There are imperative reasons for reclaiming the Classical ideals of integrity, harmony, beauty and reason.

“I think the key is little concert halls, little opera houses which feed the community.”

“The only way you’re going to solve these problems is to tear down that house and build something half the size or less.”

Orchestras depend on love and a connection to their communities to survive.

As a young artist during the 1950s, I immediately got the point of modernism.

We have become used to concert halls that make big bold statements, but the Kleinhans is curiously elusive.

Buildings that will be relevant to and loved by the people who will have to live with it.

Carlos Ott has provided the Parisian public with the architectural equivalent of bread and water.

Architects Quinlan Terry, Robert Adam, and the firm of Franck Lohsen McCrery present their plans.

Performance spaces weren’t always designed to be stand-alone icons.

Most thinkers of the industrial era posited it as an irreversible fact of history and progress.

London should think carefully about where to build its newest cultural venue.

Our distorted view has much to do with the idea that culture develops like a timeline.

There is a choice location for London’s unrivaled musical offerings that is yet unconsidered.

The modern concert venue is not part of the city but stands in opposition to it.

A hall is more than a holding pen and an acoustic space.

Truly serious music has, as it were, put its ear to the ground and heard the far-off murmur of the infinite.

Modernism in architecture and music is very much like the artificial invention of Esperanto.