BALAKIREV, Mily Alexeivich, Russian composer: b. Nizhni Novgorod, 13 Dec. 1837 (13 Jan. 1837) • d. 30 May 1910. He began studying natural science at Kazan, but, having learned the rudiments of music from his mother and displaying considerable aptitude, he was taken in hand by Ubilishev, author of a 'Life of Mozart,' who taught him the classical mas terpieces and something of instrumentation. In 1855 he appeared in Saint Petersburg (Petro grad) as a pianist and created a sensation with his first compositions. Balakirev speedily became the acknowledged leader of the young Rus sian composers, headed by a remarkable set of quasi-amateurs who styled themselves the •Five Neo-Russian innovators,' a coterie united in friendly rivalry and patriotic ambi tion, consisting of Balakirev, -Musorgsky, Cui, Rimslcy-Korsakov and Prince Alexander Boro dine. Their musical philosophy was summed up in their phrase 'Russian music for the Russians.' They studied ecclesiastical melodies, folk-songs and dances, investigated the various Oriental elements permeating Russian art, and strove for novelty in harmonization, melody and piquancy of orchestral effect. The in fluence of Glinka (q.v.) and Dargomishky per vaded their development in one direction; that of Berlioz, Schumann and Liszt in another. From this ensemble they created a new art-ideal which became the model of the whole so-called 'neo-Russian School.° Balakirev was the soul of the movement, the teacher of his colleagues, the critical analyst of the masters. the Luther
of the musical reformation in Russia. He com posed orchestral pieces in the manner of Berlioz and Liszt, and pianoforte pieces in a manner of his own — of which the Oriental fantasia "Is lamey* is the most ingenious. In 1862 he founded the Music Free School, and conducted its concerts for a number of years; from 1867 to 1870 he also conducted the symphony con certs of the Imperial Russian Musical Society. Among his works the finest are the orchestral fantasia Tamara and the symphony in C major. He collected and recorded a great num ber of Russian folk-songs. He first became known outside of his own country in 1867, when he conducted Glinka's uRuslan and Lyndmila' in Prague. All his early companies made their mark: Musorgsky wrote some wild, eccentric songs; the truculent Cui produced eight, operas, 160 songs and a number of piano pieces; Boro dine left symphonies, orchestral sketches, string quartets and a dozen songs; and Rimsky Korsakov wrote about 12 operas, many songs, piano concertos, and published a collec tion of folk-songs. Consult Cui, 'La Musique en Russie' (Paris 1880) ; Grove's