St. Paul Sunday Morning
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| Genre | live classical music performance and interviews |
|---|---|
| Running time | 60 minutes, weekly |
| Country of origin |
 United States |
| Home station | Minnesota Public Radio |
| Syndicates |
American Public Media Sirius XM Radio Radio New Zealand Concert |
| Hosted by | Bill McGlaughlin |
| Created by | Tom Voegeli |
| Written by | Bill McGlaughlin |
| Produced by | Vaughn Ormseth |
| Executive producer(s) | Mary Lee |
| Recording studio | Saint Paul, Minnesota |
| Original release | 1980 – 2007 (original recordings) 2007 to 2012 (encore broadcasts) |
| Website | saintpaulsunday.publicradio.org |
Saint Paul Sunday is a Peabody Award-winning weekly classical music radio program that aired from 1980 to 2007, with encore broadcasts airing through 2012. It was hosted by Bill McGlaughlin for its entire run. At its height, it was America's most widely listened to weekly classical music program produced by public radio, and aired on approximately 200 stations nationwide. Programs since 1997 are also available as archived audio on the Internet. The hour-long show featured live, in-studio performances by and interviews with the world's top classical musicians, both soloists and ensembles.
For each hour-long show, McGlaughlin invited a virtuoso soloist or ensemble into the studio to discuss and perform music. The music on the program generally fit under the wide umbrella of classical music, and the pieces performed ran the gamut from late medieval through to contemporary music.
Saint Paul Sunday was distributed by American Public Media, and produced in the St. Paul, Minnesota studios of Minnesota Public Radio, American Public Media's main subsidiary.
According to the Saint Paul Sunday website, the show's premise was, "What would it be like to hear the Juilliard String Quartet perform in your living room? Or to invite violinist Joshua Bell over for brunch and Bach?" Host Bill McGlaughlin opened the studio to the world's best classical musicians, of every conceivable style and mix, for both discussion and performance — giving listeners intimate access to how excellent music was created. McGlaughlin engaged each soloist or ensemble in spontaneous live questioning and conversation, so that insights, anecdotes, and commentary alternated with live performances by the guest musicians.
One of the show's intentions was to disprove the misconception that chamber music is open only to connoisseurs. McGlaughlin aims to dispel this view, and to make the music fresh, lively, and fun.
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Wikipedia