Creative Commonwealth composers. Mighty hand. History of origin

03.11.2019

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"New Russian Music School" or Balakirevsky Circle. Community of Russian composers, which established in the middle of the nineteenth century.

The name was fixed with the light hand of the famous musical criticism Vladimir Stasov - this is in Russia. In Europe, the Commonwealth of Musicians was called simply - the "group of five".

1.

The first step towards the emergence of a "mighty bunch" - arrival in 1855 in St. Petersburg of the gifted 18-year-old musician Mia of Balakirev.

Brilliant speeches, the pianist paid attention not only to the sophisticated public, but also the most famous musical criticism of the time - Vladimir Stasova, who became a ideological inspirer of the combination of composers.

2.

A year later, Balakirev met the Military Engineer Caesar Cui. In 1857, with a graduate of the Military School of Modest Musozhsky.

In 1862, with a maritime officer, Nikolai Roman-Korsakov, at the same time, general musical views were discovered with Professor of Chemistry Alexander Borodin. So there was a musical circle.

3.

Balakirev introduces novice musicians with the theory of composition, orchestration, harmony. Together, like-minded people read Belinsky and Chernyshevsky, together opposed the academic routine, were looking for new forms - under the general idea of \u200b\u200bthe nationality as the main direction of the development of music.

4.

"Mighty bunch" Music Union died Vladimir Stasov. In one of the articles, the critic noted:

"How many poetry, feelings, talent and skills have a small, but already a mighty bunch of Russian musicians."

The phrase became the winged - and members of the musical community began to be called no other than the "cutter".

5.

Composers "Mighty Cup" considered themselves the heirs of Mikhail Glinka recently from the life and dreamed ideas for the development of Russian national music. The spirit of democracy was visited in the air, and the Russian intelligentsia thought about the cultural revolution, without violence and bloodshed - exclusively by the force of art.

6.

Folk song as the basis for the classics. The cutters collected folklore and studied Russian church singing. Organized whole musical expeditions. So, Balakirev from the trip along the Volga with the poet Nikolai Shcherbina in 1860 brought the material that became the basis of a whole collection - "40 Russian folk songs".

7.

From the song genre to major forms. Folklore Balakirevtsy fit into the opera works: "Prince Igor" Borodin, Pskovwysian, Roman Corsakov, Khovanchinsky and Boris Godunov Mussorgsky. Epos and folk tales became a source of inspiration for the symphony and vocal works of composers of the "mighty bunch".

8.

Colleagues and friends. Balakirevtsev tied close friendship. The musicians discussed new essays and spent evenings at the junction of different types of art. Kuchkists met with writers - Ivan Turgenev and Alexey Pisem, artist Ilya Repin, sculptor Mark Anctic.

9.

Not only in the people, but also for the people. The efforts of the Balakirevtsev, a free music school was opened for talented people of different classes. At the school, they gave free concerts of the works of cutters and close to composers in the spirit. The school survived the Balakirevsky circle and worked until the revolution.

10.

The 70s of the 19th century divorced Balakirevtsev. The "mighty hand" broke up, but five Russian composers continued to create. As Borodin wrote, the individuality took over the school, but

"Common warehouse music, a common poss, which is typical of the circle, remained":

in the classes of the St. Petersburg Conservatory, together with Roman-Korsakov and in the work of followers - Russian composers of the twentieth century.

The so-called "mighty hand" (the composition of which was very small) is the Union of Russian Composers, which has developed in the late 50s and early 1960s of the 19th century. She was also called the "New Russian Music School" or Balakirevsky Circle. The name itself was given with a light hand Critica Stasova V.V. And I was instantiably, turning into the generally accepted name of the Union. Abroad, he was called "five".

Members of the "mighty bunch"

Who entered the "mighty bunch"? Balakirev MA, Musorgsky M.P., Kyu Ts.A. and Rimsky-Korsakov N.A. These talented composers sought to find new forms in which they could embody images from Russian modern and native history, as well as ways to make their music closest and clear to the general public. The Opera Borodin "Prince Igor", Roman Corsakov "Pskovysian", Mussorgsky "Hovanshchina" and Boris Godunov became the embodiment of this approach. It is the folk tales, epos that the national history and folk life became for the symphony and vocal works of composers.

History of the community

So, the "mighty hand", its composition and the history of creation. In 1855, a young acts with great success as a pianist, he loves the public, meets Vladimir Vasilyevich Stasov (the famous critic, historian, art historian and archaeologist, was connected by friendship with all the largest Russian artists and musicians, was an assistant, advisor and promoter of their works). A year later, Balakirev meets Caesar Antonovich Cui. He studied at the Military Engineering Academy, but madly loved music, and therefore it was carried away by bold views and suggestions of a new acquaintance that he wrote the Opera "Caucasian Captive", "Son of Mandarin" and scherzo for piano.

A little later, the "mighty hand" (Composition: Balakirev, Stasov, Kyui) was replenished by the joining of Modest Petrovich Mussorgsky, the Guards officer who realized that his vocation was music. He is resigned, engaged in music, literature, philosophy, history, is enjoys the views of new friends. In the early 60s, the "mighty hand" (the composition at that time: Balakirev, Kyu, Stasov, Mussorgsky), which was sympathetic and Dargomyzhsky, enriched with the arrival of Alexander Porfiryevich Borodin and Nikolai Andreevich Rimsky-Korsakov. Borodin was in music by self-taught, but self-tailed versatile and very diligent. While studying at the Medical and Surgery Academy, he played in different amateur ensembles on the cello, wrote several chamber writings. His erudition and bright transshipment very quickly understood and appreciated Balakirev. Well, the Roman Korsakov was already a figured on the music, a genius, whose works of the public loved.

Major ideas "Cup"

It is the life, aspirations and interests of the Russian people who became the main topic in the work of members of the Balakirev mug. The "mighty hand" of composers (the composition was not limited to the top five, because many famous writers of that time were familiar or friendly with the "cutters") recorded, studied samples of folk art and folklore, populized folk songs and legends in "serious" symphonic music and operas . Examples of such masterpieces are "Snow Maiden", "Hovhanshchina", "Tsarist Bride", "Boris Godunov". The eastern element, melodies of other peoples - Ukrainians, Georgians, Tatars, Spaniards, Chekhov and many others were important. This is "Islamey", "Tamara", "Prince Igor", "Golden Cockerel", "Shekhrezada".

creative Commonwealth of Russian Composers

Mighty cup

« Mighty couch"(Balakirevsky Circle, New Russian Music School) - the creative Commonwealth of Russian composers, established in St. Petersburg in the late 1850s and early 1860s. It includes: Miliya Alekseevich Balakirev (1837-1910), Modest Petrovich Mussorgsky (1839-1881), Alexander Porfiryevich Borodin (1833-1887), Nikolai Andreevich Rimsky-Korsakov (1844-1908) and Caesar Antonovich Kyui (1835-1918) . The ideological inspirers and the main non-communication consultant the mug was an art critic, writer and archivist Vladimir Vasilyevich Stasov (1824-1906).

Name " Mighty couch"For the first time, it is found in the article Stasova" Slavic concert of Balakirev "(1867):" How many poetry, feelings, talent and skills have a little, but already a mighty bunch of Russian musicians. " The name "New Russian Music School" was put forward by the participants themselves, who considered themselves the heirs of M. I. Glinka and their goal was seen in the incarnation of the Russian national idea in music.

Group " Mighty couch"It originated against the background of revolutionary fermentation that covered the mind of the Russian intelligentsia by the time. The rebellion of the peasants became the main social events of the time returning artists to the folk theme. In the implementation of the national-aesthetic principles, proclaimed by the ideologists of the Commonwealth of Stasov and Balakirev, the most consistent was M. P. Mussorgsky, less than others - C. A. Kyui. Participants " Mighty bunch»Systematically recorded and studied samples of Russian musical folklore and Russian church singing. The results of their research in one form or another, they embodied in the writings of the chamber and large genre, especially in operations, among which the "tsarist bride", "Snow Maiden", "Hovanshchina", "Boris Godunov", "Prince Igor". Intensive search for national identity in " Mighty cum"Not limited to the arrangements of folklore and liturgical singing, but also spread to drama, genre (and shape), right up to individual categories of music (harmony, rhythm, texture, etc.).

Initially, a mug was Balakirev and Stasov, passionate about Belinsky, Dobrolyubov, Herzen, Chernyshevsky. With his ideas, they inspired the young composer Kyu, and later Mussorgsky joined them, who left the rank of officer in the Preobrazhensky regiment for music. In 1862, N. A. Rimsky-Korsakov and A. P. Borodin joined the Balakirevsky circle. If Roman Korsakov was a very young member of a member of a mug, views and musical talent of which only began to be determined, then Borodin was already a mature man, an outstanding chemical scientist, friendly associated with such giants of Russian science as Mendeleev, Sechenov, Kovalevsky , Botkin.

The collections of the Balakirevsky circle were always in a very lively creative atmosphere. The members of this mug were often met with the writers A. V. Grigorovich, A. F. Pisemsky, I. S. Turgenev, artist I. E. Repin, the sculptor M. A. Antocolsky. Tight, although not always smooth connections were and with Peter Ilyich Tchaikovsky.

In the 70s " Mighty couch"As a cohesive group ceased to exist. Activities " Mighty bunch"It became an era in the development of Russian and world music.

Continuation of the "mighty bunch"

With the termination of regular meetings of five Russian composers increment, development and lively history " Mighty bunch"Did not end. The center of Kuchkishki activity and ideology mainly thanks to the pedagogical activities of the Roman-Korsakov moved to the classes of the St. Petersburg Conservatory, as well as, from the mid-1880s - and in the Belyaevsky Circle, where Roman-korsakov was a recognized chapter for almost 20 years The leader, and then, with the beginning of the 20th century, divided his leadership in the "Triumvirata" with A. K. Lyadov, A. K. Glazunov and a little later (since May 1907) N. V. Artsubyshev. Thus, minus the Balakirevsky radicalism "Belyaevsky circle" became a natural continuation " Mighty bunch" Rimsky-Korsakov himself recalled this quite definitely:

"Is it possible to consider the Belyaevsky circle to continue Balakirevsky, whether there was a known proportion of similarity between the fact that there was a distinction, in addition to changes over the time of his personnel? The similarity, indicating that Belyaevsky's circle there is a continuation of Balakirevsky, except for the connecting links in my face and Lyadov, consisted in the general and to other conventions, progressiveness; But Balakirev's circle corresponded to the period of the storm and onslaught in the development of Russian music, and Belyaev's circle - the period of a quiet procession forward; Balakirevsky was a revolutionary, Belyaevsky - progressive ... "

- (N.A. Rimsky-Korsakov, "The chronicle of my musical life")
Among the members of the Belyaevsky circle of Roman Korsakov, he calls himself separately (as a new chapter of the mug instead of Balakirev), Borodin (in the short time, which remained before his death) and Lyadov. From the second half of the 80s, such various musicians, brothers F. M. Bluemanfeld and S. M. Bluemenfeld, Dierizher O. I. Dutsh and Pianist N., appear in the Belyaevskaya "Mighty Cup" Lavrov. A little later, as the conservatory ended, such composers included such composers like N. A. Sokolov, K. A. Antipov, Y. Vitol, and so on, including a large number of later graduates of Roman Corsakov in the class of composition. In addition, and the "Mastydnaya Stasov" retained always good and close relations with the Belyaevsky circle, although his influence was "not far from those", which is in the Balakirev circle. The new composition of the mug (and its more moderate chapter) was determined by the new face of the "postcalls": much more academic-oriented academism and an open set of influences, before in the framework of the "mighty bunch" considered unacceptable. Belyaevtsy experienced a lot of "alien" impacts and had wide sympathies, ranging from Wagner and Tchaikovsky, and ending "even" to the Raveme and Debussy. In addition, it should be especially noted that, being a successor "mighty bunch" and, in general, continuing its direction, the Belyaevsky circle did not constitute a single aesthetic whole, guided by a single ideology or program.

In turn, Balakirev did not lose activity and continued to disseminate its influence, the issuance of all new students into bending the head of the court chapel. The most famous of his disciples of late time (the class of Rimsky-Korsakov also ended in also) is considered to be the composer V. A. Zolotarev.

The point was not limited to direct teaching and free writing classes. An increasingly frequent execution on the scenes of the imperial theaters of the new operas of Roman Corsakov and his orchestral works, the production of Borodino "Prince Igor" and the second edition of Boris Godunovsky, many critical articles and the growing personal influence of Stasov - all this gradually multiplied the ranks of the nationally oriented Russian music school. Many students of Roman Corsakov and Balakirev in the style of their writings fully fit into the continuation of the general line of the "mighty bunch" and could be named if it was not by its late members, then in any case, faithful followers. And sometimes it also happened that followers turned out to be significantly "or rather" (and orthodox) of their teachers. Despite some anachrony and old-fashionedness, even at the time of Scriabin, Stravinsky and Prokofiev, up to the middle of the 20th century, the aesthetics and the addiction of many of these composers remained quite "cutter" and most often not subject to fundamental style changes. However, over time, more and more often in his work, followers and students of the Roman Corsakov found a certain "alloy" of the Moscow and St. Petersburg school, to some extent, connecting the influence of Tchaikovsky with the "cushion" principles. Perhaps the most extreme and distant figure in this row is A. S. Rosansky, who, until the end of his days, keeping the lurked personal (student) loyalty to his teacher (Roman Corsakov), however, in his work was much closer to tradition Tchaikovsky. In addition, he led the extremely injected and even "immoral" lifestyle. It is precisely that it is primarily a very critical and irrelevant attitude towards him in the Belyaevsky circle. An example of Alexander Grechaninov, also a faithful student of the Roman Corsakov, most of the time living in Moscow, is no less indicative. However, the teacher speaks about his work. Much more sympathy and calls him "partly by the counterpart." After 1890 and the frequent visits of Tchaikovsky in St. Petersburg, the eclecticity of flavors is growing in the Belyaevsky mug and an increasingly cool attitude towards the orthodox traditions of the "mighty bunch". Gradually, the glazing, Lyadov and Roman Korsakov also personally come closer to Tchaikovsky, thereby putting the end of previously irreconcilable (Balakirevskaya) tradition of "hosts of schools". By the beginning of the 20th century, the majority of new Russian music discovers the synthesis of two directions and schools: mainly through academism and the erosion of "net traditions". A considerable role in this process was played personally, Roman-Korsakov himself. According to L. L. Sabaneva, the musical tastes of the Roman Corsakov, his "openness to influences" was significantly flexible and wider than all its composers-contemporaries.

Many Russian composers of the end of the XIX - the first half of the 20th centuries are viewed by historians of music as direct conversations of traditions Mighty bunch; among them:

Fedor Akimenko
Nikolay Amani
Konstantin Antipov
Anton isna
Nikolai Artsybushev
Yazp Vitol
Alexander Glazunov
Alexander Grechaninov
Vasily Zolotarev
Mikhail Ippolitov-Ivanov
Vasily Kalafati.
Georgy Kazachenko

The fact that the famous French "Sixer", collected under the leadership of Eric Sati (as it were, "as it were," in the role of Mia of Balakirev ") and Jean Cocteau (as it were," in the role of Vladimir Stasov ") - was a direct response to the" Russian five "- as they called in Paris composers" mighty bunch ". The article of the famous critic Henri Cole, who otoval the world about the birth of a new group of composers, and was called: "Russian five, French Sixer and Mr. Sati".

Caricature on a mighty bunch (pastel pencil, 1871). From left to right: C. A. Kyui in the form of fox, wagging tail, M. A. Balakirev in the form of a bear, V. V. Stasov (on his right shoulder in the form of Mephistofel Sculptor M. M. Antocolsky, on a monkey tube V. A. Gartman), N. A. Rimsky-Korsakov (in the form of crab) with sisters Purgold (in the form of domestic dogs), M. P. Mussorgsky (in the image of a rooster); Behind Rimsky-Korsakov was depicted by A. P. Borodin, on the right above from the clouds molded angry Peruns A. N. Serov.

"Mighty hand" (Balakirevsky circle, New Russian Music School) - the creative Commonwealth of the Russian composers established in St. Petersburg in the late 1850s and early 1860s. It includes: Miliya Alekseevich Balakirev (1837-1910), Modest Petrovich Mussorgsky (1839-1881), Alexander Porfiryevich Borodin (1833-1887), Nikolai Andreevich Rimsky-Korsakov (1844-1908) and Caesar Antonovich Kyui (1835-1918) . The ideological inspirers and the main non-communication consultant the mug was an art critic, writer and archivist Vladimir Vasilyevich Stasov (1824-1906).

The name "Mighty Hand" first meets in the article Stasova "Slavic concert of Balakirev" (): "How many poetry, feelings, talent and skills are in a small, but already a mighty bunch of Russian musicians." The name "New Russian Music School" was put forward by the participants themselves, who considered themselves the heirs of M. I. Glinka and their goal was seen in the incarnation of the Russian national idea in music.

The "Mighty Hand" group arose against the background of revolutionary fermentation that covered the mind of the Russian intelligentsia by the time. The rebellion of the peasants became the main social events of the time returning artists to the folk theme. In the implementation of the national-aesthetic principles, proclaimed by the ideologists of the Commonwealth of Stasov and Balakirev, the most consistent was M. P. Mussorgsky, less than others - C. A. Kyui. The participants of the "mighty bunch" systematically recorded and studied samples of the Russian musical folklore and Russian church singing. The results of their research in one form or another, they embodied in the writings of the chamber and large genre, especially in operations, among which the "tsarist bride", "Snow Maiden", "Hovanshchina", "Boris Godunov", "Prince Igor". The intensive search for the national identity in the "Mighty Kuchka" was not limited to the arrangements of the folklore and the liturgical singing, but also spread to drama, genre (and shape), right up to certain categories of music (harmony, rhythm, texture, etc.).

In the 70s, the "mighty hand" as a cohesive group ceased to exist. The activities of the "mighty bunch" became an epoch in the development of Russian and world musical art.

Continuation of the "mighty bunch"

With the cessation of regular meetings of five Russian composers, the increment, development and live history of the "mighty bunch" were not completed by no means. The center of Kuchkishki activity and ideology mainly thanks to the pedagogical activities of the Roman Corsakov moved to the classes of the St. Petersburg Conservatory, as well as, starting from the mid-in-year - and in the Belyaevsky Circle, where Roman-Korsakov was a recognized chapter and leader for almost 20 years. And then, with the beginning of the 20th century, it divided his lead in the "Triumvirata" with A. K. Lyadov, A. K. Glazunov and a little later (since May 1907) N. V. Artsybushev. Thus, minus the Balakirevsky radicalism "Belyaevsky circle" became a natural continuation of the "mighty bunch". Rimsky-Korsakov himself recalled this quite definitely:

"Is it possible to consider the Belyaevsky circle to continue Balakirevsky, whether there was a known proportion of similarity between the fact that there was a distinction, in addition to changes over the time of his personnel? The similarity, indicating that Belyaevsky's circle there is a continuation of Balakirevsky, except for the connecting links in my face and Lyadov, consisted in the general and to other conventions, progressiveness; But Balakirev's circle corresponded to the period of the storm and onslaught in the development of Russian music, and Belyaev's circle - the period of a quiet procession forward; Balakirevsky was a revolutionary, Belyaevsky - progressive ... "

- (N.A. Rimsky-Korsakov, "The chronicle of my musical life")

Among the members of the Belyaevsky circle of Roman Korsakov, he calls himself separately (as a new chapter of the mug instead of Balakirev), Borodin (in the short time, which remained before his death) and Lyadov. From the second half of the 80s, such various musicians, brothers F. M. Bluemanfeld and S. M. Bluemenfeld, Dierizher O. I. Dutsh and Pianist N., appear in the Belyaevskaya "Mighty Cup" Lavrov. A little later, as the conservatory ended, such composers included such composers like N. A. Sokolov, K. A. Antipov, Y. Vitol, and so on, including a large number of later graduates of Roman Corsakov in the class of composition. In addition, and the "Mastydnaya Stasov" retained always good and close relations with the Belyaevsky circle, although his influence was "not far from those", which is in the Balakirev circle. The new composition of the mug (and its more moderate chapter) was determined by the new face of the "postcalls": much more academic-oriented academism and an open set of influences, before in the framework of the "mighty bunch" considered unacceptable. Belyaevtsy experienced a lot of "alien" impacts and had wide sympathies, ranging from Wagner and Tchaikovsky, and ending "even" to the Raveme and Debussy. In addition, it should be especially noted that, being a successor "mighty bunch" and, in general, continuing its direction, the Belyaevsky circle did not constitute a single aesthetic whole, guided by a single ideology or program.

The point was not limited to direct teaching and free writing classes. An increasingly frequent execution on the scenes of the imperial theaters of the new operas of Roman Corsakov and his orchestral works, the production of Borodino "Prince Igor" and the second edition of Boris Godunovsky, many critical articles and the growing personal influence of Stasov - all this gradually multiplied the ranks of the nationally oriented Russian music school. Many students of Roman Corsakov and Balakirev in the style of their writings fully fit into the continuation of the general line of the "mighty bunch" and could be named if it was not by its late members, then in any case, faithful followers. And sometimes it also happened that followers turned out to be significantly "or rather" (and orthodox) of their teachers. Despite some anachronism and old-fashionedness, even at the time of Scriabin, Stravinsky and Prokofiev, until the middle of the 20th century, aesthetics and the addiction of many of these composers remained quite "cutter" And most often - not subject to principled stylistic changes. However, over time, more and more often in his work, followers and students of the Roman Corsakov found a certain "alloy" of the Moscow and St. Petersburg school, to some extent, connecting the influence of Tchaikovsky with the "cushion" principles. Perhaps the most extreme and distant figure in this row is A. S. Rosansky, who, until the end of his days, keeping the lurked personal (student) loyalty to his teacher (Roman Corsakov), however, in his work was much closer to tradition Tchaikovsky. In addition, he led the extremely injected and even "immoral" lifestyle. It is precisely that it is primarily a very critical and irrelevant attitude towards him in the Belyaevsky circle. An example of Alexander Grechaninov, also a faithful student of the Roman Corsakov, most of the time living in Moscow, is no less indicative. However, the teacher speaks about his work. Much more sympathy and calls him "partly by the counterpart." After 1890 and the frequent visits of Tchaikovsky in St. Petersburg, the eclecticity of flavors is growing in the Belyaevsky mug and an increasingly cool attitude towards the orthodox traditions of the "mighty bunch". Gradually, the glazing, Lyadov and Roman Korsakov also personally come closer to Tchaikovsky, thereby putting the end of previously irreconcilable (Balakirevskaya) tradition of "hosts of schools". By the beginning of the 20th century, the majority of new Russian music discovers the synthesis of two directions and schools: mainly through academism and the erosion of "net traditions". A considerable role in this process was played personally, the Roman-Korsakov himself, whose musical tastes (and openness to influences) were generally much more flexible and wider than all its contemporary composers.

Many Russian composers of the end of the XIX - the first half of the 20th centuries are considered music historians as direct continules of traditions of a mighty bunch; among them

A separate mention deserves the fact that the famous French "Sixer", collected under the leadership of Eric Sati (as if "in the role of Balakirev") and Jean Cocteau (as it were, "in the role of Stasov") - was a direct response to the "Russian five" - As they called in Paris composers "mighty bunch". The article of the famous criticism of Henri Cole, who ignored the world about the birth of a new group of composers, and was called: "Russian five, French Sixer and Mr. Sati".

Notes

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Watch what is a "mighty hand" in other dictionaries:

The creative Commonwealth of the Russian composers prevailing in con. 1850 x beginning 1860 xs.; Also known as the Balakirevsky circle, a new Russian music school. The name of the mighty bunch gave the mug of his ideologist critic V. V. Stasov. ... ... Big Encyclopedic Dictionary

- "Mighty hand", the creative Commonwealth of the Russian composers, which established in the con. 1850 x beginning 1860 xs.; Also known as the Balakirevsky circle, a new Russian music school. The name "mighty hand" gave the mug of his ideologist ... ... encyclopedic Dictionary

The creative community of Russian composers, which established in St. Petersburg at the end of the 50x early 60s. XIX century (Also known as the Balakirevsky circle, "New Russian Music School"). In "M. to." M. A. Balakirev entered (chapter ... ... St. Petersburg (Encyclopedia)

From the review of Russian art historians and scientist Vladimir Vasilyevich Stasova (1824 1906) to the concert, arranged in honor of the arrival in St. Petersburg of the Slavic delegation (St. Petersburg Vedomosti dated May 13, 1867). "Mighty bunch" he called ... ... Dictionary of winged words and expressions

SUT., Number of synonyms: 1 clan (3) Dictionary of Synonyms ASIS. V.N. Trishin. 2013 ... Synonym dictionary

Municipal educational institution

Additional education of children

"Children's music school"
ESSAY

on the topic:

"Composers" Mighty Cup ""

by subject

"Music Literature"
Work completed

grade 7 student

choral branch

Tatiana Volnikova

Checked:

Bisadova Julia Petrovna

Peskovka 2011.

1.1. The history of creation .......................................................................... ... 4

1.2. The activity of the "mighty bunch" ............................................. 7

2. Composers included in the "mighty bunch"

2.1. Miliya Alekseevich Balakirev (1837-1910) ........................... ... 12

2.2. Modest Petrovich Mussorgsky (1839-1881) ........................... ... 14

2.3. Alexander Porfiryevich Borodin (1833-1887) ........................ .15

2.4. Caesar Antonovich Kyui (1835-1918) .................................... ..18

2.5. Nikolai Andreevich Rimsky-Korsakov (1844-1908) ............... ... 19

Conclusion .............................................................................. .22

List of sources used ...........................................................26

Appendix 1 ........................................................................... 27

Appendix 2 ........................................................................... 28

Appendix 3 ......................................................................................... 29

Appendix 4 ........................................................................... 30

Appendix 5 ........................................................................... 31

Appendix 6 ........................................................................... 32

Introduction

Randomly used by Stasov in 1867, the expression "mighty hand" firmly went into life and began to serve as a generally accepted name of the group of composers, where they were: Miliya Alekseevich Balakirev (1837-1910), Modest Petrovich Mussorgsky (1839-1881), Alexander Porfiryevich Borodin (1833- 1887), Nikolai Andreevich Rimsky-Korsakov (1844-1908) and Caesar Antonovich Kyui (1835-1918). Often, the "mighty hand" is referred to as the "New Russian Music School", as well as the "Balakirevsky Circle", named Her leader M. A. Balakirev. Abroad, this group of musicians called "five fide" in the number of major representatives. Composers of the "mighty bunch" performed on the creative arena during the vast public lift of the 1960s of the 19th century.

"Mighty hand"

The history of the creation of a Balakirevsky mug is such: in 1855, M. A. Balakirev arrived in St. Petersburg from Kazan. The eighteen-year-old young man was extremely gifted in musical terms. In early 1856, he acts with great success at the concert pop as a pianist and draws the attention of the public. Especially important for Balakirev acquires his acquaintance with V.V.Stasov.

Vladimir Vasilyevich Stasov is an interesting figure in the history of Russian art. Critic, scholar art historian, historian and archaeologist, Stasov, speaking as a musical critic, was a close friend of all Russian composers. He was connected with the most close friendship literally with all major Russian artists, spoke in print with the propaganda of their best paintings and was also their best advisor and assistant.

The son of an outstanding architect V.P.Stasova Vladimir Vasilyevich was born in St. Petersburg, education received in the school of law. Stasova's service throughout his life was associated with such a wonderful institution as a public library. He had a personally to know Herzen, Chernyshevsky, Lion Tolstoy, Repin, Anticoline, Vereshchagin, Glinka. Stasov heard the review of Glinka about Balakirev: "In ... Balakirev found views, so closely approached mine." And, although Stasov was older than a young musician for almost twelve years, firmly made friends with him for life. They constantly spend the time for reading the books of Belinsky, Dobrolyubov, Herzen, Chernyshevsky, and Stasov, undoubtedly, more mature, developed and educated, brilliantly knowing classical and contemporary art, Idean manages Balakirev and sends it.

In 1856, at one of the university concerts, Balakirev meets with Caesar Antonovich Kyu, who studied at the time in the Military Engineering Academy and specialized in the construction of military fortifications. Kyu very loved music. In early youth, he even was engaged in the Polish composer Montyushko.

With its new and bold views on music, Balakirev fascinates Cui, awakens serious interest in art. Under the leadership of Balakirev, Kyu writes in 1857 to scherzo for piano in four hands, Opera "Caucasian prisoner", and in 1859 - the one-act comic opera "Son of Mandarin".

The next composer, who joined the Balakire - Stasov-Kyu group, was Modest Petrovich Musorgsky. By the time of his entry into the Balakirevsky circle, he was a guards officer. To write became very early and very soon realized that I had to devote my life to music. Thilly thinking, he, being already an officer of the Preobrazhensky regiment, decided to resign. Despite the youth (18 years old), Mussorgsky showed great versatility of interests: engaged in music, history, literature, philosophy. His acquaintance with Balakirev occurred in 1857 by A.S. Kargomyzhsky. Everything was struck by Mussorgsky in Balakirev: and his appearance, and a bright peculiar game, and bold thoughts. From now on, Mussorgsky becomes a frequent visitor of Balakirev. As Mussorgsky himself said, "the new, unknown him still has been revealed in front of him.

In 1862, N.A. Rimsky-Korsakov and A.P. Borodin are joined to the Balakirevsky circle. If Roman Korsakov was a very young member of a member of a mug, views and musical talent of which only began to be determined, then Borodin was already a mature man, an outstanding chemical scientist, friendly associated with such giants of Russian science as Mendeleev, Sechenov, Kovalevsky , Botkin.

In music, Borodin was self-taught. Its relatively big awareness in the theory of music, he was obliged mainly to be a serious acquaintance with the literature of chamber music. Back in the years of students in the Medical and Surgical Academy of Borodin, playing the cello, often participated in the ensembles of music lovers. According to his testimony, he beat all the literature of the Book quartets, quintes, as well as duets and a trio. Before the meeting with Balakirev, Borodin himself wrote several chamber writings. Balakirev quickly appreciated not only a bright musical grantee of Borodin, but his versatile erudition.

Thus, by the beginning of 1863, we can talk about the circle formed by Balakirevs.

The leading line in the subject of the works of "Kuchkstov" occupies the life and interests of the Russian people. Most composers of the "mighty bunch" systematically recorded, studied and developed samples of folk folklore. The composers were boldly used the folk song in symphony, and in the opera works ("Tsarist Bride", "Snow Maiden", "Khovanshchina", "Boris Godunov").

The national aspirations of the "mighty bunch" were deprived of, however, whatever the shade of national limitations. Composers treated with great sympathy for musical cultures of other peoples, which is confirmed by numerous examples of use in their works of Ukrainian, Georgian, Tatar, Spanish, Czech and other national scenes and melodies. Especially a great place in the works of "Kuchkstov" occupies an eastern element (Tamara, "Islamey" Balakirev; "Prince Igor" Borodin; "Sheherzad", "Antara", "Golden Cockerel" of the Roman Corsakov; "Khovanshchina" Mussorgsky).

Creating artworks for the people, speaking in the language to him understandable and close, the composers made their music available to the widest layers of the listeners. This democratic aspiration explains a large burden of "New Russian School" to the Software. "Software" is customary to call such instrumental works in which ideas, images, plots are explained by the composer himself. Clarifications of the author can be given or in the explanation of the explanation attached to the work, or in its title. Software are also many other writings of composers "Mighty Cup": "Antar" and "Tale" of the Roman Corsa, "Islamey" and "King Lear" of Balakirev, "Night on Lysa Mount" and "pictures from the exhibition" Mussorgsky.

Developing the creative principles of its great predecessors of Glinka and Dragomyzhsky, members of the "mighty bunch" were at the same time bold innovators. They were not satisfied achieved, but the name of their contemporaries to the "new shores", sought to directly live response to the requirements and requests of modernity, inquisitively searched for new plots, new types of people, new tools of musical incarnation.

These new ones "Kuchkistam" had to put in a stubborn and non-visible struggle against the entire reactionary and conservative, in sharp clashes with the dominance of foreign music, which was long and stubborn by Russian rulers and aristocracy. The dominant classes could not be truly the revolutionary processes that took place in the literature and in art. Domestic art has not enjoyed sympathy and support. Moreover, all that was an advanced progressive was pursued. The link was sent by Chernyshevsky, on his writings lay a seal of a censorship ban. Outside of Russia, Herzen lived. Artists, demonstratively released from the Academy of Arts, were considered "suspicious" and were taken registered by the royal guard. The influence of Western European theaters in Russia was provided by all state privileges: Italian troupes monopololy owned an opera scene, foreign entrepreneurs enjoyed broadest benefits, inaccessible to domestic art.

Overcoming the obstacles, the promotion of the "national" music, attack from critics, composers of the "mighty coup" stubbornly continued their work of the development of native art and wrote later Stasov, "Balakirev's partnership won the public, and musicians. It sowed a new gracious grain, Putting soon the luxurious and fertility harvest. "

The Balakirevsky circle was usually intended in several familiar and loved ones among his houses: at L.I.Shetakova (sister M.I. Glinka), at C.A.Kuy, at F.P. Musorgsky (Brother's composer), at V.V. .Stasova. The collections of the Balakirevsky circle were always in a very lively creative atmosphere.

The members of the Balakirevsky mug often met with the writers A.V.Grigorovich, A.F. Pisemsky, I.S.Turgenyev, artist I.E. Perepin, sculptor M.A.anokolsky. Close ties were with Peter Ilyich Tchaikovsky.

Composers "mighty bug" led a great social and educational work. The first public manifestation of the activities of the Balakirevsky mug was the discovery of a free music school in 1862. The main organizer was M.I. Balakirev and Khormster G.Ya.Lomakin. The comprehensive music school was the main task of the spread of musical knowledge among the wide masses of the population.

In an effort to widespread its ideological and artistic installations, to strengthen the creative influence on the surrounding social environment, members of the "mighty bunch" not only used the concert tribune, but also performed on the press pages. The speeches were acutely polemic, judgments had something sharp, categorical form, which was due to those attacks and negative estimates, which was subjected to a "mighty hand" from the side of reaction criticism.

Along with the Stasov as an expresser of views and estimates of the new Russian school, Ts.A.Kui performed. Since 1864, he consisted of a permanent music reviewer of the newspaper "St. Petersburg Vedomosti". In addition to Kui, Borodin and Roman-Korsakov were in the press with critical articles. Despite the fact that criticism was not their main activities, in their musical articles and reviews they gave samples of the label and correct assessments of art and made a significant contribution to Russian classical music studies.

The influence of the ideas of the "mighty bunch" penetrates into the walls of the St. Petersburg Conservatory. In 1871, Roman Korsakov was invited to the position of professor in class tools and essays. Since that time, Roman Corsakov has been inextricably linked with a conservatory. He becomes the figure that concentrates young creative forces around him. The combination of advanced traditions of the "mighty bunch" with a solid and solid academic basis was the characteristic feature of the "School of Roman-Corsakov", which was the dominant direction in the St. Petersburg Conservatory since the late 70s of the last century until the beginning of the 20th century.

By the end of the 70s and the beginning of the 80s, the creativity of composers "mighty bunch" conquers wide fame and recognition not only at home, but also abroad. The hot fan and friend of the "New Russian School" was Ferenc Sheet. Sheet vigorously promoted the dissemination of Borodin, Balakirev, Roman Corsakov in Western Europe. Hot fans of Mussorgsky were French composers Maurice Ravel and Claude Debussy, Czech composer of Yachk.

Composers included in the "mighty bunch"

- Russian composer, pianist, conductor, chapter and inspirer of the famous "five" - \u200b\u200b"mighty bunch" (Balakrev, Kyui, Mussorgsky, Borodin, Roman-Korsakov), which personifies the national movement in the Russian musical culture of the 19th century.

Balakirev was born on January 2, 1837 in Nizhny Novgorod, in the impoverished noble family. Brought to Moscow at the age of ten years, he took lessons from John Fild; Later, A.D. Yulbyshev adopted a lot of participation in his fate. Enlightened musician amateur, patron, author, author of the first Russian monograph of Mozart. Balakirev entered the Physics and Mathematics Faculty of Kazan University, but in 1855 met in St. Petersburg with M.I. Glinka, who convinced the young musician to devote himself to the composition in the National Spirit, with a support for Russian music, folk and church, for Russian plots and texts.

The "mighty bunch" has developed in St. Petersburg between 1857 and 1862, and Balakirev became its leader. He was self-taught and screamed knowledge mainly from practice, so rejected textbooks and methods of teaching harmony and counterpoint, replacing them with a wide acquaintance with world music masterpieces and their detailed analysis. The "mighty hand" as a creative association existed relatively long, but it had a huge impact on Russian culture. In 1863, Balakirev founded a free music school - in opposition to the St. Petersburg Conservatory, the direction of which Balakirev was assessed as a cosmopolitan and conservative. He performed a lot as a conductor, regularly familiar to the listeners with the early works of his mug. In 1867, Balakirev became a conductor of concerts of the Imperial Russian Music Society, but in 1869 was forced to leave this post. In 1870, Balakirev survived the strongest spiritual crisis, after which he did not engage in music for five years. He returned to the composition in 1876, but by this time has already lost the reputation of the head of the National School in the eyes of the musical public. In 1882, Balakirev again became the head of the concerts of a free music school, and in 1883 - the manager of the court singing chapel (during this period, a number of church compositions and arrangements of the ancient vehicles were created).

Balakirev played a huge role in the formation of a national musical school, but he composed relatively a little. In the symphony genres, they created two symphonies, several Overtures, music to the Shakespearean King LIRA (1858-1861), symphonic poems of Tamara (Ok. 1882), Russia (1887, 2nd edition 1907) and in the Czech Republic (1867, 2nd Revision 1905). For the piano, he wrote Sonata Si-Bell Minor (1905), brilliant fantasy Islamey (1869) and a series of plays in different genres. High value has romances and processing folk songs. The Music Style of Balakirev relies on the one hand to the folk origins and traditions of church music, on the other - on the experience of new Western European art, especially sheet, Chopin, Berlioz. Balakirev died in St. Petersburg on May 29, 1910.

9 (21) March 1839 was born in the estate of parents in the village of Karevo, Toropetsky County of Pskov province.

Russian composer. I did not receive systematic musical education, although in the orphanage he studied the game on the piano and tried to compose. According to the family tradition, the young man was defined in the Guards School. In the late 50s, Mussorgsky got acquainted with Dargomyzhsky and Balakirev, tied a friendship with Borodin, Roman Corsakov, Stasov. Meetings with them helped a talented musician to determine a genuine vocation: he decides entirely to devote himself to music. In 1858, Mussorgsky is resigned and becomes an active participant in the creative group of advanced composers, known in history called the "mighty hand".

In his work, imbued with deep nationality and realism, Mussorgsky was consistent, bright, bold expressive of revolutionary-democratic ideas of the 60s. The most fully talent of the composer revealed in operations. Monumental innovative musical dramas "Boris Godunov" (in Pushkin) and "Hovanshchina" - the tops of his creativity. In these works, as in the comic opera "Sorochin Fair" (according to Gogol), the main acting person is the people. Brilliant Master of Music Characteristics, Mussorgsky created living, juicy images of people of different classes, showing the human person in all the diversity and complexity of its spiritual world. Psychological depth and high drama are combined in Mussorgsky operations with the wealth of musical and expressive agents. The peculiarity and novelty of the musical language of the composer lies in the innovative use of Russian folk song, in the transmission of intonation of live speech.

The composer sought in his works "the actors spoke on stage, as living people say ...". He reached this not only in operations, but also in solo vocal music - songs on the plots of peasant life, dramatic ballads, satirical sketches. These are primarily such masterpieces like "Calicistrati", "Lullaby Yersushki", "Forgotten", "Communarist", "Seminarist", "Rajak", "Svetley", "Classic", "Song of Blood" and others. To the best The writings of the Mussorgsky also include the vocal cycle "Children's", fantasy for the orchestra "Night on Bald Mount", ingenious "pictures from the exhibition" for the piano. "Comprehension of history, deep perception of countless shades of the People's Spirit, the mood, mind and stupidity, strength and weakness, tragedy and humor - all this is unparalleled by Mussorgsky," V. Stasov wrote.

born on November 12, 1833 and was recorded as the son of the seruate servant of Prince L. S. Gedianova - Porphyrian Borodin. In fact, the future composer was the extramarital son of the prince himself and St. Petersburg mesh, the Avdota Antonova, in the house of which the child was brought up.

Early showing interest in music, Borodin began to study the game on the flute at eight years, and then on the piano and cello. When the boy turned nine, he composed polka for piano in 4 hands, and in sixteen his musical works already praised musical critics, noting the "fine aesthetic taste and poetic soul" of the young composer.

However, despite explicit successes in this area, Alexander, nevertheless, chose a profession of a chemist, enrolled in 1850 by the Volo pilot to the Medical and Surgery Academy, which he graduated from 1856.

After in 1858, Borodin received a doctorate of medicine, he was sent to a scientific business trip to Western Europe, where he met his future wife - Pianist Catherine Protopopov, who had discovered many romantic composers for him, in particular, Shuman and Chopin.

In parallel with scientific activities, Borodin did not leave his musical experiments. During an overseas trip, they created string and piano quintes, string sextet and some other chamber works.

After returning to Russia in 1862, he became an adjunct professor at the Medical and Surgical Academy, and in 1864 he was an ordinary professor at the same department.

In the same 1862, a significant meeting occurred for Borodin - he met M. Balakirev, and later, with the rest of the members of his mug, known as the "Mighty Hand" (C. Kyui, N. Rimsky-Korsakov and M. Mussorgsky ). "Before meeting me," recalled later Balakirev, "he considered himself only an amateur and did not give the meanings to his exercises in the composition. It seems to me that I was the first person who said to him that his present is a composerhood. "

Under the influence of composers, "cutters" finally developed the musical and aesthetic views of Borodin and began to produce his artistic style, inextricably linked with the Russian National School.

All his work is permeated with the theme of the magnitude of the Russian people, love to the Motherland, freedom-loving. A vivid example of the second symphony, which Mussorgsky offered to call the "Slavic heroic", and the famous musical critic V. Stasov - "Bogatyr".

Because of the great employment of scientific and pedagogical activities, which Borodin gives hardly no longer than music, work on each new product was delayed for months, and more often - for years. So, above its main work - the Opera "Prince Igor" - the composer, starting from the late 1860s. She worked for eighteen years, but never managed to finish him.

At the same time, it is difficult to overestimate Borodin's contribution to the development of domestic science. Great Russian Chemist D.I. Mendeleev said: "Borodin would stand even higher in chemistry, would bring even more benefits to science, if the music did not distract him too much from chemistry."

Borodin wrote more than 40 scientific papers in chemistry (he was the author of the discovery of a special chemical reaction, named in his honor "Borodin's reaction").

Since 1874, Borodin began to lead the chemical laboratory of the Medical and Surgical Academy. In addition, he made one of the organizers of the highest educational institution for women - female medical courses (1872-1887), on which he also taught.

By the end of his life, Borodin-composer reached certain fame outside of Russia. At the initiative of F. Sheet, with whom Borodin was friendly, his symphonies were repeatedly performed in Germany. And in 1885 and 1886. Borodin traveled to Belgium, where his symphony works enjoyed great success.

During this period, they are written two strings quartets, two parts of the third symphonies of La Minor, a musical picture for the Orchestra "in Central Asia", a number of romances and piano plays.

Died by A.P. Borodin on February 15, 1887 in St. Petersburg, did not have time to complete neither opera "Prince Igor", nor his third symphony (they were completed by N.A. Roman-Korsakov and A.K. Glasenov).

Caesar Antonovich Kyui (1835-1918) -russian composer and critic, a member of the famous "five" - \u200b\u200b"mighty bunch" (Balakirev, Kyui, Mussorgsky, Borodin, Roman-Korsakov), one of the founders of the national movement in Russian music. Born on January 18, 1835 in Vilno (now Vilnius, Lithuania); His mother was Lithuanian, Father - French. He studied at the main engineering school, and then at the Military Engineering Academy in St. Petersburg, which he graduated in 1857. Kyu made a brilliant career on a military field, he served to the general rank and became a specialist in fortification issues. In 1857, he met Balakirev, and it served as a jolts to resume music (even in wine, Kyui took lessons from the famous Polish composer S.Myushko). Kyu became one of the students of Balakirev and subsequently a member of the Five. In his publications in periodicals, the principles of "New Russian Music School" were actively supported. In the heritage of the composer 10 operas who did not have success; The most interesting of them is the first, William Ratcliff (by Henry Heine, 1869). He also composed a number of orchestral places of small genres, 3 strings quartet, about 30 choirs, play for violin with piano and more than 300 romances. Kyu died in Petrograd on March 26, 1918.
it took from the old nobility. He was born on March 18, 1844 in Tikhvina Novgorod province. Some features of N. A. Rimsky-Korsakov - high principle, inability to compromise - there were probably not without the influence of the Father, who at one time was removed from the position of the governor with a personal decree of Nicholas I for a humane attitude to the Poles.

When Roman Corsakov turned twelve years, he was defined in the Sea Cadet Corps, what did not dream of birth.

At about the same time, Rimsky-Korsakov began to take the piano lessons from the Orchestra of the Orchestra of the Alexandrian Floa Theater. And in 1858, the future composer changed the teacher. His new teacher was the famous Pianist Fyodor Andreyevich Kanill, under the leadership of which Nikolai began to try writing music on his own. Immediately the music pushed the thoughts about the career of the sea officer into the background.

In the fall of 1861, Roman Korsakov meets M. Balakirev and becomes a member of the "Balakirevsky Mug".

In 1862, Nikolai Andreevich, with difficulty surviving the death of his father, went to the world journey (a number of European countries, North and South America visited), during which he composed Andante for Symphony on the Russian People's Song about the Tatar Polon proposed by Balakirev.

Upon returning to his homeland, he is almost entirely given to writing. When the composer turned 27 years old, he was invited by a professor of composition and orchestral letters to the St. Petersburg Conservatory. At 29, he became an inspector of the military orchestras of the Maritime Office, after that he was the head of the free music school, and even later a member of the manager of the court singing chapel.

In the early 1870s, Roman Korsakov marries a talented pianist of hope Purgold.

Conscious of the imperfection of its musical education, he is diligently studying, however, before writing the opera "May night (1878), creative failures pursue him one after another.

After the death of his comrades on the "mighty bunch" - Borodin and Musorgsky - Roman-Korsakov completes themselves, but not finished works.

By the century from the birth of A.S. Pushkin (1899) Korsakov wrote Cantatat "Song about Oleg's meaning" and the opera "Tale of Tsar Saltan, about his son's nice and mighty Bogatyr Gwidon Saltanovic and about the beautiful princess swans."

After the revolution of 1905, Roman Corsakov, who supported the requirements of the students, was fired from the Conservatory.

His last opera "Golden Cockerel", the audience was heard after the death of the composer.

Conclusion

The "mighty hand" as a single creative team existed until the mid-70s. By this time, in letters and memories of its participants and close friends, it is increasingly possible to meet reasoning and statements about the causes of its gradual decay. The closest to the truth of Borodin. In a letter to the singer L.I. Karmalina in 1876, he wrote: "... As an activity develops, the individuality begins to take advantage over the school, on the fact that the person inherited from others. ... Finally, in the same, in various epochs of development, at various times, views and tastes in particular are changing. All this is just enough. "

Gradually, the role of the head of the advanced musical forces proceeds to Roman-Korsakov. He brings up a young younger generation in the Conservatory, since 1877 it becomes a conductor of a free music school and an inspector of musical choirs of the maritime department. Since 1883, he leads pedagogical activities in the court chapel.

The first figures of the "mighty bunch" went from the life of Mussorgsky. He died in 1881. The last years of the life of Mussorgsky was very hard. Sharing health, material insecurity - all this prevented the composer to focus on creative work, caused a pessimistic mood and alienation.

In 1887, A.P. Borodin died.

With the death of Borodin, the ways of those who remained in the living composers "mighty bug" were finally separated. Balakirev, closed in herself, completely moved away from Roman-Korsakov, Kyu has long fallen behind her ingenious contemporaries. One Stasov remained in her previous relationship with each of their three.

Balakirev and Kyui live longer (Balakirev died in 1910, Kyui - in 1918). Despite the fact that Balakirev returned to the musical life in the late 70s (in the early 70s, Balakirev stopped engaged in musical activity), there was no longer energy and charm, which characterized it at the course of the 60s. Creative forces of the composer fought before life.

Balakirev continued to lead the free music school and a court-sought singing chapel. The training orders of them and Roman-Korsakov, the training orders in Chapel led to the fact that many of her pupils came to the real road, becoming outstanding musicians.

Creativity and the inner appearance of Kyu also have little reminded of the former connection with the "mighty bunch". He successfully moved into his second specialty: in 1888 he became a professor at the Military Engineering Academy at the Department of Fortification and left many valuable printed scientific papers in this area.

Roman-Korsakov lived for a long time (died in 1908). Unlike Balakirev and Cui, his work until the end was going on the uplink. He remained faithful to the principles of realism and nationality, developed at the time of the great democratic rise in the 60s in the "Mighty Kuchki".

On the great traditions of the "mighty bunch" of Roman-korsakov brought a whole generation of musicians. Among them are such outstanding artists, like glazunov, Lyadov, Arensky, Lysenko, Spendiars, Ipolitov-Ivanov, Steinberg, Myaskovsky and many others. They conveyed these traditions alive and effective before our time.

The work of composers of the "mighty bunch" belongs to the best achievements of world musical art. Based on the legacy of the first classic of Russian music Glinka, Mussorgsky, Borodin and Roman Korsakov embodied in their works the idea of \u200b\u200bpatriotism, the great forces of the people were melted, created wonderful images of Russian women. Developing the achievements of Glinka in the field of symphonic creativity in software and non-programmes for the orchestra, Balakirev, Roman-Korsakov and Borodin made a huge contribution to the global treasury of symphonic music. Composers of the "mighty bunch" created their music on the basis of wonderful folk songs melodies, infinitely enriching it with it. They showed great interest and respect not only to Russian musical creativity, the topics of Ukrainian and Polish, English and Indian, Czech and Serbian, Tatar, Persian, Spanish and many others are presented in their works.

Creativity of composers "Mighty Cup" is the highest model of musical art; At the same time, it is available, expensive and understandable to the greatest circles of listeners. This is his huge impassive value.

The music created by this small, but mighty by its forces by the team, is a high example of serving their art to the people, an example of genuine creative friendship, an example of heroic artistic labor.

List of sources used