Essential Classics - The Continuing Debate

Collapse
X
 
  • Filter
  • Time
  • Show
Clear All
new posts
  • JFLL
    Full Member
    • Jan 2011
    • 780

    Originally posted by Roehre View Post
    And what is actually broadcast following the end of R3 Live in concert broadcasts? Is never announced anywhere until the very moment, and quite often more than half an hour's worth of music.
    Yes, I fully agree about the post-evening concert slot, too. It almost seems like 'And here's a Beethoven quartet to fill the gap before Night Waves'. (I'm not wholly joking -- they play really substantial pieces in this limbo.) Totally ridiculous, and gratuitously cocking a snook at those who switch on to listen to a particular piece of music, not the package. Perhaps R3 should have a three-hour programme every week called 'Great Music of the Week which you probably missed because we didn't tell you we were going to play it'.

    Comment

    • doversoul1
      Ex Member
      • Dec 2010
      • 7132

      Originally posted by JFLL View Post
      Yes, I fully agree about the post-evening concert slot, too. It almost seems like 'And here's a Beethoven quartet to fill the gap before Night Waves'. (I'm not wholly joking -- they play really substantial pieces in this limbo.) Totally ridiculous, and gratuitously cocking a snook at those who switch on to listen to a particular piece of music, not the package. Perhaps R3 should have a three-hour programme every week called 'Great Music of the Week which you probably missed because we didn't tell you we were going to play it'.
      I think criticising the way this particular slot is managed is rather unfair. I expect it is possible for the BBC to find out the approximate duration of each concert beforehand but it is after all ‘live’ broadcast and anything can change. I made an enquiry about the slot and asked if there would be any chance of publishing the playlist. I had a very polite, detailed and honest reply from Ian Skelly. The following is part of his email (I did post this before somewhere on the Forum when a similar topic came up).

      On the night itself it can often be very frantic behind the scenes making sure the music I play fits the gap available, which is always a last minute thing because the slot is entirely dependent upon when the live concert ends. We have to make sure the next scheduled programme starts bang on time as later in the night everything becomes completely fixed to the clock. […] so everything is very tightly timed. It can be like landing a jumbo jet on a postage stamp


      It is ‘to fill the gap before Night Waves’. What else can it be? And the music selected is often quite interesting. Ian Skelly mentions ‘the producer’ in his reply, so I imagine the selection is not entirely his*. I still think it will be good if they publish the playlist afterword but that may be another matter.

      [ed.] *If sometimes it may look all ‘oh, not again’ kind of choice, IS cannot entirely to be blamed.
      Last edited by doversoul1; 28-06-12, 10:10.

      Comment

      • Roehre

        Originally posted by doversoul View Post
        ....And the music selected is often quite interesting......
        which makes it even more deplorable, given the eternal warhorses broadcast during the morning hours of R3.

        I do acknowledge the specific difficulties re planning to fill the gap after the end of a live concert.
        It only directs the spotlight even more at the indifference of the producers of the afternoon programmes, where four of the five weekday programmes consist of recordings of which the duration is known to the second - but the beginning of a work, and its duration, is given with a margin of 5 or even more minutes.

        Comment

        • JFLL
          Full Member
          • Jan 2011
          • 780

          Originally posted by doversoul View Post
          I think criticising the way this particular slot is managed is rather unfair. I expect it is possible for the BBC to find out the approximate duration of each concert beforehand but it is after all ‘live’ broadcast and anything can change. I made an enquiry about the slot and asked if there would be any chance of publishing the playlist. I had a very polite, detailed and honest reply from Ian Skelly. The following is part of his email (I did post this before somewhere on the Forum when a similar topic came up).

          On the night itself it can often be very frantic behind the scenes making sure the music I play fits the gap available, which is always a last minute thing because the slot is entirely dependent upon when the live concert ends. We have to make sure the next scheduled programme starts bang on time as later in the night everything becomes completely fixed to the clock. […] so everything is very tightly timed. It can be like landing a jumbo jet on a postage stamp


          It is ‘to fill the gap before Night Waves’. What else can it be? And the music selected is often quite interesting. Ian Skelly mentions ‘the producer’ in his reply, so I imagine the selection is not entirely his. I still think it will be good if they publish the playlist afterword but that may be another matter.
          But why should everything have to become "completely fixed to the clock. […] so that everything is very tightly timed"? And anyway, my guess is that the R3 people have a reasonable idea of when a live relay is likely to end – say to the nearest quarter of an hour – so that if they were fairly sure they'd have half an hour they could decide to play an early Beethoven quartet and publish their intention beforehand. The 'gap' before ten o'clock is in fact usually half-an-hour or more these days.

          It is ‘to fill the gap before Night Waves’. What else can it be?
          You could say that 'Night Waves' was filling the gap after the Beethoven quartet!

          Comment

          • Frances_iom
            Full Member
            • Mar 2007
            • 2413

            Originally posted by JFLL View Post
            But why should everything have to become "completely fixed to the clock. […] so that everything is very tightly timed"?
            isn't everthing running off a recording post 10pm (I suspect the annoying nightly studio greeting/advert to the nighwaves presenter is actually them clocking off rather than clocking on - remember Rodger in his wisdom didn't actually want R3 live as it meant he had to employ staff post 6pm.

            Comment

            • french frank
              Administrator/Moderator
              • Feb 2007
              • 30283

              Originally posted by JFLL View Post
              But why should everything have to become "completely fixed to the clock.
              One answer is that now Radio 3 is, like most others, a 24-hour broadcaster. TTN is beamed out to many countries in Europe, so for their schedules it has to start and finish on time. The post concert interval is the kind of live buffer needed to control timings so that you don't end up playing all Monday's programmes on Tuesday ...

              It would be useful if it was announced, with an approximate start time, as 'An impromptu selection of music'. And the playlist then published.
              It isn't given us to know those rare moments when people are wide open and the lightest touch can wither or heal. A moment too late and we can never reach them any more in this world.

              Comment

              • Hornspieler

                Originally posted by french frank View Post
                One answer is that now Radio 3 is, like most others, a 24-hour broadcaster. TTN is beamed out to many countries in Europe, so for their schedules it has to start and finish on time. The post concert interval is the kind of live buffer needed to control timings so that you don't end up playing all Monday's programmes on Tuesday ...

                It would be useful if it was announced, with an approximate start time, as 'An impromptu selection of music'. And the playlist then published.
                OK, the live performance you tuned in for is ended. Why not just switch off?

                If you were actually there at the performance, you would be walking out of the hall and on your way home or off for some refreshment.

                So go out to the kitchen and make yourself a cuppa (or investigate the contents of your drinks cabinet)

                As the song from Oklahoma goes - " ... a lot of chaplets in a pot of tea!"

                HS

                NB This post is not actually directed at any one individual but towards all those who have posted their complaints on this thread.

                Comment

                • Osborn

                  Quite right HS. Anyway, after an enjoyable live concert the last thing I want is more music.

                  Comment

                  • Roehre

                    Originally posted by Hornspieler View Post
                    OK, the live performance you tuned in for is ended. Why not just switch off?.
                    I might be interested in the "fillers", but most of the time I am not in the live concerts. My spare time is to precious to spill it on concerts which most of the time offer music I know inside out already.

                    Comment

                    • JFLL
                      Full Member
                      • Jan 2011
                      • 780

                      Originally posted by Roehre View Post
                      I might be interested in the "fillers", but most of the time I am not in the live concerts. My spare time is to precious to spill it on concerts which most of the time offer music I know inside out already.
                      Exactly.

                      Comment

                      • JFLL
                        Full Member
                        • Jan 2011
                        • 780

                        Just to add that there was a classic example of the Fill the Gap with Unannounced Masterpieces syndrome today on EC. The 11.00 slot (published) was Copland's Billy the Kid, something I didn't want to hear, but I thought, wait a minute, that only lasts 20 minutes or so, so that leaves 35-40 minutes unaccounted for in the schedule. And what did we have? First, Bruckner's Christus factus est, well worth hearing, and then Mendelssohn's Octet, one of the masterpieces of the chamber repertoire, in an excellent performance by artists including Christian Tetzlaff, Lisa Batiashvili, Isabelle Faust and Antoine Tamestit, a live recording from the 2008 Spannungen Festival in Heimbach. And the pre-published 'star turn' was Billy the Kid!

                        EDIT. For the record, the list of substantial works, unheralded, performed in the post-11.00 slot on Essential Classics this week:

                        Tuesday 26 June 11.29am
                        Wolfgang Amadeus Mozart Clarinet Quintet, K.581
                        Performers: George Pieterson (clarinet), Grumiaux Quartet

                        Wednesday 27 June 11.26am
                        Wolfgang Amadeus Mozart Piano Concerto in G, K.453
                        Performers: Annerose Schmidt (piano), Dresden Philharmonic, Kurt Masur (conductor)

                        Thursday 28 June 11.48am
                        Gustav Holst Lyric Movement for Viola and Orchestra
                        Performers: Cecil Aronowitz (viola), English Chamber Orchestra, Imogen Holst (conductor)

                        Friday 29 June 11.27am
                        Felix Mendelssohn Octet, Op.20
                        Performers: Christian Tetzlaff, Isabelle Faust, Lisa Batiashvili, Antje Weithaas (violins), Rachel Roberts, Ori Kam (violas), Tanya Tetzlaff, Quirine Viersen (cellos)

                        Nuff said.
                        Last edited by JFLL; 30-06-12, 11:31.

                        Comment

                        • Nick Armstrong
                          Host
                          • Nov 2010
                          • 26533

                          Originally posted by JFLL View Post
                          Just to add that there was a classic example of the Fill the Gap with Unannounced Masterpieces syndrome today on EC. The 11.00 slot (published) was Copland's Billy the Kid, something I didn't want to hear, but I thought, wait a minute, that only lasts 20 minutes or so, so that leaves 35-40 minutes unaccounted for in the schedule. And what did we have? First, Bruckner's Christus factus est, well worth hearing, and then Mendelssohn's Octet, one of the masterpieces of the chamber repertoire, in an excellent performance by artists including Christian Tetzlaff, Lisa Batiashvili, Isabelle Faust and Antoine Tamestit, a live recording from the 2008 Spannungen Festival in Heimbach. And the pre-published 'star turn' was Billy the Kid!
                          It happens a lot before 11 when the chat with the 'celebrity' goes short, as it increasingly seems to do. The genial Andrew Graham-Dixon last week didn't seem to know much music and was over and done with by not long after 10 45 on the days I listened. The 'design guru' Somebody Bayley this week seems to rejoice in being a self-proclaimed musical ignoramus. What do we gain by having these people on?
                          "...the isle is full of noises,
                          Sounds and sweet airs, that give delight and hurt not.
                          Sometimes a thousand twangling instruments
                          Will hum about mine ears, and sometime voices..."

                          Comment

                          • old khayyam

                            Originally posted by Caliban View Post
                            What do we gain by having these people on?
                            'Delboy at the opera'

                            Comment

                            • Serial_Apologist
                              Full Member
                              • Dec 2010
                              • 37678

                              By contrast, Simon McBurney on Desert Island Discs this morning was a treasure trove of stimulating musical choices: Aretha Franklin, Gil-Scot Heron, Frank Zappa, Gyorgy Ligeti, a singer from Mali whose name escaped me, a 12-year old Mongolian throat singer...

                              Comment

                              • ferneyhoughgeliebte
                                Gone fishin'
                                • Sep 2011
                                • 30163

                                Originally posted by Serial_Apologist View Post
                                By contrast, Simon McBurney on Desert Island Discs this morning was a treasure trove of stimulating musical choices: Aretha Franklin, Gil-Scot Heron, Frank Zappa, Gyorgy Ligeti, a singer from Mali whose name escaped me, a 12-year old Mongolian throat singer...
                                Yes!
                                The girl (Vanessa Oucholin) was atonishing - "traditional" Music about lighting a fire that sounded like one of the better Berio Sequenzas.

                                Other details:
                                Actor, writer and director Simon McBurney is interviewed by Kirsty Young.
                                [FONT=Comic Sans MS][I][B]Numquam Satis![/B][/I][/FONT]

                                Comment

                                Working...
                                X