in the staging of their historical operas, The Maid of Pskov (1873) and Boris Godunov (1874). This period also marks the creation of two new characters, the deserters Skula and Yeroshka, who have much in common with the rogue monks Varlaam and Misail in Boris Godunov. In his memoirs, Rimsky-Korsakov mentions an 1876 concert at which Borodin's "closing chorus" was performed, the first public performance of any music from Prince Igor identified by him: The idea of a choral epilogue in the original scenario was no doubt inspired by the example of A Life for the Tsar by Mikhail Glinka, to whose memory Prince Igor is dedicated. Borodin's primary occupation was chemistry, including research and teaching. However, he also spent much time in support of women's causes, much to the consternation of his fellow composers, who felt he should devote his time and talent to music. In 1876, a frustrated Stasov gave up hope that Borodin would ever finish Prince Igor, and offered his scenario to Rimsky-Korsakov. Rimsky-Korsakov instead assisted Borodin in orchestrating important numbers in preparation for concert performance; for example, the Polovtsian Dances in 1879: Borodin worked on Prince Igor, off and on, for almost 18 years. Posthumous Completion and Orchestration: 1887–1888 Borodin died suddenly in 1887, leaving Prince Igor incomplete. Rimsky-Korsakov and Stasov went to Borodin's home, collected his scores, and brought them to Rimsky-Korsakov's house. The often-repeated account that Glazunov reconstructed and orchestrated the overture from memory after hearing the composer play it at the piano is true only in part. The following statement by Glazunov himself clarifies the matter: Musical analysis Central to the opera is the way the Russians are distinguished from the Polovtsians through melodic characterization. While Borodin uses features of Russian folk music to represent his compatriots, he uses chromaticism, melismas and appoggiaturas—among other techniques—represent their 'heathen' opponents. These methods had already been used by Glinka and others to portray Orientalism in Russian music. Performance history The world premiere was given in St. Petersburg on 4 November (23 October O.S.), 1890 at the Mariinsky Theatre. Set designers were Yanov, Andreyev, and Bocharov, while Lev Ivanov was balletmaster. Moscow premieres followed in 1892 by the Russian Opera Society, conducted by Iosif Pribik. The Bolshoi Theatre premiere was given in 1898 and was conducted by Ulrikh Avranek Other notable premieres were given in Prague in 1899 and in Paris in 1909, with a Sergei