Episodes
| Episode | Title | First Broadcast | Repeated | Comments |
|---|---|---|---|---|
| 01 | Satire And The State | 20241228 | 20250830 (R3) | In the first episode of this six part series, writer and satirist Chris Addison (The Thick Of It, Veep) explores how composers have used music to challenge the power of the state throughout the ages - sometimes with playful parodies, sometimes with bold defiance. Chris has selected tracks to demonstrate that music has often been a voice for resistance. This programme features music by Leonard Bernstein, Arthur Sullivan, Roxanna Panufnik, Charles Ives, and more. In this series, Chris Addison - himself a classical music devotee, keen amateur choral singer and opera buff - takes listeners on a tour of how composers have used their music to question, parody, and challenge power and ideas over the years. Classical music can amplify the most glorious and spectacular state power. But it can also undermine it - satirising and thumbing the nose of the status quo. Composers have used classical music to critique, undermine and even lampoon - often in cleverly nuanced, surprising ways that reconnect us to the flawed humans - and shared humanity - beneath the pomposity. Each episode in this series takes a big idea, and illustrates it with a playlist of entertaining and diverse music spanning the entire history of Western classical music. Leonard Bernstein: Slava! - concert overture Israel Philharmonic Orchestra Leonard Bernstein, conductor Charles Ives: Variations on 'America', orch. William Schuman St Louis Symphony Orchestra Leonard Slatkin, conductor Joseph Haydn: Symphony No 45 in F sharp minor H.1.45 (Farewell) Academy of St Martin in the Fields Neville Marriner, conductor Jean Sibelius: Finlandia Op 26 Philharmonia Orchestra Vladimir Ashkenazy, conductor Gilbert and Sullivan: When Britain Really Ruled the Waves (Iolanthe) Donald Adams, bass New Symphony Orchestra of London D'Oyly Carte Opera Chorus Isidore Godfrey, conductor Claudio Monteverdi: L' Incoronazione di Poppea Il Pomo d'Oro Jakub Józef Orliński, countertenor Dmitry Shostakovich: Symphony No 9 in E flat major, Op 70 Berlin Philharmonic Orchestra Kirill Petrenko, conductor Produced by James C Taylor An Overcoat Media Production for BBC Radio 3 1/6 Roxanna Panufnik: Letters From Burma – IV: Kintha Dance Nicholas Daniel (oboe) Sacconi Quartet The stories that matter, the people that matter, the music that matters Writer and satirist Chris Addison explores how composers have used music to challenge the power of the state throughout the ages - from playful parodies, to bold defiance.1/6 |
| 02 | Identity, Equality And Emancipation | 20250104 | In the second episode of this six part series, writer and satirist Chris Addison (The Thick Of It, Veep) explores how music has given voice to the struggles for equality and identity. Chris has chosen tracks that show how music has been used to inspire social change. This programme features music by Margaret Bonds, Julian Eastman, Joan Tower, Ethel Smyth and more. In this series, Chris Addison - himself a classical music devotee, keen amateur choral singer and opera buff - takes listeners on a tour of how composers have used their music to question, parody, and challenge power and ideas over the years. Classical music can amplify power, but it can also undermine it - satirising and thumbing the nose of the status quo. Composers have used classical music to critique, undermine and even lampoon - often in cleverly nuanced, surprising ways that reconnect us to the flawed humans - and shared humanity - beneath the pomposity. Each episode in this series takes a big idea, and illustrates it with a playlist of entertaining and diverse music spanning the entire history of Western classical music. Margaret Bonds: Montgomery Variations 1. Decision & 3. March Royal Scottish National Orchestra Kellen Gray, conductor Florence Price: Ethiopia's Shadow in America 2. His Resignation and Faith New York Youth Symphony Orchestra Michael Repper, conductor Ethel Smyth: Songs of Sunrise 3. The March of the Women Chorus of the Plymouth Music Series Eiddwen Harrhy, soprano Philip Brunelle, conductor Frederic Rzewski: The People United Will Never Be Defeated Variations Marc-Andre Hamelin, piano Antonio Vivaldi: Juditha triumphans devicta Holofernes barbarie RV.645 Part 1 Veni, me sequere fida Academia Montis Regalis Alessandro De Marchi, conductor Magdalena Kozena, mezzo soprano Wolfgang Amadeus Mozart: Cosi fan tutte K.588 Act 2. Miah Persson (Fiordiligi), Angela Brower (Dorabella), Adam Plachetka (Guglielmo), Rolando Villazón (Ferrando), Mojca Erdmann (Despina), Alessandro Corbelli (Don Alfonso) Chamber Orchestra of Europe Yannick Nézet-Séguin, conductor Joan Tower: Fanfare for the uncommon woman no. 1 St Louis Symphony Orchestra Leonard Slatkin, conductor Julius Eastman: Stay On It Studio Orchestra Julius Eastman, conductor Samuel Coleridge-Taylor: 24 Folk melodies Op.59 for piano Deep River Randall Goosby, violin Zhu Wang, piano Produced by James C Taylor An Overcoat Media Production for BBC Radio 3 Chris Addison explores how music can be used to fight for identity, equality, and freedom. Chris Addison explores how composers have used their music to challenge ideas of identity, equality, and freedom - from personal struggles to social movements. 2/6 | |
| 03 | Satire And Society | 20250111 | In the third episode of this six part series, writer and satirist Chris Addison (The Thick Of It, Veep) explores how music has been used to satirise the societies in which they live - from gentle mocking to broad punches. 3/6 Chris's chosen tracks show how composers have long challenged inequalities of class throughout the ages. Featuring music by Jean-Baptiste Lully, Erik Satie, John Gay, Wolfgang Amadeus Mozart, and more. In this series, Chris Addison - himself a classical music devotee, keen amateur choral singer and opera buff - takes listeners on a tour of how composers have used their music to question, parody, and challenge power and ideas over the years. Classical music can amplify power, but it can also undermine it - satirising and thumbing the nose of the status quo. Composers have used classical music to critique, undermine and even lampoon - often in cleverly nuanced, surprising ways that reconnect us to the flawed humans - and shared humanity - beneath the pomposity. Each episode in this series takes a big idea, and illustrates it with a playlist of entertaining and diverse music spanning the entire history of Western classical music. Wolfgang Amadeus Mozart: Le Nozze di Figaro K.492 - Act 1 Scene 1 Se vuol ballare Concerto Koln Rene Jacobs, conductor Lorenzo Regazzo, bass Jean-Baptiste Lully: Le Bourgeois gentilhomme LWV.43 (extracts) Le Poeme Harmonique Vincent Dumestra, lute Erik Satie: Sonatine Bureaucratique Frank Glazer, piano Igor Stravinsky: Soldier's Tale - Great Choral & March of the Devil Columbia Chamber Ensemble Robert Craft, conductor Gaetano Donizetti: L' Elisir d'amore Act 1. Cosi chiaro Spiro Malas, bass-baritone English Chamber Orchestra Ambrosian Opera Chorus Richard Bonynge, conductor Paul Hindemith: Neues Vom Tage overture BBC Philharmonic Orchestra Yan Pascal Tortelier, conductor Bert Appermont: Gulliver's Travels (selection) Harmonie de Charlesbourg Francois Dorion, conductor John Gay: The Beggar's Opera Act 3. Thus I Stand Like the Turk National Philharmonic Orchestra James Morris, bass-baritone Produced by James C Taylor An Overcoat Media Production for BBC Radio 3 Chris Addison explores how composers used music to challenge and cajole the status quo. Writer and satirist Chris Addison explores how composers have used their music to challenge and cajole the status quo of the societies in which they live. | |
| 04 | Satire And Religion | 20250118 | 20250906 (R3) | Chris Addison explores how composers have used music to challenge the status quo. In the fourth episode of this six part series, writer and satirist Chris Addison (The Thick Of It, Veep) explores how music has been used to comment on religion and challenge its authority. Chris has chosen tracks that show how composers have handled religion throughout the ages. This programme features music by Leonard Bernstein, Ethel Smyth, Johannes Brahms, Robert Nathaniel Dett, William Byrd, and more. In this series, Chris Addison - himself a classical music devotee, keen amateur choral singer and opera buff - takes listeners on a tour of how composers have used their music to question, parody, and challenge power and ideas over the years. Classical music can amplify power, but it can also undermine it - satirising and thumbing the nose of the status quo. Composers have used classical music to critique, undermine and even lampoon - often in cleverly nuanced, surprising ways that reconnect us to the flawed humans - and shared humanity - beneath the pomposity. Each episode in this series takes a big idea, and illustrates it with a playlist of entertaining and diverse music spanning the entire history of Western classical music. Leonard Bernstein: Mass – Gloria VI. Gloria: 1. Gloria tibi / 2. Gloria in excelsis / 3. Trope: 'Half of the People Alan Titus (baritone) Norman Scribner Choir, The Berkshire Boy Choir, Mass Cast Studio Orchestra Leonard Bernstein (conductor) Ethel Smyth: The Wreckers – Overture Scottish National Orchestra Sir Alexander Gibson (conductor) Johannes Brahms: Ein Deutsches Requiem – Iv: Wie Lieblich Sind Deine Wohnungen Elizabeth Watts (soprano) Stéphane Degout (baritone) London Philharmonic Orchestra and Choir Yannick Nézet-Séguin (conductor) Benjamin Britten: Noye's Fludde – “Wiffe, Come In! ? Owen Brannigan (bass) Sheila Rex (mezzo-soprano) David Pinto (boy soprano) Benjamin Britten (piano) English Opera Group orchestra, Norman del Mar (conductor) Margaret Bonds: Credo – Vii: I Believe In Patience The Dessoff Choirs Malcolm J. Merriweather (conductor) Robert Nathaniel Dett / Traditional: Listen to the Lambs Nathaniel Dett Chorale Brainerd Blyden-Taylor (director) Leos Janácek: Glagolitic Mass – Gloria Gabriela Benacková (soprano) Vera Soukupova (mezzo-soprano) František Livora (tenor) Karel Průša Jan Hora Czech Philharmonic Choir Czech Philharmonic Orchestra Vaclav Neumann (conductor) Giovanni Pierluigi da Palestrina: Missa Papae Marcelli – Kyrie Oxford Camerata Jeremy Summerly (director) William Byrd: Why Do I Use My Paper, Ink & Pen? Stile Antico & Fretwork Produced by James C Taylor An Overcoat Media Production for BBC Radio 3 Chris Addison explores how composers have handled religion and its authority The stories that matter, the people that matter, the music that matters Writer and satirist Chris Addison explores how composers have handled religion over the years, and how they have used music to challenge its power and authority. 4/6 |
| 05 | Satire And Philosophy | 20250125 | Chris Addison explores how composers have used music to challenge the status quo. The stories that matter, the people that matter, the music that matters In the fifth episode of this six part series, writer and satirist Chris Addison (The Thick Of It, Veep) explores how composers have used music to engage with some of the biggest ideas throughout time - in the world of philosophy. 5/6 Chris has selected tracks demonstrating that music has often been used as a space to challenge or delve into philosophical concepts. This programme features pieces by Erik Satie, Benjamin Britten, Emilie Mayer, Leonard Bernstein, and more. In this series, Chris Addison - himself a classical music devotee, keen amateur choral singer and opera buff - takes listeners on a tour of how composers have used their music to question, parody, and challenge power and ideas over the years. Classical music can amplify power, but it can also undermine it - satirising and thumbing the nose of the status quo. Composers have used classical music to critique, undermine and even lampoon - often in cleverly nuanced, surprising ways that reconnect us to the flawed humans - and shared humanity - beneath the pomposity. Each episode in this series takes a big idea, and illustrates it with a playlist of entertaining and diverse music spanning the entire history of Western classical music. Leonard Bernstein: Candide – Overture London Symphony Orchestra Leonard Bernstein (conductor) Charles Ives: The Unanswered Question Cincinnati Philharmonia Orchestra Gerhard Samuel (conductor) Erik Satie: Socrate No. 1 Portrait De Socrate Barbara Hannigan (soprano), Reinbert de Leeuw (piano) Richard Strauss: Also Sprach Zarathustra I: Sonnenaufgang, Ii: Von Den Hinterweltlern, Iii: Von Der Grossen Sehnsucht Berlin Philharmonic Herbert von Karajan (conductor) Richard Wagner: Parsifal – Act III: Höchsten Heiles Wunder! Chorus of Deutsche Oper Berlin Emilie Mayer: Faust Overture in B minor Kölner Akademie Michael Alexander Willens (conductor) Benjamin Britten: War Requiem – Xix: Sanctus – Sanctus London Symphony Orchestra and Chorus Gianandrea Noseda (conductor) Leonard Bernstein: Candide – The Best Of All Possible Worlds Daniel Evans, Simon Russell Beale, Alex Kelly, Simon Day, Elizabeth Renihan (National Theatre Production) Produced by James C Taylor An Overcoat Media Production for BBC Radio 3 Chris Addison explores how composers have engaged with the biggest ideas of all time. Writer and satirist Chris Addison explores how composers have used music to engage with some of the biggest ideas throughout time - in the world of philosophy. Benjamin Britten: War Requiem – Dies Irae | |
| 06 LAST | Parody, Homage And Pastiche | 20250201 | 20250913 (R3) | In the final episode of this six-part series, writer and satirist Chris Addison (The Thick Of It, Veep) explores how music has long been used as a tool for satire and parody. Chris has chosen tracks spanning centuries, which have parody and pastiche at their very heart. This programme features music by PDQ Bach, Gustav Mahler, Camille Saint-Saëns, Teresa Carreño, Joseph Haydn and more. In this series, Chris Addison - himself a classical music devotee, keen amateur choral singer and opera buff - takes listeners on a tour of how composers have used their music to question, parody, and challenge power and ideas over the years. Classical music can amplify power, but it can also undermine it - satirising and thumbing the nose at the status quo. Composers have used classical music to critique, undermine and even lampoon - often in cleverly nuanced, surprising ways that reconnect us to the flawed humans - and shared humanity - beneath the pomposity. Each episode in this series takes a big idea, and illustrates it with a playlist of entertaining and diverse music spanning the entire history of Western classical music. Josquin des Prez: Missa L'Homme Armé - Kyrie Oxford Camerata Jeremy Summerly (director) Joseph Haydn: String Quartet in E flat, Op. 33 No. 2 (The Joke) - 4. Presto Lindsay String Quartet Gustav Mahler: Symphony No. 1 – 3: Feierlich und gemessen, ohne zu schleppen New York Philharmonic Leonard Bernstein (conductor) PDQ Bach (Schickele): The Short-Tempered Clavier - I. C major Christopher O'Reily (piano) Bela Bartók: Concerto For Orchestra – 4: Intermezzo interrotto Chicago Symphony Orchestra Pierre Boulez (conductor) Teresa Carreño: Gottschalk Waltz, Op. 1 Alexandra Oehler (piano) Ernst von Dohnányi: Variations on a Nursery Tune, Op 25 (extract) Sofja Gülbadamova (piano) Staatsphilharmonie Rheinland-Pfalz Modestas Pitrėnas (conductor) Wolfgang Amadeus Mozart: Ein musikalischer Spass – 4: Presto The English Concert Andrew Manze (conductor) Camille Saint-Saëns: Carnival of the Animals - 14. Finale. Molto allegro Claude Frank, Lilian Kallir (pianos) Philadelphia Orchestra Eugene Ormandy (conductor) Produced by James C Taylor An Overcoat Media Production for BBC Radio 3 Chris Addison explores how composers have long used music as a tool for satire and parody. The stories that matter, the people that matter, the music that matters Writer and satirist Chris Addison explores how composers have used music as a tool for satire and parody for centuries. |