The Lotte Lehmann Foundation helps support the Hawaii Public Radio program, Great Songs, a show devoted to exposing radio listeners of Hawaii to all types of classical song. The show has been broadcast weekly since 1988.
Great Songs strives to ensure that this art form will remain vital and appreciated with a sampling of the best recordings of major singers of our time, as well as from recordings of the past.
Start Your Own Art Song Radio Program
by Gary Hickling, Founder and Past President, Lotte Lehmann Foundation
Most of this article is aimed at American art song enthusiasts. I’m not sure that such things as public radio stations exists in other countries, though university radio stations might be a possiblity.
For those of you who sometimes despair that there’s no audience for our beloved art song, take heart: there is a way to develop an audience, and that way is radio.
Admittedly public radio has currently decided that any vocal music, whether opera or classical song, is not tolerated by the listening (financially supporting) public. And though there are station managers and music directors that believe this, there are plenty who will listen favorably to the idea of a locally produced program featuring something unusual: art song.
I have produced art song specials in New York City and now am in my nineteenth year of such presentations on Hawaii Public Radio. With no background in broadcasting, but with a love of art song, I approached the station with the idea of a regular (weekly) hour-long program of art song. Each program is built around a theme: “Words on the Wind,” “Songs to Eichendorf Poetry,” “Recent Releases,” “Poulenc Centennial,” etc. I also celebrate holidays: Irish songs for St. Patrick’s Day; Christmas Art Songs; religious songs for Easter and appropriate songs for the Jewish high holy days.
The station trained me in the necessary technical skills that I needed. I have access to their CD library, but more often use my own collection. This doesn’t cost me much money, because I would probably buy the CDs I use on the program in any case.
I am a volunteer: I’m not paid. I try to stay out of the way of the very busy full-time paid production staff and work at night or on weekends. I prepare the music and script ahead of time and it takes me about two hours of studio time to produce a one hour program. Recently, to add variety and liveliness to the broadcast, I asked a co-host, Joan Canfield to join me. She helps with the research and gathering of CDs and aids in theme development. We banter a bit on the program which makes it lighter fare for the listener.
My program, called Great Songs, was first scheduled right after the opera broadcast, the length varying depending on the lenght of the opera. That meant that sometimes the programs were shorter than an hour and sometimes, much longer! Then Great Songs was moved to a 10:00 pm slot, where most of the older listeners which had enjoyed the program were already asleep. But it was a regular hour program. For the past seven years Great Songs has been scheduled a wonderful “prime time” period at 7:00 pm on Sundays. I advise not fighting for a particular time; remember that art song is an unknown to most people: public radio staff, as well as listeners. Any exposure is good.
The Great Songs listenership has grown over the years by sheer exposure (and the beauty of the songs!). This is the key to the broadening the appreciation of the art form. Most people don’t know it exists and in spite of his/her inexperience, the listener recognizes the beauty, responds to it and accepts it as part of the classical music experience.
Some do’s and don’t’s:
Don’t do the program “live.” Songs are too short to allow enough time to cue up enough in advance and still allow you to concentrate on your script. Even during the fund drive, I have an engineer handle the CDs while I am live on the mike to raise money. In fancier stations an engineer may be available and would make a “live” program possible. The preparation of the “cue sheet” would have to be very precise.
Try to avoid too many “vintage” recordings made in the past. Acoustic (pre-microphone era), and other recordings made before modern techniques, are not as interesting to the general public as they may be to us specialists. The listeners will appreciate a comparison program, but too many scratchy recordings and they will turn to another station or put on a CD.
Keep the talk to a minimum. Though the radio listener wants to know what the foreign texts are about, it’s probably a mistake (that I made at the beginning), to read the complete translation of a song. The core of its meaning is enough. Call the listener’s attention to some particular detail which you believe will enhance his/her listening pleasure.
Talk to an individual listener, not as if to a group or “general audience.” Envision a single person with his/her ear close to the radio or in the car. Radio is an intimate medium and the listener enjoys hearing you speak directly to him/her.
Don’t imply that art song is endangered etc. Everyone wants to be on a winning team. The number of new art song CD releases alone proves the form is not moribund. Just the contrary: the number of fine art song performers (both pianists and singers) is overwhelming.
Though one must avoid an all-contemporary (read "dissonant") format, DO let your audience know that art song is not just a historic genre, but is being created by composers around the world right now.
Do encourage your listeners to phone or write or email their comments and suggestions. The radio audience is a perceptive, active one and they like to know that their opinions are heard and appreciated. Hawaii Public Radio has provided a special email address on their site to let the audience email their responses.
Avoid too academic an approach. The radio isn’t a classroom, but an opportunity to share the beauty of art song. Keep the background information limited to just enough to titillate interest in what’s about to be broadcast. Lightness of touch and humor can also keep up the interest. Not jokes, but just a casual remark that shows that you’re human, helps. For example: “Schubert was only 17 years old when he wrote that!” or “Fischer-Dieskau is the only singer I know to record this cycle five times!”
Do invite local guests (or visiting artists) for interviews. These interviews must be edited and mixed with plenty of music by, or discussed by, the guest. Let me explain what I mean: some interesting guests can fill the whole hour with talk, but this isn’t what the listener wants. So let your guest talk on and on, and later in the editing room use those elements that work to introduce a song or illustrate something important about the field. And be alert to too much “insider” gossip. References that only you and your guest know about can alienate the listener. Telephone interviews can work, but if the guest is not in your city, try to have them go to their local public radio station and the engineers can establish a link that makes them sound like they are in your studio! The public radio mandate includes a certain “local” element that can be well-served by such guests. Composers, pianists, singers, poets and language experts all have something to share that can broaden the program’s usual focus.
Find a theme song (one that doesn’t include singing, because that can conflict with what occurs on the program) and use it for the start of every program. Listeners like a degree of predictability and their ears become quickly accustomed to what follows your theme song.
Do explain from time to time what art song is. I have offered a program called “Inside Art Song” or “What is Art Song?” on the first program of each new year.
Do celebrate your own success. Note the first anniversary of your program with a retrospective of the highlights of the year past. On the 15th Anniversary of Great Songs, the president of the station, Michael Titterton, joined me for a quiz program with the offer of 15 CDs as the prize. Audience participation was amazing and we even rated a small article in the local newspaper.
Do keep the listener active: “Can you name the famous Swedish mezzo soprano who is about to sing this Schumann song?” “Can you guess the composer of this next song dealing with a swan?” One can even have a guessing program in which the listeners send in their answers by post card or email. You announce the winner on the following program. Prizes (CDs or a book) can be offered.
Do know your subject. If you don’t know how to pronounce a title in the original language, offer only the English translation. It is fun to share the hosting of the program with language specialists who can discuss the poetry’s subtleties, offer translation ideas and provide the correct pronunciation.
Use academics or other knowledgeable people as guest co-hosts. They often have a love of the field of art song or elements of it: Goethe experts in the university’s German department; free-lance pianists who specialize in vocal partnerships; English teachers with a love of poetry; listeners with an interest in a particular composer.
Don’t edit out every error you make. If you misspeak, just say, “I mean, Schubert instead of Schumann.” Everyone can relate to such mistakes and one can spend too many hours editing every little pause and mispronunciation and end up with something perfect and boring. ****Remember that most of the audience doesn’t know anything about art song and will feel immediately intimidated. Show that you know what you’re talking about without talking down to the listener.****
Prepare whatever recorded announcements (promotions) that your station allows. I produce a 30 second “promo” for each program. This is broadcast a few days before the program is aired. You can sample a bit of the program and entice your listener to tune in.
If there is a newsletter produced by your radio station, be sure to have a presence in it: dream up some “newsy” element. Have your picture in the publication and announce specials. If there is a PR person at the station, he/she is often looking for something newsworthy for the local newspaper. Don’t be shy about tooting your own horn.
Keep up to date on the happenings in the world of art song. Know the singers, pianists, recordings, recitals, new compositions and contests. One can include a bit of news on the program and make it seem all the more alive.
Do save (archive) your programs for re-use during your vacations or when you are sick. There isn’t such an avid listenership that anyone complains about re-runs. Peter Schickele does it all the time! To do this don’t mention the time of day (your program may change its hour); don’t talk about current events or other “temporal” subjects which can limit the use of the program in re-runs. However, it is possible to re-use a program, such as a centennial celebration, if you preceed it with a short announcement that this program is from the archives of 2001 or whatever.
Remember: the person likely to initiate his/her own art song radio probram may well be a little fanatic about the art form and should be reminded that one shouldn’t assume anything about the audience. The expert may know that Maria Callas didn’t sing art song, but a casual reference without the background, could be confusing. Be aware of your technical vocablulary; foreign words and other “inside” information that can alienate the listener.
Don’t expect a lot of feedback. People tend to be passive. It goes without saying that you don’t want to stir up controversy with the use of vulgarities or anything else that might detract from the dignity and honor that one should accord the world of art song.
