There is a well-attested story of Liadov failing to produce a score for Diaghilev: the disgruntled impresario refused to accept his assurance that he was getting on nicely, having actually bought some manuscript paper, and turned instead to young Igor Stravinsky. ''He was a shortwinded, pianissimo composer and he could never have written a long and noisy ballet like The Firebird'', Stravinsky later recalling Liadov with affection and with genuine admiration for Kikimora and Baba-Yaga. Well he might, for both pieces may well have had some influence on Stravinsky beyond the fact of both composers having learnt their skills at the feet of Rimsky-Korsakov.
The lively, idiomatic performances here are a welcome reminder of how good a composer Liadov was within his self-imposed constraints: as well as being lazy, he was highly self-critical and realized well that he was by nature a composer with a short wind. The enchanted lake, his other best-known piece, is also admirably played here and serves to underline his gift for sensitive harmonic effects and, again, his subtle hand with the orchestra. Of the various dances, all tuneful and well put together, the most striking is the Op. 49 Polonaise, which sets off at a vigorous stride and has a first-rate tune in its 'trio' section. The Apocalypse fragment confirms that Liadov was at his best when not inflating himself beyond his natural stature (which was also physically small). The recording does excellent justice to the colour and facture of these most attractive pieces by ''one of the most progressive musicians of his generation'' (Stravinsky again), and is a very welcom issue which should not be missed by any lover of Russian music.'