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While Herreweghe’s approach wasn’t always a successful one, when it was the results were marvelous – particularly in the Jupiter Symphony and Isabelle Faust’s take on the Beethoven Violin Concerto.

Janáček's The Fiddler’s Child and Mozart's 39th Symphony complete a varied program under Michael Stern.

An all-Beethoven tribute in Dublin worthy of any of the great music capitals of Europe. 

Thomas Zehetmair plays Beethoven's sole violin concerto in Seattle before conducting lively Mozart with a Bohemian flavour. 

Guest conductor Susanna Mälkki also showed her mettle in a fully realized performance of Prokofiev's Fifth Symphony.

Howard Griffiths conducts a rich, glowing performance of Schumann's Fourth Symphony in the second half of a heart-warming concert.

Philippe Herreweghe reveals a crisp and precise Philharmonia in Schubert’s Fifth Symphony as Thomas Zehetmair provides reflection and breadth in Beethoven’s Violin Concerto.

Conductor Yannick Nézet-Séguin’s recent debut with the Lucerne Festival Orchestra was a dazzling Beethoven-Shostakovich programme that epitomised the “power of music”.

Denève and the Brussels Philharmonic launched into Guillaume Connesson’s Flammenschrift with enough excitement and energy to illuminate the whole city.

A memorable evening: LSO horns on tremendous form with Sir John Eliot Gardiner on the podium and Isabelle Faust in stellar performance.

A pair of masterpieces in the Australian Chamber Orchestra's latest programme, in typically thought-provoking interpretations. 

Robin Ticciati and the DSO bring a strong sense of purpose to Rachmaninov's Second Symphony and Christian Tetzlaff explores the extremes of Beethoven's Violin Concerto. 

Attentive to the dynamics and tempi, Frang meshed her violin with the orchestra, naturally coming into the footlights or receding into an accompanying role when required. In effect, the performance had a feel of an improvisation.

In a terrific performance under Manfred Honeck, the German violinist brings down the house with Beethoven's Violin Concerto. 

Salonen's tribute to Gehry, Yasuhisa Toyota and Deborah Borda seems to come more from his brilliant visual palette than his emotional heart. 

In her first collaboration with the OAE, Nicola Benedetti brought exquisite tone – and a new cadenza – to Beethoven's Violin Concerto. 

A sumptuous, elegant rendition of Beethoven's Violin Concerto by Nikolaj Znaider, while exchanging violin for baton, Znaider conducts the NSO in a fascinating rendition of Shostakovich's Symphony no. 5.

The Concertgebouw's distinctive sound has remained intact. Ripe lower strings meld with limpid winds and sculpted horns emerge slowly into the foreground all gleaming and glistening.

Ehnes excels in Beethoven, and Gardner draws lovely tone from the RNSO.

Four years ago, the ACO mounted The Reef. Mountain is clearly its successor: another film project involving scenes of nature peopled by extreme-sports enthusiasts, screened while an eclectic soundtrack is played live by the orchestra.

Although Beethoven was none too fond of despots, self-proclaimed emperors, or religious intuitions, one can image his approbation for Justinian’s stupendous Hagia Eirene basilica as a perfect venue for his music. 

Mason Bates' Symphony Liquid Interface takes over the stage in Washington DC. 

Fabio Luisi and the DNSO did not disappoint audiences in San Francisco, presenting a captivating program of Beethoven, Strauss and Nielsen.

Julian Rachlin as soloist and conductor combines Beethoven's violin concerto and Third Symphony into one long story, told with great clarity by Royal Northern Sinfonia.

A startling new work from Jörg Widmann follows disciplined Beethoven at the Philharmonie. 

Nicola Benedetti on astonishing form with Beethoven’s Violin Concerto with the Scottish Chamber Orchestra in Edinburgh.

Conductor Iván Fischer and violinist Nikolaj Znaider inject new life into works rendered banal by featuring in programmes too often.

The Bamberg Symphony and Akiko Suwanai's delivery of arguably one of the most challenging and beautiful violin masterpieces was simply ecstatic. 

The Tokyo Symphony gave the Japanese première of Shostakovich's Tenth in 1954, less than a year after its first performance in Leningrad. Jonathan Nott’s approach could scarcely have been more different. 

A polished and deeply moving Beethoven Violin Concerto from Nikolaj Znaider was complemented by exquisite and vibrant performances of Max Reger and Richard Strauss from the Staatskapelle Dresden.

Riccardo Muti presented a serene program of Beethoven's Violin Concerto, with Julia Fischer, and Brahms’ Serenade no. 1.

Beethoven truly celebrated in Sydney, as another symphony cycle progresses. 

Christoph Eschenbach returned to the Concertgebouw with another smashing success, leading the London Philharmonic Orchestra in a programme of Beethoven, Brahms, and Rihm.

Ludovic Morlot guest-conducts the Los Angeles Philharmonic in a life-affirming programme pairing classic Beethoven with a contemporary masterpiece by John Luther Adams.

Sunday night's concert saw the LSO on top form, however their partnerships with Christian Tetzlaff and LSO Chorus on either side of the interval produced mixed results. 

Gerd Schaller and the Philharmonie Festiva re-evaluate Bruckner's “Zero” in a first-rate performance, following a somewhat lacklustre Beethoven Violin Concerto from Ingolf Turban.

This concert, in a nifty piece of skilful programming, comprised a Beethoven sandwich, with Penderecki’s Fourth Symphony as the filling, both composers who clearly enjoy pushing the boundaries of classical form.

After Marios Papadopoulos' propulsive account of Brahms' Third Symphony, Nigel Kennedy joined the Oxford Philomusica to give an unpredictable and inconsistent performance of Beethoven's Violin Concerto.

With speculation rife as to whether Sir Simon Rattle will become principal conductor of the London Symphony Orchestra upon departing from the Berlin Philharmonic, this electrifying concert provided a tantalising glimpse of what the future might have in store. 

Georgian violinist Liana Isakadze and Finnish organist Kalevi Kiviniemi performed a joint recital at St James's Church, Paddington.

Every once in a while, as a reviewer, you are so utterly transfixed by a performance that it becomes an incredible effort to wrench yourself back into reality in order to put pen to paper, such is the visceral impact. And so it was with Christian Tetzlaff’s performance of Beethoven’s Violin Concerto with the City of Birmingham Symphony Orchestra.

With a sparkling programme of concert classics, the Royal Philharmonic Orchestra, conducted by Grzegorz Nowak and joined by renowned violinist Robert Davidovici were on fine form at the Cadogan Hall on Tuesday evening. They opened the programme with one of Berlioz’s operatic overtures – the only part to have survived in the current concert repertoire from his little known opera Benvenuto Cellini.

“Europe’s answer to the ACO” was how composer Brett Dean described the Mahler Chamber Orchestra before its first concert in Sydney. Despite the similarity in names, the two are very different ensembles.

On the day after the announcement of the programme for this year’s BBC Proms, the BBC Symphony Orchestra gave us yet another concert worthy of that great festival. Under the experienced baton of Martyn Brabbins they took three centuries of music in their stride and at the end of the concert I was left feeling that musical life in London would be so much less exciting without the BBC.

Severance Hall was packed this weekend for a rare appearance by violinist Joshua Bell with the Cleveland Orchestra and music director Franz Welser-Möst conducting. There should have been no disappointment; the concert was brilliantly executed from beginning to end. This review is based on the performance of Saturday, 19 January.Jörg Widmann’s Lied (2003, revised 2009) opened the concert.

“Royal Albert Hall / Barbican / Usher Hall (delete as necessary) sold out for Sunday morning concert.” How likely is this headline in response to a normal, mid-season concert in Britain? For Hamburg, it is perfectly normal, and the crowds that thronged the Laeiszhalle, young and old, chic and casual, were not to be disappointed.

On 3 September 1912, in a Proms concert which also featured a comedy overture by Granville Bantock and excerpts from Délibes’ ballet Coppélia, Henry Wood and his Queen’s Hall Orchestra gave the world première of Arnold Schoenberg’s Five Orchestral Pieces, a landmark work in atonal expressionism which drew hisses from the hall audience.

The air was thick with excitement in the Royal Festival Hall on Wednesday night. Strangers turned to talk to each other and every conversation seemed to be about Pinchas Zukerman: their first Zukerman experience, favourite recordings and how far they had travelled to see their hero.

Bournemouth Symphony Orchestra began what promised to be an excellent programme with a simple Romantic work from Richard Strauss, Traumerei am Kamin (“Dreaming by the Fireside”).

Après une palpitante interprétation du concerto de Beethoven et de la Symphonie n° 1 de Mahler, Isabelle Faust, Daniel Harding et l'Orchestre de Paris triomphent à la Philharmonie.