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“If you enjoy it... we are doing something horribly wrong”... ominous words to launch the Netherlands Philharmonic Orchestra's season finale at the Concertgebouw. 

A thrilling performance of Messiaen's Quartet for the End of Time by members of the London Sinfonietta follows two rarely heard chamber works by Krzysztof Penderecki.

The Australian Chamber Orchestra brings music from Indie rock stars and the Polish composers who inspired them, with superb contributions from Guildhall students.

From Mozart and faux Pugnani to a Miklós Rózsa rarity, this was a brilliant showcase for the British-Polish violinist's artistry. 

Every August, the Hiroshima Symphony Orchestra gives a concert to commemorate and reflect on the tragedy of the Atomic Bombing of Hiroshima on 6th August 1945.

An inventive programme frames new music by a genre-defying composer and guitarist in a striking late-night concert.

McFall’s Chamber’s bittersweet programme of Polish music referenced Tango in Warsaw, exploring the avant-garde of Grażyna Bacewicz and early and late Penderecki

Elizabeth Atherton sang with a keening intensity, and gave a voice to every grieving mother and child.

The highlight of a week-long musical project of the Szczecin Philharmonic entitled We are at home, a celebratory performance of Górecki's Symphony No. 3 by Szczecin Philharmonic Orchestra under the baton of Wojciech Michniewski.

The Polish National Radio Symphony Orchestra, Alexander Liebreich and soloist Szymon Nehring serve up works by four Polish composers in celebration of the centenary of Poland regaining its national independence.

The stellar performance of the evening was Anne-Sophie Mutter performing Penderecki's Violin Concerto no. 2 “Metamorphosen”.

Krzysztof Penderecki leads a masterful performance and powerful tribute to Jiří Bělohlávek.

Few composers have made such a notable impact in setting the St Luke Passion narrative, and this impressive performance under an inspired Vladimir Jurowski made clear its relevance today.

Visionary director Marek Weiss ends his tenure at Opera Bałtyka with a powerful and uncompromising take on one of Poland’s most important modern operas.

The Borusan Istanbul Philharmonic Orchestra had the privilege of playing three works of Krzysztof Penderecki under the composer's own baton.

Penderecki as composer/conductor with the LPO in a fascinating exploration of his own work, as well as some relatively rarely played Shostakovich. 

With Penderecki conducting his own work, this concert demonstrated the possibilities of orchestral colour filtered through a post-Romantic lens, but was confronted with issues of balance and refinement.

Penderecki's haunting Concerto Grosso for Three Cellos, a first for the National Symphony Orchestra. 

This concert, in a nifty piece of skilful programming, comprised a Beethoven sandwich, with Penderecki’s Fourth Symphony as the filling, both composers who clearly enjoy pushing the boundaries of classical form.

In an exciting programme of Prokofiev, Penderecki and Lutoslawski, two musicians debuted with the Rotterdam Philharmonic. Both impressed greatly.

Two strange bedfellows – Penderecki and Bruckner – brought together in the acoustically awkward, if architecturally spectacular surrounding of St Pauls Cathedral by Daniel Harding and the LSO as part of the City of London Festival.

Now in its third season, this chamber music festival satisfies Cleveland's appetite for summer chamber music with imaginative programming and venues.

Southbank Centre's The Rest is Noise festival continued its focus on politics and spirituality with Henryck Górecki's popular Third Symphony, coupled with Krzysztof Penderecki's lesser-known Violin Concerto – but it was the latter work which fared better.

Concert programmes at the Proms often lean toward music of significant scale and heft. The requirement to fill the huge Royal Albert Hall, as well as capturing listeners’ attentions across the airwaves and in many different countries, means that huge expeditions, such as this year’s Ring cycle, are a perfect fit for the festival. Prom 44 was massive too, in its own way.

What a concert – the programme and the musicans were sublime. This time, Colston Hall got it spot on with the Polish National Radio Symphony Orchestra. Seeing all of the credits for the orchestra in the back of the programme prepared me for a big and bold sound that was just short of 100 musicians. Each and every one of them contributed to a fantastic sound under the baton of Jacek Kaspszyk.

One of the more attractive features of the Sommets Musicaux festival is the series of concerts in Gstaad chapel, each given by a young musician who has been spending the week attending classes, with a mentor – in this case, Mario Brunello – and each including a world première written by the festival’s composer in residence – this year, it’s the turn of Nicolas Bacri.

It's been a bumper week of contemporary music at the Barbican, with Nico Muhly and the Britten Sinfonia, Bang on a Can, and Krzysztof Penderecki and Jonny Greenwood all taking the stage. The diversity of talents and styles on display can only be encouraging, and last night's offering was a fitting climax to a fascinating week.