Every year, the Royal Albert Hall proves complicit in the magic of the quietest utterances if, as Barenboim put it, you let the audience come to you and don’t try too hard. Pekka Kuusisto is the ultimate communicator, the ideal guide for the Norwegian Chamber Orchestra. Stitching "classical" string music with numbers from a Sámi singer, Katarina Barruk, though, didn’t quite come off.

Shostakovich: Symphonies; Concertos; Lady Macbeth of Mtsensk District Yuja Wang (piano), Baiba Skride (violin), Yo-Yo Ma (cello), Boston Symphony Orchestra/Andris Nelsons (DG)

Shostakovich: The Symphonies Gürzenich-Orchester Köln/Dmitrij Kitajenko (Capriccio)

Berlioz: Symphonie Fantastique, Ravel: La Valse Orchestre de Paris/Klaus Mäkelä (Decca)

NYO2 is a group of dazzlingly talented (and terrifyingly young-looking) 14-17 year olds from the USA, one of Carnegie Hall’s three national youth ensembles, and with a focus on supporting young musicians from communities that are under-represented in the arts. This Edinburgh International Festival concert marked their European debut, and they’re doing a miniature residency in Edinburgh that, in another concert, involves them playing alongside some talented young Scots. 

There was a neat conjunction of commemorations to this concert, the most obvious one being the fact that that 2025 marks the 50th anniversary of the death of Dmitri Shostakovich, so it’s completely appropriate the Royal Scottish National Orchestra chose to end its season with a concert of his music. More than that, however, the composer himself heard this very orchestra (then called the Scottish National Orchestra) play his Festive Overture in the Usher Hall in 1962, during one of Lord Harewood’s Edinburgh Festivals. 

Brahms: Lieder Christian Gerhaher (baritone), Gerold Huber (piano) (Sony)

Jürg Frey: Voices EXAUDI Vocal Ensemble/James Weeks (Neu Records)

“Let the music guide your imagination” was never going to be the slogan of the Southbank Centre’s Multitudes festival. Its 13 events offer parallel visions, intended in the case of Ravel’s Daphnis et Chloé (a shared project between the LPO and Australian dance company Circa I regret missing), not so in Shostakovich’s Tenth Symphony: as that masterpiece begins to be freed of its Soviet-era load, William Kentridge shackles it again on his own brilliant terms.

Igor Levit is a master of the unorthodox marathon, one he was happy to share last night with 24-year-old Austrian Lukas Sternath, his student in Hanover. Not only did Sternath get the obvious stunner of two Prokofiev sonatas in the first half; he also had all the best tunes and phrases as the right-hand man, so to speak, in Shostakovich’s piano arrangement of his towering Tenth Symphony. The best, as in absolutely no holds barred, came at the very end.

Vox Feminae: music by Barbara Strozzi, Antonia Bemba,  Hieryonymus Kapsberger... Les Kapsber’girls/Albane Imbs (Alpha)