Tourism: Music

Lord Black of Brentwood Excerpts

Thursday 11th July 2013 Lords Chamber

[Lord Black of Brentwood]

My Lords, we should all be indebted to the noble Lord for securing this debate. I wholeheartedly endorse everything he had to say about our extraordinary musical heritage. At a time when so much attention is rightly being paid to reducing the deficit, it is crucial that those of us who love the arts, and classical music in particular, trumpet—no pun intended—the contribution that they make to our economy. This debate affords us a perfect opportunity to highlight the role of music in tourism, which is one of the engines of economic growth. I declare an interest as a member of the council of the Royal College of Music, home to some of the world's most remarkable young musicians.

As we have heard from the noble Lord, Lord Storey, this country is blessed with an energetic and colourful musical life, whether it be the grand set pieces such as the BBC Proms, the constant supply of glorious music at the Royal Festival Hall, Covent Garden, the ENO, the Barbican Centre, Wigmore Hall and many other cultural centres, or programmes of astonishing music-making most nights of the term at our conservatoires. Moreover, this pattern, as the noble Lord also said, is mirrored throughout the regions. On any day of the week, we are able to join in any variety of musical experiences, from the “Ring Cycle” at the Proms, to “Peter Grimes” on Aldeburgh Beach, to Beethoven at the Barbican or to Schubert songs at Wigmore Hall. Indeed, we can probably hear the great master works of the noble Lord, Lord Berkeley of Knighton. Our artistic repertoire is not limited to the great composers. Key to our musical tapestry, I believe, is the way in which we blend together household names with those who are not so well known, whether it be string quartets by Dittersdorf or the remarkable six-handed piano works of Gurlitt, both of which I have heard recently, as well as nurturing new talent.

This extraordinary musical offering, as we have heard, attracts substantial international audiences. For so many visitors to our shores, music is the magnet that lures them here. In a recent London Visitor Survey, some 60% of overseas visitors said that theatre, music and arts performances were either very important or important in their decision to visit London. It is estimated that, of the 4.2 million people attending classical concerts, opera or ballet in a year, 10% are from overseas. That, of course, has a big economic impact in not just around £10 million in ticket sales but in the spending on hotels, restaurants and souvenirs. A trend has been assiduously tracked over time by UK Music, which plays such an important and energetic role in the advocacy of music’s economic power.

The main point I want to make today is that great music-making by 50,000 performing musicians in the UK does not just happen by chance. There has to be a steady supply of new, well-trained entrants to the profession who can both perform and teach. If we want to will the ends—in other words, increased tourism and revenue—then we must will the means, which means keeping our music teaching the best in the world, as I believe it is. That is why the UK's conservatoires are of fundamental importance to this debate. As a report last year by the LSE entitled The Impact of Three London Conservatoires on the UK and London Economies concluded:

“The conservatoires are a key factor in the development and sustainability of London as a world music centre. Their graduates are heavily involved in the classical and modern music production which is crucial to London’s role as a leading centre of the arts … The conservatoires are an integral part of a network that provides London with benefits arising from this agglomeration both in terms of the music industry and through its symbiotic relationship with tourism, other creative arts, and the cultural industries generally”.

Crucially, the conservatoires train musicians, who then take part in the orchestras, choirs and chamber ensembles that make up our national music tapestry. The three conservatoires which commissioned the LSE report together produce each year some 300 music graduates. Therefore, over a 20-year period, they educate some 6,000 musicians, a significant proportion of the total number of musicians working in live performance. That includes many of the highest-achieving musicians, whose work, according to the LSE report,

“is likely to be fundamental to the entire music sector, on which the other performers also depend”.

That point is underlined by the fact that employment levels for conservatoire alumni are extremely high.

Recent figures from the Higher Education Statistics Agency show near full employment for conservatoire graduates, at a time when 10% of graduates from other universities are not in work or further education six months after leaving. Moreover, as Unistats Key Information Set statistics show, that work is overwhelmingly in the profession for which they studied. For the Royal College of Music, for instance, that means that 80% are in the artistic category and a further 10% are in teaching. Similarly, a study by the Musicians’ Union quoted in the LSE report analysed the educational origins of players in four major London orchestras in the early 2000s and found that two-thirds came from the leading conservatoires, with the Royal College of Music topping that list with just under 22% of graduates. If we want great orchestras, we must have great conservatoires.

It is not just classical music and the big orchestras which depend on conservatoire graduates. They also make up a high percentage of performers in London’s West End musicals. According to the Society of London Theatre, more than 8 million people attended a musical in London in 2011, with revenues that year of £329 million. Musical theatre is of course also a major export earner for the country. Whether it is “Les Misérables”, “Mamma Mia!” or “The Phantom of the Opera”, conservatoire graduates are at the centre of the musical action.

In terms of the ratio of their economic worth to the funding which they attract, our conservatoires provide enormous value for money. Central government grants to the conservatoires total about only £17 million each year, including a modest but crucial amount of exceptional funding. In turn, they play a disproportionate role in supporting a sector that is worth nearly £800 million to the economy in ticket sales to visitors from overseas and the wider value added from classical music and musical theatre. That seems to me a not inconsiderable bargain for the taxpayer and one that we must protect.

This debate asks the Government to address what plans they have to promote and support the impact of music on tourism. The most vital thing that the Government can do is to ensure that music teaching in the UK remains as vibrant, energetic, imaginative and inspirational as ever. I ask my noble friend to do three things. The first is to reaffirm the Government’s commitment to our conservatoires, on which they have rightly and commendably always placed such value. The second is to note, as we move through tough economic times, that any cuts to capital spending will disproportionately affect conservatoires because their facilities, in terms of both estate and instruments—in particular, pianos—are integral to the replication of professional conditions.

The third, given that music-making is international in its scope and that we need to attract the brightest and best from across the globe to our conservatoires, is to ensure that the visa regime works in a practical and effective manner to allow that to happen. That is particularly important for professional performers who wish to remain in the UK after their studies. Those are three important things we can do to ensure that music continues to play its full part in attracting visitors to our country and underpinning the tourism which is such an important engine of long-term, sustainable growth.