glazunov

miguesax86

Fresh Member
inauguro este subforo :lol: :lol:

estoy buscando datos sobre el analisis del concierto de glazunov pero desgraciadamente no encuentro nada de nada. alguno me podéis ayudar? gracias
 

dany1es

Moderator
Staff member
aho mismo de lo unico que disponemos es de la informacion bibliofrafica y biografica de glazounov que esta publicado en un post anterior.

TE volvemos a pegar la informacion por si estas interesado:

FOTO


SI LO PREFIERES EN WORD.....YA SABES....SOLO TIENES QUE PEDIRLO.

Glazunov, Aleksandr Konstantinovich
(b St Petersburg, 29 July/10 Aug 1865; d Paris, 21 March 1936). Russian composer. His father was a book publisher, his mother a pianist. Gifted with an exceptional ear and musical memory, he began to study the piano at the age of nine and to compose at the age of 11; his first teacher was ?lenkovsky. In 1879 he met Balakirev, who recommended Rimsky-Korsakov as a private composition teacher. These studies lasted less than two years as the pupil progressed ‘not from day to day but from hour to hour’, in Rimsky-Korsakov's words. A lifelong friendship developed between teacher and student, despite the difference in age. When he was 16 Glazunov completed his First Symphony, which was given a successful première on 29 March 1882 under Balakirev's direction. In November of the same year Glazunov's First String Quartet was performed. His precocious talent aroused the interest of the art patron Mitrofan Belyayev, who devoted his immense fortune to furthering the career of Glazunov and the younger generation of Russian composers. In 1885 Belyayev organized the Russian Symphony Concerts in St Petersburg and a music publishing house in Leipzig. The ‘Belyayev Circle’, as it became known, assembled every Friday in the palatial home of the patron, and Glazunov, despite his youth, became a prominent member, with Rimsky-Korsakov, Lyadov, V?tols, Blumenfeld, V.V. ?val'd and others. In a way, the Belyayev Circle continued from where The Five had left off, but with an important difference: by the 1880s, the battle for a national Russian school had been won; the Belyayev Circle consolidated the gains and effected a rapprochement with the West. As Rimsky-Korsakov said: ‘The Balakirev circle represented a period of battle and pressure on behalf of the development of Russian music’.

In 1884 Belyayev took Glazunov on a trip to western Europe; they met Liszt in Weimar, where Glazunov’s First Symphony was performed. After Borodin's sudden death in 1887, Glazunov (together with Rimsky-Korsakov) became deeply involved in completing and revising the unfinished works left by him. Glazunov's exceptional memory enabled him to write down the overture to Prince Igor as he had heard it played by the composer on the piano; he also completed Act 3 after extant sketches and orchestrated the incomplete Third Symphony. In 1888 Glazunov made his début in orchestral conducting, an art which he loved but never fully mastered. The following year he conducted his Second Symphony in Paris at the World Exhibition. Although he enjoyed international acclaim, he experienced a creative crisis in 1890–91, yet soon emerged to a new maturity; during the 1890s he completed three symphonies, two string quartets, and the successful ballet Raymonda (1896–7). In 1899 he was appointed professor at the St Petersburg Conservatory, with which he remained connected for some 30 years. During the revolutionary year 1905 he resigned on 4 April in protest at the dismissal of Rimsky-Korsakov, who was in sympathy with the striking students. On 14 December Glazunov agreed to return after most of the demands of the liberal-minded professors had been met. Two days later he was elected director of the conservatory, a post he kept until 1930, although he had left for western Europe in 1928. During his long tenure he worked ceaselessly to improve the curriculum, raise the standards of staff and students, and defend the dignity and autonomy of the conservatory. Among his innovations were an opera studio and a students' philharmonic orchestra. He showed paternal concern for the welfare of needy students (for example, Shostakovich). At the end of each academic year he personally examined hundreds of students and wrote brief comments on each. After the October Revolution of 1917 he established a sound working relationship with the new regime, especially with Lunacharsky, the minister of education; because of Glazunov's immense prestige, the conservatory received special status among institutions of higher learning. Yet there were attacks on him from within the conservatory: the teaching staff demanded more progressive methods, the students greater rights. He viewed with a sense of pain the tide of innovation and its destructive tendencies, and was deeply affected by the unjust way in which the classical heritage was being treated. Tired of the controversy, he welcomed the opportunity to go abroad in 1928; some bitterness is evident in his letters to Steinberg, who directed the conservatory in his absence.

At the time Glazunov was elected director of the conservatory (1905), he was at the height of his creative powers. His best works date from that period, among them the Violin Concerto and Eighth Symphony. This was also the time of the greatest international acclaim: he went abroad in 1907, conducted the last of the Russian Historical Concerts in Paris on 17 May and received the honorary DMus from the universities of Oxford and Cambridge. While in London he spent a considerable time at the Royal Academy of Music and the Royal College of Music, studying their curricula. In the meantime, there were cycles of all-Glazunov concerts given in St Petersburg and Moscow in celebration of his 25th anniversary as a composer. But the time and energy he spent on revitalizing the St Petersburg Conservatory took their toll: there was a decided decline of creative productivity in the succeeding years. He left his Ninth Symphony unfinished (the first movement was written in piano score in 1910), and only his First Piano Concerto (1910–11, although conceived earlier) reflects his former mastery, while the Second Concerto (1917) shows an autumnal decline. He composed his Sixth String Quartet (1921) specially for a young and highly talented group which called itself the ‘Glazunov Quartet’; this ensemble toured Europe in the 1920s with immense success.

Like all Russians, Glazunov suffered much deprivation during World War I and the ensuing civil war years. Despite all hardships he remained active: he conducted concerts in factories, clubs and Red Army posts, participated in organizational work (with the All-Russian Union of Professional Musicians and the Leningrad PO) and was named People's Artist of the Republic in 1922 (in honour of his 40th anniversary as a composer). He played a prominent role in the Russian observation of Beethoven's centenary in 1927 as both speaker and conductor. On 15 June 1928 he left for Vienna to represent the USSR at the Schubert centenary celebrations; he extended his leave of absence several times to remain abroad, although he kept in close touch with events in Leningrad, showing much concern for the conservatory. On 19 December 1928 he conducted an evening of his works in Paris; during the years 1929–31 he conducted in Portugal, Spain, France, England, Czechoslovakia, Poland, the Netherlands and the USA. In 1932 his health deteriorated and he settled in Paris with his wife Ol'ga Gavrilova and adopted daughter Yelena Gavrilova, a pianist. (Under the name of Yelena Glazunov, she appeared frequently as soloist in his piano concertos with him conducting.) Although he now composed little, some of his last works show professional polish, as, for example, the Saxophone Concerto op.109 (1934). His last thoughts turned to his former teacher and friend Rimsky-Korsakov, who had died in 1908: he wrote some recollections about him and accepted membership in a Soviet-sponsored committee to commemorate the 25th anniversary of Rimsky-Korsakov's death. On 14 October 1972 Glazunov's remains were transferred to Leningrad and reinterred in an honoured grave. A research institute devoted to him was established in Munich and a Glazunov archive is maintained in Paris.

Within Russian music, Glazunov has a significant place because he succeeded in reconciling Russianism and Europeanism. He was the direct heir of Balakirev's nationalism but tended more towards Borodin's epic grandeur. At the same time he absorbed Rimsky-Korsakov's orchestral virtuosity, the lyricism of Tchaikovsky and the contrapuntal skill of Taneyev. There was a streak of academicism in Glazunov which at times overpowered his inspiration, an eclecticism which lacks the ultimate stamp of originality. The younger composers (Prokofiev, Shostakovich) abandoned him as old-fashioned. But he remains a composer of imposing stature and a stabilizing influence in a time of transition and turmoil.

BIBLIOGRAPHY
A.V. Ossovsky: Aleksandr Konstantinovich Glazunov: yego zhizn' i tvorchestvo [Glazunov: his life and works] (St Petersburg, 1907)
V. Belyayev: Aleksandr Konstantinovich Glazunov: materialy k yego biografii [Glazunov: extracts of his biography] (Petrograd, 1922)
I. Glebov [B. Asaf'yev]: Glazunov: opït kharakteristiki [Glazunov: an attempt at characterization] (Leningrad, 1924)
A. Glazounov: catalogue complet des oeuvres (Leipzig, 1935) [Belaieff publication]
G. Abraham: On Russian Music (London, 1939/R)
G. Fyodorova: A. Glazunov (Leningrad, 1947, 2/1961)
V. Vanslov: Simfonicheskoye tvorchestvo A. Glazunova [Glazunov's symphonic works] (Moscow, 1950)
Ye. Bogatïryova: ‘Zametki o muzïkal'nom stile A.K. Glazunova’ [Observations on Glazunov's musical style], Voprosï muzïkoznaniya, i (1953–4), 285–301
H. Günther, ed.: A. Glasunow (Bonn, 1956) [incl. source material]
M. Ganina, ed.: A. Glazunov: pis'ma, stat'i, vospominaniya [Glazunov: letters, articles, recollections] (Moscow, 1958)
Glazunov: issledovaniya, materialï, publikatsii, pis'ma [Glazunov: research, materials, publications, letters] (Leningrad, 1959–60)
M. Ganina: Aleksandr Konstantinovich Glazunov: zhizn'i tvorchestvo [Glazunov: life and works] (Leningrad, 1961)
A.E. Cherbuliez: ‘A. Glasunows Kammermusik’, Musik des Ostens, iv (1967), 45–64
B. Schwarz: Music and Musical Life in Soviet Russia 1917–1970 (London, 1972)
A.N. Kryukov: A.K. Glazunov (Moscow, 1982)
M. Mishchenko: ‘Molchan'ye krasotï’ [The silence of beauty], Muzïkal'naya zhizn' (1990), no.22

A Complete Listing of Glazunov's Compositions.

Opus 1: String Quartet No. 1 in D flat major (1881-1882)
Opus 2: Suite on the theme S-A-S-C-H-A for piano (1883)
Opus 3: Overture No. 1 in G minor for orchestra "On Three Greek Themes" (1882)
Opus 4: Five Romances (songs) (1882-1885)
Opus 5: Symphony No. 1 in E major "Slavonian Symphony" (1881-1884) Revised in 1885 and 1929.
Opus 6: Overture No. 2 in D major for orchestra (1883)
Opus 7: Serenade No. 1 in A major for orchestra (1882)
Opus 8: "To the Memory of a Hero", elegy for orchestra (1885)
Opus 9: Suite Characteristique in D major for orchestra (1884-1887)
Opus 10: String Quartet No. 2 in F major (1884)
Opus 11: Serenade No. 2 in F major for small orchestra (1884)
Opus 12: Poème Lyrique in D flat major for orchestra (1884-1887)
Opus 13: "Stenka Razin", symphonic poem in B minor(1885)
Opus 14: Two Pieces for orchestra (1886-1887)
Opus 15: Five Novelettes for string quartet (1886)
Opus 16: Symphony No. 2 in F sharp minor "To the Memory of Liszt" (1886)
Opus 17: Elegy in D flat major for cello and piano (1888)
Opus 18: Mazurka in G major for orchestra (1888)
Opus 19: "The Forest", fantasy in C sharp minor for orchestra (1887)
Opus 20: Two Pieces for cello and orchestra (1887-1888)
Opus 20A: Two Pieces for cello and piano (1888)
Opus 21: Marriage March in E flat major for orchestra (1889)
Opus 22: Two Pieces for piano (1889)
Opus 24: "Reverie" in D flat major for horn and piano (1890)
Opus 25: Preludium and Two Mazurkas for piano (1888)
Opus 26: String Quartet No. 3 in G major "Quator Slave" (1886-1888)
Opus 26A: "Slavonian Feast", symphonic sketches after the final-part of String Quartet No. 3 in G major for orchestra (1888)
Opus 27: Two Songs after Pushkin (1887-1890)
Opus 27A: Orchestration of Two Songs after Pushkin
Opus 28: "The Sea", fantasy in E major for orchestra (1889)
Opus 29: Oriental Rhapsody in G major for orchestra (1889)
Opus 30: "The Kremlin", symphonic picture in three parts (1890)
Opus 31: Three Etudes for piano (1891)
Opus 32: "Meditation" in D major for violin and orchestra (1891)
Opus 32A: "Meditation" in D major for violin and piano (1891)
Opus 33: Symphony No. 3 in D major (1890)
Opus 34: "The Spring", symphonic picture in D major (1891)
Opus 35: Suite in C major for string quartet (1887-1891)
Opus 36: Small Waltz in D major for piano (1892)
Opus 37: Nocturne in D flat major for piano (1889)
Opus 38: "In Modo Religioso", quartet for trumpet, horn and two trombones (1892)
Opus 39: String Quintet in A major for string quartet and cello (1891-1892)
Opus 40: Triumph March for large orchestra and chorus (1892)
Opus 41: Large Concert Waltz in E flat major for piano (1893)
Opus 42: Three Miniatures for piano (1893)
Opus 43: Salon Waltz in C major for piano (1893)
Opus 44: Elegy for violin and piano (1893)
Opus 45: "Carnival", overture for large orchestra and organ in F major (1892)
Opus 46: "Chopiniana", suite after piano pieces by Chopin for orchestra (1893)
Opus 47: Concert Waltzes No. 1 in D major for orchestra (1893)
Opus 48: Symphony No. 4 in E flat major (1893)
Opus 49: Three Pieces for piano (1894)
Opus 50: "Cortège Solennel" in D major for orchestra (1894)
Opus 51: Concert Waltzes No. 2 in F major for orchestra (1894)
Opus 52: Ballet Scenes, suite in A major for orchestra (1894)
Opus 53: Fantasy "From Dark into Light" for orchestra (1894)
Opus 54: Two Impromptus for piano (1895)
Opus 55: Symphony No. 5 in B flat major (1895)
Opus 57: "Raymonda", ballet in three acts (1896-1897) First performance: At St. Petersburg in 1898.
Opus 57A: Suite from "Raymonda" for orchestra (1898)
Opus 58: Symphony No. 6 in C minor (1896)
Opus 59: Six Songs for middle voice (1898)
Opus 60: Six songs for high voice (1897-1898)
Opus 61: "Ruses d'Amour", ballet in one act (1898) First performance: At St. Petersburg in 1900.
Opus 62: Preludium and Fugue in D minor for piano (1895)
Opus 63: Festive Cantata for solo-voices, women's chorus and two pianos eight hands (1898) Dedicated to the 100th anniversary of the Pavlov-Institute.
Opus 64: String Quartet No. 4 in A minor (1894)
Opus 65: Cantata after Pushkin for solo-voices, chorus and orchestra (1899)
Opus 66: Hymn after Pushkin for women's chorus and piano (1889)
Opus 67: "The Seasons", ballet in one act (1900), First performance: At St. Petersburg in 1900.
Opus 68: "Pas de Caractère" from "Raymonda" in G major for orchestra (1899)
Opus 69: Intermezzo Romantica in D major for orchestra (1900)
Opus 70: String quartet No. 5 in D minor (1898)
Opus 71: "Chant du Ménestrel" for cello and piano (1900)
Opus 71A: "Chant du Ménestrel" for cello and orchestra (1900)
Opus 72: Theme and Variations in F sharp minor for piano (1900)
Opus 73: Solemn Overture for orchestra (1900)
Opus 74: Piano Sonata No. 1 in B minor (1901)
Opus 75: Piano Sonata No. 2 in E minor (1901)
Opus 76: March on a Russian Theme in E flat major (1901)
Opus 77: Symphony No. 7 "Pastorale" in F major (1902-1903)
Opus 78: Ballade in F major for orchestra (1902)
Opus 79: "From the Middle Ages", suite in E major for orchestra (1902)
Opus 80: "Chant Sans Bornes" for soprano and alto with piano accompaniment (1900)
Opus 81: Dance-Scene in A major for orchestra (1904)
Opus 82: Concerto in A minor for violin and orchestra (1904)
Opus 83: Symphony No. 8 in E flat major (1905-1906)
Opus 84: "The Song of Destiny", dramatic overture in D minor for orchestra (1908)
Opus 85: Two Preludes for orchestra (1906)
Opus 86: Russian Fantasy in A major for balalaika-orchestra (1906)
Opus 87: "To the Memory of Gogol", symphonic prologue in C major (1909)
Opus 88: Finnish Fantasy in C major for orchestra (1909)
Opus 89: Finnish Sketches in E major for orchestra (1912)
Opus 90: Introduction and Dance of Salomé to the drama of Oscar Wilde (1908)
Opus 91: "Cortège Solennel" in B flat major for orchestra (1910)
Opus 92: Concerto No. 1 in F minor for piano and orchestra (1910-1911)
Opus 93: Preludium and Fugue No. 1 in D major for organ (1906-1907)
Opus 94: "Love" after Shukovsky for mixed chorus a cappella (1907)
Opus 95: Music to the drama "the King of the Jews" after K.K. Romanov (1913)
Opus 96: Paraphrase on the Hymn of the Allies for orchestra (1914-1915)
Opus 97: Song of the Volga-skippers for chorus and orchestra (1918)
Opus 98: Preludium and Fugue No. 2 in D minor for organ (1914)
Opus 99: Karelian Legend in A minor for orchestra (1916)
Opus 100: Concerto No. 2 in B major for piano and orchestra (1917)
Opus 100A: Mazurka Oberek in D major for violin and piano (1917)
Opus 100B: Mazurka Oberek in D major for violin and orchestra (1917)
Opus 101: Four Preludes and Fugues for piano (1918-1923)
Opus 102: Romance of Nina from the play "Masquerada" (1918)
Opus 103: Idylle in F sharp major for piano (1926)
Opus 104: Fantasy in F minor for two pianos (1919-1920)
Opus 105: Elegy in D minor for string quartet (1928)
Opus 106: String Quartet No. 6 in B major (1920-1921)
Opus 107: String Quartet No. 7 in C major "Hommage au passé" (1930)
Opus 108: Concert Ballade in C major for cello and orchestra (1931)
Opus 109: Saxophone Quartet in B major (1932)
Opus 109A: Concerto in E flat major for alto-saxophone and orchestra (1934)
Opus 110: Fantasy in G minor for organ (1934-1935)
Works without Opus number

Five Pieces for string quartet (1879-1881)
Procession dedicated to V.V. Stassov for voice and piano (1883)
"Idylle" for horn and string orchestra (1984)
Serenade No. 2 for horn and string orchestra (1984)
String Quartet On B-LA-F in B major (1887-1888)
"Les Chanteurs de Noël", in F major from the String Quartet "Jour de Fête" (1888)
"From Hafiz", romance after Pushkin (song) (1888)
March of the Devil in B flat major for orchestra (1889)
Fanfares dedicated to the 25th composing-anniversary of Rimsky-Korsakov (1890)
Scherzo-Quadrille for two pianos (1890)
Madrigal in A major for two pianos four hands (1895)
"Do I hear your voice?", romance after Pushkin (song) (1891)
"Proud Song" (1892)
"Fanfares" dedicated to the first performance of Rimsky-Korsakov's Opera "Mlada" for piano (1892)
"Valse Miniature" in G minor for piano (1893)
Barcarole on black keys in F sharp major for piano (1894)
Oriental Suite for orchestra (1895)
Allegro Vivo in E flat major for orchestra (1895)
Theme and variations in G minor for string quartet (1895)
Revised for string orchestra in 1917.
Variation on a Russian theme for piano (1899)
Composed with Rimsky-Korsakov, Liadov, etc.
Variation on a Russian Folksong Theme No. 3 (1898)
Composed with nine other Russian composers.
Two Movements for string quartet (1898-1899)
Contribution to the Collection "Les Vendredis".
"Albumleave" in D flat major for trumpet and piano (1899)
Small Gavotte in C major for piano (1900)
Gagliarde in D major and Mazurka in F minor (1900)
Variations on a Russian Theme (1901)
Slow Waltz for orchestra in F major (1901)
Cantata to the memory of M. Autolsky after Marshak (1902)
"The Elected of the Russian People", song/hymn after Sokolov for chorus and piano (or orchestra) (1906)
Procession dedicated to the birthday of Rimsky-Korsakov in D major for piano four hands (1907)
Small Ballet Suite for orchestra (1910)
Eastern Dance for orchestra (1911)
Cantata dedicated to the 50th anniversary of the St. Petersburg Conservatory for chorus and orchestra (1912)
To the memory of M.D. Skobelev for chorus and orchestra (1914)
Variations after the Variations for string quartet from 1895 in G minor for string orchestra (1917)
Two Poems-Improvisations in G minor and E minor for piano (1917-1918)
Preludium and Fugue in E minor for piano (1926)
Fantasy for two pianos (1929-1930)
Poème Epique for orchestra (1933-1934)
"Arab Melody" for cello and piano
Menuet for piano
 

miguesax86

Fresh Member
gracias por la biografía, ya la había leído antes en el post que dices pero por desgracia no me sirve de mucho, sólo la fecha de la composición (1934). Gracias de todas formas :wink:

un saludo
 
P

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