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Thomas Larcher’s Returning into darkness, a new work for cello and orchestra, is performed by its dedicatee, Alisa Weilerstein.

Gergely Madaras’ interesting approach to Mahler’s First suffers from sloppy execution while Larcher’s Third succeeds in a vivid evocation from the CBSO of triumph and tragedy.

Rafael Payare launches the Orchestre symphonique de Montréal's 2022-2023 season on a massive scale with Mahler's Resurrection Symphony. 

Oramo gave a generally convincing account of Mahler's seventh, if at times one with a sense of taming a beast.

The New York Philharmonic Orchestra under the baton of Semyon Bychkov present a program of Larcher and Brahms.

Even in a flawed performance, The Song of the Earth fills the hearer with its life-affirming carpe diem message.

The restrained pacing of Larcher's opera suited the intimate setting of the Werkstattbühne.

The Allegro assai fared best of all with feverishly energetic strings and an astonishingly violent fugato development.

A refreshing Austro-German programme of works that neatly dovetailed into each other, presented with energy by the Scottish Chamber Orchestra and Robin Ticciati.

An ambitious new Austrian symphony is dwarfed by the proven might of Wagner and Strauss in the BBC Symphony Orchestra's latest Prom.

Three substantial works from 1800, 1913 and 2008 in an enterprising and unusual combination, performed by the London Phlharmonic Orchestra conducted by Markus Stenz, and with the Moldovan violinist Patricia Kopatchinskaja as soloist.

Thank goodness for the BBCSO! The London concert season would be far less colourful without it...

Lars Vogt’s unorthodox pianism knocks at Glenn Gould’s door without ever daring to fully enter his outlandish realm, and since there can only be one Glenn Gould that is perhaps just as well. In addition to the counterintuitive articulation and other Gouldian stylings his performances offer masterful soft playing and, when convincingly maintained, a taut sense of drama.

German-born pianist Lars Vogt has an established reputation as a concerto soloist, a recitalist, and a committed chamber musician, enjoying partnerships with esteemed musicians such as Christian Tetzlaff and Thomas Quasthoff. He is involved in many festivals, including one in a power station (with the power turned off) in the German town of Heimbach.

Tirolian composer Thomas Larcher has always struck me as a musician in the mold of that great Austrian stylistic dabbler, Ernst Krenek. A great deal of the twentieth-century finds itself reflected in Krenek, who rode the wave of numerous landmark ‘-isms’, a master of all (and his twelve-tone opera Karl V, the first full-length instance of operatic serialism, is a masterpiece) and exemplar of none.