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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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"content": "\u003cp>After a widely publicized strike, the American Guild of Musical Artists (AGMA) members of the San Francisco Symphony Chorus have reached a tentative two-year agreement with the board of the San Francisco Symphony.\u003c/p>\n\u003cp>The collective bargaining agreement, applied retroactively to August, would maintain current pay rates for the 32 paid AGMA choristers for the next two years. It would also maintain the total number of professional choristers, as well as a minimum number of rehearsals and performances and funds for meals, parking and other expenses.\u003c/p>\n\u003cp>The negotiations were hasted by a $4 million gift from an anonymous donor. At the donor’s request, the $4 million will be split evenly between operations over the next two years and a special dedicated endowment for the San Francisco Symphony Chorus, from which the Chorus may draw approximately $100,000 each season.\u003c/p>\n\u003cp>[aside postID='arts_13954083']“All of us at the San Francisco Symphony are deeply grateful to the donor for their remarkable generosity and belief in our mission to bring powerful musical experiences to our community,” said Matthew Spivey, the Symphony’s Chief Executive Officer, in a statement.\u003c/p>\n\u003cp>Only 32 of the San Francisco Symphony Chorus’ 152 singers currently receive compensation. The agreement would set a minimum compensation of $22,053 for up to 26 choral performances and 53 rehearsals each season.\u003c/p>\n\u003cfigure id=\"attachment_13965268\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965268\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/img_9595.jpg\" alt=\"\" width=\"2000\" height=\"1392\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/img_9595.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/img_9595-800x557.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/img_9595-1020x710.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/img_9595-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/img_9595-768x535.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/img_9595-1536x1069.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/img_9595-1920x1336.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Members of the San Francisco Symphony chorus and orchestra picket outside Davis Symphony Hall on Sept. 19, 2024. The Symphony canceled three performances of Verdi’s ‘Requiem’ on just two hours’ notice Thursday after the Chorus went on strike. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The agreement comes at the end of a tumultuous year for the Symphony. In March, shortly after Music Director \u003ca href=\"https://www.kqed.org/arts/13954083/esa-pekka-salonen-steps-down-sf-symphony\">Esa-Pekka Salonen announced his departure\u003c/a> from the organization, the Symphony outlined its troubling financial outlook in a \u003ca href=\"https://www.sfsymphony.org/SanFrancisco/media/SanFrancisco/Press%20Room/Statement-on-San-Francisco-Symphony-organizational-context.pdf\">four-page document\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The chorus singers’ union contract expired on July 31. At one point in negotiations, San Francisco Symphony management had proposed to cut their compensation by 65%, and to reduce choral programs by nearly half, from 8-11 per year to just five per year.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In September, the Symphony canceled its season opener of Giuseppe Verdi’s \u003cem>Requiem\u003c/em> just two hours before opening night after union members of the Symphony Chorus announced a last-minute strike. At the time, union representatives they were still dissatisfied with management’s proposal of a 10% pay cut for the 2025-26 season, and chorus members marched outside Davies Symphony Hall. Choristers and supporters also handed out flyers outside concerts for weeks afterward to raise awareness of their position.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After a widely publicized strike, the American Guild of Musical Artists (AGMA) members of the San Francisco Symphony Chorus have reached a tentative two-year agreement with the board of the San Francisco Symphony.\u003c/p>\n\u003cp>The collective bargaining agreement, applied retroactively to August, would maintain current pay rates for the 32 paid AGMA choristers for the next two years. It would also maintain the total number of professional choristers, as well as a minimum number of rehearsals and performances and funds for meals, parking and other expenses.\u003c/p>\n\u003cp>The negotiations were hasted by a $4 million gift from an anonymous donor. At the donor’s request, the $4 million will be split evenly between operations over the next two years and a special dedicated endowment for the San Francisco Symphony Chorus, from which the Chorus may draw approximately $100,000 each season.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“All of us at the San Francisco Symphony are deeply grateful to the donor for their remarkable generosity and belief in our mission to bring powerful musical experiences to our community,” said Matthew Spivey, the Symphony’s Chief Executive Officer, in a statement.\u003c/p>\n\u003cp>Only 32 of the San Francisco Symphony Chorus’ 152 singers currently receive compensation. The agreement would set a minimum compensation of $22,053 for up to 26 choral performances and 53 rehearsals each season.\u003c/p>\n\u003cfigure id=\"attachment_13965268\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965268\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/img_9595.jpg\" alt=\"\" width=\"2000\" height=\"1392\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/img_9595.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/img_9595-800x557.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/img_9595-1020x710.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/img_9595-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/img_9595-768x535.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/img_9595-1536x1069.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/img_9595-1920x1336.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Members of the San Francisco Symphony chorus and orchestra picket outside Davis Symphony Hall on Sept. 19, 2024. The Symphony canceled three performances of Verdi’s ‘Requiem’ on just two hours’ notice Thursday after the Chorus went on strike. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The agreement comes at the end of a tumultuous year for the Symphony. In March, shortly after Music Director \u003ca href=\"https://www.kqed.org/arts/13954083/esa-pekka-salonen-steps-down-sf-symphony\">Esa-Pekka Salonen announced his departure\u003c/a> from the organization, the Symphony outlined its troubling financial outlook in a \u003ca href=\"https://www.sfsymphony.org/SanFrancisco/media/SanFrancisco/Press%20Room/Statement-on-San-Francisco-Symphony-organizational-context.pdf\">four-page document\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The chorus singers’ union contract expired on July 31. At one point in negotiations, San Francisco Symphony management had proposed to cut their compensation by 65%, and to reduce choral programs by nearly half, from 8-11 per year to just five per year.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In September, the Symphony canceled its season opener of Giuseppe Verdi’s \u003cem>Requiem\u003c/em> just two hours before opening night after union members of the Symphony Chorus announced a last-minute strike. At the time, union representatives they were still dissatisfied with management’s proposal of a 10% pay cut for the 2025-26 season, and chorus members marched outside Davies Symphony Hall. Choristers and supporters also handed out flyers outside concerts for weeks afterward to raise awareness of their position.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13963809\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/img_4151_720.jpg\" alt=\"\" width=\"720\" height=\"540\" class=\"size-full wp-image-13963809\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/img_4151_720.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/img_4151_720-160x120.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Davies Symphony Hall on Thursday night, just before Joe Hisaishi conducted ‘Music from the Studio Ghibli Films of Hayao Miyazaki.’ \u003ccite>(Liz Seward)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So it’s 2017, right, and I’m in a Tokyo park trying to entertain a group of small schoolchildren. They’d gathered around to stare at my tattoos (which are \u003ca href=\"https://inkcredibletattoovb.com/japans-complicated-past-with-tattoos/\">rare in Japan\u003c/a>), and, in a moment of not knowing what to do, I decided to seek common ground through music.\u003c/p>\n\u003cp>I sung Katy Perry. No reaction. I sung Taylor Swift. Some giggles, but mostly blank stares.\u003c/p>\n\u003cp>Then it hit me: I’m in Japan! So I started singing the theme to \u003cem>My Neighbor Totoro\u003c/em>, and instantly, \u003ca href=\"https://www.instagram.com/p/BSL1dUQDnVU/\">a dozen young Japanese children in matching yellow caps\u003c/a> burst into song with me, laughing and singing as we shared an odd, beautiful moment of human connection.\u003c/p>\n\u003cp>Multiply that by about 100 million, and you start to understand the global impact of the wonderful music of Joe Hisaishi.\u003c/p>\n\u003cfigure id=\"attachment_13963811\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/main-press-photo-Joe-Hisaishi-191001-659-Final-By-Omar-Cruz.jpg\" alt=\"\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13963811\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/main-press-photo-Joe-Hisaishi-191001-659-Final-By-Omar-Cruz.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/main-press-photo-Joe-Hisaishi-191001-659-Final-By-Omar-Cruz-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/main-press-photo-Joe-Hisaishi-191001-659-Final-By-Omar-Cruz-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/main-press-photo-Joe-Hisaishi-191001-659-Final-By-Omar-Cruz-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/main-press-photo-Joe-Hisaishi-191001-659-Final-By-Omar-Cruz-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/main-press-photo-Joe-Hisaishi-191001-659-Final-By-Omar-Cruz-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Joe Hisaishi. \u003ccite>(Omar Cruz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Which is why it was no surprise when tickets for Hisaishi’s three concerts this week with the San Francisco Symphony sold out quickly. As a longtime collaborator of Studio Ghibli director Hayao Miyazaki, Hisaishi has composed scores for such timeless films as \u003cem>Spirited Away\u003c/em>, \u003cem>Castle in the Sky\u003c/em> and \u003cem>Princess Mononoke\u003c/em>. With the continued rise of Studio Ghibli’s profile in the United States, and the rare opportunity to see Hisaishi conduct his own music live at the podium, the auditorium was packed.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It should be said: This was the most diverse crowd I’ve ever seen at Davies Symphony Hall. Multiracial, yes — Asian, Latino, white, Indian, Black, Filipino — and dressed in athleisure and formal gowns alike, plus a kimono or two. At one point a burly mustache guy in a denim jacket over a Princess Mononoke T-shirt walked past me, followed by a shy young girl in sparkly Mary Janes and a pink tutu. (Shout out, also, to the two young men decked out as \u003ca href=\"https://soranews24.com/wp-content/uploads/sites/3/2014/09/b-1.jpg?w=640\">Kiki and Tombo\u003c/a>.)\u003c/p>\n\u003cp>[aside postID='arts_13934544']Which is to say that Hisaishi’s music has touched a very wide swath of people, evident in the huge applause that greeted his entrance Thursday night. Performing double duty on the podium and piano, he led the orchestra in themes from his first-ever Miyazaki film, \u003cem>Nausicaä of the Valley of the Wind\u003c/em>, while a montage from the movie appeared on a large screen above. So it went across 10 different films, as the orchestra and San Francisco Symphony chorus brought Hisaishi’s enduring melodies to new life.\u003c/p>\n\u003cp>Hisaishi is sometimes compared to Hollywood composer John Williams, and Miyazaki to Walt Disney, but neither comparison is really accurate. Just days before, I’d rewatched \u003cem>Spirited Away\u003c/em> at the New Parkway Theater in Oakland, and was reminded of the counterbalancing effect of Hisaishi’s scores. During the film’s many scenes of tumult or fear, the music conveys calm beauty; an aural reassurance that amid life’s challenges, somehow, we persevere.\u003c/p>\n\u003cfigure id=\"attachment_13963819\" class=\"wp-caption aligncenter\" style=\"max-width: 2485px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService.jpg\" alt=\"\" width=\"2485\" height=\"1495\" class=\"size-full wp-image-13963819\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService.jpg 2485w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-800x481.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-1020x614.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-768x462.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-1536x924.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-2048x1232.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-1920x1155.jpg 1920w\" sizes=\"(max-width: 2485px) 100vw, 2485px\">\u003cfigcaption class=\"wp-caption-text\">Composer Joe Hisaishi conducted ‘Music from the Studio Ghibli Films of Hayao Miyazaki’ at Davies Symphony Hall on Thursday night, including music from ‘Kiki’s Delivery Service,’ above. \u003ccite>(Studio Ghibli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Vocalist Mai Fujisawa conjured that feeling during her performance of “One Summer’s Day,” from \u003cem>Spirited Away\u003c/em>. (She also inspired the only three words Hisaishi spoke from the stage: “She’s my daughter.”) Meanwhile, vocalist Janet Todd’s \u003cem>Princess Mononoke\u003c/em> theme soared gorgeously, offset by the film’s thundering “The Demon God,” essentially the soundtrack to walking through a brick wall. With the Symphony chorus, \u003cem>Ponyo\u003c/em> was jaunty as ever.\u003c/p>\n\u003cp>Somehow it was \u003cem>Kiki’s Delivery Service\u003c/em> that hit me the hardest, with its lilting theme, “A Town With an Ocean View.” The screen showed a familiar scene from the film: a young girl flying with her cat and a broom over her hometown, fully free, the way we all should be, except instead we’re tethered to the ground, to our jobs and our phones. (I was torn out of this reverie by a person in front of me playing with ChatGPT prompts for several minutes on her bright phone screen. Welcome to San Francisco.)\u003c/p>\n\u003cp>[aside postID='arts_13955606']On the whole, the crowd remained incredibly polite, even during the rapturous “Hey Let’s Go” from the concert’s inevitable closer, \u003cem>My Neighbor Totoro\u003c/em>. Several minutes of a standing ovation brought Hisaishi out for an encore of \u003cem>Porco Rosso\u003c/em>‘s “Madness.” More ovations brought him out for another encore, of \u003cem>Princess Mononoke\u003c/em>‘s “Ashitaka and San.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I lost track of how many curtain calls followed. All I know is Hisaishi was showered with love from a small cross-section of his many admirers, just like those schoolkids in Tokyo, who’ve been touched by his music — and were fortunate enough to thank him for it in person.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13963809\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/img_4151_720.jpg\" alt=\"\" width=\"720\" height=\"540\" class=\"size-full wp-image-13963809\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/img_4151_720.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/img_4151_720-160x120.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Davies Symphony Hall on Thursday night, just before Joe Hisaishi conducted ‘Music from the Studio Ghibli Films of Hayao Miyazaki.’ \u003ccite>(Liz Seward)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So it’s 2017, right, and I’m in a Tokyo park trying to entertain a group of small schoolchildren. They’d gathered around to stare at my tattoos (which are \u003ca href=\"https://inkcredibletattoovb.com/japans-complicated-past-with-tattoos/\">rare in Japan\u003c/a>), and, in a moment of not knowing what to do, I decided to seek common ground through music.\u003c/p>\n\u003cp>I sung Katy Perry. No reaction. I sung Taylor Swift. Some giggles, but mostly blank stares.\u003c/p>\n\u003cp>Then it hit me: I’m in Japan! So I started singing the theme to \u003cem>My Neighbor Totoro\u003c/em>, and instantly, \u003ca href=\"https://www.instagram.com/p/BSL1dUQDnVU/\">a dozen young Japanese children in matching yellow caps\u003c/a> burst into song with me, laughing and singing as we shared an odd, beautiful moment of human connection.\u003c/p>\n\u003cp>Multiply that by about 100 million, and you start to understand the global impact of the wonderful music of Joe Hisaishi.\u003c/p>\n\u003cfigure id=\"attachment_13963811\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/main-press-photo-Joe-Hisaishi-191001-659-Final-By-Omar-Cruz.jpg\" alt=\"\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13963811\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/main-press-photo-Joe-Hisaishi-191001-659-Final-By-Omar-Cruz.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/main-press-photo-Joe-Hisaishi-191001-659-Final-By-Omar-Cruz-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/main-press-photo-Joe-Hisaishi-191001-659-Final-By-Omar-Cruz-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/main-press-photo-Joe-Hisaishi-191001-659-Final-By-Omar-Cruz-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/main-press-photo-Joe-Hisaishi-191001-659-Final-By-Omar-Cruz-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/main-press-photo-Joe-Hisaishi-191001-659-Final-By-Omar-Cruz-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Joe Hisaishi. \u003ccite>(Omar Cruz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Which is why it was no surprise when tickets for Hisaishi’s three concerts this week with the San Francisco Symphony sold out quickly. As a longtime collaborator of Studio Ghibli director Hayao Miyazaki, Hisaishi has composed scores for such timeless films as \u003cem>Spirited Away\u003c/em>, \u003cem>Castle in the Sky\u003c/em> and \u003cem>Princess Mononoke\u003c/em>. With the continued rise of Studio Ghibli’s profile in the United States, and the rare opportunity to see Hisaishi conduct his own music live at the podium, the auditorium was packed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It should be said: This was the most diverse crowd I’ve ever seen at Davies Symphony Hall. Multiracial, yes — Asian, Latino, white, Indian, Black, Filipino — and dressed in athleisure and formal gowns alike, plus a kimono or two. At one point a burly mustache guy in a denim jacket over a Princess Mononoke T-shirt walked past me, followed by a shy young girl in sparkly Mary Janes and a pink tutu. (Shout out, also, to the two young men decked out as \u003ca href=\"https://soranews24.com/wp-content/uploads/sites/3/2014/09/b-1.jpg?w=640\">Kiki and Tombo\u003c/a>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Which is to say that Hisaishi’s music has touched a very wide swath of people, evident in the huge applause that greeted his entrance Thursday night. Performing double duty on the podium and piano, he led the orchestra in themes from his first-ever Miyazaki film, \u003cem>Nausicaä of the Valley of the Wind\u003c/em>, while a montage from the movie appeared on a large screen above. So it went across 10 different films, as the orchestra and San Francisco Symphony chorus brought Hisaishi’s enduring melodies to new life.\u003c/p>\n\u003cp>Hisaishi is sometimes compared to Hollywood composer John Williams, and Miyazaki to Walt Disney, but neither comparison is really accurate. Just days before, I’d rewatched \u003cem>Spirited Away\u003c/em> at the New Parkway Theater in Oakland, and was reminded of the counterbalancing effect of Hisaishi’s scores. During the film’s many scenes of tumult or fear, the music conveys calm beauty; an aural reassurance that amid life’s challenges, somehow, we persevere.\u003c/p>\n\u003cfigure id=\"attachment_13963819\" class=\"wp-caption aligncenter\" style=\"max-width: 2485px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService.jpg\" alt=\"\" width=\"2485\" height=\"1495\" class=\"size-full wp-image-13963819\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService.jpg 2485w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-800x481.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-1020x614.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-768x462.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-1536x924.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-2048x1232.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KikisDeliveryService-1920x1155.jpg 1920w\" sizes=\"(max-width: 2485px) 100vw, 2485px\">\u003cfigcaption class=\"wp-caption-text\">Composer Joe Hisaishi conducted ‘Music from the Studio Ghibli Films of Hayao Miyazaki’ at Davies Symphony Hall on Thursday night, including music from ‘Kiki’s Delivery Service,’ above. \u003ccite>(Studio Ghibli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Vocalist Mai Fujisawa conjured that feeling during her performance of “One Summer’s Day,” from \u003cem>Spirited Away\u003c/em>. (She also inspired the only three words Hisaishi spoke from the stage: “She’s my daughter.”) Meanwhile, vocalist Janet Todd’s \u003cem>Princess Mononoke\u003c/em> theme soared gorgeously, offset by the film’s thundering “The Demon God,” essentially the soundtrack to walking through a brick wall. With the Symphony chorus, \u003cem>Ponyo\u003c/em> was jaunty as ever.\u003c/p>\n\u003cp>Somehow it was \u003cem>Kiki’s Delivery Service\u003c/em> that hit me the hardest, with its lilting theme, “A Town With an Ocean View.” The screen showed a familiar scene from the film: a young girl flying with her cat and a broom over her hometown, fully free, the way we all should be, except instead we’re tethered to the ground, to our jobs and our phones. (I was torn out of this reverie by a person in front of me playing with ChatGPT prompts for several minutes on her bright phone screen. Welcome to San Francisco.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>On the whole, the crowd remained incredibly polite, even during the rapturous “Hey Let’s Go” from the concert’s inevitable closer, \u003cem>My Neighbor Totoro\u003c/em>. Several minutes of a standing ovation brought Hisaishi out for an encore of \u003cem>Porco Rosso\u003c/em>‘s “Madness.” More ovations brought him out for another encore, of \u003cem>Princess Mononoke\u003c/em>‘s “Ashitaka and San.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I lost track of how many curtain calls followed. All I know is Hisaishi was showered with love from a small cross-section of his many admirers, just like those schoolkids in Tokyo, who’ve been touched by his music — and were fortunate enough to thank him for it in person.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Esa-Pekka Salonen to Step Down as SF Symphony Music Director in 2025",
"headTitle": "Esa-Pekka Salonen to Step Down as SF Symphony Music Director in 2025 | KQED",
"content": "\u003cfigure id=\"attachment_13954086\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557.jpg\" alt=\"A middle-aged white man in black clothing stands against a black background, hands clasped at front.\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13954086\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen, Music Director of the San Francisco Symphony. \u003ccite>(Cody Pickens)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Esa-Pekka Salonen will step down as the San Francisco Symphony’s music director in June of 2025, at the end of his five-year contract, the symphony announced today.\u003c/p>\n\u003cp>Salonen, a major figure in the classical music world, surprised many when he joined the symphony in 2020. After 17 years as Music Director of the Los Angeles Philharmonic, he had repeatedly said he was uninterested in leading another major orchestra.\u003c/p>\n\u003cp>But Salonen’s creative vision and tech-friendly approach made a fit for San Francisco, where he presented innovative programs at Davies Symphony Hall and assembled an eight-member “brain trust” of younger artists to steer the orchestra into the future.\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.sfchronicle.com/entertainment/article/esa-pekka-salonen-sf-symphony-18941145.php\">statement\u003c/a> to KQED, Salonen explained that he was leaving the symphony because “I do not share the same goals for the future of the institution as the Board of Governors,” without elaborating.\u003c/p>\n\u003cp>“I am sincerely looking forward to the many exciting programs we have planned for my final season as Music Director,” Salonen continued, “and am proud to continue working with the world-class musicians of the San Francisco Symphony.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The symphony has not yet named a replacement. \u003c/p>\n\u003cfigure id=\"attachment_13846588\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV.jpg\" alt=\"Esa-Pekka Salonen accepts his appointment as new Music Director of the San Francisco Symphony at a welcome party, Dec. 5, 2018.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13846588\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen accepts his appointment as new Music Director of the San Francisco Symphony at a welcome party, Dec. 5, 2018. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a statement, San Francisco Symphony CEO Matthew Spivey praised Salonen’s creative vision and hard work to address the challenges of the pandemic in the fall of 2020, when his tenure began. \u003c/p>\n\u003cp>“Over his time as Music Director, Esa-Pekka has brought with him a palpable spirit of collaboration and adventure to the San Francisco Symphony that has inspired our musicians, staff, board, and audiences to think more expansively about the possibilities of the orchestral experience,” Spivey said.\u003c/p>\n\u003cp>[aside postID='arts_13953312']Salonen, who was part of a 2014 iPad campaign for Apple, notably engaged with the tech sector following his appointment; a \u003cem>New York Times\u003c/em> headline called him a “disrupter” in the classical world. An \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2023-24/SoundBox-CAROL-REILEY\">upcoming SoundBox program\u003c/a> at the symphony in April curated by Carol Reiley, a roboticist and member of Salonen’s creative partner team, will feature music made with the help of robots and AI.\u003c/p>\n\u003cp>Earlier this month, Salonen conducted Scriabin’s \u003cem>Prometheus, The Poem of Fire\u003c/em> \u003ca href=\"https://www.kqed.org/arts/13953312/scriabin-prometheus-san-francisco-symphony-review\">augmented by colorful lights, smoke cannons and piped-in scents\u003c/a>. \u003c/p>\n\u003cfigure id=\"attachment_13953338\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13953338\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen conducts the orchestra with pianist Jean-Yves Thibaudet as the San Francisco Symphony performs Alexander Scriabin’s ‘Prometheus, The Poem of Fire’ at Davies Symphony Hall on March 1, 2024. \u003ccite>(Brandon Patoc)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And yet Salonen has kept one foot in classical music’s traditions. In his final concert as Music Director next June, he will conduct Gustav Mahler, a favorite composer of Salonen’s predecessor Michael Tilson-Thomas and of Thomas’ mentor Leonard Bernstein.\u003c/p>\n\u003cp>“Esa-Pekka’s time as Music Director has been artistically rewarding and exciting for our whole organization, and though this moment is bittersweet, I’m looking forward to experiencing his creativity and artistry through his final programs in this role during the 2024–25 season,” said San Francisco Symphony Board Chair Priscilla Geeslin in a statement.\u003c/p>\n\u003cp>The news of Salonen’s exit, made public Thursday, coincided with \u003ca href=\"https://www.kqed.org/arts/13954039/studio-ghibli-music-joe-hisaishi-san-francisco-symphony\">the symphony’s 2024–25 season announcement\u003c/a>. In his final season, Salonen will conduct 12 programs, starting with Verdi’s Requiem in September. He will also conduct several world premieres, by Gabriella Smith, Nico Muhly and Xavier Muzik, as well as his own cello concerto.\u003c/p>\n\u003cp>The season includes six commissions, five world premieres, 14 works by living composers and 14 artist debuts, along with classic repertoire from Beethoven, Brahms, Debussy, Sibelius and Strauss.\u003c/p>\n\u003cfigure id=\"attachment_13849049\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1.jpg\" alt=\"Esa-Pekka Salonen conducts the San Francisco Symphony on Jan. 18.\" width=\"2048\" height=\"1366\" class=\"size-full wp-image-13849049\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1-1920x1281.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen leading the San Francisco Symphony on Jan. 18, 2019. \u003ccite>(Brandon Patoc/San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Salonen’s tenure in San Francisco has been marked, perhaps more than anything else, by a sense of wonder. At a party announcing his appointment in 2018, he addressed the crowd about the task of leading an orchestra. \u003c/p>\n\u003cp>“I’ve been doing this for a long time, and I still don’t understand how it works,” he said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Salonen is expected to continue collaborating with the symphony as a guest conductor after his tenure ends. His final season as music director commences in September, and concludes with a program of Mahler’s Symphony No. 2 on June 12–14, 2025.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13954086\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557.jpg\" alt=\"A middle-aged white man in black clothing stands against a black background, hands clasped at front.\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13954086\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen, Music Director of the San Francisco Symphony. \u003ccite>(Cody Pickens)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Esa-Pekka Salonen will step down as the San Francisco Symphony’s music director in June of 2025, at the end of his five-year contract, the symphony announced today.\u003c/p>\n\u003cp>Salonen, a major figure in the classical music world, surprised many when he joined the symphony in 2020. After 17 years as Music Director of the Los Angeles Philharmonic, he had repeatedly said he was uninterested in leading another major orchestra.\u003c/p>\n\u003cp>But Salonen’s creative vision and tech-friendly approach made a fit for San Francisco, where he presented innovative programs at Davies Symphony Hall and assembled an eight-member “brain trust” of younger artists to steer the orchestra into the future.\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.sfchronicle.com/entertainment/article/esa-pekka-salonen-sf-symphony-18941145.php\">statement\u003c/a> to KQED, Salonen explained that he was leaving the symphony because “I do not share the same goals for the future of the institution as the Board of Governors,” without elaborating.\u003c/p>\n\u003cp>“I am sincerely looking forward to the many exciting programs we have planned for my final season as Music Director,” Salonen continued, “and am proud to continue working with the world-class musicians of the San Francisco Symphony.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The symphony has not yet named a replacement. \u003c/p>\n\u003cfigure id=\"attachment_13846588\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV.jpg\" alt=\"Esa-Pekka Salonen accepts his appointment as new Music Director of the San Francisco Symphony at a welcome party, Dec. 5, 2018.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13846588\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen accepts his appointment as new Music Director of the San Francisco Symphony at a welcome party, Dec. 5, 2018. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a statement, San Francisco Symphony CEO Matthew Spivey praised Salonen’s creative vision and hard work to address the challenges of the pandemic in the fall of 2020, when his tenure began. \u003c/p>\n\u003cp>“Over his time as Music Director, Esa-Pekka has brought with him a palpable spirit of collaboration and adventure to the San Francisco Symphony that has inspired our musicians, staff, board, and audiences to think more expansively about the possibilities of the orchestral experience,” Spivey said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Salonen, who was part of a 2014 iPad campaign for Apple, notably engaged with the tech sector following his appointment; a \u003cem>New York Times\u003c/em> headline called him a “disrupter” in the classical world. An \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2023-24/SoundBox-CAROL-REILEY\">upcoming SoundBox program\u003c/a> at the symphony in April curated by Carol Reiley, a roboticist and member of Salonen’s creative partner team, will feature music made with the help of robots and AI.\u003c/p>\n\u003cp>Earlier this month, Salonen conducted Scriabin’s \u003cem>Prometheus, The Poem of Fire\u003c/em> \u003ca href=\"https://www.kqed.org/arts/13953312/scriabin-prometheus-san-francisco-symphony-review\">augmented by colorful lights, smoke cannons and piped-in scents\u003c/a>. \u003c/p>\n\u003cfigure id=\"attachment_13953338\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13953338\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen conducts the orchestra with pianist Jean-Yves Thibaudet as the San Francisco Symphony performs Alexander Scriabin’s ‘Prometheus, The Poem of Fire’ at Davies Symphony Hall on March 1, 2024. \u003ccite>(Brandon Patoc)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And yet Salonen has kept one foot in classical music’s traditions. In his final concert as Music Director next June, he will conduct Gustav Mahler, a favorite composer of Salonen’s predecessor Michael Tilson-Thomas and of Thomas’ mentor Leonard Bernstein.\u003c/p>\n\u003cp>“Esa-Pekka’s time as Music Director has been artistically rewarding and exciting for our whole organization, and though this moment is bittersweet, I’m looking forward to experiencing his creativity and artistry through his final programs in this role during the 2024–25 season,” said San Francisco Symphony Board Chair Priscilla Geeslin in a statement.\u003c/p>\n\u003cp>The news of Salonen’s exit, made public Thursday, coincided with \u003ca href=\"https://www.kqed.org/arts/13954039/studio-ghibli-music-joe-hisaishi-san-francisco-symphony\">the symphony’s 2024–25 season announcement\u003c/a>. In his final season, Salonen will conduct 12 programs, starting with Verdi’s Requiem in September. He will also conduct several world premieres, by Gabriella Smith, Nico Muhly and Xavier Muzik, as well as his own cello concerto.\u003c/p>\n\u003cp>The season includes six commissions, five world premieres, 14 works by living composers and 14 artist debuts, along with classic repertoire from Beethoven, Brahms, Debussy, Sibelius and Strauss.\u003c/p>\n\u003cfigure id=\"attachment_13849049\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1.jpg\" alt=\"Esa-Pekka Salonen conducts the San Francisco Symphony on Jan. 18.\" width=\"2048\" height=\"1366\" class=\"size-full wp-image-13849049\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1-1920x1281.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen leading the San Francisco Symphony on Jan. 18, 2019. \u003ccite>(Brandon Patoc/San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Salonen’s tenure in San Francisco has been marked, perhaps more than anything else, by a sense of wonder. At a party announcing his appointment in 2018, he addressed the crowd about the task of leading an orchestra. \u003c/p>\n\u003cp>“I’ve been doing this for a long time, and I still don’t understand how it works,” he said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Salonen is expected to continue collaborating with the symphony as a guest conductor after his tenure ends. His final season as music director commences in September, and concludes with a program of Mahler’s Symphony No. 2 on June 12–14, 2025.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Smelling Music? A Multisensory ‘Prometheus’ Delights at the SF Symphony",
"headTitle": "Smelling Music? A Multisensory ‘Prometheus’ Delights at the SF Symphony | KQED",
"content": "\u003cp>So here’s the challenge: How does one present a 114-year-old piece of music by a composer said to be afflicted with \u003ca href=\"https://www.psychologytoday.com/us/basics/synesthesia\">synesthesia\u003c/a> who, in the score, calls for a “\u003ca href=\"https://en.wikipedia.org/wiki/Clavier_%C3%A0_lumi%C3%A8res\">color organ\u003c/a>” — an instrument that does not exist?\u003c/p>\n\u003cp>Furthermore, how does one interpret this composer’s mysticism and artistic philosophy of merging the senses? How does one weave together so many intangibles and unknowns in a way that says, “Yes, yes, this is the way he would want it performed” — even though it involves significant labor and cost, and, oh right, only lasts 20 minutes?\u003c/p>\n\u003cp>[aside postID='arts_13951043']That’s the challenge Esa-Pekka Salonen and the San Francisco Symphony faced when deciding to undertake Alexander Scriabin’s \u003cem>Prometheus, The Poem of Fire\u003c/em>, a piece rarely performed due to risks both aesthetic and logistic. (It’s not exactly an easy commercial sell, either.)\u003c/p>\n\u003cp>And yet on Sunday, with colorful light splashed around the inside of Davies Symphony Hall, and special scents piped throughout the audience, \u003cem>Prometheus\u003c/em> was a dazzling success.\u003c/p>\n\u003cfigure id=\"attachment_13953338\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953338\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen conducts the orchestra with pianist Jean-Yves Thibaudet as the San Francisco Symphony performs Alexander Scriabin’s ‘Prometheus, The Poem of Fire’ at Davies Symphony Hall on March 1, 2024. \u003ccite>(Brandon Patoc)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before the orchestra played a single note, Davies resembled elements from the film \u003cem>2001\u003c/em>; bathed in red light, the sound baffling conjured \u003ca href=\"https://www.kqed.org/pop/102906/50-years-later-2001-a-space-odyssey-is-still-a-cinematic-landmark\">David Bowman’s spherical helmet\u003c/a>, and the grid of square holes in the stage wall recalled \u003ca href=\"https://www.kinolab.org/FilmClip.php?id=790\">HAL’s central circuit boards\u003c/a>. A giant circular lighting rig hovered over the stage. Around the side terraces and floor were situated 12 \u003ca href=\"https://www.nytimes.com/2024/02/23/arts/music/scriabin-prometheus-san-francisco-perfume-cartier.html\">wooden contraptions looking like space pods\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And then? The piece started in complete darkness. A faint spotlight appeared on conductor Esa-Pekka Salonen, then vertical lights down the orchestra floor turned indigo. Overhead, the circle glowed green, illuminating pianist Jean-Yves Thibaudet.\u003c/p>\n\u003cp>Three minutes in, I could smell the aroma developed by Mathilde Laurent from Cartier. I’d figured it’d resemble women’s perfume, but no — this was a complex, earthy scent. The lights changed colors corresponding to the music. A dextrous solo passage by Thibaudet was bathed in deep purple, and during one loud portion, what I thought was someone opening the concert hall’s doors to the bright afternoon sun turned out to be the side lighting burning bright white.\u003c/p>\n\u003cp>The scent got stronger — I thought of fern, madrone and damp bay leaves — and the music more swirling and intense. Swelling brass played against full-fingered piano runs as Scriabin’s score approached the moment, in the Greek myth of Prometheus (and, coincidentally, the beginning of \u003cem>2001\u003c/em>), when humankind is gifted with the power of harnessing fire.\u003c/p>\n\u003cfigure id=\"attachment_13953336\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953336\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0021.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0021.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0021-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Symphony performs Alexander Scriabin’s ‘Prometheus, The Poem of Fire’ at Davies Symphony Hall, outfitted with special lighting and smoke cannons, on March 1, 2024. \u003ccite>(Brandon Patoc)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That arrived at the 13-minute mark, when the round doors of the space pods slowly opened, emanating wisps of mist. As the orchestra crescendoed to a climax, \u003cem>boom!\u003c/em> — the space pod cannons launched smoke rings across the hall, zig-zagging over the audience in vibrant red and yellow light. The scent suddenly changed, lighter and less musky, to what seemed like citrus and lychee. I may or may not have whispered, “Oh my God.”\u003c/p>\n\u003cp>Did I say that was the climax? Alas, the joke was on me, because a 77-piece choir started filing into the center terrace to sing thunderously as the music intensified and the scent changed yet again, this time to a sweet herbal note reminiscent of Fernet Branca being poured in a houseplant boutique.\u003c/p>\n\u003cp>What followed in the final six minutes was pure wonderment at the scope of it all, and the capacity of humans to undertake such a vigorous challenge. At the gigantic fortississimo ending, Davies shimmered with red and yellow until a full blackout after the final thrilling chord.\u003c/p>\n\u003cfigure id=\"attachment_13953335\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953335\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0035.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0035.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0035-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0035-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0035-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0035-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0035-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A curtain call for the San Francisco Symphony performance of Alexander Scriabin’s ‘Prometheus, The Poem of Fire’ at Davies Symphony Hall on March 1, 2024. Left to right: Music Director Esa-Pekka Salonen, Chorus Director Jenny Wong, lighting designer Luke Kritzeck, pianist Jean-Yves Thibaudet and Cartier’s in-house perfumer Mathilde Laurent. \u003ccite>(Brandon Patoc)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the intermission, Béla Bartók’s \u003cem>Duke Bluebeard’s Castle\u003c/em> felt a bit like Carly Rae Jepsen having to follow Beyoncé. Gerald Finley and Michelle DeYoung were in fine form singing the tale of a doomed wife exploring a blood-stained castle, and the special lighting was used intermittently. But it was no match for the first half.\u003c/p>\n\u003cp>Scriabin is a composer with a diehard fanbase. During a 2015 performance of Scriabin’s piano sonatas at SFJAZZ by Garrick Ohlsson, some audience members had sheet music in their laps to follow along. Their passion comes from those moments when his singular, strange vision of music is beautifully realized.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It doesn’t happen often. Leave it up to San Francisco to pull it off.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>So here’s the challenge: How does one present a 114-year-old piece of music by a composer said to be afflicted with \u003ca href=\"https://www.psychologytoday.com/us/basics/synesthesia\">synesthesia\u003c/a> who, in the score, calls for a “\u003ca href=\"https://en.wikipedia.org/wiki/Clavier_%C3%A0_lumi%C3%A8res\">color organ\u003c/a>” — an instrument that does not exist?\u003c/p>\n\u003cp>Furthermore, how does one interpret this composer’s mysticism and artistic philosophy of merging the senses? How does one weave together so many intangibles and unknowns in a way that says, “Yes, yes, this is the way he would want it performed” — even though it involves significant labor and cost, and, oh right, only lasts 20 minutes?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That’s the challenge Esa-Pekka Salonen and the San Francisco Symphony faced when deciding to undertake Alexander Scriabin’s \u003cem>Prometheus, The Poem of Fire\u003c/em>, a piece rarely performed due to risks both aesthetic and logistic. (It’s not exactly an easy commercial sell, either.)\u003c/p>\n\u003cp>And yet on Sunday, with colorful light splashed around the inside of Davies Symphony Hall, and special scents piped throughout the audience, \u003cem>Prometheus\u003c/em> was a dazzling success.\u003c/p>\n\u003cfigure id=\"attachment_13953338\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953338\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen conducts the orchestra with pianist Jean-Yves Thibaudet as the San Francisco Symphony performs Alexander Scriabin’s ‘Prometheus, The Poem of Fire’ at Davies Symphony Hall on March 1, 2024. \u003ccite>(Brandon Patoc)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before the orchestra played a single note, Davies resembled elements from the film \u003cem>2001\u003c/em>; bathed in red light, the sound baffling conjured \u003ca href=\"https://www.kqed.org/pop/102906/50-years-later-2001-a-space-odyssey-is-still-a-cinematic-landmark\">David Bowman’s spherical helmet\u003c/a>, and the grid of square holes in the stage wall recalled \u003ca href=\"https://www.kinolab.org/FilmClip.php?id=790\">HAL’s central circuit boards\u003c/a>. A giant circular lighting rig hovered over the stage. Around the side terraces and floor were situated 12 \u003ca href=\"https://www.nytimes.com/2024/02/23/arts/music/scriabin-prometheus-san-francisco-perfume-cartier.html\">wooden contraptions looking like space pods\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And then? The piece started in complete darkness. A faint spotlight appeared on conductor Esa-Pekka Salonen, then vertical lights down the orchestra floor turned indigo. Overhead, the circle glowed green, illuminating pianist Jean-Yves Thibaudet.\u003c/p>\n\u003cp>Three minutes in, I could smell the aroma developed by Mathilde Laurent from Cartier. I’d figured it’d resemble women’s perfume, but no — this was a complex, earthy scent. The lights changed colors corresponding to the music. A dextrous solo passage by Thibaudet was bathed in deep purple, and during one loud portion, what I thought was someone opening the concert hall’s doors to the bright afternoon sun turned out to be the side lighting burning bright white.\u003c/p>\n\u003cp>The scent got stronger — I thought of fern, madrone and damp bay leaves — and the music more swirling and intense. Swelling brass played against full-fingered piano runs as Scriabin’s score approached the moment, in the Greek myth of Prometheus (and, coincidentally, the beginning of \u003cem>2001\u003c/em>), when humankind is gifted with the power of harnessing fire.\u003c/p>\n\u003cfigure id=\"attachment_13953336\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953336\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0021.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0021.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0021-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Symphony performs Alexander Scriabin’s ‘Prometheus, The Poem of Fire’ at Davies Symphony Hall, outfitted with special lighting and smoke cannons, on March 1, 2024. \u003ccite>(Brandon Patoc)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That arrived at the 13-minute mark, when the round doors of the space pods slowly opened, emanating wisps of mist. As the orchestra crescendoed to a climax, \u003cem>boom!\u003c/em> — the space pod cannons launched smoke rings across the hall, zig-zagging over the audience in vibrant red and yellow light. The scent suddenly changed, lighter and less musky, to what seemed like citrus and lychee. I may or may not have whispered, “Oh my God.”\u003c/p>\n\u003cp>Did I say that was the climax? Alas, the joke was on me, because a 77-piece choir started filing into the center terrace to sing thunderously as the music intensified and the scent changed yet again, this time to a sweet herbal note reminiscent of Fernet Branca being poured in a houseplant boutique.\u003c/p>\n\u003cp>What followed in the final six minutes was pure wonderment at the scope of it all, and the capacity of humans to undertake such a vigorous challenge. At the gigantic fortississimo ending, Davies shimmered with red and yellow until a full blackout after the final thrilling chord.\u003c/p>\n\u003cfigure id=\"attachment_13953335\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953335\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0035.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0035.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0035-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0035-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0035-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0035-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0035-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A curtain call for the San Francisco Symphony performance of Alexander Scriabin’s ‘Prometheus, The Poem of Fire’ at Davies Symphony Hall on March 1, 2024. Left to right: Music Director Esa-Pekka Salonen, Chorus Director Jenny Wong, lighting designer Luke Kritzeck, pianist Jean-Yves Thibaudet and Cartier’s in-house perfumer Mathilde Laurent. \u003ccite>(Brandon Patoc)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the intermission, Béla Bartók’s \u003cem>Duke Bluebeard’s Castle\u003c/em> felt a bit like Carly Rae Jepsen having to follow Beyoncé. Gerald Finley and Michelle DeYoung were in fine form singing the tale of a doomed wife exploring a blood-stained castle, and the special lighting was used intermittently. But it was no match for the first half.\u003c/p>\n\u003cp>Scriabin is a composer with a diehard fanbase. During a 2015 performance of Scriabin’s piano sonatas at SFJAZZ by Garrick Ohlsson, some audience members had sheet music in their laps to follow along. Their passion comes from those moments when his singular, strange vision of music is beautifully realized.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It doesn’t happen often. Leave it up to San Francisco to pull it off.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In a Touching Farewell, Michael Tilson Thomas Savors Every Moment of Mahler's Fifth",
"headTitle": "In a Touching Farewell, Michael Tilson Thomas Savors Every Moment of Mahler’s Fifth | KQED",
"content": "\u003cp>Michael Tilson Thomas was in a good mood.\u003c/p>\n\u003cp>Entering the stage at Davies Symphony Hall on Thursday night to an instant standing ovation, a playful smirk came across his face. While applause continued, he extended his baton toward concertmaster Alexander Barantschik, and playfully poked the blue ribbon on his lapel.\u003c/p>\n\u003cp>Then, with an amused shrug, the 79-year-old conductor laughed, as if to say, “Let’s not be weighed down by all this gravitas here.”\u003c/p>\n\u003cp>[aside postID='arts_13909978']Because surely, there was gravitas. This weekend’s performances of Mahler’s Fifth Symphony could well constitute the last time Thomas conducts the San Francisco Symphony.\u003c/p>\n\u003cp>Having been diagnosed in 2021 with an \u003ca href=\"https://www.kqed.org/arts/13909978/michael-tilson-thomas-cancer-announcement\">aggressive form of brain cancer\u003c/a>, Thomas is noticeably weaker onstage and in public appearances. The beloved figure who led the orchestra for 25 years \u003ca href=\"https://symphony.org/michael-tilson-thomas-withdraws-from-some-2024-concerts-with-san-francisco-symphony/\">recently withdrew\u003c/a> from conducting two other programs at Davies. It’s possible he could return to the podium in the future, but as of now, this weekend marks his final concerts on the symphony’s calendar. \u003c/p>\n\u003cfigure id=\"attachment_13951058\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_019-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1708\" class=\"size-full wp-image-13951058\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_019-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_019-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_019-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_019-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_019-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_019-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_019-2048x1367.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_019-1920x1281.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Michael Tilson Thomas conducts the San Francisco Symphony’s performance of Mahler’s Symphony No. 5 on Thursday, Jan. 25, 2024, at Davies Symphony Hall. \u003ccite>(Stefan Cohen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not that you’d have known it from his demeanor Thursday night. While leading a richly rewarding performance of Mahler’s Fifth — a program that repeats Friday and Saturday — a beaming grin was present on his face. Evidently, he needed this music as much as the music needed him.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Or maybe, just maybe, his smile came from settling a score. In 2022, filmgoers watched as Cate Blanchett’s character in \u003cem>Tár\u003c/em> took a tasteless dig at Thomas, likening his conducting to “screaming like a [expletive] porn star.” The central piece performed in the film? You guessed it: Mahler’s Fifth.\u003c/p>\n\u003cp>MTT announced these performances just months after the film opened, and on Thursday night, he showed \u003cem>Tár\u003c/em> how it’s done.\u003c/p>\n\u003cp>Mahler composed the Fifth Symphony in 1901–1902, and it’s often credited with ushering in 20th century composition. Deeply evocative, it fits nearly every human emotion into 75 minutes. It zig-zags from theme to theme, presenting soft timpani and pizzicatos along with thundering, full-throated brass passages.\u003c/p>\n\u003cfigure id=\"attachment_13951066\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_021-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1708\" class=\"size-full wp-image-13951066\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_021-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_021-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_021-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_021-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_021-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_021-2048x1367.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_021-1920x1281.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Michael Tilson Thomas conducts the San Francisco Symphony’s performance of Mahler’s Symphony No. 5 on Thursday, Jan. 25, 2024, at Davies Symphony Hall. \u003ccite>(Stefan Cohen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Thursday, in the hands of Thomas — who made his conducting debut with the San Francisco Symphony 50 years ago, with Mahler’s Ninth — every few minutes yielded a new delight, from its alluring first measures to its thrilling ending.\u003c/p>\n\u003cp>Once or twice during the music, one noticed his health as he steadied himself by grasping his left hand on the podium. His conducting retained its rhythm, even if it lessened in dynamism; he rarely called for volume adjustments, or vigorously punctuated key moments. At one climactic downbeat in the first movement, the strings, brass and tympani all landed just a millisecond off from each other.\u003c/p>\n\u003cp>But this is Mahler. Every cell in Thomas’ body knows this music. The orchestra does, too, and rose to the occasion — especially in the beloved Adagietto, one of Mahler’s most heart-wrenching pieces of music. (Thomas’ mentor, Leonard Bernstein, so loved it that he was reportedly buried with the score.)\u003c/p>\n\u003cfigure id=\"attachment_13951059\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_022-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1708\" class=\"size-full wp-image-13951059\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_022-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_022-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_022-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_022-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_022-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_022-2048x1367.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_022-1920x1281.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Michael Tilson Thomas embraces concertmaster Alexander Barantschik after the San Francisco Symphony’s performance of Mahler’s Symphony No. 5 on Thursday, Jan. 25, 2024, at Davies Symphony Hall. \u003ccite>(Stefan Cohen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was during the Adagietto that I couldn’t help but meditate on Thomas’ long history here. Personally, I thought back to first seeing him \u003ca href=\"https://www.sfsymphony.org/Larry-s-Play-Folder/z-OLD/1995-96-(2)\">at Davies in 1995\u003c/a>, conducting Stravinsky with violin prodigy Midori; again in 2001, \u003ca href=\"https://www.kqed.org/arts/13875367/a-landmark-of-michael-tilson-thomas-career-revisited\">valiantly conducting Mahler’s Symphony No. 6 one day after 9/11\u003c/a>; and in 2015, premiering the \u003ca href=\"https://www.kqed.org/arts/10216961/live-review-soundbox-classical-goes-clubbing\">groundbreaking SoundBox series\u003c/a>. He’s inspired multiple generations in the Bay Area (the Mahler vinyl bins at Amoeba Music are, as of this writing, completely sold out), and is indelibly woven into the cultural fabric of San Francisco.\u003c/p>\n\u003cp>After the piece’s rousing finale — before the audience spilled out onto the newly christened “\u003ca href=\"https://michaeltilsonthomas.com/2023/12/18/mtt-way-unveiled-in-san-francisco/\">MTT Way\u003c/a>” — Thomas stood for a seven-minute standing ovation. It would have gone on longer, too, were it not for him theatrically sighing and \u003ca href=\"https://www.tiktok.com/@horsesweremylife/video/7329402685969698094\">miming to the enthusiastic crowd that it was time to drink milk and go to bed\u003c/a>, drawing laugher among the cheers.\u003c/p>\n\u003cp>As if to console anyone with tears in their eyes at this celebration of life and an incredible career, for a second, at least, the message was: don’t be sad.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Michael Tilson Thomas conducts the San Francisco Symphony in Mahler’s Symphony No. 5 again on Friday, Jan. 26, and Saturday, Jan. 27. \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2023-24/MTT-CONDUCTS-MAHLER-5\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Nearing his final concerts with the San Francisco Symphony, MTT brought Mahler's masterpiece to life. ",
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"title": "Review: Michael Tilson Thomas Leads Final Series Concerts at SF Symphony | KQED",
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"headline": "In a Touching Farewell, Michael Tilson Thomas Savors Every Moment of Mahler's Fifth",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Michael Tilson Thomas was in a good mood.\u003c/p>\n\u003cp>Entering the stage at Davies Symphony Hall on Thursday night to an instant standing ovation, a playful smirk came across his face. While applause continued, he extended his baton toward concertmaster Alexander Barantschik, and playfully poked the blue ribbon on his lapel.\u003c/p>\n\u003cp>Then, with an amused shrug, the 79-year-old conductor laughed, as if to say, “Let’s not be weighed down by all this gravitas here.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Because surely, there was gravitas. This weekend’s performances of Mahler’s Fifth Symphony could well constitute the last time Thomas conducts the San Francisco Symphony.\u003c/p>\n\u003cp>Having been diagnosed in 2021 with an \u003ca href=\"https://www.kqed.org/arts/13909978/michael-tilson-thomas-cancer-announcement\">aggressive form of brain cancer\u003c/a>, Thomas is noticeably weaker onstage and in public appearances. The beloved figure who led the orchestra for 25 years \u003ca href=\"https://symphony.org/michael-tilson-thomas-withdraws-from-some-2024-concerts-with-san-francisco-symphony/\">recently withdrew\u003c/a> from conducting two other programs at Davies. It’s possible he could return to the podium in the future, but as of now, this weekend marks his final concerts on the symphony’s calendar. \u003c/p>\n\u003cfigure id=\"attachment_13951058\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_019-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1708\" class=\"size-full wp-image-13951058\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_019-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_019-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_019-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_019-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_019-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_019-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_019-2048x1367.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_019-1920x1281.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Michael Tilson Thomas conducts the San Francisco Symphony’s performance of Mahler’s Symphony No. 5 on Thursday, Jan. 25, 2024, at Davies Symphony Hall. \u003ccite>(Stefan Cohen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not that you’d have known it from his demeanor Thursday night. While leading a richly rewarding performance of Mahler’s Fifth — a program that repeats Friday and Saturday — a beaming grin was present on his face. Evidently, he needed this music as much as the music needed him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Or maybe, just maybe, his smile came from settling a score. In 2022, filmgoers watched as Cate Blanchett’s character in \u003cem>Tár\u003c/em> took a tasteless dig at Thomas, likening his conducting to “screaming like a [expletive] porn star.” The central piece performed in the film? You guessed it: Mahler’s Fifth.\u003c/p>\n\u003cp>MTT announced these performances just months after the film opened, and on Thursday night, he showed \u003cem>Tár\u003c/em> how it’s done.\u003c/p>\n\u003cp>Mahler composed the Fifth Symphony in 1901–1902, and it’s often credited with ushering in 20th century composition. Deeply evocative, it fits nearly every human emotion into 75 minutes. It zig-zags from theme to theme, presenting soft timpani and pizzicatos along with thundering, full-throated brass passages.\u003c/p>\n\u003cfigure id=\"attachment_13951066\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_021-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1708\" class=\"size-full wp-image-13951066\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_021-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_021-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_021-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_021-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_021-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_021-2048x1367.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_021-1920x1281.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Michael Tilson Thomas conducts the San Francisco Symphony’s performance of Mahler’s Symphony No. 5 on Thursday, Jan. 25, 2024, at Davies Symphony Hall. \u003ccite>(Stefan Cohen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Thursday, in the hands of Thomas — who made his conducting debut with the San Francisco Symphony 50 years ago, with Mahler’s Ninth — every few minutes yielded a new delight, from its alluring first measures to its thrilling ending.\u003c/p>\n\u003cp>Once or twice during the music, one noticed his health as he steadied himself by grasping his left hand on the podium. His conducting retained its rhythm, even if it lessened in dynamism; he rarely called for volume adjustments, or vigorously punctuated key moments. At one climactic downbeat in the first movement, the strings, brass and tympani all landed just a millisecond off from each other.\u003c/p>\n\u003cp>But this is Mahler. Every cell in Thomas’ body knows this music. The orchestra does, too, and rose to the occasion — especially in the beloved Adagietto, one of Mahler’s most heart-wrenching pieces of music. (Thomas’ mentor, Leonard Bernstein, so loved it that he was reportedly buried with the score.)\u003c/p>\n\u003cfigure id=\"attachment_13951059\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_022-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1708\" class=\"size-full wp-image-13951059\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_022-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_022-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_022-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_022-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_022-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_022-2048x1367.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_022-1920x1281.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Michael Tilson Thomas embraces concertmaster Alexander Barantschik after the San Francisco Symphony’s performance of Mahler’s Symphony No. 5 on Thursday, Jan. 25, 2024, at Davies Symphony Hall. \u003ccite>(Stefan Cohen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was during the Adagietto that I couldn’t help but meditate on Thomas’ long history here. Personally, I thought back to first seeing him \u003ca href=\"https://www.sfsymphony.org/Larry-s-Play-Folder/z-OLD/1995-96-(2)\">at Davies in 1995\u003c/a>, conducting Stravinsky with violin prodigy Midori; again in 2001, \u003ca href=\"https://www.kqed.org/arts/13875367/a-landmark-of-michael-tilson-thomas-career-revisited\">valiantly conducting Mahler’s Symphony No. 6 one day after 9/11\u003c/a>; and in 2015, premiering the \u003ca href=\"https://www.kqed.org/arts/10216961/live-review-soundbox-classical-goes-clubbing\">groundbreaking SoundBox series\u003c/a>. He’s inspired multiple generations in the Bay Area (the Mahler vinyl bins at Amoeba Music are, as of this writing, completely sold out), and is indelibly woven into the cultural fabric of San Francisco.\u003c/p>\n\u003cp>After the piece’s rousing finale — before the audience spilled out onto the newly christened “\u003ca href=\"https://michaeltilsonthomas.com/2023/12/18/mtt-way-unveiled-in-san-francisco/\">MTT Way\u003c/a>” — Thomas stood for a seven-minute standing ovation. It would have gone on longer, too, were it not for him theatrically sighing and \u003ca href=\"https://www.tiktok.com/@horsesweremylife/video/7329402685969698094\">miming to the enthusiastic crowd that it was time to drink milk and go to bed\u003c/a>, drawing laugher among the cheers.\u003c/p>\n\u003cp>As if to console anyone with tears in their eyes at this celebration of life and an incredible career, for a second, at least, the message was: don’t be sad.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Michael Tilson Thomas conducts the San Francisco Symphony in Mahler’s Symphony No. 5 again on Friday, Jan. 26, and Saturday, Jan. 27. \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2023-24/MTT-CONDUCTS-MAHLER-5\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Your Best Bets for Jazz and Classical in the Bay Area This Fall",
"headTitle": "Your Best Bets for Jazz and Classical in the Bay Area This Fall | KQED",
"content": "\u003cp>\u003cstrong>\u003ca href=\"https://www.kqed.org/fallarts2022\">\u003cem>Find more of KQED’s picks for the best Fall 2022 events here.\u003c/em>\u003c/a>\u003c/strong>\u003c/p>\n\u003cp>The leaves turn, the days shorten and, each fall, performing arts groups ready their new seasons. While my colleague Nastia Voynovskaya brings you \u003ca href=\"https://www.kqed.org/arts/13917837/fall-arts-2022-concerts-clubs\" rel=\"noopener noreferrer\" target=\"_blank\">the top concerts, festivals and nightclub dates this fall\u003c/a>, here are KQED’s picks for the grown-and-seasoned lovers of jazz and classical. \u003c/p>\n\u003cfigure id=\"attachment_13918615\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/antonycleopatra.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918615\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/antonycleopatra-800x532.jpg\" alt=\"a woman in an orange dress and a man in a green robe embrace against a black backdrop on stage\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/antonycleopatra-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/antonycleopatra-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/antonycleopatra-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/antonycleopatra-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/antonycleopatra.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Amina Edris as Cleopatra and Gerald Finley as Antony in a rehearsal still from SF Opera’s ‘Antony and Cleopatra.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.sfopera.com/operas/antony-and-cleopatra/\">Antony and Cleopatra\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Sept. 10–Oct. 5\u003cbr>\nWar Memorial Opera House, San Francisco\u003c/em>\u003c/p>\n\u003cp>The last time John Adams premiered an opera at the War Memorial Opera House, he dug back into California history for \u003cem>Girls of the Golden West\u003c/em>, a gold-rush story that KQED Arts & Culture’s Nastia Voynovskaya called “\u003ca href=\"https://www.kqed.org/arts/13815647/girls-of-the-golden-west-is-nothing-like-your-high-school-history-book\" rel=\"noopener noreferrer\" target=\"_blank\">a timely dialogue about our state history that helps us better understand the present\u003c/a>.” This time around, Adams travels back even further, to one of the world’s most famous love stories, as composer and librettist. Any new work by Adams is cause for celebration, and under the direction of Elkhanah Pulitzer, \u003cem>Antony and Cleopatra\u003c/em> stars Gerald Finley and Amina Edris in the title roles.\u003c/p>\n\u003cfigure id=\"attachment_13918636\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/billy-cobham-copy-800x533.jpg\" alt=\"a Black man in a Converse All-Stars t-shirt stands on front of a drum set\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13918636\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/billy-cobham-copy-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/billy-cobham-copy-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/billy-cobham-copy-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/billy-cobham-copy-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/billy-cobham-copy-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/billy-cobham-copy-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/billy-cobham-copy.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billy Cobham celebrates his second album, Crosswinds, at Yoshi’s in September. \u003ccite>(Yoshi's)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://yoshis.com/events/buy-tickets/billy-cobham-1/detail\" rel=\"noopener noreferrer\" target=\"_blank\">Billy Cobham’s Crosswinds Project\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 20–21\u003cbr>\nYoshi’s, Oakland\u003c/em>\u003c/p>\n\u003cp>The venerable Oakland jazz club Yoshi’s has a sampladelic fall coming up. Bob James, who has been sampled so many times in hip-hop songs that he’s devoted \u003ca href=\"https://www.youtube.com/watch?v=1NI5Nl4XvXM\" rel=\"noopener noreferrer\" target=\"_blank\">a whole YouTube reaction series\u003c/a> to them, hits the Yoshi’s stage Oct. 23. But drummers will rejoice at the booking of Billy Cobham, who plays Yoshi’s Sept. 20–21. Of course, here in the Bay Area, we know Cobham’s “\u003ca href=\"https://youtu.be/e3E9vx5vVck?t=258\" rel=\"noopener noreferrer\" target=\"_blank\">Heather\u003c/a>” as the sample source for one of our bona fide anthems: “\u003ca href=\"https://www.youtube.com/watch?v=fXJc2NYwHjw\" rel=\"noopener noreferrer\" target=\"_blank\">93 Til Infinity\u003c/a>.” It’s serendipity, then, that he brings to Oakland his Crossroads Project, a group formed to celebrate \u003cem>Crossroads\u003c/em>, the album containing “Heather”—and the inadvertent seed of a Bay Area hip-hop hit.\u003c/p>\n\u003cfigure id=\"attachment_13918637\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/s10_web_natesmithkinfolkimmanuelwilkins_hero-800x338.jpg\" alt=\"a man at the drums and a man playing saxophone, in diptych\" width=\"800\" height=\"338\" class=\"size-medium wp-image-13918637\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/s10_web_natesmithkinfolkimmanuelwilkins_hero-800x338.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/s10_web_natesmithkinfolkimmanuelwilkins_hero-1020x430.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/s10_web_natesmithkinfolkimmanuelwilkins_hero-160x68.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/s10_web_natesmithkinfolkimmanuelwilkins_hero-768x324.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/s10_web_natesmithkinfolkimmanuelwilkins_hero-1536x648.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/s10_web_natesmithkinfolkimmanuelwilkins_hero.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nate Smith (left) and Immanuel Wilkins (right) come to SFJAZZ as part of the ‘Traditions in Transition’ series. \u003ccite>(SFJAZZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/nate-smith-immanuel-wilkins/\">Nate Smith + Kinfolk / Immanuel Wilkins Quartet\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 22\u003cbr>\nSFJAZZ Miner Auditorium, San Francisco\u003c/em>\u003c/p>\n\u003cp>With SFJAZZ’s upcoming ‘\u003ca href=\"https://www.sfjazz.org/calendar/?month=9.2022&event-type=3&series=50850\" rel=\"noopener noreferrer\" target=\"_blank\">Traditions in Transition\u003c/a>’ series, no jazz fan should miss out on the chance to see Joshua Redman, Christian McBride, Brad Mehldau and Brian Blade (Sept. 23), Julian Lage (Sept. 24) or Orquesta Akokan (Sept. 25). But I’m gonna give it up for the new breed here with drummer Nate Smith and alto saxophonist Immanuel Wilkins. Wilkins’ latest album for Blue Note, \u003cem>The 7th Hand\u003c/em>, is a rich entry to the modern spiritual jazz canon, and Grammy-nominated Smith is a dazzling player in a live setting.\u003c/p>\n\u003cfigure id=\"attachment_13918589\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Lubomyr-melnyk_DSC08011.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918589\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Lubomyr-melnyk_DSC08011.jpg\" alt=\"a black and white photo of a man sitting at a piano\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Lubomyr-melnyk_DSC08011.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Lubomyr-melnyk_DSC08011-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Lubomyr-melnyk_DSC08011-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lubomyr Melnyk at the Aarhus Festival in Denmark, 2018. Melnyk performs at The Lab in San Francisco Sept. 23. \u003ccite>(Hreinn Gudlaugsson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.thelab.org/projects/2022/9/23/lubomyr-melnyk\">Lubomyr Melnyk\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 23\u003cbr>\nThe Lab, San Francisco\u003c/em>\u003c/p>\n\u003cp>Ukrainian composer Lubomyr Melnyk is getting a little more notice this year, and it’s overdue: his prolific output of experimental minimalism stretches back to the 1970s. Unlike other minimalists like Philip Glass or Steve Reich, Malnyk veers into the eerie, the noisy, the tense. What’s probably now his best-known work, “\u003ca href=\"https://www.youtube.com/watch?v=1z5gu2hhpAk\" rel=\"noopener noreferrer\" target=\"_blank\">Pockets of Light\u003c/a>,” features the vocals of multi-instrumentalist Peter Broderick, and he’s even performed \u003ca href=\"https://www.youtube.com/watch?v=SWc1MZoQvqQ\" rel=\"noopener noreferrer\" target=\"_blank\">a set for Boiler Room\u003c/a>, the well-known DJ series. In the intimate upstairs confines of The Lab, a treasured arts space in the Mission District, his trance-like music should be especially resonant.\u003c/p>\n\u003cfigure id=\"attachment_13918638\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Gregory_Porter_Kongsberg_Jazzfestival_2018_191917-800x626.jpg\" alt=\"a Black man sings, wearing a white suit and bowtie\" width=\"800\" height=\"626\" class=\"size-medium wp-image-13918638\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Gregory_Porter_Kongsberg_Jazzfestival_2018_191917-800x626.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Gregory_Porter_Kongsberg_Jazzfestival_2018_191917-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Gregory_Porter_Kongsberg_Jazzfestival_2018_191917-768x601.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Gregory_Porter_Kongsberg_Jazzfestival_2018_191917.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gregory Porter at the Kongsberg Jazzfestival in Norway in 2018. Porter performs at this year’s Monterey Jazz Festival. \u003ccite>(Tore Sætre / Wikimedia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://montereyjazzfestival.org/\">Monterey Jazz Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 23–Sept. 25\u003c/em>\u003cbr>\n\u003cem>Monterey County Fairgrounds\u003c/em>\u003c/p>\n\u003cp>The Monterey Jazz Festival is technically outside of the Bay Area, but it’s a bona fide institution. In its 65th year this September, the festival is still in semi-scaled-back mode, with fewer stages and performers. But the heavy hitters are still on the bill: Ravi Coltrane, Gregory Porter, Chucho Valdés, Joshua Redman’s classic \u003cem>Moodswings\u003c/em> quartet, Gerald Clayton, Julian Lage and many others. Always worth the drive, the festival’s setting is serene and the music top-notch.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cfigure id=\"attachment_13849055\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2019/01/EsaPekkaSalonenSymphonyDebu.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849055\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/01/EsaPekkaSalonenSymphonyDebu-800x450.jpg\" alt=\"Esa-Pekka Salonen conducts the San Francisco Symphony on Jan. 18.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/EsaPekkaSalonenSymphonyDebu-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/EsaPekkaSalonenSymphonyDebu-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/EsaPekkaSalonenSymphonyDebu-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/EsaPekkaSalonenSymphonyDebu-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/EsaPekkaSalonenSymphonyDebu-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/EsaPekkaSalonenSymphonyDebu.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen conducts the San Francisco Symphony in 2019. \u003ccite>(Brandon Patoc/San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2022-23/Salonen-Conducts-Mahler-2\">Salonen Conducts Mahler\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 29–Oct. 2\u003cbr>\nDavies Symphony Hall, San Francisco\u003c/em>\u003c/p>\n\u003cp>Those who know the San Francisco Symphony might be looking at this program and thinking, “Hey, who does the new guy think he is, anyway?” That’s because Music Director Emeritus Michael Tilson Thomas all but synonymized himself with Mahler in his 25 years with the symphony, performing and recording \u003ca href=\"https://michaeltilsonthomas.com/2004/10/05/the-mahler-project-complete-cd-box-set/\" rel=\"noopener noreferrer\" target=\"_blank\">an award-winning cycle of Mahler’s symphonies\u003c/a>. But here in San Francisco, Esa-Pekka Salonen has been pulling off a remarkable Joe Montana-to-Steve Young-esque transition. With Salonen frequently equalling (and, in his willingness to take risks, outpacing) his predecessor, it’s thrilling to imagine what he’ll do with Mahler’s second.\u003c/p>\n\u003cfigure id=\"attachment_13918647\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Awadin-800x500.jpg\" alt=\"A Black man leans against a grand piano\" width=\"800\" height=\"500\" class=\"size-medium wp-image-13918647\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Awadin-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Awadin-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Awadin-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Awadin-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Awadin.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Awadagin Pratt plays Mozart with the Santa Rosa Symphony this October. \u003ccite>(Cramer/Marder Artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.srsymphony.org/EventDetail/232\">Awadagin Pratt with the Santa Rosa Symphony\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 1–3\u003cbr>\nGreen Music Center, Rohnert Park\u003c/em>\u003c/p>\n\u003cp>Since his appointment in 2018, Santa Rosa Symphony Music Director \u003ca href=\"https://www.pressdemocrat.com/article/lifestyle/get-to-know-francesco-lecce-chong-music-director-of-the-santa-rosa-symphon/\" rel=\"noopener noreferrer\" target=\"_blank\">Francesco Lecce-Chong\u003c/a> has been an absolute delight on the podium: he explains pieces, he makes jokes; he even once hired an actor to dress up in disguise and wander through the audience. (Long story.) Energetic, affable and serious about using his talent for good, he’s also pushing classical music in all the right directions. This season’s kickoff is a good example, by performing new work (\u003cem>Me he perdido\u003c/em>, by Angélica Negrón) as well as inviting a Black pianist as the program’s guest soloist (Awadagin Pratt, playing Mozart’s Piano Concerto No. 23). In the exquisite main hall of the Green Music Center, this is a program not to miss.\u003c/p>\n\u003cfigure id=\"attachment_11565818\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/05/Herbst-Theatre-Exterior_sm-e1462839627428-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11565818\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Herbst-Theatre-Exterior_sm-e1462839627428-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Herbst-Theatre-Exterior_sm-e1462839627428-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Herbst-Theatre-Exterior_sm-e1462839627428-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Herbst-Theatre-Exterior_sm-e1462839627428-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Herbst-Theatre-Exterior_sm-e1462839627428-1920x1279.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Herbst-Theatre-Exterior_sm-e1462839627428-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SF Music Day takes place inside the War Memorial Veterans Building, across from City Hall.\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://intermusicsf.org/sf-music-day/\" rel=\"noopener noreferrer\" target=\"_blank\">SF Music Day\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 9\u003cbr>\nWar Memorial Veterans Building, San Francisco\u003c/em>\u003c/p>\n\u003cp>You simply cannot go wrong with a day of free music experienced by wandering around a historic building. That’s what SF Music Day offers the Bay Area each year at the Herbst Theatre and various surrounding spaces inside the War Memorial Veterans Building, across from City Hall. From noon to 7pm, visitors can drop in on classical, jazz, blues, Greek, chamber music, brass music and experimental sets from 27 different groups. It’s perfect for bringing kids or visitors from out of town.\u003c/p>\n\u003cfigure id=\"attachment_13918645\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/YING_FANG.cred-Dario-Acosta-800x533.jpg\" alt=\"A CHinese woman in a red dress, backlit through a window\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13918645\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/YING_FANG.cred-Dario-Acosta-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/YING_FANG.cred-Dario-Acosta-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/YING_FANG.cred-Dario-Acosta-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/YING_FANG.cred-Dario-Acosta-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/YING_FANG.cred-Dario-Acosta-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/YING_FANG.cred-Dario-Acosta.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ying Fang performs in recital on Nov. 6 in Berkeley. \u003ccite>(Dario Acosta)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://calperformances.org/events/2022-23/recital/ying-fang-soprano-ken-noda-piano/\" rel=\"noopener noreferrer\" target=\"_blank\">Ying Fang\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 6\u003cbr>\nHertz Hall, Berkeley\u003c/em>\u003c/p>\n\u003cp>The Chinese-born soprano Ying Fang has had a busy past few years, having appeared on stage as Susanna in \u003cem>The Marriage of Figaro\u003c/em>, Pamina in \u003cem>The Magic Flute\u003c/em>, and Ännchen in \u003cem>Der Freischütz\u003c/em>. Add to that her appearances in Mahler’s symphonies No. 2 and 8 at the Mahler Festival in Leipzig, and it’s clear that a rising star is on her way to Berkeley. At Hertz Hall, her much-anticipated recital includes songs by Mahler, Richard Strauss, Schubert, Schumann and others, with piano accompaniment by Ken Noda.\u003c/p>\n\u003cfigure id=\"attachment_13918621\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Keyon7.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918621\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Keyon7-800x533.jpg\" alt=\"a Black man in a suit jacket plays the trumpet in a dimly lit club\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyon7-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyon7-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyon7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyon7-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyon7.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Keyon Harrold performs Nov. 18 at the Black Cat in San Francisco. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://blackcatsf.com/event/keyon-harrold-2022-11-18/\">Keyon Harrold\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 17–19\u003cbr>\nBlack Cat, San Francisco\u003c/em>\u003c/p>\n\u003cp>Born and raised in Ferguson, Missouri, Keyon Harrold is no stranger to jazz’s long tradition of incorporating themes of Black equality and racial justice into his music. He’s also no stranger to sharing the stage with stars like Beyoncé, Rihanna and Jay-Z, or hearing his music used in movies like the Miles Davis biopic \u003cem>Miles Ahead\u003c/em>. Last seen around these parts \u003ca href=\"https://www.youtube.com/watch?v=MIlBU0FtKr8\" rel=\"noopener noreferrer\" target=\"_blank\">playing with the rapper Pharoahe Monch\u003c/a> at the Blue Note Jazz Festival in Napa, the trumpeter returns for a small-club basement gig at the uber-hip Tenderloin outpost the Black Cat.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cem>Correction: A previous version of this article stated that Santa Rosa Symphony Music Director Francesco Lecce-Chong had once dressed in disguise and roamed through the audience. The man was an actor that Lecce-Chong had hired, not Lecce-Chong himself. \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Legendary saxophonists, thrilling new works, classic festivals and a world premiere at SF Opera—there's a full slate of options this fall.",
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"title": "Your Best Bets for Jazz and Classical in the Bay Area This Fall | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>\u003ca href=\"https://www.kqed.org/fallarts2022\">\u003cem>Find more of KQED’s picks for the best Fall 2022 events here.\u003c/em>\u003c/a>\u003c/strong>\u003c/p>\n\u003cp>The leaves turn, the days shorten and, each fall, performing arts groups ready their new seasons. While my colleague Nastia Voynovskaya brings you \u003ca href=\"https://www.kqed.org/arts/13917837/fall-arts-2022-concerts-clubs\" rel=\"noopener noreferrer\" target=\"_blank\">the top concerts, festivals and nightclub dates this fall\u003c/a>, here are KQED’s picks for the grown-and-seasoned lovers of jazz and classical. \u003c/p>\n\u003cfigure id=\"attachment_13918615\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/antonycleopatra.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918615\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/antonycleopatra-800x532.jpg\" alt=\"a woman in an orange dress and a man in a green robe embrace against a black backdrop on stage\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/antonycleopatra-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/antonycleopatra-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/antonycleopatra-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/antonycleopatra-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/antonycleopatra.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Amina Edris as Cleopatra and Gerald Finley as Antony in a rehearsal still from SF Opera’s ‘Antony and Cleopatra.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.sfopera.com/operas/antony-and-cleopatra/\">Antony and Cleopatra\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Sept. 10–Oct. 5\u003cbr>\nWar Memorial Opera House, San Francisco\u003c/em>\u003c/p>\n\u003cp>The last time John Adams premiered an opera at the War Memorial Opera House, he dug back into California history for \u003cem>Girls of the Golden West\u003c/em>, a gold-rush story that KQED Arts & Culture’s Nastia Voynovskaya called “\u003ca href=\"https://www.kqed.org/arts/13815647/girls-of-the-golden-west-is-nothing-like-your-high-school-history-book\" rel=\"noopener noreferrer\" target=\"_blank\">a timely dialogue about our state history that helps us better understand the present\u003c/a>.” This time around, Adams travels back even further, to one of the world’s most famous love stories, as composer and librettist. Any new work by Adams is cause for celebration, and under the direction of Elkhanah Pulitzer, \u003cem>Antony and Cleopatra\u003c/em> stars Gerald Finley and Amina Edris in the title roles.\u003c/p>\n\u003cfigure id=\"attachment_13918636\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/billy-cobham-copy-800x533.jpg\" alt=\"a Black man in a Converse All-Stars t-shirt stands on front of a drum set\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13918636\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/billy-cobham-copy-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/billy-cobham-copy-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/billy-cobham-copy-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/billy-cobham-copy-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/billy-cobham-copy-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/billy-cobham-copy-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/billy-cobham-copy.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billy Cobham celebrates his second album, Crosswinds, at Yoshi’s in September. \u003ccite>(Yoshi's)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://yoshis.com/events/buy-tickets/billy-cobham-1/detail\" rel=\"noopener noreferrer\" target=\"_blank\">Billy Cobham’s Crosswinds Project\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 20–21\u003cbr>\nYoshi’s, Oakland\u003c/em>\u003c/p>\n\u003cp>The venerable Oakland jazz club Yoshi’s has a sampladelic fall coming up. Bob James, who has been sampled so many times in hip-hop songs that he’s devoted \u003ca href=\"https://www.youtube.com/watch?v=1NI5Nl4XvXM\" rel=\"noopener noreferrer\" target=\"_blank\">a whole YouTube reaction series\u003c/a> to them, hits the Yoshi’s stage Oct. 23. But drummers will rejoice at the booking of Billy Cobham, who plays Yoshi’s Sept. 20–21. Of course, here in the Bay Area, we know Cobham’s “\u003ca href=\"https://youtu.be/e3E9vx5vVck?t=258\" rel=\"noopener noreferrer\" target=\"_blank\">Heather\u003c/a>” as the sample source for one of our bona fide anthems: “\u003ca href=\"https://www.youtube.com/watch?v=fXJc2NYwHjw\" rel=\"noopener noreferrer\" target=\"_blank\">93 Til Infinity\u003c/a>.” It’s serendipity, then, that he brings to Oakland his Crossroads Project, a group formed to celebrate \u003cem>Crossroads\u003c/em>, the album containing “Heather”—and the inadvertent seed of a Bay Area hip-hop hit.\u003c/p>\n\u003cfigure id=\"attachment_13918637\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/s10_web_natesmithkinfolkimmanuelwilkins_hero-800x338.jpg\" alt=\"a man at the drums and a man playing saxophone, in diptych\" width=\"800\" height=\"338\" class=\"size-medium wp-image-13918637\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/s10_web_natesmithkinfolkimmanuelwilkins_hero-800x338.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/s10_web_natesmithkinfolkimmanuelwilkins_hero-1020x430.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/s10_web_natesmithkinfolkimmanuelwilkins_hero-160x68.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/s10_web_natesmithkinfolkimmanuelwilkins_hero-768x324.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/s10_web_natesmithkinfolkimmanuelwilkins_hero-1536x648.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/s10_web_natesmithkinfolkimmanuelwilkins_hero.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nate Smith (left) and Immanuel Wilkins (right) come to SFJAZZ as part of the ‘Traditions in Transition’ series. \u003ccite>(SFJAZZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/nate-smith-immanuel-wilkins/\">Nate Smith + Kinfolk / Immanuel Wilkins Quartet\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 22\u003cbr>\nSFJAZZ Miner Auditorium, San Francisco\u003c/em>\u003c/p>\n\u003cp>With SFJAZZ’s upcoming ‘\u003ca href=\"https://www.sfjazz.org/calendar/?month=9.2022&event-type=3&series=50850\" rel=\"noopener noreferrer\" target=\"_blank\">Traditions in Transition\u003c/a>’ series, no jazz fan should miss out on the chance to see Joshua Redman, Christian McBride, Brad Mehldau and Brian Blade (Sept. 23), Julian Lage (Sept. 24) or Orquesta Akokan (Sept. 25). But I’m gonna give it up for the new breed here with drummer Nate Smith and alto saxophonist Immanuel Wilkins. Wilkins’ latest album for Blue Note, \u003cem>The 7th Hand\u003c/em>, is a rich entry to the modern spiritual jazz canon, and Grammy-nominated Smith is a dazzling player in a live setting.\u003c/p>\n\u003cfigure id=\"attachment_13918589\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Lubomyr-melnyk_DSC08011.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918589\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Lubomyr-melnyk_DSC08011.jpg\" alt=\"a black and white photo of a man sitting at a piano\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Lubomyr-melnyk_DSC08011.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Lubomyr-melnyk_DSC08011-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Lubomyr-melnyk_DSC08011-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lubomyr Melnyk at the Aarhus Festival in Denmark, 2018. Melnyk performs at The Lab in San Francisco Sept. 23. \u003ccite>(Hreinn Gudlaugsson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.thelab.org/projects/2022/9/23/lubomyr-melnyk\">Lubomyr Melnyk\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 23\u003cbr>\nThe Lab, San Francisco\u003c/em>\u003c/p>\n\u003cp>Ukrainian composer Lubomyr Melnyk is getting a little more notice this year, and it’s overdue: his prolific output of experimental minimalism stretches back to the 1970s. Unlike other minimalists like Philip Glass or Steve Reich, Malnyk veers into the eerie, the noisy, the tense. What’s probably now his best-known work, “\u003ca href=\"https://www.youtube.com/watch?v=1z5gu2hhpAk\" rel=\"noopener noreferrer\" target=\"_blank\">Pockets of Light\u003c/a>,” features the vocals of multi-instrumentalist Peter Broderick, and he’s even performed \u003ca href=\"https://www.youtube.com/watch?v=SWc1MZoQvqQ\" rel=\"noopener noreferrer\" target=\"_blank\">a set for Boiler Room\u003c/a>, the well-known DJ series. In the intimate upstairs confines of The Lab, a treasured arts space in the Mission District, his trance-like music should be especially resonant.\u003c/p>\n\u003cfigure id=\"attachment_13918638\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Gregory_Porter_Kongsberg_Jazzfestival_2018_191917-800x626.jpg\" alt=\"a Black man sings, wearing a white suit and bowtie\" width=\"800\" height=\"626\" class=\"size-medium wp-image-13918638\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Gregory_Porter_Kongsberg_Jazzfestival_2018_191917-800x626.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Gregory_Porter_Kongsberg_Jazzfestival_2018_191917-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Gregory_Porter_Kongsberg_Jazzfestival_2018_191917-768x601.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Gregory_Porter_Kongsberg_Jazzfestival_2018_191917.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gregory Porter at the Kongsberg Jazzfestival in Norway in 2018. Porter performs at this year’s Monterey Jazz Festival. \u003ccite>(Tore Sætre / Wikimedia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://montereyjazzfestival.org/\">Monterey Jazz Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 23–Sept. 25\u003c/em>\u003cbr>\n\u003cem>Monterey County Fairgrounds\u003c/em>\u003c/p>\n\u003cp>The Monterey Jazz Festival is technically outside of the Bay Area, but it’s a bona fide institution. In its 65th year this September, the festival is still in semi-scaled-back mode, with fewer stages and performers. But the heavy hitters are still on the bill: Ravi Coltrane, Gregory Porter, Chucho Valdés, Joshua Redman’s classic \u003cem>Moodswings\u003c/em> quartet, Gerald Clayton, Julian Lage and many others. Always worth the drive, the festival’s setting is serene and the music top-notch.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_13849055\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2019/01/EsaPekkaSalonenSymphonyDebu.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849055\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/01/EsaPekkaSalonenSymphonyDebu-800x450.jpg\" alt=\"Esa-Pekka Salonen conducts the San Francisco Symphony on Jan. 18.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/EsaPekkaSalonenSymphonyDebu-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/EsaPekkaSalonenSymphonyDebu-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/EsaPekkaSalonenSymphonyDebu-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/EsaPekkaSalonenSymphonyDebu-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/EsaPekkaSalonenSymphonyDebu-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/EsaPekkaSalonenSymphonyDebu.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen conducts the San Francisco Symphony in 2019. \u003ccite>(Brandon Patoc/San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2022-23/Salonen-Conducts-Mahler-2\">Salonen Conducts Mahler\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 29–Oct. 2\u003cbr>\nDavies Symphony Hall, San Francisco\u003c/em>\u003c/p>\n\u003cp>Those who know the San Francisco Symphony might be looking at this program and thinking, “Hey, who does the new guy think he is, anyway?” That’s because Music Director Emeritus Michael Tilson Thomas all but synonymized himself with Mahler in his 25 years with the symphony, performing and recording \u003ca href=\"https://michaeltilsonthomas.com/2004/10/05/the-mahler-project-complete-cd-box-set/\" rel=\"noopener noreferrer\" target=\"_blank\">an award-winning cycle of Mahler’s symphonies\u003c/a>. But here in San Francisco, Esa-Pekka Salonen has been pulling off a remarkable Joe Montana-to-Steve Young-esque transition. With Salonen frequently equalling (and, in his willingness to take risks, outpacing) his predecessor, it’s thrilling to imagine what he’ll do with Mahler’s second.\u003c/p>\n\u003cfigure id=\"attachment_13918647\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Awadin-800x500.jpg\" alt=\"A Black man leans against a grand piano\" width=\"800\" height=\"500\" class=\"size-medium wp-image-13918647\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Awadin-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Awadin-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Awadin-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Awadin-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Awadin.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Awadagin Pratt plays Mozart with the Santa Rosa Symphony this October. \u003ccite>(Cramer/Marder Artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.srsymphony.org/EventDetail/232\">Awadagin Pratt with the Santa Rosa Symphony\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 1–3\u003cbr>\nGreen Music Center, Rohnert Park\u003c/em>\u003c/p>\n\u003cp>Since his appointment in 2018, Santa Rosa Symphony Music Director \u003ca href=\"https://www.pressdemocrat.com/article/lifestyle/get-to-know-francesco-lecce-chong-music-director-of-the-santa-rosa-symphon/\" rel=\"noopener noreferrer\" target=\"_blank\">Francesco Lecce-Chong\u003c/a> has been an absolute delight on the podium: he explains pieces, he makes jokes; he even once hired an actor to dress up in disguise and wander through the audience. (Long story.) Energetic, affable and serious about using his talent for good, he’s also pushing classical music in all the right directions. This season’s kickoff is a good example, by performing new work (\u003cem>Me he perdido\u003c/em>, by Angélica Negrón) as well as inviting a Black pianist as the program’s guest soloist (Awadagin Pratt, playing Mozart’s Piano Concerto No. 23). In the exquisite main hall of the Green Music Center, this is a program not to miss.\u003c/p>\n\u003cfigure id=\"attachment_11565818\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/05/Herbst-Theatre-Exterior_sm-e1462839627428-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11565818\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Herbst-Theatre-Exterior_sm-e1462839627428-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Herbst-Theatre-Exterior_sm-e1462839627428-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Herbst-Theatre-Exterior_sm-e1462839627428-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Herbst-Theatre-Exterior_sm-e1462839627428-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Herbst-Theatre-Exterior_sm-e1462839627428-1920x1279.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Herbst-Theatre-Exterior_sm-e1462839627428-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SF Music Day takes place inside the War Memorial Veterans Building, across from City Hall.\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://intermusicsf.org/sf-music-day/\" rel=\"noopener noreferrer\" target=\"_blank\">SF Music Day\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 9\u003cbr>\nWar Memorial Veterans Building, San Francisco\u003c/em>\u003c/p>\n\u003cp>You simply cannot go wrong with a day of free music experienced by wandering around a historic building. That’s what SF Music Day offers the Bay Area each year at the Herbst Theatre and various surrounding spaces inside the War Memorial Veterans Building, across from City Hall. From noon to 7pm, visitors can drop in on classical, jazz, blues, Greek, chamber music, brass music and experimental sets from 27 different groups. It’s perfect for bringing kids or visitors from out of town.\u003c/p>\n\u003cfigure id=\"attachment_13918645\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/YING_FANG.cred-Dario-Acosta-800x533.jpg\" alt=\"A CHinese woman in a red dress, backlit through a window\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13918645\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/YING_FANG.cred-Dario-Acosta-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/YING_FANG.cred-Dario-Acosta-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/YING_FANG.cred-Dario-Acosta-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/YING_FANG.cred-Dario-Acosta-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/YING_FANG.cred-Dario-Acosta-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/YING_FANG.cred-Dario-Acosta.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ying Fang performs in recital on Nov. 6 in Berkeley. \u003ccite>(Dario Acosta)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://calperformances.org/events/2022-23/recital/ying-fang-soprano-ken-noda-piano/\" rel=\"noopener noreferrer\" target=\"_blank\">Ying Fang\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 6\u003cbr>\nHertz Hall, Berkeley\u003c/em>\u003c/p>\n\u003cp>The Chinese-born soprano Ying Fang has had a busy past few years, having appeared on stage as Susanna in \u003cem>The Marriage of Figaro\u003c/em>, Pamina in \u003cem>The Magic Flute\u003c/em>, and Ännchen in \u003cem>Der Freischütz\u003c/em>. Add to that her appearances in Mahler’s symphonies No. 2 and 8 at the Mahler Festival in Leipzig, and it’s clear that a rising star is on her way to Berkeley. At Hertz Hall, her much-anticipated recital includes songs by Mahler, Richard Strauss, Schubert, Schumann and others, with piano accompaniment by Ken Noda.\u003c/p>\n\u003cfigure id=\"attachment_13918621\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Keyon7.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918621\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Keyon7-800x533.jpg\" alt=\"a Black man in a suit jacket plays the trumpet in a dimly lit club\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyon7-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyon7-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyon7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyon7-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyon7.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Keyon Harrold performs Nov. 18 at the Black Cat in San Francisco. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://blackcatsf.com/event/keyon-harrold-2022-11-18/\">Keyon Harrold\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 17–19\u003cbr>\nBlack Cat, San Francisco\u003c/em>\u003c/p>\n\u003cp>Born and raised in Ferguson, Missouri, Keyon Harrold is no stranger to jazz’s long tradition of incorporating themes of Black equality and racial justice into his music. He’s also no stranger to sharing the stage with stars like Beyoncé, Rihanna and Jay-Z, or hearing his music used in movies like the Miles Davis biopic \u003cem>Miles Ahead\u003c/em>. Last seen around these parts \u003ca href=\"https://www.youtube.com/watch?v=MIlBU0FtKr8\" rel=\"noopener noreferrer\" target=\"_blank\">playing with the rapper Pharoahe Monch\u003c/a> at the Blue Note Jazz Festival in Napa, the trumpeter returns for a small-club basement gig at the uber-hip Tenderloin outpost the Black Cat.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cem>Correction: A previous version of this article stated that Santa Rosa Symphony Music Director Francesco Lecce-Chong had once dressed in disguise and roamed through the audience. The man was an actor that Lecce-Chong had hired, not Lecce-Chong himself. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>An entire farewell tour had been planned for Michael Tilson Thomas’ 25th and final season as music director for the San Francisco Symphony, but COVID had other plans. Now, Tilson Thomas returns to the podium at Davies Symphony Hall for the first time since conducting his final piece as music director there, Mahler’s Symphony No. 6, on a very trepidatious March night in 2020 as the coronavirus began shutting down the city. This November, along with Schumann’s Symphony No. 1 and the short, rarely played \u003cem>Three German Dances\u003c/em> by Mozart, the program includes Tilson Thomas’ own \u003cem>Notturno\u003c/em>, with Demarre McGill on flute.\u003c/p>\n\u003cp>\u003cem>The San Francisco Symphony performs Friday–Sunday, Nov. 12–14, at Davies Symphony Hall in San Francisco. \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2021-22/MTT-MOZART,-MTT-SCHUMANN\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Mariachi Vargas have been a band for over 100 years, with five generations of musicians representing the southern Mexican town of Tecalitlan. Considered keepers of traditional Mexican music, they’ve appeared in over 200 films and 50 recordings, performed at the Latin Grammys and traveled the world. In fact, many consider them the world’s best mariachi ensemble.\u003c/p>\n\u003cp>On May 5, Mariachi Vargas will be in San Francisco to celebrate Cinco de Mayo with their debut concert at Davies Symphony Hall, the home of the San Francisco Symphony. With Carlos Martinez as creative director, the band features two harps, one vihuela, one guitar, one guitarron, two trumpets and six violins. While the San Francisco Symphony will not be joining them for this show, Mariachi Vargas’ stellar \u003cem>sones, \u003c/em>classical works and popular hits will be a treat to hear over the prestigious concert hall’s sound system.\u003c/p>\n\u003cp>Details for concert can be found \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2018-19/mariachivargas.aspx\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://youtu.be/sF-9ItYRq4U\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "Salonen's Debut SF Symphony Concert Shows His Maverick Heart",
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"content": "\u003cp>Esa-Pekka Salonen probably would have been a rockstar in another life.\u003c/p>\n\u003cp>Taking the podium at Davies Symphony Hall for his first concert as music director designate of the San Francisco Symphony on Jan. 18, the charismatic Finnish conductor wore a Mandarin-collared jacket instead of a traditional suit and tie, and communicated with the orchestra through sly grins and twinkly-eyed glances. After an exhilarating two hours of Richard Strauss, Jean Sibelius and a contemporary composition, \u003cem>Metacosmos\u003c/em> by Anna Thorvaldsdottir, he blew kisses at the audience as they showered him with multiple standing ovations.\u003c/p>\n\u003cp>If Salonen’s debut concert was to give audiences a sense of what he’s all about, the three works the San Francisco Symphony performed Friday night (with \u003ca href=\"https://www.sfsymphony.org/index.aspx\" rel=\"noopener\" target=\"_blank\">repeat performances\u003c/a> on Jan. 19 and 20) showed where the forward-thinking conductor has been, where he’s going and how he plans to get there.\u003c/p>\n\u003cfigure id=\"attachment_13849047\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004-800x450.jpg\" alt=\"Esa-Pekka Salonen conducts the San Francisco Symphony for the first time since his appointment as Music Director Designate.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13849047\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen conducts the San Francisco Symphony for the first time since his appointment as Music Director Designate. \u003ccite>(Brandon Patoc/San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Salonen had already debuted \u003cem>Metacosmos\u003c/em>, from Icelandic composer Thorvaldsdottir, in 2018 with the New York Philharmonic. For its west coast premiere at Davies, it emanated as more a physical experience than an intellectual or emotional one, with the low rumble of upright basses and horns giving way to a string section that conjured the feeling of tumbling downward into a rabbit hole. A crescendo of bass drums took on the tribal cadence of a drum circle, eventually resolving into a reverie of blissful, floating violins.\u003c/p>\n\u003cp>If opening the program with \u003cem>Metacosmos\u003c/em> demonstrated Salonen’s penchant for experimental works, then the final piece of the evening, Jean Sibelius’ 1886 \u003cem>Four Legends from the Kalevala\u003c/em>, let the audience into his formative years and cultural background. The \u003cem>Kalevala\u003c/em> is a Finnish epic that Salonen studied in school, back in his home country; the sections Sibelius interpreted into music deal with the adventures of a young hero in search of a bride, Lemminkäinen, whom Salonen described as a “raucous, punk character” in the post-concert Q&A.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[contextly_sidebar id=”ekQu5Mcdt76Qwes7ptosdcH9bWh9LDYB”]\u003c/p>\n\u003cp>\u003cem>Four Legends from the Kalevala \u003c/em>took twists and turns from excitement to peril to joy. Preceding it, Strauss’ \u003cem>Also sprach Zarathustra\u003c/em>, the enduring tone poem based on a philosophical novel by Nietzsche, attested to Salonen’s penchant for creative problem-solving with its constant drama of tension and resolution. The composition famously used in Stanley Kubrick’s \u003cem>2001\u003c/em> contemplates what Nietzche viewed as a battle between man and nature, chaos and harmony. In Salonen’s hands, it evolved at a rapid clip, with triumphant trumpets overpowering pessimistic basses and cellos before skipping into a happy-go-lucky waltz.\u003c/p>\n\u003cp>The bold performances of\u003cem> Also sprach Zarathustra \u003c/em>and \u003cem>Metacosmos \u003c/em>showed that Salonen enjoys a challenge. If that’s the case, he’s in the right place. As orchestras worldwide grapple with attracting younger audiences (a question that came up in the Q&A afterwards), Salonen looks a few steps further, contemplating ways to integrate classical music with new technology. After the show, he spoke of his “brain trust” of collaborators, with whom he plans to work on projects involving virtual reality and artificial intelligence.\u003c/p>\n\u003cfigure id=\"attachment_13849048\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849048\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0009-800x534.jpg\" alt=\"Esa-Pekka Salonen conducts the San Francisco Symphony on Jan. 18. \" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0009-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0009-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0009-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0009-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0009-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0009.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen conducts the San Francisco Symphony on Jan. 18. \u003ccite>(Brandon Patoc/San Francisco Sympony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yet Salonen’s inclusion of the \u003cem>Kalevala\u003c/em> also proved he has one foot rooted in tradition. And although he discussed some high-minded concepts on Friday night, his stage banter was approachable and relatable. “If there are any young, aspiring conductors here, I will just tell you: never conduct a concert with brand new shoes,” he joked, gesturing towards his tired feet.\u003c/p>\n\u003cp>All in all, Salonen performed with the confidence of an experienced showman, but he was also earnest and grateful when he spoke of his passion for the music, and his excitement to get to know the San Francisco Symphony’s musicians and audiences.\u003c/p>\n\u003cp>“Conducting is the best seat in the house, really,” he said with his mischievous smile. “Not only to have all that sound coming at you, but to feel the energy of these people, and to have a hundred really talented, committed people going on full blast in front of you—it’s unbelievable.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Esa-Pekka Salonen probably would have been a rockstar in another life.\u003c/p>\n\u003cp>Taking the podium at Davies Symphony Hall for his first concert as music director designate of the San Francisco Symphony on Jan. 18, the charismatic Finnish conductor wore a Mandarin-collared jacket instead of a traditional suit and tie, and communicated with the orchestra through sly grins and twinkly-eyed glances. After an exhilarating two hours of Richard Strauss, Jean Sibelius and a contemporary composition, \u003cem>Metacosmos\u003c/em> by Anna Thorvaldsdottir, he blew kisses at the audience as they showered him with multiple standing ovations.\u003c/p>\n\u003cp>If Salonen’s debut concert was to give audiences a sense of what he’s all about, the three works the San Francisco Symphony performed Friday night (with \u003ca href=\"https://www.sfsymphony.org/index.aspx\" rel=\"noopener\" target=\"_blank\">repeat performances\u003c/a> on Jan. 19 and 20) showed where the forward-thinking conductor has been, where he’s going and how he plans to get there.\u003c/p>\n\u003cfigure id=\"attachment_13849047\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004-800x450.jpg\" alt=\"Esa-Pekka Salonen conducts the San Francisco Symphony for the first time since his appointment as Music Director Designate.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13849047\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0004.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen conducts the San Francisco Symphony for the first time since his appointment as Music Director Designate. \u003ccite>(Brandon Patoc/San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Salonen had already debuted \u003cem>Metacosmos\u003c/em>, from Icelandic composer Thorvaldsdottir, in 2018 with the New York Philharmonic. For its west coast premiere at Davies, it emanated as more a physical experience than an intellectual or emotional one, with the low rumble of upright basses and horns giving way to a string section that conjured the feeling of tumbling downward into a rabbit hole. A crescendo of bass drums took on the tribal cadence of a drum circle, eventually resolving into a reverie of blissful, floating violins.\u003c/p>\n\u003cp>If opening the program with \u003cem>Metacosmos\u003c/em> demonstrated Salonen’s penchant for experimental works, then the final piece of the evening, Jean Sibelius’ 1886 \u003cem>Four Legends from the Kalevala\u003c/em>, let the audience into his formative years and cultural background. The \u003cem>Kalevala\u003c/em> is a Finnish epic that Salonen studied in school, back in his home country; the sections Sibelius interpreted into music deal with the adventures of a young hero in search of a bride, Lemminkäinen, whom Salonen described as a “raucous, punk character” in the post-concert Q&A.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cem>Four Legends from the Kalevala \u003c/em>took twists and turns from excitement to peril to joy. Preceding it, Strauss’ \u003cem>Also sprach Zarathustra\u003c/em>, the enduring tone poem based on a philosophical novel by Nietzsche, attested to Salonen’s penchant for creative problem-solving with its constant drama of tension and resolution. The composition famously used in Stanley Kubrick’s \u003cem>2001\u003c/em> contemplates what Nietzche viewed as a battle between man and nature, chaos and harmony. In Salonen’s hands, it evolved at a rapid clip, with triumphant trumpets overpowering pessimistic basses and cellos before skipping into a happy-go-lucky waltz.\u003c/p>\n\u003cp>The bold performances of\u003cem> Also sprach Zarathustra \u003c/em>and \u003cem>Metacosmos \u003c/em>showed that Salonen enjoys a challenge. If that’s the case, he’s in the right place. As orchestras worldwide grapple with attracting younger audiences (a question that came up in the Q&A afterwards), Salonen looks a few steps further, contemplating ways to integrate classical music with new technology. After the show, he spoke of his “brain trust” of collaborators, with whom he plans to work on projects involving virtual reality and artificial intelligence.\u003c/p>\n\u003cfigure id=\"attachment_13849048\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849048\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0009-800x534.jpg\" alt=\"Esa-Pekka Salonen conducts the San Francisco Symphony on Jan. 18. \" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0009-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0009-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0009-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0009-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0009-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0009.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen conducts the San Francisco Symphony on Jan. 18. \u003ccite>(Brandon Patoc/San Francisco Sympony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yet Salonen’s inclusion of the \u003cem>Kalevala\u003c/em> also proved he has one foot rooted in tradition. And although he discussed some high-minded concepts on Friday night, his stage banter was approachable and relatable. “If there are any young, aspiring conductors here, I will just tell you: never conduct a concert with brand new shoes,” he joked, gesturing towards his tired feet.\u003c/p>\n\u003cp>All in all, Salonen performed with the confidence of an experienced showman, but he was also earnest and grateful when he spoke of his passion for the music, and his excitement to get to know the San Francisco Symphony’s musicians and audiences.\u003c/p>\n\u003cp>“Conducting is the best seat in the house, really,” he said with his mischievous smile. “Not only to have all that sound coming at you, but to feel the energy of these people, and to have a hundred really talented, committed people going on full blast in front of you—it’s unbelievable.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
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}
},
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"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
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"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
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"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"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 />",
"airtime": "SUN 9pm-10pm",
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"meta": {
"site": "radio",
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},
"link": "/radio/program/code-switch-life-kit",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"commonwealth-club": {
"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.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
"link": "/forum",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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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/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"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": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"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)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"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>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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