• Leon Kirchner David Matthews

• Begin Again: John Cage Rodney Lister

• Schuman, Persichetti, Mennin Bret Johnson

• Twelve-tone Dallapiccola Tim Mottershead

• London, Royal Opera House: ‘Promised End’ Tim Mottershead

• Amsterdam: Raskatov's ‘A Dog's Heart’ Alexander Ivashkin

• Glasgow: James Dillon's ‘Nine Rivers’ Paul Conway

• Zurich: Dalbavie's ‘Gesualdo’ Peter Palmer

• Tanglewood Festival 2010 Christian Carey

• Manchester: Friedrich Cerha Kaleidoscope Tim Mottershead

• Huddersfield Contemporary Music Festival 2010 Paul Conway

• Further reports from London, Manchester, Birmingham, St Albans Martin Anderson, Jill Barlow, Tim Mottershead, Paul Conway

• Pierre Boulez ‘Tombeau’ facsimiles Peter O'Hagan

• The Letters of Gertrude Stein and Virgil Thomson Rodney Lister

• Comrades in Art: Correspondence of Ronald Stevenson and Percy Grainger James M Floyd

Philip Moore (b. 1943) has had a distinguished career as a cathedral musician, organist and, increasingly in recent years, as a composer. He began his career as a music master at Eton College and subsequently held a number of important positions, firstly at Canterbury and Guildford Cathedrals and latterly as Master of the Music at York Minster (1983–2008). His impressive catalogue of 400 works contains a substantial body of church music, but he has also written instrumental music and some larger works with orchestra including an organ concerto. His music draws on a wide sphere of influences with a strong tilt towards Vaughan Williams, Howells and Britten, plainchant and Duruflé and those whom he regards as the great classical architects of music: Bach, Brahms, Mozart and Hindemith amongst many others. On 20 November 2010 his new cantata Ode to St Cecilia was premièred in Guildford Cathedral. The composer has said that the genesis and design of the work derives from Britten's St Nicholas to which he hopes it will be seen as complementary. This interview took place in October 2009 before a recital devoted entirely to Moore's organ music at St Paul's Cathedral in London.

• Helmut Lachenmann Arnold Whittall

• David Matthews round-up Paul Conway

• Jonathan Harvey Colin Clarke

• Further reviews Bernard Hughes, Arnold Whittall, Colin Clarke, Peter Palmer, Tim Mottershead, Bret Johnson, Paul Conway

• Boston, Mass.: concertos by Schuller and Birtwistle Rodney Lister

• London: Turnage's ‘Anna Nicole’ Martin Anderson

• Manchester: Sally Beamish Paul Conway

• Manchester University: Pierre Bartholomée Tim Mottershead

• London, RAM: Elena Firsova Martin Anderson

• London, Maida Vale: Grahm Fitkin Jill Barlow

• Brisbane: Havergal Brian's ‘Gothic’ Symphony Calum MacDonald

• ‘Contemporary Music’ Tom Rutherford-Johnson

• John Cage's ‘4' 33”’ Rodney Lister

• The Music of Christian Wolff Helen Thomas

• Berio's Sequenzas Peter Roderick

• Ligeti's ‘Gesammelte Schriften’ Arnold Whittall

• Havergal Brian round-up Martyn Becker

• Unsuk Chin Arnold Whittall

• Jörg Widmann Colin Clarke

• Kagel Cello Works Bernard Hughes

• Further Reviews Paul Conway, Calum MacDonald, Peter Palmer, Guy Rickards, Clemens Gresser, Colin Clarke, Rodney Lister, Arnold Whittall, Tim Mottershead, Bret Johnson, Jill Barlow

• Elaine Gould's ‘Behind Bars’ Julian Anderson

• Birtwistle's ‘The Mask of Orpheus’ Michael Hooper

• Adolf Busch biography Erik Levi

• Glenn Watkins's ‘The Gesualdo Hex’ Rodney Lister

• Further reviews Peter Palmer, James Percival, Clemens Gresser, John Wheatley

• Arvo Pärt Benjamin Skipp

• Philip Glass Colin Clarke

• Dallapiccola Tim Mottershead

• Further Reviews Bret Johnson, Paul Conway, Peter Palmer, Colin Clarke, Geoffrey Alvarez, Richard Leigh Harris, Tim Mottershead, Guy Rickards

• Young Polish Composers Colin Clarke

• Egon Wellesz Paul Conway

• Rolf Liebermann's ‘La Forêt’ Peter Palmer

• Further Reviews Tim Mottershead, Clemens Gresser, Paul Conway, Bret Johnson, Jill Barlow