Content |
The main articles are:
List of works based on the publication "M. I. Glinka: Complete Works" V. Shebalin, S. Pavchinsky, Publishing House "Music," Moscow (1955-1973).
| Genre | Date | Name in Russian. | Name in English. | Tools | Comments |
|---|---|---|---|---|---|
| Stage | 1834-1836|[[Life for the Tsar - Ivan Susanin (opera) | Life for the Tsar]] | A Life for the Tsar " | Opera in 5 acts, new version (1837) 4 acts and epilogue. The name in the USSR is Ivan Susanin. | |
| Stage | 1836 | | Aria with Chorus for Konstantin Bakhturin's Play "The Moldavian Girl and the Gypsy Girl" | |||
| Stage | 1837-1842|[[Ruslan and Lyudmila (Glinka opera) | Ruslan and Lyudmila]] | Ruslan and Lyudmila | Opera in 5 acts based on the fairy tale of Alexander Pushkin; 2nd version 1846 | |
| Stage | 1840 | Music to the tragedy of N. V. Kukolnik "Prince Kholmsky." 1. Overture 2. Stepping into the second action 3. The Jewish song 4. The song of Ilyinishna 5. Stepping into the third action 6. Son of Rachel 7. Stepping into the fourth action 8. Stepping into the fifth action. | Prince Kholmsky | For orchestra. 3,4,6 for voice and orchestra. Incidental music for the tragedy by Nestor Kukolnik | |
| Stage | 1841 | | Tarantella | for narrator, chorus and orchestra | The Words of Ivan Petrovich Myatlev | |
| Оркестр | 1822-1826? | Overture in D major | Overture in D major | | | |
| Оркестр | 1822-1826? | Overture in G minor | Overture in G minor | | | |
| Оркестр | 1823? | | Andante cantabile and Rondo in D minor | | | ||
| Оркестр | 1824? | Симфония B-dur | Symphony in B flat major | for orchestra | unfinished |
| Оркестр | 1834 | | Symphony on Two Russian Themes in D minor | for orchestra | unfinished; completion and orchestration by Vissarion Shebalin | |
| Оркестр | 1839, 1856 | | Waltz-Fantasia in B minor | for orchestra | a.k.a. Valse-Fantaisie; original version for piano (1839); orchestrated in 1845 (lost); reorchestrated in 1856 | |
| Оркестр | 1845 | | Spanish Overture No. 1 "Capriccio Brilliante on the Jota Aragonesa" | for orchestra | ||
| Оркестр | 1848 | Камаринская | Kamarinskaya, Scherzo / Fantasia on Two Russian Themes | for orchestra | arranged for piano 4-hands (1856) |
| Оркестр | 1848 | Recuerdos de Castilla | Recuerdos de Castilla | for orchestra | first version of Spanish Overture No. 2 |
| Оркестр | 1851 | | Spanish Overture No. 2 "Recollection of a Summer Night in Madrid" | for orchestra | a.k.a. Souvenir d'une nuit d'été à Madrid | |
| | align=center|1855 | Польский | Polonaise on a Spanish Bolero Theme in F major | for orchestra | ||
| Оркестр | Concerto | Concerto in E major | for orchestra | unfinished | |
| Камерная музыка | 1823? | Септет | Septet in E major | for oboe (or clarinet), horn, bassoon, two violins (or violin and viola), cello and double bass | |
| Камерная музыка | 1824 | Квартет D-dur | String Quartet in D major | for 2 violins, viola and cello | |
| Камерная музыка | 1825-1828 | Sonata for piano and viola | Sonata in D minor | for viola and piano | unfinished (2 movements only); movement II completed by Vadim Borisovsky in 1932 and Bart Berman in 1999 |
| Камерная музыка | 1830 | Квартет фа мажор | String Quartet in F major | for 2 violins, viola and cello | also arranged for piano 4-hands |
| Камерная музыка | 1832 | | Divertimento Brilliant on Themes from Vincenzo Bellini's Opera "La sonnambula" in A major | for piano with 2 violins, cello and double bass | so for 2 pianos 6-hands | |
| Камерная музыка | 1832 | | Grand Sextet in E major | for 2 violins, viola, cello, double bass and piano | a.k.a. Gran sestetto originale | |
| Камерная музыка | 1832 | | Serenade on Themes from Gaetano Donizetti's Opera "Anna Bolena" in E major | | | ||
| | align=center|1832 | Патетическое трио | Trio Pathétique in D minor | for clarinet, bassoon and piano (or violin, cello and piano) | ||
| Piano | 1822 | | Variations on a Theme from Mozart's Opera "The Magic Flute (Die Zauberflöte)" in E flat major | | | ||
| Piano | 1824? | | Variations on an Original Theme in F major | | | ||
| Piano | 1826 | | Variations on a Russian Song "Among the Gentle Valleys" in A minor | | | ||
| | align=center|1826 | Вариации на романс «Benedetta sia la madre» | Variations on the Song "Benedetta sia la madre" in E major | for piano | ||
| Piano | 1826 or 1827 | | Variations on a Theme from Luigi Cherubini's Opera "Faniska" in B major | | | ||
| Piano | 1826? | | 5 New French Contradances | for piano | a.k.a. 5 Nouvelles quadrilles françaises | |
| Piano | align = center 'by 1828 | | 4 New Contradances | | | ||
| | align=center|by 1828 | Котильон | Cotillon in B major | for piano | ||
| | align=center|by 1828 | Мазурка G-dur | Mazurka in G major | for piano | ||
| | align=center|1828 | Ноктюрн | Nocturne in E major | for piano or harp | ||
| Piano | 1829|[[Finland | | Finnish Song in D major | | | ||
| Piano | 1829 or 1830 | | Sabre Dance in C major | for piano 4-hands | a.k.a. Trot de cavalerie | |
| Piano | 1829 or 1830 | | Sabre Dance in G major | for piano 4-hands | a.k.a. Trot de cavalerie | |
| Piano | 1830 | Квартет F-dur | String Quartet in F major | for piano 4-hands | version for piano 4-hands |
| Piano | 1831 | | Farewell Waltz in G major | for piano | a.k.a. Valse d'adieux | |
| Piano | 1831 | | Rondo Brillante on Themes from Vincenzo Bellini's Opera "Capuleti e i Montecchi" in B major | | | ||
| Piano | 1831 | Brilliant variations on the theme from "Anna Boleyn" by G. Donizetti | Variations Brillante on a Theme from Gaetano Donizetti's Opera "Anna Bolena" in A major | for piano | |
| Piano | 1831 | | Variations on Two Themes from the Ballet "Chao-Kang" in D major | for piano | Chao-Kang, Ballet-Pantomime in 3 acts and epilogue (premiered 1834 at Salle Ventadour); choreography by Louis Henry; music by Luigi Carlini | |
| Piano | 1832 | | Divertimento Brilliant on Themes from Vincenzo Bellini's Opera "La sonnambula" in A major | for 2 pianos 6-hands | original for piano with 2 violins, cello and double bass | |
| Piano | 1832 | | Impromptu-Galop on a Theme from Gaetano Donizetti's Opera "L'elisir d'amore" in B major | for piano 4-hands | a.k.a. Impromptu en Galop | |
| Piano | 1832 | | Variations on a Theme from Vincenzo Bellini's Opera Capuleti e i Montecchi "in C major | | | ||
| Piano | 1833 | | Variations on Alexander Alyabyev's Song "The Nightingale" in E minor | | | ||
| Piano | 1833 or 1834 | | 3 Fugues | | | ||
| Piano | 1833 or 1834 | | Mazurka in A major | | | ||
| Piano | 1833 or 1834 | | Mazurka in F major | | | ||
| Piano | 1834 | | Capriccio on Russian Themes in A major | | | ||
| Piano | 1834-1836? | | Patriotic Song in C major | for piano | Music was used as the national anthem of Russia from 1990 to 2000 | |
| | align=center|1835? | Мазурка | Mazurka in F major | for piano | a.k.a. "Masurque dédiée à sa femme" | |
| Piano | 1838 | | 5 Contradances | for piano | in some publications dates from 1839 | |
| | align=center|1838 | Вальс | Waltz in B major | for piano | ||
| Piano | 1838 | | Waltz in E major | for piano | dated 1839 in some publications | |
| | align=center|1838 or 1839 | Галопада | Galopade in E major | for piano | ||
| Piano | 1839 | Monastyrka. New Counterdance | La Conventine, 5 New Contradances " | original for orchestra | |
| Piano | 1839 | Separation. Ноктюрн | La Séparation, Nocturne in F minor | for piano | |
| Piano | 1839 | | Grand Waltz in G major | for piano | a.k.a. Grande valse; original for orchestra (lost) | |
| Piano | 1839 | | Polonaise in E major | for piano | original for orchestra | |
| Piano | 1839 | Le Regret, Ноктюрн | Le Regret, Nocturne | for piano | lost |
| Piano | 1839 | | Waltz-Fantasia in B minor | for piano | a.k.a. Valse-Fantaisie | |
| Piano | 1840 | | Bolero in D minor | | | ||
| Piano | 1843 | | Tarantella on a Russian Folk Song in A minor | for piano | Theme: "There was a birch in the field" (In the Field There Was a Birch Tree) | |
| | align=center|1843? | Мазурка | Mazurka in C minor | for piano | ||
| Piano | 1847 | Greetings to the homeland | 'A Greeting to My Native Land | for piano | 4 Musical Essays 2. Barcarolle 3. a.k.a. Prière; choral version (1855); after the poem by Mikhail Lermontov 4 . a.k.a. Thème écossais varié; theme: The Last Rose of Summer |
| | align=center|1849 | Полька | Polka in D minor | for piano | ||
| | align=center|1852 | Мазурка | Mazurka in C major | for piano | ||
| | align=center|1852 | Полька | Polka in B major | for piano 4-hands | conceived in 1840 | |
| Piano | 1854 | | Children's Polka in B major | for piano | a.k.a. Polka Enfantine | |
| Piano | 1855? | Las Mollares. Andalusian dance | Las Mollares, Andalusian Dance in G major | for piano | |
| | align=center| | Leggieramente | Leggieramente in E major | for piano | published 1969 | |
| | align=center| | Мазурка | Mazurka in A minor | for piano | ||
| Choral | 1826 | | Prologue on the Death of Emperor Alexander I and the Accession to the Throne of Nicholas I "Pleurons, pleurons sur le russie" | for tenor, mixed chorus, piano and double bass | Cantata; words by Olidor; Words of Ilya Fedorovich Tyumenev | |
| Choral | align = center | Russian Song | Russian Song | for voice, chorus and piano | Words by Anton Delvig |
| Choral | 1828 | La notte omai s'appresso | La notte omai s'appresso | for soprano, alto, tenor, bass, mixed chorus and string orchestra | incomplete |
| Choral | 1828 or 1834 | A, ignobil core | A, ignobil core | for baritone, male chorus and orchestra | incomplete |
| | align=center|1837 | Херувимская | Cherubim's Song in C major | for mixed chorus | Biblical text | |
| | align=center|1837 | Велик наш бог | Our God Is Great | for mixed chorus and orchestra | Polonaise; words of Vladimir Sollogub and Nikolai Ivanovich Khmelnitsky | |
| | align=center|1838 | Гимн хозяину | Hymn to the Master | for tenor, mixed chorus and orchestra | words by Mykola Markevych | |
| Choral | 1847 | | Toasting song ||for voice and chorus | traditional words | ||
| Choral | 1850 | Farewell song for the pupils of the society of noble maidens | Farewell Song for the Pupils of the Society of Genteel Maidens | for female chorus and orchestra | words by M. Timaev |
| Choral | 1854 | | The Scythe | for voice, mixed chorus and orchestra | words by Alexander Yakovlevich Rimsky-Korsakov) | |
| | align=center|1855 | Молитва | Prayer | for voice, mixed chorus and orchestra | original for piano (1947); words by Mikhail Lermontov | |
| Choral | 1856? | First Litany | | | ||
| Vocal | 1824 | | My Harp | for voice and piano | Glinka's first experiments in composing vocal music were related to romantic themes. In the mid-1820s, he conceived of writing opera. The plot was supposed to be the work of the popular English writer Walter Scott in Russia at that time - the poem "Ryokby." In his autobiography, Glinka does not mention this important circumstance of his creative life at all, but the analysis of the materials preserved in the composer's archive for the alleged opera allowed researchers to determine them with sufficient reason as fragments of the opera Matilda Rokeby conceived by Glinka (under this name, the poem by V. Scott was published in the first Russian edition of 1823). Glinka's composition of the romance "My Harp" on the words of the poet and playwright Konstantin Alexandrovich Bakhturin also dates back to this time (1824). Bakhturin's poem was the source of the same poem by V. Scott - "Ryokbi." In "Notes," Glinka speaks of the romance "My Harp" as "an unsuccessful attempt at writing with text." | |
| Vocal | 1825 | | Do Not Tempt Me Needlessly | For voice and piano for 2 voices and piano | 2 versions: for voice and piano, and for 2 voices and piano; Glinka's second romance on the text of an elegiac poem by Yevgeny Baratynsky (according to the composer, his "first successful romance") marks an appeal to Russian poetry and the Russian intonational language in Glinka's vocal work. The soulful, sincere music of this romance, based on the intonations of urban folklore, organically merging with the intonations of the poetic speech of the text, deepened the national features of its ideological and artistic content. It was with the year 1825 that Glinka connected his appeal to folk art. "During this 50 year, the 25th anniversary of my feasible service in the field of folk Russian music will be celebrated," he wrote to his friend V.P. Engelhardt on March 26/April 7, 1850. | |
| Vocal | 1826 | | Ah, My Sweet, Thou Art a Beautiful Maiden | for voice and piano | Folk song | |
| Vocal | 1826 | | Consolidation | for voice and piano | 2 versions; words of Vasily Zhukovsky | |
| Vocal | 1826 | | The Poor Singer | for voice and piano | words by Vasily Zhukovsky | |
| Vocal | 1827 | | Bitter, Bitter It Is for Me | for voice and piano | words by Alexander Yakovlevich Rimsky-Korsakov | |
| Vocal | 1827 | Heart Memory|| Heart's Memory | for voice and piano | words by Konstantin Batyushkov | |
| Vocal | 1827 | | "I Love" Was Your Assurance | for voice and piano | To the verses of Alexander Yakovlevich Rimsky-Korsakov; a.k.a. Le Baiser (1854) text in French by Prince Sergei Grigorievich Golitsyn. An unrequited feeling for the young girl Katenka became the reason for the composition of the romance "I love, you told me" (1827), and later - the Russian song "Bitter, bitter to me." | |
| Vocal | 1827 | | Why Do You Cry, Young Beauty | for voice and piano | Words by Anton Delvig | |
| Vocal | 1827 or 1828|| Mio ben ricordati | for alto, tenor and piano for soprano and piano | 2 versions; Italian words by Metastasio; Russian text by Pyotr Ilyich Tchaikovsky | ||
| Vocal | 1827 or 1828 | | O God, Preserve Our Strength in the Days of Confusion | for alto, tenor, bass and piano | Bible Text | |
| | align=center|1827 or 1828 | Один лишь миг | Pour un moment | for voice and piano | French and Russian words by Prince Sergei Grigoryevich Golitsyn | |
| Vocal | 1827 or 1828 | | Tell Me Why | for voice and piano | words of Prince Sergei Grigoryevich Golitsyn | |
| Vocal | 1828 | | Disenchantment | for voice and piano | 2 versions; Words of Prince Sergei Grigorievich Golitsyn. The romance consists of two parts that are almost equal in length, of which the second part is the transformation of the first in music. The thematic fracture in the text (an explosion of feelings of jealousy and despair) is expressed by the transformation of the smooth melody of the first part into a semi-recitative, the place of figurative accompaniment was taken by a sharply delineated following of chords separated by pauses; the frequent signs of performance (accents, forks, etc.) record the passion of the statement that sounded in the composer's imagination. The tendency to dramatize the genre, as well as the use of a change of melodic and declamatory singing as a technique of expression, will lead Glinka to such vivid creatures of his as "I remember a wonderful moment, and" Song of Margarita. " | |
| | align=center|1828 | Куда ни взгляну | Dovunque il guargo giro | for baritone and piano | Italian words by Metastasio; Russian text of Vsevolod Rozhdestvensky | |
| Vocal | 1828 | Two Italian canzonettes: Remember Irene/K zither | Due canzonette italiane: Ah, rammenta, o belle Irene/Alla cetra | for voice and piano | Words Metastasio |
| Vocal | 1828 | | Ho perduto il mio tesoro | for tenor and piano | Italian text Metastasio; Russian text by Pyotr Ilyich Tchaikovsky | |
| Vocal | 1828 | | The Maids Once Told Me, Grandfather | for voice and piano | 2 versions; to verses by Anton Delvig | |
| Vocal | 1828 | | Mi sento il cor trafiggere | for tenor and piano | Italian text Metastasio; Russian text by Pyotr Ilyich Tchaikovsky | |
| Vocal | 1828 | | O Dafni che di quest'anima amabile diletto | for soprano and piano | Russian text by Vsevolod Rozhdestvensky | |
| Vocal | 1828 | | O Thou Black Night | for voice and piano | 2 versions; To verses by Anton Delvig | |
| Vocal | 1828 | | Pensa que questo instante | for alto and piano | Italian words by Metastasio; Russian text of Vsevolod Rozhdestvensky | |
| Vocal | 1828 | | Piangendo ancora rinascer suole | for soprano and piano | Italian words by Metastasio; Russian text of Vsevolod Rozhdestvensky | |
| Vocal | 1828 | Prayer "Hear from Heaven" "The Night World Descends on a Sleeping World" | Prayer | for soprano, alto, tenor, bass and piano | Quartet in B flat major |
| Vocal | 1828 | | Pur nel sonno | for soprano and piano | Italian text Metastasio; Russian text by Pyotr Ilyich Tchaikovsky | |
| Vocal | 1828 | | Shall I Forget... | for voice and piano | Words of Prince Sergei Grigoryevich Golitsyn | |
| Vocal | 1828 | | Sing Not, Thou Beauty, in My Presence | for voice and piano | In the summer of 1828, Mikhail Ivanovich met with the author of the famous comedy "Grief from Wit" A.S. Griboedov, spoke a lot and with passion about music. During the conversation, Alexander Sergeevich played the motif of the Georgian song, which so fascinated the composer that he laid it as the basis of his new instrumental piece. Some time later, this composition was performed during a friendly meeting, at which A.S. Pushkin was among the guests. The great poet really liked the music of the work, and he, without hesitation for a long time, wrote poems to it. It was the first fusion of two great national talents, only one in poetry and the other in music. | |
| Vocal | 1828 | | Sogna chi crede d'esser felice | for alto, 2 tenors, bass and string orchestra | Quartet; Russian translation by Vsevolod Rozhdestvensky | |
| Vocal | 1828 | | Tu sei figlia | for soprano and piano | Italian text Metastasio; Russian text by Pyotr Ilyich Tchaikovsky | |
| Vocal | 1828 or 1829 | Come di gloria al nome | Come di gloria al nome | for soprano, alto, tenor, bass and string orchestra | |
| Vocal | 1829 | | A Voice from the Other World | for voice and piano | words by Friedrich Schiller translated by Vasily Zhukovsky | |
| Vocal | 1829 | | O Gentle Autumn Night | for voice and piano | words by Alexander Yakovlevich Rimsky-Korsakov | |
| Vocal | 1829 or 1830 | | 7 Studies | | | ||
| Vocal | 1832 | | The Conqueror | for voice and piano | words by Ludwig Uhland translated by Vasily Zhukovsky | |
| | align=center|1832 | Желание | Il desiderio | for voice and piano | words by Felice Romani. An affair with the married daughter of an Italian doctor de Filippi ended with the creation of the romance Desire (1832). | |
| Vocal | 1832 | | L'iniquo voto | for soprano and piano | words by Pini | |
| Vocal | 1832 | | Venetian Night | For Voice and Piano | Fantasia; 2 versions; Words of Ivan Kozlov. Two romances written in Italy (1832) - "Venice Night" and "Winner" - formed a new step in the development of Glinka's romance work. The composer left the circle of love lyrics, first turning to landscape lyrics and medieval romance (Zhukovsky). "Venetian - Night" is Glinka's only romance, in which thoughts and feelings focus directly on the perception of nature - the "light-armed glory" of spring night, animated by the chant "Torquat of Harmonic Octaves." In the barcarole "The Blue Fell Asleep" (1840), the main theme is a sense of love with its joys and suffering; the nature image is the background. The theme of the romance "Gulf of Finland" (1850) is the memory of feelings experienced while contemplating southern nature. | |
| Vocal | 1833 | | 6 Studies | | | ||
| Vocal | 1834 | | The Leafy Grove Howls | for voice and piano | words by Friedrich Schiller translated by Vasily Zhukovsky | |
| Vocal | 1834 | | Say Not That Love Will Pass | for voice and piano | Words by Anton Delvig. The romance "Don't Say Love Will Pass" (1834) crowned the romantic history of Berlin acquaintance and Glinka's musical studies with the girl Maria ("She was, writes Mikhail Ivanovich, aged 17 or 18. She was of several Israeli descent; tall, but not yet developed, the face is very beautiful and looked somewhat like a madonna "). | |
| Vocal | 1834, 1855 | | Call Her Not Heavenly | for voice and piano | orchestrated 1855; words of Nikolai Filippovich Pavlov | |
| Vocal | 1834 | | I Am Here, Inezilla | for voice and piano | The Words of Alexander Pushkin after Barry Cornwall. The song colorfully recreates a scene from the life of sunny Spain: a passionate recognition of an ardent lover to his chosen one. | |
| Vocal | 1834 | | I Had But Recognized You | For Voice and Piano | Words by Anton Delvig. During the period of falling in love with his future wife Marya Petrovna (nee Ivanova), Glinka composed for her the romance "Only I recognized you" (1834-1835). | |
| Vocal | 1835 or 1836 | | Exercises for Smoothing and Perfecting the Voice | | | ||
| Vocal | 1836 | Comic Canon a 4 | for voice and piano | Music written with Vladimir Odoevsky. Words of Alexander Pushkin, Vasily Zhukovsky, Peter Vyazemsky, Mikhail Vielgorsky | |
| Vocal | 1836 | | The Night Review | for voice and piano | Fantasia; orchestrated c.1836–1840; reorchestrated 1855; Words of Vasily Zhukovsky. In France, there was a legend about Napoleon: the commander got up from the coffin at night and examined his troops. The poet and then the composer painterly displayed a picture of an unusual, ghostly parade. | |
| Vocal | 1837 | | Where Is Our Rose? | for voice and piano | 3 versions; words by Alexander Pushkin | |
| Vocal | 1837 | | Stanzas: This Secret Meeting Place | for Voice and Piano | The Words of Nestor the Puppeteer | |
| Vocal | 1837 or 1838 | | Will You Not Return | for 2 sopranos and pianos | Duettino; composer's words | |
| Vocal | 1838 | | Doubt | for voice and piano | Nestor Kukolnik's Words | |
| Vocal | 1838 | | The Fire of Longing Burns in My Heart | for voice and piano | A fervent feeling for one of the students of the Karolina Theater School (Linochka) Kolkovskaya gave her the romance "Always, everywhere you are with me," (known with verses Pushkina "A desire fire burns in the blood," 1838) and the famous drama novel "Doubt" (1838). | |
| Vocal | 1838 | | The Night Zephir | for voice and piano | words by Alexander Pushkin | |
| Vocal | 1838 | | Sing Not, O Nightingale | for voice and piano | Ukrainian song; words of Viktor Nikolaevich Zabella | |
| Vocal | 1838 | | The Wind Blows | for voice and piano | Ukrainian song; words of Viktor Nikolaevich Zabella | |
| Vocal | 1839 | | The Cherry Tree Is Blooming | for voice and piano | words by Evdokia Rostopchina | |
| Vocal | 1839 | | Declaration | for voice and piano | words by Alexander Pushkin | |
| Vocal | 1839 | | If I Shall Meet You | for Voice and Piano | words by Alexei Koltsov | |
| Vocal | 1839 | | Wedding Song | for voice and piano | a.k.a. The North Star; words by Evdokia Rostopchina | |
| Vocal | 1840 | | Farewell Song of Pupils of the Yekaterinsky Institute | for voice and piano | words by Platon Grigorievich Obodovsky | |
| Vocal | 1840 | Farewell to St. Petersburg: Romance from the poem "David Rizzio "/Jewish song/Bolero/For a long time have you blossomed with a rose.../Lullaby song/Passing song/Stop, my faithful, stormy horse... Fantasy/Barcarola "The Blue Fell Asleep... "/Virtus antiqua (Knight's Romance )/Lark/K molly. Romance from the novel "Burger "/Farewell Song | Piano Words|Nestolier for Voice and Puppet Music|2. from Prince Kholmsky 3. original for piano 5. also for voice and string orchestra 6. The colorful genre sketch " Passing Song" vividly displays the composer's impressions, which he received for the first time on the railway, which opened in 1837 and connected St. Petersburg with Pavlovsky. The cheerful miniature colorfully depicts everything that is associated with an amazing innovation at that time: a station slouch, loud noise from voices, wheel overhang, waiting for welcome meetings and new impressions. V.V. Stasov established the connection of "Passing Song" with Farlaf's rondo in "Ruslan and Lyudmila." 11. based on Le regret for piano 12. for voice, male chorus and piano | ||
| Vocal | 1840 | | How Sweet It Is to Be with You | for voice and piano | P.V. Engelhardt's wife Sofya Grigorievna ("a woman of pleasant appearance and still young") received "for memory" the romance "How sweet I am with you to be" (1840). Words of Peter Ryndin. | |
| Vocal | 1840 | | I Recall a Wonderful Moment | for voice and piano | The Words of Alexander Pushkin. In 1839, Glinka met Ekaterina Kern, daughter of the Pushkin muse Anna Kern, who quickly turned into love. After Glinka left his wife M.P. Ivanov at the end of 1839, relations with Kern continued to develop rapidly. But soon she became seriously ill and moved in with her mother. In the spring of 1840, the composer constantly visited Kern and it was then that he wrote the romance "I remember a wonderful moment" to Pushkin's poems, dedicating it to his daughter to the one to whom the poet addressed these poems. Although the composer himself modestly recalled that he wrote it "I do not know on what occasion." | |
| Vocal | 1840 or 1841 | | 4 Exercises | | | ||
| Vocal | 1842 | | I Love You, Dear Rose | for voice and piano | words by I. Samarin | |
| Vocal | 1843 | | To Her | for voice and piano | the words of Adam Mickiewicz translated by Prince Sergei Grigoryevich Golitsyn | |
| | align=center|1847 | Милочка | Darling | for voice and piano | words by anonymous | |
| Vocal | 1847 | | Soon You Will Forget Me | for voice and piano | orchestrated 1955; words of Julia Zhadovskaya | |
| Vocal | 1847 | | Meine Ruh'ist hin | for voice and piano | words from "Faust" by Goethe translated by Eduard Ivanovich Guber. | |
| Vocal | 1848 | The Toasting Cup | for voice and piano | During his stay in Warsaw (1848), the romances "The Sound Cup" and "Can I Hear Your Voice" were composed under the impression of a close acquaintance with the girl Agneli. Words of Alexander Pushkin | |
| Vocal | 1848 | | When I Hear Your Voice | for voice and piano | words by Mikhail Lermontov | |
| Vocal | 1849 | | Adèle | for voice and piano | In 1849, "a poetic feeling for sweet Mizi" (to Emilia Om, the youngest daughter of Om, the owner of a restaurant in Warsaw) caused the creation of romances "Adele" and "Oh, dear maiden" ("Rozmowa"). Words of Alexander Pushkin | |
| Vocal | 1849 | Rozmowa. Fantazya di spiewu | Conversation | for voice and piano | words by Adam Mickiewicz |
| | align=center|1849 | Мери | Mary | for voice and piano | words by Alexander Pushkin after Barry Cornwall | |
| Vocal | 1850 | | The Gulf of Finland | for voice and piano | a.k.a. Palermo; words by Platon G. Obodovsky | |
| Vocal | 1856 | | Oh, If I Had Known... | for voice and piano | words by Ivana Dmitriyeva | |
| Vocal | 1856 | Don't say your heart hurts|| Say Not That It Grieves the Heart | for voice and piano | words by Nikolai Filippovich Pavlov | |
| Vocal | 1856? | | Let My Prayer Be Fulfilled | | | ||
| Vocal | 1856 or 1857 | | Resurrection Hymn | | | ||
| Vocal | 1856 or 1857 | | School of Singing |
Records
A collection of songs and romances by M.I. Glinka was released on 3 CDs in 2006 by the Aleksei Sergeyev and IMLab. The publication did not include only the folk song "Not Autumn Frequent Rain" and "Feast Song" to the verses of A.A. Delwig, "Aria" to the words of Pinia (1832, Milan) and several songs of the Italian period (1828).
At the same time, "Aria" to the words of Pinia and Italian songs, as well as Glinka's vocalizations, were recorded and published by IMLab earlier performed by St. Petersburg singer Marina Filippova (IMLCD027).
Links
Notes
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