Britain's Classic FM rebuilds live audiences
Classic FM silences the chorus of critics
(London Telegraph, Filed: 13/10/2005)
Julian Lloyd-Webber applauds a new study that has shown classical concerts to be as popular as ever
A criticism levelled at Classic FM since its inception has been its alleged inability to translate a massive six million listeners into bums on seats.
"Classical managers clutch at straws when they look to Classic FM," writes a long-term sceptic in London's Evening Standard. "People may tune in but they seldom buy tickets."
As a participant in several sold-out Classic FM Live concerts at the Albert Hall, I have never subscribed to this theory, and now independent research, commissioned by the Arts Council, has finally proved the pessimists wrong. The study, conducted between May and October last year, compared concerts supported by Classic FM with those that were not.
The Philharmonia Orchestra reported three times the number of first-time concert-goers at their Classic FM-supported events, and figures for the Barbican's Classic-backed Mostly Mozart festival were even more impressive, with a massive 38 per cent of the audience attending a classical concert for the very first time.
Darren Henley - who, in addition to his duties as Classic FM station manager somehow finds the time to produce books and CD scripts as well - promotes classical music with evangelical zeal. Justifiably pleased by the survey's findings, he confirms: "We remain absolutely committed to connecting new audiences to live orchestral music, wherever they may be in the country."
Yet the real icing on the cake for Classic FM has been its steady absorption into this country's classical music mainstream. Long gone are the days when its very mention at a Royal Philharmonic Society dinner elicited a chorus of boos. Now, top British orchestras vie with each other to become Classic FM "partners" and even classical music's equivalent of the Oscars has been renamed the Classic FM Gramophone Awards.
Say what you will about Classic FM - and there are more than a few in the classical music world who still pooh-pooh it - perhaps the real test is to imagine what Britain's classical music scene would look like without it. Pretty bleak, I reckon.
The fact that the ludicrously named "Premiership" is now universally agreed to be "boring" must come as yet more welcome news to the Philharmonia's boss, David Whelton. In a blaze of publicity, at least by classical music standards, Whelton declared earlier this year that "the broad population of this country is totally unfamiliar with orchestral music… potential sponsors would prefer to take clients to a football match than a concert."
Now that there is more chance of reading: "The orchestra played Brahms. Brahms lost," than of Chelsea losing a Premiership game, potential sponsors should think again.
(London Telegraph, Filed: 13/10/2005)
Julian Lloyd-Webber applauds a new study that has shown classical concerts to be as popular as ever
A criticism levelled at Classic FM since its inception has been its alleged inability to translate a massive six million listeners into bums on seats.
"Classical managers clutch at straws when they look to Classic FM," writes a long-term sceptic in London's Evening Standard. "People may tune in but they seldom buy tickets."
As a participant in several sold-out Classic FM Live concerts at the Albert Hall, I have never subscribed to this theory, and now independent research, commissioned by the Arts Council, has finally proved the pessimists wrong. The study, conducted between May and October last year, compared concerts supported by Classic FM with those that were not.
The Philharmonia Orchestra reported three times the number of first-time concert-goers at their Classic FM-supported events, and figures for the Barbican's Classic-backed Mostly Mozart festival were even more impressive, with a massive 38 per cent of the audience attending a classical concert for the very first time.
Darren Henley - who, in addition to his duties as Classic FM station manager somehow finds the time to produce books and CD scripts as well - promotes classical music with evangelical zeal. Justifiably pleased by the survey's findings, he confirms: "We remain absolutely committed to connecting new audiences to live orchestral music, wherever they may be in the country."
Yet the real icing on the cake for Classic FM has been its steady absorption into this country's classical music mainstream. Long gone are the days when its very mention at a Royal Philharmonic Society dinner elicited a chorus of boos. Now, top British orchestras vie with each other to become Classic FM "partners" and even classical music's equivalent of the Oscars has been renamed the Classic FM Gramophone Awards.
Say what you will about Classic FM - and there are more than a few in the classical music world who still pooh-pooh it - perhaps the real test is to imagine what Britain's classical music scene would look like without it. Pretty bleak, I reckon.
The fact that the ludicrously named "Premiership" is now universally agreed to be "boring" must come as yet more welcome news to the Philharmonia's boss, David Whelton. In a blaze of publicity, at least by classical music standards, Whelton declared earlier this year that "the broad population of this country is totally unfamiliar with orchestral music… potential sponsors would prefer to take clients to a football match than a concert."
Now that there is more chance of reading: "The orchestra played Brahms. Brahms lost," than of Chelsea losing a Premiership game, potential sponsors should think again.
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