Saturday, May 1

5:00 am JAZZ SPECTRUM

9:00 am HILLBILLY AT HARVARD

1:00 pm THE WARHORSE ORGY

7:00 pm THE NEW YORK PHILHARMONIC ORCHESTRA IN CONCERT

Bach: Brandenburg Concerto No. 6

Schubert: Symphony No. 8, "Unfinished"

Gubaidulina: Concerto for Two Violas; Phelps, Young

Mendelssohn: Symphony No. 4, "Italian"

9:00 pm THE DJ PREMIER ORGY

Sunday, May 2

7:00 am THE ZYDECO ORGY

As Clifton Chenier was once heard to remark, "In Louisiana, even the crawfish got soul." The blues department is proud to present a small four-hour slice of this zydeco soul. Zydeco, a Louisiana-based blend of blues, rock, and traditional Cajun music styles, is traditionally the responsibility of the blues department, yet rarely finds its way onto the air.The first half of the orgy will focus on Chenier himself, the undisputed "King of Zydeco," as well as featuring a few older Cajun tracks that highlight the relationship between zydeco and blues. In the second half, the orgy will highlight the work of more contemporary artists, such as Boozoo Chavis, Beau Jocque & the Zydeco Hi-Rollers, Buckwheat Zydeco and Bruce Daigrepont."

11:00 am MEMORIAL CHURCH SERVICE

12:30 pm THE TANGO ORGY

Join us for a short survey of the history of the Argentinean tango spanning from the 1890s to contemporary treatments of the greatest of dance forms. We'll listen to some of the earliest recorded tango music by the legendary Carlos Gardel and feature the music of such tango greats as Augustin Magaldi, Annibal Troilo, Juan D'Arienzo, Edmundo Rivera, and Julio Sosa, plus music of the modern tango master, Astor Piazzolla (and recent hommages to his music). In addition, we'll be examining recent releases of tango music by such noted classical artists as Gidon Kremer, Yo-Yo Ma, and Daniel Barenboim.

7:00 pm THE ROBERT SCHUMANN ORGY

1827-28: Early Songs, WoO 21: "Sehnsucht," "Die Weinende," "Erinnerung," "Kurzes Erwachen," "Gesanges Erwachen," "An Anna I," "An Anna II," " Im Herbste"; Fischer-Dieskau, Eschenbach (DG LP), Hampson, Parsons (Teldec)

1828: Eight Polonaises for Piano, Four Hands; Demus, Shetler (MHS LP)

1828-30: Piano Quartet in c; Previn, Kim, Ohyama, Hoffman (RCA)

1829-30: Thème sur le nom "Abegg" varié, for Piano, Op. 1; Richter (DG)

1829-31: Papillons, Op. 2; Richter (EMI)

1831: Allegro for Piano in b, Op. 8; Engel (Telefunken LP)

1829-32: Toccata for Piano in C, Op. 7; Richter (DG LP)

1831-32: Andante with Variations on an Original Theme in G, "Mit Gott"; Demus (Nuova Era)

1832: Six Studies for Piano after the Caprices of Paganini, Op. 3; Engel (Telefunken LP)

1832: Six Intermezzos for Piano, Op. 4; Eschenbach (DG LP)

1833-5: Carnaval for Piano, Op. 9; Arrau (EMI LP)

1832-3: Symphony in g, "Zwickau"; Gardiner, Orchestre Révolutionnaire et Romantique (DG Archiv)

1832-5: Piano Sonata No. 1 in f-sharp, Op. 11; Perahia (Sony)

1833: Ten Impromptus for Piano on a Theme by Clara Wieck, Op. 5 (first version); Rosen (Nonesuch LP)

1833: Six Concert Etudes for Piano after the Caprices of Paganini, Op. 10; Engel (Telefunken LP)

midnight RECORD HOSPITAL

Monday, May 3

5:00 am THE ROBERT SCHUMANN ORGY CONTINUES

1833: Etudes in the Form of Free Variations on a Theme of Beethoven; Badura-Skoda (Koch)

1833?: Presto Passionato for Piano (original finale for Op. 22); Horowitz (Seraphim LP)

1835-6: Concerto for Piano without Orchestra in f, Op. 14 (Sonata); Horowitz (RCA)

1836: Scherzo in f; Demus (Nuova Era)

1836-8: Fantasie for Piano in C, Op. 17; Richter (EMI)

1833-8: Piano Sonata No. 2 in g, Op. 22; Argerich (DG LP)

1834-7: Symphonic Etudes for Piano, Op. 13, with the posthumously published Etudes; Richter (Olympia)

1837: Davidsbündlertänze for Piano, Op. 6; Arrau (Philips LP)

1837: Fantasiestücke for Piano, Op. 12; Argerich (Columbia LP)

1838: Kinderszenen, Op. 15; Moravec (Nonesuch LP)

9:00 am

1838: Kreisleriana, Op. 16; Horowitz (CBS)

1838: Humoreske for Piano in B-flat, Op. 20; Arrau (Philips LP)

1838: Eight Novelletten for Piano, Op. 21; Arrau (Philips LP)

1838-9: Klavierstücke, Op. 32; Engel (Telefunken LP)

1839: Arabeske for Piano in C, Op. 18; Horowitz (Seraphim LP)

1839: Blumenstück for Piano in D-flat, Op. 19; Richter (London)

1839: Nachtstücke for Piano, Op. 23; Arrau (Philips LP)

1839: Three Romances for Piano, Op. 28; Kempff (DG LP)

noon

1839: Piano Concerto in d (first movement); Eley, Stone, English Chamber Orchestra (Koch)

1839-40: Faschingsschwank aus Wien, Op. 26; Michelangeli (Testament)

1840: Liederkreis, Op. 24 (Heine); Fischer-Dieskau, Eschenbach (DG LP)

1840: Myrthen, Op. 25: "Widmung," "Freisinn," "Der Nussbaum," "Jemand," "Sitz' ich allein," "Setze mir nicht," "Die Lotosblume," "Talismane," "Lied der Suleika," "Die Hochländer-Witwe," "Mutter, Mutter," "Lass mich ihm am Busen hangen," "Hochländers Abschied," "Hochländisches Wiegenlied," "Aus den hebräischen Gesängen," "Rätsel," "Leis' rudern hier," "Wenn durch die Piazzetta," "Hauptmanns Weib," "Weit, weit," "Was will die einsame Träne?" "Niemand," "Im Westen," "Du bist wie eine Blume," "Aus den östlichen Rosen," "Zum Schluss"; Fischer-Dieskau, Eschenbach (DG LP), Mathis, Eschenbach (DG LP), Bonney, Ashkenazy (London)

1840: Five Songs, Op. 27: "Sag' an, o lieber Vogel," "Dem roten Röslein," "Was soll ich sagen?," "Jasminenstrauch," "Nur ein lächelnder Blick"; Fischer-Dieskau, Demus (DG LP)

1840: Three Songs, Op. 29, Nos. 1 and 3: "Ländliches Lied," "Zigeunerleben"; Schreier, Fischer-Dieskau, Eschenbach (DG LP), Rilling, Galling, Gächinger Kantorei (Nonesuch LP)

1840: Three Songs, Op. 30: "Der Knabe mit dem Wunderhorn," "Der Page," "Der Hidalgo"; Fischer-Dieskau, Eschenbach (DG LP)

1840: Three Songs, Op. 31: "Die Löwenbraut," "Die Kartenlegerin," "Die rote Hanne"; Fischer-Dieskau, Eschenbach (DG LP), Mathis, Eschenbach (DG LP)

1840: From Six Songs, Op. 33: "Der träumende See," "Die Minnesänger," "Die Lotosblume"; Potter, Covey-Crump, Beavan, Hillier, The Hilliard Ensemble (EMI)

1840: Four Duets for Soprano and Tenor, Op. 34: "Liebesgarten," "Liebhabers Ständchen," "Unterm Fenster," "Familien-Gemälde"; Varady, Fischer-Dieskau, Eschenbach (DG LP)

1840: Twelve Songs, Op. 35 (Kerner); Prey, Engel (EMI)

1840: Six Songs, Op. 36: "Sonntags am Rhein," "Ständchen," "Nichts Schöneres," "An den Sonnenschein," "Dichters Genesung"; Fischer-Dieskau, Demus (DG LP), Souzay, Baldwin (Philips LP)

1840: Twelve Songs from "Liebesfrühling," Op. 37, Nos. 1, 3, 5, 7, 8, 9, and 12: "Der Himmel hat eine Träne geweint," "O ihr Herren," "Ich hab' in mich gesogen," "Schön ist das Fest des Lenzes," "Flügel! Flügel! um zu fliegen," "Rose, Meer und Sonne," "So wahr die Sonne scheinet"; Schreier, Eschenbach (Teldec), Schumann, Reeves (World Record LP), Fischer-Dieskau, Eschenbach (DG LP), Baker, Fischer-Dieskau, Barenboim (Angel LP), Lear, Stewart, Werba (DG LP)

4:00 pm

1840: Five Songs, Op. 40: "Märzveilchen," "Muttertraum," "Der Soldat," "Der Spielmann," "Verratene Liebe"; Hampson, Parsons (Teldec)

1840: Frauenliebe und -leben, Op. 42 (Chamisso); Ferrier, Walter (British Decca LP)

1840: Three Two-part Songs, Op. 43: "Wenn ich ein Vöglein wär'," "Herbstlied," "Schön Blümelein"; Schreier, Fischer-Dieskau, Eschenbach (DG LP)

1840: Romances and Ballads, Op. 45: "Der Schatzgräber," "Frühlingsfahrt," "Abends am Strand"; Fischer-Dieskau, Moore (Angel LP), Fassbaender, Cage (DG)

1840: Romances and Ballads, Op. 49: "Die beiden Grenadiere," "Die feindlichen Brüder," "Die Nonne"; Hotter, Moore (Seraphim LP), Fischer-Dieskau, Eschenbach (DG LP), Mathis, Eschenbach (DG LP)

1840: Romances and Ballads, Op. 53: "Blondels Lied," "Loreley," "Der arme Peter"; Fischer-Dieskau, Eschenbach (DG LP), Ameling, Demus (Deutsche Harmonia Mundi), Schreier, Eschenbach (Teldec)

1840: Song, "Belsatzar" (Belshazar) Op. 57; Prey, K. Richter (London LP)

1840: Four Songs, Op. 142: "Trost im Gesang," "Lehn' deine Wang'," "Mädchen-Schwermut," "Mein Wagen rollet langsam"; Hampson, Parsons (Teldec), Fassbaender, Gage (DG), Mathis, Eschenbach (DG LP)

5:45 pm

1840: Song Cycle, Dichterliebe, Op. 48 (Heine); Wunderlich, Giesen (DG)

1838-49: Bunte Blätter, Op. 99; Richter (Melodiya LP)

1840: Liederkreis, Op. 39 (Eichendorff); Souzay, Baldwin (Philips)

1841: Symphony No. 1 in B-flat, Op. 38, "Spring"; Kubelik, Bavarian Radio Symphony Orchestra (Sony)

8:00 pm Historic Performances I

10:00 pm

1842: Piano Quintet in E-flat, Op. 44; Serkin, Budapest String Quartet (Columbia LP)

1841-1847: Romances and Ballads, Op. 64: "Die Soldatenbraut," "Das verlassne Mägdelein," "Tragödie"; Mathis, Eschenbach (DG LP), Fassbaender, Gage (DG)

1842: String Quartet in a, Op. 41, No. 1; Juilliard String Quartet (Columbia)

1841: Symphony No. 4 in d, Op. 120 (original Leipzig version); Masur, London Philharmonic Orchestra (Teldec)

1842: Piano Quartet in E-flat, Op. 47; Gould, Juilliard String Quartet (Columbia LP)

Tuesday, May 4

midnight THE ROBERT SCHUMANN ORGY CONTINUES

1842: Phantasiestücke for Violin, Cello, and Piano, Op. 88; Abegg Trio (Intercord)

1842: String Quartet in F, Op. 41, No. 2; Quartetto Italiano (Philips)

1843: Andante and Variations for Two Pianos in B-flat, Op. 46; A. Paratore, J. Paratore (Koch)

1842: String Quartet in A, Op. 41, No. 3; Melos Quartett (DG)

1843: Das Paradies und die Peri, Op. 50; Faulkner, Murphy, Quivar, Wilke, Lewis, Swensen, Hale, Sinopoli, Staatskapelle Dresden, Dresden State Opera Chorus (DG)

1849: Twelve Pieces for Piano, Four Hands, for Big and Small Children, Op. 85; Demus, Shetler (MHS LP)

1845: Studies for Pedal Piano, Op. 56; Rothkopf (Audite)

1841, rev. 1845: Overture, Scherzo, and Finale in e/E, Op. 52; Karajan, Berlin Philharmonic Orchestra (DG LP)

1845: Four Sketches for the Pedal Piano, Op. 58; Rothkopf (Audite)

1845: Six Fugues on B A C H for Organ, Op. 60; Rothkopf (Audite)

5:00 am

1845: Four Fugues for Piano, Op. 72; Richter (London)

1832-45: Albumblätter, Op. 124; Frankl (Vox LP)

1846: Five Songs, Op. 55: "Das Hochlandmädchen," "Zahnweh," "Mich zieht es nach dem Dörfchen hin," "Die alte, gute Zeit," "Hochlandbursch"; Hinz, Paaske, von Binzer, Hansen, Rasmussen, Canzone Choir (Kontrapunkt)

1846: Four Songs, Op. 59: "Nord oder Süd!," "Am Bodensee," "Jägerlied," "Gute Nacht"; Hinz, Paaske, von Binzer, Hansen, Rasmussen, Canzone Choir (Kontrapunkt)

1847: Ritornelle in canonischen Weisen, Op. 65, No. 1; Padmore, Covey-Crump, Potter, Hillier, Beavan, Hillier, The Hilliard Ensemble (EMI)

1840-1850: Songs, Op. 51: "Sehnsucht," "Volksliedchen," "Ich wand're nicht," "Auf dem Rhein," "Liebeslied"; Schreier, Eschenbach (Teldec), Mathis, Eschenbach (DG LP), Fischer-Dieskau, Eschenbach (DG LP)

1840-1850: Songs, Op. 77: "Der frohe Wandersmann," "Mein Garten," "Geisternähe," "Stiller Vorwurf," "Aufträge"; Fischer-Dieskau, Moore (Angel LP), Popp, Parsons (Eurodisc LP), Ginster, Moore (EMI LP), Mathis, Eschenbach (DG LP), Ameling, Demus (Deutsche Harmonia Mundi)

1843: Andante and Variations for Two Pianos, Two Cellos, and Horn (original version of Op. 46); Ashkenazy, Frager, Fleming, Weil, Tuckwell (London LP)

1845-6: Symphony No. 2 in C, Op. 61; Klemperer, Philharmonia Orchestra (EMI)

8:00 am

1847: Piano Trio No. 1 in d, Op. 63; Thibaud, Casals, Cortot (EMI)

1846: Piano Concerto in a, Op. 54; Perahia, Davis, Bavarian Radio Symphony Orchestra (CBS)

1847: Piano Trio No. 2 in F, Op. 80; Florestan Trio (Hyperion)

1840-1850: Five Songs, Op. 127: "Sängers Trost," "Dein Angesicht," "Es leuchtet meine Liebe," "Mein altes Ross," "Schlusslied des Narren"; Hampson, Parsons (Teldec), Bostridge, Drake (EMI)

1847: Beim Abschied zu singen, Op. 84; Neumann, Leipzig Radio Chorus, Leipzig Radio Symphony Orchestra (Berlin Classics)

1847-9: Genoveva, Op. 81; Moser, Schröter, Schreier, Fischer-Dieskau, Lorenz, Vogel, Stryczek, Masur, Berlin Radio Chorus, Leipzig Gewandhaus Orchestra (German EMI)

noon

1848: Bilder aus Osten for Piano Four Hands, Op. 66; Demus, Shetler (MHS LP)

1848: Album for the Young, Op. 68; Weissenberg (EMI)

1848: Album for the Young sketchbook: Kuckuck im Versteck, Haschemann, Auf der Gondel, Für ganz Kleine, Puppenschlaffliedchen, Linke Hand soll sich auch zeigen, Allegreto, Moderato, Lagune in Venedig; Frankl (Vox LP)

1848-9: Incidental Music to Manfred, Op. 115; Rylands, Balcon, de la Torre, Browne, Enders, Beecham, BBC Chorus, Royal Philharmonic Orchestra (Columbia LP)

1849: Romances and Ballads I, Op. 67: "Der König von Thule," "Schön Rohtraut," "Heidenröslein," "Ungewitter," "John Anderson"; Rasmussen, Canzone Choir (Kontrapunkt)

3:00 pm

1849: Romances for Women's Voices, Op. 69: "Tamburinschlägerin," "Waldmädchen," "Klosterfräulein," "Soldatenbraut," "Meerfey," "Die Kapelle"; Bernius, Stuttgart Chamber Choir (EMI LP)

1849: Adagio and Allegro for Horn and Piano in A-flat, Op. 70; Neunecker, Rabinovitch (EMI)

1849: Phantasiestücke for Clarinet and Piano, Op. 73; Stoltzman, Goode (RCA)

1849: Spanisches Liederspiel, Op. 74; Shirai, Lipovsek, Protschka, Hölle, Deutsch (Capriccio), Varady, Schreier, Fischer-Dieskau, Eschenbach (DG LP), Fischer-Dieskau, Eschenbach (DG LP)

1849: Four Marches for Piano, Op 76; Engel (Telefunken LP)

4:30 pm

1844-53: Scenes from Goethe's Faust; Fischer-Dieskau, Harwood, Shirley-Quirk, Pears, Vyvyan, Palmer, Dickinson, Stevens, Lloyd, Hodgson, Britten, Wandsworth School Choir, Aldeburgh Festival Singers, English Chamber Orchestra (London)

6:00 pm

1849: Four Duets, Op. 78: "Tanzlied," "Er und Sie," "Ich denke dein," "Wiegenlied"; Baker, Fischer-Dieskau, Barenboim (Angel LP), Schwarzkopf, Fischer-Dieskau, Moore (EMI)

1849: Lieder-Album für die Jugend, Op. 79; Ameling, Demus (Philips LP)

1850: Cello Concerto in a, Op. 129; Ma, Davis, Bavarian Radio Symphony Orchestra (CBS LP)

1849: Waldszenen for Piano, Op. 82; Kempff (DG LP)

1850: Symphony No. 3 in E-flat, Op. 97, "Rhenish"; Walter, New York Philharmonic Orchestra (Sony)

9:00 pm Historic Performances II

11:00 pm

1849: Concert Piece for Four Horns and Orchestra in F, Op. 86; Montgomery, Edwards, Dent, Maskell, Gardiner, Orchestre Révolutionnaire et Romantique (DG Archiv)

1849: Romances for Women's Voices, Op. 91: "Rosmarien," "Jäger Wohlgemut," "Der Wasserman," "Das verlassene Mägdelein," "Der Bleicherin Nachtlied," "In Meeres Mitten"; Bernius, Stuttgart Chamber Choir (German EMI)

1849: Introduction and Allegro Appassionato for Piano and Orchestra in G, Op. 92; Richter, Wislocki, National Philharmonic Symphony Orchestra of Warsaw (DG LP)

1849: Three Romances for Oboe and Piano, Op. 94; Dombrecht, van Immerseel (Accent)

1849: Three Songs, Op. 95: No. 2, "An der Mond"; Fischer-Dieskau, Eschenbach (DG LP)

1849: Wilhelm Meister Songs, Op. 98a: "Kennst du das Land?" Ballade des Harfners ("Was hör ich draussen vor dem Tor"), "Nur wer die Sehnsucht kennt," "Wer nie sein Brot mit Tränen ass," "Heiss mich nicht reden," "Wer sich der Einsamkeit ergibt," "Singet nicht in Trauertönen," "An die Türen will ich schleichen," "So lasst mich scheinen"; Augér, Olbertz (Berlin Classics), Fischer-Dieskau, Eschenbach (DG LP)

1849: Requiem for Mignon, Op. 98b; Donath, Kaufmann, Lipovsek, Calm, Rootering, Sawallisch, Bavarian Radio Symphony Orchestra and Chorus (Eurodisc)

1849: Minnespiel, Op. 101: Nos. 2-5, 7, and 8, "Liebster, deine Worte stehlen," "Ich bin dein Baum," "Mein schöner Stern!" "Schön ist das Fest des Lenzes," "Die tausend Grüsse," "So wahr die Sonne scheinet"; Mathis, Eschenbach (DG LP), DeGaetani, Guinn, Kalish (Nonesuch LP), Bonney, Ashkenazy (London), Wehnert, Marburg Bach Choir, Walther-Lindqvist (Thorofon)

Wednesday, May 5

1:30 am THE ROBERT SCHUMANN ORGY CONTINUES

1849: Five Pieces in Folk Style for Cello and Piano, Op. 102; Casals, Mannes (Sony)

1849: Declamation, "Schön Hedwig," Op. 106; Fischer-Dieskau, Eschenbach (DG LP)

1849: Spanische Liederspiel, Op. 138 (Geibel); Marshall, Sarfaty, Simoneau, Warfield, Gold, Fizdale (CBS LP)

1849: Four Songs for Double Chorus, Op. 141: "An die Sterne," "Ungewisses Licht," "Zuversicht," "Talismane"; Bantzer, Harvestehude Chamber Choir (Arte Nova); Neumann, Leipzig Radio Chorus, Leipzig Radio Symphony Orchestra (Berlin Classics)

1849: Song, "Sommerruh," without opus number; Schreier, Fischer-Dieskau, Eschenbach (DG LP)

1849-51: Romances and Ballads II, Op. 75: "Schnitter Tod," "Im Walde," "Der traurige Jäger," "Der Rekrut," "Vom verwundeten Knaben"; Rasmussen, Canzone Choir (Kontrapunkt)

1849-51: Romances and Ballads IV, Op. 145: "Der Schmied," "Die Nonne," "Der Sänger," "John Anderson," "Romanze vom Gänsebuben"; Bernius, Stuttgart Chamber Choir (German EMI LP)

1849-51: Romances and Ballads III, Op. 146: "Brautgesang," "Der Bänkelsänger Willie," "Der Traum," "Sommerlied," "Das Schifflein"; Laki, Hirzel, Ritzkowsky, Bernius, Stuttgart Chamber Choir (German EMI LP)

1850: Three Songs, Op. 83: "Resignation," "Die Blume der Ergebung," "Der Einsiedler"; Fischer-Dieskau, Eschenbach (DG LP), Mathis, Eschenbach (DG LP)

1850: Song, "Der Handschuh," Op. 87 (Schiller); Fischer-Dieskau, Eschenbach (DG LP)

1850: Six Songs, Op. 89: "Es stürmet am Abendhimmel," "Heimliches Verschwinden," "Herbstlied," "Abschied vom Walde," "Ins Freie," "Röselein, Röselein!"; Fischer-Dieskau, Eschenbach (DG LP), Popp, Parsons (Eurodisc LP)

1850: Seven Songs, Op. 90: "Lied eines Schmiedes," "Meine Rose," "Kommen und Scheiden," "Die Sennerin," "Einsamkeit," "Der schwere Abend," "Requiem"; Fischer-Dieskau, Eschenbach (DG LP), Ameling, Demus (Deutsche Harmonia Mundi), Pears, Perahia (CBS LP)

1850: Songs, Op. 96: Nos. 1-3 and 5, "Nachtlied," "Schneeglöckchen," "Ihre Stimme," "Himmel und Erde"; Fischer-Dieskau, Eschenbach (DG LP), Mathis, Eschenbach (DG LP)

1850-1: Overture to Die Braut von Messina, Op. 100; Muti, Philharmonia Orchestra (Angel LP)

1850-51: Five Cheerful Songs, Op. 125: "Die Meerfee," "Husarenabzug," "Jung Volkers Lied," "Frühlingslied," "Frühlingslust"; Fischer-Dieskau, Eschenbach (DG LP), Mathis, Eschenbach (DG LP)

1851: Seven Songs, Op. 104: Nos.1-6, "Mond, meiner Seele Liebling," "Viel Glück zur Reise, Schwalben!" "Du nennst mich armes Mädchen," "Der Zeisig," "Reich mir die Hand," "Die letzten Blumen starben"; Mathis, Eschenbach (DG LP), Ameling, Demus (Quintessence LP)

5:00 am

1851: Violin Sonata No. 1 in a, Op. 105; Busch, Serkin (Columbia LP)

1851: Scenes from a Ball for Piano, Four Hands, Op. 109; Demus, Shetler (MHS LP)

1851: Piano Trio No. 3 in g, Op. 110; Beaux Arts Trio (Philips LP)

1851: Three Fantasiestücke for Piano, Op. 111; Horowitz (Philips)

1851: Oratorio, Der Rose Pilgerfahrt, Op. 112; Donath, Lövaas, Hamari, Altmeyer, Pla, Sotin, Frühbeck de Burgos, Düsseldorf Music Society Chorus and Orchestra (EMI)

1851: Märchenbilder for Viola and Piano, Op. 113; Tomter, Andsnes (Virgin)

1851: Der Königssohn, Op. 116; Soffel, Protschka, Grönroos, Berry, Meven, Klee, Düsseldorf Music Association Chorus, Düsseldorf Symphony Orchestra (EMI)

1851: Four Husarenlieder, Op. 117 (Lenau); Fischer-Dieskau, Eschenbach (DG)

1851: Three Songs, Op. 119: No. 2, "Warnung"; Fischer-Dieskau, Eschenbach (DG LP)

8:30 am

1851: Symphony No. 4 in d, Op. 120 (revised); Furtwängler, Berlin Philharmonic Orchestra (Heliodor LP)

1851: Violin Sonata No. 2 in d, Op. 121; Kremer, Argerich (DG LP)

1851: Overture to Julius Cäsar, Op. 128; Järvi, London Symphony Orchestra (Chandos)

1851: Four Songs, Op. 103: No. 1, Mailied, "Pflücket Rosen"; Livingstone, Mackie, Blakely (Unicorn)

1851: Overture to Hermann und Dorothea in b, Op. 136; Muti, Philharmonia Orchestra (Angel LP)

1851-52: Six Songs, Op. 107: Nos. 2, 3, 4, and 6, "Die Fensterscheibe," "Der Gärtner," "Die Spinnerin," "Abendlied"; Mathis, Eschenbach (DG LP), Fischer-Dieskau, Eschenbach (DG LP)

1852: Verzweifle nicht im Schmerzenstal, Op. 93; Neumann, Leipzig Radio Chorus (Berlin Classics)

1852: Gedichte der Königin Maria Stuart, Op. 135; Stutzmann, Dalberto (Erato)

1852: Der Sängers Fluch, Op. 139; Moser, Berry, Grönroos, Protschka, Soffel, Wallberg, Düsseldorf Music Association Chorus, Düsseldorf Symphony Orchestra (EMI)

1852: Vom Pagen und der Königstochter, Op. 140; Soffel, Berry, Gramatzki, Lindner, Protschka, Meven, Michael, Schmidt, Klee, Düsseldorf Music Association Chorus, Düsseldorf Symphony Orchestra (EMI)

noon

1852: Requiem in D-flat, Op. 148; Donath, Soffel, Gedda, Fischer-Dieskau, Klee, Düsseldorf Symphony Orchestra and City Chorus (EMI)

1852-3: Ballads, Op. 122: No. 1, "Ballade vom Haideknaben" (Hebel); No. 2, "Die Flüchtlinge" (Shelley, tr.); Fischer-Dieskau, Eschenbach (DG LP)

1852-53: Two Ballads, Op. 122: "Ballade vom Haideknaben," "Die Flüchtlinge"; Fischer-Dieskau, Eschenbach (DG LP)

1852-3: Missa sacra in c, Op. 147; Stocklassa, Raucamp, Schmieg, Bader, Philharmonia Vocal Ensemble and Orchestra of Stuttgart (Schwann LP)

1853: Three Songs, Op. 114: "Nänie," "Triolett," "Spruch"; Bernius, Höll, Stuttgart Chamber Chorus (German EMI)

1853: Three Piano Sonatas for the Young, Op. 118; Frankl (Vox LP)

1853: Seven Piano Pieces in the Form of Fughettas, Op. 126; Frankl (Vox LP)

1853: Children's Ball, for Piano, Four Hands, Op. 130; Demus, Shetler (MHS LP)

1853: Fantasie for Violin and Orchestra in C, Op. 131; Mutter, Masur, New York Philharmonic Orchestra (DG)

3:00 pm Historic Performances III

5:00 pm

1853: Märchenerzählungen for Clarinet, Viola, and Piano, Op. 132; Kashkashian, Levin, Brunner (ECM)

1853: Introduction and Allegro for Piano and Orchestra in d/D, Op. 134; Serkin, Ormandy, Philadelphia Orchestra (CBS)

1853-5: Piano Accompaniment to Paganini's Violin Caprices, selections; I. Oistrakh, Zertsalova (ABC LP)

1853: Das Glück von Edenhall, Op. 143; Protschka, Berry, Grönroos, Wallberg, Düsseldorf Music Association Chorus, Düsseldorf Symphony Orchestra (EMI)

1853: Violin Concerto in d; Kremer, Muti, Philharmonia Orchestra (Angel LP)

1853: F.A.E. Sonata for Violin and Piano (Intermezzo and Finale by Schumann, Allegro by Albert Dietrich, and Allegro by Brahms); Eto, Masselos (Nonesuch LP)

1853: Violin Sonata No. 3 in a; Zimansky, Keller (Accord)

1853: Five Gesänge der Frühe for Piano, Op. 133; Engel (Telefunken LP)

1854: Canon on F. Himmel's "An Alexis send' ich dich"; Frankl (Vox LP)

1854: Variations for Piano on an Original Theme; Engel (Telefunken LP)

8:00 pm Historic Performances IV and Conclusion

10:00 pm THE CHARLES MINGUS ORGY, PART 1

As a bassist, he ranked among the best. As a composer, he rivaled Ellington and Monk for supremacy in the jazz world. As a personality, he was always the center of attention by his famed temperament and candor. Charles Mingus composed eclectic, exuberant music often taking the form of epic narratives while borrowing elements from gospel, blues, swing, bebop, Afro-Latin jazz, and even classical music. His compositions were like nothing jazz had ever seen before, nor since. In the end, however, his music is loved simply because it moves the listener.

Thursday, May 6

midnight THE CHARLES MINGUS ORGY, PART 1 CONTINUES

Friday, May 7

midnight THE CHARLES MINGUS ORGY, PART 1 CONTINUES

11:00 am WHAT'S HAPPENING

1:00 pm THE BILL BARRON ORGY

Saxophonist, composer, and educator Bill Barron came out of Philadelphia in the Fifties with contemporaries Benny Golson, John Coltrane and Jimmy Heath. In our six hour Orgy, we will feature his recordings as a leader as well as in sessions with Cecil Taylor, Charles Mingus and other jazz greats. We will also feature Bill's collaborations with younger brother Kenny, as well as presentations of interviews and other rare recorded moments.

7:00 pm THE CHARLES MINGUS ORGY, PART 2

Saturday, May 8

midnight THE CHARLES MINGUS ORGY, PART 2 CONTINUES

9:00 pm HILBILLY AT HARVARD

1:00 pm ARTS FIRST COVERAGE

Each spring, the Office for the Arts at Harvard and Radcliffe produces a four-day, campus-wide celebration of the arts open to the entire community. WHRB presents selections from the live student performances going on today.

1:00 pm Bach Society Orchestra at Sanders Theater

Prokofiev's Peter and the Wolf: Symphonic Tale for Orchestra and Narrator

1:30 pm Harvard-Radcliffe Organ Society at Memorial Church

Student members and professional organists perform

2:00 pm Kuumba Singers at Sanders Theatre

Musical selections from the gospel tradition

2:30 pm Early Music Society Ensemble at Memorial Church

Seventeeth and Eighteenth Century British Ballads from The Beggar's Opera

3:00 pm Baroque Chamber Orchestra at Memorial Church

Suites by Lully, Rameau, and Charpentier in period style on reconstructed Baroque bows

3:30 pm James Capobianco ‘99 at Memorial Church

Countertenor arias from works of Bach, Handel, and Purcell

4:00 pm Harvard Contemporary Soloists at Sanders Theater

Two premieres: Responsibilities by Professor John Stewart and Three Love

and Death Songs by Douglas Allanbrook ‘48

4:30 pm Brattle Street Chamber Players at Sanders Theater

Tchaikovsky's Serenade for String Orchestra

5:00 pm THE CHARLES MINGUS ORGY, PART 3

9:00 pm THE LONG ISLAND HIP-HOP ORGY

Sunday, May 9

7:00 am THE CHARLES MINGUS ORGY, PART 4

11:00 am MEMORIAL CHURCH SERVICE

12:30 pm THE CHARLES MINGUS ORGY, PART 5

Monday, May 10

midnight THE CHARLES MINGUS ORGY, PART 5 CONTINUES

10:00 am THE G. P. DA PALESTRINA ORGY, PART 1

Giovanni Pierluigi da Palestrina (1525-1594), in the words of his son, spent "nearly seventy years in the service of God's praises." Enrolled at the age of 12 as a chorister in the Cathedral of St. Maria Maggiore in Palestrina, he followed a career intimately bound up with Roman Catholic church music from an early age. Gradually, Palestrina rose from organist and choir director of a small cathedral to a much-coveted position in the pontifical choir, and continued to the end of his life as a prolific and highly respected composer of sacred music. A master of polyphony, Palestrina composed more than one hundred masses and an equally impressive number of psalms and motets. His oeuvre also includes many secular madrigals (although he himself seems to have felt that his style was ill-suited to non-sacred composition). We will hear much of the best of this massive output over the next two days.

Missa Pro Defunctis (1554); Chanticleer (Teldec)

Motet, "Viri Galilarei" (1559); Herreweghe, La Chapelle Royale (Harmonia Mundi)

Missa Viri Galilarei (1601); Herreweghe, La Chapelle Royale (Harmonia Mundi)

Motets, "Ave Maria (I)," "Ave mundi spes" (1563); Lasserre, Akademia (Verany)

Motet, "O rex gloriae" (1563); O'Donnell, Westminster Cathedral Choir (Hyperion)

Missa O rex gloriae (1601); O'Donnell, Westminster Cathedral Choir (Hyperion)

Motet, "Sicut lilium inter spinas" (1563); Phillips, Tallis Scholars (Gimell)

Missa Sicut lilium inter spinas (1590); Phillips, Tallis Scholars (Gimell)

Missa Ad Fugam (1567); Nobel, Netherlands Chamber Choir (Epic LP)

Motets, "Stabat mater dolorosa," "Hodie beata virgo," "Senex puerum portabat"; Willcocks, Choir of King's College (Argo LP)

1:00 pm

Missa De beata virgine (I) (1567); Ugrin, Chorus Jeunesses Musicales (Hungaroton)

Motet, "Dum complerentur" (1569); Darlington, Christ Church Cathedral Choir (Nimbus)

Missa Dum Complerentur (1599); Darlington, Christ Church Cathedral Choir (Nimbus)

Motets, "Regina coeli," "Salve regina"; Lasserre, Akademia (Verany)

Motet, "O magnum mysterium" (1569); Miller, Chicago a Capella (Centaur)

Missa O magnum mysterium (1582); Miller, Chicago a Capella (Centaur)

3:00 pm

Motet, "Vidi turbam magnam" (1569); O'Donnell, Westminster Cathedral Choir (Hyperion)

Motets, "Canite tuba," "Ave Maria (II)," "Tui sunt caeli" (1572); Ledger, King's College Choir (Angel LP)

Missa De beata Marie (1570); Paterson, Gloria Dei Cantores (GDC)

Music for St. Laurence (1571); Laplénie, Ensemble Sagittarius (Accord)

Missa De beata virgine (II) (1570); O'Donnell, Westminster Cathedral Choir (Hyperion)

Missa L'homme armé (1570); Brown, Pro Cantione Antiqua (Allegro)

Motet, "Coenantibus illis" (1572); Darlington, Christ Church Cathedral Choir (Nimbus)

Motet, "Dominus Jesus in qua nocte" (1572); Turner, Pro Cantione Antiqua (ASV)

Motet, "Gaude, Barbara" (1572); Chanticleer (Teldec)

Missa Brevis (1570); Hill, Westminster Cathedral Choir (Hyperion)

7:00 pm

Motet, "Peccantum me quotidie" (1572); Herreweghe, La Chapelle Royale (Ricercar)

Motet, "Laudate Dominum" (1572); Schrems, Regensburger Domchor (DG Archiv)

Motet, "Tu es Petrus" (1572); Schrems, Regensburger Domchor (DG Archiv)

Missa Tu es Petrus (1601); Schrems, Regensburger Domchor (DG Archiv)

Motet, "Cantantibus organis" (1575); Martin, Singers of St. Eustache (Odyssey LP)

Motet, "Jubilate Deo" (1575); Schrems, Regensburger Domchor (DG Archiv)

Magnificat Primi Toni; Herreweghe, La Chapelle Royale (Harmonia Mundi)

Motet, "O bone Jesu" (1575); Herreweghe, La Chapelle Royale (Ricercar)

Motet, "Hodie Christus natus est" (1575); Summerly, Schola Cantorum of Oxford (Naxos)

Missa Hodie Christus natus est (1601); Summerly, Schola Cantorum of Oxford (Naxos)

Motet, "Pater Noster" (1575); Theuring, Vienna Akademie Kammerchor (Westminster LP)

Motet, "Surge illuminare Jerusalem" (1575); Phillips, Tallis Scholars (Gimmell)

Madrigali Spirituali (1581); Hilliard, Hillier Ensemble (EMI)

Motet, "Assumpta est Maria"; Phillips, Tallis Scholars (Gimell)

Missa Assumpta est Maria; Herreweghe, La Chapelle Royale (Ricercar)

10:00 pm THE MAN IS THE BASTARD ORGY

Tuesday, May 11

8:00 am THE G.P. DA PALESTRINA ORGY, PART 2

Plainchant: Benedicta es; Phillips, Tallis Scholars (Gimell)

Josquin: Motet, "Benedicta es"; Phillips, Tallis Scholars (Gimell)

Missa Benedicta es; Phillips, Tallis Scholars (Gimell)

Motet, "Adoramus Te Christe" (1581); Loehrer, Societa Cameristica di Lugano (Accord)

Motet, "Alma redemptoris mater" (1581); Phillips, Tallis Scholars (Gimmel)

Motet, "Ave regina coelorum" (1581); Lasserre, Akademia (Verany)

Rore: Madrigal, "Quando lieta sperai"; Longhini, Delitiae Musicae (Stradivarius)

Missa Quando lieta sperai; Longhini, Delitiae Musicae (Stradivarius)

Motet, "Confitemini Domino" (1581); Woodworth, Harvard Glee Club (Cambridge LP)

Motet, "Pueri Hebraorum" (1581); Schrems, Regensburger Domchor (DG Archiv)

Motet, "Sicut cervus" (1581); Brown, Pro Cantione Antiqua (Allegro)

10:00 am

Missa In festis Apostolorum; Martin, Singers of St. Eustache (Odyssey LP)

Motet, "Super flumina Babylonis" (1581); Darlington, Christ Church Cathedral Choir (Nimbus)

Magnificat Sexti Toni; Darlington, Christ Church Cathedral Choir (Nimbus)

Missa Lauda Sion (1582); Brown, Pro Cantione Antiqua (Allegro)

Missa L'homme armé (1582); Vartolo, Soloists of the Cappella Musicale di S. Petronio di Bologna (Naxos)

Motets, "Popule meus," "Tota pulchra es," "Tribulationes civitatum" (1583); Bartolucci, Sistine Chapel Choir (Renaissance X LP)

Motet, "Exsultate Deo" (1584); Darlington, Christ Church Cathedral Choir (Nimbus)

Missa Ecce ego Johannes; McCarthy, Choir of the Carmelite Priory (L'Oiseau-Lyre LP)

noon

Lamentations of Jeremiah (1588); Turner, Pro Cantione Antiqua (Novello)

Primavera: Motet, "Nasce la gioia mia"; Phillips, Tallis Scholars (Gimell)

Missa Nasce la gioia mia (1590); (Phillips, Tallis Scholars (Gimell)

Hymns, "A solis ortus cardine," "Christus redemptor omnium," "Hostis Herodis impie" (1589); Miller, Chicago a Capella (Centaur)

First Book of Madrigals; Alessandrini, Concerto Italiano (Tactus)

Hymns, "Ave maris stella," "Salvete flores martyrum," "Veni sponsa Christi" (1589); Boepple, Dessoff Choirs (Counterpoint LP)

Missa Nigra sum (1590); Phillips, Tallis Scholars (Gimell)

Hymn, "Vexilla regis prodeunt" (1589); Loehrer, Societa Cameristica di Lugano (Accord)

Missa Aeterna Christi munera (1590); O'Donnell, Westminster Cathedral Choir(Hyperion)

Motets, "Miserere nostri," "Ad te levavi"; Patterson, Gloriae Dei Cantores (GDC)

Missa Iste confessor (1590); Welch, Welch Chorale (Lyrichord LP)

5:00 pm

Litaniae de Virgine Marie Beate (1593); Willcocks, Choir of King's College (London)

Missa Regina coeli (1600); Somary, Amor Artis Chamber Choir (Newport)

Missa Ave Maria (1594); O'Donnell, Westminster Cathedral Choir (Hyperion)

Offertory, "Exaltabo te" (1593); Boepple, Dessoff Choirs (Counterpoint LP)

Missa sine nomine (1596); Welch, Welch Chorale (Lyrichord LP)

Song of Songs; Rutter, Cambridge Singers (Collegium)

Magnificat Primi Toni; Willcocks, Choir of King's College (London)

Rore: Madrigal, Quando lieta sperai; Longhini, Delitiae Musicae (Stradivarius)

Missa Quando lieta sperai; Longhini, Delitiae Musicae (Stradivarius)

Motets, "O vera summa sempiterna trinitas," "O beata et gloriosa trinitas"; Herreweghe, La Chapelle Royale (Ricercar)

Missa In duplicibus minoribus; Tamminga, Vartolo, Solisti della Capella musicale di San Petronio (Bongiovanni)

Missa Descendit angelus Domini (1600); Paterson, Gloria Dei Cantores (GDC)

Missa O sacrum convivium; Darlington, Christ Church Cathedral Choir (Nimbus)

Motet, "Nunc dimittis"; Phillips, Tallis Scholars (Gimmel)

Missa Papae Marcelli (1599); Phillips, Tallis Scholars (Gimmel)

11:00 pm THE GENE AMMONS ORGY

Wednesday, May 12

11:00 am THE PAUL CRESTON ORGY

Son of Italian immigrants, Paul Creston was born Giuseppe Guttoveggio in New York City in 1906. Largely self-taught, he was one of the most widely performed American composers of the 1940s and 50s. His compositions feature melismatic melodies, lush harmonies, opulent orchestration, and a pronounced, intoxicating rhythmic pulse.

Song, "The Bird of the Wilderness," Op. 2; Marcoulescu-Stern, Phillabaum (Gasparo)

Out of the Cradle, Op. 5; Schwarz, Seattle Symphony (Delos)

String Quartet, Op. 8; Hollywood String Quartet (Testament)

Gregorian Chant for String Orchestra; Lief, New York Chamber Orchestra (Vanguard Classics)

Partita for Flute, Violin and Strings, Op. 12; Schwarz, Seattle Symphony (Delos)

Suite for Viola and Piano, Op. 13; Wheeler, Tomfohrde (Albany)

Two Choric Dances, Op. 17; Cantelli, NBC Symphony Orchestra (ASdisc)

Sonata for Alto Saxophone and Piano, Op. 19; Londeix, Pontier (EMI)

Concertino for Marimba and Orchestra, Op. 21; Sadlo, Falk, Hessian Radio Orchestra (Koch Schwann)

Concerto for Saxophone and Band, Op. 26b; Underwood, Mugol, Metropolitan Wind Ensemble (Golden Crest LP)

A Rumor, Op. 27; Marriner, Academy of St. Martin in the Fields (Argo)

Chant of 1942, Op. 33; Amos, Members of the Israel Philharmonic Orchestra (Crystal)

Symphony No. 2, Op. 35; Järvi, Detroit Symphony Orchestra (Chandos)

Fanfare for Paratroopers; Mester, London Philharmonic Orchestra (Varese Sarabande LP)

Psalm XXIII, Op. 37; Marcoulescu-Stern, Phillabaum (Gasparo)

Prelude for Piano, Op. 38, No. 4; McCormack

Zanoni, Op. 40; Levy, Lawrence University Wind Ensemble (Golden Crest LP)

Fantasy for Trombone and Orchestra, Op. 42; Lindberg, DePriest, Malmö Symphony Orchestra (BIS)

Three Songs, Op. 46; Marcoulescu-Stern, Phillabaum (Gasparo)

Symphony No. 3, "Three Mysteries," Op. 48; Schwarz, Seattle Symphony (Delos)

Concerto for Two Pianos and Orchestra, Op. 50; Pierce, Jonas, Amos, National Symphony Orchestra of Polish Radio & Television (Albany)

Walt Whitman, Op. 53; Amos, Krakow Philharmonic Orchestra (Koch)

Invocation and Dance, Op. 58; Schwarz, Seattle Symphony (Delos)

Celebration Overture, Op. 61; Graham, United States Air Force Band

Dance Overture, Op. 62; Cantelli, New York Philharmonic (ASdisc)

Symphony No. 5, Op. 64; Schwarz, Seattle Symphony (Delos)

Toccata, Op. 68; Schwarz, Seattle Symphony (Delos)

Prelude and Dance, Op. 76; Graham, Air Combat Command Heritage of America Band

Corinthians: XIII, Op. 82; Whitney, Louisville Orchestra (Albany)

Choreografic Suite, Op. 86a; Schwarz, New York Chamber Symphony (Delos)

"Midnight-Mexico" from Airborne Suite; Kostelanetz, His Orchestra (Columbia LP)

Anatolia (Turkish Rhapsody), Op. 93; Levy, Lawrence University Wind Ensemble (Golden Crest LP)

Jubilee, Op. 102; Levy, Lawrence University Wind Ensemble (Golden Crest LP)

Suite for String Orchestra, Op. 109; Amos, Members of the Israel Philharmonic Orchestra (Crystal)

Piano Trio, Op. 112; Mirecourt Trio (Music & Arts)

8:00 pm THE STAR WARS ORGY

Hailed by some as the mythology of modern America, while scorned by others as responsible for the "blockbuster" mentality of film studios, Star Wars has nevertheless endured in the hearts and minds of people around the world for nearly twenty-two years. There is no doubt that the enormous appeal of the films was due partly to John Williams' magnificent soundtrack. Now, in anticipation of the return of the Star Wars saga this May, we present the complete film scores, performed by John Williams and the London Symphony Orchestra. May the Force be with you!

Thursday, May 13

6:00 am THE C.P.E. BACH ORGY, PART 1

Carl Philipp Emmanuel Bach (1714-1788) was more than the talented son of Johann Sebastian; he could be called the father of the Classical era. While his Rococo contemporaries wrote "pretty little tunes," C.P.E. Bach forged ahead to create a new musical language known as the "sensitive style." His music, which can be bold, unpredictable, and lyrical, was meant to mirror the entire gamut of human emotion. It is small wonder, then, that Mozart himself said of this great keyboard virtuoso: "He is the father, we are the children. Those who have achieved the ability to compose were taught by him."

Concerto for Two Harpsichords in D; Koopman, Mathot, Amsterdam Baroque Orchestra (Erato)

Sonatina in G; Black, Kelly, Collegium Aureum (EMI)

Prussian Sonata No. 1 in F; van Asperen (Telefunken LP)

Berlin Symphony in E-flat; Haenchen, CPE Bach Chamber Orcestra (Cappriccio)

Berlin Symphony in F; Haenchen, CPE Bach Chamber Orcestra (Cappriccio)

"La Stahl" in d; Ogg (Channel Classics)

Oboe Concerto in B-flat; Ebbinge, Koopman, Amsterdam Baroque Orchestra (Erato)

Berlin Symphony in e; Haenchen, CPE Bach Chamber Orcestra (Cappriccio)

Concerto for Solo Harpsichord in C; van Asperen (Telefunken LP)

Sonatina in E-flat; Black, Kelly, Collegium Aureum (EMI)

Sonatina in B-flat; Black, Kelly, Collegium Aureum (EMI)

Spiritual Odes: "Über die Finsternis kurz vor dem Tode Jesu," "Der Frühling," "Prüfung am Abend," "Morgengesang," "Bitten," "Trost der Erlösung"; Fischer-Dieskau, Demus (DG Archiv LP)

Prussian Sonata No. 2 in B; van Asperen (Telefunken LP)

Prussian Sonata No. 3 in E; van Asperen (Telefunken LP)

9:15 am

St. Mark Passion; Rilling, Gächinger Kantorei Stuttgart, Bach Collegium Stuttgart (CBS)

Sonatas from "The True Art of Clavier Playing"; Thalheim (Berlin Classics)

Sonatina in F; Black, Kelly, Collegium Aureum (EMI)

Fantasias for Keyboard in c, D, F, D, d, and G; Garvey (Elan)

Flute Concerto in a; Haupt, Haenchen, CPE Bach Chamber Orchestra (Cappriccio)

1:30 pm

Magnificat; Rilling, Gächinger Kantorei Stuttgart, Bach Collegium Stuttgart (Hännsler)

Prussian Sonata No. 4 in c; van Asperen (Telefunken LP)

Prussian Sonata No. 5 in a; van Asperen (Telefunken LP)

Berlin Symphony in F; Haenchen, CPE Bach Chamber Orcestra (Cappriccio)

Passionlied; Fischer-Dieskau, Demus (DG Archiv LP)

Sonata for Solo Flute in a; Hunteler (MD+G)

3:15 pm

Oratorio, "Die letzen Leiden des Erlösers"; Schlick, Reyghere, Patriasz, Pregardien, van Egmond, S. Kuijken, Collegium Vocale Gent, La Petite Bande (Deutsche Harmonia Mundi)

Quartet for Harpsichord, Flute, Viola, and Cello in a; McGegan, Pleeth, Hogwood, Makintosh (Oiseau Lyre LP)

Hamburg Symphony in G; Hogwood, Academy of Ancient Music (Oiseau Lyre )

Hamburg Symphony in B-flat; Hogwood, Academy of Ancient Music (Oiseau Lyre)

Hamburg Symphony in C; Hogwood, Academy of Ancient Music (Oiseau Lyre)

Fantasia in c; Garvey (Elan)

Fantasia in E-flat; Garvey (Elan)

Sonata for Viol da Gamba and Continuo in g; London Baroque (HMC)

Concerto for Harpsichord and Strings in c; Staier, Hengelbrock, Freiburg Baroque Orchestra (HMC)

Spiritual Odes: "Die Gute Gottes," "Abendlied," "Wider den Übermut," "Demut"; Fischer-Dieskau, Demus (DG Archiv LP)

7:00 pm

Rondo in C from "Für Kenner und Liebhaber" 1780; Remy (MD+G)

Sonata in G from "Für Kenner und Liebhaber" 1780; Remy (MD+G)

"Heilig" for Two Choirs and Orchestra; Max, Rheinsche Kantorei, Das Kleine Konzert, (Cappriccio)

Orchestral Symphony No. 1 in D; Haenchen, CPE Bach Chamber Orchestra (Cappriccio)

Orchestral Symphony No. 2 in E-flat; Haenchen, CPE Bach Chamber Orchestra (Cappriccio)

Fantasia in A; Garvey (Elan)

Quartet for Harpsichord, Flute, Viola, Cello in D; McGegan, Pleeth, Hogwood, Makintosh (Oiseau-Lyre LP)

Rondo in a; Remy (MD+G)

Cantata, "Zur Einführung des H.P. Gasie"; Helling, Jochens, Schwarz, Max.,Rheinsche Kantorei, Das Kleine Konzert (Cappriccio)

9:00 pm THE BOB DYLAN ORGY, PART 1

"I think of myself as a song-and-dance man."

Robert Allen Zimmerman was born on May 24, 1941 in Duluth, Minnesota. As a youth he had an intense interest in music ranging from country and early rock'n'roll to blues and urban folk. He played in a succession of rock'n'roll bands during high school and performed folk songs in coffee shops during his brief enrollment at the University of Minnesota. By the early months of 1961, Zimmerman had transformed himself into Bob Dylan, and was living and performing in New York City. Robert Shelton's New York Times article, entitled "Bob Dylan: A Distinctive Folk Song Stylist," prompted John Hammond to sign Dylan to Columbia Records in late 1961. The April 19, 1962, release of Bob Dylan marked the beginning of an unparalleled music career.

Dylan's transformations of his public persona and his music are legendary. Throughout the years, Dylan has been viewed as an innocent drifter, an advocate of the proletariat, a pop star, a sullen rock hero, a cowboy, a preacher, a grumpy recluse, and a bluesman. His always changing musical creations have been labeled social protests, thin, wild, mercury music, country rock, rock'n'roll poetry, mystical swirling fables, broken-hearted confessionals, gospel-tinged Christian rock, and blues-soaked ballads. Throughout all these career phases, which span nearly forty years, Dylan has remained a remarkably relevant and compelling artist. The Bob Dylan Orgy will explore all the above phases of Dylan's career through studio albums, studio outtakes, boxed sets, live performances, and guest appearances.

Friday, May 14

midnight THE BOB DYLAN ORGY, PART 1 CONTINUES

6:00 pm THE C.P.E. BACH ORGY, PART 2

Hamburg Symphony in A; Hogwood, Academy of Ancient Music (Oiseau-Lyre)

Hamburg Symphony in b; Hogwood, Academy of Ancient Music (Oiseau-Lyre)

Hamburg Symphony in G; Hogwood, Academy of Ancient Music (Oiseau-Lyre)

"Farewell to my Silbermann Clavichord in the Form of a Rondo"; Brauchli (Titanic)

Concerto for Harpsichord, Fortepiano and Orchestra in E-flat; Koopman, Mathot, Amsterdam Baroque Orchestra (Erato)

Orchestral Symphony No. 3 in F; Haenchen, CPE Bach Chamber Orchestra (Cappriccio)

Orchestral Symphony No. 4 in G; Haenchen, CPE Bach Chamber Orchestra (Cappriccio)

Spiritual Song "Jesus in Gethsemane"; Fischer-Dieskau, Demus (DG Archiv LP)

Oratorio "Der Auferstehung und Himmelfahrt Jesu"; Martinpelto, Pregardien, Harvey, Herreweghe, Collegium Vocale, Orchestra of the Age of Enlightenment (Virgin Classics)

Fantasia in f-sharp, "C.P.E. Bach's Innermost Feelings"; Brauchil (Titanic)

9:00 pm THE BOB DYLAN ORGY, PART 2

Saturday, May 15

9:00 am HILLBILLY AT HARVARD

1:00 am THE BAND ORGY

As a companion to our Bob Dylan Orgy, WHRB pays tribute to Dylan's first and greatest backing group with eight hours devoted to the quintet known simply as The Band. Guitarist Robbie Robertson, pianist Richard Manuel, organist/multi-instrumentalist Garth Hudson, bassist Rick Danko, and drummer Levon Helm backed rockabilly singer Ronnie Hawkins in the early 1960s before accompanying Dylan on his famous 1965-66 world tour and subsequently cutting The Basement Tapes with him in Woodstock, NY, 1967. The Band then launched its own career with a series of classic albums that spotlighted Robertson's evocative songwriting, Hudson's instrumental virtuosity, and the distinctive vocal styles of Manuel, Danko, and Helm. Martin Scorsese's film The Last Waltz documented the five founding members' final concert together in 1976, which featured appearances by Hawkins, Dylan, Van Morrison, Eric Clapton, Muddy Waters, and other rock-and-roll legends. WHRB's The Band Orgy includes virtually all of the original group's studio recordings, including such classic songs as "The Weight," "Up on Cripple Creek," and "The Night They Drove Old Dixie Down," plus vintage live material.

9:00 pm THE NIGHT TRAIN ORGY

Once again we invite you to ride with The Night Train, for an all-night tour through the world of classic Rhythm and Blues. The Night Train will present the artists and songs that helped to make American R&B one of the most significant American cultural influences of the 20th century.

Special tribute will be paid to the American cities and geographical regions that served as the centers for major R&B recording labels and their distinct styles. These include Detroit (Motown), Memphis (Stax), Philadelphia (Philly International), Chicago (Chess), Miami (TK), and New York (Atlantic). Areas that have emerged recently as centers for Urban Contemporary music, such as Los Angeles (Solar), Atlanta (LaFace), Minneapolis (Paisley Park) and New York (Tommy Boy) will also be featured.

In addition to highlighting such popular artists as James Brown, Barry White, Marvin Gaye, Aretha Franklin, and Boyz II Men, The Night Train will also feature many artists whose influences on the music were far greater than their commercial success. These include Linda Jones, Johnny Taylor, the New Birth, Jerry Butler, and Jimmy Forrest, who wrote the instrumental standard from which this presentation takes its name. Requests will be accepted.

Sunday, May 16

7:00 am THE ALFRED SCHNITTKE ORGY, PART 1

This Orgy season, we commemorate the life and music of Alfred Schnittke, who died this past summer. Hailed as Shostakovich's successor, Schnittke is most famous for his "polystylism," an eclectic compositional technique in which all genres and styles are called into play, from Baroque figuration to Webernian serialism. Such a technique seems particularly appropriate for a man whose cultural background contains such diverse elements. At once a German, Russian, and Jew, Schnittke was born in Engels in a German-speaking part of the Soviet Union in 1934. He first studied music when his family moved to Vienna in 1946 and continued studies in piano, composition, and instrumentation in Moscow where his family moved in 1948, and where he was to spend the next four decades of his life. There he taught at the Moscow Conservatory until 1972, when he lost the support of the Soviet Composers' Union. An iconoclast and innovator in an environment where innovation was not welcome, Schnittke supported himself by writing numerous film scores and accepting freelance commissions from admirers outside his country. In 1990 he moved to Hamburg, where he died of a stroke on August 3, 1998.

For 40 hours, WHRB will pay tribute to this compelling contemporary personality with virtually his entire recorded output, featuring recordings by prominent musicians close to the composer, such as Mstislav Rostropovich, Gennady Rozhdestvensky, Gidon Kremer, Yuri Bashmet, Natalia Gutman, and Oleg Kagan.

Violin Concerto No. 1 (1957/1963); Lubotsky, Klas, Malmö Symphony Orchestra (BIS)

Prelude and Fugue (1963); Berman (Chandos)

Violin Sonata No. 1 (1963); Wallin, Pöntinen (BIS)

Music for Piano and Chamber Orchestra (1964); Lobanov, Rozhdestvensky, Russian State Symphony Orchestra (Chandos)

Dialogues for Trombone and Seven Instruments (arr. by Schnittke and Lindberg) (1965); Lindberg, Vänskä, Tapiola Sinfonietta (BIS)

Improvisation and Fugue (1965); Berman (Chandos)

Variations on One Chord (1965); Petrushansky (Arts & Electronics)

String Quartet No. 1 (1966); Tale Quartet (BIS)

Concerto No. 2 for Violin and Chamber Orchestra (1966); Kremer, Eschenbach, Chamber Orchestra of Europe (Teldec)

Violin Sonata No. 2, "Quasi una sonata" (1968); Lubotsky, Gothoni (Ondine)

Pianissimo (1968); Järvi, Gothenburg Symphony Orchestra (BIS)

Sonata for Violin and Chamber Orchestra (arr. from Violin Sonata No. 1) (1968); Lubotsky, Bauer-Wirth, Lampson, Academy Orchestra of Hamburg (Sony)

Serenade (1968); Hirsch, Lamb, Evans, Edwards, Benjafield (Hyperion)

Music for the Film Sport, Sport, Sport (1970); Khachaturian, USSR Cinematography Symphony Orchestra (Olympia)

11:00 am MEMORIAL CHURCH SERVICE

12:30 pm THE HARVARD YARD ORGY

Every year tens of thousands of high school seniors across America and the world send in their applications and a piece of their heart to the Harvard-Radcliffe admissions office in hopes of attending this country's oldest undergraduate institution. What is life really like inside the well-travelled gates of Harvard College? Although the school claims to offer something for everyone, not every student finds his niche and not every student achieves tranquillity. The truth of life here might surprise unsuspecting outsiders. Administrators, faculty, and most importantly students come together to discuss the realities of Harvard's undergraduate experience in this glimpse at What the Crimson Key Society Won't Tell You.

1:30 pm THE FIRESIDE DRAMA ORGY

If you think of radio plays as no more than pulp novels of the jingoistic ‘40s, you're in for a shock. Television may have taken the place of radio as the primary pop-culture medium, but radio playwrights are still finding freedom in the genre not to be found anywhere else. This orgy will feature some of Harvard's best actors in original productions: hear God put on trial for the workings of his diabolical squirrels in the expressionist German play "The Good God of Manhattan," listen to the journey of a private eye wrestling with a bygone era and a bygone love in the world premiere of "The Adventures of Ronnie Lenore," and enjoy the incomparable David Mamet's ghost story of a 3am train across the open plains in "Prairie du Chien."

3:30 pm THE ALFRED SCHNITTKE ORGY, PART 2

Canon in Memoriam Igor Stravinsky (1971); Hagen Quartet (DG)

Concerto for Oboe, Harp, and String Orchestra (1971); Jahren, Lier, Markiz, New Stockholm Chamber Orchestra (BIS)

Four Pieces (1971); Berman (Chandos)

Labyrinths (1971); Markiz, Malmö Symphony Orchestra (BIS)

Symphony No. 1 (1969/1972); Rozhdestvensky, Russian State Symphony Orchestra (Chandos)

Voices of Nature for Vibraphone and Chorus (1972); Sørensen, Parkman, Danish National Radio Choir (Chandos)

Suite in the Old Style for Violin and Piano (1972); Lubotsky, Gothoni (Ondine)

Suite in the Old Style for Chamber Orchestra (1972); Bogouslavski, Litninenko, Grichine, Bezroukov, Ensemble of Soloists from the Bolshoi Theatre Orchestra (Chant du Monde)

Piano Quintet (1972/1976); Orbelian, Moscow String Quartet (Russian Disc)

7:00 pm

Music for the Film Agony (1973/1974); Khachaturian, USSR Cinematography Symphony Orchestra (Olympia)

Four Hymns for Cello and Various Ensembles (1974/1979); Thedeén, members of the Danish National Radio Symphony Orchestra (BIS)

Gratulationsrondo for Violin and Piano (1974); Kremer, Eschenbach (Teldec)

Prelude in Memoriam Dmitri Shostakovich for Two Violins (1975); Krysa, Fischer (BIS)

Requiem from Music to Schiller's Drama Don Carlos (1975); Sizova, Agadzhanian, Tal, Sharova, Kuznetsova, Grivnov, Polyansky, Russian State Symphonic Cappella and Symphony Orchestra (Chandos)

Moz-Art for Two Violins, after Mozart KV 416 (1976); Krysa, Fischer (BIS)

Music to the Film The Story of an Unknown Actor (1976); Khachaturian, USSR Cinematography Symphony Orchestra (Olympia)

Concerto Grosso No. 1 for Two Violins, Prepared Piano, Harpsichord, and Strings (1977); Kremer, Grindenko, USSR Ministry of Culture Symphony Orchestra (Melodiya)

Moz-Art à la Haydn for Two Violins, Two Small String Orchestras, Double Bass, and Conductor (1977); Grindenko, Kremer, Chamber Orchestra of Europe (DG)

10:00 pm

Cello Sonata No. 1 (1978); Ivashkin, I. Schnittke (Chandos)

Concerto No. 3 for Violin and Chamber Orchestra (1978); Lubotsky, Gothoni, Virtuosi di Kuhmo, Sibelius Academy Wind Players (Ondine)

In memoriam... (arr. from the Piano Quintet) (1978); Rostropovich, London Symphony Orchestra (Sony)

Stille Nacht for Violin and Piano (1978); Kremer, Eschenbach (Teldec)

Stille Musik for Violin and Cello (1979); Kliegel, unnammed violinist (Marco Polo)

Polyphonic Tango (1979); Soloist Ensemble of the Bolshoi Theatre Orchestra (Radio Netherlands)

Symphony No. 2, "St. Florian" (1979); Bellini, Eliasson, Ernman, Borelius, Mikaeli Chamber Choir; Segerstam, Royal Stockholm Philharmonic Orchestra (BIS)

1:00 am MONDAY MORNING STRIKE

Monday, May 17

5:00 am THE ALFRED SCHNITTKE ORGY, PART 3

Passacaglia (1979/1980); Segerstam, Malmö Symphony Orchestra (BIS)

Three Madrigals for Soprano and Ensemble (1980); Lee, Soloist Ensemble of the Bolshoi Theatre Orchestra (Mobile Fidelity)

Minnesang (1980/1981); Parkman, Danish National Radio Choir (Chandos)

Gogol Suite, music from The Inspector General's Story (compiled by Rozhdestvensky) (1980); Markiz, Malmö Symphony Orchestra (BIS)

The Revisionist's Tale (transcription of five movements of the Gogol Suite for two pianos) (1981); Zusman, Heifetz (Sonora)

Septet (1981/1982); Soloist Ensemble of the Bolshoi Theatre Orchestra (Chandos)

Concerto for Piano and String Orchestra (1979); Gothoni, Virtuosi di Kuhmo (Ondine)

7:15 am

String Quartet No. 2 (1980); Kronos Quartet (Nonesuch)

Symphony No. 3 (1981); Rozhdestvensky, USSR Ministry of Culture Symphony Orchestra (Melodiya)

Concerto Grosso No. 2 for Violin, Cello and Orchestra (1981/1982); Kagan, Gutman, Rozhdestvensky, USSR Ministry of Culture Symphony Orchestra (Melodiya)

A Paganini (1982); Kremer (DG)

Schall und Hall for Trombone and Organ (1983); Skobelev, Golub (Chandos)

"Seid nüchtern und wachet," Faust Cantata (1983); Blom, Bellini, Devos, Cold, DePriest, Malmö Symphony Chorus and Orchestra (BIS)

10:15 am

String Quartet No. 3 (1983); Tale Quartet (BIS)

Violin Concerto No. 4 (1984); Krysa, Klas, Malmö Symphony Orchestra (BIS)

Symphony No. 4 (1984); Dumtsev, Kurmangaliev, Postnikova, Rozhdestvensky, USSR Ministry of Culture Symphony Orchestra and Chamber Choir (Melodiya)

Ritual (1984/1985); Segerstam, Malmö Symphony Orchestra (BIS)

Choir Concerto (1984/1985); Polyansky, Russian State Symphonic Cappella (Chandos)

Concerto Grosso No. 3 (1985); Brautigam, Liberman, van Zweden, Chailly, Royal Concertgebouw Orchestra (London)

1:15 pm

(K)ein Sommernachtstraum (1985); Segerstam, Malmö Symphony Orchestra (BIS)

Viola Concerto (1985); Bashmet, Rozhdestvensky, USSR Ministry of Culture Symphony Orchestra (Melodiya)

String Trio (1985); Kremer, Bashmet, Rostropovich (EMI)

Music for an Imaginary Play (1985); Khachaturian, USSR Cinematography Symphony Orchestra (Olympia)

Canon for Solo Violin and Strings (arr. from Alban Berg's Canon "An das Frankfurter Opernhaus") (1985); Lubotsky, Lampson, Acadmey Orchestra of Hamburg (Sony)

Cello Concerto No. 1 (1985/1986); Gutman, Rozhdestvensky, USSR Ministry of Culture Symphony Orchestra (Melodiya)

3:30 pm

Peer Gynt (1986); Klas, Orchestra of the Royal Opera, Stockholm (BIS)

Quasi Una Sonata for Violin and Chamber Orchestra (arr. from Violin Sonata No. 2) (1987); Lubotsky, Rostropovich, English Chamber Orchestra (Sony)

Piano Sonata No. 1 (1987/1988); Berman (Chandos)

Piano Quartet (after Mahler) (1988); Berlinsky, Borodin String Quartet (Virgin)

Penitential Psalms (1988); Hansen, Rehling, Simonsen, Streijffert, Andersson, Vejbo, Parkman, Danish National Radio Choir (Chandos)

7:30 pm

Symphony No. 5 / Concerto Grosso No. 4 (1988); Spronk, van Zweden, Knijff, Chailly, Royal Concertgebouw Orchestra (London)

Concerto for Piano Four Hands and Chamber Orchestra (1988); I. Schnittke, Postnikova, Rozhdestvensky, London Sinfonietta (Erato)

Klingende Buchstaben (1988); Thedeén (BIS)

Monologue (1989); Bashmet, Moscow Soloists (RCA)

9:00 pm

String Quartet No. 4 (1989); Kronos Quartet (Nonesuch)

Cello Concerto No. 2 (1990); Rostropovich, Ozawa, London Symphony Orchestra (Sony)

Life with an Idiot (1990/1991); Duesing, Bischoff, Ringholz, Haskin, Zimnenko, Leggate, Rostropovich, Vocal Ensemble, Rotterdam Philharmonic Orchestra (Sony)

midnight RECORD HOSPITAL

Tuesday, May 18

5:00 am THE ALFRED SCHNITTKE ORGY, PART 4

Five Aphorisms (1990); Berman (Chandos)

Piano Sonata No. 2 (1990); I. Schnittke (Sony)

Madrigal in Memoriam Oleg Kagan for Violin Solo (1990); Krysa (BIS)

Madrigal in Memoriam Oleg Kagan for Cello Solo (1990); Thedeén (BIS)

Concerto Grosso No. 5 for Violin, Invisible Piano, and Orchestra (1991); Kremer, Keuschnig, von Dohnányi, Vienna Philharmonic Orchestra (DG)

Piano Sonata No. 3 (1993); Berman (Chandos)

Piano Trio (1992); Lubotsky, Rostropovich, I. Schnittke (Sony)

Musica nostalgica (1992); Ivashkin, I. Schnittke (Chandos)

Epilogue from Peer Gynt for Cello, Piano, and Tape (1993); Ivashkin, I. Schnittke (Chandos)

Symphony No. 6 (1993); Otaka, BBC Welsh Symphony Orchestra (BIS)

8:15 am

Symphony No. 7 (1993); Otaka, BBC Welsh Symphony Orchestra (BIS)

Concerto Grosso No. 6 for Piano, Violin, and String Orchestra (1993); S. Rozhdestvensky, Postnikova, G. Rozhdestvensky, Royal Stockholm Philharmonic Orchestra (Chandos)

Cello Sonata No. 2 (1994); Ivashkin, I. Schnittke (Chandos)

Symphony No. 8 (1994); Rozhdestvensky, Royal Stockholm Philharmonic Orchestra (Chandos)

Violin Sonata No. 3 (1994); Lubotsky, I. Schnittke (Ondine)

Concerto for Three (1994); Kremer, Bashmet, Rostropovich, Moscow Soloists (EMI)

Minuet (1994); Kremer, Bashmet, Rostropovich (EMI)

10:30 am

Historia von D. Johann Fausten (1994); Freier, Lorenz, Raunig, Schwarz, Büchner, Barreto-Ramos, Wendel, Fersch, Albrecht, Chorus of the Hamburg State Opera, Hamburg State Philharmonic Orchestra (RCA)

1:00 pm THE TROUBADOUR/TROUVÈRE ORGY

About 700 years ago, as polyphonic vocal music developed and flourished in the churches of medieval Europe, a rather different form of song dominated the courts of 12th and 13th century France: this was the music of the trouvères in northern France, whose language was an ancestor of modern French, and the troubadours (with female counterparts known as trobairitz) of southern France, who sang in another dialect called Provençal. In most cases the troubadours and trouvères were poets as well as musicians, composing florid verse in the "courtly love" tradition, then setting it to music and performing it themselves for the entertainment of the nobility. The amount of this music that was written down is only a small fraction of that which was composed, but thanks to a small number of well-preserved manuscripts, we can provide at least a nine-hour sampling of music from this tradition, as well as some comparison between the different approaches of various early music ensembles that have attempted to make this music accessible to the modern ear.

Part 1: Troubadours

Guilhelm IX: Farai un vers de dreyt rien ("The Song of Nothing"); Martin Best Ensemble (Nimbus)

Bernart de Ventadorn: Be m'an perdut lai enves Ventadorn; Hillier, Stubbs, Kiesel (Hyperion)

Bernart de Ventadorn: Can l'erba fresch' e.lh folha; Best (Hyperion LP)

Bernart de Ventadorn: Can vei la lauzeta mover; Hillier, Stubbs, Kiesel (Hyperion)

Bernart de Ventadorn: Non es meravelha s'eu chan; Best (Hyperion LP)

Bernart de Ventadorn: Pois preyatz me, senhor; Best (Hyperion LP)

Daniel Arnaut: Chanson do'ill mot son plan e prim; Sequentia (Deutsche Harmonia Mundi)

Daniel Arnaut: Lo ferm voler; Binkley, Studio der Frühen Musik (EMI LP)

Peire Cardenal: Ar mi posi ("Now I can delight in love"); Martin Best Ensemble (Nimbus)

Peire Cardenal: Ben volgra; Marti, Binkley, Studio der Frühen Musik (EMI LP)

Peire Cardenal: L'afar del comte Guió; Binkley, Studio der Frühen Musik (EMI LP)

Peire Cardenal: Tartarassa ni voutor; Marti, Binkley, Studio der Frühen Musik (EMI LP)

Guiraut Riquier: Ja mais non er; Martin Best Ensemble (Nimbus LP)

Guiraut Riquier: Jesu Crist; Martin Best Ensemble (Nimbus LP)

Guiraut Riquier: La premieyra retroencha: "In praise of the Catalans"; Martin Best Ensemble (Nimbus LP)

Guiraut Riquier: La Redonda; Martin Best Ensemble (Nimbus LP)

Guiraut de Bornelh: Leu chansonet' e vil; Binkley, Studio der Frühen Musik (Teldec)

Guiraut de Bornelh: No poc sifrir c'a la dolor; Sequentia (Deutsche Harmonia Mundi)

Guiraut de Bornelh: Reis glorios, verais lums e clartatz; Hillier, Stubbs, Kiesel (Hyperion)

Gaucelm Faidit: Fortz chausa est; Alla Francesca (Opus 111)

Aimeric de Peghuilhan: En amour trob alques en que'm refraing; Sequentia (Deutsche Harmonia Mundi)

Folquet de Marseilla: Tan m'abellis l'amoros pessamens; Sequentia (Deutsche Harmonia Mundi)

Guillaume VII de Poitiers: Pos de chantar; Robert, Perceval (Arion)

Raimbaut d'Aurenga: Pos tals sabers; Binkley, Studio der Frühen Musik (EMI LP)

Raimbaut de Vaqeiras: Kalenda maia; Binkley, Studio der Frühen Musik (Teldec)

4:15 pm Part 2: Trobairitz

Beatriz de Dia: A chantar m'er de so qu'eu no volria; Binkley, Studio der Frühen Musik (Teldec)

Beatriz de Dia: Estat ai en greu cossirier; Wishart, Sinfonye (Hyperion)

Beatritz de Romans: Na Maria; Wishart, Sinfonye (Hyperion)

Carenza, Alais, Iselda: Na Carenza; Wishart, Sinfonye (Hyperion)

Iseut de Capio, Almuc de Castelnau: Domna N'Almucs, si-us plages; Wishart, Sinfonye (Hyperion)

Maroie de Diergnau: Molt m'abellist quant je voi revenir; Robert, Perceval (Arion)

5:00 pm Part 3: Trouvères

Gace Brulé: A la doucour de la bele seson; Page, Gothic Voices (Hyperion)

Gace Brulé: Cant voi l'aube du jour venir; Robert, Perceval (Arion)

Gace Brulé: Quant voi la flour boutener; Alla Francesca (Opus 111)

Colin Muset: En mai; Azéma, Kammen, Lepkoff, Mealy, Tindemans, Fleagle, Bisson, Jousselin, Santaniello (Erato)

Colin Muset: Volez oïr la muse Muset; Augsburg Ensemble for Early Music (Christophorus)

Chastelain de Couci: A vous, Amours; Alla Francesca (Opus 111)

Chastelain de Couci: Li nouviautz tanz; Alla Francesca (Opus 111)

Conon de Béthune: Bien me deüsse targier; Alla Francesca (Opus 111)

Conon de Béthune: L'autrier avint en cel autre pais; Robert, Perceval (Arion)

Gillebert de Berneville: Cuidoient li losengier; Robert, Perceval (Arion)

Gillebert de Berneville: Do moi doleros vos chant; Binkley, Studio der Frühen Musik (Teldec)

Guillaume d'Amiens: Ja mais ne serai saous; Azéma, Kammen, Lepkoff, Mealy, Tindemans, Fleagle, Bisson, Jousselin, Santaniello (Erato)

Guillaume d'Amiens: Prendés i garde; Azéma, Kammen, Lepkoff, Mealy, Tindemans, Fleagle, Bisson, Jousselin, Santaniello (Erato)

Blondel de Nesle: L'amours dont sui espris; Page, Gothic Voices (Hyperion)

Blondel de Nesle: Ma joie me semont; Page, Gothic Voices (Hyperion)

Jehan Bodel: Contre le dous tans novel; Augsburg Ensemble for Early Music (Christophorus)

Charles d'Anjou: La plus noble emprise qui soit; Robert, Perceval (Arion)

Guillaume de Dole: [Main a main…]; Azéma, Kammen, Lepkoff, Mealy, Tindemans, Fleagle, Bisson, Jousselin, Santaniello (Erato)

Guillaume le Vinier: Pastourelle: Valuru, valuraine; Azéma, Kammen, Lepkoff, Mealy, Tindemans, Fleagle, Bisson, Jousselin, Santaniello (Erato)

Guiot de Dijon: Chanterai por mon coraige; Binkley, Studio der Frühen Musik (Teldec)

Audefroi le Bastart: Bele Emmelos, instrumental; Wishart, Sinfonye (Hyperion)

Blanche de Castille: Amour ou trop tard me suis pris; Esquier, Ensemble de Musique Ancienne Polyphonia Antiqua (Pierre Verany)

Jacques de Cambrai: Retrowange novelle; Binkley, Studio der Frühen Musik (Teldec)

Jean de Flagy: [Et tous les gens…]; Azéma, Kammen, Lepkoff, Mealy, Tindemans, Fleagle, Bisson, Jousselin, Santaniello (Erato)

Jehannot de l'Escurel: L'on dit q'amors est dolce chose; Azéma, Kammen, Lepkoff, Mealy, Tindemans, Fleagle, Bisson, Jousselin, Santaniello (Erato)

Moniot d'Arras: Ce fu en mai; Augsburg Ensemble for Early Music (Christophorus)

Richard Coeur de Lion: Ja nul hons pris ne dira sa raison; Robert, Perceval (Arion)

Richard de Fournival: Onques n'amai tant que jou fui amee; Wishart, Sinfonye (Hyperion)

Thibaut de Champagne: Amour me fait commencier; Azéma, Kammen, Lepkoff, Mealy, Tindemans, Fleagle, Bisson, Jousselin, Santaniello (Erato)

Thibaut de Champagne: Dame, merci; Robert, Perceval (Arion)

Thibaut de Champagne: Du tres douz non a la Virge Marie; Robert, Perceval (Arion)

Thibaut de Champagne: J'aloie l'autrier errant; Robert, Perceval (Arion)

Thibaut de Champagne: L'autrier par la matinee; Augsburg Ensemble for Early Music (Christophorus)

Thibaut de Champagne: Seigneurs, sachiez qui or ne s'en ira; Binkley, Studio der Frühen Musik (EMI LP)

9:00 pm Part 4: Performance Comparisons

One of the most interesting aspects of music of this type is the amount of discretion it leaves up to the performers. In general, only the texts and melodies of these songs were written down, yet some sort of improvised instrumental accompaniment was almost always expected. The dilemma of the modern performer is that we can only take educated guesses at how the performers of the time may have gone about creating the overall sound of this music, and different early music ensembles have produced a wide variety of results, according to their own tastes and expertise. It is not at all difficult to find two recordings of the same song that sound completely different, as these examples will illustrate.

Bernart de Ventadorn: Can vei la lauzeta mover; Binkley, Studio der Frühen Musik (Teldec CD)

Bernart de Ventadorn: Can vei la lauzeta mover; Alla Francesca (Opus 111 CD)

Bernart de Ventadorn: Can vei la lauzeta mover; Hillier, Stubbs, Kiesel (Hyperion CD)

Anonymous: Chevaliers mult estes guariz; Esquier, Ensemble de Musique Ancienne Polyphonia Antiqua (Pierre Verany CD)

Anonymous: Chevaliers mult estes guariz; Martin Best Ensemble (Nimbus CD)

Blondel de Nesle: L'amours dont sui espris; Martin Best Ensemble (Nimbus CD)

Blondel de Nesle: L'amours dont sui espris; Augsburg Ensemble for Early Music (Christophorus CD)

Daniel Arnaut: Lo ferm voler; Sequentia (Deutsche Harmonia Mundi CD)

Daniel Arnaut: Lo ferm voler; Binkley, Studio der Frühen Musik (EMI LP)

10:00 pm RECORD HOSPITAL

Wednesday, May 19

5:00 am JAZZ SPECTRUM

11:00 am THE BEATLES ORGY

Frequently referred to as the most popular band of all time, the Beatles have influenced audiences around the world since they exploded onto the music scene in the early 1960s. The recent release of the "Anthologies" has made much of their unreleased material widely available, providing further insight into the evolution of their vast song repertoire. Please join WHRB as we present an examination of the musical development of the Beatles.

9:00 pm THE MARK E. SMITH AND THE FALL ORGY

Thursday, May 20

midnight THE MARK E. SMITH AND THE FALL ORGY CONTINUES

Friday, May 21

midnight THE MARK E. SMITH AND THE FALL ORGY CONTINUES

Saturday, May 22

midnight THE MARK E. SMITH AND THE FALL ORGY CONTINUES

9:00 am THE HARVARD SPORTS 1998-1999 ORGY

Harvard wins! Harvard wins! Relive the excitement. Listen to four memorable broadcasts of Harvard victories from this year, the best of SportsTalk, and live commentary between the games. You will also hear the rebroadcasts of Harvard Football's 23-22 victory over Princeton at the New Princeton Stadium, Men's Basketball's stunning come-from-behind win over Big East and cross-town rival Boston College, Men's Hockey's dramatic victory over defending ECAC champion Princeton, and the 1999 Women's Hockey National Championship game that saw #1-ranked Harvard defeat defending champion New Hampshire 6-5 in overtime to complete an unparalleled 33-1 campaign.

To keep the excitement level high, members of the WHRB Sports Department will provide live commentary between the rebroadcasts and share stories about their own experiences broadcasting these great moments in Harvard sports. Harvard athletes who played in these events will also be on hand to discuss the games from an athlete's perspective. In addition, the best of SportsTalk includes a mix of some of the most entertaining and amusing moments from this weekly half-hour show. Finally, be prepared for possible highlights of the 1999 Baseball Beanpot Tournament, not yet played at the time of this publication.

9:00 pm THE NEW SCHOOL HIP-HOP ORGY

Sunday, May 23

7:00 am THE MUDDY WATERS ORGY, PART 1

Over a two day period, the blues department will cover the entire body of Muddy Waters' work, from his acoustic plantation recordings in 1941 and 1942 through his electric heyday in the 1950's and 1960's to the late recordings released before his death in 1983. We will also feature interviews with Muddy's friends and associates, highlight acoustic influences such as Son House, and trace the legacy he left behind through such artists as Little Walter and Otis Spann.

11:00 am MEMORIAL CHURCH SERVICE

12:30 pm THE MUDDY WATERS ORGY, PART 2

Monday, May 24

midnight THE MUDDY WATERS ORGY, PART 2 CONTINUES

Tuesday, May 25

midnight THE MUDDY WATERS ORGY, PART 2 CONTINUES

7:00 am THE ERNEST CHAUSSON ORGY, PART 1

Ernest Chausson was born in Paris on January 20, 1855. His tragic death in a bicycle accident one hundred years ago deprived the world of a gifted and insightful composer whom many consider a "missing link" between the world of his teacher Franck and that of French impressionism. Chausson was extremely talented: he obtained a law degree from the University of Paris and had considered careers in literature and painting before turning to composition. Not until age twenty-four did he decide to pursue music, subsequently enrolling in the Paris Conservatory, where he studied with Massenet and Franck.

A meticulous craftsman, Chausson was almost never satisfied with his music. He nevertheless produced thirty-nine opus numbers, including a great deal of chamber music, a symphony, several songs, and one opera. Among his compositions, only a few, such as the Poème for violin and orchestra, have become well-known. Although portions of his output remain unrecorded, WHRB presents the majority of his recorded works here.

1881: Andante et Allegro for Clarinet and Piano; Neidich, Devoyon (Hyperion)

1882: Sept Mélodies, Op. 2; Souzay, Bonneau (London), Norman, Dalberto (Erato), Stutzmann, Södergren (RCA)

1881: Piano Trio in g, Op. 3; Graffin, Hoffman, Devoyon (Hyperion)

1882: Viviane, Op. 5; Plasson, Orchestre du Capitole de Toulouse (EMI)

1888: Quatre Mélodies, Op. 8: Stutzmann, Södergren (RCA)

1887: "Sérénade," Op. 13, No. 2; Stutzmann, Södergren (RCA)

1887: "L'aveu," Op. 13, No. 3; Stutzmann, Södergren (RCA)

1887: "La Caravane," Op. 14; Stutzmann, Södergren (RCA)

1888: La Tempête, Op. 18; Dale, Farman, Todorovitch, Le Roux, Lafont, Kantorow, Ensemble Orchestral de Paris (EMI)

1890, rev. 1893: Poème de l'amour et de la mer, Op. 19; Norman, Jordan, Orchestre Philharmonique de Monte Carlo (Erato)

10:15 am

1890: Symphony in B-flat, Op. 20; Monteux, San Francisco Symphony (RCA)

1891: Concert in D for Violin, Piano, and String Quartet, Op. 21; Perlman, Bolet, Juilliard String Quartet (CBS)

1891: Incidental music to La Légende de Sainte Cécile, Op. 22; Vernet, Kantorow, Chœur de Femmes de Radio France, Ensemble Orchestral de Paris (EMI)

12:30 pm Historic Performances, Part I

Poème, Op. 25, in a 1929 recording with Georges Enesco; Kathleen Ferrier and Sir John Barbirolli perform the Poème de l'amour et de la mer, Op. 19; historic recordings of the songs and other works.

2:00 pm THE CÉSAR FRANCK ORGY, PART 1

A Belgian composer of German ancestry, César Franck (1822-1890) was first known as a child prodigy on the piano. As an adult, Franck gave up performance and settled in Paris, where he later became a professor at the Conservatory. Through emphasis on organ music, especially Baroque counterpoint, Franck swayed an entire generation of French composers away from the prevailing operatic style toward pure instrumental forms. His many distinguished pupils included D'Indy, Chausson, and Dukas; because of his deep faith, they called him "Pater Seraphicus."

Franck's creative powers grew steadily with age; much of his output consists of salon music and organ works composed throughout his life, whereas masterpieces such as the Symphony and Violin Sonata do not appear until the last decade of his life. Franck's music distinguishes itself through opulently rich harmony and a unique grasp of both form and counterpoint, the former learned from Liszt and the latter from Bach. We will present a sizable portion of his rarely recorded output, including a complete version of his symphonic poem/cantata Rédemption.

1841: Piano Trio No. 1 in F-sharp, Op. 1, No. 1; Sirbu, Dancila, Sarbu (Dynamic)

1841: Piano Trio No. 2 in B-flat (Trio de salon), Op. 1, No. 2; Sirbu, Dancila, Sarbu (Dynamic)

1842: Piano Trio No. 3 in b, Op. 1, No. 3; Colan, Dancila, Sarbu (Dynamic)

1842: Piano Trio No. 4 in b (Allegro), Op. 2; Colan, Dancila, Sarbu (Dynamic)

1843: Grand Caprice No. 1 for Piano, Op. 5; Hough (Hyperion)

1843: Andante Quietoso for Piano and Violin, Op. 6; Sirbu, Sarbu (Dynamic)

1844: Gran Duo for Piano and Violin in B-flat, Op. 14; Sirbu, Sarbu (Dynamic)

1845-47: Ce qu'on entend sur la montagne; Priestman, Belgian Radio Symphony Orchestra (Schwann)

1857: Song, "S'il est un charmant gazon"; Lott, Johnson (Harmonia Mundi LP)

1858: Andantino in g for organ; Weir (Collins)

1858: Andantino: Petit Offertoire for harmonium (arr. for organ); Kee (Chandos)

5:15 pm

1859: Les Sept Paroles du Christ sur la Croix; Degelin, Hurst, Devos, Schwarz, Salanne, Choeur Henri Duparc, Orchestre du Domaine Musical (Cyprès)

1859: Offertoire symphonique; Ducrot (Carthagene LP)

1860: Messe à trois voix, Op. 12; Bodi, Wendler, Racz, Kocsis, Molnar, Karasszon, Nagy, Kamp, Debrecen Kodaly Choir (Hungaroton)

1860-1863: Six Pieces for Organ

Fantaisie in C, Op. 16; Kauzinger (Koch Schwann)

Prière in c-sharp, Op. 20; Kauzinger (Koch Schwann)

Grand pièce symphonique in f-sharp, Op. 17; Lehotka (Hungaroton LP)

Prélude, fugue, et variation in b, Op. 18; Litaize (Koch)

Final in b-flat, Op. 21; Lehotka (Hungaroton LP)

Pastorale in E, Op. 19; Weir (Collins)

1863: Ave Maria; Blase, Bremsteller (Bayer)

1865: Les Plaintes d'une poupée for Piano; Hough (Hyperion)

1858-63: Selections from Thirty Pieces for Organ or Harmonium: Elevation in A, Prelude pour l'Ave Maris Stella in d, Prelude pour l'Ave Maris Stella in D, Prelude pour l'Ave Maris Stella in d, Andantino in A-flat, Offertoire pour la messe de minuit; Verdin (Arion)

9:00 pm

1871: Offertory: Quae est ista; Wendler, Racz, Karasszon, Kocsis, Nagy, Kamp, Debrecen Kodaly Choir (Hungaroton)

1871: Offertory: Dextera Domini; Bodi, Wendler, Racz, Karasszon, Nagy, Kamp, Debrecen Kodaly Choir (Hungaroton)

1871: Domine non secundum; Degelin, Hurst, Schwarz, Seel (Cyprès)

1871: Song, "Le mariage des roses"; Fischer-Dieskau, Hoell (Teldec)

1872: Song, "Roses et papillons"; Fischer-Dieskau, Hoell (Teldec)

1873: Song, "Pour moi sa main cueillait des roses"; O'Keefe, Schilling (Titanic)

1876: Les éolides; Otterloo, Royal Concertgebouw Orchestra (Philips)

1869-79: Les Béatitudes; Montague, Danz, Lewis, Weir, Cachemaille, Cheek, Vasle, Hagen, Rilling, Gächinger Kantorei Stuttgart, Stuttgart Radio Symphony Orchestra (Hänssler)

midnight RECORD HOSPITAL

Wednesday, May 26

5:00 am JAZZ SPECTRUM

7:00 am THE ERNEST CHAUSSON ORGY, PART 2

1895: Le Roi Arthus, Op. 23; Zylis-Gara, Quilico, Winbergh, Jordan, Chœur de Radio France, Nouvel Orchestre Philharmonique Radio France (Erato)

1895: Paysage, Op. 38; Bourdoncle (Doron)

1896: Serres chaudes, Op. 24; Laplante, Lachance (Calliope LP)

1896: Poème for Violin and Orchestra, Op. 25; Francescatti, Bernstein (Sony)

10:00 am

1896: Quelques Danses, Op. 26; Johannesen (Vox LP)

1896: "Les Heures," Op. 27, No. 1: Laplante, Lachance (Calliope LP)

1897: Pièce for Cello and Piano, Op. 39; Hoffman, Devoyon (Hyperion)

1897: Piano Quartet in A, Op. 30; Kandinsky Quartet (Fnac Music)

1897: Les Vêpres du commun des vierges, Op. 31; Ducrot (Carthagène LP)

1898: Soir de fête, Op. 32; Plasson, Orchestre du Capitole de Toulouse (EMI)

1898: "La Chanson bien douce," Op. 34, No. 1; Stutzmann, Södergren (RCA)

1899: String Quartet in c, Op. 35 (compl. D'Indy); Muir Quartet (EMI)

1898: "Cantique à l'épouse," Op. 36, No. 1; Souzay, Bonneau (London)

1898: Chanson Perpétuelle for Soprano, Piano, and String Quartet, Op. 37; Norman, Dalberto, Patterson, Sansalone, Pigerre, Anderson (Erato)

12:30 pm Historic Performances, Part II

Concert, Op. 21, with Jacques Thibaud and Alfred Cortot; Ginette Neveu's recording of the Poème; Maggie Teyte in the Chanson Perpétuelle, Op. 37; other works.

2:00 pm THE CESAR FRANCK ORGY, PART 2

1874: Rédemption; Wilson, Uria-Monzon, Plasson, Orfeon Donostiarra, Orchestre du Capitole de Toulouse (EMI)

1878-79: Piano Quintet in f; Baertschi, Amati Quartet (Divox)

1878: Three Pieces for Organ

Fantaisie in A; Jones (Afka)

Cantabile in B; Clerc (REM LP)

Pièce héroique in b; Lehotka (Hungaroton LP)

1882: Le chasseur maudit; Muti, Philadelphia Orchestra (EMI)

1884: Prélude, chorale et fugue for Piano; Rubinstein (RCA LP)

1885: Song, "Nocturne"; Ameling, Jansen (Philips)

1885: Symphonic Variations for Piano and Orchestra; Curzon, Boult, London Philharmonic Orchestra (London)

1885: Danse lente, for Piano; Hough (Hyperion)

1886: Violin Sonata in A; Mintz, Bronfman (DG)

1886-87: Prélude, aria et final for Piano; Hough (Hyperion)

1887-88: Psyche; Otaka, BBC Welsh Chorus, BBC National Orchestra of Wales (Chandos)

7:00 pm

1886-88: Symphony in d; Monteux, Chicago Symphony Orchestra (RCA Victor)

1889: String Quartet in D; Prague Quartet (Denon)

1889-90: Selections from L'Organiste transcribed for Piano: Noël angevin (Allegretto), Noël angevin (Quasi allegro), Vieux Noël (Poco Lento), Vieux Noël (Maestoso), Vieux Noël (Andantino), Chant de la Creuse, Allegretto, Chant béarnais; Silverman (Musica Viva)

Selections from L'Organiste: Fifty-Nine Pieces for Organ or Harmonium: Air béarnais, Maestoso, Offertoire ou Communion, Offertoire funèbre, Andantino; Bremsteller (Bayer), Lehotka (Hungaroton LP)

Selections from L'Organiste transcribed for Small Orchestra: Andantino poco allegretto, Poco lento, Molto moderato, Andante; Walter, Belgian Radio Symphony Orchestra (Schwann)

No. 1; Kauzinger (Koch Schwann)

No. 2; Kauzinger (Koch Schwann)

No. 3; Kee (Chandos)

10:15 pm Historic Recordings

Jacques Thibaud and Alfred Cortot perform the Violin Sonata in a 1923 HMV recording. Cortot plays the late piano works.

midnight RECORD HOSPITAL

Thursday, May 27

5:00 am JAZZ SPECTRUM

1:00 pm THE YEHUDI MENUHIN ORGY

When violinist Yehudi Menuhin died at the age of 82 this March, the world mourned the passing of a performer, a conductor, a humanitarian, and a great musical mentor. In a nine-hour retrospective, WHRB remembers Menuhin the performer — the original "child prodigy" who debuted with the San Francisco Symphony Orchestra at age 7, traveled to Europe at 11 to study with Enesco and Adolf Busch, and performed the concerti of Bach, Beethoven, and Brahms with Bruno Walter and the Berlin Philharmonic Orchestra at the age of 13. We will examine recordings from both Menuhin's childhood and his adult years, including his collaboration with Ravi Shankar, as well as compare Bach performances from three different stages of his life.

Mendelssohn: Violin Concerto in e, Op. 64; Kurtz, Philharmonia Orchestra (EMI)

Beethoven: Violin Sonata No. 1 in D, Op. 12, No. 1; Giesen (Biddulph)

Schubert (arr. Menuhin): Ave Maria; Gazelle (EMI LP)

Paganini: Caprice for Solo Violin in a, Op. 1, No. 24 (EMI LP)

Sarasate: Caprice Basque, Op. 24; Gazelle (EMI LP)

Delius: Violin Sonata No. 1; Fenby (EMI LP)

Tchaikovsky: Piano Trio in a, Op. 50; H. Menuhin, Eisenberg (Biddulph)

Bartók: Sonata for Solo Violin (EMI LP)

Kreisler: Tambourin Chinois, Op. 3; Gazelle (EMI LP)

Ravel (arr. Garban): Kaddisch; Gazelle (EMI LP)

Nováèek: Perpetuum Mobile; Giesen (Biddulph)

Berg: Violin Concerto; Ansermet, Orchestre de la Suisse romande (Cascavelle)

4:00 pm

Bloch: Suites Nos. 1 and 2 for Solo Violin (EMI LP)

Bach: Sonata No. 3 for Solo Violin in C, S. 1005 (Biddulph)

Bach: Partita No. 3 for Solo Violin in E, S. 1006 (EMI)

Bach: Partita No. 3 for Solo Violin in E, S. 1006 (HMV LP)

Nielsen: Violin Concerto; Wöldike, Danish National Radio Symphony Orchestra (EMI LP)

Beethoven: Piano Trio No. 5 in D, Op. 70, No. 1, "Ghost"; H. Menuhin, Eisenberg (Biddulph)

Bartók (arr. Székely): Rumanian Folk Dances; Gazelle (EMI LP)

Boulanger: Three Pieces for Violin and Piano; Curzon (EMI)

Bazzini: La Ronde des Lutins; Gazelle (Orion LP)

Paganini: Moto Perptetuo, Op. 11; Gazelle (Orion LP)

7:00 pm

Shankar: Raga Piloo; Shankar, Rakha (EMI LP)

Martin: Polyptyque; Stoutz, Menuhin Festival Orchestra, Zurich Chamber Orchestra (EMI LP)

Martin: Ballade for Viola, Wind Orchestra, and Percussion; Stoutz, Menuhin Festival Orchestra (EMI LP)

Bach: Concerto for Two Violins and Orchestra in d, S. 1043; Enesco, Monteux, Orchestre Symphonique de Paris (EMI LP)

Pizzetti: Violin Sonata; H. Menuhin (Biddulph)

Beethoven: Violin Concerto in D, Op. 61; Furtwängler, Philharmonia Orchestra (Seraphim LP)

10:00 pm THE HISTORY OF SOUL JAZZ ORGY

From its roots in the Hard Bop of the early 1960's to its forgettable demise in the throes of disco culture and commercial Smooth Jazz, we bring you the complete picture of Soul Jazz with historical notes interspersed throughout the broadcast. Kick back and groove to the sounds of Lee Morgan, Cannonball Adderly, Groove Holmes, Lonnie Smith, Larry Young, Houston Person, Freddie Hubbard, and many others as we pump out the soul.

Friday, May 28

10:00 am THE NEIL YOUNG ORGY, PART 1

One of the most talented and respected popular musicians of our time, Neil Young refuses to be categorized. Over his thirty-year career, which has included experimentation with rock, folk, country, blues, techno, and rockabilly styles, Young has remained true to his artistic vision and amassed a stunning and diverse body of work which has influenced countless other performers. This year marks the thirtieth anniversary of Young's first recordings with faithful backup band Crazy Horse, the twentieth anniversary of the landmark Rust Never Sleeps album, and the tenth anniversary of his commercial resurgence with the hit "Rockin' in the Free World." WHRB's 22-hour Neil Young Orgy will provide a thorough retrospective of this exceptional songwriter's fascinating career. Highlights include Young's beginnings as a member of Buffalo Springfield, years of stardom with Crosby, Stills, Nash and Young, classic solo albums such as After the Gold Rush, Harvest, Freedom, and Sleeps with Angles, the underappreciated mid-1980s period, and 1995's Mirror Ball, a collaboration with Pearl Jam. The Neil Young Orgy will also feature live material and rare, out-of-print recordings.

midnight RECORD HOSPITAL

Saturday, May 29

5:00 am JAZZ SPECTRUM

9:00 am HILLBILLY AT HARVARD

1:00 pm THE NEIL YOUNG ORGY, PART 2

7:00 pm? THE NEW YORK PHILHARMONIC ORCHESTRA IN CONCERT

Beethoven: Missa solemnis; Brewer, Simpson, Rolfe-Johnson, Rose, New York Choral Artists

9:00 pm THE REGGAE THROUGH THE YEARS ORGY

Sunday, May 30

7:00 am BLUES

11:00 am MEMORIAL CHURCH SERVICE

12:30 pm MUSIC INTERLUDE

1:00 pm THE VICTOR HERBERT ORGY

6:00 pm THE COLLECTOR ORGY

midnight MONDAY MORNING STRIKE

Monday, May 31

5:00 am JAZZ SPECTRUM

1:00 pm THE ALEXANDER SCRIABIN ORGY, PART 1

Alexander Nicolaevich Scriabin (1872-1915) was one of the greatest composers of piano music and a superb master of musical forms. He spent his life developing a harmonic language that emerged from the influence of Chopin to become uniquely intense. He wrote under the spell of many apocalyptic visions, leaving behind an ecstatic, intoxicating body of work. We will proceed chronologically through the elegant juvenilia and the seventy-four opus numbers in order to comprehend the perfection of his rarefied style. In doing so we will hear performances by some of the greatest pianists of this century.

Canon in d, Op. Posth. (1883); Ponti (Vox LP)

Nocturne in A-flat, Op. Posth. (1884); Ponti (Vox LP)

Two Mazurkas, Op. Posth. (1884-86); Ponti (Vox LP)

Two Waltzes, Op. Posth. (1886); Ponti (Vox LP)

Sonata-Fantasy in g-sharp, Op. Posth. (1886); Hamelin (Hyperion)

Variations on a Theme of Mlle. Egoroff, Op. Posth. (1887); Ponti (Vox LP)

Fantasy in a for Two Pianos, Op. Posth. (1889); K. Labecque, M. Labecque (Philips)

Albumleaf in A-flat, Op. Posth. (1889); Ponti (Vox LP)

Sonata in e-flat, Op. Posth. (1887-89); Szidon (DG LP)

Fugue for Five Voices, Op. Posth. (1892); Nikonovich (Olympia)

Albumleaf in F-sharp, Op. Posth. (pre-1905); Ponti (Vox LP)

Waltz in f, Op. 1 (1885); Ponti (Vox LP)

Three Pieces (Etude, Prelude , Impromptu à la Mazur), Op. 2 (1889); Bera-Tagrine (Adda)

Ten Mazurkas , Op. 3 (1889); Feinberg (Nos. 1-7), Bera-Tagrine (Nos. 8-10) (Harmonia Mundi, Adda)

Allegro appassionato in e-flat, Op. 4 (1892); Ponti (Vox LP)

Two Nocturnes, Op. 5 (1890); Fergus-Thompson (ASV)

Sonata No. 1 in f, Op. 6 (1892); Laredo (Nonesuch)

Two Impromptus à la Mazur, Op. 7 (1892); Ponti (Vox LP)

Twelve Etudes, Op. 8 (1894); Kuerti (Analekta)

Prelude and Nocturne for the Left Hand Alone, Op. 9 (1894); Fleisher (Sony)

Two Impromptus, Op. 10 (1894); Nikonovich (Olympia)

4:30 pm

Twenty-four Preludes, Op. 11 (1896); Deyanova (Nimbus)

Two Impromptus, Op. 12 (1895); Kastelsky (Russian)

Six Preludes, Op. 13 (1895); Neuhaus (Harmonia Mundi, Adda)

Two Impromptus, Op. 14 (1895); Kastelsky (Russian)

Five Preludes, Op. 15 (1896); Eidi (Adda)

Five Preludes, Op. 16 (1895); Fergus-Thompson (ASV)

Seven Preludes, Op. 17 (1896); Eidi (Adda)

Allegro de Concert in b-flat, Op. 18 (1896); Brauner (Astoria)

Sonata No. 2 in g-sharp (Sonata-Fantasy), Op. 19 (1897); Richter (Parnassus)

Piano Concerto in f-sharp, Op. 20 (1896); Ohlsson, Pesek, Czech Philharmonic Orchestra (Supraphon)

Polonaise in b-flat, Op. 21 (1897); Ponti (Vox LP)

Four Preludes, Op. 22 (1897); Taub (Harmonia Mundi)

7:30 pm

Sonata No. 3 in f-sharp, Op. 23 (1898); Zhukov (Melodiya LP)

Reverie for Orchestra, Op. 24 (1897); Golovschin, Moscow Symphony Orchestra (Naxos)

Nine Mazurkas, Op. 25 (1899); Deyanova (Nimbus)

Symphony No. 1 in E , Op. 26 (1900); Avdeyeva, Grigoriev, Russian Choir, Svetlanov, USSR Symphony Orchestra (Melodiya)

Two Preludes , Op. 27 (1900); Taub (Harmonia Mundi)

Fantasy in b, Op. 28 (1900); Hamelin (Hyperion)

Symphony No. 2 in c, Op. 29 (1902); Järvi, Scottish National Orchestra (Chandos)

Sonata No. 4, Op. 30 (1903); Gavrilov (EMI)

Four Preludes, Op. 31 (1903); Ponti (Vox LP)

10:00 pm THE CRASS RECORDS ORGY, PART 1

With its inception in 1977, the band CRASS breathed life into the anarchopunk movement. Armed with a striking blend of do-it-yourself pacifism and magnetic antagonism, CRASS unrelentingly pursued heartfelt ideals without commercializing its ventures. CRASS Records was at first a personal outlet for music and criticism, but soon blossomed into an international enterprise that nurtured such bands as Conflict, Poison Girls, Rudimentary Peni, and Flux of Pink Indians. Whether propelling the underground success of their labelmates or scorning the powers-that-be, CRASS poured immeasurable energy into their musical and political efforts for seven years. This retrospective catalogues the history of the band and its label with additional selections from bands who got their start on CRASS Records.

Tuesday, June 1

6:00 am JAZZ SPECTRUM

1:00 pm THE ALEXANDER SCRIABIN ORGY, PART 2

Two Poems, Op. 32 (1903); Ashkenazy (London LP)

Four Preludes, Op. 33 (1903); Ponti (Vox LP)

Tragic Poem, Op. 34 (1903); Hamelin (Hyperion)

Three Preludes, Op. 35 (1903); Ponti (Vox LP)

Satanic Poem , Op. 36 (1903); Margulis (Inak)

Four Preludes, Op. 37 (1903); Richter (Music & Arts)

Waltz, Op. 38 (1903); Sofronitsky (Melodiya)

Four Preludes, Op. 39 (1903); Ponti (Vox LP)

Two Mazurkas, Op. 40 (1903); Deyanova (Nimbus)

Poem, Op. 41 (1903); Nikonovich (Olympia)

Eight Etudes, Op. 42 ( 1903); Lane (Hyperion)

Symphony No. 3 in c, "The Divine Poem", Op. 43 (1903); Barenboim, Orchestre de Paris (Erato)

Two Poems, Op. 44 (1905); Ponti (Vox LP)

Three Pieces (Album leaf, Fantastic Poem, Prelude), Op. 45 (1905); Ponti (Vox LP)

Scherzo, Op. 46 (1905); Nikonovich (Olympia)

Quasi Valse, Op. 47 (1905); Ponti (Vox LP)

Four Preludes, Op. 48 (1905); Ponti (Vox LP)

Three Pieces: Etude, Prelude, Reverie, Op. 49 (1905); Ponti (Vox LP)

Four Pieces: Fragility, Prelude, Winged Poem, Dance of Languor, Op. 51 (1906); Brauner (Astoria)

Three Pieces: Poem, Enigma, Poem of Languor, Op. 52 (1906); Kastelsky (Russian)

Sonata No. 5, Op. 53 (1906); Richter (Praga)

4:00 pm

The Poem of Ecstasy, Op. 54 (1906); Boulez, New York Philharmonic (Sony)

Four Pieces: Prelude, Ironies, Nuances, Etude, Op. 56 (1907); Ashkenazy (London LP)

Two Pieces: Desire, Danced Caress, Op. 57 (1907); Gould (Sony)

Albumleaf, Op. 58 (1910); Horowitz (Sony)

Two Pieces (Poem, Prelude), Op. 59 (1910); Ponti (Vox LP)

Prometheus, "The Poem of Fire" for Piano and Orchestra, Op. 60 (1910); Argerich, Abbado, Berlin Philharmonic (Sony)

Poème-Nocturne, Op. 61 (1911); Richter (Philips)

Sonata No. 6, Op. 62 (1911); Hamelin (Hyperion)

Two Poems (Mask, Strangeness), Op. 63 (1911); Neuhaus (Russian Disc)

Sonata No. 7 (White Mass), Op. 64 (1911); Hamelin (Hyperion)

Three Etudes, Op. 65 (1912); Richter (Melodiya)

Universe (Mysterium: Prefatory Act), Op. Posth. (1913-15); Lyubimov, Orlova, Yurlov Russian Choir, Kondrashin, Moscow Philharmonic Orchestra (Russian Disc)

Sonata No. 8, Op. 66 (1913); Hamelin (Hyperion)

Two Preludes, Op. 67 (1913); Woodward (Etcetera)

7:00 pm Historic Performances

Performances from the Golden Age of piano virtuosity. Simon Barere and Alfred Cortot play Etudes; recordings by Neuhaus, Feinberg, Goldenweiser, Rachmaninoff, Sofronitsky, and Scriabin himself — cylinders and rolls made circa 1910.

9:00 pm

Sonata No. 9 (Black Mass), Op. 68 (1913); Horowitz (Sony)

Two Poems (Allegretto, Allegretto), Op. 69 (1913); Horowitz (Sony)

Sonata No. 10, Op. 70 (1913); Horowitz (Sony)

Two Poems (Fantastic, Dreaming), Op. 71 (1914); Hamelin (Hyperion)

Poem "Toward the Flame", Op. 72 (1914); Richter (Philips)

Two Dances (Garlands, Dark Flames), Op. 73 (1914); Richter (Philips)

Five Preludes, Op. 74 (1914); Kuerti (Monitor LP)

10:00 pm THE CRASS RECORDS ORGY, PART 2

Wednesday, June 2

6:00 am JAZZ SPECTRUM

1:00 pm THE GUSTAV MAHLER ORGY

"The symphony must be like the world. It must embrace everything."

–Gustav Mahler (1860—1911)

During his lifetime, Mahler was much better known as a conductor than a composer, and in either role, he never failed to arouse strong reactions from musicians and audiences alike. A consummate artist, Mahler believed that all music, not just his own, should be performed with uncompromising thoroughness and emotional intensity–his tenure as Kapellmeister at the Vienna Hofoper led that institution to a new level of musicianship, while his dictatorial style on the podium earned him many enemies among Vienna's musical elite. Critics capitalized on the perception that Mahler took advantage of his conducting position to promote his own compositions, full of such "trivialities" and "exorbitant excesses." Yet in his later years, Mahler reportedly devoted less rehearsal time to his own works, difficult as they were, than to the well-established classics of Beethoven, Mozart and Wagner, whose works formed the basis of Mahler's prestigious reputation as a conductor.

Today, we remember Mahler not for his interpretations of Wagner, but for his orchestral songs and symphonies, whose "exorbitant excesses" have been transmuted into a profound vision by the passage of time and the increased understanding of audiences and musicians around the world. Mahler brought to the symphony a fresh approach that combined late-romantic sensibilities with the sounds of nature and the folk music of Austrian peasants–uniting such disparate elements into an innovative orchestral texture that attempted to portray the entire realm of experience in a single work. In this forty-three hour tribute, we survey the entirety of Mahler's creative output, together with a sampling of his "retouchings" of works by other composers, which will provide insights into the type of sound Mahler sought to produce from his orchestras as a conductor. We will also hear Mahler's completion of an unfinished opera by Carl Maria von Weber, which will provide fascinating insight into the development of Mahler's early but already characteristic orchestral style. And naturally, such a survey would be incomplete without some exploration of the many important historic performances of Mahler's music, including interpretations by Oskar Fried, Willem Mengelberg and Bruno Walter, who was in some sense Mahler's protégé.

Times given below are approximate.

Piano Quartet in a (1876-8) [single movement]; Maisenberg, Kremer, V. Hagen, C. Hagen (DG)

Symphonic Prelude in c (1876) [attrib. Mahler]; Järvi, Scottish National Orchestra (Chandos)

Cantata, "Das klagende Lied" (1878-80); Dunn, Fassbaender, Baur, Hollweg, Schmidt, Chailly, Städtischer Musikverein Düsseldorf, Berlin Radio Symphony Orchestra (London)

Lieder (1880), "Im Lenz," "Winterlied"; Baker, Parsons (Hyperion); "Maitanz im Grünen"; Hampson, Lutz (Teldec)

Bruckner: Symphony No. 3 in d [arr. for piano four-hands by Mahler, 1877]; Trenkner, Speidel (MD&G)

Lieder und Gesänge, Volume I (1880-3): "Hans und Grethe"; Baker, Parsons (Hyperion); "Frühlingsmorgen," "Erinnerung," "Serenade aus Don Juan," "Phantasie aus Don Juan"; Fischer-Dieskau, Bernstein (Myto)

4:30 pm

Lieder eines fahrenden Gesellen (version for voice and piano, 1883-5); Baker, Parsons (Hyperion)

Symphony No. 1 in D, "Titan" (second version, 1888-93, including the "Blumine" movement); Morris, New Philharmonia Orchestra (Collector LP)

6:00 pm

Weber: Opera, Die Drei Pintos [compl. Mahler, 1887]; Popp, Hollweg, Prey, Moll, Grundheber, Kruse, Lövaas, Scovotti, Bertini, Netherlands Vocal Ensemble, Munich Philharmonic Orchestra (RCA LPs)

Symphonic Poem in c, "Todtenfeier" (1888); Segerstam, Danish National Radio Symphony Orchestra (Chandos)

8:30 pm William Malloch's "I Remember Mahler," Part 1

Originally broadcast by KPFK in Los Angeles on July 7, 1964, this radio documentary is an assemblage of reminiscences and anecdotes about Mahler from people who knew him; many of them musicians who played under Mahler's direction in New York between 1907 and 1911. The nearly two-hour broadcast was recently rereleased by the New York Philmarmonic Special Editions record label, as part of their boxed set, The Mahler Broadcasts 1948—1982–we will hear it divided into four half-hour installments, broadcast between 7 and 9pm on each evening of the Mahler Orgy. This first segment focuses at length on Mahler's experiences in Vienna, as well as his relationship with the New York Philharmonic.

9:00 pm Historic Performances I

The first of three historic performance segments in the Mahler Orgy features Bruno Walter's 1954 mono recording of Mahler's first symphony with the New York Philharmonic (Sony), preceded by a brief conversation with Walter about his impressions of Mahler, recorded in 1950 (NYPO Special Editions).

10:00 pm THE CRASS RECORDS ORGY, PART 3

Thursday, June 3

6:00 am JAZZ SPECTRUM

9:00 am THE GUSTAV MAHLER ORGY, PART II

Songs from "Des Knaben Wunderhorn" (1892-6) [original piano versions]; Hampson, Parsons (Teldec)

"Ging heut' morgen übers Feld," from Lieder eines fahrenden Gesellen [piano roll]; (Kaplan Foundation)

Lieder eines fahrenden Gesellen (1891-6); Fischer-Dieskau, Steinberg, New York Philharmonic Orchestra (NYPO Special Editions)

"Ich ging mit Lust durch einen grünen Wald," from Lieder und Gesänge, Volume II [piano roll]; (Kaplan Foundation)

Lieder und Gesänge, Volume II (1887-90): "Ich ging mit Lust durch einen grünen Wald"; Fischer-Dieskau, Bernstein (Myto); "Um schlimme Kinder artig zu machen"; Baker, Parsons (Hyperion); "Aus! Aus!," "Starke Einbildungskraft"; Hampson, Lutz (Teldec)

Lieder und Gesänge, Volume III (1887-90): "Selbstgefühl," "Ablösung im Sommer," "Scheiden und Meiden"; Baker, Parsons (Hyperion); "Nicht wiedersehen!"; Fischer-Dieskau, Bernstein (Myto); "Zu Strassburg auf der Schanz"; Fischer-Dieskau, Moore (EMI)

11:45 am

Symphony No. 2 in c, "Resurrection" (1888-94); Hendricks, Ludwig, Bernstein, Westminster Choir, New York Philharmonic Orchestra (DG)

Songs from "Des Knaben Wunderhorn" (1892-6); Murray, Allen, Mackerras, London Philharmonic Orchestra (Virgin)

Symphony No. 1 in D (1893-6) [final version]; Bernstein, Concertgebouw Orchestra (DG)

3:15 pm Historic Performances II

Featuring performances of some of Mahler's later works by conductors Bruno Walter and Carl Schuricht.

6:15 pm

Symphony No. 3 in d (1893-6); Procter, Horenstein, Ambrosian Singers, Wandsworth School Boys Choir, London Symphony Orchestra (Unicorn)

8:00 pm William Malloch's "I Remember Mahler," Part 2

Former colleagues and acquaintances of Mahler speak about his relationships with other composers and treatment of the players in his orchestras, and the finer points of Mahler's interpretation as a conductor.

8:30 pm

Beethoven: Symphony No. 5 in c, Op. 67 [First movement, with Mahler's "Retuschen"]; Tiboris, Warsaw Philharmonic Orchestra (Albany)

Symphony No. 4 in G [Fourth movement, piano roll]; (Kaplan Foundation)

Symphony No. 4 in G (1892-1900); Raskin, Szell, Cleveland Orchestra (Sony)

10:00 pm THE CRASS RECORDS ORGY, PART 4

Friday, June 4

6:00 am JAZZ SPECTRUM

9:00 am THE GUSTAV MAHLER ORGY, PART III

Historic Performances III

Featuring the first acoustical recording of Mahler's music: the second symphony, performed by the orchestra and chorus of the Berlin State Opera under Oskar Fried in 1924 (Pearl). Also the Symphony No. 4, with Willem Mengelberg conducting the Concertgebouw Orchestra (Philips).

12:15 pm

Orchestral Songs: "Revelge" (1899) and "Der Tamboursg'sell" (1901); Murray, Allen, Mackerras, London Philharmonic Orchestra (Virgin)

Five Rückert Lieder (1901-2); Ludwig, Karajan, Berlin Philharmonic Orchestra (DG)

Symphony No. 5 [First movement, piano roll]; (Kaplan Foundation)

Symphony No. 5 (1901-4); Tennstedt, London Philharmonic Orchestra (EMI)

Kindertotenlieder (1901-4); Baker, Barbirolli, Hallé Orchestra (EMI)

Beethoven: Symphony No. 7 in A, Op. 92 [with Mahler's "Retuschen"]; Tiboris, Warsaw Philharmonic Orchestra (Albany)

4:00 pm Mahler's Tenth Symphony and its Completions

The Tenth Symphony was drafted and even completed in short score during the year 1910, but Mahler only had the chance to orchestrate the first movement (Adagio) and part of the third ("purgatorio") before his death in 1911. For many years, the Adagio was considered the only movement suitable for performance, while various musicians were asked to take on the task of completing the work, including Schoenberg and Shostakovich, who both refused. It was not until the early 1960's that the complete Tenth Symphony was given the chance to enter the orchestral repertoire, when the English musicologist Deryck Cooke produced a performing version that was subsequently endorsed by Alma Mahler-Werfel and has come to be considered the "standard" version of Mahler's Tenth.

However, Deryck Cooke's version was neither the first nor the last completion of Mahler's tenth–others had already been produced in relative obscurity by Joseph Wheeler and Clinton Carpenter, each without the benefit of certain missing pages from the manuscripts of the two scherzos, which were not found until 1960. More recently, in 1983, an American by the name of Remo Mazzetti, Jr., feeling that none of the previous versions were completely convincing, set out to create his own, building upon the foundations of the other three. So in addition to the "standard" completion by Cooke (to be heard tomorrow evening, at the end of the Mahler Orgy), we will listen to the Mazzetti version in its entirety, which has been recorded by the Saint Louis Symphony Orchestra under Leonard Slatkin (RCA), together with a brief explanation from Slatkin on the differences between the various completions.

5:30 pm

Schumann: Symphony No. 3 in E-flat, Op. 97, "Rhenish" [reorchestrated by Mahler]; Ceccato, Bergen Philharmonic Orchestra (BIS)

Symphony No. 6 in a, "Tragic" (1903-4); Bernstein, Vienna Philharmonic Orchestra (DG)

7:45 pm William Malloch's "I Remember Mahler," Part 3

Anecdotes about Mahler in rehearsal, and his relations to audiences and the press.

8:15 pm

Symphony No. 7 (1904-5); Klemperer, New Philharmonia Orchestra (EMI)

10:00 pm THE TECH ORGY

The WHRB Technical Services Department presents its semi-annual festival of obscure music, found sound, and just about anything lying around the station. If you miss this event, be prepared for guilt trips from our Jewish grandmothers. We apologize for any inconvenience.

midnight THE CRASS RECORDS ORGY, PART 5

Saturday, June 5

9:00 am HILLBILLY AT HARVARD

1:00 pm THE GUSTAV MAHLER ORGY, PART IV

Bach: Movements from Orchestral Suites [reorchestrated by Mahler, 1909]; Schwarz, Siegele, Senn, Lopez-Cobos, Radio Symphony Orchestra of Berlin (Schwann)

Symphony No. 8 in E-flat, "Symphony of a Thousand" (1906); Nielsen, Bjerno, Bonde-Hansen, Dolberg, Gjevang, Sirkiä, Hynninen, Stabell, Segerstam, Copenhagen Boys Choir, Philharmonic Choir of Berlin, Danish National Radio Choir, Danish National Radio Symphony Orchestra (Chandos)

Schubert: String Quartet in d, D. 810, "Death and the Maiden" [second movement, arr. for string orchestra by Mahler]; Turovsky, I Musici de Montreal (Chandos)

4:00 pm

Das Lied von der Erde (1908-9); Ludwig, Wunderlich, Klemperer, Philharmonia Orchestra, New Philharmonia Orchestra (EMI)

Symphony No. 9 (1908-9); Zander, Philharmonia Orchestra (Telarc)

7:00 pm

Alma Mahler-Werfel remembers her husband in an interview, recorded during the final years of her life.

William Malloch's "I Remember Mahler," Part 4.

The final segment of this series features recollections by Mahler's daughter, Anna, and various musicians who played under his direction in the New York Philharmonic.

7:40 pm

Symphony No. 10 (1910) [compl. Cooke]; Rattle, Bournemouth Symphony Orchestra (EMI)

9:00 pm THE SMOOTH GROOVES ORGY

Sunday, June 6

7:00 am BLUES

11:00 am MEMORIAL CHURCH SERVICE

12:30 pm AFTERNOON CONCERT

7:00 pm BOSTON EARLY MUSIC FESTIVAL PREVIEW

Boston's most important festival is back this coming week, The Boston Early Music Festival and Exhibition (see the ad on the inside back cover of this Guide), and we look forward to it with five exciting hours of live music and talk by Festival participants, including the production team for the opera, Cavalli's Ercole Amante,the same team responsible for the stupendously successful L'Orfeo by Luigi Rossi in 1997. The pace is fast, and the program peppered with ticket and CD giveaways.

midnight MONDAY MORNING STRIKE

Monday, June 7

5:00 am JAZZ SPECTRUM

noon THE ANDRIESSEN FAMILY ORGY

The Andriessen family of composers was a significant musical family in 20th century Dutch music. The father, Hendrik (1892-1981), composed large and demanding works for the organ, since he was the church organist at the Hague. His sons Jurriaan (1925-1996) and particularly Louis (1939- ) used atonal and often minimalist ideas. Louis learned composition under his father Hendrik, and is now a teacher at the Royal Conservatory in the Hague. His love of jazz and bebop colours his music and singles out his favorite wind instruments of the California Ear Unit and the Schoenberg Ensemble. Featured in this orgy include Hendrik's complete works for the organ, Jurriaan's Sonata da Camera and Symphonies 1 and 2, Louis' Hoketus, De Materie, Zilver, Mausoleum, and M is for Man, Music and Mozart. The last piece was made into a music video with the help of British star Peter Greenaway. Louis' works are often based on strong political convictions, like Volkslied (1971) and Worker's Union (1975).

Andriessen, Hendrik

Premier Choral (1913); de Klerk (Lindenberg)

Magna res est amor; Vincent, Mengelberg, Concertgebouw Orchestra (Teldec)

Fuga (1916); de Klerk (Lindenberg)

Fete Dieu (1918); de Klerk (Lindenberg)

Troisième Choral (1920); de Klerk (Lindenberg)

Symphonic Etude; Haitink, Amsterdam Concertgebouw Orchestra (Radio Netherlands LP)

Sonata da Chiesa, Tema con variazioni (1927); de Klerk (Lindenberg)

Passacaglia (1929); Jogepier (Lindenberg)

Variations and Fugue on a Theme by Johann Kuhnau; Leitner, The Hague Philharmonic (Radio Netherlands LP)

Sinfonia (1939); de Klerk (Lindenberg)

Symphony No. 4; Haitink, Amsterdam Concertgebouw Orchestra (Radio Netherlands LP)

Aria (1944); de Klerk (Lindenberg)

Thema met variaties (1949); de Klerk (Lindenberg)

Ballade (1952); Baer (Radio Netherlands)

Due Madrigali; Hupperts, Netherlands Chamber Choir, Utrecht Philharmonic Orchestra, Hupperts (Donemus LP)

Suite (1968); de Klerk (Lindenberg)

Divertimento for Flute, Oboe, Violin, Viola and Cello; Bonsel, Netherlands Oboe Quartet (Radio Netherlands LP)

Andriessen, Jurriaan

Sonata da Camera; Barwahser, Boon, Goudswaard (Donemus LP)

Andriessen, Louis

Nocturnen (1959); McFadden, Netherlands Ballet Orchestra (Donemus)

Ittrospezione III (Concept II) (1965); Bouwhuis, Grotenhuis, van Bergen, Damste, Williams, Netherlands Ballet Orchestra (Donemus)

Anachronie I (1966-67); de Rooij, Williams, Netherlands Ballet Orchestra (Donemus)

Contra Tempus (1968); Bouwhuis, Grotenhuis, de Rooij, Mukaiyama (Donemus)

Anachronie II (1968-69); de Vries (Donemus)

De Staat (1973-76); de Leeuw, Schoenberg Ensemble (Nonesuch)

Worker's Union (1975); California Ear Unit (New Albion)

Hoketus (1975-77); Ensemble Hoketus (Donemus)

De Tijd (1980-81); de Leeuw, Netherlands Chamber Choir, Percussion Group of The Hague, Schönberg Ensemble (Nonesuch)

Disco (1982); California Ear Unit (New Albion)

De Stijl (1984-85); de Leeuw, Schoenberg Ensemble (Nonesuch)

M is for Man, Music, Mozart (1991); Hempel, Orkest de Volharding (Nonesuch)

Facing Death for Saxophone Quartet (1991); Aurelia Saxophone Quartet (NM Classics)

Tao (Der Weg) (1996); Mukaiyama, Eötvös, Netherlands Radio Chamber Orchestra (Südwestfunk)

10:00 pm RECORD HOSPITAL

Tuesday, June 8

5:00 am JAZZ SPECTRUM

11:00 am PHI BETA KAPPA CEREMONY

12:30 pm MUSIC INTERLUDE

2:00 pm BACCALAUREATE CEREMONY

4:30 pm EVENING CONCERT

8:00 pm THE BUBBLEGUM ORGY

The Bubblegum Orgy returns this spring with more selections from the Archies, the Monkees, and (almost) every other band ever put together by a record producer to make a quick buck. Plus, we will listen to some of the punk/new wave bands that wouldn't have been half as good without their pop precursors; we may even Do the Mouse (you can do it in your house, as Soupy Sales has reminded us).

11:00 pm RECORD HOSPITAL

Wednesday, June 9

5:00 am JAZZ SPECTRUM

2:00 pm CLASS DAY EVENTS

5:00 pm EVENING CONCERT

10:00 pm RECORD HOSPITAL

Thursday, June 10

5:00 am JAZZ SPECTRUM

8:00 am MUSIC FROM HARVARD

9:15 am HARVARD COMMENCEMENT

11:30 am MUSIC INTERLUDE

1:30 pm HARVARD ALUMNI ASSOCIATION MEETING

5:00 pm EVENING CONCERT

10:00 pm RECORD HOSPITAL