"Mighty hand" (Ba-la-Ki-Rub-Sky Cruvinary Cruvinary Muz-Cal-Naya Shko-La) - creative Commonwealth Russian composers led by MA Balakirev, which established in the late 1850s - early 1860s in St. Petersburg.

A-A-CHA-Lo - Volos-e-di-non-di-rye-ou-bi-lei; OR-GA-NI-ON-TA-LANT and MUSIC ERU-DY-LA-CA-REA-WA CHAIR-SLI-VI-VY-STIE PROFESSIONAL GROWTH CLE .

In the Mi-Mo Ba La Ki-Roe in the "Mighty Cup" in E-di Li A.P. Bo-Ro-Din, Ts.A. Kyui, M.P. Mo-sorg-sky, N.A. Rome-Sky-Cause-Cove, at-us-ka-her to her A.S. HUS-SA-SKY, H.H. Lo-dy-Women, N.V. Shcher-Ba-Chev, with the time-it, from the one-seater from the com-near-zi-Tel-butt.

ONE-NO-NO-BUT-VASH " Mighty couch"Gave the ideological log circle to V.V. Stas-owls in the article "The Slah-Wyan-Ski Kon-sort of the city of Ba-la-ki-re-va" (according to the in-doors of Kon-chver in honor of Slavic de le-gawi for all -Russian Et-no-gradic you-becoming 1867). Terr-min "No-Wai Rus-Skye Muz-Cal-Naya Scho-La" Pred-Lo-wives of the Mi-Com-Wait-Ra-Mi "Mighty Cup" in the sign of EM-ST-VOV-NO-SII with IS-Cry-St-in Old Mas-Te-Khu - M.I. Glin Ki and A.S. Dar-go-gather-night. TURN, BUT COMMUNICATION WITH "MAGANT HUME" of Á L.I. Shes-Ta-Ca (CE-ST-Ra Hlin-Ki and Pro-Pa-Gan-Dist of His co-si-nonii).

Prica-troomet of the Music Cal-but-Pro-Tel-Tel-Tel-Tel-N. "Mighty Hagopa" Javi-las-lad-platoam Music Scho-La (POP-yes-on in 1862 According to the Ini-Ti-ve. Ba-la-Ki-Re-Va and G.Ya. Lo-Ma-K), in Kon-chutch co-swarm of Iso-Pol-nya -It-de-de-new circle and near-Kih at the right-lesion of the Russians and in-ru-beige comes.

The activities of the "mighty bunch" is the important stage in the time of the Russian Mu-Ki, the Op-Re-De-Liv-Him Pu-Ti at the end of the XIX - early XX Hoking. Her arms of the Dos-Ti-Essence with Jean-Rom Ope-ry ("Bo-Rice Go-Du-New" and "Ho-Wan-Sch-on" M.P. Sorg-Ku, "Prince Igor" A.P. Bo-Ro-di, "Pisci-Vi-Tian", "Sing-Gu-Roche" and "Sad-Co." N.A. . Rome-Ski-go-ka-ko-va).

In the SIM-FO-NICK Creative Creative Creative Court of Commons "Mighty Cup" an important role of you-a-nya-f-gram-but-shed-zeal and Jean --Way elen-men-you (SIM-FO-NII B-RO-Di-M.A.A. Ba-la-ki-re-va; SIM-FO-NIC PRODUCTION Rome-Ski-th-Cor-Ca-Ca). In Ka-Mr. Calc-Mr. Creative Creative Psi-Ho-Lo-Gather and the Ethiotic of ODU-Ho-Two-Rynost Co-Cheat-Sia Roy Jean-Ro-Ho-Rak-Ter-No-Stew, Dr. Ma-Tiz. In Ka-Merkhni-St-Ru-Men-Taln, Jean-Rax Pro-from-Ve-de-De-Lyu-Lyu-Xia Hu-delusted Prices would be COP-yes -Tol-ko-de-di (2 string kvin-Te-Ta, piano quin-tete). In the Oba-Las Piano Muz-Ki Ko-Lo-Ri-Stomy-Ra-Zi-EM-Li-Et-Sia Fan Ta-Zia "Isa-May" Ba -A-ki-re-va, de-Bi-Noi, Ori-Nal-No-Satua in Cape La and Socy-Vi-Shen-St-in-Po-Easy - Cycle "Car -tin-ki with you-betting "Mo-sorg-night.

OPOO RA on the AR-HA-Folk-ENT (including tea again from-walled, linous on-time, Ka Len-Darny and other o-ordinary dogs ), meaning ras-singe, on a pa-rah-le-tour-hedge do-xov-hov, STI-Li-ration (Following Glyn-Koy) TO-NA-CIENDS AND RIT-MOU EAST MUZH-KI CHAIR-SUM-VI-LI-BEN-NO-STI MUSICAL SITY-BA-More-Ryon -Al "mighty bunch" - A.P. Bo-Ro-di, m.p. Mo-sorg-ski-go, N.A. Rome-ski-go-ka-co-beta.

Mo-Da Liz-we (including SIM-MET-Rich la-dym), complex meth-ry, the GAR-Mo-Niche and Tem-Bro-Lo-Ri -Yo, other OSO-Ben-Ni-si Rit-Ma, Gar-Mo-Nii and Music Forms, not VPI-Si-Wav-Sia-Xia in ES-Treatic Ste-Reo-Ty -EV-Ropai Clast-C-Co-Rho-Man-Muz-Ki and, with one-seed in Ar-Ce-Na-Na-new circle, is a hundred known -A-ra-zia of the Russian com-near-zo-scho-lies, the SPO-ST-Wa-Wa-Whether of her Mi-Po-Mu at-sought, an eye-head The Nie, in the Cha-Stow, on the French com-in-zi-ditch. Pri-Qi-Pya Gar-Mo-ni-nation of folk pea-legs would be-ra-ta-usa Ba-la-Ki-Re-Vym in collections "40 Rus-sky on-genus PE-SEN "(on OS-no-vehic in-Pi-Sea, SDE-Lohn in the time of ride-ki according to Vol - G. V. Shcher Bih in 1860).

No-Vasy-Skye Rem-Rem-Lyony Book-new "Mighty Hagus" of Clap-Zha Li with West Ev-Ropai RO-MAN-Ti-Mi - G. Ber Lio-Zom , F. Lys Tom. Considered to be an essence of the whole ni-mou-si-ki Creative Creative Court-in L. van Beth-ho-ve-on, they (OSO-Ben-Ba.A. Kyui, Sis- Te-Ma-Ti-Che-Ski-Stu-Pavrh in PE-CHA-TI) OD-NO-STO-RON-NOT-NE-GAV-NO AND PRESENT - Die Music on-follows Die-Bet-Hoven-Ski-go-rio-yes, Italian Ope-Ru, Creative Creative in R. Vag-non-Ra.

In the Russian musical life of the 1860s, the "mighty bunch" on-Ho-di in Kon-Fron-Total with the Russian Music Society and St. Petersburg Conservatory (in the champion A.G. Ru-bin-stem).

By the mid-1870s, the "mighty bunch" raised, which is in pain, the domestic creative Ras-Ho-de-Mi, EU, -Mo-d-de-les-ni-kom-near-zhu-Khah Circling and only from-hours-T - Du-Shevny Cree-Zombi M.A. Ba La Ki-Re-Va, his time-man-home from the Ak-Tiv-but-th partition in musical life.

With a "mighty bunch", pre-e-stop-velno-ta-la-ev-ev-ev-ev-ev-ev-European Croof Loca.

Historical sources:

Rome-sky-Cor-Sov-Kov H. A. Lech-letter Mo-her Muz-Cal-Buthi life. St. Petersburg, 1909. M., 1955.

Publications of the Music section

10 facts from the history of the "mighty bunch"

"New Russian Music School" or Balakirevsky Circle. Community of Russian composers, which established in the middle of the nineteenth century. The name has been fixed by S. light hands The famous musical criticism of Vladimir Stasova is in Russia. In Europe, the Commonwealth of Musicians was called simply - the "group of five". Interesting Facts From isstaria musical Community Collected Natalia Lennikov.

Muliya Balakirev.

Caesar Cui.

Modest Mussorgsky.

Nikolai Rimsky-Korsakov.

Alexander Borodin.

1. The first step towards the appearance 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 Mussorgsky, in 1862 - with marine officer Nikolai Roman-Korsakov, at the same time, general musical views were discovered with Professor of Chemistry by 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 little, 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 left of the life and dreamed the ideas of the development of Russian national music. The spirit of democracy was in the air, and the Russian intelligentsia thought about 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 opera works: "Prince Igor" Borodin, "Pskovysian" Roman Corsakov, Khovanshchina and Boris Godunov Mussorgsky. Epos I. folk tales became a source of inspiration for symphony and vocal works Composers "Mighty Cup".

8. Colleagues and friends. Balakirevtsev tied close friendship. Musicians discussed new essays and spent evenings at the junction different species art. Cathoes met with writers -

Initially, composers united in creative Soyuz, called themselves "Balakirevsky Circle" or "New Russian Music School". The name of the "mighty hand" arose thanks to the article Vladimir Stasova "Slavic concert of Balakirev". The article was devoted to the concert held at the All-Russian Ethnographic Exhibition in 1867. The musicians who spent at this concert under the Milia Balakirev, represented the Slavic delegation at the exhibition. The article ended with the wish that Slavic guests "forever retained memories of how much poetry, feelings, talent and skills are in a small one, but already mighty bunch Russian musicians. " Another name of this Commonwealth of composers and musicians - the "Five" ("Groupe des Cinq") in the number of basic representatives of the "mighty bunch".

60s of the 19th century, distinguished by democratic trends in all spheres public Life Russia, brought with and new forms of creating commodities in various regions of Russian culture (literature, painting, music). They chased new, democratic ideals, preached progressive aesthetic views And ideas. Examples can be a literary circle of the magazine "Contemporary", "Artist Artists", "Mobile Association art exhibitions" The "mighty hand" was such an "alternative" community in the field of music. This team of musicians noted the academic routine, torn off from modern tendencies In music and life as such. Members of the "mighty bunch" were conductors advanced ideas In music, and in the Russian culture of the second half of the 19th century as a whole.

Structure: In the "mighty couch" included Miliya Balakirev, Alexander Borodin, Caesar Kyui, Modest Mussorgsky, Nikolai Rimsky-Korsakov. Temporarily adjacent to her Apollo Hussakovsky, Hikolai Logyansky, Nikolai Shcherbachev, who later, subsequently composite activity. The first five - most talented composers young generationwho manifested itself in the late 50s - early 60s of the 19th century. The contemporary of the members of the "mighty bunch" was Peter Tchaikovsky, but he preferred independent creativity And it was not in any groups. Supervisor, ideologue "Mighty bug" was Balakirev (Hence the first name - "Balakirevsky Circle").

An important role in the life of the "mighty bunch" was played by all the same Vladimir Stasov, he developed the ideological and aesthetic positions of the "mighty bunch", actively participated in the formation and promotion of the work of its individual members, according to the current standards, was a promoter of this Commonwealth of composers. From 1864 systematically spoke in print and Cui, which was not only a composer, but also a musical critic. Materials that came from under his pen and published in the press, largely reflected the views of all members of the "mighty bunch". In 1862, a free music school was created on the initiative of Mia Balakirev.

The basis of the works of composers- "Kuchkstov" - the nationality of music, its proximity to the roots. Similarly, in the subject of their creativity, images taken from people's Life, historical past Russia, national Epos And fairy tales and even ancient pagan beliefs and rites. Modest Mussorgsky, the most radical from the members of the "mighty bunch", most brightly embodied in his music folk images. People's liberation ideas of that time were reflected in the work and other composers of the "fives". For example, Balakirev wrote his overtudist "1000 years" under the impression of Alexander Herzen's article "The Giant Wakes up." "Song dark Forest»Borodin or scene of the evening in the opera" Pskovtyanka "Roman-Korsakov is also impregnated with the revolutionary spirit and the desire for democratic changes. At the same time, the national past of composers "mighty bunch" romanticized, the national past is romanticized, the search for a positive moral and aesthetic ideal in the ancient, original beginnings of people's life is found.

One of the most important sources of creativity served for composers "Mighty Cup" folk song. Their attention was attracted mainly by the old traditional peasant song as the basis of the national musical thinking. Balakirev, together with the poet, Nikolai Shcherbina in 1860 went on a trip along the Volga, during which the folk peasant songs recorded, then making them processing, published a collection of "40 Russian folk songs". Much attention paid to the collection and processing of folk songs of Roman-Korsakov. The folk song received a variety of refraction in the opera and symphony creativity composers. They also showed interest in folklore of other nations. Following Glinka "Kuchksty" was widely developed in their works of intonation and the rhythms of the peoples of the East and thereby contributed to the emergence of these peoples of their own national composer schools.

Creativity of such composers as Mikhail Glinka and Alexander Dargomyzhsky, "Kuchkists" considered their base, it was these composers that the Balakirevians considered the Russian classical opera by the Rodonarchists. Based on the traditions of Glinka and Dargomyzhsky, composers of "mighty bunch" enriched Russian classical music new conquests, especially in the opera, symphonic and chamber vocal genres. Such works as "Boris Godunov" and "Khovanshchina" Mussorgsky, "Prince Igor" Borodin, "Snow Maiden" and "Sadko" of Roman Corsakov, belong to the tops of the Russian opera classics. These works are deeply individual according to the composer's handwriting, but they have a lot of common - nationality, realistic images, wide scope and important dramaturgical significance folk scenes. Most of the works of composers member are painting embodied in music. Symphony works Capably transmit bright images. Borodin and Balakirev are the creators of such a genre as the Russian national-epic simphonism. Heroes of legends and epos are literally coming in their works. In chamber valible creativity "Kuchksty" Thin psychologism and poetic spirituality are combined with acute genre characterity, drama and epic latitude. Unique place Among the works for the piano on the originality of the plan and color, "Islamey" of Balakirev and "pictures from the exhibition" of Mussorgsky occupy "Islamey".

An innovation of composers of the "mighty bunch" brought together their work by the works of Western European music school, School of Romanticism - Robert Shuman, Hector Berlioz, Ferenets Sheet. And Ludwig van Beethoven "Kuchksty" generally considered the twinel valum new music, Noted by all created in the "Dobetovensky" period. By the way, the Italian opera in the medium of composers and musicians who separated the views of the members of the "mighty bunch" were also denied as a view music art, although many of italian composers - "Oernikov" were the "five" contemporaries.

However, gradually, the radicalism of the judgments of the members of the "mighty bunch" began to soften and by the mid-1970s of the 19th century, the Commonwealth, as a cohesive group of like-minded people, ceased to exist. Partly, this was caused with a severe spiritual crisis of Balakirev and his departure from active participation in music Life. But main reason The decay of the "mighty bunch" - in the internal creative discrepancies. Balakirev and Mussorgsky were disapprovingly reacted to pedagogical activity Roman Korsakov in the St. Petersburg Conservatory and considered it as a passing of principles.

"Kuchkism" as the direction continued to develop and further. The aesthetic principles and creativity of the "mighty bunch" had an impact on many Russian composers of a younger generation, such as the Belyaevsky circle, but none of the subsequent associations had such a single ideological base as a "mighty hand."

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The history of the creation of a "mighty bunch"

The general concept of the "mighty bunch"

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 Kyu (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.

The history of the creation of the 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. Special great importance For Balakirev acquires his acquaintance with V.V.Stasov.

Vladimir Vasilyevich Stasov - interesting Figure In the history of Russian art. Critic, scientist art historian, historian and archaeologist, Stasov, speaking as musical critic, I 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 their propaganda best pictures And also was their best adviser 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. Stasov's service throughout his life was associated with such a wonderful institution as 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 young musician Almost twelve years, firmly made friends with him for life. They constantly spend time reading Belinsky's books, Dobrolyubov, Herzen, Chernyshevsky, and the Stasov, undoubtedly, more mature, developed and educated, brilliantly knowing the classical and modern 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 did with 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 a scherzo for piano in four hands, opera " Prisoner of the Caucasus", And in 1859 - 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 seriously familiarize 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 bright music dating Borodin, but his versatile erudition.

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

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) . Ideological inspirer and main non-communication consultant mug was 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 riots and the uprising of the peasants became the main social events of the time returning artists to 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»We systematically recorded and studied Russian samples music folklore and Russian church singing. The results of their research in one form or another, they embodied in the writings of chamber and large genre, especially in operations, among which " Tsarist Bride"," Snow Maiden "," Hovhanshchina "," 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 musical language (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. Close, although not always smooth connections were with Peter Ilyichem 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 live story « 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 big number 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. New composition The circle (and his more moderate chapter) was determined by the new face of "postcalls": a 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, producing all the new students to be less than his head 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 case was not limited to direct teaching and classes free essay. More frequent execution on scenes imperial theaters The new operas of the Roman Corsakov and its orchestral works, the formulation of the Borodino "Prince Igor" and the second edition of Boris Godunova, a lot of critical articles and the growing personal influence of Stasov - all this was gradually multiplied by 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, up to 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 style change. 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 Rimsky-Korsakov, is no less indicative. most time of living in Moscow. 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 end XIX. - The first half of the 20th centuries are considered music historians as direct continules 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 ". Article of the famous criticism of Henri Collie, who omitted the world of birth new group composers, and called: "Russian five, French Sixer and Mr. Sati".