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Two works by Shostakovich sandwiching Rhapsody in Blue made for an exhilerating concert from the Australian Chamber Orchestra in Melbourne

An enticing Barbican programme from Barbara Hannigan, seeking light out of darkness in pieces spanning three different centuries, and an electrifying vocal performance by mezzo-soprano Fleur Barron. 

The program prominently featured compositions by Canadian composer Claude Vivier alongside works of Haydn and Busoni.

For 2019, Time Spans doubled its number of concerts, culminating in an evening of works by composers born in or relocated to Canada, conjuring Banksy moods and inadvertent confusion.

Against the Grain's production of Vivier's Kopernikus is an immersive and thought provoking realisation of the composer's late Opera – rituel de mort. It's music theatre of a rare intensity, brilliantly executed. 

Vivier and Stockhausen's dreams and darkness take centre stage for a night during Geneva's Archipel festival. 

Simon Rattle devised an “Imaginary Symphony” with wit; the Vienna Philharmonic obliged.

MaNOj Kamps honours Claude Vivier in carte blanche concert Cappella Amsterdam. 

The Los Angeles Philharmonic Orchestra’s residency at the Barbican has been a huge success. Rather than churn out time-honoured family favourite pieces of classical music, the orchestra has seized the opportunity to showcase its prowess in the performance of new music – three European premières including John Adams’ powerful passion-oratorio The Gospel According to the Other Mary, as well as Claud

There's classical music, and there's pop. You can throw as many violins into the bridge section as you like, and you can amplify the orchestra all you want as well. It's unfortunate, but a certain divide looks set to stay.

Reading Gérard Grisey’s programme notes on his masterpiece Vortex Temporum is not the most agreeable experience. The reader is informed that the work is structured around ‘three basic forms’: ‘the original event – a sinusoidal wave – and two continuous events, an attack with or without resonance as well as a sound held with or without crescendo’.

In its 31-year history, ecat (Edinburgh Contemporary Arts Trust) has commissioned over 80 new works and introduced countless emerging performers and composers to the new music public.