# Making friends with Glazunov's symphonic poems, pictures, fantasies, rhapsodies



## Roger Knox

Over the past couple of weeks I've been listening enraptured to the symphonic poems and such of *Alexander Glazunov (1865-1936)* -- the following four so far, all composed by the time he was 31:

_Poème lyrique_, op. 12

Stenka Razin: Symphonic Poem, op. 13

The Sea: A Symphonic Fantasy, op. 28

Spring: A Musical Picture, op. 34

It is especially his harmony and orchestration that have drawn me in. (to be continued ...)

Thanks *Huilunsoittaja* on Composer Guestbooks for your steady advocacy! Also to *mbhaub* for talking up the symphonies, which I will get to later.


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## HenryPenfold

Interesting thread/post. I struggle with his symphonies, they just don't click with me, so perhaps the tone poems might. But I have quite a long backlog of listening to get through, so I guess I will remain in the Glazunov dark for some time yet!


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## mbhaub

Try the exquisite Violin Concerto, it will bring you into the Glazunov light! I was just listening to The Seasons today; such wonderful life-affirming music.


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## joen_cph

Those I've found most catchy so far are the quasi-Wagnerian _The Sea_, and the quasi-Rimskyan _Stenka Razin_. I think one should give those a try. Recordings vary a lot however.

Can't say I know the orchestral poems all that well, though.



HenryPenfold said:


> Interesting thread/post. I *struggle with his symphonies*, they just don't click with me, so perhaps the tone poems might. But I have quite a long backlog of listening to get through, so I guess I will remain in the Glazunov dark for some time yet!


Have you tried the 4th, probably the most immediately tuneful & a wonderful work? If you like some Tchaikovsky, there's a good chance you'll like that one too.


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## Kiki

Both the 4th and the 5th are excellent, but these are the only Glazunov symphonies I know, because they are in Mravinsky's repertoire. I have wanted to explore more Glazunov, but after trying Otaka, Serebrier, Polyansky and Fedoseyev on streaming, I'm not totally convinced I want to invest in any of these sets. I haven't heard Rozhdestvensky yet. Any comment on his Glazunov symphonies?


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## CnC Bartok

I've got a dozen or so Glazunov CDs on Naxos, which explore the less obvious pieces using orchestras and conductors who are less than stellar names. I quite like them, although I have found very few of Glazunov's works are particularly memorable, I am sorry to say. That includes the symphonies, but I do find the earlier ones more distinctive than some of the later ones; No.1 in a gem as far as I am concerned. I agree with the positive sentiments about The Seasons; also Raymonda. Of the works Roger mentions in the OP, it's probably The Sea that for me stands out. And I do enjoy the CD which includes The Kremlin Suite and the Olden Times Suite.

My favourite Glazunov by the proverbial country mile has to be his Violin Concerto, which is not only a lovely piece, but I reckon a very strong piece too.


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## Kreisler jr

The Rozhdestvensky has the typical CCCP sound, rather rough but often exciting. I have 3 discs in older issues and it's good enough for me but some dislike that sound. There is also Svetlanov (I think one cycle from Soviet times and one live from the 1990s). 

Hurwitz trashed most of the Soviet/Russian recordings recently, but that's only him. For "completeness" I got the Serebrier box and it is quite nice although little of it will become my favorite music. It's pleasant music but not much more. I have to admit that I find the violin concerto even more hackneyed than the Tchaikovsky...


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## HenryPenfold

joen_cph said:


> Have you tried the 4th, probably the most immediately tuneful & a wonderful work? If you like some Tchaikovsky, there's a good chance you'll like that one too.


Yes, but not for some time, and I can't remember a note.

And for the record, I like _all_ Tchaikovsky!


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## Manxfeeder

Kiki said:


> I haven't heard Rozhdestvensky yet. Any comment on his Glazunov symphonies?


That was my first exposure to Glazunov, and his music immediately clicked with me. I have a couple Serbrier recordings, but they don't grab me in the same way. I don't know what Rozhdestvensky is doing, but it's how I want Glazunov to sound. I hope you find a conductor/recording that does the same for you.


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## Kiki

Manxfeeder said:


> That was my first exposure to Glazunov, and his music immediately clicked with me. I have a couple Serbrier recordings, but they don't grab me in the same way. I don't know what Rozhdestvensky is doing, but it's how I want Glazunov to sound. I hope you find a conductor/recording that does the same for you.


I listened to Rozhdestvensky's Glazunov #4 on Spotify today. I like what I heard. While Mravinsky's, which is what I am familiar with, is fast, classicist and propelling with ease; Rozh's is more like a free spirit Romantic who is eager to showcase what he has to say. The only problem is that, compared to Mravinsky, the voltage seems to drop just a little bit in the finale. Perhaps, in my case, it was Mravinsky who have imprinted on my mind how it should sound like... but Rozh is not slack in any way, quite the contrary in fact, and on top of that he has much better sound. I will certainly check out Rozh's other Glazunov symphonies! Thanks!


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## mbhaub

Kiki said:


> I haven't heard Rozhdestvensky yet. Any comment on his Glazunov symphonies?


They're well played, very excitingly conducted and very brashly recorded. The trumpets peel paint off the walls! Very strident, and typical, Melodiya sound. I owned the LPs way back when and hoped the cds would have better sound, but no. It's not bad - just turn the treble down. They are very, very Russian and far surpass Svetlanov, Polyansky, and Fedoseyev. Jarvi on Orfeo is still the one to beat.


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## Malx

I have the Serebrier box on my shelves but can't remember the last time I took it down - it was available at a too good to miss price at the time of buying.
I'll keep it there as who knows when the time will come when I'll take a shine to its contents.


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## jim prideaux

There was a time a few years ago when I spent a fair amount of time with Glazunov.....symphonies 3- 7 'clicked'. I listened to Serebrier, Otaka and Roz. Oddly enough one composer I do not really enjoy is Tchaikovsky and I find it intriguing that Glazunov appears to be (unfavourably) compared to that particular composer. Glazunov's music has it's own attractions and repeated listening can be very much rewarded.....as they now appear to say 'IMHO'!

In fact I think Glazunov has now just re appeared on any immediate playlist ( having just listened to DCSH 4th and 7th twice)


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## jim prideaux

Malx said:


> I have the Serebrier box on my shelves but can't remember the last time I took it down - it was available at a too good to miss price at the time of buying.
> I'll keep it there as who knows when the time will come when I'll take a shine to its contents.


Give it a go Malx.....nothing to lose!


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## Malx

jim prideaux said:


> Give it a go Malx.....nothing to lose!


I have taken it down already Jim but the question is - will I dive in straight away or will I keep reaching past it!
The real issue is there is so music music I want to listen to and relatively so little time, and thats before taking football into account - Austria v Scotland tonight, I'd probably be better listening to Glazunov


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## jim prideaux

Away to Austria...forgot about that but as you rightly point out you may well be safer with Glazunov.

Currently listening to the Roz 7th, still unsure really as to why many can appear so dismissive.....he was never going to change the world but it does not prevent his music from being interesting and enjoyable...does a good scherzo does Alex!


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## jim prideaux

Malx......apologies, do hope you stuck with the match rather than listening to Glazunov....

Good result ( probably not the appropriate place to discuss footy!)


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## Roger Knox

I'm really happy with all these responses. Please keep them coming.

Recently I've listened to quite a few late romantic symphonic poems by different composers. With Glazunov's there seems to be something I find particularly touching. For the moment let's just say they "try to turn to the good." That theme becomes overt in his From Darkness to Light, op. 53 (1894). Vincent D'Indy strove to have his symphonic poems progress from darkness to light but good as they are, they don't in my opinion have the warmth and spontaneity of Glazunov's.

So that is why I will be drawing attention to his 10 symphonic poems/pictures/fantasies, legend. In recordings they tend to be mixed in with other types of compositions by Glazunov or others. I'd like to see what might come from temporarily keeping them separate in certain posts. But overall, please comment on Glazunov as you please. This thread is intended to be far less controlling than my previous ones on neglected and unheralded works were.


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## jim prideaux

As I have just mentioned in another thread I have returned to Glazunov in response to this thread. This morning I have listened to a range of works and recordings.....

Polyansky-4th and 5th symphonies,
Butt-3rd Symphony and Stenka Razin...

I can imagine that over the next few days I will continue to return to some of the other recordings I have access to. I apologise Roger that this is not necessarily immediately concerned with the symphonic poems but I continue to find something in Glazunov's music that is both interesting and enjoyable. I have commented before that I realise that Glazunov is essentially 'conservative' in a musical sense and recognise that he might not be every bodies 'cup of tea'....there are protracted periods of time where I would not dream of listening to his music but I consider myself fortunate to have become aware of his accomplishments and have access to a range of works and recordings.


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## jim prideaux

Listening now to the Serebrier/RSNO account of the 4th......should anyone have a passing interest in Glazunov or indeed remain unconvinced by the composer might I recommend this!


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## Roger Knox

jim prideaux said:


> I can imagine that over the next few days I will continue to return to some of the other recordings I have access to. I apologise Roger that this is not necessarily immediately concerned with the symphonic poems but I continue to find something in Glazunov's music that is both interesting and enjoyable.


Jim, that's great! I really appreciate your comments and return to Glazunov -- don't need to apologize for discussing his symphonies and their recordings because they are of great interest to many here including me, e.g. the Serebrier/RNSO 4th. And please continue to post on what you find.


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## Roger Knox

mbhaub said:


> Try the exquisite Violin Concerto, it will bring you into the Glazunov light! I was just listening to The Seasons today; such wonderful life-affirming music.


Yes, I've listened to the _The Seasons_ and "such life-affirming music" is right on -- applies to his Spring, op.34 too.


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## jim prideaux

Roger Knox said:


> Jim, that's great! I really appreciate your comments and return to Glazunov -- don't need to apologize for discussing his symphonies and their recordings because they are of great interest to many here including me, e.g. the Serebrier/RNSO 4th. And please continue to post on what you find.


Now with Serebrier/RSNO and the 5th.

The 5th was the first piece I heard from Glazunov. I had been aware of his name for years and then it occurred to me that it was about time I gave him a listen so I decided to get hold of this particular recording. That was a while ago now......but I am really enjoying this reacquaintance today!


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## Animal the Drummer

Roger Knox said:


> Yes, I've listened to the _The Seasons_ and "such life-affirming music" is right on -- applies to his Spring, op.34 too.


"The Seasons" is a delightful work and I get as much enjoyment from it as I do from Tchaikovsky's ballets.

Otherwise the Glazunov bug hasn't bitten me yet. I'm fond of much Russian repertoire but Glazunov hasn't done it for me so far.


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## Roger Knox

CnC Bartok said:


> I agree with the positive sentiments about The Seasons; also Raymonda.


Glad you mentioned _Raymonda_. It changed my whole idea of Glazunov and of Russian music, and even of ballet. There are numerous fine videos on YT. I find the famous wedding variation from Act 3 heart-stopping, not as much for the ballerina's technique or the "oriental" musical style as for the cauldron of emotions, expressed or latent.


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## Neo Romanza

There was a point in time where I didn't enjoy Glazunov that much. I had listened to many of his symphonies, symphonic poems, a few of the concerti and chamber works, but nothing really stood out to me or made its mark. It wasn't until last year when in lockdown that I got a firm understanding of the composer and finally had one of those "a-ha" moments. The work that changed my mind was _Symphony No. 7 in C major, Op. 77, "Pastoral"_ and the performance that did it for me was Svetlanov (the later cycle). After this breakthrough, I started to listen to all of the Svetlanov recordings I had in my collection, which was the box set of symphonies and a 2-CD set of symphonic poems that had been reissued on Melodiya. After Svetlanov, I ended up buying this set:










Rozhdestvensky also didn't disappoint in this music. He did some things differently than Svetlanov, which was appreciated, but that Russian spirit was still there. I didn't care much for the Serebrier recordings. They felt too slick and lacking gravitas for me. His cycle is obviously better sounding than Svetlanov or Rozhdestvensky, but having a great sound isn't the biggest selling point, especially if the performances are lackluster like Serebrier's very much were for me.

Of the symphonic poems, I would say a great introduction would be _The Kremlin_ (the Svetlanov performance). Wow, what a work! Of the concerti, I really like both of the piano concerti. I'm less fond of the _Violin Concerto_, which gets recorded quite a bit.


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## jim prideaux

Neo Romanza.....another example of how we all her things differently! 

Fully appreciate your interesting post and in particular your positive comments regarding the music of Glazunov. However only yesterday I was listening to symphonies from the Serebrier cycle and found them engaging and very suited to revealing just how impressive much of this music is (4 and 7 in particular!).....I do have some of the individual CD's from the Rozhdestvensky cycle and will return to those in response to your post above!......interesting!

As just mentioned on current listening thread.....now listening to 4-7 from the Roz' cycle.


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## Roger Knox

mbhaub said:


> Try the exquisite Violin Concerto, it will bring you into the Glazunov light! I was just listening to The Seasons today; such wonderful life-affirming music.


I hadn't listened to the Violin Concerto for a long time. It's an engaging work, a soloist's concerto with remarkable virtuoso violin writing in the last movement. But a couple of times, after a buildup where one expects a wonderful tune it seems to me that the results are ordinary. Apart from that, there are still the idiomatic violin writing and beautiful orchestration to come back for.


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## Roger Knox

redundant.................


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## Roger Knox

For anyone seriously interested the *Glazunov* thread in *Composer Guestbooks*, with its amazing material contributed by *Huilunsoittaja*, is a must-read.


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## Subutai

Kreisler jr said:


> Hurwitz trashed most of the Soviet/Russian recordings recently, but that's only him.


Hurwitz, where to start. As much as I admire his musical fortitude, I am mostly repelled by his dismissiveness of anything European, including making fun of foreign names. ( He thinks of himself as an entertainer. Desperate if I'm honest).
Nothing wrong with prefering American over European as he is American (judging by his accent), yet I find his dismissal of certain works/composers somewhat narcissistic of his own high opinion in matters classical. Full of hot air as you can tell by his appearance.
As for Glazunov, his reference works are The Seasons and his Violin Concerto. Actually there's not a lot to dislike with his Orchestral output, including his symphonies.


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## Roger Knox

*Alexander Glazunov's Poème lyrique, op. 12 (1884-7) and Poème épique, op. posth. (1933-4)*

The first and last symphonic poems of Alexander Glazunov make an interesting contrast, both musically and concerning two different genres of poetry. The son of a well-to-do St. Petersburg publisher, Glazunov's music was often influenced by literature. His Lyric Poem written around the age of 20 is a remarkably mature work. I haven't seen the score but the andantino piece sounds like it's in gently rocking 9/8 meter. This triple meter with triple subdivisions is serene here, yet active and passionate as are the harmonies, surging dynamics, and tremolando strings. At 3:48 in the USSR SSO/Svetlanov version there's a turn to the minor key, and I suddenly wondered if this work influenced the famous third movement of Rachmaninoff's Second Symphony.

The Epic Poem is not as well-known as most of the other symphonic poems, but it is well worth hearing. It opens with a ceremonial character, in the key of A minor and sometimes with modal harmony suggesting olden times. The composer died around two years after it was completed, and it gives a sense of looking backward. I don't know whether there is a program behind it. To me "epic" in the title might suggest the composer's own life, now battle-scarred from long high-level involvement in the classical music world during turbulent times!


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## Roger Knox

_Stenka Razin: Symphonic Poem in B minor_, op. 13 (1885) is the one work that Alexander Glazunov himself designated as a _symphonic poem_ -- suggesting a literary source, integrated narrative and musical structures, rich harmonic and timbral colors, and tone painting. It is based on a poem by Dmitry Sadonikov (1883) published as a "folk epic" about the 17th century Cossack leader. The first theme is the "Song of the Volga Boatmen" (printed by Balakirev in 1866) and the second a lyrical clarinet motif evoking the Persian princess who Stenka Razin brings aboard. There is much information about this work on the internet; I've used excellent program notes from the wonderful Chandos release featuring the Royal National Scottish Orchestra/Neeme Järvi. At the beginning repeated and accented triplets in the strings set up a high level of excitement that recurs after relaxed interludes. Notable are the suggestion of a "development" after 7:05 in the RNSO recording, which becomes a tough battle. The mixture of major and minor chords in modal harmony as well as rapid chromatic modulations set a somber and tense mood throughout. Joen_cph's description of the piece as "quasi-Rimskyan" is right on, and not surprising in that Glazunov had been Rimsky-Korsakov's private student in the four years before composing it. _Stenka Razin_ is a great achievement by the 20-year-old Glazunov.


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## Roger Knox

Glazunov's _The Forest: Fantasy in C# Minor_, op. 19 (1887) was inadvertently left off my earlier list. It is the composer's first _orchestral fantasy_ -- a type that is sometimes included in lists of symphonic poems. The work is considerably longer than _Stenka Razin_ and I don't think it hangs together as well. Nevertheless it is an advance for the 22-year composer with many points of interest, and is well worth hearing. In this fantasy I think the forest is an enchanted one. The piece opens mysteriously, the mood becoming ambiguous. Then a slow section is intended to depict nymphs who it seems turn to frolicking. An aggressive nocturnal hunt follows with a strongly-accented repeated-note rhythm in the strings. Neither Balakirev nor Rimsky-Korsakov liked this work, Balakirev observing that there is no hunt at night. But there are no nymphs at all -- this is a fantasy! The last four minutes are peaceful and pastoral with a piccolo bird at dawn. (Flute and piccolo players must love Glazunov!)

I'm sure there's more to the story and if anyone knows a good source for the meaning and interpretation of Glazunov's program music please post. The recording in Glazunov Orchestral Works, Vol. 13 by The Moscow SO/Anissimov on Naxos (2000) is excellent.


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## Roger Knox

Glazunov's _The Sea: A Symphonic Fantasy_, op.28 in E major (1889) has a straightforward plan: the sea swells up; there is a tremendous storm; the storm subsides and the sea is calm. The composer's program begins: "A man sat on the shore and the various pictures of nature passed before his eyes." The man stays put throughout the storm and the program ends with: "And everything that the man had seen and all that he had felt in his soul - he recounted later to other men."(1) The program's language is almost Biblical and there may be allegory involved. Anyway, an important thing in this work is the man's interior life and what he passes on to his community. Glazunov is a late Romantic composer and the work certainly awakens my feelings. In the first section after the opening wave action the main theme emerges in C major, is joined by a lovely obbligato in the violins, and comes to a leisurely close. Then the "development" section features a remarkable storm including fearsome trombone slides and an increase in tempo, bringing the action to a climax. The final section begins with the triumphant return of the main theme, now in the home key of E major. The music becomes calmer and the celebrated spellbinding close of the work comes with canonic restatement of this melody in progressively lower registers.

With its clear formal structure and imagery The Sea is an improvement on Glazunov's previous symphonic fantasy _The Forest_. The work is dedicated to the memory of Wagner (quasi-Wagnerian as joen_cph says) and shows its composer moving out from the Balakirev and Rimsky-Korsakov circles, with increasing interest in Tchaikovsky. He begins to see himself as an intermediary between Russia's musical St. Petersburg and Moscow factions. As for the symphonic fantasy genre itself, I find that Glazunov's genre distinctions are quite precise and should be so used. Comparing _The Sea_ to the symphonic poem _Stenka Razin_, what differs is simply that _The Sea_ is more fantasy, less poem. And for keeners this cited article(2) will make fascinating reading, using Tchaikovsky's symphony fantasy _Francesca da Rimini_ as its detailed example. Nevertheless, the author Catherine Coppola cautions in the title "The Elusive Fantasy" that we shouldn't be dogmatic in using such terms.
_________________________
1. 2. https://www.jstor.org/stable/746856


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## Roger Knox

Below are the 12 Glazunov orchestral works I will write about in this thread. The genres include: symphonic poem; symphonic fantasy; musical picture; rhapsody; ballad; legend. Lots of exciting and enjoyable music; coming next is a tour de force, _Rhapsodie orientale_.

_Poème lyrique_, op. 12

Stenka Razin: Symphonic Poem, op. 13

The Forest: Fantasy, op. 19

The Sea: A Symphonic Fantasy, op. 28

_Rhapsodie orientale_, op. 29

The Kremlin: Symphonic Picture, op. 30

Spring: A Musical Picture, op. 34

From Darkness to Light: Fantasia for Orchestra, op. 53

Ballade, op. 78

_Fantasie finnoise_, op. 98

Karelian Legend for Orchestra, op. 99

_Poème épique_, op. posth.


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## MusicSybarite

Roger Knox said:


> Below are the 12 Glazunov orchestral works I will write about in this thread. The genres include: symphonic poem; symphonic fantasy; musical picture; rhapsody; ballad; legend. Lots of exciting and enjoyable music; coming next is a tour de force, _Rhapsodie orientale_.
> 
> _Poème lyrique_, op. 12
> 
> Stenka Razin: Symphonic Poem, op. 13
> 
> The Forest: Fantasy, op. 19
> 
> The Sea: A Symphonic Fantasy, op. 28
> 
> _Rhapsodie orientale_, op. 29
> 
> The Kremlin: Symphonic Picture, op. 30
> 
> Spring: A Musical Picture, op. 34
> 
> From Darkness to Light: Fantasia for Orchestra, op. 53
> 
> Ballade, op. 78
> 
> _Fantasie finnoise_, op. 98
> 
> Karelian Legend for Orchestra, op. 99
> 
> _Poème épique_, op. posth.


You forgot one of the best: *From the Middle Ages*. This is Glazunov at his best. Another work I wholeheartedly recommend is his _Scènes de ballet_. Oh, simply gorgeous music. I suspect you'll love both works.


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## Roger Knox

MusicSybarite said:


> You forgot one of the best: *From the Middle Ages*. This is Glazunov at his best. Another work I wholeheartedly recommend is his _Scènes de ballet_. Oh, simply gorgeous music. I suspect you'll love both works.


Thanks for the suggestions. I haven't listened to them yet but look forward to doing so. So far I've found that in the various orchestral genres his inspiration was wide ranging. Do you have any preferences for recordings?


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## MusicSybarite

Roger Knox said:


> Thanks for the suggestions. I haven't listened to them yet but look forward to doing so. So far I've found that in the various orchestral genres his inspiration was wide ranging. Do you have any preferences for recordings?


Yes, I do. Järvi/Chandos for _From the Middle Ages_ and Svetlanov/Melodiya for _Scènes de Ballet_.


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## Roger Knox

3 things I like about Glazunov's orchestral music:

1. Harmony: subtlety, e.g. frequently changing the harmonization of melodies without drawing attention to the variants. It maintains the listener's interest and avoids repetitious cliches.

2. Emotional affect and communication: earlier I mentioned a sense of "from darkness to light," but there is also "consolation without mawkish sentimentality" at some point. Audiences appreciate that especially in difficult times like now.

3. Absence of extremes: no emotional hysteria, esoteric mysticism, or bombastic nationalism.


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## Roger Knox

The composition date of Glazunov's _Rhapsodie orientale_, or Oriental Rhapsody, op. 29 (1889) might be compared with those of Rimsky-Korsakov's _Scheherezade _(1888) and Borodin's "Polovtsian Dances" (1890) from the opera _Prince Igor_. All of these works feature folk and traditional music of Central Asia; Glazunov's adaptations of "oriental" Turkic and Mongol music are _contemporary_, not _derivative_, of those by Rimsky and Borodin. One source I've read says that Glazunov actually got more deeply and insightfully into this music than did the older composers. As we have seen, Glazunov was already a master by the age of 20, who continued to work with Rimsky not as student or assistant but as _collaborator_. My italics are intended to emphasize that Glazunov's rapid development means that he should not be assumed to be an epigone of Russian Five composers.

As for the orchestral rhapsody genre, the _Rhapsodie orientale_ does comes later than Liszt's _Hungarian Rhapsody No. 2_ in its orchestral version (1857-1860) or Chabrier's _Espanã_ rhapsody (1883). But what a grand, virtuosically-conceived and orchestrated rhapsody it is! In five parts connected by a simple program, it features traditional rhapsodic aspects of folk music, improvisational character, and a tendency towards delirium (part 5). It requires an exciting conductor, excellent orchestra, and great sound to really come off. I have enjoyed the Moscow SSO/Veronica Dudarova recording on Melodiya, but whichever one you listen to be sure it includes all five parts (the Hong Kong PO/Alameida has only four).


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## Roger Knox

Glazunov's _The Kremlin_, op. 30 (1890) is identified with the _musical picture_, a genre that had a certain vogue in later 19th-century Russia; some critics include Mussorgsky's _A Night on Bare Mountain_ (1867) and Borodin's _In the Steppes of Central Asia_ (1880) as musical pictures. The term was intended for works that emphasized striking images more than the narrative or personal expression often found in symphonic poems. (These distinctions are not hard and fast, though.)

The composer chose Moscow's unique Kremlin in its historical context and created a memorable three-part work. I am moved especially by Part 2 - In the Cloister - for its sombre and ancient-sounding chordal passages, though by the end I was quite sad. Part 1, Popular Festival, features Slavonic folk dance material with ingenious changing metres, cross-rhythms, and different subdivisions of the beat. Part 3, Reception and Farewell of the Princes, is lively and at times majestic, with terrific brass and percussion. I was thrilled on my first hearing, perhaps less so on my second. In any case my idea of the Kremlin is now much changed, and I look forward to seeing and learning more of this institution.


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## Roger Knox

joen_cph said:


> Have you tried the 4th, probably the most immediately tuneful & a wonderful work? If you like some Tchaikovsky, there's a good chance you'll like that one too.


Having listened twice to the Glazunov Symphony No. 4, op. 48 (1893), yes, I agree with the commendations of this work in a number of posts. The version on YT by the Moscow RSO/Nathan Rachlin is convincing. As with the symphonic poems, it is easy to "make friends" with this attractive composition. But with a symphony structural aspects come to the fore and it will take me more hearings to delve into that. Certainly the non-standard form of the composition is a gutsy move by the composer. And at the micro level Glazunoy's phrasing is sophisticated, as I've already noticed in the next work under discussion -- the musical picture _Spring_, op. 34 (1891).


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## Roger Knox

_Spring_, op. 34 (1891) is a different work than the "Spring" part of Glazunov's ballet _The Seasons_, op. 67. It is a musical picture, but one having little in common with _The Kremlin_. I find this piece very _simpatico_ in a number of ways. To begin with it is quite easy to follow, being based on the rondo principle of a refrain with contrasting sections. It is in D major, pastoral with many piccolo, flute, and clarinet bird calls, and having harmony less complex and more diatonic than the Glazunov compositions discussed previously. In a swaying ¾ meter the music is elegant, by a master of the orchestral waltz. After a few hearings I "left" the outdoors and started to imagine the ballet with its gestures and phrasing of solo or group dancing. (Glazunov composed three ballets.) When the glockenspiel enters _The Nutcracker_ comes to mind. The suggestion of enchantment is strong; this is not only a realistic spring. For me nostalgia is now intense: for childhood, perhaps in that the meter is also of the lullaby; for nature, and idyllic outdoors of my youth; for early experiences of orchestral music.

I note Glazunov's long opening phase, for it is not until m. 16 that the clarinet enters with a different motif. (There is a score with one of the recordings on YT.) Here there is an elision; the first note is also the last note of the initial phrase. It is a wonderfully smooth effect, barely noticeable, that produces slight asymmetry in phrase length and avoids stiffness or monotony. The next 14 measures offer simple woodwind counterpoint and it is not until m. 30 that the passage reaches a sense of closure, with the opening phrase now repeated by a full violin section. When I took theory lessons there was a time where we learned to write all kinds of musical phrases, sentences, and double periods, variously extended or contracted, as part of the form requirements. I miss that time too.


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## Roger Knox

The symphonic fantasia _From Darkness to Light_, op. 53 (1894) is said to have been motivated by Glazunov's grief at the recent, unexpected death of Tchaikovsky. It opens in B minor, the key of Tchaikovsky's Symphony no. 6 (Pathétique) that had been premiered shortly before the composer's death. At the beginning is some of Glazunov's most heartfelt and mournful music, but later (_spoiler alert!_) the mood shifts along with a key change to C major. A hopeful theme emerges that leads into the final Allegro section. The music modulates constantly with rapid chord changes, creating a sense of delirium for me. Then the tempo increases leading to a triumphant close. In description it may sound too obvious. Yet the work is one of Glazunov's most harmonically adventurous and as a listening experience I find it convincing throughout.


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## Roger Knox

Ballads for orchestra are not common. Among Russian works Tchaikovsky's _The Voyevoda_ is best known; there are also symphonic ballads by Miaskovsky, Lyapunov - and Glazunov: the _Ballad in F major_, op. 72 (1902). The work does not have a program though it shares certain romantic material with the composer's suite _From the Middle Ages_. It is in ternary form and pastoral as is suggested by the key of F major. First there is a slow, lyrical section with a repeated motif expressing intense yearning. The middle fast section is march-like, with calls by a trio of trumpets suggesting chivalric medieval times. After a spectacular evocation of nature the opening section returns, modified with reminiscences of the trumpets and associated figures.


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## Roger Knox

Our last two Glazunov orchestral works are based on national or regional affinities. The Finnish Fantasy, op. 88 (1909) is based on two folk songs, the first evoking cuckoo-bird calls. From this base the composer weaves an orchestral canvas that has great contrasts in mood. Between simple thematic statements are brilliantly-orchestrated passages varying among the virtuosic, the chromatic, the contrapuntal, and much else. The chorale Ein feste Burg (A Mighty Fortress) enters near the close in acknowledgement of Finland’s prominent Lutheran Church.

There are two options available on record: the Moscow SO/Igor Golovschin on Naxos (1999) or the Glazunov collected works by the USSR SO/Svetlanov.


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## CnC Bartok

Roger Knox said:


> Our last two Glazunov orchestral works are based on national or regional affinities. The Finnish Fantasy, op. 88 (1909) is based on two folk songs, the first evoking cuckoo-bird calls. From this base the composer weaves an orchestral canvas that has great contrasts in mood. Between simple thematic statements are brilliantly-orchestrated passages varying among the virtuosic, the chromatic, the contrapuntal, and much else. The chorale Ein feste Burg (A Mighty Fortress) enters near the close in acknowledgement of Finland's prominent Lutheran Church.
> 
> There are two options available on record: the Moscow SO/Igor Golovschin on Naxos (1999) or the Glazunov collected works by the USSR SO/Svetlanov.


Roger, I have been reading your comments throughout with a great deal of interest. Much appreciated!

I think I am going to have a Glazunov blitz at some stage in the near future. A few years back I trawled the second hand sellers on Amazon and the like and collected what I think is all of the Naxos recordings, which did include for me a third or fourth set of the Symphonies. I found a lot of his music thoroughly enjoyable, but not as attention-grabbing as some, but I feel better equipped now! Thanks!


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## Roger Knox

CnC Bartok said:


> Roger, I have been reading your comments throughout with a great deal of interest. Much appreciated!
> 
> I think I am going to have a Glazunov blitz at some stage in the near future. A few years back I trawled the second hand sellers on Amazon and the like and collected what I think is all of the Naxos recordings, which did include for me a third or fourth set of the Symphonies. I found a lot of his music thoroughly enjoyable, but not as attention-grabbing as some, but I feel better equipped now! Thanks!


CnC Bartok, many thanks for your comments , which I'm really thankful for! Hope you enjoy your "Glazunov blitz" as much as I have mine. Will look forward to what you have to say about the recordings and works.


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## Roger Knox

Our last work from the list in post #36 is the _Karelian Legend for Orchestra_, op. 99 (1916). It is appropriate for the month of Halloween, as is another Russian work in the legend genre: _Kikimora_, op. 63 (1909) by Anatoly Liadov, which depicts witches. Curiously the _Karelian Legend_ program parallels at the opening that of Glazunov's much earlier _The Sea_; this time it is a young man sitting by the shore of a lake towards sunset. Pines rustle, a cuckoo calls, and … beware if you go further as this is a dark work. The recording and program are here: 





Formally, I think perhaps the program has too much sway over this 22-minute piece. Yet impressionistic touches in orchestration, rhythm (syncopation, 7/4 meter at one point) and harmony (parallelism, unresolved dissonant triads) are notable strengths, belying Glazunov's reputation as a rigid conservative. Recordings are those given above for the _Finnish Fantasy_.


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## Roger Knox

Thank you to everyone who has contributed to this thread! There are quite a few posts that I haven’t replied to yet, but will. Also, please continue to send comments on Glazunov’s orchestral music. Another option as mentioned before is the excellent Glazunov Composer Guestbook.


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## Daland2021

Kreisler jr said:


> The Rozhdestvensky has the typical CCCP sound, rather rough but often exciting. I have 3 discs in older issues and it's good enough for me but some dislike that sound. There is also Svetlanov (I think one cycle from Soviet times and one live from the 1990s).
> 
> Hurwitz trashed most of the Soviet/Russian recordings recently, but that's only him. For "completeness" I got the Serebrier box and it is quite nice although little of it will become my favorite music. It's pleasant music but not much more. I have to admit that I find the violin concerto even more hackneyed than the Tchaikovsky...


Hurwitz's attitude towards Soviet recordings is pretty much biased. I love those Soviet fierce often pompous recordings full of sound and wild rhythms. Each conductor could develop his own sound. Mravinsky, Svetlanov or Golovanov could be easily distinguished.


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## Roger Knox

MusicSybarite said:


> Yes, I do. Järvi/Chandos for _From the Middle Ages_ and Svetlanov/Melodiya for _Scènes de Ballet_.


Thanks, Music Sybarite, for the recommendations! For the symphonic suite _From the Middle Ages_ I listened to Fedoseyev/Moscow RSO. Having studied classical music as presented by western musicology, I know that my image of the middle ages is different than that of Glazunov, who is influenced by the Eastern Orthodox Church and the architecture and chivalric society of medieval Russia. Nevertheless, his work is thoroughly convincing on musical grounds and the Fedoseyev-led recording evokes the aura and feelings of times gone by. For the suite _Scènes de ballet_ the recording I heard is the same as yours. This suite is a lot of fun and carries the sense of _reliability_ I find with Glazunov -- that he will capture the essentials and do at least as well as anyone else with the project he takes on. Of course dance is one of his specialties and I always have time for a Glazunov waltz!


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## Roger Knox

*Glazunov Overtures, Anyone?*

I've just listened to Alexander Glazunov's Overture No. 1 on Three Greek Themes, Op. 3 (1882), a concert overture composed when he was seventeen that sounds like a work of early maturity. My impression is that he never wrote a work that is less than good.

To my knowledge there are four more Glazunov concert overtures demanding immediate attention. If anyone wishes to beat me to the punch, the clock is ticking!


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## Roger Knox

Roger Knox said:


> *Glazunov Overtures, Anyone?*I've just listened to Alexander Glazunov's Overture No. 1 on Three Greek Themes, Op. 3 (1882), a concert overture composed when he was seventeen ... To my knowledge there are four more Glazunov concert overtures demanding immediate attention.


Glazunov also composed an Overture No. 2 on Greek Themes, Op. 6 (1883). Unfortunately the material and working-out is not as strong as in the beautifully harmonized and orchestrated Overture No. 1.

Of his others I particularly like the _Overture solennelle_, Op. 73 (1900). Despite the title this is an exciting work! Carnaval: Overture for large orchestra and organ _ad lib._, Op 45 (1892) is virtuosic and high-spirited, with an effective contrasting central section for organ and strings. Only the Song of Destiny: Dramatic Overture, op. 84 (1908) disappoints. It is uninspired and the repetitive references to the so-called "Fate Knocking at the Door" motif from Beethoven's Fifth make it less than dramatic.


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## Roger Knox

jim prideaux said:


> Now with Serebrier/RSNO and the 5th. ... The 5th was the first piece I heard from Glazunov. I had been aware of his name for years and then it occurred to me that it was about time I gave him a listen so I decided to get hold of this particular recording. That was a while ago now......but I am really enjoying this reacquaintance today!


Jim Prideaux: Rather late with this reply, my apologies! Concerning Glazunov symphonies I commented in post #43 about the innovative form of his wonderful Symphony No. 4. Recently I listened to a Leningrad PO/Mravinsky recording of Glazunov's No. 5 (1895) which, though in the conventional four movements, is innovative too. The first movement takes on the challenging task of using triadic patterns -- broken chords and arpeggios -- and half of a major scale as its material throughout. There are thematic variations, key changes, ingenious counterpoint and orchestration. Still, for me the effect is in the direction of "pattern music," rather than dramatically symphonic process with high-profile melodies and mood contrasts that we associate with late romanticism. It's a pastoral movement, a little plain too for me, restful to be sure. Although completely different in spirit, might Glazunov have been influenced by the monothematic first movement of Rimsky-Korsakov's _Scheherazade_ (1888)?

(cont.'d in next post)


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## Roger Knox

(cont.'d) *Glazunov's Symphony No. 5*

Glazunov No. 5's second movement is yet another of his distinctive scherzos, nimble and delightfully orchestrated. The following slow movement is compelling and memorable. And the finale, at least at Mravinsky's blistering tempo, becomes a whirlwind by the end with the virtuosity of the Leningrad Philharmonic leaving me in total amazement. A terrific work, though I like No. 4 still more.

However I continue to see patronizing comments that Glazunov's music is "pleasant," etc., a sort of weak tea perhaps. Maybe he is best appreciated by people like me who discover his music when they are past age 65 and don't have previous attitudes to overcome.


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## Orfeo

Although I am late to the party (sorry about that), let me also suggest:


To the Memory of a Hero, elegy for orchestra, op. 8 (1885)
Suite Charactéristique
Mazurka in G major
Chopiniana
Romantic Intermezzo
Mazurka Oberek for violin and orchestra
Symphony no. IX
Triumphal March
Also, I would be remiss if I do not mention his incidental music (The King of the Jews and Masquerade).


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## Roger Knox

Orfeo said:


> Although I am late to the party (sorry about that), let me also suggest:
> 
> 
> To the Memory of a Hero, elegy for orchestra, op. 8 (1885)
> Suite Charactéristique
> Mazurka in G major
> Chopiniana
> Romantic Intermezzo
> Mazurka Oberek for violin and orchestra
> Symphony no. IX
> Triumphal March
> Also, I would be remiss if I do not mention his incidental music (The King of the Jews and Masquerade).


No need to apologize. Your interest and thoroughness are a big help especially with less-known compositions, and if there are any you'd like to comment on further, please do.


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