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A Beginner’s Guide to Hosting a Classical Radio Show

by Jerome Glick BSEE ‘17

Although some of this information is specific to WITR, a lot of it will come in handy to anyone new to the practice of hosting a classical radio show at any station.

|The Name Game |WITR’s Record Library – |

|(“What do all those numbers mean?”) – Identifying Classical Music |The Classical Section 17 |

|2 |WITR’s Classical Record Database 20 |

|Opus Numbers |Announcing – The Basics 22 |

|Catalog Numbers – The Last Word? 3 |Program Start & End |

|Keys 5 |Mic Break Structure |

|A Note on Suites 6 |Time, Show, & Station ID |

|Addendum |Weather |

|(WoO, Ahn & Other Oddities) |PSAs & Show Promos 23 |

|How to Write Titles and Performers 7 |Concerts & Ticket Giveaways |

|Instrumentation |Scheduling 24 |

|Keys 8 |Programming 24 |

|Opus Numbers 9 |Unusual Elements 25 |

|Nicknames |Records 26 |

|Order |Handling |

|Movements |Storage |

|Overtures & Suites 10 |Cleaning |

|The Song Logger 11 |Cueing 27 |

|Composers |Works that Span Both Sides |

|Artists 12 |Playing 78s |

|Short Form Title 13 |Troubleshooting 28 |

|How to Read Titles and Performers 15 |How to Deal with a Skipping Record On-Air |

|Sequence Number |If Music Does Not Play |

|Overtures & Suites |How to Broadcast a Live In-Studio Performance |

|Nicknames |29 |

|Movements 16 |How to Process New Media 30 |

|Performers – Orchestras |Appendix |

| |Broadcasting Prohibited? |

| |Pronunciation Reference 31 |

I. The Name Game (“What do all those numbers mean?”) – Identifying Classical Music

There’s a lot of classical music out there, but most of the time we don’t name it like we can name popular songs. Sure, there are a few names like Messiah, Für Elise, The Sorcerer's Apprentice, Flight of the Bumblebee, Pictures at an Exhibition, Finlandia, The Lark Ascending, Fanfare for the Common Man, Rhapsody in Blue, etc. that are unique on their own. But most classical music doesn’t have a particular theme that can be encapsulated in a word or phrase. Names like Symphony No. 5 are meaningless unless you’re told who composed the piece. Haydn composed his fifth symphony over 100 years before Tchaikovsky did, and they are completely different. So the identity of a work is very much tied to its composer, not just to the title alone.

Quick note: You can say “piece” (as in “piece of music”) or “work” (as in “masterwork”) when referring to classical music, but not “song”, because most of the genre is purely instrumental (without vocals). The exception is, of course, when the piece prominently features a solo vocalist or a small group of singers; such music can be found in the D section of WITR’s classical record library. Even pieces that involve a choir are never called “songs” but referred to as “choral works”.

If you pay attention to the names of classical music works, you’ll quickly notice that numbers play a big role, particularly opus numbers. Do you need to know the opus number to identify a piece? Sometimes yes and sometimes no. But besides this there are BWV numbers, HWV numbers, Hob. numbers, two types of K numbers, D numbers, TWV numbers, RV numbers, and just plain old number numbers. It’s no wonder a lot of people get frustrated at all these numbers and confused when trying to identify classical music. But before I scare you, let it be known that this is all very manageable and a read of this guide will set things straight.

Most pieces of classical music are first given a generic functional name such as Symphony, Concerto, Cantata, Quartet, Sonata, Suite, Waltz, Etude, etc. that describes something about its form or style. Composers have written many of each of these, and so the most basic way of distinguishing them is to assign a sequence number, or what I like to call a “plain old number number” (e.g. Symphony No. 2, Cantata No. 25, Waltz No. 12, etc.).

1.A) Opus Numbers

In many but not all cases, composers have also assigned an opus number to each of their compositions. (The Latin word opus actually means “work” or “labor”; it took a lot of effort to write some of this music!) This is just an overarching number that is supposed to begin at 1 with the first piece the composer ever wrote, and simply increment over time. Usually you can get a sense of how early in a composer’s career the piece was written by how low the opus number is. Since the opus number seems like an added extra, you may not think of it as being absolutely necessary. However there were some composers who for whatever reason didn’t always identify their pieces by the sequence number. In such cases it is necessary to fall back on the opus number.

That all seems simple enough, but here is another element that gets thrown into the mix. In some cases multiple pieces of music were assigned the same opus number, usually because a set of them were published simultaneously, analogous to today’s album release. A very common example is Beethoven’s String Quartets. Many of them fall under Opus 18 and so they are identified with an extra cardinal number as Op. 18, No. 1 (or Op. 18/1); Op. 18, No. 2 (or Op. 18/2); etc. to mean the first piece of the Opus 18 set and the second piece of the Opus 18 set, etc.

Chopin’s Waltzes are another classic example. However, to add to the confusion you will find such names as Waltz No. 6 in D-flat, Op. 64, No. 1. This is neither a typo nor an exercise in contradiction. Chopin recognizes this as the sixth waltz that he wrote, yet it is the first piece he released in the Opus 64 set! The sequence number and cardinal number are not the same! The key is also thrown in as an error-checking mechanism just to make sure all aspects of the identification agree. Say you’re trying to find Waltz No. 1 in D-flat, Op. 64, No. 6, but unbeknownst to you, such a work does not exist because the numbers are mixed up. The piece you actually want is Waltz No. 6 in D-flat, Op. 64, No. 1. When the index or liner notes tell you that Waltz No. 1, Op. 64, No. 6 is actually in C, the discrepancy will have you double-checking your numbers before you settle down with the record and just blindly trust that the music really is what you wanted to hear.

Occasionally composers, such as Chopin, would give unique nicknames to their favorite works to help them “stand out in the mix” of numbers. In fact Waltz No. 6 in D-flat, Op. 64, No. 1 is more commonly known as the Minute Waltz (though not because it is a minute long). So you can rest assured that when you say Minute Waltz people will unquestionably know what you’re talking about. To be on the safe side though, you’ll just have to be sure about those numbers. Take “Military” Polonaise No. 3 in A, Op. 40, No. 1 for example. In cases where the name has a No. 3 and an Op. 40, No. 1, the Op. 40, No. 1 part is usually more important to remember. But it’s still a good idea to know all components of the name, as you will find different records and CDs that identify the same piece in all possible combinations of the following ways:

• Military Polonaise

• Polonaise No. 3

• Polonaise in A

• Polonaise, Op. 40, No. 1

• Polonaise, Op. 40/1

An important distinction: If the No. 1 comes after the opus number (e.g. Op. 40, No. 1 or Op. 40/1), then it is tied to the opus number. This means that it is the first piece in the Opus 40 set. However a name such as Concerto No. 2 in F, Op. 5 that has the “number number” before the opus number does not mean that it is the second piece of the Opus 5 set. It is not the same as Op. 5, No. 2 or Op. 5/2. You can assume that this particular composer’s second concerto is his only work that bears the Opus 5 identifier.

1.B) Catalog Numbers – The Last Word?

And now we come to the composers who didn’t use opus numbers (or at least not all of the time), perhaps because they didn’t feel like it, thus making our lives that much harder. Bach, Haydn, and Mozart never used opus numbers and in some cases didn’t even use a sequence number. Handel, Schubert, Telemann, and Vivaldi didn’t always use opus numbers either. (Crazy as he was, at least Beethoven used opus numbers!) Without a number they resorted merely to the key and the generic functional name. Considering how prolific these composers were, you can run out of naming options pretty quick. It didn’t always matter to them because some of their works were considered to be disposable at the time. A Prelude in D major would supposedly be long forgotten by the time Bach had written another Prelude in D major 10 years later in his career. But as we know, a lot of the manuscripts have survived and these works continue to be performed and recorded today.

To put an end to this madness, musicologists over the years have painstakingly combed through the entire musical output of these composers, assigning a new “catalog number” to each piece. These superior catalog numbers are supposedly the last word in the sometimes confusing nature of identifying classical music. Unlike opus numbers, they do not necessarily intend to indicate chronological order of composition. These numbers are prefaced by an initial or set of letters, usually indicating the last name of the musicologist who assigned the numbers. Here is a list of the most common:

|Composer |Catalog |Meaning |

| |Number | |

| |Identifier | |

|J.S. Bach |BWV |Bach-Werke-Verzeichnis |

| | |(translation: Bach-Works-Catalogue) |

|Handel |HWV |Händel-Werke-Verzeichnis |

|Haydn |Hob. |Hoboken |

|Mozart |K. or KV |Kochel (pronounced Ker-kul or Ker-shul) |

|D. Scarlatti |K. or Kk. |Kirkpatrick |

|Schubert |D. |Deutsch (pronounced Doych) |

|Telemann |TWV |Telemann-Werke-Verzeichnis |

|Vivaldi |RV or R. |Ryom-Verzeichnis |

Many more exist but are not commonly used. A note about Haydn’s Hob. numbers – they can get complicated, and there’s nothing we can do about that. Some examples of use:

• Toccata & Fugue in d, BWV 565

• Suite in d, HWV 437

• Flute Concerto in D, Hob. VIIf:D1

• Menuette in C, K. 568

• Keyboard Sonata in G, K. 146

• Allegretto in C, D. 346

• Concerto No. 2 in G for Cello Quartet, TWV 40:202

• Mandolin Concerto in C, RV 425

Observing the fifth example above, it is extremely likely that Domenico Scarlatti wrote more than one Keyboard Sonata in G (considering he wrote 500 keyboard sonatas), so the Kirkpatrick number is indispensable in telling one apart from the others! Although every work by the above composers (supposedly) has a catalog number, in some cases it is quite unnecessary to know. For example, one almost never sees a Hoboken number used to identify any of Haydn’s symphonies because there is no dispute over whether he composed two pieces both named Symphony No. 84. Here are a few other examples of catalog numbers amended to the names of pieces which already contain other numbers, just for the sake of completion:

• Cello Suite No. 6 in D, BWV 1012

• Horn Concerto No. 1 in D, Hob. VII:d3

• Piano Sonata No. 8 in a, K. 310

• Piano Quintet in A, Op. 114, D. 667 "The Trout"

The last example above indicates that the piece also has a nickname, placed at the end in quotes, which can be independently used to instantly identify the piece without the drudgery of all the numbers. (Since The Trout is such a unique nickname and all the classical buffs know it, the D. number or even the opus number and key are not very important to know in this case.) In fact, the catalog number alone can (supposedly) be used to identify any of the works of the composers who use these catalog numbers. You could say, “Play me Bach’s BWV 1048” or “Play me Mozart’s K. 525” and you would end up with the same piece, the correct one, and the only one with such a number, every time. (The same usually goes for opus numbers.) But a number alone doesn’t carry much meaning. Bach’s Brandenburg Concerto No. 3 is one of my favorites, but I’ve never cared to remember that its BWV number is 1048. Similarly, Mozart’s Eine Kleine Nachtmusik is probably the number one hit of the Classical era but few people remember that it has a K. number of 525.

Although the catalog number is not always needed, sometimes it just gives an extra layer of certainty for ensuring that the piece’s identity is correct. Take the third example above. Suppose for years you’ve known Mozart’s Piano Sonata No. 8 in A minor, but for some odd reason you discover another Piano Sonata No. 8 in A minor by Mozart that obviously does not sound the same. Is it true that Mozart really wrote two pieces with the exact same name? Or is it just a typo? Ask for the K. number. Only then can you be sure. The more numbers you know the more certain you can be that you’re referring to the correct piece.

1.C) Keys

Often you will see pieces of music identified with their keys:

• Symphony No. 9 in e

• Piano Concerto No. 1 in b-flat, Op. 23

• Oboe Sonata in G

Except for that rare last example (perhaps a work by an obscure small-name composer who didn’t need to use opus or catalog numbers because he wrote so few pieces that he could get away with identifying them just by key), the key is usually not essential to identifying the piece. To some classical buffs and music theorists, mentioning the key evokes a certain sense. They talk about the joyful key of E major, the restless nature of E minor, the purity of C major, the harsh and wild B major, or the fact that G major is a nice key for the string instruments, giving them that extra edge in performance. For others, mention of the key is little more than another verification mechanism to be sure of the piece’s identity. If the key is not followed by the word “major” or “minor”, capital letters indicate major keys and lowercase letters indicate minor keys.

1.D) A Note on Suites

A suite is usually a standalone piece, such as Bach’s Cello Suite No. 1. But sometimes a suite is a set of excerpts from some larger work, such as an opera or ballet. If a composer wrote music for an opera or ballet and there was demand to hear some of that music in a concert setting (apart from an opera or ballet performance), the composer took some of the more tuneful sections of that large work and republished it as a suite. One example is The Nutcracker Suite, which is a selection of musical excerpts from The Nutcracker, the famous ballet. In some cases there was so much good music contained in a larger work that the composer had to arrange numerous suites from it. Grieg arranged two suites from his opera Peer Gynt and Prokofiev arranged three suites from his ballet Romeo and Juliet.

1.E) Addendum (WoO, Ahn & Other Oddities)

Occasionally you may come across other strangely-labeled numbers. Here’s the key to those:

• WoO – Werke ohne Opuszahl (translation: Works without Opus Number): In the earlier eras, only published works were assigned opus numbers. The ones that went unpublished got the WoO. numbers. (And you cannot pronounce it “woo”. Say each letter separately.)

• Op. posth. – Posthumous Opus: A number assigned by publishers to works first published after the composer’s death.

• Anh. – Anhang (translation: Annex): An abbreviation added after BWV to indicate that the work is lost, of dubious authenticity, or was once attributed to J.S. Bach but it has since been established that it wasn’t composed by him.

On some older vinyl records you may find mention of these obsolete catalog numbering systems which are no longer in use:

|Composer |Catalog Numbering System |

| |Current |Obsolete |

|J.S. Bach |BWV |S (Schmieder) |

|Handel |HWV |HG, HHA |

|D. Scarlatti |K. or Kk. |L (Longo), P (Pestelli) |

|Vivaldi |RV |P (Pincherle) |

So now that you know the ins and outs of naming classical music, perhaps you’ll get a few more of those Peter Schickele jokes.

II. How to Write Titles and Performers

Just take a look at a few record jackets or CD case inserts and you’ll soon notice that the titles of classical music works are written in many different ways, all of which are valid! For the sake of consistency, and to minimize confusion, this guide demonstrates the best practices for writing titles. (Websites such as IMSLP and Wikipedia also follow this standard.) Though not comprehensive, it should come to aid in most cases.

2.A) Instrumentation

As first mentioned in Chapter I (“The Name Game”), a lot of classical music is given a generic functional name such as Symphony, Concerto, Quartet, Sonata, etc. One will see instrumentation mentioned in the title in either of these ways:

First Method Second Method

Violin Concerto Concerto for Violin and Orchestra

String Quartet Quartet for Strings

Piano Quartet Quartet for Piano and Strings

Piano Trio Trio for Piano and Strings

String Trio Trio for Violin, Viola, and Cello

Cello Quartet Quartet for Four Cellos

Cello Sonata Sonata for Cello and Piano

Piano Sonata Sonata for Piano

Violin and Cello Sonata Sonata for Violin and Cello

In the above examples, the first method of writing is preferred at WITR because it is more concise yet in most cases still conveys all relevant and important information about the work by taking advantage of standard conventions. The second method is more often used for formal concert programs.

In the Baroque era, a concerto was usually a piece performed by a small group of instruments, but in the Classical, Romantic, and later eras, a concerto came to be recognized as a piece that features a soloist accompanied by an orchestra. The solo instrument is always mentioned in the title, as in the first example. One notable exception of the Modern era is Bartok’s Concerto for Orchestra which does not involve a soloist – it cannot, however, be written Orchestra Concerto.

A String Quartet is generally known to consist of two violins, a viola, and a cello. A Piano Quartet never refers to a group of four pianos, but rather to a piano plus a string trio, which in turn usually consists of a violin, viola, and cello. If indeed four pianos are playing together, the name would include the phrase for Four Pianos. The same applies to a Piano Trio; it refers to a group that consists of a piano, violin, and cello.

The phrase Cello Quartet usually refers to a group of four cellos, however the phrase Cello Quintet is ambiguous because it could either refer to a group of five cellos or to a group consisting of a cello plus a conventional string quartet. In this case it is safer to use the term String Quintet, as here we at least reduce the ambiguity down to the fifth instrument – it could be either a viola or a cello.

A sonata is usually understood to be played by a certain instrument in addition to a piano, unless the piano is the only instrument involved. In the rarer case that the sonata does not involve a piano, the piece must be identified as Sonata for, followed by the instruments involved, as in the last example above. These next two examples involve less-common instrumentations:

2-Trumpet & String Sonata a 6 Sonata a 6, for 2 Trumpets & Strings

Three-Piano Concerto Concerto for Three Pianos & String Orchestra

In both cases it would not be desirable to write them using the first method. In the first example, Sonata a 6 does not mean Sonata No. 6 in A minor. Certain pieces of the Renaissance era used such notation and though I don’t know what it means, it best be left as such. For the second example, although Triple-Piano Concerto is a valid title, it assumes that the accompanying group is a full orchestra instead of the string orchestra which is used in this case.

Violin Poeme, Op. 25 Poeme for Violin & Orchestra, Op. 25

French Horn & String Etude No. 2 Etude No. 2 for French Horn & Strings

Piano Ballade, Op. 19 Ballade for Piano & Orchestra, Op. 19

The names Poeme, Etude, and Ballade are not attached to standard conventions regarding instrumentation as are the Concerto, Quartet, and Sonata. Therefore there is no shorter method that can be employed in writing and instrumentation should be specified using the second method shown above. In the following four examples, the titles are unique enough that mention of instrumentation is not entirely necessary for proper identification.

Introduction & Polonaise Brillante for Cello & Piano, Op. 3

Introduction & Polonaise Brillante, Op. 3

Introduction & Allegro for String Quartet & String Orchestra, Op. 47

Introduction & Allegro, Op. 47

Sinfonia Concertante in E-flat for Violin, Viola, & Orchestra, K. 364

Sinfonia Concertante in E-flat, K. 364

Variations on a Rococo Theme for Cello & Orchestra, Op. 33

Variations on a Rococo Theme, Op. 33

2.B) Keys

A key is always either major or minor. It can’t be both or neither. A shorter way of indicating major and minor keys is to use the capital/lowercase letter convention:

• D major ( D

• D minor ( d

This works fine unless the system used to display titles to listeners is not case-sensitive, as is usually the case with RDS (Radio Data System), the means by which car listeners with RDS-equipped radios can receive text data (titles and artists) from a radio station. Since WITR’s RDS data is sourced from the online Song Logger, entries should be typed using the longer method instead of the capital/lowercase letter convention.

A-sharp can be written as A#, but since it is not simple and easy to type A♭on standard keyboards and most character-limited display systems (such as RDS) do not likely include a flat character, A-flat should be used instead.

2.C) Opus Numbers

There are two ways to write opus numbers that come with an additional cardinal number:

Op. 9, No. 2 or Op. 9/2. Although the second method is shorter, the first method is preferred to avoid possibly confusing the uninformed, who may think “opus nine or two” or even “opus nine-halves”, which isn’t all that unrealistic considering what P.D.Q. Bach can contrive.

2.D) Nicknames

Nicknames should be placed in quotes at the end of the standard name (e.g. String Quartet No. 14 in d, D. 810 “Death and the Maiden”).

2.E) Order

A title in long form should be written in this order: first the sequence number, followed by the key, opus number, catalog number, and nickname in quotes (if applicable). Here is an example of a title (with all its components included) written the correct way:

Piano Trio No. 1 in B-flat, Op. 99, D. 898

Here are some ways you should avoid writing the title:

Piano Trio in B-flat, No. 1, Op. 99, D. 898

Piano Trio in B-flat, Op. 99, No. 1, D. 898

Piano Trio in B-flat, Op. 99, D. 898, No. 1

Piano Trio No. 1, Op. 99, in B-flat, D. 898

Piano Trio No. 1 in B-flat, D. 898, Op. 99

In the second example the sequence number appears where a cardinal number is expected to be (immediately after the opus number), which causes confusion. Regarding the fifth example, the catalog number should always come after the opus number. In the case that the title includes for, followed by the instrumentation, this should come in between the sequence number and the key (e.g. Concerto No. 8 for Two Violins in a).

2.F) Movements

There are two methods of specifying a single movement of a piece. In the first method, a colon is placed at the end of the piece name, followed by a Roman numeral indicating the movement number and the name of the movement itself, as follows:

Violin Concerto in D, Op. 35: III. Allegro vivacissimo

The colon indicates that the following information refers to only a portion of the complete work. Some people may more strongly identify with the number of the movement instead of the movement name, and vice versa, which is why both are indicated. In the second method, the name of the movement comes first, followed by from and then the name of the complete work in parentheses. Here is the same example as above, written using the second method:

Allegro vivacissimo (from Violin Concerto in D, Op. 35)

Above you have seen two different methods of indicating a movement alone; however one method is preferred over the other depending on the piece. In an example such as this, in which the movement itself does not have a particularly distinct identity on its own, the first method is preferred. However, the second method is preferred for movements which on their own carry a significant-enough identity independent from the identity of the complete work (and for which many casual classical listeners are unaware are merely excerpts of larger works). Some examples:

Sheep May Safely Graze (from Cantata 208)

Gigue (from French Suite No. 5)

Air on the G-String (from Orchestral Suite No. 3)

Maria (from West Side Story)

Nocturne (from Carmen: Suite No. 2)

Farandole (from L'Arlesienne: Suite No. 2)

Clair de Lune (No. 3 from Suite Bergamasque)

Nimrod (No. 9 from “Enigma” Variations, Op. 36)

Ritual Fire Dance (from El Amor Brujo)

Dawn (from Peer Gynt: Suite No. 1, Op. 46)

On the Trail (from Grand Canyon Suite)

Jupiter (No. 4 from The Planets, Op. 32)

A few of the above examples show how the movement number can be indicated before the word from. If any aspect of the piece’s identity is not indicated on the record or CD then don’t worry about trying to research it.

2.G) Overtures & Suites

Overtures and suites are both unique in that they can be either standalone works or sections of larger works. Similar to the way individual movements are indicated, when the overture is part of a larger work a colon is inserted between the name of the larger work and the word overture, indicating that what follows is a section of the complete work:

Beatrice and Benedict: Overture

Candide: Overture

The Magic Flute: Overture

However, the same cannot be done for standalone overtures which are not part of some larger work:

Tragic Overture, Op. 81

Carnival Overture

1812 Overture

Here are some examples with suites:

English Suite No. 2 Carmen: Suite No. 1

Orchestral Suite No. 4 The Three-Cornered Hat: Suite No. 2

Petite Suite Peer Gynt: Suite No. 1, Op. 46

Holberg Suite, Op. 40 The Nutcracker: Suite, Op. 71a

Grand Canyon Suite

If you are unsure, just leave the colon out.

Note: In the WITR classical recording catalog you may occasionally come across a listing such as Beatrice and Benedict: Overture (Op. 27). The opus number is in parentheses because it indicates that the complete work, Beatrice and Benedict, has that opus number. The overture alone does not carry that opus number.

2.H) The Song Logger

The WITR Song Logger includes two fields of entry: song title and artist. This works well for the majority of music, however disputes exist over the way classical music should be identified in such a two-field system. At WITR, the artist is considered to be the performing artist(s) of the recording, those actually singing or playing the instrument(s). The title field includes the composer’s last name, followed by a colon and then the work name in short form (see section 2.H.iii). This is because the identity of a work is very closely tied to its composer, as explained in Chapter I, “The Name Game”.

2.H.i) Composer

In cases where more than one composer has the same last name or the composer is not well-known by his/her last name alone, the first name should be included. (Entries in the WITR classical recording catalog reflect this.) The most common examples are:

• Eduard Strauss

• Johann Strauss, I (a.k.a. Johann Strauss, Sr.)

• Johann Strauss, II (a.k.a. Johann Strauss, Jr.)

• Johann Strauss, III

• Joseph Strauss

• Richard Strauss

The last names Bach, Bernstein, Haydn, and Mozart are all shared by more than one composer, however unlike the Strausses, for each of these names one composer is much more famous than the other(s) and therefore the last name alone suffices. (Other examples do exist; these are just the most common):

• Johann Sebastian Bach (Bach)

• Leonard Bernstein (Bernstein)

• Franz Joseph Haydn (Haydn)

• Wolfgang Amadeus Mozart (Mozart)

Meanwhile, the lesser-known composers with these same last names need a first name or initial:

• Johann Christian Bach (J.C. Bach)

• Johann Christoph Friedrich Bach (J.C.F. Bach)

• Wilhelm Friedmann Bach (W.F. Bach)

• Pretty Damn Quick Bach (P.D.Q. Bach)

• Elmer Bernstein (Elmer Bernstein)

• Michael Haydn (M. Haydn)

• Leopold Mozart (L. Mozart)

2.H.ii) Artists

The artist field should be populated with the full names of the performing artist(s) involved, separated by slashes and including their respective instrument(s) in parentheses. This complies with official MP3 metadata tag specifications.

Itzhak Perlman (violin)/Yo-yo Ma (cello)

It is unnecessary to list the names of each of the members of a small ensemble (such as a string quartet) that has an ensemble name (e.g. Emerson String Quartet). Only if the group lacks a name should the individual performers be listed. When multiple performers are playing the same kind of instrument but there are multiple instruments (e.g. two-pianos-four-hands), the instrument is listed in plural form:

Robert & Gaby Casadesus (pianos)

But when multiple performers are playing on a single instrument (e.g. one-piano-four-hands), the instrument is listed in singular form:

Robert & Gaby Casadesus (piano)

Conductor names are placed after orchestra names and the word “the” is not included. Daniel Barenboim, Leonard Bernstein, Pierre Boulez, Arthur Fiedler, Eugene Ormandy, Leopold Stokowski, Arturo Toscanini, and Herbert von Karajan are such popular conductors that their last names alone will suffice. (Remember that the “last name” of Herbert von Karajan is actually “von Karajan”.) The following abbreviations are used for orchestra names:

O: Orchestra SO: Symphony Orchestra

StO: String Orchestra PO: Philharmonic Orchestra*

CO: Chamber Orchestra RSO: Radio Symphony Orchestra

CP: Chamber Philharmonic RPO: Radio Philharmonic Orchestra

*PO cannot be used for Philharmonia Orchestra; no abbreviation is used for this name.

Concerto soloists are placed first. For concerto soloists who also conduct the ensemble, the soloist’s name is not repeated. For works that involve a choir and orchestra, the choir comes before the orchestra. For works that involve vocal soloists, a choir, and orchestra, the vocal soloists come first. For operas, singers are usually identified by their character name in parentheses rather than their vocal range. Examples:

• Philadelphia O/Ormandy

• Joshua Bell (violin)/Baltimore SO/David Zinman

• Pinchas Zukerman (violin)/English CO/Pinchas Zukerman

• Vienna State Opera Chorus/Vienna PO/von Karajan

• Elly Ameling (soprano)/Helen Watts (contralto)/Werner Krenn (tenor)/Marius Rintzler (bass)/Vienna Choir Academy/Stuttgart CO/Karl Munchinger

• James McCracken (Otello)/Gwyneth Jones (Desdemona)/Dietrich Fischer-Dieskau (Lago)/Ambrosian Opera Chorus/New Philharmonia O/Sir John Barbirolli

Refer to the WITR classical recording catalog, “Sorted Shelf Order” sheet, for many more examples.

2.H.iii) Short Form Title

So far this entire guide has shown piece names written in long form, with all available components of the name included. Since the information typed into WITR’s Song Logger appears on the website’s home page and on the displays of RDS-equipped car radios, character length is at a premium, so one should only include information that is essential to identification of the piece by writing it in short form. (Just compare the average classical title length to that of most pop songs!) RDS displays have a habit of cutting off the end of titles, so space is saved by replacing No. with # and moving nicknames (the most unique part of the name) to the beginning where they are first seen. Keys are written using the long method because RDS is not case-sensitive. Below are examples of long form titles and their valid short form equivalents.

Dvorak: String Quartet No. 12 in F, Op. 96 “American”

Dvorak: “American” String Quartet

Dvorak: Symphony No. 9 in e, Op. 95 “From the New World”

Dvorak: “New World” Symphony #9

Elgar: Variations on an Original Theme, Op. 36 “Enigma”

Elgar: “Enigma” Variations

Opus numbers and keys are generally eliminated because they are non-essential to identifying the work.

More examples:

Schubert: Piano Trio No. 1 in B-flat, Op. 99, D. 898

Schubert: Piano Trio #1

Beethoven: Piano Concerto No. 5 in E-flat, Op. 73 “Emperor”

Beethoven: “Emperor” Piano Concerto #5

Chopin: Waltz No. 6 in D-flat, Op. 64, No. 1 “Minute”

Chopin: “Minute” Waltz

Tchaikovsky: Violin Concerto in D, Op. 35

Tchaikovsky: Violin Concerto in D major

For the last example above, the key is left in because it needed to distinguish this particular violin concerto from another that the same composer may have possibly written. However, if you are aware that the composer wrote only one violin concerto (as in Tchaikovsky’s case), the title can be further shortened to just Violin Concerto.

Debussy: Clair de Lune (No. 3 from Suite Bergamasque) Debussy: Clair de Lune

Elgar: Nimrod (No. 9 from "Enigma" Variations, Op. 36) Elgar: Nimrod (from “Enigma” Variations)

Holst: Jupiter (No. 4 from The Planets, Op. 32) Holst: Jupiter (from The Planets)

Chausson: Poeme for Violin & Orchestra, Op. 25 Chausson: Poeme, Op. 25

Faure: Ballade for Piano & Orchestra, Op. 19 Faure: Ballade, Op. 19

Cherubini: Etude No. 2 for French Horn & Strings [unchanged]

Above, the opus numbers are left in because I don’t have enough faith that Poeme and Ballade carry enough significance as titles to stand alone. Sometimes you have to use your own judgment. Again, Etude No. 2 seems too generic without its instrumentation. Below are more examples of names which don’t carry enough significance in short form without their keys or catalog numbers included, with the exception of the last example, because Bach’s six Cello Suites are considered well-known.

C.P.E. Bach: Oboe Sonata in G C.P.E. Bach: Oboe Sonata in G major

Bach: Toccata & Fugue in d, BWV 565 Bach: Toccata & Fugue in D minor, BWV 565

Haydn: Flute Concerto in D, Hob. VIIf:D1 Haydn: Flute Concerto in D major, Hob. VIIf:D1

Telemann: Concerto No. 2 in G for Cello Quartet, TWV 40:202

Telemann: Concerto #2 in G major for Cello Quartet, TWV 40:202

Bach: Cello Suite No. 6 in D, BWV 1012 Cello Suite #6

When writing the title, only include as much information as you know, or as is provided in the record or CD liner notes. In some cases, however, the WITR classical recording catalog contains additional info regarding piece identity (which is not present on disc liner notes). If unsure about how to properly write a piece name, simply consult the WITR classical recording catalog.

III. How to Read Titles and Performers

Piece names can generally be read as they appear on the page, though other options exist. When the key is provided, don’t forget to specify whether it is major or minor.

3.A) Sequence Number

For example, Symphony No. 3 can be spoken as “Symphony Number Three” or “Third Symphony”. (This applies not only to symphonies but in any situation where sequence numbers are used.)

3.B) Overtures & Suites

In cases where an overture or suite is not a standalone work but rather a section of a larger work, its name can be spoken in several ways:

“The Magic Flute Overture” “Overture to The Magic Flute” “Overture from The Magic Flute”

“Carmen Suite No. 1” “Suite No. 1 from Carmen” “First Suite from Carmen”

However, the same cannot be done for standalone overtures and suites which are not part of some larger work:

“Carnival Overture” “Overture from Carnival”

“Grand Canyon Suite” “Suite from Grand Canyon”

It does not make sense to speak in the latter way because “Carnival” and “Grand Canyon” are not works on their own.

3.C) Nicknames

A nickname can be spoken before or after a piece’s title.

“Waltz Number 6 in D-flat major, Opus 64, Number 1, The Minute Waltz”

“The Minute Waltz, Number 6 in D-flat major, Opus 64, Number 1”

“Piano Quintet in A major, Opus 114, D. 667, The Trout”

“The Trout Quintet in A major, Opus 114, D. 667”

“String Quartet Number 12 in F major, Opus 96, American”

“American String Quartet, Number 12 in F major, Opus 96”

Note that it is not necessary to speak in long form when identifying classical music unless you are intentionally being complete. Keys and numbers can be left out only if their knowledge is not essential to identifying the piece.

3.D) Movements

There are multiple ways to speak of a movement of a piece:

“The second movement from Piano Concerto Number 4”

“The Adagio movement of Piano Concerto Number 4”

“The second movement Adagio from Piano Concerto Number 4”

3.E) Performers – Orchestras

When speaking the name of an orchestra, choir, or other ensemble always begin with the word “the”.

“performed by the Philadelphia Orchestra” “performed by Philadelphia Orchestra”

“performed by the Mormon Tabernacle Choir” “performed by Mormon Tabernacle Choir”

“performed by the Emerson String Quartet” “performed by Emerson String Quartet”

IV. WITR’s Record Library – The Classical Section

The classical vinyl records and CDs are sorted first by subgenre, then by composer, work title, and main performing artist, according to their assigned IDs. This ID scheme is based on the content of the recording (not the catalog number of the record label or the order in which it was received at the station) and is compatible with computer-based catalog systems, yet is not dependent on them. Unlike other schemes in which the assigned ID carries no meaning with regards to record content, this scheme remains partly useful even in the catastrophic event of total catalog data loss, and is also conducive to casual browsing. Simply put, a relatively knowledgeable person can find the recording they are looking for on the shelf over 50% of the time even without the use of a computer database, given a basic understanding of the ID codes.

Understanding the LP/CD ID codes

Each classical record or CD is assigned an ID code. The code format is based (and extended) upon the system formerly used by the RIT College of Liberal Arts record library. The ID is visible on a sticker located at the upper-left corner of each record jacket or CD case. (Ignore other numeric ID labels that may be on the spines of some record jackets or on the record labels themselves, as these refer to older cataloging systems no longer in use.)

An ID is usually a four-line code. The first line consists of the genre indicator CL (for classical)* followed by a hyphen and a subgenre indicator (see chart at left). Note that for the G (solo) section, additional letters indicate the instrument. These extended instrument codes can also apply to the EC (concerti) section in specifying the featured instrument of the concerto. As new discs are acquired which feature instruments not listed here, new instrument codes can be assigned accordingly.

(Note: At the time of this writing, a large number of vinyl records have an ID sticker that lacks the initial CL indicator. These records were acquired from the College of Liberal Arts, the focus of whose collection was mainly classical and so the main genre indicator was not necessary. After WITR acquired these records it made sense to primarily identify them under the classical genre, among the many other genre sections contained in WITR’s vast library.)

The second line indicates the composer, generally consisting of the first four letters of the composer’s last name. In cases where multiple composers have last names which share the same first four letters, as many letters are used in order to distinguish the composers. Common examples include Schubert and Schumann (Schub, Schum) and Strauss and Stravinsky (Strau, Strav). In cases where multiple composers share a last name, additional letters are added to indicate the composer’s first name or other initials. In cases where multiple composers share the same last name but one is significantly more famous than the other(s), the most famous composer is indicated by only the last name. Here are some common examples:

• Johann Sebastian Bach: Bach

• Johann Christian Bach: Bach-JC

• Johann Strauss, I: Strau-Joh1

• Johann Strauss, II: Strau-Joh2

• Joseph Strauss: Strau-Jos

• Richard Strauss: Strau-R

• Leonard Bernstein: Bern

• Elmer Bernstein: Bern-E

For records or CDs that contain works by a collection of composers (instead of focusing on one, two, or three composers), the COLL indicator is used.

The third line indicates the main work (or one of the works) on the record or CD. The indicator can be an abbreviation (e.g. Sche for Scheherazade), again following the four-letter rule mentioned above, or an acronym (e.g. FR for Fountains of Rome). In some cases the title of the album is indicated (e.g. OW-2 for Orchestral Works, Vol. 2). Some examples:

• Requiem, K. 626: Req-626

• Cantatas Nos. 50, 83, and 197: Can-50,83,197

• Brandenburg Concertos Nos. 1, 2, and 3: BC 1-3

• Mass in C Major: Mass-C

• Peer Gynt Suite No. 1: PG-S1

The third line is often related to the subgenre indicator. For example, if the first line is CL-ECP, we know that the specified work is a piano concerto. The third line then indicates which piano concerto it is. The same applies to symphonies (CL-ES). Examples:

|CL-ECV |Mozart’s Violin Concerto No. 5 |

|Moza | |

|5 | |

|Oist | |

|CL-ECVcl |Dvorak’s Cello Concerto in B Minor |

|Dvor | |

|b | |

|Casa | |

|CL-ECP |Barber’s Piano Concerto |

|Barb | |

|CP | |

|Brow | |

In the last example, the record does not indicate a number or key for Barber’s piano concerto (probably because he only wrote one), so the third line simply states CP (concerto – piano). Here are further examples taken from the F (chamber) and G (solo) sections:

|CL-F |Schubert’s String Quartet No. 14 “Death and the Maiden” (The abbreviation (D&M) is added |

|Schub |because this quartet is recognized better by its nickname than by its number.) |

|QrS-14 (D&M) | |

|Buda | |

|CL-F |Beethoven’s String Quartet, Op. 18, No. 6 |

|Beet | |

|QrS-Op.18/6 | |

|Bary | |

|CL-F |Beethoven’s String Quintet in C Major |

|Beet | |

|QnS-C | |

|Buda | |

|CL-F |Mozart’s Piano Quartet No. 1 |

|Moza | |

|QrP-1 | |

|New Y | |

|CL-F |Brahms’ Piano Trio No. 2 |

|Brah | |

|TP-2 | |

|Alma | |

|CL-F |Mendelssohn’s Octet |

|Mend | |

|Oct | |

|Marl | |

|CL-F |Elliott Carter’s Brass Quintet |

|Cart | |

|QnBr | |

|Amer | |

|CL-F |Glinka’s Piano Sextet |

|Glink | |

|SxP | |

|Obor | |

|CL-F |Mozart’s Wind Serenade No. 10 |

|Moza |(Instead of WS the indication is SW, Serenade for Winds, because it is conceivable that |

|SW-10 |Mozart wrote serenades for other instruments and they should be sorted together. This |

|CA |“reversal” also applies in the examples shown above.) |

|CL-GP |This record is titled “Chopin: The Four Ballades”. Since he only wrote four of them, instead|

|Chop |of indicating Ball 1-4, the third line reads Ball-All, to indicate that all of the ballades |

|Ball-All |are included. |

|Guld | |

|CL-GP |Beethoven: Complete Piano Music |

|Beet | |

|All | |

|Bren | |

In cases where a record or CD contains many works by a given composer, again the COLL (collection) indicator is used. In cases where the ID has COLL in its second line (indicating a collection of composers), the third line does not indicate a work but rather the main performing artist (see below).

The fourth line indicates the main performing artist, generally consisting of the first four letters of the artist’s last name. For multiple artists who share the same last name, rules used for composers in the second line also apply here. For solo or concerto music, the soloist is indicated. For orchestral music, usually the conductor is indicated. For conductor-less ensembles, the name of the group is indicated, either through an abbreviation or acronym, again loosely sticking to the four-letter rule. For IDs in which the second line is COLL and the third line indicates the performing artist, the fourth line indicates the album title.

Though countless variations and exceptions are to be found, these general rules serve as a useful guideline towards understanding the classical record and CD IDs.

V. WITR’s Classical Record Database

The majority of WITR’s (non-classical) vinyl records and CDs are sorted by artist. If one wants to find any song by The Beatles, for example, one would simply go to the place in the library where all of The Beatles’ albums are stored together and it would not take too long to find the song. The contents of a given artist’s albums are well established and the artist may release anywhere from a handful to a few dozen albums over the course of their career. However with classical music the matter is not always as simple as going straight to the shelf.

Classical albums often contain works that fit into different categories. For example, a long symphony may be paired with a shorter overture to fill up time on the disc. Since the symphony is the more prominent work of the pairing, the album gets sorted by the symphony and the shorter overture then cannot be found by someone looking in the overture section. Classical albums also often feature works by more than one composer, but the album can only be sorted under a single composer’s name or in the compilation section (Collection – COLL). In some cases, different performances of the same work can be found in entirely different parts of the library. Given these reasons among others, one can see why a catalog is necessary for reliably finding any piece of music in a classical record library.

WITR’s classical recording catalog is stored as a spreadsheet (.xls) file in the Classical folder on the computer in Studio B. The file contains multiple sheets, the first of which, labeled “Index”, is the actual catalog. It contains a number of columns with details about each work. For example, the Instrumentation column gives the classical show host a general sense of the scale of the work (solo, small or large ensemble, vocal, chorus, etc.) and what it will sound like based on what instruments are playing. The length is indicated, as well as the performers, the title of the album on which the work can be found, the WITR-assigned ID of the album, the label and number of the album, the track/band that the work is on, and the year it was recorded.

The last column contains additional notes on the recording, such as whether it is live, whether the artist(s) or performing venue is local to Rochester, whether it is a world premiere, whether the disc is in the 50-CD Decca box set and if so which disc it is, and other comments written by WITR staff. (Note: If the WITR ID is indicated as (RDLibrary), the recording is a file stored on the station’s server and can be played via the Rivendell computer system. A lot of these were donated from the Glick Classical Tape Library, see .) Top 500 classical works are highlighted in yellow, the author’s personal favorites (which aren’t already in the Top 500) are highlighted in orange, and unconventional/unusual recordings are highlighted in light green. Finding a recording is as simple as pressing Ctrl + F. The WITR ID indicates exactly where it sits on the shelf. The database is a work in progress and not complete; it does not indicate all relevant opus numbers or catalog numbers, only those which were indicated on the albums themselves or which were known off-hand by WITR staff at the time of entry.

In addition to the index, the catalog file features additional sheets of useful information. The “Top 500” sheet lists those works generally considered to be the 500 most well-known and popular in the entire classical repertoire. In other words, you can’t go wrong here. (Please note, this list is neither complete nor set in stone.) On this sheet the pieces highlighted in yellow are so well-known that they may be considered Top 40 classical. The “Favorites” sheet contains the author’s personal favorites that aren’t already on the Top 500 list.

The “Themes” sheet lists classical pieces that suit themes or occasions, such as morning/starter/upbeat, ending/concluding, evening/calm, Christmas, New Year’s, love/valentine’s, Easter, graduation, Independence Day, Halloween, birthday, seasons, and solemn/sad. (Again, this list is neither complete nor set in stone.) The “Birthdays” sheet contains a list of composer’s birth and death dates (the most well-known composers in bold). And finally the “Sorted Shelf Order” sheet lists the vinyl records and CD albums in the order they are sorted on the shelf. The last column of this sheet contains additional notes on the album, such as its acquisition date and source, whether it is live or local, whether it is a duplicate, etc.

At the time of this writing, the “Sorted Shelf Order” and “Index” sheets lack any data regarding the vinyl records acquired from the RIT College of Liberal Arts, though they are physically sorted together with the other records already indicated. The “Liberal Arts records” are cataloged via boxes of index cards.

VI. Announcing – The Basics

6.A) Program Start & End

There are different ways to start and end a classical radio program. Some may begin by talking and others may begin with music (such as a theme intro) and then talk later. Similarly, some may end by talking and others may end with music. Here are some recommendations. At or near the beginning of the program, an announcer should welcome the listeners, mention the name of the show, and mention his/her name or DJ handle. One could proceed by giving a brief overview of the pieces to be aired on the day’s show, then play the first piece. At or near the end of the show, the announcer should mention the online playlist (WITR Song Logger), remind listeners to tune in for the next show (possibly even give a preview of what might be aired next time), identify the show’s name and his/her name, and thank the audience for listening.

6.B) Mic Break Structure

Unlike many other genres of music that are aired in multi-song sets on the radio, classical music is usually aired one piece at a time. During mic breaks, the announcer back-announces the piece previously played and forward-announces the next piece to be played. It is also good practice to mention the music coming up a few pieces later or in the next hour. Such additional info (as described below) may be sandwiched in between these back- and forward-announcements. When multiple movements of a work are played consecutively, no mic breaks, PSAs, IDs, etc. are aired in between movements.

6.C) Time, Show, & Station ID

It is a good idea to identify the time, the show name, and/or station name a few times an hour by saying “It’s 2:30 and you’re listening to Classical Companion on Witter 89.7”, “At 3:15 PM this is Your Classical Companion on WITR”, etc. At the top of each hour (or as close as possible to the top without interrupting the natural silence between movements), you must announce a legal ID which consists of the phrase “WITR Henrietta”. (e.g. “This is WITR Henrietta, 89.7 FM, the campus radio station of RIT.”)

6.D) Weather

A weather report should be given at the top of each hour except during overnight hours. During drive times (typically 6-9 AM and 4-7 PM weekdays) weather should be reported more often, three or four times an hour. WITR’s weather source is : enter zip code 14623 and click “Extended” to view current conditions and the forecast for the next few days.

A weather report can be as brief or as detailed as the announcer chooses. Long-form weather reports given at the top of the hour can include a forecast for the remainder of the day or night followed by a forecast for the next few days (including high & low temperatures), and ending with current conditions. Any weather alerts should be spoken first. Example:

“Cloudy skies for the remainder of the day with a 75% chance of rain for the hour of 5 PM. Low tonight of 35 degrees. Tomorrow mostly sunny with a high of 55 and a low of 30. Clouds and sun on Monday with a high of 50 and a low of 33. It’s currently overcast and 45 degrees in Rochester.”

A short-form weather announcement can be as simple as reading the current temperature.

6.E) PSAs & Show Promos

Per WITR policy, at least one PSA and one specialty show promo should be aired each hour. These are usually spaced over the course of the hour, being interspersed with spoken announcements. Alternatively, the host can choose to “save up” the PSAs and promos to be heard only at the start and end of the show while still satisfying the hourly requirement.

6.F) Concerts & Ticket Giveaways

When announcing upcoming concerts, such as those for the RIT orchestra, bands, choirs, etc., announcements should begin three or four weeks in advance of the concert, if possible, to maximize the benefit of the announcement. Earlier announcements can be given once an hour, but can increase to two or more times per hour as the concert date approaches. Be sure to mention the performing group(s), date, time (specify AM/PM), and location (e.g. Allen Chapel on the RIT campus). Mention whether the concert is free and if not, the price of the ticket.

As is usually the case for RIT’s Performing Artist Concert Series, tickets are given away on-air to callers. (For further info, contact David Perlman (dnpeee@) or Ben Willmott (btwgsl@rit.edu).) The publicity agent usually allots a maximum number of tickets to be given away for a particular concert and whether tickets are to be awarded singly or in pairs. For example, it might be specified that up to 20 tickets can be given away and each caller is awarded a pair. Typically many people respond simultaneously to ticket giveaways at major radio stations which usually award tickets to only a single caller in the cue (e.g. the fourth caller). This lottery system prevents too many tickets from being given away at a particular time on a particular day.

At WITR, however, this method has proven to be too restrictive. It is more practical to loosen the restriction by allowing every caller to receive a free pair of tickets. Between 2014 and 2017, no more than three pairs of tickets have ever been awarded for a particular concert, far from the 10 pairs allotted. In the future if one finds that the ticket quota is consistently used up early, the caller restriction may be re-introduced as deemed appropriate.

When announcing a ticket giveaway, mention the phone number last so that you are not bombarded with callers before you finish announcing. The main studio phone number is (585) 475-2271. Start the next piece of music before answering the phone. Different publicity agents will have different rules about what information to obtain from and give to the caller. When dealing with the RIT Performing Artist Concert Series (David Perlman/Ben Willmott), obtain the caller’s full name and phone number (to inform them in case the concert is canceled or rescheduled or there is an unexpected change of plans). Then tell the caller that on concert night they should inform the ticket clerk that they won a pair of tickets from WITR. The ticket clerk will then find the tickets labeled with the concertgoer’s name. Notify David or Ben with the names. Names and numbers of ticket winners should be discarded after the concert date.

If another person calls while you are on the phone, they will be put on hold and hear a ringing signal until you hang up on the first caller. The studio phone will then ring for the second person in the call cue. If you find that it is time for a mic break, kindly interrupt the caller and say that you must go on-air. Do not hang-up the phone, but leave it off the hook so that the caller can stay on-line until you are finished with the mic break.

VII. Scheduling

For the college and community radio stations that offer a variety of genres, if a classical music show is on the roster it is often found on Sunday, particularly Sunday morning. The second-most likely time to have a classical show on such stations is Saturday morning or afternoon. When considering when to schedule a classical show, one could also take into account other local stations that broadcast classical music part or all of the time. Typically these are NPR stations which may broadcast talk or music of other genres during certain hours of the weekend. The college or community station could thereby take advantage of the existing audience of classical radio listeners during these slots.

VIII. Programming

Variety and balance in musical selection are common characteristics to strive for in a general-purpose classical radio show (unless each episode is based upon a different theme, in which short-term balance is avoided). Here are some aspects of musical selection that contribute to variety and balance:

• Composer

• Era (Renaissance, Baroque, Classical, Romantic, Modern)

• Instrumentation (solo, small ensemble, orchestra, etc.)

• Character (upbeat, triumphant, mellow, solemn, etc.)

• Length (short (≤10 min.), medium (10-25 min.), long (≥25 min.))

• Popularity (well-known vs. not well-known)

Among the selections chosen for a particular show, it is effective to program in an order conducive to contrast. For example, it is particularly refreshing to hear a light Baroque piece after a dense heavy orchestral work. Similarly, it can be refreshing to hear an orchestral work after a solo piece. Such contrasts help to liven the listener’s experience. While balance may not always be achieved within each show, balance can also be achieved in the long-term, taking into account many shows over a period of time.

Different hosts will have different habits in terms of preparing for each show, ranging from the totally spontaneous to the totally planned. The most free-willed spirits can be found deciding upon music just minutes before air time, or even pulling records at random and postponing the decision-making process until they are in the studio, playing whatever they are in the mood for. Other hosts have a good idea of what they might play weeks in advance. It is possible to achieve balance with either approach, though I personally opt for the latter. Here I share the steps to my process, intended merely as a suggestion:

Over time I come up with a list of pieces that are my favorites or that I would otherwise like to play on the show. Upon examining my list at the beginning of a semester, certain trends emerge that help me decide how to sort my list into groups. Although every piece can be described by all aspects of balance listed above, to me each piece has one aspect of identity that dominates. For example, I recognize that a group of pieces on my list are for piano. Another group has light string orchestra pieces by English composers. Another group of pieces stand out for their calming or relaxing nature. Another group consists of Renaissance brass music that I like to listen to late at night or early Sunday mornings. And yet another group consists of works with a certain open-chord American “Copland-esque” quality. (The rest fit into a generic category with no particular musical identity shared amongst them.) This is how I primarily identify such pieces in my mind.

To ensure that pieces in each of these identity groups aren’t heard all at once, I spread them out over a semester’s schedule of shows so that listeners have a chance to hear any of these sonic characters whether they listen in January or April. I sort the pieces in each group by length (utilizing the length data in WITR’s classical recording catalog) and then fill in each week’s two-hour show slot like a bucket, with the longest pieces going in first. Whichever week’s show has the most time remaining gets the next piece. Usually I can arrange it such that no two works from the same composer are played on the same show or on consecutive shows. I keep adding pieces until each week has 10 to 15 extra minutes left over. I have found that it is good to reserve a margin of 5 to 8 minutes per hour for talk time. This may vary depending on the host, the number of mic breaks per hour, and the number of extra announcements to be spoken.

After the show schedules are filled for all weeks of the semester, I order the pieces to achieve most effective contrast within each show and then write down the clock times that each work is expected to air, adding a minute or two between each piece to allow time for announcing. During the live show, I compare the actual air time of each piece to the predicted time to gauge whether I’m running behind or ahead of schedule. This in turn helps me decide how brief or extended my commentary should be. Filling in air time is easy with the abundance of liner notes and Wikipedia articles.

Different hosts will prioritize different aspects of musical identity that are important to them. For example, perhaps you will make a list of works that are local in origin (performances involving artists and/or venues in the Rochester region) and decide to play one such recording every few weeks. Taking advantage of the WITR classical recording catalog, you can consult the “Themes” sheet to select music that fits a particular theme or the “Birthdays” sheet to play music by a composer on their birthday.

8.A) Unusual Elements

It’s a nice idea to occasionally throw in one of these unusual elements from the classical section of WITR’s record library (these aren’t all, just the obvious ones):

• J.S. Bach is Alive and Well and Doing His Thing on the Koto: Bach with a funky Japanese twist! (LP, CL-F/Bach/Coll/Koto)

• The Osipov Balalaika Orchestra: Unusual instruments that sound kind of like giant ukuleles. (LP, CL-GBal/Coll/Osip/Fabu)

• Peter Schickele: Genius behind the alter ego P.D.Q. Bach with over five decades’ experience in unrivaled musical satire; the ultimate in classical comedy! (LPs and CDs sorted under CL-Z/Bach-P)

• Hooked on Classics: A medley of classical themes with a disco beat! (LP, CL-J/Coll/Clar/HOC)

• Classic Rock, Vol. 1: Orchestra plays hits by the Beatles, Queen, the Rolling Stones, the Moody Blues, and more! (LP, CL-J/Coll/LSO/CR-1)

• Casals – A Living Portrait: A 45-minute, two-part, made-for-radio documentary on one of the most famous cellists of all time. Casals speaks about his life, his favorite composer Bach, and on topics such as humanism, war, liberty, and how they relate to music. Also demonstrates conducting and cello master classes. (LP, CL-V/Casa/LP)

• RIT String Quartet: High-quality performances given by RIT’s very own student string quartet, including one taken from a live WITR broadcast. (CDs, CL-F/Dvor/QrS-Am/RIT, CL-F/Grie/QrS-1/RIT)

• RIT Singers: During the 1984-85 school year the RIT Singers recorded their Thursday afternoon concert and released it on vinyl. (LP, CL-C/Coll/RIT S/84-85 T)

• The New CBS Masterworks Themefinder: An audio catalog of 222 themes, so you can host a classical quiz show on the air. Just don’t give away the answers! (CDs, CL-Z/Coll/CBS/NTF-1, CL-Z/Coll/CBS/NTF-2)

IX. Records

WITR is fortunate to have the second-largest vinyl record collection in New York State. Records degrade faster over time if they are handled improperly, so we hope that with careful treatment our wonderful library will last a very long time.

9.A) Handling

|Don’t touch the grooves; this leaves oil marks and increases the |To hold a record, balance it with your fingers on the center label and|

|chances of it getting scratched. |thumb on the rim. |

|Hold the jacket perpendicular to your body to slide the record out at |Minimize exposure to air by returning records to their jackets |

|a nearly horizontal angle. |immediately after playback. |

9.B) Storage

• Ideally each record should be protected by its paper or plastic sleeve in addition to its cardboard jacket. The sleeve’s opening should be on top so that the record is “sealed off” and has little chance of falling out despite the album’s physical orientation.

• Store records vertically to prevent warping.

9.C) Cleaning

• For a really dirty record, blow off the larger dust clumps while being careful not to spit.

• The Discwasher directional microfiber brush removes dust to reduce noise and scratchiness. (An arrow points to the side of brush that should contact the record surface first.) Spin the record on the turntable. Touch the brush to the vinyl, left of the center label, and then slowly roll it back so that all parts of the brush contact the record over several revolutions.

• D4+ cleaning fluid may additionally be used for extra cleaning power. Apply a few drops of fluid to the leading edge of the brush before cleaning.

• WITR also makes use of a smaller black cylindrical brush. When touching the vinyl surface, left of the center label, the words “Clean-Sweep Record Purifier” should be upside down. (It does not use D4+ fluid.)

• Every now and then the Discwasher brush should be washed so that its effectiveness may be maintained. When dust begins to visibly pile up on the brush, wash it gently with soap and warm water and rinse by squeezing. Let it dry before using again.

9.D) Cueing

In classical music each movement of a piece occupies a different track on a CD. (For this reason, remember to set the CD player to continuous mode when playing multi-movement works.) On vinyl records, these tracks are called bands. On a CD track selection is electronic, but on a vinyl record band selection is visual. One can see the gaps that separate portions of the groove into bands. Cueing up a particular piece is as simple as finding the right band and setting the stylus into the gap portion before it. (While playing the stylus travels from the edge towards the center label, so the first band is the outer-most and the last band is the inner-most.)

Ensure the proper playing speed is set and then start the platter rotating. Unlock the tonearm and raise the cueing lever. Position the stylus over the gap preceding the desired band and then lower the cueing lever. If you miss the target raise the cueing lever and try again. When the music in the desired band begins to play, stop the platter and manually rotate it backwards (counter-clockwise) until you audibly find the beginning of the music. Then continue to rotate backwards an extra quarter turn. The record is now cued up; start the platter rotating when you want it to play on-air. The extra quarter-turn of rotation will allow the platter to get up to speed before the music begins.

When the stylus is sitting in the groove awaiting playback, be careful not to bump the structure on which the turntable is mounted as this can cause the stylus to jump out of the groove and playback of undesired material may result. It is better to lower the stylus onto the vinyl while the platter is moving because this is how automatic turntables work. Remember to lock down the tonearm when you are finished using the turntable. Also, WITR’s turntables use styli that are meant to withstand backwards rotation for DJ cueing action, so to avoid damage to your personal turntable “don’t try this at home!”

9.E) Works that Span Both Sides

Due to their length, some classical works span both sides of a record. In other words, the piece will begin on Side A and end on Side B. The split will occur in between movements. Unless the station has two copies of the same record and two turntables to work with, the DJ will have to flip the record over, following these steps:

Listen closely to the end of Side A. When you are sure that the music has ended, pot down the turntable input on the board, then raise the cueing lever to lift up the tonearm and slide it back to resting position. Stop rotation of the platter, flip the record over, and then start rotation again. Move the tonearm over, positioning the stylus over the lead-in groove and then lower the cueing lever. Finally, pot up the turntable input on the board. With enough practice this entire process can be done within 15 seconds.

9.F) Playing 78s

A “78” is a record that spins at 78 revolutions per minute. They are made of shellac and were in use before the inventions of the 33⅓ RPM long-play (LP) vinyl record in 1947 and the 45 RPM vinyl “single” in 1948. Major differences exist between 78s and LPs. LPs typically hold 20 minutes of music per side and have a microgroove read by a 1-mil stylus. 78s can only hold up to 4 minutes of music a side and have a larger groove which must be played by a larger 3-mil stylus. (Playing a 78 with a microgroove stylus will result in inferior sound quality, rapid wear of the grooves, and a high risk of damage to the stylus.) With a few exceptions, 78s also do not contain hi-fi sound.

WITR has a few 78s, most of which contain classical music. At the time of this writing, WITR has one turntable (portable, located under the table in Studio X) with 78 RPM capability. When preparing to play 78s, swap the microgroove stylus with the 78 stylus (usually stored in the business director’s locked cabinet). The tiny stylus part can be carefully pulled off the end of the cartridge. Just be sure not to touch the stylus tip in the process. If you are unsure of how to do this, ask a more experienced station member to show you. Keep the microgroove stylus in a safe place until you are done playing 78s, then swap the styli again and return the 78 stylus to the business director’s cabinet.

When cleaning 78s do not use D4+ fluid as it is harmful to the shellac material.

X. Troubleshooting

10.A) How to Deal with a Skipping Record On-Air

Occasionally a record may skip backwards and get caught in an endless loop. Carefully lift up the stylus, move it a millimeter ahead (towards the middle), and gently drop. Though a few seconds of music may be missed, you have successfully escaped the skip trap.

10.B) If Music Does Not Play

It is good to be prepared in the rare case that your desired music source fails to play on demand. A turntable or CD player could suddenly malfunction or a glitch could prevent the sound from getting to the board. To avoid dead air, the first thing to try is moving on to the next piece of music planned for the show. If you need extra transition time, there is classical music stored on WITR’s Rivendell servers that can be played back via RDAirPlay. At this point it doesn’t really matter what you pick; just fade it out when your planned music is ready to go. If the computer system crashes you have to call the engineer to reboot it remotely (this did happen to me once). Sometimes you just have to keep talking… Come up with a creative way to save the day!

XI. How to Broadcast a Live In-Studio Performance

It can be exciting to have a soloist or small ensemble perform in the studio and to broadcast it live; WITR has the facilities necessary to make this possible. This has been done with the RIT String Quartet (see CDs: CL-F/Dvor/QrS-Am/RIT, CL-F/Grie/QrS-1/RIT). If this is your first time hosting a live broadcast performance, it is a good idea to practice setting up and tearing down the additional equipment a few days in advance. If needed, enlist the help of a station engineer. On the day of, arrive 20 minutes earlier than usual (30 minutes if it’s your first time) to set up in Studio X. You will need:

• Microphones

• Microphone cables (with XLR connectors)

• Microphone stands

• Music stands

The first three items can be borrowed from the engineering cabinet at the back of the recording studio/“garage”. Music stands can be borrowed from the music room (A130) near the station downstairs. If you do not have access to A130, find someone who can get you in or call public safety at least a half-hour before you need to retrieve the music stands. (Officers take a long time to arrive.)

At the time of this writing, WITR has two types of microphones in the cabinet that are available for general use: Shure SM-57 and Shure SM-58. The SM-57s are used for vocalists and the SM-58s are used for instruments. The microphones are labeled accordingly. Each microphone will need its own cable and stand. Up to four microphones can be used in Studio X. Know in advance how large the ensemble is so you can set up chairs and stands in Studio X accordingly. If you are uncertain about microphone technique, consult a station engineer. But if you are a fearless do-it-yourselfer, follow these general tips:

If there is only one instrument involved, place the microphone about 2 feet away from the instrument, aiming down towards it. If the group consists of two to five people and can be arranged into a semi-circle in Studio X, mount a pair of microphones in X-Y configuration centered in front of the group. (This means that the mics are placed at right angles with the front ends as close together as possible, see diagram at right. #1-4 represent the musicians.) If the group is larger and must be widely spread out in the studio, place a few microphones around the studio and have the musicians gather evenly around each of them.

These microphones will be connected to the Guest Mic inputs. If only one mic is used, unplug Guest Mic #1 from its cable at the end of the arm, and connect the additional mic to it instead. To put your live studio soloist on-air, pot up Guest Mic #1 on the board. If a pair of mics are arranged in stereo X-Y configuration, connect them to the Guest Mic #1 and #2 inputs, then pan Guest Mic #1 to full left and Guest Mic #2 to full right using the controls on the board. (Remember to set these back to normal when finished.) Make sure that the channels are not swapped – the left-facing microphone should be the one that is panned left on the board.

Ask guest musicians to arrive 10 to 15 minutes prior to the planned air-time. They do not need to wear headphones.

XII. How to Process New Media

These steps describe what to do if WITR acquires additional classical vinyl records or CDs:

1. Check to see if the library already has a copy of the same disc. If yes, then save the additional disc as a duplicate for on-air giveaways or place it in the giveaway bin outside. If no, then proceed to step 2.

2. Remove any shrink wrap that may be on the album jacket or case.

3. Apply the “Property of WITR” stamp to a clear region on the rear of the album jacket or case. For vinyl record jackets, write the date of acquisition in pen nearby. Also apply stamp to the label area of the record or CD. If the stamp is not available, use a permanent marker instead.

4. Create an ID label for the album using the typewriter and blank labels available in the office. See Chapter IV for guidelines on album IDs.*

5. Create an entry for the album on the “Sorted Shelf Order” sheet in the classical recording catalog spreadsheet file. Refer to existing entries as examples. The “Year” column refers to the year the album was released, not necessarily the year the music was recorded. If you can’t find a copyright or registered year on the liner notes then leave it blank.

6. Catalog each piece on the disc on the “Index” sheet of the spreadsheet file. Individual movements are not cataloged separately, but if the disc is a compilation that contains movements without the entire works, they can be cataloged individually. Here the “Year” column refers to the year each piece was recorded. If you can’t find this info on the liner notes then leave it blank. Follow the examples of existing entries.

7. Shelve the album at the location determined by its ID (newly-assigned in step 4).

*Tips to maximize library diversity: Suppose WITR acquires a new CD that contains both Tchaikovsky’s Piano Concerto No. 1 and his Violin Concerto. You check to see if the library already contains CDs of these works and sure enough there is a CD sorted in the piano concerto section with the ID CL-ECP/Tcha/1/Guti. But no CD occupies the spot that could be taken up by Tchaikovsky’s Violin Concerto. So instead of sorting the new CD in the piano concerto section beside the other one, sort it in the violin concerto section with an ID that begins with CL-ECV/Tcha/D-maj. When in doubt, follow the examples of other similar discs in the library.

XIII. Appendix

13.A) Broadcasting Prohibited?

“Unauthorized duplication, public performance, and broadcasting of this record prohibited.” Have you ever seen such a message in small print on the label of a CD or LP? This warning is actually found on most classical CDs. According to a professional classical radio host, this represents a legal loophole that is not enforced and nothing is currently being done about it. In other words, there is nothing to worry about.

13.B) Pronunciation Reference

You will feel like a world traveler by the time you’re through with this list! (Emphasis is placed on the italicized syllable.)

Composers

• Isaac Albéniz E-sahk Al-ben-eez

• Bela Bartok Bell-ah Bar-talk

• Ludwig van Beethoven Lood-wig von Bay-toh-ven

• Hector Berlioz Bear-li-oes

• Leonard Bernstein Len-nerd Bern-stine

• Elmer Bernstein Bern-steen

• Georges Bizet George Bee-zay

• Ernest Bloch Block

• Luigi Boccherini Boc-ker-ee-nee

• Alexander Borodin Bo-ro-deen

• Johannes Brahms Yo-hah-nes Brahms

• Max Bruch Brook

• Dietrich Buxtehude Dee-trick Books-te-hood-dah

• Robert Casadesus Ca-sa-de-soos

• Mario Castelnuovo-Tedesco Cas-tel-nuo-vo Te-des-co

• Emmanuel Chabrier Shah-bree-ay

• Marc-Antoine Charpentier Mark An-twon Shar-pen-tee-ay

• Ernest Chausson Shau-saun

• Frederic Chopin Sho-pan

• Aaron Copland Cope-land

• Couperin Koo-per-ahn

• Claude Debussy Deh-bew-see

• Leo Delibes Lay-oh Deh-leeb

• Vincent D’Indy Vah-sohn Dan-dee

• Paul Dukas Du-kah

• Antonin Dvorak Ahn-toh-neen Duh-vor-zhock

• Georges Enescu George Eh-nes-cue

• Manuel de Falla de Fai-yah

• Gabriel Faure Gah-bree-el Faw-ray

• Friedrich von Flotow Free-drick von Flo-tau

• Cesar Franck Say-zar Fronck

• Giovanni Gabrieli Gah-bree-el-ee

• Louis Ganne Lou-ee Gahn

• Alexander Glazunov Glah-zoo-nov

• Louis Moreau Gottschalk Lou-ee Mor-row Got-chalk

• Charles Gounod Goo-no

• Enrique Granados En-ree-kay Grah-nah-dos

• Edvard Grieg Greeg

• Ferde Grofe Fer-dee Gro-fay

• George Frideric Handel George Free-drick Han-dul

• Franz Joseph Haydn Frahnz Yo-seph High-den

• Paul Hindemith Hin-deh-mit

• Alan Hovhaness Ho-von-ness

• Jacques Ibert Zhock E-bear

• Mikhail Ippolitov-Ivanov E-paw-li-tov E-van-ov

• Leos Janacek Lay-os Ya-na-check

• Dmitry Kabalevsky Kah-bah-lev-skee

• Vasily Kallinikov Vah-si-lee Kah-lee-nee-kov

• Aram Khachaturian Ah-rahm Kah-cha-tu-ri-en

• Zoltan Kodaly Zol-tahn Ko-die

• Edouard Lalo Edward Lah-low

• Franz Lehar Lay-har

• Franz Liszt List

• Pietro Mascagni Pee-ay-tro Mah-scahg-nee

• Jules Massenet Mah-sen-ay

• Felix Mendelssohn Men-del-son

• Modest Mussorgsky Moh-dest Moo-zorg-skee

• Jacques Offenbach Zhock Off-en-bock

• Francis Poulenc Frahn-cees Pou-lenk

• Sergei Prokofiev Ser-gay Pro-ko-fee-off

• Sergei Rachmaninov Ser-gay Rock-mah-ni-noff

• Maurice Ravel Maw-reece Rah-vell

• Ottorino Respighi Ot-toh-ree-no Reh-spee-gee

• Reznicek Rez-ni-check

• Nikolai Rimsky-Korsakov Nick-o-lie Rim-skee Kor-sah-kov (“lie” rhymes with “eye”)

• Joaquin Rodrigo Yo-ah-keen Raw-dree-go

• Gioacchino Rossini Gee-oh-ah-chee-no Ro-see-nee

• Miklos Rozsa Meek-los Roh-zah

• Camille Saint-Saens Kah-meal San-sawns

• Erik Satie Say-tee

• Peter Schickele Shick-el-lee

• Robert Schumann Shoo-mahn

• Dmitri Shostakovich Shos-tah-ko-vich

• Jean Sibelius Zhon Si-bay-lee-us

• Bedrich Smetana Bay-drick Smet-a-na

• Stamitz Stah-mitz

• Richard Strauss Ree-card Strauss

• Igor Stravinsky Strah-vin-skee

• Franz von Suppe Su-pay

• Tielmann Susato Teel-mahn Su-sah-toh

• Pyotr Ilyich Tchaikovsky Pee-ter Ill-yich Chai-kov-skee

• Georg Philipp Telemann Gay-org Phil-lip Tel-leh-mahn

• Joaquin Turina Yo-ah-keen Tur-ee-nah

• Ralph Vaughan Williams Rafe Von Williams

• Giuseppe Verdi Giu-sep-ee Vare-dee (“Vare” rhymes with “where”)

• Richard Wagner Ree-card Vog-ner

• Emil Waldteufel Em-meal Wald-toy-ful

• Carl Maria von Weber Vay-ber

• Dag Wiren Veer-ren

Conductors

• Claudio Abbado Ah-bah-doh

• Maurice Abravanel Ah-brah-vah-nell

• Ernest Ansermet Ernst Ahn-ser-may

• Vladimir Ashkenazy Osh-ken-ah-zee

• Sir John Barbirolli Bar-bi-roll-lee

• Daniel Barenboim Bare-en-boim

• Sir Thomas Beecham Bee-come

• Leonard Bernstein Len-nerd Bern-stine

• Karl Bohm Berm (not Bomb)

• Pierre Boulez Bou-lez

• Sir Adrian Boult Bolt

• Pablo Casals Ca-saws

• Riccardo Chailly Shy-yee

• Antal Dorati Ahn-tahl Dor-ah-tee

• Gustavo Dudamel Goo-stah-vo Doo-dah-mel

• Charles Dutoit Sharl Doo-twah

• Arthur Fiedler Feed-ler

• Wilhelm Furtwängler Will-helm Foort-veng-ler

• Bernard Haitink High-tink

• Nickolaus Harnoncourt Nicholas Har-non-court

• Gunther Herbig Geun-ter Her-big

• Konstantin Ivanov Kon-stahn-teen E-vahn-ov

• Neeme Jarvi Nay-mee Yhere-vee (“Yhere” rhymes with “Where”)

• Eugen Jochum Oy-gun Yock-um

• Herbert von Karajan Car-ee-ahn

• Istvan Kertesz Ist-vahn Ker-tesh

• Carlos Kleiber Kleye-ber (“Kleye” rhymes with “eye”)

• Kiril Kondrashin Ki-rill Kon-drah-shin

• Erich Kunzel Eric Kun-zul

• Erich Leinsdorf Eric Lines-dorf

• Lorin Maazel Lor-in Mah-zel

• Neville Marriner Neh-vul Mare-in-ner

• Jean Martinon Zhon Mar-tee-neon

• Zubin Mehta Zu-bin May-tah

• Pierre Monteux Mon-tow (as in “tow truck”)

• Riccardo Muti Moo-tee

• Vaclav Neumann Vah-clav Noy-mahn

• Seiji Ozawa Say-gee O-za-wa

• Andre Previn Preh-vin

• Fritz Reiner Rhein-er (not Rain-er)

• Karl Richter Rick-ter

• Gennady Rozhdestvensky Ge*-nah-dee Roz-dest-ven-skee (*Ge as in “Get”)

• Essa-Pekka Salonen Eh-sah Pek-ah Sah-lo-nen

• Claudio Scimone Si-mo-nee

• Sir Georg Solti George Shol-tee

• Leopold Stokowski Sto-koff-skee

• Yevgeny Svetlanov Yev-geh-nee Svet-lah-nov

• Klaus Tennstedt Clows Ten-stet

• Pinchas Zukerman Pin-kas Zu-ker-men

Ensembles

• Bournemouth Sinfonietta Born-muth

• Budapest String Quartet Boo-dah-pest

• Collegium Aureum Co-lee-gee-um Ar-ee-um

• I Musici E Moo-see-chee

• Mormon Tabernacle Choir Ta-ber-na-cuhl (short “a” as in “hat”)

• Philharmonia Hungarica Fill-har-moh-ni-uh Hun-gar-i-cuh

• Royal Concertgebouw Orchestra Con-cert-guh-bow

• Staatskapelle Dresden Stahts-ka-pel-luh Dres-den

• Suisse Romande Orchestra Swiss Ro-mand

Cellists

• Pablo Casals Ca-saws

• Mstislav Rostropovich Mis-tee-slav Ros-tro-po-vich

Flutists

• Jean-Pierre Rampal Zhon Pee-air Rom-paul

Pianists

• Leif Ove Andsnes Layf Oh-vay Ahnds-nes

• Agustin Anievas Ah-niay-vas

• Vladimir Ashkenazy Osh-ken-ah-zee

• Daniel Barenboim Bare-en-boim

• Aldo Ciccolini Chi-co-lee-nee

• Philippe Entremont Fee-leap On-tray-maun

• Evgeny Kissin Ev-gen-ee Kiss-in (ge as in “Get”)

• Reid Nibley Nhy-blee

• Murray Perahia Per-rhy-uh

• Sviatoslav Richter Sviaht-o-slov Rick-ter

Violinists

• Jascha Heifetz Yah-sha High-fetz

• Yehudi Menuhin Yeh-who-dee Men-you-in

• Igor Oistrakh Oi-strahk

• Itzhak Perlman It-zock Perl-men

• Gil Shaham Gill Sha-hahm

• Pinchas Zukerman Pin-kas Zu-ker-men

Vocalists

• Elly Ameling Am-el-ling

• Dietrich Fischer-Dieskau Dee-trick Fish-er Disk-au

Titles

• Andante Cantabile Ahn-dahn-tay Kahn-tah-bee-lay

• Arpeggione Ar-peh-gee-own-ee

• Blue Danube Dan-yoob

• Bourree Fantasque Bu-ray Fahn-tahsk

• Concierto de Aranjuez Kon-cier-toh day Ah-rahn-hueth

• Danse Macabre Daunce Ma-cabr

• Die Fledermaus Dee Flay-der-mouse

• Die Walkure Dee Vool-ker-uh

• Eroica Air-row-i-cuh

• Eugene Onegin On-yay-gun

• Fantasia para un Gentilhombre Fahn-tah-see-ah pa-da oon Hen-teel-ohm-bray

• Gaite Parisienne Gai-tay Par-ee-see-en

• Havanaise Ha-va-nayes

• Hebrides Overture Heh-bri-dees

• Jeux D’Enfants Zhuh Daw-faw

• Le Tombeau de Couperin Lay Tom-bau day Coo-per-ann

• Lieutenant Kije Key-jay

• Masques and Bergamasques Masks and Ber-ga-masks

• Miserere Mei Deus Mi-ser-air-ay May Day-oos

• Pathetique Pah-thay-teek

• Petrushka Peh-troosh-kuh

• Radetzky March Ra-det-skee

• Scheherazade Shuh-hair-i-zahd

• Semiramide Seh-mee-rah-mee-day

• Sigfried Idyll Sig-freed Idle

• Tannhauser Tahn-hoy-zer

• Till Eulenspiegel Oi-len-spee-guhl

• Tzigane Tzi-gahn

• Valses Nobles et Sentimentales Val-ses No-bles et Sen-ti-men-ta-les

-----------------------

*By extension, one could conceive of a revised indexing scheme for WITR’s entire vinyl library that includes similar ID codes beginning with B for blues, F for folk, G for gospel, M for metal, W for world, etc.

Subgenre Indicators

A: Anthologies/Appreciation/History & Development

B: Opera

C: Choral

D: Songs/Solo Vocals

E: Orchestral

EA45OÚàôõ÷[pic] E F a b ? ’ — Ë Ü ý þ |#EQRbfš§Ëø

&

G

Q

R

Y

~

?

: Orchestral Misc.

EB: Ballet

EC: Concerti

EO: Overtures

ES: Symphonies

F: Chamber/Small Ensemble

G: Solo

GB: Bassoon

GC: Clarinet

GDB: Double Bass

GF: Flute

GG: Guitar/Lute/Mandolin

GHn: Horn

GHp: Harp

GOb: Oboe

GOr: Organ

GP: Piano

GPic: Piccolo

GS: Sonatas

GSx: Saxophone

GTr: Trumpet

GTrb: Trombone

GTu: Tuba

GV: Violin

GVcl: Cello

GVla: Viola

GX: Xylophone, Percussion

GZ: Misc. solo

H: Band

J: Electronic/Post-Modern

K: Operattas/Musicals

L: Musical Theater/Movies

V: Spoken Word

X: Demonstration/Teaching Records

Z: Other/Misc. Collections

Note: For Bach's Cantatas, the sequence number and BWV number are the same so it is not necessary to write both. (e.g. Cantata No. 140, BWV 140. Instead, write Cantata No. 140.)

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