Symphony No.3 in D major - Alexander Glazunov

Bamberg Symphony Orchestra conducted by Neeme Järvi.

I - Allegro - Poco più tranquillo - Tempo I - Più sostenuto - Poco tranquillo - Tempo I - Poco più mosso - Meno mosso - Tempo I - Animato - Tempo I - Poco più tranquillo - Animato: 0:00
II - Scherzo. Vivace - Poco meno mosso - Tranquillo - Più mosso - Un poco pesante - Animato - Vivacissimo: 11:52
III - Andante - Andante sostenuto - Poco più mosso - Appasionato - Andante sostenuto - Poco più mosso: 20:22
IV - Finale. Allegro moderato - Poco più mosso - Animato - Sostenuto - Tempo I - Animato - Tempo I - Moderato - Animato - Tempo I - Poco più mosso - Animato - Grandioso: 31:43

Glazunov's Symphony No.4 was composed mostly between 1888-90, but he had begun as early as 1883. The doubts of the composer about how to proceed and the value of the piece itself, explain the long time it took to complete. It was premiered in December of 1890 in St Petersburg, conducted by Anatoly Lyadov, as Glazunov was unable because of an illness.

While the first two symphonies where highly influenced by the Russian nationalist music of Balakirev and Rimsky Korsakov, with the third Glazunov moves towards more western influences like Tchaikovsky and specially Wagner. Glazunov would balance this mix of east and western influences in eclectic and balanced work, but the third is the most western of the cycle. It is no surprising that the work was coldly received, being considered as inferior to the previous ones by Glazunov's peers, with the exception of Tchaikovsky, to whom the work is also dedicated.

The first movement is structured in sonata form. It begins with a lyrical main theme presented by the violins, which heroically rises in a climax. A passionate second theme is presented by the woodwinds. The development begins as the main theme appears darkly on brasses, being more turbulent and dramatic in expression. It features changes of register, of instrumentation and of orchestral texture. A great climax leads us to a varied recapitulation section. A brilliant coda, based on the main theme, ends triumphally the movement.

The second movement is a scherzo in ternary form. It opens with a playful and delicate main theme, full of a fantastical touch. Here is clear the influence of Tchaikovsky. The trio begins with a lyrical second theme introduced by the woodwinds, folkloric and Russian in flavour. The fantastical scherzo is then resumed. A small, cute coda ends the movement.

The third movement is structured in ternary form. It begins with a deeply lyrical and passionate main theme, presented by the violins. Oboe and English horn take it adding their colours. The material unfolds with romantic yearning and passion, influenced by Wagner's harmonic language. The middle section begins with a bright second theme introduced by English horn, which soon is chromatically twisted, withouth reaching an expected climax. A calm transition leads us to the recapitulation of the main theme. A slightly melancholic coda ends the movement.

The fourth movement is also structured in sonata form. It opens with an exhuberant and lively main theme, followed by a more dramatic second rhythmic theme, which doesn't offer much contrast. A brief, chorale-like motive appears, but is not further developed. The development is bright and clear, with dissonances being brilliantly resolved. After a great climax and a brief pause, a fugue section begins on the main theme. The recapitulation section brings the main themes back in a varied manner. A triumphant coda ends the whole work in a satisfying manner.

Picture: "Novodevichy Convent" (1999) by the Russian painter Ilya Glazunov.

Musical analysis partially written by myself. Sources: https://bit.ly/3d7hI3W and https://bit.ly/3oX58ae