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Smart sophistication and creepy entertainment go hand-in-hand in an excursion to odd corners of the chamber repertoire.

With the eternally young Gilbert Kalish leading the way, the festival's all-star roster delighted an enthusiastic and knowledgeable Center for the Performing Arts audience.

Yesterday’s all-Romantic programme displaced the usual thing with incredible panache, as Daniel Hope’s violin surveyed the ensemble with regal bearing. 

On Thursday evening, the Chamber Music Society of Lincoln Center presented its inaugural concert of the 2013-2014 Late Night Rose series. On the stage of Lincoln Center’s Daniel and Joanna S. Rose Studio, performers put on a delightfully curated show, featuring the works of three lesser-known Western composers: Arthur Bliss, Karol Szymanowski, and Josef Suk.

For the last concert of her Perspectives series at Carnegie Hall, Renée Fleming assembled one of the least coherent concept programmes imaginable. Billed as “Vienna: Window to Modernity”, it was never clear what was specifically Viennese about the music on show, nor what was particularly modern, nor what windows had to do with anything.

With so much of the chamber repertoire focused on strings and piano, it was a refreshing choice by the Chamber Music Society of Lincoln Center to open their season with some of the great works for winds.