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Glinka: Trio Pathetique & Selected Piano Works - New American Trio

Glinka: Trio Pathetique & Selected Piano Works - New American Trio

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Mikhail Ivanovich Glinka, born on June 1. 1804, is well known for his two operas, “A Life for the Tsar” and “Russian and Ludmila”. He actually created a Russian national opera and laid the foundations for the modern Russian school. His use of folk song in his two operas displays his creative power -- he rarely used the primitive folk songs in crude state. Instead he used his own melodies, saturated with nationalistic sentiment. His harmony was very progressive, and in fact, he used the whole-tone scale long before its supposed invention. His orchestration is very rich and varied, laying a foundation for the brilliant orchestration associated with the Russian school. A man of Glinka’s apparent genius (he proved himself to be very musical at quite an early age) might be expected to have accomplished more in his lifetime. A study of his life reveals several factors that prevented a greater level of accomplishment. An overly protective mother laid the seeds of an extremely delicate constitution in his early years; his health was very bad throughout his forty-two years. This is probably the single most important factor that prevented his having become a composer of the first rank. After he left home at age 13, his story is a sad one: constant traveling in search of health and happiness.
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Each side of this record reveals a distinctive facet of Mikhail Glinka (1804-1857), who is of course known largely for his orchestra works and operas (or at least excerpts from the operas). The six short piano pieces, elegantly played here by Thomas Hrynkiv, reflect Glinka's early study with John Field, who seems to have aroused a Slavic melancholy in the Russian composer similar to his influence on Chopin. Superficially these works might be termed Chopinesque, except that they lack the harmonic originality and arching lyric line of the Polish master. The Trio pathetique was composed in 1826-27 for friends in the orchestra of the Teatro alla Scala. During his visit to Italy, Glinka had close contacts with Mendelssohn, Bellini, and Donizetti. Despite its minor mode, this trio has a light, fresh quality, reflecting the composer's captivation with his surroundings. Soon after, while still in Italy, he returned to his native Russian roots m conceiving the first great Russian opera, A Life for the Tsar. Pianist Hrynkiv is a real discovery, playing superbly on both sides of this record, and he has able woodwind collaborators in the trio. Though I have not heard the Melodiya/ Angel version of the trio, I cannot imagine a more attractive performance, and there seems to be no other solo-piano music by Glinka currently available.
The MHS Review 238 Vol. 3, No. 4 • April 16, 1979
11/29/2024
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