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The players gathered at the bar for a Scotch as the credits rolled. After three hours and twenty minutes of note-taking, I decided to follow suit.

A generous programme by Alban Gerhardt and Víkingur Ólafsson saw a tale of two halves, with the classical poise of the first half and the more extrovert showpieces of the second. 

The unmistakable approach of the American cellist lent itself easily to both Stravinsky and a recent work by Steven Mackey. It also twisted Brahms a little beyond recognition.

Leonard Elschenbroich joined with the 12 ensemble for an evening dedicated to the Suite italienne, a stroll through time though with a focus on contemporary composers.

A recital from one of the world's most celebrated violinists took the audience on a tour of periods in classical music. 

After a lively appetizer of Stravinsky, the main course of Shostakovich and Tchaikovsky piano trios fail to impress at Wigmore Hall. 

Elgar shines after a fresh performance of Tchaikovsky with Julia Fischer and the St Petersburg Philharmonic. 

A well-balanced recital in Sydney's Opera House proves a great way to spend a Sunday afternoon!

Considering the sheer wattage of Yo-Yo Ma’s name, it was not his playing alone that stole the show; rather, the magic of this performance existed in the act of collaboration between two artists.

What’s in a name, or for that matter, a label? Why does music “sound” German, American, French, or Russian? Violinist Cho-Liang Lin and pianist Jon Kimura Parker presented a duo recital at Fort Worth’s Bass Hall Tuesday evening, titled “An Evening in Paris”. Their thoughtful program consisted of works by French composers of the early twentieth century, and also by (long-time Parisian) Stravinsky.