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WWUH 91.3 FM
Program Guide
January/February 2015
In This Issue
How To Listen
WWUH Archive Now Online
Celtic Airs Concert News
Jazz Year in Review
Ambience in 2015
Hawks Basketball
Classical Music on WWUH
Sunday Afternoon at the Opera
Live, Local Happenings
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Our Fall Fund Drive was a great success, with pledges totaling $42.409.  We're proud of the fact that we have been able to limit our on air appeals to just twice a year when many of the public stations seem to be doing it at least twice as often.  We can get by with only two fund raisers because everyone you hear on the air at WWUH is a volunteer so just about all of our programming is free.  The only exceptions are a few syndicated public affairs show which we pay a nominal fee for.  

Using volunteers has been a tradition at WWUH since we first went on the air in 1968.  It allows to keep the programming fresh because our hosts come from both the campus and the local community and they bring a wide variety of expertise to the airwaves.

We're here for you 24/7 and provide an independent voice and a wide variety of programming, much of which you can't hear elsewhere.

If you have made a pledge of support I thank you.  If you haven't please do so, it's not too late.  You can donate on line anytime via our secure website, wwuh.org

John Ramsey
General Manager

 

 

WWUH - Your Live, Local, Listener-Supported Station

 

     In a world of digital music services, large corporate station ownership, and out-of-area rebroadcasts, WWUH increasingly stands out as something unique.  Our programming is locally produced, our on-air staff are all volunteers, and our air studio is staffed 24/7.  

 

     The beauty of a live, local station featuring such a diversity of genres is that of discovery: by listening to WWUH, you are exposed to viewpoints and sounds that you might never hear elsewhere.  Downloadable apps give you music that's computer-selected to suit your previous listening preferences; WWUH gives you music that's host-selected to expand your knowledge and appreciation of new, different, local and global artists that you might never have known existed otherwise. 

 

     Although we are sponsored by the University of Hartford, we truly are your station, because it is through generous support from you, our listeners, that we are able to remain on the air as your public alternative station.

 

 

 

Kari Mackey

Publicity Director

How To Listen To WWUH
Come as You Are... Tune in However Works Best for You
 
In Central CT and Western MA, WWUH can be heard at 91.3 on the FM dial.  Our programs are also carried at various times through out the day on these stations:
WAPJ, 89.9 & 105.1, Torrington, CT
WDJW, 89.7, Somers, CT
WWEB, 89.9, Wallingford, CT 
You can also listen on line using your PC, tablet or smart device.  We offer both Windows Media and MP3 streams here.

We also recommend that you download the free app "tunein" 
here to your mobile device.  


  
Hi tech or low tech, near or far, we've got you covered!
Never Miss Your Favorite WWUH Programs Again!
WWUH Round Logo Introducing... the WWUH Archive!

We are very excited to announce
that all WWUH programs are now available on-demand 
using 
the "Program Archive" link 
on our home page,  
 
  This means that if you missed one of your favorite shows, or if you want to listen to parts of it again, you can do so easily using the Archive link.  Programs are available for listening for 
two weeks after their air date.
 
 Enjoy the music, even when you can't listen "live"!
Celtic Airs Concert Series 2015



       There has been a long hiatus since the WWUH/ Celtic Airs Concert Series presented North Sea Gas way back in October 2014. Now the wait is over as we embark on what promises to be be an exciting schedule of concerts in 2015.

       Our next concert takes place on February 20th, 2015 in the Wilde Auditorium and features Socks in the Frying Pan, an acclaimed young trio from Ennis, Co. Clare. Before you have a chance to ask the question, let me tell you that the origin of the band's name has yet to be disclosed.

       The band is composed of brothers Shane and Fiachra Hayes and their friend Aodan Coyne. Aodan has a great musical pedigree; his grandfather Eamon and father Mike were well expected musicians in Co. Clare. Aodan's primary instrument has been the guitar since age 15. His vocal talents have been showcased on his debut solo release " If We Only Knew", released in late 2014. He graduated from the Dundalk Institute of Technology with a degree in Applied Music in 2008. During his student days he performed with a traditional septet called Saor.

       Shane and Fiachra Hayes grew up in a very musical household and had the good fortune to interact with numerous talented Clare based traditional musicians during childhood and adolescence. Shane was playing tin whistle at age 6 and the accordion at age 8. He has become one of the most prominent up and coming figures in Irish traditional  music today. Irish Music Magazine has recognized his "prodigious talent". He has an energetic style and ferocious technique that has earned him the respect of peers and critics alike. His quick wit and friendly charm make him the natural front man for the band.

Fiachra Hayes was playing a little fiddle at the tender age of 3, trying hard to compete for attention with older brother Shane. His raw talent was refined and molded by a series of Clare fiddlers.  As a teen, he became interested in playing the banjo and is now proficient on this second instrument . He just completed  a teaching degree at Immaculate College, Limerick and looks forward to developing the talents of the next generation of Clare fiddlers.

       The trio spent their first four years performing through out the West of Ireland. Following the launch of their debut CD at the Ennis Trad Festival in November 2013, they began to appear in more far flung venues. Their acoustic instrumental interplay, three part harmony singing, and obvious love for live performance have gained them many new fans and critical acclaim. "Socks In the Frying Pan is a simply stupendous new band from Ireland. It's been awhile since we've enjoyed a new group as much as this." (the Irish American News). "Their sound flows in magnetic, energetic waves as does their banter on stage." ( Irish Music Magazine.) 

       I try hard to discover new and talented bands to present to you, first on the radio, and when possible in person as part of our concert series. I think Socks In the Frying Pan, will be the next ensemble that will impress and entertain you. Please come to the Wilde Auditorium on Friday , February 20th to support this exciting trio and to provide yourself a fine nights entertainment after a long break in our concert series.

       I'm very gratified to tell you that Dervish will return to the Lincoln Theater on 3/21/15. This world class Irish sextet, celebrating their 25th Anniversary, will likely sell out this concert in advance. Reserved seating tickets will go on sale about two months prior to the concert date.

       Tickets to the Celtic Airs concert series are ONLY available from the University of Hartford box office, open 10:00-5:00, Tuesday through Friday. Call 1-800-274-8587 or 860- 768-4228. You can also purchase on line at www.hartford.edu/hartt

       I hope you'll continue to listen to Celtic Airs every Tuesday morning 6:00 to 9:00 AM, AND to lend support to the concert series through your continued attendance. It's a labor of love I involve myself in to support these talented musicians and to raise funds for commercial free WWUH Radio.


 

Steve Dieterich

Producer/ Host of Celtic Airs 

Promoter Celtic Airs Concerts


 

Jazz Year in Review

Revisiting Saturn: WWUH Jazz 

Happenings in 2014

 

by Chuck Obuchowski

WWUH Jazz Music Director 

 

Has it really been 20 years? On June 1, 1994, I hosted my first Tuesday Morning Jazz show on WWUH - at least I think so; that's the earliest playlist I have on file. Whatever the exact date, I feel blessed to have had the opportunity to share thousands of jazz recordings with our listening audience over the years; to have been able to interview many outstanding musicians - from aspiring students to venerable old-timers; and to have made the acquaintance of some of the finest jazz listeners on the planet. What more could a jazz junkie want? I look forward to continuing these activities for as long as my WWUH colleagues will put up with me.

 

Overall, 2014 proved to be a good one for jazz programming on WWUH. Our live broadcasts of the Monday Night Jazz Series in Hartford's Bushnell Park went off without a hitch, even when inclement weather forced the music indoors to the Asylum Hill Congregational Church. Thanks to the WWUH volunteers who sold station t-shirts and chatted with concert-goers every week; thanks to our broadcasters and engineers who promoted and presented the shows; thanks to the Hartford Jazz Society for producing the series - and for collaborating with us on the broadcasts; and special thanks to all UH listeners whose contributions at fundraising time made the broadcasts possible.

 

On a somewhat melancholy note, we retired the WWUH Jazzline in 2014. Longtime listeners may recall hearing recorded announcements which encouraged them to phone "the bop line" for details about upcoming jazz events - the number was often referred to as "768 - 5-B-O-P." 

 

In the pre-internet era, calls were plentiful. It wasn't uncommon to get a busy signal on one's first attempt, especially on Thursdays, when renowned jazz players would come to Hartford to perform with the house rhythm section at the 880 Club. But now much of what used to be listed on the prerecorded phone messages is available at the click of a button or the touch of a screen; with so few people utilizing the service, we could no longer justify the time and effort required to compile the weekly announcements. Mucho gracias to Thursday night jazz announcer Bill Measom for having produced the Jazzline almost every week since 1995! 

 

We bid adieu to Jazz Jayne and extend our gratitude to her for hosting Tuesday Accent on Jazz during much of the past decade; thanks are also in order for her ongoing work in our record libraries. And a hearty "welcome back" to Jazz Officer Spaak, who recently returned to Earth, and to the WWUH airwaves, as host of Friday Morning Jazz.

 

As for Out Here & Beyond, my weekly jazz program (Tuesdays, 9 a.m. - noon), it was a pleasure to hear from so many of you during my Sun Ra "Sun-tennial," a musical celebration of everyone's favorite Saturnian keyboardist, which aired on May 20. Herman "Sonny" Blount was born - or arrived, some would say - in Birmingham, Alabama on May 22, 1914. The response was even more overwhelming following my remembrance of bass player and vocalist Jack Bruce, who died at 71 on October 25. Three days later, Connecticut bassist David Stoltz joined me in the WWUH studios to reminisce about his association with the Scottish rock star, and to spin some of the great jazz sides on which Bruce had performed.

 

 

My Favorite Jazz Recordings of 2014

 

Although I've always been suspicious of "10-best" lists, I do enjoy looking back at the end of each year to determine which jazz releases have made the greatest impression on me. As a child during the golden era of "top 40" pop music, I perused those charts weekly to see how my favorite songs were faring. At age 11, I began compiling my own lists of favorites, so it was easy to slip back into that habit when I became a radio announcer in my 20s.

 

Please be aware that the following list is merely an audio snapshot of where I'm at right now. Next month or next year, my tastes and opinions may have shifted. Nonetheless, these 10 recordings are ones which I am confident I'll continue to believe are deserving of attention. They are listed in alphabetical order by artists' surnames, not in order of preference.

   

 

Jason Adasiewicz's Sun Rooms - From the Region 

(Delmark Records)

 

Ever since Sun Ra's Arkestra touched down in Chicago over 60 years ago, the Windy City has hosted a fertile avant garde jazz community. Vibraphonist Jason Adasiewicz is part of the latest wave of Chicago improvisers who are committed to exploring new musical directions. 

 

From the Region is actually this trio's third release, and the first to feature bassist Ingebrigt Haker-Flaten. Drummer Mike Reed, a longtime collaborator, keeps things swinging, even during the most abstract moments. Although his compositions may be unfamiliar to the listener, Adasiewicz's distinctive style of playing is sure to captivate.

 

 

Jeff Ballard Trio - Time's Tale (Okeh)

 

Ballard is probably best known for his work with piano giants Chick Corea and Brad Mehldau. Time's Tale, featuring guitarist Lionel Loueke and saxophonist Miguel Zenon, marks the first time the veteran drummer has fronted a group. The lack of a bassist - and the fact that Ballard is using a customized drum kit - set this session apart from anything else in his discography. Add to that Ballard's choice of compositions: a few originals, one each by Bela Bartok and George Gershwin, several free improvisations, and a cover of "Hangin' Tree" by Queens of the Stone Age. On the latter, guitarist Loueke channels his inner Hendrix to amazing effect.

 

 Perhaps this album's greatest strength is its unique blend of cultural influences: Zenon hails from Puerto Rico, Loueke is a native of Benin in West Africa and American Jeff Ballard employs percussion instruments and hand drums from across the globe. The resulting music brims with memorable melodies and rhythmic surprises.

 

 

Henry Butler - Steven Bernstein & the Hot 9 - Viper's Drag (Impulse)

 

This recording captures the joy, the humor and the spirit of jazz as it was played in the early 20th century - all the while liberally incorporating musical insights, techniques and influences of jazz as it is played in 2014. But don't worry: pianist/composer Butler and trumpeter/arranger Bernstein love and respect their Fats Waller and Jelly Roll Morton source material, so they've been careful to retain the essence of these old classics. 

 

It's great to hear New Orleanian Henry Butler returning to jazz music with such gusto; Crescent City comrades Reginald Veal and Herlin Riley, on bass and drums respectively, are ideal accompanists. Most of the others in the Hot 9 are members of Bernstein's Millennial Territory Orchestra, where they're accustomed to wearing many musical hats. Viper's Drag also features a number of brilliant solo "vignettes" from violinist Charlie Burnham and  reed player Michael Blake. 

 

Old meets new down at the dance hall - blaring horns, crazy rhythms, and the joint is jumpin'!

 

 

Oran Etkin - Gathering Light (Motema)

 

Gathering Light is a musical travelogue imbued with deep spiritual dimensions. Two years ago, clarinetist Etkin visited his native Israel; a 500-year-old story he heard in Jerusalem inspired this album's title. The story suggests that - in order for us to mend our broken world - we must collect the divine light of ancient times, which has been scattered throughout the world. Etkin embarked on an international tour shortly afterward, "gathering light" in the form of music. He adapted ballads and traditional tunes from several countries while on tour: a lullaby from Japan, a folk song from Indonesia, a Yiddish lament from a Belgian expatriate.  

 

Etkin's cross-cultural sonic journeys are further enhanced by the inclusion of African guitarist Lionel Loueke. Bassist Ben Allison, a New Haven native, and drummer Nasheet Waits offer solid rhythmic support, providing a springboard for some outstanding trombone work by the criminally underrated Curtis Fowlkes. At a time wrought with prejudice and fear, it is heartening to encounter music that celebrates each of the shades of light which combine to form humanity's rainbow.  

 

 

Jimmy Greene - Beautiful Life (Mack Avenue)

 

It's impossible for me to discuss this music objectively. I've known Jimmy Greene since he was a teenager. During his Hartt School years, he was a guest in the WWUH studios on numerous occasions. As his career progressed, the budding saxophonist maintained ties with friends and family in the Hartford area. On a summer evening in 2012, I recall chatting with Jimmy at a festival in Bushnell Park; Ana was fast asleep, cradled in his arms. Several months later, she and 19 of her classmates were dead, victims of the Sandy Hook School shooting.

 

How does a parent bear this kind of loss? Where does one turn for solace? For answers?

 

Jimmy turned to God ... and then to music. Eventually, with the assistance of compassionate friends and colleagues, he created this recording, a loving dedication to the "beautiful life" of his daughter Ana.

 

Moreover, Beautiful Life has the capacity to touch almost anyone who is willing to give it at least one close listening. Some may be put off by the Christian prayers and hymns woven into Ana's story. Others might find the children's choir just a little too sweet. 

 

And that's why it's important to listen closely; we are hearing about Ana's life, often from the perspective of a six-year-old. To define our beautiful lives, some of us will prefer a favorite Shakespeare quotation to the Lord's Prayer. Or perhaps a couple verses from an old Elvis Costello song. The point is to acknowledge the uniqueness and the sanctity of each human life. Not particularly religious? You don't need to profess belief in a particular deity in order to join this celebration of Ana's life.

 

Ana only lived a short time, but thanks to her parents' memories, and to her dad's music, this little girl is still able to impart valuable life lessons to us two years after her death. 

 

Jimmy sought the help of a fair number of A-list improvisers to convey various facets of his daughter's Beautiful Life. But clearly each guest checked his or her ego at the door; yes, there are a number of lovely vocal and instrumental passages on this recording, but you certainly won't hear any flashy solos or cutting contests during these songs.

 

However, the leader sounds positively euphoric as his tenor sax, soprano sax, and flute - thanks to overdubbing - engage in a playful dance as the last track, "Little Voices," begins to wind down; meanwhile, a choir comprised of Ana's former classmates in Winnipeg, Manitoba are singing the phrase "remember me" over and over. Taken in tandem with the call to loving action which begins the piece, this song serves as testimony that love can indeed win, as the Greenes have been reminding the world since January 2013. 

 

One last observation - while Jimmy Greene's salute to his daughter is certainly a noteworthy achievement, it is not without precedent. In 2010, pianist Kenny Werner issued No Beginning No End on the Half Note label. Werner's daughter Katheryn had been killed in a car accident in 2006. At first, he couldn't write at all, but gradually Werner began channeling his emotions into the creation of a five-part suite for chamber orchestra. Once that was completed, he began work on a string quartet. Although the pianist has been a highly regarded jazz player for decades, this project called for something more structured. 

 

In the end, Werner opted to add several improvising soloists to the lengthy suite, including his friend Joe Lovano, whose contributions brought some jazz elements into the picture. Ultimately, No Beginning No End received the Guggenheim Fellowship Award later in 2010.                         

 

 

Russ Johnson - Still Out to Lunch! (Enja/Yellowbird)

 

Eric Dolphy's Out to Lunch is acknowledged as one of the most significant jazz recordings of the 1960s. Although most of its compositions have been covered at one time or another, none has entered the standard jazz repertoire. Trumpeter Russ Johnson's decision to reexamine this classic album in its entirety was a bold - some might even say foolish - move, but Still Out to Lunch! proves to be a resounding success.

 

That's due in large part to the fact that Johnson and his band mates have avoided trying to approximate any of the original solos or arrangements from Dolphy's February 1964 session. [For an example of what can happen when someone performs a note-for-note re-creation of a jazz masterpiece - in this case, the 1959 Miles Davis album Kind of Blue - check out a 2014 release called Blue by the band Mostly Other People Do The Killing.] 

 

No cheap nostalgia here; Johnson's quintet blaze their own circuitous trails through the skeletal framework of the five Dolphy tunes which comprised Out to Lunch. In so doing, they've captured the freewheeling spirit of the original while adding new perspectives and directions .

 

Pianist Myra Melford covers the territory assigned to Bobby Hutcherson's vibraphone in 1964; her contributions are among this record's finest moments. Reed player Roy Nathanson is no Dolphy clone, nor does he play bass clarinet or flute, yet his creative solos are an integral part of this 21st century Lunch date. Similarly, Johnson generates plenty of trumpet excitement without once resorting to any Freddie Hubbard licks.

 

As a bonus, this quintet tackles two Dolphy compositions that Eric never got around to recording during his tragically short life. The Russ Johnson Quintet - with Orrin Evans subbing for Melford - performed much of this material during the historic Eric Dolphy: Freedom of Sound celebration/seminar at Montclair State University in New Jersey last May. That two-day event was the uniquivicable highlight of my concert-going experiences in 2014. 

 

 

Adam Meckler Jazz Orchestra - When the Clouds Look Like This (self released)

 

Definitely the dark horse of my 2014 favorites list; before this record arrived at WWUH in September, I'd never heard of Meckler's ensemble - and I didn't recognize a single name among the 21 musicians who perform on  When the Clouds Look Like This. The band is based in the Minneapolis - St. Paul area. Meckler, a trumpeter, penned all the compositions on this, their debut release.

 

The AMO is one of a growing number of large ensembles that are not concerned with big band - or even jazz - conventions. Meckler's orchestra delights in blending elements of rock, classical and funk into their expansive sound. Maria Schneider and - more recently - Darcy James Argue have led the way for bands like the AMO, but Meckler and company seem to be carving out a distinct niche for themselves. Many of these pieces unfold like short stories, changing tempos and moods as they progress. From the controlled chaos that launches "Beautiful Beatrice" to the ethereal impressionism of the title piece, the AMO charts a number of intriguing sonic courses - yet never loses its bearings. The attentive listener will find much to appreciate here.

 

 

Jim Norton Collective - Time Remembered: Compositions 

of Bill Evans (Origin)

 

For years, multi-reedist Jim Norton has been studying the compositions of Bill Evans, the influencial pianist who pioneered a new trio sound beginning int the late 1950s. Realizing that Evans had produced a fascinating - if neglected - body of work, Norton began formulating the idea for this project two years ago. He assembled a 12-piece ensemble comprised of dedicated Bay Area jazz players.

 

At first glance, Norton's project seemed destined to fail. After all, Evans clearly preferred small group settings for his work. Furthermore, why would you undertake such a project without using a piano? True, guitarist Scott Sorkin demonstrates harmonic concepts quite similar to Bill's, but really ... But Norton persevered, and eventually, his reworking of this material bore some very tasty fruit. 

 

In fact, Time Remembered turned out to be one of the most alluring releases of 2014. The arrangements are brilliant, especially the variety and creative use of woodwind voicings. And the compositions themselves will probably bring more attention to that aspect of Evans' artistry, since listeners will be exposed to such different settings for the tunes.

 

 

Arturo O'Farrill & the Afro Latin Jazz Orchestra - 

The Offense of the Drum (Motema)

 

At a time when there is so much divisiveness in the world, artists like pianist/bandleader Arturo O'Farrill remind us of that if we embrace and celebrate the diversity of our many cultures, everyone will benefit. Our understanding of one another - and our respect for each other - will grow.

 

For this album, O'Farrill invited an eclectic array of guest artists to take turns collaborating with his Afro Latin Jazz Orchestra. Consequently,we're treated to some unlikely interactions. Notably, during "We Came," DJ Logic's electronic sound effects punctuate Chilo's spoken-word celebration of the Puerto Rican diaspora - while O'Farrill's orchestra provides a dramatic rhythmic backdrop. Elsewhere, Columbian harpist Edmar Castaneda spins euphoric tales of South America; saxophonist Donald Harrison gives props to New Orleans, granddaddy of melting pots, and throws in some Cuban sauce for good measure. Even pianist Vijay Iyer, son of Indian immigrants,is afforded ample time to solo, and to spar playfully with the sax section.   

 

 

Wilson Quartet + John Medeski - Gathering Call (Palmetto)

 

It's hard to think of another contemporary jazz drummer who's more versatile - or more energetic - than Matt Wilson. The guy leads three distinctly different ensembles; he's a regular sideman in at least two others; and astonishingly, the 50-year-old "rhythmatist" still manages to squeeze in dozens of guest appearances and studio sessions every year.

 

Wilson has often exhibited his most daring musical ideas in a quartet format. While Gathering Call is not without moments of edginess and freedom, the vibe here is generally lighter and friendlier than on his past quartet sessions. That may be due in part to the addition of pianist John Medeski, an old buddy from Matt's Boston days. The two really sink their teeth into straightforward swingers like Duke Ellington's "Main Stem" and Charlie Rouse's "Pumpkin's Delight."

 

The closest this quartet gets to Medeski Martin & Wood territory is its cover of Beyonce's "If I Were a Boy," which pushes the envelope briefly during Jeff Lederer's inspired tenor sax solo. Far more interesting are the Matt Wilson originals, which might well include more outward bound improvisations in a live setting. 

 

Mark Time on Ambience

It's Time!  Mark Time, that is.  Make your New Year's Resolution to spend Time with Ambience (or is it, Ambience with Time.......oh, nevermind!) on Sunday mornings.  We will continue to explore unique sounds within and without the Ambient genre, including the Erdenklang Musikverlag label (now-defunct German electronics).  StoryTime (approximately 11:00 am) will return with Celestial Navigations' "Space Racer" series for many weeks to come.  Join us for a space-ially relaxing and alternative listening experience, Sunday mornings, from 9:00 am til 1:00 pm.  


 

Hartford Hawks Basketball Returns to WWUH
It's that time of year again, Sports Fans!

 

Live coverage of the Hartford Hawks women's basketball games returns to the airwaves on WWUH again this year.

For full listings of the Hawks' upcoming season, check out http://www.hartfordhawks.com/.

GO Hawks!

 

WWUH Classical Programming - September/October 2014 


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

Evening Classics... Weekdays 4:00 to 7:00/ 7:30/ 8:00 pm

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

    


 

January

Thu

1

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

Fri

2

Some of our favorites of the past year 

Sun

4

Maderna: Satyricon

Mon

5

Life Studies...Hanson: For the First Time; Bloom: Life is Like a Box of Chocolates; Rozsa: Lust for Life Suite; Maw: Life Studies; Ferris: A Suffolk Memory

Drake's Village Brass Band: Farnon: A Sailor's Life; Makey: Harvest - Concerto for Trombone; Jenkins:

Life Divine

Tur

6

Fran�ois Couperin: Concerts Royaux, No. 6; Dag Wiren: Violin Concerto (1946); D. Scarlatti: Keyboard Sonatas; R�ntgen: String Trio No. 8; J.S. Bach: Cantata BWV 205 "Zerreisset, zersprenget, zertr�mmert die Gruft", a.k.a. "Der zufriedengestellte �olus" (Dramma per Musica); Bruch: Symphony No. 1, in E flat, Op. 28; C.P.E. Bach: Sonatas for Connoisseurs and Amateurs (selections)

Wed

7

Carl Maria von Weber: Symphony No. 2; Sibelius: Symphony No. 6; Richard Strauss: Till Eulenspiegel's Merry Pranks; Tomas Luis de Victoria: Missa "Laetatus Sum"; Johann Vierdanck: Canzone; Lorenzo Zavateri: Concerti

Thu

8

Gilles: Requiem; Chausson: Po�me Op. 25; Archduke Rudolph: Trio for Piano, Clarinet and Cello in E Flat; Mason: Joy to the World, Nearer my God to Thee; Thalberg: Piano Concerto in f Op. 5; Scelsi: Quattro Pezzi per Orchestra; Lees: Prologue, Capriccio and Epilogue; Starer: Annapolis Suite; Lang: I lie; Maggio:Two Quartets "desire, movement, love, stillness".

Fri

9

Max Roach goes classical!

Sun

11

Shostakovich: Katerina Ismaelova

Mon

12

Night Songs...Rene Fleming-Night Songs; Schoenberg: Verklarte Nach (Transfigured Night); Crumb: Night of the Four Moons; Persichetti: Night Dances

Drake's Village Brass Band: Castello & Scarni: Sonata Concerate in Stil Moderno - Concerto Palatino

Tue

13

Lyatoshynsky: Symphony #5; Schubert: Moments musicaux; Devienne: Flute Concerto #4; Pleyel: String Quartet in D, Op. 2, #6

Wed

14

Johann Wilms: Symphony No. 1; Robert Volkmann: Symphony No. 2; Giaches De Wert: Hymns; Domenico Zipoli: Cantatas; Johann Schobert: Piano Trio, Op. 16, No. 4; Giuseppe Tartini: Violin Concerto

Thu

15

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

Fri

16

Remembering Dr. Martin Luther King

Sun

18

Telemann: Miriways

Mon

19

Day Music: Roussel: A Glorious Day; Flagello: Passion of Dr. Martin Luther King; Ellington: New World A'Coming'; Bizet: Symphony in C Major; Prokofiev: Symphony #1 "Classical"; Still: Symphony #3 "Sunday Symphony"

Drake's Village Brass Band: Gabrieli: Canzonas, Sonatas & Motets - Tavener Consort

Tue

20

Vanhal: Symphony in A (A4);  Gyrowetz: String Quartet in G, Op. 29, #2; Liszt: Piano Concerto #2; Schubert: Sonata in a for Arpeggione & Piano

Wed

21

Smetana: Triumphal Symphony; Johann Zumsteeg: Cello Concerto in A: Charles Wuorinen: Mass for the Restoration of St. Luke in the Fields; Aleksander Zarzycki: Introduction and Cracovienne

Thu

22

Balbastre: Marche des Marseillois et l'air �a-Ira, Pi�ces de clavecin Book 1 #1-3; Righini: Oboe Concerto in C; Tournemire: Choral-Improvisation sur le "Victimae paschali"; Jessel: Parade of the Tin Soldiers; Paulson: Sonatina Op. 136; Dutilleux: Sonatine for Flute and Piano; Bassett: Lullaby for Kirsten; Buxtehude:  Prelude, Fugue and Chaconne in C BuxWV 137; Eben: Hommage � Dietrich Buxtehude; Drummond: Different Drums for Different Strokes; Cartellieri: Concerto for 2 Clarinets; Purcell: Fantasias.

Fri

23

Duke Ellington's Black, Brown and Beige

Sun

25

Pre-empted

Mon

26

Barber: Violin Concerto; Bates: Violin Concerto; Ives: Symphony #3 "The Camp Meeting"; Copland: Quiet City;

Drake's Village Brass Band: British Band Classics - Eastman Wind Ensemble

Tue

27

W. A. Mozart 259th Birthday Special (including La clemenza di Tito, complete)

Wed

28

Scriabin: Symphony No. 3; Sebastian de Vivanco: Missa in Manus Tuas; Alexander von Zemlinsky: String Quartet No. 2, Op. 15; Joseph Wolfl: String Quartet in C Minor; Giuseppe Torelli: Trumpet Concerti

Thu

29

Wagenseil: Symphony in B Flat WV 441, Symphony in g WV 418; Auber: Overtures; Van Bree: Allegro Moderato for Four String Quartets; Cowen: Concertst�ck; Delius: Two Aquarelles, Irmelin Prelude, Sleigh Ride, Walk to the Paradise Garden, Slumber Song; Brian: Doctor Merryheart Overture; Tajčević: Seven Balkan Dances; Nono: Liebeslied; Greenstein: Run Away; Mozart: Magic Flute Overture.

Fri

30

A ballet score that is in no way an important addition to the corpus of ballet music, but deserved a better staging than the one given by New York City Ballet

February

Sun

1

Pre-empted

Mon

2

Burton: Symphony #2 "Ariel"; Butterworth: Orchestral Works; Britten: Variations on a Theme of Frank Bridge;

Drake's Village Brass Band: British Band Classics Volume 2 - Eastman Wind Ensemble

Tue

3

Couperin: Concerts Royaux, No. 7; Hans-Werner Henze: Violin Concerto #1 (1947); D. Scarlatti: Keyboard Sonatas; 

J.S. Bach: Cantata BWV 210: "O holder Tag, erw�nschte Zeit"; Bruch: Symphony No. 2, in F minor, Op. 36; Faure: Piano Quintet No. 2 in C minor, Op. 115; C.P.E. Bach: Sonatas for Connoisseurs and Amateurs (selections)

Wed

4

Vaughan Williams: Symphony No. 4: Jan Vaclav Vorisek: Mass in B Flat; Virgil Thomson: Symphony No. 3; Enriquez de Valderrabano: Sonetos

Thu

5

Giovanni de 'Bardi: Miseri habitator; Bull: Cantabile Doloroso e Rondo Giocoso, La M�lancolie, S�terjentens Sondag; Villanueva: Vals Poetico; Teike: Old Comrades; Mortelmans: Evangelical Diptych, Morning Mood, Spring Idyll; Karayev: Seven Beauties ; Standford: A Christmas Carol Symphony ; Classical Happy Hour Marquez: Danzon # 2; Wagner: Tannhauser Overture ; Vivaldi: Concerto for Oboe and Violin in B flat RV 548; Bacewicz: Piano Quintet #1.

Fri

6

Here the mystical, enchanted "Lady of the Lake", a battle between "Sir Lancelot and the Black Knight" and "Merlin the Magician" wonderfully conjured up

Sun

8

Pre-empted

Mon

9

Thomson: Concerto for Cello; Fussell: Right River (Variations for Cello and Strings); Grieg: Holberg Suite; Sibelius: Rakastava; Nielsen: Little Suite, Op. 1; Wiren: Serenade, Op. 11

Drake's Village Brass Band: American Voices II Sonatas - Mark Hetzler Trombone

Tue

10

Kod�ly: Concerto for Orchestra; Foote:  Piano Quartet in C, Op. 23; Strauss:  Aus Italien; Vanhal: String Quartet in c, Op. 1, #4

Wed

11

Joaquin Turina: Sinfonia Sevillana; Stamitz: Symphony in D Major; Alessandro Stradella: Violin Sonatas: Claudin de Sermisy: Theatrical Chansons; Andrea Zani: Concerti: Henryk  Wieniawski: Violin Concerto No. 1 in F Sharp Minor

Thu

12

Campion: Songs; Juan Garc�a de Salazar: Magnificat, Sancta Maria, Lauda Jerusalem; Dussek: Piano Sonata in f sharp Op. 61 "El�gie harmonique"; Piano Concerto in E flat Op 70; Nordqvist: Jul Jul Stralande Jul; Harris: Symphony #3; Powell: Etude; Sowash: Serenade; Schubert: Overtures.

Fri

13

Music to celebrate Valentine's Day

Sun

15

Still: Troubled Island; Highway One, USA

Mon

16

Hindemith: Nobilissima Visione (complete); Elgar: Introduction and Allegro for Strings, Serenade for Strings, Dances from The Spanish Lady

Drake's Village Brass Band: Elgar's Trombone - Susan Addison trombone

Tue

17

Bacewicz: Concerto for String Orchestra; Ponchielli: Concerto in F for Trumpet & Orchestra; Sibelius: Scenes historiques I, Op. 25; Schubert: Piano Trio in Eb, D. 929

Wed

18

Johann Vogel: Symphony No, 3 in B Flat Major; Schubert: Lieder; Stravinsky: Concerto in D for Violin and Orchestra; Marco Uccellini: Symphonias; Aldebrando Subissati: Violin Sonatas

Thu

19

Boccherini: Symphony in c Op. 41/G 519, Cello Concerto in G G 480, String Quintet in d Op. 25 #1 G 295; Andree: Piano Quartet in a; Shepherd: The Lost Child, Exotic Dance #1; Williams: Fantasia on Welsh Nursery Tunes; Etler: Sonata for Bassoon and Piano; Kurtag: Quintet for Winds Op. 2; Vivaldi: Chamber Concerto in C RV 560.

Fri

20

Celebrating the Year of the Sheep

Sun

22

C.P.E. Bach: Magnificat

Mon

23

Monday Night at the Movies: Rozsa: Quo Vadis; Bernstein: On the Waterfront; Legrand: Picasso Summer

Drake's Village Brass Band: Philip Jones Brass Ensemble - Live in Japan

Tue

24

Couperin: Concerts Royaux, No. 8; Shostakovich: Violin Concerto #1 (1948); D. Scarlatti: Keyboard Sonatas; J.S. Bach: Cantata BWV 213: "Lasst uns sorgen, lasst uns wachen", a.k.a. "Hercules auf dem Scheidewege" (Dramma per Musica); Bruch: Symphony No. 3, in E, Op. 51; Alfred Schnittke: String Quartet No. 3; C.P.E. Bach: Sonatas for Connoisseurs and Amateurs (selections)

Wed

25

Josef Suk: Symphony in E Major, Op. 14; Robert Schumann: Lieder; Zacharias Zarewutius: Magnificat; Richard Diciedue: Violin Concerto in D; Anton Titz: String Quartets; Giuseppe Sammartini: Harpsichord Concerti

Thu

26

Reicha: String Quartet in C Op.48 #1, Wind Quintet in E Flat Op. 88 #2; Franz Strauss: Horn Concerto in c Op. 8; Zarzycki: Mazurka in G Op 26; Bridge: The Sea, Piano Quartet in f sharp "Phantasie".

Fri

27

Celebrating the Year of the Sheep

  

Thursday Evening Classics - 

Composer Birthdays for January and February

 

Frederick Delius
Composer Birthdays

 

 

Jan 1

1777 Micah Hawkins

1843 Nikolay Nikolayevitch Lodyzhensky

1865 Giuseppe Ferrata

1878 Edwin Franko Goldman

1885 Roland Diggle

1889 Tadeusz Jarecki

1892 Mikl�s Radnai

1896 Maurice Jacobson

1898 Viktor Ullmann

1907 Erich Schmid

1918 Willem Strietman

1930 Werner Heider

1940 Laszlo Sary

1948 Bernadette Speech

1953 Kevin Hanlon


 

Jan 8

1668 Jean Gilles

1725 Antonino Reggio

1788 Archduke Rudolph (Johann Joseph Rainer)

1792 Lowell Mason

1812 Sigismond Thalberg

1822 Alfredo Piatti

1846 William Wallace Gilchrist

1852 Jean Gabriel Marie

1896 Jaromir Weinberger

1905 Giacinto Scelsi

1912 Rudolf Escher

1914 Charles Borromeo Mills

1924 Benjamin Lees (Lysniansky)

1924 Robert Starer

1937 Robert Moran

1943 Ric (Hans Eric) Graebner

1951 Paul Dresher

1955 Friedemann Schmidt-Mechau

1957 David Lang

1964 Robert Maggio

1969 Frank Lee Sprague

1974 Joakim Zelmerl��w

1981 Andrea Casagrande


 

Jan 15

1648 Henry Aldrich

1871 Bertram Shapleigh

1878 Johanna Muller-Hermann

1893 Ivor Novello (David Ivor Davies)

1908 Roberta Bitgood

1909 Elie Siegmeister

1914 Artur Santos

1922 Silvano Picchi

1955 Peter Coukis

1960 Jeremy Beck

1960 Aaron Jay Kernis

1964 Osmo Tapio Everton R�ih�l�


 

Jan 22

1649 (bapt) Pascal Collasse

1707 Carl Hockh

1709 Joseph Riepel

1727 Claude-Benigne Balbastre

1729 Guiseppe Luigi Tibaldi

1748 Lewis Edson

1753 Peter Fuchs

1756 Vincenzo Righini

1779 Stefano Pavesi

1781 Francois-Antoine Habeneck

1815 Ferdinand Christian Wilhelm Praeger

1824 Josef Leopold Zvonar

1842 Charles Henri Marechal

1855 Ernst Kullak

1861 Karel Stecker

1870 Charles Arnold Tournemire

1871 Leon Jessel

1882 Ernesto Drangosch

1886 John Joseph Becker

1897 Josef Stanislav

1898 Alexander Abramsky

1898 Gustav Paulson

1900 Franz Salmhofer

1901 Hans Erich Apostel

1903 Robin Humphrey Milford

1916 Henri Dutilleux

1921 Arno Arutyunovich Babajania

1923 Leslie Bassett

1923 Friedrich Zehm

1929 Petr Eben

1939 Alan (Treadwell) Silva

1949 Dean Drummond


 

Jan 29

1703 (bapt) Carlmann Kolb

1711 Giuseppe Bonno

1715 Georg Christoph Wagenseil

1782 Daniel-Francois Auber

1782 Frantisek Tucek Scigalski

1801 Johannes Bernardus van Bree

1824 Karl Freiherr von Perfall

1852 Sir Frederic Hymen Cowen

1862 Frederick 'Fritz' Theodor Albert Delius

1864 Adolf Philipp

1869 Andrey Vladimirovich Scherbachov

1871 Eduardo Lopez-Chavarri y Marco

1871 Desiderius Demenyi

1873 Charles Henry Mills

1874 Robert Lach

1876 Havergal Brian

1876 Ludolf (Karl Henrik) Nielsen

1884 Juhan Aavik

1889 Rudolf Mauersberger

1889 Francisco Santiago

1890 Marguerite Canal

1893 Edric Cundell

1893 Martian Negrea

1898 Fernand Quinet

1900 Marko Tajčević

1924 Luigi Nono

1928 Bengt Hambraeus

1934 Paul Gutama Soegijo

1943 Timothy Andrew James Souster

1961 Janet Owen Thomas

1971 Matthias Pintscher

1979 Jonathan Saggau


 

Feb 5

1534 Giovanni de 'Bardi, Count of Vernio

1748 Christian Gottlob Neefe

1810 Ole Bull

1862 Felipe Villanueva

1864 Carl (Albert Hermann) Teike

1865 Harvey Worthington Loomis

1866 Rossetter Gleason Cole

1868 Lodewijk Mortelmans

1882 Felice Lattuada

1902 Bronislaw Kaper

1909 Grazyna Bacewicz 

1909 Lode (Lodewijk) van Dessel

1918 Kara Karayev

1929 Luc Ferrari

1939 Patric Standford

1943 Ivan Tcherepnin

1951 Elizabeth Swados

1953 Laurence Sherr

1967 Sonia Jacobsen

1988 Jirayr Shahrimanyan


 

Feb 12

1567 (bapt) Thomas Campion

1639 (bapt) Juan Garc�a de Salazar

1753 (bapt) Lambert-Fran�ois Godecharle

1760 Jan Ladislav Dussek

1886 Gustav Lazarus Nordqvist

1888 Victor Kolar

1898 Roy Harris

1907 Roberta Martin

1923 Mel Powell

1931 Caecilia Andriessen

1955 Michael Repoulis


 

Feb 19

1743 Luigi Boccherini

1762 Friedrich Franz Hurka

1841 Elfrida Andree

1841 Felipe Pedrell

1863 Emanuel Moor

1877 Louis Aubert

1880 Arthur Shepherd

1886 George Luther Foote

1906 Louis Gesenway

1906 Grace Williams

1913 Alvin Etler

1923 Donald Lybbert

1924 Andr� Charles Jean Popp

1926 Gyorgy Kurtag

1955 Willem Wander van Nieuwkerk


 

Feb 26

1677 Francesco Nicola Fago

1770 Anton Reicha 

1822 Franz Strauss

1825 Hans Balatka

1825 Hieronymus Weickmann

1834 Aleksander Zarzycki

1877 Russell Alexander

1879 Frank Bridge

1884 Dina Appeldoorn

1905 William Russell

1924 Mark Bucci

1948 John George Bilotta

1957 Les Marsden

1958 Tim Ewers

1963 Marco Trevisani

1965 Juan Trigos

1970 Michael Sidney Timpson

1987 Christopher Shaver

 

 

 Sunday Afternoon at the Opera

 

Your "lyric theater" program

with Keith Brown

programming selections

for the months of January and February,  2015 

Sunday 1-4:30pm

 

Troubled Island

 

 

 SUNDAY JANUARY 4TH

Maderna, Satyricon  

       Lyric theater programming begins the new year with a good old-fashioned Roman orgy rendered into operatic form. Perhaps you remember the Fellini film Satyricon (1969), the famed Italian director's take on the satirical novella by Petronius.  Satyricon the opera (1973) is the work of Bruno Maderna (1920-73), who wrote a quantity of film music. A native of Venice, Maderna became an associate of Luciano Berio;  he and Berio were pioneers in the new field of electronic music in Italy. Taped electronic effects are in the prelude to his Satyricon opera. In 1998 it was revived at Venice's famous Teatro La Fenice in co-production with Theater Basel of Switzerland.  Jurg Henneberger directs the orchestra of Teatro La Fenice,with a cast of four vocal soloists, none of whom are Italian.  The live recording was released in 2001 on two CD's under the Italian Mondo Musica label.  Petronius' tale is partly declaimed, partly sung in English language translation, with some interspersed Latin quotes, plus other sung and spoken passages in Italian, French and German.  

 

SUNDAY JANUARY 11TH 

Shostakovich, Katerina Ismaelova  

       This opera is Shostakovich's 1963 revision of the 1935 Katerina Ismaelova, which was in turn a reworking of his previous operatic black comedy Lady Macbeth of Mtsensk (1934).  Dmitri Shostakovich (1906-75) is perhaps the one most significant Russian composer of the Soviet era. Lady Macbeth was overwhelmingly successful both in Russia and in foreign parts.  Then Stalin walked out on a performance.  Pravda condemned it as anti-Soviet and it was banned from the stage in the USSR for twenty seven years.  Shostakovich had quickly prepared a new version of the opera that enhanced the humanity and emotions of the female lead. Leskov's story about the husband-killer dates from Czarist times. Shostakovich's Lady Macbeth pitted illicit love against the stultifying Soviet bureaucracy and omnipresent police.  The new Katerina Ismaelova focuses on Katerina's plight and treats Leskov's tale as a downright tragedy.  

       After Stalin died Katerina was finally premiered at the Stanislavsky and Nemirovich-Danchenko Theater in Moscow.  That production was reproduced for recording in 1967 for the Soviet record label Melodiya.  Gennady Provatorov directs the chorus and orchestra of the Danchenko Musical Drama Theater.  EMI picked up the Melodiya recording and issued it in the West on three Angel stereo LP's.  I have broadcast an EMI recording of the original Lady Macbeth of Mtsensk three times, most recently last year on Sunday, January 19th.  Listen today for my first time-ever presentation of Katerina Ismaelova.   

 

 

SUNDAY JANUARY 18TH
 

Telemann, Miriways 
       Here's one baroque opera that possesses a curious modern topicality. Early in the eighteenth century reports reached the West about Mirwais, a certain Pashtun warlord who seized the province of Kandahar away from the Persians. Mirwais defeated outside forces larger than his own. His son Mahmud built upon his father's victories by laying claim to the throne of Persia.  Way, way back in history this Middle Eastern region had a reputation as ungovernable, ever resistant to external powers and subject to internal feuding. The reports of Mirwais were greatly garbled in Europe; nonetheless, they had an impact on Western culture.  Mirwais was seen as a military hero worthy of characterization in opera.  
       Set in the exotic Oriental locale of Afghanistan, Telemann's Miriways opera qualifies to be included under the genre heading of "Turkish" opera,  so popular in the eighteenth century.  Telemann's work also lies within the genre of the Italian baroque opera seria, but it has a German language libretto and it premiered at the Hamburg Opera in 1728. German opera rose in stature in the baroque period thanks to the efforts of Georg Philipp Telemann and his  colleagues at Hamburg's Goose Market Theater.  The first modern stage production of Miriways took place in 2012 at the Magdeburg Telemann Festival. (Telemann was a native of that city.) Michi Gaigg conducted the L'Orfeo Baroque Orchestra for the recorded festival performances.  Miriways was issued on two compact discs through the German cpo label in 2014. 

 

 

SUNDAY JANUARY 25TH   

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

 

SUNDAY FEBRUARY 1ST    

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

 

SUNDAY FEBRUARY 8TH
PREEMPTED

 

SUNDAY FEBRUARY  15TH

Still, Troubled Island, Highway One, USA 

       This Sunday we observe February as Black History Month with the broadcast of  two world premiere recordings of the operas of William Grant Still (1895-1978).  This African-American composer wrote nine operas(!).  One of them, Troubled Island, written in 1938, became the first opera by a Black American to be produced by a major American opera company.  The libretto of Troubled Island  was prepared by Harlem Renaissance literary great Langston Hughes. The "troubled island" in question is the Caribbean isle of Hispaniola, more specifically that part of it known as Haiti.  Set in the year 1791, the opera deals with the political career of Jean Jacques Dessalines (1758-1806) and the corruption of his leadership in the Haitian revolution.  He declared himself emperor of an independent Haiti, but was assassinated by opponents.  

       The Met repeatedly turned down Still's score.  Troubled Island was finally produced by the New York City Opera and was recorded live in performance on March 31, 1949.  Julius Rudel conducted the NYC Opera orchestra and chorus.  The old recording is in pre-hifi 1940's monaural sound.  It has been transferred into compact disc format as an audio download from the House of Opera website.  The music of Troubled Island might remind you of Still's contemporary Giancarlo Menotti- unabashedly late Romantic, with Still's own infusions of "negro" melody and rhythm.  I'm reminded of Frederick Delius' impressionistic Voodoo opera Koanga (1897).  The general public may remember hearing Still's original music and orchestrated arrangements for movies and television,notably the hit TV shows Gunsmoke and Perry Mason.

        Keep listening for Highway One USA (1963), a domestic tragedy with libretto by the composer's wife Verna Arvey.  The action of this one act/two-scene opera is placed in the 1940's in a cottage adjacent to a mom-and-pop operated gas station. The station lies along the main drag in a small Southern town. This world premiere recording was released on a single CD in 2005 through Visionary Records of Greenville,NC. The recorded sound is state-of-the-art digital stereo.  Philip Brunelle directs the St. Olaf Orchestra of Minneapolis, with the Vocal Essence chorus. The four cast members of Highway One, USA  are African Americans.  (The cast of Troubled Island had in its leading roles white singers in blackface.)    

 

SUNDAY FEBRUARY 22ND

C. P. E. Bach, Magnificat  

       Lyric theater programming this Sunday begins later at three PM or just past the hour, the cutback in the timeslot due to an early afternoon basketball game broadcast.  Ash Wednesday fell on February 18th, so this is the first Sunday in Lent, the forty day penitential period in the Christian calendar leading up to Easter Sunday.  In old Catholic Europe the opera houses traditionally closed for the duration of Lent.  In keeping with that tradition, over the next six Sundays I will be presenting oratorios and various vocal works derived from the general Judeo-Christian music heritage.  Over several decades of Lenten programming I have aired recordings of the Magnificat.  There's a new and excellent recording of Carl Philipp Emanuel Bach's 1749 setting of those familiar verses from the Gospel according to Luke.  It came out in 2014, the tricentennial year of the composer's birth, through the German Harmonia Mundi record label on a single compact disc.  Hans-Christoph Rademann conducts the period instrument ensemble Akademie fur Alte Musik Berlin and the RIAS Kammerchor (the Chamber Chorus of Radio Berlin) with vocal 

soloists.


 

       The two recordings of the operas of William Grant Still come on loan for broadcast from Rob Meehan, former classics deejay here at WWUH and a specialist in the alternative musics of the twentieth and twenty-first centuries.  Rob also loaned me his CD copy of Maderna's Satyricon.  The Telemann opera comes out of my own collection of opera on silver disc. The other featured recordings in this two-month period of programming are derived from our station's ever-growing library of classical music CD's.  Thanks as always to Kevin O'Toole, WWUH's operations director, for mentoring me in the preparation of these notes for cyber-publication.   

 

 

 

 

West Hartford Symphony Orchestra
poinsettias.jpg
WHSO Concert Season 2014 Concert Season 


In Collaboration with the WWUH Classical Programming we are pleased to partner with the West Hartford Symphony Orchestra to present their announcements and schedule to enhance our commitment to being part of the Greater Hartford Community. 

Annual Holiday Concert - Sunday Dec.14, 2014 at 3 p.m. in the Roberts Theater on the Kingswood Oxford School campus, 170 Kingswood Rd, West Hartford.


For over ten years, the West Hartford Symphony has been providing a musical outlet for residents of West Hartford and the Greater Hartford Area. Musicians from the ages of 14 to 86 come together once a week to play a variety of pieces and perform four concerts each year. 

For tickets and information, 860-521-4362 or http://whso.org/.
Connecticut Valley Chamber Orchestra

Connecticut Valley Symphony Orchestra 2014 Concert Season 

The Connecticut Valley Symphony Orchestra, now in its 84th season, is the Capital Region's oldest community orchestra. 
  
          

February 8, 2015

      Marquez: Danzon No. 2

     Dvorak:  Symphony No. 6

     Rodrigo: Concierto de Aranjuez


 

              Chris Ladd, guitar


 

All concerts are at 3:00 PM at Trinity Episcopal Church, 120 Sigourney Street, Hartford.



For more information, visit the CVCO website.
The Musical Club of Hartford

The Musical Club of Hartford, Inc., is a non-profit Connecticut organization celebrating its 123rd anniversary this year. Each year, from October to May, ten or more concerts are presented by performing members, featuring soloists and vocal or instrumental ensembles. These concerts usually take place on Thursday mornings at Westminster Presbyterian Church, West Hartford.

The Musical Club presents a Musical Exploration program entitled 
The Double Bass, February 19th at 10 am.

 For more information, visit:  
Hartford Symphony Orchestra 
The Hartford Symphony Orchestra, marking its 70th Season in 2013-2014, is Connecticut's premier musical organization. The Hartford Symphony is the second largest orchestra in New England and is widely recognized as one of America's leading regional orchestras.


For tickets and more information, visit 

http://www.hartfordsymphony.org/concerts-tickets/ 

or call HSO Ticket Services at 860.244.2999.

Jorgensen Center for the Performing Arts
Opened in December of 1955, Jorgensen Center for the Performing Arts is the largest college-based presenting program in New England. Each season, Jorgensen events attract more than 70,000 students, faculty and staff from the University of Connecticut, as well as residents from Connecticut, Massachusetts and Rhode Island. Jorgensen presents 25-30 nationally and internationally acclaimed artists and ensembles annually, ranging from classical music to world music and dance, classical and contemporary dance, comedy, family programming and contemporary entertainment. 

Box Office: 860.486.4226 or 

Who Else
WWUH Radio 91.3 FM : Celebrating 45 Years of Public Alternative Radio
 
Our programming can be heard at various times throughout the day on the following stations:
WAPJ -  Torrington, 89.9 and 105.1 Mhz
WDJW - Somers, 89.7 Mhz
WWEB - Wallingford, 89.9 Mhz.