This work consists of analyzing and reflecting on the reactions of classical music composers at the time of the premiere of their work, whether or not they are conditioned by the practical reality of putting on a concert. Based on the existing bibliographical analysis, results and conclusions will be presented on the different reactions and ways of seeing the moment of the premiere. Conclusions will be drawn with a view to relating the practical reality and the final result to future works and/or to the composer's own way of composing. Finally, the processes and dynamics of the phenomenon will be demonstrated through the analysis of various current cases with their own specificities.