Tom Huizenga

Tom Huizenga is a producer for NPR Music. He contributes a wide range of stories about classical music to NPR's news programs and is the classical music reviewer for All Things Considered. He appears regularly on NPR Music podcasts and founded NPR's classical music blog Deceptive Cadence in 2010.

Joining NPR in 1999, Huizenga produced, wrote and edited NPR's Peabody Award-winning daily classical music show Performance Today and the programs SymphonyCast and World of Opera.

He's produced live radio broadcasts from the Kennedy Center and other venues, including New York's (Le) Poisson Rouge, where he created NPR's first classical music webcast featuring the Emerson String Quartet.

As a video producer, Huizenga has created some of NPR Music's noteworthy music documentaries in New York. He brought mezzo-soprano Joyce DiDonato to the historic Stonewall Inn in Greenwich Village, placed tenor Lawrence Brownlee and pianist Jason Moran inside an active crypt at a historic church in Harlem, and invited composer Philip Glass to a Chinatown loft to discuss music with Devonté Hynes (aka Blood Orange).

He has also written and produced radio specials, such as A Choral Christmas With Stile Antico, broadcast on stations around the country.

Prior to NPR, Huizenga served as music director for NPR member station KRWG, in Las Cruces, New Mexico, and taught in the journalism department at New Mexico State University.

Born in Grand Rapids, Michigan, Huizenga's radio career began at the University of Michigan, where he produced and hosted a broad range of radio programs at Ann Arbor's WCBN-FM. He holds a B.A. from the University of Michigan in English literature and ethnomusicology.

Canadian rower Michael Braithwaite is pumped and probably a little nervous. It's the day before the double sculls (two person team) competition at the London Olympics and the British Columbia native is hoping his strong arms and shoulders will bring him gold.

The grumbling of Londoners and the off-putting remarks of Mitt Romney are all but forgotten now as the 2012 Summer Olympics are in spectacular full swing. From here on out the race for the gold continues.

Jobs, jobs, jobs. Who needs them, who's going to get them and who might lose them? It's a hot topic on the campaign trail. With the addition of only about 80,000 jobs last month, the June unemployment rate remained at a stubborn 8.2 percent.

Robin Ticciati is the principal conductor of the Scottish Chamber Orchestra and principal guest conductor of the Bamberg Symphony in Germany. He's conducted at the Metropolitan Opera and just finished a run of Britten's Peter Grimes at La Scala. Ticciati has also been tapped to take over England's storied Glyndebourne Festival Opera in 2014. And did I mention he's under 30?

With the July Fourth holiday behind us, now is the time to map out a musical adventure. Below is a sampling of just a few of the dozens of summer classical music festivals around the country, grouped by region. From outdoor extravaganzas and picturesque locales to intimate indoor settings, live music thrives in the summertime. Been to a good summer fest not listed here? Tell us all about it.

EAST

Brooklyn-born Aaron Copland was an American original in more ways than one. It's not just his music, with its openness and simple elegance. It's that he expected ballet dancers to act like cowboys, pianists to play blues and orchestra players to accompany political speechmaking. His Lincoln Portrait, composed during World War II, matches words from our 16th president with symphonic music.

Every musician practices differently. Some turn their own living rooms into rehearsal spaces. Others, like pianist Jonathan Biss, prefer to step out of the comforts of home and into a studio. "It's a more productive way of working," Biss told us as we barged in with cameras and microphones.

For New York Polyphony, it's location, location, location. The four-man vocal ensemble thrives on music from the Renaissance, much of it designed for cavernous, reverberant spaces. Think voices soaring through arched cathedrals. But madrigals by Flemish composer Orlando di Lasso, with their more intimate storytelling vibe, are suited for smaller venues — like, say, the living room of New York Polyphony bass Craig Phillips.

Armed with cameras and microphones, we recently invaded the rehearsal spaces of prominent musicians. The result is "In Practice," a new series of videos you can watch here.

The four-man vocal ensemble New York Polyphony sings ancient music built for big resonant spaces. Since they can't just pop into St. Patrick's Cathedral any time they need to practice a renaissance mass, the group rehearses sometimes in the Jackson Heights home of bass singer Craig Phillips. There, in a modest-sized living room, they can hear every detail. "It's a very different experience rehearsing in a dry room and a small room," says tenor Geoffrey Silver. "You actually hear what you and your colleagues are singing, there's no watercolor wash over what you are doing."

It's tough to concentrate on the rigors of Beethoven with jackhammers pounding in your ears. So when they started demolishing the building next to Jonathan Biss, he moved his piano out of his apartment into a separate studio, away from the commotion. "I would get up in the morning, the piano wasn't there, and I had to leave my apartment to go practice and I've decided that's a much more productive way of working," he says. Biss needs a good working environment for his massive project.

Jeremy Denk has his own personal "piano boot camp." Actually, it's his cramped Manhattan apartment. Beside his beloved books, a trusty coffee pot and a laptop, there's not much to do except practice. Which Denk does, hours and hours a day on a Steinway wedged into his living room. On a good day, he brews pot of coffee number one at about 11, then plays for about five hours. Perhaps a run to the gym, then pot number two is brewed at about 6, followed by more playing — until the neighbors complain.

(Classical Detours meanders through stylistic byways, exploring new recordings from the fringes of classical music.)

My two-week stay in Europe ended earlier this week with a stroke of luck: My German father-in-law gave me his beautiful old violin, the one he's played since he was 11. But getting it back safely to the U.S. was more of a problem than I imagined.

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.

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?

Gabriel Kahane seems to enjoy blurring the lines between indie rock and indie classical. He arrived at the NPR Music offices with a string quartet and an electric guitarist in tow, and though they hadn't played together for long, you'd never know it.

Opera fanatics often trot out the tired old complaint about how "they don't make 'em like they used to" while pining for the great singers of the past. But as an unabashed opera nerd, I can tell you that the sound of the "golden age" is alive in the voice of tenor Joseph Calleja. He's a young singer with an old-school sensibility, and he's just released his third album for Decca Records.

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