Mily Balakirev - Knowledge (XXG)

67: 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 419: 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 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 888: 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. 1615: 788: 745:

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

648: 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 4596: 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. 1174: 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". 1344: 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. 66: 1271:

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 1405:

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. 550:

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. 659:

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 1094:

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. 830: 1360:

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 907:

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 1382:

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

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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 1374:

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

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 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 1187:

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 4705: 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. 936:

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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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.

4700: 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 4710: 4645: 4630: 2918: 4690: 4680: 4660: 4650: 4640: 4635: 3629: 2956: 1663: 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 4695: 3053: 1632: 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 2976: 1370:. Another consequence was a tendency to overwork details, which robbed these pieces of freshness and inspiration, making them seem "overdone". 1338: 140: 4685: 4493: 3137: 1014: 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 4670: 880:

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

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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

486:

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 4483: 4435: 4323: 4278: 4273: 4213: 4158: 4028: 3983: 3863: 3828: 3798: 3768: 3708: 3589: 3559: 3443: 3433: 3418: 1575: 1483: 1288: 1280: 1260: 1244: 1110: 777: 689: 621: 561: 498: 463: 459: 443: 375: 294: 282: 231: 225: 160: 109: 348:, in the late 1850s and early 1860s, Balakirev brought together the composers now known as 4536: 4430: 4425: 4405: 4400: 4374: 4288: 4238: 4163: 4133: 4098: 4058: 3788: 3783: 3753: 3693: 3438: 1713: 1487: 1273: 1264: 1020: 963: 867: 842: 805: 746: 741:

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

1213: 1106: 838: 728: 556: 509: 490: 479: 447: 427: 338: 315: 1239: 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 4614: 4313: 4248: 4183: 4038: 3993: 3738: 3733: 3728: 3673: 3574: 3544: 3413: 3356: 3251: 3236: 1646: 1533: 1494: 1479: 1326: 1183: 814: 772:, a time of innovation and reform in the political and social climate in Russia. The 647: 483: 450:

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).

1596: 1209: 1192: 985:. This was the concert for which, in his review, Vladimir Stasov coined the phrase 872: 809: 713: 3803: 3386: 3114: 661: 357: 1661: 1631: 1478:. The structure of this overture departs from the classic tonal relationships of 388:

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

894:, with whom Balakirev quarreled over the Prague production of Glinka's opera 4379: 4353: 3758: 3698: 1407: 1343: 1173: 1031: 913: 737: 732:

Alexander Dargomyzhsky eventually replaced Balakirev as a mentor to The Five

1771:. Mily Alexeyevich Balakirev. Origins. — St. Petersburg: Kanon, pp. 34—56 1317:

Following his breakdown, Balakirev sought solace in the strictest sect of

700:), but they eventually became better known in English simply as The Five. 4445: 1723: 1587: 1446: 1305: 582: 528: 395: 318: 1852:. Memories and Letters. — Leningrad: State Music Publishing House, p. 17 1276:, Balakirev was ignored by the younger generation of Russian composers. 446:

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. 862:

of the first compositions to show this influence was his setting of

470:

and was granted lands in Nizhny Novgorod). The legend of a supposed

394:

for solo piano, which he composed quickly and remains popular among

596:

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

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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

651:

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 1799: 246: 240: 202: 1613: 3062: 258: 187: 166: 2904: 181: 175: 765:

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 1516:

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

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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 270: 261: 252: 234: 214: 205: 178: 243: 237: 199: 190: 184: 172: 163: 4509: 4454: 4388: 4367: 3654: 3504: 3186: 3027: 3008: 2985: 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: 169: 136: 116: 98: 76: 57: 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 2856:(New York: Knopf, 1925, 3rd ed. 1942). ISBN n/a. 1347:Mily Balakirev at the time he taught "The Five." 1009:Waning influence and friendship with Tchaikovsky 295:[ˈmʲilʲɪjɐlʲɪkˈsʲe(j)ɪvʲɪdʑbɐˈlakʲɪrʲɪf] 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: 2125: 2123: 2121: 1919: 1917: 1915: 1913: 329:known today primarily for his work promoting 8: 2461: 2459: 2403: 2401: 2382: 2380: 2370: 2368: 2252: 2250: 2188: 2186: 2167: 2165: 2107: 2105: 2103: 2101: 2099: 2097: 2095: 2093: 2091: 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, 2667: 2665: 2663: 2661: 2494: 2492: 2490: 2488: 2424: 2422: 2200: 2198: 1999: 1997: 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 3630: 3616: 3608: 3171: 3157: 3149: 3085: 3071: 3063: 2957: 2943: 2935: 2449: 2447: 1886: 1884: 1870: 1868: 1866: 1864: 1862: 1860: 1858: 1764: 1762: 1760: 1758: 65: 54: 2919:International Music Score Library Project 2314: 2312: 2310: 2308: 2306: 2304: 2302: 2046: 2044: 2042: 2040: 2038: 2036: 2034: 2015: 2013: 2011: 2009: 1949: 1947: 1945: 989:("Mighty Handful") to describe The Five. 310:21 December 1836] – 29 May [ 2564: 2562: 2560: 1238: 1140:, who also took over as director of the 29:Russian composer and pianist (1837–1910) 4656:20th-century Russian conductors (music) 2767:Tchaikovsky: The Early Years, 1840–1874 2083:Tchaikovsky: The Early Years: 1840–1874 1754: 1692: 1520:Progressive development: First Symphony 422:Portrait of (left to right) Balakirev, 2799:(New York: Metropolitan Books, 2002). 1676: 1547:Balakirev also further cultivated the 1339:List of compositions by Mily Balakirev 3138:Pyotr Ilyich Tchaikovsky and The Five 1015:Pyotr Ilyich Tchaikovsky and The Five 999:in March 1867 and the Polonaise from 458:who led the Russian army against the 293: 7: 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. 1677:Problems playing these files? See 25: 4701:Composers from the Russian Empire 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 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 905:Collection of Russian Folksongs 753:in 1863, and gravitated toward 106:16 May] 1910 (aged 73) 4696:Musicians from Nizhny Novgorod 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 71:Portrait of Balakirev, c. 1900 1: 2925:Free scores by Mily Balakirev 2915:Free scores by Mily Balakirev 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 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 4671:Burials at Tikhvin Cemetery 4532:Gothic Revival architecture 1724: 1715:Miliĭ Alekseevich Balakirev 1714: 1704: 757:as a mentor in this field. 306:; 2 January 1837 [ 4752: 4726:Russian Romantic composers 4716:Russian classical pianists 4473:Neue Zeitschrift für Musik 3648:List of Romantic composers 2848:Rimsky-Korsakov, Nikolai, 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: 3645: 3484:Charles Villiers Stanford 3133: 3100: 3046: 2972: 693: 403:Symphony No. 2 in D minor 286: 84:2 January 1837 [ 64: 4494:Tchaikovsky and The Five 2812:Tchaikovsky: A Biography 2215:Tchaikovsky: A Biography 1806:, 1890—1907 (in Russian) 1530:Overture on Czech Themes 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 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: 3590:Edward MacDowell 3444:Enrique Granados 3419:Alexander Moyzes 3212:Bohuslav Martinů 3173: 3166: 3159: 3150: 3087: 3080: 3073: 3064: 3052: 3051: 2959: 2952: 2945: 2936: 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: 2566: 2555: 2548: 2542: 2535: 2529: 2522: 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: 2414: 2408: 2405: 2396: 2393: 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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: 303: 297: 292: 288: 277: 273: 268: 267: 264: 263: 260: 257: 254: 251: 248: 245: 242: 239: 236: 229: 218: 212: 211: 208: 207: 204: 201: 198: 193: 192: 189: 186: 183: 180: 177: 174: 171: 168: 165: 158: 110:Saint Petersburg 69: 55: 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: 1673: 1672: 1671: 1670: 1667: 1660: 1657: 1651: 1650: 1649: 1644: 1642: 1640: 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 300: 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:Miliy Balakirev 15: 12: 11: 5: 4749: 4747: 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: 4613: 4612: 4606: 4605: 4603: 4602: 4592: 4574: 4566: 4565: 4562: 4561: 4559: 4558: 4557: 4556: 4546: 4545: 4544: 4539: 4534: 4529: 4519: 4513: 4511: 4507: 4506: 4504: 4503: 4496: 4491: 4486: 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: 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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: 3178: 3176: 3175: 3168: 3161: 3153: 3144: 3143: 3141: 3140: 3134: 3131: 3130: 3128: 3127: 3122: 3117: 3112: 3107: 3105:Mily Balakirev 3101: 3098: 3097: 3092: 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 2964: 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: 2455: 2443: 2434: 2418: 2409: 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: 1658: 1653: 1652: 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: 96: 95: 90: 80: 78: 74: 73: 70: 62: 61: 59:Mily Balakirev 58: 28: 24: 14: 13: 10: 9: 6: 4: 3: 2: 4748: 4737: 4734: 4732: 4729: 4727: 4724: 4722: 4719: 4717: 4714: 4712: 4709: 4707: 4704: 4702: 4699: 4697: 4694: 4692: 4689: 4687: 4684: 4682: 4679: 4677: 4674: 4672: 4669: 4667: 4664: 4662: 4659: 4657: 4654: 4652: 4649: 4647: 4644: 4642: 4639: 4637: 4634: 4632: 4629: 4627: 4624: 4622: 4619: 4618: 4616: 4601: 4597: 4593: 4591: 4583: 4582: 4579: 4578: 4572: 4571: 4563: 4555: 4552: 4551: 4550: 4547: 4543: 4540: 4538: 4535: 4533: 4530: 4528: 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Strauss II 4282: 4280: 4277: 4275: 4272: 4270: 4267: 4265: 4262: 4260: 4257: 4255: 4252: 4250: 4247: 4245: 4242: 4240: 4237: 4235: 4232: 4230: 4227: 4225: 4222: 4220: 4217: 4215: 4212: 4210: 4207: 4205: 4202: 4200: 4197: 4195: 4192: 4190: 4187: 4185: 4182: 4180: 4177: 4175: 4172: 4170: 4167: 4165: 4162: 4160: 4157: 4155: 4152: 4150: 4147: 4145: 4142: 4140: 4137: 4135: 4132: 4130: 4127: 4125: 4122: 4120: 4117: 4115: 4112: 4110: 4107: 4105: 4102: 4100: 4097: 4095: 4092: 4090: 4087: 4085: 4082: 4080: 4077: 4075: 4072: 4070: 4067: 4065: 4062: 4060: 4057: 4055: 4052: 4050: 4047: 4045: 4042: 4040: 4037: 4035: 4032: 4030: 4027: 4025: 4022: 4020: 4017: 4015: 4012: 4010: 4007: 4005: 4002: 4000: 3997: 3995: 3992: 3990: 3987: 3985: 3982: 3980: 3977: 3975: 3972: 3970: 3967: 3965: 3962: 3960: 3957: 3955: 3952: 3950: 3947: 3945: 3942: 3940: 3937: 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: 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1294: 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: 1168: 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: 1008: 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: 856: 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: 760: 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: 642: 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: 413: 408: 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: 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: 2758: 2611:, 172. 2572:, 171. 2528:, 108. 1837: 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 2839:ISBN 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 1304:'s 1287:in 1230:Rus 478:as 430:by 278:-ef 272:BAH 256:ɪər 215:bə- 48:is 40:is 4617:: 2835:to 2660:^ 2559:^ 2487:^ 2458:^ 2446:^ 2421:^ 2400:^ 2379:^ 2367:^ 2301:^ 2249:^ 2197:^ 2185:^ 2164:^ 2120:^ 2090:^ 2033:^ 2008:^ 1996:^ 1980:^ 1944:^ 1932:^ 1912:^ 1883:^ 1857:^ 1757:^ 1722:: 1718:; 1712:: 1708:; 1702:: 1490:. 1402:. 1291:. 884:. 845:, 841:, 831:ru 821:. 696:, 692:: 664:, 617:. 581:, 547:. 531:. 504:— 381:. 360:, 356:, 321:, 289:, 285:: 281:; 247:ɑː 241:ɑː 228:: 226:US 222:, 209:-/ 203:ɑː 194:,- 157:: 155:UK 4502:" 4498:" 3631:e 3624:t 3617:v 3172:e 3165:t 3158:v 3086:e 3079:t 3072:v 2958:e 2951:t 2944:v 2890:. 2875:. 2845:. 2822:. 2792:. 2777:. 2762:. 2585:. 1728:. 1681:. 829:( 265:/ 262:f 259:ɛ 253:k 250:ˈ 244:l 238:b 235:ˌ 232:/ 206:k 200:l 197:ˈ 191:v 188:ɛ 185:r 182:ɪ 179:k 176:æ 173:l 170:ˈ 167:ə 164:b 161:/ 151:( 52:. 20:)

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