Jay Lamy (Jayski)

Mozart's Attic Host

Originally from central Massachusetts, Jay has called the Space Coast home for more than 30 years. He began his association with WFIT in the late '90s as a dumpster diver for office furniture in response to a broadcast plea for a new chair from a frustrated disc jockey. (WFIT has come a long way since.)

Soon he was answering phones during fund drives, doing other odd tasks about the station, and later taking on the job of sending out thank-you gifts and premiums to new and renewing members.

Tune in for Mozart's Attic Thursday nights from 10 pm until midnight.

 

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This week we look at music of two composers -- Handel and Mozart -- and some of the differences in the way they sound depending on the viewpoints and ideas of the performers, as well as the various musical forces available then and today.

When Mozart's music is played on a modern grand piano accompanied by an orchestra of likewise modern instruments, the balances shift and there is a subtle, but quite noticeable change in the character of the music.

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This week we'll hear another of the Mozart piano concerti -- this one a little earlier, the ninth -- performed on period instruments including a replica of the piano that Mozart himself often played.

Next we'll take a look at a popular song of the late 1500s, and see how four different 16th-century composers arranged it both for keyboards and for instrumental ensembles.

In the second hour, we'll hear a set of Satie's piano miniatures, Debussy's La Mer, and a ballet suite by Hindemith.

Mozart was a prolific composer of piano concerti, and we'll look at a few of these over the next several weeks, beginning with Number 20, the product of a burst of activity in the mid 1780s when he was writing music for his own performance purposes.

We'll follow Mozart with a realization of some dance music from the French Renaissance, and then a performance of Beethoven's Eroica Symphony using instruments and orchestral forces appropriate to Beethoven's day.

It's Bach's 331st birthday this Thursday and we celebrate it with two hours of organ works, choral music, suites, and harpsichord and string ensemble music -- barely scratching the surface of the body of work of this central figure in the development of Western music.

We'll have performances by E. Power Biggs, Glenn Gould, Virgil Fox, Gustav Leonhardt and the Collegium Aureum, Martin Galling, and a host of others, including both historically accurate recordings and a couple of interpretations that Bach wouldn't have expected.

Though he spent most of his life  in what we now call eastern Germany, J.S. Bach was very much au courant as to what was going on elsewhere in Europe, studying other styles, tinkering with them, and sometimes trying his own hand at writing music as an English, French, or Italian composer might do it. This week we wrap up a series of Orchestral Suites in which Bach writes in the High Parisian style.

Next we'll look at some Renaissance and Baroque Spanish music for keyboard, then music of Beethoven and Stravinsky.

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