I have not listed Ilya Stupel’s Danacord recordings for Langgaard’s Seventh and Eighth Symphonies above as Dacapo’s new issues are of substantially different versions. Dausgaard here conducts the 1926 title­less original‚ not the later revision‚ while in the Eighth (1926­8‚ rev. 1929­34) he used the complete original not available in 1992. Fascinating as they are‚ they are less satisfying as music. Both jar next to the Sixth’s expressionism‚ their pared­down textures and 19th­century ambience (pace the unusual structures and No 8’s orchestral piano)‚ products of Langgaard’s rejection of his earlier radicalism and the prevailing neo­classicism of the time. His substitution of neo­Romanticism was determinedly retrogressive‚ and stylistically the music – even in the volcanic Tenth (1944­5) and charming Fourteenth (1947­8‚ rev. 1951) – ranges all over the place from Gade and Mendelssohn to the lighter Sibelius‚ Richard Strauss and Wagner. Danacord’s reissued live accounts of Nos 10 and 14 are both more involving than Stupel’s; indeed‚ this two­disc reissue – also including the extraordinary Music of the Spheres (1915­6) – makes an excellent starting point for those unfamiliar with this most eccentric of composers. The sound is perfectly acceptable‚ though the Chandos rivals are better­played and spectacularly recorded. Dausgaard’s account of the Sixth (1919­20‚ rev. 1928­30) – probably Langgaard’s best symphony – is the fourth in the catalogue‚ the third featuring the Danish Radio orchestra. Järvi’s remains the best recorded‚ but I like Dausgaard’s and Dacapo’s leaner‚ tauter sound: Frandsen and Stupel are both disadvantaged here. The Fourth Symphony‚ Leaf­Fall (1916)‚ is also present on Järvi’s (with No 5) and Stupel’s discs‚ but Frandsen consistently shows himself to have its best measure. Take for example the closing sections ‘Sunday morning (The Bells)’ and ‘At the end’ (indexed separately on Chandos as tracks 12 and 13 but irritatingly not by Danacord: it begins at 24'55"‚ continuing to the close); for Frandsen the bells summon the faithful to church‚ for Järvi they are a tocsin. Given the apocalyptic strain in Langgaard’s musical make­up‚ the music can bear both interpretations. For sonic thrills then‚ the Chandos versions remain first choice‚ but Danacord and Dacapo between them shade the interpretative decisions (except for Rozhdestvensky’s superlative Music of the Spheres). However‚ if Dausgaard goes on to complete a symphonic cycle‚ his may prove the most attractive of all.