Between its Nielsen cycle with the New York Philharmonic and now this recording featuring the Vienna Philharmonic, Dacapo has come a label of international consequence, even if its focus remains gratifyingly on Danish artists. Norgard is a major figure in contemporary Danish music, and these two symphonies reveal his stylistic development between 1955 or so, when the First was composed, and the Eighth of 2011. The First has a subtitle, “Sinfonia austere,” and austere it certainly is. Allegedly influenced by Sibelius, you probably won’t hear much similarity aside from a dark Nordic gloom similar to that encountered in the Finnish composer’s Fourth Symphony, only more so. Still, this is an inventive work, tautly argued, with a particularly satisfying finale, and it definitely grows on you.

The Eighth is a bit shorter in overall length but reveals the same high level of invention and focus. I suppose you might call its general style atonal, but the music has great character and atmosphere, and falls gratefully on the ear. Unlike the First, there’s an overall tone of lightness and grace in all three movements, and the conclusion of the finale, marked “Lento visionario,” really tells the whole story. A short sound clip such as for the opening of the finale can’t begin to do justice to music that proceeds in long arcs of sound that need to be heard in context. One thing is certain: the Vienna Philharmonic, not a group known for its work in contemporary music, plays magnificently for Sakari Oramo, and the engineering is equally superb. For adventurous listeners, you could hardly do better as an introduction to Norgard’s impressive symphonic legacy.

-- ClassicsToday.com