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Instrument: Trombone

Find classical music concert, opera, ballet and dance listings
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PragueAdvent Concert IV - Dvořák goes to Jazz

Czech Philharmonic Jazz Band; Tomáš Kopáček; Jaroslav Halíř

PragueMartinů, Stravinsky

Martinů, Stravinsky
Ondřej Vrabec; Josef Špaček Jr; Tomáš Kopáček; Ondřej Roskovec; Stanislav Masaryk

AmsterdamJörgen van Rijen & Alma Quartet

Schumann, Padding, Barber, Muhly
Jorgen van Rijen; Alma Quartet

ViennaKammermusik der Wiener Philharmoniker 11

Mozart, Strauss R., Mascagni, Bizet, Morricone, Rota
Stefan Haimel; Jürgen Pöchhacker; Hans-Peter Schuh; Enzo Turriziani
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Buffalo Philharmonic strings shine in radiant Arensky and Shostakovich

JoAnn Falletta and the Buffalo Philharmonic's string players present intense Shostakovich and luminous Arensky in memorable performances.
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aus LICHT Part 1: Michael only takes flight in the second half

The performers in Part 1 of aus LICHT at the Holland Festival are amazing, but the production doesn’t rev up until the Archangel Michael goes on his dizzying world tour.
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Stockhausen rediscovered: Donnerstag aus Licht shines brightly

The evening left you in no doubt that in Donnerstag aus Licht is more approachable than many would imagine, as well as being a major creative achievement that is crying out to be explored by opera houses.
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John Casken's Madonna of Silence premiered

John Casken's intriguing new work for trombone and orchestra presents a musical interpretation of a Michelangelo drawing, along with superb Mozart and powerful Prokofiev. 
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Miracles at the Barbican in Gavin Higgins' new concerto

Higgins never forgets that the concerto form has a playful element
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A manifesto against war: Dubugnon première impresses in Brussels

Some 15 minutes long, in a slow-fast-slow form, Le Tombeau de Napoléon wraps a taxing solo part for tenor trombone in a dramatically compelling and sonically thrilling orchestral canvas.
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Passionate Shostakovich from Noseda and the LSO

There were memorable moments, as Noseda continued his advocacy of Sir James MacMillan and Shostakovich symphony cycle. Yet Noseda’s maximalist approach had its costs, as it was only in the opening Kodály that found Noseda at his best.
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