The decorum and stiffness of the modern classical music performance began with the rise of the bourgeoisie, says The New Yorker’s Alex Ross in a history of the classical concert. When the aristocracy was in charge before the 1900s, the audience would converse during the performances, the program was a mix of portions of longer compositions, and, horror of horrors, people applauded whenever they felt like it. Pianist Franz Liszt took requests and improvised. The evolution into the modern program of complete works and an attentive audience gave more respect to the artists and composers, but resulted from status symbols the rising bourgeoisie wanted to keep hold of. That strict status is restrictive and Ross is all for continued evolution into flexible programming and fresh interpretations. And for loosening up: “The overarching problem of classical music is the tuxedo.”