Glazunov: Symphony No. 5; The Seasons

Alexander Glazunov (1865-1936) was a prodigy composer, whose first symphony was performed when he was 16. An adherent of the Russian Nationalist school in his youth, he later developed a more conservative, European style. Today he is known chiefly for his violin concerto and a few ballet scores, and for his devoted, successful Directorship of the St. Petersburg Conservatory, where Shostakovich was among his students. However, although his music is not arrestingly original, his technical mastery and melodic inventiveness are admirable, manifesting spontaneous talent as well as disciplined training. The two works on this record bear this out. Both have clear formal structures and are remarkable for their brilliant orchestration, which sparkles and glitters with myriad colors. This is especially striking in the one-act ballet, The Seasons, where Glazunov uses instrumental timbres--trilling flutes, mellow horns, stratospheric violins--to depict the changing events of nature: hail, snowflakes, frost, bright sunshine, falling leaves. There is a lilting Barcarolle, several wild Bacchanales, and some lovely flower-waltzes naturally reminiscent of Tchaikovsky. The Symphony, a weightier piece, opens with a slow, stately introduction, a broad theme in unison strings (with strong echoes of Wagner's Rheingold motive), whose elements, varied and developed with great skill and imagination, provide the material for the entire movement. The G minor Scherzo has Mendelssohnian lightness and delicacy, with tinkling flutes and percussion and bouncy, skittering strings; the Trio is a dance, robust but still gracious, with--finally--a Russian flavor. The slow movement, after a harmonically ambiguous start, settles into dark, warm E-flat major with a soaring, ecstatic melody over repeated tonal chords, punctuated by interludes of low brass alternating with high woodwinds. The Finale seems least inspired: a rhythmic, slightly raucous, jubilant dance, it ends with a triumphant crash. The orchestra's excellent performance proves that these two unfamiliar works are well worth closer acquaintance. --Edith Eisler Amazon.com

Not Just Pyotr's Second Fiddle

Imagine being asked to write dance music for St. Petersburg's Imperial Ballet when all the previous guy had done was Sleeping Beauty and The Nutcracker.
Yet in The Seasons, Alexander Glazunov doesn't simply play second fiddle to Tchaikovsky. The one-act ballet (1900) offers many highlights: the mischievous bassoons in the "Hail" section of "Winter"; the exuberant waltz of "Spring"; the la-dee-dah-dah flutes and swirling violins of the famous "Dance of the Cornflowers and Poppies" in "Summer." And while the stately "Bacchanale" theme memorably dominates "Autumn," what lingers after repeated listenings is the responsiveness of the Scots' strings during the lush lullaby melodies of the "Petit Adagio."
In the Adagio of the Fifth Symphony (1895), after foreboding horns interrupt the rich orchestration of the theme that enters midway through, Glazunov unites the brass and string sections to achieve a moving resolution. The final movement is a rondo that starts out energetically and then, with the propulsion of the trumpets, accelerates even more.
By resurrecting a symphony other than the Fourth, Jose Serebrier demonstrates that Glazunov is more than just a lesser Tchaikovsky. February 1, 2005

A Winning Album in Every Count!

It seems as though Glazunov is getting a good deal of attention as of late, with a multiple of new recordings of his music that were issued in the past year (believe me, the surge is most welcome, for like other reviewers of this disc, its neglect is baffling). Truth to tell, it has been quite a while since accounts of his works, particularly the Fifth Symphony, are given with such flair and freshness as they are here. Not that Serebrier's approach is entirely unadorned, but that's to its advantages. Take the climax (at 7'20") of the Symphony's first movement, how grand the approach is without being undercharged. Although Borodin's influence is noticeable throughout, Serebrier would have you think twice. This is pure Glazunov plain and simple under the great Maestro's hands. And how sweet the lyricism is particularly in the Scherzo. The andante is well played also, though not emotionally as heartwarming as in Svetlanov's and Fedoseyev's recordings (the brass interceptions are especially poignant and tragic in these fine vintage Melodiya albums). But Serebrier held his ground well, as in the case in the Finale, which is superbly done and very much reminds me of Jarvi and Svetlanov in their overall takes. Exemplary, particularly at the climaxes and the finising bars of the work (though I'm still finding myself thrilled of how emphatic Jarvi is in the six-note Tchaikovskian closing).

The same amount of praises are warranted in Serebrier's take of "Vremena Goda" ("The Seasons"). This is Glazunov at his best (and those who deem the score as an equal to "The Nutcracker" are not insane). It is, as typical with the composer's music, a very demanding work and treating it too straightforwardly would rob some of its delicate yet highly imaginative qualities. Most conductors, particularly Jarvi in Chandos, succeed in bringing out the intricate details of the piece to full effects. There are no exceptions of it here, where Serebrier allows the music to flow, very much like what Svetlanov did in his 1978 EMI recording. Jarvi's rendition have more excitability and brisk (the Bacchanal and the Scene III's coda leading up to it are the best on record). But there are plenty of virtures to be found here, as this recording may well set new standards. As in the Chandos disc, the Royal Scottish National Orchestra responds with plenty of warmth and exuberance for Serebrier. The recording sound is first class and the album is well indexed and presented. My only hope is for the same team to record Glazunov's other works like, say, his Sixth Symphony and perhaps even "Raymonda." November 1, 2004

A NEW GLAZUNOV CONVERT

Glazunov, thinks to this new release on Warner Classics, is revealed as one of the great Rusian romantic composers. Hard to understand why his music is not played as often as Tchaikowvsky.
I can guess that it has to do with understanding of the music, and exciting, communicating performances. This new CD has everything: electricity, perfect sonics, and the most musical
interpretation by Jose Serebrier and the Royal Scottish National Orchestra of Glasgow. The music making is absolutely first class. It is indeed a class act in every sense. I am puzzled by the cover art, which does not seem to fit the contents of the CD, but the liner notes are extremely informative and easy to read. I hope that this is the first of a Glazunov series. It has fully converted me.
Andres
Tampa, Florida October 19, 2004

Fantastic recording

I hope this release is the first of a Glazunov series, because I can't wait for my favorite 4th symphony. This recording of
the 5th is so admirable in every sense, that it will surely
help to put this neglected composer on the map, or at least in the concert circuit. The Seasons ballet music never sound more vibrant and exciting. A fantastic recording all around.
June Spencer
London, UK October 17, 2004

EXTRAORDINARY PERFORMANCES BY THE RSNO AND JOSE SEREBRIER

Obviously, the Royal Scottish National Orchestra has Russian music on their collective blood. They play Glazunov as if their lives depended on it. It makes you hand from every breath, like a novel you can't put away. Glazunov. in these superb performances comes out triumphant as a truly major Russian master, of the level of Tchaikowsky and Rachmaninoff. The music is well contructed and so rich in memorable melodies that one has to wonder why it has taken so long to make it into the mainstream. There are several versions coming all at once in the market from labels such as Chandos, BIS and Naxos. The
performances here by Jose Serebrier and the RSNO, on Warner Classics, is the only one to consider seriously. I know. I own them all, and this new version is on a class of its own. The
performances are passionate, powerful, full of intensity. And yet there is a calculated continuity at work. Congratulations to Warners and to the recording team for the beautiful, clar sound. A true demonstration recording!
Ralph Brown
England October 1, 2004

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