This modern recording
of Glazunov classics is welcome. In
the catalogue there are many performances
to compare against. There are more than
fifteen other recordings of The Seasons
but only half a dozen of the Fifth,
most of which are modern versions dating
from the 1990s. The Naxos recording
with the Moscow Symphony Orchestra is
well respected (coupled with Symphony
8). An earlier Olympia disc, also recorded
in Russia with the Ministry of Culture’s
fine orchestra is not as acoustically
bright. Despite this, its coupling with
Symphony 4 is also valuable and well
thought of. (Both are given three stars
in the Penguin Guide.)
This Warner recording
certainly has a lot to commend it. Despite
the absence of any Russian input, the
score has been read with keen attention
to detail by both conductor and orchestra.
In the Fifth Symphony
an interesting warmth from the violas
and cellos prevails in the first movement.
The trumpets and horns blend nicely
as the first movement gathers momentum
before the graceful woodwind section
starts. Glazunov seems to have been
influenced by the German school in the
use of horns and woodwind in the early
movements.
The lively second movement
has fine atmosphere with the piccolo/flute
and pizzicato strings adding a magical
touch. The opening of the third movement
gives that feeling of mystery that is
not as mechanically portrayed as in
the MoC Russian recording with Rozhdestvensky;
instead a dreamy elegance pervades the
movement. Serebrier lengthens the phrasing
to good effect.
The military splendour
of the last movement expends considerable
energy and pomp. The notes tell us that
‘this energetic rondo recalls Borodin’s
rough epic manner, but which is transformed
by Glazunov into an epitome of a grand
Russian style’. The charm of this
score is certainly brought out by this
competent conductor.
The Seasons is
set against considerable competition
from other labels. I continue to enjoy
my Järvi version with the Scottish
National Orchestra (Chandos, coupled
with Concerto for violin and orchestra,
Op.82) even though its 1988 performance
might now be considered by others as
‘slightly dated’.
Again, I detect an
overall sensitivity in the playing that
is very appealing. In this recording,
Spring runs into Summer
(which is not always the case) giving
an abrupt start to tr.12, Summer’s
opening. Only if listening on a track-by-track
basis will the clipped start be of any
concern, but this is quickly overlooked
when one settles into the majesty of
the movement. In the coda of Summer,
the syncopated horn chords are more
evenly spaced than those found in the
Järvi performance, yet the whistling
strings tend to be over-recessed. Perhaps
the best known part of the score is
the opening movement of Autumn
(tr.17) where the first strings and
piccolo carry the theme and need to
be forward placed. Here the impact may
not be as vibrant as the heavy Järvi
version because the timpani are not
as prominent, but for me the strings
are right and my enjoyment is not muted.
The notes are written
in English, French and German and carry
more detail than some of those found
elsewhere.
The clear recording
and slightly reverberant surroundings
are ideal for maximising the textures
and appeal of these works and make them
worthy of consideration as benchmark
recordings.
Raymond Walker
Royal Scottish Symphony Orchestra/José
Serebrier 
