In December 1777, Captain James Cook and his ships Resolution and Discovery discovered the island, which was named Christmas Island. This island has become the largest atoll in the world. An outstanding English navy sailor made many geographical discoveries.
CHRISTMAS ISLAND
Christmas Island is a small island in the Indian Ocean, while the world's largest atoll (a coral island that looks like a solid or broken ring surrounding the lagoon). Its area is 321 km². The island has one of the highest populations sea birds in the world.
Captain Cook and his ships Resolution and Discovery discovered the island on December 24, 1777. In connection with the holiday date on January 2, 1778, Cook named it Christmas Island.
Christmas Island. Photo: wikipedia. org
HAWAIIAN ISLANDS
The Hawaiian Islands are an archipelago of 24 islands and atolls located in the North Pacific Ocean. Cook discovered them on January 18, 1778 during his third trip around the world. Here he died on February 14, 1779, when he re-entered here after a year's voyage in the North Pacific Ocean. Cook gave them the name Sandwich Islands in honor of the first Lord of the Admiralty, John Montagu, the fourth Earl of Sandwich, whose name has remained in history thanks to the dish he invented - the sandwich.
The name Sandwich Islands was used only in the 18th and early 19th centuries. Then the archipelago got its name from the largest island - Hawaii. The main part of the islands of the archipelago has been the fiftieth state of the United States since 1959.
Hawaiian Islands as seen from space. Photo: wikipedia. org
NORFOLK
The island was discovered by Captain James Cook in 1774 during his voyage through the Southwest Pacific Ocean. It was small inhabited island in the Pacific Ocean, located between Australia, New Caledonia and New Zealand.
Despite the "resort" weather conditions, since 1788, Norfolk began to be used as a place of exile for prisoners from England. The fact is that the island is practically not protected from storms and hurricanes, so it is problematic to escape from it. In 1814, the colony was abandoned as a costly one, but in 1825 the prison was again restored, and both political and criminal offenders were placed in it. In 1854 the prison was finally closed.
Norfolk. Photo: Science Museum/Global Look Press
NEW CALEDONIA
The island of New Caledonia was discovered by Cook in 1774 and named after the ancient name of his ancestors' homeland of Scotland - Caledonia. It is represented by a large island of the same name and a group of small islands in the southwestern part of the Pacific Ocean, in Melanesia.
Active penetration of Europeans into New Caledonia began in the 1840s. France claimed the islands of New Caledonia as its possession in 1853, and from 1864 to 1896 the French government sent convicted criminals to this colony.
Now New Caledonia is an overseas special administrative-territorial entity of France.
New Caledonia, as seen from space. Photo: wikipedia. org
TUBUAI
The Tubuai Islands, or Austral Islands, were discovered by Cook in 1777. The group is located in the Pacific Ocean, in Polynesia. It consists of seven islands, five - Tubuai proper (volcanic Tubuai, Rurutu, Rimatara, Raivavae and one low Maria atoll) and two more - Bass Islands (Rapa Iti and Marotiri).
Today, Tubuai is considered one of the best places in French Polynesia for a quiet and unhurried holiday in the lap of nature. 
Tubuai Islands as seen from space. Photo: wikipedia. org
NIUE
Niue, or Savage, is an island in the South Pacific Ocean, in Polynesia, east of the Tonga Islands. The island was opened to Europeans in 1774. Cook named it Savage, or "Savage Island". In 1900, Niue fell under the protectorate of the British Empire, and in 1901 was annexed by New Zealand. Niue became self-governing in 1974 public education in partnership with New Zealand.
Niue island. Photo: wikipedia. org
MANUAE
Manuae is an island in the Pacific Ocean, part of the Southern Group of the Cook Islands. It was opened on September 23, 1773. Captain Cook gave it the name Sandwich Island, but later he decided to give this name to the Hawaiian Islands. Thus, the island was renamed and named Harvey after Admiral Augustus Harvey. However, in 1824, the Russian navigator Kruzenshtern suggested renaming the islands in honor of Cook, who discovered them.
The modern name of the island of Manuae translates as "house of birds" - birds were found on the island in large numbers.
Manuae Island, as seen from space. Photo: wikipedia. org
RAVAJERE
Rawahere is an atoll in the Tuamotu archipelago (French Polynesia, Pacific Ocean) in the Dieu Group group of islands. It was opened in 1768. total area the atoll is 7 km?. In the center is a lagoon, completely isolated from ocean waters. Ravajere is about 16 km long and 4 km wide.
Currently, the atoll is uninhabited, the island is completely lacking infrastructure.
Ravajere, photographed from space. Photo: wikipedia. org
PALMERSTON
Palmerston is an atoll in the Pacific Ocean, which was discovered by Cook on June 16, 1774, during his second voyage. However, he landed on the island only on his third voyage on April 13, 1777. The island was uninhabited at that time, although 12 old graves were found on it. The island was named by Cook in honor of the second Lord Palmerston.
Being a typical coral atoll, Palmerston consists of 35 sandy islands located within the coral reef surrounding the lagoon.
Palmerston, photographed from space. Photo: wikipedia. org
ANAA
Anaa is an atoll in the Tuamotu archipelago (French Polynesia), 350 km east of the island of Tahiti. The island was discovered in 1769. At the beginning of the 19th century, Anaa became part of the Pomare Kingdom. In the 1850s, copra production and pearl fishing developed on the island. TO mid-nineteenth century, the population of the atoll reached almost 2 thousand people. However, during the numerous clashes between the followers of Catholicism and the Mormons, as well as the intervention of the French troops, the population of Anaa was significantly reduced.
The island is oval in shape and consists of 11 small islets, or motus, surrounding a shallow lagoon.
Anaa, image from space. Photo: wikipedia. org
James Cook is one of the greatest discoverers of the 18th century. A man who led as many as three round-the-world expeditions, discovered many new lands and islands, an experienced navigator, explorer and cartographer - that's who James Cook is. Read about his travels in this article.
Childhood and youth
The future navigator was born on October 27, 1728 in the village of Marton (England). His father was a poor farmer. Over time, the family moved to the village of Great Ayton, where James Cook was educated at a local school. Since the family was poor, James's parents were forced to give him as an apprentice to a shopkeeper who lived in the small seaside town of States.
As an 18-year-old boy, James Cook, whose biography tells of him as a hardworking and purposeful person, left his job with a shopkeeper and got hired as a cabin boy on a coal ship. Thus began his career as a sailor. The ship on which he went to sea for the first few years, mainly plying between London and England. He also managed to visit Ireland, Norway and the Baltic, and almost all of his free time devoted to self-education, being interested in such sciences as mathematics, navigation, astronomy and geography. James Cook, who was offered a high position on one of the ships of the trading company, chose to enlist as an ordinary sailor in the British Navy. Later he took part in Seven Years' War, and upon its completion established himself as an experienced cartographer and topographer.
First trip around the world
In 1766, the British Admiralty decided to send a scientific expedition to the Pacific Ocean, the purpose of which was various observations of cosmic bodies, as well as some calculations. In addition, it was necessary to study the coast of New Zealand, discovered by Tasman back in 1642. James Cook was appointed the leader of the voyage. His biography, however, contains more than one journey in which he played a leading role.
James Cook sailed from Plymouth in August 1768. The expedition ship crossed the Atlantic, rounded South America and went out to the Pacific Ocean. The astronomical assignment was completed on the island of Tahiti on June 3, 1769, after which Cook sent the ships in a south-westerly direction and four months later reached New Zealand, the coast of which he thoroughly explored before continuing the journey. Then he sailed towards Australia and, finding which at that time was not known to Europeans, rounded it from the north and on October 11, 1970 sailed to Batavia. In Indonesia, the expedition suffered an epidemic of malaria and dysentery, which killed a third of the team. From there, Cook headed west, crossed the Indian Ocean, circled Africa, and on July 12, 1771, returned to his homeland.
Second trip around the world
In the autumn of the same year, the British Admiralty again started another voyage. This time his goal is to explore the still unexplored parts southern hemisphere and the search for the alleged southern continent. This task was entrusted to James Cook.
Two ships of the expedition sailed from Plymouth on July 13, 1772, and on October 30 landed in Kapstadt (now Cape Town), located in southern Africa. After staying there for a little less than a month, Cook continued to sail in a southerly direction. In mid-December, travelers stumbled upon solid ice that blocked the way for ships, but Cook was not going to give up. He crossed the Antarctic Circle on January 17, 1773, but was soon forced to turn the ships to the north. Over the next few months, he visited several islands in Oceania and the Pacific, after which he made another attempt to break through to the south. On January 30, 1774, the expedition managed to reach the southernmost point of its voyage. Then Cook again headed north, visited several islands. James Cook, whose biography is full of discoveries, this time stumbled upon new islands. Having completed his research in this region, he sailed east and landed on Tierra del Fuego in December. The expedition returned to England on July 13, 1775.
Upon completion of this voyage, which made Cook very famous throughout Europe, he received a new promotion, and also became a member of the Royal geographical society, which also awarded him a gold medal.
Third trip around the world
The purpose of the next voyage was to search for a northwestern route from the Atlantic to the Pacific Ocean. The journey of James Cook began in Plymouth, from where, on July 12, 1776, an expedition consisting of two ships left under his leadership. The navigators arrived in Kapstadt, and from there they went to the southeast and by the end of 1777 they had visited Tasmania, New Zealand and other places. In mid-December of the following year, the expedition visited the Hawaiian Islands, after which it continued to follow north, where Cook sent ships along the coast of Canada and Alaska, crossed and soon, finally stuck in solid ice was forced to turn back south.
James Cook is one of the most famous English navigators, who was born in 1728 into a poor farming family. This brave traveler was able to swim three times Earth and discover several islands and archipelagos.
Discoveries of James Cook
The expedition of 1768 turned out to be a huge success for James Cook, because during it he discovered Australia. He made a thorough exploration of its east coast. He also discovered the Great Barrier Reef, which is famous all over the world today.
Already at the beginning of 1772, James Cook assembled a new expedition. During it, he decided to set sail in the Pacific Ocean. His main goal was to find the southern mainland. The result of this large-scale expedition was a swim in the Amundsen Sea, a three-time crossing of the Antarctic Circle and the discovery of the South Sandwich Islands, which were described in detail by the navigator and subsequently marked on the map.
Cook's third expedition took place in 1776-1779. During this time, he managed to discover and map the Hawaiian Islands, and also obtained indisputable evidence that there is a strait between Asia and America. However, it was this expedition that cost the navigator his life. During it, the natives attacked Cook and took him prisoner, where he was killed. Later they gave the crew members his body, which was given to the sea.
Find out more about how James Cook discovered Australia and why he gave it that name in our other articles.
Mily Balakirev started playing the piano when he was four years old. At the age of 25, he headed the Mighty Handful of Composers and ran the Free Music School. Balakirev's works were known in many cities of Russia and Europe.
"Healthy flowers on the basis of Russian music"
Mily Balakirev was born in 1837 in Nizhny Novgorod, his father was a titular adviser. Balakirev became interested in music in early childhood. Already at the age of four, he learned to play the piano under the guidance of his mother, later he took lessons from the conductor Carl Eisrich, Spanish composer John Field and music teacher Alexander Dubuque.
Young pianist met a Nizhny Novgorod philanthropist and famous writer Alexander Ulybyshev. In his house, Mily Balakirev got into creative environment: writers and artists met here, actors Mikhail Shchepkin and Alexander Martynov were guests, for a long time composer Alexander Serov lived. At Ulybyshev's house, Miliy Balakirev studied musical literature and scores, performed with a house orchestra - first as a pianist, and then as a conductor.
In 1854, Balakirev, at the insistence of his father, entered as a volunteer at the Faculty of Mathematics of Kazan University. He dropped out after a year to pursue music. Mily Balakirev began to write his first works - romances and piano pieces. Soon the aspiring composer left with Alexander Ulybyshev for St. Petersburg, where he met Mikhail Glinka. On the advice of Glinka, Balakirev began performing at concerts as a pianist and writing his own music with folk motifs. He composed overtures on Russian and Czech themes, music for Shakespeare's tragedy "King Lear" and romances, which the composer Alexander Serov called "fresh healthy flowers on the soil of Russian music."
Balakirev Circle and Free Music School
During these years, Mili Balakirev met Caesar Cui, Modest Mussorgsky, Nikolai Rimsky-Korsakov and Alexander Borodin. In 1862 they formed the "New Russian Musical School" circle, which the critic Vladimir Stasov nicknamed "The Mighty Handful". The composers of the Balakirev circle studied folklore and church singing in order to use folk motives in essays. Fairy-tale and epic plots appeared both in symphonic works and in chamber music. vocal creativity each participant mighty handful". Balakirev traveled a lot in search of new topics. From a trip to the Volga, he brought the idea of a collection of "40 Russian songs", and from the Caucasus - developments for the piano fantasy "Islamey" and symphonic poem"Tamara".
None of the composers of the circle studied at the conservatory: they did not exist then. Cui, Rimsky-Korsakov and Mussorgsky received a military education, and Borodin was a chemist with a doctorate in medicine. Mily Balakirev evaluated the compositions of his comrades and made recommendations. Rimsky-Korsakov wrote: "... a critic, namely a technical critic, he was amazing." Balakirev at that time was considered an experienced composer and was the leader of the circle.
“Balakirev was obeyed unquestioningly, for his personal charm was terribly great. ... Every minute ready for excellent improvisation at the piano, remembering every measure known to him, memorizing the compositions instantly played to him, he had to produce this charm like no one else.
Nikolai Rimsky-Korsakov
In the year of the formation of the Mighty Handful, Mili Balakirev, with conductor Gavriil Lomakin, opened the Free music school". Residents of both capitals were engaged here without social and age restrictions "to ennoble their aspirations and to make them decent church choirs... and also for the development of new talents from them through the preparation of soloists. Students were taught singing, musical literacy and solfeggio. Concerts of "new Russian music" - Mikhail Glinka, Alexander Dargomyzhsky and composers of the "Mighty Handful" were held here. The proceeds from the concerts went to the development of the school.
World famous soloist of the "Weimar Circle"
In the 1870s, Mily Balakirev became one of the most respected musicians in St. Petersburg. He was invited to conduct at the Imperial Russian musical society. Here, too, the music of the composers of The Mighty Handful sounded, the premiere of Alexander Borodin's First Symphony took place. However, two years later, Balakirev had to leave his post as a conductor: in court circles, they were dissatisfied with the composer's harsh statements about musical conservatism.
He returned to work at the Free Music School. Balakirev was pursued by material failures, there were no opportunities for creativity left. At this time, the "Mighty Handful" broke up: Balakirev's students became experienced and independent composers.
“While everyone was in the position of eggs under the hen (meaning Balakirev's last one), we were all more or less alike. As soon as the chicks hatched from the eggs, they were overgrown with feathers. Everyone flew where he was drawn by his nature. The lack of similarity in direction, aspirations, tastes, the nature of creativity, etc., in my opinion, is good and by no means sad side affairs".
Alexander Borodin
Mily Balakirev decided to leave musical art and got a job in the Office of the Warsaw railway. He earned money with piano lessons, but did not write music and did not perform at concerts, he lived in seclusion and seclusion.
Only in the 1880s did the composer return to the music school. During these years, he completed Tamara and the First Symphony, wrote new piano pieces and romances. In 1883-1894, Balakirev managed the Court Singing Chapel and, together with Rimsky-Korsakov, organized professional education musicians. The composer was a member of the Weimar Circle, which met with Academician Alexander Pypin. At these evenings, Balakirev performed entire musical programs with his own comments. According to the memoirs of the academician's daughter, only in 1898-1901 there were 11 such programs in his repertoire. Symphonic music Milia Balakireva during these years was known throughout Russia and abroad - in Brussels, Paris, Copenhagen, Munich, Heidelberg, Berlin.
Mily Balakirev died in 1910 at the age of 73. He was buried at the Tikhvin cemetery of the Alexander Nevsky Lavra.
Balakirev M. A.
Mily Alekseevich (21 XII 1836 (2 I 1837), Nizhny Novgorod, now Gorky - 16 (29) V 1910, Petersburg) - Russian. composer, pianist, conductor, musical society. figure. Fp game. taught by hand. mothers, several took lessons from A. I. Dubuque and K. K. Eisrich. Muses. B.'s development was facilitated by rapprochement with A. D. Ulybyshev, in whose house B. got acquainted with the muses. lit-swarm, including the works of M. I. Glinka, F. Chopin. To the music In the evenings hosted by Ulybyshev, B. began performing as a pianist and conductor. In 1853-55 he lived in Kazan, was a volunteer in mathematics. Faculty of Kazan University, continued to give concerts, gave piano. lessons.
An important event in the life of B. - moving to St. Petersburg (late 1855) and meeting with M. I. Glinka, a follower of whom he becomes. In 1856, B. made his debut in St. Petersburg as a pianist and composer (performed a concerto for piano and orchestra). Between 1856 and 1862 B. became friends with Ts. A. Cui, M. P. Mussorgsky, N. A. Rimsky-Korsakov, A. P. Borodin, and the critic V. V. Stasov, who had a noticeable influence on the formation of the ideological and aesthetic . V.'s positions, who introduced him to the revolutionary-democratic. liter swarm. In the beginning. 60s 19th century under the hand B. formed muses. circle known as "New Russian Music School", Balakirev Circle, "Mighty Handful". Thanks to dedication and arts. initiative, creative and performing experience, B. enjoyed great prestige among the members of the circle.
In the 50-60s. B. created "Overture on the Spanish March" (1857), "Overture on topics of three Russian Songs" (1858), music for W. Shakespeare's tragedy "King Lear" (1858-61), overture "1000 years" (1864), romances, piano plays. These works develop the traditions of Glinka, especially his symphonic music In 1862 B., together with G. Ya. Lomakin, organized the Free Music School (BMSh), which became the center of mass musical education and enlightenment.B. established permanent concerts of the BMSh, in which he promoted the works of Russian (especially young) composers Glinka and foreign romantic composers (G. Berlioz, F. Liszt, R. Schumann).In the 2nd half of the 60s, B., at the invitation of Czech musicians, visited Prague, directed the production of the opera "Ruslan and Lyudmila" , conducted the opera A Life for the Tsar (1867).In 1867-69 he was the chief conductor of the RMS, changing the former conservative nature of its final programs.
The rise of the music B.'s activity is associated with the 60s. In the 70s. he experienced a long mental crisis caused by a series of failures in his musical society. activities and personal life. B. moves away from the BMSh, ceases to compose, act as a performer, breaks friendly ties with members of the circle. At the same time, he draws closer to the church circles of St. Petersburg, shows a religiosity that was previously unusual for him.
In the beginning. 80s B. returns to the music. activity, which, however, has lost its former scope and militant "sixties" character. In 1881-1908 he again headed the BMSh, at the same time (1883-94) he was the director of the Pridv. chanter chapels. He took part in musical societies. life: contributed to the perpetuation of the memory of Glinka (the opening of a monument in Smolensk, 1885) and Chopin (the opening of a monument in Zhelyazova-Vola, 1894). The performances of the B. pianist acquired a chamber character (he played only at private musical evenings). B.'s closest friend and follower was S. M. Lyapunov. In 1880-1900 B. created a symphony. the poem "Tamara" (c. 1882, begun in the 60s), 2 symphonies (1st - 1897, begun in the 60s; 2nd - 1908), pl. romances, fp. Prod., "Glinka's memory cantata" (1904, performed in 1906, written for the opening of the monument to Glinka in St. Petersburg). During these years, he was engaged in the processing and editing of most of his major works of the early period. His new products testified to the growth of composer's skill, but at the same time, to a certain fading of talent.
The most important feature of creativity B. - bright nat. specificity. Nar. images (everyday or epic), paintings Rus. life, nature pass through most of its products. The composer is also distinguished by the traditional for Russian. music, interest in the theme of the East (more precisely, the Caucasus) and Nar. music cultures of other countries (Polish, Czech, Spanish). B. constantly studied music. folklore, especially Russian. Rich material gave B. a trip along the Volga, undertaken in 1860 with the aim of recording bunks. songs, the result of it was Sat. "40 Russian folk songs for voice with FP." (published in 1866) - the first classic. a sample of this genus in the history of Russian. music folklore. 2nd Sat. - "30 Russian folk songs for piano in 4 hands" (1898) was created on the basis of material collected by the song expeditions of Rus. geographical about-va. With enthusiasm for folklore is associated with an abundance in production. B. genuine people. melodies and close to them author's themes of genre-song or dance. character. For example, overtures in Russian. nar. themes, symphonies (especially the 1st), wok. essays. Trips to the Caucasus, acquaintance with its folklore brought to life colorful east. music images (poem "Tamara", fantasy fantasy "Islamey", "Georgian Song", etc.). And in this B. continued creativity. Glinka's principles.
B.-lyricist is characterized by the embodiment of contrasting emotions: ardent passion, ardor are replaced by lazy languor, calm daydreaming. Restrained lyricism prevails in later compositions. contemplative moods associated with a philosophical perception of nature or with memories of the past.
Main sphere of creativity B. - instr. music (symphonic and piano). Developing after Glinka genre folk. symphonism (the first major work of this kind - "Overture on the themes of three Russian songs"), B. sought to enrich the epic overture genre. elements (use of epic tunes, melody ancient character, bordering the central, mobile in terms of genre and everyday sections with slow epic episodes. warehouse). He addressed the premier. To historical subjects trying to recreate the majestic image of the people. This is his second Russian. overture - "1000 years" (written for the opening of the monument "Millennium of Russia" in Novgorod; in the 2nd edition - symphonic poem "Rus"), in lit. program to which the author wrote about his intention to capture certain moments of Russian in the music of the poem. history (pagan Rus, Moscow, Cossack).
The birth of the Russian genre is associated with the name of B. epic symphonies. In the 60s. B. began to work on the 1st symphony. At the same time, he took part in the creation of the symphonies of Borodin and Rimsky-Korsakov. Russian principles. epic symphonies were produced in joint. creative searches of these composers.
B. worked preim. in the field of program symphonism. The best example of symphony. B.'s poems - "Tamara" (based on the poem of the same name by M. Yu. Lermontov, dedicated to F. Liszt). Built on the original music. material pictorial-landscape and folk-dance. character, "Tamara" is stylistically related to program symphonies, poems by F. Liszt - the creator of this genre. At the same time, it is associated with the work of Glinka (" Eastern dance"from the opera "Ruslan and Lyudmila"). In "Tamara" clearly appeared personality traits symp. B. style: the brightness of the sonorous and national-characteristic (Caucasian) color, the free comparison of diverse and colorful muses. paintings (night Daryal Gorge, a festival in Tamara's castle, a morning mountain landscape). Dr. B.'s type of program symphony is the music for Shakespeare's tragedy King Lear. (The first classical work of this kind in Russian music was Glinka's Prince Kholmsky.) This work by B. opened the Shakespearean theme in the work of Russian. composers (works by P. I. Tchaikovsky, D. D. Shostakovich, S. S. Prokofiev based on the stories of Shakespeare).
B. - one of the first Russian. composers, widely used in piano. music large concert-virtuoso forms. Among his fp. prod. stands out east. fantasy "Islamey" (1869), characterized by original thematic. material (genuine oriental themes), breadth and symphony of design, a combination of European. conc. style with specific features of the East instr. color. This virtuoso brilliant piece - milestone in the development of Russian pianism. B.'s appeal to the rvmantic genres is also characteristic. fp. music (mazurkas, waltzes, nocturnes, scherzos), indicating closeness to F. Chopin. Means. part of fp. B.'s heritage is made up of transcriptions and arrangements (for piano in 2 and 4 hands) produced. other composers (M. I. Glinka, V. F. Odoevsky, L. Beethoven, G. Berlioz).
Chamber wok. B.'s writings are a kind of link between Russian. romance of Glinka, Dargomyzhsky and Russian. wok. lyrics 2nd floor. 19th century The romances of the early period are distinguished by their freshness and novelty. Some of them - the fantastic-landscape "Song of the Goldfish", the lyrical "Frenzy", "Come to Me", "oriental" romances ("Selim's Song", "Georgian Song") - are the first examples of this type in wok. music of the composers of the Balakirev circle. The best romances of B. were written to the texts of M. Yu. Lermontov, A. V. Koltsov, A. A. Fet, A. K. Tolstoy, A. M. Zhemchuzhnikov.
Prod. B. often contain stylistic. contradictions: the originality of the musical and poetic. ideas and richness of music. fantasies are combined in them with looseness and insufficient integrity of the form (predominantly large). This manifested both the individual properties of the composer's talent and the features of his work. process - duration. breaks in work, as a result of which B. had to re-"get used" to the production. Related to this is also the duality of history. the fate of his work: B. at first went ahead of his comrades in the circle, confidently outlined the path of development of Russian. music after Glinka, but in comparison with other representatives of the "Mighty Handful" B.'s achievements were more modest, especially since his capital works appeared after Borodin's symphonies and program symphonies. works of Rimsky-Korsakov. However, this does not detract from the importance of B. as the leader of the "New Russian. Music School", as the author of the works included in the Russian. music 19th century classic
Key dates of life and activity
1836. - 21 XII. In the family of an employee from Nizhny Novgorod. The salt reign of A. K. Balakirev was born the son of Mily. 1844. - Classes with mother Elizaveta Ivanovna (fp.).
1846. - A trip with his mother to Moscow, 10 lessons from A. I. Dubuc, "from whom he first learned the correct methods of playing the game" (Autobiography). - Admission to Nizhegorsk. provincial high school.
1851. - Continuation of previously begun studies with K. K. Eisrich. - Familiarity with production. F. Chopin. - First meeting with the computer. and pianist I. F. Laskovsky. - The beginning of performances at the music. evenings of A. D. Ulybyshev (as a pianist, then a conductor).
1852. - The first composer's experiments.
1853. - Graduated from the Alexander Noble Institute. - Moving to Kazan, enrollment as a volunteer at the Kazan University in Physics and Mathematics. Ph.D. - Continuation of composing and performing activities.
1855.-XII. Arrival to Petersburg. - Acquaintance with M. I. Glinka, A. S. Dargomyzhsky, later - with A. N. Serov. Glinka's review: "Balakirev is a very efficient musician."
1856. - Acquaintance with Ts. A. Cui, V. V. Stasov, and also with S. Monyushko. - 12 II. First performance in St. Petersburg (Spanish 1st part of his concerto for piano and orchestra at the musical matinee of St. Petersburg University, conductor K. B. Schubert).
1857. - Acquaintance with MP Mussorgsky.
1858. - The appearance in the press of B.'s works (romances), as well as op. prod. I. F. Laskovsky, ed. B. - A trip to Moscow, the idea of "Symphony in honor of the Kremlin." - 21 XII.
Use "Overtures on the themes of three Russian songs".
1859. - Acquaintance with T. G. Shevchenko, H. P. Shcherbina. - 15 XI. Use overture "King Lear" at a concert in St. Petersburg. university
1860. - Acquaintance with L. A. Meem, I. S. Turgenev. - VI-VII. A trip together with N. F. Shcherbina and N. A. Novoselsky along the Volga (from Nizhny Novgorod to Astrakhan), recording nar. songs.
1861. - Ideas (unrealized) major works (Requiem, 2nd symphony "Mtsyri", "Russian Symphony"). - Acquaintance with H. A. Rimsky-Korsakov.
1862. - Organization and opening (with the participation of B.) Free music. schools (BMSh). - VI-VIII. Trip to the Caucasus. - XI. Acquaintance with A.P. Borodin. - The final formation of the Balakirev circle.
1863. - Performance B. as a conductor in the first concert of the BMSh. - VI-IX. The second trip to the Caucasus, recording Nar. music.
1864. - The idea (not realized) of the opera "The Firebird".
1866. - A trip to Prague. Meetings with representatives of the Czech Republic. intelligentsia (B. Smetana and others). Acquaintance with Nar. music.
1867. - Second visit to Prague. - 4 II. Use in the Prague T-re under control. B. Glinka's opera "Ruslan and Lyudmila". - 29 I. B. conducted Glinka's opera A Life for the Tsar. - X. Beginning conducting activity in RMO. - XI. Acquaintance with G. Berlioz.
1868 - Acquaintance with P. I. Tchaikovsky, N. G. Rubinstein. - VI-XI. Third trip to the Caucasus.
1869 - IV. B. removed from the leadership of the RMS concerts. - XI. Use N. G. Rubinstein's fantasy "Islamey" in the concert of the BMSh.
1870. - Acquaintance with T. I. Filippov, poets A. M. and V. M. Zhemchuzhnikovs.
1872. - Termination of BMSh concerts. - Entering the service in the Store Department of the Warsaw railway. d.
1873. - I. Admission to the post of inspector of music in women. Mariinsky Institute. - XII. Leaving BMSh (N. A. Rimsky-Korsakov became B.'s successor).
1875. - Departure from the Mariinsky Institute, enrollment in the position of inspector of music. classes of women study of St. Helena.
1876. - Gradual return to music. activities.
1877. - Editing of Glinka's opera scores (together with N. A. Rimsky-Korsakov and A. K. Lyadov).
1881. - Return to the BMSh. - Beginning work on editing their previously written essays.
1882. - The resumption of concerts of the BMSh under the control. B. (17 III for the first time used. Glazunov's 1st symphony). - XII. Performance in a concert from the production. Glinka in favor of erecting a monument to him in Smolensk.
1883. - 3 II. Resignation from the post of inspector of music. classes at wives. study of St. Helena. - Appointment of B. as the manager of the Pridv. chanter chapel. - III. Use under. ex. B. symp. poems "Tamara" (in the concert of BMSh). - IX. Participation in the celebrations associated with the laying of the monument to Glinka in Smolensk.
1884. - Acquaintance with S. M. Lyapunov. - Correspondence of B. and F. Liszt in connection with the dedication of the poem "Tamara" to Liszt. - II. Awarded to B. Glinkinskaya Pr. for "Overture on the themes of three Russian songs".
1885. - V. Concert under control. B. in Smolensk in honor of the opening of the monument to Glinka.
1887. - Music. evenings at B. with a new composition of visitors (Lyapunov, students of the Admiral Singing Chapel, etc.). - The beginning of B.'s constant performances at the music. evenings in the house of A. N. Pypin. - III. Anniversary concert BMSh. - Appointment of B. a lifetime pension (on the day of the 25th anniversary of the BMSh).
1889.-IX. The first isp. prod. B. abroad ("Overture on the themes of three Russian songs", conductor. N. A. Rimsky-Korsakov, Paris).
1890. - Beginning of correspondence with the French. music critic and comp. L. A. Burgo-Ducudre, who received from B. Nar. themes recorded in the Caucasus.
1891. - IX. Trip to Poland. Visit Zhelyazova Volya.
1894. - Participation in the celebrations in Zhelyazova-Vola, dedicated. the opening of a monument to Chopin (at the initiative of B.). - X. Performance in concert (Warsaw). - 20XII. Dismissal from service in the Pridv. chanter chapel, retirement. - The first isp. in Paris symphony. poem "Tamara" (conductor Ch. Lamoureux).
1897. - Publication of B. Kalensky's book "Bedrich Smetana and Mily Balakirev, their importance for the development of Slavic music, their personal and artistic connections" (Prague, 1897).
1898. - Honoring B. in connection with the 30th anniversary of the BMSh. - III. B. became a member of the commission for the compilation and publication of Russian. nar. songs collected by expeditions Rus. geographical about-va. - 11 IV. Use in a concert of the BMSh under control. B. his 1st symphony.
1899. - Concert under control. B. in Berlin on the occasion of the opening of a memorial plaque on the house in which Glinka died.
1900. - Editing of the score of "Te Deum" by Berlioz.
1902. - Beginning of editing collection. op. Glinka (together with S. M. Lyapunov).
1904. - Termination of public speaking.
1906. - Spanish. cantatas B. at celebrations, dedicated. the opening of the monument to Glinka in St. Petersburg.
1908. - Refusal of the leadership of the BMSh (S. M. Lyapunov became B.'s successor). - Editing of F. Chopin's compositions.
1910. - 16 V. Death of B. in St. Petersburg.
Compositions : for choir with orc. - Cantata in memory of Glinka (1904); for orc. - 2 symphonies (C-dur, 1864-97; d-moll, 1907-08), Overture on the theme of the Spanish march (d-moll, 1857, 2nd edition - Spanish Overture, 1886), Overture on the themes of three Russians songs (h-moll, 1858, 2nd edition - 1881), music. picture of 1000 years (second overture on Russian themes, Des-dur, 1863-64, 2nd ed. - symphonic poem Rus, 1887, rev. 1907), Czech overture (Fis-dur, 1867, 2nd ed. - symphonic poem In the Czech Republic, 1905), symphonic poem. poem Tamara (1882), Suite in 3 parts (h-moll, Pryambule, Quasi Valse, Tarantella, 1901-09, completed by S. M. Lyapunov), music for Shakespeare's tragedy "King Lear" (overture, procession, intermissions , 1858-61, 2nd edition - full score, including 2 versions of the Procession, Dream of Kent, interlude, military music, symphonic battle scene, melodrama, trumpet and drum signals, 1905); for fp. with orc. - Concerto No 1 (fis-moll, Part I, 1855, score published by M., 1952), Concerto No 2 (Es-dur, 1861-62, 1909-10, completed by S. M. Lyapunov), Grand Fantasy to Russian national tunes, op. 4 (Des-dur, 1852, ed., M., 1954); chamber ensembles - octet for flute, oboe, horn, skr., viola, vlch., k-bass, fp., op. 3 (c-moll, 1850-56, score ed. M., 1959); for fp. in 2 hands - fantasy Islamei (1869), 1st sonata (b-moll, 1856-57), sonata (b-moll, 1905), sonata (C-dur, 1909), 3 scherzos, 7 mazurkas, 3 nocturnes , 7 waltzes, various pieces (including Polka, In the Garden, Dumka, etc.), M. A. Balakirev, Poln. coll. op. for fp. in 3 vols. ed. K. S. Sorokina. Moscow, 1952. for fp. in 4 hands - 30 Russian folk songs (sample 30 songs of the Russian people for one voice with piano accompaniment from those collected in 1886 by G. O. Dyutshem and R. M. Istomin, harmonized by Mily Balakirev, 1898), Suite in 3 hours (Polonaise, Song without words, Scherzo, 1909), On the Volga (1868, ed., M., 1948); op. on the themes of other composers - Recollection of the opera "Life for the Tsar" by M. Glinka. Fantasia, 1899 (1st ed. - Fantasia for piano on motifs from the opera "A Life for the Tsar" by M. Glinka, 1854-56), impromptu on the themes of Chopin's 2 preludes (es-moll and h-moll), Spanish Serenade on themes recorded by Glinka (1856); transcriptions and translations. for fp. in 2 hands - Glinka (Lark, Jota of Aragon, Kamarinskaya, Don't Speak), P. Zapolsky (Dreams), A. S. Taneev (2 waltzes-caprices), G. Berlioz (overture "Flight to Egypt": 2nd part of the oratorio "The Childhood of Christ"), L. Beethoven (cavatina from the string quartet, B-dur, op. 130; Allegretto from the string quartet, op. 59 No 2), F. Chopin (Romance from the 1st concert , op. 11); in 4 hands - G. Berlioz (Harold in Italy), A. F. Lvov (overture to the opera "Ondine"); for 2 fp. in 4 hands - Glinka (Prince Kholmsky, Night in Madrid), L. Beethoven (quartet in f-moll, op. 95); for voice with fp. - 20 romances (1857-65), 10 romances (1895-96), romances (1903-04), 3 forgotten romances (You are full of captivating bliss, Link, Spanish song, 1855, ed. 1908), Two posthumous romances (Dawn , Utes; 1909); M. Balakirev. Romances and songs. Ed. and intro. Art. G. L. Kiseleva. Moscow, 1937. Collection of Russian songs (40) (1865, ed. 1866); trans. for voice with orc. - Dargomyzhsky (Paladin, Oh, rose maiden), Glinka (Night review, Oh, my wonderful maiden), own. prod. (Georgian song, chorus, dream); for choir a cappella - Hymn in honor of St. led. book. Vladimirsky Georgy Vsevolodovich, the founder of Nizhny Novgorod, composed on the occasion of the celebration of the seven hundredth anniversary of his birth by Nizhny Novgorod residents (1189-1889), spiritual and musical. trans. and op. (M., 1900) and others; trans. for chorus a cappella - Glinka (Venetian night, Lullaby), Chopin (mazurkas, op. 6, No 4; op. 41, No 4); instrumentation op. other composers - N. V. Shcherbachev (two pieces for piano: Two Idylls ... (B.'s name is not indicated in the publication)), A. Lvov (overture to the opera "Ondine"), Glinka (Original Polka) , Chopin (concert in e-moll, Suite from Op. Chopin); editions of Op. other authors, including operas and symphonies. prod. M. I. Glinka, op. op. I. F. Laskovsky, sonatas by F. Chopin, some originals. prod. and transcriptions by F. Liszt, Te Deum by G. Berlioz, prod. K. Tausiga. Literary writings
: Autobiographical note by M. A. Balakirev (from his letters to N. Findeisen in 1903 and 1907), "RMG", 1910, No 41; Anniversary of Henselt (signed - Valerian Gorshkov), "New Time", 1888, March 12, No 4323. Letters: Letters from M. A. Balakirev to A. P. Arsenyev (1858-1862), "RMG", 1910 , No. 41, 42; Correspondence of M. A. Balakirev with P. I. Tchaikovsky, St. Petersburg, (1912); Letters of M. A. Balakirev to I. A. Pokrovsky, "RMG", 1916, No. 40, 44, 46, 49-52; Letters from M. P. Mussorgsky to M. A. Balakirev, in the book; Mussorgsky M.P., Letters and documents, M.-L., 1932; Letters of M. A. Balakirev to Ts. A. Cui, in the book: Cui Ts., Izbr. letters, L., 1955; Letters of M. A. Balakirev to B. Kalensky, in the book: From the history of Russian-Czech relations, M., 1955; Balakirev) M. A., Correspondence with N. G. Rubinstein and M. P. Belyaev, M., 1956; Balakirev M. A., Correspondence with the music publisher P. Jurgenson, M., 1958; Letters of M. A. Balakirev to A. P. Borodin, in the book: Dianin S. A., Borodin. Biography, materials and documents, M., 1960; Balakirev M. A., Memoirs and letters, L., 1962; Correspondence. A. Rimsky-Korsakov with M. A. Balakirev, in the book: Rimsky-Korsakov N., Lit. works and correspondence, vol. 5, M., 1963; Balakirev M. A. and Stasov V. V., Correspondence, vol. 1-2, M., 1970-71. Literature: G. T. (Timofeev G.), Essay on the development of Russian romance, M. A. Balakirev, "RMG", 1895, No 4; his own, Balakirev in Prague. From his correspondence, "Modern World", 1911, No 6; his own, M. A. Balakirev, "Russian Thought", 1912, No 6, 7; Findeizen N., Mily Alekseevich Balakirev, "RMG", 1895, No 1; his own (Nick. F.), Forgotten anniversary of M. A. Balakirev (on the 50th anniversary of his artistic activity, 1856-1906), "RMG", 1906, No 17; Boborykin P. D., Russian musician (In memory of a comrade), "Birzhevye Vedomosti", vech. issue, 1910, May 29, No. 11737; Lyapunov S., Mily Alekseevich Balakirev, "EIT", 1910, no. 7, 8; Shestakova L.I., From unpublished memories. My evenings, "RMG", 1910, No 41; her own, From unpublished memories of the New Russian School, "RMG", 1913, No 51-52; Chernov K., Mily Alekseevich Balakirev (based on memoirs and letters), Musical Chronicle. Articles and materials, ed. A. N. Rimsky-Korsakov, Sat. 3, L.-M., 1925; Glebov I., (Asafiev B.V.), Russian music from early XIX centuries, M., 1930; his own. There were three of them ... (From the era of the public upsurge of Russian music in the 50-60s of the last century), in the book: Asafiev B.V., Izbr. works, vol. 3, M., 1954; his, Russian music of the 19th and early 20th centuries, L., 1968; Kiselev G., M. A. Balakirev, M.-L., 1938; Gozenpud A., M. A. Balakirev (on the fortieth anniversary of his death), "SM", 1950, No 6; Serov A. N., Newly published musical compositions- Songs and romances of Balakirev, in the book: Serov A.N., Izbr. articles, vol. 1, M.-L., 1950; his own, Musical morning in the hall of St. Petersburg. un-ta, ibid., vol. 2, M.-L., 1957; Stasov V.V., Twenty-five years of Russian art. Our music, in the book: Stasov V.V., Izbr. soch., vol. 2, M., 1952; his own Art XIX century, ibid., vol. 3, M., 1952; Tchaikovsky P.I., Poln. coll. op. - Literary works and correspondence, v. 2, M., 1953; Rimsky-Korsakov N., Poln. coll. op. - Literary works and correspondence, v. 1, M., 1955; Gippius E. V., Collections of Russian folk songs by M. A. Balakirev, in ed.: Balakirev M., Russian folk songs, M., 1957; Kandinsky A., Symphonic works Balakireva, M., 1960; M. A. Balakirev. Research. Articles, L., 1961; Alekseev A.D., Russian piano music. From the origins to the heights of creativity, M., 1963; M. A. Balakirev. Chronicle of life and creativity (compiled by: 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 own, V Cechach. Symfonicka besen Milie Aleksejevice Balakirewa, "Samostatnost", (1906), No 53; Reiss E., Lieder von Mili Balakirew, "Die reddenden Künste", Jahrg. IV, 1897/98; Newmarch P., Mily Balakireff, "Sömmelbönde der internationalen Musikgesellschaft", Jahrg. IV, H. 1, 1902, Oktober-Dezember, S. 157-63; Calvocoressi M. D., Mili Balakirew, in: Masters of Russian music, L., 1936; Garden E., Balakirew. A critical study of his life and music, N. Y., 1967. A. I. Kandinsky.
Musical encyclopedia. - M.: Soviet Encyclopedia, Soviet composer. Ed. Yu. V. Keldysha. 1973-1982 .
