• 23. August 2018 •

What happened to an entire generation of promising composers?

 • 23. August 2018 •

What happened to an entire generation of promising composers?

 • 23. August 2018 •

What happened to an entire generation of promising composers?

 • 23. August 2018 •

What happened to an entire generation of promising composers?

 • 23. August 2018 •

What happened to an entire generation of promising composers?

 • 16. August 2018 •

Is Donaueschingen censoring work that criticizes Israel?

 • 16. August 2018 •

What would singers do without them?

 • 25. January 2018 •

The trombonist and composer’s formative years.

 • 4. January 2018 •

For 2018, what we hope will change in classical music.

 • 8. October 2017 •

A guide to the vastly underrated composer’s music.

 • 15. June 2017 •

What classical music gets up to on Facebook, Twitter, and Instagram.

 • 18. May 2017 •

The artistic director of a Jewish orchestra discovers a genre’s roots.

 • 11. May 2017 •

What musicians listened to during the runoff between Emmanuel Macron and Marine Le Pen.

 • 27. April 2017 •

A playlist by Sung Jin Hong, artistic director of the One World Symphony.

 • 16. August 2018 •

Is Donaueschingen censoring work that criticizes Israel?

 • 21. June 2018 •

Rattle and the Berlin Philharmonic have had enough.

 • 18. January 2018 •

Kirill Gerstein’s marathon career.

 • 18. January 2018 •

A satire, a lawsuit, and a thin-skinned violinist.

 • 21. December 2017 •

The cellist Jean-Guihen Queyras embraces transience.

 • 2. November 2017 •

Unsuk Chin suffers for her art.

 • 8. June 2017 •

Listening to Czech music with the conductor Jakub Hrůša.

 • 14. June 2018 •

Does the future of classical lay in its past?

 • 3. May 2018 •

Unpacking the Instagram score-studying aesthetic.

 • 19. April 2018 •

On Music and Activism.

 • 5. April 2018 •

And wound up hating Mozart.

 • 22. March 2018 •

How the far-right Polish government targets artists.

 • 15. March 2018 •

On Borealis, an experimental festival for music.

 • 8. March 2018 •

A corrective to the 2018 Oscars Original Score shortlist.

 • 22. November 2018 •

Talking music with Marina Abramović.

 • 28. June 2018 •

On the sexual politics of musical metaphors.

 • 29. March 2018 •

Meredith Monk translates biological process into a new language.

 • 15. February 2018 •

Does classical music need a Rooney Rule?

 • 16. November 2017 •

An openness to failure at the Ultima Oslo festival.

 • 2. November 2017 •

An interview with Du Yun.

 • 28. September 2017 •

Cliquishness, misogyny, and hypocrisy at an insular new music festival.

 • 5. July 2018 •

Alina Rotaru wants to change the notes.

 • 14. June 2018 •

Pierre Hantaï teaches himself.

 • 30. November 2017 •

An interview with Jean Rondeau.

 • 23. November 2017 •

How Andrew Lawrence King tries to compose like Monteverdi.

 • 21. September 2017 •

Alice Goodman defends her libretto to “The Death of Klinghoffer.”

 • 24. August 2017 •

Kristian Bezuidenhout wants to program music in its context.

 • 17. August 2017 •

The harpsichordist Richard Egarr’s music between worlds.

 • 13. September 2018 •

Artist managers are routinely subject to sexual harassment and economic exploitation.

 • 13. September 2018 •

Artist managers are routinely subject to sexual harassment and economic exploitation.

 • 13. September 2018 •

Artist managers are routinely subject to sexual harassment and economic exploitation.

 • 13. September 2018 •

Artist managers are routinely subject to sexual harassment and economic exploitation.

 • 13. September 2018 •

Artist managers are routinely subject to sexual harassment and economic exploitation.

 • 2. August 2018 •

The “Dead Girls” of Opera.

 • 1. March 2018 •

On “La Passion de Simone.”

 • 2. August 2018 •

An Interview with Michael Pisaro.

 • 19. April 2018 •

Ben Johnston looks back.

 • 16. November 2017 •

Ione completes an opera by her late partner Pauline Oliveros.

 • 8. October 2017 •

An attempt to revive the music of Horatiu Radulescu.

 • 12. January 2017 •

A profile of George Crumb at 87.

 • 3. November 2016 •

The violinist Leila Josefowicz is a tough cookie.

 • 18. August 2016 •

The personal and political histories of Lukas Ligeti.

 • 30. August 2018 •

On Tippet Rise, a classical music festival on Native American land.

 • 9. November 2017 •

“The Mother of Us All” at Hudson Hall.

 • 8. October 2017 •

Pierre Audi’s vision for the Park Avenue Armory.

 • 3. August 2017 •

Claire Chase and Anna Thorvaldsdóttir shape the concert.

 • 22. June 2017 •

On the New York premiere of “Three Way.”

 • 15. June 2017 •

A new choral work by Michael Gordon.

 • 31. March 2017 •

A call for clarity in calls for scores.

 • 22. February 2018 •

On “Somnium” and hypnagogic hallucinations.

 • 2. February 2017 •

The Refugee Orchestra Project envisions an open America.

 • 24. November 2016 •

The composer Kaija Saariaho prepares for the Metropolitan Opera’s historic production of “L’Amour de Loin.”

 • 17. November 2016 •

Classical musicians respond to the election.

 • 3. November 2016 •

The composer and songwriter Gabriel Kahane is staying candid.

 • 18. August 2016 •

Procrastination and the search for simplicity with the composer Natalie Draper.

 • 23. June 2016 •

Dispatches from the Ojai Music Festival and Jordan Hall.

 • 25. May 2017 •

The cellist Mariel Roberts searches for transformation.

 • 20. April 2017 •

Sounds and wanderings by the composer Kristina Wolfe.

 • 19. January 2017 •

Empathy and perception with the composer Sky Macklay.

 • 5. January 2017 •

Yuval Sharon takes on opera’s future.

 • 27. October 2016 •

Katherine Balch dives into plant sounds, nonlinear novels, humming, and shivering.

 • 6. October 2016 •

Cult appeal and the universe with the composer Dylan Mattingly.

 • 21. June 2018 •

Listening to Simon Rattle’s goodbye concert in Berlin.

 • 24. May 2018 •

James Levine is suing the Met. No matter what, both parties lose.

 • 1. March 2018 •

Donald Runnicles thinks conducting is the easy part.

 • 15. February 2018 •

“Die Gezeichneten” at the Komische Oper in Berlin.

 • 7. December 2017 •

On knowing and not knowing about James Levine.

 • 3. August 2017 •

A haunting new “Meistersinger” at Bayreuth.

 • 11. May 2017 •

Where did classical music’s most famous label go wrong?

 • 30. June 2016 •

Samir Chatterjee seeks detachment.

 • 28. April 2016 •

The composer Liza Lim on judging composer competitions.

 • 18. February 2016 •

Christian Gerhaher doesn’t want to entertain.

 • 12. May 2016 •

The violinist Patricia Kopatchinskaja is fed up.

 • 21. September 2017 •

Roland Kayn’s cybernetic compositions.

 • 30. March 2017 •

Tim Rutherford-Johnson discusses his new book “Music After the Fall.”

 • 27. October 2016 •

Explorations of experimental music with Jennie Gottschalk.

 • 15. September 2016 •

The mixes of the electroacoustic composer Carl Stone.

 • 18. August 2016 •

A new release of a pivotal Julius Eastman work.

 • 8. June 2017 •

Why studies questioning the Stradivarius myth are so persuasive.

 • 13. April 2017 •

Steven Osborne’s piano psychologies.

 • 29. September 2016 •

Selling the manuscript of Mahler’s Second Symphony.

 • 8. September 2016 •

On the Multi-Story Orchestra, an ensemble based in a car park.

 • 7. July 2016 •

The risks of using famous artists as opera set designers.

 • 21. July 2016 •

A concert of black female composers in New York.

 • 23. June 2016 •

Discovering the New York Opera Fest.

 • 24. May 2016 •

A Concerto with Cornel West and pieces on Sonia Sotomayor and Donald Trump at the Apollo Theater.

 • 28. April 2016 •

What the mezzo-soprano Elīna Garanča looks for in a production.

 • 31. March 2016 •

A new production of “Lucia di Lammermoor,” by Heartbeat Opera.

 • 24. May 2018 •

Morton Subotnick wants to stay insulated.

 • 15. March 2018 •

John McCowen goes from experimental music to rock fame and back again.

 • 28. September 2017 •

How Shostakovich changed the improviser Liz Durette.

 • 10. August 2017 •

The aesthetic campaigning of Against Modern Opera Productions.

 • 1. June 2017 •

Yarn/Wire’s “Currents” series comes full circle.

 • 10. August 2018 •

all that dust wants to give artists a better deal.

 • 14. June 2018 •

Na’ama Zisser learns to let go.

 • 10. May 2018 •

Jessica Cottis is always leading.

 • 3. May 2018 •

George Benjamin on his third opera, “Lessons in Love and Violence.”

 • 29. March 2018 •

Peter Ablinger on creating texture.

 • 25. May 2017 •

Improvisations by Rhymes With Opera.

 • 15. December 2016 •

Janáček’s “Jenůfa” and the politics of forgiveness.

 • 11. August 2016 •

“The Hubble Cantata” in Brooklyn.

 • 16. June 2016 •

Herbert von Karajan and Arthur Honegger’s “Symphonie Liturgique.”

 • 27. July 2017 •

What’s up at the Center for Black Music Research.

 • 30. March 2017

Musicians and listeners respond to our survey.

 • 8. September 2016 •

The composer and saxophonist Matthew Evan Taylor on false binaries, anger as pitch, and the surprises of working with visual artists.

 • 4. August 2016 •

An interview with the composer and sound artist Lisa R. Coons.

 • 4. January 2018 •

Who loved it, who hated it – Seth MacFarlane at the San Francisco Symphony.

 • 30. November 2017 •

Who loved it, who hated it – “Girls of the Golden West.”

 • 20. April 2017 •

How did the repertoire become so narrow?

 • 30. March 2017 •

What one octogenarian performer’s experience reveals about getting old in the music business.

 • 10. August 2018 •

Do we still need Bayreuth?

 • 7. December 2017 •

Wolfgang Hildesheimer’s 40-year-old essay is the most modern music book of the year.

 • 5. October 2017 •

Remembering Klaus Huber.

 • 18. May 2017 •

How two amateurs created the world’s most important resource on the French composer.

 • 15. December 2016 •

Matt Haimovitz in Sarasota, Florida.

 • 8. September 2016 •

Matt Haimovitz in Cormons, Italy.

 • 28. July 2016 •

Matt Haimovitz in Fishtail, Montana.

 • 21. December 2017 •

The top 10 composers who only wrote one famous piece.

 • 8. October 2017 •

An interview with the founder of IMSLP.

 • 1. December 2016 •

The conductor Thomas Sanderling’s life with Mravinsky, Weinberg, and Shostakovich.

 • 30. March 2017 •

What music says about the history of colonialism in Brazil.

 • 22. September 2016 •

An interview with the composer Jüri Reinvere, on a musical life in the orbit of Ingmar Bergman and Käbi Laretei.

 • 26. May 2016 •

Artists take over the Brazilian Ministry of Culture.

 • 7. July 2016 •

Pierre-Laurent Aimard after the Aldeburgh Festival.

 • 28. April 2016 •

Scoring Hong Kong film and arranging Harry Partch.

 • 31. March 2016 •

What does it mean when a conductor says he’s “bringing music” to societies with rich musical traditions?

 • 16. June 2016 •

The present and future of artificial intelligence in composition.

 • 14. April 2016 •

Transfiguration and tradition in Schoenberg’s “Verklärte Nacht.”

 • 3. March 2016 •

Is it better for your music to be streamed or pirated?

 • 2. February 2017 •

A profile of the artist and interviewer Helga Davis.

 • 17. November 2016 •

What’s a classical musician to do in Trump’s America?

 • 2. February 2017 •

A profile of the artist and interviewer Helga Davis.

 • 17. November 2016 •

What’s a classical musician to do in Trump’s America?

 • 30. March 2017 •

The solace of John Cage’s speaking and writing.

 • 26. January 2017 •

King Ludwig II’s Wagnerian castle and a lineage of obsession.

 • 12. January 2017 •

Talking motherhood and opera with Margarete Joswig.

 • 9. June 2016 •

The Black tenors who’ve taken on the role of Otello.

 • 6. July 2017 •

Saul Williams’s words to music.

 • 4. August 2016 •

Hartmut Haenchen jumps in at Bayreuth.

 • 28. July 2016 •

At the Belvedere Singing Competition, in Cape Town, with the tenor Lukhanyo Moyake.

 • 17. March 2016 •

Dr. Joanne Loewy, director of the Louis Armstrong Center for Music and Medicine, on the pitfalls of the audition process.

 • 12. May 2016 •

The prevailing 19th-century attitudes towards injury and disability in classical music harm musicians and those around them.

 • 18. January 2016 •

A student remembers Lilian Kallir and her unusual illness.

 • 14. April 2016 •

Improvisation with family as a cure for orchestral burnout.

 • 3. March 2016 •

From mountain camping to Concertgebouw audition.

 • 11. May 2017 •

Venezuelans respond to Gustavo Dudamel.

 • 18. January 2016 •

Is El Sistema really a revolution in music education?

 • 14. December 2017 •

Suzanne Farrin’s subtractive composition.

 • 30. March 2017 •

An interview with Alvin Lucier.

 • 5. October 2017 •

Berlin’s Staatsoper returns to its renovated home.

 • 30. March 2017 •

Would Pierre Boulez have approved of the Pierre Boulez Saal?

 • 12. April 2018 •

Why we still need dedicated classical music spaces.

 • 30. March 2017 •

And that’s OK.

 • 10. August 2017 •

Uri Caine’s classical improvisations.

 • 13. July 2017 •

The enigmatic composer’s obsessions and influences.

 • 3. May 2018 •

Alexei Lubimov is looking for adventure.

 • 4. January 2018

The cellist Anner Bijlsma makes music without playing.

 • 26. April 2018 •

Russian classical music’s money machine.

 • 1. February 2018 •

How Teodor Currentzis became a Russian sex symbol.

 • 24. May 2018 •

In search of the musical occult.

 • 1. February 2018 •

Investigating classical music on the London Underground.

 • 30. August 2018 •

A concert protests the weaponization of atonal music.

 • 8. February 2018 •

Susan McClary wants to debate the music.

 • 28. June 2018 •

Patricia Alessandrini finds identity in sound.

 • 17. May 2018 •

Niels Rønsholdt sees beauty in the attempt.

 • 4. October 2018 •

The decline of one of America’s great composers.

 • 7. June 2018 •

A music critic listens with depression.

 • 5. January 2017 •

The composer Jennifer Walshe’s overwhelming worlds.

 • 15. December 2016 •

Music on the border to the Gaza Strip.

 • 1. December 2016 •

On the interaction between personal identity and artistic freedom.

 • 24. November 2016 •

On the effort performers put into looking effortless.

 • 29. September 2016 •

An interview with Helmut Lachenmann.

 • 31. March 2016 •

An interview with the German mezzo-soprano Waltraud Meier.

 • 28. April 2016 •

Conversations with Polish music engravers.

 • 20. October 2016 •

“Dichterliebe” in a collage with the pop and the pornographic.

 • 8. September 2016 •

Where do piano tuners spend their days?

 • 11. August 2016 •

The composer Nathan Currier preserves the Midtown scene.

 • 28. July 2016 •

Why aren’t we discussing structural inequality in classical music?

 • 15. July 2016 •

Composing in the era of entrepreneurship.

 • 7. July 2016 •

In Berlin with the South African composer Philip Miller.

 • 30. June 2016 •

On Autism and emotion in music.

 • 24. May 2016 •

The liberation of the Syrian city of Palmyra from ISIS by Russian forces called for a celebration. But this was no ordinary open air concert.

 • 24. May 2016 •

Faced with a hostile government, new, improvised music in Russia is flourishing on the fringe.

 • 24. May 2016 •

“The assumption is often that music is used to drown out other sounds of torture; in fact, music is an additional weapon used against prisoners.”

 • 31. March 2016 •

Two graphic designers on new classical album covers.

 • 31. March 2016 •

Two graphic designers on new classical album covers.

 • 17. March 2016 •

A conversation with Olga Neuwirth on the persistence of sexism in classical music.

 • 18. January 2016 •

A former El Sistema violinist on endless rehearsals, political manipulation, and what needs to change for the Venezuelan youth orchestra training program to live up to its reputation.

 • 4. February 2016 •

An interpretation of Schubert’s “Erlkönig” by the composer Georg Friedrich Haas.

 • 18. February 2016 •

A poem by David Ferry, in sound.

 • 18. February 2016 •

Conversations with members of Europe’s first black and minority ethnic orchestra, Chineke!

 • 18. January 2016 •

An interview with the composer Betsy Jolas.

 • 18. January 2016 •

Why do people stop playing music? Conversations with current and former musicians.

 • 30. March 2017 •

When the concert stage becomes a trigger for trauma, and what to do about it.

 • 30. March 2017 •

Chaya Czernowin discusses her upcoming opera “Infinite Now.”

 • 30. March 2017 •

A profile of the composer and ping pong player Chung Yiu-kwong.

 • 20. April 2017 •

Andreas Staier responds to our interview with Mahan Esfahani.

 • 22. June 2017 •

George Lewis on opera, genre, and race.

 • 22. June 2017 •

Andrés Andrade teaches opera to teenagers.

 • 20. July 2017 •

Orientalism and a plea for humanity in “The Land of Smiles.”

 • 20. July 2017 •

An interview with Brian Brandt, the founder of Mode Records, on the future of the music industry.

 • 21. September 2017 •

Alina Ibragimova wants it darker.

 • 8. October 2017 •

Dror Feiler’s radical politics and art.

 • 9. November 2017 •

Georges Aperghis has been thinking about robots.

 • 8. February 2018 •

On “dead wasps in the jam-jar (ii).”

 • 15. February 2018 •

Is “Peter Grimes” a better play than opera?

 • 22. February 2018 •

Craig Urquhart remembers his life with the conductor and composer.

 • 5. April 2018 •

Stephen Wadsworth on writing words for Leonard Bernstein.

 • 12. April 2018 •

Robin Ticciati wants to hear internal fire.

 • 26. April 2018 •

Anne Teresa de Keersmaeker starts with the score.

 • 17. May 2018 •

Politics, aesthetics, and the deconstruction of binaries.

 • 7. June 2018 •

Censorship, political correctness, and the legacy of “America’s Troubadour.”

 • 25. October 2018 •

A profile of the conductor.

 • 15. November 2018 •

Memories of Galina Ustvolskaya.