History interacts with our contemporary art experiences. That’s what keeps New York’s cultural scene lively and enriches our appreciation. At the Carnegie Hall concert for Philip Glass’ 75th birthday, the premiere of a new work (Glass’ Symphony No. 9, reviewed by Judy Gelman Myers) was also a reminder of his impact on the course of serious music. Howard Mandel traces its influence even in new work by jazz lone wolf Tim Berne.
Ella and Louis, 1958. © Polygram Records
These events—signs of New York’s variety—parallel the opening of the Broadway production entitled The Gershwins’ Porgy and Bess, where the past is revived with new urgency and intelligence. Every number resonates with memories of previous interpretations, even as the current cast brings fresh emotion and intensity to their characterizations. Joseph Smith’s opera definition tells us why.
Historical resonance is essential to bringing thinking back for sophisticated art appreciation. We always respond to new experiences with curiosity about fresh meanings but also with an understanding of the artistic heritage being extended. At CityArts, the balance of the new and the vintage is a journalistic requirement and a necessity for art lovers.
It’s a matter of “memory and visual echoes” as Jim Long writes in his Carrie Pollock review.
This awareness affects the way we value art experience, as seen in Joel Lobenthal’s survey of the star system being practiced by different dance companies and Ben Kessler’s deep look at the phenomenon of solo dance pieces in current music videos. Even an art form as young as the music video has traditions that affect the way new work is made and can be understood.
This also holds true for gaming, as Steve Haske illustrates in writing about Rayman Origins—an example of the unique pleasure to be had from interactive art.
About the cover: The 1958 Ella Fitzgerald and Louis Armstrong recording of Porgy and Bess’ songs exemplifies the best interaction. It’s impossible to watch a new production without also hearing how Ella and Louis made the landmark show part of their individual artistry. Claiming Porgy and Bess as their own—as Audra McDonald and Norm Lewis do—Ella and Louis confirmed an authentic expression of American ambition. We salute it as one of the great cultural artifacts.
