A philosophical question.


I want to pose a sort of philosophical question about our listening to music.
The obvious answer to the question is that we should listen to whatever we damn please. But the query is: should we be happy listening to our favorite composers and compositions, or should we feel guilty about not exploring new horizons and music we’re prone to hate?  For me, the obvious bitter pills are such as Liszt, Neilson and Bruckner, not to mention the Second Viennese school.  We run the risk of close-mindedness by ignoring that which we don’t know and missing out on what what glories might be out there.  On the other hand, we only have so much time, and there is a universe of more accessible music available.
I just wonder if this dilemma has crossed anyone else's mind.
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I’m somewhat surprised and very impressed by the responses this post engendered. Really thoughtful and introspective replies.
Thanks to those who submitted suggested listening.  I will follow up.
If you’re looking for new music in classical repertory,  there’s no better streaming site than Idagio. Only $10/month.
David Ten gave a most philosophical response. BTW, I like streaming services because it allows me to constantly try new artists and I like new.
I found the best recommendations on Spotify. Unfortunately, the sound quality is below par compared to Quobuz, Idagio and Tidal.
I never heard of Louise Farrenc, until Spotify.
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My decades-long exploration of classical music has always been repertoire based.  By this I mean I always sought out those less-known or outright forgotten composers on obscure labels, rather than sticking to a core of canonical composers and pieces, and perhaps multiplying the number of recordings I have of one piece.  (Exception: Mahler.)  I explore laterally a period I enjoy.  For years I was after Mahler's near contemporaries, from Suk, Reger, to Martinu and a host of others.  More lately I got into the Stylus Phantasticus, and collected twenty recordings from the early Italians through Biber and beyond--mostly composers most people have never heard of.  For quite a while I was buying the installments of Hyperion's seemingly never-ending survey of 19C piano concertos.  Conclusion: you do stumble occasionally over minor gems, but you also listen to a lot of worthy but ultimately unexceptional music.  There is a reason the canon is the canon (or rather two canons: the canonical works by canonical composers).  But I suppose I have the completist gene, and the thrill of the hunt keeps me going.  It's not a question of guilt, but rather of curiosity and ultimately enjoyment. So many things are a chore, music shouldn't be one of them.