The Paris-born artist reinvented the synthesizer through meditative and feedback-drenched sonic explorations

The French composer and musique concrète pioneer Éliane Radigue has died at the age of 94.

“It is with immense sadness that we learn of the passing of Éliane Radigue at the age of 94,” the Paris-based experimental music center INA GRM posted on Instagram. “A major figure in musical creation has left us.”

Shadowy urban terror gives way to airborne exuberance as the festival celebrates its 20th edition with a programme that disturbs and delights

Suited dancers swing around a streetlight in Spanish choreographer Marcos Morau’s Horses but it’s not exactly Singin’ in the Rain. The mood is more like a stray dog has sidled up to that lamp-post and cocked its leg. The lamps multiply on these squalid, mean streets: uprooted, they become giant props for performers to illuminate and edit the action on a vast stage with its wings exposed and no artificial backdrop. A suspicious figure roams the outskirts with a torch; another drives a vehicle back and forth in the distance. One long-necked light snakes down from above like a tendril, its glow deepening the chiaroscuro. Bodies melt and morph. It is as if a film noir has caught fire in the projector, distorting each scene.

Nederlands Dans Theater’s production, at the 20th edition of Holland Dance festival, confounds from its ragged beginnings to the final seconds, when even the curtain is not allowed to fall in peace. Horses starts with the house lights up and a solo with instinctive flinches and hoof-like hands suggesting hunter and hunted before a second dancer arrives nose-first, as if led by scent. The animality briefly evokes NDT’s Figures in Extinction but this is an acutely urban nightmare, with humans’ survival skills put to the test. Suddenly, the auditorium’s doors slam shut and we are plunged into darkness.

In a new weekly column about the world of classical music, Tom Service bemoans Hollywood turning pieces into slop through overuse. Plus: Philip Glass withdraws his symphony from the Kennedy Center

Back in 2008, Transport for London came up with a ruse to dispel antisocial behaviour: it piped classical music into supposedly problematic stations in the crime hotspots of south London. I think that was when I realised just how far the association of classical music with relaxing affect instead of real emotion had gone. Once an entire genre has become associated with relaxification, it’s enough for you to hear the sound of an orchestra and think, “This isn’t for me”. Whatever its BPM, classical music will only be a backdrop, the sound of luxury goods, the sound of cultural anaesthetic.

The playlist included the finale of Beethoven’s Seventh Symphony – music that is obsessive and wild, the sound of barely controlled hysteria, full of harmonic grind and rhythmic assault. This radical and Dionysian music, that was literally made to push communities of orchestras and listeners to their extremes in the early 19th century, was being reduced to calming and inoffensive aural wallpaper.

Composer says values of Trump-dominated Kennedy Center ‘are in direct conflict’ with symphony’s message

Philip Glass, the celebrated US composer, has withdrawn the world premiere of his latest symphony at Washington DC’s John F Kennedy Center in protest of Donald Trump’s presidency.

In a statement on Tuesday, the 88-year-old composer said: “After thoughtful consideration, I have decided to withdraw my Symphony No 15 ‘Lincoln’ from the John F Kennedy Center for the Performing Arts. Symphony No 15 is a portrait of Abraham Lincoln, and the values of the Kennedy Center today are in direct conflict with the message of the symphony.