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Tell us about your favorite Exploring Music program & what you’d like to hear in the future

about_bill_mcglaughlin_hdAs we celebrate the 10th anniversary of Exploring Music and the launch of this new streaming website we're eager to hear about:

1) Your favorite Exploring Music program or moment.

2) What topics you'd like to see Bill cover in the future.

Click POST A COMMENT below.

Also, please note that in the near future we'll be adding a feature allowing listeners to comment on specific programs on the Player Page for each 5 hour 'week.' So you can also share your thoughts there and read insights from others listeners.

123 Responses to Tell us about your favorite Exploring Music program & what you’d like to hear in the future

  1. Mark Fitzgerald says:

    I enjoyed tonight’s show on ‘meshuga’ and its spirit/mind affecting quality. The noun you looked for may have been one that a teacher I’ve known for many adult years has applied: ‘meshugass’ or ‘mishegaas’ which is defined by my dictionary as ‘crazy or senseless activity or behavior; craziness’ and shows derivation from the term appropriated for Schubert’s A-minor pieces. It took me a while to get this concept. I’ve always liked Schubert, though, who is wildly creative in his music and full of feeling. I was happy when you announced this program, because it really is refreshing in the early evening when I listen. Thank you.

  2. Elyse says:

    Thanks so much for the website! I live in Vietnam, so Exploring Music comes on at 9:00 AM my time and I’m usually at work. It’s always a treat when I can catch it (listening to Tucson’s 90.5 via internet streaming–my old hometown radio) and I’m thrilled to see that episodes are available at a price even I can afford.

    My favorite show recently (of the ones I’ve caught) was “Beethoven and that Danged Metronome.” I’m not musically trained and didn’t grow up in an environment where classical music was present, and I never really understand the subtleties of different interpretations of the same work. I’m currently becoming more interested in 20th c. composers, but it was splendid to go back to Beethoven and hear variations on familiar music.

    Thanks for keeping a girl company so far from home!

  3. Tom Kosin says:

    Your shows now with streaming access is a blessing. Listening live was not always an option.
    The truly best of all was your live performance with the Schaumburg Youth Orchestra a while back. You now have our 12 year old granddaughters (twins – 1 Viola and 1- Cello) looking forward to your show on their iPods. Their music education is greatly enhanced listening to and soaking in from your vast music knowledge presented in a most clear entertaining way. Cheers to you.

  4. Mark Fitzgerald says:

    I think it would be interesting to hear a program on chamber music pieces in England (and maybe French composers added) from the 20th Century. I’ve gotten into some of Vaughan-Williams’ pieces – I’m a true RVW fan. I know Elgar, Bridge and Bax also had some stirring pieces as well. I don’t recall you deeply covering this kind of topic, but perhaps it could be worthwhile. Thanks.

  5. William Storrer says:

    Why no Fisher Dieskau or (m favorite) Hermann Prey? Your singers are too young to understand.

  6. William Storrer says:

    Why no Fisher Dieskau or (my favorite) Hermann Prey? Your singers seem so very young.

  7. Richard Palmer says:

    Again, as I said in the Comment section below, the arrival of this site is a great blessing; I have signed up for Charter Status; and I applaud making this available on a paid basis.

    My favorite program was the “Haydn Symphonies” from May 2012 — but I do not find that program in your list of programs! I hope it shows up soon and that you will be able to get around to providing all the Notes for each episode.

    Another technical item: both on the 320 kps and the 64 kps settings, the buffering does not seem adequate and I keep having a break in streaming; hope that can be fixed soon.

    I would like to have a program series on the piano quintet (especially including literature after the 19th C classics), and on Alan Hovanhess, whose music would surely fill a week.

  8. izzy sommerd, md6E says:

    i have become fascinated by the cultural and political classical musical themes, such as the Smetana, Die Moldau, which has become, i think, the Israeli national anthem, and the Emperor quartet of Haydn, i think, which has become the National anthem of Germany and Austria, i think, and John Lennon’s Imagine which started a western culture all by itself. i apologize if you have already addressed this theme and idea. if not, i think it would be a good topic for presentation and i humbly suggest it for the future. i enjoy your daily show. it is informative, creative and inspiring. thanks in advance for reading this email. My feeling is that like the Aboriginal cultural customs, the oral histories are often sung and accompanied by something simple like the beating of tom-toms and a rhythmic dance around the fire, or something more complex like the jingling of tamborines, by women, such as Miriam, and dance postures such as the Song of Moses and the Psalms of David and the Song of Solomon which must have had someone playing the lute or a trumpet or a ram’s horn to announce the new year or a full orchestra to accompany Jan Pierce when he sings the song Kol Nid’ra. Your programme should run forever as it has such interesting connections with the musics and the dances from prehistoric times and forgotten cultures such as the original Negro Jews of Abbysinia. Thanks again for reading this fantasy of mine, and of others, i believe. Sincerely, izzy

  9. Carol Solomon says:

    My husband & I really enjoy your show. Thank you.

    Just wondering what is the relationship[ between the movements of symphonies & concertos & I guess sonatas, etc.? Perhaps you can do a week on that.

    Thanks again for your delightful program

  10. GE Henderson says:

    You asked for comment on the current Wagner-Woche.
    We are particularly enjoying the music and musicological commentary this week, as we have developed (are developing) a love of Wagner’s music. There is such depth of music and meaning in his work that one can be spellbound while listening or watching (to the operas). Thanks for exploring Wagner.

    • Gary R. Stocks says:

      Why did you skip the final movement of the Mahler 5th. That is one of the greatest movements of any of his symphonies he ever wrote, yet you skipped it. That was really stupid! You could have cut out some of Kindertotenlieder, instead. I began to wonder if you really know what you’re talking about. But, you can save you’re reputation if you play and discuss that last movement in a future program.

  11. Paulette Bezazian says:

    Dear Bill:
    What you do with exploring music is amazing! I listen to it frequently on my way home from work and it not only gives me greater perspective in the musical realm, but in the arena of life.

  12. Roger Coziol says:

    I find your program extremely interesting and informative. I enjoy it a lot.

    I wonder if you could consider doing a show (or series) about contemporary music (I mean modern “classical” music, or maybe “serious music”). We heard quite a lot about classical music of the past. But I personally know nothing about what is happening now. I know a little bit about post-war modern music: Boulez, Nono, Stockhausen, Messiaen, Cage, Glass, for examples. But is that all! What are the new trends? Where are the Stravinsky or Schoenberg of today? Where are we going in music now? Who are following and in what sense? A series of emission from the post war to now, would be extremely interesting.

    Thank you very much!

  13. Dorothy-Jean Lloyd says:

    I was excited to learn about the website and the ability to access your catalogue of shows, that I immediately signed up. I would love to hear shows on Hugo Wolf, Les Six (have you done a show on this/I thought you had) – I have a special fondness for the works of Francis Poulenc, and the great opera composer, Giuseppi Verdi.
    Thank you for your show and I look forward to this summer, when I will be listening to the catalogue continuously.

  14. Gwen S. says:

    I usually look forward to your show each week night, but after an entire week of Wagner last week, I just can’t stomach any more Wagner this week, and won’t be listening. A whole week was too much already!
    But I’ll be back next week, when I hope you’ll have something more palatable.
    I do love the way you explore your subjects in depth, and hope your show stays on the air for a long long time (just – no more interminable Wagner, please!).

  15. Richard says:

    Have enjoyed so much. At the top, for me, was “Bach sleeps in…”. Listened to it while flying to Europe; imagine experiencing Bach at 42000ft while watching the sun rise over Ireland… it’s an experience that never leaves you. In that vein… more… Bring Back Bach! (sounds like a conjugation of a German verb in the 3rd person). Love the show.

  16. Dr. Nilsson says:

    The Wagner is, of course, always enjoyable. But the announcer’s sugary emotion is obnoxious. We wish he would just speak professorily.

  17. George J. Robinson says:

    Your program is of the highest quality and value. I listen with rapt attention and through your efforts have come to gain a deeper appreciation for the music you select.
    Thank you!

  18. David Zielenziger says:

    Loved the “Ring” series…could probably do weeks with it, so advise you to revisit in other ways. You’ll know how to do it!

  19. Tyler Fluegel says:

    Exploring Music is ballin’, yo. My negro Bill always got a personal touch to some truly righteous music. I adored the program on the Mighty Five several months ago; it was sick. “Bach sleeps in…” is still probably my favorite though. Shit’s timeless. I’m not sure if you’ve done a program on Chopin recently, but a program of great piano virtuosi would be tight. I don’t particularly dig Liszt, but throw the dude in for good measure. Oh! And maybe a program focusing on Soviet composers restricted by Socialist Realism and other censorship. Anyway, keep it comin’, son. I’ve always got my stereo on Classical 101 come 8 pm representing the DFW. Keep strong, brothers.

  20. Michael E. Peterson says:

    Congrats on today’s show! I particularly like “Song of the High Seas,” from Victory At Sea; but I still prefer Robert Russell Bennet and the RCA orchestra.

    On another score, the theme from MASH, there are words to the music, which are dark, indeed. From memory, some of which go:
    “Through early morning fog I see/ visions of the things to be/ the pains that are withheld for me/ I realize, and I can see/ that suicude is painless/ It brings on many changes/ and I can take or leave it if I please/ …and you can do the same thing if you please….”

  21. Tom Weeda says:

    Addinsell’s ‘Warsaw Concerto’ written in 1040 or 1941 is the greatest classical piece of its time, in my view, and cetrainly fits the theme of “Music in time of war, honoring the Polish capital, seized by the Nazis in the first weeks of the war.

  22. bill eifrig says:

    Britten’s War Requiem is of course outstanding but I have found a counterpart to it in Rudolf Mauersberger’s motet Wir liegt die Stadt so wuest. This motet — later a Dresdner Requiem — was composed and performed within days after the devastating bombing of Dresden in retaliation for the bombing of Coventry. Not as great a musical work but certainly music in the time of war.

  23. tom sullivan says:

    I enjoyed the way you used selections from Prokofiev’s music to accentuate events in his life, but one week for the most musical composer of the twentieth century isn’t nearly enough.

  24. Ron Pine says:

    Such a great show – your style and comments about the music, about the composers, could not be any better. Congratulations. One suggestion. I have never heard a detailed explanation of exactly how a symphony is composed. Does the composer actually compose separately, for each instrument? I cannot imagine how someone could actually do that. Perhaps you might select one symphony and over the course of a week, break it down to its purest and most basic elements. Doing it for your listening audience. Many many thanks for all the delightful listening and all the great music.
    —Ron Pine

  25. Leif Eriksson says:

    The program comes on at a time when I cannot listed. This new service is just what I need in order to continue to enjoy the music I so love. Thank You so very much for an excellent idea and a well executed program site. All is just BEAUTIFUL!

  26. Frank Coffee says:

    McLaughlin still hasn’t a clue how to say Vltava in Czech and yet he still foolishly presumes to tell us how to say it. This isn’t the first time he’s done this; he just heedlessly repeats his ignorance.

  27. Edward Kollar says:

    Hello,your show is like listening to a best friend! I have learned so much from your show and it is like being back in collage with the best Prof in the world!,

    THANK YOU. EdK

  28. Julie Blissert says:

    Thank you for your week on Balanchine! It was one of the programming suggestions I was going to make when I got around to it, but never did. I came to classical music via my childhood lessons in classical ballet. Often when I hear a piece Balanchine used as a score for a ballet, I think first, “That’s Balanchine,” not “That’s Bizet.” His dances are so intimately tied to the music that they almost become one.

  29. Roland Mullins says:

    Good Morning Bill,

    I have been listening to your show for a while now. You use to come on after Friday night soul. It was a good change of pace! But My question is what is the name of the piece when your show opens and who is the orchestra?

    Thank you,

    Roland

    • Steve Robinson says:

      Roland:

      The theme is by none other than Bill McGlaughlin! The players are from around Chicgo and include a few members of one of our local orchestras…the Chicago Symphony Orchestra.

      Steve Robinson
      Executive Producer
      Exploring Music

  30. kathleen basile says:

    Your invitation to comment on your inclusion of Bob & Ray segments has prompted me to tell you how delighted I was to hear their voices! Brought back memories of the hilarious episodes which brightened my days. Please continue to revive the art of these masters of the airwaves.
    All this aside and in addition to your unique program. Thank you for making sublime music so accessible with your conversational tone of presentation.
    Kathleen

  31. Dan Siciliano says:

    Bill…I can’t find the program called “A Little Night Music” a.k.a “Music of the Night”. It’s one of my favorite playlists, especially Tuesday’s night on the dark side. Can you please bring it back?

    • Exploring Music says:

      That program should be posted to the site soon. There are about 15 programs that are still coming. Mostly shows that needed a little re-editing. Those should all be up by July 1.

      -Tony Macaluso
      Exploring Music

  32. William Storrer says:

    The Emerson and Julliard are, of course, great quartets POST-= BUDAPEST QUARTER. That was the greatest quartet of all time, tho, my personal preference was the Amadeus. Budapest was 1st violin and 3 other, Amadeus was four equals. So give us another program.
    AND GET OFF YOUR HIGH HAT. PAY FOR YOU. DISGUSTING, P B S is all about FREE.

  33. Bill Storrer says:

    So, you are giving us #2 & 3, Give us #1. The Budapest. Premier during the post WW II years until 1960. Then, of course, the Amadeus came on the scene. Budapest, 1st violin plus 3 others. Amadeus, 4 equals. Worth a comparison, please. Then Juiliard, Emerson, Alban Berg, Tokyo, Takacs, and so on.
    P B S is all about FREE. Can your charges for your web site. That is not in keeping with the culture of P B S.

  34. Ted Sittler says:

    Bill-
    In your program of June 17, in discussing an Elliot Carter string quartet, you illustrated a diminished fifth by singing the initial interval of the song “MARIA” from West Side Story. That interval is not a diminished fifth but an augmented fourth. If you sing up the scale from “MA” to “RI”, you sing four notes. Therefor it’s a fourth.Same notes but different harmonic function.

    Ted Sittler

  35. Bill Downs says:

    I’d love to see a more in-depth look at Mendelssohn’s Elijah. What an epic piece of music!

  36. Littleton Alston says:

    Excellent chello program! WOW!

  37. Fred Murdock says:

    Well Bill I don’t celebrate the new deal since KWAX has dropped the 8 am broadcast of your show; instead of two a day they’ve dropped back to the evening slot which goes up against Colbert/Stewart(Oliver). How you like them odds? Meanwhile KQAC persists in marooning you at 10 pm. So I’m not thrilled. I’ve been listening to classical music on FM here in Salem since 1958 and now it’s been taken down a notch, not up. Thumbs down on the change, for me. I must say very few people in this country have 2 full time classical stations available on FM, as well as a 24/7 jazz source, KMHD. So your move will serve many. I’ll miss you.

  38. Sam P. says:

    I’ve been listening to your show for about two years now, and have discovered some new favorite composers and pieces along the way. I really enjoyed the program on Cello Concertos, and was wondering if you could do a whole program on the work of Jacqueline du Pre. She’s considered one of the best cellists of all time, and her sensitive, powerful performances have made her one of the most beloved cellists as well. I know you could do an amazing program featuring her.

  39. Bill And Virginia Kennedy says:

    We thoroughly enjoy the program and always learn something. A program we wish you would put together, which we’ve requested before, is one on the music of Arvo Part and the tradition from which he composes.
    Another, in the spirit of the late Karl Haas, would be a series of mystery composers.
    Thank you for this new subscription opportunity for your programs!
    Virginia Kennedy

  40. Bill And Virginia Kennedy says:

    I forgot to mention a favorite program: the series on Bach’s “St. Matthew Passion.” The fine details of subtle meanings in the music itself (such as the shimmer of music when Jesus is speaking) as well as in the texts, are fascinating and add so much meaning and undertanding to the work.

    Virginia Kennedy

  41. Hugo Nurnberg says:

    Too much talking this week with your interminable interviews. You were an excellent replacement for Carl Haas but you seem to be reverting to the St. Paul Sunday Mornings format with lots of dialog. I’d like to hear the musicians play, not speak.

    • Kathryn Turner says:

      Personally, I look forward to the comments. I also loved Carl Haas and really enjoy Bill’s narrative.

  42. Colleen Gray says:

    I Have been listening to and enjoying your show for about two years now and I have a few program ideas to share.. one might be be the music played during the Great Depression, Another idea I have is music of the suffragette movement.

  43. John says:

    Great show tonight on Rachmaninoff. I’m really looking forward to the rest of the week. You gave us very generous helpings of his music, so I understand you can’t tell us everything about the pieces and about Rachmaninoff’s life. One might add, however, that besides the hypnosis with Dr. Dahl, what also brought Rachmaninoff out of his 5 year depression after the failure of his 1st symphony was his trip to the Crimea where he spent time with Chekhov and Stanislavsky. The former’s poem Rachmaninoff later revealed was the real inspiration for his tone poem The Rock, while in 1908 he sent the latter a message in the form of a song for his birthday party, sung by none other than Chaliapin. Again, thanks so much for all the shows this week on the greatest composer of the 20th century!

  44. John Rapp says:

    To me Rachmaninoff’s Symphonic Dances is one of the greatest farewells in all of classical music, right up there with Brahms’s 4th symphony. Besides Rachmaninoff’s references to themes in his own past music, including his 1st symphony, which no one else at the time would have heard, and the very Russian melodies you mentioned, there are the faintly jazzy and syncopated sounds, perhaps showing the later American influence, and the way he bounces melodies around different instruments, expressing his grateful farewell it seems even to the orchestra. You rightly talked about the saxophone solo in the first movement, but the writing for bass clarinet is also some of the best in the classical repertoire, and the whole percussion section, including piano, gets its full due as well. The gong at the end, wonderfully extended in the Ormandy version, also repeats an effect from the 1st symphony and to me seems to represent a soul departing into the whole. Overall this work is the culmination of the six works of Rachmaninoff’s third and last period, where he returned more to the rhythmic drive of the 1st symphony but with pared down and relatively sparser melodies, if still within the most colorful orchestration. I’d love to hear a live concert some day pairing the 1st symphony with the Symphonic Dances, but your program bookending both works so far comes the closest. Wonderful program overall Bill.

  45. Kathryn Turner says:

    I really enjoyed the Rachmaninov week. His music is my favorite. Always loved minor keys even as a kid taking piano lessons. Someone on the radio once said that his music is unsophistocated. Guess I am too. He’s still my favorite. They were comparing him to Mozart. I’m ashamed to say that I find most Mozart irritating. Guess I need to listen to your input again. Is there enough info. on Van Cliburn to do a week? I was sad to hear of his death. His performance of Rachmaninov’s 3rd piano concerto at Carnegie Hall is my all time favorite. Makes me cry. I was introduced to it and classical music by the very intelligent boy across the street in Calif. where I spent my senior year in high school. Was very sad to be uprooted. Rachmaninov helped ease the time missing ‘Back East’. Love your show. Hope it’s on for a long, long time. Kathryn from Camden, Michigan -Amish country.

  46. john says:

    Have you played anything composed by Gundaris Pone? His late son and I were friends at a military senior service college, and he told me his dad was a Copeland contemporary and friend. I have looked high and low for Pone recordings, but with no luck. Thanks.

  47. John Munier says:

    I’ve always said that the best programs are about composers. Last week on Rachmaninoff was no exception.

    However, this week, Mahler is starting out in the same vein. It’s important to note that, finally, the one-week barrier has been broken. So many prior composer programs were limited to one week, with lots of comments by Bill about how much additional material there was, but not enough time for it. I’ve been frustrated in the past with shortened program material when clearly more time was required. Now it seems that programs can extend to two weeks when necessary. (Is three weeks in the offing? I would bet my bottom dollar that most viewers would NOT object.)

    In addition, I’ve just listened to the first two actual recordings of Mahler at the Welte Forsetzer (sp?), as it was introduced 40-50 years ago. At the time, I think it was Sony that sponsored a huge effort to produce recordings of piano ‘rolls’ created by current celebrities. In addition, there was substantial press about how the device worked, and I was fascinated to learn how different the Welte piano was from the typical ‘player piano’ of honky-tonk bars. It was a major feat of engineering that the device was discovered in the mid-20th century (60′s ?), and brought to life so that we could experience the performances of so many great pianists about the turn of the century. You hardly hear about it any more, and so it’s kudos to Bill for bringing Mahler back to us tonight.

    And this goes to another great feature of Exploring Music. Bill has HUGE resources at his disposal, and he is able to bring together many different features, such as the Mahler recordings, that normal plain folk like you and me would not have ability to discover. Thank you, Bill.

    :And finally, the soprano singing along with Mahler: such an artistic performance, I was immediately aware that you would not have the normal give-and-take between performers, but honestly, I couldn’t tell that they were not in the same room together. What a fabulous performance. So, once again, it’s kudos to Bill for bringing this performance to us all.

    I know that composer programs are more difficult and require more research, so once again, it’s thanks to Bill for doing two fabulous composer programs back-to-back.

    Thank you Bill, and additional thanks to everyone who made this great web site possible.

  48. Nigel Simpson says:

    Bill wears his learning lightly and his enthusiasm shines through. Great way to introduce kids to fine music while giving something for adults to think about – always entertaining, always enlightening. Keep up the great work.

  49. Carol Luparella says:

    Hi Bill,
    I am thoroughly enjoying your program about Mahler and am happy that you are giving us a two-week exploration of his music. Any chance that soon you can do a week on my favorite composer, Anton Bruckner?

  50. paula rice jackson says:

    Am I misinformed? It was always taught to me that the “Adagietto”of Mahler’s Fifth was written upon his discovery of Alma’s affair with Walter’
    Gropius. The underlying sense of the piece is hardly that of a man about to
    be married, but utterly in harmony with heartbreak….
    so WHICH is it? Are there dates of the composition to prove at what stage
    their marriage had arrived? I think you should clarify this… It is such a
    commonly held view that this is the emotonal origin of the piece. WHY would Visconti have used a selection suggesting “Marital Happiness” for the opening sequences of “Death in Venice”? The MUSIC foretold everything, right? Tragedy — Solitude — Heartbreak —
    Thanks, PRJ

  51. Paul E. Stanbery says:

    Back around 1985, I heard a Saint Paul Sunday Morning in which Bill conducted Honneger’s PASTORALE D’ETE in the most profoundly contrapuntal version I’d experienced — one the composer, I think, would have adored. I was most used to Bernstein’s, where the Pstorale acted as middle movement on an Lp side between Mouvement Symphoniques #s 2 and 1 (i.e., RUGBY and PACIFIC 231). Thinking about this for a few months (during which I discovered Bill had picked his performance as one of his favorites of the year — in my view a highly deserved distinction), I decided that the piece really didn’t serve the “slow movement” role Bernstein had intended for it in a sort of “symphony” (#0?) of Honneger’s Symphonic Movements.

    I thought back to the archetypal Herman Scherchen monophonic Westminster recording that included all THREE symphonic movements, and Honneger’s quoted lament that #3′s lack of a programmatic subtitle had discouraged listener interest in it. Suddenly a listener’s solution had occurred to me!

    Use the model number of the composer’s favorite locomotive: “2-3-1″ as the PERFORMANCE ORDER of the “mouvements symphonique” !!! just as Bernstein had started to. Listening to the result as a sort of “zeroth” Honneger symphony really brought increased emotional sense to my appreciation of all three of the “mouvements” and left the beauties of Pastorale d’Ete to the more elevated contrapuntal realm your reading prepared me for.

    Am I crazy? Nowdays I use the digital Rugby by Martinon, the 3rd Mouvement by Baudo, and Pacific 231 by Michel Plasson to precede Baudo’s Symphony #1, Munch’s Paris Symphony #2, von Karajan’s Liturgical, a new “Delights of Basel” by the son (I believe) of Paul Sacher with (I think) the Luebeck Philharmonic, and finally “De tre re” by that guy who put the Montreal Symphony on the world map conducting, I think, the Munich radio people on the Honneger symphonic cycle. Sorry about my eroded memory… and good luck with your musical guidebook which my wife and I NEVER miss (unless pre-empted by political speeches) on Northwest Public Radio weeknights.

    Think anybody but me would find any of that a bit interesting?

    • Sergey says:

      Hi Brian,Really excellent atricle, that does a good job of giving an overview of the Thai Western Orchestra scene. I found the atricle to be unbiased and realistic. I only took exception to one word, actually. When you referred to the TPO as having nabbed some of the best players. That word makes it sound as if there were some nefarious dealings at work. (You’ve been talking to Somtow to much perhaps. He sees conspiracies everywhere). In actuality, perhaps the lure of a full time contract, and better pay (that is actually paid ON TIME, which is something that the other orchestras cannot boast), health insurance, etc, was lure enough. That would be called free market , personal choice, or perhaps, just doing what is best for their families.

  52. Tom Brand says:

    Enjoy your show every nite. Did I hear you correctly when you said that Bruno Walter played Das Lied von der Erde 2 years after Mahler died? I am now reading Jens Malte Fischer book (over 700 pages!) on Mahler and he says the work was played Nov. 20,1911 at the Munich Tonhalle… which was 6 months after Mahler died.

  53. Carole Orloff says:

    Thank you so much for the week of Mahler. Talk about music that tears your heart out. Sandor Salgo told a friend of mine who was performing Kindertotenlieder (way back in the dark ages of 1970) that she had to do it before she had children, because after she had them, she wouldn’t be able to sing it.

  54. John Judge says:

    Just listened to your show featuring Mahler 2d last movement; Walter, NY Phil. Hadn’t heard it with such clarity since I got to play the 5th trumpet part with the Houston Symphony under Sir John Barbarolli in the late 60s. I was amazing to hear Mr. Vacchiano in his younger days.

    Every trumpet player relishes the Post Horn solo in the 3d movement of the 3d symphony. Even though Mahler calls for a B flat Flugelhorn, everyone I know who has played it uses a C trumpet, off stage. Does anyone know of the solo actually being played on a Flugelhorn?

  55. David says:

    I only wish KWAX in Eugene hadn’t pre-empted your morning show and displaced it to early evening at 7pm. Your show was the highlight of my morning and you replaced Karl Haas as my surrogate classical music mentor!

  56. Annie Camp says:

    What a wonderful program! Imagine my delight at finding this program shortly after sunrise, as I was recovering from a summer morning jog. I forgot all about my aches and pains and was transported to a world which reminded me how very much I love music and sharing it with others.

  57. Diana Pruett says:

    I thoroughly enjoyed today’s program. Listening to Grofe’s “Grand Canyon Suite” took me back to my childhood. My mother had it on 78rpm, and my brother, my sister and I rode the donkey up and down the Canyon a hundred times. On a more mature note, I always look for Grofe orchestrations; I find the voicings to be so perfectly in tune with the larger piece.

  58. Louis Menashe says:

    “Exploring Music” is a treasure; always inventive, always educational, often very funny. Love the Ike/Lenny/Barcarolle/Aria series.
    Keep on keepin’ on!
    Lou Menashe

  59. John Hamilton says:

    I’m not much of a classical fan, but I listen to this show often. The stories that accompany the music, in a funny twist, keep me listening. I enjoyed the Jerry Garcia anecdote. I think I read once that he was named after Jerome Kern. His father was a musician.
    I used to have the Grand Canyon Suite music that was played tonight, part of a great masterpieces album I had a long time ago. I had forgotten how much I enjoyed it. Thanks.
    Dwight Eisenhower came to my high school after he was president, really just drove past in a convertible. A group of us didn’t stand up when his limo came by, pretending we were cool. He smiled and said “Hi, boys.” We said “Hi, Ike.” I’d like a redo, but in the grand scheme of redos, it ranks pretty low.

  60. peter siviglia says:

    Topic suggestion: Great Orchestrators. For me, Ravel and Stravinsky are Nos. 1 & 1 (yes a tie). Bur the best orchestrated piece that I’ve heard is the last movement to Berlioz’ “Symphonie Fantastique”. I think when Stravinsky first heard that movement, he said to himself: “My God, that guy did ages before me what I’ve been trying to do.” Sincerely, Peter Siviglia

  61. Susan says:

    I find that you have changed the website andI can’t get the program to start the way I did 2 weeks ago. It is very confusing website to me … I love the show but want to listen when I can hear it in full. Just letting you know there is a problem …

  62. Ben Brenneman says:

    I enjoy most of your shows. How about doing a show on great guitarists? Merle Travis, Les Paul, Jerry Reed, Django (sp?), Tommy Emmanual (sp?), Laurindo Amieda (sp?), etc., and some more jazz greats.

  63. Monroe Scherer says:

    Loved the Mahler and Shostakovich programs. And the quartets. How about something on 20th century quartets Bartok, Shotakovich, Villa Lobos, or have you done that?

  64. bb says:

    What was playing at 9:07ish pm this evening?

    It has an Armenian riff that I swear our family dances to at weddings and I’m completely moved by it. I ran inside from the car and by the time I had WFMT on in the house, the announcer had moved on…

    Am poking around the WFMT website, and can’t seem to find it.

  65. Elizabeth says:

    Have listened to your Exploring Music for years. Being both a music and an art lover, I’m especially enjoying this week’s programming. Nat King Cole singing “Mona Lisa” was an inspired and delightful final touch today! Thank you.

  66. D Tremper says:

    I’ve heard and even played the Fireworks of Handel, but the tempo on the recording used on program 5, aired 7/16/13 on WQXR was new and preferable. Thanks for sharing!
    Interesting series on his evolution to becoming “English”.

  67. Neil Parry says:

    Dear Bill,
    I recently caught your program you did on Handel and I wanted to send a quick note to thank you-I thoroughly enjoyed it! I was also pleasantly surprised to have not one, but two nights of this beautiful music. I also really appreciate the wonderful historical reviews and musical analyses that you provide to go along with the musical exploration. Your love and enthusiasm for the music comes through so very clearly that it is quite contagious and inspiring. I really felt that I was back in music school again (in a good way, of course). Unfortunately for me, I’ve always found music history to be one of my least favorite subjects, often times delivered to the student in somewhat of a dull and dry fashion. However, the way that you bring the music to life, I can tell you that I wish you could have been my music history teacher for every single semester back in college-I am certain my grades would not have suffered so much!

    Many Blessings to You!

    Neil Parry
    Matteson, IL

  68. bill kilgour says:

    I GLOAT IN MUSIC. MOSTLY “CLASSICAL”, AND JAZZ & pop (20′S TO 60′S), well, and light opera, and folk, . . .
    AND I like the way you lure me into enjoying music new and satisfying to my ears. You are more reserve than Susan Voegli’s Maverics) yet also more convincing. So lead me to the fresh.
    Also, I enjoy thinking that i am part of a larger audience, and we are all enjoying this together. Wordless, un-announced CD’s just can compete with the jolly, appreciative fellowship you bring to my home.

  69. Charles Kusmirek says:

    The question and answer section of the site continues to claim that it is optimized for smart phones. This is not true. It does behave better than it did before. Optimization is defined by the customer response. There still remains work to do.

  70. Frank Coffee says:

    Bill McGlaughlin’s rendition of “Già nella notte densa,” the love duet from Otello, might as well have been in Albanian for all the resemblance it bore to Italian. Perhaps we could start a fund drive to give him tutorials!

  71. Micah Judd says:

    I LOVED today’s show featuring Roma composers. It was a chance encounter, turning on the radio at a time I usually don’t. I entered the program as Galem, Galem was flowing through the airwaves acapella, carried by a solemn, melodious voice. I had never heard this song; I appreciate the history you shared and the song itself. It is my gift today to have heard it. Thank you.

    • Exploring Music says:

      We’re so glad you enjoyed. If you want to find out more information about La Gitana, including a translation to Gelem, Gelem (the piece you tuned in to), check out our Facebook page.

  72. Ofra says:

    I just loved today’s program about Gypsy music (Thu)! I actually stopped what I was doing and just listened. I loved it for the music of course, but mainly because you really explained what exactly to listen for. I’ve written before saying that there was too much of music without telling where and what to listen for… .so today was great! Thank you!

    • Exploring Music says:

      Glad you enjoyed, Ofra. You can listen to the whole week here. If we could we would add a whole extra thirty minutes of just Bill. It’s amazing how much gets left on the cutting room floor.
      Thanks,
      Sophia Feddersen
      Social Media WFMT

  73. andrine says:

    I loved the program La Gitana. Your selections were superb and represented a diverse approach to gypsy music. I will turn off the TV more often and the radio on- especially for your programs. Thanks!

  74. Stratton Rawson says:

    The comment is in the form of a mild rebuke. A listener to WNED FM in Buffalo NY, who hails from Port Colborne Canada recently called to us to tell us that our announcer is mispronouncing the name of the Hungarian instrument known as the cimbalom. It turned out that the announcer in question was Bill who indeed kept referring to the instrument as the “Chimbalom”. In Hungarian a “c” is pronounced “tsee”. In Czech “c” is often pronounced as “ch”. Most music commentators get away with pronouncing the initial “c” in cimbalom as a soft “c”: “Simbalom”, which I suppose would drive our Canadian listener just as crazy.

    • Exploring Music says:

      Thanks for the tip, Stratton. Diction is always important! We’ll be sure to look out for that in the future.
      Thanks,
      Sophia Feddersen
      Social Media WFMT

  75. Sarah Middleton says:

    Love this weeks program on the influence of gypsy music! Funny I always had a fondness for gypsy and for flamenco, both the music and dance, and was not aware of the intricate connections between them, let alone the influence they had on other music. Thank you so much for the in-depth exploration.

  76. Nathan Thomas says:

    I really enjoyed the show tonight, and you showcased some wonderful music. However, I struck by how familiar the Bartok violin sonata sounded to me, even though I was quite certain I had never listened to a Bartok sonata. When I got home, I checked and confirmed that it actually was the third movement of the Violin Sonata in No. 4 in E minor by Eugene Ysaye, dedicated to Fritz Kreisler, and even though it sounds very gypsy-like, I do not believe either Ysaye or Kreisler had any Roma ancestry.

  77. Cindy Docktor says:

    Can you please feature Gaelic classical music and artists? Thanks so much for your show…

  78. Fru Teston says:

    I’ve been listening to this program forever, and I can’t imagine how, but it gets better and better. Am I becoming less critical? No…if anything, more. Which means that our affecting, delicately encouraging, sweetheartedness host, Wm.McG., is somehow magically shifting his own electrifyingly identification with these creators…where was I? Oh yes…I cannot listen, often, either at 7:00 or at any other time…but when I can, which is tonight…I feel companioned, so strange. Al best, F.

    • Exploring Music says:

      I’m so glad that Bill and our team at Exploring Music, can bring the complex, beautiful world of classical music to life in your living room. What a privilege for us! Thank you, as always, for your support, Fru.
      Thanks,
      Sophia Feddersen
      Social Media WFMT

  79. Fru Teston says:

    Gosh, I already bared my soul, which for some reason this program makes me feel like doing. Is that because I don’t often get to listen??? The programs are magical. All best, FT

  80. Jeff Skibbe says:

    Bill,

    I can’t recall, have you done a week on nicknames? Nicknames of compositions and musicians? I discovered yesterday Italian conductor Nello Santi is referred to as “Papa Santi” as a gesture of respect by his musicians. Lots of stories implicit with this topic.

    • Exploring Music says:

      Dear, Jeff
      We don’t have a program on nick names at the moment, but that’s a great idea. Some of our favorite compositions are nicknamed. (Handel’s “Harmonious Blacksmith”, posthumously given the title, and Brahms “Regenlied” Violin Sonata, called such because of it’s relation to lieder he wrote a few years previous!) Thanks for the input.
      Thanks,
      Sophia Feddersen
      Social Media WFMT

  81. Margles Singleton says:

    Andreas Delfs conducted Milwaukee Symphony Orchestra in a knock-your-shoes-AND-socks-off performance of Tchaikovsky’s Fourth last night. I would love to hear a series about conductors as it hadn’t dawned on me that they are experts in conducting in the same way that soloists specialize.

    • Exploring Music says:

      What a great idea, Margels, we’ll put that in our big document of ideas for sure. Thanks for the thought.
      Thanks,
      Sophia Feddersen
      Social Media WFMT

  82. Nick says:

    I *LOVED* the La Gitana program! I’ve been listening intermittently for maybe four years, and this is the first program that got me to your website, and now I’m going to buy it.

    I saw you mentioned that there was about a half an hour of Bill’s commentary that gets cut each week? I’d understand if it’s too much of a hassle, but it would be cool if the online version included it.

    Also, it would be cool to see a week on Indian Classical music that discussed it’s historical context while also covering it’s influence on western classical music.

  83. Jude says:

    Bill,
    I SOOOOOO enjoy your program! My dial is set for 90.3 in Toledo OH weekdays at 11 so I can become more educated in the realm of composers and their musical creations! Keep up the great work. I wish I had the funds to join and become a regular supporter, but for now am so fortunate to be the recipient of this fine broadcast. Your radio voice is soothing and enjoyable to my ears. I especially loved listening to your segment today about Errol Flynn’s soundtracks for his movies. Absolutely Brilliant!!!!

    Blessings,

    Janice

    • Exploring Music says:

      Thanks so much for listening, Jude. Here at WFMT we completely understand that not everyone may have the funds to be a regular supporter. Which is why you can buy any episode in the archive for only 2$. It’s going to be all soundtracks this week, and some of the selections (a Hitchcockian piano concerto!) are truly spectacular.

      Thanks,
      Sophia Feddersen
      Social Media WFMT

  84. walter pompei says:

    I just listened to the end of the broadcast on Friday, September 27 and heard all the songs that were played from certain motion pictures. Did you know that there were 4 musicals from the decade of the 60′s that won the oscar for Best Picture? They were: West Side Story, My Fair Lady, Sound of Music and Oliver! Maybe you could devote a program to songs from these films. (Imagine Carol Reed wins for Oliver! but not for The Third Man!”)

  85. Rich Superfine says:

    Interesting factoid re: “Lost it at the Movies”: On the last evening, Bill ran a “movie theme quiz,” and included Barry’s theme for “Midnight Cowboy.” I immediately recognized it as, also, the orchestration for his Bond theme for “You Only Live Twice.” A little – but welcome – self plagiarism.

  86. Jane Doe says:

    I’m enjoying what I’m reading here; the responses are lively and varied. I’d like you to explore modern American composers, such as Matthew Brown, whose selected choral works ‘though love be a day’ performed by Antioch Chamber Ensemble was recently released. Matthew Brown is relatively young for someone with his talent and experience. His choral compositions are extraordinarily beautiful as performed by Antioch Chamber Ensemble, the award-winning ensemble, who in 2008, was awarded first-place honors in the highly prestigious Tolosa International Choral Competition in Spain, establishing them among the top rank of professional choirs in the world. Antioch’s first full-length recording, Winter Songs, featuring the Mid-Winter Songs by contemporary American composer Morten Lauridsen, was released in December of 2003 to wide-spread acclaim and Laursiden himself praised it. Antioch was featured for their performance ‘GESUALDO REFLECTIONS’ by New York Times who wrote, “Of the ensemble’s recent début for the Chamber Music Society of Lincoln Center, “the Antioch Chamber Ensemble performed … with clarity of tone and intonation so pure that you could hear the buzz of overtones created by some of the close harmonies. The most daring of these often color the sighs and wordless exclamations that punctuate both spiritual and secular texts, and the Antioch singers gave each its expressive register: impassioned, weak-kneed, swooning.” I give you this background on Antioch to give credence to why I’d like you to feature their new release of Matthew Brown’s selected choral works. You get the best of two worlds!

  87. david says:

    I agree your programs on one composer (Bach, Brahms,Beethoven,R. Schumann, Schubert, Dvorak, Bruckner, Von Williams, Prokofiev, Shostakovitch, Sibelius, etc) with only orchestral or instrumental pieces (not vocal) would be appreciated. I would also enjoy your illustrating (on the piano, on which I find you offer very clear exposition) what it is about each composer that gives his characteristic sound. As you know, after a few bars of many of these composers, you know whose music it is even if you don’t know the piece. I would also enjoy a week on a sequence of superb performances of one composer, with comments on what make the interpretations so fine. For example (though these may not be your choices) Bruckner 2 by Giulini, 3 by Nagano, 4 by Bohm, 5 by Furtwangler,6 by Keilberth, 7 by Von Karajan, 8 by Haitink or Von Karajan, 9 by Furtwangler. I realize this would take more than one week, but you have had other series. Alternatively, individual performances that stand out above most others would be enjoyable. Of course you have already done this a number of times; one that I remember is Germain ThyssenValentine’s Faure, which is a favorite of mine. Your recent program featuring Gil Shaham on Faure’s first violin sonata (which I happily own now thanks to you) is such a performance; (perhaps the following would not be your choices but) I would couple it with the Grumiaux Crossley performance of the second, and trio Fontenay of the piano trio. I’ll send some other requests, but am out of room for now.

  88. Elizabeth Penrose says:

    In your series on movie music, you forgot about cartoons! I suggest a group of episodes based on cartoon music.
    1. The Life & Death of Mickey Mouse. Disney’s music took its beats & measures from classical music & from theories about character animation. But it didn’t last long, & its imitators failed.
    2. The innovations of Carl Stalling. Stalling’s music, in contrast, mixed pop standards, classical, & experimental music. (Every child recognizes “Powerhouse,” though they don’t know who wrote it.) But as widespread as its influence was, & even with such late imitators as “Animaniacs,” it too has failed.
    3. The Opera singer. Cartoon music has had a love-hate relationship with opera. If a cartoon wanted to show a pompous figure, the fat opera singer was a go-to. But some of the most wonderful cartoons (including Heckle and Jeckle!) used opera music.
    4. The Cartoons We Can’t See On TV Any More. Many cartoon studios were organized to sell popular music. And some of those cartoons show characters in blackface, or offensive racial stereotypes. It might be easier to discuss some of the music & its stereotypes divorced from those images.
    5. Rooty Toot Toot! Though UPA only lasted a little more than a decade, it pioneered a musical style based on the more accessible reaches of independent music. Though often impractical for TV toons — the classical/jazz fusion of Vince Guaraldi’s Peanut cartoons only lasted for a few specials — it continues to survive & thrive on some successful cable cartoons.

  89. Janet Dangler says:

    We really enjoy your show Exploring Music! We listen every night on WCNY-FM in Syracuse, NY. We really liked hearing Verdi this week. I sang Verdi’s Requiem a million years ago, and loved hearing it again. You play a lot of choral music but I wish you’d dedicate a week to choral music – all kinds! Thank you for this program – you are so enthusiastic it’s catching!

  90. Nick Pappas says:

    I am not sure if this has been done already, but it seems that a week (or two) on the subject of fugue is… a must :)

  91. Katrina. Reinhardt says:

    at LAST!!!! GURRELIEDER exposed!!!!! What a glorious piece and to hear it on the RADIO……Can’t thank you enough Bill. Have loved your show since you premiered Leon Kirchner’s Second Piano Trio and whenever possible have hung on each explanation of most pieces. Hooray.

  92. Katrina Reinhardt says:

    One more thing: as for musical families: how about Jorga Fleezanis and her Michael Steinberg? Now there was a team.
    Also, the BEST Gurrelieder was BSO and James Levine with lorraine Hunt Liebeson some years back. Wow. Now there was a perfect performance.
    Bill you have to live forever with your wonderful knowledge and insights no one else seems to have.

  93. Carl Riskin says:

    Just a thought on a potential theme for one of your wonderful programs: Bach the virtuoso. There are so many ways we think of Bach’s music, but the excitingly virtuosic character of some of it doesn’t get much attention. Certainly good for a single program. Piano, violin, cello, trumpet, lots of variety. I’ve been working on the e minor Partita and the chromatically rising sequences of the opening Toccata brought this theme to mind. In any case, keep up the great work!

  94. Kirsten Crippen says:

    I love all of your programs. It’s not just the music but everything else I learn. I loved the series on Verdi & Wagner. Have you ever thought about doing a few series on the development of opera? Some composers I’d love to learn more about are Kurt Weill, Karl Orff, Philip Glass, Monteverdi.

    Thanks for all you do!

  95. MK Grant says:

    As a relative neophyte, I enjoyed the Monday night program of Exploring Music featuring an obscure and unusual Beethoven Symphony. The music is beautiful, and I better appreciate it because of the explanations, illustrations on piano, and historical commentary offered. Thanks a lot!

  96. Chris Thomas says:

    On Monday’s program on Beethoven’s Missa Solemnis, Bill makes the comment that a section of it was in the key of B natural “a very dark key.” I have often heard of composers favoring one key or another to convey certain moods, but always wondered what is the difference? Since Bach finished tempering the scale aren’t all keys the same? I know they are not, but I don’t know why and would love to hear a program on that subject. Otherwise I might have to get a piano like Irving Berlin, who – unable to play in any key other than C major – had one made with a gear shift so he could play in other keys without changing his fingerings.

  97. Mark Fitzgerald says:

    Dear Bill & Company,

    The most recently aired program generally becomes preeminent in my consciousness. I think that there was something Fundamental in this two-weeks of the evolving genius of Beethoven – the piano was so alive, the string quartets sang, and mused, and glimpsed worlds deeper; adding vocals to the instruments soared to Heavenly heights. I listened to the Ninth this afternoon, and never (to memory) had enjoyed it better. Your program has me using my brain more than before, and more at ease with my soul. To enjoy this music is to love the man, Beethoven, and his spirit that we feel once again.

  98. The Jennings Fam says:

    Good Morning All!

    Just a quick ran-dumb thought for a show. A week of ‘unconventional’ classical composers (e.g. Philip Glass, John Cage, Joe Jackson, Frank Zappa, Sting, etc.).

    Toodles.

  99. Fred Meyer says:

    Hard to pick out a single favorite show. However, I especially appreciate shows devoted to the music of Eastern Europe, particularly ones that investigate the incorporation of folk melodies (e.g., by Dvorak, Bartok). As stated in a recent comment sent via another channel, I’m most keen on (a) a survey of music by Chinese and Japanese composers that has incorporated Western forms and instruments, and (b) music by Western composers that has incorporated Chinese or Japanese forms and instruments. For example, the piece “Haro no umi” by Michio Miyagi was broadcast today. The violinist was Gidon Kremer. Thank you for Exploring Music!

  100. Matt Dane says:

    I enjoyed the Holst music very much. Arthur Fiedler and Ferde Grofe are my requests, Thanks!

  101. Chris Craig says:

    I love Exploring Music and love being able to stream programs whenever my irregular work hours allow it. I am a pianist (not professional) with an increasing hearing impairment (not from music), and bluetooth technology now allows me to stream the wonderful recordings you feature directly through my hearing aids, giving me the best sound quality I’ve heard in many, many years.
    As an idea for a program, I would love to have a week featuring 20th and 21st century piano music that seems so rarely played these days–even among college piano students. The great sonatas of Norman Dello Joio, Ernst Bloch, even Stravinsky(!) are rarely played or heard, and I’d love to see this music promoted more.
    Thanks so much for your fine show, your insights, and the terrific recordings!

  102. Charleigh Robillard says:

    Hello Bill,
    I have been enjoying EM for many years now, I first became a fan when it was still done by Carl Haas (and forgive me if I’ve mis-spelled that man’s name, been a while) but you have really fired my imagination recently with programs like the Magyars, Benjamin Britten, & last week’s Bach Sleeps In. Friday night when you closed with the Divine Decade CD I was thinking you should take that CD & the Missa Lubba & run with the idea of an all African music program….the next 2 weeks Portraits may cover some of that ground already. I am delighted that you colour outside the box. Looking forward to the rest of this current program. Also, I agree with Mr Craig above, a week of piano would be lovely. Or a week of cello solos, perhaps that aren’t Bach, as flawless as those are. Thanks for what you do!

  103. Dennis P. McCann says:

    Wonderful programs on Bach St.Matthew’s Passion! I appreciate when you show how the text painting works, and your observations on the instrumentation. I will be following all week and can’t wait for the next program in the sequence! I just heard the Passion performed in Chicago by the Bach Project and this series is timely, many thanks!

  104. Dennis P. McCann says:

    I’d love to follow some shows on contemporary composers and ensembles.
    There is a lot happening in new music today! Our own Eighth Blackbird, ICE, and others. A show on Reich would be fulfilling!

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The Exploring Music streaming website is made possible by Mr. & Mrs. William Gardner Brown and Susan & Richard Kiphart.
You have opened up the world of Classical Music to me, where previously, it seemed too complicated.
Steffen Demeter
This is simply one of the very best radio programmes in the medium!...The study of the people, the times, and the events that inform the music we otherwise enjoy and even, heaven forbid, take for granted, brings the entire world of the music and the composer to life.
Walther Davies
There isn't a program you broadcast on Exploring Music" that isn't of interest. I find them all engaging. It is a combination of variety of subject, intellectual curiosity and your obvious enthusiasm which characterize your satisfying programs.
Michael Sanders
It’s a great way to re-engage myself with consciousness before heading off to work.
Kourtney
I Love this program! I am in 7th grade and I am the complete opposite of the other kids. I am 4th chair in the orchestra and I love to read. But most of all, I LOVE classical music!
Claudia Wertz
Your show has helped open my mind and heart to this world of music, and every show I hear confirms my place in music and gives me new ideas for where I'd like to go with it in the future….I grew up with classical music as a child and always held it in my heart, but I didn't have the confidence to be a good student (or a good violinist.)
Christine Anderson
Listening to you is almost interactive.You invite us in with so many well modulated dramatic and informative comments, enticing, enthusiastic interpretations, and coherent, beautiful presentations. It's a privilege to follow you into the musical space you create.
Sally Rosenbaum
I just love this program. It is soothing and comfortable at the end of the day. I find his comments interesting, but they aren't so dragged out that there is very little music. The balance of both is just right.
Jean Quay
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