About the Interaction Between Different Styles in the Music of Alexander Glazunov on the Example of the Variations for Piano opus 72
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Abstract
The author demonstrates the duality of the individual style of Russian composer Alexander Glazunov. On the one hand,
it is customary to classify the composer as a continuer of the classical tradition of Glinka and the academic trend in
music. One the other hand, we can observe his openness towards the new artistic currents of his time. In this article
the musical legacy of Glazunov is examined in the context of the Style Moderne, which influenced the music of many
composers of the turn of the 19th and 20th centuries. The thesis brought forth about the individual interpretation of the
paradigms of the Style Moderne in the music of Glazunov is illustrated on the example of his piano cycle, the Variations
op. 72 (1900).
The methodological foundation for this approach is supported by the writings of Irina Skvortsova, who has defined
the dialectics of the correlation between content and form, the main themes and plots, and also the musical means
typical for the musical Style Moderne. Basing herself on the thesis of the selective nature of the manifestations of the
principles of the Style Moderne in the music of different composers, the author of the article shows that one of the most
expressive means in the music of Glazunov is presented by texture, which is capacious, poly-melodic and functionally
differentiated into several strata, creating the effect of multilayer verticality. The author arrives at the conclusion that
Glazunov assimilated in his music the traditions of Mikhail Glinka and the composers of the “Mighty Handful,” but
transmitted them in a style contemporary to his epoch, formed in the direction of the Style Moderne.
Keywords: musical Style Moderne, Alexander Glazunov, Variations for Piano ор. 72 by Glazunov, poly-melodic
texture.
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