But all these stories didn’t keep us from feeling the greatest respect for Glazunov. Even adulation. It’s only now that his compositions seem dull, but then they were heard in all our classes, at every student recital, and particularly at the examinations, which Glazunov invariably attended. And I don’t think it was to suck up to Glazunov, either. You didn’t have to tell Glazunov he was a marvellous conductor. They played his works because they were convenient and effective, for instance, the Piano Variations in D, the Sonata in B minor, and the Concerto in F minor. The singers adored Glazunov’s romances, and Nina’s romance from Lermontov’s Masquerade was something of a warhorse. It’s popular today, we often hear it. I’m not very fond of it.