Working to create a plurality of voices within classical music
How can we make classical music more representative of the real world? Conductor Lidiya Yankovskaya argues for a variety of intentional approaches across many different job roles.
When I was a 17-year-old violinist and pianist, a committed music educator asked me if I’d ever considered conducting. He invited me to lead from the piano, and eventually, to properly conduct a movement of Dvorak’s Symphony No. 7 in performance. As soon as I was on the podium, I realized that this was my path. It was exhilarating to serve as a conduit for my peers’ music-making, to focus on the big picture, and to shape sound in this exceptionally collaborative way. By thoughtfully identifying potential in me and continuing to give me opportunities once I demonstrated aptitude and drive, this caring educator ensured a strong start to my trajectory as a conductor and musician. Without this early encouragement and experience, I likely would never have picked up a baton.
It is this kind of personal decision-making and effort that Yankovskay argues is making a difference to the diversity of the classical music world in the US. If you want to know what you personally can do to increase diversity in classical music (or any other artform) the article gives lots of practical tips and case studies about what can really make a difference.