How will the future of Classical music look like?

[Ugh!]

First, for several reasons, it's useless to compare how, say, Haydn was received to how, say, John Adams is received, since this separation of "classical" from other types of music is, historically speaking, a new thing.  Oh, there were folk songs, to be sure; but there wasn't the division between "classical," "pop," "jazz," and whatever categories there are now (I can't keep up with them and no longer try).  Haydn, Berlioz, Liszt and many others were not just "classical" giants, but the rock stars of their time--and Liszt, for one, lived like one of today's rock stars even to his sex life.  The composers we now call "classical" simply had less competition.

But even so, classical music now is "a many-splendored thing."  Along with the "academic experiments" (which often are no such thing), there are many composers who (for example) follow Hovhaness' "way to the East" or in some other way attempt a fusion between many styles, like Alejandro Golijov's blend of jazzy Latin idioms and classical form.  (He follows a long, noble tradition going back even earlier than the Medieval church composers who used "L'homme Armé" in their Masses and continuing through Haydn, Grieg, Gershwin, Bernstein and many others.)

I can see two possible trends for the future:

1. "Classical" music will remain isolated from other styles, and musicians will increasingly be museum curators.

2. Our music will increasingly mix with other musics.  If this is driven by record companies looking to increase audiences, the blend will be a revolting syrup; but if it's driven by creative musicians seeking new creative modes, it may bring out something vital and enduring.

We are of course discussing two separate issues here. The first deals with how the classical music legacy will be managed in the future. The other concerns the development of "new" music. Forget about the record companies, they will be out of business before long. Composers are now able to compose whatever and publish it within seconds after completion on the net. The challenge is in

1. Translating internet self-releases into the same cultural capital as a genuine CD release on a major record company
2. Looking for new ways to make a living as a composer. In all fairness, most composers do not base their income on record sales. But I think we are going to see some new solutions. In Norway, as elsewhere, it is discussed whether all citizens should receive a citizen-paycheck each month, making it possible for struggling artists (and others) to maintain a decent living standard. The amount suggested is not high enough to persuade the majority to give up their jobs. But the social economic gains would actually be better than the current social welfare arrangements involving an enormous bureaucratic effort.

As for the music itself, may I suggest, among other possibilities, a return to improvisation? Also, we are likely to see more and more remixes of old works, especially if the record industry as we know it truly breaks down and copyrights are weakened...