60. Glière, Reinhold. Autograph postcard of the composer inscribed and signed, in Russian, (5.25 x 3.37 in.; 133 x 86 mm.), 4 May 1912; in pristine condition.

A rare and early image of Glière.

As pupil of Sergei Taneyev and an “associated” member of the circle around the Petersburg publisher Mitrofan Belyayev, it appeared Glière was destined to be a chamber musician. In 1902 Arensky wrote about the Sextet, Op. 1, “one recognizes Taneyev easily as a model and this does praise Glière.” Unlike Taneyev, Glière felt more attracted to the national Russian tradition as he was taught by Rimsky-Korsakov’s pupils Ippolitov-Ivanov and Arensky. Alexander Glazunov even certified an “obtrusively Russian style” to Glière’s 1st Symphony. The composer finally finds with his 3rd Symphony Ilya Muromets a synthesis between national Russian tradition and impressionistic refinement. The première was in Moscow in 1912, and it resulted in the award of the Glinka Prize. The symphony depicts in four tableaux the adventures and death of the Russian hero Ilya Muromets. This work was widely performed, in Russia and abroad, and earned him worldwide renown. It became one of the favorite selections in the extensive repertoire of Leopold Stokowski, who made, with Glière’s approval, an abridged version, shortened to around the half the length of the original. Today’s cult status of Ilya Muromets is based not least on the pure dimensions of the original 80-minute work, but Ilya Muromets demonstrates the high level of Glière’s artistry. The work has a comparatively modern tonal language, massive Wagnerian instrumentation and long lyrical lines.
$500 - $700