Prince Igor - Structure

Structure

  • This is a sortable table. Click on the button next to the criterion you would like to use to sort the information.
  • The numbers are given according to the traditional Rimsky-Korsakov-Glazunov edition.
  • The dates refer to composition, not orchestration. Where a pair of dates differ, a large gap (more than one year) may indicate an interruption of composition or a revision of the musical number.
  • In No.1 (the Prologue), the Eclipse scene (301 bars) was orchestrated by Rimsky-Korsakov and the remainder by Borodin.
No. Act Number Start End Composer Orchestrator
Overture 1887 1887 Glazunov Glazunov
1 Prologue 1876 1885 Borodin Borodin*
2a Act 1, Scene 1 Chorus 1875 1875 Borodin Rimsky-Korsakov
2b Act 1, Scene 1 Recitative and Song: Galitsky 1879 1879 Borodin Borodin
2c Act 1, Scene 1 Recitative: Galitsky n.a. n.a. Borodin Rimsky-Korsakov
2d Act 1, Scene 1 Maiden's Chorus and Scena n.a. n.a. Borodin Rimsky-Korsakov
2e Act 1, Scene 1 Scena: Skula, Yeroshka n.a. n.a. Borodin Rimsky-Korsakov
2f Act 1, Scene 1 Song in Honor of Prince Galitsky: Skula, Yeroshka 1878 1878 Borodin Rimsky-Korsakov
2g Act 1, Scene 1 Chorus n.a. n.a. Borodin Rimsky-Korsakov
3 Act 1, Scene 2 Arioso: Yaroslavna 1869 1875 Borodin Rimsky-Korsakov
4 Act 1, Scene 2 Scena: Yaroslavna, Nurse, Chorus 1879 1879 Borodin Borodin
5 Act 1, Scene 2 Scena: Yaroslavna, Galitsky 1879 1879 Borodin Rimsky-Korsakov
6 Act 1, Scene 2 Finale: Yaroslavna, Galitsky, Chorus 1879 1880 Borodin Rimsky-Korsakov
7 Act 2 Chorus of Polovtsian Maidens n.a. n.a. Borodin Rimsky-Korsakov
8 Act 2 Dance of Polovtsian Maidens n.a. n.a. Borodin Rimsky-Korsakov
9 Act 2 Cavatina: Konchakovna 1869 1869 Borodin Borodin
10 Act 2 Scena: Konchakovna, Chorus 1887 1887 Rimsky-Korsakov / Glazunov Rimsky-Korsakov / Glazunov
11 Act 2 Recitative and Cavatina: Vladimir 1877 1878 Borodin Borodin
12 Act 2 Duet: Vladimir, Konchakovna 1877 1878 Borodin Rimsky-Korsakov
13 Act 2 Aria: Igor 1881 1881 Borodin Rimsky-Korsakov
14 Act 2 Scena: Igor, Ovlur n.a. n.a. Borodin Rimsky-Korsakov
15 Act 2 Aria: Konchak 1874 1875 Borodin Borodin
16 Act 2 Recitative: Igor, Konchak n.a. n.a. Borodin Rimsky-Korsakov
17 Act 2 Polovtsian Dances with Chorus 1869 1875 Borodin Borodin / Rimsky-Korsakov / Lyadov
18 Act 3 Polovtsian March 1869 1875 Borodin Borodin / Rimsky-Korsakov
19 Act 3 Song: Konchak n.a. n.a. Glazunov Glazunov
20 Act 3 Recitative and Scena n.a. n.a. Borodin Glazunov
22 Act 3 Recitative: Ovlur, Igor 1888 1888 Glazunov Glazunov
23 Act 3 Trio: Igor, Vladimir, Konchakovna n.a. 1888 Borodin / Glazunov Glazunov
24 Act 3 Finale: Konchakovna, Konchak, Chorus 1884 n.a. Borodin / Glazunov Glazunov
25 Act 4 Lament: Yaroslavna 1875 1875 Borodin Borodin
26 Act 4 Peasant's Chorus 1879 1879 Borodin Borodin
27 Act 4 Recitative and Duet: Yaroslavna, Igor 1876 1876 Borodin Rimsky-Korsakov
28 Act 4 Gudok-Players' Song, Scena and Chorus n.a. n.a. Borodin Rimsky-Korsakov
29 Act 4 Finale: Skula, Yeroshka, Chorus n.a. n.a. Borodin Borodin / Rimsky-Korsakov

Read more about this topic:  Prince Igor

Famous quotes containing the word structure:

    Agnosticism is a perfectly respectable and tenable philosophical position; it is not dogmatic and makes no pronouncements about the ultimate truths of the universe. It remains open to evidence and persuasion; lacking faith, it nevertheless does not deride faith. Atheism, on the other hand, is as unyielding and dogmatic about religious belief as true believers are about heathens. It tries to use reason to demolish a structure that is not built upon reason.
    Sydney J. Harris (1917–1986)

    Women over fifty already form one of the largest groups in the population structure of the western world. As long as they like themselves, they will not be an oppressed minority. In order to like themselves they must reject trivialization by others of who and what they are. A grown woman should not have to masquerade as a girl in order to remain in the land of the living.
    Germaine Greer (b. 1939)

    For the structure that we raise,
    Time is with materials filled;
    Our to-days and yesterdays
    Are the blocks with which we build.
    Henry Wadsworth Longfellow (1809–1882)