In music, sound is everything — but Dacapo Records also considers how an album looks and feels. As Denmark’s national label for classical and contemporary music, Dacapo puts great care into its physical releases, with meticulously crafted packaging and detailed liner notes that bring context to the works of Danish composers and musicians.
The first three images are sketches – visual drafts that echo the album’s central theme. They mirror what the music does: explore the tension between the solitary voice and the listening collective.
The first three images are sketches – visual drafts that echo the album’s central theme. They mirror what the music does: explore the tension between the solitary voice and the listening collective.
The first three images are sketches – visual drafts that echo the album’s central theme. They mirror what the music does: explore the tension between the solitary voice and the listening collective.
The first three images are sketches – visual drafts that echo the album’s central theme. They mirror what the music does: explore the tension between the solitary voice and the listening collective.
The first three images are sketches – visual drafts that echo the album’s central theme. They mirror what the music does: explore the tension between the solitary voice and the listening collective.
The first three images are sketches – visual drafts that echo the album’s central theme. They mirror what the music does: explore the tension between the solitary voice and the listening collective.
The first three images are sketches – visual drafts that echo the album’s central theme. They mirror what the music does: explore the tension between the solitary voice and the listening collective.
The first three images are sketches – visual drafts that echo the album’s central theme. They mirror what the music does: explore the tension between the solitary voice and the listening collective.
The first three images are sketches – visual drafts that echo the album’s central theme. They mirror what the music does: explore the tension between the solitary voice and the listening collective.
The first three images are sketches – visual drafts that echo the album’s central theme. They mirror what the music does: explore the tension between the solitary voice and the listening collective.
The first three images are sketches – visual drafts that echo the album’s central theme. They mirror what the music does: explore the tension between the solitary voice and the listening collective.
A solitary voice. A listening circle. Balance in contrast.
A solitary voice. A listening circle. Balance in contrast.
A solitary voice. A listening circle. Balance in contrast.
A solitary voice. A listening circle. Balance in contrast.
A solitary voice. A listening circle. Balance in contrast.
A solitary voice. A listening circle. Balance in contrast.
A solitary voice. A listening circle. Balance in contrast.
A solitary voice. A listening circle. Balance in contrast.
A solitary voice. A listening circle. Balance in contrast.
A solitary voice. A listening circle. Balance in contrast.
A solitary voice. A listening circle. Balance in contrast.
Thomas Agerfeldt Olesen gathers two of his major orchestral works from the 2010s in his third release for Dacapo Records. Music about life and being alive.
Thomas Agerfeldt Olesen gathers two of his major orchestral works from the 2010s in his third release for Dacapo Records. Music about life and being alive.
Thomas Agerfeldt Olesen gathers two of his major orchestral works from the 2010s in his third release for Dacapo Records. Music about life and being alive.
Thomas Agerfeldt Olesen gathers two of his major orchestral works from the 2010s in his third release for Dacapo Records. Music about life and being alive.
Thomas Agerfeldt Olesen gathers two of his major orchestral works from the 2010s in his third release for Dacapo Records. Music about life and being alive.
Thomas Agerfeldt Olesen gathers two of his major orchestral works from the 2010s in his third release for Dacapo Records. Music about life and being alive.
Thomas Agerfeldt Olesen gathers two of his major orchestral works from the 2010s in his third release for Dacapo Records. Music about life and being alive.
Thomas Agerfeldt Olesen gathers two of his major orchestral works from the 2010s in his third release for Dacapo Records. Music about life and being alive.
Thomas Agerfeldt Olesen gathers two of his major orchestral works from the 2010s in his third release for Dacapo Records. Music about life and being alive.
Thomas Agerfeldt Olesen gathers two of his major orchestral works from the 2010s in his third release for Dacapo Records. Music about life and being alive.
Thomas Agerfeldt Olesen gathers two of his major orchestral works from the 2010s in his third release for Dacapo Records. Music about life and being alive.
A monarch at the podium. This box set celebrates King Frederik IX’s deep musical passion and his unique bond with the Royal Danish Orchestra and the Danish National Symphony Orchestra.
A monarch at the podium. This box set celebrates King Frederik IX’s deep musical passion and his unique bond with the Royal Danish Orchestra and the Danish National Symphony Orchestra.
A monarch at the podium. This box set celebrates King Frederik IX’s deep musical passion and his unique bond with the Royal Danish Orchestra and the Danish National Symphony Orchestra.
A monarch at the podium. This box set celebrates King Frederik IX’s deep musical passion and his unique bond with the Royal Danish Orchestra and the Danish National Symphony Orchestra.
A monarch at the podium. This box set celebrates King Frederik IX’s deep musical passion and his unique bond with the Royal Danish Orchestra and the Danish National Symphony Orchestra.
A monarch at the podium. This box set celebrates King Frederik IX’s deep musical passion and his unique bond with the Royal Danish Orchestra and the Danish National Symphony Orchestra.
A monarch at the podium. This box set celebrates King Frederik IX’s deep musical passion and his unique bond with the Royal Danish Orchestra and the Danish National Symphony Orchestra.
A monarch at the podium. This box set celebrates King Frederik IX’s deep musical passion and his unique bond with the Royal Danish Orchestra and the Danish National Symphony Orchestra.
A monarch at the podium. This box set celebrates King Frederik IX’s deep musical passion and his unique bond with the Royal Danish Orchestra and the Danish National Symphony Orchestra.
A monarch at the podium. This box set celebrates King Frederik IX’s deep musical passion and his unique bond with the Royal Danish Orchestra and the Danish National Symphony Orchestra.
A monarch at the podium. This box set celebrates King Frederik IX’s deep musical passion and his unique bond with the Royal Danish Orchestra and the Danish National Symphony Orchestra.
Composer and Hammond organ player Anders Koppel and cellist Henrik Dam Thomsen.
Composer and Hammond organ player Anders Koppel and cellist Henrik Dam Thomsen.
Composer and Hammond organ player Anders Koppel and cellist Henrik Dam Thomsen.
Composer and Hammond organ player Anders Koppel and cellist Henrik Dam Thomsen.
Composer and Hammond organ player Anders Koppel and cellist Henrik Dam Thomsen.
Composer and Hammond organ player Anders Koppel and cellist Henrik Dam Thomsen.
Composer and Hammond organ player Anders Koppel and cellist Henrik Dam Thomsen.
Composer and Hammond organ player Anders Koppel and cellist Henrik Dam Thomsen.
Composer and Hammond organ player Anders Koppel and cellist Henrik Dam Thomsen.
Composer and Hammond organ player Anders Koppel and cellist Henrik Dam Thomsen.
Composer and Hammond organ player Anders Koppel and cellist Henrik Dam Thomsen.
In Music of the Abyss, composer Allan Gravgaard Madsen (b. 1984) meets Rued Langgaard in a haunting dialogue across time.
In Music of the Abyss, composer Allan Gravgaard Madsen (b. 1984) meets Rued Langgaard in a haunting dialogue across time.
In Music of the Abyss, composer Allan Gravgaard Madsen (b. 1984) meets Rued Langgaard in a haunting dialogue across time.
In Music of the Abyss, composer Allan Gravgaard Madsen (b. 1984) meets Rued Langgaard in a haunting dialogue across time.
In Music of the Abyss, composer Allan Gravgaard Madsen (b. 1984) meets Rued Langgaard in a haunting dialogue across time.
In Music of the Abyss, composer Allan Gravgaard Madsen (b. 1984) meets Rued Langgaard in a haunting dialogue across time.
In Music of the Abyss, composer Allan Gravgaard Madsen (b. 1984) meets Rued Langgaard in a haunting dialogue across time.
In Music of the Abyss, composer Allan Gravgaard Madsen (b. 1984) meets Rued Langgaard in a haunting dialogue across time.
In Music of the Abyss, composer Allan Gravgaard Madsen (b. 1984) meets Rued Langgaard in a haunting dialogue across time.
In Music of the Abyss, composer Allan Gravgaard Madsen (b. 1984) meets Rued Langgaard in a haunting dialogue across time.
In Music of the Abyss, composer Allan Gravgaard Madsen (b. 1984) meets Rued Langgaard in a haunting dialogue across time.
Reimagining Langgaard’s original piano work for chamber ensemble, Madsen draws out the music’s dark undercurrents — a descent into chaos where the fragile light of youth gives way to modern man’s destructive force. This is the work’s first recording in this form: a visionary plunge into the unknown.
Reimagining Langgaard’s original piano work for chamber ensemble, Madsen draws out the music’s dark undercurrents — a descent into chaos where the fragile light of youth gives way to modern man’s destructive force. This is the work’s first recording in this form: a visionary plunge into the unknown.
Reimagining Langgaard’s original piano work for chamber ensemble, Madsen draws out the music’s dark undercurrents — a descent into chaos where the fragile light of youth gives way to modern man’s destructive force. This is the work’s first recording in this form: a visionary plunge into the unknown.
Reimagining Langgaard’s original piano work for chamber ensemble, Madsen draws out the music’s dark undercurrents — a descent into chaos where the fragile light of youth gives way to modern man’s destructive force. This is the work’s first recording in this form: a visionary plunge into the unknown.
Reimagining Langgaard’s original piano work for chamber ensemble, Madsen draws out the music’s dark undercurrents — a descent into chaos where the fragile light of youth gives way to modern man’s destructive force. This is the work’s first recording in this form: a visionary plunge into the unknown.
Reimagining Langgaard’s original piano work for chamber ensemble, Madsen draws out the music’s dark undercurrents — a descent into chaos where the fragile light of youth gives way to modern man’s destructive force. This is the work’s first recording in this form: a visionary plunge into the unknown.
Reimagining Langgaard’s original piano work for chamber ensemble, Madsen draws out the music’s dark undercurrents — a descent into chaos where the fragile light of youth gives way to modern man’s destructive force. This is the work’s first recording in this form: a visionary plunge into the unknown.
Reimagining Langgaard’s original piano work for chamber ensemble, Madsen draws out the music’s dark undercurrents — a descent into chaos where the fragile light of youth gives way to modern man’s destructive force. This is the work’s first recording in this form: a visionary plunge into the unknown.
Reimagining Langgaard’s original piano work for chamber ensemble, Madsen draws out the music’s dark undercurrents — a descent into chaos where the fragile light of youth gives way to modern man’s destructive force. This is the work’s first recording in this form: a visionary plunge into the unknown.
Reimagining Langgaard’s original piano work for chamber ensemble, Madsen draws out the music’s dark undercurrents — a descent into chaos where the fragile light of youth gives way to modern man’s destructive force. This is the work’s first recording in this form: a visionary plunge into the unknown.
Reimagining Langgaard’s original piano work for chamber ensemble, Madsen draws out the music’s dark undercurrents — a descent into chaos where the fragile light of youth gives way to modern man’s destructive force. This is the work’s first recording in this form: a visionary plunge into the unknown.
Rune Glerup transfers the categories typically used by visual artists and sculptors to the discipline of composing music. He is interested in sound shaped as an almost physical structure.
Rune Glerup transfers the categories typically used by visual artists and sculptors to the discipline of composing music. He is interested in sound shaped as an almost physical structure.
Rune Glerup transfers the categories typically used by visual artists and sculptors to the discipline of composing music. He is interested in sound shaped as an almost physical structure.
Rune Glerup transfers the categories typically used by visual artists and sculptors to the discipline of composing music. He is interested in sound shaped as an almost physical structure.
Rune Glerup transfers the categories typically used by visual artists and sculptors to the discipline of composing music. He is interested in sound shaped as an almost physical structure.
Rune Glerup transfers the categories typically used by visual artists and sculptors to the discipline of composing music. He is interested in sound shaped as an almost physical structure.
Rune Glerup transfers the categories typically used by visual artists and sculptors to the discipline of composing music. He is interested in sound shaped as an almost physical structure.
Rune Glerup transfers the categories typically used by visual artists and sculptors to the discipline of composing music. He is interested in sound shaped as an almost physical structure.
Rune Glerup transfers the categories typically used by visual artists and sculptors to the discipline of composing music. He is interested in sound shaped as an almost physical structure.
Rune Glerup transfers the categories typically used by visual artists and sculptors to the discipline of composing music. He is interested in sound shaped as an almost physical structure.
Rune Glerup transfers the categories typically used by visual artists and sculptors to the discipline of composing music. He is interested in sound shaped as an almost physical structure.
Bára Gísladóttir’s musical style is defined by an experimental and contemporary approach to both composition and performance. She is known for blurring the lines between improvisation and composition, treating them as interconnected facets of the same creative process. Her work draws inspiration from a wide range of musical genres — from death metal and techno to classical influences such as Scelsi and Penderecki.
Bára Gísladóttir’s musical style is defined by an experimental and contemporary approach to both composition and performance. She is known for blurring the lines between improvisation and composition, treating them as interconnected facets of the same creative process. Her work draws inspiration from a wide range of musical genres — from death metal and techno to classical influences such as Scelsi and Penderecki.
Bára Gísladóttir’s musical style is defined by an experimental and contemporary approach to both composition and performance. She is known for blurring the lines between improvisation and composition, treating them as interconnected facets of the same creative process. Her work draws inspiration from a wide range of musical genres — from death metal and techno to classical influences such as Scelsi and Penderecki.
Bára Gísladóttir’s musical style is defined by an experimental and contemporary approach to both composition and performance. She is known for blurring the lines between improvisation and composition, treating them as interconnected facets of the same creative process. Her work draws inspiration from a wide range of musical genres — from death metal and techno to classical influences such as Scelsi and Penderecki.
Bára Gísladóttir’s musical style is defined by an experimental and contemporary approach to both composition and performance. She is known for blurring the lines between improvisation and composition, treating them as interconnected facets of the same creative process. Her work draws inspiration from a wide range of musical genres — from death metal and techno to classical influences such as Scelsi and Penderecki.
Bára Gísladóttir’s musical style is defined by an experimental and contemporary approach to both composition and performance. She is known for blurring the lines between improvisation and composition, treating them as interconnected facets of the same creative process. Her work draws inspiration from a wide range of musical genres — from death metal and techno to classical influences such as Scelsi and Penderecki.
Bára Gísladóttir’s musical style is defined by an experimental and contemporary approach to both composition and performance. She is known for blurring the lines between improvisation and composition, treating them as interconnected facets of the same creative process. Her work draws inspiration from a wide range of musical genres — from death metal and techno to classical influences such as Scelsi and Penderecki.
Bára Gísladóttir’s musical style is defined by an experimental and contemporary approach to both composition and performance. She is known for blurring the lines between improvisation and composition, treating them as interconnected facets of the same creative process. Her work draws inspiration from a wide range of musical genres — from death metal and techno to classical influences such as Scelsi and Penderecki.
Bára Gísladóttir’s musical style is defined by an experimental and contemporary approach to both composition and performance. She is known for blurring the lines between improvisation and composition, treating them as interconnected facets of the same creative process. Her work draws inspiration from a wide range of musical genres — from death metal and techno to classical influences such as Scelsi and Penderecki.
Bára Gísladóttir’s musical style is defined by an experimental and contemporary approach to both composition and performance. She is known for blurring the lines between improvisation and composition, treating them as interconnected facets of the same creative process. Her work draws inspiration from a wide range of musical genres — from death metal and techno to classical influences such as Scelsi and Penderecki.
Bára Gísladóttir’s musical style is defined by an experimental and contemporary approach to both composition and performance. She is known for blurring the lines between improvisation and composition, treating them as interconnected facets of the same creative process. Her work draws inspiration from a wide range of musical genres — from death metal and techno to classical influences such as Scelsi and Penderecki.
