Finde Artikel | Chris Garlick

Sibelius schrieb an einen Freund: „Nachdem er meine Dritte Symphonie gehört hatte, schüttelte Rimsky-Korsakow den Kopf und sagte: 'Warum machen Sie es nicht wie gewöhnlich; Sie werden sehen, dass das Publikum dem nicht folgen oder es verstehen kann.'“ Derartige Kommentare sind beispielhaft für die kritische Reaktion auf diese Symphonie wie auf die Vierte.

Mit dem Aufkommen des Tonfilms in den 1930ern kam auch die Notwendigkeit von Orchestermusik, die die zusehends ambitionierten Bilder begleiten würde. Aber wer sollte sie schreiben?

Timothy Ridout plays Britten and Larcher in a Wigmore Hall programme with the Britten Sinfonia. 

All praise should be heaped on Rosie Middleton for her brave evocation and the vocal prowess of her performance in Peter Maxwell Davies’ Eight Songs for a Mad King. 

As part of the Southbank Centre's Multitudes festival, Unnatural Harmony: Sounds of Lee Alexander McQueen offers a multimedia tribute to the life and creative vision of the iconic British fashion designer. 

The Manchester Collective are one of the most successful groups of musicians who aim to bridge the gap between musicians and their audiences. 

Jurowski took a full-on approach in the first movement, grinding through the discords without shame and only pulling back in those rare moments in the score where everyone is catching their breath.

Tchaikovsky and Vaughan Williams make rare bedfellows, but Pappano's grip on these disparate scores impresses, with the London Symphony Chorus and Orchestra on wondrous form. 

Elder's reading of A Sea Symphony has the maturity and surefooted-ness of a conductor who has fully absorbed the work and long since recognised it as a masterpiece.

Present what could be considered challenging work unapologetically, the Manchester Collective makes friends on London's Southbank. 

The Royal Philharmonic Orchestra’s BBC Proms matinee proves an ideal opportunity to demonstrate their strengths in a programme of Respighi, Milhaud and Vaughan Williams. 

Ryan Bancroft’s LSO programme, inherited from Simon Rattle, mixes attractive English folksong-inspired pieces with more challenging, late 20th-century works.

This Strauss-Puccini Prom concert paired the Symphonic Fantasy from Die Frau ohne Schatten and Puccini's one-act opera, Suor Angelica. 

The London Philharmonic and Edward Gardner steer us through four ocean-related pieces, by Sibelius, Tippett, Ravel and Debussy.

Sakari Oramo continues to champion rare English repertoire, conducting Doreen Carwithen and Malcolm Arnold at the Barbican. 

Alina Ibragimova and friends join forces at the Queen Elizabeth Hall in two powerful chamber works composed at the height of the Second World War. 

Franck's Symphony in D minor proves the highlight of a mixed Philharmonia matinee at the Southbank Centre. 

Another British music extravaganza from Sir Antonio Pappano and LSO proves to be a hit for an enthusiastic full house at the Barbican. 

A deeply satisfying performance of Vaughan Williams' Fifth Symphony crowns an excellent evening of English repertoire at the Barbican. 

Stepping in for an indisposed Jonathon Heyward, Antonio Méndez conducts the BBCSO at their most colourful and joyously virtuosic. 

Sakari Oramo and the BBCSO are in their element in rich repertoire including Szymanowski, Pejačević, Wagner and Strauss. 

The West-Eastern Divan Orchestra are on fire with the joy of music-making to the delight of a very sympathetic and enthusiastic audience at London's Southbank Centre. 

Inon Barnatan hits the ground running with Ravel in his recital, concluding with his own transcription of Rachmaninov's Symphonic Dances. 

The BBC Symphony Orchestra shines in Strauss, in particular the characterful woodwind solos and the fulsomely resplendent brass. 

Colourful Americana demonstrates the many strengths of the Sinfonia of London at the BBC Proms. 

Steven Osborne was lucid and detailed in his interpretation, lighting the technical fireworks as appropriate and seductive in the long and languid sixth movement, Jardin du sommeil d’amour.

A very impressive outing for the young Canadian pianist, who brings some of the old school magic of an Arthur Rubinstein to his Chopin. 

Seong-Jin Cho joins the London Philharmonic Orchestra for polished Beethoven before Edward Gardner continues his advocacy of Michael Tippett. 

Esther Yoo gives the world premiere of the Violin Concerto composed for her by Raymond Yiu. 

Malofeev combines a caressing lyricism, never exaggerated, with glittering percussive accuracy in Prokofiev's Third Piano Concerto. 

Sakari Oramo and the BBCSO were at the top of their game, bringing a bracing breath of Scandi fresh air and clear light, on a dark December eveneing. 

French pianist Kim Bernard, the first laureate of the Fondation Gautier Capuçon, performs with the Foundation's founder at London's Wigmore Hall. 

Duncan Ward leads a varied programme from Bartók and Janáček to Chausson, closing with a benchmark performance of La Mer. 

Early Beethoven doesn't convince, but Karina Canellakis’s rendering of Shostakovich 8 pulls no punches: raw, frightening, even chastening

Rouvali's Sibelius completely misses the mark, but his Shostakovich is thrilling and vibrant.

Stravinsky's Petrushka and Gershwin's Piano Concerto take centre-stage in the BSO's second Prom of the weekend at the start of their European tour. 

Wang's playing of Rachmaninov’s Rhapsody on a Theme of Paganini is a highlight of Prom 27; Mäkelä misses the bull’s eye on Belshazzar's Feast.

The Academy of St Martin in the Fields are back on their home turf for string orchestra works by Tippett and Walton. 

Nobuyuki Tsujii joins the Royal Philharmonic Orchestra in Tchaikovsky's ever-popular First Piano Concerto before Vasily Petrenko conducts a thrilling Shostakovich 8. 

Outstanding performances of A Child of Our Time and the Concerto for Double String Orchestra at the Barbican.

A first-rate performance of Carl Nielsen’s Fourth Symphony proves to be the musical highlight of this Philharmonia concert. 

Conductor Emeritus Vladimir Jurowski returns to the London Philharmonic Orchestra, bringing with him some rare jewels such as Paul Hindemith's Violin Concerto. 

Two larger than life piano quintets share star billing on an intense Wigmore Hall programme. 

The polar opposite combination of Beethoven's Violin Concerto and Prokofiev's Third Symphony may seem odd on paper, but makes for an inspiring and entertaining evening at the Barbican.

Iain Bell's Beowulf is given its world premiere, with Charles Styles making an eleventh-hour jump-in, while a neglected Vaughan Williams masterpiece is given a superb reading by Martyn Brabbins.

The Norwegian violinist performs a trio of contemporary works in an evening that concludes with Einojuhani Rautavaara's Angel of Light. 

The Korean pianist gives his first solo recital at the Barbican, focussed around Handel, Brahms and variation form. 

Ralph Vaughan Williams' nine symphonies represent one of the peaks of creative achievement in British culture. Enthusiast Chris Garlick takes us on a musical journey through the cycle.

The contrasts in Brahms' two early piano quartets are highlighted by side by members of the Staatskapelle Streichquartett and Elisabeth Leonskaja.

Conducting a programme of mostly 20th-century classics that could have come from his early glory days in Birmingham, Rattle was in his element.