A splendidly atmospheric and heroic Helios opens the programme, widely dynamic and vividly detailed (as this suggestive and thrilling music demands) – the sun rises, travels, and will fade from view – a dawn-to-dusk processional that the Bergen Philharmonic and Edward Gardner take in their stride. As for the restless Clarinet Concerto, a more-modernist work, whimsical, too, capable of angularity and acerbity, leavened by tenderness, the clarinet given to soliloquies as if a character in a play, a sense of theatre enhanced by an interruptive side drum, here rightly prominent. It’s a fascinatingly unpredictable score of compelling invention, played brilliantly and with considerable expressive import by Alessandro Carbonare, wonderfully partnered in volatile/visionary music that requires total involvement from all concerned, and gets it. This Nielsen concert (as it were) closes with the mighty Fifth Symphony, singular music of powerful communication that conjures strange landscapes, conflict, a generous humanity as well, and also a side drum episode towards the end of the first movement (there are two) when the player is instructed to try to halt the orchestra’s progress and is given his/her own devices as to how to do it, somewhat tame here (no rim shots, little frenzy), the orchestra winning through easily enough, a clarinet (as it happens) offering consolation. The second movement – resolute, quirky, ultimately positive – needs a little more determination initially than it get here, although it’s not long before resolve is given greater intensity and the end, via slow reflection beautifully played, is resounding. Good as this Fifth is, not least in clarity and clear-sightedness, I wouldn’t put it above Paavo Berglund’s Bournemouth version (Warner), although Chandos CHSA 5314 [SACD] is very recommendable with top production values and superb sound to complement listen-again performances.

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