N March/April, 2019 Volume 47, No. 3 95.3 FM Debussy: Prélude à l’après-midi d’un faune; Boulez, Cleveland Orchestra (DG) Rachmaninoff: Symphony No. 1 in d, Op. 13; Jansons, St. WHRB Program Guide Petersburg Philharmonic Orchestra (EMI) March 1 - April 30 4:00 pm BEYOND THE STAGE Have you ever wondered what your favorite musicians, composers, and conductors think about on the stage? What about their lives beyond the stage? What motivates them to create mu- Friday, March 1 sic, what shapes their musical philosophies, and what are their favorite recordings? In this feature, WHRB Classical will speak 5:00 am JAZZ SPECTRUM to your favorite classical music artists to answer these questions. 12:00 pm NEW JAZZ HOUR This season, we’ll be interviewing violinist Lisa Batiashvili, 1:00 pm AFTERNOON CONCERT pianist Kirill Gerstein, bassist Edgar Meyer, and more. This Chopin: Cello Sonata in g; Scholes, Breitman (Titanic) feature is supported by the Boston Symphony Orchestra and the Bauer: Suite for String Orchestra; Adler, Vienna Orchestra (CRI) Celebrity Series of Boston. Hertel: Concerto for Trumpet, Two Oboes, and Two Bassoons Exclusive interview with and select recordings from violinist in D; Basch, Kärcher, Vetter, Ventulett, Roscher, Orpheus Lisa Batiashvili. Chamber Orchestra (Schwann) 5:00 pm WHEN ART IMITATES ART Widor: Symphony for Organ No. 10, Op. 73, “Roman”; Roth Philosophers may argue over whether art imitates life or (Motette) vice versa, but there can be no question whether art imitates Geminiani: Violin and Continuo Sonata in a; Biondi, Europa art. Throughout history, musicians and visual artists have Galante (Virgin) inspired one another to create. Some pieces, like Liszt’s “Hun- Pinkham: Symphony No. 3; Sedares, London Symphony nenschlacht,” directly translate a work across media; others, Orchestra (Koch) like Higdon’s “Short Stories,” capture the essence of a specific Lalo: Piano Trio No. 1 in c, Op. 7; Trio Parnassus (MDG) artist’s creative process. Join us to discover what beautiful things Ciconia: Gloria Suscepe Trinitas; Orlando Consort (Metronome) happen when art and music intersect. Mozart: Symphony No. 18 in F, K. 130; Schröder, Academy of Respighi: Trittico Botticelliano; Wolff, Saint Paul Chamber Ancient Music (Oiseau-Lyre) Orchestra (Teldec) Sowerby: Impressions of Lake Superior County; Halliday Martinu: Les Fresques de Piero della Francesca; Ancerl, Czech (Albany) Philharmonic Orchestra (Supraphon LP) Humfrey: Anthem, “By the waters of Babylon”; Minter, Covey- 6:00 pm HISTORIC PERFORMANCES Crump, Potter, Thomas, McGegan, Clare College Choir, Sibelius: Tapiola, Op. 112; Kajanus, London Symphony Orches- Cambridge, Romanesca (Harmonia Mundi) tra (Koch Legacy, 1932) Ireland: Sextet for Clarinet, Horn, and String Quartet; Melos Enesco: Piano Sonata No. 3 in D, Op. 25; Lipatti (EMI, 1956) Ensemble (MHS LP) Bach: Partita in d, S. 1004; Milstein (Bridge, 1953) Bárta: Violin Sonata; Snítil, Zichová (Supraphon LP) Beethoven: Symphony No. 7 in A, Op. 92; R. Strauss, Berlin Weber/Berlioz: Invitation to the Dance; Reiner, Chicago Sym- State Opera Orchestra (Koch Legacy, 1926) phony Orchestra (RCA Victor) Mendelssohn: Violin Concerto in e, Op. 64; Beecham, Royal Seeger: String Quartet 1931; Arditti Quartet (Gramavision) Philharmonic Orchestra (NAXOS Historical, 1949) 6:00 pm CLASSICAL REQUEST NIGHT 8:00 pm SUNDAY NIGHT AT THE OPERA Call (617) 295-WHRB or (617) 295-7942 to request a piece. Smetana: The Bartered Bride; Beňačková-Čápová, Veselá, 7:00 pm HARVARD BASKETBALL + HOCKEY Dvorský, Jindrak, Novák, Horáček, Košler, Czech Philhar- Basketball: Harvard vs. Penn. Hockey: Harvard at Rensselaer. monic Chorus and Orchestra (Supraphon) 9:00 pm CLASSICAL REQUEST NIGHT (cont.) 10:00 pm RECORD HOSPITAL Monday, March 4 Saturday, March 2 midnight THE DARKER SIDE 5:00 am JAZZ SPECTRUM 5:00 am BLUES HANGOVER 1:00 pm AFTERNOON CONCERT 9:00 pm HILLBILLY AT HARVARD Haydn: Baryton Trio in A, Hob. XI:5; Geringas Baryton Trio 12:45 pm PRELUDE TO THE MET (cpo) 1:00 pm METROPOLITAN OPERA Hindemith: Symphonic Metamorphoses on Themes of Carl Donizetti: La Fille du Régiment; Pretty Yende, Stephanie Maria von Weber; Järvi, Philharmonia (Chandos) Blythe, Kathleen Turner, Javier Camarena, Maurizio Muraro, Scarlatti: Harpsichord Sonata in C, K. 460; Pinnock (DG Archiv) Enrique Mazzola conducting. Delius: On Hearing the First Cuckoo in Spring (No. 1 of Two 4:00 pm POST-MET VOCAL PROGRAM Pieces for Small Orchestra); Beecham, Royal Philharmonic 4:30 pm EVENING CONCERT Orchestra (EMI) 7:00 pm HARVARD BASKETBALL + HOCKEY Victoria: Motet, “O magnum mysterium”; Hill, Choir of West- Basketball: Harvard vs. Princeton. Hockey: Harvard at Union. minster Cathedral (Hyperion) 9:00 pm THE DARKER SIDE Borodin: Symphony No. 3 in a; Ansermet, Orchestre de la Suisse Romande (London LP) Takemitsu: Quatrain II, for Piano, Clarinet, Violin, and Cello; Sunday, March 3 Tashi (RCA Victor) Mozart: Symphony No. 35 in D, K. 385, “Haffner”; Abbado, 7:00 am BLUES HANGOVER Berlin Philharmonic Orchestra (Sony) 11:00 am MEMORIAL CHURCH SERVICE Haas: String Quartet No. 3, Op. 15; Pavel Haas Quartet (Supra- Preacher: Prof. Jonathan L. Walton, Plummer Professor of phon) Christian Morals and Pusey Minister, The Memorial Church of Bach, J. S.: Cantata, S. 198, “Laß, Fürstin, laß noch einen Strahl” Harvard University. Music includes Mendelssohn’s Verleih uns (“Trauer-Ode”); Schmithüsen, Brett, Crook, Kooy, Herrewe- Frieden, and Brahms’s Geistliches Lied. ghe, Choeur et Orchestre de la Chapelle Royale (Harmonia 12:30 pm AS WE KNOW IT Mundi) 1:00 pm CRIMSON SPORTSTALK Fauré: Piano Quintet No. 2 in c, Op. 115; Hubeau, Quatuor Via 2:00 pm SUNDAY SERENADE Nova (Erato) 3:00 pm RAGS TO RICHES Nørgård: Symphony No. 4; Segerstam, Danish National Radio Some of the most famous and beloved classical works had a Symphony Orchestra (Chandos) rocky start. Whether panned by critics or rejected by orchestras, Beethoven: Diabelli Variations, Op. 120; Arrau (Philips) these pieces have unique redemption stories and earned their place in the classical canon. This program explores the “rags to riches” journey of these works, and evaluates how, through Look ahead: Boston Week/Harvard Weekend, March 25 - 31 controversy, they achieved notoriety and popularity among broader audiences. 6:00 pm THE DOUBLE BASS Gabrieli: Canzoni VII and IX; Empire Brass Quintet and Friends The double bass is an often overlooked and under-appreciated (Telarc) instrument – composers almost exclusively choosing to write Mendelssohn: Hebrides Overture; Szell, Cleveland Orchestra for cello or violin when looking to feature string instruments. (Sony) This weekly feature will show the double bass’s broad range in Montecéclair: Deuxième Concert pour la Flûte Traversière; B. solo, chamber, and orchestral settings and demonstrate its unique Kuijken, W. Kuijken, Kohnen (Accent) place, with its rich timbre and extended range. Spanning from Ligeti: Hamburg Concert for Horn and Chamber Orchestra; Bach to very contemporary composers this feature aims to show Neunecker, de Leeuw, Asko Ensemble (Teldec) listeners the broad range of doubles bass music and styles. Ysaÿe: Violin Sonata No. 2; Zehetmair (ECM) J.S. Bach: Cello Suite No.1, No. 4, No. 6; Francois Rabbath Cherubini: Requiem in c; Toscanini, Robert Shaw Chorale, NBC (Solstice LP) Symphony Orchestra (RCA Victor) 7:00 pm SPECIAL CONCERT Messiaen: Quartet for the End of Time; Rabbai, Cohen, Eddy, Severino Gazzelloni and the Italian Flute. Levin (Candide LP) 10:00 pm RECORD HOSPITAL TOP 20 CHARTS Purcell: Welcome Song for Charles II, Z. 336; King, The King’s Consort (Hyperion) Tower: Noon Dance; Collage (CRI) Tuesday, March 5 Tchaikovsky: Romeo and Juliet, Fantasy Overture after Shake- speare; Masur, 5:00 am JAZZ SPECTRUM Leipzig Gewandhaus Orchestra (Teldec) 1:00 pm AFTERNOON CONCERT Gombert: Missa Tempore Paschali; Brown, Henry’s Eight Taneyev: The Oresteia Overture, Op. 6; Järvi, Philharmonia (Hyperion) Orchestra (Chandos) Barber: Violin Concerto; Hahn, Wolff, Saint Paul Chamber Küffner: Introduction, Theme, and Variations for Clarinet and Orchestra (Sony) String Quartet in B-flat; Manasse, Manhattan String Quartet 6:00 pm THE DORIAN MODE: PLATO’S MUSIC (XLNT) The roots of modal discourse in the classical dialect extend Musgrave: Orfeo III for Flute and Ensemble; Guidetti, J. Free- far beyond its contemporary uses, from their introduction into man, Orchestra 2001 (CRI) the church by Boethius, to their involvement in the Renaissance, Lalande: Miserere à voix seul; Gens, Piau, Steyer, Christie, Les Baroque, Romantic, and Impressionist periods, and into the mod- Arts Florissants (Harmonia Mundi) ern day. This feature examines the Dorian mode in particular, as Miaskovsky: Symphony No. 12 in g, Op. 35, “Kolkhoz”; one which Plato and others once advocated for due to its “strong, Stankovsky, Czecho-Slovak Radio Symphony Orchestra of endeavoring” quality. While we most often think of music as Bratislava (Marco Polo) performed in either major or minor keys, this comprehensive Liszt: Grosses Konzertsolo; Bavouzet (MDG) examination of the Dorian mode will broaden this manufactured Dufay: Sanctus Papale; Metcalfe, Blue Heron (Blue Heron) horizon. Respighi: Violin Sonata; Almond, Wolfram (Avie) Sibelius: Symphony No. 3 in C, Op. 52; Vänskä, Lahti Sym- Haydn: Horn Concerto No. 1 in D, Hob. VIId:3; Brown, Hog- phony Orchestra (BIS) wood, Academy of Ancient Music (Oiseau-Lyre) Respighi: Dorian String Quartet; Brodsky Quartet (Challenge Volans: String Quartet No. 2, “Hunting, Gathering”; Balanescu