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A Number of Tragedies

2 years 1 month ago

Laumeier Sculpture Park’s 2023 Visiting Artists in Residence are Pittsburgh-based artists Lenka Clayton and Phillip Andrew Lewis. This collaborative duo utilizes innovative approaches to conceptualism and minimalism to realize their […]

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Rachel Huffman

Red flag warning issued for high fire spread risk

2 years 1 month ago
Gusty winds and unseasonably warm temperatures today, with temperatures near 80. The winds, combined with low humidity and dry vegetation, create favorable conditions for rapid fire spread this evening.
Jaime Travers

The Moral Authority of Marc Rowan

2 years 1 month ago
The private equity billionaire is leading a boycott of an Ivy League oligarch factory over a Palestinian literary festival it held last month.
Maureen Tkacik

MTT Conducts Beethoven’s Ninth with the SFS

2 years 1 month ago
The late Bay Area composer, academic, and arts leader Olly Wilson drew from his vast knowledge of African and African-American art forms and genres, as well as standard conservatory fare, to create his own musical language, transforming field research into felt experience. Inspired by the Yoruban god of thunder and lightning, Shango Memory uses a post-bop jazz idiom to rewrite the tropes of European modernism. Wilson's style is informed but not dictated by his extensive ethnomusicological studies in West Africa. Like Beethoven's Ninth, Shango Memory marshals the elements to approach the divine. Ancestor worship—re-imagined as an alternative, Africanized canon—becomes a force for collective liberation. Like many young men of his time and place, Beethoven was deeply moved by Friedrich Schiller's "An die Freude." In the decades that transpired before he set Schiller's heady verses to the tune we can all hum in our sleep, Beethoven witnessed the degradation of his Enlightenment-inspired ideals. The Age of Reason devolved into the Age of Metternich. In 1824, when ordinary Austrians could be arrested for saying the word "freedom" or gathering in unrelated groups, resurrecting Schiller's humanist anthem was downright subversive. Almost two centuries later, the Ninth's message retains its urgent relevance: music as the source and full expression of a radical—even revolutionary—communal joy.
René Spencer Saller