How the heroic symphony of Borodin was created. Alexander Borodin

Alexander Porfiryevich Borodin Born: November 12, 1833, St. Petersburg, Russia Died: February 27, 1887 (age 53), St. Petersburg, Russia 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 Alexander Porfiryevich Borodin - Russian composer, scientist - chemist and physician. Member of the "Mighty Handful". Founder of Russian epic symphonism. A. Borodin is one of the remarkable representatives of Russian culture of the second half of the 19th century: a brilliant composer, an outstanding chemist, an active public figure, a teacher, a conductor, a music critic, he also showed an outstanding literary talent. However, Borodin entered the history of world culture primarily as a composer. He created not so many works, but they are distinguished by the depth and richness of content, variety of genres, classical harmony of forms. Most of them are connected with the Russian epic, with the story of the heroic deeds of the people. Borodin also has pages of heartfelt, sincere lyrics, jokes and gentle humor are not alien to him. The composer's musical style is characterized by a wide scope of narration, melodiousness (Borodin had the ability to compose in a folk song style), colorful harmonies, and active dynamic aspiration. Continuing the traditions of M Glinka, in particular his opera "Ruslan and Lyudmila", Borodin created the Russian epic symphony, and also approved the type of Russian epic opera. Borodin was born from the unofficial marriage of Prince L. Gedianov and the Russian bourgeois A. Antonova. He received his surname and patronymic from the courtyard man Gedianov - Porfiry Ivanovich Borodin, whose son he was recorded. Thanks to the mind and energy of his mother, the boy received an excellent education at home and already in childhood he showed versatile abilities. His music was especially attractive. He learned to play the flute, piano, cello, listened with interest to symphonic works, independently studied classical musical literature, having replayed all the symphonies of L. Beethoven, I. Haydn, F. Mendelssohn with his friend Misha Shchiglev. He also showed a talent for composing early. His first experiments were the polka "Helene" for piano, the Flute Concerto, the Trio for two violins and cello on themes from the opera "Robert the Devil" by J. Meyerbeer (1847). In the same years, Borodin developed a passion for chemistry. Telling V. Stasov about his friendship with Sasha Borodin, M. Shchiglev recalled that “not only his own room, but almost the entire apartment was filled with jars, retorts and all sorts of chemical drugs. Everywhere on the windows stood jars with a variety of crystalline solutions. Relatives noted that since childhood, Sasha was always busy with something. In 1850, Borodin successfully passed the exam for the Medico-Surgical (since 1881 Military Medical) Academy in St. Petersburg and enthusiastically devoted himself to medicine, natural science, and especially chemistry. Communication with the outstanding advanced Russian scientist N. Zinin, who brilliantly taught a course in chemistry at the academy, conducted individual practical classes in the laboratory and saw his successor in the talented young man, had a great influence on the formation of Borodin's personality. Sasha was also fond of literature, he especially loved the works of A. Pushkin, M. Lermontov, N. Gogol, the works of V. Belinsky, read philosophical articles in magazines. Free time from the academy was devoted to music. Borodin often attended musical meetings, where romances by A. Gurilev, A. Varlamov, K. Vilboa, Russian folk songs, arias from then fashionable Italian operas were performed; he constantly visited the quartet evenings with the amateur musician I. Gavrushkevich, often participating as a cellist in the performance of chamber instrumental music. In the same years, he became acquainted with the works of Glinka. Brilliant, deeply national music captured and captivated the young man, and since then he has become a loyal admirer and follower of the great composer. All this encourages him to be creative. Borodin works a lot independently on mastering the composer’s technique, writes vocal compositions in the spirit of urban everyday romance (“What are you early, dawn”; “Listen, girlfriends, my song”; “The beautiful girl fell out of love”), as well as several trios for two violins and cello (including on the theme of the Russian folk song “How I upset you”), string Quintet, etc. In his instrumental works of this time The influence of samples of Western European music, in particular Mendelssohn, is still noticeable. In 1856, Borodin passed his final exams with flying colours, and in order to pass the compulsory medical practice he was seconded as an intern to the Second Military Land Hospital; in 1858 he successfully defended his dissertation for the degree of doctor of medicine, and a year later he was sent abroad by the academy for scientific improvement. Borodin settled in Heidelberg, where by that time many young Russian scientists of various specialties had gathered, among whom were D. Mendeleev, I. Sechenov, E. Junge, A. Maikov, S. Eshevsky and others who became Borodin's friends and formed the so-called "Heidelberg Circle". Gathering together, they discussed not only scientific problems, but also issues of socio-political life, news of literature and art; Kolokol and Sovremennik were read here, the ideas of A. Herzen, N. Chernyshevsky, V. Belinsky, N. Dobrolyubov were heard here. Borodin is intensively engaged in science. During 3 years of his stay abroad, he performed 8 original chemical works, which brought him wide popularity. He uses every opportunity to travel around Europe. The young scientist got acquainted with the life and culture of the peoples of Germany, Italy, France and Switzerland. But music has always accompanied him. He still enthusiastically played music in home circles and did not miss the opportunity to attend symphony concerts, opera houses, thus becoming acquainted with many works by contemporary Western European composers - K. M. Weber, R. Wagner, F. Liszt, G. Berlioz. In 1861, in Heidelberg, Borodin met his future wife, E. Protopopova, a talented pianist and connoisseur of Russian folk songs, who passionately promoted the music of F. Chopin and R. Schumann. New musical impressions stimulate Borodin's creativity, help him realize himself as a Russian composer. He persistently searches for his own ways, his images and musical expressive means in music, composing chamber-instrumental ensembles. In the best of them - the piano Quintet in C minor (1862) - one can already feel both epic power and melodiousness, and a bright national color. This work, as it were, sums up the previous artistic development of Borodin. In the autumn of 1862 he returned to Russia, was elected a professor at the Medico-Surgical Academy, where he lectured and conducted practical classes with students until the end of his life; from 1863 he also taught for some time at the Forest Academy. He also began new chemical research. Shortly after returning to his homeland, in the house of the academy professor S. Botkin, Borodin met M. Balakirev, who, with his characteristic insight, immediately appreciated Borodin's composing talent and told the young scientist that music was his true vocation. Borodin is a member of the circle, which, in addition to Balakirev, included C. Cui, M. Mussorgsky, N. Rimsky-Korsakov and art critic V. Stasov. Thus, the formation of the creative community of Russian composers, known in the history of music under the name "The Mighty Handful", was completed. Under the direction of Balakirev, Borodin proceeds to create the First Symphony. Completed in 1867, it was successfully performed on January 4, 1869 at the RMS concert in St. Petersburg conducted by Balakirev. In this work, the creative image of Borodin was finally determined - a heroic scope, energy, classical harmony of form, brightness, freshness of melodies, richness of colors, originality of images. The appearance of this symphony marked the onset of the composer's creative maturity and the birth of a new trend in Russian symphonic music. In the second half of the 60s. Borodin creates a number of romances very different in subject matter and the nature of the musical embodiment - “The Sleeping Princess”, “Song of the Dark Forest”, “The Sea Princess”, “False Note”, “My Songs Are Full of Poison”, “Sea”. Most of them are written in their own text. At the end of the 60s. Borodin began composing the Second Symphony and the opera Prince Igor. Stasov offered Borodin a wonderful monument of ancient Russian literature, The Tale of Igor's Campaign, as the plot of the opera. “I absolutely love this story. Will it be only within our power? .. "I'll try," Borodin answered Stasov. The patriotic idea of ​​the Lay and its folk spirit were especially close to Borodin. The plot of the opera perfectly matched the peculiarities of his talent, his penchant for broad generalizations, epic images and his interest in the East. The opera was created on genuine historical material, and it was very important for Borodin to achieve the creation of true, truthful characters. He studies many sources related to the "Word" and that era. These are chronicles, and historical stories, studies about the "Word", Russian epic songs, oriental tunes. Borodin wrote the libretto for the opera himself. However, writing progressed slowly. The main reason is the employment of scientific, pedagogical and social activities. He was among the initiators and founders of the Russian Chemical Society, worked in the Society of Russian Doctors, in the Society for the Protection of Public Health, took part in the publication of the magazine "Knowledge", was a member of the directors of the RMO, participated in the work of the St. Petersburg circle of music lovers, led the student choir and orchestra he created at the Medical-Surgical Academy. In 1872, the Higher Women's Medical Courses were opened in St. Petersburg. Borodin was one of the organizers and teachers of this first higher educational institution for women, he gave him a lot of time and effort. The composition of the Second Symphony was completed only in 1876. The symphony was created in parallel with the opera "Prince Igor" and is very close to it in ideological content, the nature of musical images. In the music of the symphony, Borodin achieves bright colorfulness, concreteness of musical images. According to Stasov, he wanted to draw a collection of Russian heroes at 1 o'clock, in Andante (3 o'clock) - the figure of Bayan, in the finale - the scene of the heroic feast. The name "Bogatyrskaya", given to the symphony by Stasov, was firmly entrenched in it. The symphony was first performed at the RMS concert in St. Petersburg on February 26, 1877, conducted by E. Napravnik. In the late 70s - early 80s. Borodin creates 2 string quartets, becoming, along with P. Tchaikovsky, the founder of Russian classical chamber instrumental music. Particularly popular was the Second Quartet, whose music with great force and passion conveys the rich world of emotional experiences, exposing the bright lyrical side of Borodin's talent. However, the main concern was the opera. Despite being very busy with all sorts of duties and implementing the ideas of other compositions, Prince Igor was at the center of the composer's creative interests. During the 70s. a number of fundamental scenes were created, some of which were performed in concerts of the Free Music School conducted by Rimsky-Korsakov and found a warm response from the audience. The performance of the music of Polovtsian dances with a choir, choirs (“Glory”, etc.), as well as solo numbers (song of Vladimir Galitsky, Vladimir Igorevich’s cavatina, Konchak’s aria, Yaroslavna’s Lament) made a great impression. Especially a lot was done in the late 70s - the first half of the 80s. Friends were looking forward to the completion of work on the opera and did their best to contribute to this. In the early 80s. Borodin wrote a symphonic score "In Central Asia", several new numbers for the opera and a number of romances, among which the elegy on Art. A. Pushkin "For the shores of the distant homeland." In the last years of his life, he worked on the Third Symphony (unfortunately, unfinished), wrote the Petite Suite and Scherzo for piano, and also continued to work on the opera. Changes in the socio-political situation in Russia in the 80s. - the onset of the most severe reaction, the persecution of advanced culture, the rampant rude bureaucratic arbitrariness, the closure of women's medical courses - had an overwhelming effect on the composer. It became more and more difficult to fight the reactionaries in the academy, employment increased, and health began to fail. Borodin and the death of people close to him - Zinin, Mussorgsky - were having a hard time. At the same time, communication with young people - students and colleagues - brought him great joy; the circle of musical acquaintances also expanded significantly: he willingly visits "Belyaev Fridays", gets to know A. Glazunov, A. Lyadov and other young musicians. He was greatly impressed by his meetings with F. Liszt (1877, 1881, 1885), who highly appreciated Borodin's work and promoted his works. From the beginning of the 80s. the fame of Borodin the composer is growing. His works are performed more and more often and are recognized not only in Russia, but also abroad: in Germany, Austria, France, Norway, and America. His works had a triumphant success in Belgium (1885, 1886). He became one of the most famous and popular Russian composers in Europe in the late 19th and early 20th centuries. Immediately after Borodin's sudden death, Rimsky-Korsakov and Glazunov decided to prepare his unfinished works for publication. They completed work on the opera: Glazunov recreated the overture from memory (as planned by Borodin) and composed the music for Act III based on the author's sketches, Rimsky-Korsakov instrumented most of the opera's numbers. October 23, 1890 Prince Igor was staged at the Mariinsky Theater. The performance received a warm welcome from the audience. “Opera Igor is, in many ways, directly the sister of Glinka’s great opera Ruslan,” wrote Stasov. - “it has the same power of epic poetry, the same grandeur of folk scenes and paintings, the same amazing painting of characters and personalities, the same colossality of the whole appearance, and, finally, such folk comedy (Skula and Eroshka) that surpasses even Farlaf’s comedy.” Borodin's work had a huge impact on many generations of Russian and foreign composers (including Glazunov, Lyadov, S. Prokofiev, Yu. Shaporin, K. Debussy, M. Ravel, and others). It is the pride of Russian classical music. A. Kuznetsova

Medicine and chemistry

Founders of the Russian Chemical Society. 1868

In the musical work of Borodin, the theme of the greatness of the Russian people, patriotism and freedom is clearly heard, combining epic breadth and masculinity with deep lyricism.

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 a 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 Nikolai Rimsky-Korsakov and Alexander Glazunov completed the opera and orchestrated based on Borodin's materials. Staged in 1890 at the St. Petersburg Mariinsky Theatre, the opera, distinguished by the monumental integrity of images, the power and scope of folk choral scenes, 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 composer's Second ("Bogatyr") Symphony written in 1876 is recognized as the pinnacle of Russian and world epic symphonism.

Among the best chamber instrumental works are the First and Second Quartets, presented to music lovers in 1879 and 1881.

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 structure 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 other symphonic works) and had a noticeable impact on Russian and foreign composers. The traditions of his music were continued by Soviet composers (Sergei Prokofiev, Yuri Shaporin, Georgy Sviridov, Aram Khachaturian and others).

Public figure

Borodin's merit to society is his active participation in the creation and development of opportunities for women to receive higher education in Russia: he was one of the organizers and teachers of the Women's Medical Courses, where he taught from 1872 to 1887.

Borodin devoted considerable time to working with students and, using his authority, defended them from political persecution by the authorities in the period after the assassination of Emperor Alexander II.

Of great importance for the international recognition of Russian culture were the musical works of Borodin, thanks to which he himself gained world fame precisely as a composer, and not as a scientist, to which he devoted most of his life.

Addresses in St. Petersburg

• 1850-1856 - tenement house, Bocharnaya street, 49;

Family life

Ekaterina Sergeevna Borodina suffered from asthma, did not tolerate the unhealthy climate of St. Petersburg, and usually left for Moscow in the fall, where she lived with relatives for a long time, returning to her husband only in winter, when dry frosty weather set in. However, this still did not guarantee her from asthmatic attacks, during which her husband was both a doctor and a nurse for her. Despite a serious illness, Ekaterina Sergeevna smoked a lot; at the same time, she suffered from insomnia and fell asleep only in the morning. With all this, Alexander Porfiryevich, who dearly loved his wife, was forced to put up with it. There were no children in the family.

untimely death

During the last year of his life, Borodin repeatedly complained of pain in the region of the heart. On the evening of February 15 (27), during Shrovetide, he went to visit his friends, where he suddenly felt ill, fell and lost consciousness. Attempts to help him were unsuccessful.

Borodin died suddenly of a heart attack at the age of 53.

Memory

In memory of the outstanding scientist and composer were named:

• Streets of Borodino in many settlements of Russia and other states
• Sanatorium named after A.P. Borodin in Soligalich, Kostroma region
• Assembly hall named after A.P. Borodin in the Russian Chemical Technical University. D. I. Mendeleev
• Children's Music School named after A.P. Borodin in St. Petersburg.
• Children's Music School named after A.P. Borodin No. 89 in Moscow.
• Children's Music School named after A.P. Borodin No. 17 in Smolensk
• Aeroflot Airbus A319 (number VP-BDM)
• Museum of Alexander Porfiryevich Borodin, the village of Davydovo, Vladimir Region

Major works

operas

• Bogatyrs (1868)
• Mlada (together with other composers, 1872)
• Prince Igor (1869-1887)
• The Tsar's Bride (1867-1868, sketches, lost)

Works for orchestra

• Symphony No. 1 Es-dur (1866)
• Symphony No. 2 in b-moll "Bogatyrskaya" (1876)
• Symphony No. 3 a-moll (1887, completed and orchestrated by Glazunov)
• Symphonic picture "In Central Asia" (1880)

Chamber instrumental ensembles

• string trio on the theme of the song “How did I upset you” (g-moll, 1854-55)
• string trio (Big, G-dur, before 1862)
• piano trio (D-dur, before 1862)
• string quintet (f-moll, before 1862)
• string sextet (d-moll, 1860-61)
• piano quintet (c-moll, 1862)
• 2 string quartets (A-dur, 1879; D-dur, 1881)
• Serenade in Spanish Genus from B-la-f Quartet (collective composition, 1886)

Works for piano

In two hands

• Pathetic adagio (As-dur, 1849)
• Little Suite (1885)
• Scherzo (As-dur, 1885)

Three hands

• Polka, Mazurka, Funeral March and Requiem from Paraphrase on an unchangeable theme (collective composition by Borodin, N. A. Rimsky-Korsakov, Ts. A. Cui, A. K. Lyadov, 1878) and all this with the help of Borodin

four hands

• Scherzo (E-dur, 1861)
• Tarantella (D-dur, 1862)

Works for voice and piano

• The red girl fell out of love (50s)
• Listen, girlfriends, to my song (50s)
• What are you early, dawner (50s)
• (words by G. Heine, 1854-55) (for voice, cello and piano)
• (words by G. Heine, translated by L. A. May, 1868)
• (words by G. Heine, translation by L. A. May, 1871)
• People have something in the house (words by N. A. Nekrasov, 1881)
• (words by A. S. Pushkin, 1881)
• (words by A. K. Tolstoy, 1884-85)
• Wonderful Garden (Septain G., 1885)

To the words of Borodin

• Sea Princess (1868)
• (1867)
• . Romance (1868)
• Song of the Dark Forest (1868)
• Sea. Ballad (1870)
• Arabic Melody (1881)

vocal ensemble

• unaccompanied male vocal quartet Serenade of four gentlemen to one lady (words by Borodin, 1868-72)

Literature

• Alexander Porfiryevich Borodin. His life, correspondence and musical articles (with a preface and biographical sketch by V. V. Stasov), St. Petersburg, 1889.
• Letters to A.P. Borodin. The complete collection, critically checked against the original texts. With a preface and notes by S. A. Dianin. Issue. 1-4. M.-L., 1927-50.
• Khubov G., A. P. Borodin, Moscow, 1933.
• A. P. Borodin: on the centenary of his birth / Yu. A. Kremlev; [res. ed. A. V. Ossovsky]. - L .: Leningrad Philharmonic, 1934. - 87, p. : portrait
• Figurovsky N. A., Solovyov Yu. I. Alexander Porfiryevich Borodin. M.-L.: Publishing House of the Academy of Sciences of the USSR, 1950. - 212 p.
• Ilyin M., Segal E., Alexander Porfirievich Borodin, Moscow, 1953.
• Dianin S. A. Borodin: Biography, materials and documents. 2nd ed. M., 1960.
• Sohor A.N. Alexander Porfiryevich Borodin: Life, activity, music. creation. M.-L.: Music, 1965. - 826 p.
• Zorina A. G. Alexander Porfiryevich Borodin. (1833-1887). - M., Music, 1987. - 192 p., incl. (Russian and Soviet composers).
• Kuhn E.(Hrsg.): Alexander Borodin. Sein Leben, seine Musik, seine Schriften. - Berlin: Verlag Ernst Kuhn, 1992. ISBN 3-928864-03-3

Links

• Musical encyclopedia, M.: Great Soviet encyclopedia, volume 1. M., 1973.
• Borodin Alexander Site about the life and work of the composer.

In Russian music, the dramatic version continued with Shostakovich with a different arrangement: the main conflict lay between exposition and development, and the split occurred in the reprise, where the GP joined the development, and the PP joined the coda (symphonies 5, 7, 8, 10).

Rondo sonata

A rondo sonata is a form of rondo with three or four episodes in which the extreme episodes are in the same ratio as the PP in the exposition and reprise of the sonata form. The middle episode can be replaced by the development of:

From Rondo this form took:

1. The principle of repetition of parts (GP).

2. Genre-dance character.

From the sonata form, she borrowed the holding of the extreme episodes in the side (in the exposition) and in the main (in the reprise) keys, i.e. presence of PP.

There may be links between parts.

Since this form contains the features of two forms, it can be given another definition:

Rondo sonata is a form of sonata in which a sonata exposition (and often a reprise) is followed by an additional GP in the main key, and the development can be replaced by an episode.

Among the Viennese classics, this is a favorite form in the part of the cycle (last) or in a separate work. Often found in Mozart and Beethoven. The grazioso character was associated with this form.

Introduction. Occurs rarely. It's like an intro to sonata form.

GP(refrain) - having a song and dance roundness, it is written in the form of a period, which brings it closer to the sonata form, or in a simple two- or three-part form, which brings it closer to the rondo. In future events, the topic may be shortened and varied.

SVP - recalls SVP sonata form, i.e. prepares PP tonally, and sometimes thematically.

PP - written in the same keys as the sonata form PP. From the structural side - most often a period. On the thematic side, the contrast can be different, but without changing the pace.

After the PP, the linking part enters to lead to a repetition of the GP.

Second GP combines thematic and tonal reprise. In the end, this holding can turn into a link to the central episode.

Average episode. The Viennese classics sought to find refreshing tonal colors, in particular, a contrasting mode. The choice of keys is limited:

· for major - IV, minor of the same name, parallel minor;

· for minor - VI, major of the same name.

In terms of its functions, the middle episode is close to a trio of a complex three-part form. For example, in Beethoven's rondo op. 51 No. 2, it is highlighted by a change in key characters, tempo, meter. Episode structure is usually a simple two- or three-part form, but can be more complex. For example, in the finale of Mozart's Violin Concerto No. 5 there is a double complex two-part form.

Development instead of the central episode, it has the usual properties of a developmental construction.

reprise corresponds to the sonata principle.

Starting with Haydn, the rondo sonata is characterized by the presence codes. Sometimes, according to the principle of "change for the last time", a new theme appears in the coda (Beethoven, "Spring" sonata for violin and piano). But always the code is final.

There is a rondo sonata with 2 or 3 central episodes. Episodes either follow in a row or are separated by a refrain (Mozart, sonatas B-dur K.533 and B-dur K.281).

In a rondo sonata with an episode and development, these sections can be arranged in a different order (Haydn, Symphony No. 102).

There is a rondo sonata with two or three PPs with their mirror reprise. The mirror reprise gives the form the shape of a concentricity characteristic of Prokofiev (Prokofiev, finale of the Sonata No. 6).

This form is used mainly in the finals of large cyclic forms.

Cyclic forms

The word "cycle" (from Greek) means a circle, so the cyclic form covers one or another circle of different musical images (tempos, genres, and so on).

Cyclic forms are those forms that consist of several parts, independent in form, contrasting in character.

Unlike the form section, each part of the loop can be executed separately. During the execution of the entire cycle, breaks are made between parts, the duration of which is not fixed.

In cyclic forms, all parts are different, i.e. none is a reprise repetition of the previous ones. But in cycles of a large number of miniatures, there are repetitions.

In instrumental music, two main types of cyclic forms have developed: the suite and the sonata-symphony cycle.

Suite

The word "suite" means succession. The origins of the suite are the folk tradition of juxtaposing dances: the procession is opposed to the jumping dance (in Russia - quadrille, in Poland - kuyawiak, polonaise, mazur).

In the 16th century paired dances (pavane and galliard; branle and saltarella) were compared. Sometimes this pair was joined by a third dance, usually in three beats.

Froberger developed a classical suite: allemande, courante, sarabanda. Later, he introduced the jig. The parts of the suite cycle are interconnected by a single concept, but are not united by a single line of consistent development, as in a work with the sonata principle of combining parts.

There are different types of suites. Usually distinguish old And new suite.

Ancient suite

The ancient suite is most fully represented in the works of composers of the first half of the 18th century - primarily J.S. Bach and F. Handel.

The basis of a typical old baroque suite was four dances contrasting with each other in tempo and character, arranged in a certain sequence:

1. Allemande(German) - a moderate, four-part, most often polyphonic round dance procession. The nature of this venerable, somewhat stately dance in music is displayed in a moderate, restrained tempo, in a specific off-beat, calm and melodious intonations.

2. Courant(Italian corrente - “fluid”) - a more frisky three-part French solo dance, which was performed by a couple of dancers at court balls. The texture of the chimes is most often polyphonic, but the nature of the music is somewhat different - it is more mobile, its phrases are shorter, emphasized with staccato strokes.

3. Sarabande - dance of Spanish origin, known since the 16th century. This is also a procession, but a funeral procession. The sarabande was most often performed solo and accompanied by a melody. Hence, it is characterized by a chordal texture, which in a number of cases turned into a homophonic one. There were slow and fast types of sarabande. I.S. Bach and F. Handel is a slow three-beat dance. The rhythm of the sarabande is characterized by a stop on the second beat of the bar. There are sarabandes lyrically insightful, restrainedly mournful, and others, but all of them are characterized by significance and grandeur.

4. Gigue- a very fast, collective, somewhat comical (sailor) dance of Irish origin. This dance is characterized by a triplet rhythm and (overwhelmingly) fugue presentation (less often, variations on basso-ostinato and fugue).

Thus, the succession of parts is based on the periodic alternation of tempos (with increasing tempo contrast towards the end) and on the symmetrical arrangement of mass and solo dances. The dances followed one after the other in such a way that the contrast of the adjacent dances increased all the time - a moderately slow allemande and a moderately fast chimes, then a very slow sarabande and a very fast jig. This contributed to the unity and integrity of the cycle, in the center of which was the choral sarabande.

All dances are written in the same key. Exceptions concern the introduction of the eponymous and sometimes parallel tonality, more often in insert numbers. Sometimes a dance (most often a sarabande) was followed by an ornamental variation on this dance (Double).

Between the sarabande and the gigue there may be intercalated numbers, not necessarily dances. Before the allemande there may be a prelude (fantasy, symphony, etc.), often written in free form.

In insert numbers, two dances of the same name can follow (for example, two gavottes or two minuets), and after the second dance the first is repeated again. Thus, the second dance, which was written in the same key, formed a kind of trio inside the repetitions of the first.

The term "suite" originated in the 16th century and was used in Germany and England. Other names: lessons - in England, balletto - in Italy, partie - in Germany, ordre - in France.

After Bach, the old suite lost its meaning. In the 18th century, some works arose that were similar to a suite (divertissement, cassations). In the 19th century, a suite appears that differs from the old one.

The ancient suite is interesting in that it outlined the compositional features of a number of structures, which later developed into independent musical forms, namely:

1. The structure of inserted dances became the basis for the future three-part form.

2. Doubles became the forerunner of the variation form.

3. In a number of numbers, the tonal plan and the nature of the development of the thematic material became the basis for the future sonata form.

4. The nature of the arrangement of the parts in the suite quite clearly provides for the arrangement of the parts of the sonata-symphony cycle.

The suite of the second half of the 18th century is characterized by the rejection of dance in its pure form, the approach to the music of the sonata-symphony cycle, its influence on the tonal plan and the structure of the parts, the use of sonata allegro, and the absence of a certain number of parts.

New Suite

In connection with the programmatic character of the 19th century, the desire for greater concreteness, the new suite is often united by a programmatic concept. A number of suites arose on the basis of music for stage works, and in the 20th century - for films.

The dance is used in the new suite, but is not as important. New dances are used (waltz, mazurka, etc.), in addition, parts that do not indicate the genre are introduced.

In the new suite, parts can be written in different keys (tonal juxtaposition plays an important role in enhancing contrast). Often the first and last parts are written in the same key, but this is not necessary.

The shape of the parts can be different: simple, complex three-part, rondo-sonata, etc. The number of parts in a suite is from 2-3 or more.

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

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

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

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

Simultaneously with the Second Symphony, Borodin also worked on the creation of his main work - the opera. He began to compose it back in the late 1860s. Stasov then offered him The Tale of Igor's Campaign as a subject. The thoroughness of Borodin as a scientist also affected his approach to composing. The list of historical sources - scientific and literary, which he worked through before starting to create the opera, says a lot. Here are various translations of "The Tale of Igor's Campaign", and all fundamental research on the history of Russia.

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

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

After his death, Rimsky-Korsakov and Glazunov completed what Alexander Porfiryevich had not managed to finish.

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

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

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

Borodin is one of the creators of Russian classical symphonies and quartets. His 1st symphony (1867), which appeared simultaneously with the first examples of this genre by N. A. Rimsky-Korsakov and P. I. Tchaikovsky, laid the foundation for 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 quartets: 1st - 1879, 2nd - 1881.

Borodin is a subtle artist of chamber vocal music. An example of his vocal lyrics is the elegy "For the shores of the distant homeland" to the words of Pushkin. Borodin was the first to introduce into the romance the images of the Russian heroic epic, and with them the liberation ideas of the 1860s. (“Sleeping Princess”, “Song of the Dark Forest”, etc. He also wrote satirical, humorous songs “Haughtiness”, 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 picture "In Central Asia").

Creativity Borodin, bright, original, had an impact on Russian and foreign composers: S. S. Prokofiev, Yu.

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

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 interfered 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 members of 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 to this day remains one of the masterpieces of Russian 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 are the First and Second Quartets, presented to music lovers in 1879 and 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 structure 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 other 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.)