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Julien Chauvin leads the Belgrade Philharmonic in spirited performances of varied music by CPE Bach and Haydn, with local star flautist Ana Kaličanin Radivojević as soloist.

Rafael Payare boldly programmes Kinan Azmeh's Suite for Improvisor and Orchestra in a diverse concert bill that also features long-standing Principal Flute Timothy Hutchins.

Canadian superstar pianist Marc-André Hamelin amazes and moves while hardly breaking sweat in recital at London's Southbank Centre. 

Schoenberg's modernist masterpiece gets lost in a fog of words and feral newsprint at the Southbank Centre's Purcell Room. 

Marc-André Hamelin opens his recital with the uncompromising demands of Ives’ Concord Sonata, followed by suites of Schumann and Ravel.

Two distinctly different halves to this evening in Kings Hall: chamber delicacy and subtlety in Ligeti and CPE Bach, and a barnstorming approach in Schubert's greatest symphony.

A cello concerto by CPE Bach headlines Nicolas Altstaedt's appearance at the Istanbul Music Festival with the Munich Chamber Orchestra.

Lahav Shani gives the players of the Rotterdam Philharmonic Orchestra their moment to shine in Strauss' demanding Ein Heldenleben. 

Víkingur Ólafsson offers remarkable interpretations of major works of Mozart, placed alongside lesser-known pieces by four of the composer’s most important contemporaries for a memorable recital.

A carefully curated concert by the effervescent Icelandic pianist, Víkingur Ólafsson, of music by Mozart and his contemporaries. 

The Italian pianist's recital included Schubert Impromptus and rarely heard works by Beethoven and CPE Bach. 

Bezuidenhout and the Handel and Haydn Society offer the Boston audience an entirely different sound world where the music sings in a new voice. 

Ilya Gringolts brings his brand of unspectacular virtuosity to the ACO's latest programme, with the Paganini Violin Concerto no. 1 and Bartók's Divertimento clear highlights.

A patchy performance by The Chorus of Royal Northern Sinfonia in a concert following the influence of J.S. Bach on later choral composers.

Royal Northern Sinfonia's popular Conductor Laureate Thomas Zehetmair makes a well-received return visit to Sage Gateshead, with symphonic music ranging from an exquisite jewel by Webern through to a fizzing performance of Schubert's "Great" Ninth.

Emmanuel Pahud shows his fluting chops in a program accompanied by the popular and celebrated Australian Chamber Orchestra.

Isabelle Faust joined the Akademie für Alte Musik Berlin in finely honed performances of Bach violin concertos and a rarely performed version of an orchestral suite.

The return of Dominique Labelle to the Göttingen Handel Festival produces a concert to treasure, the highlight being Telemann's dramatic cantata Ino.

Isabelle Faust and the Orchestra of the Age of Enlightenment find steely freshness in Mozart, with brooding intensity and accentuated twists and turns in Haydn and CPE Bach.

John Butt and the Dunedin Consort closed the Oslo Church Music Festival with fine performances of CPE Bach and Mozart, even though the concert didn't prove quite as innovative as advertised.

Russian pianist Anna Tsybuleva, winner of the 2015 Leeds International Piano Competition, made her Wigmore Hall debut in a programme of fantasy-like works spanning 300 years of music history.

Laurence Cummings and the Orchestra of the Age of Enlightenment celebrate two anniversaries in a programmed of works by Johann Sebastian Bach and his sons. 

An evening at the Wigmore Hall with the fabulous Freiburg Baroque Orchestra and fortepiano star Kristian Bezuidenhout in the keyboard concertos of CPE Bach and Mozart. What could go wrong? 

The SFS presents the US première of Widmann’s work alongside an impressive renditions of CPE Bach and Brahms.

Five star reviews are flowing Arcangelo’s way. It’s easy to see why. Five years after it was founded by Jonathan Cohen, the quality of this zestful ensemble just keeps soaring. 

Jeanette Sorrell and her Cleveland Baroque band Apollo’s Fire are renowned for their inventive programming and “A Night at Bach’s Coffeehouse”, with guest soloist Alina Ibragimova, deftly offered a balanced musical diet. 

A hit in its hometown, Apollo's Fire is making believers on the festival circuit both in the US and abroad this summer.

The Australian Brandenburg Orchestra perform "Vivaldi unwired", including Max Richter's re-composition of The Four Seasons.

It’s not common to see a full hour of solo harp music, incorporating music of many types from late Baroque to the 21st century. It has left me far better educated as to the breadth of which this instrument is capable.

Lapland Chamber Orchestra debuts at the Proms with a brilliant performance ranging from unusual classical pieces such as Sibelius’s intimate and tender Rakastava to disturbing contemporary pieces by Birtwistle and Davies. 

Carl Philipp Emanuel Bach is often described as a crucial composer in the transition between the Baroque and Classical periods, but we never seem to be able to move beyond this image.

The Rias-Kammerchor and the Akademie fur Alte Musik Berlin perform pieces by J.S. Bach, Handel and C.P.E. Bach.

The Cleveland Orchestra celebrates CPE Bach's 300th birthday, along with works by Vaňhal, Beethoven and Haydn in performances of utmost clarity.

Kirill Karabits’ imaginative programme revealed CPE Bach as a difficult composer to place, with a symphony bearing all the hallmarks of a young Mozart and an ode with pre-echoes of Haydn’s The Creation, counterbalanced by the UK première of his 1784 St John Passion where, in the chorales at least, CPE demonstrated that he was a chip off the old block.

This Southbank Centre concert of five of Carl Philipp Emanuel Bach's symphonies, alongside his Concerto in E flat for Harpsichord and Fortepiano showed just how much of a revolutionary this oft-overlooked composer was. The OAE were conducted by Rebecca Miller.

Menahem Pressler's début with the Royal Concertgebouw Orchestra, conducted by Trevor Pinnock at Amsterdam’s Concertgebouw. Cynthia Wilson reviews.

The Concertgebouw has been celebrating its 125th anniversary throughout 2013. On the darkest, rainiest Sunday evening in months, the Combattimento Consort Amsterdam defied the oncoming winter with a joyous, exuberant performance, one of a series of special celebratory concerts for this jubilee year.

Since reading Stravinsky’s assertion (in Poetics of Music) that “The more constraint one imposes, the more one frees oneself from the chains that shackle the spirit”, this paradox has fascinated me.

Oxford becomes much quieter outside of the university terms, and this was reflected in audience numbers for Saturday’s concert. Although the evening did not pan out as expected, those who were in the Sheldonian still came away having heard some brilliant performances.

If we consider the word “festival” and its synonym “feast”, the Valletta International Baroque Festival, which started on 9 January and continues to 26 January, has proven to be a sumptuous feast, nay, a veritable banquet.The festival has brought Baroque music to a Baroque city. It is the city’s first, hopefully not the last, festival of music of the Baroque period.

“Royal Albert Hall / Barbican / Usher Hall (delete as necessary) sold out for Sunday morning concert.” How likely is this headline in response to a normal, mid-season concert in Britain? For Hamburg, it is perfectly normal, and the crowds that thronged the Laeiszhalle, young and old, chic and casual, were not to be disappointed.

Celebrating the music of an iconic family that bridged the height of the Baroque period with the Classical era, conductor Christopher Gray and his Three Spires Singers set the evening ablaze with J.S. Bach's Magnificat and two works by the composer's prodigious children: the Sinfonia Concertante in A by J.C. Bach and C.P.E Bach's exuberant Magnificat.

The London Handel Players should be applauded for many things, from their characteristically warm and full sound through to their consistently thoughtful approach to how they play.

Carl Philipp Emanuel Bach (1714-88), the second son of J.S. Bach, was a hugely talented composer in his own right, but his music is still rarely heard on the concert stage. In fact, it is not just his works, but the whole pre-classical repertory between Bach/Handel and Haydn/Mozart still lies largely unexplored except in recordings.

Typische Feierlichkeit und Demut im Paradox-Amalgam lichter Dichte bestimmen diese erneute belgische Ensemblekooperation.

Sous la direction d'Andrea Marcon dans un programme qui associait Carl Philipp Emanuel Bach et Beethoven, la formation parisienne a montré un style engagé et élégant, au diapason d'Alexander Gadjiev splendide au piano.

En deux soirées, le festival de musique de chambre deauvillais a montré ce qui fait sa singularité : mélange des générations d'artistes, richesse des répertoires, excellence de l'interprétation.

Habité par son personnage, la violoniste, chanteuse, compositrice et comédienne livre une performance de premier choix avec des partenaires au diapason.

Le petit festival de piano organisé par Vanessa Wagner dans le bel auditorium en bois clair du Musée des impressionnismes de Giverny a mis à l'honneur quatre pianistes remarquables.