When Sir Malcolm Arnold died this past September 23, just a month short of his 85th birthday, the world lost a composer of wit, whose wonderfully crafted works often brought pleasure and even a smile, always excepting the most serious of them (and some that seemed a bit facile). In this country, we know little of his output and must depend on recordings for them. This Orgy, while not a complete survey (omitting most of his film music and much else), gives us an overview of his writing, and in particular, traces the development of his symphonies, which grew in substance and took him into his darker, later years, when his deep melancholy (and overindulgence in alcohol) controlled more of his life. It was unfortunate that while the musical world enjoyed his brilliance and his delightful skill at orchestrating (in his younger days, he first trumpet of the London Philharmonic Orchestra and learned much sitting inside the orchestra), he himself went through periods of despair. This Orgy provides the chance to begin to comprehend his entire life in music.

Allegro for Piano (1937); Frith (Koch)

Three Piano Pieces (1937); Frith (Koch)

Trio for Flute, Viola, and Bassoon, Op. 6 (1942); Nash Ensemble (Hyperion)

Three Shanties for Wind Quintet, Op. 4 (1943); Nash Ensemble (Helios)

Romance, from Three Piano Pieces (1943); Frith (Koch)

Larch Trees, Op. 3 (1943); Stephenson, London Musici (Conifer)

Beckus the Dandipratt (1947); Arnold, London Philharmonic Orchestra (Reference Recordings)

Flute Sonatina, Op. 19 (1948); Nash Ensemble (Hyperion)

Clarinet Concerto No. 1, Op. 20 (1948); King, Wordsworth, English Chamber Orchestra (Hyperion)

Symphony No. 1, Op. 22 (1949); Hickox, London Symphony Orchestra (Chandos)

String Quartet No. 1, Op. 23 (1949); McCapra Quartet (Chandos)

English Dances, First Set, Op. 27 (1950); Thomson, Philharmonia Orchestra (Chandos)

Oboe Sonatina, Op. 28 (1951); Nash Ensemble (Hyperion)

Clarinet Sonatina, Op. 29 (1951); Nash Ensemble (Hyperion)

English Dances, Second Set, Op. 33 (1951); Thomson, Philharmonia Orchestra (Chandos)

A Sussex Overture (1951); Arnold, London Philharmoninc Orchestra (Reference Recordings)

Divertimento for Flute, Oboe, and Clarinet, Op. 37 (1952); Nash Ensemble (Helios)

Rhapsody for Orchestra, Op. 38 (1952, drawn from music for film The Sound Barrier); Alwyn, Royal Philharmonic Orchestra (ASV)

Oboe Concerto, Op. 39 (1952); Hunt, Del Mar, Bournemouth Sinfonietta (EMI)

Symphony No. 2, Op. 40 (1953); Handley, Royal Philharmonic Orchestra (Conifer)

Homage to the Queen (1953); Irving, Philharmonia Orchestra (RCA Victor LP)

Scherzetto for Clarinet and Orchestra, from the film You know what sailors are (arr. Palmer); King, Wordsworth, English Chamber Orchestra (Hyperion)

Flute Concerto No. 1, Op. 45 (1954); Adeney, Thomas, Bournemouth Sinfonietta (EMI)

Harmonica Concerto, Op. 46 (1954); Adler, Gould, Royal Philharmonic Orchestra (RCA Red Seal LP)

Tam O'Shanter, Overture, Op. 51 (1955); Gibson, Scottish National Orchestra (Chandos)

Horn Concerto No. 2, Op 58 (1956); Civil, Del Mar, Bournemouth Sinfonietta (EMI)

Sarabande and Polka from Solitaire (1956); Thomson, Philharmonia Orchestra (Chandos)

A Grand, Grand Overture, Op. 57; Arnold, Hoffnung (Morley College) Symphony Orchestra (EMI LP)

Symphony No. 3, Op. 63 (1957); Hickox, London Symphony Orchestra (Chandos)

Oboe Quartet, Op. 61 (1957); Nash Ensemble (Helios)

Four Scottish Dances, Op. 59 (1957); Thomson, Philharmonia Orchestra (Chandos)

H.R.H. The Duke of Cambridge, for military band, Op. 60 (1957); Junkin, Dallas Wind Symphony (Reference Recordings)

music for the film Bridge on the River Kwai; ()

The United Nations, excerpts (1958); Arnold, Royal Military School of Music Band, Hoffnung (Morley College) Symphony Orchestra (EMI LP)

Guitar Concerto, Op. 67 (1958-59; chamber version); Bream, Rattle, members of the City of Birmingham Symphony Orchestra (EMI)

Overseas, for military band, Op. 70 (1960); Junkin, Dallas Wind Symphony (Reference Recordings)

Symphony No. 4, Op. 71 (1960); Arnold, London Philharmonic Orchestra (Lyrita)

Carnival of Animals, Op. 72 (1960); Handley, Royal Philharmonic Orchestra (Conifer)

Quintet for Brass No. 1, Op. 73 (1961); Center City Brass Quintet (Chandos)

Symphony No. 5, Op. 74 (1961); Hickox, London Symphony Orchestra (Chandos)

Duo for Two Cellos, Op. 85 (1964); van Kampen, Welsh (Hyperion LP)

Little Suite for Brass Band No. 1, Op. 80 (1965); Junkin, Dallas Wind Symphony (Reference Recordings)

Fantasy for Bassoon, Op. 86 (1966); Wightman (Hyperion)

Fantasy for Clarinet, Op. 87 (1966); Collins (Hyperion)

Fantasy for Horn, Op. 88 (1966); Pigneguy (Hyperion)

Fantasy for Flute, Op. 89 (1966); Pearce (Hyperion)

Fantasy for Oboe, Op. 90 (1966); Hulse (Hyperion)

Four Cornish Dances, Op. 91 (1966); Thomson, Philharmonia Orchestra (Chandos)

Severn Bridge Variation (1966); van Steen, BBC Symphony Orchestra (NMC)

The Padstow Lifeboat, Op. 94 (1967); Junkin, Dallas Wind Symphony (Reference Recordings)

Symphony No. 6, Op. 95 (1967); Penny, National Symphony Orchestra of Ireland (Naxos)

Concerto for Two Pianos (Three Hands), Op. 104 (1969); Sellick, Smith, Arnold, City of Birmingham Symphony Orchestra (EMI)

Fanfare for Louis [Armstrong] (1970); Junkin, Dallas Wind Symphony (Reference Recordings)

Symphony No. 7, Op. 113 (1973); Handley, Royal Philharmonic Orchestra (Conifer)

Clarinet Concerto No. 2, Op. 115 (1974); King, Wordsworth, English Chamber Orchestra (Hyperion)

String Quartet No. 3, Op. 118 (1975); McCapra Quartet (Chandos)

Symphony No. 8, Op. 124 (1978); Penny, National Symphony Orchestra of Ireland (Naxos)

Symphony for Brass Instruments, Op. 123 (1979); Snell. Philip Jones Brass Ensemble (Decca)

Four Irish Dances, Op. 126 (1986); Thomson, Philharmonia Orchestra (Chandos)

Three Fantasies for Piano, Op. 129 (1986); Frith (Koch)

Fantasy for Cello, Op. 130 (1987); Pearson (Naxos)

Sir Malcolm in conversation with Andrew Penny; (Naxos)

Symphony No. 9, Op. 128 (1992); Handley, Bournemouth Symphony Orchestra (Conifer)

One of America's most commissioned and performed composers, John Adams (b. 1947) offers a distinctive musical palette combining minimalism with an eclectic range of additional influences. A New England native and Harvard graduate, Adams' contribution to the American musical landscape has been significant, particularly through his orchestral compositions and the opera Nixon in China (1987), considered one of the most original and influential operas of recent decades. We explore John Adams' soundworld in a substantial survey celebrating 60 years of this modern American original.

Christian Zeal and Activity (1973); de Waart, San Francisco Symphony Orchestra (Nonesuch)

Phrygian Gates, for piano (1977); Oppens (Music and Arts)

China Gates, for piano (1977); Cheng-Cochran (Telarc)

Shaker Loops (original version for string septet, 1978); Ridge Quartet, Smiley, Judiyaba, Lowendusky (New Albion)

Common Tones in Simple Time (1979); de Waart, San Francisco Symphony Orchestra (Nonesuch)

Harmonium, for chorus and large orchestra (1980-81); de Waart, San Francisco Symphony Orchestra and Chorus (ECM)

Grand Pianola Music (1982); Alley, Sutherland, Adams, London Sinfonietta (Nonesuch)

Shaker Loops (version for string orchestra, 1983); Adams, Orchestra of St. Luke’s (Nonesuch)

Light Over Water, symphony for brass and two-channel tape (1983); Adams, Miller, Watson, Kingelhofer, McCarty, Kenley, Kenelly, Spellman (New Albion)

Harmonielehre (1984-85); Rattle, City of Birmingham Symphony Orchestra (EMI)

The Chairmen Dances (Foxtrot for Orchestra) (1985); de Waart, San Francisco Symphony Orchestra (Nonesuch)

The perennial Warhorse Orgy is WHRB Classical’s guilty pleasure orgy. Against our better instincts, we offer you hours of the most familiar repertoire in the history of classical music.  As always, we’ll go out with a bang with Tchaikovsky’s 1812 Overture!

Copland: Fanfare for the Common Man; Bernstein, New York Philharmonic Orchestra (Sony)

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

Rimsky-Korsakov: Sheherazade, Op. 35; Gergiev, Kirov Orchestra (Philips)

Gershwin: Rhapsody in Blue; Ohlsson, Thomas, San Francisco Symphony Orchestra (RCA Victor)

Bach: Suite for Cello Solo No. 1 in G, S. 1007; Ma (Sony)

Bernstein: West Side Story Symphonic Dances; Bernstein, New York Philharmonic Orchestra (Sony)

Debussy: Prélude à l’après-midi d’un faune; Boulez, Cleveland Orchestra (DG)

Mendelssohn: Incidental Music to A Midsummer Night’s Dream, Overture, Op. 21; Szell, Cleveland Orchestra (CDS)

Ravel: Bolero; Boulez, Berlin Philharmonic Orchestra (DG)

Tchaikovsky: Romeo and Juliet, Fantasy Overture after Shakespeare; Bernstein, New York Philharmonic Orchestra (DG)

Mozart: Serenade No. 13 in G, K. 525, "Eine kleine Nachtmusik"; Reiner, Chicago Symphony Orchestra (RCA Victor)

Schumann: Piano Concerto in a, Op. 54; Andsnes, Jansons, Bergen Philharmonic Orchestra (EMI)

Respighi: Pines of Rome (1924); Karajan, Berlin Philharmonic Orchestra (DG)

Chopin: Etudes, Op. 10, Nos. 4; 12, and 3, Op. 25, Nos. 10-12; Ohlsson (Arabesque)

Beethoven: Concerto for Violin and Orchestra in D, Op. 61; Szigeti, Walter, New York Philharmonic Orchestra (Sony)

Elgar: Concerto for Cello and Orchestra in e, Op. 85; Harrison, Elgar, New Symphony Orchestra (EMI)

Stravinsky: The Firebird, Suite; Bernstein, New York Philharmonic Orchestra (CBS)

Waxman: Carmen Fantasy for Violin and Orchestra; Heifetz, Voorhees, RCA Victor Symphony (RCA)

Schubert: Piano Quintet in A, D. 667, "Trout"; Ax, Frank, Young, Ma, Meyer (Sony)

Kreisler: Liebesleid, for Violin and Piano; Perlman, Sanders (EMI)

Dvorak: Carnival Overture, Op. 92; Järvi, Scottish National Orchestra (Chandos)

Tchaikovsky: 1812 Overture; Dorati, Minneapolis Symphony Orchestra, University of Minnesota Brass Band (Mercury)

Because of certain modifications since the Guide went to press, too late to make detailed changes, the time divisions of this Orgy may be off by an amount. We apologize for any discrepancy.

The cello sonata entered the 20th century with Claude Debussy’s 1915 Sonata in g, written three years before his death. Other influential works would soon follow: Shostakovich’s Op. 40 in 1934, Barber’s Op. 6 in 1938. This orgy considers the continuance of the cello sonata’s evolution after World War II to recent years, beginning with Elliott Carter’s 1948 Cello Sonata. Time divisions are only approximate.

Carter: Cello Sonata; Rider, Shapiro (Centaur)

Rawsthorne: Cello Sonata; Lloyd Weber, McCabe (ASV)

Hindemith: Cello Sonata No. 2; Warner, Buck (Bridge)

Poulenc: Cello Sonata; N. Fischer, J.K. Fischer (Northeastern)

Henze: Serenade for Solo Cello; Boettcher (Nimbus)

Finney: Cello Sonata in C; Jelinek, Gurt (CRI)

Prokofiev: Cello Sonata in C; Wispelwey, Lazic (Chandos)

Ibert: Ghirlardanza; Boettcher (Nimbus)

Martinu: Cello Sonata No. 3; Dieltiens, Groslot (Accent)

Ligeti: Sonata for Solo Cello; Haimovitz (DG)

Benejam: Cello Sonata in A; Martinez, Attanelle (ASV)

Brown: Music for Cello and Piano; von Albrecht, Olbrich (New World)

Crumb: Sonata for Solo Cello; Haimovitz (DG)

Gerhard: Cello Sonata; Cole, Lissimore (MSV)

Finney: Chromatic Fantasy for Solo Cello; Jelinek (CRI)

Mayazumi: Bunraku; Yang (Arts Music)

Khudoyan: Sonata for Solo Cello No. 1; Bagratuni (Ongaku)

Britten: Cello Sonata in C; Rostropovich, Britten (London)

Sallinen: Elegy for Sebastian Night; Helmerson (BIS)

Britten: Suite No. 1; Rostropovich (London)

Xenakis: Nomos alpha; Palm (DG)

Veress: Sonata for Solo Cello; Queyras (Harmonia Mundi)

Britten: Suite No. 2; Rostropovich (London)

Zimmermann: Intercomunicazione; Palm (DG)

Penderecki: Capriccio for Sigfried Palm; Palm (DG)

Yun: Glissees; Palm (DG)

Zimmermann: Four short Studies; Palm (DG)

Kagel: Unguis incarnates est; Palm (DG)

Rochberg: Ricordanza; Fischer, Rochberg (CRI)

Britten: Suite No. 3; Baille (Etcetera)

Britten: Tema ‘Sacher’; Haimovitz (DG)

Ginastera: Puneña No. 2; Rostropovich (ECM)

Lutoslawski: ‘Sacher’ Variations; Demenga (ECM)

Dutilleux: Trois Strophes Sur Nom de Sacher; Haimovitz (DG)

Berio: Les mots sant, allés…; Haimovitz (DG)

Schnittke: Cello Sonata No. 1; Wallfisch, York (Black Box)

Yannatos: Sonata for Solo Cello; Babcock (Albany)

Rorem: After reading Shakespeare; Slavich (Crystal)

Pärt: Fratres; Barta, Lapsansky (Supraphon)

Khudoyan: Sonata for Solo Cello No. 2; Bagratuni (Ongaku)

Henze: Capriccio; Haimovitz (DG)

Kurtag: Three Pieces for Solo Cello; Queyras (Harmonia Mundi)

Sallinen: Cello Sonata Op. 26; Noras, Kamu (Finlandia)

Bolcom: Cello Sonata; Slavich, Rybak (Crystal)

Tavener: Thrinos; Isserlis (Virgin)

Wilson: Lord Chesterfield to his Son; Shao (Albany)

Harbison: Suite; Haimovitz (DG)

Khudoyan: Sonata for Solo Cello No. 3; Bagratuni (Ongaku)

Penderecki: Divertimento; Pergamenschikov (Schott)

Schnittke: Cello Sonata No. 2; Ivashkin, Schnittke (Chandos)

Wilson: Motivations; Shao, Wilson (Albany)

Music is ever-changing, and only rarely do we see a definitive moment in its transformation. The 1964gy will take a cross section of music during a period when the shape of much music changed forever. During the 1964gy we will see how the juggernaut of jazz succumbed to the young rock and roll movement and how jazz splintered into the myriad subgenres we know today.

(Continued from January 3.)

Tromba lontana, fanfare for orchestra (1985); Rattle, City of Birmingham Symphony Orchestra (EMI)

Short Ride in a Fast Machine (1986); de Waart, San Francisco Symphony Orchestra (Nonesuch)

Fearful Symmetries (1988); Adams, Orchestra of St. Luke’s (Nonesuch)

The Wound-Dresser, for baritone and orchestra (1989); Sylvan, Adams, Orchestra of St. Luke’s (Nonesuch)

Eros Piano (1989); Crossley, Adams, Orchestra of St. Luke’s (Nonesuch)

The Black Gondola (orch. of Liszt’s "La lugubre gondola") (1989); Adams, London Sinfonietta (Nonesuch)

Songs (5) of Charles Ives (orch. Adams) (1989-93); Upshaw, Adams, Orchestra of St. Luke’s (Nonesuch)

El Dorado (1991); Nagano, Hallé Orchestra (Nonesuch)

Chamber Symphony (1992); Adams, London Sinfonietta (Nonesuch)

Violin Concerto (1993); Kremer, Nagano, London Symphony Orchestra (Nonesuch)

Hoodoo Zephyr (1993); Adams (Nonesuch)

John’s Book of Alleged Dances, selections (1994); Kronos Quartet (Nonesuch)

Road Movies, for violin and piano (1995); Josefowicz, Novacek (Nonesuch)

Hallelujah Junction for Piano Duo (1996); Hodges, Hind (Nonesuch)

Century Rolls, for piano and orchestra (1996); Ax, Dohnányi, Cleveland Orchestra (Nonesuch)

Gnarly Buttons, for clarinet and small orchestra (1996); Collins, Adams, London Sinfonietta (Nonesuch)

Naïve and Sentimental Music (1998-99); Salonen, Los Angeles Philharmonic Orchestra (Nonesuch)

El Niño, A Nativity Oratorio (2000); Lieberson, Upshaw, White, Nagano, Deutsches Symphonie Orchester Berlin, Theatre of Voices, London Voices (Nonesuch)

The Dharma at Big Sur (2003); Silverman, Adams, BBC Symphony Orchestra (Nonesuch)

My Father Knew Charles Ives (2003); Adams, BBC Symphony Orchestra (Nonesuch)

On the Transmigration of Souls (2002); Maazel, New York Choral Artists, Brooklyn Youth Chorus, New York Philharmonic Orchestra (Nonesuch)

Harvard at Rensselaer

Frank Sinatra was the pivotal figure of popular music in the 20th Century. Tonight we present extraordinarily diverse music spanning nearly 50 years from the man who got deeper into the heart of the Great American Songbook than any other performer who ever lived. From before World War II until after Gulf War I, Sinatra sang the best of Rodgers and Hart, the Gershwins, Irving Berlin, Cole Porter, Stephen Sondheim, the Beatles, and many others, and made their music his own. Working with Duke Ellington, Count Basie, Nelson Riddle, Antonio Carlos Jobim, Bono of U2, and an array of other exceptional artists, Sinatra transcended generations and emerged a timeless classic.

Bellini: I Puritani; Anna Netrebko, Eric Cutler, Franco Vassallo, John Relyea, Patrick Summers conducting.

Harvard at Union.

Amelia Fletcher, initially relevant as the leader of Oxford twee machine Talulah Gosh, has been producing heartbreaking, empowering pop music for some twenty years. Taking cues from Scotland’s Pastels and the fertile British "C86" scene, Fletcher has gone on to front Heavenly, Marine Research, and Tender Trap, along the way collaborating with the likes of Calvin Johnson, David Gedge and the Wedding Present, the Pooh Sticks, and many more. She is now a top-flight economist by day, but her musical influence is felt on both sides of the Atlantic by girls and boys who never really grew up, or at least never wanted to.

Preacher: The Reverend Peter J. Gomes, Plummer Professor of Christian Morals and
Pusey Minister in The Memorial Church. Music includes Jonathan Dove’s "The Three Kings" and Berlioz’s "The Shepherds’ Farewell."

Jazz trumpeter Tomasz Stanko is one of the most important musical voices to emerge from Europe in the last half-century. Born in Rzeszow, Poland in 1942, Stanko grew up under the strict cultural confines of the Iron Curtain, where jazz embodied a spirit of freedom and radicalism wholly foreign to the political atmosphere of the day. In his partnerships with pianist Adam Makowicz and legendary film-score composer Krzysztof Komeda, Stanko revolutionized the European music scene of the 1960s by introducing Ornette Coleman-inspired free jazz. Stanko’s eponymous Quintet, active from 1968 to 1973, broke new ground in a tribute to Komeda entitled Music for K. He continued to produce first-rate work in the 70s and 80s, collaborating with artists such as Gary Peacock, Chico Freeman, and Jack DeJohnette. With a second brilliant tribute to Komeda in 1997’s Litania, Stanko entered his most fertile creative years and currently maintains his status as Poland’s greatest living musician. In this orgy we trace Stanko’s artistic development from his days with Makowicz and Komeda to his most recent releases of 2006.

Back in hip-hop’s golden age youth, there was one rapper who vowed to stay in the game for years to come.  Def Jam signed Kangol-wearing teenage sensation LL Cool J to a 13 album deal under the direction of super producer Rick Rubin. Now more than 2 decades later, we are coming to the end of the contract – eleven platinum and one gold album later.  With his final album of the contract set to come out in early 2007, we celebrate the longevity of his career in an industry where few last longer than a hit summer single.

The leading composer of the later fifteenth century, Ockeghem has only a handful of masses and motets that survives to the present time. Prolific during his own lifetime, he is best known today for his love of the voice’s lowest ranges. This orgy will explore all of his works that survive today as well as a number of works written in his tribute.

Missa L’homme armé; Capella Alamire (MHS)

Baisiés moy dont fort; Medieval Ensemble of London (Oiseau-Lyre)

Il ne m’en chault; Medieval Ensemble of London (Oiseau-Lyre)

J’en ay dueil; Medieval Ensemble of London (Oiseau-Lyre)

Se vostre cuer eslongne; Medieval Ensemble of London (Oiseau-Lyre)

Missa Sine Nomine I (à 3); Schola Discantus (Lyrichord)

D’un autre amer; Romanesque (Ricercar)

Malheur me bat; Romanesque (Ricercar)

Missa Caput; Clerk’s Group (ASV)

L’autre d’antan; Chansonnier Cordiforme (Oiseau-Lyre LP)

Missa Cuiusvis toni; Schola Cantorum (Bayer)

Deo gratia; Huelgas Ensemble (Sony)

D’un autre amer; Romanesque (Ricercar)

Missa De plus en plus; Orlando Consort (Archiv)

Intemerata Dei Mater; Pomerium (Archiv)

Aultre Venus estés; Orlando Consort (Archiv)

Missa Ecce ancilla Domini; Clerk’s Group (ASV)

Fors seulement; Romanesque (Ricercar)

Missa Fors seulement; Capella Alamire (Dorian)

Au travail suis; Pomerium (Nonesuch LP)

Missa Au travail suis; Pomerium (Nonesuch LP)

Credo "de village" (sine nomine); Clerk’s Group (ASV)

S’elle m’amera / Petite camusette; Orlando Consort (Archiv)

Tant fuz gentement; Orlando Consort (Archiv)

Ma maistresse; Clerk’s Group (ASV)

Missa Ma maistresse; Clerk’s Group (ASV)

Les desléaulx ont la saison; Medieval Ensemble of London (Oiseau-Lyre)

Alma Redemptoris Mater; Monteverdi Choir (Teldec LP)

Presque transi; Medieval Ensemble of London (Oiseau-Lyre)

Missa Mi-mi (aka Quarti Toni); Kurrende der Peterskirche Leipzig (Berlin Classics)

Salve Regina I; Hilliard Ensmble (EMI)

Missa Prolationum; Hilliard Ensmble (EMI)

Ma bouche rit; Prague Madrigal (Telefunken LP)

Prenez sur moi vostre exemple; Prague Madrigal (Telefunken LP)

Ave Maria; Pomerium (Nonesuch LP)

Missa Sine Nomine II (à 5); Capella Alamire (Dorian)

Missa Quinti toni; Schola Discantus (Oiseau-Lyre)

Mort, tu as navré (Déploration); Ensemble Clément Janequin (Harmonia Mundi)

Requiem/Missa Pro Defunctis; Organum Choir (Harmonia Mundi)

David Oistrakh was a unique figure in violin history.  In the words of Yehudi Menhuin, he "married" two styles of playing that had emerged at the beginning of the 20th century: the technical wizard and the emotive fiddler.  His pearly sound has been admired by violinists for years, and it was for him that many of the premiere violin concertos of the 20th century were written.

Brahms: Concerto in D, Op. 77; Kondrashin, Moscow Philharmonic Orchestra (RCA Red Seal)

Mendelssohn: Concerto in e, Op. 64; Kondrashin, USSR State Symphony Orchestra (Brilliant Classics)

Beethoven: Concerto in D, Op. 61; Rozhdestvensky, USSR State Symphony Orchestra (Brilliant Classics)

Bruch: Scottish Fantasy, Op. 46; Rozhdestvensky, USSR State Symphony Orchestra (Brilliant Classics)

Sibelius: Concerto in d, Op. 47; Rozhdestvensky, Moscow Philharmonic Orchestra (Brilliant Classics)

Tchaikovsky: Concerto in D, Op. 35; Ormandy, Philadelphia Orchestra (Sony )

Prokofiev: Concerto No. 2 in g, Op. 63; Galliera, Philharmonia Orchestra (EMI LP)

Kabalevsky: Concerto in C, Op. 48; Eliasberg, USSR State Radio Orchestra (Brilliant Classics)

Taneyev: Suite de Concert, Op. 28; Sanderling, USSR State Symphony Orchestra (Brilliant Classics)

Prokofiev: Concerto No. 1 in D, Op. 19; Kondrashin, Moscow Philharmonic Orchestra (Brilliant Classics)

Myakovsky: Concerto in d, Op. 44; Gauk, USSR State Radio Orchestra (Brilliant Classics)

Shostakovich: Concerto in a, Op. 77; Mravinsky, Leningrad Philharmonic Orchestra (Brilliant Classics)

Shostakovich: Concerto in c-sharp, Op. 129; Svetlanov, USSR State Symphony Orchestra (BBC)

Bartok: Concerto No. 1, Sz. 36; Rozhdestvensky, USSR State Symphony Orchestra (Brilliant Classics)

Szymanowski: Concerto No. 1, Op. 35; Sanderling, USSR State Symphony Orchestra (Brilliant Classics)

Hindemith: Violin Concerto; Rozhdestvensky, USSR State Symphony Orchestra (Brilliant Classics)

Mozart: Concerto No. 1 in B-flat, K. 207; Kondrashin, Moscow Philharmonic Orchestra (RCA Red Seal)

Mozart: Rondo in F, Op. 50; Rozhdestvensky, Moscow Philharmonic Orchestra (RCA Red Seal)

Beethoven: Rondo in G, Op. 40; Rozhdestvensky, Moscow Philharmonic Orchestra (RCA Red Seal)

Beethoven: Romance No. 1 in G; Rozhdestvensky, Moscow Philharmonic Orchestra (Brilliant Classics)

Beethoven: Romance No. 2 in F; Rozhdestvensky, Moscow Philharmonic Orchestra (Brilliant Classics)

Chausson: Poème, Op. 25; Kondrashin, USSR State Symphony Orchestra (Brilliant Classics)

Tchaikovsky: Sérénade mélancolique, Op. 26; Kondrashin, USSR State Symphony Orchestra (Melodiya)

Ysaÿe: Amitié, Op. 26; Sargent, London Philharmonic Orchestra (BBC)

Hip-hop as we know it started in the bowels of New York City, where DJs like Grandmaster Flash hosted large block parties with the popular funk music of the time.  The concept of the MC came towards the end of the 70s as "Rapper’s Delight" became a hit and Kurtis Blow released his self-titled first album. There were "golden ages" in 1988 and 1994, paving the way for mainstream acceptance. Starting at infancy with funk and soul precursors, and ending with the sounds of today, enjoy the condensed evolution of one of today’s most popular genres.

There are a lot of reasons to record a tribute album for a musician, but probably the best is that he just writes great heads. This may explain why there are so many tributes to the pianist Thelonious Monk. "‘Round Midnight", "Well You Needn’t", "Straight No Chaser", "In Walked Bud", and "Bemsha Swing," to name a few, are songs that remain tremendously popular in all forms of jazz, even today. We survey a cross-section of jazz genres through the lens of Monk Tribute albums, including classical jazz of the Kronos Quartet, electric jazz of Thelonious Moog, free jazz of Anthony Braxton, and modern jazz of Paul Motian, plus tributes by the all-star group Sphere, Steve Lacy, Tete Montoliu, and Sonny Fortune.

Ravel: Piano Trio in a; Oistrakh, Knushevitsky, Oborin (Monitor LP)

Chopin: Piano Trio in g , Op. 8; Oistrakh, Knushevitsky, Oborin (Monitor LP)

Smetana: Piano Trio in g, Op. 15; Oistrakh, Knushevitsky, Oborin (Monitor LP)

Bach: Sonata No. 6 in G; Oistrakh, Yampolsky (Monitor LP)

Hindemith: Sonata in E-flat, Op. 11, No. 1; Oistrakh, Yampolsky (Monitor LP)

Ysaÿe: Sonata for Violin Solo No. 3 in d, Op. 27, No. 3; Oistrakh (Philips LP)

Beethoven: Violin Sonata No. 5 in F, Op. 24, "Spring"; Oistrakh, Oborin (Dover LP)

Schubert: Violin Sonata in A, Op. 162, No. 1, D. 574; Oistrakh, Oborin (Dover LP)

Bartók: Violin Sonata No. 1; Oistrakh, Richter (CBS/Melodiya LP)

Franck: Violin Sonata in A; Oistrakh, Richter (Mobile Fidelity)

Mahler: Symphony No. 4 in G; Vishnevskaya, Oistrakh (cond.), Moscow Philharmonic Orchestra (Yedang Classics)

In 1997, Jan St. Werner and Andi Toma of fabled German electronica duo Mouse on Mars decided to start their own label, to tug "at the orders between digital (dsp) & analogue technology, electro-acoustic experimentation and improvisation," and to promote "dissent and differentiation" (as their website says). The resulting 60-odd releases on Cologne-based Sonig have run the gamut from Mouse on Mars’ own blend of organic sounds and digital rhythms, noisy IDM outfits like Ae and Niobe, to glitched-out MOM side projects Lithops and Microstoria, Belin-based mash-up savant Jason Forrest, and many other artists pushing the boundaries of electronic music.

Deemed by Rachmaninov the greatest pianist of an era of great pianists, Josef Hofmann (1876-1957) combined one of history’s staggering technical mechanisms — his leggiero touch and double-technique remain unsurpassed — with an astonishing dynamic range and an improvisatory, brilliantly re-creative spontaneity. Despite his nineteenth-century pianistic pedigree, however, Hofmann practiced a fidelity to the score that helped inaugurate the modern era of piano-playing. And yet his live recordings bear witness to a massive talent not always allied to the best of musical taste, as the lure of showmanship can often transform Hofmann from the immaculate virtuoso of the studio recordings into a seeker of thrills. Live or in the studio, however, Hofmann was a seismic force and one of the supreme individualists of pianistic history. No lover of the instrument can ignore his art.

Our Hofmann tribute is framed by two legendary live performances: we begin with the Casimir Hall Recital, April 7, 1938, and conclude with the Golden Jubilee Concert of November 28, 1937. Between these bravura displays we present a survey of Hofmann’s solo and concerted performances, recorded from 1903-1945, including both Chopin concerti and the Beethoven Fourth and Fifth concerti.

Casimir Hall Recital, April 7, 1938 (Marston)

Chopin Concerto No. 1 in e, Op. 11; unknown orchestra (VAI)

Chopin Concerto No. 2 in f, Op. 21; unknown orchestra (VAI)

Beethoven: Piano Concerto No. 4 in G, Op. 58; Barbirolli, New York Philharmonic Orchestra (Marston)

Beethoven: Piano Concerto No. 5 in E-flat, Op. 73; Lange, Chicago Symphony Orchestra (Marston)

Golden Jubilee Concerto, November 28, 1937 (VAI)

Jim Pepper was a Muskogee Creek and Kaw American Indian saxophone player, and is credited with the first real fusion of tribal music with jazz and rock. Along with his own four albums as a bandleader, he was an integral member of several ensembles led by some of the premiere musicians in the free jazz movement, such as Ornette Coleman and Don Cherry. He was one of the most prominent Native American jazz musicians, and his heritage is uniquely manifested in his music, which ranges from free jazz, to rock, to traditional Creek and Kaw tribal songs. His most popular album is entitled "Pepper’s Powwow," and that album not only set the tone for the rest of his career, but marked the first recording of his most popular song, "Witchi Tai To." Pepper has had a profound and lasting effect on the jazz world, and this orgy will be a tribute to his memory and his substantial contribution to the jazz world.

Tan Dun: The First Emperor: Elizabeth Futral, Michelle DeYoung, Paul Groves, Plácido Domingo, Hao Jiang Tian, Wu Hsing-Kuo, Tan Dun conducting.

The Meridian Arts Ensemble is a traditional brass quintet with a twist. They’ve got a percussionist and they don’t always stick to conventional repertoire. In past years, they have toured in 49 states and all around the world. They play the music of Frank Zappa, J.S. Bach, Milton Babbitt, Elliot Carter, Jimi Hendrix, and Ladysmith Black Mambazo, as well as their own arrangements of Renaissance, Baroque, Afro-Cuban, and South American folk music. It’s hard to define their genre and style, because they don’t seem to be confined to one. As comfortable with Bach as Babbitt and as improvisatory as Thelonius Monk, these six musicians have been breaking musical barriers since they day they formed. We bring you a variety of selections of the Meridian Arts Ensemble’s recordings and give you a taste of unbridled talent, enthusiasm, and creativity.

Over the past decade, Japan’s Corrupted cut a wide swath through the international heavy music underground with a series of devastating albums and EPs. Their leaden and brutal sound resonates with fans of hardcore punk, underground doom metal, and experimental music alike. Ever mysterious, Corrupted refuses all interviews and professional photography. They prefer to present their music and art without extraneous comment. In this spirit, this orgy will focus primarily on over nine hours of Corrupted’s recorded material with minimal commentary. We will also feature the flip sides of Corrupted’s split releases including songs by Grief, Noothgrush, Phobia, Discordance Axis, and more.

Preacher: The Reverend Javier Viera, Minister for Outreach and Development, Christ Church, New York, New York. Music includes "I Believe This Is Jesus" by Undine Smith Moore and "We Shall Walk Through the Valley in Peace" by Hogan.

When 2006 began, the Republicans were in power, Pluto was a planet, and fresh spinach was safe to eat. Obviously, a lot has changed. Join WHRB’s News Department for a thematic review of the news of 2006, featuring everything from the year’s most bizarre political developments to the worst celebrity behavior, with analysis from our staff and some of the best minds at Harvard – and, of course, to look back nostalgically on another strange and beautiful year.

Called by many as simply the Maestro, Arturo Toscanini (1867-1957) was truly one of the most influential musical figures of our era, the greatest among greats. In his lifetime, he had already become a legend; his vibrant voice continues to influence people today, musicians and non-musicians alike. Yet with the passage of time, there have also grown misconceptions – his fast tempo and rhythmic inflexibility, his dogged faithfulness to the score – that a brief survey of his recorded legacy quickly dispels. Despite his often driven performances that sometimes push the musicians to their technical (and at times musical) limits, what emerges is a picture of a conductor with a remarkable passion for the music and an innate sense that could transform some of the most plain looking scores into a dynamic experience. Even his notorious fury and temper, when heard in the context of some of his more extended rehearsals, reveals that these were hardly the tantrums of a ruthless autocrat, but a quite touching portrait of a man whose love of music meant urging his musicians beyond their best efforts – and from this there are moments of beauty that defy any description.

It is difficult to imagine that the Toscanini recordings we have today represent only a portion of an illustrious career that included his participation as a cellist in the world premiere of Verdi’s Otello, as well as the conductor in the premieres of numerous works such as Puccini’s La Bohème and Turandot, Leoncavallo’s Pagliacci, and many others (including Barber’s Adagio for Strings!). In this sense, almost any survey of his recordings can only be incomplete. Nonethless, what he did leave behind for those of us today (hardly insubstantial, rivaling most conductors born in the recorded era) contains numerous performances by which today’s recordings are judged, and rightfully so. Celebrating the 140th anniversary of his birth, and commemorating the 50th year since his death, on January 16, 1957, we present this tribute to the Maestro.

Verdi: La traviata: Prelude to Act I; New York Philharmonic Orchestra (1929, Pearl)

Mendelssohn: Incidental Music to A Midsummer Night's Dream, Op. 61: Scherzo; New York Philharmonic Orchestra (1929, Pearl)

Haydn: Symphony No. 101 in D, "The Clock"; New York Philharmonic Orchestra (1929, Pearl)

Wagner: Parsifal, Prelude to Act I and Good Friday Spell; BBC Symphony Orchestra (1935, EMI)

Brahms: Symphony No. 4 in e, Op. 98 ; BBC Symphony Orchestra (1935, EMI)

Rossini: Semiramide, Overture; New York Philharmonic Orchestra (1936, Pearl)

Wagner: Siegfried Idyll; New York Philharmonic Orchestra (1936, Pearl)

Beethoven: Egmont, Op.84: Overture; NBC Symphony Orchestra (1939, Naxos)

Beethoven: Symphony No. 5 in c, Op. 67; NBC Symphony Orchestra (1939, Relief)

Paganini (arr. Toscanini): Moto perpetuo, Op. 11; NBC Symphony Orchestra (1939, RCA)

Strauss: Salome, Op. 54, Dance of the Seven Veils; NBC Symphony Orchestra (1939, RCA)

Berlioz: Harold in Italy, Op. 16; Primrose, NBC Symphony Orchestra (1939, Music and Arts)

Mozart: Symphony No. 41 in C, K. 551; NBC Symphony Orchestra (1940, Music and Arts)

(Full broadcast from 6 May 1940; Naxos)

Brahms: Serenade No. 1 in D, Op. 11: 1. Allegro molto; NBC Symphony Orchestra Brahms: Piano Concerto No. 2 in B-flat, Op. 83; NBC Symphony Orchestra

Brahms: Symphony No. 1 in c, Op. 68; NBC Symphony Orchestra

Stravinsky: Petrushka: Tableaux I, IV; NBC Symphony Orchestra (1940, RCA)

Sibelius: Symphony No. 2 in D, Op. 43; NBC Symphony Orchestra (1940, Naxos)

Sibelius: Pohjola's Daughter, Op. 49; NBC Symphony Orchestra (1940, Naxos)

Beethoven: Symphony No. 9 in d, Op. 125; Bovy, Thorborg, Peerce, Pinza, NBC Symphony Orchestra (1938, Music and Arts)

Continuing WHRB’s Celtic Music in Celtic Languages Series (see http://www.blackirish.net/CMtCLP/), we now turn to the music of Brittany and the language of Breton (Brezhoneg). Music will range from traditional songs and ballads to modern fusions of traditional songs and contemporary beats and sounds.

Prokofiev: Symphony No. 1 in D, Op. 25; NBC Symphony Orchestra (1951, RCA)

Gershwin: An American in Paris; NBC Symphony Orchestra (1945, RCA)

Dukas: The Sorcerer's Apprentice; NBC Symphony Orchestra (1950, RCA)

Respighi: Roman Festival; NBC Symphony Orchestra (1949, RCA)

Cherubini: Symphony in D; NBC Symphony Orchestra (1952, RCA)

Haydn: Symphony No. 98 in B-flat; NBC Symphony Orchestra (1945, RCA)

Rossini: William Tell, Overture; NBC Symphony Orchestra (1952, Testament)

Beethoven: Symphony No. 1 in C, Op. 21; NBC Symphony Orchestra (1951, RCA)

Mozart: Bassoon Concerto in B-flat, K. 191 (cadenzas by Toscanini); Sharrow, NBC Symphony Orchestra (1947, RCA)

Schumann: Symphony No. 2 in C, Op. 61; NBC Symphony Orchestra (1941, Testament)

Strauss: Ein Heldenleben, Op. 40; NBC Symphony Orchestra (1941, Hunt)

Barber: Adagio for Strings, Op. 11; NBC Symphony Orchestra (1942, RCA)

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

Sibelius: The Swan of Tuonela, Op. 22 No. 3; NBC Symphony Orchestra (1944, RCA)

Wagner: The Flying Dutchman, Overture; NBC Symphony Orchestra (1946, Testament)

Wagner: Die Walküre, Act I Scene 3; Traubel, Melchior, NBC Symphony Orchestra (1941, RCA)

Debussy: Images: Iberia; NBC Symphony Orchestra (1950, RCA)

Beethoven: Symphony No. 6 in F, Op. 68; NBC Symphony Orchestra (1952, RCA)

Smetana: Má Vlast: The Moldau (Vltava); NBC Symphony Orchestra (1950, RCA)

Respighi: Fountains of Rome; NBC Symphony Orchestra (1951, RCA)

Brahms: Symphony No. 2 in D, Op. 73; NBC Symphony Orchestra (1952, RCA)

Puccini: La Bohème; Albanese, Peerce, Valentino, McKnight, Moscona, Cehanovsky, Baccaloni, NBC Symphony Orchestra (1946, RCA)

including Toscanini’s earliest, acoustical recordings.

Strauss: Till Eulenspiegels lustige Streiche, Op. 28; NBC Symphony Orchestra (1952, RCA)

Sibelius: Finlandia, Op. 26; NBC Symphony Orchestra (1952, RCA)

Brahms: Symphony No. 3 in F, Op. 90; Philharmonia Orchestra (1952, Testament)

Wagner: Tannhäuser, Prelude to Act III; NBC Symphony Orchestra (1953, Testament)

including excerpts from the rehearsals for the 1946 broadcast of La traviata.

Verdi: Otello; Vinay, Nelli, Valdengo, Assandri, Chabay, Moscona, Newman, Merrima, NBC Symphony Orchestra and Chorus (1947, RCA)

Respighi: Pines of Rome; NBC Symphony Orchestra (1953, RCA)

Tchaikovsky: Romeo and Juliet; NBC Symphony Orchestra (1953, Music and Arts)

Mendelssohn: Symphony No. 4 in A, Op. 90; NBC Symphony Orchestra (1954, RCA)

Verdi: Messa da Requiem; Milanov, Castagna, Bjorling, Moscona, Westminster Choir, NBC Symphony Orchestra (1940, Music and Arts)

If you’ve listened to jazz in the last half-century, you’ve listened to Ron Carter. This brilliant bassist, composer, and bandleader has been in the vanguard of jazz innovation since his 1960s recordings with Miles Davis’s Second Great Quintet. Ever in demand as a collaborator and sideman, Carter has performed on hundreds of albums with Lee Morgan, Andrew Hill, Joe Henderson, and many others. Celebrating his 70th birthday this year, Carter has remained an unceasing innovator, recording both within the traditional jazz idiom and with artists as far-flung as the hip-hop collective A Tribe Called Quest and French rapper MC Solaar. We will feature an eclectic and diverse selection of music with only one thing in common: the steady pulse, irresistible swing, and inimitable style of the great Ron Carter.

Beethoven: Leonore Overture No. 3, Op. 72; NBC Symphony Orchestra (1939, RCA)

Beethoven: Symphony No. 3 in E flat, Op. 55; NBC Symphony Orchestra (1939, RCA or Naxos)

Brahms: Variations on a Theme of Haydn, Op. 56a; New York Philharmonic Orchestra (1936, Pearl)

Dvorak: Symphony No. 9 in e, Op. 95; NBC Symphony Orchestra (1953, RCA)

Berlioz: Romeo and Juliet, Op. 17; Swarthout, Garris, Moscona, NBC Symphony Orchestra and Chorus (1947, RCA)

Brahms: Tragic Overture, Op. 81; BBC Symphony Orchestra (1937, Biddulph)

Mendelssohn: Symphony No. 5 in d, Op. 107; NBC Symphony Orchestra (1953, RCA)

Schubert: Symphony No. 9 in C, D. 944; Philadelphia Orchestra (1941, RCA)

Verdi: Rigoletto, Act III; Warren, Milanov, Peerce, Merriman, Moscona, NBC Symphony Orchestra (1945, RCA)

Mussorgsky (orch. Ravel): Pictures at an Exhibition; NBC Symphony Orchestra (1953, RCA)

Elgar: Enigma Variations, Op. 36; BBC Symphony Orchestra (1935, EMI)

Verdi: Falstaff; Valdengo, Nelli, Merriman, Elmo, Guarrera, Stich-Randall, Madasi, Carelli, Rossi, Scott, Robert Shaw Chorale, NBC Symphony Orchestra (1950, RCA)

Debussy: La Mer; BBC Symphony Orchestra (1935, EMI)

Beethoven: Symphony No. 7 in A, Op. 92; New York Philharmonic Orchestra (1936, Pearl)

Strauss: Death and Transfiguration, Op. 24; NBC Symphony Orchestra (1952, RCA)

Beethoven: Missa Solemnis in D, Op. 123; Milanov, Castagna, Bjorling, Kipnis, Westminster Choir, NBC Symphony Orchestra (1940, Music and Arts)

The evolution of the Blues has a storied history in the post-war US, with contrasting styles emerging in different regions of the country as the traditional practitioners of the Blues began a great migration to new cities and regions. Chicago, in particular, as the destination for many of these migrants, benefited from this trend, and it was not long before the Blues scene in Chicago became perhaps the center of Blues music. Chicago Blues has contributed as much to modern Blues (and, indeed, to Rock & Roll) as any other style, and the history of the Blues in the Windy City is a long one. The Chicago Blues first emerged as a distinct entity with what is now known as "South Side" Blues, while "West Side" Blues was a product of the late 1960s. We showcase three of the West Side Blues’s most renowned artists: Buddy Guy, Otis Rush, and Magic Sam.

The Midwest has been often overlooked by the more expansive, historical, and rapidly growing music scenes on the coasts. While many cities are changing this trend between the coasts, St. Louis has maintained a very strong local scene, gradually gaining recognition from more prominent artists in experimental genres of music, in particular, noise. This scene may seem insignificant in comparison to noise strongholds such as Providence, Boston, or New York, but it has retained a sincerity and a thorough DIY ethic rarely perceived in the larger coastal cities. We bring you some of the immense talent located in the noise scene in St. Louis, hoping to increase awareness of one thriving, tight-knit, creative local scene that fosters a sense of community nearly impossible in larger, more anonymous locations.

For the last twenty-five years, Touch and Go Records has been a pinnacle of punk rock ethics. Of course, they wouldn’t still be around if the music were not great. Over the years, they have been the home of such varied notables as Big Black, the Ex, Pinback, Slint, Blonde Redhead, and !!!. We celebrate their quarter-century.

The Voice of the Century? The claim has been made for a number of singers, but for beauty of sound alone, no voice rivals that of Jussi Björling, the barrel-chested, heavy-drinking Swede who had the richest and most characteristic timbre in recorded history. (No contestant on the Met’s Opera Quiz has ever failed to identify Björling’s voice.) Yet there’s so much more to this singer than mere vocal beauty. Although some critics have accused him of lacking both "temperament" and dramatic identification with his roles, Björling was a superb vocal dramatist, albeit one whose characterization operated at a more subtle level than that of his great forebear, Caruso. Modern listeners are fortunate, indeed, that despite Björling’s untimely death, his vocal prime coincided with important advances in recording technology, first in the 30’s, and then in the 50’s. Björling thus left posterity with a remarkable series of recordings that serve as living documents to his astonishing stylistic range – and, of course, to the supreme beauty of sound that, nearly 50 years after his death, brings us to tears.

Verdi: Aida; Milanov, Barbieri, Warren, Christoff, Clabassi, Carlin, Rizzoli, Molinari-Pradelli, Rome Opera Orchestra and Chorus (RCA).

1930’s-1940’s: Björling in the studio

Jussi Björling live and in song

Leoncavallo: Pagliacci; de los Angeles, Warren, Merrill, Franke, Cellini, Robert Shaw Chorale, RCA Victor Symphony Orchestra (EMI).

Mascagni: Cavalleria Rusticana; Tebaldi, Bastianini, Erede, Chorus and Orchestra of the Maggio Musicale Fiorentino (London).

Björling and co: legendary duets

Puccini: La Boheme; de los Angeles, Merrill, Amara, Reardon, Tozzi, Corena, Beecham, RCA Victor Orchestra (EMI).

Donizetti: Lucia di Lammermoor; Maria Callas, Giuseppe Campora, Enzo Sordello, Nicola Moscona, James McCracken, Fausto Cleva conducting (archive performance, December 8, 1956).

WHRB Sports presents the 2006 Sports Orgy, including a recap of the 2006 Harvard Football season, the best of Harvard Crimson Sportstalk, and never-before-heard interviews and features covering the world of Harvard Sports.

The insanely popular Three 6 Mafia is the leader in the burgeoning "Crunk" movement, a style of rapping that has brought the South to the forefront of hip-hop. Juicy J, DJ Paul, and Crunchy Black, who rhyme about life in the ghettoes of Tennessee, have sold millions of records and dominated airwaves in cities and in suburbs across America. The first rappers ever to win an Academy Award (for the song "It’s Hard Out Here For a Pimp," featured in the critically acclaimed film, Hustle and Flow), Three 6 Mafia is breaking new ground for the genre of hip-hop and shaping the city of Memphis as a force to be reckoned with in American music.

Preacher: The Reverend Peter J. Gomes, Plummer Professor of Christian Morals and Pusey Minister in The Memorial Church. Music includes "Prayer of St. Theresa" by Conte and "A Repeating Allelui" by Hampton.

When Jean Sibelius (1865-1957) died 50 years ago, his name was still admired, revered even, although performance of his music had begun to wane. At his height, he was often called the greatest symphonist of the twentieth century. In the latter part of the century, as a generation of conductors passed from the scene, so did his works from orchestral repertory. A handful still showed interest and insight, notably Herbert von Karajan and Colin Davis, and in recent years interest has begun to widen again. Now it is possible to present virtually his complete output, and we do so over the course of four days.

Master of dark colors and flashing lights, of noble melodies, of ebb and flow, Sibelius wrote music like that of no other. In his lifetime he was a hero to his nation, his major birthdays national events, in part because he was able to tap into Finland’s legendary past in his subjects, and in part because he was able to translate current patriotic Finnish sentiment into stirring music.

Today, we appreciate him for his balance of modernity and tradition, for his rich textures, and for his often deeply inspired writing. This rare opportunity to hear his output chronologically (with a few works a bit out of strict order for listening convenience), to experience his development, may give some insight into the near-complete cessation of composition in the last three decades of his life. Perhaps seven symphonies were enough; Sibelius evidently thought so, destroying his eighth. What he did leave for us is the expression of a strong, individual, and ultimately compelling voice.

At the conclusion of the Orgy, we will hear some of Sibelius’s music conducted by men who understood and championed him during his lifetime. And don’t miss the only recording of Sibelius himself conducting, which we have placed in the chronology (see 1938).

Vattendroppar (Water Drops) for Violin and Cello (1875-76); Arai, Kimanen (Ondine)

Violin Sonata in a (1883-84); Kuusisto, Gräsbeck (BIS)

Andantino in C for Cello and Piano (1884); Thedéen, Gräsbeck (BIS)

Piano Quartet in d (1884); Gräsbeck, Kuusisto, S. Vänskä, Turunen (BIS)

Andante grazioso in D for Violin and Piano (1884-85); Kuusisto, Gräsbeck (BIS)

String Quartet in E-flat (1885); Sibelius Academy Quartet (Finlandia)

Sonata Movement in D for Violin and Piano (1885); Kuusisto, Gräsbeck (BIS)

Ljunga Wirginia, "opera" to a (lost) libretto, Quartet for Violin, Cello, and Piano four hands (1885; last movement completed by Kalevi Aho); Kuusisto, Turunen, Gräsbeck, Lönnqvist (BIS)

nine short pieces for violin and piano (1886-87); Kuusisto, Gräsbeck (BIS)

Scherzo in e for Violin, Cello, and Piano four hands (1887); Kuusisto, Turunen, Gräsbeck, Lönnqvist (BIS)

Andante molto in f for Cello and Piano (1887); Thedéen, Gräsbeck (BIS)

Theme and Variations for Cello and Piano (1887); Thedéen, Gräsbeck (BIS)

Scherzino in F, Andante elegiaco in f-sharp, Andante cantabile in G, Sonata exposition in b for Violin and Piano (1887); Kuusisto, Gräsbeck (BIS)

Till trånaden (To Longing) for Piano (1887); Tawaststjerna (BIS)

Andante cantabile for Piano and Harmonium (1887); Gräsbeck, Viitanen (BIS)

Quartet in g for Violin, Cello, Piano, and Harmonium (1887); Kuusisto, Turunen, Gräsbeck, Viitanen (BIS)

Suite (also called Sonata) in d for Violin and Piano; Kuusisto, Gräsbeck (BIS)

Song, "En visa" (1888); von Otter, Forsberg (BIS)

Serenade (1888); von Otter, Forsberg (BIS)

Piano Trio in C, "Loviisa" (1888); Arai, Kimanen, Lagerspetz (Ondine)

Two Pieces for Violin and Piano, Op. 2 (1888); Sparf, Forsberg (BIS)

Fugue for Martin Wegelius (1888); Jean Sibelius Quartet (Ondine)

Ensam i dunkla skogarnas famn (Alone in the Dark Forest’s Clasp) (1888); Riska, Jubilate Choir (Ondine)

Tempo di valse in f-sharp for Cello and Piano, "Lulu Waltz" (1889); Thedéen, Gräsbeck (BIS)

Piano Quintet in g (1889); Goldstone, Gabrielli String Quartet (Chandos)

Suite in A for String Trio (1889); Söderblom, Angervo, Gustafsson (Ondine)

String Quartet in a (1889); Sibelius Academy Quartet (Finlandia)

Two Chorales (1889); Vänskä, Dominante Choir, Lahti Symphony Orchestra (BIS)

Violin Sonata in F (1889); Kovacic, Lagerspetz (Ondine)

Allegro for Brass Septet (1889); Saraste, Finnish Brass Ensemble (Marquis)

Suite in E for Violin and Piano (1889); Kuusisto, Kerppo (Ondine)

Song, "Skogsrået" (The Wood Nymph) (1889); von Otter, Forsberg (BIS)

Song, "Likhet" (Resemblance) (1890); von Otter, Forsberg (BIS)

String Quartet in B-flat, Op. 4 (1890); Sibelius Academy Quartet (Finlandia)

Adagio in d for String Quartet (1890); Jean Sibelius Quartet (Ondine)

Overture in E (1891); Vänskä, Lahti Symphony Orchestra (BIS)

Ballettikohtaus (Ballet Scene) (1891); Vänskä, Lahti Symphony Orchestra (BIS)

Petite Suite for Brass Septet (1891); Saraste, Finnish Brass Ensemble (Marquis)

Overture in f for Brass Ensemble (1891); Saraste, Finnish Brass Ensemble (Marquis)

Quartet in c for Piano, Two Violins and Cello (1891); Kuusisto,S. Vänskä, Turunen, Gräsbeck (BIS)

Duo in C for Violin and Viola (1891); Arai, Hirvikangas (Ondine)

Presto in D from Op. 4 String Quartet, arr. for string orchestra (1892); Tuomela, Folkwang Chamber Orchestra of Essen (Koch Schwann)

Kullervo, Op. 7 (1892); Saarinen, Hynninen, Berglund, Helsinki University Male Choir, State Academic Male Choir of the Estonian S.S.R., Helsinki Philharmonic Orchestra (EMI)

Seven Songs of Runeberg, Op. 13 (1892); Hynninen, Gothóni (Finlandia)

En Saga, Op. 9 (1892, original version); Vänska, Lahti Symphony Orchestra (BIS)

Six Impromptus for Piano, Op. 5 (1890-93); Heinonen (Finlandia)

Incidental Music for Karelia (1893) (several sections reconstructed and/or completed by Kalevi Aho; four movements later combined as Suite, Op. 11); Laitinen, Hoffren, Laukka, Vänskä, Lahti Symphony Orchestra (BIS)

Rakastava (Beloved), Op. 14 ; Groop, Kotilainen, Riska, Jubilate Choir (Ondine)

Rakastava Suite, Op. 14 (1893); Gibson, Scottish National Orchestra (Chandos)

Piano Sonata in F, Op. 12 (1893); Heinonen (Finlandia)

Venematka (The Journey by Boat) (1893, in 1904 choral arrangement); Riska, Jubilate Choir (Ondine)

String Trio in g (while Sibelius remembered this as 1885, recent scholars say 1893 or 1894); Söderblom, Angervo, Gustafsson (Ondine)

Vårsang (Spring Song), Op. 16 (1894); Järvi, Gothenburg Symphony Orchestra (DG)

Cantata for the Helsinki University Degree Conferment Ceremony (Promotion Cantata) of 1894; Juntunen, Hostikka, Vänskä, Dominante Choir, Lahti Symphony Orchestra (BIS)

Laulu Lemminkäiselle (Song for Lemminkäinen), Op. 31, No. 1 (1894); Klas, Finnish National Opera Chorus and Orchestra (Ondine)

Lemminkäis-sara (Lemminkäinen Suite), Op. 22 (Lemminkäinen and the Maidens of Saari, The Swan of Tuonela, Lenninkäinen in Tuonela, Lemminkäinen’s Return (1894); Ormandy, Philadelphia Orchestra (Angel)

Skogsrået (The Wood Nymph) for Piano, Two Horns, and Strings, Op. 15, melodrama version with narrator (1894); Pöysti, Vänskä, Lahti Symphony Orchestra (BIS)

Skogsrået (The Wood Nymph), Op. 15, tone poem version for orchestra (1894); Vänskä, Lahti Symphony Orchestra (BIS)

Cassazione, Op. 6 (1895); Ollila, Tapiola Sinfonietta (Ondine)

Five Christmas Songs, Op. 1 (1-3, 1895; 4, 1909; 5, 1901; publ. 1913); Groop, Derwinger (BIS)

Serenade for Baritone and Orchestra (1895); Hynninen, Panula, Gothenburg Symphony Orchestra (BIS)

Saarella palaa (Fire on the Island) (1895); Riska, Jubilate Choir (Ondine)

Min rastas raataa (Where the Thrush Toils) (1896); Riska, Jubilate Choir (Ondine)

Jungfrau I tornet (The Maiden in the Tower), one-act opera (1896); Häggander, Hagegård, Hynninen, Kruse, Järvi, Gothenburg Concert Hall Choir, Gothenburg Concert Hall Choir, Gothenburg Symphony Orchestra (BIS)

Natus in curas, Op. 21 (1896); Hyökki, Helsinki University Chorus (Finlandia)

Aamusumussa (In the Morning Mist) (1896); Riska, Jubilate Choir (Ondine)

Työkansan marssi (The March of the Laborers) (1896); Riska, Jubilate Choir (Ondine)

Coronation Cantata (1896, in honor of the coronation of Czar Nicholas II); Segerstam, Finnish Philharmonic Choir, Helsinki Philharmonic Orchestra (Ondine)

Juhlamarssi (Festive March), derived from the finale of the Cantata for the Helsinki University Ceremonies of 1894; Riska, Jubilate Choir (Ondine)

Ten Songs derived (in 1899) from the Promotion Cantata for the Helsinki University Ceremonies of 1897; Groop, Kotilainen, Riska, Jubilate Choir (Ondine)

Koskenlaskijan morsiamet (Forsfararens brudar) (The Rapid-Shooter’s Brides), Op. 33 (1897); Hynninen, Panula, Gothenburg Symphony Orchestra (BIS)

Seven Songs, Op. 17 (1895-1900); von Otter, Forsberg (BIS)

Incidental Music for Kunnigas Kristian II (King Christian II), Op. 27 (1898); Laukka, Vänskä, Lahti Symphony Orchestra (BIS)

Tiera for Brass and Percussion (1898); Järvi, Gothenburg Symphony Orchestra (BIS)

Sandels, Op. 28 (1898); Järvi, Laulun Ystävät Male Choir, Gothenburg Symphony Orchestra (BIS)

Sortunut ääni (The Voice now Stilled) (1898); Riska, Jubilate Choir (Ondine)

Sydämeni laulu (Glade of Tuoni) (1898, in 1914 choral arrangement); Riska, Jubilate Choir (Ondine)

Islossning i Uleå älv, Op.30 (1899) (The Breaking of the Ice on the Oulu River); Pöysti, Vänskä, Helsinki University Chorus, Lahti Symphony Orchestra (BIS)

Scènes historiques I, Op. 25 (1899); Järvi, Gothenburg Symphony Orchestra (BIS)

Preludio for Winds and Brass (1899); Järvi, Gothenburg Symphony Orchestra (BIS)

Atenarnes sång (Song of the Athenians), Op. 31, No. 3 (1899); Järvi, Laulun Ystävät Male Choir, Gothenburg Symphony Orchestra (BIS)

Song, "Segelfahrt" (Sailing run) (1899); Krause, Gage (Argo LP)

Song, "Souda, souda, sinisorsa" (Swim, duck, swim) (1899); Krause, Gage (Argo LP)

Six Songs, Op. 36 (1899); von Otter, Forsberg (BIS)

Press Pension Celebrations; Vänskä, Lahti Symphony Orchestra (BIS)

Symphony No. 1 in e, Op. 39 (1899); Davis, Boston Symphony Orchestra (Philips)

Finlandia, Op. 26 (1899, revised 1900); Karajan, Berlin Philharmonic Orchestra (DG)

Snöfrid, Op. 29, for Reciter, Chorus, and Orchestra (1900); Ekblad, Vänska, Jubilate Choir, Lahti Symphony Orchestra (BIS)

Hymn to Thais (1900); Krause, Gage (Argo LP)

Kavaljeren (The Cavalier) for Piano (1900); Tawaststjerna (BIS)

Malinconia for Cello and Piano, Op. 20 (1901); Schiff, Leonskaya (Philips)

Impromptu for Female Voices and Orchestra, Op. 19 (original version, 1902); Vänskä, Dominante Choir, Lahti Symphony Orchestra (BIS)

Overture in a; Vänskä, Lahti Symphony Orchestra (BIS)

Tulen synty (The Origin of Fire), Op. 32 (1902); Hynninen, Berglund, Helsinki University Male Choir, State Academic Male Choir of the Estonian S.S.R., Helsinki Philharmonic Orchestra (EMI)

Five Songs, Op. 37 (1902); von Otter, Forsberg (BIS)

Til Thérèse Hahl (To Thérèse Hahl) (1902); Riska, Jubilate Choir (Ondine)

Den 25 Oktober 1902; Riska, Jubilate Choir (Ondine)

Symphony No. 2 in D, Op. 43 (1902); Kamu, Berlin Philharmonic Orchestra (DG)

En Saga, Op. 9 (1902 revised version of 1892 original); Järvi, Gothenburg Symphony Orchestra (DG)

Romance in C for String Orchestra, Op. 42 (1903); Järvi, Gothenburg Symphony Orchestra (BIS)

Incidental Music to Kuolema, Op. 44 (1903) (original theater version); Laukka, Tiihonen, Vänskä, Lahti Symphony Orchestra (BIS)

Valse triste, Op. 44, No. 1 (opening music for Kuolema, revised and rescored for concert); Karajan, Berlin Philharmonic Orchestra (DG)

Violin Concerto in d (1903 version); Kavakos, Vänskä, Lahti Symphony Orchestra (BIS)

Six Finnish Folksongs, transcribed for piano (1903); Tawaststjerna (BIS)

Incidental Music for Pelléas et Mélisande, Op. 46 (complete, with original scoring) (1905); Jakobsson, Vänskä, Lahti Symphony Orchestra (BIS)

Violin Concerto in d (1905 final version); Mutter, Previn, Staatskapelle Dresden (DG)

Ten Pieces for Piano, Op. 24 (1895-1903); Heinonen (Finlandia)

Five Songs, Op. 38; Krause, Gage (Argo LP)

Five Songs, Op. 38: No. 3, "I Natten" (In the Night) and No. 1, "Höstkväll" (Autumn Evening), orchestrated versions (1903 and 1904); Hakala (No. 3), Juntunen (No. 1), Vänskä, Lahti Symphony Orchestra (BIS)

Nine Partsongs, Op. 18: Nos. 1-6 (1904); Hyökki, Helsinki University Chorus (Finlandia)

Har du mod? (Have you courage?), Op. 31, No. 2 (1904); Järvi, Laulun Ystävät Male Choir, Gothenburg Symphony Orchestra (BIS)

Veljeni vierailla mailla (My Brothers Abroad) (1904); Hyökki, Helsinki University Chorus (Finlandia)

Kyllikki, Three Lyric Pieces for Piano, Op. 41 (1904); Tawaststjerna (BIS)

Dance Intermezzo for Orchestra, Op. 45, No. 2 (1904, rev. 1907); Järvi, Gothenburg Symphony Orchestra (BIS)

Ej med klagan (Not With Laments) (1905); Riska, Jubilate Choir (Ondine)

The Captive Queen, Op. 48; Vänskä, Dominante Choir, Lahti Symphony Orchestra (BIS)

Pohjolan tytär (Pohjola’s Daughter), Op. 49 (1906); Bernstein, New York Philharmonic Orchestra (Sony)

Six Songs, Op. 50 (1906); Hynninen, Gothóni (Finlandia)

Incidental Music to Belshazzar’s Feast, Op. 51 (1906); Paasikivi, Vänskä, Lahti Symphony Orchestra (BIS)

Incidental Music to Belshazzar’s Feast, Op. 51, portions transcribed for piano by Sibelius (1906); Tawaststjerna (BIS)

Pan and Echo, Op. 53 (1906); Järvi, Gothenburg Symphony Orchestra (BIS)

Song, "Erloschen" (Extinct) (1906); Söderström, Ashkenazy (Argo LP)

Grefvinnans konterfej (The Countess’s Portrait) (1906); Vänskä, Lahti Symphony Orchestra (BIS)

Scene with Cranes (fashioned from music for Kuolema) (1906); Järvi, Gothenburg Symphony Orchestra (DG)

Symphony No. 3 in C, Op. 52 (1907); Davis, London Symphony Orchestra (RCA Victor)

Öinen ratsastus ja auringonnousu (Night Ride and Sunrise), Op. 55 (1907); Järvi, Gothenburg Symphony Orchestra (DG)

Two Songs, Op. 35; Söderström, Ashkenazy; Krause, Gage (Argo LP)

Incidental Music to Svanevit (Swanwhite), Op. 54 (1908); Vänskä, Lahti Symphony Orchestra (BIS)

Incidental Music to Oedlan (The Lizard), Op. 8 (1909); Kauppinen, Tuomela, Folkwang Chamber Orchestra of Essen (Koch Schwann)

Eight Songs, Op. 57 (1909); Hynninen, Gothóni (Finlandia)

String Quartet in d, Op. 56, "Voces Intimae" (1909); Melos Quartet (Harmonia Mundi)

Eight Songs, Op. 61 (1909) (or 1910???); Krause, Gage (1-7); Söderström, Ashkenazy (8) (Argo LP)

Ten Pieces for Piano, Op. 58 (1909); Mustonen (Ondine)

In Memoriam (Funeral March), Op. 59 (1909); Almila, Kuopio Symphony Orchestra (Finlandia)

Twelfth Night, Two Songs from Shakespeare, Op. 60 (1909); Krause, Bonell (Argo LP)

Twelfth Night, Two Songs from Shakespeare, Op. 60 (1909), No. 1, "Kom nu hit, Död" (Come away, death), orchestral version; Hynninen, Panula, Gothenburg Symphony Orchestra (BIS)

Christmas Song, Giv mig ej glans, ej guld, ej prakt (We Ask for Nothing Rich or Rare) (1909); Riska, Jubilate Choir (Ondine)

Dryadi (The Dryad), Op 45, No. 1 (1910); Järvi, Gothenburg Symphony Orchestra (BIS)

Luonnotar, Op. 70 (1910); Söderström, Ashkenazy, Philharmonia Orchestra (London)

Impromptu for Female Voices and Orchestra, Op. 19 (significantly revised version, 1910); Vänskä, Dominante Choir, Lahti Symphony Orchestra (BIS)

Die Sprache der Vögel (The Language of the Birds), wedding march for play (1911); Järvi, Gothenburg Symphony Orchestra (BIS)

Arioso, Op. 3 (1911; originally thought to be 1890’s); Mattila, Orano, City of Birmingham Symphony Orchestra (Warner Classics)

Symphony No. 4 in a, Op. 63 (1911); Karajan, Berlin Philharmonic Orchestra (DG)

Two Pieces for Violin and Piano, Op. 2 (see original, 1888; revised 1911); Sparf, Forsberg (BIS)

Canzonetta, Op. 62a (1911); Järvi, Gothenburg Symphony Orchestra (DG)

Valse romantique, Op. 62b (1911); Järvi, Gothenburg Symphony Orchestra (DG)

Hertig Magnus (Duke Magnus) for Soprano and Orchestra, Op. 57, No. 6 (orig. 1909, orch. 1912); Juntunen, Vänskä, Lahti Symphony Orchestra (BIS)

Scènes historiques II, Suite, Op. 66; Gibson, Scottish National Orchestra (Chandos)

Drömmarna (Dreams) (1912); Riska, Jubilate Choir (Ondine)

Uusmaalaisten laulu (The Song of the Men of Uusimaa) (1912); Riska, Jubilate Choir (Ondine)

Three Sonatinas for Piano, Op. 67 (1912); Gould (Columbia LP)

Two Rondinos for Piano, Op. 68 (1912); Mustonen (Ondine)

Män från slatten och havet (Men from Plain and Sea) (1912); Riska, Jubilate Choir (Ondine)

Bell Melody of Berghäll Church, Op. 65b (Sibelius’s transcription for piano of his choral piece); Tawaststjerna (BIS)

Two Serenades for Violin and Orchestra, Op. 69 (1913); Kang, Järvi, Gothenburg Symphony Orchestra (BIS)

Barden (The Bard), Op. 64; Järvi, Gothenburg Symphony Orchestra (DG)

Scaramouche, music for tragic pantomime, Op. 71 (1913); Järvi, Gothenburg Symphony Orchestra (BIS)

Scaramouche, music for tragic pantomime, Op. 71, portions transcribed for piano by Sibelius (1913); Tawaststjerna (BIS)

Spagnuolo, for piano (1913); Tawaststjerna (BIS)

Arioso, Op. 3 (1911, piano version 1913); von Otter, Forsberg (BIS)

Aalottaret (The Oceanides), Op. 73 (1914); Beecham, Royal Philharmonic Orchestra (EMI)

Pensées lyriques for Piano, Op. 40 (1914); Tawaststjerna (BIS)

Four Lyric Pieces for Piano, Op. 74; Tawaststjerna (BIS)

Five Pieces for Piano, Op. 75, "The Trees" (1914); Heinonen (Finlandia)

Thirteen Pieces for Piano, Op. 76 (1914); Mustonen (Ondine)

Two Pieces for Violin and Orchestra, Op. 77 (1914); Holmes, Handley, Berlin Radio Symphony Orchestra (Koch Schwann)

Six Songs, Op. 72 (1915), Nos. 3-6 (Nos. 1 and 2 are lost); Söderström, Ashkenazy; Krause, Gage (Argo LP)

Song, "Tanken" (The Thought) for Two Sopranos and Piano (1915); von Otter, Groop, Forsberg (BIS)

Six Pieces for Violin and Piano, Op. 79; Sparf, Forsberg (BIS)

Sonatina in E for Violin and Piano, Op. 80 (1915); Sparf, Forsberg (BIS)

Five Pieces for Violin and Piano, Op. 81 (1915); Kuusisto, Kärkkäinen (Ondine)

Symphony No. 5 in E-flat (1915 version); Vänska, Lahti Symphony Orchestra (BIS)

Five Partsongs for Male Choir, Op. 84 (1915); Hyökki, Helsinki University Choir (YL) (Finlandia)

Incidental Music to Jokamies (Everyman), Op. 83 (1916); Lehto, Paasikivi, Tiilikainen, Vänskä, Lahti Symphony Orchestra (BIS)

Ten Pieces (Bagatelles) for Piano, Op. 34 (1916); Heinonen (Finlandia)

Five Pieces for Piano, Op. 85, "The Flowers" (1916); Tawaststjerna (BIS)

Kuutamolla (The Moonlight) (1916); Hyökki, Helsinki University Choir (YL) (Finlandia)

Six Songs, Op. 86 (1916); Krause, Gage; Söderström, Ashkenazy (No. 6) (Argo LP)

Two Humoresques for Violin and Orchestra, Op. 87 (1917); Holmes, Handley, Berlin Radio Symphony Orchestra (Koch Schwann)

Four Humoresques for Violin and Orchestra, Op. 89 (1917); Holmes, Handley, Berlin Radio Symphony Orchestra (Koch Schwann)

Song Cycle, "Flower Songs," Op. 88 (1917); Mattila, Ranta (Ondine)

Six Songs, Op. 90 (1917); von Otter, Forsberg (BIS)

March of the Finnish Jaegar Battalion, Op. 91, No. 1 (1917), orchestral version; Järvi, Ystävät Male Choir, Gothenburg Symphony Orchestra (BIS)

Fridolins dårskap (Fridolin’s Madness) (1917); Hyökki, Helsinki University Choir (YL) (Finlandia)

Mandolinato, for piano (1917); Tawaststjerna (BIS)

Partiolaisten Marssi (Scout March), Op. 91 (1918); Vänskä, Dominante Choir, Lahti Symphony Orchestra (BIS)

Scout March (arranged for piano), Op. 91, No. 2 (1918); Tawaststjerna (BIS)

Brusande rusar en våg (A Roaring Wave Rushes) (1918); Hyökki, Helsinki University Choir (YL) (Finlandia)

Jone havsfård (Jonah’s Voyage) (1918); Hyökki, Helsinki University Choir (YL) (Finlandia)

Ute hörs stormen (Out There the Storm) (1918); Hyökki, Helsinki University Choir (YL) (Finlandia)

Oma maa (Our Native Land), Op. 92 (1918); Vänska, Jubilate Choir, Lahti Symphony Orchestra (BIS)

Song, "Narciss" (1918); Krause, Gage (Argo LP)

Promotiomarssi (Academic March) (1919); Järvi, Gothenburg Symphony Orchestra (BIS)

Autrefois (Scène pastorale), Op. 96, No. 2 (1919); Järvi, Gothenburg Symphony Orchestra (BIS)

Four Pieces for Violin and Piano, Op. 78 (1915-19); Sparf, Forsberg (BIS)

Symphony No. 5 in E-flat (1919 version); Davis, London Symphony Orchestra (RCA Victor)

Jordens Sång (Song of the Earth), Op. 93 (1919); Vänskä, Dominante Choir, Lahti Symphony Orchestra (BIS)

Six Pieces, Op. 94 (1919); Tawaststjerna (BIS)

Maan virsi (Hymn of the Earth), Op. 95 (1920); Klas, Finnish National Opera Chorus and Orchestra (Ondine)

Valse lyrique, Op. 96, No. 1 (1920); Järvi, Gothenburg Symphony Orchestra (BIS)

Valse chevaleresque, Op. 96, No. 3 (1920); Järvi, Gothenburg Symphony Orchestra (BIS)

Three Pieces (Valse lyrique, Autrefois, Valse chevaleresque), Op. 96 (1920); Tawaststjerna (BIS)

Små flickorna (Small Girls) (1920); Groop, Derwinger (BIS)

Song for Male Voice Choir, "Viipurin Lauluveikkohen kunniamarssi" (Triumphal March of the Viipuri Singers) (1920); Hyökki, Helsinki University Choir (YL) (Finlandia)

Isänmaalle (To the Fatherland) for chorus (1920); Hyökki, Helsinki University Choir (YL) (Finlandia)

Six Bagatelles, Op. 97 (1920); Tawaststjerna (BIS)

Suite mignonne for Flute and Strings, Op. 98, No. 1 (1921); Tuomela, Folkwang Chamber Orchestra of Essen (Koch Schwann)

Suite mignonne for Flute and Strings, Op. 98, No. 1 (1921), transcribed by Sibelius for piano; Tawaststjerna (BIS)

Suite champêtre, Op. 98, No. 2 (1921); Ollila, Tapiola Sinfonietta (Ondine)

Suite champêtre, Op. 98, No. 2 (1921), transcribed by Sibelius for piano; Tawaststjerna (BIS)

Eight Pieces for Piano, Op. 99 (1922); Heinonen (Finlandia)

Suite caractéristique, Op. 100 (1922); Ollila, Tapiola Sinfonietta (Ondine)

Suite caractéristique, Op. 100 (1922), transcribed by Sibelius for piano; Tawaststjerna (BIS)

Choral Song, "Likhet" (Resemblance) (1922); Hyökki, Helsinki University Choir (YL) (Finlandia)

Five Romantic Pieces, Op. 101 (1923); Tawaststjerna (BIS)

Novelette for Violin and Piano, Op. 102 (1923); Sparf, Forsberg (BIS)

Symphony No. 6 in d, Op. 104 (1923); Vänska, Lahti Symphony Orchestra (BIS)

Five Pieces for Piano, Op. 103 (1923); Tawaststjerna (BIS)

Symphony No. 7 in C, Op. 105 (1924); Karajan, Berlin Philharmonic Orchestra (DG)

Five Danses champêtres, Op. 106 (1925); Kuusisto, Kärkkäinen (Ondine)

Two Partsongs for Male Choir, Op. 108 (1925); Hyökki, Helsinki University Choir (YL) (Finlandia)

Koulutie (The Way to School) (1925); Riska, Jubilate Choir (Ondine)

Incidental Music to The Tempest, Op. 109 (1925); Paasikivi, Tilhonen, Hirvonen, Keinen, Kerola, Vänskä, Lahti Opera Chorus, Lahti Symphony Orchestra (BIS)

Incidental Music to The Tempest, Op. 109 (1925), three brief sections arranged by Sibelius for piano; Tawaststjerna (BIS)

Two Pieces for Organ (Intrada, Funeral), Op. 111 (1925); Lehtonen (MDG), Vainio (Finlandia)

Scène d’amour for Violin and Piano, derived from Incidental Music for Scaramouche, Op. 71 (1925; orig. music 1913); Sparf, Forsberg (BIS)

Morceau romantique sur un motif de M. Jacob de Julin (1925); Tawaststjerna (BIS)

Skolsång (School Song) (1925); Riska, Jubilate Choir (Ondine)

Väinön virsi (Väinö’s Song), Op. 110 (1926); Klas, Finnish National Opera Chorus and Orchestra (Ondine)

Tapiola, Op. 112 (1926); Karajan, Berlin Philharmonic Orchestra (DG)

Musique religieuse (Masonic Ritual Music) for Baritone, Chorus, and Organ, Op. 113 (1927); Vainio, in Hymn and Funeral March (Finlandia CD); Tuloisela, Äikää in five songs (recorded in concert by WHRB); Riska, Jubilate Choir in Den höga himlen (The Lofty Heaven) (Ondine)

Cinq Esquisses for Piano, Op. 114 (1929); Tawaststjerna (BIS)

Four Pieces for Violin and Piano, Op. 115 (1929); Kuusisto, Kärkkäinen (Ondine)

Three Pieces for Violin and Piano, Op. 116 (1929); Kuusisto, Kärkkäinen (Ondine)

Suite in B for Violin and Strings, Op. 117 (1929); Kauppinen, Tuomela, Folkwang Chamber Orchestra of Essen (Koch Schwann)

Joululaulu (A Christmas Song) (1929); Riska, Jubilate Choir (Ondine)

Finlandia Hymn, male choir setting with words by V. A. Koskenniemi; Hyökki, Helsinki University Choir (YL) (Finlandia)

Finlandia, Op. 26, male choir and orchestra setting with words by V. A. Koskenniemi; Järvi, Laulun Ystävät Male Choir, Gothenburg Symphony Orchestra (BIS)

Processional, Op. 113, No. 6 (1938 arrangement of section of 1897 cantata); Vänskä, Dominante Choir, Lahti Symphony Orchestra (BIS)

Song for Male Voice Choir, "Siltavahti" (Guard of the Bridge) (1938); Hyökki, Helsinki University Choir (YL) (Finlandia)

Andante festivo for String Orchestra (1938, arr. from 1922 work for string quartet); Sibelius, Finnish Radio Orchestra (first performance, on the radio, January 1, 1939) (Finlandia)

Et ensamt skidspår (The Lonely Ski Trail) for narrator and orchestra (1925, arranged 1948); Pöysti, Vänska, Lahti Symphony Orchestra (BIS)

Kullervon valitus (Kullervo’s Lament) (1957 revision of section of Kullervo, Op. 7); Korhonen, Vänska, Lahti Symphony Orchestra (BIS)

Finlandia Hymn (1948 revision for mixed choir); Riska, Jubilate Choir (Ondine)

The Sibelius Orgy concludes with a selection of the great Sibelius interpretations of the past, including, to be sure, music conducted by Boston’s own Serge Koussevitzky.

Perhaps best known for his production work on Capitol with Cannonball Adderly and Lou Rawls, David Axelrod is a legendary figure in the history of Jazz. Self-taught in Classical music, Mr. Axelrod was a true visionary, fusing funky drum breaks and symphonic arrangements on his own solo work, as well as showing vision in his productions for other artists. It took awhile for people to catch up to him, but over the past two decades they have. Through the rise of Sampling in hip-hop production, Axelrod’s out-of-print records have become some of the most sought after gems, fetching high prices and fueling demand for reissues of his works.

There was a time when every young piano student played several pieces by Edvard Grieg (1843-1907), and every singer sang "I Love You" (Jeg elsker Dig). His music as a source of pleasure lasted long beyond his death a century ago. But a century is a long time, and only his Piano Concerto is reliably in the central repertory. One no longer hears Peer Gynt music or the Two Elegiac Melodies (or anything else) at the Pops, or the third violin sonata on a recital, or the string quartet in concert. Yet they are all undeniably great music, full of the sap of a sturdy, beautiful Norwegian tree.

Of Scottish descent (the name was originally Greig), Edvard studied at the Leipzig Conservatory and later briefly with Danish composer Niels Gade. In his early 20’s, he and another young Norwegian composer, Rikard Nordraak, determined to promote Scandinavian music as distinct from Germanic music (although obviously influenced by it). Nordraak’s death at the age of 23 left Grieg without his friend and colleague, but he carried on his advocacy as both teacher and conductor.

His fame was secured when, in 1869, he performed his own piano concerto in its premiere. Norway acknowledged a new, major musical presence. But his larger-scale works are few in number. Grieg seemed to blossom when writing shorter pieces, especially for the piano; his Lyric Pieces written throughout his life are gems. And he interested himself in songs as well, and in fact married a singer. In all of his music, one hears a strain of genuine Norwegian tone, for which he drew on folk music, without often actually incorporating it (but listen, toward the end of this Orgy, to his Op. 72 setting of folk melodies).

WHRB commemorates the century since the death of Grieg with a virtually complete chronological traversal of his life’s work, in the hopes that exposure to his music will renew old enthusiasms and engender new ones. When the actual centenary comes around in September, perhaps Grieg’s music will begin to figure once again in the forefront of musical life.

Four Pieces, Op. 1 (1861); Knardahl (BIS LP)

Fugue in f (1861); Raphael Quartet (Olympia)

Fugues for piano (1861-62); Pletnev (DG)

Six Poetic Tone Pictures, Op. 3 (1863); Yeresko (Melodiya-Angel LP)

The Heart’s Melodies, Op. 5, Nos. 1, "To brune Øjne" (Two Brown Eyes) and 3, "Jeg elsker Dig" (I Love You) (1863-64); von Otter, Forsberg (DG)

Symphony in c (1863-64); Ruud, Bergen Philharmonic Orchestra (BIS)

Agitato for Piano (1865); Andsnes (Virgin)

Four Humoresques, Op. 6 (1865); Knardahl (BIS LP)

Piano Sonata in e, Op. 7 (1865, rev. 1887); Pletnev (DG)

Songs and Ballads by A. Munch, Op. 9 (1863-66); Skram, Jansen (Victoria)

Violin Sonata No. 1 in F, Op. 8 (1865); Charlier, Engerer (Harmonia Mundi)

Funeral March in a, Rikard Nordraak in memoriam (1866); Knardahl (BIS LP)

Concert Overture for Orchestra "In Autumn", Op. 11 (1866, orchestration revised 1887); Ruud, Bergen Philharmonic Orchestra (BIS)

Lyric Pieces, Op. 12 (1864-67); Gilels (1, DG), Richter (2-4, Live Classics), Knardahl (5-8, BIS LP)

Violin Sonata No. 2 in G, Op. 13 (1867); Heifetz, Bay (RCA Red Seal )

Six Norwegian Mountain Melodies, Op. 112 (late 1860’s, publ. 1875); Knardahl (BIS LP)

Romances, Op. 15, No.4 "Modersong" (1868); Flagstad, orchestra (EMI)

Piano Concerto in a, Op. 16 (1868, rev.1906-07); Perahia, Davis, Bavarian Radio Orchestra (CBS)

Norwegian Folksongs and Dances, Op. 17 (1869); Baekkelund (NKF LP)

Pictures from Life in the Country, Op. 19 (1870-71); Knardahl (BIS LP)

Foran sydens kloster (At a Southern Convent’s Gate), Op. 20 (1871); Carlsen, Kruse, Dreier, Norwegian Opera Chorus and Orchestra (NKF )

Landkjenning (Recognition of Land) Cantata, for baritone, chorus, and orchestra, Op. 31 (1872, rev. 1881); Hansli, Dreier, Oslo Philharmonic Chorus and Orchestra (Unicorn )

Song, "Prinsessen"; Flagstad, Moore (EMI)

Incidental music to the play Sigurd Jorsalfar (Sigurd the Crusader), Op. 22 (1872); Bjørkøy, Dreier, Oslo Philharmonic Chorus, London Symphony Orchestra (Unicorn )

Romances, Op. 39 (1869-73); Hirsti (1-4), Skram (5-6), Jansen (EMI)

Incidental Music to Ibsen’s Dramatic Poem Peer Gynt, Op. 23 (with dialogue from the play) (1874-75); Hagegård, Solberg, Simonsen, Ruud, KorVest (Bergen Vocal Ensemble), Bergen Philharmonic Orchestra, actors (BIS)

Ballade in g, Op. 24 (1875-76); Rubinstein (RCA Red Seal)

Six Poems, Op. 25, No. 2 "En svane" (A Swan) and No. 4 "Med en vandlilje" (With a Waterlily) (1876); von Otter, Forsberg (DG)

Five Poems by John Paulsen, Op. 26 (1876); Hirsti (1, 5), Sandve (2), Skram (3, 4), Jansen (Victoria)

Szenen aus Olav Trygvason (Operatic fragments), Op. 50 (1876); Hansli, Hanssen, Carlsen, Dreier, Oslo Philharmonic Chorus and Orchestra (Unicorn )

String Quartet in g, Op. 27 (1877-78); Siegerland, Sponberg, Tomter, Mørk (Virgin)

Den Bergtekne (The Mountain Spell), Op. 32, for Baritone, Two Horns, and Strings (1877-78); Vollestad, Mikkelsen, Lithuanian National Symphony Orchestra (Simax)

Neo-soul is a term coined by Kedar Massenburg of Motown records, and is a fusion of comtemporary R&B with the more soulful styles of 70’s soul, hip-hop, and jazz. The most prominent artists of this sub-genre include Jill Scott, Erykah Badu, Raphael Saadiq, and D’angelo. While many of these artists despise the term, it is one that they have been unable to escape. Mainstream success however does seem to elude the vast majority of these artists.

Fire albumblade (Four Album Leaves), Op. 28 (1878); Knardahl (BIS LP)

Improvisation on two Norwegian Folksongs, Op. 29 (1878); Knardahl (BIS LP)

Andante con moto for Violin, Cello and Piano in c, Op. posth. (1878); Röling, Koch, Lambooij (Olympia)

Mozart’s Piano Sonata in C, K. 545, with second piano accompaniment by Grieg (1880); Argerich, Anderszewski (EMI)

Twelve Melodies, Op. 33: No. 1, "The Youth", No. 2, "Spring", No. 3, "The wounded heart", No. 9, "At Rundarne" (2, 3 orch. Grieg;1, 9 others) (1880-81); Flagstad, Braithwaite, Susskind, Philharmonia (EMI)

Two Elegiac Melodies, Op. 34 (1881); van Otterloo, Hague Philharmonic Orchestra (Mercury )

Norwegian Dances for Piano, Four Hands, Op. 35 (1881); Baekkelund, Levin (EtCetera)

Cello sonata in a, Op. 36 (1883); Mørk, Gimse (Virgin)

Lyric Pieces, Op. 38 (1883); Pletnev (1, DG), Knardahl (2, BIS LP), Gieseking (3, EMI), Richter (4, 8, Live Classics), Rubinstein (5, RCA Red Seal), Andsnes (6, 7, EMI )

Suite "From Holberg’s Time" (piano version), Op. 40 (1884): Knardahl (BIS); Knardahl (BIS LP)

Suite "From Holberg’s Time", Op. 40 (1884, orchestrated 1885); Marriner, Academy of St. Martin-in-the-fields (Philips)

Bergliot, Op. 42, for narrator and orchestra; Tellefsen, Dreier, Norwegian Opera Orchestra (NKF )

Lyric Pieces, Op. 43 (1886); Pletnev (1, 6, DG), Gilels (2, DG), Gieseking (3-5, EMI; 4 from 1947)

Violin Sonata No. 3 in c, Op. 45 (1887); Grumiaux, Sebök (Philips )

Lyric Pieces, Op. 47 (1885-88); Richter (1, Live Classics), Gilels (2-4, DG), Knardahl (5-7, BIS LP)

Six Songs, Op. 48 (1889); von Otter, Forsberg (DG)

Old Norwegian Romance with Variations for Two Pianos, Op. 51 (1891); Baekkelund, Levin (EtCetera)

Two Melodies, Op. 53 (1890); Järvi, Gothenburg Symphony Orchestra (DG)

String quartet in F (1891, unfinished), Movements 1-3 (3 compl. Röntgen); Raphael Quartet (Olympia)

Lyric Suite for Piano, Op. 54 (1891); Gieseking (1, EMI), Richter (2, Live Classics), Pletnev (3, 5, 6, DG), Gilels (4, DG)

Sigurd Jorsalfar Suite, Op. 56 (somewhat revised from Op. 22, 1893); Rozhdestvensky, Royal Stockholm Philharmonic Orchestra (Chandos)

Lyric Pieces, Op. 57 (1893); Pletnev (1, DG), Knardahl (2, 3, BIS LP), Richter (Live Classics)

Norway, Op. 58, Nos. 1, "Til Norge" (To Norway) and 3, "Henrik Wergeland" (1893-94); (1) Melchior, Strasfogel (RCA Victor), (3, orch.) Vollestad, Mikkelsen, Lithuanian National Symphony Orchestra (Simax)

Poems by Wilhelm Krag, Op. 60 (1893-94); Andersen, Bratlie (Simax LP)

Lyric Pieces, Op. 62 (1895); Knardahl (BIS LP)

Two Nordic Melodies, Op. 63 (orchestrated early work,1895); Järvi, Gothenburg Symphony Orchestra (DG)

Haugtussa, Op. 67 (1895); von Otter, Forsberg (DG)

Norwegian Folksongs, Op. 66 (1896); Baekkelund (NKF LP)

Symphonic Dances, Op. 64 (1896-97); Järvi, Gothenburg Symphony Orchestra (DG)

Lyric Pieces, Op. 65 (1897); Knardahl (1-4, BIS), Gilels (5, DG), Pletnev (6, DG)

On the eve of Bulgaria’s 2007 admission into the European Union, we present a thorough overview of the country’s rich folkloric and musical traditions. Each of Bulgaria’s seven major musical regions will be represented (Dobrudzha, Macedonia, Moesia, Rodopi, Shoppes, Strandja, Thrace) by canonical performances from some of Bulgarian music’s most legendary singers and musicians. We’ll discuss the differences between each region’s music and hear some modern artists who are bringing Bulgarian folklore into the 21st century.

Puccini: Madama Butterfly; Cristina Gallardo-Domâs, Marcello Giordani, Maria Zifchak, Dwayne Croft, Greg Fedderly, James Courtney, James Levine conducting (today’s opera was taped in performance earlier in the season).

Six Songs for Voice and Orchestra (1894-95 orchestrations of earlier songs); Kringelborn, Rozhdestvensky, Royal Stockholm Philharmonic Orchestra (Chandos)

Lyric Pieces, Op. 68 (1898); Knardahl (1, 6, BIS), Pletnev (2, DG), Gilels (3, 5, DG), Richter (4, Live Classics )

Lyric Pieces, Op. 68, Nos. 4, "Evening in the Mountains" and 5 "At the Cradle" (orch. Grieg, 1899); Marriner, Academy of St. Martin-in-the-fields (Philips)

Five Songs by Otto Benzon, Op. 69 (1900); Skram (1, 5), Hirsti (2-4), Jansen (Victoria)

Five Songs by Otto Benzon, Op. 70 (1900); Skram (1, 5), Sandve (2), Hirsti (3, 4), Jansen (Victoria)

Old Norwegian Romance with Variations, Op. 51, shortened and orchestrated (1900); Beecham, Royal Philharmonic Orchestra (EMI)

Lyric Pieces, Op. 71 (1901); Gilels (1, 3, 7, DG), Andsnes (2, EMI), Richter (4, 6, Live Classics), Knardahl (5, BIS LP)

Slatter (Norwegian Peasant Dances), Op. 72 (1902-03), with several preceded by Hardanger fiddle folk songs on which they are based; Steen-Nøkleberg (piano), Buen (fiddle) (Simax)

Lyric Suite, Op. 54 (orchestrated by Grieg and Seidl, 1904); Järvi, Gothenburg Symphony Orchestra (DG)

Stimmungen (Moods), Op. 73 (1903-05); Knardahl (BIS LP)

Four Psalms, Op. 74 (1906); Hagegård, Kvam, Oslo Cathedral Choir (Nimbus)

Nordraak’s Funeral March in a (1866, orchestral version by Halvorsen, based on Grieg’s later wind band version); Dreier, London Symphony Orchestra (Unicorn LP)

Dr. Ronald B. Sobel, Senior Rabbi Emeritus, Congregation Emanu-El, New York, New York. Music provided by the Madrigal Singers of St. Paul’s School, Concord, New Hampshire.

A tribute to an unusual musical comedienne who died this past year, heard in her classic routines, from Gilbert and Sullivan to Wagner’s Ring, on Columbia/Sony recordings.

Robert Simpson (1921-1997) is little known in this country, because American orchestras are very afraid to offer much British music, perhaps excepting that by the avant-garde of the last few decades. Simpson’s music is strongly influenced by four composers he knew intimately (without ever meeting them) and wrote about with insight and eloquence: Haydn, Beethoven, Bruckner, and Nielsen. His symphonies and string quartets in particular have a structural certainty about them, and strong intentions, expressed in increasingly complex but quite accessible and finally compelling music.

Simpson wrote books analyzing Bruckner and Nielsen symphonies and then went on to prove those composers were not dead ends. Yet, although his own symphonies show their influence, they could only be the expressions of one man, a composer of whose output no musical soul should be ignorant. His string quartets are among the major compositions for that form of the late twentieth century (again, shamefully, never performed in this country). They are astonishing in their complexity and power and size (No. 9 is almost a full hour).

We spend two days surveying Robert Simpson’s output chronologically, to commemorate ten years since his death. His music will live on, and does so in great measure thanks to the extraordinary Hyperion label, who recorded all the music we’ll hear (except as indicated below), and to the fine work done by a conductor underappreciated in this country, Vernon Handley, and a dedicated quartet, the Delmé.

Sonata (1946); Clarke (Hyperion)

Variations and Finale on a Theme of Haydn (1948); Clarke

String Quartet No. 1 (1951); Delmé String Quartet

Symphony No. 1 (1951); Boult, London Philharmonic Orchestra (EMI)

String Quartet No. 2 (1953); Delmé String Quartet

String Quartet No. 3 (1954); Delmé String Quartet

Symphony No. 2 (1955-56); Handley, Bournemouth Symphony Orchestra

Canzona for Brass (1958); Corydon Brass Ensemble

Symphony No. 3 (1962); Horenstein, London Symphony Orchestra (NMC Ancora)

Clarinet Quintet (1968); Walton, Aeolian String Quartet (NMC Ancora)

Energy, Symphonic Study for Brass Band (1971); Watson, Desford Colliery Caterpillar Band

Symphony No. 4 (1970-72); Handley, Bournemouth Symphony Orchestra

Symphony No. 5 (1972); Handley, Royal Liverpool Philharmonic Orchestra

String Quartet No. 4 (1973); Delmé String Quartet

String Quartet No. 5 (1974); Delmé String Quartet

Quartet for Horn, Violin, Cello, and Piano (1975); Watkins, Lowbury, Dearnley, Green-Armytage

String Quartet No. 6 (1975); Delmé String Quartet

Media morte in vita sumus (1975); Best, Corydon Singers

Symphony No. 6 (1977); Handley, Royal Liverpool Philharmonic Orchestra

Symphony No. 7 (1977); Handley, Royal Liverpool Philharmonic Orchestra

String Quartet No. 7 (1977); Delmé String Quartet

String Quartet No. 8 (1979); Delmé String Quartet

Volcano, Symphonic Study for Brass Band (1979); Watson, Desford Colliery Caterpillar Band

Symphony No. 8 (1981); Handley, Royal Liverpool Philharmonic Orchestra

Quintet for Clarinet, Bass Clarinet, and String Trio (1983); Farrall, Cross, Charleson, Aspell, Marwood

String Quartet No. 9 (32 Variations and Fugue on a theme of Haydn) (1982); Delmé String Quartet

Variations on a Theme by Nielsen (1983); Taylor, City of London Sinfonia (Hyperion)

String Quartet No. 10 (1983); Delmé String Quartet

The Four Temperaments for Brass Band (1983); Watson, Desford Colliery Caterpillar Band

String Quartet No. 11 (1984); Delmé String Quartet

Trio for Horn, Violin, and Piano (1984); Watkins, Lowbury, Green-Armytage

Sonata for Violin and Piano (1984); Lowbury, Green-Armytage

Michael Tippett, His Mystery, for Piano (1984); Clarke

Eppur si muove for Organ (1985); Quinn

Symphony No. 9 (1987); Handley, Bournemouth Symphony Orchestra

String Trio (Prelude, Adagio, and Fugue) (1987); Delmé String Quartet

Tempi (1987); Best, Corydon Singers

Introduction and Allegro on a Bass by Max Reger for Band (1987); Watson, Desford Colliery Caterpillar Band

Symphony No. 10 (1988); Handley, Royal Liverpool Philharmonic Orchestra

Piano Trio (1988-89); Lowbury Piano Trio

String Quartet No. 13 (1989); Delmé String Quartet

Vortex for Brass Band (1989); Watson, Desford Colliery Caterpillar Band

Symphony No. 11 (1990); Taylor, City of London Sinfonia

String Quartet No. 14 (1990); Delmé String Quartet

Variations and Finale on a theme by Beethoven (1990); Clarke

String Quartet No. 15 (1991); Delmé String Quartet

String Quintet No. 2 (1991-94); Delmé String Quartet, van Kampen

Spend six hours stranded in the jungle with songs from members of the animal kingdom (including humans) about members of the animal kingdom (excluding humans). Hear about monkeys and gorillas, cats and dogs, tigers and lions, bears and wolves, roaches and worms – their habits and the places they inhabit. Also hear from bands identifying themselves by animal names. Do the bird, the wombat, the barracuda, the chicken switch, and the turkey stomp. Bark, meow, chirp, and growl. The wild and the tame, the jungle and the zoo, the wacky, even disturbing, and the highly sophisticated, all coexist in this tribute to the unjustly overlooked genre of animal music.

Harvard at Quinnipiac

Monteverdi: Mass "In illo tempore"; Christophers, The Sixteen (Hyperion)

Mozart: Sinfonia concertante for Violin, Viola, and Orchestra in E-flat, K. 364 (K. 320d); Heifetz, Primrose, Solomon, RCA Victor Symphony Orchestra (RCA Victor)

Tippett: String Quartet No. 1 in A; Edinburgh Quartet (EMI)

Carbon: Inner Voices; Black, Warsaw National Philharmonic Orchestra (MMC)

Clementi: Sonata in f-sharp, Op. 26, No. 2; Horowitz (RCA)

Montéclair: Cantata, "Pan et Sirinx"; Baird, Schultz, American Baroque (Koch)

Hindemith: Piano Sonata No. 2; Gould (Sony)

Zelenka: Ouverture a 7 concertanti in F; Camerata Bern (DG Archiv)

Rodrigo: Four Pieces for Piano; Pizarro (Collins)

Hummel: Violin Concerto in G; Ehnes, Shelley, London Mozart Players (Chandos)

Chopin: Nocturne in E, Op. 62, No. 2; Ohlsson (Arabesque)

Ives: Fugue in Four Keys on "The Shining Shore"; Slatkin, St. Louis Symphony Orchestra (RCA Victor)

Wilms: String Quartet in g, Op. 25, No. 1 (c. 1806); Nomos Quartet (NM Extra)

Martinu: Symphony No. 4; Thomson, Scottish National Orchestra (Chandos)

This weekly program surveys historic Bach recordings made by violinist Henryk Szeryng, comparing them to other fine performers of the twentieth century. Tonight, Bach’s Sonata No. 1 in g for Violin, S. 1001, with individual movements from Perlman (EMI), Tetzlaff (Virgin), Menuhin (EMI), Grumiaux (Philips), Rizzi (Amadeus), Huggett (Virgin), Szigeti (Music and Arts), Milstein (EMI), Kremer (ECM), and Ricci (Columbia), with Szeryng playing the complete sonata (DG).

Every Wednesday night, New Releases features the best in the most recent classical music recordings. You’ll hear your favorite works, new music and reissues of classic recordings. To learn more about the music featured on New Releases, join our mailing list. Send an email to newreleases@whrb.org.

Tchaikovsky: Nocturne for Cello and Orchestra, arr. by Tchaikovsky from his piano piece Op. 19, No. 4; Maisky, Bychkov, Orchestre de Paris (DG)

Corelli: Sonata for Violin and Harpsichord Op. 5, No. 1 in D; Grumiaux, Castagnone (Phillips LP)

Franck: Eight short pieces for small orchestra; A. Walter, RTBF Symphony Orchestra (Schwann)

Glazounov: Meditation for Violin and Piano, Op. 32; Mordkovitch, Kirby (Chandos)

Hoffmeister: Piano Concerto in D, Op. 24; Blumental, Zedda, Prague New Chamber Orchestra (Auditorium LP)

Reich: Six Marimbas; Becker, Grossman, Hartenberger, Preiss, Ruyle, Trigg (Nonesuch)

Brahms: Symphony No. 3 in F, Op. 90; Walter, Columbia Symphony Orchestra (CBS)

Campion: Song, "Move now with measured sound"; "Now hath Flora robbed her bowers"; "Woo her and win her"; Kirkby, Thomas, Rooley, Consort of Musicke (Hyperion)

Bartók: Concerto for Orchestra, Sz. 116; Bernstein, New York Philharmonic Orchestra (Sony)

L. Couperin: Suite for Harpsichord in d; Leonhardt (Philips)

Bernstein: Symphony No. 2 for Piano and Orchestra, "The Age of Anxiety"; Entremont, Bernstein, New York Philharmonic Orchestra (Sony)

Beethoven: Piano Sonata No. 4 in E-flat, Op. 7; Kempff (DG)

Rimsky-Korsakov: Dubinushka, Op. 62; Järvi, London Symphony Orchestra (Chandos)

Pérotin: Isaias cecinit; Hillier, Hilliard Ensemble (ECM New Series)

Dufay: Supremum est mortalibus; van Nevel, Huelgas Ensemble (Harmonia Mundi)

Obrecht: Salve Regina; van Nevel, Netherlands Chamber Choir (NM Classics)

Attr. Josquin: Absalon fili mi; Phillips, Tallis Scholars (Gimell)

Hummel: Piano Trio in E-flat, Op. 22; Trio Parnassus (MDG)

Hummel: Piano Trio in G, Op. 35; Trio Parnassus (MDG)

Hummel: Piano Trio in G, Op. 65; Trio Parnassus (MDG)

Hummel: Piano Trio in E-flat, Op. 96; Trio Parnassus (MDG)

Debussy: Printemps

Saint-Saëns: Piano Concerto No. 2 in g, Op. 22; Simon Trpceski, piano

Respighi: Fountains of Rome

Hart: Cartoon; Corporon, North Texas Wid Symphony (Klavier)

Haydn: String Quartet Op. 54, No. 3 in E; Tátrai Quartet (Hungaroton)

Antheil: Symphony No. 5, "Joyous"; Kolman, Slovak State Philharmonic Orchestra (Centaur)

Rameau: Harpsichord pieces from 1724 and 1728, selection; Leonhardt (Deutsche Harmonia Mundi LP)

Villa-Lobos: Mômoprecóce, Fantasy for Piano and Orchestra; Tagliaferro, Villa-Lobos, Orchestre National de la Radiodiffusion Française (EMI)

Franck: Sonata for Violin and Piano in A; Kyung, Lupu (London)

Handel: Concerto for Organ and Orchestra No. 8 in A, Op. 7, No. 2; Krapp, Redel, RIAS Sinfonietta (Eurodisc)

Fauré: String Quartet in e, Op. 121; Guarneri String Quartet (Surrounded By Entertainment)

Mozart: Concerto for Piano and Orchestra No. 12 in A, K. 414; Levin, Hogwood, Academy of Ancient Music (Oiseau-Lyre)

Shostakovich: String Quartet No. 7 in f-sharp, Op. 108; Borodin Quartet (EMI)

Massenet: Le Cid: Ballet Music; Bonynge, National Philharmonic Orchestra (London)

Telemann: Sonata for Recorder and Continuo in d, from Essercizii Musici; Brüggen, Leonhardt, Bylsma (Telefunken)

Vaughan Williams: Symphony No. 6 in e; Hickox, London Symphony Orchestra (Chandos)

Harvard vs. Union

Puccini: La Bohème; Cristina Gallardo-Domâs, Marcello Giordani, Dwayne Croft, Aaron St Clair Nicholson, John Relyea, Paul Plishka, Carlo Rizzi conducting.

Harvard v. Rennselaer.

Preacher: The Reverend Wesley D. Avram, Pastor, Bryn Mawr Presbyterian Church, Bryn Mawr, Pennsylvania.

William Kapell Part I (1922-1953)

Khachaturian: Piano Concerto (RCA)

Chopin: Mazurka Op. 17, No. 3 in A-flat (RCA)

Brahms: Piano Concerto No. 1 (Music & Arts)

Chopin: Waltz No. 1 in E-flat, Op. 18, "Grande Valse Brillante" (RCA)

Rachmaninoff: Rhapsody on a Theme of Paganini (Philips)

Thomas: Hamlet; Kunde, Trempont, Furlan, Hampson, Courtis, Garino, Anderson, Ramey, LeRoux, Felix, Graves, d’Almeida, London Philharmonic Orchestra (EMI).

Elgar: Sea Pictures; Baker, Barbirolli, London Symphony Orchestra (EMI)

Chen Yi: Shuo; Manhatten String Quartet, Palma (CRI)

Haydn: Symphony No. 50 in C; Solomons, L’Estro Armonico (Columbia LP)

Dvorak: String Sextet in A, Op. 48; Academy of St. Martin-in-the-Fields Chamber Ensemble (Chandos)

Britten: Cello Symphony Op. 68; Wallfisch, Bedford, English Chamber Orchestra (Chandos)

Cherubini: String Quartet No. 6 in a; Melos Quartet (DG)

Nielsen: Symphony No. 5, Op. 50; Bernstein, New York Philharmonic Orchestra (CBS)

Manchicourt: Motet, Laudate Dominum; van Nevel, Huelgas Ensemble (Sony)

Debussy: Nocturnes (Nuages, Fêtes); Bernstein, New York Philharmonic Orchestra (Sony)

Beethoven: Cello Sonata No. 4 in C, Op. 102, No. 1; Ma, Ax (CBS)

Hovhaness: Mysterious Mountain, Op. 132; Reiner, Chicago Symphony Orchestra (RCA Victor)

Brahms: String Quartet No. 2 in a Op. 51 No. 2; Alban Berg Quartet (EMI)

Organist Michel Chapuis (Valois).

Bach: Concerto for Organ in a, S. 593 (after Vivaldi)

Buxtehude: Nur komm, der Heiden Heiland, BuxWV 211

Buxtehude: In dulci jubilo, BuxVW 197

Bach: Prelude and Fugue in e, S. 548

Bach: Trio Sonata No. 1 in E-flat, BuxWV 525

Buxtehude: Nun bitten wir den heilgen Geist, BuxWV 209

Bach: Chorale, "Ach bleib’ bei uns, Herr Jesu Christ", S. 649

Buxtehude: Prelude and fugue in d, BuxWV 140

Beanpot Tournament: Harvard v. Boston College.

Shostakovich: Ballet Suite No. 3; Järvi, Scottish National Orchestra (Chandos)

Krommer: Octet-Partita for Winds in F, Op. 57; Netherlands Wind Ensemble (Philips LP)

Ireland: A London Overture; Hickox, London Symphony Orchestra (Chandos)

Tallis: Tunes for Archbishop Parker’s Psalter; Phillips, Tallis Scholars (Gimell)

Revueltas: Alcancías; Atherton, London Sinfonietta (RCA Red Seal)

Brahms: Piano Sonata No. 3 in f, Op. 5; Lupu (London)

Barber: Souvenirs, ballet suite, Op. 28; Schenck, New Zealand Symphony Orchestra (Koch)

Buxtehude: Ciacona in c, BuxWV 159; Vogel (MDG)

Falla: El Amor Brujo; de los Angeles, Frühbeck de Burgos, Philharmonia Orchestra (EMI)

Finzi: Suite from Love’s Labours Lost; Boughton, English String Orchestra (Nimbus)

Paine: Concert Variations on the Austrian Hymn in F, Op. 3, No. 1; Beck (MHS)

Frederick the Great: Concerto for Flute and Orchestra No. 3 in C; Gallois, Schreier, Carl Philipp Emanuel Bach Chamber Orchestra (DG)

Holst: Toccata for Piano; Goldstone (Chandos)

Diamond: String Quartet No. 2; Potomac String Quartet (Albany)

Rimsky-Korsakov: Dubinushka

Prokofiev: Symphony No. 7 in c-sharp, Op. 131

Mussorgsky/Ravel: Pictures at an Exhibition

Handel: Suite for Harpsichord, 1720 Set, No. 5 in E, "Harmonious Blacksmith", HWV 430; Gilbert (Harmonia Mundi LP)

Harbison: Mirabai Songs; Upshaw, Zinman, Orchestra of St. Luke’s (Nonesuch)

Holst: Hammersmith, Prelude and Scherzo, Op. 52; Fennell, Eastman Wind Ensemble (Mercury)

Hummel: Piano Trio in E-flat, Op. 96; Trio Parnassus (MDG)

Henze: Symphony No. 4 for Large Orchestra; Henze, Berlin Philharmonic Orchestra (DG)

Haydn: String Quartet in C, Op. 9, No. 1; Festetics Quartet (Hungaroton)

Stanford: Irish Rhapsody No. 5; Handley, Ulster Orchestra (Chandos)

Biber: Sonata for Violin Solo [and continuo] No. 6, from Eight Sonatas; Romanesca (Harmonia Mundi)

Bruch: Concerto for Violin and Orchestra No. 1 in g, Op. 26; Vengerov, Masur, Leipzig Gewandhaus Orchestra (Teldec)

Bax: Piano Sonata No. 4 in G; Parkin (Chandos)

Holborne: Almaines (3), Pavan & Galliard, Pavan and Galliard; New York Consort of Viols (Classic Masters)

C. Stamitz: Quartet for Oboe and Strings in E-flat, Op. 8, No. 4; Still, Perlman, Zukerman, Harrell (Angel LP)

Bartók: Four Orchestral Pieces, Op. 12, Sz. 51; Boulez, Chicago Symphony Orchestra (DG)

Brahms: String Sextet No. 2 in G, Op. 36; Stern, Lin, Laredo, Tree, Ma, Robinson (Sony)

The fifteen and sixteenth centuries were an extraordinary period of European civilization, an age when political turbulence, social dynamism, and technological innovation laid the foundation for exceptional musical creativity. This twelve-week program will cover the vocal music of the European Renaissance and Reformation in its historical, literary, and cultural context. We will proceed chronologically and selectively, from the works of such transitional masters as Dufay and Dunstable to the compositions of such late sixteenth-century luminaries as Gabrieli, Gesualdo, and Victoria. Tonight: the early Renaissance, part I.

Partita No. 1 in b, S. 1002, heard complete by Henryk Szeryng (DG), with comparison movements from Milstein (EMI), Heifetz (RCA Victor), Menuhin (EMI), and Schneider (Mercury).

Every Wednesday night, New Releases features the best in the most recent classical music recordings. You’ll hear your favorite works, new music and reissues of classic recordings. To learn more about the music featured on New Releases, join our mailing list. Send an email to newreleases@whrb.org.

Rachmaninoff: Piano Sonata No. 2 in b-flat, Op. 36; Horowitz (RCA)

Schubert: Symphony No. 2 in B-flat, D. 125; Böhm, London Symphony Orchestra (BBC Music)

Ysaÿe: Violin Sonata No. 2 in a, Op. 27, No. 2; Kremer (Eurodisc LP)

Messiaen: L’Ascension; Chung, Orchestra of the Opéra Bastille (DG)

D. Scarlatti: Sonata in d, K. 141, L. 422; Argerich (EMI)

Miaskovsky: Concerto for Cello and Orchestra, Op. 66; Rostropovich, Sargent, Philharmonia Orchestra (EMI LP)

Reger: Violin Sonata No. 5 in e, Op. 91, No. 5; Naegele (MHS LP)

Bach: Suite for Orchestra No. 3 in D, S. 1068; Harnoncourt, Concentus Musicus Wien (Teldec LP)

Reich: Sextet; Reich, Nexus, Manhattan Marimba Quartet (Nonesuch)

Mozart: Serenade No. 5 in D, K. 204 (213a); Maier, Collegium Aureum (EMI)

Brahms: String Quartet No. 1 in c, Op. 51, No. 1; Alban Berg Quartet (EMI)

Josquin: Salve Regina, Parrott, Taverner Consort (EMI)

Isaac: Tota pulchra es, Phillips, Tallis Scholars (Gimell)

Cornysh: Gaude Virgo, Mater Christi; Carwood, The Cardinall’s Musick (ASV)

Willaert: Beata viscera; Stevens, Ambrosian Singers (Odyssey)

Hummel: Piano Trio in E-flat, Op. 93; Trio Parnassus (MDG)

Dvorak: Piano Trio in B-flat, Op. 21; Golub, Kaplan, Carr (Arabesque)

Chausson: Symphony in B-flat, Op. 20

Britten: Double Concerto in b for Violin, Viola, and Orchestra; Alexander Barantschik, violin, Geraldine Walther, viola

Elgar: In the South (Alassio), Op. 50

Gliere: Symphony No. 2 in c, Op. 25; Downes, BBC Philharmonic Orchestra (Chandos)

Stamitz: Quartet for Flute and Strings in D, Op. 4, No. 3; Rampal, Trio à cordes Français (Nonesuch LP)

Foss: Baroque Variations; Foss, Buffalo Philharmonic Orchestra (Nonesuch LP)

Alkan: Concerto for Solo Piano (from Twelve Etudes in minor keys, Op. 39); Ogden (Philips)

Pergolesi: Salve Regina in c for Soprano and String Orchestra; Zádori, Németh, Capella Savaria (Harmonia Mundi)

Bax: Quintet for Harp and String Quartet; Kanga, English String Quartet (Chandos)

Pleyel: Symphony in C, Op. 66, B. 154; Bamert, London Mozart Players (Chandos)

Françaix: Divertissement for Oboe, Clarinet, and Bassoon; Melos Ensemble (Angel LP)

Machaut: Messe de Nostre Dame; Bowman, Sutcliffe, Ruhland, Capella antiqua of Munich (Telefunken LP)

Sor: Etudes for Guitar, selection; Yepes (DG)

Pfitzner: Das Kätchen von Heilbronn, Op. 17, Overture; Thielmann, Berlin Deutsche Oper Orchestra (DG)

Schobert: Sonata for Harpsichord, Violin, and Cello in F, Op. 16, No. 4; Four Nations Ensemble (ASV)

Harvard at Princeton

Mascagni: Cavalleria Rusticana; Dolora Zajick, Frank Porretta, Mark Delavan, Marco Armiliato conducting.

Leoncavallo: Pagliacci; Krassimira Stoyanova, Salvatore Licitra, Lado Ataneli, Marco Armiliato conducting.

Preacher: The Reverend Peter J. Gomes, Plummer Professor of Christian Morals and Pusey Minister in The Memorial Church.

William Kapell Part II (1922-1953)

Chopin: Piano Sonata No. 3 in b, Op. 58 (RCA)

Liszt: Hungarian Rhapsody No. 11 in a (Philips)

Liszt: Mephisto Waltz No. 1, S. 514 (Philips)

Liszt: Années de pèlerinage, Second Year, Italy: Sonata de Petrarca, No. 104 (RCA)

Chopin: Nocturne Op. 9, No. 1 in b-flat (RCA)

Schubert: Impromptu in A-flat, D. 935, No. 2, (Op. 142, No. 2) (RCA)

Brahms: Intermezzo in E, Op. 116 No. 6 (Pearl)

Brahms: Sonata for Violin and Piano No. 3 in d, Op. 108; Heifetz (RCA)

Rachmaninoff: Selected Preludes (RCA)

Chopin: Piano Sonata No. 2 (RCA)

Albeniz: Pepita Jiménez; Domingo, Vaness, Baquerizo, López, Rodríguez, Chausson, Henschel, de Eusebio, Madrid Chamber Orchestra and Chorus (DG).

Grieg: Album Leaves, Op. 28; Tabe (Chandos)

Krouse: Rhapsody for Violin and Orchestra; Bachmann, Sedares, New Zealand Symphony Orchestra (Koch)

Clemens non Papa: Carole magnus eras; van Nevel, Netherlands Chamber Choir (NM Classics)

Chopin: Concerto for Piano and Orchestra No. 1 in e, Op. 11; Arrau, Inbal, London Philharmonic Orchestra (Philips)

Telemann: Fantasy for Violin without Bass [continuo] No. 4 in D, TWV 40:17; Manze (Harmonia Mundi)

Dukas: Polyeucte, Overture to Corneille’s tragedy; Tortelier, BBC Philharmonic Orchestra (Chandos)

Zwilich: Quintet for Clarinet and String Quartet; Shifrin, I. Kavafian, Zori, Neubauer, Sherry (Delos)

Brixi: Concerto in F for Organ and Orchestra; Lehrndorfer, Stuttgart Soloists (Turnabout LP)

Bartók: Nine Little Piano Pieces, Sz. 82; Sándor (Sony)

Borodin: Nocturne for String Orchestra; Tjeknavorian, National Philharmonic Orchestra (RCA LP)

Monteverdi: Mass for Four Voices; Christophers, The Sixteen (Hyperion)

Sor: Theme and Variations for Two Guitars; S. Abreu, E. Abreu (Columbia LP)

Rachmaninoff: The Isle of the Dead, Op. 29; Jansons, St. Petersburg Philharmonic Orchestra (EMI)

Brahms: Rhapsody in b, Op. 79, No. 1; Perahia (Sony)

Prokofiev: Symphony No. 6, Op. 111; Rostropovich, Orchestre National de France (Erato)

Organist Michel Chapuis (Valois).

Buxtehude: Toccata in F, BuxWV 156

Bach: Chorale, "Liebster Jesu, wir sind hier", S. 730/731

Bach: Chorale, "Wachet auf, ruft uns die Stimme", S. 645

Buxtehude: Magnificat primi toni, BuxWV 203

Buxtehude: Der Tag, der ist so freudenreich, BuxWV 182

Buxtehude: Prelude and Fugue in g, BuxWV 148

Bach: Chorale, "Herzlich tut mich verlangen", S. 727

Buxtehude: Prelude and Fugue in a, BuxWV 152

Bach: Toccata, Adagio, and Fugue in C, S. 564

Depending on the outcome of last Monday’s game, the Harvard team will play BC, BU, or Northeastern, either at 5 or 8 pm, with our airtime at about 4:45 or 7:45. The 5 pm slot is the "consolation" game, the 8 pm slot the final playoff for the win.

If the game is at 5, Afternoon Concert will be curtailed, and The Organ Through The Ages will be heard around 7:30 or 8. If the game is at 8, The Organ Through The Ages will be heard at 6 as usual, followed by a classical music interlude.

Villa-Lobos: String Quartet No. 16; Brazilian String Quartet (Albany)

Mozart: Concerto for Piano and Orchestra No. 23 in A, K. 488; Rubinstein, Wallenstein, RCA Victor Symphony Orchestra (RCA Red Seal)

Wolpe: Trio in Two Parts for Flute, Cello, and Piano; Sollberger, Sherry, Wuorinen (Koch)

Vivaldi: Concerto for Bassoon and Orchestra No. 2 in a, RV 498; Smith, Ninic, Zagreb Soloists (ASV)

Nin: Songs, "Minué cantado," "Alma, sintamos"; Cole, Stephens (Connoisseur Society)

van Bree: Concert Overture in b; van Steen, Netherlands Radio Symphony Orchetra (NM Classics)

Burian: String Quartet No. 8, Op. 110; Rosamunde Quartet (ECM)

G. Gabrieli: Canzon a 12; Empire Brass Quintet and Friends (Telarc)

Françaix: Cinq Danses exotiques for Alto Saxophone and Piano; Perconti, March (Centaur)

Glinka: Summer Night in Madrid, Spanish Overture No. 2; Svetlanov, U.S.S.R. Symphony Orchestra (Chant du monde)

Telemann: Partita for Violin, Flute, or Oboe; (recorder, in g) Petri, Malcolm (Philips)

Janacek: Folk Nocturnes; Kusnjer, Lapsansky (Supraphon LP)

Assmeyer: Octet for Winds in E-flat; Consortium Classicum (Koch Schwann)

Debussy: Rhapsody for Saxophone and Orchestra; Rascher, Bernstein, New York Philharmonic Orchestra (Sony)

F.X. Richter: Sinfonia in G; Warchal, Slovak Chamber Orchestra (Opus)

Gade: Echoes of Ossian, Concert Overture, Op. 1; Hogwood, Danish National Symphony Orchestra (Chandos)

Seeger: Suite No. 2 for Four Strings and Piano; Charleston Quartet, Eskin (Albany)

Purcell: Ode for the Birthday of Queen Mary, Z. 338, "Welcome, welcome, glorious morn"; King, King’s Consort (Hyperion LP)

Beethoven: Thirty-two Variations on an Original Theme in c, WoO 80; Gilels (RCA Red Seal)

Aho: String Quartet, Op. 98; Jean Sibelius Quartet (Finlandia)

Stravinsky: Symphonies of Wind Instruments

Bartók: Violin Concerto No. 2; Christian Tetzlaff, violin

Stucky: Second Concerto for Orchestra

Creston: Symphony No. 2, Op. 35; Järvi, Detroit Symphony Orchestra (Chandos)

Dvorak: String Quartet in F, Op. 96, "American"; Guarneri Quartet (RCA Victor)

Korngold: Symphonic Serenade for Strings, Op. 39; Albert, Northwest German Philharmonic Orchestra (cpo)

Boccherini: Quintet for Guitar and Strings No. 6, G. 450; Yamashita, Tokyo String Quartet (RCA Victor)

Beethoven: Symphony No. 8 in F, Op. 93; Szell, Cleveland Orchestra (Sony)

Hindemith: Octet for Winds and Strings; Marlboro Ensemble (Sony)

Charpentier: Caecilia, Virgo et Martyr, H. 397; Degelin, De Reyghere, Mols, James, Meens, Van Croonenborgh, Devos, Ghent Madrigal Choir and Ghent Singers, Musica Polyphonica (Erato)

Schnittke: Piano Quintet; Lubimov, Keller Quartet (ECM)

Vaughan Williams: Symphony No. 5 in D; Thomson, London Philharmonic Orchestra (Chandos)

The early Renaissance, part II.

Sonata No. 2 in a, S. 1003, heard complete with Szeryng (DG), with comparision movements from Perlman (EMI), Mullova (Philips), Menuhin (EMI), Szigeti (Music and Arts), Grumiaux (Philips), Tetzlaff (Virgin), and Telmanyi (Testament).

Every Wednesday night, New Releases features the best in the most recent classical music recordings. You’ll hear your favorite works, new music and reissues of classic recordings. To learn more about the music featured on New Releases, join our mailing list. Send an email to newreleases@whrb.org.

Klein: Duo for Violin and Cello; Huang, Knudsen (Northeastern LP)

Field: Piano Concerto No. 1 in E-flat; O’Rourke, Bamert, London Mozart Players (Chandos)

Shostakovich: String Quartet No. 4 in D, Op. 83; Borodin String Quartet (EMI)

Rheinberger: Symphony in F, Op. 87, "Florentine Symphony"; Francis, Northwest German Philharmonic Orchestra (Carus)

Leighton: Variations for Piano Op. 30; P. Wallfisch (Chandos)

Bach: Suite for Orchestra No. 4 in D, S. 1069; Akademie für alte Musik, Berlin (Harmonia Mundi)

Mendelssohn: Sonata for Organ Op. 65 No. 1 in f; Alain (Erato)

Méhul: Symphony No. 1 in g; Rotter, Rhenish Philharmonic Orchestra (Naxos)

Fauré: Piano Trio in d, Op. 120; Golub Kaplan Carr Trio (Arabesque)

Dittersdorf: Oboe Concerto in G; Holliger, Füri, Camerata Bern (DG Archiv)

Dufay: Motet, "Fulgens iubar ecclesiae dei"; Van Nevel, Huelgas Ensemble (Harmonia Mundi)

Dufay: Motet, "Apostolo glorioso"; Van Nevel, Huelgas Ensemble (Harmonia Mundi)

Honegger: Symphony No. 3, "Liturgique"; Karajan, Berlin Philharmonic Orchestra (DG)

Tallis: If ye love me; Keene, Voices of Ascension (Delos)

Taverner: Magnificat; Adams, Harvard Glee Club (MHS)

Weelkes: Hosanna to the Son of David; Darlington, Christ Church Cathedral Choir (Nimbus)

Gibbons: Hosanna to the Son of David; Keene, Voices of Ascension (Delos)

Smetana: Piano Trio in g, Op. 15; Trio Parnassus (MDG)

Dvorak.: Piano Trio in e, Op. 90; Suk Trio (Supraphon)

Busoni: Berceuse élégiaque, Op. 42

Tchaikovsky: Violin Concerto in D, Op. 35; Joshua Bell, violin

Dusapin: Extenso

Ravel: Daphnis et Chloé, Suite No. 2

Messiaen: Et exspecto resurrectionem mortuorum; Boulez, Cleveland Orchestra (DG)

Bruckner: String Quartet in c; Archibudelli (Sony)

Scriabin: Concerto for Piano and Orchestra in f-sharp, Op. 20; Jablonski, Ashkenazy, Deutsches Symphony Orchestra (Decca)

Telemann: Paris Quartets: Suite No. 1; Krueger, Stepner, Jeppesen, Gibbons (Centaur)

Higdon: Concerto for Orchestra; Spano, Atlanta Symphony Orchestra (Telarc)

Hindemith: Sonata for Trumpet and Piano; Marsalis, Stillman (Sony)

Schubert: Symphony No. 4 in c, D. 417, "Tragic"; Wand, Cologne Radio Symphony Orchestra (RCA)

Franck: Chorale for Organ No. 2 in b; Lebrun (Naxos)

Moeran: Rhapsody No. 2 for Orchestra; Handley, Ulster Orchestra (Chandos)

Czerny: Grand Variations for Piano and String Quartet, Op.73, "God save Kaiser Franz"; Jones, Kammermusiker Zürich (Jecklin)

Toch: Concerto for Cello and Chamber Orchestra, Op. 35; Honigberg, Alimena, Eclipse Chamber Orchestra (Albany)

Beethoven: String Quartet No. 6 in B-flat, Op. 18, No. 6; Talich Quartet (Calliope)

Harvard at Yale

Janácek: Jenufa; Karita Mattila, Anja Silja, Kim Begley, Jorma Silvasti, Jiri Belohlávek conducting.

Harvard at Brown

Preacher: The Reverend Dr. William Willimon, Bishop of the North Alabama Conference of the United Methodist Church, Birmingham, Alabama.

Leopold Stokowski (1882-1977)

Bach: Toccata and Fugue in d (trans. Stokowski); Philadelphia Orchestra (RCA)

Rachmaninoff: Symphony No. 3 in a, Op. 44 (Desmar)

Ives: Robert Browning Overture; American Symphony Orchestra (Sony)

Mussorgsky: Pictures at an Exhibition (trans. Stokowski) (Music & Arts)

Mussorgsky: Night on Bald Mountain (orch. Stokowski) (Music & Arts)

Lalo: Le Roi d’Ys; Courtis, Ziegler, Hendricks, Villa, Vanaud, Piquemal, Bohée, Jordan, French Radio Philharmonic Orchestra (Erato).

R. Strauss: Concerto for Horn and Orchestra No. 1 in E-flat, Op. 11; Seifert, Mehta, Berlin Philharmonic Orchestra (Sony)

Carter: Four Lauds for Violin Solo; Zehetmair (ECM)

Vivaldi: Concerto for Flute, Strings, and Continuo in G, RV 102; Hazelzet, Goebel, Musica Antiqua Köln (DG Archiv)

Parry: Fantasia and Fugue in g; Bate (ASV)

Tallis: Antiphon, Ave Dei patris filia; Phillips, Tallis Scholars (Gimell)

Prokofiev: Sonata for Cello and Piano in C, Op. 119; Ma, Ax (Sony)

Gade: Symphony No. 3 in a, Op. 15; Hogwood, Danish National Symphony Orchestra (Chandos)

Haydn: Piano Trio in D, Hob. XV:24; London Fortepiano Trio (Hyperion)

Monteverdi: Madrigals, Book VII, "Con che soavità", Concertato for voice and nine instruments"; Brua, Christie, Les Arts Florissants (Harmonia Mundi)

Elgar: Violin Sonata in e, Op. 82; Vengerov, Chachamov (Teldec)

Chávez: Concerto for Piano and Orchestra; Rodríguez, Mata, New Philharmonia Orchestra (RCA LP)

Telemann: New Paris Quartets: Quartet No. 4 (1738); B. Kuijken, S. Kuijken, W. Kuijken, Leonhardt (Sony)

Tchaikovsky: Symphony No. 4 in f, Op. 36; Mravinsky, Leningrad Philharmonic Orchestra (DG )

Organist Virgil Fox.

Frank: Final in B-flat, Op. 21 (Command LP)

Brahms: Chorale Preludes, Op. 122 (RCA LP)

Messiaen: Dieu parmi nous from La Nativité du Seigneur (Command LP)

Frank: Grand Piece Symphonique (Command LP)

Badings (1907-87): Symphony No. 3; van Otterloo, Hague Philharmonic Orchestra (Donemus)

Badings: Evolutions, for electronic sounds (Epic LP)

Music of Alec Wilder (b. February 16, 1907):

Sonata; Snyder (Golden Crest LP)

Air for Oboe, Air for Flute, other works; Miller, Baker, Sinatra, Columbia String Orchestra, Alec Wilder Octet (Columbia/Sony)

Lang (1957-): Are You Experienced?; Lang, Rozen, Vaillancourt, Nouvel Ensemble Moderne (CRI)

Music performed by the Boston Philharmonic Orchestra (next concerts: February 22 and 25 in Sanders Theater, February 24 in Jordan Hall: Beethoven Egmont Overture and Violin Concerto, Stefan Jackiw, soloist, and Sibelius Symphony No. 5; ticket/information: www.bostonphil.org, 617-236-0999, or box offices), with Music Director Benjamin Zander.

Gounod: Symphony No. 1 in D; Hogwood, St. Paul Chamber Orchestra (London)

Purcell: Sonnatas [sic] of Three Parts No. 8 in G, Z. 797, and No. 9 in C, Z. 798; Purcell Quartet (Chandos)

Schmidt: Chaconne for Organ; Juffinger (Capriccio)

Dallapiccola: Ciaccona, Intermezzo, e Adagio for Solo Cello; Christensen (Gasparo)

Salieri: Piano Concerto in D; Ciccolini, Scimone, I Solisti Veneti (Sound)

Josquin: Missa De Beata Virgine; A Sei Voci (Forlane)

Korngold: Symphonic Serenade for Strings, Op. 39; Albert, Northwest German Philharmonic Orchestra (cpo)

Buxtehude: Magnificat primi toni for Organ, BuxWV 203; Vogel (MD&G)

Puccini: Capriccio Sinfonico; Muti, La Scala Philharmonic Orchestra (Sony)

Schubert: String Quartet No. 10 in E-flat, D. 87; Takacs Quartet (Hungaroton)

Tallis: Motet, "Gaude gloriosa"; Phillips, Tallis Scholars (Gimell)

Khachaturian: Suite for Two Pianos; Tanyel and Brown (Chandos)

Tartini: Concerto for Flute and Orchestra in F; Rampal, Scimone, I Solisti Veneti (RCA)

Strauss: Macbeth, Symphonic Poem, Op. 23; Järvi, Scottish National Orchestra (Chandos)

Lourié: String Quartet No. 3 (Suite); Leipzig String Quartet (MDG)

Harvard vs. Brown

Bizet: Variations chromatiques; Gould (Philips)

Bernstein: Symphony No. 2 for Piano and Orchestra, "The Age of Anxiety"; Entremont, Bernstein, New York Philharmonic Orchestra (Sony)

Khachaturian: Sonata-Fantasia for Solo Cello; Kaderavek (GM)

Mozart: Symphony No. 6 in F, K. 43; Graf, Salburg Mozarteum Orchestra (Laserlight)

Alfonso X El Sabio: Cantiga 216, "O que en Santa María" and 250, "Santa María, strella do dia"; Best, Martin Best Mediaeval Ensemble (Nimbus)

Dvorak: Czech Suite, Op. 39; Mackerras, English Chamber Orchestra (Philips LP)

Telemann: Gulliver Suite for Two Violins; Manze, Balding (Harmonia Mundi)

Glass: The Light; Davies, Vienna Radio Symphony Orchestra (Nonesuch)

Schubert: Deutsche Tänze, called Ländler, Twelve, D. 790; Kovacevich (EMI)

Shostakovich: Symphony No. 13 for Bass, Men’s Chorus, and Orchestra, Op. 113, "Babi Yar"; Aleksashkin, Solti, Men of Chicago Symphony Chorus, Chicago Symphony Orchestra (London)

Narváez: Lute pieces: La Cancion del emperador: Mille Regres, Baxa de Contrapunto, and Cancion del primer Tono; Kirchhof (Sony)

Strauss: Romance for Cello and Orchestra in F, work without opus AV 75; Wallfisch, Järvi, Royal Scottish National Orchestra (Chandos)

Clementi: Sonata in D, Op. 40, No. 3; Tipo (EMI)

Heinichen: Concerto in G; Goebel, Musica Antiqua Köln (DG Archiv)

The early Renaissance, part III.

Partita No. 2 in d, S. 1004; Szeryng (DG), with comparison movements from Koh (Cedille), Kremer (ECM), Sitkovetsky (Hänssler), Mullova (Philips), Milstein (EMI), and Menuhin (EMI).

Every Wednesday night, New Releases features the best in the most recent classical music recordings. You’ll hear your favorite works, new music and reissues of classic recordings. To learn more about the music featured on New Releases, join our mailing list. Send an email to newreleases@whrb.org.

Hummel: Sonata for Piano and Viola in E-flat; Duchable, Caussé (Erato LP)

Poulenc: Animaux modeles, Les; (Suite) Dutoit, Orchestre National de France (London)

Veracini: Ouverture No. 2 in F; Goebel, Musica Antiqua Köln (DG Archiv)

Brahms: Choral Preludes, Op. 122; Innig (MD&G)

Vejvanovsky: Harmonia romana; Vlcek, Virtuosi di Praga (Discover)

Balada: Concierto Mágico for Guitar and Orchestra; Fisk, Serebrier, Barcelona Symphony and Catelonia National Orchestra (Naxos)

Sammartini: Sonata in G Op. 13/4; Petri, Malcolm (Philips)

Offenbach: Le Papillon, ballet; Bonynge, English Concert Orchestra (London)

Rodrigo: Por los campos de España for Guitar; A. Romero (RCA Victor)

Mercadante: Decimino II for Flute, Oboe, Bassoon, Two Violins, Two Violas, Cello, Double Bass, and Piano; Spada, Philharmonia Soloists (ASV)

Morley: Come, Sorrow, Come; Partridge, Ragossnig (Cadenza)

Varèse: Amériques; Boulez, New York Philharmonic Orchestra (Sony)

Torelli: Concerto VI (Etienne Roger); Concerto Koln (MDG)

Moret: Hymnes de Silence; Kühner, Sacher, Basel Symphony Orchestra (Erato)

Victoria: O magnum mysterium; Shaw, Robert Shaw Festival Singers (Telarc)

Viadana: Exultate justi; Keene, Voices of Ascension (Delos)

Palestrina: Tu es Petrus; Keene, Voices of Ascension (Delos)

Palestrina: Missa Papae Marcelli, Summerly, Oxford Camerata (Naxos)

Suk: Piano Trio in c, Op. 2; Berlin Philharmonic Trio (Summit)

Dvorak: Piano Trio in f, Op. 65; Berlin Philharmonic Trio (Summit)

Berio: Duets for Two Violins

Thomas: Island Music

Janacek: Glagolitic Mass; Measha Brueegergosman, Jill Grove, Sergej Larin, Tigran Martirossian, San Francisco Symphony Chorus

Poulenc: Sonata for Clarinet and Piano; Johnson, Back (ASV)

Schütz: Passion Motets; Chorus of Emmanuel Music (Koch)

Hoffman: Partenze for Solo Violin; Macomber (Koch)

Massenet: Scenes Alsaciennes; Wolff, Orchestre de la Societe des Concerts du Conservatoire de Paris (London LP)

Bach: Partita No. 6 in e, S. 830; Schiff (London)

Delius: Sea Drift; Mackerras, Hampson, Welsh National Opera (Argo)

Telemann: Concerto in a minor; Ensemble Florilegium (Channel Classics)

Maslanka: Hell’s Gate; Hanson, University of Arizona Wind Ensemble (Albany)

Beethoven: String Trio in c, Op. 9, No. 3; Leopold Trio (Hyperion)

Mahler: Lieder eines fahrenden Gesellen (Songs of a Wayfarer); Baker, Barbirolli, Hallé Orchestra (EMI)

Gallot: Lute Suite in a; Smith (Astrée)

Respighi: Prelude and Fugue in D of Bach, orch. by Respighi; Noseda, BBC Philharmonic Orchestra (Chandos)

Prokofiev: Sonata for Cello Solo, Op. 133; Ivashkin (Chandos)

Vivaldi: Concerto for Bassoon and Orchestra No. 7 in a, RV 497; Smith, Ninic, Zagreb Soloists (ASV)

Mendelssohn: Songs Without Words, Book IV, Op. 53; Edlina (Chandos)

Harvard v. Colgate

Tchaikovsky: Eugene Onegin; Renée Fleming, Elena Zaremba, Ramón Vargas, Dmitri Hvorostovsky, Sergei Aleksashkin, Valery Gergiev conducting.

Harvard v. Cornell

Preacher: The Reverend Peter J. Gomes, Plummer Professor of Christian Morals and Pusey Minister in The Memorial Church.

Sergei Rachmaninoff Part I (1873-1943) on RCA recordings.

Mozart: Ronda alla turca from Sonata in A, K. 331

Chopin: Ballade No. 3 in A-flat, Op. 47

Chopin: Nocturne Op. 15, No. 2 in F-sharp

Rachmaninoff: Selected Preludes

Rachmaninoff: Rhapsody on a Theme of Paganini

Rachmaninoff: Selected Etudes-Tableaux

Chopin: Piano Sonata No. 2 in b-flat, Op. 35, "Funeral March"

Schumann: Carnaval, Op. 9

Chopin: Scherzo No. 3 in c-sharp, Op. 39

Handel: Semele; Battle, Horne, Ramey, Aler, Chance, Mackie, McNair, Doss, Nelson, English Chamber Orchestra (DG).

Composer-organist Marcel Dupré performs his own music.

Prelude and Fugue No. 1 in e (Mercury LP)

Toccata sur "Ave maris stella" (Phillips LP)

Choral et fugue (Philips LP)

Prelude and Fugue No. 3 in C (Mercury LP)

Prelude and Fugue No. 3 in g from Three Preludes and Fugues, Op. 7

(Mercury LP)

Triptyque for Organ (Mercury LP)

Music performed by the little-known but superb cellist Daniil Shafran, who died February 7, 1997; includes Bach Suites (Yedang Classics), Beethoven Sonatas (Odyssey-Melodiya LP’s), the Shostakovich Cello Sonata with the composer at the piano, and Prokofiev’s Symphony-Concertante in e, Op. 125 with the USSR State Symphony Orchestra under Gennady Rozhdestvensky (Cello Classics)

Saint-Saëns: Cello Concerto No. 1 in a; Du Pré, Barenboim, New Philharmonia Orchestra (EMI)

Bach: Violin Partita No. 2 in d, S. 1004; Milstein (Bridge)

Carter: The Minotaur; Schwarz, New York 92nd Y Chamber Symphony (Nonesuch)

Mozart: String Quintet No. 5 in D, K. 593; Amadeus Quartet, Aronowitz (DG)

Strauss: Vienna Blood Waltz Op. 354; Karajan, Berlin Philharmonic Orchestra (DG)

Strauss: Tales from the Vienna Woods, Op. 325; Karajan, Berlin Philharmonic Orchestra (DG)

Monteverdi: Laudate Dominum omnes gentes (I, II, III) a 5 (Psalm 116), from Selva morale et spirituale; Heyerick, Ex Tempore (Radio Nederland)

Korngold: Symphonic Overture, "Sursum Corda", Op. 13; Albert, Northwest German Philharmonic Orchestra (cpo)

Berg: String Quartet, Op. 3 (1909/20); LaSalle Quartet (DG)

Carulli: Duos for Flute and Guitar, Op. 104, No. 1, No. 3; Rampal, Lagoya (CBS LP)

Fauré: Nocturne No. 1 in e-flat, Op. 33, No. 1, No. 2 in B, Op. 33, No. 2; Crossley (CRD LP)

Bach: Concerto for Two Harpsichords and Orchestra No. 1 in c, S. 1060; Leonhardt, Müller, Leonhardt Consort (Telefunken)

Charpentier: Motet, "O vos omnes," H. 134; Jacobs, Concerto Vocale (Har. Mundi)

Dvorak: Cello Concerto in b, Op. 104; Rostropovich, Karajan, Berlin Philharmonic Orchestra (DG LP)

Veress: Trio for Strings; Schneeberger, T. Zimmermann, Demenga (ECM)

Harvard vs. Brown

C.P.E. Bach: Sonata for Viola da Gamba and Continuo in D, Wq. 137, H. 559; London Baroque (Harmonia Mundi)

Gabrieli: In ecclesiis; Biggs, Negri, Gregg Smith Singers, Texas Boys Choir of Ft. Worth, Edward Tarr Brass Ensemble (Columbia LP)

Finzi: Elegy for Violin and Piano; Hope, Mulligan (Nimbus)

Debussy: Jeux, Poème dansé; Bernstein, New York Philharmonic Orchestra (Sony)

Cage: In a Landscape, for harp or piano; Lubimov (ECM)

Pergolesi: Concerto for Violin and Strings in B-flat; Mussumeli, Scimone, I Solisti Veneti (Erato LP)

Beethoven: Sonata for Violin and Piano No. 7 in c, Op. 30, No. 2; Kremer, Argerich (DG)

Szymanowski: Symphony No. 2 in B-flat, Op. 19; Botstein, London Philharmonic Orchestra (Telarc)

Boccherini: String Quintet in D, Op. 29, No. 1, G. 313; S. Kuijken, Stuurop, van Dael, Bylsma, W. Kuijken (Sony)

Varèse: Arcana; Boulez, New York Philharmonic Orchestra (Sony)

Handel: Suite for Harpsichord, 1720 Set, No. 7 in g, HWV 432; Yates (Chandos)

Brahms: Rinaldo, for Tenor, Men’s Chorus, and Orchestra, Op. 5; Kollo, Sinopoli, Prague Philharmonic Chorus, Czech Philharmonic Orchestra (DG LP)

Pärt: Es sang vor langen Jahren, for alto, violin, and viola; Wallace, Kemp, Morton (Black Box)

Nielsen: Concerto for Violin and Orchestra, Op. 33; Lin, Salonen, Swedish Radio Symphony Orchestra (CBS)

The early Renaissance, part IV.

Every Wednesday night, New Releases features the best in the most recent classical music recordings. You’ll hear your favorite works, new music and reissues of classic recordings. To learn more about the music featured on New Releases, join our mailing list. Send an email to newreleases@whrb.org.