The Essay

Irish poet Michael Longley, who died on 22nd January 2025, was described by Seamus Heaney as 'a keeper of the artistic estate, a custodian of griefs and wonders.' He devoted a lifetime to the art of poetry and won numerous poetry prizes. He is recognised as a very fine love poet and in this episode of Michael Longley's Life of Poetry, first broadcast in 2024, he reads poems that address the gift of a decades-long love and marriage and the inevitability of ageing. After a lifetime dedicated to poetry, he says, 'I can't imagine that I would be alive now if I hadn't had poetry propelling me forward.' He reads his poems The Pattern, The Linen Industry and Age from his collection Ash Keys: New Selected Poems (Cape Poetry), published to mark his 85th birthday on 27th July 2024, and Foam from his collection The Slain Birds. Presenter: Olivia O'Leary Producer: Claire Cunningham Executive Producer: Regan Hutchins Michael Longley's Life of Poetry is a Rockfinch production for BBC Radio 3.

The Irish poet Michael Longley, who died on 22nd January 2025, was described by Seamus Heaney as 'a keeper of the artistic estate, a custodian of griefs and wonders.' He devoted a lifetime to the art of poetry and won numerous poetry prizes. In this episode of The Essay, first broadcast in 2024, he described his refuge from the city streets of Belfast in County Mayo, in one of the most remote and beautiful parts of the west of Ireland. He had been writing about its nature and landscape for over 50 years and it provided endless inspiration for poems. In more recent years he recognised the threat of climate change and he expresses the hope that younger generations will take greater care of the world. He reads his poems The Leveret, Remembering Carrigskeewaun, Stonechat and The Comber from his collection Ash Keys: New Selected Poems (Cape Poetry), published to mark his 85th birthday on 27th July 2024, and Merlin from his collection The Slain Birds. Presenter: Olivia O'Leary Producer: Claire Cunningham Executive Producer: Regan Hutchins Michael Longley's Life of Poetry is a Rockfinch production for BBC Radio 3.

The Irish poet Michael Longley, who died on 22nd January 2025, was described by Seamus Heaney as 'a keeper of the artistic estate, a custodian of griefs and wonders.' He devoted a lifetime to the art of poetry and won numerous poetry prizes. In 1968, violence erupted in Northern Ireland, the beginning of 30 years of the Troubles. In the third episode of this series of The Essay, first broadcast in 2024, he talked about writing poems that remembered some of those who were victims of the the violence and his most famous poem, Ceasefire, which looks to Homer's great epic poem The Iliad as it reflects on the cost of peace. As well as Ceasefire, he reads his poems The Troubles, The Ice-cream Man, and All of these People from the collection Ash Keys: New Selected Poems (Cape Poetry), published to mark his 85th birthday on 27th July 2024. Presenter: Olivia O'Leary Producer: Claire Cunningham Executive Producer: Regan Hutchins Michael Longley's Life of Poetry is a Rockfinch production for BBC Radio 3.

The Irish poet Michael Longley, who died on 22nd January 2025, was described by Seamus Heaney as 'a keeper of the artistic estate, a custodian of griefs and wonders.' He devoted a lifetime to the art of poetry and won numerous poetry prizes. In the second episode of this series of The Essay, first broadcast in 2024, he talked with presenter Olivia O'Leary about his World War 1 poems, many of which were inspired by his own father's experience of having fought in the war, although he rarely talked about it. Michael's poems link the Great War and the Northern Ireland Troubles. He reads his poems Citation, Harmonica, The Sonnets and Wounds from the collection Ash Keys: New Selected Poems (Cape Poetry), published to mark his 85th birthday on 27th July 2024. Presenter: Olivia O'Leary Producer: Claire Cunningham Executive Producer: Regan Hutchins Michael Longley's Life of Poetry is a Rockfinch production for BBC Radio 3.

The poet Michael Longley, who died on 22nd January 2025 at the age of 85, was described by Seamus Heaney as 'a keeper of the artistic estate, a custodian of griefs and wonders.' He devoted a lifetime to the art of poetry and won numerous poetry prizes. In Episode 1 of this series of The Essay, first broadcast in 2024 and recorded to mark his 85th birthday, he talked with presenter Olivia O'Leary about his home town of Belfast and his love of jazz, saying that, 'Good poetry for me combines two things: meaning and melody.' He also loved the classics, which he studied at Trinity College Dublin, where he met his wife, Edna, a distinguished literary critic. He was one of a group of young poets that emerged from Northern Ireland in the 1960s and he describes the mutual support, rivalry and excitement of that time. He reads his poems Elegy for Fats Waller and an extract from his poem River and Fountain from a new collection, Ash Keys: New Selected Poems (Cape Poetry), published to mark his 85th birthday on 27th July 2024. He also reads Bookshops from his collection Angel Hill and Poem from The Slain Birds. Presenter: Olivia O'Leary Producer: Claire Cunningham Executive Producer: Regan Hutchins Michael Longley's Life of Poetry is a Rockfinch production for BBC Radio 3.

'Be not afeard. The isle is full of noises, Sounds, and sweet airs, that give delight and hurt not. Sometimes a thousand twangling instruments Will hum about mine ears...' There is an idea that what Caliban is describing is gamelan music, and that Shakespeare had heard accounts of it as he wrote The Tempest from sailors who had recently returned from a voyage to the Spice Islands - Indonesia. The village of Tihingan in Bali is full of noises because the chief occupation there is making gongs for gamelans, the wonderful gong orchestras of Bali and Java. Ade Mardiyati, a journalist who reports for the BBC's Indonesian service, visits Tihingan - Indonesia's Tin Pan Alley - the learn about the craft. Two crucial skills are involved; that of the smith who forges the gongs, and that , the tuner who works them to ensure they give the right note. In a sonically rich essay, recorded while these masters work, Ade explores the past, present and future of gamelan making, and music. Presenter: Ade Mardiyati Producer: Julian May

The journalist Guy Hedgecoe, who covers Spain for the BBC, visits Felipe Conde's shop and workshop in Centro, Madrid. Conde is the fourth generation of his family to make classical and flamenco guitars. Many of the great flamenco musicians - Moraito, Paco de Lucia, Tomatito - have played Conde guitars, as have artists from other traditions - Leonard Cohen, Lenny Kravitz, Cat Stevens. And Paco de Lucia gave one to Michael Jackson. Guy meet Antonio Gonzalez, one of Conde's customers, who tell him what qualities he is looking for - and plays. And he watches while Felipe Conde works on a new instrument. Guy explores the state of the craft of making, the art of playing and the place of the classical guitar and flamenco music in Spain, and around the world, today. Presenter: Guy Hedgecoe Producer: Julian May

Ochanomizu means 'tea water' because of its proximity to the Kanda River, which in the Edo period provided water for the Shogun's tea. Now it is a university area - Meiji University, Tokyo Medical and Dental University, and Juntendo University all have campuses in Ochanomizu. Phoebe Amoroso reports on the way teahouses have given way to musical instrument shops. There are more than 70 in Ochanomizu's 'Guitar Street' . But you can buy harmonicas and accordions, too. In such a competitive space shops survive by specialising. Almost all the instruments sold are western, but made with Japanese materials, craftsmanship and attention to detail. Presenter: Phoebe Amoroso Producer: Julian May

Galip Dede Street in Istanbul used to be famous for its antique, philatelic and book shops. But over the past 30 years more and more music shops have opened and now the street has more than 30. Esra Yalcinalp talks to the shopkeepers who sell instruments of all kinds, all the orchestral instruments. Here, too, she finds musicians who might buy a bağlama or saz, like a mandolin with a very long neck, and a kemençe or lyra, a bowed instrument, used in Ottoman classical and Turkish folk music. She gets a demonstration of the different rhythms a master can play on the darbuka, the goblet shaped drum used in Turkish classical music. She meets, too, a French musician seeking strings for her Syrian oud. Can she find these in Galip Dede? Of course. No problem. There is a problem, though - tourism. It's driving up rents and driving out specialist music shops, which are replaced by hotels and T shirt shops. Presenter: Esra Yalcinalp Producer: Julian May

The original Tin Pan Alley was in Fifth and Sixth Avenue in Manhattan, New York, where music publishers set up shop in the late 19th century, attracting songwriters and coming to dominate American popular music. Since then Tin Pan Alley has come to mean a quarter where there are music shops and where musicians gather. Cities all over the globe have Tin Pan Alleys of their own. For instance, if you wanted to buy a bass guitar in London, you'd head to the UK's Tin Pan Alley, Denmark Street. In this week's series of the Essay BBC correspondents from Madrid to Tokyo explore the Tin Pan Alleys of their towns, talking to musicians trying out the instruments before they buy, and to the shopkeepers selling them. They explore the state of the musical culture, and culture more generally, of the countries they are reporting from. The series begins in Beijing where Stephen McDonell visits Xinjiekou Street, where the shops sell Chinese traditional instruments: the erhu, a two string fiddle; the pipa, a pear shaped lute; the guzheng, a zither...and several others. He discovers that there is renewed enthusiasm for them and their music, and meets some musicians playing in a tunnel, not for the acoustic but because, in an odd reversal of the norm, if they play in the street young people object to the noise and shop them to the cops. Presenter: Stephen McDonell Producer: Julian May

Scotland has been blessed with some of the most exciting of gemstones, but knowing where to find them is the secret. Kenneth Steven was given a piece of amber when he was a child, found supposedly on Iona. This is the story of amber and where it actually comes from. Kenneth tells the story of amber in Scotland and in Ireland. Amber necklaces from Ireland are somewhere in the region of three thousand years old. Those necklaces are usually found in bogland hoards and in caves. Perhaps they were kept there for safety, or as offerings to the river or to water deities. It’s surely a sign of the value that was ascribed to them that these amber relics are most often found close to gold. This would suggest that amber was a status symbol for the wealthy and powerful. Presenter Kenneth Steven Producer Mark Rickards A Whistledown Scotland production

The first stone Kenneth Steven began collecting in childhood was serpentine from the beaches of the island of Iona. Here he tells the story of the search for the finest gems. It was Kenneth's mother who’d taught him to search for serpentine. She explained to him the difference between these waxy, much softer pebbles and stones made of marble. Those are duller; they don’t polish the same, and once out of water they have a drabness about them. You can tell a piece of serpentine because as soon as it’s absorbed the oils from your hand it’s polished, glimmering. Presenter Kenneth Steven Producer Mark Rickards A Whistledown Scotland production

The great Victorian collector of minerals Matthew Heddle mentions two places in particular for the finding of aquamarine in Scotland, one the island of Arran and the other a mountain in the Cairngorms. But locating these gems is another story. The Cairngorm mountains are a kind of fortress. There is nowhere else like them in Scotland. You enter their world from one side or another and thereafter are inside them until you withdraw once more. You become aware of other noises than the ones that dominate our days: you hear streams, the breeze lifting the pine trees, the wind in the high hills once you have climbed into them. It’s an elemental place: pure and to all intents and purposes undamaged, undisturbed. Kenneth Steven explores the history of this semi-precious stone and reflects in poetry on his finds. Presenter Kenneth Steven Producer Mark Rickards A Whistledown Scotland production

Scotland has been blessed with some of the most exciting of gemstones, but knowing where to find them is the secret. A rare edition of 'Scottish Gem Stones' by W J McCallien led Kenneth to the discovery of the riches to be found on Scotland's mountains and shores. The mineralogist Matthew Heddle, the great 19th century collector of Scottish gemstones. was particularly fond of agates. The wonderful thing about banded agate is that each one is unique; you’ll never know from looking at the outside what the heart of it may reveal. The counties of Angus and Fife have fabulous banded agates on the shores and in the fields, but finding them is about more than just luck. Kenneth Steven goes in search of the precious stones and reflects on his finds in poetry. Presenter Kenneth Steven Producer Mark Rickards A Whistledown Scotland production

Scotland has been blessed with some of the most exciting of gemstones, but knowing where to find them is the secret. A rare edition of 'Scottish Gem Stones' by W J McCallien led Kenneth to the discovery of the riches to be found on Scotland's mountains and shores. In the first episode, Kenneth tells the story of Scotland's short-lived gold rush in 1869, when 600 gold miners made their way to Sutherland in the hope of a major find. Kenneth searches for the elusive treasure himself, and reflects on his experiences in poetry. Presenter Kenneth Steven Producer Mark Rickards A Whistledown Scotland Production

Phil Hebblethwaite examines five classical musical hoaxes and controversies, from the early twentieth century to the modern day. These are origin stories that have fooled and perplexed some of the greatest experts. In an age of misinformation, when faking it has never been more prevalent, the series unravels the stories of some of the most brazen and confounding composer controversies. What is the appeal of engineering a hoax? And why do we fall for them so easily? It’s a journey that raises questions about scholarship, authenticity and our faith in expert opinion. Mamoru Samuragochi became famous in the 2000s as the ‘Japanese Beethoven’ – a deaf composer whose music touched millions of classical fans and crossed over to a mainstream audience by being used in computer games. But was Samuragochi actually deaf and was he even composing his own works? In his last essay in the series, Phil considers the impact of hoaxes on our trust in authenticity and celebrity. Written and presented by Phil Hebblethwaite Producer: Jo Glanville Editor: Joanne Rowntree Researcher: Heather Dempsey Studio Engineer: Dan King A Loftus Media Production for BBC Radio 4

Phil Hebblethwaite examines five classical musical hoaxes and controversies, from the early twentieth century to the modern day. These are origin stories that have fooled and perplexed some of the greatest experts. In an age of misinformation, when faking it has never been more prevalent, the series unravels the stories of some of the most brazen and confounding composer controversies. What is the appeal of engineering a hoax? And why do we fall for them so easily? It’s a journey that raises questions about scholarship, authenticity and our faith in expert opinion. More than 20 years ago, critics began to acclaim the recordings of the pianist Joyce Hatto. One described her as the greatest living pianist. When the fraud was later revealed, it turned out to be one of the greatest instances of plagiarism in the history of the record industry. Phil explores the story of a digital deception. Written and presented by Phil Hebblethwaite Producer: Jo Glanville Editor: Joanne Rowntree Researcher: Heather Dempsey Studio Engineer: Dan King With thanks to Nicholas Cook and Jessica Duchen A Loftus Media Production for BBC Radio 4

Phil Hebblethwaite examines five classical musical hoaxes and controversies, from the early twentieth century to the modern day. These are origin stories that have fooled and perplexed some of the greatest experts. In an age of misinformation, when faking it has never been more prevalent, the series unravels the stories of some of the most brazen and confounding composer controversies. What is the appeal of engineering a hoax? And why do we fall for them so easily? It’s a journey that raises questions about scholarship, authenticity and our faith in expert opinion. Thirty years ago, the classical music world hailed the discovery of six lost Haydn sonatas. Only it soon turned out that they probably weren’t written by Haydn at all, and the finger of suspicion was pointed at an obscure German musician. In this third essay of the series, Phil explores the fallout from the scandal. Can a work of art still have value if it's not authentic? Written and presented by Phil Hebblethwaite Producer: Jo Glanville Editor: Joanne Rowntree Researcher: Heather Dempsey Studio Engineer: Dan King With thanks to Michael Beckerman and Frederick Reece A Loftus Media Production for BBC Radio 4

Phil Hebblethwaite examines five classical musical hoaxes and controversies, from the early twentieth century to the modern day. These are origin stories that have fooled and perplexed some of the greatest experts. In an age of misinformation, when faking it has never been more prevalent, the series unravels the stories of some of the most brazen and confounding composer controversies. What is the appeal of engineering a hoax? And why do we fall for them so easily? It’s a journey that raises questions about scholarship, authenticity and our faith in expert opinion. The second essay explores the story of one of the most widely recognised pieces in classical music - Albinoni’s Adagio in G minor. But was Albinoni even involved with the composition of the work? Phil gets to the bottom of a story that has perplexed classical scholars for years and asks how much authenticity actually matters. Written and presented by Phil Hebblethwaite Producer: Jo Glanville Editor: Joanne Rowntree Researcher: Heather Dempsey Studio Engineer: Dan King With thanks to Michael Talbot, Donald Greig and Frederick Reece A Loftus Media Production for BBC Radio 4

Phil Hebblethwaite examines five classical musical hoaxes and controversies, from the early twentieth century to the modern day. These are origin stories that have fooled and perplexed some of the greatest experts. In an age of misinformation, when faking it has never been more prevalent, the series unravels the stories of some of the most brazen and confounding composer controversies. What is the appeal of engineering a hoax? And why do we fall for them so easily? It’s a journey that raises questions about scholarship, authenticity and our faith in expert opinion. In the first essay, Phil tells the story of Fritz Kreisler - the virtuoso violinist who passed his own works off as compositions by forgotten Baroque composers. It took 30 years before the hoax was revealed. How did Kreisler manage to fool so many people for so long? Written and presented by Phil Hebblethwaite Producer: Jo Glanville Editor: Joanne Rowntree Researcher: Heather Dempsey Studio Engineer: Dan King A Loftus Media Production for BBC Radio 4