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Jonathon Heyward steps in to conduct Chineke! in two UK premieres and Shostakovich's rip-roaring Tenth Symphony. 

Though musically flawed, Samuel Coleridge-Taylor’s choral work The Atonement is given a superb performance at the Three Choirs Festival in Hereford Cathedral. 

Thomas Søndergård, great and not so great, with the Los Angeles Philharmonic in their first Hollywood Bowl concert of the summer. 

Delightful Dvořák and ravishing Vaughan Williams headline the London Mozart Players’ ‘Flights of Fancy’ concert at St Martin's-in-the-Fields. 

Championing British musicm the Ulster Orchestra also performs a seldom heard work by Samuel Coleridge-Taylor. 

Andrew Manze conducts the RLPO in an arresting performance of Weinberg's Cello Concerto with Sheku Kanneh-Mason. 

Hilary Hahn plays one of her signature works and is announced as the 2024 recipient of the Avery Fisher Prize. 

No hard hitters or big beasts in this colourful potpourri from the remarkable Chineke! Orchestra, conducted by Anthony Parnther, but a chance to savour both the unknown and the familiar.

Folk-derived pieces dominate this programme, with Anja Bihlmaier and the BBC Philharmonic traversing Coleridge-Taylor, Brahms and Bartók, and the latest Asian shooting star Bomsori assaying that concerto by Bruch.

The inaugural mcr:classical weekend comes to a rowdy finish with Stravinsky's Rite of Spring at The Bridgewater Hall.

Shelley led an unusual mix of English music by Walton, Coleridge-Taylor and Delius, with a poignant addition of two small works by the young Lili Boulanger.

Pianist Ray Ushikubo turns violinist in his star turn with the Kansas City Symphony and Thomas Wilkins. 

Now in his 23rd year at the helm of the OM, Yannick Nézet-Séguin continues to astound Montrealers with his uncanny ability to inspire players to give their absolute best.

Edward Gardner and the LPO offer powerful Elgar and luscious Coleridge-Taylor in their “Three Britons” programme at the Royal Festival Hall.

Daniele Rustioni also conducts the Hallé in a gripping account of Sibelius'  atmospheric Lemminkäinen Suite.

Vasily Petrenko continues to show a marked facility for Vaughan Williams with a terrific performance of A London Symphony, preceded by a most interesting Emperor Concerto with Boris Giltburg.

The Chineke! Orchestra always aims at mixing the old and familiar (Beethoven, Ravel) with lesser-known corners of the repertory (Coleridge-Taylor, Walker). Anthony Parnther conducts with Kenneth Thompkins as soloist.

With warhorses like Rachmaninov's Second Piano Concerto and Beethoven's “Pastoral” Symphony, the onus is on the conductor to deliver and Edusei does not quite hit all the right notes in this spirited, but flawed concert.

Jakub Hrůša conducts the program, which also includes stirring performances of Samuel Coleridge-Taylor’s rarely heard orchestral Ballade and Dvořák’s Symphony no. 6.

Inventive, engaging, and above all fun, this performance of Victor Wooten's virtuosic concerto for electric bass guitar invites repeat performances.

The world premiere of Gabriel Jackson’s ambitious but inert The World Imagined and a complacent Enigma Variations are outclassed by Samuel Coleridge-Taylor’s gorgeous Solemn Prelude at Worcester Cathedral.

The excellent program opened with Coleridge Taylor's Ballade and also included favorites by Haydn and Dvořák.

A rare outing for Samuel Coleridge-Taylor's Clarinet Quintet in New York along with a youthful Mendelssohn string quartet. 

Little had planned to quit in August, but Covid-19 threw all her concert plans into disarray, but last night took a significant step towards the exit, bidding farewell to London’s Southbank Centre.

Chineke! Orchestra returns to the Royal Festival Hall with a programme that explores the legacy of black composers, as well as marking Beethoven's 250th anniversary. 

Music is the ultimate universal language, here reflected in the latest Chineke! programme offering playing of richness and vitality.

An all-Elgar affair by the SSO directed by its Principal Guest Conductor Andrew Litton was not so much a distant memory of colonialism but rather an exercise in nostalgia.

Over the centuries, the Three Choirs Festival has developed a commendable trait in presenting the very best in English choral music; in more recent years the Festival has been committed to resurrecting once popular works that have been considered worthy of reassessment and, following on from last year’s performance of George Dyson’s Canterbury Pilgrims, this year the lot fell to Samuel Coleridge-T

For this Christmas concert we were transported from the Auckland Philharmonia’s usual venue at the Auckland Town Hall to the Holy Trinity Cathedral in Parnell. It was interesting to compare the sound of the orchestra; the cathedral has a slight echo that seemed to boost the richness of the orchestra’s sound, at times (like at the climax of Bizet’s Farandole) becoming almost shockingly loud.

It had lain in the archives of the British Library since around 1986. Now, rediscovered by a PhD student and transcribed by Stephen Anthony-Brown, Samuel Coleridge-Taylor’s opera Thelma has at last received its world première in the capable hands of Surrey Opera.It’s a small miracle that Thelma, written between 1907 and 1909, came to be performed at all.