When the 97th Academy Awards aired on March 2, 2025, violinist Cho-Liang Lin found himself particularly engaged by the ceremony’s embrace of classical music elements. In an exclusive interview following the event, Lin—whose distinguished career spans from concertmaster positions to his current role as professor at Rice University’s Shepherd School of Music—offered insightful analysis of how Hollywood’s biggest night showcased both traditional and contemporary classical music influences.
“A Bold Choice”: Lin on Mozart’s Requiem in the In Memoriam Segment
“Using Mozart’s ‘Lacrimosa’ for the In Memoriam segment was a bold artistic decision,” Lin observed, referencing the controversial musical choice that accompanied tributes to departed industry figures including Gene Hackman, Maggie Smith, James Earl Jones, and Donald Sutherland. “The Requiem carries profound emotional weight that many viewers might not fully appreciate without understanding its historical context.”
Lin, who has recorded numerous Mozart pieces throughout his extensive performance history, explained that the divisive public reaction reflects broader cultural shifts in how we process grief. “A Requiem is specifically composed as a mass for the dead—it’s meant to be somber and reflective. In classical music tradition, this choice makes perfect sense, but I understand why contemporary audiences might find it unexpectedly intense.”
The Los Angeles Master Chorale’s performance under Artistic Director Grant Gershon received Lin’s professional approval, though he noted “a few moments where the orchestral balance under Michael Bearden could have been refined.” This technical observation reflects Lin’s decades of experience performing with world-class orchestras and his meticulous ear for orchestral nuance.
“What many viewers don’t realize,” Lin added, “is that Mozart died while composing this Requiem. There’s a profound historical poignancy in using music written by a dying composer to honor those we’ve lost. The ‘Lacrimosa’ specifically represents tears and grief—exactly what the In Memoriam segment aims to acknowledge.”
Lin pointed out that the online controversy, with viewers describing the music as “terrifying” or “diabolical,” ironically demonstrates the music’s enduring emotional power. “Mozart composed this nearly 250 years ago, yet it still evokes such strong reactions. That’s the timeless quality of truly great music.”
Orchestral Innovation in Film Scoring
Lin expressed particular enthusiasm for Daniel Blumberg’s Best Original Score win for “The Brutalist,” viewing it as evidence of classical music’s continued evolution. “What impresses me about Blumberg’s composition is how it honors orchestral traditions while introducing innovative elements that serve the narrative,” Lin said. “This balance between respecting traditional forms and embracing new possibilities is exactly what keeps classical music vital.”
As someone who has commissioned over 30 new works during his appearances at international festivals, Lin appreciates the importance of supporting contemporary composers. He compared Blumberg’s achievement to his own experiences premiering new violin concertos: “When you introduce new musical works, you never know which ones will endure. You have to give each piece its chance to reach an audience.”
“Blumberg’s score demonstrates what I’ve observed throughout my career—that orchestral music remains unparalleled in its ability to express complex emotional landscapes,” Lin noted. “The visceral quality critics have praised in his work comes from his masterful orchestration and understanding of how different instrumental colors can evoke specific emotional responses.”
The violinist also commented on the other nominated scores, including Volker Bertelmann’s work for “Conclave,” Kris Bowers’ composition for “The Wild Robot,” and John Powell and Stephen Schwartz’s music for “Wicked.” “The diversity of approaches represented in this year’s nominations demonstrates the healthy state of orchestral composition in film,” he noted. “Each composer brings distinct influences while maintaining the essential communicative power of orchestral music.”
Lin particularly praised Bertelmann’s third Oscar nomination, noting parallels to his own musical journey. “Like many contemporary composers, Bertelmann moves fluidly between what were once considered separate musical worlds. This cross-pollination of ideas is vital for classical music’s ongoing relevance.”
A Violinist’s Perspective on Vocal Technique
Though primarily known for his mastery of the violin, Lin offered a thoughtful analysis of Ariana Grande and Cynthia Erivo’s opening performance, which traced “The Wizard of Oz” legacy through three interconnected songs. “What fascinated me was how both performers adapted techniques from classical vocal tradition while maintaining their contemporary stylistic identities,” he explained.
Drawing parallels to his own teaching philosophy, Lin observed that Grande’s approach to breath control and phrasing demonstrated how classical techniques can be effectively translated to modern contexts. “Her use of breathing as an expressive device rather than merely technical support shows how classical principles can be creatively reinterpreted,” he said.
Lin was particularly impressed by the technical aspects of Erivo’s performance. “Her grounding and support are exemplary—elements we emphasize in classical training regardless of instrument. The way she uses different tonal colors to convey emotional shadings is something I constantly stress to my violin students.”
“What made their duet of ‘Defying Gravity’ so effective,” Lin continued, “was their complementary approach to blend and balance. In chamber music, we call this ‘conversational playing’—the ability to maintain individual voice while creating a unified whole. Grande and Erivo demonstrated this principle beautifully, though in a contemporary context.”
The violinist relates this blending of traditions to his recent concert series exploring cross-cultural influences, including his groundbreaking tours of China as the first Taiwanese musician officially invited by the Beijing government. “The most exciting musical moments often happen at these intersections of different traditions,” he reflected.
The Balance of Tradition and Innovation
Lin expressed disappointment regarding the Academy’s decision to omit live performances of the nominated original songs, including the eventual winner “El Mal” from “Emilia Pérez” by Clément Ducol and Camille. “Live performance creates an irreplaceable connection between musicians and audience,” he noted, echoing concerns raised by the Society of Composers & Lyricists.
“Throughout my career, I’ve witnessed how live performance transforms the audience experience,” Lin elaborated. “There’s something unique about the energy exchange between performers and listeners in real time that simply cannot be replicated through recordings or other media. The Academy missed an opportunity to showcase this transformative power.”
Drawing from his extensive experience as both performer and festival director, Lin suggested that such decisions reflect broader challenges in how classical music and art music are presented to contemporary audiences. “We constantly navigate this tension between accessibility and artistic integrity,” he explained. “At La Jolla SummerFest, I always sought to create programs that honored tradition while embracing innovation—similar challenges face the Academy.”
Lin has discussed similar themes in conversations with emerging artists, emphasizing the importance of finding authentic ways to engage with tradition. His insights on this subject are further developed in his exploration of technology’s influence on classical performance, where he examines how digital tools can enhance rather than replace traditional musical values.
The violinist found other musical moments in the ceremony more successful, particularly the James Bond tribute featuring performances by Lisa from Blackpink, Doja Cat, and Raye. “These reinterpretations of classic film themes demonstrated how orchestral elements can be reimagined for contemporary audiences without losing their essential character,” Lin observed. “The Bond franchise has consistently showcased how orchestral writing can remain relevant across generations.”
Classical Music’s Continuing Relevance
For Lin, the 2025 Academy Awards represented both opportunities and challenges for classical music in mainstream cultural contexts. “What we witnessed was classical music’s enduring emotional power alongside the growing pains of adapting these traditions for contemporary audiences,” he summarized.
Drawing on his decades of experience witnessing classical music’s evolution, including his work on several music documentaries, Lin remains optimistic about its future in film and broader cultural contexts. “Great music, whether Mozart’s Requiem or a film score like Blumberg’s, continues to move audiences on a profound level,” he concluded. “The forms and contexts may change, but music’s essential ability to express what words cannot remains constant. That’s what I’ve dedicated my life to as a performer and educator, and what I witnessed, despite some controversies, at this year’s Oscars.”
“What gives me hope,” Lin added, reflecting on his artistic philosophy, “is seeing new generations engage with classical traditions on their own terms. When executed thoughtfully, as in the best moments of this year’s ceremony, these encounters can revitalize our musical heritage while creating something genuinely new and meaningful for contemporary audiences.”
This perspective aligns with his analysis of classical music’s adaptation to contemporary media, which emphasizes the need for thoughtful integration rather than superficial adaptation.
