Sam chats to composer Eric Whitacre about their experience recording The Sacred Veil together with VOCES8. The 12-movement work is a collaboration between Whitacre and poet-lyricist Charles Anthony Silvestri, and comprises texts by Silvestri, Whitacre and Silvestri’s late wife Julie. Its intimate score ‘tells a story of courtship, love, loss and the search for solace’.

Today’s episode is all about geography. Tim talks international competition politics and how Rachmaninov’s disputed legacy ties into the debate. Meanwhile Sam forges a musical map of Middle Earth in a Lord of the Rings analytical pilgrimage. All topped off with a very literal fluffy-dog story. Live long and prosper.

Tim travels to the home of Icelandic composer Anna Thorvaldsdottir for a classical chat. They discuss Icelandic’s outsized musical pedigree, her upcoming role as Featured Artist at the Aldeburgh Festival, her cameo in Todd Field’s Tár and the importance (or unimportance) of a work’s conceptual inspiration in the ears of the listener.

In today's episode Sam and Tim discuss recent concert hall dramas as unionised musicians seize the means of sound production. Meanwhile Sam peers into the gilded musical cages of Jane Austin’s Sense and Sensibility in the next instalment of his film music series.

Tim speaks to the US singer, composer and producer Caroline Shaw. They cover her various composer hats, the upcoming performance of her Four Portraits at the Lyric Opera of Chicago, and their shared appreciation for Abba and Fiona Apple.

In our latest instalment: *POW* Sam investigates Batman’s secret musical identity *WHAM* Tim holds the Anglican Church to account in a hard-hitting exposé (not) *ZOINKS* We discuss Ukrainian composer Galina Grigorjeva’s new disc of choral music *ZAP* And yes, another excuse to talk about Star Trek.

Sam speaks to soprano Ella Taylor about their upcoming roles in Philip Glass’s Akhnaten at ENO and Verdi’s Don Carlo at the Royal Opera. The conversation turns to Ella’s trepidation at embarking on a new production with a new set of co-workers, what it means to be a trans singer playing trouser roles – and ancient Egyptian trivia.

Returning to your ears for the first time this year, the boys bring with them a film-music special. Sam unwraps Carter Burwell’s magnificent score to The Banshees of Inisherin while Tim quizzes Sam on Oscar nominations, German model trains and a certain topless dictator.

Tim speaks to wunder cellist Sheku Kanneh-Mason about sibling dynamics, touring in the States and his new album Song. But before all that, Sam gets stuck in a Groundhog Day-inspired time loop while trying to analyse one of the pieces from Sheku’s album: the 12 Variations on ’Ein Mädchen oder Weibchen‘ by Ludwig van Beethoven.

Sam is back in the interview seat chatting to conductor, producer and arranger Jules Buckley about his upcoming Aretha Franklin Prom with singer-songwriter Sheléa. They talk about he art of arranging, the unquestionable genius of Franklin and Buckley’s relationship with the Proms.

Sam chats to one of his mega heroes, the composer and broadcaster Howard Goodall. Together they discuss awards ceremonies, Howard’s pandemic piece Never to Forget, the mixed field of composition and, of course, working with Rowan Atkinson.

A short time ago in a South London bedroom not so far away … CLASSICAL POD. Sam finds new ways of listening, via the early work of John (Coolidge) Adams. He analyses the US composer’s 1973 work for chamber ensemble and tape Christian Zeal and Activity. Meanwhile, Tim quizzes Sam on City of Culture 2025 Bradford, not before a quick pit stop at Iceland’s world-famous Phallological Museum.

Sam chats to Professor and International Chair of Music Education at the Royal Northern College of Music Nate Holder about decolonising the music curriculum – what it means, and what it practically involves – as well as questioning what the goals of music education should be.

Sam and Tim emerge from their winter hibernation for a special episode celebrating the musical culture of Ukraine. Six Ukrainian composers and performers share their favourite Ukrainian-composed music, while Sam takes a sideways look at Valentin Silvestrov’s delicate piece for synthesiser, piano and strings The Messenger. Big thanks to Antonii Baryshevsky, Anna Fedorova, Pavel Gintov, Victoria Loukianetz, Ivan Nebesnyy and Ludmilla Yurina.

This Christmas, to celebrate 50 years since Jesus Christ Superstar first opened on Broadway, we’ve dedicated an entire episode to unwrapping its magic. What is it about the rock opera that makes it, as one Times critic wrote, ‘the one masterpiece of Lloyd Webber’s career’? Why, after five decades, does it still give pause for theological thought? And how can one piece of music connect such disparate-seeming artists as Dmitri Shostakovich, Googoosh, Lin Mannuel Maranda, and Kanye West?...

NuqneH! In this week’s episode Sam has a good old podcast chat with the founding members of Manchester Collective, Rakhi Singh and Adam Szabo. They discuss unusual programming and widely sourced inspirations – as well as the range of skills a modern musician needs. Qapla'!

Against all the odds, the boys were invited backstage to the Ivors Composer Awards. Tune in to hear them try almost too hard to brand themselves the Ant and Dec of the classical music world. Also – the late, great Victoria Wood in this week’s analysis of Franz Schmidt’s Fourth Symphony, not before some flagrant Handelian recycling.

It’s the 50th episode of the Classical Music Pod! We struck gold with today’s guest, composer and bandleader Cassie Kinoshi, who previews her upcoming Aurora Orchestra commission, Three Suns Suite, and discusses how labels and preconceptions can be limiting for musicians.

There’s a French flavour to this week‘s episode as we take the next step in our series of neglected pieces, unwrapping Louise Farrenc’s Trio for Flute, Cello and Piano (with a little help from Adele). We also pay tribute to the composer of the Channel 4 News theme, Alan Hawkshaw, and receive police guidance on where not to practise your flute.

Sam chats to an innuendo-filled Nicky Spence about Jenůfa at the Royal Opera, the ‘vortex of need’ and his rustic roots …

The boys profile the new Culture Secretary Nadine Dorries, lay bare one of classical music’s most flagrant pick pockets and polish up a rough diamond by Italian Baroque composer Antonio Caldara.

Sam and Tim return from their summer break with a new season of classical shenanigans. Kicking things off is an interview with organist, conductor, broadcaster and all-round musical superstar Anna Lapwood. She discusses her latest release for solo organ, Images, recorded at Ely Cathedral, as well as the role of secular music in church services and the mixing of boy and girl choristers.

In today’s episode: Mendelssohn’s concert overture ‘The Hebrides’ goes under the microscope, Tim unwraps the musical history of the Olympic Games and Sam chats to Andrew Moore, Head of Music at the Edinburgh International Festival.

Tim chats to composer Laura Bowler about her latest piece, Houses Slide, while Sam re-writes the libretto for Purcell’s Dido and Aeneas.