Purpose: To investigate the 4-handed play “The Original Polka” from 1852 in the context of the composer’s paraphrase genre; determine the autobiographical features of the play; study and identify the problems of the title of the writings. Methods: Principles of the methodology of cultural commentary developed in musicology by S. Tyshko and S. Mamaev [1], S. Tyshko and G. Kukol [2]. The technique is applied in the form of an analytical commentary to a musical text when combining biographical information and senses of the work against the background of research into the composer’s style of the late period. Results: The substantiation of the genre nature of the play determines its study in the context of a separate genre sphere of Glinka’s piano works - the area of paraphrase; the principles of studying musical compositions and the facts of the composer’s creative biography in an inextricable connection give grounds to assert that the miniatures of Glinka’s last creative decade are turned to his past, that is, they are autobiographical. Novelty: The piano piece “The Original Polka” is for the first time examined in detail in the context of M. Glinka’s paraphrases; for the first time, through an analytical commentary on the musical text of the play, the autobiographical meanings of the dance composition are revealed. Practical significance: The research materials can be used in courses on the history of World and Slavic music, in courses on the analysis of musical works and musical interpretation.
piano paraphrases by M. Glinka, autobiographical senses, analytical commentary on a musical text, borrowed theme, genre of Glinka’s paraphrase, compositional and dramatic solutions, dancing genres, textured musical adaptation of the topic
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