Mily Balakirev

Portrait of Balakirev c. 1900

Mily Alexeyevich Balakirev (Russian: Милий Алексеевич Балакирев, IPA: [ˈmʲilʲɪj ɐlʲɪkˈsʲeɪvʲɪtɕ bɐˈɫakʲɪrʲɪf]; 2 January 1837 [O.S. 21 December 1836] – 29 May [O.S. 16 May] 1910)[a 1] 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 career – in 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.


Early yearsEdit

Portrait of (left to right) Balakirev, Vladimir Odoevsky and Mikhail Glinka by Ilya Repin. 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.

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 Russian army against the Khanate of Kazan during the 1544 expedition (Alexey's branch traced its history to Andrei Simonovich Balakirev who took part in the 1618 Siege of Moscow and was granted lands in Nizhny Novgorod).[1][2][3] The legend of 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 doesn't find any proof.[1]

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.[1][4] The name Mily (either from Russian miliynice, or from Greek Milos — island of the same name)[5] was a traditional male name in her family.[1] 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.[6]

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.[7][8]

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 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.[7][8] The first movement of an octet for piano, flute, oboe, horn, violin, viola, cello and double bass dates from 1855 survives.



The FiveEdit


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.[7] He now gathered around him composers with similar ideals, whom he promised to train according to his own principles.[11] These included Modest Mussorgsky in 1858, Nikolai Rimsky-Korsakov in November 1861 and Alexander Borodin in November or December 1862.[7] Together with Cui, these men were described by noted critic Vladimir Stasov as "a mighty handful" (Russian: Могучая кучка, 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.[7] However, he vehemently opposed academic training, considering it a threat to the musical imagination.[12] It was better in his view to begin composing right away and learn through that act of creation.[13] This line of reasoning could be argued as a rationalization to his own lack of technical training.[12] He had been trained as a pianist and had to discover his own way to becoming a composer.[14] 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.[15]

Alexander Dargomyzhsky eventually replaced Balakirev as a mentor to The Five

Balakirev had the musical experience that the others in The Five lacked,[11] 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.[12] 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".[16]

Balakirev's eventual undoing was his demand that his students' musical tastes coincide exactly with his own, with the slightest deviation prohibited.[16] 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.[15] By the late 1860s, Mussorgsky and Rimsky-Korsakov stopped accepting what they now considered his high-handed meddling with their work,[17] and Stasov began to distance himself from Balakirev.[17] 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.[18]

Saint Petersburg Conservatory and Free School of MusicEdit


Anton Rubinstein on the podium as portrayed by Ilya Repin.

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 of the aristocracy.[19] At stake was a viable career in music as artistic director of the Russian Musical Society.[19] Balakirev attacked Rubinstein for his conservative musical tastes, especially for his leaning on German masters such as Mendelssohn and Beethoven, and for his insistence on professional musical training.[19] Balakirev's followers were similarly outspoken. Mussorgsky, for instance, called the Saint Petersburg Conservatory a place where Rubinstein and Nikolai Zaremba, who taught music theory there, dressed "in professional, antimusical togas, first pollute their students' minds, then seal them with various abominations."[20] 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, and Balakirev likewise took Rubinstein's criticism personally.[19] Moreover, Rubinstein was of German and Jewish descent, and Balakirev's comments were at times anti-Semitic and xenophobic.[19]

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, founded the Free School of Music (ru) in 1862.[7] 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 Russian Orthodox Church. Lomakin was appointed director, with Balakirev serving as his assistant.[21] 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 Hector Berlioz, Robert Schumann, Franz Liszt, Glinka and Alexander Dargomyzhsky, and the first works of The Five.[22]

Mature works and Prague visitEdit




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 Prague in 1866 to arrange the production of Glinka's operas there. This project was delayed due to the Austro-Prussian War until the following year.[24] The Prague production of A Life for the Tsar under the direction of Bedřich Smetana reportedly horrified Balakirev, with Balakirev taking issue with the musical tempos, the casting of various roles, and the costumes—"[i]t was as though Smetana was trying to turn the whole piece into a farce."[26] "[F]ive weeks of quarrels, intrigues by Smetana and his party, and intensive rehearsals" followed,[24] with Balakirev attending every rehearsal.[27] 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.[27] He had difficulties with the production of Ruslan and Lyudmila 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.[28] Biographer 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."[29] Regardless, though A Life for the Tsar and Ruslan and Lyudmila were successes, Balakirev's lack of tact and despotic nature created considerable ill feelings between him and others involved,[23] with he and Smetana no longer speaking to each other.[29]



Waning influence and friendship with TchaikovskyEdit

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 Nikolai Zaremba, who had taken over for Rubinstein at the Saint Petersburg Conservatory was also appointed, along with a distinguished foreign composer.[30] The choice of Berlioz as foreign conductor was widely lauded, but Balakirev's appointment was seen less enthusiastically.[17] Balakirev's uncompromising nature caused tension at the RMS,[30] and his preference for modern repertoire earned him the enmity of Elena Pavlovna.[31] In 1869, she informed him that his services were no longer required.[17]

Pyotr Ilyich Tchaikovsky at the time he wrote Romeo and Juliet with Balakirev's support

The week after Balakirev's dismissal, an impassioned article in his defense appeared in The Contemporary Chronicle. The author was Pyotr Ilyich Tchaikovsky. Balakirev had conducted Tchaikovsky's symphonic poem Fatum and the "Characteristic Dances" from his opera The Voyevoda at the RMS, and Fatum had been dedicated to Balakirev.[32] 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 the second thanked Balakirev for criticisms he had made about Fatum just after conducting it. Balakirev's immediate response was positive and enthusiastic.[33]

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 Romeo and Juliet.[34] After Romeo and Juliet, the two men drifted apart as Balakirev took a sabbatical from the music world.[35] In 1880, Balakirev received a copy of the final version of the score of Romeo 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.[35] In the same letter, he forwarded the programme for a symphony, based on Lord Byron's poem Manfred, which Balakirev was convinced Tchaikovsky "would handle wonderfully well." This programme had originally been penned by Stasov for Hector Berlioz. Tchaikovsky initially refused, but two years later changed his mind, partly due to Balakirev's continued prodding over the project.[36] The Manfred Symphony, finished in 1885, became the largest, most complex work Tchaikovsky had written to that point.[37] As with Romeo and Juliet and Fatum, Tchaikovsky dedicated the Manfred Symphony to Balakirev.[38]

When Lomakin resigned as director of the Free Music School in February 1868, Balakirev took his place there.[39] 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.[40] Elena 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.[40] The RMS then scored the coup de grâce of assigning its programming to Mikhaíl Azanchevsky, who also took over as director of the Saint Petersburg Conservatory 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.[40] For the opening concert of the RMS 1871–72 season, he had conductor Eduard Nápravník present the first public performances of Tchaikovsky's Romeo and Juliet and the polonaise from Mussorgsky's Boris Godunov.[40] This implicit recognition of Balakirev's ideas made his own concerts seem unnecessary and redundant.[40] 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.[24] 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.[41]

Breakdown and return to musicEdit

In the spring of 1871, rumors circulated that Balakirev had suffered a nervous breakdown.[23] 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.[42] Borodin wrote to Rimsky-Korsakov that he wondered 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 Nikolai Gogol and destroy his manuscripts.[43] He took a five-year break from music,[40] and withdrew from his musical friends,[23] but did not destroy his manuscripts; instead he stacked them neatly in one corner of his house.[44] In his mental state, he neglected to give up his post as director of the Free Music School, and the directors of the school were at a loss as to what to do.[45] He finally resigned in 1874 and was replaced by Rimsky-Korsakov.[45] Nikolai Rubinstein offered him a professorship at the Moscow Conservatory but he refused, stating that his musical knowledge was basically empirical and that he did not have enough knowledge of music theory to take on such a position.[46] Financial distress forced Balakirev to become a railway clerk on the Warsaw railroad line in July 1872.[23]

Balakirev's grave at Tikhvin Cemetery

In 1876, Balakirev slowly began reemerging into the music world, but without the intensity of his former years.[23] Stasov wrote Rimsky-Korsakov in July that Balakirev was busy composing his symphonic poem Tamara 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..."[47] Balakirev also began sending individuals to Rimsky-Korsakov for private lessons in music theory.[48] This paved the way for Rimsky-Korsakov to make occasional visits to Balakirev.[48] By the autumn these visits had become frequent.[49] Also, Lyudmilla Shestarova asked him to edit Glinka's works for publication, in consort with Anatoly Lyadov and Rimsky-Korsakov.[23]


While Balakirev resumed musical Tuesday gatherings at his home by the 1880s, it was music patron Mitrofan Belyayev who became a fixture of the Russian classical music scene at this time. Some composers, including Alexander Glazunov 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.[50] Balakirev did not take advantage of Belyayev's services in these areas, as he felt that they promoted inferior music, and lowered the quality of Russian music.[53] Musicologist Richard Taruskin asserts that another reason Balakirev did not participate with the Belyayev circle was that he was not comfortable participating in a group at which he was not at its center.[54] 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.[53] Otherwise, Balakirev remained without a publisher until 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.[55]

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.[52] Except initially for Glazunov, whom he brought to Rimsky-Korsakov as a prodigy, and his later acolyte Sergei Lyapunov, Balakirev was ignored by the younger generation of Russian composers.[55]

Balakirev died on 29 May 1910 and was interred in Tikhvin Cemetery at the Alexander Nevsky Monastery in Saint Petersburg.

Personal lifeEdit

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 Chernishevsky's nihilistic novel What is to Be Done?.[56] 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 ... [T]he soothsaying ... cast a terror upon him".[57]

Following his breakdown, Balakirev sought solace in the strictest sect of Russian Orthodoxy,[40] dating his conversion to the anniversary of his mother's death in March 1871.[23] 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!"[58] Balakirev lived as a recluse in a house filled with dogs, cats and religious icons.[46] 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."[59]

Rimsky-Korsakov mentions that some of Balakirev's character traits were present before his conversion but became intensified afterward.[60] This was true of his general intolerance of viewpoints other than his own, but especially so with his anti-Semitism.[60] His attacks on Anton Rubinstein in the 1860s became petty and anti-Semitic,[19] and Jews were not admitted to the Free School during his earlier directorship.[61] 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.[60] He became belligerent in his religious conversations with friends, insistent that they cross themselves and attend church with him.[62] "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.[63]


Mily Balakirev at the time he taught "The Five."









Russian style: The OverturesEdit




Progressive development: First SymphonyEdit


Orientalism: TamaraEdit







  1. ^ a b c d Tatiana Zaitseva (2000). Mily Alexeyevich Balakirev. Origins. — St. Petersburg: Kanon, pp. 34—56 ISBN 5-88718-015-3
  2. ^ Balakirev coat of arms by All-Russian Armorials of Noble Houses of the Russian Empire. Part 9, 5 August 1816 (in Russian)
  3. ^ The Balakirevs from the Brockhaus and Efron Encyclopedic Dictionary, 1890—1907 (in Russian)
  4. ^ Yasherov coat of arms by All-Russian Armorials of Noble Houses of the Russian Empire. Part 17, 14 January 1904 (in Russian)
  5. ^ Aleksandra Superanskaya (2003). Dictionary of Russian First Names. — Moscow: Eksmo, p. 240 ISBN 5-699-04622-4
  6. ^ Mily Balakirev (1962). Memories and Letters. — Leningrad: State Music Publishing House, p. 17
  8. ^ a b Abraham, New Grove (1980), 2:47.
  9. ^ Abraham, New Grove (1980), 2:47–8.
  10. ^ a b c d Abraham, New Grove (1980), 2:48.
  11. ^ a b Maes, 38.
  12. ^ a b c Maes, 37.
  13. ^ Rimsky-Korsakov, My Musical Life, 32.
  14. ^ Maes, 36.
  15. ^ a b Rimsky-Korsakov, My Musical Life, 27.
  16. ^ a b Rimsky-Korsakov, 28.
  17. ^ a b c d Maes, 44.
  18. ^ Maes, 42, 45–6.
  19. ^ a b c d e f g Maes, 39.
  20. ^ As quoted in Maes, 39.
  21. ^ Campbell, New Grove (2001), 2:510–11.
  22. ^ Brown, David, Tchaikovsky: The Early Years: 1840–1874 (New York: W.W. Norton & Company, Inc, 1978), 126
  23. ^ a b c d e f g h i Campbell, New Grove (2001), 2:511.
  24. ^ a b c d e Abraham, New Grove (1980), 2:49.
  25. ^ Abraham, New Grove (1980), 49.
  26. ^ Zetlin, 145.
  27. ^ a b Zetlin, 146.
  28. ^ Zetlin, 146–7.
  29. ^ a b Zetlin, 147.
  30. ^ a b Maes, 43.
  32. ^ Holden, 70.
  33. ^ Holden, 71.
  34. ^ Holden, 73–74.
  35. ^ a b Holden, 248.
  36. ^ Holden, 248–9.
  37. ^ Holden, 251.
  38. ^ Holden, 250.
  39. ^ Brown, Tchaikovsky: The Early Years, 127
  40. ^ a b c d e f g Maes, 45.
  41. ^ Campbell, New Grove (2001), 2:311.
  43. ^ Zetlin, 235.
  44. ^ Zetlin, 231.
  45. ^ a b Rimsky-Korsakov, 152.
  46. ^ a b Zetlin, 236.
  47. ^ Rimsky-Korsakov, 166 ft. 16.
  48. ^ a b Rimsky-Korsakov, 166.
  49. ^ Rimsky-Korsakov, 169.
  51. ^ Maes, 167.
  52. ^ a b Maes, 168.
  54. ^ Taruskin, Stravinsky, 49.
  56. ^ Trauskin, Stravinsky, 71–3.
  57. ^ Rimsky-Korsakov, My Musical Life, 108.
  58. ^ Rimsky-Korsakov, My Musical Life, 169–72.
  59. ^ Taruskin, Stravinsky, 73.
  60. ^ a b c Rimsky-Korsakov, My Musical Life, 171.
  61. ^ Taruskin, Stravinsky, page cit. needed.
  62. ^ Rimsky-Korsakov, My Musical Life, 171–2.
  63. ^ Rimsky-Korsakov, My Musical Life, 172.
  64. ^ Abraham, New Grove (1980), 2:50–1.
  65. ^ Zetlin, 62.
  66. ^ Zetlin, 337–8.
  67. ^ Campbell, New Grove (2001), 2:513–4.
  69. ^ Maes, 64.
  70. ^ Maes, 64–5.
  71. ^ Maes, 65–6.
  72. ^ Maes, 67.
  73. ^ Garden, 195.
  74. ^ Maes, 68–9.
  75. ^ Maes, 82–3.


  • Abraham, Gerald, "Balakirev, Mily Alexeyevich". In The New Grove Encyclopedia of Music and Musicians (London: Macmillan, 1980), ed. Stanley Sadie, 20 vols. ISBN 0-333-23111-2.
  • Campbell, Stuart, "Balakirev, Mily Alekseyevich". In The New Grove Encyclopedia of Music and Musicians, Second Edition (London: Macmillan, 2001), ed. Stanley Sadie, 29 vols. ISBN 0-333-60800-3.

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