GLAZUNOV - Raymonda (Complete, Audio + Full Score)
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- čas přidán 25. 07. 2022
- Performed by:
Alexander Anissimov / Moscow Symphony Orchestra
Victor Fedotov / Mariinsky (Kirov) Theater Orchestra (Act I Variation IV, Act III Mazurka)
Evgeny Svetlanov / USSR State Academic Bolshoi Theatre Orchestra (Act III Mazurka Coda)
If you were to ask anyone on the street who Glazunov was, most likely they would not know. And that's understandable. His music lacks the heart-on-sleeve lyricism of Tchaikovsky, or the orchestrational flair of Stravinsky, or the "outside-the-box-iness" of Mussorgsky. But that's OK. Because Glazunov has found the box, lives comfortably inside the box, and has furnished it with utmost class. He has no need to venture outside, because he already has everything he needs.
A piece like his ballet Raymonda (1898) is a good example. On its surface, it might not sound that remarkable. It might even sound a bit bland. However, if you give it a chance, then you will find a composer who pays attention to every detail, handles every voice with care, and, in short, knows exactly what he is doing. His music may be old-fashioned for some, but one can certainly understand why he was in fashion during his time (or at least his early days!)
That's why, when I found out that the complete score had been published to IMSLP, I couldn't resist making this video. There's an elegance to Glazunov's writing that the full score displays and which, in my opinion, makes perfect material for a score video like this. So just sit back, relax, and...well, watch it, please. (Or dance!)
(I've already uploaded "highlights" of Raymonda in piano score version, which can be viewed here: • RAYMONDA by Alexander ... )
DESCRIPTION
Born in 1865 in St. Petersburg, Glazunov was a leading Russian composer of the generation after Tchaikovsky.
Displaying an immense musical talent as a child, Glazunov started studying with Rimsky-Korsakov at the age of 15. Glazunov's progress was indeed astonishing, for he completed his Symphony No. 1 at 16. In fact, his symphony, premiered by Balakirev in 1882, established, practically overnight, Glazunov's reputation as a great Russian composer. In 1884, the rich merchant and publisher Belyayev took Glazunov to Weimar, where the young composer met Liszt. Although absorbing many musical influences, particularly those of Liszt and Wagner, Glazunov eventually crafted an individual style, composing symphonies, ballets, and concertos for various instruments. Owing to his growing international fame as a symphonist, Glazunov was invited to conduct his works in Paris in 1889; an invitation from London came in 1896. During the 1890s, Glazunov composed some of his most successful works, including the fourth, fifth, and sixth symphonies, and the ballet Raymonda.
Glazunov's score for the ballet Raymonda, Op. 57, props up a weak and fanciful narrative by novelist-journalist Lydia Pashkova, who submitted her ideas for a new scenario to Ivan Vsevolozhsy, director of the Russian Imperial Theatres, in 1895. Raymonda was originally produced in January 1898 at the Mariinsky (now Kirov) Theatre in St. Petersburg, with choreography by the great Marius Petipa. Prima ballerina Pierina Legnani (then in her benefit year) took the title role, with Sergei Legat as her suitor, the chivalrous knight Jean de Brienne.
The action takes place in medieval Hungary. Raymonda is to marry the crusader Jean de Brienne, but when he is summoned to take up arms abroad, Raymonda becomes the object of desire of the wicked Saracen infidel Abderakhman, who plots her abduction. The beneficent White Lady (a spirit committed to the guardianship of Raymonda's noble family line in perpetuity) suddenly appears at the critical moment. The planned kidnapping is thus foiled, and Jean de Brienne slays Abderakhman in battle with the sword.
The forgoing events, though entirely predictable, are spun out to occupy most of the ballet's first two acts. The third act focuses entirely on the betrothal and jubilant marriage celebrations for Raymonda and Jean de Brienne. Musically, this final act is composed of a series of divertissements and separate variations, one of which is the "pas classique hongroise," the most famous individual episode in the entire ballet. Though the somewhat ramshackle plot, with its banal and unsurprising outcome, is hardly an inspired literary creation, Raymonda survives in the repertory chiefly as the result of Glazunov's exquisite and imaginative score. Though Act III is occasionally presented on programs as a freestanding item, the complete ballet is seldom revived, overshadowed by the composer's more popular The Seasons (1898).
SOURCE: Allmusic - Hudba
TIMECODES
ACT 1
0:00:04 - Introduction
0:02:11† - Scene I
0:06:19† - La Traditore
0:07:51 - Scene II
0:09:35 - Scene mimique
0:10:16 - La recit de la Comtesse
0:13:04 - Scene III
0:13:40 - Scene IV (Entree de Raymonda)
0:14:30 - Scene V (Scene mimique)
0:16:24 - Scene VI (Entree)
0:18:29† - Grande Valse
0:21:58* - "Pizzicato"
0:23:17 - Reprise de la Valse
0:24:45† - Scene mimique
0:28:28 - Prelude et la Romanesca
0:29:12* - La Romanesca
0:30:40* - Prelude et Variation
0:32:00 - Scene mimique
0:34:27 - Scene VII
0:38:00† - Entre-acte
0:42:43 - Scene VIII
0:46:05*† - Grand Adagio
0:51:02 - Valse fantastique
0:54:54† - Variation I
0:56:10 - Variation II
0:57:05 - Variation III
0:58:07* - Variation IV
1:00:17 - Coda
1:02:44 - (Andante)
1:03:40 - Scene IX
1:04:07 - Scene mimique
1:06:43 - Scene X
1:07:10 - Ronde
1:08:47 - Scene XI
1:10:15 - Scene XII
ACT II
1:11:16 - Entre-acte
1:13:12† - Scene I (Marche)
1:15:11 - Scene II
1:17:18† - Grand Adagio
1:22:00* - Variation I
1:23:06 - Variation II
1:25:04 - Variation III
1:26:07* - Variation IV
1:27:06† - Grand Coda
1:30:02 - Scene mimique
1:31:02† - Entree
1:32:21† - Danse des garcons Arabes
1:33:14† - Entree des Sarrazins
1:34:03*† - Grand pas Espagnol
1:36:22† - Danse orientale
1:38:18† - Baccanal
1:41:25 - Scene III
1:44:41 - Hymne
ACT III
1:46:34† - Entre-acte
1:51:14† - Cortege
1:54:44 - Grand pas hongrois
1:58:06† - (Presto)
1:59:22††† - Mazurka
2:03:20† - Danse
2:05:10 - Entree
2:07:22*† - Pas classique hongrois
2:11:21 - Variation I
2:12:19† - Variation II
2:13:42 - Variation III
2:14:36***† - Variation IV
2:17:08† - Coda
2:19:22† - Galop
2:21:55 - Apotheose
* = popular
† = my favourites
Hello! I wanted to ask if the recording you uploaded of the Wooden Prince by Bartok is Gema-free?
Спасибо большое
Raymonda, for me at least, is the most beautiful ballet score in history.
For me too
I was ecstatic finding this on the Tube because Raymonda is my absolute favorite ballet score. Brimming with marvelous melodies and Glazunov's top-flight orchestration it's a ballet I've been known to listen to three times in a row (that's how much I love it). Thank you for doing the score-video.
Yes, it's a marvellous score. I didn't like it as much as Ruses d'amour or the Seasons when I listened to it for the first time, but have later grown to appreciate it much more. I think that because the piece is so coherent in using its motives and themes throughout, it made everything sound (to my ear) too similar. But after a couple of listenings and playing it through many times on the piano I've learned to follow the motives and recognise the differences between the variations and other numbers. Indeed, this is a great ballet score!
What a beautiful score!
The effort you put into making this video is very admirable and I thank you so much for sharing this very unknown piece by this very uknown composer! Brilliant description by you btw!
Thanks🙏
Act III Variation IV is beyond beauty. Absolutely my favorite part of the entire piece.
This video must've taken alot of effort. Specially because you used 3 different recording to give the listener the best experience. Although I didn't particularly love the piece, I'm still glad I made the time to listen to it and reading the description. And I thank you for your hard work.
…beautiful…
Thank uuuuuuuuuu😭❤️🫶🏻
no ads. you're a man of honor
oddly enough, I'm going to see Raymonda next month! So it's really pleasing to know the work beforehand, thank you so much!
George Balanchine said that Raymonda is the greatest ballet score, and Tchaikovsky said he would have never written Swan Lake had he heard it.
La création de "Raymonda" eut lieu en 1898, soit 5 ans après la mort du grand maître russe, la déclaration de Tchaïkovsky (que vous mentionnez) au sujet des compositions de ses ballets se rapporte à la partition de "Giselle" d'Adolphe Adam, qu'il considérait comme un chef-d'œuvre et supérieure à ces propres ballets...
Raymonda de Glazounov est cependant pour moi un autre chef-d'œuvre (commandé au compositeur par Petipa justement car Tchaikovsky était mort!)
Le génie d'Adolphe Adam est assez tombé dans l'oubli pour lui enlever, en plus, le respect que lui portait le grand compositeur russe...
Tchaikovsky couldn’t have said that because he died before Glazunov wrote it.
I thought Tchaikovsky said that about Delibes’ Sylvia
1 thing is missing - in act 1/scene 1 the "Entrée des vasseax et des paysans" @ 16:25 was revised before the first performance in 1898 into the "Entrée d'Abdéràme": 8 new bars based on the character Abderakhman's motif were added to the beginning in order to re-assign this number as an entrance and scene for him. The Mariinsky Theatre's production of "Raymonda" still retains this change (they have been performing the Konstantin Sergeyev edition of the ballet since 1948, which was the version recorded by Victor Fedotov and the Mariinsky Orchestra). Interestingly, the recent revival/reconstruction of the original 1898 production that was staged by Sergei Vikharev for the Teatro alla Scala in 2011 does not include this revision.
The changed number can be heard here czcams.com/video/pSffuhS_Xc0/video.htmlsi=ACQuCrrxwGeP4KkM&start=685
Many thanks for this video.
I didn't expect you would put so much effort into something saccharine and accessibly melodic, knowing your previous videos. A great upload anyway!
Surprise! 😜
Raymonda is a truly beautiful score, Balanchine said it was the greatest in the history of ballet.
The uptempo ending to the interpolated Mazurka in act 3 was cut from the original score. Petipa disliked Glazunov's music for Raymonda's variation @ 57:05 in the dream scene, as he likely fiund it insufficient in showcasing the ballerina, and so the the "Scènes de ballet" waltz was arranged for violin as a variation for Pierina Legnani, the first Raymonda. Some other cuts were made, if memory serves the "Ronde des follets et des farfadets" 1:07:10 was cut, as was the variation @ 02:13:42. Whatever the case, Raymonda Glazunov had his score for "Raymonda" published before the Balletmaster Marius Petipa was done with staging and choreography, and so any revisions/additions/cuts to the music are not reflected in the published score. The published score even has incorrect titles of many individual numbers - they were assigned titles by Petipa when he sent Glazunov the detailed instructions for each number in the ballet, but the final titles for each number is different in places in the original program and libretto of 1898.
0:04 лейттема Раймонда
1:13 лейттема Жана же Бриенна
1:39 трансформация темы Раймонды
13:40 выход Раймонды
18:29 большой вальс
Epic
1:11:43 what? Beethoven's 8th symphony?
Who came here for Tucker Carlson's Russian subway video?
Here's a link to Balanchine's Raymonda Variations: czcams.com/video/whw83FqFhS0/video.html
19:06
2:21:55
58:02