Where next for classical music streaming?
Dr Maximilian Merkle speaks to Florian Riem about the evolution of classical streaming, his departure from Berlin Phil Media and the technological crossroads facing the music world
Having just left your position as Managing Director of Berlin Phil Media GmbH, you are now busy organising a Jazz Festival in Esslingen. How did you first find your way into the world of music?
The Jazz Festival is something I’ve been involved with for a long time, working with a wonderful team to bring together international greats of improvised music together with an educational programme. I ran this alongside my main role at Berlin Phil Media, which I left in October after some very rewarding years and projects there, as it felt natural to move on. Before starting a new role next year, I’m taking the opportunity to spend more time with my
14-month-old daughter.
How did you first find your way into music?
I studied law in Berlin and trained as a lawyer, only later merging that path with the arts. However, I always knew music would be central to my career. Typically, one becomes a musician or a lawyer, but for me the path wasn’t clear, even though the destination was. Internships at a music publisher and a record label showed me how exciting the intersection of music and law could be, particularly copyright and publishing rights. My very first law school class, taught by the renowned scholar Artur Wandtke, began with a Rolling Stones song. He asked, “What is this really?” I was hooked on copyright from that moment, and it confirmed I was on the right track.
You started your career with some impressive companies.
After my studies, I wrote to Manfred Eicher at ECM – my very first job application. To my surprise, it worked out, leading to an internship and later to a job; it was a perfect start. To deepen my expertise in copyright, trademark and antitrust law, I later worked at the European Intellectual Property Office, among others. It was fascinating, but I always intended to return to music, which I did when I joined Deutsche Grammophon.
And that’s where you met Till Janczukowicz, the CEO of IDAGIO?
That was actually through the law firm Boehmert & Boehmert. It was 2016, and IDAGIO was still a relatively small startup. I was hired to build their catalogue – essentially, to bring virtually every major classical recording to the platform – as well as to license new content and set up their artist remuneration model.
IDAGIO was a pioneer in exclusive classical streaming. How did it achieve and maintain its position?
While Medici.tv and the Digital Concert Hall (DCH) existed for video, IDAGIO was the first audio platform to offer a largely “complete” repertoire. Later, Primephonic emerged on a similar trajectory, and Apple eventually acquired this platform, developing it into Apple Music Classical.
What does “complete” repertoire mean? Can a classical music platform truly offer everything?
There’ll always be a few very small or new labels that IDAGIO does not licence, but unlike video platforms such as DCH or Medici, which produce much of their own curated content, IDAGIO licenses almost all the classical recordings available on the market. Its promise is simple: one subscription gives access to nearly every classical recording ever made, with excellent sound quality and fair remuneration for artists – something many other services do not offer. Crucially, IDAGIO’s metadata was far more comprehensive than that of most of its competitors, enabling the user to search for artists, works, instruments or musical periods.
How long did you stay at IDAGIO?
Until 2022. After the pandemic, I was offered a role at Berlin Phil Media. It was difficult to leave IDAGIO, but the prospect of working with the Berlin Philharmonic was incredibly exciting. DCH had been setting benchmarks for 15 years. Founded in 2008, when video streaming was still a new concept, the platform was a true pioneer, offering global, live access to one of the world’s finest orchestras, supported by a top-tier archive and unmatched audiovisual quality. There is simply no other project like it.
How do the audiences for IDAGIO and DCH differ?
Apple Music and Spotify serve a broad pool of music fans who listen in their cars, living rooms or offices. Classical music services, by contrast, cater to a much narrower audience. The DCH audience consists of classical music fans – specifically Berlin Philharmonic enthusiasts. They actively seek out specific concerts and artists, or simply want to follow the season of the orchestra, and they appreciate the platform’s curated quality. Many are long-time subscribers who value that consistent standard.
That said, DCH’s catalogue is much smaller than the big audio services.
True, but with DCH, it is all about one great artist and a trusted curatorial hand – the interpreters, repertoire and recording quality are guaranteed. On Apple Music Classical, you can choose from millions of titles, but their quality can vary greatly. Also, audio and video serve different audience needs. However, DCH will soon be offering audio releases of the orchestra as well.
What role do you see for AI in classical music?
Even before AI, streaming was flooded with low-quality content, which made true artistry stand out. AI intensifies this, especially when it mimics artists’ styles. The core challenge is protecting artistic integrity. One response may be for artists and labels to define parameters for how their work can be used by AI, allowing fans to generate new works within set boundaries. This shifts consumption from streaming static files to generating unique, personalised creations.
It’s a powerful tool, but the potential for misuse is huge. Still, the goal should not be to fear the technology, but to guide it responsibly with sensible safeguards.
Finally, what is the future of video streaming?
The initial goal of video streaming concerts was to recreate the live experience, especially during the pandemic, using high-fidelity audio and director-led work. But it cannot replace live events; it has evolved into a unique product with its own merits. The director’s choices, such as close-ups or alternative sightlines, offer a perspective you simply can’t get as an audience member at a concert hall.
Looking ahead, VR and AR will play a major role in deepening immersion. One key area is “Immersive Audio” – spatial sound that responds to movement, such as the direction in which you turn your head. Yet, each technological leap creates new artistic qualities. The director’s role in a VR space, for instance, will define a new art form that stands beside the live concert.
A major future challenge is the social aspect. The community, the shared experience of listening to a concert, or the conversations at a concert hall intermission, are obviously absent online. So, I think the future will involve balancing technological immersion with this innate human desire – namely the need to connect with others.
