If not the most adventurous of composers, and in his later years over-conservative, Gade in his youth certainly had his moments. his inventiveness is evident in all four symphonies presented here, albeit in very different ways. The Sixth (1856-7) is perhaps the most perfect, Classical in design although with a minatory feel suggestive at times of middle-period Haydn. If it stays within its own clearly defined harmonic and stylistic limits, the First, Third and Fifth do not.
No 1 (1842), based on an old ballad and incorporating his own earlier setting of it, is bright and full of life: no wonder Mendelssohn and the Leipzig audience were enchanted.
The Third (1846-7) is a different proposition, more Romantic in tone, its first movement too much so causing the composer to replace it with a less radical opening span (the Presto tempo marking of which must still have raised a few eyebrows). The original Andante – Allegro energico is included here in its first recording, proving a fine if turbulent sonata Allegro.
The Fifth (1852) has a Mendelssohnian poise and grace plus one startling – if ultimately stillborn – innovation: the piano as an orchestral instrument. The Fifth is definitely not a concerto, but a true symphony with an extended keyboard part, sometimes as soloist, sometimes as colouristic device. The performances are all very nicely drawn, the First and Fifth particularly so.