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). closest friend and S. M. Lyapunov became a follower of B.. 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. 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 themes three Russians songs"), B. strove to enrich the genre of the overture with epic elements (the 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 is the most important 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 " mighty handful"B.'s achievements turned out to be more modest, especially since his capital works appeared after Borodin's symphonies and Rimsky-Korsakov's program symphonic works. However, this does not detract from B.'s importance as the leader of the New Rus. music school", as the author of works included in the Russian musical classics of the 19th century.
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 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 Islamey (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 edition - 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 (Nik. F.), The 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), "Exchange Vedomosti", perpetual issue, 1910, May 29, No. 11737; Lyapunov S., Mily Alekseevich Balakirev, "EIT", 1910, no. 7, 8; Shestakova L. I., From unpublished memoirs. 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 under the editorship of A. N. Rimsky-Korsakov, Sat 3, L.-M., 1925; Glebov I., (Asafiev B. V.), Russian music from the beginning 19th century, 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 own, Russian music XIX and the beginning of the XX century, 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.
Music Encyclopedia. - M.: Soviet Encyclopedia, Soviet composer. Ed. Yu. V. Keldysha. 1973-1982 .
Mily Alekseevich Balakirev gained fame as a man who was better at creating great composers than great music. His "" is not as well known as "", and romances are lost in the shadow of vocal masterpieces. But if it were not for Balakirev, there would probably be no masterpieces, and there would be no Russian music in the form we know it now.
A native of Nizhny Novgorod, the son of a titular adviser, Balakirev showed musical ability already in childhood. His first piano teacher was his mother. When the boy was ten years old, his mother went with him to Moscow during the summer holidays, where Mily took several piano lessons from the composer Alexander Dubuc. Upon return to native city he began studying with the conductor and pianist Carl Eiserich.
Balakirev is studying at the Alexander Institute. a significant role played in his fate meeting with diplomat Alexander Ulybyshev. This man is an amateur musician, one of the first music critics, author of biography , introduced young man with classical literature, and in an amateur orchestra created by Ulybyshev, Balakirev masters in practice the basics of conducting and instrumentation. The orchestra's repertoire was rich - it even included Beethoven's symphonies.
In 1853, Balakirev entered Kazan University, but after a year he left it to study music. He creates romances as well piano works. Ulybyshev follows the progress of the young composer. In St. Petersburg, he introduced Mily Alekseevich. Mikhail Ivanovich approved of Balakirev's works and gave him some advice.
In the capital, Balakirev becomes famous as a performer-pianist, he continues to compose music. Soon he meets Caesar Cui and, and later with and. This is how a community of young composers arose, which the critic Vladimir Stasov later called "The Mighty Handful". None of these people received music education: officer, sailor, chemist, military engineer Cui, and even Balakirev himself, who became the soul of this community, did not study at the conservatory. But, perhaps, that is why they could say a new word in art, opposing the dominance of the West that reigned in professional music, works on a national basis.
Friends-composers gathered every week at Balakirev's, played a lot of works on the piano four hands - and, of course, demonstrated their own. Balakirev, in the words of , showed himself to be "an amazing technical critic", carefully analyzing all the works, and he played a decisive role in the self-education of his friends. But, of course, he did not limit himself to giving advice. By that time, he had already created two dozen romances, which were highly appreciated by Alexander Serov. His symphonic works, in particular the King Lear Overture, as well as piano pieces, gained fame.
Balakirev travels along the Volga and visits the Caucasus three times, during these trips he records folk songs. The result of communication with barge haulers on the Volga was the "Collection of Russian Folk Songs". Mily Alekseevich created an Overture on the themes of three Russian songs, conceived a symphony dedicated to the millennium of Rus', but this work was not completed. Caucasian impressions were reflected in the works created years later - "Islamee" and "".
In 1862, the composer, together with Gavriil Lomakin, created the Free Music School. The choir that existed in it made it possible to join the musical art to everyone. The orchestra conducted by Balakirev also participated in these concerts, including the creations of the Kuchkists in the programs. Conducted by Mily Alekseevich and concerts of the Russian musical society.
1870s became difficult for Balakirev: unfair suspension from the concerts of the RMO, material problems. All this leads to thoughts of suicide. Nevertheless, the composer did not do this, but came to the decision about “musical suicide” - he decides to abandon creativity forever. For some time he serves in the railway office, then earns private lessons. Only towards the end of the 1870s. he gradually comes to his senses: he again begins to communicate with friends, again heads the Free Music School, completes "", creates piano pieces and romances, and from 1883 for eleven years he headed the Court Singing Chapel. Through his efforts, an orchestra was created at the chapel.
Balakirev's music is performed not only in Russia, but also in Brussels, Berlin and Copenhagen.
Balakirev died in 1910. His last work- Suite for orchestra - remained unfinished, Sergei Lyapunov finished it.
Music Seasons
Balakirev Mily Alekseevich (1836/1837-1910), composer.
Born on January 2, 1837 (according to the new style) in Nizhny Novgorod. The first music teacher for Balakirev was his mother, who studied with her son from the age of four. True, Balakirev did not receive a musical education, having graduated in 1854 from the mathematical faculty of Kazan University. But he did not leave music, studying on his own, and from the age of 15 he began to perform in concerts as a pianist.
At the dawn of it musical career stood A. D. Ulybyshev, the first serious researcher of the work of W. A. Mozart. Together with him in 1855, Balakirev came to St. Petersburg, where he met M.I. Glinka. Soon, young talented musicians began to group around Balakirev, who was distinguished not only by his musical erudition, but also by his ability to subtly and accurately analyze works. This circle, which finally took shape in 1862, was subsequently called the "Mighty Handful". In addition to Balakirev, the association included M. P. Mussorgsky, N. A. Rimsky-Korsakov, Ts. A. Cui and A. P. Borodin.
Balakirev contributed to raising the level of musical education of his associates. “Since I am not a theoretician, I could not teach Mussorgsky harmony, but I explained to him the form of the composition ... the technical warehouse of works and he himself was occupied with the analysis of the form,” Balakirev wrote in a letter to V.V. Stasov, one of the ideologists of the circle.
In 1862, the Free Music School, Balakirev's favorite brainchild, was opened in St. Petersburg. From 1868 he became its director. 50-60s XIX years in. - the heyday of Balakirev's composing talent. At the opening of the monument to the Millennium of Russia in Novgorod, he wrote the overture "1000 years" (1864; revised into a symphonic poem "Rus" in 1887).
In 1869, the piano fantasy "Islamey" was completed, which became F. Liszt's favorite work. In addition, Balakirev wrote more than 40 romances to the verses of A. S. Pushkin, M. Yu. Lermontov, A. V. Koltsov. There was even an attempt to create the opera The Firebird, but the work remained unfinished.
A severe mental crisis that followed in 1874 after the refusal of the post of director of the Free School and was mainly associated with difficulties of a material nature led to the fact that Balakirev retired from all musical affairs for several years.
In 1881, at the request of the school council, he returned to the post of director, but he never fully recovered from his emotional experiences. The only significant essay last period- symphonic poem "Tamara" (1882), created on the plot of Lermontov. Nevertheless, the creative and social activities of Balakirev had a huge impact on further development Russian music.
Mily Alekseevich Balakirev is a Russian composer, pianist, conductor, musical and public figure, p.Born January 2, 1837 in Nizhny Novgorod in an impoverished noble family.
Mily Balakirev studied at the Nizhny Novgorod gymnasium, the Nizhny Novgorod Alexander Noble Institute.
Balakirev discovered his musical abilities in early childhood - his mother and older sister taught him to play the piano. Seeing her son's musical talent, his mother took him to Moscow, where he studied with the famous pianist Dubuc. He also briefly took lessons from John Field.
For financial reasons, classes in Moscow did not last long, the boy returned to Nizhny Novgorod and began taking music lessons from the conductor of the local theater orchestra, Karl Eisrich, who not only gave him basic information on music theory, but also introduced him to the local philanthropist Ulybyshev (the author of the first Russian monograph about Mozart), who had an excellent library. Balakirev was able to get acquainted with the best examples of classical world literature. In addition, he got the opportunity to work with Ulybyshev's home orchestra and learn the basics of instrumentation in practice, gain initial conducting skills.
In 1853-1855 Balakirev was a volunteer at the Faculty of Mathematics of Kazan University, earning his living by playing the piano lessons.
In 1855, Balakirev met in St. Petersburg with Glinka, who convinced the young composer to devote himself to composing music in the national spirit. Leaving for Berlin, Glinka gave him his portrait.
On February 12, 1856, Balakirev made his brilliant debut in St. Petersburg in a university concert as a pianist and composer, with his concerto Allegro (fis-moll). The orchestra was directed by Karl Schubert. “Balakirev is a rich find for our national music ”, Serov wrote, impressed by his performance.
The name of the young composer immediately becomes known in the musical circles of St. Petersburg. They write about him in the newspapers. Representatives of the nobility willingly invite him to take part in home concerts. However, he is not attracted by the role of a fashionable virtuoso, fulfilling the whims of noble patrons. He decisively breaks secular ties, although he dooms himself thereby to a life full of need and deprivation. Private music lessons remain his main source of livelihood. At that. At the same time, he devotes all his energy, all his strength to the struggle for meaningful, highly ideological musical art.
Balakirev became close friends with Stasov, in whom he found a sensitive, loving friend and ideological inspirer. Acquaintance with Dargomyzhsky also influenced him.
From the end of 1858 to 1861, Mili Balakirev was busy composing music for Shakespeare's tragedy King Lear. The impetus was new production tragedy on the stage of the Alexandria Theatre. Balakirev's music for King Lear, which, according to Stasov, belongs to “to the number of the highest and most capital creatures new music» , is distinguished by deep penetration into the character of Shakespearean drama, relief musical images and organic connection with stage dramaturgy. However, in the theater this music nevernotwas performed, and the overture, which acquired the character of a completely finished, independent work, became the first example of Russian program symphonism.
In the same period, the community of composers of the Mighty Handful was formed. Back in 1856, Balakirev met the young military engineer Cui, with whom he quickly became friends on the basis of common musical interests. In 1857 there was a meeting with a graduate of the military school Mussorgsky, in 1861 - with a seventeen-year-old naval officer Rimsky-Korsakov, and in 1862 - with a professor at the Medical and Surgical Academy in the Department of Chemistry Borodin. Thus the circle was formed. According to Rimsky-Korsakov, Balakirev “They obeyed implicitly, for his personal charm was terribly great. Young, with wonderful, mobile, fiery eyes, with a beautiful beard, speaking decisively, authoritatively and directly; every minute ready for excellent improvisation at the piano, remembering every beat known to him, memorizing compositions played to him instantly, he had to produce this charm like no one else..
Balakirev built classes with his fellow students according to the method of free exchange of creative thoughts. The works of all members of the circle were played and discussed together. Criticizing the writings of his friends, Balakirev not only pointed out how individual shortcomings should be corrected. Often he himself added whole pieces of music, instrumented, edited. He generously shared his creative ideas and experience with his friends, suggested topics and plots to them. great place in his classes he also took up the analysis of outstanding works of classics and contemporary composers. As Stasov wrote, Balakirev's conversations “For his comrades, they were like real lectures, a real gymnasium and university music course. It seems that none of the musicians equaled Balakirev in terms of the power of critical analysis and musical anatomy. The disputes that arose in the circle often went far beyond the purely musical questions. Problems of literature, poetry, and social life were hotly discussed.
Mily Balakirev was the first Russian musician to undertake an expedition to record songs on the Volga (summer 1860). He went on a steamboat from Nizhny Novgorod to Astrakhan together with the poet Shcherbina, a researcher and connoisseur of Russian folklore. Shcherbina wrote down the words, Balakirev - the melodies of folk songs.
A.K. Glazunov and M.A. Balakirev.
The first creative result of the trip was a new overture (or picture) on the themes of three Russian songs recorded on the Volga. Balakirev gave it the name "1000 years", and later, in 1887, after reworking it, he called it a symphonic poem "Rus". The external reason for the composition was the opening in 1862 in Novgorod of the monument "The Millennium of Russia".
Mily Alekseevich created new type musical arrangements reproducing original artistic means features of folk song art. In these adaptations, as well as in his own writings on folk themes, he boldly combined the clear diatonicism of a peasant song with the coloristic richness of contemporary romantic harmony, found unusual instrumental colors, new interesting development techniques that emphasized the originality of Russian song and recreated characteristic pictures folk life, nature.
A valuable contribution to the field of Russian musical ethnography is the Collection of Russian Folk Songs, published by Balakirev in 1866.
Balakirevvisited the Caucasus three times: in 1862, 1863 and 1868. Impressed by these travels, he wrote the piano fantasy "Islamey", main theme which was the melody of the Kabardian dance heard during the wanderings. As a result of these travels, Balakirev began working on the symphonic poem "Tamara".
March 18, 1862 Balakirev together with choral conductor Lomakin founded the Free Music School. This school at the first stages of its existence deployed wide activity. In the concerts organized by this school, vocal and choral pieces were conducted by Lomakin, and orchestral pieces by Balakirev. On January 28, 1868, after Lomakin's refusal to manage the school, Balakirev, as one of its founders, took over this work and, as a director, was in charge of the school until the fall of 1874.
Wagner, being in Russia and having heard Balakirev's speech, spoke with great praise of his conducting art and added that he saw him as his future Russian rival.
In 1867, Balakirev acted as a conductor in Prague, where he first introduced the Czech public to Glinka's Ruslan and Lyudmila: "Ruslan" finally conquered the Czech public. The enthusiasm with which he was received does not decrease even now, although I have already conducted him 3 times. Prague listeners presented wreaths to Balakirev, and he decided to take one of them to Glinka's grave. Czech newspapers recognized in the person of Balakirev a worthy student of Glinka, the successor of his work
From autumn 1867 to spring 1869 Mili Balakirev conducted symphony concerts Imperial Russian Musical Society (in 1867 together with Berlioz), in which, for the most part, the works of Berlioz, Liszt and orchestral works by Russian composers: Rimsky-Korsakov, Borodin, Mussorgsky were performed.
By the end of the sixties, Balakirev's friendly relations with Tchaikovsky were established. Composers conduct a lively correspondence. Balakirev, with his advice, in many ways helps the development of Tchaikovsky's programmatic symphonic work, and he, in turn, promotes the popularization of Balakirev's works in Moscow.
By this time, heavy blows are already beginning to fall on Balakirev one after another.
In the spring of 1869, representatives of the court clique roughly removed him from conducting concerts of the Imperial Russian Musical Society. This caused deep indignation among the advanced musical community. Tchaikovsky published an article in the Modern Chronicle in which he expressed the attitude of all honest musicians to the fact of unceremonious expulsion from higher education. musical institution a person who is the pride and decoration of Russian musical culture. Tchaikovsky wrote: “Balakirev can now say what the father of Russian literature said when he received the news of his expulsion from the Academy of Sciences: “The Academy can be dismissed from Lomonosov, but Lomonosov cannot be dismissed from the Academy.”
By the same time, it was greatly shaken financial situation"Free Music School". She was on the verge of closing. Balakirev experienced this very hard.
Serious troubles arose in his personal life: the death of his father entailed the need to take care of the maintenance of unmarried sisters, while the composer himself had no means of subsistence.
By the beginning of the seventies they changedand Balakirev's relations with members of the "Mighty Handful". Balakirev's pupils became mature, well-established composers, no longer needed his daily care. There was nothing unnatural in such a phenomenon, and one of the members of the circle - Borodin - gave this correct explanation, although dressed in a playful form: “While everyone was in the position of eggs under the hen (meaning Balakirev by the latter), we were all more or less similar . As soon as the chick hatched from the eggs, they were overgrown with feathers. The feathers of all came out of necessity different; and when the wings grew, each one 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 a good and by no means a sad side of the matter. However, morbidly proud, heavily wounded by failures, Balakirev could not come to terms with the loss of his former influence on recent students.
The failures of Mily Alekseevich ended with an unsuccessful concert in Nizhny Novgorod, conceived to improve the financial situation.
Difficult experiences caused an acute spiritual crisis. At one time, Balakirev was occupied with the idea of suicide. Forced for the sake of earning money to enter the board of the Warsaw railway, he withdraws from his former friends and for a long time refuses any musical activities.
Only towards the end of the seventies did he gradually revive his interest in music. He again takes up the interrupted composition of the symphonic poem "Tamara". Balakirev's return to musical activity largely contributed to the efforts of his friends. In particular, Shestakova played a significant role, inviting him to take part in editing Glinka's scores being prepared for publication. Balakirev actively set about this work, inviting Rimsky-Korsakov and his student Lyadov to help.
But Balakirev returned to musical life no longer the former "eagle", as Dargomyzhsky once called him. His spiritual strength was broken, a painful isolation appeared. His friends were especially struck by Balakirev's appeal to religion.
From 1883 to 1894 Balakirev was the manager of the Court Choir. He concentrated all the musical work of the singing chapel in his hands, he developed a program of scientific classes. He introduced Rimsky-Korsakov, who held the position of inspector, to work in the chapel. music classes. Balakirev paid special attention to the development of the orchestra class at the chapel.
The last public performance of Balakirev as a pianist dates back to 1894. It was at the celebrations in Zhelyazova Wola - in the homeland of Chopin, where, on the initiative of Balakirev, a monument to the great Polish composer was unveiled.
Until the end of his life, Balakirev retained an ardent love for Glinka. In 1885, in Smolensk, he participated in the opening ceremony of the monument to the great composer and conducted two concerts there. In 1895, he achieved the installation of a memorial plaque on the house in Berlin in which Glinka died, he himself went to celebrations as part of the Russian delegation and conducted his symphony in Berlin. And in 1906, in honor of the opening of the Glinka monument in St. Petersburg (Balakirev was the initiator this time too), a solemn cantata composed by him was performed.
Balakirev was directly involved in the creation of Mussorgsky, Rimsky-Korsakov, Borodin, Cui operatic works, helping them in choosing plots and working on music, promoted Russian operas as a conductor and publicist. Balakirev's activities were especially significant in the field of popularizing Glinka's operas in Russia and abroad.
Mily Alekseevich Balakirev died on May 16, 1910 in St. Petersburg, in his apartment at 7 Kolomenskaya Street. According to his will, Lyapunov completed a number of works that he had not finished, including piano concert E flat major.
Balakirev was buried at the Tikhvin cemetery of the Alexander Nevsky Lavra. In 1936, during the reconstruction of the Necropolis of Masters of Arts, Balakirev's ashes were moved from the southern fence of the cemetery closer to the wall of the former Tikhvin Church, and buried on the Composer's Path next to Rimsky-Korsakov, who died in 1908.
Mily Balakirev played a huge role in the formation of the national music school, although he composed relatively little himself. AT symphonic genres he created two symphonies, several overtures, music for Shakespeare's "King Lear", symphonic poems"Tamara", "Rus", "In the Czech Republic". For piano, he wrote a sonata in B-flat minor, a brilliant fantasy "Islamey" and a number of pieces in different genres. high value have romances and adaptations of folk songs. Balakirev's musical style relies on the one hand on folk origins and traditions. church music, on the other hand, on the experience of the new Western European art, especially Liszt, Chopin, Berlioz.
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(December 21, 1836, old style) in Nizhny Novgorod. He was a hereditary nobleman, the Balakirev family has been known since the middle of the 14th century. He received his first piano lessons from his mother Elizaveta Yasherova, in the summer of 1846 he studied in Moscow with the pianist and composer Alexander Dubuc, a student of the Irish composer John Field.
In 1883-1895, Balakirev was the manager of the St. Petersburg Court Chapel, where he improved the repertoire and performance. He raised the teaching of singing and music theory to a professional level and introduced instrumental classes. The most gifted students of the chapel formed a musical circle around their leader. Balakirev was also the center of the so-called Weimar Circle.
He edited early writings Mussorgsky, Borodin and Rimsky-Korsakov, together with the latter prepared for publication the scores of Glinka's operas A Life for the Tsar and Ruslan and Lyudmila, compositions by Frederic Chopin.
In the second half of the 1860s, Balakirev staged Glinka's operas A Life for the Tsar and Ruslan and Lyudmila in Prague.
In 1894, on his initiative, a monument to Chopin was erected in Żelyazowa Wola (Chopin's birthplace), and in the same place and in Warsaw he publicly performed the works of this composer.
From the beginning of the 1880s, he was the censor of spiritual and musical works. Spiritual and musical legacy of Balakirev amounted to 11 completed works, mainly intended for performance at divine services.
Balakirev created two symphonies (1897, 1908); three overtures, including the Overture on the Themes of Three Russian Songs (1858); symphonic poems "Rus" ("1000 years", 1862), "In the Czech Republic" (1867), "Tamara" (1882). He wrote music for Shakespeare's tragedy King Lear (1861); two concertos for piano and orchestra; fantasy "Islamey" (1869); Cantata for the opening of the monument to Glinka in St. Petersburg (1904); pieces for piano.
Balakirev is the author of 40 romances. The composer set to music the poems "Cliff" and "When the yellowing field is agitated" by Mikhail Lermontov, "I came to you with greetings" and "Whisper, timid breathing Athanasius Fet.
On May 29 (May 16, old style), 1910, Mili Balakirev died in St. Petersburg. He was buried in the Necropolis of Masters of Arts.
In Vladimir, Yekaterinburg, Lipetsk and Nizhny Novgorod there are streets and lanes named after the composer. Also, the name of Mily Balakirev is carried by music schools and art schools in Moscow, Nizhny Novgorod and Gus-Khrustalny.
In 2017, Balakirev will appear in Moscow at the intersection of Samarkand Boulevard and Fergana Street in the Vykhino-Zhulebino area of the South-Eastern Administrative District.
The material was prepared on the basis of information from RIA Novosti and open sources
