Sabine Meyer on Mozart's Basset Clarinet Concerto

By Elisabeth Schwarz, 28 May 2018

Loading, please wait...

“As instrumentalists, we are only the intermediary between the composer and the audience”

Mark Pullinger, 27th January

How to select a top ten from over 600 works by one of the world's greatest composers? An impossible task...

From Salzburg, with love: Hans Graf bids farewell to Singapore

Peter Quantrill, 7th April

The Austrian conductor reflects on his seven year tenure with the Singapore Symphony Orchestra, work and life, returning to old scores, and why a musical ensemble is like a giant human body.

Elim Chan: from Sorcerer’s Apprentice to Proms Queen

Mark Pullinger, 7th April

The Hong Kong-born conductor talks about her entry into music, her love of big Russian repertoire, her “Cinderella moment” winning the Donatella Flick Conducting Competition and her ambition to “go against the grind”.

Inner necessity: training opera’s next generation at the RCM

Jessica Duchen, 6th April

The Royal College of Music offers an enviable nurturing ground for the next generation of operatic talent. Audrey Hyland, head of the Vocal and Opera faculty, talks about what makes the department special.

Once upon a time in Tarragona: Tomàs Grau on making an orchestra

Elena Luporini, 2nd April

As the Franz Schubert Filharmonia celebrates its 20th anniversary, conductor Tomàs Grau tells the story of the ensemble, reflects on the importance of local music institutions, and gives a glimpse of the road ahead.

Bach transformed: Jean Rondeau on remaking the Goldberg Variations

Bachtrack, 1st April

Renowned harpsichordist Jean Rondeau presents a new view of Bach’s Goldberg Variations at this year’s Bachfest Schaffhausen, including in arrangement for Baroque ensemble, and as a new composition for piano, percussion and electronics inspired by the cycle.

Elisabeth Schwarz

Elisabeth is Bachtrack’s German Editor and Press Manager. After more than five years in London, she is now back in Vienna, spending more time at the opera and in cafés than her own living room. She also organises music projects for people who have experienced homelessness and works as a freelance translator and copywriter for classical music PRs.

“Everything else pales into insignificance”: Sabine Meyer on Mozart's Basset Clarinet Concerto