• 18. January 2018 •

Helmut Lachenmann speaks on “Marche fatale.”

 • 11. January 2018 •

How the composer Jay Schwartz found his path.

 • 23. November 2017 •

Jessica Ekomane believes in mistakes.

 • 23. November 2017 •

Jürg Frey wants to purify his sounds.

 • 16. November 2017 •

Ione completes an opera by her late partner Pauline Oliveros.

 • 9. November 2017 •

Georges Aperghis has been thinking about robots.

 • 9. November 2017 •

Tyshawn Sorey is tired of fighting.

 • 18. January 2018 •

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

 • 4. January 2018 •

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

 • 21. December 2017 •

The top 10 composers who only wrote one famous piece.

 • 14. December 2017 •

And almost seriously injured myself.

 • 7. December 2017 •

And failed miserably.

 • 8. October 2017 •

New classical music memes are actually funny.

 • 8. October 2017 •

An interview with the founder of IMSLP.

 • 11. January 2018 •

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

 • 16. November 2017 •

An openness to failure at the Ultima Oslo festival.

 • 9. November 2017 •

“The Mother of Us All” at Hudson Hall.

 • 8. October 2017 •

Dror Feiler’s radical politics and art.

 • 24. August 2017 •

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

 • 10. August 2017 •

The aesthetic campaigning of Against Modern Opera Productions.

 • 3. August 2017 •

A haunting new “Meistersinger” at Bayreuth.

 • 11. January 2018 •

The up-and-coming alto Wiebke Lehmkuhl.

 • 30. November 2017 •

On the impact of Dmitri Hvorostovsky

 • 9. November 2017 •

“The Mother of Us All” at Hudson Hall.

 • 5. October 2017 •

Berlin’s Staatsoper returns to its renovated home.

 • 21. September 2017 •

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

 • 14. September 2017 •

Addressing the political with the classical at the Lucerne Festival.

 • 3. August 2017 •

A haunting new “Meistersinger” at Bayreuth.

 • 18. January 2018 •

Kirill Gerstein’s marathon career.

 • 21. December 2017 •

The cellist Jean-Guihen Queyras embraces transience.

 • 7. December 2017 •

On knowing and not knowing about James Levine.

 • 29. June 2017 •

Matthias Pintscher looks for moments of perfection.

 • 15. June 2017 •

An interview with the pianist Jean-Yves Thibaudet.

 • 8. June 2017 •

Listening to Czech music with the conductor Jakub Hrůša.

 • 1. June 2017 •

Behind the hype of Teodor Currentzis.

 • 23. November 2017 •

Jessica Ekomane believes in mistakes.

 • 16. November 2017 •

Ione completes an opera by her late partner Pauline Oliveros.

 • 2. November 2017 •

An interview with Du Yun.

 • 2. November 2017 •

Unsuk Chin suffers for her art.

 • 28. September 2017 •

How Shostakovich changed the improviser Liz Durette.

 • 3. August 2017 •

The musical realms of Elizabeth A. Baker.

 • 3. August 2017 •

Claire Chase and Anna Thorvaldsdóttir shape the concert.

 • 4. January 2018 •

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

 • 2. November 2017 •

Are musicians becoming increasingly hostile towards the media?

 • 8. October 2017 •

Pierre Audi’s vision for the Park Avenue Armory.

 • 28. September 2017 •

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

 • 10. August 2017 •

Are large ensemble tours worth their environmental cost?

 • 20. July 2017 •

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

 • 20. July 2017 •

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

 • 8. October 2017 •

Roberto González-Monjas and his painstaking preparation.

 • 21. September 2017 •

Alina Ibragimova wants it darker.

 • 8. June 2017 •

An interview with the cellist Steven Isserlis.

 • 8. June 2017 •

Why studies questioning the Stradivarius myth are so persuasive.

 • 11. May 2017 •

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

 • 13. April 2017 •

An interview with the new JACK Quartet cellist Jay Campbell.

 • 30. March 2017 •

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

 • 8. October 2017 •

On listening to music while airborne.

 • 5. October 2017 •

Remembering Klaus Huber.

 • 20. July 2017 •

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

 • 29. June 2017 •

Is the prevalence of suicide in opera harmful or healing?

 • 18. May 2017 •

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

 • 30. March 2017 •

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

 • 30. March 2017 •

The solace of John Cage’s speaking and writing.

 • 24. August 2017 •

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

 • 6. July 2017 •

Rethinking the voice with contemporary music.

 • 6. July 2017 •

Saul Williams’s words to music.

 • 15. June 2017 •

A new choral work by Michael Gordon.

 • 30. March 2017 •

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

 • 30. March 2017 •

The extremes of the baritone Georg Nigl.

 • 2. February 2017 •

A profile of the artist and interviewer Helga Davis.

 • 21. December 2017 •

Christophe Rousset wants to help the repertoire.

 • 14. December 2017 •

William Christie has questions for himself.

 • 14. December 2017 •

Suzanne Farrin’s subtractive composition.

 • 30. November 2017 •

An interview with Jean Rondeau.

 • 23. November 2017 •

How Andrew Lawrence King tries to compose like Monteverdi.

 • 28. September 2017 •

Ton Koopman on life and his hero Buxtehude.

 • 24. August 2017 •

Kristian Bezuidenhout wants to program music in its context.

 • 7. December 2017 •

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

 • 30. March 2017 •

Teju Cole’s musical obsessions.

 • 30. March 2017 •

What music says about the history of colonialism in Brazil.

 • 2. February 2017

Oscar Edelstein’s curiosity and defiance.

 • 12. January 2017 •

Songs from a gay Australian childhood and youth.

 • 27. October 2016 •

Explorations of experimental music with Jennie Gottschalk.

 • 6. October 2016 •

Cult appeal and the universe with the composer Dylan Mattingly.

 • 16. November 2017 •

Ione completes an opera by her late partner Pauline Oliveros.

 • 22. June 2017 •

On the New York premiere of “Three Way.”

 • 31. March 2017 •

A call for clarity in calls for scores.

 • 30. March 2017

Musicians and listeners respond to our survey.

 • 26. January 2017 •

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

 • 19. January 2017 •

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

 • 26. January 2017 •

Alex Temple’s polystylistic exuberance.