Paul Donovan
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George Orwell lived long enough to know the Third Programme; he adapted his own Animal Farm for it. Language that is manipulative and deceitful is now for ever Orwellian. He would have undoubtedly recognised some of the ways in which the Third’s successor, Radio 3, has sought to neutralise hostility and influence reaction to its controversial new schedule, which began yesterday.
Its changes are many. Nine shows have been axed. Another five have been moved. Apart from the Proms and other special seasons, and the last act of some New York operas, there will be no live music after 7pm. Late Junction is reduced, Discovering Music extended. There will be a new weekday breakfast host, six new series and afternoon opera.
Well aware that some of this was attacked when partly leaked last November, the BBC has acted decisively. All the main Radio 3 message boards — forums for listeners to give their opinions and let off steam — will be closed from tomorrow. Radio Times and Radio 3’s official announcement of the changes carry not a word about the abolished shows. There was no explanation beforehand as to why they had to go, and no mention of them afterwards. They have just been swept away. Those who laboured on them are presumably now nonpersons. The fact that it was the final edition of all these shows was deliberately left out of all billings and press information. Roger Wright, the controller of Radio 3, has declined to appear on Feedback to defend himself, and ignored the changes in his monthly newsletter.
Chilling, and there is more. Mark Russell, who was the co-host, with Robert Sandall, of Mixing It, which for 16 years featured experimental and improvised music, says on his blog: “Some listeners wondered why Robert and I didn’t make a statement on air. The reason is because it wouldn’t have been broadcast. We recorded our final show yesterday, a few hours before it was broadcast. A BBC senior editor sat through the whole thing. I can’t ever remember that happening before.”
I asked Radio 3 a simple question: Why is Penny Gore being replaced as weekday breakfast presenter by Rob Cowan? The reply, in full, was: “Penny has been presenting Morning on 3 for over six years and will now be part of the team of presenters across Afternoons on 3”. Judge for yourself if that is an answer.
Two years ago, the Advertising Standards Authority upheld a complaint against Radio 3 for a poster campaign that promised “A live concert every night”. It now bills its recorded concerts “as live” or “live as live”. When will it stop using these nonsensical weasel words and acknowledge that a performance is either live or recorded, and that live means simultaneous?
Many Radio 3 shows remain the same, as does the overall seriousness and the mix of speech and music. Some of the innovations look terrific. Last week’s Tchaikovsky and Stravinsky season, though not always showing how the two were connected, was a joy. But why is Radio 3 so creepy in the way it treats presenters and listeners alike, and why is it so keen to highlight dissent if it is in a comfortably far-off place such as Turkey or China, while making every attempt to squash it when it is rather nearer to home?
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My concern is with the removal of Choral Evensong from wednesday to sunday. The weekday slot is precisely where such an expression of faith and culture should be found. Religion for better or worse is in the forefront of life now, not just on one day of the week. So why not let this cultural and spiritual event return to the middle of the working week? It is an example of english christian religious life and music at its most beautiful, reasonable and edifying.
But, dear God, is that exactly why it's been sidelined.....?
Patrick Wood, London, United Kingdom
The "new" Radio Three is dull. It is so precisely because of the reliance on "audience niches", management techniques and other such considerations, which - if they are of any worth at all - are marginal when applied to a station which is supposed to communicate the best of the arts to anyone who might tune in. For this type of programming there is no audience waiting for its dose, no consumers. What Wright is attempting to do (in keeping with his odious predecessor Kenyon's policies, I feel) is to make the station a haven for collectors and other drones. Witness the transformation of Jazz Legends into its nemesis. Julian Joseph (importantly a composer and pianist - he does what he talks about!) and his co-presenters featured a musician's work, accompanied by a conversation which had the authenticity associated with those who are "inside" the art form. This was backed up by information that could be accessed by those who would. Shouldn't those whose input might be valued because of their being doers be the ones who run Radio Three?
Chris Talbot, Walsall, UK
Much of Paul Donovan's dismay has been experienced and the subject of the highly educated, coherent and astute R3 message boards for months. Any corporation with as much need to be sensitive to its public as the BBC would surely be eternally grateful for the ongoing intelligent, observant, educated commentary that the R3 messageboards provide. Many corporations would see that commentary as a priceless asset. The fact that not only does the BBC view it as too dangerously articulate, but is seeking means to curtail that dialogue, bespeaks a management style wholly out of touch with their audience and modern consumer handling practice. It is both baffling and disheartening, and the arrogance of its implementation will eventually turn many of the station's most dedicated listeners away. Currrent RAJAR figures suggest that for all the changes Roger Wright has implemented over the last five years or so, the audiences are slipping away. The new changes will accelerate that process. A very serious question about what the BBC thinks it is doing with its remit to sustain and nurture cultural values is now in urgent need of debate.
Stuart Manger, Sedbergh, Cumbria, UK
"Last weeks Tchaikovsky and Stravinsky season ... was a joy."
Well, at least somebody enjoyed it! Personally I find that wall-to-wall music by one or two composers rapidly palls, and worse, the programs which I really enjoy, and often listen to using the BBC's Listen Again feature replaced familiar favourites with more wall-to-wall same composer programmes.
There is something terribly wrong with Radio Three.
Myscha, Lyndonville,
Why is the BBC so obsessive about muting any dissent against changes? The message boards were not a great forum to debate the issues as there was rarely any response from management and also because of the obsessive and abusive postings of a few of the internet trolls that frequented the BBC's sites. However for the BBC simply to remove the only (allbe it flawed) forum for criticism strikes of Birtism at it worst.
George, Dublin, Ireland
"Last weeks Tchaikovsky and Stravinsky season ... was a joy."
Well, at least somebody enjoyed it! Personally I find that wall-to-wall music by one or two composers rapidly palls, and worse, the programs which I really enjoy, and often listen to using the BBC's Listen Again feature replaced familiar favourites with more wall-to-wall same composer programmes.
There is something terribly wrong with Radio Three.
Myscha, Lyndonville, VT