Guest conductors are nothing new for orchestras these days. Over the past few decades, permanent conductors have become peripatetic and are at home base only part of the year, conducting all over the world the rest of the time. Ludovic Morlot, conductor and music director of the Seattle Symphony, is no exception, and we enjoy hearing our orchestra under talented guests.

Now for the first time, we have a permanent guest conductor. Thomas Dausgaard has been here to conduct before, but he will now have a regular connection with the Seattle Symphony, directing three programs a year, starting next season. Dausgaard, 50, brings valuable credentials which complement those of Morlot. A Dane, he brings a fine understanding and love of the Scandinavian musical repertoire, which apart from the most familiar works of Sibelius and Grieg, has not been much present in programming here for many years.

He is also steeped in the classical repertoire, and this past week he was here to conduct the orchestra in Beethoven’s Triple Concerto — so called as it has three soloists — and Schubert’s Symphony No. 9, the “great” C Major, so called as he also wrote a “little” C Major symphony.

His performance with the orchestra last weekend garnered enthusiastic applause, and he appeared to be well liked and admired among the orchestra musicians. (They only tap their bows or shuffle their feet, clapping if they have both hands free, for conductors of whom they approve.)

The Beethoven soloists are all young, all appearing here for the first time, and all wonderful musicians it will be a delight to have here again. Violinist Alina Pogostkina, 30, showed a delicacy of touch, a nice sense of classical drama, and complete ease with Beethoven’s music. The hands of pianist Christian Ihle Hadland rippled over the keys so seemingly relaxed that the notes floated out, yet there was plenty of power when needed. Cellist Andreas Brantelid, 26, drew a rich warm tone from his instrument, so that it sang. The three played in excellent harmony with each other and with the orchestra, which Dausgaard made sure did not drown them out.

Playing with soloists requires the conductor to work closely with them, giving them the lion’s share of prominence, but it’s in works without soloists that the conductor’s interpretations come to the fore. Conducting without a score, Dausgaard paced the huge Schubert work so that each movement had shape and fit within the overall structure. He is dynamic on the podium, using his whole body to indicate to the musicians what he wants, often guiding them rather than tightly controlling every nuance, yet making his wishes clearly known. The result was a lively performance, never dull, never overloud, but with myriad shades of meaning, reaching an exciting peroration at the end.

Dausgaard will be welcome here, and we look forward to the music he brings, particularly in light of the large Scandinavian presence Seattle enjoys.