Page 39 - Guildhall Coverage Book 2020-21

Evidently, then, there are orchestras who are successfully navigating the restrictions to continue
playing together for the present – something that means the world to the performers and creatives
involved. But what does the future hold for orchestral music? Will it be excessively reliant on tech
in order to perform for audiences? Or is there hope for live performances to return to our stages
once again?

Well, as far as the future of orchestras is concerned, technology is certainly not without merit. Clod
Ensemble, for one, is working to encourage more young people into the music sector through its Ear
Opener project: a digital series of lessons teaching students how to compose their own music. “The
number [of students] studying A Level music have dropped 32% in six years – we had an
educational crisis before we had a public health crisis,” says Co-Artistic Director Paul Clark. “But
the classroom isn’t always the best place to think about music - so I’m looking forward to seeing
how educators rise to the challenge of creating online content and new ways of learning.”
Presumably, then, this educational initiative is doing its part to safeguard the future of our
orchestras through inspiring young people to continue considering careers in the music industry,
despite its precarious fragility just now.

Regarding live performances, though, there is a cacophonous agreement within the classical music
industry to return orchestras to the stage – with audiences sitting front row. “[It’s] clear that many
people have loved being able to watch concerts from their home, and whilst uncertainty ensues
around live performances, it is wonderful to have this alternative way to engage with live music
making,” says Ellie Carnegie-Brown, Executive Producer at The Multi Story Orchestra.