PostClassical Ensemble — the “experimental orchestral laboratory” founded in 2003 by Joseph Horowitz and Angel Gil-Ordonez — has been reflecting on music’s role in society through a series called “More then Music,” which presents audio/video webcasts and associated zoom chats.
With the new challenges it poses to institutions we’ve taken for granted, the coronavirus pandemic has intensified the urgency of thinking about these issues of music and its social function — as opposed to abstracting the art into a “purely” aesthetic construct.
The latest edition of PCE’s More than Music series focuses on George Gershwin and a time of creative ferment that was tearing down conventional walls around self-described “serious” music.
PCE has just released the video linked above, The Russian Gershwin, featuring commentary by Joseph Horowitz (PCE Executive Producer) and Angel Gil-Ordóñez (PCE Music Director), with Bill McGlaughlin as the host.
There will be two follow-up zoom chats free and open to the public, both from 6 to 7pm EST. The first one, on 4 June, “A Gershwin Roundtable,” will be a discussion with Horowitz, Gil-Ordóñez, the pianist Genadi Zagor, and Mark Clague, director of the Gershwin Initiative at the University of Michigan. It will also include a live performance by the jazz artist Karrin Allyson.
The 10 June chat is titled “Porgy and Bess Roundtable: What’s It About and Who’s Singing It?” Along with Horowitz, Gil-Ordóñez, and Clague, special guests will include two pre-eminent singers who are authorities on Porgy and Bess: George Shirley, the first African-American tenor to sing lead roles at the Metropolitan Opera, and the bass-baritone Kevin Deas, one of the leading Porgys on today’s scene. Conrad L. Osborne, an expert in opera in performance, will also join in, and there will a discussion of historic Porgy recordings. Bill McGlaughlin hosts both zoom chats.
More details and sign-up links to the free zoom chats here.
Filed under: African-American musicians, George Gershwin, PostClassical Ensemble
MEMETERIA by Thomas May 