Alexander Borodin, 1833-1887. In the Steppes of Central Asia. Completed 1880. Scored for 2 flutes, oboe, English horn, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 2 trombones, bass trombone, tympani, and strings.
The obvious common thread among the composers featured in this evening's performance is that they were all 19th-century Russians, authors of some of the lushest and most romantic music ever written. Less well-known is that all three came to music relatively late in life, after pursuing careers in other fields. All three serve as refreshing antidotes to the endless tales of child prodigies who, it would sometimes seem, began their musical studies in the womb and had all attained immortality by the age of ten.
Many notable figures in history have displayed talents in more than one field. Leonardo da Vinci was perhaps the most outstanding example, but there have been many others both before and after. One such man was Alexander Borodin, who turned to composition while simultaneously pursuing an illustrious career as a research chemist, publishing numerous scholarly papers, and inventing analysis techniques that were still in use half a century after his death.
Borodin received relatively little early musical training, although this did not stop him from trying his hand at a bit of childish composition, which was successful enough that his family quickly found him a music teacher. But his other academic talents eventually led him to study medicine and chemistry (yet he was often reproached by his professors for spending too much time on ballads!).
As noted above, Borodin went on to make science his profession and music his hobby, yet he was hardly a dabbling amateur. His chamber compositions, particularly his quartets, set a new Russian standard, and many of his other works are still in the standard repertoire. The Broadway musical Kismet popularized many of the themes from his opera Prince Igor, notably in the hit song ``Stranger in Paradise''.
In the Steppes of Central Asia was written for jubilee of Tsar Alexander II, to accompany a historical tableau that would be part of the festivities. Though a relatively minor work, it has a charm which has earned it a popularity far beyond its composer's modest ambitions, reminding us all that this musical ``amateur'' was as talented as any of his professional contemporaries.
© 1995, Geoff Kuenning
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