Glazunov is a wonderful composer whose many works are regularly performed world-wide. Why does CYS play very little Glazunov? The answer to this question has many facets. For one thing, most of the 8 symphonies by Glazunov (which are his most important works) are not scored for very large percussion sections, and as we have come to learn in these Conductor’s Corner segments, a busy CYS percussion section is a happy CYS percussion section. Furthermore, many of the Glazunov symphonies are extremely difficult works that require a lot of rehearsal time. Lastly, most of his works are not very well-known in this country, although many are perennial favorites in Russia. However, having said this, it is my intention to introduce more of this composer’s output to the CYS community in upcoming seasons.
Alexander Glazunov
(1865 - 1936)
Glazunov was “born in the middle”, so to speak. He was born a generation later than the initial great Russian composers such as Tchaikovsky and Rimsky-Korsakov, and was born a generation before the modernist revolutionaries such as Stravinsky, Prokofiev, and Shostakovich. As such, he was destined to occupy a rather difficult position in Russian music history. He could carry on the traditions of Tchaikovsky and Rimsky-Korsakov, or he could adapt and move forward into the 20th century along with Stravinsky and Prokofiev. Essentially conservative, he chose the former. Similar to Rachmaninov, he lived well into the 20th century, yet composed music that belonged more to the previous century. This in no way diminishes his importance or genius, but it does shed light on his views and his criticisms of his contemporaries. On the subject of Stravinsky, for instance, Glazunov’s terse comment was “no talent, only dissonance”. Commenting on Debussy’s Afternoon of a Faun, Glazunov fumed, “It is orchestrated with great taste…and he knows his work….could it be that Rimsky and I influenced the orchestration of all these contemporary degenerates?”
COMMENTARY
Concerto for Violin and Orchestra
in A minor, Op. 82
Stravinsky--NOT a favorite of Glazunov!
Whatever his personal views on contemporary music, one thing that is universally recognized is the fact that Glazunov was a caring teacher and one who looked after the interests of his students to a very large degree. As Director of the St. Petersburg Conservatory he had immense influence, and he used this influence to tirelessly work for the betterment of his students and the institution.
Glazunov was also born of the generation that lived in both Tsarist times and through the Revolution of 1917 into the Stalinist era. As such he had to cautiously navigate through relatively difficult political waters. Unlike Rachmaninov, Prokofiev, and Stravinksy, who all left Russia at about the same time when the Revolution tore the country apart, Glazunov remained in the country and did his best to continue his work. Eventually he left the Soviet Union in 1928, after attacks on his directorship of the Conservatory. He traveled in Europe and the United States, finally settling in Paris until his death.
Leo Eylar