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Not all composers write their most famous works when they are 19 years old. One who did was George Enescu with his two Romanian Rhapsodies from 1901. They accompanied him throughout his life. In his later years, he is said to have lamented how they overshadowed his other music. Enescu came from Romania and was a bit of a master at everything he did. It has been said of his memory that he could recreate all of Beethoven's works if they were lost. He picked up the term rhapsody from Liszt's Hungarian Rhapsodies. It is a title that signals spontaneity, improvisation and movement. But also that different parts have been joined together. In the rhapsodies, Enescu portrayed a romantic image of his homeland. The first begins with the folk song “Am un leu” which is said to have been the first Enescu learned at the age of 4. After the calm introduction, the piece bursts into lively dances. The piece depicts peasants stamping and hooting at an increasingly fast pace. It is an exotic dream image of a world that may have been – but is no longer.

Louise Farrenc (1804-1875) Symphony No 3 Adagio - Allegro Adagio cantabile Scherzo. Vivace Finale. Allegro Louise Farrenc has a clear place in music history as one of the most prominent and remarkable female composers. She became the first woman to be appointed professor at the Paris Conservatory, and won the battle to receive the same high salary as her male colleagues. Her third symphony now ends up on lists of the world's best symphonies, as updated list writers increasingly open their ears to female geniuses. The symphony carries, among other things, one of the most magnificent finales in the orchestral repertoire. She wrote the symphony in 1847, but it was not performed until two years later by the concert company at the Conservatory. The first movement moves subtly from a soft introduction in the oboe part. Immediately, agitated strings and timpani fall in, an unexpected build-up in a short time. Farrenc trusts the listener to follow along on the journey, and complements the high energy with quotes from Beethoven. Sudden changes in dynamics heighten the tension. The second movement's adagio begins with a lyrical clarinet melody and forms a simple and elegant interlude, calm and unwavering. The third movement's scherzo has forward momentum, momentum and tension that constantly bubbles beneath the surface, paused only during the central woodwind trio. The decisive unison strings that begin the final movement signal a return to a darker, bolder energy. Just as in Mozart's Symphony No. 40, passion and emotion emerge within the firm framework of classicism. With a power worthy of Romanticism, the finale concludes with three triumphant closing chords.

Allegro Andante Vivace non troppo Johannes Brahms composed his Double Concerto for violin, cello and orchestra in the summer of 1887. It was his last work for orchestra and, despite being only 30 minutes long, is a truly magnificent work. Brahms himself called the work “entertaining” and a “joke” – words that a listener finds difficult to reconcile with such an intense and powerful concert. The usual understanding of Brahms’ Double Concerto is that its serious appearance goes back to the conflict that arose between Brahms and his friend, the violinist Joseph Joachim, regarding an affair between Joachim’s wife and Brahms’ publisher. The concerto – which was premiered by Joachim and the cellist Robert Hausmann with Brahms conducting – is said to have been an outstretched hand after several years of silence. An emotional melody in the cello turns gently towards the violinist, and in the end the two are united. The double concerto received mixed reviews. Some, such as Clara Schumann, considered it lacking in warmth. Today it stands as one of the last great concertos of the 19th century, dating back to Mozart and Beethoven – and a unique example of Brahms' late style of composition for full orchestra, in which he also uses the full range of the solo instruments.

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.

Violinist Pekka Kuusisto is known for his artistic freedom and innovative approach to repertoire. Season 2025-2026 he joined as Principal Guest Conductor of the Gothenburg Symphony Orchestra. He is also artistic director of the Norwegian Chamber Orchestra and principal guest conductor and artistic partner of the Helsinki Philharmonic. He is appointed chief conductor of the Tokyo Metropolitan Symphony Orchestra from 2028. Season 2025-2026, Kuusisto led three distinctive programmes with the Gothenburg Symphony Orchestra with soloists such as Anne Sofie von Otter, Ava Bahari, Andreas Brantelid and Katarina Barruk. He continued his work with the Norwegian Chamber Orchestra presenting the renowned DSCH project, and took the stage as both conductor and soloist with the Helsinki Philharmonic, including a tour across Germany and Austria. He guest conducted Oslo Philharmonic, Basel Symphony Orchestra, Scottish Chamber Orchestra and Tokyo Metropolitan Symphony Orchestra. He also performed with New Zealand and Tasmanian symphony orchestras, and with the Taipei Symphony Orchestra. As soloist, he appeared with the Royal Stockholm Symphony Orchestra and the Konzerthausorchester Berlin in a New Year’s programme with Joana Mallwitz. Kuusisto gets involved across the entire artistic spectrum. He has collaborated with musicians such as Hauschka & Kosminen, Dutch neurologist Erik Scherder, electro pioneer Brian Crabtree, jazz trumpeter Arve Henriksen, juggler Jay Gilligan, accordionist Dermot Dunne and folk artist Sam Amidon. Composers who have written violin concertos for Kuusisto include Nico Muhly, Sebastian Fagerlund and Bryce Dessner. In 2026, Kuusisto, Sam Amidon and the Norwegian Chamber Orchestra collaborated on the album Willows. The soundtrack of animated series Moominvalley composed by Kuusisto, Samuli Kosminen and Jarmo Saari was released in January 2025. Pekka Kuusisto plays an Antonio Stradivarius from 1695 on generous loan from Anders Sveaas Charitable Trust.

The violinist Ava Bahari was Artist in Residence at Gothenburg Symphony Orchestra for 2024-2026. She gave her first solo concert at age eight in the Gothenburg Concert Hall. In 2026, her first album with the Gothenburg Symphony Orchestra was released with a recording of the Sibelius Violin Concerto (Alpha Classics). In 2025/26, Bahari performed Mendelssohn’s Violin Concerto with Joshua Weilerstein, Hindemith’s Violin Concerto, and Brahms’ Concerto for Violin and Cello in Gothenburg. Elsewhere in 25/26, she made debut appearances with Orchestre de Paris, Hamburger Symphoniker, Tampere Philharmonic Orchestra, Stavanger Symphony Orchestra and Macedonian Philharmonic Orchestra, among others, and returned to Royal Stockholm Philharmonic Orchestra for their season-closing concerts. With the Swedish Chamber Orchestra she gave the world premiere of Annamaria Kowalsky’s Violin Concerto, commissioned specifically for Bahari. Ava Bahari is selected as an ECHO Rising Star for 2026/27, and she has received numerous awards, including top prizes at the Premio Paganini Competition in Genova (2021), Concours International Tibor Varga in Sion (2021) and Aurora Music Competition in Stockholm (2019). She studied Bachelor and Master at the Hochschule für Musik Hanns Eisler Berlin under the guidance of Prof. Kolja Blacher and has also received music and culture scholarships from among others Sten A Olsson's Foundation for Research and Culture. She plays a 1694 Stradivarius Ovcharov on generous loan from Anders Sveaas Almennyttige Fond.

Andreas Brantelid was born in Copenhagen and made his soloist debut at the age of 14 in a performance with the Royal Danish Orchestra in Copenhagen. Today, he is one of the most sought-after performing artists from Scandinavia. Highlights include appearances with the London Philharmonic, City of Birmingham Symphony, BBC Symphony, and BBC Philharmonic Orchestras, Tonhalle Orchester Zurich, Mahler Chamber Orchestra and Brussels Philharmonic. He has worked with many distinguished conductors including Andris Nelsons, Esa-Pekka Salonen, Philippe Herreweghe, Vasily Petrenko, Thomas Dausgaard, Pablo Heras-Casado, Andrew Manze, Sakari Oramo, Jukka-Pekka Saraste, Robin Ticciati and Heinrich Schiff. Among the musicians who inspired him are pianist Bengt Forsberg and violinist Nils-Erik Sparf, both of whom he has played with since 2002 in different formats. Andreas Brantelid has also collaborated with artists such as Daniel Barenboim, Gidon Kremer, Joshua Bell, Vadim Repin, Nikolaj Znaider, Lawrence Power and Paul Badura-Skoda. Recently he has formed a trio with Austrian violinist Benjamin Schmid and Norwegian pianist Christian Ihle Hadland. He also performs at festivals and has been a member of the Lincoln Center Chamber Music Society. His debut disc of the Tchaikovsky, Schumann and Saint-Saëns cello concertos with the Danish National Symphony Orchestra was released by EMI in 2008. He released a much acclaimed CD with both Haydn Cello Concertos in 2021 with the period ensemble Concerto Copenhagen and his release 48 Strings from 2022 features music for 1, 2, 4 and 12 celli. Andreas Brantelid won first prize in the 2006 Eurovison Young Musicians Competion and in the 2007 International Paulo Cello Competition. In 2015 he received the Carl Nielsen Prize in Copenhagen. He plays the 1707 ‘Boni-Hegar’ Stradivarius, which has been made available to him by generous support of Christen Sveaas.

Not all composers write their most famous works when they are 19 years old. One who did was George Enescu with his two Romanian Rhapsodies from 1901. They accompanied him throughout his life. In his later years, he is said to have lamented how they overshadowed his other music. Enescu came from Romania and was a bit of a master at everything he did. It has been said of his memory that he could recreate all of Beethoven's works if they were lost. He picked up the term rhapsody from Liszt's Hungarian Rhapsodies. It is a title that signals spontaneity, improvisation and movement. But also that different parts have been joined together. In the rhapsodies, Enescu portrayed a romantic image of his homeland. The first begins with the folk song “Am un leu” which is said to have been the first Enescu learned at the age of 4. After the calm introduction, the piece bursts into lively dances. The piece depicts peasants stamping and hooting at an increasingly fast pace. It is an exotic dream image of a world that may have been – but is no longer.

Louise Farrenc (1804-1875) Symphony No 3 Adagio - Allegro Adagio cantabile Scherzo. Vivace Finale. Allegro Louise Farrenc has a clear place in music history as one of the most prominent and remarkable female composers. She became the first woman to be appointed professor at the Paris Conservatory, and won the battle to receive the same high salary as her male colleagues. Her third symphony now ends up on lists of the world's best symphonies, as updated list writers increasingly open their ears to female geniuses. The symphony carries, among other things, one of the most magnificent finales in the orchestral repertoire. She wrote the symphony in 1847, but it was not performed until two years later by the concert company at the Conservatory. The first movement moves subtly from a soft introduction in the oboe part. Immediately, agitated strings and timpani fall in, an unexpected build-up in a short time. Farrenc trusts the listener to follow along on the journey, and complements the high energy with quotes from Beethoven. Sudden changes in dynamics heighten the tension. The second movement's adagio begins with a lyrical clarinet melody and forms a simple and elegant interlude, calm and unwavering. The third movement's scherzo has forward momentum, momentum and tension that constantly bubbles beneath the surface, paused only during the central woodwind trio. The decisive unison strings that begin the final movement signal a return to a darker, bolder energy. Just as in Mozart's Symphony No. 40, passion and emotion emerge within the firm framework of classicism. With a power worthy of Romanticism, the finale concludes with three triumphant closing chords.

Allegro Andante Vivace non troppo Johannes Brahms composed his Double Concerto for violin, cello and orchestra in the summer of 1887. It was his last work for orchestra and, despite being only 30 minutes long, is a truly magnificent work. Brahms himself called the work “entertaining” and a “joke” – words that a listener finds difficult to reconcile with such an intense and powerful concert. The usual understanding of Brahms’ Double Concerto is that its serious appearance goes back to the conflict that arose between Brahms and his friend, the violinist Joseph Joachim, regarding an affair between Joachim’s wife and Brahms’ publisher. The concerto – which was premiered by Joachim and the cellist Robert Hausmann with Brahms conducting – is said to have been an outstretched hand after several years of silence. An emotional melody in the cello turns gently towards the violinist, and in the end the two are united. The double concerto received mixed reviews. Some, such as Clara Schumann, considered it lacking in warmth. Today it stands as one of the last great concertos of the 19th century, dating back to Mozart and Beethoven – and a unique example of Brahms' late style of composition for full orchestra, in which he also uses the full range of the solo instruments.

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.

Violinist Pekka Kuusisto is known for his artistic freedom and innovative approach to repertoire. Season 2025-2026 he joined as Principal Guest Conductor of the Gothenburg Symphony Orchestra. He is also artistic director of the Norwegian Chamber Orchestra and principal guest conductor and artistic partner of the Helsinki Philharmonic. He is appointed chief conductor of the Tokyo Metropolitan Symphony Orchestra from 2028. Season 2025-2026, Kuusisto led three distinctive programmes with the Gothenburg Symphony Orchestra with soloists such as Anne Sofie von Otter, Ava Bahari, Andreas Brantelid and Katarina Barruk. He continued his work with the Norwegian Chamber Orchestra presenting the renowned DSCH project, and took the stage as both conductor and soloist with the Helsinki Philharmonic, including a tour across Germany and Austria. He guest conducted Oslo Philharmonic, Basel Symphony Orchestra, Scottish Chamber Orchestra and Tokyo Metropolitan Symphony Orchestra. He also performed with New Zealand and Tasmanian symphony orchestras, and with the Taipei Symphony Orchestra. As soloist, he appeared with the Royal Stockholm Symphony Orchestra and the Konzerthausorchester Berlin in a New Year’s programme with Joana Mallwitz. Kuusisto gets involved across the entire artistic spectrum. He has collaborated with musicians such as Hauschka & Kosminen, Dutch neurologist Erik Scherder, electro pioneer Brian Crabtree, jazz trumpeter Arve Henriksen, juggler Jay Gilligan, accordionist Dermot Dunne and folk artist Sam Amidon. Composers who have written violin concertos for Kuusisto include Nico Muhly, Sebastian Fagerlund and Bryce Dessner. In 2026, Kuusisto, Sam Amidon and the Norwegian Chamber Orchestra collaborated on the album Willows. The soundtrack of animated series Moominvalley composed by Kuusisto, Samuli Kosminen and Jarmo Saari was released in January 2025. Pekka Kuusisto plays an Antonio Stradivarius from 1695 on generous loan from Anders Sveaas Charitable Trust.

The violinist Ava Bahari was Artist in Residence at Gothenburg Symphony Orchestra for 2024-2026. She gave her first solo concert at age eight in the Gothenburg Concert Hall. In 2026, her first album with the Gothenburg Symphony Orchestra was released with a recording of the Sibelius Violin Concerto (Alpha Classics). In 2025/26, Bahari performed Mendelssohn’s Violin Concerto with Joshua Weilerstein, Hindemith’s Violin Concerto, and Brahms’ Concerto for Violin and Cello in Gothenburg. Elsewhere in 25/26, she made debut appearances with Orchestre de Paris, Hamburger Symphoniker, Tampere Philharmonic Orchestra, Stavanger Symphony Orchestra and Macedonian Philharmonic Orchestra, among others, and returned to Royal Stockholm Philharmonic Orchestra for their season-closing concerts. With the Swedish Chamber Orchestra she gave the world premiere of Annamaria Kowalsky’s Violin Concerto, commissioned specifically for Bahari. Ava Bahari is selected as an ECHO Rising Star for 2026/27, and she has received numerous awards, including top prizes at the Premio Paganini Competition in Genova (2021), Concours International Tibor Varga in Sion (2021) and Aurora Music Competition in Stockholm (2019). She studied Bachelor and Master at the Hochschule für Musik Hanns Eisler Berlin under the guidance of Prof. Kolja Blacher and has also received music and culture scholarships from among others Sten A Olsson's Foundation for Research and Culture. She plays a 1694 Stradivarius Ovcharov on generous loan from Anders Sveaas Almennyttige Fond.

Andreas Brantelid was born in Copenhagen and made his soloist debut at the age of 14 in a performance with the Royal Danish Orchestra in Copenhagen. Today, he is one of the most sought-after performing artists from Scandinavia. Highlights include appearances with the London Philharmonic, City of Birmingham Symphony, BBC Symphony, and BBC Philharmonic Orchestras, Tonhalle Orchester Zurich, Mahler Chamber Orchestra and Brussels Philharmonic. He has worked with many distinguished conductors including Andris Nelsons, Esa-Pekka Salonen, Philippe Herreweghe, Vasily Petrenko, Thomas Dausgaard, Pablo Heras-Casado, Andrew Manze, Sakari Oramo, Jukka-Pekka Saraste, Robin Ticciati and Heinrich Schiff. Among the musicians who inspired him are pianist Bengt Forsberg and violinist Nils-Erik Sparf, both of whom he has played with since 2002 in different formats. Andreas Brantelid has also collaborated with artists such as Daniel Barenboim, Gidon Kremer, Joshua Bell, Vadim Repin, Nikolaj Znaider, Lawrence Power and Paul Badura-Skoda. Recently he has formed a trio with Austrian violinist Benjamin Schmid and Norwegian pianist Christian Ihle Hadland. He also performs at festivals and has been a member of the Lincoln Center Chamber Music Society. His debut disc of the Tchaikovsky, Schumann and Saint-Saëns cello concertos with the Danish National Symphony Orchestra was released by EMI in 2008. He released a much acclaimed CD with both Haydn Cello Concertos in 2021 with the period ensemble Concerto Copenhagen and his release 48 Strings from 2022 features music for 1, 2, 4 and 12 celli. Andreas Brantelid won first prize in the 2006 Eurovison Young Musicians Competion and in the 2007 International Paulo Cello Competition. In 2015 he received the Carl Nielsen Prize in Copenhagen. He plays the 1707 ‘Boni-Hegar’ Stradivarius, which has been made available to him by generous support of Christen Sveaas.