Swensen had appeared as soloist with the Scottish Chamber Orchestra ten years before conducting them for the first time. He had always enjoyed the culture of the ensemble, but the possibility of working with them regularly was strangely daunting at first.

It fascinates me how that relationship continues to evolve. One of the reasons that I had second thoughts about going there as Principal Conductor in 1996 - and I had many second thoughts - was due to the fact that it was so amazing! I was there for one week, we did one programme together and I just wanted to be with these people for the rest of my life. I thought 'OK, there is no future in this; it's like some amazing hot love affair, that is so hot that in two weeks it's going to burn out or fizzle out and there is not going to be anything left but a dim memory.' I was really afraid that it might go that way. But, I think, after seven wonderful years, I can be pretty sure everything is going to be OK. Every couple of years for some reason it feels we're just starting again but from a deeper level.

I can't explain that. Of course events can encourage rebirth. For example, we've just embarked on a new and extensive recording arrangement with Linn Records and that has been a shot of energy. I haven't actually wanted to record for quite some time. Not because I haven't been proud of the orchestra's playing: it just wasn't yet the right time for me, and I wasn't interested in recording just for the sake of recording.

When discussing possible repertoire for a multi CD project, the orchestra asked if I would consider playing on some of these records as well. I had not considered this before and it was a big decision for me but it was impossible to say no, especially as the orchestra felt that it might help to promote the records. I think I'm the only person playing the violin concerto repertory whose main purpose is to promote his orchestra.

Their first, highly-acclaimed, release on Linn Records is an all-Mendelssohn disc, playing to the Scottish nature of the ensemble, including both the Hebrides Overture and Scottish Symphony, with Swensen also as soloist in the Violin Concerto (LINN CKD205). Their second CD (released in November 2003) of Sibelius' Pelleas and Melisande, The Tempest, Belshazzar's Feast and Valse Triste (LINN CKD220) is something quite special to Swensen:

These pieces (most of which Sibelius wrote for the theatre) are really surprising. Transparent textures of introspective innocence, a wistful optimism one doesn't normally associate with Sibelius... and the orchestra's playing in the Valse Triste is, in my opinion, the most beautiful I've ever heard.