John Corigliano is a magnificent composer and possibly the Beethoven of today. I wondered what he would see in them and what new language he would set to the concerto.
London Symphony Orchestra music director Sir Simon Rattle has called Elgar’s Violin Concerto in B minor “a monster... a masterpiece.” Capuçon was up to the challenge.
First appearing in 1796, these delightful duos are ideal for sharing a rainy Saturday afternoon with your playing buddy, or as a post-lesson treat.
Could it be that with a change of weather, patron, or performer, some of Mozart’s most famous works might have been very different—yet still unmistakably him?
The Chicago Sinfonietta Serves as a Model in the Classical-Music Industry’s Elusive Quest for Diversity
The longstanding commitment to the principles of diversity, equity, and inclusion predates by a generation the present cultural moment’s demand for social justice.
David Milsom has written a guide for violinists and other music lovers who want to get into an authentically Romantic mood.
With a Little Help From My Friends: Fiddler Mike Barnett Releases a Duo Album While He Recovers From a Medical Emergency
If there’s one thing a premier fiddler knows about, it’s the art of improvisation—also known as the ability to always expect the unexpected
Picture Perfect: When Communicating Musical Ideas and Cello Technique, a Little Imagery Goes a Long Way
In the many lessons, coachings, and rehearsals I’ve participated in throughout my career teachers and conductors have often used images to explain their musical ideas.
Oxford University Press’ newest title in its Notes for Performers series offers historical and analytical information on 35 pieces for the viola, from Bach to Weber.
The question that I’ve been asked from day one has been, “Why does it feel different than any other music school when I walk in the door?”