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Rob Barnett
MusicWeb International, September 2018

Across 36 instrumental movements Glière demonstrates his ease with received styles. Take Tao-Hoa’s entrance and The Rose-Ship (CD1 trs. 3 and CD2 tr. 7) which is Tchaikovskian in the manner of Nutcracker. A chiming dusting of Chinoiserie returns in Dance of the Chinese Women (CD1 tr. 14) and Umbrella Dance (CD2 tr. 11). In Tao-Hoa’s Entrance we also hear a singing instrumental line that is to return time and again. That recurrent melodic outline line recalls Amy Woodforde-Finden’s Pale Hands I Loved Beside the Shalimar and does so fleetingly but unmistakably. This contrasts with the Grand Hotel frothy Gallic nonsense, decadence and nostalgia of Restaurant, Boston Waltz, European Dance (CD1 trs. 4, 6), Phoenix, Charleston and Dance in the Restaurant (CD2 trs. 5, 8, 9). This is music that when it is not aping Gaieté Parisienne resembles that of Barber’s wonderful Souvenirs in its orchestral garb. © 2018 MusicWeb International



American Record Guide, October 1996

"...much praise...Naxos's darkly sonorous ambience works well..."



Classic CD

"From the Russian orchestra comes everything you'd expect: crisp string playing, shimmering brass and a slight seediness to middle voices, which is an integral part of the picture. Andre Anichanov keeps rhythms fresh and gives his players the freedom to enjoy themselves"





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