What is the purpose of a poem, an illustration or a nonsensical phrase in a score? If it makes musicians stop and think, that’s a…

Bohuslav Martinu, a Czech composer who thrived on the artistic and scientific explosions of the 20th century, is the center of this summer’s programming.

At Little Island, “The Counterfeit Opera” falls short of its wildly successful historical models.

Leon Botstein’s American Symphony Orchestra dusts off “Guntram,” and singers unveil the beauties and flaws of a 19th-century epic fail.

At the Metropolitan Opera’s season premiere of Elijah Moshinsky’s production, it was the women who led, while a strong cast carried the patchwork plot.

Cultic and unclassifiable — “clearly some sort of monstrous hybrid” — Bley’s “Escalator Over the Hill,” a 1971 album, is being staged at the New…

Over two nights at Carnegie Hall, Andris Nelsons and the orchestra reveled in the composer’s sonic riches but played with emotional reserve.

Guest conductors and the firebrand soloists Patricia Kopatchinskaja and Alisa Weilerstein brought welcome energy to David Geffen Hall.

The ornately decorated fiddle belonged to the dance master who taught Robert Burns. At Carnegie, it will cap “Scotland’s Hoolie in New York.”

The venerable quartet returned to Zankel Hall with a typically eclectic program and a newfound emotional intensity.