Mily Alexeyevich Balakirev ( , ; ,BGN/PCGN romanization: ; ALA-LC system: ; ISO 9 system: . ; – )Russia was still using old style dates 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 come. was a Russian composer, pianist, and conductor known today primarily for his work promoting musical nationalism and his encouragement of more famous Russian composers, notably Pyotr Ilyich Tchaikovsky. He began his career as a pivotal figure, extending the fusion of traditional folk music and experimental classical music practices begun by composer Mikhail Glinka. 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.
In conjunction with critic and fellow nationalist Vladimir Stasov, in the late 1850s and early 1860s, Balakirev brought together the composers now known as The Five (a.k.a., The Mighty Handful)the others were Alexander Borodin, César Cui, Modest Mussorgsky, and Nikolai Rimsky-Korsakov. 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 careerin 1868–69 with the fantasy-overture Romeo and Juliet, and in 1882–85 with the Manfred Symphony.
As a composer, Balakirev finished major works many years after he had started them; he began his First Symphony in 1864 but completed it in 1897. The exception to this was his oriental fantasy Islamey for solo piano, which he composed quickly and remains popular among virtuosos. 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.
Balakirev began work on a second symphony, Symphony No. 2 in D minor in 1900, but did not complete the work until 1908.
Life
Early years
Balakirev was born in Nizhny Novgorod into a noble Russian family. His father, Alexey Konstantinovich Balakirev (1809–1869), was a titular councillor who belonged to the ancient dynasty founded by Ivan Vasilievich Balakirev, a Moscow boyar and voivode who led the Russian army against the Khanate of Kazan during the 1544 expedition (Alexey's branch traced its history to Andrei Simonovich Balakirev who played a part in defending the city in the 1618 Siege of Moscow and was granted lands in Nizhny Novgorod).Tatiana Zaitseva (2000). Mily Alexeyevich Balakirev. Origins. — St. Petersburg: Kanon, pp. 34—56 Balakirev coat of arms by All-Russian Armorials of Noble Houses of the Russian Empire. Part 9, 5 August 1816 (in Russian)The Balakirevs from the Brockhaus and Efron Encyclopedic Dictionary, 1890—1907 (in Russian) The legend of a supposed Tatar ancestor who was baptized and took part in the Battle of Kulikovo as Dmitry Donskoy's personal khorunzhyi that circulated among fellow composers was made up by Balakirev and does not find any proof.
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 collegiate registrar to a State Councillor.Yasherov coat of arms by All-Russian Armorials of Noble Houses of the Russian Empire. Part 17, 14 January 1904 (in Russian) The name Mily (either from Russian miliy — nice, or from Greek Milos — the island of the same name)Aleksandra Superanskaya (2003). Dictionary of Russian First Names. — Moscow: Eksmo, p. 240 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 Moscow during the summer holidays for a course of ten piano lessons with Alexander Dubuque. She died in 1847 from smallpox.Mily Balakirev (1962). Memories and Letters. — Leningrad: State Music Publishing House, p. 17
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 Alexander Ulybyshev (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 Wolfgang Amadeus Mozart and other books on Mozart and Ludwig van Beethoven.Abraham, New Grove (1980), 2:47.
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 Frédéric Chopin and Mikhail Glinka. 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 Requiem. At age 15, he was allowed to lead rehearsals of Beethoven's First and Eighth Symphonies. His earliest surviving compositions date from the same year—the first movement of a septet for flute, clarinet, piano and strings and a Grande Fantasie on Russian Folksongs 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.
Balakirev left the Alexandrovsky Institute in 1853 and entered the University of Kazan as a mathematics student, along with his friend Pyotr Boborykin, 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 opera A Life for the Tsar, 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 First Piano Concerto.Abraham, New Grove (1980), 2:47–8.
After Balakirev completed his courses in the late autumn of 1855, Ulybyshev took him to Saint Petersburg, 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 Emperor Concerto before the Tsar. In 1859, he had 12 songs published.Campbell, New Grove (2001), 2:510. Nevertheless, he was still in extreme poverty, supporting himself mainly by giving piano lessons (sometimes nine a day) and by playing at soirées given by the aristocracy.Abraham, New Grove (1980), 2:48.
The Five
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 Russian nationalism 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 César Cui, Alexander Serov, the Stasov brothers and Alexander Dargomyzhsky. He now gathered around him composers with similar ideals, whom he promised to train according to his own principles.Maes, 38. These included Modest Mussorgsky in 1858, Nikolai Rimsky-Korsakov in November 1861 and Alexander Borodin in November or December 1862. Together with Cui, these men were described by noted critic Vladimir Stasov as "a mighty handful" (, Moguchaya kuchka), but they eventually became better known in English simply as The Five.
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.Maes, 37. It was better in his view to begin composing right away and learn through that act of creation.Rimsky-Korsakov, My Musical Life, 32. This line of reasoning could be argued as a rationalization to his own lack of technical training.Maes, 37. He had been trained as a pianist and had to discover his own way to becoming a composer.Maes, 36. Rimsky-Korsakov eventually realized as much, but nevertheless wrote:
Balakirev, who had never had any systematic course in harmony and counterpoint 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 improviser, 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 technical critic. He instantly felt every technical imperfection or error, he grasped a defect in form at once.Rimsky-Korsakov, My Musical Life, 27.
Balakirev had the musical experience that the others in The Five lacked, and he instructed them much as he instructed himself—by an empirical approach, learning how other composers solved various problems by sifting through their scores and seeing how they addressed those challenges.Maes, 37. While this approach may have been helpful for Balakirev, Rimsky-Korsakov writes, it was not so helpful for individuals completely different in nature from Balakirev or who matured as composers "at different intervals and in a different manner".Rimsky-Korsakov, 28.
Balakirev's eventual undoing was his demand that his students' musical tastes coincide exactly with his own, with the slightest deviation prohibited.Rimsky-Korsakov, 28. Whenever one of them played one of his own compositions for Balakirev, Balakirev would seat himself at the piano and show, through improvisation, how 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,Maes, 44. 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 Alexander Serov's opera Judith in 1863, and gravitated toward Alexander Dargomyzhsky as a mentor in this field.Maes, 42, 45–6.