How we wish this stuff would end

Tinkle, tinkle, pi-a-no,
Only thirty-six hours to go
Just one timbre all weekend
How we wish this stuff would end
Drive the listeners away
Gone to CFM to play.

The few listeners that BBC Radio 3 has left are resorting to doggerel on the station's website to deride this week-end's ill-conceived Chopin Experience. Instead of opting for more of the same on Classic FM why don't they try some Chopin therapy here?
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So you thought classical music was dead?

davidderrick has left a new comment on your post "Music's unmerry widows" - Not 1981, surely? CDs only came in in March 83. This was around 89. Possibly for the genius's 80th birthday? 'Scuse pedantry ...

David, the Galleria series were originally released in LP format. I could not recall having bought any of the series. But age doesn't just make better conductors, it also plays tricks with memory. Which is why Sir John Barbirolli conducted from a score. After your comment arrived I went through my LPs and found this 1982 vinyl record, complete with Eliette von Karajan painting, which I have just photographed. The Deutsche Grammophon website confirms the dates.

Meanwhile the Karajan centenary bandwagon is really starting to roll. Tonight (Jan 23) BBC Radio 4 promises a 'reassessment' of Karajan (why not Radio 3 - not Classic FM enough for them?), while DG's centenary releases are here (but I can't see the excellent vinyl only Second Viennese School set). The Karajan industry is definitely hard currency - the Austrian Mint are to issue a 5 Euro commemorative coin in April. There are going to be books galore (but no Lauterwasser volume), re-releases of recordings, and more memorial concerts than there were for Princess Diana. If you thought classical music was dead check it all out here.

The current Karajan memorial European tour by the Berlin Philharmonic features Tchaikovsky's Sixth Symphony (but there are no T-shirts). By coincidence my first classical record was that symphony on DG conducted by Karajan. Read about it here.
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Found - thousands of happy new ears

In only six weeks more than a thousand people have visited the Overgrown Path podcast page on iTunes, and this week James Weeks talking about the music of Elisabeth Lutyens has been added to my David Munrow and Alvin Curran podcasts. Doesn't that level of interest in music from the long tail tell us something?

Elsewhere there has been some good humoured discussion of Angela Hewitt world Bach tour T-shirts, with one defender of the Bach world tour marketing machine writing - 'I think you are missing the point here, which is trying to get new people interested in her, giving her profile in the press and recognition ... every interview, every talk show appearance is promotion.'

Every talk show appearance may be promotion. But all promotion is not good promotion. And promoting serious music to mass markets is a risky business. There are very few examples of large, and loyal, new audiences being created by mass marketing. But there are numerous examples that ended in tears, where mass marketing failed to attract a new audiences, but instead drove away the core audience. The most obvious example is BBC Radio 3, where going mass market has failed to attract Classic FM listeners, but has instead, literally, switched-off the network's core audience and resulted in a net loss of listeners.

New audiences are essential for the health of serious music, but so is being realistic. We live in an age of instant gratification, and today's arts administrators and broadcasters want immediate access to new mass audiences. This is not only unrealistic, it also often achieves the opposite result to that intended. New audiences can be reached, but we need to be less greedy and more adventurous to reach them.

As always on this blog these are my personal views. But they are based on real world experience. Yes, the sample size may be small, but, as I have pointed out before, the samples are larger than the focus groups used by the BBC and others. And before the cynics sniff at a few thousand listeners for David Munrow and Alvin Curran they should remember that it was revealed recently that Rupert Murdoch's new satellite Fox Business Network is attracting an average of only 6,000 daytime viewers.

The new audience for serious music is in the receptive long tail, not in the mass market short head. The long tail of classical music has received much attention recently. But there are many other long tails - for literature, for the visual arts, for the cinema, for techno and electronic music, and others. There is overlap, but there is also a sizeable new audience for serious music waiting in those other long tails. These are people who have been driven away from classical music by BBC TV's Classical Star and Classic FM's music for dinner parties. They see serious music today as being unexciting. They don't want to be talked down to by chummy radio presenters. They want the adventurousness of Boulez in the 1970s at the Round House and Proms in London, and at the Rug Concerts in New York. But, with a few notable exceptions, we are not giving them what they want.

I have talked to some of the new audience that my internet radio programmes and blog have reached. They told me they bought CDs and downloads of music by Guillaume Connesson, Karlheinz Stockhausen, John Cage, Conlon Nancarrow and others after discovering them On An Overgrown Path. These new listeners are well educated, have disposable incomes, are interested in the media, travel extensively, have expensive stereo systems, watch art films, and read contemporary fiction. But they listen to non-classical music because they find it more exciting and challenging. They are the long-tail dwellers, they are a receptive new audience for serious classical music, but we need to be a lot more adventurous to reach them.

Sir Brian McMaster arrives at the same conclusion in his controversial and brave report on funding in the UK arts which was published last week. In the report he recommends 'that cultural organisations stop exploiting the tendency of many audiences to accept a superficial experience and foster a relationship founded on innovative, exciting and challenging work'. Or, as that great arts administrator and BBC Radio 3 controller John Drummond wrote "the arts are as much about controversy as about achievement".

We need to be more adventurous and controversial. We already have the exciting music. We should stop apologising for it.

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Long live the long tail

BBC News reports - A breakthrough album from classical singer Hayley Westenra has been named the UK's biggest-selling classical album of the 21st century so far. The New Zealand-born singer, now 20, released her third album Pure when she was 15. British stars Russell Watson and Katherine Jenkins dominate the rest of the top 10 chart based on sales between January 2000 and December 2007.

The list was compiled by the Official UK Charts Company for Classic FM. "Classical music is alive and kicking in 21st century Britain, with the sales of many of these albums rivalling those in the pop charts," said Classic FM's managing director Darren Henley.

Biggest selling classical albums 2000 - 2007
1. Pure - Hayley Westenra
2. The Voice - Russell Watson
3.Encore - Russell Watson
4. Voices of the Valley - Fron Male Voice Choir e
5. Living a Dream - Katherine Jenkins
6. Second Nature - Katherine Jenkins
7. Bryn - Bryn Terfel
8. Sentimento - Andrea Bocelli
9. Serenade, Katherine Jenkins
10. Gladiator, Hans Zimmer and Lisa Gerrard
Source: Official UK Charts Company

Fascinating. But I'm afraid it's Elliott Carter tomorrow On An Overgrown Path. I did check carefully, but I couldn't find him in the chart above. Classic FM pioneered computerised playlists, read the story here.
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Give me digital - but not BBC Radio 3

Technology is changing the way we listen to radio, but classical network BBC Radio 3 is struggling in the brave new digital world. 15% of all radio listening in the UK is now via a digital platform according to research for the quarter ending September 2007 released yesterday by RAJAR (Radio Joint Audience Research Limited). The data also shows that digital listening showed a big increase over the previous quarter, and that 1.6% of all radio listening is now via the internet.

The number of adults who claim to have listened to the radio via a mobile phone also showed a marked increase, up to 9.2% in the last quarter. Unsurprisingly radio listening via mobile phone was most common in the younger age groups, with 23% of 15 to 24 year olds listening this way. 2.8 million adults used their mp3 player to listen to radio podcasts in the last quarter, up from 1.97 million in Q3 2006. Listening to digital only services (radio stations which are only available on a digital platform) also increased, up from 4.8 million listeners in Q3, 2006 to 6.2 million in Q3, 2007.

Analysis of radio audiences showed that both BBC Radio 3 and the commercial station Classic FM gained audience in the quarter ended September 2007, up to 1.938m and 5.844m respectively. But these figures are not as good news as they may seem at first glance. This quarter is historically strong for classical listening, with Radio 3 reaching an audience of 2.214m in the same quarter in 2003. The quarter ending September covers the BBC Proms season when the network benefits from huge amounts of free promotion, with virtually every programme in the schedules devoted to plugging the Proms. Charging the monetary value of that on-air advertising back to the Radio 3 cost centre using John Birt's 'internal market' formula would be a very interesting exercise.

Despite the massive 'Proms effect' Radio 3 only increased listener share from 1.10% to 1.20% from Q2 to Q3, whereas Classic FM, without the cross-benefit of the 'world's biggest music festival', increased listening share from 4.00% to 4.30%. The classical audience are not particularly heavy listeners either. Average hours per listener of 6.30 for Radio 3 and 7.30 for Classic FM compared with 10.20 for the the BBC's rock network Radio 1, and 12.30 hours for the talk based Radio 4.

Surprisingly the average hours per listener for Radio 3 did not increase in the last quarter despite the 'Proms effect', and actually showed a significant drop from 6.90 hours in the same quarter the previous year. Sadly this data simply confirms what has already been said here; the Radio 3 schedule changes are missing both the popular and serious music audiences, and the network is increasingly vulnerable to the long tail of internet radio and applications like the Radeo internet player.

RAJAR website is here, and the data tables are here.
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Ingratiating schmaltzy and patronising

Tomorrow night West End star Michael Ball sings an evening of show tunes at the BBC Proms. Outgoing Proms director Nicholas Kenyon justified his appearance with these words: 'I think he is one of the great, intelligent singing artists alive today. He deserves a place at the Proms just as much as performers in the great classical tradition. Our job is to cover the whole waterfront.'

Which resonates with a story from 1995, when Nicholas Kenyon was controller of BBC Radio 3. Here is the story from the late Humphrey Carpenter's excellent official history of the network. And the words in the headline are not mine, they come from that very same official history.

Radio 3's new 9-10 am programme would be called Morning Collection, and would be presented by Paul Gambaccini [photo above], the transatlantic-born disc jockey whose 'music for lovers' programme on Classic FM had been a target of some mockery in the statuion's early days ... He would now join Radio 3.

Kenyon emphasised that Gambaccini had worked for BBC Radio 'long before Classic FM was in rompers', and was chosen because 'his connection with film and pop music makes him unintimidating to people who want to try classical music but are unsure about it'. A BBC publicity handout headed From Puccini to Gambaccini stated that Gambaccini's programme would consist of 'classical greats ... from Brahms to Britten, from Strauss to Stravinsky ... Paul brings his relaxed but knowledgeable style to programmes full of complete works by all the major composes ... Morning Collection takes you on a stimulating journey through 500 years of the classics.'

The music critic [and composer] Bayan Northcott noted that Gambaccini's presentation style on Classic FM was characterised by 'refraining from any information commentary or judgement of the slightest musical interest whatever'. After Morning Collection had begun on Radio 3, listeners' reactions to it were aired on Radio 4's Feedback. 'The outrage was instant,' reported the Daily Telegraph.

Comments on [Gambaccini's] velvet voice and sugary commentary ... ranged from 'unctuous', 'totally inane', 'ingratiating', 'schmaltzy', to 'egregious and patronising'. One listener complained that he sounds as if he's selling raspberry ripple'. Another said listening to him was like wallowing in warm blancmange' ...

Kenyon appeared on Feedback and described Gambaccini as 'a knowlegeable and informed presenter of classical music'. He admitted that the programme was 'a big change of culture and it's meant to be, because we're trying to open up a potential new audience to classical music'.

Paul Gambaccini's place on Radio 3 did not last long. In May 1996, after sustained attacks from listeners and critics, he announced that he would not continue to present Morning Collection when his contract expired later in the year. Kenyon said that the programme's format had been welcomed by listeners but its presentation had been criticised strongly.

Bayan Northcott is a respected contemporary composer as well as music critic. Hear his Salve Regina on my Overgrown Path radio programme on September 16 at 5.00pm British Summer Time on Future Radio.
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The future of radio is confirmed

Six million people are listening to the radio digitally in the UK - a massive rise since 2003, new figures have revealed. Twelve per cent of listeners tune in regularly using digital radio, TV and the internet, while 25% of regular analogue users have also tried digital.

In 2003, only 900,000 people were regular digital listeners, according to radio industry analysts RAJAR in figures revealed today. Overall radio listening figures have also risen, with 91% of the UK population accessing radio broadcasts.

BBC Radio 3's reach is 1.78 million – down on the year (1.83m) and the quarter (1.90m). Listener share for Radio 3 of 1.1% is the same as last year, and slightly down on the quarter (1.2%).

These new figures simply confirm what has already been said here. Specialist internet stations broadcasting over the internet and other new media are the future, and the BBC's repositioning of Radio 3 to appeal to Classic FM listeners is not working.

The continuing decline in the reach of Radio 3 shows that it is failing to win new listeners, but instead it is losing its established audience as standards reduce. In the same period Classic FM's reach was 5.70m and share was 4.0%. Average hours listened per head were 0.20 for BBC Radio 3 and 0.80 for Classic FM. Source BBC and RAJAR.

Now read more about the long tail of radio, and become part of it by clicking here between 5.00pm and 6.00pm British Summer Time on Sunday August 19 to hear Bach and Boulez on Overgrown Path radio.

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Bring me cellos. And some cannons ...

* Media Guardian reports - 'Classic FM has signed Blur bass player Alex James to present a show looking at how classical music has influenced pop. The Britpop star turned newspaper columnist and organic farmer will front When Classic Meets Pop, a three-part series beginning on the GCap music station on August 4.

It is the latest addition to the When Classic Meets ... series, which has previously featured Rick Wakeman and Courtney Pine looking at the influence of classical music on rock and jazz music. "Why would I want to listen to Hard-Fi piffling around when there is Rossini?" said James. "Bring me cellos. Bring me French horns. Bring me a choir. And some cannons, maybe, for the end."

Classic FM, which was named station of the year at this year's Sony awards, attracted an audience of 5.71 million in the first three months of the year, according to the latest Rajars. The Classic FM managing director, Darren Henley, said: "As a founder member of one of Britain's foremost pop groups, Alex is uniquely placed to chart the influence classical music has had on the genre." When Classic Meets Pop will feature classically inspired songs such as Barry Manilow's Could It Be Magic, Eric Carmen's All By Myself and The Farm's Altogether Now.'

* BBC presenter Libby Purves writes - 'To run radio you must be like an old-fashioned publisher, a 1930s Gollancz or Faber and Faber, working on faith and idealism and wanting to share what you yourself love. All that you can do is make - and publicize - the best and most passionately well-crafted programmes you can think of. Ratings have to be watched, but calmly and with a sense of proportion. You have to believe that if even one person is swayed, or inspired, or changed, or comforted, by a programme, then that programme has been worthwhile.'

Now read about the circus opera from another member of Blur
Libby Purves quote from Radio, A true Love Story (Coronet Books ISBN 0340822422). Aa well as talking a lot of common sense this book is a wonderful chronicle of a career in broadcasting. Libby was one BBC training course ahead of me in the early 1970s. Any copyrighted material on these pages is included as "fair use", for the purpose of study, review or critical analysis only, and will be removed at the request of copyright owner(s). Report broken links, missing images and other errors to - overgrownpath at hotmail dot co dot uk

The BBC - making great music available to all

Last week Nicholas Kenyon accused the BBC Trust of "undermining the BBC’s historic commitment to use every enlightened means to make great music available to all." This prompted a reader to email saying it would be an enlightened step to restore minimum levels of professionalism within Radio 3. Supporting this are a many examples of sloppy radio, one of which occured on April 3 2007, and has already entered into broadcasting folklore.

The lunchtime concert on that day was listed as a Mozart quartet followed by a Haydn quartet. That was the order that presenter Louise Fryer introduced the quartets, but the trouble was that the recordings was reversed. The on-air announcement introducing the Mozart quartet was followed by a performance of the Haydn quartet, and vice versa, and even the back announcements referred to the wrong item. No-one in the studio spotted the errors, and the recording of the concert available on Radio Player perpetuated the error. An apology was broadcast later in the afternoon, presumably after listener phone calls.

A comment on the BBC Radio 3 messageboard says it all - 'I recall it happening more often on Classic FM, where a broadcast of 'Beethoven's Emperor Concerto' consisted of the finale of a Mozart piano concerto followed by the first two movements of the Beethoven, with no sign afterwards that the presenter or producer had noticed the error. '

Fixed programme lengths are also causing very sloppy radio. A central concept of the original Third Programme was that the schedule should be the servant of the music, rather than vice versa. This concept has been abandoned in recent years, and I have already written here about the bizarre concert programmes resulting from attempts to fix Promenade Concerts to a ninety minute length plus interval.

The weekday evening concert on Radio 3 is now pre-recorded and fixed at a one hundred and five minute duration. This policy has truly made the music the servant of the schedule. On June 5 the Philharmonia's Elgar anniversary concert was shorn of its opening item to fit the time slot. The broadcast launched straight into the Violin Concerto, and the Serenade for Strings which opened the concert was broadcast separately eight hours before. On June 13 the stupidity ran the other way. The encore of Ravel's Bolero from the recorded Royal Festival Hall re-opening concert was broadcast two hours after the rest of the programme.

The general feeling of despair is echoed in this email from another reader ~ Hi, I've just come across your blog while looking for comments on the recent changes in Radio 3 and noticed that you have links to various radio stations. The main cultural and classical radio station in Poland is called Dwojka (Two) or Radio 2 and is really good. It somehow managed not to give in to any commercial pressures and serves well so-called high culture. You can also listen to it through internet. It is depressing to see how things have changed. About 6 years ago when I came to Britain the Polish station was about to be closed down (lack of funds) and I started listening to Radio 3. Now Radio 3 has transformed itself into something I simply cannot accept, while the Polish one is thriving. The link is: www.radio.com.pl/dwojka/ . Regards, Dorota

Emails like this, and the huge interest in my postings about the Radeo internet player, are clear evidence that Radio 3 listeners are voting with their feet. Thankfully there does seem to be an awareness of this at a senior level within the BBC. Here is the very qualified comment about the network made by the BBC Trust in the BBC Annual Report 2006/7 published this week: Radio 3 has seen a decline in reach over the last few years although share remains stable ... In early 2007 a number of schedule changes were made and we await with interest the impact of these on the network’s overall performance.

The problem with Radio 3 is not high culture versus dumbing-down. The problem is that to serious listeners it is now a popular station pretending to be serious. For less serious listeners it is a serious station pretending to be popular. And both audiences have spotted the lie. Radio 3 has irreversibly lost the serious music high ground. This has been taken by internet stations using the very technology that the BBC so arrogantly tried, and still tries, to claim its own. But giving in to commercial pressures and relinquishing the high ground has resulted in no audience gains against Classic FM. So the impact on the network's overall performance so eagerly awaited by the BBC Trust can only be negative.

Radio 3 today is like a wounded animal, and the BBC Trust needs to put it out of its agony. Sadly, the damage has been done, and the only way to end the agony is to complete the work of making the network a lavishly funded clone of Classic FM. The BBC can then stop pretending that the evening broadcasts are concerts, start hiring disc jockeys instead of knowledgeable presenters, present more commercial records as BBC recordings, make Petroc Trelawney network controller, give Norman Lebrecht free rein, and have Michael Ball singing Die schöne Müllerin at the BBC Proms. For the rest of us there is always internet radio.

Now read about a truly great BBC Radio 3 presenter.
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The crazy world of music blogs...

The story behind this picture may amuse regular readers. It was taken this afternoon, and shows me being filmed in front of the Royal Albert Hall, where the BBC Proms start in a few weeks. I was being interviewed about my views on the future of radio. The interview was arranged by the BBC, and it is being used at a major radio conference in Cambridge in July. As part of my contribution I was asked to record the following extract from a recent post:

All this doomsaying about BBC Radio 3 gives me no pleasure at all. I once worked for the BBC, and Radio 3 and the Proms were a central part of my music education. Radio 3 can still do great radio, and I have praised here the work of Michael Berkeley and Iain Burnside and others, and this week there are live evening concerts from the Bath Festival including a recital by oud virtuoso Dhafer Youssef - albeit presented by the ubiquitous and egregious Petroc Trelawny.

But Radio 3 is now between a rock and a hard place. Classic FM is the rock against which ratings are judged, and new media is emerging as a hardplace on the other side of the network. The BBC bet the farm on new technology and lost. But the very new media which the BBC failed to leverage may well be the undoing of its classical music network. Webcasting, podcasting and the new third-tier of low power community stations in the UK will bring a new generation of boutique broadcasters that can ignore ratings and focus on being distinctive, inclusive and personal. Where does that then leave Radio 3?

Go figure ...

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You are looking at the future of radio

Xfm, a UK alternative music station broadcasting in London, Scotland and Manchester to an audience of more than one million, is axing its daytime presenters in a radical move to a computerised playlist decided by listeners. The six-hour DJ-free "all music" daytime schedule is being marketed as "Radio to the Power of U", and will play songs programmed by listeners via text, phone and the Xfm website.

Human presenters are the latest casualty of the inexorable rise of the computerised playlist, and it is a trend that is affecting classical broadcasting as well as rock. In the UK computerised playlists were pioneered for classical stations by Classic FM who use GSelector playlist software originally developed for rock stations, and seen in my header image. The working of this software was described in a 1988 copyright court action:

"A detailed categorisation of each track of music in [Classic FM's] library fed as a data base into Selector enabled Selector to select the individual track for any hour of the day in accordance with any choice of programme made by reference to a combination of categories by a programme director. The particular advantage of the Selector system was that it enabled [Classic FM] to provide a balanced rotation of music, composers and performers and to reflect in the frequency of choice of track and in the choice of time when it was played its popularity and mood, and to avoid repetition or the personal preference of the presenter influencing the selection of the music played on the air." (Robin Ray v Classic FM Plc [1998] FSR 622)

Classic FM's use of the computerised playlist has been devastatingly successful in the ratings war. In the first three months of 2007 Classic FM reached an audience of 6.03m listeners, up from 5.71m the previous year, while during the same period BBC Radio 3's audience dropped below the important 2.0 million threshold, declining from 2.1m to 1.9m (source Rajar via BBC).

Ratings, and not quality, are now the primary focus of BBC management, and the success of Classic FM has been the driver for successive changes in Radio 3 in recent years. One of many knee-jerk reactions was the recruitment of Classic FM presenter Petroc Trelawny who has contributed to the BBC station's 9.5% audience decline by alienating most of Radio 3's core audience with his folky presentation style. Trelawny has been joined by a swathe of similar primetime presenters such as Sara Mohr-Pietsch and Sean Rafferty (photo below) whose role is simply to provide the aural laxative that maintains the flow of ratings-friendly programmes.


Radio 3's attempts to counter Classic FM have become increasingly desperate, ranging from 24/7 'Diana moments' such as the Beethoven Experience and Bach Christmas to giving away unrestricted downloads of complete symphonies to the horror of the music industry. But as the ratings show none of these worked, and the biggest blow to the BBC has been that its massive investment in new technology has failed to translate into increased audiences. As reported here the BBC Trust recently blocked on-demand replaying of classical music, and questions are now being asked about the lack of return on the BBC's massive investment in new technologies .

The core problem is that the Radio 3 can't do ratings, and now very rarely does great radio. The ratings war is lost because Classic FM is a commercial station and can do ratings better than a public broadcaster. To do great radio you need to be distinctive, inclusive and personal, and Radio 3's strategy of chasing down Classic FM means it has lost its distinctiveness. Its bland ratings-driven schedules have no place for diverse music so it is no longer inclusive, and the challenging output created by visionary personalities such as William Glock and John Drummond has been replaced by ratings-chasing mediocrity devised by BBC apparatchik's such as Roger Wright and Nicholas Kenyon.

All this doomsaying about BBC Radio 3 gives me no pleasure at all. I once worked for the BBC, and Radio 3 and the Proms were a central part of my music education. Radio 3 can still do great radio, and I have praised here the work of Michael Berkeley and Iain Burnside and others, and this week there are live evening concerts from the Bath Festival including a recital by oud virtuoso Dhafer Youssef - albeit presented by the ubiquitous and egregious Petroc Trelawny.

But Radio 3 is now between a rock and a hard place. Classic FM is the rock against which ratings are judged, and new media is emerging as a hardplace on the other side of the network. The BBC bet the farm on new technology and lost. But the very new media which the BBC failed to leverage may well be the undoing of its classical music network. Webcasting, podcasting and the new third-tier of low power community stations in the UK will bring a new generation of boutique broadcasters that can ignore ratings and focus on being distinctive, inclusive and personal. Where does that then leave Radio 3?

* A great example of the new wave of boutique radio is Amsterdam based Radio MonaLisa, which I have written about previously. Each Thursday from 6.00 to 7.00pm Central European time presenter Patricia Werner Leanse proves that radio can be distinctive, inclusive and personal. Tomorrow (May 24) she broadcasts sixty minutes of vocal music from a composer featured here recently, Elisabeth Lutyens. On May 31 Patricia showcases Out of the Dark (1998) by Texan born Pauline Oliveros, who has already made one appearance on the path this week. Follow this link for Radio Monalisa. Across the Atlantic San Francisco based Other Minds also does great boutique radio via radiOM.org, their current podcasts include John Cage and David Tudor in concert in 1965, and Stravinsky in rehearsal in 1947.


Now read about what happens when BBC Radio 3 gets it right
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