Welcome to Classical Connect - the free classical music site!
If you like classical music, you’ve come to the right place! Classical Connect is your virtual concert hall, featuring thousands of recordings of classical music. If you love piano music, just go to the Browse by Instruments section and access the thousand-plus piano recordings available in our library. If you prefer the violin or the flute, you won’t be disappointed either – in fact, we have music for practically every instrument! If, on the other hand, you’re interested in a particular composer, you can Browse by Composer and select your favorite.
Where do we get our music? Our site allows independent musicians to upload their own recordings, or we may do it on their behalf. Musicians value the special opportunity Classical Connect offers because it allows for their music to be heard around the world. Several hundred musicians have already joined our site. We also have arrangements with several labels, festivals, programs and orchestras, allowing us to use some of their material.
As a visitor to our site you can listen to the first three minutes of any recording. However, by joining our site you’ll have access to all full-length performances. Joining is easy and has many great benefits. You’ll be able to create playlists, comment and vote on recordings, share music with friends, listen to our special programs, and more.
The music you hear upon entry was randomly selected from our library - what we call our Serendipity list. You can always pause it or jump to the next piece. You’ll be able to change the content of these initial selections once you’ve signed in.
To help you navigate the site and use its features, we’ve also created a Help page.
In the meantime, enjoy the music!
The Classical Connect team
August 27, 2015. Bruckner, Cage and many more. Several great – or at least interesting – composers were born this week: Johann Pachelbel, Pietro Locatelli, Anton Bruckner, Darius Milhaud, Giacomo Meyerbeer, Amy Beach and John Cage. Anton Bruckner, who was born on September 4th, 1824, clearly belongs to the former category, and even though we’ve wrotten about him extensively before, we cannot neglect his anniversary. This time we’ll present his Symphony no. 4 in its entirety (when we wrote about Bruckner three years ago, we played just the third movement, Scherzo). Bruckner created many versions of this symphony: he wrote the first version in 1874, then in 1878, after completing the Fifth symphony, he returned to the Fourth, revised the first two movements and completely rewrote the finale. He continued tinkering with it for several more years, and then significantly revised it again in 1887. One year later he made more changes – altogether there are seven versions, of which three are considered “principal.” We’ll hear the second of these. Claudio Abbado leads the Lucerne Festival Orchestra.
Bruckner, while a composer of genius, was sometimes verbose and repetitive. It’s difficult to imagine somebody more different than our next composer, John Cage, who is famous (or infamous, in the eyes of some) for his 4’33’’, which is “performed” without a note being played. (It’s often assumed that the point of this piece is four minutes and 33 seconds of silence; Cage was actually interested in the ambient sounds of the concert hall). John Cage was born on September 5th of 1912 in Los Angeles. He studied composition with Henry Cowell and later, in 1934, with Arnold Schoenberg. During the following 15 years he composed mostly in the 12-tone mode, writing music for different percussion ensembles (much of it in collaboration with his friend, the choreographer Merce Cunningham) and, eventually, the prepared piano (the piano is “prepared” by placing different objects between the strings, thus changing its sound). In 1949 he traveled to Europe and met Olivier Messiaen and the young Pierre Boulez who became a good friend. Six Melodies for violin and electronic piano (here) written in 1950 are from the end of that period. In the early 1950s, Cage, together with Morton Feldman, embarked on a completely new path: they introduced chance, or randomness, into the process of composing. Cage first employed it in the Concerto for Prepared Piano and orchestra: he created a set of sonorities for both the piano and the orchestra, but the sequencing of these sets were completely random and up to the musicians. To support the chance technique, Cage had to come up with his own notational principles. Some of them involved transparencies that could be mixed and matched to create the final score. The majority of the public was not convinced, and even some of the modernist composers, such as Pierre Boulez and Karlheinz Stockhausen heavily criticized this approach. Iannis Xenakis called it an abuse of (musical) language and an abrogation of the composer's function. Nonetheless, Cage’s influence, and even fame, were spreading, both in the US and even more so in Europe. His work with the popular Cunningham Dance Company helped in this respect. Cage continued his chance-based composition using more and more unusual instruments: one of them directed performers to mount and play 88 tape loops on several tape recorders. Cage is probably an acquired taste, but he was very influential as a composer who altered our approach to sound and modern definition of music itself. Cage continued to compose and experiment almost to the end of his life. He died in New York on August 12th of 1992.
And now as a respite from Cages’ musical experiments, something much more conventional: music by Pietro Locatelli, who was born on September 3rd of 1695 in Bergamo. An Italian Baroque composer and violinist, he wrote a number of very pleasing, if not necessarily revolutionary, compositions. Here’s one of them, his Violin Concerto in C minor op. 3. Luca Fanfoni is the soloist with the Reale Concerto.Permalink
Welcome to our Virtual Concert Hall
We started Classical Connect with a mission to provide independent musicians with a new venue for their performances. Hundreds of classical musicians have taken advantage of this opportunity, sharing their music with listeners across the world.
We encourage you to join and upload your performances. Once signed in, you’ll be able to create a personal page with your bio, photo and other promotional materials. Since all the recordings on our site are streamed, your performance cannot be downloaded without your permission. In the future, you may also benefit from our plan to introduce fees for certain downloads. These fees will be shared with you, the musician. If you have a video of your performance on YouTube, you can link it to your personal page: go to Upload or Link Your Performance and paste the YouTube URL in the appropriate field. Your video will play on Classical Connect alongside your audio recordings.
Also, we have created a new feature called Concert Schedules, which allows you to enter your future concerts. Once your event has been entered, two things should happen. First, the concert is displayed on your personal page, below the bio. Second, the concert appears on the combined front-page Concerts Calendar. Moreover, for two days – the day before the concert and the day of the concert itself – there will be a message announcing your concert on the front-page News and Updates tab. This is the very first tab presented to all logged-on users.
On the technical side: our site accepts MP3 and MP4 files, so if you have a CD recording, you can rip and upload it in this format. For better quality, we recommend using a bit rate of 128 kbps, an audio sample rate of 44 kHz, and a two-channel (stereo) format.
To upload, enter the complete title of the piece, including its key, number, opus, etc. For example, the title of Beethoven's Sonata No. 21 would be identified as Sonata No. 21 in C Major, Op. 53. "Waldstein" is optional. Also, we encourage you to leave comments about your performance or the composition.
If your performance was recorded on several tracks, then upload each one with a different title. For example, Sonata No. 21, part 1, Sonata No. 21, part 2 and so on. Please let us know and we’ll merge these different movements into one complete performance with the appropriate title.
Please do not upload parts of a composition. Think of Classical Connect as your virtual concert hall: only upload the things you would play in a real one.
If you have any questions, please contact us by clicking here and sending us an e-mail. We'll make every effort to respond as quickly as possible.
The Classical Connect team
Benefits of Joining Classical Connect
There are many advantages to joining Classical Connect. The first, and most obvious, is the ability to listen to complete performances. We have more than 2,000 different pieces of classical music, some of them as long as an hour and 50 minutes (yes, that’s how long Mahler’s Third Symphony is!). Once you’re logged in, you can listen to every one of them from start to finish – that’s if you like the performance, of course.
You can also create personal playlists. There’s no limit to how many pieces each playlist can include. You can read more about playlists here. In addition, you can comment and vote on any piece of music in our library. The grades / rankings go from 1 (lowest) to 10 (highest), but please only reserve 10s for the truly great performances and use 1s sparingly!
Another advantage includes sharing performances with your friends. Click the Share button on the Player and send a message to your friend on Classical Connect, or simply copy/paste the link into an e-mail. Your friends don’t even need to be members of Classical Connect; they can simply click on the link and listen to the complete performance the same way you do.
Also, you can actively participate in Forums only if you’ve joined the site.
Finally, as you set up your profile, you can select the content of the initial musical selection or omit it entirely.
Joining is easy. Just click here and follow the instructions.
The Classical Connect team