Falling into Winter on WWUH

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WWUH Classical Programming -

November and December 2011

Sunday Afternoon at the Opera... Sundays 1:00 - 4:30 pm

Evening Classics... Weekdays 4:00 to 7:00/ 8:00 pm

Drake's Village Brass Band... Mondays 7:00-8:00 pm

Featured Artist

November 7                 David "Honeyboy" Edwards

November 14               Magic Slim

November 21               Sean Costello

November 28               Shemekia Copeland

December 5                 North Mississippi Allstars

December 12               Michael Bloomfield

December 19               Christmas Blues

December 26               Muddy Waters

Back to the Roots

November 7                 Rhythm & Blues

November 14               Boogie Woogie

November 21               Texas Blues

November 28               Jump Blues

December 5                 Delta Blues

December 12               Kansas City Blues

December 19               Christmas Blues

December 26               New Orleans Blues

Thursday Evening Classics

Composer Birthdays

November and December 2011 

Presented by Steve Petke

November 3

1587 Samuel Scheidt

1656 Georg Reutter I

1689 Johann Joseph Ignaz Brentner

1753 Friedrich Christoph Gestewitz

1780 Victor-Charles-Paul Dourlen

1781 Johann Ernst Friedrich Wollank

1801 Vincenzo Bellini

1815 Adrien Louis Victor Boieldieu

1867 Siegfried Garibaldi Kallenberg

1875 Emils Darzins

1880 Raffaele Casimiro Casimiri

1888 William Charles Denis Browne

1890 Octavio Pinto

1904 Gideon Fagan

1904 Janis Kalnins

1911 Vladimir Ussachevsky

1914 Hallgrimur Helgason

1918 Pandit Pran Nath

1933 John Barry

1940 Dieter Acker

Vincenzo Bellini

Birth: November 3, 1801 in Catania, Sicily

Death: September 23, 1835 in Puteaux, France

Bellini was one of the most important composers of Italian opera in the early 19th century. His father and grandfather were both musicians. Bellini entered the Royal College of Music of San Sebastiano, now the Naples Conservatory, in 1819. Although he began in elementary classes, he progressed rapidly and was granted free tuition by 1820. Bellini's first opera, Adelson e Salvini, was chosen to be performed by the conservatory's students. Shortly thereafter, Domenico Barbaja of the San Carlo Opera offered Bellini his first commission for an opera, which resulted in Bianca e Gernando. That was followed by a second commission, and led to a long-term collaboration between Bellini and librettist Felice Romani. The premiere of Il pirata, a romantic tragedy, at La Scala, Milan, established Bellini as an internationally acclaimed opera composer. Critics drew attention to the expressiveness of the melodies, the absence of conventional vocal pyrotechnics, and the importance given to the recitatives. As Bellini gained experience and recognition, he cultivated a practice that stressed quality instead of quantity. He composed fewer operas, for which he commanded higher prices. An exception was Zaira, written hurriedly with Romani for the inauguration of the Teatro Ducale at Parma. He recovered, though, with I Capuleti e i Montecchi (based on Shakespeare's Romeo and Juliet) in 1830. The year 1831 proved most successful for Bellini as two of his most famous operas, La sonnambula and Norma, were produced. Both operas had the great Giuditta Pasta in the title role. After a dispute with Romani, Bellini spent the summer of 1833 in London directing performances of his operas. He then moved to Paris, where he composed and produced his last opera, I puritani. Unlike Bellini's previous two operas, I puritani was an immediate and lasting success. Future plans included more operas with Romani, with whom he was now reconciled. But, at the height of his career and only 33 years old, Bellini died of a chronic intestinal ailment, in a small town near Paris. Although he embodied much of the Italian operatic tradition, Bellini made a greater impact outside his country than any of his compatriots, with the possible exception of Rossini. Wagner, Schumann, Berlioz, and Tchaikovsky all paid him tribute and his influence on Chopin is evident. He was admired not so much for his operas in their entirety as for his melodies. His flowing, exquisitely sculpted vocal lines represent the epitome of the bel canto style and helped to give a new direction to the that tradition, towards greater naturalism of expression.

November 10

1483 Martin Luther

1636 Francesco Passarini

1668 Francois Couperin

1679 Johann Christian Schieferdecker

1694 Jean-Laurent Krafft

1704 Carlo Zuccari

1719 Georg Philipp Kress

1772 Jan Nepomuk Kanka

1786 Carl Eberwein

1811 Louis Kufferath

1833 Dobri Voynikov

1843 Gialdino Gialdini

1846 Paul Kuczynski

1864 Alexandre Levy

1873 Henri Benjamin Rabaud

1883 Bedrich Antonin Wiedermann

1889 Edward Joseph Collins

1902 Antonio Maria Valencia

1912 Salvador Contreras-S�nchez

1916 Guido Turchi

1928 Ennio Morricone

1931 Toma Prosev

1938 Jan Vriend

1956 Frederick Naftel

Francois Couperin

Birth: November 10, 1668 in Paris, France

Death: September 11, 1733 in Paris, France

Fran�ois Couperin was the most distinguished member of the famous Couperin family and was one of the leading composers of the French Baroque era. He became known as 'Couperin le Grand' because of his proficiency as an organist. He is best known for his harpsichord works, all of which are found in the collection of some 230 pieces in four books entitled Pi�ces de clavecin. His music showed the influence of Lully and incorporated elements from the Italian school. Moreover, he successfully integrated the French and Italian styles in his Les go�t r�unis ou nouveaux concerts, a collection of chamber compositions for unspecified instruments. Many of his works were lost, as none of his original manuscripts has survived. His father, Charles, was an organist, and young Fran�ois' early musical training came from him. Only child Fran�ois and his mother were reasonably well cared for following Charles' premature death, in part because of the kindness of Jacques Thomelin, organist at Saint-Jacques de la Boucherie, who looked after the young boy and instructed him in music. Couperin became the organist at Saint-Gervais at age 17, holding that post until his death. In 1689, he married Marie-Anne Ansault, daughter of a wine merchant who had many relatives in other business endeavors. The following year, he published his so-called "organ masses," known as Pi�ces d'orgue, comprising two masses and several smaller pieces. It was around this time that the composer came under the influence of the Italian school, particularly Corelli. He introduced into France the Italian trio sonata form. In December 1693, Couperin was appointed organist at the Royal Chapel by King Louis XIV, sharing the post with Buterne, Nivers, and Leb�gue, and performing his duties only in the first quarter of each year. On almost every Sunday, Couperin and colleagues gave chamber concerts for the king, for which he composed what he called 'Concerts'. He maintained his position at Saint-Gervais for the other three-quarters of the year. He also taught the Duke of Burgundy on harpsichord and six other princes and princesses. The composer would later write an important treatise on playing the harpsichord entitled, L'Art de toucher le clavecin, containing instructions for fingering, methods of touch, and execution of ornamentation in performing. This had strong influence on Bach. Beginning around 1697, he wrote a series of motets for the Royal Chapel, completed in 1702. In the early part of the 18th century, Couperin began composing a large number of works for the harpsichord, which would appear in the Premier Livre fromthe Pi�ces de clavecin in 1713. The Second Book was published in 1717, and the final two came in 1722 and 1730. There is evidence that Couperin also found time for concerts in the early part of the 18th century in Versailles and surrounding areas. Little is known about Couperin's life from about 1700 onward. There is record of his renting a country home in 1710 at Saint-Germain-en-Laye, confirming the view he was financially secure. In 1719, Couperin became harpsichordist to King Louis XV. By this time, he was recognized as the leading composer in France and the greatest exponent of organ and harpsichord teaching as well.

November 17

1787 Michele Carafa

1837 Willem Coenen

1891 Guido Pannain

1892 Max Deutsch

1898 Maurice Journeau

1901 Raymond Chevreuille

1903 Joseph Kaminski

1919 Hershy Kay

1930 David Amram

1938 Alvaro Leon Cassuto

1948 David Frederick Golightly

1952 Gerhard Fischer-M�nster

November 24

1862 Bernhard Stavenhagen

1868 Scott Joplin

1892 Isidor Achron

1900 Cor Kee

1911 Erik Bergman

1927 Emma Lou Diemer

1934 Alfred Schnittke

1940 Wendell Logan

1942 Chinary Ung

1953 Tod Machover

1958 Luigi Verdi

1960 Edgar Meyer

1971 Seth Boustead

Alfred Schnittke

Birth: November 24, 1934 in Engels, Russia

Death: August 3, 1998 in Hamburg, Germany

Schnittke was the son of German-Jewish parents. From 1946 - 1948 his family lived in Vienna, where he took his first music lessons, an introduction to the great Austro-German musical tradition. He returned to Moscow to attend the Conservatory from 1953- 1958. During his student days, Shostakovich and Mahler were his chief influences. During the 1960s, however, the scores of Schoenberg and Stravinsky became available, and Schnittke made a careful study of serial technique. He returned to the Moscow Conservatory to teach instrumentation from 1962 - 1972. Thereafter he split his time between Moscow and Hamburg and supported himself as a film composer. Schnittke could have decided to become an officially sanctioned Soviet composer, but his pivotal meeting with Luigi Nono in 1963 and his ensuing study of the Western avant-garde led him to turn his back on any prospects of a secure career. Because of the fluency in many styles required for film scores, he changed his approach to concert works, as he explained in his essay Polystylistic Tendencies in Modern Music. This 'polystylism' was soon demonstrated in a major work, his First Symphony, which includes pastiches of Bach and of Soviet march music and quotations from Beethoven, Chopin, and Grieg, and also calls for jazz improvisation in one section and collective free improvisation in another. Despite the criticism of Soviet authorities, Schnittke's fame gradually spread, and from the early 1980s his name became established in the West. In 1985 Schnittke suffered a stroke, but his productivity continued. He completed several important stage works, among them the ballet Peer Gynt and the operas Life with an Idiot, Gesualdo, and Historia von D. Johann Fausten, all of which were first performed outside Russia. From 1990 until his death in 1998, he lived exclusively in Hamburg. His second stroke, in 1998, was fatal. Schnittke composed 9 symphonies, 6 concerti grossi, 4 violin concertos, 2 cello concertos, concertos for piano and a triple concerto for violin, viola and cello, 4 string quartets, ballet scores, choral and vocal works. A Christian mystic, Schnittke had philosophical theories that permeated his music. According to his biographer Alexander Ivashkin, he believed a composer "should be a medium or a sensor remembering what he hears from somewhere else and whose mind acts as a translator only. Music comes from some sort of divine rather than human area."

December 1

1605 Juan de Padilla

1709 Franz Xaver Richter

1712 Bernhard Christian Weber

1724 Dismas Hatas

1729 Giuseppe Sarti

1779 Pyotr Ivanovich Turchaninov

1781 Charles Philippe Lafont

1784 Francois Henri Joseph Castil-Blaze

1810 Joseph Gungl

1814 August Rockel

1823 Ernest Reyer

1844 Alfred Cellier

1847 Agathe Backer Grondahl

1850 Peter Erasmus Lange-Muller

1874 Dominicus Johner (Franz-Xaver Karl)

1885 Guy de Lioncourt

1896 Petko Staynov

1901 Dorothy James

1908 Georgios Kasassoglou

1925 Jaime Mendoza-Nava

1927 Grant Beglarian

1929 Leon Biriotti

1937 Gordon Crosse

December 8

1731 Frantisek Xaver Dusek

1737 Robert Kimmerling

1789 John Fawcett

1795 Jacques Francois Gallay

1811 Louis Alexander Balthasar Schindelmeisser

1865 Jean Sibelius

1877 Paul Emile Ladmirault

1882 Manuel Maria Ponce

1887 Vicente Emilio Sojo

1890 Bohuslav Martinu

1897 Leslie Heward

1905 Charles Cushing

1905 Ernst Hermann Meyer

1907 Tony Aubin

1919 Moisei Vainberg

1931 Rudolf Komorous

1946 John Rubinstein

Jean Sibelius

Birth: December 8, 1865 in H�meenlinna, Finland

Death: September 20, 1957 in J�rvenp��, Finland

Sibelius was the second of three children. His physician father left the family bankrupt, owing to his reckless spending, a trait that, along with heavy drinking, he would pass on to Jean. Jean showed talent on the violin and at age 9 composed his first work for it. Although he would come to exemplify Finnish nationalism, Sibelius spoke no Finnish until he was about 8 years old. When he was 11 his mother enrolled him in the first grammar school in the country to adopt Finnish as the teaching language instead of Swedish and Latin. Contact with Finnish opened up to him the whole universe of national mythology embodied in the Kalevala. His imagination was stirred by this, as it was by the great Swedish lyric poets J. L. Runeberg and Viktor Rydberg and, above all, by the Finnish landscape with its forests and lakes. In 1885 Sibelius entered the University of Helsinki to study law, but after only a year found himself drawn back to music. He took up composition and violin and became a close friend of Busoni. Though Sibelius auditioned for the Vienna Philharmonic Orchestra, he was not suited to a career as a violinist. In 1889 Sibelius traveled to Berlin to study counterpoint, where he also was exposed to new music, particularly that of Richard Strauss. In Vienna he studied with Karl Goldmark and then Robert Fuchs, the latter said to be his most effective teacher. It was during this time that Sibelius began contemplating the creation of the Kullervo Symphony, based on the Kalevala legends. Sibelius returned to Finland, taught music, and in June 1892, married Aino J�rnefelt, daughter of General Alexander J�rnefelt, head of one of the most influential families in Finland. The premiere of Kullervo in April 1893 created an absolute sensation and made Sibelius the foremost Finnish composer. The music that followed was also strongly national in feeling, the Karelia Suite, written for a pageant in Viipuri in 1893. So, too, was Finlandia, written six years later for another pageant portraying the history of Finland, which became a rallying-point for national sentiment at a time when Russia was tightening its grip on the country. The Lemmink�inen suite, begun in 1895 and premiered in 1896, has come to be regarded as the most important music by Sibelius up to that time. In 1897 the Finnish Senate voted to pay Sibelius a short-term pension, which some years later became a lifetime grant. The honor was in lieu of his loss of an important professorship in composition at the music school, the position going to Robert Kajanus. Sibelius' First Symphony premiered in 1899 as a tremendous success, but not quite of the magnitude of that of Finlandia. In the next decade Sibelius would become an international figure in the concert world. Kajanus introduced several of the composer's works abroad and Sibelius himself was invited to Heidelberg and Berlin to conduct his music. In March 1901, the Second Symphony was received as a statement of independence for Finland, although Sibelius always discouraged attaching programmatic ideas to his music. His only concerto, for violin, came in 1903. The next year Sibelius built a villa outside of Helsinki, named "Ainola" after his wife, where he would live for his remaining 53 years. Sibelius' early compositions show the influence of the Viennese Classics, Grieg, and Tchaikovsky. The Third Symphony, however, brought a change. While others pursued more lavish orchestral means and more vivid colorings, his style became more classical, more disciplined and economical. As he himself put it, 'while others mix cocktails of various hues, I offer pure spring water'. In 1909 he underwent specialist treatment in Helsinki and Berlin for suspected throat cancer. The specter of illness seemed to contribute to the austerity, depth, and focus of such works as the Fourth Symphony and The Bard. For tautness and concentration the Fourth Symphony surpassed all that had gone before. It baffled its first audiences and was declared ultra-modern. In Sweden it was actually hissed. Elsewhere, Sibelius's reputation continued to grow. Sibelius made frequent trips to England, and in 1914 he traveled to Norfolk, CT, where he conducted his newest work The Oceanides. Sibelius spent the war years in Finland working on his Fifth Symphony. Sibelius traveled to England for the last time in 1921. For more than 30 years after the completion of his four last great works-the Sixth and Seventh Symphonies, music for The Tempest, and Tapiola-Sibelius lived in retirement at J�rvenp��, maintaining virtual silence until his death in 1957. Sibelius was unquestionably the greatest composer Finland has ever produced and the most significant symphonist to have emerged from Scandinavia. Sibelius' achievement in Finland is all the more remarkable in the absence of any essential indigenous musical tradition. Each of his symphonies is entirely fresh in its approach to structure, and it is impossible to foresee from the vantage point of any one the character of the next. He is able to establish within a few seconds a sound world that is entirely his own.

Bohuslav Martinu

Birth: December 8, 1890 in Policka, Czechoslovakia

Death: August 28, 1959 in Liestal, Switzerland

Martinu began violin lessons at age 7 and he gave his first recital when he was 15. By age 10 he had written his first compositions, including songs, piano music, symphonic poems, string quartets, and ballets. In 1906, he entered Prague Conservatory, but reading and the theater diverted Martinu from his studies, and he was finally expelled for "incorrigible negligence" in 1910. However, he continued composing. Exempted, as a teacher, from military service, Martinu produced many works during World War I. He earned his living by giving lessons and by playing in the Czech Philharmonic Orchestra. Although his Czech Rhapsody and two ballets, Istar and Who is the Most Powerful in the World?, garnered attention, Martinu felt the need for additional training. Returning to the Conservatory, he studied composition with Josef Suk, and later in Paris with Albert Roussel, whose muscular, rhythmically vigorous music eventually influenced Martinu's own. Martinu's music was well received in postwar Paris. Like many of his contemporaries, Martinu absorbed the influence of jazz, as evidenced in such works as the ballet La revue de cuisine, and the one-act opera Les larmes du couteau (The Tears of the Knife). In 1930, Martinu's continual desire to learn more led him to the music of Corelli, Vivaldi, and Bach, signaling a new regard for rhythmic continuity and contrapuntal technique. Following the resounding success of his opera Juliette in Prague in 1938, World War II forced Martinu to flee his adopted home of Paris. After spending 9 miserable months in the south of France, the composer and his wife made their way to Spain, and then to America, in the early months of 1941. For the duration of the war, Martinu lived in various cities in the Eastern U.S., surviving on commissions and producing five symphonies by 1946. Though Martinu had planned to return to Czechoslovakia after the war, injuries and health issues prevented him from traveling. After Czechoslovakia fell to the communists in 1949, it gradually became clear to Martinu that he was no longer welcome in his native land, a source of great distress to him. He eventually regained his health, however, producing such works as the Sixth Symphony, two operas for television, and many chamber compositions. Martinu became an American citizen, but spent much time in Europe. In 1953 - 1955 he was based in Nice and in 1955 - 1956 he was teaching at the American Academy in Rome. After a final New York sojourn he took up residence as the guest of Paul Sacher in Liestal, Switzerland, where he died in 1959. Martinu wrote in virtually every genre. Harry Halbreich's catalog of Martinu's music, to which the composer did not assign opus numbers, lists nearly 400 compositions. While he admired Dvorak and Janacek, the major influences on his music were English madrigals, Debussy, Stravinsky, jazz, and composers of the Baroque era.

December 15

1534 Lucas Osiander

1567 Christoph Demantius

1657 Michel-Richard Delalande

1667 Ernst Ludwig, Landgrave of Hesse-Darmstadt

1803 August Freyer

1812 Isidor Dannstrom

1821 Auguste Emmanuel Vaucorbeil

1822 Edward Stephen Jones

1823 Friedrich Gottlieb Schwencke

1830 Francesco D'arcais

1842 Henry Robert Gadsby

1857 Eugeniusz Pankiewicz

1873 Pongrac Kacsoh

1892 David Guion

1892 Jose Maria Castro

1898 Fernando Remacha

1905 Ferenc Farkas

1932 Elaine Barkin

1932 Igor Stuhec

1939 Nicolaus A Huber

1961 Matthew H. Fields

December 22

1723 Carl Friedrich Abel

1819 Franz Abt

1821 Giovanni Bottesini

1846 Andreas Hall�n

1853 Maria Teresa Carreno

1858 Giacomo Puccini

1874 Franz Schmidt

1883 Edgard Varese

1885 Deems Taylor

1900 Alan Dudley Bush

1921 Dimitri Fampas

1921 Robert Kurka

1943 Ross Edwards

1952 Robert Kapilow

1953 David Leisner

1960 Nathan Currier

Giacomo Puccini

Birth: December 22, 1858 in Lucca, Italy

Death: November 29, 1924 in Brussels, Belgium

Apart from Verdi, Puccini was the most important composer of Italian opera. He wrote in the verismo style, a trend that featured subjects and characters from everyday life for opera. Around these often mundane settings Puccini wrapped unforgettable melodies and lush orchestration.

Puccini came from a long line of musicians who had lived in Lucca since the early 18th century. His father, Michele, was organist and choirmaster of the Cathedral of San Martino, director of the city's music school, and a prolific if unremarkable composer. Although he died in 1864, his widow, Albina, made sure that Giacomo continued the family's musical tradition. He took organ lessons from an uncle. At 10, he sang in local church choirs and by age 14 was freelancing as an organist at religious services. His first compositions were for organ, often incorporating operatic and folk elements. By age 18, under the spell of Verdi's Aida, he decided he would study composition with a goal of writing opera. At around this time, he composed his first large-scale work, Preludio Sinfonico, for an 1877 competition. He was enrolled in the Istituto Pacini, where his graduation piece was his Messa di Gloria. A grant from Queen Margherita combined with a generous subsidy from a wealthy cousin enabled him to continue training at the Milan Conservatory, where he studied for three years under Ponchielli and Bazzini. By the time he left he had written his first opera, Le villi, which he once more entered in a competition. Though he did not win, Arrigo Boito and, more importantly, the publisher Giulio Ricordi helped arrange a premiere in Milan. The work was enthusiastically received. Around this time the composer met Elvira Gemignani, wife of a merchant in Lucca. They carried on an illicit affair, and she gave birth to his son in 1886. When her husband died in 1904, the two were married. Puccini's next opera, Edgar, was poorly received at its 1889 premiere. His next work, however, Manon Lescaut, was a sensational success at its 1893 Turin premiere. Subsequent performances in Italy and abroad bolstered the composer's growing reputation. Financially secure, he settled at Torre del Lago, where he built his own villa (now the Villa Puccini), where he could work undisturbed. Puccini's next three operas confirmed his supremacy in Italian opera. La Boh�me, Tosca, and Madama Butterfly were not as immediately successful as Manon Lescaut, but in time achieved even greater acclaim. From the middle of the 20th century until today they became his most often performed and recorded works. It was not until the next decade, however, that he created his next opera, the modestly successful La fanciulla del West, which premiered in New York with Toscanini conducting and Caruso singing the role of Johnson. His procrastination owed much to charges by his wife that he was having an affair with a servant girl, charges that drove the hapless and innocent young girl to suicide in 1909. In 1913, Puccini accepted a lucrative commission from a Viennese group, which resulted in La rondine. Received warmly at its 1917 Monte Carlo premiere, it faded under the opinion it was the least of his operatic efforts. Puccini followed this setback with his trilogy of one-act operas, Il trittico - comprised of Il tabarro, Suor Angelica, and Gianni Schicchi - all premiered at the Metropolitan Opera in New York in 1918. While Puccini was working on his last opera, Turandot, he was diagnosed with throat cancer. During radiation treatment in Brussels, he suffered a heart attack and died.

Edgard Varese

Birth: December 22, 1883 in Paris, France

Death: November 6, 1965 in New York, NY

Varese spent his early childhood in Paris and Burgundy. His father wanted him to study math and engineering in preparation for a career in business. However, Var�se pursued music, studying at the Schola Cantorum with Albert Roussel and Vincent d'Indy and at the Paris Conservatoire with Charles Marie Widor. Between 1908 - 1915, he divided his time between Paris - where he got to know Debussy, Satie, Guillaume Apollinaire, and Jean Cocteau - and Berlin, where he became acquainted with Busoni, Strauss, and the music of Schoenberg. Unable to find regular work, Var�se moved to the United States in 1915, becoming a U.S. citizen in 1926. With the exception of a single song, Un grand sommeil noir, all the music Var�se wrote before his emigration has been lost. His output effectively begins with Am�riques, scored for an enormous orchestra and celebrating not only a new homeland but also new worlds of the imagination. Though influenced by Debussy, Stravinsky, and Schoenberg, the work is original in its perpetually evolving form, its rhythmic complexity, and its massive eruptions of sound. It is also marked by Var�se's love for the speed and sounds of modern city life. In all these respects Am�riques contained the seeds for the more polished works that followed: Hyperprism and Int�grales both for a small orchestra of wind and percussion, Octandre for seven wind and double bass, Arcana for orchestra, and Ionisation for 13 percussionists. His feeling for the primitive and magical is uppermost in Ecuatorial, setting a Mayan curse for bass voice and small orchestra. In addition to composing, Var�se promoted new music through the establishment of his New Symphony Orchestra in 1919, the International Composers' Guild in 1921, and the Pan American Society in 1926. He continued to have difficulty making money, though, and spent some time as a piano salesman. He also made a brief appearance in a 1918 John Barrymore film. Var�se maintained his connection with Europe, and had an extended stay in Paris between 1928 - 1933 during which he continued his sonic explorations and heard many of his works performed. Back in New York, Var�se advocated for new electronic means as necessary to the music of the future. The anonymous gift of an Ampex tape recorder in 1953 was the motivation Varese needed and the result was heard in D�serts and Po�me �lectronique. Var�se and his music received much attention in the 1960s. His works were widely performed, recorded and published, and he received honors from the National Institute of Arts and Letters and the Royal Swedish Academy. He also won the first Koussevitzky International Recording Award in 1963. Despite his output of only slightly more than a dozen compositions, Var�se is regarded as one of the most influential musicians of the 20th century. His concept of "organized sound" led to many experiments in form and texture. He was constantly searching for new sound sources - working throughout his life with engineers, scientists and instrument builders - and was one of the first to extensively explore percussion, electronics, and taped sounds.

December 29

1850 Tomas Breton

1865 Eleodoro Ortiz de Zarate

1876 Pablo Casals

1898 Jules Bledsoe

1912 Peggy Glanville Hicks

1938 Bart Berman

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WWUH, 200 Bloomfield Ave., West Hartford, CT. 06117

Honorary Board of Directors:

Clark Smidt, Phillip Cabot, Judy Corcoran, Michael Cummings, Mel Yates, Mimi Spillane, Walter Miskin, Steve Nichols, Patty Kurlychek, Dale Maine, Jack Parmele, Rob Rosenthal.

ADVISORS:

Charlie Allen, Larry Titus, Dave Nagel.

Accent on Jazz - "The sounds of surprise," from the great African-American tradition of improvised music. Tuesday-Friday 9:00pm-midnight.

All Night Show - Alternative, progressive music.  Stay up late and FIND OUT!  Every night 3:00-6:00am.

Alternative Radio - Interviews and speeches from alternative sources and alternative information, produced by David Barsamian. Monday 12 noon-1:00pm.

Ambience - Music that blends electronic and acoustic styles, borrowing from many cultures, from dream rock, to deep space, quiet contemplation and ambient dance. Sunday 9:00am-1:00pm.

Blue Monday - The world of blues from country to R&B.  Monday 9:00pm-midnight.

Carosello Musicale Italiano - Italian music and news.  Saturday 5:00pm-7:00pm.

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Counterspin - Learn how to talk back to your radio and TV! Critical views of mainstream media, produced by Fairness and Accuracy in Media (F.A.I.R.). Tuesday 12:30pm-1:00pm.

Cultura E Vida - Portuguese programming. Saturday 7:00pm-9:00pm.

Culture Dogs - A look at contemporary media, movies, videos, etc. Sunday 8:00pm - 9:00pm

Evening Classics - Classical music by composers from Albinoini to Zelenka, styles ranging from Gregorian Chant to the modern twentieth century.  Weekdays 4:00pm-7:30/8:00pm.

Explorations - Every week Dr. Michio Kaku gives us new insight into the world of science.  Sunday 4:30pm-5:00pm.

FM on Toast - A wide variety of acoustic music ranging from folk to bluegrass. Sunday and weekdays 6:00am-9:00am.

Free Speech Radio: A daily (Mon - Fri) news program with alternative sources from around the world.Monday, Tuesday, Wednesday 8:00-8:30pm, Thursday at 7:30pm and Friday at 7:00pm.

Gay Spirit - Greater Hartford's only gay news program featuring contemporary issues, music, and special guests.  Thursday 8:30pm-9:00pm.

Geetanjali -. Geetanjali plays a variety of music from the subcontinent -classical, contemporary, devotional and Bollywood music. The show'shosts provide narrative both in English and Hindi. Friday from 7:30pm - 9:00pm

Gothic Blimp Works - Alternative rock music including pop, progressive, experimental, reggae, punk, urban, blues...and more.  Every night midnight-3:00am.

Greatest Show From Earth - Esoteric space rock from psychedelic to progressive, with a side of electronics.  Need we

say more?  Broadcast via the T.E.L./T.A.N. V27X Transfleet Repeater Probe, the last analog frontier. Sunday 9:00pm-midnight.

Making Contact - A program about activists and social change.  Tuesday 8:30pm

Morning Jazz - Music from diverse aspects of the jazz tradition from the big bands to fusion to avant-garde. Weekdays 9:00am-Noon.

New Focus - Alternative news and views presented by Mike DeRosa.  Friday 12N-12:30pm. And Wednesday at 8:30pm.

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New World Notes - New perspectives on American Government, foreigh policy, media and culture in a variety of genres, produced by Ken Dowst.  Tuesday 12noon.

911 Wake Up Call - Exploring the issues surrounding the 911 attacks.  Thursday 12:30pm

Rock 'N Roll Memory Machine - The Hartford Courant calls it the best oldies show in the area.  Memories, music and trivia from the golden days of rock 'n roll.  Sunday 6:00pm-8:00pm.

Saturday Morning Polka Madness - Polkas! Saturday 6:00am-9:00am, requests welcome

Soapbox - Interviews with progressive authors and activists, host Rob Tyrka. Thursday 12:00noon-12:30pm.

Street Corner Serenade - Music from the '50's "do-wop" era, and more. Saturday 1:00pm-3:00pm.

Sunday Afternoon at the Opera - Selections from the Operatic repertory ranging from Baroque to twentieth century. Sunday 1:00pm-4:30pm.

Super Sabado -Salsa - from '70's classics to current faves - and greetings, in Spanish. Saturday 3:00-5:00pm.

Synthesis - Alternative rock from all genres featuring new releases, rarities, imports, and international artists.  Including electronic, dance, fusion, funk, pop, reggae, experimental...... Weekdays 1:00pm-4:00pm.

Tevynes Garsai - Lithuanian programming. Sunday 5:00pm-6:00pm.

This Way Out - The international gay and lesbian news magazine.  Thursday 8:00pm-8:30pm.

TUC Radio - From San Francisco: a show about the global village and the global pillage.  Friday at 12:30pm.

UH Radio Bluegrass - The best of bluegrass, with occasional live performances by area bluegrass musicians.  Saturday 9:00am-1:00pm.

Voices of our World - Views from the 2nd and 3rd world on life in the real world.  Monday at 8:30pm.

West Indian Rhythms - Reggae, soca and more from Jamaica, T & T and beyond. Saturday 9:00pm-12midnight.