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Arabella Steinbacher discusses joining the Sydney Symphony Orchestra for Georges Lentz’s new violin concerto and warns that it’s a little wild.
by Harriet Cunningham
On the Record
This month, Amandine Beyer gives a lift to Biber’s Mystery Sonatas, Fabio Luisi’s Nielsen cycle impresses, and Matthias Goerne presents Schubert in Technicolor.
by Clive Paget
Percussionist Louise Devenish explains how sonified curtains of oystershell, sculptural instruments and underwater video feature in a project exploring the history of Australian metropolitan rivers.
by Louise Devenish
An Australian composer on music’s power to enrich the sound of silence.
by Brett Allen-Bayes
Bill Nighy portrays a terminally ill civil servant in a poignant remake of Akira Kurosawa’s 1952 film Ikiru.
by Jason Blake
In the Limelight
Guy Noble's Soapbox
Guy Noble ponders whether animals like classical music and admits he is glad we don’t share 100 percent of our DNA with chimps.
by Guy Noble
Principal Piccolo of the Melbourne Symphony Orchestra Andrew Macleod explains how he fell in love with the flute and piccolo, and the differences in playing them.
by Andrew Macleod
Elena Kats-Chernin explains how her first violin concerto, written for soloist Emily Sun, draws on ideas she had just explored in a score for a German silent film set in the circus world.
by Elena Kats-Chernin
5 Questions For
A fixture on the international arts scene for 50 years, The Brodsky Quartet – often known simply as The Brodskys – has an enviable track record for thinking outside the box.
by The Brodsky Quartet
The director of Melbourne Opera’s Ring Cycle recalls the classical input of her grandparents, and being astonished when she first heard an opera singer’s voice in rehearsals.
by Suzanne Chaundy
Staff and Contributors
Jane Albert, Brett Allen-Bayes, Jansson J. Antmann, Peter Berner, Suzanne Chaundy, Harriet Cunningham, Louise Devenish, Nicole Forsyth, Elena Kats-Chernin, Andrew Macleod, Patricia Maunder, Steve Moffatt, Guy Noble
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