Symphony No. 5½ (1947), is one of the composer’s wittiest works which he himself subtitled as “a symphony for fun.” It consists almost entirely of jazz melodies, some treated in burlesque fashion; the work also quotes some famous melodies in a facetious manner. The four movements have whimsical titles: “Perpetual Emotion,” “Spiritual?”, “Scherzophrenia” and “Conclusion.”
Alberto Ginastera
Alberto Ginastera was born in Buenos Aires, Argentina, on April 11, 1916. He was graduated with honors from the National Conservatory in his native city where, in 1953, he became professor. In 1946 he visited the United States remaining a year on a Guggenheim Fellowship. Ginastera’s music combines musical elements native to Argentina with modern techniques and idioms, and includes ballets, chamber music, a Pastoral Symphony and other works for orchestra, and pieces for the piano.
The Dances from the ballet, Estancia (1941) is among his most popular works. The ballet, choreography by George Balanchine, was first introduced by the Ballet Caravan. It describes life on an “estancia,” an Argentine ranch, tracing the activities of its principal character through a single day from dawn of one day to dawn of the next. The orchestral dances are rich in native melodies and rhythms, presenting the various dance sequences in “stylized version.” Two dances are especially popular: “Dance of the Wheat” and “Malambo.”
Alexander Glazunov
Alexander Glazunov was born in St. Petersburg, Russia, on August 10, 1865. As a boy he studied music privately while attending a technical high school. At fifteen he became a pupil of Rimsky-Korsakov in harmony, counterpoint and orchestration. Such was his progress that only one year later he completed a gifted symphony which was performed in St. Petersburg in 1882 and acclaimed by several eminent Russian musicians. Between that year and 1900, Glazunov produced most of the works which won him renown not only in Russia but throughout the rest of the music world: symphonies, string quartets, numerous shorter orchestral works, and compositions in a lighter style. Here he was the traditionalist who placed reliance on palatable melodies, sound structures, and heartfelt emotion. For these reasons much of what he has written falls gracefully into the light-classic category. After 1914 he wrote little, nothing to add to his stature. Meanwhile he achieved renown first as professor then as director of the St. Petersburg Conservatory. He also made successful appearances as conductor following his debut at the Paris Exposition in 1899; his first appearance in the United States took place in Detroit on November 21, 1929. In 1928, Glazunov left his native land for good, and from then until his death on March 21, 1936 his home was in Paris.
The Carnival Overture, or Carnaval, op. 45 (1894) is a brilliant picture of a festival. It opens with a lively dance melody in violins and woodwind. This is followed by a more stately melody in woodwind and violins against a counter-melody in cellos and bassoons. A brief transition leads to the main body of the overture built out of two basic ideas. The first is a gay dance tune in flutes and clarinets; the second provides a measure of contrast through a more reflective subject for oboes, clarinets, horns, and cellos.
From the Middle Ages—a suite for orchestra, op. 79 (1902)—evokes the settings and backgrounds of the middle ages in four sections. The first is a “Prelude,” portraying a castle by the sea, the home of two lovers. Death plays the violin in the second movement, a “Scherzo”; he urges the people to dance to his abandoned fiddling. In the third part, “Serenade,” a troubadour sings his tune. The suite ends with “The Crusaders,” in which soldiers are marching off to war, while priests chant a solemn blessing.
The original title of Ouverture solennelle, op. 73 (1901) was Festival Overture; the music throughout has a festive character. After preliminary chords, woodwind and horns present a subject soon taken over and amplified by the strings. The main part of the overture begins with an expressive and soulful melody for the violins. The second theme is first given by the clarinets against a vigorous accompaniment. After the first theme receives elaboration, the overture concludes with a forceful coda.
The orchestral suite Raymonda, op. 57a, comes from the score to a ballet with choreography by Marius Petipa; it was introduced in St. Petersburg on January 17, 1898. The composer’s first work for the stage, this ballet has for its central character the lovely Raymonda, betrothed to a knight. After the knight has gone off to join the Crusade and fight the Saracens, Raymonda is wooed by a Saracen. When she rejects him he makes an attempt to abduct her. Just then the knight returns, and slays the culprit. The lovers thus reunited, are now able to celebrate their nuptials.