- Balakirev, Mily
▪ Russian composerin full Mily Alekseyevich Balakirevborn December 21, 1836 [January 2, 1837, New Style], Nizhny Novgorod, Russiadied May 16 [May 29], 1910, St. PetersburgRussian composer of orchestral music, piano music, and songs. He was a dynamic leader of the Russian nationalist group of composers of his era.Balakirev received his early musical education from his mother. He also studied with Alexander Dubuque and with Karl Eisrich, music director to A.D. Ulibishev, a wealthy landowner who published well-known books on Mozart and Beethoven. Balakirev had the use of Ulibishev's music library and at age 15 began to compose and was allowed to rehearse the local theatre orchestra. From 1853 to 1855 he studied mathematics at the University of Kazan, where he wrote, among other things, a piano concerto (completed 1856). He made his first appearance as a concert pianist in Kronshtadt in December 1855. Thereafter Balakirev performed often, composed an Overture on Russian Themes and music to King Lear (1858–61), and became the mentor of two young composers, César Cui and Modest Mussorgsky. In 1861 and 1862 his circle of disciples was joined by Nikolay Rimsky-Korsakov and Aleksandr Borodin, forming the group known as The Five (Five, The). In 1862 he joined the Free School of Music, which had been opened in opposition to the St. Petersburg Conservatory, and soon became principal concert conductor.During the 1860s Balakirev was at the height of his influence. He collected folk songs up and down the Volga and introduced them in his Second Overture on Russian Themes, which ultimately became the symphonic poem Russia; he spent summer holidays in the Caucasus, gathering themes and inspiration for his brilliant piano fantasy Islamey (1869) and his symphonic poem Tamara (1867–82); he published the works of composer Mikhail Glinka (Glinka, Mikhail) and visited Prague to produce them; and for a time (1867–69) he conducted the symphony concerts of the Russian Music Society.Balakirev's despotic nature and his tactlessness made him innumerable enemies, so that even his friends and young disciples came to resent his tutelage; and a series of personal and artistic misfortunes led to his almost complete withdrawal from the world of music during 1872–76 and his taking a post as a railway clerk. Balakirev had passed through a period of acute depression 10 years earlier; now he underwent a more severe crisis from which he emerged a totally changed man, a bigoted and superstitious Orthodox Christian. He gradually returned to the music world, resumed directorship of the Free School, and from 1883 to 1894 was director of the imperial chapel. He also resumed musical composition, completing several works, including a symphony he had abandoned many years before, and writing several new pieces, among these his Piano Sonata (1905), Symphony No. 2 (1908), and a number of piano pieces and songs. The last decade of his life was spent in almost complete retirement.It has been said that it was Balakirev, even more than Glinka, who set the course for Russian orchestral music and lyrical song during the second half of the 19th century. He developed an idiom and technique that he imposed on his disciples (above all on Rimsky-Korsakov (Rimsky-Korsakov, Nikolay) and Borodin (Borodin, Aleksandr), and to some extent on Pyotr Ilyich Tchaikovsky (Tchaikovsky, Pyotr Ilyich)) not only by example but by constant autocratic supervision of their own earlier works. His music is superbly colourful and imaginative, but his creative personality was arrested in its development after 1871, and his later work is couched in the idiom of his youth.
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