Aleksandr Glazunov (1865-1936) was a composer active during the transitional period of Russian Romanticism, bridging the gap between Tchaikovsky and Stravinsky. He integrated elements of the Russian nationalist style inherited from composers like Taneyev and Rimsky-Korsakov with Western musical traditions, creating richly colored orchestration, harmony, and lyrical, elegant melodies. His sophisticated compositional style earned him the nickname "the Russian Brahms," due to his mastery of counterpoint and thematic development.
In addition to his work as a composer, Glazunov also excelled as a conductor and educator. He played a significant role in the founding of the publishing house of Mitrofan Belyayev, a major institution for Russian music.
It is well known that one of Glazunov's students was Dmitri Shostakovich. For interesting anecdotes and insights into Glazunov's personality and character, I recommend reading The Memoirs of Dmitri Shostakovich.
The ballet "Raymonda", written alongside "The Seasons" during Glazunov's mature period, is one of his most famous works.
The story revolves around the beautiful Raymonda, who is pursued by two men: her fianc? Jean, and the Saracen prince Abderrahman, who appears from a dream into reality. The two rivals eventually duel for the chance to become her fianc?. Though the plot is simple, the music is highly varied, featuring various dances and lyrical, sweet melodies woven throughout, creating a balanced and engaging composition.
**About the Arrangement and Performance Points**
This wind band arrangement selects particularly familiar and effective pieces from the ballet, structured as follows:
1. Act I (Scene 1), No.1: Introduction
2. Act II: Grand Divertissement - No.26: Spanish Dance (Grand Pas espagnol)
3. Act I (Scene 2), No.14: Grand Pas d'action - Variation I
4. Act III, No.37: Galop
5. Act III, No.38: Apotheosis
While the optional parts for oboe, bassoon, Eb clarinet, and string bass are recommended to add more variety and color to the timbre, the arrangement has been carefully crafted to ensure it can still be performed effectively without them.
'Div.'' parts are intended to reinforce other sections, so if numbers are limited, clarinets should play the upper part, and euphoniums and tubas should play the lower part.
The woodwind rhythm in measure 21 of the Galop corresponds to the sixteenth-note movement in the original string parts. Since this is a fast-paced piece, if the rhythm proves too challenging, performers may simplify it by playing quarter notes instead.
We understand that each band has its circumstances, so feel free to make educational adjustments such as reinforcing parts or changing octaves where needed.
As the arranger, I would be immensely happy to see the beauty of classical music shared once again through this approachable and delightful composition.
(Kouji Shimba)
Arranger's Profile: Kouji Shimba
Kouji Shimba graduated from the Tokyo College of Music, Composition and Conducting. He studied conducting under Kazue Kamiya, Welisar Gentscheff, Yasuhiko Shiozawa, and Junichi Hirokami. His piano instructors were Mamiko Otani and Akiko Kodaka, and he studied harmony and score reading with Katsuhiro Tsubonou and Takeshi Tsuchiya. He also trained in trumpet under Teruyo Hayashi and clarinet under Hiroshi Uchiyama.
In 2003, Shimba made his conducting debut with the T?rgu Mures Philharmonic Orchestra in Romania. He is currently the principal conductor of the Kashiwa Wind Symphony and actively engages in conducting, teaching, and arranging for various ensembles.
(Koji Shimba)
