Album available // Borodin: Prince Igor Overture & Polovtsian Dances by Constantin Silvestri
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Alexander Porfiryevich Borodin (1833-1887) Prince Igor Overture & Polovtsian Dances
00:00 Prince Igor, IAB 7: Overture *
Prince Igor, IAB 7, Polovtsian Dances, Orchestral Suite **
10:06 I. Introduction Part I: Dance of the Maidens
12:27 II. Introduction Part II: Gliding Dance of the Maidens
15:00 III. Wild Dance of the Men
16:16 IV. General Dance
18:20 V. Dance of the Boys
19:41 VI. Gliding Dance of the Maidens
21:09 VII. Dance of the Boys
22:31 VIII. General Dance
Bonus
24:01 In the Steppes of Central Asia in A minor, IAB 3: Allegretto con moto ***
* Philharmonia Orchestra (1959)
** Orchestre de la Société des Concerts du Concervatoire (1961)
*** Bournemouth Symphony Orchestra (1968)
Recorded in 1959-68, at London, Paris & Bournemouth
Conductor: Constantin Silvestri
New mastering in 2023 by AB for CMRR
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Unlike most Russian composers of the time, Borodin was an amateur musician who wrote in his spare time. This status, which in no way detracts from the quality of his output, explains why the composition of Prince Igor was spread over eighteen years.
After the failure of his foray into the world of opera with his opera-parody Les preux (1868), Borodin sought a story for an opera. He briefly considered adapting Lev Mei's The Tsar's Wife (which would become Rimsky-Korsakov's ninth opera in 1898), but ultimately chose to set to music Vladimir Stassov's proposed adaptation, close to the Group of Five of which Borodin was a member, of the Russian medieval epic poem The Tale of Igor's Country. Borodin received the three-act scenario on April 30, 1869, but found the action too static. He decided to deepen his own historical knowledge of the late 12th century to write a more dramatically effective libretto. On the strength of his research, Borodin began composing the opera in September 1869.
In 1876, Stassov became impatient with the delay in composing and suggested that Rimsky-Korsakov, also a member of the Group of Five, compose the music for his scenario. Rimsky-Korsakov refused, offering to assist Borodin in his work by orchestrating his music. This collaboration lasted until the composer's sudden death in 1887, at which point Rimsky-Korsakov set about completing this unfinished work with the help of Glazunov, one of his disciples. But the task was immense, as entire sections of the opera were missing, particularly in Act III, where many parts had remained at the stage of sketched themes. Faced with the magnitude of the task, the two composers divided the work between them: Glazunov was responsible for reconstructing the overture from memory and filling in the gaps in Act III, while Rimsky-Korsakov set about orchestrating the piano versions, standardizing the opera's style and ensuring the coherence of the story.
The central opposition in the story, that of the two peoples, is reinforced in Borodin's music by the interaction of Russian folklore and "barbarian" orientalism. Borodin's approach is not to quote folk music verbatim, but rather to recreate musical moods, drawing inspiration from the work of ethnographer Maynov for Konchak's Coumans, and from Prokunin's two-book collection of Russian folk melodies.
Borodin's orientalism is characterized by the use of melismas (a melodic formula consisting of a figure-of-eight turn around a single note) in the vocals, as well as by the use of augmented seconds and chromatic passing notes (notes connecting two distinct notes, creating a fleeting dissonance), as in Konchakovna's cavatina in Act II. Or the famous Couman dances at the end of Act II, which musically evoke all aspects of the Orient imagined by Borodin: sensual reverie, frenetic dancing, the excitement of young boys.
Album available // Rimsky-Korsakov: Scheherazade in E Major, Op. 35 by Leopold Stokowski
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