Exhausting and exhilarating

Inspired by the buzzy resonance of the ennanga (African trough zither), William Grant Still incorporated the spirit of Central and East African folk music into a Western chamber setting. Still drew on the instrument’s unique character as inspiration for this piece for harp, piano, and strings. Join us today to hear harpist Lily Primus lead Rice University’s Shepherd School Chamber Players in a concert performance of William Grant Still’s ‘Ennanga.’

Once troubled by pre-concert jitters so intense that he needed a push to get on stage, violinist Augustin Hadelich has discovered a new sense of calm. Breathing exercises have transformed his performance experience, making the stage feel like home. On today's program, Agustin Hadelich and the St. Louis Symphony play music by Samuel Barber.

Violinist James Ehnes says the first movement of Jean Sibelius's Violin Concerto feels like a conversation. It's as if someone is about to divulge something important—they may not know HOW to say it, or even if they WANT to tell you, but they're going to tell you anyway. To Ehnes, it feels like a hesitant yet necessary conversation, as if the music is finally revealing a long-held secret. In today's episode, Thomas Søndergård leads the Minnesota Orchestra, with soloist James Ehnes, in Jean Sibelius's Violin Concerto.

Inspired by the buzzy resonance of the ennanga (African trough zither), William Grant Still incorporated the spirit of Central and East African folk music into a Western chamber setting. Still drew on the instrument’s unique character as inspiration for this piece for harp, piano, and strings. Join us today to hear harpist Lily Primus lead Rice University’s Shepherd School Chamber Players in a concert performance of William Grant Still’s ‘Ennanga.’

Although Louise Farrenc was the only woman to hold a permanent position at the Paris Conservatory in the 19th century, her Symphony No. 2 demonstrates that her compositional talent rivaled that of the most renowned male composers of her time. Join us today as Nil Venditti leads the Essen Philharmonic Orchestra in a recent performance of Farrenc’s Symphony No. 2.

On today's show, we're highlighting Dvořák's Symphony No. 9, "From the New World." Conductor Cristian Măcelaru explains how the composer's work captures an American soundscape while also beautifully reflecting his own Czech heritage. The result, Măcelaru says, is a powerful contribution from an immigrant artist to American culture.

By the time Mieczyslaw Weinberg composed his second symphony, he had already escaped the Nazis twice. Soon after, he would face the horrors of Stalin's regime directly. However, in 1945, he was relatively safe in Moscow thanks to his friendship with Dmitri Shostakovich. On today's show, we'll hear Weinberg's Symphony No. 2 performed live at the 2025 Salzburg Festival in Austria.

Pianist Aristo Sham believes the true measure of a competition is how it treats its musicians. He praises the Cliburn Competition for making contestants feel less like rivals and more like respected artists at a festival. Today, we'll hear Aristo Sham perform music by Sergei Rachmaninoff and Gabriella Montero, recorded live at the 2025 Van Cliburn International Piano Competition.

Despite the English horn’s misleading name—it’s neither English nor a horn—the instrument produces a famously "angelic" sound that takes center stage in Hector Berlioz’s Roman Carnival Overture. Berlioz originally composed the music for his opera Benvenuto Cellini. Though the opera flopped, he salvaged its best melodies to create an orchestral centerpiece. In today's episode, Andrés Orozco-Estrada leads the RAI National Symphony Orchestra in a concert performance of the Roman Carnival Overture.

In the 19th century, French writer Aloysius Bertrand sought to achieve with words what Rembrandt did with light and shadow, creating a collection of dark, poetic hallucinations titled Gaspard de la nuit. Decades later, those eerie verses inspired Maurice Ravel to write one of the most notoriously difficult piano suites. On today's program, pianist Isata Kanneh-Mason performs the framing movements of Maurice Ravel’s Gaspard de la nuit, recorded live at the University of Georgia Performing Arts Center in Atlanta, Georgia.