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Classical music | The Guardian
Latest classical music news, reviews, comment and analysis from the Guardian
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Australian Brandenburg Orchestra is ‘hardcore’ for tackling his 21st century Four Seasons on the period instruments of Vivaldi’s time, says Richter

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1 hour ago | |
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Company currently in special funding measures wins opera and music theatre category at prestigious awards for ‘consistently outstanding work’

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9 hours ago | |
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Royal Opera House, London

With repertoire that played to his musicians’ strengths as colourists, accompanists and as a dance orchestra, Pappano showed the excellence of his ROH ensemble

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14 hours ago | |
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The maverick composer-pianist was one of the finest musicians of his generation. Tom Service picks his favourite of his compositions

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15 hours ago | |
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Barbican, London
The Czech conductor guides his compatriot’s lesser-known opera of romantic tragedy to a rapturous climax Continue reading...
19 hours ago | |
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The latest roundup ranges from music made in a playable CD case to the unlikely coupling of Jonathan Meades’s words and Mordant Music’s brutalist outbursts

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23 hours ago | |
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City Halls/Old Fruitmarket, Glasgow
Brilliantly eclectic experimental festival whose highlight was the glowing, graceful and intensely quiet and detailed music of Eliane Radigue

Rapt, intensely subtle, exquisitely slow, the music of Eliane Radigue was the heart and soul of this year’s Tectonics festival. The 82-year-old French composer was a pioneer of electronic music in the 1950s and for decades only produced synthesiser sound-art, but it was her recent acoustic series Occam Occean that featured in two concerts here, with playing of virtuosic control from harpist Rhodri Davies, bassoonist Dafne Vincente-Sandoval, cellist Charles Curtis and tuba-player Robin Hayward.

They dovetailed ultra-quiet sounds to reveal infinite gradations of pitch, timbre and overtones, culminating in a glowing, graceful quartet. Radigue’s message is uplifting: slow down, listen in close and marvel at the radiant colours contained in the detail. Occam Occean was an enlightened stroke of programming, if only because it magnified every molecule of every piece heard subsequently. (The microscope was more welcome in some cases than others, but still.)

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1 day ago | |
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From the exhilaration of Tchaikovksy’s 1812 to the intricate introspection of Sigur Ros’s Jonsi, conductor Kristjan Järvi shares his wide-ranging musical passions

How do you listen to music most often?

Mainly with my iPhone, with or without headphones, and definitely more often via Spotify than iTunes. Vinyl, no - I have no player! Even though the sound is much better than CDs.

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2 days ago | |
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Carriageworks, Sydney
Elliott Gyger-Pierce Wilcox opera lacks the musical depth and narrative drive to carry the powerful emotions at the core of its source material


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2 days ago | |
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Wigmore Hall, London
Miah Persson, Roland Pöntinen and Maxim Rysanov helped the stellar Swedish clarinettist kick off a short residency with a beguiling programme

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2 days ago | |
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