|
See also: GLINKA, S . N.
de Rosen). This was the turning-point, in Glinka's See also:life,—for the See also:work was not only a See also:great success, but in a manner became the origin and basis of a See also:Russian school of See also:national See also:music. The See also:story is taken from the invasion of See also:Russia by the Poles See also:early in the 17th See also:century, and the See also:hero is a See also:peasant who sacrifices his life for the See also:tsar. Glinka has wedded this patriotic theme to inspiring music. His melodies, moreover, show distinct See also:affinity to the popular songs of the Russians, so that the See also:term "national" may justly be applied to them. His See also:appointment as imperial chapelmaster and conductor of the See also:opera of St See also:Peters-See also:burg was the See also:reward of his dramatic successes. His second opera Russian and Lyudmila, founded on See also:Pushkin's poem, did not appear till 1842; it was an advance upon Life for the Tsar in its musical aspect, but made no impression upon the public. In the meantime Glinka wrote an See also:overture and four entre-actes to Kukolnik's See also:drama See also:Prince Kholmsky. In 1844 he went to See also:Paris, and his Jota Arragonesa (1847), and the symphonic work on See also:Spanish themes, Une Nuit a See also:Madrid, reflect the musical results of two years' sojourn in See also:Spain. On his return to St See also:Petersburg he wrote and arranged several pieces for the See also:orchestra, amongst which the so-called Kamarinskaya achieved popularity beyond the limits of Russia. He also composed numerous songs and romances. In 1857 he went abroad for the third See also: - TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
- TIME, MEASUREMENT OF
- TIME, STANDARD
time; he now wrote his autobiography, orchestrated See also:Weber's Invitation a la valse, and began to consider a See also:plan for a musical version of See also:Gogol's Tarass-Boulba. Abandoning the See also:idea and becoming absorbed in a See also:passion for ecclesiastical music he went to See also:Berlin to study the See also:ancient See also:- CHURCH
- CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
- CHURCH, FREDERICK EDWIN (1826-1900)
- CHURCH, GEORGE EARL (1835–1910)
- CHURCH, RICHARD WILLIAM (1815–189o)
- CHURCH, SIR RICHARD (1784–1873)
church modes. Here he died suddenly on the 2nd of See also:February 1857.
End of Article: GLINKA, S
Additional information and Comments
There are no comments yet for this article.
Please link directly to this article:
Highlight the code below, right click, and select "copy." Then paste it into your website, email, or other HTML.
Site content, images, and layout Copyright © 2006 - Net Industries, worldwide.
Do not copy, download, transfer, or otherwise replicate the site content in whole or in part.
Links to articles and home page are always encouraged.
|
del.icio.us it!