Overview
Mily Balakirev (1837–1910) was a Russian composer, pianist, and conductor best known as the leader of The Five (or Mighty Handful), a group of composers who sought to create a distinctly Russian national music. His influence on Russian music was significant, both as a composer and a mentor to figures like Rimsky-Korsakov, Mussorgsky, and Borodin.
Key Contributions and Style
Balakirev combined Russian folk melodies with Western classical forms, blending nationalistic elements with virtuosic and expressive writing.
His works often feature rich harmonies, colorful orchestration, and complex rhythms.
He was influenced by both Glinka (the father of Russian classical music) and Western composers like Chopin and Liszt.
Notable Works
Piano Works: Islamey (1869) – a virtuosic piano piece known for its extreme technical demands and exotic Eastern influences.
Orchestral Works: Symphony No. 1 in C major and Tamara (a symphonic poem based on a poem by Lermontov).
Other Works: Various piano pieces, songs, and arrangements of Russian folk music.
Role as a Mentor
He was a dominant, sometimes overbearing figure in The Five, guiding younger composers like Rimsky-Korsakov.
His influence helped shape the Russian nationalist music movement, even though his perfectionism delayed the completion of many of his own works.
Later Life and Legacy
Balakirev withdrew from composition for a period due to personal struggles but later returned to music.
Though he is not as well-known today as some of his protégés, his contributions to Russian music, particularly his fusion of folk elements with classical structures, were foundational.
History
Mily Balakirev was born on January 2, 1837, in Nizhny Novgorod, Russia. From an early age, he showed remarkable musical talent, despite having no formal conservatory training. His early exposure to Russian folk music, combined with his studies of Western classical composers like Beethoven and Chopin, shaped his musical outlook. At the age of 15, he moved to St. Petersburg, where he met the composer Alexander Ulybyshev, who became his patron and introduced him to the works of Mozart and Glinka.
By the late 1850s, Balakirev had become a central figure in the movement to establish a distinct Russian musical identity. He gathered around him a group of young composers—César Cui, Modest Mussorgsky, Nikolai Rimsky-Korsakov, and Alexander Borodin—who would later be known as The Five or The Mighty Handful. Balakirev was their mentor, pushing them to incorporate Russian folk elements and reject the influence of Western academicism, which was championed by the conservatories in Moscow and St. Petersburg.
During the 1860s, Balakirev was at the height of his influence. He composed Islamey, a dazzlingly difficult piano piece inspired by a journey to the Caucasus, and his orchestral fantasy Tamara, based on a poem by Lermontov. However, his dictatorial approach to teaching and his uncompromising artistic ideals strained his relationships with other composers. By the early 1870s, he had suffered a mental and emotional breakdown, withdrawing from public musical life. He took a job as a low-level civil servant, and for several years, he composed very little.
Balakirev eventually returned to music in the 1880s, taking up a position as director of the Imperial Chapel in St. Petersburg. However, by this time, his influence had waned, and his former students, especially Rimsky-Korsakov, had moved beyond his strict nationalistic ideals. He completed his Symphony No. 1 in C major—begun decades earlier—but his late works never achieved the same recognition as his earlier compositions.
He spent his final years in relative obscurity, though he remained respected as a pioneer of Russian music. Balakirev died on May 29, 1910, in St. Petersburg. Though he is not as widely known as some of his protégés, his role in shaping Russian music—especially through his mentorship and advocacy for nationalism—was crucial. His legacy lives on in the works of The Five and in the uniquely Russian style he helped define.
Chronology
Early Life and Musical Beginnings (1837–1855)
1837 (Jan 2) – Born in Nizhny Novgorod, Russia.
1847 – Begins piano lessons with local teachers; quickly shows exceptional talent.
1853 – Moves to St. Petersburg and becomes the protégé of Alexander Ulybyshev, a music patron.
1854–1855 – Studies and performs works by Beethoven, Chopin, and Glinka, which influence his style.
Formation of The Five and Nationalist Movement (1855–1870)
1855 – Meets Mikhail Glinka, whose nationalist ideas deeply inspire him.
1856 – Begins mentoring young Russian composers, laying the foundation for The Five (Mighty Handful).
1858–1860 – Encourages Rimsky-Korsakov, Mussorgsky, Borodin, and Cui to develop a Russian nationalist style.
1862 – Founds the Free Music School in St. Petersburg to promote Russian music outside the conservatory system.
1869 – Composes Islamey, a virtuosic piano work inspired by folk themes from the Caucasus.
1867–1870 – Works on the symphonic poem Tamara, based on Mikhail Lermontov’s poem.
Withdrawal from Music and Personal Crisis (1870–1881)
1871 – Suffers from emotional and psychological distress, withdraws from public musical life.
1872–1876 – Works as a civil servant, composing very little during this time.
1876 – Returns to composing but struggles to regain his earlier influence.
Later Years and Return to Music (1881–1910)
1881 – Appointed director of the Imperial Chapel in St. Petersburg.
1887 – Completes Symphony No. 1 in C major, which had been left unfinished since the 1860s.
1890s – Continues composing and revising earlier works but remains in the shadow of his former protégés.
1900s – Lives quietly in St. Petersburg, with little public recognition.
1910 (May 29) – Dies in St. Petersburg at the age of 73.
Characteristics of Music
Mily Balakirev’s music is characterized by its fusion of Russian nationalism with virtuosic, expressive, and sometimes exotic elements. His compositions blend folk influences with the complexity of Western classical forms, resulting in a distinctive and innovative style. Below are the key characteristics of his music:
1. Russian Nationalism
Balakirev was a leading advocate of incorporating Russian folk music into classical compositions.
He used authentic folk melodies and modal harmonies, avoiding the Western European tonal traditions when possible.
His orchestral and piano works often evoke Russian landscapes, history, and folklore.
2. Virtuosity and Technical Demand
His piano works, especially Islamey, are extremely challenging, featuring rapid passages, octaves, and complex rhythms.
He was influenced by Liszt and Chopin, blending their pianistic techniques with Russian musical elements.
3. Eastern and Exotic Influences
Inspired by travels to the Caucasus, Balakirev incorporated elements of Middle Eastern and Central Asian music.
Islamey and Tamara reflect these influences through their use of non-Western scales and rhythms.
4. Rich Orchestration and Colorful Harmony
His orchestral music, such as Tamara, features lush orchestration, dynamic contrasts, and expressive lyricism.
He experimented with chromaticism and unusual harmonic progressions, foreshadowing later Russian composers like Rimsky-Korsakov and Scriabin.
5. Unorthodox and Non-Conventional Forms
Though he admired Western symphonic forms, he often modified them to suit his expressive needs.
Some of his works remained incomplete or underwent long revisions due to his perfectionism.
Balakirev’s music was influential in shaping the Russian nationalist style, and his mentorship of The Five had a lasting impact on composers like Rimsky-Korsakov and Borodin. While he was not as prolific as his students, his innovative blend of Russian folk music and virtuosic Western techniques remains significant.
Relationships
Mily Balakirev had significant relationships with various composers, musicians, orchestras, and influential figures in Russian music and culture. Here’s a breakdown of his key direct relationships:
1. Composers (Mentor, Collaborator, or Influence)
The Five (Mighty Handful) – Mentor and Leader
Modest Mussorgsky – Balakirev mentored Mussorgsky and influenced his early works, though Mussorgsky later developed a more independent style.
Nikolai Rimsky-Korsakov – Initially guided by Balakirev, Rimsky-Korsakov later distanced himself but still acknowledged Balakirev’s influence on Russian orchestration.
Alexander Borodin – Balakirev introduced Borodin to serious composition, providing guidance and criticism, but Borodin was more independent.
César Cui – A member of The Five, Cui followed Balakirev’s nationalist ideals but focused more on music criticism than composition.
Other Composers
Mikhail Glinka – Although they never collaborated, Glinka deeply influenced Balakirev’s nationalist ideals, inspiring him to champion Russian folk music.
Pyotr Ilyich Tchaikovsky – They had a tense relationship; Balakirev criticized Tchaikovsky’s work (Romeo and Juliet was revised at his insistence), but Tchaikovsky later grew distant from him.
Sergei Lyapunov – One of Balakirev’s later students, Lyapunov helped preserve and promote Balakirev’s musical legacy.
2. Pianists and Performers
Balakirev himself – He was a virtuoso pianist and often performed his own works, including Islamey.
Sergei Lyapunov – Besides being his student, Lyapunov performed and edited Balakirev’s works.
Vladimir Sofronitsky and Emil Gilels (later pianists) – Though they did not meet Balakirev, they became significant interpreters of his piano works.
3. Orchestras and Institutions
Free Music School (Founded in 1862) – Balakirev established this as an alternative to Western conservatories, promoting Russian national music.
Imperial Chapel (Director, 1883–1894) – He was appointed director of this prestigious institution, though his influence had waned by then.
Russian Musical Society (RMS) – He had a contentious relationship with RMS, which was more aligned with Western European musical traditions.
4. Non-Musicians (Patrons, Writers, and Cultural Figures)
Alexander Ulybyshev – His early patron, a wealthy nobleman who introduced him to classical music and supported his studies.
Mikhail Lermontov – The poet whose work inspired Balakirev’s symphonic poem Tamara.
Aleksey Konstantinovich Tolstoy – A poet whose texts were set to music by Balakirev.
5. Adversarial and Distant Relationships
Anton Rubinstein – The founder of the St. Petersburg Conservatory, whom Balakirev opposed for promoting Westernized music education.
Franz Liszt – While Balakirev admired Liszt’s virtuosity, he rejected Liszt’s influence in Russian music, despite using similar piano techniques.
Balakirev was a dominant but polarizing figure. He inspired and mentored many composers but also alienated others due to his strict nationalist ideals and controlling nature.
Similar Composers
Mily Balakirev’s music combines Russian nationalism, folk influence, virtuosic piano writing, and exotic elements. Several composers share similarities with him in various ways:
1. Russian Nationalist Composers (The Five and Beyond)
These composers, like Balakirev, sought to create a distinctly Russian musical style.
Modest Mussorgsky – Focused on Russian folk music and dramatic, unconventional harmonies (Pictures at an Exhibition, Boris Godunov).
Nikolai Rimsky-Korsakov – Used colorful orchestration and Eastern-influenced harmonies (Scheherazade, Russian Easter Overture).
Alexander Borodin – Known for lush, lyrical themes and strong folk influence (Prince Igor, In the Steppes of Central Asia).
César Cui – A less influential member of The Five, but shared Balakirev’s nationalist ideals.
Sergei Lyapunov – A student of Balakirev, who continued his style in piano music and orchestration.
2. Other Russian Composers with Folk and Exotic Influences
Mikhail Glinka – The “father” of Russian classical music, blending folk music with Western structure (Ruslan and Lyudmila, Kamarinskaya).
Alexander Glazunov – Bridged Russian nationalism with a more polished, Western-influenced style (Symphonies, The Seasons).
Anatoly Lyadov – A student of Rimsky-Korsakov, known for folk-inspired miniatures (The Enchanted Lake).
3. Virtuosic and Exotic Pianists-Composers
Balakirev’s piano music is highly technical and often inspired by folk or Eastern elements, similar to:
Franz Liszt – Balakirev was influenced by Liszt’s virtuosity and Hungarian folk elements (Hungarian Rhapsodies, Transcendental Études).
Felix Blumenfeld – A Russian pianist-composer with lush harmonies and virtuoso writing (Études, Preludes).
Leopold Godowsky – Known for technically demanding piano works, often arranging folk melodies.
4. Eastern-Influenced Composers
Balakirev was fascinated by the East, as seen in Islamey and Tamara. Other composers who explored exoticism include:
Camille Saint-Saëns – Used North African influences in works like Africa Fantasy.
Claude Debussy – Though French, his use of exotic scales (pentatonic, whole-tone) aligns with Balakirev’s harmonic experiments (Pagodes, Estampes).
Ottorino Respighi – Incorporated Eastern and medieval European modes (Fountains of Rome, Pines of Rome).
Summary
For Russian nationalism → Mussorgsky, Rimsky-Korsakov, Borodin
For virtuoso piano writing → Liszt, Lyapunov, Blumenfeld
For exotic and Eastern influences → Saint-Saëns, Debussy, Respighi
Notable Piano Solo Works
Mily Balakirev composed several notable piano solo works, many of which are technically demanding and reflect his interest in Russian folk music, Eastern exoticism, and virtuosic pianism. Here are some of his most important pieces:
1. Islamey (1869)
His most famous and difficult piano work.
Inspired by a trip to the Caucasus, incorporating Eastern rhythms and folk melodies.
A favorite among virtuoso pianists due to its dazzling technical challenges.
2. Sonata in B-flat Minor (1905, revised from an 1855 sketch)
A large-scale work in four movements, blending Romantic and Russian nationalist elements.
Features dramatic contrasts, lyrical melodies, and virtuosic passages.
3. Nocturne No. 1 in B-flat Minor (1901)
One of Balakirev’s lyrical and expressive pieces, similar in style to Chopin’s nocturnes.
Shows his ability to write delicate and introspective music.
4. Nocturne No. 2 in D Minor (1901)
A more melancholic, atmospheric nocturne with flowing arpeggios and rich harmonies.
5. Mazurka in A-flat Major (1856, revised 1894)
A Polish dance-inspired work, reminiscent of Chopin’s mazurkas but with a Russian flavor.
6. Scherzo No. 1 in B Minor (1856, revised 1902)
A lively, brilliant piece showing Lisztian virtuosity with Russian folk elements.
7. Scherzo No. 2 in F-sharp Minor (1902)
More mature than the first scherzo, with rich textures and dynamic contrasts.
8. Waltz No. 1 in D-flat Major (1893)
A light and elegant waltz in the style of Chopin and early Scriabin.
9. Waltz No. 2 in F Major (1900s)
A more refined, flowing dance piece with an aristocratic character.
10. Variations on a Russian Theme (1900)
A set of variations on a traditional Russian folk tune, showcasing Balakirev’s nationalist style.
Legacy and Influence
Balakirev’s piano music bridges the gap between Chopin, Liszt, and Russian nationalism, influencing later composers like Lyapunov, Rachmaninoff, and Scriabin. His works, though not as frequently performed as those of The Five, remain important in the Russian piano repertoire.
Notable Works
Mily Balakirev composed several significant works outside of his piano solo repertoire, including orchestral music, chamber music, and vocal works. Here are his most notable compositions:
1. Orchestral Works
Symphonies
Symphony No. 1 in C major (1864–1897)
A large-scale work that took over 30 years to complete.
Features Russian folk melodies and lush orchestration, resembling Borodin’s symphonies.
Symphony No. 2 in D minor (1908, unfinished, completed by Lyapunov)
A more dramatic and intense symphony, showing Balakirev’s late style.
Symphonic Poems and Orchestral Fantasies
Tamara (1867–1882)
Based on Mikhail Lermontov’s poem about a seductive and deadly Georgian princess.
Features exotic harmonies, flowing melodies, and lush orchestration.
Overture on Russian Themes (1858, revised 1880)
Incorporates traditional Russian folk melodies in a symphonic structure.
King Lear Overture (1859, revised 1902)
Inspired by Shakespeare’s play, with dramatic contrasts and orchestral grandeur.
Other Orchestral Works
Russia (Second Overture on Russian Themes) (1863, revised 1884)
A patriotic orchestral piece celebrating Russian folk music.
2. Chamber Music
Octet for Winds and Strings (1856, lost)
One of Balakirev’s early attempts at chamber music, though it has not survived.
3. Vocal and Choral Works
Songs (Romances and Lieder)
“Song of the Goldfish” (1869) – A delicate art song with a folk-inspired melody.
“Georgian Song” (1857, revised 1902) – A piece with an exotic character, reflecting Balakirev’s love for Eastern music.
“Spanish Song” (1855, revised 1902) – A song showing his interest in international folk styles.
Choral Works
Chorale and Fugue in G minor (1903) – A religious choral work with contrapuntal writing.
Many settings of Russian Orthodox church music and folk songs.
4. Arrangements and Folk Music Collections
Many arrangements of Russian folk songs – Balakirev was dedicated to preserving Russian folk traditions, arranging numerous folk melodies for piano and voice.
Collections of Georgian, Caucasian, and Eastern melodies – These influenced his original works like Islamey and Tamara.
Legacy
Balakirev’s non-piano works, especially Tamara and Symphony No. 1, were influential in Russian music. Though his output is not as large as that of The Five, his nationalist and exotic style paved the way for composers like Rimsky-Korsakov and Borodin.
(This article was generated by ChatGPT. And it’s just a reference document for discovering music you don’t know yet.)
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