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Paul Dukas (1865-1935) L'apprenti sorcier L'apprenti sorcier (The Sorcerer's Apprentice) is the most famous work by the French composer Paul Dukas. It premiered in May 1897 in Paris with the composer himself conducting. The piece is based on Goethe's poem Der Zauberlehrling, about a sorcerer who leaves his apprentice to fetch water. But instead of doing it himself, the apprentice conjures up a broom to do the job for him. Dukas illustrates the broom with a rhythmic theme in the bassoon. The water is depicted through leaps and splashing cymbals. But the apprentice is not fully trained and loses control of the situation. The broom never stops fetching water. The room floods. The apprentice tries to chop the broom in half with an axe, which only gives rise to more brooms. A contributing factor to the music's great popularity was Walt Disney's animated film Fantasia from 1940, starring Mickey Mouse. Dukas' romantic and magical works stand today as a clear precursor, along with Korngold and Holst, to John Williams' shimmering film music.

Camille Saint-Saëns (1835-1921) Piano Concerto No 2 Andante sostenuto Allegro scherzando Presto Camille Saint-Saëns made his debut as a pianist at the age of ten, offering to play any of Beethoven's 32 piano sonatas - from memory - as an encore. As a composer, he became extremely prolific, composing music in all genres. His music is characterized by a disarming charm, rich melody and elegance. The second has probably remained his most famous of his five piano concertos and is the earliest of his compositions still in the standard repertoire. In the spring of 1868, Saint-Saëns intended to arrange a concert with the celebrated Russian pianist Anton Rubinstein (not to be confused with Artur Rubinstein) at the Salle Pleyel in Paris. But when it became clear that they would have to wait three weeks for a free concert day, Saint-Saëns took the opportunity in the meantime to write a completely new piano concerto. Rubinstein was so delighted with the new work that he offered the composer to play the solo part while he himself conducted. Saint-Saëns may not have been entirely satisfied with his hastily assembled concert, but in the audience was Franz Liszt himself, who had no shortage of praise to pour over his young colleague's inspired work. The concerto has a very original form. The first movement begins with a cadenza, the second movement is not slow (as convention required), but a mercurial and playful scherzo. The finale is a sparkling presto.

Albert Roussel (1869-1937) Symphony No 3 Albert Roussel was one of the foremost representatives of early 20th-century music in France, alongside Debussy and Ravel. He was originally a naval officer, but failing health meant that he had to go ashore at the age of 25. After returning home, he began studying music at the Schola Cantorum in Paris. He wrote his first opus-numbered works at the age of 30. They are not particularly personal, the influence is clear from both Debussy and D’Indy and César Franck. Only after a decade had the basic features developed into a style of expression that would become entirely his own. Roussel’s mature works differ considerably from Ravel’s and even more from Debussy. The breakthrough came in 1913 with the ballet pantomime The Spider’s Feast. The work was a great success, and was performed 22 times during the first year. More ballet music was added later, most fame clamed by Bacchus and Ariadne (1931). The musical language at that time was entirely personal with persistent rhythm, sometimes barbaric orchestral sounds and a rather advanced harmony for the time: fiercely dissonant or polytonal. The third of Roussel's four symphonies, composed in 1929-30, is rather classical in its structure. Each movement has its own themes, but three of them are linked together by a common motif: the falling rhythmic figure that is heard already in the first bar. The opening movement is completely dominated by its persistent stomping. In the slow second, the composer focuses on new aspects of the motif and builds up a long fugato. The work was commissioned by conductor Serge Koussevitsky for the Boston Symphony Orchestra's 50th anniversary. The premiere was given in October 1930, with Roussel present in the audience.

The glory days of the Viennese waltz at the end of the 19th century were pure madness - completely comparable to today's unrestrained club dancing. Swirling around giant ballrooms with thousands of other couples, over and over again, was the great pleasure and enjoyment of the time. The young loved to be swept up in these communal excesses while the opposing side argued that it was harmful and immoral to spin around in this way. But the Viennese waltz could not be stopped - the Strauss family and their successors spread the courage to the rest of Europe, Russia and the USA. Ravel was born early enough to know the ravages of the Viennese waltz. This familiarity probably inspired him when he began the orchestral piece intended for Diaghilev's Russian ballet. However, he refused. The "choreographic poem" that was finished in 1920 only became a ballet in 1929 when the dancer Ida Rubinstein staged it. The work's working name was Vienna, a city Ravel knew well by the way, but in the end was given an even more stripped-down and concentrated title: La valse, the waltz. Like the Strauss waltzes, La valse has a slow opening, after which it finds its rhythm and melody and dances away in good old three-bar. But where Strauss keep the music under soft reins and gently slow down at the end to let off their travelers, Ravel does the opposite: the waltz completely explodes, swells over all borders and explodes both tempo and melody. Ravel simply captures the essence of the Viennese waltz - the rapture and total indulgence. An emotional discharge, or for the theorist: music that comments on itself. The ironic Ravel did not deny himself - what is wrong with satisfying different tastes at the same time?

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.

French Stéphane Denève has guested Gothenburg several times. He is Music Director of the Saint Louis Symphony Orchestra, USA, and Artistic Director of the New World Symphony. Since 2023, he has also been Principal Guest Conductor of the Netherlands Radio Philharmonic. He was Principal Guest Conductor of the Philadelphia Orchestra from 2014 to 2020 and Chief Conductor of the Brussels Philharmonic from 2015 to 2022. Stéphane Denève has a particular fondness for the music of his native France and is a passionate advocate of 21st century music. He appears with the world’s leading soloists, including Leif Ove Andsnes, Emanuel Ax, Joshua Bell, Nicola Benedetti, Yefim Bronfman, Renaud and Gautier Capuçon, James Ehnes, Kirill Gerstein, Hélène Grimaud, Augustin Hadelich, Hilary Hahn and Sheku Kanneh-Mason. Recent engagements include appearances with the Concertgebouw Orchestra, NHK Symphony Orchestra, Orchestra Sinfonica dell’Accademia Nazionale di Santa Cecilia, Bavarian Radio Symphony Orchestra and the Royal Philharmonic in Stockholm, with whom he conducted the 2020 Nobel Prize Concert. In 2022, he conducted the John Williams 90th Birthday Gala with the National Symphony Orchestra and he is a popular guest at the American summer festivals. In the world of opera, Stéphane Denève has conducted productions at the Netherlands Opera, Royal Opera House Covent Garden, Opéra National de Paris, Glyndebourne Festival, Teatro alla Scala, Deutsche Oper Berlin, Saito Kinen Festival, Gran Teatro del Liceu, La Monnaie and Deutsche Oper am Rhein. Denève has won critical acclaim for his recordings of Poulenc, Debussy, Ravel, Roussel, Franck and Connesson. He is a three-time winner of the Diapason d'Or of the Year and has been nominated for the Gramophone Artist of the Year Award.

Pianist Marie-Ange Nguci grew up in Albania and was accepted to the Paris Conservatoire at the age of 13. Despite her young age, she has performed in major concert halls, such as the Vienna Musikverein, the Concertgebouw, Tokyo Suntory Hall, Zurich Tonhalle, Sydney Opera House, Philharmonie de Paris, Théâtre des Champs-Elysées, Teatro La Fenice in Venice and Teatro della Pergola in Florence. Highlights of the 2024-2025 season included debuts with the Rotterdam Philharmonic Orchestra and Stéphane Denève, the Royal Philharmonic Orchestra under Alan Gilbert, the Orchestre Symphonique de Montréal with Marie Jacquot, the Orchestra della Svizzera Italiana and the Netherlands Radio Philharmonic. She returned to the Orchestra Sinfonica Nazionale della RAI with Marc Albrecht and to the Tonkünstler Orchestra. In recent years, Marie-Ange Nguci has presented an extensive repertoire on stage and performed with leading conductors such as Paavo Järvi, Fabio Luisi, Mirga Gražinyte-Tyla, John Storgårds, Nikolaj Szeps-Znaider, Krzysztof Urbanski, Dalia Stasevska, Xian Zhang and Petr Popelka. She was Artist in Residence with the Basel Symphony Orchestra for the 2023-2024 season and has been an associate artist with the Filarmonica Arturo Toscanini in Parma. She studied orchestral conducting at the Musik und Kunst Universität in Vienna and was accepted at the age of 18 to the City University of New York.

Paul Dukas (1865-1935) L'apprenti sorcier L'apprenti sorcier (The Sorcerer's Apprentice) is the most famous work by the French composer Paul Dukas. It premiered in May 1897 in Paris with the composer himself conducting. The piece is based on Goethe's poem Der Zauberlehrling, about a sorcerer who leaves his apprentice to fetch water. But instead of doing it himself, the apprentice conjures up a broom to do the job for him. Dukas illustrates the broom with a rhythmic theme in the bassoon. The water is depicted through leaps and splashing cymbals. But the apprentice is not fully trained and loses control of the situation. The broom never stops fetching water. The room floods. The apprentice tries to chop the broom in half with an axe, which only gives rise to more brooms. A contributing factor to the music's great popularity was Walt Disney's animated film Fantasia from 1940, starring Mickey Mouse. Dukas' romantic and magical works stand today as a clear precursor, along with Korngold and Holst, to John Williams' shimmering film music.

Camille Saint-Saëns (1835-1921) Piano Concerto No 2 Andante sostenuto Allegro scherzando Presto Camille Saint-Saëns made his debut as a pianist at the age of ten, offering to play any of Beethoven's 32 piano sonatas - from memory - as an encore. As a composer, he became extremely prolific, composing music in all genres. His music is characterized by a disarming charm, rich melody and elegance. The second has probably remained his most famous of his five piano concertos and is the earliest of his compositions still in the standard repertoire. In the spring of 1868, Saint-Saëns intended to arrange a concert with the celebrated Russian pianist Anton Rubinstein (not to be confused with Artur Rubinstein) at the Salle Pleyel in Paris. But when it became clear that they would have to wait three weeks for a free concert day, Saint-Saëns took the opportunity in the meantime to write a completely new piano concerto. Rubinstein was so delighted with the new work that he offered the composer to play the solo part while he himself conducted. Saint-Saëns may not have been entirely satisfied with his hastily assembled concert, but in the audience was Franz Liszt himself, who had no shortage of praise to pour over his young colleague's inspired work. The concerto has a very original form. The first movement begins with a cadenza, the second movement is not slow (as convention required), but a mercurial and playful scherzo. The finale is a sparkling presto.

Albert Roussel (1869-1937) Symphony No 3 Albert Roussel was one of the foremost representatives of early 20th-century music in France, alongside Debussy and Ravel. He was originally a naval officer, but failing health meant that he had to go ashore at the age of 25. After returning home, he began studying music at the Schola Cantorum in Paris. He wrote his first opus-numbered works at the age of 30. They are not particularly personal, the influence is clear from both Debussy and D’Indy and César Franck. Only after a decade had the basic features developed into a style of expression that would become entirely his own. Roussel’s mature works differ considerably from Ravel’s and even more from Debussy. The breakthrough came in 1913 with the ballet pantomime The Spider’s Feast. The work was a great success, and was performed 22 times during the first year. More ballet music was added later, most fame clamed by Bacchus and Ariadne (1931). The musical language at that time was entirely personal with persistent rhythm, sometimes barbaric orchestral sounds and a rather advanced harmony for the time: fiercely dissonant or polytonal. The third of Roussel's four symphonies, composed in 1929-30, is rather classical in its structure. Each movement has its own themes, but three of them are linked together by a common motif: the falling rhythmic figure that is heard already in the first bar. The opening movement is completely dominated by its persistent stomping. In the slow second, the composer focuses on new aspects of the motif and builds up a long fugato. The work was commissioned by conductor Serge Koussevitsky for the Boston Symphony Orchestra's 50th anniversary. The premiere was given in October 1930, with Roussel present in the audience.

The glory days of the Viennese waltz at the end of the 19th century were pure madness - completely comparable to today's unrestrained club dancing. Swirling around giant ballrooms with thousands of other couples, over and over again, was the great pleasure and enjoyment of the time. The young loved to be swept up in these communal excesses while the opposing side argued that it was harmful and immoral to spin around in this way. But the Viennese waltz could not be stopped - the Strauss family and their successors spread the courage to the rest of Europe, Russia and the USA. Ravel was born early enough to know the ravages of the Viennese waltz. This familiarity probably inspired him when he began the orchestral piece intended for Diaghilev's Russian ballet. However, he refused. The "choreographic poem" that was finished in 1920 only became a ballet in 1929 when the dancer Ida Rubinstein staged it. The work's working name was Vienna, a city Ravel knew well by the way, but in the end was given an even more stripped-down and concentrated title: La valse, the waltz. Like the Strauss waltzes, La valse has a slow opening, after which it finds its rhythm and melody and dances away in good old three-bar. But where Strauss keep the music under soft reins and gently slow down at the end to let off their travelers, Ravel does the opposite: the waltz completely explodes, swells over all borders and explodes both tempo and melody. Ravel simply captures the essence of the Viennese waltz - the rapture and total indulgence. An emotional discharge, or for the theorist: music that comments on itself. The ironic Ravel did not deny himself - what is wrong with satisfying different tastes at the same time?

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.

French Stéphane Denève has guested Gothenburg several times. He is Music Director of the Saint Louis Symphony Orchestra, USA, and Artistic Director of the New World Symphony. Since 2023, he has also been Principal Guest Conductor of the Netherlands Radio Philharmonic. He was Principal Guest Conductor of the Philadelphia Orchestra from 2014 to 2020 and Chief Conductor of the Brussels Philharmonic from 2015 to 2022. Stéphane Denève has a particular fondness for the music of his native France and is a passionate advocate of 21st century music. He appears with the world’s leading soloists, including Leif Ove Andsnes, Emanuel Ax, Joshua Bell, Nicola Benedetti, Yefim Bronfman, Renaud and Gautier Capuçon, James Ehnes, Kirill Gerstein, Hélène Grimaud, Augustin Hadelich, Hilary Hahn and Sheku Kanneh-Mason. Recent engagements include appearances with the Concertgebouw Orchestra, NHK Symphony Orchestra, Orchestra Sinfonica dell’Accademia Nazionale di Santa Cecilia, Bavarian Radio Symphony Orchestra and the Royal Philharmonic in Stockholm, with whom he conducted the 2020 Nobel Prize Concert. In 2022, he conducted the John Williams 90th Birthday Gala with the National Symphony Orchestra and he is a popular guest at the American summer festivals. In the world of opera, Stéphane Denève has conducted productions at the Netherlands Opera, Royal Opera House Covent Garden, Opéra National de Paris, Glyndebourne Festival, Teatro alla Scala, Deutsche Oper Berlin, Saito Kinen Festival, Gran Teatro del Liceu, La Monnaie and Deutsche Oper am Rhein. Denève has won critical acclaim for his recordings of Poulenc, Debussy, Ravel, Roussel, Franck and Connesson. He is a three-time winner of the Diapason d'Or of the Year and has been nominated for the Gramophone Artist of the Year Award.

Pianist Marie-Ange Nguci grew up in Albania and was accepted to the Paris Conservatoire at the age of 13. Despite her young age, she has performed in major concert halls, such as the Vienna Musikverein, the Concertgebouw, Tokyo Suntory Hall, Zurich Tonhalle, Sydney Opera House, Philharmonie de Paris, Théâtre des Champs-Elysées, Teatro La Fenice in Venice and Teatro della Pergola in Florence. Highlights of the 2024-2025 season included debuts with the Rotterdam Philharmonic Orchestra and Stéphane Denève, the Royal Philharmonic Orchestra under Alan Gilbert, the Orchestre Symphonique de Montréal with Marie Jacquot, the Orchestra della Svizzera Italiana and the Netherlands Radio Philharmonic. She returned to the Orchestra Sinfonica Nazionale della RAI with Marc Albrecht and to the Tonkünstler Orchestra. In recent years, Marie-Ange Nguci has presented an extensive repertoire on stage and performed with leading conductors such as Paavo Järvi, Fabio Luisi, Mirga Gražinyte-Tyla, John Storgårds, Nikolaj Szeps-Znaider, Krzysztof Urbanski, Dalia Stasevska, Xian Zhang and Petr Popelka. She was Artist in Residence with the Basel Symphony Orchestra for the 2023-2024 season and has been an associate artist with the Filarmonica Arturo Toscanini in Parma. She studied orchestral conducting at the Musik und Kunst Universität in Vienna and was accepted at the age of 18 to the City University of New York.

Camille Saint-Saëns (1835-1921) Piano Concerto No 2 Andante sostenuto Allegro scherzando Presto Camille Saint-Saëns made his debut as a pianist at the age of ten, offering to play any of Beethoven's 32 piano sonatas - from memory - as an encore. As a composer, he became extremely prolific, composing music in all genres. His music is characterized by a disarming charm, rich melody and elegance. The second has probably remained his most famous of his five piano concertos and is the earliest of his compositions still in the standard repertoire. In the spring of 1868, Saint-Saëns intended to arrange a concert with the celebrated Russian pianist Anton Rubinstein (not to be confused with Artur Rubinstein) at the Salle Pleyel in Paris. But when it became clear that they would have to wait three weeks for a free concert day, Saint-Saëns took the opportunity in the meantime to write a completely new piano concerto. Rubinstein was so delighted with the new work that he offered the composer to play the solo part while he himself conducted. Saint-Saëns may not have been entirely satisfied with his hastily assembled concert, but in the audience was Franz Liszt himself, who had no shortage of praise to pour over his young colleague's inspired work. The concerto has a very original form. The first movement begins with a cadenza, the second movement is not slow (as convention required), but a mercurial and playful scherzo. The finale is a sparkling presto.

Bela Bartók (1881-1945) Concerto for Orchestra Introduzione Gioco delle coppie Elegia Intermezzo interrotto Finale When this music was written in 1943, Bela Bartók had two years left to live. He had come to the United States fleeing a Europe at war and clawed his way through a few lean years in New York. The honorary doctorate at Harvard provided no income. In addition, he became increasingly ill, what previously appeared to be tuberculosis turned out to be leukemia. But he continued to compose as always. Work was his life - and pleasure too, if you will. Like a child, he rested by doing other things. He was first and foremost a music ethnologist, that is, a recorder and collector of folk music. And it was among other things this immeasurable library, more than 13,000 melodies, he was so keen to save the Second World War. Countless trips in Hungary, Romania, Bulgaria, Slovakia and Turkey were made with a phonograph as a memory aid. In between, he composed, on top of that a whole lot of teaching as income and change, and of course an extensive activity as a concert pianist in many countries. In addition, he was interested in collecting plants, beetles, learning new languages. Palestrina's music was always on the piano and he never traveled without his thumbed score of Stravinsky's The Rite of Spring under his arm. Is there a diagnosis for this? we would ask today. The music Bela Bartók wrote was highly influenced by all the music he saw and heard on his collecting trips, but in the later works you can also hear how fascinated he was by the Baroque masters. The concerto for orchestra was commissioned by the Sergei Koussevitsky Music Foundation. Bartók himself has described the music as a journey from austerity via an ominous song to a life-affirming ending. Like Mozart, he composed incredibly quickly, he couldn't get an idea out of his head until the next one appeared. With such a cacophony within, it is no wonder that throughout his life he sought out quiet places. Bartok himself saw the collection of folk music as his greatest and most important deed for more than one reason: "My own idea is the brotherhood of peoples, brotherhood despite all wars and conflicts. I try - as best I can - to serve that idea in my music: therefore I reject no influences, whether Slovak, Romanian, Arabic, or from other sources." (Bartók, 1931) KATARINA A KARLSSON

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.

Bertrand Chamayou has been called “the French prince of piano” and is recognized for powerfully virtuosic and imaginative performances. His repertoire includes the complete piano works of Ravel, as well as major works by Liszt and Messiaen. He has worked with composers such as Pierre Boulez, Henri Dutilleux, György Kurtág, Thomas Adès, Bryce Dessner and Michael Jarrell. In the 2025-2026 season, he participates in the Lucerne Festival with the Netherlands Philharmonic in Unsuk Chin’s piano concerto and in his own Festival Ravel in Saint-Jean-de-Luz. Major engagements include the Orchestre National de France, the Orchestre Philharmonique de Radio France and the Orchestre National du Capitole de Toulouse in the Turangalîla Symphony. He will perform with Esa-Pekka Salonen and the Danish National Symphony Orchestra, the Singapore Symphony Orchestra under Pierre Bleuse, the Antwerp Symphony Orchestra, the Philharmonia Orchestra and the BBC Symphony Orchestra. He is also touring with Leif Ove Andsnes at the launch of their new album. He is a highly regarded chamber musician and his partners include renowned artists such as Sol Gabetta, Barbara Hannigan, Vilde Frang and Renaud and Gautier Capuçon. For his recording of Saint-Saëns’ piano concertos, he was awarded the Gramophone Recording of the Year Award 2019. He has won France’s prestigious Victoires de la Musique on five occasions. Bertrand Chamayou made his first appearance with the Gothenburg Symphony Orchestra in 2019 in Saint-Saëns’ Piano Concerto No. 2.

Camille Saint-Saëns (1835-1921) Piano Concerto No 2 Andante sostenuto Allegro scherzando Presto Camille Saint-Saëns made his debut as a pianist at the age of ten, offering to play any of Beethoven's 32 piano sonatas - from memory - as an encore. As a composer, he became extremely prolific, composing music in all genres. His music is characterized by a disarming charm, rich melody and elegance. The second has probably remained his most famous of his five piano concertos and is the earliest of his compositions still in the standard repertoire. In the spring of 1868, Saint-Saëns intended to arrange a concert with the celebrated Russian pianist Anton Rubinstein (not to be confused with Artur Rubinstein) at the Salle Pleyel in Paris. But when it became clear that they would have to wait three weeks for a free concert day, Saint-Saëns took the opportunity in the meantime to write a completely new piano concerto. Rubinstein was so delighted with the new work that he offered the composer to play the solo part while he himself conducted. Saint-Saëns may not have been entirely satisfied with his hastily assembled concert, but in the audience was Franz Liszt himself, who had no shortage of praise to pour over his young colleague's inspired work. The concerto has a very original form. The first movement begins with a cadenza, the second movement is not slow (as convention required), but a mercurial and playful scherzo. The finale is a sparkling presto.

Bela Bartók (1881-1945) Concerto for Orchestra Introduzione Gioco delle coppie Elegia Intermezzo interrotto Finale When this music was written in 1943, Bela Bartók had two years left to live. He had come to the United States fleeing a Europe at war and clawed his way through a few lean years in New York. The honorary doctorate at Harvard provided no income. In addition, he became increasingly ill, what previously appeared to be tuberculosis turned out to be leukemia. But he continued to compose as always. Work was his life - and pleasure too, if you will. Like a child, he rested by doing other things. He was first and foremost a music ethnologist, that is, a recorder and collector of folk music. And it was among other things this immeasurable library, more than 13,000 melodies, he was so keen to save the Second World War. Countless trips in Hungary, Romania, Bulgaria, Slovakia and Turkey were made with a phonograph as a memory aid. In between, he composed, on top of that a whole lot of teaching as income and change, and of course an extensive activity as a concert pianist in many countries. In addition, he was interested in collecting plants, beetles, learning new languages. Palestrina's music was always on the piano and he never traveled without his thumbed score of Stravinsky's The Rite of Spring under his arm. Is there a diagnosis for this? we would ask today. The music Bela Bartók wrote was highly influenced by all the music he saw and heard on his collecting trips, but in the later works you can also hear how fascinated he was by the Baroque masters. The concerto for orchestra was commissioned by the Sergei Koussevitsky Music Foundation. Bartók himself has described the music as a journey from austerity via an ominous song to a life-affirming ending. Like Mozart, he composed incredibly quickly, he couldn't get an idea out of his head until the next one appeared. With such a cacophony within, it is no wonder that throughout his life he sought out quiet places. Bartok himself saw the collection of folk music as his greatest and most important deed for more than one reason: "My own idea is the brotherhood of peoples, brotherhood despite all wars and conflicts. I try - as best I can - to serve that idea in my music: therefore I reject no influences, whether Slovak, Romanian, Arabic, or from other sources." (Bartók, 1931) KATARINA A KARLSSON

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.

Bertrand Chamayou has been called “the French prince of piano” and is recognized for powerfully virtuosic and imaginative performances. His repertoire includes the complete piano works of Ravel, as well as major works by Liszt and Messiaen. He has worked with composers such as Pierre Boulez, Henri Dutilleux, György Kurtág, Thomas Adès, Bryce Dessner and Michael Jarrell. In the 2025-2026 season, he participates in the Lucerne Festival with the Netherlands Philharmonic in Unsuk Chin’s piano concerto and in his own Festival Ravel in Saint-Jean-de-Luz. Major engagements include the Orchestre National de France, the Orchestre Philharmonique de Radio France and the Orchestre National du Capitole de Toulouse in the Turangalîla Symphony. He will perform with Esa-Pekka Salonen and the Danish National Symphony Orchestra, the Singapore Symphony Orchestra under Pierre Bleuse, the Antwerp Symphony Orchestra, the Philharmonia Orchestra and the BBC Symphony Orchestra. He is also touring with Leif Ove Andsnes at the launch of their new album. He is a highly regarded chamber musician and his partners include renowned artists such as Sol Gabetta, Barbara Hannigan, Vilde Frang and Renaud and Gautier Capuçon. For his recording of Saint-Saëns’ piano concertos, he was awarded the Gramophone Recording of the Year Award 2019. He has won France’s prestigious Victoires de la Musique on five occasions. Bertrand Chamayou made his first appearance with the Gothenburg Symphony Orchestra in 2019 in Saint-Saëns’ Piano Concerto No. 2.

Camille Saint-Saëns (1835-1921) Piano Concerto No 2 Andante sostenuto Allegro scherzando Presto Camille Saint-Saëns made his debut as a pianist at the age of ten, offering to play any of Beethoven's 32 piano sonatas - from memory - as an encore. As a composer, he became extremely prolific, composing music in all genres. His music is characterized by a disarming charm, rich melody and elegance. The second has probably remained his most famous of his five piano concertos and is the earliest of his compositions still in the standard repertoire. In the spring of 1868, Saint-Saëns intended to arrange a concert with the celebrated Russian pianist Anton Rubinstein (not to be confused with Artur Rubinstein) at the Salle Pleyel in Paris. But when it became clear that they would have to wait three weeks for a free concert day, Saint-Saëns took the opportunity in the meantime to write a completely new piano concerto. Rubinstein was so delighted with the new work that he offered the composer to play the solo part while he himself conducted. Saint-Saëns may not have been entirely satisfied with his hastily assembled concert, but in the audience was Franz Liszt himself, who had no shortage of praise to pour over his young colleague's inspired work. The concerto has a very original form. The first movement begins with a cadenza, the second movement is not slow (as convention required), but a mercurial and playful scherzo. The finale is a sparkling presto.

Bela Bartók (1881-1945) Concerto for Orchestra Introduzione Gioco delle coppie Elegia Intermezzo interrotto Finale When this music was written in 1943, Bela Bartók had two years left to live. He had come to the United States fleeing a Europe at war and clawed his way through a few lean years in New York. The honorary doctorate at Harvard provided no income. In addition, he became increasingly ill, what previously appeared to be tuberculosis turned out to be leukemia. But he continued to compose as always. Work was his life - and pleasure too, if you will. Like a child, he rested by doing other things. He was first and foremost a music ethnologist, that is, a recorder and collector of folk music. And it was among other things this immeasurable library, more than 13,000 melodies, he was so keen to save the Second World War. Countless trips in Hungary, Romania, Bulgaria, Slovakia and Turkey were made with a phonograph as a memory aid. In between, he composed, on top of that a whole lot of teaching as income and change, and of course an extensive activity as a concert pianist in many countries. In addition, he was interested in collecting plants, beetles, learning new languages. Palestrina's music was always on the piano and he never traveled without his thumbed score of Stravinsky's The Rite of Spring under his arm. Is there a diagnosis for this? we would ask today. The music Bela Bartók wrote was highly influenced by all the music he saw and heard on his collecting trips, but in the later works you can also hear how fascinated he was by the Baroque masters. The concerto for orchestra was commissioned by the Sergei Koussevitsky Music Foundation. Bartók himself has described the music as a journey from austerity via an ominous song to a life-affirming ending. Like Mozart, he composed incredibly quickly, he couldn't get an idea out of his head until the next one appeared. With such a cacophony within, it is no wonder that throughout his life he sought out quiet places. Bartok himself saw the collection of folk music as his greatest and most important deed for more than one reason: "My own idea is the brotherhood of peoples, brotherhood despite all wars and conflicts. I try - as best I can - to serve that idea in my music: therefore I reject no influences, whether Slovak, Romanian, Arabic, or from other sources." (Bartók, 1931) KATARINA A KARLSSON

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.

Bertrand Chamayou has been called “the French prince of piano” and is recognized for powerfully virtuosic and imaginative performances. His repertoire includes the complete piano works of Ravel, as well as major works by Liszt and Messiaen. He has worked with composers such as Pierre Boulez, Henri Dutilleux, György Kurtág, Thomas Adès, Bryce Dessner and Michael Jarrell. In the 2025-2026 season, he participates in the Lucerne Festival with the Netherlands Philharmonic in Unsuk Chin’s piano concerto and in his own Festival Ravel in Saint-Jean-de-Luz. Major engagements include the Orchestre National de France, the Orchestre Philharmonique de Radio France and the Orchestre National du Capitole de Toulouse in the Turangalîla Symphony. He will perform with Esa-Pekka Salonen and the Danish National Symphony Orchestra, the Singapore Symphony Orchestra under Pierre Bleuse, the Antwerp Symphony Orchestra, the Philharmonia Orchestra and the BBC Symphony Orchestra. He is also touring with Leif Ove Andsnes at the launch of their new album. He is a highly regarded chamber musician and his partners include renowned artists such as Sol Gabetta, Barbara Hannigan, Vilde Frang and Renaud and Gautier Capuçon. For his recording of Saint-Saëns’ piano concertos, he was awarded the Gramophone Recording of the Year Award 2019. He has won France’s prestigious Victoires de la Musique on five occasions. Bertrand Chamayou made his first appearance with the Gothenburg Symphony Orchestra in 2019 in Saint-Saëns’ Piano Concerto No. 2.

Camille Saint-Saëns (1835-1921) Piano Concerto No 2 Andante sostenuto Allegro scherzando Presto Camille Saint-Saëns made his debut as a pianist at the age of ten, offering to play any of Beethoven's 32 piano sonatas - from memory - as an encore. As a composer, he became extremely prolific, composing music in all genres. His music is characterized by a disarming charm, rich melody and elegance. The second has probably remained his most famous of his five piano concertos and is the earliest of his compositions still in the standard repertoire. In the spring of 1868, Saint-Saëns intended to arrange a concert with the celebrated Russian pianist Anton Rubinstein (not to be confused with Artur Rubinstein) at the Salle Pleyel in Paris. But when it became clear that they would have to wait three weeks for a free concert day, Saint-Saëns took the opportunity in the meantime to write a completely new piano concerto. Rubinstein was so delighted with the new work that he offered the composer to play the solo part while he himself conducted. Saint-Saëns may not have been entirely satisfied with his hastily assembled concert, but in the audience was Franz Liszt himself, who had no shortage of praise to pour over his young colleague's inspired work. The concerto has a very original form. The first movement begins with a cadenza, the second movement is not slow (as convention required), but a mercurial and playful scherzo. The finale is a sparkling presto.

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.

The Estonian-born conductor Neeme Järvi is the Gothenburg Symphony Orchestra's Principal Conductor Emeritus. He conducts many of the world's most prominent orchestras and works with soloists of the highest class. During his long career, he has made over 450 disc recordings. Under Neeme Järvi's direction from 1982-2004, the Gothenburg Symphony made a series of international tours and made around a hundred disc recordings and established itself among Europe's leading orchestras. Neeme Järvi became chief conductor of the Residentie Orkest in 2005, artistic director of the Estonian National Symphony Orchestra in 2009 and music director of the New Jersey Symphony Orchestra in 2005. He has also been artistic director of the Orchester de la Suisse Romande. He holds the titles of Music Director Emeritus of the Detroit Symphony Orchestra and Conductor Laureate of the Royal Scottish National Orchestra. Throughout his career, Neeme Järvi has been honored with international honors and awards. In Estonia, these include an honorary doctorate at the Estonian Academy of Music in Tallinn, and the Order of the National Coat of Arms from the President of the Republic of Estonia. He has also received the Commander of the Order of the North Star from King Karl XVI Gustaf. He most recently guested with the Gothenburg Symphony Orchestra in 2024 at the Hasselblad Concert, which was also recorded for GSOplay and Swedish Radio.

Camille Saint-Saëns (1835-1921) Piano Concerto No 2 Andante sostenuto Allegro scherzando Presto Camille Saint-Saëns made his debut as a pianist at the age of ten, offering to play any of Beethoven's 32 piano sonatas - from memory - as an encore. As a composer, he became extremely prolific, composing music in all genres. His music is characterized by a disarming charm, rich melody and elegance. The second has probably remained his most famous of his five piano concertos and is the earliest of his compositions still in the standard repertoire. In the spring of 1868, Saint-Saëns intended to arrange a concert with the celebrated Russian pianist Anton Rubinstein (not to be confused with Artur Rubinstein) at the Salle Pleyel in Paris. But when it became clear that they would have to wait three weeks for a free concert day, Saint-Saëns took the opportunity in the meantime to write a completely new piano concerto. Rubinstein was so delighted with the new work that he offered the composer to play the solo part while he himself conducted. Saint-Saëns may not have been entirely satisfied with his hastily assembled concert, but in the audience was Franz Liszt himself, who had no shortage of praise to pour over his young colleague's inspired work. The concerto has a very original form. The first movement begins with a cadenza, the second movement is not slow (as convention required), but a mercurial and playful scherzo. The finale is a sparkling presto.

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.

The Estonian-born conductor Neeme Järvi is the Gothenburg Symphony Orchestra's Principal Conductor Emeritus. He conducts many of the world's most prominent orchestras and works with soloists of the highest class. During his long career, he has made over 450 disc recordings. Under Neeme Järvi's direction from 1982-2004, the Gothenburg Symphony made a series of international tours and made around a hundred disc recordings and established itself among Europe's leading orchestras. Neeme Järvi became chief conductor of the Residentie Orkest in 2005, artistic director of the Estonian National Symphony Orchestra in 2009 and music director of the New Jersey Symphony Orchestra in 2005. He has also been artistic director of the Orchester de la Suisse Romande. He holds the titles of Music Director Emeritus of the Detroit Symphony Orchestra and Conductor Laureate of the Royal Scottish National Orchestra. Throughout his career, Neeme Järvi has been honored with international honors and awards. In Estonia, these include an honorary doctorate at the Estonian Academy of Music in Tallinn, and the Order of the National Coat of Arms from the President of the Republic of Estonia. He has also received the Commander of the Order of the North Star from King Karl XVI Gustaf. He most recently guested with the Gothenburg Symphony Orchestra in 2024 at the Hasselblad Concert, which was also recorded for GSOplay and Swedish Radio.

Lars-Erik Larsson (1908-1986) Pastoral Suite Overture - Romance - Scherzo Lars-Erik Larsson made his debut in Stockholm at the age of 20 and became one of Sweden's most popular composers. The Pastoral Suite was composed in the autumn of 1938 for the programme "Moments of the Day" on Swedish Radio, where Larsson was conductor. He originally wrote six movements, three of which have been retained in the suite. The overture has a slow introduction and a subsequent longer allegro in the composer's typical easygoing, rhythmically varied style. Then the romance, the most frequently performed movement, which is singable with great melodic beauty. Finally, a lively and graceful scherzo. The suite is scored for double woodwinds, two horns, two trumpets, timpani and strings, while the middle movement is for strings only.

Camille Saint-Saëns (1835-1921) Piano Concerto No 2 Andante sostenuto Allegro scherzando Presto Camille Saint-Saëns made his debut as a pianist at the age of ten, offering to play any of Beethoven's 32 piano sonatas - from memory - as an encore. As a composer, he became extremely prolific, composing music in all genres. His music is characterized by a disarming charm, rich melody and elegance. The second has probably remained his most famous of his five piano concertos and is the earliest of his compositions still in the standard repertoire. In the spring of 1868, Saint-Saëns intended to arrange a concert with the celebrated Russian pianist Anton Rubinstein (not to be confused with Artur Rubinstein) at the Salle Pleyel in Paris. But when it became clear that they would have to wait three weeks for a free concert day, Saint-Saëns took the opportunity in the meantime to write a completely new piano concerto. Rubinstein was so delighted with the new work that he offered the composer to play the solo part while he himself conducted. Saint-Saëns may not have been entirely satisfied with his hastily assembled concert, but in the audience was Franz Liszt himself, who had no shortage of praise to pour over his young colleague's inspired work. The concerto has a very original form. The first movement begins with a cadenza, the second movement is not slow (as convention required), but a mercurial and playful scherzo. The finale is a sparkling presto.

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.

The Estonian-born conductor Neeme Järvi is the Gothenburg Symphony Orchestra's Principal Conductor Emeritus. He conducts many of the world's most prominent orchestras and works with soloists of the highest class. During his long career, he has made over 450 disc recordings. Under Neeme Järvi's direction from 1982-2004, the Gothenburg Symphony made a series of international tours and made around a hundred disc recordings and established itself among Europe's leading orchestras. Neeme Järvi became chief conductor of the Residentie Orkest in 2005, artistic director of the Estonian National Symphony Orchestra in 2009 and music director of the New Jersey Symphony Orchestra in 2005. He has also been artistic director of the Orchester de la Suisse Romande. He holds the titles of Music Director Emeritus of the Detroit Symphony Orchestra and Conductor Laureate of the Royal Scottish National Orchestra. Throughout his career, Neeme Järvi has been honored with international honors and awards. In Estonia, these include an honorary doctorate at the Estonian Academy of Music in Tallinn, and the Order of the National Coat of Arms from the President of the Republic of Estonia. He has also received the Commander of the Order of the North Star from King Karl XVI Gustaf. He most recently guested with the Gothenburg Symphony Orchestra in 2024 at the Hasselblad Concert, which was also recorded for GSOplay and Swedish Radio.

Lars-Erik Larsson (1908-1986) Pastoral Suite Overture - Romance - Scherzo Lars-Erik Larsson made his debut in Stockholm at the age of 20 and became one of Sweden's most popular composers. The Pastoral Suite was composed in the autumn of 1938 for the programme "Moments of the Day" on Swedish Radio, where Larsson was conductor. He originally wrote six movements, three of which have been retained in the suite. The overture has a slow introduction and a subsequent longer allegro in the composer's typical easygoing, rhythmically varied style. Then the romance, the most frequently performed movement, which is singable with great melodic beauty. Finally, a lively and graceful scherzo. The suite is scored for double woodwinds, two horns, two trumpets, timpani and strings, while the middle movement is for strings only.

Camille Saint-Saëns (1835-1921) Piano Concerto No 2 Andante sostenuto Allegro scherzando Presto Camille Saint-Saëns made his debut as a pianist at the age of ten, offering to play any of Beethoven's 32 piano sonatas - from memory - as an encore. As a composer, he became extremely prolific, composing music in all genres. His music is characterized by a disarming charm, rich melody and elegance. The second has probably remained his most famous of his five piano concertos and is the earliest of his compositions still in the standard repertoire. In the spring of 1868, Saint-Saëns intended to arrange a concert with the celebrated Russian pianist Anton Rubinstein (not to be confused with Artur Rubinstein) at the Salle Pleyel in Paris. But when it became clear that they would have to wait three weeks for a free concert day, Saint-Saëns took the opportunity in the meantime to write a completely new piano concerto. Rubinstein was so delighted with the new work that he offered the composer to play the solo part while he himself conducted. Saint-Saëns may not have been entirely satisfied with his hastily assembled concert, but in the audience was Franz Liszt himself, who had no shortage of praise to pour over his young colleague's inspired work. The concerto has a very original form. The first movement begins with a cadenza, the second movement is not slow (as convention required), but a mercurial and playful scherzo. The finale is a sparkling presto.

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.

The Estonian-born conductor Neeme Järvi is the Gothenburg Symphony Orchestra's Principal Conductor Emeritus. He conducts many of the world's most prominent orchestras and works with soloists of the highest class. During his long career, he has made over 450 disc recordings. Under Neeme Järvi's direction from 1982-2004, the Gothenburg Symphony made a series of international tours and made around a hundred disc recordings and established itself among Europe's leading orchestras. Neeme Järvi became chief conductor of the Residentie Orkest in 2005, artistic director of the Estonian National Symphony Orchestra in 2009 and music director of the New Jersey Symphony Orchestra in 2005. He has also been artistic director of the Orchester de la Suisse Romande. He holds the titles of Music Director Emeritus of the Detroit Symphony Orchestra and Conductor Laureate of the Royal Scottish National Orchestra. Throughout his career, Neeme Järvi has been honored with international honors and awards. In Estonia, these include an honorary doctorate at the Estonian Academy of Music in Tallinn, and the Order of the National Coat of Arms from the President of the Republic of Estonia. He has also received the Commander of the Order of the North Star from King Karl XVI Gustaf. He most recently guested with the Gothenburg Symphony Orchestra in 2024 at the Hasselblad Concert, which was also recorded for GSOplay and Swedish Radio.

Camille Saint-Saëns (1835-1921) Piano Concerto No 2 Andante sostenuto Allegro scherzando Presto Camille Saint-Saëns made his debut as a pianist at the age of ten, offering to play any of Beethoven's 32 piano sonatas - from memory - as an encore. As a composer, he became extremely prolific, composing music in all genres. His music is characterized by a disarming charm, rich melody and elegance. The second has probably remained his most famous of his five piano concertos and is the earliest of his compositions still in the standard repertoire. In the spring of 1868, Saint-Saëns intended to arrange a concert with the celebrated Russian pianist Anton Rubinstein (not to be confused with Artur Rubinstein) at the Salle Pleyel in Paris. But when it became clear that they would have to wait three weeks for a free concert day, Saint-Saëns took the opportunity in the meantime to write a completely new piano concerto. Rubinstein was so delighted with the new work that he offered the composer to play the solo part while he himself conducted. Saint-Saëns may not have been entirely satisfied with his hastily assembled concert, but in the audience was Franz Liszt himself, who had no shortage of praise to pour over his young colleague's inspired work. The concerto has a very original form. The first movement begins with a cadenza, the second movement is not slow (as convention required), but a mercurial and playful scherzo. The finale is a sparkling presto.

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.

Camille Saint-Saëns (1835-1921) Piano Concerto No 2 Andante sostenuto Allegro scherzando Presto Camille Saint-Saëns made his debut as a pianist at the age of ten, offering to play any of Beethoven's 32 piano sonatas - from memory - as an encore. As a composer, he became extremely prolific, composing music in all genres. His music is characterized by a disarming charm, rich melody and elegance. The second has probably remained his most famous of his five piano concertos and is the earliest of his compositions still in the standard repertoire. In the spring of 1868, Saint-Saëns intended to arrange a concert with the celebrated Russian pianist Anton Rubinstein (not to be confused with Artur Rubinstein) at the Salle Pleyel in Paris. But when it became clear that they would have to wait three weeks for a free concert day, Saint-Saëns took the opportunity in the meantime to write a completely new piano concerto. Rubinstein was so delighted with the new work that he offered the composer to play the solo part while he himself conducted. Saint-Saëns may not have been entirely satisfied with his hastily assembled concert, but in the audience was Franz Liszt himself, who had no shortage of praise to pour over his young colleague's inspired work. The concerto has a very original form. The first movement begins with a cadenza, the second movement is not slow (as convention required), but a mercurial and playful scherzo. The finale is a sparkling presto.

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.

Hector Berlioz (1803–1869) Le carnaval romain (Roman Carnival) Hector Berlioz's stylish concert overture Le carnaval romain delighted contemporary audiences. Berlioz was certainly known as an innovative skyrocketer, but here he had achieved something lively and captivating that made the audience ecstatic. After the premiere, another performance was soon forced. Le carnaval romain was written in 1844 and is not an overture that begins an opera, but a standalone piece, very well suited to begin an orchestral concert. But there is actually a connection to opera: as early as 1837, Berlioz had composed his first opera, the one about the goldsmith and adventurer Benvenuto Cellini, who was active in 16th-century Florence, and when the opera was reworked from two to three acts in the mid-1840s, Berlioz included his Le carnaval romain to illustrate the great carnival scene in the second act, with its roaring frenzy and lively tarantella rhythms. This operation was not done at random, because the first melody heard in Le carnaval romain (played by English horn) is actually borrowed from the opera. To this particular melody, Benvenuto sings to his beloved how he intends to abduct her during this very carnival. The music certainly aroused some wonder when Berlioz used irregular and restless melody lines, but in doing so he avoided all risk of banal intonations, while at the same time seizing the listener.

Camille Saint-Saëns (1835-1921) Piano Concerto No 2 Andante sostenuto Allegro scherzando Presto Camille Saint-Saëns made his debut as a pianist at the age of ten, offering to play any of Beethoven's 32 piano sonatas - from memory - as an encore. As a composer, he became extremely prolific, composing music in all genres. His music is characterized by a disarming charm, rich melody and elegance. The second has probably remained his most famous of his five piano concertos and is the earliest of his compositions still in the standard repertoire. In the spring of 1868, Saint-Saëns intended to arrange a concert with the celebrated Russian pianist Anton Rubinstein (not to be confused with Artur Rubinstein) at the Salle Pleyel in Paris. But when it became clear that they would have to wait three weeks for a free concert day, Saint-Saëns took the opportunity in the meantime to write a completely new piano concerto. Rubinstein was so delighted with the new work that he offered the composer to play the solo part while he himself conducted. Saint-Saëns may not have been entirely satisfied with his hastily assembled concert, but in the audience was Franz Liszt himself, who had no shortage of praise to pour over his young colleague's inspired work. The concerto has a very original form. The first movement begins with a cadenza, the second movement is not slow (as convention required), but a mercurial and playful scherzo. The finale is a sparkling presto.

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.

Camille Saint-Saëns (1835-1921) Piano Concerto No 2 Andante sostenuto Allegro scherzando Presto Camille Saint-Saëns made his debut as a pianist at the age of ten, offering to play any of Beethoven's 32 piano sonatas - from memory - as an encore. As a composer, he became extremely prolific, composing music in all genres. His music is characterized by a disarming charm, rich melody and elegance. The second has probably remained his most famous of his five piano concertos and is the earliest of his compositions still in the standard repertoire. In the spring of 1868, Saint-Saëns intended to arrange a concert with the celebrated Russian pianist Anton Rubinstein (not to be confused with Artur Rubinstein) at the Salle Pleyel in Paris. But when it became clear that they would have to wait three weeks for a free concert day, Saint-Saëns took the opportunity in the meantime to write a completely new piano concerto. Rubinstein was so delighted with the new work that he offered the composer to play the solo part while he himself conducted. Saint-Saëns may not have been entirely satisfied with his hastily assembled concert, but in the audience was Franz Liszt himself, who had no shortage of praise to pour over his young colleague's inspired work. The concerto has a very original form. The first movement begins with a cadenza, the second movement is not slow (as convention required), but a mercurial and playful scherzo. The finale is a sparkling presto.

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.

Camille Saint-Saëns (1835-1921) Piano Concerto No 2 Andante sostenuto Allegro scherzando Presto Camille Saint-Saëns made his debut as a pianist at the age of ten, offering to play any of Beethoven's 32 piano sonatas - from memory - as an encore. As a composer, he became extremely prolific, composing music in all genres. His music is characterized by a disarming charm, rich melody and elegance. The second has probably remained his most famous of his five piano concertos and is the earliest of his compositions still in the standard repertoire. In the spring of 1868, Saint-Saëns intended to arrange a concert with the celebrated Russian pianist Anton Rubinstein (not to be confused with Artur Rubinstein) at the Salle Pleyel in Paris. But when it became clear that they would have to wait three weeks for a free concert day, Saint-Saëns took the opportunity in the meantime to write a completely new piano concerto. Rubinstein was so delighted with the new work that he offered the composer to play the solo part while he himself conducted. Saint-Saëns may not have been entirely satisfied with his hastily assembled concert, but in the audience was Franz Liszt himself, who had no shortage of praise to pour over his young colleague's inspired work. The concerto has a very original form. The first movement begins with a cadenza, the second movement is not slow (as convention required), but a mercurial and playful scherzo. The finale is a sparkling presto.

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.

Paul Dukas (1865-1935) L'apprenti sorcier L'apprenti sorcier (The Sorcerer's Apprentice) is the most famous work by the French composer Paul Dukas. It premiered in May 1897 in Paris with the composer himself conducting. The piece is based on Goethe's poem Der Zauberlehrling, about a sorcerer who leaves his apprentice to fetch water. But instead of doing it himself, the apprentice conjures up a broom to do the job for him. Dukas illustrates the broom with a rhythmic theme in the bassoon. The water is depicted through leaps and splashing cymbals. But the apprentice is not fully trained and loses control of the situation. The broom never stops fetching water. The room floods. The apprentice tries to chop the broom in half with an axe, which only gives rise to more brooms. A contributing factor to the music's great popularity was Walt Disney's animated film Fantasia from 1940, starring Mickey Mouse. Dukas' romantic and magical works stand today as a clear precursor, along with Korngold and Holst, to John Williams' shimmering film music.

Camille Saint-Saëns (1835-1921) Piano Concerto No 2 Andante sostenuto Allegro scherzando Presto Camille Saint-Saëns made his debut as a pianist at the age of ten, offering to play any of Beethoven's 32 piano sonatas - from memory - as an encore. As a composer, he became extremely prolific, composing music in all genres. His music is characterized by a disarming charm, rich melody and elegance. The second has probably remained his most famous of his five piano concertos and is the earliest of his compositions still in the standard repertoire. In the spring of 1868, Saint-Saëns intended to arrange a concert with the celebrated Russian pianist Anton Rubinstein (not to be confused with Artur Rubinstein) at the Salle Pleyel in Paris. But when it became clear that they would have to wait three weeks for a free concert day, Saint-Saëns took the opportunity in the meantime to write a completely new piano concerto. Rubinstein was so delighted with the new work that he offered the composer to play the solo part while he himself conducted. Saint-Saëns may not have been entirely satisfied with his hastily assembled concert, but in the audience was Franz Liszt himself, who had no shortage of praise to pour over his young colleague's inspired work. The concerto has a very original form. The first movement begins with a cadenza, the second movement is not slow (as convention required), but a mercurial and playful scherzo. The finale is a sparkling presto.

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.

Ludwig van Beethoven (1770-1827) Symphony No. 4 Op 60 The Fourth Symphony is, as often said, situated between two symphonic giants. A reputation that has often led to its being overlooked, but in fact it follows a working method that is more the rule than the exception in Beethoven. The revolutionary works are often followed by music that seems to take care of what follows the storm. And this year, 1806 – we are in perhaps the most insanely productive of Beethoven’s life – is no exception. The symphony begins with a tender entry followed by a plateau of unison Bb in strings and winds that is shadowily surrounded by slow melodic movements. The music grows suggestively from a melancholy to a euphoria – from minor to major – when the allegro breaks through in all its splendor. After the first movement's alternating shift between intense outbursts and calm breaths, one of Beethoven's most lyrical adagios follows, where the repetitive rhythm (you hear it immediately in the verse) makes the movement dance forward stubbornly. In the third and fourth movements, a scherzo and an allegro, the music rushes forward. For those who have already noticed how the form of the adagio rhythm is a variation of the first movement's syncopated outbursts, here, in the more dance-like parts of the symphony, you can notice how Beethoven turns the building blocks of the music inside and outside, but at the same time joins them together. In this way, he lets us anticipate the revolution that the symphony's form is facing. Fate will soon be knocking on the door.

Camille Saint-Saëns (1835-1921) Piano Concerto No 2 Andante sostenuto Allegro scherzando Presto Camille Saint-Saëns made his debut as a pianist at the age of ten, offering to play any of Beethoven's 32 piano sonatas - from memory - as an encore. As a composer, he became extremely prolific, composing music in all genres. His music is characterized by a disarming charm, rich melody and elegance. The second has probably remained his most famous of his five piano concertos and is the earliest of his compositions still in the standard repertoire. In the spring of 1868, Saint-Saëns intended to arrange a concert with the celebrated Russian pianist Anton Rubinstein (not to be confused with Artur Rubinstein) at the Salle Pleyel in Paris. But when it became clear that they would have to wait three weeks for a free concert day, Saint-Saëns took the opportunity in the meantime to write a completely new piano concerto. Rubinstein was so delighted with the new work that he offered the composer to play the solo part while he himself conducted. Saint-Saëns may not have been entirely satisfied with his hastily assembled concert, but in the audience was Franz Liszt himself, who had no shortage of praise to pour over his young colleague's inspired work. The concerto has a very original form. The first movement begins with a cadenza, the second movement is not slow (as convention required), but a mercurial and playful scherzo. The finale is a sparkling presto.

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.

Camille Saint-Saëns (1835-1921) Piano Concerto No 2 Andante sostenuto Allegro scherzando Presto Camille Saint-Saëns made his debut as a pianist at the age of ten, offering to play any of Beethoven's 32 piano sonatas - from memory - as an encore. As a composer, he became extremely prolific, composing music in all genres. His music is characterized by a disarming charm, rich melody and elegance. The second has probably remained his most famous of his five piano concertos and is the earliest of his compositions still in the standard repertoire. In the spring of 1868, Saint-Saëns intended to arrange a concert with the celebrated Russian pianist Anton Rubinstein (not to be confused with Artur Rubinstein) at the Salle Pleyel in Paris. But when it became clear that they would have to wait three weeks for a free concert day, Saint-Saëns took the opportunity in the meantime to write a completely new piano concerto. Rubinstein was so delighted with the new work that he offered the composer to play the solo part while he himself conducted. Saint-Saëns may not have been entirely satisfied with his hastily assembled concert, but in the audience was Franz Liszt himself, who had no shortage of praise to pour over his young colleague's inspired work. The concerto has a very original form. The first movement begins with a cadenza, the second movement is not slow (as convention required), but a mercurial and playful scherzo. The finale is a sparkling presto.

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.

Camille Saint-Saëns (1835-1921) Piano Concerto No 2 Andante sostenuto Allegro scherzando Presto Camille Saint-Saëns made his debut as a pianist at the age of ten, offering to play any of Beethoven's 32 piano sonatas - from memory - as an encore. As a composer, he became extremely prolific, composing music in all genres. His music is characterized by a disarming charm, rich melody and elegance. The second has probably remained his most famous of his five piano concertos and is the earliest of his compositions still in the standard repertoire. In the spring of 1868, Saint-Saëns intended to arrange a concert with the celebrated Russian pianist Anton Rubinstein (not to be confused with Artur Rubinstein) at the Salle Pleyel in Paris. But when it became clear that they would have to wait three weeks for a free concert day, Saint-Saëns took the opportunity in the meantime to write a completely new piano concerto. Rubinstein was so delighted with the new work that he offered the composer to play the solo part while he himself conducted. Saint-Saëns may not have been entirely satisfied with his hastily assembled concert, but in the audience was Franz Liszt himself, who had no shortage of praise to pour over his young colleague's inspired work. The concerto has a very original form. The first movement begins with a cadenza, the second movement is not slow (as convention required), but a mercurial and playful scherzo. The finale is a sparkling presto.

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.