Opera: "The Expedition of Ivangor"

In 1869, Borodin began to produce an opera based on the twelfth-century Russian epic "The Expedition of Ivangor" Written script and composed music. Some consider this to be his most famous work. It contains the Tatar Dances, which are often performed independently. The opera was not completed at the time of his death because he devoted more effort to chemistry. Later, This work was completed by Rimsky-Korsakov and Glazunov. Orchestral Symphonic Poem: Borodin's most famous orchestral piece from the Central Asian Steppes vividly depicts a region that was strange to him.

Opera: "King Igor"

Borodin wrote the libretto and composed the music based on the 12th-century Russian epic "The Expedition of Igor". The composer began writing this opera in the late 1860s. Unfortunately, the author died before the work was completed. Later, the author's close friend Rimsky-Korsakov and Glazunov continued the entire opera together. The plot of the opera is roughly as follows: In the ancient Russian city of Bukifur, King Igor and Prince Vladimir led an army to resist the invading Polovtsians, but were unfortunately defeated and captured. In the camp of the Polovtsians, the prince fell in love with Princess Konchakovna of Polovts, but King Igor wanted to escape back to his motherland and avenge his shame. Konchako Khan, the leader of Polovts, admired his strength and bravery and expressed his willingness to release him, but he asked him to promise not to be enemies of the Polovts again, but King Igor refused. Later, King Igor received the help of Overul, an Orthodox Christian from Borovets, and finally managed to escape back to his motherland. Prince Vladimir also got his wish and married Princess Konchakovna in Polovts and became the consort of the enemy country. The music of this opera, like Borodin's other famous works, has both the description of magnificent historical scenes and a profound lyrical flavor. Although Borodin did not directly quote folk songs when writing the music for this opera, he collected and studied a large number of folk songs in preparation for composing this opera. Yaroslavna’s tone uses typical sounds of Russian folk laments; while the chorus of the Polovtsian slave girls in the third act uses certain rhythmic features of polonaise. This is a lyrical female chorus composed of three parts. The whole song characteristically places the emphasis on the second beat, creating a syncopated effect. The middle part of the song is the development of the previous and later parts. Although this single theme has little contrast, it highlights the lyricism of the song throughout. The overture of the opera uses many themes from the opera very interestingly. These rich materials are extremely cleverly and organically organized within the formal sonata form, which cannot but be said to be the composer's originality. Symphony No. 1, Symphony No. 2, and Symphony No. 3 are three. The second work was not completed in the end. It took up seven years of his time intermittently. However, it is a very attractive and very Russian style work. works, and these three symphonies have added a lot to the National Music School.

"On the Steppes of Central Asia" was painted in 1880. This year marks the 25th anniversary of the accession of Russian Emperor Alexander II to the throne. At that time, an "Exhibition of Pictures and Soundtracks of Russian Historical Events" was planned. The themes of the pictures were selected from some stories and legends in Russian history. Borodin's symphonic music painting "On the Steppes of Central Asia" was written as a soundtrack for one of the scenes. Due to its simple and moving melody and poetic artistic conception, this music painting has been widely circulated and has become a world masterpiece. . The work depicts a camel caravan escorted by the Russian army, marching on the endless desert, approaching from far away, and then disappearing into the empty distance. This is a title symphonic poem with a distinctive image and precious artistic value. In 1881, Borodin presented this work to Liszt when he visited him. The original score was published in 1882. This song is Allegretto, in the key of A major, in 2/4 time. The music begins with the first violin gently playing the sustained overtones of an empty octave in the high register, depicting the silence and emptiness of the grassland. On this background, the flute and oboe sing a peaceful Russian folk song melody, which is the first theme of the music.

The cello and double cello play fixed sound patterns, which reminds the listener of the footsteps of camels and horse teams in the distance, and feels that a caravan is gradually approaching. Under the protection of Russian soldiers, they seemed very peaceful and carefree. The music played by British pipes describing caravans is melodious and charming, and has oriental characteristics. This is the second theme of the music. The music changes from the violin's E sustain to an ensemble. The hoofbeats of horses and camels and Russian folk songs formed a harmonious relationship during the process. Then, the band played a majestic march in full. The footsteps and hooves merged into one, and once again the melodious and charming tones with oriental characteristics were sounded, accompanied by the cello and played by the English pipes. Next, the violin pushes the music to a climax. After the viola and cello, Russian folk songs played by the oboe appear, counterpointing the Eastern tones played by the violin. Later, the music is developed in the whole performance, showing the harmonious relationship between the caravan and the army. Under the protection of the army, the caravan continued to march safely on the grassland, getting farther and farther, and gradually disappeared into the distance. The first half of the only fragment selected here is the first theme of the music, and the second half is the second theme of the music. Including String Quartet No. 1 in A major and String Quartet No. 2 in D major.

Borodin wrote two string quartets. Both works are full of Russian national style and win with soft melodies. Among them, the second movement Adagio of the second string quartet in D major was later adapted into an orchestral performance and named "Nocturne". This work is dedicated to the author's wife. The melody is soft and lyrical, simple and friendly. The whole song is divided into four movements:

The first movement is in sonata form, which reveals human spiritual power, thoughts and feelings. The main theme is full of life and has an enterprising spirit. It is based on Russian folk songs and is very singable.

The second movement is in sonata form, a dynamic scherzo. The theme of the main part is light and lively, and the theme of the secondary part is soft and lyrical. The two themes are contrasting and interesting.

The third movement of the Nocturne is beautifully lyrical, elegant and tranquil. The cello plays the first theme, and the violin responds with a fresh and beautiful style, such as a couple dancing, showing the whispers and passionate feelings between young lovers. The movement ends with a faint sound that gradually disappears, like lovers leaving reluctantly when parting. In the fourth movement, which is in sonata form, the music of the main theme shows strength and uneasiness, while the secondary theme is lyrical and beautiful, expressing the yearning for light. The music is bright and vigorous, but yet stretching and far-reaching, emphasizing the lyrical nature of this piece.