I’ve been watching the BBC Young Musician competition on television for many years now. Slowly, the competition has slipped from the major channels and is now shown on BBC4, whose output currently seems to consist of repeats, archive material and cultural things that the BBC is faintly embarrassed by.
To see the competition discreetly tucked away like this is particularly frustrating this year as the standard of playing is so high. So far we have seen the first of two audition rounds. That first audition round already produced several people capable of winning the whole thing. The judges will be spoiled for choice when it comes to the final on October 20.
Meanwhile, the Leeds Piano Competition is in full swing. When I was learning the piano, the Leeds Piano Competition was extensively shown on television. It was ‘event television’ in those days. Now it isn’t on any of the main TV channels at all. Nor has it been reported in any detail in the mainstream press as far as I’m aware. In fact I can’t remember when the winner of the Leeds was last celebrated in the newspapers.
I’ve been thinking about how different it must be for today’s young competitors. When I was growing up, classical music was regarded as worthy of respect, even if you weren’t a particular fan. Top classical musicians like Yehudi Menuhin were deeply admired. As a young player I felt proud to be preparing for a venerable profession.
Preparing to be a classical musician hasn’t got any easier – it still requires years of dedicated practice. And many people still love and follow classical music. But public support for it has dwindled. Of course, many talented young musicians have enthusiastic support from their families. But how must it feel to be an aspiring classical musician, setting off on this career path into an indifferent world?
Do you think this indifference is worse in the UK? When you are on juries with musicians from different parts of the world are they making these kinds of observations too?
Mary, I don’t really know how things are in other countries. When I was in Germany last year, it kept coming up in conversation that classical music was no longer of such interest to the German public. However, there is still enormous state support for the arts in Germany – look at all their splendid orchestras and opera houses! – so it must be a mixed picture.
I have also followed this competition with interest for many years, and been disappointed that less of it is broadcast, the comments between performances less informed, and the focus gradually sliding from the music to the circumstances and experiences of the young players. It’s a shame not only for these wonderful musicians but also for potential audiences, who will not have the opportunity to be inspired. It’s putting classical music at a distance again, viewed as irrelevant. I haven’t heard any of the 2024 competition yet, but apparently there will no longer be instrumental sections I think? So the final may be entirely string players for example. I dislike this idea so much I prefer to believe that I misunderstand. I am still looking forward to watching it though and hope the competitors enjoy the experience and are given respect
Jean, I think the idea of abandoning the instrumental sections is that in previous years, it sometimes happened that the runner-up in a particularly strong category might be a more impressive player than the winner of another category, yet that impressive runner-up wouldn’t get into the final. That seemed unfair. As far as I understand, the idea is to find the 12 semi-finalists who represent the highest standards, no matter what instrumental category they fall into. In theory you’re right that this could mean 12 string players, but having seen Round One of the auditions I don’t feel there’s any danger of that happening. The talent is spread across the board.
‘Viewed as irrelevant’ – yes, this is a worry. Yet people also complain about young people being de-motivated and lacking skills. You’d hope that learning classical music, which takes commitment and perseverance, would be held up as an example of a hobby to cultivate.