Attracting more young people is perhaps the most crucial challenge that the classical music field faces, and if one thing is certain, it’s essential to create low-threshold on-ramps in places where teenagers and millennials already frequent. Continue reading “Why Spotify and YouTube Are Key to Classical Music’s Future”
Halloween brings certain songs and compositions that never seem to grow old, in part because their annual moment is so fleeting and the music so evocative, colorful and hair-raising. Continue reading “Halloween is Classical Music’s Most Entertaining Holiday”
In a recent article for MusicalAmerica.com about classical music’s appeal on streaming services, I looked at the profile of an average Spotify user. In brief, the typical classical listener is a 35-year-old male who listens at work (chiefly, mid-afternoons and mid-week), enjoys soft piano music and lives in an urban area or college town. Continue reading “The Top 10 Classical Music Capitals on Spotify”
The 150th anniversary of composer Erik Satie’s birth on May 17 generated surprisingly little attention among classical musicians or commentators outside of France. But a few have started to take notice. There was a 22-hour performance of Satie’s Vexations at England’s Cheltenham Music Festival on July 15, and wide-ranging appraisals have recently appeared in the Boston Globe, The Guardian and Gramophone.
Continue reading “Erik Satie’s Gymnopédie No. 1 Takes Hold on Spotify”
The most popular orchestras on Spotify are predominantly British, according to the streaming music service’s latest public data on its monthly listenership. Four out of the top five most-listened-to orchestras are located in London and seven of the top 15 are U.K.-based. Continue reading “These Are the 15 Most Popular Orchestras on Spotify”