Alexander Borodin, famously known as a “Sunday composer” due to his primary career as a scientist, left an indelible mark on Russian art music. Despite his scientific day job, Borodin’s passion for music shone brightly, earning him a respected place among the “Mighty Handful,” a group of nationalistic Russian composers. While his early musical inclinations leaned towards Mendelssohn, he quickly developed a distinct nationalistic voice, though the lyrical and melodic influences of Mendelssohn remained subtly woven into his later, folk-inspired compositions. Among his most celebrated works, the “Prince Igor Polovtsian Dances” stand out as a vibrant and captivating example of his genius.
Borodin’s dedication to chemistry and medicine throughout his life resulted in a relatively modest musical output compared to his contemporaries. However, this output is rich in quality, featuring his notable Second Symphony, a collection of evocative songs, his acclaimed Second String Quartet, and the grand opera Prince Igor. For Prince Igor, Borodin undertook the ambitious task of writing both the music and the libretto. He dedicated nearly two decades to this opera, yet it remained unfinished upon his death in 1887. His composer colleagues, Nikolai Rimsky-Korsakov and Alexander Glazunov, undertook the task of completing the work, famously reconstructing the overture from sketches Borodin had hummed to them – a feat of musical memory attributed to Glazunov. The opera premiered in 1890, posthumously securing its place as a cornerstone of Russian nationalist music. Although the narrative of Prince Igor unfolds more as a series of vivid scenes than a tightly woven plot, the overall impact is undeniably powerful and cohesive, largely thanks to the brilliance of pieces like the “Prince Igor Polovtsian Dances.”
The celebrated “Prince Igor Polovtsian Dances” occur towards the end of the opera’s second act. Prince Igor, the opera’s protagonist, finds himself captured by Khan Konchak, a Polovtsian leader. Intrigued by his noble prisoner’s melancholy, Khan Konchak orders his slaves to entertain Prince Igor and lift his spirits. What follows is a mesmerizing sequence of music and dance. The slaves initially sing songs filled with longing for their homeland, their melodies imbued with a sentimental tenderness. Gradually, the atmosphere shifts, and the music gains momentum and energy, transforming into a powerful chorus of praise for Khan Konchak, their royal master. This transformation unfolds over approximately eleven minutes, a period filled with an increasing flurry of energetic wind instruments and driving percussion, culminating in a dazzling, rhythmically charged dance. The orchestration is a testament to Borodin’s skill, characterized by its brilliance and clarity. He masterfully employs potent brass and virtuosic solo woodwinds to illuminate the already exotic and graceful melodies, creating a truly unforgettable musical experience.
While Borodin was not formally trained as an ethnomusicologist, his approach to incorporating musical elements into the “Prince Igor Polovtsian Dances” is noteworthy. His sketches suggest a degree of flexibility in his melodic material, seemingly considering certain melodies appropriate for both the main Russian sections of the opera and the scenes depicting the nomadic Polovtsians. Despite a general sentiment within the “Mighty Handful” that discouraged explicit incorporation of “ethnic” musical signatures – a viewpoint particularly championed by César Cui – the Polovtsian scenes in Prince Igor do subtly weave in rhythmic and melodic nuances that evoke a sense of the exotic. Furthermore, Borodin’s masterful use of vibrant tone colors, elegant melodic contours, and driving rhythms generates an overall feeling of celebration and fervor. This celebratory quality is a key reason why the “Prince Igor Polovtsian Dances” have transcended their operatic origins to become a beloved and frequently performed work in the concert hall, captivating audiences worldwide with their energy and exotic allure.
