Radio 3 Programming - Problems & Solutions

[teamsaint]

Agree ts but in what creative way do you feel R3 should respond .... ???

As to will a change back to the morning programmes of old increase listener numbers surely the answer is to try it on say Sunday morning

I’m sure there is an endless list interesting ( and inexpensive) ways to programme creatively, but just a few thoughts :

In terms of the core audience: restore Discovering Music in a variety of long and short formats as a centrepiece of daily programming.
Have more featured new release CDs to encourage a part of the audience interested in current developments, and re establish a link to playlist programmes from Record Review. ( the sort of model that keeps listeners within the R3 orbit all week).
Look at Ferney’s R3 extra idea.
More exploitation of classic BBC archive material ( if rights and costs allow)


In terms of winning younger “ crossover” audiences, in ways that might work and don’t clash with the needs of the core audience ( another way of saying “ breakout” really)
Aim at more co- programming with 6 music/ R2/Local radio in areas such as late junction, or where the music( EG the new Beth Gibbons Gorecki 3 ) is appropriate.
Judicious further use of well known figures ( Thom Yorke etc) from other areas of music. I am almost certain that if audiences can be made to follow a lead to R3 from elsewhere it will be with leaders in other fields. ( incidentally I was chatting to a keen 6 music listener the other day, listens to it most of the day at work...she hadn’t heard of Elizabeth Alker , so isn’t very likely to follow her to R3, really).

Work the Proms brand much harder.It is probably the most visible classical brand in the UK, and could have enormous reach. I’d possibly work on taking the Proms brand out to regional concert halls or arenas, for one off events, maybe as tasters for the main season,promoted and presented not by Katie Derham but by interested figures from other musical worlds, and again possibly in conjunction with other stations. The entertainment world is event led. R3 knows this from the Proms, and unlovely though it may be, there is a great power to be tapped into.

[kernelbogey]

It's very easy for people to bemoan the "short attention spans" of our age BUT I would argue that this is more to do with context than anything else
people use radio in different ways than they used to

Presumably this is the logic (and strategy) behind BBC Sounds: to deliver content for those who listen to music etc on the internet on iPhones (and others) while 'on the move'. (Which could also drive the use of shorter items.)

[LMcD]

It might attract the sorts of listeners who don't want to be condescended to, while at the same time not forfeiting those who feel they are and are therefore no longer Radio 3 listeners. Much less of my time now is spent on Radio 3 than was the case 20 years ago, and that is dwindling each year.

Same here. Since retiring, I've had much more time to listen to Radio 3 as part of my day, but find there's less that attracts. Basically, I'm down to some of 'Breakfast', CoTW and the Lunchtime Concert if the subject/content appeals, Private Passions and JRR - oh, and TTN if I can't sleep. The upside is that previously neglected CDs get a hearing.

[LMcD]

I do think itsy-bitsy is the perfect word for it...yellow polka-dot presentation.

Perhaps it's aimed at people in the Hylands.

[antongould]

I’m sure there is an endless list interesting ( and inexpensive) ways to programme creatively, but just a few thoughts :

In terms of the core audience: restore Discovering Music in a variety of long and short formats as a centrepiece of daily programming.
Have more featured new release CDs to encourage a part of the audience interested in current developments, and re establish a link to playlist programmes from Record Review. ( the sort of model that keeps listeners within the R3 orbit all week).
Look at Ferney’s R3 extra idea.
More exploitation of classic BBC archive material ( if rights and costs allow)


In terms of winning younger “ crossover” audiences, in ways that might work and don’t clash with the needs of the core audience ( another way of saying “ breakout” really)
Aim at more co- programming with 6 music/ R2/Local radio in areas such as late junction, or where the music( EG the new Beth Gibbons Gorecki 3 ) is appropriate.
Judicious further use of well known figures ( Thom Yorke etc) from other areas of music. I am almost certain that if audiences can be made to follow a lead to R3 from elsewhere it will be with leaders in other fields. ( incidentally I was chatting to a keen 6 music listener the other day, listens to it most of the day at work...she hadn’t heard of Elizabeth Alker , so isn’t very likely to follow her to R3, really).

Work the Proms brand much harder.It is probably the most visible classical brand in the UK, and could have enormous reach. I’d possibly work on taking the Proms brand out to regional concert halls or arenas, for one off events, maybe as tasters for the main season,promoted and presented not by Katie Derham but by interested figures from other musical worlds, and again possibly in conjunction with other stations. The entertainment world is event led. R3 knows this from the Proms, and unlovely though it may be, there is a great power to be tapped into.

Very good thoughts IMVVHO young man ....

[The Lone Marmot]

I Just Registered To Say...

I just registered to say that my feeling is Radio 3 has gone downhill at a rate of knots recently.

I don't have many solutions, but on the other hand I don't consider myself a stick-in-the-mud either. So, here it goes with my list of things that are still good and those that could be improved (and as always these may just be a matter of personal taste).

Stop talking about your emotional reaction to music, or performers. There is a place for that, but not in almost every programme.
Similarly, ditch the gushing twattery of Sean Rafferty (as we call it in our house) and his latest sidekick, Katie Derham and her affected French and Italian pronunciations. "Brava!". Suzy "Thin Skin" Klein can go the same way.
Full works please. If I hear just the final movement of the Karelia Suite once more...
Ditch Essential Classics and it's egregious playlist. This programme is only suitable for the Radio 3 drinking game when we take a snort for those (partial!) works so often repeated. This show really has become nothing since Rob Cowan and Sarah Walker were put out to grass. I hate it!
Trailers - need I say more? They are like the zombies that will not die. Even after the programme that has been trailed ad nauseam for a week has been broadcast, we are still bombarded by "catch it on BBC Sounds" trails.
Stop giving us news about and performances by the Radio 3 pet performers: Di Donato, Benedetti, Kanneh-Mason, etc. There are other great performers of whom we seldom hear.
Stop the increasing infiltration of songs from the shows, movie music, experimental music (Radiohead!), birdsong, and other nonsense into mainstream classical programmes. Breakfast at the weekend when it has the misfortune to be presented by Elizabeth "Here In Salford" Alker is a prime example. That lady should be back on her spiritual home of Radio 6.

Composer of the Week - one of the best programmes about classical music I think.
Lunchtime Concert - often the highlight of my day.
Through The Night - usually very interesting.
Evening Concert - also good.

I'm not sure the way Radio 3 is going will either attract new (younger) listeners, or retain old ones.

[french frank]

Hello, Marmot, welcome. So … does this mean you think Radio 3 could do better?

[LezLee]

Agree with most of what you say. Rafferty lost me long ago, can't abide KD or SK. Trailers are annoying beyond measure, specially ones for TV programmes, what purpose do they serve? Can someone set up some crowdfunding to bring back Natalie Wheen?
I'm with you for your 'likes' too, but I'll add 'Words and Music', reliably good and different.

[french frank]

Agree with most of what you say. Rafferty lost me long ago, can't abide KD or SK.

Sean Rafferty is the only presenter who survived for the whole of Roger Wright's tenure, presenting the same programme. In fact, In Tune was one of the few new programmes introduced by Nicholas Kenyon which survived the Wright axe. Now presenter and programme trudge on under Alan Davey. Kenyon went in 1998 so we shall probably be celebrating 20 years of our well-loved In Tune soon . It has its moments but it really isn't one of those iconic programmes like CotW, JRR or Choral Evensong, galleons which sail on triumphantly.

[Eine Alpensinfonie]

I'm not sure the way Radio 3 is going will either attract new (younger) listeners, or retain old ones.

Perfectly expressed.

Welcome, Lone Marmot. It’s good to have a new voice confirming what many of us have been saying for years.

[DracoM]

Welcome, Lone Marmot. It’s good to have a new voice confirming what many of us have been saying for years.

[Frances_iom]

As a now very minimal listener to R3 I would suggest that the management are doing what BBC management want - reduce the listening numbers so that moving R3 at first to DAB only and then off. This would save the considerable expense of orchestras and free up a key slot for the Radio 2.1 needed to handle the growing number who only listened to pop to slip into their twilight years with their favourite tunes.

[french frank]

Below the schedule for the final week of Nicholas Kenyon, w/c 2 Nov 1998. It could just be that some people would prefer non-stop music and no talk whatsoever, but this reminds me of what I used to love about Radio 3:

06.00 On Air with Stephanie Hughes reviewing the British premiere of John Adams piano concerto Century Rolls
09.00 Masterworks with Peter Hobday, featuring orchestral music by Britten and vintage performances by Rudolf Firkusny
10.30 Artist of the Week. Joan Bakewell interviews Tasmin Little
11.00 Sound Stories. Donald Macleod presents musical portraits of 5 absolute rulers 1. Alexander the Great
12.00 Composer of the Week. Simon Heighes explores the career of Claudio Monteverdi
13.00 The Lunchtime Concert: Wigmore Hall. Vermeer 4tet perform string quartets by Beethoven and Bartok
14.00 BBC Orchestras. BBC Phil with YP Tortelier Lalo, Beethoven and Prokofiev
16.00 Opera in Action: Ruth Mackenzie, general director of Scottish Opera, introduces a selection of operatic highlights
16.45 The Music Machine. Tommy Pearson talks to Catherine Bott about Dynamics
17.00 In Tune with guest presenter (as he was called) Humphrey Carpenter
19.30 Performance on 3 BBCSSO, Osmo Vanska. Nielsen, Rachmaninov. Geoffrey Baskerville in conversation with Osmo Vanska about Nielsen’s Symphony No 2
21.40 Postscript: 5 specially commissioned dramatic monologues
22.00 Voices. Studio recital The Soldier by Christopher Maltman with Andrew Smith. In conversation with Iain Burnside
22.45 Mixing It with Mark Russell and Robert Sandall
23.30 Jazz Notes Alyn Shipton introduces the Humphrey Lyttelton Band, celebrating its golden jubliee
00.00 Composer of the Week: Robert Schumann, with Penny Gore
01.00 Through the Night with Donald Macleod

[Eine Alpensinfonie]

That kind of schedule sounds like a perfect dream - except that it was real.
The perfect start to Ferney’s R3Xtra.

[oddoneout]

16.00 Opera in Action: Ruth Mackenzie, general director of Scottish Opera, introduces a selection of operatic highlights

So that's when the rot set in...