Alexander Glazunov was born in St. Petersburg, Russia, on August 10,
1865. As a boy he studied music privately while attending a technical
high school. At fifteen he became a pupil of Rimsky-Korsakov in harmony,
counterpoint and orchestration. Such was his progress that only one year
later he completed a gifted symphony which was performed in St.
Petersburg in 1882 and acclaimed by several eminent Russian musicians.
Between that year and 1900, Glazunov produced most of the works which
won him renown not only in Russia but throughout the rest of the music
world: symphonies, string quartets, numerous shorter orchestral works,
and compositions in a lighter style. Here he was the traditionalist who
placed reliance on palatable melodies, sound structures, and heartfelt
emotion. For these reasons much of what he has written falls gracefully
into the light-classic category. After 1914 he wrote little, nothing to
add to his stature. Meanwhile he achieved renown first as professor then
as director of the St. Petersburg Conservatory. He also made successful
appearances as conductor following his debut at the Paris Exposition in
1899; his first appearance in the United States took place in Detroit on
November 21, 1929. In 1928, Glazunov left his native land for good, and
from then until his death on March 21, 1936 his home was in Paris.
The _Carnival Overture_, or _Carnaval_, op. 45 (1894) is a brilliant
picture of a festival. It opens with a lively dance melody in violins
and woodwind. This is followed by a more stately melody in woodwind and
violins against a counter-melody in cellos and bassoons. A brief
transition leads to the main body of the overture built out of two basic
ideas. The first is a gay dance tune in flutes and clarinets; the second
provides a measure of contrast through a more reflective subject for
oboes, clarinets, horns, and cellos.
_From the Middle Ages_—a suite for orchestra, op. 79 (1902)—evokes the
settings and backgrounds of the middle ages in four sections. The first
is a “Prelude,” portraying a castle by the sea, the home of two lovers.
Death plays the violin in the second movement, a “Scherzo”; he urges the
people to dance to his abandoned fiddling. In the third part,
“Serenade,” a troubadour sings his tune. The suite ends with “The
Crusaders,” in which soldiers are marching off to war, while priests
chant a solemn blessing.
The original title of _Ouverture solennelle_, op. 73 (1901) was
_Festival Overture_; the music throughout has a festive character. After
preliminary chords, woodwind and horns present a subject soon taken over
and amplified by the strings. The main part of the overture begins with
an expressive and soulful melody for the violins. The second theme is
first given by the clarinets against a vigorous accompaniment. After the
first theme receives elaboration, the overture concludes with a forceful
coda.
The orchestral suite _Raymonda_, op. 57a, comes from the score to a
ballet with choreography by Marius Petipa; it was introduced in St.
Petersburg on January 17, 1898. The composer’s first work for the stage,
this ballet has for its central character the lovely Raymonda, betrothed
to a knight. After the knight has gone off to join the Crusade and fight
the Saracens, Raymonda is wooed by a Saracen. When she rejects him he
makes an attempt to abduct her. Just then the knight returns, and slays
the culprit. The lovers thus reunited, are now able to celebrate their
nuptials.
The orchestral suite is a staple in the light-classical repertory. It
consists of the following sections: I. “Introduction.” Raymonda’s sorrow
at the absence of her lover. A scene in Raymonda’s castle where pages
indulge in athletics. II. “_La Traditrice._” The dance of pages and
maidens. III. “_Moderato._” Fanfares announce the arrival of a stranger.
Joy and general animation. As Raymonda enters, girls throw flowers in
her path. IV. “_Andante._” Raymonda is playing the lute outside the
castle in the moonlight. Raymonda dances. VI. “Entr’acte; _Valse
fantastique_.” Raymonda dreams she is in fairyland with her beloved.
VII. “_Grand Pas d’action._” At a feast given by Raymonda at her castle
the Saracen appears, woos her, and is spurned. VIII. “Variation.”
Raymonda defies the Saracen, who now tries to dazzle her with his
wealth. IX. “Dance of the Arab Boys.” “Dance of the Saracens.” X.
“Entr’acte.” The triumph of love and the festivities attending the
nuptials.
_Scènes de ballet_, suite for orchestra, op. 52 (1894) is made up of
eight parts. The first, “_Préamble_,” has an extended introduction to a
main section in which the main subject is given by the violins.
“Marionettes,” offers a lively theme for piccolo and glockenspiel with
which this section opens and closes; midway comes a trio with main theme
in first violins. The third part is a “Mazurka” for full orchestra. The
fourth is a “Scherzo,” its principal idea in muted strings and woodwind.
An expressive melody for cellos and violins is the heart of the fifth
section, “_Pas d’action_,” while the sixth, “_Dame orientale_” is a
sensuous, exotic dance melody set against the insistent beats of a
tambourine. The ensuing “_Valse_” begins with an introduction following
which the main waltz melody is presented by the violins. The suite
concludes with a dashing “Polonaise” for full orchestra.
The orchestral suite, _The Seasons_, op. 67—like that of
_Raymonda_—comes from a ballet score. The ballet—choreography by Marius
Petipa—was first performed in St. Petersburg in 1900. The scenario
interprets the four seasons of the year in four scenes and an
apotheosis. First comes Winter and her two gnomes; they burn a bundle of
faggots, whose heat causes Winter to disappear. Spring now arrives with
Zephyr, Birds and Flowers. All of them join in a joyous dance. When
Summer comes he is in the company of the Spirit of the Corn. Various
flowers perform a dance, then fall exhausted on the ground. Satyrs and
fauns, playing on pipes, try to recapture the Spirit of the Corn who is
protected by the flowers. In the Autumn scene, Bacchantes perform a
dance in the company of the Seasons. The Apotheosis presents an idyllic
scene with stars shining brightly in the sky.
The orchestral suite adapted from the ballet score by the composer for
concert purposes is one of his best known compositions. It consists of
the following sections: I. “Winter: Introduction; The Frost; The Ice;
The Hail; The Snow.” II. “Spring.” III. “Summer: Waltz of the
Cornflowers and Poppies; Barcarolle; Variation; Coda.” IV. “Autumn:
Bacchanale—Petit Adagio. Finale—The Bacchantes and Apotheosis.”
The _Valse de concert_ Nos. 1 and 2, D major and F major respectively,
opp. 47 and 51, are among the composer’s most delightful shorter pieces.
The first waltz, written in 1893, begins with a brief introduction after
which the principal waltz melody is heard first in violas and clarinets,
and subsequently in violins. A second theme is then offered by the
clarinets against plucked strings, after which the first waltz
reappears. The second waltz came one year after the first. This also has
a short introduction in which the main waltz melody is suggested. This
melody is finally given by the strings. While other thematic material
occasionally intrudes, the main waltz subject dominates the entire
composition.