In case you missed it
#103 • 03.05.2018
From strong opinions to cutting criticism in issue #103.
#115 • 10.08.2018
Dusting off old records and traditions, in issue #115.
#62 • 29.06.2017
Is the prevalence of suicide in opera harmful or healing?
#110 • 21.06.2018
The difficulty and importance of crossing, in issue #110.
#03 • 18.02.2016
A poem by David Ferry, in sound.
Video of the Week
Russian Musicians Getting Honors
Feeling cynical about Russia after “The Death of Stalin”? This video only lasts a minute and a half, but it might well do its part to make your day feel a little cozier. With so much negativity out there, every once in a while it’s nice to find some wholesome 20th-century virtuosi content online.
Audio of the Week
“breath-image,” from 2017, by the Mexico-raised, London-trained, Berlin-based composer Andrew Crossley, is remarkable for the beautifully hushed refinement of its microtonal timbres. Performed here by Music Ensemble Synaesthesis under Karolis Variakojis.
#01 • 18.01.2016
A concert in São Paulo’s Cracolândia.
#22 • 08.09.2016
The composer and saxophonist Matthew Evan Taylor on false binaries, anger as pitch, and the surprises of working with visual artists.
#65 • 20.07.2017
Tackle the pressing questions with us in issue #65.
#05 • 17.03.2016
A new staging of George Benjamin’s opera “Written On Skin.”
Collection: Brian Ferneyhough at 75
To celebrate the 75th birthday of Coventry-born composer Brian Ferneyhough, the Birmingham Contemporary Music Group has invited the pioneering Arditti Quartet to perform his music in the heart of the Midlands. Also featuring Oliver Janes on clarinet and the conductor Emilio Pomarico, a concert on December Sunday, December 9 at 4 p.m. will present works by Ferneyhough, Jonathan Harvey, Charlotte Bray and Michael Wolters.
Kampela on Ferneyhough’s “La terre est un homme” and other strange, beautiful music.
“When you follow Ferneyhough, well, you are going to be alone with your music.”