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The CBSO’s Birmingham’s Town Hall matinee sets forth a curious mix of Baroque, Classical, and modern music, sandwiching a lesser-known concerto between some familiar tunes.

Jean Rondeau’s anniversary tribute to Louis Couperin reveals a refined but inward-looking aesthetic – beautifully controlled, yet ultimately lacking the rhetorical energy, physicality, and communicative spark essential to this music.

In Edinburgh’s Usher Hall, Mozart’s final three symphonies are given a vibrant interpretation by the Scottish Chamber Orchestra conducted by the effervescent Maxim Emelyanychev.

The Spanish violinist delivers a radiant rendition of Beethoven’s Violin Concerto after which Honeck interprets his own distillation of music from Strauss’ Elektra.

Último helecho, by Nina Laisné, François Chaignaud and Nadia Larcher, is a profound reflection involving the identity of a population and the repercussions of the various influences that have been layered over time.

At TivoliVredenburg’s Grote Zaal: a program of Beethoven, Liszt, and Schumann that, intentionally or not, invited reflection on long-range musical continuity.

Guth’s Semele turns myth into a contemporary domestic drama, where desire becomes obsession and illusion consumes reality. Handel’s music remains the true engine, driven by a thrilling, physically intense ensemble.

Dazzling young German pianist Julius Asal and stand-in conductor Duncan Ward breathe new life into the familiar in repertoire by Grieg and Sibelius.

Wolfe's climate-change oratorio, performed by the BBC Symphony Orchestra, already feels out of date.

Levit introduced the theme at such a clip that one couldn't help but worry about the marathon of musculature he had in front of him, but he persevered, playing with a precision that was almost alarming.

The Celtic Connections festival showcases Górecki’s Sorrowful Songs, the BBC Scottish with soprano Francesca Chiejina conducted by Pawel Kapula with a thoughtful introductory song set from Alice Zawadzki.