Now we need to turn to the travel of M. I. Glinka to Spain - 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 an oriental concert after the Great french revolution, when she 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 orientalism 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(“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 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 Italian and French tradition- the most advanced traditions in early XIX V. - 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 not be sought in theaters major cities, and 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 to write down Spanish melodies that he heard performed in a special notebook. local residents(not always professional musicians, but those 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 completing 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 the topic of a separate study, but we are on 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, fandangos, flamenco - according to researchers, symbols spanish culture of that time) has Arab (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 main subject my study..." (Tyszko, Kukol, 2011, 326) - that is, firstly, he understood and recognized that Spain was Orientalized, and secondly (therefore) he had certain - Orientalist - expectations (the music would 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 spanish gypsy- gitana - has become a recognizable symbol art of the 19th century century, 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, here an appeal is made to the work French writer(and then to the essay 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 that! 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 gypsy dances, which 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.
Sections: Music
Class: 4
Goal: to teach to understand the depth of content and features of the musical language of Spanish music, to find characteristic features of Spanish music in the works of composers different countries peace.
- Educational:
Materials and equipment for the lesson: on the board there is a poster with a blank crossword puzzle, flashcards, a computer, a projector, a screen, a piano, a presentation for the lesson. On the students' tables there are rattles, spoons, tambourines, and castanets.
You can watch the video by contacting the author of the article!
Lesson progress
1. Organizational moment (slide 2) Appendix 1
Entrance to the classroom under “Aragonese Jota” by M.I. Glinka. (After entering it is necessary to involve the student in the dance)
2. Repeating the material covered and working on new ones.
Teacher: Hello, guys. Remind me of the theme of the year.
Children: Between Music different nations There are no insurmountable boundaries in the world.
Teacher: What national dance were we performing now? Russia, Austria, Bashkortostan? This is very important, because we have to make a journey into the world of music in this country.
Children: No, this is a dance from another country...
Teacher: The crossword puzzle will help us with this by solving it - vertically you will read the name of the country to which we are going today!
(There is a blank crossword puzzle on the board, students answer the questions posed, and the student at the board fills it out)Appendix 2(slide 3)
Children: This is Spain! (slide 4)
Teacher: That's right - our path lies to Spain. I want to return again to the music that greeted us today. Can you name its author? In France he was called Michel, in Poland - Pan Mihai, in Spain - Don Miguel, and in Russia - “the founder of Russian classical music"... Who are we talking about?
Children: This is M.I. Glinka. (slide5)
Teacher: Yes, this is M.I. Glinka. He spent two years in Spain, and upon returning to his homeland, the symphonic overture “Aragonese Jota” was born. Jota is a Spanish dance and Aragon is a place in Spain.
(I place a card on the board - OVERTURE)
Teacher: Our path lies to Spain. (slide 6)
Teacher: Is this country next to Russia?
Children: No, far away...
Teacher: Will everyone be able to visit this country? Raise your hands, those who have visited this country. Whose parents have been there?
Children: No, not everything... it’s far away and the trip is quite expensive.
Teacher: But it doesn’t matter, because music can introduce us to the culture of this people! (slide 7)
Teacher: Before us is Spain. What is she like? What do you see? What do you hear?
Children: We see a beautiful building, the sea, musicians, dancers, bulls running along the street... We hear the sound of the sea, music, the clatter of hooves of running bulls, the click of dancers' heels...
Teacher: Before us is a bright, exotic country, located in the mountains, washed by seas and oceans, with unforgettable architecture, filled with music, dancing, and bullfighting. (slide 8)
Teacher: Who is depicted in the portrait?
Children: P.I. Tchaikovsky.
(I’m playing a fragment from the ballet “ Swan Lake" - "Dance of the Little Swans")
Teacher: Are you familiar with this music? In what musical performance have you met her?
Children: “Dance of the Little Swans” from the ballet “Swan Lake”.
Teacher: There is a ball in the palace, Prince Siegfried is 18 years old, and in honor of this important event, guests from different countries of the world came here, and among them guests from Spain. Let's listen to a fragment from the ballet and imagine how Tchaikovsky saw the guests from Spain, and the nature of the music will help us with this.
(Listening to a fragment from “Spanish Dance”)
Teacher: What is the nature of the music? How does Tchaikovsky represent the Spaniards?
Children: The nature of the music is strict, decisive, proud, castanets sound. Tchaikovsky's Spaniards are proud, freedom-loving, warlike, but at the same time with a sense of dignity.
Teacher: What means musical expressiveness were used by Tchaikovsky?
Children: Sharp rhythm, loud dynamics, abrupt, clear voice delivery, danceability combined with marching.
Teacher: I agree with you, the music is bright, temperamental, rhythmic, combining danceability and marching, and castanets emphasize its special, Spanish flavor.
(Demonstration of castanets)
(A card is attached to the board - BALLET)
Teacher: Our meeting continues with a video fragment, be very careful. (slide 9)
Teacher: Where are we?
Children: To the theater.
Teacher: Which theater? What do the heroes do?
Children: Singing.
Teacher: What kind of performance is this?
Children: This is an opera.
Teacher: What vocal numbers have you heard?
Children: Solo and choral.
Teacher: Who is she, the main character?
Children: Gypsy.
Teacher: What is she like? What is her character like?
Children: Proud, graceful, temperamental, brave.
Teacher: By what means is this achieved - MELODY or RHYTHM?
Children: First you hear RHYTHM!
Teacher: What is he like? Marching or dancing?
Children: Sharp, crisp, danceable.
Teacher: I will sing the beginning of the aria, and you mark the rhythm.
(Children mark the rhythm, I hum)
Teacher: Before us is a proud beauty who has a powerful gift, the ability to make one fall in love at first sight, she has many fans. Who can win her heart? (slide 10)
Teacher: Who is this?
Children: Toreador.
Teacher: What is his character?
Children: Brave, Courageous, Fearless.
Teacher: What music could characterize our hero? Song? Dance? March?
Children: March. Teacher: What's the rhythm? Dynamics? Is the melody rising or falling?
Teacher: Let's listen to a scene from the opera, where the main character will be a bullfighter, but WHETHER IT'S ONLY HE - the voices of the performers will tell you.
(slide 10. “Toreador’s Aria” sounds)
Children: Toreadora, Hora and Carmen!
Teacher: Did we hear the marching in the music that we were supposed to? Sharp, clear rhythm? Did he win this fight?
Children: Yes. He's a winner!
Teacher: What do you think, the composer of which country wrote this opera - Russia, France, Spain?
Children: Spain! (slide 11)
(I post a card on the board - OPERA)
The following video presents us with the work of the Russian composer of the 20th century R. Shchedrin. (slide 12)
Teacher: I suggest you listen to a fragment from his ballet “Carmen Suite”. What is a suite? (Children's answers) Absolutely right, a suite is a series of different dances united by one plot. Look and listen carefully, and then answer the question - aren’t you familiar with the music? (slide 13)
Children: I know you! This is music from Bizet's opera!
Teacher: Absolutely right - this is the melody of “Carmen’s Aria” from the opera by J. Bizet! Yes, Shchedrin wrote his ballet using the music of a French composer, but for the Soviet composer the theme of Spain was reflected differently in the ballet, opening us to the world of Spanish music in symphonic music and classical dance. Guys, note the rhythm of the aria percussion instruments, and I will sing the melody, and then we will switch roles, you will sing the melody on the syllable “le”, and I will play the rhythm on the piano.
(Children note the rhythm and then sing a fragment of the aria)
(There is a card on the board - SUITE) (slide 14)
Teacher: Do you know this name? Who is shown in the portrait?
Children: This is the creator of the Bashkir State Academic Folk Dance Ensemble Faizi Gaskarov!
Teacher: This famous ensemble has traveled to many countries around the world with its concerts, and the repertoire of this group includes many dances from different countries of the world and, of course, Spain. Let's watch the dance suite “Andalusian Evenings” and plunge into the atmosphere of real Spanish dance.
(slide 15. Video clip of the dance “Andalusian Evenings”)
Teacher: Guys, what movements did the dancers perform?
Children: Claps, stomps, the girls performed smooth but clear movements with their hands, the girls had castanets in their hands...
Teacher: Aren’t these movements similar to those we performed with you in “Aragonese Jota”?
Children: Very similar!
3. Generalization: (slide 16)
(Children answer questions written on the screen.)
Teacher: Guys, we just have to figure out the topic of today’s lesson. Who can do this? Have you heard the music of Spain today? Have we met the music of Spanish composers? (No) What composers' music helped us visit Spain?
Children: We did not hear the music of Spanish composers, but we were helped by the music of Russian composers - Glinka, Tchaikovsky, Shchedrin, as well as the Frenchman J. Bizet - composers who created their works based on Spanish folk music.
Teacher: Which ones? musical genres Was Spanish folk music used by composers?
Children: In the overture, in the ballets, in the opera, in the suite.
Teacher: The topic of our lesson: “Music of Spain in the works of Russian composers and composers from other countries of the world.”
Teacher: “If each friend in a circle extends his hand to each other...
Children read poems together with the teacher: “That will be visible through the porthole, friendship is the equator...”
(Performance of the song “Friendship”, group “Barbariki” music by V. Ososhnik)
Teacher: Guys, why do you think I suggested ending the lesson with this song?
Children: Because it's about friendship!
Teacher: Yes, if there were no FRIENDSHIP between peoples, we would not be able to cross borders! (slide 17)
Theme of the half-year: There are no insurmountable boundaries between the music of different countries of the world!
Teacher: Thank you for your work in class!
Homework
Find information about composers in Spain, because our next meeting will be dedicated to them.
Goodbye!
(Exit to the music of “Castile No. 7” by I. Albeniz.)
Mikhail Glinka was always attracted by Spain, which he had long known from books, paintings, and least of all from music. Composers from many countries then wrote romances in the spirit of Spanish folk music, spanish dancing. It was in vogue, but it was not authentic Spanish music.
The idea of seeing Spain with one’s own eyes took on its real embodiment during the stay of Mikhail Ivanovich Glinka in Paris.
Glinka saw many paintings in the museums of Paris famous painters Spain: portraits of Spanish courtiers, created by the brush of the great Velazquez, looking with a cold and cruel smile, paintings by Murillo depicting the Madonna, saints and angels, endowed with such earthly, human beauty that even in the most religious viewer they evoked not a prayerful mood, but admiration and joy.
Glinka was also familiar with the great work spanish literature- Cervantes's novel about the valiant and cunning knight of the Sad Image - Don Quixote of La Mancha. A novel that tells about the funny and sad adventures of poor Senor Quijano, who imagines himself to be a knight errant and embarks on a long journey in pursuit of a dream.
What Spain itself was like, which gave the world such a writer as the great Cervantes, such artists as Velazquez and Murillo - Glinka did not know this, but he really wanted to find out.
The Russian composer did not intend to be an idle, entertaining traveler in Spain. To get to know Spain meant for him, first of all, to get to know the Spanish people, their language, their music. And so, in Glinka’s small Parisian apartment, books about Spain appeared, geographical maps and "Don Quixote" on Spanish, which Mikhail Glinka diligently studied.
On May 13, 1845, Glinka left Paris and hit the road. The Spaniard Don Santiago Hernandez went with him, with whom he practiced spoken Spanish in Paris. The third companion was Rosario, Don Santiago’s nine-year-old daughter, a sweet, cheerful chatterbox who endured all the difficulties of the road without complaint or fatigue. And this road was the most difficult of all that Glinka traveled in his life. The path from the Spanish border lay through the mountains, along a narrow stone path, accessible only by riding horses and mules.
That's how, on horseback, and then on mules, Glinka and his companions had to ride to the first spanish city Pamploons. Then they rode on a stagecoach, which turned out to be unusually comfortable and pleasant.
Here is Valladolid - the city where Don Santiago’s family lived and where Glinka hoped to rest after a difficult journey. He liked the small town, not listed among the attractions of Spain, but beautiful and picturesque in its own way, and liked the modest patriarchal family of Santiago.
Nowhere abroad did Mikhail Glinka feel as at ease as in Spain, among sociable and friendly people. Rest, evening walks on horseback, sometimes playing music with new Spanish acquaintances filled all the time. So the summer passed. Glinka felt that here he could forget all the sorrows of the past, he could return to creativity, to life.
New ones were waiting ahead, vivid impressions. The ancient palaces of Segovia, the fountains of San Idelfonso, which reminded Glinka of Peterhof; other cities and villages, most of them ancient, breathing the harsh grandeur of the former glory and power of Spain, which once dominated half the world.
And then Madrid, quite modern, cheerful and elegant, with eternal bustle in the streets and squares. Here, as in Paris, Glinka spent all his time walking around the city, visiting palaces, museums, visiting theaters, becoming more and more familiar with Spanish life, especially since he was already fluent in the language.
Glinka visited many remarkable places during the two years he spent in Spain. They were almost entirely devoted to travel. He visited Toledo, a fortified city that has preserved its medieval appearance more than others, and saw Escorial, the palace of the most Catholic of kings, the cruel Philip II. The huge, gloomy building, more like a monastery or even a prison, rising in the middle of a deserted plain, made a depressing impression on Glinka, but it was smoothed over by the fact that he undertook his first excursion to El Escorial accompanied by two beautiful Spanish women.
Glinka spent the winter of 1845-46 in the south of Spain, in Granada, a city located in a picturesque valley surrounded by a chain high mountains. Glinka settled in one of the suburban houses, from the windows of which the entire valley of Granada, part of the city and the Alhambra were visible - an ancient fortress that had been preserved since the rule of the Moors. The Alhambra Palace - a bizarre creation of exquisite art and skill of architects - captivated Glinka with the coolness of its spacious galleries, the play of chiaroscuro on the carved, lace-like marble of columns, arches, and vaults.
In the very first days of Glinka’s stay in Granada, by force of circumstances, he made an acquaintance with one interesting person, whose name was Don Francisco Bueno y Moreno. In the past, this Spaniard was a smuggler (a common occupation in Spain at that time), but having made a decent fortune, he decided to become an honest citizen. Don Francisco started a glove factory and, in addition, traded leather. It was this former smuggler who introduced Glinka to real Andalusian music performed by the guitarist Murciano, this is what Glinka himself writes about this in his “Notes”: “On the second or third day he introduced me to the best guitarist in Granada named Murciano. This Murciano was a simple, illiterate man; he sold wine in his own tavern. He played unusually deftly and clearly. Variations on the local national dance Fandango, composed by him and set to notes by his son, testified to his musical talent...”
In the early autumn of 1846, on the advice and invitation of one of his Spanish acquaintances, he went to the fair in Murcia in a village gig - a “tartan” along roads that, according to the composer’s own definition, were worse than Russian country roads. But he saw rural Spain, completely unfamiliar and inaccessible to ordinary foreign travelers, he saw daily life people, their work, their entertainment. He heard the real music of Spain. Glinka studied it not in theaters and concert halls, and on the streets and roads, as well as at home, performed folk singers And
guitarists. Song and dance were inseparable here, and “Don Miguel,” as the Spaniards called Glinka, decided to study the dances of the Spanish people. Probably, none of my St. Petersburg acquaintances would have recognized Mikhail Ivanovich if they saw him dancing the jota with castanets in his hands!
The large album and music notebook that Glinka took with her to Spain were gradually filled with drawings and autographs of new acquaintances, and recordings of Spanish songs. Everything attracted Glinka: the songs of the mule drivers, and the dances of the dancers in small taverns located right on the streets.
“I am diligently studying Spanish music,” the composer wrote to his mother from Granada. “Here, more than in other cities in Spain, people sing and dance. Dominant chant and dance
In Granada - fandango. The guitars begin, then almost [everyone] of those present sings his verse in turn, and at this time one or two pairs dance with castanets. This music and dance are so original that until now I could not quite notice the tune, because everyone sings in their own way. To fully understand the matter, I study three times a week (for 10 francs a month) with the first dance teacher here and work with both my hands and feet. This may seem strange to you, but here music and dancing are inseparable. – The study of Russian folk music [in] my youth led me to the composition of Life for the Tsar and Ruslan. I hope that now my troubles are not in vain.”
These songs and dances were truly amazing. The listener heard three different musical rhythm: one in a song, another in the guitarist’s playing, the third in the tapping of a dancer’s castanets. But these three rhythms merged into a single harmonious whole.
| Aragonese jota. From a painting by M. Hus |
While still in Valladolid, Glinka recorded a jota - a melody of a cheerful dance in which dancing couples try to outdo each other in the ease of jumps and speed of movements. The jota, heard in Valladolid performed by a local guitarist, attracted Glinka with the liveliness of the melody, the liveliness of the rhythm and the playful, perky words:
This melody was used as the basis for a symphonic work written by Glinka in Spain, the “Aragonese Jota,” one of the two “Spanish Overtures” that later became famous. “Aragonese Jota” was not a simple arrangement of a folk melody - in it Glinka conveyed the very essence of the music of Spain and painted vivid pictures of the life of the Spanish people.
| Don Pedro. Photo. Mid-19th century |
As soon as he started working on “Aragonese Jota,” Glinka felt that he was discovering a new area for himself musical art, that by introducing folk melodies into symphonic music, he creates a work that is equally interesting and understandable to both experts and the most ordinary music lovers... In the summer of 1847, Glinka set off on his way back to his homeland. He did not leave alone, with him was his student, a great lover of music - the Spaniard Pedro Fernandez Nelasco Sendino.
MAIN SOURCES:
Vasina-Grossman V.A. Mikhail Ivanovich Glinka. M., Music 1979.
M.Glinka NOTES.L., State music publishing house 1953.
Works for orchestra Pieces for symphony orchestra occupy an important place in Glinka's work. From childhood, Glinka loved the orchestra, preferring symphonic music to any other. Glinka’s most significant works for symphony orchestra are the fantasy “Kamarinskaya”, the Spanish overtures “Aragonese Jota” and “Night in Madrid”, and the symphonic scherzo “Waltz Fantasia”. To the repertoire symphony concerts often includes overtures to both Glinka operas, as well as excellent music for the tragedy “Prince Kholmsky”.
Works for orchestra B symphonic creativity, as in the opera, Glinka remained true to his artistic principles. All of his orchestral plays are accessible to the broad masses of listeners, highly artistic and perfect in form. Glinka believed that the brave means of expression modern harmonic language and new orchestral colors can be combined with the simplicity and accessibility of images, creating works “equally reportable (that is, understandable) to experts and the common public.” It is no coincidence that in his symphonic pieces recent years he constantly turned to folk song themes. But Glinka did not just “quote”, but widely developed them and, on their basis, created original works, beautiful in their musical images and the beauty of the instrumentation.
“KAMARINSKAYA” In mid-1844, Glinka took a long trip abroad - to France and Spain. Remaining in a foreign land, Glinka cannot help but turn her thoughts to her distant homeland. He writes "Kamarinskaya" (1848). This symphonic fantasy on the themes of two Russian songs. In "Kamarinskaya" Glinka approved new type symphonic music and laid the foundations further development. Everything here is deeply national and original. He skillfully creates an unusually bold combination different rhythms, characters and moods.
“KAMARINSKAYA” Symphonic fantasy “Kamarinskaya” is variations on two Russian folk themes, developed one by one. These themes are contrasting. The first of them is a wide and smooth wedding song “Because of the Mountains, High Mountains,” which tells the story of a white swan, a bride, who is pecked and nibbled by gray geese, the groom’s unkind relatives. The second theme is the swashbuckling Russian dance song “Kamarinskaya”. The melody of the first song is quite slow, thoughtfully lyrical. When varying, the melody remains unchanged, intertwined with more and more new echoes, like Russian drawn-out songs. In developing the theme, the composer colorfully uses wooden wind instruments, similar in sound to brass folk instruments- a shepherd's horn, a pity pipe, a pipe.
“KAMARINSKAYA” The tune of “Kamarinskaya” is fast and cheerful. In variations of this melody, Glinka uses pizzicato strings, reminiscent of the sound of the Russian balalaika. When varied, the dance melody also acquires echoes, and sometimes significantly changes its appearance. Thus, after a number of variations, a melody appears that is similar - despite the fast dance movement and abruptness - to the theme of a drawn-out wedding song. This theme imperceptibly leads to the return of the first, slowly majestic theme, after which exuberant folk dance sounds with renewed vigor. In “Kamarinskaya” Glinka embodied the features national character, with bold and bright strokes he painted a picture of the festive life of the Russian people. The contrasting juxtaposition of slow lyrical and then cheerful, playful songs can often be found in folk choral performances. It is very important that Glinka skillfully used the subvocal and variational development of the melody, characteristic of folk performance. Subsequently, all these features were developed by other Russian composers. It is no coincidence that Tchaikovsky said about “Kamarinskaya” that all Russian symphonic music is contained in “Kamarinskaya”, “just as the whole oak tree is in the acorn.”
“Waltz-Fantasy” “Waltz-Fantasy” is one of the most poetic lyrical works Glinka. At first it was a small piano piece. It was later expanded and orchestrated. Shortly before his death (in 1856), the composer took up the task of revising it and turned an everyday play into one of perfect skill. symphonic fantasy. It is based on a sincere, affectionate theme. Thanks to the descending tritone intonation, this thoughtfully elegiac melody sounds impetuous and intense. The structure of the theme is peculiar: odd three-bar phrases, such as we find in Russian folk songs, and not “square” four-bar phrases, as in Western European waltzes. Such an odd structure gives Glinka’s melody aspiration and flight.
“Waltz-Fantasy” The main waltz theme is vividly contrasted by episodes of varied content, sometimes bright and grandiose, sometimes excitedly dramatic. Main topic is repeated many times, forming a rondo shape. The instrumentation of this work is amazingly elegant. Predominance string group gives the entire symphonic work lightness, flight, transparency, and the unique charm of a dream. For the first time in Russian music, a detailed symphonic work emerged on the basis of everyday dance, reflecting the diverse shades of emotional experiences.
OVERTURES In the fall of 1845, Glinka created the Aragonese Jota overture. In Liszt’s letter to V.P. Engelhardt we find a vivid description of this work: “... I am very pleased... to inform you that “Jota” has just been performed with the greatest success... Already at the rehearsal, the understanding musicians... were amazed and delighted by the lively and sharp originality this charming piece, chiseled in such fine contours, trimmed and finished with such taste and art! What delightful episodes, wittily connected with the main motive... what subtle shades of color, distributed over the different timbres of the orchestra! and to the end! What the happiest surprises, abundantly coming from the very logic of development! Having completed work on "Aragonese Jota", Glinka is in no hurry to begin the next composition, but devotes himself entirely to further in-depth study of Spanish folk music. In 1848, upon returning to Russia, another overture on a Spanish theme appeared - “Night in Madrid”.
RESULT In his “Waltz-Fantasy”, “Kamarinskaya”, overtures and ballet scenes In both operas, Glinka created timelessly beautiful examples of symphonic music that grew out of everyday dances. His initiative was continued by Russian composers: Tchaikovsky, Balakirev, Borodin, Rimsky-Korsakov, Glazunov, and today many Soviet composers.
Municipal autonomous educational institution secondary 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
“Spanish motifs in the works of M.I. Glinka”
music teacher Stotskaya N.V. Tomsk 2016
“I’m here, Inesilla...”
Romance by Mikhail Ivanovich Glinka to the poems of Alexander Sergeevich Pushkin “I am here, Inezilla...”, written in the style of a Spanish serenade!
"Where is our rose..."
Existence was brightened by the love of daughter Anna Petrovna Kern for Ekaterina Kern. Ekaterina Ermolaevna, born in 1818, graduated from the St. Petersburg Smolny Institute in 1836 and remained there as a cool lady. Then she met Glinka’s sister and met the composer in her house.
“I remember a wonderful moment...”
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...”
“Only Spain can 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.” M. Glinka
Spanish tarantella
"Aragonese Jota"
“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.
"Night in Madrid"
On April 2, 1852, a new version of “Memoirs...”, now known as “Night in Madrid,” was performed for the first time in St. Petersburg.
"Andalusian dance"
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. From " Spanish album", covered with notes folk melodies, drew themes from Rimsky-Korsakov, Glazunov, Dargomyzhsky, Tchaikovsky.
Today living memory The Trio named after M.I. keeps information about the Russian composer. Glinka musical group Madrid
"Night in Madrid"
"Waltz Come on"
1. How unnoticed day after day The year flies by: It's already March after February It will melt soon. It’s like there was a snowstorm yesterday, Blizzards howled And there is already snow on the fields Suddenly it went dark. Chorus: La-la-la... It's winter away from us Gone.
2. And spring will leave with the rain, With new leaves The sun will flood with its fire The sky is gray. Just wave your hand slightly, Remembering by chance, Like being woken up
river The birds were screaming. Chorus: La-la-la... It's spring already from us Gone.
3. So unnoticed day after day Life flies by: It's already March after February Quietly melted away. It’s like there was a snowstorm yesterday, Blizzards howled... What to understand long ago then We didn't have time? Chorus: La-la-la... Life was like a dream -
and no... Was…