The SPCO

Alexander Fiterstein teaches clarinet at the University of Minnesota and his playing is electric. He begins a Midwest tour next Tuesday that includes many outstate Minnesota locations.

It's been cold, and now it's wet... and we're officially entering the time of winter where the weather's ups and downs can, well... get you down. So we collected a few thematic pieces you can hear each weekday morning at 10 a.m.

Educational psychologist from the University of Minnesota, Bob Jorczak, likes to stump his friends on musical trivia, including this classical host!

Berlioz's gentle, sublime oratorio tells the story of Christ's birth and the holy family's journey across Egypt. It is a rarely performed masterpiece, one of only a handful of Berlioz works written for chamber orchestra.

He acts, he sings, he writes scripts and he does a pitch-perfect Minnesota accent - the life-of-the-party everyone wants on her guest list, Triple Espresso's Dane Stauffer joins us with a playlist of gems.

Mark Russell Smith is the interim director of the greater Twin Cities Youth Symphonies (GTCYS). Smith spoke to Steve Staruch about the ins and outs of programming works for a youth orchestra.

Nilsson is a name many of us know in the cities - the three sisters grew up in Anoka and learned to play violin from their father soon making the concert stage their careers. Kristina, Elsa and Jenny Lind have a brother, Eric, who also played - but he practices fewer scales these days and has replaced it by practicing law. But Eric has a great insider's view of listening to classical music.

Maria Schneider, a Grammy-award winning composer and arranger, was in St. Paul the last week of September recording her new album with the SPCO, as well as conducting her Carlos Drummond de Andrade Stories.

This week, we are celebrating the beginning of the Saint Paul Chamber Orchestra's broadcast season -- Mondays at 8 p.m. -- with five exclusive recordings.

Bach wrote his six Brandenburg Concertos for the Margrave of Brandenburg, Christian Ludwig, possibly hoping to secure employment in the margrave's court. Lacking the necessary virtuosic players, the margrave never heard the concertos, and the manuscripts weren't published until 1850, one-hundred years after Bach's death.