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"content": "\u003cp>Nearly twenty years before she sang “Lift Ev’ry Voice and Sing” at the 2025 \u003ca href=\"https://www.kqed.org/arts/tag/super-bowl\">Super Bowl\u003c/a> or performed on Broadway, R&B supernova \u003ca href=\"https://www.ledisi.com/\">Ledisi\u003c/a> was just another Bay Area artist, hustling to make ends meet.\u003c/p>\n\u003cp>With her hair tucked under a baseball cap, she sang jazz at the local fish markets and wine bars, and worked odd jobs as a telemarketer and record store attendant. She put her operatic training from UC Berkeley to use at Max’s Opera Cafe in San Francisco, where she sang arias for tips. She also performed in the long-running revue \u003ca href=\"https://www.kqed.org/news/11878995/preserving-the-legacy-of-beach-blanket-babylon-one-hat-at-a-time\">Beach Blanket Babylon\u003c/a> in North Beach. [aside postid='arts_13981911']\u003c/p>\n\u003cp>“I had a Tina Turner wig that went six feet tall on top of my head,” Ledisi says. “I was tapping a trash can.”\u003c/p>\n\u003cp>On Oct. 6, Ledisi will return to San Francisco to sing yet again, this time \u003ca href=\"https://www.sfjazz.org/tickets/productions/25-26/ledisi/\">in tribute to Dinah Washington\u003c/a>, known as the Queen of Blues, at Davies Symphony Hall.\u003c/p>\n\u003cp>The concert is part of a larger tour for Ledisi’s new tribute album, \u003cem>For Dinah\u003c/em>, out Oct. 3. As the “\u003ca href=\"https://youtu.be/McUj4t3TkPA?si=8j3arYtzNtRT9fyT\">Pieces of Me\u003c/a>” singer reflects, “It’s been about eight years of waiting for this project. We only hear her voice in film and television, but we never hear her name.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Dinah Washington was born Ruth Lee Jones in 1924, just before the Great Depression. Before she finished high school, Washington directed her church choir and became a member of the Sallie Martin Gospel Singers. She started her career in Chicago jazz clubs before winning the 1959 Grammy Award for R&B Performance with her interpretation of “\u003ca href=\"https://youtu.be/upJ3OgMRiUA?si=gnjaAULN4wXZVmI6\">What a Diff’rence a Day Makes\u003c/a>.”\u003c/p>\n\u003cp>Washington refused to abandon her dramatic gospel, jazz and blues roots, diversifying the sound of R&B with other hits such as “\u003ca href=\"https://youtu.be/WxVw_q3x6UQ?si=ZIX1wBdWAaoYTzd5\">This Bitter Earth\u003c/a>” and her rendition of “\u003ca href=\"https://youtu.be/kmmKGH1UR6A?si=4XD7yj_g-Cxv1-cH\">I Left My Heart in San Francisco\u003c/a>.” She died in 1963 at the age of 39 and left behind a legacy that influenced musical giants like Quincy Jones, Aretha Franklin, Amy Winehouse and Lady Gaga.\u003c/p>\n\u003cp>https://youtu.be/v6hkI9znBxA?si=qTRop7DFbfMEuksl\u003c/p>\n\u003cp>It’s easy to trace the vocal lineage from Washington to Ledisi through other generational voices like Sarah Vaughan, Nancy Wilson and Natalie Cole. Yet Ledisi brings a raw emotional understanding of Washington’s catalogue that’s all her own.\u003c/p>\n\u003cp>“To not be accepted in an industry that you helped create … that hurts my heart,” Ledisi says of Washington’s story. “I understand being ignored. I know what that feels like, having a big presence and still not getting the recognition.”\u003c/p>\n\u003cp>Ledisi uses that level of empathy to elevate her storytelling, combining it with a Broadway veteran’s polished theatricality and a historian’s rigor. She combs through the biographies of those she pays tribute to — whether it’s for a full-length project like her Grammy-nominated 2021 album, \u003cem>Ledisi Sings Nina\u003c/em>, or one of her many career-defining homages to artists including Chaka Khan, Patti LaBelle and Natalie Cole.\u003c/p>\n\u003cp>https://youtu.be/QAsg8EXMH6M?si=NhJSZseT0juk3r-U\u003c/p>\n\u003cp>“I go to the music first because that’s what hits the heart,” Ledisi says. “And then the mind starts working. I’m a nerd of the voice, whether it be opera, theater, jazz, blues. I’m forever wanting to understand people and what made them become who they are and what got in the way of who they are. … Why are they hurting? Where does that pain go?”\u003c/p>\n\u003cp>In crafting \u003cem>For Dinah\u003c/em>, the chance to nerd out and revive the Washington sound not only excited Ledisi, but took her across the country. She partnered with composer and jazz guitarist Paul Jackson Jr. to re-transcribe some of the original Quincy Jones arrangements of Washington’s music. Grammy Award-winning jazz musician Gregory Porter shares the mic with Ledisi on her rendition of Washington’s 1960 duet with Brook Benton, “\u003ca href=\"https://youtu.be/gSA0ZXo_nw4?si=h4w-FxRI5ow8z3T9\">Baby (You’ve Got What it Takes.)\u003c/a>” From recording sessions in New York to tightening the album in Los Angeles, reproducing the ’50s big band sound was a special priority for Ledisi.\u003c/p>\n\u003cp>https://youtu.be/gSA0ZXo_nw4?si=tOWUzlweyfPPa-OM\u003c/p>\n\u003cp>“It was amazing watching this group record … through the little window while I’m singing,” Ledisi says. “The synergy of all of us as creatives in one space, creating together in rehearsals was great.”\u003c/p>\n\u003cp>With 12 studio albums, 14 Grammy nominations and one win for Best Traditional R&B Performance, Ledisi is well past those days of grinding just to prove herself. With this album release and tour, she’s earned the opportunity to set aside the heavy bass and racing rhythm sections in favor of a beautiful gown, the raw power of her voice and deep gratitude for the pioneers of her profession.\u003c/p>\n\u003cp>“Anytime I show reverence to an ancestor, my head is saying, ‘I’ll let them know for you. I haven’t forgotten.’ That is what’s holding me to move the music in the catalog forward, to sing it right, to study it, to give it that attitude like she would or like I would,” says Ledisi. “Thank you Dinah, for letting me go through you for this.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Ledisi’s 13th studio album, ‘For Dinah,’ is available Oct. 3. She performs at \u003ca href=\"https://www.sfjazz.org/tickets/productions/25-26/ledisi/\">Davies Symphony Hall in San Francisco on Oct. 6\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nearly twenty years before she sang “Lift Ev’ry Voice and Sing” at the 2025 \u003ca href=\"https://www.kqed.org/arts/tag/super-bowl\">Super Bowl\u003c/a> or performed on Broadway, R&B supernova \u003ca href=\"https://www.ledisi.com/\">Ledisi\u003c/a> was just another Bay Area artist, hustling to make ends meet.\u003c/p>\n\u003cp>With her hair tucked under a baseball cap, she sang jazz at the local fish markets and wine bars, and worked odd jobs as a telemarketer and record store attendant. She put her operatic training from UC Berkeley to use at Max’s Opera Cafe in San Francisco, where she sang arias for tips. She also performed in the long-running revue \u003ca href=\"https://www.kqed.org/news/11878995/preserving-the-legacy-of-beach-blanket-babylon-one-hat-at-a-time\">Beach Blanket Babylon\u003c/a> in North Beach. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I had a Tina Turner wig that went six feet tall on top of my head,” Ledisi says. “I was tapping a trash can.”\u003c/p>\n\u003cp>On Oct. 6, Ledisi will return to San Francisco to sing yet again, this time \u003ca href=\"https://www.sfjazz.org/tickets/productions/25-26/ledisi/\">in tribute to Dinah Washington\u003c/a>, known as the Queen of Blues, at Davies Symphony Hall.\u003c/p>\n\u003cp>The concert is part of a larger tour for Ledisi’s new tribute album, \u003cem>For Dinah\u003c/em>, out Oct. 3. As the “\u003ca href=\"https://youtu.be/McUj4t3TkPA?si=8j3arYtzNtRT9fyT\">Pieces of Me\u003c/a>” singer reflects, “It’s been about eight years of waiting for this project. We only hear her voice in film and television, but we never hear her name.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dinah Washington was born Ruth Lee Jones in 1924, just before the Great Depression. Before she finished high school, Washington directed her church choir and became a member of the Sallie Martin Gospel Singers. She started her career in Chicago jazz clubs before winning the 1959 Grammy Award for R&B Performance with her interpretation of “\u003ca href=\"https://youtu.be/upJ3OgMRiUA?si=gnjaAULN4wXZVmI6\">What a Diff’rence a Day Makes\u003c/a>.”\u003c/p>\n\u003cp>Washington refused to abandon her dramatic gospel, jazz and blues roots, diversifying the sound of R&B with other hits such as “\u003ca href=\"https://youtu.be/WxVw_q3x6UQ?si=ZIX1wBdWAaoYTzd5\">This Bitter Earth\u003c/a>” and her rendition of “\u003ca href=\"https://youtu.be/kmmKGH1UR6A?si=4XD7yj_g-Cxv1-cH\">I Left My Heart in San Francisco\u003c/a>.” She died in 1963 at the age of 39 and left behind a legacy that influenced musical giants like Quincy Jones, Aretha Franklin, Amy Winehouse and Lady Gaga.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/v6hkI9znBxA'\n title='//www.youtube.com/embed/v6hkI9znBxA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s easy to trace the vocal lineage from Washington to Ledisi through other generational voices like Sarah Vaughan, Nancy Wilson and Natalie Cole. Yet Ledisi brings a raw emotional understanding of Washington’s catalogue that’s all her own.\u003c/p>\n\u003cp>“To not be accepted in an industry that you helped create … that hurts my heart,” Ledisi says of Washington’s story. “I understand being ignored. I know what that feels like, having a big presence and still not getting the recognition.”\u003c/p>\n\u003cp>Ledisi uses that level of empathy to elevate her storytelling, combining it with a Broadway veteran’s polished theatricality and a historian’s rigor. She combs through the biographies of those she pays tribute to — whether it’s for a full-length project like her Grammy-nominated 2021 album, \u003cem>Ledisi Sings Nina\u003c/em>, or one of her many career-defining homages to artists including Chaka Khan, Patti LaBelle and Natalie Cole.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/QAsg8EXMH6M'\n title='//www.youtube.com/embed/QAsg8EXMH6M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I go to the music first because that’s what hits the heart,” Ledisi says. “And then the mind starts working. I’m a nerd of the voice, whether it be opera, theater, jazz, blues. I’m forever wanting to understand people and what made them become who they are and what got in the way of who they are. … Why are they hurting? Where does that pain go?”\u003c/p>\n\u003cp>In crafting \u003cem>For Dinah\u003c/em>, the chance to nerd out and revive the Washington sound not only excited Ledisi, but took her across the country. She partnered with composer and jazz guitarist Paul Jackson Jr. to re-transcribe some of the original Quincy Jones arrangements of Washington’s music. Grammy Award-winning jazz musician Gregory Porter shares the mic with Ledisi on her rendition of Washington’s 1960 duet with Brook Benton, “\u003ca href=\"https://youtu.be/gSA0ZXo_nw4?si=h4w-FxRI5ow8z3T9\">Baby (You’ve Got What it Takes.)\u003c/a>” From recording sessions in New York to tightening the album in Los Angeles, reproducing the ’50s big band sound was a special priority for Ledisi.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/gSA0ZXo_nw4'\n title='//www.youtube.com/embed/gSA0ZXo_nw4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“It was amazing watching this group record … through the little window while I’m singing,” Ledisi says. “The synergy of all of us as creatives in one space, creating together in rehearsals was great.”\u003c/p>\n\u003cp>With 12 studio albums, 14 Grammy nominations and one win for Best Traditional R&B Performance, Ledisi is well past those days of grinding just to prove herself. With this album release and tour, she’s earned the opportunity to set aside the heavy bass and racing rhythm sections in favor of a beautiful gown, the raw power of her voice and deep gratitude for the pioneers of her profession.\u003c/p>\n\u003cp>“Anytime I show reverence to an ancestor, my head is saying, ‘I’ll let them know for you. I haven’t forgotten.’ That is what’s holding me to move the music in the catalog forward, to sing it right, to study it, to give it that attitude like she would or like I would,” says Ledisi. “Thank you Dinah, for letting me go through you for this.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Ledisi’s 13th studio album, ‘For Dinah,’ is available Oct. 3. She performs at \u003ca href=\"https://www.sfjazz.org/tickets/productions/25-26/ledisi/\">Davies Symphony Hall in San Francisco on Oct. 6\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "jazz-classical-concerts-san-francisco-oakland-bay-area-2025",
"title": "8 Great Jazz and Classical Concerts in the Bay Area This Fall",
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"headTitle": "8 Great Jazz and Classical Concerts in the Bay Area This Fall | KQED",
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"content": "\u003cp>\u003cem>\u003cstrong>Be sure to check out our full \u003ca href=\"https://www.kqed.org/arts/tag/fall-guide-2025\">2025 Fall Arts Guide\u003c/a> to live music, movies, art, theater, festivals and more in the Bay Area.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>This fall, everything you know is wrong. Rock venues are selling out concerts by \u003ca href=\"https://apeconcerts.com/events/ludovico-einaudi-251022/\">quasi-classical relaxing piano guys\u003c/a>. Jazz clubs are home to \u003ca href=\"https://yoshis.com/events/buy-tickets/too-hort-with-live-band/detail\">Bay Area rappers\u003c/a>. Folk venues are \u003ca href=\"https://secure.thefreight.org/15095/15096-keyon-harrold-250925\">booking jazz artists\u003c/a>. Classical concert halls are \u003ca href=\"https://www.livenation.com/event/G5vYZbc1JtNxu/live-105-presents-queens-of-the-stone-age-the-catacombs-tour\">hosting rock bands\u003c/a>. It’s anarchy! \u003c/p>\n\u003cp>The upshot of all this havoc: there’s a wealth of great jazz and classical performances in the Bay Area this fall. Here’s a small sampling.\u003c/p>\n\u003cfigure id=\"attachment_10137118\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Carter11.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"size-full wp-image-10137118\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Carter11.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Carter11-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Carter11-300x168.jpg 300w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ron Carter. \u003ccite>(Fortuna Sung)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/25-26/ron-carter-quartet-matinee/\">Ron Carter Quartet\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 18–20, 2025\u003c/em>\u003cbr>\n\u003cem>SFJAZZ Center, San Francisco \u003c/em>\u003c/p>\n\u003cp>If you think you’ve never heard Ron Carter, believe me: you’ve heard Ron Carter. The \u003ca href=\"https://www.kqed.org/arts/10137113/ron-carter-and-the-low-end-theory\">most-recorded bassist of all time\u003c/a> has played on more than 2,200 albums. Still best-known for his years with Miles Davis, the bassist’s current group boasts drummer Payton Crossley, saxophonist Jimmy Green and the excellent pianist Renee Rosnes.\u003c/p>\n\u003cfigure id=\"attachment_13980482\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Runnicles_CRED.ChrisLee-02-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13980482\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Runnicles_CRED.ChrisLee-02-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Runnicles_CRED.ChrisLee-02-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Runnicles_CRED.ChrisLee-02-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Runnicles_CRED.ChrisLee-02-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Runnicles_CRED.ChrisLee-02-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Runnicles_CRED.ChrisLee-02-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Donald Runnicles. \u003ccite>(Chris Lee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2025-26/RUNNICLES-CONDUCTS-MAHLER-1\">Donald Runnicles conducts Mahler 1\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 26–28, 2025\u003c/em>\u003cbr>\n\u003cem>Davies Symphony Hall, San Francisco\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The San Francisco Symphony’s upcoming season of \u003ca href=\"https://www.kqed.org/arts/13973375/san-francisco-symphony-new-season-2025-2026\">tried-and-true classics\u003c/a> has a bright spot in this appearance by well-loved conductor Donald Runnicles, who for 17 years occupied the podium across the street from Davies at the Opera House. In San Francisco, \u003ca href=\"https://www.kqed.org/arts/13951043/review-michael-tilson-thomas-mahler-5-san-francisco-symphony\">Mahler is its own hue of tried-and-true\u003c/a>, but expect Runnicles to pull surprising textures out of the composer’s first symphony, paired here with Berg’s \u003ci>Seven Early Songs\u003c/i>.\u003c/p>\n\u003cfigure id=\"attachment_13980483\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/SaulCarlos2025.jpg\" alt=\"\" width=\"800\" height=\"501\" class=\"size-full wp-image-13980483\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/SaulCarlos2025.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/SaulCarlos2025-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/SaulCarlos2025-768x481.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carlos Niño and Saul Williams. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://yoshis.com/events/buy-tickets/saul-williams/detail\">Saul Williams with Carlos Niño & Friends\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 30–Oct. 1, 2025\u003c/em>\u003cbr>\n\u003cem>Yoshi’s, Oakland \u003c/em>\u003c/p>\n\u003cp>The trend of rap artists performing at the venerable jazz club Yoshi’s started five or six years ago, with rappers like \u003ca href=\"https://www.instagram.com/p/B7sSGFTFuCm/\">Scarface\u003c/a> and \u003ca href=\"https://www.instagram.com/p/CgaEoJVFQBA/\">DJ Quik\u003c/a>, and has recently included Bay Area rappers Richie Rich, Mac Mall and, upcoming, B-Legit (Sept. 14). Semi-adjacent to all this is Saul Williams, the gifted poet, rapper and actor (seen in this year’s \u003ci>\u003ca href=\"https://www.kqed.org/arts/13974810/ryan-coogler-sinners-grand-lake-theatre-interview\">Sinners\u003c/a>\u003c/i>), who performs at the club with Latin percussionist Carlos Niño and his combo.\u003c/p>\n\u003cfigure id=\"attachment_13963175\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/mike.clark_.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13963175\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/mike.clark_.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/mike.clark_-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/mike.clark_-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/mike.clark_-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/mike.clark_-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/mike.clark_-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/mike.clark_-1920x1278.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mike Clark. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/25-26/mike-clark-quintet/\">Mike Clark Quintet\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 4 and 5, 2025/em>\u003cbr>\n\u003cem>SFJAZZ Center, San Francisco\u003c/em>\u003c/em>\u003c/p>\n\u003cp>As if a performance by this \u003ca href=\"https://www.kqed.org/arts/13963945/wide-hive-records-berkeley-mike-clark-henry-franklin\">legendary drummer\u003c/a> from Herbie Hancock’s Headhunters band weren’t enough, check his cohort of heavyweights for these shows, which includes pianist Patrice Rushen, saxophonist Craig Handy and trumpeter Eddie Henderson. The fact that it’s in SFJAZZ’s tiny side room, the Joe Henderson Lab, seals these as shows for the history books. \u003c/p>\n\u003cfigure id=\"attachment_13980485\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Ledisi.Dinah_.jpg\" alt=\"\" width=\"1440\" height=\"810\" class=\"size-full wp-image-13980485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Ledisi.Dinah_.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Ledisi.Dinah_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Ledisi.Dinah_-768x432.jpg 768w\" sizes=\"auto, (max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Ledisi. \u003ccite>(Courtesy SFJAZZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/25-26/ledisi/\">Ledisi sings Dinah Washington\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 6, 2025\u003c/em>\u003cbr>\n\u003cem>Davies Symphony Hall, San Francisco\u003c/em>\u003c/p>\n\u003cp>Is there a more invigorating jazz singer that crossed over into pop than Dinah Washington? While “What a Difference a Day Makes” paid her bills, Washington recorded dozens of extended sides with jazz greats; her seven-minute “\u003ca href=\"https://youtu.be/MT1t8XHAiVc?si=XuPNB7WKce6wOoO7\">Bye Bye Blues\u003c/a>” is a guaranteed depression cure. At Davies, the Bay Area’s own Ledisi pays special tribute to Washington and her natural exuberance.\u003c/p>\n\u003cfigure id=\"attachment_13980484\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/gala-performance-A-960.jpg\" alt=\"\" width=\"960\" height=\"576\" class=\"size-full wp-image-13980484\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/gala-performance-A-960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/gala-performance-A-960-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/gala-performance-A-960-768x461.jpg 768w\" sizes=\"auto, (max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Jeffrey and Gabriel Kahane. \u003ccite>(Courtesy San Francisco Performances)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfperformances.org/performances/2526/gala-performance.html\">Jeffrey Kahane and Gabriel Kahane\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 10, 2025\u003c/em>\u003cbr>\n\u003cem>Herbst Theatre, San Francisco\u003c/em> \u003c/p>\n\u003cp>This father-and-son duo should be familiar to the Bay Area — Jeffrey Kahane conducted the Santa Rosa Symphony for 10 seasons, and Gabriel, now a musician of national renown, was raised here. The two have not often appeared onstage together, however. On this night at Herbst, they team up to perform \u003ci>Heirloom\u003c/i>, a concerto written by Gabriel for his father, along with other works for two pianos. \u003c/p>\n\u003cfigure id=\"attachment_13980481\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Brandee-Younger-CRED-Erin-Patrice-OBrien.jpg\" alt=\"\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13980481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Brandee-Younger-CRED-Erin-Patrice-OBrien.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Brandee-Younger-CRED-Erin-Patrice-OBrien-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Brandee-Younger-CRED-Erin-Patrice-OBrien-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Brandee-Younger-CRED-Erin-Patrice-OBrien-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Brandee Younger. \u003ccite>(Erin Patrice O'Brien)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://secure.thefreight.org/15049/15050-brandee-younger-trio-251023\">Brandee Younger Trio\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 23, 2025\u003c/em>\u003cbr>\n\u003cem>The Freight, Berkeley\u003c/em>\u003c/p>\n\u003cp>The folk-and-fancy-fiddle featurin’ Freight & Salvage has slowly stepped into the 21st century with a new name (“The Freight”) and an expansion into the occasional rap show (Talib Kweli, recently, and KRS-One on Oct. 24). Jazz is in the mix too, with trumpeter Keyon Harrold (Sept. 25) and \u003ca href=\"https://www.kqed.org/arts/13953845/review-brandee-younger-alice-coltrane-san-francisco-sfjazz\">the most prominent torchbearer of the music of Alice Coltrane, Brandee Younger\u003c/a>, who can virtually stop time whenever she wants.\u003c/p>\n\u003cfigure id=\"attachment_13980480\" class=\"wp-caption aligncenter\" style=\"max-width: 970px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/2.-Huang-Ruo-and-David-Henry-Hwang-Photo-by-Matthew-Murphy.jpg\" alt=\"\" width=\"970\" height=\"546\" class=\"size-full wp-image-13980480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/2.-Huang-Ruo-and-David-Henry-Hwang-Photo-by-Matthew-Murphy.jpg 970w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/2.-Huang-Ruo-and-David-Henry-Hwang-Photo-by-Matthew-Murphy-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/2.-Huang-Ruo-and-David-Henry-Hwang-Photo-by-Matthew-Murphy-768x432.jpg 768w\" sizes=\"auto, (max-width: 970px) 100vw, 970px\">\u003cfigcaption class=\"wp-caption-text\">Huang Ruo and David Henry Hwang. \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.sfopera.com/operas/the-monkey-king/\">The Monkey King\u003c/a>’ \u003c/h2>\n\u003cp>\u003cem>Nov. 14–30, 2025\u003c/em>\u003cbr>\n\u003cem>War Memorial Opera House, San Francisco\u003c/em> \u003c/p>\n\u003cp>While the house is sure to be packed in September for San Francisco Opera’s revival of the modern classic \u003ci>\u003ca href=\"https://www.sfopera.com/operas/dead-man-walking/\">Dead Man Walking\u003c/a>\u003c/i> (which premiered here 25 years ago), this world premiere has its own frenzied anticipation. Huang Ruo and David Henry Hwang’s work, based on the 16th century Chinese novel \u003ci>Journey to the West\u003c/i>, is augmented with colorful costumes, choreography, Buddhist sutras and advanced puppetry. \u003c/p>\n\u003cp>\u003cstrong>Briefly Noted\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://blackcatsf.turntabletickets.com/r/caelan-cardello-trio-ft-jonathon-muir-cotton-domo-branch\">Caelean Cardello Trio\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Sept. 18–20; Black Cat, San Francisco\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.laufeymusic.com/tour/\">Laufey\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Sept. 29 (Oakland Arena, Oakland) and Sept. 30 (Chase Center, San Francisco)\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.paulcornishmusic.com/live/\">Paul Cornish\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Oct. 3 (The Break Room, San Jose) and Oct. 4 (Piedmont Piano Co., Oakland)\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.symphonysanjose.org/attend/2025-2026-season/concerts/masquerade/\">Berlioz / Rachmaninoff / Clyne with Symphony San Jose\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Oct. 4 and 5; California Theatre, San Jose\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://wl.eventim.us/event/makaya-mccraven/650319?afflky=GreatAmericanMusicHall\">Makaya McCraven\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Oct. 21; Great American Music Hall, San Francisco\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.srsymphony.org/event/spanish-fiesta/\">Rodrigo / de Falla / Assad with the Santa Rosa Symphony\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Nov. 8–10; Green Music Center, Rohnert Park\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.oaklandsymphony.org/25-26-season-subscription/\">Verdi’s Requiem with the Oakland Symphony\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Nov. 14; Paramount Theatre, Oakland\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.californiasymphony.org/shows/beethovens-eroica/\">\u003cstrong>Montgomery / Mozart / Beethoven with the California Symphony\u003c/strong>\u003c/a>\u003cbr>\n\u003cem>Nov. 15 and 16; Lesher Center, Walnut Creek\u003c/em>\u003c/p>\n\n",
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"excerpt": "Enriching musical experiences outside the confines of the jazz club or concert hall are abundant this fall.",
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"title": "Your Guide to Jazz and Classical Concerts This Fall | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Be sure to check out our full \u003ca href=\"https://www.kqed.org/arts/tag/fall-guide-2025\">2025 Fall Arts Guide\u003c/a> to live music, movies, art, theater, festivals and more in the Bay Area.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>This fall, everything you know is wrong. Rock venues are selling out concerts by \u003ca href=\"https://apeconcerts.com/events/ludovico-einaudi-251022/\">quasi-classical relaxing piano guys\u003c/a>. Jazz clubs are home to \u003ca href=\"https://yoshis.com/events/buy-tickets/too-hort-with-live-band/detail\">Bay Area rappers\u003c/a>. Folk venues are \u003ca href=\"https://secure.thefreight.org/15095/15096-keyon-harrold-250925\">booking jazz artists\u003c/a>. Classical concert halls are \u003ca href=\"https://www.livenation.com/event/G5vYZbc1JtNxu/live-105-presents-queens-of-the-stone-age-the-catacombs-tour\">hosting rock bands\u003c/a>. It’s anarchy! \u003c/p>\n\u003cp>The upshot of all this havoc: there’s a wealth of great jazz and classical performances in the Bay Area this fall. Here’s a small sampling.\u003c/p>\n\u003cfigure id=\"attachment_10137118\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Carter11.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"size-full wp-image-10137118\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Carter11.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Carter11-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Carter11-300x168.jpg 300w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ron Carter. \u003ccite>(Fortuna Sung)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/25-26/ron-carter-quartet-matinee/\">Ron Carter Quartet\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 18–20, 2025\u003c/em>\u003cbr>\n\u003cem>SFJAZZ Center, San Francisco \u003c/em>\u003c/p>\n\u003cp>If you think you’ve never heard Ron Carter, believe me: you’ve heard Ron Carter. The \u003ca href=\"https://www.kqed.org/arts/10137113/ron-carter-and-the-low-end-theory\">most-recorded bassist of all time\u003c/a> has played on more than 2,200 albums. Still best-known for his years with Miles Davis, the bassist’s current group boasts drummer Payton Crossley, saxophonist Jimmy Green and the excellent pianist Renee Rosnes.\u003c/p>\n\u003cfigure id=\"attachment_13980482\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Runnicles_CRED.ChrisLee-02-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13980482\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Runnicles_CRED.ChrisLee-02-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Runnicles_CRED.ChrisLee-02-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Runnicles_CRED.ChrisLee-02-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Runnicles_CRED.ChrisLee-02-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Runnicles_CRED.ChrisLee-02-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Runnicles_CRED.ChrisLee-02-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Donald Runnicles. \u003ccite>(Chris Lee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2025-26/RUNNICLES-CONDUCTS-MAHLER-1\">Donald Runnicles conducts Mahler 1\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 26–28, 2025\u003c/em>\u003cbr>\n\u003cem>Davies Symphony Hall, San Francisco\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The San Francisco Symphony’s upcoming season of \u003ca href=\"https://www.kqed.org/arts/13973375/san-francisco-symphony-new-season-2025-2026\">tried-and-true classics\u003c/a> has a bright spot in this appearance by well-loved conductor Donald Runnicles, who for 17 years occupied the podium across the street from Davies at the Opera House. In San Francisco, \u003ca href=\"https://www.kqed.org/arts/13951043/review-michael-tilson-thomas-mahler-5-san-francisco-symphony\">Mahler is its own hue of tried-and-true\u003c/a>, but expect Runnicles to pull surprising textures out of the composer’s first symphony, paired here with Berg’s \u003ci>Seven Early Songs\u003c/i>.\u003c/p>\n\u003cfigure id=\"attachment_13980483\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/SaulCarlos2025.jpg\" alt=\"\" width=\"800\" height=\"501\" class=\"size-full wp-image-13980483\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/SaulCarlos2025.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/SaulCarlos2025-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/SaulCarlos2025-768x481.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carlos Niño and Saul Williams. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://yoshis.com/events/buy-tickets/saul-williams/detail\">Saul Williams with Carlos Niño & Friends\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 30–Oct. 1, 2025\u003c/em>\u003cbr>\n\u003cem>Yoshi’s, Oakland \u003c/em>\u003c/p>\n\u003cp>The trend of rap artists performing at the venerable jazz club Yoshi’s started five or six years ago, with rappers like \u003ca href=\"https://www.instagram.com/p/B7sSGFTFuCm/\">Scarface\u003c/a> and \u003ca href=\"https://www.instagram.com/p/CgaEoJVFQBA/\">DJ Quik\u003c/a>, and has recently included Bay Area rappers Richie Rich, Mac Mall and, upcoming, B-Legit (Sept. 14). Semi-adjacent to all this is Saul Williams, the gifted poet, rapper and actor (seen in this year’s \u003ci>\u003ca href=\"https://www.kqed.org/arts/13974810/ryan-coogler-sinners-grand-lake-theatre-interview\">Sinners\u003c/a>\u003c/i>), who performs at the club with Latin percussionist Carlos Niño and his combo.\u003c/p>\n\u003cfigure id=\"attachment_13963175\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/mike.clark_.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13963175\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/mike.clark_.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/mike.clark_-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/mike.clark_-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/mike.clark_-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/mike.clark_-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/mike.clark_-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/mike.clark_-1920x1278.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mike Clark. \u003ccite>(Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/25-26/mike-clark-quintet/\">Mike Clark Quintet\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 4 and 5, 2025/em>\u003cbr>\n\u003cem>SFJAZZ Center, San Francisco\u003c/em>\u003c/em>\u003c/p>\n\u003cp>As if a performance by this \u003ca href=\"https://www.kqed.org/arts/13963945/wide-hive-records-berkeley-mike-clark-henry-franklin\">legendary drummer\u003c/a> from Herbie Hancock’s Headhunters band weren’t enough, check his cohort of heavyweights for these shows, which includes pianist Patrice Rushen, saxophonist Craig Handy and trumpeter Eddie Henderson. The fact that it’s in SFJAZZ’s tiny side room, the Joe Henderson Lab, seals these as shows for the history books. \u003c/p>\n\u003cfigure id=\"attachment_13980485\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Ledisi.Dinah_.jpg\" alt=\"\" width=\"1440\" height=\"810\" class=\"size-full wp-image-13980485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Ledisi.Dinah_.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Ledisi.Dinah_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Ledisi.Dinah_-768x432.jpg 768w\" sizes=\"auto, (max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Ledisi. \u003ccite>(Courtesy SFJAZZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/25-26/ledisi/\">Ledisi sings Dinah Washington\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 6, 2025\u003c/em>\u003cbr>\n\u003cem>Davies Symphony Hall, San Francisco\u003c/em>\u003c/p>\n\u003cp>Is there a more invigorating jazz singer that crossed over into pop than Dinah Washington? While “What a Difference a Day Makes” paid her bills, Washington recorded dozens of extended sides with jazz greats; her seven-minute “\u003ca href=\"https://youtu.be/MT1t8XHAiVc?si=XuPNB7WKce6wOoO7\">Bye Bye Blues\u003c/a>” is a guaranteed depression cure. At Davies, the Bay Area’s own Ledisi pays special tribute to Washington and her natural exuberance.\u003c/p>\n\u003cfigure id=\"attachment_13980484\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/gala-performance-A-960.jpg\" alt=\"\" width=\"960\" height=\"576\" class=\"size-full wp-image-13980484\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/gala-performance-A-960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/gala-performance-A-960-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/gala-performance-A-960-768x461.jpg 768w\" sizes=\"auto, (max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Jeffrey and Gabriel Kahane. \u003ccite>(Courtesy San Francisco Performances)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfperformances.org/performances/2526/gala-performance.html\">Jeffrey Kahane and Gabriel Kahane\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 10, 2025\u003c/em>\u003cbr>\n\u003cem>Herbst Theatre, San Francisco\u003c/em> \u003c/p>\n\u003cp>This father-and-son duo should be familiar to the Bay Area — Jeffrey Kahane conducted the Santa Rosa Symphony for 10 seasons, and Gabriel, now a musician of national renown, was raised here. The two have not often appeared onstage together, however. On this night at Herbst, they team up to perform \u003ci>Heirloom\u003c/i>, a concerto written by Gabriel for his father, along with other works for two pianos. \u003c/p>\n\u003cfigure id=\"attachment_13980481\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Brandee-Younger-CRED-Erin-Patrice-OBrien.jpg\" alt=\"\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13980481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Brandee-Younger-CRED-Erin-Patrice-OBrien.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Brandee-Younger-CRED-Erin-Patrice-OBrien-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Brandee-Younger-CRED-Erin-Patrice-OBrien-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Brandee-Younger-CRED-Erin-Patrice-OBrien-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Brandee Younger. \u003ccite>(Erin Patrice O'Brien)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://secure.thefreight.org/15049/15050-brandee-younger-trio-251023\">Brandee Younger Trio\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 23, 2025\u003c/em>\u003cbr>\n\u003cem>The Freight, Berkeley\u003c/em>\u003c/p>\n\u003cp>The folk-and-fancy-fiddle featurin’ Freight & Salvage has slowly stepped into the 21st century with a new name (“The Freight”) and an expansion into the occasional rap show (Talib Kweli, recently, and KRS-One on Oct. 24). Jazz is in the mix too, with trumpeter Keyon Harrold (Sept. 25) and \u003ca href=\"https://www.kqed.org/arts/13953845/review-brandee-younger-alice-coltrane-san-francisco-sfjazz\">the most prominent torchbearer of the music of Alice Coltrane, Brandee Younger\u003c/a>, who can virtually stop time whenever she wants.\u003c/p>\n\u003cfigure id=\"attachment_13980480\" class=\"wp-caption aligncenter\" style=\"max-width: 970px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/2.-Huang-Ruo-and-David-Henry-Hwang-Photo-by-Matthew-Murphy.jpg\" alt=\"\" width=\"970\" height=\"546\" class=\"size-full wp-image-13980480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/2.-Huang-Ruo-and-David-Henry-Hwang-Photo-by-Matthew-Murphy.jpg 970w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/2.-Huang-Ruo-and-David-Henry-Hwang-Photo-by-Matthew-Murphy-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/2.-Huang-Ruo-and-David-Henry-Hwang-Photo-by-Matthew-Murphy-768x432.jpg 768w\" sizes=\"auto, (max-width: 970px) 100vw, 970px\">\u003cfigcaption class=\"wp-caption-text\">Huang Ruo and David Henry Hwang. \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.sfopera.com/operas/the-monkey-king/\">The Monkey King\u003c/a>’ \u003c/h2>\n\u003cp>\u003cem>Nov. 14–30, 2025\u003c/em>\u003cbr>\n\u003cem>War Memorial Opera House, San Francisco\u003c/em> \u003c/p>\n\u003cp>While the house is sure to be packed in September for San Francisco Opera’s revival of the modern classic \u003ci>\u003ca href=\"https://www.sfopera.com/operas/dead-man-walking/\">Dead Man Walking\u003c/a>\u003c/i> (which premiered here 25 years ago), this world premiere has its own frenzied anticipation. Huang Ruo and David Henry Hwang’s work, based on the 16th century Chinese novel \u003ci>Journey to the West\u003c/i>, is augmented with colorful costumes, choreography, Buddhist sutras and advanced puppetry. \u003c/p>\n\u003cp>\u003cstrong>Briefly Noted\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://blackcatsf.turntabletickets.com/r/caelan-cardello-trio-ft-jonathon-muir-cotton-domo-branch\">Caelean Cardello Trio\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Sept. 18–20; Black Cat, San Francisco\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.laufeymusic.com/tour/\">Laufey\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Sept. 29 (Oakland Arena, Oakland) and Sept. 30 (Chase Center, San Francisco)\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.paulcornishmusic.com/live/\">Paul Cornish\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Oct. 3 (The Break Room, San Jose) and Oct. 4 (Piedmont Piano Co., Oakland)\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.symphonysanjose.org/attend/2025-2026-season/concerts/masquerade/\">Berlioz / Rachmaninoff / Clyne with Symphony San Jose\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Oct. 4 and 5; California Theatre, San Jose\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://wl.eventim.us/event/makaya-mccraven/650319?afflky=GreatAmericanMusicHall\">Makaya McCraven\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Oct. 21; Great American Music Hall, San Francisco\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.srsymphony.org/event/spanish-fiesta/\">Rodrigo / de Falla / Assad with the Santa Rosa Symphony\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Nov. 8–10; Green Music Center, Rohnert Park\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.oaklandsymphony.org/25-26-season-subscription/\">Verdi’s Requiem with the Oakland Symphony\u003c/a>\u003c/strong>\u003cbr>\n\u003cem>Nov. 14; Paramount Theatre, Oakland\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.californiasymphony.org/shows/beethovens-eroica/\">\u003cstrong>Montgomery / Mozart / Beethoven with the California Symphony\u003c/strong>\u003c/a>\u003cbr>\n\u003cem>Nov. 15 and 16; Lesher Center, Walnut Creek\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "michael-tilson-thomas-80th-birthday-concert-symphony-review",
"title": "Michael Tilson Thomas Bids an Emotional Farewell at His 80th Birthday Concert",
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"content": "\u003cp>When \u003ca href=\"https://www.kqed.org/arts/tag/michael-tilson-thomas\">Michael Tilson Thomas\u003c/a> walked on stage at Davies Symphony Hall Saturday night, two things were evident. One: the applause from both the orchestra and audience was unbridled. And two: the beloved maestro was moving slowly.\u003c/p>\n\u003cp>As if to acknowledge the crowd’s concern, Thomas cracked a wry smile and asked for a drumroll. Then, like he’d done thousands of times before, he climbed the steps to stand at the podium. Trouble-free.\u003c/p>\n\u003cp>You guessed it: the crowd went wild.\u003c/p>\n\u003cfigure id=\"attachment_13975347\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-7.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13975347\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-7.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-7-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-7-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-7-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-7-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-7-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Blue balloons fall from the ceiling for Michael Tilson Thomas’ 80th birthday celebration at Davies Symphony Hall, April 26, 2025. \u003ccite>(Christopher M. Howard / San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For this was no ordinary symphony performance, but a party — balloon drop and all — for the esteemed conductor, composer and music director’s 80th birthday. The mood was festive, even with the hard facts hanging in the air. Thomas \u003ca href=\"https://www.instagram.com/p/DGdpQOVzcsW/\">announced in February\u003c/a> that after three and a half years of treatment for brain cancer, the tumor had returned, and that this would be his final appearance with the symphony.\u003c/p>\n\u003cp>He was a little weaker, yes. But the love in the room was about the strongest I’ve ever seen.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The night’s testimonials and blown kisses nearly outnumbered the hues of blue, Thomas’ favorite color. A screen showed \u003ca href=\"https://www.youtube.com/watch?v=doe__TCUH3c\">a photo montage spanning a life in music\u003c/a>, from boyhood to global stature. Commemorative blue bandanas draped on every seat bore a quote from Thomas reading, in part, “To be an artist is to have the courage for rebirth and growth. It’s never ending.”\u003c/p>\n\u003cfigure id=\"attachment_13975349\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_061.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13975349\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_061.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_061-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_061-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_061-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_061-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_061-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_061-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Michael Tilson Thomas conducts the San Francisco Symphony in a farewell performance for his 80th birthday celebration at Davies Symphony Hall, April 26, 2025. \u003ccite>(Stefan Cohen / San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the stand, furnished with a chair he ended up not using, Thomas conducted with stoic deliberation. During the opener, Variations and Fugue on a Theme of Henry Purcell from Britten’s \u003cem>Young Person’s Guide to the Orchestra\u003c/em>, numerous instruments got solo time: tympani, piccolo, harp. Amid the context of the evening, it felt like each orchestra section taking turns talking to Thomas, wishing him the best.\u003c/p>\n\u003cp>During the program closer of Respighi’s \u003cem>Roman Festivals\u003c/em>, with all sections playing over each other seemingly on their own time, a conductor might be tempted to lunge in with dramatic flair. Instead, amidst the chaos, he calmly marked the beat, 1-2-3-4, trusting the orchestra as always.\u003c/p>\n\u003cp>Even while Teddy Abrams or Edwin Outwater assumed the podium for the remaining pieces, such as the finale to \u003cem>Chichester Psalms\u003c/em> by Thomas’ mentor and close friend Leonard Bernstein, Thomas couldn’t help but half-conduct along, sitting in a special chair onstage next to his husband Joshua Robison, who produced the event.\u003c/p>\n\u003cfigure id=\"attachment_13975354\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-17342.jpg\" alt=\"\" width=\"2000\" height=\"1342\" class=\"size-full wp-image-13975354\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-17342.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-17342-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-17342-1020x684.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-17342-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-17342-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-17342-1536x1031.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-17342-1920x1288.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(Clockwise from top left) Sasha Cooke, Daniel Lurie, Frederica Von Stade and Ben Jones with conductor Teddy Abrams at Michael Tilson Thomas’ 80th birthday celebration at Davies Symphony Hall, April 26, 2025.\u003c/figcaption>\u003c/figure>\n\u003cp>For a series of his own songs, all of them vocal pieces performed in new arrangements, he allowed himself the pleasure of listening.\u003c/p>\n\u003cp>There has been meaning and earnestness in everything Thomas does. His original songs are no exception — musings on life which acknowledge sadness but are never consumed by it. His song “Not Everyone Thinks That I’m Beautiful” warns of wearing the heart too prominently on one’s sleeve; meanwhile, “Grace” opens with a reference to a plate of herring.\u003c/p>\n\u003cp>Nearly everybody called to the stage used their time to sing Thomas’ praises. While City Hall across the street was lit up in blue, San Francisco Mayor Daniel Lurie proclaimed April 26 “Michael Tilson Thomas Day” — not before remarking on the Davies stage that “I’ve always wondered what it would be like to be as great as MTT.” Edwin Outwater, who was hired by Thomas the week of 9/11, proclaimed to the maestro with affection and awe that “some of your ideas are insane,” and meant it as a high compliment.\u003c/p>\n\u003cfigure id=\"attachment_13975356\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_011.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13975356\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_011.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_011-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_011-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_011-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_011-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_011-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_011-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Michael Tilson Thomas sits in a chair near center stage to receive tributes during a farewell performance for his 80th birthday celebration at Davies Symphony Hall, April 26, 2025.\u003c/figcaption>\u003c/figure>\n\u003cp>The four solo singers employed for the performance shared anecdotes and memories of how Thomas changed their careers. Sasha Cooke joked about almost wearing a cowboy hat to the concert. Jessica Vosk recalled how Thomas cast her in \u003cem>West Side Story\u003c/em> after she kicked off a shoe during her audition. Frederica von Stade recalled singing Debussy’s \u003cem>La flûte de Pan\u003c/em> “ff-f-ff-ff-ff-\u003cem>forty\u003c/em> years ago?!” at Carnegie Hall in mock discombobulation at the passage of time. \u003c/p>\n\u003cp>Ben Jones, his voice cracking, summed up the influence that Thomas as a mentor has had on so many: “You were one of the first people to make me feel like I might be able to do this,” he said.\u003c/p>\n\u003cp>Just as with \u003ca href=\"https://www.kqed.org/arts/13951043/review-michael-tilson-thomas-mahler-5-san-francisco-symphony\">Thomas’ performance last year conducting Mahler’s Fifth Symphony in his last series concert with the Symphony\u003c/a>, emotions were tempered by the remarkable life and career of a monumental figure who has become indelibly interwoven with the city of San Francisco. \u003c/p>\n\u003cfigure id=\"attachment_13975350\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_071-Medium-res.jpg\" alt=\"\" width=\"1200\" height=\"801\" class=\"size-full wp-image-13975350\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_071-Medium-res.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_071-Medium-res-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_071-Medium-res-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_071-Medium-res-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_071-Medium-res-768x513.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Symphony celebrates the 80th birthday of Music Director Laureate Michael Tilson Thomas. In a program featuring Michael Tilson Thomas, Conductor, Teddy Abrams, Conductor, Edwin Outwater, Conductor, Sasha Cooke, Mezzo-soprano,\u003cbr>Frederica von Stade, Mezzo-soprano, Jessica Vosk, Vocalist, Ben Jones, Tenor, John Wilson, Piano, and the San Francisco Symphony Chorus, with Jenny Wong, Chorus Director. At Davies Symphony Hall on Saturday night, April 26, 2025. \u003ccite>(Stefan Cohen / San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the concert’s end, before blue balloons bounced around the stage and the orchestra chanted “MTT! MTT!,” Cooke, Jones, Vosk and von Stade sang one last song. “Some Other Time,” written by Bernstein with colleagues Betty Comden and Adolph Green, had a plaintive, reflective spirit perfect for the moment.\u003c/p>\n\u003cp>Once again, from his chair, Thomas conducted a downbeat here, a cymbal accent there. And then — to Robison, to the orchestra, to the audience, to the world — he began singing along at the song’s end:\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>There’s so much more embracing\u003cbr>\nStill to be done\u003cbr>\nBut time is racing\u003cbr>\nOh well, we’ll catch up some other time \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When \u003ca href=\"https://www.kqed.org/arts/tag/michael-tilson-thomas\">Michael Tilson Thomas\u003c/a> walked on stage at Davies Symphony Hall Saturday night, two things were evident. One: the applause from both the orchestra and audience was unbridled. And two: the beloved maestro was moving slowly.\u003c/p>\n\u003cp>As if to acknowledge the crowd’s concern, Thomas cracked a wry smile and asked for a drumroll. Then, like he’d done thousands of times before, he climbed the steps to stand at the podium. Trouble-free.\u003c/p>\n\u003cp>You guessed it: the crowd went wild.\u003c/p>\n\u003cfigure id=\"attachment_13975347\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-7.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13975347\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-7.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-7-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-7-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-7-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-7-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-7-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Blue balloons fall from the ceiling for Michael Tilson Thomas’ 80th birthday celebration at Davies Symphony Hall, April 26, 2025. \u003ccite>(Christopher M. Howard / San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For this was no ordinary symphony performance, but a party — balloon drop and all — for the esteemed conductor, composer and music director’s 80th birthday. The mood was festive, even with the hard facts hanging in the air. Thomas \u003ca href=\"https://www.instagram.com/p/DGdpQOVzcsW/\">announced in February\u003c/a> that after three and a half years of treatment for brain cancer, the tumor had returned, and that this would be his final appearance with the symphony.\u003c/p>\n\u003cp>He was a little weaker, yes. But the love in the room was about the strongest I’ve ever seen.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The night’s testimonials and blown kisses nearly outnumbered the hues of blue, Thomas’ favorite color. A screen showed \u003ca href=\"https://www.youtube.com/watch?v=doe__TCUH3c\">a photo montage spanning a life in music\u003c/a>, from boyhood to global stature. Commemorative blue bandanas draped on every seat bore a quote from Thomas reading, in part, “To be an artist is to have the courage for rebirth and growth. It’s never ending.”\u003c/p>\n\u003cfigure id=\"attachment_13975349\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_061.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13975349\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_061.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_061-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_061-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_061-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_061-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_061-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_061-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Michael Tilson Thomas conducts the San Francisco Symphony in a farewell performance for his 80th birthday celebration at Davies Symphony Hall, April 26, 2025. \u003ccite>(Stefan Cohen / San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the stand, furnished with a chair he ended up not using, Thomas conducted with stoic deliberation. During the opener, Variations and Fugue on a Theme of Henry Purcell from Britten’s \u003cem>Young Person’s Guide to the Orchestra\u003c/em>, numerous instruments got solo time: tympani, piccolo, harp. Amid the context of the evening, it felt like each orchestra section taking turns talking to Thomas, wishing him the best.\u003c/p>\n\u003cp>During the program closer of Respighi’s \u003cem>Roman Festivals\u003c/em>, with all sections playing over each other seemingly on their own time, a conductor might be tempted to lunge in with dramatic flair. Instead, amidst the chaos, he calmly marked the beat, 1-2-3-4, trusting the orchestra as always.\u003c/p>\n\u003cp>Even while Teddy Abrams or Edwin Outwater assumed the podium for the remaining pieces, such as the finale to \u003cem>Chichester Psalms\u003c/em> by Thomas’ mentor and close friend Leonard Bernstein, Thomas couldn’t help but half-conduct along, sitting in a special chair onstage next to his husband Joshua Robison, who produced the event.\u003c/p>\n\u003cfigure id=\"attachment_13975354\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-17342.jpg\" alt=\"\" width=\"2000\" height=\"1342\" class=\"size-full wp-image-13975354\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-17342.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-17342-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-17342-1020x684.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-17342-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-17342-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-17342-1536x1031.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-17342-1920x1288.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(Clockwise from top left) Sasha Cooke, Daniel Lurie, Frederica Von Stade and Ben Jones with conductor Teddy Abrams at Michael Tilson Thomas’ 80th birthday celebration at Davies Symphony Hall, April 26, 2025.\u003c/figcaption>\u003c/figure>\n\u003cp>For a series of his own songs, all of them vocal pieces performed in new arrangements, he allowed himself the pleasure of listening.\u003c/p>\n\u003cp>There has been meaning and earnestness in everything Thomas does. His original songs are no exception — musings on life which acknowledge sadness but are never consumed by it. His song “Not Everyone Thinks That I’m Beautiful” warns of wearing the heart too prominently on one’s sleeve; meanwhile, “Grace” opens with a reference to a plate of herring.\u003c/p>\n\u003cp>Nearly everybody called to the stage used their time to sing Thomas’ praises. While City Hall across the street was lit up in blue, San Francisco Mayor Daniel Lurie proclaimed April 26 “Michael Tilson Thomas Day” — not before remarking on the Davies stage that “I’ve always wondered what it would be like to be as great as MTT.” Edwin Outwater, who was hired by Thomas the week of 9/11, proclaimed to the maestro with affection and awe that “some of your ideas are insane,” and meant it as a high compliment.\u003c/p>\n\u003cfigure id=\"attachment_13975356\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_011.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13975356\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_011.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_011-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_011-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_011-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_011-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_011-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_011-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Michael Tilson Thomas sits in a chair near center stage to receive tributes during a farewell performance for his 80th birthday celebration at Davies Symphony Hall, April 26, 2025.\u003c/figcaption>\u003c/figure>\n\u003cp>The four solo singers employed for the performance shared anecdotes and memories of how Thomas changed their careers. Sasha Cooke joked about almost wearing a cowboy hat to the concert. Jessica Vosk recalled how Thomas cast her in \u003cem>West Side Story\u003c/em> after she kicked off a shoe during her audition. Frederica von Stade recalled singing Debussy’s \u003cem>La flûte de Pan\u003c/em> “ff-f-ff-ff-ff-\u003cem>forty\u003c/em> years ago?!” at Carnegie Hall in mock discombobulation at the passage of time. \u003c/p>\n\u003cp>Ben Jones, his voice cracking, summed up the influence that Thomas as a mentor has had on so many: “You were one of the first people to make me feel like I might be able to do this,” he said.\u003c/p>\n\u003cp>Just as with \u003ca href=\"https://www.kqed.org/arts/13951043/review-michael-tilson-thomas-mahler-5-san-francisco-symphony\">Thomas’ performance last year conducting Mahler’s Fifth Symphony in his last series concert with the Symphony\u003c/a>, emotions were tempered by the remarkable life and career of a monumental figure who has become indelibly interwoven with the city of San Francisco. \u003c/p>\n\u003cfigure id=\"attachment_13975350\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_071-Medium-res.jpg\" alt=\"\" width=\"1200\" height=\"801\" class=\"size-full wp-image-13975350\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_071-Medium-res.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_071-Medium-res-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_071-Medium-res-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_071-Medium-res-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_071-Medium-res-768x513.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Symphony celebrates the 80th birthday of Music Director Laureate Michael Tilson Thomas. In a program featuring Michael Tilson Thomas, Conductor, Teddy Abrams, Conductor, Edwin Outwater, Conductor, Sasha Cooke, Mezzo-soprano,\u003cbr>Frederica von Stade, Mezzo-soprano, Jessica Vosk, Vocalist, Ben Jones, Tenor, John Wilson, Piano, and the San Francisco Symphony Chorus, with Jenny Wong, Chorus Director. At Davies Symphony Hall on Saturday night, April 26, 2025. \u003ccite>(Stefan Cohen / San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the concert’s end, before blue balloons bounced around the stage and the orchestra chanted “MTT! MTT!,” Cooke, Jones, Vosk and von Stade sang one last song. “Some Other Time,” written by Bernstein with colleagues Betty Comden and Adolph Green, had a plaintive, reflective spirit perfect for the moment.\u003c/p>\n\u003cp>Once again, from his chair, Thomas conducted a downbeat here, a cymbal accent there. And then — to Robison, to the orchestra, to the audience, to the world — he began singing along at the song’s end:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>There’s so much more embracing\u003cbr>\nStill to be done\u003cbr>\nBut time is racing\u003cbr>\nOh well, we’ll catch up some other time \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "review-marin-alsop-gabriela-montero-san-francisco-symphony",
"title": "Montero and Marin Are a Hit at Davies Symphony Hall",
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"headTitle": "Montero and Marin Are a Hit at Davies Symphony Hall | KQED",
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"content": "\u003cp>In the 1990s, the freestyle rapper \u003ca href=\"https://youtu.be/zoUsLm_Kf6Q?feature=shared&t=39\">Supernatural\u003c/a> had a routine that always won over the club. He’d solicit suggestions for words or phrases from the audience, or even items from rap fans’ pockets or purses, and then tell the DJ to drop the beat. Three minutes of complex wordplay would follow, all tightly in rhythm, involving the crowd’s suggestions. It \u003cem>killed\u003c/em>.\u003c/p>\n\u003cp>On Thursday night, the pianist Gabriela Montero brought this approach into the classical concert hall. As an encore to her piano concerto, she asked patrons at Davies Symphony Hall for a melody upon which she could improvise. A few loudly sung suggestions followed: Beethoven’s \u003cem>Missa solemnis\u003c/em>, Burt Bacharach and Hal David’s “What the World Needs Now Is Love.”\u003c/p>\n\u003cp>I didn’t recognize the winning melody, but Montero plunked it out on the piano a few times, thought it over for a few seconds, and then launched into a dazzling improvisation — something like Louis Moreau Gottschalk, with more meat on its bones — that lasted several minutes and inspired the crowd to its feet.\u003c/p>\n\u003cfigure id=\"attachment_13974440\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0040.jpg\" alt=\"\" width=\"2000\" height=\"1332\" class=\"size-full wp-image-13974440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0040.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0040-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0040-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0040-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0040-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0040-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0040-1920x1279.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Pianist Gabriela Montero and conductor Marin Alsop take a bow with the San Francisco Symphony on April 10, 2025 at Davies Symphony Hall in San Francisco. \u003ccite>(Brandon Patoc)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Improvisation in music is a gooey concept. What, really, is pre-written, and what is the performer’s input? Is some improvisation planned beforehand? Isn’t soloing in jazz, as the saxophonist Gary Bartz once told me, “composing all the time” rather than “improvising”? Is a singer’s particular phrasing of a lyric improvisation?\u003c/p>\n\u003cp>Within the relative rigidity of classical music, Montero is an outlier. I’ve heard other improvisations-as-encores (speaking of gooey, Jeffrey Kahane’s “America the Beautiful,” played just after 9/11, comes to mind), but they’ve been preordained to some degree. With Monerto, her style, filigree and technique may all be prepared tools of construction, but I have to believe the blueprint was spontaneous.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It was a highlight of a program of music from Mexico, Venezuela and the United States, conducted by Marin Alsop. Highly decorated worldwide, Alsop is especially loved in the Bay Area for her 25 years as director of the Cabrillo Festival of Contemporary Music in Santa Cruz. Understandably, then, the best moments of Thursday’s concert involved new works.\u003c/p>\n\u003cfigure id=\"attachment_13974441\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0027.jpg\" alt=\"\" width=\"2000\" height=\"1332\" class=\"size-full wp-image-13974441\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0027.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0027-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0027-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0027-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0027-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0027-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0027-1920x1279.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Pianist Gabriela Montero performs with the San Francisco Symphony, conducted by Marin Alsop, on April 10, 2025 at Davies Symphony Hall in San Francisco. \u003ccite>(Brandon Patoc)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gabriela Ortiz’s \u003cem>Antrópolis\u003c/em> led things off, sounding like a Martin Denny album from the late 1950s: a repetitive bass line, triplets on the wood block, vibraphone, a wooden fish güiro. Upon this Polynesian foundation, the strings and brass rose and collapsed, not as batty as Juan García Esquivel, but tilting in that direction. The brass had some timing issues in the faster sections (this is not music of most of the musicians’ native land), but the crowd ate it up.\u003c/p>\n\u003cp>Speaking before Montero performed her own Piano Concerto No. 1, Alsop quipped of Montero that “she’s always complaining that the composer wrote too many notes.” I may have to agree. To the extent that there is a melody in the first movement, a mambo, it was hidden beneath a constant thrum of fingers-as-pistons, churning the engine along. A second movement replaced the pistons with arpeggios, but the third brought back the busywork on the keys. For all its impressive technique, I could barely notice the congas and maracas, let alone Montero’s intention to show the malevolence and corruption of her home country of Venezuela. Is it possible for a piano concerto to \u003ca href=\"https://www.nytimes.com/2025/01/28/us/politics/trump-policy-blitz.html\">flood the zone\u003c/a>?\u003c/p>\n\u003cp>Levity was found in the second half opener, a pairing of Aaron Copland’s \u003cem>Fanfare for the Common Man\u003c/em> with, hilariously, Joan Tower’s \u003cem>Fanfare for the Uncommon Woman\u003c/em> — the latter dedicated to and conducted by Alsop. Whereas Copland’s Olympic games staple trumpets mankind’s entrance and loudly announces his importance, the “uncommon woman” in Tower’s fanfare furtively sidles her way into the proceedings and usurps them from within. The pairing was welcome.\u003c/p>\n\u003cfigure id=\"attachment_13974444\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0068.jpg\" alt=\"\" width=\"2000\" height=\"1332\" class=\"size-full wp-image-13974444\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0068.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0068-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0068-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0068-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0068-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0068-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0068-1920x1279.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Marin Alsop, center, appears with the San Francisco Symphony on April 10, 2025 at Davies Symphony Hall in San Francisco. \u003ccite>(Brandon Patoc)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was also the moment I realized that this program was alive with things we don’t ordinarily get at the symphony: audience participation, Latin rhythms, improvisation, humor. (I also couldn’t help but hear it in contrast to \u003ca href=\"https://www.kqed.org/arts/13973375/san-francisco-symphony-new-season-2025-2026\">the San Francisco Symphony’s upcoming season\u003c/a>, disappointingly heavy on \u003ca href=\"https://www.amazon.com/s?k=Classical+Music+for+People+Who+Hate+Classical+Music&i=popular&crid=3AUZSAD3I8KSR&sprefix=classical+music+for+people+who+hate+classical+music%2Cpopular%2C143&ref=nb_sb_noss_1\">tried-and-true repertoire\u003c/a>.)\u003c/p>\n\u003cp>And at its peaks, the night contained one more element. In the Andante tranquillo section of Samuel Barber’s Symphony No. 1, the oboe solo led to a moving climax, during which Alsop ceased her demands from the orchestra and allowed herself to become engulfed in that simple, unexplainable thing: beauty.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Alsop Conducts Music of the Americas’ with the San Francisco Symphony repeats on Friday, April 11 and Saturday, April 12 at Davies Symphony Hall. \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2024-25/marin-alsop-americas\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the 1990s, the freestyle rapper \u003ca href=\"https://youtu.be/zoUsLm_Kf6Q?feature=shared&t=39\">Supernatural\u003c/a> had a routine that always won over the club. He’d solicit suggestions for words or phrases from the audience, or even items from rap fans’ pockets or purses, and then tell the DJ to drop the beat. Three minutes of complex wordplay would follow, all tightly in rhythm, involving the crowd’s suggestions. It \u003cem>killed\u003c/em>.\u003c/p>\n\u003cp>On Thursday night, the pianist Gabriela Montero brought this approach into the classical concert hall. As an encore to her piano concerto, she asked patrons at Davies Symphony Hall for a melody upon which she could improvise. A few loudly sung suggestions followed: Beethoven’s \u003cem>Missa solemnis\u003c/em>, Burt Bacharach and Hal David’s “What the World Needs Now Is Love.”\u003c/p>\n\u003cp>I didn’t recognize the winning melody, but Montero plunked it out on the piano a few times, thought it over for a few seconds, and then launched into a dazzling improvisation — something like Louis Moreau Gottschalk, with more meat on its bones — that lasted several minutes and inspired the crowd to its feet.\u003c/p>\n\u003cfigure id=\"attachment_13974440\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0040.jpg\" alt=\"\" width=\"2000\" height=\"1332\" class=\"size-full wp-image-13974440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0040.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0040-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0040-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0040-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0040-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0040-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0040-1920x1279.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Pianist Gabriela Montero and conductor Marin Alsop take a bow with the San Francisco Symphony on April 10, 2025 at Davies Symphony Hall in San Francisco. \u003ccite>(Brandon Patoc)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Improvisation in music is a gooey concept. What, really, is pre-written, and what is the performer’s input? Is some improvisation planned beforehand? Isn’t soloing in jazz, as the saxophonist Gary Bartz once told me, “composing all the time” rather than “improvising”? Is a singer’s particular phrasing of a lyric improvisation?\u003c/p>\n\u003cp>Within the relative rigidity of classical music, Montero is an outlier. I’ve heard other improvisations-as-encores (speaking of gooey, Jeffrey Kahane’s “America the Beautiful,” played just after 9/11, comes to mind), but they’ve been preordained to some degree. With Monerto, her style, filigree and technique may all be prepared tools of construction, but I have to believe the blueprint was spontaneous.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It was a highlight of a program of music from Mexico, Venezuela and the United States, conducted by Marin Alsop. Highly decorated worldwide, Alsop is especially loved in the Bay Area for her 25 years as director of the Cabrillo Festival of Contemporary Music in Santa Cruz. Understandably, then, the best moments of Thursday’s concert involved new works.\u003c/p>\n\u003cfigure id=\"attachment_13974441\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0027.jpg\" alt=\"\" width=\"2000\" height=\"1332\" class=\"size-full wp-image-13974441\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0027.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0027-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0027-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0027-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0027-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0027-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0027-1920x1279.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Pianist Gabriela Montero performs with the San Francisco Symphony, conducted by Marin Alsop, on April 10, 2025 at Davies Symphony Hall in San Francisco. \u003ccite>(Brandon Patoc)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gabriela Ortiz’s \u003cem>Antrópolis\u003c/em> led things off, sounding like a Martin Denny album from the late 1950s: a repetitive bass line, triplets on the wood block, vibraphone, a wooden fish güiro. Upon this Polynesian foundation, the strings and brass rose and collapsed, not as batty as Juan García Esquivel, but tilting in that direction. The brass had some timing issues in the faster sections (this is not music of most of the musicians’ native land), but the crowd ate it up.\u003c/p>\n\u003cp>Speaking before Montero performed her own Piano Concerto No. 1, Alsop quipped of Montero that “she’s always complaining that the composer wrote too many notes.” I may have to agree. To the extent that there is a melody in the first movement, a mambo, it was hidden beneath a constant thrum of fingers-as-pistons, churning the engine along. A second movement replaced the pistons with arpeggios, but the third brought back the busywork on the keys. For all its impressive technique, I could barely notice the congas and maracas, let alone Montero’s intention to show the malevolence and corruption of her home country of Venezuela. Is it possible for a piano concerto to \u003ca href=\"https://www.nytimes.com/2025/01/28/us/politics/trump-policy-blitz.html\">flood the zone\u003c/a>?\u003c/p>\n\u003cp>Levity was found in the second half opener, a pairing of Aaron Copland’s \u003cem>Fanfare for the Common Man\u003c/em> with, hilariously, Joan Tower’s \u003cem>Fanfare for the Uncommon Woman\u003c/em> — the latter dedicated to and conducted by Alsop. Whereas Copland’s Olympic games staple trumpets mankind’s entrance and loudly announces his importance, the “uncommon woman” in Tower’s fanfare furtively sidles her way into the proceedings and usurps them from within. The pairing was welcome.\u003c/p>\n\u003cfigure id=\"attachment_13974444\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0068.jpg\" alt=\"\" width=\"2000\" height=\"1332\" class=\"size-full wp-image-13974444\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0068.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0068-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0068-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0068-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0068-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0068-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425-Concerts-MarinAlsop-Brandon-Patoc_0068-1920x1279.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Marin Alsop, center, appears with the San Francisco Symphony on April 10, 2025 at Davies Symphony Hall in San Francisco. \u003ccite>(Brandon Patoc)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was also the moment I realized that this program was alive with things we don’t ordinarily get at the symphony: audience participation, Latin rhythms, improvisation, humor. (I also couldn’t help but hear it in contrast to \u003ca href=\"https://www.kqed.org/arts/13973375/san-francisco-symphony-new-season-2025-2026\">the San Francisco Symphony’s upcoming season\u003c/a>, disappointingly heavy on \u003ca href=\"https://www.amazon.com/s?k=Classical+Music+for+People+Who+Hate+Classical+Music&i=popular&crid=3AUZSAD3I8KSR&sprefix=classical+music+for+people+who+hate+classical+music%2Cpopular%2C143&ref=nb_sb_noss_1\">tried-and-true repertoire\u003c/a>.)\u003c/p>\n\u003cp>And at its peaks, the night contained one more element. In the Andante tranquillo section of Samuel Barber’s Symphony No. 1, the oboe solo led to a moving climax, during which Alsop ceased her demands from the orchestra and allowed herself to become engulfed in that simple, unexplainable thing: beauty.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Alsop Conducts Music of the Americas’ with the San Francisco Symphony repeats on Friday, April 11 and Saturday, April 12 at Davies Symphony Hall. \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2024-25/marin-alsop-americas\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "San Francisco Symphony Announces 2025–26 Season of ‘Just Play the Hits’",
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"content": "\u003cp>The \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-symphony\">San Francisco Symphony\u003c/a> announced its \u003ca href=\"https://www.sfsymphony.org/Calendar/Season-Overview\">2025–26 season\u003c/a> Thursday, with a lineup of programs heavy on well-known, well-loved classics.\u003c/p>\n\u003cp>Among the pieces in the season: Beethoven’s Fifth. Vivaldi’s \u003cem>Four Seasons\u003c/em>. Holst’s \u003cem>The Planets\u003c/em>. Mozart’s Requiem. Berlioz’s \u003cem>Symphonie Fantastique\u003c/em>. Dvořák’s \u003cem>New World\u003c/em> symphony. Tchaikovsky’s Piano Concerto No. 1. Rimsky-Korsakov’s \u003cem>Scheherazade\u003c/em>. Respighi’s \u003cem>Pines of Rome\u003c/em>.\u003c/p>\n\u003cp>The season comes during a \u003ca href=\"https://www.kqed.org/arts/13954764/sf-symphony-leadership-esa-pekka-salonen-musicians-protest\">precarious time financially\u003c/a> for the Symphony, which is looking to turn things around as it announces a season of tried-and-true favorites seemingly curated from a Reader’s Digest box set of \u003cem>Classical Music’s Greatest Hits\u003c/em>. It also marks the first season since \u003ca href=\"https://www.kqed.org/arts/13954083/esa-pekka-salonen-steps-down-sf-symphony\">the departure of Music Director Esa-Pekka Salonen\u003c/a>, known for his advocacy for more modern works and cross-disciplinary collaborations.\u003c/p>\n\u003cp>[aside postID='arts_13972538']To be clear, the season includes world premieres (by the Symphony’s Principal Trombone Timothy Higgins, and Tyler Taylor, winner of the Emerging Black Composers Project), and lesser-performed composers like Jimmy López, Outi Tarkiainen and Olli Mustonen. The Symphony’s adventurous Soundbox programming — scaled back in 2024 — will be curated by Alexi Kenney and Gabriella Smith.\u003c/p>\n\u003cp>But the overall tone of the season appears to be: \u003cem>play the hits and sell tickets\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In Salonen’s absence, 23 guest conductors will take the podium, including Jaap van Zweden, who conducts a total of four programs, including the Symphony’s opening gala with Yuja Wang on Sept. 12. He also kicks off a three-season cycle of Beethoven’s nine symphonies. Other guest conductors include James Gaffigan, Donald Runnicles and Simone Young.\u003c/p>\n\u003cp>As for a new Music Director, whose programming vision shapes a season’s themes and musical arc, the Symphony formed a search committee last summer. The process of hiring a Music Director for a major symphony orchestra can take years, and occurs in private; the eventual successor is often the subject of much speculation and rumor.\u003c/p>\n\u003cp>[aside postID='arts_13970454']“Most importantly, we’re looking for someone with exceptional talent and a strong artistic vision who will inspire our musicians, audiences and community,” Symphony CEO Matt Spivey told KQED on Wednesday. “We can’t share more specifics while the search is underway, but we’re looking forward to sharing more when we’re ready to make an official announcement.”\u003c/p>\n\u003cp>Among the season’s roster of guest artists are Yo-Yo Ma, Itzhak Perlman, Nicola Benedetti, Joshua Bell, Hélène Grimaud and Emmanuel Ax. Five programs will feature principal musicians with the Symphony, including Timothy Higgins (trombone), Mark Inouye (trumpet) and Yubeen Kim (flute).\u003c/p>\n\u003cp>Annual standbys like Handel’s \u003cem>Messiah\u003c/em>, Prokofiev’s \u003cem>Peter and the Wolf\u003c/em> and a film series all make their return as well.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Find the \u003ca href=\"https://www.sfsymphony.org/Calendar/Season-Overview\">full 2025–26 San Francisco Symphony season here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-symphony\">San Francisco Symphony\u003c/a> announced its \u003ca href=\"https://www.sfsymphony.org/Calendar/Season-Overview\">2025–26 season\u003c/a> Thursday, with a lineup of programs heavy on well-known, well-loved classics.\u003c/p>\n\u003cp>Among the pieces in the season: Beethoven’s Fifth. Vivaldi’s \u003cem>Four Seasons\u003c/em>. Holst’s \u003cem>The Planets\u003c/em>. Mozart’s Requiem. Berlioz’s \u003cem>Symphonie Fantastique\u003c/em>. Dvořák’s \u003cem>New World\u003c/em> symphony. Tchaikovsky’s Piano Concerto No. 1. Rimsky-Korsakov’s \u003cem>Scheherazade\u003c/em>. Respighi’s \u003cem>Pines of Rome\u003c/em>.\u003c/p>\n\u003cp>The season comes during a \u003ca href=\"https://www.kqed.org/arts/13954764/sf-symphony-leadership-esa-pekka-salonen-musicians-protest\">precarious time financially\u003c/a> for the Symphony, which is looking to turn things around as it announces a season of tried-and-true favorites seemingly curated from a Reader’s Digest box set of \u003cem>Classical Music’s Greatest Hits\u003c/em>. It also marks the first season since \u003ca href=\"https://www.kqed.org/arts/13954083/esa-pekka-salonen-steps-down-sf-symphony\">the departure of Music Director Esa-Pekka Salonen\u003c/a>, known for his advocacy for more modern works and cross-disciplinary collaborations.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>To be clear, the season includes world premieres (by the Symphony’s Principal Trombone Timothy Higgins, and Tyler Taylor, winner of the Emerging Black Composers Project), and lesser-performed composers like Jimmy López, Outi Tarkiainen and Olli Mustonen. The Symphony’s adventurous Soundbox programming — scaled back in 2024 — will be curated by Alexi Kenney and Gabriella Smith.\u003c/p>\n\u003cp>But the overall tone of the season appears to be: \u003cem>play the hits and sell tickets\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In Salonen’s absence, 23 guest conductors will take the podium, including Jaap van Zweden, who conducts a total of four programs, including the Symphony’s opening gala with Yuja Wang on Sept. 12. He also kicks off a three-season cycle of Beethoven’s nine symphonies. Other guest conductors include James Gaffigan, Donald Runnicles and Simone Young.\u003c/p>\n\u003cp>As for a new Music Director, whose programming vision shapes a season’s themes and musical arc, the Symphony formed a search committee last summer. The process of hiring a Music Director for a major symphony orchestra can take years, and occurs in private; the eventual successor is often the subject of much speculation and rumor.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Most importantly, we’re looking for someone with exceptional talent and a strong artistic vision who will inspire our musicians, audiences and community,” Symphony CEO Matt Spivey told KQED on Wednesday. “We can’t share more specifics while the search is underway, but we’re looking forward to sharing more when we’re ready to make an official announcement.”\u003c/p>\n\u003cp>Among the season’s roster of guest artists are Yo-Yo Ma, Itzhak Perlman, Nicola Benedetti, Joshua Bell, Hélène Grimaud and Emmanuel Ax. Five programs will feature principal musicians with the Symphony, including Timothy Higgins (trombone), Mark Inouye (trumpet) and Yubeen Kim (flute).\u003c/p>\n\u003cp>Annual standbys like Handel’s \u003cem>Messiah\u003c/em>, Prokofiev’s \u003cem>Peter and the Wolf\u003c/em> and a film series all make their return as well.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Find the \u003ca href=\"https://www.sfsymphony.org/Calendar/Season-Overview\">full 2025–26 San Francisco Symphony season here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Ticket Alert: Yeah Yeah Yeahs at Davies Symphony Hall",
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"content": "\u003cp>The Yeah Yeah Yeahs have announced two shows at San Francisco’s \u003ca href=\"https://www.kqed.org/arts/tag/davies-symphony-hall\">Davies Symphony Hall\u003c/a> on July 14 and 15, and we’ve got presale codes for tickets, which go on sale this week.\u003c/p>\n\u003cp>The Yeah Yeah Yeahs, led by Karen O and best known for the song “Maps,” has promised a different sort of tour — one which visits a range of venues, from the highbrow Royal Albert Hall on down to the modest San Diego County Fair.\u003c/p>\n\u003cp>“We will be digging deep into our back catalogue,” the band wrote in \u003ca href=\"https://www.instagram.com/p/DHTZOTVR3YK/\">a tour announcement\u003c/a>. “We’ll be playing songs that are rarely (if ever) performed, alongside all time favorites with new arrangements to delight…and yes, there will be acoustic guitars and strings too.”\u003c/p>\n\u003cp>[aside postID='arts_13973156']\u003ca href=\"https://www.ticketmaster.com/yeah-yeah-yeahs-hidden-in-pieces-san-francisco-california-07-14-2025/event/1C00626BD0C327A2\">Presale tickets\u003c/a> to the band’s Davies Symphony Hall shows go on sale Wednesday, March 19, at 10 a.m. Pacific Time. Fans can access that presale by clicking “RSVP” next to the desired show at \u003ca href=\"https://yeahyeahyeahs.com/\">the band’s website\u003c/a>. After a two-factor authentication, a message will arrive stating that a ticket link and artist presale code will be sent Wednesday, March 19 at 10 a.m. — right when tickets go on sale. (Pro tip: sign up for both text and email alerts, just in case.)\u003c/p>\n\u003cp>\u003cstrong>UPDATE, March 19, 9:30 a.m.: The artist presale code for all shows is HIDDENINPIECES.\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/img_3265_720.jpg\" alt=\"\" width=\"720\" height=\"371\" class=\"aligncenter size-full wp-image-13973304\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/img_3265_720.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/img_3265_720-160x82.jpg 160w\" sizes=\"auto, (max-width: 720px) 100vw, 720px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Screenshot-2025-03-19-at-9.39.27%E2%80%AFAM.png\" alt=\"\" width=\"1020\" height=\"286\" class=\"aligncenter size-full wp-image-13973312\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Screenshot-2025-03-19-at-9.39.27 AM.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Screenshot-2025-03-19-at-9.39.27 AM-800x224.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Screenshot-2025-03-19-at-9.39.27 AM-160x45.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Screenshot-2025-03-19-at-9.39.27 AM-768x215.png 768w\" sizes=\"auto, (max-width: 1020px) 100vw, 1020px\">\u003c/p>\n\u003cp>Another presale, through local promoters \u003ca href=\"https://www.kqed.org/arts/tag/another-planet-entertainment\">Another Planet Entertainment\u003c/a>, takes place on Thursday, March 20, at 10 a.m. Pacific Time. The password to access Thursday’s presale is \u003cstrong>world\u003c/strong>, and is good for either show.\u003c/p>\n\u003cp>Tickets go on sale to the general public on Friday, March 21, at 10 a.m. Pacific Time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All ticket sales, including presales, \u003ca href=\"https://www.ticketmaster.com/yeah-yeah-yeahs-hidden-in-pieces-san-francisco-california-07-14-2025/event/1C00626BD0C327A2\">can be accessed here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Yeah Yeah Yeahs have announced two shows at San Francisco’s \u003ca href=\"https://www.kqed.org/arts/tag/davies-symphony-hall\">Davies Symphony Hall\u003c/a> on July 14 and 15, and we’ve got presale codes for tickets, which go on sale this week.\u003c/p>\n\u003cp>The Yeah Yeah Yeahs, led by Karen O and best known for the song “Maps,” has promised a different sort of tour — one which visits a range of venues, from the highbrow Royal Albert Hall on down to the modest San Diego County Fair.\u003c/p>\n\u003cp>“We will be digging deep into our back catalogue,” the band wrote in \u003ca href=\"https://www.instagram.com/p/DHTZOTVR3YK/\">a tour announcement\u003c/a>. “We’ll be playing songs that are rarely (if ever) performed, alongside all time favorites with new arrangements to delight…and yes, there will be acoustic guitars and strings too.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ca href=\"https://www.ticketmaster.com/yeah-yeah-yeahs-hidden-in-pieces-san-francisco-california-07-14-2025/event/1C00626BD0C327A2\">Presale tickets\u003c/a> to the band’s Davies Symphony Hall shows go on sale Wednesday, March 19, at 10 a.m. Pacific Time. Fans can access that presale by clicking “RSVP” next to the desired show at \u003ca href=\"https://yeahyeahyeahs.com/\">the band’s website\u003c/a>. After a two-factor authentication, a message will arrive stating that a ticket link and artist presale code will be sent Wednesday, March 19 at 10 a.m. — right when tickets go on sale. (Pro tip: sign up for both text and email alerts, just in case.)\u003c/p>\n\u003cp>\u003cstrong>UPDATE, March 19, 9:30 a.m.: The artist presale code for all shows is HIDDENINPIECES.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/img_3265_720.jpg\" alt=\"\" width=\"720\" height=\"371\" class=\"aligncenter size-full wp-image-13973304\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/img_3265_720.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/img_3265_720-160x82.jpg 160w\" sizes=\"auto, (max-width: 720px) 100vw, 720px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Screenshot-2025-03-19-at-9.39.27%E2%80%AFAM.png\" alt=\"\" width=\"1020\" height=\"286\" class=\"aligncenter size-full wp-image-13973312\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Screenshot-2025-03-19-at-9.39.27 AM.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Screenshot-2025-03-19-at-9.39.27 AM-800x224.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Screenshot-2025-03-19-at-9.39.27 AM-160x45.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Screenshot-2025-03-19-at-9.39.27 AM-768x215.png 768w\" sizes=\"auto, (max-width: 1020px) 100vw, 1020px\">\u003c/p>\n\u003cp>Another presale, through local promoters \u003ca href=\"https://www.kqed.org/arts/tag/another-planet-entertainment\">Another Planet Entertainment\u003c/a>, takes place on Thursday, March 20, at 10 a.m. Pacific Time. The password to access Thursday’s presale is \u003cstrong>world\u003c/strong>, and is good for either show.\u003c/p>\n\u003cp>Tickets go on sale to the general public on Friday, March 21, at 10 a.m. Pacific Time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All ticket sales, including presales, \u003ca href=\"https://www.ticketmaster.com/yeah-yeah-yeahs-hidden-in-pieces-san-francisco-california-07-14-2025/event/1C00626BD0C327A2\">can be accessed here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "review-vikingur-olafsson-goldberg-variations-davies-yuja-wang-canceled",
"title": "With Yuja Wang Out, Vikingur Ólafsson Performs a ‘Goldberg Variations’ Full of Life",
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"content": "\u003cp>Mutterings filled Davies Symphony Hall. Some people gasped. Still others, at least 11 that I counted, rose from their seats and left.\u003c/p>\n\u003cp>And all before a note was played. \u003c/p>\n\u003cp>Such was the reaction to the stage announcement before Sunday’s concert that Yuja Wang had come down with an affliction, and canceled her appearance with Vikingur Ólafsson of a highly anticipated program for two pianos. The man on stage with the night’s most unenviable job reported that instead, Ólafsson had prepared, on just two hours’ notice, to perform Bach’s complete \u003cem>Goldberg Variations\u003c/em>. \u003c/p>\n\u003cp>Wang has a large, diehard fanbase here in the Bay Area, where an appetite coexists for modern composers like Luciano Berio, John Cage and Conlon Nancarrow, all who had works in the jettisoned program. Stylistically, Bach was a 180-degree turn. And no Wang? In the moment, the disappointment was obvious. \u003c/p>\n\u003cp>Ólafsson, then, entering quickly thereafter, had the night’s hardest job: turning that disappointment around. At least from my perspective, and against the odds, he did.\u003c/p>\n\u003cfigure id=\"attachment_13972553\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1045-Enhanced-NR.jpg\" alt=\"A man in blue slacks and patterned jacket plays the grand piano on a sparsely lit stage\" width=\"1333\" height=\"2000\" class=\"size-full wp-image-13972553\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1045-Enhanced-NR.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1045-Enhanced-NR-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1045-Enhanced-NR-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1045-Enhanced-NR-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1045-Enhanced-NR-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1045-Enhanced-NR-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">Pianist Vikingur Ólafsson performs Bach’s ‘Goldberg Variations’ on March 2, 2025 at Davies Symphony Hall.\u003c/figcaption>\u003c/figure>\n\u003cp>Over the course of the 30 variations, Ólafsson upended the reputation of Bach as mathematical. Through tempo, dynamics and a precise command of touch, he made what on paper appears as a musical crossword puzzle into something porous, elastic and alive. At multiple points, he raised his right hand to “conduct” the playing of his left, as if it were a separate organism from the rest of his body. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Icelandic pianist knows this material well. He released a \u003ca href=\"https://www.deutschegrammophon.com/en/artists/vikingur-olafsson/news/vkingur-olafsson-wins-his-first-grammy-275053\">Grammy-winning\u003c/a> recording of the \u003cem>Goldberg Variations\u003c/em> on Deutsche Grammophon in 2023, and in the following year toured it across six continents, including a performance at Zellerbach Hall in Berkeley. On Sunday, across its 75-minute run time, he used no sheet music. \u003c/p>\n\u003cp>[aside postID='arts_13970454']That familiarity has bred a facility in Ólafsson that was alternately sublime and thrilling to witness. In variation No. 5, his hands performed like electrocuted spiders, jumping over each other with twittering fingers as legs. On challenging variations like No. 14, those fingers competed for real estate on the piano keys with the cutthroat determination of someone trying to rent a place in North Beach. \u003c/p>\n\u003cp>By about 45 minutes in, my furrowed brow had turned into a ridiculous grin. \u003cem>Can humans really do this?\u003c/em> \u003c/p>\n\u003cp>But this was more than pyrotechnics. These rapid-fire passages could easily be played rote, and flat. If you want to hear a computer play them, \u003ca href=\"https://www.youtube.com/watch?v=n-_SNlOHMEQ\">go ahead\u003c/a>. Then check in on Ólafsson’s renditions and get back to me. \u003c/p>\n\u003cfigure id=\"attachment_13972554\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1268-Enhanced-NR.jpg\" alt=\"\" width=\"1333\" height=\"2000\" class=\"size-full wp-image-13972554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1268-Enhanced-NR.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1268-Enhanced-NR-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1268-Enhanced-NR-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1268-Enhanced-NR-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1268-Enhanced-NR-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1268-Enhanced-NR-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">Pianist Vikingur Ólafsson performs Bach’s ‘Goldberg Variations’ on March 2, 2025 at Davies Symphony Hall. \u003ccite>(Kristen Loken/San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some additional audience members did leave at periodic times throughout the performance — a half hour in, an hour in, or near the end. The \u003cem>Goldberg Variations\u003c/em> are, to be fair, stylistically similar, and mostly in the same key. \u003c/p>\n\u003cp>Perhaps Ólafsson had those people on his mind when he addressed the audience after his standing ovation, remarking that “one should never apologize for the \u003cem>Goldberg Variations\u003c/em>, or Johann Sebastian Bach.”\u003c/p>\n\u003cp>Ólafsson also explained that Wang had to bow out due to a “crazy infection to her finger,” and that the sudden change in program caused him no small amount of anxiety. He specifically thanked the backstage staff at the San Francisco Symphony for “calming me down.”\u003c/p>\n\u003cp>Ideally, he calmed the audience, as well, who were expecting something completely different, and who didn’t receive emails regarding the change; this was due to the last-minute timing of the cancellation, according to the symphony. (A symphony representative confirmed that refunds were given to those who requested them.) \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The San Francisco date would have been the two star pianists’ final tour date together after a string of acclaimed performances. Wang’s next scheduled dates are next week, with Gustavo Dudamel conducting the New York Philharmonic. Ólafsson, meanwhile, heads to his home country this week for performances in Reykjavik.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Mutterings filled Davies Symphony Hall. Some people gasped. Still others, at least 11 that I counted, rose from their seats and left.\u003c/p>\n\u003cp>And all before a note was played. \u003c/p>\n\u003cp>Such was the reaction to the stage announcement before Sunday’s concert that Yuja Wang had come down with an affliction, and canceled her appearance with Vikingur Ólafsson of a highly anticipated program for two pianos. The man on stage with the night’s most unenviable job reported that instead, Ólafsson had prepared, on just two hours’ notice, to perform Bach’s complete \u003cem>Goldberg Variations\u003c/em>. \u003c/p>\n\u003cp>Wang has a large, diehard fanbase here in the Bay Area, where an appetite coexists for modern composers like Luciano Berio, John Cage and Conlon Nancarrow, all who had works in the jettisoned program. Stylistically, Bach was a 180-degree turn. And no Wang? In the moment, the disappointment was obvious. \u003c/p>\n\u003cp>Ólafsson, then, entering quickly thereafter, had the night’s hardest job: turning that disappointment around. At least from my perspective, and against the odds, he did.\u003c/p>\n\u003cfigure id=\"attachment_13972553\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1045-Enhanced-NR.jpg\" alt=\"A man in blue slacks and patterned jacket plays the grand piano on a sparsely lit stage\" width=\"1333\" height=\"2000\" class=\"size-full wp-image-13972553\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1045-Enhanced-NR.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1045-Enhanced-NR-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1045-Enhanced-NR-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1045-Enhanced-NR-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1045-Enhanced-NR-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1045-Enhanced-NR-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">Pianist Vikingur Ólafsson performs Bach’s ‘Goldberg Variations’ on March 2, 2025 at Davies Symphony Hall.\u003c/figcaption>\u003c/figure>\n\u003cp>Over the course of the 30 variations, Ólafsson upended the reputation of Bach as mathematical. Through tempo, dynamics and a precise command of touch, he made what on paper appears as a musical crossword puzzle into something porous, elastic and alive. At multiple points, he raised his right hand to “conduct” the playing of his left, as if it were a separate organism from the rest of his body. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Icelandic pianist knows this material well. He released a \u003ca href=\"https://www.deutschegrammophon.com/en/artists/vikingur-olafsson/news/vkingur-olafsson-wins-his-first-grammy-275053\">Grammy-winning\u003c/a> recording of the \u003cem>Goldberg Variations\u003c/em> on Deutsche Grammophon in 2023, and in the following year toured it across six continents, including a performance at Zellerbach Hall in Berkeley. On Sunday, across its 75-minute run time, he used no sheet music. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That familiarity has bred a facility in Ólafsson that was alternately sublime and thrilling to witness. In variation No. 5, his hands performed like electrocuted spiders, jumping over each other with twittering fingers as legs. On challenging variations like No. 14, those fingers competed for real estate on the piano keys with the cutthroat determination of someone trying to rent a place in North Beach. \u003c/p>\n\u003cp>By about 45 minutes in, my furrowed brow had turned into a ridiculous grin. \u003cem>Can humans really do this?\u003c/em> \u003c/p>\n\u003cp>But this was more than pyrotechnics. These rapid-fire passages could easily be played rote, and flat. If you want to hear a computer play them, \u003ca href=\"https://www.youtube.com/watch?v=n-_SNlOHMEQ\">go ahead\u003c/a>. Then check in on Ólafsson’s renditions and get back to me. \u003c/p>\n\u003cfigure id=\"attachment_13972554\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1268-Enhanced-NR.jpg\" alt=\"\" width=\"1333\" height=\"2000\" class=\"size-full wp-image-13972554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1268-Enhanced-NR.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1268-Enhanced-NR-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1268-Enhanced-NR-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1268-Enhanced-NR-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1268-Enhanced-NR-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/3.2.25_KL-1268-Enhanced-NR-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">Pianist Vikingur Ólafsson performs Bach’s ‘Goldberg Variations’ on March 2, 2025 at Davies Symphony Hall. \u003ccite>(Kristen Loken/San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some additional audience members did leave at periodic times throughout the performance — a half hour in, an hour in, or near the end. The \u003cem>Goldberg Variations\u003c/em> are, to be fair, stylistically similar, and mostly in the same key. \u003c/p>\n\u003cp>Perhaps Ólafsson had those people on his mind when he addressed the audience after his standing ovation, remarking that “one should never apologize for the \u003cem>Goldberg Variations\u003c/em>, or Johann Sebastian Bach.”\u003c/p>\n\u003cp>Ólafsson also explained that Wang had to bow out due to a “crazy infection to her finger,” and that the sudden change in program caused him no small amount of anxiety. He specifically thanked the backstage staff at the San Francisco Symphony for “calming me down.”\u003c/p>\n\u003cp>Ideally, he calmed the audience, as well, who were expecting something completely different, and who didn’t receive emails regarding the change; this was due to the last-minute timing of the cancellation, according to the symphony. (A symphony representative confirmed that refunds were given to those who requested them.) \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The San Francisco date would have been the two star pianists’ final tour date together after a string of acclaimed performances. Wang’s next scheduled dates are next week, with Gustavo Dudamel conducting the New York Philharmonic. Ólafsson, meanwhile, heads to his home country this week for performances in Reykjavik.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Paul Simon has announced three concerts at San Francisco’s Davies Symphony Hall on July 19, 21 and 22 as part of his “A Quiet Celebration” tour. Tickets go on sale to the general public on Friday, Feb. 21 at 10 a.m. — but fans can score \u003ca href=\"https://www.ticketmaster.com/paul-simon-san-francisco-california-07-19-2025/event/1C006237BB7F373D\">presale tickets\u003c/a> on Wednesday, Feb. 19 at 10 a.m. with the presale code: \u003cstrong>celebration\u003c/strong>.\u003c/p>\n\u003cp>As for those tickets: they’re sure to sell quickly. The 2,743-seat Davies Symphony Hall is a relatively small venue for the beloved folk-rock-world music star. The last time Paul Simon came to the Bay Area, he headlined Outside Lands on the Polo Fields stage, with a capacity of 57,000. \u003c/p>\n\u003cp>On this tour, Simon will put a special focus on his 2023 album \u003cem>Seven Psalms\u003c/em>, which is meant to be listened to as one piece, running 33 minutes. Beyond that, he’ll pull from his deep catalog of classics — “Sounds of Silence,” “America,” “Graceland” and more. \u003c/p>\n\u003cp>Simon, among the many stars in recent years to announce so-called “farewell tours,” will visit San Francisco as part of a five-month, 20-city tour. Over the weekend, he opened the SNL50 TV special with a duet of “\u003ca href=\"https://youtu.be/ScFh0zNE0aE?feature=shared\">Homeward Bound\u003c/a>” with Sabrina Carpenter. \u003c/p>\n\u003cp>As part of a frustrating trend in concert ticketing, ticket prices have not been announced ahead of time. Sound advice, then: Set a price limit for yourself ahead of time, before anxiety and panic during Ticketmaster’s timed checkout process cause you to overpay. \u003c/p>\n\u003chr>\n\u003cp>\u003ci>Tickets for Paul Simon’s A Celebration Tour go on sale to the general public on Friday, Feb. 21, at 10 a.m. Presale tickets go on sale Wednesday, Feb. 19 at 10 a.m. with the presale code: \u003cstrong>celebration\u003c/strong>. \u003ca href=\"https://www.ticketmaster.com/paul-simon-san-francisco-california-07-19-2025/event/1C006237BB7F373D\">Tickets here\u003c/a>.\u003c/i> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Paul Simon has announced three concerts at San Francisco’s Davies Symphony Hall on July 19, 21 and 22 as part of his “A Quiet Celebration” tour. Tickets go on sale to the general public on Friday, Feb. 21 at 10 a.m. — but fans can score \u003ca href=\"https://www.ticketmaster.com/paul-simon-san-francisco-california-07-19-2025/event/1C006237BB7F373D\">presale tickets\u003c/a> on Wednesday, Feb. 19 at 10 a.m. with the presale code: \u003cstrong>celebration\u003c/strong>.\u003c/p>\n\u003cp>As for those tickets: they’re sure to sell quickly. The 2,743-seat Davies Symphony Hall is a relatively small venue for the beloved folk-rock-world music star. The last time Paul Simon came to the Bay Area, he headlined Outside Lands on the Polo Fields stage, with a capacity of 57,000. \u003c/p>\n\u003cp>On this tour, Simon will put a special focus on his 2023 album \u003cem>Seven Psalms\u003c/em>, which is meant to be listened to as one piece, running 33 minutes. Beyond that, he’ll pull from his deep catalog of classics — “Sounds of Silence,” “America,” “Graceland” and more. \u003c/p>\n\u003cp>Simon, among the many stars in recent years to announce so-called “farewell tours,” will visit San Francisco as part of a five-month, 20-city tour. Over the weekend, he opened the SNL50 TV special with a duet of “\u003ca href=\"https://youtu.be/ScFh0zNE0aE?feature=shared\">Homeward Bound\u003c/a>” with Sabrina Carpenter. \u003c/p>\n\u003cp>As part of a frustrating trend in concert ticketing, ticket prices have not been announced ahead of time. Sound advice, then: Set a price limit for yourself ahead of time, before anxiety and panic during Ticketmaster’s timed checkout process cause you to overpay. \u003c/p>\n\u003chr>\n\u003cp>\u003ci>Tickets for Paul Simon’s A Celebration Tour go on sale to the general public on Friday, Feb. 21, at 10 a.m. Presale tickets go on sale Wednesday, Feb. 19 at 10 a.m. with the presale code: \u003cstrong>celebration\u003c/strong>. \u003ca href=\"https://www.ticketmaster.com/paul-simon-san-francisco-california-07-19-2025/event/1C006237BB7F373D\">Tickets here\u003c/a>.\u003c/i> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>One of my favorite moments in John Adams’ 2008 autobiography \u003cem>Hallelujah Junction\u003c/em> comes when Adams, as a teenager on the East Coast, decides to sit next to Duke Ellington on his piano bench — \u003cem>while Ellington is in the middle of a concert\u003c/em>. I love the brashness of this act; it is borne not of rudeness but a pure, unfiltered enthusiasm, with which I am very familiar. Adams studies Ellington’s fingers on the keys, and his subtle communication signals to the rest of the band, getting a close-up of a master at work. \u003c/p>\n\u003cp>During Thursday night’s world premiere with the San Francisco Symphony of Adams’ extraordinary new piano concerto, \u003cem>After the Fall\u003c/em>, I kept returning to that image, of a young Adams soaking up game from an American genius, fascinated with jazz and its possibilities. Adams has unlocked those possibilities time and time again, incorporating syncopation from swing-era dance bands into his works, alongside ingredients from Nancarrow, Webern and others.\u003c/p>\n\u003cp>With \u003cem>After the Fall\u003c/em>, performed Thursday night with David Robertson conducting and Víkingur Ólafsson at the piano, that melding becomes so natural as to almost be imperceptible, fully assimilated into Adams’ singular musical language. It’s a remarkable composition, one which unties all the knots of his previous piano concerto (2020’s beautiful and dense \u003cem>Must the Devil Have All the Good Tunes?\u003c/em>). A recording of it cannot come soon enough. \u003c/p>\n\u003cfigure id=\"attachment_13970487\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0046.jpg\" alt=\"A young man in glasses and black suit sitting at a grand piano, playing\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13970487\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0046.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0046-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0046-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0046-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0046-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0046-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0046-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Icelandic pianist Víkingur Ólafsson performs with the San Francisco Symphony during the world premiere of John Adams’ piano concerto ‘After the Fall’ at Davies Symphony Hall in San Francisco on Jan. 16, 2025. \u003ccite>(Brandon Patoc/San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After opening with cascading notes on harp and celeste reminiscent of Bernard Herrmann’s \u003cem>Vertigo\u003c/em> score, Thursday’s world premiere at Davies Symphony Hall of \u003cem>After the Fall\u003c/em> presented blissful, clustered melodies on the piano, and the type of sharp jabs that Ellington once delivered on his piano from the brass and woodwinds. \u003c/p>\n\u003cp>I’ve never thought of Adams’ music as film soundtrack fodder, but \u003cem>After the Fall\u003c/em> is laden with imagery — fields, flight, turbulence, pursuit, heartbeat. The serene second movement is a slow float through mild gales of wind. To my liking, it could have been even more quiet, and Ólafsson’s touch lighter, leading up to a pivot in which the orchestra thunders in. More pianissimo beforehand would add contrast, instead of the passages Silly-Puttying into each other. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13919101']But oh! That third movement! Jazz soloists \u003ca href=\"https://peterspitzer.blogspot.com/2011/12/charlie-parkers-musical-quotes.html\">“quote” from other standards\u003c/a> as a tradition, but it’s less common in classical music. I swear I heard a bit of the 1940s standard “\u003ca href=\"https://www.youtube.com/watch?v=O_POsNlkeYo\">Undecided\u003c/a>” in the third movement, but then came an interpolation of Bach’s “The Well-Tempered Clavier,” recontextualized in Adams’ landscape, like a skilled DJ blend that makes you ask, “Why hasn’t it been this way all along?”\u003c/p>\n\u003cp>If Ólafsson was having fun in the final minutes, a thrill ride increasing in intensity, his science-teacher demeanor didn’t betray it. But Robertson turned to Ólafsson multiple times with the joy of creation written upon his face. At the end, as a few harp notes faded, Ólafsson recoiled, leaning backward on the piano bench, like he’d just slayed something exquisite. It took three curtain calls, with Adams himself eventually joining, to quell the sustained standing ovation that followed.\u003c/p>\n\u003cfigure id=\"attachment_13970485\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0053.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13970485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0053.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0053-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0053-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0053-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0053-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0053-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0053-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Composer John Adams, onstage with conductor David Robertson (at left) and pianist Víkingur Ólafsson (at right), after the world premiere with the San Francisco Symphony of Adams’ piano concerto ‘After the Fall’ at Davies Symphony Hall on Jan. 16, 2025. \u003ccite>(Brandon Patoc/San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Preceding \u003cem>After the Fall\u003c/em> in Thursday’s program was Charles Ives’ \u003cem>The Unanswered Question\u003c/em>, a piece as delicate as damp tissue paper. This pairing with Adams made sense. What came after the intermission did not. \u003c/p>\n\u003cp>People either love or hate Carl Orff’s \u003cem>Carmina Burana\u003c/em>. I am in the latter camp, but had never before heard it live. It was performed very well, and I now dislike it more. Forever associated with Nazis, to my ear, it’s essentially overpuffed emo poetry set to gaudy, ostentatious music ripped off to profitable effect in Hollywood. Bereft of ambiguity or nuance, it is the orchestral equivalent of a Hawk Tuah podcast episode. Lyrically, its primary message seems to be “sex is cool.” \u003c/p>\n\u003cfigure id=\"attachment_13970488\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0075.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13970488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0075.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0075-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0075-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0075-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0075-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0075-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0075-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Symphony Chorus joins the orchestra, with soloists Will Liverman and Susanna Phillips seated, for a performace of Carl Orff’s ‘Carmina Burana’ at Davies Symphony Hall on Jan. 16, 2025. \u003ccite>(Brandon Patoc/San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With apologies to the \u003ca href=\"https://www.kqed.org/arts/13969387/san-francisco-symphony-chorus-agreement\">symphony chorus\u003c/a> led by Jenny Wong, the wonderful soloists (Will Liverman, Susanna Phillips and Arnold Livingston Geis) and the San Francisco Girls Chorus — and acknowledging the enthusiasm of my fellow concertgoers throughout the hall — it moved me not a bit.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2024-25/carmina-burana\">John Adams’ ‘After the Fall’ and Carl Orff’s ‘Carmina Burana’\u003c/a> repeat on Saturday and Sunday, Jan. 18 and 19, at Davies Symphony Hall in San Francisco. \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2024-25/carmina-burana\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of my favorite moments in John Adams’ 2008 autobiography \u003cem>Hallelujah Junction\u003c/em> comes when Adams, as a teenager on the East Coast, decides to sit next to Duke Ellington on his piano bench — \u003cem>while Ellington is in the middle of a concert\u003c/em>. I love the brashness of this act; it is borne not of rudeness but a pure, unfiltered enthusiasm, with which I am very familiar. Adams studies Ellington’s fingers on the keys, and his subtle communication signals to the rest of the band, getting a close-up of a master at work. \u003c/p>\n\u003cp>During Thursday night’s world premiere with the San Francisco Symphony of Adams’ extraordinary new piano concerto, \u003cem>After the Fall\u003c/em>, I kept returning to that image, of a young Adams soaking up game from an American genius, fascinated with jazz and its possibilities. Adams has unlocked those possibilities time and time again, incorporating syncopation from swing-era dance bands into his works, alongside ingredients from Nancarrow, Webern and others.\u003c/p>\n\u003cp>With \u003cem>After the Fall\u003c/em>, performed Thursday night with David Robertson conducting and Víkingur Ólafsson at the piano, that melding becomes so natural as to almost be imperceptible, fully assimilated into Adams’ singular musical language. It’s a remarkable composition, one which unties all the knots of his previous piano concerto (2020’s beautiful and dense \u003cem>Must the Devil Have All the Good Tunes?\u003c/em>). A recording of it cannot come soon enough. \u003c/p>\n\u003cfigure id=\"attachment_13970487\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0046.jpg\" alt=\"A young man in glasses and black suit sitting at a grand piano, playing\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13970487\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0046.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0046-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0046-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0046-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0046-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0046-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0046-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Icelandic pianist Víkingur Ólafsson performs with the San Francisco Symphony during the world premiere of John Adams’ piano concerto ‘After the Fall’ at Davies Symphony Hall in San Francisco on Jan. 16, 2025. \u003ccite>(Brandon Patoc/San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After opening with cascading notes on harp and celeste reminiscent of Bernard Herrmann’s \u003cem>Vertigo\u003c/em> score, Thursday’s world premiere at Davies Symphony Hall of \u003cem>After the Fall\u003c/em> presented blissful, clustered melodies on the piano, and the type of sharp jabs that Ellington once delivered on his piano from the brass and woodwinds. \u003c/p>\n\u003cp>I’ve never thought of Adams’ music as film soundtrack fodder, but \u003cem>After the Fall\u003c/em> is laden with imagery — fields, flight, turbulence, pursuit, heartbeat. The serene second movement is a slow float through mild gales of wind. To my liking, it could have been even more quiet, and Ólafsson’s touch lighter, leading up to a pivot in which the orchestra thunders in. More pianissimo beforehand would add contrast, instead of the passages Silly-Puttying into each other. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But oh! That third movement! Jazz soloists \u003ca href=\"https://peterspitzer.blogspot.com/2011/12/charlie-parkers-musical-quotes.html\">“quote” from other standards\u003c/a> as a tradition, but it’s less common in classical music. I swear I heard a bit of the 1940s standard “\u003ca href=\"https://www.youtube.com/watch?v=O_POsNlkeYo\">Undecided\u003c/a>” in the third movement, but then came an interpolation of Bach’s “The Well-Tempered Clavier,” recontextualized in Adams’ landscape, like a skilled DJ blend that makes you ask, “Why hasn’t it been this way all along?”\u003c/p>\n\u003cp>If Ólafsson was having fun in the final minutes, a thrill ride increasing in intensity, his science-teacher demeanor didn’t betray it. But Robertson turned to Ólafsson multiple times with the joy of creation written upon his face. At the end, as a few harp notes faded, Ólafsson recoiled, leaning backward on the piano bench, like he’d just slayed something exquisite. It took three curtain calls, with Adams himself eventually joining, to quell the sustained standing ovation that followed.\u003c/p>\n\u003cfigure id=\"attachment_13970485\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0053.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13970485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0053.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0053-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0053-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0053-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0053-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0053-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0053-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Composer John Adams, onstage with conductor David Robertson (at left) and pianist Víkingur Ólafsson (at right), after the world premiere with the San Francisco Symphony of Adams’ piano concerto ‘After the Fall’ at Davies Symphony Hall on Jan. 16, 2025. \u003ccite>(Brandon Patoc/San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Preceding \u003cem>After the Fall\u003c/em> in Thursday’s program was Charles Ives’ \u003cem>The Unanswered Question\u003c/em>, a piece as delicate as damp tissue paper. This pairing with Adams made sense. What came after the intermission did not. \u003c/p>\n\u003cp>People either love or hate Carl Orff’s \u003cem>Carmina Burana\u003c/em>. I am in the latter camp, but had never before heard it live. It was performed very well, and I now dislike it more. Forever associated with Nazis, to my ear, it’s essentially overpuffed emo poetry set to gaudy, ostentatious music ripped off to profitable effect in Hollywood. Bereft of ambiguity or nuance, it is the orchestral equivalent of a Hawk Tuah podcast episode. Lyrically, its primary message seems to be “sex is cool.” \u003c/p>\n\u003cfigure id=\"attachment_13970488\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0075.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13970488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0075.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0075-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0075-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0075-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0075-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0075-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/2425-Concerts-JohnAdamsCarminaBurana-Brandon-Patoc_0075-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Symphony Chorus joins the orchestra, with soloists Will Liverman and Susanna Phillips seated, for a performace of Carl Orff’s ‘Carmina Burana’ at Davies Symphony Hall on Jan. 16, 2025. \u003ccite>(Brandon Patoc/San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With apologies to the \u003ca href=\"https://www.kqed.org/arts/13969387/san-francisco-symphony-chorus-agreement\">symphony chorus\u003c/a> led by Jenny Wong, the wonderful soloists (Will Liverman, Susanna Phillips and Arnold Livingston Geis) and the San Francisco Girls Chorus — and acknowledging the enthusiasm of my fellow concertgoers throughout the hall — it moved me not a bit.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2024-25/carmina-burana\">John Adams’ ‘After the Fall’ and Carl Orff’s ‘Carmina Burana’\u003c/a> repeat on Saturday and Sunday, Jan. 18 and 19, at Davies Symphony Hall in San Francisco. \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2024-25/carmina-burana\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
},
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},
"link": "https://www.cityarts.net",
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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},
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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},
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"source": "kqed",
"order": 9
},
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"meta": {
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},
"link": "/radio/program/freakonomics-radio",
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},
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"id": "fresh-air",
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"hidden-brain": {
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"how-i-built-this": {
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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