# Glinka's Trio Pathetique



## tahnak

This is a chamber work that has been disgracefully snubbed and neglected in our times though this was admired in the nineteenth century. It may not stand up in philosophical content beside the last quartets of Beethoven nor is it as impeccable musically and creative as the Mozart chamber works but its melodies are so enchanting and its ideas are enjoyable. This trio should not be dismissed as an inconsequential piece of music. No listener who loves lovely melodies for their own sake should permit himself to be deprived of them. The trio is lighthearted and unreservedly romantic. The Russian musician cannot be categorised as dour and gloomy having a penchant for the minor key. Glinka was an ardent and open pursuer of women in many lands. Even Tchaikovsky who was a pale and shy person nursed his passions in secret and poured out suppressed longings in his music. The era of the self-taught impassioneds was at an end. It was to be the era of the professional musician formed in the conservatories of St. Petersburg and Moskva. The friendship of Rimsky Korsakov and Tchaikovsky served as a connecting link between the old era and the new. The Petersburgers under Rimsky Korsakov and Anatoly Liadov included Aleksandr Glazunov, Gretchaninov and Tcherepnin. The Moskva group descended rom Tchaikovsky and were more occidentalised in their tastes. These were to include Sergei Taneyev, Aleksandr Scriabin, Sergei Rachmaninov, Kalinnikov, Liapunov, Conus, Medtner, Vassilenko and Anton Stepanovich Arensky.
Back to Glinka, he is regarded as the father of Russian music. His Trio Pathetique in D Minor is an early work that differs greatly from the rest of his production. Glinka took music lessons in St. Petersburg with the colourful Irish teacher composer, John Field whose nocturnes are well known. He was close to one of Field's pupils, Osman, who influenced him with the music of the occident. Later, he took up theory with Karl Meyer. In 1829, Glinka fell sick and was prescribed change of scene and weather by his doctor. He left for Italy where he kept company with Donizetti and Bellini. He admired Bellini. He worked seriously at composition with Basili, the director of the Milano Conservatory. It was in this situation that he wrote this trio in 1832 at age 28, some four years prior to the premiere of his great opera, 'A Life for the Tsar.' This was originally composed at Lake Como for piano, clarinet and bassoon and played in December of that year with Glinka at the pianoforte. It was later transcribed for piano, violin and cello by Johann Hrimaldy. This trio is better known today in this transcription.
It was called Trio Pathetique because of the autographed manuscript that said, " I have known love only by the pain it causes." It is composed of four movements- that are played without a break. There is a recall of themes from one movement to the other. It appears like multiple episodes of a single piece. The ideas are beautiful, gracious and easy. The trio is played by Igor Zhukov (Piano), Grigory Feigin(Violin) and Valentin Feigin (Cello).


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## myaskovsky2002

I like Glinka, I don't like this work.

Martin Pitchon


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## PianoCoach

Thanks for your thread. I just listened to Glinka's Trio and really liked it. That led me to listen to his Nocturne, which I found beautiful as well. The name "John Field" that you posted led me to listen. I adore Field's Nocturnes.


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## myaskovsky2002

*wow!*

your thread is very popular..as popular as this trio. Try rather Ruslan and Ludmila.

LOL










Martin


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## Quartetfore

Have heard his String Quartet? Its a enjoyable work that seems to me to be a sort of "post" Haydn composition.


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## jurianbai

that should be interesting to hear a Russian style of quartet in this era. I see the date of his SQ was on 1830, couple years after Beethoven's Late quartets (1825/26).


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## Quartetfore

For a "Russian style" quartet I think that you would have to wait for the era of Borodin and those who came after him. The Glinka work is more of a post "Classical" compostion.


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