It All Comes Down to (or Looks Up to) Bach
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The jingling piano, the humming traffic and the prancing horse tap out separate if connecting songs in the beguiling nonnarrative film âThe Silence Before Bach.â
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Droll, perceptive comments from composer Sir Harrison Birtwistle set up the experience of hearing his complex instrumental and vocal works.
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A bit of bubbly, a few verses of Auld Lang Syne and candidates, candidates and more candidates.
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There is a rough science to choosing performance-enhancing music.
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James Levine's installation as the music director of the Boston Symphony Orchestra resembled a coronation.
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In the marginalized world of music education, a good deal of serious thinking needs to be done.
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The Swede's lush, orchestral pop has been compared to Bacharach and Morrissey.
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Here, revealed for the first time, are some of the secret passions of the classical music critics of The New York Times â the music they listen to when they are not listening to timeless classics.
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The exuberant forms and fluid interiors of a group of new concert halls make the great halls of the late 19th century seem fusty by comparison.
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The old and the new go head to head in the music of Charles Ives, but conflict may not be the right word to describe it.
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Vocal beauty has always mattered in opera. Now physical beauty matters, too.
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The thriving art world has something to teach the classical music world.
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Despite the financial struggles in the industry, it feels as if we are in the midst of a golden age of classical recording.
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The composer and musician shares his stylish essentials.
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Being female and Chinese in the classical music business are helpful in getting yourself noticed, but careers are built â and this one is building fast â on substance. Xian  Zhang has it.
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At Carnegie Hall, focusing on Berlin, with an accent on Weimar and the cityâs present-day vitality.
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It may look like a barn, but its star power makes it feel like the center of the opera universe.