1833. He was trained in the sciences, having attended the Academy of

Medicine in St. Petersburg and in 1858 receiving his doctorate in chemistry. He continued after that to devote himself to scientific activities, both in and out of Russia. He produced several significant papers and, from 1859 to 1862, served on an important scientific mission. He had also received some musical training in his boyhood. In 1862 he began to direct his energies with equal vigor to music as well as to science. He soon joined four colleagues (Mussorgsky, Balakirev, Cui, and Rimsky-Korsakov) in forming a national school of composition henceforth identified as “The Mighty Five” or “The Russian Five.” Like the other members of this group, Borodin concerned himself with the creation of a national Russian musical art, well grounded in Russian folk song and dance, Russian culture and history. In this style he produced three symphonies, the folk opera _Prince Igor_, two string quartets, and various operas and instrumental compositions. He differed from the other members of the “Russian Five” by his partiality to Oriental melodies, harmonies, rhythms, and instrumental colors, and by his preference for exotic subjects. Borodin died in St. Petersburg on February 27, 1887. _In the Steppes of Central Asia_ (1880) is a popular tone poem for orchestra, one of several _tableaux vivants_ (“living pictures”) commissioned from various composers to honor the 25th anniversary of the reign of Czar Alexander II. Each _tableau vivant_ was intended to portray an incident from the Russian past, or a picture of a Russian scene. Borodin prepared his own programmatic note to explain his music; it appears in the published score. “Over the uniformly sandy steppes of Central Asia come sounds of a peaceful Russian song. Along with them are heard the melancholy strains of Oriental melodies, then the stamping of approaching horses and camels. A caravan, accompanied by Russian soldiers, traverses the measureless waste. With full trust in its protective escort, it continues its long journey in a carefree mood. Onward the caravan moves. The songs of the Russians and those of the Asiatic natives mingle in common harmony. The refrains curl over the desert and then die away in the distance.” The peaceful Russian song is given by the clarinet, while the “melancholy strains of Oriental melodies” is an expressive song for English horn. These two melodies are the core of a composition that is free in form. The _Nocturne_ (_Notturno_) is a haunting, poetic song for strings, the third movement of the composer’s String Quartet No. 2 in D major (1885). It is often heard apart from the rest of the work, particularly in various transcriptions for orchestra, or for violin and piano. In 1953, furnished with lyrics and adapted into a popular song by Robert Wright and George “Chet” Forrest, it was heard in the Broadway musical _Kismet_ as “This Is My Beloved” and became an outstanding hit. The _Polovtsian Dances_ come from _Prince Igor_, a folk opera with libretto by Vladimir Stassov based on an old Russian chronicle. It was introduced at the Imperial Opera in St. Petersburg in 1890. The setting is 12th-century Central Asia where a Tartar race, known as the Polovtzi, capture Prince Igor and his son, Vladimir. Though captives, Prince Igor and his son are regaled by the leader of the Tartars with a lavish feast and Oriental dances. It is at this point in the opera (Act 2) that the popular _Polovtsian Dances_ appear. They are exciting aural experiences because of their primitive rhythms, exotic Oriental melodies, and flaming instrumental colors. One of the dances is a poignant melody for flute and oboe; another is a dance of savage men in which the main melody in clarinet is set against a sharply accented phrase of four descending notes; a third is barbaric, a syncopated melody for strings accompanied by crash of cymbals; a fourth is a haunting Oriental song divided by violins and cellos. This last melody was used by Robert Wright and George “Chet” Forrest for their popular song hit of 1953, “Stranger in Paradise,” in their Broadway musical, _Kismet_. The concluding dance is again in a savage manner. A passionate melody is begun by the woodwind and carried on by the strings, while receiving a vigorous horn accompaniment. Felix Borowski Felix Borowski was born in Burton, England, on March 10, 1872. He received his musical training at the Cologne Conservatory and with private teachers in England. In 1897 he settled in the United States where he later became a citizen. From 1897 to 1916 he was professor of harmony and counterpoint at Chicago Musical College, and from 1916 to 1925 its president. His career in music criticism began in 1905. From 1907 to 1917 he was music critic of the Chicago _Record-Herald_ and from 1942 until his death, of the Chicago _Sun_. He was also program annotator for the concerts of the Chicago Symphony from 1908 on, some of these annotations being published in the books, _Standard Concert Guide_ and _Encyclopedia of the Symphony_. Borowski died in Chicago, Illinois, on September 6, 1956. As a composer, Borowski produced three symphonies, three string quartets, several ballet-pantomimes, various tone poems and other instrumental compositions. His major works are now rarely given, but his smaller salon pieces have retained their popularity through the years. The best of these are the _Adoration_, for violin and piano, the _La Coquette_ and _Valsette_ for piano, all transcribed for orchestra. All three pieces are in simple song structure and unashamedly Romantic in their lyricism and emotional content. The uninhibited sentimentality of _Adoration_ has made that piece a particular favorite. Johannes Brahms Johannes Brahms was born in Hamburg, Germany, on May 7, 1833. He received instruction in music from his father, Otto Cossel, and Eduard Marxsen. At fourteen he gave his first public concert as pianist, in which he introduced one of his own compositions. In 1853 he toured with the Hungarian violinist, Eduard Reményi, as his accompanist. During this period he met and aroused the interest of such notable musicians as Joachim, Liszt, and Schumann. The last of these was one of the first to give Brahms public recognition, through a glowing article in the _Neue Zeitschrift fuer Musik_. After a considerable amount of travel in Germany and Austria, and after holding various musical positions, Brahms established himself permanently in Vienna in 1863. The promise he had shown in his early piano and chamber music became fully realized with his first piano concerto in 1857, the _German Requiem_ written between 1857 and 1868, and the first symphony completed in 1876. In his later orchestral, piano, and chamber music he assumed a position of first importance in the German Romantic movement, the spokesman for absolute music, the genius who succeeded in combining respect for classical discipline and tradition with the Romanticist’s bent for emotion, poetry, and flexible thought. Brahms died in Vienna on April 3, 1897. The supreme craftsmanship, mature thought, and profound feelings of Brahms’ music do not lend themselves to popular consumption. Occasionally, though not frequently, he chose to give voice to a lighter mood, as he did in his ever-popular _Hungarian Dances_. In such music, as in his more ambitious works, he is always the master of form and style, and a powerful and inventive creator. The _Cradle Song_ (_Wiegenlied_) is Brahms’ universally loved art song, one of the most famous lullabies ever written. It is the fourth in a collection of five songs, op. 49 (1868). Its lyric is a folk poem (“_Guten Abend, Gute Nacht_”). In its many and varied transcriptions, this lullaby has become an instrumental favorite. The _Hungarian Dances_ was originally published in 1869 in two volumes for four-hand piano. The first book contained dances Nos. 1 through 5, while the second book had Nos. 6 through 10. Brahms took special pains to point out that these melodies were not his own, but were adaptations. On the title page there appeared the phrase “arranged for the piano.” Brahms further refused to place an opus number to his publication as another indication that this was not original music; and in a letter to his publisher, Simrock, he explained he was offering this music “as genuine gypsy children which I did not beget but merely brought up with bread and milk.” Despite Brahms’ open candor about the origin of these melodies, a storm of protest was sounded by many newspapers and musicians accusing Brahms of plagiarism. Fortunately, the general public refused to be influenced by this unjust accusation. The two volumes of _Hungarian Dances_ were a formidable success, the greatest enjoyed by Brahms up to that time. In 1880, Brahms issued two more volumes of _Hungarian Dances_, still for four-hand piano. Book 3 had dances Nos. 11 through 16, and Book 4, Nos. 17 through 21. This time many of the melodies were original with Brahms, even if modeled after the style and idiosyncrasies of actual Hungarian folk dances and gypsy melodies. The _Hungarian Dances_ are most popular in transcriptions for orchestra. Brahms himself transcribed Dances Nos. 1, 3, and 10; Andreas Hellen, Nos. 2, 4, and 7; Dvořák, Nos. 7 through 21; and Albert Parlow, the rest. Walter Goehr and Leopold Stokowski also made transcriptions of several of these dances for orchestra. In addition, Brahms adapted Book 1 for piano solo, and Joachim all the dances for violin and piano. The dances range from sentimental to passionate moods. They abound with abrupt contrasts of feeling and dynamics; they are often vital with vertiginous rhythms and changing meters. These gypsy melodies, both the gay and the sad, warm the heart like Tokay wine; the pulse of the rhythm is similarly intoxicating. As Walter Niemann wrote of these dances: “They are pure nature music, full of unfettered, vagrant, roving spirit, and a chaotic ferment, drawn straight from the deepest well springs of music by children of Nature. It seems impossible to imprison them in the bonds of measure, time, and rhythm, to convert their enchantingly refreshing uncivilized character, their wild freedom, their audacious contempt for all order into a civilized moderation and order.” Yet Brahms was able to discipline this music with modern techniques without robbing it either of its personality or popular appeal. “He has maintained,” continues Niemann, “and preserved the essential, individual genuine features of gypsy music in his musical idiom: the dances sound like original Hungarian folk music ... and for this reason they delight and enchant everybody: the amateur by their natural quality, the specialist by their art.” The most famous of these dances is the fifth in F-sharp minor, its passionate, uninhibited dance melody released at once by the strings against a strong rhythm. The following are some other popular dances. No. 1, in G minor. A slow and languorous dance unfolds in strings, and then is contrasted by a slight, tripping theme in woodwind; a second languorous dance melody follows in the strings. No. 6 in D-flat major. A slow syncopated melody begins sensually but soon gains in tempo and volume; a second arresting dance tune is then offered by strings against strong chords in the rest of the orchestra. No. 7 in A major. This dance opens with a vivacious melody in strings, but through most of the piece a comparatively restrained mood is maintained. No. 12 in D minor. The first dance melody is presented in a halting rhythm by the woodwind against decorative figures in the strings. This is followed by two other dance tunes, the first in strings with trimmings in the woodwind, and the second in full orchestra. No. 19 in B minor and No. 21 in E minor. Both are fleet and graceful both in melody and rhythm. The _Waltz in A-flat major_, a graceful dance which is given without any