In this context, multiple performers (two or more) simultaneously render a melody in distinct variations. Even when considering the music of “The Five,” this quality instills a whole new tonal structure to Russian music, unique from its Western counterparts. This creates a palpable source of elusiveness, a lack of logical progression, or so-called definition in the harmonies. This occurs when a tune naturally shifts between tonal centers, often starting a song with a distinct key and transporting to a different one eventually. They also succeeded at artfully preserving “Tonal mutability,” a distinctive aspect of Russian folk. Some characteristics of the group’s music are: Tonal mutability Balakirev’s own transcriptions paint a distinctive picture of Russian folk music. “The Five” also incorporated the sounds that were engraved with the Russian lifestyle. Their works included “tolling of church bells,” the music in Caucasian dances, Cossack, church chants, and village songs. Their movement was more pertained towards the more classical, “authentically Russian.” They crafted operas on distinct Russian subjects and put a concentrated effort towards incorporating the influence of native music in their songs. “The Five” mainly operated from the minor provinces, devoid of any court connections, unlike the “elite” conservatory composers. Borodin, Cui, Rimsky-Korsakov, and Mussorgsky gathered around Balakirev, their leader, and continued performing as “The Five”/“Mighty Handful.” Musical Overview However, the group chose to ignore the critics and continued in performing despite the monikers. The Russian composers who performed for the foreign delegation were Nikolai Rimsky-Korsakov, Mily Balakirev, Alexander Dargomyzhsky, and Mikhail Glinka. There was a controversy surrounding a Slavic Concert, where the name “Mighty Handful” (which the group initially used) garnered heavy criticism and mockery from the Russian Musical Society, the academics of the conservatory and their supporters in the press. This music revolution was mainly Balakirev’s brainchild, and he was the first to face opposition. They were amateurs and relied on self-training. Borodin was 28 years old and the eldest of the lot. In 1862, Rimsky-Korsakov was just 18, Mussorgsky was 23, Cui 27, and Balakirev 25. All members of “The Five” were young back then. In 18, Nikolai Rimsky-Korsakov and Alexander Borodin joined the group, respectively. In 1857, Modest Mussorgsky joined in the fray. In 1856, the formation wheels started rolling when César Cui and Balakirev held a meeting. Balakirev was the only “civilian” in the group all other members either had a strong military background or were military officers themselves. Borodin’s forefathers were Georgian, Rimsky-Korsakov and Mussorgsky had Polish-Lithuanian ancestry, and Cui was of French descent. Also, none of the five was of ethnic Russian descent (Velikoross). The Five, except Balakirev, all struggled in their quest to promote Russian music. Borodin (top left), Korsakov (top right), Mussorgsky (bottom right), Balakirev (bottom left), Cui (center) Origin

Russian music keys