Press

During the shutdown, PostClassical Ensemble has been sharing archived videos of their performances, followed up with Zoom chats bringing listeners and artists together. Although Gil-Ordóñez was initially skeptical about Zoom chats, he sees now that it is a powerful way to enhance the relationship with the ensemble’s audience. “We are putting faces on those who have followed us for years,” he enthused. “We can see them, and we are giving them a platform to participate more in the discussions. So this is a very positive part of having no live music: we are getting to know our audiences better. We are planning on continuing this as a complement to everything we have done before. To me this is the most important lesson of this time.”

He is an angel. In fact, that’s his first name and his passport ends with the last names Gil-Ordóñez. Perhaps it is more appropiate to portray him as an archangel for the immense work he has done in favor of music –real music– not only in his commendable career as a teacher at Wesleyan university and Georgetown, but in the invaluable work leading Post-Classical Ensemble, hand in hand with the genius of Joseph Horowitz.

For PostClassical Ensemble, it is not enough to complain about the monotony, or the ethnic or social bias, of symphonic programs. [Horowitz and Angel Gil-Ordóñez] devise alternatives… They produce stimulating evidence the music belongs to life and to the cultural and political environment of the times in which it was created… Classical music needs to leave the confinement of concert halls.

The Indonesian gamelan will be the centerpiece of PostClassical Ensemble’s latest musical creation, Cultural Fusion: The Gamelan Experience, on Jan. 23 at the Washington National Cathedral.

A few well-known composers wrote film music, especially in the 1930s. Examples: Prokofiev’s score for “Alexander Nevsky,” Milhaud’s for “Madame Bovary,” Copland’s for “Of Mice and Men.” Conversely, film-score specialists like John Williams have written pieces for the concert hall. But can classical music lovers take the “serious” works of film composers seriously?

PostClassical Ensemble’s final concert of the season explores the Italian composer Nino Rota’s surprisingly rich body of orchestral music.

On Jan. 13, 2025, Mvskoke soprano Kirsten C. Kunkle and Chickasaw composer Jerod Impichchaachaaha’ Tate performed at the Kennedy Center, making debuts for their respective Tribe […] This event marked a historic moment of intertribal and multigenerational Indigenous musical collaboration at the national level.

I fell in love with Brazilian music when I was a teenager. Jobim, Nascimento, Veloso and many more enchanted me with the way their music harmonized with their sensuous language. So, I was delighted to be invited to Post-Classical Ensemble’s November concerts at the Kennedy Center Terrace Theater: Legends of Brazil: A Musical Celebration for 200 Years of Friendship.

My regular readers know that I generally avoid “classic film scores” like the plague, only making exceptions for the truly exceptional ones, whether classical or jazz. I made an exception for this disc because Silvestre Revueltas, whose name is unfortunately not as well known north of Mexico as it should be, and Aaron Copland were two of the finest composers of their time.

The vital and immensely colorful, very narrative music [of Redes] is superbly played under the direction of Angel Gil-Ordonez. […] Copland’s score is highly atmospheric and supports the expressiveness of the images with no less expressive, quasi-argumentative music. The result is a wonderful, highly original score with a lasting effect, which can be heard on this CD in a very haunting interpretation. Listened to without the movie pictures, it becomes, like the music of Revueltas, a magnificent tone poem.

Herrmann composed some of the best-known film music ever written — especially the scores he wrote for Alfred Hitchcock. Now a new CD shows another side of Herrmann that’s equally memorable […] The variety of music on this CD –colorful, romantic, witty, patriotic, nerve-wracking– shows how much Bernard Herrmann’s concert and radio music equaled the astonishing range of his work for film.

Each new album by PostClasical Ensemble and its director, Ángel Gil-Ordóñez, is both a surprise and a discovery. The deserved result of investigating beyond the predictable. And this new album of his is not an exception in his line, but the joyous confirmation of it.

The PostClassical Ensemble is making you an offer you can’t refuse. Next week, the group will perform a pair of concerts in Washington, D.C, and Baltimore featuring the orchestral works of the most famous composer you’ve never heard of — Nino Rota, the Academy Award-winning magician behind the scores for The Godfather parts 1 and 2 and a slew of films directed by Federico Fellini.

Maestro Angel Gil-Ordóñez, Spanish-born American conductor, founder of the PostClassical Ensemble — and our February cover model — spoke with The Georgetowner about his passion for music, what he loves about the D.C. arts scene and his upcoming projects.

PostClassical Ensemble, la plataforma musical creada por el director de orquesta español afincado en Washington y el musicólogo Joseph Horowitz, lleva dos décadas reinventando la música clásica en Estados Unidos.

[…] His latest album on the Naxos label is dedicated to composer Bernard Herrmann, author of the soundtracks for some of Hitchcock’s most famous films. The record offers the absolute first recording of Whitman, a radio drama whose music Herrmann composed in 1944 on texts of the great American poet.

Ángel Gil-Ordóñez discusses the essence of music, the importance of risk in performances, the challenges of mastering string instruments, and his innovative approach to conducting, emphasizing collaboration and audience engagement through the PostClassical Ensemble.

The world of work has inspired some of our best-known classical music. From Schumann to Shostakovich, to one of the most respected American classical composers of the twentieth century: Aaron Copland. For Labor Day, Copland is our focus.

We spoke with Ángel Gil-Ordoñez who presents a new album, recorded with PostClassical Ensemble, with works by Bernard Herrmann.

Ricardo de Cala from Radio Nacional de España’s radio program Maestros cantores asks Angel Gil-Ordóñez about his new projects.

Taking advantage of his recent visit to Madrid, Andreu Jaume conducts an in-depth interview with Angel Gil-Ordóñez about his career, his training, and the enigmatic and fascinating art of conducting.

The Chairman Mixes is a series of chats with cocktail pairings. In this first episode, Ángel Gil-Ordóñez, PostClassical Ensemble’s conductor and music director, joins Douglas Rathbun, PCE’s board chair, looking into the conductor as a profession. The discussion is paired with the 1888 recipe of the classic Martini cocktail.

Un café con… is a series of virtual talks with the Ambassador of Spain, Santiago Cabanas, and Spanish influencers living in the U.S. Organized by the Cultural Office of the Embassy of Spain and hosted by the Ambassador, during 30 minutes you will have the opportunity to get to know these special guests better.

Mirador Cultural TV interviews the internationally renowned Spanish-American conductor Ángel Gil-Ordoñez, as part of the Christmas Gala concert that the Orchestra and choirs of the Trinitate Philarmonia offered to the Leonese audience at the Renacimiento Auditorium on Wednesday, December 19, 2018.