Golovschin's version of the more popular of Balakirev's symphonies is a little disappointing after his intelligent and generally effective advocacy of the more problematic Second Symphony (9/94). The Andante is played very nicely, with a sensitivity to the seductive curves of the phrasing that is enhanced by the clarinet being set a little back, as if from a mysterious half-distance. But this is much the most effective movement. The opening Allegro is rather repetitively played, without as much sense being made of Balakirev's gathering structure as in other performances, and the textures become a little incoherent towards the end. The Scherzo sounds rather too restrained; and this is even more marked in the performance of Islamey. Though more effective as a virtuoso piano piece, it transfers perfectly well to the orchestra in Lyapunov's scoring, but it does need more dash and potency.
Tamara has some attractive passages, but there is a lack of the sensuous allure without which this tone-poem about a murdered seductress loses, to put it mildly, much of its point.
It is difficult to recommend this version above Svetlanov's splendid recording of the symphony and of Russia, and there will be many like myself who still treasure the particular grace and affection of Beecham's classic performance.'