MA Balakirev: The Courteel of the Fate of Russian Music

Balakirev M. A.

Miliya Alekseevich (21 XII 1836 (2 I 1837), Nizhny Novgorod, now bitter - 16 (29) V 1910, St. Petersburg) - Rus. Composer, pianist, conductor, music. figure. Game on FP. He studied under the hands. Mother, several The lessons took in A. I. Dubyuk and K. K. Azrich. MUZ. B. Development contributed to the rapprochement with A. D. Smilenzhev, in the house of B. B. was acquainted with the music. Lit-Roy, including the writings of M. I. Glinka, F. Chopin. On muses The evenings that were arranged by Smilezhev, began performances by B. as a pianist and conductor. In 1853-55, he lived in Kazan, consisted of Mathematics with a solidist. F-Ta Kazan University, continued to concert, gave FP. Lessons.

An important event in Life B. - Moving to St. Petersburg (Kon. 1855) and a meeting with M. I. Glinka, he becomes a follower. In 1856 B. debuted in St. Petersburg as a pianist and composer (performed a concert for FP. With the orchestra). In 1856-62, friendship B. with C. A. Kyui, M. P. Mussorgsky, N. A. Rimsky-Korsakov, A. P. Borodin and Critics V. V. Stasov, who had a noticeable impact on the formation of ideological-aesthetic . Positions V., introduced him to a revolutionary democracy. lit-swarm. In the beginning. 60s. 19th century Under hands. B. Musted formed. A circle known for the name. "New Russian music. School", Balakirevsky circle, "Mighty hand". Thanks to the purposefulness and art. The initiative, work. and performing experience, B. enjoyed great authority in the members of the circle.
In the 50-60s. B. Created "Overture on the theme of Spanish Marsha" (1857), "Overture on the topics of three Russian songs" (1858), music for the tragedy of W. Shakespeare "King Lear" (1858-61), Overture "1000 years" (1864) , Romance, FP. Pieces. These products. The traditions of Glinka are developing, especially his sym. music. In 1862 B. Odv. With the city of Ya. Lomakin organized a free music school (BMSH), which became the hearth of the mass museum. Education and enlightenment. B. established the Permanent Concert of BMH, in which the essays promoted the compositions of Rus. (especially young) composers of the Glinka direction and foreign composers-romantics (Berlioz, F. Sheet, R. Shuman). In the 2nd floor. 60s. B. At the invitation of Cesh. Musicians visited Prague, led the production of the Opera Ruslan and Lyudmila, conducted by the Opera "Life for the Tsar" (1867). In 1867-69 was ch. Conductor RMO, changing the former conservative character of his conc. programs.
Floal muses. B. activity is associated with the 60s. In the 70s. He survived a long sincere crisis caused by a number of failures in his muses. Activities and in personal life. B. Departs from BMS, stops writing, act as a performer, breaks friendly connections with members of the circle. At the same time, it is closer to the church circles of St. Petersburg, manifests the earlier religiosity.
In the beginning. 80s. B. Return to Muses. Activities, K-Paradise, however, has lost the former scope and a combat "sixties" character. In 1881-1908, he again headed the BMH, at the same time (1883-94) consisted of the director CD. Pevch. Capelles. She took part in the music. Life: He promoted the perpetuation of Glinka's memory (the opening of the monument in Smolensk, 1885) and Chopin (the opening of the monument in Zheryzov-Will, 1894). Speeches B.-Pianist acquired a chamber character (played only on private music. Evenings). The nearest friend and follower B. became S. M. Lyapunov. In 1880-1900 B. created a sym. The poem "Tamara" (approx. 1882, started in the 60s.), 2 Symphonies (1st - 1897, started in the 60s; 2nd - 1908), MN. romances, FP. Production, "Cantatha Memory of Glinka" (1904, Ip. In 1906, it was written to the opening of a Glinka monument in St. Petersburg). In these years, he was engaged in the processing and editing of most of its major editions of the early period. His new production. He testified to the growth of composer skills, but at the same time, about some kind of talent fading.
The most important feature of Creativity B. - Bright nat. Characterness. Nar. Images (domestic or epic), paintings by Rus. Life, nature pass through most of his production. The composer is also traditional for Rus. Music interest in the theme of the East (more precisely, the Caucasus) and Nar. MUZ. Cultures of other countries (Polish, Czech, Spanish). B. Studied Muz. Folklore, especially Russian. The rich material was given by B. A trip along the Volga, undertaken in 1860 for the purpose of recording Nar. Songs, the result was a sat. "40 Russian folk songs for vote with FP." (Printed in 1866) - First Classic. A sample of this kind in the story of Rus. MUZ. Folklores. 2nd Sat - "30 Russian folk songs for FP. In 4 hands" (1898) was created on the material collected by the song expeditions Rus. geographic. about With the passion of folklore, an abundance in the contract is connected. B. Genuine Nar. Melodies and close to them copyrighting themes of genre and dance. character. For example, overtures on rus. nar. Topics, symphonies (especially the 1st), wok. Works. Trips to the Caucasus, acquaintance with his folklore caused the colorful vehicle to life. MUZ. Images (Poem "Tamara", FP. Fantasy "Islamey", "Georgian Song", etc.). And in this B. continued to work. Principles of Glinka.
B.-lyrics The embodiment of contrasting emotions is typical: Fast passion, the ferventness is replaced by the lazy idol, calm dreaminess. In the late writings predominate with restraint-lyrich. Contemplative moods associated with the philosophical perception of nature or with memories of the past.
OSN. Scope of creativity B. - Instru. Music (Symphonic and FP.). Developing following Glinka genre-nom. Simphonism (the first major essay of this kind is "an overture on the topics of three Russian songs"), B. sought to enrich the remontoreuor's epic genre. elements (the use of epic singing, an ancient melodes, the center of the center., Movable by the tempo of genre-household sections by slow episodes of epic. Warehouse). He turned to give. To historical plots, seeking to recreate the magnificent image of the people. This is his second rus. Overture - "1000 years" (written to the opening of the Millennium Russia monument in Novgorod; in the 2nd Ed. - Symph. Poem "Rus"), in Lit. The program by the movie The author wrote about his intention to capture the poems in the music of some moments Rus. History (Rus pagan, Moscow, Cossack).
With the name B. Tied the birth of the genre Rus. Epic. Symphony. In the 60s. B. began working on the 1st symphony. At the same time, he took part in the creation of the symphony of Borodin and Rimsky-Korsakov. Principles Rus. Epic. Symphonies were developed in the joints. Creation. The searches of these composers.
B. Worked. in the field of software symphony. Best Sample Symph. Poems B. - "Tamara" (on the one. The poem of M. Yu. Lermontov, invoice. F. List). Built on the original music. The material is depicting. - landscape and nar.-dancing. Character, "Tamara" is stylistically related by software sym, poems F. Sheet - the creator of this genre. At the same time, it is connected with the work of Glinka ("Eastern Dancing" from the Opera "Ruslan and Lyudmila"). In "Tamara", individual features of the Symf clearly showed. B. Style: Brightness of the soundness and NC.-Characteristic (Caucasian) coloritis, free comparison of various and colorful music. paintings (Night Darialya Gorge, Festival in Tamara Castle, Morning Mountain Landscape). Dr. Type of software Simphonism B. - Music to the tragedy of Shakespeare "King Lire". (First classic. Making this kind to rus. Music was "Prince Holmsky" Glinka.) This essay B. opened the Shakespeare theme in the work of Rus. composers (production P. I. Tchaikovsky, D. D. Shostakovich, S. S. Prokofiev on the plots of Shakespeare).
B. - One of the first Rus. Composers, widely used in FP. Music major concert-virtuoso forms. Among his FP. . East is allocated. Fantasy "Islamey" (1869), characterized by original topics. Material (genuine eradicate themes), latter and symphonymo idea, combination of Europe. conc. Style with specific. dammes east. Instrase Colorite. This virtuoso brilliant play is the most important milestone in the development of Rus. pianism. It is also characteristic of the appeal B. to genres of Rvmantich. FP. Music (Mazurki, Waltza, Nocturny, Scherzo), indicating the proximity to F. Chopin. So. Part of the FP. Heritage B. Component transcription and transcriptions (for FP. in 2 and 4 hands) Production. Dr. Composers (M. I. Glinka, V. F. Odoyevsky, L. Beethoven, Berlioza).
Chamber-wok. Works B. - a kind of binder between Rus. Romance Glinka, Dargomyzhsky and Rus. wok. Lyric 2nd floor. 19th century Fresh and novelty are distinguished by the romances of the early period. Some of them are a fantastic-landscape "goldfish song", lyrical "frenzy", "come to me", "Eastern" romances ("Selim's" song, "Georgian Song") - are the first samples of this type in the wok. Music composers Balakirevsky mug. Best Romances B. written on the texts of M. Yu. Lermontov, A. V. Koltsova, A. A. Feta, A. K. Tolstoy, A. M. Zhemchuzhnikov.
. B. often contain stylistry. Contradictions: the originality of the music.-poetic. The idea and wealth of the music. Fantasies are combined in them with looseness and insufficient wholeness of the form (exceeding large). This was manifested in this as the individual properties of the composer's diving and the features of his work. Process - Duration. Breaks in work, as a result of which B. had to reveal "to build" in the contract. The duality of historical is also connected with this. The fate of his work: B. Initially, she went ahead of his comrades in the circle, confidently planned the path of development Rus. Music after Glinka, but compared with other representatives of the "mighty bunch" of achievements B. turned out to be more modest, especially since its capital works appeared after the symphony of Borodin and software symph. Works of the Roman Corsakov. However, this does not diminish the values \u200b\u200bof B. as the leader "New Rus. Music. Schools", like the author of the Magnifier, which included in Rus. MUZ. Classic 19 V.
Basic dates of life and activity
1836. - 21 XII. In the family of serving Nizhegor. Salt Board A. K. Balakirev was born the son of Milius. 1844. - Classes with the mother of Elizabeth Ivanovna (FP.).
1846. - A trip with Mother to Moscow, 10 lessons at A. I. Dubyuk, "from the Quino first assimilated the right techniques of the FP. Games" (autobiography). - Admission to Nizhegor. Gubernaya gymnasium.
1851. - Continuation of previously launched classes with K. K. Eisrich. - Acquaintance with the contract. F. Chopin. - The first meeting with the computer. And Pianist I. F. Laskovsky. - The beginning of the speeches to the music. The evenings of A. D. Smileyzhev (as a pianist, then the conductor).
1852. - The first composer experiences.
1853. - End of the Alexandrovsky Noborsky Institute. - Moving to Kazan, enrollment by the Voltopserus of the Kazan University on Fiz.-Mathematics. F-t. - Continuation of composer and performance activities.
1855. - XII. Arrival to Petersburg. - Acquaintance with M. I. Glinka, A. S. Dargomyzhsky, later - with A. N. Serov. Feedback Glinka: "Balakirev is a very good musician."
1856. - Acquaintance with C. A. Kyui, V. V. Stasov, and also with S. Monyushko. - 12 II. The first speech in St. Petersburg (PS. 1st part of his concert for FP. With Orc. On Music. Matinenik St. Petersburg. Un-Ta, Conductor K. B. Schubert).
1857. - Acquaintance with M. P. Mussorgsky.
1858. - The appearance in the prints of Works B. (romances), as well as the FP. . I. F. Laskovsky as amended. B. - A trip to Moscow, the idea of \u200b\u200b"Symphony in honor of the Kremlin." - 21 XII.
Span. "Overtures on the topics of three Russian songs."
1859. - Acquaintance with T. G. Shevchenko, H. P. Shcherbina. - 15 XI. Span. Overtures "King Lear" at the concert of St. Petersburg. un-ta.
1860. - Acquaintance with L. A. Meem, I. S. Turgenev. - VI-VII. A trip along with N. F. Shcherbina and N. A. Novoselsky along the Volga (from N. Novgorod to Astrakhan), an entry of Nar. Songs.
1861. - Plans (unfulfilled.) Large writings (Requiem, 2nd Symphony "MTSI", "Russian Symphony"). - Acquaintance with H. A. Roman Corsakov.
1862. - Organization and discovery (with the participation of B.) of free music. Schools (BMSH). - VI-VIII. Trip to the Caucasus. - XI. Acquaintance with A. P. Borodin. - Final formation of a balakirevsky mug.
1863. - B. Speech as a conductor in the first BMS concert. - VI-IX. The second trip to the Caucasus, the record of Nar. music.
1864. - The plan (unfulfilled.) Opera "Firebird".
1866. - Trip to Prague. Meetings with Czech representatives. Intelligentsia (B. sour cream, etc.). Acquaintance with Nar. music.
1867. - Second visit to Prague. - 4 II. Span. In Prague T-re UPR. B. Opera Glinka "Ruslan and Lyudmila". - 29 I. B. conducted by Opera Glinka "Life for the King". - X. The beginning of the conductor in the RMO. - XI. Acquaintance with Berlioz.
1868 - Acquaintance with P. I. Tchaikovsky, N. G. Rubinstein. - VI-XI. Third trip to the Caucasus.
1869 - IV. B. Povered from the leadership of RMM concerts. - XI. Span. N. G. Rubinstein Fantasy "Islamey" in the BMS concert.
1870. - Acquaintance with T. I. Filippov, poets A. M. and V. M. Pearzhennikov.
1872. - Termination of BMH concerts. - Admission to the service in the shop management of Warsaw. d.
1873. - I. Enrollment for the post of music inspector in wives. Mariinsky Institute. - XII. Care from BMS (successor B. became N. A. Rimsky-Korsakov).
1875. - Care from the Mariinsky Institute, enrollment for the post of inspector music. classes of wives. school school Helena.
1876. - gradual return to the music. Activities.
1877. - Editing Mlink's Opera Parts (Sov. With N. A. Roman-Korsakov and A. K. Lyadov).
1881. - Return to BMSH. - Getting started on editing your previous written written works.
1882. - Renewing BMH concerts under UPR. B. (17 III for the first time, is the 1st Symphony of Glazunov). - XII. Speech at a concert from the contract. Glinka in favor of the constructions of the monument to him in Smolensk.
1883. - 3 II. Care from the office inspector. classes at wives. Screenshots Helena. - Purpose B. Manager CD. Pevch. Capella. - III. Span. under. UPR. B. Symph. Poles "Tamara" (at the BMSH concert). - IX. Participation in the celebrations associated with the laying of the Mlinke monument in Smolensk.
1884. - Acquaintance with S. M. Lyapunov. - Correspondence B. and F. Sheet due to the dedication by the Poem Lest "Tamara". - II. Awarding B. Glinkinskaya Ave. For "Overture on the topics of three Russian songs."
1885. - V. Concert under UPR. B. in Smolensk in honor of the opening of the monument to Glinka.
1887. - MUZ. Evenings at B. with the new composition of visitors (Lyapunov, students arrive. Pevch. Capelles, etc.). - The beginning of the permanent speeches by B. on the muses. Evenings in the house of A. N. Dypina. - III. Anniversary concert BMSH. - Purpose B. Lifetime pension (on the day 25th anniversary of BMS).
1889. - IX. The first isp. . B. Abroad ("Overture on the topics of three Russian songs", Conductor. H. A. Rimsky-Korsakov, Paris).
1890. - Start of correspondence with Franz. MUZ. Critic and comp. L. A. Burgo Dyukdre, who received from B. Nar. Themes recorded in the Caucasus.
1891. - IX. Trip to Poland. Visit of Zhelyazov-Will.
1894. - Participation in the celebrations in the Zhelyazov-Wheel, Divine. The opening of the monument to Chopin (on the initiative of B.). - X. Speech at the concert (Warsaw). - 20 XII. Dismissal from service in CD. Pevch. Chapel, retirement. - The first isp. In Paris Symph. Poles "Tamara" (conductor Sh. Lamuria).
1897. - Exit from printing book B. Kalensky "Babych sour cream and Miliya Balakirev, their importance for the development of Slavic music, their personal and artistic links" (Prague, 1897).
1898. - Honoring B. in connection with the 30th anniversary of BMSH. - III. B. entered the Commission on the preparation and publication Rus. nar. Songs collected by expeditions Rus. geographic. about - 11 IV. Span. In the BMS host concert under UPR. B. His 1st Symphony.
1899. - Concert under UPR. B. In Berlin, on the occasion of the opening of a memorial plaque on the house, Glinka died in K-Rom.
1900. - Editing the "those DEUM" scores of Berlioz.
1902. - Start editing Coll. cit. Glinka (joints with S. M. Lyapunov).
1904. - Termination of public speeches.
1906. - Span. Cantata B. At the celebrations, ambassadors. The opening of the monument to Glinka in St. Petersburg.
1908. - Refusal to the leadership of BMS (successor B. became S. M. Lyapunov). - Editing the writings F. Chopin.
1910. - 16 V. Death B. in St. Petersburg.
Works : For choir with Orc. - Glinka Memory Cantata (1904); For Orc. - 2 symphonies (C-DUR, 1864-97; D-Moll, 1907-08), Overture on the theme of Spanish Marsh (D-Moll, 1857, 2nd Ed. - Spanish Overture, 1886), Overture on the topics of three Russians Songs (H-Moll, 1858, 2nd Ed. - 1881), music. Picture of 1000 years (second overture on rus. Topics, Des-Dur, 1863-64, 2nd Ed. - Simulty. Poem Rus, 1887, Ed. 1907), Czech Overture (FIS-DUR, 1867, 2nd . - Simulty. Poem in the Czech Republic, 1905), Symph. Poem Tamara (1882), Suite in 3-parts (H-Moll, Pryambule, Quasi Valse, Taranthel, 1901-09, ended with S. M. Lyapunov), music for the tragedy of Shakespeare "King Lire" (overture, procession, intermission , 1858-61, 2nd ed. - Full score, including 2 version of the procession, Kent sleep, Interlude, military. Music, Symph. Picture of the battle, melodrama, pipe and drum signals, 1905); For FP. with Orc. - Concert NO 1 (FIS-Moll, I Part, 1855, score ed. M., 1952), Concert No 2 (ES-DUR, 1861-62, 1909-10, Complete S. M. Lyapunov), Big Fantasy On Russian National Tunes, Op. 4 (DES-DUR, 1852, ed., M., 1954); Chamber ensembles - octet for flute, oboe, horn, ukr., viola, volc., K-bass, FP., OR. 3 (C-Moll, 1850-56, score ed. M., 1959); For FP. In 2 Hands - Fantasy Islamey (1869), 1st Sonata (B-Moll, 1856-57), Sonata (B-Moll, 1905), Sonatina (C-DUR, 1909), 3 Scherzo, 7 Mazurok, 3 Nocturne , 7 waltzes, different plays (including polka, in the garden, Dumka, etc.), M. A. Balakirev, full. Cathedral cit. For FP. in 3 tt. Ed. K. S. Sorokina, M., 1952; For FP. In 4 hands - 30 Russian folk songs (arr. 30 songs of the Russian people for one vote with the accompaniment of FP. From collected in 1886 G. O. Dutshy and P. M. Istomine, harmonized Milliya Balakirev, 1898), Suite in 3 h. (Polonaise, Songless Song, Scherzo, 1909), on the Volga (1868, ed., M., 1948); cit. On the themes of other composers - a memoir about the opera "Life for the king" M. Glinka. Fantasy, 1899 (1st Ed. - Fantasy for FP. On the motifs from the opera "Life for the king" M. Glinka, 1854-56), impromptu on the themes of the 2nd Chopin Prelude (ES-Moll and H-Moll), Spanish serenade on topics recorded by Glinka (1856); Transcription and shifting. For FP. In 2 hands - Glinka (Lark, Aragon Kamarinskaya, Kamarinskaya, Do not say), P. Zapolsky (Greens), A. S. Taneyev (2 Waltz-Caprice), Berlioz (Overture "Fiah in Egypt": 2nd h. Oratoria "Childhood of Christ"), L. Beethoven (Cavatina from Strings. Quartet, B-DUR, Op. 130; Allegretto from strings. Quartet, or. 59 No 2), F. Chopin (Romance from the 1st concert , or. 11); In 4 hands - Berlioz (Harold in Italy), A. F. Lvov (Overture to Opera Ondina); For 2 FP. In 4 hands - Glinka (Prince Holmsky, Night in Madrid), L. Beethoven (Quartet F-Moll, Op. 95); For vote with FP. - 20 romances (1857-65), 10 romances (1895-96), Romance (1903-04), 3 forgotten romance (you are full of captivating ballast, link, Spanish song, 1855, ed. 1908), two posthumous romance (dawn , Climb; 1909); M. Balakirev. Romances and songs. Ed. and entry Art. G. L. Kiselev, M., 1937; Collection of Russian songs (40) (1865, ed. 1866); shock. For voice with orc. - Dargomyzhskiy (Paladin, Oh, Deva Rosa), Glinka (night review, oh, Viherea, Wonderful Virgin), owns. . (Georgian song, spill, sleep); For the choir A Cappella - anthem in honor of St. led. kn. Vladimir George Vsevolodovich, founder of N. Novgorod, composed on the occasion of the celebration of the Nizhny Novgorod of the seisomotion of his birthday (1189-1889), spiritual-music. shock. and op. (M., 1900), etc.; shock. For the choir A Cappella - Glinka (Venetian night, lullaby song), Chopin (Mazurki, OR. 6, NO 4; OP. 41, NO 4); Instrumentation op. other composers - N. V. Shcherbachev (two plays for FP.: Two idylls ... (B. name in ed. Not specified)), A. Lvov (Overture to Ondina's opera), Glinka (initial polka) , Chopin (Concert E-Moll, Suite Out. Chopin); Editorial office Dr. Authors, including operas and sym. . M. I. Glinka, FP. cit. I. F. Laskovsky, Sonat, F. Chopin, Nekhi Origine. . and transcriptions of F. Sheet, those DEUM G. Berliosa, a contract. K. Tauziga. Literary writings : Autobiographical note M. A. Balakirev (from his letters to N. Findeisen 1903 and 1907), "RMG", 1910, NO 41; The anniversary of Genezelte (signed - Valerian Gorshkov), "New Time", 1888, March 12, NO 4323. Letters: Letters M. A. Balakirev to A. P. Arsenyev (1858-1862), "RMG", 1910 , NO 41, 42; Correspondence M. A. Balakirev with P. I. Tchaikovsky, St. Petersburg, (1912); Letters M. A. Balakirev to I. A. Pokrovsky, "RMG", 1916, NO 40, 44, 46, 49-52; Letters M. P. Mussorgsky to M. A. Balakirev, in the CN; Mussorgsky M. P., letters and documents, M.-L., 1932; Letters M. A. Balakirev to C. A. Kyui, in the book: Kyu Ts., Emit. Letters, L., 1955; Letters M. A. Balakirev to B. Kalensky, in the book: From the history of Russian-Czech connections, M., 1955; Balakirev) M. A., correspondence with N. G. Rubinstein and M. P. Belyaev, M., 1956; Balakirev M. A., correspondence with the notoizdator P. Yurgpson, M., 1958; Letters M. A. Balakirev to A. P. Borodin, in the book: Dianin S. A., Borodin. VIEWS, MATERIALS AND DOCUMENTS, M., 1960; Balakirev M. A., memories and letters, L., 1962; Correspondence. A. Rimsky-Korsakov and M. A. Balakirev, in the book: Rimsky-Korsakov N., Lit. works and correspondence, t. 5, M., 1963; Balakirev M. A. and Stasov V. V., correspondence, vol. 1-2, M., 1970-71. Literature : G. T. (Timofeev G.), Essays of the development of the Russian romance, M. A. Balakirev, "RMG", 1895, NO 4; His balakirev in Prague. From his correspondence, "modern world", 1911, no 6; His, M. A. Balakirev, "Russian Thought", 1912, NO 6, 7; Findeazen N., Miliya Alekseevich Balakirev, "RMG", 1895, NO 1; His (nickname. F.), the forgotten anniversary M. A. Balakirev (to the 50th anniversary of his artist. Activities, 1856-1906), "RMG", 1906, NO 17; Boborakin P. D., Russian musician (memory of comrade), "Exchange Vedomosti", ek. Vol., 1910, May 29, NO 11737; Lyapunov S., Miliya Alekseevich Balakirev, "Sheet", 1910, vol. 7, 8; Shestakova L. I., from unnecessary memories. My evenings, "RMG", 1910, NO 41; Her, from unnecessary memories of the new Russian school, "RMG", 1913, NO 51-52; Chernov K., Miliya Alekseevich Balakirev (for memoirs and letters), music chronicle. Articles and materials are ed. A. N. Rimsky-Korsakov, Sat. 3, L.-M., 1925; Glebov I., (Asafiev B. V.), Russian music from the beginning of the XIX century, M., 1930; His own. There were three of them ... (from the era of the public lift of Russian music of the 50s and 60s of the last century), in the book: Asafyev B.V., FAQ. Proceedings, vol. 3, M., 1954; His, Russian music of the XIX and early XX century, L., 1968; Kiselev G., M. A. Balakirev, M.-L., 1938; Gozenpud A., M. A. Balakirev (for the forty-eyed from the day of death), "see", 1950, NO 6; Serov A. N., Newfish musical writings - songs and romances of Balakirev, in the book: Serov A. N., Fair. Articles, vol. 1, M.-L., 1950; His musical morning in the Hall of St. Petersburg. un-ta, ibid, t. 2, M.-L., 1957; Stasov V.V., twenty five years of Russian art. Our music, in the book: Stasov V.V., Fair. cit., vol. 2, M., 1952; Its, the art of the XIX century, is there, t. 3, M., 1952; Tchaikovsky P. I., full. Cathedral cit. - literary works and correspondence, t. 2, M., 1953; Rimsky-Korsakov N., full. Cathedral cit. - literary works and correspondence, t. 1, M., 1955; Hippius E. V., collections of Russian folk songs M. A. Balakirev, in ed.: Balakirev M., Russian People's Songs, M., 1957; Kandinsky A., Symphony works of Balakirev, M., 1960; M. A. Balakirev. Research. Articles, L., 1961; Alekseev A. D., Russian piano music. From sources to top of creativity, M., 1963; M. A. Balakirev. Chronicle of life and creativity (compilers: A. S. Lyapunova and E. E. Yazovitskaya), L., 1967; Kalienski V., Bedaick Smetana a Mily Balakirew, Jich Vyznam Pro Vevoi Hudbi Slovanske, Jich Osobni A Umilacki Stuky, Praha, 1897, His, V Cechach. Symfonicka Besen Milie Aleksejevice Balakirewa, "SamostatNost", (1906), NO 53; Reiss E. , Lieder Von Mili Balakirew, "Die Redenden Kynste", Jahrg. IV, 1897/98; NEWMARCH P., MILY BALAKIREFF, SCMMELBCNDE DER INTERNATIONALLS MUSIKGESELSCHAFT, JAHRG. IV, H. 1, 1902, Oktober - Dezember, S. 157-63; Calvocoressi M. D., Mili Balakirew, In the book: Masters Of Russia Music, L., 1936; Garden E., Balakirew. A Critical Study of His Life and Music, N. Y., 1967. A. I. Kandinsky.

Music encyclopedia. - M.: Soviet Encyclopedia, Soviet composer. Ed. Yu. V. Keldysh. 1973-1982 .

Russian empire

Mighty couch

Miliya Alekseevich Balakirev

Miliya Alekseevich Balakirev (December 21, 1836 [January 2], Nizhny Novgorod - May 16, St. Petersburg) - Russian composer, pianist, conductor, head of the "mighty coup".

Memorial board at the house 7 on Kolomenskaya St., St. Petersburg.

Biography

Miliya Balakirev was born in the family of Alexey Konstantinovich Balakirev (1809-1869).

In childhood, took the lessons for the piano at Alexander Dubyuk. Consisted with the Voltopper at the Mathematics Faculty of Kazan University in 1853-1855. A lot of participation in his fate was adopted by A. D. Smilenzhev, an enlightened amateur, a patron, the author of the first Russian monograph of Mozart.

Music

The composer activity of Balakirev, although not extensive, but very respectable. He wrote several orchestral, piano and vocal essays, of which the following are especially allocated: orchestral music towards the King Lear (1860), consisting of an overture and intermission; Overture for Czech topics (); Two oversights on Russian topics, of which the first World in 1857, and the second, called "Rus", was written in 1862 to open the Millennium Monument in Russia in Novgorod; Overture on the Spanish topic; The symphonic poem "Tamara" (for the text of Lermontov), \u200b\u200bexecuted in the 1st time at the concert of a free music school, in 1882. From piano works, Balakirev known: Two Mazurks (AS-DUR and H-Moll), Scherzo, Fantasy "Islamey" on oriental topics (1869); They are also transferred for piano in two hands: "Marsh of Chernomor" from the Opera "Ruslan and Lyudmila", "Lark" song "Glinka, Overture (Introduction) to the second part of the" La Fuite EN Egypte "works of Berlioz, Cavatina from Beethoven Quartet (OR. 130), "Aragon Hot" Glinka. Four hands: "Prince Holmsky", "Kamarinskaya", "Aragon Khota", "Night in Madrid" Glinka.

The romances and songs (Golden Fish, "come to me" are very popular from the vocal works of Balakirev, "enter me, about the night, secret," "offensive", "I climbed a month about the sky", "I hear your voice" , "Jewish melody", "Georgian Song" and so on.) - Number 20 (according to other data 43. Apparently, the main part of the text is a lifetime, composed in the interval between and 1895.)

In the country of other unpaired works - 2 symphonies (;), suite for the orchestra (- finished S. Lyapunov), 2 piano concerts (- finished S. Lyapunov, a large number of piano works: Sonata, Mazurki, Nocturns, Waltza, etc. A very valuable contribution to the region of Russian musical ethnography is the "Collection of Russian People's Songs", published by Balakirev in 1866 (all songs 40).

M. A. Balakirev's gift was especially shown in its first works and in the subtle understanding of the orchestration; Music Balakirev is originally rich in melody (music to the king Lear, romances) and very interesting and beautiful in harmonic. The systematic course Balakirev never passed. The most important musical impressions of Balakirev for all this time were the piano concert (E-Moll) of Chopin, heard from one lover in childhood, later - the trio "not Tomi," from "life for the king" Glinka. With this composer, he remained faithful to all his life. I. F. Laskovsky made a big impression on him, as a pianist and composer. Participation in musical ensembles and especially the study of scores and conducting the orchestra in the House of Smileyshev strongly moved his musical development. By this time, the first attempts to the writing include the septo for piano, bow tools, flutes and clarinets, who was written in the first part, written in the spirit very liked to him the piano concert of the Genzelt, and fantasy for Russian themes for piano with the orchestra, the remaining unfinished. The handwritten sketch of her () is stored in the Public Library in St. Petersburg.

In Kazan University, at the Mathematics Faculty, Balakirev spent less than two years, living mainly on the scant remedies from music lessons. In Kazan, Balakirev was written: piano fantasy for motifs from "life for the king", the first romance: "You are full of captivating naga" () and a concert Allegro. In 1855, he arrived in St. Petersburg with Smilezhev, who introduced him to the musical circles of the capital.

Addresses in St. Petersburg

• 1861 - Profitable House - Officer Street, 17;
• 1865-1873 - Yard Flygel Mansion D. E. Berndaki - Nevsky Prospekt, 86, square. 64;
• 1882 - 05/16/1910 - Profitable house - Kolomenskaya Street, 7, square meters. 7.

Memory

Notes

Links

• Miliya Alekseevich Balakirev: Notes of works at International Music Score Library Project

Miliya Alekseevich Balakirev. Balakirev Miliya Alekseevich (1836/37 1910), composer, pianist, conductor, musical public figure. The head of the mighty bunch, one of the founders (1862) and leaders (1868 73 and 1881 1908) free musical ... ... Illustrated Encyclopedic Dictionary

Russian composer, pianist, conductor, musical public figure. Born in the family of an official from the nobles. She took lessons from Pianist A. Dubyuk and Cerizer K. Azrich (N. Novgorod). ... ... Great Soviet Encyclopedia

Balakirev Miliya Alekseevich - (1836-1910), composer, pianist, conductor, musical public figure. From 1855 lived in St. Petersburg. In 1856, he made his debut as a pianist and the composer (he performed the first part of his concert to the music of St. Petersburg University for ... ... ... Encyclopedic Directory "St. Petersburg"

- (1836/37 1910) Composer, Pianist, Conductor, Music Public Dealer. The head of the mighty bunch, one of the founders (1862) and the leader (1868 73 and 1881 1908) of a free music school. Conductor of the Russian Music Society (1867 69), ... ... Big Encyclopedic Dictionary

Balakirev, Miliya Alekseevich, the famous Russian musician, the creator of the new Russian music school. Born on December 21, 1836 in Nizhny Novgorod, died on May 16, 1910 at S. Petersburg. He studied in the Nizhny Novgorod gymnasium, Nizhny Novgorod ... ... Biographical Dictionary

- (1836 1910), composer, pianist, conductor, music public figure. From 1855 lived in St. Petersburg. In 1856, he made his debut as a pianist and the composer (he performed the first part of his concert to the music of St. Petersburg University for ... ... ... St. Petersburg (Encyclopedia)

- (1836/1837 1910), composer, pianist, conductor. The head of the "mighty bunch", one of the founders (1862, together with the city of Ya. Lomakin) and the head (1868 73 and 1881 1908) of the free music school (St. Petersburg). Conductor of the Imperial Russian ... ... encyclopedic Dictionary

Balakirev Miliya Alekseevich - Miliya Alekseevich (12/21/1836, N. Novgorod 16.05. 1910, S. Petersburg), Rus. Composer, head of a new Russian school ("mighty bunch"), teacher, musical public figure, conductor, pianist, editor. The hereditary nobleman (genus balakirevy ... ... Orthodox encyclopedia

Balakirev, Miliya Alekseevich(1837-1910), Russian composer, pianist, conductor, chapter and inspirer of the famous "five" - \u200b\u200b"mighty bunch" (Balakirev, Kyui, Mussorgsky, Borodin, Roman-Korsakov), which personifies the national movement in Russian musical culture 19 .

Balakirev was born on December 21 (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 - an enlightened musician-amateur, patron, author of the first Russian monograph on Mozarte, took great part in his fate. 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 hand" 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 Shakespeare King liru (1858-1861), symphonic poems Tamara (OK 1882), Rus (1887, 2nd edition 1907) and In the Czech Republic(1867, 2nd edition 1905). For the piano, he wrote Sonata Si-Blol 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 16 (29) May 1910.

Balakirev Miliya Alekseevich (1836/1837-1910), composer.

Born on January 2, 1837 (according to a new style) in Nizhny Novgorod. The first music teacher began his mother for Balakirev, who was working with her son from a four-year-old age. True, Balakirev's education received not a musical, after graduating from 1854 the Mathematical Faculty of Kazan University. But I did not leave music, learning myself, and from 15 years I began to perform in concerts as a pianist.

At the dawn of his musical career stood by A. D. Smilenzhev, the first serious researcher of creativity V. A. Mozart. Together with him in 1855, Balakirev arrived in St. Petersburg, where he met M. I. Glinka. Soon around Balakirev, which was distinguished not only by musical erudition, but also the ability to finely analyze the works, young talented musicians began to be grouped. This circle, who finally established in 1862, was named subsequently the "mighty hand." In addition to Balakirev, M. P. Mussorgsky, N. A. Rimsky-Korsakov, Ts A. Kyui and A. P. Borodin were included.

Balakirev contributed to an increase in the level of musical education of his like-minded people. "Since I am not a theorist, I could not teach the Mussorgian harmony, but I explained to him the form of an essay ... The technical warehouse of works and his own himself occupied the analysis of the form," wrote Balakirev in a letter V. V. Stasov, one of the ideologues of the circle.

In 1862, a free music school was opened in St. Petersburg, favorite Balakiress brainchild. Since 1868, he became its director. 50--60s XIX century. - It's time for the heyday of the composer talent of Balakirev. For the opening of the Monument to the Millennium of Russia in Novgorod, he wrote an overture "1000 years" (1864; recycled to the Symphony Poem "Rus" in 1887).

In 1869, the piano fantasy "Islamey" is completed, which has become a favorite work of F. Sheet. In addition, Balakirev is written more than 40 romances to verses A. S. Pushkin, M. Yu. Lermontova, A. V. Koltsov. There was even an attempt to create an opera "Firebird", but the work remained unfinished.

The heavy spiritual crisis, which followed in 1874 after the refusal of the office of the free school and the most importantly associated with the difficulties of a material nature, led to the fact that Balakirev was departed for several years from all musical affairs.

In 1881, at the request of the school's council, he returned to the position of director, but until the end and did not recover from spiritual experiences. The only significant essay of the last period is the symphonic poem "Tamara" (1882), created on the plot of Lermontov. Nevertheless, the creative and social activities of Balakirev had a huge impact on the further development of Russian music.

This article serves the continuation of our narrative about the Great « » Russian composers that no less wonderful person gathered around him. And now we will learn more about the personality of the first composer, who began to work with Vladimir Vasilyevich.

Born in the family of Alexey Konstantinovich Balakireva on December 21, 1836. That is, at the time of education « Mighty bunch » He was even relatively young. But back by the years of his adolescence and adolescence.

When Milius was completely another Yun, he studied the game on the piano from Alexander Dubyuk, who is now known as the Russian composer and pianist. At one time he was very influenced by Smilezhev.

Alexander Dmitrievich is one of the first Russian music critics. In addition, he wrote a book about Mozart, which became known not only in Russia, but also in Europe. It is interesting that only in 1890, Peter Ilyich Tchaikovsky translated it into Russian. Then it was generally accepted among the respected people to speak foreign languages, even living in Russia.For some time, Smilenn was the editor of the Journal de St.-Pétersbourg newspaper.

Also influenced the direction of the creative path of the young composer. When they met in 1855, he convinced the young man to write music in the National Spirit.

But Balakirev did not receive special musical education. More precisely, the education that he had, he was obliged solely to his own efforts. And in the same year, in which he met Glinka, he gave his first piano concert on which he had proven himself as a virtuoso pianist.

The traveled path prompted it on March 18, 1862 to open a free music school, which worked under the auspices of the emperor. The school regularly arranged concerts, which were conducted by both Mili and Lomakin himself. The first led the orchestral plays, and the second - choral.

But Lomakin, who, together with Balakirev, founded school, soon leaves his job in her, and Miliya becomes a single-liter school principal until 1874.

In 1866, Balakirev was invited to Prague - to establish a production operas Mikhail Glinka "Life for the king" and "Ruslan and Lyudmila", which were given under the control of Mia of Alekseevich, and thanks to his perseverance and tireless energy had a noisy success, especially the opera " Ruslan and Ludmila".

At the same time, at the end of the sixties, Balakirev conducted the Orchestra of the Imperial Russian Music Society, who performed the composition « Mighty bunch » , namely: Mussorgsky, Roman Corsakov, Borodin and others.

But at the beginning of the seventies, Balakirev is experiencing too heavy sincere crisis to still engage in music. Therefore, he moves away from affairs. And to make a living, begins to work by an ordinary employee on the Warsaw railway. Re-back to music, he was able only at the end of the seventies.

When, in 83rm, the emperor appointed him to head his court chapel, he was able to organize a school on solid pedagogical principles. In addition, he personally developed a program of scientific classes, and as an inspector of music classes was invited to the post of Nicholas Rimsky-Korsakov.

During the control of Balakirev, the building of the chapel chapel was rebuilt. It turned into elegant architectural design with luxurious halls, moreover, special attention was paid to the development of the orchestral class. It had the most beneficial effect on Singers Chapels, which because of the loss of votes were forced to stop the classes in the choir. So they could earn in a habitual environment for themselves, albeit in another way.

Meliya Alekseevich died on May 16, 1910 and was buried at the Tikhvin cemetery of Alexander Nevsky Lavra.

Creative heritage

Balakirev wrote not so much, but his works are recognized and respected. So, among its writings, escorts to the "King Liru" are especially allocated, various oversights on national topics, piano works, vocal works.

Especially bright was the manifestation of Balakirev's talent in his early works. They showed all the variety of compositions, melodious ... He very subtle understood the essence of orchestration. The creativity of Chopin and Glinka was greatly influenced. In addition, he learned a lot by participating in ensembles and conducting the orchestra in the House of Smileyshev.

At about the same time, he tried to write composition independently. Due to the fact that at the Mathematics Faculty, Balakirev studied less than two years, he was able to survive only thanks to the poor earnings from the lessons of music.

Despite the fact that sometimes his spirit turned out to be broken, he was able to return to his beloved case again and again, showing the exceptional resistance and loyalty to his love heart.