Any classical musician or lover of classical music will tell you that Europe was the birth place to most of the classical greats we know and appreciate today.

Unlike poets, writers, or artists, classical composers and musicians achieved notoriety for their works within their life time, and their music continues to flood our air waves. Some of greatest composers of all time, Tchaikovsky who wrote many great plays including the Nutcracker to Vivaldi who wrote The Four Seasons, were born and trained in Europe.

Any trip to Europe should include a live classical music performance, preferably at a festival. Today, there are many classical festivals to choose from, all celebrating the long European lineage of legends and looking forward to what the classical world holds in its future.

1. Bach Festival (www.bachfestleipzig.de ) Leipzig, Germany- Enjoy the sounds of the renowned composer with performances by the Academy of Ancient Music. There will also be performances from Handel and Vivaldi. Free daytime organ recitals will be available.

2. Puccini Festival (www.puccinifestival.it ) Torre del Lago, Italy- To satisfy your craving for high notes and drama, treat yourself to an opera performance. Celebrating the 150th anniversary of Puccini’s birth, the Puccinni Festival is full of performances from Puccinni’s repertoire. In addition to seeing great performances, you will be able to take a tour of Puccini’s lake side villa, which has been preserved as a museum, open to the public.

3. Salzburg Festival (

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That said, click tracks and drum machines are two of the worst things ever to happen to popular music. First, drum machines like all machines are expressionless in the true sense. No human being is behind the sound at the moment that sound is made. Of course, the technology is a human artefact, and the programming carries human intention that may contain aesthetic expression. But it is the machine that executes the actual music. The essential
link in the moment of performance between the soul and sound waves is not there. The music is literally “soul-less”. It is a huge irony that “beatboxes” came to dominate a type of music that once termed itself “soul”.

Second, both click tracks and drum machines force an inhuman straitjacket onto music-making. Much of the prejudice against popular music that exists in the field of so-called “serious music” is based on a mixture of ignorance, cultural brainwashing and an inadequate critical vocabulary with which to describe how popular music achieves its greatest effects. But with regard to tempo, for once, the reaction of the classical musician is right on the money. If you suggested to an orchestra that they could improve their performance of a Beethoven symphony or a Rachmaninov piano concerto with a click track, so they would all be perfectly in time, they would fall off their stools laughing. When they recovered, they would insist that your click track idea would, at one digital stroke, remove all the expression from the music. In order for music to “breathe”, performers must be free to pause slightly before a chord or modulation or phrase. Classical scores are full of terms such as accelerando, ritenuto, rallentando,a tempo all of which indicate departures from strict time. In other words, “TPV” is an essential element of music performance. Why should popular music be any different?