Neighborhood, Mily Talen

Couplings of the two Balakirev symphonies are not uncommon. Naxos and Hyperion are examples although no doubt there are others. This set, which in terms of musical playing time is amongst the most generous in the BMG-Melodiya series, includes both symphonies and six other works, three tone poems and three overtures. Balakirev's dedication to folk music and the exotic orient is well known. It puts in an appearance to greater or lesser extents in all these works.

Balakirev worked on the second of his twosymphonies between 1900 and 1908 and it was first performed at a Free Schoolconcert in April 1909 under the direction of Liapunov. Work on his firstsymphony had been resumed thirty years after the first sketches, with no traceof a change of style. Similarly the second symphony, which makes use of theScherzo planned in the 1860s for the earlier work, is in a style that hadpassed. This, after all, was the age of Stravinsky's Firebird. It is,nevertheless, a compelling enough work, testimony to Balakirev's craftsmanshipand to the Russian source of his his inspiration.

Igor Golovschin directs his old band, and gives us a clear, no-fuss, classically informed performance; it doesn't miss out on some of the more gripping drama of this music, either, however. The symphony itself belongs firmly to the Russian romantic tradition, cast in four movements (with the scherzo placed second); it is relatively ambitious in scope but Balakirev actually manages to pull of a work that doesn't really have any dull moments. Stylistically it isn't too far away from the Borodin symphonies, is heavily influenced by folk music and is stronger on atmosphere (and orchestration) than on thematic development, but the ideas themselves are actually pretty interesting, and in particular the first movement is stirring.

Mily Balakirev learned his craft from local musicians. Conductor Karl Eisrich introduced Balakirev to the music of Chopin, Glinka, and Alexander Ulybyshev, a music loving landowner who maintained a vast library of musical scores. In 1855, Balakirev composed his Piano Fantasia on Themes from Glinka's a Life for the Tsar, and Ulybyshev took Balakirev to St. Petersburg to meet Glinka himself. Glinka appreciated Balakirev's talent, and offered advice and encouragement. Balakirev enjoyed a brilliant debut as a pianist in St. Petersburg, and in 1858 performed Beethoven's Piano Concerto No. 5 in the presence of the Tsar. In April 1858, Balakirev fell ill with "brain fever"; although he recovered, he would suffer from lifelong headaches, nervousness, and depression. With the deaths of both Glinka and Ulybyshev, Balakirev decided to carry on their ideas ………..

from Allmusic