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古典音乐不但可以开发你的想象力，古典音乐还能提升你的艺术修养，最重要的是在当今浮躁的世界里，
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Stephen Coombs专辑介绍：
史蒂芬库姆斯专辑介绍：与大多数俄罗斯作曲家一样，钢琴音乐在亚历山大·康斯坦丁诺维奇·格拉祖诺夫的作品中占有重要地位。他的天赋是在这里展出的几乎每一个方面：作为微雕他的技巧，他的音乐沙龙的优雅，他的冒险精神，他掌握谐波对位和大规模的形式。Glazunov也认为，在俄罗斯音乐发展的一个特定的地方作为一个整体。他是格林卡寻求俄罗斯民族主义表达的继承人，也是安东·鲁宾斯坦将俄罗斯艺术融入欧洲主流文化的愿望。他是倡导的民族主义作曲家巴拉基列夫和后者的学生Rimsky Korsakov教。他受他的朋友柴可夫斯基的影响，但继承了安东·鲁宾斯坦的衣钵——最著名的是圣彼得堡音乐学院院长。虽然他的遗产的大部分已经在欧美地区被忽视，他的影响力，为俄罗斯的音乐人一直生活在后革命作曲家历代尤其是他最大的学生音乐，肖斯塔科维奇。Glazunov是俄罗斯最伟大的交响乐作曲家柴可夫斯基之后（八交响曲全集）并亲自传下来的遗产肖斯塔科维奇。同样，他的芭蕾舞剧（他们只是吸引了柴可夫斯基的第二）保持在这一领域的贡献和为以后活着的俄罗斯作曲家如斯特拉文斯基提供未来的机会。这是不可能的，Rachmaninov会与他有这样一个不寻常的成功能给自己的第一交响曲在他职业生涯早期没有首映Glazunov；和他倡导的弦乐四重奏中影响成功的俄罗斯作曲家的代。Glazunov于1865年8月10日出生在圣彼得堡。他的父亲Konstantin Ilyich是一个繁荣的出版商和热心的业余小提琴手。他的母亲Elena Pavlovna是一位有成就的钢琴家几乎专业的标准，所以，亚力山大的音乐训练开始早就不足为奇了。他从六岁开始学钢琴，大概是为了让家人一起演奏室内乐，还被鼓励演奏中提琴和大提琴。十二岁时，亚力山大开始与Nikolai Elenkovsky认真研究，他的母亲自己的钢琴老师。然而，仅仅一年后，Elenkovsky离开了圣彼得堡，为了自己和亚力山大找到一个替代的老师，Elena Pavlovna转身对Mili Balakirev的建议。这是Glazunov职业生涯中最重大的事件。巴拉基列夫，由亚力山大早期创作的努力印象深刻，认为他应该有自己的保护éGé研究，Rimsky Korsakov。Glazunov开始了他的研究Rimsky Korsakov 1880年初。他的进步惊人。1881他画他的第一交响曲在1882年3月给出其广受好评的首映式在巴拉基列夫在免费音乐学校的音乐会。Glazunov年仅十六岁。他的第一交响曲的成功使这位年轻作曲家受到了关注。虽然有人怀疑这是否都是他自己的作品（有传言说，他的父母为他写了交响乐），但也有人开始特别关注这位冉冉升起的新星。最重要的，无论是对Glazunov和俄罗斯音乐出版业的未来，Mitrofan Petrovich Belaieff。Belaieff是一个百万富翁的地主。他酷爱音乐，四十六岁时，Glazunov的交响乐引起了他的想象。他走近作曲家，想出版这部作品。他的计划是在莱比锡建立他的出版社，而不是像以前那样，在俄罗斯（那里几乎没有版权保护）。交响乐团成为第一个工作被M P Belaieff出版公司的主宰俄罗斯音乐出版直到革命。-快速建立在早期的成功和1884进行了他的第一次海外旅行。在魏玛，他遇到了Liszt，这位年轻的作曲家在他的第一首交响曲中安排了首次在俄罗斯以外的演出。这会成为Glazunov职业生涯的一个转折点。几年后，他将成为俄罗斯最有影响力的作曲家之一。为了了解他非凡的成功，重要的是要回顾当时俄罗斯音乐界的情况。
In common with most Russian composers, piano music holds a significant place in the works of Alexander Konstantinovich Glazunov. Virtually every aspect of his talent is exhibited here: his skill as a miniaturist, the elegance of his salon music, his harmonic adventurousness and his mastery of counterpoint and large-scale forms.
Glazunov also holds a particular place in the development of Russian music as a whole. He stands as the heir of both Glinka’s quest for a Russian nationalistic expression and Anton Rubinstein’s desire to integrate Russian art into mainstream European culture. He was championed by the nationalistic composer Balakirev and taught by the latter’s student Rimsky-Korsakov. He was influenced by his friend Tchaikovsky and yet inherited the mantle of Anton Rubinstein – most notably as Director of the St Petersburg Conservatory. Although his legacy has been largely ignored in the West, his influence as Russia’s great musical conciliator has lived on in successive generations of post-Revolutionary composers and particularly in the music of his greatest student, Shostakovich.
Glazunov was Russia’s greatest symphonist after Tchaikovsky (with eight completed symphonies) and personally handed down this legacy to Shostakovich. Similarly, his ballets (second only to Tchaikovsky’s in their appeal) kept alive Russia’s contribution in this field and provided future opportunities for later composers such as Stravinsky. It is unlikely that Rachmaninov would have been able to give the premiere of his own first symphony so early in his career had not Glazunov had such an unusual success with his; and his championing of the string quartet medium influenced succeeding generations of Russian composers.
Glazunov was born in St Petersburg on 10 August 1865. His father Konstantin Ilyich was a prosperous publisher and a keen amateur violinist. His mother Elena Pavlovna was an accomplished pianist of almost professional standard, so it is not surprising that Alexander’s musical training started early. From the age of six he studied piano and, presumably to allow the family to play chamber music together, was also encouraged to play the viola and cello.
At the age of twelve, Alexander began serious studies with Nikolai Elenkovsky, his mother’s own piano teacher. However, barely a year later, Elenkovsky left St Petersburg and, in order to find a replacement teacher for herself and Alexander, Elena Pavlovna turned for advice to Mili Balakirev. This was to prove the most decisive event in Glazunov’s career. Balakirev, impressed by Alexander’s early compositional efforts, suggested that he should study with his own protégé, Rimsky-Korsakov. Glazunov began his studies with Rimsky-Korsakov at the beginning of 1880. His progress was phenomenal. By 1881 he was sketching his first symphony and in March 1882 it was given its acclaimed premiere under Balakirev at a Free Music School concert. Glazunov was only sixteen years old.
The success of his first symphony turned the spotlight on the young composer. Though there were some who doubted whether it was all his own work (there was a rumour that his parents had paid for the symphony to be written for him), there were others who began to pay special attention to this newly rising star. The most important of these, both for Glazunov and for the future of Russian music publishing, was Mitrofan Petrovich Belaieff.
Belaieff was a millionaire landowner. He had a passion for music and, at the age of forty-six, Glazunov’s symphony caught his imagination. He approached the composer with a view to publishing the work. His plan was to set up his publishing house in Leipzig and not, as had been the custom until then, in Russia (where there was little copyright protection). The symphony became the first work accepted by M P Belaieff, the publishing firm which was to dominate Russian music-publishing until the Revolution.
Glazunov quickly built on this early success and in 1884 made his first journey abroad. In Weimar he met Liszt, who honoured the young composer by arranging the first performance outside Russia of his first symphony. This meeting became a turning point in Glazunov’s career. Within a few years he would become one of the most influential composers in Russia. In order to understand his extraordinary success it is important to review the situation in musical Russia at that time.
In 1865, the year of Glazunov’s birth (and also that of the composers Carl Nielsen, Paul Dukas and Jean Sibelius), the Russian musical establishment was dominated by the opposing figures of Balakirev and Anton Rubinstein. Though both paid homage to the earlier nationalistic composer Glinka, they differed in their views about the direction which Russian music should take. Rubinstein looked to the west for inspiration; Balakirev, on the other hand, looked towards the east and Russia’s own heritage of folk song and ethnic diversity. Eventually Balakirev’s views came to influence a whole generation of composers in St Petersburg. An influential and powerful group, comprising Balakirev together with Mussorgsky, Borodin, Rimsky-Korsakov and Cui, became known as ‘The Mighty Handful’. Their dominance, however, proved to be short-lived for, in 1887, with Mussorgsky already dead, ‘The Mighty Handful’ effectively passed into history with the unexpected death of Borodin. The group had now lost its two most original, if hardly prolific, composers. César Cui had become distanced from his former friends largely because of his vitriolic, if entertaining, music reviews (his description of Rachmaninov’s first symphony as a ‘programme symphony on the Seven Plagues of Egypt’ is a good example of the sort of remark that lost him the goodwill of his fellow composers). Balakirev, meanwhile, had become increasingly estranged from his colleagues because of his continuing obsession with nationalism and his difficult temperament. Within this vacuum, Glazunov’s reputation grew. Three years after Borodin’s death, Glazunov, still only twenty-five years old, took over the post of conductor at the Russian Symphony Concerts from Rimsky-Korsakov who was now turning increasingly to opera. With the death of Tchaikovsky in 1893, and that of Anton Rubinstein in the following year, Glazunov took centre stage and became the leader of the new musical establishment.
Glazunov had already proved himself to be a prolific composer. In the four years between 1888 and 1892 he published twenty-seven works, perhaps in response to Belaieff’s pressure to fill up his still embryonic catalogue, though also to keep up the tradition of performing a new Glazunov work in each new Russian Symphony Concert (usually six a year). By the end of the century Glazunov had completed five string quartets, six symphonies, his three ballets (Raymonda, Les Ruses d’Amour and The Seasons), together with the majority of his piano works, several other chamber works, four sets of songs and various overtures, serenades and symphonic poems for orchestra. The end of the century was significant in another respect, for in 1899 Glazunov began his thirty-year tenure at the St Petersburg Conservatory with his appointment as Professor of Instrumentation.
Despite the increasing demands of teaching, the period from 1899 to 1906 represents a creative peak in Glazunov’s career. Although he no longer wrote as prolifically, the quality of his output remained high. His last two symphonies, the violin concerto, the fifth string quartet and his two piano sonatas all belong to this period and deserve a place among the finest examples of Russian music. From 1907 onwards his time was increasingly taken up with the Conservatory, especially after being appointed its Director in November 1905. The active composer, prolific and energetic, had become, within a decade, a revered pedagogue. The meteoric rise was now to be followed by as sudden a decline.
By 1912 the Russian avant-garde had attracted the attention of the world. Stravinsky had already given the premieres of his ballets The Firebird and Petrushka and was now at work on The Rite of Spring, whilst back at the St Petersburg Conservatory Liadov’s brilliant pupil Serge Prokofiev had won the Rubinstein Prize with his first piano concerto.
Increasingly isolated and confused (by now all his closest friends and colleagues were dead), Glazunov watched as the new music moved in to take over the sound-world he inhabited. Although still revered by his students he now found himself removed from his position as the great new hope of Russian music to the stuffy old guard – all within two decades. With the 1917 Revolution his world and his creative expression of it had virtually ended. Although he lived until 1936, his creative output became a mere trickle.
In 1922, by now chronically dependant on alcohol, Glazunov was named ‘People’s Artist of the Republic’ to mark forty years as a composer. At the celebratory concert it was announced that in recognition of his services his living conditions would be improved (he was then living in one room, having repeatedly refused the Soviet Government’s requests to write music for the Revolution which would have immediately placed him in relative luxury). His only response was to say that he personally needed nothing, but that if the Government really wanted to help they could provide fuel for the freezing Conservatory.
On 15 June 1928 Glazunov left Leningrad to represent Russia at the Schubert Centenary celebrations in Vienna. He never returned. Settled in Paris, the Soviet authorities named him an ambassador for Soviet music and a living example of continuity. Glazunov, however, torn between his loyalty to the Conservatory and the possibility that Paris could offer a return to his pre-Revolutionary lifestyle, hung on. Finally, in 1930, he resigned from the Conservatory after more than a quarter of a century at his post. Over the next few years he travelled extensively across Europe and North America conducting and performing with his newly adopted daughter Elena who performed his piano concertos all over Europe under his direction.
Alexander Glazunov died on 21 March 1936 in Paris. He was seventy years old. Thirty-six years later, on 13 November 1972, his body was returned to Russia where he was buried among his friends Borodin, Mussorgsky, Tchaikovsky and Rimsky-Korsakov in the Alexander Nevsky cemetery in Leningrad.
The Suite on the name ‘SASCHA’, Op 2, is Glazunov’s first published piano composition and is dedicated to his mother, Elena Glazunova. Written in 1883, it is a remarkably assured work containing many of the pianistic devices which were to become a feature of his later piano-writing. Using the notes which spell the diminutive of his own name, SASCHA (in German notation these letters stand for E flat, A, E flat, C, B, A), it is great bravura writing, offering no concessions to the performer. It contains a wealth of contrapuntal detail and that exuberance which naturally accompanies a young composer exploring a new medium. This work was already known to Liszt in 1884 – an interesting confirmation of the advantages to be gained by publishing with Belaieff in Leipzig rather than the more isolated Russian-based publishing houses. Glazunov relates how, on his visit to Weimar in the same year: ‘[Liszt] … made his pupil Friedheim, a Russian, play my piano suite, but he played the Prelude so badly that Liszt chased him away from the piano and made me continue. He particularly liked the agitato in the Prelude. Meanwhile, more and more people arrived. Various composers came, among them Saint-Saëns. They played their works. Apropos of something, Liszt said that if a work contains something Russian, it is certain to be good. He is very witty. When I seated myself at the piano and apologized for playing badly, he remarked that it should be so. If a composer plays well or a pianist composes well, he said, there is good reason to suspect that each is passing off someone else’s work as his own. Liszt is full of witticisms like this.’
With his Waltzes on the theme ‘SABELA’, Op 23, Glazunov picks up exactly where he left off in his Suite, this time incorporating the name of the work’s dedicatee, Nadezhda Sabela, a distinguished coloratura soprano of the period (the letters forming the sequence E flat, A, B flat, E natural and ‘La’, or the note A). Glazunov shows an affinity with waltzes, and delicious concoctions they are. All of his piano waltzes were written during a particularly prolific period of his life – between 1890 and 1893. Though undoubtedly finished works in their own right, one cannot help thinking that their composition might have served as a preparation for his more famous orchestral Valse de concert, Op 47, and his later ballet waltzes. His Grande valse de concert, Op 41, was completed in 1891 and is in every way a tour de force. His other waltzes, the Petite valse, Op 36, and the Valse de salon, Op 43, were written in 1892 and 1893 respectively and, although not on the same scale as his Grande valse, reflect precisely the glittering cosmopolitan society of nineteenth-century St Petersburg.
The Three Miniatures, Op 42, continue this dance theme, this time a Polka and a Waltz being accompanied by an introductory Pastorale. They were written in 1893, an important year for Glazunov in several respects. With the completion of his Symphony No 4 and the previously mentioned Valse de concert for orchestra, Glazunov had finally shown that he was capable of matching Tchaikovsky in his mastery of orchestration and effortless melodic invention – just as he had previously matched Borodin, Balakirev and Rimsky-Korsakov. That 1893 should have marked this turning point is especially poignant as it was also the year of Tchaikovsky’s death. For some time Tchaikovsky had found the company of Glazunov especially congenial, meeting him whenever he was in St Petersburg. One evening in November 1893, four days after the premiere of his ‘Pathétique’ symphony, Tchaikovsky left the theatre and spent the evening together with Glazunov, his brother Modest and two nephews. They drank heavily until two o’clock in the morning and it was at lunch later that day that it is claimed Tchaikovsky drank the famous glass of unboiled water that was to precede his death five days later.
The Piano Sonata No 1 in B flat minor, Op 74, was written in 1900. It is one of only two piano sonatas to be written by Glazunov, and both works are colossal achievements. It is dedicated to Nadezhda Rimsky-Korsakov, the wife of his friend and former teacher and herself an accomplished pianist. With his time increasingly taken up with teaching duties at the Conservatory, Glazunov completed only four works in 1900 (interestingly, one of the others being his Theme and variations, Op 72, his only other large-scale work for piano besides the sonatas). The sonata was given its premiere on 6 October 1901 by Alexander Siloti, a disciple of Liszt and Rachmaninov’s teacher, and received a mixed reception from the critics. Bristling with technical difficulties, one cannot be sure whether Siloti himself would have been capable of meeting the demands made on the performer. Despite the brilliant piano-writing it is a very controlled work. Glazunov never allows the music to spill over into emotionalism and here we see the more austere Taneyev’s influence on Glazunov most clearly. Probably because of its huge demands, this sonata is rarely heard in the concert hall – a possible reason for Belaieff later publishing a two-piano arrangement of the work by Blumenfeld.
Vol.1 - [CDH55221]
01. Suite on the name 'SASCHA' Op 2 - I. Ioduction and Prelude [0:04:05.71] 萨沙组曲 -1. 引子与前奏曲
02. Suite on the name 'SASCHA' Op 2 - II. Scherzo [0:03:04.62] -2. 谐谑曲
03. Suite on the name 'SASCHA' Op 2 - III. Nocturne [0:05:31.58] -3. 夜曲
04. Suite on the name 'SASCHA' Op 2 - IV. Valse [0:03:27.02] -4. 圆舞曲
05. Three Miniatures Op.42 - I. Pastorale [0:03:12.54] 三首小品 -1. 田园曲
06. Three Miniatures Op.42 - II. Polka [0:02:32.25] -2. 波尔卡舞曲
07. Three Miniatures Op.42 - III. Valse [0:03:29.68] -3. 圆舞曲
08. Valse de salon Op.43 [0:07:04.06] 沙龙圆舞曲
09. Grande valse de concert Op.41 [0:08:12.20] 音乐会大圆舞曲
10. Waltzes on the theme 'SABELA' Op.23 [0:03:26.29] “萨贝拉”圆舞曲
11. Petite valse Op.36 [0:03:02.59] 小圆舞曲
12. Piano Sonata No.1 in B flat minor Op.74 - I. Allegro moderato [0:08:38.62] 降b小调第一钢琴奏鸣曲
13. Piano Sonata No.1 in B flat minor Op.74 - II. Andante [0:07:41.04]
14. Piano Sonata No.1 in B flat minor Op.74 - III. Finale: Allegro scherzando [0:07:31.60]
Total Playing Time: 01:11:01
Vol.2 - [CDH55222]
01. Three Etudes, Op 31 - Allegro [0:03:13.14] 三首练习曲
02. Three Etudes, Op 31 - Allegro [0:04:28.18]
03. Three Etudes, Op 31 - Night - Allegretto quasi andantino [0:04:06.52]
04. Two Pieces, Op 22 - Barcarolle [0:04:08.34] 两首小曲 -1. 船歌
05. Two Pieces, Op 22 - Novelette [0:03:51.06] -2. 新事曲
06. Trois Morceaux, Op 49 - Prelude [0:02:27.58] 三首小品 - 前奏曲
07. Trois Morceaux, Op 49 - Caprice-Impromptu [0:03:15.59] - 奇想曲-即兴曲
08. Trois Morceaux, Op 49 - Gavotte [0:04:17.07] - 加沃特舞曲
09. Nocturne, Op 37 [0:05:44.37] 夜曲
10. Miniature in C (1883) [0:01:33.26] C大调小品
11. Easy Sonata (?1880) [0:01:40.09] 简易奏鸣曲
12. Sonatina (?1880) [0:01:52.50] 小奏鸣曲
13. Two Prelude-Improvisations (1918) - Le patetico - Andantino quasi allegretto [0:03:43.21] 两首前奏即兴曲
14. Two Prelude-Improvisations (1918) - Andante mesto [0:06:17.49]
15. Theme and Variations, Op 72 - Theme: Andante [0:00:31.01] 升f小调主题及变奏曲
16. Theme and Variations, Op 72 - Variation 1: Piu mosso [0:00:25.69]
17. Theme and Variations, Op 72 - Variation 2: L'istesso tempo [0:00:29.33]
18. Theme and Variations, Op 72 - Variation 3: Andante [0:00:33.47]
19. Theme and Variations, Op 72 - Variation 4: Poco piu mosso [0:00:27.23]
20. Theme and Variations, Op 72 - Variation 5: Andante sostenuto [0:00:35.57]
21. Theme and Variations, Op 72 - Variation 6: Largo [0:00:53.65]
22. Theme and Variations, Op 72 - Variation 7: Allegro [0:00:39.29]
23. Theme and Variations, Op 72 - Variation 8: Vivo [0:00:38.40]
24. Theme and Variations, Op 72 - Variation 9: Adagio tranquillo [0:02:16.06]
25. Theme and Variations, Op 72 - Variation 10: Allegro assai [0:00:40.02]
26. Theme and Variations, Op 72 - Variation 11: Allegretto [0:01:33.26]
27. Theme and Variations, Op 72 - Variation 12: Andante sostenuto [0:01:52.56]
28. Theme and Variations, Op 72 - Variation 13: Allegro [0:01:07.33]
29. Theme and Variations, Op 72 - Variation 14: Andante tranquillo [0:02:53.02]
30. Theme and Variations, Op 72 - Variation 15: Finale - Allegro moderato [0:02:29.61]
Total Playing Time: 01:08:45
Vol.3 - [CDH55223]
01. Prelude and Fugue in D minor Op.62 I Prelude [0:03:20.33] d小调前奏曲与赋格 -1. 前奏曲
02. Prelude and Fugue in D minor Op.62 II Fugue [0:07:45.24] -2. 赋格
03. Four Preludes and Fugues Op.101-1 in A minor I Prelude [0:04:27.51] 四首前奏曲与赋格
04. Four Preludes and Fugues Op.101-1 in A minor II Fugue [0:09:29.48]
05. Four Preludes and Fugues Op.101-2 in C sharp minor I Prelude [0:02:18.08]
06. Four Preludes and Fugues Op.101-2 in C sharp minor II Fugue [0:06:36.73]
07. Four Preludes and Fugues Op.101-3 in C minor I Prelude [0:02:52.28]
08. Four Preludes and Fugues Op.101-3 in C minor II Fugue [0:04:32.32]
09. Four Preludes and Fugues Op.101-4 in C I Prelude [0:02:34.06]
10. Four Preludes and Fugues Op.101-4 in C II Fugue [0:04:36.31]
11. Prelude and Fugue in E minor (1926) I Prelude [0:03:12.54] e小调前奏曲与赋格 -1. 前奏曲
12. Prelude and Fugue in E minor (1926) II Fugue [0:08:34.39] -2. 赋格
Total Playing Time: 01:00:22
Vol.4 - [CDH55224]
01. Prelude and two mazurkas Op.25 I Prelude [0:03:52.01] 前奏曲与两首玛祖卡舞曲
02. Prelude and two mazurkas Op.25 II Mazurka I [0:05:53.58]
03. Prelude and two mazurkas Op.25 III Mazurka II [0:05:07.40]
04. Barcarolle sur les touches noires [0:03:12.40] 黑键上的船歌
05. Two Impromptus Op.54 - Impromptu I [0:01:53.59] 两首即兴曲
06. Two Impromptus Op.54 - Impromptu II [0:03:31.50]
07. Idylle Op.103 [0:06:03.40] 升F大调田园诗
08. Triumphal March Op.40 [0:09:49.45] 凯旋进行曲
09. Song of the Volga boatmen Op.97 [0:02:23.10] 伏尔加船夫曲
10. In modo religioso Op.38 [0:02:55.33] 宗教模式???
11. Pas de caractère Op.68 [0:02:22.29] 特性舞曲
12. Piano Sonata No.2 in E minor Op.75 I Moderato [0:08:05.30] e小调第二钢琴奏鸣曲
13. Piano Sonata No.2 in E minor Op.75 II Scherzo [0:06:13.00]
14. Piano Sonata No.2 in E minor Op.75 III Finale [0:08:44.32]
Total Playing Time: 01:10:07
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