Borodin Alexander Porfirievich

Date of life: 10/31/1833 - 02/15/1887
Place of birth: St. Petersburg

A.P. Borodin is a Russian composer, chemist and physician. Founder of Russian epic symphony.

Alexander Porfiryevich Borodin was born in St. Petersburg on October 31, 1833 from an extramarital affair between 62-year-old Prince Luka Stepanovich Gedianov and 25-year-old Avdotya Konstantinovna Antonova and at birth was recorded as the son of the prince’s serf servant, Porfiry Ionovich Borodin and his wife Tatyana Grigorievna. In the first half of the 19th century, extramarital affairs were not advertised, so the names of the parents were hidden and the boy was presented as Avdotya Konstantinovna’s nephew.

Education.

At the age of 9, Borodin wrote his first work, the polka “Helen”. Learned to play musical instruments- first on the flute and piano, and from the age of 13 - on the cello. At the same time he created the first serious piece of music- concert for flute and piano. At the age of 10, he became interested in chemistry, which over the years turned from a hobby into his life’s work.

Medicine and chemistry.

He studied at the First St. Petersburg Gymnasium, in September 1850, seventeen-year-old “merchant” Alexander Borodin entered the St. Petersburg Medical-Surgical Academy as a volunteer, from which he graduated in December 1856. While studying medicine, Borodin continued to study chemistry under the guidance of N.N. Zinina.

In 1858 Borodin received his doctorate in medicine. Since 1859, Alexander Borodin improved his knowledge in the field of chemistry abroad - initially in Germany. In September 1860, Borodin, along with Zinin and Mendeleev, participated in international schools buckwheat chemists in Karlsruhe. In 1862 he received the position of associate professor at the Medical-Surgical Academy. Since 1883 - honorary member of the Society of Russian Doctors.

Musical creativity.

A.P. In 1862, Borodin met the composer Mily Balakirev and joined his circle “The Mighty Handful”. Borodin was also an active participant in the Belyaev circle. The creative legacy of Borodin, who combined scientific and teaching activities with service to art, is relatively small in volume, but made a valuable contribution to the treasury of Russian musical classics.

Borodin’s most significant work is rightfully recognized as the opera “Prince Igor”, on which he worked for 18 years, but the opera was never finished: after Borodin’s death, the opera was completed and orchestrated based on Borodin’s materials by composers N.A. Rimsky-Korsakov and A.K. Glazunov.
A.P. Borodin is one of the founders of the classical genres of symphony and quartet in Russia. Among the best chamber instrumental works belong to the First and Second Quartets, presented to music lovers in 1879 and 1881. IN recent years During his lifetime, Borodin worked on the Third Quartet.

In memory of the outstanding scientist and composer the following were named:

State Quartet named after A.P. Borodin
- Symphony orchestra Central House of Scientists of the Russian Academy of Sciences named after. A. P. Borodina, Moscow
- Sanatorium named after A.P. Borodin in Soligalich, Kostroma region
- Airbus A319 (number VP-BDM) of Aeroflot airline

Alexander Porfirievich Borodin / Alexander Borodin
"The Sleeping Princess"; 2 polkas (Helen)

Alexander Porfirievich Borodin (October 31 (November 12), 1833, St. Petersburg - February 15 (27), 1887, ibid.) - Russian composer, scientist - chemist and physician. Participant " Mighty bunch" Founder of Russian epic symphonism

Alexander Porfiryevich Borodin was the illegitimate son of the 62-year-old Imeretian prince Luka Stepanovich Gedianov (Gedevanishvili), (1772-1840) and 25-year-old Avdotya Konstantinovna Antonova and at birth was recorded as the son of the prince's serf servant - Porfiry Ionovich Borodin and his wife Tatyana Grigorievna.
Until the age of 8, the boy was a serf of his father, who, before his death in 1840, gave his son his freedom and bought a four-story house for him and Avdotya Konstantinovna, who was married to the military doctor Kleineke. In the first half of the 19th century, extramarital affairs were not advertised, so the names of the parents were hidden and the illegitimate boy was presented as Avdotya Konstantinovna’s nephew.

Due to his background, which did not allow him to enter the gymnasium, Borodin was home-schooled in all subjects of the gymnasium course, studied German and French and received an excellent education.

Already in childhood I discovered musical talent, at the age of 9 he wrote his first piece, the polka “Helen”. He studied (at the behest of his mother, mainly at home) to play musical instruments - first the flute and piano, and from the age of 13 - the cello. At the same time, he created his first serious musical work - a concerto for flute and piano.

At the age of 10, he became interested in chemistry, which over the years turned from a hobby into his life’s work.
However, doing science and receiving higher education was hampered by the same “illegal” origin of the young man, which, in the absence of a legal possibility of changing social status, forced Borodin’s mother and her husband to use the department of officials of the Tver Treasury Chamber to enroll their son in the Novotorzhskoe third guild of merchants. He received the right to graduate from high school and continue his education at a higher educational institution.

In the summer of 1850, Borodin excellently passed the matriculation exams at the First St. Petersburg Gymnasium, and in September of the same year, seventeen-year-old “merchant” Alexander Borodin entered the St. Petersburg Medical-Surgical Academy as a volunteer, from which he graduated in December 1856. While studying medicine, Borodin continued to study chemistry under the guidance of N. N. Zinin.
After graduating from the academy, Borodin worked for some time as a resident at the Second Military Land Hospital, where he met an officer who was being treated there, an unknown person, Modest Mussorgsky. In 1858, after serious research, Borodin became a doctor of medicine, defending his dissertation in chemistry. In the same year, in the direction of the Military Medical Scientific Council, he went to Soligalich to study the composition of mineral water in the hospital of the merchant A. A. Kokorev. A report on these studies by A. Borodin was published in Moskovskie Vedomosti (1859), becoming a serious scientific work in balneology, which brought the scientist wide fame.
Borodin continued his study of chemistry at the University of Heidelburg (Germany). In Karlsruhe he took part in the famous International Congress of Chemists together with his teacher Zinin and friend Mendeleev. At this congress, the atomic-molecular theory of the structure of substances was finally established. Borodin spent the winter of 1860 in Paris, where he was seriously engaged in science, listened to many lectures by famous scientists, and spent hours in libraries.
Returning to Heidelberg, in the spring of 1861, Borodin met E. S. Protopopova, who was in Germany undergoing treatment for a serious chronic bronchopulmonary disease. She was a wonderful pianist. Under her influence, Borodin revived his completely extinguished interest in composition. Soon, Ekaterina Sergeevna’s health deteriorated greatly, and Borodin, as her fiancé, accompanied the woman to Italy, where the climate was more favorable.
At home, the couple was forced to separate: Ekaterina Sergeevna remained in Moscow with her mother, and Alexander Porfirievich went to St. Petersburg, where he received a position as an adjunct professor at the Medical-Surgical Academy. Due to material and everyday problems, the wedding took place only a few months later - in the spring of 1863. Borodin did not stop studying science until the end of his life. He is the author of more than forty fundamental works in chemistry.
Borodin studied music from his youth, writing romances, chamber instrumental and piano pieces. He was forced to hide these activities from his scientific colleagues. Despite everything, the work of A. Borodin is an invaluable contribution to the treasury of not only Russian, but also world musical classics. For eighteen years Borodin worked on his famous opera “Prince Igor”, but never had time to finish it; it was completed, following the author’s plan, by Rimsky - Korsakov and Glazunov. It was a true national heroic epic in music. The first production of “Prince Igor” took place on the stage of the Mariinsky Theater in St. Petersburg (1890). Borodin's opera is still successfully performed in theaters all over the world.
The pinnacle of Russian world symphonic music is Borodin’s Second Symphony, known as “Bogatyrskaya” (1876). In it, as in the opera “Prince Igor,” one can hear the motifs of Russian folk song creativity, and in a symphonic film called “In Central Asia” - folk music East. The composer created many romances in the genre of vocal lyrics. The most famous is the romance based on the poems of A. Pushkin “For the Shores of the Distant Fatherland.” In his other romances, images of the heroic epic and liberation ideas live (“The Sleeping Princess”, “Song of the Dark Forest”).
Despite the fact that Borodin devoted his entire life to science, the world knows and honors him as a great composer. He died suddenly, before reaching old age, from a heart attack in February 1887. He was only 53 years old. A.P. was buried. Borodin in St. Petersburg, at the Tikhvin cemetery.

Fairy tale
Dedicated to Nikolai Andreevich Rimsky-Korsakov

Sleeping. Sleeping in the deep forest,
The princess sleeps in a magical sleep,
Sleeps under the roof of the dark night,
Sleep covered her eyes tightly.
Sleeping, sleeping.

So the deaf forest woke up,
I suddenly woke up laughing wildly
Witches and goblin noisy swarm
And he rushed over the princess.

Only a princess in a deep forest
He still sleeps in the same dead sleep.
Sleeping, sleeping.

There was a rumor that there was a dense forest
The mighty hero will come,
The spell will be broken by force,
The magical dream will win
And the princess will be freed, freed.

But days after days pass
Years go by years...
Not a living soul around,
Everything is in a dead sleep.

So the princess in the deep forest
Quietly sleeps in deep sleep;
Sleep bound her eyes tightly,
She sleeps both days and nights.
Sleeping, sleeping.

And no one knows how soon
The hour of awakening will strike.

A.P. Borodin, 1867

One day little Ganya Litvinenko asked him to play four hands with her.

“But let me,” he said, “you don’t know how to play, baby.”

- No, look, this is what I can play.

And she played the simplest tune with one finger of each hand, what the children called the “cutlet polka.”

Yielding to the child’s wishes, Alexander Porfirievich improvised a unique, funny polka to this tune. He showed it to his friends - Rimsky-Korsakov and Lyadov. They laughed a lot and also tried to write variations on this constant theme. Cui also joined their venture. In the end, the result was 24 variations and 14 small pieces for piano, which were published under the title “Paraphrases”.

Liszt really liked the Paraphrases. Someone wrote about this in a musical feuilleton. It was then that a real storm arose in a teacup. Critics hostile to the Russian music school rejoiced at the opportunity to attack Borodin and his comrades. They stated that Liszt could not approve such an essay, which would only compromise its authors. Having learned about this, Liszt wrote to Borodin: “Allow me to be compromised together with you.” And he added his own introduction to the polka...

So Borodin, despite all his affairs and worries, knew how to remain a cheerful and cheerful person and be a kind father to his “numerous adopted daughters.”

Where did he get his strength from?

A musical joke written on the unchanging theme of the so-called “cutlet polka” (A.P. Borodin), or, as it was also called in Balakirev’s circle, “ta-ti-ta-ti,” was dedicated to little pianists who were able to play the theme alone finger of each hand. In the final version, “Paraphrases” consisted of 24 variations and 15 small pieces. On a theme that any child could play with one finger, composers with remarkable ingenuity and genuine humor wrote a whole series of dances (waltzes, minuets, polkas, gallops, gigs, tarantellas), as well as “Lullaby,” “Trezing” and several other pieces . The entire cycle ends with Lyadov’s festive “Solemn Procession”. Cui’s “Waltz” belongs to this work, which, according to Stasov, “sparkles like champagne and captivates with its passion.”
The “Paraphrases” turned out to be so successful and original that they immediately attracted Liszt’s attention as soon as he became acquainted with this music. Addressing a letter dated June 15, 1879 to the authors of the cycle, Liszt wrote: “In the form of a joke, you have created a work of enormous merit. I was fascinated by your “Paraphrases”... Here is finally a wonderful body of science, harmony, counterpoint, rhythm, figurative style and what in German is called “Formenlehre” - the doctrine of form. I will gladly invite professors of composition at conservatories in Europe and America to accept your “Paraphrases” as practical guide in their teaching. Already on the first page, Variations II and III are real gems; The following numbers are no less valuable, up to the “Comic Fugue” and “Procession”, which crown the work with glory. Thank you, gentlemen, for the pleasure you have given me...” Concluding his letter, Liszt emphasized: “My sympathies and the deep respect that I have for you have lasted for many years.”
Liszt liked this work so much that he sent his own small variation on the same theme, which was included in the cycle and was published in facsimile reproduction.

A.P. Borodin is one of the monumental figures of Russian composer school, one of the members. He is one of the first composers, the one thanks to whom Europe recognized and recognized Russian music. In this sense, his name is on a par with the name

Alexander Porfirievich Borodin (1833 - 1887) lived short life and died suddenly due to a heart attack.

“...as if a cannonball hit him and tore him from the ranks of the living.”

Unlike like-minded friends, this composer, having followed the traditional path, remained faithful to his main profession - chemistry (while he resigned, Rimsky-Korsakov left the naval service, Cui also did not remain a military engineer for long).

The name of Borodin in the 19th century. was widely known along with the largest Russian chemists both in Russia and in Europe: together with Professor N. Zinin, he carried out a genuine revolution (laid the foundations modern theory plastics). In addition, the composer was a great teacher. He himself joked that he composed music when he was resting or sick. And his joke is true, since work on works often stretched not only over years, but over decades (he worked on the opera “Prince Igor” for 25 years and never completed it).

In the creative heritage of Borodin:

• 1 opera (“Prince Igor”),
• operetta with spoken dialogues “Bogatyrs”,
• 3 symphonies (No. 3 not finished),
• symphonic picture “In Central Asia”,
• chamber, piano works, romances and songs,
• concert for flute and piano and orchestra (lost).

Symphonies by A.P. Borodin

An important role in the creative biography of Borodin the symphonist was played by his First Symphony in Es - major (1867, first performed in December 1868). Thanks to her, the whole of Europe recognized the composer. Cui notes that in the symphony

“...a lot of strength, fervor, fire and a significant degree of originality.”

The author of one of the notes in the press described the symphony as “amazingly rich, purely Beethovenian beauty.” It is she who opens the line of Russian epic symphonism, where characteristic features and features of the Russian symphony:

• breadth, leisurely, calm, narrative, which implies an epic symphony;
• absence of direct conflicts;
• picturesqueness.

The composer's characteristic orchestra was also formed here.
It is in his work that the complete pair composition is determined, brass instruments become chromatic; The orchestra is distinguished by its power, pomp, brightness, and coloristic richness.
Symphony No. 2 (1869-1876) affirms the traditions formed in Symphony No. 1, and is characterized by Stasov as follows:

“It has a national and programmatic character. Here you can hear the ancient Russian heroic warehouse.”

Although the symphony is one of the calmest, narrative works, the power of its impact is such that Mussorgsky called it the “Heroic Slavic Symphony.” The relief and picturesqueness led to the fact that the program name “Bogatyrskaya” was assigned to the symphony. In addition, each of its parts received a programmatic interpretation (thanks to Stasov):

“Meeting of Russian Bogatyrs”, “Heroes’ Games”, “The Story of the Accordion”, “Feast of the Bogatyrs”.

Symphony No. 3 a - minor (unfinished) with a pronounced national flavor was first performed in Moscow in 1899 at the Moscow German Club under the direction of V. S. Terentyev.

Opera work of Borodin

Wide famous opera“Prince Igor” was created by the musician over 25 years, but remained unfinished. The premiere took place only in 1890 (October 23, staged by the Mariinsky Theater), becoming a kind of monument to the composer, who by that time was no longer alive. He worked on the libretto together with V.V. Stasov, who made an invaluable contribution to the process of creating the opera. So, there was a period when Borodin stopped working on the work, citing two reasons:

• the complexity and scale of the work made the composer doubt that he could cope with it;
• the genre of the literary source (“The Tale of Igor’s Campaign”) did not imply the acute conflictual confrontation necessary for the tension in the development of the stage action.

And here Stasov came to the composer’s aid, proposing, in addition to the main conflict line of confrontation between nations (Russian-Polovtsy), a line of morality: on the one hand, the nobility and sublimity of Igor, on the other, bringing into the opera plot figurative world Prince Galitsky. Thus, operatic drama acquired an additional conflict. Thanks to Stasov’s activities and the complication of the plot, the master returns to work on the work.

Chamber music by A.P. Borodin

The composer believed that

“...chamber music represents one of the most powerful means for development musical taste and understanding..."

By acquiring technical skills by mastering Western European traditions in the field of chamber writing, the musician, in addition, masters the Glinka tradition, forming his own individual style, which manifests itself already in early works.
To samples chamber music include, for example:

Quintet in C minor for piano and strings; “Tarantella” for piano four hands; “Polka” for piano four hands; String trio on the theme “How have I upset you”; Sextet, Quartet for flute, viola, oboe, cello, Piano and String trio; String Quintet; 2 scherzos for piano four hands; four-handed "Allegretto"; vocal pieces; Quartet No. 1 A – major (first performed in 1880 from a manuscript); Quartet No. 2 in D major (1881).

Also “Little Suite” for piano (orchestrated by A. Glazunov), “Paraphrases” (a musical joke created by the composers of the “Mighty Handful”, which aroused the admiration of Liszt and served as a reason for attacks from musicians hostile to the “Kuchkist” direction, notes V. Yakovlev). Among vocal works– “Song of the Dark Forest” (often performed as choral work), romances “For the Shores of the Distant Fatherland”, “False Note”, ballad “Sea” and many others.

It is in chamber vocal music, which is often called “ creative laboratory“The composer, for the first time,” points out A. N. Sokhor, “the composer found a consistent and complete manifestation of the heroic spirit, Russian folk-epic style, melodic-harmonic originality (the romances “The Sleeping Princess”, “Song of the Dark Forest”).

And that is why the comprehension of the “monumental Borodin” lies through his chamber “sketches”, “watercolors”, “sketches”.
All the composer’s work contains and, to one degree or another, always combines two principles: epic and lyrical. In comparison with the music of other composers, Borodin's style is distinguished by calmness, sublimity, nobility, and balance.
Continuing to develop the paths outlined by M. Glinka, Borodin nevertheless had his say in the history of the development of Russian musical culture:

• Tchaikovsky, he is the creator of the Russian quartet genre.
• Russia and the East. Interest in the Eastern world was relevant earlier, but it is with this composer that the theme of friendship arises (clearly demonstrated by the symphonic painting “In Central Asia,” where Russian and Eastern themes develop, uniting in the end).

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Borodin Alexander Porfirievich - Russian composer and chemist. The illegitimate son of Prince L. S. Gedianov, at birth he was recorded as the son of the prince’s serf servant, Porfiry Borodin. In 1856 he graduated from the Medical-Surgical Academy. While studying medicine, he continued to study chemistry under the guidance of N.N. Zinin. In 1858, having defended his dissertation, he received the degree of Doctor of Medicine. Under the influence of friendship with progressive scientists of that time - A.M. Butlerov, D.I. Mendeleev and I.M. Sechenov, writers N.V. Uspensky, M.A. Markovich, articles by V.G. Belinsky and A.I. .Herzen formed the worldview of Borodin and his public views. In the 1860s. in St. Petersburg he was engaged in scientific, pedagogical and social activities. From 1862 associate professor, from 1864 ordinary professor, from 1877 academician; from 1874 head of the chemical laboratory of the Medical-Surgical Academy. He was one of the organizers and teachers (1872-87) of a higher educational institution for women - Women's Medical Courses.

In the 50s 19th century began writing romances, piano pieces, and chamber and instrumental ensembles. In 1862 he met M. A. Balakirev, and this meeting made a deep impression on him. Borodin happily became a member of the “Mighty Handful” and under the influence of Balakirev, V.V. Stasov and other members of the Balakirev circle, the musical and aesthetic views of Borodin as a follower of M.I. Glinka, an adherent of the Russian national school in music, were finally formed, and an independent mature style was determined composer.

Balakirev was the first to unravel Borodin’s extraordinary talent and instilled in him the idea of ​​the need to create the First Symphony. Due to Borodin’s constant employment, the First Symphony was created in fits and starts, however, it attracts with its harmony, integrity, and harmony. The main features of Borodin's style already clearly appear in it - his music is full of images of mighty strength, fortitude, and at the same time spiritual softness, affection and tenderness.

The historical value of the First Symphony lies not only in its high artistic maturity. It was one of the first symphonies in Russian music. Sounded with great success in 1869, the symphony turned out to be the first brilliant victory won by the composers of the “Mighty Handful”. At the same time, Borodin created the Second Symphony - one of the best works of Russian symphonic music, a mature work, perfect in form and content. The symphony expresses the ideas of patriotism, national pride in our glorious historical past. It was enthusiastically received by the composer's friends, who praised it as the best Russian symphony, surpassing everything created before it. When Mussorgsky suggested calling it “Slavic heroic”, Stasov protested: not Slavic in general, but specifically Russian, heroic. So this symphony began to be called “Bogatyrskaya”.

Simultaneously with the Second Symphony, Borodin was also working on the creation of his main work - an opera. He began composing it back in the late 1860s. Stasov then suggested to him “The Lay of Igor’s Campaign” as a plot. Borodin's thoroughness as a scientist was also reflected in his approach to composing. Scroll historical sources- scientific and artistic-literary, which he worked on before he began creating the opera, speaks volumes. Here are various translations of “The Tale of Igor’s Campaign”, and all the fundamental research on the history of Russia.

At the end of his life, Borodin devoted himself more and more to music - the composer gradually replaced the scientist in him. During these years, the symphonic painting “In Central Asia” was created, several piano pieces And chamber ensembles. One of them - the First String Quartet - was performed in the winter of 1879 at a concert of the Russian Musical Society. The listeners were fascinated by the Russian melodiousness, breadth and plasticity of this music. Success inspired Alexander Porfirievich to create a new quartet - the Second, which soon (in January 1882) was performed in Moscow. And again success - even greater than in St. Petersburg. The second quartet is an even more mature and perfect work. Each of its four parts, making up a single whole, is at the same time a small instrumental masterpiece.

The most significant work, in the opinion of the author himself, was to be the Third Symphony, which he intended to call “Russian”. He had already played certain fragments from it to his friends, causing joy and admiration. And yet, neither the opera “Prince Igor” nor the Third Symphony were completed. On February 15, 1887, Borodin died unexpectedly.

After his death, Rimsky-Korsakov and Glazunov completed what Alexander Porfirievich did not have time to finish.

Borodin's creative legacy is relatively small in volume, but is a most valuable contribution to the treasury of Russian musical classics. In his works, the theme of the greatness of the Russian people, love for the motherland, and love of freedom clearly runs through. His music is distinguished by its epic breadth, masculinity, and at the same time deeply lyrical.

A follower of A.S. Pushkin and M.I. Glinka, Borodin perceived life as a source of strength and joy, believing in the power of man, in the triumph of reason and beauty.

Borodin's most significant work, the opera “Prince Igor,” is an example of a national heroic epic in music. Due to the heavy workload of scientific and pedagogical work Borodin wrote it over the course of 18 years; it was not completed during the composer’s lifetime, and after Borodin’s death the opera was completed and orchestrated based on the author’s materials N. A. Rimsky-Korsakov and A. K. Glazunov. It was installed in 1890. Mariinsky Theater in St. Petersburg. The opera is distinguished by the monumental integrity of its images, the power and scope of folk choral scenes, and the brightness of its national color. “Prince Igor” develops the traditions of Glinka’s epic opera “Ruslan and Lyudmila”.

Borodin - one of the creators of Russian classical symphonies and a quartet. His 1st symphony (1867), which appeared simultaneously with the first examples of this genre by N. A. Rimsky-Korsakov and P. I. Tchaikovsky, marked the beginning of the heroic-epic direction of Russian symphonism. The pinnacle of Russian and world epic symphonism is his 2nd (Bogatyr) Symphony (1876). Among the best creations of the chamber instrumental genre are the quartets: 1st - 1879, 2nd - 1881.

Borodin - subtle artist chamber vocal music. An example of his vocal lyrics is the elegy “For the Shores of the Distant Fatherland” to the words of Pushkin. Borodin was the first to introduce images of the Russian heroic epic into romance, and with them the liberation ideas of the 1860s. (“Sleeping Princess”, “Song of the Dark Forest”, etc. He also wrote satirical and humorous songs “Arrogance”, etc.). Borodin’s work is characterized by a deep penetration into the structure of Russian folk songs, as well as the music of the peoples of the East (in “Prince Igor”, symphonies, the symphonic film “In Central Asia”).

Borodin's creativity, bright, original, had an impact on Russian and foreign composers: S. S. Prokofiev, Yu. A. Shaporin, G. V. Sviridov, A. I. Khachaturyan and others. The importance of these traditions for the development of national musical cultures is great peoples of Transcaucasia and Central Asia.

Borodin is the author of more than 40 works on chemistry. Student of N. N. Zinin. He wrote his doctoral dissertation on the topic: “On the analogy of phosphoric and arsenic acid in chemical and toxicological relations.” Developed an original method for producing bromine-substituted fatty acids by the action of bromine on silver salts of acids; received the first organofluorine compound - benzoyl fluoride (1862); studied acetaldehyde, described the aldol and the aldol condensation reaction.

Borodin's Second ("Bogatyrskaya") Symphony

Borodin's Second (“Bogatyrskaya”) Symphony

Alexander Porfiryevich Borodin (1833-1887) was one of the most outstanding and versatile figures of Russian culture of the nineteenth century. Brilliant composer, tireless public figure and teacher, Borodin is also known as a major scientist who enriched Russian science with valuable research in the field of chemistry.

In the early sixties of the century before last, Borodin became close to the wonderful Russian composer Mily Alekseevich Balakirev, around whom many advanced musicians rallied in those years. Now, when we talk about the “Mighty Handful,” as V.V. called the Balakirev circle. Stasov, we mean, first of all, the community of five Russian composers - Balakirev, Borodin, Cui, Mussorgsky and Rimsky-Korsakov. Creative activity the remaining participants of the Balakirev circle left a less significant mark on the history of Russian musical culture.

In the article “25 years of Russian art”, published in 1883, V.V. Stasov wrote: “Borodin composed little in terms of quantity, much less than his other comrades, but his works, all without exception, bear the stamp of full development and deep perfection... Borodin’s talent is equally powerful and amazing both in symphony, and in opera, and in romance. Its main qualities are gigantic strength and width, colossal scope, swiftness and impetuosity, combined with amazing passion, tenderness and beauty.”

This description, which was given to Borodin by one of the luminaries of Russian musical thought, contains a laconic, but deep and accurate assessment creative heritage great composer. Indeed, it is not very extensive. The opera “Prince Igor”, three symphonies (the third remained unfinished) and the symphonic picture “In Central Asia”, two string quartets, a piano quintet and some other chamber instrumental ensembles, a dozen small piano pieces and two dozen songs and romances - here is a list of the main works of Borodin.

This list contains “a little, but a lot,” as they say in old saying. For “Prince Igor,” and Borodin’s symphonies, quartets, and romances belong to the highest achievements of Russian musical classics. Borodin deeply comprehended and with the power of genius revealed in his work the national power of the Russian people, their greatness, the structure of their thoughts, the beauty and nobility of feelings. Continuing Glinka's traditions of Russian music, Borodin turned to the inexhaustible riches of Russian songwriting, to the images of the Russian heroic epic and soulful folk lyrics.

In 1869, the composer began work on the opera “Prince Igor”, in which the images of greatest monument ancient Russian literature- “Tales about Igor’s Campaign.” The idea of ​​Borodin’s Second Symphony, which was later called “Bogatyrskaya” by the composer’s friends, also dates back to 1869.

The idea of ​​the symphony was in direct connection with the steadily growing interest of the advanced Russian public in the Russian epic that clearly manifested itself in the sixties. At the very beginning of the sixties, Russian scientists P.V. began to publish, for example, extensive collections of epics. Kireevsky and P.N. Rybnikov. The masters of the “Mighty Handful” also showed great interest in Russian epics, who were attracted to these amazing monuments of the creativity of our people not only by the echoes of the heroic past of our Motherland, but also artistic images, created by folk fantasy and reflecting the titanic power, fearlessness and ingenuity of the Russian people.

Borodin's closest friend, the great Russian composer N.A. Rimsky-Korsakov created back in 1867 symphonic picture“Sadko”, which in the first edition was called “Episode from an epic”. In the nineties, Rimsky-Korsakov, already mature master, reworked this work, and then wrote one of his best operas, “Sadko,” based on the same plot Novgorod epic, deeply revealing its content and boldly introducing folk singing narration techniques into the opera score. The composer himself noted in the Chronicle of My Musical Life: it is the epic recitative that “sets my Sadko apart” from all my operas, and perhaps not only mine, but also operas in general.” And then he explained: “This recitative is not spoken language, but as if a conventionally authorized epic tale or chant... Passing red thread throughout the entire opera, this recitative imparts to the entire work that national, epic character that can only be fully appreciated by a Russian person.”

It is also known that other members of the “Mighty Handful” were keenly interested in Russian epic, in particular epic, tunes. These tunes were recorded by M.A. Balakirev (in the early sixties) and M.P. Mussorgsky, who partially used his notes while working on the opera “Boris Godunov”, and partially communicated them to Rimsky-Korsakov, who processed some of them and then included them in his collection “One Hundred Russians” folk songs" For example, the epic tune “About Volga and Mikula” (“Svyatoslav lived for ninety years”), included in this collection, was recorded by Mussorgsky and passed on to Rimsky-Korsakov, who created his own adaptation of this Northern Russian epic on this basis. We meet other epics in Rimsky-Korsakov’s collection, for example, “About Dobrynya.” The composer took the melody and text of the epic from the “Collection of Russian Folk Songs”, published by M. Stakhovich in 1952-1856.

Thus, the great masters of the “Mighty Handful” continued in this regard the work of Glinka, who in his “Ruslan” laid the solid foundations of Russian epic music. It is impossible not to remember here and immortal name Pushkin, who in the poem “Ruslan and Lyudmila” and in other works created classic examples of the artistic transformation of images epic epic. Pushkin did not yet have scientifically reliable records of epics. But in “words”, “stories”, “tales” and “stories”, as epics were once called, he, with brilliant insight, saw inexhaustible artistic treasures. The great Russian poet understood their value primarily because already with youth comprehended the charm and beauty of the Russian folk art. As a child, he listened to the fairy tales of his nanny Arina Rodionovna, and then he himself looked for and recorded folk songs, epic tales and melodies.

Let us also recall that a year before his death, Pushkin began work on commenting on “The Lay of Igor’s Campaign” and, comparing this gigantic monument of Russian epic with the work of poets of the 18th century, noted that they “all together did not have as much poetry as is found in lamentation.” Yaroslavna, in the description of battle and flight." It would not be an exaggeration to say that from some of Pushkin’s pages, marked by the special, incomparable solemnity of Russian speech inherent in him alone, threads stretch to the majestic images of the Lay.

So, when starting to work on “Prince Igor” and on the Second Symphony, Borodin relied not only on Glinka’s traditions, which were continued by the members of the Balakirev circle, but also on the creative experience of Pushkin, who first raised Russian epic poetry to the heights of artistic classics.

Begun in 1869, Borodin's Second Symphony was completed only in 1876, as part of this time was spent working on the opera and the first string quartet, and the composer composed music only in fits and starts, conducting intense research activities during these years. The first movement of the symphony, completed in 1871, made an unusually strong impression on the composer’s friends, to whom he showed this movement. The symphony was first performed on February 2, 1877 under the baton of E.F. Napravnik (1836-1916) - outstanding conductor and a composer, Czech by birth, who, like many of his compatriots, found a second home in Russia.

In the already mentioned article by V.V. Stasov writes that Borodin’s Second Symphony has a programmatic character: “... Borodin himself told me more than once that in Adagio he wanted to draw the figure of a “accordion”, in the 1st part - a meeting of Russian heroes, in the finale - a scene of a heroic feast, with the sound gusel, with the rejoicing of the great crowd." These words of Stasov are for us the key to understanding the program of Borodin’s “Bogatyr” symphony. The symphony begins with an energetic first theme, which is carried out by the entire string section of the orchestra, while the horns and bassoons emphasize the stops on sustained notes:

Already from the first bars, the listener gets the impression of that “giant power” that Stasov wrote about. Brief, expressive melodic phrases alternate with heavy “stomping” beats, enhancing the feeling of heroic power that arises at the very beginning of the symphony.

You should pay attention to the construction of the first bars, which is unique not only rhythmically, but also in terms of mode. Despite the fact that the symphony is written in the key of B minor, in the example we have given, the sounds D and D-sharp alternate, although the latter, it would seem, belongs not to B minor, but to B major. Such variability is one of characteristic features Russian folk song creativity. It must also be emphasized that the melodic riches of Russian folk song do not fit into the usual framework of “European” major and minor, and that Russian composers have widely developed and are developing these riches in their work. It is in national origins The variety of means used by Borodin in the Second Symphony to reveal the images of the heroic epic of the Russian people is also rooted in Russian musical culture.

The development of the first theme takes it beyond the low and middle registers. Following the first segment of this theme, which gives rise to the idea of ​​the heroic tread of the knights and the mighty blows of the armor on the ground, a joyful, lively response of woodwind instruments is heard in the upper register, as if the sun was sparkling on gilded helmets and shields:

Masterfully juxtaposing both sections of the first theme, the composer achieves an amazing picturesqueness, almost physical tangibility of the images of the “meeting of Russian heroes” depicted in the first part of the symphony. These images are expressively highlighted by the second theme, which in its melodic structure is also extremely close to Russian folk song:

This theme is first sung by cellos, and then it moves on to flutes and clarinets, acquiring the character of a pipe melody, and finally, it is presented in full sound by a string group. Carrying out both topics (in other words, “ main party" and "side part") forms the first section of the sonata-symphonic form in which this part is written, that is, its exposition. It ends with the final part, built mainly on the material of the first theme and ending with solemn chords.

The central section (development) of this part contains the development musical images of the first section (exposition), leading to a great build-up, which prepares for an even more powerful, even more solemn presentation of the first theme. Here, in the third section (that is, in the reprise), both segments of the “heroic” theme are presented in a brilliant, full-voiced presentation. The presentation of the second theme, which is assigned to the oboe in the reprise, is also somewhat different from the exposition, and then moves on to string instruments. The first movement ends with the majestic unison of the orchestra, proclaiming the first theme with great force.

The second movement of the symphony is called the Scherzo. Stasov does not tell us anything about the program of this part, but we can easily guess from the nature of the music that here the composer painted a picture of heroic games and amusements, often found in Russian epics. The Scherzo is written in three-part form, with its first section, repeated after the second section, built on two themes.

The Scherzo begins with a short introduction. Against the background of the booming timpani beats, a bright calling chord sounds copper group. And in response to this call, a rapid sound stream arises, evoking the idea of ​​a jump or run, giving way to a kind of waving of a weapon, which can be seen in the short, accented phrases of the second topic of this section:

Bogatyrsky symphony Borodin composer

Great tension is achieved by carrying out this “theme of heroic fun”, alternating with the first, lighter and more rapid theme. And the middle section of the Scherzo is built on a wonderful melodious melody, contrasting with both themes of the first section, which is widely developed:

Passing first in the tunes of woodwind instruments, this topic then sounds in the string group. At the moment of climax, the ringing chords of the harp burst into the accompaniment of the melody, already here evoking the “loud strings of button accordions”, which will sound even more expressively in the third part of the symphony. The final section of the Scherzo is built on the first two themes, being a repetition, and partly a development, of the first section of this part of the symphony.

The third part of the symphony paints, according to the composer himself, which he told Stasov, the image of the ancient Russian singer-storyteller, Bayan. This name comes from the legendary Bayan, who became a household name and was mentioned in “The Tale of Igor’s Campaign,” who “didn’t let ten falcons into a flock of swans, but laid his prophetic fingers on living strings.” During the period of the creation of Prince Igor, Borodin studied the Lay especially carefully. The image of Bayan, poeticized by Pushkin and Glinka in “Ruslan and Lyudmila”. He also attracted the author of the “Bogatyr” Symphony.

At the beginning of the third movement of the symphony, the harp chords accompanying the brief clarinet chorus sound like the introduction of the gusli, preceding the epic narrative. And the first theme of this part, entrusted to the horn, soloing against the background of chords of the harp and string group, has the character of a narrative, melodious and leisurely:

Subsequent themes already introduce elements of drama associated with epic character this part, with its content, which we perceive as a story about heroic exploits. The roll call of wind instruments sounds alarmingly on a short, expressive theme:

The gradually increasing tremolo of the strings leads to an increase in tension, emphasized by menacing descending strokes. Against their background, another brief dramatic theme appears in a low register, intertwines with them, and then rapidly develops:

Following a brief build-up, a powerful climax from the entire orchestra, and a four-bar woodwind call built on the second theme, the first epic theme resounds powerfully, heralding the victorious outcome of the battle that the previous episodes of this movement were undoubtedly the story of. Their echoes pass through the orchestra once again, before the familiar opening chords of the harp, the opening chorus of the clarinet and a short phrase of the horn return us to the image of the prophetic Bayan, chanting the military exploits of Russian heroes to the sounds of the harp.

The third and fourth parts of the “Bogatyr” Symphony, as directed by the composer, are performed without interruption. The hum of the timpani fades, but the sustained notes of the second violins connect these parts of the symphony. Its ending, as already mentioned, depicts, according to the author’s plan, “the scene of a heroic feast, with the sound of the harp, with the rejoicing of a great crowd of people.” It is understandable, therefore, that the composer decided to directly connect the images of the narrative of heroic deeds heard in the third part of the symphony with the images folk festival, contained in its ending.

Many epics mention an “honorable feast,” which concluded the military labors of the heroes whom the people honored. At the beginning of the finale, we seem to hear the footsteps of people gathering for such a feast. There are lively short phrases violins, the tunes of pipes and gusli imitated by a harp sound, and finally, the theme of folk fun thunders in the orchestra:

It is replaced by another theme, also lively, but somewhat more lyrical:

It appears first in the clarinet, which is closer in timbre to the pipe than any other instrument, and therefore generally plays a very significant role in Russian symphonic music. But soon this topic is included in the picture of popular fun. The composer strives here too to preserve the national flavor of Russian folk art. instrumental music: the “pipe” melody sounds in the upper register of the woodwinds, and is accompanied by the “harp” chords of the harp, supported by a string group, the sounds of which are extracted here not with bows, but with plucking - also to create a timbre close to the harp.

The presentation of these two themes constitutes the exposition, that is, the first section of the finale of the symphony, built in sonata-symphonic form. In the development, that is, in the second section of this movement, the composer masterfully develops both themes: in the loud exclamations of the trombones we can easily recognize, for example, the melodic outlines of the first theme, and in a large build-up (shortly before the reprise) - the second theme. But, whatever the internal contrasts that the composer uses to depict individual episodes of the folk festival, general mood The finale is characterized by amazing integrity, from its first bars to the final section containing both main themes.

The composer brilliantly embodied in musical images his plan, conveyed to us by Stasov: in the finale of the symphony, indeed, a picture of a folk festival unfolds, crowning glorious deeds, sparkling with stormy fun and heroic prowess.

So, in Borodin’s “Bogatyr” symphony, “things have been done for a long time” are glorified days gone by, legends of deep antiquity." And yet this work is deeply modern. The work of the great Russian masters is distinguished by the strength of artistic generalizations and ideological orientation, which is largely consonant with the progressive aspirations of our society.

Continuing the patriotic traditions of Russian music, dating back to Glinka’s “Ivan Susanin,” Borodin, both in “Prince Igor” and in the “Bogatyr” symphony, embodied the idea of ​​​​the national power of the Russian people, an idea developed by the revolutionary democrats of the last century, who saw in this power the guarantee of the victory of the liberation movement in Russia and the emancipation of the creative forces of our great people. Therefore, Borodin’s Second Symphony played a special role in the history of the development of Russian instrumental music, laying the foundation for the epic, “heroic” line of Russian symphonism.

This line was continued and developed in the works of such outstanding Russian composers as Taneyev, Glazunov, Lyadov and Rachmaninov, who in his youth created the symphonic poem “Prince Rostislav” based on the plot from “The Tale of Igor’s Campaign”. Borodin's creative experience had a beneficial effect on musical culture West Slavic peoples. For example, the last symphony (“From the New World”) by Antonin Dvořák, in which the national liberation ideas of the progressive Czech public were vividly embodied, thanks to its epic coloring and, in particular, the courageous heroism of the finale, allows us to speak of close proximity to the heroic images of Borodin’s symphonism.

Borodin’s “Heroic” Symphony, distinguished by the depth and nobility of its patriotic concept and the vivid concreteness of musical images, belongs to the highest achievements of Russian musical classics, marking new stage on the path of development of domestic symphonic music.

They talk about the fruitfulness of assimilating Borodin’s epic traditions best works those composers in whose work there is a particularly clear sense of continuity with Borodin’s music, with its heroic masculinity and heroic strength.

As examples, one can name at least the symphonies of R.M. Gliere (the most monumental of them is the third - “Ilya Muromets”), N.Ya. Myaskovsky, B.N. Lyatoshinsky, V.Ya. Shebalin, cantata by S.S. Prokofiev “Alexander Nevsky”, symphony-cantata by Yu.A. Shaporin “On the Kulikovo Field” and his oratorio “The Legend of the Battle for the Russian Land”.

And, although “Alexander Nevsky” and “On the Kulikovo Field” take us seemingly into the distant past, these works, as well as “The Tale of the Battle for the Russian Land,” which tells about the years of the Great Patriotic War, are deeply modern in concept and in the content of musical images born of the heroics of the days of the socialist period. The works of talented poets and composers of that era also show a tendency towards heroic-epic images.

Literature used: Igor Belza, Borodin’s Second “Heroic” Symphony (ed. 2) Moscow, Muzgiz 1960.