Alexander Brodin Research Paper

Marika Basagoitia

Music Appreciation 120

Composer Biography Paper

October 27, 2015

Alexander Borodin

Although primarily known as a Russian composer and musician, Alexander Borodin was actually quite the erudite; he was also well-educated in medicine and chemistry, becoming a successful chemist during his lifetime (“Alexander Borodin, the Russian Polymath”). Despite Borodin’s small musical output because of his attentiveness to science rather than music, he became part of “The Mighty Handful,” a group of Russian nationalist composers through his use of rich tone and breathtaking lyricism. His most important works include his opera Prince Igor, his two symphonies, and In the Steppes of Central Asia (Grout 635), all of which are characterized

As a teenager, he took lessons in piano and cello and began composing during this time. However, his enthusiasm for fireworks led Borodin to develop an interest in chemistry that dwarfed his musical curiosity at the time. He chose to study medicine at the Medical-Surgical Academy in Saint Petersburg in pursuit of a career as a chemist (“Alexander Borodin, the Russian Polymath”). Following this, Borodin became a surgeon for the Russian army, where he served until the mid-1850s. He eventually landed a career as a professor of chemistry at the Medical-Surgical Academy, and in the years following, engaged in significant research projects in the field of chemistry. He is also credited for inventing the nitrometer, a device used to determine the amount of nitrogen in a substance (Rodda, Richard). However, Borodin’s musical interests did not completely subside; he often wrote music in his spare time and when he was ill. In fact, his composition professor, Mily Balakirev, suggested that Borodin write a symphony during this time. He eventually complied, but the symphony was finished around seven years later. Nevertheless, Borodin seemed to enjoy writing the

Beginning in the somber key of D minor, the overture begins slowly with the melody alternating between the low strings and low brass sections (Fiedler, Arthur). Although the overture has a relatively long introduction, the suspense built up is abruptly shattered by a sudden modulation to D major and an eruption into the first statement of the motif by the violins. Characterized by a descending sixteenth note pattern, the motif has a tremendous energy that eventually gives way to a calm, relaxing atmosphere led by the woodwind section (“Overture, Prince Igor”). After a lengthy interplay between the woodwinds, brass, and the strings, the overture then gains momentum again, reintroducing the motif. Although somewhat broken up this time, the motif is apparent, being embellished in short spurts again by the violin section. After the energy again dies down, the entire orchestra begins a quiet yet energetic return to the initial introduction theme. After repeating the motif again in its original form, the orchestra energetically advances the finale, a whirlwind of excitement that includes virtuosic sections in each section of the orchestra. The overture concludes with several stately chords, finally ending on a low, grand chord (“Overture, Prince Igor”). This overture is a wonderful representation of Borodin’s nationalistic style, as it sounds predominantly Russian. Furthermore,