Alexander Porfirievich Borodin. Romances. Alexander Porfirievia Borodin. Music Directory: Composers The most famous melodies of the composer Borodin

Not as extensive as one might 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 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 Medical-Surgical Academy. More precisely, he showed interest in writing music even earlier, but it was during his student years that he began to write romances and piano pieces. This displeased his supervisor, who believed that his student had become too distracted from his scientific activities.

It so happened that during his internship abroad, 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 that in subsequent years received the name “”.

Is it worth saying who from that time influenced Borodin’s musical preferences? 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 participant in the Belyaev circle.

He was never able to finish his main work, which brought its author world fame, during his lifetime. Borodin wrote the opera “Prince Igor” over more than eighteen years.

Alexander Borodin based his most ambitious work on the historical work “The Tale of Igor’s Campaign.” His idea was once suggested to Borodin; they were just that evening at a musical meeting at Shestakova’s. Alexander liked this idea, and he enthusiastically set to work.

He never lived 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 had 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 traditions of Glinka’s work “A Life for the Tsar.” It is also full of powerful sounds of the choir 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 was precisely thanks to this rare spirit of unity that this work turned out to be so holistic.

However, some critics argue that these authors took Borodin’s already completed work 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 creativity and the embodiment of the monumental integrity of the opera, as well as the culmination of Russian symphonism.

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

Tenderly loving his wife, he often served beside her 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. On top of everything else, she also suffered from insomnia. My husband, naturally, also lacked sleep.

For the last year of his life, he kept complaining of chest pain. On February 15, 1887, he was visiting his friends. There he suddenly lost consciousness. It was not possible to bring him to his senses. The cause of death was subsequently established: cardiac rupture.

List of works by Borodin:

Works for piano

• Hélène-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
• Not turno. 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, Act IV; 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 is 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 fisherman. 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
• The fair maiden fell out of love... (for voice, cello and piano)
• Listen, my friends, to my song (for voice, cello and piano)
• Arrogance. Words by A.K. Tolstoy
• Sleeping princess. Fairy tale. Words by A. Borodin
• In people's houses. Song. Words by N. Nekrasov
• False note. Romance. Words by A. Borodin
• Why are you early, little dawn... Song
• Wonderful garden. Romance. Words by C. G.

Borodin's music... excites a feeling of strength, vigor, light; it has a mighty breath, scope, breadth, spaciousness; there is a harmonious, healthy feeling of life in it, the joy of knowing that you are living.
B. Asafiev

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, teacher, conductor, music critic, he also showed extraordinary 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 their content, the variety of genres, and the classical harmony of forms. Most of them are associated with the Russian epic, with the story of the heroic deeds of the people. Borodin also has pages of heartfelt, soulful lyrics; jokes and gentle humor are not alien to him. The composer's musical style is characterized by a wide scope of narration, melody (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 a Russian epic symphony, and also established the type of Russian epic opera.

Borodin was born from the unofficial marriage of Prince L. Gedianov and Russian bourgeois A. Antonova. He received his surname and patronymic from Gedianov’s yard man, Porfiry Ivanovich Borodin, whose son he was recorded as.

Thanks to his mother's intelligence and energy, the boy received an excellent education at home and already in childhood discovered versatile abilities. He was especially attracted to his music. He learned to play the flute, piano, cello, listened with interest to symphonic works, independently studied classical music literature, playing 4 hands with his friend Misha Shchiglev all the symphonies of L. Beethoven, I. Haydn, F. Mendelssohn. His gift for composition also manifested itself early. His first experiments were the polka “Helene” for piano, Concerto for flute, Trio for two violins and cello on themes from the opera “Robert the Devil” by J. Meyerbeer (1847). During these 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 there were jars with various crystalline solutions.” Relatives noted that since childhood, Sasha was always busy with something.

In 1850, Borodin successfully passed the exam at the Medico-Surgical (from 1881 Military Medical) Academy in St. Petersburg and enthusiastically devoted himself to the study of medicine, natural science, and especially chemistry. Communication with the outstanding advanced Russian scientist N. Zinin, who brilliantly taught a chemistry course 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 development of Borodin’s personality. Sasha was also interested in literature, he especially loved the works of A. Pushkin, M. Lermontov, N. Gogol, the works of V. Belinsky, and read philosophical articles in magazines. Free time from the academy was devoted to music. Borodin often attended musical gatherings, where romances by A. Gurilev, A. Varlamov, C. Vilboa, Russian folk songs, and arias from then fashionable Italian operas were performed; He constantly attended quartet evenings with the amateur musician I. Gavrushkevich, often participating as a cellist in the performance of chamber instrumental music. During these same years he became acquainted with the works of Glinka. Brilliant, deeply national music captured and captivated the young man, and from then on he became a loyal admirer and follower of the great composer. All this encourages him to be creative. Borodin works a lot on his own to master the compositional technique, writes vocal compositions in the spirit of urban everyday romance (“Why are you early, little dawn”; “Listen, my friends, to my song”; “The fair maiden has fallen out of love”), as well as several trios for two violins and cellos (including on the theme of the Russian folk song “How have I upset you”), string Quintet, etc. In his instrumental works of this time, the influence of Western European music, in particular Mendelssohn, is still noticeable. In 1856, Borodin passed his final exams with flying colors and, to undergo compulsory medical practice, was assigned as a resident physician 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. When they gathered, they discussed not only scientific problems, but also issues of socio-political life, news of literature and art; The Kolokol and Sovremennik were read here, the ideas of A. Herzen, N. Chernyshevsky, V. Belinsky, N. Dobrolyubov were heard here.

Borodin is intensively involved in science. During his 3 years abroad, he completed 8 original chemical works, which brought him wide fame. He takes every opportunity to travel around Europe. The young scientist became acquainted with the life and culture of the peoples of Germany, Italy, France, and Switzerland. But music always accompanied him. He still played music with enthusiasm in home circles and did not miss the opportunity to attend symphony concerts and opera houses, thus becoming acquainted with many works of modern Western European composers - K. M. Weber, R. Wagner, F. Liszt, G. Berlioz . In 1861, in Heidelberg, Borodin met his future wife, a talented pianist and connoisseur of Russian folk songs, E. Protopopova, who ardently promoted the music of F. Chopin and R. Schumann. New musical impressions stimulate Borodin's creativity and help him realize himself as a Russian composer. He persistently searches for his own paths, his own 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 flavor. This work seems to sum up Borodin's previous artistic development.

In the fall of 1862, he returned to Russia and was elected professor at the Medical-Surgical Academy, where until the end of his life he lectured and conducted practical classes with students; from 1863 he taught for some time at the Forestry Academy. He also began new chemical research.

Soon after returning home, in the house of Academy professor S. Botkin, Borodin met M. Balakirev, who, with his characteristic insight, immediately appreciated Borodin’s talent as a composer and told the young scientist that his true calling was music. Borodin is part of a circle that, in addition to Balakirev, included C. Cui, M. Mussorgsky, N. Rimsky-Korsakov and art critic V. Stasov. Thus ended the formation of the creative community of Russian composers, known in the history of music as the “Mighty Handful”. Under the leadership of Balakirev, Borodin began to create the First Symphony. Completed in 1867, it was successfully performed on January 4, 1869 at a concert of the Russian Musical Society in St. Petersburg under the baton of Balakirev. In this work, Borodin's creative image was finally determined - 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 direction in Russian symphonic music.

In the second half of the 60s. Borodin creates a number of romances very different in theme and character of musical embodiment - “The Sleeping Princess”, “Song of the Dark Forest”, “The Sea Princess”, “False Note”, “My Songs Are Full of Poison”, “The 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”. As the plot of the opera, Stasov suggested to Borodin a wonderful monument of ancient Russian literature, “The Tale of Igor’s Campaign.” “I really like this plot. Will it be within my power?...” I’ll try, Borodin answered Stasov. The patriotic idea of ​​the Lay and its national spirit were especially close to Borodin. The plot of the opera perfectly suited 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 faithful, truthful characters. He studies many sources related to “The Word” and that era. These are chronicles, historical stories, studies about the “Word”, Russian epic songs, oriental melodies. Borodin wrote the libretto for the opera himself.

However, the writing progressed slowly. The main reason is being busy with 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 Preservation of Public Health, took part in the publication of the magazine “Knowledge”, was a member of the directors of the Russian Medical Society, participated in the work of the St. Petersburg circle of music lovers, and led the organizations he created. Medical-Surgical Academy student choir and orchestra.

In 1872, Higher Women's Medical Courses opened in St. Petersburg. Borodin was one of the organizers and teachers of this first higher educational institution for women, and devoted a lot of time and effort to it. 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 and the nature of the musical images. In the music of the symphony, Borodin achieves bright colors and concreteness of musical images. According to Stasov, he wanted to draw a meeting of Russian heroes at 1 hour, in the Andante (3 hours) - the figure of Bayan, and in the finale - a scene of a heroic feast. The name “Bogatyrskaya”, given to the symphony by Stasov, firmly stuck to it. The symphony was first performed at a concert of the Russian Musical Society in St. Petersburg on February 26, 1877 under the baton of 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 power and passion conveys a rich world of emotional experiences, revealing the bright lyrical side of Borodin’s talent.

However, the main concern was opera. Despite being extremely busy with all sorts of responsibilities 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 under the direction of Rimsky-Korsakov and found a warm response from listeners. The performance of the music of Polovtsian dances with a choir, choirs (“Glory”, etc.), as well as solo numbers (song of Vladimir Galitsky, cavatina by Vladimir Igorevich, Konchak’s aria, Yaroslavna’s Lament) made a great impression. Particularly much was accomplished in the late 70s and first half of the 80s. Friends were looking forward to the completion of the opera and tried in every possible way to facilitate this.

In the early 80s. Borodin wrote the symphonic score “In Central Asia”, several new numbers for the opera and a number of romances, among which the elegy on st. A. Pushkin “For the shores of the distant fatherland.” In the last years of his life, he worked on the Third Symphony (unfortunately, unfinished), wrote the Little 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, persecution of advanced culture, the rampant brutal bureaucratic arbitrariness, the closure of women's medical courses - had an overwhelming effect on the composer. It became increasingly difficult to fight the reactionaries in the academy, employment increased, and health began to fail. Borodin had a hard time with the death of people close to him - Zinin, Mussorgsky. At the same time, communication with young people - students and colleagues - brought him great joy; The circle of musical acquaintances has also expanded significantly: he willingly attends “Belyaev Fridays”, becomes closely acquainted with 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.

Since the beginning of the 80s. Borodin the composer's fame is growing. His works are performed more and more often and receive recognition not only in Russia, but also abroad: in Germany, Austria, France, Norway, America. His works had a triumphant success in Belgium (1885, 1886). He became one of the most famous and popular Russian composers in Europe at the end of the 19th and beginning of the 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 it was planned by Borodin) and composed music for Act III based on the author’s sketches, Rimsky-Korsakov instrumentalized most of the opera’s numbers. On October 23, 1890, Prince Igor was staged on the stage of the Mariinsky Theater. The performance received a warm reception from the public. “The opera “Igor” is in many ways a direct 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), which surpasses even the comedy of Farlaf” .

Borodin's work had a huge influence on many generations of Russian and foreign composers (including Glazunov, Lyadov, S. Prokofiev, Yu. Shaporin, C. Debussy, M. Ravel, etc.). It is the pride of Russian classical music.

Works for piano

* Helene-Polka (1843)
* Requiem
* Little Suite (1885; orchestrated by A. Glazunov)
1. In the monastery
2. Intermezzo
3. Mazurka
4. Mazurka
5. Dreams
6. Serenade
7. Nocturne
* Scherzo in A flat major (1885; orchestrated by A. Glazunov)

Works for orchestra

* Symphony No. 1 in E flat major
1. Adagio. Allegro
2. Scherzo. Prestissimo
3. Andante
4. Allegro molto vivo
* Symphony No. 2 in B minor “Bogatyrskaya” (1869-1876; edited by N. A. Rimsky-Korsakov and A. Glazunov)
1. Allegro
2. Scherzo. Prestissimo
3. Andante
4. Final. Allegro
* Symphony No. 3 in A minor (only two movements written; orchestrated by A. Glazunov)
1. Moderato assai. Poco piu mosso
2. 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)
o Andantino
* String trio (1850-1860)
* String Quartet No. 1 in A major
1. Moderato. Allegro
2. Andante con moto
3. Scherzo. Prestissimo
4. Andante. Allegro risoluto
* String Quartet No. 2 in D major
1. Allegro moderato
2. Scherzo. Allegro
3. Notturno. Andante
4. 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, Act IV; 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 is 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 fisherman. 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
* The fair maiden fell out of love... (for voice, cello and piano)
* Listen, my friends, to my song (for voice, cello and piano)
* Arrogance. Words by A.K. Tolstoy
* Sleeping princess. Fairy tale. Words by A. Borodin
* In people's houses. Song. Words by N. Nekrasov
* False note. Romance. Words by A. Borodin
* Why are you early, little dawn... Song
* Wonderful garden. Romance. Words by C. G.

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

Alexander Porfiryevich Borodin did not create 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 associated with the Russian epic, with the story of the heroic deeds of the people. Borodin also has pages of heartfelt, soulful lyrics; jokes and gentle humor are not alien to him. The composer's musical style is characterized by a wide scope of narration, melody (Borodin had the ability to compose in a folk song style), colorful harmonies, and active dynamic aspiration. Borodin's main means of musical expression is always melody - broad, songlike. Colorfulness and brightness are inherent in Borodin's harmonic language. Here he acts as an innovator, the creator of bold and unusual chord combinations. All musically expressive means are used harmoniously and are subject to a strict logic of development.

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

The essence of A.P.’s style Borodin is defined by the category “musical epic”. It is no coincidence that musicologists compare the composer with the singer and storyteller of Kievan Rus Bayan. Just as in ancient Russian epics, his music embodies the idea of ​​the heroic power of the Russian people. What the composer has in common with an epic storyteller is his amazing ability to slowly and in detail illuminate “the affairs of bygone days,” to talk about the events of the past objectively and vividly artistically.

Borodin developed rapidly as a composer. Already in his early chamber works his originality was discernible. Communication with the composers of the “Mighty Handful”, who paid special attention in their work to the development of Russian national music, and visiting concerts of the Free Music School brought about 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 Russian songs with remarkable authenticity. The combination of 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 unusually rich area of ​​expression of the musical genius of A.P. Borodin - his chamber vocal work. Like all the “kuchkists”, A.P. Borodin loved to write romances. Some are composed using the composer's own words. Total A.P. Borodin wrote 18 romances and songs based on texts by A.S. Pushkina, N.A. Nekrasova, A.N. Tolstoy, G. Heine. Most of the best works were created in 1867–1868. Then the romances and songs “The 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 to his own text. The author himself calls “The Sleeping Princess” a “fairy tale” and is dedicated to Rimsky-Korsakov. It features characters traditional to folk tales - the sleeping beauty and the hero - the liberator who defeats evil spells. This tale is allegorical: in the central character one can discern the image of Russia, waiting for awakening. “The Sleeping Princess” is a bold and inspired work, in a new, original style of writing. It is enough to hear the “dangling” seconds, which are repeated, emphasizing the rhythmic swing of the lullaby and creating a picture of an enchanted magical dream. Harmonic brilliance similar to that found in this romance would later emerge from the French composers Claude Debussy and Maurice Ravel.

“Song of the Dark Forest” by A.P. Borodin called it an old song. Romance is close to a song - a legend, an epic tale about a heroic strong will. With its stern character, manly sound of voice and piano, and variability of meter, “Song of the Dark Forest” is akin to epics. The composer abandons the usual division into bars in European music, replacing it with the free alternation of five, three, four, six beats per bar, inherent in epics and Russian folk songs.

Not only Borodin’s epic romances are remarkable, but also his lyrics, especially the poems by G. Heine and A.S. Pushkin. Pushkin's elegy “For the Shores of the Distant Fatherland” is one of the masterpieces of Russian vocal lyricism. 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, and the bitterness of farewell. Among humorous vocal sketches, the most popular is the romance “Arrogance” (words by A.K. Tolstoy). This genre and everyday scene is full of humor. It makes you remember 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 lasted for many years, and sometimes decades. Borodin worked on his works very carefully, painstakingly, like a true scientist. He composed many options and 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 off, did not have a well-established life.

This is how A.P. described life. Borodina N.A. Rimsky - Korsakov: “Everyone came to him at any time, tearing him away from dinner or tea, and dear 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 refuge and place of lodging for the night for various relatives, poor or newcomers, who fell ill in it and even went crazy, and Borodin fussed with them, treated them, 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's reputation as a symphonist is enormous: he is the founder of epic symphonism in Russian music and, together with P.I. Tchaikovsky is the creator of the Russian classical symphony. The composer himself noted that he was “drawn to symphonic forms.” Moreover, members of the “Mighty Handful” led by V.V. Stasov promoted the picture-plot, program type of symphonic music of the Berlioz type or Glinka model; the classical 4-movement sonata-symphonic 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 programmatic symphonic work. But he was more inclined towards a “pure” symphonic cycle, as evidenced by his three symphonies (the last one was not completed). V.V. Stasov regretted this: “Borodin did not want to take the side of the indigenous innovators.” However, A.P. Borodin gave such a unique interpretation of the traditional symphony that he turned out to be an even greater innovator in this genre than other “subverters.”

Distinctive features of the epic symphony of A.P. Borodin:

· absence of conflict between themes of sonata form;

· instead of confrontation – their contrasting comparison;

· reliance on general, collective, established intonations, connection with Russian song folklore as a traditional feature of thematics;

· the predominance of exposure over development, techniques of intonation variation, subvocal polyphony over motivic 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 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 and respite);

· The ultimate goal of development is the synthesis of contrasting 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 interrelated. The symphony received its name “Bogatyrskaya” with the light hand of V.V. Stasova, M.P. Mussorgsky called her “heroic Slavic.”

The symphony, with its amazing concreteness of musical images, can be classified as compositions with a hidden program. Musicologists have no consensus regarding the content of the proposed program. The words of V.V. are known. Stasov, who stated: “Borodin himself told me that in the 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 the harp, with the rejoicing of a great crowd of people.” However, B.V. Asafiev doubted the veracity of these words: he was confused by the too great degree of specificity of the program. The musicologist suggested not taking it as a dogma and considering the symphony in a broader meaningful context. It seems that the modern researcher is right in believing that “Borodin’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 drawn out - the worlds of Rus' collide, intersect and penetrate each other and the East."

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

Borodin's multifaceted art and his musical epic grew out of the centuries-old spiritual traditions of Russian culture. The composer embodied the moral behests 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 the work of A.P. Borodin, we can say that the composer’s works are 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, has great strength and breadth of music, colossal scope, swiftness and impetuosity, combined with beauty and tenderness. To these qualities you can add rich and gentle humor. Favorite heroes of A.P. Borodin - defenders of their native country. These are real historical figures or Russian heroes. Lyrics by A.P. Borodina embodies sublime and integral feelings and is distinguished by a life-affirming character. Pictures of nature occupy a significant place in creativity. Melodic and harmonic language of A.P. Borodin is distinguished by its 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 legacy in this area looks more than modest - only sixteen works, while for his three comrades in the “Mighty Handful” the number of romances is in the dozens, and for Cesar Cui - even in the hundreds. But this is the case when quality cannot be judged by quantity. Due to Borodin’s eternal busyness, 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 was enough for his name to be inscribed in the history of Russian opera. The same is true with his romances: although there are few of them, each one is a masterpiece.

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

In Borodin's romances the element of comedy, even satire, also finds expression. A remarkable example is the romance “Arrogance”, the poetic basis of which was a satirical poem by Alexei Tolstoy. The satire is based on the same technique as in many of Dargomyzhsky’s romances (for example, “The Titular Advisor”) - social typification, but its refraction is different, even opposite: if the titular advisor is a human type, a specific representative of which could well live next door, then in this case, the initially generalized allegorical character acquires specific features.