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 #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 #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 #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 #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 #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 #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 #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 #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 #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 #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 #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 #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 #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 #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 #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 #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 #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 #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 #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 #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 #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 #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 #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 #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 #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 #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 #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 #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 #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 #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 #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 #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 #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 #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 #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 #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 #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 #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 #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 #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 #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 #31

10. November 2016 •

A profile of the Cambodian composer Him Sophy.

10. November 2016 •

The conductor Elena Schwarz is developing her intuition.

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 #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 #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 #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 #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 #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 #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 #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 #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 #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 #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 #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 #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 #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 #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 #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 #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 #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 #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 #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 #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 #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 #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 #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 #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 #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 •

On experiencing the Boston Symphony Orchestra live.

17. March 2016 •

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

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 #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 #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 #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?