I've recently been spending quite a bit of time in San Francisco, where I lived from 1999 to 2006. While returning to a car culture, I've had the opportunity to listen to that city's classical radio station, 102.1 KDFC. Now that I live in New York and don't spend time in the car anymore, I listen to 96.3 WQXR at home while cooking dinner or hanging out with my kids. The difference between the two stations epitomizes the cultural differences I observe between the two cities.
WQXR, the New York Times' sponsored station, is the gold standard of classical radio. Because it is sponsored, it has fewer commercial breaks and it has the luxury of being able to play longer, more challenging works. Its audience includes some of the most well- trained classical enthusists in the world, and it has a thrilling local scene to draw upon as well. It's not uncommon to hear an entire symphony in the middle of the day, or to hear a new work recently premiered by the New York Philharmonic. The station plays recordings by first-rate performers -- I recently heard Horowitz playing a Chopin nocturne and Pollini playing a Beethoven sonata in the same afternoon -- and rarely sits back to rest on gimmicky favorites.
In contrast, KDFC caters to a much smaller city that doesn't have nearly the classical cultural focus of New York. To its credit, KDFC survives in a brutal industry in a city that has many other interests. Cities larger than San Francisco don't have their own classical radio station. But it unfortunately has to resort to a heavily contrived experience to hold on to its listeners. Instead of offering listeners a selective "shuffle" of great, timeless music performed by great, relevant performers, KDFC has created entirely risk-free programming within a manufactured marketing context. There is no shortage of pithy segments at KDFC: "The Island of Sanity: Weekdays at 2pm and 7pm"; "Mozart in the Morning: The Mozart Block at 9 O'Clock," etc. Its personalities, like more popular radio stations, are part of the show: Hoyt Smith takes you through the morning, followed by Diane Nicolini, Rik Malone. But rather than wake me up in the morning as other DJs do, the melifluous, faux-elegance of these guys makes me quickly lose interest.
This manufactured environment only plays music that is "Casual. Comfortable. Classical" resulting in more flute concertos and Telemann than anyone should have to hear. This spiritless tag line dooms the station to forever playing Baroque when it should be introducing San Francisco to Schostakovich, endless Mozart when Mutter waits in the wings. Since when is classical music "casual" and "comfortable"? I believe it should be marketed entirely the opposite way if it is to remain interesting and alluring to contemporary audiences. It should have us on the edge of our seats - even in our cars - with its contrasting volumes, earth shattering beauty, and natural rawness. How about a little "Raw. Riveting. Real." to shake up the day?
