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Like his colleague Sibelius, Nielsen poured his finest material into the symphonic mold. From the early First Symphony of 1892 (which is one of the first such works to begin and end in different keys), to the famous Fourth Symphony ("The Inextinguishable," a reference to the enduring power of both life and music), each is a noble testament to a remarkable man's view of the world around him.
These performances from the early 1970's are excellently performed and recorded (Bob Auger).
Performances of the three later symphonies are particularly vital and energetic.The only performances that better Schmidt's are the early 1950's Danish Radio SO versions. These are all mono and loose much because of inferior sound.
While the performances are not so urgent as those of the Danish Radio Symphony Orchesta under Jensen in the 1950's this is perhaps a good thing. The music is given room to breathe. If anything the renditions get better as the cycle progresses. After a strong rendition of the first symphony there can be no disguising that Symphony No 2 is the weakest composition among the six. The performance of Symphony No 3, while good, is no match for the beautiful textures and atmospheres that Leonard Bernstein coaxed from the Royal Danish Orchestra in 1965. But in the later symphonies this set really hits its stride culminating with a convincingly argued Fifth and a Sixth with near perfect balance and grace. Anyone who likes late nineteenth century symphonies, especially those of Dvorak will find this to be a rewarding introduction to the early twentieth century symphony, in fact Nielsen's First could almost be a Dvorak Tenth.