The Future Of Classical Music As some orchestral musicians make a tentative return to work, The Musician assesses what the future might look like for those working in the classical sector
“These are small steps… but I think we’re going in the right direction” Nigel Charman
Oliver Dowden’s five-stage road map to reopen theatres and concert halls to paying audiences looks set to run over rough ground. The culture secretary’s lockdown easement plan, announced on 25 June, was notably vague in terms of timing and silent on funding. Musicians and other performing artists are unlikely to feel confident about 22 their future employment prospects as a result, despite the government’s more recent pledge of £1.57bn to support the UK’s arts infrastructure. At the time of writing, 150 grassroots venues have received welcome if not exactly redemptive news that they stand to share £2.25m in grant aid. Musicians in the nation’s orchestras, meanwhile, especially those employed as freelancers, are waiting for a sign that bailout cash will be used to preserve performing arts jobs as well as protect arts buildings and institutions. Several of Britain’s orchestras have already made a tentative start on the comeback trail. Fourteen members of the Orchestra of the Royal Opera House returned to work at Covent Garden in mid-June to play a chamber version of Mahler’s Song Of The Earth. Their emotionally charged performance, streamed live online, served notice of what the country stands to lose if support for orchestras is not forthcoming from the public purse. The London Symphony Orchestra took the next step with a concert at St Luke’s at the end of July, one of several pilot events designed to test the safety of bringing players together in the same space. Orchestra members also
The Musician • Autumn 2020
Photo: David Jackson
Report by Andrew Stewart
Orchestras such as the LSO are back at work in a safe fashion, and taking every precaution
launched a Summer Shorts series of duo recitals on Friday lunchtimes at St Luke’s, open to a small, socially distanced audience. LSO first violinist Maxine Kwok recalls the joy of returning to work after a break of almost five months. She and her colleagues were tested for Covid-19 before the first rehearsal. “The whole week was great, first to play together with the orchestra without an audience and then, a few days later, for me and Julián Gil Rodríguez, to perform duets to a live audience. I felt quite deflated after it was over! We’d been waiting so long for this moment and must now wait for our next performance at the BBC Proms later this summer. These are small steps, but at least I think we’re going in the right direction.”
Back to work Orchestra of the Royal Opera House percussionist and MU Steward, Nigel Charman, was also delighted to be back at work. The process, he recalls, followed guidelines set out in a 23-page document and strict protocols designed to protect everyone from musicians to backstage staff. “It was wonderful to make music again,” explains Charman. “It was one of the most fulfilling weeks I can remember. After three months at home, occasionally looking at the diary to see what we would have been doing, it was great to be back in the building with fellow musicians. And to start playing again was simply amazing. I felt so fortunate to be one of those who took part, and wished the whole orchestra could have been there.”
