Composer Gardner Read was born January 2, 1913. WHRB celebrates his 90th birthday today with representative works from six decades of composition. Mr. Read will be heard in interview, as will others.

1933-34: Four Nocturnes, Op. 23; Fortunato, McDonald (Albany)

1933: Suite for String Orchestra, Op. 33a; Feldman, Longy Chamber Orchestra

1935-36: Passacaglia and Fugue for Organ, Op. 34; Raver (Northeastern)

1936: Impromptu for Piano, Op. 42; McDonald (from a forthcoming CD)

1936-42: Night Flight, Op. 44; Whitney, Louisville Orchestra (CRI)

1939-40: Songs For A Rainy Night for Voice and Harp, Op. 48, selections; Fortunato, Repko (Albany)

Driftwood Suite for Piano, Op. 54, exc.; McDonald (from a forthcoming CD)

1939-45: Concerto for Cello and Orchestra, Op. 55; Mark, Feldman, Boston Conservatory of Music Orchestra (perf. April 24, 1999)

1937-45: Piano Quintet (in one movement), Op. 47; McDonald, Lydian Quartet (perf. June 16, 2001)

1945: Sonata da Chiesa for Piano, Op. 61; Holt (Northeastern)

1946: Threnody for Flute, Harp, and Orchestra, Op. 66; Mariano, Hanson, Eastman orchestra (first performance, October 21, 1946, issued by the National Flute Association)

1946-48: Pennsylvaniana, Op. 67; Maazel, Pittsburgh Symphony Orchestra

1946: De Profundis for Trombone and Organ, Op. 71a; Lindberg, Idemstam (BIS)

1946-48: Symphony No. 3, Op. 75; Steinberg, Pittsburgh Symphony Orchestra

1947-49: "Lullaby for a Man-Child" from Songs to Children for voice and ensemble, Op. 76; Fortunato, Nielsen, Repko, Elowitch, Madden, Black, Curry (Albany)

1948: Sonata Brevis for Violin and Piano, Op. 80; Glick, Daly

1948-49: Suite for Organ, Op. 81; Raver (Northeastern)

1949: Sound Piece for Brass and Percussion, Op. 82; Hunsberger, Eastman Wind Ensemble

1949-50: A Sheaf of Songs for voice and winds, Op. 84; Fortunato, Ariel Quintet (Albany)

1950: Three of Eight Preludes on Old Southern Hymns for Organ and Chorus, Op. 90, Nos. 1, 7, and 8; Harbach, Adler, Rochester Singers (Gasparo)

1951: Arioso Elegiaca, Op. 91; composer, Eastman School Orchestra (1996)

1953: Toccata Giocosa, Op. 94; Whitney, Louisville Orchestra (CRI)

1955: Vernal Equinox, Op. 96; composer, Boston Conservatory Orchestra (perf. February 15, 1998)

1956-57: String Quartet No. 1, Op. 100; Boston Composers String Quartet (Northeastern)

1951-59: Symphony No. 4, Op. 92; Maazel, Cleveland Orchestra (CRI)

1960: Three of Six Preludes on Old Southern Hymns for Organ and Chorus, Op. 112, Nos. 1, 2, and 4; Harbach, Adler, Rochester Singers (Gasparo)

1965: Sonoric Fantasia No. 2 for Violin and Orchestra, Op. 123; Totenberg, composer, Boston University Orchestra

1969: Intrada from Sinfonia da Chiesa for Organ and Brass, Op. 61b; Raver, Atlantic Brass (Northeastern)

1975-76: "…and there appeared unto them tongues as of fire" for Organ, Op. 134; Raver (Northeastern)

1977: Invocation for Trombone and Organ, Op. 135; Lindberg, Idemstam (BIS)

1978-79: By-Low, My Babe, for Flute, English Horn, Harp, and Ensemble; Adee, Connor, Rado, Dole, Sanford Dole Ensemble (Albany)

1973-79: Concerto for Piano and Orchestra, Op. 130; Hodgkinson, Effron, Eastman Philharmonia (Albany)

1985: Nocturnal Visions, Op. 145; Fortunato, McDonald (Albany)

1990: Fantasy-Toccata for Harpsichord, Op. 148; Kroll (Albany)

1991: Five Aphorisms for Violin and Piano, Op. 150; Packer, Karp (Northeastern)

Some of the best-known and best-loved classical masterworks of the Western canon, concluding, as always, with Tchaikovsky’s 1812 Overture.

Mozart: Symphony No. 41 in C, K. 551, "Jupiter"; Szell, Cleveland Orchestra (Sony)

Schumann: Piano Trio No. 1 in d, Op. 63; Florestan Trio (Hyperion)

Ravel: La Valse; Tortelier, Ulster Orchestra (Chandos)

Mahler: Das Lied von der Erde; Ferrier, Patzak, Walter, Vienna Philharmonic Orchestra (London)

Schubert: Piano Quintet in A, "Trout"; Schiff, Posch, members of the Hagen Quartet (London)

Wagner: Funeral Music from Götterdämmerung; Karajan, Berlin Philharmonic Orchestra (DG)

Dvorak: Piano Quintet in A, Op. 81; Pressler, Emerson Quartet (DG)

Vaughan Williams: Fantasia on a Theme by Thomas Tallis; Haitink, London Philharmonic Orchestra (EMI)

Satie: Trois Gymnopédies; Clidat (Forlane)

Orff: Carmina Burana; Janowitz, Stolze, Fischer-Dieskau, Jochum, Chorus and Orchestra of the Deutsche Oper of Berlin (DG)

Vivaldi: The Four Seasons, Op. 8, Nos. 1-4; Spivakov, Moscow Virtuosi (RCA)

Mussorgsky (orch. Ravel): Pictures at an Exhibition; Karajan, Berlin Philharmonic Orchestra (DG)

Brahms: Clarinet Quintet in b, Op. 115; Leister, Amadeus Quartet (DG)

Bach: Brandenburg Concerto No. 3 in G, S. 1048; Antonini, Il Giardino Armonico (Teldec)

Copland: Appalachian Spring, Suite; Bernstein, New York Philharmonic Orchestra (Sony)

Haydn: Symphony No. 94 in G, "Surprise"; Davis, Concertgebouw Orchestra (Philips)

Barber: Adagio for Strings; Bernstein, New York Philharmonic Orchestra (Sony)

Tchaikovsky: Festival Overture for the Year 1812 in E-flat, Op. 49; Dorati, University of Minnesota Brass Band, Minneapolis Symphony Orchestra (Mercury)

For those who REALLY love the Jacksons, we’ll bring you all the way back to Gary, Indiana and go through the ABCs of Jackson music from the Jackson 5 to Jermaine and Latoya and even to distant Jackson relatives like 3T and Rockwell.

We’re playing everything, the good, the bad, the ugly, and the Jackson. Call in to nominate your favorite Jackson song of all time as well as your favorite Jackson controversy. It’s a Jackson family reunion — we’ll bring the music, the family, and the ensuing drama, and you bring the potato salad!

Poulenc: Dialogues des Carmélites; Patricia Racette, Christine Goerke, Heidi Grant Murphy, Stephanie Blythe, Felicity Palmer, Matthew Polenzani, James Conlon conducting.

Harvard at Union.

The Ohio-born Mills Brothers first earned their fame in the early 1930's as a novelty act, a result of their uncanny ability to convincingly imitate the sounds of a variety of instruments using only their voices. Yet the four brothers (John Jr., Herbert, Harry, and Donald) managed to turn this novelty into long-standing fame with their sweet vocal blend, reaching high on the charts again and again with songs such as "Paper Doll," "I’ll Be Around," and "You Always Hurt The One You Love." Straight out of the barbershop (quite literally — John Sr. was a barber), the Mills Brothers combination of barbershop quartet harmonies with elegant guitar accompaniment proved a happy success. We will highlight the best of the brothers’ multi-decade career, especially focusing on their recordings from the 1930’s and early 1940’s.

Preacher: The Reverend Peter J. Gomes, Plummer Professor of Christian Morals and Pusey Minister in The Memorial Church. Music includes "How lovely are the messengers" by Mendelssohn and "Eternal light" by Sowerby.

The impresario Sergei Diaghilev was the genius behind the Ballets Russes from 1909 until his death in 1929. In many ways, he single-handedly created what was arguably the most significant artistic enterprise of the 20th century — certainly the peak of ballet as an art form — bringing together the most eminent artists of dance, visual art, and music. Among its great moments was the premiere of The Rite of Spring, a work with such scandalous music and choreography that it caused a riot.

Born to a noble Russian family in 1872, Diaghilev began his studies in law but soon found his true passion in the world of theater. Unsatisfied by traditional ballet in Russia, he moved to France in 1909 and founded the Ballets Russes (Russian Ballet), a successful company that performed throughout Europe and America. His genius was not in the composition of the music or the choreography of the dances, but in bringing together the most promising talents of the time. The list of collaborators includes some of the most creative minds of the 20th century: in music, Stravinsky, Debussy, Ravel, Milhaud, and Prokofiev; in dance, Fokine, Nijinsky, Balanchine, Pavlova, and Massine; in visual art, Picasso and Braque; and in writing, Cocteau, to name but a few. Their output was a magnificent canon of work that we present in chronological order from 1909 to 1929.

18-May-09: Tcherepnin; Le Pavillon d’Armide; Shek, Moscow Symphony Orchestra (HNH)

18-May-09: Borodin (compl. and arr. Rimsky-Korsakov, Glazunov): Prince Igor: Polovtsian Scenes and Dances; Järvi, Gothenburg Symphony Orchestra (DG)

2-Jun-09: Chopin (orch. Douglas): Les Sylphides; Zinman, Rotterdam Philharmonic Orchestra (Philips LP)

20-May-10: Schumann (orch. Arensky, Glazunov, Liadov, Rimsky-Korsakov, Tcherepnin): Carnaval, Op. 9; Gülke, Radio Symphony Orchestra of Berlin (Koch)

4-Jun-10: Rimsky-Korsakov: Scheherazade, Op. 35; Mackerras, London Symphony Orchestra (Telarc)

17-Jun-10: Adam: Giselle; Bonynge, Orchestra of the Royal Opera House Covent Garden (London)

25-Jun-10: Stravinsky: The Firebird; Stravinsky, Columbia Symphony Orchestra (CBS)

19-Apr-11: Weber (orch. Berlioz): Le Spectre de la Rose; Bonynge, National Philharmonic Orchestra (London)

26-Apr-11: Tcherepnin: Narcisse et Echo, Op. 40; Rozhdestvensky, Hague Chamber Choir, Residentie Orchestra of the Hague (Chandos)

6-Jun-11: Rimsky-Korsakov: Sadko: Au Royaume Sous-Marin; Monteux, San Francisco Symphony Orchestra (RCA)

13-Jun-11: Stravinsky; Petrouchka; Monteux, Boston Symphony Orchestra (RCA)

20-May-12: Balakirev: Thamar; Ansermet, Orchestre de la Suisse Romande (London LP)

29-May-12: Debussy: Prelude to the Afternoon of a Faun; Monteux, London Symphony Orchestra (London LP)

8-Jun-12: Ravel: Daphnis et Chloë; Monteux, London Symphony Orchestra (London)

15-May-13: Debussy: Jeux; Bernstein, New York Philharmonic Orchestra (Sony)

28-May-13: Stravinsky: The Rite of Spring; Monteux, Boston Symphony Orchestra (RCA)

12-Jun-13: Schmitt: La Tragédie de Salomé; Martinon, Orchestre National de l’O.R.T.F. (EMI)

30-Nov-11: Tchaikovsky: Swan Lake; Rozhdestvensky, Moscow Radio Symphony Orchestra (Melodiya LP)

14-May-14: Strauss, R.: Legend of Joseph; Eichhorn, Munich State Opera Orchestra (Urania LP)

24-May-14: Rimsky-Korsakov: Le Coq d’Or (ballet drawing on the opera); Beecham, London Philharmonic Choir, Royal Philharmonic Orchestra (BBC)

25-Aug-16: Liadov: Kikimora; Pletnev, Russian National Orchestra (DG)

23-Oct-16: Strauss, R.: Till Eulenspiegel’s Merry Pranks, Op. 28; Solti, Chicago Symphony Orchestra (London)

12-Apr-17: Stravinsky: Feu d’Artifice; Ozawa, Chicago Symphony Orchestra (RCA)

12-Apr-17: Scarlatti (orch. Tommasini): Les Femmes de Bonne Humeur; Markevich, Philharmonia Orchestra (Testament)

18-May-17: Satie: Parade; Markevitch, Köln Rundfunk Symphony Orchestra (Urania)

5-Jun-19: Rossini (orch. Respighi): La Boutique Fantasque; A. Davis, Toronto Symphony Orchestra (CBS LP)

22-Jul-19: Falla: Le Tricorne; Markevitch, Philharmonia Orchestra (Testament)

2-Feb-20: Stravinsky: Le Chant du Rossignol; Boulez, Orchestre National de France (Erato)

15-May-20: Stravinsky (after Pergolesi): Suite from Pulcinella; Klemperer, Philharmonia Orchestra (Seraphim LP)

27-May-20: Cimarosa (orch. and recitative by Respighi): Le Astuzie Femminili; De Bernart, Orchestra del Festival di Martina Franca (FonitCetra)

17-May-21: Prokofiev: Chout; Rozhdestvensky, USSR Ministry of Culture Symphony (Melodiya)

2-Nov-21: Tchaikovsky; The Sleeping Princess; Dorati, Royal Concertgebouw Orchestra (Philips)

18-May-22: Stravinsky: Le Renard; Caley, Grivnov, Naouri, Mikhailov, Conlon, Paris Opéra Chorus and Orchestra (EMI)

18-Jun-23: Stravinsky: Les Noces; Winter, Seymour, Jones, Henderson, Mason, Benbow, Stravinsky, BBC Chorus (EMI)

6-Jan-24: Poulenc: Les Biches; Prêtre, Ambrosia Singers, Philharmonia Orchestra (Angel LP)

19-Jan-24: Auric: Les Facheux; Markevitch, Orchestra of the Monte Carlo National Opera (Adès)

6-April-24: Mussorgsky: Night on Bald Mountain; Mitropoulous, New York Philharmonic Orchestra (CBS)

20-Jun-24: Milhaud: Le Train Bleu; Markevitch, Orchestra of the Monte Carlo National Opera (Adès)

17-Jun-25: Auric: Suite from Les Matelots; Kurtz, Houston Symphony Orchestra (Columbia LP)

4-May-26: Lambert: Romeo and Juliet; Del Mar, English Chamber Orchestra (Lyrita LP)

3-Jun-26: Satie: Jack-in-the-Box; Markevitch, Orchestra of the Monte Carlo National Opera (Adès)

3-Dec-26: Berners: Suite from The Triumph of Neptune; Underwood, Wordsworth, Royal Liverpool Philharmonic Orchestra (EMI)

30-Apr-27: Sauguet: La Chatte; Markevitch, Orchestra of the Monte Carlo National Opera (Adès)

2-Jun-27: Satie: Mercure; Auriacombe, Orchestre de la Société des Concerts du Conservatoire (EMI)

7-Jun-27: Prokofiev: Le Pas d’Acier; Rozhdestvensky, USSR Ministry of Culture Symphony Orchestra (Melodiya)

6-Jun-28: Nabokov: Ode; Shaguch, Kisseler, Polyansky, Russian State Symphony Cappella (Chandos)

16-Jul-28: Handel (arr. Beecham): The Gods Go A-Begging; Beecham, London Philharmonic Orchestra (Somm)

21-May-29: Prokofiev: Le Fils Prodigue; Rozhdestvensky, USSR Symphony Orchestra (Ricordi LP)

In 1991, Robert Schneider asked future bandmate Jim McIntyre a simple question: "I asked him what kind of music he liked and in the heyday of grunge he thought a safe way to end the conversation would be to tell me his favorite band was the Beach Boys. Little did he know I was a certified lifelong Beach Boys nut and the conversation picked up after that...." So did the Elephant Six Recording Company.

Until its demise in October 2002, this record label and collective was the driving force in psychedelic pop, a sound that mixes the paisley mid-to-late Sixties groove of the Beatles, the rich texture of a Pink Floyd album in the Seventies, and the lo-fi dissonance of early Nineties rock. Started by a group of childhood friends in Athens, Georgia, with some college acquaintances picked up along the way, Elephant Six was originally a forum for the label’s founders to release their own material. Their first release, in 1993, was also the first release by the Apples in Stereo, Schneider’s own band and arguably the label’s most successful outfit.

Elephant Six quickly went on to release the first records from other seminal psych-pop bands including Neutral Milk Hotel and the Olivia Tremor Control, both of which contained members who started the label itself. Then, Elf Power, Of Montreal, and Beulah jumped on the E6 bandwagon in addition to many like-minded groups across the country. Many of these bands went on to sign record deals with bigger labels such as Spin Art and, more recently, Orange Twin, but the Elephant Six spirit of collaboration and distinct sound remains. Indeed, the retro Fillmore East-style Elephant Six stamp graced the critically acclaimed Neutral Milk Hotel release, "In the Aeroplane Over the Sea" despite its release on indie powerhouse Merge Records.

This timely orgy will feature everything that has been released directly by the Elephant Six Recording Company, from their privately released early cassette tapes to their latest more massively distributed releases. Through it, we will pay homage to a collective that was at once nostalgic for the flower-power era and eager to create its aesthetic in the crowded post-punk era. Officially they are no more. But, as their website asserts, "Elephant Six is not dead."

Born Anna Marie Wooldridge in Chicago in 1930, Abbey Lincoln is often described as "the heir to Billie Holiday’s musical legacy." In addition to her vocal talents, Lincoln’s importance as a politically active composer and lyricist have gained her a well-deserved reputation as one of the most interesting and expressively powerful jazz vocalists of the last 50 years. Lincoln’s early albums of the ‘50s and ‘60s already found her working with some of the most talented artists in jazz, including Kenny Dorham, Sonny Rollins, Wynton Kelly and Benny Golson, as well as Booker Little, Eric Dolphy and Coleman Hawkins. Furthermore, her relationship with and 8-year marriage to drummer Max Roach sparked some outstanding musical collaborations between the two. This 18-hour orgy will follow Abbey Lincoln’s vocal career chronologically from 1956 to the present, from stand-out ‘60s albums such as Straight Ahead and Freedom Now Suite up to her most recent album, Over the Years.

In the time-honored tradition of kickin’ back, we present an orgy of grinding, grooving, funky, hard-bopping, heavy-breathing, lounging, swinging, sweating, chilling, get-down, get-up, get-back jazz. From Jimmy Smith’s soul, to Lee Morgan’s bop, to Herbie Hancock’s funk and back again, the night will explore diverse jazz sounds (including latin, hip-hop, and R&B) in search of that unmistakable groove that gets you on and off your feet. Listeners are encouraged to add to the party with requests.

We celebrate the great American composer/poet/philosopher/mystic/troublemaker John Cage with a meta-level mix of Cage’s pieces featuring radios in an instrumental role. We sample just a few of more well-known pieces (such as the "Imaginary Landscape" series) as well as more obscure explorations into sound and compositional language to try to get a sense of the scope of Cage’s output.

Vladimir Horowitz was the very symbol of pianistic virtuosity in the twentieth century, but his was a virtuosity that went beyond dazzling technical pyrotechnics. For so many pianists, Horowitz simply reinvented the way they approached the instrument. We celebrate the centennial year of one of the most beloved musicians of all time with a comprehensive look at his six-decade recording career.

Born in Kiev on October 1, 1903, Horowitz studied at the Kiev Conservatory, concertizing heavily upon graduation. After leaving Russia in 1925, he dominated the European concert halls over the next few years, making his highly anticipated American debut in 1928 at Carnegie Hall with the Tchaikovsky First Concerto. 1928 was also the year Horowitz made his first recordings for RCA, which marked the beginning of a prolific and successful recording career. Horowitz would change labels several times, returning to RCA in 1940 after a decade at EMI. During this time he collaborated with his father-in-law, Arturo Toscanini. His career continued to take off, and after a series of successful recordings and a non-stop concert schedule, he suddenly withdrew from public performance in 1953. While he continued to record, audiences could not see him perform live until 1965, when he made his triumphant return to the stage at Carnegie Hall.

Age did not slow down Horowitz’s performing and recording, although he was to withdraw from performance two more times, only to bounce back in fine form. Finally, in 1986, he returned to Russia for the first time in sixty years, performing a recital at the Moscow Conservatory and attracting international press attention, including an appearance on the cover of Time magazine. This historic and highly emotional event was perhaps the defining moment in Horowitz’s career. He continued to record into his final year, returning to old favorites and exploring unfamiliar repertoire until the very end.

The Horowitz legacy is finely represented in his many recordings, which include an equal amount of live and studio performances. We will present several live concerts in their entirety, including the 1965 Carnegie concert and the 1986 Moscow recital. Other highlights include concertos by Brahms (1 and 2), Beethoven (5), Tchaikovsky (1), and Rachmaninoff, including three definitive recordings of the latter’s third concerto, a piece Horowitz helped popularize.

Chopin: Mazurka in c-sharp, Op. 30, No. 4 (RCA, 1928)

Debussy: Serenade for the Doll (RCA, 1928)

Horowitz: Variations on a Theme from Bizet’s Carmen (RCA, 1928)

Scarlatti/Tausig: Capriccio in E, K. 20 (L. 375) (RCA, 1928)

Dohnanyi: Concert-Étude in f, Op. 28, No. 6 (RCA, 1928)

Liszt: Valse oubliée No. 1 (RCA, 1930)

Horowitz: Danse Excentrique (Moment Exotique) (RCA, 1930)

Liszt/Busoni: Paganini Etude No. 2 in E-flat (RCA, 1930)

Prokofiev: Toccata in d, Op. 11 (EMI, 1930)

Rachmaninoff: Piano Concerto No. 3 in d, Op. 30; Coates, London Symphony Orchestra (EMI, 1930)

Rachmaninoff: Prelude in g, Op. 23, No. 5 (EMI, 1931)

Haydn: Sonata in E-flat, Hob. XVI:52 (EMI, 1932)

Poulenc: Pastourelle (EMI, 1932)

Poulenc: Toccata (EMI, 1932)

Stravinsky: Danse russe from Trois mouvements de Petrouchka (EMI, 1932)

Rimsky-Korsakov/Rachmaninoff: Flight of the Bumblebee (EMI, 1932)

Liszt: Sonata in b (EMI, 1932)

Liszt: Funérailles (EMI, 1932)

Chopin: Mazurka in f, Op. 7, No. 3 (EMI, 1932)

Chopin: Étude in F, Op. 10, No. 8 (EMI, 1932)

Schumann: Traumeswirren, Op. 12, No. 7 (EMI, 1932)

Schumann: Presto Passionato, Op. 22 (EMI, 1932)

Chopin: Mazurka in e, Op. 41, No. 2 (EMI, 1933)

Bach/Busoni: Chorale Prelude: Nun freut euch, lieben Christen, S. 734 (EMI, 1934)

Schumann: Arabesque, Op. 18 (EMI, 1934)

Debussy: Étude No. 11, "Pour les arpèges composés" (EMI, 1934)

Beethoven: 32 Variations in c, WoO 80 (EMI, 1934)

Chopin: Étude in F, Op. 25, No. 3 (EMI, 1934)

Chopin: Étude in G-flat, Op. 10, No. 5 (EMI, 1934)

Schumann: Toccata in C, Op. 7 (EMI, 1934)

Chopin: Mazurka in c-sharp, Op. 50, No. 3 (EMI, 1935)

Chopin: Étude in c-sharp, Op. 10, No. 4 (EMI, 1935)

Chopin: Étude in G-flat, Op. 10, No. 5 (EMI, 1935)

Scarlatti: Sonata in G, K. 125 (L. 487) (EMI, 1935)

Scarlatti: Sonata in b, K. 87 (L. 33) (EMI, 1935)

Brahms: Piano Concerto No. 1 in d, Op. 15; Walter, Concertgebouw Orchestra (Music and Arts, 1936 (live radio broadcast))

Chopin: Scherzo No. 4 in E, Op. 54 (EMI, 1936)

Brahms: Piano Concerto No. 2 in B-flat, Op. 83; Toscanini, NBC Symphony Orchestra (RCA, 1940)

Saint-Saëns/Liszt/Horowitz: Danse Macabre, Op. 40 (RCA, 1942)

Tchaikovsky: Piano Concerto No. 1 in b-flat, Op. 23; Toscanini, NBC Symphony Orchestra (RCA, 1943)

Prokofiev: Sonata No. 7 in B-flat, Op. 83 (RCA, 1945)

Chopin: Andante Spinato and Grande Polonaise Brillante, Op. 22 (RCA, 1945)

Chopin: Waltz in a, Op. 34, No. 2 (RCA, 1945)

Chopin: Polonaise in A-flat, Op. 53 (RCA, 1945)

Mendelssohn: Variations sérieuses, Op. 54 (RCA, 1946)

Mendelssohn: Songs Without Words: May Breezes, Op. 62, No. 1; Shepherd’s Complaint, Op. 67, No. 5; Elegy, Op. 85, No. 4; Spring Song, Op. 62, No. 6 (RCA, 1946)

Beethoven: Sonata No. 14 in c-sharp, Op. 27, No. 2, "Moonlight" (RCA, 1946)

Mendelssohn/Liszt/Horowitz: Wedding March and Variations (RCA, 1946)

Debussy: Serenade for the Doll (RCA, 1947)

Poulenc: Presto in B-flat (RCA, 1947)

Liszt: Hungarian Rhapsody No. 6 in D-flat (RCA, 1947)

Liszt: Au bord d’une source (RCA, 1947)

Chopin: Ballade No. 1 in g, Op. 23 (RCA, 1947)

Chopin: Nocturne in F-sharp, Op. 15, No. 2 (RCA, 1947)

Bach/Busoni: Chorale Prelude: Nun komm’ der Heiden Heiland, S. 659 (RCA, 1947)

Mozart: Sonata No. 12 in F, K. 332 (RCA, 1947)

Mussorgsky/Horowitz: By the Water (RCA, 1947)

Schumann: Träumerei, Op. 15, No. 7 (RCA, 1947)

Prokofiev: Toccata, Op. 11 (RCA, 1947)

Kabalevsky: Sonata No. 3 in F, Op. 46 (RCA, 1947)

Horowitz: Variations on a Theme from Bizet’s Carmen (RCA, 1947)

Chopin: Mazurka in f, Op. 7, No. 3 (RCA, 1947)

Liszt/Horowitz: Rakóczy March (after Hungarian Rhapsody No. 15) (RCA, 1949-50)

Chopin: Mazurka in c-sharp, Op. 41, No. 1 (RCA, 1949)

Chopin: Mazurka in c-sharp, Op. 30, No. 4 (RCA, 1949)

Chopin: Mazurka in c-sharp, Op. 50, No. 3 (RCA, 1949)

Chopin: Mazurka in f-sharp, Op. 59, No. 3 (RCA, 1950)

Chopin: Mazurkas, Op. 63: No. 2 in f, No. 3 in c-sharp (RCA, 1949)

Barber: Sonata, Op. 26 (RCA, 1950)

Scriabin: Étude in c-sharp, Op. 2, No. 1 (RCA, 1950)

Harvard vs. Roanoke

Swara Samrat ("Emperor of Melody") Ali Akbar Khan began his musical studies at the age of three with his father the great Indian multi-instrumentalist Baba Alluddin Khan. For over twenty years Khansahib (as he is respectfully known to his students) practiced the sarod (a 25-stringed North Indian lute-derived instrument) over 18 hours a day, continuing to learn from his father until the elder was over 100 years old. This year marks the 80th birthday of Khansahib, one of the world’s most accomplished musicians. He continues to teach and tour, spreading the music of his family throughout the world.

We will feature the entire catalog of music on the Alam Madina Music Productions label, run by the Khan family from their home in Northern California. Releases include remastered recordings from the 1960’s Connoisseur Society label as well as new live recordings featuring the Tabla accompaniment of Zakir Hussain and Swapan Chadhuri. Also featured is Khansahib’s monumental tribute to his father and his centuries-old musical legacy, as well as AMMP’s newest release, From Father to Son, featuring Khansahib’s son Alam Khan in an accompanying role on the Sarod.

Brahms: Violin Sonata No. 3 in d, Op. 108; Milstein (RCA, 1950)

Brahms: Waltz in A-flat, Op. 39, No. 15 (RCA, 1950)

Moszkowski: Études, Op. 72: No. 6 in F; No. 11 in A-flat (RCA, 1950)

Liszt: Funérailles (RCA, 1950)

Chopin: Mazurka in b-flat, Op. 24, No. 4 (RCA, 1951)

Brahms: Intermezzo in b-flat, Op. 117, No. 2 (RCA, 1951)

Chopin: Polonaise-Fantaisie in A-flat, Op. 61 (RCA, 1951)

Mussorgsky/Horowitz: Pictures at an Exhibition (RCA, 1951)

Moszkowski: Etincelles, Op. 36, No. 6 (RCA, 1951)

Sousa/Horowitz: The Stars and Stripes Forever (RCA, 1951)

Liszt: Sonetto 104 de Petrarca (RCA, 1951)

Liszt: Valse Oubliée No. 1 (RCA, 1951)

Chopin: Étude in E, Op. 10, No. 3 (RCA, 1951)

Rachmaninoff: Piano Concerto No. 3 in d, Op. 30; Reiner, RCA Victor Symphony Orchestra (RCA, 1951)

Chopin: Étude in c-sharp, Op. 10, No. 4 (RCA, 1952)

Beethoven: Piano Concerto No. 5 in E-flat, Op. 73, "Emperor"; Reiner, RCA Victor Symphony Orchestra (RCA, 1952)

Chopin: Ballade No. 4 in f, Op. 52 (RCA, 1952)

Schubert: Sonata No. 21 in B-flat, D. 960 (RCA, 1953)

Chopin: Nocturne in e, Op. 72, No. 1 (live) (RCA, 1953)

Chopin: Scherzo No. 1 in b, Op. 20 (RCA, 1953)

Liszt/Horowitz: Hungarian Rhapsody No. 2 (RCA, 1953)

Clementi: Sonata in f-sharp, Op. 25, No. 5 (RCA, 1954)

Scriabin: Preludes: Op. 11, No. 5; Op. 22, No. 1 (RCA, 1955 (56?))

Chopin: Scherzo No. 3 in c-sharp, Op. 39 (RCA, 1957)

Chopin: Barcarolle in f-sharp, Op. 60 (RCA, 1957)

Chopin: Scherzo No. 2 in b-flat, Op. 31 (RCA, 1957)

Chopin: Nocturne in E-flat, Op. 9, No. 2 (RCA, 1957)

Beethoven: Sonata in f, Op. 57, "Appassionata" (RCA, 1959)

Chopin: Sonata No. 2 in b-flat, Op. 35 (Sony, 1962)

Rachmaninoff: Études-Tableaux in C, Op. 33, No. 2 and e-flat, Op. 39, No. 5 (Sony, 1962)

Schumann: Arabesque, Op. 18 (Sony, 1962)

Liszt/Horowitz: Hungarian Rhapsody No. 19 in d (Sony, 1962)

Liszt: Consolation No. 2 in E (Sony, 1962)

Schumann: Kinderszenen, Op. 15 (Sony, 1962)

Schumann: Toccata in C, Op. 7 (Sony, 1962)

Schubert: Impromptu in G-flat, Op. 90, No. 3 (Sony, 1962)

Scriabin: Poème in F-sharp, Op. 32, No. 1 (Sony, 1962)

Debussy: Préludes, Book II, Nos. 4-6 (Sony, 1963)

Beethoven: Sonata in c, Op. 13, "Pathetique" (Sony, 1963)

Chopin: Études: in c, Op. 10, No. 12, "Revolutionary"; in c-sharp, Op. 25, No. 7 (Sony, 1963)

Chopin: Étude in e-flat, Op. 10, No. 6 (Sony, 1963)

Scarlatti: Sonatas: in D, K. 33; in E-flat, K. 474; in A, K. 481; in f-sharp, K. 25; in d, K. 52 (Sony, 1964)

Debussy: Étude No. 11, "Pour les arpèges composés" (Sony, 1965)

Chopin: Nouvelle Étude No. 2 in A-flat, Op. Posth (Sony, 1965)

Bach/Busoni: Toccata, Adagio and Fugue in C, S. 564 (Sony, 1965)

Schumann: Fantasy in C, Op. 17 (Sony, 1965)

Scriabin: Sonata No. 9, Op. 68, "Black Mass" (Sony, 1965)

Scriabin: Poème in F-sharp, Op. 32, No. 1 (Sony, 1965)

Chopin: Mazurka in c-sharp, Op. 30, No. 4 (Sony, 1965)

Chopin: Étude in F, Op. 10, No. 8 (Sony, 1965)

Chopin: Ballade No. 1 in g, Op. 23 (Sony, 1965)

Debussy: Serenade for the Doll (Sony, 1965)

Scriabin: Étude in c-sharp, Op. 2, No. 1 (Sony, 1965)

Moszkowski: Étude in in A-flat, Op. 72, No. 11 (Sony, 1965)

Schumann: Träumerei, Op. 15, No. 7 (Sony, 1965)

Scriabin: Sonata No. 10, Op. 70 (Sony, 1966)

Debussy: L’isle joyeuse (Sony, 1966)

Liszt: Vallée d’Obermann (Sony, 1966)

Schumann: Blumenstück, Op. 19 (Sony, 1966)

Debussy: Prélude, Book II, No. 7 (Sony, 1966)

Beethoven: Sonata No. 28 in A, Op. 101 (Sony, 1967)

Rachmaninoff: Études-Tableaux: in e-flat, Op. 33, No. 6; in C, Op. 33, No. 2; in D, Op. 39, No. 9 (Sony, 1967)

Chopin: Polonaise in f-sharp, Op. 44 (Sony, 1968)

Chopin: Nocturne in f, Op. 55, No. 1 (Sony, 1968)

Chopin: Ballade No. 1 in g, Op. 23 (Sony, 1968)

Scarlatti: Sonatas in E, K. 380 (L. 23) and G, K. 55 (L. 335) (Sony, 1968)

Schumann: Arabesque, Op. 18 (Sony, 1968)

Scriabin: Étude in d-sharp, Op. 8, No. 12 (Sony, 1968)

Schumann: Träumerei, Op. 15, No. 7 (Sony, 1968)

Horowitz: Variations on a Theme from Bizet’s Carmen (Sony, 1968)

Chopin: Waltz in c-sharp, Op. 64, No. 2 (Sony, 1968)

Haydn: Sonata in C, Hob. XVI:48 (Sony, 1968)

Rachmaninoff: Moment musical in b, Op. 16, No. 3 (Sony, 1968)

Rachmaninoff/Horowitz: Sonata No. 2 in b-flat, Op. 36 (Sony, 1968)

Punk rock has a long tradition of opposition to warfare around the globe. Hundreds of thousands of people have marched against the prospect of a war in Iraq over the last month, numbers that have not been seen in at least a decade, if not since the Vietnam era. This orgy will seek to add the voices of punk bands to the current debate over the war, ranging from anti-war bands of the Vietnam era to anti-war bands playing today. We will document some of the most significant anti-war punk music, ranging from well-known bands like the Dead Kennedys to lesser-knowns like Balance of Terror, also focusing on more recent politically engaged bands. The orgy will include bands from around the world, with special attention to Middle Eastern punk bands. (Continues Friday at 9:30 pm.)

Medtner: Fairy Tale in A, Op. 51, No. 3 (Sony, 1969)

Schumann: Kreisleriana, Op. 16 (Sony, 1969)

Chopin: Introduction and Rondo in E-flat, Op. 16 (Sony, 1971)

Chopin: Waltz in a, Op. 34, No. 2 (Sony, 1971)

Chopin: Prélude in D-flat, Op. 28, No. 15, "Raindrop" (Sony, 1971)

Scriabin: Études, Op. 42: No. 3 in F-sharp, No. 4 in F-sharp, No. 5 in c-sharp (Sony, 1972)

Scriabin: Étude, Op. 65, No. 3 (Sony, 1972)

Scriabin: Two Poèmes, Op. 69 (Sony, 1972)

Scriabin: Vers la flamme, Op. 72 (Sony, 1972)

Chopin: Études, Op. 10: No. 3 in E and No. 12 in c, "Revolutionary" (Sony, 1972)

Chopin: Prélude in b, Op. 28, No. 6 (Sony, 1972)

Chopin: Polonaise in A, Op. 40, No. 1, "Military" (Sony, 1972)

Beethoven: Sonata No. 21 in C, Op. 53, "Waldstein" (Sony, 1972)

Schubert: Impromptus: in A-flat, Op. 90, No. 4; in f, Op. 142, No. 1 (Sony, 1973)

Chopin: Mazurkas: in D-flat, Op. 30, No. 3; in D, Op. 33, No. 2; in e, Op. 41, No. 2; in f-sharp, Op. 59, No. 3 (Sony, 1973)

Rachmaninoff: Cello Sonata in g, Op. 19 (third movement); Rostropovich (Sony, 1976)

Liszt: Sonata in b (RCA, 1976)

Fauré: Nocturne No. 13 in b, Op. 119 (RCA, 1977)

Rachmaninoff: Piano Concerto No. 3 in d, Op. 30; Ormandy, New York Philharmonic Orchestra (RCA, 1978)

Rachmaninoff: Barcarolle in g, Op. 10, No. 5 (RCA, 1979)

Rachmaninoff: Humoresque in G, Op. 10, No. 3 (RCA, 1979)

Liszt/Busoni/Horowitz: Mephisto Waltz No. 1 (RCA, 1979)

Schumann: Nachtstücke, Op. 23, Nos. 3 and 4 (RCA, 1980)

Chopin: Études: in G-flat, Op. 10, No. 5 and in c-sharp, Op. 25, No. 7 (RCA, 1980)

Mendelssohn: Scherzo a Capriccio in f-sharp (RCA, 1980)

Schumann: Fantasiestücke, Op. 111 (RCA, 1980)

Scarlatti: Sonatas: in A-flat, K. 127; in f, K. 466; in f, K. 184; in A, K. 101; in b, K. 87; in E, K. 135 (RCA, 1981)

Chopin: Ballade No. 4 in f, Op. 52 (RCA, 1981)

Liszt: Ballade No. 2 in b (RCA, 1981)

Chopin: Waltz in A-flat, Op. 69, No. 1 (RCA, 1981)

Rachmaninoff: Prelude in g, Op. 23, No. 5 (RCA, 1981)

Chopin: Mazurka in a, Op. 17, No. 4 (DG, 1985)

Liszt: Consolation No. 3 in D-flat (DG, 1985)

Chopin: Polonaise in A-flat, Op. 53 (DG, 1985)

Moszkowski: Étude in F, Op. 72, No. 6 (DG, 1985)

Schubert: Impromptu in B-flat, Op. 142, No. 3 (DG, 1985)

Schubert: Moment musical in f, Op. 94, No. 2 (DG, 1986)

Schubert/Liszt: Ständchen (DG, 1986)

Scarlatti: Sonata in E, K. 380 (DG, 1986)

Mozart: Sonata in C, K. 330 (DG, 1986)

Rachmaninoff: Preludes in G, Op. 32, No. 5 and g-sharp, Op. 32, No. 12 (DG, 1986)

Scriabin: Études in c-sharp, Op. 2, No. 1 and d-sharp, Op. 8, No. 12 (DG, 1986)

Liszt: Soirée de Vienne: Valse Caprice No. 6 (after Schubert) (DG, 1986)

Liszt: Sonetto 104 del Petrarca (DG, 1986)

Chopin: Mazurkas in c-sharp, Op. 30, No. 4 and f, Op. 7, No. 3 (DG, 1986)

Schumann: Träumerei, Op. 15, No. 7 (DG, 1986)

Moszkowski: Etincelles, Op. 36, No. 6 (DG, 1986)

Rachmaninoff: Polka de W.R. (DG, 1986)

Mozart: Piano Concerto No. 23 in A, K. 488; Giulini, Orchestra del Teatro alla Scala (DG LP, 1987)

Mozart: Sonata in B-flat, K. 333 (DG, 1987)

Mozart: Adagio in b, K. 540 (DG, 1988-89)

Liszt: Soirée de Vienne: Valse Caprice No. 7 (after Schubert) (DG, 1988-89)

Haydn: Sonata in E-flat, Hob. XVI:49 (Sony, 1989)

Chopin: Fantaisie-Impromptu, Op. 66 (Sony, 1989)

Chopin: Nocturne in E-flat, Op. 55, No. 2 (Sony, 1989)

Liszt: Prelude to Weinen, Klagen, Sorgen, Zagen (after Bach’s Cantata No. 11) (Sony, 1989)

Chopin: Mazurka in c, Op. 56, No. 3 (Sony, 1989)

Chopin: Études in A-flat, Op. 25, No. 1 and e, Op. 25, No. 5 (Sony, 1989)

Chopin: Nocturne in b, Op. 62, No. 1 (Sony, 1989)

Wagner/Liszt: Isoldes Liebestod (from Tristan und Isolde) (Sony, 1989)

Harvard vs. Yale

Strauss, J.: Die Fledermaus; Solveig Kringelborn, Rosemary Joshua, Jennifer Larmore, Kavid Kuebler, Paul Charles Clarke, Peter Coleman-Wright, John Del Carlo, Otto Schenk, Philippe Jordan conducting.

There is no more famous composer in the world today, a century and three quarters after his death. In a life not long by today’s measure (1770-1827) but tumultuous by anyone’s standards, this man changed the world’s concept of the musical artist from that of one who pleases to that of one who challenges. His music still challenges us to this very day. One who is fixated not on novelty but on greatness will spend a lifetime with Beethoven, and even then cannot completely fathom what this man left us. Our chronological traversal of his music offers the opportunity not only to hear much wonderful music, but to increase one’s understanding of how Beethoven developed and how deeply rich, moving, elevating, satisfying, and ultimately overwhelming his art is.

WHRB’s very first Orgy® took place in the mid-1940’s. It was the complete symphonies of Beethoven and probably took seven hours. This year we devote most of seven days to his music. Amidst the survey will be special sections devoted to historical performances, bringing the great interpreters of the past (although they are also included to some extent in the main body of the Orgy). And there will be opportunities to hear discussion of Beethoven’s sketchbooks, plus, albeit in overnight hours, sections on arrangements and attributions.

Note also that most of the charming settings of folksongs have been consigned to overnight periods, a decision made in order to allow more generally appreciated music to be heard during the day. We have not listed the performers with each group of songs, since we will present a mix of recordings for most of them. They will include singers from the Michael Raucheisen wartime project (Acanta LPs), Robert White with Ani Kavafian, Yo-Yo Ma, and Samuel Sanders (RCA Victor) or with Sanders, Mark Peskanov, and Nathaniel Rosen (EMI), Denis Stevens and the Accademia Monteverdiana (Nonesuch LP), Janet Baker with Yehudi Menuhin, George Malcolm, and Ross Pople (Angel LP), Elaine Woods, Carolyn Watkinson, Josef Protschka, and Richard Salter with Christian Altenberger, Julius Berger, and Helmut Deutsch (Sony), and a few more unusual artists, from Richard Dyer-Bennett to Zara Doloukhanova; and of course the forces (in these songs, Felicity Lott, Ann Murray, John Mark Ainsley, Thomas Allen, Malcolm Martineau, and many others) on the Deutsche Grammophon complete Beethoven Edition, itself an extraordinary accomplishment of the record industry without which this Beethoven Orgy® could not be the most nearly absolutely complete ever.

1782: Nine Variations for Piano on a March by Dressler in c, WoO 63; Krumbach (Metronome LP)

1783: Piano Sonatas in Eb, WoO 47, No. 1,"Kurfürsten Sonata"; Gilels (DG)

1783: Piano Sonatas in f, WoO 47, No. 2, "Kurfürsten Sonata"; Gilels (DG)

1783: Piano Sonatas in D, WoO 47, No. 3, "Kurfürsten Sonata"; Demus (Vanguard LP)

1783: Song, "Schilderung eines Mädchens," WoO 107; Prey, Hokanson (Capriccio)

1783: Rondo in C for Piano, WoO 48; Pletnev (DG)

1783: Rondo in A for Piano, WoO 49; Pletnev (DG)

1783: Fugue in D for organ, WoO 31; Preston (DG)

1784: Piano Concerto in E-flat, WoO 4; Grychtolowna, Dressel, Folkwang Chamber Orchestra (Philips)

1784: Song, "An einen Säugling," WoO 108; Stolte, Olbertz (DG)

1785: Piano Quartet in E-flat, WoO 36, No. 1; Eschenbach, members of the Amadeus Quartet (DG)

1785: Piano Quartet in D, WoO 36, No. 2; Eschenbach, members of the Amadeus Quartet (DG)

1785: Piano Quartet in C, WoO 36, No. 3; Eschenbach, members of the Amadeus Quartet (DG)

1786: Trio for Piano, Flute, and Bassoon in G, WoO 37; Debost, Sennedat, Barenboim (DG)

1786: Romance for Piano, Violin, Flute, Bassoon, and Orchestra in e (compl. Hess), Hess 13; Blumental, Zedda, Prague Symphony Orchestra (Dureco)

1789: Two Preludes through all Twelve Major Keys for Organ Op. 39; Preston (DG)

1790: Cantata on the Death of the Emperor Joseph II, WoO 87; Margiono, Shimell, Thielemann, Chorus and Orchestra of Deutsche Opera, Berlin (DG)

1790: Cantata on the Accession of Emperor Leopold II, WoO 88; Schäfer, Bieber, von Halem, Thielemann, Chorus and Orchestra of Deutsche Opera, Berlin (DG)

1790: Song, "Elegie auf den Tod eines Pudels," WoO 110; Schmitt-Walter, Raucheisen (Acanta LP)

1790: Song, "Klage," WoO 113; Genz, Vignoles (Hyperion)

1790-1: Twenty-Four Variations for Piano on Righini’s Arietta "Venni amore" in D, WoO 65; Pletnev (DG)

1790-1: Ritterballet, WoO 1; Storgårds, Tapiola Sinfonietta (Ondine)

1791: Piano Trio in E-flat, WoO 38; Stern, Istomin, Rose (Sony)

1791: Song, "Punschlied," WoO 111; Berry, Werba, Baumgart, Bavarian State Opera Chorus (Seraphim LP)

1789: Prelude through all Twelve Major Keys, Op. 39, No. 1; Marciano (MHS LP)

1789: Prelude through all Twelve Major Keys, Op. 39, No. 2; Carnini (Nuova Era)

1793: Studies with Haydn, Hess 233; Doberitz, Muller ( LP)

1795: Madrigal, "Per te d’amico aprile," WoO99, No. 9; Stevens, Ambrosian Consort (HMV 45)

1794-95: Studies with Albrechtsberger, Hess 236-238; Kommers (Raptus LP)

1795: Madrigals, "Nei campi e nelle selve" (two versions), WoO 99, Nos. 7a-b; Stevens, Ambrosian Consort (HMV 45)

1790-2: Piano Sonata in F, WoO 50; Cascioli (DG)

1790-2: Minuet for String Quartet in A-flat, Hess 33; Hagen Quartet (DG)

1790-2: Violin Concerto in C, WoO 5; Kremer, Tchakarov, London Symphony Orchestra (DG LP)

1790-2: Allegretto for Piano Trio in E-flat, Hess 48; Beaux Arts Trio (Philips LP)

1790-2: Six Variations on a Swiss Song in F for Harp or Piano, WoO 64; Robles (harp) (London)

1790-2: Prüfung des Küssens, Aria for Bass Solo, "Meine weise Mutter spricht," WoO 89; Berry, Keller, Munich Convivium Musicum (EMI LP)

1790-2: Aria for Bass Solo from Goethe’s Claudine von Villa Bella, "Mit Mädeln sich vertragen," WoO 90; Berry, Keller, Munich Convivium Musicum (Seraphim LP)

1790-2: Scene and aria for Soprano Solo, "Primo amore," WoO 92; Kuhse, Apelt, Staatskapelle Berlin (DG)

1792: Thirteen Variations for Piano on the arietta "Es war einmal ein alter Mann" from Dittersdorf’s Das rothe Käppchen in A, WoO 66; Brendel (Vox)

1792: Eight Variations on a Theme by Count Waldstein in C for Piano Four Hands, WoO 67; Demus, Shetler (DG )

1792: Song, "Trinklied," WoO 109; Prey, Heinrich Schütz Kreis, Berlin, Hokanson (Capriccio)

1792: Song, "An Laura," WoO 112; Schreier, Olbertz (DG)

1792: Song, "Selbstgesprach," WoO 114; Prey, Hokanson (Capriccio)

1792: Song, "An Minna," WoO 115; Schreier, Olbertz (DG)

1792: Song, "Der freie Mann," WoO 117; Schreier, Olbertz (DG)

c. 1792: Eight Songs, Op. 52; Fischer-Dieskau, Demus (1, 3, 4, 6, 7, 8), Schreier, Olbertz (2), Stolte, Olbertz (5) (DG)

1792: Allegro and Minuet for Two Flutes in G, WoO 26; Gallois, Rampal (DG)

Before Nov. 1792: Octet for Winds in E-flat, Op. 103; Mozzafiato (Sony)

1792-3: Variations on "Se vuol ballare" from Le Nozze di Figaro for Violin and Piano in F, WoO 40; G. Kremer, E. Kremer (Philips LP)

Before 1794: String Trio in E-flat, Op. 3; Kogan, Barshai, Rostropovich (Melodiya)

1793: Rondo for Piano and Orchestra in B-flat, WoO 6; Richter, Sanderling, Vienna Philharmonic Orchestra (DG LP)

1793: Rondino in E-flat for Winds, WoO 25; Brymer, London Wind Soloists (London LP)

1793: Quintet in E-flat for Oboe, Three Horns, Bassoon, Hess 19; Brymer, London Wind Soloists (London LP)

1793 (rev. 1822): Allemande in A for Piano, WoO 81; Cascioli (DG)

1793-4: Rondo in G for Violin and Piano, WoO 41; Menuhin, Kempff (DG LP)

1793-5: Piano Sonata No. 1 in f, Op. 2, No. 1; Richter (Music and Arts)

1794: Song, "Que le temps me dure" first version, WoO 116 (Hess 129); Schreier, Olbertz (DG)

1794: Song, "Que le temps me dure" second version, WoO 116 (Hess 130); Helzel, Hilsdorf (DG)

1794: Song, "O care selve," WoO 119; Schreier, Olbertz (DG)

1794: Allegro in C for Mechanical Clock, WoO 33 No. 4; Preston (organ) (DG)

1794: Minuet in C for Mechanical Clock, WoO 33 No. 5; Preston (organ) (DG)

1794-5 (revised later): Song, "Opferlied," WoO 126; Fischer-Dieskau, Demus (DG)

1794-5: Two Songs, "Seufzereines Ungeliebten," "Gegenliebe," WoO 118; Fischer-Dieskau, Demus (DG)

1794-5: Song, "Adelaide," Op. 46; Bjoerling, Ebert (Seraphim LP)

1794-5: Piano Sonata No. 2 in A, Op. 2, No. 2; Schnabel (Seraphim LP)

1794-5: Piano Sonata No. 3 in C, Op. 2, No. 3; Kempff (DG)

1794-5: Piano Concerto No. 2 in B-flat, Op. 19; Brendel, Rattle, Vienna Philharmonic Orchestra (Philips)

1794-5: Piano Trio in E-flat, Op. 1, No.1; Zuckerman, Barenboim, du Pre (EMI)

before 1975: Six Minuets, WoO 9; Kirsch, members of Philharmonia Hungarica (Telefunken LP)

1795: Six Minuets for piano (including Minuet in G), WoO 10; Kipnis (Epiphany)

1794-5: Piano Trio in G, Op. 1, No. 2; Kempff, Szeryng, Fournier (DG LP)

1795: Twelve Minuets for Orchestra, WoO 7; Marriner, Academy of St. Martin in the Fields (Philips)

1795: Twelve German Dances for Orchestra, WoO 8; Storgårds, Tapiola Sinfonietta (Ondine)

Preacher: The Reverend Dr. William H. Willimon, Dean of Duke University Chapel, Durham, North Carolina. Music includes the Te Deum in B-flat by Stanford and "Almighty God, which by the leading of a star" by Bull.

1794-5: Piano Trio in c, Op. 1, No. 3; Beaux Arts Trio (Philips LP)

1794-5: Prelude and Fugue for Two Violins and Cello in e, Hess 29; L. Hagen, Schmidt, C. Hagen (DG)

before 1795: Six Minuets for Two Violins and Double Bass, WoO 9; L. Hagen, Schmidt, Posch (DG)

1795: Rondo a capriccio in G for Piano, Op. 129, "Rage over a Lost Penny"; Schnabel (Angel LP)

1795: Fugue in C for Piano, Hess 64; Cascioli (DG)

1795: Song, "Zärtliche Liebe," WoO 123 (also known as "Ich liebe dich"); Fischer-Dieskau, Demus (DG)

1795 (rev. 1798 and 1822): Presto in c for Piano, WoO 52; Pletnev (DG)

1795: Trio for Two Oboes and English Horn in C, Op. 87; Ricercar Academy (Ricercar)

1795: String Quintet in E-flat, Op. 4 (recomposition of the Octet, Op. 103 (before Nov., 1792); Suk Quartet, Spelina (Supraphon LP)

1795: Variations on "Là ci darem la mano" from Don Giovanni for Two Oboes and English Horn, WoO 28; Members of the Vienna Philharmonic Wind Group (Westminster LP)

1795: Sextet for Two Horns, Two Violins, Viola, Cello in E-flat, Op. 81b; L’Archibudelli (Sony)

1795: Twelve Variations for Piano on the "Menuet a la Vigano" from Haibel’s Le Nozze Disturbate in C, WoO 68; Pletnev (DG)

1795: Nine Variations for Piano on the Area "Quant’ e piu bello" from Paisiello’s La molinara in A, WoO 69; Mustonen (DG)

c. 1795: Canon, "Im Arm der liebe ruht sich’s wohl," WoO 159; Knothe, Berlin Soloists (DG)

1795: Six Variations for Piano on the Duet "Nel cor piu non mi sento" from Paisiello’s La molinara in G, WoO 70; Pletnev (DG)

1795: Eight Variations for Piano on the Romance "Un fièvre brûlante" from Gretry’s Richard Coeur-de-lion in C, WoO 72; Cascioli (DG )

1795: Two arias for Umlauf’s Singspiel Die schöne Schüsterin: Welch ein Leben, WoO 91; Gedda, Rothenberger, Keller, Munich Convivium Musicum (DG)

1795 (rev. 1800): Piano Concerto No. 1 in C, Op. 15; Ashkenazy, Cleveland Orchestra (London)

1795-6: Song, "La partenza," WoO 124; Bartoli, Schiff (London)

1795-6: Piano Sonata No. 20 in G, Op. 49, No.2; Gilels (DG)

1795-6 (rev. 1822): Bagatelle in c, Hess 69; Karemacher (Raptus LP)

1796: Scene and aria for Soprano Solo, "Ah! Perfido," Op. 65; Studer, Abbado, Berlin Philharmonic Orchestra (DG)

1796: Six German Dances for Violin and Piano, WoO 42; Grobholz, Genuit (Telefunken LP)

1796: Sextet for Two Clarinets, Two Horns, Two Bassoons in E-flat, Op. 71; Brymer, London Wind Soloists (London LP)

1796: Sonatina in c for Piano and Mandolin, WoO 43a; Mayer, Rohmann (Hungaroton)

1796: Adagio in E-flat for Piano and Mandolin, WoO 43b; Mayer, Rohmann (Hungaroton)

1796: Cello Sonata in F, Op. 5, No. 1; du Pré, Barenboim (EMI)

1796: Song, "Abschiedsgesang an Wiens Bürger," WoO 121; Leib, Olbertz (DG)

1796: Cello Sonata in g, Op. 5, No. 2; Casals, Serkin (Sony)

1796-7: Duet for Viola and Cello in E-flat, WoO 32, "mit zwei obligaten Augengläsern"; Kussmaul, Bylsma (Sony)

1796: Sonatina in C for Piano and Mandolin, WoO 44a; Mayer, Rohmann (Hungaroton)

1796: Andante and Variations in D for Piano and Mandolin, WoO 44b; Mayer, Rohmann (Hungaroton)

1796: Variations on "See the conqu’ring hero comes" from Handel’s Judas Maccabaeus in G for Cello and Piano, WoO 45;du Pré, Barenboim (EMI)

1796: Quintet in E-flat for Piano, Oboe, Clarinet, Horn, and Bassoon, Op. 16; Serkin, Vrbsky, Stoltzman, Routch, Heller (Sony)

1796: Twelve Variations on "Ein Mädchen oder Weibchen" from Mozart’s Die Zauberflöte in F for Cello and Piano, Op. 66; Casals, Serkin (Sony)

1792-7: Twelve German Dances, WoO 13; Cascioli (DG)

1795-7: Piano Sonata No. 5 in c, Op. 10, No. 1; Gilels (DG)

1796-7: Twelve Variations for Piano on a Russian Dance from Wranitzky’s Das Waldmädchen in A, WoO 71; Gilels (Angel LP)

1796-7: Piano Sonata No. 6 in F, Op. 10, No. 2; Kempff (DG)

1796-7: Serenade for String Trio in D, Op. 8; Grumiaux, Janzer, Czako (Philips)

1796-7: Piano Sonata No. 4 in E-flat, Op. 7; Barenboim (Angel LP)

1796-7: Rondo in C for Piano, Op. 51, No. 1; Cascioli (DG)

1796-7: Sonata in D for Piano Four Hands, Op. 6; Demus, Shetler (DG)

1796-7: Allegretto in c, WoO 53; Brendel (Vox LP)

1797: Trio for Piano, Clarinet, and Cello in B-flat, Op. 11; Serkin, Stoltzman, Meunier (Sony)

1797-8: Piano Sonata No. 8 in c, Op. 13, "Pathétique"; Brendel (Philips)

1797: Piano Sonata No. 19 in g, Op. 49, No. 1; Backhaus (London LP)

1797: Song, "Kriegslied der Österreicher," WoO 122; Leib, Olbertz (DG)

c. 1797?: Canon, "Herr Graf, ich komme zu fragen," Hess 276; Knothe, Berlin Soloists (DG)

1797-8: Piano Sonata in C, WoO 51 (frag.); Demus (Vanguard LP)

1797-8: Piano Sonata No. 7 in D, Op. 10, No. 3; Ashkenazy (London LP)

1797-8: String Trio in G, Op. 9, No. 1; Leopold Trio (Hyperion)

1798: Romance for Violin and Orchestra in F, Op. 50; Menuhin, Furtwangler, Philharmonia Orchestra (Seraphim LP)

1797-9: String Trio in D, Op. 9, No. 2; Mutter, Giuranna, Rostropovich (DG)

1797-8: Violin Sonata No. 1 in D, Op. 12, No. 1; Busch, Serkin (Odyssey LP)

1797-8: String Trio in c, Op. 9, No. 3; Grumiaux, Janzer, Czako (Philips)

1797-8: March for Two Clarinets, Two Horns, Two Bassoons in Bb, WoO 29; Members of the Mozzafiato Octet (Sony)

Music attributed to Beethoven about which scholars now have doubts, including the Fugue Cycle for Organ in d on Themes of Bach and the Trio in e after Bach for Organ (Krumbach - Koch), Sonatinas in F and G, Kinsky-Halm Anhang 5 (Kocsis - Harmonia Mundi), Three Duos for Clarinet and Bassoon, WoO 27 (Neidich, Godburn - Sony — and Brunner, Thunemann - Tudor), Flute Sonata in B-flat (Pahud, LeSage - Valois), Rondo in B-flat, Kinsky-Halm Anhang 6 (Marciano - MHS LP), and the Jena Symphony.

1812: Twenty-five Irish songs, WoO 152

1797-8: Violin Sonata No. 2 in A, Op. 12, No. 2; Dumay, Pires (DG)

1798-9: Song, "La tiranna," WoO 125; Schreier, Olbertz (DG)

1798-9: Romance, "Plaisir d’aimer," WoO 128; Schreier, Olbertz (DG)

1798-9: Romance, "Neue Liebe, neues Leben," WoO 127; Maus, Hilsdorf (DG)

1797-8: Violin Sonata No. 3 in E-flat, Op. 12, No. 3; Perlman, Ashkenazy (London LP)

1798: Piano Sonata No. 9 in E, Op. 14, No. 1; Backhaus (London LP)

1798: Rondo in G for Piano, Op. 51, No. 2; Pletnev (DG)

1798: Grenadiermarsch in F for Mechanical Clock, Hess 107; Preston (organ) (DG)

1799: Piano Sonata No. 10 in G, Op. 14, No. 2; Gilels (DG)

1799: Septet for Clarinet, Horn, Bassoon, Violin, Viola, Cello, Bass in E-flat, Op. 20; Vienna Philharmonic Chamber Ensemble (DG)

1799: Ten Variations for Piano on the Duet "La stessa, le stessissima" from Salieri’s Falstaff in Bb, WoO 73; Cascioli (DG)

1799: Eight Variations for Piano on the Trio "Tandeln und Scherzen" from Süssmayr’s Solimann der Zweite in F, WoO 76; Brendel (Vox)

1799: Seven Variations for Piano on the Quartet "Kind, willst du ruhig schlafen" from Winter’s Das unterbrochene Opferfest in F, WoO 75; Cascioli (DG)

1798-99: Song, "Ich denke dein," WoO 74; Schreier, Olbertz (Berlin Classics)

1799: Six Variations on Beethoven’s "Ich denke dein" in D for Piano Four Hands, WoO 74; Demus, Shetler (DG)

1799: Seven Ländler, WoO 11; Greenberg (Artia LP)

1799: Three Pieces for Mechanical Clock: Adagio in F, WoO 33 No. 1, Scherzo in G, WoO 22, No. 2, Allegro in G, WoO 33, No. 3; Krumbach (organ) (Koch)

1798-1800: String Quartet in D, Op. 18, No. 3; Végh Quartet (Valois)

1799-1800: Symphony No. 1 in C, Op. 21; Masur, Leipzig Gewandhaus Orchestra (Philips)

1798: String Quartet in F, Op. 18, No. 1 (Original Version); Pro Arte Quartet (Laurel Record LP)

1798-1800: String Quartet in F, Op. 18, No. 1; Quartetto Italiano (Philips)

April 1800: Horn Sonata in F, Op. 17; Tuckwell, Ashkenazy (London LP)

1798-1800: String Quartet in G, Op. 18, No. 2; Amadeus Quartet (DG)

1800: Piano Sonata No. 11 in B-flat, Op. 22; Kempff (DG)

1798-1800: String Quartet in B-flat, Op. 18, No. 6; Végh Quartet (Valois)

1791-1801: Twelve Contredanses for Orchestra, WoO 14; Marriner, Academy of St. Martin in the Fields (Philips)

1798-1800: String Quartet in c, Op. 18, No. 4; Alban Berg Quartet (EMI)

1800: Violin Sonata No. 4 in a, Op. 23; Kremer, Argerich (DG)

1798-1800: String Quartet in A, Op. 18, No. 5; Cleveland Quartet (RCA LP)

1800: Six Variations for Piano on an Original Theme in G, WoO 77; Cascioli (DG)

c. 1800: Sketches: Anglaise in D, Hess 61, Piano Piece in C, Hess 73, Piano Piece in B-flat, Hess 74; Karemacher (Raptus LP)

1800-1: Ballet Music to Viganò’s Die Geschöpfe des Prometheus (The Creatures of Prometheus), Op. 43; Menuhin, Menuhin Festival Orchestra (Angel LP); additional sections with Harnoncourt, Chamber Orchestra of Europe (Teldec)

1800-1: Piano Sonata No. 12 in A-flat, Op. 26; Richter (Philips)

1800-1: Violin Sonata No. 5 in F, Op. 24, "Spring"; Perlman, Ashkenazy (Decca)

We interrupt the chronology with the first of several sections devoted to great performances of Beethoven’s music from the past.

1801: Variations on "Bei Männern, welche Liebe fühlen" from Mozart’s Die Zauberflöte in E-flat for Cello and Piano, WoO 46; du Pre, Barenboim (EMI)

1801: Serenade for Flute, Violin, Viola in D, Op. 25; Adorjan, Sitkovetsky, Causse (Virgin)

1801: String Quintet in C, Op. 29; Amadeus String Quartet, Arnowitz (DG)

1801: Piano Sonata No. 13 in E-flat, Op. 27, No. 1, "quasi una fantasia"; Brendel (Philips LP)

1801: Musical Joke, "Lob auf den Dicken," WoO 100; Knothe, Berlin Soloists, Berlin Singakadamie Chamber Chorus (DG)

1801: Piano Sonata No. 14 in c-sharp, Op. 27, No. 2, "Moonlight"; Lupu (London)

1801: Piano Sonata No. 15 in D, Op. 28, "Pastoral"; Gould (CBS)

1801-2: Symphony No. 2 in D, Op. 36; Norrington, London Classical Players (EMI)

1801-2: Violin Sonata No. 6 in A, Op. 30, No. 1; Oistrakh, Oborin (Philips)

c. 1801: Four Ariettas and a Duet, Op. 82; Bartoli, Schiff (ariettas), Stolte, Schreier, Olbertz (duet) (London, Berlin Classics)

1801-2: Violin Sonata No. 7 in c, Op. 30, No. 2; Kremer, Argerich (DG)

1801-2: Violin Sonata No. 8 in G, Op. 30, No. 3; Midori, McDonald (Sony)

1801-2: Romance for Violin and Orchestra in G, Op. 40; Oistrakh, Rozhdestvensky, Moscow Philharmonic Orchestra (RCA)

1801-2: Seven Bagatelles in E-flat, C, F, A, C, D, and A-flat for Piano, Op. 33; Pletnev (DG)

1801-2: Six Songs, Op. 48; Fischer-Dieskau, Demus (DG)

1801-03: Italian Partsong, "Bei labbri, che Amore," WoO 99, No. 1, Hess 211; Person, Maus (DG)

1801-03: Italian Partsong, "Sei mio ben," Hess 231; Person, Maus (DG)

1801-03: Italian Partsong, "Scrivo in te," WoO 99, No. 11, Hess 215; Person, Maus (DG)

1801-03: Italian Partsong, "Fra tutte le pene," WoO 99, No. 3a; Maus, Lukas (DG)

1801-03: Italian Partsong, "Salvo tu vuoi lo sposo?," Hess 228; Person, Maus (DG)

1801-03: Italian Partsong, "Ma tu tremi," WoO 99, No. 6, Hess 212; Klopsch, Pilzecker, Vogt (DG)

1801-03: Italian Partsong, "Giura il nocchier," WoO 99, No. 5b, Hess 227; Klopsch, Pilzecker, Beyer (DG)

1801-03: Italian Partsong, "Per te amico aprile," WoO 99, No. 9, Hess 216; Fetting, Wagner, Hausmann (DG)

1801-03: Italian Partsong, "Fra tutte le pene," WoO 99, No. 3b, Hess 225; Klopsch, Pilzecker, Vogt (DG)

1801-03: Italian Partsong, "Quella cetra ah pur tu sei," WoO 99, No. 10b, Hess 218; Fetting, Wagner, Hausmann (DG)

1801-03: Italian Partsong, "Chi mai di questo core," WoO 99, No. 2, Hess 214; Fetting, Wagner, Hausmann (DG)

1801-03: Italian Partsong, "Già la notte s’avvicina," WoO 99, No. 4b, Hess 223; Pilzecker, Vogt, Beyer (DG)

1801-03: Italian Partsong, "Nei campi e nelle selve" (first setting) WoO 99, No. 7a, Hess 217; Klopsch, Pilzecker, Vogt, Beyer (DG)

1801-03: Italian Partsong, "Nei campi e nelle selve" (second setting) WoO 99, No. 7b, Hess 220; Fetting, Weigmann, Wagner, Hausmann (DG)

1801-03: Italian Partsong, "Fra tutte le pene," WoO 99, No. 3c, Hess 224; Klopsch, Pilzecker, Vogt, Beyer (DG)

1801-03: Italian Partsong, "Fra tutte le pene" (second version of WoO 99, No. 3c), Hess 210; Fetting, Weigmann, Wagner, Hausmann (DG)

1801-03: Italian Partsong, "Quella cetra ah pur tu sei," WoO 99, No. 10a, Hess 213; Fetting, Weigmann, Wagner, Hausmann (DG)

1801-03: Italian Partsong, "Quella cetra ah pur tu sei" (second version of WoO 99, No. 10a), WoO 99, No. 10b, Hess 219; Klopsch, Pilzecker, Vogt, Beyer (DG)

1801-03: Italian Partsong, "Giura il nocchier," Hess 230; Fetting, Weigmann, Wagner, Hausmann (DG)

1801-03: Italian Partsong, "Giura il nocchier" (second version of Hess 230), WoO 99, No. 5a, Hess 221; Fetting, Weigmann, Wagner, Hausmann (DG)

1801-03: Italian Partsong, "Già la notte s’avvicina," WoO 99, No. 4a, Hess 222; Fetting, Weigmann, Wagner, Hausmann (DG)

1802: Song, "Man strebt die Flamme zu verhehlen," WoO 120; Stolte, Olbertz (DG)

1802: Scene and aria from Metastasio’s La Tempesta for Soprano solo, WoO 92a, "No, non turbarti"; Baker, Leppard, English Chamber Orchestra (Philips LP)

1813: Twenty Irish Songs, WoO 153

1803: Serenade in D for Piano and Flute, Op. 41 (arrangement of Serenade for Winds, Op. 25); Pahud, Lesage (Valois)

1803: Notturno in D for Viola and Piano, Op. 42 (arrangement of Serenade, Op. 8); de Pasquale, Wallfisch (Pearl)

1813: Twelve Irish Songs, WoO 154

1818: Twenty-five Scottish Songs, Op. 108

1802: Piano Sonata No. 16 in G, Op. 31, No. 1; Barenboim (Angel LP)

1802: Duet from Metastasio’s Olimpiade, "Ne’ giorni tuoi felici," for Soprano, Tenor, and Orchestra, WoO 93; Kuhse, Büchner, Apelt, Staatskapelle Berlin (DG)

1802: Piano Sonata No. 17 in d, Op. 31, No. 2, "Tempest"; Brendel (Philips LP)

1802: Musical Joke, "Graf, liebster Graf," WoO 101; Knothe, Berlin Soloists (DG)

1802: Piano Sonata No. 18 in Eb, Op. 31, No. 3, "Hunt"; Kovacevich (EMI)

1802: Six Variations on an Original Theme in F, Op. 34; Pletnev (DG)

1802: Fifteen Variations and a Fugue on an Original Theme in E-flat, Op. 35, "Prometheus Variations" (also known as "Eroica Variations"); Gilels (DG)

1802: Six Landler, WoO 15; G. Beths, V. Beths, Bijlsma (Channel Classics)

1802: Bagatelle in C for Piano, WoO 54, "Lustig-Traurig"; Kipnis (Epiphany)

1802: "Tremate, empi, tremate," for Soprano, Tenor, Bass, and Orchestra, Op. 116; Kuhse, Büchner, Vogel, Apelt, Staatskapelle Dresden (DG)

1802-3: Seven Variations on "God Save the King" in C for Piano, WoO 78; Brendel (Vox)

1803: Song, "Der Wachtelschlag," WoO 129; Bär, Parsons (EMI)

1803: Song, "Das Glück der Freundschaft," also known as "Vita Felice," Op. 88; Fischer-Dieskau, Demus (DG)

1803 (rev. 1822): Allegretto in C for Piano, WoO 56; Pletnev (DG)

1803: Prelude in f for Piano, WoO 55; Cascioli (DG)

Denis Matthews discusses the material in Beethoven’s sketchbooks for the Symphony No. 3.

1803: Symphony No. 3 in E-flat, Op. 55, "Eroica"; Levine, Metropolitan Opera Orchestra (DG)

1803: Christ on the Mount of Olives, Op. 85; Aikin, Heppner, Pape, Barenboim, Chicago Symphony Orchestra (CSO)

1803: Three Marches in C, E-flat, and D for Piano Four Hands, Op. 45; Demus, Shetler (DG)

1803: Five Variations on "Rule Britannia" in D for Piano, WoO 79; Mustonen (DG)

1803: Theme and Variation in A, Hess 72; Karemacher (Raptus LP)

1803: Andante in F for Piano, WoO 57, "Andante favori" (originally part of "Waldstein" Sonata); Pletnev (DG)

1803-4: Piano Sonata No. 21 in C, Op. 53, "Waldstein"; Arrau (Philips)

1803 (rev. 1816): Variations on Wenzel Muller’s "Ich bin der Schneider Kakadu" in G for Piano Trio, Op. 121a; Beaux Arts Trio (Philips)

1803-4: Piano Sonata No. 23 in f, Op. 57, "Appassionata"; Ashkenazy (London LP)

1804: Piano Sonata No. 22 in F, Op. 54; Goode (Nonesuch)

1804: Canon, "Falstafferel, lass dich sehen!," WoO 184; Knothe, Berlin Soloists (DG)

1804-5: Song, "An die Hoffnung," Op. 32; Schreier, Olbertz (Berlin Classics)

1804-5: Song, Gedenke mein," WoO 130; Schreier, Olbertz (DG)

1803: Vestas Feuer, frag., Hess 115; Gritton, Kuebler, Leggate, Finley, A. Davis, BBC Symphony Orchestra (DG)

1804-5: Leonore, Op. 72, with Leonore Overture No. 2 (First Version of Fidelio); Moser, Donath, Cassilly, Ridderbusch, Adam, Büchner, Pollster, Goldberg, Lorenz, Blomstedt, Leipzig Radio Chorus, Staatskapelle Dresden (Arabesque LPs)

1805-6: Overture in C, Op. 72, "Leonore No. 3"; Karajan, Berlin Philharmonic Orchestra (DG)

1806: Six Ecossaises, WoO 83 (doubtful authenticity); Kempff (DG)

1806: Violin Concerto in D, Op. 61; Menuhin, Klemperer, New Philharmonia Orchestra (EMI)

1806: String Quartet in F, Op. 59, No. 1, "Rasumovsky No. 1"; Takacs Quartet (Decca)

1806: Symphony No. 4 in B-flat, Op. 60; Abbado, Berlin Philharmonic Orchestra (DG)

1807-8: Sketches for Symphony No. 5; Bernstein, Members of the New York Philharmonic Orchestra (Sony)

1807-8: Symphony No. 5 in c; Karajan, Berlin Philharmonic Orchestra (DG LP)

1806: String Quartet in e, Op. 59, No. 2, "Rasumovsky No. 2"; Quartetto Italiano (Philips)

1806: Thirty-Two Variations on an Original Theme in c for Piano, WoO 80; Kempff (DG)

1806: Song, "Als die Geliebte sich trennen wollte," WoO 132; ; Fischer-Dieskau, Demus (DG)

1806-7: Song, "In questa tomba oscura," WoO 133; Bartoli, Schiff (London)

1806: String Quartet in C, Op. 59 No. 3, "Rasumovsky No. 3"; Amadeus Quartet (DG)

1807: Overture in C, Op. 138, "Leonore No. 1"; Klemperer, Philharmonia Orchestra (Seraphim LP)

1807: Overture to Collin’s Coriolan in c; Walter, Columbia Symphony Orchestra (Sony)

1807-8: Four Settings of Goethe’s "Sehnsucht," WoO 134; Stolte, Olbertz (DG)

1807-8: Cello Sonata in A, Op. 69; Rostropovich, Richter (Philips)

String Quartet in F, Hess 34 (arrangement of Piano Sonata Op. 14, No. 1); Amadeus Quartet (DG)

Violin Concerto in D, Op. 61, arranged by composer for piano and orchestra; Pollini, Caracciolo, Symphony Orchestra of Milan (Hunt)

Trio for Piano, Violin, and Cello in B-flat, Op. 11 (arrangement of Trio for Piano, Clarinet, and Cello, Op. 11); Beaux Arts Trio (Philips LP)

Piano Trio after Symphony No. 2, Op. 36; Brandis, Boettcher, Besch (DG Archiv LP)

Grosse Fugue, Op. 133, arr. for Piano, Four Hands; Oppens, Jacobs (Nonesuch LP)

1810: Twenty Six Welsh Songs, WoO 155;

1809: Piano Concerto in d, K. 466, by Wolfgang Amadeus Mozart (Cadenzas by Beethoven); Pletnev, Deutsche Kammerphilarmonie (Virgin)

1813: Twenty Irish Songs, WoO 153;

1816: Twenty-Three Songs of Various Nationality, WoO 158a;

1804-7: Concerto for Piano, Violin and Cello in C, Op. 56, "Triple Concerto"; Oistrakh, Rostropovich, Richter, Karajan, Berlin Philharmonic Orchestra (EMI)

1804-7: Piano Concerto No. 4 in G, Op. 58; Hansen, Furtwangler, Berlin Philharmonic Orchestra (Unicorn LP)

1808: Song, "Andenken," WoO 136; Bär, Parsons (EMI)

1808: Piano Trio in D, Op. 70, No. 1, "Ghost"; Abegg Trio (Intercord)

1808: Symphony No. 6 in F, Op. 68, "Pastoral"; Mutti, Philadelphia Symphony Orchestra (EMI)

1808: Piano Trio in E-flat, Op. 70, No. 2; Stern, Istomin, Rose (Sony)

1808 (rev. 1809): Fantasia for Piano, Chorus and Orchestra in c, Op. 80, "Choral Fantasy"; Barenboim, Chorus of the Deutsche Staatsoper, Berlin Philharmonic Orchestra (EMI)

1809: Song, "Lied aus der Ferne," WoO 137; Schreier, Olbertz (Berlin Classics)

1809: Song, "Der Jüngling in der Fremde," WoO 138; Schreier, Olbertz (Berlin Classics)

1809: Song, "Der Liebende," WoO 139; Schreier, Olbertz (Berlin Classics)

1809: Six Songs, Op. 75; Stolte, Olbertz (1, 4, 5), Fischer-Dieskau, Demus (2, 3, 6) (DG)

1809: String Quartet in E-flat, Op. 74, "Harp"; Alban Berg Quartet (EMI)

1809: Fantasia in g/B for Piano, Op. 77; Cascioli (DG)

1809: Piano Concerto No. 5 in E-flat, Op. 73, "Emperor"; Rubinstein, Leinsdorf, Boston Symphony Orchestra (RCA)

1809: Piano Sonata No. 24 in F-sharp, Op. 78, "Für Thérèse"; Gulda (London)

1809: Piano Sonata No. 25 in G, Op. 79; Barenboim (Angel LP)

1809: Six Variations on an Original Theme in D for Piano, Op. 76; Cascioli (DG)

1809 (rev. 1810): March for Wind Band in F, WoO 18, "für die böhmische landwehr"; Priem-Bergrath, Berlin Philharmonic Wind Ensemble (DG)

1808-10: Bagatelle for Piano in a, "Für Elise"; Hess (EMI)

1809-10: Piano Sonata No. 26 in E-flat, Op. 81a, "Les Adieux"; Casadesus (Sony)

1809-10: Incidental Music to Goethe’s Egmont, Op. 84; Overture: Karajan, Berlin Philharmonic Orchestra (DG); Incidental Music: Lorengar, Wussow, Szell, Vienna Philharmonic Orchestra (Decca LP)

1810: Three Songs, Op. 83; Bär, Parsons (EMI)

1810: March for Wind Band in F, WoO 19; Priem-Bergrath, Berlin Philharmonic Wind Ensemble (DG)

1810: March for Wind Band in C, WoO 20; Netherlands Wind Ensemble (Philips LP)

1810: Polonaise for Wind Band in D, WoO 21; Priem-Bergrath, Berlin Philharmonic Wind Ensemble (DG)

1810: Ecossaise for Wind Band in D, WoO 22; Priem-Bergrath, Berlin Philharmonic Wind Ensemble (DG)

1810-11: String Quartet in f, Op. 95, "Serioso"; Alban Berg Quartet (EMI)

1811: Incidental Music to Kotzebue’s Die Ruinen von Athen, Op. 113; Woudt, Hollestelle, Goehr, Netherlands Philharmonic Choir and Orchestra (Concert Hall LP)

1810-11: Piano Trio in B-flat, Op. 97, "Archduke"; Istomin, Schneider, Casals (Sony)

1811: Incidental Music to Kotzebue’s König Stephan, Op. 117; Fischer-Dieskau, Jackwerth, Ruhl, Mende, Aljinovicz, Chung, Chorus and Orchestra of the National Academy of St. Cecilia (DG)

1811?: Canon, "Ewig dein," WoO 161; Knothe, Berlin Soloists (DG)

1811: Song, "An die Geliebte," WoO 140, first version; Genz, Vignoles (Hyperion)

1811: Song, "An die Geliebte," WoO 140, second version; Schreier, Olbertz (Berlin Classics)

With the breakup of the group Tight Bros From Way Back When, it’s a good time to look at some of the music that led up to them. While the extent of their influence may be debatable, the Bros have been members of some of the most important heavy rock to come out of the Pacific Northwest. Bros members are featured most notably in Karp, brought aggression and loudness to a normally pop-oriented K Records, performed in queercore bands Behead the Prophet: No Lord Shall Live and the Mukilteo Fairies, as well as in rotating-roster Witchypoo. Listen and rawk. (Part II tomorrow at 10 pm.)

1812: Violin Sonata No. 10 in G, Op. 96; Menuhin, Gould (Sony)

1812: Allegretto in B-flat for Piano Trio, WoO 39; Abegg Trio (Intercord)

1812: Symphony No. 8 in F, Op. 93; Solti, Chicago Symphony Orchestra (London LP)

1812: Three Equali for Four Trombones in d, D, and B-flat, WoO 30; Philip Jones Brass Ensemble (DG)

1812: Mass in C, Op. 86; Margiono, Robbin, Kendall, Miles, Gardiner, Monteverdi Choir, Orchestre Revolutionnaire et Romantique (DG Archiv)

1811-12: Symphony No. 7 in A, Op. 92; Kleiber, Vienna Philharmonic Orchestra (DG)

1813: Canon, "Kurz ist der Schmerz," first setting, WoO 163; Knothe, Berlin Soloists (DG)

1813: Twelve Irish Songs, WoO 154;

1813: Wellington’s Victory, or The Battle of Vittoria, Op. 91, "Battle Symphony"; Karajan, Berlin Philharmonic Orchestra (DG)

1813: Song, "Der Gesang der Nachtigall," WoO 141; Stolte, Olbertz (DG)

1813: Triumphal March to Tarpeja in C, WoO 2a; A. Davis, BBC Symphony Orchestra (DG)

1813: "Introduction to Act 2," possibly to Act 2 of Tarpeja, although some believe that it was for the 1805 version of Leonore; Järvi, Gothenburg Symphony Orchestra (DG)

1813: Song, "Der Bardengeist," WoO 142; Fischer-Dieskau, Demus (DG)

1813-15: Song, "An die Hoffnung," Op. 94; Fischer-Dieskau, Moore (Orfeo)

1814: Song, "Des Kriegers Abschied," WoO 143; Schreier, Olbertz (DG)

1814: Song, "Merkenstein," WoO 144; Stolte, Olbertz (DG)

1814: Duet, "Merkenstein," Op. 100; Maus, Hilsdorf (DG)

1814: Polonaise in C for Piano, Op. 89; Pletnev (DG)

1814: Abschiedsgesang "Die Stunde schlägt" for Two Tenors and Bass, WoO 102; Vogt, Beyer, Hausmann (DG)

1814: Cantata campestre "Un lieto brindisi" for soprano, 2 tenors, bass, and piano, WoO 103; Jehser, Vogt, Wagner, Hausmann, Nothe, Olbertz (DG)

1814: Piano Sonata No. 27 in e, Op. 90; Kovacevich (EMI)

1814: Elegischer Gesang, "Sanft wie du lebtest", originally for Soprano, Alto, Tenor, Bass, and String Quartet or Piano, Op. 118; Thomas, Ambrosian Singers, London Symphony Orchestra (DG)

1814: Chorus, "Ihr weisen Grunder" (Chor auf die verbündeten Fürsten), WoO 95; A. Davis, BBC Singers, BBC Symphony Orchestra (DG )

1814: Fidelio, Op. 72; Ludwig, Vickers, Frick, Berry, Crass, Hallstein, Unger, Klemperer, Philharmonia Orchestra and Chorus (EMI)

1814: Cantata, "Der glorreiche Augenblick," Op. 136; Orgonasova, Vermillion, Robinson, Hawlata, Chung, Chorus and Orchestra of the National Academy of St. Cecilia (DG)

1814: Germania, finale of Treitschke’s Singspiel Die gute Nachricht, WoO 94; Finley, A. Davis, BBC Chorus, BBC Symphony Orchestra (DG)

1814-15: Overture in C, Op. 115, "Namensfeier"; Abaddo, Vienna Philharmonic Orchestra (DG)

1814-15: Cantata based on Goethe’s "Meeresstille und glückliche Fahrt", Op. 112; Gardiner, Monteverdi Choir, Orchestre Révolutionaire et Romantique (DG)

1815: Song, "Die laute Klage," WoO 135; Fischer-Dieskau, Demus (DG)

1815: Song, "Das Geheimnis," WoO 145; Fischer-Dieskau, Demus (DG)

1815: Cello Sonata in C, Op. 102, No. 1; Casals, Serkin (Sony)

1815: Cello Sonata in D, Op. 102, No. 2; Rostropovich, Richter (Philips)

1815: Incidental Music to Duncker’s Leonore Prohaska, WoO 96; McNair, Eichhorn, Abbado, Berlin Radio Chorus, Berlin Philharmonic Orchestra (DG )

1815: Es ist vollbracht, finale of Treitschke’s singspiel Die Ehrenpforten, WoO 97; Finley, A. Davis, BBC Chorus, BBC Symphony Orchestra (DG)

1815: Canon, "Kurz ist der Schmerz," second setting, WoO 166; Person, Helzel, Maus (DG)

1814: Canon, "Freundschaft ist die Quelle," WoO 164; Knothe, Berlin Soloists (DG)

1815: Canon, "Glück zum neuen Jahr," WoO 165; Knothe, Berlin Soloists, Berlin Singakadamie Chamber Chorus (DG)

c. 1815: Canon, "Brauchle, Linke," WoO 167; Knothe, Berlin Soloists (DG)

1816: Puzzle Canon, "Das Schweigen," WoO 168, No. 1; Knothe, Berlin Soloists (DG)

1816: Canon, "Das Reden," WoO 168, No. 2; Knothe, Berlin Soloists (DG)

1816: Puzzle Canon, "Ich küsse Sie," WoO 169; Knothe, Berlin Soloists (DG)

1816: Canon, "Ars longa, vita brevis," first setting, WoO 170; Person, Helzel, Maus, Lukas (DG)

1816: Song, "Sehnsucht," WoO 146; Fischer-Dieskau, Demus (DG)

1816: Cycle of Six Songs, Op. 98, "An die ferne Geliebte"; Genz, Vignoles (Hyperion)

1816: Song, "Der Mann von Wort," Op. 99; Leib, Olbertz (DG)

1816: March for Wind Band in D, WoO 24; Priem-Bergrath, Berlin Philharmonic Wind Ensemble (DG)

1816: Piano Sonata No. 28 in A, Op. 101; Brendel (Philips LP)

1816: Song, "Ruf vom Berge," WoO 147; Schreier, Olbertz (Capriccio)

1817: Song, "So oder so," WoO 148; Schreier, Olbertz (Capriccio)

1817: Song, "Resignation," WoO 149; Schreier, Olbertz (Capriccio)

1817: Seven British Songs, WoO 158b

1817: Six Songs of Various Nationality, WoO 158

c1817: Air Français and Two Austrian Folksongs, Hess 168

1817: String Quintet in c, Op. 104 (arrangement of Piano Trio Op. 1, No. 3 by Kaufmann, modified and expanded by Beethoven); Suk Quartet, Spelina (Supraphon LP)

1817: Prelude for String Quintet in d, Hess 40; ()

1817: Fugue for String Quintet in D, Op. 137; Vienna Philharmonic Chamber Ensemble (DG)

1817: Gesang der Mönche "Rasch tritt der Tod", from William Tell, for Two Tenors and Bass, WoO 104; Vogt, Beyer, Hausmann (DG)

1817-8: Piano Sonata No. 29 in B-flat, Op. 106, "Hammerklavier"; Richter (Music and Arts)

1818: Theme for Variations by the Archduke Rudolph, WoO 200; Kagan (Koch)

1818: Bagatelle in B-flat for Piano, WoO 60; Demus (Vanguard LP)

1818: Twelve Scottish Songs, WoO 156; ()

1818-19: Six National Airs with Variations for Flute (or Violin) and Piano, Op. 105; Rampal, Veyron-Lacroix (Vox)

1819: Hochzeitslied "Auf Freunde, singt dem Gott der Ehen" in A for Male Solo, Four Voices, and Piano, WoO 105; Hausmann, Knothe, Berlin Soloists, Olbertz (DG)

1818-19: Ten National Airs with Variations for Flute (or Violin) and Piano, Op. 107; Schulz, Buchbinder (Telefunken)

1819: Eleven Dances, WoO 17, "Mödlinger Tanze"; Consortium Classicum (Telefunken LP)

1820: Canon, "Hoffmann, sei ja kein Hofmann," WoO 180; Knothe, Berlin Soloists (DG)

See last night at this time.

1819: Twelve Songs of Various Nationality, WoO 157; ()

c. 1818 ?: Canon, "Ich bitt’ dich, schreib mir die Es-Skala auf," WoO 172; Knothe, Berlin Soloists (DG)

1819: Puzzle Canon, "Hol’ euch der Teufel! B’hüt’ euch Gott!," WoO 173; Knothe, Berlin Singakadamie Chamber Chorus (DG)

1819: Canon, "Glaube und hoffe!," WoO 174; Knothe, Berlin Singakadamie Chamber Chorus (DG)

c. 1820: Puzzle Canon, "Sankt Petrus war ein Fels," WoO 175; Knothe, Berlin Soloists, Berlin Singakadamie Chamber Chorus (DG)

1819: Canon, "Glück zum neuen Jahr!," WoO 176; Knothe, Berlin Soloists (DG)

c. 1820: Canon, "Bester Magisträt, Ihr friert!," WoO 177; Knothe, Berlin Singakadamie Chamber Chorus (DG)

c. 1820?: Canon, "Signor Abate!," WoO 178; Knothe, Berlin Soloists (DG)

1819: Canon with Introduction, "Alles Gute," WoO 179; Knothe, Berlin Soloists (DG)

1820: Piano Sonata No. 30 in E, Op. 109; Fischer (Music and Arts)

1820: Song, "Das liebe Kätzchen," Hess 133; Helzel, Hilsdorf (DG)

1820: Song, "Der Knabe auf dem Berge," Hess 134; Helzel, Hilsdorf (DG)

1820: Song, "Abendlied unterm gestirnten Himmel," WoO 150; Fischer-Dieskau, Demus (DG)

1821: Allegretto in b for Piano, WoO 61; Schiff (Hungaroton)

1821: Canon, "O Tobias!," WoO 182; Knothe, Berlin Soloists (DG)

1820-22: Eleven Bagatelles in g, C, D, A, c, G, C, C, a, A, and B-flat for Piano, Op. 119; Pletnev (DG)

1821-2: Piano Sonata No. 31 in A-flat, Op. 110; Serkin (CBS)

1822: Overture in C to Meisl’s Die Weihe des Hauses (The Consecration of the House), Op. 124; Klemperer, Philharmonia Orchestra (EMI LP)

1822: Chorus with Soprano Solo for Die Weihe des Hauses, "Wo sich die Pulse," WoO 98; McNair, Abbado, Berlin Radio Chorus, Berlin Philharmonic Orchestra (DG)

1822: March with Chorus, "Schmückt die Altäre" for Die Weihe des Hauses, Op. 114; Abbado, Berlin Radio Chorus, Berlin Philharmonic Orchestra (DG)

1821-2: Piano Sonata No. 32 in c, Op. 111; Pollini (DG)

1822: Gratulations-Menuet in E-flat, WoO 3; Storgårds, Tapiola Sinfonietta (Ondine)

1822: Duet for Two Violins in A, WoO 34; L. Hagen, Schmidt (DG)

1822: Song, "Der Kuss," Op. 128; Bär, Parsons (EMI)

1819-1823: Mass in D, Op. 123, "Missa Solemnis"; Soderstrom, Hoffgen, Kmentt, Talvela, Klemperer, New Philharmonia Chorus and Orchestra (EMI)

1823 (begun 1819): Thirty-Three Variations on a Waltz by Diabelli in C for Piano, Op. 120, "Diabelli Variations"; Brendel (DG)

1823: Musical Motto, Puzzle Canon, "Das Schöne zum Guten!," WoO 202; Person, Helzel, Maus, Lukas (DG)

1823: Canon, "Bester Herr Graf, Sie sind ein Schaf!," WoO 183; Knothe, Berlin Soloists, Berlin Singakadamie Chamber Chorus (DG)

c. 1823: Six-part Canon, "Edel sei der Mensch," WoO 185; Knothe, Berlin Soloists (DG)

1823: Birthday Cantata for Prince Lobkowitz "Es lebe unser theurer Fürst," WoO 106; Jehser, Knothe, Berlin Soloists, Olbertz (DG)

1822-4: Symphony No. 9 in d, Op. 125; Schwarzkopf, Höngen, Hopf, Edelmann, Furtwängler, Choir and Orchestra of the 1951 Bayreuth Festival (EMI)

1823-24: Bundeslied after Goethe’s "In allen guten Stunden," Op. 122; Thomas, Ambrosian Singers London Symphony Orchestra (DG)

1823: Song, "Der edle Mensch sei hülfreich und gut," WoO 151; Person, Hilsdorf (DG)

1824: Opferlied, "Die Flamme lodert", Second Version of 1822 work, Op. 121b; Haywood, Thomas, Ambrosian Singers, London Symphony Orchestra (DG)

1824: Six Bagatelles in G, g, E-flat, b, G, and E-flat for Piano, Op. 126; Brendel (DG)

1824: Sketches for a Piano Piece in C, Hess 57; Karemacher (Raptus LP)

1824: Waltz in E-flat for Piano, WoO 84; Schiff (Hungaroton)

1824: Canon, "Te solo adoro," WoO 186; Knothe, Berlin Soloists (DG)

1824: Canon, "Schwenke dich ohne Schwänke!," WoO 187; Knothe, Berlin Soloists (DG)

1825: Canon, "Gott ist eine feste Burg," WoO 188; Knothe, Berlin Singakadamie Chamber Chorus (DG)

1825: Musical Motto, Puzzle Canon, "Das Schöne zu dem Guten!," WoO 203; Person, Helzel (DG)

1824-5: String Quartet in E-flat, Op. 127; Lindsay String Quartet (ASV)

1825: Allegretto quasi andante in g for Piano, WoO 61a; Cascioli (DG)

1825: Waltz in D for Piano, WoO 85; Cascioli (DG)

1825: Ecossaise in E-flat for Piano, WoO 86; Cascioli (DG)

1825: Canon, "Doktor sperrt das Tor dem Tod," WoO 189; Person, Helzel, Maus, Lukas (DG)

1825: Puzzle Canon, "Ich war hier, Doktor," WoO 190; Knothe, Berlin Soloists (DG)

1825: Canon in A (probably for two violins), WoO 35; L. Hagen, Schmidt (DG)

1825: Canon, "Kühl, nicht lau," WoO 191; Knothe, Berlin Soloists (DG)

1825: Puzzle Canon, "Si non per portas, per muros," WoO 194; Horn, Lukas (DG)

1825: Puzzle Canon, "Ars longa, vita brevis," second setting, WoO 192; Knothe, Berlin Singakadamie Chamber Chorus (DG)

c. 1825?: Puzzle Canon, "Ars longa, vita brevis," third setting, WoO 193; Person, Helzel, Maus, Horn (DG)

1825: String Quartet in a, Op. 132; Amadeus Quartet (DG)

1825: Canon, "Freu dich des Lebens!," WoO 195; Knothe, Berlin Singakadamie Chamber Chorus (DG)

1825-6: String Quartet in B-flat, Op. 130 (original version, with Grosse Fugue, Op. 133, as finale); Végh Quartet (Valois)

1826: String Quartet in B-flat, Op. 130, alternate ending (Cavatina and Finale); Amadeus Quartet (DG)

1826: Canon, "Es muss sein!," WoO 196; Knothe, Berlin Soloists (DG)

1825-6: String Quartet in F, Op. 135; Juilliard Quartet (CBS LP)

1826: Canon, "Da ist das Werk," WoO 197; Knothe, Berlin Soloists (DG)

1826: Canon, "Esel aller Esel," Hess 277; Knothe, Berlin Singakadamie Chamber Chorus (DG)

1826: Puzzle Canon, "Wir irren allesamt," WoO 198; Knothe, Berlin Singakadamie Chamber Chorus (DG)

1826: String Quartet in c-sharp, Op. 131; Amadeus Quartet (DG)

WHRB’s own Record Hospital has been notorious for being one of the premier boosters of independent music from all around the world for the past twenty years, recognized as part of an elite few whose playlists have remained steadfastly obscure and consistently high quality in an era in which most radio, commercial or college, has been in musical decline.

However, what is not known to the world at large is what happens off the air at the Record Hospital. The Record Hospital Orgy exposes the contributions of those affiliated with the Hospital to the creation of music and art, whether through playing in bands, releasing records, setting up shows, or doing artwork and design for the output of others. We present Record Hospital music, Record Hospital art, live performances arranged and put on at WHRB over the air, recreations of shows done by Record Hospital people, and much much more. Our studios will be packed with the authors and performers of all this history, DJs past and present, playing their music live and on recording, with detailed commentary on just about everything that goes over the air, along with lots of interviews and live performances.

The orgy features the work of Fat Day, the 914, Eloe Omoe, Lucky Dragons, Red Essentials, English Muffin Records, Dark Beloved Cloud Records, 100% Breakfast Records, Word Salad Records, and a whole lot more.

Bizet: Carmen; Denyce Graves, Mary Dunleavy, Neil Shicoff, Ludovic Tézier, Yves Abel conducting.

Hector Berlioz (1803-1869) was the pioneering French composer of the Romantic period. His special affinity for drama and narrative in music helped establish "program music" and the symphonic tone poem as major genres in the Romantic style. His achievements and style were unique, and his pathbreaking music can startle now just as much as it did in his time.

As a young man, he followed his family’s wishes and began studies to become a doctor. Shortly after he arrived at medical school in Paris, however, he abandoned medicine to follow his deep love for music. Cut off from his parents’ allowance, he found his sustenance in the musical tragedies of Gluck, the writings of Romantic authors such as Goethe, Byron, and Scott, and the plays of Shakespeare. It was during this time that he developed his infatuation with the Irish Shakesperean actress Harriet Smithson, who was the inspiration for his Symphonie fantastique, and whom he later married. He won the prestigious Prix de Rome in 1830. As his works gained more public performance (often at concerts which he had to organize himself), he attracted the attention of other musicians and composers, including Franz Liszt, Niccolo Paganini, and Richard Wagner. He traveled throughout Europe, Russia, and England during the 1840s with great success. By 1855, Berlioz was gaining the stature of a truly great composer, recognized especially for his masterful use of orchestral color and original effects. In 1865 he set down many of the colorful circumstances and episodes of his life in his entertaining Memoirs. His music was particularly influential among the later German and Russian Romantics, such as Russia’s "Mighty Handful." His treatise on principles of instrumentation became the standard text dealing with the subject, and has provided guidance and inspiration for many composers, from his time to ours.

WHRB commemorates the 200th anniversary of Berlioz’s birth with our first comprehensive retrospective of his music, a chronological survey of Berlioz’s works that will include the well-known and the rarely heard works.

1818: Song, "Le dépit de la bergère"; Vernet, Martin (Ligia Digital)

1818-22: Song, "Pleure, pauvre Colette"; Pollet, von Otter, Allen, Garben (DG)

1818-22: Canon libre à la quinte; Pollet, von Otter, Garben (DG)

1818-22: Song, "Le maure jaloux"; Aler, Garben (DG)

1818-22: "Amitié, reprends ton empire"; Pollet, von Otter, Allen, Garben (DG)

1822-23: Song, "Le montagnard exilé"; Pollet, von Otter, Muhlbach (DG)

1824: Messe solennelle; Brown, Viala, Cachemaille; Gardiner, Monteverdi Choir, Orchestre Revolutionnaire et Romantique (Philips)

1824: Resurrexit; Dutoit, Montreal Symphony Orchestra and Chorus (Decca)

1825-26: La révolution grecque; Meer, Visser; Fournet, Dutch Radio Choir and Symphony Orchestra (Denon)

1825-1826: Overture to Les Francs-juges; Davis, London Symphony Orchestra (Philips LP)

1827: La mort d’Orphée; Garino, Dutch Radio Choir and Symphony Orchestra (Denon)

1827-28: Waverly, grande overture Op. 1; Beecham, Royal Philharmonic Orchestra (Odyssey LP)

1828: Song, "Le roi de Thulé," Op. 1, No. 6; Pollet, Garben (DG)

1828: Le ballet des ombres, Op. 2; Tetu, Chorus and Orchestre national de Lyon (Harmonia Mundi)

1828: Herminie; Baker; Davis, London Symphony Orchestra (Philips)

1828-29: Huit scènes de Faust, Op. 1; Kirchschlager, Fouchecourt, Caton; Sado, Radio France Chorus and Orchestra (Erato)

1829: La mort de Cléopâtre; Minton; Boulez, BBC Symphony Orchestra (Sony)

1829: Song, " Le coucher du soleil," Op. 2 No 1; Hampson, Parsons (EMI)

1829: Song, "Hélène," Op. 2, No. 2; Pollet, von Otter, Garben (DG)

1829: Chant guerrier, Op. 2, No. 3; Aler, Allen, Garben (DG)

1829: Song, "La belle voyageuse," Op. 2, No. 4; von Otter, Garben (DG)

1829: Chanson à boire, Op. 2, No. 5; Aler, Allen, Garben (DG)

1829: Chant sacré, Op. 2, No. 6; Dutoit, Montreal Symphony Orchestra and Chorus (Decca)

1829: Song, "L’origine de la harpe," Op. 2, No. 7; Hampson, Parsons (EMI)

1829: Song, "Adieu Bessy," Op. 2, No. 8; Hampson, Parsons (EMI)

1829: Song, "Elégie en prose," Op. 2, No. 9; Aler, Garben (DG)

1830: Symphonie fantastique, Op. 14; Boulez, London Symphony Orchestra (Sony)

1830: Chant du neuf Thermidor; Raffalli; Plasson, Chorus and Orchestre du Capitole de Toulouse (EMI)

1830: La mort de Sardanapale; Vallego; Casadesus, Orchestre national de Lille, Choeur regional Nord-Pas-de-Calais (Harmonia Mundi)

1831: Le Roi Lear, grande overture, Op. 4; Davis, London Symphony Orchestra (Philips LP)

1831: Méditation religieuse, Op. 18, No. 1; Davis, St. Anthony Singers, Goldsbrough Orchestra (London)

1831-32: Lélio Op. 14; Charpak, Kerol, Bacquier, Leibowitz, New Paris Symphony Association Chorus and Orchestra (Vox LP)

1832: Song, "La captive," Op. 12; von Otter, Thedeen, Garben (DG)

1832: Song, "La captive," Op. 12 (orchestrated); Robbin; Gardiner, Orchestre de l’Opera de Lyon (Erato)

1832: Quartetto e coro dei maggi; Dutoit, Montreal Symphony Orchestra and Chorus (Decca)

1832: Overture to Rob-Roy; Boult, London Philharmonic Orchestra (Westminster LP)

1833: Song, "Le Jeune Pâtre breton, Op. 13, No. 4; Vernet, Martin (Ligia Digital)

1833: Song, "Le Jeune Pâtre breton, Op. 13, No. 4 (orchestrated); Crook; Gardiner, Ochestre de l’Opera de Lyon (Erato)

1834: Le chant des Bretons, Op. 13, No. 5; Aler, Garben (DG)

1834: Harold en Italie for Viola and Orchestra, Op. 16; Causse; Gardiner, Orchestre Revolutionnaire et Romantique (Philips)

Preacher: The Reverend Wesley D. Avram, Stephen Merrell Clement-E. William Muehl Assistant Professor of Communication, Yale Divinity School, New Haven, Connecticut. Music includes "Elijah Rock" by Jester Hairston and "My Lord, what a moanin’ " by Adolphus Hailstork.

1834: Sara la baigneuse, Op. 11; Davis, St. Anthony Singers, English Chamber Orcestra (London)

1834: Song, " Je crois en vous"; Allen, Garben (DG)

1834: Song, "Les champs," Op. 19, No. 2; Aler, Garben (DG)

1835: Le chant des Bretons, Op. 13, No. 5 (orchestrated); Davies; Norrington, Heinrich Schutz Choir and Chorale (Argo LP)

1835: Le Cinq Mai, chant sur la mort de l’empereur Napoléon, Op. 6; Visser; Fournet, Dutch Radio Choir and Symphony Orchestra (Denon)

1835: Chansonette; Aler, Garben (DG)

1836-38: Benvenuto Cellini; Eda-Pierre, Berbie, Gedda, Massard, Bastin, Soyer; Chorus of the Royal Opera House, Covent Garden, BBC Symphony Orchestra, Davis (Philips)

1837: Grande messe des morts, Op. 5 (Requiem); Munch, New England Conservatory Chorus, Boston Symphony Orchestra (RCA LP)

1839: Aubade; Crook; Gardiner, Ochestre de l’Opera de Lyon (Erato)

1839: Roméo et Juliette, Op. 17; Borodina, Moser, Miles; Davis, Bavarian Radio Chorus, Vienna Philharmonic Orchestra (Philips)

?: Pater Noster; Dutoit, Montreal Symphony Orchestra (Decca)

?: Adoremus; Dutoit, Montreal Symphony Orchestra (Decca)

?: Sérénade de Mephistophélès; Aler, Sollscher (DG)

?: Nocturne à deux voix; Pollet, von Otter, Sollscher (DG)

1840: Grande symphonie funèbre et triomphale, Op. 15; Dutoit, Montreal Symphony Orchestra (Decca)

1841: L’invitation à la valse (Weber, orchestrated by Berlioz); Dohnanyi, Cleveland Orchestra (London)

1841: Rêverie et caprice, Op. 8; Suk; Smetacek, Prague Symphony Orchestra (Supraphon)

1840-41: Les nuits d’été, Op. 7 (original piano version); Vernet, Martin (Ligia Digital)

1842: Song, "La mort d’Ophélie," Op. 18, No. 2; von Otter, Garben (DG)

1843: Song, "La belle Isabeau"; von Otter, Garben (DG)

1844: Song, "Hélène," Op. 2, No. 2 (orchestrated); Tetu, Chorus of l’Orchestre national de Lyon (Harmonia Mundi)

1844: Marche funèbre pour la dernière scène d’Hamlet, Op. 18, No. 3; Boulez, Cleveland Orchestra and Chorus (DG)

1844: Le carnival romain, Op. 9; Munch, Boston Symphony Orchestra (RCA LP)

1844: Hymne à la France, Op. 20, No. 2; Norrington, Heinrich Schütz Choir and Chorale (Argo LP)

1844: Le corsaire, Overture, Op. 21; Davis, London Symphony Orchestra (Philips LP)

1845: Le chasseur danois; Vernet, Martin (Ligia Digital)

1845: Le chasseur danois (orchestrated); Cachemaille; Gardiner, Orchestre de l’Opera de Lyon (Erato)

1845: Song, "Zaïde," boléro, Op. 19, No. 1; Vernet, Martin (Ligia Digital)

1845: Song, "Zaïde," boléro, Op. 19, No. 1 (orchestrated); Fournier; Gardiner, Orchestre de l’Opera de Lyon (Erato)

1845-46: La Damnation de Faust, Op. 24; Danco, Poleri, Singher, Gramm; Munch, Harvard Glee Club, Radcliffe Choral Society, Boston Symphony Orchestra (RCA)

1846: Le trébuchet, Op. 13, No. 3; Tetu, Chorus of l’Orchestre national de Lyon (Harmonia Mundi)

1846: Prière du matin; Tetu, Chorus of l’Orchestre national de Lyon (Harmonia Mundi)

1848: La menace des Francs, Op. 20, No. 1; Norrington, Heinrich Schutz Choir and Chorale (Argo LP)

1848: La mort d’Ophélie; Lee, Tetu, Chorus of l’Orchestre national de Lyon (Harmonia Mundi)

1848: Hymne de Marseillaise; Plasson, Chorus and Orchestre of the Capitole de Toulouse (EMI)

1849: Song, "Le matin," Op. 13, No. 1; von Otter, Garben (DG)

1849: Song, "Petit oiseau," chanson de paysan, Op. 13, No. 2; Vernet, Martin (Ligia Digital)

1849: Te Deum, Op. 22; Araïza; Abbado, London Symphony Chorus, London Philharmonic Choir, Wooburn Singers, European Community Youth Orchestra (DG)

1850-54: L’Enfance du Christ, Op. 25; Vanzo, Berbié, Calès, Soyer, Martinon, French National Radio Choruses and Orchestra (Nonesuch LPs)

1851: Song, "La belle voyageuse," Op. 2, No. 4 (orchestrated); Montague; Gardiner, Ochestre de l’Opera de Lyon (Erato)

1854: L’impériale; Fournet; Dutch Radio Choir and Symphony Orchestra (Denon)

1856: Les nuits d’été, Op. 7 (orchestrated); Crespin; Ansermet, L’orchestre de la Suisse Romande (London)

1856-58: Les Troyens; Lang, DeYoung, Heppner, Mattei, Milling; London Symphony Chorus and Orchestra, Davis (London Live)

1859: Orphée (Gluck) and Der Freischutz (Weber), excerpts from the French adaptations by Berlioz; Farman, de Callatay, Podles, Bragensis; Collegium Instrumentale Brugense, Peire/Bernadi, Perrin, Constantin, Perroni, Soulet, Henry, Dudziak; Chamber Philharmonic of Hungary, Penin (Forlane/Empreinte Digitale)

1860: Song, "Der Erlkonig" (Schubert, arranged by Berlioz); Prey; Bertini, Munich Philharmonic (RCA LP)

1861: Le temple universel, Op. 28; Norrington, Heinrich Schutz Choir and Chorale (Argo LP)

1864: Marche troyenne; Paray, Detroit Symphony Orchestra (Mercury)

?: Veni creator; Dutoit, Montreal Symphony Orchestra (Decca)

?: Tantum ergo; Dutoit, Montreal Symphony Orchestra (Decca)

1860-62: Béatrice et Bénédict; Graham, Viala, McNair, Robbin, Bacquier, Cachemaille, Le Textier; Chorus and Orchestra of l’Opéra de Lyon, Nelson (Erato)

Clint Eastwood’s Man With No Name was good at walking into any given town of the Old West and annihilating anyone who got in his way. With every (often violent) action, the Man With No Name’s blurry and blank character became crisper and more defined, and his name, or the need to know it, became less important. In the case of the artist known as Jandek, we have the benefit of a name to attach to the mystery man who has crafted 32 unique albums. But that is all we have. Jandek is largely undefined. The 32 albums represent the actions which we use to quantify and define the artist known as Jandek. The album covers define the man nearly as much as the music itself. There have been attempts to pierce the confounding psyche and persona of Jandek, but these are conjectural hypotheses amounting to darts in the dark. Like any good piece of art, Jandek forces the listener to form your own characterization and your own meaning, without preconceived notions. Is Jandek a pedophilic albino with a slick haircut? Possibly. Is Jandek a musical auteur who deconstructs his own skills to the point of unlistenability? Maybe. Is Jandek even the man we see on the record covers? Uncertain.

The Jandek Orgy proposes not to answer these questions definitively, but to provide listeners with 26 hours of the tools necessary to reach their own conclusions based on the evidence of the man’s entire creative output. Additionally, the 26 hours will feature music that includes the most atonal machinations forged in the intestines of some darkly profound and personal hell as well as the most spritely elegant and orphic footsteps ever trodden on some Elysian field. (Continues Tuesday and Wednesday at 10 pm.)

Born in Lydney, Gloucestershire, Herbert Howells (1892-1983) became one of England’s best-loved composers of the mid-20th century. Study under Herbert Brewer at Gloucester Cathedral quickly augmented his early interest in composition and allowed Howells to study under Hubert Parry, Charles Villiers Stanford, Charles Wood, and Walter Parratt at the Royal College of Music. His work reflects his training with these composers as well as the work of his close friends Ralph Vaughan Williams and Gerald Finzi. This orgy will showcase a significant selection of Howells’ published output, both secular and sacred, with particular attention to his sacred choral music and orchestral work. Though Howells proclaimed himself a man who "composed out of a sheer love of trying to make nice sounds," his oeuvre imparts far more to the listener than this simple sentiment.

Missa Sine Nomine (Mass in the Dorian Mode); Finzi Singers, Spicer (Chandos)

Piano Concerto No. 1 in C minor, Op. 4; Shelley, Hickox, BBC Symphony Orchestra (Chandos)

Even Such is Time; Finzi Singers, Spicer (Chandos)

Nunc dimittis; Finzi Singers, Spicer (Chandos)

The B’s, suite, Op. 13; London Symphony Orchestra, Hickox (Chandos)

Three Dances, Op. 7; Royal Liverpool Philharmonic Orchestra, Stewart, Handley (Hyperion)

Prelude No. 1 for harp; Perrett (ASV)

Anthems to the Blessed Virgin Mary, Op. 9: Regina coeli and Salve Regina; Finzi Singers, Spicer (Chandos)

Three Psalm-Preludes, Set 1, Op. 32: No. 1; Willcocks (Argo)

Three Psalm-Preludes, Set 2, Op. 32; Cleobury (Argo)

Elegy, Op. 15; Downes, Bradley, Eastwood, Cayzer, Jones, New Philharmonia Orchestra, Boult (HNH)

Sarum Sketches, Op. 6; Fingerhut (Chandos)

Rhapsody for Organ, Op. 17, No. 3; Kleinschmidt (Koch)

Haec Dies; Finzi Singers, Spicer (Chandos)

Here is the little door; Choir of King’s College, Cambridge, Willcocks (Argo)

Magnificat and Nunc Dimittis in G; Choir of Worcester Cathedral (Chandos)

Rhapsody for Organ, Op. 17, No. 3; Kleinschmidt (Koch)

Snapshots, Op. 30; Fingerhut (Chandos)

Procession, Op. 14, No. 1; Fingerhut (Chandos)

A Spotless Rose; Christophers, The Sixteen (Collins)

Rhapsody, Op. 14, No. 2; Fingerhut (Chandos)

Jackanapes, Op. 14, No. 3; Fingerhut (Chandos)

Merry Eye, Op. 20, No. 2; Boult, New Philharmonia Orchestra (HNH)

Sing Lullaby; The Sixteen, Christophers (Collins)

Blessed are the dead; Finzi Singers, Spicer (Chandos)

The Chosen Tune; Fingerhut (Chandos)

Gadabout; Fingerhut (Chandos)

Pastoral Rhapsody; London Symphony Orchestra, Hickox (Chandos)

Piano Concerto No. 2, Op. 39; Scott, Handley, Royal Liverpool Philharmonic Orchestra (Hyperion)

Paradise Rondel, Op. 40; London Symphony Orchestra, Hickox (Chandos)

Two Pieces: Slow Dance, Cobler’s Hornpipe; Fingerhut (Chandos)

In Green Ways, Op. 43: Under the greenwood tree, The goat paths, Merry Margaret, Wanderer’s night song, On the merry first of May; Dawson, Drake (Chandos)

Lambert’s Clavichord, Op. 41 (selections); Dyson (Wealdon Studios)

Michael (All my hope on God is founded); Choir of Worcester Cathedral (Chandos)

Requiem; Best, Corydon Singers (Hyperion)

Psalm 121; Choir of King’s College, Cambridge, Cleobury (Argo)

Psalm 122; Choir of King’s College, Cambridge, Cleobury (Argo)

Penguinski; Hickox, BBC Symphony Orchestra (Chandos)

O salutaris hostia; Spicer, Finzi Singers (Chandos)

String Quartet No. 3 "In Gloucestershire"; Divertimenti (Hyperion)

A Kent Yeoman’s Wooing Song; Rodgers, Ogston, BBC Symphony Chorus and Orchestra, Hickox (Chandos)

Pageantry, suite for brass band; Parkes, Black Dyke Mills Band (Chandos)

Fantasia; Baillie, Del Mar, BBC Scottish Symphony Orchestra (BBC Radio Classics)

Threnody, Welsh, London Symphony Orchestra, Hickox (Chandos)

Concerto for String Orchestra; Royal Liverpool Philharmonic Orchestra, Handley (Hyperion)

Continues tomorrow at 6 am.

Amours me fait desirer; Munrow, Early Music Consort of London (Virgin)

Amours qui a le pouoir/Faus Samblant/Vidi; Vellard, Ensemble Gilles Binchois (Cantus)

Bone pastor Guillerme/ Bone pastor; Ensemble Guillaume de Machaut de Paris (Ades)

Ce qui soustient moy, m’onneur et ma vie; Sanvoisin, Ars Antiqua de Paris (Musical Heritage Society LP)

Certes, mon oueil richement visa bel; Orlando Consort (Archiv Produktion)

Christe, qui lux/ Veni, creator/Tribulatio; Mora Vocis (Mandala/Harmonia Mundi)

Comment puet on miex ses maus dire; Binkley, Early Music Quartet (Electrola LP)

Comment qu’a moy lontienne; Cohen, Boston Camerata (Harmonia Mundi LP)

Dame je vueil endurer; Page, Gothic Voices (Hyperion)

Dame, a vous sans retollir; Cohen, Boston Camerata (Harmonia Mundi LP)

Dame, de qui toute ma joie vient; Sanvoisin, Ars Antiqua de Paris (Musical Heritage Society LP)

Dame, je sui cils/ Fins cuers dous; Page, Gothic Voices (Hyperion)

Dame, mon cuer en vous remaint; Ensemble Guillaume de Machaut de Paris (Ades)

Dame, ne regardez pas; Vellard, Ensemble Gilles Binchois (Cantus)

Dame, se vous m’estes lointeinne; Vellard, Ensemble Gilles Binchois (Cantus)

Dame, vostre dous viaire; Vellard, Ensemble Gilles Binchois (Cantus)

De bon Espoir/ Puis qu’en la douce/ Speravi (LP)

De Fortune me doi pleindre et loir; Orlando Consort (Archiv Produktion LP)

De toutes flours; Peres, Ensemble Organum (Harmonia Mundi)

Donnez, signeurs, donnez a toutes mains; Page, Gothic Voices (Hyperion)

Dou mal qui m’a longuement; Cohen, Boston Camerata (Harmonia Mundi LP)

Douce dame jolie; Hayes, Boardman (Vanguard LP)

Douce dame, tant com vivray; Sanvoisin, Ars Antiqua de Paris (Musical Heritage Society LP)

Douys amis, oy mon complaint; ( LP)

Dous viaire gracieus; Binkley, Early Music Quartet (Electrola LP)

En amer a douce vie; Ensemble Guillaume de Machaut de Paris (Ades)

Esperance qui m’asseure; Vellard, Ensemble Gilles Binchois (Cantus)

Felix virgo/ Inviolata genitrix/Ad te; Ensemble Guillaume de Machaut de Paris (Ades)

Fons totius superbie/O livoris/Fera; Binkley, Early Music Quartet (Electrola LP)

Gais et jolis, lies, chantans et joieus; Cohen, Boston Camerata (Harmonia Mundi LP)

He! Dame de valour; Orlando Consort (Archiv Produktion)

Hareu! Hareu! Helas ou sera Obediens; ( LP)

Honte paour, doubtance de meffaire; Peres, Ensemble Organum (Harmonia Mundi)

Hoquetus David; Munrow, Early Music Consort of London (Archiv Produktion)

J’aim sans penser laidure; Vellard, Ensemble Gilles Binchois (Cantus)

Je ne cuit pas qu’oncques a creature; Vellard, Ensemble Gilles Binchois (Cantus)

Je puis trop bien ma dame comparer; Orlando Consort (Archiv Produktion)

Je vivroie liement; Vellard, Ensemble Gilles Binchois (Cantus)

Joie, plaisance, et douce norriture; Vellard, Ensemble Gilles Binchois (Cantus)

La, firent mains divers acours; Vellard, Ensemble Gilles Binchois (Cantus)

Lasse! comment/Se j’aim/Pour quoi me bat; Munrow, Early Music Consort of London (Archiv Produktion LP)

Liement me deport; Orlando Consort (Archiv Produktion)

Long sont mi jour; Vellard, Ensemble Gilles Binchois (Cantus)

Loyaute, que point ne delay; Lebherz-Valentin, Isaak Ensemble Heidelberg (Bayer/Qualiton)

Ma chiere dame, a vous mon cuer envoy; Mitwirkende (Mirror Music LP)

Ma fin est mon commencement; Hillier, Hilliard Ensemble (Hyperion)

Matyrum gemma latria/Diligener/A Christo; Musica Mensurata (Berlin Classics)

Mes esperis se combat a nature; Sanvoisin, Ars Antiqua de Paris (Musical Heritage Society LP)

Mon cuer, ma suer; Vellard, Ensemble Gilles Binchois (Cantus)

Mors sui, se je ne vous voy; Orlando Consort (Archiv Produktion)

Moult sui de bonne heure nee; Binkley, Early Music Quartet (Electrola LP)

Ne qu’on porroit les estoiles nombrer; Vellard, Ensemble Gilles Binchois (Cantus)

Pas de tor en thies pais; Page, Gothic Voices (Hyperion)

Phyton, le mervilleus serpent; ( LP)

Plourez, dames, plourez vostre servant; Sanvoisin, Ars Antiqua de Paris (Musical Heritage Society LP)

Plus dure qu’un dyamant; Musica Intima (BIS LP)

Puis qu’en oubli sui de vous, dous amis; Vellard, Ensemble Gilles Binchois (Cantus)

Puis que ma dolour agree; Vellard, Ensemble Gilles Binchois (Cantus)

Quant Theseus/Ne quier veoir; Ensemble P.A.N. (New Albion)

Quant em moy/Amour et biaute parfait/Amara; Binkley, Early Music Quartet (Electrola LP)

Quant j’ay l’espart; ( LP)

Quant je ne voy ma dame n’oy; Page, Gothic Voices (Hyperion)

Quant je sui mis au retour; Hilliard Ensemble (Hyperion)

Qui des couleurs; Vellard, Ensemble Gilles Binchois (Cantus)

Qui es promesses de Fortune/Ha! Fortune/Et non est; Munrow, Early Music Consort of London (Archiv Produktion LP)

Qui n’aroit autre deport; Ensemble Guillaume de Machaut de Paris (Ades LP)

Riches d’amour et mendians d’amie; Page, Gothic Voices (Hyperion)

S’Amours ne fait par sa grace adoucir; Cohen, Boston Camerata (Harmonia Mundi LP)

Sans cuer, dolens de vous departiray; Sanvoisin, Ars Antiqua de Paris (Musical Heritage Society LP)

Se je souspir parfondement; ( LP)

Se ma dame m’a guerpi; ( LP)

Se mesdisans en acort; Page, Gothic Voices (Hyperion)

Se quanque amours puet donner a amy; Orlando Consort (Archiv Produktion LP)

Tant doucement/Eins que ma dame/Ruina; Orlando Consort (Archiv Produktion)

Tels rit au main qui a soir pleure; Ensemble Guillaume de Machaut de Paris (Ades)

Tres bonne et bele, me oeuil; Page, Gothic Voices (Hyperion)

Tres douce dame que j’aour; Vellard, Ensemble Gilles Binchois (Cantus)

Trop plus est bele/Biaute paree/Je ne sui; Page, Gothic Voices (Hyperion)

Tu qui gregem/Plange regni/Apprehende; Vellard, Ensemble Gilles Binchois (Cantus)

Tuit me penser; Sanvoisin, Ars Antiqua de Paris (Musical Heritage Society LP)

Une vipere en cuer ma dame meint; Orlando Consort (Archiv Produktion)

De que de porroit

Ne celle amour; Musica mensurata (Berlin Classics)

Ma tredol rosignol; Musica Mensurata (Berlin Classics)

Dilgenter Inquiramus/Jubentis terribilia; Mora Vocis (Mandala)

"Je, Guillaume"; Vellard, Ensemble Gilles Binchois (Cantus)

Rose, Liz; Sanvoisin, Ars Antiqua de Paris (Musical Heritage Society LP)

Le Lai de la Fonteinne; Hillier, Hilliard Ensemble (Hyperion)

Notre Dame Mass; Hillier, Hilliard Ensemble (Hyperion)

Saraband for the Morning of Easter; Jackson (Audiovision)

Like as the hart; Choir of King’s College, Cambridge, Cleobury (EMI)

Howells’ Clavichord (selections); Dyson (Wealdon Studios)

Sonata for oboe and piano; Francis, Dickinson (Helios)

God is gone up (Psalm xxxxvii); Lumsden, Finzi Singers, Spicer (Chandos)

Te Deum and Jubilate Deo (Collegium Regale); Choir of King’s College, Cambridge, Willcocks (Argo)

Magnificat and Nunc Dimittis (Collegium Regale); Choir of King’s College, Cambridge, Willcocks (Argo)

Magnificat and Nunc Dimittis (Gloucester); Gloucester Cathedral Choir, Sanders (Abbey)

Music for a Prince: Corydon’s Dance and Scherzo in Arden; New Philharmonia Orchestra, Boult (HNH)

Hymnus Paradisi; Rodgers, Johnson, Ogston, BBC Symphony Orchestra and Chorus, Hickox (Chandos)

Magnificat and Nunc Dimittis (St Paul’s); Choir of King’s College, Cambridge, Willcocks (Argo)

Behold O God, Our Defender (Psalm lxxxiv); Finzi Singers, Spicer (Chandos)

The House of the Mind (J. Beaumont); Finzi Singers, Spicer (Chandos)

Missa Sabrinensis; Watson, Jones, Hill, Maxwell, London Symphony Chorus and Orchestra, Rozhdestvensky (Chandos)

Office of Holy Communion (Collegium Regale); Choir of King’s College, Cambridge, Cleobury (Argo)

Magnificat and Nunc Dimittis (St Peter in Westminster), Westminster Abbey Choir, Neary (Sony)

Musica Sine Nomine; Fingerhut (Chandos)

Three Figures: Besses O` Th` Barn Band, Newsome (Chandos)

A Sequence for St Michael (Alcuin, trans. H. Waddell); Finzi Singers, Spicer (Chandos)

Take him, earth, for cherishing; Corydon Singers, Best (Hyperion)

Te Deum (Columbia University); Choir of St Thomas Church, Hancock (Argo)

Thee will I love (R. Bridges); Lumsden, Finzi Singers, Spicer (Chandos)

Epilogue; Jackson (Gamut)

Sonatina; Fingerhut (Chandos)

Come my soul; Spicer, Finzi Singers (Chandos)

Sweetest of sweets; Spicer, Finzi Singers (Chandos)

Antiphon; Spicer, Finzi Singers (Chandos)

Founded in 1881 by Henry Lee Higginson, the Boston Symphony Orchestra moved into its current home, Symphony Hall, in 1900. We will feature the principal chairs, past and present, of our great orchestra. The BSO has been led by many famous conductors, from Koussevitzky to Ozawa, Leinsdorf to future Music Director James Levine. However, many of the musicians in the orchestra have legendary reputations as well. We will sample the artistry of Harold Wright, Jules Eskin, Joseph Silverstein, and Malcolm Lowe, to name a few. Many of the performances will feature the BSO Chamber Players, a group founded in 1964 comprised of the principal players from every section. We end this BSO Principal Chair Orgy with Bartok’s Concerto for Orchestra, a work long associated with this orchestra and one which allows the ensemble to demonstrate why the BSO is considered one of America’s best orchestras.

Mozart: Clarinet Quintet in A, K. 581; Wright, Lowe, Park, Fine, Eskin (Philips)

Foote: Piano Trio No. 2 in B-flat, Op. 65; Silverstein, Eskin, V. Eskin (Northeastern)

Vivaldi: Violin Concerto in A; Burgin, Bodky, Cambridge Society for Early Music Ensemble (Unicorn LP)

Kirchner: Concerto for Violin, Cello, Ten Winds and Percussion; Lowe, Eskin, Kirchner, BSO Chamber Players (Nonesuch)

Stravinsky: Ragtime for Eleven Instruments; BSO Chamber Players (DG)

Schumann: Fantasy Pieces for Clarinet and Piano, Op. 73; Wright, Serkin (Boston)

Guy: Quintet; Dwyer, Gomberg, Cioffi, Stagliano, Walt (Boston Records LP)

Brahms: Clarinet Quintet in b, Op. 115; Wright, Lowe, Park, Fine, Eskin (Philips)

Strauss, J.: Roses from the South, Op. 388 (trans. by Schoenberg); BSO Chamber Players (DG)

Brahms: Clarinet Sonata No. 2 in E-flat; Wright, Serkin (Boston)

Britten: Serenade for Tenor, Horn, and Strings, Op. 31; Lloyd, Stagliano, Burgin, members of the BSO (Boston LP)

Kirchner: Music for Twelve; BSO Chamber Players (Nonesuch)

Schubert: The Shepherd on the Rock, D. 965; Valente, Wright, Serkin (Sony)

Foote: Three Pieces for Cello and Piano, Op. 1; Eskin, V. Eskin (Northeastern)

Stravinsky: Octet for Winds; BSO Chamber Players (DG)

Piston: Quintet; Dwyer, Gomberg, Cioffi, Stagliano, Walt (Boston LP)

Bartók: Violin Concerto No. 2; Silverstein, Leinsdorf, Boston Symphony Orchestra (RCA LP)

Strauss, J.: Emperor Waltz (trans. by Schoenberg); BSO Chamber Players (DG)

Schulhoff: Concertino for Flute, Viola, and Bass; Smith, Ludwig, Baker (Northeastern)

Colgrass: Variations for Four Drums and Viola; Epstein, Schotten (Crystal LP)

Strauss, J.: Wind, Women and Song, Op. 333 (trans. by Berg); BSO Chamber Players (DG)

Tchaikovsky: String Quartet No. 3 in e-flat, Op. 30 (fourth movement); Burgin, Panasevich, De Pasquale, Mayes (Boston LP)

Mozart: Sonata for Bassoon and Cello in B-flat (fourth movement); Walt, Mayes (Boston LP)

Loeffler: Two Rhapsodies for Oboe, Viola, and Piano; Genovese, Fine, Spano (Boston)

Kirchner: Trio for Violin, Cello, and Piano; Lowe, Eskin, Kirchner (Nonesuch)

Mozart: Piano Quintet in E-flat, K. 452; P. Serkin, Genovese, Wright, Sebring, Svoboda (Boston)

Bartók: Concerto for Orchestra; Ozawa, Boston Symphony Orchestra (Philips)

In 1902, a month and a hundred miles of Mississippi delta apart, Son House and Skip James were born. They turned into two of the most influential musicians of the Delta Blues movmeent: Son House, alongside his famous partners Charley Patton and Willie Brown, became hailed as the Father of the Delta Blues, and Skip James became the most famous Bentonia Blues musician in history. But after sparking on the blues scene in the 1930s, both musicians fell into obscurity. Luckily for blues enthusiasts, both Son House and Skip James influenced some of the most important modern bluesmen. Their music is a reminder of the power and the timelessness of the blues.

This orgy will explore the variety of approaches that have been taken to large scale jazz groups since the 1960s, surveying such groups as the Jazz Composers Orchestra of America, the Vienna Art Orchestra, and the Italian Instabile Ensemble.

We warm things up this winter with a trip to the south, dishing out a generous helping of thick and gritty, deep-fried and corn-fed Southern soul. Straight out of the Memphis Stax Recording Studios we bring you music from the legendary Otis Redding. Though his tragically short career (cut short by a plane crash at the peak of his popularity on December 10, 1967) will leave Redding fans forever wondering what might have been, we have the comfort of knowing through his records exactly what he was feeling while alive; for this man was able to communicate the pain in his heart or the glory of his love with directness and intensity.

Yet while struck by Otis’s vocal talents, let us not ignore his considerable songwriting abilities. From "These Arms of Mine" to "Dock of the Bay," many of his most memorable recordings were Otis Redding originals or collaborations with the help of Booker T and the MG’s or guitarist Steve Cropper. In his short life, his sound and style helped bring soul music to a much larger audience, paving the way for hugely popular soul performers such as Aretha Franklin and Sam and Dave. This orgy takes us chronogically through Redding’s entire output, from "Pain in My Heart" (1964) to the many posthumous releases.