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It all starts with the beat—and the spelling
By Donna HebertThese sonatas for violin and piano bore the seeds of this composer's imagination
By Edith EislerLike its English and Italian cousins, this variety of Baroque music offers rich rewards
By Sarah FreibergThis neglected work is due some attention
By Laurence VittesThe hidden (and fascinating) depths of musical meter
By Harald KrebsPacifica Quartet violinist Sibbi Bernhardsson on bringing the optimistic work to life
By Laurence VittesThe composer’s only extant chamber work is the subject of a new edition
By Edith EislerBeethoven’s Cello Sonata, Op. 69, reflects the dual nature of the composer’s life and career
By Miranda WilsonTake a seat in this Ida Kavafian master class
By Sushma SubramanianThe Arpeggione Sonata in A minor for viola or cello
By Edith EislerChristoph Poppen and Helga Thoene explain the hidden messages in Bach’s D-Minor Partita
By Christopher WhitingThe richness and contrapuntal variety of Mozart's quintets mark them as gems of the literature
By Edith EislerCurtis Institute players remind us there's more to this work than just the famous Adagio for Strings
By Laurence VittesThese 20th-century violin-viola duets are challenging but wonderfully expressive
By Edith EislerThis complex modern masterwork is a ticket to paradise
By Laurence VittesHow to sample its ethereal essence
By James ReelThis retooling of a Handel work is meant to correct the original's defects
By Daniel FelsenfeldPerforming early music requires changes to your attitude and your ear
By Sarah FreibergIn appreciation of the Two Sonatas for viola and piano, Op. 120
By Edith Eisler'The composition of violin concertos is a cursed difficult business,' Bruch lamented
By James Reel