Enjoy new music with our classical music chart for this week. Our weekly selections are based on sales numbers and simply what albums we love and think you NEED to hear.
For the complete top 20, tune into Classical Chartz with the New Classical FM’s Mark Wigmore every Saturday from 3-5 p.m.
Yannick Nézet-Séguin and The Chamber Orchestra of Europe and their album Johannes Brahms, and Isata Kanneh-Mason with her release Mendelssohn, switch spots at the pinnacle of the Classical Chartz Top Ten. Kanneh-Mason lands at No. 1, usurping the weeks-long reign of Yannick Nézet-Séguin and COE, who land at No. 2.
Two newcomers make their way up the Classical Chartz Top Ten this week.
Louis Cole & Metropole Orkest rise from No. 12 last week all the way up to No. 4 with Nothing. American musician and singer-songwriter Louis Cole is known for his adventurous electronic music, including his work as co-founder of the electronic jazz-funk duo Knower. This release of original music sees him collaborate with Metropole Orkest, a Netherlands based jazz-pop orchestra, and conductor, arranger, curator and composer Jules Buckley.
The result is as much infused with classical idioms as it is jazz, including the title track, “Nothing”, a string quartet in a late-Romantic style. Cole uses the orchestra’s colours to full effect, juggling influences from Bach to Schoenberg together with electronica into an accessible, if often complex, album.
Toronto’s own Stewart Goodyear makes a splashy debut on the Classical Chartz at No. 8 with his release Prokofiev. It’s been a busy year for Goodyear, with this release on the Presto label coming hot on the heels of his recent performance at the BBC Proms with the Chineke! Orchestra. Prokofiev also follows the release of Callaloo, his own composition for piano and orchestra (a work he’ll be performing with the Toronto Symphony Orchestra in May 2025).
Prokofiev features an ambitious track list, including the Piano Concerto No. 3 in C major, Op. 26, Piano Concerto No. 2 in G minor, Op. 16, and the Piano Sonata no. 7 in B flat major, Op. 83. Goodyear began the project during the struggles of the pandemic, reaching back into his own musical history to a composer who played a key role his early days on the recital circuit.
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