VISIT WESTCORKMUSIC.IE

LATEST ADDITION TO THE ARCHIVE

Sextet for piano and strings in E flat "Grand Sextet"

Mikail Glinka (b. 1804 - d. 1857)

Paul Laul

Paul Laul

Composer
Mikail Glinka (b. 1804 - d. 1857)
Composition Year
1823
Work Movements
1. Allegro - Maestoso
2. Andante
3. Allegro con spirito
Artists
Borodin String Quartet ( Ruben Aharonian, Sergey Lamovsky [violins] Igor Naidin [viola] Vladimir Balshin [cello]), Niek de Groot [double bass], Peter Laul [piano]

Programme Note Writer:
© Ian Fox

Glinka was born into a wealthy military family in the Russian province of Smolensk. He was sent to a school for the nobility in St. Petersburg, excelling in languages, mathematics, science and music. He even had three lessons from John Field, then the leading pianist in the city.  He joined the Department of Public Highways but spent most of his time enjoying life and composing. Always sickly, he was sent to Italy in 1830, greatly widening his musical knowledge and meeting such luminaries as Mendelssohn and Berlioz. Eventually on returning home he decided to do for Russian music what Donizetti and Bellini had achieved for Italian culture.  His opera, A Life for the Tsar, was the first Russian nationalist music drama (1836) and was a huge success; he is regarded now as the father of Russian opera.   He died suddenly while visiting Berlin but his body was brought back to St. Petersburg where he is interred in the famous Composers’ Corner in the Nevsky cemetery.

The Grand Sextet dates from 1832, so the influences of his Italian sojourn are clearly apparent in its attractive pages. He began it when staying on Lake Maggiore on a rest cure, where he spent time with his doctor’s married daughter, causing some local gossip.  The work is dedicated to a friend of hers.  The piano launches the first movement with a strong flourish; it tends to be the principal instrument throughout the Sextet and also introduces the first subject. The cello presents the second subject. Glinka develops these ideas impressively in sonata-form, the longest movement of the Sextet (as long as the other two together). A recapitulation recalls the opening fanfare and the movement ends with a powerful coda. 

A lovely slow, nocturnal melody in 6/8 launches the second movement, perhaps reflecting his time with John Field. The piano introduces it solo, then the other instruments join in and treat it rhapsodically. In the central section, the two violins present a faster duet, rather in a gypsy style. The opening melody returns briefly and leads straight into the Finale. Once again the piano launches the lively, dance-like theme, while other charming melodies emerge as the music increases in tension and this delightful work ends in a riot of melody, finishing with a vigorous coda. 

FULL DETAILS SEARCH FOR MORE

Sextet for piano and strings in E flat "Grand Sextet"

Composer: Mikail Glinka (b. 1804 - d. 1857)
Performance date: Friday 3rd July 2015
Venue: Bantry House Library, Bantry, Co. Cork, Ireland,

Share on Twitter | Share on Facebook
http://archive.westcorkmusic.ie/details/view/cmf/525

Composer Mikail Glinka (b. 1804 - d. 1857)
Work Title Sextet for piano and strings in E flat "Grand Sextet"
Composition Year 1823
Work Movements 1. Allegro - Maestoso
2. Andante
3. Allegro con spirito
Artist(s) Borodin String Quartet ( Ruben Aharonian, Sergey Lamovsky [violins] Igor Naidin [viola] Vladimir Balshin [cello]), Niek de Groot [double bass], Peter Laul [piano]
Performance Date Friday 3rd July 2015
Performance Venue Bantry House Library, Bantry, Co. Cork, Ireland,
Event Main Evening Concert
Duration 00:24:22
Recording Engineer Richard McCullough, RTÉ lyric fm
Instrumentation Category Sextet
Instrumentation pn,db,2vn,va,vc
Programme Note Writer © Ian Fox

Glinka was born into a wealthy military family in the Russian province of Smolensk. He was sent to a school for the nobility in St. Petersburg, excelling in languages, mathematics, science and music. He even had three lessons from John Field, then the leading pianist in the city.  He joined the Department of Public Highways but spent most of his time enjoying life and composing. Always sickly, he was sent to Italy in 1830, greatly widening his musical knowledge and meeting such luminaries as Mendelssohn and Berlioz. Eventually on returning home he decided to do for Russian music what Donizetti and Bellini had achieved for Italian culture.  His opera, A Life for the Tsar, was the first Russian nationalist music drama (1836) and was a huge success; he is regarded now as the father of Russian opera.   He died suddenly while visiting Berlin but his body was brought back to St. Petersburg where he is interred in the famous Composers’ Corner in the Nevsky cemetery.

The Grand Sextet dates from 1832, so the influences of his Italian sojourn are clearly apparent in its attractive pages. He began it when staying on Lake Maggiore on a rest cure, where he spent time with his doctor’s married daughter, causing some local gossip.  The work is dedicated to a friend of hers.  The piano launches the first movement with a strong flourish; it tends to be the principal instrument throughout the Sextet and also introduces the first subject. The cello presents the second subject. Glinka develops these ideas impressively in sonata-form, the longest movement of the Sextet (as long as the other two together). A recapitulation recalls the opening fanfare and the movement ends with a powerful coda. 

A lovely slow, nocturnal melody in 6/8 launches the second movement, perhaps reflecting his time with John Field. The piano introduces it solo, then the other instruments join in and treat it rhapsodically. In the central section, the two violins present a faster duet, rather in a gypsy style. The opening melody returns briefly and leads straight into the Finale. Once again the piano launches the lively, dance-like theme, while other charming melodies emerge as the music increases in tension and this delightful work ends in a riot of melody, finishing with a vigorous coda.