The intersection of classical music with other genres such as rock and pop is growing fast, with novel sounds emerging. But what should we call such collaborations? Classical music? Serious music? And how did the division between highbrow and lowbrow music first come about?
An exhilarating concert showcasing the talent on offer from a band that blazed the HIP trail in Australia 30 years ago and is still going strong today.
In her new piece for the Australian Chamber Orchestra, Heather Shannon draws on both her classical training and work with indie rock band The Jezabels.
Wynton Marsalis and David Robertson deliver a special concert, and not the kind of program we hear often.
With the orchestra’s lease at Circular Quay ending in December and delays to new studios in Pier 2/3, the orchestra will have to find a new home in 2020.
Jacobs turns his hand to Schubert with decidedly operatic results.
Long-overdue disc showcases eclectic Canadian composer.
The clarinettist and conductor will perform Mozart’s masterpiece with the Melbourne Symphony Orchestra before jumping on the podium to conduct Paul Dean’s brand new Clarinet Concerto.
Russian violinist brings passion to Estonian’s measured simplicity.
Review: Schubert • Brahms: Symphony No 5, Serenade No 2 (Orchestre Révolutionnaire et Romantique/John Eliot Gardiner)
Brahms and Schumann bring out the softer side of Gardiner.
A neglected English composer gets some sparkling treatment.
Frustrated by the confines of classical music, conductor Charles Hazlewood formed the British Paraorchestra for professional musicians with a disability, which is on its way to the Perth Festival.
Politics and music can and do mix in poles apart symphonic takes.