Glazunov, Alexander. (1865–1936). Septième Symphonie, en fa, pour grand Orchestre, Op. 77 - SIGNED PRESENTATION COPY TO MAX SCHILLINGS. Leipzig: M.P. Belaieff. 1902. Partition d'orchestre. Upright folio. 143 pp. [PN] 2401. Inscribed on the titlepage in ink by the important Russian composer to the German conductor, composer and theatre director Max von Schillings (1868 - 1933), [translated from the German] "To the talented and sympathetic Mister Max Schillings in friendly remembrance of Alexander Glazounov / 10 Dec. 1904 / St. Petersburg." Full red cloth binding, gilt title to spine. Edges very slightly rubbed, else fine.
A student of Rimsky-Korsakov, the first of his nine symphonies premiered when Glazounov was only 16 years old, and due in part to the advocacy of Franz Liszt, his work soon became well known in Russia and abroad. "The Symphony No. 7 in F major, Op. 77 is his most purposefully Germanic symphony. Called the "Pastoral'naya" (Pastoral), the Seventh from the start evokes the bucolic images of Beethoven's own F major pastoral symphony and indeed all of the F major pastoral works in the German canon. But beyond those deliberate references, the Seventh is wholly Glazunov's own: even in the austerely archaic Andante, the tone of the work is overwhelmingly positive and its goals almost always confidently attained. Like Glazunov's earlier symphonies, the Seventh combines Western forms with Russian content - even the piping shepherds of the opening movement have a Russian accent - but the Seventh more than any of its predecessors shows evidence of Glazunov's burgeoning interest in counterpoint." (James Leonard, "All Music Guide to Classical Music," p. 500)
A student of Rimsky-Korsakov, the first of his nine symphonies premiered when Glazounov was only 16 years old, and due in part to the advocacy of Franz Liszt, his work soon became well known in Russia and abroad. "The Symphony No. 7 in F major, Op. 77 is his most purposefully Germanic symphony. Called the "Pastoral'naya" (Pastoral), the Seventh from the start evokes the bucolic images of Beethoven's own F major pastoral symphony and indeed all of the F major pastoral works in the German canon. But beyond those deliberate references, the Seventh is wholly Glazunov's own: even in the austerely archaic Andante, the tone of the work is overwhelmingly positive and its goals almost always confidently attained. Like Glazunov's earlier symphonies, the Seventh combines Western forms with Russian content - even the piping shepherds of the opening movement have a Russian accent - but the Seventh more than any of its predecessors shows evidence of Glazunov's burgeoning interest in counterpoint." (James Leonard, "All Music Guide to Classical Music," p. 500)
Glazunov, Alexander. (1865–1936). Septième Symphonie, en fa, pour grand Orchestre, Op. 77 - SIGNED PRESENTATION COPY TO MAX SCHILLINGS. Leipzig: M.P. Belaieff. 1902. Partition d'orchestre. Upright folio. 143 pp. [PN] 2401. Inscribed on the titlepage in ink by the important Russian composer to the German conductor, composer and theatre director Max von Schillings (1868 - 1933), [translated from the German] "To the talented and sympathetic Mister Max Schillings in friendly remembrance of Alexander Glazounov / 10 Dec. 1904 / St. Petersburg." Full red cloth binding, gilt title to spine. Edges very slightly rubbed, else fine.
A student of Rimsky-Korsakov, the first of his nine symphonies premiered when Glazounov was only 16 years old, and due in part to the advocacy of Franz Liszt, his work soon became well known in Russia and abroad. "The Symphony No. 7 in F major, Op. 77 is his most purposefully Germanic symphony. Called the "Pastoral'naya" (Pastoral), the Seventh from the start evokes the bucolic images of Beethoven's own F major pastoral symphony and indeed all of the F major pastoral works in the German canon. But beyond those deliberate references, the Seventh is wholly Glazunov's own: even in the austerely archaic Andante, the tone of the work is overwhelmingly positive and its goals almost always confidently attained. Like Glazunov's earlier symphonies, the Seventh combines Western forms with Russian content - even the piping shepherds of the opening movement have a Russian accent - but the Seventh more than any of its predecessors shows evidence of Glazunov's burgeoning interest in counterpoint." (James Leonard, "All Music Guide to Classical Music," p. 500)
A student of Rimsky-Korsakov, the first of his nine symphonies premiered when Glazounov was only 16 years old, and due in part to the advocacy of Franz Liszt, his work soon became well known in Russia and abroad. "The Symphony No. 7 in F major, Op. 77 is his most purposefully Germanic symphony. Called the "Pastoral'naya" (Pastoral), the Seventh from the start evokes the bucolic images of Beethoven's own F major pastoral symphony and indeed all of the F major pastoral works in the German canon. But beyond those deliberate references, the Seventh is wholly Glazunov's own: even in the austerely archaic Andante, the tone of the work is overwhelmingly positive and its goals almost always confidently attained. Like Glazunov's earlier symphonies, the Seventh combines Western forms with Russian content - even the piping shepherds of the opening movement have a Russian accent - but the Seventh more than any of its predecessors shows evidence of Glazunov's burgeoning interest in counterpoint." (James Leonard, "All Music Guide to Classical Music," p. 500)