A marathon-like new music “seance” evokes the spirit of Henry Cowell.
Unsilent Night marches a few hundred strangers into the surreal.
Intimate venue gives concertgoers an up-close look at a one-of-a-kind invented instrument.
After a concert of contemporary music by American women, you might say the homegrown Cavani Quartet is on track to become the next Kronos Quartet.
The Renegade Ensemble’s enlists armature musicians into its ranks, cultivating a more community-first approach which attracts a favorable crowd to this relative newcomer to the Twin Cities music scene.
Atlanta Symphony Orchestra premieres a new work by Robert Pound—a nine-minute concert opener he offered them entirely free of charge.
The eccentric, do-it-yourself presenting outfit Chamber Music Now opens its fourth season with the cello and percussion duo Odd Appetite.
A promising approach to presenting new music stumbles. As it turned out, it was the best of times, it was the worst of times of…er, concerts.
A politically themed concert portrays outrage over the sorry state of American democracy, but is it somehow inappropriate to admire that emotionless, unpolitical thing called “technique” (structure, counterpoint, tonality) at an event such as this?
Philip Glass’s Orion gets rock-star treatment.