Glazunov's Three Etudes, Op. 31, are among the most outstanding piano works. They were not composed simultaneously, but individually, much like many of his other compositions. Interestingly, the third étude, nicknamed "Night," was the first to be written, in 1889. It is noteworthy that this was only Glazunov's second major piano composition and marked his return to the instrument after a five-year hiatus. His encounter with Liszt in 1884 may have shaken his confidence. As a mediocre pianist, Glazunov had to perform his early piano suites before audiences of renowned pianists and composers, including Saint-Saëns and Liszt himself. Nevertheless, the "Night" étude is wonderfully inspired and, together with the other two études, represents a pinnacle of Russian piano literature.
It is worth noting that this was only Glazunov's second major piano composition and marked his return to the instrument after a five-year hiatus. The first étude, composed on May 14, 1896, stands out for its brilliance, while the second, from August 14, 1891, is considered one of Glazunov's most romantic and expressive piano compositions.
In the summer of 1889, Glazunov traveled to France for the first time, where his First Symphony was performed at the Paris Exposition. This trip allowed him to connect with leading figures in the Parisian music scene, such as Delibes, Massenet, and Messager. Upon his return to Russia, his international reputation had significantly improved. The following year, with renewed confidence, he completed works such as "The Kremlin," his Third Symphony, and the Two Pieces for Piano, Op. 22. These compositions showcase Glazunov's characteristic charm and made a significant contribution to the salon genre of late 19th-century Russian music. Behind their apparent lightness lie technically demanding piano compositions, particularly his Caprice-Impromptu.
The Miniature in C, Simple Sonata, and Sonatina were composed during Glazunov's early period in collaboration with Rimsky-Korsakov and offer insight into his early compositional approaches. These works document his remarkable development as a composer. The Two Preludes and Improvisations, on the other hand, date from his later period, when he attempted to keep pace with the Russian avant-garde. Despite their experimental sound, his Romantic roots remain discernible.
Glazinov's Theme and Variations, Op. 72, composed in 1900, belong to his last significant creative period. This work, originally titled "Variations on a Finnish Folk Song," consists of one melody with fifteen variations and is among his most successful piano compositions. The simplification of the title to "Theme and Variations" was likely for political reasons, to comply with the Russification policies of the time.