#glinka

Warmup sketches with Glinka and some lore about Sineva as the city's consciousness.

Glinka is a manifestation of Sineva's consciousness that can interact with the physical world to a limited extent.

Sineva itself, as the city's consciousness, cannot hear but can see, so if you pay attention, you can notice eyes on the walls that are constantly observing.

Sineva does not feel emotions in our sense, so it finds fascination in observing people and their behavior in different situations.

Glinka moves silently. Instead of speaking, it makes a sound of broken glass being tossed around, and the sound of a glass breaking is like it's scream.

Abandoned Mansion in Glinka, Poland

Good day my darling mask.

Have thus a podium from nearest to farthest to me.

This one, I'd suppose. Svjatoslav Richter certainly knew how to play, which is the most important thing, and his mannerisms are exact to what has made me despised by many. Alas, he lacks in height and voice... One cannot have everything... This is what I would present myself as, all around and most of all as an artist.

Sviatoslav Richter as Franz Liszt in the "Glinka - The Composer" movie - YouTube

As to media centered around my person, the only two I would save are the long performance by Géza D. Hegedüs... Which stars as well as Daniel, my son, at one point...

Symphonic Sunday anyone? This weekend, we'll welcome the Brooklyn Symphony Orchestra for a concert with music by Glinka, Brahms, and a world premiere of “Malintzin” by Jose Gurría-Cárdenas. ⁠ ⁠ Join us on Sunday, Feb 20 at 6 pm for an exciting program conducted by Associate Conductor, Felipe Tristán. ⁠ ⁠ Advance tickets are $20 ($15 for seniors and Museum Members); same-day tickets are $25 at the door. Get your tickets and added event details:

https://bit.ly/34Pmf6V

Hello everyone! This week on musicainextenso I’ve been invited to share music by Russian composers. Today I wanted to share a fun orchestral piece by Mikhail Glinka - Kamarinskaya. With the 19th century came a desire for nationalistic pride and a more personal “authentic” musical voice. In Russia, this manifested primarily through Mikhail Glinka, and later a group of aristocrats-turned-composers nicknamed “The Five”. Glinka was like the grandfather to the Five, and through him we hear a musical idiom based on Russian sources. A kamarinskaya is a traditional folk dance, and Glinka’s take on the dance was the first major orchestra piece based on Russian culture. And along with the fast paced rhythms comes great orchestration, with fluid wind writing and a fun use of percussive effects. The piece is based off of two folk songs; one a slow bridal march, the other a ‘naigrish’, which is a dance where an ostinato is repeated again and again until the dancers get tired and give in. Glinka recreates this effect through the constant building, stepping back, and building up again over the main ostinato in the strings.

Stay tuned for more music by Russian composers this week on musicainextenso!