Composers should be incensed that their music is taking a back seat to their race or gender

The slow but certain conquest of all public life by those promulgating the politics of identity has achieved a new victory in the realm of classical music. Cloaked in claims of benevolence and good intent, it arrives as a divisive force, screaming equality but in reality delivering nothing of the sort.

Much of our public discourse is focused on identity politics. Our news cycle is replete with tales of gender pay-gaps, unmet inclusivity quotas and the great struggle for the elusive goal that is equality, so perhaps it should come as no surprise that we now find these issues played out in the classical music industry. The dark heart of all this is to be found in the (sadly) niche area of contemporary classical music. Of the numerous competitions and schemes on offer for composers in Britain, a disturbing number contain politically-driven caveats as part of their application process as a means of realising the great idée fixe of our time, ‘diversity’.