abstract: Every collaborative pianist encounters unrealistic and unsuccessful piano reductions of orchestral and operatic compositions on a regular basis. In some cases, the reductions were realized by the composers themselves, and therefore may contain all the notes from the full score, but might not be realistic piano reductions. Other times, the reductions may have been made by an editor who might arrange the piano part according to their own physical abilities, experience, or taste, but might ignore essential elements of the original orchestration. Alexander Glazunov’s Concerto for Violin and Orchestra, Op. 82 is frequently performed by students and professional violinists alike. The existing piano reduction of the concerto was written by the composer himself. However, the reduction has various issues that make performing this composition challenging for pianists. The main purpose of this paper is not the simplification of the existing reduction, but the creation of a new reduction that is more pianistic and approachable, yet more true to Glazunov’s dynamic and expressive orchestration. The first chapter of this project is an introduction to and comparison of currently available editions. An overview of the composer’s biography and the historical background of the composition comprise the second chapter. Chapters three, four and five are dedicated to each respective movement of the concerto, with explanations and details about certain editorial decisions. The appendix features a new piano reduction of Glazunov’s Violin Concerto in its entirety. / Dissertation/Thesis / Doctoral Dissertation Music 2019

Detta examensarbete handlar om orgelmusiken i Östeuropa – Ryssland och Sovjetunionen. Orgelrepertoar från denna del av världen brukar inte spelas i Sverige så ofta och många tonsättare och verk förblir helt okända. Svenska organister kan dessutom inte få tillgång till källmaterialet på grund av språkbarriären då majoriteten av tillgängliga källor är på ryska. Orgelkulturen i Ryssland har haft en annorlunda utvecklingsväg jämfört med orgelkulturen i Västeuropa – på grund av den ortodoxa kyrkan har orgeln i Ryssland nästan alltid varit ett profant konsertinstrument. Detta arbete ger en historisk överblick över orgelmusikens utveckling i Ryssland och Sovjetunionen och fokuserar på orgelrepertoar från ca 1850-talet till nutid. I detta arbete finns även en beskrivning av interpretativa förslag till gestaltning av orgelverk av Aleksandr Glazunov, Vladimir Odoevskij, Sofia Gubaidulina, Georgij Muschel och Juri Butsko. / This master thesis focuses on the organ music from Eastern Europe - Russia and the Soviet Union. Organ repertoire from this part of the world is not often played in Sweden and many composers and works remain completely unknown. Moreover, Swedish organists lack access to the source material due to the language barrier as the majority of available sources are in Russian. The development of the organ culture in Russia has had a different path compared to that of Western Europe - because of the Orthodox Church, the organ in Russia has almost always been a profane concert instrument. This thesis provides a historical overview of the development of organ music in Russia and the Soviet Union, focusing on organ repertoire from about the 1850s to the present. It also includes a description of interpretative proposals for the performance of organ works by Aleksandr Glazunov, Vladimir Odoevsky, Sofia Gubaidulina, Georgy Mushel and Yuri Butsko. / <p>Examenskonsert</p><p>Orgelverk av A. Glazunov, V. Odoevskij, S. Gubaidulina, J. Butsko, G. Mushel</p><p>Mila Thoors - ogel</p>

This document examines Sonata No. 1 for Piano, Op. 74 of Aleksandr Konstantinovich Glazunov (1865-1936) and illustrates the incorporated Russian musical elements. The study has the twofold purpose of firstly defining musical elements idiomatic of Russian folk song, Russian Orthodox Church music and the Mighty Five; and secondly finding their representation in Glazunov's piano sonata. The introductory chapter describes the purpose of this study and the need for identifying the idioms of musical Russianness. The second chapter provides a historical background and explores characteristics of Russian folk music and Russian Church music, which are intrinsic to Russian musical culture. The third chapter discusses the historical background of Russian nationalism in music, the establishment of the Saint Petersburg Conservatory, and the contributions of the Mighty Five to the rise of a truly Russian national style as opposed to the Western traditions. Chapter four provides biographical information about Aleksandr Glazunov. The first part of chapter five presents historical background of Sonata No. 1 for Piano, Op. 74. The second part of this chapter discusses the composition within the context of Russian musical elements as identified in chapters two and three. The concluding chapter six summarizes the observations of the author. It was the premise of this study that the compilation of historical and analytical evidence would lead to an identification of the idioms of musical Russianness and of their use by Aleksandr Glazunov. The analysis performed here captures the musical elements of Russianness and offers a deeper understanding of Glazunov's achievement in integrating them with traditional Western compositional techniques.

In this dissertation, I explore the musical prosody of the literary symbolists and the influence of this prosody on fin-de-siècle French music. Contrary to previous categorizations of music as symbolist based on a characteristic "sound," I argue that symbolist aesthetics demonstrably influenced musical construction and reception. My scholarship reveals that symbolist musical works across genres share an approach to composition rooted in the symbolist concept of musicality of language, a concept that shapes this music on sonic, structural, and conceptual levels. I investigate the musical responses of four different composers to a single symbolist text, Oscar Wilde's one-act play Salomé, written in French in 1891, as case studies in order to elucidate how a symbolist musicality of language informed their creation, performance, and critical reception. The musical works evaluated as case studies are Antoine Mariotte's Salomé, Richard Strauss's Salomé, Aleksandr Glazunov's Introduction et La Danse de Salomée, and Florent Schmitt's La Tragédie de Salomé. Recognition of symbolist influence on composition, and, in the case of works for the stage, on production and performance expands the repertory of music we can view critically through the lens of symbolism, developing not only our understanding of music's role in this difficult and often contradictory aesthetic philosophy but also our perception of fin-de-siècle musical culture in general.