Classical-Crossover.co.uk

[martindn]

Yes, Jon I agree. As I have pointed out before, the whole so-called progressive rock genre that reached its peak in the 1970s was a crossover between classical and rock.
Moody Blues, but also Yes, Renaissance, Rush, perhaps even Pink Floyd would qualify. It is diffucult to draw the line.

Martin D

[mihizawi]

Agree, but classical-based rock is rather different than Sting's totally crossing over project.

Interestingly, Nicola, the two examples you mention (as far as I have read) are, in my opinion, closer than Sting to the idea of the Classical Crossover genre, or at least to what do most of Classical Crossover artists. Paul McCartney's steps in Classical are rather those of a composer, making his own music. Darius Campbell goes stright to the most spectacular and known side of Classical music: Opera... But Sting gets into the most obscure terrain of ancient music: even looking into the Classical world, pre-barroque music is the one that gets less attention and promotion, and, with the exceptions of some very popular songs (like Greensleeves and the likes), is the less known, and honestly, I personally love this kind of music. So, three different areas of crossing over, all three demonstrating music has no limits and no frontiers for those who are able to love it as a whole.

Michal

[Dave]

Hi Michal and all,

I don't think what Sting and Paul McCartney have done is classical crossover music, I think it's classical music, so we can leave out the crossover bit. I may be saying what you said Michal, just in a different way.

By classical, I mean it in the broader sense, not the narrow "classical period" definition. McCartney has composed several classical orchestral symphonies and Sting's album Songs from the Labyrinth is also classical music and a classical album, which happened to reach no. 24 in the UK pop chart too (which surprised me to say the least).

All in my humble opinion.

Cheers, Dave

[nicola]

I'm not referring them to being classical crossover, just the fact that they've "crossed over" from pop to classical in a literal way.

[mihizawi]

Exactly, that's what I meant, Nicola, I found it related to the crossing over, mostly, from Classical to pop, that kind of originated the Classical Crossover genre as it is now. I found it interesting because it was the very opposite crossing over.

Michal

[nicola]

IMPORTANT ANNOUCEMENT FROM OUR WEB ADMIN. PLEASE READ!

www.classical-crossover.co.uk/forums/announcement/read/id-1.html

[nicola]

We are switching servers, the website will possibly be down between today and Sunday.

[martindn]

A new chart due on sunday too. And Hayley has made big inroads this week. Hope the changeover goes OK Nicola.

Martin D

[nicola]

The website is back up and running.

In addition, we have launched an Annual Awards site:

www.classcross.com

Hayley doesn't have any nominations because she hasn't released an album this year.

[martindn]

Oct 31, 2010 19:30:39 GMT nicola said:

The website is back up and running.


Hayley doesn't have any nominations because she hasn't released an album this year.

Hi Nicola,

I'm glad you explained that, or I might have asked you how many of your nominated artists have just sold out a 15,000 seater stadium in a country very different from their homeland. Should there not be an award for the biggest audience attracted by a CC artist?

Just as long as you make it clear what the rules are and why so many of the most popular artists in your user chart are not nominated. In fact, you ought to explain how artists get nominated in the first place. Is that just your choice, or is there some other mechanism?

Playing the Devil's advocate here.

Martin D

[nicola]

Hey Martin,

It's okay. The criteria for each award is explained on every category page. The nominations are editorial, so there wouldn't be any need for me to explain who I've picked, but I'm always for the less bias option, so I have set out criteria for my choices so any subconcious bias I have for any artist wouldn't get in the way.

Most of the explanations read like this:

To be nominated for the top male artist award, the artist must primarily be a solo male vocalist. The nominee needs to have been active this year, either through a release or promise of an album in 2010 (takes priority) or performing.

It basically gives priority to any artist that has released an album this year. In most cases, that pretty much gave me ALL the nominations for each category. The only category where this didn't work out was the instrumentalist and indie categories - only David Garrett had released an album this year, for example. So I went on live performances (Fiona is touring, for example).

[martindn]

Hi Nicola,

Yes, I think you should always include live performances too. I understand it is a difucult balance to achieve, and you seem to have a preference for new artists that have appeared in the last year, understandable too as long as it is explained (but how do you account for Aled Jones, who I voted for).
The categories each have only four artists, I don't think you should restrict yourself to that if you have.

And Annelies, who you include and who I voted for too, has not released an album, yet she is included as a nominee for best female artist. Surely there are many others more worthy of the nomination than she, and who have released more music, much as I like her.
And then there is what counts as releasing an album. I have so far bought three new albums that feature Hayley this year. It is true that she is involved in only one song (or in one case a couple of readings) on each of them, but I seem to be buying them at the rate of about one a week. And some nominated artists I cannot find on record for love or money.

I don't think "promise of an album" is acceptable. How can people vote on an album they have not heard yet? It has to be on real concrete music that actually exists. At one time Hayley promised an album in 2010, but now it is 2011, so perhaps she should qualify, if it is only the promise that counts. And none of us has any idea what that album sounds like.

Martin D

[nicola]

Martin - you've read it wrong. I'd prefer if you actually read through the site properly before giving your thoughts.

Aled Jones is releasing an album and touring in November.

Annelies has NOT been nominated for top female artist. She's been nominated for artist to watch which has this description:

To be nominated for the Young Artist to Watch award, the artist must not have a record contract or any commerical albums. The nominee must show outstanding promise and already be preparing for their career, either through performing or recording material.

People are not voting for albums - the album nominations aren't available yet because of the very reason that not all albums are not yet released. Even when they are put up the album award will be a editorial choice.

We agree to disagree or the restriction to four artists.

"Promise of an album" means they have a release date in 2010 not yet fulfilled. An album means a studio release.

In short, the artists meet criteria to have been nominated. Believe me, if I just added whoever I wanted to add, Kanon, Hayley, Sarah, Keedie, Camilla Kerslake, Jonathan Ansell and Emma Shapplin would be on there. Please don't suggest I've put favoured artists up - it's just irritating when I worked hard to keep it as neutral as possible.

you seem to have a preference for new artists that have appeared in the last year

2010 awards. Not 2009, 2008, 2012, or 2001. They are 2010 awards. Next year will be 2011 awards, which will feature Hayley, because she'll have a 2011 release.

[martindn]

Hi Nicola,

Thanks for the explanation. As I said, I was playing Devils advocate. It would be all too easy to believe that there is some sort of bias in the nominations for whatever reason. I think I know you better than that, but I also think it is worth stating what the nominations are based on so that people don't think that you just picked your personal favourites. A lot of your favourites are mine too, some of whom I would never have heard of if it hadn't been for your site, so I'm not disagreeing with you, I'm just trying to work out how you chose the nominees.

Yes, I know Aled is touring this month, we have tickets to see him. Sue is a big fan.

Best Wishes

Martin D

[mihizawi]

Hi Nicola and everyone,

I have a question that arised in my mind concerning Classical Crossover... Many Classical Crossover standards are the most popular and known Opera arias. Another important share of the standards are melodies taken from instrumental Classical music and given lyrics to be sung.

I can't help wondering why probably the most famous and recognisable tune from a Classical music piece (the greatest and most genial music ever composed, in my opinion) has not gone into a Classical Crossover standard.. I am talking about the Ode to Joy, from Beethoven's 9th symphonny. I think it really fits the criteria: an easy-listening, simple and very recognisable melody. What's your opiniion, Nicola? The only possible reason I can think of is that the main Classical Crossover is the UK, which is known for its Euroscepticism, so maybe people think that the anthem of the EU would not be a hit in that country. But then again, the Ode to Joy was created long before the EU existed, so I wouldn't consider this association a valid argument for rejecting the song.

Although it's obviously not a standard, may I ask you, Nicola, if you know of any Classical Crossover artist that have performed or recorded the Ode to Joy?

Michal