Tom Huizenga

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

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

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

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

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

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

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

Andrew Porter, a renowned music critic and scholar and translator of opera, died early today in London's Chelsea and Westminster Hospital. His twin sister, Sheila Porter, told NPR his death was the result of complications from pneumonia. He was 86.

Each April 1st, practical jokers get their kicks pulling the wool over people's eyes. There are little white lies, cunning schemes and elaborate hoaxes. Pranksters are alive and well in music, too. Test your wits with these musical smart alecks who run the gamut from clever clowns to serious scam artists. Score high and feel a surge of superiority. Score low and fancy yourself a true April fool.

It was December 1990 — more than a year before the first Anonymous 4 album was released — when NPR invited four slightly shy women into our studio to sing 13th-century Christmas music. Back then, we already knew the manifold beauty of their sound, its purity and accuracy, was something unique.

Now, some 25 years and 21 albums later, the a cappella vocal quartet is calling it quits at the end of 2015. But not before one final visit to NPR.

Arvo Pärt was saved by the bell. The Estonian composer, who turns 80 in September, hit a creative roadblock in 1968. After a hiatus of eight years he returned with a new sound inspired by the simple triad (a stack of three notes, an essential building block of Western music) and by bells. He called his new style tintinnabuli (from the Latin for bells).

The Bachelor, the reality TV show poised to close out another nail-biting season (which young woman will Chris Soules choose Monday?), has nothing on opera. Over the past 400 years, composers have placed onstage any number of hot-blooded Romeos, sensible gentlemen and conniving psychopaths all looking for the perfect mate.

Pavarotti, roll over. There's a new king of the high Cs. His name is Bryan Hymel and he pops off no fewer than 10 of them in "Asile héréditaire," the Rossini aria that opens his new album Héroïque, released Tuesday.

Music lexicographer Theodore Baker, in his biographical dictionary of musicians, labeled J.S. Bach as the "supreme arbiter and lawgiver of music." And while Bach may have blanched had he read such a description, there is absolute power to much of his music.

Even trailblazing composers like Steve Reich sometimes look to the distant past for inspiration. His 1993 Duet for two violins and strings is music in which minimalism reaches back to its ancient roots. These six minutes of mesmerizing sunshine recall both the rigorous counterpoint of J.S.

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