Pitch Me Classical

Contemporary music: bold, baffling, and often accused of scaring audiences away. But is it really as unlovable as its reputation suggests? In this episode, we explore why new music can feel alienating, and whether it’s actually unpopular - or just misunderstood. Whether you’re a die-hard fan of extended techniques, a curious newcomer to the contemporary world, or you’ve always wondered why a piece of music might sound like a typewriter falling down the stairs, this conversation will give you a fresh perspective on why contemporary music matters. Plus, Helen and Stewart do their best to come up with a sequel for John Cage’s legendary 4’33”...#PitchMeClassicalInstagram: @londonphilharmonicorchestra TikTok: @lporchestraBluesky: @lporchestraFacebook: @londonphilharmonicorchestra YouTube: @londonphilharmonicorchestra

Mahler’s music holds a towering place in classical music today, but that wasn’t always the case. So what changed? How did he explode into the classical zeitgeist in the 1960s - and stay there? Is he really related to Beyoncé? And will his music continue to be popular, or will our dwindling attention spans make it harder to appreciate his epic symphonies? Perhaps Mahler’s appeal isn’t about passing trends, but about the raw emotion in his music and its deep connection with listeners... Plus, Andy reveals his go-to beverage for the ultimate Mahler symphony marathon.#PitchMeClassicalInstagram: @londonphilharmonicorchestra TikTok: @lporchestraBluesky: @lporchestraFacebook: @londonphilharmonicorchestra YouTube: @londonphilharmonicorchestra

When you listen to an orchestra, what makes its sound distinctive? Is it the concert hall, the conductor, the players, or even their instruments? While some argue that most orchestras end up sounding alike, others insist each ensemble has its own unmistakable voice. In this episode, we dive into the subtle details that shape an orchestra’s sound and explore how different orchestras can sound worlds apart. Juliette and Lasma take on a listening challenge where they guess the conductor of a piece the LPO has recorded twice, and try to spot the differences between the two recordings. And in the quiz, we get to the bottom of a big question - what does the word ‘orchestra’ actually mean?#PitchMeClassicalInstagram: @londonphilharmonicorchestra TikTok: @lporchestraBluesky: @lporchestraFacebook: @londonphilharmonicorchestra YouTube: @londonphilharmonicorchestra

Today, we’re unravelling a piece that’s as simple as it is spellbinding - one of the most well known and oddly mesmerising compositions of the 20th century. Some call it brilliant, others find it unbearable, and few sit on the fence. And the piece that’s at the heart of this marmite reputation? Ravel’s Bolero. We explore what makes this 15-minute loop so unforgettable, from its relentless snare drum rhythm to its slow-burning crescendo to determine what it is that keeps listeners hooked (or drives them mad). Plus, things get very heated between Andy and Sue in the end-of-episode quiz…#PitchMeClassicalInstagram: @londonphilharmonicorchestra TikTok: @lporchestraBluesky: @lporchestraFacebook: @londonphilharmonicorchestra YouTube: @londonphilharmonicorchestra

The violin section of an orchestra is split into two halves: first violins and second violins. Do the firsts really get all the glory while the seconds do the heavy lifting, or are the seconds the orchestra’s unsung heroes? In an effort to decide whether some violinists are more equal than others, we explore the history behind this division, unpack stereotypes, and examine the unique challenges of playing in each section. We also look at how this structure can shape careers, and what it’s like to transition from one section to the other. Plus, Emma and Cassi face a violin-themed quiz, covering everything from calories burned while playing to musical world records set on bicycles…#PitchMeClassicalInstagram: @londonphilharmonicorchestra TikTok: @lporchestraBluesky: @lporchestraFacebook: @londonphilharmonicorchestra YouTube: @londonphilharmonicorchestra

It’s a battle between technology and tradition: should mobiles phones be banned, tolerated, or even embraced in concert halls? Are phone-friendly performances the future of classical music, or are they a threat to the sacred concert ritual? We’ve all heard a phone go off at the most inopportune moment, but increasingly the classical music world is finding more creative ways to integrate phones into the concert experience. In this episode, we explore how concert halls, composers, and performers are adapting - or resisting - the presence of mobiles phones and in concert venues. Plus, Minn and Martin reveal their ringtones (or lack thereof) and face off in a challenge: who can come up with the best phone-related superpower?#PitchMeClassicalInstagram: @londonphilharmonicorchestra TikTok: @lporchestraBluesky: @lporchestraFacebook: @londonphilharmonicorchestra YouTube: @londonphilharmonicorchestra