Caricature of the Mighty Bunch ( pastel pencil, 1871). From left to right are depicted: Ts. A. Cui in the form of a fox wagging its tail, M. A. Balakirev in the form of a bear, V. V. Stasov (sculptor M. M. Antokolsky on his right shoulder in the form of Mephistopheles, on the pipe in the form of a monkey V. A. Gartman), N. A. Rimsky-Korsakov (in the form of a crab) with the Purgold sisters (in the form of domestic dogs), M. P. Mussorgsky (in the form of a rooster); A. P. Borodin is depicted behind Rimsky-Korsakov, A. N. Serov is throwing angry thunderbolts from the clouds at the top right.

"Mighty bunch" (Balakirev circle, New Russian School of Music ) is a creative community of Russian composers that developed in St. Petersburg in the late 1850s and early 1860s. It included: Mily Alekseevich Balakirev (1837-1910), Modest Petrovich Mussorgsky (1839-1881), Alexander Porfiryevich Borodin (1833-1887), Nikolai Andreevich Rimsky-Korsakov (1844-1908) and Caesar Antonovich Cui (1835-1918) . The ideological inspirer and main non-musical consultant of the circle was art critic, writer and archivist Vladimir Vasilyevich Stasov (1824-1906).

The name "Mighty Handful" is first found in Stasov's article " Slavic concert Mr. Balakirev "(): "How much poetry, feelings, talent and skill a small, but already powerful handful of Russian musicians have." The name "New Russian Music School" was put forward by the members of the circle themselves, who considered themselves the heirs of M. I. Glinka and saw their goal in the embodiment of the Russian national idea in music.

The Mighty Handful group arose against the backdrop of revolutionary ferment that had by that time engulfed the minds of the Russian intelligentsia. Riots and uprisings of peasants became the main social events of that time, returning artists to folk theme. In the implementation of the national aesthetic principles, proclaimed by the ideologists of the commonwealth Stasov and Balakirev, the most consistent was M. P. Mussorgsky, less than others - Ts. A. Cui. Members of the "Mighty Handful" systematically recorded and studied samples of Russian musical folklore and Russian church singing. They embodied the results of their research in one form or another in the works of chamber and major genre, especially in operas, including The Tsar's Bride, The Snow Maiden, Khovanshchina, Boris Godunov, Prince Igor. Intensive search for national identity in the " mighty handful” were not limited to arrangements of folklore and liturgical singing, but also extended to dramaturgy, genre (and form), up to individual categories musical language(harmony, rhythm, texture, etc.).

Initially, the circle included Balakirev and Stasov, who were keen on reading Belinsky, Dobrolyubov, Herzen, Chernyshevsky. They also inspired the young composer Cui with their ideas, and later they were joined by Mussorgsky, who left the rank of officer in the Preobrazhensky Regiment in order to study music. In 1862, N. A. Rimsky-Korsakov and A. P. Borodin joined the Balakirev circle. If Rimsky-Korsakov was a very young member of the circle, the views and musical talent which were just beginning to be determined, then Borodin by this time was already mature man, an outstanding chemist, friendly with such giants of Russian science as Mendeleev, Sechenov, Kovalevsky, Botkin.

In the 70s, the "Mighty Handful" ceased to exist as a close-knit group. The activities of the "Mighty Handful" became an era in the development of Russian and world musical art.

Sequel to "The Mighty Bunch"

With the cessation of regular meetings of five Russian composers, the increment, development and living history The Mighty Handful is far from over. The center of Kuchkist activity and ideology, mainly due to pedagogical activity Rimsky-Korsakov moved to the classes of the St. Petersburg Conservatory, and also, starting from the mid-s, to the "Belyaev circle", where Rimsky-Korsakov was the recognized head and leader for almost 20 years, and then, with the beginning of the 20th century, he divided his leadership in the "triumvirate" with A. K. Lyadov, A. K. Glazunov and a little later (from May 1907) N. V. Artsybushev. Thus, minus Balakirev's radicalism, the Belyaev Circle became a natural continuation of the Mighty Handful. Rimsky-Korsakov himself recalled this in a very definite way:

“Can the Belyaev circle be considered a continuation of the Balakirev circle, was there a certain amount of similarity between the one and the other, and what was the difference, besides the change in its personnel over time? The similarity, indicating that the Belyaev circle is a continuation of the Balakirev one, except for the connecting links in the person of me and Lyadov, consisted in the common advancement and progressiveness to both of them; but the circle of Balakirev corresponded to the period of storm and onslaught in the development of Russian music, and the circle of Belyaev - to the period of a calm march forward; Balakirevskiy was revolutionary, while Belyaevskiy was progressive…”

- (N.A. Rimsky-Korsakov, “Chronicle of my musical life»)

Among the members of the Belyaev circle, Rimsky-Korsakov names separately himself (as the new head of the circle instead of Balakirev), Borodin (in the short time that remained before his death) and Lyadov as "connecting links". Since the second half of the 80s, such musicians of different talent and specialty as Glazunov, brothers F. M. Blumenfeld and S. M. Blumenfeld, conductor O. I. Dyutsh and pianist N. S. Lavrov. A little later, as they graduated from the conservatory, the number of Belyaevites included such composers as N. A. Sokolov, K. A. Antipov, Ya. Vitol and so on, including big number later graduates of Rimsky-Korsakov in the composition class. In addition, the "venerable Stasov" always maintained good and close relations with the Belyaev circle, although his influence was "far from the same" as in Balakirev's circle. The new composition of the circle (and its more moderate head) also determined the new face of the “post-Kuchkists”: much more academically oriented and open to a variety of influences, previously considered unacceptable within the framework of the “Mighty Handful”. The Belyaevites experienced a lot of “alien” influences and had wide sympathies, starting from Wagner and Tchaikovsky, and ending “even” with Ravel and Debussy. In addition, it should be especially noted that, being the successor to the "Mighty Handful" and generally continuing its direction, the Belyaev circle did not represent a single aesthetic whole, guided by a single ideology or program.

It wasn't just about direct teaching and classrooms. free composition. The ever more frequent performance of new operas by Rimsky-Korsakov and his orchestral works on the stages of the imperial theaters, the staging of Borodino's "Prince Igor" and the second edition of Mussorgsky's "Boris Godunov", many critical articles and the growing personal influence of Stasov - all this gradually multiplied the ranks of the nationally oriented Russian music school. Many of the students of Rimsky-Korsakov and Balakirev, in terms of the style of their writings, fit perfectly into the continuation of the general line of the “Mighty Handful” and could be called, if not its belated members, then in any case, faithful followers. And sometimes it even happened that the followers turned out to be much more “true” (and more orthodox) than their teachers. Despite some anachronism and old-fashionedness, even in the times of Scriabin, Stravinsky and Prokofiev, until the middle of the 20th century, the aesthetics and predilections of many of these composers remained quite "Kuchkist" and most often - not subject to fundamental stylistic changes. However, over time, more and more often in their work, the followers and students of Rimsky-Korsakov discovered a certain “fusion” of the Moscow and St. Petersburg schools, to one degree or another combining the influence of Tchaikovsky with the “Kuchkist” principles. Perhaps the most extreme and distant figure in this series is A. S. Arensky, who, until the end of his days, maintaining an emphasized personal (student) loyalty to his teacher (Rimsky-Korsakov), nevertheless, in his work was much closer to traditions Tchaikovsky. In addition, he led an extremely riotous and even "immoral" lifestyle. This is what primarily explains the very critical and unsympathetic attitude towards him in the Belyaev circle. No less indicative is the example of Alexander Grechaninov, also a faithful student of Rimsky-Korsakov, most while living in Moscow. However, the teacher speaks much more sympathetically about his work and, as a compliment, calls him "partly a Petersburger." After 1890 and the frequent visits of Tchaikovsky to St. Petersburg, an eclectic taste and an increasingly cool attitude towards the orthodox traditions of the Mighty Handful are growing in the Belyaev circle. Gradually, Glazunov, Lyadov and Rimsky-Korsakov also personally approached Tchaikovsky, thereby putting an end to the previously irreconcilable (Balakirev's) tradition of "enmity of schools". By the beginning of the 20th century, most of the new Russian music increasingly reveals a synthesis of two directions and schools: mainly through academicism and the erosion of "pure traditions". a significant role Rimsky-Korsakov himself also played in this process, musical tastes which (and openness to influences) was generally much more flexible and broader than all of his contemporary composers.

Many Russian composers late XIX- the first half of the 20th century are considered by music historians as the direct successors of the traditions of the Mighty Handful; among them

The fact that the famous French “Six”, assembled under the leadership of Eric Satie (as if “in the role of Balakirev”) and Jean Cocteau (as if “in the role of Stasov”) deserves special mention, was a direct response to the “Russian Five” - as the composers of the "Mighty Handful" were called in Paris. Article famous critic Henri Collet, who announced the birth of the world new group composers, and was called: "Russian five, French six and Mr. Satie".

Notes

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See what the "Mighty Handful" is in other dictionaries:

POWERFUL BUNCH- creative community Russian composers, formed in con. 1850s early 1860s; also known as the Balakirev Circle, the New Russian Music School. The name Mighty Handful was given to the mug by its ideologue critic V.V. Stasov. ... ... Big Encyclopedic Dictionary

POWERFUL BUNCH- "THE POWERFUL BUNCH", the creative community of Russian composers, which has developed in con. 1850s early 1860s; also known as the Balakirev Circle, the New Russian Music School. The name "Mighty Handful" was given to the mug by its ideologue ... ... encyclopedic Dictionary

mighty bunch- creative community of Russian composers, formed in St. Petersburg in the late 50s and early 60s. 19th century (also known as the Balakirev Circle, "New Russian Musical School"). In "M. to." included M. A. Balakirev (head ... ... St. Petersburg (encyclopedia)

mighty bunch- From the review of the Russian art critic and scientist Vladimir Vasilievich Stasov (1824 1906) on a concert arranged in honor of the arrival of the Slavic delegation in St. Petersburg ("St. Petersburg Vedomosti" dated May 13, 1867). "Mighty bunch" he called ... ... Dictionary winged words and expressions

mighty bunch- noun, number of synonyms: 1 clan (3) ASIS synonym dictionary. V.N. Trishin. 2013 ... Synonym dictionary

The era of the 60sXIX century.

The era of the 60s is usually calculated from 1855 - the date of the inglorious end Crimean War. Military defeat tsarist Russia was the last straw that overflowed the cup of people's patience. A wave swept through the country peasant uprisings which could no longer be pacified either by exhortations or guns. It was a significant time in the social and cultural life of Russia. New trends penetrated everywhere; the new made its way in science, literature, painting, music and theatre. Carried out by the tsarist government as a response and preventive measure against the growing wave of the revolutionary democratic movement, the reform of 1861 actually worsened the situation of the peasants. The best minds Russia were preoccupied with the fate of their native people, "humanity and concern for improving human life”, according to N.G. Chernyshevsky, determined the direction in the development of advanced Russian science, literature and art. There was not a single area of ​​culture that would have remained aloof from the people's liberation ideas. The Russian revolutionary democrats Chernyshevsky and Dobrolyubov, developing the ideas of Belinsky and Herzen, powerfully advanced materialist philosophy. The development of materialistic propositions has enriched various fields of science with discoveries of world significance. Suffice it to recall that at that time mathematicians P.A. Chebyshev and S.V. Kovalevskaya, physicist A.G. Stoletov, chemists D.I. Mendeleev and A.M. Butlerov, physiologist I.M. Sechenov, biologist I.I. Mechnikov.

The heyday comes in Russian literature and art. This era gave mankind the unsurpassed singer of peasant life N.A. Nekrasov; subtle master of the word, who created poetic pictures of Russian nature, wonderful images Russian people, Turgenev; a deep psychologist who sought to know the most intimate in human soul, Dostoevsky; powerful writer thinker Leo Tolstoy.

In the field of music, the 60s were also an era of unusually bright flowering. Major changes observed in the very way of musical life. If until the middle of the 19th century the musical life of Russia was closed, accessible only to a privileged aristocratic public, now its centers are acquiring a much wider, democratic character. A number of organizations of a musical and educational nature arise, a whole galaxy of major figures musical art: P.I. Tchaikovsky, the Rubinstein brothers, A.N. Serov, V.V. Stasov, composers of the Mighty Handful.

Appearance of the Mighty Bunch

Accidentally used by Stasov in 1867, the expression "mighty bunch" firmly entered life and began to serve as the generally accepted name for a group of composers, which included: Mily Alekseevich Balakirev (1837-1910), Modest Petrovich Mussorgsky (1839-1881), Alexander Porfiryevich Borodin (1833- 1887), Nikolai Andreevich Rimsky-Korsakov (1844-1908) and Caesar Antonovich Cui (1835-1918). Often the “Mighty Handful” is called the “New Russian Musical School”, as well as the “Balakirev Circle”, after its leader M.A. Balakirev. Abroad, this group of musicians was called the "Five" according to the number of main representatives. The composers of the "Mighty Handful" entered the creative arena during the period of a huge public upsurge of the 60s of the 19th century.

The history of the creation of the Balakirev circle is as follows: in 1855, M.A. Balakirev arrived in St. Petersburg from Kazan. The eighteen-year-old youth was extremely gifted in musically. At the beginning of 1856, he performed with great success on the concert stage as a pianist and attracted the attention of the public. Of particular importance for Balakirev is his acquaintance with V.V. Stasov.

Vladimir Vasilievich Stasov is the most interesting figure in the history of Russian art. Critic, art critic, historian and archaeologist, Stasov, acting as a music critic, was a close friend of all Russian composers. He was connected by the closest friendship with literally all major Russian artists, appeared in the press with the propaganda of their best paintings and was also their best adviser and assistant.

The son of the outstanding architect V.P. Stasov, Vladimir Vasilyevich, was born in St. Petersburg, he received his education at the School of Law. Stasov's service throughout his life was associated with such a wonderful institution as public library. He happened to personally know Herzen, Chernyshevsky, Leo Tolstoy, Repin, Antokolsky, Vereshchagin, Glinka.

Stasov heard Glinka's review of Balakirev: "In ... Balakirev, I found views that came so close to mine." And, although Stasov was almost twelve years older than the young musician, he became close friends with him for life. They constantly spend time reading books by Belinsky, Dobrolyubov, Herzen, Chernyshevsky, and Stasov is undoubtedly more mature, developed and educated, brilliantly knowing the classical and modern Art, ideologically guides Balakirev and directs him.

In 1856, at one of the university concerts, Balakirev met with Caesar Antonovich Cui, who at that time studied at the Military Engineering Academy and specialized in the construction of military fortifications. Cui was very fond of music. In early youth, he even studied with Polish composer Moniuszko.

With his new and bold views on music, Balakirev captivates Cui, arouses in him a serious interest in art. Under the direction of Balakirev, Cui wrote in 1857 a scherzo for pianoforte four hands, the opera " Prisoner of the Caucasus”, and in 1859 - the one-act comic opera The Son of the Mandarin.

The next composer to join the Balakirev - Stasov - Cui group was Modest Petrovich Mussorgsky. By the time he joined the Balakirev circle, he was a guards officer. He began to compose very early and very soon realized that he should devote his life to music. Without thinking twice, he, being already an officer of the Preobrazhensky Regiment, decided to retire. Despite his youth (18 years old), Mussorgsky showed great versatility of interests: he studied music, history, literature, philosophy. His acquaintance with Balakirev happened in 1857 with A.S. Dargomyzhsky. Everything struck Mussorgsky in Balakirev: his appearance, his bright original game, and his bold thoughts. From now on, Mussorgsky becomes a frequent visitor to Balakirev. As Mussorgsky himself said, “a new world, unknown to him until now, opened up before him.”

In 1862, N.A. Rimsky-Korsakov and A.P. Borodin joined the Balakirev circle. If Rimsky-Korsakov was a very young member of the circle, whose views and musical talent were just beginning to be determined, then Borodin by this time was already a mature person, an outstanding chemist, friendly with such giants of Russian science as Mendeleev, Sechenov, Kovalevsky , Botkin.

In music, Borodin was self-taught. He owed his relatively great knowledge of music theory mainly to a serious acquaintance with literature. chamber music. While still a student at the Medical and Surgical Academy, Borodin, playing the cello, often participated in ensembles of music lovers. According to his testimony, he replayed the entire literature of bow quartets, quintets, as well as duets and trios. Before meeting with Balakirev, Borodin himself wrote several chamber compositions. Balakirev quickly appreciated not only Borodin's bright musical talent, but his versatile erudition.

Thus, by the beginning of 1863, one can speak of a formed Balakirev circle.

The formation and development of the views of the "Kuchkists".

A great merit in the upbringing and development of its participants at that time belonged to M.A. Balakirev. He was their leader, organizer and teacher. “He needed Cui and Mussorgsky as friends, like-minded people, followers, fellow students; but without them he could have acted. On the contrary, they needed him as an adviser and teacher, as a censor and editor, without whom they could not even take a step. Musical practice and life made it possible for Balakirev's bright talent to develop rapidly. The development of others began later, proceeded more slowly and required a leader. This leader was Balakirev, who achieved everything with his amazing versatile musical talent and practice ... ”(Rimsky-Korsakov). Enormous will, exceptionally versatile musical education, temperament - these are the personal qualities that determined his influence on all members of the circle. Balakirev's teaching methods with his students were peculiar. He directly asked to compose symphonies, overtures, scherzos, opera excerpts, etc., and then he examined and strictly analyzed what was done. Balakirev managed to inspire his comrades in the circle and the need for broad self-education.

In addition to Balakirev, V.V. Stasov also played a huge role in the leadership of young composers. Stasov's participation in the activities of the handful was diverse. It manifested itself primarily in promoting the general artistic education composers, influencing the ideological orientation of their work. Often, Stasov suggested plots for works and helped in their development and in a comprehensive discussion of already created works. He presented the composers with a variety of historical materials that were in his charge, and spared no effort to promote their work.

Stasov was the first to appear in print and drew public attention to the works of the composers of The Mighty Handful. Stasov was a conductor of the ideas of Russian democratic aesthetics among the "Kuchkists".

So in everyday communication with Balakirev and Stasov, in statements and disputes about art, in reading advanced literature, the views and skills of the circle's composers gradually grew and strengthened. By this time, each of them had created many large independent works. So, Mussorgsky wrote a symphonic picture "Night on Bald Mountain" and the first edition of "Boris Godunov"; Rimsky-Korsakov - symphonic works "Antar", "Sadko" and the opera "Pskovityanka"; Balakirev composed his main works: symphonic poem"In the Czech Republic", overture "1000 years", brilliant piano fantasy "Islamey", "Overture on three Russian themes", music for Shakespeare's tragedy "King Lear"; Borodin created the first symphony; Cui graduated from the opera Ratcliffe. It was during this period that Stasov called the Balakirev circle "a small, but already powerful bunch of Russian musicians."

Each of the composers who were part of the "Mighty Handful" is a bright creative individuality and worthy of independent study. However, the historical originality of the "Mighty Handful" was that it was a group of not just friendly musicians located to each other, but creative team, a military commonwealth of advanced artists of their time, soldered by ideological unity, common artistic guidelines. In this regard, The Mighty Handful was typical of his time. Similar creative communities, circles, partnerships were created in various fields of art. In painting, it was the "Art Artel", which then laid the foundation for "wandering", in literature - a group of participants in the journal "Contemporary". The organization of student "communes" also belongs to the same period.

The composers of the "Mighty Handful" acted as direct successors of the advanced trends of Russian culture of the previous era. They considered themselves followers of Glinka and Dargomyzhsky, called to continue and develop their work.

Russian people in the work of composers.

The leading line in the theme of the works of the "Kuchkists" is occupied by the life and interests of the Russian people. Most of the composers of the "Mighty Handful" systematically recorded, studied and developed samples of folklore. Composers boldly used the folk song in both symphonic and operatic works (The Tsar's Bride, The Snow Maiden, Khovanshchina, Boris Godunov).

The national aspirations of the "Mighty Handful" were, however, devoid of any tinge of national narrow-mindedness. Composers were very sympathetic to the musical cultures of other peoples, which is confirmed by numerous examples of the use of Ukrainian, Georgian, Tatar, Spanish in their works. Czech and other national stories and melodies. Especially great place in the work of the "Kuchkists" the eastern element occupies the eastern element ("Tamara", "Islamei" by Balakirev; "Prince Igor" by Borodin; "Scheherazade", "Antara", "The Golden Cockerel" by Rimsky-Korsakov; "Khovanshchina" by Mussorgsky).

By creating works of art for the people, speaking in a language understandable and close to them, composers made their music accessible to the widest strata of listeners. This democratic aspiration explains the great inclination of the "new Russian school" towards programming. "Software" refers to such instrumental works in which ideas, images, plots are explained by the composer himself. The author's explanation can be given either in the explanatory text attached to the work or in its title. Many other works by the composers of The Mighty Handful are also programmatic: Antar and The Tale by Rimsky-Korsakov, Islamey and King Lear by Balakirev, Night on Bald Mountain and Pictures at an Exhibition by Mussorgsky.

Developing the creative principles of their great predecessors Glinka and Dragomyzhsky, the members of the Mighty Handful were at the same time bold innovators. They were not satisfied with what they had achieved, but called their contemporaries to the “new shores”, strove for a direct lively response to the demands and demands of modernity, inquisitively searched for new plots, new types of people, new means of musical embodiment.

The “Kuchkists” had to pave these new roads of their own in a stubborn and uncompromising struggle against everything reactionary and conservative, in sharp clashes with the dominance of foreign music, which had long and stubbornly been propagated by Russian rulers and aristocracy. The ruling classes could not be pleased with the truly revolutionary processes taking place in literature and art. Domestic art did not enjoy sympathy and support. Moreover, everything that was advanced, progressive was persecuted. Chernyshevsky was sent into exile, his writings bearing the stamp of a censorship ban. Herzen lived outside of Russia. Artists who defiantly left the Academy of Arts were considered "suspicious" and were taken into account by the tsarist secret police. The influence of Western European theaters in Russia was ensured by all state privileges: Italian troupes owned monopoly opera stage, foreign entrepreneurs enjoyed the widest benefits inaccessible to domestic art.

Overcoming the obstacles to the promotion of "national" music, attacks from critics, the composers of the "Mighty Handful" stubbornly continued their work of development native art and, as Stasov later wrote, “Balakirev's partnership defeated both the public and the musicians. It sowed a new fertile seed, which soon gave a luxurious and fruitful harvest.

The Balakirev circle usually gathered in several familiar and close houses: at L.I. Shestakova (sister of M.I. Glinka), at Ts.A. Cui, at F.P. .Stasova. Meetings of the Balakirev circle always proceeded in a very lively creative atmosphere.

Members of the Balakirev circle often met with writers A.V. Grigorovich, A.F. Pisemsky, I.S. Turgenev, artist I.E. Repin, sculptor M.A. Antokolsky. There were also close ties with Pyotr Ilyich Tchaikovsky.

The public and the Mighty bunch.

The composers of The Mighty Handful did a great deal of social and educational work. The first public manifestation of the activities of the Balakirev circle was the opening in 1862 of the Free Music School. The main organizer was M.I.Balakirev and the choirmaster G.Ya.Lomakin. The free music school's main task was to distribute musical knowledge among the general population.

In an effort to widely disseminate their ideological and artistic principles, to strengthen creative influence on the surrounding public environment, members of the "Mighty Handful" not only used the concert platform, but also spoke on the pages of the press. The speeches were of an acutely polemical nature, judgments sometimes had a sharp, categorical form, which was due to the attacks and negative assessments that the Mighty Handful was subjected to by reactionary criticism.

Along with Stasov, C.A. Cui acted as a spokesman for the views and assessments of the new Russian school. Since 1864, he was a permanent music reviewer for the newspaper St. Petersburg Vedomosti. Besides Cui, critical articles Borodin and Rimsky-Korsakov spoke in the press. Although the criticism was not theirs main activity, in their musical articles and reviews they gave examples of apt and correct assessments of art and made a significant contribution to Russian classical musicology.

The influence of the ideas of the "Mighty Handful" penetrates the walls of the St. Petersburg Conservatory. Here in 1871 Rimsky-Korsakov was invited to the post of professor in the classes of instrumentation and composition. Since that time, Rimsky-Korsakov's activity has been inextricably linked with the conservatory. He becomes the figure that concentrates young creative forces around him. The combination of the advanced traditions of the "Mighty Handful" with a solid and solid academic foundation constituted a characteristic feature of the "Rimsky-Korsakov school", which was the dominant trend in the St. Petersburg Conservatory from the late 70s of the last century to the beginning of the 20th century.

By the end of the 70s and the beginning of the 80s, the work of the composers of the Mighty Handful was gaining wide popularity and recognition not only at home, but also abroad. An ardent admirer and friend of the "new Russian school" was Franz Liszt. Liszt vigorously contributed to the spread of Western Europe works by Borodin, Balakirev, Rimsky-Korsakov. Mussorgsky's ardent admirers were the French composers Maurice Ravel and Claude Debussy, the Czech composer Janacek.

Breakup of the Five.

The "Mighty Handful" as a single creative team existed until the mid-70s. By this time, in the letters and memoirs of its participants and close friends, one can increasingly find arguments and statements about the reasons for its gradual disintegration. Closest to the truth is Borodin. In a letter to the singer L.I. Karmalina in 1876, he wrote: “... As activity develops, individuality begins to take precedence over the school, over what a person has inherited from others. ... Finally, in the same, in different epochs of development, in various times, attitudes and tastes in particular are changing. It's all very natural."

Gradually, the role of the leader of the advanced musical forces passes to Rimsky-Korsakov. He educates the younger generation at the conservatory, since 1877 he became the conductor of the Free Music School and the inspector of the musical choirs of the maritime department. Since 1883, he has been teaching at the Court Singing Chapel.

Mussorgsky was the first of the leaders of the "Mighty Handful" to die. He died in 1881. Last years Mussorgsky's life was very difficult. Shaky health, financial insecurity - all this prevented the composer from concentrating on creative work, caused a pessimistic mood and alienation.

In 1887 A.P. Borodin died.

With the death of Borodin, the paths of the surviving composers of the Mighty Handful finally diverged. Balakirev, withdrawing into himself, completely departed from Rimsky-Korsakov, Cui had long lagged behind his brilliant contemporaries. Only Stasov remained in the same relationship with each of the three.

Balakirev and Cui lived the longest (Balakirev died in 1910, Cui died in 1918). Despite the fact that Balakirev returned to musical life in the late 70s (in the early 70s Balakirev stopped playing musical activity), he no longer had the energy and charm that characterized him at the time of the 60s. The creative forces of the composer died out before life.

Balakirev continued to lead the Free Music School and the Court Choir. The training procedures established by him and Rimsky-Korsakov in the chapel led to the fact that many of its pupils entered the real road, becoming outstanding musicians.

Creativity and the inner appearance of Cui also did not remind much of the former connection with the "Mighty Handful". He successfully advanced in his second specialty: in 1888 he became a professor at the Military Engineering Academy in the department of fortification and left many valuable printed scientific works in this area.

Rimsky-Korsakov also lived a long time (he died in 1908). Unlike Balakirev and Cui, his work went on an ascending line until the very end. He remained true to the principles of realism and nationalism developed during the great democratic upsurge of the 60s in the Mighty Handful.

On the great traditions of the "Mighty Handful" Rimsky-Korsakov brought up a whole generation of musicians. Among them are such outstanding artists as Glazunov, Lyadov, Arensky, Lysenko, Spendiarov, Ippolitov-Ivanov, Steinberg, Myaskovsky and many others. They brought these traditions alive and active to our time.

The influence of the creativity of the "Kuchkists" on the world musical art.

The work of the composers of The Mighty Handful belongs to the best achievements world musical art. Based on the heritage of the first classic of Russian music Glinka, Mussorgsky, Borodin and Rimsky-Korsakov embodied the ideas of patriotism in their works, sang the great forces of the people, created wonderful images of Russian women. Developing the achievements of Glinka in the field of symphonic creativity in program and non-program compositions for orchestra, Balakirev, Rimsky-Korsakov and Borodin made a huge contribution to the world treasury symphonic music. The composers of the "Mighty Handful" created their music on the basis of wonderful folk songs melodies, endlessly enriching it with this. They showed great interest and respect not only for the Russian musical creativity, Ukrainian and Polish, English and Indian, Czech and Serbian, Tatar, Persian, Spanish and many other themes are presented in their works.

The work of the composers of the "Mighty Handful" is the highest example of musical art; at the same time, it is accessible, expensive and understandable to the most wide circles listeners. This is its great enduring value.

The music created by this small but mighty collective is high example serving the people with his art, an example of true creative friendship, an example of heroic artistic work.

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10 facts from the history of the "Mighty Handful"

"New Russian Musical School" or Balakirev's circle. The community of Russian composers, formed in the middle of the nineteenth century. The name stuck with light hand famous music critic Vladimir Stasov is in Russia. In Europe, the community of musicians was simply called the "Group of Five". Interesting Facts collected from the history of the musical community by Natalia Letnikova.

Mily Balakirev.

Caesar Cui.

Modest Mussorgsky.

Nikolai Rimsky-Korsakov.

Alexander Borodin.

1. The first step towards the emergence of the “Mighty Handful” was the arrival in 1855 of the gifted 18-year-old musician Mily Balakirev in St. Petersburg. With his brilliant performances, the pianist attracted the attention of not only a sophisticated audience, but also the most famous music critic of that time - Vladimir Stasov, who became the ideological inspirer of the composers' association.

2. A year later, Balakirev met the military engineer Caesar Cui. In 1857 - with a graduate of a military school Modest Mussorgsky, in 1862 - with a naval officer Nikolai Rimsky-Korsakov, at the same time, common musical views were revealed with chemistry professor Alexander Borodin. This is how the music group was formed.

3. Balakirev introduced beginner musicians to the theory of composition, orchestration, and harmony. Together, like-minded people read Belinsky and Chernyshevsky, together opposed the academic routine, looked for new forms - under common idea nationality as the main direction in the development of music.

4. Vladimir Stasov dubbed the "Mighty Handful" the musical union. In one of the articles, the critic noted: “How much poetry, feeling, talent and skill a small but already mighty bunch of Russian musicians have”. The phrase became winged - and members of the musical community began to be referred to only as "Kuchkists".

5. The composers of the "Mighty Handful" considered themselves the heirs of the recently deceased Mikhail Glinka and dreamed of ideas for the development of Russian national music. The spirit of democracy was in the air, and the Russian intelligentsia thought about a cultural revolution, without violence and bloodshed - solely by the power of art.

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

7. From song genre to large forms. The folklore of the Balakirevians entered into operatic works: “Prince Igor” by Borodin, “Pskovite” by Rimsky-Korsakov, “Khovanshchina” and “Boris Godunov” by Mussorgsky. Epos and folk tales have become a source of inspiration for symphonic and vocal works composers of the "Mighty Handful".

8. Colleagues and friends. The Balakirevtsy were bound by close friendship. The musicians discussed new compositions and spent evenings at the junction different types art. Kuchkists met with writers -

It so happened that accidentally dropped words began to denote a large and complex phenomenon in the history of the music of our country. The "mighty bunch" is Rimsky-Korsakov, Borodin, Mussorgsky, Balakirev, Cui. But why are five composers immediately called by these words? Who came up with these words?

Once a wonderful Russian art critic Vladimir Stasov, the author of many articles about music and musicians, wrote after one concert: “... how much poetry, feelings, talent and skill a small but already mighty bunch of Russian musicians have.” So he put it immediately about five composers. Indeed, all of these are people of mighty talent, great talents, and not only in music; almost every one of them glorified himself in other ways.

They were all friends: they often met, played their compositions to each other, discussed them. There are few examples of such a beautiful and high creative friendship in the history of art.

The life of the composers of the "Mighty Handful" developed differently. But each of them fought in his work for high goals.

most short life lived Modest Petrovich Mussorgsky: he died 42 years old, not having time to fulfill even a small part of his plans. But his romances and songs, the operas "Boris Godunov", "Khovanshchina" - "folk musical dramas", as he called them, will delight more than one generation of listeners.

Author famous opera"Prince Igor" and "" Alexander Porfiryevich Borodin was at the same time an outstanding chemist. He wrote few pieces of music, but each of them is like precious pearl among the treasures of our music.

The work of Nikolai Andreevich is the most extensive: 15 operas, 3 symphonies, many romances, symphonic works, musical compositions for different instruments.

The symphonic works of Mily Alekseevich Balakirev, his piano fantasy "Islamey", the operas of Caesar Antonovich Cui are full of colors, varied and bright, although, perhaps, they are inferior to music first three composers in importance.

The music that the composers of the Mighty Handful created was completely new, big and significant. In their writings they reflected the thoughts and feelings of their contemporaries. That is why, living in the interests of the people, these composers, by the power of their music, rebelled against violence and oppression. The operas Boris Godunov by Mussorgsky and The Golden Cockerel by Rimsky-Korsakov are perceived as such a "rebellion".

They boldly introduced melodies of folk songs and dances into their operas, symphonies and other works. And they were looking for their heroes in folk tales and legends, in history home country. The life of the people was what was dearest to these composers.

It is no coincidence that the composers of the "Mighty Handful" are compared with artists. They are united by an unbreakable bond with the people and the desire to serve the Motherland.

In the middle of the nineteenth century, a new Russian musical school took shape. The work of its representatives is still studied all over the world and is revered as the best examples of the school of Russian romanticism. And the best of the representatives of the era were united in creative union, which was called quite cute and at the same time capaciously: "".

The ideological inspiration for this most interesting organization became Vladimir Vladimirovich Stasov. By the way, it was in his article that the term "Mighty Handful" was first encountered:

“How much poetry, feeling, talent and skill a small but already mighty bunch of Russian musicians have”

In this series of articles, we will explore, if possible, the lives of the main composers of The Mighty Handful. Here they are:

• , Mily Alekseevich
• , Modest Petrovich
• , Alexander Porfiryevich
• , Nikolai Andreevich
• , Caesar Antonovich

These composers put forward an alternative name for their circle: "The New Russian Musical School". The Russian intelligentsia already felt fermented enough by revolutionary thoughts to try to make a revolution, if not political, then at least cultural. The revolution was planned to be peaceful, without bloodshed and attempts on the life of the king. Therefore, it passed not only without hindrance, but also with all sorts of approvals.

So why did the artists turn their minds aside folk art? It is worth recognizing that simply because the people began to intensively draw public attention to themselves. One rebellion after another, different uprisings, complaints, rebelliousness. It may sound cynical, but it was just curiosity. And nothing else.

Mussorgsky became the most consistent in the implementation of the aesthetic principles generally accepted among the "Mighty Handful". The most inconsistent - Cui. The essence of their activity was this: they systematically and scrupulously recorded samples of Russian musical folklore and church singing. And the results of these studies were embodied in various major musical works. This was especially evident in operas.

What were these operas? Among them are "The Tsar's Bride", "The Snow Maiden", "Khovanshchina", "Prince Igor" and "Boris Godunov". To understand roughly what spirit these composers were trying to convey, read the following brief retelling Rimsky-Korsakov's opera The Tsar's Bride, which is a story about unhappy love.

As mentioned above, this opera was composed by Nikolai Andreevich Rimsky-Korsakov. The presentation took place on October 22, 1899. In the introduction, which is called "Feast", the boyar Gryaznoy indulges in sad and heavy thoughts: he fell in love with Marfa, but she is already married to Ivan Lykov.

He has no choice but to try to forget himself. And he gathers guests for a feast. After the fun, he tells his friend that he fell in love with the fair girl. Bomelius secretly tells his poor friend that he knows the recipe for a secret potion, after drinking which the girl will fall in love, but Lyubasha overheard their conversation.

In the course of further intrigues and manipulations, confusion arose: Lyubasha ordered a poisonous potion, and Gryaznoy ordered a love potion. Ivan the Terrible called two hundred girls, for he decided to choose a bride for himself. The participants in the action all hoped that he would like Dunyasha more. But the king chose Martha.

But during the feast, she had already drunk the love potion that Gryaznoy poured into her in desperation. And since confusion arose because of Lyubasha, in fact, Marfa does not drink a love potion, but a poisonous potion. And he becomes mortally ill.

As a result of the investigation, it was decided that the killer was Lykov. He himself admitted that he wanted to poison Marfa. But Gryaznoy realizes that he unwittingly poisoned the girl himself, instead of bewitching her. And he confesses everything: that he slandered Lykov, and that it was he who poured the potion for the love spell, but it turned out to be poison.

He himself asks the boyars to take him away, but first asks to be allowed to deal with Bomelius. And just then Lyubasha appears, who admits that this is not Bomelius, but she herself changed the potion, as she overheard the conversation. Gryaznoy, in a rage, kills Lyubasha and says goodbye to Martha. But she does not recognize him, recognizing him as Lykov.

As you can judge for yourself, Rimsky-Korsakov composed not just an opera, but an opera with elements of a Russian folk detective story, set it to music and spiced it all up with a magnificent historical flavor. It could be said that this is a majestic poem, an alarming call that came from antiquity.

The above description is dry and sparse, it gives only a small fraction of what can be learned about the essence of the work of this circle.

Formation of the Mighty Handful

But we continue our story about the "Mighty Handful". So how did it form?

It all started with Balakirev and Stasov. They were extremely keen on reading Belinsky, Dobrolyubov and Herzen with Chernyshevsky. Later, they were able to inspire Cui. And after a while Mussorgsky joined them. For the sake of music, he left his rank as an officer in the Preobrazhensky Regiment, and therefore gave himself with all his heart to his new passion.

1862 was the year significant date. Rimsky-Korsakov and Borodin joined the Mighty Handful. Borodin was already a mature man, a chemist. And Rimsky-Korsakov was still very young.

The "Mighty Handful" as a group united by a common ideology existed until the seventies, becoming milestone in the development of music.

Belyaevskaya "The Mighty Handful"

But the word “existed” does not quite correctly characterize the time of the end of the group's activities. In fact, after the 70s, its members simply stopped getting together so often. The five Russian composers who made up the stronghold of the "Mighty Handful" did not even think of stopping their creative activity. And the ideology was developed in the pedagogical activity of Rimsky-Korsakov. This is how the Petersburg school was formed. And from the mid-eighties of the nineteenth century, the Belyaev circle arose.

We can say that this circle became a logical continuation of the "Mighty Handful", since Rimsky-Korsakov himself was its leader. He also emphasized that the only difference between the Balakirev and Belyaev circles was that the first was full of a revolutionary spirit, and the second was progressive. That is, the ideas were all the same, but of a peaceful nature.

These circles also had other links. They were pointed out by Rimsky-Korsakov himself: it was himself and Borodin, as well as Lyadov. The new circle continued to be replenished with students and graduates of the Rimsky-Korsakov school. And, as you might expect, new composition became the reason that such influences and currents appeared in this environment that were simply unacceptable in the classic composition of the Mighty Handful.

But they were no longer so much followers as successors, which should be taken into account. The new composition did not have a single program, like the classic "Mighty Handful", nor a clear ideology. In the end, all that united the members of this circle was the nationally oriented Russian music school.

As a result, from progressive and partly even revolutionary figures, they gradually turned into conservative, somewhat even old-fashioned and anachronistic.