Tom Huizenga

Tom Huizenga is a music producer, reporter and blogger for NPR Music.

He is a regular contributor of stories about classical music to NPR's news programs and co-hosts NPR's classical music blog Deceptive Cadence.

Joining NPR in 1999, Huizenga spent seven years as a producer, writer and editor for NPR's Peabody Award-winning daily classical music show Performance Today and for programs SymphonyCast and World of Opera.

He's produced live concerts, including a radio broadcast of Gershwin's Porgy & Bess from Washington National Opera at the Kennedy Center and NPR's first classical music webcast from the Manhattan club (Le) Poisson Rouge, featuring the acclaimed Emerson String Quartet. He's also asked musicians to play in unlikely venues, such as cellist Alisa Weilerstein playing Bach at the Baltimore Aquarium. He's written and produced radio specials, like A Choral Christmas With Stile Antico, broadcast on stations around the country.

Huizenga's radio career began at the University of Michigan, where he hosted opera, jazz, free-form, and experimental radio programs at Ann Arbor's WCBN. As a student in the Ethnomusicology department, Huizenga studied and performed traditional court music from Indonesia. He also studied English Literature and voice, while writing for the university's newspaper.

Huizenga took his love of music and broadcasting to New Mexico, where he served as music director for NPR member station KRWG, in Las Cruces, and taught radio production at New Mexico State University.

Huizenga lives in Takoma Park, Md. and in his spare time writes about music for the Washington Post and overloads on concerts and movies.

Violence against women is no modern tragedy. Composer John Adams found that out when he saw an exhibition about the tales of the Arabian Nights — ancient stories in which Scheherazade tells her murderous husband a new tantalizing tale each night for 1001 nights, thus sparing her life a day at a time. The composer, writing in Scheherazade.2's booklet notes, says he was surprised by how many of the stories included women suffering brutality.

If there's one piece by Chopin that can truly be called "trippy," it's the Mazurka in A minor, Op. 17, No. 4 – especially in this spellbinding performance by pianist Pavel Kolesnikov. The young Russian has just released a new album of Chopin's Mazurkas, arranged not chronologically but by mood and texture, flowing like a mixtape.

Tim Page is no longer afraid of death. That's the one positive takeaway for him after surviving a traumatic brain injury.

Last year, the University of Southern California music and journalism professor — who was also a child prodigy filmmaker, Pulitzer-winning critic, person with Asperger's and father of three — collapsed at a train station. He woke up in an ambulance speeding to the hospital. He's still recovering, still fumbling a bit with the jigsaw pieces of a life a now a little more puzzling, a little more amazing.

Talk to nearly any classical music critic about heroes of the trade and one name usually comes up: Virgil Thomson. Anthony Tommasini of the New York Times advises: "Every practicing and aspiring critic today should read Thomson's exhilarating writings."

As a 16-year-old, Pretty Yende was sitting with her parents in their rural South African home watching TV when a British Airways ad came on. As the sweet music swelled and voices intertwined, Yende was mesmerized. The only problem: She had no idea what to call the beautiful music she'd just heard.

When you stop to think about it, there really is no one like Barbra Streisand. There's Barbra the young Broadway legend, the movie star, the glass-ceiling-smashing movie director, the recording artist and now the venerated elder stateswoman of the showstopper.

Many stylistic winds blow through the repertoire of The Westerlies. The unconventional brass quartet from New York (Riley Mulherkar and Zubin Hensler, trumpets; Andy Clausen and Willem de Koch, trombones) embraces jazz, classical, new music and dance — and in this case, puts a new spin on an old British ballad.

"They killed my mother in the doorway." How's that for an opening line?

We're talking opera — specifically, the aria "La mamma morta" from Umberto Giordano's 1896 French Revolution thriller Andrea Chénier. The soprano is Anna Netrebko.

Let The Games Begin: A Playlist For Rio

Aug 5, 2016

The music of Johann Sebastian Bach is essential, like air and water, for many classical musicians. Pianist András Schiff starts every day with Bach — sometimes before breakfast. "It's like taking care of your inner hygiene. There's something very pure about it," he says.

Slowly but surely, Lubomyr Melnyk is getting noticed. This summer, the enigmatic Ukrainian-born pianist, who looks like Rasputin's doppelgänger, released illirion on Sony Classical.

From its mesmerizing ebb and flow and the purity of the choristers' blend alone, you'd be forgiven for thinking this might be one of Henryk Górecki's many sacred choral works. There's a palpable air of serenity and reflection. But instead, it's a song about a little pony and a blue-eyed girl.

For this most American of holidays, how do we define our music? What makes it uniquely American?

In 1929 George Gershwin wrote that it's "something deeply rooted in our soil." Baltimore Symphony Orchestra Music Director Marin Alsop said, "It's highly energized, rhythmic music derived from the blurring of lines between popular and serious styles."

The practice of lulling a child to sleep through music must be about the oldest tradition imaginable. All parents have wanted their children to sleep at some point, if only to have a little peace and quiet — and to plot strategies for getting their own shuteye.

Pianist Alessio Bax knows all about sleep — and lack thereof. He's a first-time parent, and his 22-month-old daughter Mila is, like any child that age, a handful, not to mention impossibly cute.

In 1970, a young business school grad — and failed opera singer — named David Gockley landed a job as business manager of the Houston Grand Opera. After two years, at age 27, he moved up to general director.

Over the next 30 years, Gockley transformed the company into a hothouse for new and revived American opera. During his tenure in Houston, Gockley presented 35 world premieres, including John Adams' Nixon in China, Stewart Wallace's Harvey Milk, Leonard Bernstein's A Quiet Place, Mark Adamo's Little Women and three operas by Carlisle Floyd.

Barry Douglas knows a few things about handing down traditions. In this Tiny Desk performance, he passes along the musical heritage of his Irish homeland in the form of old Celtic songs he's arranged for solo piano.

When the New York City Opera (NYCO) announced its final performances and imminent bankruptcy in September 2013, opera lovers, not just in Manhattan, were shocked.

The Estonians are serious about singing. The power of human voices practically propelled the small Baltic country to independence during the Soviet era. In the late 1980s, hundreds of thousands of Estonians routinely gathered to perform forbidden patriotic songs. The events energized the nation, leading to what was called the "Singing Revolution."

Violinist Lara St. John has attitude in spades. It's in the sound of her playing and in the arc of her career.

The Chicago new-music ensemble Eighth Blackbird is on a roll. Just after winning its fourth Grammy in February, the group received a MacArthur Award for Creative and Effective Institutions; the prize came with a $400,000 grant. Hand Eye — Eighth Blackbird's second album in seven months — just came out, and this season the group marks its 20th anniversary. The celebration includes an extensive tour, with world premieres of music by Bryce Dessner and David T.

Late in 1968, it was astounding to me how one of the best-loved bands could create one of the least-liked songs. It was "Revolution 9," near the end of The Beatles' sprawling White Album.

But then, I was only 7 years old and, frankly, those eight minutes of chaotic sounds and mumbled words were positively frightening. And who was that guy who kept intoning "number nine?"

One hundred years ago, a musician was born who took the world by storm, both with his violin and with his warmhearted humanity. Yehudi Menuhin was born April 22, 1916, in the Bronx to Russian immigrants. He began his career as an astounding child prodigy in velvet knee pants. But two men who knew him well — documentary filmmaker Bruno Monsaingeon and violinist Daniel Hope — maintain that as Menuhin grew older, he turned out to be far more than just another virtuoso.

With his long beard, homemade horned helmet, flowing cloak and spear, he was known as the Viking of Sixth Avenue. He was born Louis Thomas Hardin in Marysville, Kan. in 1916 and later called himself Moondog. At 16, he was blinded while fiddling with a blasting cap.

With his long beard, homemade horned helmet, flowing cloak and spear, he was known as the Viking of Sixth Avenue. He was born Louis Thomas Hardin in Marysville, Kan. in 1916 and later called himself Moondog. At 16, he was blinded while fiddling with a blasting cap.

Ane Brun recently turned 40, and she — like many of us who've reached that milestone — has been taking stock of her life. It's a life filled with music and success, but there have also been a few rough spots. Like the time we scheduled her to play a Tiny Desk concert in 2012 and she was forced to cancel an entire North American tour (with Peter Gabriel) due to a lupus flareup. Brun, a Norwegian native based in Sweden, was diagnosed with the autoimmune disease when she was 27.

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