coined unintentionally by the music and art critic
Vladimir Stasov.
The “Mighty Handful” (moguchaya kuchka), also
known as the New Russian School, Balakirev
Circle, or the Five, is a group of nationalist, nine-
teenth century composers. At the end of the 1850s
the brilliant amateur musician Mily Balakirev
(1837–1920) gathered a circle of like-minded
followers in St. Petersburg with the intention of
continuing the work of Mikhail Glinka. His closest
comrades became the engineer Cesar Cui (1835–1918;
member of the group beginning in 1856), the offi-
cers Modest Mussorgsky (1839–1881, member be-
ginning in 1857), and Nikolai Rimsky-Korsakov
(1844–1908, member beginning in 1861), and the
chemist Alexander Borodin (1833–1887, member
beginning in 1862). The spiritual mentor of the
young composers, who shared their lack of pro-
fessional musical training, was the music and art
critic Vladimir Stasov, who publicly and vehe-
mently promoted the cause of a Russian national
music separate from Western traditions, in a some-
what polarizing and polemic manner. When Stasov,
in an article for the Sankt-Peterburgskie vedomosti
(St. Petersburg News) about a “Slavic concert of
Mr. Balakirev” on the occasion of the Slavic Con-
gress in 1867, praised the “small, but already
mighty handful of Russians musicians,” he had
Glinka and Alexander Dargomyzhsky in mind as
well as the group, but the label stuck to Balakirev
and his followers. They can be considered a unit
not only because of their constant exchange of
ideas, but also because of their common aesthetic
convictions. Strictly speaking, this unity of com-
position lasted only until the beginning of the
1870s, when it began to dissolve with the grow-
ing individuation of its members.
The enthusiastic music amateurs sought to cre-
ate an independent national Russian music by tak-
ing up Russian themes, literature, and folklore and
integrating Middle-Asian and Caucasian influences,
thereby distancing it from West European musical
language and ending the supremacy of the latter in
the musical life of Russian cities. Balakirev, who had
known Glinka personally, was the most advanced
musically; his authority was undisputed among the
five musicians. He rejected classical training in mu-
sic as being only rigid routine and recommended his
own method to his followers instead: composing
should not be learned through academic courses,
but through the direct analysis of masterpieces (es-
pecially those created by Glinka, Hector Berlioz,
Robert Schumann, Franz Liszt, or Ludwig van
Beethoven, the composers most venerated by the
Five). The St. Petersburg conservatory, founded in
1862 by Anton Rubinstein as a new central music
training center with predominantly German staff
was heavily criticized, especially by Balakirev and
Stasov. Instead, a Free School of Music (Bezplatnaya
muzykalnaya shkola) was founded in the same year,
and differed from the conservatory in its low tu-
ition fees and its decidedly national Russian orien-
tation. Balakirev advised his own disciples of the
Mighty Handful to go about composing great
works of music without false fear.
In spite of comparatively low productivity and
long production periods, due in part to the lack of
professional qualifications and the consequent cre-
ative crises, in part to Balakirev’s willful and metic-
ulous criticisms, and in part to the members’
preoccupation with their regular occupations, the
composers of the Mighty Handful became after
Glinka and beside Peter Tchaikovsky the founders
of Russian national art music during the nineteenth
century. An exception was Cui, whose composi-
tions, oriented towards Western models and themes,
formed a sharp contrast to what he publicly pos-
tulated for Russian music. The other members of
the Balakirev circle successfully developed specific
Russian musical modes of expression. The music
dramas Boris Godunov (1868–1872) and Khovan-
shchina (1872–1881) by Mussorgsky and Prince
Igor (1869–1887) by Borodin, in spite of their un-
finished quality, are considered among the greatest
historical operas of Russian music, whereas Rim-
sky-Korsakov achieved renown by his masterly ac-
complishment of the Russian fairy-tale and magic
opera. The symphonies, symphonic poems, and
overtures of Borodin, Rimsky-Korsakov, and Bal-
akirev stand for the beginnings and first highlights
of a Russian orchestral school. Understandably,
many of the composers’ most important works
were created when the Mighty Handful as a com-
munity had already dissolved. The personal crises
of Balakirev and Mussorgsky contributed to the cir-
cle’s dissolution, as did the increasing emancipation
of the disciples from their master, which was
clearly exemplified by Rimsky-Korsakov. He ad-
vanced to the status of professional musician,
became professor at the St. Petersburg conserva-
tory (1871), and diverged from the others increas-
ingly over time in his creative approaches. In sum,
the Mighty Handful played a crucial role in the for-
mation of Russian musical culture at the crossroads
of West European influences and strivings for na-
tional independence. Through the intentional use of
MIGHTY HANDFUL
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ENCYCLOPEDIA OF RUSSIAN HISTORY