Start the Week Folgen

On Start the Week Tom Sutcliffe talks to the violinist Edward Dusinberre about interpreting Beethoven's string quartets. The sixteen quartets are challenging to play and appreciate alike, and have been subject to endless reinterpretation. The director, Mariame Clément, puts her own spin on the rarely performed comic opera L'Etoile, introducing two actors - one English, one French - to comment on the action. A missing interpreter is at the heart of Diego Marani's new novel, which combines the author's promotion of multilingualism with an interest in the relationship between language and identity. While the poet Vahni Capildeo, who moved from her native Trinidad to Britain, explores the complexity of identity and exile and finds herself drawn to words: "Language is my home, I say; not one particular language." Producer: Katy Hickman.

On Start the Week Andrew Marr explores the question of citizenship. While immigration issues dominate political debate, little attention is paid to the big increase in the number of people becoming British. The academic Thom Brooks and the Eurosceptic MEP Daniel Hannan look at the relationship between the two and the challenges for modern UK citizenship. Ben Rawlence spent four years reporting the stories of those who are stateless, living in the largest refugee camp in the world, while Frances Stonor Saunders explores the increasing complexity of today's border regimes and the obsession with the verified self. Producer: Katy Hickman.

On Start the Week Tom Sutcliffe talks to the Egyptian writer Alaa Al Aswany about his latest novel which charts the country's social upheaval through the prism of Cairo's elite Automobile Club of Egypt. The foreign correspondent Wendell Steavenson looks back at the Egyptian revolution as the crowds gathered in Tahrir Square in 2011. The political economist Tarek Osman explores how Islamism has spread through the Middle East, and what its future prospects mean for the region, while Professor Hugh Kennedy charts the rise of the Caliphate and how the so-called Islamic State uses the iconography of early Islam as propaganda.