The Poles are determined to seize
the person of the Czar, and some of them, disguised as ambassadors,
summon the peasant Ivan Sussaninna to guide them to his retreat. Ivan
sacrifices his life for his master. He despatches his adopted son to
warn the Czar, and himself leads the Poles astray in the wild morasses
of the country. When they discover that they have been betrayed they put
Ivan to death, but not before he has had the satisfaction of knowing
that the Czar is in safety. The opera ends with the triumphal entry of
the Czar into Moscow.
'Russian and Ludmila' (1858), Glinka's second work, is founded upon a
fantastic Russian legend of magic and necromancy. It has not the
national and patriotic interest of 'Life for the Czar,' but as music it
deserves to rank higher. Berlioz thought very highly of it. Nevertheless
it may be doubted whether, at this time of day, there is any likelihood
of Glinka becoming popular in Western Europe. Glinka had an
extraordinary natural talent, and had he lived in closer touch with the
musical world, he might have become one of the great composers of the
century. Melody he had in abundance, and his feeling for musical form is
strong, though only partially developed. He had little dramatic
instinct, and it is singular that he should be known principally as a
composer for the stage. His treatment of the orchestra is brilliant and
effective, but the national element in his music is the _signe
particulier_ of his style.
Pages:
325
326
327
328
329
330
331
332
333
334
335
336
337
338
339
340
341
342
343
344
345
346
347
348
349