Keith Pascoe: a violinist who comes at his subject at times from an almost proprietorial perspective

The National Concert Hall’s education, community and outreach department has begun a new strand of talks and interviews. Pre-concert talks and inte(...)

Signum Classics’s publicity cleverly uses descriptions by the period-instrument players from the Orchestra of the Age of Enlightenment to promote CPE (...)

John Buckley is one of the most fastidious craftsmen, and the orchestra gives him the greatest palette

The featured composer for the last of the RTÉ National Symphony Orchestra’s Horizons concerts (NCH, February 3rd) was John Buckley who compiled a c(...)

Modest Mussorgsky’s 1874 memorial to his friend, the painter Viktor Hartmann, was a work ahead of its time. It’s fantastical – the paintings referr(...)

Jennifer Walshe: seems to feel like a musical foundling who arrived in the world with enthusiasms that don’t fit with the culture around her. Photograph: Eugene Langan, copyright Contemporary Music Centre, Ireland

In the early 20th century composer Johnny O’Connor-Murphy wrote an opera titled The Hound of the Baskervilles in Ballydehob. It has been described (...)

William Christie traces Handel’s connection with Caroline of Ansbach through three works. Her arrival in Britain in 1714 was marked by the performa(...)

Benjamin Grosvenor: redrew balances at will and shifted material into different octaves as he saw fit, not to emulate effects that are possible on a harpsichord but rather to make absolutely the best pianistic effect

A recital by the 22-year-old English pianist Benjamin Grosvenor is anything but an everyday experience. Just look at the programme he offered at th(...)

The opening of Alexander Raskatov’s 2013 Piano Concerto is vivid enough to convey clear notions of flight. And an early downwards swoop from an unu(...)

‘Bruch never managed to reconcile himself with the direction taken by Wagner and Liszt, let alone those who built on their achievements.’ Photograph: Hulton Archive/Getty Images

You have to feel sorry for Max Bruch. He was born in Cologne in 1838, and in spite of some notable successes would spend his life in the shadow of (...)

Tabea Zimmermann’s new collection of romantic pieces originated as an exercise in light relief during her recording of the complete viola works of (...)