While the Middle Ages Suite is interesting, the real gem on this disk is the Scenes de Ballet. In this score, Glazunov matches the pinnacle of ballet music writing that he reached in his ballet The Seasons. Many listeners will recognize some of the numbers in this piece, because they tend to crop up in various "new" ballet productions that are patched together by choreographers such as Peter Maartens and Mikhail Baryshnikov – plus their occasional inclusion in the figure-skating routines presented by those great Russian and Ukrainian skaters every time the Winter Olympics comes around.

Jarvi directs a characteristically warm and urgent performance of this exuberant inspiration of the 24-year-old composer. It is by far the longest symphony that Dvorak ever wrote, and was longer still in its original form, before the composer revised it. As Ray Minshull put it, when commenting on the Kertesz/LSO issue, which he had produced for Decca, Dvorak ''later learnt to be jubilant more concisely''. The jubilation is what matters, and there is plenty of that on this record yet the issue brings my first significant disappointment in Jarvi's Dvorak series.

The first of Dvorak's nine symphonies and the last of his symphonic poems come here in a generous coupling, both of them among the longest works he ever wrote in each genre. The only rival version of the symphony on CD is the Kubelik, and that only comes in the six-disc DG set of the complete cycle. As for The Hero's Song, this is a real rarity. It is in fact the very last orchestral work that Dvorak wrote, in 1897 some seven years before his death. Unlike earlier symphonic poems, it has no specific programme, though the journey from darkness to light in the unspecified hero's life is clearly enough established.

This disc, well recorded in 1986, is typical of the whole series of Dvorak symphonies. It offers performances that are lively, perceptive and which are presented in glowing sound also giving considerable detail in a natural sound-stage without spotlighting.

There are many different musical "Seasons" aside from Vivaldi's, and next to Haydn's oratorio of the same name, this is probably the most famous example. The complete ballet is of modest length–only 40 minutes or so–and the autumn "Bacchanal" contains what is probably the catchiest tune that Glazunov ever wrote. You'll probably think that you've heard it before, but can't quite figure out where. Neeme Jarvi is always at his best in big, splashy Romantic pieces, and this performance is no exception. He whips the orchestra up to a fine frenzy where necessary, and given Chandos's fine sound and a sensible coupling, you're in for some good listening.

The symphonies of Arvo Pärt will surprise anyone familiar with his contemplative, mature style. Pärt began life as a member of the Eastern European modern school, not so far removed from contemporaries such as Penderecki and Górecki. His three symphonies show his gradual renunciation of the more radical aspects of his musical syntax, a return to emotional directness, and the beginnings of that otherworldly quality that has become the outstanding feature of his later work. Not all listeners have traveled the path with him, some finding his recent music tedious and pretentious rather than spiritual, and these three relatively early symphonies really do add a welcome depth and roundness of profile to a composer who can all too easily seem one-dimensional. It's important to keep in mind that, unlike so many members of today's pseudospiritual school of composers (England's John Tavener being the prime example), Pärt is a real composer operating even in the most mystical musings. Järvi deserves real credit for calling attention to this fact in such a powerful way.

For their latest album, Neeme Järvi and his Estonian National Symphony Orchestra present a delightful programme of lesser-known stage music from the nineteenth and early twentieth centuries. The Overtures by Thomas, Auber and Boieldieu were all composed for works staged at the Opéra-Comique in Paris, and are wonderful examples of the period.

From the unique trajectory of Scriabin’s career – two decades of ecstasy in its old-fashioned sense and of egotism in its timeless one – come the Second and Third Symphonies plus the two Poems: music raised through the engorgement of sumptuous timbre and chromatic harmony to the richness of foie gras.

This is the second instalment in our series devoted to Tchaikovsky’s three great ballets. The first recording, of The Sleeping Beauty, was praised upon its release, described by a reviewer in American Record Guide as ‘one of the finest I’ve heard’. Here Neeme Järvi and the Bergen Philharmonic Orchestra present the complete version of Swan Lake, with the pre-eminent James Ehnes lending his magic to the violin solos. This was Tchaikovsky’s first full-length ballet, but its premiere in 1877, staged at Moscow’s Bolshoy Theatre, was by no means a resounding success. According to most accounts, the choreography was inept, the shabby sets and costumes were borrowed from other productions, and the orchestral playing was poor. Most ballet companies today base their productions on the 1895 revival by the distinguished choreographer Marius Petipa.

Early on in his career, Wagner composed two symphonies, both of which are included on this disc. The Symphony in C, which he wrote when he was just nineteen years old, is heavily influenced by Beethoven in its character, mood, and instrumentation. Written two years later, in 1834, the Symphony in E was left unfinished, Wagner completing only the first movement and thirty bars of the second. The completed version recorded here was prepared by the conductor Felix Mottl more than fifty years later at the request of Wagners widow, Cosima. The two marches on this disc are the composers most obvious contributions to the genre of pomp and circumstance.