Alexander Borodin, often described as a “Sunday composer” due to his demanding career as a scientist, left an indelible mark on the landscape of Russian classical music. While dedicating his weekdays to chemistry and medicine, Borodin’s passion for composition flourished in his spare time, earning him recognition among the esteemed “Mighty Handful,” a group of nationalistic Russian composers. Although initially inspired by Mendelssohn, Borodin’s musical voice evolved, embracing a distinctly nationalistic character while retaining a lyrical and melodic sensibility reminiscent of his early influences. Despite a relatively small output compared to his contemporaries, his compositions, including the Second Symphony, notable songs, the acclaimed Second String Quartet, and his magnum opus, the opera Prince Igor, stand as testaments to his genius. Among these, the Polovtsian Dances from Prince Igor have risen to international fame, captivating audiences with their vibrant energy and exotic allure.
Borodin dedicated nearly two decades to Prince Igor, crafting both the music and the libretto. Tragically, he passed away in 1887, leaving the opera unfinished. His colleagues, Nikolai Rimsky-Korsakov and Alexander Glazunov, undertook the task of completing the work, famously reconstructing the overture from sketches Borodin had sung to them – a feat of musical memory attributed to Glazunov. Prince Igor premiered in 1890 posthumously and quickly became celebrated as a cornerstone of Russian nationalist opera. Even though the opera’s narrative unfolds as a series of scenes rather than a tightly woven plot, its overall impact is powerfully cohesive and dramatically compelling.
The Polovtsian Dances emerge as a highlight within the second act of Prince Igor. The titular Prince finds himself captive of the Polovtsian Khan Konchak. Seeking to alleviate Igor’s despair, Khan Konchak orders his slaves to entertain the prince. Initially, the slaves’ songs are melancholic, evoking memories of their homelands. However, the mood gradually shifts, building in intensity and transitioning into fervent praises for Khan Konchak. This transformation unfolds over approximately eleven minutes, marked by an exhilarating surge of energy from the wind instruments and percussion, culminating in a dazzling, rhythmically charged dance sequence. Borodin’s orchestration is spectacularly brilliant, characterized by its crystalline clarity. He masterfully employs powerful brass sections and virtuosic woodwind solos to accentuate the already captivating and sinuous melodies, creating an atmosphere of exotic splendor.
It is worth noting that Borodin was not a trained ethnomusicologist. His sketches reveal a limited number of melodic ideas that he seemingly deemed suitable for both the Russian and Polovtsian sections of the opera. Despite a general reluctance within the Mighty Handful to incorporate overtly “ethnic” musical elements – César Cui, a close associate of Borodin, was particularly vocal on this matter – the Polovtsian scenes in Prince Igor subtly integrate rhythmic and melodic nuances suggestive of Central Asian musical traditions. Beyond these subtle ethnic inflections, Borodin’s genius lies in his masterful use of vibrant orchestral colors, elegant melodic contours, and driving rhythms. These musical elements combine to generate an overarching sense of jubilation and dynamism, rendering the Polovtsian Dances equally effective as a theatrical spectacle within the opera and as a standalone concert piece, securing its enduring popularity in the orchestral repertoire.
