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Elmar Oliveira, violin/cond.; Arco Ensemble, Eva Gruesser, violin. (Artek)
By Edith EislerClassic guide to restoration penned 20 years ago
By Erin ShraderPreparation and post-audition strategy are just as important as being in the seat
By Katherine MillettChinese composer on the connection between martial arts and music
By Rory WilliamsAs the recently appointed concertmaster of the Houston Symphony, the former Ying Quartet member shifts gears
By Louise LeeNashville Symphony’s new concertmaster talks Mahler and country banjo master Béla Fleck
By Sarah WelshBrooklyn Philharmonic Orchestra’s new artistic director and leader of the Alarm Will Sound ensemble shares strategies for building an audience
By Rory WilliamsThe Atlanta Symphony Orchestra's new 26-year-old concertmaster on preparing for his February solo debut
By Rory WilliamsRavel’s ‘Tzigane’ is a great chance to flex your interpretive chops
By Augustin HadelichAdes, Marwood, and Isserlis perform US premiere of Ades' 'Rediscovered Places' at Carnegie Hall
By Edith EislerMichael Tilson Thomas, artistic director of the San Francisco Symphony,
By David Templetonoffers tips on approaching Mahler's symphonies
Alabama Symphony Orchestra recognized for strongest commitment to new US music
By Rory WilliamsJoined by the Juilliard Orchestra
By Rory WilliamsViolinist-turned-conductor plans to usher in a few changes
By Tiffany MaleshefskiNew York Violinist is the first American woman to ever join the INSO
By Chloe RothRaciti is assistant principal double bass of the Milwaukee Symphony Orchestra
By Rory WilliamsThe glamorous Mutter is a goddess with a gift
By Inge KjemtrupThis retooling of a Handel work is meant to correct the original's defects
By Daniel Felsenfeld