En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Quatuor avec piano no. 1 en sol mineur, Op.25

En hommage à Stephan Podor, ancien maire d’Irancy disparu en janvier dernier, les musiciens du festival ont proposé un concert de musique de chambre réjouissant.

De retour sur scène après plusieurs mois de silence forcé, l'orchestre dirigé par François-Xavier Roth a célébré ce retour à la vie en compagnie de Vincent Lhermet, Renaud Capuçon et Bertrand Chamayou.

Soirée de quatuors avec piano à l'Auditorium du Louvre : le Quatuor Skride apporte son panache aux œuvres de Schubert, Suk et Brahms.

L’intégrale de la musique de chambre de Brahms en 4 jours et 8 concerts ? Un événement tel qu’on n’en voit qu’au Théâtre des Bouffes du Nord.

Ce lundi 30 mai, un légendaire pianiste et trois des plus grands archets de notre temps se réunissaient pour interpréter les très exigeants quatuors avec piano opus 25, 26 et 60. La probité exacte, souveraine et inentamée de ces lectures était une démonstration parfaite de la différence qu’il y a entre éloquence et emphase.

Das Erfolgsrezept des dritten der beliebten Rencontres inédites lautete: Man nehme zwei bekannte Kammermusikstücke von Brahms und lasse sie von hochkarätigen Musikern in verschiedenen Kombinationen musizieren.

Erich Korngold and Arnold Schoenberg – Viennese emigrés in Hollywood – formed the unlikely pairing in the Ukrainian conductor's Konzerthaus programme. 

At Berlin's Konzerthaus, Chief Conductor Christoph Eschenbach leads the premiere of Christian Mason's orchestral work An Ocean of Years and reunites with American pianist Tzimon Barto.

The contrasts in Brahms' two early piano quartets are highlighted by side by members of the Staatskapelle Streichquartett and Elisabeth Leonskaja.

Awkard programming but fine musicianship from the Nash Ensemble and Christine Rice as part of its 'German Romantics' series.

A young piano quartet makes an impressive American debut and underlines the non-obvious in standard repertoire.

Alisa Weilerstein delivered an amazingly raw performance of Shostakovich’s Second Cello Concerto, whereas Ilan Volkov and the CBSO’s renditions of Simon Holt and Brahms (reimagined by Schoenberg) proved alienating and overblown.

An effortless evening of Brahms, Bartók and Schubert: high-class chamber music making from Benjamin Grosvenor and others.

Despite some very creditable orchestral playing, conductor Joshua Weilerstein never quite got anywhere with his programme of Bach, Weill and Brahms.

Yesterday’s all-Romantic programme displaced the usual thing with incredible panache, as Daniel Hope’s violin surveyed the ensemble with regal bearing. 

Conductor Carlos Kalmar and pianist Yevgeny Sudbin collaborated to play a solid Beethoven First Piano Concerto. Kalmar finished the program with a loud performance of the Schoenburg arrangement of Brahms' Piano Quartet no. 1.

The Arnold Schoenberg Center is a gathering place for serious musicians, academics and informed concert goers, and has developed a considerable, steady following thanks to the consistently high level of its events

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.

Arnold Schoenberg rarely forms the backbone of orchestral concerts in either of his two homelands, and in an ideal world there would be more concerts like this, particularly in Vienna.