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At the Festival Ravel, Bertrand Chamayou, Pierre-Laurent Aimard and Hyunji Kim perform all the solo piano works at the Église Saint-Vincent, a stone’s throw from the house where Ravel was born.

George Li's belief in storytelling shows in his Caramoor programme of Schumann, Ravel and Mussorgsky. 

Emilia Hoving makes a superb debut with the RSNO, including Dance, an exciting new cello concerto. 

The BBC Philharmonic Orchestra, under former Associate Artist Ludovic Morlot, serve chilled Ravel at the Glasshouse, Gateshead. 

Inon Barnatan hits the ground running with Ravel in his recital, concluding with his own transcription of Rachmaninov's Symphonic Dances. 

George Li brings forward unexpected connections in masterly interpretations of works by Ravel and Stravinsky. 

Fabien Gabel and the Pittsburgh Symphony Orchestra bring Stravinsky's puppets to vivid life, while violinist Karen Gomyo delivers passion and pathos in Chausson's Poème.

Will this centenary year yield a finer Vaughan Williams symphony performance than this account of the Fourth? 

Written for a large virtuoso orchestra, Ravel himself reduced La Valse's teeming complexity to a very difficult piano solo – it is not uncommon to find “complete” live or recorded surveys of the composer’s piano music which simply omit it. But it held no terror for this artist.

Celebration and infectious joy in Bennett and Gershwin, with silky textures and delicate precision in Ravel from John Wilson and the LSO.

Principal Guest Conductor Kazuki Yamada teases brilliant French sounds from the CBSO.

Stéphane Denève and Augustin Hadelich each prove themselves to be at the very forefront of performers active today. 

The Istanbulite audience of symphonic music made a huge step forward in their sound worlds thanks to BIPO and the piano duo Ufuk & Bahar Dördüncü.

The New York Philharmonic lack the 'wow' factor in Salonen, Ravel and Strauss at the Barbican.

An esoteric Nyx, an alluring Shéhérazade and a rollicking Rosenkavalier: the NYPO impress. 

Franz Welser-Möst, with brand new contract signed through to 2022, leads elegant performances of Beethoven’s Sixth and Ravel’s Alborada del gracioso, Valses nobles et sentimentales and La Valse.

In his Chamber Proms debut, Benjamin Grosvenor explored the waltz from the contrasting perspectives of Ravel and Liszt, with atmospheric interjections from Mompou, and opening with Chopin, together with the world premiere of a new commission by Judith Weir.

Thierry Fischer and the BBC National Orchestra of Wales presented an eclectic programme, with an exciting première by Simon Holt and the many different facets of 20th century French orchestral music.

The Royal Philharmonic Orchestra's current season is dedicated to performances of works for which its conductor, Charles Dutoit, has received critical acclaim in interpreting. This all-French programme of three very different works by Ravel, Berlioz and Saint-Saens continued the season in style.

Contrasts dominated in André Laplante’s recital for the Montreal Chamber Music Festival, some coming off to great effect, and others less so.

From the very first bars of Brahms’ Intermezzi Simon Trpčeski thrilled the audience at Southampton's Turner Sims in a performance of Brahms, Ravel and Poulenc.

Watching Benjamin Grosvenor, the first thing that becomes obvious is that he is in complete control of his instrument, down to the finest detail. This was an extraordinary mature recital at Sommets Musicaux de Gstaad.

If every workplace could undergo a team-building exercise like Lutosławski’s Concerto for Orchestra, the world would be a happier place. The Royal Scottish National Orchestra’s performance under Yan Pascal Tortelier was unbelievably energetic.

It is difficult not to notice the youthfulness of the face greeting us on stage (especially in comparison to the, shall we say, more weather-worn ones in the audience). But Benjamin Grosvenor has come a long way from the eleven-year-old that won the BBC Young Musician of the Year piano final in 2004.

When you go to see a student orchestra play a concert, your expectations are generally lower than with professional orchestras. And so, when the Symfonieorkest of the Amsterdam Conservatory and soloists from the same Conservatory came to Leiden with an exciting program of Ravel, Prokofiev, Dvořák and Janáček, I thought it’d be a fun night, but not necessarily impressive.