Mitchel Broussard of MacRumors recently published a thorough look at the issues classic musical fans have with Apple Music's approach to the expansive genre. Unlike many other common genres, such as hip-hop, pop and country, the classical music classically sees its own unique challenges in a number of areas. Broussard spoke to Benjamin Charles and Franz Rumiz, classical music enthusiasts, who shared their frustrations with how Apple Music is unable to optimize for classical music's distinctiveness. He writes:
[Apple Music’s Classical] the section spans centuries, including all the remarkable composers like Mozart (born 1756, died in 1791), Maurice Ravel (1875, 1937) and John Cage (1912, 1992), but this grouping is frustrating for classic music avicionados, given how little these musicals have in common with each other … Rumiz: "The sorting of recordings follows the rules of pop and rock genre. For classical music this does not fit everything because you often want to compare different recordings of the same pieces by the same composer with different soloists, orchestras and conductors. "
[…] Charles says that one aspect of classical music mixed in shuffle is the listener's interest in a piece of composer versus his performer. While some artists, such as Leonard Bernstein, both compose and perform their music, Charles asks how Apple Music determines the best recording for a piece of music: "Is a recording more important because it is composed by Bach, or is it more significant because it is is done by Glenn Gould? "
Classical music can also be extremely difficult to ask for Siri because of the unique names of many classic tracks, and there are several other issues highlighted in the article, all of which seem to be legitimate obstacles to a great classic music experience at Apple's platform.
Overall, Apple Music's classical music management seems more like an oversight than an intentional design selection, but Broussard and his interviews make a strong case that Apple should notice. As the last line of the article states:
"This is a completely untapped market," Charles says. "A streaming service could completely own the classic music album if it wanted to."