Live, Video: Find classical music concert, opera, ballet and dance reviews | English | Piano Quintet in A major, "The Trout", D.667

Some chamber concerts, like this one at Snape Maltings, can turn a public hall into a large drawing room. 

Robert and Clara were not the only two-composer family. So were Alma and Gustav. The Nash Ensemble's latest programme highlights Beethoven and the Romantics.

The Finnish composer/pianist's refined and idiosyncratic musical style makes for a great collaboration with the ACO solo string players.

The Nash Ensemble performs Dvořák's Piano Quartet no. 2 at Wigmore Hall, followed by a joyful rendition of Schubert's Trout Quintet.

In our Covid-infested world, quality music making is still possible, as demonstrated by Imogen Cooper and her Aurora Orchestra friends. 

The Paris-based Quatuor Modigliani are joined by special guests for an evening of Schubert quintets in Évian-les-Bains. 

With more than a hundred Academy students hanging over their seats at the side of the hall like their equivalents in The Red Shoes 70 years ago, nine of the world's finest musicians took on Schubert in Lisbon.

An affectionate Trout played by long-standing colleagues and friends from Royal Northern Sinfonia, along with Imogen Holst's Phantasy Quartet and Thomas Adès's fascinating Piano Quintet. 

An effortless evening of Brahms, Bartók and Schubert: high-class chamber music making from Benjamin Grosvenor and others.

The Aurora Orchestra's principals and pianist Shai Wosner present a programme of chamber works that balance light and dark hues.

Spot on progamming makes for an uplifting experience with the Nash Ensemble in Mahler, Schoenberg and Schubert in Wigmore Hall.

Mozart and Schubert were performed with superb technical assurance and cool precision as part of the Winchester Chamber Music Festival.

A select group of musicians provided a modest programme of chamber music at St George’s alongside renowned pianist, Paul Lewis.

The Schubert Ensemble's good-in-parts performance of Schumann, Schubert and John Woolwich.

A series of three concerts over the course of one weekend, designed to reflect upon and champion the work of the Borletti-Buitoni Trust, which has supported a significant number of worthy performers in its first ten years, was always going to present an interesting range of repertoire – if not something of a conundrum for those planning the programming of the concerts.

Pairing together Schubert and Messiaen at first glance may appear slightly far-fetched. However, there are more similarities between the two composers, and indeed the two pieces in this evening’s program, than one might at first realise. Schubert and Messiaen were in many ways both experimental composers, especially the latter.