• 18. July 2019 •

How ambient is changing classical music.

 • 18. July 2019 •

The permanent revisions of Peter Eötvös.

 • 2. November 2017 •

Unsuk Chin suffers for her art.

 • 6. March 2019 •

An Interview with Laurie Anderson

 • 20. December 2018 •

Classical music in the world’s next superpower.

 • 30. March 2017 •

An interview with Alvin Lucier.

 • 18. January 2016 •

An interview with the composer Betsy Jolas.

 • 7. August 2019 •

There is no absolution in art or life. A dispatch from Bayreuth.

 • 20. April 2017 •

How did the repertoire become so narrow?

 • 11. April 2019 •

The provocations of Frederic Rzewski.

 • 4. April 2019 •

The radical commitment of Pablo Casals.

 • 30. August 2018 •

On Tippet Rise, a classical music festival on Native American land.

 • 16. August 2018 •

Is Donaueschingen censoring work that criticizes Israel?

 • 9. June 2016 •

The Black tenors who’ve taken on the role of Otello.

 • 5. April 2018 •

And wound up hating Mozart.

 • 18. January 2018 •

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

 • 2. October 2019 •

The high-stress, low-reward world of the page turner.

 • 26. July 2018 •

Bang on a Can, “Arthur,” and the avant-garde music meme factory.

 • 24. May 2018 •

In search of the musical occult.

 • 3. May 2018 •

Unpacking the Instagram score-studying aesthetic.

 • 22. February 2018 •

On “Somnium” and hypnagogic hallucinations.

 • 24. October 2019 •

An interview with the legendary agent Jasper Parrott.

 • 20. December 2018 •

A Chinese promoter on whether his country can save classical music.

 • 26. September 2019 •

18 years after they were first reported, allegations of sexual harassment at the Butler School of Music continue.

 • 16. May 2019 •

How the artist manager Xenia Evangelista converts hope into cash.

 • 16. May 2019 •

How the artist manager Xenia Evangelista converts hope into cash.

 • 16. May 2019 •

How the artist manager Xenia Evangelista converts hope into cash.

 • 16. May 2019 •

How the artist manager Xenia Evangelista converts hope into cash.

 • 7. August 2019 •

There is no absolution in art or life. A dispatch from Bayreuth.

 • 29. June 2017 •

Is the prevalence of suicide in opera harmful or healing?

 • 4. July 2019 •

The surprising progressivism of Paul Dukas.

 • 13. June 2019 •

Anna Netrebko’s defense of blackface.

 • 4. April 2019 •

Opera owes its heritage to the Middle East. Why do we silence this legacy?

 • 16. August 2018 •

What would singers do without them?

 • 10. August 2018 •

Do we still need Bayreuth?

 • 22. May 2019 •

Alan Gilbert starts fresh.

 • 1. May 2019 •

Paul Lewis makes his Berlin Philharmonic debut.

 • 24. January 2019 •

The intensity of Daniil Trifonov.

 • 17. January 2019 •

An interview with Jaap van Zweden.

 • 10. May 2018 •

Jessica Cottis is always leading.

 • 25. October 2018 •

A profile of the conductor.

 • 21. June 2018 •

Rattle and the Berlin Philharmonic have had enough.

 • 2. November 2017 •

Unsuk Chin suffers for her art.

 • 6. March 2019 •

An Interview with Laurie Anderson

 • 18. January 2016 •

An interview with the composer Betsy Jolas.

 • 30. March 2017 •

An interview with the composer Ashley Fure.

 • 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.

 • 8. October 2017 •

On listening to music while airborne.

 • 7. August 2019 •

There is no absolution in art or life. A dispatch from Bayreuth.

 • 29. June 2017 •

Is the prevalence of suicide in opera harmful or healing?

 • 7. June 2018 •

A music critic listens with depression.

 • 5. October 2017 •

Remembering Klaus Huber.

 • 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.

 • 11. May 2017 •

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

 • 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.

 • 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 •

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

 • 6. July 2017 •

Saul Williams’s words to music.

 • 25. January 2018 •

Mark Padmore wants attention and intention.

 • 12. June 2019 •

An interview with an opera casting director.

 • 22. December 2016 •

The sounds of the composer and artist’s “obsessive aesthetic fence-straddling.”

 • 24. August 2017 •

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

 • 6. July 2017 •

Rethinking the voice with contemporary music.

 • 5. July 2018 •

Alina Rotaru wants to change the notes.

 • 14. June 2018 •

Pierre Hantaï teaches himself.

 • 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.

 • 30. November 2017 •

An interview with Jean Rondeau.

 • 31. October 2019 •

Alan Hollinghurst on music.

 • 14. February 2019 •

The novelist Garth Greenwell on singing, literature, and the physicality of language.

 • 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.

 • 14. February 2019 •

The novelist Garth Greenwell on singing, literature, and the physicality of language.

 • 28. June 2018 •

On the sexual politics of musical metaphors.

 • 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.

 • 29. June 2017 •

Is the prevalence of suicide in opera harmful or healing?

 • 7. June 2018 •

A music critic listens with depression.

 • 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.

 • 18. August 2016 •

A new release of a pivotal Julius Eastman work.

 • 12. May 2016 •

The prevailing 19th-century attitudes towards injury and disability in classical music harm musicians and those around them.

 • 14. April 2016 •

Improvisation with family as a cure for orchestral burnout.

 • 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.

 • 5. July 2018 •

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

 • 31. May 2018 •

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

 • 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?

 • 12. April 2018 •

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

 • 29. March 2018 •

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

 • 8. February 2018 •

Susan McClary wants to debate the music.

 • 6. October 2016 •

An interview with the journalist and musicologist William Robin on “a scene without a name.”