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The Polish National Radio Symphony Orchestra, Alexander Liebreich and soloist Szymon Nehring serve up works by four Polish composers in celebration of the centenary of Poland regaining its national independence.

The Apollon Musagète Quartet captures the imaginative world of Panufnik, while Nurit and Pescia deliver a searingly intense Bloch Violin Sonata no. 1.  

Quartet Dudok perform life-affirming Mozart while Apollon Musagète Quartet give an effective rendition of Panufnik. Quatuor Danel deliver a tour de force of Beethoven's “Razumovsky” String Quartet no. 2.

The stellar performance of the evening was Anne-Sophie Mutter performing Penderecki's Violin Concerto no. 2 “Metamorphosen”.

Sergej Krylov makes a superb case for Andzej Panufnik's Violin Concerto; Søndergard and the LPO disappoint in Sibelius but thrill with Shostakovich's Symphony no. 5.

This was a clever and enjoyable concert built around anniversaries – Panufnik at 100 and Richard Strauss at the grand old age of 150. Despite the two composers being miles apart in approach and style the structures of their two pieces, a single movement building to central climax, were revealed as being similar.

Peter Broadbent and the Joyful Company of Singers return to the Presteigne festival for an enterprising programme of unfamiliar 20th-century choral repertoire.

The I, Culture Orchestra animate an Edinburgh Festival audience with elegy, irony and defiance.

Andrzej Panufnik was paired with Dvořák for this London Symphony Orchestra concert at the Barbican, conducted by Michael Francis and featuring Anne-Sofie Mutter.

Surprisingly, this was the Warsaw Philharmonic’s first visit to the Proms, invited as part of this year’s focus on Polish music. About time too, one might say, and particularly so with it being both Lutosławski’s centenary year (and almost Panufnik’s too, shy by a year), and this the farewell concert of outgoing Artistic Director of twelve years, Antoni Wit.

“Three concertos and an epitaph” is how the Wales Millennium Centre summed up tonight’s concert. Not only did the selected programme focus almost exclusively on three composers’ essays in the concerto genre, but it also spanned a narrow period of time within the mid 20th-century: 22 years in total, or 38 if one includes Andrzej Panufnik’s Katyn Epitaph.