It was a trip to the Caucasus Mountains that inspired Russian composer Mily Balakirev (1837-1910) to write Islamey: Oriental Fantasy, one of the most technically challenging works ever conceived for solo piano.
In a letter, Balakirev commented on the spirited folk music he heard there, as well as the natural beauty of the region, which lies at the intersection of Europe and Asia between the Black Sea and the Caspian Sea:
…the majestic beauty of luxuriant nature there and the beauty of the inhabitants that harmonises with it – all these things together made a deep impression on me… Since I interested myself in the vocal music there, I made the acquaintance of a Circassian prince, who frequently came to me and played folk tunes on his instrument, that was something like a violin. One of them, called Islamey, a dance-tune, pleased me extraordinarily and with a view to the work I had in mind on Tamara I began to arrange it for the piano. The second theme was communicated to me in Moscow by an Armenian actor, who came from the Crimea and is, as he assured me, well known among the Crimean Tatars.
Balakirev was a founding member of the “The Five,” a group of prominent 19th century Russian composers who were dedicated to promoting a distinctly national style of classical music. Ancient Slavic folk music provided the seed out of which this music grew. Composed over the course of one month in 1869, Islamey begins with a Lezginka from Kabardino-Balkaria, moves on to a Tatar love song, and concludes with a lively Russian trepak.
A virtuoso pianist, Balakirev admitted that there were parts of Islamey that he could not play. Alexander Scriabin reportedly damaged his hand attempting to conquer the work. This dazzling performance features Russian pianist Boris Berezovsky:
Recordings
- Balakirev: Islamey, Boris Berezovsky Amazon
Featured Image: Caucasus mountains in Svaneti, Georgia, photograph by Alexey Komarov