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Beyond the Score, Sir Mark Elder finds the passion in Janáček

For classical music novices, there’s a lot to absorb when attempting to enjoy the genius of Leoš Janáček. First, there’s…

Javier Perianes moves out of the shadow of a famous fellow Spaniard

Nobody needs to remind pianist Javier Perianes that Alicia de Larrocha was Spain’s greatest keyboard artist. He hears it all…

Beyond the Score unravels the mysteries of Brahms

In November, the Chicago Symphony Orchestra launched the 10th season of its imaginative Beyond the Score series with a program honoring…

Creating the immersive experience of ‘A Pierre Dream’

The Chicago Symphony Orchestra’s Beyond the Score has covered some far-flung terrain since its first program 10 years ago. Using…

Pierre Boulez in Chicago: A timeline

When Pierre Boulez first appeared with the Chicago Symphony Orchestra in 1969, he was famous as a revolutionary composer, and…

A moveable feast … images from ‘A Pierre Dream’

The Beyond the Score production of “A Pierre Dream,” which celebrates the legacy of Pierre Boulez ahead of his 90th…

‘A Pierre Dream’: A portrait of Pierre Boulez

“A Pierre Dream: A Portrait of Pierre Boulez,”  a world-premiere Beyond the Score production, salutes the life and work of…

Beyond the Score: Edward Elgar’s ‘Enigma’ Variations

One evening, the great English composer Edward Elgar sat down at his piano to improvise. “That’s a good tune,” said…

Revisiting the world premiere of ‘A Pierre Dream’

The Beyond the Score world-premiere production of “A Pierre Dream: A Portrait of Pierre Boulez,” salutes the life and work…

Beyond the Score: Brahms’ Symphony No. 3, ‘Free But Happy’

In the summer of 1883, while vacationing in the German spa town of Wiesbaden, Johannes Brahms celebrated his 50th birthday…

Beyond the Score — Wagner: ‘The Tristan Effect’

Wagner’s opera Tristan and Isolde ushered in a new era from its opening notes. Composers as different from one another as Bruckner and Berg, Mahler and Messiaen, Schoenberg and Strauss, all responded vigorously to this new world of sound and feeling. Wagner declared that his work was ” a monument to the loveliest of all dreams, in which, from the first to the last, love shall, for once, find utter redemption.”