Artist Name

Александр Константинович Глазунов

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String Quartet no. 3 / St... (1992)	The Seasons / Concert Wal... (1991)	Симфония № 1 / Кремль, си... (1990)
Wieniawski: Violin Concer... (1990)	Симфониа №. 2 / Песнь суд... (1990)	Барышня-служанка (1990)
Glazunov: Suites: From th... (1990)	Симфония № 6 / Эй, ухнем ... (1990)	Tchaikovsky: The Nutcrack... (1989)
Russische Meister VII: A.... (1988)	Tchaikovsky: Sleeping Bea... (1988)	Kalinnikov: Symphony No. ... (1988)
Kabalevsky: Cello Concert... (1988)	The Seasons, op. 67 / Vio... (1988)	Symphony No. 1 op. 5 / Sy... (1987)
Symphonie Nr. 6 / Poème l... (1987)	Symphonie Nr. 3 / Konzert... (1987)	Symphonien Nr. 4 & 7 (1986)
Symphonie Nr. 2 / Konzert... (1986)	Rimsky-Korsakov: Schehera... (1986)	Raymonda, Op. 57: Music F... (1986)
Symphonie Nr. 8 / Ouvertu... (1985)	Symphonien 1 & 5 (1984)	Orchestral Works (1984)
Symphony no. 1 in E major... (1982)

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1 Male

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Origin
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Russian

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Composer

Style
Classical

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Born

1865

Active
--- 1936

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Alternate Name
Alexander Glazunov

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Alexander Konstantinovich Glazunov was a Russian composer, music teacher, and conductor of the late Russian Romantic period. He served as director of the Saint Petersburg Conservatory between 1905 and 1928 and was also instrumental in the reorganization of the institute into the Petrograd Conservatory, then the Leningrad Conservatory, following the Bolshevik Revolution. He continued heading the Conservatory until 1930, though he had left the Soviet Union in 1928 and did not return. The best-known student under his tenure during the early Soviet years was Dmitri Shostakovich.

Glazunov was significant in that he successfully reconciled nationalism and cosmopolitanism in Russian music. While he was the direct successor to Balakirev's nationalism, he tended more towards Borodin's epic grandeur while absorbing a number of other influences. These included Rimsky-Korsakov's orchestral virtuosity, Tchaikovsky's lyricism and Taneyev's contrapuntal skill. Younger composers such as Prokofiev and Shostakovich eventually considered his music old-fashioned while also admitting he remained a composer with an imposing reputation and a stabilizing influence in a time of transition and turmoil.