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Islamey, Op. 18 // BALAKIREV

Learn to play the songs you love: https://go.flowkey.com/czarx Islamey (subtitled Oriental Fantasy), Op. 18, is a composition for piano by Russian composer Mily Balakirev, written in September 1869. The many existing editions have numerous alternative passages (ossias) – most are easier, some are more difficult. This technical difficulty made it a favourite with virtuosos such as Nikolai Rubinstein (who premiered the piece), Franz Liszt, and in modern times, pianists such as Moura Lympany, Martha Argerich and Vladimir Horowitz. Balakirev, considered a virtuoso pianist in his time, once admitted that there were passages in the piece that he "couldn't manage." Also, Alexander Scriabin seriously damaged his right hand fanatically practicing the piece along with Liszt's Réminiscences de Don Juan, though the injury eventually healed. Islamey has had a lasting impact on piano solo music; Ravel once remarked to a friend that his goal in writing Gaspard de la nuit was to compose a piece that was "more difficult than Balakirev's Islamey." Alexander Borodin included quotations from the piece in his opera Prince Igor, while Nikolai Rimsky-Korsakov did the same in Scheherazade. The piece has been twice arranged for orchestra, by Alfredo Casella shortly before Balakirev's death, and by Sergei Lyapunov. Eugene Ormandy and the Philadelphia Orchestra recorded the orchestral version in stereo on February 26, 1961, for Columbia Records. Recent musicological work has shown that the melodies that Balakirev preserved in this work are still present in folk music in the former USSR. For instance, the first theme has been found to be a variety of the Lezginka from Kabardino-Balkaria, which differs notably from Balakirev's work in its time signature. The second theme has been demonstrated to have the origins as related to Balakirev, namely that of a Tatar love song. Balakirev himself indicated in the score that the coda should be played similarly to the Russian Tropak, again a traditional Russian tune.