Saint Paul Sunday: Bringing World-Class Chamber Music to the Public
Imagine the experience of hosting the Juilliard String Quartet in your own living room or sharing brunch and Bach with violinist Joshua Bell. This intimate vision served as the foundation for Saint Paul Sunday, a program designed to strip away the formality of the concert hall and bring the world's finest classical musicians directly to the listener.
Hosted by Bill McGlaughlin, the show transformed the studio into an open forum where the most skilled musicians of every style and mix gathered. By blending spontaneous live questioning and conversation with high-caliber performances, McGlaughlin provided listeners with rare, intimate access to the creative process behind excellent music.
Key Facts
- Host: Bill McGlaughlin.
- Core Mission: To disprove the misconception that chamber music—music played by a small ensemble—is only for connoisseurs.
- Approach: Alternating live performances with anecdotes, insights, and spontaneous interviews.
- Scope: Includes global music styles, contemporary compositions, and educational outreach.
Expanding the Definition of Chamber Music
To ensure the program remained contemporary and relevant, Saint Paul Sunday adopted an eclectic and diverse definition of chamber music. Rather than sticking to traditional Western canons, the show embraced a global palette of sounds and performers.
The program featured a wide array of international talent, including the Robison-Lubambo-Baptista Trio performing Brazilian choro music, the Albert McNeil Jubilee Singers bringing American gospel, and Andrew Lawrence-King and The Harp Consort presenting Latin-American and African carols and folk dances. Other notable guests included the viol quartet Phantasm, jazz trumpeter Art Farmer, Bolivian Andean specialists Rumillajta, the Appalachia Waltz Trio with composer Mark O'Connor, and the African-American Latino wind group Imani Winds.
Supporting Living Composers and New Works
Saint Paul Sunday served as a vital platform for contemporary music, frequently hosting performances by living composers. The show featured works by artists such as Thomas Adès, George Tsontakis, Osvaldo Golijov, Fred Lerdahl, Derek Bermel, and Frederic Rzewski.
Beyond simply performing existing pieces, the program actively contributed to the growth of the genre by commissioning new works. These commissions involved composers such as Pierre Jalbert, Aaron Jay Kernis, Kenneth Frazelle, Gabriela Lena Frank, and Edgar Meyer, with some projects conducted in partnership with PRI (Public Radio International) for composers like Nicholas Maw.
| Category | Examples of Featured Artists/Composers |
|---|---|
| Classical Soloists/Ensembles | Joshua Bell, Juilliard String Quartet |
| Global & Eclectic Styles | Rumillajta (Bolivian), Imani Winds, Art Farmer (Jazz) |
| Living Composers | Thomas Adès, Osvaldo Golijov, Fred Lerdahl |
| Commissioned Artists | Gabriela Lena Frank, Edgar Meyer, Aaron Jay Kernis |
Community Outreach and Education
The program's commitment to accessibility extended beyond the airwaves. Bill McGlaughlin and the Saint Paul Sunday team traveled across the United States to conduct on-site programs with notable classical ensembles, bringing the excitement of live performance to various local venues.
A significant part of their mission involved youth education. The program established residencies at primary and secondary schools throughout the Midwest. These residencies were immersive experiences that included recording sessions, live performances, and interactive question-and-answer sessions between students, the musicians, and McGlaughlin.
Frequently Asked Questions
What was the primary goal of Saint Paul Sunday?
The primary goal was to make chamber music feel fresh, lively, and fun, while dispelling the myth that such music is only intended for experts or connoisseurs.
How did the show differ from a traditional concert?
Unlike a formal concert, the show integrated spontaneous conversation, personal anecdotes, and live questioning, allowing the audience to hear the stories behind the music.
Did the show only feature traditional classical music?
No. The show expanded its scope to include a diverse mix of global music, including Brazilian choro, American gospel, Andean music, and jazz.
How did the program support new music?
The program both hosted performances of works by living composers and directly commissioned new pieces from various contemporary composers.
What educational initiatives did the program undertake?
Saint Paul Sunday conducted residencies in Midwest primary and secondary schools, featuring performances, recordings, and Q&A sessions to make classical music more accessible to students.