In a Touching Farewell, Michael Tilson Thomas Savors Every Moment of Mahler's Fifth
World Premieres, Classical Masterpieces Abound in SF Symphony’s New Season
Michael Tilson Thomas Goes Public About Cancer, Steps Back from Some Engagements
H.E.R. Leads Bay Area Grammy Nominations With 8 Nods
20 Months Later, Michael Tilson Thomas Returns to Davies
SF Symphony Kicks Off Digital Celebration of Michael Tilson Thomas’ 25-Year Tenure
SF Symphony Cancels 2019-20 Season, Moves Michael Tilson Thomas Farewell Online
A Landmark of Michael Tilson Thomas' Career, Revisited
SF Symphony Foregrounds Social Issues in Esa-Pekka Salonen's Debut Season
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While applause continued, he extended his baton toward concertmaster Alexander Barantschik, and playfully poked the blue ribbon on his lapel.\u003c/p>\n\u003cp>Then, with an amused shrug, the 79-year-old conductor laughed, as if to say, “Let’s not be weighed down by all this gravitas here.”\u003c/p>\n\u003cp>[aside postID='arts_13909978']Because surely, there was gravitas. This weekend’s performances of Mahler’s Fifth Symphony could well constitute the last time Thomas conducts the San Francisco Symphony.\u003c/p>\n\u003cp>Having been diagnosed in 2021 with an \u003ca href=\"https://www.kqed.org/arts/13909978/michael-tilson-thomas-cancer-announcement\">aggressive form of brain cancer\u003c/a>, Thomas is noticeably weaker onstage and in public appearances. The beloved figure who led the orchestra for 25 years \u003ca href=\"https://symphony.org/michael-tilson-thomas-withdraws-from-some-2024-concerts-with-san-francisco-symphony/\">recently withdrew\u003c/a> from conducting two other programs at Davies. It’s possible he could return to the podium in the future, but as of now, this weekend marks his final concerts on the symphony’s calendar. \u003c/p>\n\u003cfigure id=\"attachment_13951058\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_019-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1708\" class=\"size-full wp-image-13951058\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_019-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_019-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_019-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_019-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_019-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_019-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_019-2048x1367.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_019-1920x1281.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Michael Tilson Thomas conducts the San Francisco Symphony’s performance of Mahler’s Symphony No. 5 on Thursday, Jan. 25, 2024, at Davies Symphony Hall. \u003ccite>(Stefan Cohen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not that you’d have known it from his demeanor Thursday night. While leading a richly rewarding performance of Mahler’s Fifth — a program that repeats Friday and Saturday — a beaming grin was present on his face. Evidently, he needed this music as much as the music needed him.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Or maybe, just maybe, his smile came from settling a score. In 2022, filmgoers watched as Cate Blanchett’s character in \u003cem>Tár\u003c/em> took a tasteless dig at Thomas, likening his conducting to “screaming like a [expletive] porn star.” The central piece performed in the film? You guessed it: Mahler’s Fifth.\u003c/p>\n\u003cp>MTT announced these performances just months after the film opened, and on Thursday night, he showed \u003cem>Tár\u003c/em> how it’s done.\u003c/p>\n\u003cp>Mahler composed the Fifth Symphony in 1901–1902, and it’s often credited with ushering in 20th century composition. Deeply evocative, it fits nearly every human emotion into 75 minutes. It zig-zags from theme to theme, presenting soft timpani and pizzicatos along with thundering, full-throated brass passages.\u003c/p>\n\u003cfigure id=\"attachment_13951066\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_021-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1708\" class=\"size-full wp-image-13951066\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_021-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_021-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_021-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_021-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_021-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_021-2048x1367.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_021-1920x1281.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Michael Tilson Thomas conducts the San Francisco Symphony’s performance of Mahler’s Symphony No. 5 on Thursday, Jan. 25, 2024, at Davies Symphony Hall. \u003ccite>(Stefan Cohen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Thursday, in the hands of Thomas — who made his conducting debut with the San Francisco Symphony 50 years ago, with Mahler’s Ninth — every few minutes yielded a new delight, from its alluring first measures to its thrilling ending.\u003c/p>\n\u003cp>Once or twice during the music, one noticed his health as he steadied himself by grasping his left hand on the podium. His conducting retained its rhythm, even if it lessened in dynamism; he rarely called for volume adjustments, or vigorously punctuated key moments. At one climactic downbeat in the first movement, the strings, brass and tympani all landed just a millisecond off from each other.\u003c/p>\n\u003cp>But this is Mahler. Every cell in Thomas’ body knows this music. The orchestra does, too, and rose to the occasion — especially in the beloved Adagietto, one of Mahler’s most heart-wrenching pieces of music. (Thomas’ mentor, Leonard Bernstein, so loved it that he was reportedly buried with the score.)\u003c/p>\n\u003cfigure id=\"attachment_13951059\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_022-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1708\" class=\"size-full wp-image-13951059\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_022-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_022-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_022-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_022-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_022-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_022-2048x1367.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_022-1920x1281.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Michael Tilson Thomas embraces concertmaster Alexander Barantschik after the San Francisco Symphony’s performance of Mahler’s Symphony No. 5 on Thursday, Jan. 25, 2024, at Davies Symphony Hall. \u003ccite>(Stefan Cohen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was during the Adagietto that I couldn’t help but meditate on Thomas’ long history here. Personally, I thought back to first seeing him \u003ca href=\"https://www.sfsymphony.org/Larry-s-Play-Folder/z-OLD/1995-96-(2)\">at Davies in 1995\u003c/a>, conducting Stravinsky with violin prodigy Midori; again in 2001, \u003ca href=\"https://www.kqed.org/arts/13875367/a-landmark-of-michael-tilson-thomas-career-revisited\">valiantly conducting Mahler’s Symphony No. 6 one day after 9/11\u003c/a>; and in 2015, premiering the \u003ca href=\"https://www.kqed.org/arts/10216961/live-review-soundbox-classical-goes-clubbing\">groundbreaking SoundBox series\u003c/a>. He’s inspired multiple generations in the Bay Area (the Mahler vinyl bins at Amoeba Music are, as of this writing, completely sold out), and is indelibly woven into the cultural fabric of San Francisco.\u003c/p>\n\u003cp>After the piece’s rousing finale — before the audience spilled out onto the newly christened “\u003ca href=\"https://michaeltilsonthomas.com/2023/12/18/mtt-way-unveiled-in-san-francisco/\">MTT Way\u003c/a>” — Thomas stood for a seven-minute standing ovation. It would have gone on longer, too, were it not for him theatrically sighing and \u003ca href=\"https://www.tiktok.com/@horsesweremylife/video/7329402685969698094\">miming to the enthusiastic crowd that it was time to drink milk and go to bed\u003c/a>, drawing laugher among the cheers.\u003c/p>\n\u003cp>As if to console anyone with tears in their eyes at this celebration of life and an incredible career, for a second, at least, the message was: don’t be sad.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" 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>Michael Tilson Thomas conducts the San Francisco Symphony in Mahler’s Symphony No. 5 again on Friday, Jan. 26, and Saturday, Jan. 27. \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2023-24/MTT-CONDUCTS-MAHLER-5\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Nearing his final concerts with the San Francisco Symphony, MTT brought Mahler's masterpiece to life. ","status":"publish","parent":0,"modified":1709584396,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":842},"headData":{"title":"Review: Michael Tilson Thomas Leads Final Series Concerts at SF Symphony | KQED","description":"In an emotional appearance, MTT brought Mahler's Symphony No. 5 to life.","ogTitle":"On a Special Night, Michael Tilson Thomas Savors Every Moment of Mahler's Fifth","ogDescription":"","ogImgId":"","twTitle":"On a Special Night, Michael Tilson Thomas Savors Every Moment of Mahler's Fifth","twDescription":"","twImgId":"","socialTitle":"Review: Michael Tilson Thomas Leads Final Series Concerts at SF Symphony %%page%% %%sep%% KQED","socialDescription":"In an emotional appearance, MTT brought Mahler's Symphony No. 5 to life.","schema":{"@context":"http://schema.org","@type":"Article","headline":"In a Touching Farewell, Michael Tilson Thomas Savors Every Moment of Mahler's Fifth","datePublished":"2024-01-26T19:45:54.000Z","dateModified":"2024-03-04T20:33:16.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13951043/review-michael-tilson-thomas-mahler-5-san-francisco-symphony","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Michael Tilson Thomas was in a good mood.\u003c/p>\n\u003cp>Entering the stage at Davies Symphony Hall on Thursday night to an instant standing ovation, a playful smirk came across his face. While applause continued, he extended his baton toward concertmaster Alexander Barantschik, and playfully poked the blue ribbon on his lapel.\u003c/p>\n\u003cp>Then, with an amused shrug, the 79-year-old conductor laughed, as if to say, “Let’s not be weighed down by all this gravitas here.”\u003c/p>\n\u003cp>\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>Because surely, there was gravitas. This weekend’s performances of Mahler’s Fifth Symphony could well constitute the last time Thomas conducts the San Francisco Symphony.\u003c/p>\n\u003cp>Having been diagnosed in 2021 with an \u003ca href=\"https://www.kqed.org/arts/13909978/michael-tilson-thomas-cancer-announcement\">aggressive form of brain cancer\u003c/a>, Thomas is noticeably weaker onstage and in public appearances. The beloved figure who led the orchestra for 25 years \u003ca href=\"https://symphony.org/michael-tilson-thomas-withdraws-from-some-2024-concerts-with-san-francisco-symphony/\">recently withdrew\u003c/a> from conducting two other programs at Davies. It’s possible he could return to the podium in the future, but as of now, this weekend marks his final concerts on the symphony’s calendar. \u003c/p>\n\u003cfigure id=\"attachment_13951058\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_019-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1708\" class=\"size-full wp-image-13951058\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_019-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_019-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_019-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_019-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_019-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_019-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_019-2048x1367.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_019-1920x1281.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Michael Tilson Thomas conducts the San Francisco Symphony’s performance of Mahler’s Symphony No. 5 on Thursday, Jan. 25, 2024, at Davies Symphony Hall. \u003ccite>(Stefan Cohen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not that you’d have known it from his demeanor Thursday night. While leading a richly rewarding performance of Mahler’s Fifth — a program that repeats Friday and Saturday — a beaming grin was present on his face. Evidently, he needed this music as much as the music needed him.\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>Or maybe, just maybe, his smile came from settling a score. In 2022, filmgoers watched as Cate Blanchett’s character in \u003cem>Tár\u003c/em> took a tasteless dig at Thomas, likening his conducting to “screaming like a [expletive] porn star.” The central piece performed in the film? You guessed it: Mahler’s Fifth.\u003c/p>\n\u003cp>MTT announced these performances just months after the film opened, and on Thursday night, he showed \u003cem>Tár\u003c/em> how it’s done.\u003c/p>\n\u003cp>Mahler composed the Fifth Symphony in 1901–1902, and it’s often credited with ushering in 20th century composition. Deeply evocative, it fits nearly every human emotion into 75 minutes. It zig-zags from theme to theme, presenting soft timpani and pizzicatos along with thundering, full-throated brass passages.\u003c/p>\n\u003cfigure id=\"attachment_13951066\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_021-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1708\" class=\"size-full wp-image-13951066\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_021-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_021-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_021-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_021-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_021-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_021-2048x1367.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_021-1920x1281.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Michael Tilson Thomas conducts the San Francisco Symphony’s performance of Mahler’s Symphony No. 5 on Thursday, Jan. 25, 2024, at Davies Symphony Hall. \u003ccite>(Stefan Cohen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Thursday, in the hands of Thomas — who made his conducting debut with the San Francisco Symphony 50 years ago, with Mahler’s Ninth — every few minutes yielded a new delight, from its alluring first measures to its thrilling ending.\u003c/p>\n\u003cp>Once or twice during the music, one noticed his health as he steadied himself by grasping his left hand on the podium. His conducting retained its rhythm, even if it lessened in dynamism; he rarely called for volume adjustments, or vigorously punctuated key moments. At one climactic downbeat in the first movement, the strings, brass and tympani all landed just a millisecond off from each other.\u003c/p>\n\u003cp>But this is Mahler. Every cell in Thomas’ body knows this music. The orchestra does, too, and rose to the occasion — especially in the beloved Adagietto, one of Mahler’s most heart-wrenching pieces of music. (Thomas’ mentor, Leonard Bernstein, so loved it that he was reportedly buried with the score.)\u003c/p>\n\u003cfigure id=\"attachment_13951059\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_022-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1708\" class=\"size-full wp-image-13951059\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_022-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_022-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_022-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_022-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_022-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_022-2048x1367.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/2324concerts_012524mttmahler_stefancohen_022-1920x1281.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Michael Tilson Thomas embraces concertmaster Alexander Barantschik after the San Francisco Symphony’s performance of Mahler’s Symphony No. 5 on Thursday, Jan. 25, 2024, at Davies Symphony Hall. \u003ccite>(Stefan Cohen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was during the Adagietto that I couldn’t help but meditate on Thomas’ long history here. Personally, I thought back to first seeing him \u003ca href=\"https://www.sfsymphony.org/Larry-s-Play-Folder/z-OLD/1995-96-(2)\">at Davies in 1995\u003c/a>, conducting Stravinsky with violin prodigy Midori; again in 2001, \u003ca href=\"https://www.kqed.org/arts/13875367/a-landmark-of-michael-tilson-thomas-career-revisited\">valiantly conducting Mahler’s Symphony No. 6 one day after 9/11\u003c/a>; and in 2015, premiering the \u003ca href=\"https://www.kqed.org/arts/10216961/live-review-soundbox-classical-goes-clubbing\">groundbreaking SoundBox series\u003c/a>. He’s inspired multiple generations in the Bay Area (the Mahler vinyl bins at Amoeba Music are, as of this writing, completely sold out), and is indelibly woven into the cultural fabric of San Francisco.\u003c/p>\n\u003cp>After the piece’s rousing finale — before the audience spilled out onto the newly christened “\u003ca href=\"https://michaeltilsonthomas.com/2023/12/18/mtt-way-unveiled-in-san-francisco/\">MTT Way\u003c/a>” — Thomas stood for a seven-minute standing ovation. It would have gone on longer, too, were it not for him theatrically sighing and \u003ca href=\"https://www.tiktok.com/@horsesweremylife/video/7329402685969698094\">miming to the enthusiastic crowd that it was time to drink milk and go to bed\u003c/a>, drawing laugher among the cheers.\u003c/p>\n\u003cp>As if to console anyone with tears in their eyes at this celebration of life and an incredible career, for a second, at least, the message was: don’t be sad.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" 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>Michael Tilson Thomas conducts the San Francisco Symphony in Mahler’s Symphony No. 5 again on Friday, Jan. 26, and Saturday, Jan. 27. \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2023-24/MTT-CONDUCTS-MAHLER-5\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13951043/review-michael-tilson-thomas-mahler-5-san-francisco-symphony","authors":["185"],"categories":["arts_1","arts_69"],"tags":["arts_4058","arts_10342","arts_10278","arts_1366","arts_769","arts_1146","arts_1367"],"featImg":"arts_13951061","label":"arts"},"arts_13927033":{"type":"posts","id":"arts_13927033","meta":{"index":"posts_1591205157","site":"arts","id":"13927033","score":null,"sort":[1680033236000]},"guestAuthors":[],"slug":"san-francisco-symphony-2023-2024-season","title":"World Premieres, Classical Masterpieces Abound in SF Symphony’s New Season","publishDate":1680033236,"format":"standard","headTitle":"World Premieres, Classical Masterpieces Abound in SF Symphony’s New Season | KQED","labelTerm":{"term":140,"site":"arts"},"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","blocks":[],"excerpt":"Highlights include superstar guests Yo-Yo Ma and Gustavo Dudamel, a new music festival and more.","status":"publish","parent":0,"modified":1705005692,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":429},"headData":{"title":"New 2023-24 Season at San Francisco Symphony Announced | KQED","description":"Highlights include superstar guests Yo-Yo Ma and Gustavo Dudamel, a new music festival and more.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialTitle":"New 2023-24 Season at San Francisco Symphony Announced %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"World Premieres, Classical Masterpieces Abound in SF Symphony’s New Season","datePublished":"2023-03-28T19:53:56.000Z","dateModified":"2024-01-11T20:41:32.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","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_13909978":{"type":"posts","id":"arts_13909978","meta":{"index":"posts_1591205157","site":"arts","id":"13909978","score":null,"sort":[1646258210000]},"guestAuthors":[],"slug":"michael-tilson-thomas-cancer-announcement","title":"Michael Tilson Thomas Goes Public About Cancer, Steps Back from Some Engagements","publishDate":1646258210,"format":"audio","headTitle":"Michael Tilson Thomas Goes Public About Cancer, Steps Back from Some Engagements | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Michael Tilson Thomas, the former longtime music director of the San Francisco Symphony, announced Wednesday that he has an aggressive form of brain cancer and is taking a step back from professional life.\u003c/p>\n\u003cp>The conductor and composer shared the news publicly for the first time in a signed letter sent to the media by his New York publicist, Constance Shuman.\u003c/p>\n\u003cp>Tilson Thomas has been diagnosed with Glioblastoma Multiforme, a serious form of brain cancer, he says. He has undergone radiotherapy, chemotherapy and surgery to remove the visible signs of the disease. “Currently the cancer is in check,” he writes. “But the future is uncertain as Glioblastoma is a stealthy adversary. Its recurrence is, unfortunately, the rule rather than the exception.”\u003c/p>\n\u003cp>“It takes strength to meet the demands of the music and to collaborate on the highest level with the remarkable musicians who so generously welcomed me,” Tilson Thomas writes in the letter, with reference to the major orchestras including the San Francisco Symphony, the New York Philharmonic and the Los Angeles Philharmonic whom he has led in 20 concerts in recent months. “I now see that it is time for me to consider what level of work and responsibilities I can sustain in the future.”\u003c/p>\n\u003cp>“It was so amazing to have Michael back this January with the magnificent two programs featuring Prokofiev’s Fifth Symphony and Mahler One — pieces that I have a long history of playing with Michael all over the world — and to see him in very good spirits, projecting energy and most of all, love of music and love of all the musicians who were collaborating with him,” said San Francisco Symphony concertmaster Alexander Barantschik in an interview with KQED. “I’m just wishing Michael all I can wish from the bottom of my heart, and I hope to see him soon on stage again. \u003ci>“\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Michael Tilson Thomas has been a longtime friend, mentor, and fellow hippy-at-heart, and his love of adventurous music-making has been one of the most inspiring elements of my life in the Bay Area,” said local composer Mason Bates. “He has much more to contribute and I can’t wait to see what’s next.”\u003c/p>\n\u003cp>Tilson Thomas adds that he plans to reduce his administrative responsibilities and step down from his role as the artistic director of the New World Symphony, the top-tier youth orchestra based in Miami that he co-founded more than 30 years ago. He says he intends to go ahead with currently scheduled conducting engagements in the United States and Europe.\u003c/p>\n\u003cp>“I’m planning more time to wonder, wander, cook, and spend time with loved ones—two legged and four,” he writes by way of signing off. “Life is precious.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Read Michael Tilson Thomas’ letter in full:\u003c/p>\n\u003cfigure id=\"attachment_13909980\" class=\"wp-caption aligncenter\" style=\"max-width: 703px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909980\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/A-Letter-from-MTT.jpg\" alt=\"\" width=\"703\" height=\"908\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/A-Letter-from-MTT.jpg 703w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/A-Letter-from-MTT-160x207.jpg 160w\" sizes=\"(max-width: 703px) 100vw, 703px\">\u003cfigcaption class=\"wp-caption-text\">Letter from Michael Tilson Thomas, March 2, 2022 \u003ccite>(Printed with permission from Constance Shuman, Publicist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n","blocks":[],"excerpt":"The former music director of the San Francisco Symphony has an aggressive form of brain cancer, he announced Wednesday.","status":"publish","parent":0,"modified":1705007140,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":509},"headData":{"title":"Michael Tilson Thomas Goes Public About Cancer, Steps Back from Some Engagements | KQED","description":"The former music director of the San Francisco Symphony has an aggressive form of brain cancer, he announced Wednesday.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Michael Tilson Thomas Goes Public About Cancer, Steps Back from Some Engagements","datePublished":"2022-03-02T21:56:50.000Z","dateModified":"2024-01-11T21:05:40.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-4[…]f-aaef00f5a073/66d76ae0-4dbd-4e21-810f-ae4d013a1cd1/audio.mp3","sticky":false,"WpOldSlug":"michael-tilson-thomas-goes-public-about-cancer-steps-back-from-some-engagements","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13909978/michael-tilson-thomas-cancer-announcement","audioDuration":59000,"audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Michael Tilson Thomas, the former longtime music director of the San Francisco Symphony, announced Wednesday that he has an aggressive form of brain cancer and is taking a step back from professional life.\u003c/p>\n\u003cp>The conductor and composer shared the news publicly for the first time in a signed letter sent to the media by his New York publicist, Constance Shuman.\u003c/p>\n\u003cp>Tilson Thomas has been diagnosed with Glioblastoma Multiforme, a serious form of brain cancer, he says. He has undergone radiotherapy, chemotherapy and surgery to remove the visible signs of the disease. “Currently the cancer is in check,” he writes. “But the future is uncertain as Glioblastoma is a stealthy adversary. Its recurrence is, unfortunately, the rule rather than the exception.”\u003c/p>\n\u003cp>“It takes strength to meet the demands of the music and to collaborate on the highest level with the remarkable musicians who so generously welcomed me,” Tilson Thomas writes in the letter, with reference to the major orchestras including the San Francisco Symphony, the New York Philharmonic and the Los Angeles Philharmonic whom he has led in 20 concerts in recent months. “I now see that it is time for me to consider what level of work and responsibilities I can sustain in the future.”\u003c/p>\n\u003cp>“It was so amazing to have Michael back this January with the magnificent two programs featuring Prokofiev’s Fifth Symphony and Mahler One — pieces that I have a long history of playing with Michael all over the world — and to see him in very good spirits, projecting energy and most of all, love of music and love of all the musicians who were collaborating with him,” said San Francisco Symphony concertmaster Alexander Barantschik in an interview with KQED. “I’m just wishing Michael all I can wish from the bottom of my heart, and I hope to see him soon on stage again. \u003ci>“\u003c/i>\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>“Michael Tilson Thomas has been a longtime friend, mentor, and fellow hippy-at-heart, and his love of adventurous music-making has been one of the most inspiring elements of my life in the Bay Area,” said local composer Mason Bates. “He has much more to contribute and I can’t wait to see what’s next.”\u003c/p>\n\u003cp>Tilson Thomas adds that he plans to reduce his administrative responsibilities and step down from his role as the artistic director of the New World Symphony, the top-tier youth orchestra based in Miami that he co-founded more than 30 years ago. He says he intends to go ahead with currently scheduled conducting engagements in the United States and Europe.\u003c/p>\n\u003cp>“I’m planning more time to wonder, wander, cook, and spend time with loved ones—two legged and four,” he writes by way of signing off. “Life is precious.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Read Michael Tilson Thomas’ letter in full:\u003c/p>\n\u003cfigure id=\"attachment_13909980\" class=\"wp-caption aligncenter\" style=\"max-width: 703px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909980\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/A-Letter-from-MTT.jpg\" alt=\"\" width=\"703\" height=\"908\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/A-Letter-from-MTT.jpg 703w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/A-Letter-from-MTT-160x207.jpg 160w\" sizes=\"(max-width: 703px) 100vw, 703px\">\u003cfigcaption class=\"wp-caption-text\">Letter from Michael Tilson Thomas, March 2, 2022 \u003ccite>(Printed with permission from Constance Shuman, Publicist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13909978/michael-tilson-thomas-cancer-announcement","authors":["8608"],"categories":["arts_1","arts_69","arts_235"],"tags":["arts_11690","arts_1366","arts_1367"],"featImg":"arts_13852783","label":"arts"},"arts_13906436":{"type":"posts","id":"arts_13906436","meta":{"index":"posts_1591205157","site":"arts","id":"13906436","score":null,"sort":[1637708714000]},"guestAuthors":[],"slug":"her-saweetie-grammy-awards-san-francisco-symphony-doja-cat-grammys","title":"H.E.R. Leads Bay Area Grammy Nominations With 8 Nods","publishDate":1637708714,"format":"standard","headTitle":"H.E.R. Leads Bay Area Grammy Nominations With 8 Nods | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>The nominees for the 64th annual Grammy Awards were announced today, and while jazz musician John Batiste leads with 11 nominations, Vallejo-raised artist H.E.R. is not far behind, with an impressive eight nominations under her belt. (More than both Billie Eilish and Olivia Rodrigo!)\u003c/p>\n\u003cp>The singer-songwriter is up for Album of the Year and Best R&B album for \u003cem>Back of My Mind\u003c/em>; Best R&B Performance and Best R&B Song for “Damage”; Song of the Year, Best Traditional R&B Performance and Best Song Written for Visual Media for “Fight For You”; and Best Contemporary Christian Music Performance/Song for “Hold Us Together (Hope Mix).”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PAFAfhod9TU\u003c/p>\n\u003cp>The only other Bay Area artist in a contemporary category is Saweetie, who’s nominated for Best New Artist. She’s also up for Best Rap Song for “Best Friend,” her track featuring Doja Cat.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_xJUCsyMQes\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bay Area classical music fared a little better, fortunately. San Francisco Symphony Music Director Laureate Michael Tilson Thomas is included in a Best Classical Compendium nomination for his work on \u003cem>American Originals—A New World, A New Canon\u003c/em>.\u003c/p>\n\u003cp>San Francisco-based composer Jake Heggie received a Best Classical Solo Vocal Album nod for his work on Jamie Barton’s “Unexpected Shadows” record.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CHqrh1Dl4oA\u003c/p>\n\u003cp>San Francisco Symphony collaborative partner Nico Muhly received a Best Orchestral Performance nomination for “Muhly: Throughline.” And in the same category, Berkeley composer John Adams wrote two of the pieces that resulted in a nomination for Nashville Symphony Orchestra conductor Giancarlo Guerrero.\u003c/p>\n\u003cp>And… uh. That’s it!\u003c/p>\n\u003cp>How much you care about any of this is probably contingent on how enraged you are by the many prior sins of the Recording Academy. Most notably, side-lining Black artists into smaller categories, which leads to shocking snubs. Like that time in 2017 when Beyoncé didn’t win Album of the Year for \u003cem>Lemonade\u003c/em>. (Some of us have never recovered.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Still, it’s nice to have someone local to root for. Go get ’em, H.E.R.!\u003c/p>\n\n","blocks":[],"excerpt":"Saweetie and the San Francisco Symphony also received nods.","status":"publish","parent":0,"modified":1705007458,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":382},"headData":{"title":"H.E.R. Leads Bay Area Grammy Nominations With 8 Nods | KQED","description":"Saweetie and the San Francisco Symphony also received nods.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"H.E.R. Leads Bay Area Grammy Nominations With 8 Nods","datePublished":"2021-11-23T23:05:14.000Z","dateModified":"2024-01-11T21:10:58.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13906436/her-saweetie-grammy-awards-san-francisco-symphony-doja-cat-grammys","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The nominees for the 64th annual Grammy Awards were announced today, and while jazz musician John Batiste leads with 11 nominations, Vallejo-raised artist H.E.R. is not far behind, with an impressive eight nominations under her belt. (More than both Billie Eilish and Olivia Rodrigo!)\u003c/p>\n\u003cp>The singer-songwriter is up for Album of the Year and Best R&B album for \u003cem>Back of My Mind\u003c/em>; Best R&B Performance and Best R&B Song for “Damage”; Song of the Year, Best Traditional R&B Performance and Best Song Written for Visual Media for “Fight For You”; and Best Contemporary Christian Music Performance/Song for “Hold Us Together (Hope Mix).”\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/PAFAfhod9TU'\n title='//www.youtube.com/embed/PAFAfhod9TU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The only other Bay Area artist in a contemporary category is Saweetie, who’s nominated for Best New Artist. She’s also up for Best Rap Song for “Best Friend,” her track featuring Doja Cat.\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/_xJUCsyMQes'\n title='//www.youtube.com/embed/_xJUCsyMQes'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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>Bay Area classical music fared a little better, fortunately. San Francisco Symphony Music Director Laureate Michael Tilson Thomas is included in a Best Classical Compendium nomination for his work on \u003cem>American Originals—A New World, A New Canon\u003c/em>.\u003c/p>\n\u003cp>San Francisco-based composer Jake Heggie received a Best Classical Solo Vocal Album nod for his work on Jamie Barton’s “Unexpected Shadows” record.\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/CHqrh1Dl4oA'\n title='//www.youtube.com/embed/CHqrh1Dl4oA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>San Francisco Symphony collaborative partner Nico Muhly received a Best Orchestral Performance nomination for “Muhly: Throughline.” And in the same category, Berkeley composer John Adams wrote two of the pieces that resulted in a nomination for Nashville Symphony Orchestra conductor Giancarlo Guerrero.\u003c/p>\n\u003cp>And… uh. That’s it!\u003c/p>\n\u003cp>How much you care about any of this is probably contingent on how enraged you are by the many prior sins of the Recording Academy. Most notably, side-lining Black artists into smaller categories, which leads to shocking snubs. Like that time in 2017 when Beyoncé didn’t win Album of the Year for \u003cem>Lemonade\u003c/em>. (Some of us have never recovered.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Still, it’s nice to have someone local to root for. Go get ’em, H.E.R.!\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13906436/her-saweetie-grammy-awards-san-francisco-symphony-doja-cat-grammys","authors":["11242"],"categories":["arts_1","arts_69","arts_75"],"tags":["arts_6187","arts_1677","arts_1366","arts_1367","arts_8682"],"featImg":"arts_13906441","label":"arts"},"arts_13903091":{"type":"posts","id":"arts_13903091","meta":{"index":"posts_1591205157","site":"arts","id":"13903091","score":null,"sort":[1630618172000]},"guestAuthors":[],"slug":"20-months-later-michael-tilson-thomas-returns-to-davies","title":"20 Months Later, Michael Tilson Thomas Returns to Davies","publishDate":1630618172,"format":"standard","headTitle":"20 Months Later, Michael Tilson Thomas Returns to Davies | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>An entire farewell tour had been planned for Michael Tilson Thomas’ 25th and final season as music director for the San Francisco Symphony, but COVID had other plans. Now, Tilson Thomas returns to the podium at Davies Symphony Hall for the first time since conducting his final piece as music director there, Mahler’s Symphony No. 6, on a very trepidatious March night in 2020 as the coronavirus began shutting down the city. This November, along with Schumann’s Symphony No. 1 and the short, rarely played \u003cem>Three German Dances\u003c/em> by Mozart, the program includes Tilson Thomas’ own \u003cem>Notturno\u003c/em>, with Demarre McGill on flute.\u003c/p>\n\u003cp>\u003cem>The San Francisco Symphony performs Friday–Sunday, Nov. 12–14, at Davies Symphony Hall in San Francisco. \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2021-22/MTT-MOZART,-MTT-SCHUMANN\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"The Music Director Laureate conducts Mozart, Schumann and his own work Nov. 12–14 at Davies Symphony Hall.","status":"publish","parent":0,"modified":1705007804,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":4,"wordCount":131},"headData":{"title":"20 Months Later, Michael Tilson Thomas Returns to Davies | KQED","description":"The Music Director Laureate conducts Mozart, Schumann and his own work Nov. 12–14 at Davies Symphony Hall.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"20 Months Later, Michael Tilson Thomas Returns to Davies","datePublished":"2021-09-02T21:29:32.000Z","dateModified":"2024-01-11T21:16:44.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13903091/20-months-later-michael-tilson-thomas-returns-to-davies","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>An entire farewell tour had been planned for Michael Tilson Thomas’ 25th and final season as music director for the San Francisco Symphony, but COVID had other plans. Now, Tilson Thomas returns to the podium at Davies Symphony Hall for the first time since conducting his final piece as music director there, Mahler’s Symphony No. 6, on a very trepidatious March night in 2020 as the coronavirus began shutting down the city. This November, along with Schumann’s Symphony No. 1 and the short, rarely played \u003cem>Three German Dances\u003c/em> by Mozart, the program includes Tilson Thomas’ own \u003cem>Notturno\u003c/em>, with Demarre McGill on flute.\u003c/p>\n\u003cp>\u003cem>The San Francisco Symphony performs Friday–Sunday, Nov. 12–14, at Davies Symphony Hall in San Francisco. \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2021-22/MTT-MOZART,-MTT-SCHUMANN\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\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>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13903091/20-months-later-michael-tilson-thomas-returns-to-davies","authors":["185"],"programs":["arts_140"],"categories":["arts_1","arts_69"],"tags":["arts_4058","arts_1366","arts_1367"],"featImg":"arts_10217079","label":"arts_140"},"arts_13881347":{"type":"posts","id":"arts_13881347","meta":{"index":"posts_1591205157","site":"arts","id":"13881347","score":null,"sort":[1591286440000]},"guestAuthors":[],"slug":"sf-symphony-kicks-off-digital-celebration-of-michael-tilson-thomas-25-year-tenure","title":"SF Symphony Kicks Off Digital Celebration of Michael Tilson Thomas’ 25-Year Tenure","publishDate":1591286440,"format":"standard","headTitle":"SF Symphony Kicks Off Digital Celebration of Michael Tilson Thomas’ 25-Year Tenure | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>The COVID-19 pandemic thwarted the San Francisco Symphony’s plans to celebrate outgoing musical director Michael Tilson Thomas with a slate of concerts that attest to his influential 25-year tenure. But the orchestra adapted quickly even as it canceled the remainder of its season.\u003c/p>\n\u003cp>Today, June 4, kicks off 25 days of virtual programming called MTT25, with daily releases of musical recordings, a virtual memory wall where fans can pay tribute to MTT and daily broadcasts on the Bay Area’s classical staton, \u003ca href=\"http://kdfc.com\" target=\"_blank\" rel=\"noopener noreferrer\">KDFC\u003c/a>, called “MTT Time.”\u003c/p>\n\u003cp>June 26 marks the release of Thomas’ new album of original compositions, \u003cem>From the Diary of Anne Frank & Meditations on Rilke\u003c/em>, on the Symphony’s SFS Media label. The orchestra will also release a short behind-the-scenes documentary about the project, which features mezzo-sopranos Sasha Cooke and Isabel Leonard, both of whom appear on the album.\u003c/p>\n\u003cp>The month of programming culminates with an online celebration on the Symphony’s \u003ca href=\"https://www.youtube.com/channel/UC0wRztEPtQWDXUybBpYRpaA\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube channel\u003c/a> on June 28. Hosted by vocalists Audra McDonald Susan Graham, it features personal stories and tributes from MTT’s musical colleagues and friends from around the world.\u003c/p>\n\u003cp>More details on MTT25 can be found \u003ca href=\"http://sfsymphony.org/mtt25\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"The celebrated musical director concludes his term at the orchestra with 25 days of virtual programming. ","status":"publish","parent":0,"modified":1705020640,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":7,"wordCount":208},"headData":{"title":"SF Symphony Kicks Off Digital Celebration of Michael Tilson Thomas’ 25-Year Tenure | KQED","description":"The celebrated musical director concludes his term at the orchestra with 25 days of virtual programming. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"SF Symphony Kicks Off Digital Celebration of Michael Tilson Thomas’ 25-Year Tenure","datePublished":"2020-06-04T16:00:40.000Z","dateModified":"2024-01-12T00:50:40.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13881347/sf-symphony-kicks-off-digital-celebration-of-michael-tilson-thomas-25-year-tenure","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The COVID-19 pandemic thwarted the San Francisco Symphony’s plans to celebrate outgoing musical director Michael Tilson Thomas with a slate of concerts that attest to his influential 25-year tenure. But the orchestra adapted quickly even as it canceled the remainder of its season.\u003c/p>\n\u003cp>Today, June 4, kicks off 25 days of virtual programming called MTT25, with daily releases of musical recordings, a virtual memory wall where fans can pay tribute to MTT and daily broadcasts on the Bay Area’s classical staton, \u003ca href=\"http://kdfc.com\" target=\"_blank\" rel=\"noopener noreferrer\">KDFC\u003c/a>, called “MTT Time.”\u003c/p>\n\u003cp>June 26 marks the release of Thomas’ new album of original compositions, \u003cem>From the Diary of Anne Frank & Meditations on Rilke\u003c/em>, on the Symphony’s SFS Media label. The orchestra will also release a short behind-the-scenes documentary about the project, which features mezzo-sopranos Sasha Cooke and Isabel Leonard, both of whom appear on the album.\u003c/p>\n\u003cp>The month of programming culminates with an online celebration on the Symphony’s \u003ca href=\"https://www.youtube.com/channel/UC0wRztEPtQWDXUybBpYRpaA\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube channel\u003c/a> on June 28. Hosted by vocalists Audra McDonald Susan Graham, it features personal stories and tributes from MTT’s musical colleagues and friends from around the world.\u003c/p>\n\u003cp>More details on MTT25 can be found \u003ca href=\"http://sfsymphony.org/mtt25\" target=\"_blank\" rel=\"noopener noreferrer\">here\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>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13881347/sf-symphony-kicks-off-digital-celebration-of-michael-tilson-thomas-25-year-tenure","authors":["11387"],"programs":["arts_140"],"categories":["arts_1","arts_69"],"tags":["arts_10278","arts_1366","arts_1367","arts_585"],"featImg":"arts_13813266","label":"arts_140"},"arts_13879516":{"type":"posts","id":"arts_13879516","meta":{"index":"posts_1591205157","site":"arts","id":"13879516","score":null,"sort":[1588202640000]},"guestAuthors":[],"slug":"sf-symphony-cancels-2019-20-season-moves-michael-tilson-thomas-farewell-online","title":"SF Symphony Cancels 2019-20 Season, Moves Michael Tilson Thomas Farewell Online","publishDate":1588202640,"format":"standard","headTitle":"SF Symphony Cancels 2019-20 Season, Moves Michael Tilson Thomas Farewell Online | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>The San Francisco Symphony on Wednesday announced the cancellation of all concerts remaining in its 2019-20 season as well as pay cuts affecting nearly 200 workers due to shelter-in-place orders to curb the spread of the novel coronavirus. [aside postID=arts_13865435,arts_13876535,arts_13877348]\u003c/p>\n\u003cp>The move to call off programming through Aug. 1 brings the symphony’s total number of canceled events to 64 and represents a step further than most arts presenters have taken. It comes a day after California Governor Gavin Newsom said at a press conference that concerts won’t resume until the final phase of reopening the economy—still months away.\u003c/p>\n\u003cp>Because the season marks the end of Michael Tilson Thomas’ quarter century tenure as music director, the symphony is also launching a 25-day “digital celebration” of his career. In a statement, Thomas said that the season’s cancellation saddens him greatly. “We would have been performing essential works in which we have developed our special sound, style and collaboration.”\u003c/p>\n\u003cp>The symphony has been dormant since the second week of March, when local officials forbade non-essential gatherings in city-owned facilities. According to the announcement, the symphony faces more than $13 million in lost revenue and $5.4 million in net losses due to the cancellations of Davies Symphony Hall and SoundBox events as well as a three-week tour to New York and Europe.\u003c/p>\n\u003cp>To counter the losses, the symphony is implementing what leadership in the statement call “shared sacrifice” reductions: Stagehands, staff and members of the orchestra and chorus have agreed to salary reductions averaging 25 percent in effect from April 19 to Sept. 5. Thomas will not be compensated for canceled concerts. All workers retain healthcare and insurance benefits.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A symphony spokesperson confirmed the pay reductions impact nearly 200 workers, saying senior leadership is taking the “highest cuts.” The spokesperson also said the organization applied for and has received funds through the federal CARES Act.\u003c/p>\n\u003cp>In a statement, chief executive Mark Hanson described the plan as balancing individual and institutional needs. “Our top priority from the very beginning of the COVID-19 pandemic has been to take care of the people who are the San Francisco Symphony family,” Hanson said.\u003c/p>\n\u003cp>Like most performing arts groups, the symphony is encouraging ticketholders to donate the cost of their tickets or to ask for a gift certificate for the value of their tickets. A group of board members and donors have pledged to match ticket donations through an initial $1 million fund.\u003c/p>\n\u003cp>According to its 2018-19 season impact report, the symphony derives 35 percent of its operating revenue from ticket sales and runs on an $80 million annual budget. The nonprofit organization disclosed net assets worth $321,864,438 on its most recent publicly available tax return form.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>San Francisco arts organizations project losing up to $73 million in earned income and donations if—as the symphony is now anticipating—the novel coronavirus crisis proceeds through the summer, according to the results of a \u003ca href=\"https://www.kqed.org/arts/13877348/survey-sf-arts-groups-expect-73-million-in-losses-during-coronavirus-crisis\">survey\u003c/a> of 145 local groups released in March.\u003c/p>\n\n","blocks":[],"excerpt":"In what would have been the director's final season, the symphony has had to cut performer, stagehand and staff pay.","status":"publish","parent":0,"modified":1705020829,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":530},"headData":{"title":"SF Symphony Cancels 2019-20 Season, Moves Michael Tilson Thomas Farewell Online | KQED","description":"In what would have been the director's final season, the symphony has had to cut performer, stagehand and staff pay.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"SF Symphony Cancels 2019-20 Season, Moves Michael Tilson Thomas Farewell Online","datePublished":"2020-04-29T23:24:00.000Z","dateModified":"2024-01-12T00:53:49.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13879516/sf-symphony-cancels-2019-20-season-moves-michael-tilson-thomas-farewell-online","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco Symphony on Wednesday announced the cancellation of all concerts remaining in its 2019-20 season as well as pay cuts affecting nearly 200 workers due to shelter-in-place orders to curb the spread of the novel coronavirus. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13865435,arts_13876535,arts_13877348","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The move to call off programming through Aug. 1 brings the symphony’s total number of canceled events to 64 and represents a step further than most arts presenters have taken. It comes a day after California Governor Gavin Newsom said at a press conference that concerts won’t resume until the final phase of reopening the economy—still months away.\u003c/p>\n\u003cp>Because the season marks the end of Michael Tilson Thomas’ quarter century tenure as music director, the symphony is also launching a 25-day “digital celebration” of his career. In a statement, Thomas said that the season’s cancellation saddens him greatly. “We would have been performing essential works in which we have developed our special sound, style and collaboration.”\u003c/p>\n\u003cp>The symphony has been dormant since the second week of March, when local officials forbade non-essential gatherings in city-owned facilities. According to the announcement, the symphony faces more than $13 million in lost revenue and $5.4 million in net losses due to the cancellations of Davies Symphony Hall and SoundBox events as well as a three-week tour to New York and Europe.\u003c/p>\n\u003cp>To counter the losses, the symphony is implementing what leadership in the statement call “shared sacrifice” reductions: Stagehands, staff and members of the orchestra and chorus have agreed to salary reductions averaging 25 percent in effect from April 19 to Sept. 5. Thomas will not be compensated for canceled concerts. All workers retain healthcare and insurance benefits.\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>A symphony spokesperson confirmed the pay reductions impact nearly 200 workers, saying senior leadership is taking the “highest cuts.” The spokesperson also said the organization applied for and has received funds through the federal CARES Act.\u003c/p>\n\u003cp>In a statement, chief executive Mark Hanson described the plan as balancing individual and institutional needs. “Our top priority from the very beginning of the COVID-19 pandemic has been to take care of the people who are the San Francisco Symphony family,” Hanson said.\u003c/p>\n\u003cp>Like most performing arts groups, the symphony is encouraging ticketholders to donate the cost of their tickets or to ask for a gift certificate for the value of their tickets. A group of board members and donors have pledged to match ticket donations through an initial $1 million fund.\u003c/p>\n\u003cp>According to its 2018-19 season impact report, the symphony derives 35 percent of its operating revenue from ticket sales and runs on an $80 million annual budget. The nonprofit organization disclosed net assets worth $321,864,438 on its most recent publicly available tax return form.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>San Francisco arts organizations project losing up to $73 million in earned income and donations if—as the symphony is now anticipating—the novel coronavirus crisis proceeds through the summer, according to the results of a \u003ca href=\"https://www.kqed.org/arts/13877348/survey-sf-arts-groups-expect-73-million-in-losses-during-coronavirus-crisis\">survey\u003c/a> of 145 local groups released in March.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13879516/sf-symphony-cancels-2019-20-season-moves-michael-tilson-thomas-farewell-online","authors":["11091"],"categories":["arts_1","arts_69","arts_235"],"tags":["arts_1312","arts_10126","arts_10278","arts_1366","arts_746","arts_596","arts_1367"],"featImg":"arts_13876154","label":"arts"},"arts_13875367":{"type":"posts","id":"arts_13875367","meta":{"index":"posts_1591205157","site":"arts","id":"13875367","score":null,"sort":[1582569945000]},"guestAuthors":[],"slug":"a-landmark-of-michael-tilson-thomas-career-revisited","title":"A Landmark of Michael Tilson Thomas' Career, Revisited","publishDate":1582569945,"format":"standard","headTitle":"A Landmark of Michael Tilson Thomas’ Career, Revisited | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>It’s been nearly 20 years since I watched Michael Tilson Thomas conduct Mahler’s Symphony No. 6, but it’s an experience I’ll never forget. In particular, the piece contained a finale inspired by death and loss, with a giant hammer smashed upon a giant drum. The whole thing was thundering, and turbulent, and incredibly moving, and I walked out of Davies Symphony Hall that night in a daze at the power of great art. The date was Sept. 12, 2001—one day after 9/11. \u003c/p>\n\u003cp>For obvious reasons, this performance has gone down in history, and represents a landmark in Michael Tilson Thomas’ time at the San Francisco Symphony. That leadership, of 25 years, \u003ca href=\"https://www.kqed.org/arts/13813262/michael-tilson-thomas-to-step-down-from-san-francisco-symphony\" rel=\"noopener noreferrer\" target=\"_blank\">comes to an end\u003c/a> this season. Before he goes, he’s bringing back Mahler’s Sixth, nicknamed the “Tragic” symphony, for a performance in San Francisco. It’s the work that kicked off a series of award-winning recordings of Mahler for the Symphony’s own record label, and it now helps bookend Tilson Thomas’ run as music director. Witness the powerful piece on Friday, March 6, at Davies Symphony Hall in San Francisco.—\u003cem>Gabe Meline\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Mahler's Symphony No. 6 comes back for a one-night-only performance.","status":"publish","parent":0,"modified":1705021242,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":4,"wordCount":209},"headData":{"title":"A Landmark of Michael Tilson Thomas' Career, Revisited | KQED","description":"Mahler's Symphony No. 6 comes back for a one-night-only performance.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"A Landmark of Michael Tilson Thomas' Career, Revisited","datePublished":"2020-02-24T18:45:45.000Z","dateModified":"2024-01-12T01:00:42.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"event","featuredImageType":"standard","startTime":1583550000,"endTime":1581062400,"startTimeString":"March 6, 2020","venueName":"Davies Symphony Hall","venueAddress":"201 Van Ness Ave., San Francisco","eventLink":"https://www.sfsymphony.org/","path":"/arts/13875367/a-landmark-of-michael-tilson-thomas-career-revisited","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s been nearly 20 years since I watched Michael Tilson Thomas conduct Mahler’s Symphony No. 6, but it’s an experience I’ll never forget. In particular, the piece contained a finale inspired by death and loss, with a giant hammer smashed upon a giant drum. The whole thing was thundering, and turbulent, and incredibly moving, and I walked out of Davies Symphony Hall that night in a daze at the power of great art. The date was Sept. 12, 2001—one day after 9/11. \u003c/p>\n\u003cp>For obvious reasons, this performance has gone down in history, and represents a landmark in Michael Tilson Thomas’ time at the San Francisco Symphony. That leadership, of 25 years, \u003ca href=\"https://www.kqed.org/arts/13813262/michael-tilson-thomas-to-step-down-from-san-francisco-symphony\" rel=\"noopener noreferrer\" target=\"_blank\">comes to an end\u003c/a> this season. Before he goes, he’s bringing back Mahler’s Sixth, nicknamed the “Tragic” symphony, for a performance in San Francisco. It’s the work that kicked off a series of award-winning recordings of Mahler for the Symphony’s own record label, and it now helps bookend Tilson Thomas’ run as music director. Witness the powerful piece on Friday, March 6, at Davies Symphony Hall in San Francisco.—\u003cem>Gabe Meline\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>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13875367/a-landmark-of-michael-tilson-thomas-career-revisited","authors":["185"],"programs":["arts_140"],"categories":["arts_69"],"tags":["arts_10061","arts_1366","arts_6884","arts_1367"],"featImg":"arts_13875368","label":"arts_140"},"arts_13875048":{"type":"posts","id":"arts_13875048","meta":{"index":"posts_1591205157","site":"arts","id":"13875048","score":null,"sort":[1582064478000]},"guestAuthors":[],"slug":"sf-symphony-foregrounds-social-issues-in-esa-pekka-salonens-debut-season","title":"SF Symphony Foregrounds Social Issues in Esa-Pekka Salonen's Debut Season","publishDate":1582064478,"format":"standard","headTitle":"SF Symphony Foregrounds Social Issues in Esa-Pekka Salonen’s Debut Season | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>When the San Francisco Symphony announced Esa-Pekka Salonen would take the helm from Michael Tilson Thomas as the orchestra’s music director in 2020, the Finish conductor and composer \u003ca href=\"https://www.kqed.org/arts/13846535/its-esa-pekkas-city-eventually\" target=\"_blank\" rel=\"noopener noreferrer\">told KQED\u003c/a> that he wanted to go against the grain and work within the “anti-establishment part” of the performing arts world.\u003c/p>\n\u003cp>Today, the orchestra announced Salonen’s \u003ca href=\"https://www.sfsymphony.org/Calendar/Season-Highlights\" target=\"_blank\" rel=\"noopener noreferrer\">inaugural season\u003c/a> with a progressive slate of programming, much of which emphasizes classical works that resonate with today’s social and political issues, plus several premieres of new pieces that echo those themes.\u003c/p>\n\u003cp>The program “On the Precipice: Music of the Weimar Republic” focuses on the ways art responded to the rise of fascism in pre-World War II Germany. [aside postid='arts_13849044']\u003c/p>\n\u003cp>“I think perhaps we are living through something that is very similar to the Weimar Republic without knowing it,” Salonen said in a statement. “We witnessed a number of years of relative prosperity, calm, rationality, optimism and growth. And very suddenly things started unraveling, with the financial crash and rise of populist movements around the world.”\u003c/p>\n\u003cp>“On the Precipice” takes place June 17–26, 2021, with the San Francisco Symphony giving the U.S. premiere of Bryce Dressner’s violin concerto (that’s Bryce Dressner of indie rock band The National), performed by violinist Pekka Kuusisto. (Kuusisto and Dressner are among Salonen’s Collaborative Partners, his “brain trust” of eight interdisciplinary artists who serve as advisers and guest curators.) The orchestra is also slated to perform a semi-staged evening of musical theater centered on Weill and Brecht’s satirical \u003cem>Die Sieben Todsünden \u003c/em>(The Seven Deadly Sins), which was written after the composers fled to Paris to escape Nazi Germany.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As part of another program, “Voices of Change: Reporting on the Human Condition,” the orchestra will perform the West Coast premiere of Julia Wolfe’s \u003cem>Her Story\u003c/em>, a San Francisco Symphony co-commission commemorating the 100-year anniversary of the ratification of women’s suffrage. The program, taking place Nov. 12 and 14, 2020, includes a piano concerto composed by Florence Price, the first black woman to be widely recognized as a symphonic composer.\u003c/p>\n\u003cp>On Feb. 4 and 6, 2021, the Symphony performs Gabriel Kahane’s \u003cem>emergency shelter intake form\u003c/em>, a song cycle that deals with systemic inequality and homelessness, featuring mezzo-soprano Alicia Hall Moran and vocalists Holland Andrews, Gabriel Kahane and \u003ca href=\"https://www.kqed.org/arts/13844854/holcombe-waller-honors-lgbtq-community-with-requiem-mass\" target=\"_blank\" rel=\"noopener noreferrer\">Holcombe Waller\u003c/a> with a community chorus.\u003c/p>\n\u003cp>Much of the San Francisco Symphony’s 2020–21 season anchors around Salonen’s projects with his Collaborative Partners, who—in addition to the aforementioned Kuusisto and Dressner—include bassist Esperanza Spalding, classical vocalist Julia Bullock, experimental flutist Claire Chase, composer and pianist Nicholas Britell, composer Nico Muhly and artificial intelligence entrepreneur Carol Reiley.\u003c/p>\n\u003cp>The season opens with three weeks of concerts and events centered around the Collaborative Partners’ interpretations of Bach, and the programming will be announced in July 2020. See the rest of the SF Symphony’s \u003ca href=\"https://www.sfsymphony.org/Calendar/Season-Highlights\" target=\"_blank\" rel=\"noopener noreferrer\">2020–21 season\u003c/a> here.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n","blocks":[],"excerpt":"The 2020–21 season features works that respond to the rise of fascism, celebrate advancements in women's rights and more. ","status":"publish","parent":0,"modified":1705021272,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":532},"headData":{"title":"SF Symphony Foregrounds Social Issues in Esa-Pekka Salonen's Debut Season | KQED","description":"The 2020–21 season features works that respond to the rise of fascism, celebrate advancements in women's rights and more. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"SF Symphony Foregrounds Social Issues in Esa-Pekka Salonen's Debut Season","datePublished":"2020-02-18T22:21:18.000Z","dateModified":"2024-01-12T01:01:12.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13875048/sf-symphony-foregrounds-social-issues-in-esa-pekka-salonens-debut-season","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When the San Francisco Symphony announced Esa-Pekka Salonen would take the helm from Michael Tilson Thomas as the orchestra’s music director in 2020, the Finish conductor and composer \u003ca href=\"https://www.kqed.org/arts/13846535/its-esa-pekkas-city-eventually\" target=\"_blank\" rel=\"noopener noreferrer\">told KQED\u003c/a> that he wanted to go against the grain and work within the “anti-establishment part” of the performing arts world.\u003c/p>\n\u003cp>Today, the orchestra announced Salonen’s \u003ca href=\"https://www.sfsymphony.org/Calendar/Season-Highlights\" target=\"_blank\" rel=\"noopener noreferrer\">inaugural season\u003c/a> with a progressive slate of programming, much of which emphasizes classical works that resonate with today’s social and political issues, plus several premieres of new pieces that echo those themes.\u003c/p>\n\u003cp>The program “On the Precipice: Music of the Weimar Republic” focuses on the ways art responded to the rise of fascism in pre-World War II Germany. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13849044","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I think perhaps we are living through something that is very similar to the Weimar Republic without knowing it,” Salonen said in a statement. “We witnessed a number of years of relative prosperity, calm, rationality, optimism and growth. And very suddenly things started unraveling, with the financial crash and rise of populist movements around the world.”\u003c/p>\n\u003cp>“On the Precipice” takes place June 17–26, 2021, with the San Francisco Symphony giving the U.S. premiere of Bryce Dressner’s violin concerto (that’s Bryce Dressner of indie rock band The National), performed by violinist Pekka Kuusisto. (Kuusisto and Dressner are among Salonen’s Collaborative Partners, his “brain trust” of eight interdisciplinary artists who serve as advisers and guest curators.) The orchestra is also slated to perform a semi-staged evening of musical theater centered on Weill and Brecht’s satirical \u003cem>Die Sieben Todsünden \u003c/em>(The Seven Deadly Sins), which was written after the composers fled to Paris to escape Nazi Germany.\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>As part of another program, “Voices of Change: Reporting on the Human Condition,” the orchestra will perform the West Coast premiere of Julia Wolfe’s \u003cem>Her Story\u003c/em>, a San Francisco Symphony co-commission commemorating the 100-year anniversary of the ratification of women’s suffrage. The program, taking place Nov. 12 and 14, 2020, includes a piano concerto composed by Florence Price, the first black woman to be widely recognized as a symphonic composer.\u003c/p>\n\u003cp>On Feb. 4 and 6, 2021, the Symphony performs Gabriel Kahane’s \u003cem>emergency shelter intake form\u003c/em>, a song cycle that deals with systemic inequality and homelessness, featuring mezzo-soprano Alicia Hall Moran and vocalists Holland Andrews, Gabriel Kahane and \u003ca href=\"https://www.kqed.org/arts/13844854/holcombe-waller-honors-lgbtq-community-with-requiem-mass\" target=\"_blank\" rel=\"noopener noreferrer\">Holcombe Waller\u003c/a> with a community chorus.\u003c/p>\n\u003cp>Much of the San Francisco Symphony’s 2020–21 season anchors around Salonen’s projects with his Collaborative Partners, who—in addition to the aforementioned Kuusisto and Dressner—include bassist Esperanza Spalding, classical vocalist Julia Bullock, experimental flutist Claire Chase, composer and pianist Nicholas Britell, composer Nico Muhly and artificial intelligence entrepreneur Carol Reiley.\u003c/p>\n\u003cp>The season opens with three weeks of concerts and events centered around the Collaborative Partners’ interpretations of Bach, and the programming will be announced in July 2020. See the rest of the SF Symphony’s \u003ca href=\"https://www.sfsymphony.org/Calendar/Season-Highlights\" target=\"_blank\" rel=\"noopener noreferrer\">2020–21 season\u003c/a> here.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13875048/sf-symphony-foregrounds-social-issues-in-esa-pekka-salonens-debut-season","authors":["11387"],"programs":["arts_140"],"categories":["arts_69","arts_235"],"tags":["arts_6180","arts_1118","arts_1366","arts_763","arts_1367"],"featImg":"arts_13849055","label":"arts_140"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? 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. 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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. 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