Live, Video: Find classical music concert, opera, ballet and dance reviews | English | Piano Quartet no. 1 in G minor, Op.25

Erich Korngold and Arnold Schoenberg – Viennese emigrés in Hollywood – formed the unlikely pairing in the Ukrainian conductor's Konzerthaus programme. 

At Berlin's Konzerthaus, Chief Conductor Christoph Eschenbach leads the premiere of Christian Mason's orchestral work An Ocean of Years and reunites with American pianist Tzimon Barto.

The contrasts in Brahms' two early piano quartets are highlighted by side by members of the Staatskapelle Streichquartett and Elisabeth Leonskaja.

Awkard programming but fine musicianship from the Nash Ensemble and Christine Rice as part of its 'German Romantics' series.

A young piano quartet makes an impressive American debut and underlines the non-obvious in standard repertoire.

Alisa Weilerstein delivered an amazingly raw performance of Shostakovich’s Second Cello Concerto, whereas Ilan Volkov and the CBSO’s renditions of Simon Holt and Brahms (reimagined by Schoenberg) proved alienating and overblown.

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

Despite some very creditable orchestral playing, conductor Joshua Weilerstein never quite got anywhere with his programme of Bach, Weill and Brahms.

Yesterday’s all-Romantic programme displaced the usual thing with incredible panache, as Daniel Hope’s violin surveyed the ensemble with regal bearing. 

Conductor Carlos Kalmar and pianist Yevgeny Sudbin collaborated to play a solid Beethoven First Piano Concerto. Kalmar finished the program with a loud performance of the Schoenburg arrangement of Brahms' Piano Quartet no. 1.

The Arnold Schoenberg Center is a gathering place for serious musicians, academics and informed concert goers, and has developed a considerable, steady following thanks to the consistently high level of its events

The final concert in Northern Sinfonia’s summer chamber music series followed the pattern of the first two, sandwiching a lesser-known piece between two staples of the chamber music repertoire, and giving different groups from the orchestra the opportunity to step forward.

Early Romantic symphonies lie at the core of Northern Sinfonia’s orchestral repertoire, and so to hear different groups of their players getting together with pianist John Reid to perform chamber music by Schumann and Brahms seemed like the most natural thing in the world, an intimate, scaled-down version of one of their regular concerts.

Arnold Schoenberg rarely forms the backbone of orchestral concerts in either of his two homelands, and in an ideal world there would be more concerts like this, particularly in Vienna.