Essential Classics - The Continuing Debate

[antongould]

Does that mean she had never heard anything on Radio 3 by Hummel, at all? Strange to have remembered hearing Hummel but NOT the trumpet concerto. She also chose B-o-D's favourite: Rodeo.

Now, let's be analytical. It does sound 'snobbish' to belittle the choices of people who apparently have 'little knowledge of classical music'. But don't blame the 'snobs': blame Radio 3 for relentlessly, obsessively, pursuing an audience which has 'little knowledge of classical music' and foisting their choices on its core audience which does know the odd fact or two.

She claimed never to have heard the Hummel Trumpet Concerto on the radio!!

I would agree that the selection of guests needs to be better and perhaps the feature only programmed say once a month....

[teamsaint]

She claimed never to have heard the Hummel Trumpet Concerto on the radio!!

I would agree that the selection of guests needs to be better and perhaps the feature only programmed say once a month....

in world cup years... in which a full solar eclipse is expected...

[Ted Eakins]

She claimed never to have heard the Hummel Trumpet Concerto on the radio!!

I would agree that the selection of guests needs to be better and perhaps the feature only programmed say once a month....

You have obviously missed the point. The choice of the guests musical tastes is irrelevant. They could choose stuff by One Direction for all the producers care. The important thing is bums on seats, or what ever the listener numbers equivalent is. This show is made by a private company, and the only criteria upon which it is judged by the paymaster, is audiance figures. The thinking behind the "celeb" slot is purely to try and attract a certain type of Audiance. Does it work? Who knows. Discerning listeners (are there still some??) can complain all they want about "dumbing down" etc. A waste of time. Ratings are all that count.

Incidentally, anyone know how these contracts are awarded- seems to be a bit of a black art. And how often do they come up for renewal? Or, is that just wishful thinking.

[aka Calum Da Jazbo]

Essential C is made by Somethin' Else Productions [known to us Jazbos for Jazz on 3; and known as Some Thin Else] they made a successful bid and then advertised for production staff ...Somethin' Else also sells muzak to Quantas &c and ice to the indigenous peoples of the Arctic Circle [apostrophe is an affectation, street but educated innit]

[french frank]

Incidentally, anyone know how these contracts are awarded- seems to be a bit of a black art. And how often do they come up for renewal? Or, is that just wishful thinking.

The BBC announce on their dedicated websites what they want and invite the indies to tender for them. They're given a guideline budget and a commissioning brief. I presume any company wishing to tender makes its pitch and the commissioning editor, and I suppose the Controller, decide which is the most attractive offer and - deal done.

Somethin'Else is the BBC's largest provider of music programmes. Short of being in the room when the various tenders are examined and scrutinising the bids, I'm not sure what else you would wish to know.

[Suffolkcoastal]

Give me the BBC's recorded music collection to use, a 3 hour programme slot 4 or 5 days a week, a decent wage to live on and I'll make the selections, present the music and do my own research and not have any gimmicky guests (with apologies to Dame Penelope), and to top it produce an interesting and varied programme every time. Bargain price and no extra baggage.

[Nick Armstrong]

no extra baggage.

... that's no way to refer to ...

...ahem...

I'd better stop there

[Suffolkcoastal]

I was referring to an item that a certain presenter carried his CDs in

[teamsaint]

I was referring to an item that a certain presenter carried his CDs in

does he ever refer to it these days?
I miss Robs Rucksack Rummaging.......

[Nick Armstrong]

I was referring to an item that a certain presenter carried his CDs in

Ohhhhh!!

[Flosshilde]

Short of being in the room when the various tenders are examined and scrutinising the bids, I'm not sure what else you would wish to know.

What the criteria are, possibly?

Being a bit snippy with Ted, aren't you? I would have thought that the general drift of his comments fitted right in with the general drift of the thread, one which you contribute to.

[teamsaint]

What the criteria are, possibly?

Being a bit snippy with Ted, aren't you? I would have thought that the general drift of his comments fitted right in with the general drift of the thread, one which you contribute to.

And who makes the decision, and so on. Public money , after all. Any reason why the minutes of the meeting shouldn't be published ?

On a similar subject,I would be very interested to know how open the New Generation artists scheme is in its decision making. All seems a bit shrouded in mystery.

[doversoul1]

Give me the BBC's recorded music collection to use, a 3 hour programme slot 4 or 5 days a week, a decent wage to live on and I'll make the selections, present the music and do my own research and not have any gimmicky guests (with apologies to Dame Penelope), and to top it produce an interesting and varied programme every time. Bargain price and no extra baggage.

Suffolkcoastal
I have no end of admiration for your musical knowledge and the annual survey you carry out on behalf of us. However, I think we need to acknowledge that producing a programme for Radio 3 involves more than we, listeners tend to think; timing, good microphone technique, and then having to select just a few words from your research that may stretches to a few pages for every piece of music in order to make the talk between the music varied and interesting, while always informative. Most of all, I don't think anyone can expect to live on the payment for producing and presenting one regular radio programme even five for a week.

Listeners can criticise programmes as much as they like without being technical, but if you are to say ‘I can do it better’, you need to show that you understand what actually involves in the work. I do apologise for all this if you are an experienced producer / broadcaster.

I think it is very unfair on the producers and the (most) presenters to be constantly being accused of and laughed at for the state of the programmes. I am sure that the current Radio 3 production team is more than capable of producing excellent programmes. It is the management we should be accusing of how Radio 3 is in now.

[french frank]

What the criteria are, possibly?

Being a bit snippy with Ted, aren't you? I would have thought that the general drift of his comments fitted right in with the general drift of the thread, one which you contribute to.

I thought I had answered that - the criteria would be what the commissioning brief sets out as being the kind of programme Radio 3 wanted and how much they were prepared to pay for it. They would need (I'm surmising) to be satisfied that any independent production company which they had not previously commissioned had the experience and personnel to carry out what they were undertaking to do - presumably why Somethin' Else gets chosen for a range of BBC programming, especially music. I don't think there's a great deal of evidence that the process is any more mysterious than any other which involves public tenders. So I don't think it was really 'snippy' to express uncertainty as to what further information was required than what is already available.

Yes, many people make similar contributions on this thread, though mainly (I stand to be corrected) about specific items that have been heard on the programme. I see nothing 'snippy' about contributing to the thread and even disagreeing - or providing a modified answer - to what others have said. That doesn't alter the fact that I think Essential Classics , as conceived by Radio 3, to be unworthy of the station and better fitted for local radio than a quality arts/cultural service. And that will be made clear in the report that will soon be sent to the controller. But if you want to effect change, I take the view that it isn't done by brute force. That can even hinder it.

But, yes, I am (very well) aware that some people think that I, personally, am too reasonable and too willing to see the other side of the argument. But I do feel a game plan is necessary, and that unqualified critical attacks alone are not useful. The groups of angry listeners (and there have been several) who do nothing but express their views don't last long.

[antongould]

You have obviously missed the point. The choice of the guests musical tastes is irrelevant. They could choose stuff by One Direction for all the producers care. The important thing is bums on seats, or what ever the listener numbers equivalent is. This show is made by a private company, and the only criteria upon which it is judged by the paymaster, is audiance figures. The thinking behind the "celeb" slot is purely to try and attract a certain type of Audiance. Does it work? Who knows. Discerning listeners (are there still some??) can complain all they want about "dumbing down" etc. A waste of time. Ratings are all that count............

I have probably missed the point, as I must have missed it through years of similar discussions hereabouts. I think it is fair to say that the 6 monthly(?) audience figures are far from conclusive as to the success of the tweeting celebrity culture. I have no problem with Private Passions meets RC when the guest has a real love of Classical music and has interesting things to say but it seems the population is not vast?