Alexander Porfiryevich Borodin went down in the history of Russian music as the continuer of Glinka’s “Ruslan” tradition. The epic beginning is the basis of his musical style in all genres. In musicology, it has long become traditional to compare Borodin with Boyan, the legendary singer-storyteller of the times of Kievan Rus. However, turning to times long past, Borodin reflected and comprehended the doubts and hopes, joys and troubles of his century. As a result, the main channel of the composer’s creativity was determined by the idea of historical continuity of the unshakable and eternally reviving spiritual values of the people.
The composer's legacy can be traced to stages of creativity evolution:
60s: First Symphony, romances “The Sleeping Princess”, “The Sea Princess”, “Song of the Dark Forest”. This period is characterized by the formation of an epic theme.
70s: Second Symphony, opera-ballet “Mlada” (together with the Kuchkists), romance “The Sea”, romances based on Heine’s poems, string quartet No. 1, part of the opera “Prince Igor”. The period was characterized by the flourishing of epic and lyric poetry.
80s: symphonic picture “In Central Asia”, “Prince Igor”, string quartet No. 2, “Little Suite” for piano, Third Symphony, romances. During this period, the previous line of creativity continues, and there is also an increase in the features of intimacy and the appearance of tragic images.
When studying Borodin's work, researchers are faced with a paradox: the incomparability of the quantitative composition of the heritage with its enormous importance for the history of world musical culture. There are many explanations for this fact. Borodin, being a composer and a chemist at the same time, like the great artists of the past, strove for the integrity of the scientific and artistic understanding of the world. Consciously or intuitively, he could not give up one of his spiritual inclinations without harm to himself. Otherwise, the integrity of the individual will be violated.
The following are characteristic of Borodin's work: themes, images:
Russian heroic.
East. For Borodin, the nature of Russian epic thinking contradictorily and naturally combines the tendencies of Western active effectiveness and Eastern detached contemplation.
Lyrics. Two types: expressing the feeling of mass or epic hero; feelings are personal.
Nature. Either it is identified with heroic strength (sleeping or awakening), or it is depicted realistically (affectionate and thoughtful).
Humor. Good-natured comedy, alien to the pathos of the accuser, romantic skepticism and irony.
Style. Borodin’s work embodies both general Kuchka ideals and his own, individual ones. He was united with the Kuchkists by his commitment to the idea of creating a Russian school based on the development of Glinka’s traditions. He was also a Glinkanist in terms of introducing Slavic and Eastern themes into the dramaturgy of his works in their contrast and opposition. Masterfully masters the variant-variation method of development. Passionate about romantic art, one of the Russian Schumanists. He shared the interest of the Kuchkists in program music.
On the other hand, Borodin had the mind of an objectively thinking scientist. He, more than all the Kuchkists, was attracted to classical works. From his youth he played the cello part in quartets of Haydn and Mozart. He has an excellent command of form and was the first among the Kuchkists to write a symphony. Unlike the Kuchkists, he is attracted to closed and reprisal forms. He and Glinka were brought together by a negative attitude towards spoken music. He heard the music of poetry perfectly. Even recitation is based on cantability.
Thus, Borodin’s art combined the desire for a romantic statement and the strict rationalism of a scientist. From Balakirev he inherited the tendency to think about his works for a long time.
Musical language: Origins. Rimsky-Korsakov defined the formula of Borodin’s style: “Glinka + Beethoven + Schumann + his own.”
Melody. Reliance on Russian folk songs of various genres: epics, drawn-out songs, dance and round dance songs, as well as oriental intonations.
Harmony. On the one hand, there is reliance on ancient elements of octaves, natural modes, strengthening the sense of the archaic through parallel octaves, fourths, fifths. On the other hand, it develops a colorful, coloristic side. “Borodin seconds and quarts” are very expressive. Uses 7th and non-chords of secondary degrees, alteration of the dominant, whole tone scale, major key comparisons, long organ points.
Dramaturgy. Non-conflicting, epic. An interesting method is synthesis, bringing together initially contrasting elements based on the underlying internal unity of themes.
Orchestra. Characterized by transparency and cultivation of woodwind solos. Orchestra of “pure timbres”.
Potapova Olga Nikolaevna
Job title: teacher of theoretical disciplines
Educational institution: MAU DO "Children's Art School"
Locality: Inzer village, Beloretsky district, Republic of Bashkortostan
Name of material: Methodological development of an open lesson
Subject:"Vocal creativity of the Russian composer A. Borodin"
Publication date: 06.03.2017
Chapter: additional education
Municipal autonomous institution
additional education
"Children's Art School"
METHODOLOGICAL DEVELOPMENT
OPEN LESSON
DIRECTION:
Theory and methodology of additional education for children
“Vocal creativity of the Russian composer A. Borodin”
Completed by: Potapova O.N.
teacher
theoretical disciplines
MAU DO "DSHI"
Inzer village 2017
1. Introduction.
2. Vocal creativity of the Russian composer A. Borodin (conversation).
3. Assignment for students - stylistic direction in music.
4. The connection between music and poetry in the vocal creativity of A. Borodin.
5. Conclusion.
6. List of references.
7. Application.
1. INTRODUCTION
Relevance of the study:
The academic subject "Musical Literature" is one of
mandatory
disciplines
arts
directed
spiritual and moral
development
mastery
spiritual and cultural values of the peoples of the world.
During training sessions, students rely on their own impressions
correlate
listened to
work
acquaintances
stylistic direction in music. Students must learn to logically
and consistently express your thoughts orally and in writing.
By this period (the third year of studying musical literature)
students
are being formed
musical-historical
performances,
artistic image and content of a musical work. Students
can determine the genre, style, era in which the work was created,
conduct a comparative analysis of the listened works.
In this lesson, students get acquainted with the vocal creativity of Russian
19th century composer Alexander Porfiryevich Borodin. Previous lesson
was dedicated to the composer’s lifestyle and work, his achievements in science.
A.P. Borodin worked in the era of romanticism, he was attracted to heroic images.
“Borodin’s talent is exactly powerful and amazing both in the symphony and in
opera and romance. Its main qualities are great strength and width, colossal
swiftness
impetuosity,
connected
amazing
passion, tenderness and beauty" V.V. Stasov.
Object of study: musical training and education of children's art school students.
Subject of research: vocal creativity of the Russian composer
A. Borodin.
Target:
introduce students to the vocal works of A. Borodin;
develop children's analytical and creative imagination skills;
improve
musical
perception,
analyze,
compare, highlight the main thing.
Tasks
Educational: based on the musical experience of students to shape their
vocal
in particular
composer
A. Borodin);
organize the process of analyzing a musical work.
Educational: develop
improvisation
various
composers; develop students' creative abilities.
Educational: on
emotional
perception
vocal
creativity
composer
A. Borodina
bring up
respect
musical
culture
bring up
respect
benevolent
attitude
the opinions of others; enrich the spiritual world of students.
Equipment: portrait
A. Borodina,
M. Mussorgsky,
reproductions
Russian artists, laptop.
Teaching methods and forms of organizing educational activities:
practical, verbal;
activation
musical
students
individual
group activities.
Lesson format: lesson-dialogue.
Lesson Plan
1. Acquaintance with the vocal creativity of A. Borodin.
2. Test task “Stylistic direction in music.”
3. The connection between music and poetry in the vocal creativity of A. Borodin.
4. Lesson summary.
2. VOCAL WORK OF COMPOSER A. BORODIN
The romance genre was loved by Russian composers of the 19th century, gave it
Alexander
Porfirievich
creative
the heritage looks more than modest - only sixteen works. IN
while his three comrades in the “Mighty Handful” have the number of romances
numbers in tens and even hundreds. But this is the same case when
Quantity cannot judge quality. They may be few, but each is a masterpiece.
Romances by A. Borodin can be divided into three groups:
Images of folk epics, fairy tales.
Lyrical and psychological sketches.
Household, humorous.
Of particular interest are fairy-tale romances, for example “Sleeping
princess." It combines images of a sleeping girl, evil fantastic
creatures and the image of a hero-liberator. The image of the princess was compared with the image
shackled
hostile
when is the hour
awakening." The romance has noticeable features of romanticism, a new style in art.
of that time. The composer uses the rondo form, which expresses well
images of the work. Refrain - sleeping princess, episodes - fantastic powers
and the hero-liberator (watch video).
“Song of the Dark Forest” contains a more specific heroic image.
The composer himself composed the words in the spirit of ancient folk songs.
(it’s not for nothing that the composer gave his romance the subtitle “Old Song”). In this
romance Borodin showed folk images of the past and emphasized in them that
what was close to modernity - elemental strength and uncontrollability, desire
to freedom (watch video).
Among the lyrical romances, the elegy “For the Shores” occupies a special place
distant." The work was written in 1881 under the impression
death of Modest Mussorgsky. The music of the romance merges with the text
expresses
mood
reserved
courageous
sorrow, pain of experience. (The student makes a short message: “Lyrics are
the spiritual world of man, the expression of various emotional experiences,
feelings and mood") It is in this romance that the depth and strength of
feelings combined with restraint and nobility (watching video).
A striking example of satirical romances is “Arrogance”
A. Tolstoy.
Borodin was not characterized by mockery and irony. His music
distinguishes
good-natured
approached
social
satire genre
popular
creativity
A. Dargomyzhsky
M. Mussorgsky.
titular
advisor is
human
specific
representative
whom
neighborhood,
character-arrogance -generally allegorical (watch video).
Student assignment
In some of A. Borodin's romances, features of a new style in art are noticeable
time - romanticism.
Russian
romanticism
started
examples of national creativity, including folk art.
The formation of Russian romanticism is closely connected with the most important
historical
victory event
Patriotic
national identity, belief in the great purpose of Russia and its people
stimulate interest in folklore. It seemed to Russian romantics that, comprehending
the spirit of the people, they joined the ideal beginnings of life. Folk character
manifests itself
as not just positive, but heroic, national
original,
roots
historical
traditions
historical, bandit songs, epics, heroic tales.
The characteristic features of romanticism are the endless movement towards
slips away
fantastic
fabulous
dreaminess, deep spiritual themes.
Description of the task:
a tree is drawn on the board, romanticism is written on the trunk, students
attach
written
romantic composers. (leaves - P. Tchaikovsky, F. Liszt, G. Sviridov, I. Bach,
N. Rimsky-Korsakov,
V.Verstovsky,
W. Mozart,
A. Borodin,
D. Shostakovich, F. Schubert, Ts. Cui, R. Schumann, M. Mussorgsky - students should
select Russian romantic composers).
4. The connection between music and poetry in the vocal work of A. Borodin
Borodin in his work turned to the poems of various poets - and not only
Russians They set to music the poems of Alexander Pushkin, Heinrich Heine,
Alexei Tolstoy. Like Mussorgsky, he sometimes composed texts for his
vocal miniatures, which helped to achieve greater unity of music and
text. The composer himself said that he was “drawn to singing, cantilena, and not
recitative." Hence the melodiousness and melody of his romances. A. Borodin
tried to express emotional experiences, depth of feelings as subtly as possible,
poetic images.
When working with texts by other poets, the composer took into account the author’s intentions,
used genres of romance close to the poetic genres: ballad, elegy, fairy tale,
sought
expressiveness
accompaniment combined with melody and text.
RESULT OF THE LESSON:
The students got acquainted with the vocal work of A. Borodin;
Determined the stylistic direction in the composer’s work
romanticism and its characteristic features;
Reinforced knowledge of romance genres.
5. CONCLUSION
The academic subject "musical literature" is an important subject in
teaching students at a children's art school. In class, students rely on
own
impressions,
musical-historical
performance
heard and form their own opinion about the piece of music.
Based on their own experience, students improve
musical perception, ability to analyze, highlight the main thing. Form
knowledge about the vocal music of A. Borodin, develop improvisation skills in
styles of various composers. Students learned a short history
development of Russian romanticism, its characteristic features.
Using the example of A. Borodin’s romances, students traced a close connection
music and text composed by the composer himself, as well as texts by others
During the lesson, the following conclusion was made:
A. Borodin's vocal creativity is a masterpiece of world culture.
6. REFERENCES
1 M. Shornikova “Russian musical classics”, Rostov-on-Don, publishing house
"Phoenix", 2007
2 A.P. Borodin romances \\musisseasons\borodin-romansy\
3 Scientific and methodological journal “Music at school” 1-2004. Moscow.
4 A. Borodin “Romances”, Moscow, “Music” 1987
5 Music Club V-20, Moscow, “Music”, 1986.
6 A.V. Fedorov “Introduction to literary criticism”, Moscow, Onyx, 2007
A.P. Borodin
CONTRIBUTION TO HISTORY
|
Borodin's musical heritage
Borodin's musical abilities were revealed very early; As a nine-year-old child, he played by ear all sorts of pieces on the piano that he heard performed by military bands, and at the age of 13 he wrote his first composition: a concerto for flute, which he played quite smartly;
Despite his intensive studies in science, Borodin never abandoned music: during this period he created string and piano quintets, a string sextet and other chamber works. The decisive year in his musical biography was 1862, when Borodin met and became friends with the composer Mily Balakirev and his circle (later known as the New Russian School or the “Mighty Handful”), consisting of Cesar Cui, Nikolai Rimsky-Korsakov and Modest Mussorgsky; under their influence, Borodin began work on a symphony in E-flat major.
The opera Prince Igor is undoubtedly Borodin's greatest creative achievement. It was completed and instrumented after the death of the composer by Nikolai Rimsky-Korsakov and Alexander Glazunov and was first staged in St. Petersburg in 1890. The Second and unfinished Third Symphonies, as well as the painting In Central Asia, are close in imagery to opera: here is the same world of the heroic past of Russia, which brought to life music of remarkable power, extraordinary originality and bright color, sometimes marked by a rare sense of humor. Borodin did not stand out for his skill as a playwright, but his opera, thanks to its high musical merits, won stages all over the world.
In Heidelberg he met Ekaterina Sergeevna Protopopova, a talented pianist; she played him a lot of Schumann, Chopin and Liszt. In 1863 she became his wife. Highly appreciating her husband's talent as a composer, she had the most beneficial influence on his work. Many letters from Borodin to her have survived, in which he gave detailed reports about his life and his work. These letters and some others are a precious source not only for the biography of Borodin, but also for the history of Russian music in general.
"Prince Igor" is not a musical drama with continuously flowing music based on leitmotifs specific for each character; it is a dramatized epic rather than a drama. Borodin did not fully accept Dargomyzhsky’s operatic reform, expressed in “The Stone Guest,” with a consistently applied vocal recitative style. The music of "Igor" consists of a series of rounded orchestral, choral, ensemble and solo numbers. Ariose singing predominates, but there is also a melodic-recitative style, which is extremely expressive. Old forms do not, however, prevent Borodin from implementing the logic of action and purely musical logic in the opera. His libretto, which receives meaning only in connection with the music, is written in excellent, characteristic language; the action develops naturally, freely. The characters are living people, each of them has bright vocal parts, which, together with the rich orchestra, give a number of excellent, relief characteristics. The choirs depict no less vividly the mood of the masses. The orchestra either depicts nature (the eclipse scene, the burning color of the Polovtsian steppe), or serves as a powerful exponent of the people's character (the Polovtsian march, dances). The purely lyrical element is widely used in aria singing. Borodin, primarily a composer of program music, did not write symphonic poems. His charming musical picture “In Central Asia” is strictly programmatic, but the music intended for a live picture could not receive the wide development here that it deserved. His symphonies are also programmatic; although the program was not given by the composer, they do not deviate from classical forms. Stasov, from the words of Borodin, says that in the second symphony in Adagio the author depicts a “accordion”, in the 1st part - a meeting of Russian heroes, in the finale - a scene of a feast of heroes with the sound of the harp, with the rejoicing of the people. But perhaps that is precisely why Borodin did not give a program to his symphonies, so as not to restrict the composer's freedom in symphonic development, in which he shows enormous creative imagination and skill. Borodin's quartets, revealing a deep knowledge of the peculiarities of the quartet style and contrapuntal mastery, are remarkable as high examples of Russian music of this kind. Most of Borodin's romances are original epic pictures ("Song of the Dark Forest", "Sea Princess", etc.), sometimes with a highly developed descriptive element ("Sea"). “The Sleeping Princess,” one of Borodin’s most original romances, is, at the same time, a rather transparent allegory: the princess is Russia, which will be awakened from sleep by heroic power. Borodin's musical epic in opera, symphony and romance constitutes one of the most characteristic aspects of his talent, which makes him similar to Glinka. This is especially evident in his opera “Prince Igor” (dedicated to the memory of Glinka), many pages of which can be staged alongside the best pages of “Ruslan”. The objectivity of musical images and characters in the symphony and opera coexists completely with the other side of Borodin’s creative talent - with the subjectivity, with the lyricism, sometimes tender, sometimes passionate, of his other romances (“My songs are full of poison,” “Arabian song,” “For the shores of the fatherland.” "), many pages of "Prince Igor" ("Konchakovna's Cavatina", "Yaroslavna's Song", the romance of Prince Vladimir, etc.) and quartets (a lovely nocturne in the D major quartet). Borodin's melodic creativity is inexhaustible, original, typical. Along with short characteristic motifs, convenient for thematic development, which constitutes one of the strengths of his musical texture, he also creates a wide cantilena, flowing naturally and easily. He is an extremely diverse and subtle harmonist, a follower of Schumann and Liszt, but he also gave his own, something new in this area. It leans more toward the major than the minor. His modulations often amaze with surprise and boldness, but are always beautiful and logical. His rhythm is extremely rich, often original and capricious, bringing variety, cheerfulness, and vitality to his music. Borodin is a born contrapuntist and instrumentalist. The combination of disparate themes is often encountered in his work and is distinguished by its naturalness and relief (Eastern and Russian themes in the painting “In Central Asia”, the same themes in Polovtsian dances in “Igor”, etc.). He often uses, and with great skill, an imitative style (nocturne in quartet). His orchestration is distinguished by its rich sonority, plasticity, taste in the selection of timbres and their combination, and only occasionally falls into excessive heaviness. Borodin's form is always complete and completely devoid of length. The individuality of Borodin's compositional talent is characterized by the grandeur and integrity of the concept (the second symphony and "Igor" are especially typical), cheerfulness, healthy balance of spirit, which does not exclude elemental passion and graceful tenderness. Humor and comedy are equally accessible to him; drama - less. A bright national character, sometimes Russian, sometimes eastern, often Georgian (Borodin’s Georgian origin was reflected here) is the main feature of all Borodin’s works.
In the 50s 19th century began writing romances, piano pieces, and chamber and instrumental ensembles. In 1862 he met M. A. Balakirev and entered the Balakirev circle (“The Mighty Handful”). Under the influence of Balakirev, V.V. Stasov and other “kuchkists”, 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 the composer’s independent mature style was determined.
Borodin's creative legacy is relatively small in volume, but is a most valuable contribution to the treasury of Russian musical classics. In the works of Borodin, a representative of the progressive intelligentsia of the 1860s, the theme of the greatness of the Russian people, love for the motherland, and love of freedom is clearly evident. His music is distinguished by its epic breadth, masculinity, and at the same time deep lyricism.
Borodin's most significant work is the opera "Prince Igor", which is an example of a national heroic epic in music. Due to the heavy workload of scientific and pedagogical work, Borodin wrote slowly. The opera was created over the course of 18 years and was not completed (after Borodin’s death, the opera was completed and orchestrated based on materials from the author N.A. Rimsky-Korsakov and A.K. Glazunov; staged in 1890, Mariinsky Theater, 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 is one of the creators of the Russian classical symphony and quartet. His 1st symphony (1867), which appeared simultaneously with the first examples of this genre by 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 Borodin's quartets (1st - 1879, 2nd - 1881). The composer is a subtle artist of chamber and 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 and original, had an impact on Russian and foreign composers. Borodin's traditions were continued by Soviet composers (S. S. Prokofiev, Yu. A. Shaporin, G. V. Sviridov, A. I. Khachaturyan, etc.). These traditions are of great importance for the development of national musical cultures of the peoples of Transcaucasia and Central Asia.
Alongside the world of Russian images in Borodin’s work is the bright and full-blooded world of the East.
Borodin's style is characterized by epicness. His music is like a leisurely chronicle, where events and people appear in succession. The main principle of Borodin's musical dramaturgy is the comparison of contrasting images. The melodies flow calmly and smoothly, akin to Russian peasant songs. The harmony is rich, colorful, and has an unusual structure of chords, anticipating C. Debussy and I.F. Stravinsky.
Borodin never quotes folk melodies; he creates his own musical images, using the most characteristic features of folklore.
Borodin's most significant work is the opera "Prince Igor" (completed by N. A. Rimsky-Korsakov and A. K. Glazunov, 1890), which is an example of a national heroic epic in music. The author combined dramatic features with epic ones, highlighting the defense of Rus' from conquerors.
Borodin is one of the creators of the Russian classical symphony. His 2nd symphony was called “Bogatyrskaya” (1876) and became the pinnacle of Russian epic symphonism.
Borodin's two quartets, his piano miniatures and romances are famous.
Even during Borodin's lifetime, his works were known and used in Russia and abroad.
After his death (1887), his creative legacy had a fruitful impact on Russian and foreign composers.
| Characteristics of creativity |
Operas by Rimsky-Korsakov. Opera "The Snow Maiden". Contents of the opera Borodin. Opera "Prince Igor". Contents of the opera by Tchaikovsky. Opera "Eugene Onegin". Contents of the opera Musical entertainment Musical...
Often - with a “floating” movement 1 Additional enhancement of expression is achieved by incomplete resolutions (eis and dis are not resolved). melodies. Let's imagine two Borodin melodies in an approximate combination...
Borodin, Rimsky-Korsakov, Tchaikovsky, Rachmaninov, Scriabin, Stravinsky, Prokofiev, Shostakovich, Sviridov? List the works of these composers who...
Recall the slow introductions to the 4th symphony by Schumann or the Scottish Mendelssohn, as well as the lyrical mood in which the first sonata movements in the 3rd symphony by Borodin, 4 by Tchaikovsky, 4 by Brahms, 9...
Sixteenth and eighth with a dot) Borodin "Prince Igor" Konchak's Aria episode "You are wounded in the Battle of Kayal" - orchestral accompaniment, permeated with the rhythm of the race. 2) syncopation - a discrepancy between the rhythmic...
Vv. Some principles of modal harmony are being revived again (for example, in M.P. Mussorgsky, A.P. Borodin) - orientation towards a certain modal scale, non-centralization of the mode, variability of the foundation, ...
Softens their effect. Russian composers Glinka, Balakirev, Borodin, Mussorgsky rarely introduce major third rows. Tchaikovsky and especially Rimsky-Korsakov often and in different ways. At Rimsky-Korsakov's...
Symphony, II movement. Kabalevsky. Violin Concerto II part. Myaskovsky 6th Symphony, Op. 23, part II. Schumann 3rd Symphony, Op. 97, hours II Organ point on the III degree of major. Borodin, "Prince Igor", Act II, ...
On Debussy, - “The Sleeping Princess” Borodin a. In a broader sense, this work, perhaps for the first time in the history of music, deploys a “penta-wholetone complex” (see below). Debussy's attraction to parallelism is well known...
In this regard, let us recall the words of B.V. Asafiev relating to the style of Borodin A. Noting such fundamental features as epic calm, smoothness, spaciousness, Asafiev continues: “But when in moments...
ALEXANDER PORFIRYEVICH BORODIN PRINCE IGOR Opera in four acts (five scenes) with a prologue The libretto is based on a Russian epic poem of the 12th century. “The Tale of Igor’s Campaign” by A.P. Borodin. First...
School" (similar to the musical group in France - "Five" or "Group of Five"). The "M.K." included M.A. Balakirev (head of the circle), A.P. Borodin, Ts.A. Cui, M .P. Mussorgsky, N.A. Rimsky-Korsakov;
The traditions of the “Kuchkists” are developed in the works of A. GLAZUNOV. Glazunov's harmonic style grows out of the style of Borodin and Rimsky-Korsakov with a clearer functional logic of each harmonic...
And Weber, but also in Glinka’s “Ruslan”, Wagner’s “Tannhäuser” and “Die Mastersingers of Nuremberg”, Borodin’s “Prince Igor”, Bizet’s “Carmen”, Prokofiev’s “Betrothal in a Monastery”. The second of the main ones is dramatic...
Examples - L. Beethoven, sonata “Appassionata”, part II; F. Chopin, scherzo from sonata in B-flat minor; E. Grieg, Scherzo in E minor, op. 54; A. Borodin, “At the Monastery”; F. Liszt, “Funeral Procession”). Sometimes for...
Opera action. One can recall the Prologue to Borodin’s “Prince Igor”, in which the sonata and complex tripartite forms are uniquely combined; about the Introduction to "Ruslan and Lyudmila" ...
18. Harmony in the works of the composers of the “Mighty Handful”. Mussorgsky's harmony, Rimsky-Korsakov's harmony, Borodin's harmony, Balakirev's harmony
(Harmony/Harmonic styles of composers)
Symphony by A. Borodin a). The general functional orientation of the tonal plan and harmony is preserved and enriched. The major-minor system is also being enriched, including new fourth and second consonances...
The strongest influence of M. Mussorgsky, as well as A. Borodin, N. Rimsky-Korsakov. They refracted their achievements in terms of subjective-chamber or exotic-colorful harmony, in which fine detailing is enhanced...
D b5 Borodin. Cavatina Konchakovna. Sheet "Oh, Where Is He?" Sheet. "Autumn winds rustle sadly (II) VII7 b3 (section Allegro molto agitato) / Grieg. "Spring Flower" op.26 No. 4 Rimsky-Korsakov. "The Tsar's...
Creativity of A.P. Borodin allows us to capture at a single glance the distinctive qualities of his nature and the cardinal tendencies of his creative thinking. This is a heroic fortitude, a desire to highlight with utmost objectivity in literally every work all the facets of the central artistic image, as if surrounding it with a ring of musical and poetic metaphors, the desire to rise above the concreteness of events and survey them as if from a bird’s eye view, and also the highly valued Even in ancient times, the art of truly epic storytelling is the ability to powerfully lead listeners in the process of a leisurely story, following with them from the roots of folk tradition through the trunk of the author’s main thought to the branches, twigs and leaves of the grandiose tree of songs.
A.P. Borodin is a uniquely original composer, in many ways a successor to the traditions of M.I. Glinka. The words of V.V. perfectly characterize the appearance of the composer. Stasova: “Borodin’s talent is equally powerful and amazing in symphony, opera and romance. Its main qualities are gigantic strength and width, colossal scope, swiftness and impetuosity, combined with amazing passion, tenderness and beauty.”
Alexander Porfiryevich Borodin did not create many works, but they are distinguished by the depth and richness of content, a variety of genres, and classical harmony of forms. Most of them are associated with the Russian epic, with the story of the heroic deeds of the people. Borodin also has pages of heartfelt, soulful lyrics; jokes and gentle humor are not alien to him. The composer's musical style is characterized by a wide scope of narration, melody (Borodin had the ability to compose in a folk song style), colorful harmonies, and active dynamic aspiration. Borodin's main means of musical expression is always melody - broad, songlike. Colorfulness and brightness are inherent in Borodin's harmonic language. Here he acts as an innovator, the creator of bold and unusual chord combinations. All musically expressive means are used harmoniously and are subject to a strict logic of development.
His composer's legacy can be considered two symphonies and a symphonic picture "In Central Asia", about 16 romances, two string quartets, a "Little Suite" for piano, as well as the opera "Prince Igor", which was never completed. However, everything that he created carries with it that sign of originality that only geniuses are marked in art. The range of themes in Borodin's music extends from “heroic” images to subtle intimate lyrics. But still, the key concepts for understanding his music are the concepts of “Russian people” and “Russian history”. The composer's artistic thinking combines a slightly detached scientific view of the historical past with a deep understanding of the heroic Russian national character.
The essence of A.P.’s style Borodin is defined by the category “musical epic”. It is no coincidence that musicologists compare the composer with the singer and storyteller of Kievan Rus Bayan. Just as in ancient Russian epics, his music embodies the idea of the heroic power of the Russian people. What the composer has in common with an epic storyteller is his amazing ability to slowly and in detail illuminate “the affairs of bygone days,” to talk about the events of the past objectively and vividly artistically.
Borodin developed rapidly as a composer. Already in his early chamber works his originality was discernible. Communication with the composers of the “Mighty Handful”, who paid special attention in their work to the development of Russian national music, and visiting concerts of the Free Music School brought about a revolution in the artistic consciousness of the young composer. From an early age he lived in St. Petersburg, where there were all the conditions for familiarization with Western European culture. Now he felt his kinship with folk art, and the result was his ability to recreate the intonations of Russian songs with remarkable authenticity. The combination of European elegance of musical writing with the naturalness of the song style of folk music, both Russian and Eastern, distinguished the work of A.P. Borodin from his contemporaries.
A special, internally unusually rich area of expression of the musical genius of A.P. Borodin - his chamber vocal work. Like all the “kuchkists”, A.P. Borodin loved to write romances. Some are composed using the composer's own words. Total A.P. Borodin wrote 18 romances and songs based on texts by A.S. Pushkina, N.A. Nekrasova, A.N. Tolstoy, G. Heine. Most of the best works were created in 1867–1868. Then the romances and songs “The Sleeping Princess”, “False Note”, “My Songs Are Full of Poison”, “Song of the Dark Forest” were born.
Among the epic romances, “The Sleeping Princess” stands out, written by the composer to his own text. The author himself calls “The Sleeping Princess” a “fairy tale” and is dedicated to Rimsky-Korsakov. It features characters traditional to folk tales - the sleeping beauty and the hero - the liberator who defeats evil spells. This tale is allegorical: in the central character one can discern the image of Russia, waiting for awakening. “The Sleeping Princess” is a bold and inspired work, in a new, original style of writing. It is enough to hear the “dangling” seconds, which are repeated, emphasizing the rhythmic swing of the lullaby and creating a picture of an enchanted magical dream. Harmonic brilliance similar to that found in this romance would later emerge from the French composers Claude Debussy and Maurice Ravel.
“Song of the Dark Forest” by A.P. Borodin called it an old song. Romance is close to a song - a legend, an epic tale about a heroic strong will. With its stern character, manly sound of voice and piano, and variability of meter, “Song of the Dark Forest” is akin to epics. The composer abandons the usual division into bars in European music, replacing it with the free alternation of five, three, four, six beats per bar, inherent in epics and Russian folk songs.
Not only Borodin’s epic romances are remarkable, but also his lyrics, especially to the poems of G. Heine and A.S. Pushkin. Pushkin's elegy “For the Shores of the Distant Fatherland” is one of the masterpieces of Russian vocal lyricism. The romance is dedicated to the wife of the composer E.S. Borodina, but written under the impression of the death of M.P. Mussorgsky. The mournful and sublime music embodies a passionate declaration of love, the aching pain of loss, and the bitterness of farewell. Among humorous vocal sketches, the most popular is the romance “Arrogance” (words by A.K. Tolstoy). This genre and everyday scene is full of humor. It makes you remember the comic characters of “Prince Igor”, the declamatory satirical monologues of A.S. Dargomyzhsky and songs by M.P. Mussorgsky.
If Borodin created romances quite quickly, then work on major works lasted for many years, and sometimes decades. Borodin worked on his works very carefully, painstakingly, like a true scientist. He composed many options and selected the best. But the main reason for the long work was, apparently, that he was torn between music, chemistry and social activities and, to top it all off, did not have a well-established life.
This is how A.P. described life. Borodina N.A. Rimsky - Korsakov: “Everyone came to him at any time, tearing him away from dinner or tea, and dear Borodin got up, without eating or drinking, listened to all sorts of requests and complaints, promising to bother. Not counting the pupils who were not transferred to their house, their apartment often served as a refuge and place of lodging for the night for various relatives, poor or newcomers, who fell ill in it and even went crazy, and Borodin fussed with them, treated them, took them to hospitals, visited them there. It often turned out that it was impossible to play the piano because someone was sleeping in the next room.”
Merits of A.P. Borodin's reputation as a symphonist is enormous: he is the founder of epic symphonism in Russian music and, together with P.I. Tchaikovsky is the creator of the Russian classical symphony. The composer himself noted that he was “drawn to symphonic forms.” Moreover, members of the “Mighty Handful” led by V.V. Stasov promoted the picture-plot, program type of symphonic music of the Berlioz type or Glinka model; the classical 4-movement sonata-symphonic type was considered “revived”.
A.P. Borodin paid tribute to this position in his critical articles and in the symphonic film “In Central Asia” - the only programmatic symphonic work. But he was more inclined towards a “pure” symphonic cycle, as evidenced by his three symphonies (the last one was not completed). V.V. Stasov regretted this: “Borodin did not want to take the side of the indigenous innovators.” However, A.P. Borodin gave such a unique interpretation of the traditional symphony that he turned out to be an even greater innovator in this genre than other “subverters.”
Distinctive features of the epic symphony of A.P. Borodin:
· absence of conflict between themes of sonata form;
· instead of confrontation – their contrasting comparison;
· reliance on general, collective, established intonations, connection with Russian song folklore as a traditional feature of thematics;
· the predominance of exposure over development, techniques of intonation variation, subvocal polyphony over motivic development;
· gradual strengthening of the original essence of the main images, affirmation of the idea of integrity and constancy, which contains the main pathos of the epic;
· moving the scherzo to second place in the symphonic cycle, which is explained by the lack of drama in the first sonata Allegro (in connection with this, there is no need for reflection and respite);
· The ultimate goal of development is the synthesis of contrasting material.
The most outstanding symphonic work by A.P. Borodin is the Second Symphony (“Bogatyrskaya”), which has become a classic example of epic symphony. The symphony was created in parallel with “Prince Igor” (1869-1876), and their images are closely interrelated. The symphony received its name “Bogatyrskaya” with the light hand of V.V. Stasova, M.P. Mussorgsky called her “heroic Slavic”.
The symphony, with its amazing concreteness of musical images, can be classified as compositions with a hidden program. Musicologists have no consensus regarding the content of the proposed program. The words of V.V. are known. Stasov, who stated: “Borodin himself told me that in the adagio he wanted to draw the figure of Bayan, in the first part - a meeting of Russian heroes, in the finale - a scene of a heroic feast, with the sound of the harp, with the rejoicing of a great crowd.” However, B.V. Asafiev doubted the veracity of these words: he was confused by the too great degree of specificity of the program. The musicologist suggested not taking it as a dogma and considering the symphony in a broader meaningful context. It seems that the modern researcher is right in believing that “Borodin’s music recreates, first of all, the image of gigantic power, when in the alternation of diverse themes - intensely powerful or whimsically tender, extremely laconic or deliberately drawn out - the worlds of Rus' collide, intersect and penetrate each other and the East."
In the chamber-instrumental heritage of A.P. Borodin stands out for his beautiful Second Quartet (in D major), enchanting with its lyrical imagery. It was written in 1880 - 1881. and dedicated to the composer’s wife, E.S. Borodina. The diverse feelings conveyed in music belong to the range of rather subjective experiences of the master. The influence of lyrical-psychological symphonism is noticeable in the quartet, which is expressed in the integrity of the dramatic concept of the work. Internal lyrical states are embodied in intonations that are diverse in nature, but emphatically related, including urban romance, everyday dance, unexpected spicy “oriental” turns, and reminiscences of bel canto.
Borodin's multifaceted art and his musical epic grew out of the centuries-old spiritual traditions of Russian culture. The composer embodied the moral behests of his ancestors, rethinking them in the spirit of the times with the power of his outstanding talent and scientific intellect.
Thus, based on the characteristics of the work of A.P. Borodin, we can say that the composer’s works are written in various genres. These are operas, symphonies, symphonic paintings, quartets, romances, piano pieces. The theme of the works is the greatness and power of the Russian people, the heroic character traits of the Russian people, the majestic images of the national epic epic.
The main qualities of A.P. Borodin, as a composer, has great strength and breadth of music, colossal scope, swiftness and impetuosity, combined with beauty and tenderness. To these qualities you can add rich and gentle humor. Favorite heroes of A.P. Borodin - defenders of their native country. These are real historical figures or Russian heroes. Lyrics by A.P. Borodina embodies sublime and integral feelings and is distinguished by a life-affirming character. Pictures of nature occupy a significant place in creativity. Melodic and harmonic language of A.P. Borodin is distinguished by its exceptional freshness, primarily due to its modal originality.
