"In 1891 Alexander Glazunov's very noteworthy String Quintet was published. The appealing first theme of the opening movement, Allegro, is first stated by the viola alone. The somewhat slower second subject is also very melodic. In fact, the whole is illustrative of his superb ability to achieve great tonal beauty. An exciting coda brings the movement to a close. The main part of the second movement, Scherzo, is quite entertaining especially with its effective use of pizzicato. The contrasting melody of the middle section has a halting rhythmic quality and the coda presents a surprise. The highly romantic Andante which follows is quite sentimental. Its middle section is a bit livelier. From its first notes, the finale, Allegro moderato, exudes its strong Russian tonal color with its powerful, driving main theme. Even the slower middle section is infused with Slavic melody. This work is a treasure, always a pleasure to play and to hear."
—Wilhelm Altmann, one of the most respected chamber music critics, writing in his famed Chamber Music Handbook.
Alexander Glazunov (1865-1936) was born in St. Petersburg, the son of a wealthy book publisher. He began studying piano at the age of nine and started composing not long after. It was Mili Balakirev (founder of the Russian nationalist group “The Mighty Five”) who brought Glazunov to the attention of Nikolai Rimsky-Korsakov. This was in 1879. Korsakov, who immediately recognized the boy’s talent, took him on as a private student. Glazunov’s progress was so fast that within two years, Korsakov considered Glazunov more of a junior colleague than a student.Between 1895 and 1914, Glazunov was widely regarded, both inside and out, as Russia’s greatest living composer. His works include symphonies, ballets, operas and seven string quartets in addition to various instrumental sonatas.
In addition, we are pleased to offer this Quintet in a version for 2 Violins, Violas, Cello and Bass. Our bass part was made by Anthony Scelba, noted bass soloist, Professor of Music and Director of the Concert Artists Program of Kean University. Professor Scelba has created an idiomatic bass part that adds breadth and clarity to the timbral spectrum of the work, making it a welcome addition to the double bass chamber music repertoire.
