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.


Ways to Connect

Haydn's Symphony No. 1 may or may not have actually been his first foray into this new musical form, but it nonetheless was a pioneering work,  containing elements of both the Baroque as well as the new  Classical styles. Haydn was doing some tinkering here, and he would quickly develop a model that would become the symphony as it has been defined ever since.

It's where we begin our program this week, and if it's status as the first symphony is questionable, there is no argument that it is a transitional work of music.


The six Bach Suites are mainstays of the literature for unaccompanied cello. Yo-Yo Ma recorded them as a young aspiring artist in his twenties, again in his forties, and now -- for what he says is the final time -- as a mature interpreter who is arguably the pre-emminent cellist of our time. We'll listen to  what Ma has to say about Bach, and then we'll take a look at some of the other projects that he has delved into of late -- projects that have not been without controversy.

Beethoven and Schubert

Beethoven and Schubert -- each in his own way a tragic figure -- worked in the same city at the same time and produced some of the most significant bodies of work in all music.

They didn't socialize -- age, personality, and class differences precluded that -- but they had a great esteem for each others' talent, and it's easy to see why that was so.

We'll go back to early 19th-century Vienna this week, and we'll just sit back and enjoy the music of these two contemporaries. 


We begin this week with some arias by Giuseppe Verdi in recordings both new and more than a century old.

From 19th century Italy, we go to 20th century Wales and Ukraine for works by Mansel Thomas and Myroslav Skoryk, two composers we'd like to hear more from.

Then its off to the high Baroque with music of Bach, Buxtehude, and Handel.

Hector Berlioz said he wanted contrasts in his Great Mass for the Dead, and he got them, musically at least, with a massive orchestra capable of the softest pianissimos a well as the thundering crashes of the Day of Rage. He also wanted to contrast humanity's terror of death with its fascination with it. Did he succeed? See what you think when we hear a Granny-winning recording of the Requiem on this week's program