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Ryan Bancroft and the BBC NOW offer scintillating playing in John Adams’ Harmonium, plus an exciting world premiere from Derrick Skye and a stunning Copland concerto with clarinettist Annelien Van Wauwe.

 “Behold, the sea itself!” Prom 16 is all at sea with Doreen Carwithen's Bishop Rock and Grace Williams' Sea Sketches ahead of RVW's great Sea Symphony.

The BBC NOW gave us two hearty Russian works and celebrated the lunar landing with a world premiere of Huw Watkins' The Moon.

The War of the Romantics – Brahms v Wagner – from the BBC National Orchestra of Wales and Nathalie Stutzmann, followed by an energetically powerful Mozart Requiem with the BBC National Chorus of Wales on fine form.

Even if Hubert Parry was overshadowed by Holst and Vaughan Williams, this was a splendid concert of British music. 

Thomas Søndergård’s final performance as chief of the BBC National Orchestra of Wales sees them pull off Mahler 8 in style.

Ryan Wigglesworth conducts a Huw Watkins première and a grand-scale account of Beethoven’s Ninth Symphony

Juanjo Mena begins the final year of his stint with the BBC Philharmonic with a warm interpretation of Mahler's Third Symphony.

Affecting Britten, distinctive Elias and popular Elgar, with a curio of arranged Purcell thrown in, from Ryan Wigglesworth and the BBC National Orchestra of Wales.

An underwhelming performance that fell prey to poor interpretive judgements. 

Three English composers receive fine performances from the BBC National Orchestra of Wales.

Luscious orchestral and choral sounds bring Ravel’s Daphnis et Chloé to shimmering life.

Wagner's Die Walküre and Tippett's A Child of Our Time both attempt to capture the essence of humanity. Despite making for an unusual pairing, the programme was an effective one.

After a stirring Marseillaise, a sombre mood hung over the first half of this Proms season opener, with Sol Gabetta's lyrical, intimate Elgar. 

In a quirky programme featuring English, Welsh and Russian music the BBC National Orchestra and Chorus of Wales began their new season at St David’s Hall showcasing, with mixed results, their composer-in-association Huw Watkins, Elgar and three Russian composers at different stages in their careers.

The celebratory, cerebral and contradictory elements inherent in this diverse programme of Haydn, Mozart, Poulenc and Stravinsky didn’t quite disguise some uneven performances in Søndergård’s third prom concert.

A mixed programme thrills, launching the season with a bang

Grand Holst and the première of Mark Bowden's A Violence of Gifts, performed with bombastic gusto and colour.

Thierry Fischer and the BBC National Orchestra of Wales presented an eclectic programme, with an exciting première by Simon Holt and the many different facets of 20th century French orchestral music.

A brave choice for a Proms season opener, but Elgar's ponderous score is presented in the best possible light by the BBC forces.

A celebration of Wales in the St David's Day Gala in Cardiff. 

I find it difficult to remember the last time I attended a concert in which I was met with just about everything that I wanted to hear, settled alongside facets of performance that I hadn’t yet encountered. Perhaps tonight was, indeed, my first such experience.Thomas Søndergård’s rendition of Poulenc’s Gloria realised everything that I find I intuitively hope to hear from it.

Thomas Søndergård made his BBC Proms debut at the end of a successful first season at the helm of the BBC National Orchestra of Wales, bringing a hefty programme of Stenhammar, Szymanowski and Strauss to the Royal Albert Hall.It was a fascinating programme, with a first half of relatively underperformed works prefacing Strauss’ popular Alpine Symphony.

On Wednesday evening the BBC National Orchestra and Chorus of Wales, conducted by Adrian Partington, presented a programme of choral music by the two musical friends Poulenc and Britten.

In days gone by, if you went to see a Mahler Symphony, you wouldn't feel you’d had the full experience unless Gustav himself was waving the baton. Nowadays the privilege of watching a composer conduct his own work is a somewhat rarer one, though fortunately not yet a completely extinct practice, and watching Knussen’s Symphony No.

It’s been a busy couple of months for Berlioz’s Requiem in London. First there was Sir Colin Davis’s June performance at St. Paul’s, with the reinforced London Symphony Orchestra’s brass bands arrayed around the dome. Now, on an unofficial Big Choral Weekend at the Proms there was this valedictory effort from the BBC National Orchestra of Wales and their outgoing music director, Thierry Fischer.

Leonard Bernstein’s Mass is massive. And massively odd. I thought I had prepared myself for what was in store before this piece’s Proms debut on Monday, but actually I hadn’t.

Prom 23 served up a menu of English music from the first half of the 20 century in all its variety, with impressionism by Delius, the lush strings of Vaughan Williams, heroic brass from Ireland, and jazzy, sophisticated excitement from Walton.The programme opened with a warmly affectionate performance of Vaughan Williams’ Fantasia on a Theme of Thomas Tallis.

Saturday’s one-off double bill saw new work from one of Britain’s best, Richard Alston, paired with American Stephen Petronio’s creation for the National Dance Company of Wales. The show comes as part of the biennial British Dance Edition, a showcase of the top talents in British dance.

The Proms Choral Sundays series moved from last week’s dramatic opening (Havergal Brian’s Gothic Symphony) to the more familiar but no less spectacular territory of Verdi’s Requiem. Since 1956, this has been a Proms regular, with 16 previous performances, including a run of five in the eight years from 1956 to 1963.

A work scheduled to last nearly two hours could be excused for starting with a long slow build up, but Havergal Brian’s massive Gothic Symphony (the longest symphony ever composed) bursts onto the scene with a brisk and bustling march-like flourish, contrasted briefly with a delicate violin solo that reminds us that this is very much an English composition.