Classical music: The problem with HJ Lim’s in-your-face style is that, when nothing is normal, you can get to the point where nothing is abnormal either
The Russian quartet have been performing in various incarnations for 70 years, which is no mean feat: it isn’t easy to find new players who can keep up with the demands
Yeats might well have appreciated the wordiness of William Brooks’s Everlasting Voices, which revisits the poet’s ideals of ‘chaunting’
Having silenced a clutch of male critics, Erraught showed she has the X factor on stage at the NCH
The unique festival is spreading the word about its innovative approach to productions
O’Conor has done what many people thought impossible by putting Dublin on the piano map via the Dublin International Piano Competition. But now he worries for its future
Gilbert, conductor of the New York orchestra, will step down in 2017 after an innovative eight-season tenure that brought contemporary music to the fore. So, what next?
Doyle comes to the job as someone who knows how bruising the council can be to clients
Technical virtuosity was where it should be – a backdrop to effective communication with the audience
The principal conductor of the RTÉ Concert Orchestra fell in love with music in his high chair. He taught himself piano at a young age and formed a symphony orchestra at 16 before falling into the ‘terrifying business’ of conducting
Soloist, conductor, narrator, singer, composer
Dublin was treated to the world premiere of the orchestra’s new commission, by Jonny Greenwood
The German cellist describes his typical day, from rehearsals to recordings
In the first Great Symphonies Close Up concert, Charles Hazlewood explores Dvorák and shows a flair for the apt metaphor
It’s easy to compare the approaches of different instrumentalists at Westport Festival of Chamber Music
New Radiohead music on YouTube and Spotify: so what does it all mean?
Bulldozers, Ryanair, algorithms, running, Beyonce, Kiss, Olympic uniforms, sleep, rustlers etc
The Vanbrugh Quartet’s unusual approach played up the contrast between early and late Beethoven
Can the Music of Our Time series at the NCH remedy the weaknesses of the national broadcaster’s long-standing approach to new music?
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