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WWUH 91.3 FM
Program Guide
September/October, 2018
In This Issue
How To Listen
WWUH Archive Now Online
Blues on WWUH
WWUH Reunion
Be On The Radio
Flashback: 1974
Classical Listing
Donate to the Scholarship Fund
Community Affairs on 91.3
Sunday Afternoon at the Opera
Join Our List

What do you think of when you think of college radio?  


Do you think of diversity of programming?  Exposure to new, emerging and local artists that you would rarely hear on other stations?  Public affairs programs that present alternative viewpoints on current issues?  Exclusive interviews and live on-air music performances?  Relevant and timely information about upcoming events in the community?  Dedicated and knowledgeable volunteer hosts who include 

university faculty, alumni, and members of the wider community?  


WWUH is all of the above and more.  


Thanks to your continued support, we are proud to bring you a 

diverse spectrum of listening experiences like none other.


John Ramsey

General Manager

How To Listen To WWUH
Many Options Available
In Central CT and Western MA, WWUH can be heard at 91.3 on the FM dial.  Our programs are also carried on:
WDJW, 89.7, Somers, CT

You can also listen on line using your PC, tablet or smart device. Listen  here.

We also recommend that you download the free app "tunein" 
here to your mobile device. 
It makes listening to WWUH on the go very easy, 
wherever your travels might take you.**

 **Undersea listening results may vary. 
Never Miss Your Favorite WWUH Programs Again!
WWUH Round Logo The WWUH Archive!

We are very excited to announce
that all WWUH programs are now available on-demand
the "Program Archive" link 
on our home page, 
  This means that if you missed one of your favorite shows, or if you want to listen to parts of it again, you can do so easily using the Archive link.  Programs are available for listening for two weeks after their air date.
WWUH Round Logo Blue Monday
9 PM to midnight
Hosted by Bart Bozzi

Tune in to Blue Monday during September and October for the following features:

Featured Artist

September 3 Deborah Coleman (1956 - 2018)
September 10 Jimmy Thackery
September 17 Coco Montoyo
October 1 Eddy Clearwater (1935 - 2018)
October 8 San Francisco Blues
October 15 Mark Nomad
October 22 Sean Chambers
October 29 Angela Strehli

Back to the Roots

September 3 Kansas City Blues
September 10 Chicago Blues
September 17 West Coast Blues
October 1 Classic Women Blues Singers
October 8 San Francisco Blues
October 15 New York Blues
October 22 Memphis Blues
October 29 Rhythm & Blues

Tune in as we also go back in my blues history, featuring a cut I aired 20 and 10 years ago on my weekly blues shows previously aired on Blue Monday.

Join me as we explore the diverse and interesting world of "the blues" every Monday night at 9 PM on WWUH's long running blues show, since 1980, "Blue Monday".
WWUH Round Logo Th is is WWUH's 50th Year!

We will be having a reunion for former station volunteers on Saturday, October, 13th.

If you are a former UHer we'd like to
hear from you. Please Email Us

Th is is WWUH's 50th Year!f you have an idea for a radio program and are available to volunteer late at night, please let us know.

We may have some midnight and/or 3am slots available later this year. Email station manager John Ramsey to find out more about this unique and exciting opportunity for the right person.

Qualified candidates will have access to the full WWUH programmer orientation program so no experience is necessary. He/she will also need to attend the monthly WWUH staff meetings (held on Tuesday or Sunday evenings) and do behind the scenes volunteer work from time to time. This is a volunteer position.

After completing this process, we will review the candidate's assets and accomplishments and they will be considered for any open slots in our schedule.
WWUH Flashback: 1974
As we celebrate our 50th year we look back at the year 1974, a year of great growth at WWUH.

Station Manager Judy Corcoran reported:

"During the last promotional campaign for WWUH, we tried to find an adjective to describe WWUH. It is almost impossible to describe WWUH in one word. We feel too big to be called college radio. We're not quite public radio because the government does not fund us, although we air the kinds of programs many public radio stations do. And we're more than alternative rock, because we air some of the best soul, jazz, and classical music around. We finally decided on WWUH: Public Alternative Radio.

Working at WWUH has been a unique experience for most of us. At most college stations, radio is a hobby. To most people at WWUH, radio is a lifestyle and WWUH is our family. The people rarely leave or lose contact with the station. This has been one part of the success of WWUH. The other part has been the staff's dedication to forego almost anything to keep the station on the air with quality programming. And with a staff that turns over nearly each semester (some of us even graduate), keeping the high programming standard is no easy feat.

Judging from listener response and due largely to the Program Guide, WWUH has a steady audience who are finally realizing that we offer different forms of programming at specific times. Consequently, they tune back. There is also a small audience who listen to UH most of the time, people who like jazz, classics, rock, public affairs, and special programs.

One advantage of non-commercial college radio is that it is constantly growing and experimenting. Some problems come and go, some remain, but the basic concern for the station is always there. WWUH has addressed three major concerns this year: lack of money, lack of space, and lack of academic credit for the work that is done.

WWUH took a big step this year when it finally moved its transmitter to Avon Mountain. Besides making UH one of the largest college stations in the East, the move cost around $14,000. After begging and borrowing, we came up with the money. In the past, WWUH has had a reserve fund from the original Roth family grant but now that account is almost empty.

Fiscal year '74-75 should be extremely tight. We have received $14,000 from the University for the past few years as an annual operating budget. This year we purchased a new audio control board for $3,000 and now we are in need of automatic gain control, an FM exciter, cart machines, a production board, and eventually, a new transmitter.

There have been many meetings and memos this past semester regarding the building of the Communications Department to provide a Major in public communications. There is much interest among students at UH for such a program, as many people at WWUH have, are, and will work as professionals in broadcasting. Fortunately, WWUH allows non-students to work here, both on and off air. This is one of the reasons the air sound is so good. During this past year, about seven announcers have had previous professional experience. This arrangement is beneficial to both listeners and to students, who learn from these professionals.

The programming department became very strong during the past year. With much credit due to Roger Stauss, Program Director, WWUH has been on the air, with a few exceptions, for 20 hours a day, 365 days a year. WWUH has also regularly produced its own programs such as "Music from Czechoslovakia," hosted by Joza Karas, an hourly program featuring native artists performing music composed by Czechoslovakians. Another WWUH original weekly program is "African Worlds," hosted by Professor Ifekandu Umunna, which highlights many different African cultures.

On April 22, WWUH signed back on the air with its new transmitter facilities. The move cost a lot of money, caused a lot of work, produced a lot of headaches, and took a lot of time. The move is probably one of the most significant things that have happened to WWUH since it began. A big fundraising marathon and arts festival were planned for May but cancelled in April because at that time we didn't know when the transmitter move would be completed. It has been rescheduled for the fall.

Another project in the works concerns the rights of a non-commercial station to state its editorial opinions. Currently, Section 399 of the Communications Act of 1934 states: "No non-commercial, educational broadcasting station my engage in editorializing or may support or oppose any candidate for political office." I have written to the FCC for confirmation that this law is still in effect. If so, I plan to notify the non-commercial college stations across country and work in a combined effort to change the law.

WWUH has been gaining recognition in the community. The Program Guide, under the editorship of Terry Sobestanovich, has helped publicize both the station and the many different programs offered on WWUH. Donations have been averaging $20 a week and many programs have been underwritten by commercial institutions. Complimentary letters average about three a week.

The main thing that I have noticed is that WWUH is becoming known as "a radio station." WWUH is often played in stores and can be heard on car radios and blasting from people's rooms and homes. Window stickers are often sighted and area professionals are aware of us. But we haven't done it alone. Much of the credit for the current station's success is due to the people who started WWUH. Everyone who has passed through its doors has been touched and has touched others. WWUH is a good place."

The cover of the June, 1974 Program Guide featured "The Official Nixon Countdown Calendar" where listeners could mark off the days until the president was impeached! While many people liked the cover, a number of people objected and complained directly to the university.

Judy Corcoran wrote about a unique 1974 Program Guide cover in 2003:
"The countdown calendar was a real "poster" I purchased somewhere. Nixon, mainly because of the war, was about as popular with half the country as George Bush is today. The countdown calendar counted Nixon's days in office with a little box to scratch off each day. We didn't get in trouble for it. Someone might have said something in passing, but it wasn't huge."
Classical Music's Home in Hartford

Classical Programming on WWUH
September/October 2018
Sunday Afternoon at the Opera, Sundays 1:00 - 4:30 pm
Evening Classics, Weekdays 4:00 to 7:00/ 8:00 pm
Drake's Village Brass Band... Mondays 7:00-8:00 pm

Chadwick: The Padrone; Cuatro Corridos
Labor Day Program - Bernstein 100 - Copland Outdoor Overture; Barber: Second Essay for Orchestra; Bernstein/Comden/Green: Wonderful Town; Harris: Symphony #3
Drake's Village Brass Band ... United State Coast Guard Band - The Music of Kenneth Fuchs
Wolf: String Quartet 'Quartetto' in C; Camilleri: Malta Suite; Beethoven: String Quartet in B , Op. 18, #6; Brahms: Ein deutsches Requiem, Op. 45
Wilms: Symphony; Van Noordt: Psalms; Sibelius: Violin Concerto; Tessarini: Violin Sonatas; Tibaldi: Trio Sonatas
Host's Choice
New Age goes clasical
Bizet: La Jolie Fille de Perth
Bernstein 100 - French Music Messiaen: Trois petities litigieus de la présence divine; Roussel: Symphony #3; Berlioz: Cleopatra; Ravel: Daphnis and Chloe (complete)
Drake's Village Brass Band ... United States Army Concert Band - Made in America, Music of Hosay, Camphouse, Barnes
Onslow: Quintet in F for flute, oboe, clarinet, horn & bassoon, Op. 81; Haydn: String Quartet in G, Op. 76, #1; Rolla: Concerto in E for viola & orchestra, Op. 3: Shostakovich: String Quartet #3 in F, Op. 73
Yamada: Symphonic Poems; Vivanco: Missa Crux Fidelis; Schumann: Violin Concerto; Valentini: Concerti Grossi; Uccelini: Sonatas; Zelenka: Trio Sonata
Host's Choice
Lehman Engel conducts Broadway Overtures
Rossini: Armida
Bernsein 100 - German Music Berg: Three Orchestral Pieces, Violin Concerto "To the Memory of an Angel"; Hindemith: Symphonic Metamorphoses on Themes of Carl Maria von Weber; "How A Great Symphony was Written", Leonard Bernstein Talks about the first movement of Beethoven's Fifth; Beethoven: Symphony #5
Drake's Village Brass Band ... Engeset, Royal Norwegian Navy Band - Grainger: Music for Wind Band Volume 2
Druschetzky: Parthia in a; Bartók: Concerto for Orchestra; Mozart: Clarinet Quintet in A, K. 581; Zelenka: Requiem
Stamitz: Symphony; Warlock: The Curlew; Tansman: 24 Intermezzi; Ysaye: Violin Sonata; Wolf: String Quartet
Host's Choice
Happy Birthday Michael Torke
Borodin: Prince Igor
1st Performances September 1918 - Holst: The Planets (Bernstein 100); Stravinsky: Story of the Soldier
Drake's Village Brass Band ... Black Dyke Band - Complete Champions Music of Lloyd, Heaton, McCabe
Telemann: Ouverture Suite in G major, TWV 55:G4, "Les nations anciens et modernes"; Mozart: Quintet for Piano and Winds in E-flat major, K. 452; Nielsen: Selected Danish Songs; J. S. Bach: Cantata for the 17th Sunday after Trinity [Trinity 17] BWV 148 "Bringet dem Herrn Ehre seines Namens" (1723); Corelli: Concerti Grossi Op. 6, Nos. 1 & 2; Couperin: Pieces de clavecin, Book 2 (1717): Ordre 9 in A major/minor
Vaughan Williams: Symphony No. 5; Strozzi: Arias; S. Wagner: Sehnsucht; Verdelot: Madrigals; Sinding: Violin Concerto
Chopin: Preludes Nos. 1-4; Scott: Lotus Land; Youmans: No, No, Nanette - Tea for Two; Shostakovich: Tahiti Trot; Cartellieri: Symphony No. 1; Duke: April in Paris; Lysenko: Suite on Ukrainian Themes, Op. 2; Scharwenka: Piano Trio.
Let's hear the story of soldier and his fiddle
Haydn: La Vera Costanza

Some Unusual Concertos - Busoni: Piano Concerto in C Major; Schuman: Concerto on Old English Rounds for Viola, Chorus and Orchestra (Bernstein 100); Beethoven: Choral Fantasy (Bernstein 100); Gould: Tap Dance Concerto Drake's Village Brass Band... Black Dyke Band - Blitz Music of Bourgeois, Ball, Wright and Howells
Telemann: Ouverture Suite in D Major, TWV 55:D23; Beethoven: Quintet for Piano and Winds in E-flat major, Op. 16; J. S. Bach: Cantata for the 18th Sunday after Trinity [Trinity 18] BWV 96 "Herr Christ, der einge Gottessohn" (1724); Francesco Maria Veracini: Overture No. 6 in G minor; Michel Blavet: 6 Sonates melees de pieces, Op. 2: Flute Sonata No. 4 in G Minor, "La Lumagne"; Corelli: Concerti Grossi Op. 6, Nos. 3 & 4; Couperin: Pieces de clavecin, Book 2: 10th Ordre in D major/minor
Zemlinsky: Symphony in B Flat; Stolzer: Missa Kyrie Summus: Liszt: Sonata in B Minor; Sheng: String Quartet; Scriabin: Symphonic Poem
Leonard Bernstein: Mass: A Theatre Piece for Singers, Players and Dancers (1971)
Recent releases
The Kronos plays . . !
Lully: Persee 1770
Leonard Bernstein Discusses and Conducts 20th Century Music - Music of Xenakis, Brant, Cage, Varese
Drake's Village Brass Band ... Philip Jones Brass Ensemble play Mussorgsky: Pictures at an Exhibition
Dzubay: Brass Quintet #1; Pejačević: String Quartet in C, Op. 58; Martinu Concerto #1 for cello & orchestra; Dvořák: Cypřise (Cypresses)
Vranicky: Symphony in C; Willaert: Missa Mente Tota; Stenhammar: String Quartet; Tomasek: Piano Concerto No. 2; Valderrabano: Sonatas
Brahms: Alto Rhapsody; Beethoven: Violin Sonata; C.P.E. Bach: Flute Concerto; Ravel: La Valse; Gotovac: Ero the Joker - Song and Kolo; Vaughan Williams: Five Variants of Dives and Lazarus; Dett: In the Bottoms.
A reed is a tall, slender-leaved plant of the grass family that grows in water or on marshy ground . . . and the middle of the orchestra!
Marchetti: Ruy Blas
Strauss: Also Sprach Zarathustra; Wagner: Scenes from Götterdämerung
Drake's Village Brass Band ... Philip Jones Brass Ensemble - Just Brass Music of Arnold, Dodgson, Salzedo, Ewald
David: Troisième Quatuor en ré mineur; Sgambati: Symphony #1 in D, Op. 16; Dohnányi: Serenade in C for String Trio, Op. 10; Palestrina: Missa L'Homme armé
Host's Choice
Host's Choice
Native American Music of R. Carlos Nakai
Vivaldi: Dorilla in Tempe
A Charles Ives Birthday Celebration/ Bernstein 100 - Piano Sonata #1, Symphony #2 (World Premiere Broadcast 3-4-51), Symphony #3; Ruggles: Men and Mountains
Drake's Village Brass Band ...Puckett: That Secret from the River; Maw: Sonata for Strings and 2 Horns
Taneyev: String Quartet #5 in A, Op. 13; Schumann: Konzertstück in F for Four Horns & Orchestra, Op. 86; Martucci: Piano Trio #2 in E , Op. 62; Gouvy: Symphony #2 in F, Op. 12
Svendsen: Symphony No. 2; Thomson: Songs; Webern: String Quartets; Titz: String Quartet; Tanayev: String Trio in E Flat
Scarlatti: Sonatas K. 512, K. 14; Shostakovich: Festive Overture; Weelkes: Hosanna to the Son of David, Gloria in excelsis Deo; Johann Strauss Jr: Artist's Life, Wiener Blut, Perpetuum Mobile, Emperor Waltz; Bizet: The Pearl Fishers - Je crois entendre encore, Petite Suite Op. 22, Nocturne No. 1 in F, Carmen Suite No. 1; Grechaninov: Hail, gladdening Light; G. Schumann: Serenade Op. 34; Castelnuovo-Tedesco: I naviganti; Popper: Hungarian Rhapsody, Op. 68.
Pre-Halloween music - Philip Glass: Dracula and more
Britten: The Turn of the Screw
Monday Night at the Movies - Steiner: Key Largo; Waxman: Dr Jekyl and Mr. Hyde; Webb: Cat People; North: A Streetcar Named Desire
Drake's Village Brass Band ... Engeset, Royal Norwegian Navy Band - Grainger: Music for Wind Band Volume 3
Telemann: Ouverture Suite in E Minor, TWV 55:e3; Chopin: Selected piano pieces played on a period Pleyel; J. S. Bach: Cantata for the 22nd Sunday after Trinity [Trinity 22] BWV 115 "Mache dich, mein Geist, bereit" (1724); Francesco Maria Veracini: Sonata in D Minor, No. 12 from "Sonate accademiche, Op. 2"; Michel Blavet: 6 Sonates melees de pieces, Op. 2: Flute Sonata No. 3 in E Minor, "La Dherouville"; Corelli: Concerti Grossi Op. 6, Nos. 5 & 6; Couperin: Pieces de clavecin, Book 2: 11th Ordre in C minor/major
Walton: Symphony No. 2; Tallis: Hymns; Van de Vate: Violin Concerto; Smetana: String Quartet; Spohr: String Quartet
Support the WWUH Scholarship Fund

    In 2003 WWUH alums Steve Berian, Charles Horwitz and Clark Smidt helped create the WWUH Scholarship Fund to provide an annual grant to a UH student who is either on the station's volunteer Executive Committee or who is in a similar leadership position at the station. The grant amount each year will be one half of the revenue of the preceeding year.

To make a tax deductable donation either send a check to: WWUH Scholarship Fund
c/o John Ramsey
Univ. of Hartford
200 Bloomfield Ave.
W. Hartford, CT 06117 

Or call John at 860-768-4703 to arrange for a one-time or on-going donation via charge card.

If you would like more information please contact us at  wwuh@hartford.edu

Real Alternative News

For over 50 years WWUH has aired a variety of unique community affairs programs.

Here is our current schedule:
Monday: Noon - 1pm  Alternative Radio
8:00 - 9:00 pm Radio   Radio Ecoshock
Tuesday: Noon - 12:30 pm  New World Notes
12:30 - 1:00 pm  Counterspin
8:00 - 9:00 pm  Black Agenda Report
Wednesday: Noon - 12:30 pm  911 Wake Up Call
12:30 - 1:00 pm  Building Bridges
8:00 - 8:30 pm  911 Wake Up Call
8:30 - 9:00 pm  New World Notes
Thursday: Noon - 1:00 pm  Project Censored
7:30 - 8:00 pm  Making Contact
8:00 - 8:30 pm  This Way Out
8:30 - 9:00 pm Gay Spirit
Friday: 12:00 - 12:30 pm  New Focus
12:30 - 1:00 pm  TUC Radio
Sunday: 4:30 - 5:00 pm  Nutmeg Chatter
 Sunday Afternoon at the Opera

Your "lyric theater" program
with Keith Brown
programming selections
for the months of Sept./Oct., 2018
Sunday 1-4:30pm

SUNDAY SEPTEMBER 2ND Chadwick, The Padrone,Cuatro Corridos This year for the Sunday of the Labor Day holiday weekend I offer you listeners two very different lyric theaterworks which both deal with the touchy subject of human trafficking and illicit labor. First comes the work of New England's own composer and music educator George Whitefield Chadwick (1854-1931). He was the longtime director of the New England Conservatory in Boston. Chadwick composed several operas, one of which The Padrone (1912) was never performed in his lifetime. (Chadwick offered it to the Met but it was turned down.) The Padrone received its world premiere concert performance in 1995 at the vintage opera house in Thomaston, Connecticut. Chadwick conceived it as a realistic verismo-style lyric theaterpiece under the influence of Puccini. In the early twentieth century the padrone (Italian for "the boss") was a species of unscrupulous employer who shipped poor Italian laborers to the United States, then kept the immigrants in a state of virtual slavery to him. When love enters the padrone's cold heart for a young female immigrant a romantic tragedy ensues. The Padrone was given only one concert performance at the Thomaston Opera House on September 29, 1995. The Waterbury Symphony took part in the musical proceedings, along with Concora, the Connecticut Choral Artists singing association and five vocal soloists. The Hartford Courant's classical music critic Steve Metcalf was in the audience that night in Thomaston. He reviewed the performance favorably. The world premiere recording of Chadwick's The Padrone is available as a download from the House of Opera website.
     Another form of human of human trafficking is sex trafficking for purposes of prostitution. From 1912 we jump forward into the twenty first century for Cuatro Corridos (2013), a chamber opera in four scenes, each scene composed by one of four different contemporary composers: Hebert Vasquez (b. 1963), Arlene Sierra (b. 1970), Lei Liang (b. 1972) and Hilda Paredes (b. 1957). We're given to understand that there's a village in Mexico that by tradition has specialized in the sex business. The village girls are recruited into virtual sexual slavery. Their brothers become pimps. The girls are transported illegally across the US border at Tijuana to engage in the lucrative stateside trade. Mexican author Jorge Volpi wrote a screenplay about this deplorable situation. He tells a story of sexploitation by other male migrant workers and corrupt farm bosses. The screenplay was adapted into a libretto consisting of four sung monologues by four different female characters. One singer portrays all four roles. Cuatro Corridos premiered in the border city of San Diego, California. In 2015 soprano Susan Narucki recorded the four scenes in both Spanish and English text at the Prebys Music Center at UCal San Diego. She originally commissioned the chamber opera. Narucki is accompanied by a trio of instrumentalists playing guitar, piano and percussion. The American Bridge label released Cuatro Corridos on a single compact disc in 2016.  
SUNDAY SEPTEMBER 9TH Bizet, La Jolie Fille de Perth This opera has a story rather loosely derived from the romantic novel The Fair Maid of Perth (1828) by Sir Walter Scott. There's a St. Valentine's Day connection here. Scott's story starts when the "fair maid" steals a kiss on that special day for romance. The scene is set in Scotland in the days of the English king Henry the Eighth. Scotland is not a country noted for the unbridled revelry of the French Mardi Gras, yet that pre-Lenten holiday also figures in the plot of Bizet's opera. The opera's real subject, however, is so universal it could apply to just about any nation on earth: the trials and tribulations of young lovers, their imagined infidelities and their eventual amorous reconciliation. This is not familiar Bizet,to be sure. We need to remember that Bizet wrote six operas other than Carmen. This particular opera is not quite up to Carmen's level of intense operatic passion, but it is tuneful and musically inventive throughout. Bizet's romantic melodrama exists in several different versions. In 1985 La Jolie Fille de Perth was issued in digital sound on three LP's by EMI of West Germany. This release presents the original 1867 version as reconstructed by David Lloyd Jones. The recording was made in Paris for Pathe Marconi with Georges Pretre conducting the Nouvel Orchestre Philharmonique and the Chorus of Radio France. The "fair maid" aka Catherine Glover is June Anderson. Also in the cast are operatic notables Alfredo Kraus, Gino Quilico, Gabriel Bacquier and Jose van Dam. I last broadcast this same recording on Sunday, February 15, 1987.
SUNDAY SEPTEMBER 16TH Rossini, Armida This is the third of the nine great opere serie Gioacchino Rossini wrote in 1817 for one of the theaters of Naples. The story of the opera is derived from Tasso's epic poem "Jerusalem Delivered." From the time of Monteverdi onward opera composers have been fascinated with that portion of the epic that deals with the stormy love affair between the sorceress Armida and the crusader Rinaldo. The distinguished American soprano Renee Fleming took up the title role for the production of Armidastaged at the 1993 Rossini festival in Pesaro, the composer's birthplace. The opera was recorded live in performance for Sony Classical. Daniele Gatti leads the chorus and orchestra of the Teatro Communale of Bologna. Last broadcast on Sunday, March 5, 1995, you get to hear those three Sony Classical compact discs again today.  
SUNDAY SEPTEMBER 23RD Borodin, Prince Igor
Alexander Borodin's Prince Igor (1887) is a strange composite. Borodin left his one and only opera incomplete at the time of his death. Off and on since 1869 he had been working on it in little swatches. He had accumulated a mass of confused sketches which fellow composers Alexander Gluzunov and Nicolai Rimsky-Korsakov built upon. When the opera was staged for the first time in 1890 Glazunov contributed a rousing overture based on some of Borodin's tunes. Rimsky-Korsakov put the scenes in a dramatically coherent order, provided a fourth act from the sketches, and orchestrated it all. Although later hands, like those of Russian musicologist Pavel Lamm, tinkered with Borodin's sketches to further extend the performing score, the uncut Glazunov/Rimsky-Kosakov version of the opera continued to be performed at Moscow's famed Bolshoi Theatre. A classic recording of it was made there in 1969 with Mark Ermler conducting. The original Melodiya tapes were digitally remastered for a BMG Classics reissue in 1996. This will be the fifth time over the span of three decades that I've presented Prince Igor. First, there was the old Opera of Sofia (Bulgaria) LP recording with Emil Tchakarov in charge that I aired on two occasions: Sunday, October 14, 1984 and again in its Sony CD upgrade on Sunday, September 30, 1990. Then came Mark Ermler's interpretation with the Bolshoi on Sunday, September 28, 1997 and rebroadcast on Sunday, January 18, 2009. You get to hear that BMG three CD set again today. Prince Igor is a colorful pageant depicting a chapter in the history of medieval Russia. The most memorable and popular part of the music of Borodin's opera is the Palovtsian dance sequence in act two.
SUNDAY SEPTEMBER 30TH Haydn, La Vera Costanza Longtime listeners to this program may remember my broadcasts in the late 1980's of the operas of Franz Joseph Haydn. Yes, opera fans, Papa Haydn wrote at least a dozen of them, yet they have remained unknown and unperformed for fully two centuries. With the assistance of the Haydn authority H. C. Robbins Landon the Hungarian conductor Antal Dorati, who recorded all 104 symphonies, prepared the surviving manuscript scores for a recorded cycle of the Haydn operas for the PHILIPS label. One of the finest of them I broadcast on Sunday, September 25, 1988. La Vera Costanza (1779) is styled in its Italian language libretto a drama giocosa like Mozart's Don Giovanni. For the studio taping of La Vera Costanza Dorati conducted the Lausanne Chamber Orchestra, with two American sopranos, Helen Donath and Jessye Norman, in the singing cast. I came across another later recording of La Vera Costanza along with several other Haydn operas in the Brilliant Classics 150 CD compendium "The Haydn Edition." BC issued "The Haydn Edition" in 2008 to commemorate the then upcoming two hundredth anniversary of the composer's death in 2009. There was a studio recording of the drama giocosa (or opera semiseria?) made in Amsterdam in 1990 with a period instrument ensemble, the Catharijne Consort, directed by Frank van Koten. Surveying the entire Brilliant Classics boxed set for Fanfare magazine, reviewer James H. North says of La Vera Costanza, "The performance is excellent..." and that the finales of the first two of its three acts"...all look forward to Mozart." (Fanfare March/April 2009 issue.) Last featured on this program on Sunday, May 17, 2009, you will hear the Catharijne Consort and the Dutch singing cast again this afternoon.
SUNDAY OCTOBER 7TH Lully, Persee1770 This 2016 French Alpha Classics release is a tribute to the incredible enduring power of the music of Jean Baptiste Lully (1632-87), the founder of French opera in the seventeenth century. Nigh on a century after Lully's tragedie en musique Persee was first staged in 1682 it was revived at the Paris Opera, albeit in a revised and "improved" version that conformed to eighteenth century musical tastes. Many of Lully's lyric theater works were similarly recreated, because the general public and certain loyalist supporters or Lullistes still loved them. The Lullistes opposed the progressive operatic style of Rameau. Three contemporary French composers collaborated in the 1770 revision of Persee: Antoine Dauvergne, Francoise Rebel and Bernard de Bury. Nicolas-Rene Joliveau "improved" upon the original libretto Quinault wrote for Lully. The team of musical revisionists supplied a new overture, reorchestrated the entire score, and inserted some new vocal numbers, but they left Lully's intensely dramatic recitatives essentially intact. The 1770 revision was presented in celebration of the marriage of the future king Louis XVI to Marie-Antoinette. The modern recreated Persee 1770 was recorded in the royal opera house of the palace at Versailles, with Herve Niquet directing the period instrumentalists and chorus of Le Concert Spirituel. Alpha Classics put the two CD's of Persee 1770 into a splendidly illustrated book format. The recorded Persee 1770 begs for comparison to the world premiere recording of Lully's own 1682 Persee for the Astree label. That three-CD release I aired on Sunday, October 20, 2002. Niquet's younger colleague Christophe Rousset directed the period instrumental ensemble he founded Les Talens Lyriques.

SUNDAY OCTOBER 14TH Marchetti, Ruy Blas As an opera composer Filippo Marchetti (1831-1902) is the link between the established mid nineteenth century operatic style of Verdi and the new stylistic movement that came to be called Verismo. Marchetti wrote seven operas and much other music besides, but his only major success and his one claim to lasting fame in operatic history is his four-act tragedy Ruy Blas (1868). After hundreds of performances in opera houses worldwide in the nineteenth century Ruy Blas clung to the fringe of the twentieth century repertoire. It was revived in 1998 at the Teatro Pergolesi in Jesi, Italy, where it was recorded live in performance for the Italian Bongiovanni record label. Daniel Upton conducts the musical forces. Today in the twenty first century Marchetti's music for Ruy Blas continues to charm listeners with its sweet lyricism, dramatic conciseness and skillful orchestration. Ruy Blas does indeed take a big step up to a higher level of wholly integrated Italian music drama. The two-CD Bongiovanni release of Ruy Blas last went over the airwaves on this program on Sunday, March 5, 2000.
SUNDAY OCTOBER 21ST Vivaldi, Dorilla in Tempe We commonly think of Antonio Vivaldi (1678-1741) as a violin virtuoso who wrote hundreds of concertos for the violin and other instruments. He's famous for "The Four Seasons" concertos in particular. Yet for much of his career as a composer Vivaldi wrote opera. In fact, he was one of the single most prolific composers of Italian opere serie in the history of music. (The master once boasted that he wrote at least ninety four of them!) There are perhaps two dozen Vivaldi operas that survive musically complete or almost complete, another couple of dozen or of which certain portions are extant, plus fragments of a couple of dozen more. In addition, we know that he composed other operas for which the scores have gone entirely missing. Vivaldi recycled a lot of his opera music. He contributed to pastiche operas in collaboration with other composers, or he contributed single arias to other men's works. We also know he ghost wrote a few operas on commission. Piles of Vivaldi manuscripts are preserved in the Italian National University Library in Turin. Performance scores of the Vivaldi operas have been prepared from the priceless Foa/Giordano collection of the Biblioteca Nazionale. Various European period instrument ensembles have made studio recordings of these long forgotten works. The French record label Naïve has released those recordings in its long ongoing "Vivaldi Edition" series. The latest in the series is Dorilla in Tempe (1734), which is styled a Melodramma eroico-pastorale in three acts. Naïve released it on three CD's in 2017 as Vol. 55. Musicologist Alberto Stevanin prepared the performing edition of this particular score. Dorilla is a pastiche composition. Yeah, most of it is indeed Vivaldi's doing, but of its twenty one arias, eight are by other composers: Hasse, Sarri, Vinci, Leo and Giacomelli. The score quotes from the "Spring" concerto of I Quatri Stagioni. Dorilla in Tempe was recorded in the studios of Italian Swiss Radio/Television in Lugano, with Diego Fasolis leading I Barocchisti and the chorus of Swiss Radio/TV. The six vocal soloists are all well acquainted with the singing practice of the baroque period.

SUNDAY OCTOBER 28TH Britten, The Turn of the Screw At Halloweentide some sort of operatic ghost story is certainly appropriate. Twice before I have presented Benjamin Britten's The Turn of the Screw (1954). On both occasions I drew upon CD reissues of the 1954 monaural Decca LP recording with the composer himself conducting. Britten's eighth opera is an adaptation of an1898 novel by Henry James. Britten expressed with enormous subtlety the moral struggle with sexual taboos in James' book, which is a species of ghostly tale and psychological thriller. That old English Opera Group recording featured Britten's lover tenor Peter Pears as Quint, one of the two ghosts in the novel. (Quint is the seductive one.) In 2013 The Turn of the Screw was recorded again, this time live in performance at the Barbican in London for the LSO Live label, the proprietary label of the London Symphony Orchestra. Richard Farnes conducted the chamber ensemble of seventeen instrumentalists drawn from the LSO. The singing cast includes two young vocalists who portray the two children, the boy Miles, who can see the ghosts, and the girl Flora, who can't. Tenor Andrew Kennedy is heard as Peter Quint.
     Rob Meehan, former classical music deejay here at WWUH, donated his download-to-CD of Chadwick's The Padrone to our station's ever-growing library of classical music on disc. Over the years Rob has loaned to me for broadcast many recordings from his personal collection. He's a specialist collector of recordings of the "alternative" musical styles of the twentieth and twenty first centuries. Most of the recordings featured in this two-month period of programming come from the station's holdings. I have programmed several recordings from my own collection: Borodin's Prince Igor, Persee 1770 and Vivaldi's Dorilla in Tempe.  

Hartford Symphony Orchestra - 

Our Mission:  To enrich lives and community through great music. Our Vision: HSO will be widely known for and unrivaled in its ability to: Openly engage our community and its diverse people Foster joy for music and an appreciation...

The Musical Club of Hartford

The Musical Club of Hartford, Inc., is a non-profit Connecticut organization celebrating its 123rd anniversary this year. Each year, from October to May, ten or more concerts are presented by performing members, featuring soloists and vocal or instrumental ensembles. These concerts usually take place on Thursday mornings at Westminster Presbyterian Church, 2080 Boulevard, West Hartford, CT. 

 For more information, visit:   http://www.musical-club-of-hartford.org/.
Connecticut Valley Chamber Orchestra

The Connecticut Valley Chamber Orchestra, a non-profit Community Orchestra, presents numerous concerts in the Greater Hartford area, performing works from all periods in a wide range of musical styles. The members of Hartford's only community orchestra are serious amateurs who come from a broad spectrum of occupations. Besides commissioning and performing new works, the CVCO has made concert tours to Romania, Spain, Hungary, Austria and Poland Great music and great musicians! Food for the soul! Affordable prices! The Connecticut Valley Symphony Orchestra offers these benefits to all of you in the greater Hartford Community.

Become a subscriber to the CVSO and you'll get it all-and four great concerts for the price of three! Our orchestra is supported by musicians' dues, grants, contributions, and subscriptions. In light of the economic challenges we face, your support is crucial.

The CVSO has been operating for 87 years. Our musicians, serious amateurs and music educators, range from teenagers to seniors, and have a fabulous 2017-2018 season of classical, romantic and modern music lined up for your listening pleasure.

All programs are subject to change
Concerts are Sunday afternoons at 3:00 p.m. at Trinity Episcopal Church, 120 Sigourney Street, Hartford.

For further information:
The West Hartford 
Symphony Orchestra
 In Collaboration with the WWUH Classical Programming we are pleased to partner with the West Hartford Symphony Orchestra to present their announcements and schedule to enhance our commitment to being part of the Greater Hartford Community

West Hartford Symphony Orchestra
Richard Chiarappa, Music Director
(860) 521-4362

For information, 860-521-4362 or
The Musical Club of Hartford
 The Musical Club of Hartford, Inc., which celebrated its 125 year history in 2015-2016, is an organization whose primary goal is to nurture the Musical Arts and promote excellence in music, both among seasoned music lovers as well as the younger generations. The Musical Club makes music more readily available to people of all ages and social backgrounds in our community.

For further information:  http://musicalclubhartford.org/
The Hartford Choral

 Audition to join the Hartford Chorale! We will be holding auditions for our 2018-2019 season on July 9.

For further information: Hartford Chorale 860-547-1982 or  www.hartfordchorale.org.

The Manchester Symphony
Orchestra and  Choral

Bringing Music to our Community for 58 Years!

The Manchester Symphony Orchestra and Chorale is a nonprofit volunteer organization that brings quality orchestral and choral music to the community, provides performance opportunities for its members, and provides education and performance opportunities for young musicians in partnership with Manchester schools and other Connecticut schools and colleges.

Joseph Hodge, Orchestra Artistic Director
Dr. Carolina Flores, Chorale Artistic Director

Beth El Temple

Music at Beth El Temple in West Hartford is under the aegis of The Beth El Music & Arts Committee (BEMA). With the leadership of Cantor Joseph Ness, it educates and entertains the community through music.

Open to the Public. Plenty of FREE Parking.
Beth El Temple
2626 Albany Ave, West Hartford, CT 06117
Phone: (860) 233-9696
E-mail: bema@betheltemplemusic.com

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