Borodin: Prince Igor (Highlights) / In the Steppes of Central Asia
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Alexander Porfir'yevich Borodin (1833-1887) Prince Igor (Highlights) The Five, the so-called Mighty Handful, so named by the Russian critic and librarian...
Alexander Porfir'yevich Borodin (1833-1887)
Prince Igor (Highlights)
The Five, the so-called Mighty Handful, so named by
the Russian critic and librarian Vladimir Stasov, were
the principal nationalist composers in later nineteenthcentury
Russia, following the example of Glinka, their
forerunner. Borodin, like some others of the group,
followed another profession than music, winning
distinction as a professor of chemistry. His work as a
composer was limited by his other duties and
preoccupations, and at his death he left a number of
compositions unfinished, to be completed by his friend
Rimsky-Korsakov and others.
Born in 1833, Borodin was the illegitimate son of a
Georgian prince, given the name of one of his father's
serfs. He was brought up by his mother in relatively
privileged cultural surroundings that brought
acquaintance with a number of Western European
languages and a profound interest in music, a continuing
enthusiasm that at times distracted him from his
increasingly distinguished work as a scientist. His
activity as a composer was stimulated by his meeting
with Balakirev, self-appointed leader of the group of
Russian nationalist composers, and association with
Mussorgsky, Cesar Cui and Rimsky-Korsakov.
Borodin had contributed to the collaborative operaballet
Mlada in 1872, but his principal efforts were
dedicated, over the years, to Prince Igor. For this he
provided his own libretto, based on a scenario by
Vladimir Stasov, but failing to complete the text before
starting the task of composition, an omission that
complicated his task. The work occupied Borodin
intermittently from 1869, but was left unfinished at his
sudden death in 1887. Rimsky-Korsakov and the young
Glazunov took on the task of editing, completing and,
where necessary, orchestrating the opera as Borodin had
left it, leading to a first performance of their version of
the work in St Petersburg in 1892. For this purpose they
had cut a quantity of the original music. Glazunov was
said to have reconstructed the overture from memory,
having heard Borodin's version of it, although the latter
may only have left the very broadest hints as to what he
intended. Glazunov also composed much of the third act
of the completed version. A number of other versions of
Prince Igor have been devised, in an attempt to restore
as much as possible of Borodin's original work.
Stasov's epic conception, based on the allegedly
early Lay of the Host of Igor, and episodes from
medieval Kievian chronicles, provides the framework
for contrast between the Russian Prince Igor, for which
Borodin had some recourse to traditional Russian
melodies and, like Mussorgsky, perhaps to speech
intonations, and the medley of exotic musical elements
that he associates with the Polovtsians.
The 'musical picture' In the Steppes of Central Asia
was completed in 1880 and published two years later. It
was intended as a contribution to a series of illustrations
from episodes in Russian history to mark the silver
jubilee of Tsar Alexander II, and depicts the progress of
a caravan across the steppes, escorted by Russian troops.
Borodin makes use of a Russian melody and a
contrasting oriental theme, the two later combined. The
work won wide contemporary popularity.
Keith Anderson
Prince Igor (Knyaz Igor) (more info)
Performed by:
Ukraine National Radio Symphony Orchestra
Ukraine State Radio Symphony Orchestra
Bolshoi Theatre Orchestra
Ukraine National Symphony Orchestra
Philharmonia
London Philharmonic Orchestra
Nils Grevillius Orchestra
RCA Victor Symphony Orchestra
Philharmonia Orchestra
Royal Philharmonic Orchestra
Berlin State Opera Orchestra
Studio orchestra
Stuttgart State Orchestra
Russian Philharmonia
Russia Philharmonia
Composed by:
Alexander Porfir'yevich Borodin
Issay Alexandrovich Dobrowen
Conducted by:
Theodore Kuchar
Gustave Cloez
Rosario Bourdon
Frieder Weissmann
Bruno Reibold
Nils Grevillius
Mykola Hobdych
Vladimir Sirenko
Geoffrey Simon
Adrian Leaper
Alexander Melik-Pashayev
Lothar Zagrosek
Alexander Vedernikov
Constantine Orbelian
Walter Weller
David Parry
Valery Gilmanov, bass
Feodor Chaliapin, bass
Vladimir Grishko, tenor
Dmitri Hvorostovsky, baritone
Yuri Nechaev,
Daniil Shtoda,
Boris Christoff, bass
Ewa Podles, contralto
Jussi Bjorling, tenor
Diana Montague, mezzo-soprano
Evgeniya Smolenskaya, soprano
Sergey Lemeshev, tenor
Alexander Pirogov, bass
Mark Reizen, bass
Veronica Borisenko, mezzo-soprano
Alexey Serov, tenor
Ivan Skobtsov, tenor
Feodor Godovkin, tenor
Elena Korneueva, mezzo-soprano
Nina Koshetz, soprano
Nadezhda Obukhova, mezzo-soprano
Charles Friant, tenor
George Baklanoff, baritone
Andrey Ivanov, baritone
Antonina Ivanova, soprano
John Tomlinson, bass
Angelina Shvachka, mezzo-soprano
Dmytro Popov, tenor
Mykola Koval, baritone
Taras Shtonda, bass-baritone
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Overture - 10:18
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Act I: Greshno tait': ya skuki nye lyublyu (I don't like boredom) (Galitzky) - 3:58
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Act II: Dance of the Polovtsian Maidens - 2:19
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Act II: Merknyet svyet dnevnoy (Daylight is fading) (Konchakovna) - 5:38
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Act II: Myedlenno dyn' ugasal (Slowly the day was fading) (Vladimir) - 5:07
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Act II: Ni sna, ni ordikha (There is neither sleep, nor rest) (Prince Igor) - 7:03
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Act II: Polovtsian Dances - Ulyetay na kril'yahk vyetra (Fly away on the wings of the wind) (version for chorus) - 10:43
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Act III: Polovtsian March - 4:59
In the Steppes of Central Asia (more info)
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In the Steppes of Central Asia - 7:32