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We continue the article from 1928:

The undoubted imprint of the wide element of Schubert’s work is also reflected in Russian music, originating from Glinka, one who lived in the first half of the 19th century and whose name Anton Rubinstein, in his famous book included among the five world geniuses.
It is quite possible, however, that this community of some highlights in Schubert and in Glinka’s operas is purely random, because Glinka hardly had the opportunity to hear

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This article was published in one of Leningrad's Academic journals in 1928, one of Glazunov's last written works before leaving the USSR to attend/adjudicate the competition for completing Schubert's Unfinished Symphony, and never to return to the USSR again.

Glazunov explained that the purpose of the article was to "remind Russian musicians of the global significance of the genius of Schubert and give ... the most concise description of his work. This is the reason for writing

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This is an updated translation of this text, meant to be published long ago but didn't get around to editing. Should definitely be interesting for Mussorgsky fans, especially those who are Godunov fans!



Mussorgsky's Boris Godunov, presented at the consideration of the Directorate of the Imperial Theaters in 1870, was initially rejected. The motives served allegedly "abundance of choirs, ensembles, solo absence numbers. " The opera was staged only January

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A big thanks to a German-speaking friend who volunteered to translate this for me. This speech was likely made originally in German for a symposium because it dates 1931, after Glazunov left the USSR for good. Mozart fans would especially be interested in this, enjoy!


Mozart in all of us

In the second half of the 18th century, a miracle happened on this planet: in the heavens of art a new star emerged, whose glistening overshadowed all other earthly lights,

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This is the second entry in my blog series whose title, “What Makes It Great,” is based on that of a now-defunct regular feature of a classical radio station in Washington, DC. The present subject is an iconic Bob Fosse number from the ever-popular John Kander/Fred Ebb musical Chicago: “Nowadays,” first performed on Broadway (in 1975) by Chita Rivera as Velma Kelly and Gwen Verdon as Roxie Hart. Having finally been acquitted of murdering her husband in Jazz Age Chicago, Roxie laments that

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