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.

The young Austrian pianist Ingolf Wunder shines in Mozart, Jorge Federico Osorio reintroduces an intoxicating Mexican concerto and Elisveta Blumina reveals the gentle side of Ukrainian composer Valentin Silvestrov.

As one door closes, another opens. Last week, we shut down operations at our old Washington, D.C, headquarters; today, we walked into a brand-new building.

Making the move wasn't easy. In 14 years, I'd acquired an impressive amount of stuff, from LPs autographed by Placido Domingo and Tom Jones to books like The Essential Guide to Dutch Music. And did I really need three staple removers?

Robert Frost's famous poem "The Road Not Taken" begins with the line: "Two roads diverged in a yellow wood." Frost's traveler must choose between them. But slide that metaphor over to the world of classical music and you will discover hundreds of paths to explore.

For Christians around the world, this week, leading up to Easter Sunday, is one of the most meaningful in the religious calendar. The dramatic story of Jesus' final days, as related in the four Gospels of the New Testament, has been meaningful for composers, too, and a rich source for many musical settings of the Passion story. J.S. Bach is still the benchmark when it comes to composing Passions. His St.

Ah, the joys of Monday morning quarterbacking, classical style.

From mezzo-soprano Cecilia Bartoli's ambitious revival of the early Baroque composer Agostino Stefani (and yes, she's got another outrageous album cover) to three very different roles for the violin, here's a clutch of classical albums I returned to again and again this year for sheer delight and aural inspiration. Bartoli lavishes extravagant attention on the music of a fascinating but forgotten link in the history of opera.

Some people are intimidated by the vastness of classical music. And while the prospect of more than 1,000 years of hits to consider may be daunting, just think instead of how many musical journeys of discovery can be made.

Although it always seems fashionable to forecast the downfall of classical music, enterprising musicians both young and not so young continue to make deeply satisfying recordings. For this visit to weekends on All Things Considered, I was delighted to uncover the little known (at least in this country) Jorge Luis Prats, a terrifically talented Cuban pianist whose once uncertain career appears to be resurging — at 55, he has signed a handsome record deal. Then there's The Knights, a young chamber orchestra with a postmodern take on Schubert.

Everyone knows Beethoven wrote nine symphonies, right? Or did he? Undiscovered manuscripts keep popping up all the time. Uncovering a lost 10th symphony by Beethoven would surely give the classical music world something to shout about.

It could happen — at least it could according to our colleagues over at Weekend Edition Sunday. Reporter Naomi Lewin carefully unfolds the mysterious saga of a new Beethoven discovery, as a part of our April 1 news coverage.

What's the saying — the more things change, the more they stay the same? It seems that's how it goes in the ways we make music. MIT futurologist Tod Machover rethinks traditional instruments, coming up with new things like the hyperpiano; Pianist Michael Chertock gives it a go in an explosive excerpt below.

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