A simple question: does anyone have any idea of how much input or influence the various R3 presenters have on what is actually played on their respective programmes? I ask this because it always seemed to me that when Sean was presenting In Tune the music played was always much 'better' (and yes I realise that that is subjective) than when KD presented. I am here to be educated esteemed listeners and radio friends!
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A very interesting question. When I worked there very briefly many years ago the answer would have been zero to very little with the exception of say Cormac Rigby’s Ballet music programme. Now I suspect the bulk would be chosen by the producer as , believe it or not , it’s a time consuming and tricky job - but with the opportunity for presenters to suggest things. I bet both are deluged with new releases which need to be listened to and assessed. Sean has a deep knowledge of the song and opera repertoire so no doubt he was keen on favouring that material. Any decent producer would welcome presenter ideas as to be honest I guess producing endless sequence music programmes is draining - just listening to that volume of material - 3 to 5 hours in prep than another 3 hours live. It sounds like the best job in the world but you can never really sit back and listen - that’s fatal .Originally posted by JSB Rules View Post
Ok it’s better than working in a coal mine, -
I've long wanted to know how they decide what to play and what not to play. Its obvious (i.e. can't be coincidence) that there is an across-the-board policy whereby some minor composers (I mean apart from the evergreen masters) are regularly programmed day in day out and others are completely ignored from one year's end to the other (no, I won't name them as I don't want to start all that again!).
Over many years, several accuastions have been made that there is an 'index' of banned composers, but the BBC have always denied it.Comment
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Originally posted by smittims View Post
This topic has come up before. Putting together the odd facts that have emerged, I'd say it's principally the producer's responsibility, with input from presenters if they have the knowledge and interest, and production assistants trawling through databases of commonly played works with the exact timings (feed in the airtime to fill and check the results). Why not replace a sequence of 15 presenter-led snippets with 3 or 4 full-length works?
How do they decide what to play? Probably on the basis of how a programme's target audience is likely to respond. Will they enjoy it?
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
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I think so many different producers choosing music, genuinely of their own individual choice, would produce a much wider mix than we get. I can't believe there isn't a list given to them telling them which composers are 'in' and which 'out'. In other words, I can't beleive it's coincidence that some minor composers keep coming up and others are never played. I just wish they'd come clean about it.Comment
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The Essential Classics playlist challenge makes it clear, by the presenter's comments, that it's the producer who makes the final cut from the audience suggestions so I always assumed that meant the producer was also responsible for the rest of the music.Originally posted by Old Grumpy View Post
I.e. how many tweets and how many Xs?
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S'what I said: the producer is "responsible", but it doesn't mean they aren't happy to hear other suggestions. I imagine the only other element would be malign influence - for whatever reasonOriginally posted by oddoneout View Post - from above! 
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
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