Goal: to characterize through the prism of the autobiographical dominant in the context of the evolutionary processes of M. Glinka’s piano style his last miniature - ‘Andalusian dance’ (1855). Methods: the principle of the methodology of culturological commentary, developed in musicology by S. Tyshko in collaboration with S. Mamaev and G. Kukol, applied as an analytical commentary to a musical text and implemented by combining biographical information and meanings of the work in the context of evolutionary processes and constant features of the composer’s style. Results: the study of the artistic and autobiographical meanings of Glinka’s final piano piece, considered in accordance with the principles of studying the musical compositions and the facts of the composer’s creative biography in an inextricable connection, confirms the thesis: the miniatures of Glinka’s last creative decade are marked by the general composer’s attitude of addressing his own past, i. e. autobiographical. Novelty: the piano miniature ‘Andalusian Dance’ is for the first time considered in detail in the context of M. Glinka’s piano heritage as a whole - a kind of single text that includes literary, musical works and epistolaries; for the first time, through an analytical commentary on the musical text of the play, the autobiographical meanings of the miniature 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 miniatures by M. Glinka, composer’s style of the recent years, autobiographical meanings, analytical commentary on a musical text, piano heritage as a single text, semantic dominants of the composition
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