For Ehnes, the demands of building an international career no longer dictate the terms. The point now is to choose projects for reasons that feel genuinely his own.
Dueñas’ third album, ‘Homage to Heifetz,’ isn’t really meant to be about her first idol. It’s meant to honor her roots, and Heifetz is a part of her violin origin story.
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.
Across the classical world, the climate crisis increasingly shapes how composers and performers think about their art.
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Although the Beatles song of the same name is featured, ‘Blackbirds’ is not a collection of popular music from the ’60s arranged for cello. Instead it is repertoire that could be described as both classical and (mostly) rather obscure.
Wigmore Hall, the jewel in London’s musical crown, is celebrating its 125th anniversary in 2026.
On their latest recording, Baeva and pianist Vadym Kholodenko take a fresh look at the composer and his music.
Box office success and Academy accolades don’t guarantee that an original score will make its way into the repertoire of string players.
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Each work on ‘Adorations’ reflects a unique form of deep love and respect, offering its own expression of wonder, reverence, and the profound beauty of shared musical experience.
This history behind this 200-year old double bass is one of mystery and renewal.
A tale of AI woes and possibilities
Adès is one of the few British composers to have achieved a steady presence in North American concert halls.
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In recording Korngold’s evocative chamber pieces, the Pacifica Quartet sought to accentuate the composer’s renowned command of melody and harmony.
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.
Recording and releasing classical-style arrangements of pop songs could be viewed as a whimsical endeavor, but to the producers, engineers, arrangers, and musicians of VSQ, the music is no joke.
“I wanted to write a book that could be read by anybody who plays these pieces: Cellists. Violists. Bassists. Trombonists. Whoever!” says Klorman.
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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.
A champion of contemporary composers, Meyers’ website lists 38 composers whose work she has commissioned and/or premiered.
The Grammy-nominated violinist-composer’s magnificent new recording brings a few lost gems to a world that, until now, has rarely had the opportunity to hear them.
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The ensemble’s work with composer Jerod Impichcha̱achaaha’ Tate has yielded new perspectives on modern American identity as well as on the enigmas of the creative process.
“I have one foot in various roots traditions and the other on a banana peel,” says the 72-year-old violinist.
Setting up shop in Turin in the early 1820s, luthier Giovanni Francesco Pressenda managed to capture the essence of his country—a little bit French, a little bit Italian—in his work.
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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