Classical (and Other) Streaming Services

By Bill Heck


Terminology: to save my typing and your patience, I here use the term “laptop” to mean a desktop or laptop computer, tablet, or smartphone. Unless otherwise noted, you can use any such device in the context indicated. For brevity, I also use the term “pop” to refer to all types of music other than classical and jazz.

Amazon, Tidal, Qobuz, Idagio, Primephonic: all premium streaming services, but differing in focus. Amazon, Tidal, and Qobuz aim to be everything to everyone. Idagio and Primephonic aim solely at classical music lovers: no pop, no jazz, no country, no anything but classical. So how might these services work out for Classical Candor readers?

First, just what is a streaming service? Those familiar with such services can skip ahead to the Streaming Criteria section below. For those still reading here: do streaming services have to do with trout fishing? Perhaps freshwater supplies for small cities?

Don’t worry, you already know what streaming is. You’ve used it: you’ve surely watched videos on YouTube or Facebook; or you’ve followed links in John Puccio’s News of the Week columns to find websites where you listened to musical selections; or you’ve clicked on the link at the end of a review in these pages to hear a sample. All those are examples of streaming: sending an electronic file (a video file, a music file) to some device for playback. Is that like downloading an MP3 file to your smartphone? Yes, but in downloading, the file is saved on your smartphone for later use. In streaming, the file is read and used – played – on the fly, not saved for later.

So a music streaming “service” is a business that streams music to you. You already know that you can receive and play that music on your laptop, but you probably want to hear that music on your home audio system. To accomplish that, you could plug your laptop into your preamp, and some people do so. But a simpler, more convenient approach is to use an audio component designed for the purpose, and there are many such devices on the market. We’ll discuss all this below.

Finally, what music do streaming services offer? Unlike YouTube or typical websites, streaming services offer the content of huge libraries of commercially available recordings – the equivalent of CDs from a large selection of labels. In other words, using a streaming service is like having a very, very large CD collection without having any physical CDs – a good thing, because you probably don’t have space to store a hundred thousand CDs anyway.

But all those music files are just hanging out on a file server somewhere. How does the server know which music to send to you? That's the other half of the streaming service: an app for your laptop that allows you to find the music that you want. Once you find a work that you want to hear, you click a button and voila - music plays.

Streaming Service Criteria

We have three different considerations when selecting a streaming service. The first two are obvious: the music side – what music is offered in what format(s) at what cost – and the app side – what features are offered in the app and how easy is it to search for the music that you want? The third consideration is whether and how the service can be easily used with your audio system, which can be trickier than you might think.

Let's start with music, or rather file, formats, simply because that will help us eliminate some services. Readers of this blog are likely to own decent audio systems and listen critically to them. Thus, said readers will be interested in services that offer at least CD quality sound – MP3-only services need not apply. This restriction eliminates some of the most popular streaming services, such as Spotify and Apple Music. The major players left standing are Tidal, Qobuz, Amazon (a recent addition), Primephonic and Idagio.

Turning to the other musical consideration, which of these services offers a large selection of classical music? In theory, all of them. Tidal, Qobuz, and Amazon advertise that they have millions of “tracks” in all genres. But a complication arises: they don't all necessarily have the same tracks, and there's little predicting which service will have which tracks. Moreover, it is difficult to compare advertised numbers: a service may have millions of tracks, but how many are classical? And if a “track” is similar to a track on a CD, the count will be inflated for classical works: is an album of Chopin’s Etudes one track (the entire album) or 27 tracks (one per etude)?

On to the second aspect of comparison: what features are offered in the apps, and how easily can you find what you are looking for? All of the services have some sort of “featured music” displays on the home page, most provide lists of new (to them) artists and releases, most provide “curated lists” or collections of various types, and so on. All provide a search capability allowing you to enter something like “beethoven symphony 5” and (we hope) returning a list of performances of that work. All allow you to make the search more precise, e.g., “beethoven symphony 5 furtwangler”. It would be nice if you could make searches even more intelligent by asking for recordings made with, say, period instruments or even specifying the record label; sadly, such meta-terms do not work.

Now about this connecting to your audio system business…. If your use case is playing music through your smartphone as you work out at the gym or through your laptop as you write music reviews for Classical Candor, it’s easy-peasy: fire up the app and hit the play button. But connecting to your real audio system?

In the old days, meaning a few years ago, the most common connection method involved using a laptop connected to the audio system by a USB cable. More specifically, you would connect the laptop to a standalone digital to analog converter (DAC) or to a receiver or preamp containing a DAC. While this works, it is less than convenient: either you dedicate a computer for this purpose (perhaps an older one that you have lying around or, if you are really into it, a dedicated, specially tweaked standalone computer), or you must plug and unplug your laptop every time you sit down to listen to music. (And perhaps have a very long USB cable if you want to have the laptop in your lap!) That’s not even counting potential tweaks that some audiophiles recommend to “improve” the USB connection.

You might suppose that with modern cellphones, you could connect wirelessly using Bluetooth. Technically, that sort of works, but Bluetooth generally has issues with transmitting high quality sound.

Not long ago, meaning last year, another method that audiophiles used was to download the music that they wanted and store it on a computer or music server/external drive. (Also, some audiophiles believe that they can obtain better sound by downloading a file than by streaming it.) The music could then be played through the audio system via a permanent network connection. I say “not long ago” as it’s becoming more difficult to do this. Primephonic used to offer downloads, but that option is gone. Qobuz allows subscribers to purchase downloads, often in high resolution, but I cannot say whether that’s possible for their entire catalog. Idagio, Qobuz, and Primephonic allow downloads for offline listening only in their Android and iOS apps. Regardless, I assume here that readers really, really want to be able to listen to music as the spirit moves them, without fiddling around with downloads in advance.
At last we come to the far simpler and more convenient method: buy a purpose-built audio streaming device and find a streaming service that “natively” integrates with it. No cables needed! But there’s a catch (you knew that was coming): not all streaming services integrate with all (or even many – or even any) streaming components. It’s a little like finding apps for your smartphone: you cannot expect to load apps built for the iPhone onto an Android phone or vice versa. Fortunately, both streaming services and equipment manufacturers list the counterparts with which they integrate, so you can look up which services work with what equipment. Note that these lists change as vendors develop new integrations.
Finally, a clarification: I mentioned earlier that you could use any type of “computer” with each service, anything from desktop to smartphone. That’s true for the basics. However, you may want to use different computers for different purposes.

With a desktop, laptop, or even a tablet, you can access the services through a web page. Because these devices have large screens, this method provides the richest experience for exploring each service’s offerings of recommendations and articles about music and performers.
While you can play music directly from any of these devices, it’s likely to sound a lot better with external speakers that you might have connected to your desktop computer.
Some services allow you to save music for later offline playback, and you probably have more space available on your desktop or laptop than on your phone.
If you are listening on the go, including while in your car, you obviously will want to use the app on your smartphone, or possibly a tablet.

If you are controlling a streaming player in your audio system, you will be using an app that communicates directly with the player, and that app will be on your smartphone or tablet.

The Choices

With these considerations in mind, let’s look at several different services.


A good place to begin is with Idagio, which focuses solely on classical music – just what we need. And indeed, Idagio does offer much to classical music lovers. To begin with, playlists found on the home page could provide hours of listening pleasure, even if you never bothered to search for additional works. There are collections of featured albums, new releases, performances by young artists, “weekly mixes” – the list goes on and on. Some provide only movements from larger works, which may or may not appeal, but many list full albums. There are “Idagio exclusives,” albums available only on this service, 30 recent recordings as of this writing. Finally, Idagio subscribers can join “Idagio Live” Events, which feature various artists discussing performance and compositions. Attending the live events requires purchasing a ticket, usually around $10, but you can view past events for free through the Idagio website. The little touches go on and on: for example, on the web player, you can click on the photo of an album cover to see the liner notes. (That does not seem to work on the smartphone app, probably because the screen is too small.)

When I searched for specific items, results generally were appropriate; the work that I wanted was usually somewhere near the top of the search results list. Oddly, however, search results differed between searches performed on the website versus inside the app; on these admittedly rare occasions, the app searches were less helpful. Perhaps the highest hurdle was that I often had to figure out which performance was which by squinting at a tiny thumbnail of an album cover on my phone, which in turn meant that I might need several tries to find the right performance.

Idagio has plenty of works and performances to choose from, but – based on random searches for obscure older recordings – it seemed that the catalog is slightly less comprehensive than that of Primephonic or Qobuz (see below). Not wanting to rely solely on impressions, I tested by searching for the most recent twenty CDs reviewed in Classical Candor. In this test, Qobuz was slightly ahead of Idagio, i.e., Qobuz found more of the CDs for which I searched. Meanwhile, both slightly trailed Primephonic. Then again, when I searched for “bwv 565”, Idagio returned a list of 100 soloists (!), some with multiple performances. However, keep in mind that none of this is really scientific, that my searches are mostly biased toward romantic and later musical periods, and that some performances are found on one service and not the other.

Idagio offers three plans: Free (supposedly with ads, but I used it for a few days and don’t recall any ads), Student, and Premium at €5 and €10 respectively, the latter offering CD quality. Idagio does not offer high resolution. Until someone reminds Idagio’s accountants, it’s even cheaper than that in the US, as I am being billed $10, not €10 (about a 13% discount), for Premium. For the paid plans, music is streamed at CD quality; no high-resolution option is offered. Idagio does integrate with several audio operating systems, including Bluesound, Burmester, and Nativ. Sadly, that’s not a very large list, which means there’s a good chance that you will need to connect your laptop to your audio system via a USB cable for the best sound. Luckily my NAD C 658 streaming preamp (review forthcoming) does use Bluesound, and the connection worked perfectly.


In many ways, Primephonic was the most appealing service of the bunch. Like Idagio, it is strictly focused on classical music and offers many of the same benefits in terms of home page content, such as list of new releases and recommendations. Indeed, the similarities between the two largely outweigh the differences, although I did find Idagio’s various lists and features a little more impressive than Primephonic’s.

Claiming to have 2,500,000 classical “tracks” available, Primephonic’s catalog obviously is huge. In both my random searching and Classical Candor tests, the number of albums found on Primephonic was greater than that on Idagio and Qobuz, although not by a large margin. Another point in favor of Primephonic is their “Fair Payout Model” for musicians. Streaming services are notorious for paying incredibly low amounts to the musicians whose work they use. As a former musician myself, I find Primephonic’s attempt to do better appealing.

Speaking of payment, Primephonic offers two plans: Premium, which is not premium at all in offering only MP3 quality, is $10 (or $99 annually); the Platinum plan, which provides up 24-bit (without mentioning bit rate, but surely at least 96) is very competitive at $15 ($149 annually).

So can we simply declare Primephonic the winner and go home? Not quite: Primephonic integrates only with Sonos, which has minimal penetration in the audiophile market. Instead, Primephonic recommends using a mini-jack or RCA interconnect – meaning that your laptop will do the digital to audio conversion, bypassing the multi-hundred (or multi-thousand) dollar DAC in your audio system. That’s a non-starter for even the least dedicated audiophile. Fortunately, you still can use the USB cable connection method. Primephonic says that they are working on integrations, but they are rather late to this particular party. However, if you don’t mind the cable connection, this may be the service for you.


Qobuz offers all type of music, but with a clever twist: on the home page of the web site or within the app, you can select “classical”, among other choices, as a musical genre. When you do so, Qobuz presents its lists (New Releases, Recommended, etc.) based solely on classical music, thus giving it much the feel of a classical-only service. Thus restricted, the home page also includes sections with articles about and interviews with performers and composers, among other goodies.

Given that Qobuz has all kinds of music in addition to classical, I worried that search results would be clogged with irrelevant entries. In practice, though, this was not a significant issue. Entering, say, a composer’s name and the partial title of a work was enough to exclude unwanted results. Moreover, Qobuz is smart enough about classical compositions to show when multiple tracks on an album belong to different works. Idagio and Primephonic do this naturally, as it is a common case with classical albums.

In terms of catalog size, my impression based on my random searching and the Classical Candor test is that Qobuz is in the middle of the pack, slightly ahead of Idagio but slightly trailing Primephonic. But to show how hard it is to assess such things: my search for “bwv 565” returned a measly 39 performances – but Qobuz was the only service to have the entire set (or any) of Chapuis’ traversal of the Buxtehude organ works.

Of all the services covered here, Qobuz is the most aggressive (in a good way) in offering music in high-resolution. The base plan, “Studio Premier” at $15, streams all music in the highest resolution available: high resolution (24/192) when available, otherwise CD quality. The “Sublime” plan at $249 annually adds a discount for purchases of CDs and high res downloads.

In terms of connecting to audio systems, Qobuz integrates with a host of audio equipment brands. There’s an excellent chance that you will be able to avoid the hassle of cabling your laptop to your audio system. The Bluesound integration that I used worked perfectly.

Finally, keep in mind the Qobuz offers a huge selection of music other than classical. I know, I know: in this article, we’re considering services for classical music lovers. But loving classical music doesn’t mean that you can’t love other music, too – and maybe even listen to some once in a while. Old guys like me can pull up tunes form the Beatles, Buffalo Springfield, or Jefferson Airplane or jazz from across multiple styles and eras. Meanwhile, your kids can listen to the latest from BeyoncĂ© or Jay-Z or Taylor Swift or… (but if your kids are truly hip, they’ve moved on from those names). Anyway, you get the idea.


Amazon, the 800 pound gorilla of streaming services and everything else, is a latecomer to high resolution streaming. Now that it has arrived, how does it work for classical music lovers?

In short, not very well. It goes without saying that Amazon’s catalog is huge. But the Amazon music home page gives equal weight to a wide assortment of musical types and styles, so finding anything relevant to classical is, to put it mildly, difficult. Amazon does offer “stations”, which are curated playlists, but their very names suggest that the curation is of the airline seatback entertainment variety: nothing offensive, but hardly designed for the serious listener. For example, my click on “Ultimate Classics” started something playing – but what was it? It sounded vaguely like late Renaissance, but there was no description, no indication of a composer or performer, just music playing. Suddenly another track started, this time an orchestral movement, late romantic – maybe something by Liszt? You get the idea.

Well, we still can search for works or performances. Sadly, searching on Amazon Music is particularly maddening. Unlike searches on all of the other services discussed here, typing in a search does not show partial results. Instead, one needs to complete the entire search string, hit the Enter key, then select either Amazon Music or My Music, and finally hope that your typing was not in vain. Amazon has way more software engineering talent than such a primitive search would indicate. In addition, searches seem to fail for no obvious reason, even though very similar searches find the desired works.

Once a work is found and selected, the results are presented as single list of tracks, with no indications of any grouping. In many cases, that’s acceptable, but for albums containing multiple works, the user has to figure out where the divisions are. Consider the tracks on the album “A State of Wonder” which contains Glenn Gould’s 1955 and 1981 performances of Bach’s Goldberg Variations. Quick, where in the list of tracks do the 1955 performances end and the later ones begin?

The good news is that Amazon Music Service integrates with audio equipment from a boatload of manufacturers. The HD Music plan is reasonably priced at $15. However, other similar plans that are more classical-friendly are similarly priced and probably more appealing to readers of Classical Candor.


Tidal may be the best known of the major services. It offers all types of music, including classical. However, my experience with Tidal is limited: I quickly found several issues that, in my opinion, made it less than ideal for classical music lovers, so I soon moved on.

First, the Tidal home page feels less than welcoming to those whose interests lie outside of current pop music: the visually overwhelming array of current artists invoked a gut level feeling that this was not the place for me. But unlike Qobuz, Tidal seems not to provide a way to restrict the home page to classical works. Thus, listings such as “new releases” were useless in terms of classical music only.

Second, Tidal’s explanation of what was in which plans is just opaque. It’s quite clear that high resolution (better than CD) is available only in the HiFi plan. What’s confusing is whether CD quality is part of the standard plan: my best guess is that it is not. In any case, high resolution, and maybe CD resolution, is available only in MQA format, which is not supported by all DACs and is somewhat controversial in terms of its ultimate audio quality. MQA does have the advantage of using less data for high resolution files than standard high-res streaming, but this is irrelevant for home use with a high-speed Internet connection.

On the positive side, Tidal claims that it provides higher payments to musicians then do its competitors. That’s a worthy goal, but unfortunately, it’s unclear how this works out for classical music and musicians given Tidal’s “payment by song” orientation.

Having said all this, Tidal does have a huge catalog, and it does integrate with equipment from a long list of manufacturers. If you already have Tidal, or if you have other reasons to prefer it, or it is the only service with native integration to your audio equipment, go for it. Otherwise, it may not be the service for classical music fans.


I should point out two things that we have not discussed: internet requirements and sound.

The internet requirements are simple: you need a reasonably high speed – but not crazy – connection. These days, the minimum speed offered by cable and DSL providers should be fine. If you live beyond the reach of these services, satellite services might work, but try first. Several of the services recommend a wired (ethernet) connection to your router, but in my experience WiFi is fine, provided that the whatever you have a strong WiFi signal to the streaming device. If the signal is so-so, there are ways to improve matters, but that’s beyond the scope of our discussion.

It may seem strange that I have not talked about the sound quality of each service. But other than the question of resolution, when the services receive and stream the same files from the record companies, the results should sound the same. (Tidal’s could sound slightly different because of MQA encoding.) The sneaky issue here, though, is that with large numbers of reissues floating around, it’s hard to say which services received exactly which versions of which recordings. If someone tells you that service X sounds better than service Y, the services could be playing different releases of the same performance.


So which service is right for you? Here are a few thoughts:

Personally, I want the convenience of native integration with my audio system, so Idagio and Qobuz are on my list. Let’s hope that Primephonic gets its act together soon, and for that matter that Idagio extends its integrations to other manufacturers as well.

If you want to select from every last recorded performance known to humanity, the size of the catalog makes a difference. In practice, if you already have your favorite performances on CD and are more interested in using a steaming service to explore, catalog size may be less important.

If higher-than-CD resolution is a must, Qobuz and Primephonic are your choices. But keep in mind that most of the music available on all of the services is at CD quality – and there is some controversy about how audible higher resolutions really are.

For those fearing that high resolution streaming will eat up the data plan on your cell phone, no worries:  you always can switch to a lower resolution on the fly when you use your cell phone on a data plan. That’s true for all of the services.

My best advice is to try any and all that sound interesting. All of these services offer free trials of from 14 days to 30 days. Most of the trials, except Qobuz, are for lower resolution plans. But in all cases, you can sample the entire catalog and explore all of the extra features, knowing that you will have at least CD resolution if and when you pony up. If you have a particular area of interest, e.g., early Baroque madrigals or contemporary American composers, you can evaluate each service’s catalog relative to that interest. If you just can’t decide, these services have become so inexpensive that you could keep two of them! What do you have to lose?


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Meet the Staff

Meet the Staff
John J. Puccio, Editor, Publisher, Reviewer

Understand, I'm just an everyday guy reacting to something I love. And I've been doing it for a very long time, my appreciation for classical music starting with the musical excerpts on the Big Jon and Sparkie radio show in the early Fifties and the purchase of my first recording, The 101 Strings Play the Classics, around 1956. In the late Sixties I began teaching high school English and Film Studies as well as becoming interested in hi-fi, my audio ambitions graduating me from a pair of AR-3 speakers to the Fulton J's recommended by The Stereophile's J. Gordon Holt. In the early Seventies, I began writing for a number of audio magazines, including Audio Excellence, Audio Forum, The Boston Audio Society Speaker, The American Record Guide, and from 1976 until 2008, The $ensible Sound, for which I served as Classical Music Editor.

Today, I'm retired from teaching and use a pair of bi-amped VMPS RM40s loudspeakers for my listening. In addition to writing the Classical Candor blog, I served as the Movie Review Editor for the Web site Movie Metropolis (formerly DVDTown) from 1997-2013. Music and movies. Life couldn't be better.
Karl W. Nehring, Contributing Reviewer

For more than 20 years I was the editor of The $ensible Sound magazine and a regular contributor to its classical review pages. I would not presume to present myself as some sort of expert on music, but I have a deep love for and appreciation of many types of music, "classical" especially, and have listened to thousands of recordings over the years, many of which still line the walls of my listening room (and occasionally spill onto the furniture and floor, much to the chagrin of my long-suffering wife). I have always taken the approach as a reviewer that what I am trying to do is simply to point out to readers that I have come across a recording that I have found of interest, a recording that I think they might appreciate my having pointed out to them. I suppose that sounds a bit simpleminded, but I know I appreciate reading reviews by others that do the same for me -- point out recordings that I think I might enjoy.

For readers who might be wondering about what kind of system I am using to do my listening, I should probably point out that I do a LOT of music listening and employ a variety of means to do so in a variety of environments, as I would imagine many music lovers also do. Starting at the more grandiose end of the scale, the system in which I do my most serious listening comprises an Arcam CDS50 CSD/SACD CD player, Goldpoint SA4 Passive Preamp, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE loudspeakers. I also do a lot of listening while driving in my 2016 Acura RDX with its nice-sounding ELS Studio sound system through which I play CDs (the ones I especially like I rip to the Acura's hard drive so that I can listen to them whenever I want) or stream music through the system using my cell phone. For more casual listening at home when I am not in my listening room, I often stream music through the phone into a Vizio soundbar system that has remarkably nice sound for such a diminutive physical presence. And finally, at the least grandiose end of the scale, I have an Ultimate Ears Wonderboom Bluetooth speaker for those occasions where I am somewhere by myself without a sound system but in desperate need of a musical fix. I just can't imagine life without music and I am humbly grateful for the technology that enables us to enjoy it in so many wonderful ways.
Bryan Geyer, Technical Analyst

I initially embraced classical music in 1954 when I mistuned my car radio and heard the Heifetz recording of Mendelssohn's Violin Concerto. That inspired me to board the new "hi-fi" DIY bandwagon. In 1957 I joined one of the pioneer semiconductor makers and spent the next 32 years marketing transistors and microcircuits to military contractors. Home audio DIY projects remained a personal passion until 1989 when we created our own new photography equipment company. I later (2012) revived my interest in two channel audio when we "downsized" our life and determined that mini-monitors + paired subwoofers were a great way to mate fine music with the space constraints of condo living.

Visitors that view my technical papers on this site may wonder why they appear here, rather than on a site that features audio equipment reviews. My reason is that I tried the latter, and prefer to publish for people who actually want to listen to music; not to equipment. My focus is in describing what's technically beneficial to assure that the sound of the system will accurately replicate the source input signal (i. e. exhibit high accuracy) without inordinate cost and complexity. Conversely, most of the audiophiles of today strive to achieve sound that's euphonic, i.e. be personally satisfying. In essence, audiophiles seek sound that's consistent with their desire; the music is simply a test signal.

William (Bill) Heck, Contributing Reviewer

Among my early childhood memories are those of listening to my mother playing records (some even 78 rpm ones!) of both classical music and jazz tunes. I suppose that her love of music was transmitted genetically, and my interest was sustained by years of playing in rock bands – until I realized that this was no way to make a living. The interest in classical music was rekindled in grad school when the university FM station serving as background music for studying happened to play the Brahms First Symphony. As the work came to an end, it struck me forcibly that this was the most beautiful thing I had ever heard, and from that point on, I never looked back. This revelation was to the detriment of my studies, as I subsequently spent way too much time simply listening, but music has remained a significant part of my life. These days, although I still can tell a trumpet from a bassoon and a quarter note from a treble clef, I have to admit that I remain a nonexpert. But I do love music in general and classical music in particular, and I enjoy sharing both information and opinions about it.

The audiophile bug bit about the same time that I returned to that classical music. I’ve gone through plenty of equipment, brands from Audio Research to Yamaha, and the best of it has opened new audio insights. Along the way, I reviewed components, and occasionally recordings, for The $ensible Sound magazine. Recently I’ve rebuilt--I prefer to say reinvigorated--my audio system, with a Sangean FM HD tuner and (for the moment) an ancient Toshiba multi-format disk player serving as a transport, both feeding a NAD C 658 streaming preamp/DAC, which in turn connects to a Legacy Powerbloc2 amplifier driving my trusty Waveform Mach Solo speakers, supplemented by a Hsu Research ULS 15 Mk II subwoofer.

Mission Statement

It is the goal of Classical Candor to promote the enjoyment of classical music. Other forms of music come and go--minuets, waltzes, ragtime, blues, jazz, bebop, country-western, rock-'n'-roll, heavy metal, rap, and the rest--but classical music has been around for hundreds of years and will continue to be around for hundreds more. It's no accident that every major city in the world has one or more symphony orchestras.

When I was young, I heard it said that only intellectuals could appreciate classical music, that it required dedicated concentration to appreciate. Nonsense. I'm no intellectual, and I've always loved classical music. Anyone who's ever seen and enjoyed Disney's Fantasia or a Looney Tunes cartoon playing Rossini's William Tell Overture or Liszt's Hungarian Rhapsody No. 2 can attest to the power and joy of classical music, and that's just about everybody.

So, if Classical Candor can expand one's awareness of classical music and bring more joy to one's life, more power to it. It's done its job. --John J. Puccio

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"Their Master's Voice" by Michael Sowa

"Their Master's Voice" by Michael Sowa