Mili Balikerive, Free Sheet Music, Program Notes, Recordings and Biography

The Fiery Conductor: Forging a Russian Musical Identity

Imagine a young man, barely into his twenties, standing before some of Russia's most talented musicians, not as a student or a junior member, but as their artistic leader, their guiding light in a fervent quest to create a truly Russian classical music, free from the perceived dominance of Western European traditions. This was Mily Balakirev, the self-taught musical visionary who, through the sheer force of his personality and talent, galvanized a generation of composers—including César Cui, Modest Mussorgsky, Nikolai Rimsky-Korsakov, and Alexander Borodin—into what became known as "The Mighty Handful" or "The New Russian School." His own compositions, though sometimes few and far between due to his demanding role as mentor, are a testament to the power and beauty of Russian musical nationalism, infused with vibrant folk melodies, exotic orientalism, and breathtaking virtuosity.

A Prodigy from the Provinces

Mily Alexeyevich Balakirev was born in Nizhny Novgorod (now Gorky) in 1837 into a noble family with musical inclinations. His early musical talent was evident, and he received piano lessons from his mother and later from a local pianist named Karl Eisrich. His progress was rapid, and by the age of ten, he was already capable of performing complex piano concertos. A pivotal moment came in 1853 when he met the influential pianist and composer Alexander Dubuque, who recognized Balakirev's exceptional gifts and encouraged his musical development, introducing him to the works of composers beyond the standard salon repertoire.

In 1855, Balakirev moved to Saint Petersburg and, through Dubuque's connections, met Mikhail Glinka, the acknowledged father of Russian classical music. Glinka was deeply impressed by the young man's talent and his fervent desire to create a uniquely Russian musical voice. Glinka became a mentor to Balakirev, sharing his ideas on Russian national identity in music and entrusting him with the task of completing his unfinished opera Zaporozhets beyond the Danube. This mentorship was crucial in shaping Balakirev's artistic direction and his commitment to establishing a national school.

Despite his obvious musical gifts, Balakirev never formally enrolled in the Saint Petersburg Conservatory. He believed that academic training stifled creativity and preferred to learn through his own exploration of scores, his interactions with other musicians, and his innate musical intuition. This self-taught approach, while contributing to his unique voice, also led to periods of self-doubt and insecurity later in his life.

The Leader of "The Mighty Handful"

Following Glinka's death in 1857, Balakirev stepped into the role of the principal advocate for a new Russian musical aesthetic. Around him gathered a group of like-minded composers: César Cui, a military engineer; Modest Mussorgsky, a civil servant; Nikolai Rimsky-Korsakov, a naval officer; and Alexander Borodin, a chemist. These men, largely amateur musicians in the traditional sense, shared Balakirev's conviction that Russian classical music should draw its inspiration from Russian folk songs, Russian history, and the rich cultural heritage of the East.

Balakirev became the driving force behind this group, later dubbed "The Mighty Handful" or "Kuchka" (The Little Heap). He was their unofficial teacher, mentor, and critic, guiding their compositional efforts, suggesting themes, and providing rigorous feedback. He was known for his strong opinions and his sometimes autocratic leadership style, but his passion for their shared artistic goals was undeniable. He pushed them to reject what he saw as the sterile conventions of Western academicism and to embrace the natural rhythms and modal harmonies of Russian folk music.

His own compositions during this period served as models for the group. His orchestral overture King Lear (1858), his piano fantasia Islamey: An Oriental Fantasy (1869), and his collections of Russian folk song arrangements all exemplified the nationalistic ideals he championed. Islamey, in particular, became a legendary virtuoso showpiece, renowned for its dazzling technical difficulty and its exotic, oriental flair.

Years of Crisis and Transformation

The 1870s brought a period of profound personal and artistic crisis for Balakirev. He suffered from nervous exhaustion, experienced religious and philosophical doubts, and temporarily withdrew almost entirely from the musical scene. He resigned from his conducting positions, including his influential role as the free director of the Russian Musical Society, a position that had allowed him to champion the works of his fellow nationalists.

During this period of self-imposed isolation, Balakirev's musical output dwindled significantly. He devoted himself to religious study and for a time seemed to have abandoned his earlier artistic pursuits. This withdrawal had a considerable impact on the momentum of "The Mighty Handful," as they lacked their central guiding figure. While the other composers continued to develop their individual voices, the cohesive energy of the group diminished.

However, Balakirev eventually returned to music in the 1880s. He became the director of the Free School of Music once again and resumed his compositional activities. His later works, such as his two symphonies and his piano sonata, while still rooted in Russian nationalism, often displayed a more mature and introspective character. He also returned to some of his earlier works, revising and completing them.

A Complex Legacy

Mily Balakirev's legacy is complex and multifaceted. While his own compositional output was relatively small compared to some of his contemporaries, his impact on the course of Russian music was immense. As the leader and inspiration behind "The Mighty Handful," he played a crucial role in the development of a distinctly Russian classical style, one that consciously drew upon the unique melodic, harmonic, and rhythmic characteristics of Russian folk music.

His uncompromising artistic vision and his tireless dedication to the cause of Russian musical nationalism inspired a generation of composers who would go on to create some of the most beloved and enduring works of the Russian repertoire. Though his autocratic personality sometimes caused friction and his own career suffered from periods of instability, his contribution to the cultural identity of Russian music remains undeniable. His piano works, such as the virtuosic Islamey, continue to challenge and delight performers, while his orchestral works evoke the vastness and beauty of the Russian landscape and the exotic allure of the East. Mily Balakirev was the fiery conductor who, through his passion and conviction, helped to forge a unique and powerful voice for Russian music on the world stage.

Section 4: References and Further Reading

• Garden, Edward. Balakirev: A Critical Study of His Life and Music. Faber and Faber, 1967.

• Abraham, Gerald. Studies in Russian Music. William Reeves, 1935.

• Figes, Orlando. Natasha's Dance: A Cultural History of Russia. Metropolitan Books, 2002. (Provides cultural context).

• Rimsky-Korsakov, Nikolai. My Musical Life. Translated by Judah A. Joffe. Alfred A. Knopf, 1923. (Offers a personal perspective).

• Swafford, Jan. Russia's Musical Soul: An Informal History of Russian Music from Glinka to Shostakovich. Rowman & Littlefield Publishers, 2006.