Thomas Dausgaard's recordings with the Swedish Chamber Orchestra of three of Franz Schubert's middle symphonies are displays of authentic period practice in state-of-the-art reproduction, and it's a winning combination. The watchword here is clarity, because these symphonies are models of Classical form and precision, with orchestral writing that is utterly transparent and ideally balanced, so the music is only enhanced by the spacious multichannel recording and direct stream digital processing. The Swedish Chamber Orchestra offers pristine string sonorities, and the winds have the distinctive and slightly pungent timbres of the 18th and early 19th century instruments Schubert knew. Dausgaard's interpretations are clearheaded and meticulous, and it's obvious that his musicians respond to his cogent direction with energy and enthusiasm. BIS recorded these performances on different occasions between 2009 and 2011 in the Örebro Concert Hall in Sweden, so in spite of the breaks between sessions, there is consistently superb sound quality, thanks to the first-rate engineering team and the unchanging venue. Highly recommended.
The soloists step into the light again for this fifth release in the Simax-series with the complete orchestral music of Beethoven. After the wonderful reception of piano concertos 1 and 2 (PSC 1181) its now time for concerto no.3, with Berezovsky on exceptional form. Plus a stunning rendering of the Triple concerto. Dausgaard leads with a sensitive ear to the poetry and somewhat melancoly expression found in both these concertos, engaging the orchestra in "chamber musical" ensemble with the soloists. But there are massive outbursts as well, in sparkling performance!
Volume 3 in the series with the complete orchestral works of Ludwig van Beethoven is ready from the Swedish Chamber Orchestra and its music director since 1997, Thomas Dausgaard. The piano concertos are true gems of the classical canon, as Beethoven was an expert both in the art of writing for the orchestra and himself a master pianist. Russian pianist Boris Beresovsky (b.1969) is such a wizard. At the age of 21 he won the Gold Medal at the 1990 International Tchaikovsky Competition in Moscow. It is a privilege to hear how the combination Berezovsky and Dausgaard/SwCO really hit it of in this music. They are enjoying themselves, surprising each other, challenging and courteous at the same time. The sounding result speaks for itself.
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 the stratospheric solo, provides little preparation for the dense textures to come. If these seem to lack transparency, listeners should be aware that van Keulen and Dausgaard play the Concerto in a “revised version,” in which the composer supposedly significantly lightened the original.
Symphony No. 6 was composed by a 20-year-old Schubert who wished to pay tribute to one of his heroes at the time: Rossini. This is the second disc in an on-going cycle of Schubert’s symphonies with the SCO and Thomas Dausgaard, described by BBC Music Magazine described as ‘an excitingly combative, and ultimately very plausible new look at Schubert.’
With this superlative 1999 recording by violinist Isabelle van Keulen with the Swedish Radio Symphony Orchestra under Thomas Dausgaard, the Swedish modernist Allan Pettersson's late Second Violin Concerto receives its first digital recording. The only previous recording on Capriccio from 1980 had been performed by the forces that gave the work its premiere early that year, violinist Ida Haendel with the Swedish Radio Symphony under Herbert Blomstedt, and it stood inviolate for almost 20 years until the arrival of this disc. It is clearly an improvement…..James Leonard @ AllMusic.com
…The recorded sound is magnificent! Two different engineers worked these sessions (Martin Nagorni for the "Unfinished" and Andreas Ruge for the "C Major") and they were recorded at the Orebro Concert Hall, Sweden. A near-perfect blend of direct and hall sound - not over-resonant - make for an immediate and satisfying listening experience. If you are curious about how these works sound in chamber orchestra garb, rush out and buy this. You won't be disappointed!