Pitch Me Classical: Fact or Fiction?

Thu 6 Aug, 2026

Volume 1: Tchaikovsky, tradition and the truth about orchestras

Classical music has no shortage of stereotypes. It’s serious. Formal. A little intimidating. Tchaikovsky is beyond criticism. Orchestra musicians are all impeccably behaved.

But how many of those assumptions are actually true?

That’s the question at the heart of the London Philharmonic Orchestra’s podcast, Pitch Me Classical. In every episode, presenter YolanDa Brown puts a common belief about classical music to the test with musicians from the Orchestra. In the opening episodes of Series 3, the spotlight falls on two claims: ‘Tchaikovsky is overrated’ and ‘Classical music is so straight-laced’. 

The conversations show that the answers aren’t always straightforward, and that the musicians often have perspectives that might surprise you. 

Here are five myths we’ve already put to the test …

1. Fiction: Every musician thinks Tchaikovsky is untouchable

When YolanDa asked the players whether Tchaikovsky is overrated, she expected a room full of devoted fans. Instead, the musicians offered a more complicated answer – one shaped by what it’s like to live with these works day after day.

‘I never want to play a Tchaikovsky symphony again,’ admitted double bassist Hugh. Cellist Waynne understood exactly what he meant. Faced with another Tchaikovsky work on the concert schedule, his verdict was: ‘Not great … but it’s inevitable.’ 

This might sound surprising, but these reactions came after a particularly Tchaikovsky-heavy tour. As Hugh put it, playing the same music over and over is like eating sticky toffee pudding every day: ‘It’s too rich … just give me one spoon of it.’

That doesn’t mean either musician was questioning Tchaikovsky’s brilliance. If anything, they were highlighting the challenge of finding something new in music they’ve performed countless times. Tchaikovsky isn’t overrated – he’s simply a composer orchestral musicians know incredibly well. For audiences, though, it’s a different story. Every concert offers the chance to hear those unforgettable melodies with fresh ears, and that’s exactly why Tchaikovsky continues to fill concert halls around the world. 

2. Fiction: Classical music never changes

If you’ve ever assumed that orchestras simply play the same notes the same way every night, you’re not alone. But according to trombonist Tempo, that’s a bit like saying every DJ plays the same playlist.

While the notes on the page stay the same, everything around them is constantly shifting. A conductor might linger over a phrase, push the speed forward or let a moment hang in the air. Musicians react to one another in real time, responding to tiny changes that can transform the mood of a performance.

As Tempo put it, ‘Every time we’re on stage … a lot of our performances are quite fluid.’

He explained that classical musicians might not improvise in the traditional sense, but there’s still plenty of spontaneity. In fact, he likened conductors to DJs: reading the room, sensing the energy and deciding when to build excitement, hold back or let the music breathe.

Those split-second decisions mean no two performances are ever quite the same. A subtle shift in phrasing, a glance between musicians or an unexpected burst of energy can create something unique to that evening.

The music may have been written hundreds of years ago, but every concert is a brand-new conversation between the score, the musicians and the audience.

3. Fiction: Orchestra musicians are serious all the time

Yes, orchestral musicians take the music seriously. Themselves? Not so much.

In Episode 2, Tempo summed it up perfectly: ‘We’re the most unserious people doing serious things.’

What followed was a glimpse into a world that rarely makes it onto the concert platform. Pirate impressions break out whenever a conductor asks to start from the letter ‘R’. Musicians quietly shuffle their feet after a beautiful solo as their own version of applause. Spend long enough on tour, and rehearsals become home to running jokes that somehow never get old.

Then there are the pranks. One favourite involves knocking over a trombone mute just as a late-arriving colleague sneaks into the room. 

It’s exactly the sort of humour you’d find in any close-knit workplace. Behind every polished performance is a group of musicians who laugh just as much as they rehearse. 

4. Fiction: Classical music is only for experts

You don’t need a music degree to enjoy classical music. Or even know a sonata from a symphony.

As YolanDa pointed out, ‘Classical music was the popular music of its time.’ Long before streaming services and playlists, these were the tunes people queued up to hear and couldn’t get out of their heads afterwards. They weren’t written for experts – they were written for audiences.

That idea resonated with violinist Alice. Having grown up playing bluegrass as well as classical music, she doesn’t see genres as being all that different. ‘A groove is a groove,’ she explained.

Whether she’s playing a Vivaldi concerto or a bluegrass tune, the aim is the same: to communicate something to the listener. That’s why you don’t need to analyse every harmony or recognise every musical term to enjoy a concert. If a melody sticks with you or a performance moves you, that’s enough.

5. Fiction: Classical music is stuck in the past

If classical music is rooted in history, it’s easy to assume it’s also stuck there. But the reality is much more adventurous.

Throughout the conversation, the musicians described careers that stretch far beyond the concert hall. Alice spoke about her love of bluegrass. Tempo shared stories of playing with jazz big bands, joining Cuban musicians at weddings and even performing with a Ukrainian covers band while on tour. Alongside their orchestral work, many musicians move comfortably between genres, bringing those experiences back into the rehearsal room.

Even audiences are finding new ways to experience orchestral music. A particular highlight from Episode 2 was the discussion of The Rite of Spring raves, where Stravinsky’s once-scandalous ballet becomes the soundtrack to a dancefloor rather than a concert hall.

Rather than being confined to the past, classical music is constantly evolving through the people who perform it and the audiences who experience it. The repertoire may be centuries old, but the ideas, influences and perspectives surrounding it are anything but. 

So … fact or fiction?

If the first two episodes of Pitch Me Classical Series 3 prove anything, it’s that the most interesting conversations about classical music rarely have simple answers. Tchaikovsky can be beloved and overplayed. Orchestras can be disciplined and delightfully unserious. And music that’s hundreds of years old can still feel fresh, surprising and full of life.

If these myths have sparked your curiosity, why not hear the conversations for yourself? Catch the latest episodes of Pitch Me Classical wherever you get your podcasts and discover the stories, debates and behind-the-scenes moments that shape the world of classical music.