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The Belyayev circle ((ロシア語:Беляевский кружок)) was a society of Russian musicians who met in Saint Petersburg, Russia between 1885 and 1908, and whose members included Nikolai Rimsky-Korsakov, Alexander Glazunov, Vladimir Stasov, Anatoly Lyadov, Alexander Ossovsky, Witold Maliszewski, Nikolai Tcherepnin, Nikolay Sokolov, Alexander Winkler among others. The circle was named after Mitrofan Belyayev, a timber merchant and amateur musician who became a music philanthropist and publisher after hearing the music of the teenage Glazunov. The Belyayev circle believed in a national style of classical music, based on the achievements of the composer group The Five which preceded it. One important difference between composers in the Belyayev circle and their counterparts in the Five was an acceptance in the necessity of Western-styled academic training; this was an attitude passed down by Rimsky-Korsakov, who taught many of the composers in the circle at the Saint Petersburg Conservatory. While these composers were more open to Western compositional practices and influences, especially through the music of Pyotr Ilyich Tchaikovsky, they closely followed many of the compositional practices of the Five to the point of mannerism, especially in their depiction of folkloric subject matter. The Belyayev circle came to dominate musical life in St. Petersburg. Composers who desired patronage, publication or public performance of their works through Belyayev were compelled to write in a musical style accepted by Glazunov, Lyadov and Rimsky-Korsakov. There was also peer pressure to compose in this style, as well as a distrust of composers who did not do so. Several composers who believed in the philosophy of the Belyayev circle became professors and heads of music conservatories in Russia, which extended the influence of the group past the physical confines of St. Petersburg and timewise well into the 20th century. ==Belyayev== Belyayev was one of a growing number of Russian nouveau-riche industrialists who became patrons of the arts in mid- to late-19th century Russia; their number included Nadezhda von Meck, railway magnate Savva Mamontov and textile manufacturer Pavel Tretyakov.〔Figes, 195–197; Maes, 173–174, 196–197.〕 While Nadezhda von Meck insisted on anonymity in her patronage in the tradition of ''noblesse oblige'', Belyayev, Mamontov and Tretyakov "wanted to contribute conspicuously to public life".〔Taruskin, 49.〕 Because of their cultural and political orientation, they were more likely than the aristocracy to support native talent, and were more inclined to support nationalist artists over cosmopolitan ones.〔 This was not due to any social or political agenda implicit in the art, but due to the Russianness of the art itself.〔Taruskin, 42.〕 This included the music of the composers Belyayev chose to support.〔 An amateur viola player and chamber music enthusiast, Belyayev hosted "quartet Fridays" at his home in St. Petersburg. A frequent visitor to these gatherings was Rimsky-Korsakov.〔Maes, 172–173.〕 Belyayev became a music patron after he had heard the First Symphony by the sixteen-year-old Glazunov, who had been discovered by Balakirev and tutored by Rimsky-Korsakov in musical composition, counterpoint and orchestration. Not only did Glazunov become a fixture of the "quartet Fridays", but Belyayev also published Glazunov's work and took him on a tour of Western Europe. This tour included a visit to Weimar, Germany to present the young composer to famed Hungarian composer and pianist Franz Liszt.〔Maes, 192.〕 Soon Belyayev became interested in other Russian composers. In 1884 he set up an annual Glinka prize, named after pioneer Russian composer Mikhail Glinka (1804–1857). In 1885 he founded his own music publishing firm, based in Leipzig, Germany, through which he published works by Glazunov, Rimsky-Korsakov, Lyadov and Borodin at his own expense.〔 By publishing in Leipzig, Belyayev could offer the double benefit of higher quality music printing than was available in Russia at the time, plus the protection of international copyright which Russia did not offer.〔 At Rimsky-Korsakov's suggestion, Belyayev also founded his own concert series, the Russian Symphony Concerts, open exclusively to Russian composers. Among the works written especially for this series were the three by Rimsky-Korsakov by which he is currently best known in the West—''Scheherazade'', the ''Russian Easter Festival Overture'' and ''Capriccio espagnol''. To select which composers to assist with money, publication or performances from the many who now appealed for help, Belyayev set up an advisory council made up of Glazunov, Lyadov and Rimsky-Korsakov. They would look through the compositions and appeals submitted and suggest which composers were deserving of patronage and public attention.〔Maes, 173.〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Belyayev circle」の詳細全文を読む スポンサード リンク
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