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1532:, recommencing on the symphony only 30 years later and not finishing it until 1897. Letters from Balakirev to Stasov and Cui indicate that the first movement was two-thirds completed and the final movement sketched out, though he would supply a new theme for the finale many years later. While he was waiting until the finale to incorporate folk material, he was anxious to incorporate a new Russian element, somewhat religious in nature, into the opening movement. The symphonic design for this movement is highly unusual. The slow introduction announces the motif on which the allegro vivo is based. While the allegro vivo is a three part structure, it differs from sonata form in having an exposition, a second exposition and a development instead of the usual order of exposition-development-recapitulation. This means that after the actual exposition, the thematic material is developed in two places, with the second exposition actually being an elaboration of the first. Formally, the process is one of progressive development, divided into three stages of increasing complexity. If this was how Balakirev had actually planned the movement in 1864, it would predate the late symphonies of
1321:, dating his conversion to the anniversary of his mother's death in March 1871. The exact circumstances of that conversion are unknown, as no letters or diaries of his from this period have survived. Rimsky-Korsakov relates some of Balakirev's extremes in behavior at this point—how he had "given up eating meat, and ate fish, but ... only those which had died, never the killed variety"; how he would remove his hat and quickly cross himself whenever he passed by a church; and how his compassion for animals reached the point that whenever an insect was found in a room, he would carefully catch it and release it from a window, saying, "Go thee, deary, in the Lord, go!" Balakirev lived as a recluse in a house filled with dogs, cats and religious icons. The exception to this reclusiveness was the musical Tuesday evenings he held after his return to music in the 1870s and 80s. He also became a political reactionary and "xenophobic Slavophile who wrote hymns in honor of the dowager empress and other members of the royal family."
1329:. His attacks on Anton Rubinstein in the 1860s became petty and anti-Semitic, and Jews were not admitted to the Free School during his earlier directorship. However, it was after his conversion that he suspected everyone he disliked to be of Jewish origin, and that he hated the Jews in general because they had crucified Christ. He became belligerent in his religious conversations with friends, insistent that they cross themselves and attend church with him. "All this medley of Christian meekness, backbiting, fondness for beasts, misanthropy, artistic interests, and a triviality worthy of an old maid from a hospice, all these struck everyone who saw him in those days", Rimsky-Korsakov wrote, adding that these traits intensified further in subsequent years.
624:, where he met Glinka. While Glinka considered Balakirev's compositional technique defective (there were as yet no music textbooks in Russian and Balakirev's German was barely adequate), he thought highly of his talent, encouraging him to take up music as a career. Their acquaintance was marked by discussions, by Glinka passing several Spanish musical themes to Balakirev, and with Glinka entrusting the young man with the musical education of his four-year-old niece. Balakirev made his debut in a university concert in February 1856, playing the completed movement from his First Piano Concerto. This was followed a month later with a concert of his piano and chamber compositions. In 1858, he played the solo part in Beethoven's
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368:. For several years, Balakirev was the only professional musician of the group; the others were amateurs limited in musical education. He imparted to them his musical beliefs, which continued to underlie their thinking long after he left the group in 1871, and encouraged their compositional efforts. While his methods could be dictatorial, the results of his influence were several works which established these composers' reputations individually and as a group. He performed a similar function for Tchaikovsky at two points in the latter's career – in 1868–69 with the fantasy-overture
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1497:—music written to fulfill a program inspired by a portrait, poem, story or other non-musical source. Unlike his compatriots, the musical form always came first for Balakirev, not the extramusical source, and his technique continued to reflect the Germanic symphonic approach. Nevertheless, Balakirev's overtures played a crucial role in the emergence of Russian symphonic music in that they introduced the musical style now considered "Russian." His style was adapted by his compatriots and others to the point of becoming a national characteristic. The opening of Mussorgsky's
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1165:. This implicit recognition of Balakirev's ideas made his own concerts seem unnecessary and redundant. Balakirev then hoped that a solo recital in his hometown of Nizhny Novgorod in September 1870 would restore his reputation and prove profitable. Neither happened—he played to an empty house, and the profits of the recital amounted to 11 rubles. Added to these professional troubles were the death of his father in June 1869, and the financial responsibility for his younger sisters resulting from it.
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he felt the composition should be changed. Passages in other people's works came out sounding like his music, not their own. By the late 1860s, Mussorgsky and Rimsky-Korsakov stopped accepting what they now considered his high-handed meddling with their work, and Stasov began to distance himself from
Balakirev. The other members of The Five also became interested in writing opera, a genre Balakirev did not consider highly, after the success of
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Pavlovna was furious. She decided to raise the social level of the RMS concerts by attending them personally with her court. This rivalry caused financial difficulties for both concert societies as RMS membership declined and the Free Music School continued to suffer from chronic money troubles. Soon the Free Music School could not pay
Balakirev and had to cut its 1870–71 series short. The RMS then scored the
604:, who later became a novelist. He was soon noted in local society as a pianist and was able to supplement his limited finances by taking pupils. His holidays were spent either at Nizhny Novgorod or on the Ulybyshev country estate at Lukino, where he played numerous Beethoven sonatas to help his patron with his book on the composer. Works from this period include a piano fantasy based on themes from Glinka's
398:. Often, the musical ideas normally associated with Rimsky-Korsakov or Borodin originated in Balakirev's compositions, which Balakirev played at informal gatherings of The Five. However, his slow pace in completing works for the public deprived him of credit for his inventiveness, and pieces that would have enjoyed success had they been completed in the 1860s and 1870s made a much smaller impact.
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720:, endowed by nature with a sense of correct harmony and part-writing, he possessed a technique partly native and partly acquired through a vast musical erudition, with the help of an extraordinarily keen and retentive memory, which means so much in steering a critical course in musical literature. Then, too, he was a marvelous critic, especially a
1314:. For a while in the late 1860s he frequented a soothsayer to learn his fate with the Russian Musical Society. Rimsky-Korsakov wrote of these sessions, "Balakirev, who did not believe in God, became a believer in the Devil. The Devil brought it about that subsequently he came to believe in God too ... he soothsaying ... cast a terror upon him".
837:. Lomakin was appointed director, with Balakirev serving as his assistant. To raise funds for the school, Balakirev conducted orchestral concerts between 1862 and 1867, while Lomakin conducted choral ones. These concerts offered less conservative programming musically than the RMS concerts. They included the music of
912:, of which he completed much of the first movement, scherzo and finale by 1866. Even at this point, however, Balakirev had trouble finishing large works; the symphony would not be finished until decades later. He began a second piano concerto in the summer of 1861, with a slow movement thematically connected with
784:, others feared the influence of German instructors and musical precepts into Russian classical music. Balakirev's sympathies and closest contacts were in the latter camp, and he frequently made derogatory comments about the German "routine" which, he believed, came at the expense of the composer's originality.
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Unlike his earlier days, when he played works in progress at gatherings of The Five, Balakirev composed in isolation. He was aware that younger composers now considered his compositional style old-fashioned. Except initially for
Glazunov, whom he brought to Rimsky-Korsakov as a prodigy, and his later
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In 1881, Balakirev was offered the directorship of the Moscow
Conservatory, along with the conductorship of the Moscow branch of the Russian Musical Society. Perhaps keeping in mind his experience with the Saint Petersburg branch of the Russian Musical Society years earlier, he declined the position.
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and destroy his manuscripts. He took a five-year break from music, and withdrew from his musical friends, but did not destroy his manuscripts; instead he stacked them neatly in one corner of his house. In his mental state, he neglected to give up his post as director of the Free Music School, and the
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When
Lomakin resigned as director of the Free Music School in February 1868, Balakirev took his place there. Once he had left the RMS, he concentrated on building attendance for concerts of the Free Music School. He decided to recruit popular soloists and found Nikolai Rubinstein ready to help. Elena
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that occupied him at the same time. He did not finish the opening movement until the following year, then set aside the work for 50 years. He suffered from periods of acute depression, longed for death and thought about destroying all his manuscripts. He was still able to complete some works quickly.
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Balakirev spent the summer of 1862 in the
Caucasus, mainly in Essentuki, and was impressed enough by the region to return there the following year and in 1868. He noted down folk tunes from that region and from Georgia and Iran; these tunes would play an important part in his musical development. One
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The pro-Conservatory followers publicly called The Five "amateurs"—a justified charge, as
Balakirev was the only professional musician of the group. To counteract these criticisms and to aid in the creation of a distinctly "Russian" school of music, Balakirev and Gavriil Lomakin, a local choirmaster,
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dance song. Balakirev's use of two songs in this section was an important departure from the model, as it allowed him to link the symphonic process of symphonic form with Glinka's variations on an ostinato pattern, and in contrasting them treat the songs symphonically instead of merely decoratively.
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Unfortunately, the protracted composition of several works robbed
Balakirev of the credit for their inventiveness. Pieces which could have won success had they been completed in the 1860s and 70s made a much smaller impact when they were introduced much later in the composer's life. This was because
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had been dedicated to
Balakirev. The appearance of Tchaikovsky's article may have been calculated, as he knew Elena Pavlovna was due in Moscow, where he lived, the day the article was to appear. He sent two notes to Balakirev; the first alerted him to Elena Pavlovna's planned presence in Moscow, and
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there, dressed "in professional, antimusical togas, first pollute their students' minds, then seal them with various abominations." There was also a petty, personal side to
Balakirev's attacks. Rubinstein had written an article in 1855 that was critical of Glinka. Glinka had taken the article badly,
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As an instructor and influence of magnetic personality, Balakirev inspired his comrades to improbable heights of musical creativity. However, he vehemently opposed academic training, considering it a threat to the musical imagination. It was better in his view to begin composing right away and learn
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at a fast tempo and rapid melodic contours over a slower-moving harmonic changes. This style on one hand evoked the mystery of the distant, exotic east with which Russia did not have direct contact, and on the other hand could also be used to refer to recently colonized areas of the Russian Empire.
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and Rimsky-Korsakov, initially attended these meetings. However, Balakirev's modest gatherings eventually proved no match for Belyayev's lavish Friday gatherings, nor could he compete with the commissions, prizes and performances that Belyayev offered. Balakirev did not take advantage of Belyayev's
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was also appointed, along with a distinguished foreign composer. The choice of Berlioz as foreign conductor was widely lauded, but Balakirev's appointment was seen less enthusiastically. Balakirev's uncompromising nature caused tension at the RMS, and his preference for modern repertoire earned him
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Balakirev was outspoken in his opposition to Anton Rubinstein's efforts. This opposition was partly ideological and partly personal. Anton Rubinstein was at that time the only Russian able to live on his art, while Balakirev had to live on income from piano lessons and recitals played in the salons
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Balakirev's eventual undoing was his demand that his students' musical tastes coincide exactly with his own, with the slightest deviation prohibited. Whenever one of them played one of his own compositions for Balakirev, Balakirev would seat himself at the piano and show, through improvisation, how
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shows an increased sophistication as Balakirev utilizes Beethoven's technique of deriving short motifs from longer themes so that those motifs can be combined into a convincing contrapuntal fabric. As such it can stand on its own as an example of abstract motivic-thematic composition, yet since it
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Despite the protracted composition period, there was no discernible difference, especially in the two symphonies, between the sections completed in the 1860s and those written much later. Zetlin asserts that while there was no diminution of Balakirev's creative talent, the reason for this lack of
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In the spring of 1871, rumors circulated that Balakirev had suffered a nervous breakdown. Friends who visited him found no trace of his former self; in place of his former vivacity, energy and drive, they found him silent, withdrawn and lethargic. Borodin wrote to Rimsky-Korsakov that he wondered
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approach, learning how other composers solved various problems by sifting through their scores and seeing how they addressed those challenges. While this approach may have been helpful for Balakirev, Rimsky-Korsakov writes, it was not so helpful for individuals completely different in nature from
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was that he was not comfortable participating in a group at which he was not at its center. The exception to this was Balakirev's collection of folk songs, to which Belyayev bought the rights after the death of the songs' initial publisher. Otherwise, Balakirev remained without a publisher until
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Balakirev became important in the history of Russian music through both his works and his leadership. More so than Glinka, he helped set the course for Russian orchestral music and Russian lyrical song during the second half of the 19th century. While he learned from Glinka certain methods of
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but still did not wish to see any of his old musical circle, "for there would be talks about music, which he would not have under any circumstances. Nevertheless, he inquires about everything with interest..." Balakirev also began sending individuals to Rimsky-Korsakov for private lessons in
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reportedly horrified Balakirev, with Balakirev taking issue with the musical tempos, the casting of various roles, and the costumes—"t was as though Smetana was trying to turn the whole piece into a farce." "ive weeks of quarrels, intrigues by Smetana and his party, and intensive rehearsals"
1232:. In 1883, he was appointed director of the Imperial Chapel; Rimsky-Korsakov eventually became his assistant. He held this post until 1895, when he took his final retirement and composed in earnest. Between 1895 and 1910 he completed two symphonies, a piano sonata and two movements of his
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Balakirev's affinity with Glinka's music becomes most apparent in his handling of folk material. However, Balakirev advances on Glinka's technique of using "variations with changing backgrounds," reconciling the compositional practices of classical music with the idiomatic treatment of
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through that act of creation. This line of reasoning could be argued as a rationalization to his own lack of technical training. He had been trained as a pianist and had to discover his own way to becoming a composer. Rimsky-Korsakov eventually realized as much, but nevertheless wrote:
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followed, with Balakirev attending every rehearsal. Balakirev suspected Smetana and others were influenced by pro-Polish elements of the Czech press, which labeled the production a "Tsarist intrigue" paid for by the Russian government. He had difficulties with the production of
1603:. Balakirev evokes both the poem's setting of the mountains and gorges of the Caucasus and the angelic and demonically seductive power of the title character. The narrative employs a wide musical range, with the composer supplying great subtlety within a satisfying structure.
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Balakirev's musical education was placed in the hands of the pianist Karl Eisrach, who also arranged the regular musical evenings at the Ulybyshev estate. Through Eisrach, Balakirev was given opportunities to read, play and listen to music and was exposed to the music of
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Balakirev studied at the Nizhny Novgorod gymnasium. After his mother's death, he was transferred to the Nizhny Novgorod Noble Institute of Alexander II where he studied from 1849 to 1853. Balakirev's musical talents did not remain unnoticed, as he soon found a patron in
1417:, the tendency for many melodies to swing between the major key and its relative minor on its flat seventh key, and the tendency to accentuate notes not consistent with dominant harmony. These characteristics were reflected in Balakirev's handling of Russian folk song.
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within Balakirev, leading him to adopt the stance that Russia should have its own distinct school of music, free from Southern and Western European influences. He had also started meeting other important figures who would abet him in this goal in 1856, including
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Since the musical views of The Five tended to be anti-German, it is easy to forget that Balakirev was actually well-grounded in German symphonic style—all the more impressive when it is remembered that Balakirev was essentially self-taught as a composer. His
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in 1871. Azanchevsky was more progressively-minded musically than his predecessors, a staunch believer in contemporary music on the whole and Russian contemporary music in particular. For the opening concert of the RMS 1871–72 season, he had conductor
833:) in 1862. Like the RMS, the Free School offered concerts as well as education. Unlike the RMS, the Free School offered music education at no charge to students. The school also emphasized singing, especially choral singing, to meet the demands of the
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from Tchaikovsky, care of the music publisher Besel. Delighted Tchaikovsky had not forgotten him, he replied with an invitation for Tchaikovsky to visit him in Saint Petersburg. In the same letter, he forwarded the programme for a symphony, based on
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in the 19th century, and information sources used in the article sometimes report dates as old style rather than new style. Dates in the article are taken verbatim from the source and therefore are in the same style as the source from which they
341:. In the process, Balakirev developed musical patterns that could express overt nationalistic feeling. After a nervous breakdown and consequent sabbatical, he returned to classical music but did not wield the same level of influence as before.
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they had been overtaken stylistically by the accomplishments of younger composers, and because some of their compositional devices were appropriated by other members of The Five—the most notable example of the latter is Rimsky-Korsakov's
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Rimsky-Korsakov mentions that some of Balakirev's character traits were present before his conversion but became intensified afterward. This was true of his general intolerance of viewpoints other than his own, but especially so with his
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Balakirev apparently never married nor had any children since none are mentioned in biographical sources. In his earlier days he was politically liberal, a freethinker and an atheist; for a while, he considered writing an opera based on
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under his direction, with the Czechs initially refusing to pay for the cost of copying the orchestral parts, and the piano reduction of the score, from which Balakirev was conducting rehearsals, mysteriously disappearing. Biographer
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of the aristocracy. At stake was a viable career in music as artistic director of the Russian Musical Society. Balakirev attacked Rubinstein for his conservative musical tastes, especially for his leaning on German masters such as
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uses folk songs in doing so, it can also be looked upon as making a statement about nationality. In this overture he shows how folk songs could be given symphonic dimensions while paying particular attention to the element of
1212:. This paved the way for Rimsky-Korsakov to make occasional visits to Balakirev. By the autumn, these visits had become frequent. Also, Lyudmilla Shestarova asked him to edit Glinka's works for publication, in consort with
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were published. These arrangements showed great insight into the rhythm, harmony and types of song, although the key signatures and elaborate textures of the piano accompaniments were not as idiomatic. He also started a
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Balakirev encouraged Rimsky-Korsakov and Borodin to complete their first symphonies, whose premieres he conducted in December 1865 and January 1869 respectively. He also conducted the first performance of Mussorgsky's
559:. Eisrach and Ulybyshev also allowed Balakirev to rehearse the count's private orchestra in rehearsals of orchestral and choral works. Eventually, Balakirev, still aged only 14, led a performance of Mozart's
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Perhaps because Balakirev's initial musical experience was as a pianist, composers for his own instrument influenced the repertory and style of his compositions. He wrote in all the genres cultivated by
804:, and for his insistence on professional musical training. Balakirev's followers were similarly outspoken. Mussorgsky, for instance, called the Saint Petersburg Conservatory a place where Rubinstein and
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In 1876, Balakirev slowly began reemerging into the music world, but without the intensity of his former years. Stasov wrote Rimsky-Korsakov in July that Balakirev was busy composing his symphonic poem
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When Anton Rubinstein relinquished directorship of the RMS concerts in 1867, Balakirev was suggested to replace him. The conservative patron for the RMS, Grand Duchess Elena Pavlovna, agreed—provided
966:(aka Mikhail Zetlin) writes, "It is hard to say, nowadays, whether Balakirev's suspicions were fully justified or whether they were partly due to his own high-strung disposition." Regardless, though
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disparity was because Balakirev "had ceased to evolve" as an artist; he remained creatively at the point he had reached in the 1860s, "and his newest works seemed thus merely an echo of the past."
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whether Balakirev's condition was little better than insanity. He was especially concerned about Balakirev's coolness toward musical matters, and hoped he would not follow the example of author
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1899, when he met the Saint Petersburg music publisher J.H. Zimmermann. It was through Zimmermann's efforts that Balakirev prepared several works for publication, including his two symphonies.
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overture, written when he was 22, is not a symphonic poem in the vein of Liszt but actually more along the lines of Beethoven's concert overtures, relying more on the dramatic qualities of
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This exchange of letters grew into a friendship and a creative collaboration over the next two years, with Balakirev helping Tchaikovsky produce his first masterpiece, the fantasy-overture
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were successes, Balakirev's lack of tact and despotic nature created considerable ill feelings between him and others involved. Afterwards, he and Smetana no longer spoke to each other.
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flexibility, asymmetrical phrase structure and tonal ambiguity. Incorporating these elements meant employing the tonal instability of folk song in larger structures by relying on tonal
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866:'s "Georgian song", while a quasi-oriental style appeared in other songs. In 1864, Balakirev considered writing an opera based on the folk legend of the Firebird (a subject upon which
434:. The painting is somewhat anachronistic – Balakirev is depicted as a man approaching middle age, with a full beard; however, Glinka died in 1857, when Balakirev was only 20 years old.
1574:. This style comprises two parts: a languorous vein of slow, sinuous melody with ornamentation and slow-moving harmonic progressions, contrasted with a more ecstatic vein marked by a
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1441:, Balakirev focused on writing symphonic works with Russian character. He chose his themes from folk song collections available at the time he composed the piece, taking Glinka's
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directors of the school were at a loss as to what to do. He finally resigned in 1874 and was replaced by Rimsky-Korsakov. Nikolai Rubinstein offered him a professorship at the
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and had not even superficially applied himself to them, evidently thought such studies quite unnecessary.... An excellent pianist, a superior sight reader of music, a splendid
635:. In 1859, he had 12 songs published. Nevertheless, he was still in extreme poverty, supporting himself mainly by giving piano lessons (sometimes nine a day) and by playing at
1356:) and many elements of his basic style, he developed and expanded upon what he had learned, fusing it satisfactorily with then-advanced Romantic compositional techniques.
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Balakirev also intermittently spent time editing Glinka's works for publication, on behalf of the composer's sister, Lyudmilla Shestakova. At her behest, he travelled to
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The deaths of Glinka in 1857 and Ulybyshev the following year left Balakirev without influential supporters. Nevertheless, his time with Glinka had sparked a passion for
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539:(Oulibicheff). Ulybyshev was considered the leading musical figure and patron in Nizhny Novgorod; he owned a vast musical library and was the author of a biography of
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begins with a dominant pedal extending over 90 bars in the upper register of the violins, a device Balakirev used in his First Overture. The opening of Tchaikovsky's
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Mily's mother was Elizaveta Ivanovna Balakireva (née Yasherova). The noble title was first granted to her father Ivan Vasilievich Yasherov who went a long way from a
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Between his two Overtures on Russian Themes, Balakirev became involved with folk song collecting and arranging. This work alerted him to the frequency of the
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and Balakirev likewise took Rubinstein's criticism personally. Moreover, Rubinstein was of German and Jewish descent, and Balakirev's comments were at times
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for piano and orchestra. The first movement survives of an octet for piano, flute, oboe, horn, violin, viola, cello, and double bass and dates from 1855.
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1090:, the two men drifted apart as Balakirev took a sabbatical from the music world. In 1880, Balakirev received a copy of the final version of the score of
776:(RMS) and the musical conservatories in St. Petersburg and Moscow were all established at this time. While these institutions had powerful champions in
337:. He began his career as a pivotal figure, extending the fusion of traditional folk music and experimental classical music practices begun by composer
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613:, an attempt at a string quartet, three songs which would eventually be published in 1908 and the opening movement (the only one completed) of his
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981:; this work would be performed at a May 1867 Free School concert given in honor of Slav visitors to the All-Russian Ethnographical Exhibition in
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1370:. Another consequence was a tendency to overwork details, which robbed these pieces of freshness and inspiration, making them seem "overdone".
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519:) was a traditional male name in her family. She gave piano lessons to her son since the age of four, and when he turned ten she took him to
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that same year (1864), which was performed that April at a Free School concert and published in 1869 as a "musical picture" with the title
1109:. Tchaikovsky initially refused, but two years later changed his mind, partly due to Balakirev's continued prodding over the project. The
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as a model in taking a slow song for the introduction, then for the fast section choosing two songs compatible in structure with the
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Balakirev had the musical experience that the others in The Five lacked, and he instructed them much as he instructed himself—by an
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treating Russian folk song instrumentally, a bright, transparent orchestral technique (something he also learned from the works of
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is considered by some to be Balakirev's greatest work as well as a touchstone of orientalism. Originally he intended to write a
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services in these areas, as he felt that they promoted inferior music, and lowered the quality of Russian music. Musicologist
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but he refused, stating that his musical knowledge was basically empirical and that he did not have enough knowledge of
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except the Ballade, cultivating a comparable charm. The other keyboard composer who influenced Balakirev was
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and allows them to savor a night of sensual delights before killing them and flinging their bodies into the
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by All-Russian Armorials of Noble Houses of the Russian Empire. Part 17, 14 January 1904 (in Russian)
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critic. He instantly felt every technical imperfection or error, he grasped a defect in form at once.
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the enmity of Elena Pavlovna. In 1869, she informed him that his services were no longer required.
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by All-Russian Armorials of Noble Houses of the Russian Empire. Part 9, 5 August 1816 (in Russian)
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who became a fixture of the Russian classical music scene at this time. Some composers, including
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While Balakirev resumed musical Tuesday gatherings at his home by the 1880s, it was music patron
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to take on such a position. Financial distress forced Balakirev to become a railway clerk on the
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As a composer, Balakirev finished major works many years after he had started them; he began his
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in 1866 to arrange the production of Glinka's operas there. This project was delayed due to the
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bears a close resemblance to the first theme of Balakirev's Second Overture, while Borodin's
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premiered the "oriental fantasy," which Balakirev considered a sketch for his symphonic poem
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that circulated among fellow composers was made up by Balakirev and does not find any proof.
466:(Alexey's branch traced its history to Andrei Simonovich Balakirev who took part in the 1618
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Balakirev or who matured as composers "at different intervals and in a different manner".
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in November or December 1862. Together with Cui, these men were described by noted critic
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just after conducting it. Balakirev's immediate response was positive and enthusiastic.
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The week after Balakirev's dismissal, an impassioned article in his defense appeared in
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After Balakirev completed his courses in the late autumn of 1855, Ulybyshev took him to
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Instead, he resumed the directorship of the Free School of Music. In 1882, he finished
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876:), but abandoned the project due to the lack of a suitable libretto. He completed his
573:. His earliest surviving compositions date from the same year—the first movement of a
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who belonged to the ancient dynasty founded by Ivan Vasilievich Balakirev, a Moscow
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Babi Yar (Berkeley, Los Angeles and London: University of California Press, 2002).
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985:. This was the concert for which, in his review, Vladimir Stasov coined the phrase
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1478:. The structure of this overture departs from the classic tonal relationships of
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in 1864 but completed it in 1897. The exception to this was his oriental fantasy
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after completing the Second Overture but cut work short to concentrate on the
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Like his contemporaries in The Five, Balakirev believed in the importance of
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894:, with whom Balakirev quarreled over the Prague production of Glinka's opera
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Alexander Dargomyzhsky eventually replaced Balakirev as a mentor to The Five
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1771:. Mily Alexeyevich Balakirev. Origins. — St. Petersburg: Kanon, pp. 34—56
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Following his breakdown, Balakirev sought solace in the strictest sect of
700:), but they eventually became better known in English simply as The Five.
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1852:. Memories and Letters. — Leningrad: State Music Publishing House, p. 17
1276:, Balakirev was ignored by the younger generation of Russian composers.
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family. His father, Alexey Konstantinovich Balakirev (1809–1869), was a
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Stravinsky and the Russian Traditions: A Biography of the Works Through
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about the seductress Tamara, who waylays travelers in her tower at the
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elaborated lyric song. This type of song is characterized by extreme
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as well as in his transcriptions of works by other composers and the
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asserted that another reason Balakirev did not participate with the
1236:, along with republishing his collection of folk-song arrangements.
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of the first compositions to show this influence was his setting of
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and was granted lands in Nizhny Novgorod). The legend of a supposed
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for solo piano, which he composed quickly and remains popular among
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Balakirev left the Alexandrovsky Institute in 1853 and entered the
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during the summer holidays for a course of ten piano lessons with
4420:
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2782:
The New Grove Encyclopedia of Music and Musicians, Second Edition
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During this visit, Balakirev sketched and partly orchestrated an
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modeled after Glinka. However, he was inspired by the poetry of
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and his encouragement of more famous Russian composers, notably
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the second thanked Balakirev for criticisms he had made about
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Rimsky-Korsakov as a naval cadet, at the time he met Balakirev
565:. At age 15, he was allowed to lead rehearsals of Beethoven's
352:(a.k.a., The Mighty Handful) – the others were
255:
1833:. Dictionary of Russian First Names. — Moscow: Eksmo, p. 240
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The formation of The Five paralleled the early years of
2784:(London: Macmillan, 2001), ed. Stanley Sadie, 29 vols.
2754:(London: Macmillan, 1980), ed. Stanley Sadie, 20 vols.
1560:, making it a more consistent style. It appears in the
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in its original form also shows Balakirev's influence.
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present the first public performances of Tchaikovsky's
1056:. Balakirev had conducted Tchaikovsky's symphonic poem
2882:(Westport, Connecticut: Greenwood Press, 1959, 1975).
2867:(Oxford and New York: Oxford University Press, 1996).
761:
Saint Petersburg Conservatory and Free School of Music
708:
Balakirev, who had never had any systematic course in
2780:
Campbell, Stuart, "Balakirev, Mily Alekseyevich". In
2085:(New York: W.W. Norton & Company, Inc, 1978), 126
1486:, coming close to the tonal experiments of Liszt and
1366:, which was influenced by Balakirev's symphonic poem
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2750:Abraham, Gerald, "Balakirev, Mily Alexeyevich". In
944:until the following year. The Prague production of
405:in 1900, but did not complete the work until 1908.
249:
196:
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2852:(Saint Petersburg, 1909), published in English as
1279:Balakirev died on 29 May 1910 and was interred in
344:In conjunction with critic and fellow nationalist
2752:The New Grove Encyclopedia of Music and Musicians
600:as a mathematics student, along with his friend
4612:
2856:(New York: Knopf, 1925, 3rd ed. 1942). ISBN n/a.
1347:Mily Balakirev at the time he taught "The Five."
1168:
1009:Waning influence and friendship with Tchaikovsky
856:
295:[ˈmʲilʲɪjɐlʲɪkˈsʲe(j)ɪvʲɪdʑbɐˈlakʲɪrʲɪf]
1432:
1062:and the "Characteristic Dances" from his opera
474:ancestor who was baptized and took part in the
3623:
3164:
3078:
2950:
2797:Natasha's Dance: A Cultural History of Russia
2769:(New York: W.W. Norton & Company, 1978).
2129:
2127:
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2123:
2121:
1919:
1917:
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329:known today primarily for his work promoting
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923:in August 1869, finishing it a month later.
2901:Texts used in vocal works by Mily Balakirev
2878:Zetlin, Mikhail, tr. and ed. George Panin,
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2200:
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1999:
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1983:
1981:
1935:
1933:
1804:Brockhaus and Efron Encyclopedic Dictionary
1536:in utilizing this compositional principle.
1023:, who had taken over for Rubinstein at the
401:Balakirev began work on a second symphony,
4706:Conductors (music) from the Russian Empire
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2919:International Music Score Library Project
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2015:
2013:
2011:
2009:
1949:
1947:
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989:("Mighty Handful") to describe The Five.
310:21 December 1836] – 29 May [
2658:
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2562:
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2419:
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1994:
1978:
1930:
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1140:, who also took over as director of the
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727:
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29:Russian composer and pianist (1837–1910)
4656:20th-century Russian conductors (music)
3178:
2767:Tchaikovsky: The Early Years, 1840–1874
2444:
2435:
2083:Tchaikovsky: The Early Years: 1840–1874
1881:
1855:
1755:
1520:Progressive development: First Symphony
422:Portrait of (left to right) Balakirev,
14:
4613:
2799:(New York: Metropolitan Books, 2002).
2678:
2299:
2031:
2006:
1942:
1547:Balakirev also further cultivated the
1539:
1339:List of compositions by Mily Balakirev
3611:
3152:
3138:Pyotr Ilyich Tchaikovsky and The Five
3066:
2938:
2557:
1015:Pyotr Ilyich Tchaikovsky and The Five
999:in March 1867 and the Polonaise from
458:who led the Russian army against the
293:
1224:and revised his "symphonic picture"
591:Grande Fantasie on Russian Folksongs
4666:20th-century Russian male musicians
4489:Tchaikovsky and the Belyayev circle
2217:(New York: Random House, 1995), 71.
853:, and the first works of The Five.
24:
3637:
2964:
1677:Problems playing these files? See
1613:
25:
4747:
4701:Composers from the Russian Empire
2894:
2831:A History of Russian Music: From
1669:MIDI performance by Bernd Krueger
1459:Second Overture on Russian Themes
917:He began the original version of
878:Second Overture on Russian Themes
4711:Pianists from the Russian Empire
4646:20th-century classical composers
4631:19th-century classical composers
4594:
4585:
4584:
3049:
3048:
2850:Letoppis Moyey Muzykalnoy Zhizni
2814:(New York: Random House, 1995).
1659:
1629:
1439:First Overture on Russian Themes
1294:
1136:of assigning its programming to
230:
159:
4691:People from Nizhegorodsky Uyezd
4681:Russian male classical pianists
4661:Russian male conductors (music)
4651:20th-century classical pianists
4641:19th-century conductors (music)
4636:19th-century classical pianists
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1969:
1956:
1897:
905:Collection of Russian Folksongs
753:in 1863, and gravitated toward
106:16 May] 1910 (aged 73)
4696:Musicians from Nizhny Novgorod
1843:
1821:
1809:
1793:
1781:
1731:
1693:
1625:Chopin Suite, Op. 11 – Mazurka
1506:In the Steppes of Central Asia
1429:than on extramusical content.
1228:two years later, retitling it
996:The Destruction of Sennacherib
543:and other books on Mozart and
413:
71:Portrait of Balakirev, c. 1900
13:
1:
2925:Free scores by Mily Balakirev
2915:Free scores by Mily Balakirev
1749:
1377:
1169:Breakdown and return to music
1142:Saint Petersburg Conservatory
1025:Saint Petersburg Conservatory
857:Mature works and Prague visit
497:. The name Mily (either from
314:16 May] 1910) was a
34:Eastern Slavic naming customs
4686:Russian male opera composers
3092:
2929:Choral Public Domain Library
2395:Rimsky-Korsakov, 166 ft. 16.
2294:Tchaikovsky: The Early Years
1705:Miliy Alekseyevich Balakirev
1641:Singapore Symphony Orchestra
1433:Russian style: The Overtures
1199:railroad line in July 1872.
1177:Balakirev in his later years
1124:, Tchaikovsky dedicated the
870:would later base his ballet
7:
4671:Burials at Tikhvin Cemetery
4532:Gothic Revival architecture
1724:
1715:Miliĭ Alekseevich Balakirev
1714:
1704:
757:as a mentor in this field.
642:
306:; 2 January 1837 [
10:
4752:
4726:Russian Romantic composers
4716:Russian classical pianists
4473:Neue Zeitschrift für Musik
3648:List of Romantic composers
2848:Rimsky-Korsakov, Nikolai,
2744:
1725:Milij Alekseevič Balakirev
1336:
1285:Alexander Nevsky Monastery
1050:The Contemporary Chronicle
1012:
668:, the Stasov brothers and
639:given by the aristocracy.
374:, and in 1882–85 with the
287:Милий Алексеевич Балакирев
149:Mily Alexeyevich Balakirev
81:Mily Alexeyevich Balakirev
32:In this name that follows
31:
4731:Russian untitled nobility
4564:
4509:
4454:
4388:
4367:
3654:
3645:
3504:
3484:Charles Villiers Stanford
3186:
3133:
3100:
3046:
3027:
3008:
2985:
2972:
693:
403:Symphony No. 2 in D minor
286:
136:
116:
98:
84:2 January 1837 [
76:
64:
57:
4494:Tchaikovsky and The Five
2812:Tchaikovsky: A Biography
2215:Tchaikovsky: A Biography
1806:, 1890—1907 (in Russian)
1686:
1606:
1530:Overture on Czech Themes
1332:
1054:Pyotr Ilyich Tchaikovsky
1044:with Balakirev's support
1036:Pyotr Ilyich Tchaikovsky
979:Overture on Czech Themes
527:. She died in 1847 from
335:Pyotr Ilyich Tchaikovsky
4721:Russian opera composers
3397:Nikolai Rimsky-Korsakov
3125:Nikolai Rimsky-Korsakov
1829:Aleksandra Superanskaya
1769:Tatiana Zaitseva (2000)
1737:Russia was still using
1128:Symphony to Balakirev.
950:under the direction of
835:Russian Orthodox Church
774:Russian Musical Society
688:as "a mighty handful" (
678:Nikolai Rimsky-Korsakov
541:Wolfgang Amadeus Mozart
408:
366:Nikolai Rimsky-Korsakov
4517:Common practice period
3494:Ralph Vaughan Williams
3372:Alexander Dargomyzhsky
2344:, 2:49; Zetlin, 225–6.
2059:As quoted in Maes, 39.
1788:Balakirev coat of arms
1618:
1348:
1247:
1178:
1045:
900:
851:Alexander Dargomyzhsky
792:
791:Balakirev in the 1860s
755:Alexander Dargomyzhsky
733:
726:
670:Alexander Dargomyzhsky
652:
438:Balakirev was born in
435:
2905:The LiederNet Archive
2416:Rimsky-Korsakov, 169.
2407:Rimsky-Korsakov, 166.
2374:Rimsky-Korsakov, 152.
1850:Mily Balakirev (1962)
1816:Yasherov coat of arms
1700:BGN/PCGN romanization
1643:Hoey Choo (Conductor)
1617:
1346:
1243:Balakirev's grave at
1242:
1234:Second Piano Concerto
1216:and Rimsky-Korsakov.
1176:
1038:at the time he wrote
1034:
903:In 1866, Balakirev's
890:
790:
731:
706:
680:in November 1861 and
650:
421:
88:21 December 1836]
4736:The Five (composers)
4554:Romantic nationalism
4500:War of the Romantics
3525:Antônio Carlos Gomes
3277:Carl Maria von Weber
2977:List of compositions
2829:and Erica Pomerans,
2003:Rimsky-Korsakov, 28.
1524:Balakirev began his
827:Free School of Music
615:First Piano Concerto
545:Ludwig van Beethoven
491:collegiate registrar
141:List of compositions
4676:Composers for piano
4549:Musical nationalism
4467:Musical nationalism
3565:Silvestre Revueltas
3489:Alexander Mackenzie
3342:Stanisław Moniuszko
3262:Camille Saint-Saëns
3180:Musical nationalism
2859:Taruskin, Richard,
2825:Maes, Francis, tr.
1557:Ruslan and Lyudmila
1311:What is to Be Done?
1189:Moscow Conservatory
1138:Mikhaíl Azanchevsky
972:Ruslan and Lyudmila
968:A Life for the Tsar
958:Ruslan and Lyudmila
947:A Life for the Tsar
942:Austro-Prussian War
910:Symphony in C major
897:A Life for the Tsar
657:Russian nationalism
610:A Life for the Tsar
598:University of Kazan
537:Alexander Ulybyshev
331:musical nationalism
4462:Indianist movement
4380:Romantic orchestra
3535:Heitor Villa-Lobos
2827:Arnold J. Pomerans
1619:
1349:
1256:Alexander Glazunov
1248:
1179:
1159:from Mussorgsky's
1046:
925:Nikolai Rubinstein
901:
793:
782:Nikolai Rubinstein
734:
653:
476:Battle of Kulikovo
448:titular councillor
436:
4608:
4607:
4479:New German School
4074:Felix Mendelssohn
4069:Fanny Mendelssohn
3605:
3604:
3530:Francisco Mignone
3515:Alberto Ginastera
3402:Alexander Borodin
3392:Modest Mussorgsky
3347:Henryk Wieniawski
3146:
3145:
3120:Modest Mussorgsky
3110:Alexander Borodin
3060:
3059:
2810:Holden, Anthony,
2607:Rimsky-Korsakov,
2594:Rimsky-Korsakov,
2568:Rimsky-Korsakov,
2537:Rimsky-Korsakov,
2524:Rimsky-Korsakov,
2213:Holden, Anthony,
1987:Rimsky-Korsakov,
1962:Rimsky-Korsakov,
1664:
1634:
1593:Mikhail Lermontov
1319:Russian Orthodoxy
1252:Mitrofan Belyayev
1052:. The author was
933:, that December.
864:Alexander Pushkin
682:Alexander Borodin
674:Modest Mussorgsky
571:Eighth Symphonies
525:Alexander Dubuque
424:Vladimir Odoevsky
362:Modest Mussorgsky
354:Alexander Borodin
146:
145:
102:29 May [
16:(Redirected from
4743:
4598:
4588:
4587:
4484:Post-romanticism
4349:Vaughan Williams
3632:
3625:
3618:
3609:
3608:
3590:Edward MacDowell
3444:Enrique Granados
3419:Alexander Moyzes
3212:Bohuslav Martinů
3173:
3166:
3159:
3150:
3149:
3087:
3080:
3073:
3064:
3063:
3052:
3051:
2959:
2952:
2945:
2936:
2935:
2795:Figes, Orlando,
2739:
2736:
2730:
2727:
2721:
2718:
2712:
2709:
2703:
2700:
2694:
2691:
2685:
2682:
2676:
2673:New Grove (2001)
2669:
2656:
2653:New Grove (2001)
2649:
2643:
2640:
2634:
2631:
2625:
2618:
2612:
2605:
2599:
2592:
2586:
2579:
2573:
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2555:
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2535:
2529:
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2516:
2509:
2503:
2500:New Grove (2001)
2496:
2483:
2476:
2470:
2467:New Grove (2001)
2463:
2454:
2451:
2442:
2439:
2433:
2430:New Grove (2001)
2426:
2417:
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2396:
2393:
2387:
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2363:
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2351:
2345:
2342:New Grove (1980)
2338:
2332:
2329:New Grove (2001)
2325:
2319:
2316:
2297:
2290:
2284:
2281:
2275:
2272:
2266:
2263:
2257:
2254:
2245:
2242:
2236:
2233:
2227:
2224:
2218:
2211:
2205:
2202:
2193:
2190:
2181:
2178:
2172:
2169:
2160:
2157:
2151:
2148:New Grove (1980)
2144:
2138:
2135:New Grove (1980)
2131:
2116:
2113:New Grove (2001)
2109:
2086:
2079:
2073:
2070:New Grove (2001)
2066:
2060:
2057:
2051:
2048:
2029:
2026:
2020:
2017:
2004:
2001:
1992:
1985:
1976:
1973:
1967:
1960:
1954:
1951:
1940:
1937:
1928:
1925:New Grove (1980)
1921:
1908:
1905:New Grove (1980)
1901:
1895:
1892:New Grove (1980)
1888:
1879:
1876:New Grove (2001)
1872:
1853:
1847:
1841:
1825:
1819:
1813:
1807:
1797:
1791:
1785:
1779:
1766:
1743:
1735:
1729:
1727:
1717:
1707:
1697:
1666:
1665:
1636:
1635:
1616:
1576:perpetuum mobile
1289:Saint Petersburg
1281:Tikhvin Cemetery
1261:Richard Taruskin
1245:Tikhvin Cemetery
1152:Romeo and Juliet
1147:Eduard Nápravník
1118:Romeo and Juliet
1088:Romeo and Juliet
1083:Romeo and Juliet
1068:at the RMS, and
1041:Romeo and Juliet
987:Moguchaya kuchka
778:Anton Rubinstein
698:Moguchaya kuchka
695:
622:Saint Petersburg
517:of the same name
495:State Councillor
462:during the 1544
460:Khanate of Kazan
371:Romeo and Juliet
305:
304:
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297:
292:
288:
277:
273:
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158:
110:Saint Petersburg
69:
55:
54:
21:
4751:
4750:
4746:
4745:
4744:
4742:
4741:
4740:
4611:
4610:
4609:
4604:
4581:
4577:Modernist music
4573:
4570:Classical music
4560:
4505:
4450:
4431:Romantic ballet
4426:Orchestral song
4406:Chorale prelude
4401:Character piece
4384:
4375:Romantic guitar
4368:Instrumentation
4363:
4199:Rimsky-Korsakov
3819:Ferdinand David
3656:
3650:
3641:
3636:
3606:
3601:
3500:
3470:United Kingdom
3449:Joaquín Rodrigo
3439:Manuel de Falla
3337:Frédéric Chopin
3197:Bedřich Smetana
3193:Czech Republic
3182:
3177:
3147:
3142:
3129:
3096:
3091:
3061:
3056:
3042:
3023:
3004:
2981:
2968:
2963:
2910:Islamey Article
2897:
2854:My Musical Life
2747:
2742:
2737:
2733:
2728:
2724:
2719:
2715:
2710:
2706:
2701:
2697:
2692:
2688:
2683:
2679:
2670:
2659:
2650:
2646:
2641:
2637:
2632:
2628:
2624:(1980), 2:50–1.
2619:
2615:
2609:My Musical Life
2606:
2602:
2596:My Musical Life
2593:
2589:
2580:
2576:
2570:My Musical Life
2567:
2558:
2549:
2545:
2539:My Musical Life
2536:
2532:
2526:My Musical Life
2523:
2519:
2510:
2506:
2497:
2486:
2477:
2473:
2464:
2457:
2452:
2445:
2440:
2436:
2427:
2420:
2415:
2411:
2406:
2399:
2394:
2390:
2385:
2378:
2373:
2366:
2361:
2357:
2352:
2348:
2339:
2335:
2326:
2322:
2317:
2300:
2291:
2287:
2282:
2278:
2273:
2269:
2264:
2260:
2255:
2248:
2243:
2239:
2234:
2230:
2225:
2221:
2212:
2208:
2203:
2196:
2191:
2184:
2179:
2175:
2170:
2163:
2158:
2154:
2145:
2141:
2132:
2119:
2110:
2089:
2080:
2076:
2067:
2063:
2058:
2054:
2049:
2032:
2028:Maes, 42, 45–6.
2027:
2023:
2018:
2007:
2002:
1995:
1989:My Musical Life
1986:
1979:
1974:
1970:
1964:My Musical Life
1961:
1957:
1952:
1943:
1938:
1931:
1922:
1911:
1902:
1898:
1889:
1882:
1873:
1856:
1848:
1844:
1826:
1822:
1814:
1810:
1798:
1794:
1786:
1782:
1767:
1756:
1752:
1747:
1746:
1739:old style dates
1736:
1732:
1698:
1694:
1689:
1684:
1683:
1675:
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1637:
1630:
1627:
1620:
1614:
1609:
1545:
1522:
1488:Robert Schumann
1449:pattern of the
1435:
1385:Frédéric Chopin
1380:
1341:
1335:
1297:
1274:Sergei Lyapunov
1265:Belyayev circle
1171:
1021:Nikolai Zaremba
1017:
1011:
1005:in April 1872.
964:Mikhail Tsetlin
952:Bedřich Smetana
892:Bedřich Smetana
868:Igor Stravinsky
859:
843:Robert Schumann
806:Nikolai Zaremba
763:
747:Alexander Serov
686:Vladimir Stasov
666:Alexander Serov
645:
602:Pyotr Boborykin
553:Frédéric Chopin
468:Siege of Moscow
440:Nizhny Novgorod
416:
411:
346:Vladimir Stasov
299:
298:
290:
275:
271:
233:
224:
223:
216:
195:
162:
153:
152:
132:
112:
107:
94:
92:Nizhny Novgorod
89:
83:
82:
72:
60:
53:
30:
23:
22:
18:Milij Balakirew
15:
12:
11:
5:
4749:
4739:
4738:
4733:
4728:
4723:
4718:
4713:
4708:
4703:
4698:
4693:
4688:
4683:
4678:
4673:
4668:
4663:
4658:
4653:
4648:
4643:
4638:
4633:
4628:
4623:
4606:
4605:
4603:
4602:
4592:
4574:
4566:
4565:
4562:
4561:
4559:
4558:
4557:
4556:
4546:
4545:
4544:
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4534:
4529:
4519:
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4503:
4496:
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4481:
4476:
4469:
4464:
4458:
4456:
4452:
4451:
4449:
4448:
4443:
4441:Symphonic poem
4438:
4436:Romantic opera
4433:
4428:
4423:
4418:
4413:
4408:
4403:
4398:
4392:
4390:
4386:
4385:
4383:
4382:
4377:
4371:
4369:
4365:
4364:
4362:
4361:
4356:
4351:
4346:
4341:
4336:
4331:
4326:
4321:
4316:
4311:
4306:
4301:
4296:
4291:
4286:
4281:
4276:
4271:
4266:
4261:
4256:
4251:
4246:
4241:
4236:
4231:
4226:
4221:
4216:
4211:
4206:
4201:
4196:
4191:
4186:
4181:
4176:
4171:
4166:
4161:
4156:
4151:
4146:
4141:
4136:
4131:
4126:
4121:
4116:
4111:
4106:
4101:
4096:
4091:
4086:
4081:
4076:
4071:
4066:
4061:
4056:
4051:
4046:
4041:
4036:
4031:
4026:
4021:
4016:
4011:
4006:
4001:
3996:
3991:
3986:
3981:
3976:
3971:
3966:
3961:
3956:
3951:
3946:
3941:
3936:
3931:
3926:
3921:
3916:
3911:
3906:
3901:
3896:
3891:
3886:
3881:
3876:
3871:
3866:
3861:
3856:
3851:
3846:
3841:
3836:
3831:
3826:
3821:
3816:
3814:Félicien David
3811:
3806:
3801:
3796:
3791:
3786:
3781:
3776:
3771:
3766:
3761:
3756:
3751:
3746:
3741:
3736:
3731:
3726:
3721:
3716:
3711:
3706:
3701:
3696:
3691:
3686:
3681:
3676:
3671:
3666:
3660:
3658:
3652:
3651:
3646:
3643:
3642:
3639:Romantic music
3635:
3634:
3627:
3620:
3612:
3603:
3602:
3600:
3599:
3598:
3597:
3592:
3587:
3585:Horatio Parker
3582:
3577:
3571:United States
3569:
3568:
3567:
3562:
3557:
3549:
3548:
3547:
3539:
3538:
3537:
3532:
3527:
3519:
3518:
3517:
3508:
3506:
3502:
3501:
3499:
3498:
3497:
3496:
3491:
3486:
3481:
3476:
3468:
3467:
3466:
3458:
3457:
3456:
3454:Joaquín Turina
3451:
3446:
3441:
3436:
3428:
3427:
3426:
3421:
3416:
3408:
3407:
3406:
3405:
3404:
3399:
3394:
3389:
3384:
3382:Mily Balakirev
3374:
3369:
3367:Mikhail Glinka
3361:
3360:
3359:
3351:
3350:
3349:
3344:
3339:
3331:
3330:
3329:
3321:
3320:
3319:
3317:Bernard Zweers
3311:
3310:
3309:
3307:Giuseppe Verdi
3301:
3300:
3299:
3294:
3286:
3285:
3284:
3282:Richard Wagner
3279:
3271:
3270:
3269:
3267:Romain Bussine
3264:
3256:
3255:
3254:
3249:
3247:Leevi Madetoja
3241:
3240:
3239:
3231:
3230:
3229:
3224:
3216:
3215:
3214:
3209:
3204:
3202:Antonín Dvořák
3199:
3190:
3188:
3184:
3183:
3176:
3175:
3168:
3161:
3153:
3144:
3143:
3141:
3140:
3134:
3131:
3130:
3128:
3127:
3122:
3117:
3112:
3107:
3105:Mily Balakirev
3101:
3098:
3097:
3090:
3089:
3082:
3075:
3067:
3058:
3057:
3047:
3044:
3043:
3041:
3040:
3031:
3029:
3025:
3024:
3022:
3021:
3012:
3010:
3006:
3005:
3003:
3002:
2999:Symphony No. 2
2996:
2993:Symphony No. 1
2989:
2987:
2983:
2982:
2980:
2979:
2973:
2970:
2969:
2966:Mily Balakirev
2962:
2961:
2954:
2947:
2939:
2933:
2932:
2922:
2912:
2907:
2896:
2895:External links
2893:
2892:
2891:
2876:
2857:
2846:
2823:
2808:
2793:
2778:
2765:Brown, David,
2763:
2746:
2743:
2741:
2740:
2731:
2722:
2713:
2704:
2695:
2686:
2677:
2657:
2644:
2642:Zetlin, 337–8.
2635:
2626:
2613:
2600:
2587:
2574:
2556:
2543:
2530:
2517:
2504:
2484:
2471:
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2397:
2388:
2376:
2364:
2355:
2346:
2333:
2320:
2298:
2285:
2276:
2267:
2265:Holden, 248–9.
2258:
2246:
2244:Holden, 73–74.
2237:
2228:
2219:
2206:
2194:
2182:
2180:Zetlin, 146–7.
2173:
2161:
2152:
2139:
2117:
2087:
2081:Brown, David,
2074:
2061:
2052:
2030:
2021:
2005:
1993:
1977:
1968:
1955:
1941:
1929:
1909:
1896:
1880:
1854:
1842:
1820:
1808:
1800:The Balakirevs
1792:
1780:
1753:
1751:
1748:
1745:
1744:
1730:
1691:
1690:
1688:
1685:
1674:
1668:
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1638:
1628:
1623:
1622:
1621:
1612:
1611:
1610:
1608:
1605:
1544:
1538:
1526:First Symphony
1521:
1518:
1512:Little Russian
1468:melismatically
1434:
1431:
1397:symphonic poem
1391:, apparent in
1379:
1376:
1354:Hector Berlioz
1334:
1331:
1296:
1293:
1214:Anatoly Lyadov
1170:
1167:
1107:Hector Berlioz
1010:
1007:
858:
855:
839:Hector Berlioz
762:
759:
644:
641:
557:Mikhail Glinka
480:Dmitry Donskoy
428:Mikhail Glinka
415:
412:
410:
407:
386:First Symphony
339:Mikhail Glinka
144:
143:
138:
134:
133:
131:
130:
127:
124:
120:
118:
114:
113:
108:
100:
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70:
62:
61:
59:Mily Balakirev
58:
28:
9:
6:
4:
3:
2:
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4727:
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4463:
4460:
4459:
4457:
4453:
4447:
4444:
4442:
4439:
4437:
4434:
4432:
4429:
4427:
4424:
4422:
4419:
4417:
4414:
4412:
4409:
4407:
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4399:
4397:
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4387:
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4327:
4325:
4322:
4320:
4317:
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4312:
4310:
4307:
4305:
4302:
4300:
4297:
4295:
4292:
4290:
4287:
4285:
4284:J. Strauss II
4282:
4280:
4277:
4275:
4272:
4270:
4267:
4265:
4262:
4260:
4257:
4255:
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4210:
4207:
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4200:
4197:
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4185:
4182:
4180:
4177:
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4157:
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4150:
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4137:
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4127:
4125:
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3990:
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3935:
3932:
3930:
3927:
3925:
3922:
3920:
3917:
3915:
3912:
3910:
3907:
3905:
3902:
3900:
3897:
3895:
3892:
3890:
3887:
3885:
3882:
3880:
3877:
3875:
3872:
3870:
3867:
3865:
3862:
3860:
3857:
3855:
3852:
3850:
3847:
3845:
3842:
3840:
3837:
3835:
3832:
3830:
3827:
3825:
3822:
3820:
3817:
3815:
3812:
3810:
3807:
3805:
3802:
3800:
3797:
3795:
3792:
3790:
3787:
3785:
3782:
3780:
3777:
3775:
3772:
3770:
3767:
3765:
3762:
3760:
3757:
3755:
3752:
3750:
3747:
3745:
3742:
3740:
3737:
3735:
3732:
3730:
3727:
3725:
3722:
3720:
3717:
3715:
3712:
3710:
3707:
3705:
3702:
3700:
3697:
3695:
3692:
3690:
3687:
3685:
3682:
3680:
3677:
3675:
3672:
3670:
3667:
3665:
3662:
3661:
3659:
3655:Composers and
3653:
3649:
3644:
3640:
3633:
3628:
3626:
3621:
3619:
3614:
3613:
3610:
3596:
3593:
3591:
3588:
3586:
3583:
3581:
3578:
3576:
3575:Aaron Copland
3573:
3572:
3570:
3566:
3563:
3561:
3560:Carlos Chávez
3558:
3556:
3553:
3552:
3550:
3546:
3545:Claude Vivier
3543:
3542:
3540:
3536:
3533:
3531:
3528:
3526:
3523:
3522:
3520:
3516:
3513:
3512:
3510:
3509:
3507:
3503:
3495:
3492:
3490:
3487:
3485:
3482:
3480:
3477:
3475:
3472:
3471:
3469:
3465:
3462:
3461:
3459:
3455:
3452:
3450:
3447:
3445:
3442:
3440:
3437:
3435:
3434:Isaac Albéniz
3432:
3431:
3429:
3425:
3422:
3420:
3417:
3415:
3412:
3411:
3409:
3403:
3400:
3398:
3395:
3393:
3390:
3388:
3385:
3383:
3380:
3379:
3378:
3375:
3373:
3370:
3368:
3365:
3364:
3362:
3358:
3357:George Enescu
3355:
3354:
3352:
3348:
3345:
3343:
3340:
3338:
3335:
3334:
3332:
3328:
3325:
3324:
3322:
3318:
3315:
3314:
3312:
3308:
3305:
3304:
3302:
3298:
3297:Zoltán Kodály
3295:
3293:
3290:
3289:
3287:
3283:
3280:
3278:
3275:
3274:
3272:
3268:
3265:
3263:
3260:
3259:
3257:
3253:
3252:Jean Sibelius
3250:
3248:
3245:
3244:
3242:
3238:
3237:Rudolf Tobias
3235:
3234:
3232:
3228:
3225:
3223:
3220:
3219:
3217:
3213:
3210:
3208:
3205:
3203:
3200:
3198:
3195:
3194:
3192:
3191:
3189:
3185:
3181:
3174:
3169:
3167:
3162:
3160:
3155:
3154:
3151:
3139:
3136:
3135:
3132:
3126:
3123:
3121:
3118:
3116:
3113:
3111:
3108:
3106:
3103:
3102:
3099:
3095:
3088:
3083:
3081:
3076:
3074:
3069:
3068:
3065:
3055:
3045:
3038:
3037:
3033:
3032:
3030:
3026:
3019:
3018:
3014:
3013:
3011:
3007:
3000:
2997:
2994:
2991:
2990:
2988:
2984:
2978:
2975:
2974:
2971:
2967:
2960:
2955:
2953:
2948:
2946:
2941:
2940:
2937:
2930:
2926:
2923:
2920:
2916:
2913:
2911:
2908:
2906:
2902:
2899:
2898:
2889:
2888:0-8371-6797-3
2885:
2881:
2877:
2874:
2873:0-19-816250-2
2870:
2866:
2862:
2858:
2855:
2851:
2847:
2844:
2843:0-520-21815-9
2840:
2836:
2833:Kamarinskaya
2832:
2828:
2824:
2821:
2820:0-679-42006-1
2817:
2813:
2809:
2806:
2805:0-8050-5783-8
2802:
2798:
2794:
2791:
2790:0-333-60800-3
2787:
2783:
2779:
2776:
2775:0-393-07535-2
2772:
2768:
2764:
2761:
2760:0-333-23111-2
2757:
2753:
2749:
2748:
2735:
2726:
2717:
2708:
2699:
2690:
2681:
2674:
2668:
2666:
2664:
2662:
2654:
2648:
2639:
2630:
2623:
2617:
2610:
2604:
2597:
2591:
2584:
2578:
2571:
2565:
2563:
2561:
2553:
2547:
2540:
2534:
2527:
2521:
2514:
2508:
2501:
2495:
2493:
2491:
2489:
2481:
2475:
2468:
2462:
2460:
2450:
2448:
2438:
2431:
2425:
2423:
2413:
2404:
2402:
2392:
2383:
2381:
2371:
2369:
2359:
2350:
2343:
2337:
2330:
2324:
2315:
2313:
2311:
2309:
2307:
2305:
2303:
2295:
2289:
2280:
2271:
2262:
2253:
2251:
2241:
2232:
2223:
2216:
2210:
2201:
2199:
2189:
2187:
2177:
2168:
2166:
2156:
2149:
2143:
2136:
2130:
2128:
2126:
2124:
2122:
2114:
2108:
2106:
2104:
2102:
2100:
2098:
2096:
2094:
2092:
2084:
2078:
2071:
2065:
2056:
2047:
2045:
2043:
2041:
2039:
2037:
2035:
2025:
2016:
2014:
2012:
2010:
2000:
1998:
1990:
1984:
1982:
1972:
1965:
1959:
1950:
1948:
1946:
1936:
1934:
1926:
1920:
1918:
1916:
1914:
1906:
1900:
1893:
1887:
1885:
1877:
1871:
1869:
1867:
1865:
1863:
1861:
1859:
1851:
1846:
1840:
1839:5-699-04622-4
1836:
1832:
1830:
1824:
1817:
1812:
1805:
1801:
1796:
1789:
1784:
1778:
1777:5-88718-015-3
1774:
1770:
1765:
1763:
1761:
1759:
1754:
1740:
1734:
1726:
1721:
1716:
1711:
1710:ALA-LC system
1706:
1701:
1696:
1692:
1682:
1680:
1656:
1648:
1626:
1604:
1602:
1598:
1594:
1590:
1589:
1584:
1580:
1577:
1573:
1572:
1567:
1563:
1562:Georgian Song
1559:
1558:
1554:
1550:
1543:
1540:Orientalism:
1537:
1535:
1534:Jean Sibelius
1531:
1527:
1517:
1515:
1513:
1508:
1507:
1502:
1501:
1500:Boris Godunov
1496:
1495:program music
1491:
1489:
1485:
1481:
1477:
1476:indeterminacy
1473:
1469:
1465:
1460:
1455:
1452:
1448:
1444:
1440:
1430:
1428:
1424:
1418:
1416:
1411:
1409:
1403:
1401:
1398:
1394:
1390:
1386:
1375:
1371:
1369:
1365:
1364:
1357:
1355:
1345:
1340:
1330:
1328:
1327:anti-Semitism
1322:
1320:
1315:
1313:
1312:
1307:
1303:
1302:Chernishevsky
1295:Personal life
1292:
1290:
1286:
1282:
1277:
1275:
1269:
1266:
1262:
1257:
1253:
1246:
1241:
1237:
1235:
1231:
1227:
1223:
1217:
1215:
1211:
1206:
1200:
1198:
1194:
1190:
1185:
1184:Nikolai Gogol
1175:
1166:
1164:
1163:
1162:Boris Godunov
1158:
1154:
1153:
1148:
1143:
1139:
1135:
1134:coup de grâce
1129:
1127:
1123:
1119:
1115:
1113:
1108:
1104:
1103:
1098:
1093:
1089:
1085:
1084:
1078:
1076:
1071:
1067:
1066:
1061:
1060:
1055:
1051:
1043:
1042:
1037:
1033:
1029:
1026:
1022:
1016:
1006:
1004:
1003:
1002:Boris Godunov
998:
997:
990:
988:
984:
980:
975:
973:
969:
965:
960:
959:
953:
949:
948:
943:
939:
934:
932:
931:
926:
922:
921:
915:
911:
906:
899:
898:
893:
889:
885:
883:
879:
875:
874:
869:
865:
854:
852:
849:, Glinka and
848:
844:
840:
836:
832:
828:
822:
820:
816:
811:
808:, who taught
807:
803:
799:
789:
785:
783:
779:
775:
771:
768:
758:
756:
752:
748:
742:
739:
730:
725:
723:
719:
715:
711:
705:
701:
699:
694:Могучая кучка
691:
687:
683:
679:
675:
671:
667:
663:
658:
649:
640:
638:
634:
630:
628:
623:
618:
616:
612:
611:
607:
603:
599:
594:
592:
588:
584:
580:
576:
572:
568:
564:
563:
558:
554:
548:
546:
542:
538:
532:
530:
526:
522:
518:
515:— the island
514:
511:
507:
503:
500:
496:
492:
487:
485:
481:
477:
473:
469:
465:
461:
457:
453:
449:
445:
444:noble Russian
441:
433:
429:
425:
420:
406:
404:
399:
397:
393:
392:
387:
382:
380:
378:
373:
372:
367:
363:
359:
355:
351:
347:
342:
340:
336:
332:
328:
324:
320:
317:
313:
309:
302:
296:
284:
280:
279:
266:
227:
221:
220:
210:
156:
150:
142:
139:
135:
128:
125:
122:
121:
119:
115:
111:
105:
101:
97:
93:
87:
79:
75:
68:
63:
56:
51:
47:
44: and the
43:
39:
35:
27:
19:
4575:
4568:
4471:
4455:Other topics
4279:J. Strauss I
4169:Rachmaninoff
3924:Gretchaninov
3688:
3595:Charles Ives
3580:Henry Cowell
3555:Manuel Ponce
3479:Edward Elgar
3474:Joseph Parry
3424:Eugen Suchoň
3381:
3327:Edvard Grieg
3313:Netherlands
3227:Carl Nielsen
3207:Leoš Janáček
3104:
3034:
3016:
2965:
2931:(ChoralWiki)
2879:
2864:
2860:
2853:
2849:
2834:
2830:
2811:
2796:
2781:
2766:
2751:
2734:
2725:
2720:Garden, 195.
2716:
2707:
2698:
2689:
2680:
2672:
2652:
2647:
2638:
2629:
2621:
2616:
2608:
2603:
2595:
2590:
2582:
2577:
2569:
2551:
2546:
2538:
2533:
2525:
2520:
2512:
2507:
2499:
2479:
2474:
2466:
2437:
2429:
2412:
2391:
2386:Zetlin, 236.
2362:Zetlin, 231.
2358:
2353:Zetlin, 235.
2349:
2341:
2336:
2328:
2323:
2293:
2288:
2283:Holden, 250.
2279:
2274:Holden, 251.
2270:
2261:
2256:Holden, 248.
2240:
2231:
2222:
2214:
2209:
2192:Zetlin, 147.
2176:
2171:Zetlin, 146.
2159:Zetlin, 145.
2155:
2147:
2142:
2134:
2112:
2082:
2077:
2069:
2064:
2055:
2024:
1988:
1971:
1963:
1958:
1924:
1904:
1899:
1891:
1875:
1849:
1845:
1827:
1823:
1811:
1795:
1783:
1768:
1733:
1720:ISO 9 system
1695:
1676:
1645:Courtesy of
1639:Performed by
1597:Darial Gorge
1586:
1582:
1581:
1569:
1565:
1561:
1555:
1551:of Glinka's
1546:
1541:
1523:
1511:
1504:
1498:
1492:
1464:protyazhnaya
1463:
1456:
1451:Kamarinskaya
1450:
1443:Kamarinskaya
1442:
1436:
1422:
1419:
1412:
1404:
1399:
1392:
1381:
1372:
1367:
1363:Scheherazade
1361:
1358:
1350:
1323:
1316:
1309:
1298:
1278:
1270:
1249:
1229:
1225:
1221:
1218:
1210:music theory
1204:
1201:
1193:music theory
1180:
1160:
1150:
1133:
1130:
1125:
1121:
1117:
1111:
1100:
1091:
1087:
1081:
1079:
1074:
1069:
1065:The Voyevoda
1063:
1057:
1049:
1047:
1039:
1018:
1000:
994:
991:
986:
976:
971:
967:
956:
945:
935:
928:
918:
904:
902:
895:
881:
873:The Firebird
871:
860:
825:founded the
823:
815:anti-Semitic
810:music theory
794:
770:Alexander II
764:
750:
743:
735:
721:
714:counterpoint
707:
702:
697:
654:
636:
626:
619:
608:
595:
590:
585:, piano and
560:
549:
533:
512:
505:
501:
488:
482:'s personal
437:
400:
389:
383:
376:
369:
343:
148:
147:
49:
41:
26:
4626:1910 deaths
4621:1837 births
4522:Romanticism
4304:Tchaikovsky
4239:R. Schumann
4234:C. Schumann
4219:Saint-Saëns
4114:Niedermeyer
4004:Leoncavallo
3974:Kalkbrenner
3749:Bortkiewicz
3464:Hugo Alfvén
3292:Béla Bartók
2738:Maes, 82–3.
2729:Maes, 68–9.
2702:Maes, 65–6.
2693:Maes, 64–5.
2633:Zetlin, 62.
2235:Holden, 71.
2226:Holden, 70.
2072:, 2:510–11.
1601:Terek River
1549:orientalism
1427:sonata form
1415:Dorian mode
1389:Franz Liszt
1226:1,000 Years
847:Franz Liszt
798:Mendelssohn
631:before the
414:Early years
117:Occupations
46:family name
42:Alexeyevich
4615:Categories
4510:Background
4411:Intermezzo
4344:Wieniawski
4324:Vieuxtemps
4289:R. Strauss
4214:Rubinstein
4139:Paderewski
4109:Mussorgsky
4104:Moszkowski
4079:Mercadante
3511:Argentina
3414:Ján Cikker
3222:Niels Gade
3009:Orchestral
2986:Symphonies
2671:Campbell,
2655:, 2:513–4.
2651:Campbell,
2583:Stravinsky
2581:Taruskin,
2552:Stravinsky
2550:Taruskin,
2513:Stravinsky
2511:Trauskin,
2498:Campbell,
2480:Stravinsky
2478:Taruskin,
2469:, 2:512–3.
2465:Campbell,
2453:Maes, 168.
2441:Maes, 167.
2428:Campbell,
2327:Campbell,
2111:Campbell,
2068:Campbell,
1874:Campbell,
1750:References
1679:media help
1378:Influences
1337:See also:
1306:nihilistic
1097:Lord Byron
1013:See also:
882:1000 Years
819:xenophobic
718:improviser
508:, or from
484:khorunzhyi
464:expedition
432:Ilya Repin
291:pronounced
38:patronymic
4124:Offenbach
4099:Moscheles
4094:Moniuszko
4089:Meyerbeer
4044:Marschner
4029:MacDowell
3844:Donizetti
3789:Cherubini
3779:Chaminade
3704:Beethoven
3689:Balakirev
3679:Atterberg
3657:musicians
3410:Slovakia
3387:César Cui
3115:César Cui
2711:Maes, 67.
2684:Maes, 64.
2622:New Grove
2620:Abraham,
2541:, 169–72.
2340:Abraham,
2318:Maes, 45.
2204:Maes, 43.
2146:Abraham,
2133:Abraham,
2050:Maes, 39.
2019:Maes, 44.
1975:Maes, 36.
1953:Maes, 37.
1939:Maes, 38.
1923:Abraham,
1907:, 2:47–8.
1903:Abraham,
1890:Abraham,
1802:from the
1564:of 1861,
1437:With his
1423:King Lear
1408:folk song
1157:polonaise
914:a requiem
802:Beethoven
749:'s opera
738:empirical
722:technical
676:in 1858,
662:César Cui
396:virtuosos
358:César Cui
327:conductor
129:conductor
50:Balakirev
4590:Category
4567: ←
4446:Symphony
4309:Thalberg
4274:Spontini
4249:Sibelius
4244:Scriabin
4229:Schubert
4224:Sarasate
4189:Respighi
4184:Reinecke
4144:Paganini
4054:Massenet
4049:Masarnau
4034:Madetoja
3979:Kreisler
3969:Kalivoda
3914:J. Gomis
3899:Glazunov
3894:Giuliani
3784:Chausson
3774:Chadwick
3764:Bruckner
3505:Americas
3377:The Five
3353:Romania
3288:Hungary
3273:Germany
3243:Finland
3233:Estonia
3218:Denmark
3094:The Five
3054:Category
2880:The Five
2865:Volume 1
2675:, 2:514.
2598:, 171–2.
2502:, 2:513.
2432:, 2:512.
2331:, 2:311.
2115:, 2:511.
1878:, 2:510.
1588:lezginka
1514:Symphony
1484:dominant
1472:rhythmic
1447:ostinato
1272:acolyte
1155:and the
1114:Symphony
1099:'s poem
1086:. After
643:The Five
629:Concerto
583:clarinet
529:smallpox
379:Symphony
350:The Five
319:composer
126:composer
4580:→
4542:Science
4421:Mazurka
4396:Ballade
4329:Voříšek
4299:Tárrega
4294:Taneyev
4254:Smetana
4209:Rossini
4164:Puccini
4159:Prudent
4119:Nielsen
4084:Méreaux
4059:Medtner
4024:Lysenko
3994:Lachner
3959:Joachim
3939:Herbert
3859:Farrenc
3824:Delibes
3799:Crusell
3744:Borodin
3734:Berwald
3724:Berlioz
3714:Bennett
3709:Bellini
3694:Bazzini
3674:Arensky
3551:Mexico
3541:Canada
3521:Brazil
3460:Sweden
3363:Russia
3333:Poland
3323:Norway
3258:France
3036:Islamey
2927:in the
2921:(IMSLP)
2917:at the
2863:Mavra,
2745:Sources
2515:, 71–3.
2292:Brown,
2137:, 2:49.
1927:, 2:48.
1894:, 2:47.
1655:Islamey
1566:Islamey
1393:Islamey
1283:at the
1126:Manfred
1112:Manfred
1102:Manfred
920:Islamey
710:harmony
690:Russian
637:soirées
627:Emperor
587:strings
562:Requiem
499:Russian
456:voivode
442:into a
391:Islamey
377:Manfred
323:pianist
316:Russian
283:Russian
123:Pianist
4600:Portal
4537:Poetry
4389:Genres
4334:Wagner
4314:Tobias
4179:Reicha
4154:Popper
4134:Pacini
4129:Onslow
4039:Mahler
4019:Lumbye
3984:Kuhlau
3964:Joplin
3954:Hummel
3944:Hérold
3934:Halévy
3919:Gounod
3904:Glinka
3884:Franck
3879:Foster
3849:Dvořák
3839:d'Indy
3829:Delius
3809:Czerny
3794:Chopin
3769:Busoni
3754:Brahms
3729:Bertin
3719:Bériot
3430:Spain
3303:Italy
3187:Europe
3039:(1869)
3020:(1882)
3017:Tamara
3001:(1908)
2995:(1898)
2886:
2871:
2841:
2818:
2807:(hc.).
2803:
2788:
2773:
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2611:, 172.
2572:, 171.
2528:, 108.
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1831:(2003)
1775:
1583:Tamara
1571:Tamara
1542:Tamara
1400:Tamara
1368:Tamara
1308:novel
1222:Tamara
1205:Tamara
1197:Warsaw
983:Moscow
938:Prague
930:Tamara
751:Judith
589:and a
575:septet
521:Moscow
364:, and
325:, and
219:-i-rev
217:LA(H)K
36:, the
4527:Chess
4359:Ysaÿe
4339:Weber
4319:Verdi
4269:Spohr
4264:Sousa
4149:Paine
4064:Méhul
4014:Loewe
4009:Liszt
3989:Kuula
3949:Holst
3929:Grieg
3909:Gomes
3889:Franz
3874:Foote
3869:Field
3864:Fauré
3854:Elgar
3834:Denza
3759:Bruch
3739:Bizet
3699:Beach
3684:Auber
3669:Alkan
3028:Piano
2554:, 73.
2482:, 49.
2296:, 127
2150:, 49.
1991:, 27.
1966:, 32.
1742:come.
1687:Notes
1647:NAXOS
1607:Media
1553:opera
1480:tonic
1333:Music
1122:Fatum
1092:Romeo
1075:Fatum
1070:Fatum
1059:Fatum
606:opera
579:flute
567:First
513:Milos
510:Greek
502:miliy
493:to a
472:Tatar
452:boyar
274:-lah-
137:Works
4416:Lied
4354:Wolf
4204:Rode
4194:Ries
4174:Raff
3999:Lalo
3664:Adam
2884:ISBN
2869:ISBN
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2816:ISBN
2801:ISBN
2786:ISBN
2771:ISBN
2756:ISBN
1835:ISBN
1773:ISBN
1568:and
1482:and
1457:The
1120:and
970:and
817:and
800:and
780:and
767:Tsar
712:and
633:Tsar
577:for
569:and
555:and
506:nice
454:and
426:and
409:Life
312:O.S.
308:O.S.
276:KEER
104:O.S.
99:Died
86:O.S.
77:Born
4259:Sor
3804:Cui
2903:at
1466:or
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1287:in
1230:Rus
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2249:^
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2164:^
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