Michael Dervan

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A first hearing of the opening accented note of Sam Perkin’s Flow for violin, viola and cello of 2018 brings to mind the start of Arnold Schoenberg’s (...)

Bach’s protean Goldberg Variations have been recorded hundreds of times, on many different instruments, in a variety of arrangements, and with wildly (...)

Modest Mussorgsky Unorthodox Music    by Claire Booth and  Christopher Glynn

“Unorthodox” is a description you could apply to much of the music by Russian composer Modest Mussorgsky (1839-81). He was born into wealth (fellow co(...)

Double bassist Malachy Robinson, a familiar figure in the Irish Chamber Orchestra, Irish Baroque Orchestra and Crash Ensemble, turned 50 last year. He(...)

Wexford Festival Opera: Anne Sophie Duprels as Edmea, Ivan Shcherbatykh as the Count of Leitmeritz, and Leon Kim as Ulmo. Photograph: Clive Barda/ArenaPal

EDMEA National Opera House, Wexford ★★★☆☆ There are three key men in the life of Edmea, eponymous heroine of Alfredo Catalani’s 1886 opera. Oberto is(...)

Composer Dave Flynn has the courage of his convictions. In “Looking for the Irish Bartók”, a provocative 2005 article for The Journal of Music in Irel(...)

The publicity material for Canadian pianist Christina Petrowska-Quilico’s latest album calls it an “eclectic cornucopia” that explores “an entire cen(...)

In his 1939 book The State of Music, composer Virgil Thomson proposed that the subject matter and style of music (though not its quality) reflect “the(...)

The past 18 months have in so many ways been a particularly torrid time for performers, most of all for musicians who spend most of their time playing(...)

Do you like the opening of Brahms’s Third Symphony to be played with gutsy thrust and blaze and bite? If so, there’s a fair chance that you may find t(...)

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