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SERVICE REVIEW OF RADIOS 3 AND 4
SUBMISSION FROM BBC AUDIENCE COUNCIL FOR SCOTLAND

RADIO 3
Classical music repertoire

Radio 3’s Service Licence states that the network “should produce regular special events on significant themes across a wide range of music and arts topics. The great composers should regularly be represented on Radio 3, but there should also be a range of less familiar music in order to introduce listeners to new works."

There was discussion at the focus group on the range of repertoire available on the Radio 3. Two main points emerged.

Broadening awareness Listeners place a high value on the network’s ability to broaden their awareness of the extent of the classical music repertoire.

“One of its functions is to be like a public library of music.”

This applied to other genres, such as jazz and world music, as well. Radio 3’s role in relation to the mainstream repertoire is not to support it, but to challenge it.

“You’re always learning... but it’s never condescending, and you’re never preached at.” “There is lots of assumed knowledge [of music], but there are other places for people who don’t have that, like Classic FM”

“It’s not targeted at a particular age... it’s targeted at people who want to be stimulated or

challenged” (West of Scotland, early 20s) For some loyal listeners, the range of repertoire was thought to have narrowed in the last ten years or so: coverage of new music was said to be less extensive now.

Connecting between genres The role of extending listeners’ awareness applied between genres as well as within them. Listeners appreciated the network’s ability to break down the ‘departments’ of music, making connections between genres. This is largely achieved by ‘serendipity’, so unpredictability and surprise in the schedule, and the repertoire – mixing the mainstream and the less-well-known – is important.

“Late Junction is a great example of serendipity at work– it can take you anywhere”.

The Council believes Radio 3 does enable listeners to broaden their awareness of music within and between genres. Listeners have varying degrees of awareness, and

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Radio 3 rightly seeks to satisfy listeners at a range of levels, from those beginning to develop an interest in classical music, through to devotees and professionals. To work for everyone, the network needs to strike a careful balance.

The breakfast and drive-time programmes find room for the unexpected. Imaginative scheduling such as the recent 1910 Proms is another way of introducing less common repertoire.

“The 1910 prom was an excellent example of Radio 3 doing what it should be doing”.

The Council believes Radio 3 must retain its commitment to commissioning and playing new work. This is an important part of musical patronage in Scotland and across the UK. However the challenge offered by some contemporary music can repel as many listeners as it attracts, and R3 needs to approach this type of music with care. To attract more listeners to new music, there might be scope for providing more context and guidance on how to understand and appreciate contemporary work.

Why is reach lower in Scotland?

The Council and the focus group contributors noted a number of possible factors. Different cultural mix? Scotland differs from the rest of the UK in the pattern of its cultural interests and in the range and mix of musical tastes. Attendance at classical music events may be lower per head of population than in many other areas of the UK. Research by the Scottish Arts Council in 2008 (TNS) showed 6% of the Scottish population attending orchestral music events in 2008, lower than those reported in comparable data for all areas of England and Wales except the North East, Yorkshire and Humberside. However it is not clear how helpful such measures are: many factors influence attendance at concerts, including the volume and consistency of provision of concerts themselves, and the availability of public transport. The survey also reflects the distinctive pattern of musical taste in Scotland, with higher percentages shown for Scottish traditional and folk music events (9%) and other genres. The point is that there is great interest in music in Scotland – the question is whether Radio 3 could do more to expand the audience for the genres in which it specialises.

Scottish content underplayed? The focus group felt that performance in Scotland was properly reflected, noting relays from festivals, orchestral concerts and a special week of concerts in March 2010 from the Royal Scottish Academy of Music and Drama. Some members of the focus group believed there was too narrow a range of Scottish music reflected on Radio 3, limited to

“a small number of well-known names such as Carver to MacMillan”.

For some, coverage of the contemporary music scene in particular in Scotland was too narrow, and did not reflect the true range and diversity of the current scene.

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One member of the focus group examined two months of output:

“It quickly became clear that British music in general is being well, and quite consistently, represented, with an excellent mixture of earlier and later centuries and less familiar as well as well-known repertoire.   If there is a gap, it would be the period after Handel (of course an honorary Englishman!) and before Elgar.   While it is true that this was a relatively fallow period for indigenous composers, a little digging may well produce some surprisingly competent writing.   The other aspect which struck me was the relative under-representation of Scottish (and I suspect Welsh and Irish, too) repertoire.   While the Scottish art music repertoire is much less extensive than the English, there is material from most periods with many positive qualities.   The gap between Carver and MacMillan can provide more than a single work from a single composer (the inevitable MacCunn “Land of the Mountain...”). This is not an overtly nationalistic point – it is, I think, a question of how “British-ness” is represented through our culture.   Perhaps the metropolitan centre is relying on its outposts in the other nations to put repertoire forward, but the outposts are anxious to avoid seeming parochial?   However it is, there is much fine music which is not being represented.”

And the point was made about genres other than classical music:

“There’s lots of folk and trad on the world music programmes but it’s almost all English, rarely Scottish.”

Council noted the range of Scottish music (and culture) represented in and around Radio 3’s special week of programmes from Scotland (February/March 2010). Classical work was represented by James MacMillan, Sally Beamish, Alexander MacKenzie and Cecil Coles, but traditional song, bagpipes and jazz also featured in programming across the week.

Council welcomes initiatives such as this, but emphasises that the richness and breadth of Scottish music-making in all genres should be reflected on an ongoing basis on the network, and not only on one-off occasions.

In addition (although there is no data on this question) it would be surprising if the week of events did not have a significant positive impact on the profile of Radio 3 in Scotland. There was favourable press coverage. Council believes this sort of event is likely to grow the audience for classical music, and also for Radio 3, in Scotland, and should be held more regularly.

Representation of national culture as such is not, of course, the driver for audiences to Radio 3.

”The purpose of Radio 3 is to allow you to locate yourself in relation to global culture – not to focus on your own.”

Nevertheless the Council believes it is important that Scottish music making and heritage be given its proper place in the music tradition in the UK, and this is what is in question.

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Council believed that, in spite of the excellent recent work done by Radio 3, there is still scope in the future for the network to improve its coverage of Scottish music and culture and set it in its European and global context.

Tone? It was suggested that the network’s presentation style might be perceived as “English” – even though many of its prominent voices are drawn from across the UK including Scotland. The Council believes it would be useful for the station assess its tone of voice periodically.

Comments from listeners in younger age groups stressed the importance of pace.

“It’s a bit serene sounding – it could be more buzzy and exciting. It sometimes is – like the fantastic interview with Sondheim on Composer of the Week which was really pacy and sparky. Depends on the time of day, but it usually works better for me when it’s not too laid back. It can be too soporific.”

Increasing reach in Scotland

Council believes there is scope for Radio 3 to connect with its “natural constituency” in Scotland to a greater extent than it currently does.

Glasgow, where the BBC Scottish Symphony Orchestra is based in the City Halls complex, is a vibrant musical centre with a distinguished music history, a lively contemporary musical life, and is said to be the city with more music students than any other in the UK outside London. This does suggest that the West of Scotland should be more fertile ground for Radio 3. A number of suggestions were made.

Scottish cultural content The Service Licence states that the network “should contribute to [reflecting the UK’s nations, regions and communities]. It should broadcast concerts and events from venues across the UK. Through its interactive aspects, such as message boards, Radio 3 should facilitate the creation of communities of interest.”

There is high quality coverage of aspects of Scottish culture on Radio 3. Examples include a documentary on the Renaissance poet and theologian George Buchanan; a series by sculptor Alexander Stoddart on the inspiration behind his own work; an edition of The Early Music Show on the Court of Mary, Queen of Scots; a Composer of the Week on the music of the Court of King James VI and 1; a series of programmes on Scottish music and culture in February/March 2010; and a feature on the Glasgow Boys group of painters presented by A. L. Kennedy.

The quality and range of this speech output is commended by the Council. The focus group noted that the network has a role as “one of the last great resources for serious discussion of culture”. Council believes that, for quality of spoken discourse in the free-to-air public sphere in the UK, Radio 3 probably defines the top end of the range. Maintaining this standard is therefore crucial for cultural standards in the

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UK, and in Scotland. There should be a place on the BBC somewhere for challenging and stretching coverage, discussion and analysis of cultural and intellectual matters - including from a Scottish perspective – and this should not be compromised.

However, the Radio 3 content of particular relevance and interest in Scotland reaches comparatively small audiences, and Council feels more might be done to ensure that it reaches a greater number of those who are potentially interested. Could there be cross-trailing of such programming on Radio Scotland in strands of a similar genre such as The Radio Cafe arts strand? Or perhaps a section on the BBC Scotland website could track and co-ordinate all BBC content relating to Scottish culture? Or a Radio 3 digital opt carrying Scottish cultural programming from a range of BBC sources?

This echoes a point made by the Council in its submission to the BBC One, Two and Four service review: that the BBC produces much excellent content on Scottish culture (like BBC Four’s Scottish season and Radio 3’s Scottish week) but that much of it is broadcast on services which reach only a few percent of the population – and so it is likely that the public value is not being maximised.

The Proms brand The Proms – perhaps the world’s largest and most eclectic music festival - is one of the BBC’s most powerful brands, and has obvious synergies with the Radio 3 brand. However this potential is not fully exploited in Scotland. ‘Proms in the Park’ is a oneoff event based on the Last Night of the Proms format – staged very effectively this year in Dundee: however it is not the same thing as an extension of the core Proms brand.

Council believes consideration should be given to how the BBC’s resources in the West of Scotland - the BBC Performing Groups, Radio 3 commissioning activity, the BBC’s external partners and others - could contribute to a format of music events which tapped into the excitement, informality and sense of discovery which the Proms represent – and which reflect the core values of Radio 3 itself. Could concerts and live programmes (of the kind which featured in Radio 3’s Scottish week) be aligned to the Proms brand in some way?

Connecting with audiences The SSO runs an energetic programme of outreach across communities, and especially with younger age groups. This is clearly of considerable value – but does it create new listeners for Radio 3? Could the outreach work be more focussed on the network’s ‘replenisher’ groups? It could be targeted to help nurture and strengthen connections between Radio 3 and its “natural constituency” in Scotland.

“A lot of the music is London-based. Glasgow is a big hub, and should be reflected more. There should be more activity here, not just concerts but competitions, workshops and so on”

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“They do have concerts from festivals, like Celtic Connections, but its later – why not do them when it’s on? The delay between the recording and the broadcasts is too long to keep a sense of vibrancy.”

“It should get more involved locally.” “There are ways of getting involved which it doesn’t exploit like the Associated Board repertoire, local events like the Mod.”

The themes of greater diversity, and closer contact with music communities, come together in the world of amateur music-making, from choirs to jazz and youth orchestras. This level of music-making is reflected to an extent on Radio Scotland, and in contemporary music on Radio 1, and there may be further opportunities for Radio 3 here. The focus group noted that this sort of music-making – exemplified in Choirworks - is embedded in everyday culture, with which listeners readily connect. Could Radio 3 make more of this? Jazz enthusiasts in Scotland are highly aware of Radio Scotland’s The Jazz House, a programme which seems to nurture local contacts to a greater extent.

Should there be more exploration of the sorts of topics which interest amateur music makers – an important part of the ‘gene pool’ for future generations of music enthusiasts. It was also suggested that greater coverage of festivals and music events in Scotland would help develop a sense that the network is serving the Scottish music community.

Easy listening or authoritative?

As well as providing an opportunity to hear and explore the repertoire, Radio 3 should offer context, helping audiences to appreciate why the music is worth listening to. For the core audience, this is achieved par excellence in parts of the

schedule like CD Review, The Early Music Show and Composer of the Week. Should this

approach be more evident across the output? For some long-term listeners, daytime programming is seen as “a bit bland”. Some believe there are really “two Radio 3s” – the “easy listening” and the authoritative. Council agrees that the network should not move too far in the direction of the approach adopted by Classic FM. Classic FM is a very valuable addition to public service broadcasting in the UK but makes no claim to be stretching or challenging.

Council believes that Radio 3’s “drop-in” programming shouldn’t go too far towards a popular playlist and short excerpts – these deviate from the core purpose. The information offered around the excerpts in the “drop-in” programming was not felt at the focus group meeting to put the music in a sufficiently meaningful context. For core listeners, the style of programming led by authoritative expert presenters is most successful. Some feel there is too much that is not sufficiently authoritative.

“They have the musicians themselves on and you hear about their personalities, their interests, that’s why I love the In Tune interviews”

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The network should not, however, seek to educate at every turn and the balance here is a matter of editorial judgement for the network. Putting classical music in context is essential for the network and is what distinguishes it from what is available commercially. Council believes that most Radio 3 output should therefore achieve this to a measureable extent. Initiatives such as The Nation’s Favourite Aria, the use of cross-over presenters such as Radio 1’s Andy Kershaw, and imaginative Prom programming such as the Dr Who Prom, and the social media piloting which took place around the 2010 Proms, are to be encouraged.

Jazz The jazz content was praised for its quality, and particularly for the authority of its presentation, however it was commented that it didn’t feel rooted in the jazz community in Scotland in the way that Radio Scotland’s jazz output was said to be.

Generally, there were complaints that many of the jazz programmes are at the edge of the schedule and are “moved around” too much. The Council suggests that a zone could be created, on the Radio Scotland model, to offer a dedicated space for jazz output.

Listening in the future

An increasing amount of listening now takes place through online and podcasting. Council believes that like much of the rest of the media, Radio 3 will increasingly need to move in this direction. On one view, the network should move towards being a Spotify/ ‘juke box’ of classical music rather than a linear service.

“For me, distribution is a problem ... I listen to Radio 3 through podcasts, but you don’t always get the full broadcast, it’s too clipped. They should make better podcast opportunities for those who don’t want to listen off-air.” (West of Scotland, early 20s)

Against this, one of the strengths of a broadcast network is the sense of a shared experience, and this was absent from the podcast model of delivery. Council believes that moving strategically towards a more online/social media model of delivery will be necessary to help R3 deliver its public purposes; however it should seek to achieve this, at least for the foreseeable future, without weakening the strength or presence of the broadcast schedule.

BBC Performing groups

The Service Licence states that Radio 3 “should engage both established and emerging talent and provide opportunities for performance by the BBC [performing groups ... and] should also maintain broadcasting relationships with other UK orchestras, opera companies and festivals.”

Differing views were expressed on strategy for the BBC Performing groups – in Scotland represented by the BBC Scottish Symphony Orchestra (SSO).

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Some believed passionately that the SSO is vital for music culture in Glasgow, and Scotland; that its outreach work was irreplaceable; and that its track record on contemporary music was an essential part of the Scottish music scene.

An alternative view was that the SSO stood in the way of greater enrichment and diversity in music culture across Scotland. Was it the BBC’s job to sustain a significant proportion of the UK’s orchestral sector, or could the licence fee funding be better used as a seedbed for a more varied range of music? The Scottish classical music scene has become dominated by ‘orchestral culture’ and needed to move on. The model of using the BBC orchestra budget to commission performances from other music groups was mentioned as being successful in Scandinavia.

The Council believes the two options are not mutually exclusive. In the Council’s view, musical life in Glasgow, and throughout Scotland, would be immeasurably poorer without the SSO. In addition to its core touring and outreach roles, it plays an important role at what might be termed the “explorative” end of the mainstream repertoire – in recent years providing critically acclaimed seasons of Scandinavian and Eastern European music. It has consistently drawn conducting talent of world-class calibre, and is a regular provider of some of the Edinburgh International Festival’s most distinguished orchestral concerts.

It is also an important element in the BBC’s critical mass in the cultural sector in Scotland. Using Radio 3, Radio Scotland and the SSO in a strategic way in conjunction with partners such as the RSAMD, Scottish Opera and other Scottish orchestras, performing groups and festivals, the BBC might act as an important catalyst for the development of the classical music audience in Scotland. Council believes it would be helpful for a strategic group to be formed to decide how the BBC can best use its leverage in Scotland to this end – which would both use, and ultimately benefit, Radio 3. This could then feed into the BBC’s UK strategy in Putting Quality First, as well as feeding into BBC Scotland’s specific strategy for audiences in Scotland.

Conclusions on Radio 3

The balance struck by the station between providing a stimulating and challenging repertoire, and offering ‘points of entry’ for new listeners, is about right. Emphasis should be on continuing the current policy of reaching out to new audiences by inventive programming and presentation, while maintaining the network’s distinctive music policy.



There is scope for the network to connect with its “natural constituency” in Scotland to a greater extent than it currently does. Radio 3 may not be reaching all of its potential audience in Scotland.

The BBC's investment in classical music in Scotland (especially Glasgow) is considerable: could this be re-assessed and be better aligned, to really heighten the profile of Radio 3 in Scotland, especially in the SSO’s West of Scotland base?

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Thought could be given on how to raise awareness, and increase the reach of Radio 3’s quality speech content on Scottish topics.

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RADIO 4
Key strengths

Radio 4 listeners are strongly appreciative of the high quality of output on the network. This applies across genres, from the quality and consistency of provision in news and current affairs to the network’s long tradition of radio comedy. There is awareness of the provision of high quality content specifically relating to Scotland. For keen listeners, consistency of tone was mentioned as a particular factor. But overall, it is the intelligence of Radio 4 programming which is said to be its appeal –

“Radio 4 is good because it makes you react – makes you think”.

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    RADIO COMMISSIONING FRAMEWORK Commissioning Brief 2020 FACTUAL (including arts) Proposals for specific ideas Production of factual programmes Commissions mainly for broadcast from April 2021 to March 2022 Proteus 2021-2022 Round 1 Version 1 18.06.2020 LL 1 of 36 CONTENTS ............................................................................................................................................. 1 SECTION A: ABOUT RADIO 4 ............................................................................................. 3 SECTION B: TIMETABLE ........................................................................................................ 4 SECTION C: THE COMMISSIONING PROCESS ..................................................... 5 STAGE 1: SHORT PROPOSAL ....................................................................................... 5 STAGE 2: FULL PROPOSAL .......................................................................................... 7 STAGE 3: CONDITIONAL COMMISSION ..................................................................... 9 SECTION D: EDITORIAL OPPORTUNITIES ................................................................ 11 Version 1 18.06.2020 LL 2 of 36 SECTION A: ABOUT RADIO 4 Radio 4 Radio 4 is unique in the breadth and quality of its informative, educational and entertaining programming. Every day, on air and online, Radio 4 has more original content than any other broadcaster in the world. Its authoritative news and current affairs journalism is complemented by programmes exploring
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    RADIO COMMISSIONING FRAMEWORK Commissioning Brief Spring 2020 FACTUAL Proposals for specific ideas Production of factual programmes Commissions mainly for broadcast from April 2021 to March 2022 Proteus 2021-2022 Round 1 Version 1 21.01.2020 LL 1 of 37 CONTENTS SECTION A: ABOUT RADIO 4 ........................................................................................ 3 SECTION B: TIMETABLE ................................................................................................... 4 SECTION C: THE COMMISSIONING PROCESS ................................................... 5 STAGE 1: SHORT PROPOSAL .......................................................................................... 5 STAGE 2: FULL PROPOSAL .............................................................................................. 6 STAGE 3: CONDITIONAL COMMISSION ........................................................................ 9 SECTION D: EDITORIAL OPPORTUNITIES ............................................................ 11 Version 1 21.01.2020 LL 2 of 37 SECTION A: ABOUT RADIO 4 Radio 4 Radio 4 is unique in the breadth and quality of its informative, educational and entertaining programming. Every day, on air and online, Radio 4 has more original content than any other broadcaster in the world. Its authoritative news and current affairs journalism is complemented by programmes exploring many areas, including science, the arts, history, religion, ideas, drama and comedy, offered through regular strands, one-off programmes, series, podcasts
  • Radio 4 Listings for 2 – 8 January 2021 Page 1 of 16

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    Radio 4 Listings for 2 – 8 January 2021 Page 1 of 16 SATURDAY 02 JANUARY 2021 inspired by the teacher’s claims, they gave up friends, family SAT 07:00 Today (m000qxc6) and lucrative jobs - and it had all been worth it! They saw the Including Sports Desk, Weather and Thought for the Day. SAT 00:00 Midnight News (m000qnkq) sick healed, the hungry fed and the dead raised to life. But just The latest news and weather forecast from BBC Radio 4. when everything was going so well, Jesus was brutally murdered on trumped-up charges. When life throws you a curve ball, you SAT 09:00 Saturday Live (m000qxc8) begin to imagine them appearing from all directions. The Extraordinary stories, unusual people and a sideways look at the SAT 00:15 In Their Element (m000cn05) disciples did what we might be tempted to do too: stay at home world. Series 4 with your fears and lock the door. Strontium There are not enough bolts in the world that can stop God from SAT 10:30 The Kitchen Cabinet (m000qxcb) entering a room. Jesus had made his way past death, Series 30 Strontium is the 15th most common element in the earth yet we gravestones, and armed guards to get to his beleaguered really only come into contact with it in fireworks. It gives us the disciples, greeting them finally with one word: “Shalom” - Home Economics: Episode 21 deep red colour we admire in a pyrotechnics display. Andrea peace. This peace quelled their anxieties and soon the bunch of Sella, Professor of Inorganic Chemistry at UCL, meets Mike scared young people had turned into fearless world-changers.