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François-Xavier Roth and the Gürzenich Orchestra tear up the traditional concert programme to celebrate the 250th anniversary of Beethoven's birth. 

The new Kapellmeister of the Leipzig Gewandhausorchester leads a passionate rendering of Mahler 5, while Håkan Hardenberger gives a masterclass in trumpet colour.

Contrasts are fine but they don’t always work: in a programme with a strongly Germanic flavour John Storgårds and the BBC Philharmonic stretch the boundaries.

When Robert DeMaine fell ill, LA Phil got creative by rotating the soloist duties in Zimmermann’s Cello Concerto. 

Bernd Alois Zimmermann’s music was the starting point for this year’s Ultraschall Festival, marking what would have been his 100th birthday.

Leila Josefowicz ticked all the boxes in this stunning recital: highly imaginative curation; musicality in every note; and a winning ability to communicate to the Wigmore Hall audience.

Thomas Hengelbrock and the NDR Elbphilharmonie Orchestra open Hamburg's Elbphilharmonie concert-hall with a traversal of music through the ages, from a Renaissance motet to Wolfgang Rihm's latest work.

Luscious orchestral and choral sounds bring Ravel’s Daphnis et Chloé to shimmering life.

Zimmermann and Bruckner given a lustrous outing by Andris Nelsons and the Philharmonia at the Royal Festival Hall. 

Spirits ran high and the music captivated record crowds at this year's Ostrava Days New and experimental Music Festival.

Tonight's setting of Die Soldaten in a WWI stable is so sordid you can almost feel the rats gnawing. Alvis Hermanis was right to warn in a newspaper interview that we would leave the theatre feeling shocked.

The Bayerische Staatsoper presents an ugly, brutal staging of Zimmermann's Die Soldaten – which is exactly as it should be. Barbara Hannigan's Marie steals the show, but the entire cast manage seemingly impossible musical and dramatic feats.

A German Requiem and two German composers sounds like your standard concert menu, but this concert was an interesting juxtaposition of two very different halves, the first filled by German composer Bernd Alois Zimmermann’s little-heard Ecclesiastical Action, and the second by the much-loved, much-performed German Requiem by Brahms.

The German thinker Theodor Adorno once wrote that a musical setting of Georg Büchner’s play Woyzeck, considered in its own literary right a masterpiece, may well have proved redundant.

The numerous links and connections between each of tonight’s pieces make this a very cleverly crafted programme, on paper at least.

It isn’t often that the Musikverein programmes Webern, the most underperformed of Vienna’s major musical sons, alongside a Liebestod from Bayreuth’s reigning Isolde, but then this was no ordinary Musikverein concert.

On Wednesday night the Turkish-born star pianist, all-rounder musician Fazil Say returned to the Konzerthaus in Berlin shortly after completing his successful year of artist-in-residence there. Say, who also composes and plays Jazz, is known for his unconventional approach.

In its 31-year history, ecat (Edinburgh Contemporary Arts Trust) has commissioned over 80 new works and introduced countless emerging performers and composers to the new music public.