Donaueschingen is three (and a half) days of nearly constant concerts; this review is around 3000 words. I have divided it into two sections. The first details the concerts that either I or the Donaueschingen audience considered to be of particular note, one way or another. The second deals with approaches to musical practice and issues raised by certain talks and performances. The date of composition for all of the pieces mentioned below is 2017 unless otherwise stated.
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