“Got a real smorgasbord for you,” says Jay—“even more than usual. An almost wacky variety.” He begins with Rachmaninoff, turns to Satie, then to a classic American song, then to Satie again, then to Penderecki, and on to Fauré and Busoni (no, not Bach-Busoni). Some interesting issues, points, personalities, and, of course, music.

Rachmaninoff, “Spring Waters”

Jay plays some music by a Bach son. There is also Beethoven, Tchaikovsky, Saint-Saëns, and other composers. The episode ends with a tribute to Rosalind Elias, the late American mezzo-soprano: the thirteenth and last child of Lebanese immigrants.

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Jay’s previous episode was devoted to music of spring. As he points out, it’s still spring—and there’s a lot of spring music out there. So he goes a second round. This round serves up Schubert, Mahler, Copland, Rodgers & Hammerstein, and more. A colorful, happy bouquet.

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The title of this episode pretty much tells its story. Jay plays balm-like music, and delight-giving music—heavy on the Bach. At the beginning of the show, he asks, “Need I say that music is extra-important in these strange and trying times?” He answers, “Of course I don’t.”

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