Writing in BBC Music Magazine in July 1999, editor Helen Wallace remarked on the rapid decline in space allocated to classical music criticism in British newspapers, notably in The Times , The Independent , The Guardian and Financial Times , all of which had previously provided extensive, important coverage. ‘Concert reports provide the very oxygen needed to keep a flourishing musical scene alive’, she noted, and ‘[if] an event is ignored, it is as if it did not exist.’ However, she perceived a ‘ray of hope’ in the Internet, which ‘has no space restriction: maybe the dawn of a new era is nigh …’.
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