A bit late to the newest iteration of this old party (via Lisa Hirsch). There has been solid slagging all around, but after sufficient hole poking in the "classical music is dead" premise/arguments, the real question that emerges is: why do people love trolling classical music so much?
As much as some people would have you believe, the classical music story doesn't fit so neatly into a story of obsolescence and creative destruction. Classical music isn't the horse drawn buggy or chemical film development--its consumers are purchasing an experience from which they derive psychic satisfaction, intellectual stimulation, and sure, in some cases vindication of some pretty corrupt politics. The point is, culture lives in a world with the laws of supply and demand, but that doesn't mean its bound by the most reductive version of that story.
I mean, this seems like a pretty clear distinction, so why do we get "... is dead" articles instead of "state of ..." articles? I blame liberal self-loathing--the same kind of action that keeps David Brooks in business. The bait operates on two levels. The first is the classic case, the liberal who really doesn't care about classical music (which is fine!) but who occasionally cultivates their inner 17 (or 33) year old ready to throw anything overboard that hints at the establishment or the rich. The second is the actual classical music listener, who, conditioned by years of rightwing conditioning and centrist positioning, secretly questions the legitimacy of their latte-drinking and volvo driving preferences. Denigration of their pleasures and cultural touchstones is the price of living in a blue state after all, so just chuckle politely and take your medicine.
As far as clickbait goes, this can be annoying, but we're all mature enough to suffer a little angst while reading the internet. The bigger issue is that this imaginary debate sucks the air out of real coverage of a sector of the economy and the culture that actually matters to a healthy portion of the culture-interested classes of major cities. Slate readers are the kind of people that live in big cities, peruse the culture pages in their local papers, even cross paths with their music institutions once in a while--but instead of a letting a million Slate pitches blooming about what really makes orchestras sound good we get this tired garbage designed to get readers' goat.