From Buxtehude, Bach and Handel, to contemporary composer Liza Lim, we take a tour of the myriad forms of composers’ handwriting and calligraphy – and how music makes itself on the page.
With concerts featuring Myung-whun Chung at the piano, Pinchas Zukerman leading from the podium, and inventive programming from Chief Conductor Andrea Battistoni, the Tokyo Philharmonic’s 2025 season straddles many divides.
The English conductor talks about his bond with the storied Swiss orchestra he has helmed since 2017, and how they plan to recreate the danger of Stravinsky’s famous ballet.
Spanish choreographer Avatâra Ayuso talks candidly about fellow choreographer Bronislava Nijinska, historical misogyny within the dance sector, and what we are doing about it today.
No 20th-century composer adapted his style as much as Igor Stravinsky. From his early ballets for Diaghilev’s Ballets Russes to his neoclassical phase and serialism, Stravinsky’s music underwent many transformations.
An exploration of the two central movements – a pair of contrasting pas de deux – in Balanchine's black-and-white masterpiece, Stravinsky Violin Concerto.
Roy Westbrook gained a diploma in music history at London University (Morley College) and was for some years the head of music day schools at Oxford University, where he also led music summer schools. After some years leading the University's business school he has returned to music teaching and writing, and recently took part in the Arts in Residence courses on Bruckner, Mahler and Bach He is co-author (with Terry Barfoot) of a history of opera, and has taught day schools on Sibelius in Oxford and elsewhere.
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