En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Sept variations pour violoncelle et piano sur "Bei Männern, welche Liebe fühlen", WoO 46

Le festival dirigé par Suzana Bartal s'est achevé en beauté, avec un récital de Jean-François Heisser et l'alto solo des Berliner Philharmoniker en invité d'honneur.

Alexandra Conunova, Camille Thomas, Shani Diluka et Finghin Collins ont enchanté, en solo, duo et trio, les auditeurs venus profiter d'un splendide programme beethovénien dans un cadre charmeur.

À Deauville, le choc des générations a lieu à plusieurs échelles : Nicholas Angelich, Pierre Fouchenneret et Yan Levionnois croisent le jeune Beethoven et celui de la maturité.

Lily Maisky, piano, y Mischa Maisky, chelo, ofrecieron un recital de sorprendente sintonía artística que cerró el ciclo de cámara del Círculo de Bellas Artes a un nivel altísimo.

Narek Hakhnazaryan presented a colorful slice of the cello repertoire in a recital comprised of works by Schumann, Mozart, Franck and a pair of composers from his native Armenia.

Philip Higham and Susan Tomes took on Beethoven, Josef Suk, Janáček, Debussy and Nadia Boulanger without missing a beat, no page turner allowed, and no intermission.

A (nearly) complete set of Beethoven’s works for cello and piano from the French friends in London. 

Phillips and Guy produce a French-accented rendering of three cello sonatas, favouring elegance and crystal clarity over overt romantics.

Kings Place's "Cello Unwrapped" series is a major, year-long celebration of the instrument. It consists of a no fewer than 51 events spread throughout the year, with everything from films to sessions on buying – and even making – instruments.

Despite the stormy turbulence in much of Beethoven's writing, Jean-Guihen Queyras and Alexander Melnikov allowed the sunlight to flood in, illuminating these spirited scores. 

Philip Higham and Alasdair Beatson performed Beethoven, Schumann, Fauré and Janáček at Haddington's Town House.

Beethoven started it, the piano’s duologue with the cello, in 1801, with his Seven Variations on “Bei Männern, welche Liebe fühlen” from Mozart’s Die Zauberflöte. Beethoven himself, and many composers from Brahms (1862) through Lera Auerbach (2002) continued to ornament this form. In 1968, Jacqueline du Pré and Daniel Barenboim, with their recording of Brahms’ Cello Sonata no.

Each piece in Nicolas Alstaedt and José Gallardo's programme was re-imagined for the cello as a direct response to existing musical material. The original music either came from a different genre, or was composed for a different instrument. Four significant works in the cello repertoire emerged.