Originally posted by pastoralguy
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Essential Classics - The Continuing Debate
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Originally posted by Vespare View PostWhy was Miles Davis played? Clearly by popular demand.
Originally posted by Vespare View PostBearing in mind that Radio 3 is aimed at the general public, not only a narrow band of knowledgeable Classical enthusiasts
The whole purpose of the original Third Programme was that it should not, as a service, be aimed vaguely at 'the general public'.
Originally posted by Vespare View Postit might:
persuade some listeners to adjust listening habits developed over the years, and
knock some of the perceived stuffiness out of the Classical music agenda.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.
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The remit of Radio 3 strikes me as a particularly difficult one to manage:
Around its core proposition of classical music, its speech-based programming should inform and educate the audience about music and culture. Jazz, world music, drama, the arts and ideas and religious programming should feature in its output.
Compare that with aim of Classic FM: Classical music is at the heart of everything we do at Classic FM we believe classical music can and should be a part of everyone's lives - regardless of age,
It seems to me that the success of Classic FM (and many other successful businesses) is largely due to that it has just a single aim and a single product.
Radio 3 has a wide remit, which might lead to several products or services, addressed to different audiences. Not a good way to run a business. Possibly moves to integrate the output of Radio 3, however weak in the case of Essential Classics, might make the station easier to run , and who knows make it more successful.Last edited by Quarky; 19-11-17, 18:48.
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Originally posted by Vespare View PostThe remit of Radio 3 strikes me as a particularly difficult one to manage:
Around its core proposition of classical music, its speech-based programming should inform and educate the audience about music and culture. Jazz, world music, drama, the arts and ideas and religious programming should feature in its output.
Compare that with aim of Classic FM: Classical music is at the heart of everything we do at Classic FM we believe classical music can and should be a part of everyone's lives - regardless of age,
It seems to me that the success of Classic FM (and many other successful businesses) is largely due to that it has just a single aim and a single product.
Radio 3 has a wide remit, which might lead to several products or services, addressed to different audiences. Not a good way to run a business. Possibly moves to integrate the output of Radio 3, however weak in the case of Essential Classics, might make the station easier to run , and who knows make it more successful.
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Originally posted by Vespare View PostThe remit of Radio 3 strikes me as a particularly difficult one to manage:
Around its core proposition of classical music, its speech-based programming should inform and educate the audience about music and culture. Jazz, world music, drama, the arts and ideas and religious programming should feature in its output.
Compare that with aim of Classic FM: Classical music is at the heart of everything we do at Classic FM we believe classical music can and should be a part of everyone's lives - regardless of age,
It seems to me that the success of Classic FM (and many other successful businesses) is largely due to that it has just a single aim and a single product.
Radio 3 has a wide remit, which might lead to several products or services, addressed to different audiences. Not a good way to run a business. Possibly moves to integrate the output of Radio 3, however weak in the case of Essential Classics, might make the station easier to run , and who knows make it more successful.
An awful lot of people in other " creative industries" would love to have their sort of problems.
And from what I have read, that remit doesnt seem especially complex compared to other BBC radio stations.Last edited by teamsaint; 19-11-17, 19:52.I will not be pushed, filed, stamped, indexed, briefed, debriefed or numbered. My life is my own.
I am not a number, I am a free man.
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Originally posted by teamsaint View PostThey have 24 hours a day to programme. One of the biggest websites in the country to utilise. No shareholders to answer to. Artists and their managements banging on their door to get air time. They have a prestigious brand, and the worlds largest classical music festival to draw upon. They have a guaranteed budget, admittedly shrinking in real terms.In other words, plenty of resources to fulfill the remit.
An awful lot of people in other " creative industries" would love to have their sort of problems.
And from what I have read, that remit doesnt seem especially complex compared to other BBC radio stations.
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Originally posted by Vespare View PostThe remit of Radio 3 strikes me as a particularly difficult one to manage:
Around its core proposition of classical music, its speech-based programming should inform and educate the audience about music and culture. Jazz, world music, drama, the arts and ideas and religious programming should feature in its output.
If Radio 3 drops its drama, jazz, world music and features, which bit of BBC Radio will take them up, to the same level? In any case the constant complaints have been about the classical music output. Many people who want to listen to it aren't satisfied with what they're getting. Giving us the same thing all round the clock won't make it any better.
Originally posted by Vespare View PostPossibly moves to integrate the output of Radio 3, however weak in the case of Essential Classics, might make the station easier to run , and who knows make it more successful.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.
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Originally posted by teamsaint View PostThey have 24 hours a day to programme. One of the biggest websites in the country to utilise. No shareholders to answer to. Artists and their managements banging on their door to get air time. They have a prestigious brand, and the worlds largest classical music festival to draw upon. They have a guaranteed budget, admittedly shrinking in real terms.In other words, plenty of resources to fulfill the remit.
An awful lot of people in other " creative industries" would love to have their sort of problems.
And from what I have read, that remit doesnt seem especially complex compared to other BBC radio stations.
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Originally posted by cloughie View PostWell said ts. ....and get back to the quality basics it is good at and leave the morning fayre to CFM!
"The BBC has never sat down to define 'culture', or what a 'cultural network' should be doing. Nor has it ever really faced up to the fact that if such a network is to do its job properly, it will … only have a very small audience. But that audience matters." H. Carpenter, The Envy of the World, 1996.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.
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I'm with H.Carpenter on this.
"The BBC has never sat down to define 'culture', or what a 'cultural network' should be doing. Nor has it ever really faced up to the fact that if such a network is to do its job properly, it will … only have a very small audience. But that audience matters."Last edited by DracoM; 20-11-17, 16:23.
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I made a point of listening to all of 'Essential Classics' this morning. Overall, I found it it a pretty unsatisfactory experience. The programme seemed to lack any structure or what, to use a currently popular term, one could call 'narrative'. The one highlight was the truly beautiful recording, previously unknown to me, of the Tallis Fantasia by Sir Mark Elder and the Halle. I agreed wholeheartedly with those who contacted the programme to say that there was nothing to follow it. (Who would have guessed that we would end up with the Barber Adagio? )
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Originally posted by DracoM View PostI'm with H.Carpenter on this.
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Originally posted by french frank View PostAnother argument might be that if they can make Radio 2 so general, so middle of the road, so unadventurous, so appealing to the very general public that it attracts the largest audience in UK radio by some margin at a negligible cost per listener, can they not - as a public service broadcaster - subsidise a station which aims at a narrow audience, and a higher, special interest level in all it does, at a cost which may be more expensive per listener, but still costs less in actual cash than Radio 2?
"The BBC has never sat down to define 'culture', or what a 'cultural network' should be doing. Nor has it ever really faced up to the fact that if such a network is to do its job properly, it will … only have a very small audience. But that audience matters." H. Carpenter, The Envy of the World, 1996.
How many narrow audiences (and how narrow) should the BBC give this treatment to .... ????
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Originally posted by antongould View PostHow many narrow audiences (and how narrow) should the BBC give this treatment to .... ????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.
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