Glazunov’s Sixth Symphony (1896) is one of his most successful. It opens sombrely with a slow, very Slavic melody, out of which springs the exciting Allegro, and the lyrical second subject is also related to it. The development is in many ways Tchaikovskian (impressively so) in its sequential progress, and the recapitulation confirms that the main idea is, in fact, a chorale which then forms the flamboyant coda: the close is again Tchaikovskian. It is followed by a charming set of variations on a melody which is, in essence, a cultivated Russian folksong, inviting some of the composer’s most delightful woodwind writing. This is Glazunov at his very finest.
The playing of the Moscow Orchestra produces a beguiling palette of colour and finds the lightest touch in the scherzando section, with the brass entering flamboyantly at the close. The third movement is a charming balletic ‘Intermezzo’, again played most gracefully. The work’s Russianness is confirmed by the maestoso dotted main theme of the finale, treated in rondo style; but fortunately Glazunov lightens his texture lyrically in the intervening episodes and then with a Tchaikovskian drum roll (8'40'') he relaxes briefly into pastoralism before the flamboyant coda. Anissimov handles the whole work admirably and with great confidence; there is no doubt that he has its full measure, and with the Moscow players responding avidly the performance is a great success.
The Forest is an extended (too extended, Rimsky-Korsakov decided) pantheistic tone-poem, with an ingenuous programme, to some extent redeemed by the composer’s orchestral skill. The ominous opening atmosphere lifts with the coming of dawn and the birds stirring, and later nymphs appear in the glades. But they are disturbed by a roisterous hunting party, and this melodramatic episode is over-extended. Eventually, a calm yet rich lyricism pervades the scene, and the evocative closing section, with songful flute, oboe, clarinet and horn solos and piccolo bird calls, confirms that nature has serenely taken over. The performance is sympathetic, the recording very good, but only a Beecham could persuade us that this piece is not too long for its material. Yet the symphony performance is well worth having at Naxos price.'