A juxtaposition with Ligeti did not always work in George Benjamin's favour but this weekend devoted to the British composer contained wonderful things, writes Andrew Clements
The Chinese star pianist's wilful playing and look-at-me platform antics turned this evening of Beethoven into a musical car crash, writes Martin Kettle
Julian Lloyd Webber made a truly persuasive case for Delius's cello concerto, writes Martin Kettle – but why mark his anniversary with only two of his works?
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
This was one of the great performances of Ravel's Concerto in G, taking it into territory way beyond the realm of art deco cool, with which it is primarily associated
A great performance leaves you wanting the rest of the Mahler's unfinished symphony in one of its posthumous completions. In this instance, one was grateful Maazel proceeded no further, writes Tim Ashley
The Philharmonia and its principal conductor, Esa-Pekka Salonen, seemed ideally attuned to one another, as well as to the music of Bartók and Kodály, writes George Hall
Lorin Maazel's approach to Mahler is quixotic – he describes the symphonies as "like spaceships, forever orbiting and sending out signals", which may sound spaced-out, but his Mahler is a cosmic experience, writes Alfred Hickling
Esa-Pekka Salonen began this series celebrating Bartók with a rarely heard and curious early work, which the Philharmonia tackled superbly, writes Andrew Clements
For chief conductor Esa-Pekka Salonen, it's not so much a series as a mission to lead the concert-going public into the sometimes darkly forbidding world of Bela Bartók, writes Rian Evans
A more intense selection of The Nutcracker eschewed the Kingdom of Sweets confectionery for the scary second half and climactic pas de deux, writes Tim Ashley
Ivo Pogorelić went off on one during a bizarre account of Tchaikovsky's first piano concerto, leaving everyone else in the room to keep up, says Martin Kettle
Using a smaller orchestra than is usual, Hruša exploits the transparency of the lighter body of strings to highlight much telling detail, says Andrew Clements
Royal Festival Hall, LondonThe opening concert of Julian Anderson's final season as Music of Day's artistic director was full of his scholarly insight, writes Tim Ashley
Royal Albert Hall, LondonThe British debut of Arvo Pärt's Fourth Symphony was insubstantial, but the BBCSSO's programme of experimental works shone, writes Andrew Clements
Gloucester CathedralThe cathedral's over-resonant nave whipped home boy Ivor Gurney and Gerald Finzi's work into an unsatisfying aural smoothie, writes Andrew Clements