Album insights
Alexander Glasunow, a prominent composition teacher in Russia, was a star pupil of his teacher Rimsky-Korsakov. He served as director of the St. Petersburg Conservatory from 1905 to the 1920s and played a crucial role in fostering young talents like Shostakovich. Despite his prolific output in various musical forms, it is his singular Violin Concerto in A minor, Op. 82, that has endured the test of time, securing a firm place in the repertoire.
Composed amidst his pinnacle of fame in Russia between 1904 and 1905, the Violin Concerto was crafted in both St. Petersburg and his rural estate in Oserki. Characterized by a lyrical atmosphere, the premiere took place in 1905 under the baton of Glasunow himself, featuring the renowned violinist Leopold Auer to whom the work was dedicated. Glasunow's innovative treatment of the solo violin in the concerto, especially evident in the brilliant cadenza he penned, seamlessly integrates within the intricate composition.
Glasunow's concerto, essentially a single continuous movement, likely drew inspiration from Liszt's piano concertos that he admired. The composition unfolds with a succinct exposition centered around a sweet, expressive violin theme, eventually transitioning into an Andante section marked by harp and horn interludes. Culminating in a lively and exuberant conclusion, the concerto weaves together various melodic motifs harmoniously, showcasing the composer's ingenious craftsmanship.
Another noteworthy piece by Glasunow, the "Meditation in D major, Op. 32," serves as a tranquil and melodic expression, highlighting the violin's versatility amid delicate harmonic accompaniment. Conversely, the rarely performed "Mazurka-oberek in D major" delves into patriotic themes inspired by Polish dances, reflecting the tumultuous events of 1917 and Glasunow's skilled orchestration rooted in Slavic folk traditions.
In comparison, Othmar Schoeck, a Swiss composer best known for his lyrical songs and influential orchestral song cycles like "Elegie" and "Lebendig begraben," diverges into operatic realms with works such as "Venus," "Penthesilea," and "Massimilla Doni." Although revered for his vocal compositions, Schoeck also explored instrumental pieces, notably crafting two late concertos for cello and horn, layering his musical expressions with emotional depth and innovative orchestration.
Among Schoeck's concertante works, "quasi una fantasia in B-flat major, Op. 21," stands out as a reflective ode to the Hungarian violinist Stefi Geyer. Inspired by their poignant encounters and mutual admiration, the concerto premiered in 1912, revealing Schoeck's lyrical sensibilities influenced by romantic concertos of the late 19th century. Featuring a seamless narrative sans cadenzas, the concerto captivates with its melodic richness and the soloist's continuous engagement from start to finish.
Schoeck's concerto unfolds lyrically, immersing listeners in a dream-like atmosphere reminiscent of his emotional entanglement with Geyer. The gradual crescendo of passion in the Grave, non troppo lento second movement juxtaposes with the spirited Allegro con spirito finale, bridging moments of introspection with lively dance motifs. Echoing romantic nostalgia and thematic interplay, the concerto concludes with a whimsical folk melody, infusing the piece with a touch of playful irony that lingers in the fading twilight.