CMIC2019: Second Annual Conference on The Classical Music Industry

Event information

START DATE 12 November 2019
START TIME 12:00pm

Tuesday 12 November Wigmore Hall London
Wednesday 13 November Middlesex University

END DATE 13 November 2019
END TIME 06:00pm

Tuesday November 12th (Wigmore Hall, 36 Wigmore St, Marylebone, London W1U 2BP, London);

Wednesday November 13th (Middlesex University, The Burroughs, London NW4 4BT)

Keynote Address by John Gilhooly OBE OSI (Artistic and Executive Director, Wigmore Hall).

Following the inaugural Classical Music Industry Conference, attended by 88 delegates, CMIC2019 will again bring together academics, executives and practitioners to discuss and scrutinise the classical music industry in the contexts of music-making, business practices, mediation, politics and education.

To register, please visit the Middlesex University online store.

Intended to stimulate knowledge-sharing between disciplines and between academia and industry, the two-day conference is as follows:

Day 1 – Wigmore Hall, London


Registration in the Bechstein Room




John Gilhooly (Wigmore Hall) – There is No Single Model, No Assured Formula for Success in Classical Music Administration


The Future

Scott Caizley (King’s College London) – The Conservatoire Crisis

James Murphy (Royal Philharmonic Society) – The National Conversation on Classical Music





Joe Attard (King’s College London) – Opera Virgins at the Movies: Audience Research and Opera Cinema

Christina McMaster (pianist and Warner Classics) – Experiential Listening: Responding to Demands of Contemporary Cultures

Sarah Price and Stephanie Pitts (University of Sheffield) – “£20 to sit in a hall and not actually see anything”: Understanding Classical Music Within the Wider Arts Experience

18:15 Reception

Including a celebration of the publication of Kaikhosru Sorabji’s Letters to Philip Heseltine (Peter Warlock), ed. Brian Inglis and Barry Smith (Routledge, 2019).

19.30 Concert, Christian Tetzlaff, vln, Lars Vogt, pf

Tickets (not included in conference price) at


Day 2 – Middlesex University, Hendon


Registration – Hendon Town Hall




Parallel Sessions 1


Tony Stoller (Bournemouth University) – How the Medium Made the Music: Classical Music and Radio

Natasha Loges (Royal College of Music, London) – Programming a Song Recital: Between Pragmatism and Artistry

Chris Dromey and Julia Haferkorn (Middlesex University) – Rethinking Communication in the Concert Hall


Nicholas Boyd-Vaughan (National Opera Studio) – National Opera Studio’s Diverse Voices Programme: Supporting and Enabling Diversity in UK Opera

Charlotte Armstrong (University of York) – Contemporary Opera Production and the Performance of Disability

Elaine Kidd (Royal Opera House) – What is Talent in Opera Today?




Parallel Sessions 2

Past and Present

Chris Lloyd (pianist and 1781 Collective) – The Classical Music Recording Industry: Doomed since 1967?

David Cotter (University of Cambridge) – Virtual Reality and the Classical Music Industry

Ellie Moore (Help Musicians UK) and Jane Williams – Funding the Future of Classical Music Careers

Accessibility and Inclusion

Kristina J. Kolbe (London School of Economics) – Performing Interculture: Inequality, Difference, and Diversity in Contemporary Music Production in Berlin

Gregory Moor (Leeds University) – Accessibility and Outreach for Arts Organisations

Michael Haas ( Centre, University for Music and Performing Arts, Vienna) – Recovery and Restitution: Vienna’s Centre





Joseph Browning (University of Oxford), Anna Bull (University of Portsmouth), Ali Meghji (University of Cambridge), Christabel Stirling (University of Westminster), Christina Scharff (King’s College London) – Empirical Approaches to Understanding Inequality and Diversity in Classical Music


Any queries may be sent to

Programme Committee:

Chris Dromey (Middlesex University)

Julia Haferkorn (Middlesex University)

Paul Keene (Barbican Centre)

Christina Scharff (King’s College London)

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