Borodin - Prince Igor Overture & Polovtsian Dances (reference recording: Constantin Silvestri)
ฝัง
- เผยแพร่เมื่อ 1 มิ.ย. 2024
- Album available // Borodin: Prince Igor Overture & Polovtsian Dances by Constantin Silvestri
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Alexander Porfiryevich Borodin (1833-1887) Prince Igor Overture & Polovtsian Dances
00:00 Prince Igor, IAB 7: Overture *
Prince Igor, IAB 7, Polovtsian Dances, Orchestral Suite **
10:06 I. Introduction Part I: Dance of the Maidens
12:27 II. Introduction Part II: Gliding Dance of the Maidens
15:00 III. Wild Dance of the Men
16:16 IV. General Dance
18:20 V. Dance of the Boys
19:41 VI. Gliding Dance of the Maidens
21:09 VII. Dance of the Boys
22:31 VIII. General Dance
Bonus
24:01 In the Steppes of Central Asia in A minor, IAB 3: Allegretto con moto ***
* Philharmonia Orchestra (1959)
** Orchestre de la Société des Concerts du Concervatoire (1961)
*** Bournemouth Symphony Orchestra (1968)
Recorded in 1959-68, at London, Paris & Bournemouth
Conductor: Constantin Silvestri
New mastering in 2023 by AB for CMRR
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Unlike most Russian composers of the time, Borodin was an amateur musician who wrote in his spare time. This status, which in no way detracts from the quality of his output, explains why the composition of Prince Igor was spread over eighteen years.
After the failure of his foray into the world of opera with his opera-parody Les preux (1868), Borodin sought a story for an opera. He briefly considered adapting Lev Mei's The Tsar's Wife (which would become Rimsky-Korsakov's ninth opera in 1898), but ultimately chose to set to music Vladimir Stassov's proposed adaptation, close to the Group of Five of which Borodin was a member, of the Russian medieval epic poem The Tale of Igor's Country. Borodin received the three-act scenario on April 30, 1869, but found the action too static. He decided to deepen his own historical knowledge of the late 12th century to write a more dramatically effective libretto. On the strength of his research, Borodin began composing the opera in September 1869.
In 1876, Stassov became impatient with the delay in composing and suggested that Rimsky-Korsakov, also a member of the Group of Five, compose the music for his scenario. Rimsky-Korsakov refused, offering to assist Borodin in his work by orchestrating his music. This collaboration lasted until the composer's sudden death in 1887, at which point Rimsky-Korsakov set about completing this unfinished work with the help of Glazunov, one of his disciples. But the task was immense, as entire sections of the opera were missing, particularly in Act III, where many parts had remained at the stage of sketched themes. Faced with the magnitude of the task, the two composers divided the work between them: Glazunov was responsible for reconstructing the overture from memory and filling in the gaps in Act III, while Rimsky-Korsakov set about orchestrating the piano versions, standardizing the opera's style and ensuring the coherence of the story.
The central opposition in the story, that of the two peoples, is reinforced in Borodin's music by the interaction of Russian folklore and "barbarian" orientalism. Borodin's approach is not to quote folk music verbatim, but rather to recreate musical moods, drawing inspiration from the work of ethnographer Maynov for Konchak's Coumans, and from Prokunin's two-book collection of Russian folk melodies.
Borodin's orientalism is characterized by the use of melismas (a melodic formula consisting of a figure-of-eight turn around a single note) in the vocals, as well as by the use of augmented seconds and chromatic passing notes (notes connecting two distinct notes, creating a fleeting dissonance), as in Konchakovna's cavatina in Act II. Or the famous Couman dances at the end of Act II, which musically evoke all aspects of the Orient imagined by Borodin: sensual reverie, frenetic dancing, the excitement of young boys.
Album available // Rimsky-Korsakov: Scheherazade in E Major, Op. 35 by Leopold Stokowski
🎧 Qobuz (Hi-Res) bit.ly/3H4z0KM Tidal (Hi-Res) bit.ly/47sPXte
🎧 Deezer (Hi-Fi) bit.ly/3TNc1LI Amazon Music (Hi-Res) amzn.to/3S2O3eh
🎧 Napster (Hi-Fi) bit.ly/48kkv1g TH-cam Music (mp3) bit.ly/47m6C1s - เพลง
Album available // Borodin: Prince Igor Overture & Polovtsian Dances by Constantin Silvestri
🎧 Qobuz (Hi-Res) bit.ly/48lmvq1 Tidal (Hi-Res) bit.ly/41KPgdr
🎧 Apple Music (Lossless) apple.co/3HPZTCk Deezer (Hi-Fi) bit.ly/3vrNUIx
🎧 Amazon Music (Hi-Res) amzn.to/3tHc7tO Spotify (mp3) spoti.fi/41QBOVa
🎧 TH-cam Music (mp4) bit.ly/3S7QDzB Napster (Hi-Fi) bit.ly/3S7NyiU
🎧 Pandora, Anghami, Soundcloud, QQ音乐, LineMusic 日本…
Alexander Porfiryevich Borodin (1833-1887) Prince Igor Overture & Polovtsian Dances
00:00 Prince Igor, IAB 7: Overture *
Prince Igor, IAB 7, Polovtsian Dances, Orchestral Suite **
10:06 I. Introduction Part I: Dance of the Maidens
12:27 II. Introduction Part II: Gliding Dance of the Maidens
15:00 III. Wild Dance of the Men
16:16 IV. General Dance
18:20 V. Dance of the Boys
19:41 VI. Gliding Dance of the Maidens
21:09 VII. Dance of the Boys
22:31 VIII. General Dance
Bonus
24:01 In the Steppes of Central Asia in A minor, IAB 3: Allegretto con moto ***
* Philharmonia Orchestra (1959)
** Orchestre de la Société des Concerts du Concervatoire (1961)
*** Bournemouth Symphony Orchestra (1968)
Recorded in 1959-68, at London, Paris & Bournemouth
Conductor: Constantin Silvestri
New mastering in 2023 by AB for CMRR
❤ Join us with your phone on our WhatsApp fanpage (our latest album preview): bit.ly/3Mraw1r
🔊 Discover our new website: www.classicalmusicreference.com/
🔊 Download CMRR's recordings in High fidelity audio (QOBUZ): bit.ly/370zcMg
🔊 Follow us on Spotify: spoti.fi/3016eVr
❤ If you like CMRR content, please consider membership at our Patreon or Tipeee page.
Thank you :) www.patreon.com/cmrr // en.tipeee.com/cmrr
Unlike most Russian composers of the time, Borodin was an amateur musician who wrote in his spare time. This status, which in no way detracts from the quality of his output, explains why the composition of Prince Igor was spread over eighteen years.
After the failure of his foray into the world of opera with his opera-parody Les preux (1868), Borodin sought a story for an opera. He briefly considered adapting Lev Mei's The Tsar's Wife (which would become Rimsky-Korsakov's ninth opera in 1898), but ultimately chose to set to music Vladimir Stassov's proposed adaptation, close to the Group of Five of which Borodin was a member, of the Russian medieval epic poem The Tale of Igor's Country. Borodin received the three-act scenario on April 30, 1869, but found the action too static. He decided to deepen his own historical knowledge of the late 12th century to write a more dramatically effective libretto. On the strength of his research, Borodin began composing the opera in September 1869.
In 1876, Stassov became impatient with the delay in composing and suggested that Rimsky-Korsakov, also a member of the Group of Five, compose the music for his scenario. Rimsky-Korsakov refused, offering to assist Borodin in his work by orchestrating his music. This collaboration lasted until the composer's sudden death in 1887, at which point Rimsky-Korsakov set about completing this unfinished work with the help of Glazunov, one of his disciples. But the task was immense, as entire sections of the opera were missing, particularly in Act III, where many parts had remained at the stage of sketched themes. Faced with the magnitude of the task, the two composers divided the work between them: Glazunov was responsible for reconstructing the overture from memory and filling in the gaps in Act III, while Rimsky-Korsakov set about orchestrating the piano versions, standardizing the opera's style and ensuring the coherence of the story.
The central opposition in the story, that of the two peoples, is reinforced in Borodin's music by the interaction of Russian folklore and "barbarian" orientalism. Borodin's approach is not to quote folk music verbatim, but rather to recreate musical moods, drawing inspiration from the work of ethnographer Maynov for Konchak's Coumans, and from Prokunin's two-book collection of Russian folk melodies.
Borodin's orientalism is characterized by the use of melismas (a melodic formula consisting of a figure-of-eight turn around a single note) in the vocals, as well as by the use of augmented seconds and chromatic passing notes (notes connecting two distinct notes, creating a fleeting dissonance), as in Konchakovna's cavatina in Act II. Or the famous Couman dances at the end of Act II, which musically evoke all aspects of the Orient imagined by Borodin: sensual reverie, frenetic dancing, the excitement of young boys.
Album available // Rimsky-Korsakov: Scheherazade in E Major, Op. 35 by Leopold Stokowski
🎧 Qobuz (Hi-Res) bit.ly/3H4z0KM Tidal (Hi-Res) bit.ly/47sPXte
🎧 Deezer (Hi-Fi) bit.ly/3TNc1LI Amazon Music (Hi-Res) amzn.to/3S2O3eh
🎧 Napster (Hi-Fi) bit.ly/48kkv1g TH-cam Music (mp3) bit.ly/47m6C1s
Unlike most Russian composers of the time, Borodin was an amateur musician who wrote in his spare time. This status, which in no way detracts from the quality of his output, explains why the composition of Prince Igor was spread over eighteen years. After the failure of his foray into the world of opera with his opera-parody Les preux (1868), Borodin sought a story for an opera. He briefly considered adapting Lev Mei's The Tsar's Wife (which would become Rimsky-Korsakov's ninth opera in 1898), but ultimately chose to set to music Vladimir Stassov's proposed adaptation, close to the Group of Five of which Borodin was a member, of the Russian medieval epic poem The Tale of Igor's Country. Borodin received the three-act scenario on April 30, 1869, but found the action too static. He decided to deepen his own historical knowledge of the late 12th century to write a more dramatically effective libretto. On the strength of his research, Borodin began composing the opera in September 1869.
In 1876, Stassov became impatient with the delay in composing and suggested that Rimsky-Korsakov, also a member of the Group of Five, compose the music for his scenario. Rimsky-Korsakov refused, offering to assist Borodin in his work by orchestrating his music. This collaboration lasted until the composer's sudden death in 1887, at which point Rimsky-Korsakov set about completing this unfinished work with the help of Glazunov, one of his disciples. But the task was immense, as entire sections of the opera were missing, particularly in Act III, where many parts had remained at the stage of sketched themes. Faced with the magnitude of the task, the two composers divided the work between them: Glazunov was responsible for reconstructing the overture from memory and filling in the gaps in Act III, while Rimsky-Korsakov set about orchestrating the piano versions, standardizing the opera's style and ensuring the coherence of the story.
The central opposition in the story, that of the two peoples, is reinforced in Borodin's music by the interaction of Russian folklore and "barbarian" orientalism. Borodin's approach is not to quote folk music verbatim, but rather to recreate musical moods, drawing inspiration from the work of ethnographer Maynov for Konchak's Coumans, and from Prokunin's two-book collection of Russian folk melodies.
Borodin's orientalism is characterized by the use of melismas (a melodic formula consisting of a figure-of-eight turn around a single note) in the vocals, as well as by the use of augmented seconds and chromatic passing notes (notes connecting two distinct notes, creating a fleeting dissonance), as in Konchakovna's cavatina in Act II. Or the famous Couman dances at the end of Act II, which musically evoke all aspects of the Orient imagined by Borodin: sensual reverie, frenetic dancing, the excitement of young boys.
❤ Join us with your phone on our WhatsApp fanpage (our latest album preview): bit.ly/3Mraw1r
🔊 Discover our new website: www.classicalmusicreference.com/
🔊 Download CMRR's recordings in High fidelity audio (QOBUZ): bit.ly/370zcMg
🔊 Follow us on Spotify: spoti.fi/3016eVr
❤ If you like CMRR content, please consider membership at our Patreon or Tipeee page.
Thank you :) www.patreon.com/cmrr // en.tipeee.com/cmrr
Lebhafte und dynamische Interpretation dieser drei romantischen und ethnisch komponierten Meisterwerke mit farbenprächtigen doch perfekt entsprechenden Tönen aller Instrumente. Der intelligente und geniale Dirigent leitet die drei ausgezeichneten Orchester im relativ schlellen Tempo und mit völlig effektiver Dynamik. Alles ist wunderbar und atemberaubend zugleich!
Thank you very much! Greetings from Romania!
A fine choice of recording for these pieces. Silvestri was an outstanding conductor across a broad repertoire.
イーゴリ公は未完のオペラでしたが、聞いてみると、大変魅力的な作品ですね。ボロディンは才能があり過ぎるから、音楽には専念しなかったかも知れないです。でも、凡庸な作曲家どころか、彼の独特な叙情性はどんな人も惹きつけずには置かない魅力を持っています。
Too beautiful - thank you CM/RR
Music with a bit of Slavic tradition, specifically with a colorful Russian, which enchanted 19th century Western Europe
Truly nice and beautiful. I am a complete amateur in music but at once thought about Sinatra when hearing the first keys of the gliding dance... Then thought it cannot be strangers in paradise... Well... It was , and Tony Bennett... Perry Como was better! Thanks!
borodin inventor of movie music 😮
In the title picture is a painting by Degas “Ukrainian dancers”. This has nothing to do with Borodin's music. Russian national costume is completely different.
Territory of Imperial Russia at the time of its creation. Obviously, the aim is to illustrate the dance and not to enter into a political debate.
@@classicalmusicreference this is not politics debate this is historical and cultural accuracy.
Good :)
Look's like the channel owner it's only about music "reference" not illustration to this ;) Maybe you could be helpful and find and propose better suited picture?
@@konpolski4765 It seems to us that the answer is clear: "" Territory of Imperial Russia at the time of its creation. "" The image is therefore appropriate if you make the effort to place yourself in the historical context of the 19th century.