Schumann: Overture, Scherzo, and Finale, Op. 52

“Schumann's symphonies come in for criticism because of his supposed cloudy textures and unsubtle scoring, but in the hands of a conductor who's both skilful and sympathetic they're most engaging works. Sawallisch's recordings, brightly transferred, are a much admired set. His style, fresh and unforced, isn't as high powered as some other conductors but it's sensible, alert and very pleasing. He achieves great lightness in the First and Fourth Symphonies – there's always a sense of classical poise and control but never at the expense of the overall architecture of the pieces.
The Second and Third Symphonies, larger and more far-reaching in their scope, again benefit from Sawallisch's approach. The playing of the Staatskapelle Dresden is superlative in every department, with a lovely veiled string sound and a real sense of ensemble. With the Overture,Scherzo and Finale thrown in for good measure, this isn't to be missed.” Gramophone Classical Music Guide, 2010

“the singers are the glory of this recording of Schumann's innovative work” BBC Music Magazine, March 2011 ***

“Clarity is a given with this particular band (their coupling of Symphonies Nos2 and 4 has already proved that) and here the same impressions of transparency, watertight ensemble, dovetailed phrasing and buoyant rhythms pertain.” Gramophone Magazine, May 2008

“To call a performance 'well made' might seem like a half-hearted compliment but in the case of Thomas Dausgaard's account of the Spring Symphony it's only part of the story, albeit a very important part. Clarity is a given with this particular band and here the same impressions of transparency, watertight ensemble, dovetailed phrasing and buoyant rhythms pertain.
The first movement is kept on its toes and 'in tempo', and likewise the Scherzo where the Trios are skilfully integrated into the rest of the movement, the first of them opening, unusually, to a gently brushed legato. The Larghetto is streamlined without sounding cold, the important horn and pizzicato string parts always crystal-clear, whereas the finale's prime virtue is its judicious pacing, especially the idyllic horn passage just after the halfway point, and the symphony's closing pages, which are thrillingly played.
Dausgaard's understanding of tempo relations is even better demonstrated in the Zwickau movement of an early G minor symphony.
There are reminders of early Schubert and Bruckner in that rays of light are crossed with moments of darkness, for example the unresolved bassoon motif that closes the exposition, very imaginative (and unsettling), and so is the return of the stern introduction towards the end of the movement.
The Mendelssohnian Overture, Scherzo andFinale is again beautifully shaped, the introduction unusually pensive, the ensuing Allegro full of life, the Scherzo crisp but unhurried. The two relatively late overtures again benefit from smaller-than-usual orchestral forces and perceptive direction, Dausgaard generating bags of energy while allowing textures to breathe. So all we need now is an equally compelling Rhenish Symphony to round off the cycle. The recorded sound is superb.” Gramophone Classical Music Guide, 2010

“Right from the opening fanfares, there's a sense of joy and exhilaration, and the openness of the orchestral textures brings freshness and clarity. The ensemble’s lithe flexibility is used to the full by Dausgaard, whose instincts on tempo are persuasive, and the dramatic tension underpinning the work isn't allowed to evaporate.” Andrew McGregor, bbc.co.uk, 7th March 2008

“For Schumann's admirers the bargain disc is a must.” Nottingham Evening Post

“Every orchestral thread gleams ...the cellist's most confidential whisper (and there are many) is never lost. (Cello Concerto)” Gramophone Magazine

“unlikely to be surpassed for a long time. (Violin Concerto)” Gramophone Magazine