The Essay

Kenneth Steven considers the introduction of wild animals into the Highlands of Scotland, reflecting in poetry at the end of each Essay.A consignment of eight reindeer landed at Clydebank near Glasgow on April 12th in 1952 thanks to a Swedish Sami Mikel Utsi who hailed from a long line of reindeer herders. There were eight reindeer and they were from Mikel Utsi’s own family herd in Arctic Sweden. The crossing had taken four days and by all accounts it had been pretty rough. Those first eight beasts spent the next month in quarantine at Edinburgh Zoo and then they completed their journey to Highland Scotland and the area of ground that had been granted for them. There are echoes of the old stories of attempted re-introductions of reindeer: low and wet ground, the prevalence of insects. It took time, but in 1954 Mikel Utsi was given permission for free grazing up to the summits of the northern corries of the Cairngorms: in other words, where they needed to be. Further clusters of reindeer were introduced in 1952, 1954 and 1955. Several hundred reindeer were born in Highland Scotland between 1953 and 1979, that year when Mikel Utsi passed away. Wild reindeer were again living freely in the country that had been theirs centuries before. And the herder who’d brought them here, whose dream had come true, he was able to bring people out into what might just have been another piece of his childhood landscape and tell them of the ways and the stories of the Sami. Presenter Kenneth Steven Producer Mark RickardsA Whistledown Scotland production for BBC Radio 3

Writer and musician Kate Kennedy takes a personal look at five lost cellos, and what they can tell us of those who played and loved them and how our identities are shaped by the physical, social and psychological impacts of performance.What happens when you re-imagine what a cello can be? From pieces of derelict instruments, and offcuts of wood, along with cutting edge technology, Kate Kennedy is making a prototype of a new, hybrid cello, that looks nothing like we might expect. This is a cello whose story is yet to begin.Working amidst the wood shavings and priceless instruments in the historic workshop of Hill and Sons, the cello parts are destined for a youth orchestra in Argentina and designed to be easily reassembled by the young players. Every aspect of the instrument has been re-imagined. As Kate stumblingly creates the very first cello for them, getting to know a cello’s every contour, she reflects on perhaps the weirdest cello ever made, and its role as an instrument for the future, shaping young lives, and telling new stories.Producer: Adrian Washbourne Technical production by Mike Sherwood Executive Producer: Rami Tzabar A TellTale Industries production for BBC Radio 3

Writer and musician Kate Kennedy takes a personal look at five lost cellos, and what they can tell us of those who played and loved them and how our identities are shaped by the physical, social and psychological impacts of performance. Destroyed and resurrected, how does an instrument's identity change? The 'Mara' Stradivarius is one of the greatest cellos in the world, but in the 1960s it was completely destroyed when the Trieste Trio nearly drowned jumping with it from a burning boat in thick fog into the River Plate. In travelling to Trieste, Kate Kennedy discovers how the Trio’s mental escape into a world of music during the second world war, shutting out the massacres around them, helped them to survive the accident that killed 55 others. She reflects on the cello’s unlikely rescue and lengthy reconstruction and how in the aftermath of its turbulent history its sound is considered by many to be better than ever.Producer: Adrian Washbourne Technical production by Mike Sherwood Executive Producer: Rami Tzabar A TellTale Industries production for BBC Radio 3

Writer and musician Kate Kennedy takes a personal look at five lost cellos, and what they can tell us of those who played and loved them and how our identities are shaped by the physical, social and psychological impacts of performance.What does it mean to be saved by an instrument? Anita Lasker-Wallfisch became known as the cellist of Auschwitz. Her beloved Ventepane cello disappeared at the same time as her parents were taken by the Nazis from her home in Breslau (now Wroclaw). When she was sent to Auschwitz, she narrowly avoided death by being recruited to the camp orchestra and filling the vacant role of cellist. Kate Kennedy working with archivists, finds the hut in which Anita practised with the other musicians, seeking answers as to why there was cello in Auschwitz, who had previously played it - whilst reflecting on how being saved by a cello, changes your relationship to the instrument.Producer: Adrian Washbourne Technical production by Mike Sherwood Executive Producer: Rami Tzabar A TellTale Industries production for BBC Radio 3

Writer and musician Kate Kennedy takes a personal look at five lost cellos, and what they can tell us of those who played and loved them and how our identities are shaped by the physical, social and psychological impacts of performance.An abandoned cello rescued from a skip stands alone under a pergola in an orchard of a stately home on the outskirts of Nottingham. In an eccentric experiment, created by one of the world experts in honeybees, apiarist and physicist Prof. Martin Benscik has donated the instrument to 400,000 bees who now live very happily inside the cello. Kate Kennedy reflects on how the colony has 'improved' the cello's design by gluing wax onto specific resonant parts whilst the intelligent bees’ buzzing, duets with the cello as the wind whistles through its strings in its exposed location. This is the story of sharing vibrations with them, sharing music, and learning what a cello means to a community of bees.Producer: Adrian Washbourne Technical production by Mike Sherwood Executive Producer: Rami TzabarA TellTale Industries production for BBC Radio 3

Writer, musician and broadcaster Kate Kennedy takes a personal look at five lost cellos, and what they can tell us of those who played and loved them and how our identities are shaped by the physical, social and psychological impacts of performance.Can a cello hold its player's soul? Jewish-Hungarian Pal Hermann was hailed as 'the next Pablo Casals' in the 1930s. He is now completely forgotten. Kate Kennedy retraces his steps across Europe, with his unique Gagliano cello as he attempted to escape the Nazis, from Berlin to Paris, to Toulouse and finally to Lithuania. Hermann’s cello has been lost since 1952, but the key to finding it, she discovers, is an inscription burnt into the side of it. 'I am the soul of music'. She reflects on her quest to find Hermann's soul, his cello, and how near we can get to recovering a great and neglected musician himself.Producer: Adrian Washbourne Technical production by Mike Sherwood Executive Producer: Rami Tzabar A TellTale Industries production for BBC Radio 3

"Each remembered moment is a keyhole. Time doesn't 'flow like a river', doesn't exist in Odesa at all; the numbers of years, 1986 or 1989 or 2006 are like signs hanging about the corner grocery shop, with names of owners, swaying. In these streets, everything is ever-present. There are places like this on the planet: you can stop in the middle of the street and stick a finger into the skin of time, tear a hole, and see through."Across a week of personal essays, the Ukrainian-American poet Ilya Kaminsky, author of Deaf Republic, writes about the city of his birth and reflects on fatherland, mother tongue, memory, Deafness, exile and oppression. He writes about the Odesa of his childhood and his family's flight from Ukraine to the USA in the early 1990s. He writes of invasion, war, regimes and revolution. Of Odesa's poets, past and present (editing their poems in the bomb shelters). Of the statues in the city squares - Leo Tolstoy, Taras Shevchenko, Catherine the Great.In his third essay, Ilya revisits the early months of 2022 - watching the news of Ukraine from the United States: "I am watching friends waiting to lose what my family lost in 1993: a city, a language, a home." Ilya Kaminsky was born in Odesa, Ukraine in 1977, and arrived in the United States in 1993, when his family was granted asylum by the American government. He is the author of Deaf Republic (Graywolf Press) and Dancing In Odessa (Tupelo Press) and co-editor and co-translated many other books, including Ecco Anthology of International Poetry (Harper Collins), In the Hour of War: Poems from Ukraine (Arrowsmith), and Dark Elderberry Branch: Poems of Marina Tsvetaeva (Alice James Books). He currently teaches in Princeton and lives in New Jersey.Read by Ilan Goodman, with introductions by the authorProducer: Mair Bosworth for BBC Audio Assistant Producer: Melanie Pearson Mixing Engineer: Ilse Lademann

"Each remembered moment is a keyhole. Time doesn't 'flow like a river', doesn't exist in Odesa at all; the numbers of years, 1986 or 1989 or 2006 are like signs hanging about the corner grocery shop, with names of owners, swaying. In these streets, everything is ever-present. There are places like this on the planet: you can stop in the middle of the street and stick a finger into the skin of time, tear a hole, and see through."Across a week of personal essays, the Ukrainian-American poet Ilya Kaminsky, author of Deaf Republic, writes about the city of his birth and reflects on fatherland, mother tongue, memory, Deafness, exile and oppression. He writes about the Odesa of his childhood and his family's flight from Ukraine to the USA in the early 1990s. He writes of invasion, war, regimes and revolution. Of Odesa's poets, past and present (editing their poems in the bomb shelters). Of the statues in the city squares - Leo Tolstoy, Taras Shevchenko, Catherine the Great.In his second essay of the week, Ilya reflects on his complicated relationship with the country of his birth. In 1993 Ilya's family fled the anti-Semitism of post-Soviet Ukraine and was granted asylum by the American government: "The story of our coming to America begins with a burning door." Ilya Kaminsky was born in Odesa, Ukraine in 1977, and arrived in the United States in 1993, when his family was granted asylum by the American government. He is the author of Deaf Republic (Graywolf Press) and Dancing In Odessa (Tupelo Press) and co-editor and co-translated many other books, including Ecco Anthology of International Poetry (Harper Collins), In the Hour of War: Poems from Ukraine (Arrowsmith), and Dark Elderberry Branch: Poems of Marina Tsvetaeva (Alice James Books). He currently teaches in Princeton and lives in New Jersey.Read by Ilan Goodman, with introductions by the authorProducer: Mair Bosworth for BBC Audio Assistant Producer: Melanie Pearson Mixing Engineer: Ilse Lademann

The podcast discusses the narrator's personal connections to their heritage and the significance of their accent. They reflect on memories of living in a timeless city, including washing Tolstoy's ears during the 1989 revolution. They also explore their experience of deafness, the impact of the Chernobyl disaster, and anti-Semitism during the collapse of the Soviet Union.

In this series of The Essay, five leading cultural voices choose a great work of art and talk about a small, under-appreciated aspect of the piece that carries great meaning for them.Art historian and author of The Story of Art Without Men, Katy Hessel draws our attention to the spine as a symbol of feminine strength and survival in Frida Kahlo's Broken Column. No matter how ambitious and brave she was in her painting, life was a constant battle: in love, in her physicality, and her struggle to be taken seriously as a woman and as an artist. Kahlo was stunted by her life – from her operations to her heartbreak, her miscarriage to her constant fight to be heard – Broken Column is a message to us that justice will come; life will be reborn.Producer:Mohini Patel