This has the look of a career-making recording from Scots violinist Nicola Benedetti, putting her up against difficult repertory that diverges from the crowd-pleasing fare that formed the basis of her career up to this album. It would have been hard to predict just how well she pulls off her task here; few could have heard the profound interpreter of Russian music in the Italia and Silver Violin collections from earlier in the 2010s. The Shostakovich Violin Concerto No. 1, Op. 99, is an emotionally thorny work in five movements anchored by a tense passacaglia in the middle. The composer withheld it from publication during the period of renewed Stalinist repression in the late 1940s. It was premiered in 1955 by David Oistrakh, and in endurance and elevated tone even if not quite in lyrical grandeur, Benedetti brings that master to mind. Sample the Stravinskian "Burlesque" finale for a sense of how Benedetti gets outside herself here. The Glazunov Violin Concerto, Op. 82, is a more stable work, rooted in pre-WWI conservatory traditions, and Benedetti's reading is nothing short of letter-perfect.

Glazunov’s ballet Les Ruses d’amour (also known as The Trial of Damis), is a charming choreographic realization of the French rococo, with a strong element of pastiche. Although the music is thoroughly Russian in its orchestral colouring and language, Glazunov makes imaginative use of earlier French dance melodies, and the score was praised by his former teacher Rimsky-Korsakov for its ‘unusual mastery of writing and extremely pictorial beauty’. The scenario concerns a duchess’s daughter, Isabella, who tests the Marquis Damis’s love by disguising herself as a maid servant.

It may be news to many readers that these composers wrote organ music at all, and in the case of Dvorak he virtually didn't, for these are composition exercises from his student days which remained in the archives of Prague Conservatoire until they were found and edited by Jarmil Burghauser in 1980. Some of the world's most boring music has been written as before-service preludes and Dvorak's student exercises are more engaging than many a more professional job, but it would be unwise to read more into them than that. Occasionally Mr. Ericsson seems to be trying too hard, but generally he leaves their homely charm to speak for itself.

Glazunov’s beautifully scored incidental music for Lermontov’s play Masquerade has only survived in manuscript. With characteristic genius, he illustrates both the glittering atmosphere and dances of splendid St Petersburg balls and depicts the horrifying descent into madness of the play’s protagonist, Evgeny Arbenin, who jealously poisons his innocent wife. The shorter works on this disc likewise show Glazunov’s amazing command of orchestral resources, whether evoking an exotic oriental vision, the vivacious spirit of Hungarian music, in the Pas de caractère, or painting a mood of gentle romantic lyricism.

Established in Moscow in 1945, and still performing today, the Borodin Quartet sustains a distinctive tradition in the interpretation of Russian chamber music. Over the decades its members – all trained at the Moscow Conservatory – have inevitably changed, but the ensemble’s identity has remained cohesive, its philosophy and aesthetic embodying an entire musical culture. The quartet’s close association with Dmitri Shostakovich has gone down in history, and his chamber works are central to this 8CD collection which, offering music by a succession of Russian composers from Borodin himself to Schnittke, spans the 19th and 20th centuries.

Written prior to his first symphony sometime around 1881 as a teenager the themes were taken from a series of collected melodies (Melodies populaires de Grece et d’Orient) published by Louis Bourgault-Doucoudray of material he collected during a journey through Greece in 1874 with the premiere being conducted by Anton Rubenstein. It is another example of the fascination of exploring exotic themes from other countries like Prince Igor, Scheherazade, or Islamey. From very early on in his composing career Glazunov had already developed his sound which offers wonderful arrangements and orchestrations and a unique Russian sound unlike anyone else.

A precocious pupil of Rimsky-Korsakov, Glazunov was able to add to a post-nationalist synthesis in Russian music, combining national inspiration with sound compositional technique. His Fantasy The Sea is programmatic, a homage to Wagner, and the Oriental Rhapsody follows an even more detailed and exotic narrative scheme.

These are both delightful symphonies, even if the Eight is rather thickly scored. However, Alexander Anissimov does his best to make the textures as clear and well ventilated as possible, and pays great attention to details of dynamics and balance. Try the Scherzo of the Fifth Symphony and you will find much lightness of touch and a greater transparency than is often encountered in records of these works. Strongly recommended. –Penguin Guide

This disc opens with the seldom-heard Variations on a Russian Theme that five composers wrote to honor the conductor Nikolai Galkin. It is an attractive theme that is wittily scored by the five. Only Sokolov took the task seriously, but all five provided a rousing work.

With 6 Anissimov is back in peak form and certainly beats out the other Russian contenders for the title…Anissimov and his Moscow players give an excellent account of themselves, and the engineers have obliged with truly room-filling volume, taking care to bring out the deep bass and rich, dark coloring so important for a full appreciation of the score. There's nothing subtle about the playing — especially the trenchant low brass — but then save for the central sections there's not much that's subtle about the music either, and Anissimov's exuberant embrace of the outer movements is immensely satisfying.

lnspired by the lyrical style of Tchaikovsky, the melodic and, at times, epic Symphony No. 3 is Glazunov’s first major work of his maturity and one of his most popular. Started 26 years before his death, but never completed, the single movement Symphony No. 9 is noteworthy for a lush, romantic melody which undergoes a transformation reminiscent of Elgar.

Alexander Glazunov was a committed romanticist and a master orchestrator. Both these qualities are at the forefront in this release. The melodies are rich and moving, with a hint of melancholy; the soloist and orchestra are well balanced, the cello never buried in a wash of orchestral sound; and structure of these single movement works renders them complete and satisfying.

The Song of Destiny is a dramatic overture dating from 1907 and in it and the Two Preludes on this disc Glazunov commands attention strongly. The Song uses the famous Fate theme from Beethoven's Fifth Symphony and in a spirit of well-orchestrated gloom bites and strikes outwards and upwards. The atmosphere is very strong indeed and a far from obviously superior soul-mate would be Rachmaninov's Isle of the Dead. One of his most powerful scores lit by Rimskian flashes.