Aesthetic foundations of A.P. Borodin, genres and themes of works

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Not as extensive as one would expect from a world-class composer. After all, he had to be not only a composer, but also a chemist, as well as a physician and a doctor, combining all this vinaigrette with teaching. But they say the truth when they say that a talented person is talented in everything.

Borodin began writing music while studying at the Medico-Surgical Academy. More precisely, he showed interest in writing music even earlier, but it was in his student years that he began to write romances and piano pieces. This caused the displeasure of his supervisor, who believed that his student had become too distracted from scientific activities.

It so happened that during his foreign internship, Borodin chose to hide his interest in writing music. He just didn't want to displease his colleagues. When he returned to Russia in 1862, he met and became a member of his circle. The same one, which in subsequent years was called "".

Needless to say, who has influenced Borodin's musical preferences since that time? He became an adherent of the Russian national school, and also followed the spirit of the creative heritage of Mikhail Glinka. Later, Borodin also became an active member of the Belyaev circle.

His main work, which brought his author worldwide fame, he could not finish during his lifetime. The opera “Prince Igor” Borodin wrote for more than eighteen years.

Alexander Borodin based his most grandiose work on the historical work The Tale of Igor's Campaign. His idea was somehow suggested to Borodin, they were just that evening at a musical meeting with Shestakova. Alexander liked this idea, and enthusiastically set to work.

He never had time to live to see the end of his opera. Therefore, Glazunov and Rimsky-Korsakov decided to finish this work for him. There is an opinion that Glazunov independently restored the overture, which he once heard performed by the author. However, Glazunov himself denied this in every possible way. But it is completely and completely reliably known that he independently composed and orchestrated the third part of "Prince Igor".

"Prince Igor" continues the tradition of Glinka's "Life for the Tsar". It is just as full of powerful choir sounds and grandiose folk scenes.

The idea of this work, as well as the desire to honor the deceased, prompted several musicians to unite in order to write his own work for him. And it is worth noting that it is thanks to this rare spirit of unity that this work turned out to be so integral.

A monument erected in 1889 on the grave of Borodin (skul. I.Ya. Gintsburg, architect I.P. Ropet) with public donations. A quote from the "Bogatyr" symphony was reproduced on the monument

However, some critics argue that these authors took the already completely finished work of Borodin and passed it off as their own, or completely rewrote some of its parts. In any case, this work, which was staged in 1890, became the pinnacle of the composer's work and the embodiment of the monumental integrity of the opera, as well as the culmination of Russian symphony.

But his work is marked by a strong influence not only of Russian folk music, but also of the music of the Nars of the East.

Tenderly loving his wife, he often served by her side as both a doctor and a nurse. She suffered from asthma, which did not prevent her from being a passionate smoker and smoking without any twinge of conscience. In addition, she also suffered from insomnia. My husband, of course, didn't get enough sleep either.

During the last year of his life he complained of chest pains. On February 15, 1887, he was visiting his friends. There he suddenly lost consciousness. It was not possible to bring him to his senses. Subsequently, the cause of death was established: heart failure.

List of works by Borodin:

Works for piano

Helene-Polka (1843)
Requiem
Little Suite (1885; orchestrated by A. Glazunov)
In the monastery
Intermezzo
Mazurka
Mazurka
dreams
Serenade
Nocturne
Scherzo in A flat major (1885; orchestrated by A. Glazunov)

Works for orchestra

Symphony No. 1 in E flat major
Adagio. Allegro
Scherzo. Prestissimo
Andante
Allegro molto vivo
Symphony No. 2 in B minor "Bogatyrskaya" (1869-1876; edited by N. A. Rimsky-Korsakov and A. Glazunov)
Allegro
Scherzo. Prestissimo
Andante
The final. Allegro
Symphony No. 3 in A minor (only two movements written; orchestrated by A. Glazunov)
Moderato assai. Poco piu mosso
Scherzo. Vivo
In Central Asia (In the steppes of Central Asia), symphonic sketch

Concerts

Concerto for flute and piano and orchestra (1847), lost

chamber music

Sonata for cello and piano in B minor (1860)
Piano Quintet in C minor (1862)
Piano trio in D major (1860-61)
String Trio (1847), lost
String trio (1852-1856)
String Trio (1855; unfinished)
Andantino
String trio (1850-1860)
String Quartet No. 1 in A Major
Moderato. Allegro
Andante con moto
Scherzo. Prestissimo
Andante. Allegro risoluto
String Quartet No. 2 in D Major
Allegro moderato
Scherzo. Allegro
Notturno. Andante
Finale. Andante. Vivace
Scherzo for string quartet (1882)
Serenata alla spagnola for string quartet (1886)
Quartet for flute, oboe, viola and cello (1852-1856)
String Quintet in F major (1853-1854)
Sextet in D minor (1860-1861; only two movements survive)

operas

Bogatyrs (1878)
The Tsar's Bride (1867-1868, sketches, lost)
Mlada (1872, IV act; The remaining acts were written by C. Cui, N. A. Rimsky-Korsakov, M. Mussorgsky and L. Minkus)
Prince Igor (edited and completed by N. A. Rimsky-Korsakov and A. Glazunov)
The most famous number - Polovtsian Dances

Romances and songs

Arabic melody. Words by A. Borodin
For the shores of the distant homeland. Words by A. Pushkin
From my tears. Words by G. Heine
Beautiful fisherwoman. Words by G. Heine (for voice, cello and piano)
Sea. Ballad. Words by A. Borodin
Sea princess. Words by A. Borodin
My songs are full of poison. Words by G. Heine
Song of the dark forest (Old song). Words by A. Borodin
A beautiful girl fell out of love ... (for voice, cello and piano)
Listen, girlfriends, to my song (for voice, cello and piano)
Arrogance. Words by A. K. Tolstoy
Sleeping princess. Fairy tale. Words by A. Borodin
People have something in the house. Song. Words by N. Nekrasov
Fake note. Romance. Words by A. Borodin
Why are you early, dawn ... Song
Wonderful garden. Romance. Words C.G.

Creativity A.P. Borodin allows us to capture with a single glance the distinctive qualities of his nature and the cardinal tendencies of his creative thinking. This is the heroic fortitude, the desire with the utmost objectivity to highlight literally in 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 art of truly epic narration, highly valued in the old days - the ability to lead listeners in the process of a leisurely story, following along with them from the roots of folk tradition through the trunk the main thought of the author to the branches, branches 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. Stasova: “Borodin's talent is equally powerful and amazing both in the symphony, and in the opera and in the romance. Its main qualities are gigantic strength and breadth, colossal scope, swiftness and impetuosity, combined with amazing passion, tenderness and beauty.

Alexander Porfiryevich Borodin created not so many works, but they are distinguished by the depth and richness of content, the variety of genres, and the 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. The main means of musical expression for Borodin is always a melody - a wide, songlike one. Colorfulness, brightness are inherent in the harmonic language of Borodin. Here he acts as an innovator, the creator of bold and unusual chord combinations. All musical and expressive means are used harmoniously and are subject to a strict logic of development.

Two symphonies and a symphonic painting "In Central Asia", about 16 romances, two string quartets, a "Little Suite" for pianoforte, as well as the opera "Prince Igor", which was never completed, can be considered his legacy as a composer. However, everything that he created bears that sign of originality, which only geniuses are marked in art. The range of topics in Borodin's music ranges from "heroic" images to subtle intimate lyrics. But still, the concepts of “Russian people” and “Russian history” are key to understanding his music. The composer's artistic thinking intertwined a slightly detached scientific view of the historical past with a deep understanding of the heroic Russian national character.

The essence of A.P. Borodin is defined by the category of "musical epic". Musicologists do not accidentally compare the composer with the singer-storyteller of Kievan Rus Bayan. Just like in ancient Russian epics, his music embodies the idea of the heroic power of the Russian people. The composer is related to the epic narrator by his amazing ability to unhurriedly and in detail illuminate “the affairs of bygone days”, to tell about the events of the past objectively and vividly artistically.

Borodin as a composer developed rapidly. Already in his early chamber compositions, his originality was guessed. Communication with the composers of the "Mighty Handful", who paid special attention in their work to the development of Russian national music, attending the concerts of the Free Music School made a revolution in the artistic consciousness of the young composer. From an early age, he lived in St. Petersburg, where there were all 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 a Russian song with remarkable authenticity. The combination of the 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 extraordinarily saturated area of expression of the musical genius of A.P. Borodin - his chamber-vocal work. Like all "Kuchkists", A.P. Borodin liked to write romances. Some are written to the composer 's own words . Total A.P. Borodin wrote 18 romances and songs to texts by A.S. Pushkin, N.A. Nekrasov, A.N. Tolstoy, G. Heine. Most of the best works were created in 1867-1868. Then the romances and songs “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 on his own text. The author himself called "The Sleeping Princess" a "fairy tale" and is dedicated to Rimsky-Korsakov. It depicts characters traditional for folk tales - a sleeping beauty and a hero - a liberator who defeats evil spells. This tale is allegorical: in the central character one can guess the image of Russia, waiting for awakening. "The Sleeping Princess" is a bold and inspired essay, in a new, original manner of writing. It is enough to hear the “hanging” seconds, which are repeated, emphasizing the rhythmic swinging of the lullaby and creating a picture of an enchanted magical dream. A harmonic brilliance similar to that found in this romance would later emerge from the French composers Claude Debussy and Maurice Ravel.

"The Song of the Dark Forest" by A.P. Borodin called the old song. Romance is close to a song - a legend, an epic tale about a heroic strong will. With a harsh character, a courageous sound of voice and piano, as well as the variability of the size, the "Song of the Dark Forest" is akin to epics. The composer refuses from the usual division into measures for European music, replacing it with a free alternation of five, three, four, six beats per measure, inherent in epics and Russian folk songs.

Remarkable are not only the epic romances of Borodin, but also his lyrics, especially on the verses of G. Heine and A.S. Pushkin. Pushkin's elegy "For the shores of the distant homeland" is one of the masterpieces of Russian vocal lyrics. 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, the bitterness of farewell. Among the humorous vocal sketches, the most popular romance is "Haughtiness" (lyrics by A.K. Tolstoy). This genre-everyday scene is full of humor. It brings to mind 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 stretched out for many years, and sometimes decades. Borodin worked on his works very carefully, painstakingly, like a true scientist. He composed many options, 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, did not have a well-established life.

Here is how A.P. Borodina N.A. Rimsky-Korsakov: “Everyone came to him at any time, tearing him away from dinner or tea, and dearest 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 haven and a place to sleep for various relatives, the poor or visitors who fell ill in it and even went crazy, and Borodin fiddled with them, treated, 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 as a symphonist are huge: he is the founder of epic symphony in Russian music and, together with P.I. Tchaikovsky - the creator of the Russian classical symphony. The composer himself noted that he was "drawn to symphonic forms." Moreover, members of the "Mighty Handful" headed by V.V. Stasov promoted the pictorial-plot, program type of symphonic music of the Berlioz type or the Glinka type; the classical 4-part sonata-symphony 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 program symphonic work. But he leaned more towards the “pure” symphonic cycle, as evidenced by his three symphonies (the last one is not finished). V.V. Stasov regretted this: "Borodin did not want to take the side of the radical innovators." However, A.P. 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".

Distinctive features of A.P. Borodin:

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 a traditional feature of thematism;

· the predominance of exposure over development, techniques of intonational variation, sub-voice polyphony - over motive 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 the 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 contrast 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 interconnected. The “Bogatyr” symphony got its name from the light hand of V.V. Stasova, M.P. Mussorgsky called it "heroic Slavic."

The symphony, with its amazing concreteness of musical images, can be attributed to compositions with a hidden program. There is no consensus among musicologists regarding the content of the proposed program. The words of V.V. Stasov, who stated: “Borodin himself told me that in 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 a harp, with the jubilation of a great crowd of people. However, B.V. Asafiev doubted the veracity of these words: he was embarrassed by the too high degree of specificity of the program. The musicologist suggested not taking it as a dogma and considering the symphony in a broader content context. It seems that the modern researcher is right, believing that "Borodino'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 stretched out - the worlds of Rus' and the East collide, intersect and penetrate each other" .

In the chamber-instrumental heritage of A.P. Borodin stands out for the beautiful Second Quartet (D major), charming with its lyrical imagery. It was written in 1880 - 1881. and is 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. In the quartet, the influence of lyrical-psychological symphonism is noticeable, which is expressed in the integrity of the dramatic concept of the composition. Internal lyrical states are embodied in intonations that are diverse in nature, but emphatically related, among which are urban romance, and everyday dance, and unexpected spicy “oriental” turns, and reminiscences of bel canto.

The many-sided art of Borodin, his musical epic grew up on the basis of the centuries-old spiritual traditions of Russian culture. The composer embodied the moral precepts 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 A.P. Borodin, one can say that the composer's works were 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, is the great strength and breadth of music, colossal scope, swiftness and impetuosity, combined with beauty and tenderness. To these qualities, you can add juicy and gentle humor. Favorite heroes of A.P. Borodin - defenders of their native country. These are real historical figures or Russian heroes. Lyrica A.P. Borodin embodies sublime and whole feelings, has a life-affirming character. A significant place in the work is occupied by paintings of nature. Melodic and harmonic language of A.P. Borodin is distinguished by exceptional freshness, primarily due to its modal originality.

The romance genre was loved by Russian composers of the 19th century, and Alexander Porfiryevich Borodin also paid tribute to it. At first glance, his creative heritage in this area looks more than modest - only sixteen works, while his three comrades in the Mighty Handful have dozens of romances, and Caesar Cui even hundreds. But this is the case when the quality cannot be judged by the quantity. Due to the eternal employment of Borodin, his legacy in other genres is also small - for example, he wrote only one opera (and he did not complete that one himself), but this turned out to be enough for his name to be inscribed in the history of Russian opera. The same is true with his romances: let them be few, but each is a masterpiece.

Borodin in his vocal work turned to the poems of various poets - and not only Russian ones. He set to music poems by Alexander Sergeevich Pushkin, Heinrich Heine, Alexei Konstantinovich Tolstoy. Likewise, he sometimes composed the lyrics for his vocal miniatures himself. The genre basis of Borodin's romances is diverse. Some of them go back to the type of "Russian song" - such, for example, is a romance based on poems by Nikolai Alekseevich Nekrasov "At People's House", which is a genre sketch.

In the romances of Borodin, the element of comedy, even satire, also finds expression. A wonderful example is the romance "Haughtiness", the poetic basis of which was a satirical poem by Alexei Tolstoy. At the heart of satire is the same technique as in many of Dargomyzhsky's romances (for example, "The Titular Counsellor") - social typification, but its refraction is different, even the opposite: if the titular counselor is a human type, a specific representative of which could well live in the neighborhood, then in this case the character initially generalized-allegorical acquires specific features.

Biography

Medicine and chemistry

Musical creativity

Public figure

Addresses in St. Petersburg

Family life

Major works

Works for piano

Works for orchestra

Concerts

Chamber music

Romances and songs

Alexander Porfiryevich Borodin(October 31 (November 12), 1833 - February 15 (27), 1887) - Russian chemist and composer.

Biography

Youth

Alexander Porfiryevich Borodin was born in St. Petersburg on October 31 (November 12), 1833 from an extramarital affair between 62-year-old Prince Luka Stepanovich Gedevanishvili (1772-1840) and 25-year-old Evdokia Konstantinovna Antonova, and at birth was recorded as the son of the prince's serf servant, Porfiry Ionovich Borodin and his wife Tatyana Grigorievna.

Until the age of 7, the boy was a serf of his father, who, before his death in 1840, gave his son freedom and bought a four-story house for him and Evdokia Konstantinovna, who was married to a military doctor Kleinecke. In the first half of the 19th century, extramarital affairs were not advertised, so the names of the parents were hidden and the illegitimate boy was presented as the nephew of Evdokia Konstantinovna.

Due to his origin, which did not allow him to enter the gymnasium, Borodin was educated at home in all subjects of the gymnasium, studied German and French and received an excellent education.

Already in childhood, he discovered musical talent, at the age of 9 he wrote his first work - the polka "Helen". He studied playing musical instruments - at first on the flute and piano, and from the age of 13 - on the cello. At the same time he created the first serious piece of music - a concerto for flute and piano.

At the age of 10, he became interested in chemistry, which over the years turned from a hobby into his life's work.

However, science and higher education were hindered by the same “illegal” origin of the young man, which, in the absence of a legal possibility of changing social status, forced Borodin’s mother and her husband to use the department of officials of the Tver Treasury to enroll their son in the Novotorzhskoye Third Guild merchant class.

In 1850, the seventeen-year-old "merchant" Alexander Borodin entered the Medico-Surgical Academy as a volunteer, graduating in December 1856. While studying medicine, Borodin continued to study chemistry under the guidance of N. N. Zinin.

Medicine and chemistry

In March 1857, the young physician was appointed intern at the Second Military Land Hospital, where he met officer Modest Mussorgsky, who was being treated.

In 1868, Borodin received a doctorate in medicine, having carried out chemical research and defended a dissertation on the topic "On the analogy of phosphoric and arsenic acids in chemical and toxicological relations."

In 1858, the Military Medical Scientific Council sent Borodin to Soligalich to study the composition of mineral waters founded in 1841 by the merchant V. A. Kokorev hydropathic. The report on the work, published in the Moskovskie Vedomosti newspaper in 1859, became a real scientific work on balneology, which brought the author wide fame.

In 1859-1862, Borodin improved his knowledge in the field of medicine and chemistry abroad - in Germany (Heidelberg University), Italy and France, upon his return he received the post of adjunct professor at the Medical and Surgical Academy.

Since 1863 - Professor of the Department of Chemistry of the Forest Academy.

Since 1864 he was an ordinary professor, since 1874 he was the head of the chemical laboratory, and since 1877 he was an academician of the Medico-Surgical Academy.

A.P. Borodin is a student and closest collaborator of the outstanding chemist Nikolai Zinin, with whom in 1868 he became a founding member of the Russian Chemical Society.

Author of more than 40 papers in chemistry. It was A.P. Borodin who discovered a method for obtaining bromine-substituted fatty acids by the action of bromine on silver salts of acids, known as the Borodin-Hunsdiecker reaction, was the first in the world (in 1862) to obtain an organofluorine compound - benzoyl fluoride, conducted a study of acetaldehyde, described the aldol and the chemical reaction of aldol condensation.

Musical creativity

Even while studying at the Medical and Surgical Academy, Borodin began to write romances, piano pieces, chamber instrumental ensembles, which caused displeasure of 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.

Upon his return to Russia in 1862, he met the composer Mily Balakirev and joined his circle, the 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 Mikhail Glinka. A.P. Borodin was an active member of the Belyaevsky circle.

In the musical work of Borodin, the theme of the greatness of the Russian people, patriotism and love of freedom, which combines epic breadth and masculinity with deep lyricism, clearly sounds.

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: after Borodin's death, composers Nikolai Rimsky-Korsakov and Alexander Glazunov completed the opera and orchestrated it 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 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.

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 system 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

In the summer of 1861, in Heidelberg, Borodin met the talented pianist Ekaterina Sergeevna Protopopova, who had come for treatment, in whose performance he first heard the works of Chopin and Schumann. In autumn, Protopopova's health deteriorated and she continued her treatment in Italy. Borodin found the opportunity to follow her to Pisa without interrupting his chemical research, and it was there that organofluorine compounds were first obtained and other work was carried out that brought the scientist world fame. Then Borodin and Protopopova decided to get married, but upon returning to Russia, due to lack of money, the wedding had to be postponed and the wedding took place in 1863. Financial problems haunted the family for the rest of his life, forcing Borodin to work hard - to teach at the Forest Academy and translate foreign literature.

Due to a severe chronic disease (asthma), Alexander Porfiryevich's wife could not stand the climate of St. Petersburg and lived with relatives in Moscow for a long time. There were no children in the family.

A.P. Borodin, who lived in St. Petersburg, died suddenly of a heart attack on February 15 (27), 1887 at the age of 53.

Memory

In memory of the outstanding scientist and composer were named:

A. P. Borodin State Quartet
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

Major works

Works for piano

Helene-Polka (1843)
Requiem
Little suite(1885; orchestrated by A. Glazunov)

In the monastery
Intermezzo
Mazurka
Mazurka
dreams
Serenade
Nocturne

Scherzo in A flat major (1885; orchestrated by A. Glazunov)

Works for orchestra

Symphony No. 1 in E flat major

Adagio. Allegro
Scherzo. Prestissimo
Andante
Allegro molto vivo

Symphony No. 2 in B minor "Bogatyrskaya" (1869-1876; edited by N. A. Rimsky-Korsakov and A. Glazunov)

Allegro
Scherzo. Prestissimo
Andante
The final. Allegro

Symphony No. 3 in A minor (only two movements written; orchestrated by A. Glazunov)

Moderato assai. Poco piu mosso
Scherzo. Vivo

In Central Asia (In the steppes of Central Asia), symphonic sketch

Concerts

Concerto for flute and piano and orchestra (1847), lost

Chamber music

Sonata for cello and piano in B minor (1860)
Piano Quintet in C minor (1862)
Piano trio in D major (1860-61)
String Trio (1847), lost
String trio (1852-1856)
String Trio (1855; unfinished)

Andantino

String trio (1850-1860)
String Quartet No. 1 in A Major

Moderato. Allegro
Andante con moto
Scherzo. Prestissimo
Andante. Allegro risoluto

String Quartet No. 2 in D Major

Allegro moderato
Scherzo. Allegro
Notturno. Andante
Finale. Andante. Vivace

Scherzo for string quartet (1882)
Serenata alla spagnola for string quartet (1886)
Quartet for flute, oboe, viola and cello (1852-1856)
String Quintet in F major (1853-1854)
Sextet in D minor (1860-1861; only two movements survive)

operas

Bogatyrs (1878)
royal bride(1867-1868, sketch, lost)
Mlada(1872, IV act; Other acts were written by C. Cui, N. A. Rimsky-Korsakov, M. Mussorgsky and L. Minkus)
Prince Igor(edited and completed by N. A. Rimsky-Korsakov and A. Glazunov)

The most famous number Polovtsian dances.

Romances and songs

Arabic melody. Words by A. Borodin
For the shores of the distant homeland. Words by A. Pushkin
From my tears. Words by G. Heine
Beautiful fisherwoman. Words by G. Heine (for voice, cello and piano)
Sea. Ballad. Words by A. Borodin
Sea princess. Words by A. Borodin
My songs are full of poison. Words by G. Heine
Song of the dark forest (Old song). Words by A. Borodin
A beautiful girl fell out of love ... (for voice, cello and piano)
Listen, girlfriends, to my song (for voice, cello and piano)
Arrogance. Words by A. K. Tolstoy
Sleeping princess. Fairy tale. Words by A. Borodin
People have something in the house. Song. Words by N. Nekrasov
Fake note. Romance. Words by A. Borodin
Why are you early, dawn ... Song
Wonderful garden. Romance. Words C.G.