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Rouvali and the Philharmonia dazzle with sunlit Tchaikovsky, intense Shostakovich and Say’s imaginative textures, while Gabetta’s physical, lyrical cello brings immediacy to an evening of virtuosity, warmth and playful energy.

Fazıl Say’s concerto for piano four-hands gets its US premiere with siblings Lucas and Arthur Jussen at the keyboard. 

British cellist Laura van der Heijden proved herself to be the sister of soul on the cello for the second night in succession.

The performance of the young French mezzo-soprano was admired more for its correctness than for its seductiveness.

The Orchestre Pasdeloup contributes tales to the Philharmonie's Mille et une Nuits festival of music inspired by the Orient. 

Fazıl Say dazzles as both composer and soloist with the Hong Kong Sinfonietta. 

Fazıl Say returns to the Heidelberger Frühling with a velvety Mozart and mesmerising original compositions.

Fazıl Say plays at the Théâtre des Champs Elysées.

For the opening concert of the 2015-2016 season, the Musikkollegium Winterthur drew together an unusual mix of repertoire: Felix Mendelssohn and Fazil Say.

Disappointing Mozart compensated by a lively new work by Fazil Say in Heidelberg. 

I had three things to be excited about on Friday evening: seeing Fazıl Say in a solo recital – which I hadn’t done in 4 years, going to Zorlu Center – Istanbul’s newest and, according to reports, most modern and acoustically pleasing concert hall. The third is private.As it turns out, all but one of them turned out to be worth the anticipation.

Martin Grubinger may be regarded as one of the world’s most exciting percussion virtuosi, but for my money his greatest strengths are pianistic: the rich density of timbre he gets from his instruments (which are mainly the marimba and xylophone), the gift for turning an eloquent phrase, and the seamless legato that comes from sensitive touch and a finely-tuned ear for decay.