News Nicola Benedetti has criticised the state of music teaching in Britain

Acclaimed violinist criticises music teaching in the UK

Proms 69/70: Lewis/RSNO/Deneve; Ensemble Matheus/Spinosi, Royal Albert Hall (3/5, 5/5)

Playing all Beethoven’s piano concertos at the Proms with a variety of conductors and orchestras was always going to be a trial of nerve for Paul Lewis, and he’s come through – if not covered in glory – at least with colours flying.

Prom 66: Berlin Philharmonic / Rattle, Royal Albert Hall, London

The Mahler had come the night before – this second Berlin Philharmonic Prom imaginatively chronicled the before and after.

Prom 62, Royal Albert Hall, London<br/>Prom 57, Royal Albert Hall, London<br/>Prom 61, Royal Albert Hall, London

What a powerful trio &ndash; music, silence and ear-splitting applause

First Night: Simon Rattle / Berliner Philharmoniker, Royal Albert Hall, London

A rapturous response to Rattle's return

From ballads to Rule, Britannia!

Sunday's Prom will replay the Last Night from 1910. Jessica Duchen looks at how the institution has changed

Prom 62: Gustav Mahler Jugendorchester/ Blomstedt, Royal Albert Hall

Like the Matthias Grünewald paintings that inspired it, Paul Hindemith’s Symphony “Mathis der Maler” sounds somehow, and quite miraculously, to be illuminated from within.

Prom 61: Hansel und Gretel/Glyndebourne/LPO/Ticciati, Royal Albert Hall

Engelbert Humperdinck’s ‘Hansel und Gretel’ has had to wait 120 years for its first Proms staging, but its rapturous reception brings the wheel of its popularity full circle.

Prom 58: Czech Philharmonic Orchestra/Gardiner, Royal Albert Hall, London

If you didn’t know who was playing, the second theme of Dvorak’s Carnival Overture – clarinet in songful counterpoint with the homeliest of tunes in the violins - would have thoroughly given the game away. Only the Czech Philharmonic could phrase this music with such unassuming charm.

Prom 56: Minnesota Orchestra / Vanska, Royal Albert Hall, London

In a former life when the Minnesota Orchestra was the Minneapolis Symphony and “Living Presence” was a phrase on the tip of every record buff’s tongue, it would almost have come as a disappointment to hear the sophisticated beast the orchestra has now become in an acoustic as generous as the Royal Albert Hall.

Proms 54, 55: Shaham/BBCSO/Robertson; Cullum/Heritage Orchestra, Royal Albert Hall (4/5, 4/5)

In terms of productivity, Mark-Anthony Turnage sits comfortably at the bottom of the league among contemporary British composers, but as a significant voice, he’s up at the top.

BBC Proms: LSO/ Gergiev, Royal Albert Hall, London

It was somewhat ironic that amidst the profusion of orchestral perfumes emanating from Scriabin’s 1st Symphony those seated closest to the orchestra were momentarily overcome by the acrid scent of burning electrics. The illuminated panels across the rear of the Royal Albert Hall platform certainly chose their moment to go on the blink. Not that they were anything like the kind of light-show that Alexander Scriabin had in mind when he began thinking in psychedelic colours. The timing, though, was almost poetic.

Proms Bach Day, Cadogan Hall/Royal Albert Hall, London

If the Proms ‘Bach Day’ looked odd on paper, it was even odder in reality, but its centre of gravity was an unusually illuminating performance of the complete Brandenburg Concertos by the English Baroque Soloists directed by John Eliot Gardiner. Modestly presenting himself as primus inter pares, Gardiner sat out some of the concertos and simply allowed his fine-tuned band to do their thing, but the commentary with which he punctuated their performances was spot on.

Prom 35: Danish National Symphony Orchestra/Kraggerud/Dausgaard, Royal Albert Hall

If some musical exhumations were better left underground, others rectify injustices, and thus it was with Rued Langgaard’s ‘Music of the Spheres’, which has now, after a 92-year wait, had its British premiere.

Prom 34: Deutsches Symphonie-Orchester Berlin/ Metzmacher, Royal Albert Hall

The music of the night takes many shapes and forms but this beautifully imagined programme was so rich in nocturnal sensations that it seemed to be caught somewhere in that strange netherworld between sleeping and waking.

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