Tuesday, March 04, 2014

tutti talk edition 8, February 2014 - Standing up for the BBC

The Beeb, Aunty or just plain BBC has once more been at the heart of hot topics in press and other media.  In advance of charter renewal, due in 2016, Parliament has been conducting a review of how well the BBC is doing and has invited contributions from listeners, programme makers and competitors, alike.  

And  what a field day the competitors have been having!  The BBC, as public service broadcasters, (they cry), must be distinctive, take risks, present work commercial broadcasters could not afford to, be accountable, serve all the interests of the entire population across the age spectrum.  What they must not do, (they holler), is tread on the turf of the commercial broadcasters, mirror their repertoire or copy their style of presentation.


Particularly loud whining comes from classic fm's masters about BBC Radio 3, and why? Is it because Radio 3 presenters have become more personable?  Is it because there are drive-time strands which dare to play part of a work instead of the whole work?  Is it because they give broadcast time to composers of film music?  is it because they are encouraging greater interaction with their listeners? Classic fm would rush to claim all of those.  But the real reason is because Radio 3 programming, programme-making and artistic values are in a class way beyond any other classical music broadcaster on the face of the planet, classic fm included.


What other station would dare to broadcast the entire canon of Bach cantatas; would create Baroque Spring, devoting a month of music drama and comedy dedicated to shedding new light on the baroque era, will be broadcasting every Richard Strauss opera in full, this year, 2014?   And now with their latest 18th century music season, joined up programming sees broadcasts from Radio 3, BBC2 and BBC4.


As music lovers, we couldn't be more fortunate in the vision, creativity and originality of the team at BBC Radio3.


Here are a few insights into contemporary composition, provided by Radio 3 programme-makers, together with links from tutti to explore more of their music -












and finally, not an interview with a woman composer as there wasn't one to be found(!), but a performance at the BBC proms by the London Symphony Orchestra of part of  




Bravo BBC!

More tutti talk soon, so,
That's it for now . . .







Sarah Rodgers

tutti talk edition 7, January 2014 - remembering Benjamin Britten

Although we are now firmly in 2014 and have left the Britten centennial year behind, I didn't want to head in to the Richard Strauss 150 years, or indeed even the William Lloyd Webber 100 years celebrations without a final reflection on arguably the UK's greatest and certainly the most influential 20th century composer.

In late November last year, I had the good fortune to attend the annual St Cecilia's Day Service arranged by the Musicians Benevolent Fund (now called Help Musicians UK) as part of the Festival of St Cecilia.  It was held this year at Westminster Abbey (it rotates Three Choirs Festival style between the great traditions of the Abbey, Westminster Cathedral and St Pauls Cathedral), and involved the choirs of all three churches.

A true celebration of great English music with particular emphasis on the 20th and 21st centuries, there were works by Britten, Ireland, Tippett, Howells, Vaughan Williams and two living composers, Robin Holloway and Robert Walker. It was exciting, inspiring and deeply touching to hear music of such breadth and diversity and yet linked in so many ways - sometimes pupil to teacher, certainly peer to peer and often by texts and by aspiration which for centuries have been the gifts to creative artists of liturgy and the cathedral tradition in the UK.

The Britten works included, for organ, Prelude and Fugue on a theme of Vittoria; as processional, A Hymn to the Virgin; the anthem, A Hymn to St Columba; and, gloriously for the occasion, his setting in C of Te Deum laudamus.  A small act of remembrance included the placing of flowers on the stone where his remains are interred, close by those of the great English composer, Henry Purcell.

Britten's output, of course, was not confined to ecclesiastical music and his is probably one of the broadest and most diverse repertoires of any composer of the 20th century.   

tutti has several interesting recordings which place Britten's music in the context of that of his peers, such as Tippett and Berkeley, all on -

A Century of English Song on the SOMM label, performed by Sarah Leonard, soprano and Malcolm Martineau, piano,

and again with Bridge and Ireland (Britten's teachers) alongside Stevenson, Berkeley and Colin Matthews, all on -

Britten: Resonances, performed by Anthony Goldstone on the Divine Art label 

or in the rather different company of Rodney Bennett and Lutyens, with a touch of the Catalan in Roberto Gerhard, all on -


Britten's influence is undiminished in the 21st century, so to conclude, a recommendation for the sheet music of a work for guitar composed in 2013 especially for the Britten celebrations and first performed and toured in the USA by the brilliant young Scottish guitarist, Ian Watt -

Fantasy from Themes of Britten's Gloriana by Scottish composer, John McLeod

And, finally, here's a little gem of a  video I found on YouTube of a performance in 1956, captured on Japanese TV of Peter Pears singing Purcell, accompanied by Ben Britten.


Simply beautiful!

That's it for now . . .