Mikhail Glinka is one of the most renowned Russian composers, and his opera A Life for the Tsar is regarded as one of the milestones of Russian opera. One of its major peculiarities is linked to the use of folk music. It is necessary to note that nationalism became the central paradigm for all spheres of life of many Europeans as well as people who lived in other parts of the world (Leerssen 606). The composer’s contemporaries emphasized that folk music did not have a decorative function, as in previous pieces, but was an integral part of the opera that still followed major rules of its genre (Naroditskaya 151). The composer created a piece for flutes, oboes, clarinets as well as trombones, harp, strings. However, the use of horns and trumpets is what makes the opera bear features of Russian folk music. Trumpets add the solemnity that is important for the creation of the patriotic mood.
When watching the opera, I felt like I understood Russian people or rather Russians who lived in the 19th century. I felt that the folk melodies were used in a very natural way and did not stand out. There was a feeling that there was a certain background like a choir of singers of folk songs somewhere behind the scenes. I also understood that people felt very serious about their country and their monarchy. The composer managed to create a very patriotic piece that really inspires. I have to admit that I was expecting the use of balalaika (which would introduce the folk element), but was surprised (and glad) that other instruments can also create the necessary effect.
The Role of Musical Expression
Lawson and Stowell note that “the symbol and its prototype cannot be made to coincide absolutely” (11). This quotation can be regarded as a reflection of the issue concerning musical expression. One of the most relevant questions in this respect can be as follows: Is it possible to reveal the meaning ‘ancient’ composers (or simply composers of the past) tried to convey, and, more importantly, is it necessary?
Interestingly, the issue concerning interpretation has been raised for centuries. For example, Mozart often focused on the way his works would be performed and expressed certain regrets that the music had to be adjusted to accommodate it to some performers’ peculiarities (Agawu 3). Modern people can never understand those who lived centuries or even decades ago as symbols could often have different meanings. Music Mozart created spoke to his contemporaries’ hearts in a way that was shaped by various factors (environmental, technological, political, and so on). Modern people would have been unlikely to have similar views on the genius composer’s works if they had had a chance to listen to a piece performed by the creator. Even composers always understand or have to admit that their works sound differently as they are shaped by the performer (Desainte-Catherine, Allombert, and Assayag 61).
However, the second part of the question mentioned above seems to be more important. It is simply unnecessary to try to seek the meaning other generations could elicit from musical pieces. ‘Ancient’ music is beautiful, and it teaches people a lot. However, it is possible and even desirable to listen to it in many ways. Thus, it can be played in accordance with all the technical details, but it can also be interpreted by performers. Both approaches can adorn people’s life as humans need music like air. The value of music is its universality as it speaks differently to each individual and makes everyone feel in a very specific way. More so, even identical pieces can make different impressions on people in different periods of their life or even different parts of the day. This is the great mystery and gold of music.
References
Agawu, V. Kofi. Playing with Signs: A Semiotic Interpretation of Classic Music. Princeton: Princeton University Press, 2014. Print.
A Life for the Tsar2013. Web.
Desainte-Catherine, Myriam, Antoine Allombert and Gérard Assayag. “Towards a Hybrid Temporal Paradigm for Musical Composition and Performance: The Case of Musical Interpretation.” Computer Music Journal 37.2 (2013): 61-72. Print.
Lawson, Colin, and Robin Stowell. The Historical Performance of Music. Cambridge: Cambridge University Press, 1999. Print.
Leerssen, Joep. “Romanticism, Music, Nationalism.” Nations and Nationalism 20.4 (2014): 606-627. Print.
Naroditskaya, Inna. Bewitching Russian Opera. Oxford: Oxford University Press, 2012. Print.