Glinka is his biography

St. Petersburg 2nd Krasnoarmeyskaya St. The first opera composed by the composer was called "Life for the Tsar." She became the first national Russian opera, and the royal family was present at her premiere. The whole world knows his “Kamarinskaya”, “waltz fantasy”, “do not tempt”. Glinka, the innovator of musical art, is considered the ancestor of the “new Russian language” in music along with Alexander Pushkin in poetry.

His parents were to each other a second cousin and sister, but this did not stop their love. Despite the protests of the family, they secretly married in the church. Both belonged to the old noble family, the family lived on income from the brick and equestrian plants and owned a large estate in which fountains were installed, greenhouses were equipped. Misha had an older brother Alexei, who died in infancy, so the appearance of the future composer was a great comfort for parents, who grieved for the loss of the first -born.

Glinka’s sister, Lyudmila Ivanovna Shestakova, later wrote: according to her mother’s story, after the first cry of the newborn, under the very window of her bedroom, in a thick tree, there was a loud voice of the nightingale with his delightful tricks. The joy of the parents was overshadowed by the act of the mother of the father, Fekla Alexandrovna, who was revered in the family and obeyed implicitly.

The woman said that she herself would grow her grandson, because "they did not save one son." Until the age of six, Misha practically did not come out of a hotly heated room, and if this happened, he was wrapped in a fur coat, regardless of the season. The most memorable days for the boy were summer trips to the church, where he listened to solemn singing and froze at the sound of bells.

I was very devout the rites of worship, especially on the days of solemn holidays, filled my soul with a lively poetic enthusiasm. Having learned to read extremely early, I often brought my grandmother and her peers with reading the sacred books. Musical ability was expressed at this time by a passion for bell ringing; I eagerly listened to these harsh sounds and knew how to deftly imitate the bells in two copper basins.

In case of illness, they brought small bells to the rooms for my fun. After the death of my grandmother, my mother took up the upbringing of the boy. She tried to accustom Mishenka pampered by fresh air, mobile classes, but the time was lost. Nevertheless, the boy grew obedient, studied the French language and drawing, read the books that a distant relative brought him. The books were interesting, about the travels and discoveries of Vasco da Gama, thanks to them Glinka became interested in geography.

Mikhail Ivanovich spoke about how a passionate love for music woke up in him later in his notes: the priest sometimes gathered many guests and relatives. In this case, they usually sent for the musicians to my uncle, the brother of Mother. The musicians remained for several days, and when the dancing at the departure of the guests stopped, they played, there were different plays.

Once I remember that it was in or a year, in a word, when I was 10 or mu for a year, they played a Kruzel quartet with a clarinet; This music made an incomprehensible, new delightful impression on me-I stayed all day later in some kind of feverish state, was immersed in an inexplicably languid sour state and the next day was scattered during the drawing lesson; In the next lesson, the absent -mindedness still increased, and the teacher, noting that I was already drawing too carelessly, re -struggled me and finally, however, having guessed what the matter once told me that he notes that I just think about music; “What to do?

Glinka was engaged in further education by the governess of Varvara Klammer, who was written out of St. Petersburg, who taught him not only to grammar, foreign languages, but also to music. And although the first lessons were “mechanical”, Misha quickly learned to read notes and play the piano. A musician from an uncle orchestra taught him to play on the violin. At the end of the year, parents sent Mikhail to the just open noble boarding house at the Main Pedagogical Institute in St.

Petersburg. Father did not spare money for his son's education: Glinka studied algebra and geometry, zoology and geography, as well as five languages ​​- Latin, German, English, French and Persian. Soon Mikhail himself became a tutor in algebra, but he did not learn to dance and fencing well. The young man combined his studies in the boarding house with private music.

His teachers were Irish composer John Field, then pianist Charles Mayer. Friends sincerely praised the first musical improvisations of Michael. Already at the end of the guesthouse, the novice composer composed a lot, in particular, wrote the romances “Do not tempt me without need” for the verses of Evgeny Baratynsky, “Do not sing, beauty, with me” to the verses of Alexander Pushkin.

He later went with his son -in -law to the Caucasus. Pyatigorsk and Kislovodsk made an indelible impression on Glinka with their color, and especially national music.It was thanks to Glinka in Russia that the famous Lezginka, which sounded at the opera Ruslan and Lyudmila, as part of the Persian choir, seventeen years later. The creativity of Mikhail Glinka in the year the composer tripled the public service - he was an assistant secretary of the Main Directorate of Railways.

It was enough for four years, and after the publication by Nikolai Pavlischev, the "lyrical album", in which there were several paintings written by a glily of plays, he completely devoted himself to music. The first published work of Mikhail Glinka was the romance "Let the mother be blessed." In the year of the Decembrist uprising, the composer composed his first music for the choir.

The event on Senate Square shocked Michael to the depths of the soul, he soon moved back to his estate. There, the composer wrote new romances, for the most part sad, including the poem by Vasily Zhukovsky “Poor Singer”. In the year, Glinka arrived in St. Petersburg again and stayed there for another two years, communicating with many famous people of that time, including Alexander Griboedov, Vladimir Odoevsky.

He had health problems in the capital, and the doctor advised him to go abroad, live in a warm climate for at least three years. Mikhail went to Italy, studied Belcanto’s vocal style there, composed plays in the Milan style, inspired by the local opera. He constantly visited the theater, trying not to miss a single premiere, traveled around the country, admiring Bologna, Parma, Napopol, he met the popular Italian composers Gaetano Donitnitti and Vincenzo Bellini.

For some time he tried to imitate them, but soon he was poked and wrote home that he could not be an Italian, he continues to work as a Russian. From Italy, Mikhail went to Berlin, visited Vienna. A few more romances and plays appeared. Quite recovering, Glinka returned home. Having settled in St. Petersburg with Alexei Stuneev, I thought about further. Meanwhile, his thoughts about the creation of any big musical work in the national Russian spirit are sighted.

By visiting Zhukovsky’s evenings, the composer soon decided on the plot thanks to a friend. Here is how he wrote about this: he lived in the Winter Palace, and a chosen society, consisting of poets, writers and generally people accessible to graceful, was gathered for him weekly. I’ll name some here: A. Pushkin, Prince of Vyazemsky, Gogol, Pletnev - were regular visitors.

Gogol read his "marriage" with me. Prince Odoevsky, Velegorsky and others were also often. Sometimes, instead of reading, they sang, played piano, sometimes there were lady, but which were available to elegant arts. When I expressed my desire to take up the Russian opera, Zhukovsky sincerely approved my intention and offered me the plot of “Ivan Susanin”. The scene in the forest crashed deeply in my imagination; I found in [her] a lot of original Russian.

By the year, the opera called “Life for the Tsar” was completely composed. The rehearsals were open and took place with full halls. This work opened the new season of the St. Petersburg Bolshoi Theater. Dedicated to Emperor Nicholas I Opera was presented to the general public on December 9. Remembering the prime minister and how the society accepted it, Glinka wrote in his notes: the magnificent performance of the epilogue, representing the glee of the people in the Kremlin, struck me himself; Vorobyova was, as always, excellent in a trio with a choir.

The success of the opera was perfect, I was in a child and now I strongly do not remember what happened when the curtain was lowered. I was now called into the side imperial box. The sovereign was the first to thank me for my opera, noticing that it was not good that Susanin was killed on the stage; I explained to him to Majesty that I was not a sample due to illness, I could not know how to start, and that according to my program during the Poles attack on Susanin, the curtain should now omit, while Susanin’s death is expressed by an orphan in the epilogue.

After the emperor, the empress thanked me, and then the Grand Dukes and c. Soon I received an imperial gift for the opera: a ring in rubles. It consisted of topaz surrounded by three rows of excellent diamonds. A few months later, Mikhail Ivanovich was appointed capter of the court singing chapel. The singing, in his opinion, lacked skill, and he gave them the lessons of Solfezhio, even wrote several educational plays for the choir.

At that time, Glinka decided to write the opera Ruslan and Lyudmila on the plot of Pushkin’s poem. But the poet died on a duel, and he temporarily set off this thought. The composer went to Ukraine to conduct a new set of singers to the imperial chapel. Under the impression of the country and its people, Glinka wrote two more romances “Hood Viter” and “Do not chirp, Soloveyka”.

In the year, Mikhail Ivanovich left the service of a college assessor. Three years later, the premiere of the long-awaited opera Ruslan and Lyudmila, which caused a flurry of criticism due to the fact that during the fifth act the royal family left the box.Glinka Vinyl in that decorator, which ugly designed the scene: “The castle looked like barracks, fantastic flowers were the advanced flowers ...

disgusting were allotted by the simplest colors ... In a word, it was not a decoration, but a trap for actors,” the composer recalled. Nevertheless, the opera went in the theater all season. The appeal and techniques of the sheet could not but hit me in a strange way, for I was not yet in Paris and young France knew only firsthand. In addition to very long hair, in handling he sometimes resorted to the mugnardis's sweet -erected tone, at times in his circulation, the arrogant self -confidence of Arrogance was manifested.

However, despite a certain tone of patronage, in societies, especially between artists and young people, he was amiable, eagerly took a sincere participation in general merry and not averse to buy with us. When we met in societies, which often happened, the sheet always asked me to sing one or two of my romances to him. More than anyone else he liked "burns in the blood." He, in turn, played for me something Chopin or Fashion Beethoven.

In the year, the composer went to France. In Paris, he made his acquaintance with Hector Berlio, popular at that time, and gave him some of his works for the concert program. Their success was so great that Glinka decided to give an independent solo concert, and after flattering reviews went to Spain. There he composed the orchestra play “Aragon Hunt”, impressed by the nature and atmosphere of the country.

Among the other works that the composer managed to create, is the symphonic fantasy “Kamarinskaya”, which combined different styles and rhythms. The personal life of Mikhail Glinka by thirty years Glinka, already a famous composer, was not yet married. Friends chuckled at his inability and household helplessness. Moreover, the news that Mikhail married Maria Ivanova - the young lady was poorly educated, without a condition and nothing unremarkable in the year.