Glazunov, Prelude Op. 49, No. 1

[rachfan]

Aleksandr Glazunov (1865–1936) was a late romantic Russian composer, teacher and conductor. He studied with Rimsky-Korsakov and later became a professor at the Saint Petersburg Conservatory (later the Leningrad Conservatory) and its director for 23 of his 31 years there, improving the institution in many ways.  He left the Soviet Union in 1928, lived in Paris, never to return to Russia until his interment there. The best known student under his tenure was Shostakovich. Glazunov successfully reconciled nationalism and cosmopolitanism in his music. He had many influences including Balakirev, Borodin, Rimsky-Korsakov, Tchaikovsky and Taneyev.
 
The piece at hand is his “Prelude” from the Three Pieces for Piano, Op. 49, No. 1 dedicated to Annette Essipoff.  This work is a very searching piece much like a meditation.  In fact in some moments it sounds almost hymn-like.  Some of the rolls are difficult, so the piece benefits from large hands.  I hope you'll enjoy it.

Comments welcome.

Piano: Baldwin Model L Artist Grand (6’3”) with the lid fully opened
Recorder: Korg MR-1000
Microphones: Earthworks TC-20 matched pair of small diaphragm omni-directional condenser mics in A-B configuration    

[pianowolfi]

Oh yes I do enjoy it really! I can't write a lot because I'm quite exhausted/been very busy etc. but I have listened and I like the style of the Prelude and I like very much how you play it!

[rachfan]

Hi wolfi,

Thanks for listening, and for the nice compliment.  This is one of those pieces that turns out to be harder than the score appears to be.  I believe this piece is seldom played, so I was glad to provide some a little illumination for Glazunov and this lyrical piece.  I'm glad you liked it. 

David

[furtwaengler]

Ah, let's just play the Russians until we die! Great music with that touch famous to this site. Thanks for always revealing these jewels, David!

[rachfan]

Hi Dave,

Yes! Late romantic Russian music--what can ever equal it?  This piece is an opulent jewel indeed and I'm always searching for more of them.  Thanks for listening and for that very nice compliment too.   

David 

[goldentone]

Very nice, David.  It's quite moving with joy and hope.  Glazunov is a welcome addition of your discoveries.

[scottmcc]

I echo the compliments.  I finally got my real home computer hooked up after my recent move to Japan, and it's ever so pleasant to be able to listen to great music like this in a better setting.

a lot of the harmonies in this piece have a charmingly wistful, nostalgic feel to them, and some of them feel a little bit like jazz.  it's very interesting, and as usual you've played it very well.

thank you for sharing it with us!

[rachfan]

Hi Scott,

My pleasure! 

Yes, this is a fine piece indeed, charming but not old fashion, and some of the harmonies are gorgeous.  Thanks for the nice compliment!

Good luck in your new digs in Japan. 

David

[ronde_des_sylphes]

Another lovely little (very Russian) piece that I've not heard before. The piano sound is warm and full and thoroughly suits the music. Very nice.

[rachfan]

Hi ronde,

When it comes to these Russian jewels, I know how to find them!  The piano has held tune quite well over the last couple of months despite huge and rapid changes in humidity.  For this recording I used the lid fully open, and have gotten nice comments on that. 

Thanks for listening. 

[point of grace]

Piano: Baldwin Model L Artist Grand (6’3”) with the lid fully opened

what does the  6’3” means?
thankss

[rachfan]

The piano's length is six feet three inches.  That would equal 1.83 meters.

[emill]

Hi David!
from someone who is perpetually part of the listening audience ... let me
just say it is a well played, beautiful piece. THANKS!
emill

[rachfan]

Hi goldentone, 

I'm so glad you enjoyed this piece.  It is a beautiful piece, and I'm happy to have added it to my repertoire.  Thanks for listening and commenting.

David

[rachfan]

Hi emill,

Funny, I was just thinking today of you and Enzo wondering if he'd be posting a piece soon, and as if by magic, it appears!  I'll be commenting on it momentarily.  I'm delighted that you still enjoy listening to my musical posts here and liked this piece by Glazunov.  I really appreciate having you in my Piano Street audience.  Thanks!

David

[ted]

Gosh, parts of that are almost pure John Ireland; or possibly put the right way around, parts of Ireland are Glazunov. Looking at the dates on Wikipedia I would say it is almost certain Ireland was influenced by the Russians, for what these associations are worth, which in the end is not much.

Very simple phrasing, simple but exquisitely nostalgic chords; simple means generating a profoundly transporting effect - not a bad way at all for music to be.

The trouble is we are all getting blase about your fine playing and have come to expect it as a matter of course. Listening to other things on the internet I am reminded that it is in fact decidedly uncommon.

[rachfan]

Hi Ted,

Thanks for listening.

You know, I had not thought of that similarity in sound between the worlds of Glazunov and Ireland, so there could have been a connection or at least a one-way influence or mutual influences present.  I think you have something there.  I can tell you that in his time, Glazunov as composer and conductor was highly respected and well connected to a great many composers and musicians.  It reminds me of the lifelong, long-distance friendship of Rachmaninoff and Ralph Vaughn Williams who greatly admired each other's works.

 

The trouble is we are all getting blase about your fine playing and have come to expect it as a matter of course. Listening to other things on the internet I am reminded that it is in fact decidedly uncommon.

 

I take that as a high compliment!  I do feel very responsible and accountable for my recordings. (In fact as I listen to a few of my very old ones way back in the archives here, sometimes they embarrass me a bit!)   During practice and recording sessions, I constantly ask myself, "Is this up to my standards?" I've often said that I'm my own worst critic.  The truth is that all of us here are only as good as our latest recording.  Given that, the standards question looms large for me.  The good news is that it always leads to improvement in performance.  

Thanks for your insights!

David

[krystellle]

I loved that!  It's so utterly modern at times.  Like steven sondheim!  This is like the first music I've ever really heard of Glazunov.  Other then something like in music appreciation 101,  It almost sounds like you're improvising at times! 
But the piano is sort of out of tune - not between the notes but between the strings if you know what I mean.  But it sort of gives it a certain color! 
You really know a lot of music!

[rachfan]

Hi krystellle

Thanks for listening!  This was my first brush with a piano piece of Glazunov too.  It's a very reflective work, but there are some turns of phrase with surprising harmonies which create much of that improvisatory sound I think.  

My Baldwin was not freshly tuned for this recording, although normally it has good stability.  The problem is all the rain and humidity we've had over the last several weeks.  I think it must be making the piano tuners rich!  Incidentally, The word you were looking for--"between the strings"--is the unisons.  

Regarding my extensive repertoire, here's the truth of it: I'm past the age where I can memorize anymore.  So anything I've learned and recorded is no longer retained.  The score gets put away in the music cabinet, and that's it.  Although I'm semi-retired my practice periods are quite limited. So the little time that's available to me I spend on learning new music in the queue, recording it all as I go along. There is no time left over to "maintain" older repertoire, as the recording projects take priority.

In the relative scheme of things, the piano literature is vast while life is too short.  So at this point I specialize completely in the Late Romantic era.  If I were ever to stop learning new repertoire (unlikely), probably what I would do is pick perhaps 20 of my all time favorites and further refine and  maintain those.  But I really enjoy the adventure of exploring the dusty gems of the neglected composers.  It's truly a thrill to give these nearly forgotten but very worthy composers some recognition.  That's all the satisfaction I need.  

Thanks for commenting!  

David  

[mnmleung]

thank you, David.  Lovely playing, and what a gem.  Thoroughly enjoyed it.
Ming

[rachfan]

Hi Ming,

Thanks so much for listening.  I'm happy that you liked this piece, as it has such beauty.

David

[ramseytheii]

Wonderful find, and well-played.  It really sounds as if it was composed as an improvisation; and I think you very successfully realize that feeling in your performance.

I would listen more carefully to the pedal.  I don't know this piece, but it struck me as over-pedalled at more than one spot. 

But your idea is strong, and the piece speaks to me.  Thank you.

Walter Ramsey

[rachfan]

Hi Walter,

Thanks for listening, and I appreciate all your comments.  On the pedaling, there is a lot of moving passage work, so I was doing half-pedal releases frequently there to spill overtones.  But yes, I think I could have attained better clarity in a few spots.  I'm delighted though that the piece spoke to you.  Any time I can put a piece across to the listener, I feel that I've achieved my main purpose.

There is an improvisatory feeling at times in this prelude.  A couple of other people have mentioned that as well.  Yet, at the same time Glazunov seems to create a sense of meditation within a well-organized structure that helps make it convincing.  I believe that the improvisatory element probably manifests itself in some of his wonderful harmonies and turns of phrase.  I can say that it was definitely a demanding piece to learn!

Thanks again, Walter.

David

 

[kellyc]

That was beautiful. Forgive me for being so late to write a note about this , but being relatively new here , I'm only now getting around to some of the recordings that go back a little way in time. Perhaps, the best way I can tell you what I thought of this piece is to say that a person such as myself who hears conservatory students playing all the time, and hardly gives a thought to most of what I hear, this made me stop and listen. That doesn't happen a lot.  You connected with me and made me think. It made me consider my art, your art, and how just perhaps your world view affected mine. Once again thank you so much for sharing this sensual journey down this musical river.

Kelly

[rachfan]

Hi Kelly,

Thanks so much for listening and commenting.  I was very touched and inspired by your thoughts on my playing.  I'll refer to it often! 

I most enjoy playing the Russian late romantics, as their music is infused with heart and soul.  There is nothing else quite like it.

Where you're fairly new, if you haven't already discovered it, at the top of the the Audition Room's listing of postings you'll find the Index to Audition Room.  This index is by composer in alphabetic order and then by pianist.  It's a real time saver in locating recordings of pieces by any composer, or in my case, by Bortkiewicz, Catoire, Liadoff, Medtner, Scriabin, etc.  It's much more laborious to trek through the "back pages" of the archive. 

Thanks again!

David 



 

[starstruck5]

Were my ears deceiving me or are the first two chords of this piece identical to The Appassionata - 2nd Movement -  

Anyhow,  your playing is very thoughtful and sensitive. Think I will explore a few more works by Glazunov!

[rachfan]

Hi starstruck,

Yes those first two chords are similar but not identical.  Both scores are  in D flat.  The first chord is the same, but distributed differently between the hands.   Beethoven has D flat-F-A flat in the RH and low D flat in the LH.  Glazunov writes it as a double notes, F-A flat in the RH and with a D flat octave in the LH. As for the second chord, Beethoven has a triad again in the RH, D flat-G flat-B flat with low G flat in the LH.  Glazunov merely has the double notes G flat-B flat in the RH with the LH still holding the earlier D flat octave as whole notes that sounded initially in the first chord.  And once these chords are played, both composers go off in different directions.  But I would have to agree that they sound quite similar.  Another pianist brought this to my attention at another website awhile back.  I had not even thought of it for some reason, but you were sharp to catch it right off.

Thanks for the compliments on my playing!

David

[pianoplayjl]

This piece has made me more aware of Glazunov's music. Before I've only listened to his 1st piano sonata. Nice recording too.

[rachfan]

Hi pianoplayjl,

I always play lesser known works, as the members here really seem to appreciate the selections from the Russian late romantic period in particular.  In the cases of Bortkiewicz and Catoire, I also tried to be an exponent of their music.  As for Glazunov here, while he was very famous in his lifetime, there are now not just casual listeners, but also musicians who have never heard any of his music.  So I'm glad I could contribute one of his pieces here.  

Thanks for the kudo on my recording!

David

[pianoplayjl]

I guess that includes LYapunov? I've taken a liking to his works. Btw, what piano did you record it on?

[rachfan]

Hi pianoplayjl,

Yes, Liapunoff certainly figures prominently into the Russian late romantics and I'll undoubtedly play something by him along the way.  I like many of his works and believe that today he's much under-appreciated.  His Transcendental Etudes are incredible.  Very recently through, I contributed eight of Liadoff's Preludes which many members seemed to enjoy here.  At the moment I'm working on another Medtner piece (of undisclosed title for now). 

My piano is a Baldwin Model L Artist Grand (6 feet 3 inches).  The mics were TC-20s by Earthworks.

David

[littletune]

Oh it's really beautiful!! It's like listening to a story again!  

[rachfan]

Hi littletune,

Haven't heard from you in awhile.  I'm glad you enjoyed this Glazunov piece so much.  Yes I agree, it's definitely a gorgeous piece.  It's not an easy one to master, but I really enjoyed learning it.  Thanks for listening! 

David

[pianoplayjl]

Hi pianoplayjl,

Yes, Liapunoff certainly figures prominently into the Russian late romantics and I'll undoubtedly play something by him along the way.  I like many of his works and believe that today he's much under-appreciated.  His Transcendental Etudes are incredible.  Very recently through, I contributed eight of Liadoff's Preludes which many members seemed to enjoy here.  At the moment I'm working on another Medtner piece (of undisclosed title for now). 

My piano is a Baldwin Model L Artist Grand (6 feet 3 inches).  The mics were TC-20s by Earthworks.

David

Good! You have to learn the 6th TE. That's my favourite out of the set. So full of emotion.....

[rachfan]

Hi pianoplayjl,

Hmmm, the Epic Song.  I think I lack the dexterity for that one.    I do have No. 1, the Berceuse in my my to-dos though.  A couple of others I like there are Summer Night and the Elegy to Liszt.

David

[pianoplayjl]

C'mon, Rachfan, isn't it the whole purpose of an etude? Maybe the etude was meant to be difficult to develop the finger dexterity. WHy not have a go? A bit of a challenge would be fun.

[rachfan]

Hi,

You should listen to those other two I mentioned.  There is plenty of dexterity training in either one, plus the melodies are way more sensual. 

David

[pianoplayjl]

Sorry Rachfan, indeed the other songs you mentioned are hard enough.

[rachfan]

Hi pianoplayjl,

For sure! 

David

[hakki]

Hi David,

A very nice piece I have not heard before.
You play it very good. And yes the piano sounds good on full stick too.

regards,

Hakki

[littletune]

Hi littletune,

Haven't heard from you in awhile.  I'm glad you enjoyed this Glazunov piece so much.  Yes I agree, it's definitely a gorgeous piece.  It's not an easy one to master, but I really enjoyed learning it.  Thanks for listening! 

David

Thank you for posting it!!

[rachfan]

Hi hakki,

I'm glad you liked t his piece and my playing.  Thanks!  When I do recordings, I've never done one with the lid down.  However, I always have a sense for whether the full stick or singer stick will be better given the power of the piano, nature of the piece, and the room acoustic.  There have been a few pieces where had I used the full stick, the sound might have knocked the walls down!    I don't worry about the mics so much, because Earthworks makes them with ample headroom to spare when it comes to big peaks.

David   

[49410enrique]

a congratulatory 'bump' of another of rachfan's fine recordings in honor of the scriabin prelude he just posted.

 i absolutley love your playing and your connection to these 'preludes' is something to aspire to. i hope to play this someday and i find much inspiration in your rendition.

i hope anyone that hasn't enjoyed this will now see this post and discover the beauty of your playing.  and those that already have, can enjoy it again. i know i am.

i think you would give a killer performance of the bortkiewicz etude i posted here: https://www.pianostreet.com/smf/index.php?topic=16966.750

something about it it's mood gives me the impression that you would connect with it. have you looked at it or considered it in the past?

[rachfan]

Hi enrique,

Thanks for the "bump", as Glazunov really needs to be better known by pianists these days.  He was a wonderful late romantic composer.  This Prelude Op. 49, No. 1 was not an easy one to learn, but it was well worth the work to record it.  I'm sure I'll be returning to Glazunov in the future to play another of his pieces. And thanks again for your praise on my playing. And your finding inspiration there is flattering indeed.  I hope you'll want to play some Scriabin and/or Glazunov yourself.

Although I haven't played a Bortkiewicz etude yet (although it's on my list for the future), I have contributed 12 recordings of Bortkiewicz--one of his impromptus as well as many preludes in both Opp. 33 and 40.  They are collected together in Index to Audition Room at the top of the Audition Room topics. And to play them, one can merely click on them right there.  Bortkiewicz, a composer of high merit, has sadly been neglected since his death in 1954.  So as an amateur pianist, it was an honor for me to help champion this extraordinary literature for the piano.  It gave me great pleasure, and so many of the members and visitors enjoyed hearing this nearly unknown music.

Thanks again!

David