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.

Poetry month is almost at an end,

So here's a little challenge for you, friend.

Listen close to the music clips below,

The words will tell you what you need to know.

Match music with the image of each bard,

Good luck — you'll need it 'cause the quiz is hard.

A hint that may help you along the way,

Both words and music hail from U.S.A.

An extra point if you think you know 'em ...

Identify the name of each poem.

Talk Like An Opera Geek attempts to decode the intriguing and intimidating lexicon of the opera house.

Although a few radical composers had no use for opera in the mid-20th century (like Pierre Boulez, who infamously advocated blowing up the world's opera houses), the art form in Europe brushed itself off and began to thrive again after World War II.

Pity the poor percussionist in Mozart's day. He didn't have much to do in the orchestra, save for the occasional punctuating roll of the kettledrum (usually supporting a burst of brass) or the rare ping of a triangle.

New York-based composer and Peabody Institute faculty member Kevin Puts has won the Pulitizer Prize for music with Silent Night, his first opera. The work received its world premiere in November at the Minnesota Opera in St. Paul.

Pulitzer officials described Silent Night as "a stirring opera that recounts the true story of a spontaneous cease-fire among Scottish, French and Germans during World War I, displaying versatility of style and cutting straight to the heart."

Talk Like An Opera Geek attempts to decode the intriguing and intimidating lexicon of the opera house.

New York-based composer and Peabody Institute faculty member Kevin Puts has won the Pulitizer Prize for music with Silent Night, his first opera. The work received its world premiere in November in at Minnesota Opera in St. Paul.

Pulitzer officials described Silent Night as "a stirring opera that recounts the true story of a spontaneous cease-fire among Scottish, French and Germans during World War I, displaying versatility of style and cutting straight to the heart."

  • New York's Metropolitan Opera is gearing up to launch Wagner's complete Ring cycle, but just how "revolutionary" is the $16 million, 45-ton production? New York Times' Anthony Tommasini talks with Met GM Peter Gelb about the embattled Robert Le Page production, a conversation Parterre Box views as "damage control" on Gelb's part.

Beethoven's String Quartet Of Transcendence

In the spring of 1825, when Beethoven was 54, he became terribly sick. He was in bed for a month and he wrote to his doctor, "I am not feeling well ... I am in great pain." The doctor put Beethoven on a strict regimen, warning, "No wine, no coffee, no spices of any kind." The doctor also advised Beethoven to get away from the city to where he could find fresh air and "natural milk."

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.

With all the chatter about the death of the compact disc, anxiety in the recording industry and the domination of downloads, the flood of CDs overflowing my mailbox never seems to recede. Need a new Bruckner 4th, an Adès anthology or piano music by Pärt? How about Azerbaijani concertos, Schubert sonatas or a new Midsummer Night's Dream?

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