Yo-Yo Ma - 53 years of friendship and duets

Summary

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Podcast Summary: Yo-Yo Ma – 53 years of friendship and duets

Classical Music Happy Hour
Host: Emanuel “Manny” Ax
Guest: Yo-Yo Ma
Date: April 8, 2026
Recorded live at Tanglewood Music Center

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Episode Overview

This special live episode of Classical Music Happy Hour celebrates the profound 53-year friendship and artistic collaboration between pianist Emanuel Ax and cellist Yo-Yo Ma. With warmth, humor, and musical interludes, Manny and Yo-Yo explore the evolving nature of music-making, the magic of musical partnership, and the ways classical music remains emotionally resonant across centuries. Joined by a live audience and listeners calling in, the conversation touches on performance philosophy, the artistry of musical interpretation, handling nerves, and the enduring relevance of Bach and Beethoven.

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Key Discussion Points & Highlights

1. The Magic of Musical Connection and Friendship

(Timestamps: 05:12–10:34)

• The episode begins with Mendelssohn’s “Song Without Words” performed spontaneously by Manny and Yo-Yo, used as a metaphor for their musical conversation.
• Yo-Yo Ma (05:31):
  “We just determined backstage 53 years, right. … We didn't look at one another. We didn't have to give signals to one another. … We did it by feel or by luck.”
• Both discuss the sometimes-mysterious way seasoned musicians communicate non-verbally, relying on instinct and emotional openness rather than strict precision.
• Emanuel Ax (06:15):
  “We did it by fear. You're right.”

2. Musical Interpretation: Keeping Repertoire Alive

(06:45–09:08)

• Addressing the question many musicians are asked — “How do you keep a piece interesting after playing it hundreds of times?”
• Yo-Yo Ma (07:12):
  “It's as if a piece of music is a product… but I think that music, when we're playing as if we were talking, is a conversation. It's a living thing.”
• Comparison to personal relationships: every performance, like every conversation, is unique and evolving.
• Manny (08:17): “Each performance is actually a different experience.”
• Both avoid playing the same interpretation night after night, insisting on change and freshness.

3. Relaxation Versus Perfection in Performance

(10:21–11:52)

• Manny wonders why their most relaxed and spontaneous moments don’t always happen in formal concerts.
• Yo-Yo Ma (10:34):
  “There's no pressure that, oh, we must be perfect, which I think has become an industrial aesthetic… That pressure is silly.”
• They agree that openness, risk-taking, and safety in friendship create the best music moments.

4. Audience Q&A

a. “Learning to Love Bach” — Harriet from Raleigh, NC

(12:16–17:59)

• Harriet admits she struggles to enjoy Bach and seeks advice.
• Manny and Yo-Yo offer a live demo (Air on the G String), exploring Bach’s range from objectivity to empathy.
• Yo-Yo Ma (15:42): “Bach has two characteristics… one, he thinks like a scientist, he is objective. And two, he is like your favorite uncle who will be totally sympathetic to you… all of this is in one person.”
• Emphasis: There’s no shame in personal taste, and embracing more of Bach might reveal his hidden sides.
• Yo-Yo Ma (16:57):
  “Not liking something doesn’t make you a bad person.”
• Manny (17:16):
  “Ravel used to say that he didn’t understand why excellent musicians played Beethoven. ... So you never know. It’s okay, Harriet.”

b. “Why Does Classical Music Endure?” — Ann Kelly, 7th grade, Long Island

(19:43–24:03)

• Ann asks why classical music remains impactful across centuries.
• Manny (20:11):
  “There's a story in what you're going through, but it's always your own story. … It's just a chance to experience your own story. That's why I think it makes an impact.”
• Yo-Yo Ma (21:10):
  Praises Ann for her curiosity:
  “The deeper you go into anything, you will find the world in it, right?”
• The conversation pivots to Beethoven’s resilience, highlighting his ability to create joyous music amid hardship:
• Manny (22:21):
  “Beethoven wrote this piece, one of the most positive pieces… while he was sitting in a basement in Vienna, and the French were bombarding the city, and he was going crazy between losing his hearing… yet this is what he came up with.”
• Yo-Yo Ma (23:21):
  “Sometimes beauty is squeezed out of something horrible. It's not about classical music. It's about humans.”

c. “Performance Anxiety” — Audience Member

(24:30–26:29)

• Manny (24:52):
  “I get very nervous before playing, …if you do have nerves, you know, after a certain amount of time, you learn to accept that as part of performing.”
• Yo-Yo Ma (25:55):
  “Some people say… it's okay to be comfortable with the uncomfortable. Any process of change gives us discomfort and somehow realizing, but yet we desire the change… that's okay.”

d. “The Mysterious Middle Pedal” — Barbara R.

(26:35–27:56)

• Conversation turns light and playful with a piano mechanics demonstration.
• Manny (26:38):
  “The middle pedal… is used to make the pianist who has three legs comfortable.”
• Technical explanation about its actual function—sostenuto—for holding some notes while changing others.

5. Reflections & Friendship

(28:05–29:18)

• Manny and Yo-Yo Ma exchange affectionate tributes.
• Manny (28:48):
  “I cannot imagine a more wonderful person to spend time talking to than my friend Yo Yo. And I'm so grateful to you.”

6. Making Music in a Pandemic & Gratitude

(29:18–32:30)

• Manny and Yo-Yo reminisce about performing on a flatbed truck for frontline workers during the pandemic as an act of gratitude.
• Yo-Yo Ma (29:39):
  “We played this piece of music as a show of gratitude for a lot of the people who were frontline workers and health workers and people who help us get through the pandemic.”

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Notable Quotes & Memorable Moments

• “We did it by feel or by luck.” — Yo-Yo Ma (05:31)
• "Each performance is actually a different experience." — Emanuel Ax (08:17)
• "Death is just about right for me." — Yo-Yo Ma, joking about playing a piece identically every night (08:43)
• “When we’re actually open to one another and feeling safe… we actually come out with the right answer.” — Yo-Yo Ma (10:34)
• "Bach is like your favorite uncle who will be totally sympathetic to you, be empathetic to everything that you are." — Yo-Yo Ma (15:42)
• “There's a story in what you're going through, but it's always your own story.” — Emanuel Ax (20:11)
• “Sometimes beauty is squeezed out of something horrible. It's not about classical music. It's about humans.” — Yo-Yo Ma (23:21)
• “I get very nervous before playing, …I suppose I'll stop being nervous when I stop doing concerts.” — Manny (24:52)
• “The middle pedal is like the middle child.” — Yo-Yo Ma, with a laugh (27:56)
• "I cannot imagine a more wonderful person to spend time talking to than my friend Yo Yo." — Emanuel Ax (28:48)
• “We played this piece of music as a show of gratitude for a lot of the people who were frontline workers and health workers and people who help us get through the pandemic.” — Yo-Yo Ma (29:39)

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Timestamps for Key Segments

• 05:12 – Mendelssohn performance and discussion on collaboration
• 06:45 – How to keep repertoire fresh after decades
• 10:34 – On relaxation vs. the pursuit of perfection
• 12:16 – Harriet asks about Bach
• 19:43 – Ann asks about classical music’s lasting power
• 24:30 – Discussion of performance anxiety
• 26:35 – Middle pedal question (piano demo & jokes)
• 28:48 – Heartfelt closing tributes
• 29:18 – Flatbed truck story & music for frontline workers

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Tone & Atmosphere

The episode is suffused with the easy camaraderie and wit of two old friends and artistic collaborators, welcoming both seasoned fans and classical music newcomers. Manny and Yo-Yo balance profound musical insight with playful banter, demystifying classical music and encouraging everyone—musicians and listeners alike—to experience its joys without intimidation.

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For those unable to listen, this episode captures not just the technical mastery of two legends, but the warmth, honesty, and humor that define a lifelong partnership in music and beyond.

Transcript

[Viking Sponsor Announcer]

Classical Music Happy Hour is supported by Viking, committed to exploring the world in comfort, offering destination focused small ship experiences on all seven continents with a shore excursion included in every port and programs designed for cultural enrichment. And every Viking voyage is all inclusive with no children and no casinos. Learn [e-mail]

[Maniacs (Host, Pianist)]

from WQXR and Carnegie hall, this is Classical Music Happy Hour, hosted by me, pianist Maniacs. This episode is a little different than our usual format. It was taped in front of a live audience at the Tanglewood Music center, where I was joined by my longtime friend and musical partner, Yo Yo Ma. We chat a bit about our lives, play a few bars of music, and answer questions live from our listeners. We hope you'll enjoy this special episode.

Is that okay?

Just a little music by Mendelssohn to get us going. His song Without Words.

[Yo-Yo Ma]

You know, Manny, I don't know how many times we've played this piece. We've actually not played this many times.

[Maniacs (Host, Pianist)]

Not so much.

[Yo-Yo Ma]

But we've known each other for. We just determined backstage 53 years. Right. And we played through this a little bit before, but I feel like I'm having a conversation with you. We didn't look at one another. We didn't have to give signals to one another. And, you know, there was a pause, we didn't know how long, and then we just started again. We did it by feel or by luck. Yeah, I didn't want to.

[Maniacs (Host, Pianist)]

We did it by fear. You're right. You're right.

[Yo-Yo Ma]

Of course, now, of course. Of course we count on luck.

[Maniacs (Host, Pianist)]

Yes.

[Yo-Yo Ma]

Right. He often says before we play a concert. He says, now, let's leave it in the lap of the gods.

[Maniacs (Host, Pianist)]

That's right. Yes. Now, so you mentioned 53 years.

[Yo-Yo Ma]

Yeah. Count them.

[Maniacs (Host, Pianist)]

And we're still happy to see each other, which is great.

[Yo-Yo Ma]

Which is unbelievable.

[Maniacs (Host, Pianist)]

Tell me, what are the questions that you get asked most frequently, where to next? Yes, that's something that people ask all the time. Right. What's the next thing you're doing? Or.

[Yo-Yo Ma]

You've played this piece hundreds of times. How can you make it interesting?

[Maniacs (Host, Pianist)]

Yes, that does get asked a lot.

[Yo-Yo Ma]

Yes. So it's as if a piece of music is a product that is, you know, it's all wrapped up in a particular way. And I think that music, when we're playing as if we were talking to one another, is a conversation. It's a living thing. And so if you meet a friend for the 757th time, you don't think your friend is boring, do you?

[Maniacs (Host, Pianist)]

Yeah. No, no.

[Yo-Yo Ma]

Well, maybe Sometimes you do.

[Maniacs (Host, Pianist)]

Depends. Depends. But I'm sure, like you, I think we probably both react the same way. Let's say you play with an orchestra, and you play on Thursday, Friday, Saturday, the same piece at the same hour. You know, each concert, eight o', clock, same conductor, same orchestra. But each performance is actually a different experience.

[Yo-Yo Ma]

Absolutely.

[Maniacs (Host, Pianist)]

For all of us, I think.

[Yo-Yo Ma]

Yeah. And that's why often I don't like to play the same piece with the same group four nights in a row unless I know that people are not going to say, let's do like last night.

[Maniacs (Host, Pianist)]

Right.

[Yo-Yo Ma]

Because that, to me, is death.

[Maniacs (Host, Pianist)]

Well, death is a little strong.

[Yo-Yo Ma]

Death is just about right for me.

[Maniacs (Host, Pianist)]

Yeah.

[Yo-Yo Ma]

Okay. Death, it's over. It's not alive.

[Maniacs (Host, Pianist)]

Okay.

[Yo-Yo Ma]

And so one of the things that I love about our playing together is that we play the same program a number of times. Yeah, yeah. We actually. We'll say to one another, okay, how do you want to do it differently tonight?

[Maniacs (Host, Pianist)]

Yes.

[Yo-Yo Ma]

Why should tonight be different from last night? Just as an experiment, we started this Mendelssohn song without words. You know, a nice beautiful rhythmic thing that I follow. And we play together. But let's start. And we haven't prepared for this. The beginning of the Beethoven's first sonata.

[Maniacs (Host, Pianist)]

Uh.

[Yo-Yo Ma]

Oh, Right now. And you'll see.

[Maniacs (Host, Pianist)]

Give me a minute. Not so bad.

[Yo-Yo Ma]

Okay, again, we didn't look at one another. There were these long silences. How do we know it's lucky?

[Maniacs (Host, Pianist)]

It's luck. Because my question is, how come we never did that when we were playing concerts?

[Yo-Yo Ma]

That's because we're really relaxed.

[Maniacs (Host, Pianist)]

You're probably right.

[Yo-Yo Ma]

No, seriously. I find that being able to talk to an audience, to talk to you and then play, that takes us to the closest moment of intimacy of making music as if we were in our living room. There's no pressure that, oh, we must be perfect, which I think has become an industrial aesthetic in the maker space of making things, everything has to be perfect. That pressure is silly, because what we're trying to do is to say, okay, we just took a risk. I just tried that on you. And there was no pressure. But it was just when we're actually open to one another and feeling safe, in spite of the fact this is being recorded, we actually come out with the right answer. Think about that. That's incredible. We're not under pressure to do something perfectly. We're just open. Yes, but I'm sure some people have questions. Or is this something.

[Maniacs (Host, Pianist)]

Well, we actually have some people who have been patiently sitting through all this many have left.

[Yo-Yo Ma]

Do you see the.

[Maniacs (Host, Pianist)]

But people online? They are actually, I think, waiting to ask some questions of us. And here's our caller, Harriet.

[Yo-Yo Ma]

Hey.

[Maniacs (Host, Pianist)]

Hi, Harriet.

[Harriet (Caller)]

Hi there, Manny.

[Maniacs (Host, Pianist)]

Hello.

[Harriet (Caller)]

Yo, yo. Thank you so much for taking my call.

[Maniacs (Host, Pianist)]

It's a pleasure. I see that you're from North Carolina. Whereabouts?

[Harriet (Caller)]

Oh, no, I'm originally from New York, but I'm living in North Carolina right now in Raleigh.

[Maniacs (Host, Pianist)]

Oh, okay. So we'll just leave you there to work and hope you come back to New York soon.

[Harriet (Caller)]

I miss it. I really do miss it. Well, I'll start out by saying, with apologies in advance, this is my silly and irreverent question. I love most classical music for its beauty and the way it keeps me centered, except for Bach. Can you help me understand what I'm missing so that even if I can't like Bach, at least I can appreciate him and not be embarrassed by my lack of good musical taste?

[Yo-Yo Ma]

Wow, that's a great question. We love that question. We love it so much that I'm going to ask. Manny, can you play the beginning of, like, the air on the G string in whatever key that you want? D major.

[Maniacs (Host, Pianist)]

Is that right? You're gonna have to stop at some. What a wonderful answer that is.

[Yo-Yo Ma]

So. So, Harriet, how does that music make you feel?

[Harriet (Caller)]

I would say that's one of the ones in the middle for me. The Cello Suite Number two would probably be right up there. On the other hand, the Keyboard Concerto Number five, not so much.

[Yo-Yo Ma]

Okay.

[Harriet (Caller)]

And I'm not sure why I'm missing what everyone else is getting.

[Yo-Yo Ma]

I think for me, when you talk about a composer, it's like you're looking at a friend. That friend, you know? Look at Manny.

[Maniacs (Host, Pianist)]

Look at all my faults. Yeah.

[Yo-Yo Ma]

Manny and I have known each other for 53 years, and I love everything about him. Except

[Maniacs (Host, Pianist)]

I'm afraid we don't have time for the whole list.

[Yo-Yo Ma]

And the thing is, what's funny about. During those 53 years, we have gotten to know each other's strengths and weaknesses. And in fact, sometimes our weaknesses, our quirks, have become sources of mirth.

[Maniacs (Host, Pianist)]

So just to connect it up, what you're saying is maybe if you listen to more examples of this particular composer, you'll find that it gets to you somehow.

[Yo-Yo Ma]

I'll add to this and say that I think that Bach has two characteristics, and maybe this can be helpful. I think, one, he thinks like a scientist, he is objective. And two, he is like your favorite uncle who will be totally sympathetic to you, be empathetic to everything that you are. And when I'm playing Bach, I'm thinking, all of this is in one person. So you were talking to someone who's at once totally objective and totally on your side. Sometimes when we look at something objectively, we get nervous because we think, oh, okay, maybe we're found wanting, or maybe we're inadequate or maybe, whatever. But when you put that in oscillation with someone who is totally on your side, nothing can go wrong. You actually get clarity. And I think that's what bachelor gives to me. It's a friend whom I can rely on to actually give me perspective when I am in need of a little bit of clarity.

[Maniacs (Host, Pianist)]

But we should also say. We should also say that not liking something doesn't make you a bad person.

[Yo-Yo Ma]

Yeah, Manny often tells me he doesn't like many things I do. And after several weeks of therapy, I, I then.

[Maniacs (Host, Pianist)]

A complete and utter lie. But that's okay. I'm used to that too. Anyway, all I was saying, Harriet, was that. I'll give you an example. Ravel used to say that he didn't understand why excellent musicians played Beethoven. This is terrible music. So you never know. It's okay, Harriet.

[Yo-Yo Ma]

Does that help or does that make things more confusing?

[Harriet (Caller)]

No, that's a beautiful way to look at it. And as I continue to listen to more of Bach, I will keep that in mind. And I have a feeling it will probably change things a little bit.

[Maniacs (Host, Pianist)]

Okay, that's great to hear. Thank you.

[Harriet (Caller)]

Thank you so much.

[Maniacs (Host, Pianist)]

Thank you very much for.

[Yo-Yo Ma]

Take care.

[Maniacs (Host, Pianist)]

I just know we will convert Harriet to this amazing music sooner or later. You're listening to Classical Music Happy Hour and I'm maniacs. Stick around for more fun with my dear friend Yo Yo Ma. We'll be back in a moment.

[Viking Sponsor Announcer]

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[Maniacs (Host, Pianist)]

I'm maniacs and this is Classical Music Happy Hour. Let's return to our live episode featuring the one and only Yo Yo Master.

We're going to go to Ann Kelly in Long island, who is. Oh, Anne, Hi. Can you hear me?

[Yo-Yo Ma]

Hello, Is this Anne?

[Ann Kelly (Caller)]

Yes.

[Maniacs (Host, Pianist)]

Hi. So will you just introduce yourself?

[Ann Kelly (Caller)]

Okay. Well, I'm Ann. I'm from Long island, from Seacliffe. And, yeah, I'm in seventh grade. And the only music I really listened to was classical, much to. To the surprise of my friends. But. Yeah. My question is, why do you think classical music has such a profound emotional and inspirational impact that transcends centuries?

[Maniacs (Host, Pianist)]

Yeah. I think it's hard to put into words what I've always thought was, of course, I'm someone who grew up listening to music, so I guess I'm attuned to it at some level. But I think one of the things about music that is different from basically all other art forms is that there's a story in what you're going through, but it's always your own story. You're not dependent on anybody else's story. It's not like opera. It's not like a book. It's not like a place play. It's not even like a painting. It's just a chance to experience your own story. That's why I think it makes an impact to people who somehow let that in.

[Yo-Yo Ma]

Anne, thank you for your question. I think, first of all, hooray for you for finding something that is meaningful. That is the most important part. And being in seventh grade means that if you like something, that means you're going to grow with it. So the deeper you go into anything, you will find the world in it, right? Yeah. And the other thing is, just about a year ago, we're going to record this piece.

[Maniacs (Host, Pianist)]

I don't have to play yet.

[Yo-Yo Ma]

Okay. So. So this is an extraordinarily beautiful piece of music. So Manny comes to me and says the following. I looked at something, and this is what it said. You mean.

[Maniacs (Host, Pianist)]

Yes, that Beethoven wrote this piece, which is one of the most positive pieces of music that we know. It's all about beauty, hope, positivity. And it was written while he was sitting in a basement in Vienna and the French were bombarding the city, and he was going crazy between losing his hearing and parts of the hearing that made the bombs even louder, and everything around was chaos. And yet this is what he came up with. And when he sent the manuscript to his friend, who was a lawyer who looked after his things, he wrote on the manuscript amid tears and sorrow.

[Harriet (Caller)]

Wow.

[Maniacs (Host, Pianist)]

And he must have been talking about what was going on around him and not the piece of music, because the piece of music is totally Positive.

[Yo-Yo Ma]

Right. And so from that, we intuit it, because here is something that's so beautiful, but sometimes beauty is squeezed out of something horrible. It's not about classical music. It's about humans. And every piece of music has a history. Everything that anybody does has a history. You look deeply enough into it, you find the deep human element that makes something be invented. Does that make sense?

[Ann Kelly (Caller)]

Yes. Thank you.

[Maniacs (Host, Pianist)]

Great.

[Yo-Yo Ma]

Good luck.

[Maniacs (Host, Pianist)]

Thank you so much for calling. Thank you.

[Ann Kelly (Caller)]

You're welcome. Thank you for having me.

[Maniacs (Host, Pianist)]

Now, audience.

[Yo-Yo Ma]

Okay, let's go to.

[Maniacs (Host, Pianist)]

I guess now we are going to get some questions from the audience.

[Yo-Yo Ma]

Okay, good.

[Maniacs (Host, Pianist)]

Oh, here they are.

[Yo-Yo Ma]

Okay.

[Maniacs (Host, Pianist)]

This is a question from Erin A. Aaron.

[Yo-Yo Ma]

Come on out.

[Maniacs (Host, Pianist)]

Come on. Yeah.

[Yo-Yo Ma]

All right.

[Maniacs (Host, Pianist)]

Yeah.

[Harriet (Caller)]

Yes. One thing I think a lot of musicians in the room wonder, and just in general, is how do you deal with performance anxiety? And do you have performance anxiety?

[Yo-Yo Ma]

What are you talking about? I don't.

[Maniacs (Host, Pianist)]

We're fine.

[Yo-Yo Ma]

We're fine.

[Maniacs (Host, Pianist)]

We're fine.

[Yo-Yo Ma]

No,

[Maniacs (Host, Pianist)]

I get very nervous before playing, but I do think that in many ways, yo yo has been a model for me. I think what he seems to do is to get excited for a concert, but not nervous for a concert. It's like that sweet spot where you're, yes, I'm excited about doing this and I'm up, but I'm not freaking out. And I think back in 1992, I had one day like, that

[Yo-Yo Ma]

was a Tuesday, I think.

[Maniacs (Host, Pianist)]

A Tuesday, yes. But I wasn't playing, so that was fine. But I will say that if you do have nerves, you know, after a certain amount of time, you learn to accept that as part of performing. It's something that I accept, and I suppose I'll stop being nervous when I stop doing concerts.

[Yo-Yo Ma]

Also, I think the other thing is that some people say it's good to realize it's okay to be comfortable with the uncomfortable. You know, since we're always changing from one thing to another, any process of change gives us discomfort and somehow realizing, but yet we desire the change. Right? So in fact, you want something, it's going to make you uncomfortable. And as Manny says, that's okay.

[Maniacs (Host, Pianist)]

Well said, old bean. That was great.

[Yo-Yo Ma]

I read that someplace.

[Maniacs (Host, Pianist)]

Okay, so we have an interesting piano. We have an interesting piano question from

[Yo-Yo Ma]

Barbara R. Oh, okay.

[Maniacs (Host, Pianist)]

The question is, is it true that the middle pedal of the piano is there to keep the other two apart?

[Yo-Yo Ma]

Wow.

[Maniacs (Host, Pianist)]

The answer is no. It's used to make the pianist who has three legs comfortable. Shall I show people how the middle pedal works? Okay. The middle pedal Works in the following way. Let's say you want to change harmonies in a piece on top of a long note. Now, yo yo can hold a long note. I can't hold a long note except by doing this and putting down the pedal. So if I then want to play, I get a mess. Now, if I use the middle pedal to hold this note down. So it allows you to have an organ tone. I think it's only been used in very few pieces that I know. I think people are mistrustful of it. And one of the reasons is that you have to. When you play it, you have to play the note first and then press it down. Otherwise it won't work.

[Yo-Yo Ma]

The middle pedal is like the middle child,

[Maniacs (Host, Pianist)]

I think. I think you have suffered long enough. Sorry. I would like. Just in conclusion, if I may. If I may, in conclusion, I would like to say quite seriously, I cannot imagine a more wonderful person to spend time talking to than your wife,

[Yo-Yo Ma]

Yoko.

[Maniacs (Host, Pianist)]

Do I get to say anything?

[Yo-Yo Ma]

Yes. It's your show.

[Maniacs (Host, Pianist)]

Than my friend Yo Yo. And I'm so grateful to you. Thank you. And of course, I would like to thank this wonderful audience that's been incredibly tolerant. So what? And for those. And for those who have time to stay and would like to. We're going to play a piece.

[Yo-Yo Ma]

This is something that Manny and I did, and thanks to many people here in the room and also at the bso. Manny and I had the luxury of being on a flatbed truck during the pandemic. And he was playing on a keyboard. Right, right.

[Maniacs (Host, Pianist)]

A Clavinova.

[Yo-Yo Ma]

Yeah. And we played this piece of music as a show of gratitude for a lot of the people who were frontline workers and health workers and people who help us get through the pandemic. Sam. It. Sam. Sa.

[Maniacs (Host, Pianist)]

Classical Music Happy Hour is supported in part by the Robert and Mercedes Eichholtz foundation and by Linda Nelson. Our production team includes Lauren Purcell Joyner, Eileen Delahunty, Laura Boyman, Elizabeth Nonemaker, David Norville, Christine Herskovitz and Ed Yim. Our engineering team includes George Wellington, Irene Trudell and Chase Culpan. Classical Music Happy Hour is produced by WQXR in partnership with Carnegie hall sa.