• The Harpsichord’s Return – De Falla and the revival of early timbres.

    The Harpsichord’s Return – De Falla and the revival of early timbres.

    January 12, 2026
  • Symmetry and Stasis – The architectural influence on neoclassical composition.

    Symmetry and Stasis – The architectural influence on neoclassical composition.

  • The New Simplicity – Reacting against the complexity of the post-war avant-garde.

    The New Simplicity – Reacting against the complexity of the post-war avant-garde.

  • Prokofiev’s “Classical” – A subversion of the Haydnesque form.

    Prokofiev’s “Classical” – A subversion of the Haydnesque form.

    Uncategorized
  • The Sculpted Silence – Arvo Pärt and the minimalism of the spirit.

    The Sculpted Silence – Arvo Pärt and the minimalism of the spirit.

    Uncategorized
  • Pulcinella’s Mask – Deciphering the irony of the neoclassical aesthetic.

    Pulcinella’s Mask – Deciphering the irony of the neoclassical aesthetic.

    Uncategorized

  • The Geometry of Fugue – Mathematical purity in the works of Hindemith.

    January 9, 2026
  • Back to Bach – The 20th-century obsession with Baroque order.

    January 9, 2026
  • The Neoclassical Pivot – Stravinsky’s rejection of the Romantic ego.

    January 8, 2026
  • The Ghosts of Esterházy – Haydn’s laboratory in the heart of Hungary.

    January 8, 2026
  • Walt Disney Concert Hall – Gehry’s stainless steel and Salonen’s sonic legacy.

    January 8, 2026
  • The Teatro Colón – Why Buenos Aires holds the secret to perfect acoustics.

    January 7, 2026

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