Let's talk music, no genre boundaries

In a word. music is boring if it is industrial production...

Music is not boring, it is our attention span and power often that makes music boring...

Music written or not is makes by musician...

Then speaking of a symphony from a composer without naming the musicians behind the interpretation makes no sense for me...

I never loved any composer BEFORE listening them by specific musicians which awake me to the composer creative potential because they were able to tap in the composer creativity in a way that touch me. It could be different interpretations for sure for others people. But interpretation, thats to say, musician playing "voices" is music, not the written paper.

Music meanings is linked to cultural history , if we are unable to read history through music we miss a lot...

Tastes must be educated as the ears must be trained...

Music like poetry or mathematics ask for attention training...

They exist boring people in my experience, but no boring music from any cultures on earth...

I listen music,i hear acoustics, as i read a book, the attention  awaked...I judged it after deep listening.

We hear music with sounds conveying information about the vibrating  sound source material and spiritual state, which are the vibrating instruments and the vibrating gesturing body of the musician even from his heart and mind...

Sound generate light, in the beginning was the "verb"....

A sound inside a sound,inside a sound; body,soul,spirit...

For those who have said they do not enjoy Beethoven, I am posting his most lyrical symphony, his 6th, Pastorale. The conductor is Bruno Walter who had conducted this symphony many times. This recording, however, was done when he was 80, and it is slow and musical. I think it is the most purchased album of Beethoven's 6th. I loved it the minute I heared it. If you go to classical music forums, it is almost always included as one of the best recordings of Beethoven's 6th. I hope you enjoy.

https://www.youtube.com/watch?v=WIjiKZR0BSs

@mahgister @frogman 

As I have told you, I have little formal education in music. It seems to me, however, that a number of "modern" conductors change the timing of music to enhance its lyricism and power. By lengthening some notes and shortening others, as well as silences between notes, they find interpretations that are often more "romantic." 

Although there are composers like Carlos Klieber (recognized by other conductors as perhaps the best conductor of the 20th century) who stick to the score with rigorous timing, but somehow enhance a piece of music to its utmost. Kleiber's recording of Beethoven's Fifth is a good example. His timing seems to my ear to be exacting, yet you cannot find a classical forum that does not list him as one of the best, if not the best, conductor of Beethoven's Fifth. I have also found this to be true of Karl Bohm. I have a record set of him conducting Mozart's later symphonies and also Beethoven's 6th. He is the only conductor whose 6th I enjoy as much as Bruno Walter's.

I have read that different historical periods produce different types of musical interpretations. I have seen a number of performances, as well as owning a number of recordings, by musicians who "deconstruct" a musical score and reconstruct it with very "modern" interpretations. I have heard Mirga Grazinyte-Tyla, (whom I believe will be one of the 21st centuries great conductors) tear apart Tchaikovsky's Violin Concerto and produce something which I wouldn't have recognized, at least in some passages. 

I have a boxed set of Fazil Say playing Mozart's piano concertos and he changes timing and dynamics in drastic ways which to my ear convey the "story" that I think @mahgister was talking about.

Hopefully @frogman will weigh in.

Save some miraculous exceptions, there is no perfect interpretation...

But my point was that music exist when a musician interpret it...

Musical work are resilient and able to support many interpretation perspectives...

The main point is listening to the musicians not to a dead corpse ( written score)...

Not enough time to give the subject its due, but, a couple of thoughts:

There is a (mistaken) tendency on the part of many music lovers to be too quick to deem a particular work, performance, performer, or conductor the “best”, “greatest”, “most soulful”, etc. without keeping matters in perspective and context. Think about it, many of the great works being discussed are a direct product of societal/political forces at play at the time of the composition, or performance.  That is what artists do.  Their work is an expression/reflection of the time, with all of the societal/political forces at play at the time.  So, to judge a work or performance through a more current lens only is a necessarily incomplete judgment and ultimately pointless.  A performance that is “more romantic” is not necessarily a good thing.  The works of Shostakovich, for instance, with all the turmoil in the world at that time are seldom “romantic”; nor should they be.

BTW, while “timing” is a very important element of “interpretation”, it is only one factor.  Instrumental balance, tonal color, dynamic detail and contrast are every bit as, sometimes more, important choices that a great conductor coaxes from the orchestra to make a great performance.

Sorry to be so brief.