Janine Jansen string sextet – review
Schubert's String Quintet in C is the Beethoven's Ninth of chamber music – and this was an overwhelming performance of it, writes Martin Kettle
Northern Sinfonia/Zehetmair – review
Thomas Zehetmair has shaved 10 minutes off the Sinfonia's rendition of Schubert's "great" symphony, writes Alfred Hickling
Mitsuko Uchida – review
Playing Schubert's last three piano sonatas in a single recital is a huge challenge but Uchida's performance was spellbinding, writes Andrew Clements
Schubert: Schwanengesang; Piano Sonata D960 – review
This CD of Schubert's late works is a mixed bag, the highlights of which are the Schwanengesang Rellstab settings, writes Andrew Clements
Riccardo Primo, re d’Inghilterra; The Spirit of Schubert – review
A Handel rarity proved a rollicking showcase for up-and-coming talent. And had enough Schubert now? asks Fiona Maddocks
Florian Boesch/Malcolm Martineau – review
Boesch and Martineau reunited triumphantly for a performance of another Schubert song cycle, writes Tim Ashley
Paul Lewis – review
St George's voted with its feet for the growing authority of Paul Lewis's series on Schubert's late piano music, writes Rian Evans
Schubert: Schwanengesang – review
There's an uncompromising emotional rawness in Christopher Maltman's singing that make for very disquieting listening, writes Tim Ashley
Something Almost Being Said: Music of Bach and Schubert – review
Nicholas Kenyon admires the spirit of this coupling of Bach and Schubert, if not its execution
Schubert: Wilkommen und Abschied – review
Werner Güra and Christoph Berner's Schubert song cycle is outstanding, writes Fiona Maddocks
Schubert: Symphony No 7 (‘Unfinished’), Rondo, Concerto, Polonaise – review
Schubert's Unfinished Symphony isn't the main draw on this attractive disc of music for violin by Schubert, writes Nicholas Kenyon
Nikolai Demidenko – review
Russian pianist Nikolai Demidenko remained a picture of contained restraint at the platform, but his playing was superbly expressive, writes George Hall
Meneses/Pires – review
Regular recital partners Maria João Pires and Antonio Meneses were on different wavelengths this time, says Andrew Clements
Antonio Meneses and Maria João Pires; La traviata – review
Maria João Pires and Antonio Meneses achieve a fine balance, and visceral Verdi hits the spot, writes Fiona Maddocks
Arcanto Quartett – review
On the evidence of this Wigmore recital, the Arcanto Quartett deserve a similarly honoured profile as the Takács and the Kronos, writes Martin Kettle
Schubert: Winterreise – review
Florian Boesch's take on Winterreise is a slow-burning, superb portrayal of mental disintegration, writes Tim Ashley
Schubert: Piano Sonatas D840, 850 and 894; Impromptus D899; Klavierstücke D946
Tactful, well-played and nuanced Schubert, as Paul Lewis's legions of fans will expect. Full of clarity and attention to detail, writes Andrew Clements
Strauss: Piano Trios; Pieces for Piano Quartet – review
Amelia Trio's fine recital of Richard Strauss's pieces for piano quartet and early Piano Trios is one for completists, writes Tim Ashley
The Prince Consort – review
This year's instalment of the annual Perth Schubertiade was right to focus on the composer in the context of his contemporaries, predecessors and successors, writes Kate Molleson
Schubert: Sonatas D840 and D850, etc – review
There is a suitably epic, extreme feel to Shai Wosner's playing of Schubert, but it can tip over into insistence, finds Andrew Clements
Christopher Maltman and Graham Johnson – review
This was a powerhouse recital of Schiller settings by Schubert, Schuman and Liszt from the baritone Christopher Maltman and pianist Graham Johnson, writes Tim Ashley
Schubert: Winterreise – review
Christopher Maltman roots his interpretation in psychological specifics, conveying his antihero's mental disturbance, writes Tim Ashley
Schubert: Winterreise – review
The emotional complexity of Schubert's song cycle is beautifully realised by Christopher Maltman and Graham Johnson, writes Fiona Maddocks
Maxim Rysanov: Schubert, Tchaikovsky, Bruch – review
Maxim Rysanov finds imaginative new territory for his warm, lyrical viola, writes Nicholas Kenyon
Cheltenham festival – review
Singing Loewe, Schubert and Mahler with an almost subversive demeanour, Boesch's expressiveness was extraordinary, writes Rian Evans
Scottish Ensemble – review
The Scottish Ensemble's programme was all about homages and featured nimble, tightly sprung and sonorous playing, writes Andrew Clements
Daniel Barenboim – review
Playing Schubert, Barenboim exhibited all his creative personality, but without any Lang Lang theatrics, writes Martin Kettle
Mark Padmore/Paul Lewis – review
The engagement with Schubert song-cycles is of long standing: Padman may utter the words in a way that appears spontaneous, but the psychological insight is piercing, says Rian Evans
Takács Quartet/Cooper/Mitchell – review
Every time one is blown away by the rightness and freshness of everything the Takács Quartet do, writes Guy Dammann
Schubert: Piano Sonatas Nos 4 & 13; Wanderer Fantasy – review
Uzbek-born pianist Eldar Nebolsin all but attacks the piano in these revelatory renderings of Schubert, writes Stephen Pritchard
Lang Lang/Repin/Maisky – review
Despite the occasional slip in standards, Lang Lang touched on greatness as both a soloist and trio player, writes Tim Ashley
OAE/Goodman/Pizarro – review
This performance's bustling energy became a tribute to the partnership Charles Mackerras forged with the OAE, writes Rian Evans
Holl/Schiff – review
Robert Holl's rich bass-baritone and András Schiff's mesmerising accompaniments emphasised the song cycle's gathering weight, writes Martin Kettle
Steven Osborne – review
Osborne's playing is so refreshingly mannerism-free but Schubert's sonatas would have been better played separately, writes Andrew Clements
Emanuel Ax – review
Though his Polish roots have made Chopin an obvious specialism, Emanuel Ax proved tonight that Schubert is a natural choice, too, writes Guy Dammann