Kate Molleson

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Buchanan Street

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Lunchtime in central Glasgow. Sun just about making it above the skyline.

This entry was posted in Miscellaneous on December 12, 2014 by Kate Molleson.

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Recent Posts

  • Rhodri Davies on Transversal Time
  • On merfolk, selkies and Sally Beamish’s new ballet score for The Little Mermaid
  • On the Scottish Awards for New Music. Why and how?
  • On Bartok, and a Bartok ‘premiere’ in Glasgow
  • Review: Bothy Culture & Beyond
  • Review: Bright Phoebus Revisited
  • Spring concerts preview
  • Review: Julie Fowlis / Celtic Connections gala
  • Interview: Catriona Morison
  • How Mongolia went wild for opera
  • On populism, early music & John Butt’s Dunedin Consort
  • Best recordings of 2017
  • CD review: Elias play Beethoven, vol 4
  • CD review: Martinu’s Bouquet of Flowers
  • CD review: Thomas Demenga plays Bach’s cello suites
  • “All that genius crap.” On porn soundtracks, and why contemporary music could be the new feminism
  • Revisiting: Montreal Symphony Orchestra & the Dutoit years
  • James Dillon (etc) in Huddersfield
  • CD review: Kim Myhr’s You | Me
  • CD review: Luigi Nono’s Risonanze erranti
  • CD review: Monteverdi’s Selva morale e spirituale
  • Interview: James Dillon
  • Interview: Maxwell Quartet
  • CD review: Piazzolla’s María de Buenos Aires
  • CD review: Colin Riley’s Shenanigans
  • CD review: Theatre of Voices sing Buxtehude & co
  • Music to die to.
  • Interview: Lewis Murphy
  • CD review: Eliane Radigue’s Occam Ocean
  • CD review: Cage’s Concert for Piano and Orchestra
  • CD review: Quartet for the End of Time / Martin Fröst & co
  • Schumann, Dvorak & the art of subtle anomaly
  • CD review: Roland Kayn’s A Little Electronic Milky Way of Sound
  • CD review: Steven Osborne plays Debussy
  • CD review: Peter and the Wolf via Liverpool
  • Interview: Graham McKenzie on 40 years of Huddersfield
  • CD review: Danish String Quartet’s Last Leaf
  • CD review: Le Caravanserail’s A Fancy
  • CD review: Messiaen’s Poemes pour Mi
  • Interview: Thomas Dausgaard on ‘composer roots’

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