Classical.

Byline: Peter Spaull

RECENT hospitalisation in roduced me to the delights and wonders of all-night classical radio, and it left me puzzled. Is it intended for those trying to get to sleep or to stay awake? I must confess that when listening to the first movement of a symphony at 3.30 in the morning it suddenly dissolves into the last movement of a string quartet, you realise that sleep had overcome you for some time, even if unaware of it.

For those knowing nothing of this nocturnal phenomenon, I should explain that the music comes from two sources, Radio 3 and Classic FM. At 1am the Beeb sets off on a sixhour sequence which I am told is untouched by human hand, everything coming from a computer, even the time checks. The recordings originate from radio stations from around the world, and apparently come free of charge in exchange for the Beeb's own recordings. The result is a remarkably varied selection of music much of it unknown in this country, with particularly noteworthy contributions from Scandinavian and Dutch stations. There was an admirable Force of Destiny overture played by the South Korean Radio Symphony Orchestra, which shed new light on culture on that side of the world, and all sorts of strange and fascinating pieces appear - Rhapsody in Blue for piano and string quartet for example, and fine operatic arias from Canada.

Symphonies and concertos come complete and one realises what high standards are maintained in broadcast music making around the world.

Jener, Worp, Pezel and Meder are composers clearly highly thought of in their day, and worthy of occasional dark hours resurrection. A Finnish violin concerto by Fabritius I would enjoy hearing on another occasion with a clearer head, and Poland produced interesting unknown composers.

Occasionally things hit rock bottom, when there is an hour of choral music by Frank Martin or Alessandro Scarlatti, or 90 minutes of vocal John Blow. But perhaps that is there to lure us into the arms of Morpheous. And when you awake in the morning puzzling as to what has been going on, Radio Times lists all the music played and the times it was heard.

Classic FM is also on air with the smooth Nick Bailey in the chair on several nights but not all - one wooden presenter sounded as if he had been called up from security. The Station bears no resemblance to its razz-a-ma-tazz daytime image. Few adverts. No phoneins or competitions, news on the hour, it appears to be live, and plays well-loved music. Sleep is sometimes difficult as two mornings running the first movement of the Tchaikovski 1st Piano Concerto turned up, once with Martha Argerich and once by Arcadia Volodos, both calculated to raise the short hairs on the back of the neck.

But in the end I came to the conclusion that both stations were aimed at the insomniac. Motorway drivers should stick to Radio 2.