does any body know where can i listen to classical music online for free?

Answer by djgriffinny
Beethoven.com

Answer by gpman25
yahoo! music

Answer by Doctor Rock
KUSC-FM

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A Night to Remember


Image by wgbhmorningstories
Pianist Cathy Fuller digs deep and finds her inner Mozart.

Listen to the Morning Stories podcast called A Great Hall.

More Morning Stories at wgbh.org/morningstories.

TRANSCRIPT OF "A GREAT HALL" PODCAST:

Tony Kahn:
Hi, everybody. This is Tony Kahn, the producer and director of Morning Stories from WGBH in Boston.

I don't know how to play an instrument and without being able to do that, there is a whole range of expression that's closed to me that words alone just can't get to. Today's Morning Story comes from a very musical colleague of ours at WGBH named Kathy Fuller. She's one of our classical music hosts and a concert pianist. It's probably the best account of musical expression that I have ever heard. We call her story A Great Hall.

Cathy Fuller:
Mechanics Hall in Wooster is one of the great halls in the world. It has these two draping staircases on either side and a beautiful piano, a beautiful nine foot Steinway. We had a rehearsal on it the night before and it was great. I was to play the Mozart C Major Piano Concerto. Suddenly there was the most amazing sound I have ever heard. It was a collective inhale. It was a – [sound of inhaling]

The people who were moving the piano were pushing it in the wrong direction. The movers just let the piano [sound of falling piano] fall down the staircase. [more sounds of confusion, voices, crashing].

I thought somebody had been killed. Keyboard first, down the stairs, no more legs, on its belly like a whale.

[a voice from the audience: "Idiots!"]

I went running out to see. Somebody said, "Do you still want to play?" Part of me said, "Maybe I could do this next week [laughs]. That would be fine, you guys – let's go have a drink," and this other sense of me said, "God, I want to do this more than anything in the world."

Male Voice
As you may have guessed, we seem to have dropped the Steinway. [clears throat] Fortunately, no one has been hurt. If we can get the substitute piano…. [voice fades off]

Cathy Fuller:
I went back to the green room and waited and they went off like on an expedition, a safari [laughs] and found this – it was one of those pianos that sits around in a conference room for, you know – I don't know – sing-a-longs. Stains on the soundboard. And they brought it out and put it on the floor, down below the conductor. Some of the keys were out of position. I don't think it had ever been tuned [laughs]. I had absolutely no idea if it was going to sound like a harpsichord? If the first note, you know, had a hammer? If any of these notes didn't work, how was I going to work around that? This was going to be a bumpy ride!

[Orchestral music]

I play just a little turning phrase [imitates notes] and in that is the "stuff" of the entire concerto.

It's Mozart twinkling, opening his eyes, raising his eyebrows going, "Can you guess what I'm going to do now, you guys?" You know? "Listen to this." These little things reflect his joy for living. I guess I didn't want to think that I had a bad tool or that I had stuff against me. I couldn't, at that point. I think I just sort of decided that I would play it better than I've ever played it. I had to believe in the piano. I just had to make this work.

[Out of tune Piano joins orchestra]

I remember the orchestra being much better than they had been before. Really! I think they were like rootin' for me. I think they wanted to help.

[Orchestra music continues flowing underneath the next part of the story]

You always feel an audience. You know if they're listening. They were listening. Even, even though I never looked at them. I felt them very, very present. They were tremendous. It's hard to listen to that piano. It has so sorry a voice. Hmm! In a way, it was almost like a practical joke. Mozart wouldn't be beyond that kind of thing, you know: "Here – try it on this!" [laughs] "See if you can make it work on this." you know.

You know that big, sleek, black, shiny, gorgeous, perfectly tuned, perfectly silken Steinway D? Flat on its belly. Maybe it wasn't meant for that. You know the "pretty boy" Mozart that we hear so much of the time, so absolutely exquisitely even and without, without, you know, holes and scars and giggles and junk. Maybe there was something about playing on that rough and crazy piano that was more like the real Mozart than that Steinway D ever, ever could have been. Absolutely. I can believe that. [laughs heartily]

Tony Kahn:
That was Cathy Fuller with today's morning story, A Great Hall. Gary Mott. Believe in your piano!

Gary Mott:
This story did make me think about a time in 8th grade Speech and Drama class. I and two other students were doing a scene from The Hunchback of Notre Dame.

Tony Kahn:
So whom did you play?

Gary Mott:
I was Claude, the evil priest. And there was another girl that sat opposite me, and then there was Quasimodo, played by Rob.

Tony Kahn:
Rob.

Gary Mott:
Yeah. So there's Quasimodo, hunched over, writhing, wriggling, and the girl and I were supposed to exchange lines. Well, she forgot her lines; I forgot mine – I don't remember.

[Tony chuckles]

But we both just melted like, "Argggh…you forgot. Argh you forgot… [jabbers]" But there was Quasimodo, hunched over, writhing. We got Fs, Quasimodo got an A.

Tony Kahn:
He stayed in character?

Gary Mott:
He stayed in character!

Tony Kahn:
He believed in his piano.

Gary Mott:
He believed in his piano. He triumphed. He took his game to another level.

Tony Kahn:
A true artist.

Gary Mott:
It's a lesson!

[Tony laughs]

Gary Mott:
Mozart would have been so proud of Kathy in this instance.

Tony Kahn:
Mozart was a kind of Quasimodo type of character! In public he could behave in an embarrassing way.

Gary Mott:
Certainly in my professional life I have found that if something sort of makes me squirm, if I'm nervous about doing something, I should do it. I should totally do it, because that is a test of character. There are lines that I don't want to cross, but working with you [both laugh] challenged me – what I believed, what's OK, and that is going to help me grow.

Tony Kahn:
I hate to say "thanks for nothing" but, you know – thank the listeners out there. You know, that's a wonderful thing about podcasting – people out there will let you know whether you’re speaking to them and…

Gary Mott:
That's true.

Tony Kahn:
And also trust the listeners [laughs]. Believe in your piano!

[Piano music]

Gary Mott:
It's never too late. . .[to play the piano]

Tony Kahn:
You don't think so? Maybe you could teach me.

Gary Mott:
Um. …I like you right now, and I want to stay that way.

[Both laugh]

Tony Kahn:
Moving on, then. We're over ,700 for financial contributions and several, several people have re-upped. Maybe we could make it to ,000, but it's up to you guys.

Gary Mott:
It makes our boss happy, let's put it that way.

Tony Kahn:
It does. Maybe they'll unchain us from this studio if we reach the ,000 mark.

Gary Mott:
wgbh..org/morningstories is our web site. Please go there, spend some time, listen to some old episodes. It's all there. Our complete archive.

Tony Kahn:
And we'll be adding to it with our next podcast. We'll see you soon.

[Concerto continues for a while, then fades]

[End of recording]

Transcribed by Bev Sykes

Answer by TedEx
,Is this any help????

Answer by theresa e
There is the obvious choice Yahoo radio they have different Genre stations and I think one of them is classical.

Answer by Manda M
www.jango.com

Answer by Lock up OJ
http://music.aol.com/radioguide/bb

Answer by sarahviolinlifegard
go to

www.imeem.com sign up, its free and youi dont download anything and you type in the name of a song and the whole song pops up.

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