Once again, WHRB presents a roundup of all the classical pieces you’d love to hear just one more time, from Vivaldi’s Four Seasons to Tchaikovsky’s 1812 Overture.

Tchaikovsky: Symphony No. 5 in e, Opus 64; Jansons, Oslo Philharmonic Orchestra (Chandos)

Debussy: Deux Arabesques; Thibaudet; (London)

Debussy: "Clair de Lune" from Suite Bergamesque; Gieseking (Angel LP)

Vivaldi: Concerto for Violin in f, Opus 8 No. 4, "Winter"; Mutter, Karajan, Vienna Philharmonic Orchestra (Angel LP)

Bartok: Concerto for Orchestra; Reiner, Chicago Symphony Orchestra (RCA)

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

Gershwin: Rhapsody in Blue; Bernstein, Columbia Symphony Orchestra (Sony)

Haydn: Symphony No. 104 in D, "London"; Harnoncourt, Amsterdam Concertgebouw Orchestra (Teldec)

Dvorak: Piano Quintet in A, Opus 81; Firkusny, Juilliard Quartet (Columbia LP)

Handel: Music for the Royal Fireworks; Lamon, Tafelmusik (Sony)

Schumann: Symphony No. 4 in d, Opus 120; Kubelik, Berlin Philharmonic Orchestra (DG LP)

Bach: Partita for Violin Unaccompanied No. 2 in d, S. 1004; Szeryng (Odyssey LP)

Rachmaninov: Piano Concerto No. 2 in c, Opus 48; Ashkenazy, Kondrashin, Moscow Philharmonic Orchestra (Decca)

Mozart: Symphony No 35 in D, K. 385, "Haffner"; Abbado, Berlin Philharmonic Orchestra (Sony)

Chopin: Three Waltzes: Grand Valse Brilliante, Opus 18; Waltz in a, Opus 34 no. 2; Waltz in c-sharp, Opus 64, No. 2; Lipatti (EMI)

Prokofiev: Symphony No. 1, Opus 25, "Classical"; Masur, London Philharmonic Orchestra (Teldec)

Grieg: Piano Concerto in a, Opus 16; Perahia, Davis, Bavarian Radio Orchestra (CBS)

Schubert: String Quartet No. 14 in d, D. 810, "Death and the Maiden"; Alban Berg Quartet (Angel LP)

Saint-Saens: Concerto for Cello and Orchestra No. 1 in a, Opus 33; Ma, Maazel, Orchestre National de France (CBS)

Beethoven: Piano Sonata No. 23 in f, Opus 57, "Appassionata"; Richter (RCA)

Tchaikovsky: Festival Overture, Opus 49, "1812"; Dorati, Minneapolis Symphony Orchestra (Mercury)

–Nat Hentoff, from the book Jazz Is

–Lewis Porter, from the book John Coltrane: His Life and Music

John William Coltrane (1926-1967), renowned tenor saxophonist, is unquestionably one of the towering figures of modern jazz. As with many great artistic innovators, his influence has been profound and widespread. His impact extends far beyond the technical, though his contributions in that regard are substantial. As one scholar remarked, "I think all musicians should study Coltrane solos the way we now study the etudes of Bach and Brahms." Even cursory attention to his mature work will reveal the extent to which it transcends formal characteristics. Comparisons might be drawn with the influence of Bob Dylan in popular music, introducing social significance to a genre that had previously been treated as entertainment. Coltrane likewise imbued jazz with a sense of the profound that built upon existing functions of the music.

Bassist Art Davis considered Coltrane a prophet; drummer Elvin Jones called him an angel. Many of his listeners have felt similarly, a few so strongly that they established a church in his honor, deeming the saxophonist a saint. Coltrane himself was a deeply spiritual man, with particular affinity for the tenets of Christianity and of Eastern religions. Coltrane also had to endure harsh realities in his life; he suffered the loss of his father at an early age and was later to be tormented by dependency on heroin and alcohol. His music became a way not only to confront the difficulties he had encountered, but also to reach out to the higher forces he felt were at work in his life.

Surveying the arc of a great artist’s career is particularly fruitful in Coltrane’s case, for his development was consistent and gradual. Though he was a late bloomer (receiving widespread recognition only in his thirties), once Coltrane acquired the leeway to pursue his musical vision, his work evolved in dramatic fashion. Its progression was a quest, initially in the realm of purely musical matters, but eventually in the sphere of spiritual expression and fellowship.

In his formative years, most importantly with Miles Davis and Thelonious Monk, one can hear him grasping, even struggling, for the technical and theoretical facility to express himself fully. One of Coltrane’s most noted attributes was his immense drive to practice and learn, and numerous anecdotes recount his extraordinary stamina and dedication. His virtuosity and technical sophistication were evident in his classic work with trumpeter Miles Davis (including the perennial favorite Kind of Blue), in which the saxophonist’s patterned, dense improvisations were an ideal foil for Davis’s sparer style. Coltrane’s album Giant Steps, recorded in 1959, represents a pinnacle in improvisatory and compositional prowess in technical terms, not only for Coltrane, but for jazz music as a whole.

From that point onward Coltrane’s music actually became less sophisticated in a formal sense, as he began to move in a more expressive and less technical direction. His innovations were numerous and substantial. He popularized the use of soprano saxophone in jazz, especially with his famous rendition of "My Favorite Things." He incorporated ethnic elements into his style, as was particularly evident in his watershed Live At The Village Vanguard recordings. He was also continually stretching the accepted lengths of jazz improvisation; by the end of his career, a single tune could take as much as an hour to perform.

1962 to 1965 were the years of the "Classic Quartet," Coltrane’s longest-lasting and most influential band, featuring pianist McCoy Tyner, drummer Elvin Jones, and bassist Jimmy Garrison. One of the greatest jazz combos of all time, the remarkably well-balanced and telepathically interactive Quartet produced much of Coltrane’s most astonishingly beautiful music. The year 1965 saw the release of A Love Supreme, a cohesive suite that was Coltrane’s homage to God and is widely considered to be his definitive musical statement. It also represented the peak of his popularity.

From that point on, Coltrane–who had never given his audience a chance to pause for breath as he developed anyway–began to probe the heights of mysticism and freedom from musical constraints in a way that alienated many listeners. Indeed, much of his music after A Love Supreme continues to generate mixed reactions today. Perhaps Coltrane managed to outdistance even his bandmates, for Elvin Jones and McCoy Tyner would leave his band by 1966. Nevertheless, the terminal stages of Coltrane’s career produced remarkable experiments in free jazz, with the large-group, extended performance on Ascension particularly noteworthy.

John Coltrane succumbed to liver cancer before the end of 1967. He was forty years old, and his career as leader had lasted scarcely ten years. Nevertheless, his recorded legacy is abundant and rich, and his contributions were enough to fill a legendary career many times over. His impact on musicians and listeners can not be overstated, as he was a singular actor in the development of jazz as a mode of spiritual expression. Even today, the spiritual palpability and immediacy of his music remains unparalleled.

–Abraham Wu

The John Coltrane Orgy will be presented in chronological order of recording date. The listings below indicate the dates when recording sessions or live performances took place, along with other relevant information such as personnel and album releases. Estimated times of play are very approximate, and tracks from additional sessions, not listed here, will be added where appropriate in the chronology. Abbreviations used include tp (trumpet), p (piano), d (drums), as (alto saxophone), ts (tenor saxophone), tb (trombone), and b (bass).

Brief biographical sketch and overview of orgy.

These early recordings, spanning the years between his first known recordings with the Navy and his joining Miles Davis’s band, are relatively sparse and obscure. During this time Coltrane labors behind the scenes with many R&B bandleaders; he also works with Dizzy Gillespie, who would become an important influence, and Johnny Hodges, one of Coltrane’s idols.

July 13, 1946: U.S. Navy musicians. Coltrane joined this group while doing military service in Hawaii. This is his earliest known recording.

Nov. 21, 1949 — Mar. 17, 1951: Dizzy Gillespie’s groups (tp).

Jan. 19, 1952: Gay Crosse’s group (vocals/ tp).

Apr. 7 and Aug. 15, 1952: Earl Bostic’s orchestra (as).

June — Aug. 5, 1954: Johnny Hodges’ orchestra (as).

Coltrane joins Miles Davis’s group in late September ’55, marking the beginning of his ascendancy. Coltrane shows much promise and collaborates on some classic records, but his drug problem in particular hampers his development. Coltrane also has the opportunity to work as sideman for artists like Paul Chambers, Tadd Dameron, and in one classic meeting, Sonny Rollins.

Oct. 26, 1955: Miles Davis All Stars. The first studio recordings for the famous Miles Davis/John Coltrane pair, which formed the core of Davis’s (tp) first, "classic quintet." Rounding out the group were Red Garland (p), Paul Chambers (b), and Philly Joe Jones (d). All Miles Davis recordings on Columbia are courtesy of Sony Music and their recently released box set, Miles Davis & John Coltrane: The Complete Columbia Recordings, 1955-1961.

Nov. 16, 1955: Miles Davis Quintet. Session for Miles (Prestige).

Mar. 1 or 2 and Apr. 20, 1956: Paul Chambers Quartet.

May 7, 1956: Elmo Hope Sextet (p).

May 11, 1956: Miles Davis Quintet. A monumental session that, along with the 10/26/56 session, led to four classic Davis albums of the postbop era: Workin’, Steamin’, Relaxin’, and Cookin’ (Prestige).

May 24, 1956: Sonny Rollins Quartet (ts). A classic instance of dueling saxophones–Coltrane makes a guest appearance in "Tenor Madness."

June 5, 1956: Miles Davis Quintet. Session for Davis’s Round About Midnight (Columbia).

Sep. 7,1956: Prestige All Stars. With four tenor saxophones: Hank Mobley, Al Cohn, Zoot Sims, and Coltrane, producing Tenor Conclave (Prestige).

Sep. 10, 1956: Miles Davis Quintet.

Sep. 21, 1956: Paul Chambers Sextet.

Oct. 26,1956: Miles Davis Quintet.

Nov. 30, 1956: Tadd Dameron Quartet.

This is an important year for Coltrane. He begins a very educational association with Thelonious Monk, and also records his first album as leader, Coltrane (Prestige). A hard-bop masterpiece, Coltrane’s Blue Train (Blue Note), also appears this year. Perhaps most importantly, Coltrane kicks his drug habit that had led to his firing from Davis’s band. All accounts indicate that this event paves the way for tremendous growth in Coltrane’s musicianship.

Mar. 22, 1957: Prestige All Stars, an expanded group that included Mal Waldron (p) and Kenny Burrell (g).

Apr. 6, 1957: Johnny Griffin Septet, with Lee Morgan (tp) and Hank Mobley (ts), alongside Griffin (ts) and Coltrane. The tracks appeared on Griffin’s A Blowing Session (Blue Note).

Apr. 16, 1957: Thelonious Monk Trio. The first recording from the collaboration between Coltrane and the legendary pianist.

Apr. 18, 1957: Prestige All Stars, with Tommy Flanagan (p) and Kenny Burrell (g).

May 17, 1957: Mal Waldron Sextet, with Jackie McLean (as) and Waldron (p).

May 17, 1957: Paul Quinchette/John Coltrane Quintet. (Quinchette, ts)

May 31, 1957: John Coltrane Sextet, Coltrane’s first date as leader, recorded for Coltrane (Prestige).

June 25,1957: Thelonious Monk Septet. With Coleman Hawkins (ts), Art Blakey (d).

June 26, 1957: Thelonious Monk Septet. Personnel as above. The material from these two dates was featured on Monk’s Music (Riverside), among other albums.

Between July 18 and Aug. 11, 1957: Thelonious Monk Quartet

Aug. 16, 1957: John Coltrane Trio. With Earl May (b) and Art Taylor (d). Notable for the lack of piano, allowing for more harmonic openness–this would foreshadow later developments in Coltrane’s music.

Aug. 23, 1957: Red Garland Trio.

Oct. 1, 1957: Sonny Clark Sextet (p). Session for Sonny’s Crib (Blue Note).

Oct. 15, 1957: John Coltrane Sextet. Session for the famous Blue Train LP (Blue Note). Coltrane’s first widely acknowledged solo masterpiece, Blue Train features Coltrane’s compositional talents with tunes like "Moment’s Notice" and the title track.

Oct. 20, 1957: Prestige All Stars/Mal Waldron Sextet

October, 1957: Oscar Pettiford All Stars (b). Recorded for the Bethlehem label, the music on this date is performed by a relatively large group and, along with the music on the Art Blakey session in December of the same year, was a throwback to swing-era styles.

Nov. 15, 1957: Red Garland Quintet.

Dec. 13, 1957: Red Garland Quintet.

December, 1957: Art Blakey Big Band

Dec. 20, 1957: Ray Draper Quintet (tuba).

Coltrane rejoins the Miles Davis group. He also works with the groups of Kenny Burrell, Wilbur Harden, and, interestingly, Cecil Taylor.

Jan. 3, 1958: Gene Ammons All Stars (ts).

Jan. 10, 1958: John Coltrane Quintet. Session for Lush Life (Prestige), with Donald Byrd (tp).

Feb. 4, 1958: Miles Davis Sextet. Session for Milestones (Columbia), which added Cannonball Adderley (as) to the existing Davis quintet.

Feb. 7, 1958: John Coltrane with the Red Garland Trio. Session for Soultrane (Prestige).

Mar. 4, 1958: Miles Davis Sextet.

Mar. 7, 1958: Kenny Burrell Quintet.

Mar. 13, 1958: Wilbur Harden Quintet. The first of three sessions led by Harden (fluegelhorn) for Savoy Records.

Mar. 26, 1958: John Coltrane Quartet. Session for Settin’ The Pace (Prestige).

May 13, 1958: Wilbur Harden Sextet.

May 23, 1958: John Coltrane Quintet. Session for Black Pearls (Prestige).

May 26, 1958: Miles Davis Sextet. The first studio date for the Davis group with Bill Evans (p).

June 24, 1958: Wilbur Harden and Curtis Fuller Sextet. (Curtis Fuller, tb)

June 25, 1958: Michel Legrand and His Orchestra.

July 3, 1958: Miles Davis Sextet.

July 11, 1958: John Coltrane Quintet.

Sep. 9, 1958: Miles Davis Sextet.

Sep. 11, 1958 (probably): Thelonious Monk Quartet. From Live at the Five Spot Discovery! (Blue Note). This recently discovered addition to Coltrane’s recorded oeuvre came courtesy of Juanita "Naima" Coltrane, John Coltrane’s first wife, who had recorded this live performance using a portable tape recorder at the Five Spot club in New York.

Sep. 12, 1958: George Russell and His Orchestra.

Oct. 13, 1958: Cecil Taylor Quintet. (p)

November, 1958: Ray Draper Quintet.

Dec. 26, 1958: John Coltrane Quartet. With Freddie Hubbard (tp).

A huge year for Coltrane, and partly as a result, for jazz in general. Coltrane’s solo career truly takes off as he ends his relationship with Prestige Records and begins recording for Atlantic. That modal masterpiece and staple of jazz libraries everywhere, Miles Davis’s Kind of Blue, appears, as does Coltrane’s solo tour de force, Giant Steps.

Jan. 15, 1959: John Coltrane/Milt Jackson. Classic date with the late vibraphonist, producing Bags & Trane (Atlantic).

Feb. 3, 1959: Cannonball Adderley Quintet

Mar. 6, 1959: Miles Davis Sextet. The first of two sessions that produce the tracks for one of the most acclaimed and popular jazz albums of all time, Kind of Blue (Columbia).

Mar. 26, 1959: John Coltrane Quartet. The first recorded attempts at three famous Coltrane compositions, "Giant Steps," "Naima," and "Like Sonny."

Apr. 22, 1959: Miles Davis Sextet. The second Kind of Blue session.

May 4-5, 1959: John Coltrane Quartet. Session for the classic, deeply influential album Giant Steps.

Nov. 24, 1959: John Coltrane Quartet.

Dec. 2, 1959: John Coltrane Quartet. Master takes of such classic Coltrane compositions as "Naima," a ballad written for his first wife, and "Equinox," a Latin-tinged minor blues. Coltrane’s use of multiphonics, a technique in which more than one note is sounded simultaneously on the saxophone, is evident in the tune "Harmonique."

Coltrane continues to tour with Miles Davis while cultivating his solo career. His sessions with Ornette Coleman’s bands indicate Coltrane’s interest in the avant-garde and in moving away from traditional harmonic restrictions. Coltrane also records the influential "My Favorite Things," which features the soprano saxophone. Drummer Elvin Jones and pianist McCoy Tyner join Coltrane, completing three-fourths of the "Classic Quartet."

June 28 and July 8, 1960: John Coltrane and Don Cherry. First of two quartet dates featuring the juxtaposition of Coltrane with Ornette Coleman’s bands, featuring Don Cherry (tp). The tunes come primarily from the Coleman repertoire. These sessions also mark Coltrane’s first studio recordings with the soprano saxophone, an instrument he would almost single-handedly popularize in jazz.

Sep. 8, 1960: John Coltrane Quartet. This session marks the first recorded appearance of pianist McCoy Tyner with Coltrane.

Oct. 21, 1960: John Coltrane Quartet. This session produces a famous rendition of "My Favorite Things." This is also the first recorded appearance of drummer Elvin Jones.

Oct. 24, 1960: John Coltrane Quartet. Two separate sessions, the second of which features blues performances, recorded for Coltrane Plays the Blues (Atlantic).

Oct. 26, 1960: John Coltrane Quartet. Includes "Liberia," a clear homage to Dizzy Gillespie and his "Night In Tunisia."

This is Coltrane’s last year in the Miles Davis band, ending a marvelous and fruitful partnership. Coltrane also begins recording for Impulse Records, the label that will record his studio work for the rest of his career. The exotic and large-orchestra music of Africa/Brass is recorded this year, as are the controversial Live At The Village Vanguard sessions, with Eric Dolphy. Coltrane also takes a European tour at the end of this year.

Mar. 20-21, 1961: Miles Davis Sextet. Coltrane’s last sessions in the studio with Davis, producing tracks for Someday My Prince Will Come (Columbia).

May 23, 1961: John Coltrane Orchestra. The first of two sessions for Africa/Brass (Impulse), the first of Coltrane’s two forays (the other would be Ascension) into fronting a larger ensemble. Africa/Brass features the arrangements of multi-reedist Eric Dolphy, who would go on to join Coltrane’s working group.

May 25, 1961: John Coltrane Group. Session for Olé (Atlantic), which is notable for its exotic influences and use of two bassists simultaneously.

June 7, 1961: John Coltrane Orchestra. Africa/Brass, continued.

Nov. 1-3, 1961: John Coltrane Group. The watershed Live at the Village Vanguard (Impulse) performances, which for their exotic influences, extended solos, and pared-down harmonic conception (among other things) polarize the jazz audience’s opinion of Coltrane.

Nov. 5, 1961: John Coltrane Group. Live at the Village Vanguard continued.

Nov. 23, 1961: John Coltrane Quintet. Live performances from Stockholm, Sweden.

Dec. 21, 1961: John Coltrane Quartet. Apparently the first studio session with the last member of the classic quartet to join, Jimmy Garrison (b).

After assembling his longest lasting and probably most important group, the "Classic Quartet," Coltrane can truly begin to pursue his musical vision single-mindedly. But perhaps in an effort to appease his detractors, Coltrane also engages in some lighter but still excellent projects in which he plays traditional jazz ballads and collaborates with Duke Ellington. Coltrane again takes a European tour at the end of the year.

Apr. 11, 1962: John Coltrane Quartet. Along with the June 19/20/29 sessions, this date produces the tracks for Coltrane (Impulse), not to be confused with earlier Prestige LP of the same title.

June 2, 1962: John Coltrane Quartet. Live performances from Birdland in New York.

June 19/20/29, 1962: John Coltrane Quartet.

Sep. 18, 1962: John Coltrane Quartet. This session produces tracks for Ballads and Impressions (Impulse).

Sep. 26, 1962: Duke Ellington and John Coltrane. Classic meeting of two titans of jazz that produced Duke Ellington and John Coltrane (Impulse).

Nov. 13, 1962: John Coltrane Quartet. Session for Ballads.

Nov. 19, 1962: John Coltrane Quartet. Live performances from Stockholm, Sweden.

Many of Coltrane’s most famous and impressive live recordings date from this year. He plays the Newport Jazz Festival, makes an excellent recording featuring performances from Birdland in New York, and once again takes a European tour at the end of the year. Coltrane also records the elegy "Alabama," whose spiritual weight is an indication of majestic recordings to come. A unique session with a vocalist, Johnny Hartman, also takes place this year.

Feb. 23, 1963: John Coltrane Quartet. Live performances from Birdland, New York.

Mar. 6, 1963: John Coltrane Quartet.

Mar. 7, 1963: John Coltrane Quartet and Johnny Hartman. Perhaps born of a similar conception as Ballads, this studio date pairs vocalist Hartman with the classic quartet.

Apr. 29, 1963: John Coltrane Quartet. Roy Haynes fills in for Elvin Jones, who was in jail for drug-related infractions.

Aug. 7, 1963: John Coltrane Quartet. Live performances from the Newport Jazz Festival in Rhode Island.

Oct. 8, 1963: John Coltrane Quartet. Live performances from Birdland, New York. Elvin Jones returns to the lineup.

Oct. 22, 1963: John Coltrane Quartet. Live performances from Stockholm, Sweden.

Nov. 2, 1963: John Coltrane Quartet. Live performances from Berlin, Germany.

Nov. 18, 1963: John Coltrane Quartet. The studio session that produces "Alabama," the famous requiem for four black girls killed by dynamite in a church in September of 1963.

Coltrane produces his somewhat overlooked but undisputed masterpiece Crescent in this year. At the end of the year Coltrane produces another masterpiece that is decidedly not overlooked, the famous A Love Supreme. Sadly, Eric Dolphy passes away during this year.

Apr. 27 and June 1, 1964: John Coltrane Quartet. Sessions for Crescent (Impulse).

Dec. 9, 1964: John Coltrane Quartet. Sessions for A Love Supreme (Impulse).

This year is a somewhat tumultuous one for Coltrane. A Love Supreme seemed to mark the limits of Coltrane’s accessibility to the general jazz public; however, Coltrane does not change or slow his musical direction by any means. His avant-garde leanings become particularly pronounced, as he begins working regularly with Pharoah Sanders, and occasionally with players like Archie Shepp. Both Elvin Jones and McCoy Tyner leave his band at the end of the year. A remarkable experiment in free jazz, Ascension, is produced this year.

Feb. 17-18, 1965: John Coltrane Quintet. Sessions that produce tracks for The John Coltrane Quartet Plays (Impulse). Art Davis is added as a second bassist.

May 7, 1965: John Coltrane Quartet. Live performances from the Half Note, New York.

May 17, 1965: John Coltrane Quartet. Further sessions for The John Coltrane Quartet Plays.

May 26, 1965: John Coltrane Quartet. Sessions for the posthumous album Transition (Impulse). With two exceptions, no tracks recorded by the Classic Quartet after 5/17/65 were released during Coltrane’s lifetime.

May 10, 1965: John Coltrane Quartet.

May 16, 1965: John Coltrane Quartet

June 28, 1965: John Coltrane Orchestra. The famous Ascension (Impulse) sessions, a large-group, 40-minute experiment in free jazz. Eleven players participate, including Pharoah Sanders (ts).

July 2, 1965: John Coltrane Quartet. Live performances from the Newport Jazz Festival in Rhode Island.

July 26, 1965: John Coltrane Quartet. This is the only known live performance of A Love Supreme.

July 27, 1965: John Coltrane Quartet. Live performances from Antibes, France.

Aug. 26, 1965: John Coltrane Quartet. Session for Sun Ship (Impulse).

Sep. 2, 1965: John Coltrane Quartet. Session for First Meditations (for quartet) (Impulse), a quartet rendition of a suite that would later be re-recorded with Pharoah Sanders as Meditations.

Sep. 22, 1965: John Coltrane Quartet. First Meditations, continued.

Sep. 30, 1965: John Coltrane Sextet. Including Pharoah Sanders and Donald Garrett (bass clarinet) in addition to the standard quartet. Live performances from Seattle, issued on Live in Seattle (Impulse).

Oct. 1, 1965: John Coltrane Group. Session for the tune and album Om (Impulse).

Oct. 14, 1965: John Coltrane Octet. Session for Kulu Sé Mama (Impulse).

Nov. 23, 1965: John Coltrane Sextet. Session for Meditations, an important album that marks a transitional point in Coltrane’s career, as it is the last studio recording involving all members of the Classic Quartet. Includes two drummers simultaneously, with Rashied Ali alongside Elvin Jones.

Feb. 2, 1965: John Coltrane Group. Session with Alice McLeod (later Alice Coltrane) on piano and Rashied Ali on drums. McCoy Tyner and Elvin Jones had left the group by this time, citing musical differences and the desire to pursue solo projects.

Coltrane forms his last working group, with Pharoah Sanders on saxophone, wife Alice Coltrane on piano, and Rashied Ali on drums. Jimmy Garrison is still Coltrane’s bassist, however. Coltrane also undertakes a tour of Japan in late summer.

June 28, 1966: John Coltrane Sextet. Live performances from the Village Vanguard in New York, producing Live At The Village Vanguard Again! (Impulse).

July 11, 1966: John Coltrane Quintet. Live performances from Tokyo, Japan, issued on Live in Japan (Impulse).

The last calendar year of Coltrane’s life is abbreviated, as he passes away in a New York hospital on July 17. However, he has the opportunity to make a handful of recordings, including a duet album with Rashied Ali, Interstellar Space (Impulse). Coltrane’s last live performance is on April 23, and his last recording session is on May 17. Though tapes exist of both sessions, virtually none of this music has been issued.

Unknown, 1967: John Coltrane Quartet. Produces a recording of the composition "Expression."

Feb. 15, 1967: John Coltrane Quintet. Session for Expression (Impulse).

Feb. 22, 1967: John Coltrane/Rashied Ali. Session for Interstellar Space (Impulse), a remarkable duet album with the drummer that features performances named for planets and constellations.

Mar. 7, 1967: John Coltrane Quartet.

Apr. 23, 1967: John Coltrane Septet. Coltrane’s last live performance, from the Olatunji Center of African Culture in New York. Coltrane would pass away within three months. Only a brief fragment of this performance is available.

Recapitulation of major works.

A concert of Harvard composers.

Three Orgies come together in an energetic expression of hip-hop ecstasy. The Female MC Orgy is a showcase of the greatest female MCs, from Roxanne Shante to MC Lyte to Queen Latifah, Bahamadia, and Lauryn Hill. The Conscious Hip Hop Orgy is a focus on the rap songs which tell us about social causes and political issues. From Public Enemy, BDP, and Stetsosonic to Poor Righteous Teachers, Dead Prez, and Black Star, the Saturday Solution will cover it all. Lastly, the History of the Underground Orgy will detail the progression of the underground scene from a showcase platform for young artists to a highly influential genre in and of itself.

Relive the 1999-2000 season in Harvard Athletics with the Third Annual WHRB Sports Orgy. Rebroadcasts of the most exciting matchups in football, ice hockey, basketball, and baseball. Studio interviews with some of the most celebrated Crimson athletes. Special features and highlight montages. All this and more make up the recap of the year in WHRB Sports.

Preacher: The Reverend Peter J. Gomes, Plummer Professor of Christian Morals and Pusey Minister in The Memorial Church. Music includes Bach’s Cantata No. 29, "Wir danken dir, Gott".

In continuation of WHRB’s January celebration of the first one hundred years of jazz music, the second installment of the Centennial Jazz Orgy will cover the evolution of jazz music between 1959 and the present. From the Hard Bop of the 1960s to the Young Lions and Neo-Traditionalists of the 1990s, Centennial Jazz II will chronologically explore shifts in jazz idioms over the last forty years.

Music in film has evolved greatly over the past century, from a small piano at the foot of the screen to fully orchestral works matching the sophistication and emotion of concert music. It is this pinnacle that we examine in the American Film Music Orgy. In uncovering the powerful feelings brought out by the film score composer, we will hear music from many genres, including epics, dramas, and science fiction, among others.

We focus on two major composers of film music, Miklos Rozsa and Bernard Herrmann. Rozsa (1907-1995) was born in Budapest, whose traditional folk music would influence his work. He graduated from Leipzig in 1929 and quickly began composing both concert and film music. He fled war-torn London in 1940 to move to Hollywood, where he would spend the rest of his career. Composing for 108 films, he is most famous for his epics, which we will feature in this Orgy. Herrmann (1911-1975) was born in New York City and became involved in Aaron Copland’s Young Composer’s Group in his teens. He studied music at the Juilliard School, and after a stint conducting the CBS Symphony, composed his first score for Orson Welles’s Citizen Kane. However, it is during his collaboration with Alfred Hitchcock that Herrmann reached the height of his creative powers, producing unforgettable scores for films such as Vertigo and Psycho.

We are pleased to present the music of these noted composers, largely restored from recordings of the original scoring sessions. Additionally, we include music unused in the films and previously unreleased to the public.

Selections from Ben Hur; original soundtrack (Turner).

Selections from El Cid; New Zealand Symphony Orchestra, James Sedares conducting (New Digital).

Ivanhoe; Sinfonia of London, Bruce Broughton conducting (Intrada).

Selections from Time After Time; Royal Philharmonic Orchestra (London).

Quo Vadis; Royal Philharmonic Orchestra (London).

Selections from Julius Caesar; Sinfonia of London, Bruce Broughton conducting (Intrada)

Selections from Citizen Kane; London Philharmonic Orchestra (London)

Selections from Jane Eyre; London Philharmonic Orchestra (London)

Selections from The Snows of Kilimanjaro; London Philharmonic Orchestra (London)

The Day the Earth Stood Still; original soundtrack, Bernard Herrmann, Lionel Newman, and Alfred Newman conducting (Fox)

Psycho; National Philharmonic Orchestra (Unicorn)

North by Northwest; original soundtrack (Turner/Rhino)

Vertigo; original soundtrack, Muir Mathieson conducting (Varèse Sarabande)

Felix Mendelssohn (1809-1847) was among the most blessed of 19th century musical figures. He came from a loving, well-to-do home, where parents encouraged their musically talented children, Felix and Fanny. It was clear from the start that Felix was extraordinary. By the age of eleven he was writing competently, with individual touches to his music. By the age of sixteen he had written strong symphonies for strings, a fine symphony for full orchestra, and the Octet for Strings that delights audiences to this day. At the age of twenty he conducted the Bach St. Matthew Passion in public, revealing it to a world that had not heard it since Bach’s day, effectively beginning the Bach revival that has only grown greater year by year. This was a purposeful and inspired musician.

Yet for all his successes, for all his great works, Mendelssohn has never been considered in the same league as Beethoven or Brahms or Schumann. In part this is because his music is played less often, but in part because in his ceaseless activity, he exhausted himself, perhaps undermining the consistency of his output. Nevertheless, there is a large amount of superb music from his pen, and much beyond that that is worthy. From the symphonies to the piano music, to the songs, to Elijah, which many believe the pinnacle of the 19th century German oratorio, to dazzling concerti, including a perfect one for violin, and to chamber music culminating in the Opus 80 String Quartet which he wrote just after the tragic youthful death of his beloved sister, whom he was to follow to the grave within months, Mendelssohn left a body of creative work surpassed by only a few.

This Orgy presents virtually the complete recorded music of Mendelssohn (more music remains, never recorded). It is roughly chronological, from early formal excercises to the final pages, offering the opportunity to experience the intense flame of inspiration that was extinguished so early.

1820: Fugue in d for Organ; Rübsam (Schwann LP)

1820: Fugue in g for Organ; Rübsam (Schwann LP)

1820: Menuett for Organ; Rübsam (Schwann LP)

1820: Sonata in F for Violin and Piano; Kantorow, Rouvier (Denon)

1820: Prelude and Fugue in d for Organ; Rübsam (Schwann LP)

1820: Lieb und Hoffnung, for Male Chorus; Die Singphoniker (cpo)

1821: String Symphony No. 1 In C; Goodman, Hanover Band (RCA Victor)

1821: String Symphony No. 2 in D; Goodman, Hanover Band (RCA Victor)

1821: Die beiden Pädagogen; Wewel, Dallapozza, Laki, Heitmann, Fischer-Dieskau, Fuchs, Hirte, Wallberg, Bavarian Radio Chorus, Munich Radio Orchestra (EMI LP)

1821: String Symphony No. 3 in e; Goodman, Hanover Band (RCA Victor)

1821: String Symphony No. 4 in c; Goodman, Hanover Band (RCA Victor)

1821: Piano Sonata in g, Op. 105; Jones (Nimbus)

1821: Concerto in a for Piano and Strings; Kyriakou, Lange, Vienna Symphony Strings (Turnabout LP)

1821: String Symphony No. 5 in B-flat; Pople, London Festival Orchestra (Hyperion)

1821: String Symphony No. 6 in E-flat; Boughton, English String Orchestra (Nimbus)

1822: Magnificat in D for Chorus and Orchestra; Nossek, Wilke, Freier, Knothe, Berliner Singakademie, Staatskapelle Berlin (Capriccio)

1822: Motet for Solo Voices and Double Chorus, "Jube Domine"; Meier-Schmid, Seitz, Schefel, Hauptmann, Bernius, Stuttgart Chamber Choir (Carus)

1821-22: String Symphony No. 7 in d; Masur, Leipzig Gewandhaus Orchestra (Berlin Classics)

1822: String Symphony No. 8 in D; Ward, Northern Chamber Orchestra (Naxos )

1822: Lob des Weines, for Male Chorus; Die Singphoniker (cpo)

1822: Fantasie in g and unfinished Fugue; Rübsam (Schwann LP)

1822: Hunter’s Song, for Male Chorus; Die Singphoniker (cpo)

1822: Concerto in d for Violin and Strings; Kremer, Orpheus Chamber Orchestra (DG)

1823: Chorale and Variations, "Die Tugend wird durchs"; Rübsam (Schwann LP)

1823: String Symphony No. 10 in b; Reichert, Ensemble 13 (Pro Arte LP)

1823: Concerto in d for Violin, Piano and and Strings; Kremer, Argerich, Orpheus Chamber Orchestra (DG)

1823: Kyrie in c for Solo Voices and Chorus; Meier-Schmid, Wille, Hahn, Pfaff, Bernius, Stuttgart Chamber Choir (Carus)

1823: String Quartet in E-flat, "Jugendquartett"; Melos Quartet (DG)

1823: String Symphony No. 9 in C; Ward, Northern Chamber Orchestra (Naxos )

1823: String Symphony No. 11 in F; Yoo, Metamorphosen (Archetype )

1823: Concerto in E for Two Pianos and Orchestra; Frith, Tinney, o’Duinn, RTE Orchestra (Naxos )

1823: String Symphony No. 12 in g; I Musici (Philips LP)

1824: Sonata in c for Viola and Piano; Gieler, Bloomer (RN Classics)

1824: Symphony No. 1 in c, Op. 11; Abbado, London Symphony Orchestra (DG )

1824: Sextet in D for Piano and Strings; Haas, Malacek, Tsuchiya, Mezger, Steiner, Zepperitz (Philips LP)

1824: Sonata in E-flat for Clarinet and Piano; Neidich, Levin (Sony)

1824: Salve Regina in E-flat for Soprano and Strings; Hamari, Bernius, Stuttgart Chamber Choir (Carus)

1824: Overture for Wind Instruments, Op. 24; Abbado, London Symphony Orchestra (DG )

1824: Concerto in A-flat for Two Pianos and Orchestra; Billard, Azäis, Ristenpart, Chamber Orchestra of the Saar (Nonesuch LP)

1824: Motet for Solo Voices, Chorus and Piano, "Jesus, meine Zuversicht"; Meier-Schmid, Rieger, Seitz, Scheffel, Hauptmann, Engels, Bernius, Stuttgart Chamber Choir (Carus)

1825: Sonata in f for Violin and Piano, Op. 4; Kantorow, Rouvier (Denon)

1825: Die Hochzeit des Camacho, Op. 10; Hofmann, Ulbrich, Weir, Rhys-Evans, van der Meel, Wild, Malmberg, Cold, van Immerseel, Anima Eterna (Channel Classics)

1825: Capriccio in f-sharp for Piano, Op. 5; Jones (Nimbus)

1825: Kyrie in d for Chorus and Orchestra; Bernius, Stuttgart Chamber Choir, Bamberg Symphony Orchestr (Carus)

1825: Octet in E-flat for Strings, Op. 20; Marlboro Festival Orchestra (Sony)

1825: Song, "Suleika und Hatem" (Goethe), Op. 8, No. 12 (possibly written by Fanny Mendelssohn-Hensel); Baker, Fischer-Dieskau, Barenboim (Angel LP)

1825: Song, "Andres Maienlied" (Hölty), Op. 8, No. 8; Bonney, Parsons (Teldec)

1825: Song, "Romanze" (Spanish Folkson), Op. 8, No. 10; Bonney, Parsons (Teldec)

1825: Quartet No. 3 in b for Piano and Strings, Op. 3; Haas, Malacek, Tsuchiya, Steiner (Philips LP)

1825: Song, "Erntelied" (trad.), Op. 8, No. 4; Protschka, Deutsch (Capriccio)

1826: Piano Sonata in E, Op. 6; Perahia (CBS LP)

1826: Te Deum in D for Double Chorus and Continuo; Meier-Schmid, Hörger-Budday, Seitz, Assenheimer, Winter, Wagner, Bendel, Seidel, Hauptmann, Roos, Jahn, Lässler, Bernius, Stuttgart Chamber Choir (Carus)

1826 (revised 1832): Quintet No. 1 in A for Strings, Op. 18; Laredo, Kavafian, Ohyama, Kashkashian, Robinson (Columbia LP)

1826 (revised 1833): Overture in C, "Trumpet Overture", Op. 101; Wislocki, Warsaw National Philharmonic Orchestra (Stolat LP)

1826: Seven Characteristic Pieces, Op. 7; Jones (Nimbus)

1827: Song, "Frage," Op. 9, No. 1; Bonney, Parsons (Teldec)

1827: Chorale cantata for Chorus and Strings, "Christe, du Lamm Gottes"; Beck, Marburg Vocal and Instrumental Ensembles (Musicaphon)

1827-28: Chorale cantata for Double Chorus and Strings, "Jesu, meine Freude"; Bernius, Stuttgart Chamber Choir, Württemberg Chamber Orchestra of Heilbronn (EMI)

1827: Fantasia in E on "The Last Rose of Summer," Op. 15; Budiardjo (ProPiano)

1827: String Quartet No. 2 in a, Op. 13; Shanghai Quartet (Delos)

1827: Fugue in E-flat for String Quartet; European Quartet (Vox LP)

1827: Piano Sonata in B-flat, Op. 106; Jones (Nimbus)

1828: Song, "Abendlied" (Voss), Op. 8, No. 9; Protschka, Deutsch (Capriccio)

1828: Song, "Im Grünen" (Voss), Op. 8, No. 11; Protschka, Deutsch (Capriccio)

1828: Song, "Maienlied", Op. 8, No. 7; Protschka, Deutsch (Capriccio)

1828: Song, "Pilgerspruch" (P. Flemming), Op. 8, No. 3; Protschka, Deutsch (Capriccio)

1828: Motet for Sixteen Voices and Organ, "Hora est"; Seidel, Lauvik, Bernius, Stuttgart Chamber Choir (Carus)

1828: Meeresstille und glückliche Fahrt, Overture, Op. 27; von Dohnanyi, Vienna Philharmonic Orchestra (London LP)

1828: Motet for Soprano and Orchestra, "Ave maris stella"; Laki, Bernius, Württemberg Chamber Orchestra of Heilbronn (Carus)

1829: Variations concertantes for Cello and Piano, Op. 17; Starker, Sebok (Mercury )

1829: Scherzo in b for Piano; Jones (Nimbus)

1829?: Cantata for Solo Voices, Chorus, and Orchestra, "Wer nur den lieben Gott lässt walten"; Laki, Bernius, Stuttgart Chamber Choir, Württemberg Chamber Orchestra of Heilbronn (EMI Electrola)

1829: Song, "Der Blumenkranz" (Moore); Daneman, Berg, Asti (Hyperion)

1829: Song, "Im Frühling" (Klingemann), Op. 9, No. 4; Protschka, Deutsch (Capriccio)

1829: String Quartet No. 1 in E-flat, Op. 12; Eroica Quartet (Harmonia Mundi)

1829: Three Fantasies or Caprices, Op. 16; Jones (Nimbus)

1830: Chorale cantata for Alto, Chorus and Orchestra, "O Haupt voll Blut und Wunden"; Cachemaille, Corboz, Gulbenkian Chorus and Orchestra (Cascavelle)

1830: Lieder ohne Worte, Vol. I, Op. 19b; Edlina (Chandos )

1830: Three Sacred Pieces, Op. 23, No. 1, "Aus tiefer Not schrei ich zu dir"; Ehmann, Westphalia Singers (Cantate)

1830: Three Sacred Pieces, Op. 23, No.2, "Ave Maria"; Best, Corydon Singers, English Chamber Orchestra (Hyperion)

1830: Three Sacred Pieces, Op. 23, No.3, "Mitten wir"; Reyghere, Herreweghe, Chappelle Royale de Paris, Collegium Vocale de Gard (Harmonia Mundi)

1830: Song, "Entsagung" (Droysen), Op. 9, No. 11; Protschka, Deutsch (Capriccio)

1830: Song, "Frühlingsglaube" (Uhland), Op. 9, No. 8; Protschka, Deutsch (Capriccio)

1830: Song, "Hirtenlied" (Uhland), Op. 57, No. 2; Protschka, Deutsch (Capriccio)

1830: Three Motets for Female Chorus and Organ, Op. 39, No.1, "Veni, Domine"; Norrington, Heinrich Schütz Choir and Chorale (Argo)

1830: Three Motets for Female Chorus and Organ, Op. 39, No.2, "Laudate pueri"; Rime, Vinson, Jean Sourisse Vocal Ensemble (Syrius)

1830: Three Motets for Female Chorus and Organ, Op. 39, No.3, "Surexit Pastor"; Ratzinger, Regensbur Cathedral Choir (Deutsche Harmonia Mundi)

1829: Die Heimker aus der Fremde, Op. 89; Schwarz, Donath, Schreier, Fischer-Dieskau, Kusche, Wallberg, Bavarian Radio Chorus, Munich Radio Orchestra (EMI LP)

1830: Rondo Capriccioso in E, Op. 14; Budiardjo (ProPiano)

1830: Psalm 115 for Solo Voice, Chorus and Orchestra, "Nicht unserm Namen, Herr," Op. 31; Harrhy, Lamy, Kooy, Herreweghe, Chapelle Royale, Collegium Vocale, Orchestral Ensemble of Paris (Harmonia Mundi)

1830: Song, "Ferne" (Droysen), Op. 9, No. 9; Bonney, Parsons (Teldec)

1830: Song, "Frühlingslied" (Lichtenstein), Op. 19, No. 1; Schreier, Engel (Berlin Classics)

1830: Song, "Im Herbst" (Klingemann), Op. 9, No. 5; Bonney, Parsons (Teldec)

1830: Song, "Lieblingsplätzchen" (from Des Knaben Wunderhorn), Op. 99, No. 3; Ameling, Jansen (CBS LP)

1830: Song, "Reiselied" (Ebert), Op. 19, No. 6; Protschka, Deutsch (Capriccio)

1830: Song, "Scheidend" (Voss), Op. 9, No. 6; Protschka, Deutsch (Capriccio)

1830: Song, "Wartend" (romance), Op. 9, No. 3; Protschka, Deutsch (Capriccio)

1831: Concerto No. 1 in g for Piano and Orchestra, Op. 25; Serkin, Ormandy, Philadelphia Orchestra (Columbia LP)

1831: Song, "Da lieg ’ich unter den Bäumen," Op. 84, No. 1; Schreier, Engel (Berlin Classics)

1831: Song, "Die Liebende schreibt" (Goethe), Op. 86, No. 3; Bonney, Parsons (Teldec)

1831: Song, "Winterlied" (Swedish folksong), Op. 19, No. 3; Bonney, Parsons (Teldec)

1831: Prayer for Chorus and Orchestra, "Verleih’ uns Frieden"; Best, Corydon Singers, English Chamber Orchestra (Hyperion)

1831?: Chorale cantata for Solo Voices, Chorus and Orchestra, "Vom Himmel hoch" ("Christmas Cantata"); Laki, Possemeyer, Bernius, Stuttgart Chamber Choir, Wurttemberg Chamber Orchestra of Heilbronn (Carus)

1832: Song, "Das erste Veilchen," Op. 19, No. 2; Protschka, Deutsch (Capriccio)

1831: Song, "Neue Liebe" (Heine), Op. 19, No. 4; Ameling, Jansen (CBS LP )

1831: Song, "Gruss" (Heine), Op. 19, No. 5; Ameling, Jansen (CBS LP )

1832: Capriccio brillant in b for Piano and Orchestra, Op. 22; Katsaris, Masur and Gewandhausorchester Leipzig (Teldec)

1832: Chorale cantata for Solo Voices, Chorus and Orchestra, "Ach Gott vom Himmel sieh darein"; Hermann, Bernius, Stuttgart Chamber Choir, Württemberg Chamber Orchestra of Heilbronn (EMI)

1832: Hebrides Overture, Op. 26; Szell, Cleveland Orchestra (Sony )

1832: Cantata for Chorus and Orchestra, "Die erste Walpurgisnacht," Op. 60; Remmert, Heilmann, Hampson, Pape, Harnoncourt, Arnold Schönberg Choir, Chamber Orchestra of Europe (Teldec)

1832: Song, "Der Blumenstrauss" (Klingemann), Op. 47, No. 5; Bonney, Parsons (Teldec)

1832: Song, "Frühlingslied" (Lichtenstein), Op. 34, No. 3; Bonney, Parsons (Teldec)

1832: Song, "Pagenlied" (Eichendorff); Bonney, Parsons (Teldec)

1832: Symphony No. 5 in D, Op. 107; Masur, Leipzig Gewandhaus Orchestra (Teldec )

1833: Concert Piece in d for Clarinet, Basset-Horn, and Orchestra, Op. 114; King, Dobree, Francis, London Symphony Orchestra (Hyperion )

1833: Fantasia in f-sharp, Op. 28, "Sonate écossaise"; Budiardjo (ProPiano)

1833: Lieder ohne Worte, Vol. II, Op. 30; Jones (Nimbus )

1833: Sacred Chorus for male chorus a capella, Op. 115, "Beati Mortui"; Norrington, Heinrich Schütz Choir and Chorale (Argo LP)

1833: Concert Piece in f for Clarinet, Basset-Horn, and Orchestra, Op. 113; King, Dobree, Francis, London Symphony Orchestra (Hyperion )

1833: Die schöne Melusine, Overture, Op. 32; Masur, Leipzig Gewandhaus Orchestra (Berlin Classics)

1833: Symphony No. 4 in A, Op. 90, "Italian"; Blomstedt, San Francisco Symphony Orchestra (London )

1833: Song, "Bei der Wiege" (Klingemann), Op. 47, No. 6; Bonney, Parsons (Teldec)

1834: Song, "Sonntagslied" (Klingemann), Op. 34, No. 5; Bonney, Parsons (Teldec)

1834: Concert aria, "Infelice"; Moser, Masur, Leipzig Gewandhaus Orchestra (Berlin Classics)

1834: Rondo brillante in E-flate for Piano and Orchestra, Op. 29; Lympany, Kisch, London Symphony Orchestra (Dutton)

1834: Song for Mixed Chorus, Op. 41, No. 4; Gronostay, Netherlands Chamber Choir (Globe)

1834: Study in F for Piano, Op. 104b, No.2; Budiardjo (ProPiano)

1834: Song, "Suleika" (Goethe), Op. 34, No. 4; Ameling, Jansen (CBS LP )

1834: Song, "Jagdlied" (from Des Knaben Wunderhorn), Op. 84, No. 3; Protschka, Deutsch (Capriccio)

1834: Song, "Minnelied" (German folksong), Op. 34, No. 1; Protschka, Deutsch (Capriccio)

1834: Song, "Reiselied" (Heine), Op. 34, No. 6; Protschka, Deutsch (Capriccio)

1834: Song, "Schlafloser Augen Leuchte" (Byron); Protschka, Deutsch (Capriccio)

1835: Three Caprices for Piano, Op. 33; Jones (Nimbus)

1835: Song, "Das Waldschloss" (Eichendorff); Protschka, Deutsch (Capriccio)

1835: Song, "Auf Flügeln des Gesanges" (Heine), Op. 34, No. 2; Prey, Hokanson (Denon)

1835: Song, "Des Mädchens"; Ameling, Jansens (CBS LP)

1835: Scherzo a capriccio in f-sharp for Piano; de Waal (Canal Grande)

1836: Oratorio, St. Paul, Op. 36; Janowitz, Lang, Blochwitz, Adam, Stier, Polster, Masur, Leipzig Radio Chorus and Gewandhaus Orchestra, Gewandhaus Childrens’ Choir (Philips)

1836: Funeral March, Op. 103; Dondeyne, Musique des Gardiens de la Paix (Westminster LP)

1836: Study in b-flat for Piano, Op. 104b, No. 1; Budiardjo (ProPiano)

1836: Duet, "Herbstlied" (Klingemann), Op. 63, No. 4; Baker, Fischer-Dieskau, Barenboim (Angel LP)

1836: Duet, "Ich wollt’ meine Lieb" (Heine), Op. 63, No. 1; De Los Angeles, Fischer-Dieskau, Moore (EMI)

1836: Study in f for Piano; Budiardjo (ProPiano)

1836: Three Preludes, Op. 104a, No. 2 in b, No. 3 in D; Jones (Nimbus)

1837: String Quartet No. 3 in D, Op. 44, No. 1; Bartholdy Quartet (Acanta)

1834-37: Preludes and Fugues, Op. 35, Nos. 2-6; Göbel (Thorofon)

1837: Male Choruses, Op. 120, No. 1; Die Singphoniker (cpo)

1837: Lieder ohne Worte, Vol. III, Op. 38; Edlina (Chandos )

1837: Albumblatt in e, Op. 117; Jones (Nimbus)

1837: String Quartet No. 4 in e, Op. 44, No. 2; Melos Quartet (DG LP)

1837: Worauf kommt es überall an, for Male Chorus; Die Singphoniker (cpo)

1837: Six Choral Songs, Op. 59, No. 1; Gronostay, Netherlands Chamber Choir (Globe)

1837: Prelude and Fugue in e/E, Op. 35, No. 1; Perahia (CBS LP )

1837: Psalm 42 for Tenor, Chorus and Orchestra, "Wie der Hirsch schreit," Op. 42; Baker, Hickox, London Symphony Chorus (Virgin)

1837: Concerto No. 2 in d for Piano and Orchestra, Op. 40; Schiff, Dutoit, Bavarian Radio Symphony Orchestra (London)

1837: Gondellied in A; Jones (Nimbus)

1837 (pub.): Three Preludes and Fugues for Organ, Op. 37; Scott (Hyperion)

1838: Six Songs for Mixed Chorus, Op. 41, Nos. 1-3, 5, 6; Gronostay, Netherlands Chamber Choir (Globe)

1838: String Quartet No. 5 in E-flat, Op. 44, No. 3; Bartholdy Quartet (Acanta)

1838: Perpetuum Mobile in C for Piano; Jones (Nimbus)

1838: Sonata in F for Violin and Piano; Luca, Epperson (None.)

1838?: Study in a for Piano, Op. 104b, No. 3; Budiardjo (ProPiano)

1838: Serenade and Allegro giocoso in b for Piano and Orchestra, Op. 43; Hough, Foster, City of Birmingham Symphony Orchestra (Hyperion )

1838: Andante cantabile and Presto agitato in B for Piano; Jones (Nimbus)

1838: Sonata No. 1 in B-flat for Cello and Piano, Op. 45; Bylsma, Hoogland (Philips LP)

1839: Duet, Lied aus, "Ruy Blas" (Hugo), Op. 77, No. 3; De Los Angeles, Fischer-Dieskau, Moore (EMI)

1839: Song for Mixed Chorus, Op. 100, No. 4; Gronostay, Netherlands Chamber Choir (Globe)

1839: Six Choral Songs, Op. 48; Gronostay, Netherlands Chamber Choir (Globe)

1839: Song for Mixed Chorus, Op. 88, No. 3; Gronostay, Netherlands Chamber Choir (Globe)

1839: Piano Trio No. 1 in d, Op. 49; Istomin, Stern, Rose (Columbia LP)

1839: Fugue in e for Organ; Scott (Hyperion )

1839: Fugue in f for Organ; Scott (Hyperion )

1839: Ersatz für Unbestand for Male Chorus; Die Singphoniker (cpo)

1839: Song, "Altdeutsches Lied" (Schreiber), Op. 57, No. 1; Protschka, Deutsch (Capriccio)

1839: Song, "Frühlingslied" (Lenau), Op. 47, No. 3; Protschka, Deutsch (Capriccio)

1839: Song, "Herbstlied" (Klingemann), Op. 84, No. 3; Protschka, Deutsch (Capriccio)

1839: Ruy Blas, Overture, Op. 95; Abbado, London Symphony Orchestra (DG)

1839: Song, "Minnelied" (Tieck), Op. 47, No. 1; Schreier, Engel (Berlin Classics)

1839: Song, "Volkslied" (Feuchterslebe), Op. 47, No. 4; Protschka, Deutsch (Capriccio)

1839: Song for Male Chorus, "Abendständchen," Op. 75, No. 2; Die Singphoniker (cpo)

1840: Duet, "Wie kann ich froh und lustig sein" (Kaufmann); Baker, Fischer-Dieskau, Barenboim (Angel LP)

1840: Folk Song, "Wasserfahrt" (Heine); De Los Angeles, Fischer-Dieskau, Moore (EMI)

1840?: Song, "Morgengruss" (Heine), Op. 47, No. 2; Schreier, Engel (Berlin Classics)

1840: Song for Mixed Chorus, Op. 88, No. 6; Gronostay, Netherlands Chamber Choir (Globe)

1840: Symphony No. 2 in B-flat, Op. 52, "Lobgesang"; Ghazarian, Gruberova, Krenn, von Dohnanyi, Vienna Philharmonic Orchestra (London LP)

1841: Song, "Das Schifflein" (Uhland), Op. 99, No. 4; Protschka, Deutsch (Capriccio)

1841: Song, "O Jugend" (trad.), Op. 57, No. 4; Protschka, Deutsch (Capriccio)

1841: Prelude and Fugue in e; Jones (Nimbus)

1841: Allegro brillant in A for Piano Duo, Op. 92; Smith, Sellick (Nimbus)

1841: Prelude in c for Organ; Rübsam (Schwann LP)

1841: Lieder ohne Worte, Vol. IV, Op. 53; Barenboim (DG LP)

1841: Song, "Erster Verlust" (Goethe), Op. 99, No. 1; Bonney, Parsons (Teldec)

1841: Song, "Suleika" (Goethe), Op. 57, No. 3; Bonney, Parsons (Teldec)

1841: Variations in B-flat, Op. 83; Jones (Nimbus)

1841: Variations in E-flat, Op. 82; Jones (Nimbus)

1841: Psalm 95 for Solo Voices, Chorus and Orchestra, "Kommt, lasst uns anbeten," Op. 46; Baumann, Silva, Blaser, Corboz, Gulbenkian, Foundation Chorus and Orchestra (Erato)

1841: Incidental music to Antigone, Op. 55; Hamer, Piontek, Scholss, Unterzaucher, Pape, Soltesz, Berlin Radio Symphony Orchestra, Berlin Rudfunkchor, Mannerchor "Carl Maria von Weber" (Capriccio )

1841: Variations sérieuses in d, Op. 54; Horowitz (RCA LP)

1842: Duet, "Volkslied" (Burns), Op. 63, No. 5; Valente, Kombrink, Batlle (Columbia LP)

1842: Six Male Choruses, Op. 50; Die Singphoniker (cpo)

1842: Song, "Es weiss und rät doch keiner" (Eichendorff), Op. 99, No. 6; Bonney, Parsons (Teldec)

1842: Song, "Schilflied" (Lenau), Op. 71, No. 4; Schreier, Engel (Berlin Classics)

1842: Song, "Venetianisches Gondellied" (Moore), Op. 57, No. 5; Protschka, Deutsch (Capriccio)

1842: Nachtgesang for Male Chorus; Die Singphoniker (cpo)

1843: Six Choral Songs, Op. 59, Nos. 2-6; Gronostay, Netherlands Chamber Choir (Globe)

1843: Song for Mixed Chorus, Op. 100, Nos. 2, 3; Gronostay, Netherlands Chamber Choir (Globe)

1843: Sonata in D for Cello and Piano, Op. 58; Isserlis, Tan (RCA Victor)

1843: Song for Mixed Chorus, Op. 88, Nos. 2, 4; Gronostay, Netherlands Chamber Choir (Globe)

1843: Songs for Male Chorus, Op. 75: No. 1, "Der frohe Wandersmann"; No. 4, "Abschiedstafel"; Die Singphoniker (cpo)

1843: Capriccio in e for String Quartet; European Quartet (Vox)

1843: Hymn in A for Solo, Chorus, and Organ, "Lass, o Herr, mich Hilfe finden," Op. 96, No. 1; Hamari, Bernius, Stuttgart Chamber Choir and Orchestra (Carus)

1843: Concerto in e for Piano and Orchestra (incomplete and reconstructed) ; Eley, Stone, English Chamber Orchestra (Koch )

1842: Symphony No. 3 in a, Op. 56, "Scottish"; von Karajan, Berlin Philharmonic Orchestra (DG LP)

1844: Duet, "Abschiedslied der Zugvögel" (Fallersleben), Op. 63, No. 2; Baker, Fischer-Dieskau, Barenboim (Angel LP)

1844: Duet, "Gruss" (Eichendorff), Op. 63, No. 3; De Los Angeles, Fischer-Dieskau, Moore (EMI)

1844: Duets, "Maiglöckchen und die Blümelein" (Fallersleben), Op. 63, No. 6; Abendlied "Wenn ich auf dem Lager liege" (Heine); Lear, Stewart, Werba (DG LP)

1843-46: Six Anthems for Different Times of The Year, Op. 79; Best, Corydon Singers, English Chamber Orchestra (Hyperion)

1844: Lieder ohne Worte, Vol. V, Op. 62; Jones (Nimbus )

1844: Andante in D, from Four Little Pieces for Organ; Scott (Hyperion )

1844: Andante in F, from Four Little Pieces for Organ; Scott (Hyperion )

1844: Song for Mixed Chorus, Op. 100, No. 1; Gronostay, Netherlands Chamber Choir (Globe)

1844: Song for Mixed Chorus, Op. 88, No. 1; Gronostay, Netherlands Chamber Choir (Globe)

1844: Three Psalms for Solo Voices and Double Chorus, Op. 78, Nos. 1-3; Meier-Schmid, Rieger, Assenheimer, Seitz, Dorr, Pregardien, Scheffel, Hauptmann, Bernius, Stuttgart Chamber Choir (Carus)

1842: Incidental music to A Midsummer Night’s Dream, Op. 21 and 61; Lind, Cairns, Previn, Vienna Youth Chorus, Vienna Philharmonic (Philips)

1844: Allegro in B-flat for Organ; Scott (Hyperion )

1844: Allegro maestoso in C for Organ; Scott (Hyperion )

1844: Allegro, Chorale and Fugue in D for Organ; Murray (Pipedreams)

1844: Concerto in e for Violin and Orchestra, Op. 64; Mutter, Karajan, Berlin Philharmonic Orchestra (DG )

1844: Hymn for Soprano, Chorus and Organ, "Hear my prayer"; Reyghere, Herreweghe, Chappelle Royale de Paris, Collegium Vocale de Gard (Harmonia Mundi)

1845: Song, "Frühlingslied" (Klingemann), Op. 71, No. 2; Bonney, Parsons (Teldec)

1845: Song, "Tröstung" (Fallersleben), Op. 71, No. 1; Protschka, Deutsch (Capriccio)

1845: Lied ohne Worte in D for Cello and Piano, Op. 109; Starck, Eschenbach (Claves)

1845: Piano Trio No. 2 in c, Op. 66; Barcelona Trio (Harmonia Mundi)

Duet, "Abendlied" (Heine); De Los Angeles, Fischer-Dieskau, Moore (EMI)

Heilig (Sanctus) for Chorus; Patterson, Gloriae Dei Cantores (GDC)

Kyrie Eleison for Double Choir; Best, Corydon Singers, English Chamber Orchestra (Hyperion)

Lob der Trunkenheit, for Male Chorus; Die Singphoniker (cpo)

Song, "Allnächtlich im Traume" (Heine), Op. 86, No. 4; Protschka, Deutsch (Capriccio)

Song, "Der Mond" (Geibel), Op. 86, No. 5; Bonney, Parsons (Teldec)

Song, "Es lauschte das Laub" (Klingemann), Op. 86, No. 1; Protschka, Deutsch (Capriccio)

Song, "Seemans scheidelied" (?); Protschka, Deutsch (Capriccio)

Three sacred pieces, No. 1, "Ehre sei Gott in der Höhe"; Herreweghe, La Chapelle Royale de Paris, Gand Collegium Vocale (Harmonia Mundi)

Song for Male Chorus, "Trinklied," Op. 75, No. 3; Die Singphoniker (cpo)

1845: Lieder ohne Worte, Vol. VI, Op. 67; Barenboim (DG LP)

1845: Incidental music to Athalie, Op. 74; Borst, Desnoues, Watkinson, Avocat, Natech, Tetu, Lorraine Philharmonic, Lyon Choirs (Koch-Schwann )

1845: Sonata for Organ, Op. 65, No. 1; Eggington (Oiseau-Lyre LP)

1845: Quintet No. 2 in B-flat for Strings, Op. 87; Laredo, Kavafian, Ohyama, Kashkashian, Robinson (Columbia LP)

1845: Sonata for Organ, Op. 65, No. 2; Scott (Hyperion)

1845: Lieder ohne Worte, Vol. VII, Op. 85; Edlina (Chandos )

1845: Sonata for Organ, Op. 65, No. 3; Sluys (Discover)

1845: Lieder ohne Worte, Vol. VIII, Op. 102; Jones (Nimbus )

1845: Sonata for Organ, Op. 65, No. 4; Scott (Hyperion)

1845: Sonata for Organ, Op. 65, No. 5; Scott (Hyperion)

1845: Six Aphorisms for 8-part choir a capella; Norrington, Heinrich Schütz Choir and Chorale (Argo LP)

1845: Sonata for Organ, Op. 65, No. 6; Scott (Hyperion)

1845: Song, "Wenn sich zwei Herzen scheiden" (Geibel), Op. 99, No. 5; Bonney, Parsons (Teldec)

1845: Incidental Music to Oedipus, Op. 93; Sander, Hämer, Pigulla, Piontek, Unterzaucher, Schoss, Pape, Berlin Radio Chorus, Carl Maria von Weber Men’s Chorus, Berlin Radio Symphony Orchestra (Capriccio)

1846: Oratorio, Elijah, Op. 70; Jones, Baker, Gedda, Fischer-Dieskau, Woolf, Wandsworth School Boys’ Choir, New Philharmonia Chorus, New Philharmonia Orchestra, De Burgos (Angel LPs)

1846: Festival Song for Male Chorus, "An die Künstler" (Schiller), Op. 68; Sonnenberg, Seelig, Turtle Creek Chorale, Fort Worth Chamber Orchestra (Reference)

1846: Die Deutsche Liturgie for Eight Voices; Ratzinger, Regensburg Cathedral Choir (Deutsche Harmonia Mundi)

1847: Fugue in e for Organ; Rübsam (Schwann LP)

1847: Kinderstücke, Op. 72; Jones (Nimbus)

1847: Song, "Altdeutsches Frühlingslied" (Spee), Op. 86, No. 6; Protschka, Deutsch (Capriccio)

1847: Song, "Auf der Wanderschaft" (Lenau), OP. 71, No. 5; Protschka, Deutsch (Capriccio)

1847: Song, "Nachtlied" (Eichendorff), Op. 71, No. 6; Protschka, Deutsch (Capriccio)

1847: Male Choruses, Op. 120, Nos. 2-4; Die Singphoniker (cpo)

1847: Three English Church Pieces for Solo Voices and Chorus, Op. 69, No. 1, "Herr, nun lässest du deinen Diener in Frieden fahren"; Reyghere, Herreweghe, Chappelle Royale de Paris, Collegium Vocale de Gard (Harmonia Mundi)

1847: Three English Church Pieces for Solo Voices and Chorus, Op. 69, No. 3, "Jauchzet dem Herrn, alle Welt!"; Ehmann, Westphalia Singers (Cantate)

1847: Three English Church Pieces for Solo Voices and Chorus, Op. 69, No. 3, "Mein Herz erhebet Gott"; Meier-Schmid, Wille, Kaplan, Seidel, Bernius, Stuttgart Chamber Choir and Orchestra (Carus)

1847: Song, "An die Entfernte" (Lenau), Op. 71, No. 6; Schreier, Engel (Berlin Classics)

1847: Song, "Wanderlied" (Eichendorff), Op. 57, No. 6; Protschka, Deutsch (Capriccio)

1847: String Quartet No. 6 in f, Op. 80; Melos Quartet (DG LP)

1847: Oratorio, Christus, Op. 97 (incomplete); Rieger, Pregardien, Happel, Hauptmann, Bernius, Stuttgart Chamber Choir, Bamberg Symphony (Carus)

1847: String Quartet No. 7 (Unfinished), Op. 81; European Quartet (Vox)

1847: Organ Chorale, "Aus tiefer Not schrei ich zu dir"; Rübsam (Schwann LP)

–Xaver Scharwenka

Xaver Scharwenka (1850-1924) was one of the most influential figures among a large group of composer-pianists active during the late nineteenth and early twentieth centuries. His influence on the younger generation of pianists was especially great, and in 1881 he founded his own conservatory in Berlin. Xaver was always a favorite of U. S. audiences, and he lived in New York from 1891 to 1898. Today his compositions are largely forgotten, even his once-ubiquitous Polish Dance, Opus 3, No. 1. Yet pianists have always loved his works, and he has been championed by artists including Earl Wild, Seta Tanyel, and Stephen Hough. Piano repertoire expert Maurice Hinson writes of his piano concertos, "They deserve to be resurrected, for they are in some respects more exciting and interesting than some of the concertos that are considered standard today. The orchestral writing is brilliant, and the writing for the piano ‘fits’ the hands well." In honor of the 150th anniversary of his birth, WHRB presents a tribute to the man Harold Schonberg called "that romantic Pole with dash and sensitivity." We also bring you a selection of works by his older brother Philip (1847-1917), also a prolific composer and pianist whose career "was overshadowed by that of his forceful, energetic brother," according to the New Grove Dictionary of Music.

Piano Trio No. 1 in c-sharp, Opus 100 (1897); Trio Parnassus (MD+G)

Piano Trio No. 2 in G, Opus 112 (1902); Trio Parnassus (MD+G)

Sonata for Cello and Piano in g, Opus 116; Gross, Chou (MD+G)

String Quartet No. 1 in d, Opus 117 (1910); Mannheim String Quartet (MD+G)

Piano Quintet in b, Opus 118 (1910); Duis, Mannheim String Quartet (MD+G)

String Quartet No. 2 in D, Opus 120; Mannheim String Quartet (MD+G)

Piano Trio No. 1 in F-sharp, Opus 1 (1869); Mordkovitch, Carr, Tanyel (Collins)

Sonata for Violin and Piano in d, Opus 2 (1869); Mordkovitch, Tanyel (Collins)

Five Polish Dances, Opus 3 (1869); Tanyel (Collins)

Scherzo in G, Opus 4 (1869?); Ponti (Candide LP)

Two Legends, Opus 5 (1870) Tanyel; (Collins)

Piano Sonata No. 1 in c-sharp, Opus 6 (1871); Tanyel (Collins)

Polonaise No. 1 in c-sharp, Opus 12 (1872?); Tanyel (Collins)

Impromptu in D, Opus 17 (1873?); Tanyel (Collins)

Novelette in f, Opus 22, No. 1 (1874?); Ponti (Candide LP)

Six Waltzes, Opus 28 (1875?); Tanyel (Collins)

Two Polish Dances, Opus 29 (1876); Tanyel (Collins)

Valse-Caprice in A, Opus 31 (1876?); Tanyel (Collins)

Piano Concerto No. 1 in b-flat, Opus 32 (1877); Wild, Leinsdorf, Boston Symphony Orchestra (Élan)

Romanzero, Opus 33 (1877); Tanyel (Collins)

Piano Sonata No. 2 in E-flat, Opus 36 (1878); Tanyel (Collins)

Piano Quartet in F, Opus 37 (1878); Chilingirian, Van Der Werff, Atmacayan, Tanyel (Collins)

Polonaise No. 2 in f, Opus 42 (1878?); Tanyel (Collins)

Piano Trio No. 2 in a, Opus 45 (1878); Chilingirian, Atmacayan, Tanyel (Collins)

Sonata for Cello and Piano in e, Opus 46a (1879?); Carr, Tanyel (Collins)

Four Polish Dances, Opus 47 (1879); Tanyel (Collins)

Sonatina in e, Opus 52, No. 1 (1880); Tanyel (Collins)

Piano Concerto No. 2 in c, Opus 56 (1880); Ponti, Kapp, Hamburg Symphony Orchestra (Vox)

Variations on a Theme of C. H., Opus 57 (1881); Tanyel (Collins)

Minuet and Scherzo, Opus 65 (1890?); Tanyel (Collins)

Serenade for Violin and Piano in G, Opus 70 (1895); Mordkovitch, Tanyel (Collins)

Piano Concerto No. 3 in c-sharp, Opus 80 (1898); Tanyel, Strugala, Hannover Radio Orchestra (Collins)

Piano Concerto No. 4 in f, Opus 82 (1908); Hough, Foster, City of Birmingham Symphony Orchestra (Hyperion)

Eglantine, Opus 84 (1913); Tanyel (Collins)

Three Piano Pieces, Opus 86 (1913); Tanyel (Collins)

The Orgy concludes with recordings of Xaver Scharwenka playing his own compositions and works of other Romantic composers, performances originally from acoustical Columbia 78s.

Wealthy businessman and music patron Walter Willson Cobbett (1847-1937) dedicated himself to promoting the cause of chamber music in England. In addition to funding and editing Cobbett’s Cyclopedic Survey of Chamber Music and commissioning works from native composers, he instituted a competition for compositions written in "phantasy" form. Conceived as a modern counterpart to the 17^th century "fancy," the phantasy (Cobbett’s preferred spelling) is a single-movement chamber work of moderate length and variable tempo and meter. This orgy documents some of the responses to Cobbett’s innovation.

Bridge: Phantasie Quartet in f; Maggini Quartet (Naxos)

Ireland: Phantasy Trio; Mordkovich, Georgian, Brown (Chandos)

Bridge: Phantasie Trio in c; Hartley Trio (Gamut Classics)

Dale: Phantasy for Viola and Piano, Op. 4; Rowland-Jones, Immelman (Etcetera)

Bridge: Phantasie Quartet in f; Amabile Piano Quartet (Summit)

Vaughan Williams: Phantasy Quintet; Members of the Music Group of London (EMI)

Howells: Fantasy String Quartet, Op. 25; Britten Quartet (EMI)

Britten: Phantasy in f for String Quintet; Logie, Endellion String Quartet (EMI)

Goossens: Phantasy Sextet; Academy of St. Martin-in-the-Fields Chamber Ensemble (Chandos)

Britten: Phantasy for Oboe and String Trio, Op. 2; Boyd, Members of the Endellion String Quartet (EMI)

New Orleans has made quite an impact over the past century in the arena of popular music–perhaps no other city has given birth to as many genres or made its musical impact felt in as many ways. And with the exception of Memphis, Tennessee, no other Southern city has rivaled the great urban centers of the North–particularly Detroit and Chicago–in its contribution to the development and evolution of black music.

While New Orleans is perhaps most famous for its jazz scene in the Twenties and Thirties, the Crescent City Orgy will focus on the lesser-known blues and R&B produced during the Fities, Sixties and Seventies. Moreover, it will act as a corollary to last year’s popular Zydeco Orgy, giving listeners a taste of what was occurring in New Orleans while Clifton Chenier and Boozoo Chavis were exploring the sounds of the bayou. Featured performers include Professor Longhair, Dr. John, the Neville family, James Booker, Allen Toussaint, Blind Snooks Eaglin’, Champion Jack Dupree, and Marcia Ball.

Seven straight hours of great blues performers who helped create and influence rock and roll, including legendary performers such as Arthur "Big Boy" Crudup, Louis Jordan, Etta James, Ray Charles, Big Joe Turner, and many more.

RHYTHM 95 again invites 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 a significant American cultural influence. Particular musical tribute will be paid to the American cities and geographic 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 Boys 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.

Preacher: Rabbi David Whiman, Senior Rabbi of Congregation Beth Israel in Houston, Texas. Guest Choir: The Kuumba Singers.

The name of Maurice Ravel (1875-1937) has become synonymous with superior musical craftsmanship. However, this most quintessentially French of composers always maintained that, "sensitiveness and emotion constitute the real content of a work of art." Ravel’s total output is surprisingly small, and he tended to rework his compositions frequently in his endless striving for perfection. Yet his work constitutes one of the greatest and most influential bodies of music composed during the first half of the twentieth century. Although the linking of his name with Debussy’s is almost a cliché, the two composers often have little in common. Ravel was a Classicist who revered Mozart above all other composers, and he was far more skeptical of Wagner’s influence than his older compatriot was. His musical evolution is a fascinating journey: the early songs; the revolutionary Jeux d’eau; the discovery of new piano colors in Miroirs and Gaspard de la nuit; the whimsical L’Heure espagnole; the majesty of Daphnis et Chloé; the exploration of dance rhythms in the Valses nobles and La Valse; the fascinatingly modern Sonata for Violin and Cello; and the jazz influences of the piano concertos, to name but a few highlights. One need hardly mention that Ravel was a master orchestrator, and in this tribute we include several reworkings of pieces by other composers. We also present a three-hour segment of historic tomorrow at 7 pm to conclude our celebration of the 125th birthday of Maurice Ravel.

c. 1893: Song, "Ballade de la reine morte d’aimer"; Mesplé, Baldwin (EMI)

c. 1893: Sérenade grotesque; Thibaudet (London)

1895: Song, "Un grand sommeil noir"; van Dam, Baldwin (EMI)

1895: Menuet antique; Casadesus (Sony)

1896: Song, "Sainte" ; Souzay, Baldwin (Philips)

1897: Sites auriculaires for Two Pianos; Jacobs, Kalish (Nonesuch)

1897: Sonata for Violin and Piano; Laredo, Kalichstein (Arabesque)

1898: Song, "Chanson de rouet"; Norman, Baldwin (EMI)

1898: Shéhérezade; Boulez, New York Philharmonic Orchestra (Sony)

1898: Song, "Si morne!"; Norman, Baldwin (EMI)

1899: Deux épigrammes de Clément Marot; Souzay, Baldwin (Philips)

1899: Pavane pour une infante défunte; Gilels (Music and Arts)

1900: Les Bayadères; Desnoues, Grimbert, Paris-Sorbonne Orchestra and Chorus (Marco Polo)

1900: Tout est lumière; Le Roi, Grimbert, Paris-Sorbonne Orchestra and Chorus (Marco Polo)

1901: Jeux d’eau; Gilels (Music and Arts)

1902: La Nuit; Le Roi, Grimbert, Paris-Sorbonne Orchestra and Chorus (Marco Polo)

1902: Alcyone; Nicolesco, Denize, Meens, Soudant, Bamberg Symphony Orchestra (Rizzoli)

1903: String Quartet in F; Alban Berg Quartet (EMI)

1903: Matinée de Provence; Desnoues, Grimbert, Paris-Sorbonne Orchestra and Chorus (Marco Polo)

1903: Alyssa; Nicolesco, Meens, Glashof, Soudant, Bamberg Symphony Orchestra (Rizzoli)

1903: Song, "Manteau de fleurs"; Ameling, Jansen (Erato)

1903: Shéhérazade, Three Poems for Voice and Orchestra; Crespin, Ansermet, L’Orchestre de la Suisse Romande (London)

1905: Sonatine; Argerich (Philips)

1905: Miroirs; Richter (Praga)

1905: L’Aurore; Duguay, Grimbert, Paris-Sorbonne Orchestra and Chorus (Marco Polo)

1905: Song, "Noël des jouets"; Ameling, Jansen (Erato)

1905: Introduction and Allegro for Flute, Clarinet, Harp, and String Quartet; Melos Ensemble (London)

1906: Cinq mélodies populaires grecques; Ameling, Jansen (Erato)

1906: Songs, "Chanson de la mariée," "Tout gai!" from Cinq mélodies populaires grecques; de los Angeles, Prêtre, Orchestre de la Société des Concerts du Conservatoire (EMI)

1906: Histoires naturelles; Souzay, Baldwin (Philips)

1906: Une Barque sur l’ocean for Orchestra; Ozawa, Boston Symphony Orchestra (DG)

1907: Song, "Les grands vents venus d’outremer"; van Dam, Baldwin (EMI)

1907: Song, "Sur l’herbe"; Souzay, Baldwin (Philips)

1907: Song, "Vocalise-etude en forme de habanera"; Norman, Parsons (Philips)

1908: Gaspard de la nuit; Pogorelich (DG)

1908: Rapsodie espagnole for Piano, Four Hands; Kontarsky, Kontarsky (DG)

1908: Rapsodie espagnole for Orchestra; Boulez, Berlin Philharmonic Orchestra (DG)

1909: L’Heure espagnole; Danco, Derenne, Hamel, Rehfuss, Vessières, Ansermet, Orchestre de la Suisse Romande (Decca)

1909: Menuet sur le nom de Haydn; Casadesus (Sony)

1909: Song, "Tripatos"; Ameling, Jansen (Philips)

1909: Debussy: Nocturnes, Transcribed for Two Pianos; Coombs, Scott (Hyperion)

1910: Debussy: Prélude à l’Après-midi d’un faune, Transcribed for Piano, Four Hands; Bradshaw, Buono (Connoisseur Society)

1910: Song, "Chanson écossaise"; Lott, Baldwin (EMI)

1910: Song, "Chanson espagnole"; de los Angeles, Soriano (EMI)

1910: Song, "Chanson française"; Bacquier, Baldwin (EMI)

1910: Song, "Chanson hébraïque"; van Dam, Baldwin (EMI)

1910: Song, "Chanson itialienne"; Bartoli, Chung (London)

1910: Ma Mère l’Oye; K. Labèque, M. Labèque (Philips)

1910: Pavane pour une infante défunte for Orchestra ; Boulez, Cleveland Orchestra (Sony)

1911: Valse nobles et sentimentales; Casadesus (Sony)

1912: Daphnis et Chloé; Dutoit, Montreal Symphony Orchestra Chorus, Montreal Symphony Orchestra (London)

1912: Valses nobles et sentimentales for Orchestra; Boulez, Cleveland Orchestra (DG)

1912: Ma mère l’Oye for Orchestra; Boulez, New York Philharmonic Orchestra (Sony)

1913: À la Manière de Borodine; Casadesus (Sony)

1913: À la Manière de Chabrier; Casadesus (Sony)

1913: Prélude in a; Casadesus (Sony)

1913: Trois Poèmes de Stéphane Mallarmé; Gomez, Boulez, Members from the BBC Symphony Orchestra (Sony)

1914: Deux mélodies hébraïques; Bartoli, Chung (London)

1914: Piano Trio in a; Kantorow, Muller, Rouvier (Erato)

1914: Schumann: Carnaval (selections), Transcribed for Orchestra by Ravel; Gülke, Berlin Radio Symphony Orchestra (Koch Schwann)

1915: Trois chansons for Mixed Voices; Gardiner, Monteverdi Choir (Philips)

1915: Song, "Nicolette"; Ameling, Jansen (Erato)

1915: Song, "Trois beaux oiseaux de Paradis"; Ameling, Jansen (Erato)

1917: Le Tombeau de Couperin; Queffélec (Virgin)

1918: Alborada del gracioso for Orchestra; Nagano, Orchestra of the Lyon National Opera (Erato)

1918: Frontispiece for Two Pianos, Five Hands; Bradshaw, Buono, Kelton (Connoisseur Society)

1919: Deux mélodies hébraïques for Voice and Orchestra; de los Angeles, Prêtre, Orchestre de la Société des Concerts du Conservatoire (EMI)

1919: Le Tombeau de Couperin for Orchestra; Nagano, Orchestra of the Lyon National Opera (Erato)

1919: Chabrier: Menuet pompeux, Transcribed for Orchestra; Reynolds, European Chamber Orchestra Per Musica (Etcetera)

1920: La Valse; Dutoit, Montreal Symphony Orchestra (London)

1920: La Valse for Two Pianos; Argerich, Freire (Philips)

1922: Berceuse sur le nom de Gabriel Fauré; Sitkovetsky, Davidovich (Orfeo)

1922: Sonata for Violin and Cello; Kantorow, Muller (Erato)

1922: Mussorgsky: Pictures at an Exhibition, Transcribed for Orchestra; Reiner, Chicago Symphony Orchestra (RCA Victor)

1922: Debussy: Sarabande, Transcribed for Orchestra; Reynolds, European Chamber Orchestra Per Musica (Etcetera)

1922: Debussy: Danse (Tarantelle styrienne), Transcribed for Orchestra; Ansermet, L’Orchestre de la Suisse Romande (London)

1924: Song, "Ronsard à son âme"; van Dam, Baldwin (EMI)

1924: Tzigane, Concert Rhapsody for Violin and Piano; Midori, McDonald (Sony)

1924: Tzigane, Concert Rhapsody for Violin and Orchestra; Amoyal, Jordan, Orchestre de la Suisse Romande (Erato)

1925: L’Enfant et les sortilèges; Ogéas, Collard, Berbié, Gilma, Herzog, Rehfuss, Maurane, Sénéchal, Maazel, Chorus of the R.T.F., National Orchestra of the R.T.F. (DG)

1926: Chansons madécasses; De Gaetani, Dunkel, Anderson, Kalish (Nonesuch)

1927: Sonata for Violin and Piano; Kantorow, Rouvier (Erato)

1927: Fanfare pour L’Eventail de Jeanne; Boulez, New York Philharmonic Orchestra (Sony)

1927: Song, "Rêves"; Mesplé, Baldwin (EMI)

1928: Boléro; Dutoit, Montreal Symphony Orchestra (London)

1929: Menuet antique for Orchestra; Boulez, New York Philharmonic Orchestra (Sony)

1930: Piano Concerto in D for the Left Hand; François, Cluytens, Orchestre de la Société des Concerts du Conservatoire (EMI)

1931: Piano Concerto in G; Michelangeli, Gracis, Philharmonia Orchestra (EMI)

1933: Don Quichotte à Dulcinée; van Dam, Boulez, BBC Symphony Orchestra (Sony)

1935: Song, "Ronsard à son âme" for Voice and Orchestra; Singher, Coppola, Orchestra (EMI LP)

A selection of historic Ravel recordings, many made under the supervision of the composer or people who knew him.

Tonight begins the fast version of twenty years’ record collecting, mail order, live shows in cramped rooms, t-shirts, patches, insurgent social movements, worrying about selling out and, every month, making a list of our favorite new underground records. The Orgy will stretch back to the origins of Record Hospital (Plastic Passions in 1980) and will continue to the present. Through the lens of Record Hospital charts, this Orgy will provide a sampling of the evolution of rock music over two decades. Listen quickly–each month’s chart gets only an hour.

When Stiff Little Finger’s "Inflammable Material" appeared in 1980, Record Hospital DJs agreed that the record was "one of the best ever," charting alongside SOA, Wire, and Gang of Four.

"It exists in a whole other universe–mysterious, unsettling, and totally impossible to pin down. Utterly brilliant, start to finish," wrote one of our DJs about "Slates" by The Fall. In 1981 we played this as well as records by Iggy Pop, New Order, and The Residents.

In 1982, a Record Hospital DJ said, "I would love to play this over and over until blood poured from our listeners’ ears." The Misfits’ "Walk Among Us"–along with Black Flag, the "Not So Quiet on the Western Front" compilation, and Elvis Costello–bloodied the airwaves of 1982.

In 1983, we admired the "unintelligible stud-like country sound" of REM’s first album "Murmer," featuring Michael Stipe in horn-rimmed glasses and cravat. Half-Japanese, Minor Threat, and the Go-Betweens impressed us equally.

"Passionate, stirring, and most loud," decreed a DJ of the 1984 Husker Du double album "Zen Arcade." That year we also played Soft Boys, Pressure Boys, Slickee Boys, and the Minutemen.

"I might die tomorrow, and that’s why I have to write this today," wrote one of our DJs of Rites of Spring’s eponymous album. "There is no better LP in the world. None. Yes, I’ve heard the Misfits, the Ramones, Husker Du, the Minutemen, Crass, the Zero Boys, the Dead Kennedys, Richard Hell, Minor Threat, Black Flag, and a whole lot of other bands. But this is the most mindblowing record I’ve ever been lucky enough to hear." Meanwhile, we managed to cram in time for the Prime Movers, the Painters & Dockers, and the Windbreakers.

We defied the critics in 1986 when it came to the Pastels’ "Up For a Bit with the Pastels": "it got bad reviews in CMJ and Conflict, so it must be good!" WHRB featured the Tall Dwarves, Dinosaur (what became Dinosaur Jr.), and a colorful assortment including Gang Green, Grey Matter, Big Black "Candy Apple Grey", The Lemonheads, and Ivy Green.

We cast our ear down under to find "a record that way surpasses 99% of Brit/Pop/Folk" in the Bats’ "Daddy’s Highway." In 1987, Squirrel Bait, Seminal Rats, "Snakedrill", Pussy Galore, and the Soup Dragons all climbed to the top of the charts.

The late Peter Laughner is considered by many to be one of the progenitors of the Cleveland punk rock scene in the 1970s. His influences as an angst-ridden songwriter, ebullient performer, eclectic musician, and rock critic place him as an icon in the larger canon of the history of American punk. Laughner’s participation in Rocket from the Tombs, Pere Ubu (spawned from Rocket), and other projects such as Peter and the Wolves, Cinderella Backstreet/Revenge, and Friction span a surprisingly prolific career for a man who died at 24 of pancreatitis. Most well known for the Detroit stun guitar that epitomized Rocket from the Tombs and early Pere Ubu, Laughner was just as comfortable in his folk and blues shoes. Taking inspiration from Dylan, Reed, Verlaine, and Bukowski–just to name the tip of the iceberg–Peter Laughner infused the Cleveland scene with a punk ethos composed of quick-and-fast nihilism and unprecedented combinations of poetry with the bathos of Midwest despair.

Laughner’s recordings are difficult to obtain. Bootleg tapes and radio out-takes continue to collect dust in forgotten basements. Underground fans trade hodgepodge collections, but the man to whom American rock music owes such a debt is often unheard due to the unavailability of many of his most brilliant sessions. The Peter Laughner orgy, then, takes its cue from its curator’s serendipitous findings of these rare recordings and the overdue tribute that necessarily must accompany any backward-looking (and indeed, forward-looking) chronicle of the history of punk rock, with all of its chaotic, confused, and sublime incarnations.

As we look forward to the two-day Aaron Copland Orgy beginning May 25, we offer a selection of performances conducted by Copland of music by others, as well as one of his operas, plus a few other unusual items, and some reminiscences by Copland of Ives, Gershwin, Stravinsky, and Piston.

Gluck: Overture to Iphigénie en Aulide; New York Philharmonic Orchestra

Dvorak: Violin Concerto in a, Op. 53; Corigliano, New York Philharmonic Orchestra (both from concert of November 13, 1960 commemorating Copland's 60th birthday – New York Philharmonic LP)

Concert with the Czech Philharmonic Orchestra in the Fall of 1973 in Prague, on a Romantic Robot CD:

Ives: The Unanswered Question

Stravinsky: Ode

Martinu: Half-time

Schuman: New England Triptych

Bernstein: Overture to Candide

Bernstein: Anniversary "For Aaron Copland"; Bernstein (RCA Victor)

Thomson: "Aaron Copland", from Three Portraits for Piano; Smit (Musicmasters LP)

Copland: The Tender Land (abridged); Clements, Turner, Treigle, Cassilly,

Fredricks, Miller, Povia, Yule, Friday, Copland, Choral Arts Society, New York

Philharmonic Orchestra (Columbia LP)

Stravinsky: Les Noces; Copland at the piano, along with Samuel Barber, Lukas Foss, and Roger Sessions; plus Allen, Sarfaty, Driscoll, Oliver, American Concert Choir, Columbia Percussion Ensemble, conducted by Stravinsky (Columbia LP)

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

Federico Mompou’s goal of maximum musical expression with as few notes as possible produced works unusual among those of twentieth century composers. His piano miniatures and songs for solo voice convey traditional Catalan folk themes in a harmonic language steeped in the Romantic tradition, yet owing much to the modern atonal movement. This will be a near-complete survey of the small but important output of this nearly forgotten composer, who lived from 1893-1987.

Join DJs Bill Bixbee and Van Eyck, along with The Darker Side staff, as they bless the airwaves with a comprehensive review of arguably the greatest producer in the history of hip-hop–DJ Premier. Primo has worked with virtually every major hip-hop artist of the 1990s, including his own group Gangstars, Biggie Smalls, Jay-Z, NAS, and many others, and Bixbee and crew will touch every major and minor work they can in four hours. Of course, it will all be mixed together live with the turntablism skills always on display on The Darker Side.

Sampling–a popular production technique in which songs reuse beats and other clips from existing recordings–has been used for rap and R&B songs for two decades. From the first popular sample, a bassline from Chic’s "Good Times" used in Sugarhill Gang’s "Rapper’s Delight", to the present, sampling makes you wonder where you have heard a riff or tune before. The Sample Source Orgy answers this question, presenting a look at some of the most sampled records, alongside the songs in which they have been recycled.

The man by which all jazz pianists measure their craft, Art Tatum revolutionized the piano as a jazz instrument. His astounding technical skill still causes problems for his imitators today. Even though he made stunning recordings in small groups, Tatum’s true oeuvre was solo piano, where he has left an indelible mark on the music of our time. With time out for the Memorial Church services, this orgy continues until 10 pm tomorrow.

Preacher: The Reverend Peter J. Gomes, Plummer Professor of Christian Morals and Pusey Minister in The Memorial Church. Music includes Stanford’s Magnificat in G and "I waited for the Lord" by Mendelssohn.

Sonic Youth’s pivotal 1988 release "Daydream Nation," sparked controversy among Record Hospital DJs. "Funny how it takes a double album on Enigma for some folks here to notice what the rest of us have known for years." Another retorted, "I don’t care what anyone says, I hate it." 1988 also saw airplay for the Blake Babies, Beat Happening, Agitpop, and The Golden Dawn.

In 1989, we played number 926 of a 1000-copy limited pressing of Nirvana’s, "Love Buzz" single, on which Kurt Cobain’s name was spelled "Kurdt Kobain." My Dad Is Dead, Live Skull "Slay Tracks," and Bullet Lavolta all haunted our radio listeners.

Of Hasil Adkins’ "Peanut Butter Rock and Roll," a Record Hospital DJ exulted "It surpasses all modern rock and roll concepts. . . . It seems to have been performed by someone with no arms, only feet and head: primo gonzola!" The Cosmic Psychos, World Of Pooh, Moon, and "Space Gnome And Other Hits" also pushed the boundaries of rock music.

The Magnetic Fields’ "100,000 Fireflies" was the most requested song of the 1991-1992 year. The numerical trend continued with albums called "12 Degrees," "13-Point Program To Destroy America," and "Sebadoh III."

American composer George Antheil (1900-1959), the self described "Bad Boy of Music," was one of the most famous–and notorious–composers America has ever produced. With influences from jazz to Stravinsky, from surrealism to Einstein’s time-space theories, Antheil called on a wide range of material to produce works of rhythmic vitality and polytonal pungency. His infamous Ballet Mécanique, a brutal work originally calling for 16 pianolas and a wide range of percussion instruments, provoked a riot at a Paris performance surpassed only by the disastrous premiere of Stravinsky’s "Sacre du Printemps" (surely a sign of genius). We celebrate the 100th anniversary of the birth of this most eclectic composer.

Lithuanian Night; Ensemble Modern (RCA)

Piano Sonata No. 1, "Sonata Sauvage"; Marthanne Verbit (Albany)

Piano Sonata No. 2, "Airplane"; Roger Shields (Vox Box LP)

Piano Sonata No. 3, "The Death of Machines"; Danielle Lombardi (Nuova Era)

Jazz Sonata (arranged); Ensemble Modern (RCA)

Violin Sonata No. 1; Ensemble Modern (RCA)

Printemps I ; Ensemble Modern (RCA)

Printemps II; Ensemble Modern (RCA)

String Quartet No. 1; Mondriaan String Quartet (Etcetera)

A Jazz Symphony (1955 version); Ensemble Modern (RCA)

String Quartet No. 2; Mondriaan String Quartet (Etcetera)

Fighting the Waves; Ensemble Modern (RCA)

Concerto for Chamber Orchestra; Ensemble Modern (RCA)

La Femme 100 Tetes; Albee (CRI LP)

Symphony No. 4, "1942"; Goossens, London Symphony Orchestra (Omega)

Spectre of the Rose, film score; National Philharmonic Orchestra (Great Britain) (Montaigne)

String Quartet No. 3; Mondriaan String Quartet (Etcetera)

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

Songs of Experience; Graf, Antheil (SPA LP)

McKonkey’s Ferry Overture; Adler, Vienna Philharmonic Orchestra (SPA LP)

Serenade No. 1 for Strings; Antonini, Oslo Philharmonic Orchestra (CRI LP)

Valentine Waltzes; Verbit (Albany)

Trumpet Sonata; Stevens (Crystal)

Piano Sonata No. 4, "Jazz"; Parkin (Preamble)

Capital of the World; Kolman, Slovak State Philharmonic Orchestra (Centaur)

The Pride and the Passion, film score; Gold, orchestra (Capitol)

Ballet Mécanique (1952-1953 version); Ensemble Modern (RCA)

At the sound of Kathleen Hanna’s scream, grrls emerged across the nation to challenge everything from male-dominant power structures and negative body image to the strict definitions of feminism and punk rock. Grrls united through bands, magazine exchanges, and riot grrl chapters, to create non-hierarchical, supportive spaces for grrl bands and discussion groups.

By 1994, with riot grrl chapters in every major city in the Unites States, the revolution had arrived full force. Grrls, clad in baby barrettes and T-shirts with "slut" scrawled across the front, reclaimed their girlhood and their sexuality by realizing an alternative to traditional feminine submission. The Kill Rock Stars record label had become a major player in the indie punk scene. People outside of the riot grrl scene had taken notice of the music: Riot Grrl even received some media attention, ironically in those very fashion magazines whose ideas it rejected. However, the music remained grounded in the belief that grrls could change the world, and at this point, they had. Riot Grrl: The Orgy chronicles the growth of the riot grrl movement, from the earliest demo tapes made in Olympia, Washington, to the most recent experiments in DIY electronics and spoken word. Featuring bands like Huggy Bear, the Phantom Pregnancies, Heavens to Betsy, and Comet Gain, the orgy explores the evolution of Riot Grrl across North America and Britain.

Aaron Copland was born 100 years ago, November 14, 1900, and died ninety years later, December 2, 1990. A student of Nadia Boulanger in Paris, Copland first became known outside his music circles with his Symphony for Organ and Orchestra of 1924. By a decade later, he was recognized as an important musical voice. But Copland had more on his mind than simply writing music. He intended to create, and today is acknowledged as having created, the first truly American sounds in classical music. While he did not work alone, of course, most credit him as the principal figure in establishing American classical music as a serious, vital force both nationally and internationally.

Copland's work covers a broad stylistic spectrum, from early European-influenced works, to his jazz-influenced works of the 1920s, to more abstract works in the early 1930s, to the Americana works in the late 1930s and 1940s exemplified by Appalachian Spring, and his gently twelve-tone works of the 1950s and 1960s. In the midst of the many centenary Copland celebrations taking place this year, this Orgy is probably unique in presenting virtually his entire body of music, and in a concentrated fashion to enable deeper understanding of the development of one of the most strikingly original artists this nation has produced. As his centenary fittingly coincides with the end of the 20th century, we take the opportunity to assess his role and significance in the history of American music as it came of age during his long life.

The WHRB Copland Orgy will also present interviews and other spoken sections featuring Leo Smit, Michael Tilson Thomas, Jonathan Sheffer, and Copland himself. A few of the longer sections have been indicated in the listings below, but others not listed will be heard at various times in the orgy. One work, the Symphony No. 3, has been shifted slightly in the chronology for more convenient listening. Finally, we are grateful to Mr. Thomas, Mr. Sheffer, the EOS Orchestra, Ms. Phyllis Curtin, the New York Philharmonic Orchestra (who have provided special material from their recent 10-CD set "An American Celebration" supported by Rita and Gustave Hauser), the Aaron Copland Fund for Music, and Copland publishers Boosey and Hawkes, who have spearheaded the Copland 2000 celebrations, plus many others who have assisted in this presentation. (In addition, please see our preview on May 17.)

1918: Three Songs:"A Summer Vacation," "My Heart is in the East," "Night" (Aaron Schaffer); Alexander, Vignoles (Etcetera)

1919: Prelude for Violin and Piano; Terwilliger-Cooperstock Duo (Azica)

1919: Sonnet II for Piano; Lerner (Etcetera)

1920: Scherzo Humoristique, "The Cat and the Mouse"; Silvermann (Orion LP)

1920: Song, "Old Poem" (Arthur Waley from the Chinese); Alexander, Vignoles (Etcetera)

1921: Prelude (Second) for Violin and Piano; Terwilliger-Cooperstock Duo (Azica)

1921: Song, "Pastorale" (E. Powys Mathers, translated from the Kafiristan); Alexander, Vignoles (Etcetera)

1921: Piano Sonata in G; Salvatore (Cedille)

1920-21: Three Moods for Piano; Smit (Sony)

1921: Petit Portrait (ABE); Smit (Sony)

1921: Four Motets; Thomas, Mormon Tabernacle Choir (Sony)

1921-22: Passacaglia; Smit (Sony)

1922: Song, "Alone" (E. Powys Mathers, translated from the Arabic); Alexander, Vignoles (Etcetera)

1922-23: Cortège Macabre from Grogh (expanded version of the Cortege in the full ballet); Slatkin, St. Louis Symphony Orchestra (EMI)

1923: Song, "As It Fell Upon a Day" (Richard Barnefeld) for Soprano, Flute, and Clarinet; Bryn-Julson, Spencer, Flax (New World LP)

1923: Movement for String Quartet; Ciompi Quartet (Albany)

1924: Symphony for Organ and Orchestra; Biggs, Bernstein, New York Philharmonic Orchestra (Sony)

1922-25 (revised 1932): Grogh; Knussen, Cleveland Orchestra (Argo)

1925: Two Choruses for Women’s Voices, "The House on the Hill" (E.A. Robinson), "An Immorality" (Pound); (The House on the Hill) Smith, Gregg Smith Singers (Vox LP); (An Immorality) Wichman, Choir of Pennsylvania College for Women

1925: Music for the Theatre; Bernstein, New York Philharmonic Orchestra (Deutsche Grammophon)

1926: Two Pieces for Violin and Piano "Nocturne", "Ukelele Serenade"; Terwilliger-Cooperstock Duo (Azica)

1926: Sentimental Melody: Slow Dance; Smit (Sony)

1926: Concerto for Piano and Orchestra; Copland, Bernstein, New York Philharmonic Orchestra (Sony)

1927: Song, "Poet’s Song" (e. e. cummings); Beardslee, Helps (New World LP)

1923, 1928: Two Pieces for String Quartet; Ciompi Quartet (Albany)

1928: Vocalise; E. Luening, Copland (Pearl CD)

1928: Two Pieces for String Orchestra; Copland, London Symphony Orchestra (Sony)

Copland discusses the Copland-Sessions Concerts in New York, Paris, and London, 1928-31; (recorded by WHRB in Sanders Theatre, August 9, 1971)

1928: Piano Trio, "Vitebsk", Study on a Jewish Theme; Copland, Carlyss, Adam (Columbia LP)

1928: Symphony No. 1 (arrangement of Symphony for Organ and Orchestra); Copland, Orchestre National de France (Etcetera)

1928: Prelude for Chamber Orchestra (arrangement of first movement of Symphony for Organ and Orchestra, 1924); Knussen, London Sinfonietta (Argo)

Michael Tilson Thomas talks about the Symphonic Ode (WHRB interview)

1927-29 (revised 1955): Symphonic Ode; Thomas, San Francisco Symphony Orchestra (RCA Victor)

1929: Dance Symphony; Copland, London Symphony Orchestra (Sony)

Copland and Leo Smit discuss the Piano Variations; (recorded at Harvard, November 1, 1977)

1930: Piano Variations; Copland (Columbia 78-Pearl)

1932-33: Short Symphony (Symphony No. 2); Copland, London Symphony Orchestra (Sony)

1932 (revised 1933, performing edition by Mather Pfeiffenberger, 1999-2000): Elegies for Violin and Viola; Waldman, Gorevic (World Bank Mozart Festival, February 11, 2000)

1933: Dance of the Adolescent from Grogh for Two Pianos; Bratke, Roggeri (Etcetera)

1934:"Into the Streets May First" (Alfred Hayes) for Unison Chorus and Piano; Gordon, Lehrman (performance June 3, 1989)

1934: Hear Ye! Hear Ye! (version for small orchestra, 1935); Knussen, London Sinfonietta (Argo)

1932-35: Statements for Orchestra; Copland, London Symphony Orchestra (Sony)

1935: Two Children’s Pieces for Piano:"Sunday Afternoon Music", "The Young Pioneers"; Smit (Sony)

1933-36: El Salón Mexico; Bernstein, New York Philharmonic Orchestra (Deutsche Grammophon)

1936: The Second Hurricane, play-opera in two acts (libretto by Edwin Denby, narration by Leonard Bernstein); Bernstein, Soloists and Chorus of the High School of Music and Art in New York City, New York Philharmonic Orchestra (Sony)

1937 (retitled 1968): Prairie Journal (formerly Music for Radio: Saga of the Prairie); Mehta, New York Philharmonic Orchestra (New York Philharmonic, from Copland 85th birthday concert, November 14, 1985)

1937: Sextet for Clarinet, Piano, and String Quartet; Boston Symphony Chamber Players (Nonesuch)

1937: An Outdoor Overture; Copland, London Symphony Orchestra (Sony)

1938: Billy the Kid; Slatkin, St. Louis Symphony Orchestra (EMI)

1938: Lark (Taggard); McKelvey, Forbes, Harvard Glee Club, Radcliffe Choral Society

Conductor Jonathan Sheffer talks about Copland’s music for the 1939 New York World’s Fair (WHRB interview)

1939: From Sorcery to Science, Music for a Puppet Show; Sheffer, EOS Orchestra (RCA Victor)

1939: The City, music for the film; Sheffer, EOS Orchestra (RCA Victor)

1939: Of Mice and Men, music for the film; Talbot, United Artists orchestra (film soundtrack-Mark 56 LP)

1940 (revised 1952): John Henry; Copland, London Symphony Orchestra (Sony)

1940 (revised 1944): Our Town; Copland, London Symphony Orchestra (Sony)

1940: Episode for Organ; Ericsson (BIS CD)

1940: Quiet City; Lang, Winfield, Copland, London Symphony Orchestra (Sony)

Copland and Leo Smit discuss the Piano Sonata; (recorded at Harvard, November 1, 1977)

1939-41: Piano Sonata; Bernstein (RCA Victor)

1942: Las Agachidas (The Shakedown Song); Copland, New England Conservatory Chorus (Sony)

1942: A Lincoln Portrait; Sandburg, Kostelanetz, New York Philharmonic Orchestra (Columbia LP)

1942: Rodeo; Slatkin, St. Louis Symphony Orchestra (EMI)

1942: Fanfare for the Common Man; Copland, London Symphony Orchestra (Sony)

1942: Danzón Cubano for Two Pianos; Copland, Smit (Concert Hall LP-New World LP)

1942: Music for Movies; Copland, New Philharmonia Orchestra (Sony)

1943:"Younger Generation" (Ira Gershwin) from The North Star (arranged for chorus and piano by Frederick Fay Swift); Matlack, Grace Epicopal Church School Choirs (performance February 5, 2000)

Conductor Jonathan Sheffer talks about Copland’s music for films (WHRB interview)

1943: The North Star, music for the film; Sheffer, EOS Orchestra (RCA Victor)

1942-43: Sonata for Violin and Piano; Stern, Copland (Sony)

1944: Our Town, three excerpts arranged for piano; Parkin (Preamble)

1944 (revised 1962): Letter from Home; Copland, London Symphony Orchestra (Sony)

1943-44: Appalachian Spring (piano version); Copland, Smit (from private acetates made for Martha Graham to use for preparing choreography) (Pearl CD)

Copland talks about Appalachian Spring (Bridge)

1943-44: Appalachian Spring, original version for thirteen instruments; Wolff, St. Paul Chamber Orchestra (Teldec CD)

1945: Jubilee Variation; Kunzel, Cincinnati Pops Orchestra (Telarc CD )

1945: Hoe-Down from Rodeo for Violin and Piano; L. Kaufman, A. Kaufman (Concert Hall LP-Varèse-Sarabande LP)

1945: The Cummington Story, music for the documentary film; Sheffer, EOS Orchestra (RCA Victor)

1945: Appalachian Spring, suite for large orchestra; Koussevitzky, Boston Symphony Orchestra (RCA Victrola LP)

1945: Danzón Cubano (orchestral version); Thomas, New World Symphony Orchestra (Argo)

1947: In the Beginning; Miller, Copland, New England Conservatory Chorus (Columbia LP)

1947: Midsummer Nocturne; Smit (Sony)

1948: The Red Pony, music for the film (selections from the Suite and film soundtrack); Copland, New Philharmonia Orchestra (CBS); Copland, Republic Pictures orchestra (Varèse Sarabande LP)

1926-48: Four Piano Blues; Copland (British Decca 78-New World LP)

1944-46: Symphony No. 3; Bernstein, New York Philharmonic Orchestra (Sony)

1947-48: Concerto for Clarinet and Strings with Harp and Piano; Goodman, Copland, Columbia Symphony Orchestra (CBS)

1948: Suite from The Heiress (film music, reconstructed by Freed); Slatkin, St. Louis Symphony Orchestra (RCA Victor)

1949: Preamble for a Solemn Occasion; Copland, London Symphony Orchestra (Sony)

1950: Old American Songs (first set); Warfield, Copland (Sony)

1949-50: Twelve Poems of Emily Dickinson; Curtin, Copland (recorded by WHRB, Sanders Theatre, August 9, 1971)

1950: Waltz and Celebration from Billy the Kid for Violin and Piano; Terwilliger-Cooperstock Duo (Azica)

1950: Quartet for Piano and Strings; Copland, Juilliard Quartet members (Columbia LP)

1952: Old American Songs (second set); Ramey, Jones (Argo)

1952: Waltz and Celebration from Billy the Kid for Cello and Piano; Slavich, Rybak (Crystal)

1953: Preamble for a Solemn Occasion for Organ; Ericsson (BIS CD)

1954: Song, "Dirge in Woods" (Meredith); McCollum, Biltcliffe (Desto LP-Vox)

1952-54 (revised 1954-55): The Tender Land (libretto by"Horace Everett", pseudonym of Erik Johns); Comeaux, Hardy, Jette, Lehr, Dressen, Bohn, Sutton, Smuda, Fistad, Herber, Brunelle, Plymouth Music Series Chorus and Orchestra (Virgin)

1954:"Laurie’s Song" from The Tender Land for Voice and Piano; Ruggles, Schucker (performance February 5, 2000)

Michael Tilson Thomas talks about Appalachian Spring (WHRB interview)

1954: Appalachian Spring (complete revised ballet for orchestra); Thomas, San Francisco Symphony Orchestra (RCA Victor)

1954: Old American Songs (first set) for Voice and Orchestra; Horne, Davis, English Chamber Orchestra (London), Warfield, Copland, Columbia Symphony Orchestra (Sony)

1955 (revised 1967): Canticle of Freedom; Thomas, Morman Tabernacle Choir, Utah Symphony Orchestra (CBS)

1956: Variations on a Shaker Melody for Band; Hamilton, U. S. Army Field Band

Copland and Leo Smit discuss the Piano Fantasy; (recorded at Harvard, November 1, 1977)

1952-57: Piano Fantasy; Masselos (Odyssey LP)

1957: Old American Songs (second set) for Voice and Orchestra; Warfield, Copland, Columbia Symphony Orchestra (Sony)

Concerto for Piano and Orchestra: Smit, Copland, Radio Rome Symphony Orchestra (Concert Hall LP)

Old American Songs; Pears, Britten (HMV LP)

Jingo, from Statements for Orchestra; Bernstein, RCA Victor Orchestra (RCA Victor)

Piano Sonata; Kapell (RCA Victor)

El Salón Mexico; Koussevitzky, Boston Symphony Orchestra (RCA Victrola LP)

1957: Orchestral Variations; Thomas, San Francisco Symphony Orchestra (RCA Victor)

1958: The Tender Land, suite; Copland, Boston Symphony Orchestra (RCA Victor)

1959 (revised 1962): Dance Panels; Schwarz, New York Chamber Symphony (EMI)

1960: Nonet for Strings; Copland, Columbia String Ensemble (Columbia LP)

1962: Down a Country Lane; Smit (Sony)

1961-62: Connotations for Orchestra; Bernstein, New York Philharmonic Orchestra (Deutsche Grammophon)

1963: Danza de Jalisco for Two Pianos; Bratke, Roggeri (Etcetera)

1963-64: Music for a Great City (based on score for film Something Wild, 1961); Copland, London Symphony Orchestra (Sony)

1964: Down a Country Lane, orchestral version; Wolff, St. Paul Chamber Orchestra (Teldec)

1964: Emblems; French, US Army Field Band

1966: In Evening Air; Smit (Sony)

1967: Inscape; Bernstein, New York Philharmonic Orchestra (Columbia LP)

1967: Variations on a Shaker Melody for Orchestra; Kunzel, Cincinnati Pops Orchestra (Telarc)

1969 (revised 1975): Inaugural Fanfare (for a Calder Stabile); Mester, London Philharmonic Orchestra (Koch)

1969: Ceremonial Fanfare; Mester, London Philharmonic Orchestra (Koch)

1958-70: Eight Poems of Emily Dickinson for Voice and Orchestra; Upshaw, Wolff, St. Paul Chamber Orchestra (Teldec)

1967-71: Duo for Flute and Piano; Shaffer, Copland (Columbia LP)

1959-71: Three Latin American Sketches; Wolff, St. Paul Chamber Orchestra (Teldec CD)

1971: Threnody I for Flute and String Trio ("In memoriam Igor Stravinsky"); Smith, Chase, Murdock, Thomas (Northeastern)

1972: Vocalise (arranged for flute and piano); Smith, Hodgkinson (Northeastern CD)

1972: Night Thoughts, "Homage to Ives"; Smit (Sony)

1972: Vocalise (arranged for oboe and piano); Donovetsky, Mitchell (Bay Cities CD)

Copland rehearses the ensemble for the following recording of Appalachian Spring; (Columbia 7" bonus LP)

1972: Appalachian Spring, complete revised 13-instrument ballet; Copland, Columbia Chamber Orchestra (Columbia LP)

1973: Threnody II for Flute and String Trio ("In memoriam Beatrice Cunningham"); Smith, Chase, Murdock, Thomas (Northeastern CD)

1973: Preamble for a Solemn Occasion for Narrator and Band; Osgood, Hamilton, US Army Field Band

1976: Nocturne for Clarinet and Piano (arrangement of Nocturne for Violin and Piano, 1926); Meyer, Le Sage (Denon)

1977: Duo for Violin and Piano (arrangement of Duo for Flute and Piano, 1967-71); Terwilliger-Cooperstock Duo (Azica)

1944-82: Midday Thoughts for Piano; Lerner (Etcetera LP)

1973-82: Proclamation for Piano; Lerner (Etcetera LP)

1983 (revised 1986): Sonata for Clarinet and Piano (arrangement of Sonata for Violin and Piano, 1942-43); Combs, Sobol (Summit)

Join DJs Bill Bixbee and Van Eyck as they take you, for the last time together, through the musical histories of one of the most innovative and influential musical forms of the twentieth century: hip-hop. From the classic break-beats of artists such as James Brown and countless others that started it all, through the word of the first new school hip-hoppers such as BDP, Bid Daddy Wane, and the rest of the class of ’88, to today’s most progressive acts, Bixbee, and Van Eyck will cover it all with line mixing and other turntable wizardry.

Preacher: The Reverend Anthony Campolo, Profssor of Sociology at Eastern College, St. Davids, Pennsylvania.