Continuing the relationship with choreographer Örjan Andersson – who choreographed their landmark project Goldberg Variations – Scottish Ensemble gave the first of their latest movement-inspired performance, Impulse: Music in Motion in Glasgow on Friday evening.

The LSO’s apéritif hour “Half-Six Fixes” have an informality that usually works and sometimes doesn’t. But the first of this two-night run of Dmitri Shostakovich’s monstrous and terrifying Fourth Symphony was unforgettable. Panels on the auditorium walls greeted the audience with a portrait of the composer and his famous note: “The authorities tried everything they knew to get me to repent… But I refused. Instead of repenting, I wrote my Fourth Symphony”.

Paavo Berglund: The Warner Edition (Warner Classics)

Chief conductor John Storgårds’ first programme of 2024 in the Bridgewater Hall was notable for the visit of Christian Tetzlaff as violin soloist, but perhaps a little puzzling in the choice of Thomas Adès’ Violin Concerto as the vehicle for his talents.

Leif Ove Andsnes: The Warner Classics Edition 1990-2010 (Warner Classics)

Louise Farrenc: Symphonies 1-3 Insula Orchestra/Laurence Equilbey (Erato)

Do we really need instrumental Shostakovich with lighting, movement, costumes and video projection? I might have said no before having seen what the Norwegian Chamber Orchestra could do with former leader Terje Tønnesen, performing the Chamber Symphony by heart in dramatic style. It seemed likely that memorizing even more music under new Artistic Director Pekka Kuusisto, and performing it in an insanely demanding dramatic framework, with no word spoken, could work.

Shostakovich: Symphonies 8, 9 and 10 Berliner Philharmoniker/Kirill Petrenko (Berlin Phil Media)

In search of relatively rare fabulous beasts like César Franck’s Piano Quintet – given a fantastical performance last night – you often have to take in the ubiquitous Shostakovich specimen, the modest work of a master using simple means to his own creative ends that doesn’t bear too much repeated listening over a short space of time.

It’s not often that the most bittersweet moment in a rich concert comes in the encore. Elisabeth Leonskaja had already played the generous extra in question, the Dumka movement of Dvořák’s A major Piano Quintet, with the Staatskapelle Quartet only a fortnight earlier. Here, fine-tuned with the Jerusalems, that moment when the joyfully flowing episode turns dark and the piano seems to call from a dark wood proved sheer magic.