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The new Classical Chart
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Becky Thumpston
In October 2008 Katherine Jenkins released her fifth album, ‘Sacred Arias’, with Universal Music. The album shot to number one in the combined classical music chart and has enjoyed enormous sales figures and public acclaim. Released today, the album would not have had the same chart success. On 4 Feb, 2009, the Official Charts Company (OCC) announced the release of a specialist classical music chart, replacing the existing ‘combined classical’ chart in which albums consisting of 60+% classical repertoire qualified for inclusion. The new chart demands that albums have 100% classical repertoire in order to be eligible for inclusion.
So how is the new chart drawn up? Developed by the OCC in consultation with the British Phonographic Industry (BPI) – the British record industry’s trade association – the new chart draws its rankings from 6200 UK retailers including all major high-street retail chains, independent shops, supermarkets and international retailers. The chart’s solely classical directive disallows cross-over albums such as those of the Welsh hit-singer Bryn Terfel, cross-media celebrity Charlotte Church, and of course Jenkins. Although ‘Sacred Arias’ contains classical repertoire including Gabriel Fauré’s In Paradisum and Cesar Frank’s Panis Angelicus, songs such as Leonard Cohen’s Hallelujah (most recently covered by 2008 X-factor winner Alexandra Burke) disqualify it.
This is not to say that these artists do not deserve recognition (Jenkins in particular has a very beautiful voice), but that – in a world obsessed with celebrity culture – they steal the limelight, making it very difficult for lower profile artists to shine through. Ginny Cooper, managing director of the BPI’s classical committee has exemplified this point: ‘within the classical sector there are many first class performers providing first-class recordings which were not registering on the chart radar as the crossover titles were obviously higher profile and selling more.’1
Celebrity culture places artists on a pedestal, creating ‘superstar’ personalities that appeal to the mass market. Jenkins’ ‘superstar’ status was further confirmed by her recent record breaking $1million recording deal signed with the American label Warner Music. This celebrity status is not necessarily a bad thing, and there is a strong argument for the inclusion of ‘combined’ albums in order to increase the approachability, accessibility and sales of classical music. However, it does cast a shadow over the classical industry, which other, less high-profile performers cannot avoid: not everyone has photogenic good looks and the subsequent magazine interview and photo-shoot offers.
The chart is published on Gramophone Magazine’s website, and every month in print – starting in the March edition. James Inverne, editor of Gramophone, has backed the chart wholly, stating: ‘Throughout Gramophone’s long heritage, we have always seen our role as supporting the classical music industry as well as superb recordings of great music and our publication of this chart is intended to help the industry sell more of its very finest recordings. We hope it provides a great boost to musicians and labels alike.’2
The new chart has been hailed as a great thing: Tom Service announced in the Guardian that, ‘the countdown to a proper classical music chart is over’.3 But how much difference will the new chart make? I for one have never consulted charts in my choice of listening matter – but perhaps this is set to change. Looking to the first published list in Gramophone’s March issue (decidedly out of date given it is for the week commencing January 4, 2009), an interesting – if eclectic – mix has arisen for the top ten. With The Best of Gilbert and Sullivan stealing the top spot, things aren’t looking too great in terms of a ‘serious’ ranking, but further down the list the late Richard Hickox conducting Holst with the BBC National Orchestra of Wales makes an appearance, along with works by Beethoven, Bach and Purcell, and artists including Bournemouth Symphony Orchestra, Monteverdi Choir and Orchestra of the Age of Enlightenment.4
This is a huge change around from the ‘combined chart’. In December 2007, Classic FM compiled a chart of the top ten ‘classical’ singles sales between January 2000 and December 2007. Hayley Westenra topped the list, with celebrity voices and film scores completing the top ten. Not one ‘serious’ classical album featured.5
Disappointingly, the chart isn’t given much space in Gramophone – tucked away at the bottom corner of page 13, attention certainly isn’t drawn to it. However, it is nonetheless a worthwhile addition to the publication and creates a suitable environment in which to publish the chart – its location alone convincing readers of the its validity, thus promoting its success. However, only time will tell the extent of its influence.
1. BBC News, 4 February, 2009
2. Gramophone Archive, 6 February, 2009
3. Tom Service, The Countdown to a proper classical music chart is over, 6 February, 2009.
4. Gramophone Magazine, March 2009, page 13.
5. BBC News, 31 December 2007
York music students can now access Gramophone back issues online. See the VLE for details.