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A classic of film scores, Albinoni’s Adagio isn’t a lost baroque masterpiece; it’s a spoof composed by his biographer in the 1950s. Harmless fun, asks Phil Hebblethwaite, or a savage exposé of classical music’s obsession with authenticity and dead men?
Perhaps no one has ever made old music sound more bracingly modern than wunderkind pianist Glenn Gould, and for his third column on a classical music record bought for a quid in a charity shop Phil Hebblethwaite finds the nutty Canadian polymath going way back in time – to some English music of the Renaissance
Ahead of the Quietus writers' list of favourite religious and spiritual records, published later this week, Rev. Rachel Mann explores the many roles that holy music continues to play in an increasingly secular society, and explains why it remains an important and affecting force
With a signature sound that's by turns stern and subtly beautiful, Levon Vincent's name is hugely revered in house music circles. Angus Finlayson spoke to him about DJing philosophy and how his work fits into a centuries old musical lineage
Gaspar Noé's _Enter the Void_ is a bracing technicolour drug trip through the seedy side of Tokyo, with a belting multilayered soundtrack. The infamous director of _Irreversible_ talks to our Robert Barry about the musical surprises in his latest soundtrack, created with Daft Punk's Thomas Bangalter
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