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Program Guide
March, 2020
In This Issue
In Memoriam
Flashback: 2004
How To Listen
WWUH Archive Now Online
Be On The Radio
Classical Listings
Opera Listings
Scholarship Fund Update
Community Affairs on 91.3
Composer Birthdays
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 In Memoriam
Susan Mullis was the host of our Sunday morning Ambience program for close to three decades and also served as our director of development for much of that time. Her contributions to WWUH are numerous, from coordinating our fund drives to editing our Program Guide to producing the Ambience In The Wilde concerts series and CDs releases.  Very few things behind the scenes at WWUH happened without Susan being involved in one way or another during her tenure at the station.

Instrumental in coordinating the administrative activities in support of our Folk Next Door series Susan was also the person who came up with the idea for our "It's All Live" series which featured 12 hours of live radio programming. Her commitment to and passion for the station was an example to the many volunteers who got to work with her.

Susan passed away on February 25th. We are all still in shock. Our thoughts and prayers go out to her husband Brad and to her family and numerous friends. She will be missed.

Kevin, the current host of Ambience, who worked closely with Susan for decades, had this to say about Susan:

If you enjoy Ambience on WWUH, Susan was perhaps THE principle influence on this show, and its' history in the Hartford area (and, as WWUH moved to the internet age, worldwide). She was not the first host (I believe Mariana was the first host, joined soon by Susan and/ or David aka "His Majesty"), but she raised the show to new heights, reaching out for the music that would DEFINE Ambience.

She was a TREMENDOUS Brian Eno fan, but also brought in artists like VidnaObmana and Robert Rich to perform on the University of Hartford campus. 

She had great passion for a lot of music, and her contributions to WWUH, as part of its' leadership, are LEGENDARY.

I will have more to say in a near future post at length (on The Ambience on WWUH, and on the Culture Dogs Facebook pages (the, latter a show that EXISTED because she suggested it), but for now...

In lieu of flowers Susan has requested donations to The Randolph School in Wappingers Falls, NY 

John Ramsey

Flash Back: 2004
Rocking the First "It's All Live"
By Kevin O'Toole
       5:30 AM on Wednesday, April 28th of 2004, and a crowd was forming around the basement studios of WWUH Radio.
Now it's very rare... in fact, virtually impossible... that our studios are deserted  at any time of day, but this morning was a particularly busy one. There were at least six people milling around. Among them, the usual suspects for a Wednesday morning around here. The Tuesday All Night Show host was wrapping things up for her time slot, playing CD's on players that, after her show, would not be used for another twelve hours. Ed McKeon was in the wings, ready to step to the microphone and introduce Julee Glaub who he had the privilege of hosting as his live guest on the show that morning. Less common at that hour were sound engineers Kevin Lynch and Chris Larsen, un-spooling wires and hooking up multiple microphones in three of the four studio facilities we have here in the Harry Jack Gray Center.               Thursday morning FM on Toast host River City Slim was standing by in anticipation. Short minutes before six, Celtic folk vocalist and instrumentalist Glaub appeared, tired but ready to perform at a time most people are rolling out of bed.
     At six o'clock, the microphones went live, and the CD's, mini-discs, cart machines, cassette players and turntables went silent. Then I talked. Then Ed introduced Julee. Then we proceeded to spend twelve hours in the oh-so-fun pressure cooker of completely live broadcasting.
IT'S ALL LIVE had begun.
     Many of the best creative ideas can seem the most simple. Back in 2003, our director of development Susan Mullis suggested the idea of doing twelve ideas of completely live programming as a special event. As he related on our website, general manager John Ramsey "loved the idea, but at the same time... had some concerns about whether or not we would be able to pull off such a complex event. (He didn't)... for a second underestimate the talents and energy of our volunteer staff. But while we had produced literally hundreds of live shows over the years, most of them were four hours long at most. This event would be three times longer, and would tax even a seasoned professional staff."
     To be sure, the longest such event we tried before was an epic production for the second "Folk Next Door" concert. From the Wikipedia article on the event:
     "The 1993 concert was to be an all-day affair, starting outside with a free concert, with an evening paid event. Rain forced the event inside after the third act and threw off the schedule till the concert ended around 2 a.m. The... audience was not entirely awake by the end of the affair, and on the way (they) lost a Chinese brother (a member of the band "7 Chinese Brothers")."
     A good portion of that show was broadcast, but with recorded music and announcements filling out any gaps in the show longer than 5 minutes. Ambitious for a community station, yes, but It's All Live would be a bigger challenge still. Without a live audience, but also without the opportunity for "breaks" that could be filled by playing a tape or a disc of any kind. Also, not every act would be as easy to accommodate as one singer songwriter, or a string band with no drum kit or amplified instruments.
     I.D.'s, public service announcements and promos all came out of my mouth, leaving introductions of, and interviews with the talent to the day's regular Wednesday show hosts (Ed, Bob Celmer, Mike DeRosa, Eugene Hazanov and David Buddington) along with guest hosts (including Steve Theaker, Dean Hildebrandt and Will Mackey).
     Additionally, all the programming had to fit into the regular programming style that a UH listener could expect to hear at various times between 6 AM and 6 PM on a Wednesday: 6-9 am could only be folk music of various kinds; 9 am - 12 noon, Jazz; From 1-4 pm, programming had to be approved by Eugene Hazanov, fitting his usual Ear Stretcher format; from 4-6 pm, it had to be live classical performances.
     Of course, there was a good deal of co-operation from the Wednesday show hosts and their genre peers, in order to make room in that time to better showcase other musical ideas and approaches featured on other shows on the station.
     Ed's show began with vocalist Julee Glaub as noted before, then featured local singer/ songwriter favorite Kate Callahan. Then, River City Slim and the Zydeco Hogs became the first "big" act of the day, with the full band occupying our largest studio in the rear of our space, and making sure that none of us needed coffee to wake up at 7 AM.
     Folk Next Door favorites, The Roadbirds featuring Patrick McGinley and Jim Mercik were next, delivering a typically tasty acoustic set. Then, rounding out FM on Toast were Nerissa & Katryna Nields, who are regional folk legends by now with a decent worldwide following (of course, WWUH had something to do with that, as far back as 1992). Jim Christensen, Steve Theaker and Kevin Lynch co-anchored the show.
     Bob Celmer's show began somewhat atypically with a set by the New Farmington River Royal Ragtime Ramblers, a Dixieland five piece. He followed that by hosting some student ensembles, one of which featured near-future WWUH host Pete LeBlanc on sax. The show ended with a set by singer Ema Walker with bassist Dezron Douglas.
     Mike DeRosa hosted an hour of live, in-studio public affairs next with in-studio guests.
     Eugene's Ear Stretcher began with a set from burgeoning young singer/ songwriter Sonya Kitchell and her Band, in a set that left quite an impression on us, a full year before her debut on the NYC label, Velour Recordings (her latest release is 2006's "Words Came Back to Me"). Kevin Lamkins came in to host local rockers The Ders. The middle of the show featured a set, hosted by Geetanjali host Monica, featuring Stan Scott, an associate professor at Southern Connecticut State University and exponent of the Indian drone instrument the tanpura, a sort of fretless sitar.
     Next, I had the pleasure of hosting local duo, and great people, the Sawtelles, Peter and Julie Riccio whose small duo (with tint drum kit in tow) rocked the main studio.
     But the loudest was yet to come.
Rock mavens now know the band "3" pretty well. Lead vocalist and guitarist Joey Eppard is related to drummer Joshua Eppard of the slightly better known Coheed and Cambria. Joey led his four piece through a loud, rocking full hour of noise that, literally, knocked stuff off of the studio walls. It was awesome.
     We also had to commit to an otherwise "normal" programming day. At or near the top of every hour, we had to broadcast our call letters and the origin of our radio signal ("WWUH, West Hartford"). We also had to read an average of two public service announcements an hour. Actually, reading all that stuff was my job.
It was fun being the Don Pardo to the station's SNL for 12 hours, but it also required me to put together carefully worded copy for all the Public Service spots, and, well, to do something special with those breaks, if possible.
     Toward that end, I went shopping for items with which to make interesting, if not strictly musical noises: a ticking mechanical alarm clock; a train whistle; a light bulb...
     Yes, a light bulb.
     My partners in crime in arranging some of these noises were Kevin Lynch and Chris Larsen. I had discussed doing a parody of the Memorex "Is it live or is it Memorex" spots, which usually involved the breaking of a wine glass, seemingly through the fidelity of a recording of a human voice hitting a high note.
Now, I couldn't break glass with my voice, and the rules of the day said we couldn't use a recording of any kind, even if we could find one that we could engineer to shatter a wine glass without cracking the windows of our studios. Also, we couldn't get anyone to volunteer a wine glass.
     We could, however break a light bulb. Carefully.
     The light bulb was chosen because it would make a loud enough shattering sound, and could be thrown with some accuracy at a hard target, like a cinderblock.
     In order to achieve this in studio, we had to lay down a large tarp in our largest studio, and to find a handy cinderblock that was sitting in the back of the Harry Jack Gray Center, near the dumpster. Next, I had to be decked out with safety glasses and a long sleeved shirt and microphones had to be situated to best capture the breaking glass sound. Of course, we also had to set up my announcing mike, since I would be reading my top of the hour announcements immediately following the stunt.
     That was particularly fun, but what happened during Evening Classics got downright uncanny.
     First, David Buddington hosted the string duo, Alturas Duo performed. Faculty members from Hartt School, Carlos Boltes and Scott Hill performed on guitar, violin and the charango, a mandolin-like instrument with a small hollow body and a long wide eight stringed neck.
     Now here comes the weird part.
Now former Friday Classics host Will Mackey hosted a segment with Pamela Siskin and Natasha Ulyanovsky (currently and respectively Cantor and Musical Director/ Organist for Congergation Beth Israel in West Hartford). (Natasha played a piano on this occasion). They were to perform a piece which I have sadly forgotten the name of, but they were in need of a sound that was present in the orchestration, but had not been arranged for.
     Strangely, that sound was to be made by an entirely appropriate and unplanned for train whistle which I had picked up at a music shop the Sunday before with real idea of how I could use it.
The twelve hours ended with more classical performances from Katie Lansdale and, finally, the Judy Handler and Mark Levesque Duo. The twelve hours ended at 6 PM, as Dave Buddington played the first CD heard since early the previous morning. The hours were chock full of great music, loud, live and soulful, live talk, shattering light bulbs and events as close to serendipity as a meticulously planned radio program can get.
We launched a second It's All Live, which I was unable to attend.
     Now, however, I understand we have another one being arranged for Thursday September 20. At this writing, we are still arranging details. I and my Culture Dogs co-host Sam Hatch are scheduled to do yapping of some kind during the event.
I'll try to go shopping for materials for creating live Foley sounds in the meantime, and, with any luck, I'll get to enjoy a lot of great live music and rock out and accidentally make some music of my own.
    And break stuff.

If you are up with the baby, working the line, driving a truck, pulling an all-nighter, on your way to the gym or you just like staying up all night like we do, tune in to the All Night Show with Gus T every Friday from 3 to 6 AM on WWUH 91.3 or wwuh.org. If for some reason you choose to keep normal hours, you can also hear us on the archives.
We take a root and branch approach to Americana and you are likely to hear folk, blues, old country and honky tonk, no depression, jazz, roots rock, singer/songwriter, lo-fi, hi fi, bluegrass and every other cool thing we can think of. It's our music: old and new, loud and mellow, foreign and domestic. Thanks for allowing us to help you with the soundtrack to your Friday morning.
Coming up... 
March 6: North Carolina. Could it be something in the water? Throughout the last 100, the state of North Carolina has produced a bunch of great musical acts, from Bascom Lamar Lunsford to the Avett Brothers, Doc Watson to Ryan Adams. Wake up early to hear songs from these and many more.
March 13: Country Hits of 1960. We'll jump in our great glass time machine once again and go back 60 years, to the end of the Eisenhower administration and the gray flannel man. In the 3 AM hour we will resurrect great songs that you will never hear on the radio anymore. Ray Price, Webb Pierce, Cowboy Copas, Hank Locklin, Wynn Stewart and Skeeter Davis are mostly forgotten today, but they made great music in 1960.
March 20: Spring! To quote a great American poet: Spring has sprung, the grass is ris/I wonder where the boidies is.... We will feature songs of friskiness and fecundity, green grass and high tides.
March 27: Baseball! To quote a great American philosopher: Baseball is 90 per cent mental. The other half is physical. We will celebrate the opening of the Major League season with a selection of twangy confections.
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 live using your PC, tablet or smart device. Listen  here.

We also recommend that you download the free app "tunein" 
here to your mobile device. 

You can also access on demand any WWUH program which has aired in the last two weeks using our newly improved Program Archive feature:  Archive

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 our archive has been completely upgraded so that it is usable on most if not all devices.  The archive allows you to listen to any WWUH program aired in the last two weeks on-demand 
the "Program Archive" link   on our home page,  
If 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.
Classical Music's Home in Hartford


WWUH Classical Programming 
March 2020 
Sunday Afternoon at the Opera
Sun, 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
Block: Avodath Hakodesh ("Sacred Service"); Foss: Song of Songs; Ben-Haim: Sweet Psalmist of Israel
Marsalis: Violin Concerto; Nadia Shpanchenko, Piano - The Poetry of Places; Stravinsky: Orpheus
Drake's Village Brass Band Ripples - Clarion, Keith Benjamin Trumpet
Kusser: Composition de musique suivant la méthode françoise, Suite No. 1; Jacquet de la Guerre: Esther; Reicha: Grande Sonate in E major op.40; Buxtehude: Membra Jesu nostri, BuxWV 75;
Mondonville: Sonate en symphonie, Op. 3, No. 5;
F.-A. Philidor: L'art de la modulation: Quartet No. 5 in C major for oboe, 2 violins, and b.c.; Viardot-Garcia: Lieder to poems by Eduard Mörike; Beethoven: Cello Sonata No. 1 in F Major, Op. 5, No. 1
Schubert: Symphony No. 5; Schneider: Winter Morning Walks; Locatelli: Violin Concerto; Rachmaninov: Suite No. 2; de Visee: Suites 
From Courthouse to Court Musician : Carl Zeller: Schenkt Man Sich Rosen In Tirol, Sei Nicht Bos; Weyse: Symphony No. 1 in g D F 117; Hasselmann: La Source; Foote: Suite No. 1 in d Op. 15; Villa-Lobos: Suite Populaire Brésilienne; Hadley: One Morning in Spring; Stamp: Gavorkna Fanfare; Hellendaal: Sonata No. 1 in A; Hummel: Trumpet Concerto in E; Bruckner: Symphony No. 1 in c; Sibelius: King Christian II Op. 27 Suite.
This is the "Third" month of the year
Handel: Salomon
Caroline Shaw: Orange; Vaughan Williams: Symphony #3, Tuba Concerto; Jospeh Szigeti, violin Plays Stravinsky and Bloch
Drake's Village Brass Band United States Marine Band - Anthems part 1
Ponchielli: Concerto in F for Trumpet & Orchestra; Kuula: South Ostrobothnian Suite #2, Op. 20; Dvořák: Miniatures for 2 Violins & Viola, Op. 75a; Lalo: Symphonie espagnole in d, Op. 21
Spohr: Symphony No. 7; Tournemire: Poeme;
Wagenseil: Concerto in A Major; Pierne: Sonatas;
Einaudi: Violin pieces
From Courthouse to Court Musician : Charles Gounod: Faust Ballet Music; Arne: Keyboard Concerto No. 5 in g; Fodor: Symphony in G, Op. 13; Guilmant: Organ Symphony No. 1 in d; Vivaldi: Violin Sonata in c RV6; Kuhlau: Concertino for 2 Horns & Orchestra Op. 45; Sibelius: Symphony No. 2 in D Op. 43.
Visit the Emerald Isle for St. Paddy's Day
Haydn: Il Ritorno di Tobia
Langree and Cincinnati Symphony - Transatlantic   Music of Gershiwn, Varese and Stravinsky; Norman: Sustain
Drake's Village Brass Band United States Marine Band - Anthems part 2
Arensky: String Quartet #2 in a, Op.35;   Berlioz: Harold en Italie, Op. 16;   Mahler: Symphony #5 in c#;   Brahms: Piano Trio #2 in C, Op. 87
Gouvy: Symphony No. 2; arr. Lindberg: Swedish Folk Tunes; Lully: Ballet Music; Pfitzner: Cello Concerto in A Minor; Tibaldi: Trio Sonata
From Courthouse to Court Musician : Conradin Kreutzer: Septet in E Flat Major, Op. 62; Pacius: Our Land; Verhulst: Gijsbrecht van Aemstel Overture Op. 3; Dimitrescu: Peasant Dance; Reger: Tone Poems after Arnold Böcklin Op. 128; Maconchy: Nocturne; Muczynski: Desperate Measures (Paganini Variations) Op. 48; Bach: Concerto for 2 Keyboards in C BWV1061; C. P. E. Bach: Cello Concerto No. 1 in a Wq. 170; Mozart: Serenade No. 13 in G K. 525, "Eine kleine Nachtmusik".
Celebrating the Women Composers Festival of Hartford
Krouse: Armenian Requiem; TransSiberian Orchestra: Beethoven's Last Night
K. Smith: The Arc in the Sky; Slatkin Conducts Ravel, volume 2; Stravinsky: Symphony in Three Movements
Drake's Village Brass Band Harvey Philips Plays Alec Wilder's Tribute to the Phillips Family
Gade: Frühlings-Phantasie, Op. 23; Schumann: Symphony #1 in B , Op. 38; Mozart: Clarinet Quintet in A, K. 581; Stravinsky: Le Sacre du Printemps
Reznicek: Symphony No. 3; MacDowell: Songs; Wieniawski: Violin Concerto; Duphly: Harpsichord pieces; Enescu: Piano Sonata
New Releases. A sampling of new acquisitions from the WWUH library.
From Courthouse to Court Musician : E.T.A. Hoffmann.
Celebrating the Women Composers Festival of Hartford
Dvorak: Stabat Mater; Fairouz: Poems and Prayers
Bruckner: Symphony #9; Oscar Levant at the Piano (1961)
Drake's Village Brass Band Radek Baborak French Horn plays Mozart
Kusser: Composition de musique suivant la méthode françoise, Suite No. 2; Reicha: String Quintet in F Major, Op. 92, No. 1; du Grain: Herr, nun lassest du deinen Diener; Telemann: Ich will den Kreuzweg gerne gehen, TWV 1:884; Mondonville: Sonate en symphonie, Op. 3, No. 6;
F.-A. Philidor: L'art de la modulation: Quartet No. 6 in D major for flute, 2 violins, and b.c.; Fauré: Requiem, Op. 48; Jacquet de la Guerre: Judith;
Beethoven: Cello Sonata No. 2 in G Minor, Op. 5, No. 2
Opera on WWUH

your "lyric theater" program
with Keith Brown
Programming selections for the month of

March 2020

Bloch, Avodath Hakodesh, Foss, Song of Songs, Ben-Haim, Sweet Psalmist of Israel The penitential season of Lent begins this year on February 26th, "Ash Wednesday" in the traditional Christian calendar. Across much of Europe in the olden days, especially in Catholic countries, the opera houses were closed until Easter. I observe that custom in presenting, over the upcoming Lenten Sundays, liturgical or religious music for the human voice drawn from the broad spectrum of the Judeo-Christian heritage. On this first Sunday in Lent I focus on the Judaic heritage with the broadcast of Ernest Bloch's Avodath Hakodesh or "Sacred Service" (1930-33) for baritone solo, mixed chorus and large orchestra. The baritone takes the role of cantor in Bloch's oratorio-style rendering of the Hebrew liturgical texts. Robert Merrill is the cantorial baritone heard in an historic recording of the "Sacred Service" taped in 1960 with Leonard Bernstein directing the New York Philharmonic, the Choir of the Metropolitan Synagogue and the Choir of the Community Church of New York. Sony Classical came out with a series of jewel case CD sets of their enormous audiotape holdings documenting Bernstein's recorded legacy as a conductor. The Bloch "Sacred Service" together with Bernstein's interpretations of the Song of Songs by Lucas Foss and Sweet Psalmist of Israel by Paul Ben-Haim are contained in issue number eighteen in the series. I last gave this same program of choral works led by Bernstein on Sunday, April 12, 2009.
Handel, Solomon "To my mind Solomon is probably the most magnificent...of all the Handel oratorios," so wrote conductor John Eliot Gardiner about his historically-informed recorded interpretation of the oratorio for the Philips label. I broadcast his period instrument Solomon on vinyl discs way back on Sunday, May 4, 1986. You get to hear it again today in its 2006 compact disc reissue in the Philips "Digital Classics" line. The original recording was made in London following Gardiner's performances of Solomon at the 1984 Gottingen Festival of baroque music in Germany. Gardiner leads the period instrument ensemble he founded, the English Baroque Soloists, with the Monteverdi Choir and a lineup of vocal soloists that included mezzo Carolyn Watkinson as the Hebrew king Solomon, soprano Nancy Argenta as Solomon's Queen and tenor Anthony Rolfe Johnson as Zadok the Priest. Handel's orchestral scoring for Solomon is more colorful than that for Messiah. In fact, Messiah lacks the sharp delineation of character to be found in the vocal parts for the Queen of Sheba and the two Harlots, so typical of Handel's Italian operas. The dramatic situation of the quarrel over the infant, with the king's surprising judgement, was irresistible to Handel's operatic imagination. Beyond that, the overall effect of the oratorio is that of a celebration in music of Hanoverian England, also known as the Augustan Age of the mid eighteenth century. (Solomon premiered at Covent Garden in 1749.) I value historical authenticity, yet on Sunday, April 2, 1989 I broadcast a set of early stereo Angel LP's of Sir Thomas Beecham's modernized reorchestration of Solomon,with Beecham leading his own Royal Philharmonic Orchestra and the Beecham Choral Society. Many of Handel's oratorios premiered during Lent, so on the second Sunday of Lent, 2020 I thought it appropriate to return to the Gardiner recording of Solomon in its CD rerelease. I last made use of those two Philips CD's on Sunday, April 7, 2013.
Krouse, Armenian Requiem, Trans Siberian Orchestra, Beethoven's Last NightFrom Haydn and eighteenth century classicism we bound forward into the twenty first century to audition music for a solemn commemoration. The Armenian Requiem by American composer Ian Krouse (b. 1956) was written to mark the centenary of the Armenian genocide of 1915. Armenia is an Orthodox Christian country; there is no tradition there of a structured Latin Requiem Aeternam as there is in Western Roman Catholicism. Nevertheless, Krouse constructed this commemorative work employing elements reminiscent of a Mass for the Dead with Armenian liturgical chants and settings of verse by Armenian poets (eg. the Prelude, "I Want to Die Singing" by Siamanto) and the folk melodies of Komitas. The overall effect is like that of Benjamin Britten's War Requiem (1960). Royce Hall in Los Angeles is a splendid venue in which to record a large-scale sacred composition such as the Armenian Requiem. It was there that the world premiere recording was made in 2015 for release in 2019 through the Naxos label on two compact discs in the "American Classics" series. The performing resources required were considerable: the UCLA Philharmonic, the Lark Master Singers chorus, the Tatzian Children's Choir, the VEM String Quartet, four vocal soloists and a duduk player, the duduk being a Middle Eastern reed instrument. Neal Stulberg leads the entire musical assemblage.
   We pause momentarily in the Lenten musical proceedings for a different sort of quasi-operatic piece which is, like Krouse's requiem, also a product of the twenty first century. This is also something of a rock musical, a gothic-style crossover work a la Andrew Lloyd Webber's Phantom of the Opera. That monumental musical genius Ludwig van Beethoven died in the month of March: March 27,1827 to be exact. Paul O'Neill and Robert Kinkel of the Trans Siberian Orchestra conceived a fantasy of what Beethoven's last night was like. It involves a series of phantoms, who play out the story against the backdrop of a thunderstorm. It seems Beethoven has composed a complete tenth symphony, greater than the ninth, which will be his final artistic offering to the world. He gets caught up in a Faustian bargain for his soul and for the manuscript of that never-heard masterpiece. The phantom of his Immortal Beloved pleads on his behalf. Even the ghost of Mozart makes an appearance. There is a singing cast of nine characters, with backup adult vocalists and a children's choir. Kinkel plays keyboards and O'Neill is heard on guitars, with traditional string players augmenting the electrified instruments and the rock drum kit rhythm section. Trans Siberian Orchestra: Beethoven's Last Night was released in the year 2000 by Atlantic Records on a single silver disc.
Haydn, Il Ritorno di Tobia The genre of oratorio began in Italy in the seventeenth century. Oratorio is the twin sister of the Italian opera. When the opera houses closed oratorio took over as a sacred Lenten musical entertainment. In the eighteenth century oratorio was taken up all over Europe. Everybody knows the two choral masterpieces of Joseph Haydn's old age: The Creation (1798) and The Seasons (1801). There is, however, a third great religious oratorio Haydn wrote earlier in his career while he was still in the service of his superrich patron the Hungarian Prince Eszterhazy. Il Ritorno di Tobia (1775/1784) was calculated to appeal to a Viennese audience. The story, derived from the Old Testament Apocrypha, was popular in Vienna at the time. The Viennese also wanted to hear oratorio in Italian, the language of opera, rather than in their native German tongue. "The Return of Tobias" has only very occasionally been performed or recorded in our time. It was recorded in co-production with Deutschland Radio in 2006 in the broadcast auditorium of Radio Cologne. Andreas Spering directs the period instrument players of the Capella Augustina and the choral forces of the VokalEnsemble Koln. The 2007 Naxos CD release of that Cologne recording was aired on Sunday, February 28, 2010. Il Ritorno di Tobia was given again in a benefit concert as part of the 2013 Salzburg Festival and was recorded live-in-performance in August of that year in the hall of the old Riding School. The aging Nikolaus Harnoncourt was conducting the Zurich-based period instrument Orchestra La Scintilla and the Arnold Schoenberg Choir, with five vocal soloists. This triumphal performance was the last hurrah for Harnoncourt, a true pioneer in the historically-informed performance practice movement, since he retired for health reasons in 2015 and died not long thereafter in 2016. Orfeo Records, the record label of ORF Austrian Radio, issued the oratorio on two silver discs in 2018. Harnoncourt made some cuts in Haydn's score for the Salzburg production.
Dvorak, Stabat Mater, Fairouz, Poems and Prayers The Dvorak Stabat Mater (1877) is a Lenten perennial. I have presented it at least half a dozen times going at least as far back as 1991 in various recordings. Although it is scored for full orchestra with chorus and vocal soloists, there is a Naïve CD recording making use of the 1876 piano score which I aired on Sunday, March 29, 2009. This choral work established Antonin Dvorak's international reputation. Stabat Mater are the first two words of a medieval Latin devotional poem relating the emotional suffering of the Virgin Mary as she beholds the crucifixion of her Son. In the history of Western art music many other composers have been drawn to it. In terms of length in performance Dvorak's is the longest musical treatment. Affecting in its simplicity, sincerity and heartfelt compassion, the Dvorak Stabat Mater is one of his most beautiful creations. Listen today for a historic recording of Dvorak's Opus 58, taped in monaural sound in 1953 by RIAS Radio Berlin in the Christuskirche. The Hungarian conductor Ferenc Fricsay conducts the RIAS Symphony Orchestra and Chamber Chorus, augmented by the Choir of St. Hedwig's Cathedral of Berlin. There are four vocal soloists. The Swiss Relief label specializes in CD reissues of vintage recordings of European radio broadcasts. This Relief reissue dates from 2009.
   Our programming for Lent now reaches out beyond institutional Christianity and Judaism to embrace , as Beethoven did, the teeming millions of the whole world. There are so many millions out there who are Muslim. New York City-based Mohammed Fairouz (b. 1985) gives us a rare work with universal appeal that has its roots in Islam. Poems and Prayers (2010) is actually Fairouz's Symphony Number Three. It partly uses the Beethoven Ninth as a model. This is a choral symphony in six movements that premiered triumphantly on the West Coast in December of 2013 in UCLA's Royce Hall, where it was recorded live in performance. Neal Stulberg conducted the UCLA Philharmonia, UCLA Chorale and University Chorus, with three vocal soloists. Fairouz prepared his own libretto out of poems and prayers in Arabic and Hebrew. He sets a sacred text to music, the Oseh Shalom or Mourner's Kaddish from the Judaic tradition. The finale of the symphony is a setting of Israeli poet Yehudi Amichai's Seven Laments for the War Dead from 1976, the ''war" here being the long ongoing Arab/Israeli conflict and the Palestinian guerilla resistance fighting. "Night Fantasy" is a small section drawn from State of Siege, the Arabic poem by Mahmoud Darwish about the Israeli siege of Ramallah in 2002. All the poems in Fairouz's choral symphony serve as prayers for peace. The Fairouz Symphony Number Three is indeed a "peace symphony," or in choral terms, a peace cantata of one full hour's length. By the impressive sound of it, it's the composer's sincere and passionate plea. Poems and Prayers was released to the world on a single Sono Luminus compact disc, By the way, there is a Fourth Symphony by Fairouz, titled In the Shadow of No Towers (2012), inspired by the 911 disaster, and an oratorio Zabur (2015), both of these works out on CD courtesy of the Naxos record label.

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 Nutmeg Chatter
12:30 - 1:00 pm  TUC Radio
Sunday: 4:30 - 5:00 pm  Nutmeg Chatter
 Composer Birthdays


Mar 5
1774 Christoph Ernst Friedrich Weyse
1845 Alphonse (Jean) Hasselmans
1853 Arthur Foote
1887 Heitor Villa-Lobos
1899 Patrick Hadley
1954 Jack Stamp
Mar 12
1515 Caspar Othmayr
1710 Thomas Augustine Arne
1768 Carolus Antonius Fodor
1837 Felix Alexandre Guilmant
Mar 19
1809 Fredrik Pacius
1816 Johannes Verhulst
1847 Constantin Dimitrescu
1873 Max Reger
1907 Dame Elizabeth Maconchy
1929 Robert Muczynski
Mar 26
1874 Oskar Nedbal
1925 Pierre Boulez

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...
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
whso.org    (860) 521-4362

Upcoming Concert
      2020 Spring Classical Concert
          Sunday, March 29, 2020
                   3:00 PM
Bring your family to Roberts Theater on the Kingswood Oxford Campus in West
Hartford for WHSO's first 2020 Concert

Join WHSO at the West Hartford Town Hall for our Annual Holiday Concert featuring seasonal favorites.

Help WHSO kick off the 2019-2020 Concert Season at the Roberts Theater on the Kingswood Oxford Campus in West Hartford.
Connecticut Valley Symphony Orchestra 
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.

The CVSO has been operating for 88 years. Our musicians, serious amateurs and music educators, range from teenagers to seniors, and have a fabulous 2018-2019 season of classical, romantic and modern music lined up for your listening pleasure.  
                          April 5, 2020
Elgar: Nimrod variation from the Enigma Variations
Brahms Symphony #4
Hummel Trumpet concerto in e flat major (Micah Donley, trumpet)

Concerts are Sunday afternoons at 3:00 p.m. at  Congregation Beth Israel, 701 Farmington Avenue, West Hartford.
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
Upcoming Concert
               2020 Spring Classical Concert
                   Sunday, March 29, 2020
                               3:00 PM
Bring your family to Roberts Theater on the Kingswood Oxford Campus in West
Hartford for WHSO's first 2020 Concert
Join WHSO at the West Hartford Town Hall for our Annual Holiday Concert featuring seasonal favorites.

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

The Musical Club of Hartford
The Musical Club of Hartford is a non-profit organization founded in 1891. Membership is open to performers or to those who simply enjoy classical music, providing a network for musicians from the Greater Hartford area.
Club events take place normally on selected Thursday mornings at 10:00 a.m, Fall through Spring. The usual location is the sanctuary at Westminster Presbyterian Church, 2080 Boulevard, West Hartford, CT (between Ridgewood and Mountain Avenues). Information on time and location is given at the bottom of each event description.
Music by Members
Thursday, March 5, 2020  
10:00am Westminster Presbyterian Church, 2080 Boulevard, West Hartford, CT Program: Two works for violin and cello will be played for us by Lisa Kugelman and Karen Benjamin: Handel's Violin Sonata in F major, Op. 1, Nr. 12 and Beethoven's Duo in C Major WoO27/1.   A bagatelle is a light piece of music. Bagatelles, Op. 5, by the Russian composer Alexander Tcherepnin were written between 1912-18 and revised in 1958. They will be performed by Michelle Duffy, piano.   Lean-Cheng Tan, soprano, will sing the following three vocal pieces, accompanied by Colette Switaj, piano: Plaisir d'amour, by Martini, Bist du bei mir, BWV 508, by J. S. Bach, and a Chinese Folk Song from the Xinjiang region of China.   Jean-Baptiste Loeillet de Gant was born in Belgium in 1688, but lived mainly in France. He added "de Gant" (i.e., "from Ghent") to distinguish himself from his identically named first cousin, also a composer. The elder cousin moved to London, but even so scholars remain confused about some music attributed to each of them. Although a total of 763 works eventually were attributed to the composer, only 21 were published during his lifetime and fewer than that in the first decade following his death. Loeillet's compositions are said to be "strongly influenced by violin sonatas of Corelli." Nancy Skeele, flute, *Chris Pilon, cello, and Michelle Duffy, piano, will perform his Sonata in D minor, Op. 3, No. 10.   Betty Knorr, mezzo-soprano and Nancy Robbins, piano, will perform a selection of four songs from different collections by Rachmaninoff.  
Storrs Scholars Piano Recital  
Thursday, March 19, 2020  
10:00am Westminster Presbyterian Church, 2080 Boulevard, West Hartford, CT Program: In 1990, Evelyn Bonar Storrs made a bequest to Musical Club to establish a piano scholarship. Her will stated in part, "I have tried to express my appreciation for the enjoyment and pleasure in having been a member of the Musical Club of Hartford...With this in mind, I have established the Evelyn Bonar Storrs Scholarship Fund to provide scholarships for talented and advanced students of piano..."   Each year selected Storrs Scholarship recipients--college level pianists with traditional classical training--present a recital for members of the Musical Club and the general public. Come to hear these piano stars of the future            


The Hartford Choral

Hartford Chorale 2019-2020 Season
Mozart Requiem with Waterbury Symphony Orchestra, on Sunday, March 1, 2020 - 3:00 pm at Naugatuck Valley Community
College Fine Arts Center.

The Manchester Symphony
Orchestra and  Choral

Bringing Music to our Community for 59 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.
"Viennese Destiny and Glory"
Saturday, March 28, 2020 at 7:30pm
Manchester High School
Mozart: Regina Coeli KV276
Brahms: Schicksalslied
Beethoven: Der Glorreiche Augenblick

Temple Beth El
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.
             JERUSALEM OF GOLD
Sunday, March 22, 7pm
Location: Beth El Temple, 2626 Albany Avenue, West Hartford, 860.233.9696
This choral & chamber orchestral concert features:
Cantata 46 mvt. I, Bach
Preise, Jerusalem, den Herrn, BWV 119, Bach
Judas Maccabeaus, Handel
-For Zion Lamentation Make
-Hail Judea Happy Land
-Hallelujah Amen
Yerushalayim shel Zahav, Shemer
And more!
Open to the Public. Plenty of FREE Parking.
Beth El Temple
2626 Albany Ave, West Hartford, CT 06117
Phone: (860) 233-9696

Serve Harmony: 
Voce's 2019-2020
 Concert Season
St. Alban's Episcopal Church, 197 Bushy Hill Road Simsbury, CT, 06070
Gladdening Light!
Saturday, March 14, 2020
7:00 PM - 9:00 PM
St. Patrick-St. Anthony Church
Join Voce in a concert celebrating its new album - Blessing: The Music of
Paul Mealor - to be released by Signum Classics on March 13, 2020 just
before the concert! In addition to works from the new album the program
will feature choral classics from the last 100 years including repertoire
penned by Gerald Finzi and Charles Wood, and more recent compositions
by British composers Patrick Hawes and Will Todd. Let Voce bring light
into your life in the warmth of St. Patrick - St. Anthony Church's stunning
sanctuary as winter draws to a close!
Voce's holiday program will feature carols and anthems of the holiday season and Primi Voci, the premier ensemble of the Connecticut Children's Chorus. Join Voce in a celebration of the harmonies of Christmas in a concert that has become a holiday tradition!
Voce, Mark Singleton, Artistic Director

Who Else
WWUH Radio 91.3 FM : Celebrating 52 Years of Public Alternative Radio
Our programming can also be heard on:
WDJW - Somers, 89.7 Mhz