Who is the founder of Russian epic symphonism. Musical epic: Bogatyr Symphony by Borodin

Borodin's Second ("Bogatyrskaya") Symphony

Borodin's Second ("Bogatyr") 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 prominent scientist who enriched domestic science with valuable research in the field of chemistry.

In the early sixties of the century before last, Borodin became close friends with the remarkable Russian composer Mily Alekseevich Balakirev, around whom many progressive musicians rallied in those years. Now that we're talking about 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 other members 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 in quantitative terms a little, 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 the symphony and in the opera, and in romance. Its main qualities are gigantic strength and breadth, colossal scope, swiftness and impetuosity, combined with amazing passion, tenderness and beauty.

This characterization, which was given to Borodin by one of the luminaries of Russian musical thought, contains a laconic, but deep and accurate assessment of the creative heritage of the great composer. Indeed, it is not vast. Opera "Prince Igor", three symphonies (the third remained unfinished) and 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 - this is a list of Borodin’s main works.

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

In 1869, the composer began work on the opera "Prince Igor", in which the images of greatest monument Old Russian literature - "Words about Igor's Campaign". By 1869, the idea of ​​Borodin's Second Symphony, which was later called Bogatyrskaya by the composer's friends, also dates back.

The idea of ​​the symphony was in direct connection with the steadily growing interest of the progressive Russian public in the Russian epic epic, which was clearly manifested in the sixties and was steadily growing. 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" showed great interest in Russian epics, who were attracted in these amazing monuments of the creativity of our people not only by echoes of the heroic past of our Motherland, but also artistic images, created by folk fantasy and reflecting the titanic power, fearlessness and sharpness of the Russian people.

The closest friend of Borodin, the great Russian composer N.A. Rimsky-Korsakov created the symphonic painting Sadko in 1867, which in the first edition was called Episode from the Epic. In the nineties, Rimsky-Korsakov, already a mature master, revised this work, and then wrote one of his best operas, Sadko, based on the plot of the same Novgorod epic, deeply revealing its content and boldly introducing the techniques of folk chant narrative into the opera score. The composer himself noted in the Chronicle of my musical life”: it is the epic recitative that“ distinguishes my Sadko ”from a number of all my operas, and maybe not only mine, but also operas in general.” And then he explained: “This recitative is not colloquial, but, as it were, a conditionally statutory epic tale or chant ... Passing red thread throughout the opera, this recitative gives the whole work that national, past character, which 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 in the process of working on the opera Boris Godunov, partially reported them to Rimsky-Korsakov, who processed some of them and then included them in his collection One Hundred Russian Folk Songs. So, for example, the epic tune “About Volga and Mikul” (“Svyatoslav lived ninety years”), included in this collection, was recorded by Mussorgsky and transferred to Rimsky-Korsakov, who created on this basis his own processing of this northern Russian epic. We meet in the collection of Rimsky-Korsakov and other epics, 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" in this respect continued the work of Glinka, who in his "Ruslan" laid the solid foundations of Russian epic music. It is impossible not to recall here the immortal name of Pushkin, who in the poem "Ruslan and Lyudmila" and in other works created classic examples of the artistic implementation of the images of the epic epic. Pushkin did not yet have scientifically reliable records of epics. But in "words", "tales", "tales" and "stories", as epics were once called, he saw inexhaustible artistic treasures. The value of their great Russian poet understood primarily because already with young years comprehended the charm and beauty of the Russian folk art. As a child, he listened to the tales of his nanny Arina Rodionovna, and then he himself searched for and recorded folk songs, epic tales and tunes.

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

So, starting work on Prince Igor and the Second Symphony, Borodin relied not only on the Glinka 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, since 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 part of the symphony, completed in 1871, made an unusually strong impression on the composer's friends, to whom he showed this part. The symphony was first performed on February 2, 1877 under the direction of E.F. Napravnik (1836-1916) - an outstanding conductor and composer, of Czech origin, 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 button accordion, in the 1st part - a collection of Russian heroes, in the final - a scene of a heroic feast, with the sound gusel, with the rejoicing of the great crowd of people. These words of Stasov are for us the key to understanding the program of Bogatyrskaya symphony of Borodin. The symphony begins with an energetic first theme, which is carried out throughout string group orchestra, while horns and bassoons emphasize stops on sustained notes:

Already from the first measures, the listener is given the impression of that “giant force” about which Stasov wrote. Brief, expressive melodic phrases alternate with heavy "trampling" beats, reinforcing the feeling of heroic power that arises at the very beginning of the symphony.

Attention should be paid to the construction of the first measures, which is peculiar not only in rhythmic, but also in modal terms. Despite the fact that the symphony is written in the key of B minor, in the example we have given, the sounds of D and D-sharp alternate, although the latter seems to belong not to B minor, but to B major. This variability is one of characteristic features Russian folk song creativity. It must also be emphasized that the melodic riches of Russian folk songs do not fit into the usual framework of the "European" major and minor, and that Russian composers have widely developed and are developing these riches in their work. It is in the national origins of Russian musical culture that the variety of means used by Borodin in the Second Symphony to reveal the images of the heroic epic of the Russian people is rooted.

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 strikes of armor on the ground, a joyful, lively response of woodwind instruments is heard in the upper register, as if the sun played on gilded helmets and shields:

Masterfully comparing both segments of the first theme, the composer achieves an amazing picturesqueness, almost physical tangibility of the images of the “collection of Russian heroes” depicted in the first part of the symphony. These images are expressively set off by the second theme, which in its melodic structure is also extremely close to Russian folk songwriting:

This theme is first sung by the cellos, and then it passes to the flutes and clarinets, acquiring the character of a flute tune, and, finally, it is expounded in full sound by the string group. Carrying out both topics (in other words, " main party” and “side party”) forms the first section of the sonata-symphony form in which this movement 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 the first section (exposition), leading to a great increase, which prepares an even more powerful, even more solemn exposition 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-sounding presentation. The presentation of the second theme, which is assigned to the oboe in the reprise, is somewhat different from the exposition, and then moves on to string instruments. The first part ends with the majestic unison of the orchestra, with huge force proclaiming the first theme.

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 brief introduction. Against the background of the booming beats of the timpani, a bright inviting chord of the copper group sounds. And in response to this call, a rapid sound stream arises, evoking the idea of ​​a jump or run, which is replaced, as it were, by the swing of a weapon, seen in short, accentuated phrases of the second theme of this section:

bogatyr symphony borodin composer

The holding of this “theme of heroic amusements”, alternating with the first, lighter and more rapid theme, achieves great tension. And the middle section of the Scherzo is built on a wonderful melodious melody that contrasts with both themes of the first section, and is widely developed:

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

The third part of the symphony draws, according to the composer himself, to Stasov, the image of the ancient Russian singer-storyteller, Bayan. This name comes from the common noun the legendary Bayan, mentioned in the Tale of Igor's Campaign, who "let not ten falcons into a herd of swans, but laid his prophetic fingers on living strings." During the period of the creation of Prince Igor, Borodin studied the Lay with particular attention. 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 part of the symphony, the harp chords accompanying the brief clarinet melody sound like the introduction of the harp, preceding the epic narration. And the first theme of this movement, entrusted to the French horn, soloing against the background of harp and string group chords, has the character of a narration, melodious and unhurried:

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

Gradually increasing string tremolo leads to an increase in tension, emphasized by menacing downward strokes. Against their background, one more brief dramatic theme arises in a low register, intertwines with them and rapidly develops:

Following a short rise, a powerful climax of the entire orchestra, and a four-measure woodwind call-in built on the second theme, the first sounds powerfully. epic theme, announcing the victorious outcome of the battle, the story of which, undoubtedly, was the previous episodes of this part. Their echoes pass through the orchestra once more, before the familiar opening chords of the harp, the initial chorus of the clarinet and the short phrase of the horn return us to the image of the prophetic Bayan, to the sounds of the harp singing feats of arms Russian heroes.

The third and fourth parts of the "Bogatyr" symphony, at the direction of 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 finale, as already mentioned, depicts, according to the author's intention, "the scene of a heroic feast, with the sound of a harp, with the jubilation of a great crowd of people." It is clear, therefore, that the composer decided to directly connect the images of the story about heroic deeds, sounded in the third part of the symphony, with the images of the folk festival contained in its finale.

In many epics, an “honorable feast” is mentioned, which completed the military labors of the heroes, whom the people honored. At the beginning of the finale, we seem to hear the tread of people gathering for such a feast. Lively short phrases of violins appear, tunes of pipes and harps imitated by a harp sound, and, finally, the theme of folk fun rumbles in the orchestra:

It is changed by another topic, also lively, but somewhat more lyrical:

It appears first with the clarinet, which is closest in timbre to the flute, and therefore generally plays a very significant role in Russian symphonic music. But soon this theme is included in the picture of folk fun. The composer also strives here to preserve the national flavor of Russian folk instrumental music: the “pipe” melody sounds in the upper register of woodwinds, and is accompanied by “goose” harp chords, supported by a string group, the sounds of which are extracted here not with bows, but with a pinch - also for creating 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 development, that is, in the second section of this part, the composer masterfully develops both themes: in the loud exclamations of trombones, we can easily recognize, for example, the melodic outlines of the first theme, and in a large increase (shortly before the reprise) - the second theme. But, whatever the internal contrasts that the composer uses to depict individual episodes of the national festival, the general mood of the finale is remarkable for its amazing integrity, starting from its first bars and ending with the final section containing both main themes.

The composer brilliantly embodied in musical images his plan, communicated 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 the "Bogatyr" symphony of Borodin, "the deeds of bygone days, the legends of the deep antiquity" are sung. And yet the work is deeply modern. The work of the great Russian masters is distinguished by the power of artistic generalizations, ideological orientation, which is in many respects in tune 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 ​​\u200b\u200bthe 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 symphony.

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

"Bogatyr" symphony of Borodin, distinguished by the depth and nobility of the patriotic intention and the bright concreteness of musical images, is one of the highest achievements of Russian musical classics, marking new stage on the way of development of domestic symphonic music.

The fruitfulness of the assimilation of the epic traditions of Borodin is evidenced by the best works of those composers in whose work the successive connection with the music of Borodin, with its heroic masculinity and heroic strength, is especially clearly felt.

As examples, one can name at least the symphonies of R.M. Gliera (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", a symphony-cantata by Yu.A. Shaporin "On the field of Kulikovo" and his own oratorio "The Legend of the Battle for the Russian Land".

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

Used literature: Igor Belza, Borodin's Second "Bogatyr" symphony (ed. 2) Moscow, Muzgiz 1960.

A.P. Borodin "Bogatyr Symphony"

"Bogatyrskaya" symphony is the pinnacle symphonic creativity Borodin. The work sings of patriotism and the power of the Motherland and the Russian people. Clarity of sound, purity of timbres and incredibly beautiful melodies make you see the richness of your native land. Melodies one after another seem to open the door to history for us, returning us to the origins, to epic creativity.

The symphony is called "Bogatyrskaya" for a reason. Find out why the work has such a name, how the composition was created, and many others interesting facts can be on our page.

History of creation

Epic images, as well as symphonic forms, have always attracted the attention of the composer. In 1869 Borodin a wonderful idea came to mind to create a symphony, embodying all Russian power, set forth in epics. Despite the fact that the first part of the composition was completed in 1870 and shown to friends in Balakirev circle work progressed rather slowly. The main reason for the long breaks in musical activity was that Alexander Borodin was an outstanding chemist, and often professional activity was his priority. Moreover, at the same time there was a composition of a larger work, namely the opera “ Prince Igor”(hence it is worth highlighting the relationship of the two works).

As a result, the entire second symphony was completed only seven years later, in 1876. The premiere took place in February of the following year under the auspices of the Russian Musical Society in St. Petersburg. The composition was conducted by the amazing conductor of the 19th century E.F. Guide. The whole world of St. Petersburg society was gathered for the presentation. The hall rejoiced. The Second Symphony certainly made a splash.

In the same year, an equally successful Moscow premiere followed. Conducted by the incomparable Nikolai Grigorievich Rubinstein. It is noteworthy that during the audition, the society was divided into two sides according to impressions: some recognized that the author was able to portray the power and invincibility of Rus' in full force, while others tried to challenge the use of Russian folklore in secular music.

One of the listeners was a Hungarian composer and a great pianist F. List. After the speech, he decided to support Alexander Borodin and showed him his own respect as a professional of the highest level.

Currently, the "Bogatyr Symphony" is one of the works included in the permanent repertoire of many symphony orchestras around the world.

Interesting Facts

• Hearing the piece for the first time Modest Mussorgsky was pleasantly surprised. He proposed to call the work "Slavic heroic", but the name did not stick.
• Work on the symphony continued for seven whole years. The fact is that Borodin simply did not have time to compose music, since at the same time he was active as a professor, which obliged him to conduct "Women's Medical Courses".
• IN documentary"Sergey Gerasimov. Bogatyr Symphony", the work is a leitmotif that permeates the entire life path great film director of the USSR.
• The first performance of the symphony was highly appreciated not only by the composer's compatriots, but also by famous foreign musicians. F. Liszt, after listening, was shocked to the core, after the premiere he approached Borodin and advised him to follow his own feelings in music and not listen to the exclamations of spiteful critics, since his music always has a clear logic and is skillfully performed.
• The third and fourth parts form a single mini-cycle, as a result of which they are performed without interruption.
• It is worth noting that in those days Russian composers wrote little in the "symphony" genre, therefore Alexander Porfiryevich Borodin, along with Rimsky-Korsakov And Tchaikovsky are considered the founders of the Russian classical symphony.
• In many ways, the "Second Symphony" is similar to the opera "Prince Igor". The fact is that the writing went in parallel. Often the composer borrowed themes from the opera, inserting them into the symphony, or vice versa, initially composing for the symphony, and using them in the opera. So main topic in the symphony was intended for the exposition of the image of Russians in the opera "Prince Igor".
• The first theme is based on the intonations of the well-known burlak labor song "Hey, let's go!".
• Few people know, but initially Stasov proposed to call the symphonic work "The Lioness". But after he really rethought the idea of ​​Alexander Borodin, great critic suggested calling it as "Bogatyrskaya". The idea came to him after the composer's story about the programmatic nature of music.
• The work was seriously edited by two masters of composition and arrangement, namely Nikolai Rimsky-Korsakov and Alexander Glazunov. To date, this edition is performed more often than the author's.
• The main theme of the finale is the folk song "I will go under Tsargrad".

The work of Alexander Borodin is mainly based on epic Russian images, invoking pride in the listeners for the Fatherland.

The composition consists of four classical parts, the only difference is that the author has swapped the second and third parts in the structure in order to realize his own compositional idea.

The genre of the symphony is epic, which determines the presence of images corresponding to the theme, which include a powerful hero defending the Motherland and Bayan the storyteller.

It is noteworthy that the work does not have a clear programmatic intent (because there is no literary source at the heart of the symphony), but programmatic features stand out. In connection with this fact, each part can have conditional names:

• Part I - Sonata allegro. "Meeting of heroes".
• Part II - Scherzo. "Game of the Bogatyrs".
• III part - Andante. "Song of the Bayan".
• Part IV - Final. "Bogatyr's feast".

Alexander Borodin told Stasov about a similar name for the parts. It is worth noting that the composer did not insist on the introduction of a specific program, allowing the listener to invent images himself. This feature is largely characteristic of the creativity of the participants " mighty handful”, and manifests itself only in the attraction to software.

The dramatic development is built on the contrast dynamization technique typical of epic symphonism; in order to better understand the whole meaning laid down by the author, it is necessary to consider each part in more detail.

The sonata allegro is built on two contrasting parts: the first part has a stern, courageous character and is performed in unison, personifies the heroic power and strength, the second theme is filled with life energy, demonstrates valiant prowess and quickness of mind. Part is actively developing, already in development dominates the new musical material, showing the scene of the battle of the heroes, the plot of the action takes place. The end is a crushing sound of the main "heroic" theme.

The scherzo is contrasting in character with the previous movement. It can be considered that in the dramatic plan it represents an emotional discharge.

The third and fourth parts must be comprehended as a whole. Andante is Bayan's tale, which determines the appropriate set of figurative and instrumental techniques, such as imitation of the sound of the harp by means of using a harp, the presence of a variable size characteristic of the tale. The internal development of the part is based on the solemn proclamation of the “heroic” theme in the reprise, which thereby prepares for the beginning of a new part, which is marked as the “feast of the heroes”. The finale is characterized by the use of timbres bright for Russian culture - pipes, gusli, balalaikas. The symphony ends with a fantastic riot of musical colors, reflecting the prowess and vigor of the Russian people.

Change of brightly contrasting large-scale musical pictures connected at the same time by intonational unity - here main principle symphonism of Borodin, manifested in many of his works.

"Bogatyr" symphony is a chronicle Ancient Rus' in music. Thanks to talent Alexandra Borodina and his boundless love for Russian history, the epic direction became widespread and actively developed in the work of such composers as Taneev, Glazunov and Rachmaninov. The Second Symphony is a special symbol of Russia, its culture and identity, which will not fade over the years, but will gain strength every year.

Video: listen to the Bogatyr Symphony

Borodin's music ... excites a feeling of strength, vivacity, light; it has a mighty breath, scope, breadth, space; it has a harmonious healthy feeling of life, joy from the consciousness that you live.
B. Asafiev

Symphony No. 2 in B minor `Bogatyrskaya`

Borodin's Second Symphony is one of the pinnacles of his work. It belongs to the world symphonic masterpieces due to its brightness, originality, monolithic style and ingenious realization of the images of the Russian folk epic. The composer conceived it at the beginning of 1869, but he worked on it with very long interruptions, caused both by his main professional duties and by the embodiment of other musical ideas. The first part was written in 1870. Then he showed it to his comrades - Balakirev, Cui, Rimsky-Korsakov and Mussorgsky, who made up the so-called Balakirev circle or the Mighty Handful (the definition of their senior mentor and ideological leader, art critic V. Stasov). Friends showed a genuine enthusiasm. Mussorgsky proposed for her the name Slavic heroic. However, Stasov, who was no longer thinking about an emotional definition, but about the name with which the music would live, suggested: Bogatyrskaya. The author did not object to such an interpretation of his intention, and the symphony remained with him forever.

It was still a long way from the end. There are many distractions - teaching at the Medico-Surgical Academy, where Borodin holds the position of professor, teaching at the Women's Medical Courses, numerous public duties, including editing the popular scientific journal Knowledge. Finally, the composer was distracted by the creation of other works. In the same years, fragments of the opera "Prince Igor" appear, in which "heroic" notes are also very strong. The symphony was fully completed only in 1876. Its premiere took place on February 2, 1877 in one of the concerts of the Russian Musical Society in St. Petersburg under the direction of E. F. Napravnik.

The symphony, despite the absence of an announced program, has clearly programmatic features. Stasov wrote about this: "Borodin himself told me more than once that in the adagio he wanted to draw the figure of Boyan, in the first part - a meeting of Russian heroes, in the finale - the scene of a heroic feast with the sound of a harp, with the jubilation of a great crowd of people." Actually, this interpretation gave Stasov a reason to name Bogatyrskaya.

All these paintings are united by a common patriotic idea, which is consistently revealed in the symphony - the idea of ​​love for the motherland and glorification of the heroic might of the people. unity ideological content meets the musical integrity of the work.
The diverse paintings shown in the Second Symphony form one broad epic canvas, embodying the idea of ​​the wealth of strength and spiritual greatness of the people.

Performed by La Scala String Quartet
Francesco Manara (violin), Pierangelo Negri, Simonide Bracioni, Massimo Polidori (cello)

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

Even while studying at the Medical and Surgical Academy, Borodin began to write romances, piano pieces, chamber-instrumental ensembles, which caused dissatisfaction with his supervisor Zinin, who believed that playing music interferes with serious scientific work. For this reason, during his internship abroad, Borodin, who did not abandon musical creativity, was forced to hide him from his colleagues.
A.P. Borodin, upon his return to Russia in 1862, met the composer Mily Balakirev and entered his circle (which in later tradition received the name "Mighty Handful"). Under the influence of M. A. Balakirev, V. V. Stasov and other participants in this creative association the musical and aesthetic orientation of Borodin's views was determined, as an adherent of the Russian national school in music and a follower of M. I. Glinka. A.P. Borodin was an active member of the Belyaevsky circle.

The creative heritage of Borodin, who combined scientific and teaching activities with the service of art, is relatively small in volume, but made a valuable contribution to the treasury of Russian musical classics.
The most significant work of Borodin is rightfully recognized as the opera "Prince Igor", which is an example of the national heroic epic in music. The author worked on the main work of his life for 18 years, but the opera was never completed: already after the death of Borodin, composers N. A. Rimsky-Korsakov and A. K. Glazunov completed the opera and orchestrated based on Borodin’s materials. Staged in 1890 at the St. Petersburg Mariinsky Theatre, the opera, notable for its monumental integrity of images, the power and scope of folk choral scenes, and the brightness of national color in the tradition of Glinka's epic opera Ruslan and Lyudmila, was a great success and remains one of the masterpieces to this day. national opera art.
A.P. Borodin is also considered one of the founders of the classical genres of symphony and quartet in Russia.
Borodin's first symphony, written in 1867 and published simultaneously with the first symphonic works by Rimsky-Korsakov and P. I. Tchaikovsky, laid the foundation for the heroic-epic direction of Russian symphonism. The symphony was first performed in 1869 under the direction of M. A. Balakirev, its score was published by V. V. Bessel in 1882. The composer's Second ("Bogatyr") Symphony written in 1876 is recognized as the pinnacle of Russian and world epic symphonism. The first performance took place in 1877 under the direction of E. F. Napravnik. The score was published in 1887, posthumously, in the edition of N. A. Rimsky-Korsakov and A. K. Glazunov, who made significant changes to its music. Both symphonies already during the life of Borodin received recognition abroad, the First was much more popular at that time.
Among the best chamber instrumental works belong to the First and Second Quartets, presented to connoisseurs of music in 1879 and in 1881. In the last years of his life, Borodin worked on the Third Quartet.
The music of the second part of Borodin's String Quintet was used in the 20th century to create the most popular song "I See a Wonderful Liberty" (to lyrics by F. P. Savinov).
Borodin is not only a master of instrumental music, but also a subtle artist of chamber vocal lyrics, a vivid example of which is the elegy "For the shores of the distant homeland" to the words of A. S. Pushkin. The composer was the first to introduce into the romance the images of the Russian heroic epic, and with them the liberating ideas of the 1860s (for example, in the works The Sleeping Princess, The Song of the Dark Forest), also being the author of satirical and humorous songs (Arrogance, etc. .).
The original work of A.P. Borodin was distinguished by a deep penetration into the system of both Russian folk songs and the music of the peoples of the East (in the opera "Prince Igor", the symphonic picture "In Central Asia" and others symphonic works) and had a noticeable impact on Russian and foreign composers. The traditions of his music were continued by Soviet composers (S. S. Prokofiev, Yu. A. Shaporin, G. V. Sviridov, A. I. Khachaturian, etc.)

Alexander Porfirievich Borodin was an amazingly versatile personality, he went down in history as a great composer, and as an outstanding chemist, scientist and teacher, and as an active public figure. Uncommon was his literary talent of Alexander Porfiryevich, which manifested itself in the libretto of the opera Prince Igor written by him and in his own texts of romances and in letters. Successfully performedBorodinas a conductor and music critic. And at the same time, his activity, like his worldview, was characterized by exceptional integrity. In everything one felt clarity of thought and a wide scope, progressiveness of convictions and a bright, cheerful attitude to life.

Versatile and internally united is musical creativity Alexander Porfiryevich Borodin. It is small in volume, but includes samples of different genres: opera, symphonies, symphonic picture, quartets, piano pieces, romances. “Borodin’s talent is equally powerful and amazing both in symphony and in opera and romance,” wrote Stasov. “His main qualities are giant strength and breadth, colossal scope, swiftness and impetuosity, combined with amazing passion, tenderness and beauty.”

To these qualities, you can add juicy and gentle humor.

The extraordinary integrity of Borodin's work is due to the fact that one leading thought passes through all his main works - about the heroic power hidden in the Russian people. Again, in others historical conditions, Borodin expressed Glinka's idea of ​​popular patriotism.

Favorite heroes of Borodin - defenders home country. These are real historical figures (as in the opera "Prince Igor") or legendary Russian heroes, firmly standing on native land, as if grown into it (remember the paintings of V. Vasnetsov "Bogatyrs" and "The Knight at the Crossroads"), In the images of Igor and Yaroslavna in "Prince Igor" or epic heroes Borodin's Second Symphony summarizes those qualities that have manifested themselves in the characters of the best Russian people in the defense of their homeland for many centuries national history. This is a living embodiment of courage, calm grandeur, spiritual nobility. The scenes shown by the composer from folk life. He is dominated not by sketches of everyday life, but by majestic paintings. historical events that influenced the fate of the whole country.

Turning to the distant past, Borodin, like other members of the "Mighty Handful", did not leave the present, but, on the contrary, responded to its requests.

Together with Mussorgsky ("Boris Godunov", "Khovanshchina"), Rimsky-Korsakov ("The Maid of Pskov"), he participated in artistic research Russian history. At the same time, his thought rushed to more ancient times, far into the depths of centuries.

In the events of the past, he found confirmation of the idea of ​​the mighty strength of the people, who carried their high spiritual qualities through many centuries of difficult trials. Borodin glorified the creative forces of creation hidden in the people. He was convinced that the heroic spirit was still alive in the Russian peasant. (It was not for nothing that in one of his letters he called a familiar village boy Ilya Muromets.) Thus, the composer led his contemporaries to the realization that the future of Russia belongs to the masses.

The positive heroes of Borodin appear before us as carriers moral ideals, embodying loyalty to the motherland, steadfastness in the face of trials, devotion in love, a high sense of duty. These are whole and harmonious natures, which are not characterized by internal discord, painful mental conflicts. Creating their images, the composer saw in front of him not only people of the distant past, but also his contemporaries - the sixties, the best representatives of young Russia. In them, he saw the same fortitude, the same desire for goodness and justice, which distinguished the heroes of the heroic epic.

Borodin's lyrics are also indicative. like glinkin As a rule, she embodies lofty and integral feelings, is distinguished by a courageous, life-affirming character, and in moments of a high rise of feelings is full of ardent passion. Like Glinka, Borodin expresses the most intimate feelings with such objectivity that they become the property of the a wide range listeners. At the same time, even tragic experiences are conveyed with restraint and strictness.

Borodin. Sketch by an unknown artist

A significant place in the work of Borodin is occupied by paintings of nature. His music often evokes a feeling of wide, boundless steppe expanses, where there is room for heroic strength to unfold.

Borodin's appeal to the patriotic theme, to heroic images of the people, to the forefront of positive heroes and lofty feelings, the objective nature of the music - all this makes one recall Glinka. At the same time, in the work of Borodin there are also such features that the author of Ivan Susanin did not have and which are generated new era public life- 60 years. So, paying, like Glinka, the main attention to the struggle between the people as a whole and its external enemies, he at the same time touched upon other conflicts - within society, between its individual groups ("Prince Igor"). Appear in Borodin and consonant with the era of the 60s, images of a spontaneous popular revolt (“Song of the Dark Forest”), close to the same images in Mussorgsky. Finally, some pages of Borodino music (the romances “My Songs Are Full of Poison”, “False Note”) no longer resemble the classically balanced work of Glinka, but the more intense, psychologically sharp lyrics of Dargomyzhsky and Schumann

The epic content of Borodin's music corresponds to its dramaturgy. Like Glinka, it is based on principles close to folk epic. The conflict of opposing forces is revealed mainly in a calm, unhurried alternation of monumental, complete, internally solid paintings. Characteristic of Borodin as an epic composer (unlike Dargomyzhsky or Mussorgsky) is the fact that in his music much more often than recitative, there are wide, smooth and rounded song melodies.

Peculiar creative views Borodin was also determined by his attitude towards the Russian folk song. Since he sought to convey in music the most common and enduring qualities folk character, insofar as in folklore he was looking for the same features - strong, stable, enduring. Therefore, he treated with particular interest the song genres that have been preserved among the people for many centuries - epics, ancient ritual and lyrical songs. Summarizing the characteristic features of their modal structure, melody, rhythm, texture, the composer created his own musical themes without resorting to quoting genuine folk melodies.

melodic and harmonic language Borodin is distinguished by its exceptional freshness, primarily due to its modal originality. Borodin's melody makes extensive use of characteristic turns of folk song modes (Dorian, Phrygian, Mixolydian, Aeolian). The harmony includes plagal turns, side step connections, juicy and tart chords of quarts and seconds, which arose on the basis of quarto-second chants characteristic of a folk song. Colorful consonances are also not uncommon, which are formed as a result of superimposing independent melodic lines and whole chords on top of each other.

"Portrait of Alexander Borodin" brushes Ilya Repin, 1888

Like all Kuchkists, Borodin, following Glinka, was interested in the East and depicted it in his music. He treated the life and culture of the Eastern peoples with great attention and friendliness. Borodin felt and conveyed the spirit and character of the East, the color of its nature, the unique aroma of its music and conveyed it with an unusually penetrating and subtle way. He not only admired the Eastern folk song And instrumental music but also - closely, as a scientist, studied it according to the notes, according to the works of researchers.

With his oriental images, Borodin expanded the idea of oriental music. He first discovered the musical riches of the peoples of Central Asia (symphonic picture "In Central Asia", the opera "Prince Igor"). This was of great progressive significance. In that era, the peoples of Central Asia were annexed to Russia, and the attentive, loving reproduction of their melodies was an expression of sympathy for them on the part of an advanced Russian composer.

The originality of the content, creative method, attitude to Russian and Eastern folk songs, bold searches in the field of musical language - all this led to the extraordinary originality of Borodin's music, its novelty. At the same time, the composer combined innovation with respect and love for the diverse classical traditions. Borodin's friends in The Mighty Handful sometimes jokingly called him a "classic", referring to his attraction to the musical genres and forms characteristic of classicism - to the four-part symphony, quartet, fugue - as well as to the correctness and roundness of musical constructions. At the same time, in the musical language of Borodin, and above all in harmony (alternated chords, colorful additions), there are features that bring him closer to Western European romantic composers, including Berlioz, Liszt, Schumann.

The last years of his life and work, in the late 70s - early 80s, Borodin created: The first and second quartets

String Quartet No. 1 in A major
1 Moderato
2 Andante con moto - Fugato. Uno poco mosso
3 Scherzo. Prestissimo
4 Andante - Allegro risoluto

Rostislav Dubinsky, violin
Yaroslav Alexandrov, violin
Dmitry Shebalin, viola
Valentin Berlinsky, cello

String Quartet No. 2 in D Major

5 Allegro moderato
6 Scherzo. Allegro
7 Notturno. Andante
8 finale. Andante - Vivace

Symphonic picture "In Central Asia"

Several romances, separate, new scenes for the opera

From the beginning of the 80s, Alexander Porfiryevich Borodin began to write less. From major works recent years life can only be called the Third (unfinished) symphony. In addition to it, only the "Little Suite" for piano appeared (composed in large part back in the 70s), a few vocal miniatures and opera numbers.