I know I was not alone in hoping beyond hope that the Proms might escape the dreadful cull of music and culture the virus has wrought. The delay by the Proms management in making an annoucement about this year’s programme surely indicated that they too were keeping everything crossed. When the inevitable cancellation came, there was a sense of resignation amongst my classical music community; sadly, we have just had too many of these announcements since March. (Perhaps the only plus in the midst of all this is that without an announcement of this year’s programme, we have been spared the hand-wringing and eye-pulling and general chorus of disapproval about the roster of concerts, performers and music.)

The Proms are an integral part of the British summer – along with tennis at Wimbledon (also cancelled), strawberries and cream, warm beer and wasps at a picnic. The sad thing is that now, on the day of the First Night of the Proms, we have got used to not having live music. Sure, there have been some great initiatives to bring live performances to audiences via livestreams and radio broadcasts, but these can never replicate the experience of “being there” – and the “being there” of the Proms is pretty special.

Yes, the venue is not great – the Royal Albert Hall is too cavernous, its acoustic too uncertain. It’s often too hot, and its circular design means one can spend far too much time traipsing to the loos (of which there are far too few) or one of the bars (which are often far too crowded). But what is so wonderful about the Proms is that much of the original spirit in which they were conceived continues today – to encourage people who would not normally attend classical music concerts to come, enticing them with the low ticket prices and a more informal atmosphere.

It’s the First Night of the Proms tonight, but it’s not the First Night as we usually know it: in this the Proms’ 125th anniversary year we have “the alternative Proms”. The virus has forced the Proms online, and instead of concerts by leading orchestras and artists from around the world, playing to a full house, BBC Radio Three will present “musical greats – from the past and present”, “treasures from the archive”, and some live performances – albeit to an empty hall. For many of us, this will be a wonderful opportunity to revisit some of the great performances of past years (and we each have our own “back catalogue” of memorable Proms concerts – mine include hearing Lang Lang before he was famous, a recital by Evgeny Kissin (1997), the first solo piano concert at the Proms, Mahan Esfahani’s Goldberg Variations (2011- the first solo harpsichord concert at the Proms) and hearing Messiaen’s Turangalila live for the first time). In many ways, these “highlights” broadcasts will confirm the enduring spirit of the Proms, and the exceptionally high quality of music-making. There will be some tv broadcasts too, and at the end of August, there will be a live concert at the Royal Albert Hall, culminating in a Last Night of the Proms (what this will be like is anyone’s guess!). In short, we are in for a treat – to be enjoyed from the comfort of our homes. One thing I learnt from listening to the Wigmore Hall livestream lunchtime concerts last month is that while one may be listening in isolation, there remains an important sense of connection through the music, and I hope the Proms will create a similar shared experience.

Proms 2020 season guide

More articles on the Proms here

The Cross-Eyed Pianist is free to access and ad-free, and takes many hours every month to research, write, and maintain. If you find joy and value in what I do, please consider making a donation to support the continuance of the site. Thank you