The main works of Glinka. A short biography of Glinka is the most important thing for children. Characteristic features of the style

Origin

Mikhail Glinka was born on May 20 (June 1) 1804 in the village of Novospasskoye, Smolensk province, on the estate of his father, retired captain Ivan Nikolaevich Glinka... The composer's great-grandfather was a nobleman from the family Glinka coat of arms of Tshask - Victorin Vladislav Glinka(Polish Wiktoryn Wladyslaw Glinka). After the Rzecz Pospolita lost Smolensk in 1654, V.V. Glinka took Russian citizenship and converted to Orthodoxy. The tsarist power retained for the Smolensk gentry land holdings and noble privileges, including the former coats of arms.

Childhood and adolescence

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

In 1817, parents bring Michael Petersburg and placed in the Noble boarding house at the Main Pedagogical Institute (in 1819 it was renamed the Noble boarding house at St. Petersburg University), where the poet, Decembrist V.K.Kyukhelbecker was his tutor. The sister of Wilhelm Karlovich Kuchelbecker - Justin (1784-1871) married Grigory Andreevich Glinka(1776-1818), who was a cousin of the composer's father. In Petersburg Glinka takes lessons from prominent music educators, including Karl Zeiner and John Field

In 1822 Mikhail Ivanovich successfully (as a second student) graduated from the Noble Boarding School at the Imperial St. Petersburg University. In the boarding house Glinka met A.S. Pushkin, who came there to his younger brother Lev, a classmate Michael... Their meetings resumed in the summer of 1828 and continued until the death of the poet.

Periodization of life and creativity

1822-1835

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

In the summer of 1823 Glinka made a trip to the Caucasus, having visited Pyatigorsk and Kislovodsk. 1824 to 1828 Michael worked as an assistant secretary of the Main Directorate of Railways. In 1829 M. Glinka and N. Pavlishchev published "Lyric Album", where among the works of different authors there were also plays Glinka.

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

In July 1833 Glinka went to Berlin, stopping for a while in Vienna on the way. In Berlin Glinka, under the guidance of German theorist Siegfried Dehn, works in the field of composition, polyphony, instrumentation. Having received the news of his father's death in 1834, Glinka decided to immediately return to Russia.

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

1836-1844

In 1836, the opera "A Life for the Tsar" was completed, however Mikhail Glinka it was with great difficulty that they managed to get it accepted for staging on the stage of St. The Bolshoi Theater... The director of the imperial theaters, A.M. Gedeonov, obstinately prevented this from happening, and he handed it over to the "director of music" Katerino Cavos, the "music director". Kavos gave the work Glinka 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 enormous, the opera was enthusiastically received by the society. The next day Glinka wrote to his mother:

“Yesterday evening my desires were finally fulfilled, and my long labor was crowned with the most brilliant success. The audience received my opera with extraordinary enthusiasm, the actors lost their temper with zeal ... the sovereign-emperor ... thanked me and talked with me for a long time ... "

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

"Sing in delight, Russian choir
A new novelty has been released.
Have fun, Russia! Our Glinka -
Not clay, but porcelain! "

Soon after the production of A Life for the Tsar Glinka appointed Kapellmeister of the Court singing chapel, which he led for two years. Spring and summer 1838 Glinka spent 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 ready-made libretto, began working on a new opera based on the subject of Alexander Pushkin's poem Ruslan and Lyudmila. The idea of ​​the opera came to the composer during the poet's lifetime. He hoped to draw up a plan according to his instructions, but the death of Pushkin forced Glinka appeal to secondary poets and amateurs 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. Compared to Ivan Susanin, the new opera M. Glinka drew stronger criticism. The most fierce critic of the composer was F. Bulgarin, who was still a very influential journalist at that time.

During these years, there is a stormy relationship. Glinka with Katya Kern, the daughter of Pushkin's muse. In 1840 their acquaintance took place, which quickly grew into love. From a letter from the composer:

“... my gaze involuntarily settled on her: her clear expressive eyes, unusually slim body(…) And a special kind of charm and dignity, poured out in her whole person, attracted me more and more. (…) I found a way to talk to this sweet girl. (…) He very cleverly expressed my feelings of that time. (…) Soon my feelings were completely shared by the dear E.K., and my meetings with her became more gratifying. Everything in life is counterpoint, that is, the opposite (...) I was disgusted at home, but how much life and pleasure on the other hand: fiery poetic feelings for E.K., which she fully understood and shared ... "

Having become the composer's muse during that period of his life, Katenka Kern was a source of inspiration for Glinka... Row small pieces, composed by him in 1839, were dedicated to Catherine Kern, in particular the romance "If I meet you", the words of which "... E. K. chose from the writings of Koltsov and rewrote for me. (...) I wrote Waltz-Fantasy for her. "

After at the end of 1839 M. I. Glinka left his wife MP Ivanova, relations with E. Kern continued to develop rapidly. But soon E. Kern fell seriously ill and moved in with her mother. In the spring of 1840, the composer constantly visited Catherine, and it was then that he wrote the romance "I remember a wonderful moment" on the verses of Pushkin, dedicating it to her daughter to the one to whom the poet addressed these verses.

In 1841 E. Kern became pregnant. The divorce proceedings that began shortly before Glinka with his wife, convicted of a secret wedding with a cornet Nikolai Vasilchikov (1816-1847), the nephew of a major dignitary, gave Catherine the hope of becoming the composer's wife. Mikhail Ivanovich he was also sure that the matter would be resolved quickly and he would soon be able to marry Catherine. But the trial took an unexpected turn. And although Glinka did not miss a single court session, the case dragged on. Catherine constantly cried and demanded from Mikhail Ivanovich decisive action. Glinka decided - he gave her a significant amount to "release" from an illegitimate child, although he was very worried about what had happened. To keep everything secret and avoid a scandal in society, the mother took her daughter to Lubny in Ukraine "for climate change."

In 1842 E. Kern returned to St. Petersburg. Glinka, who had not yet received a divorce from his former wife, often saw her, however, as he admits in his notes: "... there was no previous poetry and previous hobby." In the summer of 1844 Glinka Leaving Petersburg, he stopped by E. Kern and said goodbye to her. After that, their relationship practically ended. The much-coveted divorce Glinka received only in 1846, but was afraid to tie the knot and lived the rest of his life as a bachelor.

Despite the constant persuasion of relatives, E. Kern refused to marry for a long time. Only in 1854, having lost hope of returning to her Glinka, E. Kern married a lawyer Mikhail Osipovich Shokalsky. In 1856 she gave birth to a son, Julia, and 10 years later she became a widow, left with a young child almost without any means of subsistence. Her desire to give her son a good education that would secure a career made her serve as a governess in wealthy homes. At home, she herself prepared the boy for admission to the Marine Corps.

A family friend - the son of A.S. Pushkin, Grigory Alexandrovich, - helped Ekaterina Ermolaevna in raising her son Julius (later President of the Soviet geographic society). Ekaterina Yermolaevna spent the rest of her life with her son's family in his apartment on Angliysky Prospekt in St. Petersburg. Every summer she went to her estate in the Smolensk province, where her favorite pastime was reading Pushkin's fairy tales and poems to children from the surrounding villages, specially collected for this occasion. "Corvee" ended with the distribution of copper dimes to the little listeners. Your love for Glinka Ekaterina Ermolaevna kept it for life, and even dying in 1904, with deep feeling recalled the composer.

1844-1857

Hard going through the criticism of his new opera, Mikhail Ivanovich in the middle of 1844 he undertook a new long trip abroad. This time he leaves for France and then 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 at his concert the works Glinka: Lezginka from Ruslan and Lyudmila and Antonida's aria from Ivan Susanin. The success of these works brought Glinka the idea of ​​giving a charity concert in Paris from his works. On April 10, 1845, a large concert by the Russian composer was successfully held at 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 in Spanish folk themes... In the fall of 1845 he created the overture "Jota Aragonese", and in 1848, after returning to Russia - "Night in Madrid".

In the summer of 1847 Glinka set off on the way back to his ancestral village Novospasskoye. Residence Glinka in their native places it was short-lived. Mikhail Ivanovich again went to St. Petersburg, but changing his mind, he decided to spend the winter in Smolensk. However, invitations to balls and evenings that haunted the composer almost daily drove him to despair and to the point of deciding to leave Russia again, becoming a traveler. But in a foreign passport Glinka refused, therefore, having reached Warsaw in 1848, he stopped in this city. Here the composer wrote a symphonic fantasy "Kamarinskaya" on the themes of two Russian songs: the wedding lyric "From behind the mountains, high mountains" and a lively dance song. In this piece Glinka approved a new type of symphonic music and laid the foundations for it further development, skillfully creating an unusually bold combination of different rhythms, characters and moods. Pyotr Ilyich Tchaikovsky said this about the work Mikhail Glinka: "The entire Russian symphony school, just like the whole oak in acorns, is contained in the symphonic fantasy" Kamarinskaya "."

In 1851 Glinka returns to St. Petersburg. He makes new acquaintances, mostly young people. Mikhail Ivanovich gave singing lessons, prepared operatic roles 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. Directly influenced Glinka the Russian vocal school was formed. Been at M. I. Glinka and A. N. Serov, who wrote down his Notes on Instrumentation in 1852 (published 4 years later). AS Dargomyzhsky often came.

In 1852 Glinka went on a journey again. He planned to get to Spain, but tired of traveling in stagecoaches and on railroad, stayed 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. Start Crimean War, in which France opposed Russia, was the event that finally decided the question of leaving Glinka home. On the way to Russia Glinka spent two weeks in Berlin.

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

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

Glinka's grave

Mikhail Ivanovich Glinka died on February 15, 1857 in Berlin and was buried in the Lutheran cemetery. In May of the same year, at the insistence of his younger sister M. I. Glinka Lyudmila (who after the death of their mother and two of her children from the early 1850s devoted herself entirely to caring for her brother, and after his death did everything to publish his works) the composer's ashes were transported to St. Petersburg and reburied at the Tikhvin cemetery.

During the transport of ashes Glinka from Berlin to Russia on his coffin packed in cardboard they wrote "PORCELAIN". This is very symbolic if you remember the canon composed by friends. Glinka after the premiere of "Ivan Susanin". At the grave Glinka a monument was erected, created according to the sketch of I.I.Gornostaev.

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

Memory of Glinka

First monument Glinka was delivered in 1885-87. in Smolensk garden Blonie with funds raised by subscription. Pre-revolutionary monument Glinka survived also in Kiev. From 1884 to 1917 v Russian Empire the Glinka Prizes were awarded. At the end of Stalin's rule, two biographical films were shot at Mosfilm - “ Glinka"(1946) and" Composer Glinka"(1952). On the occasion of the 150th anniversary of the composer's birth, his name was given to the State Academic Capella. At the end of May 1982, the House-Museum was opened in the composer's native estate Novospasskoye. M. I. Glinka.

Major works

Opera

• A Life for the Tsar (Ivan Susanin) (1836)
• Ruslan and Lyudmila (1837-1842)

Symphonic works

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

Chamber instrumental compositions

• Sonata for viola and piano (unfinished; 1828, finalized by Vadim Borisovsky in 1932)
• Brilliant divertissement on themes from Vincenzo Bellini's opera La Sonnambula for piano quintet and double bass
• Brilliant rondo on a theme from Vincenzo Bellini's opera "Capulet and Montague" (1831)
• Large Sextet Es-dur for piano and string quintet (1832)
• "Pathetic Trio" in d-moll for clarinet, bassoon and piano (1832)

Romances and songs

• Venetian Night (1832)
• Patriotic Song (was the official anthem Russian Federation from 1991 to 2000)
• "I am here, Inesilla" (1834)
• "Night Review" (1836)
• Doubt (1838)
• "Night Marshmallow" (1838)
• "The fire of desire burns in the blood" (1839)
• wedding song "The Wonderful Tower Stands" (1839)
• vocal cycle "Farewell to St. Petersburg" (1840)
• "Passing Song" (1840)
• "Recognition" (1840)
• "Do I Hear Your Voice" (1848)
• "Healthy Cup" (1848)
• "Song of Margaret" from Goethe's tragedy "Faust" (1848)
• Mary (1849)
• Adele (1849)
• "Gulf of Finland" (1850)
• "Prayer" ("In a difficult moment of life") (1855)
• "Don't Say It Hurts Your Heart" (1856)
• "I remember a wonderful moment" (on a poem by Pushkin)
• "Lark"

The Russian composer Glinka left a significant mark on world music, stood at the origins of a kind of Russian composer school. His life contained a lot: creativity, travel, joys and difficulties, but his main asset is music.

Family and childhood

The future outstanding composer Glinka was born on May 20, 1804 in the Smolensk province, in the village of Novospasskoye. His father, a retired captain, had a sufficient fortune to live comfortably. Glinka's great-grandfather was a Pole by birth, in 1654, when the Smolensk lands passed to Russia, he received Russian citizenship, converted to Orthodoxy and lived the life of a Russian landowner. The child was immediately given to the care of his grandmother, who raised her grandson in the traditions of that time: she kept him in stuffy rooms, did not develop physically, and fed him with sweets. All this had a bad effect on Mikhail's health. He grew up sickly, capricious and effeminate, he later called himself "mimosa".

Glinka learned to read almost spontaneously after the priest showed him the letters. From an early age, he showed musicality, he himself learned to imitate the ringing of bells on copper basins and sing along to the songs of the nanny. Only at the age of six does he return to his parents, and they begin to engage in his upbringing and education. A governess was invited to him, who, in addition to general education subjects, taught him to play the piano, later he still mastered the violin. At this time, the boy reads a lot, is fond of books about travel, this passion will then turn into a love of changing places, which will possess Glinka all his life. He also paints a little, but music is central to his heart. The boy in the serf orchestra learns many works of that time, gets acquainted with musical instruments.

Years of study

Mikhail Glinka did not live in the village for long. When he was 13 years old, his parents took him to the newly opened Noble Boarding House in St. Petersburg at the Pedagogical Institute. The boy was not very interested in studying, since he had already mastered most of the program at home. His tutor was the former Decembrist V.K.Kyukhelbeker, and his classmate was A.S. Pushkin's brother, with whom Mikhail first met at that time, and later became friends.

In his boarder years, he converges with the princes Golitsyn, S. Sobolevsky, A. Rimsky-Korsakov, N. Melgunov. During this period, he significantly expanded his musical horizons, got acquainted with opera, attends numerous concerts, and also studied with famous musicians of that time - Boehm and Field. He improves his pianistic technique and receives the first lessons in the composing profession.

The famous pianist S. Mayer studied with Mikhail in the 1920s, teaching him the work of a composer, correcting his first opuses, and giving him the basics of working with an orchestra. At the graduation party of the boarding house, Glinka, paired with Mayer, played a Hummel concert, publicly demonstrating his skills. Composer Mikhail Glinka graduated from the boarding school second in academic performance in 1822, but did not feel the desire to study further.

First writing experiences

After graduating from the boarding school, the composer Glinka was in no hurry to look for service, since his financial situation allowed him. The father did not rush his son with the choice of a place of work, but did not think that he would be engaged in music all his life. The composer Glinka, for whom music is becoming the main thing in life, got the opportunity to go to the waters in the Caucasus to improve his health and abroad. He does not leave music lessons, studies the Western European heritage and composes new motives, this becomes a constant internal need for him.

In the 1920s, Glinka wrote the famous romances "Don't tempt me unnecessarily" to the poems of Baratynsky, "Don't sing, beauty, with me" to the text of A. Pushkin. His instrumental works also appear: adagio and rondo for orchestra, string septet.

Living in the light

In 1824, the composer M.I. Glinka entered the service, became an assistant secretary in the Chancellery of Railways. But the service did not work out, and in 1828 he resigned. At this time, Glinka overgrows big amount acquaintances, communicates with A. Griboyedov, A. Mitskevich, A. Delvig, V. Odoevsky, V. Zhukovsky. He continues to study music, participates in musical evenings in Demidov's house, writes many songs and romances, publishes Lyric Album with Pavlishchev, which contains works by various authors, including himself.

Overseas experience

Traveling was a very important part of Mikhail Glinka's life. He makes his first major foreign voyage after graduating from a boarding house.

In 1830 Glinka embarked on a long journey to Italy, which lasted for 4 years. The purpose of the trip was treatment, but it did not bring the desired result, and the musician did not do it seriously, constantly interrupting therapy courses, changing doctors and cities. In Italy, he met K. Bryullov, with outstanding composers of that time: Berlioz, Mendelssohn, Bellini, Donizetti. Impressed by these meetings, Glinka writes chamber works on the themes foreign composers... He studies a lot abroad with the best teachers, improves his performing technique, studies the theory of music. He is looking for his strong theme in art, and this becomes homesickness for him, it pushes him to write serious works. Glinka creates "Russian Symphony" and writes variations on Russian songs, which will later be included in other major works.

Great composer's work: operas by M. Glinka

In 1834, Mikhail's father dies, he gains material independence and begins writing an opera. While still abroad, Glinka realized that his task was to write in Russian, this was the impetus for the creation of an opera based on national material. At this time, he entered the literary circles of St. Petersburg, where Aksakov, Zhukovsky, Shevyrev, Pogodin visited. Everyone is discussing a Russian opera written by Verstovsky, this example inspires Glinka, and he starts sketches for an opera based on Zhukovsky's novella Maryina Roshcha. The idea was not destined to be realized, but this was the beginning of work on the opera "A Life for the Tsar" based on the plot suggested by Zhukovsky, based on the legend of Ivan Susanin. Great composer Glinka entered the history of music precisely as the author of this work. In it he laid the foundations of the Russian opera school.

The premiere of the opera took place on November 27, 1836, and it was a tremendous success. Both the public and critics took the composition extremely well. After that, Glinka was appointed Kapellmeister of the Court Choir Choir and became a professional musician. The success inspired the composer, and he began work on a new opera based on Pushkin's poem Ruslan and Lyudmila. He wanted the poet to write the libretto, but his untimely death prevented the implementation of these plans. In this work, Glinka demonstrates a mature composer's talent and the highest technique. But Ruslan and Lyudmila was received more coolly than the first opera. This upset Glinka very much, and he again was going to go abroad. The composer's operatic heritage is small, but it had a decisive influence on the development of the national school of composition, and to this day these works are a vivid example of Russian music.

Glinka's symphonic music

Development national theme found its reflection in the symphonic music of the author. Composer Glinka creates a large number of essays of an experimental nature, he is obsessed with the search for a new form. In his writings, our hero shows himself as a romantic and melodist. The works of the composer Glinka develop such genres in Russian music as folk-genre, lyric-epic, and dramatic. His most significant works are the overtures "Night in Madrid" and "Aragonese Jota", symphonic fantasy "Kamarinskaya".

Songs and Romances

The portrait of Glinka (the composer) will be incomplete without mentioning his songwriting. All his life he writes romances and songs, which become incredibly popular during the life of the author. In total, he wrote about 60 vocal compositions, of which the most notable are: "I remember a wonderful moment", "Confession", "Passing Song" and many others, which are still part of the classical repertoire of vocalists.

Private life

V personal life the composer Glinka was not lucky. He married a sweet girl Ivanova Marya Petrovna in 1835, hoping to find in her a like-minded person and a loving heart. But very quickly, a lot of disagreements arose between husband and wife. She led a stormy social life, spent a lot of money, so that even the income from the estate and payment for the musical works of Glinka was not enough for her. He was forced to take disciples. The final break occurs when, in the 1840s, Glinka is carried away by Katya Kern, the daughter of Pushkin's muse. He files for divorce, at this time it turns out that his wife secretly married the cornet Vasilchikov. But the separation drags on for 5 years. During this time, Glinka had to go through a real drama: Kern became pregnant, demanded drastic measures from him, he subsidized her to get rid of the child. Gradually, the heat of the relationship faded away, and when the divorce was obtained in 1846, Glinka no longer had the desire to marry. He spent the rest of his life alone, was fond of friendly feasts and orgies, which had a detrimental effect on his already poor health. On February 15, 1857, Glinka died in Berlin. Later, at the request of his sister, the ashes of the deceased were transported to Russia and buried at the Tikhvin cemetery in St. Petersburg.

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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) laid the foundation for two directions of Russian opera - folk musical drama and opera-fairy tale, opera-epic. Symphonic works, including "Kamarinskaya" (1848), "Spanish Overtures" ("Aragonese Jota", 1845, and "Night in Madrid", 1851), laid the foundations of Russian symphonism. 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 (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. 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" ("Aragonese Jota", 1845, and "Night in Madrid", 1851), laid the foundations of Russian symphonism. A 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 (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. Study at the Noble Boarding School (1818-1822)
Glinka was born into a family of Smolensk landowners I. N. and E. A. Glinka (who were second cousins ​​and siblings). He received his primary education at home. Listening to the chanting of serfs and the ringing of the bells of the local church, he showed an early desire for music. He was fond of playing the orchestra of serf musicians in the estate of his uncle, Afanasy Andreyevich 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, upon a remark about absent-mindedness, he remarked: "What can I do? ... Music is my soul!"
In 1818, Glinka entered St. Petersburg at the Noble boarding house at the Main Pedagogical Institute (in 1819 it was renamed the Noble boarding house at St. boarding house to his brother. " Glinka's governor was V. Küchelbecker (cm. KÜCHELBEKER 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 rather famous musician). He graduated from the boarding school in 1822 as a second student. On the day of graduation, Hummel's piano concerto was successfully played in public.
The beginning of an independent life
After graduating from the boarding house, Glinka did not immediately enter the service. In 1823 he went to the Caucasian Mineral Waters for treatment, then went to Novospasskoye, where sometimes "he himself directed his uncle's orchestra, playing the violin," then he began to compose orchestral music. In 1824 he was appointed assistant secretary of the Main Directorate of Railways (he retired in June 1828). Romances occupied the main place in his work. Among the works of that time, "Poor Singer" on verses by V. A. Zhukovsky (cm. ZHUKOVSKY Vasily Andreevich)(1826), "Do not sing, beauty, with me" on the verses of A. 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 "Lyric Album", where among the works of various authors were also plays by Glinka.
First overseas travel (1830-1834)
In the spring of 1830 Glinka set off 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 experiences of those years (chamber instrumental compositions, romances), the romance "Venetian Night" on 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 scientist Siegfried Dehn. It was then that he conceived 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 a plot about 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, entitled A Life for the Tsar at the insistence of the theaters directorate, on January 27, 1836 was the birthday of the Russian heroic-patriotic opera. The performance was a great success, the royal family was present, and Pushkin was among the many friends of Glinka in the hall. Soon after the premiere, Glinka was appointed head of the Court Singing Chapel.
In 1835 Glinka married M.P. Ivanova. This marriage turned out to be extremely unsuccessful and darkened the composer's life for many years. Glinka spent the spring and summer of 1838 in the Ukraine, selecting singers 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 Vasilievich), where the circle gathered, which consisted 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 cartoons 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 talked with Pushkin about creating an opera based on Ruslan and Lyudmila. In 1838, work began on the composition, which premiered on November 27, 1842 in St. Petersburg. Despite the fact that the royal family left the box before the end of the performance, the leading cultural figures greeted the composition with enthusiasm (although there was no consensus this time, due to the deeply innovative nature of the drama). Ferenc Liszt attended one of the Ruslan performances (cm. SHEET 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 the famous Pushkin's poem, and dedicated his most inspired works to her: Waltz-Fantasy (1839) and a marvelous romance to Pushkin's poems I Remember a Wonderful Moment (1840).
New Wanderings (1844-1847)
In the spring of 1844 Glinka set off on a new trip abroad. After spending several days in Berlin, he stopped in Paris, where he met with Berlioz, who included in his concert program several works by Glinka. The success that fell to their lot prompted the composer to give the idea of ​​giving in Paris a charity concert from his own works, which was carried out on April 10, 1845. The concert was highly appreciated by the press.
In May 1845 Glinka went to Spain, where he stayed until the middle of 1847. His Spanish impressions formed the basis for two brilliant orchestral pieces: The Aragonese Jota (1845) and Memories of a Summer Night in Madrid (1848, 2nd edition - 1851) ... In 1848 the composer spent several months in Warsaw, where he wrote "Kamarinskaya" - a work about which P. Tchaikovsky (cm. TCHAIKOVSKY Pyotr Ilyich) noticed that in it, "like an oak in an acorn, 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 Miliy Alekseevich), who later became the head of the "New Russian School" (or " Of the mighty handful (cm. POWERFUL BUNCH)"), Creatively developing 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 value
“In many ways Glinka has the same meaning in Russian music as Pushkin in Russian poetry. Both are great talents, both are the founders of the new Russian artistic creation, both 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 major directions of Russian opera were defined: folk musical drama and fairy-tale opera; he laid the foundations of Russian symphonic music, became the first classic of Russian romance. All subsequent generations of Russian musicians considered him their teacher, and for many, the impetus to the choice musical career became acquaintance with the works of the great master, the deeply moral content of which is combined with a perfect form.

encyclopedic Dictionary . 2009 .

See what "Mikhail Ivanovich Glinka" is in other dictionaries:

The creator of the Russian national opera and the founder of the Russian art music school... G. belonged to the noble family of Glinka, Smolensk province, originating from Poland (the town of Glinka, Lomzhinsky province, Makovsky district) and ... ... Big biographical encyclopedia

Glinka, Mikhail Ivanovich, a genius composer, founder of the national Russian music school, was born on May 20, 1804 in the village of. Novospassky (near Yelnya, Smolensk province), his father's estate. As soon as the child was taken away from the mother, she took him to her ... ... Biographical Dictionary

Russian composer. The founder of Russian classical music. Born into a landowner's family. From 1817 he lived in St. Petersburg. Studied at the Noble Boarding School ... ... Great Soviet Encyclopedia

- (1804 57), Russian. composer. L. turned to the lyrics twice. The composer and L. could have known each other personally, meeting in the house of Micah. Y. Vielgorsky and A. S. Stuneev. A romance to L.'s poems "Do I Hear Your Voice" G. composed in Warsaw in June 1848, after ... Lermontov Encyclopedia

- (1804 57) 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 ... ... Big Encyclopedic Dictionary

- (1804 1857), composer. In 1818, 22 he was brought up at the Noble Boarding School at the Main Pedagogical Institute, where he communicated with V.K.Küchelbecker (his tutor), progressively thinking teachers and scientists. In the 20s. was famous ... Saint Petersburg (encyclopedia)

This term has other meanings, see Glinka. Mikhail Ivanovich Glinka ... Wikipedia

Glinka Mikhail Ivanovich- Monument to M.I. Glinka. Monument to M.I.Glinka. Saint Petersburg. Glinka Mikhail Ivanovich (1804-1857), composer. In 1818-22 he was brought up at the Noble Boarding School at the Main Pedagogical Institute, where he communicated with V.K.Küchelbecker (his ... ... Encyclopedic reference book "St. Petersburg"

The famous Russian. composer, b. May 20, 1804, in the village of Novospasskoye, Smolensk province., D. on the night of February 2 to 3, in 1857, in Berlin, he was buried in St. Petersburg in the Alexander Nevsky Lavra. G. spent his childhood almost without a break in the village ... Encyclopedic Dictionary of F.A. Brockhaus and I.A. Efron

Glinka Mikhail Ivanovich

Great Russian composer, founder of Russian classical music.

Biography

Baby and teenage years

M.I. Glinka was born on May 20 (June 1), 1804 in the village of Novospasskoye, near Yelnya, Smolensk province, on the estate of his father, retired captain, Ivan Nikolaevich Glinka. A sickly and weak child, he was brought up by his grandmother (on his father's side), a tough and domineering woman, a threat to serfs and his loved ones. He received his primary education at home. Musical lessons with a governess invited from St. Petersburg, Varvara Fyodorovna Klamer, playing the violin and piano began quite late (1815-1816) and were of an amateur nature. Musical abilities at that time were expressed by a "passion" for bell ringing, Glinka was able to deftly imitate bell ringer on copper basins.

At the beginning of 1817, Glinka was taken to St. Petersburg, where he was placed in the newly opened Noble boarding school at the Main Pedagogical Institute. This boarding house was a privileged educational institution for the children of the nobility. In the year of the opening of the Noble Boarding School, Lev Pushkin, the poet's younger brother, entered it. He was a year younger than Glinka, and when they met, they became friends.

It was then that Glinka met the poet himself, who "used to come to our boarding house to see his brother." In parallel with his studies, Glinka took piano lessons. He studied music with the best Petersburg teachers of that time: violinist Franz Boehm, pianist John Field, Charles Mayer. The Italian Todi M. Glinka also began to study singing. In the early summer of 1822, Glinka was released from the boarding school, becoming one of the best students. On the day of his graduation, he, together with his teacher Mayer, successfully played Hummel's piano concerto in public.

Creative years

Glinka's first experience in composing music dates back to 1822 - the time of the end of the boarding house. These were variations for harp or piano on a theme from the then fashionable opera "The Swiss Family" by the Austrian composer Weigl. From that moment on, continuing to improve in playing the piano, Glinka pays more and more attention to composition and soon already composes a lot, trying her hand at a variety of genres. For a long time he remains dissatisfied with his work. But it was during this period that well-known romances and songs were written: "Do not tempt me unnecessarily" to the words of E.A. Baratynsky, "Don't sing, beauty, with me" to the words of A.S. Pushkin and others.

In early March 1823, Glinka went to the Caucasus, to the mineral waters, but this treatment did not improve his poor health. In September he returned to Novospasskoye and with renewed zeal began to play music. He studied music a lot and stayed in the village until April 1824, and then left for St. Petersburg and entered the service of the Ministry of Railways (1824-1828). But since the service took him away from music lessons, Glinka soon retired. Gradually, Glinka's circle of acquaintances in St. Petersburg goes beyond secular relations. He meets Zhukovsky, Griboyedov, Mitskevich, Delvig, Odoevsky. In April 1830, her deteriorating health forced Glinka to leave for Germany and Italy for treatment.

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, Glinka studied bel canto and Italian opera, met Bellini and Donizetti. Having lived in Italy for about 4 years, Glinka went to Germany in July 1833. There he met the talented German theorist Siegfried Dehn and took lessons from him for several months. Abroad Glinka wrote several vivid romances: "The Venetian Night", "The Winner" and others. It was then that he conceived the idea of ​​creating a national Russian opera.

In 1834 he began working on the opera Ivan Susanin, the plot of which was suggested to Glinka by Zhukovsky. Glinka's studies in Berlin were interrupted by the news of the death of his father. Glinka immediately leaves for Russia. The trip abroad ended unexpectedly, but he mostly managed to carry out his plans. Returning to his homeland, Glinka began to compose a Russian opera. Neither family losses (the death of his father, and later his brother), nor acquaintances and amorous adventures (like the story with the German woman Louise), nor matchmaking and marriage could interfere with this work.

(In April 1835 Glinka married, the chosen one was Marya Petrovna Ivanova, a pretty girl, his distant relative. But this marriage turned out to be extremely unsuccessful and darkened the composer's life for many years).

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

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

A Life for the Tsar in 1837 was followed by the brilliant Night Review and the musically excellent Cherubim, written for the Petersburg Court Capella, where Glinka, after the brilliant success of his first opera, was appointed conductor (1837-1840). Back in 1837, Glinka talked with Pushkin about creating an opera based on Ruslan and Lyudmila. In 1838, work began on the composition, the composer dreamed that Pushkin himself would write a libretto for her, but premature death the poet prevented this. The opera was created at a difficult time for Glinka. He divorced his wife, and in November 1839, exhausted by domestic troubles, gossip and tedious service in Court chapel, Glinka submitted a letter of resignation to the director; in December of the same year, Glinka was fired.

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

In the spring of 1842, Glinka completed work on the creation of his second opera, Ruslan and Lyudmila, which lasted for more than five years. Its first performance took place on November 27, 1842, 6 years after the premiere of "Ivan Susanin". However, Glinka's new opera, in comparison with Ivan Susanin, drew stronger criticism. Royal family left the box before the end of the premiere performance, soon the opera was completely removed from the stage; "Ivan Susanin" was also rarely staged. The composer takes it hard. In mid-1844, he embarked on a new long trip abroad - this time to France and Spain. Soon, bright and varied impressions return Glinka to a high vitality. In 1845 he wrote a concert overture "Aragonese Jota", and returning to Russia (1848) Glinka wrote another overture "Night in Madrid" (1851), at the same time the symphonic fantasy "Kamarinskaya" was composed on the theme of Russian songs.

In May 1851, the composer's mother, E.A. Glinka. The received news so shocked the composer that he was deprived of right hand... Mother was the closest person, and it turned out to be difficult to live without her. Glinka was not yet fifty, and his physical strength was weakening. In 1852, Glinka hopes to improve his health in Spain, but after reaching Paris he stays there for two years. Last years life Glinka lived in St. Petersburg, then in Warsaw, Paris, and since 1856 - in Berlin. It was full creative plans, but there was not enough strength to complete the conceived works. Glinka grew weaker, and on February 3 (15), 1857 he died.

He died in Berlin, in a foreign land, far from family and friends. He was buried there in a modest grave in the Lutheran cemetery. In May of the same year, the composer's younger sister Lyudmila Ivanovna Shestakova and her friends transported the body to Kronstadt by steamer. On May 24, 1857, the coffin with Glinka's body was lowered into Russian soil at the Tikhvin cemetery of the Alexander Nevsky Lavra in St. Petersburg. In 1859, at the grave of M.I. Glinka, a monument was unveiled (architect II Gornostaev, sk. N. A. Laveretsky), and 46 years later, in January 1906, L. Shestakov. The graves of M.I. Glinka and Shestakova L.I. Initially, the composer and his sister were buried near the entrance to the cemetery, in 1936 during the reconstruction of the necropolis, the ashes of M.I. Glinka and L.I. Shestakova was moved deeper into the cemetery, to the Composer track.

Major works

Opera

A 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 to the tragedy of N. V. Kukolnik "Prince Kholmsky" (1842)

Spanish Overture No. 1 "Brilliant Capriccio on the Theme of the Aragonese Jota" (1845)

"Kamarinskaya", a fantasy on two Russian themes (1848)

Spanish Overture No. 2 "Memories of a Summer Night in Madrid" (1851)

"Waltz-Fantasy" (1839, 1856)

Chamber instrumental compositions

Sonata for viola and piano (unfinished; 1828, finalized by Vadim Borisovsky in 1932)

Brilliant divertissement on themes from Bellini's opera La Sonnambula for piano quintet and double bass

Large Sextet Es-dur for piano and string quintet (1832)

"Pathetic Trio" in d-moll for clarinet, bassoon and piano (1832)

Romances and songs

Venetian Night (1832)

"I am here, Inesilla" (1834)

"Night Review" (1836)

Doubt (1838)

"Night Marshmallow" (1838)

"The fire of desire burns in the blood" (1839)

Wedding song "The Wonderful Tower Is Standing" (1839)

"Passing Song" (1840)

"Recognition" (1840)

"Healthy Cup" (1848)

"Song of Margaret" from Goethe's tragedy "Faust" (1848)

Mary (1849)

Adele (1849)

"Gulf of Finland" (1850)

"Prayer" ("In a difficult moment of life") (1855)

"Don't Say It Hurts Your Heart" (1856)

Anthem of the Russian Federation

Mikhail Glinka's patriotic song from 1991 to 2000 was the official anthem of the Russian Federation.

Memory

At the end of May 1982, the House-Museum of M.I.Glinka was opened in the composer's native village of Novospasskoye.

In 1907, the school named after L.I. Shestakova was founded by the sister of the great composer L.I. M.I. Glinkiv, Yelnya, Smolensk region.

Monuments to M.I. Glinka

Created in Smolensk on folk remedies, collected by subscription, opened in 1885 on the eastern side of the Blonier Gardens; sculptor A.R. von Bock. In 1887, the monument was compositionally completed by the installation of an openwork cast fence, the drawing of which was composed of musical lines - excerpts from 24 works of the composer

In St. Petersburg, it was 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 outstanding personalities v Russian history(for 1862) there is a figure of M.I. Glinka

In St. Petersburg, it was built on the initiative of the Imperial Russian Musical Society, opened on February 3, 1906 in the park near the Conservatory (Teatralnaya Square); sculptor R.R.Bach, architect A.R.Bach. Monument of monumental art of federal significance.

In Zaporozhye, it was opened in 1956 opposite the entrance to concert hall named after Glinka

In Chelyabinsk, it was opened on July 20, 2004 on the square in front of the Academic Opera and Ballet Theater; sculptor Vardkes Avakyani, architect Evgeny Alexandrov

On May 20, 1899, the house in Berlin, where M.I. Glinka died, was immortalized with a memorial plaque

Glinka awards and festivals

In 1884, M.P.Belyaev established the Glinkinsky Prizes, which existed until 1917

From 1965 to 1990 there was the Glinka State Prize of the RSFSR

Since 1958, the All-Russian music Festival named after M.I. Glinka

Since 1960, the Glinka International (formerly All-Union) Vocal Competition has been held

Films about M.I. Glinka

In 1946, a biographical film "Glinka" about the life and work of Mikhail Ivanovich was shot at Mosfilm

In 1952, Mosfilm released a biographical film "Composer Glinka"

In 2004, for the 200th birthday anniversary, was removed documentary about the life and work of the composer “Mikhail Glinka. Doubts and passions ... "

Mikhail Glinka in Philately and Numismatics

Postage stamps of Russia dedicated to the 200th anniversary of the birth of M.I. Glinka, 2004, (TsFA (ITC) # 942-944; Mikhel # 1174-1176)

In 1951, a postage stamp of the USSR was issued for the 175th anniversary of the Bolshoi Theater in Moscow, where the portrait gallery of Russian composers is headed by the portrait of M.I. Glinka (TsFA (ITC) # 1613; Scott # 1554)

In 1954, two postage stamps were issued in the USSR dedicated to the 150th anniversary of the birth of M.I. Glinka (TsFA (ITC) # 1781-1782; Scott # 1723-1724), one of them depicts a portrait of the composer, the other - a scene from the opera "Ivan Susanin"

In 1957, two postage stamps of the USSR were issued, dedicated to the 100th anniversary of the death of the composer (TsFA (ITC) # 1979-1980; Scott # 1907-1908)

In 1958, stamps with a portrait of M. Glinka were issued by the Post Office of Bulgaria (Michel # 1052) and Romania (Michel # 1712)

In 1991, within the framework of the International Year of Russian Culture, the Ministry of Communications of the USSR issued an envelope with an original stamp, the original of the portrait on which was I. Repin's painting “M. I. Glinka for the composition of the opera Ruslan and Lyudmila ", and on the envelope - a reproduction from the lithograph" Quartet of M. Yu. Vielgorsky "

On May 20, 2004, the Russian Post issued three postage stamps for the 200th anniversary of the birth of M.I. Glinka. One of the miniatures contains a portrait of M. Glinka, two others - scenes from the operas "Ivan Susanin" or "A Life for the Tsar" and "Ruslan and Lyudmila". A facsimile of the composer and a sheet with scores of the hymn-march "Glory" (CFA (ITC) # 942-944; Michel # 1174-1176)

On June 18, 2004, the Bank of Russia issued a commemorative coin with a face value of 2 rubles

In 2004, BG Fedorov financed the minting of a commemorative medal with the image of the composer in honor of the 200th anniversary of his birth.

In honor of M. I Glinka named

State Academic Capella 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 Music College

Chelyabinsk academic theater opera and ballet.

Petersburg Choir School (in 1954).

Dnipropetrovsk Music Conservatory named after Glinka (Ukraine).

Concert Hall in Zaporozhye.

State String Quartet.

Streets of many cities of Russia, as well as cities of Ukraine and Belarus. Street in Berlin.

In 1973, astronomer Lyudmila Chernykh named the minor planet discovered to her in honor of the composer - 2205 Glinka.

Crater on Mercury.