Satire and Religion
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
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 鈥 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 鈥 Overture
Scottish National Orchestra
Sir Alexander Gibson (conductor)
Johannes Brahms: Ein Deutsches Requiem 鈥 Iv: Wie Lieblich Sind Deine Wohnungen
Elizabeth Watts (soprano)
St茅phane Degout (baritone)
London Philharmonic Orchestra and Choir
Yannick N茅zet-S茅guin (conductor)
Benjamin Britten: Noye鈥檚 Fludde 鈥 鈥淲iffe, Come In!鈥
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 鈥 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 Jan谩cek: Glagolitic Mass 鈥 Gloria
Gabriela Benackov谩 (soprano)
Vera Soukupova (mezzo-soprano)
Franti拧ek Livora (tenor)
Karel Pr暖拧a
Jan Hora
Czech Philharmonic Choir
Czech Philharmonic Orchestra
Vaclav Neumann (conductor)
Giovanni Pierluigi da Palestrina: Missa Papae Marcelli 鈥 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 大象传媒 Radio 3
Last on
More episodes
Music Played
-
Leonard Bernstein
Gloria (Mass)
Singer: Alan Titus. Orchestra: Studio Orchestra. Conductor: Leonard Bernstein. -
Ethel Smyth
The Wreckers: Overture
Orchestra: Royal Scottish National Orchestra. Conductor: Alexander Gibson. -
Johannes Brahms
Wie Lieblich Sind Deine Wohnungen (Ein Deutsches Requiem)
Choir: London Philharmonic Choir. Orchestra: London Philharmonic Orchestra. Conductor: Yannick N茅zet鈥怱茅guin. -
Benjamin Britten
Wiffe, come in! (Noye's Fludde)
Performer: English Opera Group. Conductor: Benjamin Britten. -
Margaret Bonds
I believe in Patience (Credo)
Choir: Dessoff Choirs. Conductor: Malcolm Merriweather. -
Leos Jan谩膷ek
Gloria (Glagolitic Mass)
Choir: Czech Philharmonic Choir. Orchestra: Czech Philharmonic. Conductor: V谩clav Neumann. -
Giovanni Pierluigi da Palestrina
Kyrie (Missa Papae Marcelli)
Choir: Oxford Camerata. Conductor: Jeremy Summerly. -
William Byrd
Why Do I Use My Paper, Ink & Pen?
Ensemble: Stile Antico. Ensemble: Fretwork. -
Gregorio Lambranzi
Danze da Nuova e curiosa scuola de' balli teatrali
Performer: Th茅otime Langlois de Swarte. Music Arranger: Olivier Four茅s. Music Arranger: Th茅otime Langlois de Swarte. Orchestra: Le Consort.- Vivaldi: Le quattro stagioni.
- harmonia mundi.
Broadcast
- Yesterday 13:00大象传媒 Radio 3
Knock on wood 鈥 six stunning wooden concert halls around the world
Steel and concrete can't beat good old wood to produce the best sounds for music.
The evolution of video game music
Tom Service traces the rise of an exciting new genre, from bleeps to responsive scores.
Why music can literally make us lose track of time
Try our psychoacoustic experiment to see how tempo can affect your timekeeping abilities.
Podcast
-
Music Matters
The stories that matter, the people that matter, the music that matters