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Broadcasting as a Community Service
from The University of Hartford

WWUH Program Guide for
November and December 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

  There is a chill in the air but you can depend on WWUH to fill your home with musical warmth and great public affairs programming!


As we journey towards the end for 2012 I want to thank all our listeners for helping make the Fall Fund Raiser 2012 a grand success!!  We have over $42,000 pledged from you the best listeners on the planet. Reminders have been sent out for all who are paying by check and premiums are going out over the next few weeks for all who paid via credit card. Our address is WWUH, 200 Bloomfield Ave, West Hartford, CT 06117. If you are expecting a denim shirt or other item it will be in your home soon for you to enjoy. Thanks again for making helping to keep WWUH on the air! Our wonderful will continue Celtic concerts have resumed after the summer renovation to Wilde Auditorium and we will continue to present the best in alternative programming for you every day.You can find out what is playing by going to our program grid at WWUH weekly program grid.


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! 


Listen online, we are 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  


Follow us on WWUH twitter page

Twitter - @wwuhradio

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 WebsiteOur On Line PlaylistWeekly Program Grid




U of Hartford Women's basketball - Go Hawks!  



Hawks and WWUH  

Prove Championship Pair


On the court and in the classroom, the University of Hartford Women's Basketball team has gained a national reputation for excellence.


The Schedule for the beginning of the 2012-13 Season follows:

WWUH will broadcast the games again this season, broadcasts start 15 minutes prior to the start of the games.  We hope you will enjoy hearing the Hawks live on WWUH again this year.


For a full schedule and more information about the games and team please click on the link below:


University of Hartford Women's Basketball 



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






November and October 2012 









            Thanks to all of you who contributed to our successful Fall Fund Raiser. Your ongoing support of Celtic Airs and WWUH Radio are essential and much appreciated! The concert series will continue to be another source of funding for our commercial free enterprise.

            Our November Celtic Airs concert features a return visit from Runa on November 16th at 7:30 in the Wilde Auditorium. I've decided not to present a concert in December as it always seems to be a month already too full of holiday plans and commitments.

            Runa is a quintet composed of husband and wife Fionan de Barra (from Ireland), and Shannon Lambert-Ryan (from Philadelphia), Galway's Dave Curley, Canadian Cheryl Prashker and Tomoko Omura from Japan! They present a fusion of music from Ireland, Scotland, Canada and America. As you might expect, based on their diverse cultural backgrounds, their repertoire includes highly energetic and graceful tunes mixed with beautiful songs, presented in a fresh, appealing style.

            In addition to their commitment to Runa, the band members each have their own projects and pursuits. Their talents have been recognized by other traditional musicians and they have spent time with a number of well known artists/ensembles including Solas, Riverdance, Clannad, Fiddlers Bid, Moya Brennan and Eileen Ivers.

            Shannon Lambert-Ryan is from Philadelphia. Her musical background, before forming Runa, included Celtic, Folk and Classical music and acting in musical theater. Her vocals are rich and vibrant, backed by her gentle piano playing.

            Fionan de Barra was born in Dublin into the well known de Barra family which has produced a bevy of talented musicians, many of them actively involved in the traditional music of Ireland. He first came to America in 1999 as guitarist in Riverdance. USA. He moved on to become musical director for the Moya Brennan Band and produced and played on a number of her solo albums. Currently, he splits performance time between Runa, Fiddlers Bid and Clannad, the renowned Brennan family band fronted by lead vocalist Moya Brennan.

            Galway's Dave Curley has been heralded as a sensational multi-instrumentalist as well as a singer and dancer known for velvet vocals and quick feet. He is proficient on guitar, banjo, mandolin and bodhran and earned a BA in Irish Music at The University of Limerick. He has previously performed in the Celtic Airs concert series with the Irish band Slide.

            Cheryl Prashker studied classical percussion at McGill University in Montreal. After graduation, she moved to New York City where she branched out to play Rock and Roll, Klezmer and Celtic music. She is often sought as a guest musician for touring bands and as a studio musician, contributing her special brand of percussion to a variety of recordings and performances.

            Tomoko Omura, born in Japan, began to play classical violin at age four. As a teenager, she became interested in Rock and Roll and Jazz. It was her passion for jazz that prompted her to move to America to attend the Berklee College of Music in Boston. Following graduation, she produced a critically acclaimed album of self-penned material for jazz violin. This led to a 2008 "Honorable Mention" award at the International Songwriting Competition. In 2009, Strings Magazine recognized her as one of their top fifteen "Emerging Solo Artists." She now resides in New York City and is involved in many musical endeavors including her own jazz ensemble that performs in venues all over the world.

            In a review of a Runa performance, The Philadelphia Irish said "There is a truly mystical quality to their playing. They create a lyrical sound that is at once unique and seamless."

            If you're looking for one last night of live Celtic music to carry you into the holiday season, I can highly recommend an evening spent with Runa on Friday, November 16th at 7:30 in the University of Hartford's Wilde Auditorium.

            Tickets for this event are only available through the University Box Office, open Monday- Friday, 10:00 AM - 6:00 PM. Call 1-800-274-8587 or 860-768-4228. On line purchases can be made at www.hartford.edu/hart

            I hope you will continue to tune into Celtic Airs Tuesdays from 6-9AM on WWUH 91.3 FM or  via wwuh.org , streaming live on the internet.

 University of Hartford Box Office


                                                               Steve Dieterich, Producer/Host of Celtic Airs

                                                         Producer /Promoter of the Celtic Airs concert series.



WWUH Classical Programming -

November and December 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






Wagenaar: Overtures; Quilter: Songs; Bjelinski: Clarinet Sonata; Mathias: Let the people praise Thee O God; Classical Happy Hour Wagner: Tannhauser - Fest March; Vivaldi: La Senna Festeggiante - Sinfonia; Brahms: Academic Festival Overture; Alfven: Festival Overture; Soderman: Swedish Festival Music; Shostakovich: Festive Overture; Svendsen: Festival Polnaise Op. 12.



Keith Emerson: Piano Concerto



Verdi: Don Carlo



Whitman Settings - Holst: Walt Whitman Overture, To the Soul; Thomas Hampson Sings settings of Walt Whitman; Carpenter: Sea Drift; Hanson: Symphony #7, "A Sea Symphony"; Creston: Walt Whitman; Hanson: Drum Taps Drake's Village Brass Band - Persichetti: Celebrations; Iannacone: Sea Drift



A clarinet quintet, a group of Scarlatti keyboard sonatas, a piano trio, a 20th-century violin concerto; music recently performed, and/or soon to be performed locally.



Johann Vanhal: Symphony in D Minor; Robert Carver: Missa Fera Pessima; Zygmut Stojowwski: Piano Concerto No. 1 in F Sharp Minor; Spohr: Clarinet Concerto No. 4 in E Minor; Georges Onslow: Sonata No. 2 in F Minor, Op. 22



Witt: Flute Concerto in G; Kalkbrenner: Piano Concerto #1 in d; Bax: The Garden of Fand, Tintagel; Zaimont: Sky Curtains; Mozart: String Quartet #21 in D K.575.



Rodrigo: Concierto de Aranjuez



Britten: War Requiem; J. C. Bach: Missa da Requiem



Zemlinksy: The Mermaid - Fantasy after Hans Christian Anderson; Strauss: Macbeth, An Alpine Symphony; Mahler: Ruckert Lieder; Korngold: Songs of Farewell

Drake's Village Brass Band - The Hannaford Street Silver Band performs Holst, Vaughan Williams and others



Gemmingen: Violin Concerto #1; Schubert: String Quartet #10, D. 87



Host's Choice



Strungk: Sonata in d; Delalande: Venite Exultemus; Herschel: Oboe Concerto in E Flat, Symphony in F; Carwithen: Suffolk Suite; Dickinson: Hymns, Rags, and Blues; Tchaikovsky: Symphony #1 "Winter Daydreams".



Music of Paul Hindemith



Pre-empted - Women's Basketball



Tippet: The Rose Lake; Foulds: A World Requiem

Drake's Village Brass Band - The Hannaford Street Silver Band - Brass Links



Röntgen: Symphony #6; Frank: Leyendas: An Andean Walkabout; Smetana: Má Vlast; Lauridsen: Lux Aeterna



Dvorak: Symphony No. 9, "From the New World"; Joseph-Hector Fiocco: Missa Solemnis; Tomas Svoboda: Nine Etudes in Fugue Style; Busoni: Ten Variations on a Prelude by Chopin; Antonio de Cabezon: Differencias



Obrecht: Salve Regina, Tsat een meskin; Benda: Flute Concerto in e; Wilhelm Friedemann Bach: Concerto for 2 Harpsichords in F; Sinfonia in d; Duet for 2 Flutes in e; Kreutzer: Trio for Piano, Clarinet & Bassoon Op. 43; Rodrigo: En Los Trigales, Concierto Madrigal for 2 Guitars, Concierto Heróico; Britten: Hymn to the Virgin, Sinfonia da Requiem; Schuller: Suite for Wind Quintet.



Music of Krzysztof Penderecki



Pre-empted - Women's Basketball



Music from the BBC - Delius: Sea Drift; Kabalevsky: Cello Concerto; Bartok: Concerto for Orchestra; Arnold: Symphony #1; Vaughan Williams: Symphony #9

Drake's Village Brass Band - United States Anniversary Band of Flight - Golden Anniversary Celebration



A clarinet quintet, a group of Scarlatti keyboard sonatas, a piano trio, a 20th-century violin concerto; music recently performed, and/or soon to be performed locally.



Vaughan Williams: Symphony No. 3, "Pastoral"; Rachmaninov: Piano Concerto No. 2; Johann Eberlin: Toccatas; Marco Uccelini: Sonatas; Agostino Steffani: Sonata IV



Lully: Armide-Suite, Dies Irae; Donizetti: Arias, String Quartet #16; Brüll Andante and Allegro Op. 88; Beethoven: Piano Concerto #3 in c Op 37; Paul Hillemacher: Si mes vers avaient des ailes.



Classical Conversations - A Quarterly Feature




Mozart: Die Zauberflote



Luke: Concerto for Bassoon; Shapero: Sonata for Piano Four Hands; Debussy: Epigraphes Antiques; Belinis: Toward the Sunshine, Toward Freedom, Songs of Smaller Creatures; Getty: Young America; Tower: Trio Cavany; Kernis: Musica Celesta

Drake's Village Brass Band - The Scandinavian Connection with the Danish Concert Band and Christian Lindberg



A clarinet quintet, a group of Scarlatti keyboard sonatas, a piano trio, a 20th-century violin concerto; music recently performed, and/or soon to be performed locally.



Martinu: Symphony No. 2; Johannes Ockeghem: Missa Cuiusvis Toni a 4; Diana Burrell: Viola Concerto

Nicolas Vallet: Lute Pieces; Stravinsky: Capriccio for Piano and Orchestra



Vecchi: Mostrav'in ciel; Johann Christoph Bach; Meine Freundin du bist Schoen; Lovreglio: Concert Fantasia on themes from Verdi's "La Traviata" Op. 45; Lamb: Rags; Fernstrom: String Quartet #6; Klein: Duo for Violin and Cello; Gorecki: Symphony #3 Op. 36 "Symphony of Sorrowful Songs"; Svoboda: Trio for Flute, Oboe, and Bassoon; Sheng: Seven Tunes Heard in China - Tibetan Dance



Richard Rogers: Victory At Sea



Pre-empted - Women's Basketball



Nyman: Piano Concerto, Trombone Concerto; Reich: Three Movements for Orchestra; Glass: The Juniper Tree

Drake's Village Brass Band - United States Navy Band- Jubilee



Bloch: Voice in the Wilderness; Rott: String Quartet in c; Hérold: Symphony #1; Orff: Catulli Carmina



Stamitz: Sinfonia Concertante; Johannes Tinctoris: Missa L'Homme Arme; Ruth Crawford: Sonata for Violin and Piano; Norbert Burgmuller: Piano Sonata in F Minor; Smetana:  Hakon Jarl; Sweelinck: Toccatas



New Releases. A Sampling of New Acquisitions from the WWUH Library, including Mahler: Symphony #2 "Resurrection".



The humor of Spike Jones



Pre-empted - Women's Basketball



Monday Night at the Movies - Barry: The Black Hole; Bernstein: The Black Cauldron; Tiomkin: The Greatest Film Scores LSO Concert;

Drake's Village Brass Band - The United States Air Force Band of the West - Destinations



Schein: Music for Brass; Melartin: Suite lyrique #3; Boccherini: String Quartet in D; Byrd: Mass for five voices



Alexandre Tansman: Sinfonia Piccola; Christian Cannabich: Symphony No. 64 in F; Virgil Thompson: At the Chelsea Hotel; John Tavener: Schuon Hymnen; Giovanni Tibaldi: Trio Sonatas; Francesco Da Milano: Fantasias



Pokorny: Concerto for 2 Horns in F, Flute Concerto in D; Hadley: The Culprit Fay; Holmboe: Chamber Symphony #1, Chamber Concerto #11 Op.44; Getty: 3 Welsh Songs; Harbison: Cucaraccia & Fugue; Mascari: Mount Washington; Márquez: Danzon #2.



Music of the Season



Puccini: La Boheme



Host's Choice



A Classical Christmas



Haydn: Symphony No. 90 in C Major; Offenbach: Bluebeard Ballet Suite; Nikolai Medtner: Piano Quintet in C Major; Manuel Cardoso: Missa Pro Defunctis; Anthoni van Noordt; Psalm CXIX; Enriquez de Valderrabano: Songs



Goss: Psalm 127; Schoemaker: Flemish Rhapsody; Blank: Overture for a Happy Occasion; Walters: Primavera Overture, A Gwent Suite; Foster: Hard times come again no more; Gershwin: Promenade (Walking the Dog); Byrd: My Mistress had a Little Dog; Reed: The Hounds of Spring; Schoenfield: Four Parables - Dog Heaven; Cowell: Woof; Hindemith: Tuttifäntchen.



Some of our favorite recordings received in 2012



Haydn: Die Schopfung



Host's Choice

Blue Monday

9 PM to midnight

Hosted by Bart Bozzi


Tune in to Blue Monday during November and December for the following features:


Featured Artist


November 5                 Johnnie Bassett (1935-2012)     

November 12               Robben Ford

November 19               Nighthawks

November 26               Candye Kane

December 3                 Michael Bloomfield

December 10               Muddy Waters

December 17               Christmas Blues 


Back to the Roots



November 5                 Rhythm & Blues

November 12               Boogie Woogie

November 19               Texas Blues

November 26               Jump Blues

December 3                 Delta Blues

December 10               Kansas City Blues

December 17               Christmas Blue 


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                                                   



                   November 16           Runa                                        Wilde                  7:30 pm
                   March 8, 2013          Goitse                                      Wilde                  7:30 pm
                   March 23, 2013        Dervish                                   Millard                 7:30 pm
                   April 5, 2013             Litha                                         Wilde                  7:30 pm
                   April 26, 2013           Jim Malcolm                           Wilde                  7:30 pm

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. 

Tickets go on sale 2 months before the event and are ONLY available from the 

University of Hartford Box Office.  


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

November and December 2012

Presented by Steve Petke



November 1

1666 James Sherard

1731 Theodore-Jean Tarade

1748 Christoph Rheineck

1761 Antonin Josef Alois Volanek

1805 Alessandro Nini

1832 Johann Gottfried Matthison-Hansen

1851 Andre Wormser

1854 William Paris Chambers

1862 Johan Wagenaar

1863 Alfred Reisenauer

1871 Alexander Spendiarov

1873 Charles Quef (Paul Florimond)

1877 Roger Quilter

1887 Max Trapp

1901 Szymon Laks

1907 Rio Gebhardt

1909 Bruno Bjelinski

1921 Jan Tausinger

1921 John Willard Peterson

1934 William Mathias

1962 Roman Pieruzek

1968 Javier Jacinto


November 8

1590 Francesco Gonzaga

1657 Thomas Bullis

1725 Johann George Tromlitz

1770 Friedrich Witt

1785 Friedrich Kalkbrenner

1849 Edward Julius Biedermann

1850 Karel Komzak

1867 Ilmari Henrik Reinhold Krohn

1882 Lazare Saminsky

1883 Sir Arnold Bax

1887 Yury Alexandrovich Shaporin

1888 David Monrad Johansen

1900 Mihailo Vukdragovic

1902 Walerian Josef Gniot

1906 Rudolph Arnold Dolmetsch

1909 Norman Lloyd

1912 Jean-Louis Martinet

1921 Jerome Hines

1921 Douglas Townsend

1945 Arnold Rosner

1945 Judith Lang Zaimont

1950 Christopher Bochmann


Arnold Bax

Birth: November 8, 1883 in Streatham, London, England

Death: October 3, 1953 in Cork, Ireland

The eldest son of a wealthy Nonconformist family, he enjoyed independent means and was able to devote himself entirely to composition and writing. He described himself as "a brazen romantic," and in some respects could be considered the last of the European post-Romantic school of composers. During his five years at the Royal Academy of Music, Bax was deeply impressed by the poetry of W.B. Yeats, founder of the Irish National Theater. Bax's earlier works, which include the tone-poems In the Faery Hills, The Garden of Fand and Tintagel, are imbued with the spirit of Celtic legend, an interest ignited by his reading Yeats's The Wanderings of Usheen in 1902. In the Fairy Hills, is typical of the fantastic and exotic nature of his orchestral writing, chromatic and opulent, with a broad melodic sweep and luminous harmonies. The Garden of Fand, an imaginative evocation of an ancient legend of sea gods and goddesses, is similarly impressionistic, though less naturalistic, than Debussy's La Mer. Tintagel, inspired by traditional English stories of King Arthur and his Knights of the Round Table was composed in 1919 after a holiday in Cornwall and quickly became Bax's most frequently performed work. Living in the shadow of composers like Elgar and Vaughan Williams, Bax received little public recognition until late in life. Up to the late 1930s, his songs, choral works, and chamber music were rarely heard, and, had it not been for a broadening of his style and the championship of Sir Adrian Boult, conductor of the BBC Symphony Orchestra, Bax would probably be remembered, if at all, for his comparatively youthful works. On a visit to Scandinavia in 1932, Bax met Sibelius and the two composers became friends. While Sibelius' influence is not obvious in Bax's symphonic style, he is clearly indebted to the Finnish master in Winter Legends and The Tale the Pine-Trees Knew. Bax later turned his attention to abstract forms, producing important cycles of string quartets, piano sonatas, concertos, and symphonies. The latter, spanning the years 1923-39, form a substantial body of works, ranging from the angry tones of the First Symphony (inspired by the tragedy of the Easter Rising of 1916 and the death of several Irish friends), through the epic Second Symphony and the Third, which established the hallmark of a closing, serene epilogue, to the more classical Seventh with its variation finale. In addition to the string quartets he produced many other colorful chamber works including the fine Elegiac Trio for flute, viola, and harp, an Irish Elegy for cor anglais, harp, and string quartet, the striking Harp Quintet, and three works for larger forces: a nonet, an octet, and a septet. A composer with great facility, Bax developed a vivid orchestral palette drawn eclectically from Wagner, Richard Strauss, Debussy, Elgar, and the Russians, all of whom he admired. He wrote plays, novels, and poetry under an Irish pseudonym, Dermot O'Byrne. He was knighted in 1937. In 1942, he was appointed Master of the Kings' Music and in 1943 he published his autobiography, Farewell my Youth. His last work, written to celebrate Queen Elizabeth II's coronation in 1953, is a set of madrigals called What is it like to be young and fair.



November 15

1604 Davis Mell

1640 Nicolaus Adam Strungk

1657 Michel Richard Delalande

1696 Gerhardus Havingha

1705 Louis-Gabriel Guillemain

1738 Sir William Herschel

1746 Joseph Quesne

1774 William Horsley

1775 Georges-Julien Sieber

1800 George Rodwell

1810 Anne Marie Leopoldine Blahetka

1829 Frederic Etienne Barbier

1878 Bela Reinitz

1888 Dr. Artie Matthews

1902 Frederico Freitas

1905 Francis Chagrin

1912 Ivana Lang

1920 Jerome Richardson

1922 Doreen Carwithen

1925 Jurriaan Andriessen

1934 Peter Dickinson

1940 Robert Hampton Burt


November 22

1450 Jacob Obrecht

1690 Francois Collin de Blamont

1709 Frantisek (Franz) Benda

1710 Wilhelm Friedemann Bach

1780 Conradin Kreutzer

1838 Jose Augusto da Ferreira Veiga, Viscount d' Arneiro

1870 Howard Brockway

1879 Julio Salvador Sagreras Ramirez

1896 Mario Labroca

1900 Hugo Godron

1901 Joaquin Rodrigo

1907 Bernard Naylor

1913 Benjamin Britten

1917 Jean-Etienne Marie

1922 Fikret Meshadi Jamil Amirov

1923 Dika Newlin

1924 Axel Borup-Jorgensen

1925 Gunther Schuller

1936 Hans Zender

1952 Frank Wallace

1963 Vasil S. Tole


Wilhelm Friedemann Bach

Birth: November 22, 1710 in Weimar, Germany

Death: July 1, 1784 in Berlin, Germany

Wilhelm Friedemann Bach, the second child and eldest son of Johann Sebastian Bach and Maria Barbara Bach, was an organist, improviser and composer. When Friedemann was 9, his mother died suddenly. J. S. Bach remarried in December of 1721. J. S. Bach supervised Friedemann's studies in keyboard and composition with great attention. At the age of 16 he went to Merseburg to learn the violin with Johann Gottlieb Graun. In addition to his musical training, Friedemann received formal schooling beginning in Weimar. When J.S. Bach took the post of Cantor of the St. Thomas Church in Leipzig, he enrolled Friedemann in the associated Thomasschule. On graduating in 1729, Friedemann enrolled as a law student in Leipzig University. After graduation he worked as a musical assistant for his father. Friedemann was appointed in 1733 to the position of organist of the St. Sophia's Church at Dresden. This was a part-time position, allowing him time for more math studies, and composition of operas and ballets for the local Court. In 1746, he became the organist at the Liebfrauenkirche in Hallé, a better position involving not only playing organ in that church, but organizing orchestral performances in the city's three main churches. In 1751, Friedemann married Dorothea Elisabeth Georgi, who was 11 years his junior and who outlived him by 7 years. The couple produced two sons and a daughter. Dorothea was the daughter of a tax collector. The landed estates she inherited caused the family to be placed in a high tax bracket by Halle authorities, who were raising taxes to meet the revenue demands of the Seven Years War. To raise cash for these payments, she sold part of her property in 1770. Friedemann was deeply unhappy in Halle almost from the beginning of his tenure. In 1749 he was involved in a conflict with the Cantor of the Liebfrauenkirche, Gottfried Mittag, who had misappropriated funds that were due to Friedemann. In 1750 the church authorities reprimanded Friedemann for overstaying a leave of absence (he was in Leipzig settling his father's estate). In 1753 he made his first documented attempt to find another post, and thereafter made several others. All these attempts failed. In 1762, he received an appointment as Kapellmeister in Darmstadt, seemingly a congenial position. But Bach delayed leaving Hallé and lost the job. In June 1764, Friedemann left the job in Halle without any employment secured elsewhere. His financial situation deteriorated so much that in 1768 he re-applied for his old job in Halle, without success. After leaving Halle in 1770, he lived for several years in Braunschweig where he applied in vain for the post of an organist at the St. Catherine's church. Then he moved to Berlin, where he initially was welcomed by the princess Anna Amalia (the sister of Frederick the Great), but later fell into disgrace under still unclear circumstances. He died in poverty in 1784 from a pulmonary disease. Historians have regarded Friedemann as a poor custodian of his father's musical manuscripts, many of which he inherited. However, more recent scholars are uncertain how many were lost. It is known that Friedemann sold some of his father's collection to raise cash to pay debts. Also, his daughter took some of the J.S. Bach manuscripts with her when she moved to America, and these were passed on to descendants, who may have inadvertently destroyed many of them.  Friedemann's compositions include many church cantatas and instrumental works, of which the most notable are the fugues, polonaises and fantasias for clavier, and the duets for two flutes. He incorporated more elements of the contrapuntal style learned from his father than any of his three composer brothers, but his use of the style has an individualistic and improvisatory edge which endeared his work to musicians of the late 19th century, when there was something of a revival of his reputation. His music fell generally into the transitional period between Baroque and Classical styles, but it was distinctive and personal.


Joaquin Rodrigo

Birth: November 22, 1901 in Sagunto, Spain

Death: July 6, 1999 in Madrid, Spain

Blind from the age of 3 due to diphtheria, Rodrigo began his musical education early and took lessons in composition with Francisco Antich in Valencia. Rodrigo started composing in 1923, and won a National Prize in 1925 for his Cinco Piezas Infantiles for orchestra. Due to his blindness, Rodrigo always composed in Braille, and later painstakingly dictated the music to a copyist. His first works revealed the influence of Granados, Ravel and Stravinsky, but his individual musical voice was soon heard in the songs, piano works and orchestral pieces composed during the 1920s and 30s. In 1927 he moved to Paris as a pupil of Dukas at the Ecole Normale de Musique. While in Paris, Rodrigo befriended many of the great composers of the time, and received particular encouragement from his fellow Spaniard Manuel de Falla. In 1933 Rodrigo married the Turkish pianist Victoria Kamhi. They remained inseparable companions until her death in 1997. After returning to Spain in 1934, Rodrigo quickly won, with some help from Falla, the Conde de Cartagena scholarship that allowed him to return to Paris to study musicology with Maurice Emmanuel at the Paris Conservatoire and with Andre Pirro at the Sorbonne. Some of the most difficult years in Rodrigo's life were in the late 1930s during the Spanish Civil War. His scholarship was cancelled, and he and his wife lived in France and Germany. They made a meager living giving Spanish and music lessons at the Institute for the Blind in Freiburg.But by 1939, they were able to return to Spain. Soon after the première in 1940 of his first concerto, the Concierto de Aranjuez for guitar, he began to be recognized as one of the leading composers in Spain. Apart from writing a great deal of music during the following years, he was active as an academic and music critic, writing for several newspapers and publishing articles on a wide range of topics. He also worked in the music department of Radio Nacional and for the Spanish National Organization for the Blind (ONCE). In 1947 he was appointed to the Manuel de Falla Chair of Music at Complutense University, Madrid, created especially for him, and in 1950 he was elected to the Real Academia de Bellas Artes de San Fernando. During these and subsequent years he made several tours throughout Spain, Europe, the Americas and Japan, teaching, giving piano recitals and lectures, and attending concerts and festivals of his own music. Distinctions awarded to Rodrigo included the Gran Cruz de Alfonso X el Sabio, the Legion d'Honneur, election as a member of the Académie Royale des Sciences, des Lettres et des Beaux-Arts of Belgium to the place left vacant on the death of Benjamin Britten. By the end of his life, he had also received 6 honorary doctorates from universities worldwide. Two significant distinctions in Rodrigo's old age were the conferment of the hereditary titles 'Marqueses de los Jardines de Aranjuez' on the composer and his wife by King Juan Carlos I in 1992, and the award of the Premio Príncipe de Asturias de las Artes in 1996. During the second half of the 20th century Rodrigo came to occupy a position in Spanish musical life close to that of Manuel de Falla. Like his mentor, he cultivated a style far removed from the major currents of European musical development and, as with Falla, his music needs to be judged in the context of Spain's classical and traditional music, art and literature. His compositions number around 170, including 11 concertos, numerous orchestral and choral works, 60 songs, some two dozen pieces each for piano and guitar, and music for the ballet, theatre and cinema. His published writings also demonstrate a remarkable breadth of knowledge of music and the arts. Rodrigo's music attracted favorable attention from both critics and performers from the start of his career, first in Valencia and Paris and subsequently worldwide. His first two guitar concertos, Concierto de Aranjuez and Fantasía para un gentilhombre, also achieved remarkable popularity. From the late 1970s onwards, however, appreciation of his music began to broaden. Many of the world's great instrumentalists commissioned concertos of him, and he eventually wrote works for, among others, guitarist Andrés Segovia, flutist James Galway, harpist Nicanor Zabaleta, and cellist Julian Lloyd Webber. His forms were traditional and his musical language, drawn from both Classical and nationalist sources, underpinned a melodic gift of remarkable eloquence. He made many of the finest settings of classical Spanish poetry, his guitar pieces are in the main repertory, and his concertos are the most significant such works composed in Spain.


Benjamin Britten

Birth: November 22, 1913 in Lowestoft, Suffolk, England

Death: December 4, 1976 in Aldeburgh, England

Considered by many as the greatest English composer since Henry Purcell, Britten was a musician of wide-ranging talents. Essentially a vocal composer, his operas and song-cycles won wide international acceptance. He never abandoned the principles of tonality and was a 'modern' composer who reached a mass audience. He also produced much music for orchestra and instrumentalists, including symphonies, concerti, and chamber and solo works. He shared with his predecessors Parry, Vaughan Williams, and Holst an intense interest in the work of amateurs and children. His gifts as a pianist and conductor, coupled with the virtuoso nature of his inventiveness, led him to compose music for great performers such as the cellist Rostropovich and the singers Vishnevskaya, Fischer-Dieskau, and Janet Baker. The greatest personal influence on his music was his relationship with the tenor Peter Pears, for whom he created many operatic and vocal roles. Britten's father was a prosperous oral surgeon in the town of Lowestoft. His mother was a leader in the local choral society. When Benjamin's musical aptitude became evident, the family engaged composer Frank Bridge to supervise his musical education. The influence of Bridge in particular was strong and lasting. Britten was at the Royal College of Music 1930- 3, but found the atmosphere uncongenial and resented official refusal to allow him to study with Alban Berg in Vienna. He studied piano with Arthur Benjamin and composition with John Ireland. His astonishing early works include the Sinfonietta and A Boy was Born, and his song-cycle with orchestra Our Hunting Fathers. He worked for the General Post Office Film Unit, writing music for a dozen short documentaries, the best known being Coal Face and Night Mail. In 1937, for the Boyd Neel String Orchestra's concert at the Salzburg Festival, he wrote the Variations on a Theme by Frank Bridge. A steadfast pacifist, Britten left England in 1939 as war loomed over Europe. He and Pears followed their friend the poet W. H. Auden to North America in 1939, staying until 1942. While in New York, performances of his Violin Concerto and Sinfonia da Requiem were given in Carnegie Hall under John Barbirolli. Returning to England, Britten settled at Snape and then Aldeburgh. His opera Peter Grimes was performed at Sadler's Wells on June 7, 1945, a day of importance for English music comparable with the first performance of Elgar's Enigma Variations. His interest in chamber opera led in 1947 to foundation of the English Opera Group and his desire for a festival rooted in English village life led to the Aldeburgh Festival, first held in 1948. The Aldeburgh Festival also featured neglected works by composers whom Britten and his colleagues deemed to deserve reappraisal. Britten excelled not only in his own music. As an accompanist in Schubert he was second to none. He played and conducted Mozart superbly, and conducted major works by Bach, Mahler, Elgar, Schumann, and others. After a major heart operation in 1973 his activities were much reduced. A major strength of Britten's art, which contributes to the dramatic effectiveness of his operas, is his gift for finding an apt, simple, memorable phrase to illustrate a point or situation. He was preoccupied with themes of innocence destroyed, of the persecution of the 'outsider' in society (stemming from his own pacifism and conscientious objection to war service), and of cruelty. These themes found their most impressive outlet in the operas Billy Budd, The Turn of the Screw, and Owen Wingrave. If these, and such works as the War Requiem, represent the dark side of his musical personality, the 1953 Coronation opera Gloriana, his splendid Midsummer Night's Dream, the comedy Albert Herring, and a host of choral and instrumental works show a capacity for joy. His instrumental works, in particular the string quartets and cello suites, explore and stretch the players' capacities without ceasing to be musical. Few composers have caught the public's imagination as vividly as did Britten. Each new work was eagerly awaited and absorbed.


November 29

1632 Jean-Baptiste Lully

1770 Peter Hansel

1797 Gaetano Donizetti

1816 Carl Binder

1852 Paul Joseph Guillaume Hillemacher

1860 Hans Haym

1862 Friedrich Klose

1861 Spyridon Filiskos Samara

1866 Waldemar von Baussnern

1869 Sir Ivor (Algernon) Atkins

1891 Richard Frank Donovan

1895 Lodovico Rocca

1899 Gustave Reese

1904 Piet Ketting

1916 Valentino Bucchi

1932 Antoine Tisne

1947 Ivan Kurz

1969 Eldad Tsabary


Jean-Baptiste Lully

Birth: November 29, 1632 in Florence, Italy

Death: March 22, 1687 in Paris, France

The son of a miller, Lully had only simple instruction in music during childhood, from a monk who taught him the guitar and the violin. Lully was taken to France by the Chevalier de Guise in 1646 as garçon de chambre and Italian teacher to Louis XIV's cousin, Anne-Marie-Louise d'Orleans. At her court in the Tuileries his musical talents soon attracted attention and he became famous for his skill as a violinist. By the time, in 1652, that Mademoiselle d'Orléans was exiled from Paris because of her sympathy with the Fronde uprising, Lully had made an impression at court for his dancing, and the next year he was taken into court employment as compositeur de la musique instrumentale to Louis XIV, a position that involved writing music for the court ballets and dancing in them. He was admitted to the Vingt-Quatre Violons du Roi ("King's 24 violins") but found the band lacking in discipline and obtained permission to set up his own Petits Violons of 16 players. From 1656 to 1664 he trained this ensemble, which became widely famous for its precision. Meanwhile Lully was becoming known as a composer, especially of ballet. In 1660 his ballet entrées for Cavalli's Xerse and Ercole amante attracted more attention than the operas themselves, and the following year Louis made him surintendant de la musique de la chambre du roi. He became a naturalized French citizen, and a further mark of the royal favor, his appointment as maître de musique to the royal family, enabled him to marry the daughter of the composer Michel Lambert. They had 3 sons, all of whom became musicians, and 3 daughters. Lully continued to compose ballets and in 1664 he wrote entrées for a revival of Pierre Corneille's Oedipe and his first comédie-ballet in partnership with Molière, a collaboration which was to culminate in 1670 with Le Bourgeois gentilhomme. By the end of the 1660s the idea of opera was growing increasingly popular in Paris. A privilege to establish opera academies in France was granted in 1679 to Pierre Perrin. In spite of Lully's initial scorn at the idea of large-scale dramatic works sung in French he was quick to take advantage of Perrin's fall from favor at court and bought his privilege in 1672. Soon after, and following some vicious intrigue, he was granted the right to compose and produce opera at the Académie Royale de Musique, a monopoly he held for the rest of his life. When Lully began composing opera in the 1670s, Italy was the center of great opera. Opera in France was in its infancy. Lully's operas, which were based on Italian models but with French libretto, helped popularize the art form. He went into partnership with the designer Carlo Vigarani, obtained premises in a tennis court, and staged the first tragédie en musique: Cadmus et Hermione, produced in 1673. The libretto was provided by Philippe Quinault, who also wrote texts for ten further tragédies for Lully in spite of the composer's constant criticisms and cuts. Louis then provided him with a theatre, at the Palais Royal. Lully stifled any potential rivals by imposing arbitrary and often crippling limits, as his privilege entitled him to do, on any other theatrical production. For example, no one was permitted to use dancers, more than 2 voices, or more than 6 violins. Lully was unscrupulous in his greed and ambition and capable of ruthless plotting against his rivals. He made numerous enemies. Royal favor saved him from prosecution for homosexual practices, though even Louis reprimanded him on this account in 1685. In the 1680s the court became more sober and restrained in its entertainments, and Lully turned his attention to church music. It was during a performance of his monumental Te Deum before the King in 1687 that Lully struck his foot with his conducting cane (it was normal practice to keep time by striking it upon the floor), and later that year he died after the foot had turned gangrenous. He left a considerable fortune, including five houses in Paris and the monopoly of the performing rights to his music. Lully's primary achievement was the creation of French opera, and with it he established a style tradition that continued to dominate French musical theatre for more than a century. They inspired several controversies among Paris intellectuals (French v. Italian; Lully v. Rameau; French tragédie v. Italian comedy). Lully brought to the composition of lyric drama in French an acute understanding of French declamatory traditions and the non-metric structure of the language, devising a new musical style to accommodate them. He shunned the Italian method of dividing musical numbers into separate recitatives and arias, choosing instead to combine the two for dramatic effect. He devised too a simple form of air, often using a dance rhythm, that could capture faithfully the nature of the sentiment expressed. He also created special scenes, using chorus and dancers, and spectacular divertissements, often with picturesque effects (tempests, sleep scenes, the underworld). His dances, which abound in the operas, are often highly attractive melodically, with unusual rhythmic structures; and his five-part orchestration is rich and resourceful.


Gaetano Donizetti

Birth: November 29, 1797 in Bergamo, Italy

Death: April 8, 1848 in Bergamo, Italy

Donizetti was among the most important composers of bel canto opera in both Italian and French in the first half of the 19th Century. Many of Donizetti's more than 60 operas are still part of the modern repertoire and continue to challenge singers for their musical and technical demands. Donizetti stands stylistically between Rossini and Verdi.  His scenes are usually more expanded in structure than those of Rossini, but he never blurred the lines between set pieces and recitative, as Verdi did in his middle-period and late works. Often compared to his contemporary, Bellini, Donizetti produced a wider variety of operas and showed a greater stylistic flexibility. Donizetti was educated in Bergamo, the town of his birth, studying with the opera composer Simon Mayr from 1806-1814. Because of parental opposition to a musical career, he joined the Austrian army, composing in his off-duty spells. His youthful works include chamber operas, religious works, and chamber music. His opera Enrico di Borgogna was produced in Venice in 1818, and his 4th opera, Zoraida di Granata was so successful in Rome in 1822 that he obtained his release from the army. In the next 8 years he wrote nearly 30 operas which were performed throughout Italy. He continued to work in Naples throughout the 1820's and 1830's, where he was active as both a conductor and composer. In 1830, Donizetti finally achieved international fame with his opera Anna Bolena. Notable for its expressive music and more extended scenes, it established Donizetti as one of the leading opera composers. The comic opera L'elisir d'amore and the tragic Lucrezia Borgia came shortly after. Donizetti's next work was Maria Stuarda, followed the same year by Lucia di Lammermoor, which became an internationally recognized masterpiece. The Elizabethan tragedy Roberto Devereux completed his trilogy of operas that chronicle the English court from Henry VIII to Elizabeth I. Donizetti's operas from the late 1830s were unable to match the success of Lucia, and when Donizetti was passed over for the directorship of the Naples Conservatory in 1840, he moved to Paris. There he composed the opera comique La fille du Régiment, which was celebrated immediately for its charm and virtuosity. Later that year he completed La favorite, another major contribution to the French repertoire. In 1842 Donizetti was appointed Kapellmeister of the Austrian court in Vienna, but retained his association with Paris. Among Donizetti's last operas are Maria di Rohan, an important historic opera, and his French tragedy Dom Sébastian. Caterina Cornaro is also one of his finest works for its strong dramatic content. These late operas, although rarely performed, are serious works that set the standard for Verdi. His last success was also in Paris, with Don Pasquale in 1843. He became paralyzed and mentally unbalanced as a result of syphilis in 1844. Donizetti's ability to write at great speed has prejudiced attitudes toward the quality of his work. The tendency to underrate the melodic and dramatic content of his operas has only recently been reinterpreted by a willingness to recognize Donizetti's brilliance as a rival in comic opera to Rossini. Recently, several of Donizetti's lesser-known operas have been revived and found to have unsuspected merit. He also composed church music, 19 string quartets, and some orchestral works.


December 6

1550 Orazio Vecchi

1642 Johann Christoph Bach

1743 Franz Nikolaus Novotny

1776 Paul Friedrich Struck

1806 Gilbert-Louis Duprez

1808 Johann Christian Gebauer

1841 Donato Lovreglio

1843 Gustav Adolph Niemann

1872 Moyzes Mikulas

1887 Joseph Lamb

1896 Arnold Foster

1897 John Axel Fernstrom

1902 Virgilio Mortari

1919 Gideon Klein

1920 Dave Brubeck

1927 Jacques Bondon

1929 Mark Kopytman

1933 Henryk Gorecki

1939 Tomas Svoboda

1954 Andrew Violette

1954 Beat Furrer

1955 Bright Sheng


December 13

1732 Jean-Claude Trial

1740 Franz Xaver Schnitzer

1770 John Clarke-Whitfeld

1819 Edwin George Monk

1838 Alexis Vicomte de Castillon

1843 George Stephanescu

1850 Iver Paul Fredrik Holter

1858 Jakab Gyula Major

1865 Gustav Luders

1889 Clarence Loomis

1898 Daniel Lazarus

1899 Yusef Greiss

1900 Jonel Perlea

1902 Paul Kurzbach

1906 Ingemar Liljefors

1933 Borah Bergman

1938 Alvin Curran

1952 Roger Bourland

1967 Christopher Milmerstadt


December 20

1680 Nicolas Couperin

1728 Franz Xaver Pokorny

1819 John William Dadmun

1826 Otto Dresel

1871 Henry Kimball Hadley

1872 Lorenzo Perosi

1909 Vagn Holmboe

1933 Gordon Getty

1938 John Harbison

1949 Edward P. Mascari

1950 Arturo Márquez

1958 Nicholas Simpson


December 27

1800 Sir John Goss

1845 Augusto Machado

1856 Andre Gedalge

1859 Hope Temple (Alice Maude Davis)

1872 Georg Hoeberg

1887 Bernard van Dieren

1890 Maurice Schoemaker

1906 Oscar Levant

1907 Willem van Otterloo

1925 Allan Blank

1928 Gareth Walters

1930 Jacqueline Fontyn

1932 Louis-Noël Belaubre

1945 Klarenz (Clarence) Barlow

1958 Igor Panov

1970 Vsevolod Chmoulevitch (Vsevolod Polonsky)

1978 Jason Thomas



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




Sunday Afternoon at the Opera

Your Lyric Theater Program

With Keith Brown

Programming Selections for

November and December 2012



Verdi,Don Carlo This opera is Giuseppe Verdi's answer to the music dramas of Wagner.As Verdi originally wrote it in 1867 it was planned as the grandest of French romantic grand operas,surpassing the works of Spontini and Meyerbeer in that line:five full acts plus ballet music.Verdi was forced to scale it down for subsequent performances outside Paris.The four-act "Modena" or Italian language version of 1886 has a discography going back to the LP era.The story of the opera is taken from the German poet Friedrich Schiller's drama of political intrigue and national aspiration.Don Carlo has been the vehicle for many operatic stars.Superstar tenor Placido Domingo took on the title role,with the reigning diva of the day,soprano Monserrat Caballe as Elizabeth of Valois.EMI recorded the "Modena" version in 1971 with Carlo Maria Giulini conducting the musical resources of the Royal Opera House,Covent Garden.That Angel issue on digitally remastered vinyl discs went over the air on Sunday,September 28,1986.Then along came another Don Carlo from the Royal Swedish Opera House production of the 1999-2000 season. That Naxos CD release I broadcast on Sunday,May 23,2004.Today we go back to a Metropolitan Opera radio broadcast airtape of Don Carlo from March 7,1964. Franco Corelli is heard is the Don,opposite soprano Leonie Rysanek as Elizabeth.Kurt Adler directed the Met's orchestra and chorus.Verdi's Don Carlo live from the Met is part of Sony Classical's exclusive series "The Metropolitan Opera" derived from the Met's audio archives.



Britten,War Requiem,J. C. Bach,Missa da Requiem This Sunday is also Armistice Day,the day in 1918 when World War One officially ended.Known as Veterans' Day in the United States,it honors those Americans who fought in all the wars in America's history.Twice before I have programmed Benjamin Britten's War Requiem (1962) on the Sunday before Memorial Day,that other American holiday of commemoration.Today's date is even more appropriate.The War Requiem has been called Britten's finest work.Britten was a pacifist.He declined to serve in World War Two.The poetry of Wilfred Owen,killed at the tender age of 25 just before the Armistice,served as a constant reminder to Britten of the horror and futility of war."All a poet can do is warn,"so Wilfred Owen wrote.Britten's settings of his poems are a ghastly monumental musical warning to the world of what war should have taught us,but which it still seems we refuse to learn.Owen's verse is interwoven with the Latin text of the Mass for the Dead.Britten himself was the conductor for the first recording of the work for Decca/London in 1963.There's a new recording of it out on the LSO Live label.Britten conducted the London Symphony Orchestra and Chorus back in '63.At the podium this time is Gianandrea Noseda.Inthe lineup of  solo voices are tenor Ian Bostridge and bass Simon Keenlyside,joined by soprano Sabina Cvilak.The War Requiem was captured live in performance at the Barbican in London in October of 2011.More recordings from the Barbican on the London Symphony Orchestra's own label will follow.

  There's time remaining this afternoon to listen to another quite different Requiem composition with a British connection.It's the music of Johann Sebastian Bach's youngest son,Johann Christian (1735-82),known as "The London Bach" because he spent his career from 1762 onwards to his death in the English capital city.He got his start as a composer,however, in Italy,in Milan,where he was associated with G. B. Sammartini,the violinist who created the new "gallant" classical style.Young Bach's first professional job was as organist of Milan's cathedral.It was during this pre-London period that he wrote his first masterwork,most of a Roman Catholic Mass for the Dead to the usual Latin text.He had already started writing operas to Italian librettos.Those operatic qualities come out strongly in the Missa da Requiem,alongside contrapuntal passages that would make his father the Leipzig organist entirely proud.There's a new recording of the J. C. Bach Requiem on a single Harmonia Mundi compact disc.Hans-Christoph Rademann directs the period instrumentalists of the Academy for Ancient Music of Berlin and the RIAS Chamber Chorus,with four solo voices.Reviewing this recording for Fanfare magazine (March/April,2012 issue) Jerry Dubins writes,"The vocal soloists are all superb;the choral and orchestral forces are alert,focused,eager and energetic...Recommended on all counts..."


PREEMPTED by broadcast of a University of Hartford women's basketball game.





Mozart,Die Zauberflote Over more than a quarter century of lyric theater broadcasting I have always delighted in presenting Mozart's "Masonic" fairy tale opera sometime during the holiday season.Works of operatic fantasy like this fit in so well with all the other entertainments that create the happy childhood memories of Christmastime.Most of the recordings of "The Magic Flute" I've drawn upon were historically informed and played on period instruments,with vocal soloists versed in eighteenth century singing practice.Conductor John Eliot Gardiner was one of the leading figures in the rise of the "period" approach to baroque and classical music in the latter half of the twentieth century.Gardiner's recordings of Mozart's operas are now regarded as classics themselves in the "period" genre.They have been collected into an 18 CD boxed-set reissue through the Archiv division of Deutsche Grammophon.Gardiner's Die Zauberflote (1791) occupies the last two discs in the 2011 compilation.It was  originally recorded in 1995 in connection with a music festival in Ludwigsburg,Germany.Gardiner directed the period instrumental group he founded,the English Baroque Soloist,along with the Monteverdi Choir.The cast for Mozart's Singspiel consisted of mostly native German-speaking singers.



SUNDAY DECEMBER 16TH               



Puccini,La Boheme ."The Bohemians" (1896) is the obvious choice for programming oo a pre-Christmas Sunday,since the story of the opera opens on Christmas Eve.On Sunday,December 24h,1989 I presented an historic recording of Puccini's warhorse of the repertoire,taped from a live 1946 NBC radio broadcast with Arturo Toscanini directing. (Toscanini knew Puccini personally and conducted the world premiere production of Turandot.) The Toscanini Boheme is the oldest recording of the opera in our WWUH classics library,to be found on two monaural LP's issued by RCA Victrola in its "Immortal Performances" series in 1968.In the cast was soprano Licia Albanese as the seamstress Mimi.She will be heard again this Sunday in yey another historic recording made live in performance as broadcast from the Met in New York City on February 15,1958.This time it's Thomas Schippers conducting the Metropolitan Opera Orchestra and Chorus.Rodolfo is the distinguished Italian tenor Carlo Bergonzi.The Schippers Boheme is another one of those audio treasures from the Met's archives to be released in compact disc format through Sony Classical in "The Metropolitan Opera" line.This one came out on two CD's in2011,so it's a new addition to our station's classical music/opera holdings.


Haydn,Die Schopfung The year has rolled around to its conclusion:now's a good time to reflect upon all that has transpired in 2012 by listening to something that takes in the whole world in a single monumental musical composition.Josef Haydn's Die Schopfung ("The Creation,"1798) ranks with Handel's Messiah as a classic of the oratorio genre.The creation story told through Haydn's music is certainly Biblical,derived ultimately from the Old Testament Genesis narrative by way of Milton's English language epic poem Paradise Lost,translated into German and reworked into libretto form by Austria's cultural mentor of the age,Baron Van Swieten.There seems to be a surplus of good recordings of "The Creation" available.I have presented several of them over the course of several decades.This time around the venerable Sir Colin Davis directs the London Symphony Orchestra and Chorus with three topnotch vocal soloists,one of whom is the English tenor of particular excellence Ian Bostridge.The recording was made at the symphony's home venue,the Barbican, in London in 2007,live in performance.Haydn crafted the score of his oratorio so that it would work perfectly well with an English language libretto.Curiously,Sir Colin opted for Van Swieten's German text.Die Schopfung was released to the public in 2009 on two compact discs through the orchestra's own label LSO Live.

 As I reflect upon my own opera programming over this past year I am reminded that I should thank my colleague Bob Walsh for having substituted for me on two Sundays.Also,I owe a great debt of gratitude to our station's operations director Kevin O'Toole fro mentoring me in how to prepare these notes for cyber-publication in our Program Guide.



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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