Nineteenth-century Russian composer Alexander Borodine called himself a “Sunday composer” because his music came second to his primary careers as doctor and noted scientist. Despite this, Borodine created some notable works, including a choral piece, Polovetsian Dances, the highlight of the Bangor Symphony Orchestra’s final concert of the season on Sunday at the Maine Center for the Arts.

Taken from Borodine’s opera “Prince Igor,” which recounts the 12th century war of the Russians against the nomadic Polovetsians, the piece evokes images of dancing young maidens sending soldiers to war and adulations to the blazing glory of the Khan.

The BSO, the University of Maine Singers and the Oratorio Society joined talents for Borodine’s work and offered an enthusiastic presentation. It was stunning to see nearly 200 performers on stage and to hear the power of their combined instruments. The final section, which is filled with thunderous drums and clapping cymbals, was a particularly dynamic finish to the 95th BSO season.

The first three pieces of the concert were pleasant, but very Sunday-ish, to steal Borodine’s words. William Schuman’s “New England Triptych,” based on a choral composition by a revolutionary American composer and tanner, William Billings, rang with patriot drum rolls and blaring brass sections. But once the fanfares ended and the music was more melodious, the BSO was less inspired.

Similarly, the BSO livened up for the booms and bangs of Aaron Copland’s durable score for ballet, “Appalachian Spring,” first commissioned by Martha Graham. About the marriage and religious lifestyle of a young Shaker couple, the work has a uniquely American exhuberance that is brassy, folksy and grandiose. These are the moments the BSO captured with flair. Otherwise, the performance was disappointing because it lacked sharpness and alacrity.

The religious focus was maintained with Stravinsky’s Symphony of Psalms, a choral composition which featured the UM Singers. But much of the skill of these young vocalists was drowned out by the loudness of the orchestra, even though the violin section was not present for this piece. Although the chorus is meant to be relatively restrained and the orchestra rather energetic, the BSO regularly overpowered the singers. To the credit of choral conductor Dennis Cox, however, the singers seemed to blend their voices carefully and beautifully.