Tuesday, January 2

12:00 pm THE VINCENT D’INDY SESQUICENTENARY ORGY

Paul Marie Théodore Vincent D’Indy was born in Paris in 1851. Raised by his grandmother, he played piano and studied harmony with Lavignac and later with Franck, and went on to become a composer and teacher. In his time with the Société Nationale de Musique and as director of the Schola Cantorum he sought to revitalize French music and bring to it the Germanic influences he treasured. D’Indy’s early works show the influence of Bach, Beethoven, and Wagner, and his Catholicism is evident in his familiarity with Gregorian Chant. Later in his life, however, his work became noticeably lighter, simpler, and happier. His composition and teaching had a profound influence on French musical culture. In commemoration of D’Indy’s 150th birthday, we present a brief survey of his works.

Times listed below are only approximate.

1878: Piano Quartet in a, Op. 7; Kratz, Oepen, Gmelin, Weichert (Koch)

1878: La Forêt enchantée, Op.8; Dervaux, Orchestre Philharmonique de Pays de la Loire (Arabesque LP)

1873-81: Wallenstein, Op. 12; Dervaux, Orchestre Philharmonique de Pays de la Loire (Arabesque LP)

1881: Le Poème des montagnes, for Piano, Op. 15; Doyen (MHS LP)

1882: Helvetia: Aarau, Schinznach, and Laufenburg, Op. 17; Joly (cybella LP)

1884: Lied for Cello and Orchestra, Op. 19; Webber, Tortelier, English Chamber Orchestra (Philips)

1884: Diptyque méditerranéen, Op. 28; Prêtre, Monte Carlo Philharmonic Orchestra (EMI)

1886: Suite in D In Olden Style, for Trumpet, Two Flutes, and Strings, Op. 24; Glantz, Baker, C. Monteux, Guilet String Quartet (Heliodor LP)

1886: Symphony On a French Mountain Air, Op. 25; Henriot-Schweitzer, Munch, Boston Symphony Orchestra (RCA Victrola LP)

3:00 pm

1887: Trio for Clarinet, Cello, and Piano in B-flat, Op. 29; Moraguès, Coin, Cohen (Adès)

1888: Fantasy on French Popular Themes, Op. 31; Cousu, Nopre, Württemberg Philharmonic Orchestra (Marco Polo)

1890-91: Karadec, Op. 34; Paillard, Paillard Chamber Orchestra (Erato LP)

1891: Tableaux de voyage: Six Pieces, Op. 36; Nopre, Württemberg Philharmonic (Marco Polo)

1881-95: Prelude to Act I of Fervaal, Op. 40; Wolff, Orchestre des Concerts Lamoureux (Timpani)

1881-95: Fervaal, Op. 40; Mollien, Grancher, Germain, Capderou, Le Conte, Orchestra and Chorus of French Radio (MRF LPs)

6:00 pm

1896: Istar, Op. 42; Rudolf, Cincinnati Symphony Orchestra (Decca LP)

1897: String Quartet No. 2 in E, Op. 45; Kodály Quartet (Marco Polo)

1902-03: Symphony No. 2 in B-flat, Op. 57; DePriest, Monte Carlo Philharmonic Orchestra (Koch)

1905: Jour d’été à la montagne, Op. 61; Janowski, Orchestre Philharmonique de Radio France (Erato)

1909: Menuet sur le nom d’Haydn, Op. 65; Fingerhut (Chandos)

1912: Chanson et Danses, Op. 50; Sylvan Winds (Koch)

1918: Sarabande and Menuet, for Flute, Oboe, Clarinet, Bassoon, Horn, and Piano, (arr. from Op. 24), Op. 72; Cantin, Bourgue, Portal, Wallez, Cazalet, Rogé (London)

1919-21: Poème des Rivages, Op. 77; Prêtre, Monte Carlo Philharmonic Orchestra (EMI)

1929: Piano Trio in G, Op, 98; Prat, Gaugué, Paik (Valois)

10:00 pm THE CHRIS SMITHER ORGY

Hailed by many as the greatest acoustic-blues guitar player living today, singer-songwriter Chris Smither has established himself as one of the most important figures in the modern blues world. This New Orleans-born son of a Tulane professor learned to play by imitating a Lightnin’ Hopkins album, and he hasn’t looked back since. From his early days playing in Harvard Square coffeehouses during the 1960s blues revival to his recent work as an internationally acclaimed artist, Smither has proven himself as both brilliant songsmith and fine interpreter of classic blues. “His lean, precise songwriting is an arrow shot to the emotional core and his covers are revelatory,” one critic writes. Best known for his wondrous originals, Smither has won blues greats BB King and Bonnie Raitt, the latter of whom recorded two of his classics, “Love You Like a Man” and “I Feel the Same.”

“Think of a wandering Zen troubadour with a blue guitar, a hot finger-picking style and a gravelly voice that could make any material sound deep and cool,” writes the Associated Press. This one-man band, with his grand voice, stomping foot, blues-drenched guitar, and abiding interest in the problem of evil, will astound and impress the listener as we march through his exhaustive collection of blues mastery, exploring this Boston native’s talents as a lyricist, composer, and acoustic guitarist.

Wednesday, January 3

4:00 am THE ECM ORGY

The ECM Orgy explores the history of the seminal independent label founded by Manfred Eicher. Established at a time where free jazz and fusion seemed the only commercially viable venues for jazz musicians, ECM has created an alternative for musicians and listeners alike, with a trademark sound and style. We will go through hundreds of releases produced in more than 30 years by the Bavarian label, playing both famous and lesser known records by musicians such as Bill Frisell, Paul Bley, Keith Jarrett, Jan Garbarek, Enrico Rava, Nils Petter Molvaer, John Surman, Kenny Wheeler, Dave Holland, Louis Sclavis and many more. This Orgy has been prepared in collaboration with Mr. Eicher, who will be interviewed from his headquarters in Munich.

Thursday, January 4

THE ECM ORGY CONTINUES

Friday, January 5

5:00 am JAZZ INTERLUDE

7:00 am THE EDMUND RUBBRA ORGY

Edmund Rubbra (1901-1986) was one of the finest British composers of the 20th century. He was a student of Cyril Scott and Gustav Holst, with an individual style shaped by his love of Tudor music and, above all, his profound spirituality. Rubbra’s sensitive, subtle handling of voices and instruments complements the organic logic of his musical thought, culminating in epiphanies of chaste grandeur and ecstatic, bittersweet purity.

Times listed below are only approximate.

Rosa Mundi, Op. 2; Chadwell, Perrett (ASV)

The Virgin’s Cradle Song, Op. 3, No.1; Christophers, The Sixteen (Collins Classics)

Two Songs, Op. 4; Chadwell, Perrett (ASV)

Song, “Orpheus With His Lute,” Op. 8, No. 2; Chadwell, Perrett (ASV)

My Tocher’s the Jewel (trad. Scottish; arr. Rubbra), Op. 10; King’s Singers (EMI)

Violin Sonata No. 1, Op. 11; Osostowicz, Dussek (Dutton)

A Hymn to the Virgin, Op. 13, No. 2; Chadwell, Perrett (ASV)

Phantasy for Two Violins and Piano, Op. 16; Osostowicz, Manson, Dussek (Dutton)

Song, “Take, O Take, These Lips Away,” Op. 22, No. 1; Walker, Johnson (Hyperion)

Four Pieces for Violin and Piano, Op. 29; Osostowicz, Dussek (Dutton)

Violin Sonata No. 2, Op. 31; Osostowicz, Dussek (Dutton)

Four Medieval Latin Lyrics, Op. 32; Varcoe, Hickox, City of London Sinfonia (Chandos)

String Quartet No. 1 in f, Op. 35; Sterling String Quartet (Conifer)

Five Motets, Op. 37; Martin, Voces Sacrae (ASV)

Sinfonia Concertante, Op. 38; Shelley, Hickox, BBC National Orchestra of Wales (Chandos)

10:00 am

Five Spenser Sonnets for Tenor and String Orchestra, Op. 42; Hill, Schönzeler, City of London Sinfonia (Virgin Classics)

Symphony No. 1, Op. 44; Hickox, BBC National Orchestra of Wales (Chandos)

Amoretti: Five Spenser Sonnets for Tenor and String Quartet, Op. 43; Hill, Endellion String Quartet (Virgin Classics)

Symphony No. 2 in D, Op. 45; Handley, New Philharmonia Orchestra (Lyrita)

Orchestration of Brahms’ Variations and Fugue on a Theme by Handel, Op. 47; Järvi, London Symphony Orchestra (Chandos)

Symphony No. 3, Op. 49; Del Mar, Philharmonia Orchestra (Lyrita)

1:00 pm

Improvisations on Virginal Pieces by Giles Farnaby, Op. 50; Schönzeler, Bournemouth Sinfonietta (Chandos)

Five Madrigals, Op. 51; Voces Sacrae, Judy Martin (ASV)

Two Madrigals, Op. 52; Voces Sacrae, Judy Martin (ASV)

Symphony No. 4, Op. 53; Del Mar, Philharmonia Orchestra (Lyrita)

The Morning Watch, Op. 55; Hickox, BBC National Chorus and Orchestra of Wales (Chandos)

A Tribute, Op. 56; Del Mar, Philharmonia Orchestra (Lyrita)

Soliloquy for Cello and Orchestra, Op. 57; Sommer, Handley, London Symphony Orchestra (BBC Radio Classics)

Cello Sonata in g, Op. 60; Wallfisch, York (Marco Polo)

Festival Overture, Op. 62; Handley, New Philharmonia Orchestra (Lyrita)

Symphony No. 5 in B-flat, Op. 63; Hickox, BBC National Orchestra of Wales (Chandos)

Suite, “The Buddha,” Op. 64; Endymion Ensemble (Dutton)

Magnificat and Nunc Dimittis in A-flat, Op. 65; Patterson, Gloriae Dei Cantores (Gloriae Dei Cantores)

4:00 pm

Missa in Honorem Sancti Domenici, Op. 66; O’Donnell, Westminster Cathedral Choir (Teldec)

Meditazioni sopra “Coeurs Désolés,” Op. 67; Munrow, Malcolm (Angel LP)

Piano Trio in One Movement, Op. 68; Osostowicz, Salmon, Dussek (Dutton)

Tenebrae, Op. 72; Patterson, Gloriae Dei Cantores (Gloriae Dei Cantores)

String Quartet No. 2 in E-flat, Op. 73; Sterling String Quartet (Conifer)

Viola Concerto in A, Op. 75; Golani, Handley, Royal Philharmonic Orchestra (Conifer)

Three Motets, Op. 76; Webber, Choir of Gonville and Caius College, Cambridge (ASV)

Song of the Soul, Op. 78; Hickox, Academy of St. Martin-in-the-Fields Chorus, City of London Sinfonia (Chandos)

Ode to the Queen, Op. 83; Bickley, Hickox, BBC National Orchestra of Wales (Chandos)

6:45 pm HARVARD MEN’S HOCKEY

Harvard vs. Union

10:00 pm THE EDMUND RUBBRA ORGY CONTINUES

Symphony No. 6, Op. 80; Hickox, BBC National Orchestra of Wales (Chandos)

Star of the Mystic East, Op. 81; Martin, Voces Sacrae (ASV)

Salutation, Op. 82; Patterson, Gloriae Dei Cantores (Gloriae Dei Cantores)

Piano Concerto in G, Op. 85; Binns, Handley, London Symphony Orchestra (BBC Radio Classics)

Fantasy on a Theme of Machaut for Flute, Harpsichord, and String Quartet, Op. 86; Boyd, Harbach, Castleman, Gigante, Lenz, Frame (Albany)

Two Sonnets, Op. 87; Hodgson, Navratil, Swallow (Pearl LP)

Symphony No. 7 in C, Op. 88; Boult, London Philharmonic Orchestra (Lyrita)

Improvisation for Violin and Orchestra, Op. 89; Harth, Whitney, Louisville Orchestra (Louisville Records LP)

Mary Mother, Op. 90; Martin, Voces Sacrae (ASV)

Saturday, January 6

midnight THE EDMUND RUBBRA ORGY CONTINUES

Cantata Pastorale for Tenor, Flute, Cello and Harpsichord, Op. 92; Boute, Boyd, Frame, Harbach (Albany)

Entrez y tous, Op. 93; Martin, Voces Sacrae (ASV)

Festival Gloria, Op. 94; Patterson, Gloriae Dei Cantores (Gloriae Dei Cantores)

Missa à 3, Op. 98; Martin, Voces Sacrae (ASV)

Oboe Sonata in C, Op. 100; Maxwell, Dussek (Dutton)

Variations on “The Shining River,” Op. 101; Newsome, Black Dyke Mills Band (Chandos)

1:30 am

Pezzo Ostinato for Harp, Op. 102; Griffiths (EMI)

Violin Concerto, Op. 103; Little, Handley, Royal Philharmonic Orchestra (Conifer)

Variations on a Phrygian Theme for Solo Violin, Op. 105; Osostowicz (Dutton)

The Beatitudes, Op. 109; Martin, Voces Sacrae (ASV)

Lauda Sion, Op. 110; Martin, Voces Sacrae (ASV)

String Quartet No. 3, Op. 112; Sterling String Quartet (Conifer)

Three Hymn Tunes, Op. 114; Webber, Choir of Gonville and Caius College, Cambridge (ASV)

The Jade Mountain, Op. 116; Chadwell, Perrett (ASV)

Inscape, Op. 122; Hickox, Academy of St. Martin-in-the-Fields Chorus, City of London Sinfonia (Chandos)

Improvisation for Solo Cello, Op. 124; Gill (ASV)

Discourse for Cello and Harp, Op. 127; Gill, Perrett (ASV)

Veni, Creator Spiritus, Op. 130; Hickox, Academy of St. Martin-in-the-Fields Chorus, City of London Sinfonia (Chandos)

Symphony No. 8, Op.132 (Hommage à Teilhard de Chardin); Del Mar, Philharmonia Orchestra (Lyrita)

Violin Sonata No. 3, Op. 133; Osostowicz, Dussek (Dutton)

5:00 am

Advent Cantata, “Natum Maria Virgine,” Op. 136; Varcoe, Hickox, Academy of St. Martin-in-the-Fields Chorus, City of London Sinfonia (Chandos)

The Holy Dawn, Op. 135; Martin, Voces Sacrae (ASV)

Piano Trio No. 2, Op. 38 Osostowicz, Salmon, Dussek (Dutton)

Symphony No. 9, Op. 140 (Sinfonia Sacra); Dawson, Jones, Roberts, Hickox, BBC National Chorus and Orchestra of Wales (Chandos)

Transformations, Op. 141; Perrett (ASV)

Fanfare for Europe, Op. 142; Stobart, Locke Brass Ensemble (Chandos)

Symphony No. 10 (Sinfonia da Camera), Op. 145; Hickox, BBC National Orchestra of Wales (Chandos)

Overture Resurgam, Op. 149; Del Mar, Philharmonia Orchestra (Lyrita)

String Quartet No. 4, Op. 150; Sterling String Quartet (Conifer)

Symphony No. 11, Op. 153; Hickox, BBC National Orchestra of Wales (Chandos)

Duo for English Horn and Piano, Op. 156; Maxwell, Dussek (Dutton)

Mass in Honour of St. Teresa of Avila, Op. 157; Martin, Voces Sacrae (ASV)

Sinfonietta for Large String Orchestra, Op. 163; Schönzeler, City of London Sinfonia (Virgin Classics)

9:00 am HILLBILLY AT HARVARD

1:00 pm CLASSICAL MUSIC INTERLUDE

1:30 pm METROPOLITAN OPERA

Beethoven: Fidelio, Op. 72; Karita Mattila, Hei-Kyung Hong, Ben Heppner, Matthew Polenzani, Sergei Leiferkus, René Pape, James Levine conducting.

4:30 pm CLASSICAL MUSIC INTERLUDE

6:45 pm HARVARD MEN’S HOCKEY

Harvard vs. Rensselaer

10:00 pm THE ERIK SATIE ORGY

All hail the Master of Arcueil! Claude Debussy suggested that Satie’s fundamental failure was to have been born in the wrong era—the modern world could hardly appreciate a medieval composer of such depth. From his early Gymnopédies, which earned him the honorific title of “Gymnopédiste,” to his “instantaneous” ballet Relâche, we attempt to recreate Satie’s timeless life in music. The Satie Orgy will feature a live performance of Vexations and other works, as well as readings from the composer’s sense-defying writings.

Times listed below are only approximate.

1885: Valse-ballet Op. 62; Clidat (Forlane)

1885: Fantaisie-valse; Clidat (Forlane)

1886: Three Songs of 1886: “Les anges”; “Elegies”, Op. 19; “Sylvie”, Op. 20; Mesplé, Ciccolini (Arabesque LP)

1886: Trois ogives; de Leeuw (Philips)

1886: Les fleurs; Mesplé, Ciccolini (Arabesque LP)

1887: Three Sarabandes; de Leeuw (Philips)

1888: Three Gymnopédies; de Buchy (Weesp)

1887: Chanson; Mesplé, Ciccolini (Arabesque LP)

Sunday, January 7

midnight THE ERIK SATIE ORGY CONTINUES

1889-91: Six Gnossiennes; de Leeuw (Philips)

1891: Le fils des étoiles; Clidat (Forlane)

1891: Première pensée Rose + Croix; Clidat (Forlane)

1890: Six Gnossiennes (1-3 orch. Lanchberry, 4 and 6 Debussy, 5 Roland-Manuel); Lanchberry, Orchestra of the Royal Opera House, Covent Garden (Angel LP)

1892: Four Preludes: Fete donnée par des Chevaliers Normands en l’honneur d’une jeune demoiselle, Prelude d’Eginhard, 1er Prelude Nazareen, 2ème Prelude Nazareen; Barbier (Accord)

1893: Danses gothiques; de Leeuw (Philips)

1892: Sonneries de la Rose & Croix: Air de l’Ordre, Air du Grand Maître, Air du Grand Prieur; Cerha, Die Reihe Ensemble (Vox)

1894: Prélude de la porte heroïque du ciel (drame ésotérique); de Leeuw (Philips)

1895: Pages mystiques: 1. Prière; de Leeuw (Philips)

1895: Pages mystiques: 2. Vexations (organ); Désarbre (Mandala)

1895: Messe des pauvres; Désarbre, Paris Renaissance (Mandala)

1897: Je te veux; Bonazzi, Glazer (Vox)

1897: Caresse; Clidat (Forlane)

1897: Pièces froides: Trois Airs à faire fuire, Trois Danses de travers; de Leeuw (Philips)

1899 (-1929): Jack-in-the-box (pantomine, orch. Milhaud); Abravanel, Utah Symphony Orchestra (Vanguard LP)

ca. 1900: Petite ouverture à danser; de Leeuw (Philips)

ca. 1900: Poudre d’or; Clidat (Forlane)

ca. 1902: Tendrement (Hyspa); Gedda, Ciccolini (Angel LP)

ca. 1900: Le Piccadilly; Clidat (Forlane)

ca. 1900: Geneviève de Brabant (marionette opera; Contamine de Latour); Auriacombe, Orchestre de la Société des Concerts du Conservatoire (EMI)

1903: Trois morceaux en forme de poire; Février, Auric (Adès LP)

1904: La Diva de l’empire; Mesplé, Ciccolini (Arabesque LP)

3:00 am

1906: Passacaille; Clidat (Forlane)

1905: Trois Mélodies sans paroles: Rambouillet, Les Oiseaux, Marienbad; Danceries (Denon)

1906: Prélude en tapisserie; Clidat (Forlane)

1903: Trois Morceaux en forme de poire (orch. Desormiere); Abravanel, Utah Symphony Orchestra (Vanguard)

1906-13: Songe creux; Clidat (Forlane)

1906: Chanson médiévale; Mesplé, Ciccolini (Arabesque LP)

1906-8: Douze Petits Chorals; Clidat (Forlane)

1908-12: Aperçus désagréables: Pastorale, Choral, Fugue; Glazer, Deas (Vox)

1910-11: Deux Rêveries nocturnes; Clidat (Forlane)

1910-11: Nouvelles pièces froides: Sur un mur, Sur un arbre, Sur un pont; Clidat (Forlane)

1911: En habit de cheval; Glazer, Deas (Vox)

1912: Véritables préludes flasques (pour un chien); de Buchy (Weesp)

1912: Préludes flasques (pour un chien); Clidat (Forlane)

1913: Croquis et agaceries d’un gros bonhomme en bois; Clidat (Forlane)

1913: Embryons desséchés: d’Holothurie; d’Edriophthalma; de Podophthalma; Varsano (CBS LP)

1913: Descriptions automatiques: Sur un vaisseau, Sur une lanterne, Sur un casque; Clidat (Forlane)

1913: Embryons desséchés (orch. Cerha); Cerha, Die Reihe Ensemble (Vox)

1913: Vexations; Marks (London)

6:00 am

1913: Chapitres tournés en tous sens; Clidat (Forlane)

1913: Les pantins dansent; Mesplé, Benoit, Bertin, Dervaux, Chorus of the Théatre National de l’Opéra de Paris (EMI)

1913: En habit de cheval; Rosenthal, Orchestre National de France (Adès LP)

1913: Menus propos enfantins; Clidat (Forlane)

1913: Peccadilles importunes; Clidat (Forlane)

1913: Enfantillages pittoresques; Clidat (Forlane)

1913: Le piège de Méduse (lyric comedy in one act, text also by Satie); Bertin, Deschamps, Falcucci, Laurence, Ciccolini, Lamoureux Concerts Orchestra (Angel LP)

1913: Vieux sequins et vieilles cuirasses; Clidat (Forlane)

1914: Choses vues à droite et à gauche (sans lunettes): Choral hypocrite, Fugue à tatons, Fantaisie musculaire; Taylor, Glazer (Vox)

1914: Heures séculaires et instantanées; Clidat (Forlane)

1914: Trois poèmes d’amour: “Ne suis que grain de sable,” “Suis chauve de naissance”, “Ta parure est secrète”; Bacquier, Ciccolini (Angel LP)

1914: Les Trois Valses du précieux dégouté; Clidat (Forlane)

1914: Cinq grimaces pour ‘Le songe d’une nuit d’été’ (Shakespeare); Abravanel, Utah Symphony Orchestra (Vanguard)

1914: Sports et divertissements; de Buchy (Weesp)

1915: Avant-dernières pensées; Pöntinen (Bis)

1916-17: Parade (ballet réaliste, Cocteau, Massine, Picasso); Auriacombe, Orchestre de la Société des Concerts du Conservatoire (Angel LP)

1917: Pages mystiques: 3. Harmonies 1, 2 & 3; Désarbre (Philips)

1916: Trois Mélodies: “Daphénéo” (Farque), “La Statue de Bronze” (Godebska), “Le Chapelier” (Chalupt); Cuenod, Parsons (Nimbus)

1917: Sonatine bureaucratique; Clidat (Forlane)

1917-18: Socrate (Plato, trans. Cousin); Escribano, Bedard, Iiyama, Lorenz, Cerha, Die Reihe Ensemble (Vox)

9:00 am

1919: Cinq Nocturnes; Clidat (Forlane)

1919: Trois petites pièces montées: De l’enfance de Pantagruel, Marche de Cocagne, Jeux de Gargantua; Cerha, Die Reihe Ensemble (Vox)

1920: Quatre petites mélodies: Elégie (Lamartine), Danseuse (Cocteau), Chanson (18th century), Adieu (Radiguet); Bonazzi, Glazer (Vox)

1920: La belle excentrique: Grande ritournelle, Marche franco-lunaire, Valse des mystérieux baiser dans l’oeil, Cancan grand mondian; Cerha, Die Reihe Ensemble (Vox)

1924: Mercure (ballet, Massine, Picasso); Abravanel, Utah Symphony Orchestra (Vanguard)

1920: Premier menuet; Clidat (Forlane)

1923: Ludions: Air du rat, Spleen, La grenouille americaine, Air du poete, Chanson du chat; Bonazzi, Glazer (Vox)

1924: Entr’acte Cinématographique from Relâche; de Froment, Orchestra of Radio Luxembourg (Vox)

1924: Relâche (instantaneous ballet, Picabia, Börlin); Auriacombe, Orchestre de la Société des Concerts du Conservatoire (Angel LP)

11:00 am MEMORIAL CHURCH SERVICE

Preacher: The Reverend Peter J. Gomes, Plummer Professor of Christian Morals and Pusey Minister in The Memorial Church. Music includes “Eternal light” by Leo Sowerby and “There shall a star come out of Jacob” by Mendelssohn.

12:30 pm CLASSICAL MUSIC INTERLUDE

1:45 pm HARVARD WOMEN’S HOCKEY

Harvard vs. Cornell

4:30 pm THE STANLEY TURRENTINE ORGY

Stanley Turrentine’s thick, booming tone is unmistakable in tenor sax circles. A most highly regarded soul jazz musician, Turrentine impresses whether playing the blues, an old standard, or straight-ahead, swing-influenced jazz. Blue Note reviewer Dudley Williams writes, “The Turrentine tenor displays none of the weak-kneed and frazzle-buttocked bleatings of many tenor sax deviates, but relies on the truly large tone of the big tenor sounds of the old masters.” Turrentine’s association with Shirley Scott, in and out of the studio, and his work with Jimmy Smith left us with some of the finest soul and groove jazz of all time. Stanley Turrentine suffered a stroke in September, 2000, and passed away shortly thereafter. The Stanley Turrentine Orgy is a celebration of this man’s music and the big sound he left behind.

Monday, January 8

5:00 pm THE EARTH, WIND, AND FIRE ORGY

Some say it is their virtuosic horn section, some the high quality and creativity of their songwriting, and some the sheer soul of their singing, but whatever it is about Earth, Wind & Fire, they stand among the most innovative and successful bands of the funk era, an influence on funk, jazz, rap, R & B, and even rock artists, with no close imitators, quite possibly because no one else can imitate their tight, complex, layered arrangements and legendary live performances.

Earth, Wind & Fire also bring an African consciousness and racial pride to pop music, with bandleader Maurice White pioneering use of the kalimba (a sort of small African thumb-piano) symbolizing the group’s purpose. Earth, Wind & Fire’s larger philosophy is an enthusiastic gospel of hope and love. Tracks such as Devotion, That’s The Way of the World, and Shining Star have become anthems of optimism, and their message remains relevant today. This twenty-four hour compilation of EWF’s music takes us from their self-titled debut album in 1971 through their most recent release, In the Name of Love.

Tuesday, January 9

5:00 pm THE ARTUR SCHNABEL ORGY

Artur Schnabel (1872-1951) is perhaps best known as one of the twentieth century’s greatest interpreters of Beethoven’s piano music. Schnabel once described his life’s ultimate goal as “seeing the musician through music, rather than music through the musician.” Fifty years after his death, Schnabel’s groundbreaking recordings of Beethoven, Mozart and Schubert remain revelatory and exciting documents. We survey these and other recordings of Bach, Brahms, Schumann and Weber, as well as samplings of Schnabel’s chamber music collaborations and his compositions.

Beethoven recordings are on Angel/Seraphim LPs unless noted; Schubert, Mozart, and chamber music recordings are on Arabesque CDs unless noted.

Times listed below are only approximate.

Beethoven: Sonata No. 27 in e, Op. 90

Beethoven: Rondo a Capriccio, Op. 129, “Rage Over the Lost Penny”

Beethoven: Six Bagatelles, Op. 126

Beethoven: Sonata No. 26 in E-flat, Op. 81a, “Les Adieux”

Beethoven: Sonata No. 29 in B-flat, Op. 106, “Hammerklavier”

7:00 pm

Schubert: Allegretto in c, D. 915

Schubert: Marche Militaire in E-flat, D. 733, No. 3; Karl-Ulrich Schnabel

Schubert: Four Impromptus, D. 899

Schubert: Moments Musicaux, D. 780

Schubert: Four Impromptus, D. 935

Schubert: Klavierstück in E-flat, D. 946, No. 2 (Private recording)

Schubert: Sonata in D, D. 850

Schubert: Sonata in A, D. 959

Schubert: Sonata in B-flat, D. 960

Schumann: Kinderszenen, Op. 15 (APR)

Weber: Invitation to the Dance, J. 260 (APR)

11:15 pm CHAMBER MUSIC

Brahms: Trio in B, Op. 8; Szigeti, Fournier (Arbiter)

Brahms: Violin Sonata in A, Op. 100; Szigeti (Arbiter)

Wednesday, January 10

midnight

Schumann: Quintet in E-flat, Op. 44; Pro Arte Quartet (EMI/Toshiba LP)

Dvorak: Quintet in A, Op. 81; Pro Arte Quartet

Mozart: Quartet in g, K. 478; Pro Arte Quartet

Schubert: Quintet in A, D. 667, “Trout”; Hobday, Pro Arte Quartet

2:30 am COMPOSITIONS BY SCHNABEL

Violin Sonata (1935); Zukofsky, Oppens (CP²)

Notturno for voice and Piano (1914); Fischer-Dieskau, Reimann (Orfeo)

Piano Sonata (1922); Tozer (Chandos)

String Quartet No. 3 (1923-4); La Salle Quartet (DG)

Dance Suite for Piano (1921); Tozer (Chandos)

5:00 am

Mozart: Concerto No. 21 in C, K. 467 (cadenzas: Schnabel); Sargent, London Symphony Orchestra

Mozart: Concerto No. 24 in c, K. 491 (cadenzas: Schnabel); Susskind, Philharmonia Orchestra

Mozart: Concerto No. 19 in F, K. 459; Sargent, London Symphony Orchestra

Mozart: Rondo in a, K. 511

Mozart: Sonata in F, K. 332

Mozart: Sonata in B-flat, K.5 70

Mozart: Sonata in a, K. 310

7:45 a.m.

Brahms: Rhapsody in g, Op. 79, No. 2 (APR)

Brahms: Intermezzo in a, Op. 116, No. 2 (APR)

Brahms: Intermezzo in E-flat, Op. 117, No. 1 (APR)

Bach: Italian Concerto in F, S. 971 (EMI)

Bach: Toccata in c, S. 911 (EMI)

Bach: Toccata in D, S. 912 (EMI)

Bach: Chromatic Fantasy and Fugue in d, S. 903 (EMI)

9:00 am

Beethoven: Sonata No. 2 in A, Op. 2, No. 2

Beethoven: Sonata No. 17 in d, Op. 31, No. 2

Beethoven: Sonata No. 11 in B-flat, Op. 22

Beethoven: Sonata No. 13 in E-flat, Op. 27, No. 1

Beethoven: Sonata No. 21 in C, Op. 53, “Waldstein”

Beethoven: Concerto No. 4 in G, Op. 58; Sargent, London Symphony Orchestra (Arabesque LP)

Beethoven: Concerto No. 5 in E-flat, Op. 73; Sargent, London Symphony Orchestra

(Arabesque LP)

Beethoven: Sonata in No. 9 in E, Op. 14, No. 1

12:00 pm

Beethoven: Sonata No. 3 in C, Op. 2, No. 3

Beethoven: Sonata No. 5 in c, Op. 10, No. 1

Beethoven: Sonata No. 16 in G, Op.31, No. 1

Beethoven: Sonata No. 22 in F, Op. 54

Beethoven: Sonata No. 30 in E, Op. 109

Beethoven: Sonata No. 32 in c, Op. 111

Beethoven: 33 Variations on a Waltz by Diabelli, Op. 120

4:00 pm THE TEJANO/NORTEÑO ORGY

Tejano and Norteño music is a regional music born a “border music” but now extended beyond the Southern Texan and Northern Mexican regions to all parts of the United States, Mexico, and the world. The music includes sounds of the accordion, bajo sexto, saxophone, and tambora, with the styles of cumbias, corridos, rancheras, and boleros. The Orgy will present some of the more influential Tejano and Norteño artists of the past and present, including Los Alegres de Teran, Cornelio Reyna, Ramon Ayala, Los Tigres del Norte, Flaco Jimenez, Fito Olivares, Selena, Intocable, and others. Largely marginalized as “low class” music among some Mexicans, those of Mexican decent, and Latinos in general, it was not even recognized in the Latin Grammy Awards, which somehow found room for the non-Latin N’Sync on their television broadcast. This Orgy covers some of the more celebrated names in the music’s past and present, ending with a tribute to Zenaida—a folk character who is the focus of many songs (rancheras and corridos) in the Tejano, Norteño, and other Regional Mexican music traditions and styles.

Thursday, January 11

midnight ROCK INTERLUDE

5:00 am THE CELTIC ORGY

Although no single term can fully incorporate the variety of music that has come out of the Celtic tradition, the Celtic Orgy attempts to unite many aspects of Celtic music in an exploration of rhythms, instrumentation, and history, spanning the musical traditions of the six Celtic language regions (Ireland, Scotland, Isle of Man, Cornwall, Brittany, and Wales) as well as music arising within the Celtic diaspora regions (such as Cape Breton, Newfoundland, and the United States.

What began centuries ago across the Atlantic has continued through a folk tradition including bardic storytelling, work songs, drinking songs, and instrumental music. Traditional music will be featured in authentic forms, as well as in styles from the Celtic revival of the 1970s, when many artists, ethnologists, and enthusiasts rallied to record traditional songs and continue the development of Celtic music with the introduction of new instruments and new songs in old styles, and by preserving the spirit of many traditions within modern music. We feature many groups central to this revival (The Chieftains, Altan, De Dannan), along with a some rare recordings of their forerunners and emerging successors from labels such as Green Linnet, Shanachie, and Compass. Other highlights: an examination of the lesser-known aspects of Breton music and an hour devoted to modern music.

4:00 pm THE ROBERT WYATT ORGY

Robert Wyatt was a founding member of the Soft Machine, who helped transform the late-sixties psychedelic scene in Britain into something more lasting. Through successive albums, Soft Machine soon moved toward a more jazz-based fusion with rock music, punctuated by Wyatt’s distinctive drumming and vocals, and attracted a massive following across Europe. After extensive touring, Wyatt left Soft Machine intending to pursue a solo career, but instead assembled Matching Mole, who released two critically acclaimed LPs before tragedy struck.

In 1973, Wyatt fell from a third floor window during a party, leaving him paralyzed from the waist downwards. From that day on, he concentrated his efforts into solo recordings, mixing simple and effective keyboard melody lines with poignant lyrics, often filled with personal and political references. The results proved both haunting and reflective. He has collaborated with Henry Cow, Carla Bley, Brian Eno, Syd Barrett, and Scritti Politti. Who is this Marxist who has a hit recording of a Monkees song, this man who has appeared on Rough Trade’s “Wanna Buy a Bridge” compilation of the most scathing art punk in Europe after being a recipient of the Grand Prix de l’Académie Charles Cros in France? The Robert Wyatt Orgy attempts an answer.

Robert Wyatt, confined to a wheelchair for twenty-five years, has demonstrated more musical and conceptual mobility than any of his peers. He has been inspired by Charlie Haden’s Liberation Music Orchestra, and performed an anti-Falklands War song, written for him by Elvis Costello. The Robert Wyatt Orgy will conclude with his 1997 album Shleep, which celebrates the world of dreams. Whether Wyatt’s work inhabits the free jazz kingdom, the psychedelic phylum, or the art punk subspecies, we celebrate it all.

Friday, January 12

2:00 pm THE JEAN-PIERRE RAMPAL ORGY

As the first international concert flutist, Jean-Pierre Rampal brought his instrument into a position of prominence which it had not enjoyed since the eighteenth century. Rampal was born in Marseille in 1922, and he studied at the Conservatory there with his father. He attended medical school for three years before abandoning it during the Nazi occupation to study at the Paris Conservatoire, and he began his long performing career in 1945. He worked tirelessly to expand the flute repertoire, discovering forgotten flute music from previous centuries and performing the music of contemporary composers, many of whom he knew personally, such as Poulenc, Boulez, and Jolivet.

In commemoration of Rampal’s death in May, we present a range of recordings which span the many aspects of the artist’s musical life: concert soloist, chamber musician, teacher, collaborator and scholar.

Mercadante: Flute Concerto in e; Scimone, I Solisti Veneti (RCA LP)

Prokofiev: Flute Sonata in D, Op. 94; Veyron-Lacroix (Odyssey LP)

Giuliani: Grand Sonata in A for Flute and Guitar, Op. 85; Bartoli (Odyssey LP)

Bernstein: Halil; Bernstein, Israel Philharmonic Orchestra (DG)

Roussel: Two Songs with Flute, Op. 26; Battle (Sony)

Telemann: Scherzo for Two Flutes and Harpsichord No. 1 in A; Kudo, Ritter (Sony)

Jolivet: Suite en Concert for Flute and Percussion; Jolivet, J.-C. Casadesus, Drouet, Masson, François (RCA LP)

Mozart: Flute Quartet in D, K. 285; Stern, Accardo, Rostropovich (CBS)

Ibert: Three Short Pieces for Wind Quintet; Pierlot, Lancelot, Coursier, Hongne (Oiseau-Lyre LP)

Gianella: Concerto Lugubre in c for Flute and Orchestra; Scimone, I Solisti Veneti (RCA LP)

Corrette: Concerto Comique in C, Op. 8, No. 3, “Margoton”; Baron, Bennett, Veyron-Lacroix, Soyer (Connoisseur Society LP)

Doppler: Hungarian Duettino for Two Flutes and Piano, Op. 36; Kudo, Ritter (Sony)

Martinu: Flute Sonata; Ritter (Sony)

Quantz: Flute Concerto in G; Roussel, Orchestre Antiqua Musica (Mercury LP)

Kuhlau: Trio for Two Flutes and Piano in G, Op. 119; Arimany, Ritter (Delos)

Poulenc: Flute Sonata; Veyron-Lacroix (Odyssey LP)

Mozart: Flute Concerto in G, K. 313; Stern, Jersualem Music Center Chamber Orchestra (RCA LP)

Bach: Partita in a for Solo Flute, S. 1013; (RCA LP)

6:45 pm HARVARD MEN’S HOCKEY

Harvard at Princeton

10:00 pm THE KICK BACK AND GROOVE ORGY

Kick Back and Groove as we send out the most gritty Soul and Groove Jazz in our collection. Dance to the sounds of Joe Henderson, Herbie Hancock, Horace Silver, Lee Morgan, and Art Blakey. In addition, you’ll hear plenty of B-3 organ-playing Smiths: Lonnie, Dr. Lonnie, Lonnie Liston, and Jimmy. Requests are welcome.

Saturday, January 13

9:00 am HILLBILLY AT HARVARD

1:00 pm CLASSICAL MUSIC INTERLUDE

1:30 pm METROPOLITAN OPERA

Verdi: Il trovatore; Marina Mescheriakova, Dolora Zajick, Neil Shicoff, Roberto Frontali, Dimitri Kavrakos, Carlo Rizzi conducting.

4:30 pm NEW YORK PHILHARMONIC ORCHESTRA IN CONCERT

Kurt Masur conducting.

Martin: Six Monologues from Everyman; Thomas Quasthoff

Brahms: A German Requiem, Op. 45; Heidi Grant Murphy, Quasthoff, American Boychoir, New York Choral Artists

6:45 pm HARVARD MEN’S HOCKEY

Harvard at Yale

10:00 pm THE HISTORY OF HIP-HOP ORGY

The History of Hip-Hop Orgy continues a WHRB tradition. We will begin at Hip-Hop’s origins, pre-school breaks, and then live mixing of songs in chronological order, from old school to the present, for a marathon set lasting eight hours.

Sunday, January 14

6:00 am THE SONNY BOY WILLIAMSON II ORGY

Few artists bridged the gap between early and later blues, and, in the process, helped define the growth of the art form, as well as Sonny Boy Williamson II. This legendary blues harp player was a driving force in blues from his earliest experiences rubbing elbows with Robert Johnson to his last recordings with groups like the Yardbirds.

Born illegitimate in Mississippi, Aleck Ford, a.k.a. “Rice” Miller, a.k.a. Sonny Boy Williamson II, rose to fame from a youth spent farming through his regular appearances on the King Biscuit Time radio program, which showcased some of the greatest Arkansas and Delta bluesmen of the Great Depression. Sonny Boy followed the blues north to Chicago in the 1950s, planting himself in the middle of the growing blues scene there. By the time the other Sonny Boy, John Lee “Sonny Boy” Williamson, was murdered by icepick in 1948, it was clear that Sonny Boy II was on his way to overtaking him as “the true Sonny Boy Williamson.”

The Sonny Boy Williamson II Orgy will celebrate this king of bluesmen with a full review of his life’s work — from the Delta to Chicago.

11:00 am MEMORIAL CHURCH SERVICE

Preacher: The Reverend Dr. Lawrence E. Carter, Sr., Dean of the Martin Luther King Jr. International Chapel at morehouse College in Atlanta, Georgia. Music includes Lauds by George Dyson and Elijah Rock by Jester Hairston.

THE GIUSEPPE VERDI ORGY®

Born in 1813, Giuseppe Verdi is considered by many to have been the premier opera composer of his century. By the time of his death, January 27, 1901, his vast output included nearly thirty operas, a requiem, numerous songs and vocal pieces, instrumental music, and a string quartet as well.

The Verdi Orgy commemorates the centenary of his death with virtually all of his music, allowing the observation of changes in style over the course of his lifetime. Because of time restrictions, we reluctantly limited ourselves to one complete version of most works that were modified later, but in most cases we include some of the music added at the later date. The works below are listed for the most part in chronological order, with a couple of modifications for convenience of listening. There are also two brief segments devoted to “historical singers,” singers from the first half of the 20th century and singers whom we were not able to include in any of the complete operas. Lastly, towards the end of the orgy we pay tribute to the great conductor Arturo Toscanini, the only one of our conductors in this Orgy to have known and played under Verdi, with two of Toscanini's greatest recordings.

Special thanks to Robert Dennis for his invaluable help in planning this orgy.

Times listed below are only approximate.

12:30 pm

1826(?): Quattro Duetti Sacri; WHRB Ensemble

1820s(?): Waltz in F; Holmes (rec. by WHRB)

1832(?)-35: Scene for two tenors and orchestra, “Io la vidi”; Pavarotti, Savastano, Abbado, La Scala Orchestra (CBS)

1835: Song, “Brindisi” (first version); O’Neill, Surgenor (Collins)

1836(?): Tantum Ergo; WHRB Ensemble

1838: Sei Romanze; Takacs, Falvai (Hungaroton LP)

1839: Oberto, conte di San Bonifacio; Dimitrova, Baldani, Bergonzi, Panerai, Gardelli, Munich Radio Orchestra (Orfeo)

1839: Notturno, “A tre voci”; WHRB Ensemble

4:00 pm

1839: Songs, “L'esule” and “La seduzione”; M. Price, Parsons (DG)

1840: Un giorno di regno; Norman, Cossotto, Carreras, Wixell, Sardinero, Gardelli, Royal Philharmonic Orchestra (Philips LP)

1842: Nabucco; Scotto, Obratsova, Luchetti, Manuguerra, Ghiaurov, Muti, Ambrosian Opera Chorus, Philharmonia Orchestra (Angel)

9:00 pm

1843: I lombardi; Deutekom, Domingo, Raimondi, LoMonaco, Gardelli, Ambrosian Singers, Royal Philharmonic Orchestra (Philips)

Monday, January 15

midnight

1844: Ernani; Sutherland, Pavarotti, Nucci, Burchuladze, Bonynge, Orchestra and Chorus of the Welsh National Opera (London)

1844: I due Foscari; Gencer, Picchi, Guelfi, Serafin, Orchestra and Chorus of La Fenice (Classica)

1844: I due Foscari, scena, “Dal più remoto esilio…Sì, lo sento, Iddio mi chiama”; Pavarotti, Savastano, Abbado, La Scala Orchestra (CBS)

4:30 am

1842: Song, “Chi I bei m'adduce ancora”; Scotto, Scalera (Nuovo Era)

1844: Song, “E la vita un mar d'affanni”; Scotto, Scalera (Nuovo Era)

1845: Giovanna d'Arco; Caballé, Domingo, Milnes, Levine, Ambrosian Chorus, London Symphony Orchestra (Angel)

1845: Alzira; Cotrubas, Araiza, Bruson, Rootering, Gardelli, Munich Radio Orchestra (Orfeo)

1845: Sei Romanze; Takacs, Falvai (Hungaroton LP)

9:00 am

1846: Attila; Deutekom, Bergonzi, Milnes, Raimondi, Gardelli, Ambrosian Singers, Royal Philharmonic (Philips)

1846: Attila, aria, “Oh, dolore”; Pavarotti, Abbado, Orchestra of La Scala (CBS)

1847: I masnadieri; Caballé, Bergonzi, Raimondi, Cappuccilli, Gardelli, Ambrosian Singers, New Philharmonic Orchestra (Philips)

1847: Song, “Il Poveretto”; M. Price, Parsons (DG)

2:00 pm

1847: Jérusalem; Merscheriakova, Giordani, Scandiuzzi, Rouillon, Luisi, Geneva Grand Theatre Chorus, Orchestre de la Suisse Romande (Philips)

1848: Il corsaro; Caballe, Norman, Carreras, Mastromei, Gardelli, Ambrosian Singers, New Philharmonica (Philips)

7:00 pm HISTORIC INTERPRETERS, PART I

Twice during this Verdi orgy we set aside time to sample the singing of singers from decades ago or whom we were not able to include in any of the complete operas. Lawrence Tibbett, Enrico Caruso, and Rosa Ponselle are just some. Part II will be broadcast Wednesday at 8:00 pm.

8:00 pm

1849: La battaglia di Legnano; Ricciarelli, Carreras, Manuguerra, Ghiuselev, Gardelli, Chorus and Orchestra of the Austrian Radio (Philips)

1849: Luisa Miller; Moffo, Bergonzi, Verrett, MacNeil, Tozzi, Flagello, Cleva, RCA Italian Opera Orchestra and Chorus (RCA)