Glinka/Balakirev - The Lark
Glinka/Balakirev – The Lark
M. Glinka / M. Balakirev – The Lark
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Balakirev: Complete Piano Works
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Composer: Mily Balakirev
Artist: Alexander Paley (piano)
Mily Balakirev (1837-1910) was the founder of the group of Russian composers called ‘The Mighty Handful’. Together with Borodin, Rimsky Korsakov, Cui and Mussorgsky he helped create a distinctive Russian school of music that was not reliant on the influence of the Austro German school.
Studying at the St Petersburg Conservatoire, he won the praise of Glinka, and had an influence on the young Tchaikovsky. He wrote two symphonies, two piano concertos, several symphonic poems and many piano works.
On these 6CDs his entire output for piano can be found. A superb pianist, he produced one of the most taxing works ever written for the instrument, his Oriental Fantasy Islamey. His piano sonata is no less impressive, and the Seven Mazurkas are wonderfully melodic works. There is much to discover on these discs.
Sadly, Balakirev suffered a complete nervous breakdown in 1871, and he withdrew from life, eventually emerging to take up a minor management role on the railways. In 1876 he began to compose again, and in 1883 was appointed as director of the Imperial Chapel. He retired in 1895, and continued composing, but by now considered old fashioned and was forgotten even by his old friends. However, one young composer, Igor Stravinsky had a soft spot for him, and pitied him as he suffered from bouts of depression.
00:00:00 Islamey, Oriental Fantasy
00:08:53 Fantasia, On Themes from Glinka’s A Life For The Tsar
00:26:51 Nocturne No. 1 in B-Flat Minor
00:33:39 Nocturne No. 2 in B Minor
00:43:33 Nocturne No. 3 in D Minor
01:01:02 Piano Sonata in B-Flat Minor, Op. 5: Andante
01:13:10 Piano Sonata in B-Flat Minor, Op. 5: Mazurka
01:17:45 Piano Sonata in B-Flat Minor, Op. 5: Andante
01:25:30 Sonatina (Esquisses): Allegro moderato
01:27:38 Sonatina (Esquisses): L’Istesso tempo
01:29:40 Sonatina (Esquisses): Coda-poco a poco piu agitato
01:31:06 Piano Sonata in B-Flat Minor: Andantino
01:39:52 Piano Sonata in B-Flat Minor: Mazurka-moderato
01:46:40 Piano Sonata in B-Flat Minor: Intermezzo-larghetto
01:51:17 Piano Sonata in B-Flat Minor: Finale-allegro non troppo ma con fuoco
02:00:44 Transcription: Glinka: Kamarinskaya
02:10:14 Transcription: Glinka: Ne govori
02:15:47 Transcription: Chopin: Romance from Piano Concerto No. 1 in E Minor, Op. 11
02:26:41 Transcription: Beethoven: Cavatina from String Quartet No. 13 in B-flat Major, Op. 130
02:32:00 Transcription: Beethoven: Allegretto from String Quartet No.8 in E Minor,Op.59 No.2
02:41:33 Transcription: Zapolsky: Réverie
02:47:53 Transcription: Balakirev: Pustinya
02:50:53 Transcription: Berlioz: Introduction to La Fuite en Egypte
02:57:42 Transcription: Balakirev: Impromptu on the themes of Two Preludes by Chopin
03:03:12 Transcription: Glinka: Jota Aragonesca
03:13:51 Valse di bravura (No. 1) in G Major
03:22:10 Valse mélancholique (No. 2) in F Minor
03:27:22 Valse-Impromptu (No. 3) in D Major
03:32:29 Waltz No. 4 in B-Flat Major (Valse de Concert)
03:39:32 Waltz No. 5 in D-flat Major Waltz No. 6 in F-Sharp Minor
03:46:50 Waltz No. 7 in G-Sharp Minor
04:03:46 Valse-Caprice No. 1 in A-Flat Major (after A.S. Taneyev)
04:09:31 Valse-Caprice No. 2 in D-Flat Major (after A.S. Taneyev)
04:15:36 Mazurka No. 1 in A-Flat Major (2nd version)
04:22:06 Mazurka No. 2 in C-Sharp Minor (2nd version)
04:26:32 Mazurka No. 3 in B Minor
04:29:32 Mazurka No. 4 in G-Flat Major
04:35:02 Mazurka No. 5 in D Major
04:47:35 Mazurka No. 6 in A-Flat Major
04:53:43 Mazurka No. 7 in E-Flat Minor
05:01:55 Scherzo No. 1 in B Minor
05:09:47 Scherzo No. 2 in B-Flat Minor
05:17:48 Scherzo No. 3 in F-Sharp Major
05:23:58 Miscellaneous: Dumka
05:28:30 Miscellaneous: Au jardin
05:32:54 Miscellaneous: Gondollied
05:40:37 Miscellaneous: Berceuse
05:46:55 Miscellaneous: The Lark
05:52:34 Miscellaneous: Spanish Melody
05:56:44 Miscellaneous: Spanish Serenade
06:02:44 Miscellaneous: La fileuse
06:05:53 Miscellaneous: Tyrolienne
06:11:30 Miscellaneous: Chant du pêcheur
06:15:31 Miscellaneous: Humoresque
06:20:00 Miscellaneous: Réverie
06:31:18 Miscellaneous: Toccata
Mikhail Pletnev plays Glinka-Balakirev The Lark - video 1983
Mikhail Pletnev at his most elegant playing The Lark by Glinka, transcribed by Balakirev, live as an encore in Moscow, 1983. I've now uploaded this entire recital, as well as another recording of Pletnev playing The Lark from 1982.
Михаил Плетнёв - Михаил Глинка - Милий Балакирев - Жаворонок
M. Glinka / M. Balakirev, Lark
Provided to YouTube by The Orchard Enterprises
M. Glinka / M. Balakirev, Lark · M. Glinka · M. Balakirev · Yelena Eckemoff
Piano Series, V. 2
℗ 2006 Yelena N. Eckemoff
Released on: 2006-09-27
Auto-generated by YouTube.
Tara Kamangar: Glinka/Balakirev The Lark
From East of Melancholy (Delos Release, 2014)
Perf. by Tara Kamangar / Dir. by Matthias Heuermann
Known as the Father of Russian Classical Music, composer Mikhail Glinka was raised in Russia with a cosmopolitan upbringing, studying a variety of subjects and languages, including English, German, and Persian. While studying music abroad in Europe as a young man, Glinka saw the opportunity to combine the Russian songs he heard at home with Germanized harmonization. Glinka studied composition in Berlin for five months before returning to Russia at the news of his father's death.
Glinka went on to write two operas based on stories of Russian history which elegantly incorporated elements of Russian folk music. The operas were panned by audiences, whereupon Glinka decided to return to Europe, saying “I don’t want to have anything to do with Russian music- any more than with Russian winters....May I never see the damned country again.” Within less than a year, in 1857, he died in Berlin.
**The Lark was originally written for voice and piano by Glinka, and later arranged for piano by his protégé Mily Balakirev. The translated lyrics to the original song are as follows:
Between heaven and earth
The song spreads
Stronger and stronger.
The wind carries the song
To whom it does not know
But knowing that she for whom it is meant
Will recognize from whom it comes.
One cannot see this singer of the fields
Who sings so loudly
Seeking his mate,
The lark with his ringing song.
Go my song
Song of sweet hope
To one who will remember me
With a secret sigh.
(Poem by Nestor Kukolnik, English translation by Molly Liem)
Glinka/ Balakirev- The Lark
The Lark- Glinka/ Balakirev performed by Milen Manoj live in concert at NCPA as second encore.
Mily Balakirev - Dumka
Mily Alexeyevich Balakirev (2 January 1837 [O.S. 21 December 1836] – 29 May [O.S. 16 May] 1910) was a Russian pianist, conductor and composer known today primarily for his work promoting musical nationalism and his encouragement of more famous Russian composers, notably Pyotr Ilyich Tchaikovsky. He began his career as a pivotal figure, extending the fusion of traditional folk music and experimental classical music practices begun by composer Mikhail Glinka. In the process, Balakirev developed musical patterns that could express overt nationalistic feeling. After a nervous breakdown and consequential sabbatical, he returned to classical music but did not wield the same level of influence as before.
In conjunction with critic and fellow nationalist Vladimir Stasov, in the late-1850s and early 1860s Balakirev brought together the composers now known as The Five—the others were Alexander Borodin, César Cui, Modest Mussorgsky and Nikolai Rimsky-Korsakov. For several years, Balakirev was the only professional musician of the group; the others were amateurs limited in musical education. He imparted to them his musical beliefs, which continued to underlie their thinking long after he left the group in 1871, and encouraged their compositional efforts. While his methods could be dictatorial, the results of his influence were several works which established these composers' reputations individually and as a group. He performed a similar function for Tchaikovsky at two points in the latter's career—in 1868–9 with the fantasy-overture Romeo and Juliet and in 1882–5 with the Manfred Symphony.
As a composer, Balakirev finished major works many years after he had started them; he began his First Symphony in 1864 but completed it in 1897. The exception to this was his oriental fantasy Islamey for solo piano, which he composed quickly and remains popular among virtuosos. Often, the musical ideas normally associated with Rimsky-Korsakov or Borodin originated in Balakirev's compositions, which Balakirev played at informal gatherings of The Five. However, his slow pace in completing works for the public deprived him of credit for his inventiveness, and pieces that would have enjoyed success had they been completed in the 1860s and '70s made a much smaller impact.
Balakirev became important in the history of Russian music through both his works and his leadership. More so than Glinka, he helped set the course for Russian orchestral music and Russian lyrical song during the second half of the 19th century. While he learned from Glinka certain methods of treating Russian folk song instrumentally, a bright, transparent orchestral technique (something he also learned from the works of Hector Berlioz) and many elements of his basic style, he developed and expanded upon what he had learned, fusing it satisfactorily with then-advanced Romantic compositional techniques.
Unfortunately, the protracted composition of several works robbed Balakirev of the credit for their inventiveness. Pieces which could have won success had they been completed in the 1860s and 70s made a much smaller impact when they were introduced much later in the composer's life. This was because they had been overtaken stylistically by the accomplishments of younger composers, and because some of their compositional devices were appropriated by other members of The Five—the most notable example of the latter is Rimsky-Korsakov's Scheherazade, which was influenced by Balakirev's symphonic poem Tamara. Another consequence was a tendency to overwork details, which robbed these pieces of freshness of inspiration and made then seem overdone.
Despite the protracted composition period, there was no discernible difference, especially in the two symphonies, between the sections completed in the 1860s and those written much later. Zetlin asserts that while there was no diminution of Balakirev's creative talent, the reason for this lack of disparity was because Balakirev had ceased to evolve as an artist; he remained creatively at the point he had reached in the 1860s, and his newest works seemed thus merely an echo of the past.
Please take note that the audio AND the sheet music ARE NOT mine. Change the quality to a minimum of 480p if the video is blurry.
Original sheet music: imslp.org
Trinity ATCL Piano Repertoire No.16 Balakirev / Glinka The Lark
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Evgeny Kissin plays Glinka/Balakirev-The lark
Evgeny Kissin plays Glinka/Balakirev-The lark
Glinka - Balakirev LALOUETTE
Jasna Corrado Merlak, harp | arpa
L'Alouette - M. Glinka, M. Balakirev
L'Allodola - Mikhail Glinka, Mili Balakirev
February 18, 2013
Trieste, Palazzo del Governo
Piazza Unità d'Italia
Associazione Chamber Music Trieste
I Concerti il 18 alle ore 18
video: Guido Roberti - Massimo Petronio
Mikhail Glinka - The Lark - Evgeny Kissin
Beautiful recording of Glinka's The Lark By Evgeny Kissin
MILY BALAKIREV - ALL WALTZES FOR PIANO SOLO
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 of a style reflective of the Russian national spirit. Balakirev wrote incidental music to Shakespeare's play King Lear in 1859-1861, and its resulting popularity enhanced his reputation. In 1861, Balakirev established the Free School of Music with Gabriel Lomakin, with the support of Tsar Nicolas. At the Free School's concerts, Balakirev programmed his own music and that of his students -- Cui, Rimsky-Korsakov, Mussorgsky, and Borodin. This last-named group, along with Balakirev himself, were dubbed the Mighty Handful in the Russian press, and recognized as the standard bearers of a new form of Russian musical art.
When Lomakin resigned from the Free School in November 1867, Balakirev assumed its directorship. Along with his prestige came an increased lack of sensitivity and overbearing personality traits; by the late 1860s, Mussorgsky and Rimsky-Korsakov were exchanging letters complaining about Balakirev's interference. Likewise, St. Petersburg audiences were protesting the lack of light, familiar fare on the Free School concert programs. Balakirev stepped down from the directorship of the Free School in April 1869, but bounced back with his most famous work, the brilliant piano fantasy Islamey, premiered by Nicholas Rubinstein in December. Rubinstein played the work at concerts in Paris and elsewhere, and it achieved great popularity in the West. In addition, Balakirev met and encouraged Tchaikovsky, who composed his Romeo and Juliet Fantasy Overture under the older composer's watchful eye. The Free School's concert season of 1871-1872 was a disaster; as a result, Balakirev lapsed into a depression lasting five years, and Rimsky-Korsakov overtook the direction of the institution. Friends helped revive Balakirev's spirits, and he returned as an instructor in 1877, but began to match temperaments with Rimsky-Korsakov, who resigned in 1880. Balakirev returned to the post of director, and in 1883 premiered his finest work, the symphonic poem Tamara. Well received in Russia, Tamara was a true revelation for musicians in France, who were amazed by the textures of Russian orchestral color.
In 1883, Balakirev accepted the position of Music Director of Imperial Chapel, naming Rimsky-Korsakov as his assistant. Three years later, Balakirev quarreled with his publisher, Jurgenson, and was dropped from their roster. In 1890, Rimsky-Korsakov held a gala in honor of his own 25th anniversary as a composer; Balakirev refused to attend, occasioning the final break in their relations. Having retired from the Imperial Chapel in 1894, Balakirev made his final public appearance conducting his First Symphony at the Free School in 1898. On the strength of this symphony Balakirev acquired a new publisher, and resumed composition, including the Glinka Cantata (1904) and a Second Symphony (1909). Unfortunately, these later works were received with complete indifference. As he had offended practically everyone in his social circle, few friends were left to comfort Balakirev in his last years. He died at the age of 73.
Please take note that the audio AND sheet music ARE NOT mine. Change the quality to a minimum of 480p if the video is blurry.
(Performance by: Alexander Paley)
Original sheet music:
Glinka-Balakirev The Lark
Olga Andryuschenko plays Glinka-Balakirev The Lark. From CD Popular Piano Music. 1996. First Olga Andryuschenko CD recorded before study in Moscow conservatory. CD includes: Liszt Hungarian Rhapsodies Nr 2 and Nr 6, Feux-Follet, Widmund Schumann-Liszt, Rigoletto Verdi-Liszt, La Campanella Paganini-Liszt; Tchaikovsky Pletnev Nutcracker; Glinka Nocturne Parting, Glinka-Balakirev The Lark, and Glinka-Alyabiev Nightingale.
Ольга Андрющенко играет «Жаворонок» Глинки-Балакирева. Из первого CD Ольги Андрющенко «Популярная фортепианная музыка», записанного в 1996 году, после окончания ЦМШ, перед поступлением в Московскую консерваторию. Диск включает произведения Ф.Листа: 2-ю и 6-ю венгерские рапсодии, этюды «Блуждающие огни» и «Кампанелла», оперную фантазию «Риголетто», «Посвящение» Шумана-Листа; «Щелкунчик» Чайковского-Плетнева, а также произведения Глинки: ноктюрн «Разлука», «Жаворонок» Глинки-Балакирева и «Соловей» Глинки-Алябьева.
GoPro Pianist: The Lark Glinka - Paul Israel
My third GoPro pianist video, showing what the view of a concert pianist looks like.
The Lark (often called The Skylark) was originally composed by Russian composer Mikhail Glinka, as part of a set of small works entitled A Farewell to Saint Petersberg. This piece, the 10th work of the set, was then arranged for solo piano here by pianist and composer Mily Balakirev.
Shot at home on a Yamaha U3 piano, sound recorded with a Zoom H6 handy recorder.
The Lark // GLINKA/BALAKIREV
As performed by Anna Denisova from the 2008 International Piano-e-Competition
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Glinka/Balakirev - LAlouette
Ying Han Anastasia Chin (age 18, Mus 2) plays Balakirev's beautiful transcription of Glinka's romance Zhavoronok. The title literally translates as The Lark.
Yong Siew Toh Conservatory of Music, Singapore
Между небом и землёй песня раздаётся,
Неисходною струёй громче громче лётся.
Не видать певца полей где поёт так громко
Над подруженькой своей жаворонок звонкий.
Ветер песенку несёт, а кому, не знает.
Та комы, она поймёт, от ково, узнает!
Лейця, песенка моя песнь надежды сладкой
Кто-то вспомнит про меня и вздохнёт украдкой.
Between the sky and the earth a song is heard
An unending stream of sound pours louder, louder.
Unseen is the singer in the field where sings so loudly
Above his mate the sonorous skylark.
The wind carries the song, to whom, it does not know.
She to whom it is sung, she will understand who it is from.
Pour on, my song of sweet hope
Someone remembers me and sighs furtively.
Glinka - Balakirev - Auer: The Lark
Alexandra Mashina, violin
Éva Szalai, piano
Chenyin Li plays Glinka arr. Balakirev The Lark
Watch Pianist's house pianist Chenyin Li perform this stunning advanced-level piece which appears inside the Scores section of the December/January issue of Pianist (111), out on 29 November 2019.
Hugo Kitano plays The Lark by Glinka-Balakirev
Hugo Kitano, just turned 13 at the time, performs at the winners concert.
The 9th Annual International Russian Music Piano Competition was held in San Jose, CA in June 2008
Anna Shelest plays Glinka-Balakirev The Lark
Anna Shelest performs Glinka-Balakirev The Lark as an encore
For more music, visit Anna Shelest's website at
Mikhail Pletnev plays Glinka-Balakirev The Lark - live 1982
Mikhail Pletnev playing Glinka-Balakirev The Lark, live in 1982. This is a livelier, more virtuosic performance than the video I uploaded of Pletnev playing it in Moscow in 1983.
Михаил Плетнёв - Михаил Глинка - Милий Балакирев - Жаворонок
Balakirev - Fantasy on A Life for the Tsar - Earl Wild, piano
Mily Balakirev (1837-1910)
Fantasy on Glinka's' A Life for the Tsar'
Earl Wild (b. 1915), piano
Recorded June 1969
Glinka/Balakirev - The Lark - 11y.o. Yulianna Avdeeva
The Lark, Glinka/Balakirev
The Lark, paraphrase on Glinka's melody, by Balakirev. Edition for harp by A. Malette-Chénier.
Semi-Finals of the 2013 Prix d'Europe Competition, in Montréal, Canada. Chapelle historique du Bon-Pasteur.
Lark By Glinka/Balakirev
Glinka/Balakirev - Kamarinskaya - Nicholas Walker
Balakirev's transcription of Mikhail Glinka's overture Kamarinskaya played by Nicholas Walker at St John's Smith Square, London, 22nd November 2010, in the third of a series of concerts honouring the centenary of the death of Mili Balakirev (1837 - 1910).
Glinka/Balakirev - The Lark
Amy plays Glinka's 'The Lark' , age 14, on the 14th of September, 2018
Claire Lee,student of Dr. Victor Sevtsov, playing The Lark, Glinka / Balakirev
International Russian Music Competition 2009. 2nd place winner in junior category Claire Lee, student of Dr. Victor Shevtsov, Vitta Piano Young Stars Academy (young stars program)
Jeneba Kanneh-Mason plays The Lark by Glinka-Balakirev
Jeneba Kanneh-Mason - 10 years old - plays The Lark by Glinka-Balakirev
Glinka-Balakirev. The Lark
Chendi (14 y.o.)
Student of Irina Gorin
Fall Class Recital 2016
The Lark - Glinka/Balakirev
The Lark - Glinka/Balakirev
The Lark was originally No. 10 of a group of twelve songs that Glinka wrote in 1840, entitled Farewell to St. Petersburg. Balakirev, born in 1836, got to know Glinka in 1855 and admired him deeply. Glinka inspired Balakirev to start composing and has paraphrased several of Glinka's works, The Lark being the most famous of them.
Filmed by Four Ten Media
The Lark, Glinka-Balakirev
Nicola Braam, 12, playing Glinka's The Lark (transcription by Balakirev) to clinch the first prize at the Steinway finals at Amsterdam's Concertgebouw yesterday. She also played Bucolics (Lutoslawski) and General Lavine Eccentric (Debussy). Nicola is a student of Kamilla Bystrova.
Lark Glinka Balakirev
Synthesia - The Lark Glinka/Balakirev
Composed by Mikhail Glinka.
Transcribed for Piano by Mily Balakirev
Midi file made by me using Sibelius 8.
The Lark ; Glinka/Balakirev
The Lark ; Glinka/Balakirev
Piano : Phatteeraporn Piewsaweak
Record at : Patchara Music Academy Sriracha School
Glinka/Balakirev - The Lark
Balakirev's Transcription of Glinka's Song 'The Lark' ('Zhavoronok')
Performed by pianist Andrew Yiangou in the Royal College of Music Amaryllis Fleming Concert Hall 8th March 2015 as part of the keyboard festival 'Messiaen's Muses'.
Glinka/Balakirev - The Lark Sherry Kim
This is a piece that I have been working on for the past month. Such a pretty piece! I was recording a video with a friend (which will be coming out in a few days!) and realized I had about an extra half an hour left over to use Lutkin Hall. I decided to run through The Lark, and to my surprise, I got this recording down in one shot. o__o;
You can find the sheet music on
best site ever for classical sheet music.
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Balakirev - Piano Concerto no.1
Mily Alexeyevich Balakirev (1837-1910)
Piano Concerto no.1 in f-sharp minor, op.1
Anastasia Seifetdinova, piano
Russian Philharmonic Orchestra, Dmitry Yablonsky
A few words about the composer and piece:
Balakirev was a Russian pianist, conductor and composer. His work promoted musical nationalism, and he tried to extend the fusion of traditional folk music and experimental classical music practices begun by composer Mikhail Glinka.
In the late 1850s and early 1860s Balakirev brought together the composers now known as The Five, Alexander Borodin, César Cui, Modest Mussorgsky and Nikolai Rimsky-Korsakov. For several years, Balakirev was the only professional musician of the group; the others were amateurs limited in musical education. He imparted to them his musical beliefs, which continued to underlie their thinking long after he left the group in 1871, and encouraged their compositional efforts.
Balakirev entered the University of Kazan in 1853, as a mathematics student. He was soon noted in local society as a pianist and was able to supplement his limited finances by taking pupils. Works from this period include this opening movement (the only one completed) of his first piano concerto in f-sharp minor. Balakirev made his debut in a university concert in February 1856, playing this movement.
Nikita Magaloff plays Glinka-Balakirev Lalouette
The Lark - Glinka/Balakirev by Davide Scarabottolo
Esecuzione del 28/04/2012 al V concorso nazionale di Piove di Sacco.
Primo premio assoluto categoria B.
Davide Scarabottolo 10 anni.
Davide Scarabottolo website:
Glinka/Balakirev - The Lark _ Ziemowit Świtalski
12 XI 2016
Glinka=Balakirev : The Lark
Faith by Glinka - Balakirev
Faith, 9, played L'Alouette (The Lark) by Glinka / Balakirev. Faith won 1st place at NJTYMA's Russian Competition and will perform the repertoire at Carnegie Hall in Dec 2015.
M. Glinka/ M. Balakirev: The Lark
2018 Honens, Calgary
Mikhail Pletnev plays Tchaikovsky Seasons, Scriabin, Prokofiev, Glinka-Balakirev - video 1983
Mikhail Pletnev playing Tchaikovsky's The Seasons, Scriabin's Etude op. 8 no. 12, Prokofiev's March from Love for Three Oranges, and the Glinka-Balakirev Lark, live in Moscow in 1983. I have already uploaded the Scriabin Etude and Glinka-Balakirev Lark separately. Timing and pieces below:
Tchaikovsky The Seasons, op. 37a
00:31 - January
07:06 - February
09:51 - March
13:17 - April
15:56 - May
20:42 - June
25:53 - July
27:38 - August
31:00 - September
33:55 - October
40:15 - November
43:11 - December
49:29 - Scriabin Etude op. 8 no. 12
53:00 - Prokofiev The Love for Three Oranges - March
56:10 - Glinka-Balakirev The Lark
Михаил Плетнёв - Пётр Ильич Чайковский - Александр Скрябин - Сергей Прокофьев - Глинка-Балакирев - Времена года - Жаворонок - Любовь к трём апельсинам - Этюд
Glinka/Balakirev - The Lark, Anton Lyakhovsky
Anton's wonderfully sensitive, virtuosic performance of The Lark highlights Carbiano's groundbreaking acoustic performance.
Carbiano is the world's first all-carbon-fibre instrument.
Developed by Richard Dain.
Glinka/Balakirev - Жаворонок: The Lark
Mikhail Glinka's 'The Lark' from A Farewell to Saint Petersburg (1840).
Transcription by Mily Balakirev.
Played by Evgeny Kissin.
Philip Hahn Glinka Balakirev The Lark
Südtiroler Festspiele Mahlerhall Toblach 2018
Photo Philipp Potz/Kawai