Borodin is the author of a symphonic musical picture. Musical epic: Bogatyr Symphony by Borodin

In execution string quartet La Scala
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. Participant " mighty handful". Founder of Russian epic symphony.

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 refuse musical creativity, was forced to hide it from colleagues.
A.P. Borodin, upon his return to Russia in 1862, met the composer Mily Balakirev and joined 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.
Most significant work Borodin is rightfully recognized as the opera "Prince Igor", which is a model 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: after the death of Borodin, the 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. AT last years life Borodin worked on the Third Quartet.
The music of the second movement of Borodin's String Quintet was used in the 20th century to create the most popular song“I see a wonderful freedom” (to the verses of F. P. Savinov).
Borodin is not only a master instrumental music, but also fine artist 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 as a Russian folk song, and the music of the peoples of the East (in the opera "Prince Igor", the symphonic picture "In Central Asia"and other symphonic works) and had a noticeable impact on Russian and foreign composers. The traditions of his music continued Soviet composers(S. S. Prokofiev, Yu. A. Shaporin, G. V. Sviridov, A. I. Khachaturian, etc.)

The merits of Borodin as a symphonist are enormous: he is the founder of epic symphony in Russian music and, together with Tchaikovsky, the creator of the Russian classical symphony. The composer himself noted that he was "drawn to symphonic forms." Moreover, the members of the “Mighty Handful”, led by Stasov, promoted the picture-plot, program type symphonic music Berlioz type or Glinka type; the classical 4-part sonata-symphony type was considered "revived".

Borodin paid tribute to this position in his critical articles and in the symphonic picture "In Central Asia" - the only program symphonic work. But he leaned more towards the “pure” symphonic cycle, as evidenced by his three symphonies (the last one is not finished). Stasov regretted this: "Borodin did not want to take the side of the radical innovators." However, Borodin gave such a peculiar interpretation of the traditional symphony that he turned out to be an even greater innovator in this genre than other "subverters".

The creative maturity of Borodin the symphonist was marked by the 2nd symphony. The years of its writing (1869-1876) coincide with the time of work on Prince Igor. The two works are close; they are related by a circle of ideas and images: the chanting of patriotism, the power of the Russian people, its spiritual greatness, its depiction in struggle and peaceful life, as well as pictures of the East and images of nature.

"Bogatyr" symphony

The name “Bogatyrskaya” was given to the symphony by V. Stasov, who claimed: “Borodin himself told me that in the adagio he wanted to draw the figure of Bayan, in the first part - a collection 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 ". Promulgated after the death of Borodin, this program, however, cannot be considered the author's.

"Bogatyrskaya" has become a classic example of epic symphonism. Each of its four parts represents a certain perspective of reality, together creating a complete picture of the world. In the first part, the world is presented as a heroic, in the scherzo - the world as a game, in the slow part - the world as lyrics and drama, in the finale - the world as a general idea.

First part

The heroic principle is most fully embodied in I part written in sonata form Allegro ( h-moll ). Its fast pace refutes one of the persistent myths associated with the musical epic (about the dominance of slow motion). In the mighty unisons of the initial measures, with their descending "heavy" thirds and fourths, an image of heroic strength arises. Persistent repetitions, characteristic of the epic tale, emphasis on tonic, energetic "swing" give the music a monolithic stability. The theme gives rise to a variety of allusions - from harsh epic tunes and the barge song "Hey, let's go" to a completely unexpected parallel with the beginning of Liszt's Es-dur concerto. From a modal point of view, it is extremely interesting: one can feel both the variability of the tonic third and the color of the Phrygian mode with a low IV stage.

Second element main theme (Animato assai ) are dance tunes of woodwind instruments. The principle of dialogic structure, characteristic of classical sonata themes, is interpreted in an epic perspective: both elements are quite extended.

The short connecting part leads to side topic( D-dur , cellos, then woodwinds), the soulful lyrical melody of which is intonationally close to Russian round dance songs. Its relationship with the main theme presents a complementary contrast. lyrical images in the opera "Prince Igor" personified in the main characters (Igor and Yaroslavna). Final game (again Animato assai ) is based on material from the main theme in the key D-dur.

Developmentsubordinate epic principle- alternation of images-pictures. Stasov described its content as a heroic battle. Musical development goes in three waves, filled with internal energy, power. Dramatic tension is supported by sequences, stretches, D organ points, an increase in the dynamic level, an energetic ostinato rhythm of the timpani, creating an idea of ​​a swift horse race.

The common intonation of the main themes serves as the basis for their gradual convergence. Already at the very beginning of development, a new thematic variant appears, which is the result of the synthesis of the main theme with a side one. Such a combination of thematics is typical feature epic symphonism in general and characteristic feature the thematic thinking of Borodin in particular.

The first culmination of the development is built on the second element of the main part, which sounds with a dashing prowess. Further, as a natural continuation, follows the introduction of a secondary theme in Des-dur , switching development to a calmer direction. After this respite, new wave growth. The general culmination of the development and, at the same time, the beginning of the reprise is the powerful implementation of the main theme by the entire orchestra in a rhythmic increase byfff.

AT reprise the original essence of the main images is strengthened and deepened: main topic becomes even more powerful (by adding new instruments, adding chords), a side theme ( Es-dur ) - even softer and more tender. Energetic final theme frame episodes reminiscent of the development - with rapid forward movement and dynamic pressure. They stimulate further growth heroic image: its new implementation in code sounds even grander than the previous one (four times the rhythmic increase!).

The second part

The second part (Scherzo) is dominated by images of rapid movement, heroic games. In figurative terms, the music of the scherzo is very close to the Polovtsian world of the opera Prince Igor. It is reflected and elemental force, and oriental plasticity, bliss, passion, which were often opposed to Russian heroism.

The three-movement form usual for scherzos in the "Bogatyr" symphony is distinguished by its large scale: as in the scherzo of Beethoven's 9th symphony, the extreme sections are written here in sonata form (without development).

main themeis distinguished by energy, accentuated sharpness of the instrumental style, staccato type of orchestral movement (even pulse in horns and pizzicato strings). She is set off by the second, involved in the rapid movement, side theme- a beautiful melody with oriental features, which makes you remember Konchak's themes or Polovtsian dances(syncopes, chromatisms).

Even more East in music trio, with its typically Borodino oriental style: organ point, spicy harmony. At the same time, the intonational similarity of the trio theme with the secondary theme of the first movement is obvious.

This is how connections are made between various parts symphony, contributing to its unity.

The third part

Music of the third slow part ( Andante, Des-dur ) is closest to the "program" of Stasov, who compared it with the poetic song of the harpist. The spirit of Russian antiquity is felt in it. Asafiev named Andante "steppe lyrical expanse". This movement is also written in sonata form, where the main themes complement each other, representing two figurative spheres - lyricism (the main theme) and drama (side).

main topic(horn, then clarinet) - this is the "word of the storyteller." Her narrative character transmitted musical means associated with epic origins: smoothness, iridescence of trichord chants, structural and rhythmic non-periodicity, variability of modal and harmonic functions ( Des-dur-b-moll ). Topic harmonized mostly
diatonic chords of side steps using plagal turns. Researchers indicate a specific prototype - the epic "About Dobrynya" ("That's not White birch"). The harp chords reproduce the plucking of the strings on the harp.

AT side topic ( poco anime ) epic slowness is replaced by excitement, as if the singer had moved from a calm narration to a story about dramatic and formidable events. The picture of these events emerges in the final part of the exposition and in the development, where there is a great dramatic tension. Separate disparate motifs from the themes of the exposition acquire a formidable character, reminiscent of the main heroic theme of Part I.

AT reprise the song-tale is sung by the whole orchestra - wide and full-sounding (turnovers from the side part and from the development serve as undertones). In the same key Des-dur ) and against the same background of accompaniment a secondary one passes - the contrast is removed, giving way to synthesis.

Fourth part

The finale of the symphony (also in sonata form) follows the slow movement without a break. Here arises a picture of merry, feasting Russia. In the rapid movement, folk dance, singing, rattling of the harp, and the sound of balalaikas are combined. In the tradition of Glinka's "Kamarinskaya", the variation of the main themes gradually comes to their convergence.

The fourth part begins with a small vortex entry, in which one can hear the turns of dance tunes on D organ point. Tart quarto-second harmonies, empty fifths, the whistle of woodwinds introduce into the atmosphere of Russian folk instrumentalism, buffoonery.

main topic- this is a brisk dashing dance. Flexible free rhythm, frequent accents, like trampling, slapping, give the movement some heaviness. The trichord turns in the melody, the chords of the side steps, the flexible asymmetrical rhythm, in particular the five-beater (unusual for dancing), bring this theme closer to the themes of other parts of the symphony (side part of part I, main party Andante ) .

side themeretains a lively dance movement, but becomes smoother and more melodious, approaching a round dance song. This light, spring-like joyful melody winds like a chain of girls in a round dance.

In development and reprise, the variation of themes, begun in the exposition, continues. Orchestration and harmonization are changing, the role of colorful tonal comparisons is especially great. There are new echoes, new thematic options (later receiving independent development), finally, entirely new themes. This is the grand dance theme that appears at the climax of the development ( C-dur listen)) is the embodiment of a synthesis of both sonata allegro themes. This is a dance in which a mass of people takes part, united by one mood. At the end of the reprise, the movement accelerates, everything rushes in a whirlwind of dance.

Thanks to connections with other parts of the symphony (in particular, with the first) the ending makes sense generalizations.

The affinity of the themes of the symphony unites its four parts into one grandiose canvas. Epic symphonism, which received its first and culminating incarnation here, will become one of the main traditions of Russian music.

Distinctive features of Borodin's epic symphony

• lack of conflict between the themes of the sonata form;
• instead of confrontation - their contrasting comparison;
• reliance on common, collective, settled intonations, connection with Russian song folklore as traditional feature thematism;
• the predominance of exposure over development, the methods of intonational variation, sub-vocal polyphony - over motive development;
• gradual strengthening of the original essence of the main images, the assertion of the idea of ​​integrity and constancy, in which concluded 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 this regard, there is no need for reflection, respite);
• the ultimate goal of development is the synthesis of a contrast material.

It is known that some materials that were originally intended for the opera were then used in the symphony. In particular, initial theme originally conceived as the theme of the Polovtsian choir in "Igor".

found in oriental music, Shostakovich has a monogram. Interestingly, the modal details of the main theme - II low, IV low (dis ) - plan milestones further tonal development of the part: the beginning of development - C-dur, the secondary in the reprise - Es-dur.

Glazunov's Fifth Symphony, Myaskovsky's Fifth Symphony, and Prokofiev's Fifth Symphony were created on the model of the "Bogatyr" symphony.

January 16th, 2013 02:40 am

Domestic musicologists distinguish two types of Russian symphonism:
conflict (lyrical-dramatic),
epic.
The representative of the first type is Tchaikovsky, for example; the second - Borodin.
Wholeness in epic symphony different kind than in conflict.
The cycle of the epic symphony does not fall apart, because each movement represents one facet of life (lyricism, drama, comedy).
Together, these parts create a complete picture of the world.
Borodin is the author of an epic symphony, recognized as a standard.
Standard one: cycle.
The first part embodies the heroic.
The ratio of tempo (Allegro) and dense orchestration is interesting.
A purely Borodino effect of symphonic dynamic monumentalism is created.
Dynamic monumentalism is a voluminous, inactive sound mass, which is devoted to a rapid pace that does not correspond to its capabilities.
Borodin was the first in Russian music to break the law of mass and speed.
The second part is the scherzo.
For Borodin, this is a tradition.
The second part embodies the idea - the world as a game.
Flickering masks.
This part in most disclose feature personalities of Borodin - humor.
The third part contains two figurative spheres - lyrics and drama.
The finale repeats the idea of ​​the first part in a generalized form.
The idea of ​​merging the hero and the masses.
Second standard: interpretation of sonata form.
The sonata form of the epic symphony differs from the sonata form of the conflict symphony.
First, the theme.
The theme of the epic symphony is built on common intonations; has a connection with Russian folklore.
Such thematism has no need for further development; it basically has a complete structure.
All the themes of the symphony have no development, Borodin only repeats them at a different height.
The topic of GP is a unique phenomenon.
It contains national duality:
heavy thirds and fourths with a heavy "fall" to the main tone - purely Russian,
its intonational initial outline is something oriental.
Its modal solution is unique:
Russian variability III stage,
Phrygian minor with IV lowered (found in oriental music).
Its reference tones outline the main tonal zones of the piece:
start of development - c-mill,
PP in reprise - Es (Dis)-dur.
HP and PP have common intonations.
The second "bell" part of the GP is similar to initial intonation PP.
This is the basis for the subsequent convergence of topics.
The development of the epic symphony also differs from the r. conf. symp.
It is dominated by the idea of ​​wholeness (immutability).
The fragmentation of the theme is not aimed at destroying the theme, but at bringing it closer to other themes based on common intonations.
The hybrid GP and PP appears almost immediately - 5 beats from c.6.
It develops on its own.
On its basis, a polytonal canon is created (v. 7).
After that, GP and PP sound one after another as a natural continuation of each other.
The tonal plan of the HP in development is very interesting: c (Phrygian, with an oscillating third) - g - f - d.
Big stroke principle:
as a carrier of modal functionality, Borodin puts forward not a chord, tone or tonality, but integral modal complexes.
Another manifestation of this principle: the development in development is directed towards more and more powerful themes.
Scherzo.
His tempo is at the limit of performing possibilities - whole = 108 (!).
The tonality of F-dur is acquired gradually.
At the beginning, a dominant non-chord sounds without a fifth to h-moll.
Thanks to the enharmonic substitution (bass is taken away from fis to c), the tonality F-dur is formed.
According to Beethoven's principle, HP gradually emerges.
The trio has an oriental character.
The third part.
Andante, Des-dur.
sonata form.
HP - lyrical-epic sphere.
Block SP and PP (e-C-As) - dramatic.
General programming - Borodin wanted to draw the figure of Bayan:
first, gusel busts (harp), then a song about “deeds long ago past days"(horn solo).
The development follows from the RFP, which creates an extraordinary flexibility of form.
The final.
H-dur.
The theme of the GP is close to the folk song “I will go under Tsargorod”.
(It was used by Balakirev in "100 Years").
HP and PP constitute the epic opposition of the masculine principle to the feminine principle.

A.P. Borodin " Heroic 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 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 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 listening, the society was divided into two sides according to impressions: some recognized that the author was full strength managed to portray the power and invincibility of Russia, 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".
• AT 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 the main theme 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 suggested calling symphonic work"Lioness". But after he really rethought the idea of ​​Alexander Borodin, the great critic suggested calling it "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 folk song"I'll go to 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 classic pieces, the only difference is that the author swapped the second and third parts in the structure in order to realize his own compositional intent.

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".
• IV part - 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 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 corresponding 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. Internal development part is built on the solemn proclamation of the "heroic" theme in the reprise, which thereby prepares for the beginning of the 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 musical colors reflecting the prowess and vigor of the Russian people.

The change of large-scale musical pictures that are brightly contrasting to each other, connected at the same time by intonational unity - that's main principle symphonism of Borodin, manifested in many of his works.

"Bogatyr" symphony is a chronicle Ancient Russia 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 Rachmaninoff. 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

The future belongs to the programmatic symphonism of the Glinka or Berlioz type, the classical four-part cycle is hopelessly outdated - all the composers of the Mighty Handful, but not Alexander Porfirievich Borodin, stood in this position. This even allowed Vladimir Stasov to express regret that he did not want to take "the side of the radical innovators." With all due respect to Stasov, it should be admitted that in this case he was wrong - Borodin in the field of symphony was a radical innovator not in lesser degree than or . He did what he did not do - he created a Russian classical symphony, and a very peculiar one at that.

Symphony No. 2 is considered the pinnacle of Alexander Porfirievich Borodin's symphonic work. The idea for it arose in 1869, but, as always, numerous duties left little time for composition, and only in 1870 did the composer show his friends the first movement. proposed to call the symphony "Slavic heroic", but the title proposed by Vladimir Stasov - "Bogatyrskaya" was approved.

The composer worked simultaneously on the symphony and on the opera "", and therefore the closeness of their intonation and figurative structure is not surprising. Moreover, sometimes the musical material created for one work was then included in another - for example, the theme with which the symphony begins, Borodin originally intended for the Polovtsian choir in "".

The first movement, a sonata allegro, embodies heroic images. The main part consists of two elements - a powerful, "monolithic" unison and a lively tune. This is somewhat reminiscent of Igor's dialogue with the retinue in the prologue of the opera. The side part, conducted by cellos, is close to Russian round dance songs. Such a comparison of the heroic and lyrical beginnings can be compared with the images of Igor and Yaroslavna. The intonational similarity of the two themes makes it possible to bring them closer in development. Drama is given to it by organ points and sequential development. In the reprise, the main part - thanks to the chord texture - becomes even more powerful, the side part - even softer. In the code, the initial element of the main part is passed in magnification.

The second movement, The Bogatyr Games, is a fast-paced scherzo in three-part form, the extreme sections of which are in sonata form without elaboration. The energetic, sharp main part is set off by the side part with its chromatisms and syncopations. These oriental features are even more clearly manifested in the trio, forcing us to recall the Polovtsian scenes "". Nevertheless, the oriental features of the trio's theme do not interfere with its intonational affinity with the side part of the first movement - here the principle of integrity and unity characteristic of epic symphonism is manifested.

The third - slow part - also has a sonata form. The main part, with its modal variability and trichords, resembles an epic tune. The image of the narrator is complemented by a harp imitating the harp. The side part is more emotional. The drama intensifies in the development, where the elements of the themes take on a formidable sound, now reminiscent of the main party from the first part. In the reprise, both themes are in the same key - the contrast disappears, giving way to synthesis.

The finale, also in sonata form, follows the third movement without interruption. Both the introduction and the main part have the character of dance tunes. Similar features are also inherent in the secondary, but the cantility brings it closer to round dance songs. Variation of themes - tonal, orchestral, harmonic - begins in the exposition and continues in development and ultimately leads to their synthesis.

Alexander Porfiryevich Borodin worked on Symphony No. 2 for several years. It was completed in 1876 and a year later performed in St. Petersburg under the direction of Eduard Napravnik.

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