Kjos String Orchestra Grade 3 Full Conductor Score SO278F $6.00
Alexander Borodin Deborah Baker Monday, Arranger
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M PL
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In the Steppes of Central Asia
Neil A. Kjos Music Company • Publisher
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The Arranger Deborah Baker Monday currently teaches in the Logan City School District Orchestra Program in Logan, Utah. She is a cello/bass specialist who works with 4th through 8th grade students in several schools. Ms. Monday received her B.M.E. from Florida State University with an emphasis in strings and an M.M. in Composition from the University of Alabama. She began working on a D.M.A. at Louisiana State University in Baton Rouge while teaching string classes at the 4th through 12th grade levels.
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Ms. Monday is an active bass performer and private teacher. She has served as an adjunct bass instructor at Utah State University for several years, has been on the faculty of the Utah ASTA with NSOA Bass Fest, and has served as a clinician at the Midwest Clinic, ASTA with NSOA National Conference, and various state music educators conventions throughout the country. In 1999, she was named the Utah ASTA with NSOA Elementary Teacher of the Year and she also received the award for “Superior Accomplishment” at the 2003 Utah Music Educators Association Conference acknowledging her exceptional contributions to educational music for young string players. Ms. Monday was declared winner of the 2006 Utah ASTA Composition Competition for her composition Chant-Formations.
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Ms. Monday has many publications to her credit including three collections coauthored with Janice L. McAllister, Strings Extraordinaire!, Holidays Extraordinaire!, and More Strings Extraordinaire! She is also coauthor (with Robert S. Frost) of Artistry in Ensembles.
The Arrangement
This arrangement is close to the original in its form. The first theme (m. 5) is stated by the upper strings in the keys of A and C major with a connecting thread of a pedal E played as a harmonic throughout the section. The exotic second theme appears first in the cellos (m. 43), then doubled in violas in A natural minor. A recurring pizzicato passage with accented harmonics in 5ths creates a sense of travel and motion that resolves into the melodic sections. The orchestra reaches a beautiful climax when both themes occur simultaneously in the key of A major (m. 181). All instruments share in the melodic interest and contribute to the rich orchestral palette. In the conclusion, the ensemble gradually gets softer to end on a whisper.
Instrumentation List (Set C)
SA
8 – 1st Violin 8 – 2nd Violin 5 – Viola 5 – Cello 5 – String Bass 1 – Full Conductor Score Additional scores and parts are available.
SO278
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Learning Bank: Alexander Borodin (1833–1887) Born in St. Petersburg, Russia, to a prince and his mistress, the young Borodin showed a passion for both music and science. In his youth, he attended medical school and specialized in chemistry while composing music on the weekends (he later referred to himself as a “Sunday composer”). After finishing his degree, he worked as a physician alongside the great composer Modest Mussorgsky, who was an officer in the military. In the 1860s, Borodin and Mussorgsky joined three other Russian composers to form a group that came to be known as “The Mighty Handful.” These self-taught musicians strove to create a distinctly Russian sound, leading their nation’s first major musical movement.
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After a number of early successes, Borodin found himself balancing his music with family life and his career as a chemist. For this reason, many of his compositions remained “works in progress” for years. Despite these distractions, however, he produced many compositions of lasting importance. In addition to three symphonies and numerous chamber and piano works, Borodin’s most influential compositions include the opera Prince Igor, Polovtsian Dances (part of the opera), and of course, In the Steppes of Central Asia. Composed in early 1880 to commemorate 25 years of Tsar Alexander II’s reign, Borodin’s masterpiece was heavily influenced by Russian folk song. The steppes are a dry, prairie landscape that stretch from Eastern Europe all the way to Mongolia. Much of this region came under the Russian sphere of influence in the 19th century, and this complex relationship between the Tsar and this vast territory is represented musically in the work. It was designed with two main themes that gradually work their way into counterpoint with one another: the first, simple and noble, represents the glory of Russia. The second theme conjures the exotic East with its elaborate ornamentation (grace notes). While presented independently at first, these themes start to intermingle towards the end of the piece, representing a fusion of Russian and Eastern influences. In the Steppes of Central Asia is a timeless piece of music, but it also represents the political realities of its time.
SO278
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In the Steppes of Central Asia
Full Conductor Score Approx. time – 5:10 1 Allegretto con moto (q = 92) 2 3
Violins
2
Viola
Cello
String Bass
2
Vla.
Cello
Str. Bass
SO278
6
mp
pp free bowing 4
pp free bowing 1
7
8
9
pp free bowing
1
E
16
11
12
13
14
15
4
17
18
free bowing
SA
Vlns.
4
pp free bowing
10
1
M PL
1
4
5 4
E
Alexander Borodin Arranged by Deborah Baker Monday
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© 2009 Neil A. Kjos Music Company, 4382 Jutland Drive, San Diego, California 92117. International copyright secured. All rights reserved. Printed in U.S.A. WARNING! The contents of this publication are protected by copyright law. To copy or reproduce them by any method is an infringement of the copyright law. Anyone who reproduces copyrighted matter is subject to substantial penalties and assessments for each infringement.
5
19
1
20
21
Vlns.
Vla.
Cello
Str. Bass
Vlns.
Vla.
2
Str. Bass
29
30
24
Vla.
Str. Bass
Cello
25
26
31
32
27
p
p
pizz.
p
33
34
36
37
38
unis. 39
40
41
mp
p
Vlns.
2
SA
35
1
23
Cello
pizz.
28 div.
1
22
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2
E
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42
1 Vlns.
Vla.
mp
mp
Str. Bass
Vla.
50
-2
52
Str. Bass
3
SA
56
1
57
Vla.
Cello
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59
3
3
3
3
3
3
60
55
54
mp
3
Str. Bass
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Vlns.
2
3
51
48
3
Cello
47
mp
Vlns. 2
arco
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-1
mf
49
1
arco
45
M PL
Cello
44
2
43
E
61
3
62
p
p
pizz.
mp
pizz.
7
1 Vlns.
2
Vla.
Cello
Str. Bass
70
1
2
Vla.
Cello
Str. Bass
71
2
Vla.
Cello
72
73
74
75
81
68
SA Vlns.
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69
76
80
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1
div.
Vlns.
Str. Bass
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E
63 div.
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unis.
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unis.
mp
mp
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A
D
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4 -1 -4 -1 4 1 -1 D
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83
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1
Vlns. 2
Vla.
85
Str. Bass
91
1 Vlns.
2
Str. Bass
1
Vlns.
G
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95
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f legato
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98
mf legato
90
D
arco
mf legato
100
Cello
Str. Bass
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mf legato
arco
Vla.
89
D
93
2
87
-1 4 -1 -4 1 -4 -1
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99
Cello
92
Vla.
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Cello
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E
84
101
102
103
,
,
,
,
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Vlns.
2
Vla.
Cello
Str. Bass
2
Vla.
Str. Bass
117
2
Vla.
Cello
Str. Bass
3
113
114
f marcato
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f marcato
, f marcato
f marcato
120
,
119
,
121
118
SA
125
Vlns.
f marcato
1
111
Cello
Vlns.
110
116
1
109
126
127
div.
128
,
129
sub. p
pizz.
sub. p
div.
124
130
122
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123
132
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, sub. p , unis.
pizz.
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115
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1
112 108
E
107
sub. p
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1
135
136
Vla.
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141
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Vlns.
2
Vla.
147
1
149
p
arco
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arco
150
145
p
148
143
142
139
144
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Str. Bass
Cello
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138
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Str. Bass
Cello
137
Vlns. 2
E
133
134
3
p
151
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153
Vlns.
2
Vla.
Cello
Str. Bass
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11
1 Vlns.
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Vla.
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Cello
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Str. Bass
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162
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Cello
Str. Bass
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3
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div.
167
sub. f
3
3
, unis.
2
165
164
169 3 170
Vlns.
sub. f
168
1
unis.
3
3
163
3
3
Cello
Vla.
157
161
Vlns.
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Str. Bass
156
E
154
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,
3
3
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181
1
176
2
Vla.
Cello
Vla.
Cello
Cello
Str. Bass
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3
3
183
186
pizz.
187
192
188
3
191
3
3
193
3
194
3
195
3
legato
f
185
legato
3
3
f
190
184
Vla.
3
SA
2
Vlns.
3
189
1
180
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2
Str. Bass
179
Vlns.
178
3
182
1
Vlns.
Str. Bass
177
E
175
13
Vlns. 2
Vla.
Cello
Str. Bass
2
Vla.
div.
199
200
f
f
205
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SA Vla.
Cello
Str. Bass
208
212
3
dim.
3
3
dim.
dim.
215
216
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pizz. div.
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dim.
213 214
f
unis.
Str. Bass
211
3
3
unis.
3
2
3
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Cello
Vlns.
3
1
201
3
210
, div.
arco
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unis.
Vlns.
203
1
197
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1
198
E
196
pizz.
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217
1
Vlns. 2
218
219
mf
Str. Bass
224
1
2
225
Vlns.
unis.
Cello
Str. Bass
dim.
mp
223
dim.
226
dim.
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mf dolce
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mf dolce
1
2
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235
236
dim.
p
p dim.
Vla.
Cello
dim.
237
arco
dim.
p
dim.
Vlns.
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231
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222
Vla.
Str. Bass
221
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Cello
220
Vla.
E
p
arco
p
SA E
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