Abstract
The article discusses the special role of A.K. Glazunov in overcoming the dismissive attitude of "academic" composers to the use of the saxophone in classical works. The history of the adoption of the saxophone as a new instrument in the musical environment as a whole, the evolution of the views of A.K. Glazunov to the very possibility of composing a concerto exclusively for a saxophone group. By 1930, the saxophone had won the title of "King of Jazz", but at the same time acquired a certain touch of frivolity and frivolity. Analyzing the relevant literature, the author comes to the conclusion that thanks to the active work of the outstanding saxophonist S. Rascher and his agreements with the recognized master A.K. Glazunov, new classical works appeared, which allowed the saxophone to return to the orbit of "academic music". A.K. Glazunov, of course, associated the saxophone with a certain "Americanism". L. Sabaneev called the Saxophone Quartet "modernism that Glazunov allowed himself." Thus, in the work of A.K. Glazunov showed a mixture of RussianEuropean and American cultures. At the same time, he managed to create works that forever entered the golden fund of art, combining classical music and innovative, at that time, saxophone.
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