We are offering icons of personal expression, masterworks that could not be contained within the walls of the few but needed to be shared with many. Because ‘the best things cannot be told,’ and musical […]

…even artistic creation often goes this roundabout way before it arrives at the real conception. When Karl Kraus calls language the mother of thought, and Wassily Kandinsky and Oskar Kokoschka paint pictures the objective theme […]

Gabriel Fauré / Violin Sonata in A major, Op, 13Michi Wiancko / Tyranny of Coordinates for Piano Quartet (2022 BCMS Commission)Maurice Ravel / Piano Trio in A minor (1914; first performance January,1915) “Falling might very […]

Ludwig van Beethoven / Trio for Clarinet, Violoncello and Piano in B flat major, Op.11 (1798)Johannes Brahms / Piano Trio No. 3 in C minor Op. 101 (1887)Arnold Schoenberg / Verklärte Nacht, Op. 4 (1899) […]

For our first Winter concert of BCMS Season 42 we offer three works whose creators shared coincidences beyond nationality, precocity, and studies with Nikolay Rimsky-Korsakov; had teaching careers at and leadership positions of important institutions […]

Beauty in music is too often confused with something that lets the ears lie back in an easy chair. Many sounds that we are used to do not bother us, and for that reason we […]

Welcome to BCMS Season 42 and the full return of our series to Harvard University’s Sanders Theatre. We mark this return with two favorites from the standard literature as well as one made possible in […]

By projecting his mind into areas of music that would not be totally explored for decades to come, Beethoven foresaw not only solutions (the lines of his projection followed by Schumann, Brahms, Wagner, etc.), but […]

My work in composition means not revolution but evolution, built on the classics which must be the foundation of all musical composition. My compositions are built on classical lines; all real music must be. I […]

There are serenades out of which symphonies or divertimenti may easily be made, merely by omitting movements, in the one case, or by reducing the number of performers, in the other. There is no reason […]