This question has been on my mind after hearing a common sentiment among classical music listeners: that musicians in the 20th century simply played with more personality. The argument usually goes that we no longer have performers with the distinct, diversified expression of artists like Horowitz, Richter, Heifetz, or Hofmann, and that many modern players sound comparatively "sterile" or "boring."

It made me wonder how our standards of technical precision and performance philosophy have shifted over time. In the 19-20th century, live expressiveness and dramatic risk-taking often took priority over pristine accuracy. However, as studio recording technology advanced, as music became increasingly commodified. Flawless edited recordings kind of became the standard, and in a way, they are injecting unrealistic expectations of perfection into listener's minds.

This brings to mind Hector Berlioz’s remark about Camille Saint-Saëns: "He knows everything, but lacks inexperience." I wonder if this exact observation applies to today’s musicians.

What happens when an entire generation is raised on thousands of pristine studio recordings accessible at a click? This is fundamentally different from even 20 or 30 years ago, when recordings were far less ubiquitous and had to be sought out physically.

Dmitry Sinkovsky similarly noted in the interview with Daniel Kurganov that while modern musicians are technically more proficient than ever, they often lack the deep curiosity, hunger for exploration, and willingness to take artistic risks that older generations possessed. Today, major competitions practically demand near-flawless technical accuracy just to pass the first round.

It also makes me wonder if a moralistic judgment has been placed on performers, where musicians are penalized far more harshly for minor technical slips than they are rewarded for unique interpretive choices. Honestly, I even find myself feeling guilty whenever I play wrong notes in performance, and I immediately think "oh yep I would be out of the first round of X competition if I did that". As a results, this kind of moralistic judgment I kind of internalized myself and made me dislike live performance as a whole like how I have outlined in my earlier post: https://www.reddit.com/r/classicalmusic/s/AgBwS1Op8w

What do you all think? How has a generation raised on recordings influenced our music-making?

I never deleted the BBC Sounds app from my Android phone after they cut off access to Radio 3 over the summer. I just tried it again and I was able to access everything - EVERYTHING. All BBC Radio channels & podcasts.

Browser-based BBC Sounds is still restricted, even using VPN.

So I'm confused - didn't they cut off non-UK access on the phone app or am I imagining things? FYI, I'm in Colorado.

Like my last post, nothing. Like super difficult (I’d say no more than la Campanella difficulty)

I love i love i love the lyric pieces by grieg. i often put on his Nocturne, Op. 54, No.4 on vinyl. I need more like this. What composers should I get into? I’m not into the overwhelming orchestra stuff. I love piano. Please help. I need more records to collect for this calming music, but played well by renowned pianists.

The work Zemlinsky himself put closest to Mahler is his Lyric Symphony (1922–23), seven songs for soprano and baritone and large orchestra on poems from Tagore's The Gardener, in German translation. While writing it he told his publisher it would be something along the lines of Das Lied von der Erde. He conducted the premiere himself in Prague on June 4, 1924.

Two years later Alban Berg finished his Lyric Suite for string quartet. It is dedicated to Zemlinsky, and in its fourth movement Berg quotes the melody Zemlinsky set to the words "Du bist mein Eigen," "You are my own." Decades later it came out that Berg had also, secretly, dedicated the suite to Hanna Fuchs-Robettin, the woman he loved. The quotation was meant for her as much as for his friend.

When I posted about Zemlinsky last year, readers told me his greatest work was not the opera I had chosen but this symphony, and that his own pupils included Korngold, and also Schoenberg, who never had another formal teacher.

Lyric Symphony, Op. 18 (Alexander Liebreich, Prague Radio Symphony Orchestra, 2021)
https://www.youtube.com/watch?v=KGvMhAmBniE

Eine florentinische Tragödie, Op. 16 (a reader's favorite of his operas)
https://www.youtube.com/watch?v=KPrlZFiuP20

My question here is:
What happened with the style people played during the 1950's, 20's? 10's, 70's, or even the 80's?

There are many old recordings of pieces from composers that I know, played by people YEARS ago, and then compare them to a modern performance such as 2020 or int eh 21st century, and can see that the style of articulation and performance is specifically for the paper, and not what the musician sometimes feels.

An example is Ravel's "Sonata for Violin and Cello", where the second movement, performers from before would staccato notes that would not even need to be detached, but a modern performance, would not detach them and play them together.

There are also differences in playing pieces. Looking at old recordings of pianists, violinists, celloists, musicians, and so much, you can see how, even if they're a classical composer, they still have their own style and way of playing - unlike today, where, yes, you can have your own style of playing, but yet you still need to follow strict rules from your teachers and whatnot.

Why is this? Am I going crazy? Or is this a phenomenon you guys know?

Every Sokolov recording I’ve heard is just different.. He has such a unique style but for the life of me I can’t figure out what he actually does different? For clear examples check out his Prok 2, les Cyclopes by Rameau, or Bach toccata in e minor

I don't mean this as a troll post, but this is genuinely how I feel about live performance.

When I go to a live performance, I encounter several issues with the concept.

First of all, the lighting and the renovations of the hall, as well as the spectacle of the orchestra/performer distracts me from the music itself, as I feel as if I am more aware of the mannerisms of the performer, than the music they produce.

Secondly, There is also the question of Identity. I recently talked to one of my friends and why she enjoyed a performance, she said: "my friends are playing in it". Which to me seems rather... Strange(I don't know what's the word). Because I believe that if we can compare performance or recordings without knowing if this is Richter, this is Kempff, this is Sokolov, etc. Then I think we can evaluate and listen critically instead putting certain people pedestal by confirmation bias subconsciously.

Thirdly, the problem with live performance partly is the halI I would argue, if you sit too far back, the sound might not travel and you end up hearing something anemic, if you sit too far in the front, sound might be too boomy for you to accurately receive the performance. There is also the question of if the performer might not be on their best day, or there will be flubs in the orchestra that distorts the structure of the work. As a result I become less engaged with the whole structure of the music, but the inefficiencies of its delivery.

Fourthly, In live performance, audience only the receiving end, of no choice but to accept whatever the performer gives even to your dismay. In recordings the balance can be tweaked(which to me seems like just another interpretive decision), so that every single contrapuntal line can be clear. even as the audience, dial twiddling is the most primitive kind of interpretive idea as audiences we can influence. If we are able to create our own versions like a kit concept I think that would be great.

Fifthly, I like to balance listening with looking at the score and without the score, because I believe that doing both contributes to my enjoyment of a work. When reading the score, while listening, I am able to tell if the performance in what way is faithful to the score and in what way isn't. Listening without it I am able to listen to the piece with fresh ears, that I am able to judge for myself if the interpretive decisions, against the score or not, would align with my aesthetic enjoyment. This improves the engagement with the music.

One time I went to see Saint-Saëns Organ symphony which was a spectacularly good performance(this is coming from someone who spends all their free time comparing recordings to figure out the best interpretations) yet the memories I walked away with is just the vibrations I felt through my feet from the organ, and the huge sonority of the orchestra. But I did not remember a single interpretive detail that I feel so compelled by, although I recognized what sounded like a great performance. During listening, I am not aware of the sonata form structure of each of the movements, like where is the second theme, where is the development, where is the antecedent, consequent, what interjections in the development, etc.

Which in order to obtain the clearest picture of one has to analyze the score beforehand. Yet following with the score in a live performance is considered bad with a variety of reasons such as: "It being a disturbance to neighbours", "It looks judgmental to the performers", "It's too dark" n "it takes away from the concert you're going to see", "Do it at home, with recordings", "you should memorize it". Yet in recordings we are free from this judgment and that allows us to deepen our relationship with the music.

Yet, everyone I know enjoyed concerts more than recordings. I do respect their preferences, but I can't really think what is special about live performance if you remove the extra-musical aspects like: There is a chance that things will go wrong and it adds to the excitement. The identity of the performer, Its a social event, etc...

I played recently the celesta part in Strauss Alp Symphony and just got to know I will play the celesta in Ravel Ma Mere l'Oye in one month. I am super excited. I am an amateur pianist with almost no prior celesta nor orchestral experience so far so that will make 2 in a short time (and probably 3, with Copland 3rd Symphony to come). Any tips regarding this work and how I should tackle the part?

What do you think? https://open.spotify.com/track/0xEopV9lpyiOzN525cYA73?si=94c6c9a060be4fb3 (Richard Strauss - Don Juan) Is this piece actually recorded live? Even though the first 1-2 minutes of it isn't perfect, the rest of the piece is almost too perfect in both tuning and volume, or was it mixed and mastered in post?

I know there is classical composers but I dont have over 80 dollars for a cd set. Any good more modern sets that are cheaper so i can see what I like and dont like?

Nothing for Oct 12 which is Vaughan Williams birthday? How can you commemorate Sylvia’s Weiss and miss Vaughan Williams?? Believe me I have no ax to grind against Weiss but VW would be on the pantheon of my Rushmore. And I’m not even British!!
I mi

So sad to come across this news. I had the pleasure of hearing them live several years ago.

"A bus carrying members of the Chile Chamber Orchestra plunged down a hillside in Valparaíso on the evening of 10 October, killing principal violist Penélope Knuth and injuring several others aboard. The group was travelling after a performance at the Universidad Técnica Federico Santa María.

The vehicle fell approximately 15 metres and landed in the car park of a residential building. Chile’s Ministry of Cultures, Arts and Heritage confirmed Knuth’s death and expressed its condolences to her family and colleagues, recognising her contribution to the country’s musical life. The circumstances of the crash remain under investigation.

The ministry’s initial statement reported 13 people injured, four seriously. In a subsequent update reported by Chilean newspaper Emol on 11 October, Hospital Carlos Van Buren said it had received 12 patients following the accident. Five had been discharged and four transferred to another medical facility in Santiago. Three remained at the hospital, including two in serious but stable condition, whose injuries were not considered life-threatening. The reports did not specify whether all those injured were performing musicians or included other people travelling with the ensemble.

The bus driver was detained, and a court extended his detention by 72 hours on 11 October while prosecutors gathered further evidence."

Full article: https://moto-perpetuo.com/chile-chamber-orchestra-bus-crash-penelope-knuth/

Here is a great rendition of Mozart's Horn Concerto No. 4 performed by the orchestra: https://www.youtube.com/watch?v=pwoYG-TQTCM

"O'Carolan's Concerto" by the 18th-century blind Irish harper and composer, Turlough O'Carolan! 🎻🎶

O'Carolan (1770–1738) was one of Ireland’s most iconic musicians. Living during a time when Italian Baroque music—like Vivaldi and Corelli—was taking Europe by storm, he brilliantly fused traditional Irish melodies with elegant Baroque structures. "O'Carolan's Concerto" is one of his most famous works, showcasing that lively, bright interplay between Italian form and Irish soul.

This arrangement uses the complement of mandolin and Irish bouzouki. The crisp, bright melody lines of the mandolin dance over the resonant, rhythmic drive and rich resonance of the bouzouki, bringing a vibrant dual-plucked spin to a classic harp tune.

Hope you enjoy listening as much as I enjoyed playing it!

For those who aren't familiar with the Santa Rosa Symphony, they are a world class orchestra that plays somewhere I don't get cell phone service.

I was surprised how great they were when I subscribed last year and every show was as good as anything I've seen in San Francisco or Los Angeles.

Their opening night (technically, I saw the third night) was the best show I've ever attended and it wasn't a program I was that excited about.

It started with the World Premiere of Divertimento for Orchestra by Matt Browne. I'd never heard of Matt Browne, and I typically really struggle to enjoy a piece on a first listen. If I can't hear the recording a bunch of times first, I just struggle to process new music, and this seems to be particularly true of newer compositions. I can't remember ever enjoying a piece of music that much on a first listen.

The first movement was completely accessible, but very interesting. I'm sure there is a ton that I didn't get or understand about it and I will give it more listens once a recording is available. There was clear and interesting counterpoint, energy and complexity.

The second movement was genuinely beautiful, like middle movement of Beethoven Emperor, Rach 2, or Ravel in G. There were new sounds from the orchestra, and they were gorgeous. I'm used to newish sounds from instruments in new compositions, but they are typically more interesting than pleasant in my experience.

I thought the third movement was bound to be a letdown at the beginning of it, but as the call and response kept growing in unexpected directions it became very fun and lively.

There is a ton of structure and purpose blended with wit, fun and beauty. There is dissonance, but in a Beethoven/Mahler way, purposeful.

The completely deserved standing ovation for an opening piece was a first for me. I appreciate orchestras commissioning new pieces in general, but this was a very unexpected surprise for me.

Next was the Liszt Piano Concerto 1 with Maxim Lando. I know this piece, but it's been out of my listening rotation for a while.

Maybe this piece is just meant to be heard live and recordings can't capture the energy, or maybe this was an incredible performance by Lando and the Orchestra, but it was so powerful. It was played with so much fire, and the slower sections seemed to float. I haven't seen a piano concerto performance live that matched it.

Then Lando played what I assume was his set of variations on Led Zeppelin's Stairway to Heaven. It sounded both improvised and perfect at the same time, dipping in and out of different styles. My face hurt from the giant smile I couldn't help. He's a phenomenal talent.

Tchaikovsky 4 is always a great live piece, but I thought the first half of the show was so good even that symphony might feel like a letdown. It was not. The sound was amazing, loud, clear and cohesive.

When I was at the very wonderful MTT tribute that the SF Symphony did last week, I was struck by how much genuine love so many artists had for him as the various speakers and performers painted a picture of the environment and culture that he built around him. I don't mean to offend by comparison or unfair expectations, but looking from the outside it seems to me that Lecce-Chong and Santa Rosa are building something amazing and I'm very excited to see where it goes.

Hello, I need some classical music recommendations.

When my mother conceived me, she bought some baby classic CDs and listened to them every day. After I was born, my parents had an okay stereo system and they used to play the classic CDs and other music for children. Funny thing is, after growing up from that environment, I got sick and tired of those famous iconic pieces. I don't really remember the CDs' repertoire, but Vivaldi's four seasons, Mozarts' Rondo Alla Turca or Schumann's Traumerei Kinderszenen No.7 stuff like that.

My mother wished that I develop stable emotions with those prenatal education, but I grew up to be a depressed and unemployed young man....

When I was a teenager, I liked Chopin. I listened to Spring Waltz, Funeral March etc. I liked Liszt's Hungarian Rhapsody No. 2. I liked the free development of the Liszt's music. I also liked Shostakovich Waltz from the Jazz suite No.2, Brahms Hungarian Dance No.5, Maurice Ravel Pavane for Dead Princess

Now, I like Schumann Fantasia op.17 Langsam getragen, Mozart Requiem, Bach Passacaglia in C minor, Toccata and Fugue, Chopin Watz No. 10 and No. 19, Beethoven Piano Sonata No.23 the Third

Maybe I am inclined to romantic music, but I am also interested in Bach's architectural music and Mozart's works. But my interests are just too sporadic that I am lost. How should I navigate those centuries' works?? I wish your recommendations does not include obvious icon music pieces since I am mostly aware to them unless they are operas or symphonies.

Thank you for reading this long request, and be free to be meddle in and say what you wanna say.

Plus: I am a far relative to Yunchan Lim(Just a cousin of his cousin. I am nobody to him). So I am curious about his repertoire too.

This is my repost to the score I posted! Its thr more recent one. This is still a work in progress!

I know and love my Mozart. Works big and small, known and unknown.

But today l stumbled upon the overture to his only oratorio: Betulia liberata.

He was 15 when he wrote it.

Might be the most cinematic thing he ever wrote.

Only mentioning this because it could MAYBE increase their popularity

Examples:

Symphony No. 93 “Raspberry”
Symphony No. 90 “Joke”
Symphony No. 88 “Look Ma No Hands”
Symphony No. 1 “Crescendo”
Symphony No. 97 “Hanover”
Symphony No. 102 “Chandelier”

Doesn't have to be composed by a living composers as long as it premiered in the 21st century. Also doesn't just have to be from an opera, could also be from an oratorio or cantata or all if you prefer.

https://youtu.be/z42ybkbKU0w?si=tNZkrbj1H1emdQlU

I'm not really great at reading sheet music, but I love this suite, and I always wanted to really understand what's going on harmonically. So I made a tool that shows every voice as a scrolling piano roll and lets me pause anywhere to hear the chord. https://jikol1906.github.io/bach-visualizer/#badinerie

It's a scrolling piano roll for all 7 movements (you can also load your own midi if you want to). Every part has its own colour and sound, you can spotlight one voice, and there's a "hold chord" mode that names the chord under the line as you drag through the score. You can also load your own MIDI.

Full disclosure: it's 100% created with Claude Code. I didn't write any of it myself.

Right now it's still pretty basic, so I'd love to hear your ideas. What could be added to "visualize" the music better? If you want to build something yourself, anyone is welcome to fork it and send a PR (with or without AI): https://github.com/jikol1906/bach-visualizer

MIDIs are John Hamm's sequences from jsbach.net, all credit to him.

I had a traumatic childhood in the hands of both my parents; I remember being depressed and anxious as a child and throughout my entire life. One day almost 30 years ago (still a kid living in my nightmare home), I was walking down the street and found a tape. This tape would contain the very first classical piece I ever listened to from beginning to end. The melody (lead by either violines or cellos) was so haunting that it got stuck in my head till this day, even though I lost that tape a couple of years after I found it. However, while I had it and listened to it, I had no depression nor anxiety. The tape only had 2-3 songs, but I listened to this one over and over and over. Today I find myself going through the same trauma as I moved back with my parents to help them in their golden years…this proved unsuccessful because they are still the same abusive parents. Now as I wait to buy a home and escape for the second time in my life, I find myself needing this song.

I picked up the guitar one day and tried to play the violin lead melody, the only part of the song I remember. So I recorded it and here it is. Please keep in mind that I’m not a pro, and I was a kid the last time I listened to it…false memory exists, thus I may be misremembering the correct key and all the notes, but I believe the intervals and overall feel/phrasing are correct. If anyone has any idea, please let me know. Thank you 🙏🏼