Borodin - String Quartet No. 2 In D Major

Borodin was a higly respected chemist, physician and teacher that was also an extremely gifted composer. Borodin was the illegitimate son of a Russian noble who had the child registered as the son of one of the nobleman's serfs. The nobleman saw to it that the child had a good general education as wel las music lessons. Borodin entered the Medical-Surgical Academy and upon graduation spent a year as an army surgeon, aftedr which he studied in Europe. He went back to St. Petersburg and became a professor of chemistry at the Imperial Medical-Surgical Academy. Borodin was an advocate for women's rights and was instrumental in establishing medical courses for women.

The 2nd string quartet was written in 1881 and it is one of the few works that didn't take years to complete, as it was written while he was on a vacation.  He dedicated the quartet to his wife on their 25th anniversary.
The quartet was popular during his life but it reached its peak of popularity in the early 1950's when some of the themes from the quartet (along with themes from other Borodin works) were used in the Broadway musical Kismet. The quartet is in 4 movements:

I. Allegro moderato - The quartet opens with a delicate theme in the key of D major. This theme segues into the second theme that is slightly more robust but maintains a lyrical quality. The development begins with the first theme heard in the cello. The recapitulation follows the same general plan of the exposition, but the second theme is first heard in E-flat major before it modulates to the home key of D major. Borodin manages to keep the lyrical quality throughout the first movement with just enough contrast to keep the interest of the listener.

II. Scherzo: Allegro -  The scherzo begins in F major with a rapid first theme. The second theme appears and it was one of the themes used in the musical Kismet in a song called Baubles, Bangles and Beads.  The movement is not in the traditional form of a scbherzo, but it is in sonata form. After the two themes are played at the beginning, a development section has both themes played in counterpoint, sometimes both are incorporated at the same time. The recapitulation has the themes repeated with the second theme modulating to F major. A short coda brings sthe movement to a quiet close.

III. Notturno: Andante - The cello plays the beautiful theme first, and then the violin takes it up. This theme was also used in the musical. The middle section the tempo quickens slightly into a dance. The opening theme appears again, this time with modulations to minor keys that bring a sense of drama to the duet between cello and violin. The two instruments respond with a contrapuntal duet of the theme.  The theme is developed and repeated until the instruments reach a serene and quiet end to the movement.

IV. Finale: Andante, Vivace - The movement begins with an odd question and answer introduction that has the main theme of the movement presented in two sections, the question )played by the violins) interrupted by short sections, the answer (played by cello and viola). The pizaccato cello leads the beginning of the movement proper and the music increases in tempo. The movement is in sonata form, and the second theme maintains the speed of the first theme. The development section begins with the question (this time in the cello and viola) and answer (this time in the violins) as the exposition. The recapitulation begins with the question and answer, but this time all 4 instruments play it. Both themes are played and a short coda rounds off the quartet in the home key of D major.

Borodin - Symphony No. 2 In B Minor

Alexander Borodin led a double life as a scientist/chemist and composer in Russia in the 19th century. His output in each of these endeavors was small but significant. In the field of music he had very little formal training, especially in composition. The composition of his 2nd symphony was repeatedly interrupted by other compositions and his work in the laboratory.

The 2nd symphony is regarded by many as his masterpiece. When he visited Liszt in Weimar in 1877 they together played the symphony in a piano arrangement for four-hands. Liszt had admired Borodin's music and was instrumental in getting the first performances of his symphonies outside of Russia. When Borodin told Liszt of his plans to revise the symphony, Liszt replied:

"Heaven forbid! Do not touch it, alter nothing. Your modulations are neither extravagant nor faulty. Your artistic instinct is such that you need not fear to be original. Do not listen to those who would deter you from following your own way. You are on the right road. Similar advice was given to Mozart and to Beethoven, who wisely ignored it."

Borodin's Second Symphony is in 4 movements:
I. Allegro -  The tonic note of B is heard straight-away in unison by the orchestra, with the strings continuing the powerful tune. The orchestra continues forcefully until it reaches a more lyrical tune.  The first movement's form has caused much discussion in musicological circles, for while it resembles sonata form, Borodin weaves varied repeats (in key and modulation) of the main tune throughout the movement gives this movement a unique sound. The movement ends with a triple forte repetition of the opening theme.

II. Scherzo - Prestissimo - The second movement is written in the very odd time signature of 1/1:

The movement contains odd-shaped 5-bar phrases alternating at times with 4-bar phrases. This phrase structure combined with syncopated measures give the scherzo a tripping, comically stumbling quality. The gentle trio is in contrasting 6/4 time.

III. Andante - With all of Borodin's natural musicality of structure and form, it shouldn't be forgotten that perhaps his greatest gift was melodic in nature. This movement has some of the most beautiful music he ever wrote. It begins gently with harp and clarinet introduction and the horn enters with a gentle melody that is continued by the clarinet accompanied by other winds. There is a middle section that contrasts strongly with the gentleness of the opening, after which the music slowly begins its descent to end as it began, softly and melodiously.

IV. Allegro - The third movement runs directly into the Finale. The form of the movement can be seen as a type of sonata/rondo form but many hear it as a collection of Russian dances held loosely together. The mood is festive and continues until the opening dance returns to give a rousing finish to the work.

Borodin - In The Steppes Of Central Asia

Alexander Borodin (1833-1887) was a Russian composer who also had a career as a highly respected chemist. He wrote music for orchestra, piano and chamber music.  He belonged to a group of progressive Russian composers called The Five or The Mighty Handful who were interested in creating modern Russian music.

The symphonic poem In The Steppes Of Central Asia was written in 1880 and is dedicated to Franz Liszt who admired and promoted Borodin's music. Liszt was a big factor in getting Borodin's music heard and recognized. 

This poem paints in music the interacting between Russians and Asians in the steppe lands. A caravan of Central Asians is crossing the desert under the protection of Russian soldiers. The opening theme represents the Russians while the ornamented melody on English horn represents the Asians. These two melodies are finally heard together along with a theme in pizzicato strings that represents the plodding hoofs of camels and horses.  At the end only the Russian theme is heard.