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Andreas Delfs elicits a HIP aesthetic with Mozart's G minor and Jupiter, while Tine Thing Helseth plays engagingly personal accounts of trumpet concertos by Haydn and Bent Sørensen. 

An exciting programme, although not without flaws, kicked off the Oslo Philharmonic's new season.

Arcomis is a Cardiff-based organisation concerned with the promotion and commissioning of new music. Modest yet effective, most of their work is at an essential grass-root level, yet, seemingly out of nowhere, they have conjured an incredibly bold and wide-ranging three-day festival of brass based at Cardiff’s St David’s Hall, the Cardiff University Music Department and the Royal Welsh College of

Poor Ravel: even in death his significant talents are overshadowed by Debussy. Barely had the ink dried on his orchestrated Rapsodie Espagnole before it was eclipsed by the emergence of his iconoclast friend and rival’s equally Hispanic-tinged suite Iberia and, over 90 years on, the programme notes to Prom 48 contain a detailed discussion on whether Ravel’s legacy has been obstructed by his contem

In conversation with Petroc Trelawny at the fourth of the Proms Chamber Music concerts, the 25-year-old Norwegian trumpeter Tine Ting Helseth casually dismissed her ten-piece brass ensemble tenThing’s all-female set-up as “just a gimmick”.

In the UK, chamber orchestras these days have a slightly old-fashioned image: groups such as the English Chamber Orchestra, the Academy of St Martin in the Fields, and the London Mozart Players – who played a vital part in our musical life of the 1970s and 80s – have recently been struggling to maintain their profiles.