BALAKIREFF, ALEXETE (1837—). A Russian composer and founder of the Young Russian School of Music. Ulyby sheff (Oulibicheff) was his first teacher in music at. his native city, Nizhni-Novgorod. Of excep tional memory, he knew at the age of 18 nearly all the classics of music by heart. In 1855 he graduated from the mathematical department of the University of Kazan and went to Saint Pe tersburg, where Glinka befriended him. He made a brilliant (Nutt as a pianist, but gave up that career; nor could Ulybyshetr's Mozart-worship make a classicist of him. Rus,,ia was reawaken ing, after the Crimean war, from her enforced torpor during the reign of Nicholas I., and Balakireff gathered around him several youthful enthusiasts. Cui, Musorgski, and later Rimsky Korsakoff and Borodin, all striving for nation alism in music, with Glinka and Dargom•zliski as their models. The foundation of the, Modern Russian School was now laid. Under the en ergetic guidance of Balakireff, they studied all the masters of music from the earliest times. He possessed a striking puwer of analysis, as well as of imparting knowledge, and he taught them whatever he learned himself. "Truth and nationalism" was their battle-cry. At first in literary articles, then in musical compositions, they embodied their theories. 13alakirell's own contributions to this movement were Songs (1858-60) ; three overtures (on Russian themes, 1858: on Czech themes, 1867; and the Millennial, 1862) ; incidental music (overture, march and four entr'actes) to Lear (1858-61) ; a collection of 40 National Songs (1866) ; and a piano fan tasy, islainey (1869). The songs have remained
a classic in their national treatment of the added accompaniments, and the fantasy has been pronounced the most diffieult piano com position. It was a favorite of Liszt's, and one which all his pupils had to learn. Jointly with Lomakin, Balakireff founded, in 1861, the Free usie School. In its classes the 'new truths' were inculcated, at its concerts the works of the Young Russian School were performed, under BalakiretT's passionate baton. In 1867, he gained a European reputation by his production and conducting of Glinka's Ruslan and Lyndmila in Prague. On his return, he was elected conductor of the Russian Musical Society, but resigned in 1869, on account of intrigues, and in 1872 with drew from public life owing to ill-health. From 1883 till 1894 he was director of the Imperial Capella, which he has placed on a solid musical foundation by organizing classes in various branches of musical instruction. his fantasy for orchestra, Tamara (1867-82), and his sym phony in C major (1898) are his greatest works. They are glowing, passionate, and full of rich orchestration. All his larger works are pro gramme music of the Berlioz-Liszt School. Though not prolific, he occupies, in the history of Russian music, one of the most distinguished places. Consult: Cui, La musique en. Russie (Paris, 1880) ; Pougin, Essai bistorique sur is MIISigile en MISSiC (Turin, 1897).