Essential Classics - The Continuing Debate

[smittims]

The Robert Craft /CBS Monteverdi Vespers, made in 1967 and a great favourite of mine, uses oboes instead of cornetti. Next time I listen I'll see if I can hear a sax. I can't remember which instrument Anhony Lewis chose in his early '50s Oiseau-Lyre version. Thanks for the info about the F sopranino in the Brandenburg 2. Mule played it for Klemperer in a Vox recording and for Casals at Perpignan.

I think William Vacchiano was the first trumpeter to play absolutely all the highest notes (concert g's I think) , in Fritz Reiner's 1949 recording. Even Roger Voisin in the rival Koussevitzky version doesn't quite convince me that he is really there, though, like George Eskdale, he had a jolly good stab at them. With the type of trumpet availableto themit must have been well-nigh impossible. Do any trumpet fanciers here have any further info?.

[oliver sudden]

I’ve found where I saw it: Baines, Woodwind Instruments and their History. Page 263 if you’re curious.

“…the usual substitute for the cornett is the trumpet, though the oboe has also been tried, while a soprano saxophone is perhaps the best of all.”

[Gargoyle]

This is a serious question. What is Essential Classics supposed to be?

I ask because I’m trying to get back into listening to Radio 3 after a very long break and I don’t understand what some of the programmes are aiming at. Serious answers only, please.

[oddoneout]

This is a serious question. What is Essential Classics supposed to be?

I ask because I’m trying to get back into listening to Radio 3 after a very long break and I don’t understand what some of the programmes are aiming at. Serious answers only, please.

I don't think I can answer your question about EC as I haven't ever really understood its purpose, and have long regarded it ( and commented to that effect) as a wasted opportunity to effectively bridge the gap between Breakfast and the more mainstream R3 content.
However, as you may have become aware, there have been considerable changes brought in this week, such that the EC format seems to have become even more widespread, and former mainstream R3 content is conspicuous by its absence, so I'm not sure that your efforts to get back into listening to R3 will prove rewarding, sadly.

[french frank]

I don't think I can answer your question about EC as I haven't ever really understood its purpose, and have long regarded it ( and commented to that effect) as a wasted opportunity to effectively bridge the gap between Breakfast and the more mainstream R3 content.

It was one of the early signs that R3 was making cutbacks. Essential Classics was the first R3 programme to span the whole 3-hour period from 9am until 12 (to be followed by CotW, which previously had been on at 9am). Somewhere - yes, I've just found it. The commissioning brief for EC 2017-18, so not when it first started but very much serving the original purpose. I'll dig out some of the salient points and report back

[Gargoyle]

I don't think I can answer your question about EC as I haven't ever really understood its purpose, and have long regarded it ( and commented to that effect) as a wasted opportunity to effectively bridge the gap between Breakfast and the more mainstream R3 content.
However, as you may have become aware, there have been considerable changes brought in this week, such that the EC format seems to have become even more widespread, and former mainstream R3 content is conspicuous by its absence, so I'm not sure that your efforts to get back into listening to R3 will prove rewarding, sadly.

What’s the EC format that you refer to?

[oddoneout]

What’s the EC format that you refer to?

"Bits'n'chat". So, parts of works, interspersed with presenter talk, the whole interrupted at random but usually inappropriate points by adverts. Bad enough for E[ssential] C[lassics] itself, but then the virus showed itself in Afternoon Concert, albeit in slightly modified form - in addition to part-works, some complete works were played, and others were split into installments over the week - such that all resemblance to a concert was lost.

[Ein Heldenleben]

This is a serious question. What is Essential Classics supposed to be?

I ask because I’m trying to get back into listening to Radio 3 after a very long break and I don’t understand what some of the programmes are aiming at. Serious answers only, please.

A very good question Gargoyle . Much of the music in EC is neither Essential nor a Classic. There’s a great deal of light music , film music and bits and pieces but the canonic core stretching from Palestrina (literally never played ) through Monteverdi (rarely played ) Bach, Handel, Haydn (rarish ) Mozart etc etc right up to Schoenberg and Berg (never played apart from Verklarte Nacht) is not that well reflected in my view . Certain pieces Appalachian Spring Barber Adagio are repeated a lot. It’s just getting boring.

[french frank]

I've found the briefs that went out to tender on three separate occasions. These are some quotes from the 2011-2013 commission, a 3-hour programme:

This is a significant part of Radio 3’s weekday daytime schedule and should aim to hold on to as much of the breakfast audience as possible whilst drawing in new listeners from the post-Today Radio 4 switch over. It should also be an entry-point programme to appeal to listeners with a broad interest in mainstream classical music.

It will be a live presenter-led CD-based programme – and the choice of presenter is key to appeal to the above audiences.

The focus will be on essential classics. Choice of recordings is paramount, so that the programme includes an element of music recommendation of performers and recordings. There could also be listener interaction around requests or recommendations. The programme should feel inclusive and informative. It must be distinctive and different from the Breakfast programme.

Presentation should be light and brief, without in-depth musicological or complicated biographical detail (which is more suited to COTW which follows).

Guide Price: Guide price [per episode]:
£1,400 (excluding presenters) using BBC internal studios and studio
managers
£1,800 (excluding presenters) using external studios and experienced studio managers, to include lines.

I'll see if there's anything materially different in the latest one.

[Ein Heldenleben]

I've found the briefs that went out to tender on three separate occasions. These are some quotes from the 2011-2013 commission, a 3-hour programme:

This is a significant part of Radio 3’s weekday daytime schedule and should aim to hold on to as much of the breakfast audience as possible whilst drawing in new listeners from the post-Today Radio 4 switch over. It should also be an entry-point programme to appeal to listeners with a broad interest in mainstream classical music.

It will be a live presenter-led CD-based programme – and the choice of presenter is key to appeal to the above audiences.

The focus will be on essential classics. Choice of recordings is paramount, so that the programme includes an element of music recommendation of performers and recordings. There could also be listener interaction around requests or recommendations. The programme should feel inclusive and informative. It must be distinctive and different from the Breakfast programme.

Presentation should be light and brief, without in-depth musicological or complicated biographical detail (which is more suited to COTW which follows).

Guide Price: Guide price [per episode]:
£1,400 (excluding presenters) using BBC internal studios and studio
managers
£1,800 (excluding presenters) using external studios and experienced studio managers, to include lines.

I'll see if there's anything materially different in the latest one.

Good info FF - so in 2011 that was £350,000 a year for 50 weeks x 5 Prog a a year . I wonder what the studio costs are? Odd that BBC studios are cheaper . My experience is precisely the opposite.

[french frank]

And here from 2017-18 (who said there was no talk among producers about audiences?)

Currently titled 'Essential Classics', this is a significant part of Radio 3’s weekday daytime schedule, appealing to listeners with a broad interest in mainstream classical music. It has the largest consistent audience on the station and high appreciation scores. However, a significant number of core Radio 3 listeners are tuning to other stations at this time of day and therefore a key challenge is to reclaim this audience at 9am and retain them throughout the programme.

The programme is also potentially a key entry point for new listeners to Radio 3. Currently the average age of the audience is 62 and another important challenge is to widen the programme's appeal to younger listeners.

Proposals for this strand should therefore be strongly audience focused. A clear view is needed of tone and appeal to the listeners. What should it sound like? Why would I listen? These are key questions to address. .......

... 'Essential Classics' is a live, presenter-led, CD-based, music sequence programme. Currently it includes regular themed musical features, quizzes, and a daily guest interview ...

... The programme should be appropriate for the time of day and informed by audience insights. Interaction with listeners, through e-mail, texts and social media, is important and suggestions are invited for how this can be made most effective.

There is also a reference which implies that they expected Rob Cowan to continue presenting. He didn't, he left for CFM in 2017.

... Guide price per episode: £1,400 (excluding presenter fees and the cost of using BBC Radio 3 Continuity Studios and studio managers, which are paid for by the network). [NB Same price as six years before.]

[Gargoyle]

Thanks for the responses.

Am I right in thinking that it’s a sort of educational endeavour around core elements of classical music that one can enjoy and grow with?

Plus being a holding/bridging measure?

[oddoneout]

Thanks for the responses.

Am I right in thinking that it’s a sort of educational endeavour around core elements of classical music that one can enjoy and grow with?

Plus being a holding/bridging measure?

'No', would be my short answer to your first question, and a qualified 'yes', judging from FF's posts about the BBC commissioning and mission statements.

[Gargoyle]

'No', would be my short answer to your first question, and a qualified 'yes', judging from FF's posts about the BBC commissioning and mission statements.

Well I’m confused!

What is it? (Please put to one side your long standing frustrations).

[french frank]

Thanks for the responses.

Am I right in thinking that it’s a sort of educational endeavour around core elements of classical music that one can enjoy and grow with?

Not really. The aim of the programme is 90% to boost Radio 3's ratings. They want the largest possible audience to enjoy it as casual listening and any educational benefit is purely incidental.

Disclaimer: This is my own sincere (embittered) opinion, for what it's worth. But try it and see. Many people do like it apparently.