My Problem With...

Title

First
Broadcast

Repeated

Comments

Handel

20201225

20210808 (R3)

Harpsichordist and broadcaster Mahan Esfahani confesses he doesn't care for, or even respect, the music of Handel. A composer whose music brings joy to so many, whose music oils the wheels of hundreds of choral societies and makes the careers of greater singers and conductors. Who in their right mind would have a problem with him?

You'll be pleased to hear that Mahan is seeking professional help, from a musician who will try to show him the path to enlightenment. This week, his guest is singer Dame Sarah Connolly, a leading global exponent of Handel's music on stage; she's also been there at the battlefront making a case for his music and re-inventing a composer whose operatic work only recently came back to the mainstream.

Together they chew through the issues of Handel's need to always be liked and to be popular, sometimes at the expense of being good; why his music is so repetitive; why he steals melodies from other composers and Mahan's biggest bugbear, the bloated national quality of his music.

Produced by Rebecca Gaskell

A Reduced Listening Production for BBC Radio 3

Mahan Esfahani seeks help from Dame Sarah Connolly for his problem with Handel.

Mahan Esfahani asks what's wrong with saying you don't like some of the 'great composers'.

Mahler

20210101

20210815 (R3)

The second of two shows where the harpsichordist and broadcaster Mahan Esfahani throws down the argument that some of the so-called greats' maybe aren't that great.

In this episode, Mahan picks on the music of Gustav Mahler, a composer who formed a bridge between the 19th-century Austrian-German tradition from Beethoven to Brahms and the modernism of the early 20th century. Famous for his symphonic output, which brought together different strands of Romanticism whilst giving a glimpse to the future. What's not to love?

Quite a bit, says Mahan. What's with all the endless hypothesising and posing of music questions? Why doesn't he ever write a good tune? His orchestrations are so bizarre, to what end? Why are his symphonies so excruciatingly long?

Arguing in Mahler's defence is the conductor Joshua Weilerstein. Joshua is currently the incumbent music director at the Orchestre de Chambre de Lausanne in Switzerland. Previously he was the Assistant Conductor at the New York Philharmonic and had a hand in the orchestra's famous Young People's Concerts, the same popular series associated with the former New York Philharmonic director and Mahler champion Leonard Bernstein. Joshua tackles each of Mahan's charges head on and attempts to shake Mahan out of his Mahler morass.

Produced by Rebecca Gaskell

A Reduced Listening Production for BBC Radio 3

What's not to love about Mahler? Quite a bit, says Mahan Esfahani.

Mahan Esfahani asks what's wrong with saying you don't like some of the 'great composers'.

Mendelssohn

20210822

20230812 (R3)

Mahan Esfahani talks to the conductor Paul McCreesh about his lost love for Mendelssohn. At one time it was a passionate affair. As a budding pianist Mahan looked to the great German composer's music to show him how to be an adult, to be measured, enlightened and cultivated. But as with many young loves the passion dwindled, his music began to fall flat and became predictable, basic and boring.

Felix Mendelssohn is a much-loved figure in both German and British music for his ability to recreate the Baroque world with the added spice of 19th-century harmony. An affable character whose compositional style was imitated by many after his death, Mendelssohn is often celebrated for his honesty and simplicity.

Not wishing to give up on the cherished memories of his youth, Mahan seeks some couples counselling from the conductor Paul McCreesh. The founder and director of the Gabrieli Consort and Players, Paul McCreesh has brought considerable insight and a willingness to experiment to all kinds of repertoire, including his recording of Mendelssohn's oratorio Elijah'.

Together they work through the arguments that Mendelssohn is stuck between the Classical and Romantic periods, unsure of his purpose; that the Mendelssohnian style became ubiquitous making it clich退d and that he writes marvellous beginnings and endings, but what's with all the fluff in the middle?

Produced by Rebecca Gaskell

A Reduced Listening production for BBC Radio 3

Mahan Esfahani tries couples counselling to rejuvenate his love for Mendelssohn.

Mahan Esfahani asks what's wrong with saying you don't like some of the 'great composers'.

Shostakovich

20220101

20230805 (R3)

Why does some music grab people to the point of ecstasy and to others it represents a total blank? Can you grow to love a composer you feel no connection to? Mahan Esfahani attempts to learn to love the music of Shostakovich with the help of conductor Kirill Karabits.

Dimitri Shostakovich was a Soviet-era Russian composer and pianist who died in 1975. One of the major composers of the 20th century, his work bridged the gap between Romanticism and post-tonality. His sharp contrasts and harmonic developments from the Romantic era towards tonal ambiguity are impressively showcased across his thirteen symphonies.

But to Mahan, Shostakovich's music is drenched in unnecessary sarcasm and a moral murkiness. Was he a supporter or dissident towards the Soviet Union? How can he have written music from two opposing viewpoints? Does his popularity rest on this enigma rather than any musical merit?

Joining Mahan in the studio to help spark a connection is the conductor Kirill Karabits. Born in Kiev when it was part of the Soviet Union, he repeatedly listened to Shostakovich's Eleventh Symphony as a young boy and it was this that made him dream of becoming a conductor. Kirill has been chief conductor for the Bournemouth Symphony Orchestra for the past 13 years and has several celebrated recordings of Shostakovich's symphonies in his discography.

Produced by Rebecca Gaskell

A Reduced Listening production for BBC Radio 3

Mahan Esfahani asks what's wrong with saying you don't like some of the 'great composers'.

Episodes

Title	First Broadcast	Repeated	Comments
Handel	20201225	20210808 (R3)	Harpsichordist and broadcaster Mahan Esfahani confesses he doesn't care for, or even respect, the music of Handel. A composer whose music brings joy to so many, whose music oils the wheels of hundreds of choral societies and makes the careers of greater singers and conductors. Who in their right mind would have a problem with him? You'll be pleased to hear that Mahan is seeking professional help, from a musician who will try to show him the path to enlightenment. This week, his guest is singer Dame Sarah Connolly, a leading global exponent of Handel's music on stage; she's also been there at the battlefront making a case for his music and re-inventing a composer whose operatic work only recently came back to the mainstream. Together they chew through the issues of Handel's need to always be liked and to be popular, sometimes at the expense of being good; why his music is so repetitive; why he steals melodies from other composers and Mahan's biggest bugbear, the bloated national quality of his music. Produced by Rebecca Gaskell A Reduced Listening Production for BBC Radio 3 Mahan Esfahani seeks help from Dame Sarah Connolly for his problem with Handel. Mahan Esfahani asks what's wrong with saying you don't like some of the 'great composers'.
Mahler	20210101	20210815 (R3)	The second of two shows where the harpsichordist and broadcaster Mahan Esfahani throws down the argument that some of the so-called greats' maybe aren't that great. In this episode, Mahan picks on the music of Gustav Mahler, a composer who formed a bridge between the 19th-century Austrian-German tradition from Beethoven to Brahms and the modernism of the early 20th century. Famous for his symphonic output, which brought together different strands of Romanticism whilst giving a glimpse to the future. What's not to love? Quite a bit, says Mahan. What's with all the endless hypothesising and posing of music questions? Why doesn't he ever write a good tune? His orchestrations are so bizarre, to what end? Why are his symphonies so excruciatingly long? Arguing in Mahler's defence is the conductor Joshua Weilerstein. Joshua is currently the incumbent music director at the Orchestre de Chambre de Lausanne in Switzerland. Previously he was the Assistant Conductor at the New York Philharmonic and had a hand in the orchestra's famous Young People's Concerts, the same popular series associated with the former New York Philharmonic director and Mahler champion Leonard Bernstein. Joshua tackles each of Mahan's charges head on and attempts to shake Mahan out of his Mahler morass. Produced by Rebecca Gaskell A Reduced Listening Production for BBC Radio 3 What's not to love about Mahler? Quite a bit, says Mahan Esfahani. Mahan Esfahani asks what's wrong with saying you don't like some of the 'great composers'.
Mendelssohn	20210822	20230812 (R3)	Mahan Esfahani talks to the conductor Paul McCreesh about his lost love for Mendelssohn. At one time it was a passionate affair. As a budding pianist Mahan looked to the great German composer's music to show him how to be an adult, to be measured, enlightened and cultivated. But as with many young loves the passion dwindled, his music began to fall flat and became predictable, basic and boring. Felix Mendelssohn is a much-loved figure in both German and British music for his ability to recreate the Baroque world with the added spice of 19th-century harmony. An affable character whose compositional style was imitated by many after his death, Mendelssohn is often celebrated for his honesty and simplicity. Not wishing to give up on the cherished memories of his youth, Mahan seeks some couples counselling from the conductor Paul McCreesh. The founder and director of the Gabrieli Consort and Players, Paul McCreesh has brought considerable insight and a willingness to experiment to all kinds of repertoire, including his recording of Mendelssohn's oratorio Elijah'. Together they work through the arguments that Mendelssohn is stuck between the Classical and Romantic periods, unsure of his purpose; that the Mendelssohnian style became ubiquitous making it clich退d and that he writes marvellous beginnings and endings, but what's with all the fluff in the middle? Produced by Rebecca Gaskell A Reduced Listening production for BBC Radio 3 Mahan Esfahani tries couples counselling to rejuvenate his love for Mendelssohn. Mahan Esfahani asks what's wrong with saying you don't like some of the 'great composers'.
Shostakovich	20220101	20230805 (R3)	Why does some music grab people to the point of ecstasy and to others it represents a total blank? Can you grow to love a composer you feel no connection to? Mahan Esfahani attempts to learn to love the music of Shostakovich with the help of conductor Kirill Karabits. Dimitri Shostakovich was a Soviet-era Russian composer and pianist who died in 1975. One of the major composers of the 20th century, his work bridged the gap between Romanticism and post-tonality. His sharp contrasts and harmonic developments from the Romantic era towards tonal ambiguity are impressively showcased across his thirteen symphonies. But to Mahan, Shostakovich's music is drenched in unnecessary sarcasm and a moral murkiness. Was he a supporter or dissident towards the Soviet Union? How can he have written music from two opposing viewpoints? Does his popularity rest on this enigma rather than any musical merit? Joining Mahan in the studio to help spark a connection is the conductor Kirill Karabits. Born in Kiev when it was part of the Soviet Union, he repeatedly listened to Shostakovich's Eleventh Symphony as a young boy and it was this that made him dream of becoming a conductor. Kirill has been chief conductor for the Bournemouth Symphony Orchestra for the past 13 years and has several celebrated recordings of Shostakovich's symphonies in his discography. Produced by Rebecca Gaskell A Reduced Listening production for BBC Radio 3 Mahan Esfahani asks what's wrong with saying you don't like some of the 'great composers'.