Mikhail Ivanovich Glinka was the first Russian composer to gain wide recognition within his He had three piano lessons from John Field, the Irish composer of nocturnes, who spent some time in Saint Petersburg. He then continued his piano. Glinka’s La Séparation, Nocturne in F Minor. La Séparation, Nocturne in F Minor ( in Russian: Разлука. Ноктюрн) is a solo piano piece written by Mikhail Glinka. Here is a recording I made last night of Mikhail Glinka’s Nocturne in F Minor (The Separation). If you are interested in reading the story behind.
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Mikhail Ivanovich Glinka Russian: His wealthy father had retired as an army captain, and the family had a strong tradition separatkon loyalty and service to the tsarswhile several members of his extended family had also developed a lively interest in culture.
The separaion music he heard in his youthful confinement was the sounds of the village church bells and the folk songs of passing peasant choirs. The church bells were tuned to a dissonant chord and so his ears became used to strident harmony. While his nurse would sometimes sing folksongs, the peasant choirs who sang using the podgolosochnaya technique an improvised style — literally under the voice — which uses improvised dissonant harmonies below the melody influenced the way he later felt free to emancipate himself from the smooth progressions of Western harmony.
At the age of about ten he heard them play a clarinet quartet by the Finnish composer Bernhard Henrik Crusell. It had a profound effect upon him. While his governess taught him Russian, German, French, and geography, he also received instruction on the piano and the violin. At the age of 13, Glinka went to the capital, Saint Petersburgto study at a school for children of the nobility.
Here he learned Latin, English, and Persian, studied mathematics and zoology, and considerably widened his musical experience.
Glinka’s La Séparation, Nocturne in F Minor
He had three piano lessons from John Fieldthe Irish composer of nocturneswho spent some time in Glin,a Petersburg. He then continued his piano lessons with Charles Mayer and began composing. When he left school his father wanted him to join the Foreign Office, and he was appointed assistant secretary of the Department of Public Highways.
The work was light, which allowed Glinka to settle into the life of a musical dilettantefrequenting the drawing rooms and social gatherings of the city. He was already sepzration a large separatikn of music, such as melancholy romances which amused the rich amateurs. His songs are among the most interesting part of his output from this period. The journey took a leisurely pace, ambling uneventfully through Germany and Switzerland, before they settled in Milan.
There, Glinka took lessons at the conservatory with Francesco Basilialthough he struggled with counterpointwhich he found irksome. Although he spent his three years in Italy listening to singers of the day, romancing women with his music, and separaton many famous people including Mendelssohn and Berliozhe became disenchanted with Italy.
He realized that his mission in life was to return to Russia, noctjrne in a Russian manner, and do for Russian music what Donizetti and Bellini had done for Italian music.
His return route took him through the Alps, and he stopped for a while in Vienna, where he heard the music of Franz Liszt. He stayed for another five months in Separationnduring which time he studied composition under the distinguished teacher Siegfried Dehn. A Capriccio on Russian themes for piano duet and an unfinished Symphony on two Russian themes were important products of this period.
When word reached Glinka of his father’s death inhe left Berlin and returned to Novospasskoye.
While in Berlin, Glinka had become enamored with a beautiful and talented singer, for whom he composed Six Studies for Contralto. He contrived a plan to return to her, but when his sister’s German maid turned up without the necessary paperwork to cross to the border with him, he abandoned his plan as well as his love and turned north for Saint Petersburg. There he reunited with his mother, and made the acquaintance of Maria Petrovna Ivanova. After he courted her for a brief period, the two married.
The marriage was short-lived, as Maria was tactless and uninterested in his music. Although his initial fondness for her was said to have inspired the trio in the first act of opera A Life for the Tsarhis naturally sweet disposition coarsened under the constant nagging of his wife and her mother.
After separating, she remarried. Glinka moved in with his mother, and later with his sister, Lyudmila Shestakova.
A Life for the Tsar was the first of Glinka’s two great operas. It was originally entitled Ivan Susanin. Set init tells the story of the Russian peasant and patriotic hero Ivan Susanin who sacrifices his life for the Tsar by leading astray a group of marauding Poles who were hunting noocturne. The Tsar himself followed the work’s progress with interest and suggested the change in the title.
It was a great gliinka at its premiere on 9 Decemberunder the direction of Catterino Cavoswho had written an opera on the same subject in Italy. Although the music is still more Italianate than Russian, Glinka shows superb handling of the recitative which binds the whole work, and the orchestration is masterly, foreshadowing the orchestral writing of later Russian composers.
The Tsar rewarded Glinka for his work with a ring valued at 4, rubles. During the Soviet glinkka, the opera was staged under its original title Ivan Susanin. InGlinka was installed as the instructor of the Imperial Chapel Choirwith a yearly salary of 25, rubles, and lodging at the court. Inat the suggestion of the Tsar, he went off to Ukraine to gather new voices for the choir; the gpinka new boys he found earned him another 1, rubles from the Tsar.
La séparation (Glinka, Mikhail)
He soon embarked on his second opera: The plot, based on the tale by Alexander Pushkinwas concocted in 15 minutes by Konstantin Bakhturina poet who was drunk at the time. Consequently, the opera is a dramatic muddle, yet the quality of Glinka’s music is higher than in A Life for the Tsar. He uses a descending whole tone scale in the famous overture. This is associated with the villainous dwarf Chernomor who has abducted Lyudmila, daughter of the Prince of Kiev.
There is much Italianate coloraturaand Act 3 contains several routine ballet numbers, but his great achievement in this opera lies in his use of folk melody which selaration thoroughly nocthrne into the musical argument. Much of the borrowed folk material is oriental in origin. Separaton it was first performed on 9 Decemberit met with a cool reception, although it subsequently gained popularity. Glinka went through a dejected year after the poor reception of Ruslan and Lyudmila.
His spirits rose when he travelled to Paris and Spain. Another visit to Paris followed in where he spent two years, living quietly and making frequent visits to the botanical and zoological gardens. From there he moved to Berlin where, after five months, he died suddenly on 15 Februaryfollowing a cold. He was buried in Berlin but a few months nocturn his body was taken to Saint Petersburg and re-interred in the cemetery of the Alexander Nevsky Monastery.
Glinka was the beginning of a new direction in the development of music in Russia. Different historical events were often used in the music, but for the first time they were presented in a realistic manner. The first to note this new musical direction was Alexander Serov. Noctturne modern Russian music separatiion Viktor Korshikov thus summed up: Soussanine is an opera where the main character is the people, Ruslan is the mythical, deeply Russian intrigue, and in Guestthe drama dominates over the softness of the beauty of sound.
Since this time, the Russian culture began to occupy an increasingly prominent place in world culture. After Glinka’s death the relative merits of his two operas became a source of heated debate in the musical press, especially between Vladimir Stasov and his former friend Alexander Serov. InMitrofan Belyayev founded the “Glinka Prize”, which was awarded annually.
RAZLUKA (SEPARATION), Nocturne (Mikhail Glinka)
Outside Russia several of Glinka’s orchestral works have been fairly popular in concerts and gllnka. Besides the well-known overtures to the operas especially the brilliantly energetic overture to Ruslanhis major orchestral works include the symphonic poem Kamarinskayabased on Russian folk tunes, and two Spanish works, A Night in Madridand Jota Aragonesa Glinka also composed many art songsmany piano pieces, and some chamber music .
A lesser work that received attention noturne the last decade of the 20th century was Glinka’s ” The Patriotic Song “, supposedly written for a contest for a national anthem in InSupreme Separationn of Russia adopted it as the anthem of the Russian Soviet Federative Socialist Republicwhich had been the only one of the Soviet republics without its own anthem.
Soviet astronomer Lyudmila Chernykh named a minor planet Glinka in his honor. It was discovered in From Wikipedia, the free encyclopedia. This nocgurne is about the 19th-century composer.
For sfparation uses, see Glinka disambiguation. Compositions by Mikhail Glinka. Barcarole in G major, from Four Musical Essays. Trio Pathetique in D minor. Archived from the original on 24 August Retrieved 18 October Retrieved 17 March Do you want, I’ll teach you to love the opera. About the music, and not only.
Archived from the original on 27 January Retrieved 25 January President of the Russian Federation in Russian. Archived from the original on 22 March Dictionary of Minor Planet Names 5th ed.
Glinka: (The Separation) Nocturne in F Minor from Lisztonian: Classical Piano Music on podbay
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