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Director Barbora Horáková Joly and conductor Jiří Rožeň offer a fresh take on a pair of 20th-century psychodramas.

François-Xavier Roth conducts the Bavarian Radio Symphony Orchestra with pianist Kirill Gerstein in a thrillingly played trio of Debussy, Schoenberg and Stravinsky.

Swiss composer Othmar Schoeck’s Notturno is the rarity in an imaginative chamber recital dedicated to nocturnal music and transfiguration.   

The Chinese pianist gives powerful performances of works by Ravel, Schoenberg and Liszt at the Lukaskirche.

The Edinburgh rain was the third performer in this concert, and unfortunately detracted from the two on the billing.

Verklärte Nacht sounded gorgeous in the outstanding surroundings of the Palacio di Carlo V, with the ensemble capturing the grace of the original sextet.

Kitty Whately’s parents, Kevin Whately and Madelaine Newton, joined the mezzo and pianist Joseph Middleton, reading poetry to illuminate the themes of the song groups.

This electic performance of Pierrot Lunaire was preceded by a clutch of contemporary Australian works (and a poem), which served to demonstrate that Schoenberg's modernity is still way ahead of the times.

Carlos Simon’s Fate Now Conquers is sandwiched by two Beethoven symphonies in this final programme in Andris Nelsons' “Spirit of Beethoven” theme.

Karina Canellakis steps in for Esa-Pekka Salonen to make an accomplished debut in Munich. 

The London Philharmonic strikes a somber note as Edward Gardner explores themes of resurrection and transfiguration in the Royal Festival Hall. 

Concert life returns to Sydney with a programme of Mendelssohn and Schoenberg by the Australian Chamber Orchestra.

Superb performances of Schoenberg and Brahms make the Berliner Philharmoniker's thrilling season-opener with Kirill Petrenko a concert to remember. 

The West-Eastern Divan Orchestra presents a superb programme executed with power and urgency to herald the return of public music-making at the Pierre Boulez Saal.

The Bayerische Staatsorchester saved the best for last with its season finale, a generous programme of Strauss, Schoenberg, Stravinsky and Mahler.

Alisa Weilerstein and Trondheim Soloists have an eye on the calories in three great Romantic string sextets by Richard Strauss, Schoenberg and Tchaikovsky.

A semi-staged performance of the two early 20th-century modernist works at the New York Philharmonic featured excellent soloists, great production and an inspired orchestra led by Jaap van Zweden.

Capable of being defiant when needed, Kopatchinskaja impresses with the seemingly infinite timbral variety of her pianissimos.

Wellber may have lots planned for the BBC Philharmonic over the coming years, but this exciting programme showed that he didn’t want to waste any time delivering.

On the 50th anniversary of the first lunar landing, the musicians of Yellow Barn played a wide-ranging program of works inspired by the night sky. 

After a popular first half including a fine Grieg Piano Concerto, the Belgrade Philharmonic gave a showpiece performance of Schoenberg's early symphonic poem. 

Rafael Payare and the Ulster Orchestra present a programme of music that looks both backwards and forwards from composers who were musical visionaries.

A pair of A minor sonatas demonstrate the composer's evolution over his lifetime; the Wanderer Fantasy shows the pianist's mastery of phrasing.

Performing arts duo Ricci/Forte throw what feels like the entire directorial arsenal at this production.

Early works by Schoenberg and Webern filled out an austere program.

By using Schumann’s Novelletten to draw a broad dramaturgical bow over the whole evening, Martin Helmchen stands on his own as a bold and highly creative pianist.

In the second of the two concerts this week to open the Philharmonia's season, Salonen excels in the Schoenberg, while leaving space for debate in the Bruckner.

In Bruckner Six, Salonen simply jumped the red lights and kept driving.

This was a superbly assured performance in which Esa-Pekka Salonen marshalled his forces with a clear-sighted vision to carve out an account brimming with intensity, energy and commitment.

Lars Vogt and Royal Northern Sinfonia deliver Beethoven's Symphony no. 9 with swaggering self-confidence, and heroic chorus singing.

A gorgeous programme of Wagner, Strauss and Schoenberg and fragments in sextet arrangements

Dame Mitsuko Uchida again brought out her outstanding musicality and special charisma in Bartók’s Third Piano Concerto.

History was never more relevant than in this musical observance of a modern political milestone.

An exemplary cast, an opulent orchestra and unforgettable images in Arnold Schoenberg’s Gurrelieder.

Experiments in music and ideas brought together by the London Sinfonietta and guests at a special concert all about space and time.

Hannigan plays with expectations, opening with a single spotlight after a complete stage blackout to dramatic effect, and I am pretty sure she was rocking slippers on stage. 

Barbara Hannigan joined pianist Reinbert de Leeuw for a Second Viennese School recital at the Park Avenue Armory.

Vladimir Jurowski is fond of grand statements, and sometimes off-the-wall programming – genius when it works, baffling when it doesn’t. 

A taste of the future with Sir Simon Rattle and the LSO.

Sir Mark Elder's 70th birthday Gurre-Lieder threatens to dislodge the roof in Manchester with the combined forces of the Hallé and BBC Philharmonic

Vilde Frang galvanises the English Chamber Orchestra, with the slow movement of Bach's E major violin concerto proving the highlight of the evening.

Rewarding programme contrasting First and Second Viennese schools opens Berlin's 2017 Festtage.

Royal Northern Sinfonia hide a feast of quirky, inventive string writing by Shostakovich, Stranvinsky, Mozart and Schoenberg behind a sedate title.

Maurizio Pollini demonstrated why people still flock to hear him perform in sonatas by Beethoven and miniatures by Schoenberg.

The Venezuelan maestro conducts a programme of early 20th-century works with the BBC Philharmonic .

Franz Welser-Möst conducts the Wiener Philharmoniker, an ensemble he knows very well, in two Romantic masterpieces that were not always considered as such.

Cédric Tiberghien was the astonishing soloist in Saint-Saëns’s “Egyptian” Concerto, with works by Pintscher, Schoenberg and Debussy’s La Mer filling out the program.

This was an ingenious and memorable concert of rarities and hybrids from early 20th-century Vienna, curated and performed by the ever imaginative Janine Jansen.

New harp of the Turku Concert Hall had its first outing in a concert with a diverse program featuring a duet with flute and harp and Schoenberg’s sinister Verklärte Nacht.