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Brahms was 43 years old when, after a long period of maturation, his First Symphony was published. Felix Weingartner commented on it ‘taking hold like the claw of a lion’ and its urgency marked a new phase in Brahms’ musical development. The Second Symphony is traditionally seen as the pastoral element in the cycle, while the Third, with its melodic beauty, has the courage to end quietly, an act of astonishing serenity. The compelling Passacaglia finale of the Fourth Symphony represents a fitting summation to one of the greatest symphonic cycles in the classical canon.
Christian Tetzlaff’s effortless virtuosity, purity of intonation, and slight emotional reticence perfectly suits Sibelius, making this the finest available collection of the Finnish composer’s music for violin and orchestra. In the concerto, Tetzlaff’s relative coolness makes the music sound more like Sibelius and less like a violin concerto, which is all to the good. That doesn’t mean he lacks anything in sheer technique: indeed, his first-movement cadenza impresses as one of the most impressively concentrated and musically satisfying on disc. Tetzlaff’s slow movement sings but avoids panting and heaving, while the finale realizes the music’s gentle melancholy as well as its more thrusting elements. He’s nicely accompanied by Thomas Dausgaard, whose gentle support perfectly suits the overall interpretation.