The Essay

In the depths of lockdown during 2020 multi-award winning musician Karine Polwart offered to play a private gig for neighbour and local legend Al Beck just weeks before he would die from cancer.

The resulting correspondence became an unexpectedly rewarding collaboration as they shared their love of music through Al's choice of songs. In this final essay recounts the night of "Beckstival" and how this joyous night tinged with sadness made her reassess the scale and nature of her work.

"More depth, less breadth. More local, less scattered. More conversational, less performative. And always, always more collaborative and connective."

Written and Presented by Karine Polwart

In the depths of lockdown during 2020 multi-award winning musician Karine Polwart offered to play a private gig for neighbour and local legend Al Beck just weeks before he would die from cancer.

The resulting correspondence became an unexpectedly rewarding collaboration as they shared their love of music through Al's choice of songs. As the evening of the gig approaches Karine begins to understand how her discussions with Al are opening up conversations not just with her but also with his family.

Written and Presented by Karine Polwart

In the depths of lockdown during 2020 multi-award-winning musician Karine Polwart offered to play a private gig for neighbour and local legend Al Beck just weeks before he would die from cancer.

The resulting correspondence became an unexpectedly rewarding collaboration as they shared their love of music through Al's choice of songs. In this essay Karine reflects on the strange purposelessness she felt at the time, with no one to play for or with what use was she? The offer of to play in Al's back garden became as much a gift to her as him.

Written and Presented by Karine Polwart

In the depths of lockdown during 2020 multi-award winning musician Karine Polwart offered to play a private gig for neighbour and local legend Al Beck just weeks before he would die from cancer.

The resulting correspondence became an unexpectedly rewarding collaboration as they shared their love of music through Al's choice of songs. In this essay Karine considers the power of song to transport us to a place and time conjuring up important moments in our lives.

Written and Presented by Karine Polwart

The multi-award-winning folksinger, songwriter and storyteller, Karine Polwart, crafts an elegy in song for Al Beck, a local legend of rural East Lothian.

The songs - were Al's choices for ‘Beckstival' a back garden celebration co-created in the depth of lockdown during June 2020, just weeks before Al's death from cancer. The music ranged from 60s psychedelia and pop classics to a traditional pipe march.

The tender and witty email correspondence between the two gives voice to Al himself, and underpins Karine's week-long meditation on the role that song plays in each of our stories of living and dying - as lullaby and love letter, memory marker and memorial.

In this first essay Karine describes making the offer of the private gig and being overwhelmed by Al's response, starting what would be remarkable collaboration for them both.

Written and Presented by Karine Polwart

A five-part series of essays that explore the dichotomy between being a deaf professional and working with music. Each essayist tells their own story from across the deaf spectrum, including a sign language performer with a passion for music, a violinist who switched to classical piano after a cochlear implant, and a flautist who uses visual art to describe music to deaf children. From horn players to punchy performance artists, all of the essayists consider music from a deaf perspective with illuminating results.

From her childhood immersed in music to her early career as a professional violinist, Elizabeth Elliott's passion for classical music endured even as she became deaf. Despite the shock of losing her hearing, she muses on how she found solace in teaching and performing in smaller groups, before concentrating on bringing up her young family.

In middle age, she had a cochlear implant fitted, and she describes how this felt - reclaiming her ability to hear note by musical note. Filling us all in with a very different way to listen, Elizabeth details how through careful trial and error she pieces together a piano piece and drills herself to perform it to a high standard. She shares with us how it felt to once again be able to perform music publicly, through dedication and technology.

A Different Way to Listen is produced by Sophie Allen and Emma Glassar with Mark Rickards as Executive Producer. It is a Flashing Lights Media production for BBC Radio 3. A British Sign Language version was filmed, edited and subtitled by Fifi Garfield.

A five-part series of essays that explore the dichotomy between being a deaf professional and working with music. Each essayist tells their own story from across the deaf spectrum, including a sign language performer with a passion for musicals, a violinist who switched to classical piano after a cochlear implant, and a flautist who uses visual art to describe music to deaf children. From horn players to punchy performance artists, all of the essayists consider music from a deaf perspective with illuminating results.

Professional music sign language performer Paul Whittaker OBE explains how he has carved out a unique space in the classical musical world by being a pioneer in the field of sign language performance. Despite initial scepticism, he pursued a career in music starting with a degree from Oxford, before founding 'Music and the Deaf' to promote musical accessibility. With meticulous preparation and passion, Paul talks us through how he translates complex musical pieces into expressive sign language, capturing the essence of each composition. He details how he makes his sign language performance ‘sing’ in genres stretching from iconic musicals to Handel’s Messiah and how he hopes his interpretations enhance the audience's understanding and enjoyment, bridging the gap between deaf and hearing communities.

A Different Way to Listen is produced by Sophie Allen and Emma Glassar with Mark Rickards as Executive Producer. It is a Flashing Lights Media production for BBC Radio 3. A British Sign Language version was filmed, edited and subtitled by Fifi Garfield.

A five-part series of essays that explore the dichotomy between being a deaf professional and working with music. Each essayist tells their own story from across the deaf spectrum, including a sign language performer with a passion for musicals, a violinist who switched to classical piano after a cochlear implant, and a flautist who uses visual art to describe music to deaf children. From horn players to punchy performance artists, all of the essayists consider music from a deaf perspective with illuminating results.

Chisato Minamimura shares her journey of exploring sound and music. Growing up in Japan before later moving to the UK, Chisato lost her hearing at seven months, yet despite this she learned the piano - becoming the star pupil.

Inspired by artists like John Cage and Tōru Takemitsu, Chisato delves into the concept of sound and music from a deaf perspective. She details how she began creating visual scores based on mathematical algorithms, turning dancers into her instruments. And she explains how she innovates new ways to interact with sound, such as feeling vibrations with her teeth or using Woojer strap to create multi-sensory experiences.

Throughout her work, she invites audiences to explore the rich tapestry of sound and music through a deaf lens, opening up new possibilities for artistic expression. Dreaming of experiencing phenomena like whale songs first hand, Chisato imagines translating these experiences into tactile vibrations, further expanding her exploration of sound.

A Different Way to Listen is produced by Sophie Allen and Emma Glassar with Mark Rickards as Executive Producer. It is a Flashing Lights Media production for BBC Radio 3. A British Sign Language version was filmed, edited and subtitled by Fifi Garfield.

A five-part series of essays that explore the dichotomy between being a deaf professional and working with music. Each essayist tells their own story from across the deaf spectrum, including a sign language performer with a passion for musicals, a violinist who switched to classical piano after a cochlear implant, and a flautist who uses visual art to describe music to deaf children. From horn players to punchy performance artists, all of the essayists consider music from a deaf perspective with illuminating results.

Horn and Wagner tuba player Nigel Braithwaite looks back at his musical life and gives a humorous take on his time as a semi-professional musician. How did he continue to play in the face of mitochondrial disease which robbed him of his ability to hear the very low notes in which he specialised as a player? How did traumatic brain injury affect his ability to find his place in an orchestral setting? What else could possibly go wrong? A semi-professional musician throughout his whole life, he tackles his travails with honesty and humour, musing on what it takes to get through life’s challenges and how key musical tracks along with his family and friends have got him safely through.

A Different Way to Listen is produced by Sophie Allen and Emma Glassar with Mark Rickards as Executive Producer. It is a Flashing Lights Media production for BBC Radio 3. A British Sign Language version was filmed, edited and subtitled by Fifi Garfield.

A five-part series of essays that explore the dichotomy between being a deaf professional and working with music. Each essayist tells their own story from across the deaf spectrum, including a sign language performer with a passion for music, a violinist who switched to classical piano after a cochlear implant, and a flautist who uses visual art to describe music to deaf children. From horn players to punchy performance artists, all of the essayists consider music from a deaf perspective with illuminating results.

Ruth Montgomery is a profoundly deaf professional flautist and flute teacher who grew up the only deaf person at home. In her essay she details the challenges of her early years, and how being introduced to the flute at her secondary school; a school for deaf children, led to her becoming a professional musician and music educator. She describes the hurdles she faced to be taken seriously, and the dedication that this fostered in her to help other deaf children gain musical appreciation and skills as a vital part of life. Ultimately Ruth has created her own musical education programme, as a way of inspiring deaf children, blending art and music as a way to address the huge gaps she discovered in this field.