Issue #113

19. July 2018

Read five more of our favorite articles, for free.

19. July 2018

Read five more of our favorite articles, for free.

19. July 2018

Read five more of our favorite articles, for free.

19. July 2018

Read five more of our favorite articles, for free.

19. July 2018

Read five more of our favorite articles, for free.

Issue #112

5. July 2018

The British music scene in profile.

5. July 2018

What does correctness mean in music?

5. July 2018 •

Salvatore Sciarrino wants everything to connect.

5. July 2018 •

Is a popular perfect pitch course a revelation or a scam?

5. July 2018 •

Alina Rotaru wants to change the notes.

Issue #111

28. June 2018

We’re angry because we care.

28. June 2018

Finding the words for music and the people who make it.

28. June 2018 •

Norman Lebrecht wants to make the world a little less worse.

28. June 2018 •

On the sexual politics of musical metaphors.

28. June 2018 •

Patricia Alessandrini finds identity in sound.

Issue #110

21. June 2018

The difficulty and importance of crossing, in issue #110.

21. June 2018

Giving music a close read.

21. June 2018 •

Analyzing an aural document of terror.

21. June 2018 •

Listening to Simon Rattle’s goodbye concert in Berlin.

21. June 2018 •

Rattle and the Berlin Philharmonic have had enough.

Issue #109

14. June 2018

How we can learn from the past without getting stuck in it.

14. June 2018

Right-wing music politics and embarrassing self-tests by a VAN editor.

14. June 2018 •

Pierre Hantaï teaches himself.

14. June 2018 •

Does the future of classical lay in its past?

14. June 2018 •

Na’ama Zisser learns to let go.

Issue #108

7. June 2018

In issue #108, music of destruction and survival.

7. June 2018

The composer is the boss.

7. June 2018 •

A music critic listens with depression.

7. June 2018 •

Allan Clayton focuses on interaction.

7. June 2018 •

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

Issue #107

31. May 2018

Decidedly un-chill music for chilling in the summer sun.

31. May 2018

In issue #107, the hard work of invention and rediscovery.

31. May 2018 •

Mark Barden wants to reach you on first listen.

31. May 2018 •

Is a popular perfect pitch course a revelation or a scam?

31. May 2018 •

Keith and Robert Hill search for the real sound of the 18th century.

Issue #106

24. May 2018

The uses of music for good and evil, in issue #106.

24. May 2018

It’s a calling; it’s also a job.

24. May 2018 •

Morton Subotnick wants to stay insulated.

24. May 2018 •

In search of the musical occult.

24. May 2018 •

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

Issue #105

17. May 2018

The physicality of music and ourselves, in issue #105.

17. May 2018

The capitulation and resistance of Russian artists.

17. May 2018 •

Niels Rønsholdt sees beauty in the attempt.

17. May 2018 •

How the composer Jörg Widmann became ubiquitous by default.

17. May 2018 •

Politics, aesthetics, and the deconstruction of binaries.

Issue #104

10. May 2018

The ways we hear the world differently, in issue #104.

10. May 2018

Margarete Joswig, Barrie Kosky, George Crumb.

10. May 2018 •

Jessica Cottis is always leading.

10. May 2018 •

Is a popular perfect pitch course a revelation or a scam?

10. May 2018 •

Matthias Goerne looks for symbiosis.

Issue #103

3. May 2018

From strong opinions to cutting criticism in issue #103.

3. May 2018

Stories from the ground in classical music.

3. May 2018 •

Alexei Lubimov is looking for adventure.

3. May 2018 •

Unpacking the Instagram score-studying aesthetic.

3. May 2018 •

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

Issue #102

26. April 2018

How music turns ideas into molecular movement.

26. April 2018

Look back to our music and sexuality issue.

26. April 2018 •

Russian classical music’s money machine.

26. April 2018 •

Is a popular perfect pitch course a revelation or a scam?

26. April 2018 •

Anne Teresa de Keersmaeker starts with the score.

Issue #101

19. April 2018

Composers who don’t feel jealous of Kendrick Lamar.

19. April 2018

The eclectic influences on classical music, in issue #101.

19. April 2018 •

On Music and Activism.

19. April 2018 •

“The Gender Agenda,” a musical gameshow by Philip Venables.

19. April 2018 •

Ben Johnston looks back.

Issue #100

12. April 2018

After 100 issues of VAN, revisit the articles that started it all.

12. April 2018

From the past, from tradition, and the unlearnable in issue #100.

12. April 2018 •

Why we still need dedicated classical music spaces.

12. April 2018 •

Is a popular perfect pitch course a revelation or a scam?

12. April 2018 •

Robin Ticciati wants to hear internal fire.

Issue #99

5. April 2018

Writing and thinking about the very first instrument.

5. April 2018

The trials of reinvention in issue #99.

5. April 2018 •

Stephen Wadsworth on writing words for Leonard Bernstein.

5. April 2018 •

And wound up hating Mozart.

5. April 2018 •

Raven Chacon looks for shared experience.

Issue #98

29. March 2018

Music intersects with other arts.

29. March 2018

Ways of making art, in issue #98.

29. March 2018 •

Peter Ablinger on creating texture.

29. March 2018 •

Is a popular perfect pitch course a revelation or a scam?

29. March 2018 •

Meredith Monk translates biological process into a new language.

Issue #97

22. March 2018 •

Why the conductor’s honorific is horrific.

22. March 2018 •

How the far-right Polish government targets artists.

Issue #96

15. March 2018

The personal and political in classical music.

15. March 2018

Issue #96 focuses on process.

15. March 2018 •

On Borealis, an experimental festival for music.

15. March 2018 •

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

15. March 2018 •

Daniel Mendelsohn on music.

Issue #01

18. January 2016 •

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

18. January 2016 •

A student remembers Lilian Kallir and her unusual illness.

18. January 2016 •

The violinist Christian Tetzlaff goes deeper.

18. January 2016 •

The soprano explores her character Ophelia, in Hans Abrahamsen’s “let me tell you,” through song.

18. January 2016 •

A photo essay from an organ builder’s workshop.

18. January 2016 •

A concert in São Paulo’s Cracolândia.

18. January 2016 •

An interview with the composer Betsy Jolas.

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.

18. January 2016 •

Is El Sistema really a revolution in music education?

Issue #02

4. February 2016 •

On Johannes Brahms and his ever-complicated relationship with women.

4. February 2016 •

The composer on her—mostly non-classical—musical influences.

4. February 2016 •

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

4. February 2016 •

The composer Georg Friedrich Haas starts living his sexuality.

4. February 2016 •

Did Claude Vivier predict his own murder?

Issue #03

18. February 2016 •

The director Morgan Neville discusses his documentary on Yo-Yo Ma and the Silk Road Ensemble.

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. February 2016 •

Listening to Kim Jong-il’s operas.

18. February 2016 •

Christian Gerhaher doesn’t want to entertain.

Issue #04

3. March 2016 •

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

3. March 2016 •

From mountain camping to Concertgebouw audition.

3. March 2016 •

Cellist Kevin McFarland on his favorite melancholy, macabre music.

3. March 2016 •

Playing Chopin and poker, at home and abroad.

3. March 2016 •

The baritone Thomas Hampson on listening to his own voice, the vulnerability of Lied, and bringing an opera role home.

Issue #05

17. March 2016 •

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

17. March 2016 •

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

17. March 2016 •

A new staging of George Benjamin’s opera “Written On Skin.”

17. March 2016 •

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

17. March 2016 •

On experiencing the Boston Symphony Orchestra live.

Issue #06

31. March 2016 •

An interview with the German mezzo-soprano Waltraud Meier.

31. March 2016 •

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

31. March 2016 •

An interview with Odradek Records founder John Anderson.

31. March 2016 •

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

31. March 2016 •

Two graphic designers on new classical album covers.

Issue #07

14. April 2016 •

Improvisation with family as a cure for orchestral burnout.

14. April 2016 •

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

14. April 2016 •

The formative sounds and experiences of composer Pauline Oliveros.

14. April 2016 •

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

14. April 2016 •

The composers who matter to Ilan Volkov.

Issue #08

28. April 2016 •

The composer Liza Lim on judging composer competitions.

28. April 2016 •

Scoring Hong Kong film and arranging Harry Partch.

28. April 2016 •

The world of custom baton makers.

28. April 2016 •

Conversations with Polish music engravers.

28. April 2016 •

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

Issue #09

12. May 2016 •

An opera playlist on injustice, violence, and making a beautiful ruckus.

12. May 2016 •

The violinist Patricia Kopatchinskaja is fed up.

12. May 2016 •

An interview with the composer Christian Wolff.

12. May 2016 •

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

12. May 2016 •

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

Issue #10

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.”

24. May 2016 •

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

24. May 2016 •

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

24. May 2016 •

A conversation with the cellist Jan Vogler on the rise of Pegida in Dresden.

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 •

Reflecting on musical white privilege in Kenya and Benin.

26. May 2016 •

Artists take over the Brazilian Ministry of Culture.

Issue #11

9. June 2016 •

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

9. June 2016 •

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

9. June 2016 •

Marin Alsop in São Paulo and Baltimore.

Issue #12

16. June 2016 •

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

16. June 2016 •

The present and future of artificial intelligence in composition.

16. June 2016 •

A visit with Rebecca Saunders.

Issue #13

23. June 2016 •

The composer Jakob Ullmann’s ongoing resistance.

23. June 2016 •

Discovering the New York Opera Fest.

23. June 2016 •

Dispatches from the Ojai Music Festival and Jordan Hall.

Issue #14

30. June 2016 •

The evolving relevance of John Adams and his music.

30. June 2016 •

Samir Chatterjee seeks detachment.

30. June 2016 •

On Autism and emotion in music.

Issue #15

7. July 2016 •

The risks of using famous artists as opera set designers.

7. July 2016 •

An interview with the composer Tristan Murail.

7. July 2016 •

Hold music and dance music with the choreographer Mark Morris.

Issue #16

7. July 2016 •

Pierre-Laurent Aimard after the Aldeburgh Festival.

7. July 2016 •

In Berlin with the South African composer Philip Miller.

7. July 2016 •

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

Issue #17

15. July 2016 •

Composing in the era of entrepreneurship.

21. July 2016 •

A concert of black female composers in New York.

21. July 2016 •

The actor chooses voices of the past and present.

Issue #18

28. July 2016 •

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

28. July 2016 •

A strange homage to Ligeti’s Violin Concerto.

28. July 2016 •

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

28. July 2016 •

Matt Haimovitz in Fishtail, Montana.

Issue #19

4. August 2016 •

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

4. August 2016 •

Science fiction and Morton Feldman’s “Three Voices.”

4. August 2016 •

Hartmut Haenchen jumps in at Bayreuth.

Issue #20

11. August 2016 •

“The Hubble Cantata” in Brooklyn.

11. August 2016 •

The composer Nathan Currier preserves the Midtown scene.

11. August 2016 •

Early music specialist Reinhard Goebel still knows best.

11. August 2016 •

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

Issue #21

18. August 2016 •

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

18. August 2016 •

A new release of a pivotal Julius Eastman work.

18. August 2016 •

The personal and political histories of Lukas Ligeti.

Issue #22

8. September 2016 •

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

8. September 2016 •

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

8. September 2016 •

Where do piano tuners spend their days?

8. September 2016 •

Matt Haimovitz in Cormons, Italy.

Issue #23

15. September 2016 •

Bibliophilia, secrecy, Valium, and the world’s most important collection of contemporary music manuscripts.

15. September 2016 •

Wolfgang Rihm teaches the Lucerne Festival’s Composer Seminar.

15. September 2016 •

The mixes of the electroacoustic composer Carl Stone.

15. September 2016 •

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

Issue #24

22. September 2016 •

Who’s Your Conductor Soul Mate?

22. September 2016 •

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

Issue #25

29. September 2016 •

An interview with Helmut Lachenmann.

29. September 2016 •

On pacifism in Britten and the music world today.

29. September 2016 •

Selling the manuscript of Mahler’s Second Symphony.

Issue #26

6. October 2016 •

An interview with the journalist and musicologist William Robin on “a scene without a name.”

6. October 2016 •

What’s behind the obsession with children who compose?

6. October 2016 •

Cult appeal and the universe with the composer Dylan Mattingly.

Issue #27

13. October 2016 •

The conductor on intimate, intertwined threads of Finnish music.

13. October 2016 •

The “Human Requiem,” before it arrives in New York City.

13. October 2016 •

An interview with the composer Sarah Nemtsov, a winner of RicordiLab.

Issue #28

20. October 2016 •

Weinberg and Lady Gaga with the Baltic Sea Philharmonic.

20. October 2016 •

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

20. October 2016 •

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

Issue #29

27. October 2016 •

Explorations of experimental music with Jennie Gottschalk.

27. October 2016 •

What fan fiction based on a rock opera tells us about the musician’s life.

27. October 2016 •

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

Issue #30

3. November 2016 •

The music of the people who tried, and failed, to achieve America’s highest office.

3. November 2016 •

The composer and songwriter Gabriel Kahane is staying candid.

3. November 2016 •

The violinist Leila Josefowicz is a tough cookie.

Issue #31

10. November 2016 •

A profile of the Cambodian composer Him Sophy.

10. November 2016 •

The conductor Elena Schwarz is developing her intuition.

Issue #32

17. November 2016 •

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

17. November 2016 •

An interview with the violinist Hilary Hahn.

17. November 2016 •

Classical musicians respond to the election.

17. November 2016 •

Music for self-reflection and post-election blues.

Issue #33

24. November 2016 •

On the effort performers put into looking effortless.

24. November 2016 •

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

24. November 2016 •

Music from the 64th parallel north.

Issue #34

1. December 2016 •

On the interaction between personal identity and artistic freedom.

1. December 2016 •

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

1. December 2016 •

Does marijuana have a future in classical music?

Issue #35

8. December 2016 •

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

8. December 2016 •

The conductor John Eliot Gardiner’s Monteverdi.

8. December 2016 •

On the future of the Archivio Luigi Nono.

Issue #36

15. December 2016 •

Music on the border to the Gaza Strip.

15. December 2016 •

Matt Haimovitz in Sarasota, Florida.

15. December 2016 •

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

Issue #37

22. December 2016 •

The violinist Vilde Frang searches for clarity.

22. December 2016 •

What classical music has been up to in 2016 on Facebook, Twitter, and Instagram.

22. December 2016 •

The sounds of the composer and artist’s “obsessive aesthetic fence-straddling.”

Issue #38

5. January 2017 •

Does a composer’s country matter?

5. January 2017 •

The composer Jennifer Walshe’s overwhelming worlds.

5. January 2017 •

Yuval Sharon takes on opera’s future.

Issue #39

12. January 2017 •

A profile of George Crumb at 87.

12. January 2017 •

Songs from a gay Australian childhood and youth.

12. January 2017 •

Talking motherhood and opera with Margarete Joswig.

Issue #40

19. January 2017 •

Empathy and perception with the composer Sky Macklay.

19. January 2017 •

A new exhibition on the life of Richard Wagner’s decidedly gay, ambivalently Nazi son.

19. January 2017 •

An interview with Nabil Arbaain, a Syrian musician who fled Damascus.

Issue #41

26. January 2017 •

Alex Temple’s polystylistic exuberance.

26. January 2017 •

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

26. January 2017 •

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

Issue #42

2. February 2017 •

The Refugee Orchestra Project envisions an open America.

2. February 2017

Oscar Edelstein’s curiosity and defiance.

2. February 2017 •

A profile of the artist and interviewer Helga Davis.

Issue #43

30. March 2017 •

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

30. March 2017 •

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

30. March 2017 •

Chaya Czernowin discusses her upcoming opera “Infinite Now.”

Issue #44

30. March 2017 •

And that’s OK.

30. March 2017 •

A new production of Robert Ashley’s “Dust.”

30. March 2017 •

An interview with the soprano Marina Rebeka.

Issue #45

30. March 2017 •

The solace of John Cage’s speaking and writing.

30. March 2017 •

The extremes of the baritone Georg Nigl.

30. March 2017 •

Olivier Latry and Iveta Apkalna discuss the pleasures and perils of the organ.

Issue #46

30. March 2017

Musicians and listeners respond to our survey.

30. March 2017 •

What music says about the history of colonialism in Brazil.

30. March 2017 •

Teju Cole’s musical obsessions.

Issue #47

30. March 2017 •

Would Pierre Boulez have approved of the Pierre Boulez Saal?

30. March 2017 •

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

30. March 2017 •

What gets lost when orchestras share their conductors.

Issue #48

30. March 2017 •

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

30. March 2017 •

The composer on clashes, frictions, and utopian mixtures.

30. March 2017 •

An interview with Alvin Lucier.

Issue #49

30. March 2017 •

Sigiswald Kuijken’s matters of principle.

30. March 2017 •

A selection of music by women for orchestras to program.

30. March 2017 •

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

Issue #50

30. March 2017 •

What British musicians listened to as their country triggered Article 50.

30. March 2017 •

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

30. March 2017 •

An interview with the composer Ashley Fure.

Issue #51

31. March 2017 •

A profile of Michael Maierhof, explorer of objects.

31. March 2017 •

A call for clarity in calls for scores.

31. March 2017 •

Mahan Esfahani on piety and conservatism in early music.

Issue #52

13. April 2017 •

An interview with the new JACK Quartet cellist Jay Campbell.

13. April 2017 •

Music for books, ruined pianos, stone xylophones, and more.

13. April 2017 •

Steven Osborne’s piano psychologies.

Issue #53

20. April 2017 •

How did the repertoire become so narrow?

20. April 2017 •

Sounds and wanderings by the composer Kristina Wolfe.

20. April 2017 •

Andreas Staier responds to our interview with Mahan Esfahani.

Issue #54

27. April 2017

Yair Klartag wants to live peacefully with doubt.

27. April 2017 •

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

27. April 2017 •

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

Issue #54.5

26. January 2017 •

Alex Temple’s polystylistic exuberance.

2. February 2017 •

The Refugee Orchestra Project envisions an open America.

30. March 2017 •

Would Pierre Boulez have approved of the Pierre Boulez Saal?

30. March 2017 •

And that’s OK.

30. March 2017 •

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

Issue #55

11. May 2017 •

A photo essay from Thessia Machado’s studio.

11. May 2017 •

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

11. May 2017 •

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

11. May 2017 •

Venezuelans respond to Gustavo Dudamel.

Issue #56

18. May 2017 •

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

18. May 2017 •

Kristine Opolais on acting and emptiness.

18. May 2017 •

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

Issue #57

25. May 2017 •

The cellist Mariel Roberts searches for transformation.

25. May 2017 •

Improvisations by Rhymes With Opera.

25. May 2017 •

On a search for the perfect music education.

Issue #58

1. June 2017 •

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

1. June 2017 •

How Berlin and techno saved Joshua Fineberg.

1. June 2017 •

Behind the hype of Teodor Currentzis.

Issue #59

8. June 2017 •

Listening to Czech music with the conductor Jakub Hrůša.

8. June 2017 •

Why studies questioning the Stradivarius myth are so persuasive.

8. June 2017 •

An interview with the cellist Steven Isserlis.

Issue #60

15. June 2017 •

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

15. June 2017 •

A new choral work by Michael Gordon.

15. June 2017 •

An interview with the pianist Jean-Yves Thibaudet.

Issue #61

22. June 2017 •

On the New York premiere of “Three Way.”

22. June 2017 •

Andrés Andrade teaches opera to teenagers.

22. June 2017 •

George Lewis on opera, genre, and race.

Issue #62

29. June 2017

Read our coverage of divas, drama queens, and the human voice.

29. June 2017

Explore how in issue #62.

29. June 2017 •

Matthias Pintscher looks for moments of perfection.

29. June 2017 •

Correcting misogynist interpretations of Élaine Radigue’s “Biogenesis.”

29. June 2017 •

Is the prevalence of suicide in opera harmful or healing?

Issue #63

6. July 2017

No two experiences of music are the same.

6. July 2017 •

Mark Andre’s disappearing sounds.

6. July 2017

Why that matters in issue #63.

6. July 2017 •

Saul Williams’s words to music.

6. July 2017 •

Rethinking the voice with contemporary music.

Issue #64

13. July 2017

Classical music has always been a little different.

13. July 2017 •

The sounding objects of Ellen Fullman and Theresa Wong.

13. July 2017

Discover the sounds of issue #64.

13. July 2017 •

The enigmatic composer’s obsessions and influences.

13. July 2017 •

An interview with Michel van der Aa.

Issue #65

20. July 2017

Tackle the pressing questions with us in issue #65.

20. July 2017

It may be old, but it definitely isn’t boring.

20. July 2017 •

When a conservatory professor fell in love with his student, it tore a class apart.

20. July 2017 •

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

20. July 2017 •

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

Issue #66

27. July 2017

Classical music that takes a stand.

27. July 2017

Find new music in old traditions, in issue #66.

27. July 2017 •

Paul Jacobs trusts his audience.

27. July 2017 •

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

27. July 2017

Annea Lockwood’s sonic geographies.

Issue #67

3. August 2017

In music new, radical, and fraught.

3. August 2017

What makes it hard, what makes it worth doing.

3. August 2017 •

A haunting new “Meistersinger” at Bayreuth.

3. August 2017 •

Claire Chase and Anna Thorvaldsdóttir shape the concert.

3. August 2017 •

The musical realms of Elizabeth A. Baker.

Issue #68

10. August 2017

Leaders who set the tone.

10. August 2017 •

Uri Caine’s classical improvisations.

10. August 2017

New initiatives and resistance to them, in issue #68.

10. August 2017 •

Are large ensemble tours worth their environmental cost?

10. August 2017 •

The aesthetic campaigning of Against Modern Opera Productions.

Issue #69

17. August 2017

Underpin the music in issue #69.

17. August 2017 •

Music of intricate construction and gut-punch intensity.

17. August 2017

And how they interact with sound.

17. August 2017 •

The harpsichordist Richard Egarr’s music between worlds.

17. August 2017 •

Concert Hall Hopping with Kate Wagner of McMansion Hell.

Issue #70

24. August 2017

Classical music’s bizarre side.

24. August 2017 •

Kristian Bezuidenhout wants to program music in its context.

24. August 2017

In issue #70, tracing the contours of context.

24. August 2017 •

Philip Venables’ formalized violence.

24. August 2017 •

On politics and solace in Schubert’s “Winterreise.”

Issue #71

14. September 2017

Song, rap, speech and sexuality.

14. September 2017

And how they translate to timbre, in issue #71.

14. September 2017 •

Addressing the political with the classical at the Lucerne Festival.

14. September 2017 •

Amy Williams’s overlapping textures.

14. September 2017 •

An interview with Brian Ferneyhough.

Issue #72

21. September 2017

Three artists strive for beauty through unpredictability.

21. September 2017

Headphones and chill with VAN.

21. September 2017 •

Alina Ibragimova wants it darker.

21. September 2017 •

Roland Kayn’s cybernetic compositions.

21. September 2017 •

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

Issue #73

28. September 2017

In underground scenes, mining towns, and unhealthy diets.

28. September 2017

Provocative opinion writing in VAN.

28. September 2017 •

Ton Koopman on life and his hero Buxtehude.

28. September 2017 •

How Shostakovich changed the improviser Liz Durette.

28. September 2017 •

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

Issue #74

5. October 2017

VAN investigates.

5. October 2017 •

Remembering Klaus Huber.

5. October 2017

And figuratively, in issue #74.

5. October 2017 •

Do classical music and techno have common DNA?

5. October 2017 •

Berlin’s Staatsoper returns to its renovated home.

Issue #75

8. October 2017

Revisit the writing that got VAN started.

8. October 2017

Three radicals in issue #75.

8. October 2017 •

An attempt to revive the music of Horatiu Radulescu.

8. October 2017 •

Dror Feiler’s radical politics and art.

8. October 2017 •

New classical music memes are actually funny.

Issue #76

8. October 2017

Illuminating interviews, the heart of what we do.

8. October 2017 •

A guide to the vastly underrated composer’s music.

8. October 2017

Like the artists and makers this week have done.

8. October 2017 •

An interview with the founder of IMSLP.

8. October 2017 •

Pierre Audi’s vision for the Park Avenue Armory.

Issue #77

8. October 2017

Mulling over what we’ve heard.

8. October 2017 •

Who loved it, who hated it – “Elektra” at the Deutsche Oper.

8. October 2017

Look to nature, scores, and humans.

8. October 2017 •

On listening to music while airborne.

8. October 2017 •

Roberto González-Monjas and his painstaking preparation.

Issue #78

2. November 2017

How to tackle it, in issue #78.

2. November 2017

The cellist’s reports from the road.

2. November 2017 •

Unsuk Chin suffers for her art.

2. November 2017 •

Are musicians becoming increasingly hostile towards the media?

2. November 2017 •

An interview with Du Yun.

Issue #79

9. November 2017

A visual approach to the art of music.

9. November 2017

How three artists do it, in issue #79.

9. November 2017 •

Tyshawn Sorey is tired of fighting.

9. November 2017 •

Georges Aperghis has been thinking about robots.

9. November 2017 •

“The Mother of Us All” at Hudson Hall.

Issue #80

16. November 2017

Get to know the young composers.

16. November 2017

An invitation to stop programming all-male concerts.

16. November 2017

Each have their role in the artistic process, and in issue #80.

16. November 2017 •

An openness to failure at the Ultima Oslo festival.

16. November 2017 •

Ione completes an opera by her late partner Pauline Oliveros.

Issue #81

23. November 2017

Artists who branch out from music in issue #81.

23. November 2017 •

Jürg Frey wants to purify his sounds.

23. November 2017 •

How Andrew Lawrence King tries to compose like Monteverdi.

23. November 2017

We collect the most embarrassing moments from classical music social media.

23. November 2017 •

Jessica Ekomane believes in mistakes.

Issue #82

30. November 2017

Seeing the sound of music.

30. November 2017

In issue #82.

30. November 2017 •

An interview with Jean Rondeau.

30. November 2017 •

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

30. November 2017 •

On the impact of Dmitri Hvorostovsky

Issue #83

7. December 2017

In issue #83, calls to treat artists as human beings.

7. December 2017

Feminist criticism by one of our staff writers.

7. December 2017 •

And failed miserably.

7. December 2017 •

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

7. December 2017 •

On knowing and not knowing about James Levine.

Issue #84

14. December 2017

Musical and male beauty in issue #84.

14. December 2017

Our staff writer finds the drama in early music.

14. December 2017 •

Suzanne Farrin’s subtractive composition.

14. December 2017 •

And almost seriously injured myself.

14. December 2017 •

William Christie has questions for himself.

Issue #85

21. December 2017

Drown out the Christmas music with our bizarre and fascinating collections.

21. December 2017

Go deep into life, death, and canned corn this week.

21. December 2017 •

The cellist Jean-Guihen Queyras embraces transience.

21. December 2017 •

The top 10 composers who only wrote one famous piece.

21. December 2017 •

Christophe Rousset wants to help the repertoire.

Issue #86

4. January 2018

Coping with the future in issue #86.

4. January 2018

Writing on trans voices and New York visions.

4. January 2018 •

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

4. January 2018 •

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

4. January 2018

The cellist Anner Bijlsma makes music without playing.

Issue #87

11. January 2018

The music and sexuality issue.

11. January 2018

Three calls to action, in issue #87.

11. January 2018 •

How the composer Jay Schwartz found his path.

11. January 2018 •

The up-and-coming alto Wiebke Lehmkuhl.

11. January 2018 •

How classical music’s lack of diversity attracts the far-right.

Issue #88

18. January 2018

On opera, voices, politics, and violence.

18. January 2018

Who has it and who doesn’t, in issue #88.

18. January 2018 •

Helmut Lachenmann speaks on “Marche fatale.”

18. January 2018 •

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

18. January 2018 •

Kirill Gerstein’s marathon career.

Issue #89

25. January 2018

Who loved it, who hated it. From the critics that count.

25. January 2018

To new music, to vulnerability, and to the tricks of psychoacoustics.

25. January 2018 •

Mark Padmore wants attention and intention.

25. January 2018 •

The trombonist and composer’s formative years.

25. January 2018 •

On Making the Third Ear.

Issue #90

1. February 2018

Tales from the tenacious and untamed.

1. February 2018

Commuters, critics, and groupies.

1. February 2018 •

Investigating classical music on the London Underground.

1. February 2018 •

How Teodor Currentzis became a Russian sex symbol.

1. February 2018 •

Nico Muhly on notes and rhythms.

Issue #91

8. February 2018

The sound at classical music’s heart.

8. February 2018

Layers of interrelation, in issue #91.

8. February 2018 •

Susan McClary wants to debate the music.

8. February 2018 •

On “dead wasps in the jam-jar (ii).”

8. February 2018 •

Does music really have the power to heal veterans?

Issue #92

15. February 2018

Issue #92 is serious. We aren’t always.

15. February 2018

How to alleviate classical music’s insularity.

15. February 2018 •

Is “Peter Grimes” a better play than opera?

15. February 2018 •

“Die Gezeichneten” at the Komische Oper in Berlin.

15. February 2018 •

Does classical music need a Rooney Rule?

Issue #93

22. February 2018

Can music connect us with a greater power? Answers, in issue #93.

22. February 2018

VAN and the Gesamtkunstwerk.

22. February 2018 •

Terre Thaemlitz doesn’t succumb to any scene.

22. February 2018 •

Craig Urquhart remembers his life with the conductor and composer.

22. February 2018 •

On “Somnium” and hypnagogic hallucinations.

Issue #94

1. March 2018

Stories from the ground in classical music.

1. March 2018

Some of music’s more striking effects in issue #94.

1. March 2018 •

On “La Passion de Simone.”

1. March 2018 •

Why airlines don’t care about your instrument.

1. March 2018 •

Donald Runnicles thinks conducting is the easy part.

Issue #95

8. March 2018

Slow improvement, in creative life and the classical music industry.

8. March 2018

Deeply personal essays on performing.

8. March 2018 •

Over 20 years ago, James Levine was nearly caught.

8. March 2018 •

A corrective to the 2018 Oscars Original Score shortlist.

8. March 2018 •

Simon Steen-Andersen puts transformation on display.