Organ music of Alexander Glazunov

Abstract

Alexander Konstantinovich Glazunov (1865–1936) was one of the greatest Russian composers who developed the musical traditions of Rimsky Korsakov, Borodin, Tchaikovsky, Balakirev and others. In his life during the end of the 19th century and the first half of the 20th century, he composed a large number of musical works including symphonies, ballets, chamber music, and concertos. Later in his career, he turned to the organ, producing three organ solo pieces: Prelude and Fugue No.1 in D Major for organ, Op.93; Prelude and Fugue No.2 in d minor for organ, Op.98 and his last work Fantasia in g minor for organ, Op.110. Glazunov began composing his first organ work, Op.93, in 1906 and finished it in the same year when he was teaching as a faculty member and the director of the Saint Petersburg Conservatory. It was his first attempt to compose a work for the instrument. What made him decide to write a musical work for the organ? What are the historical background and stylistic influences of this composition? And as a mature composer who had already composed eight symphonies but for the first time was composing for the organ, how did the composer treat the instrument in terms of compositional techniques such as pedaling, articulation, and registration? According to one of his letters, the composer was hesitant about publishing his Op.93 because he doubted whether this work was "organistic" enough. The second organ piece, Op.98 was finished in 1914. Compared with Op.93, what is the difference between the two pieces in terms of the form, and thematic structure? And how did Op.93 influence Op.98 in terms of the style? Glazunov's last compositional work Organ Fantasia op.110 was finished in 1935, the year before his death. He dedicated this work to the French composer and organist Marcel Dupré (1886–1971). What made him turn to a new genre? Did Marcel Dupré influence Glazunov's last organ composition in terms of style?

In this dissertation, I will offer answers to the preceding questions by providing a thorough analysis of each work, including the form, and thematic structure, and provide the study of the historical background, stylistic influence, and performance practice of these compositions.

I will also provide a study in depth of the registration of Glazunov's organ works from different editions of the musical score, along with a detailed registration plan with a score for the C.B.Fisk organ Op. 135.