Editing Nikolai Rimsky-Korsakov (section)

===Belyayev circle===
{{see also|Belyayev circle}}
[[File:Belyayev by Repin.jpg|thumb|upright|right|alt=A middle-aged man with medium-length dark hair and a beard, wearing a dark suit, with one hand in his trouser pocket and the other hand on his chin|Portrait by [[Ilya Repin]] of [[Mitrofan Belyayev|M. P. Belyayev]], founder of the Russian Symphony Concerts]]
Rimsky-Korsakov wrote that he became acquainted with budding music patron [[Mitrofan Belyayev]] (M. P. Belaieff) in Moscow in 1882.<ref>Rimsky-Korsakov, ''My Musical Life'', p. 261.</ref> Belyayev was one of a growing coterie of Russian nouveau-riche industrialists who became patrons of the arts in mid- to late-19th century Russia; their number included railway magnate [[Savva Mamontov]] and textile manufacturer [[Pavel Tretyakov]].<ref>Figes, pp. 195–97; Maes, 173–74, 196–97.</ref> Belyayev, Mamontov and Tretyakov "wanted to contribute conspicuously to public life".<ref name="taruskin49">Taruskin, p. 49.</ref> They had worked their way into wealth, and being Slavophiles in their national outlook believed in the greater glory of Russia.<ref name="taruskin42"/> Owing to this belief, they were more likely than the aristocracy to support native talent, and were more inclined to support nationalist artists over cosmopolitan ones.<ref name="taruskin42">Taruskin, ''Stravinsky'', p. 42.</ref> This preference paralleled a general upsurge in nationalism and Russophilia that became prevalent in mainstream Russian art and society.<ref>Taruskin, ''Stravinsky'', p. 44.</ref>

By 1883 Rimsky-Korsakov had become a regular visitor to the weekly "quartet Fridays" ("Les Vendredis") held at Belyayev's home in Saint Petersburg.<ref>Rimsky-Korsakov, ''My Musical Life'', p. 269.</ref> Belyayev, who had already taken a keen interest in the musical future of the teenage [[Alexander Glazunov]], rented a hall and hired an orchestra in 1884 to play Glazunov's First Symphony plus an orchestral suite Glazunov had just composed. This concert and a rehearsal the previous year gave Rimsky-Korsakov the idea of offering concerts featuring Russian compositions, a prospect to which Belyayev was amenable. The [[Russian Symphony Concerts]] were inaugurated during the 1886–87 season, with Rimsky-Korsakov sharing conducting duties with Anatoly Lyadov.<ref>Abraham, ''New Grove'' (1980), 16:29–30; Zetlin, p. 313.</ref> He finished his revision of Mussorgsky's ''[[Night on Bald Mountain]]'' and conducted it at the opening concert.<ref name="rimsky281">Rimsky-Korsakov, ''My Musical Life'', p. 281.</ref> The concerts also coaxed him out of his creative drought; he wrote ''[[Scheherazade (Rimsky-Korsakov)|Scheherazade]]'', ''[[Capriccio Espagnol]]'' and the ''[[Russian Easter Overture]]'' specifically for them.<ref name="maes171"/> He noted that these three works "show a considerable falling off in the use of contrapuntal devices&nbsp;... [replaced] by a strong and virtuoso development of every kind of figuration which sustains the technical interest of my compositions".<ref>Rimsky-Korsakov, ''My Musical Life'', p. 296.</ref>

Rimsky-Korsakov was asked for advice and guidance not just on the Russian Symphony Concerts, but on other projects through which Belyayev aided Russian composers. "By force of matters purely musical I turned out to be the head of the Belyayev circle", he wrote. "As the head Belyayev, too, considered me, consulting me about everything and referring everyone to me as chief".<ref>Rimsky-Korsakov, ''My Musical Life'', p. 288.</ref> In 1884 Belyayev set up an annual [[Glinka prize]], and in 1885 he founded his own music publishing firm, through which he published works by Borodin, Glazunov, Lyadov and Rimsky-Korsakov at his own expense. 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.<ref name="maes173">Maes, p. 173.</ref>

The group of composers who now congregated with Glazunov, Lyadov and Rimsky-Korsakov became known as the [[Belyayev circle]], named after their financial benefactor. These composers were nationalistic in their musical outlook, as The Five before them had been. Like The Five, they believed in a uniquely Russian style of classical music that utilized folk music and exotic melodic, harmonic and rhythmic elements, as exemplified by the music of Balakirev, Borodin and Rimsky-Korsakov. Unlike The Five, these composers also believed in the necessity of an academic, Western-based background in composition—which Rimsky-Korsakov had instilled in his years at the Saint Petersburg Conservatory.<ref>Maes, p. 192.</ref> Compared to the "revolutionary" composers in Balakirev's circle, Rimsky-Korsakov found those in the Belyayev circle to be "progressive&nbsp;... attaching as it did great importance to technical perfection, but&nbsp;... also broke new paths, though more securely, even if less speedily&nbsp;..."<ref>Rimsky-Korsakov, ''My Musical Life'', pp. 286–287.</ref>