In his personal life, a big event takes place - marriage. Along with this, he became interested in writing Russian opera. Personal experiences influenced Glinka's work, in particular the music of his opera. Initially, the composer planned to write a cantata consisting of three scenes. The first was to be called a rural scene, the second - Polish, the third - a solemn finale. But under the influence of Zhukovsky, he created a dramatic opera consisting of five acts.

The premiere of "A Life for the Tsar" took place on November 27, 1836. V. Odoevsky appreciated it at its true worth. Emperor Nicholas I gave Glinka a ring for 4,000 rubles for this. A couple of months later, he appointed him Kapellmeister. In 1839, for a number of reasons, Glinka resigned. During this period, fruitful creativity continues. Glinka Mikhail Ivanovich wrote such compositions: "Night Review", "Northern Star", another scene from "Ivan Susanin". He is accepted for a new opera based on the plot of "Ruslan and Lyudmila" on the advice of Shakhovsky. In November 1839 he divorced his wife. During his life with the "brethren" (1839-1841) creates a number of romances. The opera "Ruslan and Lyudmila" was long-awaited event tickets sold out in advance. The premiere took place on November 27, 1842. The success was stunning. After 53 performances, the opera was discontinued. The composer decided that his brainchild was underestimated, and apathy sets in. Glinka's work is suspended for a year.

Journey to distant countries

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

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

last years of life

In July 1847 he returned to his homeland. Lives for a certain time in Novospasskoye. The work of Mikhail Glinka during this period is resumed with renewed vigor. He writes several piano pieces, the romance "You will soon forget me" and others. In the spring of 1848 he went to Warsaw and lived there until autumn. He writes for the orchestra "Kamarinskaya", "Night in Madrid", romances. In November 1848 he arrived in St. Petersburg, where he was ill all winter.

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

What is Glinka's innovation?

M. I. Glinka created the Russian style in the art of music. He was the first composer in Russia who combined with the song warehouse (Russian folk) musical technique (this applies to melody, harmony, rhythm and counterpoint). Creativity contains quite vivid examples of such a plan. These are his folk musical drama "Life for the Tsar", the epic opera "Ruslan and Lyudmila". As an example of the Russian symphonic style, one can name "Kamarinskaya", "Prince of Kholmsky", overtures and intermissions to both of his operas. His romances are highly artistic examples of lyrically and dramatically expressed songs. Glinka is rightfully considered a classical master of world significance.

Symphonic creativity

For symphony orchestra the composer created a small number of works. But their role in the history of musical art turned out to be so important that they are considered the basis of Russian classical symphonism. Almost all of them belong to the genre of fantasies or one-movement overtures. "Jota of Aragon", "Waltz-Fantasy", "Kamarinskaya", "Prince Kholmsky" and "Night in Madrid" constitute Glinka's symphonic work. The composer laid down new principles of development.

The main features of his symphonic overtures are:

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

Glinka's symphonic work was successfully characterized by P. Tchaikovsky, comparing "Kamarinskaya" with oak and acorn. And he emphasized that in this work there is a whole Russian symphonic school.

Opera heritage of the composer

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

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

  • Slow development.
  • No direct conflicts.
  • Romantic tendencies - colorful and picturesque.

Romances and songs

Glinka's vocal work was created by the composer throughout his life. He wrote over 70 romances. They embody a variety of feelings: love, sadness, emotional outburst, delight, disappointment, etc. Some of them depict pictures of everyday life and nature. Glinka is subject to all types of everyday romance. "Russian song", serenade, elegy. It also includes such everyday dances as waltz, polka and mazurka. The composer turns to genres that are characteristic of the music of other peoples. This is the Italian barcarolle and the Spanish bolero. The forms of romances are quite diverse: three-part, simple couplet, complex, rondo. Glinka's vocal work includes texts by twenty poets. He managed to convey in music the peculiarities of the poetic language of each author. The main means of expressing many romances is the melodic melody of wide breathing. a huge role the piano part is playing. Almost all romances have introductions that introduce action into the atmosphere and set the mood. Glinka's romances are very famous, such as:

  • "The fire of desire burns in the blood."
  • "Lark".
  • "Party song".
  • "Doubt".
  • "I remember a wonderful moment."
  • "Do not tempt."
  • "You will soon forget me."
  • "Don't say your heart hurts."
  • "Do not sing, beauty, with me."
  • "Confession".
  • "Night View".
  • "Memory".
  • "To her".
  • "I'm here, Inezilla."
  • "Oh, are you a night, a night."
  • "In a difficult moment of life."

Chamber and instrumental works of Glinka (briefly)

The clearest example of an instrumental ensemble is major work for piano and string quintet by Glinka. This is a wonderful divertissement inspired by famous opera Bellini "Sleepwalker". New ideas and tasks are embodied in two chamber ensembles: the Grand Sextet and the Pathetic Trio. And although in these works one can feel the dependence on the Italian tradition, they are quite distinctive and original. In the "Sextet" there is a rich melody, relief thematics, a slender form. concert type. In this work, Glinka tried to convey the beauty of Italian nature. "Trio" is the exact opposite of the first ensemble. His character is gloomy and agitated.

Glinka's chamber work greatly enriched the performing repertoire of violinists, pianists, violists, and clarinetists. Chamber ensembles attract listeners with an extraordinary depth of musical thoughts, a variety of rhythmic formulas, and the naturalness of melodic breathing.

Conclusion

Glinka's musical work combines the best European trends with national traditions. Associated with the composer's name new stage in the history of the development of musical art, which is called "classical". Glinka's work covers various genres that have taken their place in the history of Russian music and deserve attention from listeners and researchers. Each of his operas opens up a new type of dramaturgy. "Ivan Susanin" is a folk musical drama that combines various features. "Ruslan and Lyudmila" is a fabulously epic opera without pronounced conflicts. It develops calmly and slowly. It is inherent in brilliance and picturesqueness. His operas have acquired great importance, as they truly recreate the heroic events of past years. Few symphonic works have been written. However, they were able not only to please the audience, but also to become a real asset and the basis of Russian symphony, since they are characterized by incredible picturesqueness.

The composer's vocal work includes about 70 works. They are all charming and amazing. They embody various emotions, feelings and moods. They are full of beauty. The composer turns to different genres and forms. As for chamber-instrumental works, they are also not numerous. However, their role is no less important. They replenished the performing repertoire with new worthy examples.

Baby and youth

Creative years

Major works

Hymn Russian Federation

Addresses in St. Petersburg

(May 20 (June 1), 1804 - February 3 (15), 1857) - composer, traditionally considered one of the founders of Russian classical music. Glinka's writings provided strong influence on subsequent generations of composers, including members of the New Russian School, who developed his ideas in their music.

Biography

Childhood and youth

Mikhail Glinka was born on May 20 (June 1, old style), 1804, in the village of Novospasskoye, Smolensk province, on the estate of his father, retired captain Ivan Nikolaevich Glinka. Until the age of six, he was brought up by his grandmother (paternal) Fyokla Alexandrovna, who completely removed Mikhail's mother from raising her son. Mikhail grew up as a nervous, suspicious and painful barich-hard-to-reach - "mimosa", according to Glinka's own description. After the death of Fyokla Alexandrovna, Mikhail again passed into the complete disposal of his mother, who made every effort to erase the traces of her previous upbringing. From the age of ten, Mikhail began to learn to play the piano and violin. Glinka's first teacher was a governess invited from St. Petersburg, Varvara Fedorovna Klammer.

In 1817, his parents brought Mikhail to St. Petersburg and placed him in the Noble Boarding School at the Main Pedagogical Institute (in 1819 it was renamed the Noble Boarding School at St. Petersburg University), where the poet, Decembrist V. K. Küchelbecker was his tutor. In St. Petersburg, Glinka takes lessons from major musicians, including the Irish pianist and composer John Field. In the boarding house, Glinka meets A. S. Pushkin, who came there to his younger brother Lev, Mikhail's classmate. Their meetings resumed in the summer of 1828 and continued until the death of the poet.

Creative years

1822-1835

After graduating from the boarding school in 1822, Mikhail Glinka intensively studied music: he studied Western European musical classics, participates in home music-making in noble salons, sometimes directs 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 Austrian composer Josef Weigl's opera The Swiss Family. From that moment on, Glinka paid more and more attention to composition and soon composed a lot, trying his hand at various genres. During this period, he wrote well-known romances and songs today: “Do not tempt me without need” to the words of E. A. Baratynsky, “Do not sing, beauty, with me” to the words of A. S. Pushkin, “Autumn night, 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, an adagio and a rondo for orchestra, and on two orchestral overtures. In the same years, the circle of acquaintances of Mikhail Ivanovich expanded. He meets Vasily Zhukovsky, Alexander Griboyedov, Adam Mickiewicz, Anton Delvig, Vladimir Odoevsky, who later became his friend.

In the summer of 1823, Glinka traveled to the Caucasus, visiting Pyatigorsk and Kislovodsk. From 1824 to 1828, Mikhail worked as an assistant secretary of the Main Directorate of Railways. In 1829, M. Glinka and N. Pavlishchev published the Lyric Album, where Glinka's plays were among the works of various authors.

At the end of April 1830, the composer went to Italy, stopping along the way in Dresden and making a long journey through Germany, stretching for all 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 vocal style Belcanto (Italian) bel canto) and composes a lot in the "Italian spirit". In his works, a significant part of which are plays on the themes of popular operas, there is nothing left of the student, all compositions are masterfully executed. Special attention Glinka pays attention to instrumental ensembles, having written two original compositions: Sextet for piano, two violins, viola, cello and double bass and Pathétic 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 went to Berlin, stopping for a while in Vienna along the way. In Berlin, Glinka, under the guidance of the German theorist Siegfried Dehn, works in the field of composition, polyphony, and instrumentation. Having received 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 of 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 set about writing an opera with great zeal.

1836-1844

In 1836, the opera A Life for the Tsar was completed, but with great difficulty Mikhail Glinka managed to get it accepted for staging on the stage of the Petersburg Bolshoi Theater. This was stubbornly prevented by the director of the imperial theaters, A. M. Gedeonov, who gave it to the judgment of the “director of music,” Kapellmeister Katerino Cavos. Kavos, on the other hand, gave Glinka's work the most flattering review. The opera was accepted.

The premiere of A Life for the Tsar took place on November 27 (December 9), 1836. The success was huge, the opera was enthusiastically accepted by the advanced part of society. The next day Glinka wrote to his mother:

On December 13, A. Vsevolzhsky hosted a celebration of M. I. Glinka, at which Mikhail Vielgorsky, Pyotr Vyazemsky, Vasily Zhukovsky and Alexander Pushkin composed a welcoming “Canon in honor of M. I. Glinka”. Music belonged to Vladimir Odoevsky.

Soon after the production of A Life for the Tsar, Glinka was appointed bandmaster of the Court Choir, which he led for two years. Glinka spent the spring and summer of 1838 in Ukraine. There he selected choristers for the chapel. Among the newcomers was Semyon Gulak-Artemovsky, who later became not only a famous singer, but also a composer.

In 1837, Mikhail Glinka, not yet having a libretto ready, began to work on a new opera based on the plot of A. S. Pushkin's poem Ruslan and Lyudmila. The idea of ​​the opera came to the composer during the lifetime of the poet. He hoped to draw up a plan according to his instructions, but the death of Pushkin forced Glinka to turn to minor poets and lovers from among friends and acquaintances. The first performance of Ruslan and Lyudmila took place on November 27 (December 9), 1842, exactly six years after the premiere of Ivan Susanin. In comparison with "Ivan Susanin", the new opera by M. Glinka aroused stronger criticism. The most fierce critic of the composer was F. Bulgarin, at that time still a very influential journalist.

1844-1857

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

May 13, 1845 Glinka went to Spain. There, Mikhail Ivanovich studies the culture, customs, language of the Spanish people, records Spanish folk melodies, observes folk festivals and traditions. The creative result of this trip was two symphonic overtures written on Spanish folk themes. In the autumn of 1845, he created the Jota of Aragon overture, and in 1848, upon his return to Russia, he created Night in Madrid.

In the summer of 1847, Glinka set off on his way back to his ancestral village of Novospasskoye. Glinka's stay in his native places was short. Mikhail Ivanovich again went to St. Petersburg, but after changing his mind, he decided to spend the winter in Smolensk. However, invitations to balls and evenings, which haunted the composer almost daily, drove him to despair and to the decision to leave Russia again, becoming a traveler. 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: a wedding lyric "Because of 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 different rhythms, characters and moods. Pyotr Ilyich Tchaikovsky commented on the work of Mikhail Glinka:

In 1851 Glinka returned to St. Petersburg. He makes new acquaintances, mostly young people. Mikhail Ivanovich gave singing lessons, prepared opera parts and chamber repertoire with such singers as N. K. Ivanov, O. A. Petrov, A. Ya. Petrova-Vorobyova, A. P. Lodiy, D. M. Leonova and others. Under the direct influence of Glinka, the Russian vocal school took shape. He visited M. I. Glinka and A. N. Serov, who in 1852 wrote down his Notes on Instrumentation (published in 1856). A. S. Dargomyzhsky often came.

In 1852, Glinka again set off on a journey. He planned to get to Spain, but tired of moving in stagecoaches and railway, settled 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 the 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 his dacha, and in August he again moved to St. Petersburg. In the same 1854, Mikhail Ivanovich began to write memoirs, which he called "Notes" (published in 1870).

In 1856, Mikhail Ivanovich Glinka left for Berlin. There he took up the study of old Russian church tunes, the work of old masters, the choral works of the Italian Palestrina, Johann Sebastian Bach. Glinka was the first of the secular composers to compose and arrange church melodies in the Russian style. An unexpected illness interrupted these studies.

Mikhail Ivanovich Glinka died on February 16, 1857 in Berlin and was buried in the Lutheran cemetery. In May of the same year, at the insistence of M.I. Glinka's younger sister Lyudmila Ivanovna Shestakova, the ashes of the composer were transported to St. Petersburg and reburied at the Tikhvin cemetery. A monument was erected on the grave, created by the architect A. M. Gornostaev. At present, the slab from Glinka's grave in Berlin has been lost. On the site of the grave in 1947, the Military Commandant's Office of the Soviet sector of Berlin erected a monument to the composer.

Memory

  • At the end of May 1982, the House-Museum of M. I. Glinka was opened in the composer's homestead Novospasskoye
  • Monuments to M. I. Glinka:
    • in Smolensk created on folk remedies, collected by subscription, opened in 1885 in the east side of the Blonier garden; sculptor A. R. von Bock. In 1887, the composition of the monument was completed by the installation of an openwork cast fence, the drawing of which is made up of musical lines - excerpts from 24 works of the composer
    • in St. Petersburg, built on the initiative of the City Duma, opened in 1899 in the Alexander Garden, at the fountain in front of the Admiralty; sculptor V. M. Pashchenko, architect A. S. Lytkin
    • In Veliky Novgorod, on the Monument "1000th Anniversary of Russia" among 129 figures of the most prominent personalities in Russian history(for 1862) there is a figure of M. I. Glinka
    • Petersburg was built on the initiative of the Imperial Russian musical society, opened on February 3, 1906 in the square near the Conservatory (Teatralnaya Square); sculptor R. R. Bach, architect A. R. Bach. Monument of monumental art of federal significance.
    • opened in Kyiv on December 21, 1910 ( Main article: Monument to M. I. Glinka in Kyiv)
  • Films about M. I. Glinka:
    • In 1946, Mosfilm filmed the feature biographical film "Glinka" about the life and work of Mikhail Ivanovich (in the role - Boris Chirkov).
    • In 1952, Mosfilm released the feature biographical film Composer Glinka (starring Boris Smirnov).
    • In 2004, a documentary film about the life and work of the composer “Mikhail Glinka. Doubts and passions ... "
  • Mikhail Glinka in philately and numismatics:
  • In honor of M. and Glinka are named:
    • State Academic Chapel of St. Petersburg (in 1954).
    • Moscow Museum of Musical Culture (in 1954).
    • Novosibirsk State Conservatory (Academy) (in 1956).
    • Nizhny Novgorod State Conservatory (in 1957).
    • Magnitogorsk State Conservatory.
    • Minsk Musical College
    • Chelyabinsk academic theater opera and ballet.
    • Petersburg Choir School (in 1954).
    • Dnepropetrovsk Musical Conservatory named after Glinka (Ukraine).
    • Concert hall in Zaporozhye.
    • State String Quartet.
    • The streets of many cities in Russia, as well as cities in Ukraine and Belarus. Street in Berlin.
    • In 1973, astronomer Lyudmila Chernykh named the minor planet discovered by her in honor of the composer - 2205 Glinka.
    • Crater on Mercury.

Major works

operas

  • "Life for the Tsar" (1836)
  • "Ruslan and Lyudmila" (1837-1842)

Symphonic works

  • Symphony on two Russian themes (1834, completed and orchestrated by Vissarion Shebalin)
  • Music for the tragedy by N. V. Kukolnik "Prince Kholmsky" (1842)
  • Spanish Overture No. 1 "Brilliant Capriccio on the Jota of Aragon" (1845)
  • "Kamarinskaya", fantasy on two Russian themes (1848)
  • Spanish Overture No. 2 "Memories of a Summer Night in Madrid" (1851)
  • "Waltz Fantasy" (1839 - for piano, 1856 - extended version for symphony orchestra)

Chamber instrumental compositions

  • Sonata for viola and piano (unfinished; 1828, revised by Vadim Borisovsky in 1932)
  • Brilliant divertissement on themes from Bellini's La sonnambula for piano quintet and double bass
  • Grand 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)
  • "I'm Here, Inezilla" (1834)
  • "Night review" (1836)
  • "Doubt" (1838)
  • "Night Zephyr" (1838)
  • "The fire of desire burns in the blood" (1839)
  • wedding song "Wonderful tower stands" (1839)
  • vocal cycle "Farewell to Petersburg" (1840)
  • "Song of the Way" (1840)
  • "Confession" (1840)
  • "Do I hear your voice" (1848)
  • "Healthy Cup" (1848)
  • "The Song of Margarita" 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 Your Heart Hurts" (1856)

Anthem of the Russian Federation

The patriotic song of Mikhail Glinka in the period from 1991 to 2000 was the official anthem of the Russian Federation.

Addresses in St. Petersburg

  • February 2, 1818 - end of June 1820 - Noble boarding school at the Main Pedagogical Institute - Fontanka River Embankment, 164;
  • August 1820 - July 3, 1822 - Noble boarding school at St. Petersburg University - Ivanovskaya street, 7;
  • summer 1824 - late summer 1825 - Faleev's house - Kanonerskaya street, 2;
  • May 12, 1828 - September 1829 - Barbazan's house - Nevsky Prospekt, 49;
  • end of winter 1836 - spring 1837 - Merz's house - Glukhoy lane, 8, apt. one;
  • spring 1837 - November 6, 1839 - Capella's house - Moika embankment, 20;
  • November 6, 1839 - the end of December 1839 - officer barracks of the Life Guards of the Izmailovsky Regiment - Fontanka River Embankment, 120;
  • September 16, 1840 - February 1841 - Mertz's house - 8 Glukhoy Lane, apt. one;
  • June 1, 1841 - February 1842 - Schuppe's house - Bolshaya Meshchanskaya street, 16;
  • mid-November 1848 - May 9, 1849 - the house of the School for the Deaf-Mute - embankment of the Moika River, 54;
  • October - November 1851 - Melikhova apartment building - Mokhovaya street, 26;
  • December 1, 1851 - May 23, 1852 - Zhukov's house - Nevsky Prospekt, 49;
  • August 25, 1854 - April 27, 1856 - tenement house of E. Tomilova - Ertelev lane, 7.

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

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

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

We have a big task ahead of us! Develop your own style and pave a new path for Russian opera music.
M. Glinka

Glinka ... corresponded to the needs of the time and the fundamental essence of his people to such an extent that the work he started flourished and grew in the shortest possible time and gave such fruits that were unknown in our fatherland during all the centuries of his historical life.
V. Stasov

In the face of M. Glinka Russian musical culture for the first time put forward a composer of world significance. Based on the centuries-old traditions of Russian folk and professional music, the achievements and experience of European art, Glinka completed the process of forming a national composer school, which won in the 19th century. one of the leading places in European culture, became the first Russian classical composer. In his work, Glinka expressed the progressive ideological aspirations of the time. His works are imbued with the ideas of patriotism, faith in the people. Like A. Pushkin, Glinka sang the beauty of life, the triumph of reason, goodness, justice. He created an art so harmonious and beautiful that one does not get tired of admiring it, discovering more and more perfections in it.

What shaped the personality of the composer? Glinka writes about this in his "Notes" - a wonderful example of memoir literature. He calls Russian songs the main childhood impressions (they were "the first reason that later I began to develop mainly Russian folk music"), as well as the uncle's serf orchestra, which he "loved most of all." As a boy, Glinka played flute and violin in it, and as he grew older, he conducted. "The liveliest poetic delight" filled his soul with the ringing of bells and church singing. Young Glinka drew well, passionately dreamed of traveling, was distinguished by his quick mind and rich imagination. Two great historical events were for the future composer the most important facts of his biography: Patriotic War 1812 and the Decembrist uprising in 1825. They determined the main idea of ​​​​creativity (“Let us devote our souls to the Fatherland with wonderful impulses”), as well as political convictions. According to a friend of his youth N. Markevich, "Mikhailo Glinka ... did not sympathize with any Bourbons."

A beneficial effect on Glinka was his stay in the St. Petersburg Noble Boarding School (1817-22), famous for its progressively thinking teachers. His tutor at the boarding school was V. Küchelbecker, the future Decembrist. Youth passed in an atmosphere of passionate political and literary disputes with friends, and some of the people close to Glinka after the defeat of the Decembrist uprising were among those exiled to Siberia. No wonder Glinka was interrogated about his connections with the "rebels".

In the ideological and artistic formation of the future composer, Russian literature played a significant role with its interest in history, creativity, and the life of the people; direct communication with A. Pushkin, V. Zhukovsky, A. Delvig, A. Griboedov, V. Odoevsky, A. Mitskevich. The musical experience was also varied. Glinka took piano lessons (from J. Field, and then from S. Mayer), learned to sing and play the violin. He often visited theaters, attended musical evenings, played music in 4 hands with the brothers Vielgorsky, A. Varlamov, began to compose romances, instrumental plays. In 1825, one of the masterpieces of Russian vocal lyrics appeared - the romance "Do not tempt" to the verses of E. Baratynsky.

Travels gave Glinka a lot of bright artistic impulses: a trip to the Caucasus (1823), a stay in Italy, Austria, Germany (1830-34). A sociable, ardent, enthusiastic young man, who combined kindness and straightforwardness with poetic sensitivity, he easily made friends. In Italy, Glinka became close to V. Bellini, G. Donizetti, met with F. Mendelssohn, and later G. Berlioz, J. Meyerbeer, S. Moniuszko would appear among his friends. Eagerly absorbing various impressions, Glinka studied seriously and inquisitively, having completed his musical education in Berlin with the famous theorist Z. Dehn.

It was here, far from his homeland, that Glinka fully realized his true destiny. "The idea of ​​national music ... became clearer and clearer, the intention arose to create a Russian opera." This plan was realized upon his return to St. Petersburg: in 1836, the opera Ivan Susanin was completed. Its plot, prompted by Zhukovsky, made it possible to embody the idea of ​​a feat in the name of saving the motherland, which was extremely captivating for Glinka. This was new: in all European and Russian music there was no patriotic hero like Susanin, whose image generalizes the best typical features of the national character.

The heroic idea is embodied by Glinka in forms characteristic of national art, based on the richest traditions of Russian songwriting, Russian professional choral art, which organically combined with the laws of European opera music, with the principles of symphonic development.

The premiere of the opera on November 27, 1836 was perceived by the leading figures of Russian culture as an event of great importance. “With Glinka's opera, there is ... a new element in Art, and a new period begins in its history - the period of Russian music,” Odoevsky wrote. The opera was highly appreciated by Russians, later foreign writers and critics. Pushkin, who was present at the premiere, wrote a quatrain:

Listening to this news
Envy, darkened by malice,
Let it gnash, but Glinka
Can't get stuck in the dirt.

Success inspired the composer. Immediately after the premiere of Susanin, work began on the opera Ruslan and Lyudmila (based on the plot of Pushkin's poem). However, all sorts of circumstances: an unsuccessful marriage that ended in divorce; the highest mercy - service in the Court Choir, which took a lot of strength; the tragic death of Pushkin in a duel, which destroyed the plans for joint work on the work - all this did not favor the creative process. Interfered with household disorder. For some time Glinka lived with the playwright N. Kukolnik in a noisy and cheerful environment of the puppet "brotherhood" - artists, poets, who pretty much distracted from creativity. Despite this, the work progressed, and other works appeared in parallel - romances based on Pushkin's poems, the vocal cycle "Farewell to Petersburg" (on the station of the Dollmaker), the first version of the "Fantasy Waltz", music for the drama of the Dollmaker "Prince Kholmsky".

Glinka's activities as a singer and vocal teacher date back to the same time. He writes "Etudes for the Voice", "Exercises to Improve the Voice", "School of Singing". Among his students are S. Gulak-Artemovsky, D. Leonova and others.

The premiere of "Ruslan and Lyudmila" on November 27, 1842 brought Glinka a lot of hard feelings. The aristocratic public, led by the imperial family, met the opera with hostility. And among Glinka's supporters, opinions were sharply divided. The reasons for the complex attitude to the opera lie in the deeply innovative essence of the work, with which the fairy-tale epic, previously unknown to Europe, began. Opera theatre, where various musical-figurative spheres appeared in a bizarre interweaving - epic, lyrical, oriental, fantastic. Glinka "sang Pushkin's poem in an epic way" (B. Asafiev), and the unhurried unfolding of events, based on the change of colorful pictures, was prompted by Pushkin's words: "Deeds of bygone days, traditions of deep antiquity." As a development of Pushkin's most intimate ideas, other features of the opera appeared in the opera. Sunny music, singing the love of life, faith in the triumph of good over evil, echoes the famous "Long live the sun, let the darkness hide!", And the bright national style of the opera, as it were, grows out of the lines of the prologue; "There is a Russian spirit, there smells of Russia." Glinka spent the next few years abroad in Paris (1844-45) and in Spain (1845-47), having specially studied Spanish before the trip. In Paris, a concert of Glinka's works was held with great success, about which he wrote: "... I the first Russian composer, who introduced the Parisian public to his name and his works written in Russia and for Russia". Spanish impressions inspired Glinka to create two symphonic pieces: "Jota of Aragon" (1845) and "Memories of a summer night in Madrid" (1848-51). Simultaneously with them, in 1848, the famous Kamarinskaya appeared - a fantasy on the themes of two Russian songs. Russian symphonic music originates from these works, equally “reported to connoisseurs and ordinary public.”

Glinka Mikhail Ivanovich Glinka Mikhail Ivanovich

(1804-1857), composer, founder of Russian classical music. The operas A Life for the Tsar (Ivan Susanin, 1836) and Ruslan and Lyudmila (1842) marked the beginning of 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 (about 80). Glinka's "Patriotic Song" became the musical basis of the National Anthem of the Russian Federation. The Glinka Prizes were established (by M. P. Belyaev; 1884-1917), the Glinka State Prize of the RSFSR (in 1965-90); the Glinka Vocal Competition has been held (since 1960).

GLINKA Mikhail Ivanovich

GLINKA Mikhail Ivanovich, Russian composer, founder of Russian classical music. He was the author of the operas A Life for the Tsar (Ivan Susanin, 1836) and Ruslan and Lyudmila (1842), which laid the foundation for two directions of Russian opera - folk musical drama and opera-fairy tale, opera-epic. Symphonic compositions: "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" became the musical basis of the national anthem of the Russian Federation (1991-2000). The Glinka Prizes were established (by M. P. Belyaev; 1884-1917), the Glinka State Prize of the RSFSR (in 1965-90); the Glinka Vocal Competition has been held (since 1960).
Childhood. Studying at the Noble Boarding School (1818-1822)
Glinka was born into a family of Smolensk landowners I. N. and E. A. Glinka (former second cousins). He received his primary education at home. Listening to the singing of serfs and the ringing of the bells of the local church, he showed an early passion for music. He was fond of playing the orchestra of serf musicians on the estate of his uncle, Afanasy Andreevich Glinka. Musical lessons - playing the violin and piano - began rather late (1815-1816) and were of an amateur nature. However, music had such a strong influence on him that once he remarked to a remark about absent-mindedness: “What should I do? ... Music is my soul!”.
In 1818, Glinka entered the Noble Boarding School at the Main Pedagogical Institute in St. Petersburg (in 1819 it was renamed the Noble Boarding School at St. boarding house to his brother. Glinka's tutor was V. Kuchelbecker (cm. KUKHELBEKER Wilhelm Karlovich) who taught Russian literature at the boarding school. In parallel with his studies, Glinka took piano lessons (first from the English composer John Field (cm. FIELD John), and after his departure to Moscow - with his students Oman, Zeiner and Sh. Mayr - a fairly well-known musician). He graduated from the boarding school in 1822 as the second student. On graduation day, Hummel's Piano Concerto was played in public with great success.
The beginning of an independent life
After graduating from the boarding school, Glinka did not immediately enter the service. In 1823, he went to be treated at the Caucasian Mineral Waters, then went to Novospasskoye, where he sometimes "directed his uncle's orchestra, playing the violin", then he began to compose orchestral music. In 1824 he was hired as assistant secretary of the Main Directorate of Railways (he resigned in June 1828). The main place in his work was occupied by romances. Among the works of that time "The Poor Singer" to the verses of V. A. Zhukovsky (cm. ZHUKOVSKY Vasily Andreevich)(1826), “Do not sing, beauty, with me” to the verses of A. S. Pushkin (1828). One of the best romances of the early period - an elegy on poems by E. A. Baratynsky (cm. BARATYNSKY Evgeny Abramovich)"Do not tempt me unnecessarily" (1825). In 1829 Glinka and N. Pavlishchev published the Lyric Album, which included Glinka's plays among the works of various authors.
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. In Italy, the composer met V. Bellini (cm. BELLINI Vincenzo), F. Mendelssohn (cm. Mendelson Felix) and G. Berlioz (cm. Berlioz Hector). Among the composer's experiments of those years (chamber-instrumental compositions, romances), the romance "Venetian Night" to the verses of I. Kozlov stands out. Glinka spent the winter and spring of 1834 in Berlin, devoting himself to serious studies in music theory and composition under the guidance of the famous scholar Siegfried Dehn. At the same time, he had the idea of ​​creating a national Russian opera.
Stay in Russia (1834-1842)
Returning to Russia, Glinka settled in St. Petersburg. Attending evenings with the poet Zhukovsky, he met Gogol, P. A. Vyazemsky (cm. VYAZEMSKY Petr Andreevich), V. F. Odoevsky (cm. ODOEVSKY Vladimir Fedorovich) and others. The composer was carried away by the idea submitted by Zhukovsky to write an opera based on the story of Ivan Susanin (cm. SUSANIN Ivan Osipovich), about whom he learned in his youth, after reading the “Duma” by K. F. Ryleev (cm. RYLEEV Kondraty Fedorovich). The premiere of the work, named at the insistence of the theater management "A Life for the Tsar", on January 27, 1836, became the birthday of the Russian heroic-patriotic opera. The performance was a great success, the royal family was present, and Pushkin was among Glinka's many friends in the hall. Soon after the premiere, Glinka was appointed head of the Court Choir.
In 1835 Glinka married MP Ivanova. This marriage was extremely unsuccessful and overshadowed the life of the composer for many years. Glinka spent the spring and summer of 1838 in the Ukraine, selecting choristers for the chapel. Among the newcomers was S. S. Gulak-Artemovsky (cm. GULAK-ARTEMOVSKY Semyon Stepanovich)- subsequently not only famous singer, but also a composer, author of the popular Ukrainian opera Zaporozhets beyond the Danube. Upon his return to St. Petersburg, Glinka often visited the house of the brothers Platon and Nestor Kukolnikov. (cm. KUKOLNIK Nestor Vasilyevich), where a circle gathered, consisting mostly of people of art. I. K. Aivazovsky was there (cm. AIVAZOVSKY Ivan Konstantinovich) and K. P. Bryullov (cm. BRYULLOV Karl Pavlovich), who left many wonderful caricatures of the members of the circle, including Glinka. On the verses of N. Kukolnik 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, Glinka had conversations with Pushkin about creating an opera based on the plot of Ruslan and Lyudmila. In 1838, work began on the essay, which premiered on November 27, 1842 in St. Petersburg. Despite the fact that the royal family left the box before the end of the performance, leading cultural figures greeted the work with delight (although there was no unanimity of opinion this time - due to the deeply innovative nature of the dramaturgy). Franz Liszt attended one of Ruslan's performances (cm. LIST Ferenc), who highly appreciated not only this opera by Glinka, but also his role in Russian music in general.
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 the spring of 1844 Glinka went on a new trip abroad. After spending several days in Berlin, he stopped in Paris, where he met with Berlioz, who included several of Glinka's compositions in his concert program. The success that fell to their lot prompted the composer to give an idea to give a charity concert in Paris from his own works, which was carried out on April 10, 1845. The concert was highly appreciated by the press.
In May 1845, Glinka went to Spain, where he stayed until the middle of 1847. Spanish impressions formed the basis of two brilliant orchestral pieces: Jota of Aragon (1845) and Memories of a Summer Night in Madrid (1848, 2nd edition - 1851) . In 1848, the composer spent several months in Warsaw, where Kamarinskaya was written - an essay about which P. I. Tchaikovsky (cm. TCHAIKOVSKY Pyotr Ilyich) noted that in it, "like an oak in a stomach, all Russian symphonic music is contained."
last decade
Glinka spent the winter of 1851-1852 in St. Petersburg, where he became close to a group of young cultural figures, and in 1855 he met M. A. Balakirev (cm. BALAKIREV Mily Alekseevich), who later became the head of the "New Russian School" (or "Mighty Handful (cm. POWERFUL BUNCH)”), who creatively developed the traditions laid down by Glinka.
In 1852, the composer again left for Paris for several months, from 1856 he lived in Berlin, where he died in February 1857 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.
Glinka and Pushkin. Glinka's meaning
“In many ways, Glinka has the same significance in Russian music as Pushkin has in Russian poetry. Both are great talents, both are the founders of the new Russian artistic creativity, both created a new Russian language - one in poetry, the other in music, ”wrote the famous critic V.V. Stasov (cm. STASOV Vladimir Vasilievich).
In the work of Glinka, two the most important directions Russian opera: folk musical drama and fairy tale opera; he laid the foundations of Russian symphonism, became the first classic of Russian romance. All subsequent generations of Russian musicians considered him their teacher, and for many, the impetus for choosing musical career there was an acquaintance with the works of the great master, the deeply moral content of which is combined with a perfect form.

encyclopedic Dictionary . 2009 .

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