The days of Music, Art Music, as an evolving and contemporary Art form, where recent, genuinely 'new' compositions are performed before a vast audience comprising all strata of society, who are eager for these 'new' sounds; these halycon days are long gone.
Today, perforners tend to 'specialise' in Music that is becoming older and older with every passing day. Don't blame them, though. They need to eat as much as Insurance Salespersons do!
Two hundred years ago, music composed much over 20 years previously was heard, but was mostly heard as a curiosity.
Today's situation cannot auger well for the continuity of live performance. Unlike other cultures, the West has a prescription for all of its Arts that demands continuous evolutionary [and even occasionally revolutionary] change! Today, live performance is merely a 'museum' format.
There are, sadly, no signs that this is about to change.
It means that, as a relevant aspect of our society, Music that is being composed and performed today in a style notably different to that of the past, a style responding to today's situation; this Western style of creative music has 'virtually disappeared'.
If a significant group in our society says, e.g., "I prefer the 18th (or 17th, or 19th, or, damn it, 20th!) century to the 21st." when referring to Music, this is evidence that I am correct. Many. many people, people who are passionate about music (!), will say this, if asked!
How I wish that I was wrong!
I realise that your question is slightly different. You ask if the situation as we find it today will continue. I claim that, because the sitruation today is as it is, the seeds of its demise are already present, and are growing!
Because concert goers only admit 'new' music that is reminiscent of older styles of music, the future is, I'm afraid, exactly as I say. (I speak only of the European strata of music, a strata that thrives on continuous change, continuous evolution!)
Your points (fuel prices, youtube, DVD's, CD's, new technologies, etc.) are all most valid, and, added to the very nature of what concert goers regard as 'Classical" Music (the very word 'classical' is very significant, surely?), the situation seems to spell the effective death, in 'Western' terms, of all but Commercial Music.
If there is little or no demand for 'evolution' of style, the very nature of European creative music has been, perhaps accidentally, thwarted. (The search for easy money [ - U.S.A., Japan, etc. -] will be blamed, but I am not sure that this is the complete story.)
In this altered form, I cannot envisage it surviving.
Already, many people regard those who passionately adore 'classical' music as "Old Fogeys". (It says something peculiarly spectacular about the people saying this, of course!)
The truth is, however, that Music Lovers don't support 'new' music. Even the progressive genius of last century is largely unappreciated! It is only quirky, oddball types that have even heard of Stravinsky, or Webern, or Bartok, e.g., let alone are familiar with their (now quite old) music.
Apart from the Church (it rarely requires anything but 'extinct' styles of music), cinema (hardly a major supporter of genuinely contemporary music), and an occasional federal government subsidy for composers, there is no way for composers of today, with an interest in music of today(!), to earn a living.
Unless a composer of today is content to write symphonic music for (the 19th Century's) orchestra, revert to diatonic harmony, etc., etc., who is there willing to listen to the composers' music?
So-called 'music lovers' are not likely to change their reactionary attitude to music of today, surely?
We are left with 'museum' music. Old music, or music written now, but in a style acceptable to the type of person that claims to love European creative music. A sad situation, a situation for which it is hard to point a finger of blame.
Something like this, but less extreme, exists for the visual arts, I guess. .
Our 'classical' audiences now are aging, their tastes are notably reactionary, (i.e., more extreme than merely 'conservative'!), and their demands upon performers are increasingly onerous (due to the spread of technologies, as you have outlined!), and these performers are rapidly following composers toward extinction.
Who is to blame? Nobody, probably.
What a gloomy creature I have become. How I wish someone could point out that I am wrong! (Vent your anger by supplying lots of thumbs down, perhaps?)