1933 ALS Composer GLAZUNOV Russian HAND SIGNED AUTOGRAPH LETTER + PHOTO + MAT

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Seller: Top-Rated Seller judaica-bookstore ✉️ (2,805) 100%, Location: TEL AVIV, IL, Ships to: WORLDWIDE, Item: 285768204973 1933 ALS Composer GLAZUNOV Russian HAND SIGNED AUTOGRAPH LETTER + PHOTO + MAT.     DESCRIPTION Up for sale is a vintage BEAUTIFULY HAND WR ITTEN & SIGNED AUTOGRAPHED LETTER  ( ALS )   of the Russian composer ALEXANDER ( Aleksander ) GLAZUNOV  which is beautifuly and professionaly matted beneath his reproduc tion photo   Glazunov wrote in RUSSIAN with a fountain pen a HAND WRITTEN personal letter fully dated 1933 a nd HAND Signed "A .Glazunov". The original HAND WRITTEN & SIGNED LETTER is folded at the rear face of the mat to fit the MAT. GLAZUNOV's AUTOGRAPH and the reprodu ction PHOTO are nicely matted together , Suitable for immediate framing or display . ( An image of a suggested framing is presented - The frame is not a part of this sale  - An excellent framing - Buyer's choice is possible for extra $80 ).   The buyer can easily remove the folded letter off the mat if he wishes to.  The size of the mat is around 12.0 x 7.5 " . The size of the reproduction photo is around  7 x 5  " . The size of the exposed part of the original autographed letter ( ALS ) is around  5.0 x 2.0 " . Very good condition of the Autographed letter ( Folded ) , The reproduction photo and the decorative mat . ( Pls look at scan for accurate AS IS images )  Authenticity guaranteed.  Will be sent inside a protective rigid packaging .   PAYMENTS : Payment method accepted : Paypal & All credit cards. SHIPPMENT :SHIPP worldwide via registered airmail is FREE only with a BUY IT NOW purchase. Otherwise , Best offers - $ 39  . Will be sent inside a protective packaging. Handling around 5-10 days after payment.  Alexander Konstantinovich Glazunov[a] (Russian: Алекса́ндр Константи́нович Глазуно́в, 10 August[b] 1865 – 21 March 1936) was a Russian composer, music teacher, and conductor of the late Russian Romantic period. He served as director of the Saint Petersburg Conservatory between 1905 and 1928 and was instrumental in the reorganization of the institute into the Petrograd Conservatory, then the Leningrad Conservatory, following the Bolshevik Revolution. He continued heading the Conservatory until 1930, though he had left the Soviet Union in 1928 and did not return.[1] The best-known student under his tenure during the early Soviet years was Dmitri Shostakovich. Glazunov was significant in that he successfully reconciled nationalism and cosmopolitanism in Russian music. While he was the direct successor to Balakirev's nationalism, he tended more towards Borodin's epic grandeur while absorbing a number of other influences. These included Rimsky-Korsakov's orchestral virtuosity, Tchaikovsky's lyricism and Taneyev's contrapuntal skill. Younger composers such as Prokofiev and Shostakovich eventually considered his music old-fashioned, while also admitting he remained a composer with an imposing reputation, and a stabilizing influence in a time of transition and turmoil.[2] Contents 1 Biography 1.1 Prodigy 1.2 Mentored by Belyayev 1.3 Fame 1.4 Conductor 1.5 Conservatory 1.6 Emigration 1.7 Married life 1.8 Death 2 Works and influence 2.1 Phenomenal memory 2.2 Compositions 2.3 Glazunov and Stravinsky 2.4 Glazunov and modernism 2.5 Glazunov and Shostakovich 3 Notes 4 References 5 Sources 6 External links Biography[edit] Prodigy[edit] Glazunov was born in Saint Petersburg, the son of a wealthy publisher. He began studying piano at the age of nine and began composing at 11. Mily Balakirev, former leader of the nationalist group "The Five", recognized Glazunov's talent and brought his work to the attention of Nikolai Rimsky-Korsakov. "Casually Balakirev once brought me the composition of a fourteen- or fifteen-year-old high-school student, Alexander Glazunov", Rimsky-Korsakov remembered. "It was an orchestral score written in childish fashion. The boy's talent was indubitably clear."[3] Balakirev introduced him to Rimsky-Korsakov shortly afterwards, in December 1879. Rimsky-Korsakov premiered this work in 1882, when Glazunov was 16. Borodin and Stasov, among others, lavishly praised both the work and its composer.[citation needed] Rimsky-Korsakov taught Glazunov as a private student.[4] "His musical development progressed not by the day, but literally by the hour", Rimsky-Korsakov wrote.[4] The nature of their relationship also changed. By the spring of 1881, Rimsky-Korsakov considered Glazunov more of a junior colleague than a student.[5] While part of this development may have been from Rimsky-Korsakov's need to find a spiritual replacement for Modest Mussorgsky, who had died that March, it may have also been from observing his progress on the first of Glazunov's eight completed symphonies[5] (he left a ninth unfinished at his death).[citation needed] Mentored by Belyayev[edit] Portrait of Mitrofan Belyayev by Ilya Repin (1886) More important than this praise was that among the work's admirers was a wealthy timber merchant and amateur musician, Mitrofan Belyayev. Belyayev was introduced to Glazunov's music by Anatoly Lyadov[6] and would take a keen interest in the teenager's musical future,[7] then extend that interest to an entire group of nationalist composers.[6] Belyayev took Glazunov on a trip to Western Europe in 1884. Glazunov met Liszt in Weimar, where Glazunov's First Symphony was performed.[1] Also in 1884, Belyayev rented out a hall and hired an orchestra to play Glazunov's First Symphony plus an orchestral suite Glazunov had just composed.[8] Buoyed by the success of the rehearsal, Belyayev decided the following season to give a public concert of works by Glazunov and other composers.[9] This project grew into the Russian Symphony Concerts, which were inaugurated during the 1886–1887 season.[10] In 1885 Belyayev started his own publishing house in Leipzig, Germany, initially publishing music by Glazunov, Lyadov, Rimsky-Korsakov and Borodin at his own expense. Young composers started appealing for his help. To help select from their offerings, Belyayev asked Glazunov to serve with Rimsky-Korsakov and Lyadov on an advisory council.[11] The group of composers that formed eventually became known at the Belyayev Circle.[6] Fame[edit] Glazunov soon enjoyed international acclaim. He emerged from a creative crisis in 1890–1891 with a new maturity. During the 1890s he wrote three symphonies, two string quartets and a ballet. When he was elected director of the Saint Petersburg Conservatory in 1905, he was at the height of his creative powers. His best works from this period are considered his Eighth Symphony and his Violin Concerto. This was also the time of his greatest international acclaim. He conducted the last of the Russian Historical Concerts in Paris on 17 May 1907, and received honorary Doctor of Music degrees from the universities of Oxford and Cambridge. There were also cycles of all-Glazunov concerts in Saint Petersburg and Moscow to celebrate his 25th anniversary as a composer.[12] Conductor[edit] Glazunov made his conducting debut in 1888. The following year, he conducted his Second Symphony in Paris at the World Exhibition.[1] He was appointed conductor for the Russian Symphony Concerts in 1896. In March of that year he conducted the posthumous premiere of Tchaikovsky's student overture The Storm.[13] In 1897, he led the disastrous premiere of Rachmaninoff's Symphony No 1. This catalysed Rachmaninoff's three-year depression. The composer's wife later claimed that Glazunov seemed to be drunk at the time. While this assertion cannot be confirmed, it is not implausible for a man who, according to Shostakovich, kept a bottle of alcohol hidden behind his desk and sipped it through a tube during lessons.[14] Drunk or not, Glazunov had insufficient rehearsal time with the symphony and, while he loved the art of conducting, he never fully mastered it.[1] From time to time he conducted his own compositions, especially the ballet Raymonda, even though he may have known he had no talent for it. He would sometimes joke, "You can criticize my compositions, but you can't deny that I am a good conductor and a remarkable conservatory Director".[15] Despite the hardships he suffered during World War I and the ensuing Russian Civil War, Glazunov remained active as a conductor. He conducted concerts in factories, clubs and Red Army posts. He played a prominent part in the Russian observation in 1927 of the centenary of Beethoven's death, as both speaker and conductor. After he left Russia, he conducted an evening of his works in Paris in 1928. This was followed by engagements in Portugal, Spain, France, England, Czechoslovakia, Poland, the Netherlands, and the United States.[16] Conservatory[edit] In 1899, Glazunov became a professor at the Saint Petersburg Conservatory. In the wake of the 1905 Russian Revolution and firing, then re-hiring of Rimsky-Korsakov that year, Glazunov became its director. He remained so until the revolutionary events of 1917, which culminated on 7 November. His Piano Concerto No. 2 in B major, Op. 100, which he conducted, was premiered at the first concert held in Petrograd after that date.[17] After the end of World War I, he was instrumental in the reorganization of the Conservatory—this may, in fact, have been the main reason he waited so long to go into exile.[15] During his tenure he worked tirelessly to improve the curriculum, raise the standards for students and staff, as well as defend the institute's dignity and autonomy. Among his achievements were an opera studio and a students' philharmonic orchestra.[1] Glazunov showed paternal concern for the welfare of needy students, such as Dmitri Shostakovich and Nathan Milstein. He also personally examined hundreds of students at the end of each academic year, writing brief comments on each.[1] While Glazunov's sobriety could be questioned, his prestige could not. Because of his reputation, the Conservatory received special status among institutions of higher learning in the aftermath of the October Revolution. Glazunov established a sound working relationship with the Bolshevik regime, especially with Anatoly Lunacharsky, the minister of education. Nevertheless, Glazunov's conservatism was attacked within the Conservatory. Increasingly, professors demanded more progressive methods, and students wanted greater rights. Glazunov saw these demands as both destructive and unjust. Tired of the Conservatory, he took advantage of the opportunity to go abroad in 1928 for the Schubert centenary celebrations in Vienna. He did not return. Maximilian Steinberg ran the Conservatory in his absence until Glazunov finally resigned in 1930.[12] Emigration[edit] Glazunov toured Europe and the United States in 1928,[18] and settled in Paris by 1929. He always claimed that the reason for his continued absence from Russia was "ill health"; this enabled him to remain a respected composer in the Soviet Union, unlike Stravinsky and Rachmaninoff, who had left for other reasons. In 1929, he conducted an orchestra of Parisian musicians in the first complete electrical recording of The Seasons. In 1934, he wrote his Saxophone Concerto, a virtuoso and lyrical work for the alto saxophone.[19] Married life[edit] In 1929, at age 64, Glazunov married the 54-year-old Olga Nikolayevna Gavrilova (1875–1968).[13] The previous year, Olga's daughter Elena Gavrilova had been the soloist in the first Paris performance of his Piano Concerto No. 2 in B major, Op. 100.[20] He subsequently adopted Elena (she is sometimes referred to as his stepdaughter), and she then used the name Elena Glazunova. In 1928, Elena had married the pianist Sergei Tarnowsky, who managed Glazunov's professional and business affairs in Paris, such as negotiating his United States appearances with Sol Hurok. (Tarnowsky was also a noted piano teacher, whose students included Vladimir Horowitz.)[21] Elena later appeared as Elena Gunther-Glazunova after her second marriage, to Herbert Gunther (1906–1978).[17] Death[edit] Glazunov died in Neuilly-sur-Seine (near Paris) at the age of 70 in 1936. The announcement of his death shocked many, who had long associated Glazunov with the music of the past rather than of the present and assumed he had already been dead for many years.[22] In 1972 his remains were reinterred in Leningrad.[citation needed] Works and influence[edit] Phenomenal memory[edit] Glazunov was acknowledged as a great prodigy in his field and, with the help of his mentor and friend Rimsky-Korsakov, finished some of Alexander Borodin's great works, the most famous being the Third Symphony and the opera Prince Igor, including the popular Polovtsian Dances. It is claimed that he reconstructed the overture from memory, having heard it played on the piano only once[citation needed], although this claim is dubious, as the overture, with its involved counterpoint, is not playable by a single pianist. It is much more likely that, as attested by Shostakovich in "Testimony," that Glazunov simply composed the overture, giving all the credit to Borodin.[citation needed] Compositions[edit] See also: List of compositions by Alexander Glazunov and Category:Compositions by Alexander Glazunov Alexander Glazunov Chant du ménestrel, Op. 71 MENU 0:00 Performed by the Skidmore College Orchestra. Courtesy of Musopen Problems playing this file? See media help. Glazunov's most popular works nowadays are his ballets The Seasons and Raymonda, some of his later symphonies, particularly the Fourth, Fifth and Sixth, the Polonaise from Les Sylphides, and his two Concert Waltzes. His Violin Concerto, which was a favorite vehicle for Jascha Heifetz, is still sometimes played and recorded. His last work, the Saxophone Concerto (1934), showed his ability to adapt to Western fashions in music at that time. The earlier rebellions of the experimental, serialist and minimalist movements passed him by and he never shied away from the polished manner he had perfected at the turn of the century.[citation needed] Glazunov's musical development was paradoxical. He was adopted as an idol by nationalist composers who had been largely self-taught and, apart from Rimsky-Korsakov, were deeply distrustful of academic technique. Glazunov's first two symphonies could be seen as an anthology of nationalist techniques as practiced by Balakirev and Borodin; the same could be said for his symphonic poem Stenka Razin with its use of the folk song "Volga Boatmen" and orientalist practices much like those employed by The Five. By his early 20s he realized the polemic battles between academicism and nationalism were no longer valid. Although he based his compositions on Russian popular music, Glazunov's technical mastery allowed him to write in a sophisticated, cultured idiom. With his Third Symphony, he consciously attempted to internationalize his music in a manner similar to Tchaikovsky, to whom the piece is dedicated.[23] The Third Symphony was a transitional work. Glazunov admitted its composition caused him a great deal of trouble. With the Fourth Symphony, he came into his mature style. Dedicated to Anton Rubinstein, the Fourth was written as a deliberately cosmopolitan work by a Russian looking outward to the West, yet it remained unmistakably Russian in tone.[24] He continued to synthesize nationalist tradition and Western technique in the Fifth Symphony.[25] By the time Glazunov wrote his Seventh Symphony, his duties at the Conservatory had slowed his rate of composition.[26] After his Eighth Symphony, his heavy drinking may have started taking a toll on his creativity, as well. He sketched one movement of a Ninth Symphony but left the work unfinished.[27] Glazunov wrote three ballets; eight symphonies and many other orchestral works; five concertos (2 for piano; 1 for violin; 1 for cello; 1 for saxophone); seven string quartets; two piano sonatas and other piano pieces; miscellaneous instrumental pieces; and some songs. He worked together with the choreographer Michel Fokine to create the ballet Les Sylphides. It was a collection of piano works by Frédéric Chopin, orchestrated by Glazunov. He was also given the opportunity by Serge Diaghilev to write music to The Firebird after Lyadov had failed to do so. Glazunov refused. Eventually, Diaghilev sought out the then-unknown Igor Stravinsky, who wrote the music.[28] Both Glazunov and Rachmaninoff, whose first symphony Glazunov supposedly had conducted so poorly at its premiere (according to the composer), were considered "old-fashioned" in their later years. In recent years, reception of Glazunov's music has become more favorable, thanks to extensive recordings of his complete orchestral works.[citation needed] Glazunov and Stravinsky[edit] In his 1935 autobiography, Igor Stravinsky admitted that, as a young man, he greatly admired Glazunov's perfection of musical form, purity of counterpoint and ease and assurance of his writing. At 15, Stravinsky transcribed one of Glazunov's string quartets for piano solo.[29] He also deliberately modeled his Symphony in E♭, Op. 1, on Glazunov's symphonies, which were then in vogue.[30] He used Glazunov's Eighth Symphony, Op. 83, which was written in the same key as his, as a pattern on which to base corrections to his symphony.[31] This attitude changed over time. In his memoirs, Stravinsky called Glazunov one of the most disagreeable men he had ever met, adding that the only bad omen he had experienced about the initial (private) performance of his symphony was Glazunov having come to him afterwards saying, "Very nice, very nice." Later, Stravinsky amended his recollection of this incident, adding that when Glazunov passed him in the aisle after the performance, he told Stravinsky, "Rather heavy instrumentation for such music."[c][34] For his part, Glazunov was not supportive of the modern direction Stravinsky's music took. He was not alone in this prejudice—their mutual teacher Rimsky-Korsakov was as profoundly conservative by the end of his life, wedded to the academic process he helped instill at the Conservatory. Unlike Rimsky-Korsakov, Glazunov was not anxious about the potential dead end Russian music might reach by following academia strictly, nor did he share Rimsky-Korsakov's grudging respect for new ideas and techniques.[35] Chances are that Glazunov treated Stravinsky with reserve, certainly not with open rudeness.[35] His opinion of Stravinsky's music in the presence of others was another matter. At the performance of Feu d'artifice (Fireworks), he reportedly made the comment, "Kein talent, nur Dissonanz" ("no talent, just dissonance"). (Also in the audience was Sergei Diaghilev, who on the strength of this music sought out the young composer for the Ballets Russes.)[36] Glazunov eventually considered Stravinsky merely an expert orchestrator. In 1912 he told Vladimir Telyakovsky, "Petrushka is not music, but is excellently and skillfully orchestrated."[37] In 1962, when Stravinsky returned to the Soviet Union to celebrate his 80th birthday, he visited the Leningrad conservatory and, according to his associate Robert Craft, moaned and said "Glazunov!" when he saw a photograph of the composer on display.[citation needed] Glazunov and modernism[edit] Stravinsky was not the only composer whose modernist tendencies Glazunov disliked. Shostakovich mentioned Glazunov's attacks against the "recherché cacophonists"—the elder composer's term for the newer generation of Western composers, beginning with Debussy. When Franz Schreker's opera Der ferne Klang was staged in Leningrad, Glazunov pronounced the opera "Schreckliche Musik!"—Horrible Music. He also may have wondered occasionally whether he had played a role in spawning musical chaos. Once, while looking at a score of Debussy's Prélude à l'après-midi d'un faune, he commented, "It's orchestrated with great taste.... And he knows his work.... Could it be that Rimsky and I influenced the orchestration of all these contemporary degenerates?"[citation needed] To Glazunov's credit, however, even after he had consigned a piece of music to be "cacophonic", he did not stop listening to it. Instead, he would continue listening in an effort to comprehend it. He "penetrated" Wagner's music in this way; he understood nothing about Die Walküre the first time he heard it—or the second, third, or fourth. On the tenth hearing, he finally understood the opera and liked it very much.[38][incomplete short citation] Glazunov and Shostakovich[edit] Dmitri Shostakovich entered the Petrograd Conservatory at age 13, becoming the youngest student there. He studied piano with Leonid Nikolayev and composition with Rimsky-Korsakov's son-in-law Maximilian Steinberg. He proved to be a disciplined, hard-working student. Glazunov may have recognized in Shostakovich an echo of his younger self. He carefully monitored his progress in Steinberg's class and, in awarding him his doctorate, recommended Shostakovich for a higher degree which normally would have led to a professorship. Due to his family's financial hardship, Shostakovich was not able to take advantage of this opportunity.[39] Glazunov also arranged for the premiere of Shostakovich's First Symphony, which took place on 12 March 1926 with the Leningrad Philharmonic under Nikolai Malko.[40] This was 44 years after Glazunov's First Symphony had first been presented in the same hall. In another instance of déjà vu with Glazunov's early life, the symphony caused almost as much of a sensation as the appearance of the 19-year-old Shostakovich on the stage awkwardly taking his bow.[40] In his memoirs Testimony, Shostakovich dedicates several pages to Glazunov. He mentions that Glazunov was at the time far ahead concerning knowledge and appreciation of medieval and pre-Mozartian music.[citation needed] ****** This is a list of compositions by Alexander Glazunov (1865–1936). Contents 1 By genre 1.1 Stage 1.2 Orchestral 1.3 Concertante 1.4 Choral with orchestra 1.5 Chamber 1.6 Instrumental 1.7 Piano 1.8 Vocal/Choral 2 By opus number 3 References By genre[edit] Stage[edit] Op. 57: Raymonda, ballet in three acts (1898) Op. 61: Les Ruses d'Amour (The Ruses of Love), also known as The Trial of Damis or Lady Soubrette, ballet in one act (1900) Op. 67: The Seasons, ballet in one act (1900) Op. 95: Music for the drama The King of the Jews after K. K. Romanov (1913) Incidental music for Lermontov’s play Masquerade (1912-13) Orchestral[edit] Symphonies Op. 5: Symphony No. 1 in E major "Slavonian Symphony" (1881-1884) Op. 16: Symphony No. 2 in F♯ minor "To the Memory of Liszt" (1886) Op. 33: Symphony No. 3 in D major (1890) Op. 48: Symphony No. 4 in E♭ major (1893) Op. 55: Symphony No. 5 in B♭ major (1895) Op. 58: Symphony No. 6 in C minor (1896) Op. 77: Symphony No. 7 in F major "Pastorale" (1902-1903) Op. 83: Symphony No. 8 in E♭ major (1905-1906)[1] Symphony No. 9 in D minor (1910), first movement (incomplete; orchestrated by Gavril Yudin) Op. 3: Overture No. 1 in G minor for orchestra "On Greek Themes" (1882) Op. 6: Overture No. 2 in D major for orchestra (1883) Op. 7: Serenade No. 1 in A major for orchestra (1882) Op. 8: To the Memory of a Hero, elegy for orchestra (1885) Op. 9: Suite Charactéristique in D major for orchestra (1884-1887) Op. 11: Serenade No. 2 in F major for small orchestra (1884) Op. 12: Poème Lyrique in D♭ major for orchestra (1884-1887) Op. 13: Stenka Razin, symphonic poem in B minor (1885) Op. 14: Two Pieces for orchestra (1886-1887) Op. 18: Mazurka in G major for orchestra (1888) Op. 19: The Forest, fantasy in C♯ minor for orchestra (1887) Op. 21: Wedding March in E♭ major for orchestra (1889) Op. 26A: Slavonian Feast, symphonic sketches (1888) Op. 28: The Sea, fantasy in E major for orchestra (1889) Op. 29: Oriental Rhapsody in G major for orchestra (1889) Op. 30: The Kremlin, symphonic picture in three parts (1890) Op. 34: The Spring, symphonic picture in D major (1891) Op. 45: Carnaval, overture for large orchestra and organ in F major (1892) Op. 46: Chopiniana, suite for orchestra after piano pieces by Chopin (1893) Op. 47: Concert Waltz No. 1 in D major for orchestra (1893) Op. 50: Cortège Solennel in D major for orchestra (1894) Op. 51: Concert Waltz No. 2 in F major for orchestra (1894) Op. 52: Scènes de Ballet, suite, not intended as dance piece (1894) Op. 53: Fantasy From Dark into Light for orchestra (1894) Op. 68: "Pas de Caractère" from Raymonda in G major for orchestra (1899) Op. 69: Intermezzo Romantica in D major for orchestra (1900) Op. 73: Solemn Overture for orchestra (1900) Op. 76: March on a Russian Theme in E♭ major (1901) Op. 78: Ballade in F major for orchestra (1902) Op. 79: From the Middle Ages, suite in E major for orchestra (1902) Op. 81: Dance-Scene in A major for orchestra (1904) Op. 84: The Song of Destiny, dramatic overture in D minor for orchestra (1908) Op. 85: Two Preludes for orchestra (1908) Op. 86: Russian Fantasy in A major for balalaika-orchestra (1906) Op. 87: To the Memory of Gogol, symphonic prologue in C major (1909) Op. 88: Finnish Fantasy in C major for orchestra (1909) Op. 89: Finnish Sketches in E major for orchestra (1912) Op. 90: Introduction and Dance of Salomé, to the drama of Oscar Wilde (1908) Op. 91: "Cortège Solennel" in B♭ major for orchestra (1910) Op. 96: Paraphrase on the Hymn of the Allies for orchestra (1914-1915) Op. 99: Karelian Legend in A minor for orchestra (1916) Op. 102: Romance of Nina from the play "Masquerada" (1918) Poème épique in A minor for orchestra (1933-34) Concertante[edit] Op. 20: Two Pieces for cello and orchestra (1887–1888) Op. 32: Méditation in D major for violin and orchestra or piano (1891) Op. 82: Concerto in A minor for violin and orchestra (1904) Op. 92: Concerto No. 1 in F minor for piano and orchestra (1910–1911) Op. 100: Concerto No. 2 in B major for piano and orchestra (1917) Op. 100A/B: Mazurka Oberek for violin and orchestra or piano (1917) Op. 108: Concert Ballade in C major for cello and orchestra (1931) Op. 109: Concerto for Alto Saxophone and String Orchestra in E♭ major (1934) (same opus number as Saxophone Quartet, but different work [1]) In 1896 he arranged Tchaikovsky's violin and piano piece Souvenir d'un lieu cher for violin and orchestra. Choral with orchestra[edit] Op. 40: Triumph March for large orchestra and chorus (1892) Op. 56: Coronation Cantata for four soloists, chorus and orchestra (1895) Op. 65: Cantata after Pushkin for solo voices, chorus and orchestra (1899) Op. 97: Song of the Volga-skippers for chorus and orchestra (1918) Chamber[edit] String Quartets Op. 1: String Quartet No. 1 in D major (1881-1882) Op. 10: String Quartet No. 2 in F major (1884) Op. 26: String Quartet No. 3 in G major "Quatuor Slave" (1886-1888) Op. 64: String Quartet No. 4 in A minor (1894) Op. 70: String Quartet No. 5 in D minor (1898) Op. 106: String Quartet No. 6 in B♭ major (1920-1921) Op. 107: String Quartet No. 7 in C major "Hommage au passé" (1930) Op. 14: Oriental Reverie for clarinet and string quartet (original version of 2 Pieces for Orchestra) (1886) Op. 15: Five Novelettes for String Quartet (1886) Op. 35: Suite in C major for string quartet (1887-1891) Op. 38: In Modo Religioso, quartet for trumpet, horn and two trombones (1892) Op. 39: String Quintet in A major for string quartet and cello (1891-1892) Op. 105: Elegy in D minor for string quartet in memory of M. P. Belaieff (1928) Op. 109: Saxophone Quartet in B♭ major (1932) Instrumental[edit] Op. 17: Elegy in D♭ major for cello and piano (1888) Op. 24: Rêverie in D♭ major for horn and piano (1890) Op. 32A: Meditation in D major for violin and piano (1891) Op. 44: Elegy in G minor for viola and piano (1893) Op. 71: Chant du Ménestrel for cello and piano (1900) (a version exists for cello and orchestra) Op. 93: Preludium and Fugue No. 1 in D major for organ (1906-1907) Op. 98: Preludium and Fugue No. 2 in D minor for organ (1914) Op. 110: Fantasy in G minor for organ (1934-1935) Albumblatt for trumpet and piano (1899) 10 Duets for Two Clarinets Piano[edit] Op. 2: Suite on the Theme "S-A-C-H-A" for Piano (1883) Op. 22: Two Pieces for Piano (1889) Op. 23: Waltzes on the name S-A-B-E-L-A for piano (1890) Op. 25: Preludium and Two Mazurkas for piano (1888) Op. 31: Three Études for piano (1891) Op. 36: Small Waltz in D major for piano (1892) Op. 37: Nocturne in D♭ major for piano (1889) Op. 41: Grand Concert Waltz in E♭ major for piano (1893) Op. 42: Three Miniatures for piano (1893) Op. 43: Salon Waltz in C major for piano (1893) Op. 49: Three Pieces for piano (1894) Op. 54: Two Impromptus for piano (1895) Op. 62: Prelude and Fugue in D minor, for piano (1899) Op. 72: Theme and Variations in F♯ minor for piano (1900) Op. 74: Piano Sonata No. 1 in B♭ minor (1901) Op. 75: Piano Sonata No. 2 in E minor (1901) Op. 101: Four Preludes and Fugues for piano (1918-1923) Op. 103: Idylle in F♯ major for piano (1926) Op. 104: Fantasy in F minor for two pianos (1919-1920) arr. of Liszt Sposalizio, S161/1 for 2 pianos (date?) [on IMSLP] Vocal/Choral[edit] Op. 4: Five Romances, songs (1882-1885) Op. 27: Two Songs after Pushkin (1887-1890) Op. 59: Six Songs for middle voice (1898) Op. 60: Six songs (romances to poetry of Aleksandr Pushkin and Apollon Maikov) for high voice (1897-1898) ([2]) Op. 63: Festive Cantata for solo-voices, women's chorus and two pianos eight hands (1898) Op. 65: Commemorative Cantata for the Centenary of the Birth of Pushkin for mezzo-soprano, tenor, mixed choir and piano (1899) Op. 80: Chant Sans Bornes for soprano and alto with piano accompaniment (1900) Op. 94: Love after Shukovsky for mixed chorus a cappella (1907) By opus number[edit] Op. 1: String Quartet No. 1 in D major (1881-1882) Op. 2: Suite on the Theme "S-A-C-H-A" for Piano (1883) Op. 3: Overture No. 1 in G minor for orchestra "On Greek Themes" (1882) Op. 4: Five Romances, songs (1882-1885) Op. 5: Symphony No. 1 in E major "Slavonian Symphony" (1881-1884) Op. 6: Overture No. 2 in D major for orchestra (1883) Op. 7: Serenade No. 1 in A major for orchestra (1882) Op. 8: To the Memory of a Hero, elegy for orchestra (1885) Op. 9: Suite Charactéristique in D major for orchestra (1884-1887) Op. 10: String Quartet No. 2 in F major (1884) Op. 11: Serenade No. 2 in F major for small orchestra (1884) Op. 12: Poème Lyrique in D♭ major for orchestra (1884-1887) Op. 13: Stenka Razin, symphonic poem in B minor (1885) Op. 14: Two Pieces for orchestra (1886-1887) Op. 15: Five Novelettes for String Quartet (1886) Op. 16: Symphony No. 2 in F♯ minor "To the Memory of Liszt" (1886) Op. 17: Elegy in D♭ major for cello and piano (1888) Op. 18: Mazurka in G major for orchestra (1888) Op. 19: The Forest, Fantasy in C♯ minor for orchestra (1887) Op. 20: Two Pieces for cello and orchestra (1887-1888) Op. 21: Wedding March in E♭ major for orchestra (1889) Op. 22: Two Pieces for Piano (1889) Op. 23: Waltzes on the name S-A-B-E-L-A for piano (1890) Op. 24: Rêverie in D♭ major for horn and piano (1890) Op. 25: Preludium and Two Mazurkas for piano (1888) Op. 26: String Quartet No. 3 in G major "Quatuor Slave" (1886-1888) Op. 26A: Slavonian Feast, symphonic sketches (1888) Op. 27: Two Songs after Pushkin (1887-1890) Op. 28: The Sea, fantasy in E major for orchestra (1889) Op. 29: Oriental Rhapsody in G major for orchestra (1889) Op. 30: The Kremlin, symphonic picture in three parts (1890) Op. 31: Three Études for piano (1891) Op. 32: Meditation in D major for violin and orchestra (1891) Op. 32A: Meditation in D major for violin and piano (1891) Op. 33: Symphony No. 3 in D major (1890) Op. 34: The Spring, symphonic picture in D major (1891) Op. 35: Suite in C major for string quartet (1887-1891) Op. 36: Small Waltz in D major for piano (1892) Op. 37: Nocturne in D♭ major for piano (1889) Op. 38: In Modo Religioso, quartet for trumpet, horn and two trombones (1892) Op. 39: String Quintet in A major for string quartet and cello (1891-1892) Op. 40: Triumph March for large orchestra and chorus (1892) Op. 41: Large Concert Waltz in E♭ major for piano (1893) Op. 42: Three Miniatures for piano (1893) Op. 43: Salon Waltz in C major for piano (1893) Op. 44: Elegy for viola and piano (1893) Op. 45: Carnaval, overture for large orchestra and organ in F major (1892) Op. 46: Chopiniana, suite for orchestra after piano pieces by Chopin (1893) Op. 47: Concert Waltz No. 1 in D major for orchestra (1893) Op. 48: Symphony No. 4 in E♭ major (1893) Op. 49: Three Pieces for piano (1894) Op. 50: Cortège Solennel in D major for orchestra (1894) Op. 51: Concert Waltz No. 2 in F major for orchestra (1894) Op. 52: Scènes de Ballet, suite, not intended as dance piece (1894) Op. 53: Fantasy From Dark into Light for orchestra (1894) Op. 54: Two Impromptus for piano (1895) Op. 55: Symphony No. 5 in B♭ major (1895) Op. 56: Coronation Cantata for four soloists, chorus and orchestra (1895) Op. 57: Raymonda, ballet in three acts (1898) Op. 58: Symphony No. 6 in C minor (1896) Op. 59: Six Songs for middle voice (1898) Op. 60: Six songs (romances to poetry of Aleksandr Pushkin and Apollon Maikov) for high voice (1897-1898) ([3]) Op. 61: Les Ruses d'Amour (The Ruses of Love), also known as The Trial of Damis or Lady Soubrette, ballet in one act (1900) Op. 62: Prelude and Fugue in D minor, for piano (1899) Op. 63: Festive Cantata for solo-voices, women's chorus and two pianos eight hands (1898) Op. 64: String Quartet No. 4 in A minor (1894) Op. 65: Commemorative Cantata for the Centenary of the Birth of Pushkin for solo voices, chorus and orchestra (1899) Op. 66: Hymn after Pushkin for women's chorus and piano (1899) Op. 67: The Seasons, ballet in one act (1900) Op. 68: "Pas de Caractère" from Raymonda in G major for orchestra (1899) Op. 69: Intermezzo Romantica in D major for orchestra (1900) Op. 70: String Quartet No. 5 in D minor (1898) Op. 71: Chant du Ménestrel for cello and piano (1900) (a version exists for cello and orchestra) Op. 72: Theme and Variations in F♯ minor for piano (1900) Op. 73: Solemn Overture for orchestra (1900) Op. 74: Piano Sonata No. 1 in B♭ minor (1901) Op. 75: Piano Sonata No. 2 in E minor (1901) Op. 76: March on a Russian Theme in E♭ major (1901) Op. 77: Symphony No. 7 "Pastorale" in F major (1902-1903) Op. 78: Ballade in F major for orchestra (1902) Op. 79: From the Middle Ages, suite in E major for orchestra (1902) Op. 80: Chant Sans Bornes for soprano and alto with piano accompaniment (1900) Op. 81: Dance-Scene in A major for orchestra (1904) Op. 82: Concerto in A minor for violin and orchestra (1904) Op. 83: Symphony No. 8 in E♭ major (1905-1906) Op. 84: The Song of Destiny, dramatic overture in D minor for orchestra (1908) Op. 85: Two Preludes for orchestra (1906) Op. 86: Russian Fantasy in A major for balalaika-orchestra (1906) Op. 87: To the Memory of Gogol, symphonic prologue in C major (1909)[2] Op. 88: Finnish Fantasy in C major for orchestra (1909) Op. 89: Finnish Sketches in E major for orchestra (1912) Op. 90: Introduction and Dance of Salomé, to the drama of Oscar Wilde (1908) Op. 91: Cortège Solennel in B♭ major for orchestra (1910) Op. 92: Concerto No. 1 in F minor for piano and orchestra (1910-1911) Op. 93: Preludium and Fugue No. 1 in D major for organ (1906-1907) Op. 94: Love after Shukovsky for mixed chorus a cappella (1907) Op. 95: Music to the drama The King of the Jews after K. K. Romanov (1913) Op. 96: Paraphrase on the Hymn of the Allies for orchestra (1914-1915) Op. 97: Song of the Volga-skippers for chorus and orchestra (1918) Op. 98: Preludium and Fugue No. 2 in D minor for organ (1914) Op. 99: Karelian Legend in A minor for orchestra (1916) Op. 100: Concerto No. 2 in B major for piano and orchestra (1917) Op. 100A/B: Mazurka Oberek (1917) for violin and orchestra or piano (1917) Op. 101: Four Preludes and Fugues for piano (1918-1923) Op. 102: Romance of Nina from the play "Masquerada" (1918) Op. 103: Idylle in F♯ major for piano (1926) Op. 104: Fantasy in F minor for two pianos (1919-1920) Op. 105: Elegy in D minor for string quartet in memory of M. P. Belyayev (1928) Op. 106: String Quartet No. 6 in B♭ major (1920-1921) (Listings with details about opp. 105 and 106) Op. 107: String Quartet No. 7 in C major "Hommage au passé" (1930) Op. 108: Concert Ballade in C major for cello and orchestra (1931) Op. 109: Saxophone Quartet in B♭ major (1932) Op. 109: Concerto for Alto Saxophone and String Orchestra in E♭ major (1934) (same opus number as quartet, but different work [4]) Op. 110: Fantasy in G minor for organ (1934-1935) Works without opus number: Albumblatt for trumpet and piano (1899) Symphony No. 9 in D minor (1910) First movement (incomplete) Reverie Orientale for Clarinet and String Quartet (1886) 10 Duets for Two Clarinets Poème épique in A minor for orchestra (1933-34) Incidental music for Lermontov’s play Masquerade (1912-13) Prelude and Fugue in E minor for piano [Published by Muzgiz] **** Aleksandr Glazunov, in full Aleksandr Konstaninovich Glazunov, (born July 29 [Aug. 10, New Style], 1865, St. Petersburg, Russia—died March 21, 1936, Paris, France), the major Russian symphonic composer of the generation that followed Tchaikovsky. BRITANNICA QUIZ (A Music) Man’s Best Friend Which of these keyboard players was famed for playing the synthesizer? Glazunov’s mother, a piano pupil of Mily Balakirev, took her obviously talented son to her teacher, and on his advice the boy in 1880 began study with Nikolay Rimsky-Korsakov. In 1882 Balakirev conducted Glazunov’s First Symphony. A revised version of the piece was printed in 1886 by M.P. Belyayev, a millionaire timber merchant and founder of the famous Belyayev music-publishing firm that Glazunov later helped direct. Glazunov continued to compose, producing two string quartets, two overtures on Greek folk tunes, and the symphonic poem Stenka Razin. In 1886 he finished his Second Symphony. At that time he was the recognized heir of the nationalist group and composed according to their principles; he also absorbed the influence of Franz Liszt, whom he visited in Weimar, Germany, in 1884. Other influences, notably Wagner’s and Tchaikovsky’s, were later evident. Most of Glazunov’s best works—the fourth, fifth, and sixth symphonies and his ballets Raymonda, Ruses d’amour, and Les Saisons (“The Seasons”)—date from the 1890s. He finished his Violin Concerto in A Minor in 1904 and last complete symphony, the eighth, in 1906. In 1905 he became director of the St. Petersburg Conservatory, where he had taught since 1899. He wrote few large-scale works after 1906: two piano concerti (1911 and 1917), two string quartets (1920 and 1930), the Concerto-Ballata for Cello and Orchestra (1931), and the Concerto for Saxophone, Flute, and Strings (1934). After the Revolution of 1917 he remained at his post until 1928, when, feeling isolated, he left the Soviet Union. After an unsuccessful tour of the United States (1929–30) he lived in Paris. **** Born on August 10th 1865, Alexander Glazunov was a Russian composer of the late Romantic period, conductor and music teacher. It was clear from an early age that Glazunov had substantial musical potential due to his exceptional ear and impressive musical memory. He began composing aged 11, receiving tuition in his early years from Nikolai Rimsky-Korsakov as a private student, with Rimsky-Korsakov commenting of him that his ‘development progressed not by the day, but literally by the hour’. In 1884, Glazunov’s First Symphony was performed whilst he was on a trip to Weimer with wealthy timber merchant and amateur musician, Mitrofan Belyayev.  Gradually, through the help and support of Belyayev, Glazunov began to enjoy international acclaim. In spite of his popularity however, he experienced a creative crisis in 1890-91 and came out of the period with a new maturity, as well as three completed symphonies, two string quartets and a ballet. In 1905, he was selected as director of Saint Petersburg Conservatory and at this stage, it is often said that he was at the peak of his creative ability. Whilst in this post, he composed many works and gained some notoriety as a conductor – although he never really mastered the art. In 1928, Glazunov toured Europe and the USA and, at the end of the tour in 1929, settled in Paris. He said publically that his reasons for doing this were health related, but it is somewhat likely that, like Rachmaninoff and Stravinsky, he was fleeing the rise of the Soviet Union. By claiming that it was for health reasons, however, he remained a respected composer in the Soviet Union. In the later parts of his life, his output slowed significantly, but the works that were produced in this period, such as the Concerto for Alto Saxophone op.109 (1934) showed maturity and impressive polish. Glazunov died on March 21st 1936 in Neuilly-sur-Seine, near Paris. His remains were moved to Leningrad in 1972. *****  Aleksandr Glazunov August 10, 1865 – March 21, 1936 Portrait photo of Aleksandr Glazunov taken by Alfred Fedetsky. 1899, Kharkov, Ukraine Aleksandr Glazunov was a Russian composer, professor and rector of the St. Petersburg Conservatory. His works of the late Russian Romantic period reconciled nationalism and cosmopolitanism in Russian music. Child musical prodigy Glazunov was born into a wealthy merchant family - his father was a prominent publisher and book trader in St. Petersburg. Glazunov’s mother was a good pianist and had a major influence on Aleksandr’s music education. She hired the best piano teachers for her son. To her great satisfaction, Glazunov was an eager student and as early as 13 he revealed a great talent for composition. In 1879 he met Mily Balakirev, one of the founders of the Russian nationalist school of composers known as The Five or The Mighty Handful. Impressed by Glazunov’s talent, Balakirev recommended him to Nikolai Rimsky-Korsakov, a composer and a member of The Five. Rimsky-Korsakov took it upon himself to teach Glazunov the theory of composition, harmony and instrumental accompaniment. Glazunov was a bright student and was able to cover the whole Conservatory program in just a year and a half. Glazunov composed his first symphony at the age of 16, which was first played at a free school concert. It was also later performed at the Moscow Exhibition, conducted by Rimsky-Korsakov. Glazunov’s symphony was very well received and was followed by other works, which were just as fine as his first piece. Steps to success Glazunov’s life and career is rather an exception to the “standard” tough lives of composers, living in poverty, working hard amidst criticism and receiving fame very late in life, or in many cases only after death. Glazunov had a fairly easy way to success – he never experienced financial hardships, his talent was recognized at an early age and his works were performed shortly after he finished writing them. He had the luxury of hearing his sheet music performed by the orchestra and was able to compare the music he envisioned when he composed it to how it sounded when played by instruments. This undoubtedly helped him mature as composer in a short time. Glazunov was very lucky to meet Mitrofan Belyaev, a timber magnate and lover of music. Belyaev moved to St. Petersburg at the beginning of the 1880s and became friends with many musicians and members of The Five. His love of music brought him as far as sponsoring Russian composers and their concerts. He especially grew to love Glazunov and became his patron. In 1884, he organized a special closed concert of Glazunov’s works, directed by Rimsky-Korsakov. This was the beginning of a regular event called “Russian Symphony Concerts,” which helped bring young Russian composers to the attention of the public. Belyaev also got exclusive rights to publish all of Glazunov’s sheet music. In 1884 Belyaev helped Glazunov and his friends to go to Weimar, where Glazunov met Franz Liszt, one of his long time influences. In 1889 Belyaev organized two concerts for Glazunov in Paris during the World Exhibition. The prime of productiveness Glazunov’s career blossomed to its peak during the mid nineties of the 19th century. He created the Fourth, the Fifth and the Sixth Symphonies. He also composed three ballets, Les ruses d'amour, The Seasons, and Raymonda, his most famous. The previously written Stenka Razin theme was turned into a ballet. By the end of the nineties he had established himself as an instrumental composer and worked with great inspiration. He followed Pyotr Tchaikovsky’s approach in using music to express the feelings of his heroes, rather than strictly a background to choreography. In the 19th century Russia had two schools of symphony music – Moscow, with its cosmopolitism followed by Tchaikovsky, and St. Petersburg, which was more academic. The St. Petersburg school was established by Mikhail Glinka and was adhered to by the composers of The Five. Although Glazunov remained a conservative composer with more of an academic style of music, his works were able to bridge the two traditions, putting an end to the continuous battle. Glazunov also revealed another talent - an extraordinary memory - when he finished Aleksandr Borodin’s great opera Prince Igor. Borodin worked on it for twenty years, but died without having finished it. Together with Rimsky-Korsakov Glazunov tried to complete the opera in Borodin’s style. Borodin had not left as much as a sketch of what he had intended, but he had played his ideas to Glazunov, who restored the music from memory. Glazunov also learned to skillfully play the violin, the cello and the woodwinds. St. Petersburg Conservatory Right before the turn of the century in 1899 Glazunov became a professor of the St. Petersburg Conservatory. The 20th century was witnessing an upheaval due to the political crisis. It spilled into the February Revolution of 1905, which demanded a constitutional monarchy but was severely suppressed. Following these events, the government tied to curb liberalism in every way, even in music schools. Glazunov with Fedor Chaliapin and Vladimir Stasov Rimsky-Korsakov was fired from the Conservatory for his liberal views and Glazunov also left the Conservatory in support of his colleague. However, positive changes came later that year - after the “October Manifesto” the Conservatory was granted new rights, which meant it was free to elect its own management and professors. Glazunov was invited back and became the first elected director of the Conservatory. His sensitivity and kindness made him a legend among students and staff. He showed great care for the students. He thought it was necessary to attend all examinations. In a month he listened to 771 auditions and wrote a personal report about each student. Glazunov was able to spot musically talented people. He admitted students solely for their talent, never looking at their social status or financial wellbeing. He often spent his own salary to help the poorer students. To one such student, Dmitry Shostakovich, Glazunov provided very generous help, which allowed him to continue his studies. If it hadn’t been for Glazunov, the 20th century may have never received one of the greatest composers of its time. Besides teaching responsibilities, Glazunov now had to handle the maintenance issues as well. He joked that he had to master plumbing pipes in order to properly run the Conservatory. In 1907 Russia and Europe honored Glazunov on the 25th anniversary of his music career. Both Oxford and Cambridge granted him the title of Honorary Doctor of Music. Despite his great success, Glazunov didn’t have a personal life. He was in his forties and still single, living with his mother. Besides that, he apparently had a destructive addiction to alcohol, which was taking a great toll on his health. Later, when the Bolsheviks banned alcohol, Glazunov had a particularly hard time. There were rumors that Dmitry Shostakovich, who was still studying at the Conservatory, helped Glazunov obtain alcohol. Glazunov was a great teacher though, according to Shostakovich. He was able to remember every student’s name, compositions and career. Shostakovich remained a life-long admirer of Glazunov. Troubled times after the 1917 Revolution The Revolution of 1917 brought great change to Russia. For the Communists music was simply another tool for propaganda. The new demands at the Conservatory were very hard on Glazunov, who had to balance calls for propaganda and his real life work. However, his diplomatic skills helped him keep his post as director and he maintained ties with the new minister of education. His diplomacy paid off in full in 1918 when Vladimir Lenin signed a decree that granted the Conservatory the status of a higher education institution. Four years later Glazunov was also awarded the title of People’s Artist of the Republic – the height of an artist’s career in the Soviet Union. The fact that the Bolsheviks so highly favored Glazunov can perhaps be explained by the high profits they were expecting to gain from his cooperation. A musician with world fame, who spoke several foreign languages, a Doctor of Music from Oxford and Cambridge would be a cherry on the cake at different propaganda events. Glazunov could not openly protest, and was tremendously weighed down by that. Looking at pictures of Glazunov during those times one can easily notice his sad and depressed state. The wind of change had blown into the Conservatory too. The proletariat regime was trying to build the world from scratch while discarding old values and old-school Glazunov, who personally knew the classics of world music, did not fit in the new system. Although he was still a favorite among students, the newly appointed professors never missed an opportunity to clash with him or to point out his outdated views and approaches. The musician, whose creative powers could not co-exist with a hardened heart, suffered tremendously and turned even more to alcohol. Emigration Glazunov received many invitations from abroad to perform and he took the opportunity to get out of Russia and travel through Europe and the United States. He was still as popular as ever overseas – each concert reviving the great successes of former years. Portrait of Alexander Glazunov. In 1928 he was invited to take part in as a jury member at the International Shubert contest in Vienna. Traveling with him was Olga Gavrilova, his companion for some time who he finally married a year later at the age of 64. After the contest, Glazunov went for treatment at a clinic in Germany. It was impossible for doctors to undo the years of damage Glazunov had caused to his health and the treatment was unsuccessful. It was time to return to Russia, but Glazunov was too ill to travel. The thought of going back to the continuous confrontations and talks about adapting to the Soviet regime at the Conservatory also added pressure. Glazunov decided to remain in Europe and emigrate from the Soviet Union. When his health got better, Glazunov moved to France and settled in Paris. But the diplomatic Glazunov didn’t break ties with his homeland; he explained his reason for leaving was his poor health and he maintained a close connection with the Conservatory. Although Glazunov was old and ill, his immigration to Europe opened a new and exciting chapter in his life, albeit the final chapter. The reviving of his spirits helped his physical revival as well – he traveled extensively throughout Europe giving concerts in France, Portugal and Spain. He traveled to London to complete the first electrical recording of The Seasons and Carnival. Living in the West, Glazunov became infatuated with jazz and in 1934 he wrote his Saxophone Concerto. He was also invited to the United States where he visited New York, Detroit and Chicago. He was very well received everywhere. The US trip, however, turned sour at the end. He became so ill, he could not keep his engagements, which greatly disappointed the business minded Americans. His adopted daughter later wrote in her memoirs that they were very rude to him and withheld most of the money they had promised him for the tour. Last years and legacy The success of Glazunov the composer could not match the success of Glazunov the teacher. By this time modernism had swept through the world of music in the West and conservative Glazunov did not wish to understand nor accept it. His health was also deteriorating greatly, keeping him trapped at home. During the last years of his life, Glazunov and his wife Olga lived in an apartment near the Bois de Boulogne, which soothed his ailing body and soul. He also tried to maintain his social life and meetings with the great Russian musicians visiting Europe. Glazunov died on March 21, 1936 in Paris at the age of 71. The Concerto in E flat major for alto saxophone and string orchestra was written by Aleksandr Glazunov in 1934. The piece lasts about eighteen minutes and is played without pause... His last will was to be buried back home – and in 1972 his remains were brought to Leningrad (now St. Petersburg) and were put to rest in the Aleksandr Nevsky Cathedral. Glazunov left some 200 compositions of endowed, individualistic music. His compositions have a distinct Russian character – melodious and romantic. Glazunov had the rare honor of becoming immensely popular and recognized both as a composer and teacher during his lifetime. . EBAY5312
  • Condition: Very good condition of the Autograph , The reproduction photo and the decorative mat . ( Pls look at scan for accurate AS IS images )
  • Country/Region of Manufacture: Russian Federation
  • Original/Reproduction: Original
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