There is arguably less adventure in classical music recitals today than at the time of Liszt, but not in the case of Joanna MacGregor, writes John McLachlan.
A new work by Dónal Dineen, 'The Pipes, The Pipes', combines three uilleann pipers with live art. Dermot McLaughlin attended a recent performance in Dublin.
Four recent solo recordings by Kate Ellis, Caoimhín Ó Raghallaigh, Cora Venus Lunny and Adrian Hart point to new dialogues in Irish music.
The harp has been intimately bound up with notions of Irish identity for centuries, but how did this develop? Siobhán Armstrong reviews a new book that fills in some of the gaps in Ireland’s harp history.
The latest iteration of the New Music Dublin festival attracted good audiences, writes Anna Murray, but at what artistic cost?
The next steps for the Irish music industry require 'strong leadership', says a new report, but where will it come from?
Like a canary in a coal mine, the music industry has collapsed just before Wall Street, twice in one century. Gareth Murphy explores the eerie parallels – and what could come next.
In 2014, without explanation, the TG4 Gradam Ceoil award for traditional music composition was dropped. Given the current thriving tune compositon scene, Dave Flynn asks why.
Michael Quinn listens to two recent piano recordings by new music advocate Mary Dullea.
Despite the clichés, music is full of boundaries, writes John McLachlan, and traversing them needs a 'strong musical mind', as in a new recording by composer Karen Power.