Mily Alekseevich Balakirev gained fame as a man who was better at creating great composers than great music. His "" is not as famous as "", and the romances are lost in the shadow of vocal masterpieces. But if it were not for Balakirev, there would probably be no masterpieces, and there would be no Russian music in the form as we know it now.
A native of Nizhny Novgorod, the son of a titular councilor, Balakirev showed musical abilities already in childhood. His first piano teacher was his mother. When the boy was ten years old, his mother went with him to Moscow during the summer holidays, where Milius took several piano lessons from the composer Alexander Dubuk. Upon returning to hometown he began studying with the conductor and pianist Carl Eiserich.
Balakirev studies at the Alexander Institute. A meeting with diplomat Alexander Ulybyshev played a significant role in his fate. This man is an amateur musician, one of the first music critics, the author of a biography, introduced young man With classical literature, and in the amateur orchestra created by Ulybyshev, Balakirev masters in practice the basics of conducting and instrumentation. The orchestra's repertoire was rich - it even included Beethoven's symphonies.
In 1853, Balakirev entered Kazan University, but after a year he left it to take up music. He creates romances, as well as piano works. Ulybyshev monitors progress young composer. In St. Petersburg he introduced Mily Alekseevich. Mikhail Ivanovich approved of Balakirev’s works and gave him some advice.
In the capital, Balakirev is gaining fame as a pianist, and he continues to compose music. Soon he meets Caesar Cui and, and later with and. This is how a community of young composers arose, which critic Vladimir Stasov later called the “Mighty Handful.” None of these people received music education: officer, sailor, chemist, military engineer Cui, and Balakirev himself, who became the soul of this community, did not study at the conservatory. But perhaps that is precisely why they could say a new word in art, opposing the dominance of the West, which reigned in professional music, with works on a national basis.
Friends-composers gathered at Balakirev’s every week, played many works on the piano four hands - and, of course, demonstrated their own. Balakirev, according to , showed himself to be an “amazing technical critic,” carefully analyzing all the works, and he played a role in the self-education of his friends decisive role. But, of course, he did not limit himself to giving advice. By that time, he had already created two dozen romances, which were highly appreciated by Alexander Serov. His symphonic creations, in particular the King Lear Overture, as well as his piano pieces, became famous.
Balakirev travels along the Volga and visits the Caucasus three times, during these trips he writes folk songs. The result of communication with barge haulers on the Volga was the “Collection of Russian folk songs" Mily Alekseevich created an Overture on the themes of three Russian songs, and conceived a symphony dedicated to the millennium of Rus', but this work was not completed. Caucasian impressions were reflected in the works created years later - “Islamee” and “”.
In 1862, the composer, together with Gavriil Lomakin, created the Free music school. The choir that existed there gave everyone the opportunity to become familiar with the art of music. An orchestra conducted by Balakirev also took part in these concerts, including the works of the Kuchkists in the programs. Mily Alekseevich also conducted concerts of the Russian Musical Society.
1870s became difficult for Balakirev: unfair exclusion from RMO concerts, financial problems. All this leads to thoughts of suicide. The composer still did not do this, but came to the decision of “musical suicide” - he decides to abandon creativity forever. For some time he served in a railway office, then earned money by giving private lessons. Only towards the end of the 1870s. he gradually comes to his senses: he again begins to communicate with friends, again heads the Free Music School, completes "", creates piano plays and romances, and from 1883 for eleven years he heads the Court Singing Chapel. Through his efforts, an orchestra was created at the chapel.
Balakirev's music is performed not only in Russia, but also in Brussels, Berlin and Copenhagen.
Balakirev died in 1910. His last piece– The suite for orchestra remained unfinished, it was completed by Sergei Lyapunov.
Musical Seasons
(1910-05-29 ) (73 years old)Mily Alekseevich Balakirev(December 21, 1836 [January 2], Nizhny Novgorod - May 16, St. Petersburg) - Russian composer, pianist, conductor, teacher, head of the “Mighty Handful”.
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Mily Balakirev was born into the noble Balakirev family, the son of the titular adviser Alexei Konstantinovich Balakirev (1809-1869).
IN childhood Initial piano lessons were given by my mother. At the age of 10 summer holidays he was taken to Moscow, where in 10 lessons from Alexander Dubuque he learned the correct techniques of piano playing. IN Nizhny Novgorod He continued his musical studies with the pianist and conductor Karl Eiserich. A. D. Ulybyshev, an enlightened amateur, philanthropist, and author of the first Russian monograph on Mozart, took a great part in his fate.
On January 28, 1868, after Lomakin refused to manage the music school, Mily Balakirev, as one of its founders, took over this work and, as director, managed the school until the fall of 1874. In the 1870s, Balakirev was removed from the leadership of the symphony meetings of the RMO in St. Petersburg, and moved away from music lessons and on July 6, 1872, he began working as an ordinary employee in the store office of the Warsaw Railway. At this time, he was preparing to go to the monastery, but through the efforts of the priest Ivan Verkhovsky, he remained in the world. A return to musical and social affairs occurred only in the late 1870s. In 1881 he again headed the music school. Became a vegetarian.
In 1883, Balakirev was appointed to head the court singing choir. Balakirev concentrated all the musical work of the singing choir in his hands, he developed a program of scientific classes, and he invited Nikolai Rimsky-Korsakov, who held the position of inspector, to be his assistant. music classes. Under Balakirev, the building of the singing chapel was rebuilt anew, it acquired an elegant appearance with luxurious halls and extensive facilities for students. Special attention Balakirev devoted his attention to the development of the orchestra class at the chapel. It had beneficial influence on the choir singers who, due to loss of voice, had to stop their studies in the choir. They were given the opportunity to earn new income, since they remained in their familiar environment, and there was no need to look for employment in any other specialty that was alien to them.
Music
Balakirev's compositional activity, although not extensive, is very respectable. He wrote several orchestral, piano and vocal works, of which the following stand out: orchestral music to King Lear (1860), consisting of an overture and intermission; Overture on Czech Themes (1856); two overtures on Russian themes, the first of which was composed in 1857, and the second, entitled “Rus”, was written in 1862 for the opening of the Millennium Monument to Russia in Novgorod; overture on a Spanish theme; symphonic poem “Tamara” (text by Lermontov), performed for the first time in 1882 (in a concert of the Free Music School). Among Balakirev’s piano works the following are known: two mazurkas (As-dur and B-moll), a scherzo, and a fantasy “Islamey” on oriental themes (1869). The virtuoso play “Islamey” is one of the most technically difficult works piano music. She inspired Maurice Ravel when creating the cycle “Gaspard the Night”. Ravel said about “Scarbo” that he specifically wanted to compose a play even more difficult than Balakirev’s “Islamey”.
Balakirev arranged for piano in two hands "Chernomor's March" from the opera "Ruslan and Lyudmila", "Song of the Lark" by Glinka, overture (introduction) to the second part of "La Fuite en Egypte" by Berlioz, cavatina from Beethoven's quartet (op. 130) , " Aragonese jota» Glinka. Four hands: “Prince Kholmsky”, “Kamarinskaya”, “Aragonese Jota”, “Night in Madrid” by Glinka.
Of Balakirev’s vocal compositions, romances and songs are very popular (“ gold fish”, “Come to me”, “Lead me in, O night, secretly”, “Frenzy”, “A clear month has risen to heaven”, “Can I hear your voice”, “Jewish melody”, “Georgian song”, etc.) - numbering 20 (according to other sources, 43. Apparently, the main part of the text is lifetime, compiled between 1882 and 1895.)
Other unmentioned works include 2 symphonies (1897; 1908), Suite for orchestra (1909 - completed by S. Lyapunov), 2 piano concertos (1855; 1910 - completed by S. Lyapunov, a large number of piano works: sonata, mazurkas, nocturnes, waltzes, etc. A very valuable contribution to the field of Russian musical ethnography is the “Collection of Russian folk songs”, published by Balakirev in 1866 (40 songs in all).
M. A. Balakirev’s talent was especially evident in his first works and in his subtle understanding of orchestration; Balakirev's music is original, rich in melodic terms (music for King Lear, romances) and very interesting and beautiful in harmonic terms. Balakirev never took a systematic course. Balakirev’s most significant musical impressions during all this time were Chopin’s piano concerto (e-moll), which he heard from a lover as a child, and later the trio “Don’t Weary My Darling” from Glinka’s “A Life for the Tsar.” He remained faithful to these composers all his life. I.F. Laskovsky made a great impression on him as a pianist and composer. Participation in musical ensembles and especially the study of scores and conducting the orchestra in Ulybyshev’s house greatly advanced his musical development. The first attempts at composing also date back to this time: a septet for piano, bowed instruments, flute and clarinet, stopping at the first movement, written in the spirit of Hancelt’s piano concerto, which he really liked, and a fantasy on Russian themes for piano and orchestra, which also remained unfinished. A handwritten sketch of it (1852) is kept in the public library in St. Petersburg.
General list of works
Orchestral works
- "King Lear" (Music to Shakespeare's tragedy)
- Overture on the themes of three Russian songs. Overture on a Spanish March theme
- “In the Czech Republic” (symphonic poem on three Czech folk songs)
- “1000 years” (“Rus”). Symphonic poem
- "Tamara". Symphonic poem
- First Symphony in C major
- Second Symphony in d minor
- Suite composed of 4 pieces by Chopin
- You are full of captivating bliss (A. Golovinsky)
- Link (V. Tumansky)
- Spanish song (M. Mikhailov)
- Song of the Robber (A. Koltsov)
- Clip, kiss (A. Koltsov)
- Barcarolle (A. Arsepev from Heine)
- Lullaby song (A. Arsepev)
- A clear month has risen to the sky (M. Yapenich)
- When you are carefree, child, you frolic (K. Wilde)
- Knight (K. Wilde)
- So the soul is torn (A. Koltsov)
- Come to me (A. Koltsov)
- Song of Selim (M. Lermontov)
- Bring me in, oh night (A. Maikov)
- Jewish melody (M. Lermontov from Byron)
- Enrage (A. Koltsov)
- Why (M. Lermontov)
- Song of the Goldfish (M. Lermontov)
- Old Man's Song (A. Koltsov)
- Can I hear your voice (M. Lermontov)
- Georgian song (A. Pushkin)
- Dream (M. Mikhailov from Heine)
- Above the lake (A. Golenishchev-Kutuzov)
- Desert (A. Zhemchuzhnikov)
- The sea does not foam (A. Tolstoy)
- When the yellowing field is agitated (M. Lermontov)
- I loved him (A. Koltsov)
- Pine (M. Lermontov from Heine)
- Nachtstiick (A. Khomyakov)
- How we set it up (L. May)
- Among the flowers of the autumn season (I. Aksakov)
- The ruddy sunset is burning out (V. Kulchinsky)
- Starter (Mei)
- Dream (Lermontov)
- The starless midnight breathed coolness (A. Khomyakov)
- November 7th (A. Khomyakov)
- I came to you with greetings (A. Fet)
- Look, my friend (V. Krasov)
- Whisper, timid breathing(A. Fet)
- Song (M. Lermontov)
- From under a mysterious cold half mask (M. Lermontov)
- Sleep (A. Khomyakov)
- Dawn (A. Khomyakov)
- Cliff (M. Lermontov)
- Collection of Russian folk songs (40) for one voice and piano
Piano works
- "Islamey"
- Sonata b minor
- Lullaby
- Capriccio
- Fisherman's song
- Dumka
- Extravaganza. spinning wheel
- Song of the gondolier. Humoresque
- Impromptu on the themes of two preludes by Chopin
- Seven Mazurkas
- Spanish melody
- Three Nocturnes
- Novellette
- Dreams
- Three scherzos
- Spanish serenade
- Tarantella
- Toccata
- Polka
- In the garden (Idyll)
- Melancholy Waltz
- Bravura Waltz
- Waltz impromptu
- Seven Waltzes
- Sketches, Tyrolienne
- Concerto in Es major for piano and orchestra
Treatments that have the meaning of independent works
- Fantasia on themes from the opera “Ivan Susanin”
- Transcription of Glinka's "Lark"
- to Glinka's "Arragon Jota"
- on "Night in Madrid" by Glinka
- Introduction to Berlioz's Flight into Egypt
- Neapolitan song by F. Liszt
- "Don't Tell", Glinka's romance
- Berceuse V. Odoevsky
- Cavatina from Beethoven's Quartet, op. 130
- Romance from Chopin's concerto, op. eleven
- Overture to the opera Ondine by A. Lvov (arrangement and 4 hands)
- Two waltzes-caprice (arrangement of waltzes by A. S. Taneyev)
- For piano 4 hands
- Collection of 30 Russian songs
- Suite: a) Polonaise, b) Song without words, c) Scherzo
For two pianos 4 hands
- Beethoven. Quartet op. 95, f moll
- Romance
- Lullaby (for women's or children's voices with small orchestra or piano accompaniment),
- Two epics for a mixed 4-voice choir: a) Nikita Romanovich, b) Korolevich from Krakow
- Cantata for the opening of the monument to Glinka
- Chopin's Mazurka (arranged for mixed choir a capella, lyrics by L. Khomyakov)
Addresses in St. Petersburg
- 1861 - apartment building- Ofitserskaya street, 17;
- 1865-1873 - courtyard wing of the mansion of D. E. Benardaki - Nevsky Prospekt, 86, apt. 64;
- 1882-1910 - apartment building -
A place of death A country Russian empire
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Miliy Alekseevich Balakirev
Mily Alekseevich Balakirev(December 21, 1836 [January 2], Nizhny Novgorod - May 16, St. Petersburg) - Russian composer, pianist, conductor, head of the “Mighty Handful”.
Memorial plaque at house 7 on Kolomenskaya street, St. Petersburg.
Biography
Mily Balakirev was born into the family of Alexei Konstantinovich Balakirev (1809-1869).
As a child, he took piano lessons from Alexander Dubuk. He was a volunteer student at the Faculty of Mathematics of Kazan University in 1853-1855. A. D. Ulybyshev, an enlightened amateur, philanthropist, and author of the first Russian monograph on Mozart, took a great part in his fate.
Music
Balakirev's compositional activity, although not extensive, is very respectable. He wrote several orchestral, piano and vocal works, of which the following stand out: orchestral music for King Lear (1860), consisting of an overture and intermissions; overture on Czech themes (); two overtures on Russian themes, the first of which was composed in 1857, and the second, entitled “Rus”, was written in 1862 for the opening of the monument to the Millennium of Russia in Novgorod; overture on a Spanish theme; symphonic poem “Tamara” (text by Lermontov), performed for the first time at a concert of the Free Music School in 1882. Among Balakirev’s piano works the following are known: two mazurkas (As-dur and B-moll), a scherzo, a fantasy “Islamey” on oriental themes (1869); He also arranged for piano in two hands: “Chernomor’s March” from the opera “Ruslan and Lyudmila”, “The Lark’s Song” by Glinka, the overture (introduction) to the second part of “La Fuite en Egypte” by Berlioz, cavatina from Beethoven’s quartet (op. 130), “Aragonese Jota” by Glinka. Four hands: “Prince Kholmsky”, “Kamarinskaya”, “Aragonese Jota”, “Night in Madrid” by Glinka.
Among Balakirev’s vocal compositions, romances and songs are very popular (“Goldfish”, “Come to Me”, “Bring me in, O night, secretly”, “Advance”, “A clear month has risen to heaven”, “Can I hear your voice”) , “Jewish Melody”, “Georgian Song”, etc.) - numbering 20 (according to other sources, 43. Apparently, the main part of the text is lifetime, compiled between and 1895.)
Among other unmentioned works are 2 symphonies ( ; ), Suite for orchestra ( - completed by S. Lyapunov), 2 piano concertos ( ; - completed by S. Lyapunov, a large number of piano works: sonata, mazurkas, nocturnes, waltzes, etc. A very valuable contribution to the field of Russian musical ethnography is the “Collection of Russian Folk Songs”, published by Balakirev in 1866 (40 songs in all).
M. A. Balakirev’s talent was especially evident in his first works and in his subtle understanding of orchestration; Balakirev's music is original, rich in melodic terms (music for King Lear, romances) and very interesting and beautiful in harmonic terms. Balakirev never took a systematic course. Balakirev’s most significant musical impressions during all this time were Chopin’s piano concerto (e-moll), which he heard from a lover as a child, and later the trio “Don’t Weary My Darling” from Glinka’s “A Life for the Tsar.” He remained faithful to these composers all his life. I.F. Laskovsky made a great impression on him as a pianist and composer. Participation in musical ensembles and especially studying scores and conducting an orchestra in Ulybyshev’s house greatly advanced his musical development. The first attempts at composing also date back to this time: a septet for piano, bowed instruments, flute and clarinet, which settled on the first movement, written in the spirit of Hancelt’s piano concerto, which he really liked, and a fantasy on Russian themes for piano and orchestra, which also remained unfinished. A handwritten sketch of her () is kept in the public library in St. Petersburg.
Balakirev spent less than two years at Kazan University, at the Faculty of Mathematics, living mainly on meager funds from music lessons. In Kazan, Balakirev wrote: a piano fantasy based on motives from “A Life for the Tsar”, the first romance: “You are full of captivating bliss” () and a concert Allegro. In 1855, he came to St. Petersburg with Ulybyshev, who introduced him to the musical circles of the capital.
Addresses in St. Petersburg
- 1861 - apartment building - Ofitserskaya street, 17;
- 1865-1873 - courtyard wing of the mansion of D. E. Benardaki - Nevsky Prospekt, 86, apt. 64;
- 1882 - 05/16/1910 - apartment building - Kolomenskaya street, 7, apt. 7.
Memory
Notes
Links
in Wikisource Miliy Alekseevich Balakirev on Wikimedia Commons - Miliy Alekseevich Balakirev: sheet music of works on the International Music Score Library Project
Mily Alekseevich Balakirev. BALAKIREV Mily Alekseevich (1836/37 1910), composer, pianist, conductor, musical public figure. Head of the Mighty Handful, one of the founders (1862) and leaders (1868-73 and 1881-1908) of the Free Musical... ... Illustrated Encyclopedic Dictionary
Russian composer, pianist, conductor, musical public figure. Born into the family of an official from the nobility. Took lessons from pianist A. Dubuk and conductor K. Eisrich (Nizhny Novgorod).... ... Great Soviet Encyclopedia
Balakirev Miliy Alekseevich- (18361910), composer, pianist, conductor, musical public figure. From 1855 he lived in St. Petersburg. In 1856 he made his debut as a pianist and composer (he performed the first part of his concert for music at the St. Petersburg University matinee for... ... Encyclopedic reference book "St. Petersburg"
- (1836/37 1910) composer, pianist, conductor, musical public figure. Head of the Mighty Handful, one of the founders (1862) and director (1868-73 and 1881-1908) of the Free Music School. Conductor of the Russian Musical Society (1867 69),... ... Big Encyclopedic Dictionary
Balakirev, Mily Alekseevich, famous Russian musician, creator of the new Russian music school. Born on December 21, 1836 in Nizhny Novgorod, died on May 16, 1910 in St. Petersburg. He studied at the Nizhny Novgorod gymnasium, Nizhny Novgorod... ... Biographical Dictionary
- (1836 1910), composer, pianist, conductor, musical public figure. From 1855 he lived in St. Petersburg. In 1856 he made his debut as a pianist and composer (he performed the first part of his concert for music at the St. Petersburg University matinee for... ... St. Petersburg (encyclopedia)
- (1836/1837 1910), composer, pianist, conductor. Head of the “Mighty Handful”, one of the founders (1862, together with G. Ya. Lomakin) and director (1868-73 and 1881-1908) of the Free Music School ( Saint Petersburg). Conductor of the Imperial Russian... ... encyclopedic Dictionary
BALAKIREV Mily Alekseevich- Mily Alekseevich (12/21/1836, N. Novgorod 05/16/1910, St. Petersburg), Russian. composer, head of the New Russian School ("The Mighty Handful"), teacher, musical public figure, conductor, pianist, editor. Hereditary nobleman (Balakirev family... ... Orthodox Encyclopedia
Every new discovery was true happiness and delight for him, and he carried along with him, in a fiery impulse, all his comrades.
V. StasovM. Balakirev had an exceptional role: to open new era in Russian music and lead an entire direction in it. At first, nothing foreshadowed such a fate for him. Childhood and youth were spent far from the capital. Balakirev began to study music under the guidance of his mother, who, convinced of her son’s extraordinary abilities, specially went with him from Nizhny Novgorod to Moscow. Here a ten-year-old boy took several lessons from the then famous teacher - pianist and composer A. Dubuk. Then again Nizhny, early death mother, studying at the Alexander Institute at the expense of the local nobility (father, a minor official, having married a second time, lived in poverty with his large family) ...
Of decisive importance for Balakirev was his acquaintance with A. Ulybyshev, a diplomat, as well as an excellent music connoisseur, the author of a three-volume biography of V. A. Mozart. His house, where an interesting society gathered and concerts were held, became a real school of artistic development for Balakirev. Here he conducts an amateur orchestra, whose performance program includes various works and among them Beethoven's symphonies, acts as a pianist, at his service is a rich library of sheet music, in which he spends a lot of time studying the scores. Maturity comes to a young musician early. Having entered the mathematics department of Kazan University in 1853, Balakirev left it a year later to devote himself exclusively to music. The first creative experiences: piano works, romances. Seeing Balakirev’s extraordinary successes, Ulybyshev takes him to St. Petersburg and introduces him to M. Glinka. Communication with the author of “Ivan Susanin” and “Ruslan and Lyudmila” was short-lived (Glinka soon went abroad), but meaningful: having approved of Balakirev’s initiatives, great composer gives advice on creative activities, talks about music.
In St. Petersburg, Balakirev quickly gained fame as a performer and continued to compose. Brightly gifted, insatiable in knowledge, tireless in work, he was eager for new achievements. Therefore, it is natural that when life brought him together with C. Cui, M. Mussorgsky, and later with N. Rimsky-Korsakov and A. Borodin, Balakirev united and headed this small Music band, which went down in the history of music under the name “Mighty Handful” (given to him by V. Stasov) and the “Balakirev circle”.
Every week, musician friends and Stasov gathered at Balakirev’s. They talked, read aloud a lot together, but devoted most of their time to music. None of the beginning composers received special education: Cui was a military engineer, Mussorgsky was a retired officer, Rimsky-Korsakov was a sailor, Borodin was a chemist. “Under the leadership of Balakirev, our self-education began,” Cui later recalled. - “We played four hands everything that was written before us. Everything was subjected to strict criticism, and Balakirev analyzed the technical and creative sides of the works.” The tasks given were immediately responsible: start straight with a symphony (Borodin and Rimsky-Korsakov), Cui wrote operas (“ Prisoner of the Caucasus", "Ratcliffe"). Everything composed was performed at circle meetings. Balakirev corrected and gave instructions: “... a critic, a technical critic, he was amazing,” wrote Rimsky-Korsakov.
By this time, Balakirev himself had written 20 romances, including such masterpieces as “Come to Me,” “Song of Selim” (both 1858), and “Song of the Goldfish” (1860). All romances were published and received high praise from A. Serov: “...Fresh healthy flowers on the soil of Russian music.” Balakirev's symphonic works were performed at the concerts: Overture on the themes of three Russian songs, Overture from the music to Shakespeare's tragedy "King Lear". He also wrote many piano pieces and worked on a symphony.
Balakirev’s musical and social activities are connected with the Free Music School, which he organized together with the wonderful choirmaster and composer G. Lomakin. Here everyone could get involved in music by performing in the school’s choral concerts. Singing classes were also provided, musical literacy and solfeggio. The choir was conducted by Lomakin, and the guest orchestra was conducted by Balakirev, who included works by his circle comrades in the concert programs. The composer always acted as a faithful follower of Glinka, and one of the testaments of the first classic of Russian music was reliance on folk song as a source of creativity. In 1866, Balakirev’s Collection of Russian Folk Songs was published, and he spent several years working on it. A stay in the Caucasus (1862 and 1863) provided an opportunity to get acquainted with the eastern musical folklore, and thanks to a trip to Prague (1867), where Balakirev was to conduct Glinka’s operas, he also learned Czech folk songs. All these impressions were reflected in his work: a symphonic picture on the themes of three Russian songs “1000 Years” (1864; in the 2nd edition - “Rus”, 1887), “Czech Overture” (1867), oriental fantasy for piano “Islamey” "(1869), a symphonic poem "Tamara", begun in 1866 and completed many years later.
Balakirev’s creative, performing, musical and social activities make him one of the most authoritative musicians, and A. Dargomyzhsky, who became the chairman of the Russian Musical Society, manages to invite Balakirev there to the position of conductor (seasons 1867/68 and 1868/69). Now the music of the composers of the “Mighty Handful” was also heard in the Society’s concerts, and the premiere of Borodin’s First Symphony was a success.
It seemed that Balakirev’s life was on the rise, that there was an ascent to new heights ahead. And suddenly everything changed dramatically: Balakirev was removed from conducting RMO concerts. The injustice of what happened was obvious. Tchaikovsky and Stasov, who spoke in the press, expressed their indignation. Balakirev switches all his energy to the Free Music School, trying to oppose its concerts To the Musical Society. But competition with a richly endowed, highly patronized institution turned out to be unbearable. One after another, Balakirev is haunted by failures, his financial instability turns into extreme need, and this is, if necessary, to support his younger sisters after the death of his father. There is no room for creativity. Driven to despair, the composer even has thoughts of suicide. There is no one to support him: his circle comrades moved away, each busy with his own plans. Balakirev's decision to break forever with musical art it was like thunder from a clear sky for them. Without listening to their calls and persuasion, he enters the Warsaw Store office railway. The fateful event, which divided the composer’s life into two strikingly different periods, occurred in June 1872...
Although Balakirev did not serve long in the office, his return to music was long and internally difficult. He earns his living by giving piano lessons, but does not compose himself, and lives secluded and secluded. Only at the end of the 70s. he starts showing up at friends' houses. But this was a different person. The passion and ebullient energy of a man who shared - albeit not always consistently - the progressive ideas of the 60s, was replaced by sanctimonious, pious and apolitical, one-sided judgments. Healing after the crisis did not come. Balakirev again becomes the head of the music school he left behind, works on completing “Tamara” (based on Lermontov’s poem of the same name), which was first performed under the direction of the author in the spring of 1883. New, mainly piano pieces, new editions appear (Overture on the theme of a Spanish march, symphonic poem "Rus"). In the mid-90s. 10 romances are created. Balakirev composes extremely slowly. So, started in the 60s. The first symphony was completed in only 30 seconds extra years(1897), in the Second Piano Concerto conceived at the same time, the composer wrote only 2 parts (it was completed by S. Lyapunov), work on the Second Symphony lasted for 8 years (1900-08). In 1903-04 a series of beautiful romances appears. Despite the tragedy experienced, the distance from former friends, Balakirev’s role in musical life significant. In 1883-94. he was the manager of the Court Singing Chapel and, in collaboration with Rimsky-Korsakov, changed it beyond recognition music training, putting it on professional basis. The most gifted students of the chapel formed a musical circle around their leader. Balakirev was also the center of the so-called Weimar circle, which met with Academician A. Pypik in 1876-1904; here he performed with whole concert programs. Balakirev’s correspondence with foreign musical figures is extensive and informative: with French composers and folklorist L. Bourgault-Ducoudray and critic M. Calvocoressi, with the Czech musical and public figure B. Kalensky.
Balakirev's symphonic music is gaining increasing fame. It sounds not only in the capital, but also in the provincial cities of Russia, and is successfully performed abroad - in Brussels, Paris, Copenhagen, Munich, Heidelberg, Berlin. His piano sonata is played by the Spaniard R. Vines, and “Islamea” is performed by the famous I. Hoffmann. The popularity of Balakirev’s music and his foreign recognition as the head of Russian music seem to compensate for his tragic detachment from the mainstream in his homeland.
Balakirev's creative heritage is small, but it is rich in artistic discoveries that fertilized Russian music of the second half of the 19th century V. Tamara is one of the pinnacle works of national-genre symphony and a unique lyric poem. In Balakirev's romances there are many techniques and textural finds that gave rise to germination outside the chamber vocal music- in the instrumental sound recording of Rimsky-Korsakov, in the operatic lyrics of Borodin.
The collection of Russian folk songs not only opened new stage in musical folklore, but also enriched Russian opera and symphonic music with many wonderful themes. Balakirev was an excellent music editor: all the early works of Mussorgsky, Borodin and Rimsky-Korsakov passed through his hands. He prepared for publication the scores of both operas by Glinka (together with Rimsky-Korsakov) and the works of F. Chopin. Balakirev lived great life, in which there were both brilliant creative ups and tragic defeats, but on the whole it was the life of a true innovative artist.
G. in Nizhny Novgorod. He was educated at Kazan University. Balkirev owes his musical education to himself. In the city he first performed before the St. Petersburg public as a virtuoso pianist. On March 18, he, together with G. A. Lomakin, founded the “Free Music School,” which was under the highest patronage of His Imperial Majesty; From the very first days of its existence, this school found lively activity. In concerts organized by this school, vocal and choral pieces were conducted by Lomakin, and orchestral pieces by M. A. Balakirev. On January 28, after Lomakin refused to manage the school, M. A. Balakirev, as one of its founders, took over this work and, as director, managed the school until the fall. In the city, M. A. was invited to Prague - manage the production of the operas “A Life for the Tsar” and “Ruslan and Lyudmila” by Glinka, which were given under the direction of Balakirev and, thanks to his persistence and tireless energy, were a huge success, especially the opera “Ruslan and Lyudmila”.
Ch. compositions: 2 symphonies, the poem “Tamara”, works for piano (concert, fantasy “Islamey”, sonata, small pieces), many romances, a collection of folk songs.
Lit.: Strelnikov N., Balakirev, Petrograd, 1922.
The article reproduces text from the Small Soviet Encyclopedia.M. A. Balakirev.
Balakirev Mily Alekseevich, Russian composer, pianist, conductor, musical and public figure. Born into the family of an official from the nobility. He took lessons from pianist A. Dubuk and conductor K. Eisrich (Nizhny Novgorod). Musical development B. contributed to his rapprochement with the writer and music critic A. D. Ulybyshev. In 1853-55 he was a volunteer student at the Faculty of Mathematics of Kazan University. In 1856 he made his debut in St. Petersburg as a pianist and conductor. His friendship with the critic V.V. Stasov had a great influence on the formation of Balakirev’s ideological and aesthetic positions. In the early 60s. under the leadership of B. a music circle is formed, known as the “New Russian Music School”, “Balakirevsky Circle”, "The Mighty Handful". In 1862 B. together with choral conductor G. Ya. Lomakin organizes a Free Music School in St. Petersburg, which became a center of mass music education, as well as a center for the promotion of Russian music. In 1867-69 he was the chief conductor of the Russian Musical Society.
Balakirev contributed to the popularization of M. I. Glinka’s operas: in 1866 he conducted the opera “Ivan Susanin” in Prague, in 1867 he directed the Prague production of the opera “Ruslan and Lyudmila”.
Late 1850s - 60s. were a period of intense creative activity B. Works of these years - “Overture on three Russian themes” (1858; 2nd ed. 1881), the second overture on three Russian themes “1000 years” (1862, in a later edition - the symphonic poem “Rus”, 1887, 1907), Czech overture (1867, in the 2nd edition - symphonic poem “In the Czech Republic”, 1906), etc. - develop Glinka’s traditions, they clearly manifest character traits and the style of the “New Russian School” (in particular, reliance on authentic folk songs). In 1866, his collection “40 Russian folk songs for voice and piano” was published, which was the first classic example processing of folk songs.
In the 70s B. leaves the Free Music School, stops writing, giving concerts, and breaks with members of the circle. In the early 80s. he returned to musical activity, but it has lost its militant “sixties” character. In 1881-1908, B. again headed the Free Music School and at the same time (1883-94) was the director of the Court Singing Chapel.
The central theme of Balakirev's work is the theme of the people. Folk images, pictures of Russian life and nature run through most of his works. B. is also characterized by an interest in the theme of the East (Caucasus) and musical cultures other countries (Polish, Czech, Spanish).
The main sphere of Balakirev's creativity is instrumental (symphonic and piano) music. B. worked primarily in the field of program symphony. The best example of Balakirev’s symphonic poem is “Tamara” (about, based on Lermontov’s poem of the same name), built on the original musical material of fine-landscape and folk-dance character. The birth of the genre of Russian epic symphony is associated with B.'s name. By the 60s. refers to the concept of the 1st symphony (sketches appeared in 1862, the first movement in 1864, the symphony was completed in 1898). In 1908 the 2nd symphony was written.
Balakirev is one of the creators of the original Russian piano style. The best of Balakirev’s piano works is the oriental fantasy “Islamey” (1869), combining bright picturesqueness, original folk-genre coloring with virtuosic brilliance.
Prominent place in Russian Chamber vocal music is occupied by Balakirev's romances and songs.
Literature:
- Correspondence of M. A. Balakirev with V. V. Stasov, M., 1935;
- Correspondence between N. A. Rimsky-Korsakov and M. A. Balakirev, in the book: Rimsky-Korsakov N., Literary works and correspondence, vol. 5, M., 1963;
- Letters from M.A. Balakirev to M.P. Mussorgsky, in the book: Mussorgsky M.P., Letters and Documents, M.-L., 1932;
- Correspondence between M. A. Balakirev and P. I. Tchaikovsky, St. Petersburg. 1912;
- Kiselev G., M. A. Balakirev, M.-L., 1938;
- Kandinsky A., Symphonic works of M. A. Balakirev, M., 1960;
- M. A. Balakirev. Research and articles, L., 1961;
- M. A. Balakirev. Memoirs and letters, Leningrad, 1962;
- Balakirev. Chronicle of life and creativity. Comp. A. S. Lyapunova and E. E. Yazovitskaya, L., 1967.
see also
Links
- Balakirev Miliy Site about the life and work of the composer.