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At the very first performance of the German composer Max Bruch’s final version in 1868, the audience embraced the work at once. Bruch’s thoughtful approach to instrumentation allows both soloist and orchestra to shine – their interplay flows with melodic richness and expressive warmth. Like Felix Mendelssohn, Max Bruch was a musical prodigy. He wrote his first symphony and a string quartet at the age of fourteen. Yet it must have been a strange fate for a composer whose works were widely performed and admired to be celebrated, for the rest of his long life, almost exclusively for a single piece: the Violin Concerto in G minor. The world’s great violinists adored it, the public adored it, but Bruch eventually grew weary of players who wanted to perform only that concerto. Unfortunately, he had sold the rights to his publisher early on, meaning he received no income from the immense number of performances during his lifetime. Bruch described the first movement as a prelude – a long one – which leads almost imperceptibly into the second movement. Like Mendelssohn, he lets the soloist enter swiftly rather than opening with the full orchestra. Here, inspired melodies unfold in dialogue with the orchestra, interrupted by two brief solo cadenzas. The violin begins the adagio with a nostalgic, heartfelt line, later followed by brilliant solo writing that avoids any hint of undue sentimentality. A short pause leads into an energetic allegro, where a Hungarian-inspired dance takes command, complete with virtuosic solo passages and a romantic theme that captivates and seduces.

Peter Friis Johansson has established himself as one of Scandinavia's most sought-after pianists. In 2009, he became Swedish Radio's P2 artist and that same year went on a European tour with concerts in, among others, the Vienna Musikverein and Concertgebouw. In 2012, he suffered a finger injury, but made an international comeback when he won first prize at the Alaska International Piano-e-Competition 2014. In 2015, Peter Friis Johansson performed cycles of Franz Schubert's piano sonatas all over the world. The first of five albums that will include the entire cycle will be released in 2022. He has premiered piano concertos by Sven-David Sandström and Andrea Tarrodi with the Gothenburg Symphony Orchestra and the Swedish Royal Philharmonic Orchestra. In 2020, he completed Laura Netzel's piano concerto and premiered it with the Norrköping Symphony Orchestra. In 2025, he was nominated for a Swedish Grammis for a recording of Bo Linde's piano trio. Peter Friis Johansson is also a passionate chamber musician who engages in far-reaching collaborative projects. With Emil Jonason he forms the duo Emil & Peter. He is the founder and artistic director of Järna Festival Academy, Sweden's largest chamber music festival.

Urban Claesson is principal clarinetist in the Gothenburg Symphony Orchestra since 1995. He joined the orchestra in 1986 and has appeared as a soloist with the Gothenburg Symphony Orchestra on around 20 occasions, including Mozart's Clarinet Concerto and Sinfonia concertante for wind instruments, Bruch's Concerto for Clarinet, Viola and Orchestra and Corigliano's Clarinet Concerto. As a chamber musician, he has appeared with the Amadeus Quartet and the Britten Quartet, among others. Urban Claesson is also active as a teacher at the Gothenburg Academy of Music and Drama.