A look at five examples from America’s vast and surprisingly rich symphonic canon due for reappraisal from classical music audiences.
Taking a closer look at the issue of diversity in Western orchestras and some of its proposed solutions.
Brad S. Ross remembers the conductor and educator, who collaborated with the musical legends Leonard Bernstein and Duke Ellington, on what would have been his 88th birthday.
The Pulitzer Prize recipient and two-time Grammy Award-winning composer discusses her recent work, contemporary favorites, and the upcoming premiere of her Tuba Concerto.
The composer Charlotte Bray is one of the fastest-rising classical music stars in the United Kingdom. Here she talks admired contemporaries, the economy of new commissions, and some favorites among her work.
The Pulitzer Prize-winner discusses some of his recent work, neglected musical favorites, and what’s next for the venerable composer.
Recently named one of the most-performed living composers in the United States, Adam Schoenberg has been a steadily rising star in the classical music community. Here we discuss family, film music, and his first album release with the Kansas City Symphony.
Thomas Adès's "The Exterminating Angel," based on the eponymous surrealist film by Luis Buñuel, will receive its long-awaited U.S. premiere at the Metropolitan Opera House in New York City on Thursday, October 26th.
The New York Philharmonic will begin a new season with a new conductor at its Opening Gala Concert on Tuesday, September 19th. The concert will comprise a single piece—Gustav Mahler's hour-long Symphony No. 5—led by the orchestra's new music director designate Jaap van Zweden.
Today there is nowhere one can go, it seems, without the constant presence of bad music. It’s everywhere—in every bar, restaurant, and department store; on every television commercial, online video, or Hollywood film. Wherever we go, we are relentlessly besieged by some of the cheapest, most idiotic music mankind has ever devised. Thus, as I battle this daily onslaught of inescapable cacophony, I often find myself wondering: when did music get so bad?