Kalinnikov's Second Symphony doesn't have the dramatic power or imaginative fire of its better-known predecessor, but it's full of ingratiating tunes, some folk-Tchaikovskian, some in more polished Rachmaninovian vein. The difference in approach between the Svetlanov and Jarvi readings is striking. Svetlanov (Le Chant du Monde/Harmonia Mundi) seems determined to spite Schoenberg and prove that the folk-song symphony can work, and there's no doubt that the symphony sounds more purposeful in his hands. Jarvi is often content simply to enjoy the scenery as it passes.
It has to be said that the Chandos performance is very persuasive: Jarvi is particularly good at bringing life and colour to the symphony's more playful ideas—the scherzo theme for instance. It is also far better recorded than the Russian version—no penetrating high strings, a more immediate overall picture and generous but well-controlled ambience. I still find Jarvi preferable in the First Symphony (10/88), but returning to Svetlanov's Second after hearing the new Jarvi a couple of times I'm impressed by the sweeping purposefulness, and by what one might call its longer breathing. The Andante's ardent central section sounds weakly repetitive in Jarvi's hands; not in Svetlanov's. The persistent ticking from about 5'30'' to 6'45'' which I noted in that movement still bothers me, but I'd put up with it for the sake of Svetlanov's broad conviction.
The other works on the Chandos disc are well worth hearing, particularly the festive Tsar Boris, with its thrilling climactic fanfares. Both here and in the miniature tone-poem The cedar and the palm the SNO bring plenty of atmosphere and expressive warmth, and there's all the customary Jarvi freshness. But if it's the symphony alone that you're interested in, and the relatively thin sound is no problem, go to Svetlanov.'