The Essay

The BBC has had a powerful influence on our musical taste, and in this BBC centenary year, Nicholas Kenyon, a former controller of Radio 3 and director of the Proms, delves into the archives to explore the BBC’s role in reviving the centuries of early music from before the 18th century.Today Kenyon explores how in the creative years of the 1950s and 1960s, the revival of early music had a sense of adventure; new orchestras were established like the Academy of St Martin-in-the-Fields which explored the repertory in broadcasts and recordings. He highlights the work of three contrasted pioneers: Imogen Holst, who programmed concerts of medieval music at Aldeburgh, promoted by the BBC Transcription Service; Denis Stevens, the musicologist and conductor who broadcast and worked for the BBC Third Programme but became a hugely controversial figure because of his argumentative nature; and William Glock, who became the BBC’s Controller of Music in 1959 and transformed the repertory of the Proms, welcoming in a whole range of earlier music that had never been heard before at the Proms.Presented by Nicholas Kenyon Produced by Melissa FitzGerald

The BBC has had a powerful influence on our musical taste, and in this BBC centenary year, Nicholas Kenyon, a former controller of Radio 3 and director of the Proms, delves into the archives to explore the BBC’s role in reviving the centuries of early music from before the 18th century. In his third essay, Kenyon explores how the launch of the BBC’s cultural Third Programme in 1946 rapidly advanced the revival of early music on the BBC. From Alfred Deller singing Purcell in the opening concert of the network, to huge and difficult undertakings like the History in Sound of European Music, the Third supported the scholarly exploration of earlier repertories. Leading figures on the staff were experts in early music, and worked with a new generation of emerging performers who were interested in performing the music of the past: Julian Bream on the lute and George Malcolm on harpsichord, Neville Marriner on the violin, and Arnold Goldsborough conducting chamber orchestras. In the title of one 1948 series featuring the violinist Norbert Brainin, leader of the Amadeus Quartet, they were creating ‘new life for old music’.Presented by Nicholas Kenyon Produced by Melissa FitzGerald

The BBC has had a powerful influence on our musical taste, and in this BBC centenary year, Nicholas Kenyon, a former controller of Radio 3 and director of the Proms, delves into the archives to explore the BBC’s role in reviving the centuries of early music from before the 18th century. In five programmes he looks at the rare repertory which the BBC broadcast, from its small beginnings in the 1920s to its acceptance in the mainstream during the 1970s. Drawing on entertaining and illuminating extracts from the BBC archives, with original music recordings, Kenyon shows the way in which early music and period-style performance gradually became part of our musical consciousness and an essential part of our listening. In his second essay, Kenyon explores how by the 1930s the BBC had become a powerful influence on national taste and there were strong voices urging it to do more for British music. In 1934 it broadcast a 13-week series of English music ‘From plainsong to Purcell’ curated by the scholar, conductor and editor Sir Richard Terry. He argued for ancient music on the grounds that ‘our forefathers were human beings like ourselves. Music which held human appeal for them cannot be devoid of interest for us.’ Terry edited music for broadcast which had never been broadcast before, and some of which, like the sixty secular madrigals of Peter Philips, had never been heard in modern times. Early music came to form a part of national ceremonial like the Coronation of George VI in 1937, with the BBC leading the way in its celebratory concerts. Presented by Nicholas Kenyon Produced by Melissa FitzGerald

The BBC has had a powerful influence on our musical taste, and in this BBC centenary year, Nicholas Kenyon, a former controller of Radio 3 and director of the Proms, delves into the archives to explore the BBC’s role in reviving the centuries of early music from before the 18th century. In five programmes he looks at the rare repertory which the BBC broadcast, from its small beginnings in the 1920s to its acceptance in the mainstream during the 1970s. Drawing on entertaining and illuminating extracts from the BBC archives, with original music recordings, Kenyon shows the way in which early music and period-style performance gradually became part of our musical consciousness and an essential part of our listening. In his first essay, Kenyon explores how in the 1920s there was a new approach to performing the music of past, which tried to recreate the scale and sound of the music when it was written. Pioneers on the radio included Percy Warlock (pen-name of the composer Philip Heseltine) who broadcast ‘Old Ayres and Keyboard Music’, and claimed that ‘there is no such thing as progress in music. A good work of 300 years ago is just as perfect now as it was on the day it was written’. The quirky Violet Gordon Woodhouse, who famously lived with four men, was the first to record and broadcast on the harpsichord. The violinist André Mangeot, who was fictionalised in a book by Christopher Isherwood, worked with Warlock to revive viol music of Henry Purcell from 1680. But there were internal BBC controversies as to whether this early music was of real interest to listeners.Presented by Nicholas Kenyon Produced by Melissa FitzGerald

Once upon a time, a Shakespeare play on BBC Radio would inevitably feature actors with perfect received pronunciation. Now that has all changed. Actor Samuel West, no stranger to Shakespearian roles, is joined by Dr Andrea Smith to hear how horizons have widened and productions enriched by new voices and new settings for the plays. We'll hear about plays set in India, plays recorded in Welsh, those with characters clearly from Africa or the Caribbean and voices that are far from the cut glass of RP.Presented by Samuel West and Dr Andrea Smith Produced by Susan Marling A Just Radio Production

By the time the BBC had come of age in the 70s and 80s, radio production had become a creative art. The Radiophonic Workshop could famously transport listeners to imagined worlds and this was certainly the case with productions of Shakespeare. Actor Samuel West and Dr Andrea Smith celebrate the creativity that gave us everything from the magic of Puck and Oberon in A Midsummer Night's Dream to battle scenes and the horrors of the gouging of eyes in King Lear.Presented by Samuel West and Dr Andrea Smith Produced by Susan Marling A Just Radio Production

Actor Samuel West, who has played many Shakespearian roles - some of them on the radio - is joined by Dr Andrea Smith as they take a trip through 100 years (nearly) of Shakespeare on the 'wireless'. Today they focus on one returning character - Juliet from Romeo and Juliet. This is without doubt the most popular play and there are wonderful very early clips of actors such as Fay Compton taking the role in 1944. We hear how sometimes the part of 14-year-old Juliet was taken by an actor old enough to be her grandmother and about the snobbery attached to the idea of how exactly Shakespeare should be spoken.Presented by Samuel West and Dr Andrea Smith Produced by Susan Marling A Just Radio Production

Actor Samuel West is joined by Dr Andrea Smith in a journey through 100 years (nearly) of Shakespeare on the radio. You might think that the years of the Second World War would have given listeners a thirst for history plays and great stirring speeches such as those in Henry V. But in fact it was pastoral comedy that was most popular - a reminder perhaps of the idealised, imagined Britain that people were fighting to protect. We hear too how production techniques gained sophistication and that theatricality slowly gave way to realism.Presented by Samuel West and Dr Andrea Smith Produced by Susan Marling A Just Radio Production

Soon after the BBC was born came the ambition to broadcast Shakespeare plays on 'the wireless'. Theatres refused to allow recording of stage versions so the BBC had to go it alone. The BBC's first Director-General, Lord Reith, thought radio well suited to the task of producing Shakespeare: ‘The plays of Shakespeare fulfil to a great extent the requirements of wireless, for he had little in the way of setting and scenery, and relied chiefly on the vigour of his plot and the conviction of the speakers to convey his ideas. It is not at all unlikely that wireless will render a highly important service in popularising Shakespeare.’Our series looks at how well Reith's ambition was realised. We have brilliant clips from some of the country's best loved actors who have performed Shakespeare on the radio as productions grew more sophisticated, as acting styles changed and as radio's production values allowed the listener to experience Shakespeare's world in the most imaginative way.Presented by Samuel West and Dr Andrea Smith Produced by Susan Marling A Just Radio Production

Five writers and artists not normally associated with classical music, discuss a specific example of Vaughan Williams’s work to which they have a personal connection, and why it speaks to them.Following on from the successful Five Kinds of Beethoven Radio 3 essay series in 2020, where a wide range of Beethoven fans shared their personal relationship to the composer and his work, this new series gives similar treatment to Vaughan Williams. Our essayists share their unexpected perspective on Vaughan Williams’s work, taking it outside the standard ‘English pastoral’ box, in a series of accessible essays, part of the Vaughan Williams season on Radio 3. Essay 5: Amanda Dalton – poet/dramatistAs a teenager in a 1970s working-class Coventry family, Amanda Dalton had a flamboyant favourite Uncle Gordon. He introduced Amanda to Vaughan Williams through embarrassing trips to the record shop after school. Amanda remembers the utter mortification of walking through Coventry city centre in her school uniform, Uncle Gordon sweeping along in a dramatically, her schoolmates giggling behind them. Once at the shop, Uncle Gordon waxed lyrical about his favourite composers. He bought Amanda a record of the Sea Symphony. She took it home, played it and was transported. It has remained significant to her ever since, summoning up her childhood, culture and class and what it is to be an outsider. Amanda Dalton is a poet and playwright, tutor, theatre artist and consultant. She is currently a Fellow of the Royal Literary Fund, Associate Artist at Manchester’s Royal Exchange Theatre and a Visiting Teaching Fellow (Script and Poetry) at MMU’s Writing School. Amanda has two poetry collections with Bloodaxe, How To Disappear and Stray, and Notes on Water came out in 2022. Her poetry has won awards and prizes in major competitions including the National Poetry Competition and she has been selected as one of the UK’s top 20 “Next Generation Poets”. Amanda writes regularly for BBC Radio 3 and 4 – original writing includes a number of original dramas and adaptations. For most of her career, she also worked in the worlds of Education and Creative Engagement. After 13 years as an English and Drama teacher and Deputy Head in comprehensive schools in Leicestershire, she left the formal education sector to be a Centre Director for the Arvon Foundation before becoming a senior leader at Manchester’s Royal Exchange Theatre, working for 18 years in the field of creative learning. Writer and reader Amanda Dalton Sound designer Paul Cargill Producers Polly Thomas and Yusra Warsama Exec producer Eloise WhitmoreA Naked Production for BBC Radio 3