Mozart's Attic

Thursdays from 10pm-12am

Mozart's Attic is a classical music program featuring music from the Middle Ages to the 21st century. Some of it is not frequently heard on air; other pieces are concert favorites from the symphonic repertoire, sometimes in rare or historic performances. There's plenty of vinyl, and sometimes even a bit of shellac.

You never know what you might come across in the attic. 

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

You can get the recipe for Mama Stamberg's cranberry sauce by listening to any NPR station, but only WFIT will tell you how to make Nathalie Irene's turkey Tetrazzini to help you use up some of those Thanksgiving leftovers. It's an annual tradition on Mozart's Attic. We'll also feature some music of Massenet, Rameau, Satie, and Stravinsky on this week's program. And who knows, we might just get Luisa Tetrazzini to sing for us as well.

In 1929, Herbert Hoover was the newly-inaugurated President of the United States. Erich Maria Remarque published All Quiet on the Western Front, and Walt Disney took to animating a mouse. In May of that year, three of Europe's outstanding musicians headed to a recording studio in Barcelona. Cellist Pablo Casals, and violinist Jacques Thibaud, with pianist Alfred Cortot in a new role as conductor, met to capture the Brahms Double Concerto to disc. Some 88 years later, it's still regarded as an exemplary performance, and it will be our featured work this Thursday night.


This week we look at some recent music, written between the 1990s and 2012: seven post-modern works, none alike, that show stylistic growth in this new century while still retaining some of the "spice" from the avant garde music of the last. Henryk Gorecki, John Adams, Michael Torke, Naji Hakim, and more: we'll hear them this Thursday night.


Antonio Vivaldi set the Gloria -- the second section of the traditional Roman Catholic Mass -- to music in 1715. We aren't sure why he did it. Was it part of a larger Mass that never got finished, or was it a stand-alone piece? 244 years later, Francis Poulenc, on commission from the Koussevitzky Foundation, decided to try his hand at a stand-alone Gloria, and as you might expect, it was a vastly different work from that of his predecessor. We look at the two Glorias this week. Did they both arrive at the same place? See what you think.


George Frideric Handel moved to London in 1712, and his music was to prove so influential that nothing would ever be quite the same again. The Italian-inspired operas, the royal commissions, and, of course, the oratorios brought a new, continental sea-change to the island. Yet there had been a lively musical scene in England beforehand, and we'll look at English music before Handel with this week's program, featuring music by Henry Purcell, William Byrd, John Dowland, and a host of others.