Swedish Chamber Orchestra / Thomas Dausgaard BRAHMS Symphony No. 4 - Tragic Overture - Hungarian Dances

SYMPHONY No. 4

Bergen Philharmonic Orchestra / Thomas Dausgaard BRUCKNER Symphony 6

                                                                SYMPHONY 6

Isabelle van Keulen / Swedish Radio Symphony Orchestra / Thomas Dausgaard ALLAN PETTERSSON Violin Concerto No. 2

Andreas K. W. Meyer’s notes provide a timeline for the life of Allan Petterson (1911–1980), “orchestra violinist, composer, oddball.” In any event, he cast his Second Violin Concerto in one, almost hour-long, movement (the recording has been divided into 10 tracks for those who might want to study specific sections). Its elfin opening, with swirling tonal parts in the upper registers surrounding a tempo at figure 41 in the score (the designation of the fourth track) and even more strikingly through most of the a tempo of the seventh and at the beginning of the cantando, tempo IV of the eighth and ninth tracks—and, throughout, woodwind sonorities highlight many passages. Meyer relates that Ida Haendel, the dedicatee, gave the work its premiere on January 25, 1980 (it had been composed between 1977 and 1979).  

It might not strike most listeners that Pettersson based the Concerto on a poem, God Goes over the Meadows , and his own musical setting of it. The text continues (in Susan Marie Praeder’s translation), “but only between thistles,” and this line may offer some insight into the work’s thickets of thorns and brambles. Meyer points out that his song’s folk-like style provided the “material point of departure.” So the intermittent tonality and passages of simpler, less entangled, lyricism may hearken to this fons et origo . Whatever lies at the center of this massive Concerto, however, its accessibility to audiences may depend less upon it than upon the composer’s ear for striking sonorities, for dramatic contrasts, and for soaring, effective writing for the solo instrument. Since Pettersson wrote his First Violin Concerto, according to the notes, in 1949, for Violin and String Quartet, this one represents a quantum leap into complex sonorities while remaining within the genre of the Violin Concerto. Adventurous listeners should find the work, the performance by both soloist and orchestra, and the wide-ranging and stark recorded sound especially rewarding. Strongly recommended to them. (Robert Maxham)

Danish National Symphony Orchestra / Danish National Vocal Ensemble / Danish National Choir / Thomas Dausgaard PER NORGARD Symphonies 3 and 7

Per Norgard is a major force among Danish composers, and no wonder. His music has exuberance, brilliance, and the freedom from inhibition or routine that we expect of a true symphonist in this post-Mahlerian age. His Third Symphony, in two big movements, features in its finale a chorus that among other things sings the Latin hymn Ave maris stella as well as a poem by Rilke. The words are completely unintelligible, what with all the other stuff going on at the same time, but it hardly matters because the music is stunningly colorful, atmospheric (cosmic even), and often very beautiful. There are tunes here, triadic harmonies, as well as wild dissonance, but it's all controlled so as to create an impressively intense pattern of tension and release, and to keep the ear engaged. You won't take in all of it the first time through, but you will want to come back for more, which is the first indication that we're dealing with a serious contender for "classic" status.

The SeventhSymphony, which just had its premiere a few months ago, is a bit tougher in its harmonic acerbity, but it's also easy to hear the same creative voice at work. In three short movements, it features prominent solos for 14 tuned tom-toms, and this highlights the driving force of rhythm that plays a major role here. The piece is over before you know it, and leaves you wanting more.

The performances under Thomas Dausgaard, recorded in the composer's presence, are presumably authoritative and sound just splendid. The orchestral playing has plenty of the necessary bravura, and in the Third Symphony the singers are very well integrated within the complex instrumental textures. If you're looking for some really good contemporary music, challenging but rewarding, full of personality and integrity, then this powerfully engineered production offers a perfect opportunity to satisfy your craving. (David Hurwitz / Classics Today)