Jay ends with “Rustle of Spring,” the piano piece by Christian Sinding. It used to be universally known. It deserved to be. Jay also plays Tchaikovsky, Brahms, Shostakovich, Amy Beach, Havergal Brian, and Jörg Widmann. He tells some stories, makes some points. A rich and diverse world, music.

Tracks played:

Tchaikovsky, Piano Concerto No. 1

Brian, Double Fugue in E flat

Widmann, “Con brio”

Brahms, Violin Concerto

Shostakovich, Symphony No. 5 (Bernstein, New York Philharmonic)

Shostakovich, Symphony No. 5 (Maazel, Pittsburgh Symphony Orchestra)

Beach, “Ah, Love, but a Day”

Sinding, “Rustle of Spring”

James Panero recounts a recent trip to Mystic, Connecticut, and offers his thoughts on “J. M. W. Turner: Watercolors from Tate” and other developments at the Mystic Seaport Museum.

Roger Kimball, the Editor and Publisher of The New Criterion, discusses highlights in this month’s issue and reads from its opening pages.

When Harriet Cohen finishes playing her arrangement of Bach’s “Liebster Jesu, wir sind hier,” Jay says, “Holy stuff.” There is other stuff too in this episode: including “Tain’t What You Do (It’s How You Do It).” There may also be a little Beach Boys, classically performed. Jay likes that opening Bach piece so much, he ends with it, too: in a different version.

Bach-Cohen, “Liebster Jesu, wir sind hier”

Gluck, “Che farò senza Euridice?”

Oliver and Young, “Tain’t What You Do (It’s How You Do It)”

Feinberg, Piano Sonata No. 3

Bernstein, Sonata for Clarinet and Piano

Wilson and Love, “Good Vibrations” (sung by the King’s Singers)

Grieg-Ginzburg, “In the Hall of the Mountain King”

Bach–Swingle Singers, “Liebster Jesu, wir sind hier”