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Look To The Future

In 2005, Simon Rattle went on a tour of East Asia with the Berlin Philharmonic and predicted that the future of classical music was in China. It remained unclear exactly what kind of future he had in mind. Was he most impressed by the huge market for CDs and merchandise, an unprecedented number of potential […]

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Rules of Engagement

In Wieland Hoban’s composition “Hora’ot Pticha Be’esh (Rules of Engagement I),” from 2013-14, we hear distorted microtones, low glissandi, plucking, instrumental squealing. This music accompanies testimony by a Sergeant First Class in the Armored Corps of the Israeli Defense Forces during Operation Cast Lead in Gaza, in the winter of 2008-9. The soldier speaks in […]

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Simon Said

Simon Rattle grits his teeth and flares his nostrils. He raises his silver eyebrows, opens his mouth in vowel shapes, closes his eyes again in an ecstatic expression, bounces his baton off the air. These are his ways of expressing how the music makes him feel. They are also the tics that bother some of […]

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The End Is Pleasure

The pianist Kirill Gerstein is something of an insider’s tip. Despite the glossy magazine covers and ever-changing artist flavors of the month in classical music, the concert reality is closer to a bit of Alfred “Adi” Preissler’s soccer wisdom: “It’s what happens on the pitch that counts.” And it’s there that Gerstein is a regular: […]

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In Three Dimensions

Some art works live off the music of Bach like parasites. They sample him, stage him, ritualize him, dance to him—and often end up sucking the original work dry of its life blood. These semi-new works rarely hold their own in the face of the original. Instead they are banal, merely decorative, or kitsch. But […]

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Ideal Expressions

I met Jakub Hrůša on a warm April weekend in Bamberg, Germany. In the fall of 2016, he was named the fifth music director of the Bamberger Symphoniker, an orchestra deeply rooted in the Czech tradition. For this interview, I asked him to select some of his favorite pieces from that tradition, and then discussed […]

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The Magnet

One January morning in 2013, an orchestra was recording at 2:30 a.m. They had been working at Petropavlovskaya ulitsa 25A, the P. I. Tchaikovsky Opera and Ballet Theatre in Perm, Russia, since midnight. The piece was “Per pietà, ben mi, perdona,” Fiordiligi’s aria with horn obligato from Mozart’s opera “Così fan tutte.” It still wasn’t […]

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Deutsche Mega-phon

There aren’t many brands like Ferrari or Lamborghini in classical music. For a long time, Deutsche Grammophon was one of the only ones. It was obvious why: the label stood for tradition, good taste, objects of value, cutting edge technology. When you bought something from Deutsche Grammophon, you knew you were getting a reference recording. […]