MIGHTY 5: Balakirev(Op. 102 & Op. 18) & Cui (Op. 64)

Balakirev

These two composers are part of the group ‘The Mighty Five.’ The name is associated with Russian national melodies and rhythms. Balakirev is actually the mentor of Cui. He also managed to organized another group known as the Balakirev Circle with the purpose of promoting Russian national music instead o the classical German compositions.

Sonata No. 2 in Bb minor, Op. 102
What is so special about this sonata is that the second movement is a Mazurka which sounds poetic. The first movement is too uniquely designed as fugue is used in its sonata-allegro form. The mood of this piece in general is romantic. By looking at the score, it seems Balakirev often likes to use arpeggios in the left hand. The Finale is rhythmic and the ending somewhat resembles the ending of the first movement as both ends quietly.

Islamey , Oriental Fantasy, Op. 18
It is known that the members of the Mighty Five were also influenced by both Islamic and Asian musical styles. Balakirev therefore wrote an oriental fantasy for piano entitled Islamey. This piece is technically difficult as the use of double thirds, octave figurations, and scale passages are written everywhere. There are three sections in ABA form. The first section introduces the main theme. As one listens, he or she can recognize the tone in the second sections sound oriental or exotic. In the third section the main theme returns. What an electrifying piece of music!

Cui
Although Cui was born in Russia, he was not Russian by blood. His father was French, and his mother was Lithuanian. He studied composition with Balakirev.

Op. 64 Preludes
This piece reflects the sensibility of Chopin’s works as it is pianistic. The key scheme is the same as those in Chopin’s as both covered all the keys. However, in Cui’s set there is an additional prelude at the end as to make a distinction between his and Chopin’s preludes. As far as the order of the key scheme is concerened, Chopin moves upward around the circle of fifths with major keys and their relative minors. On the other hand, Cui starts with C major in his preludes and moves upward by thirds alternating between major and minor and eventually circles back to C major. The structure of most of these preludes is in ABA form. Some of them are waltzes such as in No. 3, 12, 14, and 23. There is also a canon in N0. 7. The meter in No. 15 is irregular as it changes from 7/8 to 3/4. It seems that these pieces are tonally constructed, and the intimate lyricism is what I was drawn to the most when listening.