Another sense in which ‘space’ is important for performers is the space to think – that inner world of ‘head space’. After 35 years in Higher Education – taking in the RNCM, Birmingham University, New College Oxford, Bristol University, London and the GSMD en route – I ‘retired’ from academic life in the summer, leaving me free for much more playing, and also for some more freelance writing and other projects inside and outside of music. The head space that has brought in its train is beyond price, whether that’s for developing new repertoire (lots of Beethoven to come in 2020!), or revisiting interpretations of familiar pieces. Discovering new territory often opens up creative paths of thought that prompt unexpected (re)discoveries in the old. This, in turn, requires the ability (and confidence) to ‘let go’ of pictures you had formed of a work (especially on record), and enjoy the potential for an interpretation to change direction – sometimes quite radically. And that’s perhaps the most enduring highlight: realising the inexhaustible capacity of music to offer performers new challenges to explore that altogether bigger space of the Future.