Reinhold Glière - String Quartet No. 3, Op. 67 (1927)
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- Опубліковано 10 лют 2025
- Reinhold Moritzevich Glière (Russian: Рейнгольд Морицевич Глиэр, Ukrainian: Ре́йнгольд Мо́ріцевич Гліер / Reingol'd Moritsevich Glier; born Reinhold Ernest Glier, which was later converted for standardization purposes; 11 January 1875 [O.S. 30 December 1874] - 23 June 1956), was a composer in the Russian Empire and Soviet Union, of German and Polish descent.
String Quartet No. 3 in d minor, Op. 67 (1927)
Dedicated to the "Glière Quartet" Kalinovsky, Targonsky, Lutsky & Blok
1. Allegro moderato
2. Vivace (8:34)
3. Larghetto (12:45)
4. Fugue. Allegro molto energico (19:44)
Bolshoi Quartet
Melodiya 1980's.
to my knowledge the only recording of this work.
Twenty two years separate Gliere's String Quartet No.3, composed in 1927, from String Quartet No.2. They were tremendously important years not only for Gliere, but for the world as well. The First World War, with the outbreak and success of the Russian Revolution in 1917, brought the world Gliere knew to an end. The earlier quartets were written when he was in his early 20's during the time of Imperial Russia. By the time he wrote his Third Quartet, he was past 50 and Russia was under the thumb of Stalin. As one might expect, this work represents a quantum leap from what came before, but one can still hear the relationship to the earlier works.
The reputation of Reinhold Gliere (sometimes spelled Glier 1875-1956) today rests primarily upon his symphonies, ballets and operas, however he was also a composer of superb chamber music. Gliere was born in Kiev where he began his first musical studies with the famous violin teacher Otakar Sevcik, among others. He then went to the Moscow Conservatory where he studied with Sergei Taneyev, Anton Arensky and Mikhail Ippolitov-Ivanov. His superb compositional technique was quickly recognized by his teachers and he won several prizes for his early works. Gliere, himself, taught at the Moscow and Kiev conservatories for nearly 40 years. Among his many successful students were Khachaturian, Prokofiev and Miaskovsky.
Of Gliere's chamber music, the respected scholar and critic Professor Sabaneiev wrote:
"His chamber compositions show him to have been an absolute master of form, and a virtuoso in his control of the resources of musical composition and expression...He excelled as a melodist and his themes often reveal the contours of the Russian style which he understood so well. He had a masterly knowledge of the instruments and of their resonance, hence his chamber works are astonishingly rich and well written."
The opening movement, Allegro moderato, begins with a theme which is pleading and melancholy. Immediately, tension begins to build to a powerful climax which releases a forceful torrent of emotion. When things quiet down, a lyrical and romantic melody appears. The second movment, Vivace, begins softly, barely audible in the lower range of the cello. Slowly the rhythmic theme is flushed out into the open. The second theme is simultaneously dramatic and romantic and is then intertwined with the first, then a third Russian-sounding theme is also added. The final two movements are played without pause. A slow movement, Larghetto, comes first. Gliere begins again almost inaudibly. Again, he carefully builds tension to a dramatic climax. A sad and depressed, down-trodden melody of great breadth is then presented. Hearing this, one understands the foundation on which Shostakovich was able to build his technique. The short finale, Fuga, Allegro molto energico, is entirely in the form of a fugue until the explosive coda at the end of the movement. Our sound-bite presents the last part of the fugue and the coda.
This is a masterwork from an historically important time. It comes from a period with which we are little familiar. It illustrates how Russian music was developing early on in the Soviet era. It belongs in concert and will certainly interest professionals as well as amateurs who are fans of Russian music.
oh!fantastic!
This is the only recording of this work as far as I know of. I wished the Pulzus Quartet also recorded 3 and 4 as this is a very rough recording with intonation problems and what not, but it gives at least a good idea what a great work this is, especially the unique slow movement.
@@bartjebartmans Thank you for this video! That's exactly what I was looking for right now!
Bartje Bartmans
All right,Thanks.
I'm utterly impressed by the quality of this astounding composition. Glière in a sort of acerbic mood. A mature composer we can hear here.
Phenomenal. One of the saddest works by Glière, which is not typical of him. Truly Catoiresque anxiety at full scale here...
It seems to me this piece is about exploring the expressive possibilities of three notes, the second an octave above the first, the third half step further upward. It does sound a lot like Schoenberg's early chamber music. No a bad model, no?
Es un gran compositor. Manejo absoluto de la técnica, absolutamente profundo y de una creatividad sorprendentemente bella.
Thank you for your uploading! It's very 👍
Awesome video!
Thanks for your assist in providing this rare recording!
This is GORGEOUS.
Beautiful music!
👍🏻 👍🏻 The notes are most enjoyable ❤️ 🎶 ❤️
I feel Franck and Chausson's influences.
And I feel Verklärte Nacht
@@klop4228 what do you mean by 'nicer'
@@klop4228 oh, ok.
Also, I just mentioned Verklärte Nacht because I felt the echoes in 6:04 and both keys are D minor