Nielsen: Symphony No. 2, Op. 16 (FS29) 'The Four temperaments'

“This third and final CD from the series reminds us why Davis is so attuned to Nielsen: the music’s Beethovenian conflict brings out the visceral dynamism in his personality. The opening and closing movements of these two symphonies bristle with vitality, and even in the slower music...Davis finds metaphysical fire and majesty, reinforced by the London Symphony Orchestra’s meaty tone.” Financial Times, 9th February 2013 ****

“There’s none of the angst and anger that came later in Nielsen’s work, but plenty of rugged, boisterous, quirky and sometimes beautifully rustic music, which the London Symphony Orchestra deliver with a terrific punch in these concert recordings.” The Times, 9th February 2013 ****

“with this set he establishes himself as a Nielsenian of the first rank...Uplifting, inspired stuff.” Sunday Times, 3rd March 2013

“The LSO responds with relish … Davis’s readings are a notable achievement, and one can only admire his having taken on a major cycle this late in his career” International Record Review, March 2013

“Davis approaches both works with driving energy...this recording is an exhilarating display of the life-force at full blast in both composer and conductor.” BBC Music Magazine, May 2013 ****

“Gilbert proves capable of embracing and reconciling all the contradictory elements of Nielsen's musical personality: a warm heart and pent-up aggression, tenderness and playfulness, elegance and rowdiness. The playing is incisive and confident, and helped by a handsome recording” BBC Music Magazine, January 2013 *****

“Counterpoints that grind rather than dance, the weight and depth of the New York Phil’s sound and Gilbert’s ear for Nielsen’s symphonic mapping really make these recordings. These are rich and hugely enjoyable performances that add to the undernourished interpretative debate around Nielsen like few others have.” bbc.co.uk, 25th September 2012

“There is absolutely no doubting Gilbert's affection for this music. But while it would be an exaggeration to say that he kills the thing he loves, he does occasionally spoil it with sugary treats.” Gramophone Magazine, December 2012

“these performances are both stunners, good enough to make you regret that the applause has been edited out of both live recordings...These two symphonies are glorious. They will enrich your life. The playing and recording are faultless. Unmissable, in other words.” The Arts Desk, 20th October 2012

“Nielsen always nurtured a special affection for his First Symphony – and rightly so, for its language is natural and unaffected. It has great spontaneity of feeling and a Dvorákian warmth and freshness.
Blomstedt's recording is vital, beautifully shaped and generally faithful to both the spirit and the letter of the score. The recording is very fine: the sound has plenty of room to expand, there's a very good relationship between the various sections of the orchestra and a realistic perspective.
The Second and Third are two of Nielsen's most genial symphonies, both of which come from the earliest part of the century, in performances of the very first order.
The Second (1902), inspired by the portrayal of The Four Temperaments (Choleric, Phlegmatic, Melancholic, Sanguine) that he had seen in a country inn, has splendid concentration and fire and, as always, from the right pace stems the right character. Moreover the orchestra sounds inspired, for there's a genuine excitement about its playing. Indeed Blomstedt's accounts are by far the most satisfying available. The Third, Espansiva, is even more personal in utterance than The Four Temperaments, for during the intervening years Nielsen had come much further along the road of self-discovery. His melodic lines are bolder, the musical paragraphs longer and his handling of form more assured. It's a glorious and richly inventive score whose pastoral slow movement includes a part for two wordless voices.
Blomstedt gives us an affirmative, powerful reading and in the slow movement, the soprano produces the required ethereal effect.
The sound is very detailed and full bodied, and in the best traditions of the company. Blomstedt's Espansiva has greater depth than most accounts; the actual sound has that glowing radiance that characterises Nielsen, and the tempo, the underlying current on which this music is borne, is expertly judged – and nowhere better than in the finale.” Gramophone Classical Music Guide, 2010

“an admirable and inexpensive way of collecting Blomstedt's complete cycle of Nielsen's symphonies which is self-recommending. All six performances are among the finest available...To put it briefly, this remains the best all-round modern set of the symphonies, and the bonuses add to its attractions.” Penguin Guide, 2011 edition

“[On the original Dacapo releases] This is the welcome completion of what now ranks, in my judgment, as the best set of the Nielsen symphonies yet accomplished in the recording medium.” Fanfare