Symphony No.3 (Op.33, 1890) is the only lyrical symphony in A. Glazunov's heritage. Its genre peculiarity reveals itself already in dedication to P. Tchaikovsky, one of the teachers of the composer, whose influence is felt both in the compositional structure of the whole cycle and in its separate parts. One can trace a certain analogy with Symphony No.4 by P. Tchaikovsky. The interpretation of Symphony No.3 by A. Glazunov given on this CD suggests the same idea.
A. Glazunov's Symphony No.8 (Op.83,1906) is his last one and "the most perfect one", says Evgeni Svetlanov. The Symphony is full of meditations of essence of life and existence of all alive.
At the end of the score Glazunov wrote "finished on the 18th of October, 1905 the day of granting Russian people freedom or, better to say, peaceful winning this freedom".
True to A. Glazunov's vital and creative optimism the development of the 8th Symphony ends with the triumph of will, light and reason.
Recording of the ballet "Lady-Soubrette" is the last page of the unprecedented work — "Anthology of Russian Symphony Music", conductor Evgeni Svetlanov has been carrying out since the very beginning of his artistic career. At first all symphonic works by P. Tchaikovsky were recorded, the anthology was concluded with the recording of all works of the same genre by A. Glazunov. Ardent promoter of Russian and Soviet music Evgeni Svetlanov performed "a creative deed", the USSR Symphony Orchestra being his true ally. Evgeni Svetlanov has been the orchestra's chief conductor and artistic director since 1965.
Nikolay Yakovlevich Myaskovsky (1881-1950), the Musical Conscience of Moscow, has been deemed by many as the greatest of Soviet symphonists. And listening to his symphonies, it is not hard to see why. Hardly free from the problems with some of the turgidness, redundancy, and plainness in the writing, his music is real stuff, hardly facile, and honest in its communicative utterance. He was indeed a Twentieth Century Piotr Illyich Tchaikovsky, not as an epigone, but as a man not afraid to express himself and at the same time allow his music to remain accessible.
Tikhon Nikolayevich Khrennikov (1913–2007) was a Russian and Soviet composer, pianist, and leader of the Union of Soviet Composers, who was also known for his political activities. He wrote three symphonies, four piano concertos, two violin concertos, two cello concertos, operas, operettas, ballets, chamber music, incidental music and film music.
The termination of Glazunov's quest in lyrical and loftily solemn spheres is embodied in Symphony No.4 (Op.48, 1893). Symphony No.5 (Op.55, 1895) is the acme of Glazunov's symphonism. Balance of forms, harmony of dramaturgy, bright national basis all this is characteristic of a mature style of the composer.
The work which conductor Evgeni Svetlanov has been carrying on together with the USSR Symphony Orchestra has no analogy in the recording business. They have recorded "Anthology of Russian Symphony Music", and all symphonies by A. Glazunov concluded this unique work.
"Karelian Legend" (Op.99,1916) is one of the last works by A. Glazunov. Karelian folk fairy-tales inspired the composer to write it. Music of the Legend is remarkable for its splendour and ornament. Here Glazunov used various orchestral effects being in perfect command of them.
Symphony No.4 in С minor, Op.12 written by Taneyev in 1896—1898, was a landmark in the composer's long musical quest. The musical entr'acte «Apollo's Temple in Dephi» from the operatic trilogy «Oresteia» on Aeschylus is a hymn to Apollo, full of light and life force. Through the majestic diatonic structure of his music Taneyev expressed his admiration for ancient art. This entr'acte sound as majestically in Svetlanov's interpretation — it is a hymn to all the beautiful things existing in this world, on this planet.