Beethoven: Diabelli Variations, etc – review
This is the best kind of historically informed performance, one that makes you listen to a familiar work with fresh ears, writes Andrew Clements
Ligeti/Beethoven: Piano Études; Sonata No 32 – review
The American pianist displays his talent for finding connections between apparent opposites, writes Fiona Maddocks
Beethoven: Piano Sonatas Opp 2, 7, 10, 13 and 14, etc – review
There's nothing remotely small-scale about Bavouzet's performances, even if he keeps the textures lean and athletic, writes Andrew Clements
Isserlis/Levin – review
In two well-balanced evenings, Steven Isserlis and fortepiano accompanisty Robert Levin did great justice to Beethoven's cello works, writes Martin Kettle
Neefe: Complete Piano Sonatas; Beethoven: Nine Variations for Keyboard on a March by Dressler – review
Susan Kagan's exemplary performances of Neefe's piano sonatas highlight the formulaic nature of Beethoven's teacher's work, writes Stephen Pritchard
RCO/Harnoncourt – review
Nikolaus Harnoncourt's approach to Beethoven's Missa Solemnis was measured and devotional. The sense throughout was of the steady unfolding of an immense ceremony, writes Tim Ashley
Beethoven: Complete Piano Trios – review
Trio Wanderer 's four-disc set of Beethoven's 12 piano trios is a winner, writes Fiona Maddocks
Beethoven: Bagatelles – review
Steven Osborne mines the simple grandeur of these Beethoven piano miniatures to brilliant effect, writes Fiona Maddocks
Beethoven: Missa Solemnis – review
For a conductor often associated with slowish speeds, this idiosyncratic Missa Solemnis is surprisingly uptempo and volatile, writes Tim Ashley
Britten-Pears Orchestra/Manacorda – review
Conductor Antonello Manacorda didn't let sentiment creep into an uplifting Beethoven's Ninth, writes Rian Evans
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
ASMF/Perahia – review
Murray Perahia put Beethoven's Second Piano Concerto, which he directed from the keyboard, at the heart of a solid concert, writes Tim Ashley
Hebrides Ensemble – review
In Lost Landscapes, composed by Peter Nelson for the Hebrides Ensemble, subdued string chords jostle up like giant lily pads on the Amazon, writes Kate Molleson
Philharmonia/Salonen – review
At a concert to mark 50 years of Amnesty International, the Beethoven was nothing special, but Dallapiccola's Il Prigionero was unforgettable, writes Tim Ashley
Beethoven: String Trios Op 9 – review
The Trio Zimmermann draw all the playful, exuberant possibilities from the young Beethoven's string trios, writes Stephen Pritchard
Hallé/Elder – review
Mark Elder's expansive conducting put some of the air back into Beethoven's Sixth, writes Alfred Hickling
Beethoven: The Symphonies – review
This recording from Christian Thielemann feels a tad contrived and controlling, intent on being admired, writes Andrew Clements
Jonathan Biss – review
Jonathan Biss's no-frills take on Beethoven's sonatas was exhilarating, writes Tim Ashley
Florestan Trio – review
The Florestan's penultimate concert showed why the group have become a byword for excellence, writes George Hall
Florestan Trio – review
The first of the Florestan's three farewell concerts showed us just what we'll be missing, writes Martin Kettle
Beethoven: Piano Sonatas Op 10 No 1; 22; 26; 81a – review
The outstanding Jonathan Biss kicks off his cycle of Beethoven's piano sonatas with an unexpected choice, writes Andrew Clements
LSO/Davis – review
Mitsuko Uchida held the audience's attention effortlessly playing Beethoven's fourth piano concerto, writes George Hall
Belcea Quartet – review
The ever-youthful Belceas could achieve greatness if they applied their zeal more selectively, says Erica Jeal
Hallé/Elder – review
Stravinsky's Violin Concerto pivots on a chord that the original dedicatee deemed impossible to play. But soloist Julian Rachlin made the finger-busting interval sound natural, writes Alfred Hickling
Die lustigen Weiber von Windsor; I, Culture; Missa Solemnis – review
From Guildhall's Merry Wives to the fledglings under the baton of Sir Neville Marriner, it's been a great week for new talent, writes Fiona Maddocks
ORR/John Eliot Gardiner – review
Former radical John Eliot Gardiner was better conducting Beethoven's Seventh than the Fourth, writes Martin Kettle
OAE/Noseda – review
Gianandrea Noseda, in his first collaboration with the OAE, took the Beethoven bull by the horns, writes Erica Jeal
Beethoven: The Symphonies; etc – review
Riccardo Chailly and the Leipzig Gewandhaus Orchestra have managed the seemingly impossible – making Beethoven seem freshly minted without concessions to period performance, writes Andrew Clements
Northern Sinfonia/Thomas Zehetmair – review
The forces assembled for Tchaikovsky's fifth symphony pared things to the bone, yet it might have been the most persuasive interpretation to date, writes Alfred Hickling
Leipzig Gewandhaus Orchestra/Chailly; Castor and Pollux– review
Riccardo Chailly and the Gewandhaus make thrillingly short work of Beethoven, writes Fiona Maddocks
Leipzig Gewandhaus Orchestra/Chailly – review
That famous discord of the First was almost thrown away as if in jest, and what followed was a thrilling, gleeful adventure nto these new musical landscapes, writes Tim Ashley
SCO/Ticciati/Suckling – review
Mark Suckling's new piece coupled fierce intellect with the musical sensibility of a fine violinist, writes Kate Molleson
Hallé/Elder – review
Mark Elder conducted performances that bristled with tension – grace and weight collided in the Beethoven, and the Stravinsky spaciously done, writes Tim Ashley
RPO/Kempf – review
Kempf shaped lines with delicacy and insight, yet it was the balance with an impetuous Beethovenian fire that lifted the performance, writes Rian Evans
Khatia Buniatishvili; Daniel Hope and Sebastian Knauer; London Symphony Orchestra/Gergiev – review
Khatia Buniatishvili thrills with a speedy lunchtime recital, writes Stephen Pritchard