
Sticky Notes: The Classical Music Podcast
by Joshua Weilerstein
Is this your podcast?Insights from recent episode analysis
Audience Interest
- classical music exploration
- interviews with artists
Podcast Focus
- accessible classical music discussions
- in-depth music piece analysis
Publishing Consistency
- weekly or more often
- active for 9 years
Platform Reach
- specific platforms not detected
- unknown total followers
Insights are generated by CastFox AI using publicly available data, episode content, and proprietary models.
Most discussed topics
Brands & references
Total monthly reach
Estimated from 28 chart positions in 28 markets.
By chart position
- 🇨🇦CA · Music#44100K to 300K
- 🇬🇧GB · Music#49100K to 300K
- 🇺🇸US · Music#5630K to 100K
- 🇩🇪DE · Music#1515K to 30K
- 🇦🇺AU · Music#1965K to 30K
- Per-Episode Audience
Est. listeners per new episode within ~30 days
269K to 856K🎙 ~2x weekly·285 episodes·Last published today - Monthly Reach
Unique listeners across all episodes (30 days)
539K to 1.7M🇨🇦18%🇬🇧18%🇮🇹18%+25 more - Active Followers
Loyal subscribers who consistently listen
162K to 513K
Market Insights
Platform Distribution
Reach across major podcast platforms, updated hourly
Total Followers
—
Total Plays
—
Total Reviews
—
* Data sourced directly from platform APIs and aggregated hourly across all major podcast directories.
On the show
From 18 epsHost
Recent guests
Recent episodes
Grieg: Peer Gynt
Sep 3, 2026
Unknown duration
Mozart Clarinet Concerto
Aug 20, 2026
Unknown duration
Bohuslav Martinu Symphony No. 1
Aug 6, 2026
Unknown duration
Scriabin Poem of Ecstasy
Jul 23, 2026
Unknown duration
Sibelius Tapiola
Jul 10, 2026
47m 03s
Social Links & Contact
Official channels & resources
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| Date | Episode | Topics | Guests | Brands | Places | Keywords | Sponsor | Length | |
|---|---|---|---|---|---|---|---|---|---|
| 9/3/26 | Grieg: Peer Gynt | Grieg's Peer Gynt suites are among the best-known and best-loved works of classical music in the world. They are practically embedded into popular culture, being used in a dizzying number of cartoons, advertisements, and films. In the classical music world, as with Beethoven's 5th symphony, they have almost become a cliché, and they are often performed on so-called Pops concerts. The two big hits from Peer Gynt, Morning Mood and In the Hall of the Mountain King, are instantly recognizable to the general public, even if they don't know who wrote the music or where it comes from. And where all this music comes from is really interesting, and is going to be one of the main topics of this show. Because the famous music from Peer Gynt comes from the two suites that Grieg took from his massive score of incidental music to Henrik Ibsen's play in verse, Peer Gynt. The two suites together take about 45 minutes to perform, but Grieg actually wrote an extra hour's worth of music! He then extracted, for his suites, the music that he felt would stand on its own without the text, and this was quite a good decision, as they are certainly his most popular pieces and have etched his name into the classical music pantheon forever. But what about the rest of that music? What about the play itself? Today, on this Patreon-sponsored episode, we'll tell the story of the origins of Peer Gynt, both from Ibsen and from Grieg, and then we'll go through the nearly 2 hours of incidental music, most of it in a bit of a cursory way (which frankly is perfectly appropriate for Grieg, whose music abounds with naive simplicity and gorgeous tunes), but all the way through we are going to tell the wacky, wonderful, and way-ahead-of-its-time story of Peer Gynt, all through the music that Grieg wrote. On the show today you'll hear some of the most famous music in the world, and then some music that only the most passionate of connoisseurs have encountered. So, in essence, my kind of show. Join us! | — | ||||||
| 8/20/26 | Mozart Clarinet Concerto | When it comes to a piece like the Mozart Clarinet Concerto, a few words or phrases regularly come up: the concerto is described as "mellow" or Mozart's "swan song," but most often it is described as "perfect." Such a perfect piece as Mozart's Clarinet Concerto must have been hugely popular during Mozart's lifetime, right? It must have been played all over, by all the virtuoso clarinetists of the day. Well, that is not even close to the case. At the age of 35, Mozart was kind of old news in the economically depressed, repressed, and censored city of Vienna in 1790. There were very few concerts during this period, and Mozart's popularity had waned severely. The clarinet concerto, one of a wealth of brilliant (and yes, perfect) pieces Mozart wrote in the final year of his life, was performed once by the man for whom Mozart wrote it, Anton Stadler, before Mozart's death, but the location and the program of that concert are forgotten. The manuscript of the concerto is lost, which means we actually don't know a lot about it, especially considering it wasn't actually written for a standard clarinet, but for a basset clarinet (we'll get to that later). The piece was written just about two months before Mozart's death and was his last completed work, though there's absolutely no evidence that Mozart knew he was dying when he wrote it. All in all, there's actually a lot of mystery surrounding this perfect piece, and yet, when we hear the luminous music that Mozart wrote, all of this falls away. There is truly a kind of perfection to this music, a golden quality that is inescapable. There is no clarinet concerto that is performed more often or more recorded, and it remains a perennial favorite for clarinetists and orchestras around the world. Today, on this Patreon-sponsored episode, we'll talk about all these mysteries surrounding this concerto, Anton Stadler, the basset clarinet, and of course, the wonderful music itself, though, as always, Mozart sometimes defies description. Join us! | — | ||||||
| 8/6/26 | Bohuslav Martinu Symphony No. 1 | It took a lot to make the composer and critic Virgil Thomson happy. He was famous for savaging new works he didn't like, and the truth is, he didn't like very many new works at all. One exception was Bohuslav Martinů's very first symphony, written in 1942. Thomson said this: "The Martinů Symphony is a beaut. It is wholly lovely and doesn't sound like anything else." The story of how this symphony came to be is as fascinating as the music itself, and it's perfectly in keeping with the relentless curiosity of Martinů as a composer. Martinů, a prolific composer who wrote nearly 400 works, had just arrived in the US in 1941 as a refugee from war-torn Czechoslovakia. He was 51 years old and had never written a symphony before. This delay wasn't a case of crushing self-doubt, as it was for Brahms. It was actually a seeming lack of interest in the symphonic genre, which was not unusual at the time. But in 1942, Martinů sent a letter to Serge Koussevitzky, the music director of the Boston Symphony Orchestra and a friend to the dozens of refugee composers who had arrived from Europe during the early days of World War II. Koussevitzky commissioned Martinů to write a large-scale work, and Martinů responded with his First Symphony -- a perfect welcome to his new home, and to the grand adventure he was setting off on in a country he found intimidating, exciting, and full of opportunity. The result is a piece of remarkable contrast, energy, light, and boisterous hope, given the situation back in his homeland. As the sponsor of this episode, Pere Casan Bonet, put it, the symphony is "a pool of energy that makes me feel optimistic even at my lowest points." We'll start today with a quick overview of Martinů's life and work, since he might not be the most familiar composer to you, and then we'll talk our way through this incredible First Symphony. Martinů has always been one of my favorite "underrated" composers, so it's a thrill to get to talk to you about him today. Join us! | — | ||||||
| 7/23/26 | Scriabin Poem of Ecstasy | Thence the universe resounds With a joyful cry I AM. These are the final lines of Alexander Scriabin's epic Poem of Ecstasy, a 300-line poem that takes nearly 10 minutes to read aloud and is one of the most surreal texts in the world. Scriabin wrote a Poem of Ecstasy in text and a Poem of Ecstasy in music simultaneously. Both are absolutely wild, with the musical Poem of Ecstasy being a 20-minute thrill ride that alternates between languid, sinewy, seductive music and some of the loudest, most over-the-top, and dramatic music that could possibly exist. I've always been fascinated by Scriabin, and so this week's episode is an opportunity to talk about his wild (I'm going to be using that word a lot today) life and the eclectic philosophy behind Scriabin's works, as well as to take you through this masterpiece of musical sensuality. Scriabin not only doesn't shy away from sensual aspects in music but instead fully embraces them; in fact, the original title for this piece was Orgiastic Poem! Thankfully, since the piece probably would have never been performed with that title, Scriabin changed the name to Poem of Ecstasy, and the piece has stayed in the repertoire of most big orchestras ever since. And big is the key word here, because this piece is written for an absolutely massive orchestra. Like a Mahler symphony, the Poem of Ecstasy is an event whenever it is performed, simply from seeing the sheer size of the orchestra on stage when you see this piece live in concert. It is truly an overwhelming experience to listen to this piece, and I can't wait to share it with you this week. Join us! | — | ||||||
| 7/10/26 | SibeliusTapiola+4 | — | TapiolaKalevala+1 | — | SibeliusTapiola+5 | — | 47m 03s | ||
| 6/25/26 | symphonywar+4 | — | Symphony No. 3, "Liturgique" | Paris | Arthur HoneggerSymphony No. 3+6 | — | 53m 04s | ||
| 6/11/26 | DvořákPiano Quintet+4 | — | Piano Quintet, Op. 81Piano Quintet, Op. 5 | — | DvořákPiano Quintet+5 | — | 49m 31s | ||
| 5/28/26 | MozartString Quartet+4 | — | Mozart String Quartet, K. 465 | — | MozartDissonance+5 | — | 49m 26s | ||
| 5/15/26 | Beethovenclassical music+3 | — | 5e symphonie de Beethoven | Lille | Beethoven5th Symphony+3 | — | 42m 47s | ||
| 5/14/26 | Franz LisztGoethe's Faust+3 | — | FaustFaust Symphony | — | LisztFaust+5 | Jerry | 1h 03m 46s | ||
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| 5/8/26 | Schubertclassical music+3 | — | PatreonDie Schöne Mullerin | — | SchubertDie Schöne Mullerin+3 | — | 6m 52s | ||
| 5/1/26 | Wagnerclassical music+3 | Case Scaglione | Orchestre National D'Ile de FranceTristan and Isolde | — | WagnerTristan and Isolde+5 | — | 50m 37s | ||
| 4/16/26 | Lili Boulangerfemale composers+4 | — | Psalm 130D'un Matin de Printemps+1 | — | Lili BoulangerPsalm 130+5 | — | 46m 24s | ||
| 4/2/26 | TchaikovskySymphony No. 6+3 | — | — | — | TchaikovskySymphony No. 6+3 | — | 48m 23s | ||
| 3/21/26 | Tchaikovskysymphony analysis+3 | — | Tchaikovsky's 6th SymphonyPathetique | — | TchaikovskySymphony No. 6+5 | — | 50m 44s | ||
| 3/5/26 | Beethovenstring quartets+3 | — | Beethoven String Quartet, Op. 59, No.2Mendelssohn's 4th Symphony | — | Beethovenstring quartet+5 | — | 56m 56s | ||
| 2/19/26 | Brahmssymphony+4 | — | Aalborg Symphony | — | BrahmsSymphony No. 2+5 | — | 58m 32s | ||
| 2/5/26 | romantic relationshipsclassical music+3 | — | The MermaidThe Little Mermaid | — | ZemlinskyThe Mermaid+3 | — | 1h 01m 32s | ||
| 1/22/26 | Giovanni Battista PergolesiBaroque era+3 | — | Stabat MaterPulcinella | — | PergolesiStabat Mater+3 | — | 59m 02s | ||
| 1/8/26 | RachmaninoffPiano Concerto+4 | — | Moscow Philharmonic OrchestraRachmaninoff Piano Concerto No. 2+1 | — | RachmaninoffPiano Concerto No. 2+5 | — | 52m 41s | ||
| 12/18/25 | Handel's Messiahclassical music+3 | Aram Demirjian | Knoxville SymphonyHandel's Messiah | — | HandelMessiah+3 | — | 1h 09m 11s | ||
| 12/4/25 | Gustav HolstThe Planets+4 | — | The Planets | — | Gustav HolstThe Planets+4 | — | 1h 02m 09s | ||
| 11/20/25 | Franck Symphony in D Minor | In the 1960s, Leonard Bernstein famously helped to popularize the music of a then relatively obscure composer, Gustav Mahler. His work, as well as the work of other conductors, made Mahler into a classical-music household name. Mahler's symphonies are played every year all over the world, and he is firmly ensconced in the so-called canon of standard orchestral repertoire. Would it surprise you to know that Franck's D Minor Symphony once had the same reputation? It was played almost every year by most major orchestras, it was recorded by all the great conductors, and it was a fixture of the canon just like a Brahms symphony. Nowadays you would be lucky if, outside of France and Belgium, you hear Franck's Symphony once every five years, if that. The truth is that, other than a short golden period for this symphony, it has either been controversial (around the time it was premiered) or ignored (nowadays), which is a real shame, since it is a glorious piece that I would argue is drastically underrated in our modern world. The symphony was radically innovative for its time, which probably explains some of the more virulent criticism it received, but even though those innovations now sound completely normal to our ears, they are still at the heart of what makes this symphony so profoundly satisfying to listen to. Ahead of my performances of the symphony in Lille this December, I wanted to dive in and explore this unfairly ignored masterpiece. In about 40 minutes of music in three grand movements, Franck pours his soul into this work. That phrase sounds a bit cliché, I know, but I really mean it; there is an earnestness about this music that I find deeply moving, and it is something we will explore together today. We will talk about Franck's late entry into the world of composition, his reputation as an organist, and the challenges he faced in finding acceptance as a composer. Along the way, we will discuss this gorgeous piece in all of its passion and intensity. Join us! | — | ||||||
| 11/6/25 | Ravel and Falla: Echoes of Spain | Nowadays it's hard to imagine Maurice Ravel as a "bad-boy" revolutionary, a member of a group whose name can be loosely translated as The Hooligans. To most listeners today, Ravel's music is the very picture of sumptuous beauty. But the group he belonged to, Les Apaches ("The Hooligans"), earned its name because of its members' uncompromising attitudes about music; attitudes that clashed sharply with the conservative tastes of the establishment. Another composer who belonged to Les Apaches was the Spanish composer Manuel de Falla. Falla is certainly not as well known as Ravel, but the two became fast friends when he arrived in Paris in 1907. They formed a kind of mutual-admiration society that proved immensely fruitful for both of them. Falla was deeply impressed by Ravel's Spanish-inflected music, marveling at its authenticity given that Ravel was French. But Ravel, now a symbol of French music, was the son of a Swiss father and a Spanish-speaking mother, and he was born just eleven miles from the Spanish border in the Basque region. His Spanish voice was no affectation; it came from somewhere deep within, and Falla noticed this immediately, remarking that Ravel's Rapsodie espagnole was "a Spain ideally presented by his mother." Today on the show we'll explore the Spanish world of Falla and Ravel through two central works: Falla's Nights in the Gardens of Spain and Ravel's Rapsodie espagnole. These pieces, both astonishing in their creativity and craftsmanship, offer a wonderful opportunity to compare and contrast the music and approaches of these two close friends. We'll also talk about Les Apaches and their goals, legacy, and some of their legendary members. All this and more is coming up on this final collaboration on Ravel and Friends with G. Henle Publishers! Join us! | — | ||||||
| 10/27/25 | Shostakovich Symphony No. 10 LIVE w/ The Aalborg Symphony | Longtime listeners of Sticky Notes know that Shostakovich's 10 symphony was the inaugural piece covered on the show. It's been 8 years(!) since that show, so I've totally re-written the episode and had the privilege of presenting this new version live with the Aalborg Symphony Orchestra last week in Aalborg. Shostakovich, like so many composers before him, was obsessed with musical codes and messages, with songs that expressed two or more meanings, with ideas that were at once black and white and profoundly complex. This also describes Shostakovich himself, a man who was incredibly guarded with his public persona, and even his private persona as well. It is impossible to know anything for sure with Shostakovich, and to me therein lies the greatest strength of his music. The 10th symphony has been described as a portrayal of the Stalin years, as a portrayal of obsessive love, as a requiem, as sarcastic, as humorous, as agonizing, as triumphant, as, as, as….and the truth is that like all of the greatest works of Western Classical music, it is all of those things and so much more. It is a work of profound intensity, grabbing you from the start and not letting go for nearly 50 minutes, which makes sense considering that the piece was written in the shadow of another momentous event, the death of Joseph Stalin. There are very few experiences like hearing Shostakovich's 10th symphony live, and it is the kind of piece that, by the end of it, leaves you a slightly different person than you were when it started. Today on the show, we're going to be talking about a wide range of topics, from orchestral color to Joseph Stalin, from symphonic form to obsessive love, and much more. Join us! | — | ||||||
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Distribution & Reach
About the show, platforms, and key insights.
Distribution & Reach
About the show, platforms, and key insights.
Key insights
What the show covers
- accessible classical music discussions
- in-depth music piece analysis
- music era explorations
- listener-friendly classical content
Audience interests
- classical music exploration
- interviews with artists
- music repertoire analysis
- historical music context
Platform reach
- specific platforms not detected
- unknown total followers
- potential for broad distribution
- targeting classical music enthusiasts
Publishing consistency
- weekly or more often
- active for 9 years
- 285 episodes released
- seasons 1-5 being re-recorded
Chart history for Sticky Notes: The Classical Music Podcast
Peaked at #10 in SG, top 10 in 1 of 28 tracked markets, currently #10 in SG.
| Market | Genre | Peak | Current | Trend |
|---|---|---|---|---|
| SG | — | #10 | #10 | — |
| IL | — | #11 | #11 | — |
| HK | — | #13 | #13 | — |
| IS | — | #16 | #16 | — |
| Italy | — | #19 | #19 | — |
| New Zealand | — | #24 | #24 | — |
| VN | — | #33 | #33 | — |
| PT | — | #36 | #36 | — |
| Canada | — | #44 | #44 | — |
| United Kingdom | — | #49 | #49 | — |
| Finland | — | #54 | #54 | — |
| United States | — | #56 | #56 | — |
| TR | — | #57 | #57 | — |
| TH | — | #68 | #68 | — |
| Sweden | — | #69 | #69 | — |
| South Korea | — | #78 | #78 | — |
| TW | — | #78 | #78 | — |
| Netherlands | — | #99 | #99 | — |
| CL | — | #100 | #100 | — |
| Norway | — | #109 | #109 | — |
Chart Positions
28 placements across 28 markets.
Chart Positions
28 placements across 28 markets.