Alexander Borodin, often described as a “Sunday composer” due to his primary career as a scientist, left an indelible mark on Russian music. Among his most celebrated works are the Polovtsian Dances from his opera Prince Igor. This vibrant and rhythmically intoxicating piece stands out, not only within Borodin’s oeuvre but also in the broader landscape of 19th-century classical music, embodying a unique blend of Russian nationalism and exotic flair.
Borodin’s dedication to science meant his compositional output was relatively small. However, his contributions, including the Second Symphony, notable songs, the String Quartet No. 2, and most significantly, his opera Prince Igor, are highly esteemed. He personally crafted both the music and the libretto for Prince Igor, a project that occupied him for nearly two decades. Tragically, Borodin passed away in 1887 before completing the opera. His colleagues, Nikolai Rimsky-Korsakov and Alexander Glazunov, respectfully undertook the task of finishing the work, even reconstructing the overture from melodies Borodin had hummed to them – a remarkable feat of musical memory, particularly attributed to Glazunov. Prince Igor premiered in 1890 and quickly became recognized as a cornerstone of Russian nationalistic opera, its episodic narrative unified by Borodin’s compelling musical vision.
Within Prince Igor, the Polovtsian Dances occur at the end of Act II. Prince Igor, captured by Khan Konchak of the Polovtsians, finds himself in captivity. To uplift the spirits of his esteemed prisoner, Khan Konchak orders his slaves to entertain Igor. What begins as melancholic songs of longing for their homeland gradually evolves into a powerful and ecstatic celebration of Khan Konchak’s rule. This musical transformation unfolds over approximately eleven minutes, building in intensity with the increasing involvement of energetic wind instruments and driving percussion, culminating in a dazzling, rhythm-focused dance. Borodin’s orchestration is a highlight, characterized by its brilliance and clarity. He masterfully employs robust brass sections and virtuosic woodwind solos to accentuate the exotic and gracefully flowing melodies.
While Borodin was not an ethnomusicologist, and his approach to ethnic music was somewhat generalized – applying similar melodic ideas to both Russian and Polovtsian contexts within the opera – the Polovtsian Dances nonetheless evoke a distinct sense of the exotic. Despite the “Mighty Handful,” the group of nationalistic composers Borodin belonged to, generally showing restraint in explicitly incorporating ethnic musical elements (César Cui being a particularly vocal advocate against it), these dances subtly integrate rhythmic and melodic nuances that hint at Central Asian musical traditions. Ultimately, it is Borodin’s masterful use of vibrant tone colors, elegant melodic phrasing, and propulsive rhythms that create an atmosphere of jubilant celebration and fervent energy. This inherent dynamism makes the Polovtsian Dances incredibly effective both within the operatic context of Prince Igor and as a standalone concert piece, captivating audiences with its raw energy and unforgettable melodies.
