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From Stonehenge in Vaughan Williams’ Tess of the d’Urbervilles-inspired Ninth Symphony to Arnold Bax’s Tintagel, the LSO heads on a musical tour of western England. 

The Sinfonia of London excels in works by British composers at the BBC Proms, launching some of the season's themes. 

Adrian Wilson and Ensemble 360 perform three gems of English chamber repertoire, with flowing romanticism in Bowen, warm introspection in Finzi, and enthusiastic spirit in Bax. 

James Ehnes was an ideal soloist in Walton's Violin Concerto, well partnered by John Wilson and the BBC Philharmonic, with atmospheric Bax and a powerful Vaughan Williams 4.

Continuing its series of landmark classics inspired by the British Isles, the London Philharmonic conducted by Osmo Vänskä showcases Bax before moving north to traverse the Nordic landscapes of Grieg and Sibelius.

Fury, passion and loss from Martyn Brabbins and the BBCSO in an all-British programme. 

The Sydney Symphony in a finely chiselled account of Vaughan Williams' “A London Symphony”, but groped for balance in Ravel and Bax.

A well-crafted programme at Symphony Hall showcasing the best of English music from the first half of the last century.

Oramo and the BBC Symphony Orchestra negotiate a challenging first half with works by Bax and Dean, followed by a superb rendering of Elgar's first symphony

Cinematic sweep was on full display as JoAnn Falletta and the VSO/VSC thrilled with vital interpretations of three early 20th Century works by Bax, Respighi and Walton.

As part of the Festival Hall’s Sunday matinee series, John Wilson programmed three inspirational works by Bax, Walton and Vaughan Williams. 

Sir Mark Elder conducted the Hallé in an original and subtle programme to commemorate the First World War at Manchester's Bridgewater Hall.

Judith Weir's music didn't have the pride of place it deserved at this miscellaneous collection of music from past and present Masters of the Queen's Music, presented by the Park Lane Group at the Sam Wanamaker Playhouse. 

Jac van Steen and the Ulster Orchestra attempt to entice new audiences to classical music, with mixed results.

From the altar of their customary home in Edinburgh’s 1691 Canongate Kirk, Calton Consort presented an a cappella concert enigmatically entitled “Translated Daughters”. The enigma dissolved upon hearing W.H. Auden’s text for Britten’s Hymn to St Cecilia. It features the arresting couplet: “Translated Daughter, come down and startle / Composing mortals with immortal fire.

The programme read a little like a musical version of Kim's Game: not one but two full-scale symphonies, the same number of prefatory pieces, and then a piano concerto to boot: a test for the audience as well as the orchestra. The principal connexion between the works – apart from their contemporaneity – was the celebrated conductor, Serge Koussevitsky.

Isabelle Demourioux (flûte), Magali Prévot (alto) et Helvia Briggen (harpe) proposent une escapade sonore en trio, dans un programme riche et varié.

Autour de la Sonate pour flûte, alto et harpe de Debussy, trois jeunes talents étaient mis à l'honneur à l'Auditorium du Louvre : Adam Walker, Timothy Ridout et Anneleen Lenaerts.