The more I listen to EC I find the content mostly OK. Still I think it could be improved. Ditch the guest, give us a 10.30 30 min work and give us a complete with timing pre Schedule. Sarah and rob OK!
The more I listen to EC I find the content mostly OK. Still I think it could be improved. Ditch the guest, give us a 10.30 30 min work and give us a complete with timing pre Schedule. Sarah and rob OK!
The billing of EC is barmy! The Essential Choice turns out to be 15 or so minutes of 1812 Ov Fine. Then totally unheralded in the Schedule is 40 or so minutes of Vaughan Williams 5th! Now how long is it going to be before we get the dreaded Bolero as the Essential Choice followed by unheralded eg Schumann 2nd. Get the act together and let's know what's to be on beforehand.
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I do agree with this, and wonder from where this lack of information originates. It's impossible to plan meaningful listening from Radio Times now; is it the same on the R3 website? Misinformation is also rife on the iPlayer, as almost any Afternoon on 3 reveals. Timings are works of fiction.Originally Posted by barber olly
What particularly bothers me is that an unusual work, or a broadcast of a piece by a living composer, may be completely omitted from any listings, whether online or hard-copy. There istherefore no evidence that the piece was ever broadcast! Anyone doing serious research is coming up against a major obstacle. OK, this doesn't particularly apply to EC but it does to much of the rest of the R3 output, particularly Aon3 and what happens between the evening concert and Nightwaves.
Another depressing erosion of serious quality broadcasting.
Isn't it obvious that they think the hook to the programme's potential listeners is going to be the 1812. Don't want to put off any potential listeners by mentioning a nasty, old, obscure symphony do we? If they tune into 1812, they might just leave the radio on for VW5 and, surprise surprise, some might actually find they quite like it. You never know, they may even be tempted to listen to another symphony and then, look, haven't we made classical music accessible then to people who thought they wouldn't like it?
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Don't I know it! It's currently a real pain when inputting the information for my survey. I fortunately do it a couple of days behind so the playlists are often already up, but I have to make more and more use of the Iplayer, for example with the extracts from the Handel Festival after the evening concert. The website continues to be a shoddy mess. For example COTW on Monday had Colin Davis conducting the London S O ensemble in Nielsen's 5th symphony then the London S O Ensemble appears to have played it again without a conductor!
Twice this week thanks to Rachel's choices we have resorted to the dreaded bleeding movement from a work. Rach PC2 (it was inevitable this would turn up - but so soon! and VW3 - in a three hour programme as the parting item from a guest whty oh why could we not have the whole work?
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There is another big 'cock-up' on the Essential Classics playlist from yesterday, apparently J Strauss II composed Ein Heldenleben!!! For Heaven's sake Roger just do one thing right and sack the staff who put the webpages together NOW!!! Then get some people in who actually know something about Classical music, as the webpages are a laughing stock.
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Are you sure it's not the Brainteaser, Sc? Email in with the answer and you might win some CDs.
(Tell them it was J. Strauss I and see what happens.)
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I had to do some driving last week so found myself listening to the some of the new 10.00 programme in the car. Proof for me that R3 has finally taken leave of its senses. It was like having Desert Island Discs [it was hardly up to the intellectual level of Private Passions] with the same person every day for 5 days. We had our noses rubbed in Ms de Thame's impossibly perfect and successful life (she's a Renaissance person, she helpfully pointed out at one stage in case we hadn't noticed), egged on by the gushing, admiring, over-eager tones of Sarah Walker.
After this week's girlish chat, next week offers blokey banter between Rob and Rick Stein. That might at least be interesting for their opposing styles in pronouncing anything foreign. Rob mangles all foreign words and names into a single, one-size-fits-all foreign accent. Rick (I was reminded in his recent cookery series from Spain) sticks to irredeemably English vowels and consonants, and pronounces things phonetically as if they were in English. Of the two I have to say I find Rick's approach the more relaxing and wish Rob wouldn't try so hard....
But I won't be listening.
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