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🤍umgclassiconline Overture to “Ruslan and Lyudmila” 00:00 Waltz - Fantasia in b minor 05:06 Chernomor's March from “Ruslan and Lyudmila” 13:54 Lezginka. Oriental Dances in Chernomor’s castle from “Ruslan and Lyudmila” 18:21 Arabian. Oriental Dances in Chernomor’s castle from “Ruslan and Lyudmila“ 21:36 Polonaise from “Ivan Susanin” 28:14 Waltz from “Ivan Susanin“ 33:52 Mazurka from “Ivan Susanin” 38:26 Cracovienne from “Ivan Susanin“ 43:59 La Séparation. Nocturne in f minor 48:15 Spanish Overture №2. ”Recollection of a Summer Night in Madrid" Premiere Polka in b-flat major 53:04 Fugue for organ in e-flat major 01:01:32 A1 Увертюра к Опере Руслан и Людмила 00:00 A2 Вальс Фантазия 05:06 A3 Марш Черномора из Оперы Руслан и Людмила 13:54 A4 Лезгинка. Восточные Танцы в Замке Черномора из Оперы Руслан и Людмила 18:21 A5 Арабский. Восточные Танцы в Замке Черномора из Оперы Руслан и Людмила 21:36 B1 Полонез из Оперы Иван Сусанин 28:14 B2 Вальс из Оперы Иван Сусанин 33:52 B3 Мазурка из Оперы Иван Сусанин 38:26 B4 Краковяк из Оперы Иван Сусанин 43:59 B5 Ноктюрн "Разлука" 48:15 B6 Воспоминание о Летней Ночи в Мадриде B7 Первоначальная Полька Си Бемоль Мажор 53:04 B8 Фуга Для Органа Ми Бемоль Мажор 01:01:32 Composed By – Михаил Иванович Глинка Directed By – Евгений Светланов (треков: A2-B4, B6, B7) Orchestra – Оркестр Большого Театра (треков: A1), Государственный Академический Симфонический Оркестр (треков: A2-B4, B6, B7), Ансамбль Солистов "Концертино" (треков: B5) Organ – Сергей Сацорин (треков: B8)
Symphony on Two Russian Themes in D minor (1834) An orchestral work by Russian composer Mikhail Glinka (1804-1857). Glinka never completed this piece; a century later, Soviet composer Vissarion Shebalin orchestrated and completed the composition. Conductor: Vassily Sinaisky BBC Philharmonic Orchestra
For more performances like this one, please visit the Benjamin Zander Center - 🤍 Benjamin Zander (conductor) Boston Philharmonic Youth Orchestra November 2, 2015, Symphony Hall, Boston Dave Jamrog Audio/Video
Mikhailovsky Theatre orchestra and choir , March 6, 2013, State Hermitage, Saint-Petersburg Оркестр и хор Михайловского театра. 6 марта 2013, Государственный Эрмитаж, СПб
Listen to more from the LSO here: 🤍 Violist Paul Silverthorne and Pianist Aglaia Tarantino perform Glinka's Viola Sonata in D Minor. Recorded and live streamed from LSO St Luke's on Friday November 13th 2015 as part of LSO Discovery's Lunchtime Concert series. For information on upcoming lunchtime concerts please see 🤍 Subscribe to the LSO's channel: 🤍 Subscribe to LSO newsletter: 🤍 Follow the LSO on: Instagram: 🤍 Facebook: 🤍 Twitter: 🤍 Website: 🤍 Apple Music: 🤍 Spotify: 🤍
Arranged and played by Vyacheslav Gryaznov. Score: 🤍 …Every time I return to the Valse-fantasie, either to perform it or for no reason at all, new ideas come into my mind and I can't help myself from making new corrections. Of all my transcriptions, this one I have probably the most since I first completed it in 2005. I remember the premiere. I had to perform it in Moscow just one week after I wrote it; the piece was very hard, and it was quite tough to be on time. We were celebrating the anniversary of Glinka, the Father of Russian Music, and a great-great-granddaughter of Glinka attended the concert. I clearly remember her eyes full of questions when she approached me after playing. What did you do with the music of my great-great-grand-dad? - she asked, hardly keeping herself from slapping me. Definitely, this was the kind of transcription that went very far from the original and this noble lady had every right to declare that it was "not Glinka.” It really wasn't, I apologize. But this orchestral masterpiece (I had the orchestral version as the reference) inspired me so much. I didn't expect that it would go so far. I was working on my arrangement for the first half of the Valse with the original score, but after some time I noticed that I was not looking at the score anymore and just let my intuition fly. The transcription received a lot of feedback, both very positive and very negative. I myself at times didn't feel right about the result, which is probably why I have been making corrections continuously for years. I couldn't identify the reason why I had ventured so far from the original and it disturbed me. Usually, I know what and why I am going to say with my arrangement. I even refrained from performing this piece myself, thinking it was not my best work or one of which I could be proud. My (I think I can say "my") Valse-fantasie mixed quite a few styles and traditions, beginning with pure classical, up through the romanticism of Liszt and a taste of Strauss, and with a little spice from Ravel and perhaps even Prokofiev. Yes, there are fragments in my arrangement that directly refer to the styles of all these composers. Finally, one day I understood myself: the whole piece appeared in my mind as a history of the Waltz, the history of its development. And some sort of harmonic or textual citation here and there was added to let the listener or performer see the major works in this genre through the small hints given. Beginning with Glinka himself as the first creator of the symphonic Waltz, we journey through a bit of Strauss, taste some Liszt's Mephisto Waltz in the middle section, then La Valse by Ravel, and end with very dramatic, nervous, and gigantic streams of the 20th-century Russian composers. At long last, I found myself at peace and my heart satisfied with the answer. I began to play it again myself and I very much hope that my own comprehension of the concepts helps me to create a convincing interpretation of this very tricky piece. But I didn't stop doing corrections though ;) Глинка - Грязнов. Вальс-Фантазия. Транскрипция для фортепиано. Исп. Вячеслав Грязнов
Michail Glinka: Ouvertüre zu »Ruslan und Ludmilla« ∙ hr-Sinfonieorchester – Frankfurt Radio Symphony ∙ Andrés Orozco-Estrada, Dirigent ∙ Open Air Konzert ∙ 26. August 2015 auf der Weseler Werft ∙ Frankfurt am Main ∙ Website: 🤍 Facebook: 🤍
Mikhail Ivanovich Glinka (1 June [O.S. 20 May] 1804 - 15 February [O.S. 3 February] 1857) was the first Russian composer to gain wide recognition within his own country, and is often regarded as the fountainhead of Russian classical music. Glinka's compositions were an important influence on future Russian composers, notably the members of The Five, who took Glinka's lead and produced a distinctive Russian style of music. (Wikipedia) Please take note that the audio AND sheet music ARE NOT mine. Change the quality to 480p if the video is blurry. (original audio: 🤍
Online purchase or streaming (Spotify, iTunes, Amazon Music, Deezer, Google Play): 🤍 More Information: 🤍 Social media: Brilliant Classics Facebook: 🤍 Brilliant Classics Instagram: 🤍 Spotify Playlists: Brilliant Classics Spotify: 🤍 New Classical Releases: 🤍 The Best of Liszt: 🤍 The Best of Bach: 🤍 Most Popular Piano Music: 🤍 Beautiful Classical Music: 🤍 Classical Music For Dinnertime: 🤍 Composer: Michael Glinka Artists: Bolshoi Theatre Soloists, Alexander Lazarev (conductor) The first Russian composer to gain real national recognition within his own country, and often regarded as ‘the father of Russian music’, Mikhail Glinka is best known for his rousing operas A Life for the Tsar and Ruslan and Ludmila. Growing up amid a family of landed gentry, however – a setting in which domestic music-making was a much-respected occupation – much of his early work was of a very different nature, namely chamber music intended for performance in more modest settings. It is this lesser-known and equally compelling part of the composer’s output that is explored here. Nevertheless, the pieces in this collection span a considerable stretch of Glinka’s life. They range from the Variations on a Theme by Mozart, written when the composer was just eighteen and already demonstrating the skill with which he would repeatedly and creatively re-work the musical motifs of others’ works; via the Viola Sonata, an unfinished and yet unintentionally rich contribution to the scant repertory of a beautiful instrument, later completed by violist Vadim Borisovsky; to the Serenade on Themes from Donizetti’s Anna Bolena, an intriguing and unusual arrangement for a selection of deep-timbred instruments that nonetheless succeeds in bringing out the individual melodic voice of each one. Tracklist: 00:00:00 Divertimento On Themes From Bellini’s La Sonnambula 00:13:16 Variations On A Theme By Mozart for Harp 00:18:04 Nocturne In E-Flat Major for Harp 00:22:10 Viola Sonata: I. Allegro moderato 00:31:36 Viola Sonata: II. Larghetto ma non troppo 00:39:13 Serenade On Themes From Donizetti’s Anna Bolena Thanks for watching! Feel free to subscribe and visit our channel for the best classical music from the greatest composers like: Bach, Satie, Mozart, Tchaikovsky, Beethoven, Chopin, Haydn, Ravel, Debussy, Verdi, Vivaldi, Handel, Brahms, Liszt, Schubert, Mendelssohn, Rachmaninoff, Wagner, Strauss, Handel, Dvorak, Schubert and many more! We upload complete albums, music for relaxing, working, studying, meditating, concentrating, instrumental music, opera, violin, classical piano music, sonatas and more! #MichaelGlinka #AlexanderLazarev #BrilliantClassics #Music #Composer #ClassicalMusic #chambermusic
An attractive program of rarely recorded piano music by Michael Glinka (1804-1857), the “Father of Russian music”. The piano music consists of sets of Theme & Variations, a Mazurka, Waltz, Barcarole and Nocturne. 🎵 Purchase or streaming (Spotify, Apple Music, Amazon Music, Naxos, Presto): 🤍 💎 More Information: 🤍 🎬🎮 Our music is available for sync licensing in videos, films, tv-shows, games, advertising and more. For more information and to request a license go to: 🤍 Composer: Mikhail Ivanovich Glinka Artist: Viacheslav Shelepov (piano) Variations and salon miniatures by the father of the classical tradition in Russia. Mikhail Glinka's piano works lie in the shadow of his operas, romances and orchestral music but they share the distinctive voice, the brilliance and Franco-Russian accent of foundational pieces in the Russian classical tradition such as Ruslan and Ludmila. The works recorded here date from the 1820s to the 1840s, when there was no regular concert life or musical education in Russia and when the salon and the opera still formed the centres of musical life. Glinka models his keyboard writing accordingly on the forms immortalised by Chopin such as the waltz, nocturne and mazurka, and the variations on songs, popular Italian opera melodies. Viacheslav Shelepov opens this beautifully curated album with a delicious set of variations on Alyabyev’s song The Nightingale, cast in a nostalgic E minor. The tiny, three-minute variations on Amid the Plain Valley (a Russian song) are entirely within the salon format, and the Variations on a Scottish Song have a Mendelssohnian delicacy of texture, but the closing variations on a theme from Bellini’s I Capuleti e I Montecchi are evidently conceived with the concert stage in mind, and with the fingers of a virtuoso to embrace their exuberant writing. Viacheslav Shelepov intersperses these variations with one-off demonstrations of Glinka’s mastery in whatever form he chose to address himself. The G major Barcarolle from 1847 deserves to take its place alongside much more familiar examples by Chopin and Mendelssohn for its memorable distillation of poetry and the tug of the gondolier’s oars in its rhythm. A D major Fugue works up a relatively sober theme to a satisfying climax out of proportion to its three-minute duration. Also from 1847, the Prayer is much more dramatic and eventful than its title would suggest, especially in this dynamically shaded account by Viacheslav Shelepov. Born in 1991, Shelepov studied at the Moscow Tchaikovsky Conservatoire and the Hochschule für Musik in Hannover, while winning prizes at several renowned piano competitions across Europe. He studied fortepiano with Alexei Lubimov and Alexei Shevchenko, harpsichord with Maria Uspenskaya, modern piano with Sergey Kasprov. He is the winner of several international pianoforte competitions. He brings to these performances a keen awareness of period practice in the lightness of his touch, while also playing with the rhythmic freedom which Romantic composers such as Glinka, Chopin and Schumann wove into the fabric of their piano music. 👉 Social media links: Facebook: 🤍 Spotify: 🤍 Brilliant Classics: Facebook: 🤍 Spotify: 🤍 Instagram: 🤍 TikTok: 🤍 Tracklist: 00:00 Variations on the Song “Nightingale” by A. Alyabyev, IMG 50 06:57 Nocturne, IMG 26 11:56 Valse in E-Flat Major 14:39 Mazurka in F Major, IMG 58 17:34 Reminiscence of a Mazurka 21:31 The Separation, IMG 34 25:35 Variations on a Scottish Theme, IMG 45 32:40 Variations on the Russian Song “Among the Gentle Valleys”, IMG 44 35:30 Prayer, IMG 30 43:52 Fugue in D Major, IMG 13 46:46 Barcarolle in G Major, IMG 65 51:59 Variations on a Theme from the Opera “I Capuleti ed i Montecchi” by V. Bellini, IMG 49 Spotify Playlists: Most Popular Piano Classics: 🤍 Top 50 Rachmaninoff: 🤍 Best Piano Music: 🤍 Peaceful and Relaxing Piano Music: 🤍 Thank you for watching this video by Brilliant Classics, we hope you enjoyed it! Don’t forget to share it and subscribe to our YouTube channel. And visit our channel for more of the greatest composers. We upload daily with complete albums and compilations with the best classical music. 🤍 #Glinka #Revisited #PianoMusic #ClassicalMusic #Piano #Sonata #Music #PianoMusic #SoloPiano #PianoSolo #ClassicalPiano #PianoClassics #BrilliantClassics
M. Glinka / M. Balakirev – The Lark Thanks for watching. I hope you enjoy this piece :) I’m going to play various piano pieces including classical. 🌸Don't forget to like, comment and subscribe! 🔔I will upload new videos every Monday.🔔 Please leave a comment if there are pieces which you want to play/listen to :) 💕Facebook: 🤍 💕Instagram: 🤍 💕Buy me a coffee: 🤍 #Lark #glinka #balakirev #piano
Tchaikovsky Orchestra Vladimir Fedoseyev
Mikhail Glinka - Viola Sonata in D Minor (1825-1828) Performed by Yuri Bashmet, viola, and Mikhail Muntian, piano Movement One: Allegro moderato - 0:00 Movement Two: Larghetto ma non troppo - 10:03 Source of Audio (with performance information) - 🤍
Support us on Patreon and get more content: 🤍 - Mikhail Glinka Grand Sextet in E-flat major State Borodin Quartet St Petersburg, November 2014
This early work was written when Glinka was just 24, nearly a decade before he turned out the pioneering operas A Life for the Tsar (1834 - 1836) and Russlan and Ludmilla (1837 - 1842) in which he established a Russian style that would influence virtually every major composer from his homeland who followed him. This nocturne, however, is a charming little piece that divulges the burgeoning talent the young composer already possessed. The fact that Glinka designed this piece for either piano or harp is easy to understand. The composer is said to have been courting a young harpist at the time, and he created a work that lies easily under the fingers for either instrument. Its many arpeggiated chords call a harp to mind when played on the piano, yet its flowing Beethovenian harmonies somewhat reminiscent of those in the first movement of the "Moonlight" Sonata fit well on the keyboard. The piece features a lovely melody and a serene mood. While this is hardly an important composition in Glinka's catalog, it does help the listener to understand the stylistic evolution of Russia's earliest major composer. (AllMusic) Please take note that the audio AND sheet music ARE NOT mine. Change the quality to a minimum of 480p if the video is blurry. Original audio: 🤍 (Performance by: Valeri Kamyshov) Original sheet music: 🤍
Михаил Глинка - Вальс-фантазия (1856 г.) Государственный академический симфонический оркестр п/у Е.Светланова (E.Svetlanov)- (1968 г.) 🤍
Mikhail Ivanovich Glinka (1 June [O.S. 20 May] 1804 – 15 February [O.S. 3 February] 1857) was the first Russian composer to gain wide recognition within his own country, and is often regarded as the fountainhead of Russian classical music. Glinka's compositions were an important influence on future Russian composers, notably the members of The Five, who took Glinka's lead and produced a distinctive Russian style of music. Trio pathétique Патетическое трио 1832 for clarinet, bassoon and piano (or violin, cello and piano) I. Allegro moderato II. Scherzo. Vivacissimo III. Largo IV. Allegro con spirito Midsummer's Music
Mikhail Glinka: "Ruslan and Lyudmila" Overture (with Score) Composed: 1837–42 Conductor: Mikhail Pletnev Orchestra: Russian National Orchestra Glinka, considered the father of Russian Nationalism in music, is largely known for two works: the operas A Life for the Tsar (1834 - 1836) and Ruslan and Lyudmila (1837 - 1842). Though the latter work met with a tepid reception at its premiere, while the former was an immediate success, Ruslan would eventually come to be ranked as his most influential effort, its rhythmically and harmonically inventive music rising above its mediocre libretto. Popular in the concert halls for a century and a half has been the work's perky overture, probably the composer's most widely performed orchestral piece. The Overture opens with a driving rhythmic figure that augurs the rhythmic styles of Borodin, Rimsky-Korsakov, and so many other Russian composers from succeeding generations. There follows a vigorous, joyous theme that hustles and leaps about with seemingly unbounded energy. After this melody is presented in a slightly subdued guise, a second theme is heard, a lively but mellow creation especially in its first appearance, played in the middle ranges of the cellos. Later, the opening rhythm is recalled and the themes are developed somewhat as the mood turns playful. Another go-round of themes is given before a variant of the main theme leads to the brilliant and colorful coda. A typical performance of this work lasts about five to six minutes.
Performance by Yevgeny Mravinsky conducting the Leningrad Philharmonic Orchestra. Though most of my uploads are of singing, I am actually an orchestral musician. Here is a recording of one of my favorite conductor/orchestra combinations. The string playing here is second to none.
touching live performance: Olga Scheps, moscow - born young pianist, lives in Germany and records exclusive for Sony classical
Moscow Philharmonic and Yuri Simonov / Оркестр Московской филармонии, Юрий Симонов
Mikhail Glinka (1 June [O.S. 20 May] 1804 – 15 February [O.S. 3 February] 1857) was the first Russian composer to gain wide recognition within his own country, and is often regarded as the fountainhead of Russian classical music. Glinka's compositions were an important influence on future Russian composers, notably the members of The Five, who took Glinka's lead and produced a distinctive Russian style of music. Alexander Alyabyev (15 August [O.S. 4 August] 1787 – 6 March [O.S. 22 February] 1851), also rendered as Alabiev or Alabieff, was a Russian composer known as one of the fathers of the Russian art song. He wrote seven operas, twenty musical comedies, a symphony, three string quartets, more than 200 songs, and many other pieces. アレクサンドル・アレクサンドロヴィチ・アリャビエフ（Aleksandr Aleksandrovich Alyab'ev 〔ロシア語：Александр Александрович Алябьев〕, 1787年8月15日 トボリスク - 1851年3月6日 モスクワ）はロシアの作曲家。1812年のナポレオン侵攻による祖国防衛戦争に参戦し、1823年まで将校であった。退役後は、ヴォードヴィルやオペラ、合唱曲、バレエ音楽などの舞台作品で活躍した。 Solovey (Соловей, The Nightingale) is a Russian-language art song by Russian composer Alexander Alexandrov Alyabyev (1787-1851) based on a poem by Anton Delvig. It was composed while Alyabyev was in prison, in 1826. The song is a showpiece for coloratura sopranos. Романс «Соловей» — музыкальное произведение композитора А. А. Алябьева на стихи поэта А. А. Дельвига. Этот романс стал настолько популярным, что многими воспринимается как народная песня.
Sofia, 5 December 2007 NDK Sofia, Bulgaria FM-Classic Radio Symphony Orchestra Conductor: Luciano Di Martino
Disclaimer: I know this video is controversial but it was pretty cool that they used this anthem when they raised that flag. The white blue white flag is not as nice as the Russian flag from 1991. I also believe that the red in the flag stands for courage and not blood. I also have to admit that I am not that familiar with this group. And I really try to be neutral but in this war it is practically impossible not to choose a side. RSFSR Channel is not Z, but bear in mind videos with Putin will also come on this channel. Take Care of you guys / RSFSR (Alexander) Патриотическая песня Глинка Используется Легион Свобода России на церемонии поднятия флага. Patriotic Song by Glinka Used by the Freedom of Russia Legion on a flag raising ceremony. 25.07.2022 Source: 🤍 #RussianAnthem #Glinka #PatrioticSong #свобода #россии #россия #СвободаРоссии #Гинм #ПатриотическаяПесня
Paavo Järvi conducts the Orchestre de Paris in a concert dedicated to the works of Russian composers at the Salle Pleyel in Paris, 2013. Watch the full concert: 🤍 Orchestre de Paris Paavo Järvi - conductor Subscribe to wocomoMUSIC: 🤍 Follow us on Facebook: 🤍 Mikhail Glinka - Ruslan and Lyudmila, Overture © Licensed by Poorhouse International #wocomoROMANTIC
Franch Quadrille in D major 1828 00:00:00 1. Le Pantalon 00:01:47 2. L'été 00:02:50 3. La Poule 00:03:34 4. La trénis 00:04:39 5. Finale 00:05:26 6. Valse in E flat major "Mélodique" 1838 00:07:11 7. Valse in B flat major "La Favorite" 1838 00:10:37 8. Mazurka in C minor 1843 00:13:08 9. Mazurka in C major 1852 Variations in A major on the theme from the opera "Anna Bolena" by Donizetti 1831 00:14:38 10. Tema 00:16:34 11. Variation 1 00:18:08 12. Variation 2 00:19:32 13. Variation 3 00:20:58 14. Andante 00:23:03 15. Variation 4 00:25:10 16. Nocturne "La Separation" in F minor1839 00:29:31 17. Rondino in B flat majoron on the theme from the opera "Montecchi and Kapyletti" 1831 00:35:47 18. Barcarolle in G major 1847 00:41:07 19. Valse-Fantaisie in B minor 1839 Variations on a Scottish Theme in F major 1847 00:49:29 20. Thème 00:51:05 21. Variation 1 00:52:14 22. Variation 2 00:53:33 23. Finale Variations in E minor on the Romance "Nightingale" by Alyabyev 1833 00:56:45 24. Thème 00:57:53 25. Variaion 1 00:58:45 26. Variation 2 00:59:39 27. Variation 3 01:00:57 28. Variation 4
Beautiful recording of Glinka's "The Lark" By Evgeny Kissin
MIKHAIL GLINKA (1804-1857) Selected Orchestral Works (MELODIYA 33C 01681-82 vinyl LP) 1. Jota Aragonesa (Spanish Overture no. 1) (at 0:07) 2. Recollections of a Summer Night in Madrid (Fantasia on Spanish Themes - Spanish Overture no. 2) (at 9:19) 3. Kamarinskaya (Fantasia for Orchestra on Themes of Wedding and Dance Songs) (at 18:24) 4. Valse - Fantaisie (at 25:46) 5. Chernomor's March (from the opera "Russlan and Lyudmilla") (at 34:37) 6. Oriental Dances: a) Turkish b) Arabian c) Lezghinka (from the opera "Russlan and Lyudmilla") (at 39:03) USSR STATE SYMPHONY ORCHESTRA conducted by EVGENY SVETLANOV LP released in 1969
2015 코리안심포니 기획시리즈 : 라이징 스타 Ⅳ(2015-05-23 20:00) 2015 Korean Symphony Orchestra: Rising Star Ⅳ(2015-05-23 20:00) 지휘 Conductor: 최영선 Choi Young Sun 연주 Orchestra: 코리안심포니오케스트라 Korean Symphony Orchestra 글린카 "루슬란과 루드밀라" 서곡 M. I. Glinka Overture to "Ruslan and Lyudmila" This is the official YouTube page of the Korean Symphony Orchestra. Since its establishment in 1985, Korean Symphony Orchestra (KSO) has been working to elevate the standing of Korean symphonic music for the past 30 years both domestically and abroad through more than 90 performances annually. More recently, with the appointment of LIM Hun-Joung as Artistic Director and Permanent Conductor in January 2014, and currently numbering 100 orchestra and staff members, including two composers-in-residence, KSO continues to work together for the advancement of Korea’s artistic and performance culture.
Nocturne in Eb major composed by Mikhail Glinka, performed by Inge van Grinsven on harp. Live performance on 22 December 2017, de Schalm Veldhoven, The Netherlands. Visit my website: 🤍ingelouisa.com #Glinka #Nocturne #harp
00:00 - I. Allegro moderato 05:29 - II. Scherzo: Vivaccisimo 08:50 - III. Largo 14:01 - IV. Allegro con spirito _ Bassoon: Helman Jung Clarinet: Manfred Lindner Piano: Thomas Duis Year of Recording: 2009 _ "Mikhail Glinka is often considered the father of Russian Nationalist music. He was the first composer in Russia to write operas and chamber music based on Russian folk melodies. Born into a noble family in Smolensk, near the border of Belarus, Glinka was educated for a life in government. He studied his real interest, music, informally from childhood, even working briefly with the Irish virtuoso pianist John Field, who was living in Petersburg. But it wasn’t until he was 26 that Glinka was able to study music more seriously, which he did living in Italy and Germany for several years. Glinka was an inspiration to many of the Russian composers that followed him, including The Mighty Five, a group of Russian composers (Balakirev, Borodin, Cui, Mussorgsky, and Rimsky-Korsakov) who believed Russia should have its own music. Indeed it is Glinka who is often credited with inspiring Balakirev to start a school of Russian music. Tchaikovsky was also greatly influenced by Glinka. His instrumental music is a combination of the traditional and the exotic, but given that he is often called the “father of almost all things dealing with Russian music,” it is surprising to learn that he did not consciously use Russian folk music in his compositions until he was nearly 30. The Western European school, including Chopin and Mendelssohn, influenced most of his early works. This Trio was apparently inspired partly by a wrecked love affair Glinka had; he wrote on the score: “The only way I know love is by the pain it causes.” So even if Glinka wasn’t yet quoting Russian folk music, he was certainly expressing the intense emotion often associated with Russian music and culture. The original instrumentation of the Trio pathétique is clarinet, bassoon, and piano, but the work is also lovely when played by a traditional piano trio. It comes from 1832, and is one of the only works for this instrumentation. Glinka’s concurrent works are mainly for voice, and the way the clarinet and bassoon sing in the Trio pathétique echoes the lyrical qualities of those vocal works. In the first movement, an Allegro moderato, the winds serenade one another while the piano imitates and ripples underneath. The second movement, a Scherzo, is typically playful yet balanced. The emotional center of the work is the Largo, the longest of the movements, in which the clarinet sings, the bassoon answers, and then the two play lyrically together. The finale, the shortest movement, begins with the first movement’s theme, then continues with arpeggios and ends with stormy emotion." (Jessie Rothwell) _ © COPYRIGHT Disclaimer, Under Section 107 of the Copyright Act 1976. Allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.
The great Russian soprano in one of Glinka's lovely compositions from the 1840's.
Cubus plays Polka in D minor by Mikhail Ivanovich Glinka. Links to an mp3 of this piece and sheet music can be found at 🤍 Playlist with all musical pieces by GLINKA posted by cubusdk: 🤍 Sound: Synthogy Ivory Upright Pianos - Barroom Upright 8 Level (a 1915 Packard "Barroom" Upright sampled in 8 dynamic levels).
Russlan And Ludmilla (Overture) - Milkhail Ivanovich Glinka Orchestra Of Mariinsky Theatre - Director Valery Gergiev
Mikhail Ivanovich Glinka (Russian: Михаил Иванович Глинка. tr. Mikhaíl Ivánovich Glínka; 1 June [O.S. 20 May] 1804 – February 15 [O.S. 3 February] 1857) was the first Russian composer to gain wide recognition within his own country, and is often regarded as the fountainhead of Russian classical music. Glinka's compositions were an important influence on future Russian composers, notably the members of The Five, who took Glinka's lead and produced a distinctive Russian style of music. Spanish Overture No. 1 "Capriccio Brilliante on the Jota Aragonesa" (1845) Испанская увертюра № 1 «Блестящее каприччио на тему Арагонской хоты» The Philharmonia Orchestra conducted by Sir Eugene Goossens Description by Chris Boyes [-] Mikhail Glinka left his native Russia for a European concert tour in the spring of 1844 after he was discouraged by the unfavorable reception of his opera, Ruslan and Lyudmila (1842), in St. Petersburg. Glinka intended to visit France and Spain and to become fully absorbed in each country's musical traditions. New orchestral compositions, which would be called fantasies pittoresques, would be written from the inspiration of folk melodies collected while away from Russia. After spending nine months in France, Glinka arrived in Spain in the summer of 1845. He first settled in the village of Valladolid, where he quickly assumed a pleasant social life. The Spanish people and their customs greatly impressed Glinka, as was shown through his comments in a letter to his mother. He wrote, "Spaniards are honorable, straightforward in their speech, unaffected, and not full of ceremony like the French." While there, Glinka became acquainted with Felix Castilla, a local merchant who was also an adequate guitarist. Castilla played for Glinka a traditional folk tune, the Jota Aragonesa, along with its many variations. This melody would become the basis of the only work that Glinka managed to complete during his time in Spain, the Capriccio brillante on Jota Aragonesa (1845). The piece came to be known also as the First Spanish Overture. The composition of the work was not begun until Glinka relocated to Madrid, the Spanish capital. Here, Glinka's social life was not as active, so he had spare time to compose. The Capriccio was modeled in the sonata form, as many of Glinka's earlier compositions had been. Yet, due to the tradition of the Jota Aragonesa and its variations, the Capriccio also had the sense of a free form, based on multiple variations. Glinka's later works would eventually stray away from sonata form in favor of freer, variational forms. Thus, this piece is often viewed as a transitional work in Glinka's catalog. The orchestration of the Capriccio is notable in its wide use of the multiple colors possible in an orchestral setting. Glinka does not resort to doubling parts excessively to produce a lush, full sound. The enormous amounts of instrumental combinations that Glinka goes through is quite amazing. Also of note is the use of harp and pizzicato strings to convey the sound of the acoustic guitar. Glinka wished to hear the freshly composed orchestral work while he was still in Spain, but this was not possible. The primary orchestra of Madrid was busy at the time with a ballet. Glinka was also worried that the Spanish public would not appreciate his attempt to integrate the Spanish sound into the Western tradition of music. Glinka was finally able to hear his work performed in 1848 in Warsaw, due to the graciousness of the Governor of Warsaw. The Capriccio was later given its first public performance in 1850 in St. Petersburg, although Glinka was not present.
M. I. Glinka (1804-1857) Waltz Fantasia (Valse Fantaisie, Waltz Fantasy) (1856) Глинка. Вальс Фантазия. Дир.: Светланов. USSR Symphony Orchestra Cond.: Evegeny Svetlanov Recorded in 1968 In 1839 Glinka composed a waltz-scherzo for piano. In this fateful year he fell in love with the young and bright Yekaterina Kern (1818-1904) and separated from his wife after four years of marriage: "My grief is light" (Pechal' moya svetla) reads the epigraph on his work, borrowed from a poem by Pushkin. As "melancholic waltz" (orchestrated by the conductor of the Court Orchestra in Pavlovsk) the piano scherzo caused a sensation. In 1845, now orchestrated by the composer himself, it was performed under Hector Berlioz in Paris. A revision in 1856 resulted in the final title: Valse-fantaisie. (...) In 1856 Glinka dedicated his Valse-fantaisie to his "old friend K. A. Bulgakov" and commented on the gift as follows: "This music will remind you of the days of love and youth." The composition served Tchaikovsky and Glazunov in all respects as a model. Later on it even inspired Shostakovitch. Sigrid Neef (Transl.: A. Hoffman)
Лучшие сочинения Михаила Глинки. Лучшие композиции Михаила Глинки. Лучшие симфонии Михаила Глинки. Лучшие оперы Михаила Глинки. Лучшая музыка Михаила Глинки. Глинка лучшее. Патриотическая песня глинка. Славься Глинка. #MikhailGlinka #Glink #Глинка russian composers, russian classical music, russian composers classical music, русские композиторы, russian composer, russian classical, russian classical composers, classical music russian. #russiancomposers #russianclassicalmusic #russiancomposers #русскиекомпозиторы #russiancomposer, #russianclassical, #russianclassicalcomposers # #classicalmusicrussian 0:00 Вступление 0:21 Увертюра к опере Руслан и Людмила 5:22 Вальс-фантазия 14:08 Марш Черномора из оперы Руслан и Людмила 18:30 Вальс из оперы Жизнь за царя (Иван Сусанин) 24:06 "Где Людмила?" и "О, витязи, скорей во чисто поле!" из I действия оперы Руслан и Людмила 27:49 Песнь “Славься!” из оперы Жизнь за царя (Иван Сусанин) 29:02 Патриотическая (гимн России с 1990 по 2000 год) 30:35 Воспоминания о летней ночи в Мадриде. Испанская увертюра №2 39:40 Увертюра D-dur (Overture in D major) 45:32 Увертюра к опере Жизнь за царя (Иван Сусанин) 54:57 Хор “Слава великим богам!” V действие оперы Руслан и Людмила 59:17 Part II The best of Mikhail Glinka: 🤍 All composers on SunAndreas channel 🤍 Опера Руслан и Людмила Михаила Глинки. Опера Жизнь за царя Михаила Глинки. Опера Иван Сусанин Михаила Глинки.
The opening of Glinka’s Overture to Ruslan and Ludmilla is an excellent work-out for the violins, with some speedy D Major scales. 🎻 Website: 🤍 YouTube: 🤍 Facebook: 🤍 Instagram: 🤍
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