Live Music in Edinburgh

As a child I don’t suppose I was alone in pondering heaven and hell and wondering how it was decided which I should end up in at my death. John Henry Newman’s long poem, The Dream of Gerontius, is a dream just about that.

Someone once described the corridors as almost domestic in size.

Anthony Goldstone and Caroline Clemmow brought warmth, enthusiasm and clarity to a recital designed to give further recognition of the work of Hans Gál. Turnabout they introduced each piece with fascinating details that even the specialist audience may not have known. Nor, but not quite turnabout, were they working the same end of the Yamaha’s keyboard for each piece.

To celebrate the bicentenary of Fryderyk Chopin’s birth, the National Library of Scotland is offering the chance to view an exclusive Chopin display which documents the composer’s visit to Scotland in 1848.

After the setbacks and the multi-million pound cost over-runs, the new wing at the Usher Hall is ready to be unveiled to the world. From tomorrow people will be able to explore the much-awaited new addition to the grade A-listed building, which completes the £25 million, second phase of refurbishment of the Lothian Road concert hall.

The Edinburgh International Harp Festival (EIHF) proudly unveils the harping gems for its 2010 festival at the Merchiston Castle Campus in Edinburgh.

Blood and guts are on the menu at the Edinburgh International Science Festival in April. The annual festival of popular science, which aims to educate through hands-on activities and topical talks, has a new floor at one of its main venues, the City Art Centre, devoted to the human body.

English folk musician Kate Rusby, who won a Mercury prize nomination with her 1999 album Sleepless, headlines the eighth Ceilidh Culture, Edinburgh's festival of traditional music and culture, which runs 26 March to 18 April. Rusby, reckoned to be one of the most talented contemporary folkies around, plays at the recently re-opened Usher Hall (18 April).

Berlioz has a reputation for grandiose pieces, involving a multitude of musicians, but L’Enfance du Christ is different.  Written in 1853/54 for a chamber orchestra and small chorus it is an expose of exquisite musical minimalism. 

The U.K. premiere of Michael Daugherty’s Deus ex Machina was cannily placed between two firm favourites, Grieg’s Peer Gynt Suite No 1 and Tchaikovsky’s Symphony No 5. Previously unheard music is not a crowd-puller. But Daugherty is a well respected American composer, describing himself as originally a lounge bar pianist, who was born in 1954.