Belyayev District
The Belyayev Circle ( Russian Беляевский кружок ) is the name given to the influential group of Russian composers who gathered around the patron and music publisher Mitrofan Petrovich Belyayev in Saint Petersburg at the end of the 19th century .
The society, active between 1885 and 1908, headed by Nikolai Rimsky-Korsakov and made up of personalities such as Alexander Borodin , Vladimir Vasilyevich Stasov and Alexander Glasunov , continued the tradition of the Group of Five after it had gradually disintegrated.
While the predecessors, also known as the mighty heap , corresponded to "the period of storm and clash in the development of Russian music," according to Rimsky-Korssakov, the Balyayev district stood for the phase of "peaceful advance." The national style the Russian tradition was still emphasized; but the circle no longer rejected the techniques and influences of Western European music so rigorously. In this new attitude he followed Rimsky-Korsakov, the influential composer and teacher at the conservatory .
Background and details
The namesake Belyayev, a music-loving amateur, held quartet evenings every Friday in his Petersburg apartment , where he usually played the viola . In the mid-1880s, the circle of visitors to the Belyayev Fridays expanded to include Rimsky-Korsakov, who from then on would determine the development of the group. They presented their works and discussed them. The contact with influential personalities of the Petersburg musical life led Belyayev to support the contemporary music art with the generous financial means that were available to him. So he gave up the management of the company that he had taken over from his father and devoted himself to promoting Russian music. To this end, he founded the Glinka Prize in 1884 , which was awarded to symphonic works and awarded until 1917.
While the circle highlighted the importance of Tchaikovsky's music , it was critical of Sergei Rachmaninov . In retrospect, Alexander Ossowski, then deputy chairman of the Glinka Prize Committee, found that the circle ignored the composer's creative individuality by viewing him as Tchaikovsky's epigone . In contrast to Scriabin , whose work Belyayev valued and published, he was not interested in the compositions of Rachmaninoff. After Belyayev's death, the board of trustees had become more objective towards him.
Individual evidence
- ↑ Music in the past and present , Beljajew, Mitrofan Petrowitsch , Volume 15, Bärenreiter-Verlag 1986, p. 615
- ↑ Quoted from: Music in the past and present: Russia , vol. 11, Bärenreiter-Verlag 1986, p. 1164
- ^ The music in the past and present, Beljajew, Mitrofan Petrowitsch , Bärenreiter-Verlag 1986, p. 614
- ↑ Ewald Reder, Sergej Rachmaninow. Life and Work (1873-1943) , 3rd edition, Triga, Gründau-Rothenbergen, 2007, p. 191