Marathon Time

As you read this issue of our program guide, our annual Marathon Fund Raiser is in full swing. Hopefully you have called and donated to WWUH. Your contributions keep us alive, well and on the air. Without the support of you, our listeners we could not go on. In an era where there are so many choices we thank you for being loyal to WWUH! You can call us at 860-769-4008 or 1-800-44409984 or pledge online via our web site: wwuh.org. Well keep your radio's tuned to WWUH radio for a great selection of music to make your days and nights more interesting and fun. Don't forget our great alternative public affairs shows that will give you information about the things the mainstream usually avoids. So hang in there and keep your radios tuned to 91.3.  You can also listen and follow us at our web site - wwuh.org. We are also available now as a Mp3 stream on many smart phones so we can follow you anywhere you go.  Thanks for all your support! 

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WWUH CONTINUES TO BROADCAST THE UNIVERSITY OF HARTFORD WOMEN'S BASKETBALL GAMES 

Hawks and WWUH  

We are down to the final games of the year, check the schedule below for the tournament games.

http://www.hartfordhawks.com/index.aspx?path=wbball 

WWUH Classical Programming -

March and April 2012

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

March 5                                 Bob Margolin

March 12                               Ligntnin' Hopkins (100th Birth Anniversary 3-15-12)

March  19                              Anson Funderburgh

April 2                                    Etta James (RIP 1-20-12)

April 16                                  Eddie Kirkland

April 23                                  Tommy Castro

April 30                                  Sue Foley

Back to the Roots

March 5                                 Delta Blues

March 12                               Kansas City Blues

March 19                               Chicago Blues

April 2                                    West Coast Blues                               

April 9                                    Classic Women Blues Singers          

April 16                                  British Blues

April 23                                  New York Blues

April 30                                  Memphis Blues

Thursday Evening Classics

Composer Birthdays

March/April 2012

Presented by Steve Petke

  

March 1

1709 Josef Antonin Gurecky

1764 Jeremiah Ingalls

1779 Gottfried Weber

1810 Frederick Chopin

1826 John Thomas

1832 Friedrich Grutzmacher

1835 Ebenezer Prout

1878 Gabriel Dupont

1899 Edmund J. Pendleton

1939 Leo Brouwer

1940 Ralph Towner

1951 Elliott Sharp

1955 Charles Ames

1971 Thomas Ades

Frederick Chopin

Birth: March 1, 1810 in Zelazowa Wola, Poland

Death: October 17, 1849 in Paris, France

Chopin's father was French, his mother Polish. He spent his early life in Warsaw, where he studied piano privately and at the High School of Music. As a youth, the family mingled with intellectuals and members of the middle and upper classes, and as a teenager Chopin spent two summers in the country, where he was exposed to Polish folk music. By the age of 8 he was recognized as a child prodigy, performing in private salons. In 1826 he enrolled at the University of Warsaw. He gave his first public recital in Vienna in 1829, and over the next few years he performed in Poland and throughout much of Germany and Austria as well as in Paris. Feeling constrained by Warsaw's cultural provincialism and uncomfortable with the publicity surrounding his performances there, he settled in Paris in 1832. He made a comfortable living from teaching and from sales of his published music, and he enjoyed the friendship of some of Europe's most eminent artists and composers.  In Paris he composed extensively, but limited his performances mainly to private venues. After the failure in 1837 of his plans to marry Maria Wodzińska, a Polish girl of good family, Chopin found himself increasingly involved with the French novelist George Sand. The next ten years of his life were dominated by that relationship. These were productive composition years for Chopin. But, the couple, along with Sand's children, spent a harsh winter in Majorca, where Chopin's health declined and he was diagnosed with consumption (tuberculosis). The affair ended in 1847 after, among other things, Sand had portrayed their relationship unflatteringly in her novel Lucrezia Floriani. Chopin then made an extended visit to Britain, but returned to Paris to die in 1849. Chopin is recognized as one of the most significant composers of the Romantic age. His output includes mainly small-scale solo piano works: waltzes, nocturnes, preludes, mazurkas, and polonaises. These works weave poetically expressive melody and restless harmony to high technical demands. Even his etudes are highly appealing concert pieces that emphasize musical as well as technical significance. The early works composed in Warsaw (polonaises, rondos, variations) reflect the influence of composer-virtuosos such as Hummel, Weber, and Kalkbrenner. With the �tudes op. 10, he achieved a style characterized by a refinement of detail within prevailing melody and accompaniment textures, often involving a subtle mixture or 'counterpoint' of fragmentary motifs. His affinity with Bach, especially clear in the preludes and etudes, is displayed in figurative patterns. Bach's inspiration shaped the increasingly close-knit, intricate textures of Chopin's later music and in his preference for unitary formal schemes-often a single impulse of departure and return. Early 19th-century Italian opera, too, played a part in molding Chopin's musical language. The nocturnes in particular respond to Italian bel canto, in their widely spanning melodic arcs and their stylization of vocal embellishments. Chopin's influence was immense. His innovative harmonic language foreshadowed Brahms, Wagner, and other late Romantics, while his approach to thematic working informed several composers working outside the Austro-German mainstream, notably in Russia. Most influential of all was his development of a new sound world of highly idiomatic piano textures, essentially distinct from the pianism of Beethoven, Schumann, Mendelssohn, and Brahms. The differentiation within these textures, and the detail and subtlety are clearly discernible in the early years of the 20th century, in the piano music of Rachmaninov, Liadov, and Scriabin, and of Faur� and Debussy.

March 8

1566 Carlo Gesualdo

1714 Carl Philipp Emanuel Bach

1778 Friedrich August Kanne

1853 Edward Keurvels

1876 Franco Alfano

1903 Avril Coleridge-Taylor

1911 Alan Hovhaness

1919 Ivor (Christopher Banfield) Keys

1934 Christian Wolff

1936 Vic Nees

1941 Yvar Mikhashoff

1945 Bruce Broughton

1954 Jonathan Berger

Carlo Gesualdo

Birth: March 8, 1566 in Venosa, Italy

Death: September 8, 1613 in Naples, Italy

Gesualdo was the second son of the Second Prince of Venosa, and inherited the principality of Venosa on his father's death. After receiving musical training, Gesualdo's earliest known work emerged in 1585, when he was 19. Carlo's elder brother died in 1585, so with an expectation of producing an heir, he married his first cousin, Maria d'Avalos, who at age 25 was already twice-widowed. In 1587, an heir was born. But later, Gesualdo discovered d'Avalos in an affair with the Duke of Andria. On October 17, 1590, Gesualdo, assisted by three servants, killed them both. The incident provoked public outrage, but there was no trial, as authorities from both Church and State convened to dispose of the matter. Another marriage was arranged in February, 1594 to Donna Leonora, the niece of Alfonso d'Este, Duke of Ferrara. In Ferrara, Gesualdo came into contact with court composer Luzzascho Luzzaschi and his "secret music," and became a close friend of the poet Torquato Tasso. Upon returning to his estate late in 1596, Gesualdo resolved to travel no more. In 1597, d'Este bore Gesualdo a second son who died in 1600, an event that plunged the Prince into a deep despair. The couple separated in 1608, and in 1610 d'Este began divorce proceedings against Gesualdo, but changed her mind and returned. In 1613, Gesualdo's elder son died, and Gesualdo himself followed in September at age 47. He was known to be vehemently asthmatic his whole life. In later years, he would pursue masochistic practices which served to weaken him physically, his spirit already broken by years of mental instability. Gesualdo's six books of Madrigals constitute the main body of his work. In these anthologies he took chromatic harmony to extremes, often creating striking dissonances. Books I and II are rooted in standard practice, but when compared to contemporary settings of the same poetry, they reveal a stubbornly individual mind at work. Book III shows a decreased reliance on pre-existing settings, and by Book IV, all the texts used are original. Here, Gesualdo's mature style begins to emerge. Books V and VI did not appear until 1611, but in these editions, Gesualdo states the madrigals were written "15 years" prior to the date of publication, and were printed only to protect the works from plagiarists. While essentially diatonic in character, some contain music which modulates so frequently it results in a disoriented sense of key. Dissonance is used liberally and there are sudden changes of tempo. Passing tones cross relate, and there are passages of stepwise chromatic motion resulting in a suspended tonality. Gesualdo also wrote church music, in a style only marginally more restrained than that of his madrigals. The first two collections, entitled Sacre Cantiones, appeared in 1603. In the second book, Gesualdo expanded his usual five-part writing into six and seven parts, though two of the partbooks are lost. The third book, Responsoria, represents Gesualdo's final musical statement. It is entirely in his late style, and the responses composed for the Good Friday service contains some of the most assured and eloquent music that he composed.

Carl Philipp Emanuel Bach

Birth: March 8, 1714 in Weimar, Germany

Death: December 14, 1788 in Hamburg, Germany

The second surviving son of J.S. Bach, Carl Philipp Emanuel was the most innovative and unconventional member of an extremely talented musical family. He was baptized on March 10, 1714, with Telemann as one of his godfathers. In 1717 he moved with the family to C�then, where his father had been appointed Kapellmeister. C.P.E. Bach could play his father's technically demanding keyboard pieces at sight by the time he was seven. His mother died in 1720, and in spring 1723 the family moved to Leipzig, where Emanuel began attending the Thomasschule. From the age of about 15 he took part in his father's musical performances in church and in the collegium musicum. His first compositions were probably written about 1730. They consisted mainly of keyboard pieces and chamber music. An exceptional student in areas other than music, he enrolled at the University of Leipzig in 1731 to study law, then transferred to the University of Frankfurt an der Oder. He graduated in 1734, but remained in that backwater town giving keyboard lessons, involving himself in public concerts, and learning the composer's craft. By 1740 Bach was in Berlin as harpsichordist to Frederick the Great of Prussia. Here he was first exposed to Italian opera seria, and its dramatic style infiltrated his instrumental music. Little of this was heard at court, where Bach accompanied the flutist-king in one concerto after another by Quantz. Bach never won recognition at court as a composer and virtuoso. Frederick would allow only Hasse, the Graun brothers, Quantz and Agricola that distinction. Even the dedication to him of Bach's first published work, the Prussian Sonatas made no lasting impression on the king. As early as 1743 an attack of the gout that was to trouble Bach all his life obliged him to visit the Bohemian spa of Teplitz for treatment. Early in 1744 he married Johanna Maria Dannemann, the daughter of a Berlin wine merchant. He made several attempts to find a new musical post, but the stress of the king's disfavor was partially relieved in 1756, when Frederick became distracted by the Seven Years' War and was frequently away from the court. Bach finally got himself released from Frederick's service in 1768 in order to succeed Telemann as cantor at the Johanneum in Hamburg, also serving as music director for the city's five major churches. He held this post until his death. Besides performing his official duties as director of church music Bach assumed from the beginning a leading position in the city's concert life. Stylistically distant from his father's rigorous polyphony, C.P.E. Bach was something of a proto-Romantic. He was the master of Empfindsamkeit, or "intimate expressiveness." The dark, dramatic, improvisation-like passages that appear in some of Mozart's and Haydn's works are due in part to his influence. His impulsive works for solo keyboard, which lurch into unexpected keys, change tempo and dynamics abruptly, and fly along with wide-ranging themes, are especially compelling. One account of Bach's after-dinner improvisations described the sweaty, glazed-eyed musician as "possessed," an adjective that would be applied to equally intense and idiosyncratic musicians in the Romantic age. Many of his symphonies are as audacious as his keyboard pieces. In the area of chamber music, Bach pulled the keyboard out of its subsidiary Baroque role and made it a full partner with, or even leader of, the other instruments. Yet here he fashioned the music to the public's conservative expectations, as he did with his church music. He composed prolifically in many genres, and much of his work awaits public rediscovery. Bach also produced an important account of performance practice in the second half of the 18th century, translated into English as Essay on the True Art of Playing Keyboard Instruments.

March 15

1754 Silvestro Palma

1790 Nicola Vaccai

1807 Gaetano Gaspari

1835 Eduard Strauss

1836 Henrique Alves de Mesquita

1851 Jozef Surzynski

1863 Leslie Stuart (Thomas A Barrett)

1864 Johan Halvorsen

1867 Will Rossiter

1873 David Vaughan Thomas

1881 Ignatz Waghalter

1883 Enrico Toselli

1884 Rudolf Piskacek

1894 Slava Vorlova

1900 Colin McPhee

1924 Lockrem Johnson

1926 Benjamin Buswell Johnston

1928 Nicolas Flagello

1934 Wolfgang Hufschmidt

1938 Dick Higgins

March 22

1700 Giuseppe Sellitto

1728 Giacomo Insanguine

1752 Johann Georg Joseph Spangler

1842 Mykola Vytaliyovych Lysenko

1868 Hamish McCunn

1885 Adriano Lualdi

1891 Alexis Roland-Manuel

1905 Carlo Alberto Pizzini

1918 Tauno Pylkkanen

1920 Fanny Waterman

1925 Gerard Hoffnung

1930 Stephen Sondheim

1932 Marta Jir�čkov�

1937 Jon Hassell

1943 Joseph Schwantner

1947 Gwyneth Walker

1948 Andrew Lloyd Webber

March 29

1484 Johann Spangenberg

1616 Johann Erasmus Kindermann

1636 Esaias Reusner

1725 Joseph Franz Xaver Dominik Stalder

1859 Herman Bemberg

1862 Carl Busch

1876 Jan Ingenhoven

1878 Albert Von Tilzer

1886 Gustaf Adolf Tiburtius Bengtsson

1902 William Walton

1928 Vaclav Felix

1934 Ernstalbrecht Stiebler

1936 Richard Rodney Bennett

William Walton

Birth: March 29, 1902 in Oldham, England

Death: March 8, 1983 in Ischia, Italy

Walton was the son of a choirmaster and served as a chorister at Christ Church Cathedral at Oxford from 1912-1918. His already apparent creative gifts gained the admiration of Hubert Parry and others. But studies at the university itself proved unsatisfying, and Walton left Oxford without a degree in 1920, relying instead upon the patronage of the Sitwell family, who had befriended the young composer. Through the influence of this affluent and well-known family, Walton was able to break into the London music scene. The first fruit of his association with the Sitwells was Fa�ade chamber music for a recitation of poems by Edith Sitwell. It gave the composer a reputation for wit and iconoclasm and placed him among those British composers who were captivated by elements of popular music and neo-classicism spearheaded by Stravinsky and Les Six. A performance of his overture Portsmouth Point in Zurich in 1926, and Paul Hindemith's championing of his Viola Concerto in 1929 helped introduce Walton music into the European scene. A blend of neo-classicism and neo-romanticism continued in the Sinfonia Concertante, though the composition of the opulent oratorio Belshazzar's Feast and the First Symphony confirmed Walton's return to the more traditional English mainstream. The 1930s brought with it commissions from well-known musical figures, including Jascha Heifetz, who asked the composer to write him a Violin Concerto. During the next two decades much of Walton's music was on a smaller scale or of an occasional nature-though his coronation marches Crown Imperial and Orb and Sceptre have long outlived the occasions for which they were written, and his contributions to Olivier's Shakespeare trilogy, Henry V, Hamlet, and Richard III, still command admiration as among the most skilful film scores ever written. This was the period too of his only important chamber works, the String Quartet and the Violin Sonata. Walton's compositions for the theatre included his opera Troilus and Cressida and the one-act comedy, The Bear. Otherwise, he contented himself with a further sequence of superbly conceived, glitteringly virtuoso orchestral works-the Cello Concerto, the Johannesburg Festival Overture, the Partita, the Second Symphony, and the Variations on a Theme by Hindemith. In 1948, he moved to Ischia, a small island off of Naples. Walton composed prolifically until the end of his life, fulfilling commissions for such notables as George Szell, Gregor Piatigorsky and Mstislav Rostropovich. Walton was knighted in 1951 and awarded the Order of Merit in 1967. Although he was overshadowed in the latter half of his career by Benjamin Britten, Walton was never an old-fashioned reactionary. Much like his contemporaries Poulenc and Prokofiev, Walton was at heart an expressive, lyric composer who refused to subjugate this natural ability to the "modernist" tendencies that the press berated him for not embracing. His music is a sparkling synthesis of old and new.

April 5

1595 John Wilson

1598 Laurentius Erhard

1698 Georg Gottfried Wagner

1755 Vincenc V�clav Masek

1784 Louis Spohr

1799 Vincenzo Fioravanti

1828 Pietro Platania

1853 Alfonso Rendano

1854 Vicente Goicoechea Errasti

1859 Wilhelm Harteveld

1862 Louis Ganne

1869 Albert Roussel

1876 Viktor Patrik Vretblad

1885 Dimitrie Cuclin

1903 Thomas Baron Pitfield

1905 Jef Maes

1912 Carlos Guastavino

1917 Richard Yardumian

1922 Harry Freedman

1925 Oldrich Flosman

1928 David Farquhar Andress

1936 John White

Louis Spohr

Birth: April 5, 1784 in Brunswick, Germany

Death: October 22, 1859 in Kassel, Germany

Although virtually unknown to general audiences, the legacy of composer, conductor and violinist Ludwig Spohr is far-reaching. Little of his own music remains in the standard repertoire, but he is remembered as one of the preeminent conductors of the first half of the 19th century and as a seminal figure in the development of modern violin playing. In addition to having invented both the violin chin-rest and rehearsal numbers/letters for printed music, he was the first major conductor to use a baton. Spohr showed early talent for the violin, and by age 15 he was a member of the ducal orchestra in his home city. During 1802-3 he studied with Franz Eck on a journey to St Petersburg, and in 1805, after a highly successful concert tour in Germany, he gained the post of Konzertmeister in Gotha, where he married the virtuoso harpist Dorothea Scheidler. His reputation as violinist and composer was increased by many concert tours with his wife, during which he played his own violin concertos as well as duets for violin and harp. His Symphony #1 and his oratorio Das jungste Gericht were first performed at the 1811 and 1812 Frankenhausen music festivals, which he directed, and his first publicly staged opera, Der Zweikampf mit der Geliebten, was given at Hamburg in 1811. In 1812 Spohr moved to Vienna as Konzertmeister at the Theater an der Wien. There he composed his opera Faust, his Nonet, and his Octet. He composed his celebrated Violin Concerto #8, in the form of an extended operatic scena, in 1816-17 for a concert tour to Italy, where his cantabile style of playing was greatly admired. On his return he became Kapellmeister at the Frankfurt theatre, where he produced two more operas. In 1819, he accepted an engagement for the 1820 season of the London Philharmonic Society, for which he wrote an overture and his Symphony #2. In London he used a baton to conduct at rehearsal but in public he directed in the traditional way from the violin. From 1822 Spohr was Kapellmeister in Kassel. The first five years there, marked the highpoint of his reputation in Germany, and in the eyes of contemporaries he became firmly established as a great composer. In 1830-1 he wrote his Violinschule, which remained a classic violin method text into the 20th century. Between 1839 and 1853 he made 5 triumphant visits to England, where his oratorios were highly esteemed and where his instrumental and operatic music were regularly given in orchestral concerts. After Mendelssohn's death in 1847, Spohr was generally regarded in Germany and England as the last surviving composer of the Classical tradition. But, though he was esteemed and feted for the rest of his life, his impact and influence declined steadily. Spohr's reputation as the greatest German violinist of his generation was established at an early age not only through performances of his own works but also by his versatility in performing the music of such composers as Mozart, Haydn, Rode, and Beethoven. Over six and a half feet tall, Spohr must have been an imposing figure on the podium. His conducting repertoire was vast, including the then unfashionable works of J.S. Bach and Handel. A strong believer in new music, Spohr had a great impact on the careers of such progressive composers as Wagner and Berlioz. During the 1810s and 1820s many young composers were fascinated especially by his handling of chromatic harmony, and his style was widely imitated. However, his music failed to progress stylistically after the early 1830s and he was often charged with mannerism by less sympathetic critics. Nevertheless his finest works are among the most significant of their time. Throughout his life Spohr was famous for being as generous and warm a person as he was profound a musician. He maintained an active interest in politics and was considered a skillful painter and chess player.

April 12

1716 Felice Giardini

1722 Pietro Nardini

1727 Gaspare Gabellone

1760 Juan Manuel Olivares

1768 Carolus Antonius Fodor

1769 Giovanni Agostino Perotti

1801 Joseph Lanner

1815 Henry Hugo Pierson

1839 Victorin de Joncieres

1840 Edmond Audran

1851 Emil Liebling

1907 Imogen Holst

1913 Gabor Jodal

1919 Istvan Anhalt

1924 Sergiu Natra

1931 Martin Boykan

1932 Henri Lazarof

1942 Daniel Winslow Schmidt

April 19

1605 Orazio Benevoli

1660 Sebastian Duron

1700 Georg Abraham Schneider

1715 James Nares

1785 Alexandre-Pierre-Fran�ois Boely

1798 Franz Joseph Glaser

1863 Felix Blumenfeld

1868 Max Von Schillings

1888 William Axt

1892 Germaine Tailleferre

1896 Hugo Herrmann

1897 Kay Swift

1915 Dorian Le Gallienne

1921 Will Ogdon

1934 Jan Helge Guttorm Bark

1942 David Fanshawe

1957 Bob Ostertag

1963 Graham Fitkin

April 26

1567 Nicolas Forme

1603 Francesco Nigetti

1796 Auguste-Matthieu Panseron

1806 Ludwig Friedrich Hetsch

1821 John Gordon McCurry

1834 Horatio Richmond Palmer

1847 Sir Alfred Scott Gatty

1875 Natalie Curtis Burlin

1906 Leopold Spinner

1910 Erland von Koch

1910 Ernst Tittel

1914 Wilfrid Mellers

1916 Arnoldus Christian Vlok van Wyk

1922 Paul-Andre Gaillard

1926 Oldrich Frantisek Korte

1935 Conrad Susa

1941 John Mitchell

1950 Michel Bero

[Biographies derived from Oxford Music Online and Allmusic.com.]

John Ramsey              General Manager/Chief Engineer

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WWUH is a non-commercial radio station operated as a community service of the University of Hartford since 1968.  WWUH broadcasts on 91.3 MHz FM with an effective radiated power of 1.000 watts.  Transmitting facilities are located high atop Avon Mountain with studios and offices located in the Harry Jack Gray Center on the University of Hartford campus in West Hartford.  All donations are tax deductible.

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

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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.

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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.

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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.