Composers Datebook

SynopsisDeadlines are a fact of life for many of us — and composer are no exception.In 1875, Peter Tchaikovsky agreed to write 12 short solo pieces, one a month, for a St. Petersburg music magazine, beginning with their January 1876 issue. Tchaikovsky dashed the first piece off, but, fearing that he might forget his monthly deadline, took the wise precaution of instructing his servant to remind him. “Peter Ilytich, isn’t it about time to send something off to St. Petersburg?” Tchaikovsky’s dutiful servant would say before each month’s deadline. Tchaikovksy would drop whatever he was working on and finish the next installment.So, it’s not too far-fetched to imagine Tchaikovsky on this date back in 1876, putting the finishing touches to this little piano piece for the May issue of the St. Petersburg magazine, a sketch he titled Starlight Nights.More recently, the contemporary American composer, Judith Lang Zaimont, also composed a set of 12 short piano pieces, one for each month, a suite she titled Calendar Collection.An accomplish pianist and composer, Zaimont taught for many years at the University of Minnesota in Minneapolis. This music — which we again offer ahead of schedule — is titled The May Fly.Music Played in Today's ProgramPeter Tchaikovsky (1840-1893): May, from The Seasons; Lang Lang, piano; Sony 11758Judith Lang Zaimont (b. 1945): The May Fly, from Calendar Collection; Nanette Kaplan Solomon, piano; Leonarda 334

SynopsisOn this date in 1948, the ballet Fall River Legend was premiered at the Metropolitan Opera House by the Ballet Theatre of New York. The choreography was by Agnes de Mille, and the music by Morton Gould.The previous year, de Mille and Gould had met at the Russian Tea Room to discuss their ballet, a retelling of the true story of Lizzie Borden, acquitted for the gruesome ax murders of her father and stepmother.Both de Mille and Gould thought Borden must have been guilty as charged. “Well, what shall we do about that?” asked de Mille. “Hang her!” said Gould, adding that in any case, it would be easier for him to write hanging music than acquittal music. So, with that large dollop of poetic license, de Mille and Gould came up with the scenario for a ballet that opens with Lizzie standing before the gallows.Morton Gould was known for his ability to blend folk music, jazz, gospel, blues and other elements into lively, colorful orchestral works. He was also a noted conductor, with over one hundred recordings to his credit — including a classic RCA Living Stereo recording of the Suite he arranged from his Fall River Legend ballet.Music Played in Today's ProgramMorton Gould (1913-1996): Fall River Legend; New Zealand Symphony Orchestra; James Sedares, conductor; Koch 7181

SynopsisIn the biographical film Maestro, Leonard Bernstein’s dramatic 1943 Carnegie Hall debut conducting the New York Philharmonic, filling in at the last moment for Bruno Walter, receives a masterful cinematic treatment.But the first time Bernstein wielded a baton in public took place on today’s date in 1939, when Lenny was still a student at Harvard and conducted his own incidental music for a student performance of the ancient Greek comedy, The Birds, by Aristophanes.The play was performed in the original Greek, and since almost no one in the audience would understand what was being said, the production relied on visual, slapstick comedy and Bernstein’s electric music to bring the ancient text to life. Bernstein’s score referenced everything from sitar music to the blues to get the humor across. The student production was a surprise smash hit. Aaron Copland and Walter Piston were in the audience, and photos even appeared in Life magazine.Bernstein recycled one of his bluesy songs from The Birds into his 1944 musical On the Town, but the rest of the 1939 score was never published, and only revived in 1999 for a performance by the EOS Orchestra in New York, and to date has never been recorded.Music Played in Today's ProgramLeonard Bernstein (1918-1990): On the Town: Three Dance Episodes; New York Philharmonic; Leonard Bernstein, conductor; Sony 42263

SynopsisOn today’s date in 1862, an 18-year-old Russian named Nicolai Andreyevich Rimsky-Korsakov graduated as midshipman from the Russian Naval Academy and prepared for a two-year’s training cruise around the world. His uncle was an admiral and a close friend of the Czar, and in his autobiography Rimsky-Korsakov admits he, too, at first thought it might be a good idea — he loved reading travel books, after all.But then Rimsky-Korsakov was seduced by music. He’d made the acquaintance of eminent Russian composers of his day, lost interest in a naval career, and dreamed of composing music himself.The young midshipman’s tour of duty did enable him to hear a lot of it and to sample opera performances in London and New York. But what made the biggest impression on the budding composer was the sky below the equator. “Wonderful days and nights,” he wrote. “The marvelous dark-azure of the day would be replaced by a fantastic phosphorescent night. The tropical night sky over the ocean is the most amazing thing in the world.”It’s perhaps not too fanciful to believe that such impressions helped Rimsky-Korsakov develop into one of the most inventive and masterful painters of symphonic colors and instrumental effects.Music Played in Today's ProgramNikolai Rimsky-Korsakov (1844-1908): Prelude (A Hymn to Nature), from The Invisible City of Kitezh; Scottish National Orchestra, Neeme Järvi, conductor; Chandos 8327

SynopsisA concerto, according to Webster’s Dictionary, is “a piece for one or more soloists and orchestra with three contrasting movements.” And for most classical music fans, “concerto” means one of big romantic ones by Beethoven or Tchaikovsky, works in which there is a kind of dramatic struggle between soloist and orchestra.But on today’s date in 2003, the Saint Paul Chamber Orchestra and its concertmaster Stephen Copes premiered a Violin Concerto that didn’t quite fit that mold. For starters, it had four movements, and this Violin Concerto No. 2 by American composer George Tsontakis was more “democratic” than romantic — meaning the solo violinist seems to invite the other members of the orchestra to join in the fun, rather than hogging all the show. This concerto is more like a friendly, playful game than a life-and-death contest, and Tsontakis even titles his second movement “Gioco” or “Games.”The new concerto proved a winner, being selected for the prestigious 2005 Grawemeyer Award for Music Composition. Even so, George Tsontakis confesses to being a little shy when sitting in the audience as his music is played, knowing full well, he says, that most people came to hear the Beethoven or Tchaikovsky, and not him.Music Played in Today's ProgramGeorge Tsontakis (b. 1951): Violin Concerto No. 2; Stephen Copes, violin; Saint Paul Chamber Orchestra; Douglas Boyd, conductor; Koch International 7592

SynopsisIt was on today’s date in 1944 that the ballet Fancy Free — with music Leonard Bernstein and choreography by Jerome Robbins — was first staged by the Ballet Theater at the old Metropolitan Opera House in New York City. It was a big hit. Bernstein himself conducted, and alongside Robbins took 20 curtain calls.“The ballet is strictly wartime America, 1944,” Bernstein wrote. “The curtain rises on a street corner with a lamppost, a side-street bar, and New York skyscrapers making a dizzying backdrop. Three sailors explode onto the stage. They are on 24-hour shore leave in the city and on the prowl for girls. The tale of how they meet first one, then a second girl, and how they fight over them, lose them, and in the end take off after still a third, is the story of the ballet.”In a curious parallel to the stage action described by Bernstein, the ballet had been first pitched to composer Morton Gould, who said he was too busy, then to Vincent Persichetti, who in turn suggested Bernstein as a third, and perhaps better choice to produce a more hip, jazzy, and danceable score.Music Played in Today's ProgramLeonard Bernstein (1918-1990): Fancy Free Ballet; New York Philharmonic; Leonard Bernstein, conductor; Sony 63085

SynopsisOn today’s date in 1887, readers of the Wiener Salonblatt, a fashionable Viennese weekly artspaper, could enjoy the latest critical skirmish in the Brahms-Wagner wars.At the close of the 19th century, traditionalist partisans of the Symphonies, Sonatas, and String Quartets of Johannes Brahms rallied around the conservative Viennese music critic, Eduard Hanslick. In the opposing camp were equally passionate admirers of the music dramas of Richard Wagner and the symphonic tone poems of Frans Liszt, works this camp defined as “the music of the future.”The April 17, 1887 edition of the Wiener Salonblatt contained a review of a chamber music program presented by the Rosé Quartet, Vienna’s premiere chamber ensemble in those days. Here’s what the critic had to say:“What was provided on this occasion was not to our taste: Brahms — no small dose of sleeping powder for weak nerves. Such programming reeks of lethal intent and should really be forbidden by the police!”That review was penned by Hugo Wolf, these days more famous as a composer than as a music critic, and regarded one of the greatest song composers of the 19th century after Schubert, Schumann — and Brahms!Music Played in Today's ProgramHugo Wolf (1860-1903): Italian Serenade (I Solisti Italiani); Denon 9150

SynopsisA century before crowds of extras and gigantic sets first filled the silver screen of Cecil B. DeMille’s Hollywood extravaganzas, the Paris Opera brought similar resources to the stage for their historical operas—offering shipwrecks, explosions, massacres, and other crowd-pleasing spectacles.For example, on today’s date in 1849, the premiere of Giacomo Meyerbeer’s opera “The Prophet,” included a ballet sequence that made audiences gasp in surprise when the dancers—supposed skating on a frozen lake—glided across the stage on roller skates!Roller skates had been invented in Paris in 1790 but were considered a useless curiosity—after Meyerbeer’s opera, however, there was a booming demand for what was marketed as "Prophet Skates." Meyerbeer’s opera also included an on-stage sunrise, employing , for the first time at the Paris Opera, state-of-the art electric lights.And just to prove that there is nothing new under the sun—electric or otherwise–in 1984, Andrew Lloyd Webber’s “Starlight express,” a rock musical about roller-ball competitors, had singers racing around the stage on roller-skates. The musical proved a big hit in London, New York and Las Vegas, and, reminiscent of Meyerbeer’s frozen pond ballet, there has even been a version of “Starlight Express—On Ice.”Music Played in Today's ProgramGiacomo Meyerbeer (1791-1864) The Prophet: Ballet of the Skaters: Galop Barcelona Symphony Orchestra/Michal Nesterowicz Naxos 573076

SynopsisAt 2:20 a.m. on this date in 1912, the luxury liner S.S. Titanic sank after hitting an iceberg in the North Atlantic. Of the 2201 people of on board, only 711 reached their intended destination in New York. Eight British musicians, members of the ship’s band, stayed on board, reportedly playing a hymn tune as the ship went down.In 1969, British composer Gavin Bryars prepared a multimedia musical work, The Sinking of the Titanic, which incorporated spoken interviews by Titanic survivors with a set of variations on the hymn tune played by the ship’s band. In 1985, the sunken wreck of the Titanic was rediscovered, and renewed interest led to a 1990 revival performance and recording of Gavin Bryars’s score.A few years later, composer James Horner wrote an Oscar-winning film score for director James Cameron’s Titanic — an incredibly successful cinematic dramatization of the story. Horner wrote other famous film scores like those for Aliens and Braveheart — but none quite as successful as Titanic. That film grossed more than $600 million at the domestic box office and more than $1.8 billion worldwide. Ironically, considering this “titanic” success, the first film for which Horner composed a score was The Drought.Music Played in Today's ProgramGavin Bryars (b. 1943): The Sinking of the Titanic; Gavin Bryars and ensemble; Point Music 446 249James Horner (1953-2015): Titanic sountrack; Studio Orchestra; James Horner, conductor;Sony Classcial 63213 Links and Resources On James Horner Gavin Bryars' website

SynopsisFiddler Jay Ungar wrote a melancholy tune in 1982 and titled it Ashokan Farewell. It reflected, he wrote, the wistful sadness he felt at the conclusion of a week-long, summer-time fiddle and dance program in the Catskill Mountains at Ashokan Field Campus of the State University of New York.“I was embarrassed by the emotions that welled up whenever I played it,” Ungar recalled. It’s written in the style of a Scottish lament or Irish air, and Ungar says he sometimes introduced it as “a Scottish lament written by a Jewish guy from the Bronx.”Documentary filmmaker Ken Burns heard a recording of Ungar’s tune and asked if he could use it as the theme for his PBS documentary series, The Civil War. In that context, the sadness in Ashokan Farewell takes on a whole different meaning.The Civil War has inspired a number of other American composers, among them Roy Harris, whose Symphony No. 6 (Gettysburg) was premiered on this date in 1944 by the Boston Symphony. It was written on commission from the Blue Network, the radio predecessor of the American Broadcasting Company. Each of the symphony’s movements is prefaced by a quotation from Lincoln’s Gettysburg Address.Music Played in Today's ProgramJay Ungar (b. 1946): Ashokan Farewell; Jay Ungar, fiddle; Newman-Oltman Guitar Duo; MusicMasters 67145Roy Harris (1898-1979): Symphony No. 6 (Gettysburg); Pacific Symphony; Keith Clark, conductor; Varese-Sarabande 47245

SynopsisOne of the best-loved works of classical music, Handel’s oratorio Messiah, had its first performance on today’s date in Dublin, Ireland, in 1742. Handel wrote Messiah in a period of only four weeks, then put it aside until he received an invitation to present a new work in the Irish capital. Dublin gave Messiah an enthusiastic reception, but it took a few years before London recognized that Messiah was a masterpiece.Baroque composers like Handel freely borrowed materials from previous works — or even other composers — to use in new ones. Among Handel’s own instrumental works, the Concerti Due Cori, for example, contain melodies familiar from Messiah.American composer Ellen Taaffe Zwilich harks back to this baroque custom in her own Concerto Grosso 1985, in which she quotes directly from Handel’s Violin Sonata in D — which in turns quotes from no fewer than four of Handel’s own earlier compositions.Born in Miami in 1939, Ellen Taaffe Zwilich studied at Juilliard with two noted American composers, Roger Sessions and Elliott Carter, and in 1983 became the first woman to win the Pulitzer Prize for her Symphony No. 1.Music Played in Today's ProgramGeorge Frederic Handel (1685-1759): Sinfoni from Messiah; Boston Baroque Orchestra; Martin Pearlman, conductor; Telarc 80348Ellen Taaffe Zwilich (b. 1939): Concerto Grosso 1985; New York Philharmonic; Zubin Mehta, conductor; New World 372

SynopsisOn today’s date in 1933, the New York Philharmonic presented the premiere performance of Italian composer Mario Castelnuovo-Tedesco’s Violin Concerto No. 2.He was born in Florence in 1895 and enjoyed early success in Europe, but, because he was Jewish, the increasingly harsh racial policies of Mussolini forced Castelnuovo-Tedesco and his family to immigrate to the U.S. His passage was assisted by Italian conductor Arturo Toscanini and violin virtuoso Jasha Heifetz, who were also the conductor and soloist for the Carnegie Hall premiere of his new concerto.Two weeks earlier, Toscanini and other prominent American musicians had signed a public cable to Hitler protesting the persecution of Jewish artists. For his part, Castelnuovo-Tedesco gave his new concerto a title: The Prophets. “The title,” he wrote, “does not represent a precise and detailed program, but is intended only as an indication of the ethical environment … the choice of a solo violin might suggest the flaming and fanciful eloquence of the ancient prophets.”Castelnuovo-Tedesco settled in California, where he taught and found work in Hollywood. He composed 100 film scores, became an American citizen in 1946, and died in Beverly Hills in 1968.Music Played in Today's ProgramMario Castelnuovo-Tedesco (1895-1968): Violin Concerto No. 2 (The Prophets); Jascha Heifetz, violin; Los Angeles Philharmonic; Alfred Wallenstein, conductor; RCA BMG 7872

SynopsisIn 1996, American composer George T. Walker, Jr. became the first African-American to win the Pulitzer Prize for music. That was for his Lilacs, a setting for solo soprano and orchestra of Walt Whitman’s poem, “When Lilacs Last in the Dooryard Bloomed,” an elegy for the assassinated Abraham Lincoln.Walker died in the summer of 2018 at 96, leaving behind a substantial body of music ranging from solo works for piano and organ to chamber works and orchestral scores, including five works he titled Sinfonias.His fifth and last sinfonia, Visions, was inspired by the 2015 hate crime shootings at Emanuel African Methodist Episcopal Church in Charleston, South Carolina, and exists in two versions: one version includes elusive, enigmatic spoken texts and a video that includes a photo of the port of Charleston at its conclusion; the other version is purely instrumental.Sadly, although completed in 2016, despite Walker’s stature and fame, he found no American orchestra able to schedule it during his lifetime. A studio recording of Sinfonia No. 5 was made under the composer’s supervision in 2018, but its public premiere by the Seattle Symphony occurred posthumously on today’s date in 2019.Music Played in Today's ProgramGeorge Walker (1922-2018): Sinfonia No. 5 (Visions); Sinfonia Varsovia; Ian Hobson, conductor; Albany TROY-1707

Synopsis“How do you get to Carnegie Hall?” If George Antheil were asked that question in 1927, he would have answered that it was easy. After the scandalous Paris premiere of his aggressively avant-garde Ballet Mécanique, scored for eight pianos and lots of percussion, including airplane propellers, Antheil received a cable offering financial backing for a one-night only performance of the new work at Carnegie Hall.Antheil was broke at the time, so the offer was hard to refuse. For his Carnegie Hall debut, he also programmed his new jazz sinfonietta — and hired the all-black W.C. Handy jazz band to accompany him at the piano — and remember, this was 11 years before Benny Goodman’s 1938 Carnegie Hall jazz concert famously presented a racially integrated ensemble on the same stage.“The public paid scant attention,” Antheil later recalled. “They had come to see and hear the Ballet Mecanique. The new Jazz Sinfonietta which I composed specially for the occasion was played by a large Negro orchestra whose personnel contained a list of names later to become tremendously important in popular music … but the critics took almost no notice except to say that my Sinfonietta was reminiscent of Negro jazz and not as good.”Music Played in Today's ProgramGeorge Antheil (1900-1959): A Jazz Symphony; Ivan Davis, piano; New Palaise Royale Ensemble; Maurice Peress, conductor; MusicMasters 67094

SynopsisWe’re cranking up the Datebook time machine today to take you back to a charity concert that took place in Hamburg on today’s date in 1786. The concert was organized and conducted by 72-year-old composer Carl Philipp Emanuel Bach, who had been producing new sacred music in Hamburg for many years.But instead of new works, for the charity concert C.P.E. Bach programmed some music that in 1786 was almost 40 years old: he opened with the Credo from his father J.S. Bach’s Mass in B minor, followed by two excerpts from Handel's Messiah, namely the Hallelujah Chorus and I Know that My Redeemer Liveth, both sung in German, and then his own setting of the Latin Magnificat, a work he had composed back in 1749 when his father was still alive.C.P.E. Bach’s Magnificat is not heard as often as J.S. Bach’s more famous setting, which is a shame, since, like his father’s Magnificat, C.P.E.’s is a festive, exciting piece of sacred music with trumpets and drums and tuneful vocal solos, along with great choral writing — and we suspect papa J.S. Bach would have nodded with approval that his son’s version concluded with a well-constructed choral fugue.Music Played in Today's ProgramC.P.E. Bach (1714-1788): Sicut Erat In Principio, from Magnificat; RIAS Kammerchor & Akademie für Alte Musik Berlin, Hans-Christoph Rademann; Harmonia Mundi 902167

SynopsisOn today’s date in 1935, the Kolisch Quartet gave the premiere performance of Béla Bartók’s String Quartet No. 5 in the auditorium of the Library of Congress in Washington, D.C. That performance was part of a chamber music festival sponsored by Elizabeth Sprague Coolidge, one of the 20th century’s great musical patrons.In 1925, she created a foundation to enable the Library of Congress to present concerts and commission new works in the nation’s capital. Among the major American works commissioned by the Coolidge Foundation were Aaron Copland’s Appalachian Spring and George Crumb’s Ancient Voices of Children. Coolidge herself was an accomplished musician and amateur composer. One of her chief advisors was Dutch cellist and conductor Hans Kindler, who once contacted Sibelius with a Coolidge commission for a new cello concerto, which, sadly, never materialized. It was Kindler who suggested commissioning a string quartet from Bartók, this time with success.After its premiere, the critic for The Musical Courier wrote: “Mr. Bartók’s [new quartet] is impressionistic and well-wrought.” The critic for Musical America was less impressed: “It honestly treats folk melody with a healthy vigor … [but] there is … no subtle play of light and shade.”Music Played in Today's ProgramBéla Bartók (1881-1945): String Quartet No. 5; Emerson String Quartet; DG 423 657

SynopsisOn today’s date in 1805, Ludwig van Beethoven conducted the first public performance of his Symphony No. 3, subtitled Eroica at Theater an der Wien in Vienna. It was a symphony bolder, louder, and twice as long as any Mozart or Haydn ever wrote and must have been a real challenge for the musicians and audiences of Beethoven’s day.Prior to the first public performance, several private rehearsals and performances had taken place at the palace of Beethoven’s patron, Prince Lobkowitz. Apparently, the prince had to add 22 extra musicians to his court orchestra, including a third French horn player Beethoven requested.Speaking of French horns, at one point in the symphony’s first movement, one of them seems to come in early, intoning the main theme. It’s what Beethoven intended, but even Beethoven’s secretary, Ferdinard Ries, attending the first rehearsal of the new work, assumed it was a mistake, and said so to Beethoven — who was NOT amused — as Ries recalled in his memoir:"’That damned hornist!,’ [I said.] ‘Can't he count? It sounds frightfully wrong.’ I nearly got my ears boxed, and Beethoven did not forgive me for a long time.”Music Played in Today's ProgramLudwig van Beethoven (1770-1828): Symphony No. 3 (Eroica); Berlin Philharmonic; Herbert von Karajan, conductor; DG 429 036

SynopsisIn 1920, a French publisher commissioned several works in memory of Claude Debussy, who had died two years earlier. Maurice Ravel’s contribution was a single-movement piece for violin and cello.Ravel then expanded this music into a four-movement sonata he titled Duo — perhaps thinking of the Duo for the same instruments by Zoltán Kodály. And if Ravel’s music at times sounds Hungarian, perhaps another reason was his meeting with Béla Bartók while working on this piece.In any case, Ravel was trying something new and different, and said so: “I believe this sonata marks a turning point in the evolution of my career. In it, thinness of texture is pushed to the extreme. Harmonic charm is renounced, coupled with an increasingly conspicuous reaction in favor of melody.”Violinist Hélène Jourdan-Morhange and cellist Maurice Maréchal gave the premiere performance of Ravel’s Duo at the Salle Pleyel in Paris on today’s date in 1922.“It's complicated,” Jourdan-Morhange told Ravel. “The cello has to sound like a flute and the violin like a drum. It must be fun writing such difficult stuff, but no one's going to play it except virtuosos!”“Good,” replied Ravel a smile, “then I won’t be murdered by amateurs!”Music Played in Today's ProgramMaurice Ravel (1875-1937): Sonata (Duo) for Violin and Cello; Nigel Kennedy, violin; Lynn Harrell, cello; EMI 56963

SynopsisOn today’s date in 1946, composer Lou Harrison conducted the premiere performance of an orchestral work written 45 years earlier. It was Charles Ives’ Symphony No. 3, composed between 1901 and 1904.Early in 1911, Ives had sent the score for his symphony for consideration to the major New York orchestras of his day, Walter Damrosch’s New York Symphony and Gustav Mahler’s New York Philharmonic. Damrosch never responded, but it seems Mahler took notice. In 1911, the gravely ill Mahler took Ives’ score with him when he returned to Vienna for treatment, apparently with the intention of performing it. Sadly, Mahler died before that could happen, and Ives’ Third would have to wait another 35 years for its premiere.Lou Harrison’s 1946 performance was given by the Little Symphony of New York at Carnegie Hall’s smaller chamber music room. The critic for Musical America wrote: “Ives’ Third is an American masterpiece … as unmistakably a part of our land as Huckleberry Finn or Moby Dick.”Ives’s Symphony won the 1946 Pulitzer Prize for Music. When notified of the award, the crusty Mr. Ives, then elderly, ill and living in retirement, responded: “Prizes are for boys — I’m grown up.”Music Played in Today's ProgramCharles Ives (1874-1954): Symphony No. 3; Concertgebouw Orchestra; Michael Tilson Thomas, cond. CBS/Sony 37823

SynopsisOn today’s date in 1977, Polish composer Henryk Gorecki’s Symphony No. 3 was performed for the first time in Royan, France, by the Southwest German Radio Orchestra.Gorecki’s symphony has a subtitle — Symphony of Sorrowful Songs — and sets three texts set for solo soprano voice: a 15th century lamentation from a Polish monastery, a prayer inscribed on the wall of a WWII prison cell at the headquarters of the Polish Gestapo and a sad Polish folk song.Fifteen years after its premiere, a recording of Gorecki’s symphony featuring American soprano Dawn Upshaw and conductor David Zinman received some airplay on a British radio station and quickly soared to the top of the pop charts in the U.K. Radio stations in the U.S. started playing it as well, with the same effect.Was it a sign of an international religious revival? A delayed reaction to the collapse of Communism in Europe? Even Gorecki himself was perplexed: “Perhaps people find something they need in this piece of music,” he wrote. “Somehow I hit the right note—something, somewhere that had been lost to them. I feel they instinctively knew what they needed.”Music Played in Today's ProgramHenryk Gorecki (1933-2010): Symphony No. 3 (Symphony of Sorrowful Songs); Dawn Upshaw, soprano; London Sinfonietta; David Zinman, cond. Nonesuch 79282