Last night, the classical music world was set ablaze with emotion as the Gramophone Classical Music Awards 2025 unveiled its winners, and history was made. Sir Simon Rattle became the first-ever artist to be crowned Artist of the Year twice, a feat that left the audience in awe. But here's where it gets even more captivating: his journey with Gramophone began when he was just a 10-year-old boy, spending his pocket money on the magazine. Fast forward to now, and he’s being celebrated for his groundbreaking work with orchestras like the London Symphony Orchestra, Bavarian Radio Symphony Orchestra, and Orchestra of the Age of Enlightenment, among others. In his heartfelt acceptance speech, Rattle called the honor 'extraordinary,' a moment that resonated deeply with everyone in attendance.
And this is the part most people miss: the awards didn’t just celebrate Rattle’s achievements. Raphaël Pichon and his ensemble Pygmalion took home the top prize for Recording of the Year with their mesmerizing rendition of J.S. Bach’s Mass in B Minor. Gramophone praised it as a performance that ‘gleams at the cellular level, radiating outwards with devotional warmth; in short, it is alive.’ But here’s the controversial bit: can a 300-year-old composition truly sound alive in the 21st century? Pichon’s interpretation seems to prove it can, but what do you think? Is Bach’s music timeless, or does it lose something in modern renditions?
The night also shone a spotlight on rising star María Dueñas, a 22-year-old Spanish violinist who snagged both Young Artist of the Year and the Instrumental Category award for her album of Paganini’s 24 Caprices. Her talent is undeniable, but it raises a question: are young artists like Dueñas redefining classical music, or are they simply mastering the classics? Let’s discuss in the comments!
Now, let’s talk about the truly remarkable. Two world premiere recordings stole the show. Sir George Benjamin’s live recording of his 2023 opera Picture a Day Like This won in the contemporary category—no surprise there. But the real jaw-dropper was the Early Music Recording of the Year: The Krasiński Codex, a collection of 15th-century music from Cracow. This manuscript survived Nazi arson in 1944, possibly saved by a musicologist working for the Third Reich. Its rediscovery and recording offer a unique glimpse into medieval European musical culture. But here’s the controversial angle: should we celebrate the music, or question the ethics of its preservation under such dark circumstances?
The evening concluded with a standing ovation for Sir Thomas Allen, who received the Lifetime Achievement Award. His five-decade-long career, spanning from Mozart to Sondheim, is nothing short of legendary. In his acceptance speech, he humbly referred to himself as ‘a tiny prawn in a sea of greatness,’ a moment that tugged at everyone’s heartstrings. Yet, it leaves us wondering: in an era of fleeting fame, what does it take to achieve a lifetime of greatness in classical music?
From Rattle’s historic win to the rediscovery of centuries-old music, the Gramophone Awards 2025 were a testament to the enduring power of classical music. But as we celebrate these achievements, let’s also ask ourselves: what does it mean to be timeless in a world that’s constantly changing? Share your thoughts below—we’d love to hear your take!
