The third series of string symphonies by the youthful Felix Mendelssohn-Bartholdy marks a turning point: more and more, the rococo character that so unmistakably marked the first six symphonies recedes in favor of a deeply romantic attitude. In addition, the 7th Symphony, in four movements for the first time, is twice as long as it's predecessors. The dogma chamber orchestra presents this groundbreaking composition together with the Double Concerto for violin and piano, which was composed only a little later and seems to have been written for the soloists Stephen Waarts and Annika Treutler. Waarts presents the technically demanding violin part with a melting that one does not often hear in the young generation of violinists. Treutler is in no way inferior: The pianist knows how to bring out the immeasurable richness of tone colors of the Steinway concert grand "Manfred Bürki" from 1901 to it's best advantage. The dogma chamber orchestra is much more than just an accompanist. Led by concertmaster Mikhail Gurewitsch, the strings prepare the ground for the two soloists and let the bravura solos culminate in intoxicating sound. Perfectly attuned to each other, there is no need for a conductor: top chamber music quality in symphonic garb! The seventh symphony also profits immensely from this: from the powerful unison opening to the Andante amorevole, which oscillates between melancholy and hidden dance, and the minuet, driven forward by a trenchant bass, to the brilliant fugato finale, the performance of the dogma chamber orchestra exudes esprit and enthusiasm.