When Was the First Public Classical Music Concert?

 by Emily E. Hogstad  March 28th, 2026

Before modern concert halls and subscription series, classical music performances in Europe mostly took place behind closed doors at courts, in churches, or in private salons.

But by the seventeenth and eighteenth centuries, a new idea began to take shape: audiences paying musicians to play music for them.

This evolution from sacred service to ticketed performance changed European culture forever and laid the groundwork for the modern concert tradition we still enjoy today.

Today, we’re asking the question, how did paid public classical music concerts start?

Italy and the Ospedales

It took longer than you might think for the concept of public concerts to flourish in Europe. Each country came to the idea in a different way.

Chronologically, the earliest paid public concerts probably took place in Italy, especially in Venice, where a network of orphanages and music schools developed during the sixteenth and seventeenth centuries.

These institutions, known as ospedales, took in orphans or unwanted children (many of them girls, or the unwanted children of prostitutes), and taught the most talented of them how to perform music.

Read more about the Ospedales, and Vivaldi’s connections to them.

They would hold religious services, such as Vespers, with musical accompaniment, then encourage attendees to donate.

These donations helped keep the institutions running, allowing them to continue their charitable work and musical training… all while funding future concerts.

A re-enactment of a Vivaldi performance at the Ospedale   

John Banister’s English House Concerts

John Banister
© Unraveling Musical Myths

In December 1672, an English violinist named John Banister began giving daily concerts at his home. This is the first record of money-making concerts in London.

During each show, he’d play instrumental music, songs inspired by literature, and the like.

He charged a shilling admission fee for the experience and took requests from the audience.

The venture must have been worthwhile, because he continued mounting these concerts until shortly before his death in 1679.

Banister’s 1667 work inspired by Shakespeare’s The Tempest   

Bach and the Collegia Musica

In present-day Germany, ensembles called collegia musica sprang up around the time of the Reformation and focused on the performance of instrumental music.

In 1700, Telemann founded a new incarnation of the old Leipzig collegia musica, and Bach led the group between 1729 and 1737.

Zimmermann’s coffee house

During the eighteenth century, the Leipzig players gave weekly concerts at a local coffee shop.

In the early 1730s, Bach wrote a secular cantata for this gathering called Schweigt stille, plaudert nicht, or “Be still, stop chattering.”

Bach’s Coffee Cantata   

It’s commonly known as the Coffee Cantata today because it extols the virtues of the drink with lyrics such as “If I couldn’t, three times a day, be allowed to drink my little cup of coffee, in my anguish I will turn into a shriveled-up roast goat.”

The societies were closed to amateurs, but allowed members of the public to attend for a price.

To sum up, as Enlightenment ideals spread, and secularisation and education became increasingly important values in European life, musicians and audiences came closer and closer to the modern idea of giving public concerts.

The stage was set for an official concert series to take off.

France’s Concert Spirituel

Concert Spirituel

The Concert Spirituel series began when a royal musician grew fed up with the quirks of the religious calendar.

Royal court musician and woodwind player Anne Danican Philidor founded the Concert Spirituel series in Paris in 1725.

At the time, it was common for Catholic countries to shut down their opera houses to mark various Christian holidays, especially Advent (roughly the month before Christmas) and Lent (the forty days preceding Easter).

However, Philidor had an idea. What if the calendar could be filled with performances of spiritually uplifting non-operatic music, especially instrumental music?

Philidor’s Sonate in D Minor for recorder and basso continuo   

Philidor was willing to test the economic validity of his theory. He paid the Paris Opera impresario 1000 livres a year for the rights to perform, agreeing to mount no opera.

Philidor staged the first performance on 18 March 1725, between 6pm and 8pm.

The venue was the magnificent Salle des Cent Suisses (Hall of the Hundred Swiss Guards) in the Tuileries Palace in Paris.

That first program included a number of works by court composer Michel Richard Delalande, including a violin suite, a capriccio, and a handful of religious works, as well as Arcangelo Corelli’s Christmas Concerto.

Corelli’s Christmas Concerto   

The Growth of the Concert Spirituel

Music from the Concert Spirituel   

Philidor continued to give a number of concerts, expanding the series, but he died in 1728.

After his death, other musicians took on the leadership roles at the Concert Spirituel. Astonishingly, the concert series continued for decades, under a variety of leaders.

Concert Spirituel poster

Between 1734 and 1748, the Académie Royale de Musique oversaw the series. It survived into its third decade, which was no small feat, but it also didn’t reach any new heights of cultural relevance.

Things changed between 1748 and 1762, when entrepreneurs and impresarios Joseph-Nicolas-Pancrace Royer and Gabriel Capperan took charge and made investments in the series.

They increased the size of the orchestra, redecorated the concert hall, and hired expensive Italian singers.

The result was that the series became more prestigious – and profitable – than ever.

The Economics of the Concert Spirituel

The Concert Spirituel series may have been open to all paying audiences, but the tickets were priced for the wealthy.

Admission was by ticket, often advertised in newspapers. Prices were steep: mid-eighteenth-century ticket prices ranged roughly 2–6 livres depending on the seat, and were approximately 4 livres on average.

Before the French Revolution, middle-class workers such as clerks and schoolteachers earned between 600 and 900 livres annually. So a single ticket would have cost around two to three days’ worth of wages for them: doable for a middle-class person if you were particularly passionate about music, but certainly not geared toward the middle class or working class as a whole.

The Final Years

The Concert Spirituel’s greatest years were its last ones.

Between 1777 and 1790, Paris Opera singer Joseph Legros led the series. He dropped seventeenth-century motets from the programs and emphasised new music instead.

He commissioned composers like Johann Christian Bach, Joseph Haydn, and Wolfgang Amadeus Mozart (1778’s Paris Symphony was written for the series, arguably an organisational high point).

Mozart’s Symphony No. 31 (“Paris”)   

The final concert of the Concert Spirituel took place in the spring of 1790. By that time, the world had changed. Revolution was in the air. The Bastille had been stormed the summer before, and the Romantic Era and cultural upheaval of the Napoleonic Era were just around the corner. Public classical music concerts geared toward the middle class were about to become bigger than ever before.

Conclusion

By the late eighteenth century, Europe had transformed the idea of music-making.

What began in Venetian orphanages as devotional outreach evolved into a sophisticated culture of ticketed public performance.

The Concert Spirituel in Paris was the culmination of this movement, bringing together musicians, aristocrats, and the rising middle class in one shared musical space.

Given a few generations, the concept spread across the continent, shaping the modern concert hall tradition that still defines classical music today.

Conductors on Conducting

 by Maureen Buja  March 29th, 2026

They’re the only member of the orchestra who stands with their back to the audience; nonetheless, every member of the orchestra keeps an eye on them…just in case. It’s the conductor, of course.

The English historian Charles Burney quotes Jean-Jacques Rousseau, who said:

Maurice Quentin de La Tour: Jean-Jacques Rousseau, 1753 (Musée Antoine-Lécuyer)

The more time is beaten, the less it is kept…

This is a wonderful way of both condemning conductors who wave their arms too much and describing the attention their orchestras pay them.

Rousseau then goes on to explain what happens when everything falls apart:

…and it is certain that when the measure is broken, the fury of the musical general, or director, increasing with the disorder and confusion of his troops, becomes more violent, and his strokes and gesticulations are more ridiculous in proportion to their disorder.

Liszt saw the role of the conductor as very hands-off:

A. Göschl, “Liszt Ferencz”, Borsszem Jankó 6, no. 276 (1873): 5. (Budapest National Széchényi Library)

The real task of the conductor consists, in my opinion, in making himself ostensibly quasi-useless. We are pilots, not drillmasters. (1853)

Gounod had a similar view. Instead of being Rousseau’s general, he saw the conductor as someone who had his own taskmaster, the composer:

Étienne Carjat: Charles Gounod

The conductor is nothing more than the driver of the coach engaged by the composer. He should stop at every request or quicken the pace according to the fare’s orders. Otherwise, the composer is entitled to get out and complete the journey on foot.

The composer and conductor Hans von Bülow, speaking with the composer and conductor Richard Strauss, talked about musical knowledge:

Hans Schließmann: Hans von Bülow conducting, 1884. (Figaro)

You must have the score in your head, not your head in the score.

Rimsky-Korsakov, on the other hand, saw conducting as a particular skill:

Conducting is a black art. (1909)

In a note to his 10-year-old sister, Thomas Beecham downplayed the whole performance:

Emu: Thomas Beecham, 1910

It’s easy. All you have to do is waggle a stick.

In 1927, Richard Strauss wrote his 10 Golden Rules for a young conductor, and he cautioned that:

Strauss conducting, 1916

You must not perspire while conducting; only the public must get warm.

He also had something against the wind sections:

Never let the horns and woodwinds out of your sight; if you can hear them at all, they are too loud.

English conductor Eugene Goosens loved the podium:

Eugene Goosens (photo by Tully Potter)

It is the most wonderful of all sensations that any man can conceive. It really oughtn’t to be allowed.

Russian-American conductor Nikolai Malko cautioned against conductors who resorted to other means to get their directions across:

Nikolai Malko

He should rely on gestures more than words. It often happens that a conductor begins to talk when gestures fail him and then becomes accustomed to his own chatter.

Sometimes the soloist has to reassure the conductor. Hornist Barry Tuckwell told conductor André Previn how to get out of a mess:

André Previn

When you get lost, and you will, everybody does at one time or another, just make some elegant vague motion, and we’ll put it all to rights quickly enough.

Pianist and conductor Daniel Barenboim had his doubts about conductors and their egos:

Daniel Barenboim

Today, conducting is a question of ego: a lot of people believe they are actually playing the music.

Barenboim, of course, made his early name conducting piano concertos from the keyboard, thereby knowing that he was actually playing the music in at least one sense!

Russian-American composer and conductor Igor Stravinsky was with Barenboim on how conductors considered themselves:

Stravinsky conducting

‘Great’ conductors, like ‘great’ actors, soon become unable to play anything but themselves.

Hmmm. Sean Connery, anyone?

San Francisco Symphony’s conductor Michael Tilson Thomas said it most plainly:

Michael Tilson Thomas (illustration by Zach Trenholm)

Conductors are performers.

English clarinettist Jack Brymer wondered why conductors were regarded so highly when they abandoned playing in the orchestra for the podium:

Why is anyone who adopts successfully this strange form of extroversion regarded instantly as being of so much greater moment than he was last week, when he was just a player?

Brymer also saw the orchestra in a different light than many people:

No wise conductor tries to outdo that bunch of professional comics, which is the average symphony orchestra.

8 of the Best Young Classical Musicians of the 21st Century (So Far)

 by Emily E. Hogstad  January 5th, 2026

The 21st century has ushered in an exceptionally visible and accomplished new generation of classical musicians.

Born in the 2000s, these eight performers have already proven their mettle, winning major international competitions, signing with top global labels, and appearing with leading orchestras across Europe, Asia, and America.

Their early careers are providing a real-time glimpse into the future of the art and answering the age-old question: Is classical music in good hands?

The evidence suggests the answer is yes.

Today, we’re looking at eight of the most exciting young classical talents of the century – so far.

Nicolò Foron (b. 2000) – Conductor    

German-Italian musician Nicolò Foron is best-known for his conducting, but he is also a pianist and composer.

In 2021, at the age of 21, he won the Jeunesses Musicales Conducting Competition in Bucharest.

The following year, he was named a conducting fellow at the Tanglewood Festival.

Two years after that, he won the Donatella Flick Conducting Competition, a prestigious event previously won by young star conductors Fabien Gabel and Elim Chan.

Nicolò Foron

As part of his Flick Competition win, he was named the Assistant Conductor at the London Symphony Orchestra.

In 2025, he conducted both the BBC Symphony Orchestra and the Helsinki Philharmonic Orchestra. More prestigious debuts are on the horizon.

Critics have taken note of Foron’s unusual but effective stage presence. During the Donatella Flick competition, reviewer Lawrence Dunn wrote for Bachtrack: https://bachtrack.com/feature-pressure-intoxication-donatella-flick-lso-conducting-competition-march-2023

“Foron doesn’t look like the typical conductor. He is more a mixture of a mathematics graduate student and a bank manager’s son. But he has a clear charisma of his own… He is going places.”

María Dueñas (b. 2002) – Violin    

María Dueñas was born in 2002 in Granada, Spain. Although there are no musicians in her family, she went with them to concerts from an early age and began playing the violin at the age of seven.

She studied in Dresden before enrolling at the University of Music and Performing Arts Vienna and at the University of Graz.

In 2021, she won the first prize and audience prize in the Senior Division at the Menuhin Competition.

The following year, she was signed to the prestigious Deutsche Grammophon label. Since signing, she has recorded an impressively wide range of repertoire.

María Dueñas

Her recordings include the Beethoven violin concerto with multiple cadenzas from a variety of composers, virtuosic caprices by Paganini and other Romantic Era violin greats, and a concerto by contemporary composer Gabriela Ortiz.

In addition to her violin career, she is also a talented pianist and composer.

Yoav Levanon (b. 2004) – Piano    

Yoav Levanon was born in Israel. His mother was a professional violinist and had an upright piano at home that Levanon began to play when he was three.

As a child, he made his orchestral debut with the Israel Chamber Orchestra, and in 2018, he performed Rachmaninoff’s second concerto with the Israel Philharmonic Orchestra.

In the summer of 2019, when he was just fifteen, Levanon appeared at the prestigious Verbier Festival in Switzerland. He was the youngest pianist to ever appear there and was nicknamed “the little prince of the piano” by Le Temps.

Yoav Levanon

In 2021, he signed a record deal with Warner Classics. He has since released albums with repertoire by Liszt, Rachmaninoff, Chopin, Mendelssohn, and Schumann.

We talked to Yoav Levanon in late 2024 about his background, what Liszt’s music means to him, and what it’s really like recording with an orchestra.

Yunchan Lim (b. 2004) – Piano    

Korean pianist Yunchan Lim began piano lessons at the age of seven, entering the Music Academy of Seoul Arts Center the following year.

He attended the Yewon School and the Korea National University of Arts, studying under pianist Minsoo Sohn. Later, he followed Minsoo Sohn to the New England Conservatory of Music, where, as of 2025, he still takes lessons.

He won or placed at a number of competitions during his teens, including the Second Prize at the Cleveland International Piano Competition in 2018 when he was just fourteen.

Yunchan Lim

However, his big break came in the summer of 2022, when he won the gold medal at the Van Cliburn Competition. He was just eighteen and became the youngest person to ever achieve this feat.

His performance of Rachmaninoff’s third piano concerto from the final stage of the Cliburn went viral, earning millions upon millions of views.

He has since become one of the leading soloists in the classical music world. His style merges a modern machine-like virtuosity with a deep love of the instrument and an obsessive fascination with early twentieth-century performance traditions.

Jaemin Han (b. 2006) – Cello   

Jaemin Han, a frequent chamber music collaborator of Yunchan Lim’s, was born in South Korea to a family of musicians.

He began playing cello at the age of five and made his orchestral debut at the age of eight.

He won his first major competition in 2015 when he won first prize at the Osaka International Music Competition.

Jaemin Han

In 2021, he became the youngest person to ever win the Grand Prix of the George Enescu International Competition.

He has also won prizes at the Geneva International Music Competition and I SANGYUN Competition.

Although he’s still in his teens, he has played with major orchestras all around the world, including the Seoul Philharmonic and the Orchestre de Paris, and under the batons of major conductors, including Jaap van Zweden and Myung-Whun Chung.

His tone is muscular and his musicality strikingly mature, while his assured stage presence and clear comfort with performing draw his audiences in.

Chloe Chua (b. 2007) – Violin       

Chloe Chua is the daughter of a music educator, who started her on piano at two and a half and violin at four.

From the age of four until seventeen, she studied at the Nanyang Academy of Fine Arts in Singapore. As of 2025, she studies at the Hochschule für Musik Hanns Eisler Berlin.

Chloe Chua

In 2018, the year she turned eleven, she won first prize in the Junior division of the Menuhin Competition.

Her performances from the competition went viral on YouTube, boosted by a reaction video by well-known YouTube videomakers TwoSet Violin. (She has since appeared on their channel multiple times.)

Is Ling Ling a GIRL?    

Between 2022 and 2024, she appeared as the Artist-In-Residence at the Singapore Symphony.

She has recorded music by Vivaldi, Locatelli, Paganini, and Mozart.

Her playing is noted for its old-soul maturity, refinement, and sheer beauty of sound.

Amaryn Olmeda (b. 2008) – Violin    

Amaryn Olmeda was born in Melbourne, Australia, before moving to California. As a child, she enrolled at the San Francisco Conservatory of Music, where, at the age of thirteen, she joined an apprentice program co-sponsored by the Conservatory and Opus 3 Artists.

That same year, she won first prize at the 2021 Sphinx Competition.

In 2022, when she was fourteen, she debuted at Carnegie Hall, performing on the Sphinx Virtuosi tour.

Over the next few years, she appeared with a number of major orchestras.

As of 2025, she is studying at the New England Conservatory of Music.

Amaryn Olmeda

In the words of Classical Voice North America, “Olmeda is clearly on her way to a stellar career. Combining a charismatic stage presence and audience appeal with pinpoint intonation, intense lyricism, and fluid technique…she is here to stay.”

Tianyao Lyu (b. 2008) – Piano    

Tianyao Lyu was born in October 2008 in China.

She studied with Hya Chang at the Central Conservatory of Music in Beijing, and as of 2025, is studying with Katarzyna Popowa-Zydroń at the Poznań Academy of Music in Poland.

In 2024, she won first prize at the International Ettlingen Competition in Germany.

But her biggest success to date came in October 2025, when she competed against pianists nearly twice her age at the Chopin International Competition, arguably the most prestigious piano competition in the world.

She became beloved by viewers internationally for her fearless poise and the skill and purity of her playing.

Tianyao Lyu

After three weeks of intense competition, Tianyao Lyu emerged with a 4th Prize, as well as a Best Concerto Performance prize. The results were delivered on her seventeenth birthday.

Even though she didn’t win, a sizable contingent of fans believes she was the true breakout star of the event. And because of her youth, she has the chance to come back multiple times in the future to try to nab first prize, should she ever wish to try.

Conclusion

These remarkable musicians underscore how classical music’s future is both vibrant and international.

Each of them – whether they’re winning major competitions, signing major recording contracts, or captivating millions online in their viral videos – has already established a distinctive artistic identity, and they’re only getting started.

Following their careers is going to be a major thrill and honour for every classical music lover.

Taken together, all eight of these musicians prove that the future of classical music is in capable, inspiring, and unnervingly talented hands.

A Look Back at 2025: Your 10 Most-Read and Beloved Articles

 by Interlude Contributors  January 6th, 2026

As we step into a new year, it’s a time for reflection, celebration, and, of course, great music. Last year, our contributors delved into the lives of composers, the magic of performers, and the timeless power of classical music in their writings. Here we’ve compiled our definitive list of the year’s top ten.

From the personal struggles of legendary figures to the electrifying rise of new stars, these are the stories that resonated most deeply with you. We invite you to dive back into these favorites or discover for the first time what made them the most loved reads of 2025.

Are you ready? Here is the countdown of our most popular articles from the past year.

10. Mitsuko Uchida (Born on December 20, 1948)
The Art of Listening

Full article: https://interlude.hk/mitsuko-uchida-born-on-december-20-1948-the-art-of-listening/

Mitsuko Uchida © Geoffroy Schied

Kicking off our list is a profound look into the mind of a piano legend. This article celebrated Mitsuko Uchida‘s unique artistic philosophy. It’s the act of listening that defines her interpretations and makes her performances of Mozart, Schubert, and Beethoven so deeply resonant:

“In a sense, Mitsuko Uchida embodies an alternative model of musical greatness. Not the conqueror of the keyboard, not the charismatic hero, but the attentive listener. Her artistry suggests that music-making, at its highest level, is an ethical practice.”

9. The Tastes and Smells of the Holiday Season

Full article: https://interlude.hk/the-tastes-and-smells-of-the-holiday-season/

The Spanish Dance – Chocolate, 2013 (New York City Ballet)

From the crisp, bright fanfares that evoke the scent of pine to the warm, rich orchestrations that feel like a sip of hot chocolate, this delightful holiday feature paired the festive tastes and aromas of the season with their perfect musical counterparts. It’s a wonderfully imaginative article that enhances the appreciation of both food and music, making the holiday season feel richer and more vibrant.

8. 15 Pieces of Classical Music about Animals

Full article: https://interlude.hk/15-pieces-of-classical-music-about-animals/

Image created by FLUX-dev

From the grand to the whimsical, the animal kingdom has always been a rich source of inspiration for composers. This article went far beyond Saint-Saëns’s famous Carnival of the Animals to uncover a whole menagerie of musical creatures:

“Composers have written about their own pets, such as Chopin, who wrote a waltz inspired by his dog chasing its tail, or Scarlatti, whose cat walking over the keyboard gave him a theme for a fugue. Other composers have been inspired by the sounds of nature, from the songs of birds to the buzzing of insects. Let’s look at some of the best classical music about animals.”

7. Dmitri Shostakovich’s Three Fascinating Wives

Full article: https://interlude.hk/dmitri-shostakovichs-three-fascinating-wives/

Shostakovich and his wife Nina

The life of Dmitri Shostakovich was a tightrope walk between artistic genius and political terror. This gripping article illuminated his world through the eyes of the three women he married: Nina Varzar, Margarita Kainova, and Irina Antonovna Spunskaya. The stories of these relationships provide valuable insight into Shostakovich’s psychology, work, and music.

6. Get to Know Yunchan Lim With These Ten Video Clips

Full article: https://interlude.hk/get-to-know-yunchan-lim-with-these-ten-video-clips/

Yunchan Lim

The classical world was set ablaze by the arrival of Yunchan Lim, the young pianist who stunned the world with his historic win at the Van Cliburn International Piano Competition. This article curated the essential video moments that capture his phenomenal talent and endearing personality:

“Together, these clips sketch a portrait of Yunchan Lim as not just another competition winner, but as someone who has the capacity to be one of the greatest pianists of his generation.”

If you’re just discovering him, these videos are the perfect introduction to why the world is paying attention!”

5. Mozart’s Piano Masterpieces: 10 Most Popular Piano Sonatas

Full article: https://interlude.hk/mozarts-piano-masterpieces-10-most-popular-piano-sonatas/

Wolfgang Amadeus Mozart

Here’s a guide to Mozart’s most beloved piano sonatas, an essential resource for pianists, students, or simply admirers of Mozart’s genius.

“The piano sonatas of Wolfgang Amadeus Mozart are some of the most recognizable and well-known pieces of classical music… Mozart composed his piano sonatas between 1775 and 1789, during the height of his creative powers. While he only wrote 18 of them, they are all masterpieces in their own right. Here are 10 of his most popular piano sonatas, which are a great introduction to his solo piano music.”

4. Three Pianists Who Survived the Nazi Concentration Camps

Full article: https://interlude.hk/three-pianists-who-survived-the-nazi-concentration-camps/

Lena Stein-Schneider, Alice Herz-Sommer and Marian Filar

This article paid tribute to Alice Herz-Sommer, Lena Stein-Schneider, and Marian Filar, who endured the unimaginable horrors of the Holocaust, using music as a shield, a solace, and a reason to live.

“Even without a piano I always had music in my heart, which is why I never thought of suicide, no matter how bad things got. Plus, I wouldn’t have wanted to give those SS bastards the satisfaction of thinking they had triumphed over me.”

3. Seven of Leonard Bernstein’s Lovers

Full article: https://interlude.hk/seven-of-leonard-bernsteins-lovers/

David Oppenheim and Leonard Bernstein

While Bernstein was publicly a family man, married to Felicia Montealegre, he also navigated a life of secret relationships with men. This article respectfully examines seven of these significant relationships, shedding light on the personal conflicts and emotional turmoil Bernstein faced in an era when such a life had to be hidden.

2. Untangling Hearts: Klaus Mäkelä and Yuja Wang

Full article: https://interlude.hk/untangling-hearts-klaus-makela-and-yuja-wang/

Yuja Wang and Klaus Mäkelä

When two of classical music’s most dynamic young superstars form a personal and professional partnership, the world pays attention. This article tapped directly into the zeitgeist, exploring the electrifying collaboration between conductor Klaus Mäkelä and pianist Yuja Wang.

1. Yuja Wang: Electrifying Artistry

Full article: https://interlude.hk/yuja-wang-electrifying-artistry/

Yuja Wang

And at number one, it’s no surprise that our most-read article of 2025 is a deep dive into the artist who has captured the imagination of the entire world: Yuja Wang. This definitive profile celebrated everything that makes her a true phenomenon—her staggering virtuosity, her fearless stage presence, and her revolutionary spirit. Sample some of her most iconic recordings here again!

And there you have it—the ten articles that sparked the most conversation and captured your attention in 2025. We wish you a wonderful 2026, filled with breathtaking performances and beautiful discoveries.

What stories do you want to read this year? Are there composers, musicians, or musical topics you’re eager for us to explore? Let us know in the comments below.