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Alexander Glazunov String Quartet No 4 Op 64 1894
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Alexander Konstantinovich Glazunov (Алекса́ндр Константи́нович Глазуно́в, 10 August 1865 – 21 March 1936) 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 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. • String Quartet No. 4 in A minor, Op. 64 (1894) • Dedicated to Vladimir Stasov • 1. Andante - Allegro (0:00) • 2. Andante (8:39) • 3. Scherzo. Vivace (F major) (16:49) • 4. Finale. Allegro - Poco più mosso (22:36) • Shostakovich Quartet • String Quartet No.4 in a minor, Op.64 was composed in 1894 and published around 1899. It was dedicated to his friend, the prominent music critic Vladimir Stasov. The opening movement, Andante-Allegro, begins with a series of very sad chords, which are made more dramatic by a surprise accent and downward chromatic passages. The main theme is both powerful and passionate, while the second theme more lyrical. The slow movement, an Andante, is a fine example of Glazunov’s mature style. Though it starts with an aura of blissful peace, as the movement progresses there are waves of surging energy followed by releases which softly die away. Frequent changes of tempo and dynamics also create a sense of unease. Next is a brilliant and exciting Scherzo vivace, very Russian in flavor, it is a kind of perpetuum mobile. The short trio section has a lovely melody, also quite Russian, given to the cello. Played by itself, this movement would make a tremendous encore. It really is perfect in every way. The finale, an Allegro, begins with a series of desolate chords, which though not an exact quote, are very similar to those of the opening of the first movement. The gloomy mood quickly gives way to a series of flowing and bright melodies, some energetic and dance-like, others lyrical and poetic. ----The Chamber Music Journal
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