Glazunov’s Eighth Symphony’s arrival in 1905 was concurrent with one of Russia’s key revolutionary dates but there is nothing revolutionary about the Symphony. Indeed, the first movement has surging lyricism in a 19th-century manner, with amiably attractive ideas. The momentary drama of the slow movement, with its repeated three-note figure, soon melts into melodic nostalgia, well understood by Serebrier, with the engaging woodwind interludes presented gently and affectionately, the climax on the strings moulded freely and ardently but without Tchaikovskian passion.

The Scherzo – usually the most memorable movement in a Glazunov symphony – is full of bustle but, though neatly scored, less charming than usual. Serebrier generates a full head of steam leading to a powerful close, to contrast with the endearing chorale-like opening of the finale. With its extended imitative development, it’s not an easy movement to hold at a high level of tension but Serebrier pins the rather discursive argument together quite firmly and builds a satisfactory, if not overwhelming, closing peroration. The recording is very good, naturally balanced, if not disguising the composer’s ample rather than transparent scoring.

Turn to the delightful selection from the earlier Raymonda ballet and you find Glazunov and Serebrier in their element. The writing is more memorable than in the Symphony, lightweight maybe but full of melodic charm and delectable scoring (‘Raymonda’s Prelude et Variation’ with delicious harp embroidery is enchanting). The orchestral playing here is often ravishing and the sound very pleasing.

However, the Symphony is also available in two Russian performances which combine idiomatic colouring with a flow of adrenalin that Serebrier does not always quite match. Anissimov’s excellent Naxos account is coupled with the Fifth Symphony (my favourite of the cycle) and has the advantage of economy. Polyansky’s impressive Chandos version is gripping and the Chandos recording approaches the demonstration class.