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In this episode, we find Beethoven in hip-hop and Chopin in pop.  We're diving into how modern music channels the classics, starting with Linton, who unpacks Nas’s hip-hop anthem ‘I Can’ and its iconic 'Für Elise' sample. And then Gillian traces the transformation of Chopin's Prelude No. 20 into Barry Manilow’s soaring pop sensation, 'Could It Be Magic?' Episode highlights: 00:00 Introduction 00:47 Pop music's classical roots 02:33 Personal musical journeys 05:10 Classical inspirations in Pop 06:21 Nas and Beethoven 19:24 Chopin's Influence on Barry Manilow’s ‘Could it be Magic?’ 33:27 Conclusion and final thoughts Featured music: Nas' I Can (2002) Barry Manilow's Could It Be Magic? (1971) Get in touch: 📩 Send your classical questions to ⁠[email protected]⁠ Get updates on ⁠Instagram⁠ Follow us on ⁠TikTok⁠ ⁠Subscribe to The Tonic newsletter⁠ for articles, video and audio And don’t forget to subscribe, like and comment, wherever you get your podcasts. Credits Produced by Connor Gani Executive Producers Emily Dicks and Phil Smith Sound Mix by Solomon King A Reduced Listening production for Southbank Centre

Using the examples of Mica Levi's score for the 2013 film 'Under the Skin' and the soundtrack from the video game 'Soulcalibur II', Gillian and Linton explore whether film soundtracks and video game scores should be considered true classical music.    Episode highlights: 00:00 Introduction 01:55 Debating the legitimacy of film and video game scores 06:16 Exploring Mica Levi's score for 'Under the Skin' 14:48 The genius of live Instruments and synthesised sounds 23:16 Healing Winds from Soulcaliber II 26:26 The evolution of game music 35:51 The role of orchestras in game music Featured music: Mica Levi's Under the Skin (2014) Junichi Nakatsuru, Yoshihito Yano, Asuka Sakai, Rio Hamamoto, Ryuichi Takada, and Junichi Takagi's Soulcalibur 2 (2002) Get in touch: 📩 Send your classical questions to ⁠[email protected]⁠ Get updates on ⁠Instagram⁠ Follow us on ⁠TikTok⁠ ⁠Subscribe to The Tonic newsletter⁠ for articles, video and audio And don’t forget to subscribe, like and comment, wherever you get your podcasts. Credits: Produced by Connor Gani Executive Producers Emily Dicks and Phil Smith Sound Mix by Solomon King A Reduced Listening production for Southbank Centre

We deep dive into why and how classical music is able to capture pure joy in sound, featuring joyful pieces by Felix Mendelssohn and Francesca Caccini. Gillian and Linton discuss the innovative and emotional power of Mendelssohn's Octet in E Flat, written by the composer when he was just 16, and the hypnotic, rhythmically alive Chaconne by Cini, one of the first women composers in Europe to earn a living from her music. In this episode: 00:00 Welcome to So Hear Me Out 00:59 Today's Big Question: Why Does Classical Music Make Us Happy? 01:19 Felix Mendelssohn: A Burst of Brilliance 02:15 Nile Rodgers and the Joy of Music 04:19 Mendelssohn's Musical Legacy 08:43 The Joyful Octet in E Flat 15:50 Mendelssohn's Signature Sound 18:54 Mozart's Early Masterpieces 19:42 Felix Mendelssohn's Emotional Journey 21:56 Discovering Francesca Cini 24:20 The Joy of Baroque Music 35:00 The Science of Joy in Music 38:44 Conclusion and Farewell Featured music: Felix Mendelssohn's Octet in E Flat Francesca Caccini’s Chaconne Get in touch: 📩 Send your classical questions to [email protected] Get updates on Instagram Follow us on TikTok Subscribe to The Tonic newsletter for articles, video and audio And don’t forget to subscribe, like and comment, wherever you get your podcasts. Credits Produced by Connor Gani Executive Producers Emily Dicks and Phil Smith Sound Mix by Solomon King A Reduced Listening production for Southbank Centre

Can music provide hope when freedom has been taken away? Ethel Smyth’s March of the Women rang out as a rallying cry for imprisoned suffragettes, its rhythms defiant and unifying.  Olivier Messiaen’s Quartet for the End of Time, composed and first performed in a Nazi POW camp in 1941, fused faith, birdsong, and dazzling visions of colour into music that offered hope and transcendence to prisoners and guards alike. Gillian Moore and Linton Stephens explore how these works — and many others — testify to the resilience of creativity. Gillian also recalls her own encounters with music behind bars, where moments of song broke down walls both physical and emotional. Episode highlights 00:00 Welcome to So Hear Me Out 02:03 Exploring music's role in prisons 03:42 Personal experiences with music in prisons 08:33 Introducing Ethel Smyth's March of the Women 11:33 The impact and legacy of March of the Women 21:12 More notable music behind bars 22:38 The iconic title and its significance 23:14 Introduction to Olivier Messiaen 24:24 The Quartet for the End of Time: background and composition 24:57 A unique orchestration and instrumentation 27:55 Messiaen's religious and natural inspirations 29:14 The First Movement: Abyss of the Birds 32:27 Synesthesia and Messiaen's colorful music 39:27 The first performance in the prison camp 40:56 The emotional heart of The Quartet… 44:46 Music as emancipation and resistance 46:23 Closing thoughts and farewell Featured music: Quartet for the End of Time (1941) Olivier Messiaen March of the Women (1910) Ethel Smyth

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. 3 13:43 Analyzing Berio's Sinfonia 23:01 Intertextuality in music: Beckett, Mahler, and 1968 23:51 The radical politics of the 1960s in classical music 24:28 Breaking the fourth wall in music 25:28 A memorable performance at the Southbank Centre 26:25 John Williams and the Influence of classical music 29:22 The genius of John Williams: Star Wars and beyond 31:46 Iconic melodies and orchestration techniques 33:53 The familiar sound world of Star Wars 37:19 The influence of classical composers on John Williams 42:04 The brilliance of John Williams' scores 47:29 Remixing and reworking classical music 50:18 Closing thoughts and farewell Chapters: 00:04 - Introduction 05:35 - Historical context of remixing in classical music 13:48 - Berio's influences: The Beatles, Beckett, Mahler, and 1968 23:19 - Berio’s Resurrection Symphony 26:31 - The Influence of Classical Music on Modern Composers 32:25 - The legacy of John Williams' film music 39:54 - Exploring the classical homages in Star Wars 46:18 - The Impact of John Williams' Music 50:18 - Closing thoughts and farewell Featured music: Sinfonia Movement No. 3 (1969) Luciano Berio Star Wars (1977) John Williams Get in touch: 📩 Send your classical questions to [email protected] Get updates on Instagram @southbankcentre Follow us on TikTok @southbank.centre Subscribe to The Tonic newsletter for articles, video and audio And 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 Out 01:02 Today's big question: How is classical music protest music? 02:33 Anne Hathaway and Les Misérables 03:16 Exploring protest and resistance in classical music 04:31 Julius Eastman's Gay Guerrilla 06:23 Analyzing the music and techniques of Gay Guerrilla 25:01 Frederic Rzewski's The People United Will Never Be Defeated 29:25 Musical variations and political messages 41:08 The power of music in activism 42:06 Closing thoughts and farewell Featured works Gay Guerrilla, Julius EastmanThe People United Will Never Be Defeated, Frederic Rzewski Get in touch 📩 Send your classical questions to [email protected] 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 Credits Produced by Connor Gani Executive Producers Emily Dicks and Phil Smith Sound Mix by Solomon King A 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 Out 00:55 Today's big question: cultural appropriation in music 03:13 Exploring cultural heritage in classical music 11:44 Debussy's tribute to Javanese gamelan 24:01 Dvořák's New World Symphony: honoring American sounds 40:29 Reflecting on cultural inspiration versus appropriation 42:17 Closing thoughts and farewell Featured works Pagodes (1903) Claude Debussy Symphony No 9 (1893) Antonín Dvořák Get in touch 📩 Send your classical questions to [email protected] Get updates on Instagram⁠ ⁠@southbankcentre⁠⁠ Follow us on TikTok ⁠@southbank.centre⁠ Subscribe to⁠ ⁠The Tonic newsletter⁠⁠ for all of our articles, video and audio And don’t forget to subscribe and comment, wherever you get your podcasts Credits Produced by Connor Gani Executive Producers Emily Dicks and Phil Smith Sound Mix by Solomon King A 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 Introduction 03:17 The worst classical music jokes 07:26 Exploring humour in classical music 09:39 The origins of Colette's libretto and Ravel's adaptation 30:17 The Genius of Haydn: humour in classical music 37:41 Closing thoughts and farewell Featured works Surprise 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 [email protected] 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 Credits Produced by Connor Gani Executive Producers Emily Dicks and Phil Smith Sound Mix by Solomon King A 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 [email protected] 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 [email protected] 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