GLAZUNOV’S
G6 fT Vsmon? Waste some Russian poet”
ope esa ake ope reo
RTioe ar cacnadal dh are ears eal
Ino dagrveher ell Ata laeoe 8651936)
Seve Mee tos scandy eee penned er
willed ti ab. Oncor egg inedal soins:
Chest heetap the ooneT Rae fee aoc
e that Liszt made many such pronouncements
tha See ere ea seoroma lemag
Eeins la of dah ney er a hee
pa DDC ig has ad gehape he lal sion of
Pee an Wt leach Guamne
TMT pe eae See Fea
Tia alee aces of eta arate ore oe
Ss correo ks asses ASAE) Tene
played or listened to in our international concert halls?
ai tat eie ners atiertdecabiae weren Duta
Ea cGhanr ay Mean te econ ore
Pre ae aegealttc une sete
ae ly Si
a hae ee
Re yeaner peered and waked
Sees OG ii og uss of ts epoes
portance while lmultancoudy writing se
area at pause al SG
Ey eee a et a
we (eee
whit dt ede actual cee
tend to,
musica! i
cosmopolitan worldview was hardly surprising
considesinglisprivileged upbringing. Glazunoy, asa child
blessed with a noble Bloodiine, was exposed early to
allof the benefits and itellctal wealth that Europe had
tooffe. By the age of seventeen he had already composed
Is first symphony and string qutetel By Wwentyfour he
‘asa professorat he finous St Petersburg Conservatory.
Free of any financial fetes, his early years were a gi
to the word of ms od that
prorced symphonies, ballets, quartets, conaert, and a
Rost sialler work
‘Atonte point a stiong musica reactionary, his devotion
tothenylesand mannerafthenineteenth century seeped
ino his musical perspective losing him to frm a teal
fesistance to the persuasive uends of the day. But every
Signifcant moment in musical history has seen these same
reactions proand eon, with both sdesofthe debate aways
inundated with innovative, highly skilled composers, That
Glaruinoe was a traditonaiiat there can eo doubt But
to more a0 ian Bralims, another reactionary embracing
Conservatisn (rat lest model oft) And iis equally
certain that Glazunor's view of "Russaneness” wat one
that incorporated a wide variety ofinternationalist Aavors,
nnybe even morethan the arelv heretic Stravinsky. His ast
eats, spent in Pars that head known and loved, ut one
that had charged froma cross-century “corfortableness™
tova mmsical environs dominated by the aforementioned
SAXOPHONE CONCERTO
fecling more respected than admired. And peshaps i
was—and still Glazunov is not in the
3 though he can hold his ow
‘Mighty Five"), but few are; yet that doesn’t mean that
they should be written off altogether. How many’elassical
a composers were in the same league a6 Mozart?
None, T would venture. Yet Glaauno dil leave a large
largely untapped body of beautfal work ua dhe world is
surely poorer for fit continues to ignore i
sophie Concerto is one of Glazunon’s last—
nd bestworks, an ineredibly eoncentmated score fll of
Suepesing tists an turns, The ever page says Usa the
work i by "A. Glaunov et. Peto ati
euablished
afthis work, though some people
sion tat he i fet composed the entire fi
reat Sigurd Rascher, the dr
germination of Use ple
though the work ein one mover
thee udeperdent parts, allowing the
‘model: But even ths only hints athe ses foun i this
dnusie Its in facta “metamorphosis” [aguin, Raschers
‘words with the Mest movement nelly transformed almost
Jit the lst
“The bron
‘allego.
force behind the
sdvcatce—cxplaine
ipostesses
ant inthe stsophone’s exposition that
n further in the seeond statement of this
ial “theme.” Glrunov tricks ws fat thinking that we
tre beating a genuine sonatarform structure when fn
realy we ate presented with an expostion, ad we two
part melodie datements that have the second half of exch
ving as nxified development of the fst half, There
ino real development ae suc inthis section, making the
term “concert somewhat ofan aectation. Tee uch
mote sophisticated than a normal concert,
"The secon section iitaes the. first with an
introduction that snot only a yarant of he introduction
Iutalsoatransition tothe frst theme of
5, butthe sect
is more flowing and rhapsodie in style, though Glazunov
‘will develop these motives later on ina very subtle manner.
At the end of this section there is an extended cadenza.
Glazunov again tips his hat to the concerto form while
using itin a different manner for his own purposes. Atthe
end ofthe cadenza, a fourteen-measuve transition appears
that steals its theme from the bass accompaniment of
the second half of the second theme in section I! The
terally draws his ideas from the smallest of musical
Section Ifthe infamous fughetta— because form
enn it was imagined that Gann lef off work here
Ceplodes its iit statement so thatthe composer has ws
{inking wearin forsome kind of enormous gal episode
But his ral motive isto familiarize us with the insistent
tripled twelveseight meter that he wil ingeniously
‘net pt twos aginst threes in a very Brahmin tops)
turvy shythmical bacchatal. Glunov again inate the
fist movement's Ava Bb structure, enc theme being &
ton its corresponding theme inthe frst section
ing ito an exterded coda that recapitulates many of
the matives ina shifting cornucopia of melodic invention,
is workisa lid dynamically integrated
constitute a unified whole and proves thal
Glezunov, forall of his sad traditionalism tll da very
creative ay oflooking at things, even near the end of hs
ie
Mo 4132fo Mr. Sigurd M, Rascher
CONCERTO
SAXOPHONE
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ORCHESTRA
ALEXANDER
GLAZUNOV
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MMO 4182KALMUS ORCHESTRA LIBRARY
GLAZUNOV
SAXOPHONE CONCERTO
IN E FLAT
OP. 109
A 5405
NEW YORK, N.Y.CONCERTO
EN MI>
pour Saxophone Alto et Orchestre 4 cordes
ALEXANDRE GLAZOUNOV
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