Peteris Vasks may be Latvia’s most well-known composer internationally but Janis Ivanovs (1906-83) is the country’s principal symphonist. From 1933 until his death he wrote 21 symphonies (the 21st is incomplete) in a conservative, nationalistic style forged independently of and predating the Soviet annexation of Latvia, however much adapted to political necessities post-1940.

The Eighth Symphony (1956) is a good example of his idiom, albeit a little too expansive for its own good. To the innocent British ear, the opening Andante may seem familiar, having a rather Celtic twang to the melodic language. Indeed, it sounds not unlike Bax, albeit leaner harmonically and much less opulently scored. The same holds true of the bracing scherzo and autumnal slow movement, although in the Allegro energico finale shades of Tubin and Nielsen surface. Ivanovs’ style did not change much thereafter and, as with Havergal Brian in Britain, his symphonic production accelerated with time, 13 symphonies appearing in his final 23 years. No 20 (1961) is more personal – although truth to tell his musical voice was never the most distinctive – a darkly dramatic work, with an impressive Adagio at its heart. The pastiche Minuet that functions as scherzo is a puzzling stylistic dislocation.

This is Yablonsky’s third release of Ivanovs’ symphonies from the Marco Polo/Naxos house (Campion is also issuing an Ivanovs series). The previous instalments (on Marco Polo) – Symphonies 2 and 3 (2/97), and 5 and 12 – were recorded with the Latvian National Symphony Orchestra. If these Moscow performances lack their national fervour they are nonetheless well played. The sound is a touch recessed but more than adequate. An enjoyable issue; one hopes that Yablonsky will complete the cycle.