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      Carl's Morning Quiz

      Carl Grapentine

      Carl's Morning Quiz: Another "who am I" today--and a fascinating one. I was born 121 years ago today. My mother was a Russian princess who married her teacher at the Paris Conservatory. He was 77 when I was born. Our family friend Gabriel Faure discovered that I had perfect pitch when I was 2. I won the Prix de Rome at the age of 19 but I died at the age of 24. My famous sister lived for another 61 years before she was buried next to me in the Montmartre Cemetery. Who am I? Answer >>

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      Cedille Day on WFMT

      With over 30,000 recordings in WFMT's "record" library, the staff seldom focuses on a single record label for very long. When it happens, it's usually because an artist has an exclusive agreement with a label; and the programming staff is featuring that artist. On Friday, WFMT honors a record label that has made it its mission to enhance the cultural life of Chicago. Cedille Records Day celebrates the Chicago-based record label that for 25 years, has been recording the gifted and diverse musicians and composers more...

      WFMT Gets an Upgrade

      After being off-line for two months, WFMT's Fay and Daniel Levin Performance Studio is open for business. With a new mixing board, new recording equipment, and a sassy blue paint job (better for shooting photographs and video), the studio re-opened last week for a recording with composer Lita Grier, followed by a live broadcast of "Folkstage" more...

      Impromptu with Saxophone Virtuoso Ashu

      Ashu returns to Chicago for a recital at Ravinia. The Northwestern graduate is logging thousands of frequent flyer miles these days, giving concerts throughout Europe, North America, Asia, and Oceania. Ashu had been playing the saxophone for only a few years when he entered a contest. Taking the top prize, he was granted a solo recital at Carnegie Hall at the age of 16 more...

      Sax and the City

      From Charlie Parker to Kenny G, John Coltrane to Clarence Clemons, the sultry sounds of the saxophone have been a mainstay for American music. Many have praised the saxophone's vocalism, range of color, and expressivity. Nevertheless, it's been a tough road for classical soloists. more...

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      Readers recommend: best piano songs | Peter Kimpton

      Classical to ragtime, blues to pop, its time to tinkle the ivories, press the pedals and lift the lid on those string-hitting hammers

      The piano aint got no wrong notes, said the free-flowing, flawless Thelonius Monk. Marvin Gaye, however, stared at the 88 keys and was looking for more: These cant be the only notes in the world. Theres got to be others some place, in some dimension, between the cracks on the piano keys. Perhaps thats where his own combinations of notes came in. The pianoforte, whether honky tonk upright or elegant 12ft Steinway, has always offered music on a grand scale, a place to express a full range of emotions. And among the greatest, Frédéric Chopin, in his darkest moments, declared that sometimes I can only groan, and suffer, and pour out my despair at the piano. What virtuoso despair that must have been to witness.

      Such deep emotions, however, can be reproduced or reinterpreted by others. Here they are reflected in Roman Polanksis Oscar-winning film, The Pianist, based on the autobiography of Polish Holocaust survivor Wladyslaw Szpilman.

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      Cooke: Violin, Viola and Cello Sonatas review purposeful chamber music


      Arnold Cooke was part of the same generation of British composers as Michael Tippett and Constant Lambert. Born in 1906, he studied with Hindemith in interwar Berlin, and his music retained his teacher's neoclassical sense of purposeful craftsmanship right up to his death in 2005. Cooke composed two operas, six symphonies and five string quartets, as well as a huge amount of what Hindemith would have called gebrauchmusik, or "utility music" sonatas, sonatinas and other small-scale chamber music for a wide range of instruments, often designed to be within the capabilities of competent amateurs. This selection of three sonatas, recorded under the auspices of the British Music Society, gives a good sense of that side of his output. It spans almost the full extent of his career the earliest, the Viola Sonata was completed in 1937; the latest, the second Cello Sonata, in 1980, while the Violin Sonata No 2 dates from 1951 and what's revealing is how little Cooke's style seems to change over four decades of composing. The violin work is rather bland and uninvolving, the viola and cello sonatas a bit more confrontational; all give the impression of being far more rewarding to play than to listen to.

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      Busoni & Strauss: Violin Concertos, etc review tuneful, easygoing pleasures

      Becker-Bender/BBC Scottish SO/Walker

      Busoni disowned most of his early works after he published his artistic manifesto, Sketch of a New Aesthetic of Music, in 1907. But one of the pieces he retained was the Violin Concerto from 1897. It's audibly haunted by the ghosts of Beethoven and Brahms's violin concertos, but at just 23 minutes long, it's far less daunting. It's tuneful and easygoing too, and as Tanja Becker-Bender's performance on the latest instalment of Hyperion's romantic violin concerto series underlines, it's hard to understand why it isn't performed more often. It's paired with an even earlier work by another composer whose later music took a very different direction: the Op 8 Violin Concerto by Richard Strauss, which he completed in 1882, aged just 18. It's flashy, long-winded and rather superficial, and even Becker-Bender's best efforts can't inject much of interest into it; there's little for Garry Walker and the BBC Scottish Symphony to get their teeth into either.

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      Join Peter Van De Graaff this October for the treasures of Cuba's rich culture of music, dance, art, and history!

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