Svetlanov's account of the First Symphony comprises enjoyable, if hardly essential listening for Scriabin acolytes. To be honest, I had expected a performance of greater fire and thrust from this conductor; indeed, for a live event, this is curiously low-voltage stuff—at least until the choral finale, which is delivered with most commendable, heart-felt ardour (both soloists couldn't be more committed). Unfortunately, like Segerstam, Svetlanov indulges in various percussion frills which serve no musical purpose at all—witness those tiresome, oh so melodramatic extra cymbal clashes in the second movement, for example; happily, both Muti and Inbal (Philips, 4/90—nla) eschew such pointless tactics. Svetlanov's recording is merely serviceable and rather 'toppy'. As far as newcomers to this endearing score are concerned, I'd recommend Muti's gorgeous Philadelphia account every time; somewhat frustratingly, EMI would appear to have deleted the single-CD issue, though it's still available as part of a (thoroughly desirable) three-CD set containing all of Muti's Scriabin recordings.
Svetlanov's Le poeme de l'extase is something else altogether. From rather ordinary beginnings, this develops into a thrillingly intense, even intimidating experience. Subtle refinement is scarcely on the agenda, yet the sheer theatrical fervour of this account is hard to resist, and those malignant sneers from muted USSR SO trombones at 8'27'' onwards have to heard to be believed (was this particular passage ever more evil-sounding than here?). What a pity the applause was edited out—I was on my feet long before the end! A word of warning though: Scriabin's (or rather Svetlanov's) all-enguifing waves of sound totally defeat the efforts of the production team on this occasion, which makes for (aptly?) uncomfortable listening to say the least.'