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Article publication date
2022-06-30
Article Page
35-43
Chapter
Arts & Humanities
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Abstract
The article is devoted to the work of M. A. Balakirev, an outstanding Russian composer, pianist, conductor, teacher, critic, and founder of the New Russian School. The focus of the study is not only the creative appearance but also the innovation of this unique creator. As well as a complex and insufficiently researched problem of “musical orientalism”. It is well known that Balakirev, in his works, on the one hand, acts as a continuator of this new and specific trend that has developed in the Russian music of the nineteenth century, in the works of A. Alyabyev, M. Viеlgorsky, V. Odoevsky; M. Glinka, A. Dargomyzhsky; A. Rubinstein, A. Serov; A. Borodin, N. Rimsky-Korsakov, S. Rachmaninoff, P. Tchaikovsky. On the other hand, as the creator of original works in which the properties inherent in folk music are organically implemented (song, dance) of the peoples of the Caucasus and the Volga region, as well as the term Balakirev East, entered and entrenched in musical science. Presenting Balakirev’s works related to oriental themes, related to different genres and spheres (symphonic, piano, chamber-vocal opuses), the main emphasis is placed on the piano masterpiece of M. Balakirev and Russian piano music – fantasy “Islamey”. Analyzing the oriental piece, we sought to show the fruitful process of mastering the music of the Caucasian and Tatar peoples, the interaction of musical cultures of the West and the East, as well as the method of working with this material, which has an enduring value for representatives of new national composing schools.
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Published:
2022-06-30
Received by editorial:
2024-02-14
Journal number
№ 2
Volume
10
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