Live, Video: Find classical music concert, opera, ballet and dance reviews | English | Michael Barenboim

Michael Barenboim gives a powerful performance of Bartók's Violin Concerto no. 2; Domingo Hindoyan and the RLPO give equally strong accounts of music by Kodály and Dvořák.

Daniel Barenboim offered an unusually Germanic take on César Franck, while section leaders Michael Barenboim and Kian Soltani pulled double duty as soloists in Brahms' Double Concerto.

After four evenings and ten world premieres, Pierre Boulez Saal's A Festival of New Music comes to a haunting end.

The third concert of A Festival of New Music also suggests the conflicts and split personalities which may come from extended isolation. 

Daniel Barenboim, Emmanuel Pahud and select musicians continue their brief odyssey into new music with three striking and stimulating world premieres and a welcome touch of Boulez.

Inferno, after Dante's Divine Comedy, is a 46-minute ballet score rich in astounding, ingenious, sumptuous effects with a particular genius for unlikely combinations of instruments, and only a few obvious Lisztian references.

His gestures might not be the most elegant, but Vladimir Askenazy has a deep understanding of the music he choses to conduct.

This Auckland Philharmonia Orchestra concert was titled simply "Degenerate" and designed to showcase works that were – or would have been – banned for their so-called "degeneracy" during the Third Reich, either for the perceived "radical" nature of the music or for the simple fact the composer was Jewish.

In the first of two performances of this concert, St. George’s welcomed Michael Barenboim and the Oxford Philharmonic Orchestra, previously known as the Oxford Philomusica.

No ordinary youth orchestra, the West-Eastern Divan Orchestra causes quite a stir wherever it performs. Comprised of a mix of Arab, Israeli and Spanish musicians, the West-Eastern Divan Orchestra is committed to coexistence and a peaceful solution to the violent conflict in the Middle East.

Onwards Daniel Barenboim and the West-Eastern Divan Orchestra went, then, jumping forwards from a rousing Fifth to the Eighth, once again playing the later, even-numbered half of a ‘pair’ before the odd. Asked why the Seventh was much preferred publicly to the Eighth, Beethoven is apocryphally to have replied: “because the Eighth is so much better.