Live, Video: Find classical music concert, opera, ballet and dance reviews | English | Symphony no. 3 in E flat major "Rhenish", Op.97

Three of the world's best composers, who were friends and colleagues, but who rarely co-habit in concert, appear at Cadogan Hall. 

Mihhail Gerts and Vadym Kholodenko delight in Bartók, while the Ulster Orchestra’s playing pleases in two five-movement symphonic works. 

Jessie Montgomery's 2016 Records from a Vanishing City enthralls, Barber’s Violin Concerto is exquisite; Schumann's Rhenish disappoints.

Gemma New conducts a fine Rhenish Symphony on her debut with the Royal Liverpool Philharmonic Orchestra.

Robert Louis Stevenson was clear in the advice he gave: “It is better to travel hopefully than to arrive.” Pablo Heras-Casado, Bertrand Chamayou and the house orchestra of the Elbphilharmonie embark on musical journeys, but with mixed results.

The crossed warning searchlights were out and aircraft mostly stayed away, as Gemma New and the Los Angeles Philharmonic got to know each better in Beethoven and Schumann.

Pianist Colleen Lee displays both dexterity and delicacy in Mozart's Coronation concerto, while HK Phil strut their romantic stuff in Schumann's Rhenish Symphony.

Schumann's Third returns to its spiritual home as François-Xavier Roth conducts the Gürzenich Orchestra in a fine Rhenish. 

Icelandic pianist Víkingur Ólafsson makes his debut both with the conductor Paavo Järvi and the Royal Concertgebouw Orchestra.

A wonderful performance of all the works Berlioz, Bruch and Schumann, but it was the young violinist Lozakovich who stole the show. 

The sound in Schumann's “Rhenish” was satisfyingly dense, rich and passionate, and the horns once more made great sailing of all their magnificent solos.

A memorable evening: LSO horns on tremendous form with Sir John Eliot Gardiner on the podium and Isabelle Faust in stellar performance.

If you like your Schumann symphonies the old fashioned way with lush, sonorous strings and heroic horns and brass, then Thielemann and the Staatskapelle Dresden are for you.

François-Xavier Roth conducts sparkling, refreshing accounts of Debussy, Schumann and Strauss in the Gürzenich-Orchester Köln season-opening gala.

Renée Fleming sings Barber and Strauss at the Concertgebouw.

A refreshing Austro-German programme of works that neatly dovetailed into each other, presented with energy by the Scottish Chamber Orchestra and Robin Ticciati.

Susanna Mälkki was guest conductor for The Cleveland Orchestra’s Summers@Severance concert, which also included Schumann’s “Rhenish” Symphony.

At Carnegie Hall the MET orchestra proves that, temporarily rudderless, it's still a top ensemble

Schumann and Wagner were twinned in a programme focusing on works written in 1850 with impressvie results. 

Darkly illuminated music at Berlin's Komische Oper. 

With disappointing Schumann followed by engrossing, but incomplete, excerpts from Wagner's Götterdämmerung, Marek Janowski and the Oslo Philharmonic fail to make a splash.

Ryan Wigglesworth conducts the Hallé in works by Bach, Stravinsky and Schumann.

Schumann's Violin Concerto is a relative rarity in the concert hall, but Patricia Kopatchinskaja's performance did little to suggest a neglected masterpiece.

Following their hugely successful Beethoven and Brahms cycles, Bernard Haitink and the Chamber Orchestra of Europe returned with Schumann’s symphonies and concertos.

Hans Graf conducts the Houston Sympony and proves even a line-up of symphonic favorites can be foiled by a tepid tempo.

Kazushi Ono's take on Schubert, Mozart and Strauss with the CBSO is one of lean elegance that doesn't fail to enthuse the aucience in Birmingham's Symphony Hall.

A superlative Berg Violin Concerto with Leonidas Kavakos makes up for disappointing Schumann from Gatti. 

  Ticciati also leads a moody "Meditation" by Hosokawa and a blazing Schumann "Rhenish" Symphony. 

In the third installment of Rattle's Schumann/Brahms cycle in Berlin, Rattle provided new insights into both, marred by some basic deficiencies in the performance.

From introspective Mahler to flowing Schumann, Claudio Abbado is remembered at a concert with the Mahler Chamber Orchestra in Dresden's Frauenkirche.

“Europe’s answer to the ACO” was how composer Brett Dean described the Mahler Chamber Orchestra before its first concert in Sydney. Despite the similarity in names, the two are very different ensembles.

The day after Valentine’s Day, and Hall One at The Sage Gateshead was filled with love – the love between an orchestra and their conductor, and the love that all the musicians on the stage felt for the composers they were playing, in this their third concert of a Brahms and Schumann double symphony cycle with conductor Thomas Zehetmair.

How very fitting that the Berlin Philharmonic, an orchestra that claims to be made up of 128 soloists, should start Thursday’s concert and their European tour with perhaps one of the most soloistic orchestral pieces ever written: Ligeti’s Atmosphères.

Simon Rattle returned to Birmingham's Symphony Hall, a construction of his own initiation and the home of his successes with the CBSO, to conduct the Vienna Philharmonic Orchestra in a concert as part of the hall's 21st birthday celebrations.

For its concert on Sunday afternoon, the Philadelphia Orchestra under Simon Rattle performed symphonic works which, the programme notes claimed, “invite us to think about the possibilities of hidden musical meaning”.Over the years, speculation has been rife on the famous F-A-F motif of the opening chords on woodwinds in the first movement of Brahms’ Symphony no.

The Philadelphia Orchestra may be in the news more often for its financial difficulties than for its music-making, but even a fleeting listen to one of their concerts demonstrates that the ensemble remains one of America’s gems.