It is described as the first major museum show to explore the relationship between bodies and musical instruments, gathering some 130 instruments, paintings, sculptures, and drawings from around the world.
Box office success and Academy accolades don’t guarantee that an original score will make its way into the repertoire of string players.
Adès is one of the few British composers to have achieved a steady presence in North American concert halls.
Academic serialism, Cold War politics, shifting tastes, and some early promotional stumbles prevented many works from securing a foothold in the repertoire. A few determined artists are striving to change that.
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Face-offs pitting new against old violins have long predated YouTube, and some have been conducted with the rigors of science.
Fifty years after his death, Herrmann’s music lives on in his iconic scores, orchestral suites, recital programs, recordings, and even in a hit ballet.
By Brian Wise; photos by Fadi Kheir For those who associate Arvo Pärt with a contemplative, austerely beautiful (and Hollywood-friendly) version of minimalism, there was plenty to satisfy in a program by the Estonian Festival Orchestra at Carnegie Hall on…
Seeking a canonic work to balance its 30th anniversary concert program, the group turned to the three string quartets of 20th-century Argentine composer Alberto Ginastera.
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Enescu, for all his considerable gifts, has been a stubbornly neglected figure.
Perhaps no modern string quartet has tapped such a varied slate of collaborators.
To mark the first 25 years of this century, here are 15 new string pieces that proved especially significant and impactful (plus a few honorable mentions).
Avsharian donned an electrode cap in an effort to study the effects of music on brain activity during performance.
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Over the last 15 years, what has been called a third wave of historical performance practice (HPP) ensembles has emerged, bringing a retooled set of priorities.
While the composers of the majority of golden-age soundtracks were virtually all men, the performers included a pioneering group of women in the principal violin, viola, and cello roles.
Principal violin or cello positions in ballet orchestras tend to be highly coveted, but these roles come with tradeoffs
Here's what a traveling musician should know before booking their next flight overseas
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The 1970s also saw an uptick in Lewis’ career as an opera conductor, leading 139 performances at the Met.
Though classical music has yet to experience a Latin music boom, several representative composers are thriving
When George arrived in Astoria in the 1870s, he was America’s preeminent violin maker; among his chief rivals was his brother, August Martin Ludwig
Concert programmers and soloists must often summon their powers of persuasion to get new and obscure repertoire before receptive audiences.
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Unfinished quartet from 18-year-old Bernstein is the focus of a new album on Parma Recordings
The seated cellist who plants an endpin in a rubble-strewn street carries a gravitas that a nimbler instrumentalist may lack.
Social media and YouTube have helped to gently deflate classical humor's pretensions
'Music directors will need to be full strategic leaders'
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Cemetery leaders have turned to cultural events as they aim to drum up awareness, ward off potential vandals, and support the upkeep of their lawns and aging monuments
Here are some of the myriad venues, ensembles, restaurants, and cultural institutions that make New York City a great musical destination for string players.
Here's how some recent films involved string coaches and overdubbed performers to make actors' performances as string players feel authentic.
“It’s really not everyday repertoire,” admits Cellist Johannes Moser of his recordings of Martinů's cello sonatas. “I discovered that these pieces have such variety and depth."
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Chamber music supergroups are most enthralling—or maddening—when a certain freewheeling one-upmanship is on display. Yet some have been plagued by infighting or divergent solo careers.
The re-opening of David Geffen Hall caps a $550 million, pandemic-era effort to solve the sonic problems that have plagued the hall ever since it opened (as Philharmonic Hall) in 1962.