
Vilde Frang’s Korngold shone with unbroken lyricism and cinematic colour; Vaughan Williams’ vast Sea Symphony impresses in scale and execution, even if its emotional heart remains elusive.

Where Beethoven’s Fifth brought moments of elegance and balance, some fortissimos felt too big and lacked clarity. Shostakovich’s Tenth was the evening’s triumph — precision, drama, and vividly drawn storytelling, including searing brass and velvety-padded strings.

A Scottish Chamber Orchestra Prom of Rameau, Saint-Saëns and Beethoven revealed an emerging broadcast-led strategy in this year’s season: programming designed to be safe rather than startling. But Maxim Emelyanychev’s gritty, defiant Beethoven 5 proved a reminder of why this work is not just enjoyed, but needed.

A first encounter with Beethoven’s Piano Trio Op.1 No.1 at London’s newest recital hall, the Bechstein Hall in London’s Wigmore Street.

A joyous celebration packed full of detail.

It’s my second time to Printworks. I’m here to see Aurora Orchestra’s Beethoven 5 theatrical ‘set piece’. I don’t necessarily feel like the target audience for this but I want to experience different formats – a useful way of seeing how the product is being packaged up for different audiences. Everything about that format is…

Human connection in a performance by a musician embarking on her career.

Zhu is a phenomenal talent. She is reassuringly self-assured. The complete package.

Meet my new pal: Beethoven’s violin concerto. I was originally a little unsure of it when I first came across it. It wasn’t Tchaikovsky. Or Mendelssohn. Or Brahms. It seemed heavier, laden with I don’t know what. Much deference seemed to be paid to it. And it was long. Very long. Something has changed in…