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James Ehnes and Andrew Armstrong conclude their exploration of the ten Beethoven violin sonatas.

From the moment Ehnes trilled the G major Op.96 into existence, he and Armstrong achieved the musical transparency that results from using fortepianos with leather hammers and gut strings, and only with great care and commitment when using modern instruments.

How do violinists devise their recital programmes? The conventional format has been to choose a violin sonata from each musical era, or to focus on a particular composer or national style.

Framed by passionate performances of Mendelssohn and Brahms, a gorgeous neo-Romantic work by Steven Stucky is unveiled in this installment of the 2015 Summer Festival. 

The loosely-affiliated Metropolitan Museum Artists in Concert, now in its ninth season at the museum, illustrates all that is good about music-making among friends – and even family members. Two sets of siblings and numerous old friends were on stage for a concert of music inspired by the completion of the museum’s new wing of American art.

Choosing a programme for a recital is as important and nearly as difficult as all the practice that happens next. The programme must be the perfect length, provide a contrast of musical styles and yet be linked in some way so as not to be arbitrary. No-one could accuse violinist James Ehnes and pianist Andrew Armstrong of poor programming; however they certainly didn’t make it easy for themselves.