JS Bach: Motets – review
Gardiner's subtle and surefooted reading of Bach's miniature masterpieces wins over Stephen Pritchard
OAE/Devine/Bostridge – review
The intelligent Ian Bostridge made a moving attempt at a different version of Bach's Ich Habe Genug cantata, writes Martin Kettle
National Youth Orchestra of Great Britain; St John Passion/Polyphony; Rigoletto – review
The National Youth Orchestra shine at the Sage, and Royal Opera's Rigoletto is coming to a cinema near you, writes Fiona Maddocks
Kathleen Ferrier: The Complete EMI Recordings – review
Test recordings sit alongside her famous performances of Mahler and Gluck on a centenary disc reminding us of the late, great contralto's ability to move her listeners, writes Nicholas Kenyon
St John Passion – review
There was no suggestion of routine about this year's annual Good Friday performance of Bach's St John Passion, writes George Hall
Maxim Vengerov/Itamar Golan – review
Maxim Vengerov made an aggressively noble tilt at Bach's D Minor Partita, and Itamar Golan matched him on the Beethoven, writes Tim Ashley
St Thomas Choir, Leipzig – review
It's hard to imagine a more authentic rendition of Bach's St Matthew Passion, writes Alfred Hickling
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
JS Bach: Partita in A minor; Britten: Six Metamorphoses; Berio: Sequenza VII; CPE Bach: Sonata in A minor, etc – review
Although oboist Moinet resets flute pieces by the Bach family here, it is the modern pieces in which she is most convincing, writes Andrew Clements
AAM/Ibragimova – review
The opening concert at the new Bachfest saw Alina Ibragimova bring unerring freshness and spontaneity, writes Rian Evans
Britten, Bach, Ligeti – review
Fiona Maddocks enjoys the virtuoso Hungarian cellist Miklós Perényi at his best
Bach: The Well-Tempered Clavier, Book II – review
Messiaen scholar Peter Hill brings careful consideration to his other special interest, Bach, writes Andrew Clements
Andreas Scholl: Bach Cantatas – review
Andreas Scholl's deep love of Bach informs this spellbinding set of cantatas, writes Fiona Maddocks
Bach: Toccata, Adagio and Fugue in C; Preludes and Fugues in B minor and G, etc – review
The Silbermann organ in Freiburg cathedral is as much the star of the show here, writes Andrew Clements
Andreas Staier – review
In many respects, this was a remarkable evening, bordering on the revelatory, writes Tim Ashley
Hidden gems of 2011: great classical recordings you may have missed
Fiona Maddocks and Nicholas Kenyon choose a selection of classical CDs that were overlooked this year
SCO/Richard Egarr
The SCO gave a cheerful, rough-and-ready account of Bach's Cantatas 1, 3, 5 and 6 that had plenty of pep, but less in the way of inner pathos, writes Kate Molleson
Bach: Keyboard Concertos, Nick Van Bloss; Bach Keyboard Concertos, Alexandre Tharaud – review
Nicholas Kenyon compares new recordings of Bach's keyboard concertos by Nick van Bloss and Alexandre Tharaud
Thriller: Automatic Writing – review
Occasionally, it recalls something by Heiner Goebbels, but without any of Goebbels' coherence, wit or sheer imaginative flair, writes Andrew Clements
JC Bach: Missa da Requiem; Miserere – review
Listen out for the Miserere, with its grand, imposing scale and carefully plotted tonal architecture, writes Andrew Clements
JS Bach: Cantatas Vol 49 – review
Masaaki Suzuki and the Bach Collegium Japan impress Nicholas Kenyon with their cool, committed account of four Bach cantatas
Johann Christoph Bach: Welt, gute Nacht; Johann Christian Bach: Missa da Requiem – review
Two lesser known members of the Bach family are well served in two fine recordings, writes Nicholas Kenyon
Monteverdi Choir/Gardiner – review
Virtuosic both compositionally and in the demands they make on performers, this sequence comprises a compendium of technical skills that display Bach's astonishing range, writes George Hall
Bach: Motets – review
Bach's peerless motets are in very safe hands with Philippe Herreweghe and the Collegium Vocale Gent, writes Nicholas Kenyon
Ksenija Sidorova: Classical Accordion – review
Accordionist Ksenija Sidorova runs the gamut from Mozart to Piazzolla with dazzling flair, writes Fiona Maddocks
Francesco Piemontesi: Recital – review
The young Swiss pianist plays Handel, Brahms, Bach and Liszt with compelling intimacy, writes Fiona Maddocks
Lorraine Hunt Lieberson: A Tribute – review
The late, great mezzo's baroque repertoire is at times unbearably moving, writes Fiona Maddocks
Bach: Goldberg Variations – review
Steven Devine steers well clear of expressive extremes, surveying every detail, but missing the heart of the work, writes Andrew Clements
Krenek: Symphony No 4; Concerto Grosso No 2 – review
The two works here represent Krenek's response to Stravinsky's neoclassicism, nicely done by Alun Francis and his Hanover band, writes Tim Ashley
East Neuk festival – review
The East Neuk venues were unassuming, the intimate performances were most definitely not, writes Kate Molleson
Handel: Suite in B flat; Brahms: Handel Variations; Bach: Partita No 1; Liszt: Vallée d’Obermann – review
Francesco Piemontesi reveals the aristocratic sweep of his Handel and unaffected approach to Liszt and Bach, writes Andrew Clements
Brecon Baroque/Podger – review
This concert of Bach's instrumental concertos achieved a fine balance between tone and technique, writes Rian Evans
Bach: Goldberg Variations; Steven Devine – review
Steven Devine's Goldberg Variations combine the insights of a conductor with masterly harpsichord technique, says Stephen Pritchard
A Midsummer Night’s Dream; Collegium Vocale Gent/Herreweghe; Actus Tragicus – review
Spliff-smoking is only the half of it in ENO's daringly riotous A Midsummer Night's Dream, writes Fiona Maddocks
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