I was dubious about Our Classical Century when I attended the launch event a few weeks back. I couldn’t really discern the impetus for the season, beyond it being a way of bringing Radio 3, BBC Two and BBC Four closer together and providing genre-based content to populate the new BBC Sounds world.
What I saw of the opening episode of the Our Classical Century series and what I heard from the panel discussion at the launch raised more questions about the season’s over-arching editorial strategy. Skepticism led me to conclude that the year-long classical music features and documentaries season was probably not made for people like me.
Our Classical Century is the BBC answering calls for classical music outside of the Proms season to be better represented in terms of scope and quality. In that respect, it’s a good thing. But, it also illustrates the fundamental problem the broadcaster faces. By advocating classical music to new audiences the BBC necessarily has to create programming that appeals to the widest possible not-necessarily knowledgeable audience.
That means the end product will always fall short of the kind of content classical music buffs will naturally seek out, because it’s sharing knowledge buffs already know. Just by virtue of the programme being made by the BBC, people like are always going to be disappointed it doesn’t go far enough.
It certainly can’t be said to be dumbed down programming, not by any means. But, there are moments in Our Classical Century feels as though it’s been pulled in so many different directions at the commissioning stage, that in the end there’s insufficient time available to go in deep.
I’m still not entirely convinced about co-presenter Lenny Henry’s contribution to the programme necessarily works either. I get why he’s there, but there are moments in his everyman role when his presence on-screen actually feels a little awkward. The energy returns whenever Suzy Klein appears. No surprise, Klein is an experienced broadcaster. Unexpectedly, Henry’s delivery feels a little too earnest.
Based on the first episode, the Discovery Concerts that compliment the four-part Our Classical Century series promise to be a more fulfilling watch.
A lot of this is down to the format: an unashamed visual programme note providing historical context, and spotlighting detail in the work, before a live recording performance of the work in question.
In the case of the opening episode – George Gershwin’s Rhapsody in Blue – the detail revealed around the opening clarinet solo and writing for saxophone trio felt like the right amount of under-the-bonnet stuff to satisfy people like me and feed the curious and the unfamiliar. That the programme didn’t shy away from spending 45 minutes analysing it this way was a real boon. Presenter Josie D’Arby is particularly good too, combining genuine curiosity with an infectious warmth. She is adept at establishing great rapport on screen that looks authentic.
The BBC has also repeated John Bridcut’s documentary about Prince Charles’ love for the music of Hubert Parry – The Prince and the Composer – from 2016. It’s always a pleasure to hear John’s voice – and his eye for visual storytelling makes for compelling viewing. I had no idea until I watched this documentary that Hubert Parry wrote any symphonies. As Prince Charles points out in the documentary, that means there’s a wealth of unfamiliar music to explore for the first time.
Our Classical Century continues until June 2019 – broadcast dates available on the BBC website.