The Listening Service

England in the 1590s. Elizabeth I is the reigning monarch and the religion of the country is Protestantism. Celebrating Catholic mass is outlawed. What does William Byrd, one of Elizabeth's most favoured composers, do? He writes three settings of the Catholic Mass in Latin. Why? Who will perform them? And what will happen to him as a result?

What links baseball, life insurance and American art music? Charles Ives does! Unknown during his lifetime in Connecticut and New York the experimental composer and church organist created his unique style entirely on his own terms away from the contemporary music world, whilst running his insurance company Ives & Myrick. One day in his early fifties in 1927 he came downstairs with tears in his eyes and told his wife he couldn't compose anymore - nothing sounded right. He spent the rest of his life revising and promoting his pieces. He was eventually admired and championed by Bernard Herrmann, Leonard Bernstein and Arnold Schoenberg.

His music incorporates everything from hymn tunes to brass band marches but foreshadowed many ideas and innovations that were later used widely in 20th-century classical music. As the conductor Leonard Slatkin puts it, 'knowing one Ives piece may not prepare you for another!'

Tom Service looks beyond the quirks of Ives's unusual life as a composer and explores how his incredible music actually works.

Tom Service surrounds himself in Tallis's Spem in alium, a colossal Renaissance masterpiece for 40 individual voice parts, arranged in eight groups of five voices, each situated all around the listeners. This was the original surround sound experience - one that came about not in 20th-century cinemas but in 16th-century churches.

Produced by Dom Wells

Tom Service programmes himself into the matrix of musical artificial intelligence.

Tom Service explores Ravel's Bolero – a classical chart-topper, concert-hall-filler and the soundtrack to Torvill and Dean's Olympic skating glory. Written in 1928, Ravel described it as a 'piece without music in it' and agreed with the lady at the Paris premiere who shouted 'rubbish! rubbish!' over the applause. But he also admitted that with Bolero he had gambled and won, making one of the most experimental and popular pieces of orchestral music ever composed.

Tom Service assesses the history of the masters of the king's (or queen's) music - a pantheon of 21 names, some brilliant, some average, some really rather forgettable. What have the incumbents done with their time in the post, and how has the role changed in recent years? And how do they compare with their equivalents in literature, the poets laureate?

Tom Service delves into the deep (and often dark) worlds of Judith Weir's fairy-tale and folk-inspired operas, including Blond Eckbert and The Vanishing Bridegroom.

Inspired by David Attenborough’s Wild Isles series, Tom Service goes in search of music that reflects British wildlife and wilderness, and our relationship with it. From the songs of Henry Purcell written whilst wolves still roamed the British Isles to orchestral representations of composers like Hamish MacCunn, Grace Williams and Ralph Vaughan Williams, and the score for Wild Isles itself, written by the Oscar nominated film composer George Fenton. But perhaps truly wild music isn’t music written about wild places: perhaps it's music which has a wildness of spirit, of process, or of uncontrollably organic construction, music that releases the untamed and the untameable, by composers like Peter Maxwell Davies, Brian Eno, and Chris Wood. But where do the real sounds of nature fit into all this – the sounds of birdsong, bacteria, and fungi…?

Our witness today is the award-winning author and naturalist Mark Cocker.

Producer: Ruth Thomson

Tom Service takes you on a journey into the extraordinary world of Stravinsky's ballet Petrushka, based on an archetypal puppet myth that shares the story of Punch.

Tom Service with a guide to music written for and performed at weddings.