Live, Video: Find classical music concert, opera, ballet and dance reviews | English | Violin Sonata no. 10 in G major, Op.96

A marathon chamber concert in Bantry ends in a glorious performance of Brahms String Sextet no. 2 in G major. 

In a concert of three violin sonatas, a disappointing Debussy precedes an interesting piece by Watkins and well-performed Beethoven.

James Ehnes and Andrew Armstrong conclude their exploration of the ten Beethoven violin sonatas.

From the moment Ehnes trilled the G major Op.96 into existence, he and Armstrong achieved the musical transparency that results from using fortepianos with leather hammers and gut strings, and only with great care and commitment when using modern instruments.

Unjustly neglected works by Boulanger, Beach, and Clarke shine despite frustratingly inconsistent playing. 

Chloë Hanslip and Danny Driver were in tune with each other in every way in this fascinating and entertaining programme inspired by Marcel Proust.

Kavakos and Pace give us a textbook lesson in perfect balance between violin and piano as they trade the melody in Beethoven sonatas.

Baráti and Würtz quickly showed their adeptness turning Beethoven’s quick lines into easy gestures. Together, they understand the meaning of the phrase, the weight of good articulation, and the importance of the space between notes.

Violinist Julia Fischer and pianist Igor Levit performed all ten of Beethoven’s violin sonatas in a marathon at the Tonhalle that culminated in Sunday night’s “Kreutzer” and the “Tenth”. 

A recent concert by violinist Anne-Sophie Mutter and Lambert Orkis, piano, saw the Tonhalle almost having to hold people back at the gates.

Style, technique, an original approach, a brilliant discography, even an exemplary profile offstage – Midori has it all. What impresses in live performances is her intelligence, her deep understanding of the material and ability to articulate a wide range of visions and voices. 

Faust and Melnikov's concert of Beethoven sonatas at Koerner Hall in Toronto swelled with passion tempered by gentleness.

With musicians of this caliber, it is the soul of the music that matters not the mathematics, and Martha Argerich and Gidon Kremer were nothing if not soulmates in this Istanbul recital.

Winter has struck Bristol pre-emptively this year, and finding a nice, warm place to hide on a Sunday morning is a good way to lessen the hold of its icy clutches.

An introductory reading by local writer Philip Pullman was an appropriate introduction to the “Dusk to Dawn” concert, one of the last in this year’s Oxford Chamber Music Festival (themed “Fairytales and Fantasy”). The collision of a light-hearted surface with darker undertones was not just in Pullman’s retelling of the Grimm stories, but pervaded Artistic Director Priya Mitchell’s programming.