En vivo, Video: Buscador de críticas de conciertos de música clásica, ópera, ballet y danza | Benjamin Beilman

James Ehnes and colleagues launch the 2023 edition of Seattle Chamber Music Society's month-long summer festival on an exhilarating note with trios by Dohnányi, Bartók and Ravel.

Beilman plays the world premiere of Chris Rogerson’s Violin Concerto no. 1 “The Little Prince” with the Kansas City Symphony under Gemma New.

The midday concert was held a barn designed by the same team who engineered London's Wigmore Hall, and acoustics are as warm and carefully attuned as its modest, appealing interior.

Profound musical expression shrinks against the majesty of the setting, but ends up all the more profound, in the summer chamber music series.

Benjamin Beilman's radiant Mendelssohn preceded Skrowaczewski and the LPO making a magnificent case for Bruckner's third version of his Symphony no. 3 in D minor at the Souhthbank Centre, London.

On Thursday evening, the Chamber Music Society of Lincoln Center presented its inaugural concert of the 2013-2014 Late Night Rose series. On the stage of Lincoln Center’s Daniel and Joanna S. Rose Studio, performers put on a delightfully curated show, featuring the works of three lesser-known Western composers: Arthur Bliss, Karol Szymanowski, and Josef Suk.

At one point in Proust’s In Search of Lost Time, the narrator is listening to a sonata for piano and violin by the fictional Vinteuil, when “at a certain moment, without being able to distinguish any clear outline, or to give a name to what was pleasing him, suddenly enraptured, he tried to grasp the phrase or harmony – he did not know which – that had just been played and that had opened and expa

The noted Beethoven pianist Artur Schnabel was famously interested only in music that he felt was “better than it can be performed”. This idea of works which transcend any individual performance seems particularly true when it comes to Beethoven’s late string quartets, enigmatic masterpieces which continue to pose challenges to interpreters nearly two centuries after they were written.

With so much of the chamber repertoire focused on strings and piano, it was a refreshing choice by the Chamber Music Society of Lincoln Center to open their season with some of the great works for winds.