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What do you get for the composer who made – and also kind of broke – everything? Arnold Schoenberg’s well-documented phobia of the number 13 aside, he could not have asked for a superior tribute in his 150th anniversary year.

Director Barbora Horáková Joly and conductor Jiří Rožeň offer a fresh take on a pair of 20th-century psychodramas.

A semi-staged performance of the two early 20th-century modernist works at the New York Philharmonic featured excellent soloists, great production and an inspired orchestra led by Jaap van Zweden.

In Bruckner Six, Salonen simply jumped the red lights and kept driving.

David Radok links two expressionist works, Bartók's Duke Bluebeard's Castle and Schoenberg's Erwartung, to the advantage of the Bartók.

This was a concert made in heaven. To hear Per Nørgård's Iris, one of a triptych of symphonic poems composed in the late 1960s, eerie and mysterious, and underlain by the influences of Sibelius and Nørgård's teacher and fellow-symphonist, Vagn Holmboe, would make a rich and rewarding enough occasion in itself.

Simon Keenlyside and Graham Johnson's concert at the Vienna Konzerthaus featured songs by Schoenberg and his pupil Hanns Eisler, as well as Britten, Wolf, Schubert and Brahms. These consummate artists made a difficult program seem easy to perform and even easier to listen to.

Dos obras que reflejan las complejidades de la psique humana de manera magistral llevadas al escenario por Christof Loy, con las voces de Ermonela Jaho y Malin Byström.

Krzysztof Warlikowskis neue szenische Einrichtung verbindet tödlichen Schmerz bei Purcell und Schönberg stimmig in schillernd moderner Lesart.

Premier concert d'un diptyque Brahms à Genève : Nicholas Angelich fait preuve d’une maestria sans ostentation dans le premier concerto, rayonnant sous la direction de Jonathan Nott.

Programme pléthorique que celui de cette soirée ! A l’ordre du jour, un corpus d’œuvres mues par la passion, où J.S. Bach flirte avec Manoury et Vito Zuraj lance d’incessants clins d’œil à B.A. Zimmerman.