When this whole mess is over, there’ll be a shortish MA thesis — or at least a blog post — to be had from analysing classical music’s evolving response to the crisis. Already, looking back, distinct phases are emerging from the viral fog. Phase One: the Banana Bread Apocalypse — that first lockdown, when Jamie Oliver was telling us to smoosh up frozen peas and pretend it was pesto, and phonecam footage of a cellist playing Bach in the spare bedroom felt like a kind of miracle. Phase Two: orchestras working out what they could actually do while socially distanced and audienceless. Cue a spike in online performances of works for small (or spaced-out) orchestra. Lots of Tallis Fantasias and Siegfried Idylls. A brief flurry of live shows with miniaturised ensembles and no loo breaks.
Phase Three was when hopes of a normal 2021-22 season spiralled down the plughole, and things started to get interesting.
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