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

El Nash Ensemble ofreció un gran concierto desde el Wigmore Hall con obras contemporáneas entre las que se contaban tres estrenos mundiales.

Robert and Clara were not the only two-composer family. So were Alma and Gustav. The Nash Ensemble's latest programme highlights Beethoven and the Romantics.

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

Esa-Pekka Salonen conducts the US première of Tansy Davies' Forest, a work intended to evoke a Romantic sensation of mystery and nature.

Clear playing from Pierre-Laurent Aimard in the Emperor Concerto and a sense of the dramatic in Also sprach Zarathustra brought life to old warhorses, while a new concerto from Tansy Davies made waves.

When a programme is well put together and nicely themed, it is quite easy to turn one’s attention away from the sound of music, and onto the history of music. PCM 4 at Cadogan Hall was breezily introduced by the BBC compere as a programme marking Britten’s centenary, exploring his relationship with his peers, and celebrating his friend Lutoslawski. Yes, it did all that.

This Richard Thomas Foundation concert at Southbank Centre’s Purcell Room introduced us to two completely new works, and presented two slightly older pieces too for good measure. All were beautifully played by a top selection of performers, making for an excellent demonstration of the power of new music.

Conductor H.K. Gruber’s visits to the BBC Philharmonic are guaranteed to be unmissable concerts of the season; with unquenchable enthusiasm and pride in the music he programmes, Gruber, (known affectionately to all as “Nali”), always assures a stirring performance.

Celebrating Britten’s centenary, tonight’s performance of his five canticles seemed particularly fitting. Written throughout his composing career, they are a testament to the composer’s affinity for poetry and skill at writing with particular performers in mind, and they provide an intimate commentary on Britten’s large-scale works.