Glier biography. Reingold Gliere: biography, interesting facts, creativity. Work at the Kyiv Conservatory

Born in the family of a hereditary brass master Moritz Gliere, the owner of the workshop, who moved from the city of Kligenthal.

In 1894, Reinhold Gliere graduated from the Kiev School of Music in the violin class and entered the Moscow Conservatory in the violin class. In 1900 he graduated from the conservatory. During his studies, he actively communicated with the composer S.V. Rachmaninov, musician A.A. Sulerzhitsky, singer M.A. Slonov, composer N.A. Rimsky-Korsakov, S.I. Taneev. April 29, 1900 Reinhold Gliere received Russian citizenship.

In 1901, he began teaching music-theoretical subjects at the Gnessin Sisters' Moscow School of Music, where he taught S.S. Prokofiev and N.Ya. Myakovsky.

On January 11, 1901, at a concert of the Imperial Russian Musical Society (IRMS), a string octet composed by Reinhold Gliere was performed.

In 1906-1908, he went to study conducting with Oscar Fried in Germany and, returning to Russia, began to perform, performing his own works.

On February 20, 1910, Reinhold Gliere performed at the IRMS symphony meeting as a conductor, performing his 2nd symphony dedicated to S.A. Koussevitzky.

On November 17, 1912, his first theatrical premiere of the pantomime ballet Chrysis took place on the stage of the International Theatre.

In 1913 - 1920 he received the title of professor at the Kyiv Conservatory in composition and orchestral classes.

In 1914 he became director of the Kyiv Conservatory.

In 1920-1941, Reinhold Gliere received the title of professor at the Moscow Conservatory in the classes of polyphony and composition, where he taught B.A. Aleksandrov, L.K. Knipper, A.V. Mosolov, N.P. Rakov, A.I. Khachaturian.

In 1920-1922 he was the head of the music section of the Moscow branch of public education and an employee of the music department of the People's Commissariat for Education. In the same period, he was a member of the ethnographic section of Proletkult.

In 1923, at the invitation of the People's Commissariat of Education of the Azerbaijan SSR, he came to Baku and wrote the opera Shahsenem, staged at the Azerbaijan Opera and Ballet Theater in 1927.

January 11, 1926 in the Music Studio named after Vl.I. Nemirovich-Danchenko held the premiere of Reinhold Gliere's ballet-pantomime "Cleopatra", the libretto for which was written by Nemirovich-Danchenko based on the "Egyptian Nights" by A.S. Pushkin.

On June 13, 1927, the Bolshoi Theater premiered his ballet The Red Poppy, the first Soviet ballet on a modern theme.

In 1937, Reinhold Gliere wrote the Solemn Overture based on Russian, Ukrainian, Azerbaijani, and Uzbek melodies.

In 1938 he became chairman of the Moscow Union of Soviet Composers (SSK).

On November 23, 1938, in the Great Hall, K.A.Erdeli with the Moscow Philharmonic Symphony Orchestra conducted by L.P.Steinberg, performed for the first time the Concerto for harp and orchestra by Reinhold Gliere dedicated to her.

In 1939 - 1948 he became the chairman of the Organizing Committee of the SSC of the USSR.

In 1941 he created the overtures "On Slavic Folk Themes" and "Friendship of Peoples" based on folk music.

On May 12, 1943, the famous Concerto for voice and orchestra performed by N.A. Kazantseva and the Large Radio Symphony Orchestra conducted by A.I. Orlov was performed in the Hall of Columns of the House of the Unions.

Reinhold Gliere was awarded the Stalin Prizes in 1946, 1948 and 1950.

On June 27, 1949, his ballet The Bronze Horseman was staged based on the work of A.S. Pushkin at the Bolshoi Theatre.

On May 30, 1956, the last public performance of Reinhold Gliere took place at his author's concert in the city Teacher's House.

“A composer must know a lot and be able to do a lot. I could not see anyone working more than me,” said Reinhold Gliere.

The deepest understanding of the foundations of craftsmanship, the study of the experience of predecessors, broad knowledge in the field of culture, history, philosophy - these, according to Gliere, are the necessary prerequisites for a master, an artist to grow from a talented person. And this means that you need to work hard and selflessly.

His father, who moved to Kyiv from the German town of Klingenthal, owned a brass instrument workshop, loudly called the “wind instrument factory”. The composer's mother, Jozefa (Josephina Vikentievna), was an educated, well-read woman.

In the family, in addition to the future composer, three more children grew up - his beloved sister Tsesya (Cecilia) and two brothers - Karl and Moritz.

Josephine Vikentievna taught her children not only Russian, but also her native Polish language. And when the adult sons left their home, she corresponded with them only in Polish, sending especially tender letters to her “dear Goldichka”.

“I can’t even tell you how much poetry, how much calm happiness and joy flew into our room then,”

Glier recalled his childhood years.

In those years, he was irresistibly attracted by music, he rejoiced at every visitor to the workshop, because he knew that he would hear the voices of some instruments, and if they played for a long time, he would plunge into the bewitching world of sounds. Talking about the fact that he also wants to learn how to play, did not cause joy in adults: the house needed a craftsman who could make and tune instruments, and not an artist, a performer.

“It was hard to study when my relatives were against me becoming a“ musician ”, and when there were neither good teachers, nor the means to take lessons even from mediocre musicians ...”

For the first time the boy picked up a violin and a bow when he was eleven years old.

“I myself looked for teachers who dealt with me for the most part for nothing.”

The composer's first creative experiments belong to the age of fourteen. These were pieces for piano, then for violin or cello with piano. Then Goldik was already in the fourth grade of the gymnasium, which he began attending in 1885.

Being fond of music more and more, in 1891 he also entered the Kiev Musical College, where Otakar Shevchik became his teachers in the violin class, in musical and theoretical subjects - a student of Nikolai Rimsky-Korsakov Evgeny Avgustovich Ryb.

On December 21 and 22, 1891, Pyotr Ilyich Tchaikovsky arrived in Kyiv to hold author's concerts. The concerts were organized by the Russian Musical Society (RMO), which also controlled the Kiev Musical College. Among the lucky ones who received a pass to the stage backstage was a newcomer to the school, Reinhold Gliere.

“When Tchaikovsky passed me, and I saw before me a face so familiar to me from numerous portraits, I involuntarily bowed, and Tchaikovsky answered my bow with a smile. This silent - the only - meeting left a deep mark ... "

The concert was a real treat for the young man.

“For the first time in my life I witnessed such a standing ovation, such a triumph. And for the first time I felt that music brings joy not only to a narrow circle of lovers; that musical impressions are able to capture and unite a wide mass of listeners; that the composer's art can win universal recognition and love",

- this is how the composer himself defined the role of this concerto in his life.

At the end of the summer of 1894, the young musician went to Moscow to enter the Moscow Conservatory.

Among the examiners, Gliere expected to meet Sergei Ivanovich Taneyev, from whom he most of all wanted to study, or Anton Stepanovich Arensky, but they were not. Grieved, he decided not to show his compositions brought from Kyiv, although among those present was Nikolai Dmitrievich Kashkin, about whom he had heard many good things. The exam went well, and Reinhold Gliere was enrolled in the class of the young violinist Nikolai Sokolovsky (from whom, however, he soon switched to the famous Jan Grzhimali).

At the Moscow Conservatory, he was supposed to attend classes in harmony with Arensky, although Gliere himself dreamed of getting to Taneyev. Communication with Arensky was of great benefit to Gliere. Arensky, himself a talented composer, during boring analyzes, when he had to operate with purely professional terms, knew how to excite creative thought. Glier said:

“I remember how one day he, after playing one of my cool preludes, looked at me seriously and asked: “Are you in love?” He even looked for expressions of living feelings in our school works.

Glier made notable progress. So, already in the first conservatory years, Gliere entered the circle of Moscow musicians as the generally recognized head, mentor and "musical conscience" of whom was Sergei Ivanovich Taneyev, and whose idols were Scriabin and Rachmaninov. Especially Rachmaninov - simple, modest, a little gloomy and withdrawn in appearance, but infinitely charming. Possessing a sense of humor, as Gliere noted, Seryozha Rachmaninoff loved a merry joke, loved it when easy laughter sounded around him.

“He played amazingly, possessing the highest degree of ability to hypnotic influence on the audience. Even then it was a true piano wizard”,

Gliere remembered.

Then there were long, most interesting conversations about music - Gliere showed Sergei Vasilyevich his compositions and listened to advice, comments, sometimes, according to Gliere, very critical.

Having passed the exams in harmony, Reinhold Gliere finally entered the class of Taneyev, who in those years taught only strict style and fugue. Sometimes Taneyev would sit a student next to him and offer to play four hands with him (which in the transcription of others later sounded like this: “Taneyev and I played music”). Being an artistic nature, in many respects not similar to Tchaikovsky, Taneyev, however, in the field of forms adhered to the same perfect clarity coming from the classics (in particular, from Mozart), like Tchaikovsky. This maximum clarity of form, harmony of the work was learned from Taneyev and Gliere.

Under the influence of his mentors, Gliere turned to the collections of Russian folk songs by M. A. Balakirev, N. A. Rimsky-Korsakov, Yu. N. Melgunov and began to make adaptations of some of them. The growing interest in folk art, of course, was reflected in the works of Gliere of the conservative era. Their list begins with the First String Sextet (for two violins, two violas and two cellos), written in 1898 and dedicated to the mentor and teacher S. I. Taneyev.

Even then, Gliere, constantly communicating with musicians, listening to a lot of new music, knew quite well about various "sound experiments", about the desire of some composers for deliberate complexity, sophistication of artistic images. However, he did not hesitate to determine that the path to this complexity was not for him, although he did not seem difficult at all. In addition, Gliere believed that music must certainly be optimistic, must please people, inspire vigor and hope.

The conservatory years were overshadowed by three deaths of people close to him: following the death of his grandfather, in 1896, the composer's father died, and in 1899, leaving three small children, his beloved sister Tsesya tragically died, with whom all the bright memories of childhood were associated. The first string quartet (in A major, op. 2), which followed the sextet, was written in the year of my sister's death, but there is not a trace of those bitter experiences in the power of which the author was in power. Almost simultaneously with the quartet, the Octet (D major, op. 5) was composed for four violins, two violas and two cellos.

In 1900, Reinhold Gliere graduated from the Moscow Conservatory with a gold medal (as an examination essay, Reinhold Moritsevich presented the one-act oratorio "Earth and Sky" by J. Byron). His name was carved on a marble plaque hanging at the entrance to the Small Hall of the Conservatory, on which the names of Taneyev, Rachmaninov, Scriabin were already shining ...

In subsequent years, he writes a lot and in different genres. The most significant result is the Third Symphony "Ilya Muromets" (1911), about which Leopold Stokowski wrote to the author:

“I think that with this symphony you have created a monument to Slavic culture – music that expresses the strength of the Russian people.”

Immediately after graduating from the conservatory, Gliere began teaching. From 1900 he taught a class of harmony and an encyclopedia (an extended course in the analysis of forms, which included polyphony and the history of music) at the music school of the Gnessin sisters; during the summer months of 1902 and 1903. prepared Seryozha Prokofiev for admission to the conservatory, studied with Nikolai Myaskovsky.

Within the walls of the Gnessin school, Glier met a girl whom he fell in love with tenderly and for life. Her name was Maria Robertovna Rehnquist, she played the piano, studied theory and tried to compose. April 21, 1904 Maria Rehnquist became the wife of Gliere.

In June 1905, the composer had two twin daughters, Nina and Leah. Despite this, or maybe that's why (Liya was very weak and was sick all the time), Glier and his family left for Germany at the beginning of winter, having agreed with Alexander Grechaninov that during his absence he would teach harmony lessons from the Gnessins.

Abroad, Gliere did not stop composing piano miniatures at the request of Evgenia Fabianovna Gnesina and immediately sent her to Moscow. On October 8, 1907, Evgenia Fabianovna wrote to Gliere in Berlin regarding the Twelve Children's Plays:

"This opus is destined to be popular, and in particular it will have a huge circulation in our school."

Having evidence of Glier's creative activity, receiving news of his successes abroad, Evgenia Fabianovna wrote:

"I would like to hope that you will not sever ties with the school, will not lose interest in it and remain an honorary member of our little fellowship and our beloved friend."

Information reached Moscow about the increasing number of performances of chamber works by Reinhold Moritsevich. So, on January 4, 1906 in America (in the same concert with the works of Haydn and Dvorak) the First Gliere Quartet was played for the first time. His music sounded in many cities in Germany, in England. The Berlin concerts in February and March 1907, held in the Beethoven Hall, were especially widely celebrated by the press. In one, the First Quartet was performed, in the other, the Second Quartet and the Third Sextet, as well as romances (they were sung by a singer specially invited by Koussevitzky from Paris) and piano pieces - preludes and mazurka, brilliantly played by Leopold Godowsky. Glier accompanied the singer himself.

In 1913, Reinhold Gliere was invited as a professor of composition at the Kyiv Conservatory, and a year later became its director. Upon learning of this event, the publisher's son B.P. Jurgenson wrote to the composer:

“In any case, one can be glad for the conservatory itself - in your person, its fate is in the right hands!”

Famous Ukrainian composers Lev Revutsky and Boris Lyatoshinsky were educated under his leadership. In addition to studying with composers, he conducted a student orchestra, led opera, orchestral, chamber classes, participated in concerts of the RMS, organized tours of many outstanding musicians in Kyiv - Sergei Koussevitzky, Yasha Kheifetz, Sergei Rachmaninov, Sergei Prokofiev, Alexander Grechaninov. Knowing the good heart of Taneyev, Gliere wrote to him:

“Perhaps you will not refuse to perform this half-year… I, and all Kyiv musicians, would be very happy to see and hear you in Kyiv. I personally would very much like to see you, consult, talk about conservative affairs.

In 1920, Gliere moved to Moscow, where until 1941 he taught a composition class at the Moscow Conservatory. He trained many Soviet composers and musicologists, including Nikolai Rakov, Igor Sposobin, Leonid Polovinkin, Lev Knipper, Aram Khachaturian, conductor Boris Khaikin...

“Somehow it turns out that you don’t ask any of the composers, he turns out to be a student of Gliere - either direct or grandchild”,

wrote Sergei Prokofiev.

In addition to teaching, Glier's multilateral educational activities unfolded. He led the organization of public concerts, took patronage over the children's colony, where he taught the pupils to sing in chorus, arranged performances with them or even told fairy tales, improvising on the piano.

Ballet "Red Poppy". In the role of Tao Hoa - Galina Ulanova

Significant are the merits of Gliere in the formation of the Soviet ballet. An outstanding event in Soviet art was the ballet The Red Poppy, staged at the Bolshoi Theater in 1927. It was the first Soviet ballet on a modern theme, telling about the friendship between the Soviet and Chinese peoples. The performance of the Bolshoi Theater was awarded the State Prize. It enjoyed such success that it was shown even in the premises of the Green Theater of the Central Park of Culture and Leisure, which accommodated nine thousand spectators. In an editorial, the Soviet Artist newspaper stated:

"The Red Poppy ballet can be safely called a work of Soviet classics."

In the new production of the Bolshoi Theater by Leonid Lavrovsky, the role of Tao Hoa was played by Galina Ulanova and Olga Lepeshinskaya, and in Leningrad by Natalia Dudinskaya.

In 1930, the legendary American impresario and producer Sol Hurok, who determined the atmosphere of the cultural life of the United States, invited Reinhold Moritsevich to America several times as a pianist and conductor performing his compositions and offered to organize an eight-week tour of North America and Canada:

"I believe that your arrival can be an event in the musical world of America"

In 1935, in the year of Gliere's sixtieth birthday, he was awarded the title of People's Artist of the RSFSR.

The war that invaded our land on June 22, 1941, disrupted the peaceful creative life of the country and subjected its peoples to the most difficult trials.

“We need to start working on major compositions related to the images, feelings, themes prompted by the Great Patriotic War ... It is our duty to give the Motherland music that would uplift the spirit, arouse patriotic feelings, would be an effective weapon ...”

During the war years, Gliere returned to his favorite chamber-instrumental genre and replenished his list of compositions with the Fourth String Quartet (1943), awarded the State Prize of the first degree. This work can undoubtedly be attributed to the outstanding achievements of the composer.

Concerto for coloratura soprano and orchestra, written at the time of the fiercest battles, tears and suffering (1942-1943). The composer, who huddled in the evacuation with his family in the same room and had only an instrument that stood in the dining room of the Union of Composers of Sverdlovsk, sings of the joy of life and the fullness of human feelings! Among the composer's works, most of which are marked by poetry and lyricism, this concerto is perhaps the most sincere, penetrating and heartfelt.

In the post-war years, there were no noticeable changes in Gliere's lifestyle - he just as intensely gave concerts, met with listeners. The music for Samed Vurgun's play "Farkhad and Shirin", staged at the Stanislavsky Studio, Concertos for cello (1946), for horn (1951), violin (1956), ballets "The Bronze Horseman", "Taras Bulba" ".

The year 1956 has come. Gliere for the fourth time began to rework the score of The Red Poppy in order to show even more expressively the active, heroic role of the people in the development of the plot. New dances and additional numbers were added. In the latest version, the ballet, called "The Red Flower", included not eight, but twelve paintings. Absorbed by this work, Gliere relived everything connected with the birth of the ballet and remembered with gratitude all those who helped him. First of all, Ekaterina Geltser. In early 1955 he wrote:

“Thank you sincerely… for all that I have received from you as a great artist while working with you on Esmeralda and The Red Poppy.

In May 1956, Gliere gave several concerts in Chisinau and Odessa - the program included two suites from the ballets Taras Bulba and Daughter of Castile and a Concerto for harp and orchestra, the solo part of which was superbly played by Vera Dulova. On May 22, Reinhold Moritsevich attended the dress rehearsal and the first performance of The Bronze Horseman and felt very tired. He even complained to his old friend Odessa doctor A. M. Sigal about discomfort in the region of the heart.

On May 30, Reinhold Moritsevich put on a tailcoat for the last time in his life and, overcoming pain in his lower back, went out onto the stage with a conductor's baton in his hands. Concert in the City Teacher's House, the program of which included an overture on Slavic themes, a ballad from the opera "Shahsenem", a suite from the ballet "The Red Poppy", romances ("Oh, if only my sadness", "We swam with you") with an orchestra and fragments from The Bronze Horseman, was Gliere's last public performance.

On the night of June 3-4, a severe heart attack put him to bed. He allowed the doctors to be called, dutifully took the prescribed medicines. But one night, when Nina went to see how her father was sleeping, she saw him kneeling on the bed, and in front of him on the pillow was the proof of the suite of the last ballet, which he corrected.

“I promised to finish the proofreading by tomorrow morning, otherwise I will let the publishing house down. I can't cheat"

He meekly explained to his daughter.

A sheet of musical paper remained on the piano's music stand, the first page of which was almost completely filled with a pencil sketch with the inscription "Quartet V" on the top. When, even before his illness, friends told Reingold Moritsevich that he needed to rest, he, pointing to this sketch, answered: “I will rest for this.”

“... The composer is obliged to study until the end of his days, improve his skills, develop and enrich his worldview, go forward and forward ...”,

- these are the words Glier wrote at the end of his life. He followed them all his life.

Gliere and Soviet Musical Culture
The development of culture is the result of the combined efforts of many people. The more people gifted, energetic, obsessed with the pathos of their profession are participants in this process, the closer the connection of generations in the sense of continuity, direction and forms of activity, realized as a single, common cause, the wider the "offensive front" of the development of culture, the more abundant the fruits it brings. . However, the intensity and rapidity of the development of culture, as well as its qualitative outcome, cannot be measured by arithmetic indicators alone. In all branches of intellectual activity - be it this or that scientific discipline, this or that kind of art - the main engine is the dynamics of social thought, its saturation with the clash of different and even opposite points of view, the pathos of the controversy on the main fundamental issues, during which the " field of knowledge”, an ever-greater approximation to scientific or aesthetic truth is achieved.
This applies in particular to our Soviet culture, the culture of the country that marked the beginning of a completely new era in the history of mankind, the culture of the world's first socialist state, in which any sphere of activity is based on the development and application to one's business of the basic provisions and principles of the "science of sciences" - Marxist-Leninist doctrine of the laws of development of human society. It can be said without exaggeration that throughout the centuries of development, world art has never known a period more saturated with abundant, diverse, most contrasting creative searches and trials, fierce discussions, more than once accompanied by a radical “revaluation of values”, than more than forty years of formation and development. Soviet art.

Of course, this is a direct consequence of both the tempo and the nature of the social and political life of our epoch—the extreme intensification of the struggle of ideologies between the camp of the socialist countries, which is growing and gaining strength year by year, and the capitalist countries—the camp of imperialism, which is losing its positions one by one. Naturally, during the period of a decisive turning point in the history of mankind, the arrow of the “aesthetic manometer of the era” is in constant excited movement. In Soviet artistic creativity, this ideological struggle found its specific and very vivid expression both in the form of the activities of creative groups and associations that opposed each other in the first years of Soviet power, and in the variety of directions and trends within the framework of unified creative unions that arose after the historic April resolution of the Central Committee of the All-Union Communist Party of the Soviet Union (b) 1932, and even in sharp contradictions that sometimes permeate the creative path of individual artists ”Under these conditions, the combined efforts of figures of the most diverse warehouse and type on the basis of a common broad program of realistic folk art, which led and leads to an interconnection and a mutually fertile combination of revolutionary and evolutionary methods.
Prokofiev and Shostakovich, Myaskovsky and Khachaturian, Dunayevsky and Solovyov-Sedoy, Lyatoshinsky and Mshvelidze, Zhiganov and Kapp, Mirzoyan and Kuzhamyarov - one could cite many names of the most famous Soviet composers, each of whom is distinguished by the originality of his work and is unlike anything on another. The richness and diversity of creative phenomena is one of the fundamental properties of our socialist musical culture, which, like all Soviet art, is distinguished, according to the poet's catchphrase, by the abundance of "many and different" artists. Here the point is only in the strength and brightness of artistic individualities and artistic temperaments, but also in the difference in creative methods and “types of professionalism”. Coordination of the activities of composers - discoverers and testers, mastering new themes and forms, "hybridizing" elements of style and genre elements, tirelessly expanding the arsenal of expressive means of their art, and on the other hand, the hard work of "cultivators" of the loosened field, fixing the finds of others, converting new discoveries in the subject of wide aesthetic use - this is what ensures the steadfastness and breadth of the development of Soviet musical art.

Reingold Moritsevich Gliere as a creative person, as a figure of musical culture, combined the features of both categories of artists just described, without fully adhering to either one or the other.
Of course, the traits of an evolutionist were predominant in him. He knew the value of the high traditions of his predecessors, adhered to and developed them. The great historical merit of Gliere lies in the atom, because these tendencies of his activity during periods of stormy vacillation and the strongest disagreements in the composer's environment served as a reliable, lasting counterweight to both reckless self-aimed experimentation and cosmopolitan aspirations, and direct manifestations of formalism. The positivity of this side of the creative nature and all the activities of Gliere was that, unlike the scholastic traditionalists of the epigone type, he recognized only living traditions and only their living and modern interpretation.

Being an impeccable master of his craft, an excellent connoisseur of the laws and rules that make it up, he never blindly, dogmatically adhered to the letter of both, but was able to penetrate the very essence, the spirit of tradition. Turning to tradition acquired real artistic meaning and creative justification for him only when he felt the possibility of its concrete application in order to satisfy the aesthetic needs of modernity. He always met the needs of his contemporaries, understanding by these two words the aesthetic needs of a wide range of people who love music, who do not see the possibility of doing without it in life, a circle consisting of both professional musicians of all specialties - from composers and conductors to obscure, orchestral musicians. and choristers, as well as from countless semi-amateur amateurs drawn to musical culture. He has always been very sensitive to these needs and demands, with a rare ability to recognize and identify the prevailing, most acute and burning of them and quickly respond creatively to them. This is how he developed the ability to capture, grasp and express the "resultant" taste, I will not say - of the era (it is hardly possible to concretize such a wide measure of aesthetic criteria), but of each individual stage experienced by it. It was the “resultant of taste” of its time that determined the main features and signs of the style of Gliere’s music in all, and moreover, the most diverse, periods of his creative path - and. in romances, mostly in the 900s and 10s; and in solo instrumental pieces - throughout the composer's activity; and in symphonic work, in which he turned from the genre of symphony in its pure form (pre-revolutionary era) to the program poem, picture, suite, overture and instrumental concerto in the Soviet years; and in musical stage works - opera and ballet.

This "live" approach to posing and solving the problem of heritage has led to the fact that in Gliere's music, gradually, sometimes inconspicuously - in the most varied doses and proportions and in separate components - innovative features began to appear: the ability to renew the technique, to give an unexpected twist to the genre specifics; enrich the intonation with fresh interval and rhythmic turns, new modal elements; regroup the usual chord progressions and thereby give the harmony its originality. All these, sometimes very modest, innovations together led to a certain shift in the "creative state" of each of the genres to which he addressed.

This can be said about the romances of Gliere, which at one time were not inferior in terms of popularity to the romances of Tchaikovsky, Arensky and Rachmaninov and, despite all their commonality with the latter in terms of style, were distinguished by a noticeable imprint of the author's personality. This can also be said about the symphonic genre, referring to the composer's Third Symphony ("Ilya Muromets"), written in 1909-1911 and awarded the Glinkin Prize - a work that is a monumental orchestral canvas, permeated with patriotic pathos, in which an individually unique generalization of the symphonic traditions of Glinka, Borodin and Glazunov leads to a qualitatively new genre-style fusion. The same can be attributed to the genre of ballet, where Gliere pioneered the creation of a realistic choreographic performance on a modern theme back in 1927 - I'm talking about the "Red Poppy" ("Red Flower"), which found a long and glorious stage life. In particular, this definition is applicable to the vocal and stage works of Glier - such as "Shahsenem", "Leyli and Majnun", "Gyulsara", where the renewal of the opera genre is conditioned by the organic introduction into it of intonation, harmonic, rhythmic, structural and constructive patterns of folk music. art, lovingly and intently studied by the composer and freely merged with all the techniques of writing inherent in his own, individual "musical speech".

If we talk about each individual component of musical art - about form, texture, methods of development, melodic and tonal composition, harmonies, rhythm, timbre specificity - in each of them, Gliere's innovation looks moderate. It never breaks away either from the national soil or from the roots of the school. The composer's fantasy never turns to the invention of an abstract warehouse, to the self-sufficient invention of new techniques that do not follow from the general artistic design, designed only to amaze the listener's imagination with their unusualness, the absence of any connection with the already familiar and generally recognized. Just the opposite. It is aimed at the most complete and most intelligible disclosure of the content of a conceived or created work for the understanding of the widest range of listeners and at the search for expressive means corresponding to such a task - familiar, understandable, accessible and at the same time refreshed and sharpened by the "breath of modernity" - and thereby differing from the vocabulary of the musical language of its predecessors.
Such is the nature of the innovative aspects of Glière's work, directly opposite to the innovative essence of the work of, say, Prokofiev or Shostakovich - "pioneers", energetic "plovers of the new", and to a certain extent close to the "artistic constitution" of Myaskovsky" Shaporin or Shebalin. It clearly appears not in any of his individual works or in individual features of his style, but only in the total coverage of his entire work as a whole, which allows us to catch the process of a very gradual transition of small “quantitative changes” into fundamental, qualitative ones. Read more in the book...

MEMORIES OF GLIER
El, Gnesina. The man who conquered old age
S.S. Prokofiev, My first teacher
M. Prokofiev. Serezha's musical tutor.
K.N. Mikhailov. Glier in Kyiv
L.N. Revuikiy. Thank you very much.
B.N. Lyatoshinsky. Musician, teacher, friend
MM. Kannerstein, Educator and friend of youth
L.V. Nikulin. Citizen Composer
Aram Khachaturian. crystal clear man
G.I. Latin. Glier-teacher (In memory of a dear teacher).
B.E. Khaykin, Beautiful life.
M.I. Kurilko. The birth of ballet
E.V. Geltser. Unfading image.
Yu.A. Zavadsky. perky talent
A V. Gauk. Encounters with Gliere
EAT. Luc. On the Leningrad stage.
G.G. Tigranov, At work on the opera
K.A. Erdeli. Concerto for harp
Hope Kazantsev. Only good.
Mstislav Rostrapovich, Dear name
Ya.F. Abolimov. "The Bronze Horseman" (About the creative friendship of the composer and librettist)
Valery Polekh. Horn Concerto
Igor Smirnov. Ballet and its author
Olga Lepeshinskaya. Gliere could dream
Leonid Lavrovsky. Pioneer of the Soviet ballet
Eleonora Vlasova. Author of the ballet "Daughter of Castile". Vaclav Dobiash (Czechoslovakia). Beautiful person.
Anil Bishwas (India). Friend of the Indian people
Evan Senior (England). For forty years
Sar Arthur Bliss (England). One meeting
Ma Si-tsun (China). Serving the People
D. M. Person. Concerts, trips, meetings

GLIER ARTICLES
Alexander Davidenko
Music on the farm
Thoughts on the decade
Treasury of musical creativity
Great Russian composer
For creative friendship with the theater.
Great master of musical performance.
Searching for a melody
wonderful anniversary
Pushkin and music
Meetings with the Belyaev circle (From the memories)
My meetings with A. V. Nezhdanova
Scientist, musician and patriot
Beethoven. (To the 125th anniversary of death).
People are great teachers
On the profession of a composer and the education of youth
Orchestra of great musicians
Memories of S. I. Taneyev
Responsibility to the people
Memories of S. S. Prokofiev
Meetings with Rachmaninov

REFERENCE MATERIALS
Notes.

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