Archive

Here you can find almost anything about all the concerts Gothenburg Symphony has played over the years, both in the Concert Hall and on tour. Search for conductors, soloists and other artists that has played together with us. Or search for composers and music that we have played. And filter on specific seasons. Guesting orchestras and ensembles are also included in the archive. The result is presented by season.

112 concerts

1929-11-27 20:00 Lorensbergsteatern

Göteborgs Symfoniker

Programme

Beethoven Concerto, Violin, In D Major, Opus 61

Telemann Taffelmusik, Svit För Kammarorkester

Kraus Sinfonia D-dur

Participants

Tor Mann Conductor

Carl von Garaguly Violin

1928-12-07 20:00 Lorensbergsteatern

Göteborgs Symfoniker

Programme

Beethoven Concerto, Violin, In D Major, Opus 61

Gasco Buffalmacco

Göhler Symfoni Nr. 1 D-moll

Mancinelli Scene veneziane:

Participants

Karl Georg Göhler Conductor

Jan Damen Violin

1926-11-19 20:00 Konserthuset, Heden

Göteborgs Symfoniker

Programme

Beethoven Concerto, Violin, In D Major, Opus 61

Peter Tchaikovsky (1840-1893) Symphony No. 6 Pathetique Op 74 Adagio;Allegro non troppo - Allegro con grazia - Allegro molto vivace - Finale:Adagio lamentoso Few symphonies contain as many outbursts of emotion and sudden mood swings as Tchaikovsky's Sixth, with the telling title Pathétique ("passionate suffering"). It reflects his manic-depressive personality, he suffered throughout his life from crises and often struggled with illness and depression. Tchaikovsky's death in Saint Petersburg, just nine days after he conducted the premiere, also gave the work a tragic aura right from the start. It was even said that the music deliberately foreshadowed his own death, which occurred after he drank cholera-tainted water. Even today, musicologists disagree whether it was an accident or a forced suicide, to avoid public scandal as a homosexual. Is the sixth symphony really a self-composed requiem? This theory is fueled by the "dark" key of B minor, which stands for great passion and tragedy, and by the unusual structure. The main motif that runs throughout the work consists of a plaintive, descending second interval. The gloomy character of the symphony is clear already in the first movement, with its slow, dark introduction. The second movement is reminiscent of Don José's flower aria from Bizet's opera Carmen, which Tchaikovsky greatly admired. Towards the end of the movement there is a chorale-like funeral march, and even a quote from the Russian Orthodox funeral liturgy. The second movement provides some lightening, and Tchaikovsky wrote it in an elegant 5/4 time signature, which is a fairly common time signature in Russian folk music. The "limping" character makes the movement almost humorous, despite the loving waltz or minuet-like style. In the third movement he returns to the march as idea, but it begins as an cheerful scherzo that gradually unfolds in its full life-affirming power. The fourth movement is the most famous in the symphony, and is partly reminiscent of a mournful requiem. The main theme is characterized by sighing motifs, and at the end the music fades into a low string chord in B minor. Tchaikovsky considered the symphony to be his most important, most personal composition, but the premiere was received cautiously.