Live, Video: Find classical music concert, opera, ballet and dance reviews | Piano Concerto no. 1 in D minor, Op.15

Who needs conductors when you've got synergy? The Camerata Salzburg and Hélène Grimaud bring Mozart and Brahms to Berlin's Philharmonie. 

Elim Chan expertly conducts the SSO through a varied programme featuring an Australian fanfare, Russian ballet music and Brahms' First Piano Concerto with Sir Stephen Hough. 

Yannick Nézet-Séguin smartly surrounds a guaranteed crowd-pleaser – Brahms’ First Piano Concerto – with less familiar works by Julia Wolfe and Louise Farrenc. 

A unique, but at times frustrating performance of Brahms’ First Piano Concerto demonstrates Víkingur Ólafsson's qualities, but it's in Bartók's The Miraculous Mandarin that the LPO really comes alive. 

Together with soloist Sir Stephen Hough, the CBSO and Sir Mark Elder reinvent Brahms’ First Piano Concerto, present the complex non-narrative of Janáček The Fiddler's Child and suggest real happiness in Shostakovich’s Sixth Symphony. 

Even if Igor Levit is not quite in his wheelhouse with Brahms, the Vienna Philharmonic plays a home game in the second half with his D major symphony. 

Yefim Bronfman reunites with his old collaborator for Brahms' First Piano Concerto, reinforcing the qualities that exemplify him as a great chamber music player. 

Despite the hype surrounding the star pianist Daniil Trifonov, it was the TSO under Gustavo Gimeno who stole the show.

Brahms disliked Tchaikovsky’s music, but the two made a superb pair in this concert with Gianandrea Noseda on the podium and Simon Trpčeski at the keyboard.

Petr Popelka takes the Prague Radio Symphony Orchestra to heavenly heights with help from a brilliant group of of vocalists.

The pure and clean sound universe of Sibelius shines as Osmo Vänskä visits Disney Hall for the weekend. 

Embraced by Daniel Harding, Ian Bostridge, Christian Tetzlaff, Alban Gerhardt and Paul Lewis, the Parisian ensemble gives an exceptional concert, faithful to Lars Vogt’s way of making music.

The Marsch in Berg's Three Orchestra Pieces was engulfed in the same chaos that devastated the composer's world a century ago and is now threatening to devastate ours.

Pianist Sunwook Kim returns to the RSNO, while conductor Jonathan Stockhammer builds a coherent triptych out of three highly contrasting pieces.

Domingo Hindoyan conducts the RLPO in Brahms' first piano concerto with Stephen Hough and Tchaikovsky's sixth symphony

Concerto and symphony – in reversal of the usual order – from the Boston Symphony Orchestra and Andris Nelsons.

In a magisterial performance, Stephen Hough reminds us how consequential the Brahms First Piano Concerto is.

Replacing Mikko Franck at short notice, Barenboim joins Yefim Bronfman for a revised, all-Brahms programme.

Sir John Eliot Gardiner, Stephen Hough and the Bournemouth Symphony Orchestra provide oodles of vibrancy and passion in Schumann and Brahms.

It's a game of two halves in Barcelona from Kazushi Ono and the Orquestra Simfònica de Barcelona i Nacional de Catalunya.

Some of Kozhukhin's trills were as rattling thunder – but there was much delicacy and poetry on offer in the many lyrical episodes.

The sound in Schumann's “Rhenish” was satisfyingly dense, rich and passionate, and the horns once more made great sailing of all their magnificent solos.

A gloriously romantic performance by Lars Vogt and Royal Northern Sinfonia of Brahms' First Piano Concerto, complemented by Beethoven and Schumann.

An uneven concert where Prokofiev's Fifth Symphony found the NY Phil in more reassuring form. 

The passionate darkness of Brahms' First Piano Concerto is contrasted with David Sawer's The Greatest Happiness Principle and Haydn's elegant and sophisticated Symphony no. 99.

Martin Helmchen produced a powerful and sombre performance of Brahms' First Piano Concerto, while Blomstedt and the Philharmonia sparkled in Beethoven's Seventh Symphony.

In the American heartland, a persuasive evening of musical diplomacy from the St Petersburg Philharmonic.

Two works by Brahms and an early tone poem by Strauss only partially succeed in performances by the LSO under Alpesh Chauhan and with Benjamin Grosvenor as soloist.

Jeremy Denk's take on Brahms didn't impress Brahms, the Piano Concerto no. 1 in D minor proving an unequal, if refreshing, contest. 

Andris Nelsons, and Hélène Grimaud present a much-anticipated Brahms “mini-fest” of the four symphonies and two piano concertos in Boston. 

Andris Nelsons conducted pianist Paul Lewis and the fellows of the Tanglewood Music Center in an All-Brahms Sunday afternoon

Osmo Vänskä returns to conduct the NSO for restrained Brahms and a very pleasing Beethoven. 

An ambitious undertaking to perform both Brahms' piano concertos on the same programme, but not one that succeeded in this performance at the Royal Festival Hall.

The Budapest Festival Orchestra poured out wave upon wave of euphoric depth, melancholy and sateen-like ensemble with vigor, heart and delightful ability under the guidance of their innately musical founder and conductor.  

What a rare and uplifting experience it is to hear a performance of such quality, depth of feeling and maturity as that given of Brahms Piano Concerto no.1 in D minor by Krystian Zimerman, the LSO and Simon Rattle. 

Picking up where his Czech predecessors left off, Vasily Petrenko led the Royal Liverpool Philharmonic in a satisfying close to this year's festival.

On several occasions when I listened to Brahms’s first piano concerto in concert, I was left wondering whether Brahms really intended the pianist to play with so much physical force.

The music was so convincingly Czech and so naturally bucolic in outlook that I was left at the end wishing that we might hear more Dvořák from the Hallé/Elder partnership. 

Jukka-Pekka Saraste and the Oslo Philharmonic give disappointingly cold performances of Brahms' Piano Concerto no. 1 and Tchaikovsky's Symphony no. 6.

Jaap van Zweden and Hong Kong Phil's Der Rosenkavalier Suite full of swagger, sarcasm and humour

Barenboim underwhelms as soloist in Brahms's two titanic piano concertos at the opening concert of the Berlin Festival, conducted by Gustavo Dudamel.

Valery Gergiev and the LSO present a concert of two halves: an awkward Brahms Piano Concerto, but a thrilling Janáček Glagolitic Mass.

The joy of listening to Brahms’s piano concertos in a concert hall – especially one with such fine acoustics as St David’s Hall, Cardiff – is that textures and harmonies that can sound thick, muddy and ill-balanced in recordings come across with all their intricate, closely-woven contrapuntal writing clear and thrilling.

Maurizio Pollini, Caudius Popp, and Felix Schwarz shine in an evening of Strauss and Brahms with Daniel Barenboim and the Staatskapelle Berlin. 

It is often said of British orchestras that their sound lacks the visceral, characterful edge of their colleagues on the continent.

Friday night’s BBC SO concert certainly drew in a large crowd, despite the presence of two unfamiliar works: a new one by Jonathan Lloyd and Tippett’s Fourth Symphony from 1977. The addition of the ever-popular pianist Stephen Hough to the lineup, playing the one of the most challenging concertos in the repertoire, Brahms’ First, must have helped the numbers.

Johannes Brahms was a Romantic with a capital R. Born six years after Beethoven’s death, Brahms was so determined to continue the composer’s colossal musical legacy that he labored over his First Symphony (often nicknamed “Beethoven’s Tenth”) for over a decade. He spent nearly as much time laboring over his Piano Concerto no.

Last night’s program with the Sydney Symphony Orchestra was one of those to really get your teeth into, with substantial, complex works by Brahms and Rachmaninov, and only a short amount of respite provided by Dvořák. This was serious music in the form of the heavyweight Brahms Piano Concerto no. 1, which contains almost too much music to comprehend in one sitting.

The central character in Benjamin Britten’s opera Peter Grimes is a fisherman outcast contending with the wrath of his community. The score for the Four Sea Interludes, extracted from it, weaves often threadbare orchestral parts into a menacing mosaic of moods in the story and conditions which the characters have to battle.