R$50
Theme from Polovetsian Dances
Work: Prince Igor – Polovetsian Dances, Act II
Key: G minor
Arrangement: String Quartet — Violin, Viola, Cello and Double Bass
Arranger: Maiko Thomé de Araujo
Composer: Alexander Borodin (1833–1887)
Period: Romantic (19th century)
Region / Culture: Russian
Type: Opera / orchestral dance theme arranged for string quartet
Special features: complete four-part chamber arrangement; double bass may be played arco or, preferably in this arrangement, pizzicato in a folk-style upright bass approach; MP3 reference audio included
Format: Digital download (PDF + MP3) — 2 files (24.7MB)
“Theme from Polovetsian Dances” comes from Alexander Borodin’s opera Prince Igor, where the celebrated Polovetsian Dances form one of the most famous musical sequences of the work. Their combination of lyrical melody, rhythmic energy, rich harmony, and striking orchestral color helped the music achieve a life far beyond the opera itself, becoming a favorite in orchestral concerts, ballet programs, and numerous instrumental arrangements.
Borodin worked on Prince Igor for many years but died before completing the opera. The score was later prepared and completed with major contributions from Nikolai Rimsky-Korsakov and Alexander Glazunov, helping preserve and establish the work in the international repertoire.
The lyrical themes of the Polovetsian Dances became particularly famous and have continued to inspire later adaptations and arrangements. Their strong melodic identity makes the music especially effective when transferred from the large orchestral setting to chamber ensembles, where the individual lines and harmonic relationships become particularly clear.
This edition presents the principal theme in G minor in an arrangement by Maiko Thomé de Araujo for a distinctive string quartet formed by violin, viola, cello, and double bass. Unlike the standard two-violin string quartet, this instrumentation extends the texture further into the lower register. The double bass provides a deep foundation, while cello and viola enrich the middle register and the violin carries or complements the upper melodic material.
The double bass part can be performed arco, but in this arrangement it is especially effective when played pizzicato, with a folk-style upright bass character. This approach gives the ensemble a lighter rhythmic foundation and adds a more rustic, dance-like quality to the texture, while still preserving the expressive character of Borodin’s theme.
The arrangement adapts the expressive character of the original theme to a compact chamber setting while preserving its lyrical quality and harmonic depth. The result is a version that works well both musically and pedagogically, allowing each player to contribute clearly to the overall texture.
Keep the lyrical material broad and singing while maintaining a stable underlying pulse. Balance is especially important in this instrumentation: allow the double bass to provide depth without covering the cello and viola, while the violin should project naturally rather than forcing the tone.
For the double bass, pizzicato is the preferred approach in this arrangement, especially if you want a more folk-influenced upright bass character. Keep the notes clear, resonant, and rhythmically grounded rather than overly heavy. Arco can also be used if a more sustained and classical chamber sound is preferred.
Shape longer phrases through gradual dynamic movement and coordinated bow direction. In more expressive passages, think orchestrally: each instrument contributes a different layer of color, so clarity between the four voices is more effective than simply increasing volume.