There are some attractive ideas in Spring (Vesna), a charming work, refined and transparent in its orchestration, playing on birdsong and building to a sensuous climax. The more familiar Concert Waltzes contain some of Glazunov’s most winning tunes. The novelty most likely to excite curiosity here is Glazunov’s music for Oscar Wilde’s Salomé, with Salome’s dance leading to a Polovtsian climax. Salome sheds her veils in a most unerotic fashion. But this cannot be blamed on the conductor, and generally there are warm, idiomatic performances, richly recorded.