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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Rachel Barton Pine
NPR

W.A. Mozart and American violinist Rachel Barton Pine both began their musical careers at about the same age -- three!

Joshua Bell
NPR

Few cities can match London when it comes to world class orchestras. From the Royal Philharmonic to the Academy of Ancient Music to the London Symphony to any of a dozen more, London has become one of the great centers of orchestral performance in today's world.

Since 1959, one of those great ensembles has been the Academy of St. Martin in the Fields. In 2011, Sir Neville Marriner, the orchestra's founding music director passed his baton to a new-generation director, American violinist Joshua Bell.

Charles-Marie Widor
BBC

It was largely a French-church phenomenon of the nineteenth century.

The old Baroque organs (some of which would today be regarded as near-priceless) were scrapped and replaced with huge instruments whose compass was more like that of a symphony orchestra. These titans could play at a whisper or set the building a-rumble. There were enough ranks of pipes to afford the player a palette of tone colors unlike anything previous.

The attic isn't the only place where you can find something you never expected.

In 1865, somebody left a pile of manuscripts to the Royal Academy of Music. One of them, a Gloria for Treble Voice and Strings, had "Handel" written by some unknown hand on the front page -- underlined twice! But nobody believed it. Such a score was unknown, and it wasn't the sort of thing the primarily-secular composer was likely to have set his mind to.

In 1950, with the Cold War in full force, an international Bach festival and competition was held in the city of Leipzig in what was then the German Democratic Republic. The winner was a 26-year-old Russian pianist, Tatiana Nikolayeva.

Dmitri Shostakovich was one of the jurors, and he was sufficiently taken with Nikolayeva's playing that he wrote a collection of 24 preludes and fugues -- reminiscent of Bach's Well-Tempered Clavier series -- especially for her.

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