I am happy to note that the local embarrassment — Classical WETA-FM — will broadcast Robert Moran’s “Trinity Requiem” this Sunday night at 9 PM (four days after its official live world premiere), along with Adams’s “Transmigration of Souls” and something called “Agnus Dei” by Samuel Barber.

I’m still working on them to broadcast regularly the likes of Dutilleux, Volans, Larcher, Boesmans, Ruder, Keuris, Pintscher, Gubaidulina, and Hosokowas as they did a generation ago when they broadcast weekly orchestral tapes from the European Broadcast Union.

(Last night, I found an old program note from the early 1970s showing Antal Dorati leading the National Symphony Orchestra in performances of Penderecki’s Saint Luke Passion and Roberto Gerhard’s The Plague in the same month!)

I also love your reviews, I look forward to Proms just to read what you have to say about the festival.

If you are looking for interesting accordion music, I recommend Poul Ruder’s “Serenade on the Shores of the Cosmic Ocean” for string 4tet and accordion.

I agree with you that ”L’arbe des songes” is one of Henri Dutilleux’s best scores, along with his cello concerto “Tout un monde lointain . . .” which Rostrapovich championed repeatedly when he was Washington’s orchestral music director.

I found Dutilleux’s more recent song cycle “Correspondences” (settings of letters of Van Gogh to his brother Theo and Alexander Solzhenitsyn to Rostropovich and his wife) more puzzling, and while I heard Valdine Anderson sing it with Simon Rattle and the Berlin Phil in San Francisco (when dedicatee Dawn Upshaw was seriously ill); and Dawn sing it with Rostrapovich and the NSO five years ago shortly before Rostrapovich’s passing and the global economic contraction; perhaps unfortunately I don’t have a strong positive memory of the work.

I missed the Boston Symphony Orchestra, under Levine, performances of Dutilleux’s even more recent song-cycle for Renee Fleming, “Le temps l’horloge” (based upon two poems — by Robert Desnos and Charles Baudelaire) , which was apparently broadcast nationally, but not on musically repressive vis a vis contemporary classical music, Classical WETA-FM.

Speaking of which, I hope that Classical WETA-FM, which is up for license renewal from the F.C.C. in a couple of months time, gets an earful from the Commission for its neglect of virtually all American classical music, as well as contemporary classical music. I don’t see how the station deserves re-licensing as a public radio station in its current incarnation. (Imagine a public television station featuring no American-themed or contemporary-themed programming whatsoever.)