Pyotr Ilyich Tchaikovsky (1840-1893) Gothenburg Symphony OrchestraNeeme Jarvi, conductor Symphony no 1 in G minor "Winter Dreams", Op. 13; Romeo &Â?JulietSymphony no 2 in C minor "Little Russian", Op. 17; Overture in FSymphony no 3 in D major "Polish", Op. 29; The Snow Maiden, Op.12Symphony no 4 in F minor, Op. 36; Symphony no 5 in E minor, Op 64Symphony no 6 in B minor "Pathetique", Op. 74; The Tempest;Overture on the Danish National Anthem; Voyevoda Dances;Dmitri Pretender and Vassily Shuisky; Serenade for N.Rubinstein;Capriccio Italien; Francesca da Rimini; etc.

The Fourth is Sibelius's most difficult symphony. For some, it is his masterpiece. When the symphony was premiered on 3 April 1911 in Helsinki, one critic compared it to Barkbröd - tree bark eaten by the Finns in times of famine! It is fittingly a Finn, conductor Santtu-Matias Rouvali, who explores this symphony that lays bare our emotions. With his Göteborg Symphony Orchestra, he continues his cycle of the complete Sibelius symphonies, with the addition of the famous Valse Triste and the symphonic poem inspired by Swedish folklore called The Wood Nymph.

Passionate about the music of his own country, Peter Friis Johansson has commissioned new works as well as worked toward the unearthing of overlooked masterpieces of Swedish music. His latest disc presents the fruits of these efforts: one older, unfinished work with a completion by Johansson himself, the two others commissions made on his initiative. All three concertos were premièred between 2017 and 2020. At the turn of the previous century, Laura Netzel was one of Sweden’s most acclaimed and frequently performed composers internationally. Composed around that time, the Piano Concerto, Netzel’s largest composition, exceeds the expected framework with grand dramatic gestures and waves of emotion. Sven-David Sandström’s Five Pieces departs from the traditional concerto form with its division into ‘pieces’. The solo piano seems to seek to twist dissonances from the hands of a reluctant orchestra to recover beauty and harmony, striving, as the composer put it, ‘for something that can be found high up, per­haps a heavenly ascension’. Stellar Clouds, Andrea Tarrodi’s first piano concerto is another heavenly journey, reminiscent of the soundtracks of science-fiction movies. Here, the soloist might be interpreted as a sort of protector of humanity that seeks to provide a safe haven for personal harmony in a complex cosmic context.

This composer portrait opens with Tommie Haglund's first score for full orchestra - the cello concerto Flamnis aura. Composed in 2001 and rewarded 13 years later with Sweden's most important composition prize, the work is in a single movement with a slow basic pulse, the work is in a single movement with a slow basic pulse, and thus conforms to a recurring pattern within Haglund's production. Its Latin title describes a state immediately prior to a religious revelation, and the music forms an exploration of both the human interior and the cosmos - towards the end of the work a tape with space sounds recorded by NASA is heard: a ''Song of Earth''. Performed by Ernst Simon Glaser and the Gothenburg Symphony, the concerto is followed by another composition from 2001, the string quartet Il regno degli spiriti, and the string trio Sollievo. Both these works are here performed by the highly regarded string trio ZilliacusPerssonRaitinen, joined by Julia Kretz-Larsson on second violin in the quartet. Sollievo... was composed for ZPr in 2013, and its title - ''relief after teh storm'' - refers to the end of a period of painful treatment following a back operation. With a generous playing time of close to 84 minutes, teh album closes with Serenata per Diotima from 2014, interpreted by the strings of Malmo Symphony Orchestra with substantial violin solos from Hakan Rudner. Celebrating the female philosopher of Greek antiquity, the piece was also inspired by the birth of teh composer's first grandchild.

Ever since his very first disc, released by BIS some thirty years ago, Hakan Hardenberger has earned recognition for his performances of the classical repertory, but also as a pioneer of significant and vituosic new music for the trumpet. Collaborations with composers such as Takemitsu, Part, Henze, and H.K. Gruber have resulted in numerous works, of which the two recorded here are among the more recent. Brett Dean's concerto Dramatis personae is named after the term used for the list of characters in a stage work, and casts the soloist in the role of the ''Hero''. Dean's protagonist is a complex one, however, with traits inspired by comic book super heros as well as the classical flawed heros of literature and legend: ''Soliloquy'', the second movement, is a reference to Hamlet, while Charlie Chaplin's character in Modern Times has inspired the work's finale, ''The Accidental Revolutionary''. If there is a hero in the concerto by Luca Francesconi, it is Miles Davis. In his comment sto the work, Francesconi talks of Davis as ''a musician who transcends all labels'' with ''a delicate, cracked sound'' and a voice which speaks directly to the listener. Hard Pace, the title of Francesconi's work, is an allusion to a difficult journey, but it is also a conflation of the names of the performers for whom it was written: Hardenberger, Antonio Pappano and the Santa Cecilia Orchestra. On the present recording it is the Gothenburg Symphony and conductor John Storgards who provide Hakan Hardenberger with expert support in these demanding and rewarding scores.

This new release is the final installment in Chandos’ Atterberg series with the Gothenburg Symphony Orchestra and Neeme Jarvi. This volume features two rarely performed centuries from the later years of Atterberg’s career. The seventh century is featured first in its final form which consists of three movements. While it was composed in 1942 with four movements, it didn’t reach its final shape until 1969 when Atterberg removed the last movement. The ninth symphony was regarded by the composer as “evil.” He set parts of the Icelandic poem “Volupsa” which tells of how evil came into the world and how it will eventually cause total destruction. The work is a single movement large-scale rondo form.