wwuh logo 2

Broadcasting as a Community Service
from The University of Hartford


  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! 

WWUH Program Guide for 
March and April 2012

What you can find in this issue of the WWUH Program Guide
:: Celtic Aires Update
:: Classical Listings
:: Blue Monday
:: WWUH Scholarship Fund
:: Concert Listings
:: Composer Capsules for Thursday Evening Classics
:: Opera Listings
:: Station Information
:: WWUH Menu


We're now streaming in both WM and MP3 formats!

WWUH Windows Media Stream



You can find us on Facebook............where you can get up to date info on shows and other events on WWUH


Find us on Facebook

Dear WWUH Listener

We will continue to strive to bring you the best in alternative radio programming throughout the year.  We are thankful for all our listeners and look forward to many more years of great programming at WWUH.  We hope you continue to enjoy our varied and eclectic programming. Feedback is always welcome at

A few other links that you may want to bookmark are:
WWUH History Website and Our On Line Playlist.

U of Hartford Women's basketball - Go Hawks!








Hawks and WWUH  



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





For ticket information contact theMalcolm & Brenda Berman Athletics Ticket Office at (860) 768-HAWK or thru the Hartford Hawks website.






March and April 2011 



Cherish the Ladies 

  Cherish the Ladies





     March is now St. Patrick's month in America for Irish and pseudo- Irish musicians. We've got the real deal for you on March 24th when Cherish the Ladies appear in the Millard Auditorium, University of Hartford, at 7:30pm.  After 25 years they've become one of the most engaging ensembles in the history of Irish music.


     The band's name is taken from an Irish jig.  It was suggested by Mick Moloney when the ensemble was put together in New York City to celebrate the rise of female musicians in what was once a male dominated scene. Only two of the band's original members remain 25 years later, their irrepressible leader Joanie Madden and her quiet compatriot Mary Coogan.


     A Cherish the Ladies concert is always a tour de force of Irish traditional music.  They blend their considerable instrumental talents with beautiful vocals and stunning step dancing into one immensely entertaining performance. 


     Cherish the Ladies have recorded 14 highly acclaimed albums, most recently

"Country Crossroads" in 2011.  Over the course of 25 years they've attained numerous awards and achievements.  They have performed in the world's finest concert halls and most well known international festivals.  They've even played the White House!


            The current lineup includes Kathleen Boyle, born in Glasgow, to a family steeped in the traditional music of Donegal.  Kathleen is an All-Scotland/ All-England winner on accordion and piano.  In 1999 she was the first graduate of the RSAMD. She now lectures there.


     Grainne Murphy was born and raised in Boston.  She received her training on traditional fiddle from the well known Seamus Connolly.  She was All-Ireland junior champion on fiddle at age 15.  She departed the traditional music scene to obtain a law degree, then moved to New York City and became involved in traditional music again.


     Mirella Murray was born in Claddaghduff near Clifden on the Connemara Coast.  In 1995 she won All- Ireland senior titles in duet with Liz Kane and on solo piano accordion.


     Mary Coogan was born in New York City to Irish immigrant parents who were very musically inclined.  However, she taught herself how to play non-traditional instruments including guitar, mandolin and banjo.  She has a Masters in Education and has been named in Who's Who Among American Teachers.


     Joanie Madden, also New York City born to Irish immigrant parents, was a student of Jack Coen in her early days.  She was the first American to win the senior All-Ireland title on whistle and is also an award winner on flute.  She is a gifted composer who has won numerous awards.  Her outgoing personality and stage persona led to her being chosen to front the first  rendition of  Cherish the Ladies by Mick Moloney who calls her "the first lady of Irish music". 


     The band has had numerous singers during their long history and will be joined by a guest vocalist (yet to be named) on this date. They'll be accompanied by 3 to 5 Irish traditional dancers as well.


     Don't miss your chance to see these legends of Irish traditional music when Cherish the Ladies appear Saturday March 24, 2012 at 7:30pm in the Millard Auditorium. Tickets are only available from the University of Hartford box office, open Mon-Fri , 10:00am-6:00pm.  Call 1-800-274-8587 or 860-768-4228. Online purchases can be made at www.hartford.edu/hartt   Seating is reserved.  I expect we'll sell out in advance, so don't delay!


     Upcoming shows include: 5/4/12 - Teada with Seamus Begley, vocals and accordion;  6/1/12 - Teetotalers  (Kevin Crawford, John Doyle, Martin Hayes) ;

6/29/12 - Comas ; 7/20/12 - Girsa. Tickets for these shows will go on sale 2 months in advance.


     Celtic Airs, now in it's 19th year, can be heard Tuesday mornings 6-9 am on WWUH 91.3 FM




Steve Dieterich, Producer/Host of Celtic Airs and the Celtic Airs Concert Series

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






Marathon programming



It's Marathon Week - -Call in your requests with your pledges



Saint-Saens: Sampson et Dalila



Monday Night at the Movies... Tiomkin: Fall of the Roman Empire; Waxman: Taras Bulba; E. Bernstien: Summer and Smoke

Drake's Village Brass Band...The Heritage of John Philip Sousa Volume 7



Music by women composers, in recognition of the 12th annual Women Composers Festival of Hartford



Brahms: Symphony No. 3; Alnaes: Piano Concerto in D Major; Janacek: Cunning Little Vixen Suite; Boyce: Symphony No. 7; Bloch: Violin Sonata No. 1



Gesualdo: Madrigals and Motets; C.P.E. Bach: Harpsichord Concerto in F, Viola da gamba Sonata in g Wq 88, Cello Concerto in B Flat Wq 171, Jesus in Gethsemane; Verdi: Requiem (selections); Alfano: Symphony #1 "Sinfonia Classica"; Hovhaness: Armenian Rhapsodies, The Holy City Op.218; Christian Wolff: Bread and Roses; Broughton: Sonata for Tuba & Piano; Jarnefelt: Symphonic Fantasy.



Music for children - you and old alike



Schmidt: Das Buch mit Sieben Siegeln



Irish Rhapsodies...Macdowell: Piano Sonata #4 'Keltic';

Stanford: Irish Rhapsody #1; Herbert: Irish Rhapsody; Harty: An Irish Symphony; Loeffler: Five Irish Fantasies

Drake's Village Brass Band...New York Brass Quintet play Persichetti and Jan Bach



Music for the Lenten season



Taneyev: Symphony No. 4; Schubert: Piano Sonata No. 15; Shostakovich: String Quartet No. 3; Tansman: Intermezzi



Finger: Sonatas; Halvorsen: Norwegian Dances, The King, Symphony #3 in C; McPhee: Nocturne for Chamber Orchestra; Johnston: Ponder Nothing; Flagello: Piper of Hamelin - Intermezzo; Dohnányi: Symphony in F.



Music of the Emerald Isle



Walton: Belshassar's Feast; Grandi: Vespro della Beata Virgine



Some Music for Spring...Harris: Kentucky Spring; Paine: Symphony #2 'Spring'; Copland: Appalachian Spring Suite; Beach: Symphony in E Minor, Op. 32 'Gaelic'

Drake's Village Brass Band...Tubby's Revenge - New York Tuba Quartet



Arensky: String Quartet #1; Liszt: Hunnenschlacht; Dvořák: Piano Quintet #2; Byrd: Mass for 4 Voices



Alwyn: Symphony No. 4; Moscheles: Piano Concerto No. 2; Haydn: String Quartet Op. 2, No. 6; D'India: Madrigals



New Releases. A Sampling of New Acquisitions from the WWUH Library. Music of Agricola, Bach, Falla, Liszt, Mancini, Mozart, Ravel, Ruders, Schubert, Zani and others.



Spring has sprung



Penderecki: Utrenja; MacMillan: Seven Last Words from the Cross



Danielpour: The Enchanted Garden, Preludes for Piano;

Paterson: The Book of Goddesses; Still: Symphony #2 'Song of a New Race', Symphony #3 'The Sunday Symphony'

Drake's Village Brass Band... United States Marine Band - Flourishes and Meditations Part 1



Familiar and unfamiliar Piano Trios, including Beethoven: Op. 70, No. 2 in E-flat, Dvorák: Trio No. 1 in B-flat.  Interview with a member of the Lions Gate Trio



Bruckner: Symphony No. 6; Hummel: Piano Concerto No. 2, Boismortier: Fragments Melodiques; Peterson-Berger: Piano Music; Copland: Music for the Theater



Bengtsson: Violin Concerto in b; Walton: Touch Her Soft Lips and Part, Set Me As a Seal Upon Thine Heart, Antiphon, Viola Concerto; Richard Rodney Bennett: 5 Bagatelles; Kapilow: What Makes It Great? - Mozart's Jupiter Symphony; Mozart: Symphony #41.



April Fools Day is coming - Classical comedy is featured




Host's Choice



Harris: Piano Sonata; Sowerby: The Canticle of the Sun;

Schuman: A Free Song; Zwillich: Peanuts Gallery; Shostakovich: Symphony #8

Drake's Village Brass Band... United States Marine Band - Flourishes and Meditations Part 2



Huber: Sinfonie #3; Boccherini: Guitar Quintet #4; Strauss: Le Bourgeois Gentilhomme Suite; Bach: Cantata #4



Raff: Symphony No. 10; Brunckhorst: Easter History; Josquin: Missa Pange Lingua;Martucci:Piano Concerto No. 2



Rebel: Sonata #9 in d; Spohr: Clarinet Concerto #4 in e, Sonata for Violin and Harp in D, Op. 114, Violin Concerto #8 in a; Ganne: Marche Lorraine; Roussel: Le Marchand de Sable Qui Passe, Petite Suite; Blockx: Flemish Dances; Guastavino: Bailecito, Pueblito Mi Pueblo; Freedman: Laurentian Moods; Classical Happy Hour Dvorak: Prague Waltzes; Mozart Symphony #38 "Prague"; Smetana: Prague Carnival.



Passover begins tonight



Sanderstrom: Messiah; Narbutaite: Tres Dei Matris Symphoniae



Somervell: Concerto for Piano 'Highland'; Arnold: Cello Concerto; Brian: Gothic Symphony (#1)

Drake's Village Brass Band...Black Dyke Band - Slavonic Brass



Vanhal: Symphony in C; Förster: String Quartet in d; Liszt: Die Ideale; Schubert: Mass #4



Haydn: Symphony No. 31; Spohr: String Quartet No. 25; R. Strauss: Cello Sonata in F Major; Lalo: Concerto Russe; Chausson: Piano Trio in G Minor



New Releases. A Sampling of New Acquisitions from the WWUH Library. Music of Bach, Beethoven, Gouvy, Mozart, Pleyel, Vivaldi, and others.



Rubbra: String Suaret No. 4, Op. 150; Vaughn Williams: Violin Sonata in A minor; Johnston: String Quartet no. 4 (Amazing Grace); Yarmolinsky: April 15th Blues; Berg: Adagio arranged for violin, clarinet and piano; Schoenberg: Cabaret Songs; Zemlinsky: String Quartet no. 4 (Suite) Op. 25



Handel: La Resurrezione



Tavener: The Protecting Veil; Hovhaness: Symphony #1 'Exile'; Muhly: Seeing is Believing

Drake's Village Brass Band...Ticheli: Angels in the Architecture; Bartok: Miraculous Mandarin



Enescu: Piano Quintet; Reger: Variations & Fugue on a Theme by Mozart; Sinding: Sonata in F; Palestrina:  Missa Nasce la gioja mia



Zemlinsky:Symphony in B Flat; Monteverdi: Madrigals; Ravel: Piano Concerto; Beethoven:String Quartet, Op. 8, No. 5;  Hindemith Concert Music for Strings



Duron: Lamentacion Primera; Boely: Sextet for Strings in D, Fantaisie et Fugue, Andante; Blumenfeld: Allegro de Concert in A, Etudes Op. 44; Schillings: Kassandra, Op. 9 # 1; Tailleferre: Concertino for Harp and Orchestra, Pastorale; Huber: Piano Concerto #1 in c Op. 36; Ogdon: Piano Pieces; Fanshawe: Fantasy on Dover Castle; Ostertag: All the Rage; Fitkin: Hook.



Music of the Ballet



Glass: Orphee; Gounod: Faust (highlights)



Music for Earth Day 2012...Matson: Range of Light; Marx: 

Nature Trilogy; Aho: Insect Symphony (#7)

Drake's Village Brass Band...Leipzing Horn Quartet - Chamber Music for Four Horns



Jadassohn: Piano Concerto No. 1; Mozart: Clarinet Quintet;

Braga Santos: Symphony No. 2; Rochberg: Violin Concerto;

Schoenfield: Peccadilloes



Berg: Violin Concerto; Rheinberger: Organ Sonata No. 4;

Reger: Clarinet Quintet[ Holzbauer:- Symphony in E Flat Major: Suk: Asrael Symphony



New Releases. A Sampling of New Acquisitions from the WWUH Library.



Wendy Carlos: Beauty in the Beast



Shakespeare: Much Ado About Nothing



Monday Night at the Movies - John Williams 80th Birthday Celebration, Music from War Horse and Adventures of Tin Tin

Drake's Village Brass Band

                 ..Canadian Brass - Ain't Misbehavin' and other Fats Waller Hits





Blue Monday

9 PM to midnight

Hosted by Bart Bozzi


Tune in to Blue Monday during March and April for the following features:


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




Tune in as we also go back in my blues history, featuring a cut I aired 20 and 10 years ago on my weekly blues shows previously aired on Overnight Blues and Blue Monday.


Join us as we explore the diverse and interesting world of "the blues" every Monday night at 9 PM on WWUH's long running blues show, "Blue Monday."
WWUH Scholarship Fund
  In 2003 WWUH alums Steve Berian, Charles Horwitz and Clark Smidt helped create the WWUH Scholarship Fund to provide an annual grant to a UH student who is either on the station's volunteer Executive Committee or who is in a similar leadership position at the station. The grant amount each year will be one half of the revenue of the preceeding year.     
   To make a tax deductable donation either send a check to:
WWUH Scholarship Fund
c/o John Ramsey
Univ. of Hartford
200 Bloomfield Ave.
W. Hartford, CT 06117
Or call John at 860-768-4703 to arrange for a one-time or on-going donation via charge card.
  If you would like more information please contact us at wwuh@hartford.edu.

 Do you like live music?  

Well..we have live music!




A Listener Supported Community Service of the University of Hartford - Information call: 860-768-4703


DATE                   PERFORMER                           VENUE                    TIME                                                   






March 24, 2012          Cherish the Ladies              Millard               7:30 pm

May 4, 2012                Teada w/ Seamus Begley     Wilde               7: 30 pm


  *Cosponsored with Music for a Change


Shows are added all the time, check wwuh.org for up to date information.

Doors open 30 minutes prior to show time.  UH student ticket price for most shows: $10.

All shows in Wilde are general admission; Millard & Lincoln seats are reserved. 

Automated campus direction line: 860-768-7878

Tickets, if available, are placed on sale at the venue one hour before show time the night of the show.

Tickets for all shows are available from the University Box Office:

860-768-4228 or 1-800-274-8587

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 Études 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 Fauré 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 Cöthen, 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 Jiráčková

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 Façade 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 Václav 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-François 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.]


Sunday Afternoon at the Opera

Your Lyric Theater Program

With Keith Brown

Programming Selections for

March and April 2012







SUNDAY March 4th:

Saint-Saëns, Samson et Dalila. In old Catholic Europe the opera houses closed down for the duration of Lent. Sacred oratorio was performed instead, and oratorio was simply opera without staging and presenting some Biblical subject. From now through Easter Sunday I will likewise be presenting oratorios and other sacred choral works in the Judeo-Christian tradition. On this second Sunday in Lent I am offering up for a third time over a quarter century of "lyric theater" broadcasting the famous Biblical opera by Camille Saint-Saëns, Samson et Dalila. This is the French opera par excellence, yet incredibly, it premiered at Weimar in the heart of Germany in 1877 in German language and did not reach Paris until thirteen years later. Saint-Saëns' score could not be better crafted. This music has indeed stood the test of time. Samson et Dalila has been performed well over a thousand times at the Paris Opera. On two previous occasions, in October of 1993 and November of 2007, I broadcast a classic 1962 EMI recording, released in the US on Angel stereo LPs. Georges Pretre directed the Orchestra of the National Opera Theatre of France, with tenor Jon Vickers as the Hebrew strongman, opposite mezzo Rita Gorr as the Canaanite seductress. EMI has recently reissued in its EMI Classics line the recording made in 1991 at the Opera Bastille in Paris. Opera's reigning international superstar tenor Placido Domingo is paired with mezzo Waltraud Meier. Listen for the voice of baritone Samuel Ramey as the Old Hebrew. Myung-Whun Chung directs the Chorus and Orchestra of the Opera Bastille.

Today "Sunday Afternoon at the Opera" takes part in Marathon 2012, our station's annual week of intensive on-air fundraising. I will be going on mic periodically to urge you listeners to pledge your dollars to my show, which is but one part of the lineup of classical musical programs to be heard every day through the week here at 91.3 FM. You faithful listeners have never failed to help us meet or even exceed our fundraising goal in Marathons past, so I thank you in advance for your generosity.


Sunday March 11th: Schmidt, Das Buch mit Sieben Siegein. The Book of Revelation or the Apocalypse has inspired numerous oratorio-style treatments. For instance, there is the oratorio by Telemann Der Tag des Gerichts ("The Day of Judgment," 1762), or Dietrich Buxtehude's Der Jüngste Gericht ("The Last Judgment"). Recording of these two baroque choral works went over the air on this program on Sundays in 1987 (Telemann) and 1990 (Buxtehude). I last broadcast Franz Schmidt's Das Buch mit Sieben Siegein (1937)on Sunday, April 1, 1990. It seems, however, that only one composer; the Austrian composer Franz Schmidt (1874-1939) has ever attempted a comprehensive setting of the exact Biblical text. "The Book with Seven Seals" is the last gasp of very, very late grand Viennese Romanticism. Schmidt wrote it in mortal illness, facing his own personal demise. He lived just long enough to witness its premiere. "Overwhelming" is the only way to describe the big, big sound of the 1983 Radio Austria recording of Schmidt's monumental meisterwerk. The famous German tenor Peter Schreier is billed with five other notable vocalists of the day in the airtape made of an ORF broadcast from their big broadcast from their big broadcast hall in Vienna. Lothar Zagrosek conducts the chorus of the Vienna State Opera and the Radio Austria Symphony Orchestra. Bob Walsh will be substituting for me this Sunday.



Sunday March 18Th: Walton, Belshazzar's Feast, Grandi, Vespro della Beata Vergine.  Belshazzar's Feast was Sir William Walton's first choral work. The story of this mini-oratorio is taken from the Old Testament Book of Daniel dealing with the arrogant king Belshazzar, the Babylonian captivity of the Israelites, and the fall of Babylon. The premiere of Belshazzar's Feast at the 1931 Leeds Festival, with Sir Malcolm Sargent conducting, created a sensation. Sargent was again in charge when in 1958 EMI recorded Walton's work in Huddersfield Town Hall in the North of England. Sargent commanded the combined forces of the Huddersfield Choral Society and Royal Liverpool Philharmonic Orchestra. That monaural sound recording was reissued in compact disc format, piggybacked on the reissue of the 1954 mono recording Sargent made of Elgar's The Dream of Gerontius in EMI's "Great Recordings of the Century" line. I aired the Sargent Belshazzar's Feast as filler programming in the early 1990s. Then on Sunday, November 28, 1999 I featured it as the BBC taped it in Gloucester Cathedral in England's West Country in 1998. Andrew Davis led the BBC Symphony and Leeds Festival Chorus. You heard it back then on a BBC Magazine CD. Hear it today with Sir Colin Davis directing the London Symphony Orchestra and Chorus, as recorded at the Barbican Centre, London in September, 2008. It comes to us through the orchestra's own LSO Live Record label.

Now for sacred choral music from the dawn of the baroque. Alessandra Grandi (1586-1630) wrote a quantity of motets in the progressive, instrumentally-backed concertato style. He assisted the famous Claudio Monteverdi at St. Mark's basilica in Venice. Grandi never wrote a unified vesper service the way Monteverdi did. Yet it is possible to assemble a Vespers for the Blessed Virgin Mary from Grandi's disparate vocal works. Musicologist Rolf Ewerhart has done precisely that. Ewerhart's construct was taken up by choral director Matthew Halls. He led the two ensembles famous choral director Helmut Rilling founded, the Gachinger Kantorei Stuttgart and the Bach Collegium Stuttgart, with four vocal soloists. Vespro della Beata Vergine was recorded at the 2010 Stuttgart Music Festival and issued the following year on a compact disc through the German Carus label. Keep listening for sacred polyphonic vocal music in the conservative a capella style by Giovanni Perluigi da Palestrina. The choir of Westminster Cathdral sings Palestrina's Missa Tu Es Petrus. Martin Barker directs the choristers. A 2010 release from the UK Hyperion label.



Sunday March 25th: Penderecki, Utrenja, MacMillan, Seven Last Words from the Cross. I have featured both these works previously: Utrenja on Palm Sunday, April 16, 2000, and Seven Last Words during Lent on Sunday, March 18, 2007. Since those broadcasts both works have been recorded again. Krzyszt of Penderecki (b. 1933) also composed a Saint Luke Passion (1965), which is perfect for Palm Sunday presentation. On that Sunday in 1999 I aired the world premiere PHILPS/Argo recording, the one with the composer conducting. Utrenja (1970-71) built upon the success of Penderecki's Passion. The two parts of the later composition were conceived to form a complete musical triptych alongside the St. Luke setting. Utrenja is the name given to the Holy Saturday/Easter Vigil service in the Old Slavonic Orthodox liturgy: the counterpart to Matins and Lauds in the Roman Catholic rite. Penderecki's work consists of settings of extracts from the ritual for Saturday night and very early Sunday morning. The world premiere recording of Utrenja came out on two PHILIPS LPs with Andrzej Markowski marshalling the performing forces. The recording you'll hear today was released in 2009 on a single Naxos compact disc. It was made in Warsaw , Poland in 2008 at the Philharmonic Hall, with Antoni Wit conducting the Warsaw Philharmonic Orchestra and Choir, the Warsaw Boys' Choir, and four vocal soloists.

James MacMillan (b. 1959) is a Catholic Scottish composer specializing in religious choral music. MacMillan was commissioned to provide choral arrangements of the seven utterances of Jesus Christ upon the Cross for a BBC Television broadcast during Holy Week of 1994. He scored his Seven Last Words from the Cross for mixed voice choir and chamber orchestra. To the specific Last Words in the Gospel accounts of Christ's Passion, he added passages from sacred texts in both English language and Latin. In 2005 the UK Hyperion label issued a splendid recording of MacMillan's Words with Stephen Layton directing his own choral group Polyphony and the Britten Sinfonia. Now you get to hear the 2009 Naxos CD, which was released so as to mark the composer's fiftieth birthday. MacMillan is quoted on the CD cardboard jacket notes as being thrilled with the new interpretation of his choral composition from the singers and string players of the Dmitri Ensemble, a British choral group founded a mere eight years ago. This is the ensemble's debut on disc. Graham Ross is their director.



Sunday April 1st: Schütz, St. Luke Passion, Rothe, St. Matthew Passion, Pergolesi, Stabat Mater. On this Palm Sunday listen for two back-to-back rendings of the Passion narrative from the 17th century in the German Lutheran tradition. Germany's greatest composer of the mid century, Heinrich Schütz (1585-1672), set the St. Luke Passion to music in 1666, presumably for the chapel choir of the Royal Court of Saxony at Dresden. His is not a Passion-oratorio as we know it from Johann Sebastian Bach. Schütz wrote in the earlier, much more simplified style of the choral historia. The performance resources required are simple too: a dozen choristers and two male soloists who portray Jesus and the Evangelist. No instruments at all. Paul Hillier and the singers of Ars Nova Copenhagen recorded Schütz's magnum opus (actually, one of four settings of the Gospel narratives) in Copenhagen in 2007. Schütz had a connection with the Danish capital city. The Royal Court of Denmark employed him as Kapellmeitser for three separate periods of service. The Lucas-Passion was released on a single CD in 2009 through the Danish label DaCapo.

In the very heart of Germany, Thuringia is the native region of both Martin Luther and the Bach family. Even the lesser Thuringian towns had a vibrant musical life four centuries ago. In those days the town of Sondershausen's most distinguished resident musician was Johann Christoph Rothe (1653-1700). He was both a vocalist and instrumentalist. He had worked for a princely court chapel at Coburg for a while. Rothe is credited with writing the earliest surviving German Lutheran Passion-oratorio, his Passio Domini Jesu Christi Secundum Matthaeum (1697). Rothe's oratorio is scored for vocal soloists portraying the Evangelist, Jesus, Peter, Judas, Pilate, Pilate's wife, Caiaphas and two hand maidens, plus chorus, a small string ensemble and organ/harpsichord continuo. The boy Johann Sebastian might well have heard Rothe's music or become acquainted with Rothe's compositions later in life. The world premiere recording of the Rothe St. Matthew Passion was made in 2009 with the singers and players of Cantus and Capella Thuringia, Bernhard Klapprott directing. The German label cpo issued it on two compact discs.

There will be time remaining for a Catholic devotional work, Giovanni Battista Pergolesi's setting of the Latin poem Stabat Mater (1736). Pergolesi was an opera composer who wrote music in the progressive Neapolitan style of the late baroque. Another later Neapolitan opera composer, Giovanni Paisiello, reorchestrated it in 1810 to make it sound more "classical." The Pergolesi/Paisiello Stabat Mater went over the air on a Lenten Sunday in 2001. Now you get to hear it in Pergolesi's original orchestration. Deutsche Grammophon recorded it in 2010 to commemorate the 300th anniversary of Pergolesi's birth. The voice of the popular young Russian soprano Anna Netrebko is heard along with contralto Marianna Pizzolato. Antonio Pappano directs the Orchestra dell' Accademia Nazionale di Santa Cecilia of Rome.


Sunday April 8th: Sandström, Messiah, Narbutaité, Tres Dei Matris Symphoniae. Handel's Messiah would be one obvious choice for Easter Sunday programming. Sweden's leading contemporary composer of religious music, Sven-David Sandström (b. 1942) took Charles Jannens' libretto for Messiah with almost no alterations and composed his own completely new music to it. He scored his new Messiah (2009) very much as Handel would have for orchestra, chorus, and four vocal soloists. Sandström dedicated the work to Helmut Rilling, one of the world's greatest choral directors. (Recordings with Rilling as conductor have gone over the air on this program with regularity.) A specialist in baroque repertoire, Rilling himself gave the world this new Messiah at the Oregon Bach Festival, who commissioned the oratorio. Sandström's Messiah was recorded live in performance in Stuttgart in coproduction with Southwest German Radio. Again, Rilling was on the podium leading the Festivalensemble Stuttgart. The German label Carus released Messiah on two CDs back in 2010. This recording is a real ear-opener, in the opinion of reviewer Henry Fogel. Writing about the "astonishing performance" for Fanfare magazine (Sept/Oct, 2010 issue), Fogel tells us, "You might even listen to Handel's Messiah with different ears in the future."

Sandström's Messiah doesn't last as long in performance as the Handel original, which means we will have time to audition a non-conventional oratorio-of-sort by the Lithuanian neo-romantic composer Onute (or Ann) Narbutaité (b. 1956). Tres Dei Matris Symphoniae ("Three Symphonies of the Mother of God," 2002-03) consists of three interlocking choral/orchestral movements with a closing oratio or prayer. Narbutaité assembled her own libretto from Latin liturgical and devotional verse: the Gloria, Stabat Mater, the Biblical Song of Songs and O Clarissima Mater by Hidelgard of Bingen. The chosen texts reflect in some way upon the relationship between Mary and Jesus. A live-in-broadcast recording of the "Three Symphonies" was made in 2008 courtesy of Lithuanian National Radio in the Lithuanian National Philharmonic Hall in Vilnius, the capital of Lithuania. Robertas Servenikas conducts the Lithuanian National Symphony Orchestra, Kaunas State Choir and Aidija Chamber Choir. Naxos Records brings Narbutaité's music to us on a single compact disc. Keep listening for Easter cantatas in both Latin and German language by Johann Pachelbel (1653-1706), with Roland Wilson directing the period instrument players of Musica Fiata and the singers of La Capella Ducale (a 2004 cpo release).



Sunday April 15th: Handel, La Resurrezione. George Frideric Handel's career as a composer really took off in the period in his youth spent sojourning in Italy (1706-08). His patrons in Rome recognized his genius and gave him the breaks he needed to make a name for himself. It was for one of these Roman aristocrats that Handel wrote his first two oratorios, the second of which La Resurrezione was given in concert several times in Rome with considerable success. This resurrection oratorio was commissioned for performance at Easter of 1708. Its libretto is in Italian language and the music Handel wrote for it is in the genre of the Italian vernacular oratorio, which is almost identical with the Italian opera seria, only without staging, so La Resurrezione sounds quite different from Handel's later English oratorios. There's nothing of the grand choral sound we're familiar with from Messiah. Nevertheless, the score young Handel contrived for La Resurrezione is one of his most colorful. The way it sets forth the story of Christ's return on the third day is intensely dramatic, intensely operatic. Handel's early masterwork was first recorded complete in 1981 for Decca/L'Oiseau Lyre. Christopher Hogwood's Academy of Ancient Music reproduced as accurately as possible the sonorities of baroque instrumental practice. The "Lyre Bird" recording in its CD reissue went over the air on this program on Easter Sunday, 1994. Another recording of La Resurrezione in period instrumental treatment was made at Utrecht in the Netherlands in 1990. The original 1991 Erato CD release became available to the public again in 2011, this time under the Apex label, on two silver discs. Ton Koopman directs the Amsterdam Baroque Orchestra. Vocal soloists include soprano Nancy Argenta, tenor Guy de Mey and bass Klaus Mertens. We are now in the forty day period when Christ walked the Earth in resurrected form, then ascended bodily into Heaven, so the Resurrection story remains very much in mind for Christian believers. After you hear La Ressurezione, stay tuned for broadcast of a brand new Harmonia Mundi recording: Il Caro Sasson: Handel in Italy, with soprano Lucy Crowe singing Handel's Italian language secular cantatas. The English Concert of period instruments backs her. Harry Bicket directs the players.



Sunday April 22ND: Glass, Orpheé, Gounod, Faust highlights. I am amazed at what a prolific composer of opera America's pioneering minimalist composer Philip Glass (b. 1937) has become. I have broadcast so many of his lyric theater works going back over three decades. For instance, there's La Belle e la Béte ("Beauty and the Beast," 1994). Ivonesuch Records released on two CDs the operatic soundtrack Glass composed to be synchronized with the 1946 Cocteau film. (Broadcast Sunday, April 30, 2006.) Down through musical history just about every opera composer of any stature has essayed the ancient Greek myth about Orpheus. Now here's Philip Glass' modern take on it. Once again he turned to a film by Jean Cocteau, although this time he has adapted it for the operatic stage. Glass' music is nothing like Georges Auric's romantic-sounding music for the 1949 movie soundtrack. Glass does work some of the sound effects of the old flick into his score, like the roar of motorcycle engines. Amazingly, it took seventeen years for the live-in-performance music for Orpheé to reach the listening public. It premiered at the Cambridge Repertory Theater in 1993. Portland Opera revived it in 2009. This is Philip Glass at his most lyrical and accessible. Glass now has his own record label, Orange Mountain, through which in 2011 the Portland Opera production was put into a two CD package, sung in French language.

After so many weeks of broadcasts of sacred vocal works, it's time to "give the devil his due," as it were. From the Orpheus legend we pass on to a much newer story about Doctor Faust. EMI has issued this past year in its "Classics" line more than an hour's worth of highlights of Gounod's Faust from a 1978 recording in concert in Paris. The singing cast consists of internationally acclaimed talents. The Bulgarian bass-baritone Nicolai Ghiaurov portrays the demon Mephistopheles, who tempts the learned doctor, who is superstar tenor Placido Domingo. Italian soprano Mirella Freni is the girl Marguerite. English baritone Thomas Allen is heard as her brother Valentin.


Sunday April 29th: Shakespeare, Much Ado About Nothing.  My broad definition of "lyric theater" programming includes spoken word presentations, especially the plays of William Shakespeare. In more recent years I have broadcast CD recordings in the BBC Radio Collection series, which were all originally BBC Radio broadcasts: Julius Caesar, Twelfth Night and Henry IV, Part One, also a Random House Audiobooks CD issue of yet another BBC broadcast of King Lear from 1994, with Sir John Gielgud in the title role. Before that the complete plays of Shakespeare were recorded in early stereo sound for issue on Decca/Argo/London LPs. Farther back in years I made use of many of the boxed LP sets in that old series. These were all taped studio productions not arising from radio transmission. The Marlowe Dramatic Society and Professional Players were directed by John Rylands. Much Ado About Nothing (1600) is one of Shakespeare's comedies from his mature middle period of dramaturgy. This is a "mature" comedy about a gentleman and a lady, Benedick and Beatrice, whose love is estranged. A much younger Gielgud is heard opposite Peggy Ashcroft. Argo issued Much Ado About Nothing on three vinyl discs in 1962. I have broadcast Much Ado once before on Sunday, June 29, 1986, when I aired the RCA Victor LP recording of Franco Zefirelli's 1965 production of the Bard's comedy at London's legendary Old Vic, the National Theatre of Great Britain.

I must thank my WWUH radio colleague Bob Walsh for substituting for me on Sunday, March 11th. The recording he will be presenting, Franz Schmidt's Apocalypse oratorio Das Buchmit Sieben Siegein is to be found in our station's ever-growing collection of classical music on disc. Actually, almost all the recordings featured during this two-month period of programming are from the station's record library with two exceptions: Sven-David Sandström's Messiah, which comes on loan for broadcast from private collector Rob Meehan, and Shakespeare's Much Ado About Nothing which is in my own collection. Rob Meehan is a former classics deejay here at WWUH, and a specialist in the alternative musics of the twentieth and twenty-first centuries. He's been loaning me recordings for broadcast throughout my three decade long tenure in the Sunday opera timeslot. I thank him again as always and must also thank once again Vickie Hadge of Virtually Done by Vickie for her assistance in the preparation of these notes for cyber-publication.





John Ramsey              General Manager/Chief Engineer

Susan Mullis              Director of Development

Joe Rush                    Program Director

Mary Dowst                 Acting Business Manager

Mike DeRosa               Acting Community Affairs Director

Kevin O'Toole              Acting Operations Director

Jim Christensen         Member At Large

Andy Taylor                 Music Director

Ed McKeon                  Folk Music Director

Brian Grosjean            World Music Director               

Chuck Obuchowski     Jazz Music Director

David Schoenfeld         Web Master



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.

WWUH can be heard on the following stations at various times throughout the day.

WWEB, 89.9 MHz, Choate Rosemary Hall Foundation, Wallingford, CT. (Time varies each day)

WDJW, 89.7 MHz, Somers High School, Somers, CT. (6am - 12 M)

WAPJ, 89.9 MHz, Nutmeg Conservatory, Torrington, CT. (times vary throughout the day

Several area cable systems and cable public access stations also rebroadcast our signal during on TV programming hours, including HCT-TV channel 5 in Hartford and WPAA, channel 18 in Wallingford.  If we're not on your cable system, call your local cable company to request that WWUH be added to their system.  We'll be glad to supply them



McNall Allison, Greg Banks, Keith Barrett, Larry & Faith Bilansky, Bart Bozzi, Steve Brewer, Keith Brown, David Buddington, Brian Burness, Peter Carbone, Michael Carroll, Bob Celmer, Mark Channon, Monica Chaudhary, Jim Christensen, Deborah Conklin, Dave Cyr, Mark DeLorenzo, Mike DeRosa, Scott Deshefy, Steve Dieterich, Michael Dolan, Kenneth Dowst, Mary Dowst, Bobby Gomes, Brian Grosjean, Susan Forbes Hansen, Sam Hatch, Eugene Hazanov, Gilberto Heredia, John Holder, Joan Holiday, Harvey Jassem, Wayne Jones, Brandon Kampe, Bruce Kampe, Kevin Lamkins, Chris Larson, Gregory Laxer, Pete LeBlanc, Gary Levin, Rohan Long,  Will Mackey, Tony Magno, Doug Maine, Chris Marti, Mike Marti, Walter Mayo, Rob McGuire, Ed McKeon, Bill Measom, Marsha & Jim Meehan, Peter Michaelson, Phillip Mitchell , Susan Mullis, Chuck Obuchowski, Kevin O'Toole, Priscilla Parillo, Stephen Petke, Keri Prevost, John Prytko, John Ramsey, Henrique Ribeiro, Mark Rinas, Maurice Robertson, Peter Rost, Dave Rozza, Joe Rush, Mark Santini, David Schoenfeld, Dane Scozzari, Sam Scozzari, John Scott, Alan St. Laurent, Doug Sturbens, Andy Taylor, Steve Theaker, Dwight Thurston, Rob Turner, Rob Tyrka, Aldo Veronesoni, Robert Walsh, Lloyd Weir, Andy Zeldin.



Studio Line: (860) 768-4701

Office: (860) 768-4703

Music Department: (860) 768-4725

Listener Line: (860) 768-5913

WWUH Fax: (860) 768-5701

WWUH E-Mail Address: wwuh@ hartford.edu

WWUH available on the WWW via RealAudio &/or Windows Media

Web page and RealAudio can be found at: http://wwuh.org

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.


Charlie Allen, Larry Titus, Dave Nagel.



The WWUH Alphabetical Menu of Programs

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.


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.


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.

Thanks for reading our on-line WWUH Program Guide, we look forward to sending you updates and information to make your listening more enjoyable and interesting.



Susan Mullis
Director of Developement, WWUH