The Romantic Era

nineteenth century

(Classical Music Map)


I. History of Classical Music  (by John Stanley)
The great composers and their masterworks in MP3 format
Albeniz Borodin Donizetti Hindemith Prokofiev Schutz
Albinoni Brahms Dowland Janacek Puccini Scriabin
Allegri Britten Dvorak Kodaly Purcell Sibelius
Arne Bruckner Falla Leoncavallo Rachmaninov Smetana
Auber Busoni Field Liszt Rameau Strauss J.S.
Bach Byrd Gabrieli Lully Ravel Strauss R.
Barber Carissimi Gershwin Mahler Respighi Stravinsky
Bartok Charpentier Gesualdo Mendelssohn Rimsky-Korsakov Tallis
Beethoven Cherubini Glinka Meyerbeer Rossini Tchaikovsky
Bellini Chopin Gluck Monteverdi Saint-Saens Telemann
Bernstein Clementi Gounod Mozart Scarlatti Verdi
Berwald Corelli Grieg Mussorgsky Schoenberg Victoria
Berlioz Couperin Handel Pachelbel Shostakovich Villa-Lobos
Bizet Debussy Haydn Paganini Schubert Vivaldi
Boccherini Delibes Hildegard Palestrina Schumann Wagner
Orff  "Carmina Burana"
II. History of Jazz

Mikhail Glinka



Glinka was the father of the nationalist tradition in music. He was born m Smolensk. and his first musical influences were Rais-sian folk songs and church bells. He went to school in St Petersburg until 1822 and remained there until 1830, earning a meagre living as a pianist and singer. His early compositions were crude, but showed an instinctive feeling for folk melody.

In Italy from 1830 to 1833 he encountered Bellini and Donizetti, but ultimately felt uncomfortable with the Italian operatic style and moved on to Berlin for his first formal composition instruction, from Siegfried Dehn. He returned to Russia on hearing news of his father's death, and married shortly afterwards.

From 1835 to 1836 Glinka worked on his first opera, A life for the Tsar. Based on a story by Zhukovsky, it tells how Ivan Susanin, at the cost of his own life, saved the first Romanov Tsar from a band of Poles. It was an instant success, not least with the Tsar, and Glinka was appointed Imperial Kapellmeister the following year.

Glinka immediately set to work on his next opera, but the distractions of marital break-up delayed its completion until 1 842. The result, Ruslan and Lyudmila, was not a great success. Pushkin's fairy tale was unsuitable as an operatic plot and the work suffered from dramatic limpness, despite containing some of Glinka's best music. Somewhat discouraged, in 1844 he left for Paris, where he got on well with Berlioz, and also visited Spam; but on his return to Russia in 1847 he brought little new music. During a stay in Warsaw in 1848, however, he composed the orchestral piece Kamarinskaya. which profoundly influenced Tchaikovsky and the composers known as "The Five." Kamarinskaya uses a "changing background" technique to present some 70 variations of a folk tune. As the term suggests, the melody remains unaltered while the accompaniment evolves continually, and the work as a whole shows Glinka at his most inventive.

In his final years, Glinka returned to Pans before visiting Dehn again in Berlin, where he died earlv in 1857.



Mikhail Glinka



Mikhail Glinka (1804-1857)



Budapest Philharmonic Orchestra
"Ruslan and Ludmilla"
- Overture

Irina Vasileva
Abschied von St.Petersburg


Serg van Gennip
The Lark (Zhavoronok)
(Edited for piano by Balakirev)

Mary Angelina Mei
Nocturne in F minor "La Separation"



Eugene Delacroix





















J.S. Strauss







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