Soloists from the orchestra

András Schiff is one of the world’s most distinguished concert pianists. He brings the music into the sharpest possible focus – without ever losing its magic. He often appears as both conductor and soloist, as in this concert, which features Mozart’s Piano Concerto No. 23 – one of his most frequently performed and beloved works.

It is framed by Bach’s Brandenburg Concerto No. 5, one of six concertos composed for Margrave Christian Ludwig of Brandenburg-Schwedt – and a true masterpiece of the Baroque era. 

This is a concerto grosso, characterised by a small group of soloists set against the full ensemble. In this case, flute, violin and harpsichord/piano take centre stage – and in the beautiful, atmospheric second movement, they perform alone, without the orchestra. These roles are taken by Royal Stockholm Philharmonic members: flautist Andreas Alin and concertmaster Andrej Power.

András Schiff is one of the world’s most distinguished concert pianists. He brings the music into the sharpest possible focus – without ever losing its magic. He often appears as both conductor and soloist, as in this concert, which features Mozart’s Piano Concerto No. 23 – one of his most frequently performed and beloved works.

It is framed by Bach’s Brandenburg Concerto No. 5, one of six concertos composed for Margrave Christian Ludwig of Brandenburg-Schwedt – and a true masterpiece of the Baroque era. It is a concerto grosso, characterised by a small group of soloists set against the full ensemble. In this case, flute, violin and harpsichord/piano take centre stage – and in the beautiful, atmospheric second movement, they perform alone, without the orchestra. These roles are taken by Royal Stockholm Philharmonic members: flautist Andreas Alin and concertmaster Andrej Power.

The concert concludes with Robert Schumann’s Symphony No. 1, the “Spring” Symphony – music written during a joyful period in Schumann’s life. He had just married Clara, his great passion and lifelong companion. Fittingly, the symphony opens with a resounding trumpet fanfare, and throughout, it is radiant, heartfelt and full of vitality.

At this concert, the Royal Stockholm Philharmonic Orchestra’s own Jakob Nilsson steps into the spotlight as soloist in the Trombone Concerto by Danish composer Launy Grøndahl. “It’s a standard work that every trombonist knows. It’s lyrical and powerful – comparable to Elgar’s Cello Concerto or Grieg’s Piano Concerto. It showcases the instrument’s full range,” says Jakob Nilsson.

The orchestra is conducted by Christian Lindberg, himself one of the world’s foremost trombonists. As a conductor, he has also delved deeply into the music of Allan Pettersson. Here, together with the Royal Stockholm Philharmonic Orchestra, he takes on the grand and evocative Symphony No. 8 – a close sibling to the widely loved Symphony No. 7.

The concert opens with Tchaikovsky’s Romeo and Juliet Fantasy Overture – a musical interpretation of Shakespeare’s tragic love story, full of passion and longing. Many will recognise the famous love theme, heard several times throughout the piece and often used in film.

At this concert, the Royal Stockholm Philharmonic Orchestra’s own Jakob Nilsson steps into the spotlight as soloist in the Trombone Concerto by Danish composer Launy Grøndahl. “It’s a standard work that every trombonist knows. It’s lyrical and powerful – comparable to Elgar’s Cello Concerto or Grieg’s Piano Concerto. It showcases the instrument’s full range,” says Jakob Nilsson.

The orchestra is conducted by Christian Lindberg, himself one of the world’s foremost trombonists. As a conductor, he has also delved deeply into the music of Allan Pettersson. Here, together with the Royal Stockholm Philharmonic Orchestra, he takes on the grand and evocative Symphony No. 8 – a close sibling to the widely loved Symphony No. 7.

The concert opens with Tchaikovsky’s Romeo and Juliet Fantasy Overture – a musical interpretation of Shakespeare’s tragic love story, full of passion and longing. Many will recognise the famous love theme, heard several times throughout the piece and often used in film.