Composed in 1902–03 and withdrawn by its self-critical creator after the first outing, Stenhammar’s F-major Symphony returns here with the conviction of music that deserves to be heard: spacious, eloquent, and architecturally sure. Though some questioned the work’s status, passionate advocates—from Vaclav Talich to Sergiu Comissiona and Neeme Järvi—have shown how vividly it speaks when shaped with belief and clarity. Within Swedish symphonic literature it shines with particular splendor, inviting listeners to know the piece for itself rather than by reputation. The music carries the imprint of Wagner, Brahms, and Bruckner, yet already points toward the simplicity and refined design of Stenhammar’s later orchestral voice: a noble horn-sextet preface that seeds the first movement, an andante of chorale-like oboe lines, and an intermezzo whose dreamy clarinet trio is among the symphony’s quiet treasures; the broad finale ultimately lets the opening’s calm return in a glowing coda. Under luminous, transparent playing in the Gothenburg hall—an acoustic prized by great conductors—the symphony’s warmth, balance, and Nordic light come into persuasive focus.