En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Quatuor à cordes no. 2 en ut majeur, Op. 36

Au Festival de Quatuors du Luberon, l'ensemble constitué de quatre musiciens de différents pays d'Europe a livré une interprétation inégale d'un programme qui allait de Roland de Lassus à Benjamin Britten.

The program was annotated by the actor Sagine Valla, delivering lines from the composer's published letters, diaries and other texts. It grew intrusive at times, but when given a chance, the ensemble played beautifully.

Six concerts of Suffolk’s finest home-grown produce garnished with side orders of Mozart, Copland and Elgar.

The Czech Pavel Haas Quartet bring their distinctive sound and selfless musicianship to Birmingham, in the first of three concerts featuring Matthew Hunt in Brahms's Clarinet Quintet alongside twentieth century quartets.

In commemoration of Britten’s centennial, the Centro Nacional de Difusión Musical, in collaboration with the British Council programmed a series entitled “Britten Classics”. This concert was a highlight.

The sun is out and the musical migration has begun. Many metropolis music venues decide practically to shut up shop for the summer, and the concert junkie needs to uproot and search out top classical music at one of the summer festivals that spring up seasonally.

The Scottish Ensemble’s tagline, “re-defining the string orchestra” could, in this particular programme, have justified the additional claim “re-defining the quartet”. The only work in this imaginatively conceived, four-item programme not written for quartet (or double quartet) was the opening Musical Postcard no. 4 by the young British composer Martin Suckling.

People want to be in love and to live forever. That is not how things work out. Haydn explores this contradiction in his string quartets. What makes each quartet different is how Haydn resolves musically the way things do work out.