The Radio 3 Documentary BBC Radio 3

In a remarkable moment after WWII New York became the centre of the art world, simultaneously seeing the development of new ways of hearing music, and new ways of seeing art.
It was here that the American experimental composer Morton Feldman said, “What was great about the fifties is that for one brief moment - maybe, say, six weeks - nobody understood art. That’s why it all happened”.
The composer Samuel Andreyev shows how composers and artists in New York in this period went about the difficult business of wrestling with a new abstract language, often at great cost to themselves, to produce some of the masterpieces of post war American art.
Samuel focuses on the powerfully productive relationships that Feldman had with the abstract expressionists, Philip Guston, and Mark Rothko, who showed him by example how to set his sounds free, in the same way their paintings set colours free.
Feldman even called his own compositions, ‘Time Canvasses’, where he said, he more or less primed the canvas with an overall hue of music. This is a clue to the unorthodox way Feldman’s music - which can be both very long, and almost always very quiet - remarkably blurs what we imagine to be the boundary between music and painting.
A Soundscape Production, produced by Andrew Carter.

"For the next hour, I need your ears". It's 1974 and someone is trying to recruit you for a listening experiment on public radio in Canada.
Pioneering Canadian composer and soundscape maestro, R Murray Schafer really wants you to commit: "if you're just listening to this programme casually, you'd better turn it off right now".
This audio experiment was part of a series on the CBC - the Canadian Broadcasting Company, called Soundscapes of Canada, consisting of ten hours of soundscape montage, field recordings and lessons in listening. From Church bells, to birdsong, to car horns and an entire episode made up of people across Canada giving the sound recordist directions: this was 'slow radio' years ahead of its time.
The series was recorded and produced by The World Soundscape Project, a group Schafer set up to raise the importance of the soundscape in what he saw as a world of increasing noise, which had reached "an apex of vulgarity". The group went on to publish Soundscape: The Tuning of the World - a vast anthology documenting just about every kind of sound you could imagine - natural, human-made and technological.
R Murray Schafer was many things – Canada’s preeminent experimental composer of the 20th Century, an artist, novelist, educator, musicologist, historian, and environmental activist. Schafer was also a romantic, with a strong sense of Canadian identity, who preferred rural life with an uncluttered sense of place. Critics, and he had many, accused him of being abrasive, a luddite, and prone to cultural appropriation.
Above all though, Murray was a passionate listener, constantly pushing his message of an "ecologically balanced soundscape" by asking "which sounds do we want to preserve, encourage, multiply?" In this sound-rich documentary (best enjoyed with headphones) John Drever, Professor of Acoustic Ecology and Sound Art at Goldsmiths, University of London explores Schafer’s life and legacy, as the soundscape now has an ISO framework for consideration in urban design and planning in the UK and beyond.
Contributors: Hildegard Westerkamp, Barry Truax, Ellen Waterman, Claude Schryer, Lisa Lavia, Tin Oberman, Andrew Mitchell and Francesco Aletta.
Soundscapes of Canada and Vancouver Soundscape material used with kind permission of the World Soundscape Project, Sonic Research Lab, School of Communication, Simon Fraser University, Canada.
Use of 'Crescendo' courtesy of Martyn Ware
Presented by John Drever
Produced by Rami Tzabar
A TellTale Industries production for BBC Radio 3

Via ports and truck-stops, fulfilment centres and ring roads, Aidan Tulloch follows the supply chain and reimagines the journey an item goes on in the age of 24/7 delivery.

Dr Anindya Raychaudhuri searches for different perspectives on the idea of balance.

Denton Welch lived the last years of his short life in Kent during the Second World War. His writing career took off in 1943 and in the same year he met his companion, Eric Oliver.

His writing is mostly autobiographical and carries his readers from a childhood in Shanghai, boarding school in 1930s England, a near-fatal bicycle accident while he was in art college, a slow convalescence and, finally, to his years travelling about the Kent countryside, picnicking, exploring churches and observing rural life with an artist's eye. And a queer eye.

His subtle and gently subversive descriptions of same-sex desire and sexual identity has thrilled and challenged his readers for eighty years.
His preoccupations include art and beauty as well as pain and death. His great ability as a writer is to draw characters - often based entirely on himself and those closest to him - with tiny details which spring to life on the page. These can be very funny, cruel, poignant or erotic.

He wrote novels, stories and journals as well as working with art and poetry.
Regan Hutchins has always been a fan of Denton's writing and he travels to the village of Hadlow in Kent, where Denton lived during the Second World War. There he meets Denton's would-be neighbours who show him the landscape that inspired the writer. Biographers, academics, film-makers and writers help to build a picture of a writer who has, for too long, been out of sight.
Producer Regan Hutchins
Reader Rob Vesty
With thanks to the Hadlow Historical Society.
Sound supervision by Tinpot Productions.
A New Normal Culture production for BBC Radio 3

Known in Yiddish as Der Schvartze Khazn--the Black Cantor--Thomas LaRue Jones was an African American tenor who sang Jewish music in the early decades of the twentieth century. Famed for his soulful voice and perfect Yiddish pronunciation, he performed in synagogues and theatres across the Eastern United States and toured Germany, Poland and Palestine. But after his death in 1954, LaRue Jones disappeared from memory, leaving behind only one recording, made in 1923. Drawing on research by the veteran musician and producer Henry Sapoznik, Maria Margaronis unpacks the mystery of LaRue Jones' career. What drew him to this music? What does his life tell us about race, faith and identity in America a hundred years ago? And why was he so quickly and utterly forgotten?
LaRue Jones' story is entwined with the history of Newark, New Jersey, where he spent most of his life. Once known as the City of Opportunity, old Newark drew migrants from Europe and the American South in flight from persecution and searching for a new life. Blacks and Jews lived side by side in the city's poorer districts, absorbing each other's culture and musical traditions.
But by mid-century, Newark's Jews were moving out in search of the suburban dream. Black people, hemmed in by racism and housing segregation, were left behind in an increasingly impoverished city. Thirteen years after LaRue Jones' death, the Newark riots, or rebellion, sealed the division of the two communities. LaRue Jones, like the world that made him, was consigned to oblivion--until zealous research by Henry Sapoznik tracked down that one recording and LaRue Jones' unmarked grave, and raised the curtain on the Black Cantor once more.

Presenter: Maria Margaronis
Producer: David Goren