So, Hear Me Out – the classical music podcast

Expect a whirlwind tour through Luciano Berio’s mashup masterpiece Sinfonia, complete with Mahler, Beckett, and a generous helping of 1960s political angst.Then it’s off to a galaxy far, far away to explore how Star Wars composer John Williams borrowed from the greats to create some of the most iconic music in film history (spoiler: Holst and Wagner would probably want royalties).In this episode of So Hear Me Out, your ever-curious hosts Gillian Moore and Linton Stephens dig into how classical music has been sampling, stealing from (sorry, paying homage to), and reinventing itself for centuries.This episode asks, is anything truly original? Do composers all have a secret sampling habit? And can reworking the past speak to the world today?In this episode:08:51 Luciano Berio’s Sinfonia Movement No. 313:43 Analyzing Berio's Sinfonia23:01 Intertextuality in music: Beckett, Mahler, and 196823:51 The radical politics of the 1960s in classical music24:28 Breaking the fourth wall in music25:28 A memorable performance at the Southbank Centre26:25 John Williams and the Influence of classical music29:22 The genius of John Williams: Star Wars and beyond31:46 Iconic melodies and orchestration techniques33:53 The familiar sound world of Star Wars37:19 The influence of classical composers on John Williams42:04 The brilliance of John Williams' scores47:29 Remixing and reworking classical music50:18 Closing thoughts and farewellChapters:00:04 - Introduction05:35 - Historical context of remixing in classical music13:48 - Berio's influences: The Beatles, Beckett, Mahler, and 196823:19 - Berio’s Resurrection Symphony26:31 - The Influence of Classical Music on Modern Composers32:25 - The legacy of John Williams' film music39:54 - Exploring the classical homages in Star Wars46:18 - The Impact of John Williams' Music50:18 - Closing thoughts and farewellFeatured music:Sinfonia Movement No. 3 (1969) Luciano BerioStar Wars (1977) John WilliamsGet in touch:📩 Send your classical questions to podcasts@southbankcentre.co.ukGet updates on Instagram @southbankcentreFollow us on TikTok @southbank.centreSubscribe to The Tonic newsletter for articles, video and audioAnd don’t forget to subscribe, like and comment, wherever you get your podcasts.

Linton and Gillian explore how classical music has been used to challenge power, uplift marginalised voices, and fuel social movements. From radical sounds to revolutionary ideas, we discover how music becomes activism.Linton introduces Julius Eastman’s Gay Guerrilla, a defiant and deeply moving work that reclaims the idea of the ‘guerrilla’ as a symbol of queer resistance. The piece is raw, repetitive, and electrifying – built to reflect both personal struggle and collective power.Gillian guides us through Frederic Rzewski’s The People United Will Never Be Defeated, a towering set of 36 variations based on a Chilean protest anthem. Together Gillian and Linton unpack how Rzewski weaves political messages into classical form, creating a composition that bridges generations and geographies of resistance.Throughout this episode, the hosts consider how music amplifies stories too often silenced, and how these works continue to speak to today’s social and political realities. This is classical music as you’ve never heard it – urgent, unflinching, and unafraid to raise its voice.Listen now for an exploration of music that dares to speak out and still echoes today.Episode highlights:00:00 Welcome to So Hear Me Out01:02 Today's big question: How is classical music protest music?02:33 Anne Hathaway and Les Misérables03:16 Exploring protest and resistance in classical music04:31 Julius Eastman's Gay Guerrilla06:23 Analyzing the music and techniques of Gay Guerrilla25:01 Frederic Rzewski's The People United Will Never Be Defeated29:25 Musical variations and political messages41:08 The power of music in activism42:06 Closing thoughts and farewellFeatured worksGay Guerrilla, Julius EastmanThe People United Will Never Be Defeated, Frederic RzewskiGet in touch📩 Send your classical questions to podcasts@southbankcentre.co.ukGet updates on Instagram ⁠@southbankcentre⁠Follow us on TikTok ⁠@southbank.centre⁠Subscribe to ⁠The Tonic newsletter⁠ for all of our articles, video and audioAnd don’t forget to subscribe and comment, wherever you get your podcastsCreditsProduced by Connor GaniExecutive Producers Emily Dicks and Phil Smith Sound Mix by Solomon KingA Reduced Listening production for Southbank Centre

Music doesn’t exist in a vacuum – it travels, it transforms, and sometimes it takes what isn’t freely given.Hosts Linton Stephens and Gillian Moore wade into one of the most complex questions in music today: is it okay to use sounds from cultures that are not your own? And, perhaps more importantly, how can you tell the difference between inspiration and appropriation?Together they dig into Claude Debussy’s Pagodas, written after his encounter with Javanese gamelan music at the 1889 Paris Exhibition, asking whether his East meets West composition is an act of respectful homage or something more problematic. They also explore Antonín Dvořák’s Symphony No.9 (The New World Symphony), shaped by his time in the US and the influence of African American spirituals and Native American music – with key input from his student, Harry T. Burleigh.This episode of So Hear Me Out is about the grey areas; where admiration meets appropriation, and where intention matters just as much as impact. With a blend of musical excerpts, historical insight, and honest reflection, Gillian and Linton offer a nuanced take on how cultural exchange has shaped classical music – and how to approach it more thoughtfully today.Listen now for a rich and challenging conversation that proves music can both connect and complicate across cultures.👉 Subscribe now to So Hear Me Out and don’t miss an episode.In this episode:00:00 Welcome to So Hear Me Out00:55 Today's big question: cultural appropriation in music03:13 Exploring cultural heritage in classical music11:44 Debussy's tribute to Javanese gamelan24:01 Dvořák's New World Symphony: honoring American sounds40:29 Reflecting on cultural inspiration versus appropriation42:17 Closing thoughts and farewellFeatured worksPagodes (1903) Claude DebussySymphony No 9 (1893) Antonín DvořákGet in touch📩 Send your classical questions to podcasts@southbankcentre.co.ukGet updates on Instagram⁠ ⁠@southbankcentre⁠⁠Follow us on TikTok ⁠@southbank.centre⁠Subscribe to⁠ ⁠The Tonic newsletter⁠⁠ for all of our articles, video and audioAnd don’t forget to subscribe and comment, wherever you get your podcastsCreditsProduced by Connor GaniExecutive Producers Emily Dicks and Phil Smith Sound Mix by Solomon KingA Reduced Listening production for Southbank Centre

Kicking off with the worst classical music jokes we could find, Linton and Gillian dive into the hidden humour of the classical world — from Haydn’s cheeky Surprise Symphony to Ravel’s mischievous opera L’enfant et les sortilèges.Q: Why did the pianist keep banging her head against the keys?A: Because she was playing by ear.(We’re sorry. It only gets slightly better from here.)Expect orchestral pranks, singing teacups, and musical punchlines you didn’t see coming. But it's not all laughs — our hosts also unpack how humour intersects with performance, culture, and the sometimes tricky territory of what was funny then vs. now.Key takeaways:Classical music can have a wacky side that often surprises us with humour and playfulness, just like that unexpected punchline in a bad dad joke. Haydn's Symphony No. 94, famously known as the Surprise Symphony, is a perfect example of how classical music can throw in a cheeky twist that catches listeners off guard, making us chuckle in our seats. Ravel’s opera, 'L'Enfant et les Sortilèges', showcases a whimsical world where inanimate objects come to life, proving that classical music can be both visually and musically hilarious at the same time. Classical music can transcend the serious label it's often given, revealing its potential for laughter and joy, and encouraging us to open our minds to its comedic elements. By exploring pieces like Haydn’s and Ravel’s works, we discover that humour in classical music isn't just a modern invention; it's been sneaking into compositions for centuries, waiting for us to find it. The discussion highlights how knowing the context of a piece can enhance our appreciation of its humour, transforming a simple melody into a delightful journey of wit and charm. Episode highlights:00:00 Introduction03:17 The worst classical music jokes07:26 Exploring humour in classical music09:39 The origins of Colette's libretto and Ravel's adaptation30:17 The Genius of Haydn: humour in classical music37:41 Closing thoughts and farewellFeatured worksSurprise Symphony (1791) Joseph HaydnL’enfant et Les Sortileges (1925) Maurice Ravel👉 Subscribe now to So Hear Me Out and don’t miss an episode.Get in touch📩 Send your classical questions to podcasts@southbankcentre.co.ukGet updates on Instagram @southbankcentreFollow us on TikTok @southbank.centreSubscribe to The Tonic newsletter for all of our articles, video and audioAnd don’t forget to subscribe and comment, wherever you get your podcastsCreditsProduced by Connor GaniExecutive Producers Emily Dicks and Phil Smith Sound Mix by Solomon KingA Reduced Listening production for Southbank Centre

Can classical music be protest? Can it make you laugh? Or is it just one big remix?In So Hear Me Out, hosts Gillian Moore and Linton Stephens dig into the big questions, uncovering unexpected stories, surprising connections, and the hidden humour behind the music you thought you knew.This is classical music without the clichés — and with plenty to say about the world today.👉 Subscribe now to So Hear Me Out and don’t miss an episode.Get in touch:📩 Send your classical questions to podcasts@southbankcentre.co.ukGet updates on Instagram @southbankcentreFollow us on TikTok @southbank.centreSubscribe to The Tonic newsletter for all of our articles, video and audioAnd don’t forget to subscribe and comment, wherever you get your podcasts

So Hear Me Out is a brand new podcast from London’s Southbank Centre, exploring the big questions around classical music — and why it still matters today.Join hosts Linton Stephens (musician, broadcaster and Deputy Artistic Director of Chineke! Orchestra) and Gillian Moore (writer, broadcaster and Artistic Associate at Southbank Centre) as they challenge assumptions, unpick controversies, and share fresh ways of listening to the music you thought you knew.Each episode starts with a question — from “can classical music be laugh-out-loud funny?” to “is it okay to borrow styles from other cultures?” — and opens the door to two hand-picked pieces of music. Some you’ll recognise instantly, others might be brand new to you, but all will spark new perspectives.Expect surprising connections, plenty of feeling (not just theory), the occasional detour to Gillian’s piano, and a warm invitation into the classical world — no PhD required.In this trailer, you’ll get a taste of what’s to come, including John Williams’ Star Wars score and Luciano Berio’s revolutionary Symphonia.So whether you’re a Mahler obsessive or you just stumbled in looking for lo-fi beats — welcome. You’re in the right place.👉 Subscribe now to So Hear Me Out and don’t miss an episode.Get in touch:📩 Send your classical questions to podcasts@southbankcentre.co.ukGet updates on Instagram @southbankcentreFollow us on TikTok @southbank.centreSubscribe to The Tonic newsletter for all of our articles, video and audioAnd don’t forget to subscribe and comment, wherever you get your podcasts