No Hint of Bad Taste Claude Debussy stands apart as a modernist – extremely popular and yet he tore up the rulebook of harmony and form, rebelling against the tyranny of the barline and heavy orchestration. Boulez described it as ‘instantaneous self-renewal’. How did he get there? His starting point was an obsession with pleasure, writes Stephen Walsh.
What Does Project Ireland 2040 Mean for Music? Major refurbishment of NCH, but promised arts funding now going to capital expenditure rather than arts programming.
Undeniable Craft Brendan Finan finds self-assurance and careful design in this new collection of Bill Whelan's orchestral works, released on the RTÉ Lyric FM label.
Is Music the Glue That Will Get Us Through? When we have instant access to every piece of music that we love, anywhere and anytime, something profound has happened, writes Toner Quinn.
Pointing Towards the Future Belfast harper Úna Monaghan's new album is a surprising – sometimes startling – mix of traditional music material and electronics, writes Anna Murray.
From Broken Dream to Musical Healing Adrian Scahill reviews 'Aisling Ghéar', a stark and unflinching new documentary on the concertina player Noel Hill.
Liam O’Flynn: An Appreciation A tribute to the great uilleann piper who died on 14 March.
Opera for Our Time Adrian Smith reads Adès’s 'Powder Her Face' as a story of female empowerment and upper-class complacency in the very promising first production from Irish National Opera.
What Does Brexit Mean for Music? For those who make music, Brexit must surely mean resistance, writes composer Christopher Fox.
Hear the Water Naomi Berrill's new album is an ode to sea, using cello and vocals to conjure up its sounds. Julie Seagrave – in her second review as part of the Journal of Music/Galway City Council Music Writer Mentoring Scheme – hears undercurrents, unexpected pulls and more.