Adrian Spence does not pussyfoot around when talking about the relevance of Beethoven. The founder and artistic director of ...

The format for Thursday night’s Philadelphia Orchestra concert is tried and true: pairing two 19th-century warhorses with a more recent and unfamiliar work. William Grant Still’s symphonic suite Wood ...

The recital, “Finale in C,” is the final recital in Wei’s “Complete Beethoven’s Piano Sonatas Concert Series,” which ...

Unlock access to every one of the hundreds of articles published daily on BroadwayWorld by logging in with one click. A key thread in pianist Jonathan Biss's decade-long, multi-project Beethoven ...

The reopening of the National Palace on Rustaveli Avenue on October 23 marked a rare alignment of heritage, youth, and ...

Beethoven: The Last Three Piano Sonatas with the Hsu siblings: Ashley Hsu (Piano’15); Andrew Hsu (Piano ’13 and Composition ’15); and Daniel Hsu (Piano). Andrew and Daniel came to Curtis in 2008, ...

Although German composer Ludwig van Beethoven is known primarily for his symphonies and solo piano pieces, his canon of compositions runs much deeper. Among Beethoven's other accomplishments are his ...

3 Photos: First look at Hilliard Arts Council's THE PROM A MUSICAL 4 Photos: First look at New Albany Youth Theatre's DISNEY'S FINDING NEMO JR Enter Your Email to Unlock This Article Plus, get the ...

Stormy, emotionally charged harmonic shifts. Flowing classical lyricism interrupted by lightning bolt chords. Propulsive rhythmic themes swept along by avalanches of rapid scales and arpeggios.

Our series of Beethoven piano sonatas continues with the pair of short sonatas that make up Beethoven's Op. 49. Kirill Gerstein plays the Piano Sonata, Op. 49, No. 1, and Louis Lortie has the Piano ...

What’s a little less Lang Lang and a little less Haydn in the over-the-top final weeks of the Los Angeles Philharmonic’s exceedingly generous centennial season? Gustavo Dudamel had planned a ...

Performances in N.Y.C. Advertisement Supported by critic’s notebook Our chief classical critic took on the daunting Opus 110 in college, and now relishes risky recordings. By Anthony Tommasini For my ...