А.К. Glazunov
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Abstract
Editorial. On continuing the journal tradition of publishing scientific materials, that have become rare, in the previous issues, we put a monographic essay by L. Sabaneev dedicated to A.K. Glazunov [1]. In the center of the article by Sabaneev there are reflections around the personality of Glazunov as the artist, his place in the artistic and musical paradigm of the last 19th century decades and the beginning of the 20th one. The author considers the composerʼs creative work as the end of the “glorious and fruitful, in the full sense of the word heroic and at the same time historically closed cyclic epoch of St. Petersburg musicˮ. The researcher defines Glazunovʼs role in Russian musical art as “a historically necessary and inevitable linkˮ, which is connected “with a turn from spontaneous nationalism to cultural Europeanismˮ. The article also highlights Glazunovʼs path as an innovator at an early stage and traditionalist, who culminates a great era with “the apotheosis of academic euphony and pomp…ˮ on late period. Sabaneev compares the aesthetic principles of the Moscow and St. Petersburg composer schools, explains many peculiarities of Glazunovʼs poetics by his closest connection with St. Petersburg, calls him “the most St. Petersburg artist of soundsˮ, “the most ʻurbanʼ of composersˮ. The article analyzes Glazunov’s aesthetic position: antithetical in relation to many elder contemporaries’ principles, Glinka, but at the same time, “incomprehension and rejection of modernityˮ.
The published text retains the stylistics and punctuation of the original, however, the spelling is given in accordance with the modern Russian language rules.
Keywords: epoch, modernity, tradition, innovation, Petersburg music, urban composer, academic mastery.
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