On screen and stage: a performer’s perspective on life in early music, 2020–21

Abstract

The life of a performing musician in the UK over the last 18 months has been something of a rollercoaster. Since the abrupt shutdown of March 2020, there have been various, often confusing stages of tentative reopening, some sense of a brave new world, alongside frustrations, instability, and a heightened awareness of the fragility of even the best-laid plans. It is natural, then, first to mention the extraordinary skill, resourcefulness and resilience of those who work in the organization and promotion of early music. They have added a long list of unexpectedly crucial skills to their toolkits, and have kept the music playing while conducting risk assessments and wielding their two-metre rulers and (against the odds) broad smiles. It is hard not to resort to cliché here, but it is simply inconceivable, now, to make music without the help of these unsung heroes and heroines. For that, all performers are hugely indebted.