| Date and venue | Title |
|---|---|
| 7-Feb-2013 Barbican Centre: Hall | Mark-Anthony Turnage world première with the LSO at the Barbican |
PhilipGatward01.jpg) Mark-Anthony Turnage and the London Symphony Orchestra, conducted by Daniel Harding, have thoroughly dominated this week in the Barbican Hall. Firstly with a high-profile performance of the composer’s trumpet concerto From the Wreckage on Tuesday, and then the first performance of his new, purely orchestral piece Speranza on the Thursday. One of his longest concert works to date at 45 minutes, it is also one of his most symphonic.Read full review... | |
| 13-Dec-2012 Birmingham Symphony Hall | CBSO and Andris Nelsons: Beethoven 3 and Triple Concerto |
 Andris Nelsons marked the second instalment in the Birmingham Beethoven cycle with two works of the earliest years of the 19th century, featuring a solid account of the Eroica and a superb performance of the Triple Concerto.
Read full review... | |
| 22-Aug-2012 Usher Hall | Cleveland Orchestra 02 - Smetana, Lutosławski and Shostakovich |
 The items in the Cleveland Orchestra's second programme shared one feature; unusual form with regard to the number of movements. Having played the first four movements of Smetana's Má Vlast the previous evening, here they presented the remaining two. And although the playing was commendable, with warmth, clarity and impressive use of dynamics, little of the notion of terror or violence came across. Students of composition could certainly learn how easily dated the extensive use of diminished chords can sound, when employed in the hope of drama.Read full review... | |
| 19-Jun-2012 Konzerthaus: Mozart Saal | Lars Vogt plays Haydn, Chopin, Thomas Larcher and Brahms at the Vienna Konzerthaus |
 Lars Vogt’s unorthodox pianism knocks at Glenn Gould’s door without ever daring to fully enter his outlandish realm, and since there can only be one Glenn Gould that is perhaps just as well. In addition to the counterintuitive articulation and other Gouldian stylings his performances offer masterful soft playing and, when convincingly maintained, a taut sense of drama. Were all of this to somehow cohere, his interpretations would be formidable.Read full review... | |
