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After a performance of Magnus Lindberg’s First Violin Concerto by Lisa Batiashvili at the Barbican, Stravinsky’s Perséphone stands the test of time. 

After an indifferent start, the Philharmonia finally come to life in the last movement of Sibelius’ First Symphony. Lawrence Power shows his viola class.

Nicholas Collon conducts the Finnish Radio Symphony Orchestra in a ZaterdagMatinee programme designed to celebrate Finnish Independence Day. 

Nothing quite ordinary or indeed comforting here, the heavy mixture of acid colouring in Lindberg, Ustvolskaya and Stravinsky not tempered by any opulence in Rachmaninov.

Santtu-Matias Rouvali is the latest potential candidate to audition as the New York's Phil's next Music Director. 

Lindberg and Weinberg provide musical spice to a Sunday morning clarinet and piano recital from the Philharmonie Essen.

A quartet of contemporary works in Basel, with Rebecca Saunders' traces proving shocking, but cohesive.

The Bournemouth Symphony Orchestra offers sweeping early Beethoven and a 250th birthday tribute by Magnus Lindberg.

Anssi Karttunen  gracefully mastered the difficulties of Magnus Lindberg's score, marrying the serialist tendencies of his early opuses with more ear-pleasing tonal figments.

On the 100th eve of the Armistice, Vladimir Jurowsky led the LPO in four radically different meditations on death and eternal life.

Astonishing virtuosity for the clarinet along with one of the great wartime symphonies ensured a fascinating evening at the 2018 Proms.

Concluding its "Belief and Beyond Belief" series, the London Philharmonic Orchestra conducted by Yazushi Ono also completes its 2016-2017 concert season. 

Democracy and collectivism were hard at work as Jurowski’s decidedly undictatorial style fostered a strong on-stage community amongst the London Philharmonic Orchestra and Choir, who ultimately conjured Elysium itself.

Principals from Royal Northern Sinfonia showcase new music from even further North than Gateshead, with chamber works from Denmark, Finland, Sweden and Estonia.

Carnegie Hall opened its 125th anniversary season with the help of one of the world’s greatest living composers, one of the world’s greatest performers, and one of the world’s greatest orchestras.

An evening of fine music-making in Birmingham thanks to the CBSO Youth Orchestra Academy and Michael Seal. 

A UK première, movements from a rarely performed Prokofiev ballet by Prokofiev and a revitalising performance of Petrushka demonstrates the LPO's bold programming. 

Magnus Lindberg's first work for solo voice proves an important new contribution to the genre, while Debussy, Wagner and Scriabin lack magic.

Works from Magnus Lindberg, Prokofiev and Shostakovich set the tone for an exciting forthcoming season from the LPO.

Jurowski, Kopatchinskaja and the LPO entrance with a varied and imaginative programme.

Linked together by Bach's chorale “Es ist genug”, the Philharmonia performed Lindberg's enigmatic Chorale, Berg's Violin Concerto and Schubert's Symphony no. 9 in C major “Great”. After an underwhelming first half, some invigorating Schubert saved the day.

There was a time, perhaps not too long ago, when music lovers in Los Angeles would look towards New York and its august Philharmonic Orchestra with a mixture of respect and envy. The roster of its past music directors—among them Bernstein, Mitropoulos, Toscanini, Mengelberg, and Mahler—was, alone, enough to inspire jaw-gaping awe.

Magnus Lindberg’s music draws upon the idioms of the classical canon, even as it exploits the myriad innovations and stylistic resources available to contemporary composers. His Piano Concerto no. 2, given its world premiere by the New York Philharmonic on this program, flits between key signatures rather than staying rooted in strict atonality.

The second instalment in The Hallé Beethoven cycle was led by Principal Guest Conductor Marcus Stenz, and also featured the striking Nordic colours of Jean Sibelius and Magnus Lindberg.Sibelius’ Symphony No.

À la tête de l'Orchestre de Paris et de l'Ensemble intercontemporain réunis, le chef d'orchestre et compositeur a dirigé un superbe programme 100% finlandais (Sibelius-Lindberg-Saariaho). 

Le Concerto pour piano n° 3 de Magnus Lindberg a vu briller Yuja Wang, et l'Orchestre de Paris s'est illustré dans Tchaïkovski, mais tout n'a pas été absolument convaincant pour autant.

Das britische Orchester beweist, wie uns zeitgenössische Kompositionen vor allem in Verbindung mit zum Nachdenken anregenden Texten inspirieren können.

La baguette énergique et nerveuse de Stéphane Denève offre une Symphonie n° 9 de Beethoven percutante et bouillonnante, accompagné du Vlaams Radiokoor en état de grâce.

Chouchou du public montpelliérain, Santtu-Matias Rouvali mène le passionnant Orchestre Philharmonique de Tampere, invité à conclure en apothéose le Festival de Radio France.

L'Ensemble intercontemporain se joint à l'Ircam dans le cadre du festival ManiFeste. Pour une soirée de créations avec les compositeurs Roque Rivas, Frank Bedrossian, Benoît Sitzia et Magnus Lindberg.

Christian Teztlaff konnte sich bei Jean Sibelius' Violinkonert ganz auf des Deutsche Symphonie-Orchester Berlin unter Robin Ticciati verlassen.

Pour ce dernier concert de la saison à Radio France sous la direction de leur directeur musical depuis septembre 2015, Mikko Franck, l’Orchestre Philharmonique de Radio France est une nouvelle fois apparu en pleine forme.

Monográfico finés por la Sinfónica de Galicia, Dima Slobodeniouk y Anssi Karttunen: conclusión del ciclo sinfónico de Sibelius y estreno español del Segundo concierto para violonchelo de Lindberg