Gothenburg Symphony Orchestra

Composers

Biography

Active: 1905 - ; Göteborg, Sweden
Göteborg (Gothenburg), Sweden's second largest city, with a population of around half a million, is the home to the oldest and most prestigious professional orchestra in the country. Located on Sweden's western (North Sea) coast, Göteborg became an important fishing, shipping, and manufacturing center. A violinist named Le Hay, with a few professional musicians as his staff, founded a music school for interested amateurs and organized teachers Read more and their students into ad hoc ensembles that gave concerts between 1781 and 1791. The first subscription concerts were begun by Joseph Czapek, who settled in the city in 1847.

In 1905 an orchestral association, the Göteborgs Orkesterförening, was organized, with funding from local industrial concerns. Part of the motivation was to provide orchestral concerts as cultural stimulation for the workers and the increasing number of educated technical staff, who needed additional incentives to move to a non-metropolitan location. The first concerts were given the same year.

In 1906 the society engaged composer Wilhelm Stenhammar to become the orchestra's principal conductor. He was a firm leader, with strong gifts for orchestra building and a widely ranging interest in new repertory. Under his leadership, the orchestra began to grow into a first rate small symphonic ensemble. This process was only speeded when he made the choice of Tor Aulin, another excellent orchestral trainer, as his assistant. Stenhammar was an innovator as a symphony director. Reasoning that children benefited by exposure to orchestral music (and that many of them then grew up to be fans of the art form), he was among the first conductors anywhere to establish regular school outreach concerts. This has resulted in symphony concerts becoming one of the favorite forms of musical entertainment in Göteborg and the surrounding area. Stenhammar and the Göteborg Symphony were the first to introduce the music of Danish composer Carl Nielsen to Sweden.

Stenhammar had to overcome the obstacle of Göteborg's lack of a suitable concert hall. This was remedied in 1935, with the opening of a municipally financed hall, the Göteborgs Konserthus. This hall of modern design (with some art deco elements) has legendary acoustics and vies with such venues as Boston's Orchestra Hall, Carnegie Hall, and the Amsterdam Concertgebouw in various commentators' opinions as the best-sounding concert hall in the world. The richness and clarity of the sound is one of the factors that have set the high standards that the Göteborg Symphony has met.

In addition, the orchestra management over the years has shown notable skill in choosing Stenhammar's successors as music director, which have included Tor Mann, Ture Rängstrom, Isay Dobrowen, Sixten Eckberg, Dean Dixon, Sten Frykberg, Sergiu Comissiona, Charles Dutoit, Sixten Ehrling, and, since 1982, the Estonian maestro Neeme Järvi.

Soon after his accession to the podium of the orchestra, Järvi began a long association with Sweden's Bis record company which has mode both Järvi and the orchestra world-famous. Järvi, exhibiting an astonishingly large repertory, began with a complete cycle of Sibelius recordings. With Järvi or others, on both the Bis and Deutsche Grammophon labels, the orchestra has produced dozens of recordings, including complete cycles of music with orchestra by Tubin, Nielsen, Grieg, Borodin, and several others, and the complete Rachmaninov operas.

Järvi had taken the orchestra on several successful tours. When they played in Vienna for the first time in 1994, the Wiener Zeitung wrote, "Many in the Musikverein might have doubted, for the first time, that the Vienna Philharmonic really is the best orchestra in the world."

In May 1997, the Swedish Parliament and government appointed the Göteborg Symphony Orchestra as "Sweden's National Orchestra." Read less

There are 181 Gothenburg Symphony Orchestra recordings available.

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Composers

Biography

Active: 1905 - ; Göteborg, Sweden
Göteborg (Gothenburg), Sweden's second largest city, with a population of around half a million, is the home to the oldest and most prestigious professional orchestra in the country. Located on Sweden's western (North Sea) coast, Göteborg became an important fishing, shipping, and manufacturing center. A violinist named Le Hay, with a few professional musicians as his staff, founded a music school for interested amateurs and organized teachers Read more
WORKS ALBUMS
TITLE/COMPOSER
LABEL
I. Moderato
II. Adagio
III. Vivace
I. Prelude
II. Pantomim
III. Vision
I. Con forza - Tempo commodo -
II. Andante - Tranquillo -
III. Scherzo -
IV. Finale: Rondo
1. Ludus: Con moto
2. Silentium: Senza moto
1. Attacca
2. Piů mosso Attacca
3. Alla breve
The Beatitudes
Nunc Dimittis (2001)
1.
2. O King
3. In ruhig fließender Bewegung
4.
5. V
I. Adagio
II. Moderato
III. Allegro
IV. Allegro
1. Feierlich, Misterioso
2. Scherzo. Bewegt, lebhaft - Trio. Schnell
3. Adagio. Langsam, feierlich
1. Allegretto - Poco allegro - Tranquillo, ma poco a poco ravvivando il tempo al allegro
2. Tempo andante, ma rubato - Andante sostenuto
3. Vivacissimo - Lento e suave - Largamente
4. Finale (Allegro moderato)
1a. Tempo giusto
1b. Adagio non troppo
2. Allegro attacca
Presto. Andante un poco tranquillo. Allegro
1. Allegro
2. Poco allegretto
3. Poco adagio quasi andante
4. Allegro
No. 1. Nun will die Sonn' so hell aufgeh'n
No. 2. Nun seh' ich wohl
No. 3. Wenn dein Mutterlein
No. 4. Oft denk' ich, sie sind nur ausgegangen
No. 5. In diesem Wetter
No. 1. Wenn mein Schatz Hochzeit macht
No. 2. Ging heut' morgen ubers Feld
No. 3. Ich hab' ein gluhend Messer
No. 4. Die zwei blauen Augen
No. 3. Blicke mir nicht in die Lieder
No. 4. Ich atmet' einen linden Duft
No. 7. Liebst du um Schonheit
No. 6. Um Mitternacht
No. 5. Ich bin der Welt abhanden gekommen
I. Entrata
II. Rituale - Intermezzo I
III. L'ombra muta - Intermezzo II (Cadenza)
IV. Urbana
I. Cerimonia: Misterioso
II. Risonanza: Furioso
III. Preghiera: Intenso
I. Introduzione
II. Agitato capriccioso
I. Allegro tranquillo (Dreams of a Winter Journey)
II. Adagio cantabile, ma non tanto (Land of Desolation, Land of Mists)
III. Scherzo: Allegro scherzando, giocoso
IV. Finale: Andante lugubre - Allegro maestoso
I. Andante sostenuto - Allegro vivo
II. Andantino marziale, quasi moderato
III. Scherzo: Allegro molto vivace
IV. Finale: Moderato assai - Allegro vivo
I. Moderato assai - Allegro brillante
II. Allegro moderato e semplice
III. Andante elegiaco
IV. Scherzo
V. Allegro con fuoco
Introduction
Mazurka
I. Andante sostenuto - Moderato con anima
II. Andantino in modo di canzone
III. Scherzo: Pizzicato ostinato - Allegro
IV. Finale: Allegro con fuoco
I. Pezzo in forma di Sonatina
II. Walzer
III. Elegie
IV. Finale
I. Andante - Allegro con anima
II. Andante cantabile, con alcuna licenza
III. Valse: Allegro moderato
IV. Finale: Andante maestoso - Allegro vivace
I. Adagio - Allegro non troppo
II. Allegro con grazia
III. Allegro molto vivace
IV. Adagio lamentoso
I. Allegro moderato - Doppio piu lento - Larghetto - Doppio movimento (Tempo I) - Larghetto - Tempo I
II. Lento
III. Vivace - Allegretto grazioso - Tempo I
IV. Allegro con fuoco
I. Adagio Sostenuto -
II. Allegro - Adagio sostenuto -
III. Andante -
IV. Adagio Sostenuto -
V. Allegro - Adagio Sostenuto
I. Poco adagio
II. Alla marcia: Allegro
III. Recitative: Allegro
IV. Inno: Allego moderato
I. Moderato - Allegro
II. Andante sostenuto
III. Allegro con fuoco, molto marcato
IV. Andante semplice
I. Allegro - Piu allegro
II. Largo -
III. Rondo alla polacca - Allegro - Tempo I
I. Allegro
II. Andante
III. Vivace non troppo - Poco meno allegro - Tempo I
I. Allegro
II. Allegretto
III. Lento - Allegro
IV. Lento
I. Moderato assai - Allegro brillante
II. Allegro moderato e semplice
III. Andante elegiaco
IV. Scherzo
V. Allegro con fuoco
Introduction
Mazurka
I. Allegro
II. Andante pastorale
III. Rondo: Allegretto
I. Allegro risoluto
II. Andante moderato
III. Alla polacca
I. Allegro
II. Adagio
III. Rondo: Allegretto
Adagio - Andantino leggiero -
Allegro con fuoco - Cadenza -
Andantino leggiero - Adagio
I. Allegro
II. Largo -
III. Allegro comodo
I. Andante sostenuto - Moderato con anima
II. Andantino in modo di canzone
III. Scherzo: Pizzicato ostinato - Allegro
IV. Finale: Allegro con fuoco
I. Pezzo in forma di Sonatina
II. Walzer
III. Elegie
IV. Finale
I. All' Overtura
II. Scena
III. Festivo
I. La Chasse
II. Love Song
III. At the Draw-Bridge
1. Andante, ma non troppo - Allegro energico
2. Andante (ma non troppo lento)
3. Scherzo (Allegro)
4. Finale (Quasi una fantasia)
Grieg: Piano Concerto in A minor, Op.16 - 1. Allegro molto moderato
Grieg: Piano Concerto In A Minor, Op.16 - 2. Adagio - attacca
Grieg: Piano Concerto in A minor, Op.16 - 3. Allegro moderato molto e marcato - Quasi presto - Andante maestoso
1. Tempo molto tranquillo - Allegro
2. Andante con moto
3. Allegro amabile
4. Allegro non tanto, ma con fuoco - Tranquillo
1. Allegro energico
1. Allegro energico
2. Andante
2. Andante
3. Scherzo: Allegro, ma non troppo presto
3. Scherzo: Allegro, ma non troppo presto
4. Finale: Sostenuto - Allegro vivace
4. Finale: Sostenuto - Allegro vivace
Serenade No. 1 in D major, Op. 69, No. 1  
Serenade No. 2 in G minor, Op. 69, No. 2 
Humoresque No. 1 in D minor, Op. 87, No. 1
Humoresque No. 2 in D major, Op. 87, No. 2
Humoresque No. 3 in G minor, Op. 89a
Humoresque No. 4 in G minor, Op. 89b
Humoresque No. 5 in E flat major, Op. 89c
Humoresque No. 6 in G minor, Op. 89d
I. All'Overtura  
II. Scena
III. Festivo
I. Nocturne
II. Elegie
III. Musette
IV. Serenade
V. Ballade 
No. 1: Prelude to Act I Scene 1, "At the Castle-gate"  
No. 2: Prelude to Act I Scene 2, "Melisande" 
No. 2a: Melodrama in Act I Scene 4, "At the seashore"
No. 3: Prelude to Act II Scene 1, "A Spring in the Park"
No. 4: Song in Act III Scene 2, De trenne blinda systrar (The 3 Blind Sisters)
No. 5: Melodrama in Act III Scene 4, "Pastorale"
No. 6: Prelude to Act III Scene 1, "Melisande at the Spinning Wheel"
No. 7: Prelude to Act IV Scene 1, "Entr'acte" 
No. 8: Prelude to Act V Scene 2, "The Death of Melisande" 
VIII. Entr'acte. IX. Ariel's Song 
VIII. Entr'acte. IX. Ariel's Song 


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