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"content": "\u003cp>When \u003ca href=\"https://www.kqed.org/arts/tag/michael-tilson-thomas\">Michael Tilson Thomas\u003c/a> walked on stage at Davies Symphony Hall Saturday night, two things were evident. One: the applause from both the orchestra and audience was unbridled. And two: the beloved maestro was moving slowly.\u003c/p>\n\u003cp>As if to acknowledge the crowd’s concern, Thomas cracked a wry smile and asked for a drumroll. Then, like he’d done thousands of times before, he climbed the steps to stand at the podium. Trouble-free.\u003c/p>\n\u003cp>You guessed it: the crowd went wild.\u003c/p>\n\u003cfigure id=\"attachment_13975347\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-7.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13975347\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-7.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-7-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-7-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-7-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-7-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-7-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Blue balloons fall from the ceiling for Michael Tilson Thomas’ 80th birthday celebration at Davies Symphony Hall, April 26, 2025. \u003ccite>(Christopher M. Howard / San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For this was no ordinary symphony performance, but a party — balloon drop and all — for the esteemed conductor, composer and music director’s 80th birthday. The mood was festive, even with the hard facts hanging in the air. Thomas \u003ca href=\"https://www.instagram.com/p/DGdpQOVzcsW/\">announced in February\u003c/a> that after three and a half years of treatment for brain cancer, the tumor had returned, and that this would be his final appearance with the symphony.\u003c/p>\n\u003cp>He was a little weaker, yes. But the love in the room was about the strongest I’ve ever seen.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The night’s testimonials and blown kisses nearly outnumbered the hues of blue, Thomas’ favorite color. A screen showed \u003ca href=\"https://www.youtube.com/watch?v=doe__TCUH3c\">a photo montage spanning a life in music\u003c/a>, from boyhood to global stature. Commemorative blue bandanas draped on every seat bore a quote from Thomas reading, in part, “To be an artist is to have the courage for rebirth and growth. It’s never ending.”\u003c/p>\n\u003cfigure id=\"attachment_13975349\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_061.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13975349\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_061.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_061-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_061-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_061-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_061-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_061-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_061-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Michael Tilson Thomas conducts the San Francisco Symphony in a farewell performance for his 80th birthday celebration at Davies Symphony Hall, April 26, 2025. \u003ccite>(Stefan Cohen / San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the stand, furnished with a chair he ended up not using, Thomas conducted with stoic deliberation. During the opener, Variations and Fugue on a Theme of Henry Purcell from Britten’s \u003cem>Young Person’s Guide to the Orchestra\u003c/em>, numerous instruments got solo time: tympani, piccolo, harp. Amid the context of the evening, it felt like each orchestra section taking turns talking to Thomas, wishing him the best.\u003c/p>\n\u003cp>During the program closer of Respighi’s \u003cem>Roman Festivals\u003c/em>, with all sections playing over each other seemingly on their own time, a conductor might be tempted to lunge in with dramatic flair. Instead, amidst the chaos, he calmly marked the beat, 1-2-3-4, trusting the orchestra as always.\u003c/p>\n\u003cp>Even while Teddy Abrams or Edwin Outwater assumed the podium for the remaining pieces, such as the finale to \u003cem>Chichester Psalms\u003c/em> by Thomas’ mentor and close friend Leonard Bernstein, Thomas couldn’t help but half-conduct along, sitting in a special chair onstage next to his husband Joshua Robison, who produced the event.\u003c/p>\n\u003cfigure id=\"attachment_13975354\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-17342.jpg\" alt=\"\" width=\"2000\" height=\"1342\" class=\"size-full wp-image-13975354\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-17342.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-17342-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-17342-1020x684.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-17342-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-17342-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-17342-1536x1031.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-17342-1920x1288.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(Clockwise from top left) Sasha Cooke, Daniel Lurie, Frederica Von Stade and Ben Jones with conductor Teddy Abrams at Michael Tilson Thomas’ 80th birthday celebration at Davies Symphony Hall, April 26, 2025.\u003c/figcaption>\u003c/figure>\n\u003cp>For a series of his own songs, all of them vocal pieces performed in new arrangements, he allowed himself the pleasure of listening.\u003c/p>\n\u003cp>There has been meaning and earnestness in everything Thomas does. His original songs are no exception — musings on life which acknowledge sadness but are never consumed by it. His song “Not Everyone Thinks That I’m Beautiful” warns of wearing the heart too prominently on one’s sleeve; meanwhile, “Grace” opens with a reference to a plate of herring.\u003c/p>\n\u003cp>Nearly everybody called to the stage used their time to sing Thomas’ praises. While City Hall across the street was lit up in blue, San Francisco Mayor Daniel Lurie proclaimed April 26 “Michael Tilson Thomas Day” — not before remarking on the Davies stage that “I’ve always wondered what it would be like to be as great as MTT.” Edwin Outwater, who was hired by Thomas the week of 9/11, proclaimed to the maestro with affection and awe that “some of your ideas are insane,” and meant it as a high compliment.\u003c/p>\n\u003cfigure id=\"attachment_13975356\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_011.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13975356\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_011.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_011-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_011-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_011-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_011-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_011-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_011-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Michael Tilson Thomas sits in a chair near center stage to receive tributes during a farewell performance for his 80th birthday celebration at Davies Symphony Hall, April 26, 2025.\u003c/figcaption>\u003c/figure>\n\u003cp>The four solo singers employed for the performance shared anecdotes and memories of how Thomas changed their careers. Sasha Cooke joked about almost wearing a cowboy hat to the concert. Jessica Vosk recalled how Thomas cast her in \u003cem>West Side Story\u003c/em> after she kicked off a shoe during her audition. Frederica von Stade recalled singing Debussy’s \u003cem>La flûte de Pan\u003c/em> “ff-f-ff-ff-ff-\u003cem>forty\u003c/em> years ago?!” at Carnegie Hall in mock discombobulation at the passage of time. \u003c/p>\n\u003cp>Ben Jones, his voice cracking, summed up the influence that Thomas as a mentor has had on so many: “You were one of the first people to make me feel like I might be able to do this,” he said.\u003c/p>\n\u003cp>Just as with \u003ca href=\"https://www.kqed.org/arts/13951043/review-michael-tilson-thomas-mahler-5-san-francisco-symphony\">Thomas’ performance last year conducting Mahler’s Fifth Symphony in his last series concert with the Symphony\u003c/a>, emotions were tempered by the remarkable life and career of a monumental figure who has become indelibly interwoven with the city of San Francisco. \u003c/p>\n\u003cfigure id=\"attachment_13975350\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_071-Medium-res.jpg\" alt=\"\" width=\"1200\" height=\"801\" class=\"size-full wp-image-13975350\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_071-Medium-res.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_071-Medium-res-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_071-Medium-res-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_071-Medium-res-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_071-Medium-res-768x513.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Symphony celebrates the 80th birthday of Music Director Laureate Michael Tilson Thomas. In a program featuring Michael Tilson Thomas, Conductor, Teddy Abrams, Conductor, Edwin Outwater, Conductor, Sasha Cooke, Mezzo-soprano,\u003cbr>Frederica von Stade, Mezzo-soprano, Jessica Vosk, Vocalist, Ben Jones, Tenor, John Wilson, Piano, and the San Francisco Symphony Chorus, with Jenny Wong, Chorus Director. At Davies Symphony Hall on Saturday night, April 26, 2025. \u003ccite>(Stefan Cohen / San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the concert’s end, before blue balloons bounced around the stage and the orchestra chanted “MTT! MTT!,” Cooke, Jones, Vosk and von Stade sang one last song. “Some Other Time,” written by Bernstein with colleagues Betty Comden and Adolph Green, had a plaintive, reflective spirit perfect for the moment.\u003c/p>\n\u003cp>Once again, from his chair, Thomas conducted a downbeat here, a cymbal accent there. And then — to Robison, to the orchestra, to the audience, to the world — he began singing along at the song’s end:\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>There’s so much more embracing\u003cbr>\nStill to be done\u003cbr>\nBut time is racing\u003cbr>\nOh well, we’ll catch up some other time \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When \u003ca href=\"https://www.kqed.org/arts/tag/michael-tilson-thomas\">Michael Tilson Thomas\u003c/a> walked on stage at Davies Symphony Hall Saturday night, two things were evident. One: the applause from both the orchestra and audience was unbridled. And two: the beloved maestro was moving slowly.\u003c/p>\n\u003cp>As if to acknowledge the crowd’s concern, Thomas cracked a wry smile and asked for a drumroll. Then, like he’d done thousands of times before, he climbed the steps to stand at the podium. Trouble-free.\u003c/p>\n\u003cp>You guessed it: the crowd went wild.\u003c/p>\n\u003cfigure id=\"attachment_13975347\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-7.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13975347\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-7.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-7-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-7-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-7-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-7-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-7-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Blue balloons fall from the ceiling for Michael Tilson Thomas’ 80th birthday celebration at Davies Symphony Hall, April 26, 2025. \u003ccite>(Christopher M. Howard / San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For this was no ordinary symphony performance, but a party — balloon drop and all — for the esteemed conductor, composer and music director’s 80th birthday. The mood was festive, even with the hard facts hanging in the air. Thomas \u003ca href=\"https://www.instagram.com/p/DGdpQOVzcsW/\">announced in February\u003c/a> that after three and a half years of treatment for brain cancer, the tumor had returned, and that this would be his final appearance with the symphony.\u003c/p>\n\u003cp>He was a little weaker, yes. But the love in the room was about the strongest I’ve ever seen.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The night’s testimonials and blown kisses nearly outnumbered the hues of blue, Thomas’ favorite color. A screen showed \u003ca href=\"https://www.youtube.com/watch?v=doe__TCUH3c\">a photo montage spanning a life in music\u003c/a>, from boyhood to global stature. Commemorative blue bandanas draped on every seat bore a quote from Thomas reading, in part, “To be an artist is to have the courage for rebirth and growth. It’s never ending.”\u003c/p>\n\u003cfigure id=\"attachment_13975349\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_061.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13975349\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_061.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_061-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_061-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_061-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_061-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_061-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_061-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Michael Tilson Thomas conducts the San Francisco Symphony in a farewell performance for his 80th birthday celebration at Davies Symphony Hall, April 26, 2025. \u003ccite>(Stefan Cohen / San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the stand, furnished with a chair he ended up not using, Thomas conducted with stoic deliberation. During the opener, Variations and Fugue on a Theme of Henry Purcell from Britten’s \u003cem>Young Person’s Guide to the Orchestra\u003c/em>, numerous instruments got solo time: tympani, piccolo, harp. Amid the context of the evening, it felt like each orchestra section taking turns talking to Thomas, wishing him the best.\u003c/p>\n\u003cp>During the program closer of Respighi’s \u003cem>Roman Festivals\u003c/em>, with all sections playing over each other seemingly on their own time, a conductor might be tempted to lunge in with dramatic flair. Instead, amidst the chaos, he calmly marked the beat, 1-2-3-4, trusting the orchestra as always.\u003c/p>\n\u003cp>Even while Teddy Abrams or Edwin Outwater assumed the podium for the remaining pieces, such as the finale to \u003cem>Chichester Psalms\u003c/em> by Thomas’ mentor and close friend Leonard Bernstein, Thomas couldn’t help but half-conduct along, sitting in a special chair onstage next to his husband Joshua Robison, who produced the event.\u003c/p>\n\u003cfigure id=\"attachment_13975354\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-17342.jpg\" alt=\"\" width=\"2000\" height=\"1342\" class=\"size-full wp-image-13975354\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-17342.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-17342-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-17342-1020x684.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-17342-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-17342-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-17342-1536x1031.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2025_SFS_MTT80-17342-1920x1288.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(Clockwise from top left) Sasha Cooke, Daniel Lurie, Frederica Von Stade and Ben Jones with conductor Teddy Abrams at Michael Tilson Thomas’ 80th birthday celebration at Davies Symphony Hall, April 26, 2025.\u003c/figcaption>\u003c/figure>\n\u003cp>For a series of his own songs, all of them vocal pieces performed in new arrangements, he allowed himself the pleasure of listening.\u003c/p>\n\u003cp>There has been meaning and earnestness in everything Thomas does. His original songs are no exception — musings on life which acknowledge sadness but are never consumed by it. His song “Not Everyone Thinks That I’m Beautiful” warns of wearing the heart too prominently on one’s sleeve; meanwhile, “Grace” opens with a reference to a plate of herring.\u003c/p>\n\u003cp>Nearly everybody called to the stage used their time to sing Thomas’ praises. While City Hall across the street was lit up in blue, San Francisco Mayor Daniel Lurie proclaimed April 26 “Michael Tilson Thomas Day” — not before remarking on the Davies stage that “I’ve always wondered what it would be like to be as great as MTT.” Edwin Outwater, who was hired by Thomas the week of 9/11, proclaimed to the maestro with affection and awe that “some of your ideas are insane,” and meant it as a high compliment.\u003c/p>\n\u003cfigure id=\"attachment_13975356\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_011.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13975356\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_011.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_011-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_011-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_011-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_011-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_011-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_011-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Michael Tilson Thomas sits in a chair near center stage to receive tributes during a farewell performance for his 80th birthday celebration at Davies Symphony Hall, April 26, 2025.\u003c/figcaption>\u003c/figure>\n\u003cp>The four solo singers employed for the performance shared anecdotes and memories of how Thomas changed their careers. Sasha Cooke joked about almost wearing a cowboy hat to the concert. Jessica Vosk recalled how Thomas cast her in \u003cem>West Side Story\u003c/em> after she kicked off a shoe during her audition. Frederica von Stade recalled singing Debussy’s \u003cem>La flûte de Pan\u003c/em> “ff-f-ff-ff-ff-\u003cem>forty\u003c/em> years ago?!” at Carnegie Hall in mock discombobulation at the passage of time. \u003c/p>\n\u003cp>Ben Jones, his voice cracking, summed up the influence that Thomas as a mentor has had on so many: “You were one of the first people to make me feel like I might be able to do this,” he said.\u003c/p>\n\u003cp>Just as with \u003ca href=\"https://www.kqed.org/arts/13951043/review-michael-tilson-thomas-mahler-5-san-francisco-symphony\">Thomas’ performance last year conducting Mahler’s Fifth Symphony in his last series concert with the Symphony\u003c/a>, emotions were tempered by the remarkable life and career of a monumental figure who has become indelibly interwoven with the city of San Francisco. \u003c/p>\n\u003cfigure id=\"attachment_13975350\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_071-Medium-res.jpg\" alt=\"\" width=\"1200\" height=\"801\" class=\"size-full wp-image-13975350\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_071-Medium-res.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_071-Medium-res-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_071-Medium-res-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_071-Medium-res-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/2425concerts_042625_mttbirthday_stefancohen_071-Medium-res-768x513.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Symphony celebrates the 80th birthday of Music Director Laureate Michael Tilson Thomas. In a program featuring Michael Tilson Thomas, Conductor, Teddy Abrams, Conductor, Edwin Outwater, Conductor, Sasha Cooke, Mezzo-soprano,\u003cbr>Frederica von Stade, Mezzo-soprano, Jessica Vosk, Vocalist, Ben Jones, Tenor, John Wilson, Piano, and the San Francisco Symphony Chorus, with Jenny Wong, Chorus Director. At Davies Symphony Hall on Saturday night, April 26, 2025. \u003ccite>(Stefan Cohen / San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the concert’s end, before blue balloons bounced around the stage and the orchestra chanted “MTT! MTT!,” Cooke, Jones, Vosk and von Stade sang one last song. “Some Other Time,” written by Bernstein with colleagues Betty Comden and Adolph Green, had a plaintive, reflective spirit perfect for the moment.\u003c/p>\n\u003cp>Once again, from his chair, Thomas conducted a downbeat here, a cymbal accent there. And then — to Robison, to the orchestra, to the audience, to the world — he began singing along at the song’s end:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>There’s so much more embracing\u003cbr>\nStill to be done\u003cbr>\nBut time is racing\u003cbr>\nOh well, we’ll catch up some other time \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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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"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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"headTitle": "World Premieres, Classical Masterpieces Abound in SF Symphony’s New Season | KQED",
"content": "\u003cp>Even in an era with endless entertainment options, there’s nothing quite like the rush of seeing 89 top-tier musicians coming together, channeling their passion — and thousands of hours of practice — into a moving vision. On Tuesday, the \u003ca href=\"https://www.sfsymphony.org/\">San Francisco Symphony\u003c/a> (SFS) announced its ambitious \u003ca href=\"https://www.sfsymphony.org/Calendar/2023-24/2023-24Season\">2023-2024 season\u003c/a>, featuring several world premieres, superstar guest performers, classical masterpieces, experimental SoundBox programming and more.\u003c/p>\n\u003cp>A highlight of the season is the California Festival: A Celebration of New Music, a new statewide initiative by SFS Music Director Esa-Pekka Salonen, LA Philharmonic Music and Artistic Director Gustavo Dudamel and San Diego Symphony Music Director Rafael Payare. (Recently poached by the New York Philharmonic\u003ca href=\"https://www.nytimes.com/2023/02/12/arts/music/gustavo-dudamel-new-york-philharmonic.html\">, Dudamel’s\u003c/a>\u003ca href=\"https://www.nytimes.com/2023/02/12/arts/music/gustavo-dudamel-new-york-philharmonic.html\"> esteemed tenure at the LA Phil is set to end in 2026\u003c/a>.)\u003c/p>\n\u003cp>Running Nov. 3–19, the California Festival features international works composed within the last five years. Salonen conducts the world premieres of \u003ci>City Lights: Aquatic Park\u003c/i> by Terry Riley — the influential minimalist composer still innovating at 87 years old — and \u003ci>Drowned in Light\u003c/i> by \u003ca href=\"https://www.washingtonpost.com/music/2022/03/16/cartography-project-kennedy-center-review/\">Jens Ibsen\u003c/a>, a critically acclaimed young vocalist, composer and winner of the San Francisco Conservatory’s 2022 \u003ca href=\"https://www.kqed.org/arts/13909289/emerging-black-composers-project-san-francisco-symphony-conservatory-music-trevor-weston\">Emerging Black Composers Project\u003c/a>. Salonen, a formidable composer himself, also conducts his own piece \u003ci>Kínēma\u003c/i>, featuring SFS Principal Clarinet Carey Bell.\u003c/p>\n\u003cp>https://youtu.be/m9eJ3zp0aho\u003c/p>\n\u003cp>SFS’ Great Performers Series brings out Russian star pianist \u003ca href=\"https://www.kqed.org/arts/13812897/wunderkind-daniil-trifonov-takes-the-classical-music-world-by-storm\">Daniil Trifonov\u003c/a> on Nov. 19, 2023, and Chinese piano virtuoso Yuja Wang on May 15, 2024. And on April 2, 2024, cellist Yo-Yo Ma and pianist Kathryn Scott perform works by Gabriel Fauré, Antonín Dvořák and others. Alonzo King LINES Ballet joins the orchestra in June 2024 for performances of Maurice Ravel’s \u003cem>Ma Mère l’Oye\u003c/em> and Arnold Schoenberg’s \u003cem>Erwartung\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>SFS Music Director Laureate Michael Tilson Thomas returns to the stage to conduct several performances, starting with Ludwig van Beethoven’s Symphony No. 9 in October 2023. In January 2024, Tilson Thomas revisits Symphony No. 5 by Gustav Mahler, a defining composer of his decades-long career at SFS. (Fans will note that the same Mahler symphony is a centerpiece of the Oscar-nominated 2022 film \u003ci>Tár\u003c/i>, which included an \u003ca href=\"https://www.latimes.com/entertainment-arts/story/2023-01-25/oscars-tar-conducting-is-bad-for-classical-music\">inexplicable dig at MTT\u003c/a>.) Barrier-breaking guest conductor Gustavo Dudamel takes the podium to conduct Johannes Brahms’ Symphony No. 2 on Nov. 24, 2023.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" 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>The San Francisco Symphony’s season begins on Sept. 22, 2023. For a full concert schedule, \u003ca href=\"https://www.sfsymphony.org/Calendar/2023-24/2023-24Season\">visit the San Francisco Symphony\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Even in an era with endless entertainment options, there’s nothing quite like the rush of seeing 89 top-tier musicians coming together, channeling their passion — and thousands of hours of practice — into a moving vision. On Tuesday, the \u003ca href=\"https://www.sfsymphony.org/\">San Francisco Symphony\u003c/a> (SFS) announced its ambitious \u003ca href=\"https://www.sfsymphony.org/Calendar/2023-24/2023-24Season\">2023-2024 season\u003c/a>, featuring several world premieres, superstar guest performers, classical masterpieces, experimental SoundBox programming and more.\u003c/p>\n\u003cp>A highlight of the season is the California Festival: A Celebration of New Music, a new statewide initiative by SFS Music Director Esa-Pekka Salonen, LA Philharmonic Music and Artistic Director Gustavo Dudamel and San Diego Symphony Music Director Rafael Payare. (Recently poached by the New York Philharmonic\u003ca href=\"https://www.nytimes.com/2023/02/12/arts/music/gustavo-dudamel-new-york-philharmonic.html\">, Dudamel’s\u003c/a>\u003ca href=\"https://www.nytimes.com/2023/02/12/arts/music/gustavo-dudamel-new-york-philharmonic.html\"> esteemed tenure at the LA Phil is set to end in 2026\u003c/a>.)\u003c/p>\n\u003cp>Running Nov. 3–19, the California Festival features international works composed within the last five years. Salonen conducts the world premieres of \u003ci>City Lights: Aquatic Park\u003c/i> by Terry Riley — the influential minimalist composer still innovating at 87 years old — and \u003ci>Drowned in Light\u003c/i> by \u003ca href=\"https://www.washingtonpost.com/music/2022/03/16/cartography-project-kennedy-center-review/\">Jens Ibsen\u003c/a>, a critically acclaimed young vocalist, composer and winner of the San Francisco Conservatory’s 2022 \u003ca href=\"https://www.kqed.org/arts/13909289/emerging-black-composers-project-san-francisco-symphony-conservatory-music-trevor-weston\">Emerging Black Composers Project\u003c/a>. Salonen, a formidable composer himself, also conducts his own piece \u003ci>Kínēma\u003c/i>, featuring SFS Principal Clarinet Carey Bell.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/m9eJ3zp0aho'\n title='//www.youtube.com/embed/m9eJ3zp0aho'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>SFS’ Great Performers Series brings out Russian star pianist \u003ca href=\"https://www.kqed.org/arts/13812897/wunderkind-daniil-trifonov-takes-the-classical-music-world-by-storm\">Daniil Trifonov\u003c/a> on Nov. 19, 2023, and Chinese piano virtuoso Yuja Wang on May 15, 2024. And on April 2, 2024, cellist Yo-Yo Ma and pianist Kathryn Scott perform works by Gabriel Fauré, Antonín Dvořák and others. Alonzo King LINES Ballet joins the orchestra in June 2024 for performances of Maurice Ravel’s \u003cem>Ma Mère l’Oye\u003c/em> and Arnold Schoenberg’s \u003cem>Erwartung\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>SFS Music Director Laureate Michael Tilson Thomas returns to the stage to conduct several performances, starting with Ludwig van Beethoven’s Symphony No. 9 in October 2023. In January 2024, Tilson Thomas revisits Symphony No. 5 by Gustav Mahler, a defining composer of his decades-long career at SFS. (Fans will note that the same Mahler symphony is a centerpiece of the Oscar-nominated 2022 film \u003ci>Tár\u003c/i>, which included an \u003ca href=\"https://www.latimes.com/entertainment-arts/story/2023-01-25/oscars-tar-conducting-is-bad-for-classical-music\">inexplicable dig at MTT\u003c/a>.) Barrier-breaking guest conductor Gustavo Dudamel takes the podium to conduct Johannes Brahms’ Symphony No. 2 on Nov. 24, 2023.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" 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>The San Francisco Symphony’s season begins on Sept. 22, 2023. For a full concert schedule, \u003ca href=\"https://www.sfsymphony.org/Calendar/2023-24/2023-24Season\">visit the San Francisco Symphony\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Michael Tilson Thomas, the former longtime music director of the San Francisco Symphony, announced Wednesday that he has an aggressive form of brain cancer and is taking a step back from professional life.\u003c/p>\n\u003cp>The conductor and composer shared the news publicly for the first time in a signed letter sent to the media by his New York publicist, Constance Shuman.\u003c/p>\n\u003cp>Tilson Thomas has been diagnosed with Glioblastoma Multiforme, a serious form of brain cancer, he says. He has undergone radiotherapy, chemotherapy and surgery to remove the visible signs of the disease. “Currently the cancer is in check,” he writes. “But the future is uncertain as Glioblastoma is a stealthy adversary. Its recurrence is, unfortunately, the rule rather than the exception.”\u003c/p>\n\u003cp>“It takes strength to meet the demands of the music and to collaborate on the highest level with the remarkable musicians who so generously welcomed me,” Tilson Thomas writes in the letter, with reference to the major orchestras including the San Francisco Symphony, the New York Philharmonic and the Los Angeles Philharmonic whom he has led in 20 concerts in recent months. “I now see that it is time for me to consider what level of work and responsibilities I can sustain in the future.”\u003c/p>\n\u003cp>“It was so amazing to have Michael back this January with the magnificent two programs featuring Prokofiev’s Fifth Symphony and Mahler One — pieces that I have a long history of playing with Michael all over the world — and to see him in very good spirits, projecting energy and most of all, love of music and love of all the musicians who were collaborating with him,” said San Francisco Symphony concertmaster Alexander Barantschik in an interview with KQED. “I’m just wishing Michael all I can wish from the bottom of my heart, and I hope to see him soon on stage again. \u003ci>“\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Michael Tilson Thomas has been a longtime friend, mentor, and fellow hippy-at-heart, and his love of adventurous music-making has been one of the most inspiring elements of my life in the Bay Area,” said local composer Mason Bates. “He has much more to contribute and I can’t wait to see what’s next.”\u003c/p>\n\u003cp>Tilson Thomas adds that he plans to reduce his administrative responsibilities and step down from his role as the artistic director of the New World Symphony, the top-tier youth orchestra based in Miami that he co-founded more than 30 years ago. He says he intends to go ahead with currently scheduled conducting engagements in the United States and Europe.\u003c/p>\n\u003cp>“I’m planning more time to wonder, wander, cook, and spend time with loved ones—two legged and four,” he writes by way of signing off. “Life is precious.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Read Michael Tilson Thomas’ letter in full:\u003c/p>\n\u003cfigure id=\"attachment_13909980\" class=\"wp-caption aligncenter\" style=\"max-width: 703px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909980\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/A-Letter-from-MTT.jpg\" alt=\"\" width=\"703\" height=\"908\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/A-Letter-from-MTT.jpg 703w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/A-Letter-from-MTT-160x207.jpg 160w\" sizes=\"(max-width: 703px) 100vw, 703px\">\u003cfigcaption class=\"wp-caption-text\">Letter from Michael Tilson Thomas, March 2, 2022 \u003ccite>(Printed with permission from Constance Shuman, Publicist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Michael Tilson Thomas, the former longtime music director of the San Francisco Symphony, announced Wednesday that he has an aggressive form of brain cancer and is taking a step back from professional life.\u003c/p>\n\u003cp>The conductor and composer shared the news publicly for the first time in a signed letter sent to the media by his New York publicist, Constance Shuman.\u003c/p>\n\u003cp>Tilson Thomas has been diagnosed with Glioblastoma Multiforme, a serious form of brain cancer, he says. He has undergone radiotherapy, chemotherapy and surgery to remove the visible signs of the disease. “Currently the cancer is in check,” he writes. “But the future is uncertain as Glioblastoma is a stealthy adversary. Its recurrence is, unfortunately, the rule rather than the exception.”\u003c/p>\n\u003cp>“It takes strength to meet the demands of the music and to collaborate on the highest level with the remarkable musicians who so generously welcomed me,” Tilson Thomas writes in the letter, with reference to the major orchestras including the San Francisco Symphony, the New York Philharmonic and the Los Angeles Philharmonic whom he has led in 20 concerts in recent months. “I now see that it is time for me to consider what level of work and responsibilities I can sustain in the future.”\u003c/p>\n\u003cp>“It was so amazing to have Michael back this January with the magnificent two programs featuring Prokofiev’s Fifth Symphony and Mahler One — pieces that I have a long history of playing with Michael all over the world — and to see him in very good spirits, projecting energy and most of all, love of music and love of all the musicians who were collaborating with him,” said San Francisco Symphony concertmaster Alexander Barantschik in an interview with KQED. “I’m just wishing Michael all I can wish from the bottom of my heart, and I hope to see him soon on stage again. \u003ci>“\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Michael Tilson Thomas has been a longtime friend, mentor, and fellow hippy-at-heart, and his love of adventurous music-making has been one of the most inspiring elements of my life in the Bay Area,” said local composer Mason Bates. “He has much more to contribute and I can’t wait to see what’s next.”\u003c/p>\n\u003cp>Tilson Thomas adds that he plans to reduce his administrative responsibilities and step down from his role as the artistic director of the New World Symphony, the top-tier youth orchestra based in Miami that he co-founded more than 30 years ago. He says he intends to go ahead with currently scheduled conducting engagements in the United States and Europe.\u003c/p>\n\u003cp>“I’m planning more time to wonder, wander, cook, and spend time with loved ones—two legged and four,” he writes by way of signing off. “Life is precious.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Read Michael Tilson Thomas’ letter in full:\u003c/p>\n\u003cfigure id=\"attachment_13909980\" class=\"wp-caption aligncenter\" style=\"max-width: 703px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909980\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/A-Letter-from-MTT.jpg\" alt=\"\" width=\"703\" height=\"908\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/A-Letter-from-MTT.jpg 703w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/A-Letter-from-MTT-160x207.jpg 160w\" sizes=\"(max-width: 703px) 100vw, 703px\">\u003cfigcaption class=\"wp-caption-text\">Letter from Michael Tilson Thomas, March 2, 2022 \u003ccite>(Printed with permission from Constance Shuman, Publicist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"title": "H.E.R. Leads Bay Area Grammy Nominations With 8 Nods",
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"content": "\u003cp>The nominees for the 64th annual Grammy Awards were announced today, and while jazz musician John Batiste leads with 11 nominations, Vallejo-raised artist H.E.R. is not far behind, with an impressive eight nominations under her belt. (More than both Billie Eilish and Olivia Rodrigo!)\u003c/p>\n\u003cp>The singer-songwriter is up for Album of the Year and Best R&B album for \u003cem>Back of My Mind\u003c/em>; Best R&B Performance and Best R&B Song for “Damage”; Song of the Year, Best Traditional R&B Performance and Best Song Written for Visual Media for “Fight For You”; and Best Contemporary Christian Music Performance/Song for “Hold Us Together (Hope Mix).”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PAFAfhod9TU\u003c/p>\n\u003cp>The only other Bay Area artist in a contemporary category is Saweetie, who’s nominated for Best New Artist. She’s also up for Best Rap Song for “Best Friend,” her track featuring Doja Cat.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_xJUCsyMQes\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bay Area classical music fared a little better, fortunately. San Francisco Symphony Music Director Laureate Michael Tilson Thomas is included in a Best Classical Compendium nomination for his work on \u003cem>American Originals—A New World, A New Canon\u003c/em>.\u003c/p>\n\u003cp>San Francisco-based composer Jake Heggie received a Best Classical Solo Vocal Album nod for his work on Jamie Barton’s “Unexpected Shadows” record.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CHqrh1Dl4oA\u003c/p>\n\u003cp>San Francisco Symphony collaborative partner Nico Muhly received a Best Orchestral Performance nomination for “Muhly: Throughline.” And in the same category, Berkeley composer John Adams wrote two of the pieces that resulted in a nomination for Nashville Symphony Orchestra conductor Giancarlo Guerrero.\u003c/p>\n\u003cp>And… uh. That’s it!\u003c/p>\n\u003cp>How much you care about any of this is probably contingent on how enraged you are by the many prior sins of the Recording Academy. Most notably, side-lining Black artists into smaller categories, which leads to shocking snubs. Like that time in 2017 when Beyoncé didn’t win Album of the Year for \u003cem>Lemonade\u003c/em>. (Some of us have never recovered.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Still, it’s nice to have someone local to root for. Go get ’em, H.E.R.!\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bay Area classical music fared a little better, fortunately. San Francisco Symphony Music Director Laureate Michael Tilson Thomas is included in a Best Classical Compendium nomination for his work on \u003cem>American Originals—A New World, A New Canon\u003c/em>.\u003c/p>\n\u003cp>San Francisco-based composer Jake Heggie received a Best Classical Solo Vocal Album nod for his work on Jamie Barton’s “Unexpected Shadows” record.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/CHqrh1Dl4oA'\n title='//www.youtube.com/embed/CHqrh1Dl4oA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>San Francisco Symphony collaborative partner Nico Muhly received a Best Orchestral Performance nomination for “Muhly: Throughline.” And in the same category, Berkeley composer John Adams wrote two of the pieces that resulted in a nomination for Nashville Symphony Orchestra conductor Giancarlo Guerrero.\u003c/p>\n\u003cp>And… uh. That’s it!\u003c/p>\n\u003cp>How much you care about any of this is probably contingent on how enraged you are by the many prior sins of the Recording Academy. Most notably, side-lining Black artists into smaller categories, which leads to shocking snubs. Like that time in 2017 when Beyoncé didn’t win Album of the Year for \u003cem>Lemonade\u003c/em>. (Some of us have never recovered.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Still, it’s nice to have someone local to root for. Go get ’em, H.E.R.!\u003c/p>\n\n\u003c/div>\u003c/p>",
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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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"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
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"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
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"source": "kqed",
"order": 19
},
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"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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"order": 4
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"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
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},
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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/",
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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 />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
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"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.",
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"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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"source": "kqed",
"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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},
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"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.",
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"officialWebsiteLink": "http://freakonomics.com/",
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"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/",
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}
},
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"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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"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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},
"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.",
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"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"link": "/radio/program/how-i-built-this",
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},
"inside-europe": {
"id": "inside-europe",
"title": "Inside Europe",
"info": "Inside Europe, a one-hour weekly news magazine hosted by Helen Seeney and Keith Walker, explores the topical issues shaping the continent. No other part of the globe has experienced such dynamic political and social change in recent years.",
"airtime": "SAT 3am-4am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Inside-Europe-Podcast-Tile-300x300-1.jpg",
"meta": {
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"source": "Deutsche Welle"
},
"link": "/radio/program/inside-europe",
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"apple": "https://itunes.apple.com/us/podcast/inside-europe/id80106806?mt=2",
"tuneIn": "https://tunein.com/radio/Inside-Europe-p731/",
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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": {
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"link": "/radio/program/latino-usa",
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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"
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"live-from-here-highlights": {
"id": "live-from-here-highlights",
"title": "Live from Here Highlights",
"info": "Chris Thile steps to the mic as the host of Live from Here (formerly A Prairie Home Companion), a live public radio variety show. Download Chris’s Song of the Week plus other highlights from the broadcast. Produced by American Public Media.",
"airtime": "SAT 6pm-8pm, SUN 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Live-From-Here-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.livefromhere.org/",
"meta": {
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"source": "american public media"
},
"link": "/radio/program/live-from-here-highlights",
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"apple": "https://itunes.apple.com/us/podcast/id1167173941",
"tuneIn": "https://tunein.com/radio/Live-from-Here-Highlights-p921744/",
"rss": "https://feeds.publicradio.org/public_feeds/a-prairie-home-companion-highlights/rss/rss"
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"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"
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},
"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": {
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"source": "kqed",
"order": 13
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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},
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"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/",
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"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?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
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"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"our-body-politic": {
"id": "our-body-politic",
"title": "Our Body Politic",
"info": "Presented by KQED, KCRW and KPCC, and created and hosted by award-winning journalist Farai Chideya, Our Body Politic is unapologetically centered on reporting on not just how women of color experience the major political events of today, but how they’re impacting those very issues.",
"airtime": "SAT 6pm-7pm, SUN 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Our-Body-Politic-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://our-body-politic.simplecast.com/",
"meta": {
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"source": "kcrw"
},
"link": "/radio/program/our-body-politic",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/our-body-politic/id1533069868",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5zaW1wbGVjYXN0LmNvbS9feGFQaHMxcw",
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"rss": "https://feeds.simplecast.com/_xaPhs1s",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/Our-Body-Politic-p1369211/"
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},
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"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
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