The connection between music and science has been much remarked upon.

Consider the case of doctor and chemist Alexander Borodin. Borodin was born on this date in 1833. As a boy he took piano lessons, but he received his formal education at the Medical-Surgical Academy in St. Petersburg. He then served as a surgeon in a military hospital before pursuing three years of advanced scientific study in Western Europe.

In 1862, he returned to his alma mater to teach. He lobbied for the admittance of women, and in 1872, he founded his own women’s school of medicine. The remainder of his scientific career was devoted to research. He is co-credited with the discovery of the aldol reaction, a means of forming carbon-carbon bonds in organic chemistry.

Of course, Borodin’s other passion was music. Around the time of his return to the Academy, he came into contact Mily Balakirev, a driving force in the Russian nationalist movement. Balakirev took the chemist under his wing and appointed himself overseer of the younger man’s efforts in the writing of a Symphony No. 1. Borodin began work on his Symphony No. 2 in 1869. Since regarded as an especially successful blend of Slavic drama and lyricism with European classical form, it was not a particular success at its premiere in 1877.

Borodin’s attention was easily diverted while at work on the piece by his absorption in an opera on the subject of Prince Igor. This was to become his most significant musical contribution and one of the most important Russian historical operas. Because of his other commitments and repeated distractions, the opera was left unfinished at the time of his death. It fell to his friends and colleagues, Nikolai Rimsky-Korsakov and Alexander Glazunov, to complete it.

Its big show-stopper, of course, is the “Polovtsian Dances,” which has been used to sell everything from records to cleanser.

Borodin was yet another beneficiary of the exceeding generosity of Franz Liszt, whose contributions in this regard are not widely enough acknowledged. It was Liszt’s advocacy as a conductor that brought Borodin to the attention of European audiences. In gratitude, the composer dedicated “In the Steppes of Central Asia” to Liszt in 1880.

Borodin was also embraced by the French Impressionists, who admired his unusual harmonies. Of course, he achieved even greater renown when melodies from his works became the basis for the musical “Kismet” in 1953. In 1954, he was honored with a posthumous Tony Award!

Since for Borodin music was basically an avocation, something to which he devoted himself mostly during holidays or when he was otherwise unable to report to work, it became a running gag among his friends that they’d wish him poor health.

“In winter I can only compose when I am too unwell to give my lectures,” he wrote. “So my friends, reversing the usual custom, never say to me, ‘I hope you are well’ but ‘I do hope you are ill.’”

He had plenty of experience with illness. The composer survived cholera and suffered several heart attacks. He finally dropped dead during a ball at the Academy in 1887.

Happy birthday, Alexander Borodin!

PHOTO: Alexander Borodin: chemistry to burn