Borodin String Quartet No. 2—Part 1
Movement I: Allegro moderato
Exposition
The quartet opens with a lovely First Theme (T1) presented by the cello that is quickly taken up by the 1st violin. Throughout the quartet, this conversational style of passing melodies between the voices permeates the texture of the quartet. It lends an affectionate character to the music and makes it sound often like a lovers’ duet. This conversational style seems to represent Borodin’s affection for his wife, as he dedicated this work to his wife for their 20th anniversary.
We then hear this theme (T1) once more, though this time, the first violin extends the length of the melody, rising higher and higher to a beautiful culmination of yearning.
This leads to a final exchange of the First Theme (T1) between the cello and first violin which transitions us to the Second Theme Area.
In the Second Theme Area, Borodin presents a few distinct melodies. First, we hear this Primary Theme 2 (T2a) in the first violin that concludes with a motif (m2) of a falling fourth.
A darker Secondary Theme 2 (T2b) introduces contrast to the movement. A contrapuntal exchange of the falling fourth motif (m2) reappears, sometimes inverted.
Then the Primary Theme 2 (T2a) reappears this time in the cello, accompanied by a meandering violin line.
This culminates in the Closing Theme (CL) of the Exposition marked by a descending chromatic scale passed throughout the quartet.
Development
In the development, Borodin uses all of the themes and motifs we just heard in the Expostion in delightful new ways as we pass through many different keys.
Recapitulation
The recapitulation largely unfolds as we would expect: essentially a repeat of the Exposition. Though, Borodin does surprise us with a beautiful colour change in the transition as we move away from the home key of D major to a bright and delightful E-flat major.
Later a return of the Primary Theme 2 (T2a) brings the cello and first violin together for the first time, as if this is what they’ve been searching for all along. This joyous climax leads to the Closing Theme (CL), then a Coda marked “tranquillo” where the music slowly falls and softens. The movement ends with all four voices resting in unison on a D.
II. Scherzo. Allegro
Scherzo (Exposition)
For the second movement, Borodin opted for a Scherzo rather than the usual slow movement. This scherzo is a sparkling gem in the style of Mendelssohn. It opens with this simple, yet driving First Theme (T1).
The Second Theme (T2) is a lilting tune derived from the viola’s opening accompaniment.
This lovely tune is featured in the song “Baubles, Bangles and Beads” from the 1953 Broadway musical “Kismet”, a work whose music is adapted from many of Borodin’s compositions.
This Theme 2 (T2) continues, now combined with reminders of the First Theme (T1) in the viola.
The return of the First Theme (T1) marks the end of this opening section of the movement with a flourish.
Trio (Development)
The traditional contrasting section of the movement known as the “Trio” takes the form of development where Borodin develops themes we’ve already heard whilst moving through different key areas. He also introduces a new Theme 3 (T3) for added contrast.
Scherzo da capo (Recapitulation)
After the exciting diversion of the trio, we once again hear the Scherzo material with slight alterations. The movement culminates in a rousing climax, but then the music quiets and disappears into thin air.