Performance Today®

Conductor JoAnn Falletta is unusually good at bringing hidden treasure to light. Recently, she unearthed a beautiful symphony by Marcel Tyberg, a victim of the Nazi concentration camps. On today's show, we hear a rarely-heard work, Joseph Marx's "Symphonic Night Music," performed by JoAnn Falletta and the Buffalo Philharmonic. Also, part three of our "Music That Matters" feature on the Reverie Harp.

Part two of our series "Music That Matters" takes us to a patient recovering from a stroke, playing the "Reverie Harp" helps her regain motion in her arm and shoulder. Plus: from a special 80th birthday party for conductor Bernard Haitink in Amsterdam, we'll hear Haitink conduct the Royal Concertgebouw Orchestra in a performance of "La Mer," by Claude Debussy. And PT's Artists-in-Residence, the Parker Quartet, return to play the opening movement of Bartok's String Quartet No. 1, and to talk about Bartok's inspiration: he was madly in love with a violinist who didn't love him back.

The debut of a new PT series: "Music That Matters." Every day, Performance Today showcases the world's great musicians in concert, and we learn how music matters to musicians. We got to wondering about people, places and communities where music is not just important...it's life-changing. "Music That Matters" will be a monthly series on PT from now through June. Our series opens with a look at an unusual instrument designed for people facing the end of life: the "Reverie Harp." In part one, we'll meet the man who created the harp, get to know how it feels and sounds, and hear the harp in action.

Giuseppe Verdi's only string quartet was inspired...by boredom. His lead soprano got sick during rehearsals for an 1873 production of Aida. Verdi spent a month in his hotel room, and killed time by writing the only quartet he ever attempted. He later told a friend "I don't know if my quartet is beautiful or ugly, but I know it's a quartet." (C'mon, it's Verdi! Which means it's full of sweeping drama and lyrical singing lines.) Plus PT listeners' calls and comments on Fred Child's interview with Philip Glass, and on new music by David Lang.

August, 1942. The German Army had been laying siege to the Russian city of Leningrad for a year. Nearly 800,000 civilians had died. But on a warm evening, sick and starving musicians gathered for a musical act of defiance: a performance of the new "Leningrad" Symphony, by Dmitri Shostakovich, broadcast via loudspeakers to the Germans outside the city. Music of bravery and resolve -- we'll hear the Cleveland Orchestra give a stirring performance of the final movement, from their residency in Miami. And we'll hear from Shostakovich's broadcast on Radio Leningrad, telling his fellow citizens to defend their city.

Elizabeth Rowe, principal flutist of the Boston Symphony Orchestra, confesses that, "When I listen to any recording of Daphnis and Chloe, I get nervous before the flute solo. It doesn't matter who's playing." We'll hear Rowe getting nervous, and performing beautifully, along with the rest of her colleagues in the Boston Symphony. They'll perform excerpts from Ravel's ballet, "Daphnis and Chloe," including that big, nerve-wracking flute solo. Also, a look at several Grammy-nominated recordings and a new Piano Puzzler.

Today we'll feature part two of music and conversation with composer Philip Glass, from a live event in New York. Host Fred Child asks Glass to describe what the experience of composing is about. Glass responds with one word, "fear," and talks about the audacity of composing, given the rich history of music that's come before him. The Glass Chamber Players and Trio Solisti perform music by Glass and Ravel.

There's an urban legend about composer Philip Glass. The one about him driving a New York City cab just when his first opera was being staged at the Met. A passenger looked at his cabbie's license, and declared that he had the same name as a famous opera composer. Turns out, it's true. Glass says he didn't have the heart to tell her that famous composer was driving her home. Today and tomorrow, tune in for music and conversation with Glass from New York's Caspary Auditorium, hosted by Fred Child.

Elizabeth Rowe, principal flutist of the Boston Symphony Orchestra, confesses that, "When I listen to any recording of Daphnis and Chloe, I get nervous before the flute solo. It doesn't matter who's playing." We'll hear Rowe getting nervous, and performing beautifully, along with the rest of her colleagues in the Boston Symphony. They'll perform excerpts from Ravel's ballet, "Daphnis and Chloe," including that big, nerve-wracking flute solo. Also, a look at several Grammy-nominated recordings and a new Piano Puzzler.