Tom Huizenga

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

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

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

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

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

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

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

Music by Richard Strauss is heard in symphony halls and opera houses across the world. He needs little help to boost his considerable fame. Yet 150 years after his birth, the German composer remains an enigma to some classical music fans and a polarizing figure for others. A perfect candidate, in other words, for a musical puzzler.

Arvo Pärt is one of the few living composers to find popularity beyond the borders of classical music. R.E.M.'s Michael Stipe and Bjork are big fans.

In 1986, four women gathered in a casual setting to sing through a bit of medieval chant. Little did they know they were launching Anonymous 4, an a cappella ensemble that has spanned nearly 30 years, 20 albums, countless concerts and more than a millenium of music.

Today the group announced that the 2015-16 season will be its last together. But this isn't the first time Anonymous 4 has thought about calling it quits. The group bid a similar farewell in 2004.

It's not easy being a mom, but it's even tougher for mothers in opera. So often they're completely absent while fathers have leading roles in shows like Rigoletto, La traviata, The Flying Dutchman. When depicted at all, operatic moms are usually under supreme stress. They can be murderous, manipulative or simply mad. Only rarely are they the loving moms who brought us into the world. Here your job is to identify the operas and their mothers. Score high and brag to your own sweet (or stressed) mom. Score low and go to your room without supper.

In much of the country it still feels like summer is a long way off, but it's not too early to plan on hitting the road and hearing great music. From bucolic college campuses in New England to musical rafting trips down the Colorado, these are 10 of the most intriguing classical festivals. And below them is a listing, by region, of many of the best fests. Been to one we missed? Pass along your own advice in the comments section or via Facebook or Twitter.

Soviet composer Vadim Salmanov is little more than a footnote outside Russia, but his four energetic, skillfully orchestrated symphonies are making a small comeback. Russia's venerable Melodiya label has reissued them in a handsomely packaged double-disc set of live recordings made between 1957 and 1977.

Conducted with burning intensity by Yevgeny Mravinsky, Salmanov's rarely heard music soars off these albums with a sound that is thoroughly Russian yet charged with a certain Soviet-era anxiety.

Johann Sebastian Bach wrote his St. Matthew Passion for a single purpose — to present the Passion story in music at Good Friday vesper services.

Bach's Passion continues to move audiences nearly three centuries after it was first heard in St. Thomas's Church in Leipzig, Germany. Standing as one of the pillars of Western sacred music, it is at once monumental and intimate, deeply sorrowful and powerful.

John Luther Adams, whose music is inspired by — and sometimes performed in — natural landscapes, has won the Pulitzer Prize for music for his symphonic work Become Ocean.

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