Balakirev composer short biography. The meaning of Miliy Alekseevich Balakirev in a brief biographical encyclopedia. Meeting M. I. Glinka

(1910-05-29 ) (73 years old)

Mily Alekseevich Balakirev(December 21, 1836 [January 2], Nizhny Novgorod - May 16, St. Petersburg) - Russian composer, pianist, conductor, teacher, head of the “Mighty Handful”.

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Mily Balakirev was born into the noble Balakirev family, the son of the titular adviser Alexei Konstantinovich Balakirev (1809-1869).
As a child, initial piano lessons were given by her mother. At the age of 10 summer holidays he was taken to Moscow, where in 10 lessons from Alexander Dubuque he learned the correct techniques of piano playing. IN Nizhny Novgorod He continued his musical studies with the pianist and conductor Karl Eiserich. A. D. Ulybyshev, an enlightened amateur, philanthropist, and author of the first Russian monograph on Mozart, took a great part in his fate.
On January 28, 1868, after Lomakin refused to manage the music school, Mily Balakirev, as one of its founders, took over this work and, as director, managed the school until the fall of 1874. In the 1870s, Balakirev was removed from the leadership of the symphony meetings of the RMO in St. Petersburg, and moved away from music lessons and on July 6, 1872, he began working as an ordinary employee in the store office of the Warsaw Railway. At this time, he was preparing to go to a monastery, but through the efforts of priest Ivan Verkhovsky, he remained in the world. A return to musical and social affairs occurred only in the late 1870s. In 1881 he again headed the music school. Became a vegetarian.
In 1883, Balakirev was appointed to head the court singing choir. Balakirev everything music business He concentrated the singing choir in his hands, he developed a program of scientific classes, and he invited Nikolai Rimsky-Korsakov, who held the position of inspector of music classes, to be his assistant. Under Balakirev, the building of the singing chapel was rebuilt anew, it acquired an elegant appearance with luxurious halls and extensive facilities for students. Balakirev paid special attention to the development of the orchestra class at the chapel. This had a beneficial effect on the choir singers, who, due to loss of voice, had to stop their studies in the choir. They were given the opportunity to earn new income, since they remained in their familiar environment, and there was no need to look for employment in any other specialty that was alien to them.

Music

Balakirev's compositional activity, although not extensive, is very respectable. He wrote several orchestral, piano and vocal compositions, of which the following stand out: orchestral music for King Lear (1860), consisting of an overture and intermissions; Overture on Czech Themes (1856); two overtures on Russian themes, the first of which was composed in 1857, and the second, entitled “Rus”, was written in 1862 for the opening of the Millennium Monument to Russia in Novgorod; overture on a Spanish theme; symphonic poem “Tamara” (text by Lermontov), performed for the first time in 1882 (in a concert of the Free music school) . Among Balakirev’s piano works the following are known: two mazurkas (As-dur and B-moll), a scherzo, and a fantasy “Islamey” on oriental themes (1869). The virtuoso play “Islamey” is one of the most technically difficult works piano music. She inspired Maurice Ravel when creating the cycle “Gaspard the Night”. Ravel said about “Scarbo” that he specifically wanted to compose a play even more difficult than Balakirev’s “Islamey”.
Balakirev arranged for piano in two hands "Chernomor's March" from the opera "Ruslan and Lyudmila", "Song of the Lark" by Glinka, overture (introduction) to the second part of "La Fuite en Egypte" by Berlioz, cavatina from Beethoven's quartet (op. 130) , “Aragonese Jota” by Glinka. Four hands: “Prince Kholmsky”, “Kamarinskaya”, “Aragonese Jota”, “Night in Madrid” by Glinka.
Among Balakirev’s vocal compositions, romances and songs are very popular (“ Goldfish”, “Come to me”, “Lead me in, O night, secretly”, “Frenzy”, “A clear month has risen to heaven”, “Can I hear your voice”, “Jewish melody”, “Georgian song”, etc.) - numbering 20 (according to other sources, 43. Apparently, the main part of the text is lifetime, compiled between 1882 and 1895.)
Among other unmentioned works are 2 symphonies (1897; 1908), Suite for orchestra (1909 - completed by S. Lyapunov), 2 piano concertos (1855; 1910 - completed by S. Lyapunov, a large number piano works: sonata, mazurkas, nocturnes, waltzes, etc. A very valuable contribution to the field of Russian musical ethnography is the “Collection of Russian folk songs", published by Balakirev in 1866 (all songs 40).
M. A. Balakirev’s talent was especially evident in his first works and in his subtle understanding of orchestration; Balakirev's music is original, rich in melodic terms (music for King Lear, romances) and very interesting and beautiful in harmonic terms. Balakirev never took a systematic course. Balakirev’s most significant musical impressions during all this time were Chopin’s piano concerto (e-moll), which he heard from a lover as a child, and later the trio “Don’t Weary My Darling” from Glinka’s “A Life for the Tsar.” He remained faithful to these composers all his life. I.F. Laskovsky made a great impression on him as a pianist and composer. Participation in musical ensembles and especially studying scores and conducting an orchestra in Ulybyshev’s house greatly advanced him musical development. The first attempts at composing also date back to this time: a septet for piano, bowed instruments, flute and clarinet, stopping at the first movement, written in the spirit of Hancelt’s piano concerto, which he really liked, and a fantasy on Russian themes for piano and orchestra, which also remained unfinished. A handwritten sketch of it (1852) is kept in the public library in St. Petersburg.
General list of works

Orchestral works
- "King Lear" (Music to Shakespeare's tragedy)
- Overture on the themes of three Russian songs. Overture on a Spanish March theme
- “In the Czech Republic” (symphonic poem based on three Czech folk songs)
- “1000 years” (“Rus”). Symphonic poem
- "Tamara". Symphonic poem
- First Symphony in C major
- Second Symphony in d minor
- Suite composed of 4 pieces by Chopin
Romances and songs
- You are full of captivating bliss (A. Golovinsky)
- Link (V. Tumansky)
- Spanish song (M. Mikhailov)
- Song of the Robber (A. Koltsov)
- Clip, kiss (A. Koltsov)
- Barcarolle (A. Arsepev from Heine)
- Lullaby song (A. Arsepev)
- A clear month has risen to the sky (M. Yapenich)
- When you are carefree, child, you frolic (K. Wilde)
- Knight (K. Wilde)
- So the soul is torn (A. Koltsov)
- Come to me (A. Koltsov)
- Song of Selim (M. Lermontov)
- Bring me in, oh night (A. Maikov)
- Jewish melody (M. Lermontov from Byron)
- Enrage (A. Koltsov)
- Why (M. Lermontov)
- Song of the Goldfish (M. Lermontov)
- Old Man's Song (A. Koltsov)
- Can I hear your voice (M. Lermontov)
- Georgian song (A. Pushkin)
- Dream (M. Mikhailov from Heine)
- Above the lake (A. Golenishchev-Kutuzov)
- Desert (A. Zhemchuzhnikov)
- The sea does not foam (A. Tolstoy)
- When the yellowing field is agitated (M. Lermontov)
- I loved him (A. Koltsov)
- Pine (M. Lermontov from Heine)
- Nachtstiick (A. Khomyakov)
- How we set it up (L. May)
- Among the flowers of the autumn season (I. Aksakov)
- The ruddy sunset is burning out (V. Kulchinsky)
- Starter (Mei)
- Dream (Lermontov)
- The starless midnight breathed coolness (A. Khomyakov)
- November 7th (A. Khomyakov)
- I came to you with greetings (A. Fet)
- Look, my friend (V. Krasov)
- Whisper, timid breathing (A. Fet)
- Song (M. Lermontov)
- From under a mysterious cold half mask (M. Lermontov)
- Sleep (A. Khomyakov)
- Dawn (A. Khomyakov)
- Cliff (M. Lermontov)
- Collection of Russian folk songs (40) for one voice and piano
Piano works
- "Islamey"
- Sonata b minor
- Lullaby song
- Capriccio
- Fisherman's Song
- Dumka
- Extravaganza. spinning wheel
- Song of the gondolier. Humoresque
- Impromptu on the themes of two preludes by Chopin
- Seven Mazurkas
- Spanish melody
- Three Nocturnes
- Novellette
- Dreams
- Three scherzos
- Spanish serenade
- Tarantella
- Toccata
- Polka
- In the garden (Idyll)
- Melancholy Waltz
- Bravura Waltz
- Waltz impromptu
- Seven Waltzes
- Sketches, Tyrolienne
- Concerto in Es major for piano and orchestra
Treatments that have the meaning of independent works
- Fantasia on themes from the opera “Ivan Susanin”
- Transcription of Glinka's "Lark"
- to Glinka's "Arragon Jota"
- on "Night in Madrid" by Glinka
- Introduction to Berlioz's Flight into Egypt
- Neapolitan song by F. Liszt
- "Don't Tell", Glinka's romance
- Berceuse V. Odoevsky
- Cavatina from Beethoven's Quartet, op. 130
- Romance from Chopin's concerto, op. 11
- Overture to the opera Ondine by A. Lvov (arrangement and 4 hands)
- Two waltzes-caprice (arrangement of waltzes by A. S. Taneyev)
- For piano 4 hands
- Collection of 30 Russian songs
- Suite: a) Polonaise, b) Song without words, c) Scherzo
For two pianos 4 hands
- Beethoven. Quartet op. 95, f moll
For cello with piano accompaniment
- Romance
Choral works
- Lullaby (for women's or children's voices with small orchestra or piano accompaniment),
- Two epics for a mixed 4-voice choir: a) Nikita Romanovich, b) Korolevich from Krakow
- Cantata for the opening of the monument to Glinka
- Chopin's Mazurka (arrangement for mixed choir a capella, lyrics by L. Khomyakov)
Addresses in St. Petersburg
- 1861 - apartment building- Ofitserskaya street, 17;
- 1865-1873 - courtyard wing of the mansion of D. E. Benardaki - Nevsky Prospekt, 86, apt. 64;
- 1882-1910 - apartment building -
Mily Alekseevich Balakirev, an outstanding Russian composer who made a huge contribution to the development of Russian music, was born in Nizhny Novgorod on December 21, 1836 (old style). The creativity of this talented person and public figure left a bright mark on the spiritual and cultural development our country.

For a long time, history could not give a proper assessment of the contribution that he made to Russian musical culture. The ideological wars that took place in our country in the last century did not make it possible to evaluate the merits of this outstanding person. Nowadays, when Russia has begun to give credit to those who for a long time was in oblivion, Balakirev’s works were appreciated by his descendants. Finally, history put everything in its place.

Balakirev had not only a brilliant musical gift. An excellent journalist and teacher by vocation, he constantly searched for ways of spiritual growth in Russia. Thanks to him, today we know what such a thing means for Russian culture. great composer like M. Glinka. It was Mily Alekseevich who collected, edited Glinka’s manuscripts and presented them to the general public.

It is Balakirev who is the creator of the brotherhood outstanding composers, which is known in world culture as the “Mighty Handful”. Mussorgsky, Rimsky-Korsakov, Cui, Borodin and Balakirev himself formed a community of truly powerful talents. They wrote their first works, guided by the instructions given by Balakirev. P.I. did not escape its influence in his work. Tchaikovsky. He was not part of the “Mighty Handful,” but Balakirev’s enormous talent could not help but influence the young Pyotr Ilyich.

Balakaryov did everything for the creative development of his students, helped them rise to the highest levels in Russian culture and never reminded them who helped them become great. But later, when his students gained their convictions, he firmly defended his convictions and did not compromise. Mily Alekseevich not only genius composer. His talent as a conductor and pianist became the basis of the work of Gilels and Mravinsky, Oistrakh and Richter.

However pedagogical activity Balakireva is almost unknown. The free music school in which he taught music became the basis of that system of children's music education. It exists in Russia now and is recognized throughout the world. Another brainchild of teacher Balakirev, the Court Singing Chapel, was transformed by him together with Rimsky-Korsakov into a brilliant choir, which is remembered as a legend of Russian culture.

His journalistic activities have also been little studied. The reason for this was the spiritual worldview that Balakirev came to at the end of his life. His condition, similar to schema-mongering, was not understood and not appreciated by society. They didn’t accept him later either. The God-fighters could not appreciate the feat of the Christian and spiritual seer Balakirev, and his name was forgotten.

Mily Alekseevich died in St. Petersburg on May 16 (29), 1910. Currently creative feat the great composer is appreciated. History has put everything in its place.

Miliy Balakirev began playing the piano when he was four years old. At the age of 25, he headed the “Mighty Handful” composers’ circle and directed the Free Music School. Balakirev's works were known in many cities of Russia and Europe.
“Healthy flowers on the soil of Russian music”
Mily Balakirev was born in 1837 in Nizhny Novgorod, his father was a titular councilor. Balakirev began to become interested in music in early childhood. Already at the age of four, he learned to play the piano under the guidance of his mother, and later took lessons from conductor Karl Eisrich, Spanish composer John Field and music teacher Alexandre Dubuc.
The young pianist met the Nizhny Novgorod philanthropist and famous writer Alexander Ulybyshev. In his house, Mily Balakirev found himself in a creative environment: writers and artists met here, actors Mikhail Shchepkin and Alexander Martynov visited, composer Alexander Serov lived for a long time. In Ulybyshev's house, Mily Balakirev studied musical literature and scores, performed with the home orchestra - first as a pianist and then as a conductor.
In 1854, Balakirev, at the insistence of his father, entered the mathematics department of Kazan University as a volunteer. After a year, he dropped out of school to pursue music. Mily Balakirev began to write his first works - romances and piano pieces. Soon the aspiring composer left with Alexander Ulybyshev for St. Petersburg, where he met Mikhail Glinka. On Glinka's advice, Balakirev began performing at concerts as a pianist and writing his own music with folk motifs. He composed overtures on Russian and Czech themes, music for Shakespeare's tragedy "King Lear" and romances, which composer Alexander Serov called "fresh healthy flowers on the soil of Russian music."
Balakirevsky circle and Free music school
During these years, Mily Balakirev met Cesar Cui, Modest Mussorgsky, Nikolai Rimsky-Korsakov and Alexander Borodin. In 1862, they formed the “New Russian Music School” circle, which critic Vladimir Stasov nicknamed “The Mighty Handful.” Composers of the Balakirev circle studied folklore and church singing in order to use folk motifs in their compositions. Fairy-tale and epic plots appeared in both symphonic works and chamber music. vocal creativity each member of the “Mighty Handful”. Balakirev traveled a lot in search of new topics. From a trip to the Volga he brought the idea of the collection “40 Russian Songs”, and from the Caucasus - developments for the piano fantasy “Islamey” and symphonic poem"Tamara."
None of the composers in the circle studied at the conservatory: they did not exist then. Cui, Rimsky-Korsakov and Mussorgsky received military education, and Borodin was a chemist and had a doctorate in medicine. Mily Balakirev evaluated the works of his comrades and made recommendations. Rimsky-Korsakov wrote: “...a critic, a technical critic, he was amazing.” Balakirev at that time was considered an experienced composer and was the leader of the circle.
“They obeyed Balakirev unquestioningly, because his personal charm was terribly great. ... Every minute ready for wonderful improvisation at the piano, remembering every bar known to him, memorizing instantly the compositions played to him, he had to produce this charm like no one else.”
Nikolai Rimsky-Korsakov

In the year of the formation of the “Mighty Handful,” Mily Balakirev, with conductor Gavriil Lomakin, opened the “Free Music School.” Residents of both capitals studied here without social and age restrictions “to ennoble their aspirations and to form decent church choirs from them... as well as to develop new talents from them through the preparation of soloists.” The students were taught singing, musical literacy and solfeggio. Concerts of “new Russian music” - Mikhail Glinka, Alexander Dargomyzhsky and composers of the “Mighty Handful” were held here. Proceeds from the concerts went towards the development of the school.
World famous soloist of the Weimar Circle
In the 1870s, Mily Balakirev became one of the most respected musicians in St. Petersburg. He was invited to conduct at the Imperial Russian Musical Society. The music of the composers of the “Mighty Handful” was also played here, and the premiere of Alexander Borodin’s First Symphony took place. However, two years later Balakirev had to leave his post as conductor: court circles were dissatisfied with the composer’s harsh statements about musical conservatism.
He returned to work at the Free Music School. Balakirev was haunted by material failures, and there were no opportunities left for creativity. At this time, the “Mighty Handful” broke up: Balakirev’s students became experienced and independent composers.
“While everyone was in the position of eggs under the hen (meaning Balakirev by the latter), we were all more or less alike. As soon as the chicks hatched from the eggs, they grew feathers. Everyone flew where he was drawn by nature. The lack of similarity in direction, aspirations, tastes, nature of creativity, etc., in my opinion, constitutes a good and not at all a sad side of the matter.”
Alexander Borodin

Mily Balakirev decided to leave musical art and got a job in the Warsaw Department railway. He earned money by teaching piano lessons, but did not write music or perform at concerts, and lived a secluded and secluded life.
Only in the 1880s did the composer return to music school. During these years, he completed Tamara and the First Symphony, and wrote new piano pieces and romances. In 1883–1894, Balakirev directed the Court Singing Chapel and, together with Rimsky-Korsakov, organized professional training for musicians there. The composer was a member of the Weimar Circle, which met with academician Alexander Pypin. At these evenings Balakirev performed entire music programs with your own comments. According to the recollections of the academician’s daughter, in 1898–1901 alone there were 11 such programs in his repertoire. Symphonic music During these years, Milia Balakireva was known throughout Russia and abroad - in Brussels, Paris, Copenhagen, Munich, Heidelberg, Berlin.
Mily Balakirev died in 1910 at the age of 73. He was buried at the Tikhvin cemetery of the Alexander Nevsky Lavra.

Miliy Alekseevich Balakirev

Balakirev Mily Alekseevich (1836-1910) - Russian musical and public figure, composer, conductor and pianist. Head of the creative association of Russian composers “New Russian Musical School” (“Balakirevsky Circle” or “Mighty Handful”), which arose in 1856 and took shape in the early 1860s.

In 1862, together with conductor G. Ya. Lomakin, he organized a free music school in St. Petersburg and was its director (1868-1873, 1881 - 1908). In 1883-94. - chief conductor of the Imp. Russian Musical Society, manager of the Court Singing Chapel.

Popularized the legacy of M. I. Glinka in Russia and abroad. Author of music for W. Shakespeare's tragedy "King Lear", two symphonies (1897,1908), symphonic poems "Tamara" (1882), "Rus" (1887), "In the Czech Republic" (1905), chamber instrumental works and romances .

Orlov A.S., Georgieva N.G., Georgiev V.A. Historical Dictionary. 2nd ed. M., 2012, p. 28.

Balakirev Mily Alekseevich (12/21/1836-05/16/1910), Russian composer, conductor, musical and public figure, head of the creative association of Russian composers “New Russian Musical School” (“Balakirev Circle”, or “Mighty Handful”), which arose in 1856 and took shape in n. 1860s.

In 1853 - 55 Balakirev was a volunteer student at the Faculty of Mathematics of Kazan University. In 1855 he moved to St. Petersburg, where he began to meet with M. I. Glinka And A. S. Dargomyzhsky, debuted as a composer and pianist. In 1862, together with conductor G. Ya. Lomakin, he organized a free music school in St. Petersburg and was its director (1868-73, 1881-1908). Chief conductor of the Russian Musical Society, director of the “Court Singing Chapel” (1883 - 94). As a conductor of the operas “A Life for the Tsar” and “Ruslan and Lyudmila,” Balakirev popularized the operatic heritage of M. I. Glinka in Russia and abroad. Balakirev is the author of music for Shakespeare’s tragedy “King Lear”, symphonic poems “Tamara”, “Rus”, “In the Czech Republic”, oriental fantasy for piano “Islamey”, chamber instrumental works and romances, and arranged a number of Russian folk songs.

V. A. Fedorov

BALAKIREV, MILIY ALEXEEVICH (1837–1910), Russian composer, pianist, conductor, head and inspirer of the famous “Five” - “The Mighty Handful” (Balakirev, Cui, Mussorgsky, Borodin, Rimsky-Korsakov), which personifies the national movement in Russian musical culture 19th century

Balakirev was born on January 2, 1837 in Nizhny Novgorod, into an impoverished noble family. Brought to Moscow at the age of ten, he took lessons from John Field for some time; later, A.D. Ulybyshev, an enlightened amateur musician, philanthropist, author of the first Russian monograph on Mozart, took a great part in his fate. Balakirev entered the Faculty of Physics and Mathematics of Kazan University, but in 1855 he met in St. Petersburg with M.I. Glinka, who convinced the young musician to devote himself to composition in the national spirit, relying on Russian music - folk and church, on Russian plots and texts.

The “Mighty Handful” formed in St. Petersburg between 1857 and 1862, and Balakirev became its leader. He was self-taught and drew his knowledge mainly from practice, therefore he rejected the textbooks and methods of teaching harmony and counterpoint accepted at that time, replacing them with a wide acquaintance with the masterpieces of world music and their detailed analysis. The “Mighty Handful” as a creative association lasted relatively short-lived, but had a huge influence on Russian culture. In 1863, Balakirev founded the Free Music School - as opposed to the St. Petersburg Conservatory, the direction of which Balakirev assessed as cosmopolitan and conservative. He performed a lot as a conductor, regularly introducing listeners to early works your circle. In 1867 Balakirev became the conductor of concerts of the Imperial Russian Musical Society, but in 1869 he was forced to leave this post. In 1870, Balakirev experienced a severe spiritual crisis, after which he did not study music for five years. He returned to composition in 1876, but by this time he had already lost his reputation as the head of the national school in the eyes of the musical community. In 1882, Balakirev again became the director of concerts at the Free Music School, and in 1883, the director of the Court Choir (during this period he created a number of church compositions and transcriptions of ancient chants).

Balakirev played a huge role in the formation of the national music school, but he himself composed relatively little. In symphonic genres, he created two symphonies, several overtures, music for Shakespeare's King Lear (1858–1861), symphonic poems Tamara (c. 1882), Rus' (1887, 2nd edition 1907) and In the Czech Republic (1867, 2nd edition edition 1905). For piano, he wrote a sonata in B flat minor (1905), a brilliant fantasy Islamey (1869) and a number of plays in different genres. Romances and adaptations of folk songs are of high value. Balakirev's musical style is based on one hand on folk origins and the traditions of church music, on the other hand, on the experience of new Western European art, especially Liszt, Chopin, Berlioz. Balakirev died in St. Petersburg on May 29, 1910.

Materials from the encyclopedia "The World Around Us" were used.

Literature:

M.A. Balakirev: Research. Articles. L., 1961

Balakirev M.A. Memories and letters. L., 1962

M.A. Balakirev: Chronicle of life and creativity. L., 1967
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