Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Xenakis

Mit vier raumgreifenden modernen Werken feierten atemlos machende Berliner Philharmoniker das 50-jährige Bestehen der Ernst von Siemens Stiftung.

Studien der (Un-)Menschlichkeit: Die Berliner Philharmoniker unter Kirill Petrenko widmen sich der Musik der Nachkriegsmoderne und stellen dabei die Hoffnung in den Vordergrund.

Ein großartiges fünfstündiges Festivalexperiment mit dem Klangforum Wien, das noch lange nachhallt.

Sylvain Cambreling und das Klangforum Wien erzeugen mit Musik von Haas und Xenakis fantasievolle Bilder.

Darmstadt feiert bis tief in die Nacht. Man hätte sich zweiteilen mögen an diesem Abend, der zu gleicher Zeit rasante Musik mit dem Ensemble Dal Niente und kontemplativere Klänge im Sitzkissen-Ambiente bot und hernach auch noch zum Weitertanzen einlud.

It was a priceless chance to see some of the best and rarest of Paul Taylor.

Comprised of some 60 musicians from 16 countries, the Ostrava New Orchestra paint pictures of prisons and caves, gardens and machines, in works by students and 20th-century masters.

The Greek composer's centenary is marked by the London Sinfonietta, Colin Currie Group and the JACK Quartet. 

How various the orchestral sounds of this era -  here were four in one programme, written between 1913 and 2000, by an Englishman, a Frenchman, a  Greek and a Russian.

A quartet of contemporary works in Basel, with Rebecca Saunders' traces proving shocking, but cohesive.

Thrilling and spellbinding experimental music for harpsichord and electronics, performed by Mahan Esfahani. 

La première édition du festival « Pianos, pianos » s'achevait lundi au Théâtre des Bouffes du Nord. Retour sur cet ultime concert placé sous le signe de la virtuosité.

Stretching minds and musicians in Manchester Collective’s night of strings and electronics.

The violinist Patricia Kopatchinskaja's endless curiosity was on display at a recital of duos with cellist Jay Campbell at the Park Avenue Armory. 

Utilizing bucolic surroundings, Tatiana Koleva and the Youth Percussion Pool produce an immersive concert of rhythmic experiments. 

Based on the ancient tragedies by Aeschylus, Oresteia makes a great case for composer Iannis Xenakis’s concept of “total theatre”.

Despite the fact that few (if any) in the audience could understand ancient Greek, the emotions of the characters, and particularly the desperation of Mr Falk's Kassandra, came through with astonishing intensity.

It takes artistic courage to devote almost a whole concert to music associated with cinema, but then Richard Tognetti, the artistic director and concert master of the Australian Chamber Orchestra, never lacked creative thinking or musical audacity. 

Ruth Mackenzie, Holland Festival’s vivacious and invigorating new director, closed her first edition with a twelve hour Prom, reinventing it as a mini-festival at Amsterdam’s Concertgebouw.

Celebrating 40 years of championing the contemporary string quartet, the Arditti Quartet concluded a day-long marathon with six quartets from composers around the globe. Polished beyond belief, they gave mesmerising performances.

The Arditti Quartet has adventurously championed contemporary repertoire throughout an illustrious career. Recent quartets from Haas and Abrahamsen are joined by Xenakis' Tetras at the New Music Dublin Festival.

The centrepiece of Nonclassical’s “Pioneers of Percussion” festival was a rousing marathon of a concert at Scala, a large (mostly) rock venue near King’s Cross. It was a rich, varied, high-energy, happily chaotic affair that lasted into the wee hours of the morning.

The second instalment of Nonclassical’s “Pioneers of Percussion” Festival last Saturday at Oval Space in east London paired two classics of the percussion repertoire with two new works, and featured the young and ambitious Multi-Story Orchestra. It is a great testament to the quality of these new works that they not only held their own, but were indeed the highlights of the evening.

Hot on the heels of the Urban Classic Prom came this, the BBC 6 Music Prom. Yet another first in this year’s Proms saw BBC Radios 3 and 6 Music bring together the likes of Cerys Matthews, Laura Marling, Xenakis, The Stranglers, Varèse and the London Sinfonietta, and produce a programme comprising styles that might loosely be described as “alternative”, from the fringes of pop to punk rock via mode

Ensemble 7Bridges, directed by Richard Rijnvos, Head of Composition at Durham University, and conducted by James Weeks, brings together some of the North East’s specialist professional performers of contemporary music, supported by Durham University, with the aim of contributing to the development of new music in the North East.

Give the Austrian body politic a victim complex to nurse, and it will gladly let off xenophobic steam. By now this well-oiled masquerade is possessed with Pavlovian inevitability. So nothing unusual then, when populist indignation about perceived Austrian vulnerability to the ongoing Greek crisis rapidly descended into ugly national stereotyping.Measured relatively, this has been a mild outbreak.

Here’s a secret: on any given night in New York City and Brooklyn, groups of regular-looking people perform exceedingly difficult music in front of other regular-looking people, sometimes for one hour, sometimes for twelve.

The Jam House is a jazz and blues club occupying the BBC’s former Queen Street Studios in Edinburgh. Now owned by Jools Holland and designer Neil Tabbitt, its spacious Georgian interior is occasionally given over to theatrical and musical events.

To judge by the continued chatter, no-one noticed 100 metronomes on stage being set in motion, signalling the beginning of György Ligeti’s Poème symphonique (1962). Even when the lights were dimmed it only dawned on people slowly that the concert had actually already begun.

Contemporary classical music is happening in all manner of unexpected venues in London at the moment, from Peckham car parks to pubs. But it isn't just getting edgier – it's also getting more respectable, if last night's suave affair in the Royal Albert Hall's Elgar Room is anything to go by.

There's classical music, and there's pop. You can throw as many violins into the bridge section as you like, and you can amplify the orchestra all you want as well. It's unfortunate, but a certain divide looks set to stay.

Maverick improviser Matthew Bourne and London Sinfonietta’s reliable principal players created an extraordinary concert in this second of the Sinfonietta’s Written/UnWritten series.