• 5. July 2018 •

Salvatore Sciarrino wants everything to connect.

 • 28. June 2018 •

Patricia Alessandrini finds identity in sound.

 • 14. June 2018 •

Na’ama Zisser learns to let go.

 • 31. May 2018 •

Mark Barden wants to reach you on first listen.

 • 24. May 2018 •

Morton Subotnick wants to stay insulated.

 • 17. May 2018 •

Niels Rønsholdt sees beauty in the attempt.

 • 3. May 2018 •

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

 • 28. June 2018 •

On the sexual politics of musical metaphors.

 • 21. June 2018 •

Analyzing an aural document of terror.

 • 14. June 2018 •

Does the future of classical lay in its past?

 • 7. June 2018 •

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

 • 26. April 2018 •

Russian classical music’s money machine.

 • 19. April 2018 •

On Music and Activism.

 • 5. April 2018 •

Raven Chacon looks for shared experience.

 • 24. May 2018 •

In search of the musical occult.

 • 3. May 2018 •

Unpacking the Instagram score-studying aesthetic.

 • 5. April 2018 •

And wound up hating Mozart.

 • 22. February 2018 •

On “Somnium” and hypnagogic hallucinations.

 • 1. February 2018 •

Investigating classical music on the London Underground.

 • 25. January 2018 •

On Making the Third Ear.

 • 18. January 2018 •

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

 • 7. June 2018 •

Allan Clayton focuses on interaction.

 • 10. May 2018 •

Matthias Goerne looks for symbiosis.

 • 3. May 2018 •

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

 • 5. April 2018 •

Stephen Wadsworth on writing words for Leonard Bernstein.

 • 15. February 2018 •

“Die Gezeichneten” at the Komische Oper in Berlin.

 • 15. February 2018 •

Is “Peter Grimes” a better play than opera?

 • 11. January 2018 •

The up-and-coming alto Wiebke Lehmkuhl.

 • 21. June 2018 •

Rattle and the Berlin Philharmonic have had enough.

 • 21. June 2018 •

Listening to Simon Rattle’s goodbye concert in Berlin.

 • 24. May 2018 •

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

 • 10. May 2018 •

Jessica Cottis is always leading.

 • 22. March 2018 •

Why the conductor’s honorific is horrific.

 • 8. March 2018 •

Over 20 years ago, James Levine was nearly caught.

 • 1. March 2018 •

Donald Runnicles thinks conducting is the easy part.

 • 5. July 2018 •

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

 • 28. June 2018 •

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

 • 31. May 2018 •

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

 • 24. May 2018 •

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

 • 17. May 2018 •

How the composer Jörg Widmann became ubiquitous by default.

 • 10. May 2018 •

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

 • 26. April 2018 •

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

 • 28. June 2018 •

Patricia Alessandrini finds identity in sound.

 • 29. March 2018 •

Meredith Monk translates biological process into a new language.

 • 15. March 2018 •

On Borealis, an experimental festival for music.

 • 8. March 2018 •

A corrective to the 2018 Oscars Original Score shortlist.

 • 22. February 2018 •

Terre Thaemlitz doesn’t succumb to any scene.

 • 15. February 2018 •

Does classical music need a Rooney Rule?

 • 25. January 2018 •

On Making the Third Ear.

 • 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.

 • 7. June 2018 •

A music critic listens with depression.

 • 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.

 • 7. June 2018 •

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

 • 25. January 2018 •

Mark Padmore wants attention and intention.

 • 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.”

 • 5. July 2018 •

Alina Rotaru wants to change the notes.

 • 14. June 2018 •

Pierre Hantaï teaches himself.

 • 31. May 2018 •

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

 • 3. May 2018 •

Alexei Lubimov is looking for adventure.

 • 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.

 • 28. June 2018 •

On the sexual politics of musical metaphors.

 • 17. May 2018 •

Politics, aesthetics, and the deconstruction of binaries.

 • 19. April 2018 •

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

 • 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.

 • 15. March 2018 •

Daniel Mendelsohn on music.

 • 15. March 2018

Issue #96 focuses on process.

 • 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.

 • 26. April 2018 •

Russian classical music’s money machine.

 • 1. February 2018 •

How Teodor Currentzis became a Russian sex symbol.

 • 30. November 2017 •

On the impact of Dmitri Hvorostovsky

 • 1. June 2017 •

Behind the hype of Teodor Currentzis.

 • 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 •

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