MILI ALEREIVICH See also:

• MILI ALEREIVICH BALAKIREV (1836- )

BALAKIREV (1836- )  , See also:

• RUSSIAN

Russian musical composer, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at Nijni-See also:

• NOVGOROD
• NOVGOROD (formerly known as V elikiy-Novgorod, Great Novgorod)

Novgorod on the 31st of See also:

• DECEMBER (Lat. decent, ten)

December 1836 . He had the See also:

• ADVANTAGE

advantage as a boy of living with Oulibichev, author of a See also:

• LIFE

Life of See also:

• MOZART, WOLFGANG AMADEUS1 (1756–1791)

Mozart, who had a private See also:

• BAND

band, and from whom See also:

• BALAKIREV, MILI ALEREIVICH (1836- )

Balakirev obtained a valuable See also:

• EDUCATION

education in See also:

• MUSIC

music . At eighteen, after a university course in See also:

• MATHEMATICS (Gr. /saBnµar1Kil, Sc. vOcvn or E7rlQTt'µn; from p iN.La, "learning" or "science ")

mathematics, he went to St See also:

• PETERSBURG

Petersburg, full of See also:

• NATIONAL

national ardour, and there made the acquaintance of See also:

• GLINKA, FEDOR NIKOLAEVICH (1788-1849)
• GLINKA, MICHAEL IVANOVICH (1803-18s7)
• GLINKA, S
• GLINKA, SERGY NIKOLAEVICH (1774-1847)

Glinka . See also:

• ROUND (O. Fr. rond, Lat. rotundus, the Fr. is the source also of Du. rond; Ger., Swed., Dan. and Nor. rond)

Round him gathered Cesar Cui (b . 1835), and others, and in 1862 the See also:

• FREE

Free School of Music was established, by which, and by Balakirev's See also:

• PERSONAL

personal zeal, the See also:

• MODERN

modern school of Russian music was largely stimulated . In 1869 Balakirev was appointed director of the imperial See also:

• CHAPEL

chapel and conductor of the Imperial Musical Society . His See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence as a conductor, and as an organizer of Russian music, give him the See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place of a founder of a new See also:

• MOVEMENT

movement, apart even from his own compositions, which though few in number are remarkable in themselves . His See also:

• WORKS

works consist largely of songs and collections of folk-songs, but include a See also:

• SYMPHONY

symphony (first played in See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England in 1901), two symphonic poems (" See also:

• RUSSIA
• RUSSIA (Rossiya)

Russia " and " Tamara "), and four overtures, besides See also:

• PIANOFORTE (Ital. piano, soft, and forte, loud)

pianoforte pieces . His orchestral works are of the " See also:

• PROGRAMME, or PROGRAM

programme-music " See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order, but all are brilliant examples of the highly coloured, elaborate See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style characteristic of modern Russian composers, and See also:

• DEVELOPED

developed by Balakirev's disciples, such as See also:

• BORODIN, ALEXANDER PORFYRIEVICH (1834–1889)

Borodin and Rimsky-Korsakov .