In two well-balanced evenings, Steven Isserlis and fortepiano accompanisty Robert Levin did great justice to Beethoven's cello works, writes Martin Kettle
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
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
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
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
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
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
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
Mark Elder conducted performances that bristled with tension – grace and weight collided in the Beethoven, and the Stravinsky spaciously done, writes Tim Ashley
Kempf shaped lines with delicacy and insight, yet it was the balance with an impetuous Beethovenian fire that lifted the performance, writes Rian Evans