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<v Announcer 1>Every day. WNYC brings you about 500 years of music from the music <v Announcer 1>of the Renaissance to the music of our time. <v Announcer 1>All kinds of music. <v Speaker 1>And different kinds are needed. <v Speaker 1>For different occasions. <v Announcer 1>WNYC F.M. 94 New York Public Radio. <v Announcer 2>The mission represented in WNYC is programing is quite simple to provide <v Announcer 2>our audience with programing of the highest quality, which represents the currents of <v Announcer 2>life in our time. The music of today, the best source of news and insight <v Announcer 2>into today's events, the directions of life in a constantly changing world of technology <v Announcer 2>and global communications. <v Announcer 2>We believe the most significant aspect of the new music policy has been the innovative <v Announcer 2>integration of 20th century works with traditional classical music in our daily <v Announcer 2>record programs.
<v Speaker 1>Chanson by Clement Janequin from a collection of Chanson <v Speaker 1>by Janequin entitled Le Chanteuse Wasso on Harmonia Mundi. <v Speaker 1>You're listening to Morning Music on WNYC F.M. <v Speaker 1>Ninety four New York Public Radio. <v Speaker 1>I'm Ned Wharton. And in the next hour we'll hear the Chant du Arseno by Stravinsky, <v Speaker 1>the Partita in a Minor for Flute by Johann Sebastian Bach and <v Speaker 1>the String Quartet by John Cage. <v Speaker 1>All coming up this hour on Morning Music. <v Speaker 1>Next, a recording recorded in 1967, <v Speaker 1>music by Stravinsky. <v Speaker 1>We'll listen to the Chant du Arseno performed here by the Columbia Symphony Orchestra <v Speaker 1>under the direction of Robert Kraft. <v Announcer 2>The core of WNYC's new music programming is Tim Page's new, old and unexpected
<v Announcer 2>and new sound. The Daily Crossover Music Program with John Schaefer. <v Announcer 2>In addition to producing new, old and unexpected, host Tim Page writes about music <v Announcer 2>for The New York Times. John Schaefer is the author of New Sounds A Guide to New <v Announcer 2>and Unusual Music From Ethnic to Electronic. <v Speaker 1>There are more students of Leonard Bernstein out there on the street, people <v Speaker 1>who you have touched. And teaching music and the <v Speaker 1>esthetics behind music, I think, than any other teacher in history. <v Speaker 1>Tell us a little bit about your philosophy of using the media to get across <v Speaker 1>musical ideas and beyond that cultural ideas. <v Leonard Bernstein>Wow. <v Leonard Bernstein>I'm flabbergasted at that. Encomium or panegyric <v Leonard Bernstein>or whatever it is, it's it's very hard to answer in kind because <v Leonard Bernstein>if I agreed even fractionally with some of the things you just said, I'd be
<v Leonard Bernstein>behaving very boastfully. <v Leonard Bernstein>I've always been very grateful for the advent of television and <v Leonard Bernstein>radio, for its ability to allow <v Leonard Bernstein>one to transmit very private thoughts, but not only <v Leonard Bernstein>verbally in the actual performance of music. <v Leonard Bernstein>And I I don't consider teaching to be <v Leonard Bernstein>limited in any way to discourse. <v Speaker 1>Let's hear a live performance in our studios of Clapping Music by Steve Reich. <v Speaker 1>This is a 1972 piece, 1934 performed by Steve Reisz and Glen <v Speaker 1>Valez. <v Recording>[Clapping Music performed].
<v Announcer 2>WNYC strives to be a leader of culture rather than followers of fad. <v Announcer 2>And as such, generates creative activity. <v Announcer 2>Americathon Is a live 8-hour broadcast culminating WNYC's annual <v Announcer 2>American Music Festival. <v Speaker 2>The audience was invited to attend Free of Charge and New York area listeners could also <v Speaker 2>tune in for the live broadcast. <v Speaker 2>This year's event featured 14 American composers who represented a wide <v Speaker 2>variety of American music, including jazz, Broadway, folk, electronic, <v Speaker 2>classical and music that's not easily categorized. <v Recording>[Folk music performed].
<v Announcer 2>The WNYC Concert Unit, a specialized engineering staff used solely on remote <v Announcer 2>recording sessions at live concerts, records and edits their material in digital form. <v Announcer 2>Adding to the quality of each local, national and international presentation. <v Announcer 2>Among these are Scarlatti Saturday. <v Announcer 2>Semolay, the Chamber Music Society of Lincoln Center and remembering Richard <v Announcer 2>Rodgers. <v Recording>[Piano Music Plays]. <v Speaker 2>It is October 26, 1985. <v Speaker 2>And there are lines along Broadway between ninety-fourth and ninety-fifth streets in New <v Speaker 2>York. People are waiting to be admitted to a free concert called Scarlatti Saturday, <v Speaker 2>celebrating the very day on which Domenico Scarlatti was born 300 years earlier. <v Speaker 2>Twenty musicians, 11 harpsichordist and eight pianos and one synthesizer keyboardist <v Speaker 2>gather at the hall. And by the time the event is over, eight hours later, <v Speaker 2>almost 100 sonatas are heard by thousands in the audience and by public radio listeners
<v Speaker 2>across the country. This is then the portable Scarlatti Saturday, <v Speaker 2>a three-hour version of the eight-hour extravaganza held at Symphony Space. <v Speaker 2>This program is made possible in part by funds from Bunko DiNapoli New York Branch <v Speaker 2>Groh Tunneling George and Cecily Fox. <v Speaker 2>Keith Shermer Incorporated Forum Gala in New York. <v Speaker 2>The Frank Strict Foundation District Council 37. <v Speaker 2>And the New York Council for the Humanities. <v Recording>[Piano music plays]. <v Recording>[Opera music plays].
<v Recording> <v Announcer 2>And there was the applause for the artists out onstage to play for you. <v Announcer 2>The sextet for strings opal 70 of Tchaikovsky, dubbed Souvenir <v Announcer 2>of Florence, the violinists are Salvatore Accardo and James Boswell <v Announcer 2>the oldest Walter Trembler and Steven Tenenbaum, the cellist Lesley Parness
<v Announcer 2>and Fred Shourie. <v Recording>[String music plays]. <v Speaker 3>Rodgers and Hammerstein. Love scene in which actually no one says I love you, <v Speaker 3>the song. If I Loved You is the big hit song. <v Speaker 3>The scene last about 10 minutes from the song sung twice. <v Speaker 3>But the amount of time that that song takes is about two minutes and that ten because <v Speaker 3>Rodgers was more than a songwriter, but he was a composer and he composed a very <v Speaker 3>almost operatic scene for two people who fall in love during the scene.
<v Speaker 3>It's extraordinary scene we have tonight to perform it. <v Speaker 3>John Garrison, whose song all over the world and is leading tenor at the Sydney Opera, <v Speaker 3>and Lauren Wagner, who few years ago won the Met auditions. <v Speaker 3>And this year when the San Fransisco opera auditions. <v Speaker 3>So, Lauren and John, please. <v Lauren Wagner and John Garrison>[Sings If I Love You.] <v Lauren Wagner and John Garrison>
<v Announcer 2>Every weeknight, WNYC presents Kids America to many stations around the U.S. <v Announcer 2>radio that listens to kids. <v Host 1>[Singing] Stump the duke duke duke, stump the duke duke duke, stump the duke duke duke, stump the duke duke duke, <v The Duke>And you know, it is stumping time. <v Host 1>Stump the duke duke duke. <v The Duke>Pick a word I can spell just fine! Pick a hard one and I will fall on my face. <v The Duke>Yes I will. <v Host 1>Now Duke, no. <v The Duke>Yeah. But now. Now, now. <v Host 1>You won't fall on your face. But somebody will win a prize for stumping you. <v The Duke>Well, I might fall on my face. You just won't see me out there in radio land. <v Host 2>Stephanie from Livingston, New Jersey is with us to try to stump the duke. <v Host 2>Hi, Stephanie. <v The Duke>Stephanie! <v Host 1>Hi. What's your word to stump the duke? <v Stephanie>Sanctimonious. <v The Duke>Sanctimonious. And what does it mean? <v Stephanie>Um, making a show of holiness putting on an air of sanctity. <v The Duke>How can you tell the sanctimonious from the truly holy? <v Host 1>Oh, Duke, this isn't the duke of philosophy it's the duke of words! <v The Duke>It's a very good question. Anyway, sanctimonious?
<v The Duke>Yes. Putting on airs of being holier than thou perhaps sanctimonious <v The Duke>s a n c t i m o n <v The Duke>i o u s. <v Stephanie>Right. <v The Duke>Oh, boy! <v Announcer 2>WNYC also presents a variety of radio, drama and literature. <v Announcer 2>Selected Shorts, a production of WNYC is a celebration of short fiction <v Announcer 2>with readings by accomplished actors. <v Speaker 4>Next, we turn to the letters of Groucho Marx. <v Speaker 4>His letters to Warner Brothers and to Gummow Marx. <v Speaker 4>They will be read for us. In a stroke by Symphony Space of Imaginative and Unobvious <v Speaker 4>Casting by the wonderfully comic actress and singer Phyllis Newman, who <v Speaker 4>in an unguarded moment said she'd love to read them. <v Speaker 4>And so we said yes. And here she is, Phyllis Newman. <v Phyllis Newman>Thank you. These are a series of letters that Groucho wrote to <v Phyllis Newman>Warner Brothers when the Marx Brothers were about to make a movie called
<v Phyllis Newman>A Night in Casablanca. <v Phyllis Newman>There were threats of legal action from the Warner Brothers, who five years before had <v Phyllis Newman>made a picture called simply Casablanca with Humphrey Bogart and Ingrid Bergman <v Phyllis Newman>as stars, whereupon Groucho, speaking for his brothers and himself, <v Phyllis Newman>immediately dispatched the following letters. <v Phyllis Newman>Dear Warner Brothers, apparently there is more than one <v Phyllis Newman>way of conquering a city and holding it as your own. <v Phyllis Newman>For example, up to the time that we contemplated making this picture, <v Phyllis Newman>I had no idea that the city of Casablanca belonged exclusively <v Phyllis Newman>to Warner Brothers. <v Phyllis Newman>However, it was only a few days after our announcement appeared that we received your <v Phyllis Newman>long, ominous legal document warning us not to use the name <v Phyllis Newman>Casablanca. It seems that in 1471 <v Phyllis Newman>Ferdinand Balboa Warner.
<v Phyllis Newman>Your great-great-grandfather while looking for a shortcut <v Phyllis Newman>to the city of Burbank. <v Phyllis Newman>Had stumbled on the shores of Africa and raising his alpenstock, <v Phyllis Newman>which he later turned in for one hundred shares of the common, <v Phyllis Newman>named Casablanca. <v Phyllis Newman>I just don't understand your attitude. <v Announcer 2>In April of 1986, WNYC celebrated the 80th birthday of Samuel Beckett <v Announcer 2>with discussions on Beckett and a performance of the play for radio. <v Announcer 2>All that fall. <v Speaker 5>Diedre Bair, today is Samuel Beckett's 80th birthday. <v Speaker 5>How is he celebrating it? <v Diedre Bair>He's celebrating it very quietly and probably alone. <v Diedre Bair>Although there are lots of festivals and symposia and various theatrical <v Diedre Bair>occasions planned for him throughout the world, he will probably be at <v Diedre Bair>his Paris apartment spending the day very quietly.
<v Diedre Bair>He has never, to my knowledge and to the knowledge of most people who know <v Diedre Bair>him well, seen an opening night of one of his productions. <v Diedre Bair>He's not the sort of writer who makes a habit of going to literary occasions, <v Diedre Bair>cocktail parties, openings, things of that nature. <v Diedre Bair>He's been invited, of course, to take part as much as he cares to <v Diedre Bair>in the various programs happening in New York, in Paris, in Germany, <v Diedre Bair>in South America. But he won't do this. <v Diedre Bair>He'll probably write, read, take a little <v Diedre Bair>walk, perhaps see a friend, perhaps chat on the phone. <v Diedre Bair>Other than that, he won't make an effort of celebrating the occasion, <v Diedre Bair>as he said to me and to many of his other friends <v Diedre Bair>on various occasions of his birthday. <v Diedre Bair>I wish it would just go away or. <v Diedre Bair>Oh, dear. Is it that time again? Or why does anyone bother? <v Diedre Bair>One thing I do know, he'll probably need help getting the mail upstairs to his apartment
<v Diedre Bair>because he'll be deluged with good wishes from many, many <v Diedre Bair>people throughout the world. <v Announcer 2>New York is a crossroads and a home to many important cultural figures. <v Announcer 2>Nancy Shair is able to make use of our location on her program. <v Nancy Shair>Joel Krosnic as cellist of the Juilliard String Quartet. <v Nancy Shair>You're also the newest member, even though you've been there for a decade. <v Nancy Shair>What is it like coming into a renowned organization as the newest member? <v Joel Krosnic>Scary. <v Joel Krosnic>In a word um. <v Joel Krosnic>I guess probably as a as a young cellist, as a young <v Joel Krosnic>student and then a young professional cellist to be a member of an organization <v Joel Krosnic>that carries boldly its convictions about music and about music-making <v Joel Krosnic>before the public in the way that the Juilliard Quartet has for over 36 years <v Joel Krosnic>has to be a dream. I mean, it certainly was something in the back of my mind,
<v Joel Krosnic>in the back of my heart as one of the viable <v Joel Krosnic>things that one could do with one's life to be a member of an organization like that. <v Recording>[Quartet plays music]. <v Announcer 2>WNYC occasionally devotes entire days to composers, musicians and other <v Announcer 2>artists. One of our most recent celebrations was the 90th birthday of Virgil <v Announcer 2>Thompson. <v Recording>[Instrumental music plays].
<v Virgil Thompson>To anyone brought up there, as I was, Kansas City, <v Virgil Thompson>always meant the Missouri one. When you needed to speak of the other. <v Virgil Thompson>You use its full title. Kansas City, Kansas. <v Virgil Thompson>And you did not speak much of it either or go there unless you had business. <v Virgil Thompson>Such business was likely to be involve the stockyards or the packing houses <v Virgil Thompson>which lay over the Kansas line and bottomland. <v Virgil Thompson>The Union Depot Hotel, live banking theaters, shopping <v Virgil Thompson>all their vanities were Missouri, so it was open vice. <v Virgil Thompson>One block on State Line Avenue showed on our side nothing but saloons. <v Virgil Thompson>And just as Memphis and Centralis had their blues, we had our Shurlee <v Virgil Thompson>Older Twelfth Street Rag proclaiming a joyous, low <v Virgil Thompson>life. Even as recently as the 1920s, H.L. <v Virgil Thompson>Mencken boasted for us that within a half-mile around Twelfth and <v Virgil Thompson>Main were two thousand second-story hotels.
Program
WNYC FM: General Station Excellence
Producing Organization
WNYC (Radio station : New York, N.Y.)
Contributing Organization
The Walter J. Brown Media Archives & Peabody Awards Collection at the University of Georgia (Athens, Georgia)
AAPB ID
cpb-aacip-526-736m03zw9w
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Description
Program Description
This recording showcases clips from WNYC radio station. Clips focus on the station's musical programming and include children's programming as well as interviews with Leonard Bernstein, Phyllis Newman, Diedre Bair, Joel Krosnic, and Virgil Thompson.
Broadcast Date
1986
Created Date
1986
Asset type
Program
Media type
Sound
Duration
00:20:42.336
Embed Code
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Credits
Producing Organization: WNYC (Radio station : New York, N.Y.)
AAPB Contributor Holdings
The Walter J. Brown Media Archives & Peabody Awards Collection at the University of Georgia
Identifier: cpb-aacip-8a78b8e68bb (Filename)
Format: 1/4 inch audio cassette
Duration: 0:20:52
If you have a copy of this asset and would like us to add it to our catalog, please contact us.
Citations
Chicago: “WNYC FM: General Station Excellence,” 1986, The Walter J. Brown Media Archives & Peabody Awards Collection at the University of Georgia, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC, accessed June 26, 2022, http://americanarchive.org/catalog/cpb-aacip-526-736m03zw9w.
MLA: “WNYC FM: General Station Excellence.” 1986. The Walter J. Brown Media Archives & Peabody Awards Collection at the University of Georgia, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Web. June 26, 2022. <http://americanarchive.org/catalog/cpb-aacip-526-736m03zw9w>.
APA: WNYC FM: General Station Excellence. Boston, MA: The Walter J. Brown Media Archives & Peabody Awards Collection at the University of Georgia, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Retrieved from http://americanarchive.org/catalog/cpb-aacip-526-736m03zw9w