Notes for: August 7, 2007
The student of Rimsky-Korsakov and the teacher of Prokofiev and Shostakovich, Alexander Glazunov was a key transitional figure in the history of Russian music. When he began composing in the 1880s, Russian musical nationalism, with its emphasis on the use of traditional folk elements and idioms, was at its high point. In 1899, when he was appointed professor at the St. Petersburg Conservatory, Russia’s musical tastes had returned substantially to the forms and styles of western music. And in 1930, when he retired as director of the Conservatory, Soviet authorities had assumed ideological control of Russian cultural life.
Glazunov’s reputation as a composer reflected these shifting currents. Altogether he composed more than 100 works, including eight symphonies, five concertos and seven string quartets, as well as a series of stage and orchestral works in the Russian nationalist idiom. At one time, in fact, he was heralded as Tchaikovsky’s successor as Russia’s number one composer, and when Borodin died, Rimsky selected Glazunov as his partner in completing Borodin’s unfinished compositions.
At the turn of the century, moreover, Glazunov’s music – whether western or nationalist in orientation – was widely played not only in Russia but throughout Western Europe and the United States. But tastes changed, and today he is remembered largely for his Violin Concerto, popularized by Jascha Heifetz, and two ballets, Raymonda and The Seasons.
When Glazunov was only 20, Rimsky introduced him to a wealthy art patron named Mitrofan Belyayev. The sponsor of symphony concerts in St. Petersburg and the owner of a publishing house in Leipzig, Belyayev invited a group of Russian composers to his palatial house every Friday to perform each other’s music. Glazunov was the youngest member of the group, and his host encouraged him to produce a series of chamber works that he might publish in western Europe, including the quintet we hear this evening.
The quintet is an amalgam of western and Russian nationalist influences. The former are reflected principally in the form and content of the first movement and the fact that the first three movements are lacking any specific Russian character. The last movement, in contrast, is strongly Russian in rhythm and color.
Like Schubert’s great string quintet, Glazunov’s quintet adds a second cello to the traditional string quartet, instead of a second viola as in the string quintets of Mozart, Brahms and Dvořák. This gives the music a particularly rich and sonorous character. And, as in the case of Schubert, two cellos gives the composer more flexibility – he can use either instrument to carry the melody, play an accompanying role, fill in the middle harmonies or provide a bass line.
The first movement is in the conventional sonata form with two main themes followed by their development and restatement. In this case, however, the themes are in different meter. The first theme is presented by the viola in 9/8, climbing into its higher register. The second theme, initiated by a cello in its higher register and then picked up by the first violin, is in 3/4. The development returns to 9/8, and is based mainly on phrases of the first theme.
The scherzo follows, but in 2/4 rather than the customary 3/4 rhythm. After 13 introductory bars, the main theme is presented pizzicato, which alternates with bowed staccato passages. A middle section provides a mournful contrast.
The slow movement is a warm lyrical piece with the first theme presented by the second cello after a sweet-sad introduction. The other instruments join in, and the music becomes more passionate. Eventually the original mood returns, and the movement dies out with the first violin and first cello seasoning the texture with high harmonics.
The fourth movement is rondo in structure with a main theme repeated after contrasting episodes. The main theme is a heavy-footed Russian dance, stated gruffly at the outset by the two cellos. There are two episodes, the second of which again features the viola playing in a high register. The quintet concludes with an exciting coda marked presto then prestissimo.