Radio and PodcastLive Radio & PodcastsOpening Radio and Podcast...
Radio and PodcastLive Radio & PodcastsFetching podcast shows and categories...
Radio and PodcastLive Radio & PodcastsFetching podcast episodes...
Artists, musicians and composers introduce fifty key pieces of classical music composed between 1950 and 2000. As featured in the BBC Radio 3 programme, Hear & Now.
Conductor and composer Esa-Pekka Salonen celebrates the music of Polish composer Witold Lutoslawski and his landmark work from the early 196...
Composer Matthew Shlomowitz makes the case for Austrian composer Bernhard Lang’s Differenz/Wiederholung 2, a setting of texts by Gilles Dele...
Author and journalist Rob Young nominates French composer Eliane Radigue's Songs of Milarepa, which combines drone-like electronics with the...
Hear and Now presenter Sara Mohr-Pietsch celebrates the music of German composer Heiner Goebbels, focusing on the Suite for Sampler and Orch...
Composer Julian Anderson singles out Partiels for orchestra, from French spectralist Gerard Grisey’s cycle of works Les Espaces Acoustiques....
Composer John Woolrich nominates Stravinsky's last completed work with orchestra, Requiem Canticles. Commentator Paul Griffiths explains how...
Novelist and critic Philip Hensher makes the case for Per Norgard's Symphony No.2, one of the first works in which the Danish composer used...
Critic and Hear and Now presenter Tom Service nominates American composer John Zorn’s Carny, a work for solo piano from 1989. The piece asse...
Pianist Nicolas Hodges nominates Jean Barraque's Chant apres chant, one of just a handful of surviving works by this contemporary of Boulez...
Sound artist Kaffe Matthews on Alvin Lucier’s I am sitting in a room and how it’s provided an inspiration for her own work in the field of s...
Critic and Hear and Now presenter Ivan Hewett nominates Hungarian composer Gyorgy Kurtag's Officium Breve in memoriam Andreae Szervanszky fo...
Singer and conductor Paul Hillier celebrates Terry Riley’s icon of musical minimalism and monument to the experimental atmosphere of 60s Wes...
Composer and Hear and Now presenter Robert Worby singles out V of IV, an early electronic work by American pioneer Pauline Oliveros; author...
Gavin Bryars's mould-breaking 1971 score Jesus' Blood Never Failed Me Yet is a work which came about almost accidentally, when Bryars found...
Four Tet’s Kieran Hebden explains why Silver Apples of the Moon by the American composer Morton Subotnick stands out for him as a classic of...
Cellist Frances-Marie Uitti celebrates the music of Giacinto Scelsi, the Italian composer from an aristocratic background whose work looks t...
Pianist Pierre-Laurent Aimard champions the music of maverick German composer Helmut Lachenmann and his 1980s work for ensemble Mouvement (-...
Violinist Alexander Balanescu recounts his part in Michael Nyman's groundbreaking score for Peter Greenaway's 1982 feature film The Draughts...
Author Paul Griffiths singles out this early work for ensemble by Danish composer Hans Abrahamsen, a sonic evocation of nature which takes i...
The soprano Barbara Hannigan celebrates Claude Vivier’s profoundly moving work for soprano and orchestra, Lonely Child. Vivier conceived the...
Composer and writer Gerard McBurney nominates the austere and uncompromising Octet by Galina Ustvolskaya, which changed his ideas of modern...
Pianist Joanna MacGregor celebrates Harrison Birtwistle’s The Triumph of Time, an orchestral work she describes as “sculpted, dream-like and...
Choreographer Siobhan Davies nominates White Man Sleeps by the South African-born composer Kevin Volans, and describes the experience of her...
Gillian Moore champions George Benjamin’s early orchestral score At First Light, praising its “extraordinary detail and skill”; while writer...
Composer George Benjamin advocates the "exuberant, thrilling and virtuosic" orchestral piece Chronochromie by his former teacher, Olivier Me...
Hollywood sound designer and film editor Walter Murch nominates Symphonie pour un homme seul by Pierre Schaeffer and Pierre Henry, music he...
Composer Nico Muhly nominates Philip Glass's Music in Twelve Parts, a large-scale set of pieces for electric organs, voice, flutes and saxop...
Writer and critic Paul Driver explains why Maxwell Davies’s 8 Songs For A Mad King is so uniquely important in the development of music thea...
Violinist David Harrington celebrates George Crumb's groundbreaking 1970 work for electric string quartet, Black Angels - the work which ins...
Composer Anna Meredith nominates Gerald Barry's "bold and daring" Piano Quartet No.1, with commentary from an established interpreter of Bar...
Writer and musician David Toop celebrates Toru Takemitsu's soundtrack for Masaki Kobayashi's 1964 chiller Kwaidan, based on Lefcadio Hearn's...
Theatre director Katie Mitchell describes her first encounter with the music of Italian composer Luigi Nono and her subsequent staging of Al...
Jazz pianist Ethan Iverson nominates Milton Babbitt's Philomel for soprano and tape, "a classic record that should be owned by all fans of t...
Film director Barrie Gavin selects Jonathan Harvey's Mortuos Plango, Vivos Voco, an electroacoustic piece made from the sound of the largest...
Finnish conductor and music director of Ensemble InterContemporain Susanna Malkki pays tribute to Stockhausen's 1950s masterpiece Gruppen fo...
Conductor Richard Bernas recalls his momentous first encounter with Berio's Sinfonia, a work which reflected and commented on the events of...
Roxanna Panufnik nominates Arvo Part's Cantus In Memoriam Benjamin Britten, "beautifully simple and spiritual" music that she feels a strong...
Howard Skempton singles out Extensions 3 by the American composer Morton Feldman, a piece he found "liberating, inspiring, and radically dif...
Stephen Fry describes his delight and bewilderment at first hearing Conlon Nancarrow's Study No. 21 - also known as Canon X - for player pia...
Percussionist Steven Schick recalls how a chance meeting with Brian Ferneyhough led to the commission of Bone Alphabet, the composer's only...
Artist Tom Phillips on Howard Skempton's Lento for orchestra, a completely tonal piece that he admires for achieving "content with simplicit...
Composer and former Battles frontman Tyondai Braxton nominates Poeme electronique by Edgard Varese, whose soundworld has been a continuing i...
Artist Tacita Dean on John Cage's legendary 4'33" and how it provided an inspiration for Stillness, her 2007 project with choreographer Merc...
Pianist and Scratch Orchestra member John Tilbury speaks up for The Great Learning by the radical British composer and political activist Co...
Mathematician Marcus du Sautoy explains how Iannis Xenakis uses the symmetry of a cube to determine musical parameters in Nomos Alpha for so...
Dutch composer Michel van der Aa salutes compatriot Louis Andriessen's 1976 work for amplified voices and large ensemble, De Staat. Gillian...
Sir Harrison Birtwistle singles out Pierre Boulez's 1950s cycle for voice and mixed ensemble, and describes encountering the score for the f...
Novelist and poet Mark Haddon explains what it is about Elliott Carter's String Quartet No.3 that reminds him of an argumentative family mea...
Film-maker Sophie Fiennes explains why she chose György Ligeti's Atmosphères for the soundtrack of a film about artist Anselm Kiefer, and Pa...
Matthew Herbert, songwriter and electronic music producer, reflects on the continuing relevance of Steve Reich's seminal 1988 piece for stri...