The Washington Post is already eager for the coming musical season: In October, the Post-Classical Ensemble will revive the 1939 documentary The City, which has a rarely heard Aaron Copland scoreClick on The Washington Post logo to read the full article (Monday, May 7, 2007; Page C02):
The D.C.-based Post-Classical Ensemble is all about new things, and new light on old things. Friday night at the Clarice Smith Center, those two motivations came together for a fascinating exploration of Der Abschied (The Farewell), the last movement from The Song of the Earth, Gustav Mahler's indelible reflection on mortality and the comforting continuity of nature.Click on The Baltimore Sun logo to read the full review (Friday, March 15, 2007):
The Post-Classical Ensemble may be the most thought-provoking music group in town. It's certainly one of the most innovative, using its concerts as laboratories for musical thought experiments. Often focusing on a single piece -- or even a single movement from a single piece -- the group probes a work's cultural "back story," pulling away layer after layer of context to expose its innermost core.Click on The Washington Post logo to read the full review (Monday, March 19, 2007; Page C05):
Music just doesn't get more profound than this.Click on The Baltimore Sun logo to read the full review (Friday, March 15, 2007):
The Dallas Morning News has reviewed Naxos' re-issue of Pare Lorentz's 1930s classics The Plow That Broke the Plain and The River -- with soundtracks re-recorded by the Post-Classical Ensemble (P-CE). It's a joy to hear Thomson's agreeably flinty music in up-to-date sonics, smartly played by the Washington, D.C.-based Post-Classical Ensemble, under conductor Angel Gil-Ordóñez. Thomson allows himself brief moments of gnarly mood music, but otherwise the score is a nonstop medley of marches, hymns, folk songs and what the composer himself called "darn-fool ditties," in harmonizations as spare as Lorentz's Dust Bowl scenes.Click on the Dallas Morning Herald logo to read the full story:
Ask AFI Silver Theatre & Cultural Center's chief Murray Horwitz about his favorite Washington band, and what will he tell you? 
Naxos recruited the conductor Angel Gil-Ordóñez to record the scores freshly with the Post-Classical Ensemble.Click on the New York Times logo below, please, to read the full article:The performances are lively and stylish.
National Public Radio reports on Naxos' re-issue of Pare Lorentz's 1930s classics The Plow That Broke the Plain and The River -- with soundtracks re-recorded by the Post-Classical Ensemble (P-CE).
The Washington Post reviews Naxos' re-release of The Plow That Broke the Plain (1936) and The River, with the Post-Classical Ensemble re-recording Virgil Thomson's original score.The music draws on Thomson's study and appreciation of cowboy ditties, church hymns and other folk melodies, all of which have such deep and far-reaching associations that few Americans will fail to find something that is both familiar and unconsciously haunting.Click on The Washington Post logo to read the full review (Sunday, January 28, 2007; Page N02):
The Wesleyan Connector celebrates the re-release of the 1930s classics The Plow That Broke the Plain and The River, whose scores are directed by the university's music director, Angel Gil-Ordonez, who is also musical director for the Post-Classical Ensemble (P-CE).
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