COMPOSERS: Glazunov
LABELS: Warner
ALBUM TITLE: Glazunov
WORKS: Symphony No. 4; Symphony No. 7
PERFORMER: Royal Scottish National Orchestra/
José Serebrier
CATALOGUE NO: 2564-63236-2
Few would rank Glazunov among
the great symphonists, yet his
skilful reformulations of ‘Russian
Nationalist’ nostrums contain
almost unfailingly attractive
music and are always admirably
well-crafted. In No.4, dedicated
to Anton Rubinstein, he felt he
had attained a more cosmopolitan
language, less parochially Russian.
Few commentators have concurred
(but note the piercing reminiscence
of Tristan at 11:40 into the first
movement!). Formally the work
is modestly innovative: its three
movements are held together by a
motto theme,and though it has a central scherzo it dispenses with any
slow movement; Glazunov makes
up with soulful slow passages in the
outer ones.
No. 7 (1900-01) is sometimes
dubbed the Pastoral, for the first
movement’s resemblances to
Beethoven in key and cut of melody.
It too is shyly unorthodox in form,
the exciting finale having only one
theme of its own and otherwise
using contrapuntal combination and
variation of the subjects of the other
three movements.
This movement especially
displays Glazunov’s magnificent
technique, while the impressive
slow movement is one of his most
beautiful and deeply-felt inspirations.
Altogether this is a beautiful and
enlivening work, especially in
Serebrier’s sympathetic and vigorous
performance, which has no current
competitors.
No. 4 (coupled with No. 5)
is available on ASV in a sturdy
performance by the Philharmonia
conducted by Yondani Butt, and
a sonically plusher version by
Polyansky with the Russian State SO
on Chandos; but Serebrier, helped by
the more energized-sounding playing
of the RSNO, probes deeper into
the music and makes the score much
more characterful and colourful
than either of his rivals. This is a
very useful issue.
Calum MacDonald
Glazunov: Symphony No. 4; Symphony No. 7
Few would rank Glazunov among
the great symphonists, yet his
skilful reformulations of ‘Russian
Nationalist’ nostrums contain
almost unfailingly attractive
music and are always admirably
well-crafted. In No.4, dedicated
to Anton Rubinstein, he felt he
had attained a more cosmopolitan
language, less parochially Russian.
Few commentators have concurred
(but note the piercing reminiscence
of Tristan at 11:40 into the first
movement!). Formally the work
is modestly innovative: its three
Our rating
4
Published: January 20, 2012 at 4:02 pm