A school girl in the US, with no left hand, is giving the violin a red hot go after students built her a hot pink prosthetic arm.

After a hand injury in 2005, Kyung Wha Chung stepped away from the concert platform and turned to teaching. More than a decade later, this is her triumphant return to recording. Although Chung had recorded Partita No 2 and Sonata No 3 back in 1975, this disc is the complete Bach Sonatas and Partitas. They’re the solo violin Everest, since the player is completely exposed, without the reassuring safety net of an accompanist. At the same time, Bach demands the player navigate a thicket of interlocking lines of music. Tricky! This is quite a different recording to most recent performances of these pieces. By now, there’s a fairly firmly ingrained tendency towards historically informed performances of Bach’s music, but here Chung neatly sidesteps the issue. It’s not that she ignores the HIP movement (on the contrary – tempos are fleet here, and vibrato is kept on the subtle side), but more that minor quibbles about stylistic approaches are exchanged for an intensely passionate performance. Chung describes this disc as a project that has been with her for 60 years, calling it “recording Unaccompanied Bach”, and it seems like those capital letters are important. This is a very personal reading of…

If you’ve worn out your copy of Georges Cziffra playing Liszt’s Transcendental Studies – and why wouldn’t you, because he da man – and are in the market for a newer model, should you direct your hard-earned cash towards Daniil Trifonov on Deutsche Grammophon or Kirill Gerstein on Myrios? Both are newly released and attracting praise like superlatives are about to outlawed by presidential executive order. Like everything Trifonov touches, his Transcendental Studies are proudly personal statements and wilfully so on occasion – witness, for example, the roof-rocking intensity of the fourth study, Mazeppa, where the volatile harmony is allowed to churn up the structure, and the ‘recitativo’ section of the coda plays out as something approaching a mad-scene. Gerstein – who plays the definitive 1852 version of Liszt’s Twelve Etudes – sits more obviously in a tradition that stretches back to Cziffra. Much has been written about how Gerstein’s background in jazz lends his performance an improvisational, power-to-the-moment flow. But despite his studies on the jazz course at Berklee and mentoring by jazz vibraphone guru Gary Burton, I’m not sure I hear it like that. At every turn, Gerstein peels the minutiae’s minutiae out from Liszt’s notation. The spread…

Claire Huang took to the stage in New York after being placed second in an international piano and strings competition.

From busker to band leader, meet the young gun turned experienced hand.

The dynamic duo have taken to the streets for a busking marathon to send them round the world.

The Aussie composer's How Forests think has been shortlisted in the Chamber-Scale Composition category.

Louis Moss has received a scholarship to play at Jesus College, becoming the youngest ever Oxford organist.

The irrepressible violinist pays tribute to musicians who inspired him and explores Chekhov’s Three Sisters in his latest album.

The Birmingham Conservatoire student is hoping to break the record for fastest half marathon dressed as a musical instrument.

Showstopper after showstopper from the man who lives and breathes Liszt.

Slava Grigoryan's first solo album in 15 years is well worth the wait.