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Before a searing performance of Shostakovich's Thirteenth from Ryan Bancroft and his Welsh forces, Benjamin Grosvenor delivers a terrific performance of Ravel's Piano Concerto in G major. 

Energetic commitment from the ACO at the Barbican, with precision and edge from Alexander Melnikov and Jeroen Berwaerts in an evening of darkness and light.

Rafael Payare, Anthony McGill and the New York Philharmonic create some extraordinary moments in the course of an overall uneven concert of Gubaidulina, Mozart and Tchaikovsky.

Russian-Ukrainian conductor Anna Rakitina doesn't quite land on her debut with the BBC Symphony Orchestra, while Lise de la Salle uncovers the lighter side of Rachmaninov. 

A gripping Sibelius tone poem, an intense performance of a modern violin concerto and an enjoyable modern symphony all played as if it was the BBC Phil's everyday fare. 

Grosvenor brings out the commonalities and contrasts of two great B minor sonatas, demonstrating his unique pianistic qualities. 

The Korean pianist gives his first solo recital at the Barbican, focussed around Handel, Brahms and variation form. 

Austrian percussionist Martin Grubinger delivers a memorable performance at Berlin's Staatsoper with a programme featuring Peter Eötvös and Tan Dun, under the baton of Gustavo Gimeno.

An uncharacteristically weak showing by Andris Nelsons and the Vienna Philharmonic took the air out of an otherwise impressive year for the festival.

“A Soviet artist's creative response to justified criticism” and Shostakovich's orchestration of music by Mussorgsky were at the heart of this BBC SO programme at the Barbican. 

The conductor brought the score together by finding unexpected warmth in Sofia Gubaidulina's music and avoiding the melodramatic in his interpretation of Rachmaninov. 

The Royal Stockholm Philharmonic Orchestra's superb playing is constrained by the limits of streaming. 

Omer Meir Wellber conducts his first Bridgewater Hall concert as Chief Conductor of the BBC Philharmonic.

Bergen Philharmonic’s programme of Grieg’s Piano Concerto and Gubaidulina’s violin concerto Offertorium offered fascinating insight into the relationship between orchestra and soloist.

In Zurich’s new and provisional Tonhalle Maag, Omer Meir Wellber recently conducted a triple bill of works from the Baroque, Romantic and modern periods.

Sofia Gubaidulina has always been drawn to non-traditional sounds, something which invariably landed her in trouble during the Soviet era. The bayan, a 200-button Russian accordion, became the source for many of those sounds in solo and concerted pieces. “It breathes,” she has said, possessing an “earthy quality like no other instrument”.

Gidon Kremer, long-time champion of Sofia Gubaidulina, joined the Berliner Philharmoniker and Christian Thielemann for a performance of In tempus praesens.

In a former ballroom in the up-and-coming Neukölln district, the orchestra’s chamber ensemble presented an eccentric programme of music by oddballs and outcasts.

The Scottish Ensemble's seasonal concert by candlelight looks at J.S. Bach and those inspired by his music.  

Hanna-Elisabeth Müller gives a stellar performance of "Das himmlische Leben" to crown Philharmonia Zürich's Mahler 4. 

Throughout ten surprising and impassioned minutes, the musicians, conducted by harpsichordist Jacob Greenberg, oscillated between the unhurried harpsichord chorale and the furious upside-down bowing of the bass and alternated long soupy phrases with delicate, supernatural trills. 

Juliette Bausor and Alasdair Beatson give an exciting and versatile programme of music for piano and flute as part of the European Concert Hall Organisation's ECHO Rising Stars programme.

Joanna MacGregor's 'Exotic Birds', in an imaginatively programmed Auckland Philharmonia concert, gets our reviewer all aflutter.

It is pleasing to see concerts of music by living composers well attended, and such was the case at “A Timeless Beauty”, part of the Southbank Centre’s year-long celebration of contemporary music The Rest is Noise. This concert’s theme was “Politics and Spirituality”, and looked to the former Soviet Union for inspiration.Two composers on the programme provided contrasting examples.

Although it was probably arranged via a series of emails between managers, the audience at Prom 41 could have been forgiven for thinking that this was a match made in heaven.

One can be forgiven for expecting that a Sunday afternoon concert should consist of light classics to which one doesn’t need to apply too much mental exertion. The works in yesterday afternoon’s performance by the MET Orchestra under music director Fabio Luisi were anything but light. In fact, I suspect that the electrifying energy of the concert would be enough to keep me going for a long time.

It's remarkable that the 39-year-old Kronos Quartet had never played at the Proms before this Tuesday evening, but they seemed set for making up on lost time, with a literally spectacular performance of a typically diverse range of works from around the world.

Since moving to London in September, I’ve remained highly impressed and encouraged by the capital’s concert attendance levels. I’ve grown up with constant Doomsday prophesies of the imminent demise of Classical music – I think everyone has, actually.

On October 24th the grand-dame of Russian contemporary music, Sofia Gubaidulina, celebrates her 80th birthday. In order to commemorate this event, several concerts with her music were scheduled in Amsterdam for her presence – not least of all, the premiere of her new Concerto for Orchestra.

Themes of spirituality and religion pervaded the fourth and final chamber music prom of this BBC Proms season.

The Koorbiënnale in Haarlem is a biannual festival, organized for the sixth time this year. The opening night consisted of four exciting modern pieces and the world premiere of a new work by the Latvian composer Ēriks Eŝenvalds. The first piece played was Daan Manneke’s Topos for chorus and harmonium. It is a song cycle set to four poems by Arthur Rimbaud.

La beneficiaria de la primera edición de la Beca Alicia de Larrocha debuta en el Palau de la Música de Barcelona.

Du Prélude BWV 855A de Bach à la Sonate op. 58 de Chopin, le pianiste britannique a proposé un récital entièrement en si mineur, qui a fait plus d'une fois dresser l'oreille.

Das Gewandhausorchester Leipzig ließ bei Schostakowitsch und Gubaidulina seine Virtuosität glänzen.

Sous la direction d'Andris Nelsons, la phalange viennoise impressionne dans Chostakovitch et séduit dans Dvořák, dont la Symphonie n° 6 est sublime de douceur et de tendresse.

Die Philharmoniker zeigten einmal mehr ihre von Schostakowitsch gepriesene „glänzende Orchesterkultur”.

La Sinfónica de Galicia cierra la temporada con un intenso viaje desde la música de Sofia Gubaidulina a la Cuarta sinfonía de Brukner, un magnífico y exitoso colofón a un ciclo lleno de momentos inolvidables.

Retour sur le dernier concert de l’Orchestre Philharmonique de Radio France cette saison, avec la création du Triple Concerto de Sofia Gubaïdulina. 

Bei „Klassik vor Acht” geben zumeist junge Nachwuchspianisten etwa einstündige Konzerte. Was Anna Gourari dabei aus den Tasten zauberte, war eigenwillig, feinsinnig, temperamentvoll, lyrisch, wuchtig, zart und energetisch zugleich - kurzum, eine Sternstunde der Klavierkunst.

Mit Sofia Gubaidulinas zweitem Violinkonzert und Bruckners Neunter boten Gidon Kremer und die Sächsische Staatskapelle Dresden unter der Leitung von Christian Thielemann ein wahres Klangerlebnis für das Berliner Publikum.