They also rehearsed Glazunov's Cantata, a work of stupendously little talent. The way he has borrowed the theme from Rubinstein's Fourth Concerto is just inept and stupid. However, the billing and cooing of the trumpets with the clarinets just before the entry of the chorus is not bad.* The choral section is quite short and rather good, it sounds truly triumphant. I would very much have liked to hear the Rubinstein theme ringing out in triumph on the brass against the background of the massed choir, that would really have been effective, but it loses its point when Glazunov presents it at the beginning of the work, so much so that one blushes for the Cantata's composer. As well as this theme, Glazunov has pinched so much for this piece that when I met Lyadov I told him that I very much approved of the concept underlying the Cantata: beginning it with a theme from the first Director of the Conservatoire, winding up with one from the latest holder of that office, and in between a theme from its first student. 'Whom do you mean?' asked Lyadov in surprise. 'Tchaikovsky. From Romeo and Juliet.' A gesture of disbelief. I: 'I mean, I don't suppose it was done deliberately . . .' Lyadov (embarrassed): 'No doubt, no doubt . . . '