S See also:

• GLINKA, FEDOR NIKOLAEVICH (1788-1849)
• GLINKA, MICHAEL IVANOVICH (1803-18s7)
• S GLINKA
• GLINKA, SERGY NIKOLAEVICH (1774-1847)

GLINKA  . N . de Rosen) . This was the turning-point, in See also:

• GLINKA, FEDOR NIKOLAEVICH (1788-1849)
• GLINKA, MICHAEL IVANOVICH (1803-18s7)
• GLINKA, S
• GLINKA, SERGY NIKOLAEVICH (1774-1847)

Glinka's See also:

• LIFE

life,—for the See also:

• WORK

work was not only a See also:

• GREAT

great success, but in a manner became the origin and basis of a See also:

• RUSSIAN

Russian school of See also:

• NATIONAL

national See also:

• MUSIC

music . The See also:

• STORY, JOHN (c. 1510-1571)
• STORY, JOSEPH (1779-1845)
• STORY, ROBERT HERBERT (1835-1907)
• STORY, WILLIAM WETMORE (1819—1895)

story is taken from the invasion of See also:

• RUSSIA
• RUSSIA (Rossiya)

Russia by the Poles See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early in the 17th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century, and the See also:

• HERO (Gr. open)
• HERO, THE YOUNGER

hero is a See also:

• PEASANT (O. Fr. paysant, Mod. paysan; Lat. pagensis, belonging to the pagus or country; cf. " pagan ")

peasant who sacrifices his life for the See also:

• TSAR, or CZAR

tsar . Glinka has wedded this patriotic theme to inspiring music . His melodies, moreover, show distinct See also:

• AFFINITY (Lat. affinitas, relationship by marriage, from offinis, bordering on, related to; finis, border, boundary)
• AFFINITY, CHEMICAL

affinity to the popular songs of the Russians, so that the See also:

• TERM

term "national" may justly be applied to them . His See also:

• APPOINTMENT, POWER OF

appointment as imperial chapelmaster and conductor of the See also:

• OPERA (Italian for " work ")

opera of St See also:

• PETERS (or PETER), HUGH (1598–166o)
• PETERS, KARL (1856– )

Peters-See also:

• BURG

burg was the See also:

• REWARD

reward of his dramatic successes . His second opera Russian and Lyudmila, founded on See also:

• PUSHKIN, ALEXANDER (1799-1837)

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 (Fr. ouverture, opening)

overture and four entre-actes to Kukolnik's See also:

• DRAMA (literally "action," from Gr. Snail, act or do)

drama See also:

• PRINCE
• PRINCE (Lat. princeps, from primus capio, " I am the first to take "; Ital. principe, Fr. prince)

Prince Kholmsky . In 1844 he went to See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris, and his Jota Arragonesa (1847), and the symphonic work on See also:

• SPANISH

Spanish themes, Une Nuit a See also:

• MADRID

Madrid, reflect the musical results of two years' sojourn in See also:

• SPAIN
• SPAIN (Espana)

Spain . On his return to St See also:

• PETERSBURG

Petersburg he wrote and arranged several pieces for the See also:

• ORCHESTRA (Fr. Orchestre; Ger. Kapelle, Orchester; Ital. Orchestra)

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, CARL MARIA FRIEDRICH ERNEST VON (1786–1826)
• WEBER, WILHELM EDUARD (1804-1891)

Weber's Invitation a la valse, and began to consider a See also:

• PLAN
• PLAN (from Lat. planes, flat)

plan for a musical version of See also:

• GOGOL, NIKOLAI VASILIEVICH (1809—1852)

Gogol's Tarass-Boulba . Abandoning the See also:

• IDEA (Gr. Ibia, connected with i&eiv, to see; cf. Lat. species from specere, to look at)

idea and becoming absorbed in a See also:

• PASSION (post-classical Lat. passio, formed from pati, passus, to suffer, endure)

passion for ecclesiastical music he went to See also:

• BERLIN
• BERLIN, CONGRESS AND TREATY OF
• BERLIN, ISAIAH (1725–1799)

Berlin to study the See also:

• ANCIENT
• ANCIENT (also spelt ANTIENT; derived, through the Fr. ancien, old, from the late Lat. antianum, from ante, before)

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

February 1857 .