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Grisey and Stockhausen show the value of old-school technique in a festival of music from the recent past and futuristic present.

A “Sound Unwrapped” programme, featuring Aurora Orchestra's trimmed line-up of five musicians and one sound engineer on electronics, proves to be an absolute success. 

The Greek composer's centenary is marked by the London Sinfonietta, Colin Currie Group and the JACK Quartet. 

McFall’s Chamber’s Red Blue Balance - music for chamber musicians and jazz trio, introduce three new works, revisit recent work and hark back to Bongo Club days with driving Zappa and swing band Raymond Scott pieces at Edinburgh’s Fringe.

Czech harpsichord legend Zuzana Růžičková would have turned 91 on 14 January, making it an ideal night for a tribute concert featuring one of her star pupils, Iranian-American harpsichordist Mahan Esfahani. As he noted in brief remarks sandwiched between rousing renditions of Bach, “When she died, I lost a great teacher. But this country lost part of its history.

All credit to the Barbican for showcasing Stimmung and Cosmic Pulses.

From the ultimate process piece, to a recent video-opera, this central concert of the Barbican's 'Steve Reich at 80' weekend reminded us what the fuss has been all about.

A commanding performance of six pieces from as many composers – all either new, nearly new or rare classics. 

At the Lucerne Festival, composer Olga Neuwirth, Ensemble Contemporain and a sound team from IRCAM recently shone in a theatrical performance of an complex and ocean shore-inspired score.

Max Richter's rethinking of Vivaldi impresses at the Paris Philharmonie. 

Composer David Lang joined the ensemble in Oberlin for an invigorating night of fresh ideas played with a spirit of adventure.

The San Francisco Contemporary Chamber Music Players headlined the third night of the Sweet Thunder Festival with a program of electroacoustic warhorses and world premières.

Gwyneth Wentink created a fascinating and atmospheric final performance in the AAA Festival at the Concertgebouw, Amsterdam.

The Southbank’s The Rest is Noise continues to draw the crowds, although the promise of Steve Reich himself can’t have made this concert too hard to sell. Reich’s own contribution to this evening, the culmination of a weekend of music and events entitled “Superpower”, was limited to some clapping and letting go of a microphone.

After the epic grandeur, sweep and immersive quality of Gesang der Jünglinge at this summer’s Proms, this performance as part of Southbank Centre’s The Rest is Noise festival had a lot to live up to. In many ways, however, this far less ostentatious outing overseen by Sound Intermedia got even closer to the work’s disturbing essence.

Hot on the heels of the Urban Classic Prom came this, the BBC 6 Music Prom. Yet another first in this year’s Proms saw BBC Radios 3 and 6 Music bring together the likes of Cerys Matthews, Laura Marling, Xenakis, The Stranglers, Varèse and the London Sinfonietta, and produce a programme comprising styles that might loosely be described as “alternative”, from the fringes of pop to punk rock via mode

Tonight’s Stockhausen Prom was in equal parts sonic experience and performance.In an introduction to a performance of Gesang der Jünglinge in 2001, Stockhausen proposed that “if you close your eyes every now and then, you might even see these angels”. In a concert performance this isn’t an empty suggestion; Gesang der Jünglinge is a truly acoustic experience.

Ryuichi Sakamoto and Alva Noto performed their masterful and engaging duo set at Rogers Auditorium in the Metropolitan Museum of Art Wednesday night, with the glamor and poise that such a venue implies.

“Welcome! Please remove your shoes and leave them under the benches to your right, and then put on this cloak.”Had I stumbled into Hogwarts? A cult ritual? No, I was just one of hundreds of curious concert-goers filing into the Upper East Side’s Park Avenue Armory for a rare musical event.

Here’s a secret: on any given night in New York City and Brooklyn, groups of regular-looking people perform exceedingly difficult music in front of other regular-looking people, sometimes for one hour, sometimes for twelve.

Crossing 9th Avenue to walk even further west, I deplored my lengthy commute from the A train.  'People live this far west?', I said to myself.  I didn't realize I said the question out loud until my friend Emily replied, 'Sure, you can make any neighborhood hip in Manhattan.

Contemporary classical music is happening in all manner of unexpected venues in London at the moment, from Peckham car parks to pubs. But it isn't just getting edgier – it's also getting more respectable, if last night's suave affair in the Royal Albert Hall's Elgar Room is anything to go by.

After 25 years at the helm, John Daly Goodwin, Music Director of the New York Choral Society (NYCS), gave his final concert Friday night at Carnegie Hall. Titled ‘American Reflections’, all five works had an historical relationship with the New York Choral Society, three of which were commissioned and premiered by the NYCS: Paulus’ Whitman’s New York, De Cormier’s Legacy and Gould’s Quotations.

Minimal music, the rhythm- and/or repetition-focused classical genre from the later 20th century, is well represented at Amsterdam's Muziekgebouw aan 't IJ. This will surely come to a climax during the 2013 edition of the biannual World Minimal Music Festival, but as Marinissen of Lunapark stated before this warm-up edition: "We just couldn't wait".

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.

Le quintette de joyeux trublions a conclu la journée du samedi en revisitant le Quintette pour clarinette et cordes de Johannes Brahms, sans toutefois parvenir à électriser les foules.

Una actuación interesante por infrecuente, con algunos momentos memorables, que atrajo a un público inusualmente joven, moderno y cosmopolita.

Dans le cadre de son quarantième anniversaire, l’Orchestre national de Montpellier a accordé une carte blanche à son compositeur en résidence. Un concert singulier et marquant qui a su s'adresser à un large public.

Dans la salle omnisport d'un lycée hôtelier, le Printemps des Arts de Monte-Carlo a placé ses haut-parleurs pour une expérience singulière et mémorable : Oktophonie de Karlheinz Stockhausen.

Partagé entre une première partie classique et une seconde partie très « théâtre musical », le récital de Simon Ghraichy au Théâtre des Champs-Élysées partait sur une idée loin d'être mauvaise. Retour sur une soirée pas ordinaire.

Avec pour objectif de faire sortir la cornemuse du carcan des musiques traditionnelles et folkloriques, Erwan Keravec explore depuis maintenant plusieurs années le champs des possibles pour son instrument. 

Une réécriture techno des Planètes de Holst par Mills mise en correspondance avec The Unanswered Question de Ives. Parfaite association qui questionne les fondements de la tonalité et interroge la limite entre les genres. Rencontre avec deux ovnis musicaux. 

Trop rares festivals de musique contemporaine ! Le Festival « Musiques Démesurées », 18ème du nom, fait de Clermont-Ferrand depuis le 3 novembre et jusqu’au 19, une oasis. En une soirée, l’heureux public s’est vu gratifier d’une création mondiale avec Nocturne d’Akira Kobayashi et d’une recréation avec Ultimatum de Pierre Jodlowski.

Les extraordinaires débuts du jeune prodige coréen à l’Auditorium de Lyon

Salué unanimement depuis sa prise de fonction à la tête de l'Orchestre Philharmonique de Radio France, Mikko Franck a proposé ce 18 mars pour les Vendredis du Philhar, une fois de plus, un programme audacieux et exigeant.

Vendredi 8 janvier 2016, Pierre Henry présentait à la Philharmonie 2 sa vision de "maintenant et demain". Au programme : une création, relevant du langage bruitiste, forçant le spectateur à adopter un nouveau type d'écoute ; et un remix de sa célèbre Messe pour le temps présent, dansé sur scène. Une soirée des plus insolites !

Mit dreißig Stunden Dauer bot "The Long Now" einen passend monumentalen Abschluss des MaerzMusik-Festivals.

Pluralistische Darbietung der zeitgenössischen Musik: Das exzentrische Eröffnungskonzert der MaerzMusik, Liquid Room, lockte mit 21 Musikstücken in 5 Stunden.

Lucioles américaines à l’Auditorium de Lyon avec Leonard Slatkin et Mason Bates pour le coup d’envoi musical de la Fête des Lumières 2014.

Konzert mit dem Glockenschlag: In nur einer Stunde präsentiert Marburg elf Werke, neue Klänge und ungewöhnliche Interpreten.

Le concert de clôture du Festival Des Arcs: un pari osé mais réussi