Paul Hindemith was a composer who, on one hand, was very traditional: his orchestration style is reminiscent of late Romanticism, and his forms are deeply rooted in contrapuntal writing, giving his music a familiar flavor. On the other hand, he developed his own musical system, which allowed him to approach harmony in a unique way, effectively blending tonality and atonality. His music balances consonance and dissonance, placing it somewhere between Béla Bartók’s extended ton

When I sat down with Estonian composer and intermedia artist Kristjan Kannukene, I knew this conversation would be something special. Kristjan is not only the head of HetkFest, a young but already vital festival for improvised arts in Estonia, but also a musician whose work bridges sound installations, improvisation, and academic research. Currently pursuing his doctoral studies on the symbiosis of viola and voice, he has been exploring ways to merge different sound worlds in

I don’t particularly believe in the idea that a single deity created the universe with a plan, but I do believe in some composers who do, among them J.S. Bach and the great Estonian composer Arvo Pärt.

Estonia, despite its small population of just over 1.3 million, holds a significant place in the world of classical music. Over the past century, Estonian composers have contributed works of striking originality, blending Baltic folk traditions with contemporary trends. From the early 20th century’s national romanticism to today’s digitally distributed works, Estonia’s music scene has continually evolved, embracing new creative and technological possibilities.

When a composer like Lauré Lussier releases a new work, one does not approach it lightly. His previous compositions, haunting, intricate, often cinematic, have already established him as a contemporary voice who blurs the lines between orchestration, sound design, and storytelling. Driftsways by Lussier takes another bold step forward. This two-part electroacoustic work, comprised of “Themes & Variations” and “Rondo,” is less a collection of pieces than it is a sonic architec

Australian composer and pianist Andrew Keese has announced the release of his forthcoming album Illuminator, alongside a series of European concert dates set for summer 2025.

Among the new generation of Estonian composers, Tõnu Kõrvits has emerged as one of the most poetic and emotionally resonant musical voices of his homeland. Drawing from a rich cultural heritage, his music blends contemporary classical language with folk motifs, dreamlike textures, and a sense of quiet introspection. Known for his deeply atmospheric soundscapes and evocative orchestrations, Kõrvits is not only a prominent composer in Estonia but also increasingly recognized on

There are artists who compose music, and then there are artists who reveal something of the world—and of themselves—through sound. Andrew Keese belongs to the latter. An Australian composer, pianist, and multi-instrumentalist, his work resists easy categorization. It walks the line between neoclassical, ambient, and post-rock, but never settles comfortably into any single label. What sets him apart is not just his aesthetic, but the way his music feels lived rooted in experie

In Principle of Least Action, guitarist and composer Ricardo Urquiza has crafted an exceptional conceptual EP rooted in both physical law and musical structure. The title is borrowed from a fundamental idea in physics—that nature follows the path of least resistance, or least effort. Ricardo transforms this scientific principle into a musical metaphor, navigating through structured harmonic repetition and fluid improvisation with elegance and intention.

When we think of contemporary classical music, our minds often immediately jump to Western orchestral or electronic instrumentation—or experimental textures made from unconventional sounds. But in the event of Iranian Music Evening at Eesti Muusika- ja Teatriakadeemia, the concert centered around a traditional Iranian instrument and gave us a compelling example of contemporary classical expression with deep cultural roots.

Explore Jakub Poćwiardowski & Lili’s The Dark Side of the Mole, a concept album blending prog rock, classical, and ambient into an unforgettable soundscape.

Lorenzo Brilli is not just a composer—he is a contemporary storyteller who uses sound as his language and rhythm as his syntax. In his latest album Vrihi, released by Esc.Rec, Brilli invites listeners into a world shaped by layers of texture, minimalism, folk traditions, and experimental electronics. The result is a sonic narrative that feels deeply rooted in the past yet strikingly modern. This is an album that demands to be experienced rather than simply heard.

Vrihi, a Sanskrit word meaning "rice," is a sonic work that explores the expressive power of the human voice, conceived as a vessel of invisible memories and submerged narratives. In this piece, disparate voices are fragmented, manipulated, and reassembled into a complex acoustic tapestry, where subtle timbres and granular textures merge to generate unheard sonic forms.

When I first encountered the music of Lauré Lussier, I wasn’t prepared for how deeply it would stir me. There’s a palpable breath in his compositions—something alive, something not imposed but revealed, unearthed. Though I sensed the subtle hand of minimalism, what truly captivated me was how seamlessly he integrates orchestral language with natural and synthetic soundscapes. His works don’t simply use sound—they become it.

Eyes Like Torches at the Gate features two solo guitar pieces by the Polish composer and guitarist Ratyński. The music is striking, expressive, and rhythmically intricate. I was especially drawn to the way different rhythmic patterns emerge and evolve, adding depth and emotional resonance to each piece.

Music is one of humanity’s oldest art forms, a universal language that has echoed through time, yet much of it has been lost.

Pierre Boulez reshaped contemporary classical music through both composition and conducting.

A kind of darkness that gives you goosebumps—not merely because it is gloomy or somber music, but because it is unknown. It is too different

Sofia Gubaidulina (1931–2025) was one of the most profound and innovative composers of the 20th and 21st centuries.

Contemporary classical music is a vast and dynamic world, one that challenges traditional forms while embracing new sonic possibilities.