Ludwig's Voice
June 5th – 10th: The Beethoven Experience
June 5th – 10th: The Beethoven Experience
An extraordinary week on Radio 3 as heard through the ears of retired board member Ludwig Fan-Beethoven with further comments from Steve Evans and other FoR3 supporters. We also include a selection from the BBC R3 Beethoven Experience Message Board.
The Beethoven Experience proved two things: that Beethoven is the greatest of all composers; and that BBC Radio 3 is a wonderful place when it's broadcasting classical music 24 hours a day.
The whole week was amazing, at least the 80-odd hours your correspondent was tuned in 'live'. Suddenly there was no need to switch over to Classic FM at 9 or 10pm; no need to reach for the CDs when Sean Rafferty interviewed yet another 'crossover' 'celebrity'. No half-hearted attempts at talking arts, no artless new plays entirely dependent on four-letter words for their memorability. No, it was Radio 3 as it should be: non-stop classical.
Non-stop Beethoven is probably not to everyone's taste, not even those who would describe themselves as real fans. Many complain almost by nature about the Wellington symphony, the folk songs, the fripperies here and there that don't even sound much like Beethoven. But, unlike your humble correspondent, they miss the point: these pieces demonstrate not that he was mortal after all, but that he had a great sense of humour (which is more than you can say for some pundits, ha ha). Non-stop Beethoven was, crucially, non-stop classical; secondarily, it was non-stop masterly music.
Controller Roger Wright described the week as "every note that Beethoven ever wrote". That is not strictly true, of course, because he famously crossed lots of them out and probably threw lots more in the fire. But what was left, and what we got throughout the week, was enjoyable at worst and unsurpassed genius at best. Not just the symphonies, the concertos, the overtures, the mid-to-late quartets and the piano sonatas, which Radio 3 is historically keen to play very regularly anyway (and justifiably so, on the whole), but Beethoven's whole oeuvre, fragments and oddities and all.
Yet it was more than that: apart from the Dickson lapse (see below), it was intelligently presented. Penny Gore and Susan Sharpe soberly doing the breakfasts and nights respectively; Rob Cowan, ever knowledgeable and enthusiastic (even if often overscripted), the late mornings, Sarah Walker the afternoons, a thankfully toned-down Sean Rafferty and Petroc Trelawney the evenings. Only Verity Sharp and Fiona Talkington's late evening programmes jarred a little – you knew they would normally be doing what they would surely rather be doing on a station where they shouldn't be doing it.
The insightful commentaries of Roger Norrington, Alfred Brendel and Peter Cropper that peppered the week also added considerably to the experience, and the musical context was certainly enriched by the readings by John Suchet and John Hurt (although it was hard to hear Hurt as Beethoven!).
And back to the music, because the music was relentlessly superb, both in itself and in regard of the recordings or broadcasts selected by the producers. On Sunday, for example, we had an astounding Leonore II by the BPO under Furtwängler, and on Monday a fantastic Third symphony by the BBC SO under Noseda. There were very few exceptions, such as the BBC CO's Wellington, or Doráti's Fifth symphony on Sunday morning, embarrassed by Noseda's on Tuesday and Norrington's on Friday.
Three fifth symphonies, you say? Indeed, not to mention a Between the Ears special on Thursday which gave us an 'arty', 21st century computerised (and pretty naff), rendition of it, almost as if to remind the listener that this was the slot normally occupied by you-know-what. The point is that the Fifth, like so much Beethoven, stands repeated listening, so profoundly multilayered and moving is it, and the 'Experience' confirmed this with a number of multiple recordings of key works.
There were a couple of things wrong with the 'Experience': the schedule, which the website gave the impression it would post up to two weeks before the start of the festival, was late and then lacking, making it difficult to make plans about listening. And then there was the irritating half an hour given over on the first day to Making Tracks' Adrian Dickson, in a woeful attempt to make Beethoven 'hip'.
Credit where it's due, nonetheless. This was a bold broadcasting first, and a tantalising glimpse of how good Radio 3 could be, if it would just stop trying to be trendy and be all things to all listeners. A 'Bach Experience' has been promised. A cynic might suggest that what might follow depends to a large extent on how many people tuned in for this week and that.
For what it's worth, your correspondent's preference is for a weekly Classical Music Experience on Radio 3, each lasting a week. Clear the schedules, Mr Wright, of all the stuff that could just as well be on Radio 2 or Radio 4 or even Radio 10,000, and let the remaining listeners, however many that might be (probably more than at present), luxuriate in the endless depth, breadth and beauty of a thousand years of classical music. (With Beethoven in his rightful place at its forefront.)
Ludwig
The whole week was amazing, at least the 80-odd hours your correspondent was tuned in 'live'. Suddenly there was no need to switch over to Classic FM at 9 or 10pm; no need to reach for the CDs when Sean Rafferty interviewed yet another 'crossover' 'celebrity'. No half-hearted attempts at talking arts, no artless new plays entirely dependent on four-letter words for their memorability. No, it was Radio 3 as it should be: non-stop classical.
Non-stop Beethoven is probably not to everyone's taste, not even those who would describe themselves as real fans. Many complain almost by nature about the Wellington symphony, the folk songs, the fripperies here and there that don't even sound much like Beethoven. But, unlike your humble correspondent, they miss the point: these pieces demonstrate not that he was mortal after all, but that he had a great sense of humour (which is more than you can say for some pundits, ha ha). Non-stop Beethoven was, crucially, non-stop classical; secondarily, it was non-stop masterly music.
Controller Roger Wright described the week as "every note that Beethoven ever wrote". That is not strictly true, of course, because he famously crossed lots of them out and probably threw lots more in the fire. But what was left, and what we got throughout the week, was enjoyable at worst and unsurpassed genius at best. Not just the symphonies, the concertos, the overtures, the mid-to-late quartets and the piano sonatas, which Radio 3 is historically keen to play very regularly anyway (and justifiably so, on the whole), but Beethoven's whole oeuvre, fragments and oddities and all.
Yet it was more than that: apart from the Dickson lapse (see below), it was intelligently presented. Penny Gore and Susan Sharpe soberly doing the breakfasts and nights respectively; Rob Cowan, ever knowledgeable and enthusiastic (even if often overscripted), the late mornings, Sarah Walker the afternoons, a thankfully toned-down Sean Rafferty and Petroc Trelawney the evenings. Only Verity Sharp and Fiona Talkington's late evening programmes jarred a little – you knew they would normally be doing what they would surely rather be doing on a station where they shouldn't be doing it.
The insightful commentaries of Roger Norrington, Alfred Brendel and Peter Cropper that peppered the week also added considerably to the experience, and the musical context was certainly enriched by the readings by John Suchet and John Hurt (although it was hard to hear Hurt as Beethoven!).
And back to the music, because the music was relentlessly superb, both in itself and in regard of the recordings or broadcasts selected by the producers. On Sunday, for example, we had an astounding Leonore II by the BPO under Furtwängler, and on Monday a fantastic Third symphony by the BBC SO under Noseda. There were very few exceptions, such as the BBC CO's Wellington, or Doráti's Fifth symphony on Sunday morning, embarrassed by Noseda's on Tuesday and Norrington's on Friday.
Three fifth symphonies, you say? Indeed, not to mention a Between the Ears special on Thursday which gave us an 'arty', 21st century computerised (and pretty naff), rendition of it, almost as if to remind the listener that this was the slot normally occupied by you-know-what. The point is that the Fifth, like so much Beethoven, stands repeated listening, so profoundly multilayered and moving is it, and the 'Experience' confirmed this with a number of multiple recordings of key works.
There were a couple of things wrong with the 'Experience': the schedule, which the website gave the impression it would post up to two weeks before the start of the festival, was late and then lacking, making it difficult to make plans about listening. And then there was the irritating half an hour given over on the first day to Making Tracks' Adrian Dickson, in a woeful attempt to make Beethoven 'hip'.
Credit where it's due, nonetheless. This was a bold broadcasting first, and a tantalising glimpse of how good Radio 3 could be, if it would just stop trying to be trendy and be all things to all listeners. A 'Bach Experience' has been promised. A cynic might suggest that what might follow depends to a large extent on how many people tuned in for this week and that.
For what it's worth, your correspondent's preference is for a weekly Classical Music Experience on Radio 3, each lasting a week. Clear the schedules, Mr Wright, of all the stuff that could just as well be on Radio 2 or Radio 4 or even Radio 10,000, and let the remaining listeners, however many that might be (probably more than at present), luxuriate in the endless depth, breadth and beauty of a thousand years of classical music. (With Beethoven in his rightful place at its forefront.)
Ludwig
I have read of one man who has taken a holiday week to ensure his full attention to the Ludwigfest. That fact goes some way, surely, to justify the week. If it provokes such passion, it must be doing something right.
In principle I like the idea of such close focus on a master's work, from cradle to grave, as it were; in practice, however, I found I listened to just a few choice chunks. I am sure I was expected to pay more attention to the continuity. Sadly, I fell by the wayside.
I think two aspects of the celebration worried me: one, the hagiography of Beethoven, and, two, the determination to play everything rather than choosing to confront the issue of choice, or even argument about inclusion or not. A commitment to total inclusion removes the critical issue, and hands programming over to the archivist. On the other hand, the music that was made available opened boxes I had never heard, some I had never heard of, and provided a marvellous opportunity for a rich mix of changing performing styles over the decades. My view here is obviously affected by my relatively cool admiration of Beethoven. Had it been J S Bach, well, then that would have been another tale altogether – for me, at least.
Whatever my personal disengagement with Beethoven I still would like to say clearly and loudly that I am proud that Radio 3 had enough courage, energy and organisation to mount the week. It is the type of week-long event that it is hard to think any other organisation could arrange. I enjoyed the passionate commitment for the music and in the playing. I was much less happy with the dramatised presentation of L B, which suffered presumably from the very opposite of the music – severe limit of time. In a similar way the tone of some of the introductions and commentaries between the music were sometimes mere puffballs full of mythology and cliché. My final verdict is something like 7/10 for achievement; perhaps 8/10 or more for endeavour.
Steve Evans
In principle I like the idea of such close focus on a master's work, from cradle to grave, as it were; in practice, however, I found I listened to just a few choice chunks. I am sure I was expected to pay more attention to the continuity. Sadly, I fell by the wayside.
I think two aspects of the celebration worried me: one, the hagiography of Beethoven, and, two, the determination to play everything rather than choosing to confront the issue of choice, or even argument about inclusion or not. A commitment to total inclusion removes the critical issue, and hands programming over to the archivist. On the other hand, the music that was made available opened boxes I had never heard, some I had never heard of, and provided a marvellous opportunity for a rich mix of changing performing styles over the decades. My view here is obviously affected by my relatively cool admiration of Beethoven. Had it been J S Bach, well, then that would have been another tale altogether – for me, at least.
Whatever my personal disengagement with Beethoven I still would like to say clearly and loudly that I am proud that Radio 3 had enough courage, energy and organisation to mount the week. It is the type of week-long event that it is hard to think any other organisation could arrange. I enjoyed the passionate commitment for the music and in the playing. I was much less happy with the dramatised presentation of L B, which suffered presumably from the very opposite of the music – severe limit of time. In a similar way the tone of some of the introductions and commentaries between the music were sometimes mere puffballs full of mythology and cliché. My final verdict is something like 7/10 for achievement; perhaps 8/10 or more for endeavour.
Steve Evans
Other opinions from FoR3 supporters:
What a difference a week can make! I had felt sceptical about the whole idea of a full week devoted to a single composer, but I need not have worried. The selection and presentation of the performances was excellent, and the background information and readings helped to bring it all to life. I believe that it reached a much larger audience than expected, and shows that there still is a widespread desire for classical music to be taken seriously in this country. Well done Radio 3.
My only worry is that following this success, there might now be too many of these types of event. Once a year is quite enough.
Chris Brophy
My only worry is that following this success, there might now be too many of these types of event. Once a year is quite enough.
Chris Brophy
Well, I had my doubts when the Experience was announced, but wow, all my doubts have been blown out of the water! A week of Beethoven is not only tolerable, but I find it to be highly desirable, and it has enhanced both my appreciation of the the music, and significantly improved my weekly listening arrangements. Isn't this exactly what Radio 3 should be about?
When you are custodians of a great repository such as the recorded Beethoven legacy, it behoves you to make it available, and nothing more. That's exactly what R3 have given us this week. And they could do this every week, too, not necessarily with a single composer, but with the core classical repertoire. R3 are specialist broadcasters to a specialist audience: they need be nothing else.
Martin Myers
When you are custodians of a great repository such as the recorded Beethoven legacy, it behoves you to make it available, and nothing more. That's exactly what R3 have given us this week. And they could do this every week, too, not necessarily with a single composer, but with the core classical repertoire. R3 are specialist broadcasters to a specialist audience: they need be nothing else.
Martin Myers
I have to give Roger Wright a big thumbs up for the Beethoven Experience. For me this is how R3 should be. I have been transfixed by it and listening at 2.0 am!! Roger should develop this idea and extend it to all the 'greats'.
What a joy to have no Late Junction, Verb et al.… just music.
Howard Marshall
What a joy to have no Late Junction, Verb et al.… just music.
Howard Marshall
If a Radio Three listener has plenty of experience, a chance meeting with some of the rarities might be significant. I noticed that some reportedly spurious works have been timetabled and broadcast without comment (such as the duos for clarinet and bassoon). While a very good scheme, it is only a extension of Composer of the Week to the Nth degree. There are a few other composers who might be presented in the same way, (JSB, WAM), next year or the year after.
Well done, if it was necessary for the BBC to especially record works not available in the Grams library, and they actually did it. I do not know that anyone can take such great credit for the basic idea. It is lucky that the idea came from the right direction and was then allowed to flourish. If the idea had come from a listener, it might have been squashed, strangled at birth.
Here is my idea. Could we have an Instrument of the Week? – and a cross-section, chronological and geographical of its repertoire (violin, viola, cello… flute, oboe… horn, percussion, piano etc), not intended to continue in perpetuity. I do not remember this having been done before.
Regrettably I have come to the somewhat droll conclusion that the Beethoven Experience plan's success, which I applaud, can only be compared to the writing of the Bible or Shakespeare (another candidate for 7/24 treatment on a digital radio channel) by a large number of monkeys, equipped with typewriters. Eventually they are going to get it right, given enough time.
Michael Bryant
Well done, if it was necessary for the BBC to especially record works not available in the Grams library, and they actually did it. I do not know that anyone can take such great credit for the basic idea. It is lucky that the idea came from the right direction and was then allowed to flourish. If the idea had come from a listener, it might have been squashed, strangled at birth.
Here is my idea. Could we have an Instrument of the Week? – and a cross-section, chronological and geographical of its repertoire (violin, viola, cello… flute, oboe… horn, percussion, piano etc), not intended to continue in perpetuity. I do not remember this having been done before.
Regrettably I have come to the somewhat droll conclusion that the Beethoven Experience plan's success, which I applaud, can only be compared to the writing of the Bible or Shakespeare (another candidate for 7/24 treatment on a digital radio channel) by a large number of monkeys, equipped with typewriters. Eventually they are going to get it right, given enough time.
Michael Bryant
I thought the whole event was wonderful! I hardly dare think how many LvB LPs and CDs I own, or how many hours of Beethoven I have already listened to (live and on the radio) already. Yet I found the whole experience really exciting and I have heard some 'new' music also – new to me albeit written by LvB.
This proves that R3 do not need to stray outside what we would argue is their core responsibility in order to produce exciting programming. People talk about the Beethoven Experience and in a small way it has captured a piece of the popular imagination. A small way perhaps, but at least it has – unlike Late Junction and World Routes and all the other unimaginative trendy programming efforts of late. It shows that what is wrong with R3 is not a supposedly excessive focus on the 'highbrow', but simply unimaginative programming!
If the mass of FoR3 feel the same way as I do, FoR3 should accept a pat on the back (perhaps attach clothes-peg to nose?) and thank the R3 apparatchiks for this step forwards. Remember the 150th anniversary of Schubert's death – a high point for BBC programming? Perhaps this will induce them to tackle their core responsibilities with more fervour and come up with a few more ideas like this.
William Battersby
This proves that R3 do not need to stray outside what we would argue is their core responsibility in order to produce exciting programming. People talk about the Beethoven Experience and in a small way it has captured a piece of the popular imagination. A small way perhaps, but at least it has – unlike Late Junction and World Routes and all the other unimaginative trendy programming efforts of late. It shows that what is wrong with R3 is not a supposedly excessive focus on the 'highbrow', but simply unimaginative programming!
If the mass of FoR3 feel the same way as I do, FoR3 should accept a pat on the back (perhaps attach clothes-peg to nose?) and thank the R3 apparatchiks for this step forwards. Remember the 150th anniversary of Schubert's death – a high point for BBC programming? Perhaps this will induce them to tackle their core responsibilities with more fervour and come up with a few more ideas like this.
William Battersby
At first I thought what a superlative idea, but as the week has gone on I'm not so sure. I never thought that the Master could become a bit of a drag, but, with the bringing out of everything he wrote, I feel a bit that it is turning into the musical equivalent of the first 1,000 bomber raids on Germany.
It has to be admitted that not every piece is a masterpiece, some sound pretty poor to me, and one wonders what LvB would think of some of these exhumations. I also wonder whether it is not somehow symptomatic of the new R3 that we lurch into an excess like this (pray that they don't think of broadcasting every one of Schubert's 3 trillion songs next).
John Poole
It has to be admitted that not every piece is a masterpiece, some sound pretty poor to me, and one wonders what LvB would think of some of these exhumations. I also wonder whether it is not somehow symptomatic of the new R3 that we lurch into an excess like this (pray that they don't think of broadcasting every one of Schubert's 3 trillion songs next).
John Poole
I like the Beethoven Experience, principally for the access to the little known/underperformed/rarely recorded parts of his repertoire. Access of this sort begins to justify the licence fee. That and the absence of Making Tracks every weekday: when will it dawn on the Beeb that this prog has to go out simultaneously on all Beeb radio stations except R3 (we know about this stuff, you do not make converts in church) and R4 (only interested in higher things – such as ye bowmen).
Paul Janz
Paul Janz
The Beethoven Experience is a triumph – really brave and adventurous programming, introducing us to much music that we might never have heard otherwise, and re-introducing us to music that we knew, but not in this context. The interspersed readings are also well-chosen, relevant and enlightening.
Jane Calin
Jane Calin
I know it's a very selfish point of view but I have to say that for me the best thing about the Beethoven Experience has been going to bed at 10.30 (as I do most evenings) and having classical music on the radio to listen to whilst I read before sleep! I was also somewhat sceptical about the whole thing but what has surprised me was that it is possible to listen for quite long stretches without (as I had expected) finding it all too heavy going.
I was also looking forward to being able to listen all day Saturday – the only day I actually can, but I find we have been misled – it's actually six days not a week
Andrew Holt
I was also looking forward to being able to listen all day Saturday – the only day I actually can, but I find we have been misled – it's actually six days not a week
Andrew Holt
The whole project has been wonderful. Roger Wright from being a candidate for the noose should be put forward for a knighthood. It doesn't need to be a week next time perhaps a weekend. I like the literary as well as music and other arts interpretation of Beethoven they have employed.
Rob Blaney
Rob Blaney
I am probably not the best person to offer an opinion on the thing itself – it would take much more than just one week before I had had enough, even temporarily, of his music. However it seems to have had another effect in that we have been spared the usual incessant commercials, and the incidence of brainless blather seems to have reduced considerably.
David Trickett
David Trickett
The Beethoven Experience is being a most rewarding experience for me despite my believing beforehand that I was familiar with Beethoven. My overwhelming feeling is of the sheer greatness of the man – consistent quality and amazing breadth of his music. The week of programmes is an example of the sort of the dedication to artistic values that used to be very apparent, but sadly these days is so often sadly missing.
David Baldock
David Baldock
I can't see why this week of all weeks and years is being chosen for the Beethoven orgy, but it doesn't worry me as he is one of my very favourites. A friend, however, who dislikes what he calls Beethoven's 'Promethean bombast' – he only means the more popular works – has turned off his radio for the duration!
But anything that rouses wider interest in classical music without trivialising it is to be welcomed.
Nigel Rodgers
But anything that rouses wider interest in classical music without trivialising it is to be welcomed.
Nigel Rodgers
During the Beethoven experience, I listen to radio in exactly the same way as I do normally: Listen to only Radio 3; have Radio 3 on whenever I can. It is refreshing that Radio 3 has the freedom to present a major event which is likely to be favourable with its listeners. An event such as the Beethoven event would never take place on any other radio stations or any other medium.
When Radio 3 ceases to listen to its listeners and starts to hype presentations in ways similar to Classical FM and Smooth (formerly Jazz FM) then I shall switch off Radio 3 as I have so done with Classical FM and Smooth.
Andrew Rivers
When Radio 3 ceases to listen to its listeners and starts to hype presentations in ways similar to Classical FM and Smooth (formerly Jazz FM) then I shall switch off Radio 3 as I have so done with Classical FM and Smooth.
Andrew Rivers
…a wonderful idea well presented, more please… so interesting etc and no Late Junction, hooray.
Tessa Seda
Tessa Seda
Comments from The Beethoven Experience message board
"Day 1 and I am reeling. Of course we could play CDs at any time, but how much more enjoyable to share the experience with people up and down the country – I hope the sound echoes around heaven and expresses the gratitude we feel for the mind that gave us this music." [mags]
Many thanks to Radio3 for a wonderful opportunity to rediscover Beethoven. Next time I shall have to find a way to stop work and stay awake for five days, but at least I work from home so could have it on for much of the day. I loved the juxtaposition of familiar works with totally unfamiliar ones, and was fascinated by some of the smaller snippets. [Morris]
There were many different ways to experience the experience, and I found randomly dipping in whenever I could, getting up early, radios in every feasible location, car, office, house, walkman, mobile phone etc, part of the extraordinariness. I therefore heard the remarkable reading of the Heiligenstadt letter and the accompanying song whilst queuing in a motorway service station cafeteria. The profundity of what was in my ears - including residual muzak – and the banality of my surroundings was, bizarrely, painfully moving. I had to just sit in the quiet, radio off, when I got back out to my car before I could drive off again. [Mike T]
Would like to add myself and wife to those dishing out accolades to R3 for an inspired weeks music. Not only did we have 3 radios all tuned to R3 all day and most of the night for the week, but the two car radios too! Anchored by lots of old friends among the choices, we heard many newcomers to our listening repertoire too, and were delighted by this. Would like also to have heard such derived pieces as Liszts transcriptions of the symphonies too! And thanks for the interviews and explanations by Alfred Brendel, John Lill, Peter Cropper et al. I hope your final analysis confirms that you have pleased many more listners than you have upset Many thanks!! [imarcus]
I went to bed with Beethoven. I woke with Beethoven. I ate with Beethoven. I went to work with Beethoven. I relaxed with Beethoven. I spent a whole week with him and found hidden depths in a great friend. My husband didn't mind at all. Thank you Radio 3. How long will I have to wait the relive the experience? [hippo]
'Brendel… was perfect' Yes, agree with that. Not a wholly bad thing this saturation coverage thing which I had sort of imagined would be, well, 'Death by Beethoven'. Any way must stop messageboarding and get on and just listen. Shame on you out there who are using it as musique d'ameublement. [edgar t]
"'The Beethoven Experience' should not be praised for a number of reasons. On the simplest level, it is media saturation at its worst. Fair enough focus on the composer, but why not do it through a week of special features and extended airplay alongside normal programmes, rather than total and intrusive submersion? More importantly, 'The Beethoven Experience' seems to reflect our unchanging musical thinking which helps to preserve the dangerous ideas of the 'great composer' as an unquestionable genius. None of the programmes seem to challenge the music or idea of the 'The Beethoven cult.' Projects such as this aren't positive in that they only strengthen Beethoven's dominance over the 'history of music', which obscures the work of other composers and holds us back from getting to know music that is less well-known. Some would argue that the week allows us to hear lesser known pieces from Beethoven's output. True, but why not just focus on them instead of reinforcing the 'classics' we already know? Why not cover the lesser the works of another composer? Why Beethoven? etc. Personally, I like most of the Beethoven I hear, particulary the string quartets and late piano sonatas. But 'The Beethoven Experience' should not be embraced without challenging what it stands for…" [Philbob]
"I'm still in a youth orchestra as first bassoon and we have not yet played Egmont. THe Beethoven experience has inspired me ask for more beethoven to be played maybe next term. Meanwhile I'm loving listening to it all on the radio. He's my favourite composer and it's such a joy to have a whole week dedicated to his music." [Little Miss Jo]
"The Beethoven Experience is one of the best things BBC3 has ever done. It is bliss to go to bed and know that from 10pm to midnight one can be sure of a really happy experience instead of the awful rubbish we usually get. I havn't listened to radio 3 at night for ages because it consists of either ethnic music, jzz or other 'none soothing' items!!! Now I am sent to sleep in a really happy mood." [Patricia Daman]
"I love Beethoven as much as the next person does, and happily agree that he is the greatest composer who ever lived. But… I'm already feeling that this immersive experience is not the best way to engage more deeply with his compositions. I find the 'lite' style of most of the introductions doesn't do justice to the great works. It's unlikely that there are many 'neglected masterpieces' in the rest of his output just waiting to be discovered; and at the same time there are lots of minor works that quite deservedly are hardly ever performed. I'm not sure that hearing them on Radio Three will do much to improve the audience's love/understanding/interest in Beethoven, or classical music in general. And I doubt even Beethoven himself played nothing but Beethoven all day!" [rod]
"I agree that it will be VERY hard to go work this week. Thank you so very much BBC – this is a truly inspired initative. I shall listen every hour I possibly can. Some contributors think listeners will be turned away by a surfeit of Beethoven. Personally, I am more turned away by 'World Music' and similar which has had me increasingly reaching for the channel change in recent times. I'd like to think the BBC would repeat this concept with another composer – but is there any other who could keep us riveted for a whole week – perhaps not." [SimonW]
"Well Done BBC, fantastic week, I've done absolutely no revision and been nearly late for two exams because of the experience!!! So, to save me from staying up all night is there any chance of an approximate playtime for the Bernstein recording of the ninth? Thanks in advance!!!" [ianlee31]
"Terrific! This is what Radio 3 ought to be doing – more often!" [MargaretMack]
"I totally agree! For once I don't have to switch off when all the chatter or ethnic music comes on. Interesting choice of performances. Look forward to the week ahead and wish I could hear some of it again." [annereitan]
"yes, beethoven is a truly great composer, but a week of nothing but beethoven really is too much. what i've always liked about radio three is the variety of music played, the range of styles and periods, the different instrumental and vocal lineups. i'm sure a diet of nothing but the finest caviar must also get boring in the long run." [alanw]
"With this marvellous week devoted to the music of the composer whom I've always revered, my faith in Radio 3 is now fully restored. Thank you so much R3." [Leonie Vinci]
"It's all right for you, mate. You're deaf. Not to mention dead. You don't have to listen to your miseryguts crash-and-bang sound-and-fury-signifying-nothing 'masterpieces' all week. Plus you would not believe the stomach-churning paeans of praise that have been appearing on this board. We've been treated to more life-transforming experiences than Billy Graham ever managed at the height of his popularity. While you're around, are you going to apologise for that Pastoral symphony mush? It's just like In A Monastery Garden with thunderclaps – except it goes on for yonks. [Rabies]
"Lovely stuff. I didn't think I'd manage to listen to 2,4 and 5 one after the other but I've enjoyed every minute of it (especially the fantastic horns in number 5)." [Mrs Ludders]
"I have also been hugely enjoying this Beethoven week, not least because there is an element of pleasure in knowing at least broadly the sound world of what is going to be played. I have listened to Radio 3 much less in recent years, partly due to working patterns but mainly because I find the smorgasbord approach of e.g. Morning on 3 and In Tune profoundly irritating." [Jane W]
"Can anyone stop it – please!!! It's only Tuesday and I'm going insane. If you had to eat the same food all day, every day for a week, wouldn't you go crazy? This has to be the daftest idea for a long time – though not quite as bad as that 'Festering Isle' (or whatever it was) you did a few years back. After that, I couldn't listen to a note by Purcell for nearly 12 months. At least Beethocven – small mercy – isn't disfigured by the hooting and caterwauling of interminable counter-tenors. By the end of this week I shall be ready to listen to anything – the irrevocably 3rd rate Liszt, or even the terminally boring Vivaldi. I shall obviously have to take shelter with Classic FM (and that says it all). [ianmw]
"I have barely been able to contain my pleasure at this festival of Beethoven. For the first time for years I have been able to tune to Radio 3 in the evenings without running the risk of hearing the cacaphonic curiosities of Late Junction and A. Kershaw's Third World pop music show. Please can we have more programmes of serious classical (and modern) music in the evenings for those of us who have been driven to listen to Classic FM as the only refuge for their tastes." [Chris_Rayner]
"This is the best and bravest thing R3 has done, and it's only Thursday! My neighbour, a retired professional musician, feels likewise. Don't know if it would work with any other composer but 'the master'. Be brave enough to try. Schubert? [vincent]
"I do find Beethoven the most wonderful thing on the planet, but.........why oh why does the BBC have to go for overkill, and play the whole book in one go. I am sorry, but it does begin to sound a bit like (not so) good old Classic FM. Please, let's not go down this road any further." [joe]
"I listen little to R3 these days. Too busy, and when I turn on it tends to be something wallowing or vapid, or there's some kind-of-like-and-stuffery or conscientious consonant-dropping afoot. This Beethoven thing has me listening a lot, although still entirely at random, bescause I know that when I turn on there'll be something with a bit of grit to it.For goodness' sake don't do it or the like again for a few years. Spoiled by expectation." [Patrick Stoner]
"The Beethoven Experience has restored my faith in Radio 3. R3 was my teacher in the 70s; high standards, no condescension, no self-doubt, no moaning that it wasn't 'accessible'. I knew nothing about music, but I didn't feel excluded; on the contrary, I admired R3's commitment to excellence. I learnt something new and fundamental every week. The Beethoven Week has been a brave and brilliant event. Take a bow, all those concerned." [patrick nealon]