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The Polovtsian dances, or Polovetsian dances (Russian: Половецкие пляски, romanized: Polovetskie plyaski from the Russian "Polovtsy" – the name used by the Rus' for the Kipchaks and Cumans) form an exotic scene at the end of act 2 of Alexander Borodin's opera Prince Igor.
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. [30] Prince Igor was completed posthumously by Rimsky-Korsakov and Alexander Glazunov.
"Stranger in Paradise" is a popular song from the musical Kismet (1953), credited to Robert Wright and George Forrest. Like almost all the music in that show, the melody was adapted from music composed by Alexander Borodin (1833–1887), in this case, the "Gliding Dance of the Maidens", from the Polovtsian Dances in the opera Prince Igor (1890).
Prince Igor (Russian: Князь Игорь, romanized: Knyaz Igor, listen ⓘ) is an opera in four acts with a prologue, written and composed by Alexander Borodin.The composer adapted the libretto from the early Russian epic The Lay of Igor's Host, which recounts the campaign of the 12th-century prince Igor Svyatoslavich against the invading Cuman ("Polovtsian") tribes in 1185. [1]
Part of unperformed collaborative ballet-opera-spectacle by Cui (Act 1), Mussorgsky and Rimsky-Korsakov (Acts 2 and 3), and Borodin (Act 4), with ballet music by Minkus. Borodin used material from his unfinished Prince Igor as the basis for Act 4. Finale orchestrated by Rimsky-Korsakov as a concert piece (1892)
Category: Compositions by Alexander Borodin. 11 languages. ... Petite Suite (Borodin) Polovtsian Dances; S. Scherzo in A-flat major (Borodin) String Quartet No. 2 ...
Amid these two ethnic melodies Borodin inserts a "traveling" theme in pizzicato that represents the plodding hoofs of the horses and camels. At the end, only the Russian theme is heard. At the end, only the Russian theme is heard.
According to Richard E. Rodda in his 2008 liner notes to recordings of Borodin works, Robert Wright and George Forrest specialized in "turning melodies from classical music into film scores and popular songs". The following Borodin works were used as musical sources for Kismet: In the Steppes of Central Asia ("Sands of Time")