Artist Name

Александр Константинович Глазунов

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1992 - String Quartet no. 3 / String Quartet no. 5 / Other Works
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1991 - The Seasons / Concert Waltzes 1 & 2 / Stenka Razin

1990 - Симфония № 1 / Кремль, симфоничес�

1990 - Wieniawski: Violin Concerto no. 2 / Tchaikovsky: Violin Conc
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1990 - Симфониа №. 2 / Песнь судьбы, драм�
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1990 - Барышня-служанка

1990 - Glazunov: Suites: From the Middle Ages / Scènes de ballet /
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1990 - Симфония № 6 / Эй, ухнем / Серенада

1989 - Tchaikovsky: The Nutcracker / Glazunov: Les Sylphides

1988 - Russische Meister VII: A. Glasunow

1988 - Tchaikovsky: Sleeping Beauty / Glazunov: The Seasons

1988 - Kalinnikov: Symphony No. 1 / Glazunov: The Sea, Op. 28 / Spr

1988 - Kabalevsky: Cello Concerto no. 2, op. 77 / Khachaturian: Cel

1988 - The Seasons, op. 67 / Violin Concerto, op. 82

1987 - Symphony No. 1 op. 5 / Symphony No. 7 op. 77

1987 - Symphonie Nr. 6 / Poème lyrique

1987 - Symphonie Nr. 3 / Konzertwalzer

1986 - Symphonien Nr. 4 & 7

1986 - Symphonie Nr. 2 / Konzertwalzer Nr. 1

1986 - Rimsky-Korsakov: Scheherazade / Glazunov: Stenka Razin

1986 - Raymonda, Op. 57: Music From the Ballet

1985 - Symphonie Nr. 8 / Ouverture solennelle / Hochzeitsmarch

1984 - Symphonien 1 & 5

1984 - Orchestral Works

1982 - Symphony no. 1 in E major, op. 5

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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.