Attention. Around 1850, prominent Russian composers such as Balakirev, Borodin, César Cui, Mussorgsky, and Rimsky-Korsakov paid little attention to chamber music. While orchestral works and songs with a nationalist character dominated musical life, chamber music pieces were primarily considered entertaining contributions to private salons. Russian art music was still in its infancy at that time, which also affected the appreciation of chamber music.
Borodin's particular interest in chamber music developed at a young age during gatherings with Gavrushkevich, where he played music. His musical training and environment fostered his talent. During his studies, he composed mainly for exclusive performances in small circles. His Cello Sonata in B minor, presumably dedicated to a specific woman, was later reconstructed and published by Goldstein.
Even Borodin's early works reflect diverse influences, such as the Bach theme in the first movement of his sonata. Collaboration and exchange with other composers significantly enriched his work. During a stay in Germany, he composed his Piano Quintet in C minor, which is considered a turning point before his encounter with Balakirev.
With increasing maturity as a composer, Borodin developed his own nationally influenced style. His two string quartets, as well as other chamber music works, demonstrate both the influences of Beethoven and Mendelssohn and his individual development. The second string quartet in D major, in particular, which captivates with its melodic invention, underscores his compositional mastery. These works document Borodin's musical development, shaped by both German and Russian influences.