Spring Orgy season begins with the Warhorse Orgy, back by popular request. Hear the favorite classical works that you just can’t seem to get often enough: Vivaldi’s Four Seasons, Beethoven’s Fifth, Dvorak’s New World Symphony, and many others.

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

Brahms: Symphony No. 3 in F, Op. 90; Wand, North German Radio Symphony Orchestra (RCA)

Gershwin: Preludes; Levant (CBS)

Handel: Water Music, Suite No. 1 in F; Lamon, Tafelmusik (Sony)

Wagner: Tristan und Isolde, Prelude; Böhm, Bayreuth Festival Orchestra (DG)

Rachmaninoff: Prelude in c-sharp, Op. 2, No. 3; Rachmaninoff (Telarc)

Rachmaninoff: Prelude in c-sharp, Op. 2, No. 3 (2-piano version); Raim, Wehr (Connoisseur Society)

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

Ravel: Pavane pour une infante défunte; Reiner, Chicago Symphony Orchestra (RCA)

Bach: Toccata and Fugue in d, S. 565; Heiller (Bach Guild)

Elgar: Variations on an Original Theme, Op. 36, "Enigma"; Solti, Chicago Symphony Orchestra (London)

Mozart: Clarinet Quintet in A, K. 581; Brymer, Allegri Quartet (Philips)

Pachelbel: Canon in D; Paillard, Paillard Chamber Orchestra (MHS LP)

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

Beethoven: Symphony No. 5 in c, Op. 67; Haitink, Concertgebouw Orchestra (Philips)

Shostakovich: String Quartet No. 8 in c, Op. 110; Borodin String Quartet (EMI)

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

Vivaldi: Violin Concerto in E, Op. 8, No. 1, "Spring"; Mutter, Karajan, Vienna Philharmonic Orchestra (Angel LP)

Mendelssohn: Octet in E-flat, Op. 20; Hausmusik (EMI)

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

Dvorak: Symphony No. 9 in e, Op. 95, "From the New World"; Toscanini, NBC Symphony Orchestra (RCA)

Schubert: Piano Quintet in A, Op. 114, D. 667, "Trout"; Ax, Frank, Young, Ma, Meyer (Sony)

Stravinsky: Le Sacre du Printemps; Dorati, Minneapolis Symphony Orchestra (Mercury)

Tchaikovsky: Festival Overture, Op. 49, "1812"; Dorati, Minneapolis Symphony Orchestra, University of Minnesota Brass Band (Mercury)

John Fahey died in February of this year, but in his life he somehow managed to capture the very pure essence of blues, bluegrass, hillbilly, folk, noise, classical, post-rock, and country all within his music. What Fahey began in 1959 with the very limited "Blind Joe Death" LP (only about 100 copies of this were pressed) continued until the late 1990’s, when he was still making new music. And what precisely did John Fahey start? A white man’s blues accented with a folk fingerstyle in a marriage of bluegrass and classical modes is an imprecise assessment, but comes fairly close. Fahey exhibited precision in his guitar technique; he is known for his fingerpicking, and for making it popular in genres outside of country/folk. But Fahey style, with its highly individual inspiration was not simply one of precision, and he influenced a number of genres, crossing lines of genre classification. John Fahey was a white man who could honestly play the blues; he was a folk artist who could match any technical guitarist; he was an avant-garde, groundbreaking musician firmly rooted in music of the past.

The John Fahey Orgy will cover his commercial recorded output and rare live sessions, interviews with collaborators and friends, and various other records from Fahey’s own label, Takoma, as we celebrate his life.

The 3rd Annual WHRB Sports Orgy features a recap of the 2000-01 season in Harvard Athletics as heard on WHRB. The late-game drama of Harvard Football’s quest for an Ivy League Title, Harvard Baseball’s push for a fourth league championship in five years, the long-awaited renaissance of Harvard Men’s Ice Hockey, the continued dominance of Harvard Women’s Ice Hockey, and more. Re-airings of classic games, live in-depth studio interviews with the stars of these Harvard squads, special highlight features, and commentary from the members of the WHRB Sports Department are just some of the many facets of this sixteen-hour Orgy.

WHRB broadcasts live from the ninth annual ARTS FIRST Performance Fair at Harvard. WHRB personnel will host the Outdoor Stage at Holyoke Center, live from the heart of Harvard Square, from 11am-7pm. Performances range from jazz, folk, and R&B to comedy, a cappella, and Korean music.

Join WHRB all weekend at Harvard for prizes and top-notch live entertainment and listen to selected performances on WHRB.

Jameson Marvin and James Yannatos conduct the Harvard Glee Club, Radcliffe Choral Society, Harvard-Radcliffe Collegium Musicum, and Harvard-Radcliffe Orchestra in a live broadcast from Sanders Theater, Harvard University.

Poulenc: Gloria for Soprano solo, Mixed choir, and Orchestra; Lucy Shelton, soprano

Yannatos: Symphony No. 2, "Earth, Fire, Air, Water"; Mary Geha-Westbrook, mezzo soprano

Abdullah Ibrahim (originally known as "Dollar" Brand before converting to Islam), is probably the most significant jazz musician to emerge from South Africa. He was discovered in the early 60’s by Duke Ellington, who helped propel Ibrahim onto the world stage. Ibrahim actually sat in for the Duke himself on several occasions and also served a brief stint in Elvin Jones’s band before striking out on his own. Since then, he has carved out one of the most distinctive niches in jazz by fusing African folk music and rhythms with the influences of Ellington and Monk. His music is suffused with a touching spirituality, possessing rare beauty, majesty, and elegance. This twenty-four hour orgy will present highlights from Ibrahim’s 40-plus year career, which continues to be a developing and vital force in music.

Mos Def is one of the most prolific MCs of our time. He first appeared on the hip-hop scene in 1994 with "My Kung Fu," performed by the Urban Thermo Dynamics. He followed up with songs such as "Universal Magnetic," "Fortified Live" (with Talib Kweli), and "The Love Song" (with Bush Babees), and in just a few years, he became one of the most important figures on the hip-hop Scene. In 1998, Mos Def joined Talib Kweli to form one of the most dynamic hip-hop duos, Black Star, which produced such classics as "Definition," "Brown Skin Lady," and "Respiration." Mos Def’s first solo album, Black on Both Sides, is one of the top hip-hop albums released in recent years, featuring such classics as "Hip-Hop," "Got," "Umi Says," "Mathematics," and "Ms. Fat Booty." His appearances with other artists include "Traveling Man" (with DJ Honda), "B-boy Document" (with the High and Mighty), "Light" (with DJ Krush and Duro), "The Questions" (with Common), and many others. He also recently appeared in Spike Lee’s Movie Bamboozled. This three-hour orgy presents highlights of his career.

Continued highlights from the weekend’s performance fair. (See May 4.)

Preacher: The Reverend Peter J. Gomes, Plummer Professor of Christian Morals and Pusey Minister in The Memorial Church. Music of Heinrich Schütz and Randall Thompson, sung by the Harvard University Choir combined with the Harvard Glee Club, Radcliffe Choral Society, and Harvard Radcliffe Collegium Musicum, directed by Dr. Jameson Marvin and Dr. Murray Forbes Somerville, in honor of Elliot Forbes and John Ferris.

Not a block away from the bustle of the Inman T stop, the curious pedestrian finds Ryles jazz club with its blue lit sign, its funky mural, a smoky interior, and a whole world of people who don’t spend much time complaining about Boston rush hour. These people care about Caetano Veloso’s newly released album, the hip solo that the saxophonist just played on Antonio Carlos Jobim’s "Wave," or maybe the composition to be turned in at the Berklee College of Music the next morning. They also care about the lives they left in Brazil, the friends and family that now live a hemisphere away, their chances for making a living playing music in the United States, the new people they are meeting, and the new lives they are constructing in Boston.

Within Boston is a vibrant and active Brazilian jazz scene, fed, in part, by a constant stream of talented musicians who trickled in from Brazil over the past few years to attend Berklee. It is especially concentrated on Wednesday nights at Ryles. Brazilian jazz players and enthusiasts come together to compose a world of rich harmonies, complex rhythms, lyrical lines, and improvised melodies, accompanied by friendly banter, conversations in Portuguese and English, and sometimes a few samba steps on the dance floor. This Orgy offers a peek into this world and a chance to meet some of Boston’s best Brazilian musicians through the music they play.

Benjamin Britten was one of England’s greatest composers, the first to be made a life peer. Britten was born on November 22, 1913 and began writing music at the age of six. In 1928, at the age of 15, he began composition lessons with composer Frank Bridge. In the following years Britten met two of the most influential people in his life, poet W. H. Auden and tenor Peter Pears. Britten met Auden in 1935 and over the course of his life set many of Auden’s poems to music. In 1937 Britten met Pears, who was to become his lifelong partner and the inspiration for and performer of much of Britten’s music.

Britten was nearly unparalleled in his ability to write music which both was appreciated by scholars and had great popular appeal. One of the recurring themes in Britten’s music is the idea of innocence destroyed. It can be clearly seen in his opera Peter Grimes, as well as in his great War Requiem, Britten’s statement on the insanity of war.

Benjamin Britten died on December 4, 1976. Over these three days, through which we commemorate the 25th anniversary of Britten’s death, the complete recorded works of Benjamin Britten will be heard in chronological order (although a few important works are shifted in time to enable greater convenience of listening), making it possible for the listener to appreciate the development and scope of one of the major figures of the 20th century.

1922: Song, "O that I had ne’er been married"; Mackie, Vignoles (EMI)

1923: Song, "Beware!"; Mackie, Vignoles (EMI)

1923-5: Five Walztes [sic]; Hough (Virgin)

1926: Song, "Epitaph: The Clerk"; Mackie, Vignoles (EMI)

1928: Four French Songs; Gomez, Rattle, City of Birmingham Symphony Orchestra (EMI)

1928: String Quartet in F; Sorrel Quartet (Chandos)

1929: The Birds; Birch, Wicks, Chichester Cathedral Choristers (Abbey LP)

1929: Rhapsody for String Quartet; Endellion String Quartet (EMI)

1930: Elegy for Solo Viola; Jackson (EMI)

1930: Quartettino for String Quartet; Endellion String Quartet (EMI)

1930: Two Portraits for String Orchestra; Nagano, Halle Orchestra (Erato)

1930: Song, "The Sycamore Tree"; Pears, Wilbye Consort (London LP)

1930: A Hymn to the Virgin; Neary, Westminster Abbey Choir (Sony)

1930: Three Character Pieces; Hough (Virgin)

1930: Wind Sextet (movement); Nash Ensemble (Hyperion)

1931: Twelve Variations on a Theme; Hough (Virgin)

1931: Christ’s Nativity (The King’s Birthday); Layton, Holst Singers (Hyperion)

1931: Tit for Tat; Shirley-Quirk, Ledger (Meridian)

1931: String Quartet in D (revised 1974); Endellion String Quartet (EMI)

1932: Phantasy in f for String Quintet; Logie, Endellion String Quartet (EMI)

1932: Double Concerto for Violin, Viola, and Orchestra; Kremer, Bashmet, Nagano, Halle Orchestra (Erato)

1932: Sinfonietta, Op. 1; Friend, Nash Ensemble (Hyperion)

1932: Phantasy for Oboe Quartet, Op. 2; Gomberg, Raimondi, Zaslav, Stuch (Vanguard LP)

1932: Three Two-Part Songs, "The Ride by Night," "The Rainbow," "The Ship of Rio"; Corp, New London Children’s Choir (Naxos)

1933: Alla Marcia; Gabrieli String Quartet (Unicorn)

1933: A Boy was Born, Choral Variations for Men’s, Women’s, and Boys’ Voices, Op. 3; Cannock, Spicer, Lichfield Cathedral Choristers, Finzi Singers (Chandos)

1933: Two Two-Part Songs, "I Lov’d a Lass," "Lift Boy"; Halsey, Elizabethan Singers, Parry (Argo LP)

1934: A Simple Symphony, Op. 4; Orpheus Chamber Orchestra (DG)

1934: Te Deum in C; Christophers, The Sixteen (Collins)

1934: Jubilate Deo in E-flat; Spicer, Finzi Singers, Lumsden (Chandos)

1934: Holiday Diary, Op. 5; Hough (Virgin)

1934-5: Suite for Violin and Piano, Op. 6; Barantschik, Alley (EMI)

1933-5: Friday Afternoons, Op. 7; Britten, Choir of Downside School, Tunnard (London LP)

1935: Song, "When You’re Feeling like Expressing Your Affection"; Gomez, Jones (Unicorn-Kanchana)

1935: Song, "A Poison Tree"; Bostridge, Johnson (Hyperion)

1935: Two Insect Pieces for Oboe and Piano; Wickens, Constable (Unicorn)

1935: Rossini Suite for the film The Tocher; Bedford, Boys of the Paisley Abbey Choir, Scottish Chamber Orchestra (EMI)

1936: Three Divertimenti for String Quartet; Gabrieli String Quartet (Unicorn)

1936: Temporal Variations for Oboe and Piano; Wickens, Constable (Unicorn)

1936: Night Mail (film, end sequence); Hawthorne, Nash Ensemble (Hyperion)

1936: Our Hunting Fathers, Op. 8; Bostridge, Harding, Britten Sinfonia (EMI)

1936: Two Lullabies; Hough, O’Hora (Virgin)

1936: Russian Funeral for Brass and Percussion; Philip Jones Brass Ensemble (Argo LP)

1936: Soirées Musicales, Op. 9 (arr. of Rossini); Bonynge, National Philharmonic Orchestra (London)

1937: Two Ballads for Two Voices and Piano, "Mother Comfort" and "Underneath the Abject Willow"; Lott, Murray, Johnson (EMI)

1937: Incidental Music for the Radio Play King Arthur (suite, adapt. Hindmarsh); BBC Philharmonic Orchestra (Chandos)

1937: Reveille for Violin and Piano; McAslan, Blakely (Continuum)

1937: The Company of Heaven; Barkworth, Allen, Pope, Dressen, Brunelle, London Philharmonic Choir, English Chamber Orchestra (Virgin)

1937: Song, "Not Even Summer Yet"; Bostridge, Johnson (Hyperion)

1937: Song, "To Lie Flat on the Back"; Bostridge, Johnson (Hyperion)

1937: Song, "Night Covers up the Rigid Land"; Bostridge, Johnson (Hyperion)

1937: Song, "For a Song"; Mackie, Vignoles (EMI)

1937: On this Island, Op. 11; Kelly, Recchiuti (GM)

1937: Four Cabaret Songs; Gomez, Jones (Unicorn)

1937: Song, "Fish in the Unruffled Lakes; Bostridge, Johnson (Hyperion)

1937: Mont Juic, Op. 12 (composed with Lennox Berkeley); Bedford, English Chamber Orchestra (Collins)

1938: Song "The Red Cockatoo"; Bostridge, Johnson (Hyperion)

1938: The Clock on the Wall, from Incidental Music for On the Frontier (arr. Runswick); Gomez, ensemble (Unicorn-Kanchana)

1938: The World of the Spirit; Chilcott, Stephen, Hill, Varcoe, Gordon, Rigby, Hickox, BBC Philharmonic Orchestra (Chandos)

1938: Advance Democracy; Spicer, The Finzi Singers (Chandos)

1939: Johnson over Jordan: Suite for Orchestra (arr. Hindmarsh); Bedford, English Chamber Orchestra (Collins)

1939: Ballad of Heroes for Tenor and Orchestra, Op. 14; Tear, Rattle, City of Birmingham Symphony Orchestra and Chorus (EMI)

1939: A.M.D.G. (Ad Majorem Dei Gloriam); Edwards, London Sinfonietta Chorus (Virgin)

1939: Incidental Music for a Radio Adaptation of T. H. White’s The Sword in the Stone; Friend, Nash Ensemble (Hyperion)

1939: Young Apollo, Op. 16; Donohoe, Kok, Ballard, Cole, Kaznowski, Rattle, City of Birmingham Symphony Orchestra (EMI)

1940-41: Paul Bunyan, Op. 17; Wagner, Lawless, Dressen, Nelson, Ware, Sutton, Fristad, Bohn, Jorgenson, Dahl, Shaffer, Weller, McKeel, Westbrock, Jette, Herber, Hardy, Allison, Allen, Felix, Ramos, Brunelle, Chorus and Orchestra of the Plymouth Music Series (Virgin)

1940-41: Paul Bunyan, music eliminated before first performance; Forbes, Mills, Murgatroyd, Smith, Dressen, Brunelle, English Chamber Orchestra (Virgin)

1937: Song, "The Sun Shines Down"; Langridge, Bedford (Collins)

1937: Variations on a Theme of Frank Bridge, Op. 10; Karajan, Philharmonia Orchestra (EMI)

1938: Piano Concerto in D, Op. 13; Richter, Britten, English Chamber Orchestra (London)

1939: Violin Concerto in d, Op. 15; Lubotsky, Britten, English Chamber Orchestra (London)

1938-9: Les Illuminations, Op. 18; Gomez, Whitfield, Endymion Ensemble (EMI)

1939: Canadian Carnival, Op. 19; Rattle, City of Birmingham Symphony Orchestra (EMI)

1940: Sinfonia da Requiem, Op. 20; Britten, New Philharmonia Orchestra (London)

1940: Diversions on a Theme for Piano and Orchestra, Op. 21; Donohoe, Rattle, City of Birmingham Symphony Orchestra (EMI)

1940: Seven Sonnets of Michelangelo, Op. 22; Rolfe-Johnson, Johnson (Hyperion)

1940: Introduction and Rondo alla burlesca, Op. 23, No. 1; Hough, O’Hora (Virgin)

1940: Mazurka Elegiaca, Op. 23, No. 2; Hough, O’Hora (Virgin)

1940: Moderato and Nocturne from Sonatina Romantica; Hough (Virgin)

1941: Song, "What’s on your mind?"; Langridge, Bedford (Collins)

1941: Matinées Musicales, Op. 24 (arr. of Rossini); Bonynge, National Philharmonic Orchestra (London)

1941: String Quartet No. 1 in D, Op. 25; Allegri String Quartet (London LP)

1941: Scottish Ballad for Two Pianos and Orchestra, Op. 26; Donohoe, Fowke, Rattle, City of Birmingham Symphony Orchestra (EMI)

1941-2: An American Overture, Op. 27; Rattle, City of Birmingham Symphony Orchestra (EMI)

1942: Hymn to St. Cecilia; Willcocks, King’s College Choir, Cambridge (EMI)

1942: Beddoes Songs, "Wild With Passion" and "If Thou wilt Ease Thine Heart"; Bostridge, Johnson (Hyperion)

1942: Song, "Cradle Song for Eleanor"; Bostridge, Johnson (Hyperion)

1942: A Ceremony of Carols, Op. 28; Williams, Hill, Choir of Westminster Cathedral, London (Hyperion)

1943: Movement for Clarinet and Orchestra; King, Wordsworth, English Chamber Orchestra (Hyperion)

1943: Prelude and Fugue for Eighteen Strings, Op. 29; Britten, English Chamber Orchestra (London LP)

1943: Ballad of Little Musgrave and Lady Barnard; Christophers, The Sixteen (Collins)

1943: Rejoice in the Lamb, Op. 30; Ledger, Lancelot, Corkhill, King’s College Choir, Cambridge (EMI)

1943: Serenade for Tenor, Horn, and Strings, Op. 31; Pears, Tuckwell, Britten, London Symphony Orchestra (London LP)

1943: Song, "Now Sleeps the Crimson Petal" (orch. C. Matthews); Mackie, Bedford, Scottish Chamber Orchestra (EMI)

1943: The Rescue of Penelope (concert version of Incidental Music for the radio drama The Rescue); Baker, Hagley, Wyn-Rogers, Ainsley, Dazeley, Nagano, Hallé Orchestra (Erato)

1944: A Shepherd’s Carol; Pears, Wilbye Consort (London LP)

1944: Chorale after an Old French Carol; Hickox, Britten Singers (Chandos)

1944: Festival Te Deum, Op. 32; Runnett, Guest, Choir of St. John’s College, Cambridge (Argo LP)

1945: Peter Grimes, Op. 33; Vickers, Harper, Summers, Bainbridge, Cahill, Pashley, Dobson, Robinson, Payne, Lanigan, Allan, Van Allen, Davis, Chorus and Orchestra of the Royal Opera House, Covent Garden (Philip)

1945: The Holy Sonnets of John Donne, Op. 35; Britten, Pears (London)

1945: String Quartet No. 2 in C, Op. 36; Sorrel Quartet (Chandos)

1945: Three Unpublished Folk Songs, "Greensleeves," "I Wonder as I Wander," "The Crocodile"; Langridge, Johnson (Collins)

1945: Incidental Music for This Way to the Tomb, Boogie-Woogie; Gomez, ensemble (Unicorn-Kanchana), Deus in adjutorium meum; Hill, Choir of Westminster Cathedral, London (Hyperion), Evening, Morning, Night; Bostridge, Johnson (Hyperion)

1945: Song, "Birthday Song for Erwin"; Bostridge, Johnson (Hyperion)

1946: Five French Folksongs (orch. Britten); Palmer, Whitfield, Endymion Ensemble (EMI)

1946: The Young Person’s Guide to the Orchestra (Variations on a Theme of Purcell), Op. 34; Britten, London Symphony Orchestra (London)

1946: Fanfare from Incidental Music for The Eagle Has Two Heads; Philip Jones Brass Ensemble (Argo LP)

1946: Prelude and Fugue on a Theme of Vittoria; Preston (Argo LP)

1946: The Rape of Lucretia, Op. 37; Pears, Harper, Shirley-Quirk, Drake, Luxon, Baker, Bainbridge, Hill, Britten, English Chamber Orchestra (London)

1941: Folk Song Arrangements, Vol. I (British); Lott, Langridge, Johnson (Collins)

1942: Folk Song Arrangements, Vol. II (French); Lott, Langridge, Johnson (Collins)

1946: Occasional Overture, Op. 38; Rattle, City of Birmingham Symphony Orchestra (EMI)

1947: Albert Herring, Op. 39; Fisher, Peters, Cantelo, Noble, Evans, Brannigan, Ward, Pears, Wilson, Rex, Britten, English Chamber Orchestra (London)

1947: Canticle I, Op. 40, "My Beloved is Mine"; Pears, Britten (London)

1947: A Charm of Lullabies, Op. 41; Watts, Britten (BBC LP)

1947: Men of Goodwill (Variations on a Christmas Carol); Marriner, Minnesota Orchestra (EMI)

1948: Folk Song Arrangements, Vol. III (British); Lott, Langridge, Johnson (Collins)

1948: Unpublished Folk Song, "Pray Goody"; Langridge, Johnson (Collins)

1948: Saint Nicolas, Op. 42; Pears, Britten, Aldeburgh Festival Choir and Orchestra (London)

1949: Spring Symphony, Op. 44; Hagley, Robbin, Ainsley, Gardiner, Boy and Girl Choristers of Salisbury Cathedral, Monteverdi Choir, Philharmonia Orchestra (DG)

1949: "The Little Sweep," from Let’s Make an Opera, Op. 45; Hemmings, Vyvyan, Thomas, Cantelo, Anthony, Pears, boy soloists, Britten, Choir of Alleyn’s School, English Opera Group Orchestra (Decca LP)

1949: A Wedding Anthem, Op. 46; Farnsworth, Bostridge, Baker, Neary, Westminster Abbey Choir (Sony)

1950: Five Flower Songs, Op. 47; Gardiner, Monteverdi Choir (DG)

1950: Lachrymae for Viola and Piano, Op. 48; Kashkashian, Levin (ECM)

1950s: Five Unpublished Folk Songs, "The Holly and the Ivy," "Soldier, won’t you marry me?" "The Deaf Woman’s Courtship" "The Stream in the Valley," Unidentified Folk Setting; Lott, Langridge, Johnson (Collins)

1951: Six Metamorphoses after Ovid, Op. 49; Watkins (Meridian)

1951: Billy Budd, Op. 50; Hampson, Rolfe-Johnson, Halfvarson, Smythe, Saks, Wilding, Hill, Maltman, Burden, Dazeley, Gillett, Nagano, Machester Boys Choir, Halle Choir and Orchestra (Erato)

1952: Canticle II, Op. 51, "Abraham and Isaac"; Pears, Hohessy, Britten (London)

1953: Gloriana, Op. 53; Barstow, Langridge, Jones, Summers, Kenny, Opie, van Allan, Terfel, White, Shirley-Quirk, Ainsley, Mackerras, Orchestra and Chorus of the Welsh National Opera (Argo)

1953: Variations on Sellenger’s Round; Salter, Guildhall Ensemble (RCA)

1953: Two Hardy Songs omitted from Op. 52, "The Children and Sir Nameless"; "If it’s Ever Spring Again"; Mackie, Vignoles (EMI)

4:00 pm

1954: The Turn of the Screw, Op. 54; Pears, Vyvyan, Hemmings, Dyer, Cross, Mandikian, Britten, English Opera Group Orchestra (London)

1954: Canticle III, Op. 55, "Still Falls the Rain"; Pears, Tuckwell, Britten (London)

1955: Hymn to St. Peter, Op. 56a; Guest, Choir of St. John’s College, Cambridge (Argo LP)

1956: Antiphon, Op. 56b; Farnsworth, Dickinson, Dunham, Baker, Neary, Westminster Abbey Choir (Sony)

1955: Scherzo for Recorders; Munrow, Turner, Pugsley, van der Beek (HMV LP)

1956: The Heart of the Matter; Mackie, Pears, Tuckwell, Vignoles (EMI)

1957: The Prince of the Pagodas, Op. 57; Britten, Orchestra of the Royal Opera House, Covent Garden (London)

1957: Songs from the Chinese, Op. 58; Pears, Bream (RCA LP)

1958: Noye’s Fluddle, Op. 59; Brannigan, Rex, Anthony, Del Mar, English Chamber Orchestra (London)

1958: Nocturne for Tenor, Seven Obbligato Instruments, and String Orchestra, Op. 60; Ainsley, Cleobury, Britten Sinfonia (EMI)

1958: Six Hölderlin Fragments, Op. 61; Pears, Britten (London)

1959: Cantata Academica, Op. 62; Vyvyan, Watts, Pears, Brannigan, Malcolm, London Symphony Chorus and Orchestra (London)

1959: Fanfare for St. Edmundsbury; London Brass (Teldec)

1959: Missa Brevis in D, Op. 63; O’Donnell, Hill, Choir of Westminster Cathedral, London (Hyperion)

1959-60: Song, "Um Mitternacht"; Bostridge, Johnson (Hyperion)

1960: A Midsummer Night’s Dream, Op. 64; Deller, Harwood, Terry, Shirley-Quirk, Watts, Pears, Hemsley, Veasey, Harper, Brannigan, Lumsden, Macdonald, Kelly, Tear, Raggett, Britten, Choirs of Downside and Emanuel Schools, London Symphony Orchestra (London)

1961: Cello Sonata in C, Op. 65; Rostropovich, Britten (London)

1957-8: Folk Song Arrangements, Vol. IV (Moore’s Irish Melodies); Lott, Langridge, Johnson (Collins)

1951-58: Folk Song Arrangements, Vol. V (British); Lott, Langridge, Johnson (Collins)

1956-58: Folk Song Arrangements, Vol. VI (British); Langridge, Bonell (Collins)

1961: Jubilate Deo in C; Lancelot, Ledger, King’s College Choir, Cambridge (EMI)

1961: Venite; Marlow, Trinity College Choir (Pearl LP)

1961: Fancie; A. Johnson, G. Johnson (Hyperion)

1964: Curlew River, Op. 71; Pears, Shirley-Quirk, Blackburn, Drake, Webb, Britten, English Opera Group (London)

1968: The Prodigal Son, Op. 81; Pears, Shirley-Quirk, Drake, Tear, Britten, English Opera Group (London)

1966: The Burning Fiery Furnace, Op. 77; Pears, Drake, Shirley-Quirk, Tear, Dean, Leeming, Britten, English Opera Group (London)

1962: Twelve Apostles, The; Marlow, Choir of Trinity College, Cambridge (Pearl LP)

1962: Psalm 150, Op. 67; Hickox, Junior Choirs of the City of London School for Girls and City of London School, City of London School for Girls Orchestra (Chandos)

1962: A Hymn to St. Columba; Guest, Choir of St. John’s College, Cambridge (Argo LP)

1963: Night Piece (Notturno); Hough (Virgin)

1963: Song, "The Ship of Rio" (arr. from two-part song); Woolf, Bedford (Unicorn LP)

1957: Folk Song, "The Holly and the Ivy"; Feaviour, Harris, Kirk, Titus, Joly, BBC Singers (Collins)

1960s: Folk Song, "King Herod and the Cock"; Langridge, Norris, Barnett, The Wenhaston Boys Choir (Collins)

1960s: Unpublished Folk Song, "The Bitter Withy"; Langridge, Norris, Barnett, The Wenhaston Boys Choir (Collins)

1963: Cantata Misericordium, Op. 69; Pears, Fischer-Dieskau, Britten, London Symphony Chorus and Orchestra (London)

1963: Symphony for Cello and Orchestra, Op. 68; Rostropovich, Britten, English Chamber Orchestra (London)

1964: Nocturnal (after John Dowland), Op. 70; Bream (EMI)

1964: Suite for Solo Cello No. 1, Op. 72; Rostropovich (London)

1965: Gemini Variations for Violin, Flute, and Piano Four Hands, Op. 73; G. Jeney, Z. Jeney (London LP)

1965: Songs and Proverbs of William Blake, Op. 74; Fischer-Dieskau, Britten (London)

1965: Voices for Today, Op. 75; Willcocks, Choirs of King’s College, Cambridge, Cambridge University Musical Society (Argo LP)

1965: The Poet’s Echo, Op. 76; Vishnevskaya, Rostropovich (London)

1966: The Golden Vanity, Op. 78; Emney, Wojciechowski, Jago, Thompson, Lovell, Britten, Burgess, Wandsworth Boys Choir (London)

1967: The Building of the House, Op. 79; Britten, Chorus of East Anglian Choirs, English Chamber Orchestra (BBC)

1967: Song, "The Oxen" (arr. Pears); Mackie, Vignoles (EMI)

1967: A Wealden Trio; Pears, Wilbye Consort (London LP)

1967: Suite for Solo Cello No. 2, Op. 80; Rostropovich (London)

1961: War Requiem, Op. 66; Vishnevskaya, Pears, Fischer-Dieskau, Preston, Britten, Bach Choir, Highgate School Choir, Melos Ensemble, London Symphony Orchestra and Chorus (Decca)

1968: Children’s Crusade, Op. 82; Emney, Wojciechowski, Jago, Thompson, Hares, Daniels, Morris, Preston, Britten, Burgess, Wandsworth School Choir and Orchestra (Decca LP)

1969: Suite in C for Harp, Op. 83; Ellis (London LP)

1969: Who are These Children, Op. 84; Pears, Britten (Decca LP)

1969: Three Rhymes by William Soutar, "Dawtie’s Devotion," "Tradition," "The Gully"; Mackie, Vignoles (EMI)

1971: Owen Wingrave, Op. 85; Luxon, Shirley-Quirk, Douglas, Fisher, Harper, Vyvyan, Baker, Pears, Britten, Wandsworth School Boys’ Choir, English Chamber Orchestra (London)

1971: Canticle IV, Op. 86, "Journey of the Magi"; Pears, Bowman, Shirley-Quirk, Britten (London)

1971: Suite for Solo Cello No. 3, Op. 87; Baillie (Etcetera)

1973: Death in Venice, Op. 88; Pears, Shirley-Quirk, Bowman, Bowen, Bedford, Members of the English Opera Group, English Chamber Orchestra (London)

1974: Canticle V, Op. 89, "The Death of St. Narcissus"; Pears, Ellis (London)

1974: Suite on English Folk Tunes (A Time There Was…), Op. 90; Bernstein, New York Philharmonic (Columbia LP)

1975: Sacred and Profane, Op. 91; Spicer, Finzi Singers (Chandos)

1975: A Birthday Hansel, Op. 92; Pears, Ellis (London LP)

1975: Phaedra, Op. 93; Baker, Bedford, English Chamber Orchestra (London)

1975: String Quartet No. 3, Op. 94; Amadeus String Quartet (London)

1976: Welcome Ode, Op. 95; Hickox, Senior Choirs of the City of London School for Girls and City of London School, London Symphony Orchestra (Chandos)

1976: Eight Folk Song Arrangements; Langridge, Ellis (Collins)

1976: Tema "Sacher"; Lloyd Webber (ASV)

1976: Praise We Great Men (compl. C. Matthews); Hargan, King, Tear, White, Rattle, City of Birmingham Symphony Orchestra and Chorus (EMI)

1950, orch. 1976: Lachrymae, Op. 48; Bashmet, Moscow Soloists (RCA)

The New York Times, Playbill Magazine, and other musical theater publications have been hailing a group of five artists as the "new guard" of musical theater, and they are changing the face and sound of theater as it has been known for the past few decades. Adam Guettel, Michael John LaChiusa, Ricky Ian Gordon, Jason Robert Brown, and Jeanine Tesori have garnered significant critical, though lukewarm popular, responses to shows and music presented recently. This Orgy will explore the music of these composers, music which is unfamiliar in style to many musical theater fans. Much of it incorporates elements of classical vocal music and opera that have not been seen to such a degree in most of the music on and off-Broadway. The music of these composers has found great success in the performances of Audra McDonald, who will also be featured.

We also will cover other new musical theater composers and lyricists for comparison, among them Andrew Lippa and Stephen Cole, and compare as well more traditional musicals. Record labels include Fynsworth Alley, Resmiranda, Nonesuch, RCA Victor, and Decca, many of which have a particular commitment to promoting the work of new artists. There will be CD giveaways throughout the Orgy.

Evgeny Kissin celebrates his thirtieth birthday this coming October, and already he is hailed as one of the greatest living pianists. Practically alone among pianists of his generation, Kissin has enjoyed nearly universal critical approval in performances around the world. He was one of the most familiar "child prodigies" of the late twentieth century, dazzling audiences with his technique and charisma at the keyboard. Despite occasional concerns that he would be unable to transcend prodigy status, Kissin has proven that he is here to stay. Recently, he has begun to explore some parts of the piano repertoire that he had preferred to avoid in his earlier years.

The Evgeny Kissin Orgy offers a complete survey of this pianist’s recorded output, from his performance of the two Chopin concerti at the age of twelve to his most recent efforts. It includes two complete live recitals (Tokyo and Carnegie Hall) as well as several other live solo and concerto performances.

Chopin: Concerto No. 1 in e, Op. 11; Kitaenko, Moscow Philharmonic Orchestra (RCA)

Chopin: Concerto No. 2 in f, Op. 21; Kitaenko, Moscow Philharmonic Orchestra (RCA)

Chopin: Mazurka in f, Op. 63, No. 2 (RCA)

Chopin: Mazurka in f, Op. 68, No. 4 (RCA)

Chopin: Waltz in e, Op. posth. (RCA)

Prokofiev: Dance in f-sharp, Op. 31, No. 1 (RCA)

Kissin: Two Inventions (RCA)

Prokofiev: Concerto No. 3 in C, Op. 26; Chistyakov, Moscow Philharmonic Symphony Orchestra (RCA)

Prokofiev: Visions Fugitives, Op. 22, Nos. 16, 11, 17, 10 (RCA)

Rachmaninoff: Études-tableaux, Op. 39, No. 1 in c, No. 2 in a, No. 4 in b, No. 5 in e-flat, No. 6 in a, No. 9 in D (Melodiya)

Rachmaninoff: Prelude in G-flat, Op. 23, No. 10 (Melodiya)

Rachmaninoff: Prelude in a, Op. 32, No. 8 (Melodiya)

Rachmaninoff, arr. Kissin: Lilacs, Op. 21, No. 5 (Melodiya)

Scriabin: Preludes, Op. 27 (Melodiya)

Scriabin: Pieces, Op. 51 (Melodiya)

Scriabin: Preludes, Op. 37 (Melodiya)

Scriabin: Étude in c-sharp, Op. 42, No. 5 (Melodiya)

Rachmaninoff, arr. Kissin: Lilacs, Op. 21, No. 5 (Sony)

Rachmaninoff: Études-tableaux, Op. 39, No. 5 in e-flat, No. 1 in c (Sony)

Prokofiev: Sonata No. 6 in A, Op. 82 (Sony)

Liszt: Études de concert, No. 2 in f, No. 3 in D-flat (Sony)

Chopin: Nocturne in A-flat, Op. 32, No. 2 (Sony)

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

Scriabin: Mazurka in e, Op. 25, No. 3 (Sony)

Scriabin: Étude in c-sharp, Op. 42, No. 5 (Sony)

Three Japanese Folksongs (Sony)

Rachmaninoff: Concerto No. 2 in c, Op. 18; Gergiev, London Symphony Orchestra (RCA)

Rachmaninoff: Études-tableaux, Op. 39, No. 1 in c, No. 2 in a, No. 4 in b, No. 5 in e-flat, No. 6 in a, No. 9 in D (RCA)

Haydn: Concerto in D, Hob. XVIII:11; Spivakov, Moscow Virtuosi (RCA)

Shostakovich: Concerto No. 1 in c for Piano, Trumpet, and Orchestra, Op. 35; Kan, Spivakov, Moscow Virtuosi (RCA)

Mozart: Concerto in A, K. 414; Spivakov, Moscow Virtuosi (RCA)

Prokofiev: Overture on Hebrew Themes, Op. 34; Spivakov, Garlitsky, Gandelsman, Milman, Lethiec (Philips)

Tchaikovsky: Concerto No. 1 in b-flat, Op. 23; Karajan, Berlin Philharmonic Orchestra (DG)

Scriabin: Pieces, Op. 51 (DG)

Scriabin: Étude in c-sharp, Op. 42, No. 5 (DG)

Schumann: Variations on the Name Abegg, Op. 1 (RCA)

Schumann: Symphonic Études, Op. 13 (RCA)

Prokofiev: Sonata No. 6 in A, Op. 82 (RCA)

Liszt: Liebestraum No. 3 (RCA)

Liszt: Rhapsodie espagnole (RCA)

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

Liszt: Transcendental Étude No. 10 in f (RCA)

Schumann, arr. Liszt: Widmung (RCA)

Prokofiev: Étude in c, Op. 2, No. 3 (RCA)

Schubert: Fantasia in C, D. 760, "Wanderer" (DG)

Schubert, arr. Liszt: Four Songs: "Gretchen am Spinnrade," D. 118; "Ständchen," D. 889; "Der Müller und der Bach," D. 795, No. 19; "Auf dem Wasser zu singen," D. 774 (DG)

Brahms: Fantasies, Op. 116 (DG)

Liszt: Hungarian Rhapsody No. 12 (DG)

Beethoven: Fantasia for Piano, Chorus, and Orchestra in c, Op. 80, "Choral Fantasy"; Studer, Clemenz, Capasso, Aler, Oshima, Molsberger, Abbado, RIAS Chamber Choir, Berlin Philharmonic Orchestra (DG)

Schumann: Concerto in a, Op. 54; Giulini, Vienna Philharmonic Orchestra (Sony)

Schumann: Arabeske, Op. 18 (Sony)

Schubert, arr. Liszt: "Die Forelle" (Sony)

Schubert, arr. Liszt: "Erlkönig" (Sony)

Grieg: "Aus dem Karneval," Op. 19, No. 3 (Sony)

Grieg: "Ich liebe dich," Op. 41, No. 3 (Sony)

Liszt: Soirées de Vienne (Sony)

Rachmaninoff: Concerto No. 3 in d, Op. 30; Ozawa, Boston Symphony Orchestra (RCA)

Rachmaninoff, arr. Richardson: Vocalise, Op. 34, No. 14 (RCA)

Rachmaninoff: Prelude in B-flat, Op. 23, No. 2 (RCA)

Chopin: Fantaisie in f, Op. 47 (RCA)

Chopin: Grande valse in A-flat, Op. 42 (RCA)

Chopin: Grande valse brillante in a, Op. 34, No. 2 (RCA)

Chopin: Grande valse brillante in A-flat, Op. 34, No. 1 (RCA)

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

Chopin: Nocturne in A-flat, Op. 32, No. 2 (RCA)

Chopin: Nocturne in c-sharp, Op. 27, No. 1 (RCA)

Chopin: Nocturne in D-flat, Op. 27, No. 2 (RCA)

Chopin: Scherzo No. 2 in b-flat, Op. 32 (RCA)

Chopin: Sonata No. 3 in b, Op. 58 (RCA)

Chopin: Mazurka in f, Op. 63, No. 2 (RCA)

Chopin: Mazurka in C, Op. 56, No. 2 (RCA)

Chopin: Mazurka in c-sharp, Op. 63, No. 3 (RCA)

Chopin: Mazurka in D-flat, Op. 30, No. 3 (RCA)

Chopin: Mazurka in f, Op. 64, No. 4 (RCA)

Chopin: Mazurka in G, Op. 50, No. 1 (RCA)

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

Chopin: Mazurka in D, Op. 33, No. 2 (RCA)

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

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

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

Chopin: Mazurka in B, Op. 63, No. 1 (RCA)

Prokofiev: Concerto No. 1 in D-flat, Op. 10; Abbado, Berlin Philharmonic Orchestra (DG)

Prokofiev: Concerto No. 3 in C, Op. 26; Abbado, Berlin Philharmonic Orchestra (DG)

Haydn: Sonata in A, Hob. XVI:30 (Sony)

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

Schubert: Sonata in a, D. 784 (Sony)

Schubert, arr. Tausig: Military March, D. 733, No. 1 (Sony)

Schumann: Fantasy in C, Op. 17 (RCA)

Liszt: Transcendental Études Nos. 12, 11, 10, 5, 8 (RCA)

Beethoven: Concerto No. 2 in B-flat, Op. 19; Levine, Philharmonia Orchestra (Sony)

Beethoven: Concerto No. 5 in E-flat, Op. 73, "Emperor"; Levine, Philharmonia Orchestra (Sony)

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

Franck: Prélude, Choral et Fugue (RCA)

Brahms: Variations on a Theme by Paganini, Op. 35 (RCA)

Bach, arr. Busoni: Chaconne from Partita for Violin Solo No. 2 in d, S. 1004 (RCA)

Beethoven: Rondo in G, Op. 51, No. 2 (RCA)

Beethoven: Rondo a capriccio in G, Op. 129, "Rage over a Lost Penny" (RCA)

Schumann: Kreisleriana, Op. 16 (RCA)

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

Chopin: Ballade No. 2 in F, Op. 38 (RCA)

Chopin: Ballade No. 3 in A-flat, Op. 47 (RCA)

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

Chopin: Berceuse in D-flat, Op. 57 (RCA)

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

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

Chopin: Preludes, Op. 28 (RCA)

Chopin: Sonata No. 2 in b-flat, Op. 35, "Funeral March" (RCA)

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

Herbie Nichols (1919-1963) is one of the true masters of jazz piano. Despite his amazing talent and contribution to music, he was almost completely ignored during his lifetime. Only a few musicians, including Roswell Rudd, Steve Lacy, and Misha Mengelberg, devoted their attention to the music of this master while he was alive. Recently, however, the jazz world seems to have rediscovered Nichols’ music and there are an increasing number of bands – the Herbie Nichols Project above all – playing his compositions. During this 21-hour Orgy, all existing recorded material by Herbie Nichols will be played, as well as interpretations by other musicians. We will also feature an interview with Roswell Rudd.

Atlantic Records has had a profound and enduring impact on the music of the twentieth century. The stable of artists who have had hits on the Atlantic label make up an impressive Who’s Who in popular music and cross several genres, including soul, rock, blues, jazz, and pop.

The label is known not only for artists such as Aretha Franklin, Eric Clapton, Otis Redding, Led Zeppelin, and Ray Charles, but also for writers, including Gerry Coffin and Carole King, and legendary producers such as Jerry Wexler. And looming above it all is Atlantic’s founder and creative genius, Ahmet Ertegun.

This eighteen-hour Orgy will survey the musical evolution of Atlantic from its founding as a jazz label in 1947 to the musical corporate that merged to form the Warner-Elektra-Atlantic (WEA) conglomerate in 1968. We will also examine Atlantic’s role in generating other major Soul labels, such as Atco and Stax Records.

In addition to playing those artists already noted, we will feature selections from Laverne Baker, Cream, John Coltrane, Sam & Dave, The Rascals, Solomon Burke, The Spinners, Yes, Wilson Pickett, The Drifters, The Modern Jazz Quartet, the bands headed individually and collectively by Crosby, Stills, Nash, and Young, and many others.

WHRB takes a look at Harvard’s newest captain, former Harvard graduate student, former Harvard professor, and former secretary of the U.S. Treasury Lawrence Summers. Through interviews with friends, colleagues, students, and faculty, we provide insights into Summers’ prolific past endeavors, the controversial process whereby he was selected, and the future that awaits him as President of Harvard University. We’ll also discuss the history and development of the role of the university president, with specific reference to Harvard’s own potentates. Please join us in discovering who Lawrence Summers is, what he plans to be, and what Harvard wants him to be as he prepares to take the reins from Neil Rudenstine.

Preacher: The Reverend Dr. Dorothy A. Austin, Associate Minister in the Memorial Church and University Chaplain. Music includes "Confiteor" by John Knowles Paine, the first Professor of Music at Harvard (or any American university), and the Magnficat in d by Thomas Attwood Walmisley.

The more the merrier? On this Orgy we will listen to music for diverse voices, hearing works for groups of every size from solo and duet through chamber ensemble and small chorus to military band and classical orchestra, capped by two monuments to musical bigness. We’ll hear how composers across the ages controlled and developed the potentials of multiple instruments competing and cooperating in a variety of great works.

Bach: Suite for Cello Solo No. 5 in c, S. 1011; Ma (Sony)

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

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

Beethoven: String Quartet in c-sharp, Op. 131; Yale Quartet (Vanguard)

Brahms: String Quintet No. 2 in G, Op. 111; Aronowitz, Amadeus Quartet (DG)

Palestrina: Missa Assumpta est Maria; Brown, Pro Cantione Antiqua (Allegro)

Stravinsky: L’Histoire du soldat Suite; Oppenheim, Glickman, Nagel, Price, Howard, Schneider, Levine, cond. Stravinsky (RCA)

Schubert: Octet for Winds and Strings in F, Op. 166, D. 803; Academy Chamber Ensemble (Philips)

Martinu: Nonet; Boston Symphony Chamber Players (RCA LP)

Biber: Battalia; Musica Antiqua Köln, Goebel (DG Archiv)

Rorem: Eleven Studies for Eleven Players; Milanov, Ensemble (New World)

Hindemith: Kammermusik No. 1 for Twelve Solo Instruments, Op. 24, No. 1; Chailly, members of the Royal Concertgebouw Orchestra (London)

Mozart: Serenade No. 10 in B-flat for Thirteen Wind Instruments, K. 361, "Gran Partita"; Hogwood, Amadeus Winds (Oiseau-Lyre)

Xenakis: Thallein; Tabachnik, Ensemble InterContemporain (Erato)

Schoenberg: Chamber Symphony No. 1, Op. 9; Orpheus Chamber Orchestra (DG)

Gabrieli: Motet, "Exaudi me Domine"; Nevel, Huelgas Ensemble (Sony)

Vivaldi: Flute Concerto in D, RV 428, "The Goldfinch"; See, McGegan, Philharmonia Baroque Orchestra (Harmonia Mundi)

Harbison: Music for Eighteen Winds (1985); Battisti, New England Conservatory Wind Ensemble (Centaur)

Poulenc: Aubade for Piano and Eighteen Instruments; Duchable, Conlon, Rotterdam Philharmonic Orchestra (Erato)

Mendelssohn: String Symphony No. 11 in f; Yoo, Metamorphosen Chamber Orchestra (Archetype)

Haydn: Symphony No. 52 in c; Pinnock, English Concert (DG Archiv)

Telemann: Concerto for Three Trumpets, Two Oboes, and Strings in D; Pinnock, English Concert (DG Archiv)

Strauss, R.: Metamorphosen for 23 Solo Strings; Gielen, Cincinnati Symphony Orchestra (MMG)

Josquin: Motet, "Qui Habitat"; Nevel, Huelgas Ensemble (Sony)

Holst: Suite No. 1 in E-flat for Band, Op. 28, No. 1; Hunsberger, Eastman Wind Ensemble (Sony)

Tallis: Motet, "Spem in alium" for 40 voices; Phillips, Tallis Scholars (Gimell)

Mahler: Symphony No. 8, "Symphony of a Thousand"; Spoorenberg, Jones, Annear, Reynolds, Procter, Mitchinson, Ruzdjak, McIntyre, Vollenweider, Bernstein, Leeds Festival Chorus, London Symphony Orchestra Chorus, Orpington Junior Singers, Highgate School Boys’ Choir, Finchley Children’s Music Group, New York Philharmonic Orchestra (CBS)

Fudgeworthy Records is a small label run by Charlie Infection out of Woburn, Massachusetts. Over the past decade, Infection has pressed records by an international cadre of experimental musicians spanning the genres of noise, black metal, thrash, and gore. Though many of the records suffer from sub-par production, each performance more than compensates with shameless innovation. Featured prominently in the Fudgeworthy catalog is Infection’s own group, Gonkulator. The musicians that comprise the remainder of the catalog span four continents in origin. We will cover the entire Fudgeworthy catalog, a feat never previously attempted. After the Fudgeworthy releases, we will conclude with a few hours of related music.

Black Saint and Soul Note are two labels that have proved crucial in the documentation of jazz in the last 25 years. The careers of many fine creative musicians, including Paul Motian, Dave Murray, Joe Lovano, Dave Douglas, Kenny Wheeler, John Carter, Julius Hemphill, Tim Berne, Andrew Cyrille, and hundreds more, have been either launched or sustained by these labels, which have demonstrated their willingness to invest in music of high artistic ambition regardless of commercial potential. For 48 hours we will sample some of the hundreds of records they have put out over the decades.

Perhaps Somerville, Massachusetts’s greatest composer, Alan Hovhaness Chakmakjian was born March 8, 1911, and died world-famous on June 21, 2000, at the age of 89. Early on, his mother (of Scottish descent) decided the family name didn’t fit well in Boston and changed it to the name he became known as. He studied with traditional teachers, including Heinrich Gebhard, Frederick Converse, and Bohuslav Martinu, but when he reached his thirties he determined to compose in a new way, drawing on his Armenian heritage. He then decided to destroy most of his earlier music (the Suite for English Horn and Bassoon below is one of the few surviving pieces of his earlier phase), but more than made up for the quantity lost by composing prolifically for decades. The works below are not in chronological order. Some of them are on Poseidon Society, a label run by the composer’s wife; much but not all of that material has been reissued on Crystal CDs.

Symphony Etchmiadzin (Symphony No. 21), Op. 234; Hovhaness, Royal Philharmonic Orchestra (Poseidon Society LP)

Suite for English Horn and Bassoon, Op. 21 (1933, rev. 1966); Peral, Ellert (Klavier)

Exile Symphony (Symphony No. 1), Op. 17, No. 2 (1936); Schwarz, Seattle Symphony Orchestra (Delos)

Love Songs of Hafiz; Berberian, Hovhaness (Poseidon Society LP)

Symphony No. 46, Op. 347, "To the Green mountains" (1980); Jordania, KBS Symphony Orchestra (Koch)

Talin, for Clarinet and Orchestra (1957 (rev. 1980)); Sobol, Flagello, Orchestra di Camera di Roma (Peters International LP)

Duet for Violin and Harpsichord (1954); Brink, Pinkham (CRI LP)

Etchmiadzin (1946): Intermezzo, Prayer of Saint Gregory; Werthen, I Fiamminghi (Telarc)

Psalm 23 (Cantata from Symphony No. 12, Op. 188); Pearson, Choirs and Orchestra of St. John’s Cathedral, Denver (Delos)

Prelude and Quadruple Fugue, Op. 128 (1936, rev. 1954-5); Werthen, I Fiamminghi (Telarc)

Songs, "Distant Lake of Sighs", "Under a Byzantine Dome"; Berberian, Hovhaness (Poseidon Society LP)

Saint Vartan Symphony (Symphony No. 9), Op. 180 (1949-50); Hovhaness, Royal Philharmonic Orchestra (Crystal)

Saturn, for Soprano, Clarinet, and Piano, Op. 243 (1971); Hurney, Sobol, Berkofsky (Poseidon Society LP)

Meditation on Orpheus, Op. 155 (1958); Schwarz, Seattle Symphony Orchestra (Delos)

The Holy City, Op. 218 (1967); Gecker, Clark, Manhattan Chamber Orchestra (Koch)

Peace be Multiplied, Op. 259, No. 1; Pearson, Choirs of St. John’s Cathedral, Denver (Delos)

String Quartet No. 3, Op. 208, No. 1, "Reflections on my Childhood" (publ. 1970); Shanghai Quartet (Delos)

Fra Angelico, Op. 220 (1968); Hovhaness, Royal Philharmonic Orchestra (Poseidon Society LP)

Sonata, Fred the Cat, Op. 301 (1977); M. Rosen (Koch)

Symphony No. 6, Op. 173, "Celestial Gate" (1959); Werthen, I Fiamminghi (Telarc)

Ave Maria (1956); Antonini, Bay Rund Singers, members of Bamberg Symphony Orchestra (CRI LP)

Majnun Symphony (Symphony No. 24), Op. 273 (1973); Hill, Wilbraham, Sax, Hovhaness, John Alldis Choir, National Philharmonic Orchestra of London (Crystal)

And God Created Great Whales (1970); Whales, Kostelanetz, Orchestra (Columbia LP)

String Quartet No. 4, Op. 208, No. 2, "The Ancient Tree" (publ. 1970); Shanghai Quartet (Delos)

Lady of Light, for Soprano, Baritone, Chorus, and Orchestra, Op. 227; Clark, Fyson, Hovhaness, Ambrosian Singers, Royal Philharmonic Orchestra (Poseidon Society LP)

The Spirit of Ink for Three Flutes, Op. 230 (1970); Baron (Poseidon Society LP)

Mysterious Mountain (Symphony No. 2), Op. 132 (1955); Reiner, Chicago Symphony Orchestra (RCA Victor)

Song, "Ararat"; Berberian, Hovhaness (Poseidon Society LP)

Symphony No. 11, "All Men are Brothers" (1961, rev. 1969); Hovhaness, Royal Philharmonic Orchestra (Crystal)

William Byrd (c. 1540-1623) was an English organist and composer of the Shakespearean age, best known for his development of the English madrigal. At the time of his death, Byrd was called a "Father of Musick," and was essential in the creation of Elizabethan musical culture. His reputation was unequalled in his time, and he could count Queen Elizabeth I as one of his patrons, despite his adherence to his Catholic faith during a time of religious conflict in England. He was a pioneer in almost every musical medium of the time, using musical experimentation to give more expressive range to old forms such as the song and virginal keyboard pieces. The form and character of English liturgical music were established in his anthems and motets, providing lasting models for later composers.

This two-part Orgy surveys Byrd’s works, presented in chronological order as accurately as possible. The large quantity of undated works will be inserted throughout the chronology to create more variety.

Emendemus in melius; Rutter, The Cambridge Singers (Collegium)

Libera me, Domine et pone me; Tyler, The London Early Music Group (RCA)

Tallis: Salvator Mundi, Absterge Domine, In manus tuas; Howard, Cantores in Ecclesia (Oiseau-Lyre)

Peccantem me quotidie; Tallis: Mihi autem nimis, O nata lux, O sacrum convivium, Aspice Domine; Howard, Cantores in Ecclesia (Oiseau-Lyre)

Attolite portas; Hollingworth, Yates, I Fagiolini, Fretwork (Chandos)

O lux beata trinitas; Tallis: Derelinquat impius, Dum transisset Sabbatum, Virtus honor et potestas, Sermone Blando; Howard, Cantores in Ecclesia (Oiseau-Lyre)

Laudate pueri Dominum; Memento homo; Siderum rector; Tallis: Te lucis ante terminum, Salvator mundi, Candid facti sunt; Howard, Cantores in Ecclesia (Oiseau-Lyre)

Da mihi auxilium; Domine secundum actum meum; Miserere mihi, Domine; Hollingworth, Yates, I Fagiolini, Fretwork (Chandos)

Diliges Dominum; Tallis: In jejunio et fletu, Suscipe quaeso Domine; Howard, Cantores in Ecclesia (Oiseau-Lyre)

Tribue, Domine; Te deprecor; Gloria Patri; Libera me Domine; Tallis: Miserere nostri Domine; Howard, Cantores in Ecclesia (Oiseau-Lyre)

Music for Viols; Wilson, Fretwork (Virgin)

Fantasia a 4 No. 1; Tyler, London Early Music Group (RCA)

Round: Non nobis domine; Deller, Dupré (RCA)

Song: "Ye sacred muses"; Chance, Wilson, Fretwork (Virgin)

Song: "Triumph with pleasant melody"; Hollingworth, Yates, I Fagiolini, Fretwork (Chandos)

Preludium; Jones (London)

Prelude in C; Tilney (EMI)

Fancie; Nicolson (Titanic)

Fantasia in C; Preston (DG)

Fantasia in d; Coranto in C; Tilney (EMI)

Who likes to love; My mind to me a kingdom is; Farewell False Love; Hollingworth, Yates, I Fagiolini, Fretwork (Chandos)

What pleasure have great princes; Tyler, The London Early Music Group (RCA)

Though Amyrillis dance in green; In fields abroad; La verginella; McGreevy, Partridge, Phantasm (Pro Musica)

Ah silly soul; If women could be fair; Lullaby, my sweet little baby; Chance, Wilson, Fretwork (Virgin)

Why do I use my paper, inke, and penne?; Yates, Concordia, I Fagiolini (Chandos)

Pavans and Galliards, Nos. 1-11; Gould (Sony) (Nos. 1, 6), Moroney (Harmonia Mundi LP) (Nos. 2, 3, 7, 8), Kipnis (Angel) (No. 4), Tilney (Dorian) (No. 5), Nicolson (Titanic) (No. 9), Yates, Concordia, I Fagiolini (Chandos) (No. 10), O’Dette (Nonesuch LP) (No. 11)

Pavana Bray; The Julian Bream Consort (RCA)

Fourteenth Pavan and Galliard: The Quadran; Tilney (EMI)

Mass for Three Voices; Phillips, Tallis Scholars (Gimell)

Te lucis ante terminum; Sacris solemniis; Carwood, The Cardinall’s Musick (ASV)

Fair Britain Isle; Though I be Brown; My Mistress had a little dog; McGreevy, Partridge, Phantasm (Pro Musica)

O Lord, how vain; Hollingworth, Yates, I Fagiolini, Fretwork (Chandos)

Truth at the first; Hollingworth, Yates, I Fagiolini, Fretwork (Chandos)

The Kronos Quartet, founded in 1973, is a driving force in the performance of new music. The Quartet commissions works from numerous modern composers and fearlessly arranges and interprets music drawn from various centuries and diverse musical traditions. We have chosen here to de-emphasize the more conventional modern string quartets in favor of music of non-Western traditions and pieces of less conventional form. (See also tomorrow night.)

All recordings are on Nonesuch unless otherwise indicated.

Rudhyar: Advent (CRI)

Harrison: String Quartet Set (CRI)

Sculthorpe: String Quartet No. 8

Nancarrow: String Quartet

Hendrix: Purple Haze (arr. Riffkin)

Volans: White Man Sleeps (No. 1)

Ives: Scherzo: Holding Your Own

Hassell: Pano da Costa (Cloth from the Coast)

Lee: Morango…Almost a Tango

Coleman: Lonely Woman

Johnston: Amazing Grace

Volans: White Man Sleeps (No. 5)

Bartók: String Quartet No. 3, Sz. 85

Sallinen: Winter Was Hard, Op. 20; Miller, Appling, San Francisco Girls Chorus

Riley: Half-Wolf Dances Mad in Moonlight

Pärt: Fratres I for String Quartet (real. Höfer)

Webern: Six Bagatelles, Op. 9

Zorn, Marclay, Hiromi: Forbidden Fruit; Hiromi

Lurie: Bella by Barlight

Piazzolla: Four, for Tango

Schnittke: String Quartet No. 3

Barber: Adagio

Traditional: The Door is Ajar (arr. Kronos)

Crumb: Black Angels

Tallis: Spem in Alium (arr. Kronos)

Ives: They are There!

Shostakovich: String Quartet No. 8 in c, Op. 110

Górecki: String Quartet No. 1, Op. 62, "Already It Is Dusk"

Volans: String Quartet No. 2, "Hunting:Gathering"

Lennon: Voices (CRI)

Laudibus in sanctis; Rutter, The Cambridge Singers (Collegium)

Domine, praestolamur adventum tuum; Stevens, The Ambrosian Singers and Consort (Dover)

Deus, venerunt gentes; Domine, tu iurasti; Vigilate, nescitis enim; O quam gloriosum est regnum; Yates, Concordia, I Fagiolini (Chandos)

Ne Irascaris Domine; Turner, Brown, Pro Cantione Antiqua (ASV)

Laetentur coeli; Deller, Deller Consort (Harmonia Mundi)

Airs: All in a garden green; Wolsey’s Wilde; O Mistrys Myne; Hollingworth, Yates, I Fagiolini, Fretwork (Chandos)

Callino Casturame; Kipnis (Angel)

Walsingham; Yates, Concordia, I Fagiolini (Chandos)

The hunt’s up; Hogwood (Oiseau-Lyre)

Lamentations ; Adams, Harvard Glee Club (MHS LP)

Fantasia a 5 "Browning"; Fantasias a 6 Nos. 2, 3; In nomine a 4 Nos. 1, 2; Wilson, Fretwork (Virgin)

Susanna Fair; Rejoice unto the Lord; McGreevy, Partridge, Phantasm (Pro Musica)

An earthly tree, a heavenly fruit; Howard, Jeremiah, Swabey, Wills (Argo)

Motets: Ad Dominum cum tribularer; Alleluia. Confitemini Domino; Benigne fac Domine; Christe qui lux est; Domine, ante te omne desiderium; Carwood, Skinner, The Cardinall’s Musick (ASV)

A Voluntary; Gould (Sony)

The Barley Break; Tilney (Dorian)

Qui Passe, for my Ladye Nevell; Monsieur’s Alman; Nicolson (Titanic)

The Queen’s Alman; Yates, Concordia, I Fagiolini (Chandos)

A Lesson of Voluntary; Hogwood (Oiseau-Lyre)

French Coranto No. 1; Dart (Oiseau-Lyre)

Laudibus in sanctis; Summerly, Oxford Camerata (Naxos)

Haec Dicit Dominus; Domine, Non Sum Dignus; Turner, Brown, Pro Cantione Antiqua (ASV)

Infelix ego; Mackay, Sarum Consort (ASV)

Haec dies; Rahe, Rahe, Osnabrück Youth Choir (Carus)

Pavane; O’Dette (Nonesuch LP)

Mary Brownlow Galliard; Pavan and Galliard in C; Moroney (Harmonia Mundi LP)

Salisbury’s Pavan and Galliard; Dolmetsch (Pearl)

Pavana Lachrymae (Dowland); Nicolson (Titanic)

Two Pavanas and two Galliards; Nicolson (Titanic)

Mass for Four Voices; Darlington, Christ Church Cathedral Choir (Nimbus)

Christe redemptor omnium; A solis ortu cardine; Darlington, Christ Church Cathedral Choir (Nimbus)

Bow thine ear, O Lord; Jaffee, Waverly Consort (Columbia LP)

Clarifica me, Pater; Content is rich; Tyler, The London Early Music Group (RCA)

Senex puerum portabat; Deller, Deller Consort (Harmonia Mundi)

Beata viscera Mariae Virginis; The King’s Singers (RCA)

Ave Regina caelorum; Chanticleer (Harmonia Mundi)

In Assumptione Beatae Mariae Virginis: Gaudeamus omnes in Domino, Propter veritam, Assumpta est Maria, Optimam partem; Chanticleer (Harmonia Mundi)

Plorans plorabit; Justorum animae; Christus resurgens; Visita, quaesumus Domine; Rutter, The Cambridge Singers (Collegium)

O Sacrum convivium; Cibavit eos; Deller, Deller Consort (Harmonia Mundi)

Sacerdotes Domine; Forbes, Radcliffe Choral Society, Harvard Glee Club (NAT)

Ave Verum Corpus; Turner, Brown, Pro Cantione Antiqua (ASV)

O Salutaris hostia; Pange lingua gloriosi (Nobis datus, nobis natus); Darlington, Christ Church Cathedral Choir (Nimbus)

Salve Regina; Regina coeli laetare; Chanticleer (Harmonia Mundi)

Hodie beata virgo Maria; Willcocks, King’s College Choir (Angel)

Airs: Sellenger’s Round; Hughe Ashton’s Ground; Gould (Sony)

Watkin’s Ale; Lavolta; Lady Morley; Rowland/Lord Willoughby’s Welcome Home; The Carman’s Whistle; Pinnock (Vanguard)

The Carman’s Whistle; Payne (Vox)

The Maiden’s Songe; Hogwood (Oiseau-Lyre)

The Woods So Wild; O’Dette (Nonesuch LP)

Great Service; Phillips, Tallis Scholars (Gimell LP)

Music for Viol; Wilson, Fretwork (Virgin)

Madrigal: This Sweet and Merry Month; Deller, Deller Consort (Vanguard)

Madrigal: The noble famous queen; Yates, Concordia, I Fagiolini (Chandos)

Puer natus est nobis; Viderunt omnes fines terrae; Dies sanctificatus; Carwood, Skinner, The Cardinall’s Musick (ASV)

Hodie Christus natus est; O admirabile commertium; Darlington, Christ Church Cathedral Choir (Nimbus)

Tui sunt coeli; Viderunt omnes fines terrae; O Magnum Mysterium; Carwood, Skinner, The Cardinall’s Musick (ASV)

Ecce advenit dominator Dominus; Regis Tharsis et Insulae; Vidmus stellam ejus in Oriente; Surge illuminare Jerusalem; Carwood, The Cardinall’s Musick (ASV)

Alleluia. Ascendit Deus; Alleluia. Cognoverunt discipuli; Ego sum panis; Deller, Deller Consort (Harmonia Mundi)

In Tempore Paschali: Resurrexi, Haec Dies, Victimae paschali laudes, Terra Tremuit, Pascha nostrum; Chanticleer (Harmonia Mundi)

Viri Galilaei; The King’s Singers (RCA)

O quam suavis; Veni, Sancte Spiritus; Non vos relinquem; Solve iubente Deo; Rutter, The Cambridge Singers (Collegium)

Hodie Simon Petrus; Tu es Pastor ovium; Quodcunque ligaveris; Christophers, The Sixteen (Virgin)

Laudate Dominum; Darlington, Christ Church Cathedral Choir (Nimbus)

La Volta; Puyana (Mercury)

A Gigg; Nicolson (Titanic)

My Lord of Oxenford’s Maske; The Julian Bream Consort (RCA)

The Battle; Hogwood (Oiseau-Lyre)

The Galliard for Victory; Hogwood (Oiseau-Lyre)

Anthems: O Lord, Make thy servant Elizabeth; O God, the proud are risen; Sing joyfully; Phillips, Tallis Scholars (Gimell LP)

The Funeral Songs of Sir Philip Sidney: Come to Me Grief for Ever; O Lord, How Vain; Simpson, Mason, Camerata of London (CRD)

Motets: Decantebat populus; Deus in adjutorium; O salutaris hostia; Carwood, Skinner, The Cardinall’s Musick (ASV)

Come, woeful Orpheus; Turner, Mitchell, Partridge, Pro Cantione Antiqua (Teldec)

Wedded to will is witless; Praise our Lord, all ye Gentiles; Tyler, The London Early Music Group (RCA)

Crowned with flowers and lilies; Yates, Concordia, I Fagiolini (Chandos)

Turn our captivity; Rutter, The Cambridge Singers (Collegium)

The leaves be green; The David Munrow Recorder Consort (EMI)

Pavan and Galliard for cembalo; Concerto Köln (Cadenza)

Pavan and Galliard a 5; Wilson, Fretwork (Virgin)

"Echo" Pavan and Galliard; Galliard in d; Moroney (Harmonia Mundi LP)

Motet: Quomodo Cantabimus; Christophers, The Sixteen (Virgin)

Motets: Circumspice Jerusalem; Domine Deus omnipotens; Reges Tharsis et insulae; Carwood, The Cardinall’s Musick (ASV)

Air: The seconde ground; Hogwood (Oiseau-Lyre)

Airs: My Ladye Nevell’s Ground; The Bells; Miserere a 4; Nicolson (Titanic)

Air: Ut re my fa sol la; Kipnis, Dart (Columbia LP)

Mass for Five Voices; Mackay, Sarum Consort (ASV)

Maraire: Mai Nozipo (Mother Nozipo); Maraire

Suso: Tiliboyo (Sunset) ; Suso

Tamusuza: Ekitundu Ekisooka (1st Mvmt.)

Addy: Wawshishijay (Our Beginning); Addy

Volans: White Man Sleeps

Sharp: Digital

Dixon: Spoonful

Oswald: Spectre

Zorn: Cat O’Nine Tails

Cowell: Quartet Euphometric

Mackey: Physical Property; Mackey

Johnson: Soliloquy

Gubaidulina: String Quartet No. 2

Nath: Aba Kee Tayk Hamaree (It is My Turn, Oh Lord); Nath, Bhatt, Riley, Constant

Liszt: At the Grave of Richard Wagner; Takahashi, DeCray

Berg: String Quartet, Op. 3

Webern: Five Pieces, Op. 5

Traditional: Kongerei (arr. Mackey); Throat-Singers of Tuva

Gubaidulina: String Quartet No. 4

Golijov: K’Vakarat; Alexandrovich

Glass: String Quartet No. 5

Scott: Dinner Music for a Pack of Hungry Cannibals

Johnson: It Raged

Daugherty: Elvis Everywhere; Manning, Taylor, Caballero

Hendrix: Purple Haze (arr. Riffkin)

Golijov: The Dreams and Prayers of Isaac the Blind; Krakauer

Dun: Ghost Opera; Man

Machaut: Kyrie I (arr. Kronos); Mutru

Tye: Rachell’s Weepinge

Dowland: Lachrymae Antiquae; Wu Man

Pärt: Psalom

Partch: Two Studies on Ancient Greek Scales (arr. Johnston)

Cage: Totem Ancestor (arr. Salzman)

Machaut: Kyrie II (arr. Kronos); Mutru

Kassia: Using the Apostate Tyrant As His Tool

Hardin: Synchrony No. 2; Sherman

Cage: Quodlibet

Perotin: Viderunt Omnes (arr. Kronos)

Machaut: Kyrie III; Mutru

Purcell: Four Part Fantasia No. 2

Bingen: O Virtus Sapientie (arr. Pfau)

Tye: Farewell my Good I. Forever

Schnittke: Collected Songs Where Every Verse is filled with Grief (arr. Kronos)

Anonymous: Bells: Tolling of the Knell

Adams: John’s Book of Alleged Dances

Schnittke: String Quartet No. 1

Schnittke: String Quartet No. 4

Schnittke: Canon in Memory of I. Stravinsky

Vrebalov: Pannonia Boundless

Paredes: Canção Verdes Anos

Perapaskero: Turceasca; Taraf de Haïdouks

Seress: Gloomy Sunday

Kalhor: Gallop of a Thousand Horses; Kalhor, Tabassian

Roubanis: Misirlou Twist; Jones

Katie Webster is a mystery. She has managed to thoroughly captivate a very impressive fan club, including Bonnie Raitt, Robert Cray, Dr. John, and Shemekia Copeland, yet she somehow never hit it really big. Robert Cray said "I can’t understand how someone like me can be famous when Katie Webster isn’t," while Bonnie Raitt has declared, "She has the voice of the century." Both Cray and Raitt appeared on Webster’s 1988 release, The Swamp Boogie Queen.

During her impressive career, Katie Webster has played with some of the greatest names in blues, soul, and rock. She played piano on the famous Phil Philips recording "Sea of Love," backed Slim Harpo on his classic "Raining in My Heart," and from 1964-1967 toured with Otis Redding and appeared on the legendary album Whiskey A Go Go. Even though her fingerprints are all over an important span of blues history, Webster has somehow remained a relatively shadowy presence. This Orgy will spotlight the major recordings of this immensely talented artist, whom Rolling Stone has described as "One saucy pianist-vocalist who knows how to dish it out...a woman who know how to let her fingers do the talking." Whether you’re pulled in by her powerful, expressive voice or her tumultuous piano playing, Katie Webster is sure to enchant you. We’ll hear her solo albums as well as some of her appearances on other important recordings.

The tradition continues! For two hours, the WHRB techies escape from their cages and run amok.

They are known by many different names: The W, The Wu, The Clan, The Killer Bees, The Mud Slingers, the Wu-tang Clan. Whichever name you choose to call them, the fact remains that they are one of the most influential hip-hop groups in history. Spawning over 30 albums, including hip-hop classics Enter the Wu-tang, Only Built for Cuban Links, and Liquid Swords, the Wu has left a footprint in the hip-hop world that will remain. An eclectic collection of nine talented MC’s, The Wu possesses both diversity and cohesion, creating a worldwide following with a mix of cult kung-fu references, creative old school sampling, and original lyrical styles. Wu-tang’s popularity in the US, Japan, China, England, and other countries has led to a successful clothing line ("Wu-gear"), a Wu-tang comic book, and a video game. We feature many of the Wu’s classic recordings, which brought inspiration, originality, and rawness into hip-hop.

Preacher: The Reverend Peter J. Gomes, Plummer Professor of Christian Morals and Pusey Minister in The Memorial Church. Music includes "Faire is the Heaven" by Harris and "My beloved spake" by Purcell, the latter with the Harvard Baroque Chamber Orchestra.

Claude Debussy, born in 1862, is one of the fathers of French impressionism. In his youth, his peers and instructors at the Conservatoire identified him as a dangerous and revolutionary harmonic innovator, but with the production of his opera Pelléas et Mélisande in 1903, he gained a large following of "Debussyistes" who praised his music and made public the battle of modernism against traditionalism. By the time of his death in 1918, he had impressed upon the musical world a style that was unique in its sensuality and daring in its dreamy exoticism.

This Orgy presents over thirty hours of music by Debussy, from works composed as a young student at the Conservatoire to the mature compositions of his later years. Works are presented in roughly chronological order. Listeners will be able to see the marked infusion of his music with foreign sonorities in works following 1889, the year in which he visited the Paris Exposition Universelle and heard music from around the world. We will also include two sections devoted to historic performances of Debussy’s works.

1879: Premier Trio in G for Piano, Violin, and Cello; Ravel Trio (Arion)

1880: Symphony in b (orch. Faldner); Faldner, Sinfonia Orchestra of Chicago (Koch)

1880: Danse bohémienne; Thibaudet (London)

1880: Symphony in b (two piano version); Alf. Kontarsky, Alo. Kontarsky (DG)

1880: Song: "Beau soir"; Fischer-Dieskau, Höll (Claves)

1880: Song: "Fleur des blés"; Fischer-Dieskau, Höll (EMI)

1880: Song: "Nuit d’étoiles"; Cuenod, Isepp (Nimbus)

1880: Song: "Caprice"; Dietschy, Cassard (Adès)

1881: Song: "Jane"; Dietschy, Cassard (Adès)

1881: Song: "Aimons-nous et dormons"; Rodde, Lee (Etcetera)

1881: Song: "Les roses"; Rodde, Lee (Etcetera)

1881: Song: "Pierrot"; Rodde, Lee (Etcetera)

1881: Song: "Zéphyr"; Mesplé, Baldwin (EMI)

1881: Song: "Rondel chinois"; Mesplé, Baldwin (EMI)

1881: Song: "Souhait"; Rodde, Lee (Etcetera)

c. 1881: Song: "Rêverie"; Rodde, Lee (Etcetera)

c. 1881: Song: "Il dort encore"; Rodde, Lee (Etcetera)

1882: Triomphe de Bacchus; Froment, Orchestra of Radio Luxembourg (Vox LP)

1882: Salut Printemps; Vallancien, Barenboim, Choeur de l’Orchèstre de Paris, Orchèstre de Paris (DG LP)

1882: Song: "Clair de lune"; Rodde, Lee (Etcetera)

1882: Song: "Calmes dans le demi-jour" (First version of "En sourdine"); Rodde, Lee (Etcetera)

1882: Song: "Fête galante"; Rodde, Lee (Etcetera)

1882: Song: "Fêtes galantes" (Premier recueil); Gens, Vignoles (Virgin)

1882: Song: "Mandoline"; Dudziak, Dartigolles (Accord)

1882: Song: "Le lilas"; Rodde, Lee (Etcetera)

1882: Song: "Pantomime"; Rodde, Lee (Etcetera)

1882: Rondeau: "Fut-il jamais"; Rodde, Lee (Etcetera)

1882: Song: "Sérénade"; Rodde, Lee (Etcetera)

1882-83: Song: "La fille aux cheveux de lin"; Rodde, Lee (Etcetera)

1883: Invocation; Pezzino, Barenboim, Choeur de l’Orchestre de Paris, Orchestre de Paris (DG LP)

1883: Song: "Chanson espagnole"; Rodde, Lee (Etcetera)

1883: Song: "Coquetterie posthume"; Rodde, Lee (Etcetera)

1883: Song: "Musique"; Rodde, Lee (Etcetera)

1883: Song: "Paysage sentimental"; Dietschy, Cassard (Adès)

1883: Romance: "Silence ineffable"; Rodde, Lee (Etcetera)

1884: Printemps; Cesnoues, Duguay, Lapointe, Grimbert, Choeur et Orchestre de Paris-Sorbonne (Marco Polo)

1884: L’enfant prodigue; Norman, Carreras, Fischer-Dieskau, Bertini, Women’s Chorus of South German Radio, Stuttgart Radio Symphony Orchestra (Pro Arte)

1884: Cortège et air de danse (excerpt from "L’enfant prodigue"); Kontarsky, Kontarsky (DG)

1884: Song: "Apparition"; Dietschy, Cassard (Adès)

1884: Song: "La Romance d’Ariel"; Rodde, Lee (Etcetera)

1884: Romance: "Voici que le printemps"; Rodde, Lee (Etcetera)

1884: Song: "Regret: Devant le ciel"; Rodde, Lee (Etcetera)

1887: Printemps: Suite Symphonique (reconstr.); Vroman, Steacy, Wohlgemuth, de Cou, San Francisco Ballet Chorus, San Francisco Ballet Orchestra (Arabesque)

1887: La demoiselle élue; Upshaw, Salonen, Women of the Los Angeles Master Chorale, Los Angeles Philharmonic Orchestra (Sony)

1888: Deux Arabesques; Gieseking (Angel LP)

1888: Petite Suite; Kontarsky, Kontarsky (DG)

1888: Song: "Ariettes oubliées"; Dietschy, Cassard (Adès)

1889: Fantasy for Piano and Orchestra; Kocsis (Philips)

1890: Ballade slave; Boguet (Tudor )

1890: Mazurka; Boguet (Tudor )

1890: Rêverie; Ciccolini (Seraphim LP)

1890: Suite bergamasque; Ohlsson (Arabesque)

1890: Danse (Tarantelle styrienne); Boguet (Tudor)

1890: Valse romantique; Gieseking (Angel LP)

1890: Cinq poèmes de Baudelaire; Dietschy, Cassard (Adès)

1890: Song: "La belle au bois dormant"; Gens, Vignoles (Virgin)

1891: Song: "Fêtes galantes" (Deuxième recueil); Dudziak, Dartigolles (Accord)

1891: Marche écossaise; Kontarsky, Kontarsky (DG)

1891: Deux romances; Norman, Levine (Philips)

1891: Song: "Les angélus"; Cuenod, Isepp (Nimbus)

1891: Trois mélodies de Paul Verlaine; Dudziak, Dartigolles (Accord)

1892: Nocturnes; Previn, London Symphony Orchestra, Ambrosian Singers (Angel LP)

1892: Nocturne; Lee (Valois)

1892: Prélude à l’après-midi d’un faune; Monteux, London Symphony Orchestra (London LP)

1892-1902: Pelléas et Mélisande; Stilwell, Von Stade, Van Dam, Raimondi, Denize, Barbaux, Thomas, Karajan, German Opera Chorus, Berlin Philharmonic Orchestra (EMI)

1894: String Quartet in g, Op. 10; Juilliard String Quartet (Sony)

1894: Images (oubliées); Jacobs (Elektra/Nonesuch)

1894: Suite: Pour le piano; Ciccolini (Seraphim LP)

1894: Sarabande from Pour le Piano (orch. Ravel); Wolff, Saint Paul Chamber Orchestra (Teldec)

1895: Song: "Proses lyriques"; Ameling, Baldwin (EMI)

1897: Song: "Trois Chansons de Bilitis"; Gens, Vignoles (Virgin)

1900: Chansons de Bilitis (Louys), music to accompany readings of poems; Deneuve, Vienna-Berlin Ensemble (DG)

1901: Lindaraja; Phillips, Renzouli (Harlequin LP)

1902: La demoiselle élue (piano trans.); Sharon (Unicorn)

1890-1892: Rodrigue et Chimène (reconstr. R. L. Smith); Brown, Dale, Van Dam, Bastin, Le Texier, Nagano, Lyon Opera Chorus and Orchestra (Erato)

1903: D’un cahier d’esquisses; Lee (Valois)

1903: Estampes; Thibaudet (London)

1903: Song: "Dans le jardin"; Cuenod, Isepp (Nimbus)

1904: Incidental Music for King Lear; Rattle, City of Birmingham Symphony Orchestra (EMI)

1904: Danse sacrée et danse profane; Costello, Ormandy, Philadelphia Orchestra (Columbia LP)

1904: L’isle joyeuse; Kocsis (Philips)

1904: Masques; Thibaudet (London)

1904: Morceau de concours; Thibaudet (London)

1904: Song: "Le promenoir des deux amants"; Souzay, Baldwin (EMI)

1904: Trois chansons de France; Dudziak, Dartigolles (Accord)

1905: Images (Set 1); Michelangeli (Philips)

1906: Children’s Corner; Moravec (Connoisseur LP)

1907: Images (Set 2); Michelangeli (Philips)

1909: Images for Orchestra; Boulez, Cleveland Orchestra (CBS)

1909: Hommage à Haydn; Fingerhut (Chandos)

1909: Le petit nègre; Boguet (Tudor)

1910: Petite pièce for Clarinet and Piano; Fallows, Brown (Chandos)

1910: Première Rhapsodie for Orchestra with Solo Clarinet; de Peyer, Boulez, New Philharmonia Orchestra (Columbia LP)

1910: Rhapsody for Saxophone and Orchestra; Rascher, Bernstein, New York Philharmonic Orchestra (Sony)

1910: Préludes (Book 1); Ciani (DG LP)

1910: La plus que lente; Rosen (Epic LP)

1910: La plus que lente; Barnes, Dutoit, Orchestre symphonique de Montréal (London)

1910: Trois ballades de Villon; Dudziak, Dartigolles (Accord)

1911: En blanc et noir; Casadesus, Casadesus (Masterworks)

1911: Le martyre de St. Sébastien; McNair, Murray, Stutzmann, Thomas, London Symphony Chorus and Orchestra (Sony)

1903: La mer; Reiner, Chicago Symphony Orchestra (RCA)

1912: Printemps: Suite Symphonique (orch. Busser); Dutoit, Orchestre Symphonique de Montréal (London)

1912: Khamma (orch. Koechlin); Tortelier, Ulster Orchestra (Chandos)

1912: Préludes (Book 2); Zimerman (DG)

1913: Syrinx; Pahud (EMI)

1913: La Boite à joujoux (original piano version); Sharon (Unicorn )

1913: La Boite à joujoux (orch. Caplet); Froment, Orchestra of Radio Luxembourg (Vox LP)

1913: Trois poèmes de Mallarmé; Price, Lockhart (Orfeo)

1913: Jeux; Boulez, New Philharmonia Orchestra (CBS)

1914: Berceuse heroique; Rosen (Epic LP)

1915: Six Épigraphes antiques (two piano version); Alexander, Daykin (Connoiseur)

1914: Six Épigraphes antiques (solo piano version); Jones (Nimbus)

1915: Song: "Noël des enfants qui n’ont plus de maison"; de los Angeles, Soriano (EMI)

1915: Cello Sonata in d; Gendron, Françaix (Philips)

1915: Sonata for Flute, Viola and Harp; Bourdin, Lequien, Challan (Philips)

1915: Élégie; Jones (Nimbus)

1915: Études (Book I and II); Ohlsson (Arabesque)

1915: Page d’album; Jones (Nimbus)

1917: The Fall of the House of Usher (rev. and orch. Blin); Barbaux, Le Roux, Le Maigat, Lafout, Prêtre, Monte Carlo Philharmonic Orchestra (EMI LP)

1917: Violin Sonata in g; Takezawa, De Silva (RCA)

This Orgy chronicles the development of the Requiem mass as a genre, beginning in the fifteenth century and ending with a piece composed this year by a Harvard undergraduate. We will see how the form developed from its early liturgical setting to the wide variety of secular appropriations of the term and text witnessed in art music of the last century. The variations in setting the text over time often mirror changing attitudes towards death in general.

Ockeghem: Missa pro defunctis; Hillier, Hilliard Ensemble (Angel LP)

de la Rue: Missa pro defunctis; Ensemble Clément Janequin (Harmonia Mundi)

Lassus: Missa pro defunctis; Hilliard Ensemble (ECM)

Victoria: Missa pro defunctis; Hill, Choir of Westminster Cathedral (Hyperion)

Cardoso: Requiem; Phillips, Tallis Scholars (Gimell)

Lôbo: Requiem; Phillips, Tallis Scholars (Gimell)

Schütz: Musikalische Exequien, Op. 7; Mellon, Reyghere, Zanetti, Crook, Fouchécourt, Lamy, Machart, Kooy, Lika, Herreweghe, La Chapelle Royale (Harmonia Mundi)

Biber: Missa pro defunctis; Almajano, Sluis, Elwes, Huijts, Kamp, Leonhardt, Koor & Barokorkest van de Nederlandse Bachvereniging (Deutsche Harmonia Mundi)

Gossec: Missa pro defunctis; Degelin, de Reyghere, Crook, Widmer, Devos, Maastricht Kamerchor Conservatorium, Musica Polyphonica (Erato)

Haydn, M.: Requiem in c; Damisch, Schrekenbach, Mayr, Merritt, Muller, Raninger, Hinreiner, Salzburger Rundfunk- und Mozarteumchor, Mozarteum Orchester, Camerata Academica Salzburg (Koch)

Garcia: Requiem; Davis, Allen, Brown, Tuloisela, Freeman, Morgan State College Choir, Helsinki Philharmonic Orchestra (Columbia LP)

Berlioz: Grande Messe des Morts; Dowd, Sir Colin Davis, Wandsworth School Boys’ Choir, London Symphony Orchestra and Chorus (Philips)

Schumann: Requiem, Op. 148; Donath, Kaufmann, Lipovsek, Calm, Moser, Rootering, Sawallisch, Chorus and Symphony Orchestra of the Bavarian Radio (Eurodisc)

Brahms: Ein Deutsches Requiem, Op. 45; Margiono, Gilfry, Gardiner, Monteverdi Choir, Orchestre Révolutionnaire et Romantique (Philips)

Fauré: Requiem, Op. 48; Battle, Schmidt, Giulini, Philharmonia Chorus and Orchestra (DG)

Reger: Requiem, Op. 144b; Fischer-Dieskau, Albrecht, St. Michael’s Choir of Hamburg, Monteverdi Choir of Hamburg, Hamburg State Philharmonic Orchestra (Orfeo)

Pizzetti: Messa di Requiem; O’Donnell, Westminster Cathedral (Hyperion)

Weill: Das Berliner Requiem; Laiter, Kooy, Herreweghe, Choir of la Chapelle Royale, Ensemble Musique Oblique (Harmonia Mundi)

Duruflé: Requiem, Op. 9; Bartoli, Terfel, Chung, Chorus and Orchestra of the Santa Cecilia National Academy (DG)

Rautavaara: A Requiem in Our Time, Op. 3; Panula, Helsinki Philharmonic Orchestra (Finlandia)

Takemitsu: Requiem for Strings; Wakasugi, Tokyo Metropolitan Symphony Orchestra (Denon)

Stravinsky: Requiem Canticles; Bickley, Wilson-Johnson, Knussen, London Sinfonietta (DG)

Ligeti: Requiem; Poli, Ericson, Gielen, Chor des Bayerischen Rundfunks, Sinfonie-Orchester des Hessischen Rundfunks Frankfurt (Wergo)

Rands: Metalipsis II; Weiner, London, Cleveland Chamber Symphony (Albany)

Martin: Requiem; Speiser, Bollen, Tappy, Lagger, Martin, Women’s Chorus of Lausanne, Ars Laeta, Orchestre de la Suisse Romande (Jecklin)

Schnittke: Requiem; Kritznerová, Sováková, Glatzová, Smaterová, Klíma, Brych, Praque Philharmonic Choir (Praga)

Babbitt: Solo Requiem; Beardslee, Continuum (Nonesuch LP)

Penderecki: Polish Requiem; Gadulanka, Rappé, Grychnik, Zardo, Wit, Cracow Philharmonic Choir, Polish National Symphony Orchestra (Polskie Nagrania)

Górecki: Kleines Requiem für eine Polka; Zinman, London Sinfonietta (Nonesuch)

Jordanova: Requiem for Bosnia; Jordanova (CRI)

Hine: Requiem; Kevin Leong, members of the Harvard Glee Club

This orgy presents all ten of the pieces studied in Literature and Arts B-54, a Harvard course which surveys chamber works by composers from the late eighteenth century, when the distinctive timbre of Baroque instruments shaped composers’ imaginations, to the beginning of the twentieth century. The Orgy will be hosted by the course’s professor, world-renowned pianist and musicologist Robert D. Levin, Dwight Robinson Professor at Harvard, who will offer his insights on these masterworks of Western classical music.

Mozart: Divertimento No. 17 in D, K.334, with March in D, K. 445; Members of the New York Philomusica (Vox)

Haydn: String Quartet in G, Op. 54, No. 1; Smithson String Quartet (Deutsche Harmonia Mundi)

Beethoven: Quintet for Piano and Winds in E-flat, Op. 16; Levin, de Mruine, Pay, Halstead, Bond (Decca)

Schubert: Piano Trio in B-flat, Op. 99, D. 898; Cortot, Thibaud, Casals (EMI)

Mendelssohn: String Quintet No. 2 in B-flat, Op. 87; Huggett, Besnoziuk, Chase, Whistler, Lester (Virgin)

Schumann: String Quartet No. 3 in A, Op. 41, No. 3; Eroica String Quartet (Harmonia Mundi)

Brahms: Trio for Piano, Violin, and Horn in E-flat, Op. 40; Serkin, Busch, A. Brain (EMI)

Dvorak: String Sextet in A, Op. 48; Suk, Chuchro, Smetana String Quartet (Supraphon)

Fauré: Piano Quintet No. 1 in d, Op. 89; Hubeau, Quatuor Via Nova (Erato)

Ravel: String Quartet in F; Galimir String Quartet (Rockport Records)

Upon hearing Jascha Heifetz performing as a young boy, the legendary Fritz Kreisler said, "We might as well take our fiddles and break them across our knees!" From his earliest recitals as a young prodigy in Russia to his final recorded recital in 1972, no violinist left his mark on the 20th century as did Heifetz. Possessing staggering technique and impeccable musicality, he defined what it was to be a virtuoso.

No less extraordinary is Heifetz’s recorded output, which spans seven decades. To mark the hundredth anniversary of his birth, the Jascha Heifetz Orgy will present 48 hours of recordings culled from RCA’s recently released, authoritative Heifetz Collection. We will sample his chamber recordings with such luminaries as Artur Rubinstein and Gregor Piatigorsky, his celebrated concerti, the numerous modern compositions he championed, and his historic solo recordings.

For the first day and a half of the Jascha Heifetz Orgy, we trace the arc of Heifetz’s career, presenting recordings in chronological order from when Heifetz was just sixteen until he was in his late sixties. The last nine hours are devoted to the Best of Heifetz, featuring legendary recordings from when the violinist was in his prime as well as the last recital in 1972.

Schubert: Ave Maria in B-flat, Op. 52, No. 6, D. 839; Benoit (Nov. 1917)

Wieniawski: Scherzo tarantelle in g, Op. 16; Benoist (Nov. 1917)

Achron: Hebrew Melody, Op. 33; Pasternack, unnamed orchestra (Dec. 1917)

Bazzini: La ronde des lutins, Op. 25; Benoist (Dec. 1917)

Glazunov: Meditation, Op. 32; Benoist (Dec. 1917)

Sarasate: Malagueña, Op. 21, No. 1; Benoist (Dec. 1917)

Kreistler: Sicilienne et Rigaudon (In the style of Francoeur); Benoist (Oct. 1918)

Paganini: Caprice in D, Op. 1, No. 20; Benoist (Oct. 1918)

Paganini: Moto Perpetuo in C, Op. 11; Benoist (Oct. 1918)

Sarasate: Zapateado, Op. 23, No. 2; Benoist (Oct. 1918)

Dvorak: Slavonic Dance, Op. 46, No. 2; Chotzinoff (Oct. 1919)

Mozart: Minuet, from Divertimento in D, K. 334; Chotzinoff (Oct. 1919)

Sarasate: Zigeunerweisen, Op. 20; Chotzinoff (Oct. 1919)

Tchaikovsky: Waltz, from Serenade in C, Op. 48; Pasternack, unnamed orchestra (Oct. 1919)

Brahms: Hungarian Dance No. 1; Chotzinoff (Sep. 1920)

Dvorak: Slavonic Dance, Op. 72, No. 8; Chotzinoff (Sep. 1920)

Godowsky: Waltz in D (Impression No. 8); Chotzinoff (Sep. 1920)

Goldmark: Andante, from Concerto in a, Op. 28; Pasternack, unnamed orchestra (Sep. 1920)

Juon: Berceuse, Op. 28, No. 3; Chotzinoff (Sep. 1920)

Mendelssohn: Finale, from Concerto in e, Op. 64; Chotzinoff (Sep. 1920)

Paganini: Caprice in B-flat, Op. 1, No. 13; Chotzinoff (Sep. 1920)

Tchaikovsky: Canzonetta, from Concerto in D, Op. 35; Pasternack, unnamed orchestra (Sep. 1920)

Tchaikovsky: Serenade mélancolique in b, Op. 26; Pasternack, unnamed orchestra (Sep. 1920)

Achron: Hebrew Lullaby, Op. 35, No. 2; Chotzinoff (Oct. 1922)

Chopin: Nocturne in D-flat, Op. 27, No. 2; Chotzinoff (Oct. 1922)

Granados: Danza española, Op. 37, No. 5, "Andaluza"; Chotzinoff (Oct. 1922)

Haydn: Vivace, from String Quartet in D, Op. 65, No. 5, "Lark"; Chotzinoff (Oct. 1922)

Boulanger: Nocturne in F; Achron (Sep. 1924)

Boulanger: Cortège; Achron (Dec. 1924)

Saint-Saëns: Havanaise in E, Op. 83; Achron (Dec. 1924)

Sarasate: Carmen Fantasy, Op. 25; Achron (Dec. 1924)

Scott: The Gentle Maiden; Achron (Dec. 1924)

Bach: Menuets I and II, from Partita for Violin Solo No. 3 in E, S. 1006; Achron (Dec. 1925)

Couperin: Les petits moulins à vent, XVII, No. 2; Achron (Dec. 1925)

Debussy: La fille aux cheveux de lin; Achron (Dec. 1926)

Grieg: Scherzo-Impromptu, from Moods, Op. 73; Achron (Dec. 1926)

Mendelssohn: On Wings of Song, Op. 34, No. 2; Achron (May 1928)

Ponce: Estrellita; Achron (May 1928)

Elgar: La capricieuse, Op. 17; Sandor (Feb. 1934)

Godowsky: Alt Wien; Sandor (Feb. 1934)

Ravel: Tzigane; Sandor (Feb. 1934)

Saint-Saëns: Introduction and Rondo Capriccioso in a, Op. 28; Barbirolli, London Philharmonic Orchestra (Mar. 1935)

Vieuxtemps: Concerto No. 4 in d, Op. 31; Barbirolli, London Philharmonic Orchestra (Mar. 1935)

Bach: Partita for Violin Solo No. 2 in d, S. 1004 (Dec. 1935)

Bach: Sonata for Violin Solo No. 1 in g, S. 1001 (Dec. 1935)

Bach: Sonata for Violin Solo No. 3 in C, S. 1005 (Dec. 1935)

Beethoven: Sonata No. 3 in E-flat, Op. 12, No. 3; Bay (Jan. 1936)

Beethoven: Sonata No. 8 in G, Op. 30, No. 3; Bay (Jan. 1936)

Brahms: Sonata No. 2 in A, Op. 100; Bay (Jan. 1936)

Mozart: Sonata in B-flat, K. 378; Bay (Feb. 1936)

Grieg: Sonata No. 2 in G, Op. 13; Bay (Feb. 1936)

Fauré: Sonata No. 1 in A, Op. 13; Bay (Feb. 1936)

Tchaikovsky: Concerto in D, Op. 35; Barbirolli, London Philharmonic Orchestra (Mar. 1937)

Saint-Saëns: Havanaise in E, Op. 83; Barbirolli, London Symphony Orchestra (Apr. 1937)

Prokofiev: Concerto No. 2 in g, Op. 63; Koussevitzky, Boston Symphony Orchestra (Dec. 1937)

Chausson: Concerto for Violin, Piano, and String Quartet in D, Op. 21; Sanroma, Musical Art Quartet (May 1941)

Mozart: Divertimento in E-flat, K. 563; Primrose, Feuermann, Bay (Sep. 1941)

Dohnányi: Serenade in C, Op. 10; Primrose, Feuermann (Sep. 1941)

Beethoven: Piano Trio in B-flat, Op. 97, "Archduke"; Rubinstein, Feuermann (Sep. 1941)

Schubert: Piano Trio in B-flat, Op. 99, D. 898; Rubinstein, Feuermann (Sep. 1941)

Brahms: Piano Trio in B, Op. 8; Rubinstein, Feuermann (Sep. 1941)

Benjamin: Jamaican Rumba; Kaye (Oct. 1944)

Berlin: White Christmas; Camarata and his orchestra (Oct. 1944)

Debussy: Beau soir; Kaye (Oct. 1944)

Traditional: Deep River; Kaye (Oct. 1944)

Dvorak: Humoresque in G-flat, Op. 101, No. 7; Kaye (Oct. 1944)

Foster: I Dream of Jeannie with the Light Brown Hair; Kaye (Oct. 1944)

Foster: Old Folks at Home; Kaye (Oct. 1944)

Gardner: From the Canebrake, Op. 5, No. 1; Kaye (Oct. 1944)

Godowsky: Viennese (Impression No. 12); Kaye (Oct. 1944)

Herbert: A la valse; Kaye (Oct. 1944)

Rossini: Figaro, from Il barbiere di Siviglia; Kaye (Oct. 1944)

Traditional Irish: Gweedore Brae; Kaye (Oct. 1944)

White: Levee Dance, Op. 27, No. 2; Kaye (Oct. 1944)

Bennett: Hexapoda (Five Studies in Jitteroptera); Bay (Nov. 1945)

Chopin: Nocturne in E-flat, Op. 55, No. 2; Bay (Nov. 1945)

Debussy: Clair de lune, from Suite bergamasque; Bay (Nov. 1945)

Debussy: Golliwog’s Cakewalk, from Children’s Corner; Bay (Nov. 1945)

Dyer: Florida Night Song, from An Outlandish Suite; Bay (Nov. 1945)

Gershwin: Six Songs from Porgy and Bess; Bay (Nov. 1945)

Gershwin: Three Preludes; Bay (Nov. 1945)

Gluck: Melodie, from Orphée et Eurydice; Bay (Nov. 1945)

Prokofiev: March, from The Love for Three Oranges; Bay (Nov. 1945)

Rimsky-Korsakov: Hymn to the Sun; Bay (Nov. 1945)

Schumann: The Prophet Bird, from Waldszenen, Op. 82; Bay (Nov. 1945)

Shostakovich: Two Preludes from Op. 34; Bay (Nov. 1945)

Tchaikovsky: Melodie in E-flat, from Souvenir d’un lieu cher, Op. 42; Bay (Nov. 1945)

Weill: Mack the Knife, from The Threepenny Opera; Bay (Nov. 1945)

Brahms: Hungarian Dance No. 7; Bay (Dec. 1945)

Gruenberg: Concerto, Op. 47; Monteux, San Francisco Symphony Orchestra (Dec. 1945)

Krein: Dance No. 4; Bay (Dec. 1945)

Saint-Saëns: The Swan, from Carnival of the Animals; Bay (Dec. 1945)

Burleigh: Hills, from Pictures, Op. 30; Bay (Feb. 1946)

Burleigh: Moto Perpetuo, from Small Concert Pieces, Op. 21; Bay (Feb. 1946)

Godard: Lullaby; Crosby, Young and his orchestra (Jul. 1946)

Löhr: Where My Caravan Has Rested; Crosby, Young and his orchestra (Jul. 1946)

Arensky: Tempo di valse, from Concerto in a, Op. 54; Bay (Oct. 1946)

Bach: Concerto for Two Violins in d, S. 1043; Waxman, RCA Victor Chamber Orchestra (Oct. 1946)

Bax: Mediterranean; Bay (Oct. 1946)

Castelnuovo-Tedesco: Tango; Bay (Oct. 1946)

de Falla: Pantomime, from El amor brujo; Bay (Oct. 1946)

Debussy: Il pleure dans mon coeur; Bay (Oct. 1946)

Debussy: La chevelure; Bay (Oct. 1946)

Medtner: Fairy Tale in b-flat, Op. 20, No. 1; Bay (Oct. 1946)

Milhaud: Corcovado, from Saudades do Brasil; Bay (Oct. 1946)

Poldowski: Tango; Bay (Oct. 1946)

Sarasate: Romanza andaluza, Op. 22, No. 1; Bay (Oct. 1946)

Waxman: Carmen Fantasy; Voorhees, RCA Victor Symphony Orchestra (Nov. 1946)

Bruch: Scottish Fantasy, Op. 46; Steinberg, RCA Victor Symphony Orchestra (Sep. 1947)

Vieuxtemps: Concerto No. 5 in a, Op. 37; Sargent, London Symphony Orchestra (Sep. 1947)

Mozart: Concerto No. 4 in D, K. 218; Beecham, Royal Philharmonic Orchestra (Nov. 1947)

Kroll: Banjo and Fiddle; Bay (Dec. 1947)

Rachmaninoff: Vocalise, Op. 34, No. 14; Bay (Dec. 1947)

Shostakovich: Danse fantastique, Op. 5, No. 2; Bay (Dec. 1947)

Beethoven: Sonata No. 5 in F, Op. 24, "Spring"; Bay (Dec. 1947)

Stravinsky: Berceuse, from Firebird; Bay (Dec. 1947)

Tansman: Mouvement perpetuel, from Five Pieces for Violin and Piano; Bay (Dec. 1947)

Elgar: Concerto in b, Op. 61; Sargent, London Symphony Orchestra (Jun. 1949)

Mendelssohn: Concerto in e, Op. 64; Beecham, Royal Philharmonic Orchestra (Jun. 1949)

Saint-Saëns: Sonata No. 1 in d, Op. 75; Bay (Apr. 1950)

Debussy: Sonata No. 3 in g; Bay (Apr. 1950)

Respighi: Sonata in b; Bay (Apr. 1950)

Walton: Concerto in b; Walton, Philharmonia Orchestra (Jul. 1950)

Mendelssohn: Piano Trio No. 1 in d, Op. 49; Rubinstein, Piatigorsky (Aug. 1950)

Tchaikovsky: Piano Trio in a, Op. 50; Rubinstein, Piatigorsky (Aug. 1950)

Ravel: Piano Trio in a; Rubinstein, Piatigorsky (Aug. 1950)

Vitali: Chaconne in g; Ellsasser (Aug. 1950)

Brahms: Sonata No. 3 in d, Op. 108; Kapell (Nov. 1950)

Beethoven: Sonata No. 9 in A, Op. 47, "Kreutzer"; Moiseiwitsch (May 1951)

Bruch: Concerto No. 1 in g, Op. 26; Sargent, London Symphony Orchestra (May 1951)

Beethoven: Romance No. 1 in G, Op. 40; Steinberg, RCA Victor Symphony Orchestra (Jun. 1951)

Beethoven: Romance No. 2 in F, Op. 50; Steinberg, RCA Victor Symphony Orchestra (Jun. 1951)

Bach: Partita for Violin Solo No. 1 in b, S. 1002 (Oct. 1952)

Bach: Sonata for Violin Solo No. 2 in a, S. 1003 (Oct. 1952)

Bach: Partita for Violin Solo No. 3 in E, S. 1006 (Oct. 1952)

Beethoven: Sonata No. 10 in G, Op. 96; Bay (Oct. 1952)

Conus: Concerto in e; Solomon, RCA Victor Symphony Orchestra (Dec. 1952)

Korngold: Concerto in D, Op. 35; Wallenstein, Los Angeles Philharmonic Orchestra (Jan. 1953)

Handel: Sonata in D, Op. 1, No. 13; Bay (Nov. 1953)

Bach: Concerto No. 1 in a, S. 1041; Wallenstein, Los Angeles Philharmonic Orchestra (Dec. 1953)

Bach: Concerto No. 2 in E, S. 1042; Wallenstein, Los Angeles Philharmonic Orchestra (Dec. 1953)

Bloch: Sonata No. 1; Bay (Dec. 1953)

Schubert: Sonatina in g, D. 408; Bay (Dec. 1953)

Sinding: Suite in a, Op. 10; Wallenstein, Los Angeles Philharmonic Orchestra (Dec. 1953)

Castelnuovo-Tedesco: Concerto No. 2, Op. 66, "I profetti"; Wallenstein, Los Angeles Philharmonic Orchestra (Oct. 1954)

Spohr: Concerto No. 8 in a, Op. 47, "Gesangsszene"; Solomon, RCA Victor Symphony Orchestra (Nov. 1954)

Khachaturian: Sabre Dance, from Gayane; Smith (Dec. 1954)

Bennett: A Song Sonata; Smith (Dec. 1955)

Bloch: Sonata No. 2, "Poème mystique"; Smith (Dec. 1955)

Rózsa: Concerto, Op. 24; Hendl, Dallas Symphony Orchestra (Mar. 1956)

Brahms: Hungarian Dances Nos. 11, 17, 20; Smith (Apr. 1956)

Benjamin: Romantic Fantasy for Violin, Viola, and Orchestra; Primrose, Solomon, RCA Victor Symphony Orchestra (Oct. 1956)

Mozart: Sinfonia Concertante in E-flat for Violin, Viola, and Orchestra, K. 364; Primrose, Solomon, RCA Victor Symphony Orchestra (Oct. 1956)

Bach: Three Sinfonias, S. 790, 795, 789; Primrose, Piatigorsky (Aug. 1960)

Kodály: Duo, Op. 7; Piatigorsky (Sep. 1960)

Brahms: String Sextet No. 2 in G, Op. 36; Baker, Primrose, Majewski, Piatigorsky, Rejto (Aug. 1961)

Franck: Piano Quintet in f; Pennario, Baker, Primrose, Piatigorsky (Aug. 1961)

Mozart: String Quintet in g, K. 516; Baker, Primrose, Majewski, Piatigorsky (Aug. 1961)

Arensky: Piano Trio No. 1 in d, Op. 32; Pennario, Piatigorsky (Oct. 1963)

Vivaldi: Concerto in B-flat, RV 547; Piatigorsky, chamber orchestra (Oct. 1963)

Brahms: Piano Trio No. 2 in C, Op. 87; Pennario, Piatigorsky (Oct. 1963)

Mozart: Concerto No. 5 in A, K. 219, "Turkish"; chamber orchestra (Oct. 1963)

Mendelssohn: Piano Trio No. 2 in c, Op. 66; Pennario, Piatigorsky (Nov. 1963)

Stravinsky: Suite Italienne; Piatigorsky (Nov. 1963)

Dvorak: Piano Quintet in A, Op. 81; Lateiner, Baker, de Pasquale, Piatigorsky (Nov. 1964)

Françaix: Trio in C; de Pasquale, Piatigorsky (Nov. 1964)

Boccherini: Sonata in D; Piatigorsky (Nov. 1964)

Martinu: Duo for Violin and Cello; Piatigorsky (Nov. 1964)

Toch: Divertimento, Op. 37, No. 2; Piatigorsky (Apr. 1965)

Brahms: Piano Quartet No. 3 in c, Op. 60; Lateiner, Schonbach, Piatigorsky (Aug. 1965)

Khachaturian, K.: Sonata, Op. 1 in g; Steuber (Feb. 1966)

Sibelius: Nocturne; Smith (May 1967)

Wieniawski: Capriccio-Valse, Op. 7; Smith (May 1967)

Spohr: Double Quartet in d, Op. 65; Amoyal, Baker, Rosenthal, Thomas, Harshman, Piatigorsky, Lesser (Jun. 1968)

Dvorak: Piano Trio in e, Op. 90, "Dumky"; Lateiner, Piatigorsky (Jul. 1968)

Brahms: String Quintet No. 2 in G, Op. 111; Baker, Thomas, Rosenthal, Piatigorsky (Sep. 1968)

Paganini: Caprice in a, Op. 1, No. 24; Sandor (Feb. 1934)

Rimsky-Korsakov: Flight of the Bumblebee, from Tsar Sultan; Sandor (Feb. 1934)

Strauss: Sonata in E-flat, Op. 18; Sandor (Feb. 1934)

Glazunov: Concerto in a, Op. 82; Barbirolli, London Philharmonic Orchestra (Mar. 1934)

Sibelius: Concerto in d, Op. 47; Beecham, London Philharmonic Orchestra (Nov. 1935)

Bach: Partita for Violin Solo No. 2 in d, S. 1004 (Dec. 1935)

Tchaikovsky: Concerto in D, Op. 35; Barbirolli, London Philharmonic Orchestra (Mar. 1937)

Dinicu-Heifetz: Hora Staccato; Bay (Apr. 1937)

Franck: Sonata in A; Rubinstein (Apr. 1937)

Prokofiev: Concerto No. 2 in g, Op. 63; Koussevitzky, Boston Symphony Orchestra (Dec. 1937)

Brahms: Concerto in D, Op. 77; Koussevitzky, Boston Symphony Orchestra (Apr. 1939)

Brahms: Concerto in a for Violin, Cello, and Orchestra, Op. 102; Feuermann, Ormandy, Philadelphia Orchestra (Dec. 1939)

Beethoven: Concerto in D, Op. 61; Toscanini, NBC Symphony Orchestra (Mar. 1940)

Bruch: Concerto No. 2 in d, Op. 44; Solomon, RCA Victor Symphony Orchestra (Nov. 1954)

Wieniawski: Concerto No. 2 in d, Op. 22; Solomon, RCA Victor Symphony Orchestra (Nov. 1954)

Sibelius: Concerto in d, Op. 47; Hendl, Chicago Symphony Orchestra (Jan. 1959)

Mendelssohn: Octet in E-flat, Op. 20; Baker, Belnick, Stepansky, Primrose, Majewski, Piatigorsky, Rejto (Aug. 1961)

Schubert: String Quintet in C, D. 956; Baker, Primrose, Piatigorsky, Rejto (Nov.-Dec. 1961)

Tchaikovsky: Souvenir de Florence, Op. 70; Baker, Thomas, Rosenthal, Piatigorsky, Lesser (Jun. 1968)

Interview: Heifetz on Music (1970)

Bloch: Nigun; Smith (Oct. 1972)

Rachmaninoff: Étude-tableau in b, Op. 33, No. 4; Smith (Oct. 1972)

Kreisler: La chasse; Smith (Oct. 1972)

Ravel: Tzigane; Smith (Oct. 1972)

Castelnuovo-Tedesco: Sea Murmurs; Smith (Oct. 1972)

Tom Cora remained at the forefront of brilliant composition and striking improvisation until his death in 1998, at the all-too-early age of 44. From his earliest days at the Creative Music Studio in New York, he led a remarkably prolific career collaborating across borders with hundreds of the most creative voices of the 70’s, 80’s and 90’s. A self-taught cellist, Cora’s unique influence catalyzed creative intersections between everything from punk to free jazz to art-rock to contemporary classical music. Cora was a key figure in the downtown New York New Music world, playing with, among others, John Zorn, Curlew, Christian Marclay, David Moss, Guy Klucevsek, and Butch Morris. In addition, Cora played a distinctive role in the European avant garde, where his collaborators ranged from Louis Sclavis to Dagmar Krause to Peter Kowald, not to mention his seminal contributions to the punk agitprop of Amsterdam’s The Ex. He was also an active participant in countless subcultures and imaginative side projects–inventing instruments with Hans Reichel, making up Italian folksongs with Amy Denio, or playing goofy French art-pop with Ferdinand Richard and Guigou Chenevier (of the legendary Etron Fou Leloublan) and blissful Czech avant-folk with Iva Bittová.

The Tom Cora orgy pays tribute to this extraordinary musician by following his musical career and taking a closer look at the work of many of his frequent collaborators. Cora was as much a personal as a musical contributor to his various milieux; he was much loved and is sorely missed. An interview with longtime friend and collaborator Fred Frith will get inside Cora’s remarkable impact on the creative music scene on two continents. The Orgy will also feature an interview with Zeena Parkins, a collaborator in Skeleton Crew; Zeena’s first harp was built by Cora. To trace the career of Tom Cora is in some sense to follow growth, connections, and exchanges in American and European creative music circles over the last three decades.

WHRB pays tribute to Serge Koussevitzky (1874-1951) in commemoration of the 50th anniversary of his death. For 25 years, Koussevitzky was the music director of the Boston Symphony Orchestra and the center of Boston’s musical life. We will celebrate his legacy as double-bass virtuoso, publisher and champion of contemporary music, and above all, one of the great conductors and musical personalities of the 20th century.

The second half of the Koussevitzky Orgy will be heard on Monday, June 4. The Boston Symphony Orchestra performs in all works except where indicated. The original recordings were made for the Victor Company, and the reissue labels are indicated below.

Beethoven: Egmont Overture

Berlioz: Damnation of Faust, Op. 24, Suite (Biddulph)

Eccles: Sonata in g for Violin and Continuo (arr. Koussevitzky): Largo; Koussevitzky, Luboshutz (Biddulph)

Koussevitzky: Valse miniature, Op. 1; Koussevitzky, Luboshutz (Biddulph)

Koussevitzky: Chanson triste, Op. 2; Koussevitzky, Luboshutz (Biddulph)

Mussorgsky: Pictures at an Exhibition (orch. Ravel) (Pearl)

Stravinsky: Petrouchka, Suite (Pearl)

R. Strauss: Also sprach Zarathustra, Op. 30 (Biddulph)

Vivaldi: Concerto Grosso in d, Op. 3, No. 11 (arr. Siloti) (Pearl)

Copland: El Salón México (Pearl)

Debussy: La Mer (Pearl)

Brahms: Violin Concerto in D, Op. 77; Heifetz (Naxos)

Harris: Symphony No. 3 (Pearl)

Sousa: Stars and Stripes Forever (Biddulph)

Mozart: Symphony No. 34 in C, K.338 (Pearl)

Berlioz: Roman Carnival Overture, Op. 9 (Biddulph)

Ravel: Daphnis et Chloé: Suite No. 2 (RCA)

Beethoven: Symphony No. 3 in E-flat, Op. 55, "Eroica" (Pearl)

Shostakovich: Symphony No. 9 in E-flat, Op. 70 (RCA Victor LP)

Prokofiev: Symphony No. 5 in B-flat, Op. 100 (RCA)

Cowell: Hymn and Fuguing Tune No. 2 (CRI LP)

Sibelius: Symphony No. 2 in D, Op. 43 (RCA Victrola LP)

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 one of the most significant American cultural influences of the 20th century.

Particular musical tribute will be paid to the American cities and geographic regions that served as the centers for classic 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 later emerged as centers for Urban Contemporary music, such as Los Angeles (Solar), Atlanta (LaFace), Minneapolis (Paisley Park) and New York (Tommy Boy) will also be featured.

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

THE NIGHT TRAIN promises to be a memorable trip–All Aboard!!!

Preacher: The Reverend Mark D. W. Edington, Epps Fellow and Chaplain to Harvard College, and Senior Administrator in the Center for the Study of World Religions. Music performed by guest musicians from the New England Conservatory.

Sir Harry Secombe passed away last month at the age of 79, but he will remain forever young as a member of The Goon Show, a classically silly and surrealistic program which ran for a decade on the BBC in the 1950’s. He and the other two principal cast members, Peter Sellers and Spike Milligan (who wrote the shows), became beloved figures for the post-war generation. WHRB was the first American radio station to run the Goon Shows forty years ago, and today we celebrate the life of Sir Harry with a prime selection of Goonery, plus a couple of Secombe’s solo recordings.

The briefest of tributes to Allen (December 26, 1921-October 30, 2000). Includes "A Very Square Dance" and other classics.

Marlene Dietrich seemed timeless when she was before the public, so it’s difficult to imagine her centenary (she was born December 27, 1901 and died May 6, 1992). We remember her with her earliest recordings and her appearance in the 1950’s at the Café de Paris in London (Sony).

Ralph Rainger was born a century ago and died young, in 1942. In his short career he was responsible for many memorable songs, from Libby Holman’s "Moanin’ Low" to Crosby’s "Please" , Hope’s "Thanks for the Memory", and Benny's "Love in Bloom". We’ll hear those and others.

For a few years, Harry Warren’s songs (reinforced by Busby Berkeley’s choreography) defined the movie musical. Warren died twenty years ago. His best music, from "Cheerful Little Earful" in 1930 to "On the Atchison, Topeka, and the Santa Fe" of 1946, is still heard today. Among his hits: "We’re in the Money", "Shuffle off to Buffalo", "I Only Have Eyes for You", "About a Quarter to Nine", "Jeepers, Creepers", "Chattanooga Choo Choo" and many others. Performers on this tribute include Al Jolson, Ruby Keeler,Judy Garland,Glenn Miller,Warren himself,and others.

It has been 25 years since Paul Robeson’s death (January 23, 1976), and he is still remembered for his superb singing, as well as for the other extraordinary achievements of his life. We pay tribute with his finest recordings, from classical music to classic musicals. He’ll be heard as Joe in Showboat, a role Jerome Kern wrote with him in mind, in the period piece Ballad for Americans by Earl Robinson (there will be a tribute within a tribute as we hear also "The House that I Live In" by Robinson, who died ten years ago), and of course a selection of spirituals.

Brief centenary tribute to Nelson Eddy (June 29, 1901-March 6, 1967), with opera, Gilbert and Sullivan, and the famed filmed musicals.

Lionel Monckton and Ivan Caryll were both born in 1861 (Monckton died in 1924, Caryll in 1921). They both composed some of the most successful music for the British theatre in the generation after Arthur Sullivan. Caryll’s The Earl and the Girl, The Pink Lady, and Chin-Chin, Monckton’s The Cingalee, A Country Girl, and The Mousme, and Our Miss Gibbs, on which they collaborated, were the staples of London for years. We’ll hear the artists of the era, including Gertie Millar, George Grossmith Jr., Isabel Jay, Henry Lytton, and Cicely Courtneidge, plus a modern recording of Monckton’s The Arcadians with June Bronhill and others (EMI Angel) and selections by the original cast of 1909.

Music by this British "uncrowned king of light music" (1886-1957), all but one conducted by him, all on EMI with one exception noted below. On one recording we hear the famed saxophonist Sigurd Rascher, who died last February 25th, nearly 94.

Knightsbridge March from London Suite (1932); London Philharmonic

By the Sleepy Lagoon (1930); symphony orchestra

Calling All Workers (1940); symphony orchestra

Saxo-Rhapsody (1936); Rascher, symphony orchestra

Elizabeth of Glamis from The Three Elizabeths (1944); Leppard, English Chamber Orchestra

Four Centuries (1941); New Symphony Orchestra (London LP)

Ellis (October 29,1904 - June 19, 1996) was writing songs for his productions up to only a few weeks before his death. We'll hear a selection, including music from Big Ben, Tough at the Top, And So To Bed, and others, with Lizbeth Webb, Trevor Jones, George (sic) Tozzi, Jessie Royce Landis, Keith Michell, Leslie Henson, and other artists, mostly from EMI LP reissues.

To close the evening:

Harty: A John Field Suite; Sargent, Liverpool