Works for orchestra by M.I. Glinka “Kamarinskaya”, “Waltz – Fantasy”, “Aragonese Jota”, “Night in Madrid” presentation by Pogodina I.P. Glinka in Spain Spanish dance from the ballet "Raymonda" by Glazunov
Municipal autonomous educational institution
secondary school with in-depth study of subjects of the artistic and aesthetic cycle No. 58, Tomsk
Tomsk, st. Biryukova 22, (8-382) 67-88-78
Music lesson 9th grade.
Topic: “Spanish motifs in the works of M.I. Glinka”
Type: (travel lesson)
Target: Introduce students to the works of M.I. Glinka
Tasks: show the role of Spanish flavor in the composer’s work; talk about the life and work of M.I. Glinka during his trip to Spain.
Literature: Encyclopedic dictionary of a young musician (compiled by V. V. Medushevsky, O. O. Ochakovskaya).
Musicalrow: 1st part of the overture “Night in Madri”de” romances “I’m here, Inesilya...”, “I remember a wonderful moment...”spanish tarantella,"Aragonese Jota""Andalusian dance" ).
Moverock
I. Introduction to the topic.
Sounds "Aragonese Jota"
Teacher: Good afternoon (musical greeting). You recognized the piece that was being played now. Our lesson will feature music that uses Spanish motifs, but this music was written by our Russian composer, Mikhail Ivanovich Glinka. And this music sounds because we will take a trip to the Spanish addresses of the great Russian maestro - M.I. Glinka.
(The first part of the overture “Night in Madri” sounds de")
Teacher: You had homework to get acquainted with the biography of M.I. Glinka. (Presentation)
II. A story about Spanish motifs in the works of M.I. Glinka
Teacher: “Visiting Spain was a dream of my youth. My imagination will not stop disturbing me until I visit this curious region for me. I entered Spain on May 20 - the very day of my decision, and was absolutely delighted...”
These lines, like milestones marking the path from a dream to its realization, are given in the book “Spanish Diaries of M.I. Glinka. To the 150th anniversary of Glinka’s travels in Spain”, released in Madrid.” The luxurious edition, which was immediately appreciated by fans of the great Russian’s work, includes the composer’s travel notes, the so-called “Spanish Album,” which contains recordings of folk songs, autographs and drawings of people with whom the composer communicated. And letters about Spain - a subtle story, permeated with precise observations, about the country that inspired the musician’s work.
Throughout Spain there are hardly a dozen monuments erected in honor of foreign writers, artists, and composers. A few of them are dedicated to representatives of Slavic culture. And it is all the more gratifying that both in the Spanish capital and in the south of the country, in Grenada, memorial plaques have been installed in honor of our outstanding Russian - M.I. Glinka. They are a reminder of the touching and respectful attitude of the Spaniards towards the composer, who did more than anyone else to bring our peoples closer together.
Glinka arrived in Spain in May 1845 and, captivated by it, spent almost 2 years here. He knew about this beautiful country before, which, however, is not surprising: Spain in those years was a kind of fashion in Russia. Glinka, of course, was most fascinated by the music of Spain, the rhythms of which he used. Let's listen to Mikhail Ivanovich Glinka's romance to the poems of Alexander Sergeevich Pushkin “I am here, Inezilla...”, written in the style of a Spanish serenade! (The romance “Here I go, Inezilya..." sounds).
student:1 Spanish motifs stirred the composer's soul, and while in Italy, he was planning to come to Spain again and even began to learn Spanish. But then the trip did not take place; almost a decade and a half passed before his dream came true. Oddly enough, family troubles contributed to this: life with Maria Petrovna Ivanova, to whom Glinka became engaged on May 8, 1634, clearly did not work out. The grueling divorce process began. Existence was brightened by love for Ekaterina Kern, the daughter of Anna Petrovna Kern. Ekaterina Ermolaevna, born in 1818, graduated from the St. Petersburg Smolny Institute in 1836 and remained there as a class lady. Then she met Glinka’s sister and met the composer in her house.
student:2 “My gaze involuntarily focused on her. Clear, expressive eyes... An unusually strict figure and a special kind of charm and dignity are diffused throughout her entire person and attracted me more and more,” notes M. Glinka in her “Notes.” - Soon my feelings were shared with Ekaterina Ermolaevna. Our dates became more and more pleasant...”
student:1 He dreamed of getting married, but could not, since his previous marriage had not yet been dissolved. In 1839 M.I. Glinka wrote a romance for Ekaterina Kern based on poems by A.S. Pushkin’s “Where is our rose...”, and a little later set to music “I remember a wonderful moment...” (Sounds like romance "I remember a wonderful moment...")
student:2 Thus, through the genius of the poet and composer, mother and daughter entered immortality.
student:1 And Glinka was looking for peace of mind.
student:2 “...For me it is necessary to stay in a new country, which, while satisfying the artistic demands of my imagination, would distract I wish I had thoughts from those memories, which are the main cause of my current suffering,” he writes to his friend A. Bartenyeva, and in a letter to his mother he admits that “only Spain is able to heal the wounds of my heart. And she really healed them: thanks to the journey and my stay in this blessed country, I begin to forget all my past sorrows and sorrows.”
student:1 It seemed symbolic to the composer that he came to Spain on his birthday. He turned 41 years old.
student:2 “...I lived at the sight of this delightful southern nature. Almost the entire way I admired the lovely and amazing views. Oak and chestnut groves... Alleys of poplars... Fruit trees all in bloom... Huts surrounded by huge rose bushes... All this looked like an English garden rather than simple rural nature. Finally, the Pyrenees mountains with their snow-capped peaks struck me with their majestic appearance.”
Teacher: Mikhail Ivanovich carefully prepared for the trip, resumed his studies in Spanish and, according to eyewitnesses, by the end of his stay in this country he had a decent command of it. He determined in advance the range of his interests, putting the folk music of Spain in first place: through its prism, Glinka studied the life and customs of ordinary Spaniards, although he enthusiastically visited palaces and museums, tried not to miss premieres in the capital’s theater, and met famous musicians.
(The sound of a Spanish tarantella performed by guitars).
Teacher: To Spain M.I. Glinka arrived in a halo of glory - the author of the first Russian operas “Ivan Susanin” (“Life for the Tsar”) and “Ruslan and Lyudmila”. But unlike other famous Europeans traveling around Spain at the same time, he communicated only with friends, avoided any noise around his person and any honors. He even refused to perform his “Aragonese Jota” in one of the capital’s theaters - it was enough for him that it was performed for the Spaniards who were very close to him.
Glinka's Spanish life was very different from his recent Italian life, associated mainly with professional musicians. Now his circle of acquaintances included muleteers, artisans, merchants, and gypsies. He visits the houses of ordinary people, listens to guitarists and singers.
student:3 The composer reflected his first Spanish impressions in the famous “Aragonese Jota”, or “Brilliant Capriccio”, as the author himself called this play. Connoisseurs rank it among Glinka's best and most original works. He recorded the melody that served as its basis in the summer of 1845. The rhythm of dance, which served Glinka so many times for his best instrumental works, provided him with the same service in the present case.
student:4 “And from the dance melody a magnificent fantastic tree grew, expressing in its wonderful forms both the charm of Spanish nationality and all the beauty of Glinka’s fantasy,” noted the famous critic Vladimir Stasov.
student:3 And the no less famous writer Vladimir Fedorovich Odoevsky, after the first performance of “Aragonese Jota” in 1850, wrote:
“A miracle day involuntarily transports you to the warm southern night, surrounds you with all its ghosts. You hear the jangling of a guitar, the cheerful clatter of castanets, a black-browed beauty dances before your eyes, and the characteristic melody is lost in the distance, then appears again in all its glory.”
student:4 By the way, it was on the advice of V. Odoevsky that Glinka called his “Aragonese Jota” a “Spanish overture.”
(Sounds “Aragonese jota”).
Teacher: The fate of “Memories of a Summer Night in Madrid” is also interesting. The composer conceived it in 1848 in Warsaw and even wrote a medley of 4 Spanish melodies - “Memories of Castile”. But they - alas! - not preserved. And on April 2, 1852, in St. Petersburg, a new version of “Memoirs...”, now known as “Night in Madrid,” was performed for the first time.
student:5 “There was not a single listener who was not captivated to the last degree of delight by the dazzling flashes of Glinka’s mighty genius, which shone so brightly in his second “Spanish Overture,” wrote Pyotr Ilyich Tchaikovsky.
A.S. Rozanov wrote: “In Madrid he found the necessary conditions for life - complete freedom, light and warmth. He also found the charm of clear summer nights, the spectacle of folk festivals under the stars in the Prado. Their memory was the Spanish Overture No. 2, known as “Memory of Castile” or “Night in Madrid”. Just like the Aragonese Jota, this overture is a deeply poetic reflection in the music of Glinka’s Spanish impressions.”
(A fragment of the overture “Night in Madrid” is played).
Teacher: With the assistance of Glinka, Spanish boleros and Andalusian dances came into Russian creativity. He gave Spanish themes to the then young Mily Alekseevich Balakirev. The themes of Rimsky-Korsakov, Glazunov, Dargomyzhsky, and Tchaikovsky were drawn from the “Spanish Album,” dotted with recordings of folk melodies.
“I want to compose something similar to Glinka’s “Spanish Fantasies”,”- Pyotr Ilyich admitted to his friend Nadezhda von Meck.
Unfortunately, much of what concerned Spain was lost: some musical works, several letters and the diary that Mikhail Ivanovich kept during the trip were lost.
Now let's listen to "Andalusian Dance" composed in 1855.
(A recording of a dance performed by a piano sounds).
Teacher: Experts see another facet in Glinka’s Spanish “impulse”: by searching for folk songs and melodies, Glinka thereby stimulates the development of national classical music. From now on, not a single Spanish composer could pass by what was created by this Russian; moreover, here he is considered a teacher.
IN In 1922, a memorial plaque was installed on one of the houses in Grenada, where M.I. Glinka lived in the winter of 1846-1847. But in the very first years of the fascist putsch in July 1936, the board was torn down and disappeared without a trace.
Only 60 years later she appeared again. This memorial plaque informs that “the Russian composer M.I. lived in this place. Glinka and here he studied folk music of that era.
Today, the living memory of the Russian composer is kept by the M.I. Trio. Glinka is a Madrid musical group that is widely known in the country and abroad. He plays the works of the great Russian and, of course, his compositions, born on the beautiful Spanish soil.
(The 2nd part of the overture “Night in Madrid” sounds).
III. Learning a song. (“Waltz Come on”
IV.Lesson summary.
M.I. Glinka was the first Russian composer to visit Spain (1845-1847). He studied the culture, customs, and language of the Spanish people; recorded Spanish melodies (from folk singers and guitarists), observed folk festivals. Since the secular music of Spain, sounded in theaters at that time, was largely influenced by Italian music, he was more interested in the “tunes of the common people.” Glinka recorded about 20 folk tunes with unaccompanied texts in Madrid and Granada. His Spanish impressions inspired him to create two symphonic overtures. These are “The Aragonese Hunt” (1845) and “Memory of a Summer Night in Madrid” (1848-51), which reproduce pictures of the life of the Spanish people.
Spanish folklore dictated to the composer a special approach to material, form, and orchestration. Both overtures are far from the usual genre processing folk melody. Glinka sought to reach a new level of artistic generalization, capturing the very spirit of the nation. Creating scenes from folk life, he strengthened the procedural-event nature of the sound. Both overtures use such a compositional technique as an extended introduction and coda (“beginning” and “end” of the dance scene), a sharp switch from one plane to another.
"Aragonese Jota"
Spanish Overture No. 1 (1845)
In “Aragonese Jota,” the composer turned to the most popular Spanish folk theme. Hearing it performed by Spanish guitarists, he was delighted with its unique, cheerful grace. This is the melody of jota (Spanish jota) - the national Spanish three-beat dance, which has become one of the musical symbols of Spain. It was with this that Glinka’s very first impressions of Spanish culture were connected.
"Aragonese Jota" opens slowly introduction in the character of a severe march-procession (Grave). His music, with solemn fanfares and contrasting changes in dynamics, is full of restrained strength and grandeur. This is an image of harsh and beautiful Spain. After characterizing the “scene of action,” development switches to a “specific event” plan. In the sonata section, in bright contrast to the introduction, a picture of festive folk fun emerges.
The instrumentation masterfully conveys the flavor of Spanish folk music. Light pizzicato of the strings and plucking of the harp reveal the poetic image of the guitar strumming ( 1st theme of the main part- an authentic Aragonese jota melody), woodwinds imitate singing in the vocal part of the dance ( 2nd theme of the main part- copla).
Using the sonata form, Glinka does not abandon the method of variation. He combines motivic development with varying material. Already within the framework of the main part (double tripartite form ababa) there is a variation of themes. IN side party, elegant and graceful, reminiscent of the strumming of a mandolin, Glinka brilliantly realizes the characteristic compositional feature of folk hota. The harmonic plan of all melodies of this genre is the same - TD D T. On this basis, the melodies themselves can be heard as variants of each other. This is exactly how both topics of the side game are perceived. They are added to the original rhythmic formula of the jota of two sounds (TD DT) as counterpoints, thereby forming a series of variations (8 bars up to number 10).
The development is based on the principle of a gradual increase in dynamics, with constant switching of plans: solo scenes, as if “snatched” from the general mass, are replaced by the brilliant sound of the entire orchestra. Before the central climax, the sound of the jota is interrupted by the secretly alarming timpani tremolo and brass fanfare, recalling the theme of the introduction - this is Spain, the land of unbridled passions.
The highest point of development is marked by the dazzlingly bright theme of jota, carried out by the entire orchestra. It almost tangibly reveals the picture of nationwide rejoicing.
Reprise(ts. 18) is a true apotheosis of variation in sonata form. The main and secondary themes, which seemed to be different themes in the exhibition, look here as a single sequence of variations on a given harmony.
Syncopated fanfare codes form a thematic arc to the introduction, but are painted in bright, festive colors.
So, the uniqueness of Glinka’s jota is that the sonata dynamism of its form is enhanced thanks to the commonality of themes that opens up in the process of variation.
In this overture, Glinka uses a large orchestra. A special role is played by castanets - a Spanish instrument that emphasizes the national flavor, as well as the harp.
"Memory of a Summer Night in Madrid" (or "Night in Madrid")
Spanish Overture No. 2 (1848-1851)
The image of a summer southern night is one of the most characteristic symbols of Spain. It was widely developed in European poetry. The landscape here often becomes the backdrop for the intense life of human emotions, revealed in the mysterious “rustles” of the night.
The dramaturgy of Glinka's “Nights in Madrid” is in many ways unconventional for the 19th century, which is due to the peculiarities of the artistic concept: the embodiment of images of Spain as if through the haze of passing time. The composition creates a feeling of randomness of musical pictures that spontaneously arise in the mind of the traveler. After a little introductions, depicting a night landscape, four authentic Spanish themes follow one after another. They alternate according to the principle of contrast: the graceful jota is replaced by a colorful Moorish melody, then the rapid first seguidilla sounds, followed by a more melodious, smooth second seguidilla. In the second part of the overture, all themes occur in reverse, mirror order. The letter diagram of the essay - A B C D D C B A - reflects the concentric shape.
The apparent randomness of phenomena following each other does not at all deprive “Night in Madrid” of its compositional harmony. As in the first overture, the composer managed to translate folk elements into the form of a purely symphonic development.
Compared to the first “Spanish Overture,” there are fewer external contrasts, but more unique timbre discoveries. Glinka uses the most subtle, airy, watercolor-transparent nuances of the orchestral palette: divisi of strings in the high register, harmonics of violins and cellos, staccato passages of woodwind instruments. It is interesting that “A Night in Madrid” does not use the harp at all, which was so prominent in “Aragonese Jota”. The guitar flavor here is embodied more indirectly, through a subtle stylization of the ornamental techniques of folk music. With its refinement of orchestral writing, Glinka's score anticipates the trends of musical impressionism.
An interesting technique is the “anticipation” of themes: first the accompaniment appears, and only then against its background the outlines of the dance itself are revealed.
Now we need to turn to the travel of M. I. Glinka to Spain - a very important event in the formation of the “Spanish” style in Russian classical music. Fortunately, many documents about the journey have been preserved, and the most valuable are the composer’s “Notes,” where he not only described in detail what he saw and heard, but also recorded Spanish folk melodies. They formed the basis for some works by Russian composers about Spain. We will turn to two texts - the Spanish-language book by A. Canibano “Glinka’s Spanish Notes” (Cacibano, 1996), as well as the book by S. V. Tyshko and G. V. Kukol “Glinka’s Wanderings. Commentary on "Notes". Part III. Travel to the Pyrenees or Spanish arabesques" (Tyshko, Kukol, 2011). A. Canibano describes the ideas of Western Europeans about Spain in the 17th - 19th centuries. - and Spain appears here as an oriental country. Moreover, these ideas largely coincide with what Europeans thought about the East. Here we observe the same situation as with E. Said’s book - a native of the East wrote about Orientalism (the West’s ideas about the East), and a native of Spain A. Canibano wrote about the West’s perception of Spain as an Oriental country.
The researcher points out that Jews, Moriscos, gypsies and blacks lived in Spain - and all of them in Orientalist discourse are united by the term “people of the East”. Already in the 17th century. Several ideas were formed that were oriental for Europeans: the harem, the bathhouse, abduction from the seraglio (just remember the opera by W. A. Mozart). Europe created a concert of Orientalism after the French Revolution, when it was preoccupied with the search for identity. There was a need for something distant, different, Other - in order to establish our own traditions. However, Europe did not seek to study other cultures, but merely fabricated a prototype that suited its needs. Andalusia, and especially Granada, was for European romantics (the term by A. Canibano - but it is known that orientalism was one of the main ideas in romanticism, so there is no contradiction with our concept here) the gateway to the oriental world. The East was a dream, a myth, distant and (therefore) desirable, a place of earthly paradise where one could calmly break all the taboos of “Western” man. However, this dream also had another side: the East is also something evil, mystical, cruel. And by defining the East in this way, a Western European encountered his own values. Europe invented the East for its own purposes. This fashion for the oriental was also expressed in music - however, here too Western Europe followed the path of invention and imitation. Eastern rhythms and melodies were adapted to the standards of Western European music (= spoiled), as a result, musical means were formed (“eastern scale”, chromaticism, increased seconds, certain rhythms, etc.), which indicated the oriental nature of the composition. Works about Spain have been created by Western European composers since the 17th century. (Cabano, 1996, 20 - 21).
Everything that has been said about the East also applies to Spain. M.I. Glinka arrived in an already orientalized Spain - and was inspired by this very image of it. To confirm this thesis, let us turn to the composer’s “Notes” and comments to them. Attention should be paid to what M.I. Glinka saw and heard in Spain, how he interpreted it and what explanation is given in the comments to his notes. The Russian composer's first impression of Spanish music was disappointment: the musicians sought to reproduce the Italian and French traditions - the most advanced traditions at the beginning of the 19th century. - but M.I. Glinka, like other travelers who visited Spain, expected to find exotic things, and not the already well-known Italy and France. The main thing here is that the Spaniards acted completely consciously. They could not be satisfied with the fact that in the eyes of Europeans Spain is a backward, wild country, so they wanted to represent themselves as part of (developed) Europe and created the music that (as it seemed to them) corresponded to leading European trends. However, this only caused irritation among the Europeans themselves. As a result, M.I. Glinka concluded that genuine, folk, authentic Spanish music should be sought not in the theaters of large cities, but somewhere else (Tyshko, Kukol, 2011, 125 - 127). If we describe this situation in terms of Orientalist discourse, we get the following: the Spaniards were somehow aware that their country was Orientalized by Europeans - and tried to fight it. Orientalization is not just a one-way process; it can meet with resistance.
So, M.I. Glinka’s goal was to search for “real” Spanish music. And he succeeded: on June 22, 1845, in Valladolid, the composer began recording in a special notebook Spanish melodies that he heard performed by local residents (not always professional musicians, but who had talent and, of course, knew national music). These melodies became the basis for the first works in the Spanish style. Thus, M.I. Glinka recorded the Aragonese jota (here - without quotes!), which Felix Castilla played on the guitar with him, and subsequently - in the fall of 1845 - created the play “Capriccio brillante” from the melody with variations. Prince Odoevsky advised calling it the “Spanish Overture,” and we know the play under the name “Aragonese Jota.” M.I. Glinka also recorded other chotas: Valladolid (to the melody of which the romance “Darling” was written), Asturian (Tyshko, Kukol, 2011, 160, 164 - 165). Regarding the Aragonese Jota, S. V. Tyshko and G. V. Kukol note one important point: in February 1845, F. Liszt, after finishing his own trip to Spain, wrote the Grand Concert Fantasia, where he used the Jota theme, which was recorded only a few months later by M.I. Glinka. F. Liszt was the first - but “Aragonese Jota” was created completely independently, without external influences (Tyshko, Kukol, 2011, 214 - 215). The development of the “Spanish” style in Western European music is a topic for a separate study, but at the moment we only want to note that the “Spanish” style is not only a Russian “invention”.
While recording Spanish melodies, M.I. Glinka encountered a difficulty - the music was unusual for him, different from what he knew, generally difficult to write, and therefore he identified the character of this music as ... Arabic (Tyshko, Kukol, 2011 , 217). On the one hand, the Russian composer was right - in the comments to the Notes it is repeatedly stated that Spanish music (jotas, seguidillas, fandango, flamenco - according to researchers, symbols of Spanish culture of that time) has Arabic (and not only) roots. On the other hand, it cannot be denied that M. I. Glinka thought like an Orientalist composer: he had not been to the countries of the Arab world and had not heard Arab national music, but this did not stop him from giving a similar definition to Spanish music. Moreover, the composer heard “Arabic” music more than once (in Madrid, in the fall of 1845; in Granada, in January 1846) (Tyshko, Kukol, 2011, 326). And in the winter of 1846 - 17847. he attended dance evenings where national singers, according to him, “sang in the oriental style” - this formulation allows us to confidently assert that Spain, in the minds of the Russian composer, was an oriental country (Tyshko, Kukol, 2011, 472 - 473). M.I. Glinka wrote to N. Kukolnik: “The national music of the Spanish provinces, which were under the rule of the Moors, is the main subject of my study...” (Tyshko, Kukol, 2011, 326) - that is, firstly, he understood and recognized that Spain is Orientalized, and secondly (therefore) had certain - Orientalist - expectations (the music will be “Arabic”). Expectations were confirmed.
In Granada, M.I. Glinka met a gypsy woman and, having learned that she could sing and dance, invited her and her comrades for the evening. According to the composer, the old gypsy danced too obscenely at the evening. The obscene dancing of the gypsies is another important element in the image of oriental Spain. S. V. Tyshko and G. V. Kukol note that gypsy culture has become an integral part of life in Andalusia, and the Spanish gypsy woman - gitana - has become a recognizable symbol of 19th-century art, including Russian. But further in the text there is a rhetorical exclamation: “What can we say about the world symbol embodied in Carmen ...” (Tyshko, Kukol, 2011, 366). This exclamation is not the only one, but they all cause bewilderment. Carmen is mentioned in a fairly large passage dedicated to Andalusian women. S.V. Tyshko and G.V. Kukol indicate that at the beginning of the 19th century. the attractiveness of Andalusian women was legendary. Literary critic V.P. Botkin wrote about the bewitching sparkle of the eyes, the bronze color of the skin, the delicate whiteness of the face, the naivety and audacity of the Andalusians, whose only need was the need to love; A. S. Pushkin admired the legs of Andalusian women (and the poet, unlike V. P. Botkin, had not been to Spain). Researchers note such traits in the character of Andalusians as ignorance, willfulness, indomitability - and evidence for them is the words of the hero of the short story “Carmen” Jose that he was afraid of Andalusians (Tyshko, Kukol, 2011, 355 - 360). This position may at least cause surprise - after all, there is an appeal to the work of a French writer (and then to the work of a French composer), where the Spanish gypsy Carmen is shown as the French wanted to see her - but this does not mean that the gypsies actually were like this! In our opinion, you cannot judge gypsies based on Carmen, you cannot base your conclusions on an Orientalist work, where you can only find the authors’ ideas, from which it does not follow that everything happened in reality. If a researcher acts in this way, then there is reason to call him an Orientalist.
But let's return to our topic. Gypsy culture was indeed an important part of Spanish culture - and part of the oriental image of Spain. A. Piotrowska points out that the image of Spanish gypsies is, first of all, the image of attractive and obscene gypsy dancers (Piotrowska, 2013). The same was the opinion of M.I. Glinka. However, he was really interested in the gypsies and even, most likely, was in El Malecon - a place where the gypsies gathered. In addition, he met Antonio Fernandez “El Planeta” - a gypsy blacksmith, “national singer”, keeper of the oldest authentic traditions, from whom the first flamenco music notations in history were obtained (Tyshko, Kukol, 2011, 424, 483).
S. V. Tyshko and G. V. Kukol pay attention to the origins and characteristics of flamenco - and from their descriptions one can easily conclude that flamenco was also part of oriental Spanish culture. The origins of flamenco are found in Arab, Gypsy, Spanish (Andalusian) and Greco-Byzantine cultures. The first professional performers in the cante jondo style (the first flamenco style) appeared in Spanish patios, pubs, and taverns at the end of the 18th century, when public interest in oriental dances and songs increased, and the more they contained gypsy or Moorish, the more exotic they were ( Tyshko, Kukol, 2011, 478). Accordingly, in Spain at the end of the 18th century. Exactly the same situation was observed that took place in Europe in the 17th century, when Turkish music became relevant (Rice, 1999). The “Spanish” style was formed in the same logic as other Orientalist styles. Flamenco music is freely improvisational and sophisticatedly virtuosic. Melodies (“in the eastern style”) contain intervals of less than a semitone and a lot of decorations. Their modal structure is complex - there is a combination of Phrygian, Dorian, as well as Arabic “Maqam Hijazi” modes. Flamenco rhythms are also complex, and there is also a lot of polyrhythm in the music (Tyshko, Kukol, 2011, 479 - 480). All this was completely unusual for M.I. Glinka (as a European musician), which is why he experienced difficulties in recording and understanding flamenco music.
Finally, let's turn to the gypsy dances that the Russian composer saw. About them, he wrote the following: “But it is remarkable - and in our northern and western regions it is difficult to believe in such a thing - that all these strange, unfamiliar, unprecedented movements for us are voluptuous, but there is not the slightest sense of unbridledness in them...” (Tyshko, Kukol, 2011, 477 - 478). M.I. Glinka draws an imaginary border, dividing “his” “northern and western regions” and unfamiliar Spain, located, obviously, in the “south and east” - that is, being part of the oriental world. This is exactly how Spain appeared to M. I. Glinka, one of the founders of the “Spanish” style in Russian musical orientalism, oriental (and orientalized), with Arabic music and dances of beautiful gypsies.
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Slide captions:
Mikhail Ivanovich Glinka 1804 – 1857 about the founder of Russian musical classics
Mikhail Ivanovich Glinka “Laid the beginning of everything that our musical art lives on. Whatever phenomenon of Russian music you turn to, all the threads will lead to Glinka... At the source of any significant phenomenon of Russian music, Glinka’s name will shine.” G. V. Sviridov, composer, 1915 - 1998
Works of the composer Chamber and vocal music 80 romances and songs based on poems by A. S. Pushkin, V. A. Zhukovsky, M. Yu. Lermontov and others “Don’t tempt...” “Doubt” “Don’t sing, beauty, in front of me...” “I remember a wonderful moment...” “Farewell to St. Petersburg” - a romance cycle of twelve works based on poems by N. V. Kukolnik, 1840
The romance “I remember a wonderful moment...” Glinka dedicated to Ekaterina Kern, performed by Mikhail Davidovich Aleksandrovich, tenor. Glinka's music makes the same impression on us as Pushkin's poetry. She captivates with her extraordinary beauty and poetry, delights with the greatness of thought and wise clarity of expression. Glinka is also close to Pushkin in his bright, harmonious perception of the world. With his music, he talks about how beautiful a person is, how much sublime is in the best impulses of his soul - in heroism, devotion to the fatherland, selflessness, friendship, love.
Symphonic music “Kamarinskaya” (1848) - a symphonic overture-fantasy on Russian themes. P. I. Tchaikovsky noted that “in “Kamarinskaya”, like an oak in an acorn, the entire Russian symphonic school is contained.” Assignment. How do you understand the meaning of these words of the composer? Explain your answer.
Symphonic music “Aragonese Jota” (1845), “Night in Madrid” (1851) are overtures created under the impression of a trip to Spain, a vivid example of the embodiment of Spanish folk motifs in music. JOTA - Spanish folk dance; performed at a fast tempo, lively, temperamental, accompanied by playing the guitar, mandolin, and the clicking of castanets
The birth of the Russian national opera Glinka marked the beginning of two directions of Russian opera: 1. Folk musical drama - “A Life for the Tsar” (in Soviet times it was called “Ivan Susanin”), 1836. What events was Ivan Susanin the hero of? The general tone of the opera was determined by the dying words of Ivan Susanin from the poem by K. F. Ryleev: He who is Russian at heart, cheerfully and boldly, And joyfully dies for a just cause!
“Life for the Tsar” (in Soviet times it was called “Ivan Susanin”), 1836. Ivan Susanin, peasant of the village of Domnina Antonida, his daughter Vanya, Susanin’s adopted son Bogdan Sobinin, militiaman, Antonida’s fiancé Russian warrior Polish messenger Sigismund, King of Poland Chora peasants and peasant women, militias, Polish soldiers, knights; ballet of Polish gentlemen and panenkas Location: the village of Domnino, Poland, Moscow (in the epilogue). Time period: 1612-1613. Shalyapin F.I. - in the role of Ivan Susanin.
Susanin's Aria Performed by Fyodor Ivanovich Chaliapin (1873 - 1938) They sense the truth! You, dawn, quickly shine, quickly usher in, usher in the hour of salvation! You will rise, my dawn! I will look into your face, the last dawn. My time has come! Lord, do not leave me in my need! Bitter is my fate! A terrible melancholy has crept into my chest, grief torments my heart... How terribly hard it is to die in torture... You will come, my dawn! I will look into your face, I will look for the last time... My time has come! At that bitter hour! At that terrible hour! Lord, strengthen me, strengthen me! My bitter hour, my terrible hour, my hour of death! You strengthen me! My mortal, my dying hour! You strengthen me! How did the great singer manage to create a picture full of drama and sorrow?
The birth of Russian national opera 2. Fairytale opera, epic opera - “Ruslan and Lyudmila”, 1842 (written on the plot of the poem of the same name by A. S. Pushkin) Ilya Repin. Mikhail Ivanovich Glinka during the composition of the opera Ruslan and Lyudmila. 1887 Sketch of the scenery for Act III of the opera “Ruslan and Lyudmila” by A. Roller. 1840s
The significance of the work of M. I. Glinka In general, the historical role of M. I. Glinka lies in the fact that he: 1. Became the founder of Russian classical music; 2. Has proven himself to be the brightest innovator and discoverer of new paths in the development of national musical culture; 3. Summarized the previous research and synthesized the traditions of Western European musical culture and the features of Russian folk art.
Homework 1. The history of the creation of the epic fairy tale opera “Ruslan and Lyudmila” 2. Glinka’s melody as the anthem of Russia 3. Essay “The History of Russia and its reflection in the works of M. I. Glinka”
