823:
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 extraordinary memory, keen and retentive, which means so much in steering a critical course in musical literature ... He instantly felt every technical imperfection or error, he grasped a defect in form at once. Whenever I or other young men, later on, played him our essays at composition, he instantly caught all the defects of form, modulation, and so on, and forthwith seating himself at the piano, he would improvise and show how the composition in question should be changed exactly as he indicated, and frequently entire passages in other people's compositions became his and not their putative authors' at all. He was obeyed absolutely, for the spell of his personality was tremendous. ... His influence over those around him was boundless, and resembled some magnetic or mesmeric force. ... he despotically demanded that the tastes of his pupils should exactly coincide with his own. The slightest deviation from his taste was severely censured by him. By means of raillery, a parody or caricature played by him, whatever did not suit him at the moment was belittled — and the pupil blushed with shame for his expressed opinion and recanted....
834:
him and, in their eyes, he was in need of advice and criticism. Balakirev often said that
Mussorgsky had 'no head' or that his 'brains were weak.' ... Balakirev thought that Cui understood little in symphony and musical forms and nothing in orchestration, but was a past master in vocal and operatic music; Cui, in turn, thought Balakirev a master in symphony, form, and orchestration, but with little liking for operatic composition and vocal music in general. Thus they complemented each other, but each, in his own way, felt mature and grown up. Borodin, Mussorgsky, and I, however — we were immature and juvenile. Obviously, towards Balakirev and Cui we were in somewhat subordinate relations; their opinions were listened to unconditionally....
751:, set in Arabia, uses two different styles of music, Western (Russian) and Eastern (Arabian). The first theme, Antar's, is masculine and Russian in character. The second theme, feminine and oriental in melodic contour, belongs to the queen, Gul Nazar. Rimsky-Korsakov was able to soften the implicit misogyny to some extent. However, female sensuality does exert a paralyzing, ultimately destructive influence. With Gul Nazar extinguishing Antar's life in a final embrace, the woman overcomes the man.
574:, this is a harmonic pattern (in major mode) in which one upper part proceeds from the dominant pitch chromatically to the submediant while the other harmony parts remain constant. The most basic form of this pattern can be shown as follows (beginning with typical tonic): root-position tonic triad → root-position augmented tonic triad → 1st inversion submediant minor triad. A famous example of the Russian submediant occurs in the very opening bars of the third movement of Rimsky-Korsakov's
399:
1511:
191:
263:, academic circles of the conservatory, the Russian Musical Society, and their press supporters. The group ignored critics and continued operating under the moniker. This loose collection of composers gathered around Balakirev now included Cui, Mussorgsky, Rimsky-Korsakov, and Borodin — the five who have come to be associated with the name "Mighty Handful", or sometimes "The Five".
49:
529:(1842) — most recognizable at the end of the festive overture — provided a characteristic harmonic and melodic device. This scale in "Russian" works often suggests evil or ominous personages or situations. It was used by all the major composers from Tchaikovsky (the appearance of the Countess's ghost in
709:. Orientalism, in fact, became widely considered in the West both one of the best-known aspects of Russian music and a trait of Russian national character. As leader of "The Five," Balakirev encouraged the use of eastern themes and harmonies to set their "Russian" music apart from the German symphonism of
833:
Balakirev considered me a symphony specialist ... in the sixties, Balakirev and Cui, though very intimate with
Mussorgsky and sincerely fond of him, treated him like a lesser light, and of little promise at that, in spite of his undoubted talent. It seemed to them that there was something missing in
822:
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 the sense
725:
Orientalism was not confined to using authentic
Eastern melodies. What became more important than the melodies themselves were the musical conventions added to them. These conventions allowed orientalism to become an avenue for writing music on subjects considered unmentionable otherwise, such as
273:
that "they never called themselves, nor were they ever called in Russia, 'The Five'" (although today the
Russian equivalent "Пятёрка" ("Pyatyorka") is occasionally used to refer to this group). In his memoirs, Rimsky-Korsakov routinely refers to the group as "Balakirev's circle", and occasionally
807:
The tastes of the circle leaned towards Glinka, Schumann, and
Beethoven's last quartets ... they had little respect for Mendelssohn ... Mozart and Haydn were considered out of date and naive ... J. S. Bach was held to be petrified ... Chopin was likened by Balakirev to a nervous society lady ...
371:
had gone some way towards producing a distinctly
Russian kind of music, writing operas on Russian subjects, but the Mighty Handful represented the first concentrated attempt to develop such a music, with Stasov as their artistic adviser and Dargomyzhsky as an elder statesman to the group, so to
481:
to another, often ending up in a different key than the one in which the song began. This can produce a feeling of elusiveness, a lack of definition or of logical progression in the harmony. Even when stylized by The Five, this quality can make
Russian music sound very different from the tonal
721:
Symphony a dozen years before it. These were themes
Balakirev had transcribed in the Caucasus. "The symphony is good," Cui wrote to Rimsky-Korsakov in 1863, while the latter was out on naval deployment. "We played it a few days ago at Balakirev's—to the great pleasure of Stassov. It is really
359:
depended on the myth, which they themselves created, of a movement that was more "authentically
Russian," in the sense that it was closer to the native soil, than the classic academy. Spurred on by Russian nationalist ideas, the Five “sought to capture elements of rural Russian life, to build
771:. The first code, based on obsessive rhythms, note repetitions, climactic effects and accelerated tempi, represents Dionysian intoxication. The second code, consisting of unpredictable rhythms, irregular phrasing and based on long passages with many repeat notes, augmented and diminished
512:
The Five also adopted a series of harmonic devices to create a distinct "Russian" style and color different from
Western music. This "exotic" styling of "Russia" was not just self-conscious but entirely invented. None of these devices were actually used in Russian folk or church music:
766:
about the beautiful Tamara, who lived in a tower alongside the gorge of Daryal. She lured travelers and allowed them to enjoy a night of sensual delights, only to kill them and throw their bodies into the River Terek. Balakirev uses two specific codes endemic to orientalism in writing
670:). The pentatonic scale is one of the ways of suggesting a "primitive" folk-melodic style as well as the "Eastern" element (Middle East, Asia). A melodic example of the "major-mode" pentatonic scale (C-D-E-G-A) can be heard at the entrance of the chorus at the beginning of Borodin's
468:
peasant song, what Glinka had once called "the soul of Russian music." Balakirev made this possible by his study of songs from the Volga in the 1860s. More than any previous anthology, his transcriptions artfully preserved the distinctive aspects of Russian folk music:
640:, allowing the form of a musical composition to be shaped entirely by the "content" of the music (its programmatic statements and visual descriptions) rather than by formal laws of symmetry. This loose structure became especially important for Mussorgsky's
332:
in 1862. All the composers in The Five were young men in 1862. Balakirev was 25, Cui 27, Mussorgsky 23, Borodin the eldest at 28, and Rimsky-Korsakov just 18. They were all self-trained amateurs. Borodin combined composing with a career in
463:
dances, in church chants and the tolling of church bells (to the point where the bell tolling became a cliché). The Five's music became filled with imitative sounds of Russian life. They also tried to reproduce the long-drawn, lyrical and
345:
of the Imperial Guard, and then in the civil service before taking up music; even at the height of his career in the 1870s he was forced by the expense of his drinking habit to hold down a full-time job in the State Forestry Department.
230:
God grant that our Slav guests may never forget today's concert; God grant that they may forever preserve the memory of how much poetry, feeling, talent, and intelligence are possessed by the small handful of Russian
372:
speak. The circle began to fall apart during the 1870s, no doubt partially due to the fact that Balakirev withdrew from musical life early in the decade for a period of time. All of "The Five" are buried in
812:... he was not credited with any considerable talent and was treated with a shade of derision. ...Rubinstein had a reputation as a pianist, but was thought to have neither talent nor taste as a composer.
210:, covering a concert that had been performed for visiting Slav delegations at the "All-Russian Ethnographical Exhibition" in Moscow. The four Russian composers whose works were played at the concert were
549:
494:
A melody is simultaneously rendered by two or more performers in different variations. This is improvised by the singers until the end, when the song reverts to a single melodic line.
658:
This stylistic aspect became used by every Russian nationalist composer. Its distinctive feature is to have only five notes in the octave, rather than the seven of the
779:, depict sensual longing. Not only did Balakirev use these codes extensively, but he also attempted to supercharge them further when he revised the orchestration of
886:
808:
Berlioz was highly esteemed ...Liszt was comparatively unknown ... Little was said of Wagner ... They respected Dargomyzhsky for the recitative portions of
563:
308:
also spawned the terms "kuchkism" and "kuchkist", which may be applied to artistic aims or works in tune with the sensibilities of the Mighty Handful.
882:
451:
The musical language The Five developed set them far apart from the Conservatoire. This self-conscious Russian styling was based on two elements:
2087:
286:, who appeared later, Balakirev's circle consisted of Balakirev, Cui, Mussorgsky, Borodin, and me (the French have retained the denomination of "
1542:
883:
557:
also uses this scale in his music, taking this, among many things, from the Russians. Later it became a standard device in horror-movie scores.
1628:
1230:
881:
337:. Cui was an army engineer who, starting in 1857 and throughout 1860s, taught fortification at military academies. Rimsky-Korsakov was a
884:
843:
Except perhaps for Cui, the members of this group influenced or taught many of the great Russian composers who were to follow, including
269:
341:(he wrote his First Symphony on a three-year naval voyage circumnavigating the globe). Mussorgsky had been in the prestigious
1595:
1071:
DeVoto, Mark. "The Russian Submediant in the Nineteenth Century," Current Musicology, no. 59 (October 1995), pp. 48–76.
416:
2265:
987:
726:
political themes and erotic fantasies. It also became a means of expressing Russian supremacy as the empire expanded under
507:
The effect lends Russian music a raw sonority missing entirely from the comparatively polished harmonies of Western music.
2080:
1535:
880:
111:
1621:
1223:
438:
717:, Stasov and the other nationalists dubbed it the "First Russian Symphony," even though Rubinstein had written his
714:
722:
Russian. Only a Russian could have composed it, because it lacks the slightest trace of any stagnant Germanness."
1203:
2073:
1946:
734:
symbolism—the rational, active and moral Western man versus the irrational, passive and immoral Eastern woman.
705:
576:
420:
17:
1361:
2270:
1528:
713:
and other Western-oriented composers. Because Rimsky-Korsakov used Russian folk and oriental melodies in his
274:
uses "The Mighty Handful", usually with an ironic tone. He also makes the following reference to "The Five":
238:
1614:
1216:
531:
525:
2122:
1321:
1040:
1941:
1286:
901:
642:
2229:
906:
848:
350:
1854:
1582:
1458:
1316:
1311:
1276:
791:
739:
460:
409:
342:
325:
223:
166:
150:
77:
1982:
1471:
691:. Many quintessentially "Russian" works were composed in orientalist style, such as Balakirev's
1951:
1829:
1483:
1351:
1296:
916:
727:
543:
368:
215:
104:
1799:
1719:
1659:
2214:
2129:
1478:
1418:
1371:
1326:
1281:
338:
1411:
2134:
1794:
1734:
1510:
1438:
1376:
1664:
1466:
1341:
8:
2117:
2022:
1637:
1356:
860:
602:
of magic and menace used not just by Rimsky-Korsakov but all of his followers, above all
279:
1669:
1366:
737:
Two major works entirely dominated by orientalism are Rimsky-Korsakov's symphonic suite
349:
In contrast to the élite status and court connections of Conservatory composers such as
1992:
1754:
1239:
844:
603:
1906:
1654:
1169:
Babi Yar (Berkeley, Los Angeles and London: University of California Press, 2002), 82.
636:
type of structure. This way, they could avoid the rigid Western laws of modulation in
2224:
2219:
2191:
2107:
2065:
1987:
1972:
1859:
1849:
1804:
1577:
1567:
1500:
1423:
1401:
1396:
1391:
1291:
1198:
763:
499:
329:
321:
170:
162:
97:
83:
71:
1911:
353:, The Five were mainly from the minor gentry of the provinces. To some degree their
2234:
2171:
2144:
2047:
1901:
1876:
1749:
1453:
1448:
1306:
1301:
1052:
852:
772:
710:
659:
651:
615:
516:
377:
373:
248:
174:
2017:
1891:
2096:
1896:
1381:
1331:
895:
856:
611:
585:
355:
316:
The formation of the group began in 1856 with the first meeting of Balakirev and
260:
203:
194:
1881:
360:
national pride, and to prevent western ideals from seeping into their culture.”
2186:
2112:
2042:
1839:
1824:
1774:
1764:
1739:
1724:
1704:
1562:
1490:
1406:
1346:
868:
633:
554:
364:
283:
264:
219:
211:
154:
59:
1921:
1041:"Understanding the Cultural and Nationalistic Impacts of the moguchaya kuchka"
523:
Although Glinka did not invent this scale, his application of it in the opera
455:
They tried to incorporate in their music what they heard in village songs, in
2259:
2244:
2204:
2181:
2149:
2032:
2002:
1814:
1709:
1694:
1428:
1270:
1250:
1057:
911:
864:
607:
537:
1871:
646:, a work that may have done more than any other to define the Russian style.
2154:
2052:
2037:
2012:
1936:
1931:
1784:
1684:
1495:
1433:
478:
1844:
1572:
943:
Essays on Russian and East European Music: Vladimir Stasov, Man and Critic
317:
158:
65:
2239:
2176:
1336:
1256:
699:
688:
672:
667:
663:
637:
629:
487:
1679:
794:
provides the following picture of "The Mighty Handful" in his memoirs,
423: in this section. Unsourced material may be challenged and removed.
1606:
1208:
754:
Balakirev gives a more overtly misogynistic view of oriental women in
2166:
762:, modeled on Glinka, for this work. However, he discovered a poem by
598:
334:
146:
596:
in 1867. This scale became a sort of Russian calling-card — a
398:
2209:
1263:
731:
953:
951:
190:
31:
1443:
1204:
Russian musical influences of The Five on works of Claude Debussy
922:
776:
693:
465:
456:
259:, "Mighty Bunch") was mocked by enemies of Balakirev and Stasov:
48:
2196:
948:
758:. He had originally planned to write a Caucasan dance called a
879:
2159:
1520:
1199:
The Article about The Five in "1000 years of Russian Music"
1161:
Maes, Francis, tr. Pomerans, Arnold J. and Erica Pomerans,
863:. They also influenced the two French symbolist composers
2095:
592:
Rimsky-Korsakov first used this in his symphonic poem
535:) to Rimsky-Korsakov (in all his magic-story operas—
961:, London: J.M.Dent & Sons, Ltd., 1946, pg. 178
226:. The article ended with the following statement:
2257:
974:, New York: W. W. Norton & Co., 1986, pg. 86
687:One hallmark of "The Five" was its reliance on
2081:
1622:
1536:
1224:
1014:Natasha's Dance: A Cultural History of Russia
128:
105:
30:"Kuchka" redirects here. For the singer, see
1127:N.A. Rimskii-Korsakov: zhizn' i tvorchestvo
1096:
1094:
1092:
1090:
1088:
1086:
972:The New Grove: Russian Masters 1: Balakirev
145:, were five prominent 19th-century Russian
2088:
2074:
1629:
1615:
1543:
1529:
1231:
1217:
1157:
1155:
1016:(New York: Metropolitan Books, 2002), 179.
112:
98:
1181:
1179:
1177:
1175:
1153:
1151:
1149:
1147:
1145:
1143:
1141:
1139:
1137:
1135:
1112:
1110:
1108:
1106:
1056:
477:A tune seems to shift naturally from one
439:Learn how and when to remove this message
149:who worked together to create a distinct
1083:
945:, Oxford: Clarendon Press, 1985, pg. 112
189:
1636:
1238:
623:Modular rotation in sequences of thirds
270:Grove Dictionary of Music and Musicians
14:
2258:
1172:
1132:
1103:
871:through their radical tonal language.
2069:
1610:
1596:Pyotr Ilyich Tchaikovsky and The Five
1524:
1212:
1038:
730:. This was often reinforced through
421:adding citations to reliable sources
392:
177:and collaborated from 1856 to 1870.
1025:Figes, 179. Also see R. Tarushkin,
959:Master Musicians Series: Mussorgsky
383:
24:
2097:Russian art and literary movements
25:
2282:
1192:
1163:A History of Russian Music: From
957:Calvocoressi, M.D., Abraham, G.,
247:The expression "mighty handful" (
151:national style of classical music
1509:
1003:, New York: Knopf, 1923, pg. 286
397:
282:, who accomplished nothing, and
47:
27:Five prominent Russian composers
1119:
1074:
743:and Balakirev's symphonic poem
408:needs additional citations for
1065:
1032:
1019:
1006:
993:
977:
964:
935:
682:
388:
208:Mr. Balakirev's Slavic Concert
13:
1:
928:
798:(translated by J. A. Joffe):
786:
628:The Five made this device of
586:Diminished or octatonic scale
239:Sankt-Peterburgskie Vedomosti
1550:
1129:, vyp. 2 (Moscow, 1935), 31.
1001:Chronicle of My Musical Life
838:
827:
816:
796:Chronicle of My Musical Life
550:The Invisible City of Kitezh
311:
297:Chronicle of My Musical Life
7:
2266:Russian classical composers
1362:Grupo de renovación musical
889:
874:
278:If we leave out of account
10:
2287:
2123:Second Russian Avant-Garde
988:Balakirev Mily Alekseevich
632:their own to base a loose
180:
29:
2103:
1962:
1942:Charles Villiers Stanford
1644:
1591:
1558:
1507:
1246:
1027:Defining Russia Musically
902:List of Russian composers
801:
643:Pictures at an Exhibition
295:Nikolay Rimsky-Korsakov,
252:
206:wrote an article, titled
129:
1058:10.15385/jmo.2019.10.2.1
907:Tchaikovsky and the Five
898:, successors to The Five
849:Mikhail Ippolitov-Ivanov
570:Also linked to Glinka's
351:Pyotr Ilyich Tchaikovsky
1855:Nikolai Rimsky-Korsakov
1583:Nikolai Rimsky-Korsakov
1125:Rimsky-Korsakov, A.N.,
482:structures of the West.
343:Preobrazhensky Regiment
326:Nikolai Rimsky-Korsakov
224:Nikolai Rimsky-Korsakov
202:In May 1867 the critic
185:
167:Nikolai Rimsky-Korsakov
78:Nikolai Rimsky-Korsakov
1952:Ralph Vaughan Williams
1830:Alexander Dargomyzhsky
1467:Viennese preclassicism
917:Group of Eight (music)
836:
825:
814:
703:and Rimsky-Korsakov's
544:Kashchey the Deathless
369:Alexander Dargomyzhsky
302:
290:" for us to this day).
245:
216:Alexander Dargomyzhsky
199:
2215:Russian postmodernism
1080:Figes, 180–181.
1039:Doub, Austin (2019).
1029:, xiii ff, per Figes.
999:Rimsky-Korsakov, N.,
831:
820:
805:
502:, fourths, and thirds
324:joined them in 1857,
276:
267:stated flatly in the
228:
193:
137:), also known as the
2271:The Five (composers)
2230:Soviet nonconformism
1983:Antônio Carlos Gomes
1735:Carl Maria von Weber
417:improve this article
2118:Russian avant-garde
2023:Silvestre Revueltas
1947:Alexander Mackenzie
1800:Stanisław Moniuszko
1720:Camille Saint-Saëns
1638:Musical nationalism
1357:Grupo de los cuatro
1322:English Virginalist
1240:Composition schools
919:, Spanish composers
861:Dmitri Shostakovich
532:The Queen of Spades
526:Ruslan and Lyudmila
1993:Heitor Villa-Lobos
1372:Khrennikov's Seven
845:Alexander Glazunov
604:Alexander Scriabin
564:Russian submediant
200:
2253:
2252:
2225:Socialist realism
2220:Russian symbolism
2192:New Peasant Poets
2108:Abramtsevo Colony
2063:
2062:
1988:Francisco Mignone
1973:Alberto Ginastera
1860:Alexander Borodin
1850:Modest Mussorgsky
1805:Henryk Wieniawski
1604:
1603:
1578:Modest Mussorgsky
1568:Alexander Borodin
1518:
1517:
1352:Grupo de los ocho
1342:Generación del 51
1337:Ears Open Society
1045:Musical Offerings
970:Abraham, Gerald,
941:Abraham, Gerald,
764:Mikhail Lermontov
660:heptatonic scales
449:
448:
441:
330:Alexander Borodin
322:Modest Mussorgsky
304:The Russian word
236:Vladimir Stasov,
198:(1824–1906)
171:Alexander Borodin
163:Modest Mussorgsky
122:
121:
84:Alexander Borodin
72:Modest Mussorgsky
16:(Redirected from
2278:
2235:Stroganov School
2172:Lieutenant Prose
2145:Russian Futurism
2090:
2083:
2076:
2067:
2066:
2048:Edward MacDowell
1902:Enrique Granados
1877:Alexander Moyzes
1670:Bohuslav Martinů
1631:
1624:
1617:
1608:
1607:
1545:
1538:
1531:
1522:
1521:
1513:
1475:
1454:The Turkish Five
1449:Sonic Arts Union
1407:Neue Einfachheit
1367:Grupo renovación
1317:English Pastoral
1312:English Madrigal
1233:
1226:
1219:
1210:
1209:
1186:
1183:
1170:
1159:
1130:
1123:
1117:
1114:
1101:
1098:
1081:
1078:
1072:
1069:
1063:
1062:
1060:
1036:
1030:
1023:
1017:
1012:Figes, Orlando,
1010:
1004:
997:
991:
981:
975:
968:
962:
955:
946:
939:
853:Sergei Prokofiev
711:Anton Rubinstein
652:Pentatonic scale
616:Olivier Messiaen
517:Whole tone scale
472:Tonal mutability
444:
437:
433:
430:
424:
401:
393:
384:Musical language
378:Saint Petersburg
374:Tikhvin Cemetery
300:
257:Moguchaya kuchka
254:
243:
175:Saint Petersburg
173:. They lived in
132:
131:
114:
107:
100:
51:
37:
36:
21:
2286:
2285:
2281:
2280:
2279:
2277:
2276:
2275:
2256:
2255:
2254:
2249:
2099:
2094:
2064:
2059:
1958:
1928:United Kingdom
1907:Joaquín Rodrigo
1897:Manuel de Falla
1795:Frédéric Chopin
1655:Bedřich Smetana
1651:Czech Republic
1640:
1635:
1605:
1600:
1587:
1554:
1549:
1519:
1514:
1505:
1469:
1387:The Mighty Five
1332:Frankfurt Group
1242:
1237:
1195:
1190:
1189:
1184:
1173:
1160:
1133:
1124:
1120:
1115:
1104:
1099:
1084:
1079:
1075:
1070:
1066:
1037:
1033:
1024:
1020:
1011:
1007:
998:
994:
982:
978:
969:
965:
956:
949:
940:
936:
931:
896:Belyayev circle
892:
887:
885:
877:
857:Igor Stravinsky
841:
830:
819:
804:
792:Rimsky-Korsakov
789:
685:
612:Igor Stravinsky
500:Parallel fifths
445:
434:
428:
425:
414:
402:
391:
386:
356:esprit de corps
314:
301:
294:
261:Aleksandr Serov
244:
235:
204:Vladimir Stasov
197:
195:Vladimir Stasov
188:
183:
143:The Mighty Five
118:
89:
35:
28:
23:
22:
15:
12:
11:
5:
2284:
2274:
2273:
2268:
2251:
2250:
2248:
2247:
2242:
2237:
2232:
2227:
2222:
2217:
2212:
2207:
2202:
2199:
2194:
2189:
2187:Natural School
2184:
2179:
2174:
2169:
2164:
2163:
2162:
2157:
2152:
2142:
2137:
2135:Constructivism
2132:
2127:
2126:
2125:
2115:
2113:Acmeist poetry
2110:
2104:
2101:
2100:
2093:
2092:
2085:
2078:
2070:
2061:
2060:
2058:
2057:
2056:
2055:
2050:
2045:
2043:Horatio Parker
2040:
2035:
2029:United States
2027:
2026:
2025:
2020:
2015:
2007:
2006:
2005:
1997:
1996:
1995:
1990:
1985:
1977:
1976:
1975:
1966:
1964:
1960:
1959:
1957:
1956:
1955:
1954:
1949:
1944:
1939:
1934:
1926:
1925:
1924:
1916:
1915:
1914:
1912:Joaquín Turina
1909:
1904:
1899:
1894:
1886:
1885:
1884:
1879:
1874:
1866:
1865:
1864:
1863:
1862:
1857:
1852:
1847:
1842:
1840:Mily Balakirev
1832:
1827:
1825:Mikhail Glinka
1819:
1818:
1817:
1809:
1808:
1807:
1802:
1797:
1789:
1788:
1787:
1779:
1778:
1777:
1775:Bernard Zweers
1769:
1768:
1767:
1765:Giuseppe Verdi
1759:
1758:
1757:
1752:
1744:
1743:
1742:
1740:Richard Wagner
1737:
1729:
1728:
1727:
1725:Romain Bussine
1722:
1714:
1713:
1712:
1707:
1705:Leevi Madetoja
1699:
1698:
1697:
1689:
1688:
1687:
1682:
1674:
1673:
1672:
1667:
1662:
1660:Antonín Dvořák
1657:
1648:
1646:
1642:
1641:
1634:
1633:
1626:
1619:
1611:
1602:
1601:
1599:
1598:
1592:
1589:
1588:
1586:
1585:
1580:
1575:
1570:
1565:
1563:Mily Balakirev
1559:
1556:
1555:
1548:
1547:
1540:
1533:
1525:
1516:
1515:
1508:
1506:
1504:
1503:
1498:
1493:
1491:Vox Saeculorum
1488:
1487:
1486:
1481:
1476:
1461:
1456:
1451:
1446:
1441:
1436:
1431:
1426:
1421:
1416:
1415:
1414:
1404:
1399:
1394:
1389:
1384:
1379:
1374:
1369:
1364:
1359:
1354:
1349:
1347:Giovane scuola
1344:
1339:
1334:
1329:
1327:Franco-Flemish
1324:
1319:
1314:
1309:
1304:
1299:
1294:
1289:
1284:
1279:
1274:
1267:
1260:
1253:
1247:
1244:
1243:
1236:
1235:
1228:
1221:
1213:
1207:
1206:
1201:
1194:
1193:External links
1191:
1188:
1187:
1171:
1131:
1118:
1102:
1082:
1073:
1064:
1031:
1018:
1005:
992:
976:
963:
947:
933:
932:
930:
927:
926:
925:
920:
914:
909:
904:
899:
891:
888:
878:
876:
873:
869:Claude Debussy
840:
837:
829:
826:
818:
815:
803:
800:
788:
785:
715:First Symphony
684:
681:
680:
679:
678:
677:
655:
654:
648:
647:
634:symphonic-poem
625:
624:
620:
619:
589:
588:
582:
581:
567:
566:
559:
558:
555:Claude Debussy
520:
519:
510:
509:
508:
504:
503:
496:
495:
491:
490:
484:
483:
474:
473:
447:
446:
405:
403:
396:
390:
387:
385:
382:
365:Mikhail Glinka
313:
310:
292:
265:Gerald Abraham
233:
220:Mily Balakirev
212:Mikhail Glinka
187:
184:
182:
179:
157:(the leader),
155:Mily Balakirev
139:Mighty Handful
127:(Russian:
120:
119:
117:
116:
109:
102:
94:
91:
90:
88:
87:
81:
75:
69:
63:
60:Mily Balakirev
56:
53:
52:
44:
43:
26:
18:Mighty Handful
9:
6:
4:
3:
2:
2283:
2272:
2269:
2267:
2264:
2263:
2261:
2246:
2245:Village Prose
2243:
2241:
2238:
2236:
2233:
2231:
2228:
2226:
2223:
2221:
2218:
2216:
2213:
2211:
2208:
2206:
2205:Peredvizhniki
2203:
2200:
2198:
2195:
2193:
2190:
2188:
2185:
2183:
2182:Mir iskusstva
2180:
2178:
2175:
2173:
2170:
2168:
2165:
2161:
2158:
2156:
2153:
2151:
2150:Cubo-Futurism
2148:
2147:
2146:
2143:
2141:
2138:
2136:
2133:
2131:
2130:Conceptualism
2128:
2124:
2121:
2120:
2119:
2116:
2114:
2111:
2109:
2106:
2105:
2102:
2098:
2091:
2086:
2084:
2079:
2077:
2072:
2071:
2068:
2054:
2051:
2049:
2046:
2044:
2041:
2039:
2036:
2034:
2033:Aaron Copland
2031:
2030:
2028:
2024:
2021:
2019:
2018:Carlos Chávez
2016:
2014:
2011:
2010:
2008:
2004:
2003:Claude Vivier
2001:
2000:
1998:
1994:
1991:
1989:
1986:
1984:
1981:
1980:
1978:
1974:
1971:
1970:
1968:
1967:
1965:
1961:
1953:
1950:
1948:
1945:
1943:
1940:
1938:
1935:
1933:
1930:
1929:
1927:
1923:
1920:
1919:
1917:
1913:
1910:
1908:
1905:
1903:
1900:
1898:
1895:
1893:
1892:Isaac Albéniz
1890:
1889:
1887:
1883:
1880:
1878:
1875:
1873:
1870:
1869:
1867:
1861:
1858:
1856:
1853:
1851:
1848:
1846:
1843:
1841:
1838:
1837:
1836:
1833:
1831:
1828:
1826:
1823:
1822:
1820:
1816:
1815:George Enescu
1813:
1812:
1810:
1806:
1803:
1801:
1798:
1796:
1793:
1792:
1790:
1786:
1783:
1782:
1780:
1776:
1773:
1772:
1770:
1766:
1763:
1762:
1760:
1756:
1755:Zoltán Kodály
1753:
1751:
1748:
1747:
1745:
1741:
1738:
1736:
1733:
1732:
1730:
1726:
1723:
1721:
1718:
1717:
1715:
1711:
1710:Jean Sibelius
1708:
1706:
1703:
1702:
1700:
1696:
1695:Rudolf Tobias
1693:
1692:
1690:
1686:
1683:
1681:
1678:
1677:
1675:
1671:
1668:
1666:
1663:
1661:
1658:
1656:
1653:
1652:
1650:
1649:
1647:
1643:
1639:
1632:
1627:
1625:
1620:
1618:
1613:
1612:
1609:
1597:
1594:
1593:
1590:
1584:
1581:
1579:
1576:
1574:
1571:
1569:
1566:
1564:
1561:
1560:
1557:
1553:
1546:
1541:
1539:
1534:
1532:
1527:
1526:
1523:
1512:
1502:
1499:
1497:
1494:
1492:
1489:
1485:
1482:
1480:
1477:
1473:
1468:
1465:
1464:
1462:
1460:
1457:
1455:
1452:
1450:
1447:
1445:
1442:
1440:
1439:Saint Martial
1437:
1435:
1432:
1430:
1429:Oeldorf Group
1427:
1425:
1422:
1420:
1417:
1413:
1410:
1409:
1408:
1405:
1403:
1400:
1398:
1395:
1393:
1390:
1388:
1385:
1383:
1380:
1378:
1375:
1373:
1370:
1368:
1365:
1363:
1360:
1358:
1355:
1353:
1350:
1348:
1345:
1343:
1340:
1338:
1335:
1333:
1330:
1328:
1325:
1323:
1320:
1318:
1315:
1313:
1310:
1308:
1305:
1303:
1300:
1298:
1295:
1293:
1290:
1288:
1285:
1283:
1280:
1278:
1275:
1273:
1272:
1271:Ars subtilior
1268:
1266:
1265:
1261:
1259:
1258:
1254:
1252:
1251:American Five
1249:
1248:
1245:
1241:
1234:
1229:
1227:
1222:
1220:
1215:
1214:
1211:
1205:
1202:
1200:
1197:
1196:
1182:
1180:
1178:
1176:
1168:
1165:Kamarinskaya
1164:
1158:
1156:
1154:
1152:
1150:
1148:
1146:
1144:
1142:
1140:
1138:
1136:
1128:
1122:
1113:
1111:
1109:
1107:
1097:
1095:
1093:
1091:
1089:
1087:
1077:
1068:
1059:
1054:
1050:
1046:
1042:
1035:
1028:
1022:
1015:
1009:
1002:
996:
989:
985:
980:
973:
967:
960:
954:
952:
944:
938:
934:
924:
921:
918:
915:
913:
912:American Five
910:
908:
905:
903:
900:
897:
894:
893:
872:
870:
866:
865:Maurice Ravel
862:
858:
854:
850:
846:
835:
824:
813:
811:
799:
797:
793:
784:
782:
778:
775:and extended
774:
770:
765:
761:
757:
752:
750:
746:
742:
741:
735:
733:
729:
723:
720:
716:
712:
708:
707:
702:
701:
696:
695:
690:
675:
674:
669:
665:
661:
657:
656:
653:
650:
649:
645:
644:
639:
635:
631:
627:
626:
622:
621:
617:
613:
609:
608:Maurice Ravel
605:
601:
600:
595:
591:
590:
587:
584:
583:
579:
578:
573:
569:
568:
565:
561:
560:
556:
552:
551:
546:
545:
540:
539:
534:
533:
528:
527:
522:
521:
518:
515:
514:
511:
506:
505:
501:
498:
497:
493:
492:
489:
486:
485:
480:
476:
475:
471:
470:
467:
462:
458:
454:
453:
452:
443:
440:
432:
422:
418:
412:
411:
406:This section
404:
400:
395:
394:
381:
379:
375:
370:
366:
363:Before them,
361:
358:
357:
352:
347:
344:
340:
339:naval officer
336:
331:
328:in 1861, and
327:
323:
319:
309:
307:
298:
291:
289:
285:
281:
275:
272:
271:
266:
262:
258:
253:Могучая кучка
250:
241:
240:
232:
227:
225:
221:
217:
213:
209:
205:
196:
192:
178:
176:
172:
168:
164:
160:
156:
152:
148:
144:
140:
136:
130:Могучая кучка
126:
115:
110:
108:
103:
101:
96:
95:
93:
92:
86:(lower right)
85:
82:
79:
76:
74:(upper right)
73:
70:
67:
64:
61:
58:
57:
55:
54:
50:
46:
45:
42:
39:
38:
33:
19:
2155:Ego-Futurism
2139:
2053:Charles Ives
2038:Henry Cowell
2013:Manuel Ponce
1937:Edward Elgar
1932:Joseph Parry
1882:Eugen Suchoň
1834:
1785:Edvard Grieg
1771:Netherlands
1685:Carl Nielsen
1665:Leoš Janáček
1551:
1496:Wandelweiser
1386:
1269:
1262:
1255:
1166:
1162:
1126:
1121:
1076:
1067:
1051:(2): 49–60.
1048:
1044:
1034:
1026:
1021:
1013:
1008:
1000:
995:
983:
979:
971:
966:
958:
942:
937:
842:
832:
821:
809:
806:
795:
790:
780:
768:
759:
755:
753:
748:
744:
738:
736:
728:Alexander II
724:
718:
706:Scheherazade
704:
698:
697:, Borodin's
692:
686:
671:
641:
597:
593:
577:Scheherezade
575:
571:
548:
542:
536:
530:
524:
479:tonal center
450:
435:
429:January 2016
426:
415:Please help
410:verification
407:
362:
354:
348:
315:
305:
303:
296:
287:
277:
268:
256:
246:
237:
229:
207:
201:
142:
138:
135:Mighty Bunch
134:
124:
123:
80:(lower left)
68:(upper left)
40:
2240:Suprematism
2177:Metarealism
1922:Hugo Alfvén
1750:Béla Bartók
1470: [
1412:Ny Enkelhed
1257:Ars antiqua
1100:Figes, 391.
700:Prince Igor
689:orientalism
683:Orientalism
673:Prince Igor
638:sonata form
630:Franz Liszt
488:Heterophony
389:Stylization
280:Lodyzhensky
2260:Categories
2201:Paris Note
1969:Argentina
1872:Ján Cikker
1680:Niels Gade
1501:West Coast
1424:Notre Dame
1402:New Jewish
1397:New German
1392:Neapolitan
1377:Manchester
1292:Burgundian
1287:Boston Six
929:References
787:Quotations
732:misogynist
466:melismatic
231:musicians.
2167:Imaginism
1868:Slovakia
1845:César Cui
1573:César Cui
1463:Viennese
1307:Darmstadt
1185:Maes, 83.
1116:Maes, 80.
984:Krugosvet
839:Influence
828:Abilities
817:Balakirev
783:in 1898.
773:intervals
618:(mode 2).
599:leitmotif
461:Caucasian
335:chemistry
318:César Cui
312:Formation
159:César Cui
147:composers
66:César Cui
2210:Rayonism
2140:The Five
1963:Americas
1835:The Five
1811:Romania
1746:Hungary
1731:Germany
1701:Finland
1691:Estonia
1676:Denmark
1552:The Five
1459:Venetian
1419:New York
1382:Mannheim
1302:Colorist
1264:Ars nova
890:See also
875:Timeline
777:melismas
760:lezginka
293:—
288:Les Cinq
234:—
125:The Five
41:The Five
2009:Mexico
1999:Canada
1979:Brazil
1918:Sweden
1821:Russia
1791:Poland
1781:Norway
1716:France
1444:Les Six
1297:Cologne
1277:Bologna
923:Les Six
810:Rusalka
694:Islamey
662:(e.g.,
457:Cossack
249:Russian
181:History
133:, lit.
2197:OBERIU
1888:Spain
1761:Italy
1645:Europe
1484:Second
1282:Boston
859:, and
802:Tastes
781:Tamara
769:Tamara
756:Tamara
745:Tamara
572:Ruslan
306:kuchka
299:, 1909
284:Lyadov
242:, 1867
222:, and
1479:First
1474:]
1434:Roman
749:Antar
740:Antar
719:Ocean
668:minor
664:major
594:Sadko
538:Sadko
62:(top)
32:Kučka
2160:Zaum
867:and
666:and
614:and
562:The
547:and
459:and
367:and
186:Name
169:and
1053:doi
986:, "
553:).
419:by
376:in
141:or
2262::
1472:de
1174:^
1167:to
1134:^
1105:^
1085:^
1049:10
1047:.
1043:.
990:".
950:^
855:,
851:,
847:,
747:.
610:,
606:,
541:,
380:.
320:.
255:,
251::
218:,
214:,
165:,
161:,
153::
2089:e
2082:t
2075:v
1630:e
1623:t
1616:v
1544:e
1537:t
1530:v
1232:e
1225:t
1218:v
1061:.
1055::
676:.
580:.
442:)
436:(
431:)
427:(
413:.
113:e
106:t
99:v
34:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
