EDITORIAL
Being human EDITORIAL Phone +44 (0) 207 501 6746 Email classical.music@markallengroup.com Editor Florence Lockheart Design Daniela Di Padova ADVERTISING Head of Sales Amy Driscoll 020 7333 1719 amy.driscoll@markallengroup.com Title Manager Holly Harland holly.harland@markallengroup.com Production Controller Daniela Di Padova daniela.dipadova@markallengroup.com SUBSCRIPTIONS AND BACK ISSUES Phone UK 0800 137207 Overseas +44(0)1722 716997 Email subscriptions@markallengroup.com Subscriptions Manager Bethany Foy UK Print & Digital subscription rates: Annual Card: £80; Annual Direct Debit: £75; Quarterly Direct Debit: £19 PUBLISHING Phone +44(0)20 7738 5454 Managing Director Ravi Chandiramani Publisher Amy Driscoll Director of Marketing Tony Hill Head of Marketing John Barnett Group Institutional Sales Manager Jas Atwal Production Director Richard Hamshere Circulation Director Sally Boettcher Chief Operating Offi cer Jon Benson Chief Executive Offi cer Ben Allen Executive Chairman Mark Allen
Artificial intelligence (AI) tools are increasingly used to create marketing copy and promotional imagery. In the case of Queensland Symphony Orchestra, the use of AI ‘art’ in a recent social media post prompted widespread confusion at the obviously computer-generated image of a strange, waxy couple (with too many fingers). Although AI has its applications, these blunders draw attention to the vast amount of uniquely human effort that goes into making art. Once the novelty of being able to ‘create’ any image you can think of has worn off, I hope it leaves behind an understanding that it’s impossible to extricate humans from the creative experience because it is the humanity behind – and within – art (and classical music in particular) that makes audiences feel something. If you take that out, all you’re left with is a computer’s guess at what it is to be human.
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That’s not to say that innovation and technology have no place in the classical sphere. In his opinion column this issue (p.17) #ConcertLab creator Matt Belcher re-imagines the concert format, while Miami’s New World Center offers the New World Symphony players who call it home the tools to embrace a digital future (p.38).
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Technology is the subject of Dale Wills’s feature (p.22) focusing on how advances in real-time analysis are helping musicians protect their hearing and maintain their health – and their careers – for years to come. Donne Foundation’s Gabriella Di Laccio is also looking ahead (p.18), and hoping for better opportunities for women and non-binary creatives.
Camerata Ireland is a similar product of a time of need (p.24). Founded by pianist and conductor Barry Douglas in the wake of the Good Friday Agreement, the orchestra celebrates its 25th birthday this year. Closer to home (or to CM’s London offi ce, at least) Clare Stevens discovers the Royal Choral Society’s (RCS) rich history and finds out how a choir with such illustrious roots continues to grow (p.27).
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Classical Music, ISSN 0961-2696, is published quarterly by MA Education & Music Ltd, St Jude’s Church, Dulwich Road, London SE24 0PB, UK Subscription records are maintained at MA Education & Music Ltd, Unit A, Buildings 1-5 Dinton Business Park, Catherine Ford Road, Dinton, Salisbury, Wiltshire SP3 5HZ © MA Education & Music Ltd 2024. All rights reserved. No part of Classical Music may be reproduced, stored in a retrieval system, or transmitted in any form or by any means electronic, mechanical, photocopying, recording, or otherwise without prior written permission of the publishing director. The views expressed do not necessarily represent those of the editor. The presence of advertisements in Classical Music implies no endorsement of the products or services offered. Every effort has been made to ensure the accuracy of statements in this magazine but we cannot accept responsibility for errors or omissions, or for matters arising from clerical or printers’ errors, or an advertiser not completing their contract. We have made every effort to secure permission to use copyright material. Where material has been used inadvertently or we have been unable to trace the copyright owner, acknowledgment will be made in a future issue. Classical Music is interested in articles on all aspects of the classical music world; if you wish to submit one please contact the editor. We reserve the right to edit material for publication. Please read our privacy policy by visiting http://privacypolicy.markallengroup.com This will explain how we process, use and safeguard your data. Printed in the UK by Pensord, Pontllanfraith, Blackwood NP12 2YA
Enormous venues like the Royal Albert Hall, which the RCS was created to fill, present the performances we excitedly attend thanks to a bevy of people working behind the scenes. In this issue’s industry insider Charlotte Gardner looks behind the curtain to find out what it’s like – and what it takes – to be a stage manager (p.30).
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Our final thoughts for this issue come from James Williams, as he prepares to make the move from the Royal Philharmonic Orchestra (RPO) to the Royal College of Music (p.106). Williams looks back on eight years with the RPO and gives his views on the place of music education in the industry.
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As always we’d love to hear your feedback, so please do get in touch via the details below.
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Florence Lockheart Editor
@ClassicalMusic_ ˆ.com/UKclassicalmusic @classicalmusic_uk usic @classicalmusic_uk
Classical Music is the only dedicated magazine and website for the classical music industry in the UK, with features, news and reviews for performers, agents, managers, promoters along with anyone with an interest in the music world. Classical Music comprises a quarterly print magazine, daily e-newsletters (which collate the top stories from us and other notable news sources from around the world) and a weekly e-news digest. Classical Music gives subscribers unique insight into what’s going on in the sector, with regular coverage of festivals, competitions, courses and concerts, as well as key career information for musicians and details of new appointments.
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Spring 2024 | Classical Music | 5
