Michael Glinka: Orchesterwerke auf CD

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The development of Russian symphonism, the best samples of which are retained in the works by the most prominent composers such as N. Rimsky-Korsakov, A. Glazunov, P. Tchaikovsky, S. Rachmaninov, is bound to Mikhail Glinka’s (1804–1857) deep insight to the most extent. Creating classical types of the Russian opera and samples of symphony works of different types Glinka defined the characteristic features of the Russian symphonism. The main of them is definitely based on the vocal and instrumental folklore. The composer proclaimed, “The people create music, and we, artists, just arrange it”.

Since his very early years he had a chance to watch the serfs’ orchestra rehearsals in the estate of his uncle and he studied the timbre difference of the orchestra instruments. In his “Notes on Instrumentation” the composer recollected that he was demonstrating ardour for understanding “the beauty of the orchestra”. His works are full of unusual purity of part-singing, mastery of combining of orchestra groups, skills in felicitous emphasizing of some instrument among the rest ones.

Two “Spanish Overtures” – “Brilliant Capriccio” is known under the name of “The Jota Aragonesa” and “Summer Night in Madrid” became the result of Glinka’s trip to Spain in 1845–1847. The first one is based on the theme of a jota aragonesa that Glinka overheard from a young guitar player. Two charming seguidillas that were performed by a common muleteer, later they were used by Glinka in the second “Spanish Overture”. In the affectionate “Waltz-Fantasy” (written in 1839) the young composer expressed his tender feelings to Ekaterina Kern, Anna Kern’s daughter; however she never became his wife. The work was supposed for piano but afterwards Glinka rearranged it several times for symphony orchestra. The first performance took place at Pavlovsk Railway Station arranged by conductor G. German that is why the composition retained the name “Pavlovsk Waltz” for many years.

The most popular “Kamarinskaya” was called “Wedding and Dancing Themes” at first as its composition was based on wonderful combination of two folklore themes in different genres. One of them belongs to the Russian lyrical song “From behind the hills, high mountains” whereas the second one is the sprightly dance melody “Kamarinskaya”. P. Tchaikovsky highly estimated the significance of this composition for the Russian symphony school. He wrote in his notes, “It (school) is inside “Kamarinskaya” like the whole oak tree is in the acorn”. Glinka created his own type of variations that got the name “Glinka’s” that were developed by the Five (“The Mighty Handful”). According to this principle variations are connected with rhythmic, harmonic, timbre and facture of music whereas the main melody stays invariable. More over, the composer learnt well the principles of development of the most important symphony form – sonata allegro. The most notable example is the brilliant overture to the opera “Ruslan and Ludmila” that was called by Boris Asafiev “the most perfect” among the Russian overtures of the middle of the XIX century. “There had been nothing of the kind in the Russian music like the rich, shimmering with colour the orchestration of “Ruslan”. And there it couldn’t be”. – He declared.

Many various forms are used in Glinka’s operas. In the foreground, it goes without saying, there dance genres – Mazurka, Krakowiak, Lezginka from “A Life for the Tsar”, the dances in the magic gardens from “Ruslan and Ludmila”. Many of them appeal to Oriental images. Dances in Chernomor’s castle express this exotic oriental colouring to the most degree. Chernomor himself received only silent orchestra characteristic in the form of a fantastical march.

Boris Astafiev’s words are just, “Glinka’s symphonism with its bright optimistic content, plasticity of the forms and the richest in dynamics and sound colouring can be estimated as the expression of the creative inspiration and the most talented artistry of the environment where it was born”. (melody. su)