LGBTQIA+ Love Stories in Classical Music

Rain finally came + it’s beautifully cool. Wonder how long it will last. It was marvelous because it started suddenly and then was alternately terrific and gentle.

I think of you all the time and therefore have little to say that would not embarrass you, for instance my first feeling about the rain was that it was like you.

Love you.
– Letter from John Cage to Merce Cunningham, 1943

It’s no surprise that creative collaboration between musical artists has given rise to many great love stories over the centuries. A shared love of and passion for classical music has brought together countless romantic unions of all shapes and sizes. In this blog post, and in honor of Portland’s celebration of Pride Month, we’re exploring five LGBTQIA+ love stories in classical music–unions forged by the music that inspires us daily.

Samuel Barber & Gian Carlo Menotti

Photo of Barber and Menotti looking at a book — Image credit: The Gay & Lesbian Review

American composer Samuel Barber met his future partner, Italian composer, librettist, and director Gian Carlo Menotti, while the two were students at the Curtis Institute of Music. The two shared a similar proclivity for writing musical works from a young age and were only in their teens when they first connected in Philadelphia. Both artists went on to achieve widespread success, Barber within the stricter confines of classical music and Menotti cross-pollinating onto Broadway.

As both romantic and professional partners, Barber and Menotti would go on to collaborate as composer and librettist on several works, including the Pulitzer Prize-winning opera Vanessa. While the couple separated in the early 1970s, they remained close friends. Menotti was with Barber when the latter succumbed to cancer in 1981.

John Cage & Merce Cunningham

Black and white photo of Cage and Cunningham — Image credit: Northwestern University

Like Barber and Menotti, American composer John Cage and (PNW native) dancer/choreographer Merce Cunningham met in an academic setting. The two artists met at Cornish College of the Arts in Seattle, where Cage was an accompanist for the dance department. Cunningham originally attended the institution as an acting major but soon shifted his focus to dance. Their initial acquaintance would blossom into a lifelong partnership, both professional and personal.

Cage wrote countless works for Cunningham’s choreography. One distinctive result of these creative collaborations was the separation of music and dance, meaning that the music and choreography of a new work were independent of one another but performed simultaneously. Both together and separately, Cage and Cunningham were among the most innovative and influential artists of their time and were widely circulated within the Avant-Garde. The couple remained together until Cage died in 1992.

Benjamin Britten & Peter Pears

Black and white photo of Britten and Pears — Image credit: BBC

English composer Benjamin Britten and English tenor Peter Pears met through a mutual friend, and what started as a platonic musical partnership soon grew into a romantic one as well. Pears became a muse for Britten, inspiring several of the latter’s best-known compositions, such as Peter Grimes. In addition to performing Britten’s music, Pears also co-wrote the libretto for A Midsummer Night’s Dream. Together, they played a significant role in the revitalization of English opera in the 20^th century.

Britten and Pears frequently toured together as a singer-accompanist duo. Their musical legacy became intertwined to a degree seldom seen in other musical couples. Though it was an open secret among many who knew the couple, Britten never spoke publicly about his relationship with Pears because of the era’s discrimination. They remained together for nearly 40 years, until Britten’s death in 1976.

Jennifer Higdon & Cheryl Lawson

Photo of Higdon and Lawson smiling — Image credit: OutSmart Magazine

American composer and flutist Jennifer Higdon met her wife, fellow flutist Cheryl Lawson, while they were in high school in eastern Tennessee. The two quickly became close friends. Once in college, they felt comfortable enough to come out publicly and embraced their destiny as romantic partners. Fun fact: conductor Marin Alsop officiated the couple’s marriage in 2014.

Higdon credits her relationship with Lawson, specifically her unwavering love and support, for her success as a composer. The couple has even established their own publishing company, making the creation of new music a joint effort. While Higdon focuses on the creative aspects, Lawson thrives on the company’s logistics and management. Higdon and Lawson’s love story is an inspirational one for the power of creative partnership.

Marin Alsop & Kristin Jurkscheit

Photo of Alsop conducting and Lawson playing the horn — Image credit: Cabrillo Festival of Contemporary Music

American conductor Marin Alsop and American horn player Kristin Jurkscheit have been life partners for over 30 years. The musical couple met at the 1988 Tanglewood Music Festival, where Alsop was guest conducting, and Jurkscheit was performing. Over the subsequent years, Jurkscheit played in several orchestras led by Alsop. They went on to welcome a son into their family and decided to marry officially in 2020.

Alsop and Jurkscheit have become something of a power couple and continue working together to pave the way for future generations. Alsop became the first woman to lead a major orchestra in the United States, South America, Austria, and Great Britain. And while no longer working as a professional horn player, Jurkscheit currently serves as executive director of the Taki Alsop Conducting Fellowship, which Alsop founded to foster emerging women conductors.

Keep Celebrating

Music Terminology 101: Vocal & Performance Terms

As part of our mission to advance knowledge of and appreciation for classical music, All Classical Radio recently launched a new resource for those curious to learn more about this beloved genre: the Classical Music Glossary.

In this glossary, we comb through commonly used terminology and historical timelines to help you feel more confident about and connected to the music you love.

Today’s blog post is one last preview of this new resource, this time focusing on terms related to sung genres and the performance of classical music. Keep reading to learn more!

Opera

A theatrical performance that is entirely (or mostly) sung throughout, accompanied by either an orchestra or chamber ensemble. An opera is essentially a play where the actors’ lines are sung rather than spoken. The music in an opera increases the stakes and adds additional emotional depth, making operatic plots highly dramatic.

Example: Puccini’s La bohème

Operetta

A short opera, usually with a light or humorous plot and includes spoken dialogue in between musical numbers. Operetta was immensely popular during the second half of the 19^th century and contributed to the evolution of musicals.

Example: Johann Strauss II’s Die Fledermaus

Oratorio

A musical work for voices and orchestra, typically based on religious subject matter. Oratorio differs from opera in that it’s performed without the use of scenery, costumes, or staging.

Example: Georg Friedrich Handel’s Messiah

Cantata

A multi-movement piece for voice(s) and instrumental ensemble written for a concert or church performance. Like an oratorio, a cantata is performed without the use of scenery, costumes, or staging, but is a smaller-scale production than an oratorio. If the instrumental counterpart to an opera or oratorio is a symphony, the instrumental counterpart to a cantata would be chamber music.

Example: J. S. Bach’s Cantata BWV 140, “Sleepers Awake”

Aria

A song written for solo voice within an opera, oratorio, or cantata. Arias elaborate on the character’s emotional state at that moment in the story’s plot.

Example: “Nessun dorma” (Let no one sleep) from Puccini’s Turandot, in which Prince Calaf reflects on his determination to win Princess Turandot’s heart.

Libretto

An Italian word meaning “booklet,” referring to the text of an opera or other long vocal work.

Recitative

Sung text in an opera, oratorio, or cantata that furthers the plot and is used primarily for narrative purposes. Recitative is meant to replicate ordinary speech and is interspersed between arias, duets, and other larger musical numbers.

Vibrato

A style of singing used in classical music in which the voice oscillates between two neighboring pitches. Vibrato comes from the Italian word “vibrare,” meaning “to vibrate.” While vibrato may sound like the singer is manipulating their voice to create waves, it is the result of the vocal folds smoothly vibrating and is 100% natural.

A cappella

Music sung without any instrumental accompaniment.

Ornamentation

A method of vocally “decorating” notes within a piece of music to emphasize the text as well as differentiate between repeated musical sections. Ornamentation can include adding notes outside of the melody, changing the rhythm of the melody, or changing the dynamics of certain phrases. During the Baroque Era, ornamentation was a style of vocal improvisation that was expected of skilled singers.

Example: “Lascia ch’io pianga” (Let me weep) from Handel’s Rinaldo utilizes ornamentation when the singer repeats the first section of music at the end of the aria.

Concert vs. Recital

Concerts and recitals are both types of musical performances. A classical music concert can include any large public performance by a musician or a group of musicians.

Recitals, on the other hand, are a bit more specific. A recital is usually performed by a single musician or a small ensemble and is often (though not always) a more intimate experience than a concert, especially when held in a smaller venue.

Repertoire

A list of compositions that a musician, ensemble, or company is prepared to perform. Repertoire can also refer to a collection of well-known pieces that a musician is expected to have learned, depending on their instrument.

Performance Practice

The performance of music based on researched historical practices for a specific time period, including the use of period instruments, dynamics, articulation, tuning, and ornamentation.

After listening to this recording of Beethoven’s Symphony No. 5 on period instruments, what stands out to you? Do you notice anything distinctive about the performance, such as differences in tempo, articulation, etc.?

“Toi Toi Toi”

Pronounced “toy,” this phrase is the classical music version of “break a leg.” The phrase originates from the old Yiddish tradition of spitting over your shoulder three times to ward off evil spirits.

If you enjoyed this post and would like to dive deeper, be sure to check out the Classical Music Glossary!

All Classical’s Recent Nielsen’s Radio Ratings

All Classical Radio’s ratings keep climb in 2026. Thank you for listening!

Nielsen’s Radio Ratings for April and May 2026 show that All Classical Radio had its highest listenership since February 2023.

RadioInsight (May 20, 2026)
RadioInsight (June 17, 2026)

All Classical Radio Announces Recording Inclusivity Initiative’s Third Album: AWAKEN

Featured image for Announcing All Classical Radio’s Recording Inclusivity Initiative Releases Third Album, AWAKEN

The third album by All Classical Radio’s award-winning Recording Inclusivity Initiative (RII) is titled AWAKEN and is coming on July 10, 2026.

Released on GRAMMY® award-winning Navona Records and PARMA Recordings, RII Vol. 3: AWAKEN will be available on all major streaming platforms and the physical CD will be available in the All Classical Gift Shop

Learn more on the All Classical Arts Blog.

Thanks to these regional and national news and media outlets for recognizing AWAKEN and All Classical Radio’s and wide-reaching community service.

This announcement was featured on:

Lisa Lipton Explores: Portland’s Yelling Choir

All Classical Radio on air host and producer Lisa Lipton chats with flutist Maxx Katz, founder of Portland’s Yelling Choir. Yelling Choir is a femme, women, and nonbinary performance ensemble which reimagines voice, presence, gender, and power. The group has a forward-thinking aesthetic based in contemporary classical music, improvisation, performance art, and social practice.

In her conversation with Lisa, Maxx explores the Choir’s history, their approach to somatic awareness practice and trauma-informed mindfulness, and their upcoming performances.

Hear their conversation below.

The Yelling Choirs next public event is on June 20, 2026, at 2:00 PM at Pacific Northwest College of the Arts in Portland, Oregon. Learn more at maxxkatz.com/yelling-choir.

All Classical Radio Names Anthea Kreston as 2026-2027 Artist in Residence

Featured image for Announcing Anthea Kreston as 2026-2027 Artist in Residence — *Photo by Christine Dong.*

In June 2026, All Classical Radio named violinist and author Anthea Kreston as the station’s 2026-2027 Artist in Residence.

“As a classical musician, public radio stations are an integral part of our lives,” says Anthea. “Being a part of All Classical Radio gets me fired up on all cylinders — as a performer, educator, collaborator, and creator. I am honored to be the next Artist in Residence, and so look forward to being a part of this most magnificent team.”

Learn more on the All Classical Arts Blog.

Thanks to these regional and national news and media outlets for recognizing Anthea and All Classical Radio’s and wide-reaching community service.

This announcement was featured on:

Announcing the Recording Inclusivity Initiative’s Third Album: AWAKEN

Album cover for Recording Inclusivity Initiative Third Album: AWAKEN RII Vol. 3

All Classical Radio’s award-winning Recording Inclusivity Initiative (RII) is thrilled to announce its third album: AWAKEN.

Released on GRAMMY® award-winning Navona Records and PARMA Recordings, RII Vol. 3: AWAKEN will be available on all major streaming platforms on July 10, 2026. Pre-order a physical CD in the All Classical Gift Shop.

Featuring music by contemporary composers Kirsten Volness — All Classical Radio’s 2026 Composer in Residence — Nicole Buetti, and Nancy Ives, AWAKEN casts women composers in the spotlight. All Classical Radio’s Recording Inclusivity Initiative was created to address the gap of classical music composers from underrepresented communities who make it into the concert hall and onto radio airwaves. With classical music radio stations across the nation, All Classical Radio is working to update America’s playlists by producing new high quality recordings by underrepresented composers.

The new album features never-before-recorded chamber pieces by Kirsten Volness and Nicole Buetti, and an expansive orchestral work by Nancy Ives. Volness’s piece little tiny stone, full of blue fire is now available to stream below or on music streaming platforms.

Volness’s piece was inspired by Dorothea Lasky’s dreamlike 2011 poem “Beyond the Blue Seas.” Lasky’s evocation of blue fire reminded Volness of the newly discovered YInMn Blue, a brilliant inorganic blue pigment created by accident at Oregon State University in 2009. The poem served as inspiration, exploring surreal images of a long journey, sacrifice, self-actualization through transformation, and cyclic inevitability. little tiny stone, full of blue fire is scored for flute, clarinet, violin, and cello. It was commissioned in 2016 by Hub New Music.

*little tiny stone, full of blue fire recording session. Photo by Christine Dong.*

On Innovative Elegance, Buetti’s trio for flute, violin, and piano, she honors All Classical Radio’s pioneering former president & CEO, Suzanne Nance, who led the station from 2017 to 2025. Buetti notes that the commission by Orchestra Nova Northwest is “a fun, energetic piece that reflects the brilliance, innovation, and beauty of one of Portland’s brightest stars.” Nance steered All Classical into a new era of expansion, with a focus on building community, kindness, and connection around the arts.

*Innovative Elegance recording session. Photo by Christine Dong.*

Ives‘s sprawling and evocative Celilo Falls anchors the album in an 11-movement multimedia musical experience, composed in collaboration with Shoshone-Bannock poet Ed Edmo and Cherokee photographer Joe Cantrell. The work combines large-scale orchestral architecture with poetry and prose to depict the history of Celilo Falls — from the Missoula floods that formed the gorge, to the inundation of the Falls in 1957, and the present-day experience of the Native communities who called the Falls home and lost so much.

Originally broadcast live on All Classical Radio in June 2025, Celilo Falls was recorded at the Arlene Schnitzer Concert Hall in downtown Portland, OR. This radio premiere of the brand-new arrangement for full orchestra was performed by the Oregon Symphony, under the direction of David Danzmayr, with narration by Brent Florendo Sitwalla-Pum. The piece is a realization of an earlier version for chamber orchestra, commissioned and premiered in 2022 by Portland Chamber Orchestra.

*The Oregon Symphony performing Celilo Falls at the Arlene Schnitzer Concert Hall.*

Following All Classical’s 2025 broadcast, Celilo Falls was syndicated to radio stations across the United States at no cost. Now, All Classical Radio is proud to bring this important work to listeners around the world on AWAKEN. A stunning collection of images by Joe Cantrell enhancing the listening experience can be viewed at allclassical.org/scenes-from-celilo.

RII Vol. 3: AWAKEN will be available on streaming platforms on July 10, 2026. You can pre-save the album now on your favorite digital music app.

Pre-order your physical CD copy of AWAKEN in the All Classical Gift Shop.

Learn more about All Classical Radio’s award-winning Recording Inclusivity Initiative at recordinginclusivity.allclassical.org.

ALBUM ARTISTS

Kirsten Volness by Rachel Hadiashar — *Photo by Rachel Hadiashar*

KIRSTEN VOLNESS, COMPOSER

Smart, transcendent, and immersive, Kirsten Volness’ emotive soundscapes integrate electronics and modern composition techniques with jazz and pop influences. “Irresistible” (San Francisco Chronicle) and “nothing short of gorgeous” (New York Arts), each of her compositions reveals “an exquisite sound world” (New Classic LA) inspired by nature, myth, spirituality, and environmental and sociopolitical issues. She received commissions from New Music USA, ASCAP/SEAMUS, BMI Foundation, Metropolis Ensemble, The American Opera Project, and MacColl Johnson and RISCA Fellowships.

Nicole Buetti by Rachel Hadiashar — *Photo by Rachel Hadiashar*

NICOLE BUETTI, COMPOSER

Nicole Buetti is an award-winning composer with over 400 recorded and published musical works in a wide variety of genres. She has been composing professionally for more than 25 years. Buetti composes extensively for chamber ensembles, large ensembles of various configurations, as well as children’s music and music for media. Prior to completing her master’s degree at the University of Northern Colorado, she spent a decade in the Los Angeles area working as a composer in the film and television industry. Buetti’s chamber and orchestral music have reached audiences all over the world.

NANCY IVES, COMPOSER

Composer and cellist Nancy Ives is a musical icon, having “built a career of such spectacular diversity that no summation will do her achievements justice.” (Artslandia). She offers both depth and approachability with enduring and eloquent music inspired by the natural world. Many of Ives’ projects involve working with Indigenous communities to authentically capture, amplify, and relay their stories to wider audiences, including the multimedia orchestral work Celilo Falls. With a DMA from the Manhattan School of Music, Ives is the Principal Cellist with the Oregon Symphony and serves on the Board of Directors for All Classical Radio.

Ed Edmo, Shoshone-Bannock poet, playwright, performer, and traditional storyteller

ED EDMO, POET/STORYTELLER

Ed Edmo is a Shoshone-Bannock poet, playwright, performer, traditional storyteller, tour guide, and lecturer on Northwest tribal culture. Edmo offers guided tours to sacred Native sites, conducts workshops, and offers traditional storytelling performances, dramatic monologues, and lectures on issues such as cultural understanding, substance abuse, and mental health. Edmo is a published short story writer, poet, and playwright, and serves as a consultant to the Smithsonian Museum of the American Indian.

Joe Martin Cantrell, Cherokee photographer. Photo is by Jim Lommasson. — *Photo is by Jim Lommasson*

JOE CANTRELL, PHOTOGRAPHER

Cherokee photographer Joe Martin Cantrell uses his personal depth of perspective in combination with sophisticated techniques to make visible the things that often go unseen. After two tours as a Navy officer in Vietnam, Cantrell worked as a photojournalist for UPI, Black Star, Time, Newsweek, The New York Times, The Washington Post, and hundreds of other publications worldwide. He has taught at Oregon School of Arts and Crafts, Pacific Northwest College of Art, Mount Hood Community College, and was Artist in Residence at Crow’s Shadow Institute. Cantrell carries the name of an ancestor who died on the Trail of Tears and offers his own meaningful legacy through generous contributions to benefit humanitarian causes and the arts.

Cantrell was one of over 40 creatives of the Pacific Northwest profiles in All Classical Radio’s Artist Anthology. Learn more about Joe Cantrell and the Artist Anthology at anthology.allclassical.org.

OREGON SYMPHONY

The multi-GRAMMY Award-nominated Oregon Symphony, led by Jean Vollum Music Director David Danzmayr, serves hundreds of thousands of people annually through concerts, education initiatives, and community programs. With a 130-year legacy, it is the oldest orchestra in the Western United States.

Learn more at orsymphony.org and follow the Oregon Symphony on Facebook, Instagram, TikTok, and YouTube.

RECORDING INCLUSIVITY INITIATIVE

All Classical Radio challenged listeners, Pacific Northwest artists, and performing arts organizations to nominate musical works by underrepresented classical composers to be recorded and published through the Recording Inclusivity Initiative (RII). The RII Panel and Executive Advisors, comprised of leaders from radio, recording, publishing, and performing arts industries, selected winning compositions. Living composers were offered a week-long residency with All Classical Radio and N M Bodecker Foundation, which included in-studio recording sessions, and a financial award. All selected compositions, including contemporary and posthumous works, were recorded by N M Bodecker Foundation, published if applicable, and distributed by All Classical Radio.

RII Vol. 1: AMPLIFY was released in 2022, and features compositions by Jasmine Barnes, Keyla Orozco, and Lauren McCall. AMPLIFY also includes two posthumous works by Mélanie Hélène Bonis (1858-1937) and Coleridge-Taylor Perkinson (1932-2004).

RII Vol. 2: ELEVATE was released in 2024, with music by Yuko Uébayashi, Nobu Kōda, and Damien Geter.

Learn more about All Classical Radio’s award-winning Recording Inclusivity Initiative at recordinginclusivity.allclassical.org.

Sing Out! A History of the LGBTQIA+ Choir

Lesbian, Gay, Bisexual, Transgender, Queer, Intersex, Asexual/Aromantic/Agender (LGBTQIA+) Pride Month is observed each year in commemoration of the June 1969 Stonewall Uprising in New York, a tipping point for the Gay Liberation Movement in the United States. Nationally, Pride Month is observed in June. Locally, the city of Portland, Oregon celebrates its queer community in July.

This Pride Month, we’re taking a moment to highlight the vibrant history of the LGBTQIA+ chorus and share a heartwarming story about the Seattle Women’s Chorus.

History: from Stonewall to Portland

Choirs specifically featuring LGBTQIA+ singers create a space where performers and audiences can come together to build community, foster personal expression, and celebrate their authentic joy. The earliest gay men’s choruses were founded alongside the beginning of the HIV/AIDS crisis and became spaces of connection, where classical music brought a sense of unity and hope to a suffering community. New York City’s Stonewall Chorale describes itself as “the nation’s first LGBTQ+ chorus.” Founded in 1977 as the Gotham Male Chorus, the group originally specialized in Gregorian Chant and Renaissance Music. In 1979, they made the shift to begin including women. Today, the Stonewall Chorale aspires to “unify the greater community through the transformative power of music” (stonewallchorale.org). They perform throughout the year in New York and across the tri-state area.

Founded 1978 by Jon Reed Sims, the San Francisco Gay Men’s Choir (SFGMC) formed on the heels of the Stonewall Chorale and remains perhaps the biggest name in LGBTQIA+ choirs today. Their first public performance was a rendition of Mendelssohn’s “Thou, Lord our Refuge” at a vigil following the assassination of Harvey Milk, the first openly gay man to be elected to public office in California. This performance cemented the group as a pillar of both the LGBTQIA+ and choral music communities in the city. It also demonstrated that classical music and the fight for equality could go hand in hand. In the following years, the chorus “became a refuge where [gay men] could process their shared trauma, celebrate their identities, and quite literally sing their joy even in the face of immense pain” (sfgmc.org).

In more recent years, the network of US-based gay and lesbian choirs has expanded to become inclusive of gender-diverse performers and audience members, welcoming people of all identities. Pioneering the inclusion of gender diverse voices in the choral world is the Trans Chorus of Los Angeles, which aims to uplift and spread awareness around the trans, non-binary, gender nonconforming and intersex community (transchorusla.org).

Here in Oregon, the LGBTQIA+ choir is alive and well. The Portland Gay Men’s Choir (PGMC) was founded by Portlander Mark Richards after he was inspired by a San Francisco Gay Men’s Chorus concert he attended in 1980. The PGMC performs locally and has toured across the United States and internationally. The Portland Lesbian Choir (PLC) was formed shortly after in 1986 and seeks to build “harmony and community through compelling musical performances” (plc.org). PLC has performed at venues such as the Keller Auditorium, and the Arlene Schnitzer Concert Hall. They also volunteer locally at food banks, women’s shelters, and other community organizations.

Coming Home: Jane Abbott Lighty and Pete-e Petersen

While the SFGMC is the chorus most known for its involvement in LGBTQIA+ activism, there is another choir closer to home that intersects the road to marriage equality in Oregon and Washington: The Seattle Women’s Chorus. Founded in 2002, the group provides a musical community for LGBTQIA+ singers, particularly lesbians. In 2012, the group performed at the fist same-sex marriage to take place in Washington, which happened to be between two of its founding members, Pete-e Petersen and Jane Abbott Lighty.

Loretta “Pete-e” Petersen came out late in life and found community with members of the Seattle Men’s Chorus before realizing that she wanted to cultivate a similar space for women. In 2002, she helped to found the Seattle Women’s Chorus, whose members came to include both Petersen and Lighty (Seattle Times). After spending years fighting for marriage equality, and in many ways acting as the face of the movement in Washington, Lighty and Petersen “married on the first day it [was] allowed, December 9, on stage with their beloved Seattle Women’s Chorus and Seattle Men’s Chorus providing the musical background at Benaroya Hall” (ACLU). At the time of their marriage, Lighty was 77 years of age, and Peterson was 85. Petersen died in 2025 at age 97 and is survived by her wife.

In an article following Petersen’s death, the Seattle Times writes that, in the late 1990s, Petersen and Lighty “became two of the state’s fiercest gay rights advocates, helping found Seattle Women’s Chorus and appearing in TV advertisements pushing for marriage equality in Washington.” These women serve as an inspiration for many and remind us of the power that choral music holds to build community and generate lasting change in the world.

Forged in the crucible of the AIDS crisis and driven the fundamental desire for belonging and personal expression, LGBTQIA+ Choirs are a thriving thread in the greater fabric of the classical music world. These institutions remind us of the power of classical music in building community that can carry us through the hardest of times and change the world for the better.

MORE TO EXPLORE

Five Contemporary LGBTQI+ Artists We Love to Play On Air (2024) by Rebecca Richardson
Five LGBTQI+ Artists You Need to Know (2023) by Rebecca Richardson
Music Exploring Queer Experiences (2021) by Emma Riggle
Nine Fantastic LGBTQI+ Classical Music Groups in Oregon (2020) by intern Kelly Lantz

Announcing Anthea Kreston as 2026-2027 Artist in Residence

All Classical Radio is thrilled to announce violinist, chamber musician, educator, and author Anthea Kreston as the station’s 2026-2027 Artist in Residence.

If you’ve had the chance to hear Anthea perform, you already know the magic she brings—thoughtful, expressive, and deeply connected to the music she plays. Whether she’s performing on stage, collaborating with fellow musicians, or exploring new creative ideas, she has a way of making classical music feel both intimate and alive. We’re so excited to welcome her into our community in this special role.

“As a classical musician, public radio stations are an integral part of our lives,” says Anthea. “I grew up listening to a classical radio station in Chicago, and later was a frequent guest performer. Being a part of All Classical Radio gets me fired up on all cylinders — as a performer, educator, collaborator, and creator. I am honored to be the next Artist in Residence, and so look forward to being a part of this most magnificent team.”

Anthea is first violinist of the Delgani String Quartet and a former member of Germany’s Artemis Quartet. She is a member of the piano quartet The Thunder Egg Consort and the host of the Oregon Symphony’s pre-concert conversations at Smith Auditorium in Salem. She is also an author; in her upcoming memoir, Crescendo: Chronicles of an Adventurous Violinist, Kreston describes her life growing up in Chicago, studying at the Curtis Institute of Music, leaving it all behind for a commune in Oregon, and finally returning to make it to the top of the classical music world.

Anthea Kreston, All Classical Radio's 2026-2027 Artist in Residence. Photos by Christine Dong. — *Anthea Kreston, All Classical Radio’s 2026-2027 Artist in Residence. Photos by Christine Dong.*

Anthea will perform with The Thunder Egg Consort on June 4, 2026, on All Classical Radio’s Thursdays @ Three, hosted by Christa Wessel.

“All Classical Radio is honored to name Anthea Kreston as its Artist in Residence,” says Fred Child, President and CEO of All Classical Radio. “This program reflects our commitment to championing exceptional artists and connecting our global audience with the creative voices shaping classical music today. Through the Artist in Residence program, Anthea will have the space, resources, and community to explore new artistic possibilities and share her work in meaningful ways.”

Throughout the coming year, you can look forward to hearing Anthea on the air and beyond, in exclusive performances, and behind-the-scenes glimpses into her artistic world. She’ll be sharing her insights, inspirations, and personal connection to the music, helping all of us listen a little more closely and discover something new along the way.

Join us in giving Anthea a warm All Classical Radio welcome—we can’t wait for you to get to know her better in the year ahead.

Anthea Kreston is a violinist who has performed on almost every major concert stage in the world, including Carnegie Hall, Lincoln Center, Kennedy Center, Royal Academy of Music (London), Prince Regent Theater (Munich), Teatro Nacional (Panama City), and Chateau d’Ainay-le-Veil (France). She is currently first violinist of the Delgani String Quartet and a member of the piano quartet The Thunder Egg Consort. She was a member of the Artemis Quartet, a major European string quartet — the only American violinist to hold such a position.

Kreston has played in the Berlin Philharmonic, as principal violin in the St. Paul Chamber Orchestra, as concertmaster of the Deutsche Oper Berlin, and with Yo-Yo Ma’s Silk Road Project. She was a professor at the Universität der Kunste Berlin, and a master teacher at the Queen Elizabeth Chapel in Brussels. She also enjoys returning to teach at the Curtis Institute of Music, from where she graduated. Her teachers include Ida Kavafian, Shmuel Ashkenasi, the Emerson Quartet, and Isaac Stern.

As a writer, Kreston is a frequent columnist for the international classical music website Slipped Disc and the founder and curator of the Inside Music Book Club. Her first book is Crescendo: Chronicles of an Adventurous Violinist (Paul Dry Books). She lives in Corvallis, Oregon, with her husband and two daughters. Learn more at antheakreston.com.

ARTIST IN RESIDENCE PROGRAM

All Classical Radio’s Artist in Residence is a program designed to foster creative and professional growth for emerging and established artists. Launched in 2019, the Young Artist in Residence (YAIR) and Artist in Residence (AIR) positions provide selected musicians, vocalists, and composers with access to the station’s world-class facilities and studio time. Artists in Residence also receive a financial award to advance their creative projects and career development.

Anthea Kreston’s residency is made possible in part by a generous grant from the Regional Arts & Culture Council.

Previous professional Artists in Residence include pianist violinist Emily Cole and clarinetist James Shields (2024-2025); María García (2022-2023); flutist Adam Eccleston (2020-2021); and concert pianist Hunter Noack (2019).

Meet All Classical’s past Artists in Residence and learn more about this program.

Music Terminology 101: Instrumental Terms

In this glossary, we comb through commonly used terminology and historical timelines to help you feel more confident about and connected to the music you love.

Today’s blog post is another preview of this new resource, this time focusing on terms related to instrumental music, including popular genres you are likely to encounter while listening to classical music.

Symphony

An elaborate musical composition for an orchestra, typically in four movements. Out of all classical music works, symphonies are the longest, the most complex, and involve the most instruments. The word “symphony” comes from the Greek word symphonia, which translates to “sound together.”

Example: Beethoven’s Symphony No. 9 in d minor, “Choral”

Concerto

A musical composition that is similar to a symphony but written for a featured soloist and orchestra. A concerto is traditionally written in three movements.

Example: Rachmaninov’s Piano Concerto No. 2 in c minor

Overture

An orchestral piece at the beginning of a play, opera, oratorio, or extended composition. Sometimes, an overture can be written as a stand-alone, single-movement orchestral piece.

Example: Bernstein’s overture to his operetta, Candide

Chamber Music

Music written for smaller instrumental ensembles, maybe just one or two musicians per instrument, such as a string quartet, piano trio, or wind quintet.

Program Music

Instrumental music that carries some extra-musical meaning, such as a literary tale, a famous legend, or a scenic description. Fun fact – Vivaldi’s The Four Seasons was one of the earliest examples of program music.

Example: Rimsky-Korsakov’s Scheherazade, based on One Thousand and One Nights

Prelude & Fugue

A prelude is a short piece of music that serves as an introduction to another piece or movement.

A fugue is a composition in which a short melody or phrase is introduced by one player or instrumental section, successively taken up by others, and developed by interweaving the parts.

In classical music, these two musical forms are often paired in a two-movement format, as seen in J. S. Bach’s The Well-Tempered Clavier.

Sonata

Over centuries of development, the sonata has taken on two meanings in classical music:

A solo instrumental piece comprised of several movements, such as Beethoven’s Piano Sonata No. 8 in c minor, “Pathétique”
A musical form consisting of an exposition, development, and recapitulation and used in one movement of a larger, multi-movement work, such as the first movement of Mozart’s Symphony No. 41, “Jupiter.”

Basso Continuo

A form of accompaniment used during the Baroque Era, where a keyboard instrument harmonically elaborates on a bass line through improvisation. During this time, it was common for only the bass line to be written out in a score (typically played by a cellist or bassoonist), leaving the full harmonic accompaniment for a piece of music unspecified. The keyboard would consequently be tasked with fleshing out said bass line into a fuller harmonic foundation.

Basso continuo (continuous bass) is also referred to as “figured bass” or simply “continuo.”