Incalculability is essential for prolific symphonists – think of the diversity of Haydn‚ Shostakovich or Brian – but rarely so extreme as with Langgaard‚ neatly encapsulated in this new disc of three works written in just four years (1942­45). The style of the anachronistic Ninth – 1872 seems a more appropriate date – is more in keeping with early Wagner (the opening movement sounds like Siegfried’s Rhine Journey!). The scherzo looks to Tchaikovsky (filtered through early Sibelius)‚ while the lowering Lento‚ ‘Ribe Cathedral’ (Ribe being Queen Dagmar’s city‚ where Langgaard was organist until his death)‚ starts with chords out of Don Giovanni before veering off into Boris Godunov. This eclecticism – were this Schnittke it would be ‘polystylism’ – switches to Strauss and Mahler in No 10‚ another of his large­scale‚ nature­based orchestral fantasias and one of his best. Its title‚ Yon Hall of Thunder‚ hints at its grandiose character‚ but there is subtlety here too. The Danish Radio orchestra play with greater refinement for Dausgaard than for Ole Schmidt in the 1970s‚ the more tellingly as Dausgaard takes it at a ferocious pace‚ cutting five minutes off the duration in a compelling reading. No 11‚ Ixion‚ is one of the oddest works in Langgaard’s symphonic canon – or anyone else’s. Running for some six minutes‚ it seems like a foreshadowing of Minimalism‚ albeit maximally orchestrated with four tubas (centre stage front) adding their baleful tone to its monothematic round. As overture or finale it convinces‚ but a whole symphony? – not a chance‚ still less as ‘the summit of all music’ (the composer’s description). Fine as Stupel’s accounts were for Danacord‚ Dausgaard’s are clearly superior‚ excellently recorded. Eccentric but undeniably fascinating.