• 21. September 2017 •

Roland Kayn’s cybernetic compositions.

 • 14. September 2017 •

An interview with Brian Ferneyhough.

 • 14. September 2017 •

Amy Williams’s overlapping textures.

 • 24. August 2017 •

Philip Venables’ formalized violence.

 • 17. August 2017 •

Music of intricate construction and gut-punch intensity.

 • 10. August 2017 •

Uri Caine’s classical improvisations.

 • 3. August 2017 •

The musical realms of Elizabeth A. Baker.

 • 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.

 • 27. July 2017 •

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

 • 11. May 2017 •

Venezuelans respond to Gustavo Dudamel.

 • 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.

 • 17. August 2017 •

Concert Hall Hopping with Kate Wagner of McMansion Hell.

 • 13. July 2017 •

The enigmatic composer’s obsessions and influences.

 • 15. June 2017 •

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

 • 18. May 2017 •

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

 • 27. April 2017 •

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

 • 13. April 2017 •

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

 • 30. March 2017 •

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

 • 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.

 • 20. July 2017 •

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

 • 29. June 2017 •

Is the prevalence of suicide in opera harmful or healing?

 • 22. June 2017 •

Andrés Andrade teaches opera to teenagers.

 • 18. May 2017 •

Kristine Opolais on acting and emptiness.

 • 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.

 • 11. May 2017 •

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

 • 27. April 2017 •

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

 • 13. April 2017 •

Steven Osborne’s piano psychologies.

 • 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.

 • 22. December 2016 •

The violinist Vilde Frang searches for clarity.

 • 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.

 • 15. December 2016 •

Music on the border to the Gaza Strip.

 • 1. December 2016 •

On the interaction between personal identity and artistic freedom.

 • 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.

 • 30. March 2017 •

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

 • 30. March 2017 •

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

 • 15. September 2016 •

Wolfgang Rihm teaches the Lucerne Festival’s Composer Seminar.

 • 8. September 2016 •

Where do piano tuners spend their days?

 • 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.

 • 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.

 • 22. September 2016 •

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

 • 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.

 • 12. January 2017 •

Songs from a gay Australian childhood and youth.

 • 24. August 2017 •

Kristian Bezuidenhout wants to program music in its context.

 • 17. August 2017 •

The harpsichordist Richard Egarr’s music between worlds.

 • 27. July 2017 •

Paul Jacobs trusts his audience.

 • 20. April 2017 •

Andreas Staier responds to our interview with Mahan Esfahani.

 • 31. March 2017 •

Mahan Esfahani on piety and conservatism in early music.

 • 30. March 2017 •

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

 • 30. March 2017 •

Sigiswald Kuijken’s matters of principle.