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His commission from the Emerging Black Composers Project changed everything.","description":null,"title":"BINGHAM_Cred_Matthew Washburn","credit":"Matthew Washburn","status":"inherit","altTag":"A portrait of emerging composer Jonathan Bingham.","fetchFailed":false,"isLoading":false},"arts_13904131":{"type":"attachments","id":"arts_13904131","meta":{"index":"attachments_1716263798","site":"arts","id":"13904131","found":true},"parent":13904122,"imgSizes":{"thumbnail":{"file":"https://ww2.kqed.org/app/uploads/sites/2/2021/10/4073-Symphony-211001-160x107.jpg","width":160,"mimeType":"image/jpeg","height":107},"post-thumbnail":{"file":"https://ww2.kqed.org/app/uploads/sites/2/2021/10/4073-Symphony-211001-672x372.jpg","width":672,"mimeType":"image/jpeg","height":372},"kqedFullSize":{"file":"https://ww2.kqed.org/app/uploads/sites/2/2021/10/4073-Symphony-211001.jpg","width":800,"height":533},"medium_large":{"file":"https://ww2.kqed.org/app/uploads/sites/2/2021/10/4073-Symphony-211001-768x512.jpg","width":768,"mimeType":"image/jpeg","height":512}},"publishDate":1633203603,"modified":1633203739,"caption":"Music Director Esa-Pekka Salonen leads the San Francisco Symphony in the Re-Opening Night Concert featuring esperanza spalding, a jazz trio, and dancers from Alonzo King LINES Ballet on October 1, 2021 at Davies Symphony Hall.","description":"Music Director Esa-Pekka Salonen leads the San Francisco Symphony in the Re-Opening Night Concert featuring esperanza spalding, a jazz trio, and dancers from Alonzo King LINES Ballet on October 1, 2021 at Davies Symphony Hall.","title":"4073-Symphony-211001","credit":" Drew Altizer Photography","status":"inherit","altTag":"A jazz bassist sings, accompanied by an orchestra.","fetchFailed":false,"isLoading":false}},"audioPlayerReducer":{"postId":"stream_live"},"authorsReducer":{"byline_arts_13909289":{"type":"authors","id":"byline_arts_13909289","meta":{"override":true},"slug":"byline_arts_13909289","name":"Iris Kwok","isLoading":false},"gmeline":{"type":"authors","id":"185","meta":{"index":"authors_1716337520","id":"185","found":true},"name":"Gabe Meline","firstName":"Gabe","lastName":"Meline","slug":"gmeline","email":"gmeline@kqed.org","display_author_email":false,"staff_mastheads":["arts"],"title":"Senior Editor, KQED Arts & Culture","bio":"Gabe Meline entered journalism at age 15 making photocopied zines, and has since earned awards from the Edward R. Murrow Awards, the Society for Professional Journalists, the Online Journalism Awards, the Association of Alternative Newsweeklies and the California Newspaper Publishers Association. Prior to KQED, he was the editor of the \u003cem>North Bay Bohemian\u003c/em> and a touring musician. He lives with his wife, his daughter, and a 1964 Volvo in his hometown of Santa Rosa, CA.","avatar":"https://secure.gravatar.com/avatar/80e9715844c5fc3f07edac5b08973b76?s=600&d=blank&r=g","twitter":"gmeline","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"","roles":["editor"]},{"site":"arts","roles":["administrator"]},{"site":"artschool","roles":["editor"]},{"site":"news","roles":["author"]},{"site":"pop","roles":["editor"]},{"site":"bayareabites","roles":["editor"]},{"site":"food","roles":["editor"]},{"site":"liveblog","roles":["editor"]},{"site":"hiphop","roles":["editor"]}],"headData":{"title":"Gabe Meline | KQED","description":"Senior Editor, KQED Arts & Culture","ogImgSrc":"https://secure.gravatar.com/avatar/80e9715844c5fc3f07edac5b08973b76?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/80e9715844c5fc3f07edac5b08973b76?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/gmeline"},"nvoynovskaya":{"type":"authors","id":"11387","meta":{"index":"authors_1716337520","id":"11387","found":true},"name":"Nastia Voynovskaya","firstName":"Nastia","lastName":"Voynovskaya","slug":"nvoynovskaya","email":"nvoynovskaya@kqed.org","display_author_email":false,"staff_mastheads":["arts"],"title":"Associate Editor","bio":"Nastia Voynovskaya is a Russian-born journalist raised in the Bay Area and Tampa, Florida. She's the associate editor at KQED Arts & Culture. She's the recipient of the 2018 Society of Professional Journalists-Northern California award for arts & culture reporting. In 2021, a retrospective of the 2010s she edited and creative directed, Our Turbulent Decade, received the SPJ-NorCal award for web design. Nastia's work has been published in NPR Music, \u003cem>San Francisco Chronicle\u003c/em>, VICE, Paste Magazine, Bandcamp and SF MoMA Open Space. Previously, she served as music editor at \u003cem>East Bay Express\u003c/em> and online editor at \u003cem>Hi-Fructose Magazine\u003c/em>. She holds a B.A. in comparative literature from UC Berkeley.","avatar":"https://secure.gravatar.com/avatar/310649817772dd2a98e5dfecb6b24842?s=600&d=mm&r=g","twitter":"nananastia","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["administrator"]},{"site":"news","roles":["editor"]},{"site":"pop","roles":["administrator"]},{"site":"bayareabites","roles":["editor"]},{"site":"podcasts","roles":["editor"]},{"site":"hiphop","roles":["editor"]}],"headData":{"title":"Nastia Voynovskaya | KQED","description":"Associate Editor","ogImgSrc":"https://secure.gravatar.com/avatar/310649817772dd2a98e5dfecb6b24842?s=600&d=mm&r=g","twImgSrc":"https://secure.gravatar.com/avatar/310649817772dd2a98e5dfecb6b24842?s=600&d=mm&r=g"},"isLoading":false,"link":"/author/nvoynovskaya"}},"breakingNewsReducer":{},"campaignFinanceReducer":{},"pagesReducer":{},"postsReducer":{"stream_live":{"type":"live","id":"stream_live","audioUrl":"https://streams.kqed.org/kqedradio","title":"Live Stream","excerpt":"Live Stream information currently unavailable.","link":"/radio","featImg":"","label":{"name":"KQED Live","link":"/"}},"stream_kqedNewscast":{"type":"posts","id":"stream_kqedNewscast","audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1","title":"KQED Newscast","featImg":"","label":{"name":"88.5 FM","link":"/"}},"arts_13962857":{"type":"posts","id":"arts_13962857","meta":{"index":"posts_1716263798","site":"arts","id":"13962857","score":null,"sort":[1725026410000]},"guestAuthors":[],"slug":"best-classical-music-concerts-bay-area-fall-2024","title":"The Best Classical Music Concerts in the Bay Area This Fall","publishDate":1725026410,"format":"aside","headTitle":"The Best Classical Music Concerts in the Bay Area This Fall | KQED","labelTerm":{},"content":"\u003cp>If “\u003ca href=\"https://www.youtube.com/watch?v=u5-SvGAWbVw\">Morgenstemning\u003c/a>” from Grieg’s \u003cem>Peer Gynt Suite\u003c/em> is the eternal soundtrack to spring, then autumn is \u003ca href=\"https://www.youtube.com/watch?v=bYm3tT59qoE\">one long Adagio\u003c/a>. Summertime flings fade, leaves dry out and hot nights of excitement transform into something more reflective.\u003c/p>\n\u003cp>It is, in other words, a perfect season for classical music. Here are 10 exceptional performances coming up in the Bay Area this fall.\u003c/p>\n\u003cfigure id=\"attachment_13953076\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953076\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06.jpg\" alt=\"\" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Poul Ruders’ ‘The Handmaid’s Tale.’ \u003ccite>(Camilla Winther/Royal Danish Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfopera.com/operas/handmaids-tale/\">‘The Handmaid’s Tale’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 14–Oct. 1, 2024\u003cbr>\nWar Memorial Opera House, San Francisco\u003c/em>\u003c/p>\n\u003cp>In a post-\u003cem>Roe v. Wade\u003c/em> America, Margaret Atwood’s story of women living under forced insemination by a far-right theocracy is more relevant than ever. Now, in addition to a film, a radio series, a stage play, a graphic novel and a hit series on Hulu, \u003cem>The Handmaid’s Tale\u003c/em> has been adapted to the opera stage. The haunting, minimalist work by composer Poul Ruders makes its West Coast premiere in San Francisco just a week after San Francisco Opera’s free outdoor event \u003ca href=\"https://www.sfopera.com/seasons/opera-in-the-park/#performances\">Opera in the Park\u003c/a> on Sept. 8.\u003c/p>\n\u003cfigure id=\"attachment_13963213\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963213\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/YARNWIRE.Mark_.Sommerfeld.jpg\" alt=\"\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/YARNWIRE.Mark_.Sommerfeld.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/YARNWIRE.Mark_.Sommerfeld-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/YARNWIRE.Mark_.Sommerfeld-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/YARNWIRE.Mark_.Sommerfeld-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/YARNWIRE.Mark_.Sommerfeld-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/YARNWIRE.Mark_.Sommerfeld-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Piano and percussion quartet Yarn/Wire (above) performs work by composers Annea Lockwood and Jan Martin Smørdal at this year’s Other Minds Festival. \u003ccite>(Mark Sommerfeld)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.otherminds.org/other-minds-festival-28/\">Other Minds Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 25-28, 2024\u003cbr>\nBrava Theater, San Francisco\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For adventurous listeners in the Bay Area, the annual festival from the organization Other Minds is a gift of new and experimental sounds. This year’s festival has a new home in the Brava Theater, with a flagship premiere by the Washington-based sound artist Trimpin. Titled \u003cem>The Cello Quartet\u003c/em>, the 70-minute piece involves robot cellos, floating lamp shades, a mechanical piano and a group of dancers choreographed by Margaret Fisher. The inimitable New York quartet Yarn/Wire also performs, along with local favorites like pianist Sarah Cahill and percussionist Marshall Trammell.\u003c/p>\n\u003cfigure id=\"attachment_13954087\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954087\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Thumb_.16x9.jpg\" alt=\"A middle-aged white man in black clothing stands against a black background, hands clasped at front.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Thumb_.16x9.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Thumb_.16x9-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Thumb_.16x9-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Thumb_.16x9-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Thumb_.16x9-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Thumb_.16x9-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen, Music Director of the San Francisco Symphony, will exit his position in June 2025 at the end of his five-year contract. \u003ccite>(Cody Pickens)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfsymphony.org/\">Salonen’s Last Season\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Davies Symphony Hall, San Francisco\u003c/em>\u003c/p>\n\u003cp>By now, you’ve surely heard the news: this is Esa-Pekka Salonen’s \u003ca href=\"https://www.kqed.org/arts/13954083/esa-pekka-salonen-steps-down-sf-symphony\">final season as Music Director\u003c/a> for the San Francisco Symphony. This September and October offers several chances to witness Salonen at the podium before he leaves: A \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2024-25/salonen-nico-muhly\">Nico Muhly world premiere\u003c/a> (Sept. 27 and 28), a concert of \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2024-25/salonen-brahms4\">Brahms’ Symphony No. 4 and Shostakovich’s Violin Concerto No. 1\u003c/a> (Oct. 4–6), and \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2024-25/salonen-beethoven-pastoral\">Beethoven’s Symphony No. 6 paired with Salonen’s own Cello Concerto\u003c/a> (Oct. 18–20) are among the highlights.\u003c/p>\n\u003cfigure id=\"attachment_13963244\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963244\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cal-performances-harawi-by-hanne-engwald1-1.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cal-performances-harawi-by-hanne-engwald1-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cal-performances-harawi-by-hanne-engwald1-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cal-performances-harawi-by-hanne-engwald1-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cal-performances-harawi-by-hanne-engwald1-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cal-performances-harawi-by-hanne-engwald1-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cal-performances-harawi-by-hanne-engwald1-1-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Julia Bullock (at upper left) in Olivier Messiaen’s ‘Harawi,’ with (L–R) Or Schraiber, Bobbi Jene Smith and Conor Hanick. \u003ccite>(Hanne Engwald)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://calperformances.org/events/2024-25/illuminations-fractured-history/olivier-messiaens-harawi-american-modern-opera-company/\">Olivier Messiaen’s ‘Harawi’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 27, 2024\u003cbr>\nZellerbach Hall, Berkeley\u003c/em>\u003c/p>\n\u003cp>The star soprano \u003ca href=\"https://www.kqed.org/arts/13889101/julia-bullocks-empathy-is-her-superpower-in-the-classical-music-world\">Julia Bullock\u003c/a> leads this dynamic reinterpretation of Olivier Messiaen’s song cycle. Composed in 1945 with a libretto peppered by surrealism, its performance in Berkeley is augmented by choreography from the dancers Bobbi Jene Smith and Or Schraiber in order to dramatize its themes of inherent loss. (Messiaen wrote \u003cem>Harawi\u003c/em> inspired by the tragedy of Tristan and Isolde.) With Conor Hanick at the piano and directed by Zack Winokur, the production should easily reveal new textures of the music.\u003c/p>\n\u003cfigure id=\"attachment_13963254\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963254\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/alissa-voice.jpg\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/alissa-voice.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/alissa-voice-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/alissa-voice-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/alissa-voice-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/alissa-voice-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/alissa-voice-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alissa Goretsky. \u003ccite>(Courtesy SFCM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfcm.edu/experience/performances/sfcm-orchestra-1/20240928\">Strauss Meets Coltrane\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 28, 2024\u003cbr>\nHume Concert Hall, San Francisco\u003c/em>\u003c/p>\n\u003cp>A decade since the genesis of the Black Lives Matter movement, John Coltrane’s short composition “Alabama” continues to resonate. Written as a memorial to four young Black girls who died in a 1963 Baptist church bombing in Birmingham, it’s now received a new arrangement by Carlos Simon, performed here on tenor saxophone by Jason Hainsworth. Preceding it is the soprano Alissa Goretsky singing Richard Strauss’ \u003cem>Vier Lieder\u003c/em>, while Stravinsky’s \u003cem>Petrushka\u003c/em> and Strauss’ \u003cem>Don Juan\u003c/em> round out the program.\u003c/p>\n\u003cfigure id=\"attachment_13963246\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963246\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Jon-Nakamatsu-2_Niles-Singer.jpg\" alt=\"\" width=\"1920\" height=\"1371\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Jon-Nakamatsu-2_Niles-Singer.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Jon-Nakamatsu-2_Niles-Singer-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Jon-Nakamatsu-2_Niles-Singer-1020x728.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Jon-Nakamatsu-2_Niles-Singer-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Jon-Nakamatsu-2_Niles-Singer-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Jon-Nakamatsu-2_Niles-Singer-1536x1097.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jon Nakamatsu. \u003ccite>(Niles Singer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.symphonysanjose.org/attend/2024-2025-season/concerts/jon-nakamatsu-and-the-jazz-age/\">‘Jon Nakamatsu and the Jazz Age’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 5 and 6, 2024\u003cbr>\nCalifornia Theatre, San Jose\u003c/em>\u003c/p>\n\u003cp>I have admittedly taken for granted certain chestnuts of the canon until hearing them performed in the concert hall. Rossini’s William Tell Overture blew my mind at the Royal Albert Hall 15 years ago, and recently, I finally saw a performance of Gershwin’s old standby, \u003cem>Rhapsody in Blue\u003c/em>. Would you believe it — it was thrilling! As part of its centennial that’s seen it added to concert programs nationwide, Symphony San Jose gets Jon Nakamatsu at the piano for a program that also includes Ravel and Copland.\u003c/p>\n\u003cfigure id=\"attachment_13955628\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-scaled.jpg\" alt=\"A conductor waves his baton as orchestra musicians look on,\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13955628\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kedrick Armstrong conducts the Oakland Symphony in February 2024. \u003ccite>(Scott Chernis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.oaklandsymphony.org/event/kedrick-armstrong-inaugural/\">Armstrong Arrives at the Oakland Symphony\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 18, 2024\u003cbr>\nParamount Theatre, Oakland\u003c/em>\u003c/p>\n\u003cp>When beloved Oakland Symphony music director Michael Morgan died in 2021, he left very large shoes to fill — and \u003ca href=\"https://www.kqed.org/arts/13955606/kedrick-armstrong-oakland-symphony-new-music-director\">Kedrick Armstrong is entirely up to the challenge\u003c/a>. Born in South Carolina, the orchestra’s new 30-year-old director makes his debut in an inaugural concert of Carl Nielsen’s Symphony No. 4, paired with African American composer Julia Perry’s 1952 work \u003cem>A Short Piece for Orchestra\u003c/em>. Ever community-minded, Armstrong also conducts works by Allison Miller, John Santos and Meklit to celebrate the 40th anniversary of Oakland jazz education nonprofit \u003ca href=\"https://www.livingjazz.org/\">Living Jazz\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13963248\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963248\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kai-Ryssdal-Photo-Credit-American-Public-Media.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kai-Ryssdal-Photo-Credit-American-Public-Media.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kai-Ryssdal-Photo-Credit-American-Public-Media-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kai-Ryssdal-Photo-Credit-American-Public-Media-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kai-Ryssdal-Photo-Credit-American-Public-Media-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kai-Ryssdal-Photo-Credit-American-Public-Media-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kai-Ryssdal-Photo-Credit-American-Public-Media-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Marketplace’ host Kai Ryssdal: appearing with a symphony orchestra near you. \u003ccite>(American Public Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.srsymphony.org/event/beethoven-copland/\">‘Beethoven & Copland’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 19-21, 2024\u003cbr>\nGreen Music Center, Rohnert Park\u003c/em>\u003c/p>\n\u003cp>On public radio stations like KQED, you’ve heard \u003cem>Marketplace\u003c/em> host Kai Ryssdal analyzing the stock market — but did you know you can also see him live, in person, narrating Aaron Copland’s ‘Lincoln Portrait’ with a full symphony orchestra? Friends, dreams do come true. Ryssdal and his famous voice appear with the Santa Rosa Symphony on this program, which also includes Beethoven’s violin concerto and a West Coast premiere of Katherine Balch’s \u003cem>musica pyralis\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13963249\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963249\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Ax_2022cNigelParry-02-scaled-1.jpg\" alt=\"\" width=\"1920\" height=\"1372\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Ax_2022cNigelParry-02-scaled-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Ax_2022cNigelParry-02-scaled-1-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Ax_2022cNigelParry-02-scaled-1-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Ax_2022cNigelParry-02-scaled-1-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Ax_2022cNigelParry-02-scaled-1-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Ax_2022cNigelParry-02-scaled-1-1536x1098.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Emmanuel Ax. \u003ccite>(Nigel Parry)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://gmc.sonoma.edu/emanuel-ax/\">Emmanuel Ax: Beethoven, Schumann, Corigliano\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003ca href=\"https://gmc.sonoma.edu/emanuel-ax/\">Oct. 24 at Green Music Center\u003c/a>, Rohnert Park\u003cbr>\n\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2024-25/emanuel-ax-recital\">Oct. 27 at Davies Symphony Hall\u003c/a>, San Francisco\u003c/em>\u003c/p>\n\u003cp>Just about everyone who ever took piano lessons has learned Beethoven’s \u003cem>Moonlight Sonata\u003c/em> — and the parents of those kids learn just how clunky and inelegant it can sound. Want to hear it in the hands of a professional? The pianist Emmanuel Ax is no stranger to contemporary composers like Krzysztof Penderecki and John Adams, but his gossamer touch is unparalleled when performing Beethoven and Schumann, as he does in this program at both Davies and the Green Music Center.\u003c/p>\n\u003cfigure id=\"attachment_13963386\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963386\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Carmen.diptych.jpg\" alt=\"\" width=\"1600\" height=\"1129\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Carmen.diptych.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Carmen.diptych-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Carmen.diptych-1020x720.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Carmen.diptych-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Carmen.diptych-768x542.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Carmen.diptych-1536x1084.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Jonathan Tetelman and Eve-Maud Hubeaux play Don José and Carmen, respectively, in San Francisco Opera’s ‘Carmen.’ \u003ccite>(Ben Wolf / Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfopera.com/operas/carmen/\">‘Carmen’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 13–Dec. 1\u003cbr>\nWar Memorial Opera House, San Francisco\u003c/em>\u003c/p>\n\u003cp>There’s a reason \u003cem>Carmen\u003c/em> has returned to San Francisco Opera more than 30 times: It’s accessible and action-packed, with songs most people don’t realize they know from movies and cartoons. This interpretation by Francesco Zambello was here in 2019, and it \u003ca href=\"https://www.kqed.org/arts/13860265/jnai-bridges-shines-as-carmen-at-san-francisco-opera\">leaned into the story’s indictment of toxic masculinity\u003c/a>. With Eve-Maud Hubeaux as Carmen and Jonathan Tetelman as Don José, this is a perfect “bring a friend who’s never been to the opera” opportunity.\u003c/p>\n\u003cfigure id=\"attachment_13963273\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963273\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/shaw-kahane.jpg\" alt=\"\" width=\"960\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/shaw-kahane.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/shaw-kahane-800x480.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/shaw-kahane-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/shaw-kahane-768x461.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Caroline Shaw and Gabriel Kahane. \u003ccite>(SF Performances)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfperformances.org/performances/2425/shaw-kahane.html\">Gabriel Kahane and Caroline Shaw\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 14, 2024\u003cbr>\nHerbst Theatre, San Francisco\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I’ll never forget the sight of Caroline Shaw, just after President Obama spoke, performing onstage with Kanye West at the Warfield in San Francisco in 2015. These days, the contemporary classical artist has a more restrained musical collaborator in Gabriel Kahane, the son of Santa Rosa Symphony Conductor Emeritus Jeffrey Kahane. Here, they premiere new works inspired by Argentine author Jorge Luis Borges’ short story \u003cem>The Library of Babel\u003c/em>.\u003c/p>\n\n","blocks":[],"excerpt":"From an opera of ‘The Handmaid’s Tale’ to a computer-controlled floating piano, this fall’s classical concerts expand and enrich the canon.","status":"publish","parent":0,"modified":1725053259,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":26,"wordCount":1373},"headData":{"title":"The Best Classical Music Concerts in the Bay Area This Fall | KQED","description":"From an opera of ‘The Handmaid’s Tale’ to a computer-controlled floating piano, this fall’s classical concerts expand and enrich the canon.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Best Classical Music Concerts in the Bay Area This Fall","datePublished":"2024-08-30T07:00:10-07:00","dateModified":"2024-08-30T14:27:39-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Fall Guide 2024","sourceUrl":"https://www.kqed.org/arts/tag/fall-guide-2024","sticky":false,"nprStoryId":"kqed-13962857","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13962857/best-classical-music-concerts-bay-area-fall-2024","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>If “\u003ca href=\"https://www.youtube.com/watch?v=u5-SvGAWbVw\">Morgenstemning\u003c/a>” from Grieg’s \u003cem>Peer Gynt Suite\u003c/em> is the eternal soundtrack to spring, then autumn is \u003ca href=\"https://www.youtube.com/watch?v=bYm3tT59qoE\">one long Adagio\u003c/a>. Summertime flings fade, leaves dry out and hot nights of excitement transform into something more reflective.\u003c/p>\n\u003cp>It is, in other words, a perfect season for classical music. Here are 10 exceptional performances coming up in the Bay Area this fall.\u003c/p>\n\u003cfigure id=\"attachment_13953076\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953076\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06.jpg\" alt=\"\" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/TheHandmaidsTale22_06-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Poul Ruders’ ‘The Handmaid’s Tale.’ \u003ccite>(Camilla Winther/Royal Danish Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfopera.com/operas/handmaids-tale/\">‘The Handmaid’s Tale’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 14–Oct. 1, 2024\u003cbr>\nWar Memorial Opera House, San Francisco\u003c/em>\u003c/p>\n\u003cp>In a post-\u003cem>Roe v. Wade\u003c/em> America, Margaret Atwood’s story of women living under forced insemination by a far-right theocracy is more relevant than ever. Now, in addition to a film, a radio series, a stage play, a graphic novel and a hit series on Hulu, \u003cem>The Handmaid’s Tale\u003c/em> has been adapted to the opera stage. The haunting, minimalist work by composer Poul Ruders makes its West Coast premiere in San Francisco just a week after San Francisco Opera’s free outdoor event \u003ca href=\"https://www.sfopera.com/seasons/opera-in-the-park/#performances\">Opera in the Park\u003c/a> on Sept. 8.\u003c/p>\n\u003cfigure id=\"attachment_13963213\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963213\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/YARNWIRE.Mark_.Sommerfeld.jpg\" alt=\"\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/YARNWIRE.Mark_.Sommerfeld.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/YARNWIRE.Mark_.Sommerfeld-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/YARNWIRE.Mark_.Sommerfeld-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/YARNWIRE.Mark_.Sommerfeld-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/YARNWIRE.Mark_.Sommerfeld-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/YARNWIRE.Mark_.Sommerfeld-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Piano and percussion quartet Yarn/Wire (above) performs work by composers Annea Lockwood and Jan Martin Smørdal at this year’s Other Minds Festival. \u003ccite>(Mark Sommerfeld)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.otherminds.org/other-minds-festival-28/\">Other Minds Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 25-28, 2024\u003cbr>\nBrava Theater, San Francisco\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For adventurous listeners in the Bay Area, the annual festival from the organization Other Minds is a gift of new and experimental sounds. This year’s festival has a new home in the Brava Theater, with a flagship premiere by the Washington-based sound artist Trimpin. Titled \u003cem>The Cello Quartet\u003c/em>, the 70-minute piece involves robot cellos, floating lamp shades, a mechanical piano and a group of dancers choreographed by Margaret Fisher. The inimitable New York quartet Yarn/Wire also performs, along with local favorites like pianist Sarah Cahill and percussionist Marshall Trammell.\u003c/p>\n\u003cfigure id=\"attachment_13954087\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954087\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Thumb_.16x9.jpg\" alt=\"A middle-aged white man in black clothing stands against a black background, hands clasped at front.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Thumb_.16x9.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Thumb_.16x9-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Thumb_.16x9-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Thumb_.16x9-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Thumb_.16x9-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Salonen.Thumb_.16x9-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen, Music Director of the San Francisco Symphony, will exit his position in June 2025 at the end of his five-year contract. \u003ccite>(Cody Pickens)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfsymphony.org/\">Salonen’s Last Season\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Davies Symphony Hall, San Francisco\u003c/em>\u003c/p>\n\u003cp>By now, you’ve surely heard the news: this is Esa-Pekka Salonen’s \u003ca href=\"https://www.kqed.org/arts/13954083/esa-pekka-salonen-steps-down-sf-symphony\">final season as Music Director\u003c/a> for the San Francisco Symphony. This September and October offers several chances to witness Salonen at the podium before he leaves: A \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2024-25/salonen-nico-muhly\">Nico Muhly world premiere\u003c/a> (Sept. 27 and 28), a concert of \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2024-25/salonen-brahms4\">Brahms’ Symphony No. 4 and Shostakovich’s Violin Concerto No. 1\u003c/a> (Oct. 4–6), and \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2024-25/salonen-beethoven-pastoral\">Beethoven’s Symphony No. 6 paired with Salonen’s own Cello Concerto\u003c/a> (Oct. 18–20) are among the highlights.\u003c/p>\n\u003cfigure id=\"attachment_13963244\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963244\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cal-performances-harawi-by-hanne-engwald1-1.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cal-performances-harawi-by-hanne-engwald1-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cal-performances-harawi-by-hanne-engwald1-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cal-performances-harawi-by-hanne-engwald1-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cal-performances-harawi-by-hanne-engwald1-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cal-performances-harawi-by-hanne-engwald1-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/cal-performances-harawi-by-hanne-engwald1-1-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Julia Bullock (at upper left) in Olivier Messiaen’s ‘Harawi,’ with (L–R) Or Schraiber, Bobbi Jene Smith and Conor Hanick. \u003ccite>(Hanne Engwald)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://calperformances.org/events/2024-25/illuminations-fractured-history/olivier-messiaens-harawi-american-modern-opera-company/\">Olivier Messiaen’s ‘Harawi’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 27, 2024\u003cbr>\nZellerbach Hall, Berkeley\u003c/em>\u003c/p>\n\u003cp>The star soprano \u003ca href=\"https://www.kqed.org/arts/13889101/julia-bullocks-empathy-is-her-superpower-in-the-classical-music-world\">Julia Bullock\u003c/a> leads this dynamic reinterpretation of Olivier Messiaen’s song cycle. Composed in 1945 with a libretto peppered by surrealism, its performance in Berkeley is augmented by choreography from the dancers Bobbi Jene Smith and Or Schraiber in order to dramatize its themes of inherent loss. (Messiaen wrote \u003cem>Harawi\u003c/em> inspired by the tragedy of Tristan and Isolde.) With Conor Hanick at the piano and directed by Zack Winokur, the production should easily reveal new textures of the music.\u003c/p>\n\u003cfigure id=\"attachment_13963254\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963254\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/alissa-voice.jpg\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/alissa-voice.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/alissa-voice-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/alissa-voice-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/alissa-voice-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/alissa-voice-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/alissa-voice-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alissa Goretsky. \u003ccite>(Courtesy SFCM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfcm.edu/experience/performances/sfcm-orchestra-1/20240928\">Strauss Meets Coltrane\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 28, 2024\u003cbr>\nHume Concert Hall, San Francisco\u003c/em>\u003c/p>\n\u003cp>A decade since the genesis of the Black Lives Matter movement, John Coltrane’s short composition “Alabama” continues to resonate. Written as a memorial to four young Black girls who died in a 1963 Baptist church bombing in Birmingham, it’s now received a new arrangement by Carlos Simon, performed here on tenor saxophone by Jason Hainsworth. Preceding it is the soprano Alissa Goretsky singing Richard Strauss’ \u003cem>Vier Lieder\u003c/em>, while Stravinsky’s \u003cem>Petrushka\u003c/em> and Strauss’ \u003cem>Don Juan\u003c/em> round out the program.\u003c/p>\n\u003cfigure id=\"attachment_13963246\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963246\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Jon-Nakamatsu-2_Niles-Singer.jpg\" alt=\"\" width=\"1920\" height=\"1371\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Jon-Nakamatsu-2_Niles-Singer.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Jon-Nakamatsu-2_Niles-Singer-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Jon-Nakamatsu-2_Niles-Singer-1020x728.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Jon-Nakamatsu-2_Niles-Singer-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Jon-Nakamatsu-2_Niles-Singer-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Jon-Nakamatsu-2_Niles-Singer-1536x1097.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jon Nakamatsu. \u003ccite>(Niles Singer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.symphonysanjose.org/attend/2024-2025-season/concerts/jon-nakamatsu-and-the-jazz-age/\">‘Jon Nakamatsu and the Jazz Age’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 5 and 6, 2024\u003cbr>\nCalifornia Theatre, San Jose\u003c/em>\u003c/p>\n\u003cp>I have admittedly taken for granted certain chestnuts of the canon until hearing them performed in the concert hall. Rossini’s William Tell Overture blew my mind at the Royal Albert Hall 15 years ago, and recently, I finally saw a performance of Gershwin’s old standby, \u003cem>Rhapsody in Blue\u003c/em>. Would you believe it — it was thrilling! As part of its centennial that’s seen it added to concert programs nationwide, Symphony San Jose gets Jon Nakamatsu at the piano for a program that also includes Ravel and Copland.\u003c/p>\n\u003cfigure id=\"attachment_13955628\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-scaled.jpg\" alt=\"A conductor waves his baton as orchestra musicians look on,\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13955628\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kedrick Armstrong conducts the Oakland Symphony in February 2024. \u003ccite>(Scott Chernis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.oaklandsymphony.org/event/kedrick-armstrong-inaugural/\">Armstrong Arrives at the Oakland Symphony\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 18, 2024\u003cbr>\nParamount Theatre, Oakland\u003c/em>\u003c/p>\n\u003cp>When beloved Oakland Symphony music director Michael Morgan died in 2021, he left very large shoes to fill — and \u003ca href=\"https://www.kqed.org/arts/13955606/kedrick-armstrong-oakland-symphony-new-music-director\">Kedrick Armstrong is entirely up to the challenge\u003c/a>. Born in South Carolina, the orchestra’s new 30-year-old director makes his debut in an inaugural concert of Carl Nielsen’s Symphony No. 4, paired with African American composer Julia Perry’s 1952 work \u003cem>A Short Piece for Orchestra\u003c/em>. Ever community-minded, Armstrong also conducts works by Allison Miller, John Santos and Meklit to celebrate the 40th anniversary of Oakland jazz education nonprofit \u003ca href=\"https://www.livingjazz.org/\">Living Jazz\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13963248\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963248\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kai-Ryssdal-Photo-Credit-American-Public-Media.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kai-Ryssdal-Photo-Credit-American-Public-Media.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kai-Ryssdal-Photo-Credit-American-Public-Media-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kai-Ryssdal-Photo-Credit-American-Public-Media-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kai-Ryssdal-Photo-Credit-American-Public-Media-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kai-Ryssdal-Photo-Credit-American-Public-Media-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Kai-Ryssdal-Photo-Credit-American-Public-Media-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Marketplace’ host Kai Ryssdal: appearing with a symphony orchestra near you. \u003ccite>(American Public Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.srsymphony.org/event/beethoven-copland/\">‘Beethoven & Copland’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 19-21, 2024\u003cbr>\nGreen Music Center, Rohnert Park\u003c/em>\u003c/p>\n\u003cp>On public radio stations like KQED, you’ve heard \u003cem>Marketplace\u003c/em> host Kai Ryssdal analyzing the stock market — but did you know you can also see him live, in person, narrating Aaron Copland’s ‘Lincoln Portrait’ with a full symphony orchestra? Friends, dreams do come true. Ryssdal and his famous voice appear with the Santa Rosa Symphony on this program, which also includes Beethoven’s violin concerto and a West Coast premiere of Katherine Balch’s \u003cem>musica pyralis\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13963249\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963249\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Ax_2022cNigelParry-02-scaled-1.jpg\" alt=\"\" width=\"1920\" height=\"1372\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Ax_2022cNigelParry-02-scaled-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Ax_2022cNigelParry-02-scaled-1-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Ax_2022cNigelParry-02-scaled-1-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Ax_2022cNigelParry-02-scaled-1-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Ax_2022cNigelParry-02-scaled-1-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Ax_2022cNigelParry-02-scaled-1-1536x1098.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Emmanuel Ax. \u003ccite>(Nigel Parry)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://gmc.sonoma.edu/emanuel-ax/\">Emmanuel Ax: Beethoven, Schumann, Corigliano\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003ca href=\"https://gmc.sonoma.edu/emanuel-ax/\">Oct. 24 at Green Music Center\u003c/a>, Rohnert Park\u003cbr>\n\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2024-25/emanuel-ax-recital\">Oct. 27 at Davies Symphony Hall\u003c/a>, San Francisco\u003c/em>\u003c/p>\n\u003cp>Just about everyone who ever took piano lessons has learned Beethoven’s \u003cem>Moonlight Sonata\u003c/em> — and the parents of those kids learn just how clunky and inelegant it can sound. Want to hear it in the hands of a professional? The pianist Emmanuel Ax is no stranger to contemporary composers like Krzysztof Penderecki and John Adams, but his gossamer touch is unparalleled when performing Beethoven and Schumann, as he does in this program at both Davies and the Green Music Center.\u003c/p>\n\u003cfigure id=\"attachment_13963386\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963386\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Carmen.diptych.jpg\" alt=\"\" width=\"1600\" height=\"1129\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Carmen.diptych.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Carmen.diptych-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Carmen.diptych-1020x720.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Carmen.diptych-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Carmen.diptych-768x542.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Carmen.diptych-1536x1084.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Jonathan Tetelman and Eve-Maud Hubeaux play Don José and Carmen, respectively, in San Francisco Opera’s ‘Carmen.’ \u003ccite>(Ben Wolf / Artist Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfopera.com/operas/carmen/\">‘Carmen’\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 13–Dec. 1\u003cbr>\nWar Memorial Opera House, San Francisco\u003c/em>\u003c/p>\n\u003cp>There’s a reason \u003cem>Carmen\u003c/em> has returned to San Francisco Opera more than 30 times: It’s accessible and action-packed, with songs most people don’t realize they know from movies and cartoons. This interpretation by Francesco Zambello was here in 2019, and it \u003ca href=\"https://www.kqed.org/arts/13860265/jnai-bridges-shines-as-carmen-at-san-francisco-opera\">leaned into the story’s indictment of toxic masculinity\u003c/a>. With Eve-Maud Hubeaux as Carmen and Jonathan Tetelman as Don José, this is a perfect “bring a friend who’s never been to the opera” opportunity.\u003c/p>\n\u003cfigure id=\"attachment_13963273\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963273\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/shaw-kahane.jpg\" alt=\"\" width=\"960\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/shaw-kahane.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/shaw-kahane-800x480.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/shaw-kahane-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/shaw-kahane-768x461.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Caroline Shaw and Gabriel Kahane. \u003ccite>(SF Performances)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfperformances.org/performances/2425/shaw-kahane.html\">Gabriel Kahane and Caroline Shaw\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 14, 2024\u003cbr>\nHerbst Theatre, San Francisco\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I’ll never forget the sight of Caroline Shaw, just after President Obama spoke, performing onstage with Kanye West at the Warfield in San Francisco in 2015. These days, the contemporary classical artist has a more restrained musical collaborator in Gabriel Kahane, the son of Santa Rosa Symphony Conductor Emeritus Jeffrey Kahane. Here, they premiere new works inspired by Argentine author Jorge Luis Borges’ short story \u003cem>The Library of Babel\u003c/em>.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13962857/best-classical-music-concerts-bay-area-fall-2024","authors":["185"],"programs":["arts_140"],"categories":["arts_1","arts_69","arts_235"],"tags":["arts_1312","arts_6180","arts_22281","arts_10278","arts_3281","arts_763","arts_1367","arts_2960","arts_22276","arts_585"],"featImg":"arts_13955628","label":"source_arts_13962857"},"arts_13954764":{"type":"posts","id":"arts_13954764","meta":{"index":"posts_1716263798","site":"arts","id":"13954764","score":null,"sort":[1711495560000]},"parent":0,"labelTerm":{"site":"arts"},"blocks":[],"publishDate":1711495560,"format":"standard","title":"SF Symphony Leadership Addresses Financial Issues After Musicians’ Protest","headTitle":"SF Symphony Leadership Addresses Financial Issues After Musicians’ Protest | KQED","content":"\u003cp>The leadership of the San Francisco Symphony has attempted to offer more transparency into its financial challenges after Esa-Pekka Salonen’s decision to step down as music director. Over the past two weeks, \u003ca href=\"https://www.kqed.org/arts/13954297/san-francisco-symphony-musicians-urge-leadership-to-keep-esa-pekka-salonen\">orchestra musicians have protested\u003c/a> both Salonen’s impending departure and the Symphony’s cuts to programs. \u003c/p>\n\u003cp>In \u003ca href=\"https://www.sfsymphony.org/SanFrancisco/media/SanFrancisco/Press%20Room/Statement-on-San-Francisco-Symphony-organizational-context.pdf\">a four-page statement\u003c/a> issued Monday, the Symphony said that it “deeply values” the musicians of the orchestra, as well as its relationship with Salonen, who on March 14 said he was stepping down from the Symphony “because I do not share the same goals for the future of the institution as the Board of Governors.”\u003c/p>\n\u003cp>Those goals are widely understood to be about Salonen’s creative vision for the Symphony, which includes international tours, special concerts, commissions and community programs, which the Symphony has either canceled or postponed. (As \u003ca href=\"https://www-hs-fi.translate.goog/kulttuuri/art-2000010292468.html?_x_tr_sl=auto&_x_tr_tl=en&_x_tr_hl=en&_x_tr_pto=wapp&_x_tr_hist=true&fbclid=IwAR3lLiC1drjtCx-DzU9k_ZYznsmIFuVXpQKVRwMRruugzjNels8ilQxGEi4\">Salonen explained to the Finnish newspaper \u003cem>Helsingin Sanomat\u003c/em>\u003c/a>, “The board has decided on big and dramatic cuts that affect the orchestra’s artistic profile so deeply that I don’t consider it possible to continue my contract.”)\u003c/p>\n\u003cp>“We would love nothing more than to be able to immediately restore the number of SoundBox performances, semi-staged productions, and new commissions; to resume touring; and to reinstate Concerts for Kids,” the Symphony’s statement reads. “The limiting factor prohibiting us from doing so is not a lack of desire, drive, or ambition. It is solely a lack of immediate financial resources.” \u003c/p>\n\u003cp>[aside postID='arts_13954297']The unsigned statement goes into additional detail about the Symphony’s declarations that its expenses exceed its revenue, asserting that in 2022–23, “the Symphony’s operating expenses totaled $78.6 million, while operating revenues, exclusive of extraordinary one-time contributions, totaled just $67.4 million.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Without taking action or receiving additional funding, “we anticipate that our cumulative cash losses could grow by an additional $80 million over the next five years,” the statement reads.\u003c/p>\n\u003cp>Andy Lynch, a spokesperson for the musicians, said the orchestra is still disappointed. \u003c/p>\n\u003cp>“While we are glad that the administration is responding to the overwhelming outpouring of concern regarding the departure of Esa-Pekka Salonen due to cuts to programming, education, and touring, there is still no plan nor timeline for the reinstatement of these supposedly temporary cuts. The administration claims they are committed to transparency and ensuring the Symphony remains a world-class organization, but their recent actions have driven away a world-class Music Director and left more questions than answers related to Symphony finances and endowment,” Lynch said in a statement.\u003c/p>\n\u003cp>“Despite our requests, the administration has still not provided us with audited financial statements to support their claims, which we are now only hearing about through a press release.”\u003c/p>\n\u003cp>Orchestra musicians \u003ca href=\"https://www.kqed.org/arts/13954297/san-francisco-symphony-musicians-urge-leadership-to-keep-esa-pekka-salonen\">have argued\u003c/a> that the symphony should draw on its $325 million endowment — the second-largest of the country’s symphony orchestras — to keep programs afloat and, by extension, retain Salonen on the podium. \u003c/p>\n\u003cp>On this, the Symphony claims its hands are tied. \u003c/p>\n\u003cp>“There is a common misconception that endowments can be accessed like a savings account and used to support operating expenses at any time. In reality, our flexibility in spending from the endowment is limited by California law, as well as by legally binding donor applied restrictions,” the statement reads. (Restrictions on a nonprofit’s endowment can also be self-applied by the board.)\u003c/p>\n\u003cp>[aside postID='arts_13954083']Draws from the endowment provide an annual source of revenue for the organization. Musicians had provided figures to KQED showing a 4.4% draw on the endowment in 2022. The Symphony’s statement says the board has now authorized a larger draw of 6.45% for the 2024–25 season. \u003c/p>\n\u003cp>Another sticking point for the musicians has been their salaries, which have not been restored to pre-pandemic levels like those of their counterparts in other orchestras. (According to \u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SFS.Flyer_.jpg\">a flyer distributed by musicians to patrons at Davies Symphony Hall\u003c/a> on March 16, Salonen has personally argued for musicians’ pay to be restored.) The Symphony statement, however, did not mention nor address musicians’ pay. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Meanwhile, a \u003ca href=\"https://www.change.org/p/sf-symphony-board-retain-esa-pekka-salonen-invest-in-the-symphony\">Change.org petition addressed to the Symphony board\u003c/a>, calling to retain Salonen and reinvest in Symphony programs, has received over 5,000 signatures.\u003c/p>\n\n","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":741,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":17},"modified":1711554662,"excerpt":"News of Esa-Pekka Salonen’s departure as music director has brought scrutiny on the Symphony’s finances.","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"News of Esa-Pekka Salonen’s departure as music director has brought scrutiny on the Symphony’s finances.","title":"SF Symphony Leadership Addresses Financial Issues After Musicians’ Protest | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"SF Symphony Leadership Addresses Financial Issues After Musicians’ Protest","datePublished":"2024-03-26T16:26:00-07:00","dateModified":"2024-03-27T08:51:02-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"sf-symphony-leadership-esa-pekka-salonen-musicians-protest","status":"publish","templateType":"standard","excludeFromSiteSearch":"Include","featuredImageType":"standard","sticky":false,"articleAge":"0","path":"/arts/13954764/sf-symphony-leadership-esa-pekka-salonen-musicians-protest","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The leadership of the San Francisco Symphony has attempted to offer more transparency into its financial challenges after Esa-Pekka Salonen’s decision to step down as music director. Over the past two weeks, \u003ca href=\"https://www.kqed.org/arts/13954297/san-francisco-symphony-musicians-urge-leadership-to-keep-esa-pekka-salonen\">orchestra musicians have protested\u003c/a> both Salonen’s impending departure and the Symphony’s cuts to programs. \u003c/p>\n\u003cp>In \u003ca href=\"https://www.sfsymphony.org/SanFrancisco/media/SanFrancisco/Press%20Room/Statement-on-San-Francisco-Symphony-organizational-context.pdf\">a four-page statement\u003c/a> issued Monday, the Symphony said that it “deeply values” the musicians of the orchestra, as well as its relationship with Salonen, who on March 14 said he was stepping down from the Symphony “because I do not share the same goals for the future of the institution as the Board of Governors.”\u003c/p>\n\u003cp>Those goals are widely understood to be about Salonen’s creative vision for the Symphony, which includes international tours, special concerts, commissions and community programs, which the Symphony has either canceled or postponed. (As \u003ca href=\"https://www-hs-fi.translate.goog/kulttuuri/art-2000010292468.html?_x_tr_sl=auto&_x_tr_tl=en&_x_tr_hl=en&_x_tr_pto=wapp&_x_tr_hist=true&fbclid=IwAR3lLiC1drjtCx-DzU9k_ZYznsmIFuVXpQKVRwMRruugzjNels8ilQxGEi4\">Salonen explained to the Finnish newspaper \u003cem>Helsingin Sanomat\u003c/em>\u003c/a>, “The board has decided on big and dramatic cuts that affect the orchestra’s artistic profile so deeply that I don’t consider it possible to continue my contract.”)\u003c/p>\n\u003cp>“We would love nothing more than to be able to immediately restore the number of SoundBox performances, semi-staged productions, and new commissions; to resume touring; and to reinstate Concerts for Kids,” the Symphony’s statement reads. “The limiting factor prohibiting us from doing so is not a lack of desire, drive, or ambition. It is solely a lack of immediate financial resources.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13954297","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The unsigned statement goes into additional detail about the Symphony’s declarations that its expenses exceed its revenue, asserting that in 2022–23, “the Symphony’s operating expenses totaled $78.6 million, while operating revenues, exclusive of extraordinary one-time contributions, totaled just $67.4 million.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Without taking action or receiving additional funding, “we anticipate that our cumulative cash losses could grow by an additional $80 million over the next five years,” the statement reads.\u003c/p>\n\u003cp>Andy Lynch, a spokesperson for the musicians, said the orchestra is still disappointed. \u003c/p>\n\u003cp>“While we are glad that the administration is responding to the overwhelming outpouring of concern regarding the departure of Esa-Pekka Salonen due to cuts to programming, education, and touring, there is still no plan nor timeline for the reinstatement of these supposedly temporary cuts. The administration claims they are committed to transparency and ensuring the Symphony remains a world-class organization, but their recent actions have driven away a world-class Music Director and left more questions than answers related to Symphony finances and endowment,” Lynch said in a statement.\u003c/p>\n\u003cp>“Despite our requests, the administration has still not provided us with audited financial statements to support their claims, which we are now only hearing about through a press release.”\u003c/p>\n\u003cp>Orchestra musicians \u003ca href=\"https://www.kqed.org/arts/13954297/san-francisco-symphony-musicians-urge-leadership-to-keep-esa-pekka-salonen\">have argued\u003c/a> that the symphony should draw on its $325 million endowment — the second-largest of the country’s symphony orchestras — to keep programs afloat and, by extension, retain Salonen on the podium. \u003c/p>\n\u003cp>On this, the Symphony claims its hands are tied. \u003c/p>\n\u003cp>“There is a common misconception that endowments can be accessed like a savings account and used to support operating expenses at any time. In reality, our flexibility in spending from the endowment is limited by California law, as well as by legally binding donor applied restrictions,” the statement reads. (Restrictions on a nonprofit’s endowment can also be self-applied by the board.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13954083","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Draws from the endowment provide an annual source of revenue for the organization. Musicians had provided figures to KQED showing a 4.4% draw on the endowment in 2022. The Symphony’s statement says the board has now authorized a larger draw of 6.45% for the 2024–25 season. \u003c/p>\n\u003cp>Another sticking point for the musicians has been their salaries, which have not been restored to pre-pandemic levels like those of their counterparts in other orchestras. (According to \u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SFS.Flyer_.jpg\">a flyer distributed by musicians to patrons at Davies Symphony Hall\u003c/a> on March 16, Salonen has personally argued for musicians’ pay to be restored.) The Symphony statement, however, did not mention nor address musicians’ pay. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Meanwhile, a \u003ca href=\"https://www.change.org/p/sf-symphony-board-retain-esa-pekka-salonen-invest-in-the-symphony\">Change.org petition addressed to the Symphony board\u003c/a>, calling to retain Salonen and reinvest in Symphony programs, has received over 5,000 signatures.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13954764/sf-symphony-leadership-esa-pekka-salonen-musicians-protest","authors":["185"],"categories":["arts_1","arts_69","arts_235"],"tags":["arts_1312","arts_6180","arts_10278","arts_1367"],"featImg":"arts_13954798","label":"arts"},"arts_13954297":{"type":"posts","id":"arts_13954297","meta":{"index":"posts_1716263798","site":"arts","id":"13954297","score":null,"sort":[1710981176000]},"parent":0,"labelTerm":{"site":"arts"},"blocks":[],"publishDate":1710981176,"format":"standard","title":"San Francisco Symphony Musicians Urge Leadership to Keep Esa-Pekka Salonen","headTitle":"San Francisco Symphony Musicians Urge Leadership to Keep Esa-Pekka Salonen | KQED","content":"\u003cp>The musicians of the San Francisco Symphony are calling for the Symphony’s board to retain Esa-Pekka Salonen as music director.\u003c/p>\n\u003cp>The Symphony announced on March 14 that \u003ca href=\"https://www.kqed.org/arts/13954083/esa-pekka-salonen-steps-down-sf-symphony\">the upcoming 2024–25 season will be Salonen’s last as music director\u003c/a>, framing the departure as a simple contract expiration.\u003c/p>\n\u003cp>But in a statement shared with KQED, Salonen said, “I do not share the same goals for the future of the institution as the Board of Governors,” without elaborating.\u003c/p>\n\u003cp>Later that day, the orchestra delivered a bouquet of flowers onstage to Salonen. After a performance on Saturday, musicians stationed outside Davies Symphony Hall distributed flyers to patrons, asking them to email Symphony leadership and “urge them to do what it takes to retain our world-class Maestro.”\u003c/p>\n\u003cfigure id=\"attachment_13954507\" class=\"wp-caption aligncenter\" style=\"max-width: 688px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SFS.Flyer_.jpg\" alt=\"\" width=\"688\" height=\"912\" class=\"size-full wp-image-13954507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SFS.Flyer_.jpg 688w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SFS.Flyer_-160x212.jpg 160w\" sizes=\"(max-width: 688px) 100vw, 688px\">\u003cfigcaption class=\"wp-caption-text\">A flyer distributed outside Davies Symphony Hall on Saturday, March 16, 2024, calling on patrons to urge the Symphony to keep Esa-Pekka Salonen as music director.\u003c/figcaption>\u003c/figure>\n\u003cp>The dispute is widely understood to be about cost-cutting measures. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the flyer and a press release distributed on Monday, orchestra musicians criticized the board’s decision to cancel the orchestra’s European tour and make cuts to its digital projects, educational initiatives and its nightclub-environment series, SoundBox. They added that the cancellations and cuts raise “serious questions about the future of the Symphony.”\u003c/p>\n\u003cp>Through a representative, Salonen declined comment to KQED. \u003c/p>\n\u003cp>[aside postID='arts_13954083']“Esa-Pekka is a force for innovation and experimentation in classical music, and that kind of innovation requires investment,” said Catherine Payne, the Symphony’s piccolo player and a representative from the musicians’ artistic and action committees. \u003c/p>\n\u003cp>Payne believes it’s still feasible for the Symphony board to reverse course and keep Salonen, who, at least to the orchestra, appears to want to stay, should certain conditions be met. According to the musicians’ flyer, Salonen had also personally argued for the Symphony to restore musicians’ salaries to pre-pandemic levels, like other major orchestras have done. \u003c/p>\n\u003cp>The Symphony provided no immediate comment for this story. \u003c/p>\n\u003cp>Musicians argue that the Symphony’s endowment — currently among the largest of American orchestras, at $324.5 million — should be utilized to pay for restoring programs, touring and Salonen’s salary. \u003c/p>\n\u003cp>According to publicly available records that the Symphony is required to file as a nonprofit, Salonen’s total compensation for the fiscal year ending in August of 2021 was $2,065,642, comparable to that of his predecessor, Michael Tilson Thomas. \u003c/p>\n\u003cfigure id=\"attachment_13954086\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557.jpg\" alt=\"A middle-aged white man in black clothing stands against a black background, hands clasped at front.\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13954086\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen, Music Director of the San Francisco Symphony, will exit his position in June 2025. \u003ccite>(Cody Pickens)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Large nonprofits are typically hesitant to dip into endowment funds to cover deficits. \u003c/p>\n\u003cp>“But what is the endowment for?” asked Payne. “Is it to fund the music director’s artistic vision, or is it to just sit there and be added to, and grown and grown? The money in the endowment is to fund programing and the kind of projects that the orchestra is known for.”\u003c/p>\n\u003cp>As \u003ca href=\"https://www.yahoo.com/entertainment/esa-pekka-salonens-resignation-san-180044875.html\">classical music critic Mark Swed of the \u003cem>Los Angeles Times\u003c/em> wrote\u003c/a>, “Boards tend to be composed of highly successful individuals who are not always in the habit of listening to others, especially others who want to risk their money.”\u003c/p>\n\u003cp>Matthew Spivey, the Symphony’s CEO, told other outlets last week that he understood Salonen’s decision to leave in the wake of the cuts to programming, and that the organization faced “significant financial pressures” that had become “impossible to ignore.”\u003c/p>\n\u003cp>[aside postID='arts_13953312']Salonen’s tenure began in 2020, during the pandemic, which worsened what Spivey characterized as already existing budget problems. Spivey announced the canceled European tour and other programming cuts to the orchestra in January of this year. \u003c/p>\n\u003cp>Payne said that the musicians have been “deeply troubled” by the board’s decisions, adding that Salonen, who had been attracted to the creative possibilities of the Bay Area’s technology sector, had plans for new digital projects with Apple and Google on the horizon.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We’re really a flagship institution that constantly pushes the boundaries of classical music, and is doing cutting-edge things,” said Payne, who has been with the orchestra for nearly 30 years. “It’s so sad to see all the progress that we’ve made over the decades, and how quickly that is going away.”\u003c/p>\n\n","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":764,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":21},"modified":1711124200,"excerpt":"Orchestra members say the cost-cutting decision raises ‘serious questions about the future of the Symphony.’","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"Orchestra members say the cost-cutting decision raises ‘serious questions about the future of the Symphony.’","title":"San Francisco Symphony Musicians Urge Leadership to Keep Esa-Pekka Salonen | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"San Francisco Symphony Musicians Urge Leadership to Keep Esa-Pekka Salonen","datePublished":"2024-03-20T17:32:56-07:00","dateModified":"2024-03-22T09:16:40-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"san-francisco-symphony-musicians-urge-leadership-to-keep-esa-pekka-salonen","status":"publish","templateType":"standard","excludeFromSiteSearch":"Include","featuredImageType":"standard","sticky":false,"articleAge":"0","path":"/arts/13954297/san-francisco-symphony-musicians-urge-leadership-to-keep-esa-pekka-salonen","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The musicians of the San Francisco Symphony are calling for the Symphony’s board to retain Esa-Pekka Salonen as music director.\u003c/p>\n\u003cp>The Symphony announced on March 14 that \u003ca href=\"https://www.kqed.org/arts/13954083/esa-pekka-salonen-steps-down-sf-symphony\">the upcoming 2024–25 season will be Salonen’s last as music director\u003c/a>, framing the departure as a simple contract expiration.\u003c/p>\n\u003cp>But in a statement shared with KQED, Salonen said, “I do not share the same goals for the future of the institution as the Board of Governors,” without elaborating.\u003c/p>\n\u003cp>Later that day, the orchestra delivered a bouquet of flowers onstage to Salonen. After a performance on Saturday, musicians stationed outside Davies Symphony Hall distributed flyers to patrons, asking them to email Symphony leadership and “urge them to do what it takes to retain our world-class Maestro.”\u003c/p>\n\u003cfigure id=\"attachment_13954507\" class=\"wp-caption aligncenter\" style=\"max-width: 688px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SFS.Flyer_.jpg\" alt=\"\" width=\"688\" height=\"912\" class=\"size-full wp-image-13954507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SFS.Flyer_.jpg 688w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/SFS.Flyer_-160x212.jpg 160w\" sizes=\"(max-width: 688px) 100vw, 688px\">\u003cfigcaption class=\"wp-caption-text\">A flyer distributed outside Davies Symphony Hall on Saturday, March 16, 2024, calling on patrons to urge the Symphony to keep Esa-Pekka Salonen as music director.\u003c/figcaption>\u003c/figure>\n\u003cp>The dispute is widely understood to be about cost-cutting measures. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the flyer and a press release distributed on Monday, orchestra musicians criticized the board’s decision to cancel the orchestra’s European tour and make cuts to its digital projects, educational initiatives and its nightclub-environment series, SoundBox. They added that the cancellations and cuts raise “serious questions about the future of the Symphony.”\u003c/p>\n\u003cp>Through a representative, Salonen declined comment to KQED. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13954083","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“Esa-Pekka is a force for innovation and experimentation in classical music, and that kind of innovation requires investment,” said Catherine Payne, the Symphony’s piccolo player and a representative from the musicians’ artistic and action committees. \u003c/p>\n\u003cp>Payne believes it’s still feasible for the Symphony board to reverse course and keep Salonen, who, at least to the orchestra, appears to want to stay, should certain conditions be met. According to the musicians’ flyer, Salonen had also personally argued for the Symphony to restore musicians’ salaries to pre-pandemic levels, like other major orchestras have done. \u003c/p>\n\u003cp>The Symphony provided no immediate comment for this story. \u003c/p>\n\u003cp>Musicians argue that the Symphony’s endowment — currently among the largest of American orchestras, at $324.5 million — should be utilized to pay for restoring programs, touring and Salonen’s salary. \u003c/p>\n\u003cp>According to publicly available records that the Symphony is required to file as a nonprofit, Salonen’s total compensation for the fiscal year ending in August of 2021 was $2,065,642, comparable to that of his predecessor, Michael Tilson Thomas. \u003c/p>\n\u003cfigure id=\"attachment_13954086\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557.jpg\" alt=\"A middle-aged white man in black clothing stands against a black background, hands clasped at front.\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13954086\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen, Music Director of the San Francisco Symphony, will exit his position in June 2025. \u003ccite>(Cody Pickens)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Large nonprofits are typically hesitant to dip into endowment funds to cover deficits. \u003c/p>\n\u003cp>“But what is the endowment for?” asked Payne. “Is it to fund the music director’s artistic vision, or is it to just sit there and be added to, and grown and grown? The money in the endowment is to fund programing and the kind of projects that the orchestra is known for.”\u003c/p>\n\u003cp>As \u003ca href=\"https://www.yahoo.com/entertainment/esa-pekka-salonens-resignation-san-180044875.html\">classical music critic Mark Swed of the \u003cem>Los Angeles Times\u003c/em> wrote\u003c/a>, “Boards tend to be composed of highly successful individuals who are not always in the habit of listening to others, especially others who want to risk their money.”\u003c/p>\n\u003cp>Matthew Spivey, the Symphony’s CEO, told other outlets last week that he understood Salonen’s decision to leave in the wake of the cuts to programming, and that the organization faced “significant financial pressures” that had become “impossible to ignore.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13953312","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Salonen’s tenure began in 2020, during the pandemic, which worsened what Spivey characterized as already existing budget problems. Spivey announced the canceled European tour and other programming cuts to the orchestra in January of this year. \u003c/p>\n\u003cp>Payne said that the musicians have been “deeply troubled” by the board’s decisions, adding that Salonen, who had been attracted to the creative possibilities of the Bay Area’s technology sector, had plans for new digital projects with Apple and Google on the horizon.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We’re really a flagship institution that constantly pushes the boundaries of classical music, and is doing cutting-edge things,” said Payne, who has been with the orchestra for nearly 30 years. “It’s so sad to see all the progress that we’ve made over the decades, and how quickly that is going away.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13954297/san-francisco-symphony-musicians-urge-leadership-to-keep-esa-pekka-salonen","authors":["185"],"categories":["arts_1","arts_69","arts_235"],"tags":["arts_1312","arts_10342","arts_6180","arts_10278","arts_1146","arts_1367"],"featImg":"arts_13849055","label":"arts"},"arts_13954083":{"type":"posts","id":"arts_13954083","meta":{"index":"posts_1716263798","site":"arts","id":"13954083","score":null,"sort":[1710435588000]},"parent":0,"labelTerm":{"site":"arts"},"blocks":[],"publishDate":1710435588,"format":"aside","title":"Esa-Pekka Salonen to Step Down as SF Symphony Music Director in 2025","headTitle":"Esa-Pekka Salonen to Step Down as SF Symphony Music Director in 2025 | KQED","content":"\u003cfigure id=\"attachment_13954086\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557.jpg\" alt=\"A middle-aged white man in black clothing stands against a black background, hands clasped at front.\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13954086\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen, Music Director of the San Francisco Symphony. \u003ccite>(Cody Pickens)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Esa-Pekka Salonen will step down as the San Francisco Symphony’s music director in June of 2025, at the end of his five-year contract, the symphony announced today.\u003c/p>\n\u003cp>Salonen, a major figure in the classical music world, surprised many when he joined the symphony in 2020. After 17 years as Music Director of the Los Angeles Philharmonic, he had repeatedly said he was uninterested in leading another major orchestra.\u003c/p>\n\u003cp>But Salonen’s creative vision and tech-friendly approach made a fit for San Francisco, where he presented innovative programs at Davies Symphony Hall and assembled an eight-member “brain trust” of younger artists to steer the orchestra into the future.\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.sfchronicle.com/entertainment/article/esa-pekka-salonen-sf-symphony-18941145.php\">statement\u003c/a> to KQED, Salonen explained that he was leaving the symphony because “I do not share the same goals for the future of the institution as the Board of Governors,” without elaborating.\u003c/p>\n\u003cp>“I am sincerely looking forward to the many exciting programs we have planned for my final season as Music Director,” Salonen continued, “and am proud to continue working with the world-class musicians of the San Francisco Symphony.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The symphony has not yet named a replacement. \u003c/p>\n\u003cfigure id=\"attachment_13846588\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV.jpg\" alt=\"Esa-Pekka Salonen accepts his appointment as new Music Director of the San Francisco Symphony at a welcome party, Dec. 5, 2018.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13846588\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen accepts his appointment as new Music Director of the San Francisco Symphony at a welcome party, Dec. 5, 2018. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a statement, San Francisco Symphony CEO Matthew Spivey praised Salonen’s creative vision and hard work to address the challenges of the pandemic in the fall of 2020, when his tenure began. \u003c/p>\n\u003cp>“Over his time as Music Director, Esa-Pekka has brought with him a palpable spirit of collaboration and adventure to the San Francisco Symphony that has inspired our musicians, staff, board, and audiences to think more expansively about the possibilities of the orchestral experience,” Spivey said.\u003c/p>\n\u003cp>[aside postID='arts_13953312']Salonen, who was part of a 2014 iPad campaign for Apple, notably engaged with the tech sector following his appointment; a \u003cem>New York Times\u003c/em> headline called him a “disrupter” in the classical world. An \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2023-24/SoundBox-CAROL-REILEY\">upcoming SoundBox program\u003c/a> at the symphony in April curated by Carol Reiley, a roboticist and member of Salonen’s creative partner team, will feature music made with the help of robots and AI.\u003c/p>\n\u003cp>Earlier this month, Salonen conducted Scriabin’s \u003cem>Prometheus, The Poem of Fire\u003c/em> \u003ca href=\"https://www.kqed.org/arts/13953312/scriabin-prometheus-san-francisco-symphony-review\">augmented by colorful lights, smoke cannons and piped-in scents\u003c/a>. \u003c/p>\n\u003cfigure id=\"attachment_13953338\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13953338\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen conducts the orchestra with pianist Jean-Yves Thibaudet as the San Francisco Symphony performs Alexander Scriabin’s ‘Prometheus, The Poem of Fire’ at Davies Symphony Hall on March 1, 2024. \u003ccite>(Brandon Patoc)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And yet Salonen has kept one foot in classical music’s traditions. In his final concert as Music Director next June, he will conduct Gustav Mahler, a favorite composer of Salonen’s predecessor Michael Tilson-Thomas and of Thomas’ mentor Leonard Bernstein.\u003c/p>\n\u003cp>“Esa-Pekka’s time as Music Director has been artistically rewarding and exciting for our whole organization, and though this moment is bittersweet, I’m looking forward to experiencing his creativity and artistry through his final programs in this role during the 2024–25 season,” said San Francisco Symphony Board Chair Priscilla Geeslin in a statement.\u003c/p>\n\u003cp>The news of Salonen’s exit, made public Thursday, coincided with \u003ca href=\"https://www.kqed.org/arts/13954039/studio-ghibli-music-joe-hisaishi-san-francisco-symphony\">the symphony’s 2024–25 season announcement\u003c/a>. In his final season, Salonen will conduct 12 programs, starting with Verdi’s Requiem in September. He will also conduct several world premieres, by Gabriella Smith, Nico Muhly and Xavier Muzik, as well as his own cello concerto.\u003c/p>\n\u003cp>The season includes six commissions, five world premieres, 14 works by living composers and 14 artist debuts, along with classic repertoire from Beethoven, Brahms, Debussy, Sibelius and Strauss.\u003c/p>\n\u003cfigure id=\"attachment_13849049\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1.jpg\" alt=\"Esa-Pekka Salonen conducts the San Francisco Symphony on Jan. 18.\" width=\"2048\" height=\"1366\" class=\"size-full wp-image-13849049\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1-1920x1281.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen leading the San Francisco Symphony on Jan. 18, 2019. \u003ccite>(Brandon Patoc/San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Salonen’s tenure in San Francisco has been marked, perhaps more than anything else, by a sense of wonder. At a party announcing his appointment in 2018, he addressed the crowd about the task of leading an orchestra. \u003c/p>\n\u003cp>“I’ve been doing this for a long time, and I still don’t understand how it works,” he said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Salonen is expected to continue collaborating with the symphony as a guest conductor after his tenure ends. His final season as music director commences in September, and concludes with a program of Mahler’s Symphony No. 2 on June 12–14, 2025.\u003c/p>\n\n","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":775,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":19},"modified":1710523175,"excerpt":"\"I do not share the same goals for the future of the institution,\" Esa-Pekka Salonen stated.","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":""I do not share the same goals for the future of the institution," Esa-Pekka Salonen stated.","title":"Esa-Pekka Salonen to Step Down as SF Symphony Music Director in 2025 | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Esa-Pekka Salonen to Step Down as SF Symphony Music Director in 2025","datePublished":"2024-03-14T09:59:48-07:00","dateModified":"2024-03-15T10:19:35-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"esa-pekka-salonen-steps-down-sf-symphony","status":"publish","templateType":"standard","excludeFromSiteSearch":"Include","featuredImageType":"standard","sticky":false,"articleAge":"0","path":"/arts/13954083/esa-pekka-salonen-steps-down-sf-symphony","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13954086\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557.jpg\" alt=\"A middle-aged white man in black clothing stands against a black background, hands clasped at front.\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13954086\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/03_ESA_PEKKA_II_SF_SYMPHONY_0557-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen, Music Director of the San Francisco Symphony. \u003ccite>(Cody Pickens)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Esa-Pekka Salonen will step down as the San Francisco Symphony’s music director in June of 2025, at the end of his five-year contract, the symphony announced today.\u003c/p>\n\u003cp>Salonen, a major figure in the classical music world, surprised many when he joined the symphony in 2020. After 17 years as Music Director of the Los Angeles Philharmonic, he had repeatedly said he was uninterested in leading another major orchestra.\u003c/p>\n\u003cp>But Salonen’s creative vision and tech-friendly approach made a fit for San Francisco, where he presented innovative programs at Davies Symphony Hall and assembled an eight-member “brain trust” of younger artists to steer the orchestra into the future.\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.sfchronicle.com/entertainment/article/esa-pekka-salonen-sf-symphony-18941145.php\">statement\u003c/a> to KQED, Salonen explained that he was leaving the symphony because “I do not share the same goals for the future of the institution as the Board of Governors,” without elaborating.\u003c/p>\n\u003cp>“I am sincerely looking forward to the many exciting programs we have planned for my final season as Music Director,” Salonen continued, “and am proud to continue working with the world-class musicians of the San Francisco Symphony.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The symphony has not yet named a replacement. \u003c/p>\n\u003cfigure id=\"attachment_13846588\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV.jpg\" alt=\"Esa-Pekka Salonen accepts his appointment as new Music Director of the San Francisco Symphony at a welcome party, Dec. 5, 2018.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13846588\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/EsaPekka.MAINREV-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen accepts his appointment as new Music Director of the San Francisco Symphony at a welcome party, Dec. 5, 2018. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a statement, San Francisco Symphony CEO Matthew Spivey praised Salonen’s creative vision and hard work to address the challenges of the pandemic in the fall of 2020, when his tenure began. \u003c/p>\n\u003cp>“Over his time as Music Director, Esa-Pekka has brought with him a palpable spirit of collaboration and adventure to the San Francisco Symphony that has inspired our musicians, staff, board, and audiences to think more expansively about the possibilities of the orchestral experience,” Spivey said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13953312","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Salonen, who was part of a 2014 iPad campaign for Apple, notably engaged with the tech sector following his appointment; a \u003cem>New York Times\u003c/em> headline called him a “disrupter” in the classical world. An \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2023-24/SoundBox-CAROL-REILEY\">upcoming SoundBox program\u003c/a> at the symphony in April curated by Carol Reiley, a roboticist and member of Salonen’s creative partner team, will feature music made with the help of robots and AI.\u003c/p>\n\u003cp>Earlier this month, Salonen conducted Scriabin’s \u003cem>Prometheus, The Poem of Fire\u003c/em> \u003ca href=\"https://www.kqed.org/arts/13953312/scriabin-prometheus-san-francisco-symphony-review\">augmented by colorful lights, smoke cannons and piped-in scents\u003c/a>. \u003c/p>\n\u003cfigure id=\"attachment_13953338\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13953338\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen conducts the orchestra with pianist Jean-Yves Thibaudet as the San Francisco Symphony performs Alexander Scriabin’s ‘Prometheus, The Poem of Fire’ at Davies Symphony Hall on March 1, 2024. \u003ccite>(Brandon Patoc)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And yet Salonen has kept one foot in classical music’s traditions. In his final concert as Music Director next June, he will conduct Gustav Mahler, a favorite composer of Salonen’s predecessor Michael Tilson-Thomas and of Thomas’ mentor Leonard Bernstein.\u003c/p>\n\u003cp>“Esa-Pekka’s time as Music Director has been artistically rewarding and exciting for our whole organization, and though this moment is bittersweet, I’m looking forward to experiencing his creativity and artistry through his final programs in this role during the 2024–25 season,” said San Francisco Symphony Board Chair Priscilla Geeslin in a statement.\u003c/p>\n\u003cp>The news of Salonen’s exit, made public Thursday, coincided with \u003ca href=\"https://www.kqed.org/arts/13954039/studio-ghibli-music-joe-hisaishi-san-francisco-symphony\">the symphony’s 2024–25 season announcement\u003c/a>. In his final season, Salonen will conduct 12 programs, starting with Verdi’s Requiem in September. He will also conduct several world premieres, by Gabriella Smith, Nico Muhly and Xavier Muzik, as well as his own cello concerto.\u003c/p>\n\u003cp>The season includes six commissions, five world premieres, 14 works by living composers and 14 artist debuts, along with classic repertoire from Beethoven, Brahms, Debussy, Sibelius and Strauss.\u003c/p>\n\u003cfigure id=\"attachment_13849049\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1.jpg\" alt=\"Esa-Pekka Salonen conducts the San Francisco Symphony on Jan. 18.\" width=\"2048\" height=\"1366\" class=\"size-full wp-image-13849049\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/SFS_Esa-Pekka_Concert_Preview_Brandon_Patoc_0010-1-1920x1281.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen leading the San Francisco Symphony on Jan. 18, 2019. \u003ccite>(Brandon Patoc/San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Salonen’s tenure in San Francisco has been marked, perhaps more than anything else, by a sense of wonder. At a party announcing his appointment in 2018, he addressed the crowd about the task of leading an orchestra. \u003c/p>\n\u003cp>“I’ve been doing this for a long time, and I still don’t understand how it works,” he said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Salonen is expected to continue collaborating with the symphony as a guest conductor after his tenure ends. His final season as music director commences in September, and concludes with a program of Mahler’s Symphony No. 2 on June 12–14, 2025.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13954083/esa-pekka-salonen-steps-down-sf-symphony","authors":["185"],"categories":["arts_1","arts_69","arts_235"],"tags":["arts_1312","arts_4058","arts_6180","arts_10278","arts_1146","arts_1367"],"featImg":"arts_13954087","label":"arts"},"arts_13953312":{"type":"posts","id":"arts_13953312","meta":{"index":"posts_1716263798","site":"arts","id":"13953312","score":null,"sort":[1709584511000]},"parent":0,"labelTerm":{"site":"arts"},"blocks":[],"publishDate":1709584511,"format":"standard","title":"Smelling Music? A Multisensory ‘Prometheus’ Delights at the SF Symphony","headTitle":"Smelling Music? A Multisensory ‘Prometheus’ Delights at the SF Symphony | KQED","content":"\u003cp>So here’s the challenge: How does one present a 114-year-old piece of music by a composer said to be afflicted with \u003ca href=\"https://www.psychologytoday.com/us/basics/synesthesia\">synesthesia\u003c/a> who, in the score, calls for a “\u003ca href=\"https://en.wikipedia.org/wiki/Clavier_%C3%A0_lumi%C3%A8res\">color organ\u003c/a>” — an instrument that does not exist?\u003c/p>\n\u003cp>Furthermore, how does one interpret this composer’s mysticism and artistic philosophy of merging the senses? How does one weave together so many intangibles and unknowns in a way that says, “Yes, yes, this is the way he would want it performed” — even though it involves significant labor and cost, and, oh right, only lasts 20 minutes?\u003c/p>\n\u003cp>[aside postID='arts_13951043']That’s the challenge Esa-Pekka Salonen and the San Francisco Symphony faced when deciding to undertake Alexander Scriabin’s \u003cem>Prometheus, The Poem of Fire\u003c/em>, a piece rarely performed due to risks both aesthetic and logistic. (It’s not exactly an easy commercial sell, either.)\u003c/p>\n\u003cp>And yet on Sunday, with colorful light splashed around the inside of Davies Symphony Hall, and special scents piped throughout the audience, \u003cem>Prometheus\u003c/em> was a dazzling success.\u003c/p>\n\u003cfigure id=\"attachment_13953338\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953338\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen conducts the orchestra with pianist Jean-Yves Thibaudet as the San Francisco Symphony performs Alexander Scriabin’s ‘Prometheus, The Poem of Fire’ at Davies Symphony Hall on March 1, 2024. \u003ccite>(Brandon Patoc)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before the orchestra played a single note, Davies resembled elements from the film \u003cem>2001\u003c/em>; bathed in red light, the sound baffling conjured \u003ca href=\"https://www.kqed.org/pop/102906/50-years-later-2001-a-space-odyssey-is-still-a-cinematic-landmark\">David Bowman’s spherical helmet\u003c/a>, and the grid of square holes in the stage wall recalled \u003ca href=\"https://www.kinolab.org/FilmClip.php?id=790\">HAL’s central circuit boards\u003c/a>. A giant circular lighting rig hovered over the stage. Around the side terraces and floor were situated 12 \u003ca href=\"https://www.nytimes.com/2024/02/23/arts/music/scriabin-prometheus-san-francisco-perfume-cartier.html\">wooden contraptions looking like space pods\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And then? The piece started in complete darkness. A faint spotlight appeared on conductor Esa-Pekka Salonen, then vertical lights down the orchestra floor turned indigo. Overhead, the circle glowed green, illuminating pianist Jean-Yves Thibaudet.\u003c/p>\n\u003cp>Three minutes in, I could smell the aroma developed by Mathilde Laurent from Cartier. I’d figured it’d resemble women’s perfume, but no — this was a complex, earthy scent. The lights changed colors corresponding to the music. A dextrous solo passage by Thibaudet was bathed in deep purple, and during one loud portion, what I thought was someone opening the concert hall’s doors to the bright afternoon sun turned out to be the side lighting burning bright white.\u003c/p>\n\u003cp>The scent got stronger — I thought of fern, madrone and damp bay leaves — and the music more swirling and intense. Swelling brass played against full-fingered piano runs as Scriabin’s score approached the moment, in the Greek myth of Prometheus (and, coincidentally, the beginning of \u003cem>2001\u003c/em>), when humankind is gifted with the power of harnessing fire.\u003c/p>\n\u003cfigure id=\"attachment_13953336\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953336\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0021.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0021.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0021-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Symphony performs Alexander Scriabin’s ‘Prometheus, The Poem of Fire’ at Davies Symphony Hall, outfitted with special lighting and smoke cannons, on March 1, 2024. \u003ccite>(Brandon Patoc)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That arrived at the 13-minute mark, when the round doors of the space pods slowly opened, emanating wisps of mist. As the orchestra crescendoed to a climax, \u003cem>boom!\u003c/em> — the space pod cannons launched smoke rings across the hall, zig-zagging over the audience in vibrant red and yellow light. The scent suddenly changed, lighter and less musky, to what seemed like citrus and lychee. I may or may not have whispered, “Oh my God.”\u003c/p>\n\u003cp>Did I say that was the climax? Alas, the joke was on me, because a 77-piece choir started filing into the center terrace to sing thunderously as the music intensified and the scent changed yet again, this time to a sweet herbal note reminiscent of Fernet Branca being poured in a houseplant boutique.\u003c/p>\n\u003cp>What followed in the final six minutes was pure wonderment at the scope of it all, and the capacity of humans to undertake such a vigorous challenge. At the gigantic fortississimo ending, Davies shimmered with red and yellow until a full blackout after the final thrilling chord.\u003c/p>\n\u003cfigure id=\"attachment_13953335\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953335\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0035.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0035.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0035-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0035-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0035-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0035-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0035-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A curtain call for the San Francisco Symphony performance of Alexander Scriabin’s ‘Prometheus, The Poem of Fire’ at Davies Symphony Hall on March 1, 2024. Left to right: Music Director Esa-Pekka Salonen, Chorus Director Jenny Wong, lighting designer Luke Kritzeck, pianist Jean-Yves Thibaudet and Cartier’s in-house perfumer Mathilde Laurent. \u003ccite>(Brandon Patoc)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the intermission, Béla Bartók’s \u003cem>Duke Bluebeard’s Castle\u003c/em> felt a bit like Carly Rae Jepsen having to follow Beyoncé. Gerald Finley and Michelle DeYoung were in fine form singing the tale of a doomed wife exploring a blood-stained castle, and the special lighting was used intermittently. But it was no match for the first half.\u003c/p>\n\u003cp>Scriabin is a composer with a diehard fanbase. During a 2015 performance of Scriabin’s piano sonatas at SFJAZZ by Garrick Ohlsson, some audience members had sheet music in their laps to follow along. Their passion comes from those moments when his singular, strange vision of music is beautifully realized.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It doesn’t happen often. Leave it up to San Francisco to pull it off.\u003c/p>\n\n","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":878,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":16},"modified":1709586547,"excerpt":"Alexander Scriabin's mystical work soared with radiant lighting and immersive scents at Davis Symphony Hall. ","headData":{"twImgId":"","twTitle":"","socialTitle":"Smelling Music? A Multisensory ‘Prometheus’ at SF Symphony %%page%% %%sep%% KQED","ogTitle":"","ogImgId":"","twDescription":"","description":"Alexander Scriabin's mystical work soared with radiant lighting and immersive scents at Davis Symphony Hall. ","title":"Smelling Music? A Multisensory ‘Prometheus’ at SF Symphony | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Smelling Music? A Multisensory ‘Prometheus’ Delights at the SF Symphony","datePublished":"2024-03-04T12:35:11-08:00","dateModified":"2024-03-04T13:09:07-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"scriabin-prometheus-san-francisco-symphony-review","status":"publish","templateType":"standard","excludeFromSiteSearch":"Include","featuredImageType":"standard","sticky":false,"articleAge":"0","path":"/arts/13953312/scriabin-prometheus-san-francisco-symphony-review","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>So here’s the challenge: How does one present a 114-year-old piece of music by a composer said to be afflicted with \u003ca href=\"https://www.psychologytoday.com/us/basics/synesthesia\">synesthesia\u003c/a> who, in the score, calls for a “\u003ca href=\"https://en.wikipedia.org/wiki/Clavier_%C3%A0_lumi%C3%A8res\">color organ\u003c/a>” — an instrument that does not exist?\u003c/p>\n\u003cp>Furthermore, how does one interpret this composer’s mysticism and artistic philosophy of merging the senses? How does one weave together so many intangibles and unknowns in a way that says, “Yes, yes, this is the way he would want it performed” — even though it involves significant labor and cost, and, oh right, only lasts 20 minutes?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13951043","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>That’s the challenge Esa-Pekka Salonen and the San Francisco Symphony faced when deciding to undertake Alexander Scriabin’s \u003cem>Prometheus, The Poem of Fire\u003c/em>, a piece rarely performed due to risks both aesthetic and logistic. (It’s not exactly an easy commercial sell, either.)\u003c/p>\n\u003cp>And yet on Sunday, with colorful light splashed around the inside of Davies Symphony Hall, and special scents piped throughout the audience, \u003cem>Prometheus\u003c/em> was a dazzling success.\u003c/p>\n\u003cfigure id=\"attachment_13953338\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953338\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0005-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen conducts the orchestra with pianist Jean-Yves Thibaudet as the San Francisco Symphony performs Alexander Scriabin’s ‘Prometheus, The Poem of Fire’ at Davies Symphony Hall on March 1, 2024. \u003ccite>(Brandon Patoc)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before the orchestra played a single note, Davies resembled elements from the film \u003cem>2001\u003c/em>; bathed in red light, the sound baffling conjured \u003ca href=\"https://www.kqed.org/pop/102906/50-years-later-2001-a-space-odyssey-is-still-a-cinematic-landmark\">David Bowman’s spherical helmet\u003c/a>, and the grid of square holes in the stage wall recalled \u003ca href=\"https://www.kinolab.org/FilmClip.php?id=790\">HAL’s central circuit boards\u003c/a>. A giant circular lighting rig hovered over the stage. Around the side terraces and floor were situated 12 \u003ca href=\"https://www.nytimes.com/2024/02/23/arts/music/scriabin-prometheus-san-francisco-perfume-cartier.html\">wooden contraptions looking like space pods\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And then? The piece started in complete darkness. A faint spotlight appeared on conductor Esa-Pekka Salonen, then vertical lights down the orchestra floor turned indigo. Overhead, the circle glowed green, illuminating pianist Jean-Yves Thibaudet.\u003c/p>\n\u003cp>Three minutes in, I could smell the aroma developed by Mathilde Laurent from Cartier. I’d figured it’d resemble women’s perfume, but no — this was a complex, earthy scent. The lights changed colors corresponding to the music. A dextrous solo passage by Thibaudet was bathed in deep purple, and during one loud portion, what I thought was someone opening the concert hall’s doors to the bright afternoon sun turned out to be the side lighting burning bright white.\u003c/p>\n\u003cp>The scent got stronger — I thought of fern, madrone and damp bay leaves — and the music more swirling and intense. Swelling brass played against full-fingered piano runs as Scriabin’s score approached the moment, in the Greek myth of Prometheus (and, coincidentally, the beginning of \u003cem>2001\u003c/em>), when humankind is gifted with the power of harnessing fire.\u003c/p>\n\u003cfigure id=\"attachment_13953336\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953336\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0021.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0021.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0021-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Symphony performs Alexander Scriabin’s ‘Prometheus, The Poem of Fire’ at Davies Symphony Hall, outfitted with special lighting and smoke cannons, on March 1, 2024. \u003ccite>(Brandon Patoc)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That arrived at the 13-minute mark, when the round doors of the space pods slowly opened, emanating wisps of mist. As the orchestra crescendoed to a climax, \u003cem>boom!\u003c/em> — the space pod cannons launched smoke rings across the hall, zig-zagging over the audience in vibrant red and yellow light. The scent suddenly changed, lighter and less musky, to what seemed like citrus and lychee. I may or may not have whispered, “Oh my God.”\u003c/p>\n\u003cp>Did I say that was the climax? Alas, the joke was on me, because a 77-piece choir started filing into the center terrace to sing thunderously as the music intensified and the scent changed yet again, this time to a sweet herbal note reminiscent of Fernet Branca being poured in a houseplant boutique.\u003c/p>\n\u003cp>What followed in the final six minutes was pure wonderment at the scope of it all, and the capacity of humans to undertake such a vigorous challenge. At the gigantic fortississimo ending, Davies shimmered with red and yellow until a full blackout after the final thrilling chord.\u003c/p>\n\u003cfigure id=\"attachment_13953335\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953335\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0035.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0035.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0035-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0035-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0035-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0035-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/2324-Concerts-Prometheus-Bluebeard-Brandon-Patoc_0035-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A curtain call for the San Francisco Symphony performance of Alexander Scriabin’s ‘Prometheus, The Poem of Fire’ at Davies Symphony Hall on March 1, 2024. Left to right: Music Director Esa-Pekka Salonen, Chorus Director Jenny Wong, lighting designer Luke Kritzeck, pianist Jean-Yves Thibaudet and Cartier’s in-house perfumer Mathilde Laurent. \u003ccite>(Brandon Patoc)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the intermission, Béla Bartók’s \u003cem>Duke Bluebeard’s Castle\u003c/em> felt a bit like Carly Rae Jepsen having to follow Beyoncé. Gerald Finley and Michelle DeYoung were in fine form singing the tale of a doomed wife exploring a blood-stained castle, and the special lighting was used intermittently. But it was no match for the first half.\u003c/p>\n\u003cp>Scriabin is a composer with a diehard fanbase. During a 2015 performance of Scriabin’s piano sonatas at SFJAZZ by Garrick Ohlsson, some audience members had sheet music in their laps to follow along. Their passion comes from those moments when his singular, strange vision of music is beautifully realized.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It doesn’t happen often. Leave it up to San Francisco to pull it off.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13953312/scriabin-prometheus-san-francisco-symphony-review","authors":["185"],"categories":["arts_1","arts_69","arts_235"],"tags":["arts_1312","arts_4058","arts_6180","arts_10278","arts_769","arts_1146","arts_1367"],"featImg":"arts_13953337","label":"arts"},"arts_13927033":{"type":"posts","id":"arts_13927033","meta":{"index":"posts_1716263798","site":"arts","id":"13927033","score":null,"sort":[1680033236000]},"parent":0,"labelTerm":{"site":"arts","term":140},"blocks":[],"publishDate":1680033236,"format":"standard","title":"World Premieres, Classical Masterpieces Abound in SF Symphony’s New Season","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","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":429,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":9},"modified":1705005692,"excerpt":"Highlights include superstar guests Yo-Yo Ma and Gustavo Dudamel, a new music festival and more.","headData":{"twImgId":"","twTitle":"","socialTitle":"New 2023-24 Season at San Francisco Symphony Announced %%page%% %%sep%% KQED","ogTitle":"","ogImgId":"","twDescription":"","description":"Highlights include superstar guests Yo-Yo Ma and Gustavo Dudamel, a new music festival and more.","title":"New 2023-24 Season at San Francisco Symphony Announced | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"World Premieres, Classical Masterpieces Abound in SF Symphony’s New Season","datePublished":"2023-03-28T12:53:56-07:00","dateModified":"2024-01-11T12:41:32-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"san-francisco-symphony-2023-2024-season","status":"publish","templateType":"standard","excludeFromSiteSearch":"Include","featuredImageType":"standard","sticky":false,"articleAge":"0","path":"/arts/13927033/san-francisco-symphony-2023-2024-season","audioTrackLength":null,"parsedContent":[{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13927033/san-francisco-symphony-2023-2024-season","authors":["11387"],"programs":["arts_140"],"categories":["arts_1","arts_69"],"tags":["arts_15393","arts_6180","arts_10278","arts_1366","arts_1694","arts_1367","arts_585"],"featImg":"arts_13927062","label":"arts_140"},"arts_13911264":{"type":"posts","id":"arts_13911264","meta":{"index":"posts_1716263798","site":"arts","id":"13911264","score":null,"sort":[1648574671000]},"parent":0,"labelTerm":{"site":"arts","term":140},"blocks":[],"publishDate":1648574671,"format":"standard","title":"San Francisco Symphony Announces 2022-23 Season","headTitle":"San Francisco Symphony Announces 2022-23 Season | KQED","content":"\u003cp>The \u003ca href=\"https://www.sfsymphony.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Symphony\u003c/a> has announced its \u003ca href=\"https://www.sfsymphony.org/Calendar/2022-23Season\" target=\"_blank\" rel=\"noopener noreferrer\">2022-2023 season\u003c/a>, a packed program that includes premieres of new works, an emphasis on storytelling and a reverence for one of the form’s most essential elements: the piano.\u003c/p>\n\u003cp>With Esa-Pekka Salonen at the helm, the season kicks off with an opening night gala on Sept. 23. On Sept. 29, the music director conducts the debut of a new work by \u003ca href=\"http://www.trevorweston.com/about\" target=\"_blank\" rel=\"noopener noreferrer\">Trevor Weston\u003c/a>, a music professor at Drew University and the winner of the 2021 \u003ca href=\"https://www.kqed.org/arts/13909289/emerging-black-composers-project-san-francisco-symphony-conservatory-music-trevor-weston\" target=\"_blank\" rel=\"noopener noreferrer\">Emerging Black Composers Project\u003c/a>. That evening, the orchestra also performs Symphony No. 2 by Gustav Mahler, the Austro-Bohemian romantic composer who has been a guiding light for the San Francisco Symphony since the tenure of previous music director Michael Tilson Thomas.\u003c/p>\n\u003cp>“I was immediately taken by the beauty and the energy of [Weston’s] music, and also the sparkle of ideas, which is rare,” said Salonen in a statement. “His music seemed to be completely alive. I’m greatly looking forward to conducting his piece before the Mahler Second Symphony.”\u003c/p>\n\u003cp>https://youtu.be/wa-1Z11Gb3A\u003c/p>\n\u003cp>In October, Salonen will lead the orchestra in performances that revolve around the themes of magic, myth and horror. Featured works include Modest Mussorgsky’s witchy \u003ci>Night on Bald Mountain\u003c/i>, a suite from Bernard Herrmann’s score to Alfred Hitchcock’s \u003ci>Psycho\u003c/i> and HK Gruber’s cartoonish \u003ci>Frankenstein!!\u003c/i> with baritone Christopher Purves. [aside postid='arts_13909978']\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In February and March, ahead of the orchestra’s spring 2023 European tour, the symphony will perform a series of concerts spotlighting guest pianists \u003ca href=\"https://pierrelaurentaimard.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Pierre-Laurent Aimard\u003c/a>, \u003ca href=\"https://conorhanick.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Conor Hanick\u003c/a>, \u003ca href=\"https://www.langlangofficial.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Lang Lang\u003c/a> and \u003ca href=\"http://yujawang.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Yuja Wang\u003c/a>.\u003c/p>\n\u003cp>Russian-German pianist \u003ca href=\"https://www.igor-levit.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Igor Levit\u003c/a> is this season’s artist in residence. His performances in June 2023 will feature two Orchestral Series concerts, a Great Performers solo recital and a chamber music concert with members of the orchestra.\u003c/p>\n\u003cp>https://youtu.be/HSyJNWyRZ8Y\u003c/p>\n\u003cp>“Igor Levit is perhaps the hottest pianist in Europe at the moment,” said Salonen in his statement, adding that he’s “especially excited that Igor has decided to play the Busoni Piano Concerto with us, which is the strangest piano concerto ever written. It’s about 75 minutes long and needs a big orchestra and a chorus. And it’s a massive but utterly fascinating journey, full of beauty, struggle, love, and pain.”\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>\u003ca href=\"https://www.sfsymphony.org/subscribe\" target=\"_blank\" rel=\"noopener noreferrer\">Subscription packages\u003c/a> for the 2022-2023 season are available starting March 29, and \u003ca href=\"https://www.sfsymphony.org/calendar\" target=\"_blank\" rel=\"noopener noreferrer\">single tickets\u003c/a> go on sale July 16. \u003c/em>\u003c/p>\n\n","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":427,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":11},"modified":1705007036,"excerpt":"Performances include Igor Levit, Yuja Wang and other star pianists, world premieres of new works and more.","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"Performances include Igor Levit, Yuja Wang and other star pianists, world premieres of new works and more.","title":"San Francisco Symphony Announces 2022-23 Season | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"San Francisco Symphony Announces 2022-23 Season","datePublished":"2022-03-29T10:24:31-07:00","dateModified":"2024-01-11T13:03:56-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"san-francisco-symphony-announces-2022-23-season","status":"publish","templateType":"standard","excludeFromSiteSearch":"Include","featuredImageType":"standard","sticky":false,"path":"/arts/13911264/san-francisco-symphony-announces-2022-23-season","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://www.sfsymphony.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Symphony\u003c/a> has announced its \u003ca href=\"https://www.sfsymphony.org/Calendar/2022-23Season\" target=\"_blank\" rel=\"noopener noreferrer\">2022-2023 season\u003c/a>, a packed program that includes premieres of new works, an emphasis on storytelling and a reverence for one of the form’s most essential elements: the piano.\u003c/p>\n\u003cp>With Esa-Pekka Salonen at the helm, the season kicks off with an opening night gala on Sept. 23. On Sept. 29, the music director conducts the debut of a new work by \u003ca href=\"http://www.trevorweston.com/about\" target=\"_blank\" rel=\"noopener noreferrer\">Trevor Weston\u003c/a>, a music professor at Drew University and the winner of the 2021 \u003ca href=\"https://www.kqed.org/arts/13909289/emerging-black-composers-project-san-francisco-symphony-conservatory-music-trevor-weston\" target=\"_blank\" rel=\"noopener noreferrer\">Emerging Black Composers Project\u003c/a>. That evening, the orchestra also performs Symphony No. 2 by Gustav Mahler, the Austro-Bohemian romantic composer who has been a guiding light for the San Francisco Symphony since the tenure of previous music director Michael Tilson Thomas.\u003c/p>\n\u003cp>“I was immediately taken by the beauty and the energy of [Weston’s] music, and also the sparkle of ideas, which is rare,” said Salonen in a statement. “His music seemed to be completely alive. I’m greatly looking forward to conducting his piece before the Mahler Second Symphony.”\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/wa-1Z11Gb3A'\n title='//www.youtube.com/embed/wa-1Z11Gb3A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In October, Salonen will lead the orchestra in performances that revolve around the themes of magic, myth and horror. Featured works include Modest Mussorgsky’s witchy \u003ci>Night on Bald Mountain\u003c/i>, a suite from Bernard Herrmann’s score to Alfred Hitchcock’s \u003ci>Psycho\u003c/i> and HK Gruber’s cartoonish \u003ci>Frankenstein!!\u003c/i> with baritone Christopher Purves. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13909978","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In February and March, ahead of the orchestra’s spring 2023 European tour, the symphony will perform a series of concerts spotlighting guest pianists \u003ca href=\"https://pierrelaurentaimard.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Pierre-Laurent Aimard\u003c/a>, \u003ca href=\"https://conorhanick.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Conor Hanick\u003c/a>, \u003ca href=\"https://www.langlangofficial.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Lang Lang\u003c/a> and \u003ca href=\"http://yujawang.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Yuja Wang\u003c/a>.\u003c/p>\n\u003cp>Russian-German pianist \u003ca href=\"https://www.igor-levit.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Igor Levit\u003c/a> is this season’s artist in residence. His performances in June 2023 will feature two Orchestral Series concerts, a Great Performers solo recital and a chamber music concert with members of the orchestra.\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/HSyJNWyRZ8Y'\n title='//www.youtube.com/embed/HSyJNWyRZ8Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Igor Levit is perhaps the hottest pianist in Europe at the moment,” said Salonen in his statement, adding that he’s “especially excited that Igor has decided to play the Busoni Piano Concerto with us, which is the strangest piano concerto ever written. It’s about 75 minutes long and needs a big orchestra and a chorus. And it’s a massive but utterly fascinating journey, full of beauty, struggle, love, and pain.”\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>\u003ca href=\"https://www.sfsymphony.org/subscribe\" target=\"_blank\" rel=\"noopener noreferrer\">Subscription packages\u003c/a> for the 2022-2023 season are available starting March 29, and \u003ca href=\"https://www.sfsymphony.org/calendar\" target=\"_blank\" rel=\"noopener noreferrer\">single tickets\u003c/a> go on sale July 16. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13911264/san-francisco-symphony-announces-2022-23-season","authors":["11387"],"programs":["arts_140"],"categories":["arts_1","arts_69"],"tags":["arts_6180","arts_10278","arts_1367","arts_585","arts_11738"],"featImg":"arts_13911266","label":"arts_140"},"arts_13909289":{"type":"posts","id":"arts_13909289","meta":{"index":"posts_1716263798","site":"arts","id":"13909289","score":null,"sort":[1644608247000]},"parent":0,"labelTerm":{"site":"arts"},"blocks":[],"publishDate":1644608247,"format":"standard","title":"Classical Music Has a Diversity Problem. What Does the Solution Look Like?","headTitle":"Classical Music Has a Diversity Problem. What Does the Solution Look Like? | KQED","content":"\u003cp>\u003ca href=\"https://www.jonathan-bingham.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jonathan Bingham\u003c/a> had just finished his work shift at an Apple Store in May 2021 when he saw the voicemail. He had been offered a commission as part of the \u003ca href=\"https://www.jonathan-bingham.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Emerging Black Composers Project\u003c/a>. Shocked, he went into the store’s changing area and stared at his reflection in the mirror.\u003c/p>\n\u003cp>Bingham had worked at the Apple Store since his days as a graduate student at New York University. After graduating in 2016, he juggled a full-time position there with a burgeoning composing career that included residencies at the Arapahoe Philharmonic and Boulder Symphony.\u003c/p>\n\u003cp>From 7am to 4pm, Bingham helped people fix their iPhones. From 5pm to around 10pm, he composed. And then he would do it all over again.\u003c/p>\n\u003cp>Being a finalist for the \u003ca href=\"https://sfcm.edu/emerging-black-composers-project\" target=\"_blank\" rel=\"noopener noreferrer\">Emerging Black Composers Project\u003c/a>, or EBCP, has provided Bingham with an opportunity to start a new chapter in his life as a full-time composer. Upon receiving the news, he put in his two week’s notice and moved from New Jersey to San Francisco.\u003c/p>\n\u003cp>Bingham had applied to the EBCP without giving much thought as to whether or not he could win. He was simply hoping his work would pass before the eyes—and ears—of the renowned composers and conductors on the judging panel.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The project, a 10-year partnership between the San Francisco Conservatory of Music and San Francisco Symphony, aims to spotlight existing talent and nurture the next generation of Black composers in the U.S. While the EBCP doesn’t have the word “competition” in its name, it functions as one. The project has sparked a conversation about how much further classical music has to go to become truly equitable, and whether competitions are an effective tool to promote diversity.\u003c/p>\n\u003cfigure id=\"attachment_13909303\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13909303 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/DISRUPTOR_CONDUCTOR_2019_08_20_FINAL_MASTER00_09_25_23Still010.jpg\" alt=\"Daniel Bartholomew-Poyser conducts a concert at the San Francisco Symphony.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/DISRUPTOR_CONDUCTOR_2019_08_20_FINAL_MASTER00_09_25_23Still010.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/DISRUPTOR_CONDUCTOR_2019_08_20_FINAL_MASTER00_09_25_23Still010-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/DISRUPTOR_CONDUCTOR_2019_08_20_FINAL_MASTER00_09_25_23Still010-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Daniel Bartholomew-Poyser, conductor of engagement and education at the San Francisco Symphony, in a still from the film ‘Disruptor Conductor.’ \u003ccite>(San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Facing classical music’s whiteness\u003c/h2>\n\u003cp>“Historically, composers of color have had a much harder time getting their music performed and workshopped,” says \u003ca href=\"https://www.danielbartholomewpoyser.com/bio\" target=\"_blank\" rel=\"noopener noreferrer\">Daniel Bartholomew-Poyser\u003c/a>, chair of the EBCP selection committee and the San Francisco Symphony’s resident conductor of engagement and education. “[The] project is an attempt to address some of that, and to provide points of access to young people from a community that has often previously been denied access.”\u003c/p>\n\u003cp>The San Francisco Conservatory of Music and the San Francisco Symphony launched the EBCP in the aftermath of the 2020 Black Lives Matter protests, which helped set off a racial reckoning within arts organizations nationwide. Major orchestras finally began to grapple with an ongoing problem: their failure to truly reflect their surrounding communities, both in concert programs and on stages.\u003c/p>\n\u003cp>“There’s an assumption that a composer is someone who is of European descent and usually a male,” says \u003ca href=\"http://www.trevorweston.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Trevor Weston\u003c/a>, who received the first-place EBCP commission in 2021. “Visibility is important so that people understand that this tradition has always included people of different backgrounds.”\u003c/p>\n\u003cfigure id=\"attachment_13909307\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909307\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/Trevor-Weston-portrait_photo-by-Ayano-Hisa-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Trevor Weston is a music professor at Drew University and the first-place winner of the 2021 Emerging Black Composers Project. \u003ccite>(Ayano-Hisa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Weston received a $15,000 commission to compose a new work for the San Francisco Symphony, a rare opportunity for a contemporary composer. Due to the applicant pool’s strength, the selection committee named three additional finalists—Bingham, \u003ca href=\"http://www.shawnokpebholo.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Shawn Okpebholo\u003c/a> and \u003ca href=\"https://sumitonooka.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Sumi Tonooka\u003c/a>. Each received an $8,000 commission to compose a work for the National Brass Ensemble, \u003ca href=\"https://www.oaklandsymphony.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Symphony\u003c/a> and San Francisco Conservatory of Music, respectively. The competition is \u003ca href=\"https://docs.google.com/forms/d/1XQT6eKgEt3SwAQbdAIzLy-hzmJuoidFFlpZkzwB-BRc/viewform?edit_requested=true&fbzx=-6884167788446881650\" target=\"_blank\" rel=\"noopener noreferrer\">accepting applications for its next cohort\u003c/a> through Feb. 14.\u003c/p>\n\u003cp>The four winners have also been receiving mentorship from San Francisco Symphony Music Director \u003ca href=\"https://www.esapekkasalonen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Esa-Pekka Salonen\u003c/a>; \u003ca href=\"http://www.edwinoutwater.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Edwin Outwater\u003c/a>, the music director of the San Francisco Conservatory of Music; and Bartholomew-Poyser. (Bartholomew-Poyser replaced Michael Morgan, the beloved Oakland Symphony conductor—and one of the few Black music directors at a major orchestra—\u003ca href=\"https://www.kqed.org/arts/13901635/michael-morgan-visionary-oakland-symphony-conductor-dies-at-age-63\" target=\"_blank\" rel=\"noopener noreferrer\">who died last year\u003c/a>.)\u003c/p>\n\u003cp>The EBCP’s application guidelines encourage a degree in music performance, composition or “equivalent experience.” Such requirements can narrow down the pool of applicants to those who have taken more traditional career paths, says \u003ca href=\"https://tcarlisroberts.com/\" target=\"_blank\" rel=\"noopener noreferrer\">T. Carlis Roberts\u003c/a>, a composer and former assistant professor of music at UC Berkeley. (Indeed, most of 2021’s winners aren’t exactly “emerging” artists. With the exception of Bingham, all are 40 or older and recognized in their field. The 2022 competition focuses on composers under 35.)\u003c/p>\n\u003cfigure id=\"attachment_13909308\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909308\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/Sumi-Tonooka-1-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Sumi-Tonooka-1-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Sumi-Tonooka-1-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Sumi-Tonooka-1-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Sumi-Tonooka-1-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Sumi-Tonooka-1-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Sumi-Tonooka-1-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Sumi-Tonooka-1-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Sumi-Tonooka-1-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sumi Tonooka, a jazz composer with 30 years of experience creating film scores, won second prize at the Emerging Black Composers Project in 2021. \u003ccite>(San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It seems to me that setting it up where there is this call, a narrow funnel for a couple people to get in on the program, is a setup for tokenization, versus really creating greater access on a broader scale,” says Roberts, who identifies as Black and mixed race.\u003c/p>\n\u003cp>Roberts says organizations that want to create equity, access and diversity should think about just what measures they are willing to take. “Does it mean having brown faces within the same frameworks and roles that have existed?” Roberts says. “Or do you really create a new type of musical conversation?”\u003c/p>\n\u003cp>For Roberts, the answer seems to be the latter. To truly be diverse, he says, organizations should help lead the way in creating a “new terrain” that no longer exclusively centers Western art music. Ultimately, Roberts hopes to see a restructuring of the entire performing arts industry. Often, large, majority white-led arts organizations receive multi-million dollar endowments while community groups that primarily serve communities of color scramble for limited funds.\u003c/p>\n\u003cp>Bartholomew-Poyser’s approach is slightly different. He’s spent a lot of time thinking about ways to increase diversity in the arts, and has crafted a list of questions for arts organizations to ask themselves when considering its equity work. He calls it the “perfect fifths of diversity,” and it consists of five questions: Who is playing? Whose work is being played? Who’s listening? Who’s deciding? How are people treating each other as they do all of this?\u003c/p>\n\u003cp>[pullquote size='large' citation='The ‘perfect fifths of diversity,’ according to Daniel Bartholomew-Poyser']Who is playing? Whose work is being played? Who’s listening? Who’s deciding? How are people treating each other as they do all of this?[/pullquote]\u003c/p>\n\u003cp>The EBCP mostly focuses on one: whose music is being performed. And Bartholomew-Poyser believes that, down the line, projects that seek to increase the number of Black composers will have a ripple effect on the entire classical music industry.\u003c/p>\n\u003cp>“I do believe having these composers highlighted will result in a more diverse audience,” Bartholomew-Poyser says. “But that will be eventually. Eventually.”\u003c/p>\n\u003cp>When asked to respond to concerns about the potential tokenization of contestants, Edwin Outwater of the San Francisco Conservatory of Music acknowledged there are “valid concerns,” and noted that the EBCP is indeed open to composers who don’t come from straightforwardly classical music backgrounds.\u003c/p>\n\u003cp>“In any competition, there are always boundaries that have to be drawn in the application process,” Outwater says. “If someone wins and is incredibly talented and does not have the hugest orchestral background per se, we’re going to provide support if that person really wants to write an orchestral piece.”\u003c/p>\n\u003cp>During the first year of the competition, the selection committee reviewed nearly 100 applications, including some from singer-songwriters, jazz composers and composers of church music, he adds.\u003c/p>\n\u003cfigure id=\"attachment_13909304\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909304\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/1819concerts_1214soundbox_stefancohen_092.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/1819concerts_1214soundbox_stefancohen_092.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/1819concerts_1214soundbox_stefancohen_092-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/1819concerts_1214soundbox_stefancohen_092-768x513.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Edwin Outwater conducts a concert for the San Francisco Symphony’s SoundBox series. \u003ccite>(Stefan Cohen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some of last year’s winners indeed bring influences from different musical backgrounds.\u003c/p>\n\u003cp>Tonooka, for example, is a jazz composer and pianist with 30 years of experience writing film scores, including for the Academy Award-nominated 1988 short \u003cem>Family Gathering\u003c/em>.\u003c/p>\n\u003cp>Okpebholo attributes most of his early musical education to the Salvation Army church. He grew up living in government housing in Lexington, Kentucky, and, though his mother could not afford private lessons, he joined a youth brass band. Soon, he started taking free music lessons with the composer \u003ca href=\"http://www.ussmusicandarts.org/james-curnow\" target=\"_blank\" rel=\"noopener noreferrer\">James Curnow\u003c/a>. (Originally, they were meant to be euphonium lessons, but Curnow began teaching him to compose when he was 14 years old.)\u003c/p>\n\u003cp>“Composition is very collaborative,” says Okpebholo, now a professor of composition and music theory at Wheaton College Conservatory of Music. “You need people to perform your music. … The end goal of working with people, or seeing people perform what you have created, was intriguing for me.”\u003c/p>\n\u003cfigure id=\"attachment_13909312\" class=\"wp-caption aligncenter\" style=\"max-width: 760px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909312\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/Shawn-Okpebholo-1.jpeg\" alt=\"\" width=\"760\" height=\"1109\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Shawn-Okpebholo-1.jpeg 760w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Shawn-Okpebholo-1-160x233.jpeg 160w\" sizes=\"(max-width: 760px) 100vw, 760px\">\u003cfigcaption class=\"wp-caption-text\">Shawn Okpebholo is a music theory and composition professor at Wheaton College Conservatory of Music. He won second prize in the 2021 Emerging Black Composers Project. \u003ccite>(Courtesy of Shawn Okpebholo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bingham echoed Okpebholo’s sentiments. For a composer, getting your music heard is just as important as writing the piece, he says. Nowadays, there are different ways to do this—posting on social media, organizing a concert of your own music or reaching out to record labels.\u003c/p>\n\u003cp>Competitions like the EBCP directly accomplish what these other methods don’t. That is, they provide an opportunity to deliver your work straight to the hands of famous composers including \u003ca href=\"https://www.earbox.com/\" target=\"_blank\" rel=\"noopener noreferrer\">John Adams\u003c/a> and \u003ca href=\"https://www.wisemusicclassical.com/composer/330/Anthony-Davis/\" target=\"_blank\" rel=\"noopener noreferrer\">Anthony Davis\u003c/a>, who are both on the selection committee.\u003c/p>\n\u003cp>“All I had to do was hit a submit button,” Bingham adds.\u003c/p>\n\u003ch2>Recognizing Black talent that’s already here\u003c/h2>\n\u003cp>For Bingham, what really distinguished the competition from others of its kind was the opportunity to receive mentorship from a composer on the committee, as well as have access to the conservatory’s pool of resources.\u003c/p>\n\u003cp>“I felt that there was more gravity,” he says. “I’m only two months in, but so far I really do feel like I made the right decision.”\u003c/p>\n\u003cp>Living in San Francisco has enabled Bingham to more fully utilize the resources offered—including practice spaces and meetings with faculty, San Francisco Symphony collaborators and donors. Additionally, the conservatory has offered access to recording studios and musicians for \u003ca href=\"https://www.coolstoryrecords.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Cool Story Records\u003c/a>, a recording project Bingham created to highlight the work of Howard University composers such as Mark Fax, whose compositions were rescued from a trash bin after a custodian cleaned out Fax’s office following his death.\u003c/p>\n\u003cp>Fax is by no means the only Black composer whose work the industry has overlooked. Classical music’s whiteness is apparent—not just in the glossy program books in large concert halls, but also within the pages of the textbooks music students study.\u003c/p>\n\u003cp>Weston, who works as a music professor at Drew University in Madison, New Jersey, has spent decades teaching music theory. Seldom has he come across musical examples composed by Black or female composers in theory textbooks. This has in turn contributed to a narrative of classical music history that excludes the existence of minority and female composers, he says.\u003c/p>\n\u003cp>[pullquote size='large' citation='Trevor Weston']‘Without knowing the history, it’s easy for anyone … to guess that classical music isn’t something that is really connected to [the Black] community.’[/pullquote]\u003c/p>\n\u003cp>“Without knowing the history, it’s easy for anyone … to guess that classical music isn’t something that is really connected to [the Black] community,” says Weston, “There were people of African descent in the United States performing classical music before what we consider modern gospel was created. Many different communities have contributed to what we consider to be concert music or classical music.”\u003c/p>\n\u003cp>Some arts organizations have made incremental changes to respond to this issue.\u003c/p>\n\u003cp>On Jan. 31, the San Francisco Symphony released an hour-long educational video, “\u003ca href=\"https://www.sfsymphony.org/EducationCommunity/Musical-Heroes\" target=\"_blank\" rel=\"noopener noreferrer\">Musical Heroes: Stories of African American Composers\u003c/a>,” which explores the lives, work and impact of Florence Price, William Grant Still and George Walker.\u003c/p>\n\u003cp>The videos, hosted by Bartholomew-Poyser, and corresponding study guides were created to elevate these composers’ music and spark important classroom conversations on topics like the Chicago Black Renaissance and Jim Crow legislation.\u003c/p>\n\u003cp>The San Francisco Conservatory of Music announced Jan. 5 that it was partnering with the San Francisco Ballet to create \u003ca href=\"https://sfcm.edu/newsroom/san-francisco-conservatory-music-and-san-francisco-ballet-partner-new-fellowship-advance\" target=\"_blank\" rel=\"noopener noreferrer\">two fellowship positions for Black string players\u003c/a>, offering full-ride scholarships for the conservatory’s professional studies certificate in instrumental performance, performance opportunities with the San Francisco Ballet Orchestra and additional support.\u003c/p>\n\u003cp>The existence of these efforts at major arts organizations suggests a shift away from the more passive attitudes they held in previous decades. And, hopefully, they can make a difference in the long term.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“We are there, and there are a lot of us,” says Okpebholo. “To engage more with people who look like me and who are doing things like I do—it’s very inspiring and empowering.”\u003c/p>\n\n","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":2205,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":44},"modified":1705007202,"excerpt":"The Emerging Black Composers Project creates opportunities for a group whose contributions to classical music have historically gone overlooked.","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"The Emerging Black Composers Project creates opportunities for a group whose contributions to classical music have historically gone overlooked.","title":"Classical Music Has a Diversity Problem. What Does the Solution Look Like? | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Classical Music Has a Diversity Problem. What Does the Solution Look Like?","datePublished":"2022-02-11T11:37:27-08:00","dateModified":"2024-01-11T13:06:42-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"emerging-black-composers-project-san-francisco-symphony-conservatory-music-trevor-weston","status":"publish","templateType":"standard","nprByline":"Iris Kwok","excludeFromSiteSearch":"Include","featuredImageType":"standard","sticky":false,"showOnAuthorArchivePages":"No","path":"/arts/13909289/emerging-black-composers-project-san-francisco-symphony-conservatory-music-trevor-weston","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.jonathan-bingham.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jonathan Bingham\u003c/a> had just finished his work shift at an Apple Store in May 2021 when he saw the voicemail. He had been offered a commission as part of the \u003ca href=\"https://www.jonathan-bingham.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Emerging Black Composers Project\u003c/a>. Shocked, he went into the store’s changing area and stared at his reflection in the mirror.\u003c/p>\n\u003cp>Bingham had worked at the Apple Store since his days as a graduate student at New York University. After graduating in 2016, he juggled a full-time position there with a burgeoning composing career that included residencies at the Arapahoe Philharmonic and Boulder Symphony.\u003c/p>\n\u003cp>From 7am to 4pm, Bingham helped people fix their iPhones. From 5pm to around 10pm, he composed. And then he would do it all over again.\u003c/p>\n\u003cp>Being a finalist for the \u003ca href=\"https://sfcm.edu/emerging-black-composers-project\" target=\"_blank\" rel=\"noopener noreferrer\">Emerging Black Composers Project\u003c/a>, or EBCP, has provided Bingham with an opportunity to start a new chapter in his life as a full-time composer. Upon receiving the news, he put in his two week’s notice and moved from New Jersey to San Francisco.\u003c/p>\n\u003cp>Bingham had applied to the EBCP without giving much thought as to whether or not he could win. He was simply hoping his work would pass before the eyes—and ears—of the renowned composers and conductors on the judging panel.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The project, a 10-year partnership between the San Francisco Conservatory of Music and San Francisco Symphony, aims to spotlight existing talent and nurture the next generation of Black composers in the U.S. While the EBCP doesn’t have the word “competition” in its name, it functions as one. The project has sparked a conversation about how much further classical music has to go to become truly equitable, and whether competitions are an effective tool to promote diversity.\u003c/p>\n\u003cfigure id=\"attachment_13909303\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13909303 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/DISRUPTOR_CONDUCTOR_2019_08_20_FINAL_MASTER00_09_25_23Still010.jpg\" alt=\"Daniel Bartholomew-Poyser conducts a concert at the San Francisco Symphony.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/DISRUPTOR_CONDUCTOR_2019_08_20_FINAL_MASTER00_09_25_23Still010.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/DISRUPTOR_CONDUCTOR_2019_08_20_FINAL_MASTER00_09_25_23Still010-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/DISRUPTOR_CONDUCTOR_2019_08_20_FINAL_MASTER00_09_25_23Still010-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Daniel Bartholomew-Poyser, conductor of engagement and education at the San Francisco Symphony, in a still from the film ‘Disruptor Conductor.’ \u003ccite>(San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Facing classical music’s whiteness\u003c/h2>\n\u003cp>“Historically, composers of color have had a much harder time getting their music performed and workshopped,” says \u003ca href=\"https://www.danielbartholomewpoyser.com/bio\" target=\"_blank\" rel=\"noopener noreferrer\">Daniel Bartholomew-Poyser\u003c/a>, chair of the EBCP selection committee and the San Francisco Symphony’s resident conductor of engagement and education. “[The] project is an attempt to address some of that, and to provide points of access to young people from a community that has often previously been denied access.”\u003c/p>\n\u003cp>The San Francisco Conservatory of Music and the San Francisco Symphony launched the EBCP in the aftermath of the 2020 Black Lives Matter protests, which helped set off a racial reckoning within arts organizations nationwide. Major orchestras finally began to grapple with an ongoing problem: their failure to truly reflect their surrounding communities, both in concert programs and on stages.\u003c/p>\n\u003cp>“There’s an assumption that a composer is someone who is of European descent and usually a male,” says \u003ca href=\"http://www.trevorweston.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Trevor Weston\u003c/a>, who received the first-place EBCP commission in 2021. “Visibility is important so that people understand that this tradition has always included people of different backgrounds.”\u003c/p>\n\u003cfigure id=\"attachment_13909307\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909307\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/Trevor-Weston-portrait_photo-by-Ayano-Hisa-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Trevor Weston is a music professor at Drew University and the first-place winner of the 2021 Emerging Black Composers Project. \u003ccite>(Ayano-Hisa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Weston received a $15,000 commission to compose a new work for the San Francisco Symphony, a rare opportunity for a contemporary composer. Due to the applicant pool’s strength, the selection committee named three additional finalists—Bingham, \u003ca href=\"http://www.shawnokpebholo.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Shawn Okpebholo\u003c/a> and \u003ca href=\"https://sumitonooka.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Sumi Tonooka\u003c/a>. Each received an $8,000 commission to compose a work for the National Brass Ensemble, \u003ca href=\"https://www.oaklandsymphony.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Symphony\u003c/a> and San Francisco Conservatory of Music, respectively. The competition is \u003ca href=\"https://docs.google.com/forms/d/1XQT6eKgEt3SwAQbdAIzLy-hzmJuoidFFlpZkzwB-BRc/viewform?edit_requested=true&fbzx=-6884167788446881650\" target=\"_blank\" rel=\"noopener noreferrer\">accepting applications for its next cohort\u003c/a> through Feb. 14.\u003c/p>\n\u003cp>The four winners have also been receiving mentorship from San Francisco Symphony Music Director \u003ca href=\"https://www.esapekkasalonen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Esa-Pekka Salonen\u003c/a>; \u003ca href=\"http://www.edwinoutwater.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Edwin Outwater\u003c/a>, the music director of the San Francisco Conservatory of Music; and Bartholomew-Poyser. (Bartholomew-Poyser replaced Michael Morgan, the beloved Oakland Symphony conductor—and one of the few Black music directors at a major orchestra—\u003ca href=\"https://www.kqed.org/arts/13901635/michael-morgan-visionary-oakland-symphony-conductor-dies-at-age-63\" target=\"_blank\" rel=\"noopener noreferrer\">who died last year\u003c/a>.)\u003c/p>\n\u003cp>The EBCP’s application guidelines encourage a degree in music performance, composition or “equivalent experience.” Such requirements can narrow down the pool of applicants to those who have taken more traditional career paths, says \u003ca href=\"https://tcarlisroberts.com/\" target=\"_blank\" rel=\"noopener noreferrer\">T. Carlis Roberts\u003c/a>, a composer and former assistant professor of music at UC Berkeley. (Indeed, most of 2021’s winners aren’t exactly “emerging” artists. With the exception of Bingham, all are 40 or older and recognized in their field. The 2022 competition focuses on composers under 35.)\u003c/p>\n\u003cfigure id=\"attachment_13909308\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909308\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/Sumi-Tonooka-1-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Sumi-Tonooka-1-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Sumi-Tonooka-1-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Sumi-Tonooka-1-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Sumi-Tonooka-1-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Sumi-Tonooka-1-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Sumi-Tonooka-1-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Sumi-Tonooka-1-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Sumi-Tonooka-1-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sumi Tonooka, a jazz composer with 30 years of experience creating film scores, won second prize at the Emerging Black Composers Project in 2021. \u003ccite>(San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It seems to me that setting it up where there is this call, a narrow funnel for a couple people to get in on the program, is a setup for tokenization, versus really creating greater access on a broader scale,” says Roberts, who identifies as Black and mixed race.\u003c/p>\n\u003cp>Roberts says organizations that want to create equity, access and diversity should think about just what measures they are willing to take. “Does it mean having brown faces within the same frameworks and roles that have existed?” Roberts says. “Or do you really create a new type of musical conversation?”\u003c/p>\n\u003cp>For Roberts, the answer seems to be the latter. To truly be diverse, he says, organizations should help lead the way in creating a “new terrain” that no longer exclusively centers Western art music. Ultimately, Roberts hopes to see a restructuring of the entire performing arts industry. Often, large, majority white-led arts organizations receive multi-million dollar endowments while community groups that primarily serve communities of color scramble for limited funds.\u003c/p>\n\u003cp>Bartholomew-Poyser’s approach is slightly different. He’s spent a lot of time thinking about ways to increase diversity in the arts, and has crafted a list of questions for arts organizations to ask themselves when considering its equity work. He calls it the “perfect fifths of diversity,” and it consists of five questions: Who is playing? Whose work is being played? Who’s listening? Who’s deciding? How are people treating each other as they do all of this?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"Who is playing? Whose work is being played? Who’s listening? Who’s deciding? How are people treating each other as they do all of this?","name":"pullquote","attributes":{"named":{"size":"large","citation":"The ‘perfect fifths of diversity,’ according to Daniel Bartholomew-Poyser","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The EBCP mostly focuses on one: whose music is being performed. And Bartholomew-Poyser believes that, down the line, projects that seek to increase the number of Black composers will have a ripple effect on the entire classical music industry.\u003c/p>\n\u003cp>“I do believe having these composers highlighted will result in a more diverse audience,” Bartholomew-Poyser says. “But that will be eventually. Eventually.”\u003c/p>\n\u003cp>When asked to respond to concerns about the potential tokenization of contestants, Edwin Outwater of the San Francisco Conservatory of Music acknowledged there are “valid concerns,” and noted that the EBCP is indeed open to composers who don’t come from straightforwardly classical music backgrounds.\u003c/p>\n\u003cp>“In any competition, there are always boundaries that have to be drawn in the application process,” Outwater says. “If someone wins and is incredibly talented and does not have the hugest orchestral background per se, we’re going to provide support if that person really wants to write an orchestral piece.”\u003c/p>\n\u003cp>During the first year of the competition, the selection committee reviewed nearly 100 applications, including some from singer-songwriters, jazz composers and composers of church music, he adds.\u003c/p>\n\u003cfigure id=\"attachment_13909304\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909304\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/1819concerts_1214soundbox_stefancohen_092.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/1819concerts_1214soundbox_stefancohen_092.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/1819concerts_1214soundbox_stefancohen_092-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/1819concerts_1214soundbox_stefancohen_092-768x513.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Edwin Outwater conducts a concert for the San Francisco Symphony’s SoundBox series. \u003ccite>(Stefan Cohen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some of last year’s winners indeed bring influences from different musical backgrounds.\u003c/p>\n\u003cp>Tonooka, for example, is a jazz composer and pianist with 30 years of experience writing film scores, including for the Academy Award-nominated 1988 short \u003cem>Family Gathering\u003c/em>.\u003c/p>\n\u003cp>Okpebholo attributes most of his early musical education to the Salvation Army church. He grew up living in government housing in Lexington, Kentucky, and, though his mother could not afford private lessons, he joined a youth brass band. Soon, he started taking free music lessons with the composer \u003ca href=\"http://www.ussmusicandarts.org/james-curnow\" target=\"_blank\" rel=\"noopener noreferrer\">James Curnow\u003c/a>. (Originally, they were meant to be euphonium lessons, but Curnow began teaching him to compose when he was 14 years old.)\u003c/p>\n\u003cp>“Composition is very collaborative,” says Okpebholo, now a professor of composition and music theory at Wheaton College Conservatory of Music. “You need people to perform your music. … The end goal of working with people, or seeing people perform what you have created, was intriguing for me.”\u003c/p>\n\u003cfigure id=\"attachment_13909312\" class=\"wp-caption aligncenter\" style=\"max-width: 760px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909312\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/Shawn-Okpebholo-1.jpeg\" alt=\"\" width=\"760\" height=\"1109\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Shawn-Okpebholo-1.jpeg 760w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Shawn-Okpebholo-1-160x233.jpeg 160w\" sizes=\"(max-width: 760px) 100vw, 760px\">\u003cfigcaption class=\"wp-caption-text\">Shawn Okpebholo is a music theory and composition professor at Wheaton College Conservatory of Music. He won second prize in the 2021 Emerging Black Composers Project. \u003ccite>(Courtesy of Shawn Okpebholo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bingham echoed Okpebholo’s sentiments. For a composer, getting your music heard is just as important as writing the piece, he says. Nowadays, there are different ways to do this—posting on social media, organizing a concert of your own music or reaching out to record labels.\u003c/p>\n\u003cp>Competitions like the EBCP directly accomplish what these other methods don’t. That is, they provide an opportunity to deliver your work straight to the hands of famous composers including \u003ca href=\"https://www.earbox.com/\" target=\"_blank\" rel=\"noopener noreferrer\">John Adams\u003c/a> and \u003ca href=\"https://www.wisemusicclassical.com/composer/330/Anthony-Davis/\" target=\"_blank\" rel=\"noopener noreferrer\">Anthony Davis\u003c/a>, who are both on the selection committee.\u003c/p>\n\u003cp>“All I had to do was hit a submit button,” Bingham adds.\u003c/p>\n\u003ch2>Recognizing Black talent that’s already here\u003c/h2>\n\u003cp>For Bingham, what really distinguished the competition from others of its kind was the opportunity to receive mentorship from a composer on the committee, as well as have access to the conservatory’s pool of resources.\u003c/p>\n\u003cp>“I felt that there was more gravity,” he says. “I’m only two months in, but so far I really do feel like I made the right decision.”\u003c/p>\n\u003cp>Living in San Francisco has enabled Bingham to more fully utilize the resources offered—including practice spaces and meetings with faculty, San Francisco Symphony collaborators and donors. Additionally, the conservatory has offered access to recording studios and musicians for \u003ca href=\"https://www.coolstoryrecords.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Cool Story Records\u003c/a>, a recording project Bingham created to highlight the work of Howard University composers such as Mark Fax, whose compositions were rescued from a trash bin after a custodian cleaned out Fax’s office following his death.\u003c/p>\n\u003cp>Fax is by no means the only Black composer whose work the industry has overlooked. Classical music’s whiteness is apparent—not just in the glossy program books in large concert halls, but also within the pages of the textbooks music students study.\u003c/p>\n\u003cp>Weston, who works as a music professor at Drew University in Madison, New Jersey, has spent decades teaching music theory. Seldom has he come across musical examples composed by Black or female composers in theory textbooks. This has in turn contributed to a narrative of classical music history that excludes the existence of minority and female composers, he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"‘Without knowing the history, it’s easy for anyone … to guess that classical music isn’t something that is really connected to [the Black] community.’","name":"pullquote","attributes":{"named":{"size":"large","citation":"Trevor Weston","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Without knowing the history, it’s easy for anyone … to guess that classical music isn’t something that is really connected to [the Black] community,” says Weston, “There were people of African descent in the United States performing classical music before what we consider modern gospel was created. Many different communities have contributed to what we consider to be concert music or classical music.”\u003c/p>\n\u003cp>Some arts organizations have made incremental changes to respond to this issue.\u003c/p>\n\u003cp>On Jan. 31, the San Francisco Symphony released an hour-long educational video, “\u003ca href=\"https://www.sfsymphony.org/EducationCommunity/Musical-Heroes\" target=\"_blank\" rel=\"noopener noreferrer\">Musical Heroes: Stories of African American Composers\u003c/a>,” which explores the lives, work and impact of Florence Price, William Grant Still and George Walker.\u003c/p>\n\u003cp>The videos, hosted by Bartholomew-Poyser, and corresponding study guides were created to elevate these composers’ music and spark important classroom conversations on topics like the Chicago Black Renaissance and Jim Crow legislation.\u003c/p>\n\u003cp>The San Francisco Conservatory of Music announced Jan. 5 that it was partnering with the San Francisco Ballet to create \u003ca href=\"https://sfcm.edu/newsroom/san-francisco-conservatory-music-and-san-francisco-ballet-partner-new-fellowship-advance\" target=\"_blank\" rel=\"noopener noreferrer\">two fellowship positions for Black string players\u003c/a>, offering full-ride scholarships for the conservatory’s professional studies certificate in instrumental performance, performance opportunities with the San Francisco Ballet Orchestra and additional support.\u003c/p>\n\u003cp>The existence of these efforts at major arts organizations suggests a shift away from the more passive attitudes they held in previous decades. And, hopefully, they can make a difference in the long term.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We are there, and there are a lot of us,” says Okpebholo. “To engage more with people who look like me and who are doing things like I do—it’s very inspiring and empowering.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13909289/emerging-black-composers-project-san-francisco-symphony-conservatory-music-trevor-weston","authors":["byline_arts_13909289"],"categories":["arts_1","arts_69","arts_235"],"tags":["arts_15393","arts_10342","arts_6180","arts_10278","arts_1367"],"featImg":"arts_13909306","label":"arts"},"arts_13904122":{"type":"posts","id":"arts_13904122","meta":{"index":"posts_1716263798","site":"arts","id":"13904122","score":null,"sort":[1633204330000]},"parent":0,"labelTerm":{"site":"arts"},"blocks":[],"publishDate":1633204330,"format":"standard","title":"The San Francisco Symphony Returns in Grand, Adventurous Style","headTitle":"The San Francisco Symphony Returns in Grand, Adventurous Style | KQED","content":"\u003cp>The San Francisco Symphony kicked off its re-opening gala concert on Friday night with an unusual piece of music: \u003cem>Slonimsky’s Earbox\u003c/em>, composed in 1995 by Bay Area composer John Adams. In new music director and conductor Esa-Pekka Salonen’s capable hands, the whimsical work kept listeners on edge through each dynamic twist, with spiraling melodies that unfurled like fern fronds, blossoming percussive chimes and strings swaying like reeds.\u003c/p>\n\u003cp>The vertigo-inducing composition was off-kilter in the best way: it reflected the past year and a half of the world’s own dynamic twists, and set the tone for an evening, and a season, that expands the orchestra’s explorations of modern and contemporary work. [aside postid='arts_13899522']\u003c/p>\n\u003cp>The centerpiece of the program, which \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2021-22/SPALDING-LINES-BALLET\" target=\"_blank\" rel=\"noopener noreferrer\">the orchestra performs again at Davies Symphony Hall tonight, Oct. 2\u003c/a>, was jazz saxophonist and composer Wayne Shorter’s \u003cem>Gaia\u003c/em> (composed in 2013), starring powerhouse bassist and vocalist \u003ca href=\"https://twitter.com/EspeSpalding\" target=\"_blank\" rel=\"noopener noreferrer\">esperanza spalding\u003c/a>. Taking the stage in a casual, all-white ensemble, spalding was joined by Ravi Coltrane on saxophone, NEA Jazz Master Terri Lyne Carrington on drums and pianist Leo Genovese. Calling Wayne Shorter her “mystic,” spalding spoke about the earth mother reverence at the core of the piece. “It’s an invitation to travel with her through the veins and hair and passageways, and remember our infinite connection to Gaia,” she told the audience.\u003c/p>\n\u003cp>spalding intoned \u003cem>Gaia \u003c/em>with an explosive energy and vocal range radiating from the depths of her diaphragm. The jazz trio’s steady rhythm, and punches of drama from the orchestra, conveyed a visceral feeling of nature’s constant cycle of creation and destruction.\u003c/p>\n\u003cfigure id=\"attachment_13904129\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13904129\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/4419-Symphony-211001.jpg\" alt=\"A jazz quartet bows before an audience.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/4419-Symphony-211001.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/4419-Symphony-211001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/4419-Symphony-211001-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Music Director Esa-Pekka Salonen leads the San Francisco Symphony in the Re-Opening Night Concert featuring esperanza spalding, a jazz trio, and dancers from Alonzo King LINES Ballet on October 1, 2021 at Davies Symphony Hall. \u003ccite>( Drew Altizer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Featuring spalding so prominently in the concert hinted at the role of the San Francisco Symphony’s eight collaborative partners, an interdisciplinary cohort of artists that Salonen appointed when he joined the Symphony in 2020, and the orchestra’s deepening relationship with genres and cultures that lie beyond the typical Western classical repertoire.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The rest of the program attested to that multicultural sensibility. Dancers from Alonzo King LINES Ballet, dressed in minimalist, silk outfits in earth tones, accented the performance of Argentinian composer Alberto Evaristo Ginastera’s 1941 \u003cem>Estancia\u003c/em> suite. The piece alternated between big, bombastic and quietly subtle sections, which the dancers’ athletic jumps and lithe, graceful movements brought to life.\u003c/p>\n\u003cfigure id=\"attachment_13904130\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13904130\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/3575-Symphony-211001.jpg\" alt=\"Male and female ballet dancers gather in a symmetrical formation in front of an orchestra.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/3575-Symphony-211001.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/3575-Symphony-211001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/3575-Symphony-211001-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Music Director Esa-Pekka Salonen leads the San Francisco Symphony in the Re-Opening Night Concert featuring esperanza spalding, a jazz trio, and dancers from Alonzo King LINES Ballet on October 1, 2021 at Davies Symphony Hall. \u003ccite>( Drew Altizer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The night ended with standing ovations for the orchestra’s performance of Mexican composer Silvestre Revuelta’s \u003cem>La noche de los Mayas\u003c/em>, a piece that’s almost all percussion, which pays homage to the Indigenous drumming traditions of the Americas. With strings, brass and woodwinds majestically embellishing the steady beat of bongos, a deep conga, tumkul, xylophone and numerous other percussion instruments, \u003cem>La noche\u003c/em> was brought to its climax by a player who stood up and let out a deep bellow from a conch shell. These pre-colonial instruments and beats invited the audience to consider an entirely new lens through which to look at what we consider canon.\u003c/p>\n\u003cp>After the concert, the intergenerational, diverse crowd buzzed with a palpable excitement from the adventurous musical ideas on stage. After Salonen’s debut 2020 season was derailed by COVID shutdowns, the evening was a hopeful new beginning for the San Francisco Symphony’s next chapter.\u003c/p>\n\u003cfigure id=\"attachment_13904128\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13904128\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/3196-symphony-211001.jpg\" alt=\"An illuminated orchestra seen from the back of the concert hall. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/3196-symphony-211001.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/3196-symphony-211001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/3196-symphony-211001-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SF Symphony Re-Opening Night Gala on October 1st 2021 at Louise M. Davies Symphony Hall in San Francisco, CA. \u003ccite>( Drew Altizer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\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>A broadcast of the SF Symphony’s Oct. 1 performance will air on KQED Channel 9 as part of PBS’ Great Performances series on Nov. 19, 2021. \u003c/em>\u003c/p>\n\n","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":695,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":12},"modified":1705007665,"excerpt":"A dynamic performance featuring esperanza spalding and Alonzo King LINES Ballet set the tone for the orchestra's upcoming season. ","headData":{"twImgId":"","twTitle":"The San Francisco Symphony Returns in Grand, Adventurous Style","socialTitle":"Review: SF Symphony's Return Sets Tone for Adventurous Season %%page%% %%sep%% KQED","ogTitle":"The San Francisco Symphony Returns in Grand, Adventurous Style","ogImgId":"","twDescription":"","description":"A dynamic performance featuring esperanza spalding and Alonzo King LINES Ballet set the tone for the orchestra's upcoming season. ","title":"Review: SF Symphony's Return Sets Tone for Adventurous Season | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The San Francisco Symphony Returns in Grand, Adventurous Style","datePublished":"2021-10-02T12:52:10-07:00","dateModified":"2024-01-11T13:14:25-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"the-san-francisco-symphony-returns-in-grand-adventurous-style","status":"publish","templateType":"standard","featuredImageType":"standard","sticky":false,"path":"/arts/13904122/the-san-francisco-symphony-returns-in-grand-adventurous-style","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco Symphony kicked off its re-opening gala concert on Friday night with an unusual piece of music: \u003cem>Slonimsky’s Earbox\u003c/em>, composed in 1995 by Bay Area composer John Adams. In new music director and conductor Esa-Pekka Salonen’s capable hands, the whimsical work kept listeners on edge through each dynamic twist, with spiraling melodies that unfurled like fern fronds, blossoming percussive chimes and strings swaying like reeds.\u003c/p>\n\u003cp>The vertigo-inducing composition was off-kilter in the best way: it reflected the past year and a half of the world’s own dynamic twists, and set the tone for an evening, and a season, that expands the orchestra’s explorations of modern and contemporary work. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13899522","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The centerpiece of the program, which \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2021-22/SPALDING-LINES-BALLET\" target=\"_blank\" rel=\"noopener noreferrer\">the orchestra performs again at Davies Symphony Hall tonight, Oct. 2\u003c/a>, was jazz saxophonist and composer Wayne Shorter’s \u003cem>Gaia\u003c/em> (composed in 2013), starring powerhouse bassist and vocalist \u003ca href=\"https://twitter.com/EspeSpalding\" target=\"_blank\" rel=\"noopener noreferrer\">esperanza spalding\u003c/a>. Taking the stage in a casual, all-white ensemble, spalding was joined by Ravi Coltrane on saxophone, NEA Jazz Master Terri Lyne Carrington on drums and pianist Leo Genovese. Calling Wayne Shorter her “mystic,” spalding spoke about the earth mother reverence at the core of the piece. “It’s an invitation to travel with her through the veins and hair and passageways, and remember our infinite connection to Gaia,” she told the audience.\u003c/p>\n\u003cp>spalding intoned \u003cem>Gaia \u003c/em>with an explosive energy and vocal range radiating from the depths of her diaphragm. The jazz trio’s steady rhythm, and punches of drama from the orchestra, conveyed a visceral feeling of nature’s constant cycle of creation and destruction.\u003c/p>\n\u003cfigure id=\"attachment_13904129\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13904129\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/4419-Symphony-211001.jpg\" alt=\"A jazz quartet bows before an audience.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/4419-Symphony-211001.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/4419-Symphony-211001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/4419-Symphony-211001-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Music Director Esa-Pekka Salonen leads the San Francisco Symphony in the Re-Opening Night Concert featuring esperanza spalding, a jazz trio, and dancers from Alonzo King LINES Ballet on October 1, 2021 at Davies Symphony Hall. \u003ccite>( Drew Altizer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Featuring spalding so prominently in the concert hinted at the role of the San Francisco Symphony’s eight collaborative partners, an interdisciplinary cohort of artists that Salonen appointed when he joined the Symphony in 2020, and the orchestra’s deepening relationship with genres and cultures that lie beyond the typical Western classical repertoire.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The rest of the program attested to that multicultural sensibility. Dancers from Alonzo King LINES Ballet, dressed in minimalist, silk outfits in earth tones, accented the performance of Argentinian composer Alberto Evaristo Ginastera’s 1941 \u003cem>Estancia\u003c/em> suite. The piece alternated between big, bombastic and quietly subtle sections, which the dancers’ athletic jumps and lithe, graceful movements brought to life.\u003c/p>\n\u003cfigure id=\"attachment_13904130\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13904130\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/3575-Symphony-211001.jpg\" alt=\"Male and female ballet dancers gather in a symmetrical formation in front of an orchestra.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/3575-Symphony-211001.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/3575-Symphony-211001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/3575-Symphony-211001-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Music Director Esa-Pekka Salonen leads the San Francisco Symphony in the Re-Opening Night Concert featuring esperanza spalding, a jazz trio, and dancers from Alonzo King LINES Ballet on October 1, 2021 at Davies Symphony Hall. \u003ccite>( Drew Altizer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The night ended with standing ovations for the orchestra’s performance of Mexican composer Silvestre Revuelta’s \u003cem>La noche de los Mayas\u003c/em>, a piece that’s almost all percussion, which pays homage to the Indigenous drumming traditions of the Americas. With strings, brass and woodwinds majestically embellishing the steady beat of bongos, a deep conga, tumkul, xylophone and numerous other percussion instruments, \u003cem>La noche\u003c/em> was brought to its climax by a player who stood up and let out a deep bellow from a conch shell. These pre-colonial instruments and beats invited the audience to consider an entirely new lens through which to look at what we consider canon.\u003c/p>\n\u003cp>After the concert, the intergenerational, diverse crowd buzzed with a palpable excitement from the adventurous musical ideas on stage. After Salonen’s debut 2020 season was derailed by COVID shutdowns, the evening was a hopeful new beginning for the San Francisco Symphony’s next chapter.\u003c/p>\n\u003cfigure id=\"attachment_13904128\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13904128\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/3196-symphony-211001.jpg\" alt=\"An illuminated orchestra seen from the back of the concert hall. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/3196-symphony-211001.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/3196-symphony-211001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/3196-symphony-211001-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SF Symphony Re-Opening Night Gala on October 1st 2021 at Louise M. Davies Symphony Hall in San Francisco, CA. \u003ccite>( Drew Altizer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\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>A broadcast of the SF Symphony’s Oct. 1 performance will air on KQED Channel 9 as part of PBS’ Great Performances series on Nov. 19, 2021. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13904122/the-san-francisco-symphony-returns-in-grand-adventurous-style","authors":["11387"],"categories":["arts_1"],"tags":["arts_10342","arts_6180","arts_10278","arts_10902","arts_1367"],"featImg":"arts_13904131","label":"arts"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","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.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","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","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"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.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"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 />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"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.","airtime":"THU 10pm, FRI 1am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.commonwealthclub.org/podcasts","meta":{"site":"news","source":"Commonwealth Club of California"},"link":"/radio/program/commonwealth-club","subscribe":{"apple":"https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2","google":"https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw","tuneIn":"https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"}},"considerthis":{"id":"considerthis","title":"Consider This","tagline":"Make sense of the day","info":"Make sense of the day. Every weekday afternoon, Consider This helps you consider the major stories of the day in less than 15 minutes, featuring the reporting and storytelling resources of NPR. Plus, KQED’s Bianca Taylor brings you the local KQED news you need to know.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Consider-This-Podcast-Tile-703x703-1.jpg","imageAlt":"Consider This from NPR and KQED","officialWebsiteLink":"/podcasts/considerthis","meta":{"site":"news","source":"kqed","order":"7"},"link":"/podcasts/considerthis","subscribe":{"apple":"https://podcasts.apple.com/podcast/id1503226625?mt=2&at=11l79Y&ct=nprdirectory","npr":"https://rpb3r.app.goo.gl/coronavirusdaily","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM1NS9wb2RjYXN0LnhtbA","spotify":"https://open.spotify.com/show/3Z6JdCS2d0eFEpXHKI6WqH"}},"forum":{"id":"forum","title":"Forum","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.","airtime":"MON-FRI 9am-11am, 10pm-11pm","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","officialWebsiteLink":"/forum","meta":{"site":"news","source":"kqed","order":"8"},"link":"/forum","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz","npr":"https://www.npr.org/podcasts/432307980/forum","stitcher":"https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast","rss":"https://feeds.megaphone.fm/KQINC9557381633"}},"freakonomics-radio":{"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. 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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","subscribe":{"apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/APM-Marketplace-p88/","rss":"https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"}},"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":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"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. 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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. 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