Isaac Levitan
Issac Levitan, Self portrait, 1880

Isaac Ilyich Levitan (Russian: Исаа́к Ильи́ч Левита́н; August 30, 1860 – August 4 [O.S. July 22] 1900) was a classical Lithuanian-Russian landscape painter who advanced the genre of the "mood landscape".

Life and work[link]

Youth[link]

Isaac Levitan was born in a shtetl of Wirballen, Province of Kowno in Lithuania (then in the Russian Empire) into a poor but educated Jewish family. His father Elyashiv Levitan was the son of a rabbi, completed a Yeshiva and was self-educated. He taught German and French in Kowno and later worked as a translator at a railway bridge construction for a French building company. At the beginning of 1870 the Levitan family moved to Moscow.

In September 1873, Isaac Levitan entered the Moscow School of Painting, Sculpture and Architecture where his older brother Avel had already studied for two years. After a year in the copying class Isaac transferred into a naturalistic class, and soon thereafter into a landscape class. Levitan's teachers were the famous Alexei Savrasov, Vasily Perov and Vasily Polenov.

In 1875, his mother died, and his father fell seriously ill and became unable to support four children; he died in 1877. The family slipped into abject poverty. As patronage for Levitan's talent and achievements, his Jewish origins and to keep him in the school, he was given a scholarship.

Early work[link]

Autumn day. Sokolniki. 1879

Levitan. Portrait by Valentin Serov (1893)

Lake. Russia 1900. The last, unfinished Levitan painting.

In 1877, Isaac Levitan's works were first publicly exhibited and earned favorable recognition from the press. After Alexander Soloviev's assassination attempt on Alexander II, in May 1879, mass deportations of Jews from big cities of the Russian Empire forced the family to move to the suburb of Saltykovka, but in the fall officials responded to pressure from art devotees, and Levitan was allowed to return. In 1880 his painting Осенний день. Сокольники (Autumn day. Sokolniki) was bought by famous philanthropist and art collector Pavel Mikhailovich Tretyakov. (See also Tretyakov Gallery)

In the spring of 1884 Levitan participated in the mobile art exhibition by the group known as the Peredvizhniki and in 1891 became a member of the Peredvizhniki partnership. During his study in the Moscow School of painting, sculpturing and architecture, Levitan befriended Konstantin Korovin, Mikhail Nesterov, architect Fyodor Shekhtel, and the painter Nikolay Chekhov, whose famous brother Anton Chekhov became the artist's closest friend. Levitan often visited Chekhov and some think Levitan was in love with his sister, Maria Pavlovna Chekhova.^{[citation needed]}

In the early 1880s Levitan collaborated with the Chekhov brothers on the illustrated magazine "Moscow" and illustrated the M. Fabritsius edition "Kremlin". Together with Korovin in 1885-1886 he painted scenery for performances of the Private Russian opera of Savva Mamontov.

In the 1880s he participated in the drawing and watercolor gatherings at Polenov’s house.^[1]

The landscape of mood[link]

Levitan's work was a profound response to the lyrical charm of the Russian landscape. Levitan did not paint urban landscapes; with the exception of the View of Simonov Monastery (whereabouts unknown), mentioned by Nesterov, the city of Moscow appears only in the painting Illumination of the Kremlin. During the late 1870s he often worked in the vicinity of Moscow, and created the special variant of the "landscape of mood", in which the shape and condition of nature are spiritualized, and become carriers of conditions of the human soul (Autumn day. Sokolniki, 1879). During work in Ostankino, he painted fragments of the mansion’s house and park, but he was most fond of poetic places in the forest or modest countryside. Characteristic of his work is a hushed and nearly melancholic reverie amidst pastoral landscapes largely devoid of human presence. Fine examples of these qualities include The Vladimirka Road, 1892 Evening Bells, 1892, and Eternal Rest, 1894, all in the Tretyakov Gallery. Though his late work displayed familiarity with Impressionism, his palette was generally muted, and his tendencies were more naturalistic and poetic than optical or scientific.

Late life[link]

In the summer of 1890 Levitan went to Yuryevets (Юрьевец) and among numerous landscapes and etudes he painted The View of Krivooserski monastery. So the plan of one of his best pictures, The Silent Monastery, was born. The image of a silent monastery and planked bridges over the river, connecting it with the outside world, expressed the artist's spiritual reflections. It is known that this picture made a strong impression on Chekhov.^{[citation needed]}

In 1897, already world-famous, he was elected to the Imperial Academy of Arts and in 1898 he was named the head of the Landscape Studio at his alma mater.

Levitan spent the last year of his life at Chekhov’s home in Crimea. In spite of the effects of a terminal illness, his last works are increasingly filled with light. They reflect tranquility and the eternal beauty of Russian nature.

He was buried in Dorogomilovo Jewish cemetery. In April 1941 Levitan's remains were moved to the Novodevichy Cemetery, next to Chekhov's necropolis. Levitan did not have a family or children.

Isaac Levitan's hugely influential art heritage^[2] consists of more than a thousand paintings, among them watercolors, pastels, graphics, and illustrations.

Legacy[link]

A minor planet 3566 Levitan, discovered by Soviet astronomer Lyudmila Zhuravlyova in 1979 is named after him.^[3]

Gallery[link]

• 

  Sunny Day, 1876

• 

  Autumn Landscape, 1880

• 

  Savvinskaya sloboda near Zvenigorod. 1884

• 

  Bridge. Savvinskaya sloboda.

• 

  Birch Forest, 1885-1889

• 

  Spring, High Water

• 

  Evening bells, 1892

• 

  The Vladimirka, 1892

• 

  Over Eternal Peace, 1894

• 

  March, 1895

• 

  Golden Autumn, 1895

• 

  Water lilies, 1895

• 

  Silence, 1898

• 

  Shore (Плес). 1889

• 

  Spring in Italy, 1890

• 

  Dawn, 1900

See also[link]

• List of Russian artists

References[link]

Sources[link]

• (A. A. Fyodorov-Davidov: Levitan, Aurora Art Publishers, Leningrad, 1981)
• (A. King: Isaak Levitan. Lirical Landscape, Philipp Wilson Publisheres Ltd., London, 2006)
• (L. Mehulic: Isaac Ilych Levitan and Evening Bells from The Mimara Museum, Muzej Mimara, Zagreb, 2009)

External links[link]

Wikimedia Commons has media related to: Isaak Ilitsch Lewitan

• Official Isaak Levitan web-site
• Levitan works at the Russian Art Gallery
• Levitan at MuseumSyndicate
• Tears... again these bitter tears… Isaac Levitan at Tanais Gallery

Isaac
Isaac digging for the wells, imagined in a Bible illustration (c. 1900)
Prophet, Seer, Second Hebrew Patriarch, Father of Israel, Holy Forefather
Born	Canaan
Died	Canaan
Honored in	Judaism Christianity Islam
Major shrine	Cave of the Patriarchs, Hebron
Influences	His father Abraham
Influenced	Jacob, the Twelve Tribes of Israel as well as many Jews, Christians and Muslims

Isaac ( /ˈaɪzək/;^[1] Hebrew: יִצְחָק, Modern Yitsẖak Tiberian Yiṣḥāq, ISO 259-3 Yiçḥaq, "he will laugh"; Yiddish: יצחק, Yitskhok; Ancient Greek: Ἰσαάκ, Isaak; Latin: Isaac; Arabic: إسحاق‎ or Arabic: إسحٰق‎^{[note A]} ʼIsḥāq) as described in the Hebrew Bible, was the only son Abraham had with his wife Sarah, and was the father of Jacob and Esau. Isaac was one of the three patriarchs of the Israelites. According to the Book of Genesis, Abraham was 100 years old when Isaac was born, and Sarah was beyond childbearing years.

Isaac was the only biblical patriarch whose name was not changed, and the only one who did not leave Canaan. Compared to those of Abraham and Jacob, Isaac's story relates fewer incidents of his life. He died when he was 180 years old, making him the longest-lived patriarch.

Etymology[link]

The anglicized name Isaac is a transliteration of the Hebrew term Yiṣḥāq which literally means "He laughs/will laugh."^[2] Ugaritic texts dating from the 13th century BCE refer to the benevolent smile of the Canaanite deity El.^[3] Genesis, however, ascribes the laughter to Isaac's parents, Abraham and Sarah, rather than El. According to the biblical narrative, Abraham fell on his face and laughed when Elohim imparted the news of their son's eventual birth. He laughed because Sarah was past the age of childbearing; both she and Abraham were advanced in age. Later, when Sarah overheard three messengers of the Lord renew the promise, she laughed inwardly for the same reason. Sarah denied laughing when Elohim questioned Abraham about it.^[4][5][6]

Isaac in Genesis[link]

The account of Isaac from the Book of Genesis

Isaac is mentioned by name 80 times in Genesis.

Birth of Isaac[link]

An angel prevents the sacrifice of Isaac. Abraham and Isaac, Rembrandt, 1634

It was prophesied to the patriarch Abraham that he would have a son and that his name should be called Isaac. When Abraham became one hundred years old, this son was born to him by his first wife Sarah.^[7] Though this was Abraham's second son^[8] it was Sarah’s first and only child.

On the eighth day from his birth, Isaac was circumcised, as was necessary for all males of Abraham's household, in order to be in compliance with Yahweh's covenant.^[9]

After Isaac had been weaned, Sarah saw Ishmael mocking, and urged her husband to banish Hagar and Ishmael so that Isaac would be Abraham's only heir. Abraham was hesitant, but at God's order he listened to his wife's request.^[10]

Binding of Isaac[link]

At some point in Isaac's youth, his father Abraham brought him to mount Moriah. At Yahweh's command to Abraham, he was to build a sacrificial altar and sacrifice his son Isaac upon it. After binding his son to the altar and drawing his knife to kill him, in the very last moment an angel of Yahweh prevented Abraham from proceeding. Rather, he was directed to sacrifice a nearby ram instead. This event served as a test of Abraham's faith to Yahweh, not as an actual human sacrifice.^[11]

The birth of Esau and Jacob, as painted by Benjamin West

Family life[link]

When Isaac was 40, Abraham sent Eliezer, his steward, into Mesopotamia to find a wife for Isaac, from his nephew Bethuel's family. Eliezer chose Rebekah for Isaac. After many years of marriage to Isaac, Rebekah had still not given birth to a child and was believed to be barren. Isaac prayed for her and she conceived. Rebekah gave birth to twin boys, Esau and Jacob. Isaac was 60 years old when his two sons were born. Isaac favored Esau, and Rebekah favored Jacob.^[12]

Occupation[link]

Around the age of 75, Isaac moved to Beer-lahai-roi after his father died.^[13] When the land experienced famine, he removed to the Philistine land of Gerar where his father once lived. This land was still under the control of King Abimelech as it was in the days of Abraham. Like his father, Isaac also deceived Abimelech about his wife and also got into the well business. He had gone back to all of the wells that his father dug and saw that they were all stopped up with earth. The Philistines did this after Abraham died. So, Isaac unearthed them and began to dig for more wells all the way to Beersheba, where he made a pact with Abimelech, just like in the day of his father.^[14]

Isaac blessing his son,as painted by Giotto di Bondone

Birthright[link]

Isaac grew old and became blind. He called his son Esau and directed him to procure some venison for him, in order to receive Isaac's blessing. While Esau was hunting, Jacob, after listening to his mother's advice, deceived his blind father by misrepresenting himself as Esau and thereby obtained his father's blessing, such that Jacob became Isaac's primary heir and Esau was left in an inferior position. Isaac sent Jacob into Mesopotamia to take a wife of his own family. After 20 years working for Laban, Jacob returned home, and reconciled with his twin brother Esau, then he and Esau buried their father when Isaac died at the age of 180.^[15][16]

Other references[link]

New Testament[link]

In the New Testament, there are references to Isaac having been "offered up" by his father, and to his blessing his sons.^[17] Paul contrasted Isaac, symbolizing Christian liberty, with the rejected older son Ishmael, symbolizing slavery;^[3][18] Hagar is associated with the Sinai covenant, while Sarah is associated with the covenant of grace, into which her son Isaac enters.The Epistle of James chapter 2, verses 21-24^[19] states that the sacrifice of Isaac shows that justification (in the Johannine sense) requires both faith and works.^[20]

In the early Christian church, Abraham's willingness to follow God's command to sacrifice Isaac was used as an example of faith^[21] and of obedience.^[22][23] The Epistle to the Hebrews chapter 11, verse 19^[24] views the release of Isaac from sacrifice as analogous to the resurrection of Jesus, the idea of the sacrifice of Isaac being a prefigure of the sacrifice of Jesus on the cross.

Qur'an[link]

Like many of the biblical Hebrew patriarchs and prophets, the Qur'an mentions Isaac as a righteous man of God. Isaac (and Jacob) are mentioned as being bestowed upon Abraham as gifts of God, who then worshipped God only and were righteous leaders in the way of God:

And We bestowed on him Isaac and, as an additional gift, (a grandson), Jacob, and We made righteous men of every one (of them).
And We made them leaders, guiding (men) by Our Command, and We sent them inspiration to do good deeds, to establish regular prayers, and to practise regular charity; and they constantly served Us (and Us only).

—Qur'an, sura 21 (Al-Anbiya), ayah 72-73^[25]

Testament of Isaac[link]

The Testament of Isaac is a pseudonymous text which was most likely composed in Greek in Egypt after 100 CE. It is also dependent on the Testament of Abraham. In this testament, God sends the archangel Michael to Isaac in order to inform him of his impending death. Isaac accepts God's decree but Jacob resists. Isaac in his bed-chamber tells Jacob of the inevitability of death. Isaac has a tour of heaven and hell shortly before his death in which God's compassion to repentant sinners is emphasized. In this testament, Isaac also talks with the crowds on the subjects of priesthood, asceticism, and the moral life.^[26]

World views[link]

Isaac embraces his father Abraham after the Binding of Isaac, early 1900s Bible illustration

The early Christian church viewed Abraham's willingness to follow God's command to sacrifice Isaac as an example of faith and obedience. For Christians, Abraham's willingness to sacrifice his son is a "type and shadow" of God's willingness to sacrifice his only son, Jesus.

Islam considers Isaac as a prophet of Islam, and describes him as the father of the Israelites and a righteous servant of God.

Documentary hypothesis[link]

The name Isaac occurs 32 times in the Hebrew Bible.^[2] Variations of the formula "Abraham, Isaac, and Jacob" occur 23 times in the Hebrew Bible.^[26] According to the documentary hypothesis, use of names of God indicates authorship, and form critics variously assign passages like Genesis chapter 26, verses 6-11^[27] to the Yahwist source, and Genesis chapter 20 verses 1-7, chapter 21, verse 1 to chapter 22, verse 14 and chapter 22, verse 19^[28] to the Elohist source; this source-critical approach has admitted problems, in that the name "Yahweh" appears in Elohist material.^[29] According to the compilation hypothesis, the formulaic use of the word toledoth (generations) indicates that Genesis chapter 11, verse 27 to chapter 25, verse 19^[30] is Isaac's record through Abraham's death (with Ishmael's record appended), and Genesis chapter 25, verse 19 to chapter 37, verse 2^[31] is Jacob's record through Isaac's death (with Esau's records appended).^[32]

Jewish views[link]

Isaac Blessing Jacob, painting by Govert Flinck (Rijksmuseum Amsterdam)

In rabbinical tradition the age of Isaac at the time of binding is taken to be 37 which contrasts with common portrayals of Isaac as a child.^[33] The rabbis also thought that the reason for the death of Sarah was the news of the intended sacrifice of Isaac.^[33] The sacrifice of Isaac is cited in appeals for the mercy of God in later Jewish traditions.^[23] The post-biblical Jewish interpretations often elaborate the role of Isaac beyond the biblical description and largely focus on Abraham's intended sacrifice of Isaac, called the aqedah ("binding").^[3] According to a version of these interpretations, Isaac died in the sacrifice and was revived.^[3] According to many accounts of Aggadah, unlike the Bible, it is Satan who is testing Isaac and not God.^[34] Isaac's willingness to follow God's command at the cost of his death has been a model for many Jews who preferred martyrdom to violation of the Jewish law.^[33]

According to the Jewish tradition Isaac instituted the afternoon prayer. This tradition is based on Genesis chapter 24, verse 63^[35] ("Isaac went out to meditate in the field at the eventide").^[33]

Isaac was the only patriarch who stayed in Canaan during his whole life and though once he tried to leave, God told him not to do so.^[36] Rabbinic tradition gave the explanation that Isaac was almost sacrificed and anything dedicated as a sacrifice may not leave the Land of Israel.^[33] Isaac was the oldest of the biblical patriarchs at the time of his death, and the only patriarch whose name was not changed.^[3][17]

Rabbinic literature also linked Isaac's blindness in old age, as stated in the Bible, to the sacrificial binding: Isaac's eyes went blind because the tears of angels present at the time of his sacrifice fell on Isaac's eyes.^[34]

Islamic views[link]

Isaac (Arabic: إسحاق‎‎^{[note A]} ʾIsḥāq) is revered by Muslims to be a prophet and the patriarch of Islam. Isaac, along with Ishmael, is highly important for Muslims for continuing to preach the message of monotheism after his father Abraham. Among Isaac's children was the follow-up Israelite patriarch Jacob, who too is venerated an Islamic prophet.

Isaac is mentioned fifteen times by name in the Qur'an, often with his father and his son, Jacob.^[37] The Qur'an states that Abraham received "good tidings of Isaac, a prophet, of the righteous", and that God blessed them both (XXXVII: 12). In a fuller description, when angels came to Abraham to tell him of the future punishment to be imposed on Sodom and Gomorrah, his wife, Sarah, "laughed, and We gave her good tidings of Isaac, and after Isaac of (a grandson) Jacob" (XI: 71-74); and it is further explained that this event will take place despite Abraham and Sarah's old age. Several verses speak of Isaac as a "gift" to Abraham (VI: 84; XIX: 49-50), and XXIX: 26-27 adds that God made "prophethood and the Book to be among his offspring", which has been interpreted to refer to Abraham's two prophetic sons, his prophetic grandson Jacob, and his prophetic great-grandson Joseph. In the Qur'an, it later narrates that Abraham also praised God for giving him Ishmael and Isaac in his old age (XIV: 39-41).

Elsewhere in the Qur'an, Isaac is mentioned in lists: Joseph follows the religion of his forefathers Abraham, Isaac and Jacob (XII: 38) and speaks of God's favor to them (XII: 6); Jacob's sons all testify their faith and promise to worship the God that their forefathers, "Abraham, Ishmael and Isaac", worshiped (II: 127); and the Qur'an commands Muslims to believe in the revelations that were given to "Abraham, Ishmael, Isaac, Jacob and the Patriarchs" (II: 136; III: 84). In the Qur'an's narrative of Abraham's near-sacrifice of his son (XXXVII: 102), the name of the son is not mentioned and debate has continued over the son's identity, though many feel that the identity is the least important element in a story which is given to show the courage that one develops through faith.^[38]

Western scholarly views[link]

Some scholars have described Isaac as "a legendary figure" while others view him "as a figure representing tribal history, though as a historical individual" or "as a seminomadic leader."^[39]

The stories of Isaac, like other patriarchal stories of Genesis, are generally believed in liberal Western scholarship to have "their origin in folk memories and oral traditions of the early Hebrew pastoralist experience."^[40] Conservative Western scholarship believes the stories of Isaac, and other patriarchal stories in Genesis, to be factual. The Cambridge Companion to the Bible makes the following comment on the biblical stories of the patriarchs:

Yet for all that these stories maintain a distance between their world and that of their time of literary growth and composition, they reflect the political realities of the later periods. Many of the narratives deal with the relationship between the ancestors and peoples who were part of Israel’s political world at the time the stories began to be written down (eighth century B.C.E.). Lot is the ancestor of the Transjordanian peoples of Ammon and Moab, and Ishmael personifies the nomadic peoples known to have inhabited north Arabia, although located in the Old Testament in the Negev. Esau personifies Edom (36:1), and Laban represents the Aramean states to Israel’s north. A persistent theme is that of difference between the ancestors and the indigenous Canaanites… In fact, the theme of the differences between Judah and Israel, as personified by the ancestors, and the neighboring peoples of the time of the monarchy is pressed effectively into theological service to articulate the choosing by God of Judah and Israel to bring blessing to all peoples.”^[41]

According to Martin Noth, a scholar of the Hebrew Bible, the narratives of Isaac date back to an older cultural stage than that of the West-Jordanian Jacob.^[39] At that era, the Israelite tribes were not yet sedentary. In the course of looking for grazing areas, they had come in contact in southern Palestine with the inhabitants of the settled countryside.^[39] The biblical historian, A. Jopsen, believes in the connection between the Isaac traditions and the north, and in support of this theory adduces Amos 7:9 ("the high places of Isaac").^[39]

Albrecht Alt and Martin Noth hold that, "The figure of Isaac was enhanced when the theme of promise, previously bound to the cults of the 'God the Fathers' was incorporated into the Israelite creed during the southern-Palestinian stage of the growth of the Pentateuch tradition."^[39] According to Martin Noth, at the Southern Palestinian stage of the growth of the Pentateuch tradition, Isaac became established as one of the biblical patriarchs, but his traditions were receded in the favor of Abraham.^[39]

In art[link]

The earliest Christian portrayal of Isaac is found in the Roman catacomb frescoes.^[42] Excluding the fragments, Alison Moore Smith classifies these artistic works in three categories:

"Abraham leads Isaac towards the altar; or Isaac approaches with the bundle of sticks, Abraham having preceded him to the place of offering .... Abraham is upon a pedestal and Isaac stands near at hand, both figures in orant attitude .... Abraham is shown about to sacrifice Isaac while the latter stands or kneels on the ground beside the altar. Sometimes Abraham grasps Isaac by the hair. Occasionally the ram is added to the scene and in the later paintings the Hand of God emerges from above."^[42]

See also[link]

• Biblical narratives and the Qur'an

Notes[link]

References[link]

• Browning, W.R.F (1996). A dictionary of the Bible. Oxford University Press. ISBN 0-19-211691-6. 
• Paul Lagasse, Lora Goldman, Archie Hobson, Susan R. Norton, ed. (2000). The Columbia Encyclopedia (6th ed.). Gale Group. ISBN 978-1-59339-236-9. 
• P.J. Bearman, Th. Bianquis, C.E. Bosworth, E. van Donzel, W.P. Heinrichs, ed. Encyclopaedia of Islam Online. Brill Academic Publishers. ISSN 1573-3912. 
• Erwin Fahlbusch, William Geoffrey Bromiley, ed. (2001). Encyclopedia of Christianity (1st ed.). Eerdmans Publishing Company, and Brill. ISBN 0-8028-2414-5. 
• John Bowden, ed. (2005). Encyclopedia of Christianity (1st ed.). Oxford University Press. ISBN 0-19-522393-4. 
• The New Encyclopædia Britannica. Encyclopædia Britannica, Incorporated; Rev Ed edition. 2005. ISBN 978-1-59339-236-9. 
• Jane Dammen McAuliffe, ed. (2005). Encyclopedia of the Qur'an. Brill Academic Publishers. ISBN 978-90-04-12356-4. 
• Geoffrey Wigoder, ed. (2002). The New Encyclopedia of Judaism (2nd ed.). New York University Press. ISBN 978-0-8147-9388-6. 
• Lindsay Jones, ed. (2005). Encyclopedia of Religion (2nd ed.). MacMillan Reference Books. ISBN 978-0-02-865733-2. 
• David Noel Freedman, Allen C. Myers, Astrid B. Beck, ed. (2000). Eerdmans Dictionary of the Bible (1st ed.). Wm. B. Eerdmans. ISBN 978-0-8028-2400-4. 

External links[link]

• Isaac in Jewish Encyclopedia
• Abraham's son as the intended sacrifice (Al-Dhabih, Qur'an 37:99, Qur'an 37:99–113): Issues in qur'anic exegesis, journal of Semitic Studies XXX1V/ Spring 1989

Media related to Isaac at Wikimedia Commons

•  "Isaac". Catholic Encyclopedia. New York: Robert Appleton Company. 1913. 
•  Chisholm, Hugh, ed. (1911). "Isaac". Encyclopædia Britannica (11th ed.). Cambridge University Press. 

Alexander Borodin
Aleksandr Borodin
Born	12 November 1833 Saint Petersburg
Died	27 February 1887 (age 53) Saint Petersburg
Nationality	Russian
Fields	Composer and chemist
Doctoral advisor	Nikolay Zinin

Alexander Porfiryevich Borodin^[1] (12 November 1833 – 27 February 1887)^[2] was a Russian Romantic composer and chemist of Georgian–Russian parentage. He was a member of the group of composers called The Five (or "The Mighty Handful"), who were dedicated to producing a specifically Russian kind of art music.^[3][4][5] He is best known for his symphonies, his two string quartets, and his opera Prince Igor. Music from Prince Igor and his string quartets was later adapted for the US musical Kismet.

Life and profession[link]

Borodin was born in Saint Petersburg, the illegitimate son of a Georgian noble, Luka Gedevanishvili (Georgian: ლუკა სიმონის ძე გედევანიშვილი) and a 24-year-old Russian woman, Evdokia Konstantinovna Antonova (Евдокия Константиновна Антонова). The nobleman had him registered as the son of one of his serfs, Porfiry Borodin.^[6] As a boy he received a good education, including piano lessons.^[7] He entered the Medico–Surgical Academy in 1850, which was later home to Ivan Pavlov, and pursued a career in chemistry. On graduation he spent a year as surgeon in a military hospital, followed by three years of advanced scientific study in western Europe.

In 1862 Borodin became a professor of chemistry at the Academy of Medicine, and eventually was able to establish medical courses for women (1872). He spent the remainder of his life lecturing and overseeing the education of others.

He began taking lessons in composition from Mily Balakirev in 1862. He married Ekaterina Protopopova, a pianist, in 1863.^[8] Music remained a secondary vocation for Borodin outside of his main career as a chemist and physician. He suffered poor health, having overcome cholera and several minor heart attacks. He died suddenly during a ball at the Academy, and was interred in Tikhvin Cemetery at the Alexander Nevsky Monastery, in Saint Petersburg.

Career as a chemist[link]

In his profession Borodin gained great respect, being particularly noted for his work on aldehydes.^[9] Between 1859 and 1862 Borodin held a postdoctorate in Heidelberg. He worked in the laboratory of Emil Erlenmeyer working on benzene derivatives. He also spent time in Pisa, working on organic halogens. One experiment published in 1862 described the first nucleophilic displacement of chlorine by fluorine in benzoyl chloride.^[10] A related reaction known to the West as the Hunsdiecker reaction published in 1939 by the Hunsdieckers was promoted by the Soviet Union as the Borodin reaction. In 1862 he returned to the Medico–Surgical Academy, where he worked on self-condensation of small aldehydes. He published papers in 1864 and 1869, and in this field he found himself competing with August Kekulé.

Borodin is co-credited with the discovery of the Aldol reaction, with Charles-Adolphe Wurtz. In 1872 he announced to the Russian Chemical Society the discovery of a new by-product in aldehyde reactions with alcohol-like properties, and he noted similarities with compounds already discussed in publications by Wurtz from the same year.

He published his last full article in 1875 on reactions of amides and his last publication concerned a method for the identification of urea in animal urine.

His son-in-law and successor was fellow chemist A. P. Dianin.

Musical avocation[link]

Opera and orchestral works[link]

Borodin met Mily Balakirev in 1862. While under Balakirev's tutelage in composition he began his Symphony No. 1 in E flat major; it was first performed in 1869, with Balakirev conducting. In that same year Borodin started on his Symphony No. 2 in B minor, which was not particularly successful at its premiere in 1877 under Eduard Nápravník, but with some minor re-orchestration received a successful performance in 1879 by the Free Music School under Rimsky-Korsakov's direction. In 1880 he composed the popular symphonic poem In the Steppes of Central Asia. Two years later he began composing a third symphony, but left it unfinished at his death; two movements of it were later completed and orchestrated by Glazunov.

In 1868 Borodin became distracted from initial work on the second symphony by preoccupation with the opera Prince Igor, which is seen by some to be his most significant work and one of the most important historical Russian operas. It contains the Polovtsian Dances, often performed as a stand-alone concert work forming what is probably Borodin's best known composition. Borodin left the opera (and a few other works) incomplete at his death. Prince Igor was completed posthumously by Rimsky-Korsakov and Glazunov. It is set in the 12th century, when the barbarous Polovtsians invaded southern Russia. The story tells of the capture of Prince Igor and son Vladimir of Russia by Polovtsian leader Khan Konchak, who entertains his prisoners lavishly and calls on his slaves to perform the famous Polovtsian dances, which provide a thrilling climax to the second act.

Chamber music[link]

No other member of the Balakirev circle identified himself so openly with absolute music as did Borodin in his two string quartets. Himself a cellist, he was an enthusiastic chamber music player, an interest that deepened during his chemical studies in Heidelberg between 1859 and 1861. This early period yielded, among other chamber works, a string sextet and a piano quintet. In thematic structure and instrumental texture he based his pieces on those of Felix Mendelssohn.^[11]

In 1875 Borodin started his First String Quartet, much to the displeasure of Mussorgsky and Vladimir Stasov. That Borodin did so in the company of The Five, who were hostile to chamber music, speaks to his independence. From the First Quartet on, he displayed mastery in the form. His Second Quartet, in which his strong lyricism is represented in the popular "Nocturne", followed in 1881. The First Quartet is richer in changes of mood. The Second Quartet has a more uniform atmosphere and expression.^[11]

Musical legacy[link]

The bust of Borodin at his tomb in Tikhvin Cemetery. (The visible musical notation on the tile monument in the background shows themes from (1) "Gliding Dance of the Maidens" from Polovtsian Dances; (2) "Song of the Dark Forest"; and (3) the "Scherzo" theme from Symphony No. 3.)

Borodin's fame outside the Russian Empire was made possible during his lifetime by Franz Liszt, who arranged a performance of the Symphony No. 1 in Germany in 1880, and by the Comtesse de Mercy-Argenteau in Belgium and France. His music is noted for its strong lyricism and rich harmonies. Along with some influences from Western composers, as a member of The Five his music exudes also an undeniably Russian flavor. His passionate music and unusual harmonies proved to have a lasting influence on the younger French composers Debussy and Ravel (in homage, the latter composed in 1913 a piano piece entitled "À la manière de Borodine").

The evocative characteristics of Borodin's music made possible the adaptation of his compositions in the 1953 musical Kismet, by Robert Wright and George Forrest, perhaps most notably in the song, "Stranger in Paradise". In 1954, Borodin was posthumously awarded a Tony Award for this show.

Borodin's music is full of romantic charm and enticing melody, and much of it also rings with the pageantry and landscape of old Russia; of onion-domed churches, richly decorated icons, and the vastness of the land. (Betty Fry)

Subsequent references[link]

• The Borodin Quartet was named in his honour.
• The chemist Alexander Shulgin uses the name "Alexander Borodin" as a fictional persona in the books PiHKAL and TiHKAL.
• In his book Burning in Water, Drowning in Flame (1974) Charles Bukowski wrote a poem about the life of Borodin entitled "the life of borodin".

References[link]

External links[link]

• Free scores by Alexander Borodin in the Werner Icking Music Archive (WIMA)
• Famous "In the Steppes of Central Asia", Alexander Borodin in Film "Moscow clad in snow", 00:07:22, 1908 on YouTube
• List of compositions (German)
• Free scores by Borodin at the International Music Score Library Project
• Free scores by Alexander Borodin in the Choral Public Domain Library (ChoralWiki)
• Borodin's tomb

Further reading[link]

Wikimedia Commons has media related to: Alexander Borodin

• Maes, Francis, tr. Pomerans, Arnold J. and Erica Pomerans, A History of Russian Music: From Kamarinskaya to Babi Yar (Berkeley, Los Angeles and London: University of California Press, 2002). ISBN 0-520-21815-9.
• George Sarton (1939). "Borodin (1833–87)". Osiris 7: 224–260. DOI:10.1086/368505. JSTOR 301543. 
• A. J. B. Hutchings (1936). "A Study of Borodin: I. The Man". The Musical Times 77 (1124): 881–883. DOI:10.2307/920565. JSTOR 920565. 
• George B. Kauffman, Kathryn Bumpass (1988). "An Apparent Conflict between Art and Science: The Case of Aleksandr Porfir'evich Borodin (1833–1887)". Leonardo 21 (4): 429–436. DOI:10.2307/1578707. JSTOR 1578707. 
• J. Podlech (2010). ""Try and Fall Sick …"—The Composer, Chemist, and Surgeon Aleksandr Borodin". Angew. Chem. Int. Ed. 49 (37): 6490–95. DOI:10.1002/anie.201002023. PMID 20715236.