Composers Adam Lukas and James Everingham discuss composing music for BBC Earth's Frozen Planet II with Oscar winner Hans Zimmer.

Composer Steven Mackey discusses his new album of orchestral works, Beautiful Passing, and how personal experiences with death and memory have inspired his music.

This summer, in its third installment since its launch in 2018, the International Competition of Polish Music in Rzeszow, Poland, opened its stage to 115 contestants.

Harpist Emily Levin discusses the GroundWork(s) premiere of Angélica Negrón's Ave del paraíso in San Juan, Puerto Rico, and how the concert forged new connections between Negrón and her hometown.

Jeeyoon Kim aims to play classical music for everyone. That’s a goal shared by a lot of musicians and projects, to extend the reach of classical music to listeners who don’t normally go to concert halls for symphony concerts or chamber music recitals. It usually means the kind of crossover thing that has an orchestra playing movie music, or an operatic vocalist recording Christmas songs.

Composer Volker Bertelmann discusses his Oscar-winning score for All Quiet on the Western Front and shares insights into the art, dance, and architecture that inspire his music.

On his new album Klangland, Henrik Lindstrand delivers an achingly beautiful set of miniature mood pieces that capture vast landscapes of emotion. Out now on One Little Independent Records.

Pianist Zsolt Bognár had a light-bulb moment while building his first artist website in 2012. What if, instead of short clips of his performances — something every pianist publishes on their website — he interviewed his musician friends about their craft and careers?

After more than two decades as one of New York City's busiest freelance oboists, James Roe decided to pivot his career. 

He packed up his oboe case, reed knife, and metronome to take on leadership positions at two of the ensembles he had regularly performed with. First he spent two years as president and CEO of the New Jersey Symphony Orchestra, before moving into his current role as president and executive director of the Orchestra of St. Luke's, where he's been since 2015.

In business, marketing strategies often revolve around defining your ideal customer. What specific interests and demographics do they represent? The more specific you are in your targeting, the better.

But Time for Three proves just how wrong that approach to building an audience can be. Performing their unique blend of Americana, modern pop, and classical music, the acclaimed string trio has grown a large fan base that defies demographics — people who are just as likely to listen to Brahms as bluegrass and the Beatles.

When British saxophonist Jess Gillam refers to her Carnegie Hall debut as "a real dream come true," she's being literal. Since the age of 12, she's dreamt of taking to New York City's fabled stage and sharing her passion for the saxophone with the audience.

Few careers in classical music read as illustriously as that of pianist Wu Han. For more than 50 years, her life has centered around the concert stage, delivering performances of the highest caliber in nearly every corner of the globe.

1983 proved a pivotal year in violinist Dmitry Sitkovetsky's life. That was the year the Azerbaijan-born musician became a U.S. citizen, married his wife, and bought the Stradivarius violin he still plays to this day. It was also the year he discovered Glenn Gould's final recording of J.S. Bach's Goldberg Variations.

From dinosaurs dancing to The Rite of Spring in Disney's Fantasia to a tuxedoed Bugs Bunny performing Liszt's Second Hungarian Rhapsody, classic cartoons have long been a delightful entry point for kids of all ages to get to know classical music.

That's a tradition composer and jazz pianist Joel Pierson is breathing new life into as artistic director of The Queen's Cartoonists. Working at the crossroads of classical music, jazz, and the golden age of animation, The Queen's Cartoonists perform the scores of classic animated films from around the world, perfectly synchronizing their brilliant jazz-band arrangements with the films projected on stage.

The Spanish pianist Javier Perianes is racking up quite a lot of frequent flyer miles these days.

This season alone, his concert schedule has him zigzagging the globe to perform with the Los Angeles Philharmonic and Dallas Symphony here in the States, Europe's Budapest Festival Orchestra and the Oslo Philharmonic, and a whirlwind trip to Australia for concerts with the Melbourne and Sydney Symphony Orchestras, among many other engagements.

In early 2012, the coloratura soprano Marie-Eve Munger received an offer every opera singer dreams of — a lead role in a Mozart opera.

But there was a catch. It wasn't a role in Don Giovanni, or The Marriage of Figaro, or any of the popular Mozart operas performed every season across the globe. The opera was Il sogno di Scipione, which Mozart wrote when he was just 16 years old.

For violinist Hilary Hahn, finding success as an international soloist has never been about sticking to the same menu of concertos by Beethoven, Mendelssohn, and Sibelius. Now in the fourth decade of her storied career, the three-time Grammy Award winner has consistently worked to expand the scope of the violin canon — commissioning a slate of new works from composers like Edgar Meyer, Jennifer Higdon, and Lera Auerbach.

This fall, AVIE Records released Upon Further Reflection, the solo album debut by American pianist John Wilson featuring the world-premiere recording of the title track written by Wilson’s friend and mentor, Michael Tilson Thomas. Aaron Copland’s Piano Sonata and Earl Wild’s virtuoso arrangements of iconic George Gershwin tunes complete the Americana-themed program.

Conductor Gary Thor Wedow has often found inspiration for his music-making in the visual arts. But a recent visit to an exhibition at the Metropolitan Museum of Art gave Wedow, a specialist in Baroque opera, an altogether new view of ancient Greek and Roman art — and early music.