Page 111 - RPS Awards 2023 Coverage Book

Of course, we need greater financial commitment from government. But classical music
is not simply looking to the future with a begging bowl. We showed through the
pandemic that we are central to the wellbeing and prosperity of our national life. The
NHS and care providers nationwide increasingly draw on musicians to help in the
comfort and recovery of people living with physical and mental health conditions.

The arts are central to the international standing, character and wellbeing of the nation
and bring in over £110bn annually to the economy. Looking elsewhere: Berlin – a single
city – gets cultural funding of around 600m euros, while the annual ACE budget is
£428m. Charlotte Higgins aptly called this funding a thin gruel that organisations are
forced to beg for. And we all remember “Eat Out to Help Out”, which subsidised
restaurants during the pandemic. That cost some £849m for one month alone. If any
government, current or future, addresses the awful cost of living crisis by subsidising
the hospitality sector, the arts should get a similar deal. At the very least, the
government could look for new tax incentives that would encourage individual donors
to give more effectively to causes they love.

So how can we make our case in the current economic climate and amid so much global
turmoil? Let’s spell out what an ideal world might look like. All young people are
passionate about music – and all types of music. Schools are facing many similar
challenges to the cultural sector. We need to understand those challenges and address
how we can all work together. It’s critical that we talk to young people. We also need to
highlight the importance of music education and music literacy. The music of
Beethoven, Britten or Caroline Shaw should be taught alongside the likes of
Shakespeare, Austen or Bernardine Evaristo.

The music of Beethoven, Britten or Caroline Shaw should be taught alongside the likes of
Shakespeare, Austen or Bernardine Evaristo.

We need to renew our call to the government to embrace the idea of a universal offer,
like there is for literature. Rather than attack, which doesn’t get the classical music
world very far, could we not come up with a united, tangible, and supportive suggestion
from the sector? We should call for every primary school child to have the opportunity
to attend many musical performances, to familiarise themselves with music history and
an instrument, or to sing in a choir. I admire the rounded-educational model so well
embedded by our neighbours, Finland. Their Art Testers programme supports every
child in a certain school year to attend two shows or exhibitions.

Although many schools, music education hubs and national youth music organisations
do fantastic work, the days of free music education for all children throughout their
schooling are largely gone, and investment in the whole system in real terms is at an all-
time low. Numbers of students taking GCSE and A-Level music exams have dipped, but
those taking grade exams have increased. This would indicate that those who can afford
to go private are making their own arrangements. Music is becoming the preserve of the
middle classes, exactly the opposite of what Let’s Create is meant to achieve.

All the work we undertake in our opera houses, festivals and concert halls – including
education events for schools and families – could be beamed at very little cost into
every classroom or home across the country. Wigmore Hall’s free live streams have
already had a national and international impact, but there is scope to do so much more.