Göteborgs Konserthus Swedish Chamber Orchestra

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

Ludwig van Beethoven's First Symphony, written in 1799-1800, is not a tentative attempt by some inexperienced and immature composer. No, Beethoven had long been known as one of the foremost pianists and improvisers of his time, and his compositions had already received considerable attention. He had managed to write two piano concertos, eleven piano sonatas and six string quartets - to name a few. But on the other hand, he was not as bold as he might have been in some of his chamber music works. The critics nevertheless thought that the symphony was generally good and that it offered many novelties and "a whole world of ideas". "But too many wind instruments were used, so it sounded more like a brass band than an orchestra". 200 years later, we find the symphony both clear and concise, conventional and strongly related to the symphonies of Mozart and Haydn. But we also notice that there is something more here - a strong personal touch. The driving spirit is not borrowed, it is Beethoven's own signature.

The Swedish Chamber Orchestra from Örebro has regularly toured the world in countries such as Japan, the USA, the UK, Germany, Austria and France. They have appeared several times at the BBC Proms and Lincoln Center in New York. In 2019, world-renowned clarinetist Martin Fröst became the orchestra's chief conductor, and together they have renewed the concert format. For 22 years, the orchestra was led by chief conductor Thomas Dausgaard, something that the New York Times, among others, noted: "The musical language is surprising and new. It buzzes with life and power." The collaboration with Dausgaard included a broad repertoire with recordings of composers such as Beethoven, Schumann, Schubert, Brahms, Bruckner, Tchaikovsky, Dvorak and Wagner. Among the latest album releases is the Swedish Chamber Orchestra's Mozart album with Martin Fröst recorded for Sony Classical (2023).

Norwegian violinist Eldbjørg Hemsing is acclaimed for her "breathtaking virtuosity and tenderness" (Expressen, 2024). She has released four award-winning albums and performed world premieres of several compositions. Highlights of the 2025-2026 season include visits at the Elbphilharmonie Hamburg and Concertgebouw Amsterdam and a recording of Bruch’s Violin Concerto with the Oslo Philharmonic. In the 2024-2025 season she appeared with the Taipei Symphony Orchestra and the Hallé Orchestra with Kahchun Wong, with the Orchestra of St. Luke's at David Geffen Hall in New York, with the BBC National Orchestra of Wales and the Bodensee Philharmonie. She returned to the Oslo Philharmonic and the Stavanger Symphony Orchestra, and guested at the Bechstein Hall in London, the Dvorák Prague Festival and the Schwetzinger Festspiele. She has been acclaimed for her performance of Anders Hillborg's Violin Concerto No. 2 with the Swedish Radio Symphony Orchestra and Esa-Pekka Salonen, which she also released on CD in 2024. Other highlights in recent years include Rolf Wallin's Virvel with the Stavanger Symphony Orchestra and collaborations with the Philharmonia and Santtu-Matias Rouvali. Eldbjørg Hemsing regularly guest performs with orchestras such as the Bergen Philharmonic, the Belgian National Orchestra, the MDR Sinfonieorchester Leipzig and the Shanghai and Hong Kong Philharmonic Orchestras. She has performed at several major events, including the Nobel Peace Prize ceremony, the Shanghai Expo and the UN Security Council. She has developed a close collaboration with composer Tan Dun, and has premiered, toured and recorded several of his award-winning works. Eldbjørg Hemsing was born in Valdres, Norway, and studied at the Barratt Due Music Institute. She plays a 1707 Antonio Stradivarius 'Rivaz, Baron Gutmann' violin, on loan from the Dextra Musica Foundation.