Playlist: a history of the countertenor voice on record

• Monday, February 27, 2017

James Jolly traces the development of countertenor singing, from Alfred Deller to the present day

On the road with Rostropovich, by Steven Isserlis

• Monday, February 27, 2017

He may be a star cellist, but Steven Isserlis is also a huge Rostropovich fan. So, when he went to San Francisco to play Britten under his hero’s baton in 2007, he kept a journal…

Gramophone obituary: Mstislav Rostropovich

• Friday, February 24, 2017

Tully Potter pays tribute to the great cellist, Gramophone, July 2007

Rostropovich, and his towering musical legacy

• Friday, February 24, 2017

Best new classical albums – March 2017

• Friday, February 24, 2017

The finest recordings from this month's reviews, chosen by Martin Cullingford

Introducing Gramophone's March 2017 issue

• Friday, February 24, 2017

Video exclusive: Víkingur Ólafsson plays Philip Glass

• Wednesday, February 22, 2017

Olafsson performs Glass's Etude No 14 from his DG debut album

Martinů on record

• Tuesday, February 21, 2017

The story of a composer who always enjoyed a close relationship with the record industry

Debate: When is film music ‘classical’?

• Monday, February 20, 2017

Classical composers Philip Glass and John Corigliano have both had success scoring for the big screen. They debate that relationship with Jed Distler in New York

Reputations: Bernard Herrmann

• Monday, February 20, 2017

Despite his struggle for acceptance in the concert-hall, Herrmann's triumphs on the cinema screen secure him a place in the composer's pantheon, argues Nick Shave

John Williams interview: 'It's not hard work that makes success; it's sustained hard work that makes success'

• Monday, February 20, 2017

Multi-Oscar-nominated composer of film scores for the likes of Star Wars and ET, John Williams still keeps a foot in the classical camp, as Timothy Mangan finds out (Gramophone, 2005)

La valse du cinéma

• Monday, February 20, 2017

Les Six, together with Saint-Saëns and Ravel, laid the musical foundations for French cinema, which remains unique to this day, writes Gary Dalkin

Hollywood's Super Orchestra

• Monday, February 20, 2017

For all the talk of the 'top five' America orchestras, it was a Hollywood studio that gave birth to one of the greatest of them all, writes Adrian Edwards

The problem for film composers today

• Monday, February 20, 2017

Richard Eyre, on the trials and tribulations of today's film composers

Debate: was Bernard Herrmann a great composer?

• Monday, February 20, 2017

John Amis, Rumon Gamba and Adrian Edwards discuss the legacy of Hitchcock’s favourite musical collaborator