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Glazunov was reaching the height of his creativity, nearing the age of thirty, when he wrote this pseudo-ballet music. Pseudo because it was conceived as a purely orchestral piece from the beginning, the subject matter of the music, rather than its original function, is the ballet.
The musical apprenticeship of conductor Neeme Järvi was spent in Leningrad, the once and later St. Petersburg, one of the ballet capitols of the world and Glazunov's home. His performance of these eight movements that all are in the form of typical ballet suite sections is wholly convincing and idiomatic. One can almost see the massed corps de ballet in the opening and closing movements, the women in long ballet skirts in the opening Preamble, the couples in ball gowns and Nineteenth Century military uniforms in the closing Polonaise; the diaphanous costumes of the Dance Orientale, the rouge spots on the dolls' cheeks in the Marionettes movement.
There is no story; one imagines the stories of the ballets that the individual dances might have come from.
By the time Järvi recorded Glazunov's Scènes de ballet in August 1989 he had already made many dozens of records of under-represented orchestral music, and was well established as conductor of the Scottish National Orchestra (later the Royal Scottish Orchestra). Their partnership resulted in an exceptional recording of this suite, captured in clear and very "present" -- though quite reverberant -- sound in Caird Hall, Dundee by Brian and Ralph Couzens. This is a recording worthy of a strong recommendation.
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Glazunov was reaching the height of his creativity, nearing the age of thirty, when he wrote this pseudo-ballet music. Pseudo because it was conceived as a purely orchestral piece from the beginning, the subject matter of the music, rather than its original function, is the ballet.
The musical apprenticeship of conductor Neeme Järvi was spent in Leningrad, the once and later St. Petersburg, one of the ballet capitols of the world and Glazunov's home. His performance of these eight movements that all are in the form of typical ballet suite sections is wholly convincing and idiomatic. One can almost see the massed corps de ballet in the opening and closing movements, the women in long ballet skirts in the opening Preamble, the couples in ball gowns and Nineteenth Century military uniforms in the closing Polonaise; the diaphanous costumes of the Dance Orientale, the rouge spots on the dolls' cheeks in the Marionettes movement.
There is no story; one imagines the stories of the ballets that the individual dances might have come from.
By the time Järvi recorded Glazunov's Scènes de ballet in August 1989 he had already made many dozens of records of under-represented orchestral music, and was well established as conductor of the Scottish National Orchestra (later the Royal Scottish Orchestra). Their partnership resulted in an exceptional recording of this suite, captured in clear and very "present" -- though quite reverberant -- sound in Caird Hall, Dundee by Brian and Ralph Couzens. This is a recording worthy of a strong recommendation.
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Glazunov was reaching the height of his creativity, nearing the age of thirty, when he wrote this pseudo-ballet music. Pseudo because it was conceived as a purely orchestral piece from the beginning, the subject matter of the music, rather than its original function, is the ballet. The musical apprenticeship of conductor Neeme Järvi was spent in Leningrad, the once and later St. Petersburg, one of the ballet capitols of the world and Glazunov's home. His performance of these eight movements that all are in the form of typical ballet suite sections is wholly convincing and idiomatic. One can almost see the massed corps de ballet in the opening and closing movements, the women in long ballet skirts in the opening Preamble, the couples in ball gowns and Nineteenth Century military uniforms in the closing Polonaise; the diaphanous costumes of the Dance Orientale, the rouge spots on the dolls' cheeks in the Marionettes movement. There is no story; one imagines the stories of the ballets that the individual dances might have come from. By the time Järvi recorded Glazunov's Scènes de ballet in August 1989 he had already made many dozens of records of under-represented orchestral music, and was well established as conductor of the Scottish National Orchestra (later the Royal Scottish Orchestra). Their partnership resulted in an exceptional recording of this suite, captured in clear and very "present" -- though quite reverberant -- sound in Caird Hall, Dundee by Brian and Ralph Couzens. This is a recording worthy of a strong recommendation.
