Petersburg. A second performance followed in March 1866 under the direction of Konstantin Lyadov (father of composer Anatoly Lyadov). Correspondence between Rimsky-Korsakov and Balakirev clearly shows that some ideas for the symphony originated with Balakirev, who seldom stopped at merely correcting a piece of music, and would often recompose it at the piano. Rimsky-Korsakov recalled, A pupil like myself had to submit to Balakirev a proposed composition in its embryo, say, even the first four or eight bars. Balakirev would immediately make corrections, indicating how to recast such an embryo; he would criticize it, would praise and extol the first two bars, but would censure the next two, ridicule them, and try hard to make the author disgusted with them. Vivacity of composition and fertility were not at all in favor, frequent recasting was demanded, and the composition was extended over a long period of time under the cold control of self-criticism. Rimsky-Korsakov recalled that "Balakirev had no difficulty in getting along with me. At his suggestion I most readily rewrote the symphonic movements composed by me and brought them to completion with the help of his advice and improvisations". Though Rimsky-Korsakov later found Balakirev's influence stifling, and broke free from it, this did not stop him in his memoirs from extolling the older composer's talents as a critic and improviser. Under Balakirev's mentoring, Rimsky-Korsakov turned to other compositions. He began a symphony in B minor, but felt it too closely followed Beethoven's Ninth Symphony and abandoned it. He completed an Overture on Three Russian Themes, based on Balakirev's folksong overtures, as well as a Fantasia on Serbian Themes that was performed at a concert given for the delegates of the Slavonic Congress in 1867. In his review of this concert, nationalist critic Vladimir Stasov coined the phrase Moguchaya kuchka for the Balakirev circle (Moguchaya kuchka is usually translated as "The Mighty Handful" or "The Five"). Rimsky-Korsakov also composed the initial versions of Sadko and Antar, which cemented his reputation as a writer of orchestral works. Rimsky-Korsakov socialized and discussed music with the other members of The Five; they critiqued one another's works in progress and collaborated on new pieces. He became friends with Alexander Borodin, whose music "astonished" him. He spent an increasing amount of time with Mussorgsky. Balakirev and Mussorgsky played piano four-hand music, Mussorgsky would sing, and they frequently discussed other composers' works, with preferred tastes running