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 4132fo Mr. Sigurd M, Rascher CONCERTO SAXOPHONE $ TR ‘ N 6 ORCHESTRA ALEXANDER GLAZUNOV \om oP 109 Allegro mod's as deo2 > a Wn a Phe Thai. SSS = [ppateerette sehers, d=tts MMO 4132[B]poco pti: mosso J=120 A ipfipis tetas iG, pe Eel SSS ee F cS (oe Vivo, Pfeil iP elsipint.,1,.,____ =~ TF sncalzando im icome vet er ral, poco [ff] Andante 4-69 calando Andante sost. ‘dca MMO 4132Pla mosso Autte J=98 en el Fespress aie ‘P simplice en 5 (MB Asttate poco = —— Se _ Lee Passionate 7" pdante sost. Zo = <= ses Syste £235 FE Sf =— Tel Se ee Ferenc. 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