. Modern composers of Europe : being an account of the most recent musical progress in the various European nations, with some notes on their history, and critical and biographical sketches of the contemporary musical leaders in each country . ict a great future for him. A little laterhe conducted his second symphony at the Parisexposition of 1889, and produced his first sym-phonic poem, Stenka Rasine. The latter is basedon an old Volga legend of a pirate who captureda lovely Persian princess. The music is built onthree main themes, a brusque, savage motive for thepirate, an entrancing melody
. Modern composers of Europe : being an account of the most recent musical progress in the various European nations, with some notes on their history, and critical and biographical sketches of the contemporary musical leaders in each country . ict a great future for him. A little laterhe conducted his second symphony at the Parisexposition of 1889, and produced his first sym-phonic poem, Stenka Rasine. The latter is basedon an old Volga legend of a pirate who captureda lovely Persian princess. The music is built onthree main themes, a brusque, savage motive for thepirate, an entrancing melody for the princess, andthe constantly recurring refrain of the Volgasailors. The early works of Glazounoff show a tendencyto fantastic and imaginative subjects. The haunt-ing beauty of flie forest, the inspiring charm ofspring, the compelling magic of the sea, the gor-geousness of the Orient, the majesty of the historicKremlin, all find an echo in his great orchestralpoems and rhapsodies. His symphonies nowamount to seven, rich in harmony and full of therarest melodic beauty. He wrote a TriumphalMarch for the Chicago exposition, and a Corona-tion Cantata for the Czar. His early overtures arebased on Greek themes, but the Carnival and the. ALEXANDER CONSTANTINOVITCH GLAZOUNOFF. THE NEW RUSSIANS 2J\ Ouverture Solennelle are again in the glowingstyle of vivid colouring to which he has accustomedhis hearers. In 1899 he became professor of in-strumentation at the St. Petersburg conservatory,and he is associate conductor of the Russian Sym-phony Concerts, but his activity in composition re-mains undiminished. Of his eighty or more published works, a largeproportion is for orchestra. Besides those alreadymentioned, there are ballades, marches, suites, rhap-sodies, mazurkas, an elegy, and other numbers, tosay nothing of songs, cantatas, and instrumentalmelodies with orchestral accompaniment. For atime Glazounoff renounced his early style, andwrote serious works in German vein, but now he
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