BBC Radio 3 is a national
radio station operated by the BBC within the
United
Kingdom
. Its output centres on
classical music and
opera music, but
jazz,
world music,
drama,
culture and
the
arts also feature. The station is the world’s most significant
commissioner of new music, and its New Generation Artists scheme
promotes young musicians of all nationalities. All
BBC Proms concerts are broadcast live on Radio 3,
and all concerts performed by the BBC orchestras and BBC Singers
are also broadcast, either live or recorded. There are regular
productions of both classic plays and newly commissioned
drama.
In 2009 Radio 3 won the Sony
Radio
Academy UK Station of the Year Gold Award.
History
Radio 3 is the successor station to the
Third Programme which was originally
launched on 29 September 1946. The name changed on 30 September
1967 when the BBC launched its first pop music station,
Radio 1. The three other national radio channels
were then renamed
Radio 2, (formerly the
Light Programme), Radio 3 and
Radio 4, (formerly the
Home Service).Radio 3 took over the service
which had been known under the umbrella title of the Third Network
and which included on the same frequency the Third Programme
itself, the Music Programme and various sports and adult education
programmes.All the component programmes, including the Third
Programme, kept their separate identities within Radio 3 until 4
April 1970, when there was further reorganisation following
publication of the BBC document
Broadcasting in the
Seventies.
Broadcasting in the Seventies
In July 1969, the BBC published the document
Broadcasting in
the Seventies, later described by a senior BBC executive,
Jenny Abramsky, Head of Radio and
Music, as "the most controversial document ever produced by radio".
Prompted partly by the problem of rising costs, one of its main
thrusts was the move towards "generic" stations, each catering for
a defined audience. One early option under consideration was the
reduction of the four radio networks to three, and "Day-time
serious music would be the casualty".
Radio
1,
Radio 2 and
Radio 4 would broadcast during the day time,
while in the evening Radios 1 and 2 would merge and Radio 3 would
broadcast on the vacated frequency.Rumours were circulating that
Radio 3 would be abolished altogether, with
The Guardian stating that there was a
strong "statistical case" against the station. However, the
Director-General,
Charles
Curran, publicly denied this as "quite contradictory to the aim
of the BBC, which is to provide a comprehensive radio service".
Curran had earlier dismissed any suggestion that Radio 3's small
audience was a consideration: "What is decisive is whether there is
a worthwhile audience, and I mean by worthwhile an audience which
will get an enormous satisfaction out of it."
Radio 3 survived, the separate titles of Music Programme and Third
Programme being dropped; factual programmes, such as documentaries
and current affairs, were to be passed to
Radio 4. The document stated that Radio 3 was to
have "a larger output of standard classical music" but with "some
element in the evening of cultural speech programmes - poetry,
plays".
There remained a question mark over the future of the Third’s
speech programmes that were neither drama, poetry nor current
affairs: the poet
Peter Porter
asked what would happen to "history, literature, travel,
reminiscence etc" which had previously featured on the Third. The
composer
Peter Maxwell Davies
and the music critic Edward Greenfield, writing in a feature
article in
Radio Times, feared
that people would lose the mix of cultural experiences which
expanded intellectual horizons.
Radio Times, 4-10 April
1970, BBC Magazines However, Radio 3 controller
Howard Newby replied that only the coverage of
political and economic affairs would be passed to Radio 4: Radio 3
would keep drama, poetry, talks by scientists, philosophers and
historians.
Campaign for Better Broadcasting
Not only did
Broadcasting in the Seventies propose a
realignment of the existing radio stations, it also envisaged
serious cutbacks in the BBC orchestras. In September 1969, a
distinguished campaign group, including
Sir
Adrian Boult,
Jonathan Miller,
Henry Moore and
George Melly, was formed to protest against the
changes. The Campaign for Better Broadcasting (its initials were,
felicitously, BBC backwards) objected to "the dismantling of the
Third Programme by cutting down its spoken word content from
fourteen hours a week to six" and "segregating programmes into
classes". Mention of the campaign even reached debate in the House
of Commons.
Music Division
Although the Music Programme – a constituent part of the old
Network Three – had been absorbed into Radio 3 from 1970 onwards,
the Music Division continued, a section run by specialist music
staff with production responsibility for the music programmes
(controllers of the Third Programme and, subsequently, Radio 3,
tended to be arts oriented).The head of the Music Division was then
William Glock who had held the post
since the Fifties and had also taken over the running of
The Proms in the early Sixties.
Hans Keller and
Robert Simpson were on his staff.
Glock was succeeded in 1972 as Controller of Music by the patrician
Robert Ponsonby who himself was
succeeded in 1985 by
John Drummond. The Music
Division was eventually run down and the separation of the roles
became non-existent in 1987 when Drummond also took over the
controllership of Radio 3, uniting all three responsibilities: the
running of the station, the music programming and The Proms.
History - The 'arts' controllers, 1967–1987
Howard Newby was controller when the Third Programme became Radio
3
Radio 3's first three controllers tended to be speech/arts oriented
and had little to do with the running of the Proms, whereas the
succeeding three all directed the Proms at some point along with
their duties as Controller of Radio 3.
Howard Newby, 1967–1971
Howard Newby was the last controller of
the Third Programme and the first of Radio 3, overseeing the
transition which resulted from the implementation of
Broadcasting in the Seventies. An author, he published
four novels during his stint at the Third/Radio 3, winning the
first
Booker Prize for fiction in
1969. The innovations which were to see an increase in the amount
of classical music on Radio 3 were due to be completed during the
course of 1971. Newby moved upwards in that same year to become
Director of Programmes, Radio, without having made any striking
changes to the schedules.
Stephen Hearst, 1972–1978
Stephen Hearst was head of arts
programmes for BBC television. According to his own account, asked
by the interview board how important listening figures were he
replied that the station was financed by public money and needed to
consider the size of its audience; there was a minimum viable
figure but this could be increased with "a lively style of
broadcasting". Another leading candidate for the post,
Martin Esslin, head of Radio Drama, replied to
the same question that the great cultural importance of Radio 3
made listening figures irrelevant. Hearst got the job. Radio staff
tended to view television people as popularisers, and this turned
out to be, in some measure, justified in Hearst’s case. Among early
innovations were a prototype evening drivetime programme,
Homeward Bound, which featured sequences of light
classical music (and was dismissed by the critic Bayan Northcott as
"muzak of the speeding executive" ); and a Sunday phone-in request
programme,
Your Concert Choice ("a flabby phone-in chat,"
declared the
Bristol Evening Post. "What is the BBC up
to?"); the phone-in element was abandoned seven months later.
Hearst also launched the arts discussion programme
Critics’
Forum which lasted sixteen years, and the series of
single-theme evenings and days: French Sunday, Polish Evening,
American Sunday etc. A Saturday night programme of miscellaneous
music,
Sounds Interesting, featured, for example,
"experimental fusions of popular styles",
Terje Rypdal, songs from
Gino Vanelli and "new work from
Art Garfunkel and
Prism". In 1978 Hearst was promoted to
Controller, Future Policy Group.
Ian McIntyre, 1978–1987
Ian McIntyre was moved sideways from
Controller of Radio 4 to Radio 3 "to create smoother waters at
Radio 4", as Newby put it, but relations with most departments,
especially the Music Division, became uncomfortable. Meanwhile,
Aubrey Singer, later described by the
music critic
David Cairns as
"a dedicated populariser", had taken over as Managing Director,
Radio. The possibility that a commercial classical music station
with a "streamed format", like the drivetime
Homeward
Bound, might poach Radio 3’s listeners was raised in 1979 and
Singer felt Radio 3 should get in first, rather than being forced
to react later. The result was that in 1980
Homeward Bound
was replaced by an extended programme called
Mainly for
Pleasure, a "sensitively compiled anthology of good music of
all types and styles", while Saturday afternoons had a programme of
shorter presenter-selected repeats from earlier in the week. As
with
Homeward Bound, there were no advance details of what
would be played.
Keller complained that
every programme, instead of provoking thought, was merely
"thought-killing background".
Financial cuts hit Radio 3 hard in 1980 and an internal paper
recommended the disbandment of several of the BBC orchestras.
Industrial action by musicians delayed the start of the Proms,
there were redundancies in the Music Division which was to be
disbanded and morale was low. Concern was expressed that Radio 3
had lost prestige without gaining new listeners. In 1983
The Times devoted a column to
Radio 3, outlining the diverse unhappinesses of producers,
contributors and listeners. Meanwhile, senior management was
dissatisfied with listening figures and Director-General
Alasdair Milne suggested that presentation
style was "too stodgy and old-fashioned". In 1987 a decision was
taken to merge the positions of Controller, Music (held by John
Drummond who had also been running the Proms), and Controller,
Radio 3 (held by McIntyre). Drummond was appointed and McIntyre
soon left the BBC.
History - The 'music' controllers 1987–present
Stephen Hearst expressed the view
that the Controller of Radio 3 should know enough about music to
run all aspects of the station, but it was not until
John Drummond was
appointed in 1987 that this came about.
John Drummond, 1987–1992
John Drummond was
not a musician by profession but he had experience of
administration, having run the
Edinburgh Festival between 1977 and 1983.
When he took over from Ian McIntyre he effectively had three jobs:
Controller (Music), Director of the Proms and running Radio 3. Like
Hearst, Drummond felt that the presentation of music programmes was
too stiff and spoke of its "dogged dullness". He set about
encouraging announcers be more natural and enthusiastic. Much of
the drama output, which was predominantly of new work, he found to
be "gloomy and pretentious" and he insisted on more repeats of
classic performances by such actors as
John
Gielgud and
Paul Scofield.
There were
features on anniversaries: William
Glock's eightieth birthday, Michael
Tippett's eighty-fifth and Isaiah
Berlin's eightieth; a Scandinavian Season; and an ambitious
Berlin
Weekend to mark the reunification of Germany in
1990. Drummond came home from Berlin and complained that
"not one single senior person in the BBC had listened to any part
of it".
The following year a much praised weekend was
broadcast from London
and Minneapolis-St
Paul
, creating broadcasting history by being the first
time a whole weekend had been transmitted "live from another
continent". New programmes introduced by Drummond included
the experimental music show
Mixing
It (1990) which he described as a late-evening music
strand for genres which fell between Radio 1 and Radio 3: "ethnic
music, minimalism, and some kinds of experimental or advanced
rock". In this it could be seen as a precursor to the current
programme
Late Junction. As
far as the station's position within the BBC was concerned,
Drummond said that the higher reaches of the corporation showed no
interest whatsoever: "I can't remember ever having a serious
conversation with anyone above me in the BBC about Radio 3 ... I
would much rather have had the feeling that they thought it
mattered what Radio 3 did."In 1992 Drummond relinquished the post
of controller, while retaining the role of Director of the Proms in
order to run the centenary season.
Nicholas Kenyon, 1992–1998
Nicholas Kenyon came to Radio 3 from being
chief music critic of The
Observer, having had training in arts administration and
run the South
Bank
’s Mozart Now Festival in 1991. He
took up his post in February 1992, with the new commercial radio
station
Classic FM due to launch later in
the year.
One of his first acts was to send three
senior producers to study classical music stations in the United States
. Kenyon’s view, like
Singer’s a decade earlier, was that Radio 3
had to make changes before the new station began broadcasting,
rather than react later.
Saatchi
& Saatchi were appointed as the station’s advertising
agents. An early controversy was the axing of three popular
mainstay announcers,
Malcolm
Ruthven,
Peter Barker
and
Tony Scotland, as a start to
creating a new style since Kenyon, like Drummond, thought the Radio
3 style was off-putting to potential new listeners.
On Air
and
In Tune, two new drivetime-formula programmes – an
innovation for Radio 3 – were to fill the breakfast and teatime
slots.
Brian Kay, late of the
King’s Singers and latterly a popular
presenter on Radio 2 and Radio 4, was engaged to front a three-hour
programme of popular classics on Sunday mornings. Drama was to be
cut by a quarter, news which drew a letter of protest to
The Times, with
Harold Pinter,
Tom
Stoppard and
Fay Weldon among the
signatories. Few of these innovations escaped criticism from either
the press or listeners. Kenyon was nevertheless eager to reassure
that all this was not "some ghastly descent into populism": the aim
was to create "access points" for new listeners.Kenyon has admitted
that in 1995 pressure was being exerted by senior management for
Radio 3 to increase its ratings.There was "widespread
disbelief"when he announced in the summer that a new morning
programme would take the 09:00 spot from the revered
Composer of the Week and would be
presented by a signing from Classic FM – the disc jockey
Paul Gambaccini who had started his career
with the BBC on the pop station Radio 1. The torrent of criticism,
especially once the programme went on air a few weeks later, was so
unrelenting that Gambaccini announced the following spring that he
would not be renewing his contract with Radio 3.Aside from the
controversies, Kenyon’s controllership was marked by several highly
distinguished programming successes.
The tercentenary of Henry Purcell's
death was marked in 1995 by the award-winning Radio 3 series
Fairest Isle
Fairest Isle was an ambitious project which marked 1995 –
the 300th anniversary of the death of
Henry Purcell – with a year-long celebration
of British music;
Sounding the Century (1997–1999)
presented a retrospective of 20th-century music. Both won awards.He
also introduced a number of well received specialist programmes:
the children’s programme
The Music Machine,
Spirit of
the Age (early music),
Impressions (jazz),
Voices (vocal music), and the arts programme
Night
Waves, among them.In 1996, Radio 3 became a 24-hour station.
From
midnight until 06:00 the programme Through the Night filled in with
radio recordings supplied by participating broadcasters of the
European
Broadcasting Union
. It still runs, put together by a small BBC
team, and is taken by several other European broadcasters under the
title
Euroclassic Notturno. In order that live overruns
did not create cumulative disruption to the daily schedule, one
“fixed point” of 22:00 was created which would result, when
necessary, in the curtailment or cancellation of items to allow
Through the Night to begin promptly at midnight. Kenyon
had in fact earlier declared that he wanted "lots of fixed points"
and had already begun to introduce “stripping” – programmes that
appeared regularly at the same time each day through the week.
Humphrey Carpenter commented:
"Kenyon made no reference to the fact that the Third Programme had
been founded under the motto ‘no fixed points’."
Roger Wright, 1998–present
Roger Wright took
over as controller in November 1998. One of the innovations of his
first year was the introduction of the relaxed late-night music
programme
Late Junction with
its varied mix of genres. Wright said he was addressing "this
feeling people had that they didn't want to put Radio 3 on unless
they were going to listen carefully". Jazz programmes and world
music were given a higher profile, a new programme of light music
was presented by
Brian Kay, and
Andy Kershaw’s music programme, which had been
dropped by Radio 1, was reintroduced on Radio 3. A BBC spokesman
described the station as having "changed beyond all recognition in
the last couple of years". From now on the watchword was to be
quality, freeing music from its "outmoded boxes", said Wright, "not
a dumbing down but a smarting up". With the
BBC Charter due for review, Radio 3’s
programming figured largely in the documentation used in support of
a ten-year renewal and the BBC’s Annual Report 2003/04 was able to
report that Radio 3 "achieved a record [audience] reach in the
first quarter of 2004".
Secretary of State’s foreword to the government’s
Green Paper in 2005 made special mention of "the
sort of commitment to new talent that has made Radio 3 the largest
commissioner of new music in the world" as a model for what the BBC
should be about.
However, as Roger Wright reaches the tenth anniversary of his
controllership, the situation has changed somewhat. The same BBC
Annual Report which mentioned the record audience also reported
some listener unhappiness. Critical reception of the changes had
also been mixed, especially of the new style of presentation –
described as "gruesome in tone and level". The world music output
was criticised as "street-smart fusions" and "global pop". Radio
Joint Audience Research (
RAJAR) began to
record lower listening figures. Substantial schedule changes were
made early in 2007, some of them – including the dropping of live
evening concerts – very controversial. After Kenyon’s "lots of
fixed points" came Wright’s "all fixed points" with schedules now
stripped across the week, contained in fixed length slots and
introduced by regular presenters.In spite of these changes, the
figures began to plummet. The new style Breakfast programme failed
to achieve the listening figures of its predecessor.
Reversals of recent policy resulted in the dropping of
Making
Tracks (children’s programme),
Stage and Screen
(music theatre and film music) and
Brian Kay’s Light
Programme. Andy Kershaw’s show has transformed into the
multi-presenter
World on 3 and
Late Junction has
lost one of its four weekly editions.
Mixing It (the long-running experimental
music show) has also been dropped. The evening alternative music
programmes have all been put back by one hour, to begin at 11.15pm,
closer to the so-called "
graveyard
slot". However, protesters against the removal of the Wednesday
afternoon live broadcast of
Choral Evensong to Sundays
have been rewarded by its return to Wednesdays and live evening
concerts have been reintroduced with 30 concerts promised for
2008–09.
Important projects undertaken have been
The Beethoven
Experience in June 2005, when the schedules were cleared for
six days to broadcast the entire works of Beethoven round the
clock. The same total immersion approach was used for
A Bach
Christmas in December 2005 for the entire works of JS Bach for
ten days in the run-up to Christmas. In February 2007, one week was
similarly given over to the works of Tchaikovsky and
Stravinsky.
In October 2007, Wright succeeded Nicholas Kenyon as Director of
the BBC Proms while remaining in post as Controller of Radio
3.
Notable programmes
Over more than forty years the schedules have been regularly
updated. However, two long-running BBC programmes currently
broadcast on Radio 3 –
Choral Evensong and
Composer of
the Week – predate even the arrival of the Third Programme in
1946.
Choral Evensong
The first BBC broadcast of
Choral
Evensong came from Westminster Abbey in 1926
The
Anglican service of sung Evening Prayer is broadcast weekly
on Radio 3 live from cathedrals, university college chapels and
churches throughout the UK.[36082] On occasion, it carries Choral Vespers from Catholic cathedrals, such as
Westminster
Cathedral
, or a recorded service from choral foundations
abroad. Choral Evensong is the BBC’s
longest-running outside broadcast programme, the first edition
having been relayed from Westminster Abbey
on 7 October 1926. Its 80th anniversary was
celebrated, also live from Westminster Abbey, with a service on 11
October 2006.
The programme has a strong following, revealed by various unpopular
attempts in the past to change the broadcast arrangements. When the
programme was moved from Radio 4 to Radio 3 in 1970 it became a
monthly broadcast but vigorous protests resulted in a return of the
weekly transmission on Wednesday afternoons..
More recently, in 2007 the live broadcast was switched to Sundays
which again resulted in protests. The live transmission was
returned to Wednesdays in September 2008 with a recorded repeat on
Sunday afternoons.
Choral Evensong forms part of Radio 3's
remit on religious programming though the musical performance and
repertoire holds interest for a wider audience.
Composer of the Week
Composer of the Week is claimed as the longest-running
classical music programme in Britain, having been launched in
August 1943.. It was first broadcast on the Third Programme (later
Radio 3), under its original title of
This Week’s
Composer, in 1964 when the station’s daytime broadcasting
began. Each week, in five daily programmes, the work of a
particular composer is studied in detail and illustrated with
musical excerpts.
Bach,
Beethoven,
Haydn,
Mozart and
Handel have all featured once most years, a different
aspect of their work being chosen for study each time. However, the
programme also covers more 'difficult' or less-widely known
composers, with weeks devoted to
Rubbra,
Medtner,
Havergal
Brian and the
Minimalists among
others. The regular presenter is currently Donald Macleod.
CD Review
CD Review is a Saturday morning programme dealing with new
classical music releases, topical issues and interviews. The
programme title is an update of
Record Review which was
broadcast on Network Three occasionally from 1949, then weekly from
1957. It includes the feature
Building a Library which
surveys and recommends available recordings of specific works. In
2006
Building a Library was attacked as 'elitist' for
including such composers as
Karl
Amadeus Hartmann and
Elliott
Carter and lesser-known works of great composers, at the
expense of well-known mainstream works. However, the charge was
rebutted by the programme's producer, Mark Lowther, who said that
Radio 3 audiences wanted programmes that challenged and inspired.
The regular presenter of
CD Review is Andrew
McGregor.
Jazz Record Requests
Jazz Record Requests was the first weekly jazz programme
on the Third Programme. First presented by the jazz musician
Humphrey Lyttelton, the 30-minute
programme was launched in December 1964 and is still running more
than forty years later. Now extended to an hour long, it still has
its place on Saturday afternoons. Presenters on Radio 3 have
included
Steve Race,
Peter Clayton and
Charles Fox. The current presenter
is
Geoffrey
Smith.
Pied Piper
Pied Piper was an iconic children’s programme, presented
by the 29-year-old early music specialist,
David Munrow, it had the sub-title Tales and
Music for Younger Listeners and ran from August 1971 until 1976.
Lively and varied, it was aimed at the 6–12 age group, though much
older children and adults also listened. The programme ran for five
series and a total of 655 episodes until it was brought to an end
by Munrow’s untimely death in May 1976.
The Radio 3 controversy
Controller Nicholas Kenyon summed up the perennial problem of Radio
3 as "the tension between highbrow culture and popular appeal ….the
cost of what we do and the number of people who make use of it”:
elitism versus populism (or ‘dumbing down’) and the question of
cost per listener. Tensions have been manifest within the BBC
itself: in 1969, two hundred members of the BBC staff protested to
the director general at changes which would ‘emasculate’ Radio 3,
while managing director of radio
Ian
Trethowan described the station in a memorandum as "a private
playground for elitists to indulge in cerebral masturbation".
Later, former Radio 3 controller John Drummond complained that the
senior ranks of the BBC took no interest in what he was doing.There
have also been tensions between corporate policy affecting the
Third/Radio 3 and what the artistic world and sections of the
audience wanted:
- The Third Programme Defence Society (1957)
opposed cuts in broadcasting hours and the removal of what the BBC
considered "too difficult and too highbrow". Supported by TS Eliot, Ralph
Vaughan Williams, Laurence
Olivier
- The Campaign for Better Broadcasting (1969)
opposed proposed cuts in Radio 3’s speech output. Supported by
Sir Adrian Boult, Jonathan Miller, Henry Moore, George
Melly.
- The Gambaccini issue (1995-96) arose as
listeners and press critics protested the introduction into a slot
formerly used for Composer of the Week of a
program presented by Paul
Gambaccini, a former Radio 1 and
Classic FM presenter. This was seen
as part of a wider move towards popularisation, to compete with
Classic FM and to increase ratings. Gambaccini is quoted as saying:
“I had a specific mission to invite [Radio 4’s] Today listeners to
stay with the BBC rather than go to Classic FM.”
- Friends of Radio 3 (FoR3) (2003–present), a
listeners’ campaign group set up to express concern at changes to
the station's style and scheduling, including the shift to
presenter-led programmes stripped through the week, as on Classic
FM and other mass-audience music stations. Officially, the BBC
stated that "[the] network's target audience has been redefined and
broadened and the schedule began to be recast to move towards this
during 1999." The group’s stated aim is "To engage with the BBC, to
question the policies which depart from Radio 3's remit to deliver
a high quality programme of classical music, spoken arts and
thought, and to convey listener concerns to BBC management."
Supported by Dame Gillian Weir,
Robin Holloway, Andrew Motion, Dame Margaret Drabble.
In the current climate of intense competition in the radio
industry, the RAJAR listening figures are scrutinised every quarter
by both broadcasters and the press. When listening figures showed
an abrupt downturn from 2004, Friends of Radio 3 claimed that
recent changes had caused the station to lose listeners. Dramatic
schedule changes were introduced in February 2007. However, some of
these were widely unpopular, and the year 2007/08 saw record low
listening figuresAdjustments in September 2008, e.g. reintroducing
some live concerts, reversed some of the policies and listening
figures improved.
Technical innovations
Radio 3 has led the way in many fields. A number of broadcasts are
experimental; for instance one play in the late seventies consisted
mainly of sound effects, recorded
binaurally, to be listened to wearing
headphones. Radio 3 was the first channel to broadcast in
stereo and in
quadraphonic (matrix HJ), a format which
enjoyed only a brief success. To improve the quality of outside
broadcasts over telephone lines the BBC designed a
NICAM style digitisation technique called
pulse code modulation running at a
sample rate of 14,000 per second per channel. It later designed
digital recording machines (transportable) sampling at the same
rate.
In June 2005 in conjunction with Radio
3’s Beethoven Experience (a week exclusively devoted to the works
of Beethoven played round-the-clock), the BBC trialled its first
music downloads over the internet. The BBC Philharmonic Orchestra
under
Gianandrea Noseda played all
nine Beethoven symphonies and the recordings were offered as free
mp3 downloads. The stated aim was "to gauge audiences' appetite for
music downloads and their preferred content, and will inform the
development of the BBC strategy for audio downloads and on demand
content". The experiment was wildly successful, attracting 1.4
million downloads. There was anger among the major classical record
labels who considered it unfair competition and "devaluing the
perceived value of music". As a result, no further free downloads
have been offered and the BBC Trust has ruled out any classical
music podcasts with extracts longer than one minute.In October
2007, Radio 3 collaborated with
English National Opera in presenting
a live video stream of a performance of
Carmen, "the first time a UK opera house has offered
a complete production online".In September 2008, Radio 3 launched a
filmed series of concerts. These will be available to watch live
and thereafter each concert will be available online for 7 days "in
high quality vision".
Radio 3 is now available world wide on the
Internet and is broadcast on
digital radio in the United
Kingdom via
DAB, on
Freeview,
Freesat,
Sky Digital,
Virgin Media and other subscription
platforms.
Controllers of the Third Programme and Radio 3
References
- Statements of Programme Policy Radio 3 Programme
Policy 2008/2009, BBC website
- New Generation Artists, BBC Radio 3
website.
- Humphrey Carpenter, The Envy of the World: Fifty Years of
the BBC Third Programme and Radio 3 1946–1996, Weidenfeld
& Nicolson, 1996, p. 247.
- Carpenter, Envy, p. 249
- Carpenter, Envy, p. 251
- Carpenter, Envy, p. 253
- Carpenter, Envy, p. 254
- Briggs (1985), p. 353
- Briggs (1985), p. 355
- Carpenter, Envy, p. 195
- Carpenter, Envy, p. 283
- Carpenter, Envy, p. 317
- Carpenter, Envy, p. 321-322
- Carpenter, Envy, p. 267
- Carpenter, Envy, p. 269
- Carpenter, Envy, p. 268
- Carpenter, Envy, p. 296
- Carpenter, Envy, p. 289
- Carpenter, Envy, p. 290
- Carpenter, Envy, pp. 287-288
- Carpenter, Envy, pp 292-293
- Radio Times, Saturday 1 April 1978, BBC Magazines
- Who’s Who 2008, A&C Black
- Carpenter, Envy, p298
- Carpenter, Envy, p. 302
- Carpenter, Envy, p. 311
- Carpenter, Envy, p. 304
- Carpenter, Envy, p. 304-305
- Carpenter, Envy, p. 306
- Carpenter, Envy, p. 306-307
- Carpenter, Envy, p. 308
- Carpenter, Envy, p. 313
- Carpenter, Envy, p. 320
- Carpenter, Envy, p. 322
- Carpenter, Envy p. 277
- Carpenter, Envy p. 326
- Drummond (2001), p. 354
- Drummond (2001), p. 370-371
- Carpenter, Envy p. 331
- Drummond (2001), p.365
- Carpenter, Envy p. 328-329
- Carpenter, Envy, p. 339
- Carpenter, Envy, p. 341
- Carpenter, Envy, p. 342
- Carpenter, Envy, p. 356
- Carpenter, Envy, p. 357
- ,
- BBC Annual Report 2003/04, p. 34
- Review of the BBC’s Royal Charter: A strong BBC,
independent of government, Department for Culture, Media and
Sport, March, 2005, p. 3
- Choral Evensong programme page
- Carpenter, Envy, pp 262-263
- Paul Donovan, Roll over, Beethoven, Sunday Times,
Culture supplement, 10 August 2003, pp. 14-15
- Carpenter, Envy p 231
- Jazz Record Requests programme
page
- Carpenter, Envy p 265
- Carpenter, Envy, p 266
- Carpenter, Envy: p. 364
- Carpenter, Envy, p. 255
- Carpenter, Envy, pp 169-174
- Carpenter, Envy, pp. 255-257
- Carpenter, Envy, pp. 357-358
- Friends of Radio
3 (FoR3), Friends of Radio 3 website
- Friends of Radio 3 website
Works cited
- BBC Annual Report and Accounts, 2003/2004, London: British
Broadcasting Corporation, 2004
- Briggs, Asa, The BBC: The First Fifty Years, Oxford:
Oxford University Press, 1985 ISBN 0192129716
- Carpenter, Humphrey, The Envy of the World: Fifty Years of
the BBC Third Programme and Radio 3, 1946-1996, London:
Weidenfeld & Nicolson, 1996 ISBN 0297818309
- Department for Culture, Media and Sport, Review of the
BBC’s Royal Charter: A strong BBC, independent of government
(government Green Paper), 2005
- Drummond, John, Tainted by Experience: A Life in the
Arts, London: Faber & Faber, 2001 ISBN 057120922X
- Radio Times, 1923–present, London: British
Broadcasting Corporation ISSN 0033-8060 02
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