Polovtsian Dances

The Polovtsian Dances, or Polovetsian Dances (Russian: Половецкие пляски, Polovetskie plyaski from the Russian "Polovtsy"—the name given to the Kipchaks and Cumans by the Rus' people) form an exotic scene at the end of Act II of Alexander Borodin's opera Prince Igor.

The work remained unfinished when the composer died in 1887, although he had worked on it for more than a decade. A performing version was prepared by Nikolai Rimsky-Korsakov and Alexander Glazunov, appearing in 1890. Several other versions, or "completions," of the opera have been made. The dances are performed with chorus and last between 11 and 14 minutes. They occur in Act I or Act II, depending on which version of the opera is being used. Their music is popular and sometimes given in concert as an orchestral showpiece. At such performances the choral parts are often omitted. The opera also has a "Polovtsian March," which opens Act III, and an overture at the start. When the dances are given in concert, a suite may be formed: Overture, Polovtsian Dances and March from "Prince Igor."

Ballets Russes performances

As part of his first "Saison Russe" at the Théâtre du Châtelet in Paris, Sergei Diaghilev presented Polovtsian Scenes and Dances, consisting of Act II of Prince Igor, with full orchestra and singers. The premiere took place on 18 May 1909. The choreography was by Michel Fokine and the sets and costumes were designed by Nicholas Roerich. In later seasons, without singers, the work was given as The Polovtsian Dances. For the 1923 season, it was partly re-choreographed by Bronislava Nijinska.[1]

Analysis

The first dance, which uses no chorus and is sometimes omitted in concerts, is No. 8, entitled "Dance of the Polovtsian Maidens" ["Пляска половецких девушек"]: presto, 6/8, F major; it is placed directly after the "Chorus of the Polovtsian Maidens," which opens the act and is followed by "Konchakovna's Cavatina". The dances proper appear at the end of the Act as an uninterrupted single number in several contrasting sections listed as follows (basic themes are indicated with letters in brackets and notated in the accompanying illustration)

Notable instrumental solos include the clarinet (in No. 8 and the Men's Dance [c]) and the oboe and English horn (in the Women's Dance [b]).

Translation

The text of the first stanza of this particular section in the opera is given below.

Russian[2] Transliteration English translation[3]
Невольницы:

Улетай на крыльях ветра
Ты в край родной, родная песня наша,
Туда, где мы тебя свободно пели,
Где было так привольно нам с тобою.
Там, под знойным небом,
Негой воздух полон,
Там под говор моря
Дремлют горы в облаках;
Там так ярко солнце светит,
Родные горы светом заливая,
В долинах пышно розы расцветают,
И соловьи поют в лесах зеленых,
И сладкий виноград растет.
Там тебе привольней, песня,
Ты туда и улетай.

Половцы:

Пойте песни славы хану! Пой!
Славьте силу, дочесть хана! Славь!
Славен хан! Хан!
Славен он, хан наш!
Блеском славы
Солнцу равен хан!
Нету равных славой хану! Нет!
Чаги хана славят хана.
Хана своего.

Nevolnitsy:

Uletay na krylyakh vetra
Ty v kraj rodnoy, rodnaya pesnya nasha,
Tuda, gde my tebya svobodno peli,
Gde bylo tak privolno nam s tobyu
Tam, pod znoynym nebom,
Negoy vozdukh polon,
Tam pod govor morya
Dremlut gory v oblakakh;
Tam tak yarko solntse svetit,
Rodnyye gory svetom zalivaya,
V dolinakh pyshno rozy rastsvetayut,
I solovyi poyut v lesakh zelyonykh,
I sladkiy vinograd rastyot.
Tam tebe privolney, pesnya,
Ty tuda i uletay.

Slavewomen:

Fly on the wings of the wind
To our native land, dear song of ours,
There, where we have sung you at liberty,
Where we felt so free in singing you.
There, under the hot sky,
The air is full of bliss,
There to the sound of the sea
The mountains doze in the clouds;
There the sun shines so brightly,
Bathing the native mountains in light,
Splendid roses blossom in the valleys,
And nightingales sing in the green forests.
And sweet grapes grow.
You are free there, song,
Fly home,

The English translation of the remaining is:

POLOVTSIANS
Sing songs of praise to the Khan! Sing!
Praise the power and valor of the Khan!
Praise the glorious Khan!
He is glorious, our Khan!
In the brilliance of his glory,
The Khan is equal to the sun!
There is none equal to the Khan in glory, None!
The Khan female slaves praise the Khan,
Their Khan!

KONCHAK [the Khan]
Do you see the captives
From the distant sea;
Do you see my beauties,
From beyond the Caspian Sea?
Oh, tell me, friend,
Tell me just one word:
If you want to,
I will give you anyone of them.

POLOVTSIANS
Sing songs of praise to the Khan! Sing!
Praised be his generosity, praised be his mercy!
Praise him!
To his enemies the Khan is merciless
He, our Khan!
Who may equal the Khan in glory, who?
In the brilliance of his glory,
He is equal to the sun!
Our Khan, Khan Konchak, is equal
In glory to his forefathers!
The terrible Khan Konchak is equal
In glory to his forefathers! Glorious is our Khan Konchak!
Glory, glory!

ALL THE SLAVES
(Repeats the opening stanza)

POLOVTSIANS
Our Khan, Khan Konchak, is equal
In glory to his forefathers!
The grim Khan Konchak is equal
In glory to his forefathers!
Glory, glory to Khan Konchak!
Khan Konchak!
With your dancing entertain the Khan,
Dance to entertain the Khan, slaves!
Your Khan!
Dance to entertain the Khan, slaves!
Your Khan!
With your dancing entertain the Khan!
Entertain with dancing!
Our Khan Konchak![3]

Most of the themes from No. 17 were incorporated into the 1953 musical Kismet, best known of which is the women's dance ("Gliding Dance of the Maidens"), adapted for the song "Stranger in Paradise". Thirteen years earlier, in 1940, Artie Shaw recorded "My Fantasy" (credited to composers Paul Whiteman, Jack Meskill, and Leo Edwards), which has a tune virtually identical to this dance. Paul Whiteman adapted the music from the Polovtsian Dances theme from Prince Igor (1890). The Paul Whiteman Orchestra recorded "My Fantasy" in 1939.

A hip-hop song version of the music was produced by Warren G and Sissel Kyrkjebø for the album The Rhapsody, simply entitled "Prince Igor". The single was released in 1997, along with the album.

The theme was also used in the Massive Attack song "Karmacoma", from the album Protection in 1994. The theme also appears on a 2015 music album entitled Classical Made Modern.[4]

The heavy-metal song "Lonely Winds of War" by Masterplan also uses the melody in the chorus.

More recent adaptations of the music include the following:

References

  1. Garofala, Lynn. Diaghilev's Ballets Russes. (New York, NY: DaCapo Press, 1998). p. 384.
  2. "Князь Игорь (Бородин)/Либретто — Викитека". Ru.wikisource.org (in (in Russian)). 2016-12-07. Retrieved 2016-12-20.
  3. 1 2 "Alexander Borodin : Prince Igor : Opera in four acts and a prologue; Libretto by the composer after The Lay of the Host of Igor" (PDF). Brilliantclassics.com. Retrieved 2016-12-20.
  4. "Classical Made Modern – Contemporary music for the smart listener". Classicalmademodern.com. Retrieved 2016-12-20.
  5. https://www.youtube.com/watch?v=E0sgoOTUwyU
  6. https://www.amazon.fr/Metamorphosis-Luc-Arbogast/dp/B01LWRSJ45
  7. https://www.youtube.com/watch?v=SXO0WjwKnMo

Free scores of Polovtsian Dances in the Choral Public Domain Library (ChoralWiki)

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