I don't think that Glazunov has quite managed his own thread here yet, which is perhaps surprising as most of his music is still criminally unsung. I'm just listening to the complete Naxos recording of Raymonda (1898) and thoroughly enjoying it - even the supposedly-weak third act!
Never less than entertaining, and sometimes much more, Glazunov's scores deserve more consistent exposure: I also have the Brilliant box set of symphonies cobbled from Chandos and BIS recordings, Ashkenazy's The Seasons, an excellent Chandos Jarvi disc (Stenka Razin, The Sea, Spring and From the Middle Ages) and separate downloaded items from other volumes in the Naxos series:
The Forest, Op.19 (1887)
Wedding March, Op.21 (1889)
Une fete slave, Op.26a (1888)
Oriental Rhapsody, Op.29 (1889)
The Kremlin, Op.30 (1890)
Triumphal March, Op.40 (1892)
Carnaval Overture, Op.45 (1892)
Cortege Solonnel, Op.50 (1894)
From Darkness to Light, Op.53 (1894)
Chant du Menestrel, Op.71 (1900)
Overture Solonnelle, Op.73 (1900)
Ballade, Op.78 (1902)
Le Chant du Destin, Op.84 (1908)
Finnish Fantasy, Op.88 (1909)
Finnish Sketches, Op.89 (1912)
Cortege Solonnel, Op.91 (1910)
Karelian Legend, Op.99 (1916)
Is his music popular amongst other members of the forum and has anybody heard Serebrier's new double-disc set of the concertos yet - is it up to the exceptionally high standard of his RNSO symphony cycle? I'm hoping that a box-set will be in the offing before too long! :)
I'm sure Glazunov would be disappointed if you did not augment that collection with the addition of the 4 Hyperion Helios volumes of Stephen Coombs and the piano music, and the 3 MDG discs of the Utrecht String Quartet with the string quartets and other music for string quartet. All as rewarding as the orchestral music - and maybe the neighbours would appreciate it!
Thanks, Peter - these could well be up for consideration at some point. Even when patently boiling the pot (as in the Triumphal March, Op.40) Glazunov never fails to tickle the ear with suave turns of melody or glittering orchestration (occasionally coming up with something quite startling, such as the proto-minimalist tintinnabulations of In the Cloisters from The Kremlin, Op.30). Perhaps he was one of those many composers whose abundant and forbidding productivity has ultimately contributed to the present concentration on just a few works.
It's remarkable that, given his exceptional melodic gifts, Glazunov did not write an opera - but his choral music is worth hearing, especially the two cantatas in the Brilliant box. :)
The Serebrier concertos set is excellent - but I haven't had the time to make any comparisons yet. However, it's such an inexpensive way of getting these works (I used it get hold of the cello/saxophone/horn pieces I didn't have), that I'd recommend it anyway.
Here are some excerpts if they might help persuade you:
http://www.jpc.de/jpcng/classic/detail/-/art/Alexander-Glasunow-Violinkonzert-op-82/hnum/4970346 (http://www.jpc.de/jpcng/classic/detail/-/art/Alexander-Glasunow-Violinkonzert-op-82/hnum/4970346)
I reply to the first question by Albion. I like Glazunov and, maybe also for chronological reasons, I have even more Glazunov's Cd than him: even the ballet oddly titled "Lady Soubrette" by Svetlanov (however I haven't the Serebrier records).
Of course in actual concert life, scant place for Glazunov. I have attended (in decades) : three performances of the Violin Concerto (between the soloists Hahn and Kavakos, between the conductors Svetlanov and Bychkov); one performance
of the fifth Symphony (cond. Barshai); one suite from Raymonda (cond.Lazarev), one encore from Raymonda (Svetlanov).
As far as recordings are concerned, in the LP era to find Glazunov -except a few titles- was difficult (few western recordings, aleatory availability of USSR recordings).
Much better times for Glazunov in the CD era.
As a Glazunov fanatic who has sampled almost all the symphonies-set out there let me (once again) point out the criminally overlooked and unsung (Symphonies 1-8) set - Neeme Järvi & Bamberg Symphony Orchestra. He makes a compelling case for each and every symphony. I do wish this set was reviewed somewhere!!!
As with most Russian composers, I've collected quite a lot of Glazunov over the years. My preference has always been recordings on vinyl, and I've always liked the recordings by Russian orchestras and conductors, mostly on the old Melodiya label. But I managed to gather up a pile of CDs as well.
Glazunov wrote some good music for cello and orchestra, the Concerto Ballata Op. 108 and the Chant du Minestrel Op. 71. Both are available in numerous recordings. I tend to prefer Rostropovich.
Of the two Piano Concertos, I like the 2nd best. Although I've picked up recordings on CD, I prefer Alexeyev with the Moscow Radio & TV Symphony conducted by Nikolaevsky on vinyl. I don't really like the performance of Coombs much.
The Violin Concerto has received many recordings by top violinists and orchestras, and most of them are very good. This also gets performed in concert more than any other Glazunov work.
Of course, the 5th Symphony has been the most popular over the years. The barn-burner final movement is irresistibly exciting. I have countless recordings, but I admit that my favorite performance is by Lazarev with the Radio Filharmonisch Orkest - a live performance got from radio broadcast. I'm not sure whether it was ever released commercially. Other than that, I tend to only play the recordings I have on Russian vinyl by Rozhdestvensky, Ivanov and Fedoseyev. I find Anissimov's performance on Naxos a bit tepid.
I've not yet heard the entire Serebrier set of recordings, only the 8th with the Raymonda Suite. I keep waiting for the entire set to be released as a box.
Quote from: FBerwald on Sunday 13 March 2011, 15:36
As a Glazunov fanatic who has sampled almost all the symphonies-set out there let me (once again) point out the criminally overlooked and unsung (Symphonies 1-8) set - Neeme Järvi & Bamberg Symphony Orchestra. He makes a compelling case for each and every symphony. I do wish this set was reviewed somewhere!!!
As a fellow Glazunov fanatic, I too appreciate the Jarvi set, but I have to say I didn't appreciate Orfeo's pricing! 20 years ago when they came out, who could resist them? But they were and still are very expensive compared to the Naxos set, and especially to the Bis box with the complete symphonies. Jarvi certainly whips up the excitement, and doesn't over-interpret the music, and the Bamberg orchestra does just fine. But when it comes down to it, Rozsdestvensky on Olympia still holds top honors for me. He gets a more visceral response from his excellent Russian forces, wobbly horns and all. The sound is a but fierce at times, but I can listen through that. The Serebrier's are easily second best, and for collectors now, the way to go since the Olympias are no longer available. I should also like to add that Walter Weller's recording of 4 & 5 is extremely fine and well worth seeking out.
I don't think anyone has mentioned Pristine Audio's new reissue of the Elena Glazunov performances of the 2 piano concertos, very favorably reviewed by Rob Barnett on another site (with a link to the company for ordering & audio samples)
http://www.musicweb-international.com/classrev/2011/Feb11/glazunov_PCs_pasc249.htm (http://www.musicweb-international.com/classrev/2011/Feb11/glazunov_PCs_pasc249.htm)
Mme. Gavrilova-Glazunova-Tarnowsky-Gunther was adopted by Alexander Konstantinovich after he married her mother in 1929. Somewhat confusingly, Elena had given the Paris premiere of the 2nd concerto under Glazunov's baton the previous year. The recordings were made, I believe, in 1956. Alois Melichar conducts the Hamburg Philharmonic.
The pianist's close connection with Glazunov makes these a must hear, although whether you feel you must own them is another question. Mme. Glazunova was still playing well in the 50s, her tempos are generally slow, but passagework is clear and often sparkling. She takes the Big Tune at 1:36 in No.1 as a real wallow, but then I grew up on John Ogdon's brisk way with this somewhat episodic movement and prefer less indulgence.
Incidently, all info about Elena on the internet seems to be copied from the same Wikipedia article, which gives birth and death dates for her 2nd husband (!) but not for the pianist herself. Does anyone know her dates?
David
Dear friends, I like to buy the complete symphonies. Which set do you recommend (I'm not interested in the price, but in the quality).
Unhesitatingly, Serebrier on Warner - just available as single discs at the moment although there is a strong chance that they will be boxed up at some point:
(http://i.prs.to/t_200/warnerclassics2564689042.jpg)(http://i.prs.to/t_200/warnerclassics2564696270.jpg)(http://i.prs.to/t_200/warnerclassics2564632362.jpg)
(http://i.prs.to/t_200/warnerclassics2564619392.jpg)(http://i.prs.to/t_200/warnerclassics2564614342.jpg)
Simply the most exciting, sympathetic and beautifully played recordings around (IMHO)! ;D
Definitely Serebrier, Peter!
Thanks very much, Albion and Alan. I will not wait for a box set... I simply can't.
You won't go wrong with Serebrier, Peter. But my view - simple as it is - is that you also won't go wrong with Jarvi, Polyansky, Rozhdestvensky (cf mbhaub's interesting post above), or a complete set that so far hasn't been mentioned - the BBC National Orchestra of Wales / Tadaaki Otaka on BIS. (The latter has given me just as much pleasure as any of the others).
So if only for the sake of defending the reputation of Jarvi and all the others, don't think the difference between Serebrier and the others is the difference between the perfect and the very good. None of these recorded performances match up to Glazunov in the concert hall - 'spectacle' is I think one ingredient of Glazunov, and there's no sight quite like that of an orchestra in full flight and playing their hearts out!
And no desire to introduce a heresy into this thread. Glazunov is very exciting and often lovely yes - but I don't find him ultimately satisfying. Not as satisfying (and challenging to both mind and ear) as another Russian composer born 16 years after Glazunov, and who outlived him by 14 years - but that's another story!
... I think you mean Myaskovsky though to my mind (and I'm a fan) he's sort of Polish-Russian-Soviet in a way. Mostly Russian, though, and maybe you mean Medtner- my mind for dates is mush this afternoon (1881-1950 vs. 1880-1951 is an invitation to have a reference right by you... yipe!) but- anyways.
It took me a long time to give Glazunov a fair listen. I despised the drunkard for screwing up the premier of Rachmaninoff's first symphony. Although Rachmaninoff did well enough in the end, how different it might have been if that premier had gone well.
My opinion of him was also influenced by Glazunov's antagonism towards Myaskovsky, Stravinsky and Prokofiev, and their reciprocal dislike for him.
Once I got past those issues and just listened to the music without the baggage, I found enough to enjoy. Personally, I prefer Rozhdestvensky's recordings as a complete set.
One set of the symphonies that I don't really recommend is Svetlanov's, which is typically variable in quality. That said, Svetlanov did manage to record pretty much all of the orchestral poems, serenades, ballets, etc over a period of 30 years. All those were pulled together into a 6-CD box set, which is certainly a convenient way to obtain all those works, while getting the symphonies elsewhere.
Just got home from a business trip, found my ordered Glazunov symphonies double disc (Serebrier), and am very much enjoying listening to these wonderful works (warmly recommended).
I have a very trivial (stupid) question which has nothing to do with Glazunov. Why is the order of the symphonies on disc 1 nos. 3 & 9 and disc 2 nos. 2 & 1? Why not disc 1 nos. 1 & 2 and disc 2 nos. 3 & 9? I know, there are a lot of other similar examples. What could be the reason behind this?
Peter, I know exactly what you mean - if possible I also prefer disc programmes to be arranged chronologically or numerically. 3-9-2-1 seems more than usually random!
Hopefully Warner will sort it out when they release the entire cycle in a lovely boxed set. ;)
One might imagine there's an "artistic" reason. Someone considers it a better listen. After all, the works were written years apart and with no intention of being listened to together....so theoretically it shouldn't matter all that much.
I have myself ripped some symphony cycles and listened to them in order when they weren't on CD, though. It is enjoyable to listen to the progression.
....incidently, Beethoven's 5th and 6th were premiered at the same concert, and the 6th was played first.
Quote from: Amphissa on Monday 14 March 2011, 19:34
One set of the symphonies that I don't really recommend is Svetlanov's, which is typically variable in quality. That said, Svetlanov did manage to record pretty much all of the orchestral poems, serenades, ballets, etc over a period of 30 years. All those were pulled together into a 6-CD box set, which is certainly a convenient way to obtain all those works, while getting the symphonies elsewhere.
I wasn't too keen on Svetlanov either, having known the 4th on a Vox cd. But, Berkshire Record Outlet currently offers the Glazunov set at a smashing discount over the regular price, so what the heck! Although another Glazunov set is the last thing I need, I got it and I'm not disappointed. The sound is typical Melodiya - somehwat muddled, but not objectionable. The extremely fast fade outs at the end of tracks is most annoying. The orchestral sound very Russian (I like that) the conducting typical Svetlanov - tending to be bombastic in the codas, which are often hard driven. Otherwise, he gives Glazunov room to breathe and it's almost gracious. He offers an approach that perhaps is fairly authentic, if that means anything for Glazunov.
I still thing the sets to own, in order of overall quality are: Warner Serebrier, Orfeo Jarvi, Olympia (Melodiya) Rozsdestvensky, Naxos Anissinov, Bis Otaka, then Svetlanov on Warner. Mind you, none of them is bad. If you could only have one Glazunov set, any of these would be fine. I can't include the Chandos because it's incomplete. And one recording that is must: the 4th on Urania with the Kansas City Philharmonic and Hans Schweiger.
BTW, who else besides Serebrier has recorded the unfinished 9th? It's an interesting, serene movement.
there was a Melodiya/Olympia recording, I believe? Or just Olympia? Kitaenko conducting, coupled with Lvov's violin concerto. (I need to check better reference sources than the ones I just did to refresh my memory. I've heard it on the radio once I believe...)
I own an Olympia of Melodiya source. OCD 147
It is labelled "A Russian concerto no 2."
Contents:
-Glazunov Symphony n.9 unfinished (Leningrad Philh. cond. one G.Yudin) 10' 24"
-Lvov Violin Concerto (S.Stadler viol., Lenigrad Phil.cond by V.Chernushenko) 19' 19"
-Kabalewsky Musical sketches to Romeo and Juliet (Moscow Symph.Orch. cond. Dmitri Kitaenko) 34' 57"
The unfinished 9th is also, if I remeber well, on Naxos.
The 9th is on one of the Naxos discs too.
[urlhttp://sdtom.wordpress.com/2011/04/26/glazunov-symphony-no-1-in-e-major-op-5-slavyanskaya/][/url]
I found the fourth movement from Svetlanov superior to the Naxos recording and not muddy at all if anything a bit bright. Having said that I really enjoy Glazunov's first effort. Impressed when you consider he was but a teenage boy.
Tom :)
As I recall, Liszt was mightily impressed with it as well.
Quote from: JimL on Friday 29 April 2011, 00:00
As I recall, Liszt was mightily impressed with it as well.
As the man who began his publishing career with the work Belyayev. I for one give Glazunov a (*) for coming to the aid of Rimsky-Korsakov in the early 20th Century. He did bungle Rachmaninoff however and wasn't particularly forward thinking.
Tom
Quote from: eschiss1 on Friday 15 April 2011, 07:54
there was a Melodiya/Olympia recording, I believe? Or just Olympia? Kitaenko conducting, coupled with Lvov's violin concerto. (I need to check better reference sources than the ones I just did to refresh my memory. I've heard it on the radio once I believe...)
I just discovered that I have a Melodiya recording of Glazunov's 1st Symphony with the USSR Radio and TV Large Symphony Orchestra/Fedoseyev. It is part of a Vox Box CDX 5118. I'll revise my review and include it.
that's ok, I was talking about the 9th anyway ;):^)
http://sdtom.wordpress.com/2011/04/26/glazunov-symphony-no-1-in-e-major-op-5-slavyanskaya/
I added my opinion on the recording from the Vox Box.
Does anyone know if the Svetlanov recording of Stenka Razin in the Vox Box and the Warner Glazunov Box are the same?
Tom
Some may be interested to know that Rachmaninov transcribed Glazunov's Sixth Symphony for piano, 4 hands - so it's a case of 'DO try this at home'. It's a splendid piece and the last movement seems like a kind of riposte to Saint-Saens's Third Symphony but without the organ. I was very glad to get the Serebrier version and find that the speeds worked so well: some people do funny things with this finale and Rozhdestvensky managed to make it take almost 3 minutes longer than most others.
Yes, that does sound interesting Francis Pott, thanks for that! I wonder, has that version been recorded? Time for a dig about on the internet, methinks!..
Edit - that didn't take long - see Amazon and search for Two-Piano-Arrangements-Russian-Music!
Quote from: Francis Pott on Saturday 07 May 2011, 19:18
Some may be interested to know that Rachmaninov transcribed Glazunov's Sixth Symphony for piano, 4 hands -
Available on a very good recording on BIS along with Rach's own transcription of his The Rock, as well as someone named Conus's transcription of Scriabin's Poem of Ecstasy.
I think that's the same Julius Conus (or Konus) who composed a Violin Concerto that still pops up from time to time. Heifetz recorded it a ways back.
Him or his brother Georgi Conus, I'd think... nope- Lev Konius (Conus) (1871-1944). IMSLP has the transcription here (http://imslp.org/wiki/Symphony_No.4,_%27Po%C3%A8me_de_l%27Extase%27,_Op.54_(Scriabin,_Alexander)) (apologies for diacritics - search under Konius or Scriabin if that doesn't work). . Lev was also Jules' brother (Jules had two brothers). (Apparently Lev was the dedicatee of Medtner's Theme with Variations, Op.55, by the way.)
http://sdtom.wordpress.com/2011/05/12/overture-no-1-on-three-greek-themes-op-3glazunov/
I've found myself wanting to go through the entire series of recordings of Glazunov. This one dates to his teenage years.
Tom
[urlhttp://sdtom.wordpress.com/2011/06/16/five-novelettes-op-15-alexander-glazunov-1865-1936/][/url]
a nice chamber work that is seldom performed.
Tom
I believe it was in late 1929, the period when Gershwin had a commission to write something for the BSO's 50th anniversary, that he met Glazunov on tour and asked if he could return to Russia with him to study. Already the composer of An American in Paris, Gershwin was clearly a keen student of orchestral style, and the fact that he would at that point in his career view Glazunov as a potential mentor speaks volumes about his regard for Glazunov's compositional and technical mastery of the orchestra.
I too am very fond of the music of Glazunov. I think part of the problem with his music and its popularity, is that it requires really first rate performers, including soloists and conductors and more often than not, this is lacking. The piano concertos are just an example.
As for box sets / complete cycles of the Symphonies, you can't do better the Fedoseyev set! Nos. 1, 2 and 4 were released on Vox a while ago, but the complete cycle is now available (Venezia CDVE04383 - four CDs). It is a Russian Import, but I was able to buy my copy from HMV Japan at a great price. The transfers are superb! Check the link:
http://www.hmv.co.jp/en/search/index.asp?keyword=glazunov+fedoseyev&site=&target=SEARCH&type=sr
BTW, the Relief label also issued Fedoseyev's cycle this year, but their transfer is a quarter-tone flat, occasionally distorted and sounds terrible.