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In their “Visionary Sounds” concert, the ensemble lets Eastman's Stay On It fall into abandon at times... but never without a plan. 

The Marian Consort open the Perth Festival of the Arts with a specially curated programme of Scottish Renaissance music with modern work from Dani Howard and Electra Perivolaris. 

Sheffield Chamber Music Festival goes on tour, but Ensemble 360’s string players are right at home in the unique “in the round” setting of St Martin’s Church, Stoney Middleton. 

A program of works for soloists and small ensembles proves aurally and visually taxing, emotionally and intellectually exhausting, all in fairly enticing ways.

Autumn colours of late Brahms illuminated this November evening in the company of Ensemble 360, before the concert concludes with Dohnányi at his most subversive.

One of the fathers of the wind quintet, a sextet for a unique instrumental line-up and Beethoven as we rarely hear him: an evening of surprises in Sheffield.

The Israeli Chamber Project gave Milhaud's La Création du monde a warm and easy stride, a tactic that didn’t sit well in the second half with the ever-austere Messiaen Quartet for the End of Time.

It would be rash to make assumptions about the composer/performer collective based on a single program, but it was still not to notice a divergence from the past in the program of world premieres.

The chamber ensemble offered a century-spanning programming, stretching from Béla Bartók and Ruth Crawford Seeger to Ann Cleare and Georg Friedrich Haas. 

Life, death, childhood, community and love are celebrated in Songs for Life by Karen Cargill with the Scottish Ensemble in an exquisitely filmed performance.

A great performance of Vivaldi's only surviving oratorio, with Marie-Nicole Lemieux as the protagonist, under the baton of Jean-Chirstophe Spinosi.

A deeply soulful musical adventure for a winter’s night from the Scottish Ensemble to celebrate their 50th anniversary