Besides the documentary value of this pioneering recording (done for His Master's Voice in June 1932 ...

... Well captured for the time), the interpretative interest lies not so much in the first movement (which has since heard tastier or turgid under other chopsticks) but in the Finale (headed with biting even a quite impressive aggressiveness) and especially in the Andantino.
Seemingly simple to drive (maybe because simplistic and superficial, say the gossips), this central table does not constitute a less agogics about the tempo test, the choice of hyphenation, dynamic reports, which influence his choreography and his countenance.

Here Kajanus takes the opposite of another version that I really love: Anthony Collins (Decca) will paint a kind of perky waltz, fluid and regular pattern and exquisitely arched under the pizzicato, while the Finnish conductor, pace more calculated constantly remodels disgruntled profiles (note the work on the breath of wind instruments), blurs the shapes and impulses, awakens a rich imagination and reveals a surprising gesture of complexity like feeling.
As a mysterious magic lantern that projects disturbing and unpredictable pantomimes.