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The Fifth Symphony is a work of considerable calm, often constructed using modal, polyphonic strands which become progressively more chromatic, and with some unexpected eruptions, recalling at times Kancheli or Vasks. There is a lushness to Rypdal's orchestral palette and harmonic vocabulary, however which suggests a somewhat Gallic orientation (the third movement even recalls Poulenc). The fourth movement, as with the Double Concerto, seems to me to be the heart of the matter, alternating a rhythmic bird-like, chattering polyphony with driving brass and thundering drums and, once more, a Kancheli-like calm with shattering explosions. Rypdal's voice is an individual one and he has much to say; he is, in addition, a superb orchestrator, and the Riga Festival Orchestra, whose clear, sharp sound is caught to perfection, does his music full justice. An extraordinary disc.
Ivan Moody, International Record Review

Rypdal's album opens with tubular bells and brass before a whole universe comes in. … Think Hendrix meets Ravel meets Grieg and you won't be far away. … A beautiful record.
Duncan Heining, Avant Magazine

Eine Elektrogitarre als Soloinstrument in einem Symphonieorchester' Der Norweger Terje Rypdal ist einer der wenigen, der beide Welten zusammenbringt. Er schreibt für das Orchester ähnlich flächige Grundstrukturen, wie er sie mit der Elektrogitarre auf vielen seiner Platten bevorzugt. In diese mengt er - ebenfalls dem eigenen Gitarrenstil ähnlich - unruhige, nervöse Bewegungen. Dadurch flirrt seine 5. Symphonie voll wilder Spannung, ruht aber andernorts wie ein See bei Windstille in sich selbst. Im Double Concerto stellen Rypdal und Ronni Le Tekro, Gitarrist der Hardrock-Band TNT, ihre elektronischen Sounds dem bewegten Orchesterklang gegenüber. Auch das passt.
Werner Stiefele, Scala

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