These are early and minor works, but ones of distinct salon charm and played with the affection and enthusiasm they require. The Septet derives its rather odd ensemble—oboe, bassoon, horn, two violins, cello and bass—from what was locally available in 1823, and is cast in a fairly conventional classical form, namely an Adagio introduction to a sonata movement, Adagio, Minuet and a Rondo which he never quite finished (no mention here of who has rounded it off). Hindsight suggests that there are some characteristics of the mature Glinka here, not only a gift for agreeable melody but especially a good ear for decorative counterpoint. It would not be too much to say that the dancing, glittering textures of Kamarinskaya are by the same composer of the neat oboe countermelodies and pretty violin pizzicato decorations of this piece.
The Septet is attractive listening, as is the Grand Sextet, written in Italy for a young pianist who was one of Glinka's many emotional conquests. There is a serenade element in the Andante, though in a manner suggesting that the handful of lessons he had had from John Field were by no means lost on him: this is not far off a Nocturne in mood. The operatic fantasies are no better and no worse than many such. Claims for the music should certainly not be exaggerated, but there is a good deal of relaxed pleasure to be found in it. The recording is fresh, forward and clear.'