Live, Video: Find classical music concert, opera, ballet and dance reviews | Piano Quintet in E flat major, Op.44

Emanuel Ax joins members of the New York Philharmonic for an afternoon of chamber music at the 92nd Street Y. 

Katya Apekisheva and friends made a persuasive case for Hummel's Piano Quintet to be heard as a transitional grand romantic concerto deserving of belonging in such august company.

Birthday concerts are strange things. If a hall is going to celebrate your birthday, you'd want to be in the audience and have some of your favourite musicians entertain you.

A strong platform for Caroline Shaw's abundantly inventive writing, followed by joyous and commanding Schumann from the Calidore String Quartet and Javier Perianes to launch the Proms at... Cadogan Hall season.

One of the reasons why the programmes of the Australian Chamber Orchestra are both challenging and inspiring is because of the ensemble’s always interesting and thought-provoking approach to repertoire.

A well-balanced programme drew a large crowd to Wigmore Hall for a diet of high fibre Beethoven, crunchy Bartók and, joined by young Russian pianist Anna Vinnitskaya, Schumann’s delicious Piano Quintet.

The Novus String Quartet from South Korea makes in impressive debut at the Suntory Hall in Tokyo, Japan.

An all-Schumann chamber music concert doesn’t come around that often even at the Wigmore Hall, so I was delighted that the Modigliani Quartet presented a programme of his major chamber works with pianist Beatrice Rana.

This concert was an intimate occasion to witness a master pianist breathe life in to favourites as well as lesser known works for the piano.

Members of the London Bridge Ensemble and the Heath Quartet enthralled a capacity audience at the Discovery Centre in the fourth event of the Winchester Chamber Music Festival. The main focus this year was Beethoven and Schumann, the music selected to highlight their musical development at specific times in their careers.

The final concert in Northern Sinfonia’s summer chamber music series followed the pattern of the first two, sandwiching a lesser-known piece between two staples of the chamber music repertoire, and giving different groups from the orchestra the opportunity to step forward.

Early Romantic symphonies lie at the core of Northern Sinfonia’s orchestral repertoire, and so to hear different groups of their players getting together with pianist John Reid to perform chamber music by Schumann and Brahms seemed like the most natural thing in the world, an intimate, scaled-down version of one of their regular concerts.

Given reports that an earlier instalment of this Jerusalem Quartet tour had been disrupted by protesters, it's pleasing to be able to write that there were no such disturbances here. It's a good thing too, because nothing should overshadow the exquisite music-making of this Israeli quartet, joined here by Russian pianist Alexander Melnikov. Melnikov and the quartet blended very well.

With only Nikolai Demidenko's Gala Recital on Sunday 10th April remaining, the recital by the Vardanyan Quartet marked the end of Haddington Concert Society's 2010/11 “Music Close Up” season. The only single-gender ensemble I've seen in two seasons of concerts, the quartet opened with Haydn's String Quartet in D Major, Op. 64 No. 5 'The Lark'.

The concert featured a chamber group based in the West Country, the Ardeton Ensemble. Sarah Eales and Rebecca Harte, violins, Rachel Johnson, viola and Dury Loveridge, cello, with guest pianist Stephen Meakins, gave a balanced and enthusiastically received programme of works by three major composers.Beethoven’s first completed string quartet opened the evening.

Julien Dieudegard, Louis Rodde et Paloma Kouider ont formidablement mis en valeur le Trio op. 17 de Clara Schumann lors du week-end de clôture du Festival de Quatuors du Luberon.

Le trio a invité une belle équipe de copains (Théo Fouchenneret, Edgar Moreau, Grégoire Vecchioni, Paul Zientara, Shuichi Okada) lors d'un programme « 1842 » parfois alambiqué mais formidablement défendu.

À la suite d'un album intégralement consacré à Robert Schumann, les cinq complices livrent une performance sur courant alternatif, avec des pages déséquilibrées et de vraies réussites.

Retour sur une approche radicale – qui passe certainement mieux au disque que dans une salle qui ne lui est pas taillée sur mesure – dans laquelle on aura pu apprécier l'excellence des interprètes.

Dans un programme qui alliait Schumann et Janáček, le quatuor et le pianiste ont livré une interprétation brillante, expressive et éloquente.

Un Beethoven unique, un Bartók franchement abstrait : rien n'arrête la recherche d'originalité des Hagen. Accompagnés de Kirill Gerstein, ils sont moins convaincants dans un Schumann un peu trop froid.