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Initially, Sibelius believed this first symphony would be programmatic: a symphony telling of his homeland’s geology and the triumph of Christianity over paganism. But seven years after the success of his choral-orchestral work based Finnish folklore Kullervo, friends and critics were urging Sibelius to think in more rigorous symphonic terms. Finland, they argued, needed art that was more international than parochial – a symphony that stood its ground on musical terms alone. Such thinking would give the First Symphony its musical weight irrespective of political context. In his student days in Vienna and Berlin, Sibelius’s teachers had stressed the importance of working through musical themes – lathing them continuously until they were fit for purpose. Ultimately, Sibelius took that advice to a level that couldn’t have been anticipated. Already in this symphony, the composer was handling his material in a distinctive way. Its misty opening on a solitary clarinet doesn’t just prepare us for the shock of the movement’s fast-paced Allegro; it infiltrates the work’s musical ideas like nutrients in their soil. The shape of the clarinet’s theme can be detected in numerous fragments right up to the final bars. The fourth movement launches with a transfigured version of it on thrusting strings. That gesture speaks of another conceptual difference in Sibelius’s symphonic designs: his response to the colours and capabilities of instruments. In a departure from traditional Germanic symphonic argument (which would make sense on a piano), Sibelius allowed the particular colour of instruments and instrumental groups to shape the path of his music. The symphony’s opening clarinet solo presents one example. The long-held pedal notes in the slow Andante, and the pizzicatos of the Scherzo, two more. These led the critic Ernest Newman to conclude that ‘every page breathes of another manner of thought, another way of living, even another landscape.’ That ‘other way of living’ can be rationalized. The use of recitation – a note repeating itself, like something half-sung – has its roots in Finland’s runic singing tradition. Others have heard something distinctly Russian in the clarinet solo, in the fur-wrapped melancholy of the slow movement and in the feverish way in which the final Allegro molto erupts. It’s in this movement that we hear Sibelius at his most unique. The organic treatment of themes continues. But as part of that process, the movement appears to reconcile the symphony’s poles of energy and stasis in a way only Sibelius could have conceived: by tricking us into assuming the music is operating at one distinct velocity when it’s actually locked into another. Andrew Mellor, from Sibelius: Symphony 1 & En Saga; Rouvali & Göteborgs Symfoniker (Alpha, 2019)

The Gothenburg Symphony was formed in 1905 and today consists of 109 musicians. The orchestra's base is Gothenburg Concert Hall at Götaplatsen that has gathered music lovers since 1935. Since the 2019-2020 season, Barbara Hannigan is Principal guest conductor. We are also a proud partner of Barbara Hannigan's Equilibrium mentoring program focusing on young singers at the start of their careers. The title Principal Guest Conductor is shared by Pekka Kuusisto from 2025. Wilhelm Stenhammar was the orchestra's chief conductor from 1907 to 1922. He gave the orchestra a strong Nordic profile and invited colleagues Carl Nielsen and Jean Sibelius to the orchestra. Under the direction of conductor Neeme Järvi from 1982-2004, the orchestra made a series of international tours as well as a hundred disc recordings and established themselves among Europe's leading orchestras. In 1996, the Swedish Riksdag appointed the Gothenburg Symphony as Sweden's National Orchestra. In recent decades, the orchestra has had prominent chief conductors such as Santtu-Matias Rouvali, Mario Venzago and Gustavo Dudamel, following Kent Nagano as Principal Guest conductor. Anna-Karin Larsson is CEO and artistic director, Gustavo Dudamel honorary conductor and Neeme Järvi chief conductor emeritus. The orchestra's owner is the Västra Götaland Region. The Gothenburg Symphony works regularly with conductors such as Herbert Blomstedt, Joana Carneiro, Jukka-Pekka Saraste, Christian Zacharias and Anja Bihlmaier.

Initially, Sibelius believed this first symphony would be programmatic: a symphony telling of his homeland’s geology and the triumph of Christianity over paganism. But seven years after the success of his choral-orchestral work based Finnish folklore Kullervo, friends and critics were urging Sibelius to think in more rigorous symphonic terms. Finland, they argued, needed art that was more international than parochial – a symphony that stood its ground on musical terms alone. Such thinking would give the First Symphony its musical weight irrespective of political context. In his student days in Vienna and Berlin, Sibelius’s teachers had stressed the importance of working through musical themes – lathing them continuously until they were fit for purpose. Ultimately, Sibelius took that advice to a level that couldn’t have been anticipated. Already in this symphony, the composer was handling his material in a distinctive way. Its misty opening on a solitary clarinet doesn’t just prepare us for the shock of the movement’s fast-paced Allegro; it infiltrates the work’s musical ideas like nutrients in their soil. The shape of the clarinet’s theme can be detected in numerous fragments right up to the final bars. The fourth movement launches with a transfigured version of it on thrusting strings. That gesture speaks of another conceptual difference in Sibelius’s symphonic designs: his response to the colours and capabilities of instruments. In a departure from traditional Germanic symphonic argument (which would make sense on a piano), Sibelius allowed the particular colour of instruments and instrumental groups to shape the path of his music. The symphony’s opening clarinet solo presents one example. The long-held pedal notes in the slow Andante, and the pizzicatos of the Scherzo, two more. These led the critic Ernest Newman to conclude that ‘every page breathes of another manner of thought, another way of living, even another landscape.’ That ‘other way of living’ can be rationalized. The use of recitation – a note repeating itself, like something half-sung – has its roots in Finland’s runic singing tradition. Others have heard something distinctly Russian in the clarinet solo, in the fur-wrapped melancholy of the slow movement and in the feverish way in which the final Allegro molto erupts. It’s in this movement that we hear Sibelius at his most unique. The organic treatment of themes continues. But as part of that process, the movement appears to reconcile the symphony’s poles of energy and stasis in a way only Sibelius could have conceived: by tricking us into assuming the music is operating at one distinct velocity when it’s actually locked into another. Andrew Mellor, from Sibelius: Symphony 1 & En Saga; Rouvali & Göteborgs Symfoniker (Alpha, 2019)

The Gothenburg Symphony was formed in 1905 and today consists of 109 musicians. The orchestra's base is Gothenburg Concert Hall at Götaplatsen that has gathered music lovers since 1935. Since the 2019-2020 season, Barbara Hannigan is Principal guest conductor. We are also a proud partner of Barbara Hannigan's Equilibrium mentoring program focusing on young singers at the start of their careers. The title Principal Guest Conductor is shared by Pekka Kuusisto from 2025. Wilhelm Stenhammar was the orchestra's chief conductor from 1907 to 1922. He gave the orchestra a strong Nordic profile and invited colleagues Carl Nielsen and Jean Sibelius to the orchestra. Under the direction of conductor Neeme Järvi from 1982-2004, the orchestra made a series of international tours as well as a hundred disc recordings and established themselves among Europe's leading orchestras. In 1996, the Swedish Riksdag appointed the Gothenburg Symphony as Sweden's National Orchestra. In recent decades, the orchestra has had prominent chief conductors such as Santtu-Matias Rouvali, Mario Venzago and Gustavo Dudamel, following Kent Nagano as Principal Guest conductor. Anna-Karin Larsson is CEO and artistic director, Gustavo Dudamel honorary conductor and Neeme Järvi chief conductor emeritus. The orchestra's owner is the Västra Götaland Region. The Gothenburg Symphony works regularly with conductors such as Herbert Blomstedt, Joana Carneiro, Jukka-Pekka Saraste, Christian Zacharias and Anja Bihlmaier.

Initially, Sibelius believed this first symphony would be programmatic: a symphony telling of his homeland’s geology and the triumph of Christianity over paganism. But seven years after the success of his choral-orchestral work based Finnish folklore Kullervo, friends and critics were urging Sibelius to think in more rigorous symphonic terms. Finland, they argued, needed art that was more international than parochial – a symphony that stood its ground on musical terms alone. Such thinking would give the First Symphony its musical weight irrespective of political context. In his student days in Vienna and Berlin, Sibelius’s teachers had stressed the importance of working through musical themes – lathing them continuously until they were fit for purpose. Ultimately, Sibelius took that advice to a level that couldn’t have been anticipated. Already in this symphony, the composer was handling his material in a distinctive way. Its misty opening on a solitary clarinet doesn’t just prepare us for the shock of the movement’s fast-paced Allegro; it infiltrates the work’s musical ideas like nutrients in their soil. The shape of the clarinet’s theme can be detected in numerous fragments right up to the final bars. The fourth movement launches with a transfigured version of it on thrusting strings. That gesture speaks of another conceptual difference in Sibelius’s symphonic designs: his response to the colours and capabilities of instruments. In a departure from traditional Germanic symphonic argument (which would make sense on a piano), Sibelius allowed the particular colour of instruments and instrumental groups to shape the path of his music. The symphony’s opening clarinet solo presents one example. The long-held pedal notes in the slow Andante, and the pizzicatos of the Scherzo, two more. These led the critic Ernest Newman to conclude that ‘every page breathes of another manner of thought, another way of living, even another landscape.’ That ‘other way of living’ can be rationalized. The use of recitation – a note repeating itself, like something half-sung – has its roots in Finland’s runic singing tradition. Others have heard something distinctly Russian in the clarinet solo, in the fur-wrapped melancholy of the slow movement and in the feverish way in which the final Allegro molto erupts. It’s in this movement that we hear Sibelius at his most unique. The organic treatment of themes continues. But as part of that process, the movement appears to reconcile the symphony’s poles of energy and stasis in a way only Sibelius could have conceived: by tricking us into assuming the music is operating at one distinct velocity when it’s actually locked into another. Andrew Mellor, from Sibelius: Symphony 1 & En Saga; Rouvali & Göteborgs Symfoniker (Alpha, 2019)

The Gothenburg Symphony was formed in 1905 and today consists of 109 musicians. The orchestra's base is Gothenburg Concert Hall at Götaplatsen that has gathered music lovers since 1935. Since the 2019-2020 season, Barbara Hannigan is Principal guest conductor. We are also a proud partner of Barbara Hannigan's Equilibrium mentoring program focusing on young singers at the start of their careers. The title Principal Guest Conductor is shared by Pekka Kuusisto from 2025. Wilhelm Stenhammar was the orchestra's chief conductor from 1907 to 1922. He gave the orchestra a strong Nordic profile and invited colleagues Carl Nielsen and Jean Sibelius to the orchestra. Under the direction of conductor Neeme Järvi from 1982-2004, the orchestra made a series of international tours as well as a hundred disc recordings and established themselves among Europe's leading orchestras. In 1996, the Swedish Riksdag appointed the Gothenburg Symphony as Sweden's National Orchestra. In recent decades, the orchestra has had prominent chief conductors such as Santtu-Matias Rouvali, Mario Venzago and Gustavo Dudamel, following Kent Nagano as Principal Guest conductor. Anna-Karin Larsson is CEO and artistic director, Gustavo Dudamel honorary conductor and Neeme Järvi chief conductor emeritus. The orchestra's owner is the Västra Götaland Region. The Gothenburg Symphony works regularly with conductors such as Herbert Blomstedt, Joana Carneiro, Jukka-Pekka Saraste, Christian Zacharias and Anja Bihlmaier.

Initially, Sibelius believed this first symphony would be programmatic: a symphony telling of his homeland’s geology and the triumph of Christianity over paganism. But seven years after the success of his choral-orchestral work based Finnish folklore Kullervo, friends and critics were urging Sibelius to think in more rigorous symphonic terms. Finland, they argued, needed art that was more international than parochial – a symphony that stood its ground on musical terms alone. Such thinking would give the First Symphony its musical weight irrespective of political context. In his student days in Vienna and Berlin, Sibelius’s teachers had stressed the importance of working through musical themes – lathing them continuously until they were fit for purpose. Ultimately, Sibelius took that advice to a level that couldn’t have been anticipated. Already in this symphony, the composer was handling his material in a distinctive way. Its misty opening on a solitary clarinet doesn’t just prepare us for the shock of the movement’s fast-paced Allegro; it infiltrates the work’s musical ideas like nutrients in their soil. The shape of the clarinet’s theme can be detected in numerous fragments right up to the final bars. The fourth movement launches with a transfigured version of it on thrusting strings. That gesture speaks of another conceptual difference in Sibelius’s symphonic designs: his response to the colours and capabilities of instruments. In a departure from traditional Germanic symphonic argument (which would make sense on a piano), Sibelius allowed the particular colour of instruments and instrumental groups to shape the path of his music. The symphony’s opening clarinet solo presents one example. The long-held pedal notes in the slow Andante, and the pizzicatos of the Scherzo, two more. These led the critic Ernest Newman to conclude that ‘every page breathes of another manner of thought, another way of living, even another landscape.’ That ‘other way of living’ can be rationalized. The use of recitation – a note repeating itself, like something half-sung – has its roots in Finland’s runic singing tradition. Others have heard something distinctly Russian in the clarinet solo, in the fur-wrapped melancholy of the slow movement and in the feverish way in which the final Allegro molto erupts. It’s in this movement that we hear Sibelius at his most unique. The organic treatment of themes continues. But as part of that process, the movement appears to reconcile the symphony’s poles of energy and stasis in a way only Sibelius could have conceived: by tricking us into assuming the music is operating at one distinct velocity when it’s actually locked into another. Andrew Mellor, from Sibelius: Symphony 1 & En Saga; Rouvali & Göteborgs Symfoniker (Alpha, 2019)

The Gothenburg Symphony was formed in 1905 and today consists of 109 musicians. The orchestra's base is Gothenburg Concert Hall at Götaplatsen that has gathered music lovers since 1935. Since the 2019-2020 season, Barbara Hannigan is Principal guest conductor. We are also a proud partner of Barbara Hannigan's Equilibrium mentoring program focusing on young singers at the start of their careers. The title Principal Guest Conductor is shared by Pekka Kuusisto from 2025. Wilhelm Stenhammar was the orchestra's chief conductor from 1907 to 1922. He gave the orchestra a strong Nordic profile and invited colleagues Carl Nielsen and Jean Sibelius to the orchestra. Under the direction of conductor Neeme Järvi from 1982-2004, the orchestra made a series of international tours as well as a hundred disc recordings and established themselves among Europe's leading orchestras. In 1996, the Swedish Riksdag appointed the Gothenburg Symphony as Sweden's National Orchestra. In recent decades, the orchestra has had prominent chief conductors such as Santtu-Matias Rouvali, Mario Venzago and Gustavo Dudamel, following Kent Nagano as Principal Guest conductor. Anna-Karin Larsson is CEO and artistic director, Gustavo Dudamel honorary conductor and Neeme Järvi chief conductor emeritus. The orchestra's owner is the Västra Götaland Region. The Gothenburg Symphony works regularly with conductors such as Herbert Blomstedt, Joana Carneiro, Jukka-Pekka Saraste, Christian Zacharias and Anja Bihlmaier.

Initially, Sibelius believed this first symphony would be programmatic: a symphony telling of his homeland’s geology and the triumph of Christianity over paganism. But seven years after the success of his choral-orchestral work based Finnish folklore Kullervo, friends and critics were urging Sibelius to think in more rigorous symphonic terms. Finland, they argued, needed art that was more international than parochial – a symphony that stood its ground on musical terms alone. Such thinking would give the First Symphony its musical weight irrespective of political context. In his student days in Vienna and Berlin, Sibelius’s teachers had stressed the importance of working through musical themes – lathing them continuously until they were fit for purpose. Ultimately, Sibelius took that advice to a level that couldn’t have been anticipated. Already in this symphony, the composer was handling his material in a distinctive way. Its misty opening on a solitary clarinet doesn’t just prepare us for the shock of the movement’s fast-paced Allegro; it infiltrates the work’s musical ideas like nutrients in their soil. The shape of the clarinet’s theme can be detected in numerous fragments right up to the final bars. The fourth movement launches with a transfigured version of it on thrusting strings. That gesture speaks of another conceptual difference in Sibelius’s symphonic designs: his response to the colours and capabilities of instruments. In a departure from traditional Germanic symphonic argument (which would make sense on a piano), Sibelius allowed the particular colour of instruments and instrumental groups to shape the path of his music. The symphony’s opening clarinet solo presents one example. The long-held pedal notes in the slow Andante, and the pizzicatos of the Scherzo, two more. These led the critic Ernest Newman to conclude that ‘every page breathes of another manner of thought, another way of living, even another landscape.’ That ‘other way of living’ can be rationalized. The use of recitation – a note repeating itself, like something half-sung – has its roots in Finland’s runic singing tradition. Others have heard something distinctly Russian in the clarinet solo, in the fur-wrapped melancholy of the slow movement and in the feverish way in which the final Allegro molto erupts. It’s in this movement that we hear Sibelius at his most unique. The organic treatment of themes continues. But as part of that process, the movement appears to reconcile the symphony’s poles of energy and stasis in a way only Sibelius could have conceived: by tricking us into assuming the music is operating at one distinct velocity when it’s actually locked into another. Andrew Mellor, from Sibelius: Symphony 1 & En Saga; Rouvali & Göteborgs Symfoniker (Alpha, 2019)

The Gothenburg Symphony was formed in 1905 and today consists of 109 musicians. The orchestra's base is Gothenburg Concert Hall at Götaplatsen that has gathered music lovers since 1935. Since the 2019-2020 season, Barbara Hannigan is Principal guest conductor. We are also a proud partner of Barbara Hannigan's Equilibrium mentoring program focusing on young singers at the start of their careers. The title Principal Guest Conductor is shared by Pekka Kuusisto from 2025. Wilhelm Stenhammar was the orchestra's chief conductor from 1907 to 1922. He gave the orchestra a strong Nordic profile and invited colleagues Carl Nielsen and Jean Sibelius to the orchestra. Under the direction of conductor Neeme Järvi from 1982-2004, the orchestra made a series of international tours as well as a hundred disc recordings and established themselves among Europe's leading orchestras. In 1996, the Swedish Riksdag appointed the Gothenburg Symphony as Sweden's National Orchestra. In recent decades, the orchestra has had prominent chief conductors such as Santtu-Matias Rouvali, Mario Venzago and Gustavo Dudamel, following Kent Nagano as Principal Guest conductor. Anna-Karin Larsson is CEO and artistic director, Gustavo Dudamel honorary conductor and Neeme Järvi chief conductor emeritus. The orchestra's owner is the Västra Götaland Region. The Gothenburg Symphony works regularly with conductors such as Herbert Blomstedt, Joana Carneiro, Jukka-Pekka Saraste, Christian Zacharias and Anja Bihlmaier.

Initially, Sibelius believed this first symphony would be programmatic: a symphony telling of his homeland’s geology and the triumph of Christianity over paganism. But seven years after the success of his choral-orchestral work based Finnish folklore Kullervo, friends and critics were urging Sibelius to think in more rigorous symphonic terms. Finland, they argued, needed art that was more international than parochial – a symphony that stood its ground on musical terms alone. Such thinking would give the First Symphony its musical weight irrespective of political context. In his student days in Vienna and Berlin, Sibelius’s teachers had stressed the importance of working through musical themes – lathing them continuously until they were fit for purpose. Ultimately, Sibelius took that advice to a level that couldn’t have been anticipated. Already in this symphony, the composer was handling his material in a distinctive way. Its misty opening on a solitary clarinet doesn’t just prepare us for the shock of the movement’s fast-paced Allegro; it infiltrates the work’s musical ideas like nutrients in their soil. The shape of the clarinet’s theme can be detected in numerous fragments right up to the final bars. The fourth movement launches with a transfigured version of it on thrusting strings. That gesture speaks of another conceptual difference in Sibelius’s symphonic designs: his response to the colours and capabilities of instruments. In a departure from traditional Germanic symphonic argument (which would make sense on a piano), Sibelius allowed the particular colour of instruments and instrumental groups to shape the path of his music. The symphony’s opening clarinet solo presents one example. The long-held pedal notes in the slow Andante, and the pizzicatos of the Scherzo, two more. These led the critic Ernest Newman to conclude that ‘every page breathes of another manner of thought, another way of living, even another landscape.’ That ‘other way of living’ can be rationalized. The use of recitation – a note repeating itself, like something half-sung – has its roots in Finland’s runic singing tradition. Others have heard something distinctly Russian in the clarinet solo, in the fur-wrapped melancholy of the slow movement and in the feverish way in which the final Allegro molto erupts. It’s in this movement that we hear Sibelius at his most unique. The organic treatment of themes continues. But as part of that process, the movement appears to reconcile the symphony’s poles of energy and stasis in a way only Sibelius could have conceived: by tricking us into assuming the music is operating at one distinct velocity when it’s actually locked into another. Andrew Mellor, from Sibelius: Symphony 1 & En Saga; Rouvali & Göteborgs Symfoniker (Alpha, 2019)

The Gothenburg Symphony was formed in 1905 and today consists of 109 musicians. The orchestra's base is Gothenburg Concert Hall at Götaplatsen that has gathered music lovers since 1935. Since the 2019-2020 season, Barbara Hannigan is Principal guest conductor. We are also a proud partner of Barbara Hannigan's Equilibrium mentoring program focusing on young singers at the start of their careers. The title Principal Guest Conductor is shared by Pekka Kuusisto from 2025. Wilhelm Stenhammar was the orchestra's chief conductor from 1907 to 1922. He gave the orchestra a strong Nordic profile and invited colleagues Carl Nielsen and Jean Sibelius to the orchestra. Under the direction of conductor Neeme Järvi from 1982-2004, the orchestra made a series of international tours as well as a hundred disc recordings and established themselves among Europe's leading orchestras. In 1996, the Swedish Riksdag appointed the Gothenburg Symphony as Sweden's National Orchestra. In recent decades, the orchestra has had prominent chief conductors such as Santtu-Matias Rouvali, Mario Venzago and Gustavo Dudamel, following Kent Nagano as Principal Guest conductor. Anna-Karin Larsson is CEO and artistic director, Gustavo Dudamel honorary conductor and Neeme Järvi chief conductor emeritus. The orchestra's owner is the Västra Götaland Region. The Gothenburg Symphony works regularly with conductors such as Herbert Blomstedt, Joana Carneiro, Jukka-Pekka Saraste, Christian Zacharias and Anja Bihlmaier.

Initially, Sibelius believed this first symphony would be programmatic: a symphony telling of his homeland’s geology and the triumph of Christianity over paganism. But seven years after the success of his choral-orchestral work based Finnish folklore Kullervo, friends and critics were urging Sibelius to think in more rigorous symphonic terms. Finland, they argued, needed art that was more international than parochial – a symphony that stood its ground on musical terms alone. Such thinking would give the First Symphony its musical weight irrespective of political context. In his student days in Vienna and Berlin, Sibelius’s teachers had stressed the importance of working through musical themes – lathing them continuously until they were fit for purpose. Ultimately, Sibelius took that advice to a level that couldn’t have been anticipated. Already in this symphony, the composer was handling his material in a distinctive way. Its misty opening on a solitary clarinet doesn’t just prepare us for the shock of the movement’s fast-paced Allegro; it infiltrates the work’s musical ideas like nutrients in their soil. The shape of the clarinet’s theme can be detected in numerous fragments right up to the final bars. The fourth movement launches with a transfigured version of it on thrusting strings. That gesture speaks of another conceptual difference in Sibelius’s symphonic designs: his response to the colours and capabilities of instruments. In a departure from traditional Germanic symphonic argument (which would make sense on a piano), Sibelius allowed the particular colour of instruments and instrumental groups to shape the path of his music. The symphony’s opening clarinet solo presents one example. The long-held pedal notes in the slow Andante, and the pizzicatos of the Scherzo, two more. These led the critic Ernest Newman to conclude that ‘every page breathes of another manner of thought, another way of living, even another landscape.’ That ‘other way of living’ can be rationalized. The use of recitation – a note repeating itself, like something half-sung – has its roots in Finland’s runic singing tradition. Others have heard something distinctly Russian in the clarinet solo, in the fur-wrapped melancholy of the slow movement and in the feverish way in which the final Allegro molto erupts. It’s in this movement that we hear Sibelius at his most unique. The organic treatment of themes continues. But as part of that process, the movement appears to reconcile the symphony’s poles of energy and stasis in a way only Sibelius could have conceived: by tricking us into assuming the music is operating at one distinct velocity when it’s actually locked into another. Andrew Mellor, from Sibelius: Symphony 1 & En Saga; Rouvali & Göteborgs Symfoniker (Alpha, 2019)

The Gothenburg Symphony was formed in 1905 and today consists of 109 musicians. The orchestra's base is Gothenburg Concert Hall at Götaplatsen that has gathered music lovers since 1935. Since the 2019-2020 season, Barbara Hannigan is Principal guest conductor. We are also a proud partner of Barbara Hannigan's Equilibrium mentoring program focusing on young singers at the start of their careers. The title Principal Guest Conductor is shared by Pekka Kuusisto from 2025. Wilhelm Stenhammar was the orchestra's chief conductor from 1907 to 1922. He gave the orchestra a strong Nordic profile and invited colleagues Carl Nielsen and Jean Sibelius to the orchestra. Under the direction of conductor Neeme Järvi from 1982-2004, the orchestra made a series of international tours as well as a hundred disc recordings and established themselves among Europe's leading orchestras. In 1996, the Swedish Riksdag appointed the Gothenburg Symphony as Sweden's National Orchestra. In recent decades, the orchestra has had prominent chief conductors such as Santtu-Matias Rouvali, Mario Venzago and Gustavo Dudamel, following Kent Nagano as Principal Guest conductor. Anna-Karin Larsson is CEO and artistic director, Gustavo Dudamel honorary conductor and Neeme Järvi chief conductor emeritus. The orchestra's owner is the Västra Götaland Region. The Gothenburg Symphony works regularly with conductors such as Herbert Blomstedt, Joana Carneiro, Jukka-Pekka Saraste, Christian Zacharias and Anja Bihlmaier.

Initially, Sibelius believed this first symphony would be programmatic: a symphony telling of his homeland’s geology and the triumph of Christianity over paganism. But seven years after the success of his choral-orchestral work based Finnish folklore Kullervo, friends and critics were urging Sibelius to think in more rigorous symphonic terms. Finland, they argued, needed art that was more international than parochial – a symphony that stood its ground on musical terms alone. Such thinking would give the First Symphony its musical weight irrespective of political context. In his student days in Vienna and Berlin, Sibelius’s teachers had stressed the importance of working through musical themes – lathing them continuously until they were fit for purpose. Ultimately, Sibelius took that advice to a level that couldn’t have been anticipated. Already in this symphony, the composer was handling his material in a distinctive way. Its misty opening on a solitary clarinet doesn’t just prepare us for the shock of the movement’s fast-paced Allegro; it infiltrates the work’s musical ideas like nutrients in their soil. The shape of the clarinet’s theme can be detected in numerous fragments right up to the final bars. The fourth movement launches with a transfigured version of it on thrusting strings. That gesture speaks of another conceptual difference in Sibelius’s symphonic designs: his response to the colours and capabilities of instruments. In a departure from traditional Germanic symphonic argument (which would make sense on a piano), Sibelius allowed the particular colour of instruments and instrumental groups to shape the path of his music. The symphony’s opening clarinet solo presents one example. The long-held pedal notes in the slow Andante, and the pizzicatos of the Scherzo, two more. These led the critic Ernest Newman to conclude that ‘every page breathes of another manner of thought, another way of living, even another landscape.’ That ‘other way of living’ can be rationalized. The use of recitation – a note repeating itself, like something half-sung – has its roots in Finland’s runic singing tradition. Others have heard something distinctly Russian in the clarinet solo, in the fur-wrapped melancholy of the slow movement and in the feverish way in which the final Allegro molto erupts. It’s in this movement that we hear Sibelius at his most unique. The organic treatment of themes continues. But as part of that process, the movement appears to reconcile the symphony’s poles of energy and stasis in a way only Sibelius could have conceived: by tricking us into assuming the music is operating at one distinct velocity when it’s actually locked into another. Andrew Mellor, from Sibelius: Symphony 1 & En Saga; Rouvali & Göteborgs Symfoniker (Alpha, 2019)

The Gothenburg Symphony was formed in 1905 and today consists of 109 musicians. The orchestra's base is Gothenburg Concert Hall at Götaplatsen that has gathered music lovers since 1935. Since the 2019-2020 season, Barbara Hannigan is Principal guest conductor. We are also a proud partner of Barbara Hannigan's Equilibrium mentoring program focusing on young singers at the start of their careers. The title Principal Guest Conductor is shared by Pekka Kuusisto from 2025. Wilhelm Stenhammar was the orchestra's chief conductor from 1907 to 1922. He gave the orchestra a strong Nordic profile and invited colleagues Carl Nielsen and Jean Sibelius to the orchestra. Under the direction of conductor Neeme Järvi from 1982-2004, the orchestra made a series of international tours as well as a hundred disc recordings and established themselves among Europe's leading orchestras. In 1996, the Swedish Riksdag appointed the Gothenburg Symphony as Sweden's National Orchestra. In recent decades, the orchestra has had prominent chief conductors such as Santtu-Matias Rouvali, Mario Venzago and Gustavo Dudamel, following Kent Nagano as Principal Guest conductor. Anna-Karin Larsson is CEO and artistic director, Gustavo Dudamel honorary conductor and Neeme Järvi chief conductor emeritus. The orchestra's owner is the Västra Götaland Region. The Gothenburg Symphony works regularly with conductors such as Herbert Blomstedt, Joana Carneiro, Jukka-Pekka Saraste, Christian Zacharias and Anja Bihlmaier.

Initially, Sibelius believed this first symphony would be programmatic: a symphony telling of his homeland’s geology and the triumph of Christianity over paganism. But seven years after the success of his choral-orchestral work based Finnish folklore Kullervo, friends and critics were urging Sibelius to think in more rigorous symphonic terms. Finland, they argued, needed art that was more international than parochial – a symphony that stood its ground on musical terms alone. Such thinking would give the First Symphony its musical weight irrespective of political context. In his student days in Vienna and Berlin, Sibelius’s teachers had stressed the importance of working through musical themes – lathing them continuously until they were fit for purpose. Ultimately, Sibelius took that advice to a level that couldn’t have been anticipated. Already in this symphony, the composer was handling his material in a distinctive way. Its misty opening on a solitary clarinet doesn’t just prepare us for the shock of the movement’s fast-paced Allegro; it infiltrates the work’s musical ideas like nutrients in their soil. The shape of the clarinet’s theme can be detected in numerous fragments right up to the final bars. The fourth movement launches with a transfigured version of it on thrusting strings. That gesture speaks of another conceptual difference in Sibelius’s symphonic designs: his response to the colours and capabilities of instruments. In a departure from traditional Germanic symphonic argument (which would make sense on a piano), Sibelius allowed the particular colour of instruments and instrumental groups to shape the path of his music. The symphony’s opening clarinet solo presents one example. The long-held pedal notes in the slow Andante, and the pizzicatos of the Scherzo, two more. These led the critic Ernest Newman to conclude that ‘every page breathes of another manner of thought, another way of living, even another landscape.’ That ‘other way of living’ can be rationalized. The use of recitation – a note repeating itself, like something half-sung – has its roots in Finland’s runic singing tradition. Others have heard something distinctly Russian in the clarinet solo, in the fur-wrapped melancholy of the slow movement and in the feverish way in which the final Allegro molto erupts. It’s in this movement that we hear Sibelius at his most unique. The organic treatment of themes continues. But as part of that process, the movement appears to reconcile the symphony’s poles of energy and stasis in a way only Sibelius could have conceived: by tricking us into assuming the music is operating at one distinct velocity when it’s actually locked into another. Andrew Mellor, from Sibelius: Symphony 1 & En Saga; Rouvali & Göteborgs Symfoniker (Alpha, 2019)

Maurice Ravel (1875-1937) Piano Concerto G Major Allegramente - Adagio assai - Presto After a long tour of the United States in 1928, Ravel wrote his last three major works the following year: the super hit Bolero and two piano concertos. The journey can be felt above all in the Piano Concerto in G major, which was influenced by the blues, the freedom of jazz and the rhythms of New York nightclubs. On the trip, Ravel also met George Gershwin. The American composer knew what the pulse of a big city and modernity should sound like. Ravel was inspired by the style. Despite the presence of jazz, the work is elaborated with Ravel's meticulous precision and French elegance – the orchestral sounds of the wind, every drum beat and syncopation, every bluesy piano chord and glissando have their exact place. The two outer movements of the work crackle with energy, rhythmic precision and virtuosity, but it is in the slow middle movement that Ravel opens his most intimate space. The movement’s opening three-minute solo on the piano, which hovers silently, is reminiscent of Erik Satie. The keys speak with deep humanity and the simple, almost pastoral melody slowly unfolds in an endless line. When the clarinet and flute then respond to the piano in a languid dialogue, it is as if time has stood still. The Piano Concerto in G major is the last major work in which Ravel was in full artistic control – a shimmering farewell from one of the most refined musical poets of the 20th century.

The Gothenburg Symphony was formed in 1905 and today consists of 109 musicians. The orchestra's base is Gothenburg Concert Hall at Götaplatsen that has gathered music lovers since 1935. Since the 2019-2020 season, Barbara Hannigan is Principal guest conductor. We are also a proud partner of Barbara Hannigan's Equilibrium mentoring program focusing on young singers at the start of their careers. The title Principal Guest Conductor is shared by Pekka Kuusisto from 2025. Wilhelm Stenhammar was the orchestra's chief conductor from 1907 to 1922. He gave the orchestra a strong Nordic profile and invited colleagues Carl Nielsen and Jean Sibelius to the orchestra. Under the direction of conductor Neeme Järvi from 1982-2004, the orchestra made a series of international tours as well as a hundred disc recordings and established themselves among Europe's leading orchestras. In 1996, the Swedish Riksdag appointed the Gothenburg Symphony as Sweden's National Orchestra. In recent decades, the orchestra has had prominent chief conductors such as Santtu-Matias Rouvali, Mario Venzago and Gustavo Dudamel, following Kent Nagano as Principal Guest conductor. Anna-Karin Larsson is CEO and artistic director, Gustavo Dudamel honorary conductor and Neeme Järvi chief conductor emeritus. The orchestra's owner is the Västra Götaland Region. The Gothenburg Symphony works regularly with conductors such as Herbert Blomstedt, Joana Carneiro, Jukka-Pekka Saraste, Christian Zacharias and Anja Bihlmaier.

Initially, Sibelius believed this first symphony would be programmatic: a symphony telling of his homeland’s geology and the triumph of Christianity over paganism. But seven years after the success of his choral-orchestral work based Finnish folklore Kullervo, friends and critics were urging Sibelius to think in more rigorous symphonic terms. Finland, they argued, needed art that was more international than parochial – a symphony that stood its ground on musical terms alone. Such thinking would give the First Symphony its musical weight irrespective of political context. In his student days in Vienna and Berlin, Sibelius’s teachers had stressed the importance of working through musical themes – lathing them continuously until they were fit for purpose. Ultimately, Sibelius took that advice to a level that couldn’t have been anticipated. Already in this symphony, the composer was handling his material in a distinctive way. Its misty opening on a solitary clarinet doesn’t just prepare us for the shock of the movement’s fast-paced Allegro; it infiltrates the work’s musical ideas like nutrients in their soil. The shape of the clarinet’s theme can be detected in numerous fragments right up to the final bars. The fourth movement launches with a transfigured version of it on thrusting strings. That gesture speaks of another conceptual difference in Sibelius’s symphonic designs: his response to the colours and capabilities of instruments. In a departure from traditional Germanic symphonic argument (which would make sense on a piano), Sibelius allowed the particular colour of instruments and instrumental groups to shape the path of his music. The symphony’s opening clarinet solo presents one example. The long-held pedal notes in the slow Andante, and the pizzicatos of the Scherzo, two more. These led the critic Ernest Newman to conclude that ‘every page breathes of another manner of thought, another way of living, even another landscape.’ That ‘other way of living’ can be rationalized. The use of recitation – a note repeating itself, like something half-sung – has its roots in Finland’s runic singing tradition. Others have heard something distinctly Russian in the clarinet solo, in the fur-wrapped melancholy of the slow movement and in the feverish way in which the final Allegro molto erupts. It’s in this movement that we hear Sibelius at his most unique. The organic treatment of themes continues. But as part of that process, the movement appears to reconcile the symphony’s poles of energy and stasis in a way only Sibelius could have conceived: by tricking us into assuming the music is operating at one distinct velocity when it’s actually locked into another. Andrew Mellor, from Sibelius: Symphony 1 & En Saga; Rouvali & Göteborgs Symfoniker (Alpha, 2019)

The Gothenburg Symphony was formed in 1905 and today consists of 109 musicians. The orchestra's base is Gothenburg Concert Hall at Götaplatsen that has gathered music lovers since 1935. Since the 2019-2020 season, Barbara Hannigan is Principal guest conductor. We are also a proud partner of Barbara Hannigan's Equilibrium mentoring program focusing on young singers at the start of their careers. The title Principal Guest Conductor is shared by Pekka Kuusisto from 2025. Wilhelm Stenhammar was the orchestra's chief conductor from 1907 to 1922. He gave the orchestra a strong Nordic profile and invited colleagues Carl Nielsen and Jean Sibelius to the orchestra. Under the direction of conductor Neeme Järvi from 1982-2004, the orchestra made a series of international tours as well as a hundred disc recordings and established themselves among Europe's leading orchestras. In 1996, the Swedish Riksdag appointed the Gothenburg Symphony as Sweden's National Orchestra. In recent decades, the orchestra has had prominent chief conductors such as Santtu-Matias Rouvali, Mario Venzago and Gustavo Dudamel, following Kent Nagano as Principal Guest conductor. Anna-Karin Larsson is CEO and artistic director, Gustavo Dudamel honorary conductor and Neeme Järvi chief conductor emeritus. The orchestra's owner is the Västra Götaland Region. The Gothenburg Symphony works regularly with conductors such as Herbert Blomstedt, Joana Carneiro, Jukka-Pekka Saraste, Christian Zacharias and Anja Bihlmaier.

Initially, Sibelius believed this first symphony would be programmatic: a symphony telling of his homeland’s geology and the triumph of Christianity over paganism. But seven years after the success of his choral-orchestral work based Finnish folklore Kullervo, friends and critics were urging Sibelius to think in more rigorous symphonic terms. Finland, they argued, needed art that was more international than parochial – a symphony that stood its ground on musical terms alone. Such thinking would give the First Symphony its musical weight irrespective of political context. In his student days in Vienna and Berlin, Sibelius’s teachers had stressed the importance of working through musical themes – lathing them continuously until they were fit for purpose. Ultimately, Sibelius took that advice to a level that couldn’t have been anticipated. Already in this symphony, the composer was handling his material in a distinctive way. Its misty opening on a solitary clarinet doesn’t just prepare us for the shock of the movement’s fast-paced Allegro; it infiltrates the work’s musical ideas like nutrients in their soil. The shape of the clarinet’s theme can be detected in numerous fragments right up to the final bars. The fourth movement launches with a transfigured version of it on thrusting strings. That gesture speaks of another conceptual difference in Sibelius’s symphonic designs: his response to the colours and capabilities of instruments. In a departure from traditional Germanic symphonic argument (which would make sense on a piano), Sibelius allowed the particular colour of instruments and instrumental groups to shape the path of his music. The symphony’s opening clarinet solo presents one example. The long-held pedal notes in the slow Andante, and the pizzicatos of the Scherzo, two more. These led the critic Ernest Newman to conclude that ‘every page breathes of another manner of thought, another way of living, even another landscape.’ That ‘other way of living’ can be rationalized. The use of recitation – a note repeating itself, like something half-sung – has its roots in Finland’s runic singing tradition. Others have heard something distinctly Russian in the clarinet solo, in the fur-wrapped melancholy of the slow movement and in the feverish way in which the final Allegro molto erupts. It’s in this movement that we hear Sibelius at his most unique. The organic treatment of themes continues. But as part of that process, the movement appears to reconcile the symphony’s poles of energy and stasis in a way only Sibelius could have conceived: by tricking us into assuming the music is operating at one distinct velocity when it’s actually locked into another. Andrew Mellor, from Sibelius: Symphony 1 & En Saga; Rouvali & Göteborgs Symfoniker (Alpha, 2019)

The Gothenburg Symphony was formed in 1905 and today consists of 109 musicians. The orchestra's base is Gothenburg Concert Hall at Götaplatsen that has gathered music lovers since 1935. Since the 2019-2020 season, Barbara Hannigan is Principal guest conductor. We are also a proud partner of Barbara Hannigan's Equilibrium mentoring program focusing on young singers at the start of their careers. The title Principal Guest Conductor is shared by Pekka Kuusisto from 2025. Wilhelm Stenhammar was the orchestra's chief conductor from 1907 to 1922. He gave the orchestra a strong Nordic profile and invited colleagues Carl Nielsen and Jean Sibelius to the orchestra. Under the direction of conductor Neeme Järvi from 1982-2004, the orchestra made a series of international tours as well as a hundred disc recordings and established themselves among Europe's leading orchestras. In 1996, the Swedish Riksdag appointed the Gothenburg Symphony as Sweden's National Orchestra. In recent decades, the orchestra has had prominent chief conductors such as Santtu-Matias Rouvali, Mario Venzago and Gustavo Dudamel, following Kent Nagano as Principal Guest conductor. Anna-Karin Larsson is CEO and artistic director, Gustavo Dudamel honorary conductor and Neeme Järvi chief conductor emeritus. The orchestra's owner is the Västra Götaland Region. The Gothenburg Symphony works regularly with conductors such as Herbert Blomstedt, Joana Carneiro, Jukka-Pekka Saraste, Christian Zacharias and Anja Bihlmaier.

Initially, Sibelius believed this first symphony would be programmatic: a symphony telling of his homeland’s geology and the triumph of Christianity over paganism. But seven years after the success of his choral-orchestral work based Finnish folklore Kullervo, friends and critics were urging Sibelius to think in more rigorous symphonic terms. Finland, they argued, needed art that was more international than parochial – a symphony that stood its ground on musical terms alone. Such thinking would give the First Symphony its musical weight irrespective of political context. In his student days in Vienna and Berlin, Sibelius’s teachers had stressed the importance of working through musical themes – lathing them continuously until they were fit for purpose. Ultimately, Sibelius took that advice to a level that couldn’t have been anticipated. Already in this symphony, the composer was handling his material in a distinctive way. Its misty opening on a solitary clarinet doesn’t just prepare us for the shock of the movement’s fast-paced Allegro; it infiltrates the work’s musical ideas like nutrients in their soil. The shape of the clarinet’s theme can be detected in numerous fragments right up to the final bars. The fourth movement launches with a transfigured version of it on thrusting strings. That gesture speaks of another conceptual difference in Sibelius’s symphonic designs: his response to the colours and capabilities of instruments. In a departure from traditional Germanic symphonic argument (which would make sense on a piano), Sibelius allowed the particular colour of instruments and instrumental groups to shape the path of his music. The symphony’s opening clarinet solo presents one example. The long-held pedal notes in the slow Andante, and the pizzicatos of the Scherzo, two more. These led the critic Ernest Newman to conclude that ‘every page breathes of another manner of thought, another way of living, even another landscape.’ That ‘other way of living’ can be rationalized. The use of recitation – a note repeating itself, like something half-sung – has its roots in Finland’s runic singing tradition. Others have heard something distinctly Russian in the clarinet solo, in the fur-wrapped melancholy of the slow movement and in the feverish way in which the final Allegro molto erupts. It’s in this movement that we hear Sibelius at his most unique. The organic treatment of themes continues. But as part of that process, the movement appears to reconcile the symphony’s poles of energy and stasis in a way only Sibelius could have conceived: by tricking us into assuming the music is operating at one distinct velocity when it’s actually locked into another. Andrew Mellor, from Sibelius: Symphony 1 & En Saga; Rouvali & Göteborgs Symfoniker (Alpha, 2019)

The Gothenburg Symphony was formed in 1905 and today consists of 109 musicians. The orchestra's base is Gothenburg Concert Hall at Götaplatsen that has gathered music lovers since 1935. Since the 2019-2020 season, Barbara Hannigan is Principal guest conductor. We are also a proud partner of Barbara Hannigan's Equilibrium mentoring program focusing on young singers at the start of their careers. The title Principal Guest Conductor is shared by Pekka Kuusisto from 2025. Wilhelm Stenhammar was the orchestra's chief conductor from 1907 to 1922. He gave the orchestra a strong Nordic profile and invited colleagues Carl Nielsen and Jean Sibelius to the orchestra. Under the direction of conductor Neeme Järvi from 1982-2004, the orchestra made a series of international tours as well as a hundred disc recordings and established themselves among Europe's leading orchestras. In 1996, the Swedish Riksdag appointed the Gothenburg Symphony as Sweden's National Orchestra. In recent decades, the orchestra has had prominent chief conductors such as Santtu-Matias Rouvali, Mario Venzago and Gustavo Dudamel, following Kent Nagano as Principal Guest conductor. Anna-Karin Larsson is CEO and artistic director, Gustavo Dudamel honorary conductor and Neeme Järvi chief conductor emeritus. The orchestra's owner is the Västra Götaland Region. The Gothenburg Symphony works regularly with conductors such as Herbert Blomstedt, Joana Carneiro, Jukka-Pekka Saraste, Christian Zacharias and Anja Bihlmaier.

Initially, Sibelius believed this first symphony would be programmatic: a symphony telling of his homeland’s geology and the triumph of Christianity over paganism. But seven years after the success of his choral-orchestral work based Finnish folklore Kullervo, friends and critics were urging Sibelius to think in more rigorous symphonic terms. Finland, they argued, needed art that was more international than parochial – a symphony that stood its ground on musical terms alone. Such thinking would give the First Symphony its musical weight irrespective of political context. In his student days in Vienna and Berlin, Sibelius’s teachers had stressed the importance of working through musical themes – lathing them continuously until they were fit for purpose. Ultimately, Sibelius took that advice to a level that couldn’t have been anticipated. Already in this symphony, the composer was handling his material in a distinctive way. Its misty opening on a solitary clarinet doesn’t just prepare us for the shock of the movement’s fast-paced Allegro; it infiltrates the work’s musical ideas like nutrients in their soil. The shape of the clarinet’s theme can be detected in numerous fragments right up to the final bars. The fourth movement launches with a transfigured version of it on thrusting strings. That gesture speaks of another conceptual difference in Sibelius’s symphonic designs: his response to the colours and capabilities of instruments. In a departure from traditional Germanic symphonic argument (which would make sense on a piano), Sibelius allowed the particular colour of instruments and instrumental groups to shape the path of his music. The symphony’s opening clarinet solo presents one example. The long-held pedal notes in the slow Andante, and the pizzicatos of the Scherzo, two more. These led the critic Ernest Newman to conclude that ‘every page breathes of another manner of thought, another way of living, even another landscape.’ That ‘other way of living’ can be rationalized. The use of recitation – a note repeating itself, like something half-sung – has its roots in Finland’s runic singing tradition. Others have heard something distinctly Russian in the clarinet solo, in the fur-wrapped melancholy of the slow movement and in the feverish way in which the final Allegro molto erupts. It’s in this movement that we hear Sibelius at his most unique. The organic treatment of themes continues. But as part of that process, the movement appears to reconcile the symphony’s poles of energy and stasis in a way only Sibelius could have conceived: by tricking us into assuming the music is operating at one distinct velocity when it’s actually locked into another. Andrew Mellor, from Sibelius: Symphony 1 & En Saga; Rouvali & Göteborgs Symfoniker (Alpha, 2019)

The Gothenburg Symphony was formed in 1905 and today consists of 109 musicians. The orchestra's base is Gothenburg Concert Hall at Götaplatsen that has gathered music lovers since 1935. Since the 2019-2020 season, Barbara Hannigan is Principal guest conductor. We are also a proud partner of Barbara Hannigan's Equilibrium mentoring program focusing on young singers at the start of their careers. The title Principal Guest Conductor is shared by Pekka Kuusisto from 2025. Wilhelm Stenhammar was the orchestra's chief conductor from 1907 to 1922. He gave the orchestra a strong Nordic profile and invited colleagues Carl Nielsen and Jean Sibelius to the orchestra. Under the direction of conductor Neeme Järvi from 1982-2004, the orchestra made a series of international tours as well as a hundred disc recordings and established themselves among Europe's leading orchestras. In 1996, the Swedish Riksdag appointed the Gothenburg Symphony as Sweden's National Orchestra. In recent decades, the orchestra has had prominent chief conductors such as Santtu-Matias Rouvali, Mario Venzago and Gustavo Dudamel, following Kent Nagano as Principal Guest conductor. Anna-Karin Larsson is CEO and artistic director, Gustavo Dudamel honorary conductor and Neeme Järvi chief conductor emeritus. The orchestra's owner is the Västra Götaland Region. The Gothenburg Symphony works regularly with conductors such as Herbert Blomstedt, Joana Carneiro, Jukka-Pekka Saraste, Christian Zacharias and Anja Bihlmaier.

Initially, Sibelius believed this first symphony would be programmatic: a symphony telling of his homeland’s geology and the triumph of Christianity over paganism. But seven years after the success of his choral-orchestral work based Finnish folklore Kullervo, friends and critics were urging Sibelius to think in more rigorous symphonic terms. Finland, they argued, needed art that was more international than parochial – a symphony that stood its ground on musical terms alone. Such thinking would give the First Symphony its musical weight irrespective of political context. In his student days in Vienna and Berlin, Sibelius’s teachers had stressed the importance of working through musical themes – lathing them continuously until they were fit for purpose. Ultimately, Sibelius took that advice to a level that couldn’t have been anticipated. Already in this symphony, the composer was handling his material in a distinctive way. Its misty opening on a solitary clarinet doesn’t just prepare us for the shock of the movement’s fast-paced Allegro; it infiltrates the work’s musical ideas like nutrients in their soil. The shape of the clarinet’s theme can be detected in numerous fragments right up to the final bars. The fourth movement launches with a transfigured version of it on thrusting strings. That gesture speaks of another conceptual difference in Sibelius’s symphonic designs: his response to the colours and capabilities of instruments. In a departure from traditional Germanic symphonic argument (which would make sense on a piano), Sibelius allowed the particular colour of instruments and instrumental groups to shape the path of his music. The symphony’s opening clarinet solo presents one example. The long-held pedal notes in the slow Andante, and the pizzicatos of the Scherzo, two more. These led the critic Ernest Newman to conclude that ‘every page breathes of another manner of thought, another way of living, even another landscape.’ That ‘other way of living’ can be rationalized. The use of recitation – a note repeating itself, like something half-sung – has its roots in Finland’s runic singing tradition. Others have heard something distinctly Russian in the clarinet solo, in the fur-wrapped melancholy of the slow movement and in the feverish way in which the final Allegro molto erupts. It’s in this movement that we hear Sibelius at his most unique. The organic treatment of themes continues. But as part of that process, the movement appears to reconcile the symphony’s poles of energy and stasis in a way only Sibelius could have conceived: by tricking us into assuming the music is operating at one distinct velocity when it’s actually locked into another. Andrew Mellor, from Sibelius: Symphony 1 & En Saga; Rouvali & Göteborgs Symfoniker (Alpha, 2019)

The Gothenburg Symphony was formed in 1905 and today consists of 109 musicians. The orchestra's base is Gothenburg Concert Hall at Götaplatsen that has gathered music lovers since 1935. Since the 2019-2020 season, Barbara Hannigan is Principal guest conductor. We are also a proud partner of Barbara Hannigan's Equilibrium mentoring program focusing on young singers at the start of their careers. The title Principal Guest Conductor is shared by Pekka Kuusisto from 2025. Wilhelm Stenhammar was the orchestra's chief conductor from 1907 to 1922. He gave the orchestra a strong Nordic profile and invited colleagues Carl Nielsen and Jean Sibelius to the orchestra. Under the direction of conductor Neeme Järvi from 1982-2004, the orchestra made a series of international tours as well as a hundred disc recordings and established themselves among Europe's leading orchestras. In 1996, the Swedish Riksdag appointed the Gothenburg Symphony as Sweden's National Orchestra. In recent decades, the orchestra has had prominent chief conductors such as Santtu-Matias Rouvali, Mario Venzago and Gustavo Dudamel, following Kent Nagano as Principal Guest conductor. Anna-Karin Larsson is CEO and artistic director, Gustavo Dudamel honorary conductor and Neeme Järvi chief conductor emeritus. The orchestra's owner is the Västra Götaland Region. The Gothenburg Symphony works regularly with conductors such as Herbert Blomstedt, Joana Carneiro, Jukka-Pekka Saraste, Christian Zacharias and Anja Bihlmaier.

Initially, Sibelius believed this first symphony would be programmatic: a symphony telling of his homeland’s geology and the triumph of Christianity over paganism. But seven years after the success of his choral-orchestral work based Finnish folklore Kullervo, friends and critics were urging Sibelius to think in more rigorous symphonic terms. Finland, they argued, needed art that was more international than parochial – a symphony that stood its ground on musical terms alone. Such thinking would give the First Symphony its musical weight irrespective of political context. In his student days in Vienna and Berlin, Sibelius’s teachers had stressed the importance of working through musical themes – lathing them continuously until they were fit for purpose. Ultimately, Sibelius took that advice to a level that couldn’t have been anticipated. Already in this symphony, the composer was handling his material in a distinctive way. Its misty opening on a solitary clarinet doesn’t just prepare us for the shock of the movement’s fast-paced Allegro; it infiltrates the work’s musical ideas like nutrients in their soil. The shape of the clarinet’s theme can be detected in numerous fragments right up to the final bars. The fourth movement launches with a transfigured version of it on thrusting strings. That gesture speaks of another conceptual difference in Sibelius’s symphonic designs: his response to the colours and capabilities of instruments. In a departure from traditional Germanic symphonic argument (which would make sense on a piano), Sibelius allowed the particular colour of instruments and instrumental groups to shape the path of his music. The symphony’s opening clarinet solo presents one example. The long-held pedal notes in the slow Andante, and the pizzicatos of the Scherzo, two more. These led the critic Ernest Newman to conclude that ‘every page breathes of another manner of thought, another way of living, even another landscape.’ That ‘other way of living’ can be rationalized. The use of recitation – a note repeating itself, like something half-sung – has its roots in Finland’s runic singing tradition. Others have heard something distinctly Russian in the clarinet solo, in the fur-wrapped melancholy of the slow movement and in the feverish way in which the final Allegro molto erupts. It’s in this movement that we hear Sibelius at his most unique. The organic treatment of themes continues. But as part of that process, the movement appears to reconcile the symphony’s poles of energy and stasis in a way only Sibelius could have conceived: by tricking us into assuming the music is operating at one distinct velocity when it’s actually locked into another. Andrew Mellor, from Sibelius: Symphony 1 & En Saga; Rouvali & Göteborgs Symfoniker (Alpha, 2019)

The Gothenburg Symphony was formed in 1905 and today consists of 109 musicians. The orchestra's base is Gothenburg Concert Hall at Götaplatsen that has gathered music lovers since 1935. Since the 2019-2020 season, Barbara Hannigan is Principal guest conductor. We are also a proud partner of Barbara Hannigan's Equilibrium mentoring program focusing on young singers at the start of their careers. The title Principal Guest Conductor is shared by Pekka Kuusisto from 2025. Wilhelm Stenhammar was the orchestra's chief conductor from 1907 to 1922. He gave the orchestra a strong Nordic profile and invited colleagues Carl Nielsen and Jean Sibelius to the orchestra. Under the direction of conductor Neeme Järvi from 1982-2004, the orchestra made a series of international tours as well as a hundred disc recordings and established themselves among Europe's leading orchestras. In 1996, the Swedish Riksdag appointed the Gothenburg Symphony as Sweden's National Orchestra. In recent decades, the orchestra has had prominent chief conductors such as Santtu-Matias Rouvali, Mario Venzago and Gustavo Dudamel, following Kent Nagano as Principal Guest conductor. Anna-Karin Larsson is CEO and artistic director, Gustavo Dudamel honorary conductor and Neeme Järvi chief conductor emeritus. The orchestra's owner is the Västra Götaland Region. The Gothenburg Symphony works regularly with conductors such as Herbert Blomstedt, Joana Carneiro, Jukka-Pekka Saraste, Christian Zacharias and Anja Bihlmaier.

Initially, Sibelius believed this first symphony would be programmatic: a symphony telling of his homeland’s geology and the triumph of Christianity over paganism. But seven years after the success of his choral-orchestral work based Finnish folklore Kullervo, friends and critics were urging Sibelius to think in more rigorous symphonic terms. Finland, they argued, needed art that was more international than parochial – a symphony that stood its ground on musical terms alone. Such thinking would give the First Symphony its musical weight irrespective of political context. In his student days in Vienna and Berlin, Sibelius’s teachers had stressed the importance of working through musical themes – lathing them continuously until they were fit for purpose. Ultimately, Sibelius took that advice to a level that couldn’t have been anticipated. Already in this symphony, the composer was handling his material in a distinctive way. Its misty opening on a solitary clarinet doesn’t just prepare us for the shock of the movement’s fast-paced Allegro; it infiltrates the work’s musical ideas like nutrients in their soil. The shape of the clarinet’s theme can be detected in numerous fragments right up to the final bars. The fourth movement launches with a transfigured version of it on thrusting strings. That gesture speaks of another conceptual difference in Sibelius’s symphonic designs: his response to the colours and capabilities of instruments. In a departure from traditional Germanic symphonic argument (which would make sense on a piano), Sibelius allowed the particular colour of instruments and instrumental groups to shape the path of his music. The symphony’s opening clarinet solo presents one example. The long-held pedal notes in the slow Andante, and the pizzicatos of the Scherzo, two more. These led the critic Ernest Newman to conclude that ‘every page breathes of another manner of thought, another way of living, even another landscape.’ That ‘other way of living’ can be rationalized. The use of recitation – a note repeating itself, like something half-sung – has its roots in Finland’s runic singing tradition. Others have heard something distinctly Russian in the clarinet solo, in the fur-wrapped melancholy of the slow movement and in the feverish way in which the final Allegro molto erupts. It’s in this movement that we hear Sibelius at his most unique. The organic treatment of themes continues. But as part of that process, the movement appears to reconcile the symphony’s poles of energy and stasis in a way only Sibelius could have conceived: by tricking us into assuming the music is operating at one distinct velocity when it’s actually locked into another. Andrew Mellor, from Sibelius: Symphony 1 & En Saga; Rouvali & Göteborgs Symfoniker (Alpha, 2019)

The Gothenburg Symphony was formed in 1905 and today consists of 109 musicians. The orchestra's base is Gothenburg Concert Hall at Götaplatsen that has gathered music lovers since 1935. Since the 2019-2020 season, Barbara Hannigan is Principal guest conductor. We are also a proud partner of Barbara Hannigan's Equilibrium mentoring program focusing on young singers at the start of their careers. The title Principal Guest Conductor is shared by Pekka Kuusisto from 2025. Wilhelm Stenhammar was the orchestra's chief conductor from 1907 to 1922. He gave the orchestra a strong Nordic profile and invited colleagues Carl Nielsen and Jean Sibelius to the orchestra. Under the direction of conductor Neeme Järvi from 1982-2004, the orchestra made a series of international tours as well as a hundred disc recordings and established themselves among Europe's leading orchestras. In 1996, the Swedish Riksdag appointed the Gothenburg Symphony as Sweden's National Orchestra. In recent decades, the orchestra has had prominent chief conductors such as Santtu-Matias Rouvali, Mario Venzago and Gustavo Dudamel, following Kent Nagano as Principal Guest conductor. Anna-Karin Larsson is CEO and artistic director, Gustavo Dudamel honorary conductor and Neeme Järvi chief conductor emeritus. The orchestra's owner is the Västra Götaland Region. The Gothenburg Symphony works regularly with conductors such as Herbert Blomstedt, Joana Carneiro, Jukka-Pekka Saraste, Christian Zacharias and Anja Bihlmaier.

Initially, Sibelius believed this first symphony would be programmatic: a symphony telling of his homeland’s geology and the triumph of Christianity over paganism. But seven years after the success of his choral-orchestral work based Finnish folklore Kullervo, friends and critics were urging Sibelius to think in more rigorous symphonic terms. Finland, they argued, needed art that was more international than parochial – a symphony that stood its ground on musical terms alone. Such thinking would give the First Symphony its musical weight irrespective of political context. In his student days in Vienna and Berlin, Sibelius’s teachers had stressed the importance of working through musical themes – lathing them continuously until they were fit for purpose. Ultimately, Sibelius took that advice to a level that couldn’t have been anticipated. Already in this symphony, the composer was handling his material in a distinctive way. Its misty opening on a solitary clarinet doesn’t just prepare us for the shock of the movement’s fast-paced Allegro; it infiltrates the work’s musical ideas like nutrients in their soil. The shape of the clarinet’s theme can be detected in numerous fragments right up to the final bars. The fourth movement launches with a transfigured version of it on thrusting strings. That gesture speaks of another conceptual difference in Sibelius’s symphonic designs: his response to the colours and capabilities of instruments. In a departure from traditional Germanic symphonic argument (which would make sense on a piano), Sibelius allowed the particular colour of instruments and instrumental groups to shape the path of his music. The symphony’s opening clarinet solo presents one example. The long-held pedal notes in the slow Andante, and the pizzicatos of the Scherzo, two more. These led the critic Ernest Newman to conclude that ‘every page breathes of another manner of thought, another way of living, even another landscape.’ That ‘other way of living’ can be rationalized. The use of recitation – a note repeating itself, like something half-sung – has its roots in Finland’s runic singing tradition. Others have heard something distinctly Russian in the clarinet solo, in the fur-wrapped melancholy of the slow movement and in the feverish way in which the final Allegro molto erupts. It’s in this movement that we hear Sibelius at his most unique. The organic treatment of themes continues. But as part of that process, the movement appears to reconcile the symphony’s poles of energy and stasis in a way only Sibelius could have conceived: by tricking us into assuming the music is operating at one distinct velocity when it’s actually locked into another. Andrew Mellor, from Sibelius: Symphony 1 & En Saga; Rouvali & Göteborgs Symfoniker (Alpha, 2019)

The Gothenburg Symphony was formed in 1905 and today consists of 109 musicians. The orchestra's base is Gothenburg Concert Hall at Götaplatsen that has gathered music lovers since 1935. Since the 2019-2020 season, Barbara Hannigan is Principal guest conductor. We are also a proud partner of Barbara Hannigan's Equilibrium mentoring program focusing on young singers at the start of their careers. The title Principal Guest Conductor is shared by Pekka Kuusisto from 2025. Wilhelm Stenhammar was the orchestra's chief conductor from 1907 to 1922. He gave the orchestra a strong Nordic profile and invited colleagues Carl Nielsen and Jean Sibelius to the orchestra. Under the direction of conductor Neeme Järvi from 1982-2004, the orchestra made a series of international tours as well as a hundred disc recordings and established themselves among Europe's leading orchestras. In 1996, the Swedish Riksdag appointed the Gothenburg Symphony as Sweden's National Orchestra. In recent decades, the orchestra has had prominent chief conductors such as Santtu-Matias Rouvali, Mario Venzago and Gustavo Dudamel, following Kent Nagano as Principal Guest conductor. Anna-Karin Larsson is CEO and artistic director, Gustavo Dudamel honorary conductor and Neeme Järvi chief conductor emeritus. The orchestra's owner is the Västra Götaland Region. The Gothenburg Symphony works regularly with conductors such as Herbert Blomstedt, Joana Carneiro, Jukka-Pekka Saraste, Christian Zacharias and Anja Bihlmaier.

Initially, Sibelius believed this first symphony would be programmatic: a symphony telling of his homeland’s geology and the triumph of Christianity over paganism. But seven years after the success of his choral-orchestral work based Finnish folklore Kullervo, friends and critics were urging Sibelius to think in more rigorous symphonic terms. Finland, they argued, needed art that was more international than parochial – a symphony that stood its ground on musical terms alone. Such thinking would give the First Symphony its musical weight irrespective of political context. In his student days in Vienna and Berlin, Sibelius’s teachers had stressed the importance of working through musical themes – lathing them continuously until they were fit for purpose. Ultimately, Sibelius took that advice to a level that couldn’t have been anticipated. Already in this symphony, the composer was handling his material in a distinctive way. Its misty opening on a solitary clarinet doesn’t just prepare us for the shock of the movement’s fast-paced Allegro; it infiltrates the work’s musical ideas like nutrients in their soil. The shape of the clarinet’s theme can be detected in numerous fragments right up to the final bars. The fourth movement launches with a transfigured version of it on thrusting strings. That gesture speaks of another conceptual difference in Sibelius’s symphonic designs: his response to the colours and capabilities of instruments. In a departure from traditional Germanic symphonic argument (which would make sense on a piano), Sibelius allowed the particular colour of instruments and instrumental groups to shape the path of his music. The symphony’s opening clarinet solo presents one example. The long-held pedal notes in the slow Andante, and the pizzicatos of the Scherzo, two more. These led the critic Ernest Newman to conclude that ‘every page breathes of another manner of thought, another way of living, even another landscape.’ That ‘other way of living’ can be rationalized. The use of recitation – a note repeating itself, like something half-sung – has its roots in Finland’s runic singing tradition. Others have heard something distinctly Russian in the clarinet solo, in the fur-wrapped melancholy of the slow movement and in the feverish way in which the final Allegro molto erupts. It’s in this movement that we hear Sibelius at his most unique. The organic treatment of themes continues. But as part of that process, the movement appears to reconcile the symphony’s poles of energy and stasis in a way only Sibelius could have conceived: by tricking us into assuming the music is operating at one distinct velocity when it’s actually locked into another. Andrew Mellor, from Sibelius: Symphony 1 & En Saga; Rouvali & Göteborgs Symfoniker (Alpha, 2019)

The Gothenburg Symphony was formed in 1905 and today consists of 109 musicians. The orchestra's base is Gothenburg Concert Hall at Götaplatsen that has gathered music lovers since 1935. Since the 2019-2020 season, Barbara Hannigan is Principal guest conductor. We are also a proud partner of Barbara Hannigan's Equilibrium mentoring program focusing on young singers at the start of their careers. The title Principal Guest Conductor is shared by Pekka Kuusisto from 2025. Wilhelm Stenhammar was the orchestra's chief conductor from 1907 to 1922. He gave the orchestra a strong Nordic profile and invited colleagues Carl Nielsen and Jean Sibelius to the orchestra. Under the direction of conductor Neeme Järvi from 1982-2004, the orchestra made a series of international tours as well as a hundred disc recordings and established themselves among Europe's leading orchestras. In 1996, the Swedish Riksdag appointed the Gothenburg Symphony as Sweden's National Orchestra. In recent decades, the orchestra has had prominent chief conductors such as Santtu-Matias Rouvali, Mario Venzago and Gustavo Dudamel, following Kent Nagano as Principal Guest conductor. Anna-Karin Larsson is CEO and artistic director, Gustavo Dudamel honorary conductor and Neeme Järvi chief conductor emeritus. The orchestra's owner is the Västra Götaland Region. The Gothenburg Symphony works regularly with conductors such as Herbert Blomstedt, Joana Carneiro, Jukka-Pekka Saraste, Christian Zacharias and Anja Bihlmaier.

Initially, Sibelius believed this first symphony would be programmatic: a symphony telling of his homeland’s geology and the triumph of Christianity over paganism. But seven years after the success of his choral-orchestral work based Finnish folklore Kullervo, friends and critics were urging Sibelius to think in more rigorous symphonic terms. Finland, they argued, needed art that was more international than parochial – a symphony that stood its ground on musical terms alone. Such thinking would give the First Symphony its musical weight irrespective of political context. In his student days in Vienna and Berlin, Sibelius’s teachers had stressed the importance of working through musical themes – lathing them continuously until they were fit for purpose. Ultimately, Sibelius took that advice to a level that couldn’t have been anticipated. Already in this symphony, the composer was handling his material in a distinctive way. Its misty opening on a solitary clarinet doesn’t just prepare us for the shock of the movement’s fast-paced Allegro; it infiltrates the work’s musical ideas like nutrients in their soil. The shape of the clarinet’s theme can be detected in numerous fragments right up to the final bars. The fourth movement launches with a transfigured version of it on thrusting strings. That gesture speaks of another conceptual difference in Sibelius’s symphonic designs: his response to the colours and capabilities of instruments. In a departure from traditional Germanic symphonic argument (which would make sense on a piano), Sibelius allowed the particular colour of instruments and instrumental groups to shape the path of his music. The symphony’s opening clarinet solo presents one example. The long-held pedal notes in the slow Andante, and the pizzicatos of the Scherzo, two more. These led the critic Ernest Newman to conclude that ‘every page breathes of another manner of thought, another way of living, even another landscape.’ That ‘other way of living’ can be rationalized. The use of recitation – a note repeating itself, like something half-sung – has its roots in Finland’s runic singing tradition. Others have heard something distinctly Russian in the clarinet solo, in the fur-wrapped melancholy of the slow movement and in the feverish way in which the final Allegro molto erupts. It’s in this movement that we hear Sibelius at his most unique. The organic treatment of themes continues. But as part of that process, the movement appears to reconcile the symphony’s poles of energy and stasis in a way only Sibelius could have conceived: by tricking us into assuming the music is operating at one distinct velocity when it’s actually locked into another. Andrew Mellor, from Sibelius: Symphony 1 & En Saga; Rouvali & Göteborgs Symfoniker (Alpha, 2019)

The Gothenburg Symphony was formed in 1905 and today consists of 109 musicians. The orchestra's base is Gothenburg Concert Hall at Götaplatsen that has gathered music lovers since 1935. Since the 2019-2020 season, Barbara Hannigan is Principal guest conductor. We are also a proud partner of Barbara Hannigan's Equilibrium mentoring program focusing on young singers at the start of their careers. The title Principal Guest Conductor is shared by Pekka Kuusisto from 2025. Wilhelm Stenhammar was the orchestra's chief conductor from 1907 to 1922. He gave the orchestra a strong Nordic profile and invited colleagues Carl Nielsen and Jean Sibelius to the orchestra. Under the direction of conductor Neeme Järvi from 1982-2004, the orchestra made a series of international tours as well as a hundred disc recordings and established themselves among Europe's leading orchestras. In 1996, the Swedish Riksdag appointed the Gothenburg Symphony as Sweden's National Orchestra. In recent decades, the orchestra has had prominent chief conductors such as Santtu-Matias Rouvali, Mario Venzago and Gustavo Dudamel, following Kent Nagano as Principal Guest conductor. Anna-Karin Larsson is CEO and artistic director, Gustavo Dudamel honorary conductor and Neeme Järvi chief conductor emeritus. The orchestra's owner is the Västra Götaland Region. The Gothenburg Symphony works regularly with conductors such as Herbert Blomstedt, Joana Carneiro, Jukka-Pekka Saraste, Christian Zacharias and Anja Bihlmaier.

Initially, Sibelius believed this first symphony would be programmatic: a symphony telling of his homeland’s geology and the triumph of Christianity over paganism. But seven years after the success of his choral-orchestral work based Finnish folklore Kullervo, friends and critics were urging Sibelius to think in more rigorous symphonic terms. Finland, they argued, needed art that was more international than parochial – a symphony that stood its ground on musical terms alone. Such thinking would give the First Symphony its musical weight irrespective of political context. In his student days in Vienna and Berlin, Sibelius’s teachers had stressed the importance of working through musical themes – lathing them continuously until they were fit for purpose. Ultimately, Sibelius took that advice to a level that couldn’t have been anticipated. Already in this symphony, the composer was handling his material in a distinctive way. Its misty opening on a solitary clarinet doesn’t just prepare us for the shock of the movement’s fast-paced Allegro; it infiltrates the work’s musical ideas like nutrients in their soil. The shape of the clarinet’s theme can be detected in numerous fragments right up to the final bars. The fourth movement launches with a transfigured version of it on thrusting strings. That gesture speaks of another conceptual difference in Sibelius’s symphonic designs: his response to the colours and capabilities of instruments. In a departure from traditional Germanic symphonic argument (which would make sense on a piano), Sibelius allowed the particular colour of instruments and instrumental groups to shape the path of his music. The symphony’s opening clarinet solo presents one example. The long-held pedal notes in the slow Andante, and the pizzicatos of the Scherzo, two more. These led the critic Ernest Newman to conclude that ‘every page breathes of another manner of thought, another way of living, even another landscape.’ That ‘other way of living’ can be rationalized. The use of recitation – a note repeating itself, like something half-sung – has its roots in Finland’s runic singing tradition. Others have heard something distinctly Russian in the clarinet solo, in the fur-wrapped melancholy of the slow movement and in the feverish way in which the final Allegro molto erupts. It’s in this movement that we hear Sibelius at his most unique. The organic treatment of themes continues. But as part of that process, the movement appears to reconcile the symphony’s poles of energy and stasis in a way only Sibelius could have conceived: by tricking us into assuming the music is operating at one distinct velocity when it’s actually locked into another. Andrew Mellor, from Sibelius: Symphony 1 & En Saga; Rouvali & Göteborgs Symfoniker (Alpha, 2019)

The Gothenburg Symphony was formed in 1905 and today consists of 109 musicians. The orchestra's base is Gothenburg Concert Hall at Götaplatsen that has gathered music lovers since 1935. Since the 2019-2020 season, Barbara Hannigan is Principal guest conductor. We are also a proud partner of Barbara Hannigan's Equilibrium mentoring program focusing on young singers at the start of their careers. The title Principal Guest Conductor is shared by Pekka Kuusisto from 2025. Wilhelm Stenhammar was the orchestra's chief conductor from 1907 to 1922. He gave the orchestra a strong Nordic profile and invited colleagues Carl Nielsen and Jean Sibelius to the orchestra. Under the direction of conductor Neeme Järvi from 1982-2004, the orchestra made a series of international tours as well as a hundred disc recordings and established themselves among Europe's leading orchestras. In 1996, the Swedish Riksdag appointed the Gothenburg Symphony as Sweden's National Orchestra. In recent decades, the orchestra has had prominent chief conductors such as Santtu-Matias Rouvali, Mario Venzago and Gustavo Dudamel, following Kent Nagano as Principal Guest conductor. Anna-Karin Larsson is CEO and artistic director, Gustavo Dudamel honorary conductor and Neeme Järvi chief conductor emeritus. The orchestra's owner is the Västra Götaland Region. The Gothenburg Symphony works regularly with conductors such as Herbert Blomstedt, Joana Carneiro, Jukka-Pekka Saraste, Christian Zacharias and Anja Bihlmaier.

Initially, Sibelius believed this first symphony would be programmatic: a symphony telling of his homeland’s geology and the triumph of Christianity over paganism. But seven years after the success of his choral-orchestral work based Finnish folklore Kullervo, friends and critics were urging Sibelius to think in more rigorous symphonic terms. Finland, they argued, needed art that was more international than parochial – a symphony that stood its ground on musical terms alone. Such thinking would give the First Symphony its musical weight irrespective of political context. In his student days in Vienna and Berlin, Sibelius’s teachers had stressed the importance of working through musical themes – lathing them continuously until they were fit for purpose. Ultimately, Sibelius took that advice to a level that couldn’t have been anticipated. Already in this symphony, the composer was handling his material in a distinctive way. Its misty opening on a solitary clarinet doesn’t just prepare us for the shock of the movement’s fast-paced Allegro; it infiltrates the work’s musical ideas like nutrients in their soil. The shape of the clarinet’s theme can be detected in numerous fragments right up to the final bars. The fourth movement launches with a transfigured version of it on thrusting strings. That gesture speaks of another conceptual difference in Sibelius’s symphonic designs: his response to the colours and capabilities of instruments. In a departure from traditional Germanic symphonic argument (which would make sense on a piano), Sibelius allowed the particular colour of instruments and instrumental groups to shape the path of his music. The symphony’s opening clarinet solo presents one example. The long-held pedal notes in the slow Andante, and the pizzicatos of the Scherzo, two more. These led the critic Ernest Newman to conclude that ‘every page breathes of another manner of thought, another way of living, even another landscape.’ That ‘other way of living’ can be rationalized. The use of recitation – a note repeating itself, like something half-sung – has its roots in Finland’s runic singing tradition. Others have heard something distinctly Russian in the clarinet solo, in the fur-wrapped melancholy of the slow movement and in the feverish way in which the final Allegro molto erupts. It’s in this movement that we hear Sibelius at his most unique. The organic treatment of themes continues. But as part of that process, the movement appears to reconcile the symphony’s poles of energy and stasis in a way only Sibelius could have conceived: by tricking us into assuming the music is operating at one distinct velocity when it’s actually locked into another. Andrew Mellor, from Sibelius: Symphony 1 & En Saga; Rouvali & Göteborgs Symfoniker (Alpha, 2019)

The Gothenburg Symphony was formed in 1905 and today consists of 109 musicians. The orchestra's base is Gothenburg Concert Hall at Götaplatsen that has gathered music lovers since 1935. Since the 2019-2020 season, Barbara Hannigan is Principal guest conductor. We are also a proud partner of Barbara Hannigan's Equilibrium mentoring program focusing on young singers at the start of their careers. The title Principal Guest Conductor is shared by Pekka Kuusisto from 2025. Wilhelm Stenhammar was the orchestra's chief conductor from 1907 to 1922. He gave the orchestra a strong Nordic profile and invited colleagues Carl Nielsen and Jean Sibelius to the orchestra. Under the direction of conductor Neeme Järvi from 1982-2004, the orchestra made a series of international tours as well as a hundred disc recordings and established themselves among Europe's leading orchestras. In 1996, the Swedish Riksdag appointed the Gothenburg Symphony as Sweden's National Orchestra. In recent decades, the orchestra has had prominent chief conductors such as Santtu-Matias Rouvali, Mario Venzago and Gustavo Dudamel, following Kent Nagano as Principal Guest conductor. Anna-Karin Larsson is CEO and artistic director, Gustavo Dudamel honorary conductor and Neeme Järvi chief conductor emeritus. The orchestra's owner is the Västra Götaland Region. The Gothenburg Symphony works regularly with conductors such as Herbert Blomstedt, Joana Carneiro, Jukka-Pekka Saraste, Christian Zacharias and Anja Bihlmaier.

Initially, Sibelius believed this first symphony would be programmatic: a symphony telling of his homeland’s geology and the triumph of Christianity over paganism. But seven years after the success of his choral-orchestral work based Finnish folklore Kullervo, friends and critics were urging Sibelius to think in more rigorous symphonic terms. Finland, they argued, needed art that was more international than parochial – a symphony that stood its ground on musical terms alone. Such thinking would give the First Symphony its musical weight irrespective of political context. In his student days in Vienna and Berlin, Sibelius’s teachers had stressed the importance of working through musical themes – lathing them continuously until they were fit for purpose. Ultimately, Sibelius took that advice to a level that couldn’t have been anticipated. Already in this symphony, the composer was handling his material in a distinctive way. Its misty opening on a solitary clarinet doesn’t just prepare us for the shock of the movement’s fast-paced Allegro; it infiltrates the work’s musical ideas like nutrients in their soil. The shape of the clarinet’s theme can be detected in numerous fragments right up to the final bars. The fourth movement launches with a transfigured version of it on thrusting strings. That gesture speaks of another conceptual difference in Sibelius’s symphonic designs: his response to the colours and capabilities of instruments. In a departure from traditional Germanic symphonic argument (which would make sense on a piano), Sibelius allowed the particular colour of instruments and instrumental groups to shape the path of his music. The symphony’s opening clarinet solo presents one example. The long-held pedal notes in the slow Andante, and the pizzicatos of the Scherzo, two more. These led the critic Ernest Newman to conclude that ‘every page breathes of another manner of thought, another way of living, even another landscape.’ That ‘other way of living’ can be rationalized. The use of recitation – a note repeating itself, like something half-sung – has its roots in Finland’s runic singing tradition. Others have heard something distinctly Russian in the clarinet solo, in the fur-wrapped melancholy of the slow movement and in the feverish way in which the final Allegro molto erupts. It’s in this movement that we hear Sibelius at his most unique. The organic treatment of themes continues. But as part of that process, the movement appears to reconcile the symphony’s poles of energy and stasis in a way only Sibelius could have conceived: by tricking us into assuming the music is operating at one distinct velocity when it’s actually locked into another. Andrew Mellor, from Sibelius: Symphony 1 & En Saga; Rouvali & Göteborgs Symfoniker (Alpha, 2019)

The Gothenburg Symphony was formed in 1905 and today consists of 109 musicians. The orchestra's base is Gothenburg Concert Hall at Götaplatsen that has gathered music lovers since 1935. Since the 2019-2020 season, Barbara Hannigan is Principal guest conductor. We are also a proud partner of Barbara Hannigan's Equilibrium mentoring program focusing on young singers at the start of their careers. The title Principal Guest Conductor is shared by Pekka Kuusisto from 2025. Wilhelm Stenhammar was the orchestra's chief conductor from 1907 to 1922. He gave the orchestra a strong Nordic profile and invited colleagues Carl Nielsen and Jean Sibelius to the orchestra. Under the direction of conductor Neeme Järvi from 1982-2004, the orchestra made a series of international tours as well as a hundred disc recordings and established themselves among Europe's leading orchestras. In 1996, the Swedish Riksdag appointed the Gothenburg Symphony as Sweden's National Orchestra. In recent decades, the orchestra has had prominent chief conductors such as Santtu-Matias Rouvali, Mario Venzago and Gustavo Dudamel, following Kent Nagano as Principal Guest conductor. Anna-Karin Larsson is CEO and artistic director, Gustavo Dudamel honorary conductor and Neeme Järvi chief conductor emeritus. The orchestra's owner is the Västra Götaland Region. The Gothenburg Symphony works regularly with conductors such as Herbert Blomstedt, Joana Carneiro, Jukka-Pekka Saraste, Christian Zacharias and Anja Bihlmaier.

Initially, Sibelius believed this first symphony would be programmatic: a symphony telling of his homeland’s geology and the triumph of Christianity over paganism. But seven years after the success of his choral-orchestral work based Finnish folklore Kullervo, friends and critics were urging Sibelius to think in more rigorous symphonic terms. Finland, they argued, needed art that was more international than parochial – a symphony that stood its ground on musical terms alone. Such thinking would give the First Symphony its musical weight irrespective of political context. In his student days in Vienna and Berlin, Sibelius’s teachers had stressed the importance of working through musical themes – lathing them continuously until they were fit for purpose. Ultimately, Sibelius took that advice to a level that couldn’t have been anticipated. Already in this symphony, the composer was handling his material in a distinctive way. Its misty opening on a solitary clarinet doesn’t just prepare us for the shock of the movement’s fast-paced Allegro; it infiltrates the work’s musical ideas like nutrients in their soil. The shape of the clarinet’s theme can be detected in numerous fragments right up to the final bars. The fourth movement launches with a transfigured version of it on thrusting strings. That gesture speaks of another conceptual difference in Sibelius’s symphonic designs: his response to the colours and capabilities of instruments. In a departure from traditional Germanic symphonic argument (which would make sense on a piano), Sibelius allowed the particular colour of instruments and instrumental groups to shape the path of his music. The symphony’s opening clarinet solo presents one example. The long-held pedal notes in the slow Andante, and the pizzicatos of the Scherzo, two more. These led the critic Ernest Newman to conclude that ‘every page breathes of another manner of thought, another way of living, even another landscape.’ That ‘other way of living’ can be rationalized. The use of recitation – a note repeating itself, like something half-sung – has its roots in Finland’s runic singing tradition. Others have heard something distinctly Russian in the clarinet solo, in the fur-wrapped melancholy of the slow movement and in the feverish way in which the final Allegro molto erupts. It’s in this movement that we hear Sibelius at his most unique. The organic treatment of themes continues. But as part of that process, the movement appears to reconcile the symphony’s poles of energy and stasis in a way only Sibelius could have conceived: by tricking us into assuming the music is operating at one distinct velocity when it’s actually locked into another. Andrew Mellor, from Sibelius: Symphony 1 & En Saga; Rouvali & Göteborgs Symfoniker (Alpha, 2019)

The Gothenburg Symphony was formed in 1905 and today consists of 109 musicians. The orchestra's base is Gothenburg Concert Hall at Götaplatsen that has gathered music lovers since 1935. Since the 2019-2020 season, Barbara Hannigan is Principal guest conductor. We are also a proud partner of Barbara Hannigan's Equilibrium mentoring program focusing on young singers at the start of their careers. The title Principal Guest Conductor is shared by Pekka Kuusisto from 2025. Wilhelm Stenhammar was the orchestra's chief conductor from 1907 to 1922. He gave the orchestra a strong Nordic profile and invited colleagues Carl Nielsen and Jean Sibelius to the orchestra. Under the direction of conductor Neeme Järvi from 1982-2004, the orchestra made a series of international tours as well as a hundred disc recordings and established themselves among Europe's leading orchestras. In 1996, the Swedish Riksdag appointed the Gothenburg Symphony as Sweden's National Orchestra. In recent decades, the orchestra has had prominent chief conductors such as Santtu-Matias Rouvali, Mario Venzago and Gustavo Dudamel, following Kent Nagano as Principal Guest conductor. Anna-Karin Larsson is CEO and artistic director, Gustavo Dudamel honorary conductor and Neeme Järvi chief conductor emeritus. The orchestra's owner is the Västra Götaland Region. The Gothenburg Symphony works regularly with conductors such as Herbert Blomstedt, Joana Carneiro, Jukka-Pekka Saraste, Christian Zacharias and Anja Bihlmaier.

Initially, Sibelius believed this first symphony would be programmatic: a symphony telling of his homeland’s geology and the triumph of Christianity over paganism. But seven years after the success of his choral-orchestral work based Finnish folklore Kullervo, friends and critics were urging Sibelius to think in more rigorous symphonic terms. Finland, they argued, needed art that was more international than parochial – a symphony that stood its ground on musical terms alone. Such thinking would give the First Symphony its musical weight irrespective of political context. In his student days in Vienna and Berlin, Sibelius’s teachers had stressed the importance of working through musical themes – lathing them continuously until they were fit for purpose. Ultimately, Sibelius took that advice to a level that couldn’t have been anticipated. Already in this symphony, the composer was handling his material in a distinctive way. Its misty opening on a solitary clarinet doesn’t just prepare us for the shock of the movement’s fast-paced Allegro; it infiltrates the work’s musical ideas like nutrients in their soil. The shape of the clarinet’s theme can be detected in numerous fragments right up to the final bars. The fourth movement launches with a transfigured version of it on thrusting strings. That gesture speaks of another conceptual difference in Sibelius’s symphonic designs: his response to the colours and capabilities of instruments. In a departure from traditional Germanic symphonic argument (which would make sense on a piano), Sibelius allowed the particular colour of instruments and instrumental groups to shape the path of his music. The symphony’s opening clarinet solo presents one example. The long-held pedal notes in the slow Andante, and the pizzicatos of the Scherzo, two more. These led the critic Ernest Newman to conclude that ‘every page breathes of another manner of thought, another way of living, even another landscape.’ That ‘other way of living’ can be rationalized. The use of recitation – a note repeating itself, like something half-sung – has its roots in Finland’s runic singing tradition. Others have heard something distinctly Russian in the clarinet solo, in the fur-wrapped melancholy of the slow movement and in the feverish way in which the final Allegro molto erupts. It’s in this movement that we hear Sibelius at his most unique. The organic treatment of themes continues. But as part of that process, the movement appears to reconcile the symphony’s poles of energy and stasis in a way only Sibelius could have conceived: by tricking us into assuming the music is operating at one distinct velocity when it’s actually locked into another. Andrew Mellor, from Sibelius: Symphony 1 & En Saga; Rouvali & Göteborgs Symfoniker (Alpha, 2019)

The Gothenburg Symphony was formed in 1905 and today consists of 109 musicians. The orchestra's base is Gothenburg Concert Hall at Götaplatsen that has gathered music lovers since 1935. Since the 2019-2020 season, Barbara Hannigan is Principal guest conductor. We are also a proud partner of Barbara Hannigan's Equilibrium mentoring program focusing on young singers at the start of their careers. The title Principal Guest Conductor is shared by Pekka Kuusisto from 2025. Wilhelm Stenhammar was the orchestra's chief conductor from 1907 to 1922. He gave the orchestra a strong Nordic profile and invited colleagues Carl Nielsen and Jean Sibelius to the orchestra. Under the direction of conductor Neeme Järvi from 1982-2004, the orchestra made a series of international tours as well as a hundred disc recordings and established themselves among Europe's leading orchestras. In 1996, the Swedish Riksdag appointed the Gothenburg Symphony as Sweden's National Orchestra. In recent decades, the orchestra has had prominent chief conductors such as Santtu-Matias Rouvali, Mario Venzago and Gustavo Dudamel, following Kent Nagano as Principal Guest conductor. Anna-Karin Larsson is CEO and artistic director, Gustavo Dudamel honorary conductor and Neeme Järvi chief conductor emeritus. The orchestra's owner is the Västra Götaland Region. The Gothenburg Symphony works regularly with conductors such as Herbert Blomstedt, Joana Carneiro, Jukka-Pekka Saraste, Christian Zacharias and Anja Bihlmaier.

Initially, Sibelius believed this first symphony would be programmatic: a symphony telling of his homeland’s geology and the triumph of Christianity over paganism. But seven years after the success of his choral-orchestral work based Finnish folklore Kullervo, friends and critics were urging Sibelius to think in more rigorous symphonic terms. Finland, they argued, needed art that was more international than parochial – a symphony that stood its ground on musical terms alone. Such thinking would give the First Symphony its musical weight irrespective of political context. In his student days in Vienna and Berlin, Sibelius’s teachers had stressed the importance of working through musical themes – lathing them continuously until they were fit for purpose. Ultimately, Sibelius took that advice to a level that couldn’t have been anticipated. Already in this symphony, the composer was handling his material in a distinctive way. Its misty opening on a solitary clarinet doesn’t just prepare us for the shock of the movement’s fast-paced Allegro; it infiltrates the work’s musical ideas like nutrients in their soil. The shape of the clarinet’s theme can be detected in numerous fragments right up to the final bars. The fourth movement launches with a transfigured version of it on thrusting strings. That gesture speaks of another conceptual difference in Sibelius’s symphonic designs: his response to the colours and capabilities of instruments. In a departure from traditional Germanic symphonic argument (which would make sense on a piano), Sibelius allowed the particular colour of instruments and instrumental groups to shape the path of his music. The symphony’s opening clarinet solo presents one example. The long-held pedal notes in the slow Andante, and the pizzicatos of the Scherzo, two more. These led the critic Ernest Newman to conclude that ‘every page breathes of another manner of thought, another way of living, even another landscape.’ That ‘other way of living’ can be rationalized. The use of recitation – a note repeating itself, like something half-sung – has its roots in Finland’s runic singing tradition. Others have heard something distinctly Russian in the clarinet solo, in the fur-wrapped melancholy of the slow movement and in the feverish way in which the final Allegro molto erupts. It’s in this movement that we hear Sibelius at his most unique. The organic treatment of themes continues. But as part of that process, the movement appears to reconcile the symphony’s poles of energy and stasis in a way only Sibelius could have conceived: by tricking us into assuming the music is operating at one distinct velocity when it’s actually locked into another. Andrew Mellor, from Sibelius: Symphony 1 & En Saga; Rouvali & Göteborgs Symfoniker (Alpha, 2019)

The Gothenburg Symphony was formed in 1905 and today consists of 109 musicians. The orchestra's base is Gothenburg Concert Hall at Götaplatsen that has gathered music lovers since 1935. Since the 2019-2020 season, Barbara Hannigan is Principal guest conductor. We are also a proud partner of Barbara Hannigan's Equilibrium mentoring program focusing on young singers at the start of their careers. The title Principal Guest Conductor is shared by Pekka Kuusisto from 2025. Wilhelm Stenhammar was the orchestra's chief conductor from 1907 to 1922. He gave the orchestra a strong Nordic profile and invited colleagues Carl Nielsen and Jean Sibelius to the orchestra. Under the direction of conductor Neeme Järvi from 1982-2004, the orchestra made a series of international tours as well as a hundred disc recordings and established themselves among Europe's leading orchestras. In 1996, the Swedish Riksdag appointed the Gothenburg Symphony as Sweden's National Orchestra. In recent decades, the orchestra has had prominent chief conductors such as Santtu-Matias Rouvali, Mario Venzago and Gustavo Dudamel, following Kent Nagano as Principal Guest conductor. Anna-Karin Larsson is CEO and artistic director, Gustavo Dudamel honorary conductor and Neeme Järvi chief conductor emeritus. The orchestra's owner is the Västra Götaland Region. The Gothenburg Symphony works regularly with conductors such as Herbert Blomstedt, Joana Carneiro, Jukka-Pekka Saraste, Christian Zacharias and Anja Bihlmaier.

Initially, Sibelius believed this first symphony would be programmatic: a symphony telling of his homeland’s geology and the triumph of Christianity over paganism. But seven years after the success of his choral-orchestral work based Finnish folklore Kullervo, friends and critics were urging Sibelius to think in more rigorous symphonic terms. Finland, they argued, needed art that was more international than parochial – a symphony that stood its ground on musical terms alone. Such thinking would give the First Symphony its musical weight irrespective of political context. In his student days in Vienna and Berlin, Sibelius’s teachers had stressed the importance of working through musical themes – lathing them continuously until they were fit for purpose. Ultimately, Sibelius took that advice to a level that couldn’t have been anticipated. Already in this symphony, the composer was handling his material in a distinctive way. Its misty opening on a solitary clarinet doesn’t just prepare us for the shock of the movement’s fast-paced Allegro; it infiltrates the work’s musical ideas like nutrients in their soil. The shape of the clarinet’s theme can be detected in numerous fragments right up to the final bars. The fourth movement launches with a transfigured version of it on thrusting strings. That gesture speaks of another conceptual difference in Sibelius’s symphonic designs: his response to the colours and capabilities of instruments. In a departure from traditional Germanic symphonic argument (which would make sense on a piano), Sibelius allowed the particular colour of instruments and instrumental groups to shape the path of his music. The symphony’s opening clarinet solo presents one example. The long-held pedal notes in the slow Andante, and the pizzicatos of the Scherzo, two more. These led the critic Ernest Newman to conclude that ‘every page breathes of another manner of thought, another way of living, even another landscape.’ That ‘other way of living’ can be rationalized. The use of recitation – a note repeating itself, like something half-sung – has its roots in Finland’s runic singing tradition. Others have heard something distinctly Russian in the clarinet solo, in the fur-wrapped melancholy of the slow movement and in the feverish way in which the final Allegro molto erupts. It’s in this movement that we hear Sibelius at his most unique. The organic treatment of themes continues. But as part of that process, the movement appears to reconcile the symphony’s poles of energy and stasis in a way only Sibelius could have conceived: by tricking us into assuming the music is operating at one distinct velocity when it’s actually locked into another. Andrew Mellor, from Sibelius: Symphony 1 & En Saga; Rouvali & Göteborgs Symfoniker (Alpha, 2019)

The Gothenburg Symphony was formed in 1905 and today consists of 109 musicians. The orchestra's base is Gothenburg Concert Hall at Götaplatsen that has gathered music lovers since 1935. Since the 2019-2020 season, Barbara Hannigan is Principal guest conductor. We are also a proud partner of Barbara Hannigan's Equilibrium mentoring program focusing on young singers at the start of their careers. The title Principal Guest Conductor is shared by Pekka Kuusisto from 2025. Wilhelm Stenhammar was the orchestra's chief conductor from 1907 to 1922. He gave the orchestra a strong Nordic profile and invited colleagues Carl Nielsen and Jean Sibelius to the orchestra. Under the direction of conductor Neeme Järvi from 1982-2004, the orchestra made a series of international tours as well as a hundred disc recordings and established themselves among Europe's leading orchestras. In 1996, the Swedish Riksdag appointed the Gothenburg Symphony as Sweden's National Orchestra. In recent decades, the orchestra has had prominent chief conductors such as Santtu-Matias Rouvali, Mario Venzago and Gustavo Dudamel, following Kent Nagano as Principal Guest conductor. Anna-Karin Larsson is CEO and artistic director, Gustavo Dudamel honorary conductor and Neeme Järvi chief conductor emeritus. The orchestra's owner is the Västra Götaland Region. The Gothenburg Symphony works regularly with conductors such as Herbert Blomstedt, Joana Carneiro, Jukka-Pekka Saraste, Christian Zacharias and Anja Bihlmaier.

Initially, Sibelius believed this first symphony would be programmatic: a symphony telling of his homeland’s geology and the triumph of Christianity over paganism. But seven years after the success of his choral-orchestral work based Finnish folklore Kullervo, friends and critics were urging Sibelius to think in more rigorous symphonic terms. Finland, they argued, needed art that was more international than parochial – a symphony that stood its ground on musical terms alone. Such thinking would give the First Symphony its musical weight irrespective of political context. In his student days in Vienna and Berlin, Sibelius’s teachers had stressed the importance of working through musical themes – lathing them continuously until they were fit for purpose. Ultimately, Sibelius took that advice to a level that couldn’t have been anticipated. Already in this symphony, the composer was handling his material in a distinctive way. Its misty opening on a solitary clarinet doesn’t just prepare us for the shock of the movement’s fast-paced Allegro; it infiltrates the work’s musical ideas like nutrients in their soil. The shape of the clarinet’s theme can be detected in numerous fragments right up to the final bars. The fourth movement launches with a transfigured version of it on thrusting strings. That gesture speaks of another conceptual difference in Sibelius’s symphonic designs: his response to the colours and capabilities of instruments. In a departure from traditional Germanic symphonic argument (which would make sense on a piano), Sibelius allowed the particular colour of instruments and instrumental groups to shape the path of his music. The symphony’s opening clarinet solo presents one example. The long-held pedal notes in the slow Andante, and the pizzicatos of the Scherzo, two more. These led the critic Ernest Newman to conclude that ‘every page breathes of another manner of thought, another way of living, even another landscape.’ That ‘other way of living’ can be rationalized. The use of recitation – a note repeating itself, like something half-sung – has its roots in Finland’s runic singing tradition. Others have heard something distinctly Russian in the clarinet solo, in the fur-wrapped melancholy of the slow movement and in the feverish way in which the final Allegro molto erupts. It’s in this movement that we hear Sibelius at his most unique. The organic treatment of themes continues. But as part of that process, the movement appears to reconcile the symphony’s poles of energy and stasis in a way only Sibelius could have conceived: by tricking us into assuming the music is operating at one distinct velocity when it’s actually locked into another. Andrew Mellor, from Sibelius: Symphony 1 & En Saga; Rouvali & Göteborgs Symfoniker (Alpha, 2019)

The Gothenburg Symphony was formed in 1905 and today consists of 109 musicians. The orchestra's base is Gothenburg Concert Hall at Götaplatsen that has gathered music lovers since 1935. Since the 2019-2020 season, Barbara Hannigan is Principal guest conductor. We are also a proud partner of Barbara Hannigan's Equilibrium mentoring program focusing on young singers at the start of their careers. The title Principal Guest Conductor is shared by Pekka Kuusisto from 2025. Wilhelm Stenhammar was the orchestra's chief conductor from 1907 to 1922. He gave the orchestra a strong Nordic profile and invited colleagues Carl Nielsen and Jean Sibelius to the orchestra. Under the direction of conductor Neeme Järvi from 1982-2004, the orchestra made a series of international tours as well as a hundred disc recordings and established themselves among Europe's leading orchestras. In 1996, the Swedish Riksdag appointed the Gothenburg Symphony as Sweden's National Orchestra. In recent decades, the orchestra has had prominent chief conductors such as Santtu-Matias Rouvali, Mario Venzago and Gustavo Dudamel, following Kent Nagano as Principal Guest conductor. Anna-Karin Larsson is CEO and artistic director, Gustavo Dudamel honorary conductor and Neeme Järvi chief conductor emeritus. The orchestra's owner is the Västra Götaland Region. The Gothenburg Symphony works regularly with conductors such as Herbert Blomstedt, Joana Carneiro, Jukka-Pekka Saraste, Christian Zacharias and Anja Bihlmaier.

Initially, Sibelius believed this first symphony would be programmatic: a symphony telling of his homeland’s geology and the triumph of Christianity over paganism. But seven years after the success of his choral-orchestral work based Finnish folklore Kullervo, friends and critics were urging Sibelius to think in more rigorous symphonic terms. Finland, they argued, needed art that was more international than parochial – a symphony that stood its ground on musical terms alone. Such thinking would give the First Symphony its musical weight irrespective of political context. In his student days in Vienna and Berlin, Sibelius’s teachers had stressed the importance of working through musical themes – lathing them continuously until they were fit for purpose. Ultimately, Sibelius took that advice to a level that couldn’t have been anticipated. Already in this symphony, the composer was handling his material in a distinctive way. Its misty opening on a solitary clarinet doesn’t just prepare us for the shock of the movement’s fast-paced Allegro; it infiltrates the work’s musical ideas like nutrients in their soil. The shape of the clarinet’s theme can be detected in numerous fragments right up to the final bars. The fourth movement launches with a transfigured version of it on thrusting strings. That gesture speaks of another conceptual difference in Sibelius’s symphonic designs: his response to the colours and capabilities of instruments. In a departure from traditional Germanic symphonic argument (which would make sense on a piano), Sibelius allowed the particular colour of instruments and instrumental groups to shape the path of his music. The symphony’s opening clarinet solo presents one example. The long-held pedal notes in the slow Andante, and the pizzicatos of the Scherzo, two more. These led the critic Ernest Newman to conclude that ‘every page breathes of another manner of thought, another way of living, even another landscape.’ That ‘other way of living’ can be rationalized. The use of recitation – a note repeating itself, like something half-sung – has its roots in Finland’s runic singing tradition. Others have heard something distinctly Russian in the clarinet solo, in the fur-wrapped melancholy of the slow movement and in the feverish way in which the final Allegro molto erupts. It’s in this movement that we hear Sibelius at his most unique. The organic treatment of themes continues. But as part of that process, the movement appears to reconcile the symphony’s poles of energy and stasis in a way only Sibelius could have conceived: by tricking us into assuming the music is operating at one distinct velocity when it’s actually locked into another. Andrew Mellor, from Sibelius: Symphony 1 & En Saga; Rouvali & Göteborgs Symfoniker (Alpha, 2019)

The Gothenburg Symphony was formed in 1905 and today consists of 109 musicians. The orchestra's base is Gothenburg Concert Hall at Götaplatsen that has gathered music lovers since 1935. Since the 2019-2020 season, Barbara Hannigan is Principal guest conductor. We are also a proud partner of Barbara Hannigan's Equilibrium mentoring program focusing on young singers at the start of their careers. The title Principal Guest Conductor is shared by Pekka Kuusisto from 2025. Wilhelm Stenhammar was the orchestra's chief conductor from 1907 to 1922. He gave the orchestra a strong Nordic profile and invited colleagues Carl Nielsen and Jean Sibelius to the orchestra. Under the direction of conductor Neeme Järvi from 1982-2004, the orchestra made a series of international tours as well as a hundred disc recordings and established themselves among Europe's leading orchestras. In 1996, the Swedish Riksdag appointed the Gothenburg Symphony as Sweden's National Orchestra. In recent decades, the orchestra has had prominent chief conductors such as Santtu-Matias Rouvali, Mario Venzago and Gustavo Dudamel, following Kent Nagano as Principal Guest conductor. Anna-Karin Larsson is CEO and artistic director, Gustavo Dudamel honorary conductor and Neeme Järvi chief conductor emeritus. The orchestra's owner is the Västra Götaland Region. The Gothenburg Symphony works regularly with conductors such as Herbert Blomstedt, Joana Carneiro, Jukka-Pekka Saraste, Christian Zacharias and Anja Bihlmaier.

Initially, Sibelius believed this first symphony would be programmatic: a symphony telling of his homeland’s geology and the triumph of Christianity over paganism. But seven years after the success of his choral-orchestral work based Finnish folklore Kullervo, friends and critics were urging Sibelius to think in more rigorous symphonic terms. Finland, they argued, needed art that was more international than parochial – a symphony that stood its ground on musical terms alone. Such thinking would give the First Symphony its musical weight irrespective of political context. In his student days in Vienna and Berlin, Sibelius’s teachers had stressed the importance of working through musical themes – lathing them continuously until they were fit for purpose. Ultimately, Sibelius took that advice to a level that couldn’t have been anticipated. Already in this symphony, the composer was handling his material in a distinctive way. Its misty opening on a solitary clarinet doesn’t just prepare us for the shock of the movement’s fast-paced Allegro; it infiltrates the work’s musical ideas like nutrients in their soil. The shape of the clarinet’s theme can be detected in numerous fragments right up to the final bars. The fourth movement launches with a transfigured version of it on thrusting strings. That gesture speaks of another conceptual difference in Sibelius’s symphonic designs: his response to the colours and capabilities of instruments. In a departure from traditional Germanic symphonic argument (which would make sense on a piano), Sibelius allowed the particular colour of instruments and instrumental groups to shape the path of his music. The symphony’s opening clarinet solo presents one example. The long-held pedal notes in the slow Andante, and the pizzicatos of the Scherzo, two more. These led the critic Ernest Newman to conclude that ‘every page breathes of another manner of thought, another way of living, even another landscape.’ That ‘other way of living’ can be rationalized. The use of recitation – a note repeating itself, like something half-sung – has its roots in Finland’s runic singing tradition. Others have heard something distinctly Russian in the clarinet solo, in the fur-wrapped melancholy of the slow movement and in the feverish way in which the final Allegro molto erupts. It’s in this movement that we hear Sibelius at his most unique. The organic treatment of themes continues. But as part of that process, the movement appears to reconcile the symphony’s poles of energy and stasis in a way only Sibelius could have conceived: by tricking us into assuming the music is operating at one distinct velocity when it’s actually locked into another. Andrew Mellor, from Sibelius: Symphony 1 & En Saga; Rouvali & Göteborgs Symfoniker (Alpha, 2019)

The Gothenburg Symphony was formed in 1905 and today consists of 109 musicians. The orchestra's base is Gothenburg Concert Hall at Götaplatsen that has gathered music lovers since 1935. Since the 2019-2020 season, Barbara Hannigan is Principal guest conductor. We are also a proud partner of Barbara Hannigan's Equilibrium mentoring program focusing on young singers at the start of their careers. The title Principal Guest Conductor is shared by Pekka Kuusisto from 2025. Wilhelm Stenhammar was the orchestra's chief conductor from 1907 to 1922. He gave the orchestra a strong Nordic profile and invited colleagues Carl Nielsen and Jean Sibelius to the orchestra. Under the direction of conductor Neeme Järvi from 1982-2004, the orchestra made a series of international tours as well as a hundred disc recordings and established themselves among Europe's leading orchestras. In 1996, the Swedish Riksdag appointed the Gothenburg Symphony as Sweden's National Orchestra. In recent decades, the orchestra has had prominent chief conductors such as Santtu-Matias Rouvali, Mario Venzago and Gustavo Dudamel, following Kent Nagano as Principal Guest conductor. Anna-Karin Larsson is CEO and artistic director, Gustavo Dudamel honorary conductor and Neeme Järvi chief conductor emeritus. The orchestra's owner is the Västra Götaland Region. The Gothenburg Symphony works regularly with conductors such as Herbert Blomstedt, Joana Carneiro, Jukka-Pekka Saraste, Christian Zacharias and Anja Bihlmaier.

Initially, Sibelius believed this first symphony would be programmatic: a symphony telling of his homeland’s geology and the triumph of Christianity over paganism. But seven years after the success of his choral-orchestral work based Finnish folklore Kullervo, friends and critics were urging Sibelius to think in more rigorous symphonic terms. Finland, they argued, needed art that was more international than parochial – a symphony that stood its ground on musical terms alone. Such thinking would give the First Symphony its musical weight irrespective of political context. In his student days in Vienna and Berlin, Sibelius’s teachers had stressed the importance of working through musical themes – lathing them continuously until they were fit for purpose. Ultimately, Sibelius took that advice to a level that couldn’t have been anticipated. Already in this symphony, the composer was handling his material in a distinctive way. Its misty opening on a solitary clarinet doesn’t just prepare us for the shock of the movement’s fast-paced Allegro; it infiltrates the work’s musical ideas like nutrients in their soil. The shape of the clarinet’s theme can be detected in numerous fragments right up to the final bars. The fourth movement launches with a transfigured version of it on thrusting strings. That gesture speaks of another conceptual difference in Sibelius’s symphonic designs: his response to the colours and capabilities of instruments. In a departure from traditional Germanic symphonic argument (which would make sense on a piano), Sibelius allowed the particular colour of instruments and instrumental groups to shape the path of his music. The symphony’s opening clarinet solo presents one example. The long-held pedal notes in the slow Andante, and the pizzicatos of the Scherzo, two more. These led the critic Ernest Newman to conclude that ‘every page breathes of another manner of thought, another way of living, even another landscape.’ That ‘other way of living’ can be rationalized. The use of recitation – a note repeating itself, like something half-sung – has its roots in Finland’s runic singing tradition. Others have heard something distinctly Russian in the clarinet solo, in the fur-wrapped melancholy of the slow movement and in the feverish way in which the final Allegro molto erupts. It’s in this movement that we hear Sibelius at his most unique. The organic treatment of themes continues. But as part of that process, the movement appears to reconcile the symphony’s poles of energy and stasis in a way only Sibelius could have conceived: by tricking us into assuming the music is operating at one distinct velocity when it’s actually locked into another. Andrew Mellor, from Sibelius: Symphony 1 & En Saga; Rouvali & Göteborgs Symfoniker (Alpha, 2019)

The Gothenburg Symphony was formed in 1905 and today consists of 109 musicians. The orchestra's base is Gothenburg Concert Hall at Götaplatsen that has gathered music lovers since 1935. Since the 2019-2020 season, Barbara Hannigan is Principal guest conductor. We are also a proud partner of Barbara Hannigan's Equilibrium mentoring program focusing on young singers at the start of their careers. The title Principal Guest Conductor is shared by Pekka Kuusisto from 2025. Wilhelm Stenhammar was the orchestra's chief conductor from 1907 to 1922. He gave the orchestra a strong Nordic profile and invited colleagues Carl Nielsen and Jean Sibelius to the orchestra. Under the direction of conductor Neeme Järvi from 1982-2004, the orchestra made a series of international tours as well as a hundred disc recordings and established themselves among Europe's leading orchestras. In 1996, the Swedish Riksdag appointed the Gothenburg Symphony as Sweden's National Orchestra. In recent decades, the orchestra has had prominent chief conductors such as Santtu-Matias Rouvali, Mario Venzago and Gustavo Dudamel, following Kent Nagano as Principal Guest conductor. Anna-Karin Larsson is CEO and artistic director, Gustavo Dudamel honorary conductor and Neeme Järvi chief conductor emeritus. The orchestra's owner is the Västra Götaland Region. The Gothenburg Symphony works regularly with conductors such as Herbert Blomstedt, Joana Carneiro, Jukka-Pekka Saraste, Christian Zacharias and Anja Bihlmaier.