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DTSTART;TZID=America/New_York:20220924T193000
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CREATED:20220803T124140Z
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UID:10000007-1664047800-1664055000@www.thevillagetrip.com
SUMMARY:Village Composers and Stephen Dembski\, featuring soprano Sharon Harms
DESCRIPTION:“Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences” – Undine Smith Moore\nFrom the Courtyard first recreates the sounds of an East Village tenement courtyard\, shared by multicultural immigrant families\, then moves into the concert hall to hear how the rich legacy of folk music inspired later generations of composers. The concert features a premiere by Clarice Assad. Presented in cooperation with the Tenement Museum.\nThe concert features the innovative ensemble Raices Negras\, with flautist Ceylon Mitchell\, cellist Erin Murphy Snedecor\, and pianist Elizabeth G. Hill\, joined by soprano Sharon Harms and pianists Joan Forsyth and Tony Lu. Music by Lazar Weiner and his son Yehudi  Wyner\, Amy Beach\, Manuel Ponce\, Undine Smith Moore\, George Walker and Tanya Leon. Courtyard music provided by community musicians. \nA powerful communicator renowned for her musical scope and versatility\, Brazilian-American Clarice Assad is a significant voice in the classical\, world music\, pop\, and jazz genres. The Grammy–nominated composer\, pianist\, vocalist\, and educator is acclaimed for her evocative colors\, rich textures\, and diverse stylistic range. “She energetically bends music to her will and reshapes it with fascinating results” – Jazz Improv Magazine \nLazar Weiner immigrated to New York from Cherkasy\, Ukraine in 1914. An accomplished pianist\, he soon found work in the silent movie industry and the Yiddish musical milieu that had sprung up around Second Avenue in the East Village. He was a prolific composer of Yiddish art songs\, and his son\, Pulitzer Prize-winner Yehudi Wyner\, grew up in the City amidst this vibrant Yiddish cultural and intellectual tradition. We pair Lazar Weiner’s moving “Somewhere Far Away” and lively “Yoshi the Klezmer” with Yehudi Wyner’s early Psalm and Family Vaudeville songs. \nComposer Manuel Ponce (1882-1948) scandalized ardent defenders of European classical music when he gave a concert combining Mexican popular and traditional songs with European artistic genres. He became an ardent advocate for South and Latin American music\, exploring and cataloguing native music and developing its melodic and rhythmic features in his own original works. \nAmy Beach (1867-1944) moved from Boston to New York City in 1915\, attracted by its vibrant musical life. Her own compositional credo embraced folk music\, in particular the folk songs of her own ancestors\, the Irish\, Scottish and English peoples who had immigrated to America. She wanted to depict the “laments\, romances and dreams” of the Irish peoples in her Suite for Two Pianos Founded Upon Old Irish Melodies. An ardent contributor to New York’s intellectual and artistic scene\, she wrote a response in the Times to Dvorak’s call for American composers to embrace the music of indigenous and African immigrants with a reminder that the cultural legacy of the British Isles was also a strong element of American cultural heritage. The dialogue reflects the search for a truly “American” musical identity that was a strong part of early twentieth-century musical thought in the Americas\, a desire to shake off the chains of the European classical tradition and find new paths that reaffirmed new national identities. \nCuban-born Tania León’s compositional style has been influenced by Undine Smith Moore (1904-89)\, one of the most prominent African-American women composers of the 20th Century. Her Afro-American Suite (1969) sets traditional spirituals in a contemporary modern harmonic idiom. Dr Moore once said: “Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences.” \nMusic from the Courtyard program: \n\nLazar Weiner – “Somewhere Far Away\,” “Yoshi the Klezmer”\nYehudi Wyner – Psalm 112\, Family Vaudeville Songs\nAmy Cheney Beach – “Prelude” and “Finale” from Suite for Two Pianos\nUndine Smith Moore – Afro-American Suite\nManuel M. Ponce – Canciones Mexicanas\nClarice Assad – Flight of the Fairies\nTania Leon – Arenas d’un Tiempo\n\nPerformers\n Raices Negras Ensemble\nCeylon Mitchell\, flute\nErin Murphy Snedecor\, cello\nElizabeth G. Hill\, piano\nSharon Harms\, soprano\nJoan Forsyth\, piano \n\n7 pm Courtyard Prelude\n7:30 pm Concert \n\n\n			\n		\n			\n			BUY TICKETS FROM HUMANITIX
URL:https://www.thevillagetrip.com/event/village-composers-and-stephen-dembski-featuring-soprano-sharon-harms/
LOCATION:Tenri Cultural Institute\, 43A West 13th Street\, NY\, NY 10011\, United States
CATEGORIES:2022 Music,New Music
ATTACH;FMTTYPE=image/jpeg:https://www.thevillagetrip.com/festival/wp-content/uploads/2022/08/Stephen-Dembski.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20220924T213000
DTEND;TZID=America/New_York:20220924T230000
DTSTAMP:20220812T095449Z
CREATED:20220812T095448Z
LAST-MODIFIED:20220812T095449Z
UID:10000019-1664055000-1664060400@www.thevillagetrip.com
SUMMARY:Amanda Reckonwith Returns
DESCRIPTION:“Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences” – Undine Smith Moore\nFrom the Courtyard first recreates the sounds of an East Village tenement courtyard\, shared by multicultural immigrant families\, then moves into the concert hall to hear how the rich legacy of folk music inspired later generations of composers. The concert features a premiere by Clarice Assad. Presented in cooperation with the Tenement Museum.\nThe concert features the innovative ensemble Raices Negras\, with flautist Ceylon Mitchell\, cellist Erin Murphy Snedecor\, and pianist Elizabeth G. Hill\, joined by soprano Sharon Harms and pianists Joan Forsyth and Tony Lu. Music by Lazar Weiner and his son Yehudi  Wyner\, Amy Beach\, Manuel Ponce\, Undine Smith Moore\, George Walker and Tanya Leon. Courtyard music provided by community musicians. \nA powerful communicator renowned for her musical scope and versatility\, Brazilian-American Clarice Assad is a significant voice in the classical\, world music\, pop\, and jazz genres. The Grammy–nominated composer\, pianist\, vocalist\, and educator is acclaimed for her evocative colors\, rich textures\, and diverse stylistic range. “She energetically bends music to her will and reshapes it with fascinating results” – Jazz Improv Magazine \nLazar Weiner immigrated to New York from Cherkasy\, Ukraine in 1914. An accomplished pianist\, he soon found work in the silent movie industry and the Yiddish musical milieu that had sprung up around Second Avenue in the East Village. He was a prolific composer of Yiddish art songs\, and his son\, Pulitzer Prize-winner Yehudi Wyner\, grew up in the City amidst this vibrant Yiddish cultural and intellectual tradition. We pair Lazar Weiner’s moving “Somewhere Far Away” and lively “Yoshi the Klezmer” with Yehudi Wyner’s early Psalm and Family Vaudeville songs. \nComposer Manuel Ponce (1882-1948) scandalized ardent defenders of European classical music when he gave a concert combining Mexican popular and traditional songs with European artistic genres. He became an ardent advocate for South and Latin American music\, exploring and cataloguing native music and developing its melodic and rhythmic features in his own original works. \nAmy Beach (1867-1944) moved from Boston to New York City in 1915\, attracted by its vibrant musical life. Her own compositional credo embraced folk music\, in particular the folk songs of her own ancestors\, the Irish\, Scottish and English peoples who had immigrated to America. She wanted to depict the “laments\, romances and dreams” of the Irish peoples in her Suite for Two Pianos Founded Upon Old Irish Melodies. An ardent contributor to New York’s intellectual and artistic scene\, she wrote a response in the Times to Dvorak’s call for American composers to embrace the music of indigenous and African immigrants with a reminder that the cultural legacy of the British Isles was also a strong element of American cultural heritage. The dialogue reflects the search for a truly “American” musical identity that was a strong part of early twentieth-century musical thought in the Americas\, a desire to shake off the chains of the European classical tradition and find new paths that reaffirmed new national identities. \nCuban-born Tania León’s compositional style has been influenced by Undine Smith Moore (1904-89)\, one of the most prominent African-American women composers of the 20th Century. Her Afro-American Suite (1969) sets traditional spirituals in a contemporary modern harmonic idiom. Dr Moore once said: “Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences.” \nMusic from the Courtyard program: \n\nLazar Weiner – “Somewhere Far Away\,” “Yoshi the Klezmer”\nYehudi Wyner – Psalm 112\, Family Vaudeville Songs\nAmy Cheney Beach – “Prelude” and “Finale” from Suite for Two Pianos\nUndine Smith Moore – Afro-American Suite\nManuel M. Ponce – Canciones Mexicanas\nClarice Assad – Flight of the Fairies\nTania Leon – Arenas d’un Tiempo\n\nPerformers\n Raices Negras Ensemble\nCeylon Mitchell\, flute\nErin Murphy Snedecor\, cello\nElizabeth G. Hill\, piano\nSharon Harms\, soprano\nJoan Forsyth\, piano \n\n7 pm Courtyard Prelude\n7:30 pm Concert \n\n\n			\n		\n			\n			BUY TICKETS FROM HUMANITIX
URL:https://www.thevillagetrip.com/event/amanda-reckonwith-returns/
LOCATION:Pangea NYC\, 178 2nd Ave\, NY\, NY 10003\, United States
CATEGORIES:2022 Music
ATTACH;FMTTYPE=image/jpeg:https://www.thevillagetrip.com/festival/wp-content/uploads/2022/08/pangea-logo.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20220925T140000
DTEND;TZID=America/New_York:20220925T160000
DTSTAMP:20220914T084408Z
CREATED:20220817T092147Z
LAST-MODIFIED:20220914T084408Z
UID:10000109-1664114400-1664121600@www.thevillagetrip.com
SUMMARY:The Dark Side of Bohemia: Peace\, Love\, and Murder among the Hippies and the Beats\, walking tour
DESCRIPTION:“Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences” – Undine Smith Moore\nFrom the Courtyard first recreates the sounds of an East Village tenement courtyard\, shared by multicultural immigrant families\, then moves into the concert hall to hear how the rich legacy of folk music inspired later generations of composers. The concert features a premiere by Clarice Assad. Presented in cooperation with the Tenement Museum.\nThe concert features the innovative ensemble Raices Negras\, with flautist Ceylon Mitchell\, cellist Erin Murphy Snedecor\, and pianist Elizabeth G. Hill\, joined by soprano Sharon Harms and pianists Joan Forsyth and Tony Lu. Music by Lazar Weiner and his son Yehudi  Wyner\, Amy Beach\, Manuel Ponce\, Undine Smith Moore\, George Walker and Tanya Leon. Courtyard music provided by community musicians. \nA powerful communicator renowned for her musical scope and versatility\, Brazilian-American Clarice Assad is a significant voice in the classical\, world music\, pop\, and jazz genres. The Grammy–nominated composer\, pianist\, vocalist\, and educator is acclaimed for her evocative colors\, rich textures\, and diverse stylistic range. “She energetically bends music to her will and reshapes it with fascinating results” – Jazz Improv Magazine \nLazar Weiner immigrated to New York from Cherkasy\, Ukraine in 1914. An accomplished pianist\, he soon found work in the silent movie industry and the Yiddish musical milieu that had sprung up around Second Avenue in the East Village. He was a prolific composer of Yiddish art songs\, and his son\, Pulitzer Prize-winner Yehudi Wyner\, grew up in the City amidst this vibrant Yiddish cultural and intellectual tradition. We pair Lazar Weiner’s moving “Somewhere Far Away” and lively “Yoshi the Klezmer” with Yehudi Wyner’s early Psalm and Family Vaudeville songs. \nComposer Manuel Ponce (1882-1948) scandalized ardent defenders of European classical music when he gave a concert combining Mexican popular and traditional songs with European artistic genres. He became an ardent advocate for South and Latin American music\, exploring and cataloguing native music and developing its melodic and rhythmic features in his own original works. \nAmy Beach (1867-1944) moved from Boston to New York City in 1915\, attracted by its vibrant musical life. Her own compositional credo embraced folk music\, in particular the folk songs of her own ancestors\, the Irish\, Scottish and English peoples who had immigrated to America. She wanted to depict the “laments\, romances and dreams” of the Irish peoples in her Suite for Two Pianos Founded Upon Old Irish Melodies. An ardent contributor to New York’s intellectual and artistic scene\, she wrote a response in the Times to Dvorak’s call for American composers to embrace the music of indigenous and African immigrants with a reminder that the cultural legacy of the British Isles was also a strong element of American cultural heritage. The dialogue reflects the search for a truly “American” musical identity that was a strong part of early twentieth-century musical thought in the Americas\, a desire to shake off the chains of the European classical tradition and find new paths that reaffirmed new national identities. \nCuban-born Tania León’s compositional style has been influenced by Undine Smith Moore (1904-89)\, one of the most prominent African-American women composers of the 20th Century. Her Afro-American Suite (1969) sets traditional spirituals in a contemporary modern harmonic idiom. Dr Moore once said: “Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences.” \nMusic from the Courtyard program: \n\nLazar Weiner – “Somewhere Far Away\,” “Yoshi the Klezmer”\nYehudi Wyner – Psalm 112\, Family Vaudeville Songs\nAmy Cheney Beach – “Prelude” and “Finale” from Suite for Two Pianos\nUndine Smith Moore – Afro-American Suite\nManuel M. Ponce – Canciones Mexicanas\nClarice Assad – Flight of the Fairies\nTania Leon – Arenas d’un Tiempo\n\nPerformers\n Raices Negras Ensemble\nCeylon Mitchell\, flute\nErin Murphy Snedecor\, cello\nElizabeth G. Hill\, piano\nSharon Harms\, soprano\nJoan Forsyth\, piano \n\n7 pm Courtyard Prelude\n7:30 pm Concert \n\n\n			\n		\n			\n			BUY TICKETS FROM HUMANITIX
URL:https://www.thevillagetrip.com/event/the-dark-side-of-bohemia-peace-love-and-murder-among-the-hippies-and-the-beats-walking-tour/2022-09-25/
LOCATION:SW corner of East 9th Street and Avenue C\, 137 Avenue C\, NY\, 10009\, United States
CATEGORIES:2022 Tour
ATTACH;FMTTYPE=image/jpeg:https://www.thevillagetrip.com/festival/wp-content/uploads/2022/08/True-Crime-tour-hippies-on-St-Marks-Pl.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230906T140000
DTEND;TZID=America/New_York:20230924T170000
DTSTAMP:20230824T152348Z
CREATED:20230710T074534Z
LAST-MODIFIED:20230824T152348Z
UID:10000116-1694008800-1695574800@www.thevillagetrip.com
SUMMARY:Framing the Village: Portraits by Village Artists: Exhibition until Sept 24
DESCRIPTION:“Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences” – Undine Smith Moore\nFrom the Courtyard first recreates the sounds of an East Village tenement courtyard\, shared by multicultural immigrant families\, then moves into the concert hall to hear how the rich legacy of folk music inspired later generations of composers. The concert features a premiere by Clarice Assad. Presented in cooperation with the Tenement Museum.\nThe concert features the innovative ensemble Raices Negras\, with flautist Ceylon Mitchell\, cellist Erin Murphy Snedecor\, and pianist Elizabeth G. Hill\, joined by soprano Sharon Harms and pianists Joan Forsyth and Tony Lu. Music by Lazar Weiner and his son Yehudi  Wyner\, Amy Beach\, Manuel Ponce\, Undine Smith Moore\, George Walker and Tanya Leon. Courtyard music provided by community musicians. \nA powerful communicator renowned for her musical scope and versatility\, Brazilian-American Clarice Assad is a significant voice in the classical\, world music\, pop\, and jazz genres. The Grammy–nominated composer\, pianist\, vocalist\, and educator is acclaimed for her evocative colors\, rich textures\, and diverse stylistic range. “She energetically bends music to her will and reshapes it with fascinating results” – Jazz Improv Magazine \nLazar Weiner immigrated to New York from Cherkasy\, Ukraine in 1914. An accomplished pianist\, he soon found work in the silent movie industry and the Yiddish musical milieu that had sprung up around Second Avenue in the East Village. He was a prolific composer of Yiddish art songs\, and his son\, Pulitzer Prize-winner Yehudi Wyner\, grew up in the City amidst this vibrant Yiddish cultural and intellectual tradition. We pair Lazar Weiner’s moving “Somewhere Far Away” and lively “Yoshi the Klezmer” with Yehudi Wyner’s early Psalm and Family Vaudeville songs. \nComposer Manuel Ponce (1882-1948) scandalized ardent defenders of European classical music when he gave a concert combining Mexican popular and traditional songs with European artistic genres. He became an ardent advocate for South and Latin American music\, exploring and cataloguing native music and developing its melodic and rhythmic features in his own original works. \nAmy Beach (1867-1944) moved from Boston to New York City in 1915\, attracted by its vibrant musical life. Her own compositional credo embraced folk music\, in particular the folk songs of her own ancestors\, the Irish\, Scottish and English peoples who had immigrated to America. She wanted to depict the “laments\, romances and dreams” of the Irish peoples in her Suite for Two Pianos Founded Upon Old Irish Melodies. An ardent contributor to New York’s intellectual and artistic scene\, she wrote a response in the Times to Dvorak’s call for American composers to embrace the music of indigenous and African immigrants with a reminder that the cultural legacy of the British Isles was also a strong element of American cultural heritage. The dialogue reflects the search for a truly “American” musical identity that was a strong part of early twentieth-century musical thought in the Americas\, a desire to shake off the chains of the European classical tradition and find new paths that reaffirmed new national identities. \nCuban-born Tania León’s compositional style has been influenced by Undine Smith Moore (1904-89)\, one of the most prominent African-American women composers of the 20th Century. Her Afro-American Suite (1969) sets traditional spirituals in a contemporary modern harmonic idiom. Dr Moore once said: “Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences.” \nMusic from the Courtyard program: \n\nLazar Weiner – “Somewhere Far Away\,” “Yoshi the Klezmer”\nYehudi Wyner – Psalm 112\, Family Vaudeville Songs\nAmy Cheney Beach – “Prelude” and “Finale” from Suite for Two Pianos\nUndine Smith Moore – Afro-American Suite\nManuel M. Ponce – Canciones Mexicanas\nClarice Assad – Flight of the Fairies\nTania Leon – Arenas d’un Tiempo\n\nPerformers\n Raices Negras Ensemble\nCeylon Mitchell\, flute\nErin Murphy Snedecor\, cello\nElizabeth G. Hill\, piano\nSharon Harms\, soprano\nJoan Forsyth\, piano \n\n7 pm Courtyard Prelude\n7:30 pm Concert \n\n\n			\n		\n			\n			BUY TICKETS FROM HUMANITIX
URL:https://www.thevillagetrip.com/event/framing-the-village-2023/
LOCATION:Moshava Art\, 45 W 8th Street\, Second Floor\, New York\, NY\, NY 10011\, United States
CATEGORIES:2023 Art & Film,2023 Highlights
ATTACH;FMTTYPE=image/jpeg:https://www.thevillagetrip.com/festival/wp-content/uploads/2023/07/Moshava-Art-Gallery.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230908T060000
DTEND;TZID=America/New_York:20230908T210000
DTSTAMP:20231016T100847Z
CREATED:20230710T075653Z
LAST-MODIFIED:20231016T100847Z
UID:10000117-1694152800-1694206800@www.thevillagetrip.com
SUMMARY:Satie’s Vexations\, 60 years after John Cage
DESCRIPTION:“Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences” – Undine Smith Moore\nFrom the Courtyard first recreates the sounds of an East Village tenement courtyard\, shared by multicultural immigrant families\, then moves into the concert hall to hear how the rich legacy of folk music inspired later generations of composers. The concert features a premiere by Clarice Assad. Presented in cooperation with the Tenement Museum.\nThe concert features the innovative ensemble Raices Negras\, with flautist Ceylon Mitchell\, cellist Erin Murphy Snedecor\, and pianist Elizabeth G. Hill\, joined by soprano Sharon Harms and pianists Joan Forsyth and Tony Lu. Music by Lazar Weiner and his son Yehudi  Wyner\, Amy Beach\, Manuel Ponce\, Undine Smith Moore\, George Walker and Tanya Leon. Courtyard music provided by community musicians. \nA powerful communicator renowned for her musical scope and versatility\, Brazilian-American Clarice Assad is a significant voice in the classical\, world music\, pop\, and jazz genres. The Grammy–nominated composer\, pianist\, vocalist\, and educator is acclaimed for her evocative colors\, rich textures\, and diverse stylistic range. “She energetically bends music to her will and reshapes it with fascinating results” – Jazz Improv Magazine \nLazar Weiner immigrated to New York from Cherkasy\, Ukraine in 1914. An accomplished pianist\, he soon found work in the silent movie industry and the Yiddish musical milieu that had sprung up around Second Avenue in the East Village. He was a prolific composer of Yiddish art songs\, and his son\, Pulitzer Prize-winner Yehudi Wyner\, grew up in the City amidst this vibrant Yiddish cultural and intellectual tradition. We pair Lazar Weiner’s moving “Somewhere Far Away” and lively “Yoshi the Klezmer” with Yehudi Wyner’s early Psalm and Family Vaudeville songs. \nComposer Manuel Ponce (1882-1948) scandalized ardent defenders of European classical music when he gave a concert combining Mexican popular and traditional songs with European artistic genres. He became an ardent advocate for South and Latin American music\, exploring and cataloguing native music and developing its melodic and rhythmic features in his own original works. \nAmy Beach (1867-1944) moved from Boston to New York City in 1915\, attracted by its vibrant musical life. Her own compositional credo embraced folk music\, in particular the folk songs of her own ancestors\, the Irish\, Scottish and English peoples who had immigrated to America. She wanted to depict the “laments\, romances and dreams” of the Irish peoples in her Suite for Two Pianos Founded Upon Old Irish Melodies. An ardent contributor to New York’s intellectual and artistic scene\, she wrote a response in the Times to Dvorak’s call for American composers to embrace the music of indigenous and African immigrants with a reminder that the cultural legacy of the British Isles was also a strong element of American cultural heritage. The dialogue reflects the search for a truly “American” musical identity that was a strong part of early twentieth-century musical thought in the Americas\, a desire to shake off the chains of the European classical tradition and find new paths that reaffirmed new national identities. \nCuban-born Tania León’s compositional style has been influenced by Undine Smith Moore (1904-89)\, one of the most prominent African-American women composers of the 20th Century. Her Afro-American Suite (1969) sets traditional spirituals in a contemporary modern harmonic idiom. Dr Moore once said: “Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences.” \nMusic from the Courtyard program: \n\nLazar Weiner – “Somewhere Far Away\,” “Yoshi the Klezmer”\nYehudi Wyner – Psalm 112\, Family Vaudeville Songs\nAmy Cheney Beach – “Prelude” and “Finale” from Suite for Two Pianos\nUndine Smith Moore – Afro-American Suite\nManuel M. Ponce – Canciones Mexicanas\nClarice Assad – Flight of the Fairies\nTania Leon – Arenas d’un Tiempo\n\nPerformers\n Raices Negras Ensemble\nCeylon Mitchell\, flute\nErin Murphy Snedecor\, cello\nElizabeth G. Hill\, piano\nSharon Harms\, soprano\nJoan Forsyth\, piano \n\n7 pm Courtyard Prelude\n7:30 pm Concert \n\n\n			\n		\n			\n			BUY TICKETS FROM HUMANITIX
URL:https://www.thevillagetrip.com/event/saties-vexations/
LOCATION:NYU Paulson Center\, 181 Mercer Street\, New York\, NY\, 10012\, United States
CATEGORIES:2023 Highlights,2023 New Music
ATTACH;FMTTYPE=image/jpeg:https://www.thevillagetrip.com/festival/wp-content/uploads/2023/07/Vexations-image.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230909T100000
DTEND;TZID=America/New_York:20230909T111500
DTSTAMP:20230804T125638Z
CREATED:20230803T122214Z
LAST-MODIFIED:20230804T125638Z
UID:10000087-1694253600-1694258100@www.thevillagetrip.com
SUMMARY:Songwriting to Save the World! Workshop with David Roth for Kids Aged 6 to 8
DESCRIPTION:“Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences” – Undine Smith Moore\nFrom the Courtyard first recreates the sounds of an East Village tenement courtyard\, shared by multicultural immigrant families\, then moves into the concert hall to hear how the rich legacy of folk music inspired later generations of composers. The concert features a premiere by Clarice Assad. Presented in cooperation with the Tenement Museum.\nThe concert features the innovative ensemble Raices Negras\, with flautist Ceylon Mitchell\, cellist Erin Murphy Snedecor\, and pianist Elizabeth G. Hill\, joined by soprano Sharon Harms and pianists Joan Forsyth and Tony Lu. Music by Lazar Weiner and his son Yehudi  Wyner\, Amy Beach\, Manuel Ponce\, Undine Smith Moore\, George Walker and Tanya Leon. Courtyard music provided by community musicians. \nA powerful communicator renowned for her musical scope and versatility\, Brazilian-American Clarice Assad is a significant voice in the classical\, world music\, pop\, and jazz genres. The Grammy–nominated composer\, pianist\, vocalist\, and educator is acclaimed for her evocative colors\, rich textures\, and diverse stylistic range. “She energetically bends music to her will and reshapes it with fascinating results” – Jazz Improv Magazine \nLazar Weiner immigrated to New York from Cherkasy\, Ukraine in 1914. An accomplished pianist\, he soon found work in the silent movie industry and the Yiddish musical milieu that had sprung up around Second Avenue in the East Village. He was a prolific composer of Yiddish art songs\, and his son\, Pulitzer Prize-winner Yehudi Wyner\, grew up in the City amidst this vibrant Yiddish cultural and intellectual tradition. We pair Lazar Weiner’s moving “Somewhere Far Away” and lively “Yoshi the Klezmer” with Yehudi Wyner’s early Psalm and Family Vaudeville songs. \nComposer Manuel Ponce (1882-1948) scandalized ardent defenders of European classical music when he gave a concert combining Mexican popular and traditional songs with European artistic genres. He became an ardent advocate for South and Latin American music\, exploring and cataloguing native music and developing its melodic and rhythmic features in his own original works. \nAmy Beach (1867-1944) moved from Boston to New York City in 1915\, attracted by its vibrant musical life. Her own compositional credo embraced folk music\, in particular the folk songs of her own ancestors\, the Irish\, Scottish and English peoples who had immigrated to America. She wanted to depict the “laments\, romances and dreams” of the Irish peoples in her Suite for Two Pianos Founded Upon Old Irish Melodies. An ardent contributor to New York’s intellectual and artistic scene\, she wrote a response in the Times to Dvorak’s call for American composers to embrace the music of indigenous and African immigrants with a reminder that the cultural legacy of the British Isles was also a strong element of American cultural heritage. The dialogue reflects the search for a truly “American” musical identity that was a strong part of early twentieth-century musical thought in the Americas\, a desire to shake off the chains of the European classical tradition and find new paths that reaffirmed new national identities. \nCuban-born Tania León’s compositional style has been influenced by Undine Smith Moore (1904-89)\, one of the most prominent African-American women composers of the 20th Century. Her Afro-American Suite (1969) sets traditional spirituals in a contemporary modern harmonic idiom. Dr Moore once said: “Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences.” \nMusic from the Courtyard program: \n\nLazar Weiner – “Somewhere Far Away\,” “Yoshi the Klezmer”\nYehudi Wyner – Psalm 112\, Family Vaudeville Songs\nAmy Cheney Beach – “Prelude” and “Finale” from Suite for Two Pianos\nUndine Smith Moore – Afro-American Suite\nManuel M. Ponce – Canciones Mexicanas\nClarice Assad – Flight of the Fairies\nTania Leon – Arenas d’un Tiempo\n\nPerformers\n Raices Negras Ensemble\nCeylon Mitchell\, flute\nErin Murphy Snedecor\, cello\nElizabeth G. Hill\, piano\nSharon Harms\, soprano\nJoan Forsyth\, piano \n\n7 pm Courtyard Prelude\n7:30 pm Concert \n\n\n			\n		\n			\n			BUY TICKETS FROM HUMANITIX
URL:https://www.thevillagetrip.com/event/songwriting-to-save-the-world-6-to-8/
LOCATION:Greenwich House Music School\, 46 Barrow Street\, New York\, NY\, 10014\, United States
CATEGORIES:2023 Music,Children's Events
ATTACH;FMTTYPE=image/jpeg:https://www.thevillagetrip.com/festival/wp-content/uploads/2023/08/David-Roth-songwriting-workshop.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230909T120000
DTEND;TZID=America/New_York:20230909T140000
DTSTAMP:20230809T150154Z
CREATED:20230804T090842Z
LAST-MODIFIED:20230809T150154Z
UID:10000081-1694260800-1694268000@www.thevillagetrip.com
SUMMARY:Painting the Village: The Village Trip Art Walk: A Tour With and Historian Artist Marc Kehoe
DESCRIPTION:“Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences” – Undine Smith Moore\nFrom the Courtyard first recreates the sounds of an East Village tenement courtyard\, shared by multicultural immigrant families\, then moves into the concert hall to hear how the rich legacy of folk music inspired later generations of composers. The concert features a premiere by Clarice Assad. Presented in cooperation with the Tenement Museum.\nThe concert features the innovative ensemble Raices Negras\, with flautist Ceylon Mitchell\, cellist Erin Murphy Snedecor\, and pianist Elizabeth G. Hill\, joined by soprano Sharon Harms and pianists Joan Forsyth and Tony Lu. Music by Lazar Weiner and his son Yehudi  Wyner\, Amy Beach\, Manuel Ponce\, Undine Smith Moore\, George Walker and Tanya Leon. Courtyard music provided by community musicians. \nA powerful communicator renowned for her musical scope and versatility\, Brazilian-American Clarice Assad is a significant voice in the classical\, world music\, pop\, and jazz genres. The Grammy–nominated composer\, pianist\, vocalist\, and educator is acclaimed for her evocative colors\, rich textures\, and diverse stylistic range. “She energetically bends music to her will and reshapes it with fascinating results” – Jazz Improv Magazine \nLazar Weiner immigrated to New York from Cherkasy\, Ukraine in 1914. An accomplished pianist\, he soon found work in the silent movie industry and the Yiddish musical milieu that had sprung up around Second Avenue in the East Village. He was a prolific composer of Yiddish art songs\, and his son\, Pulitzer Prize-winner Yehudi Wyner\, grew up in the City amidst this vibrant Yiddish cultural and intellectual tradition. We pair Lazar Weiner’s moving “Somewhere Far Away” and lively “Yoshi the Klezmer” with Yehudi Wyner’s early Psalm and Family Vaudeville songs. \nComposer Manuel Ponce (1882-1948) scandalized ardent defenders of European classical music when he gave a concert combining Mexican popular and traditional songs with European artistic genres. He became an ardent advocate for South and Latin American music\, exploring and cataloguing native music and developing its melodic and rhythmic features in his own original works. \nAmy Beach (1867-1944) moved from Boston to New York City in 1915\, attracted by its vibrant musical life. Her own compositional credo embraced folk music\, in particular the folk songs of her own ancestors\, the Irish\, Scottish and English peoples who had immigrated to America. She wanted to depict the “laments\, romances and dreams” of the Irish peoples in her Suite for Two Pianos Founded Upon Old Irish Melodies. An ardent contributor to New York’s intellectual and artistic scene\, she wrote a response in the Times to Dvorak’s call for American composers to embrace the music of indigenous and African immigrants with a reminder that the cultural legacy of the British Isles was also a strong element of American cultural heritage. The dialogue reflects the search for a truly “American” musical identity that was a strong part of early twentieth-century musical thought in the Americas\, a desire to shake off the chains of the European classical tradition and find new paths that reaffirmed new national identities. \nCuban-born Tania León’s compositional style has been influenced by Undine Smith Moore (1904-89)\, one of the most prominent African-American women composers of the 20th Century. Her Afro-American Suite (1969) sets traditional spirituals in a contemporary modern harmonic idiom. Dr Moore once said: “Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences.” \nMusic from the Courtyard program: \n\nLazar Weiner – “Somewhere Far Away\,” “Yoshi the Klezmer”\nYehudi Wyner – Psalm 112\, Family Vaudeville Songs\nAmy Cheney Beach – “Prelude” and “Finale” from Suite for Two Pianos\nUndine Smith Moore – Afro-American Suite\nManuel M. Ponce – Canciones Mexicanas\nClarice Assad – Flight of the Fairies\nTania Leon – Arenas d’un Tiempo\n\nPerformers\n Raices Negras Ensemble\nCeylon Mitchell\, flute\nErin Murphy Snedecor\, cello\nElizabeth G. Hill\, piano\nSharon Harms\, soprano\nJoan Forsyth\, piano \n\n7 pm Courtyard Prelude\n7:30 pm Concert \n\n\n			\n		\n			\n			BUY TICKETS FROM HUMANITIX
URL:https://www.thevillagetrip.com/event/art-walk/
LOCATION:Washington Square Arch\, Washington Square Park\, New York\, NY\, NY\, 10012\, United States
CATEGORIES:2023 Tour
ATTACH;FMTTYPE=image/jpeg:https://www.thevillagetrip.com/festival/wp-content/uploads/2023/08/Marc-Kehoe-walks.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230909T130000
DTEND;TZID=America/New_York:20230909T141500
DTSTAMP:20231026T085022Z
CREATED:20230803T110929Z
LAST-MODIFIED:20231026T085022Z
UID:10000088-1694264400-1694268900@www.thevillagetrip.com
SUMMARY:Songwriting to Save the World! Workshop with David Roth for Kids Aged 9 to 12
DESCRIPTION:“Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences” – Undine Smith Moore\nFrom the Courtyard first recreates the sounds of an East Village tenement courtyard\, shared by multicultural immigrant families\, then moves into the concert hall to hear how the rich legacy of folk music inspired later generations of composers. The concert features a premiere by Clarice Assad. Presented in cooperation with the Tenement Museum.\nThe concert features the innovative ensemble Raices Negras\, with flautist Ceylon Mitchell\, cellist Erin Murphy Snedecor\, and pianist Elizabeth G. Hill\, joined by soprano Sharon Harms and pianists Joan Forsyth and Tony Lu. Music by Lazar Weiner and his son Yehudi  Wyner\, Amy Beach\, Manuel Ponce\, Undine Smith Moore\, George Walker and Tanya Leon. Courtyard music provided by community musicians. \nA powerful communicator renowned for her musical scope and versatility\, Brazilian-American Clarice Assad is a significant voice in the classical\, world music\, pop\, and jazz genres. The Grammy–nominated composer\, pianist\, vocalist\, and educator is acclaimed for her evocative colors\, rich textures\, and diverse stylistic range. “She energetically bends music to her will and reshapes it with fascinating results” – Jazz Improv Magazine \nLazar Weiner immigrated to New York from Cherkasy\, Ukraine in 1914. An accomplished pianist\, he soon found work in the silent movie industry and the Yiddish musical milieu that had sprung up around Second Avenue in the East Village. He was a prolific composer of Yiddish art songs\, and his son\, Pulitzer Prize-winner Yehudi Wyner\, grew up in the City amidst this vibrant Yiddish cultural and intellectual tradition. We pair Lazar Weiner’s moving “Somewhere Far Away” and lively “Yoshi the Klezmer” with Yehudi Wyner’s early Psalm and Family Vaudeville songs. \nComposer Manuel Ponce (1882-1948) scandalized ardent defenders of European classical music when he gave a concert combining Mexican popular and traditional songs with European artistic genres. He became an ardent advocate for South and Latin American music\, exploring and cataloguing native music and developing its melodic and rhythmic features in his own original works. \nAmy Beach (1867-1944) moved from Boston to New York City in 1915\, attracted by its vibrant musical life. Her own compositional credo embraced folk music\, in particular the folk songs of her own ancestors\, the Irish\, Scottish and English peoples who had immigrated to America. She wanted to depict the “laments\, romances and dreams” of the Irish peoples in her Suite for Two Pianos Founded Upon Old Irish Melodies. An ardent contributor to New York’s intellectual and artistic scene\, she wrote a response in the Times to Dvorak’s call for American composers to embrace the music of indigenous and African immigrants with a reminder that the cultural legacy of the British Isles was also a strong element of American cultural heritage. The dialogue reflects the search for a truly “American” musical identity that was a strong part of early twentieth-century musical thought in the Americas\, a desire to shake off the chains of the European classical tradition and find new paths that reaffirmed new national identities. \nCuban-born Tania León’s compositional style has been influenced by Undine Smith Moore (1904-89)\, one of the most prominent African-American women composers of the 20th Century. Her Afro-American Suite (1969) sets traditional spirituals in a contemporary modern harmonic idiom. Dr Moore once said: “Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences.” \nMusic from the Courtyard program: \n\nLazar Weiner – “Somewhere Far Away\,” “Yoshi the Klezmer”\nYehudi Wyner – Psalm 112\, Family Vaudeville Songs\nAmy Cheney Beach – “Prelude” and “Finale” from Suite for Two Pianos\nUndine Smith Moore – Afro-American Suite\nManuel M. Ponce – Canciones Mexicanas\nClarice Assad – Flight of the Fairies\nTania Leon – Arenas d’un Tiempo\n\nPerformers\n Raices Negras Ensemble\nCeylon Mitchell\, flute\nErin Murphy Snedecor\, cello\nElizabeth G. Hill\, piano\nSharon Harms\, soprano\nJoan Forsyth\, piano \n\n7 pm Courtyard Prelude\n7:30 pm Concert \n\n\n			\n		\n			\n			BUY TICKETS FROM HUMANITIX
URL:https://www.thevillagetrip.com/event/songwriting-to-save-the-world-9-12/
LOCATION:Greenwich House Music School\, 46 Barrow Street\, New York\, NY\, 10014\, United States
CATEGORIES:2023 Music,Children's Events
ATTACH;FMTTYPE=image/jpeg:https://www.thevillagetrip.com/festival/wp-content/uploads/2023/08/David-Roth-songwriting-workshop-boys.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230909T130000
DTEND;TZID=America/New_York:20230909T150000
DTSTAMP:20230805T103611Z
CREATED:20230802T130639Z
LAST-MODIFIED:20230805T103611Z
UID:10000168-1694264400-1694271600@www.thevillagetrip.com
SUMMARY:NoHo: Contemporary Architecture Amidst Historic Landmarks. Walking tour with Arthur Platt
DESCRIPTION:“Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences” – Undine Smith Moore\nFrom the Courtyard first recreates the sounds of an East Village tenement courtyard\, shared by multicultural immigrant families\, then moves into the concert hall to hear how the rich legacy of folk music inspired later generations of composers. The concert features a premiere by Clarice Assad. Presented in cooperation with the Tenement Museum.\nThe concert features the innovative ensemble Raices Negras\, with flautist Ceylon Mitchell\, cellist Erin Murphy Snedecor\, and pianist Elizabeth G. Hill\, joined by soprano Sharon Harms and pianists Joan Forsyth and Tony Lu. Music by Lazar Weiner and his son Yehudi  Wyner\, Amy Beach\, Manuel Ponce\, Undine Smith Moore\, George Walker and Tanya Leon. Courtyard music provided by community musicians. \nA powerful communicator renowned for her musical scope and versatility\, Brazilian-American Clarice Assad is a significant voice in the classical\, world music\, pop\, and jazz genres. The Grammy–nominated composer\, pianist\, vocalist\, and educator is acclaimed for her evocative colors\, rich textures\, and diverse stylistic range. “She energetically bends music to her will and reshapes it with fascinating results” – Jazz Improv Magazine \nLazar Weiner immigrated to New York from Cherkasy\, Ukraine in 1914. An accomplished pianist\, he soon found work in the silent movie industry and the Yiddish musical milieu that had sprung up around Second Avenue in the East Village. He was a prolific composer of Yiddish art songs\, and his son\, Pulitzer Prize-winner Yehudi Wyner\, grew up in the City amidst this vibrant Yiddish cultural and intellectual tradition. We pair Lazar Weiner’s moving “Somewhere Far Away” and lively “Yoshi the Klezmer” with Yehudi Wyner’s early Psalm and Family Vaudeville songs. \nComposer Manuel Ponce (1882-1948) scandalized ardent defenders of European classical music when he gave a concert combining Mexican popular and traditional songs with European artistic genres. He became an ardent advocate for South and Latin American music\, exploring and cataloguing native music and developing its melodic and rhythmic features in his own original works. \nAmy Beach (1867-1944) moved from Boston to New York City in 1915\, attracted by its vibrant musical life. Her own compositional credo embraced folk music\, in particular the folk songs of her own ancestors\, the Irish\, Scottish and English peoples who had immigrated to America. She wanted to depict the “laments\, romances and dreams” of the Irish peoples in her Suite for Two Pianos Founded Upon Old Irish Melodies. An ardent contributor to New York’s intellectual and artistic scene\, she wrote a response in the Times to Dvorak’s call for American composers to embrace the music of indigenous and African immigrants with a reminder that the cultural legacy of the British Isles was also a strong element of American cultural heritage. The dialogue reflects the search for a truly “American” musical identity that was a strong part of early twentieth-century musical thought in the Americas\, a desire to shake off the chains of the European classical tradition and find new paths that reaffirmed new national identities. \nCuban-born Tania León’s compositional style has been influenced by Undine Smith Moore (1904-89)\, one of the most prominent African-American women composers of the 20th Century. Her Afro-American Suite (1969) sets traditional spirituals in a contemporary modern harmonic idiom. Dr Moore once said: “Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences.” \nMusic from the Courtyard program: \n\nLazar Weiner – “Somewhere Far Away\,” “Yoshi the Klezmer”\nYehudi Wyner – Psalm 112\, Family Vaudeville Songs\nAmy Cheney Beach – “Prelude” and “Finale” from Suite for Two Pianos\nUndine Smith Moore – Afro-American Suite\nManuel M. Ponce – Canciones Mexicanas\nClarice Assad – Flight of the Fairies\nTania Leon – Arenas d’un Tiempo\n\nPerformers\n Raices Negras Ensemble\nCeylon Mitchell\, flute\nErin Murphy Snedecor\, cello\nElizabeth G. Hill\, piano\nSharon Harms\, soprano\nJoan Forsyth\, piano \n\n7 pm Courtyard Prelude\n7:30 pm Concert \n\n\n			\n		\n			\n			BUY TICKETS FROM HUMANITIX
URL:https://www.thevillagetrip.com/event/noho-contemporary-architecture/
LOCATION:South side of the Cooper Union Foundation Building\, 7 East 7th Street\, New York\, NY\, NY 10003\, United States
CATEGORIES:2023 Tour
ATTACH;FMTTYPE=image/jpeg:https://www.thevillagetrip.com/festival/wp-content/uploads/2023/08/NoHo-walking-tour.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230909T130000
DTEND;TZID=America/New_York:20230909T150000
DTSTAMP:20230801T083051Z
CREATED:20230722T142214Z
LAST-MODIFIED:20230801T083051Z
UID:10000152-1694264400-1694271600@www.thevillagetrip.com
SUMMARY:The Long-Gone But Not-Forgotten 1970s Music Venues of the East Village\, Walking Tour
DESCRIPTION:“Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences” – Undine Smith Moore\nFrom the Courtyard first recreates the sounds of an East Village tenement courtyard\, shared by multicultural immigrant families\, then moves into the concert hall to hear how the rich legacy of folk music inspired later generations of composers. The concert features a premiere by Clarice Assad. Presented in cooperation with the Tenement Museum.\nThe concert features the innovative ensemble Raices Negras\, with flautist Ceylon Mitchell\, cellist Erin Murphy Snedecor\, and pianist Elizabeth G. Hill\, joined by soprano Sharon Harms and pianists Joan Forsyth and Tony Lu. Music by Lazar Weiner and his son Yehudi  Wyner\, Amy Beach\, Manuel Ponce\, Undine Smith Moore\, George Walker and Tanya Leon. Courtyard music provided by community musicians. \nA powerful communicator renowned for her musical scope and versatility\, Brazilian-American Clarice Assad is a significant voice in the classical\, world music\, pop\, and jazz genres. The Grammy–nominated composer\, pianist\, vocalist\, and educator is acclaimed for her evocative colors\, rich textures\, and diverse stylistic range. “She energetically bends music to her will and reshapes it with fascinating results” – Jazz Improv Magazine \nLazar Weiner immigrated to New York from Cherkasy\, Ukraine in 1914. An accomplished pianist\, he soon found work in the silent movie industry and the Yiddish musical milieu that had sprung up around Second Avenue in the East Village. He was a prolific composer of Yiddish art songs\, and his son\, Pulitzer Prize-winner Yehudi Wyner\, grew up in the City amidst this vibrant Yiddish cultural and intellectual tradition. We pair Lazar Weiner’s moving “Somewhere Far Away” and lively “Yoshi the Klezmer” with Yehudi Wyner’s early Psalm and Family Vaudeville songs. \nComposer Manuel Ponce (1882-1948) scandalized ardent defenders of European classical music when he gave a concert combining Mexican popular and traditional songs with European artistic genres. He became an ardent advocate for South and Latin American music\, exploring and cataloguing native music and developing its melodic and rhythmic features in his own original works. \nAmy Beach (1867-1944) moved from Boston to New York City in 1915\, attracted by its vibrant musical life. Her own compositional credo embraced folk music\, in particular the folk songs of her own ancestors\, the Irish\, Scottish and English peoples who had immigrated to America. She wanted to depict the “laments\, romances and dreams” of the Irish peoples in her Suite for Two Pianos Founded Upon Old Irish Melodies. An ardent contributor to New York’s intellectual and artistic scene\, she wrote a response in the Times to Dvorak’s call for American composers to embrace the music of indigenous and African immigrants with a reminder that the cultural legacy of the British Isles was also a strong element of American cultural heritage. The dialogue reflects the search for a truly “American” musical identity that was a strong part of early twentieth-century musical thought in the Americas\, a desire to shake off the chains of the European classical tradition and find new paths that reaffirmed new national identities. \nCuban-born Tania León’s compositional style has been influenced by Undine Smith Moore (1904-89)\, one of the most prominent African-American women composers of the 20th Century. Her Afro-American Suite (1969) sets traditional spirituals in a contemporary modern harmonic idiom. Dr Moore once said: “Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences.” \nMusic from the Courtyard program: \n\nLazar Weiner – “Somewhere Far Away\,” “Yoshi the Klezmer”\nYehudi Wyner – Psalm 112\, Family Vaudeville Songs\nAmy Cheney Beach – “Prelude” and “Finale” from Suite for Two Pianos\nUndine Smith Moore – Afro-American Suite\nManuel M. Ponce – Canciones Mexicanas\nClarice Assad – Flight of the Fairies\nTania Leon – Arenas d’un Tiempo\n\nPerformers\n Raices Negras Ensemble\nCeylon Mitchell\, flute\nErin Murphy Snedecor\, cello\nElizabeth G. Hill\, piano\nSharon Harms\, soprano\nJoan Forsyth\, piano \n\n7 pm Courtyard Prelude\n7:30 pm Concert \n\n\n			\n		\n			\n			BUY TICKETS FROM HUMANITIX
URL:https://www.thevillagetrip.com/event/1970s-music-venues/2023-09-09/
LOCATION:105 Second Avenue at 6th Street\, 105 Second Avenue at 6th Street\, New York\, NY\, 10003\, United States
CATEGORIES:2023 Tour
ATTACH;FMTTYPE=image/jpeg:https://www.thevillagetrip.com/festival/wp-content/uploads/2023/07/McDermott-East-Village-rock-tour.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230909T140000
DTEND;TZID=America/New_York:20230909T180000
DTSTAMP:20230905T084118Z
CREATED:20230710T080245Z
LAST-MODIFIED:20230905T084118Z
UID:10000118-1694268000-1694282400@www.thevillagetrip.com
SUMMARY:The Village Trip at the Eighth Street Block Party
DESCRIPTION:“Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences” – Undine Smith Moore\nFrom the Courtyard first recreates the sounds of an East Village tenement courtyard\, shared by multicultural immigrant families\, then moves into the concert hall to hear how the rich legacy of folk music inspired later generations of composers. The concert features a premiere by Clarice Assad. Presented in cooperation with the Tenement Museum.\nThe concert features the innovative ensemble Raices Negras\, with flautist Ceylon Mitchell\, cellist Erin Murphy Snedecor\, and pianist Elizabeth G. Hill\, joined by soprano Sharon Harms and pianists Joan Forsyth and Tony Lu. Music by Lazar Weiner and his son Yehudi  Wyner\, Amy Beach\, Manuel Ponce\, Undine Smith Moore\, George Walker and Tanya Leon. Courtyard music provided by community musicians. \nA powerful communicator renowned for her musical scope and versatility\, Brazilian-American Clarice Assad is a significant voice in the classical\, world music\, pop\, and jazz genres. The Grammy–nominated composer\, pianist\, vocalist\, and educator is acclaimed for her evocative colors\, rich textures\, and diverse stylistic range. “She energetically bends music to her will and reshapes it with fascinating results” – Jazz Improv Magazine \nLazar Weiner immigrated to New York from Cherkasy\, Ukraine in 1914. An accomplished pianist\, he soon found work in the silent movie industry and the Yiddish musical milieu that had sprung up around Second Avenue in the East Village. He was a prolific composer of Yiddish art songs\, and his son\, Pulitzer Prize-winner Yehudi Wyner\, grew up in the City amidst this vibrant Yiddish cultural and intellectual tradition. We pair Lazar Weiner’s moving “Somewhere Far Away” and lively “Yoshi the Klezmer” with Yehudi Wyner’s early Psalm and Family Vaudeville songs. \nComposer Manuel Ponce (1882-1948) scandalized ardent defenders of European classical music when he gave a concert combining Mexican popular and traditional songs with European artistic genres. He became an ardent advocate for South and Latin American music\, exploring and cataloguing native music and developing its melodic and rhythmic features in his own original works. \nAmy Beach (1867-1944) moved from Boston to New York City in 1915\, attracted by its vibrant musical life. Her own compositional credo embraced folk music\, in particular the folk songs of her own ancestors\, the Irish\, Scottish and English peoples who had immigrated to America. She wanted to depict the “laments\, romances and dreams” of the Irish peoples in her Suite for Two Pianos Founded Upon Old Irish Melodies. An ardent contributor to New York’s intellectual and artistic scene\, she wrote a response in the Times to Dvorak’s call for American composers to embrace the music of indigenous and African immigrants with a reminder that the cultural legacy of the British Isles was also a strong element of American cultural heritage. The dialogue reflects the search for a truly “American” musical identity that was a strong part of early twentieth-century musical thought in the Americas\, a desire to shake off the chains of the European classical tradition and find new paths that reaffirmed new national identities. \nCuban-born Tania León’s compositional style has been influenced by Undine Smith Moore (1904-89)\, one of the most prominent African-American women composers of the 20th Century. Her Afro-American Suite (1969) sets traditional spirituals in a contemporary modern harmonic idiom. Dr Moore once said: “Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences.” \nMusic from the Courtyard program: \n\nLazar Weiner – “Somewhere Far Away\,” “Yoshi the Klezmer”\nYehudi Wyner – Psalm 112\, Family Vaudeville Songs\nAmy Cheney Beach – “Prelude” and “Finale” from Suite for Two Pianos\nUndine Smith Moore – Afro-American Suite\nManuel M. Ponce – Canciones Mexicanas\nClarice Assad – Flight of the Fairies\nTania Leon – Arenas d’un Tiempo\n\nPerformers\n Raices Negras Ensemble\nCeylon Mitchell\, flute\nErin Murphy Snedecor\, cello\nElizabeth G. Hill\, piano\nSharon Harms\, soprano\nJoan Forsyth\, piano \n\n7 pm Courtyard Prelude\n7:30 pm Concert \n\n\n			\n		\n			\n			BUY TICKETS FROM HUMANITIX
URL:https://www.thevillagetrip.com/event/eighth-street/
LOCATION:Intersection of Eighth and MacDougal streets\, Greenwich Village\, New York\, NY\, United States
CATEGORIES:2023 Highlights,2023 Music
ATTACH;FMTTYPE=image/jpeg:https://www.thevillagetrip.com/festival/wp-content/uploads/2023/07/David-Amram-Washington-Square-Arch.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230909T150000
DTEND;TZID=America/New_York:20230909T160000
DTSTAMP:20230821T165421Z
CREATED:20230710T080711Z
LAST-MODIFIED:20230821T165421Z
UID:10000119-1694271600-1694275200@www.thevillagetrip.com
SUMMARY:Diana Wege: Earth Requiem and Rebirth
DESCRIPTION:“Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences” – Undine Smith Moore\nFrom the Courtyard first recreates the sounds of an East Village tenement courtyard\, shared by multicultural immigrant families\, then moves into the concert hall to hear how the rich legacy of folk music inspired later generations of composers. The concert features a premiere by Clarice Assad. Presented in cooperation with the Tenement Museum.\nThe concert features the innovative ensemble Raices Negras\, with flautist Ceylon Mitchell\, cellist Erin Murphy Snedecor\, and pianist Elizabeth G. Hill\, joined by soprano Sharon Harms and pianists Joan Forsyth and Tony Lu. Music by Lazar Weiner and his son Yehudi  Wyner\, Amy Beach\, Manuel Ponce\, Undine Smith Moore\, George Walker and Tanya Leon. Courtyard music provided by community musicians. \nA powerful communicator renowned for her musical scope and versatility\, Brazilian-American Clarice Assad is a significant voice in the classical\, world music\, pop\, and jazz genres. The Grammy–nominated composer\, pianist\, vocalist\, and educator is acclaimed for her evocative colors\, rich textures\, and diverse stylistic range. “She energetically bends music to her will and reshapes it with fascinating results” – Jazz Improv Magazine \nLazar Weiner immigrated to New York from Cherkasy\, Ukraine in 1914. An accomplished pianist\, he soon found work in the silent movie industry and the Yiddish musical milieu that had sprung up around Second Avenue in the East Village. He was a prolific composer of Yiddish art songs\, and his son\, Pulitzer Prize-winner Yehudi Wyner\, grew up in the City amidst this vibrant Yiddish cultural and intellectual tradition. We pair Lazar Weiner’s moving “Somewhere Far Away” and lively “Yoshi the Klezmer” with Yehudi Wyner’s early Psalm and Family Vaudeville songs. \nComposer Manuel Ponce (1882-1948) scandalized ardent defenders of European classical music when he gave a concert combining Mexican popular and traditional songs with European artistic genres. He became an ardent advocate for South and Latin American music\, exploring and cataloguing native music and developing its melodic and rhythmic features in his own original works. \nAmy Beach (1867-1944) moved from Boston to New York City in 1915\, attracted by its vibrant musical life. Her own compositional credo embraced folk music\, in particular the folk songs of her own ancestors\, the Irish\, Scottish and English peoples who had immigrated to America. She wanted to depict the “laments\, romances and dreams” of the Irish peoples in her Suite for Two Pianos Founded Upon Old Irish Melodies. An ardent contributor to New York’s intellectual and artistic scene\, she wrote a response in the Times to Dvorak’s call for American composers to embrace the music of indigenous and African immigrants with a reminder that the cultural legacy of the British Isles was also a strong element of American cultural heritage. The dialogue reflects the search for a truly “American” musical identity that was a strong part of early twentieth-century musical thought in the Americas\, a desire to shake off the chains of the European classical tradition and find new paths that reaffirmed new national identities. \nCuban-born Tania León’s compositional style has been influenced by Undine Smith Moore (1904-89)\, one of the most prominent African-American women composers of the 20th Century. Her Afro-American Suite (1969) sets traditional spirituals in a contemporary modern harmonic idiom. Dr Moore once said: “Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences.” \nMusic from the Courtyard program: \n\nLazar Weiner – “Somewhere Far Away\,” “Yoshi the Klezmer”\nYehudi Wyner – Psalm 112\, Family Vaudeville Songs\nAmy Cheney Beach – “Prelude” and “Finale” from Suite for Two Pianos\nUndine Smith Moore – Afro-American Suite\nManuel M. Ponce – Canciones Mexicanas\nClarice Assad – Flight of the Fairies\nTania Leon – Arenas d’un Tiempo\n\nPerformers\n Raices Negras Ensemble\nCeylon Mitchell\, flute\nErin Murphy Snedecor\, cello\nElizabeth G. Hill\, piano\nSharon Harms\, soprano\nJoan Forsyth\, piano \n\n7 pm Courtyard Prelude\n7:30 pm Concert \n\n\n			\n		\n			\n			BUY TICKETS FROM HUMANITIX
URL:https://www.thevillagetrip.com/event/diana-wege-earth-requiem/
LOCATION:St Mark’s in the Bowery\, 131 East 10th Street\, New York\, NY\, 10003\, United States
CATEGORIES:2023 Art & Film,2023 New Music
ATTACH;FMTTYPE=image/jpeg:https://www.thevillagetrip.com/festival/wp-content/uploads/2023/07/Earth-Requiem-performance.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230909T190000
DTEND;TZID=America/New_York:20230909T203000
DTSTAMP:20230823T094419Z
CREATED:20230710T081340Z
LAST-MODIFIED:20230823T094419Z
UID:10000120-1694286000-1694291400@www.thevillagetrip.com
SUMMARY:Neighbors\, Lovers and Friends: Michael Kelly and Brad Moore at Salmagundi
DESCRIPTION:“Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences” – Undine Smith Moore\nFrom the Courtyard first recreates the sounds of an East Village tenement courtyard\, shared by multicultural immigrant families\, then moves into the concert hall to hear how the rich legacy of folk music inspired later generations of composers. The concert features a premiere by Clarice Assad. Presented in cooperation with the Tenement Museum.\nThe concert features the innovative ensemble Raices Negras\, with flautist Ceylon Mitchell\, cellist Erin Murphy Snedecor\, and pianist Elizabeth G. Hill\, joined by soprano Sharon Harms and pianists Joan Forsyth and Tony Lu. Music by Lazar Weiner and his son Yehudi  Wyner\, Amy Beach\, Manuel Ponce\, Undine Smith Moore\, George Walker and Tanya Leon. Courtyard music provided by community musicians. \nA powerful communicator renowned for her musical scope and versatility\, Brazilian-American Clarice Assad is a significant voice in the classical\, world music\, pop\, and jazz genres. The Grammy–nominated composer\, pianist\, vocalist\, and educator is acclaimed for her evocative colors\, rich textures\, and diverse stylistic range. “She energetically bends music to her will and reshapes it with fascinating results” – Jazz Improv Magazine \nLazar Weiner immigrated to New York from Cherkasy\, Ukraine in 1914. An accomplished pianist\, he soon found work in the silent movie industry and the Yiddish musical milieu that had sprung up around Second Avenue in the East Village. He was a prolific composer of Yiddish art songs\, and his son\, Pulitzer Prize-winner Yehudi Wyner\, grew up in the City amidst this vibrant Yiddish cultural and intellectual tradition. We pair Lazar Weiner’s moving “Somewhere Far Away” and lively “Yoshi the Klezmer” with Yehudi Wyner’s early Psalm and Family Vaudeville songs. \nComposer Manuel Ponce (1882-1948) scandalized ardent defenders of European classical music when he gave a concert combining Mexican popular and traditional songs with European artistic genres. He became an ardent advocate for South and Latin American music\, exploring and cataloguing native music and developing its melodic and rhythmic features in his own original works. \nAmy Beach (1867-1944) moved from Boston to New York City in 1915\, attracted by its vibrant musical life. Her own compositional credo embraced folk music\, in particular the folk songs of her own ancestors\, the Irish\, Scottish and English peoples who had immigrated to America. She wanted to depict the “laments\, romances and dreams” of the Irish peoples in her Suite for Two Pianos Founded Upon Old Irish Melodies. An ardent contributor to New York’s intellectual and artistic scene\, she wrote a response in the Times to Dvorak’s call for American composers to embrace the music of indigenous and African immigrants with a reminder that the cultural legacy of the British Isles was also a strong element of American cultural heritage. The dialogue reflects the search for a truly “American” musical identity that was a strong part of early twentieth-century musical thought in the Americas\, a desire to shake off the chains of the European classical tradition and find new paths that reaffirmed new national identities. \nCuban-born Tania León’s compositional style has been influenced by Undine Smith Moore (1904-89)\, one of the most prominent African-American women composers of the 20th Century. Her Afro-American Suite (1969) sets traditional spirituals in a contemporary modern harmonic idiom. Dr Moore once said: “Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences.” \nMusic from the Courtyard program: \n\nLazar Weiner – “Somewhere Far Away\,” “Yoshi the Klezmer”\nYehudi Wyner – Psalm 112\, Family Vaudeville Songs\nAmy Cheney Beach – “Prelude” and “Finale” from Suite for Two Pianos\nUndine Smith Moore – Afro-American Suite\nManuel M. Ponce – Canciones Mexicanas\nClarice Assad – Flight of the Fairies\nTania Leon – Arenas d’un Tiempo\n\nPerformers\n Raices Negras Ensemble\nCeylon Mitchell\, flute\nErin Murphy Snedecor\, cello\nElizabeth G. Hill\, piano\nSharon Harms\, soprano\nJoan Forsyth\, piano \n\n7 pm Courtyard Prelude\n7:30 pm Concert \n\n\n			\n		\n			\n			BUY TICKETS FROM HUMANITIX
URL:https://www.thevillagetrip.com/event/neighbors-lovers-friends/
LOCATION:Salmagundi Club\, 47 Fifth Avenue\, New York\, NY\, 10003\, United States
CATEGORIES:2023 Highlights,2023 Music,2023 New Music
ATTACH;FMTTYPE=image/jpeg:https://www.thevillagetrip.com/festival/wp-content/uploads/2023/07/Salmagundi-Club.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230910T110000
DTEND;TZID=America/New_York:20230910T130000
DTSTAMP:20230801T083133Z
CREATED:20230722T142701Z
LAST-MODIFIED:20230801T083133Z
UID:10000154-1694343600-1694350800@www.thevillagetrip.com
SUMMARY:The Music of the West Village from Dylan to Springsteen and Beyond\, Walking Tour
DESCRIPTION:“Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences” – Undine Smith Moore\nFrom the Courtyard first recreates the sounds of an East Village tenement courtyard\, shared by multicultural immigrant families\, then moves into the concert hall to hear how the rich legacy of folk music inspired later generations of composers. The concert features a premiere by Clarice Assad. Presented in cooperation with the Tenement Museum.\nThe concert features the innovative ensemble Raices Negras\, with flautist Ceylon Mitchell\, cellist Erin Murphy Snedecor\, and pianist Elizabeth G. Hill\, joined by soprano Sharon Harms and pianists Joan Forsyth and Tony Lu. Music by Lazar Weiner and his son Yehudi  Wyner\, Amy Beach\, Manuel Ponce\, Undine Smith Moore\, George Walker and Tanya Leon. Courtyard music provided by community musicians. \nA powerful communicator renowned for her musical scope and versatility\, Brazilian-American Clarice Assad is a significant voice in the classical\, world music\, pop\, and jazz genres. The Grammy–nominated composer\, pianist\, vocalist\, and educator is acclaimed for her evocative colors\, rich textures\, and diverse stylistic range. “She energetically bends music to her will and reshapes it with fascinating results” – Jazz Improv Magazine \nLazar Weiner immigrated to New York from Cherkasy\, Ukraine in 1914. An accomplished pianist\, he soon found work in the silent movie industry and the Yiddish musical milieu that had sprung up around Second Avenue in the East Village. He was a prolific composer of Yiddish art songs\, and his son\, Pulitzer Prize-winner Yehudi Wyner\, grew up in the City amidst this vibrant Yiddish cultural and intellectual tradition. We pair Lazar Weiner’s moving “Somewhere Far Away” and lively “Yoshi the Klezmer” with Yehudi Wyner’s early Psalm and Family Vaudeville songs. \nComposer Manuel Ponce (1882-1948) scandalized ardent defenders of European classical music when he gave a concert combining Mexican popular and traditional songs with European artistic genres. He became an ardent advocate for South and Latin American music\, exploring and cataloguing native music and developing its melodic and rhythmic features in his own original works. \nAmy Beach (1867-1944) moved from Boston to New York City in 1915\, attracted by its vibrant musical life. Her own compositional credo embraced folk music\, in particular the folk songs of her own ancestors\, the Irish\, Scottish and English peoples who had immigrated to America. She wanted to depict the “laments\, romances and dreams” of the Irish peoples in her Suite for Two Pianos Founded Upon Old Irish Melodies. An ardent contributor to New York’s intellectual and artistic scene\, she wrote a response in the Times to Dvorak’s call for American composers to embrace the music of indigenous and African immigrants with a reminder that the cultural legacy of the British Isles was also a strong element of American cultural heritage. The dialogue reflects the search for a truly “American” musical identity that was a strong part of early twentieth-century musical thought in the Americas\, a desire to shake off the chains of the European classical tradition and find new paths that reaffirmed new national identities. \nCuban-born Tania León’s compositional style has been influenced by Undine Smith Moore (1904-89)\, one of the most prominent African-American women composers of the 20th Century. Her Afro-American Suite (1969) sets traditional spirituals in a contemporary modern harmonic idiom. Dr Moore once said: “Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences.” \nMusic from the Courtyard program: \n\nLazar Weiner – “Somewhere Far Away\,” “Yoshi the Klezmer”\nYehudi Wyner – Psalm 112\, Family Vaudeville Songs\nAmy Cheney Beach – “Prelude” and “Finale” from Suite for Two Pianos\nUndine Smith Moore – Afro-American Suite\nManuel M. Ponce – Canciones Mexicanas\nClarice Assad – Flight of the Fairies\nTania Leon – Arenas d’un Tiempo\n\nPerformers\n Raices Negras Ensemble\nCeylon Mitchell\, flute\nErin Murphy Snedecor\, cello\nElizabeth G. Hill\, piano\nSharon Harms\, soprano\nJoan Forsyth\, piano \n\n7 pm Courtyard Prelude\n7:30 pm Concert \n\n\n			\n		\n			\n			BUY TICKETS FROM HUMANITIX
URL:https://www.thevillagetrip.com/event/music-of-the-west-village/2023-09-10/
LOCATION:1 West 4th Street at the corner of Mercer and W 4th Street\, 1 West 4th Street\, New York\, NY\, 10012\, United States
CATEGORIES:2023 Tour
ATTACH;FMTTYPE=image/jpeg:https://www.thevillagetrip.com/festival/wp-content/uploads/2023/07/McDermott-Washington-Square-Park-scene-of-the-folk-riots.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230910T123000
DTEND;TZID=America/New_York:20230910T143000
DTSTAMP:20230909T175218Z
CREATED:20230710T081442Z
LAST-MODIFIED:20230909T175218Z
UID:10000121-1694349000-1694356200@www.thevillagetrip.com
SUMMARY:David Amram’s East Village Ramble
DESCRIPTION:“Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences” – Undine Smith Moore\nFrom the Courtyard first recreates the sounds of an East Village tenement courtyard\, shared by multicultural immigrant families\, then moves into the concert hall to hear how the rich legacy of folk music inspired later generations of composers. The concert features a premiere by Clarice Assad. Presented in cooperation with the Tenement Museum.\nThe concert features the innovative ensemble Raices Negras\, with flautist Ceylon Mitchell\, cellist Erin Murphy Snedecor\, and pianist Elizabeth G. Hill\, joined by soprano Sharon Harms and pianists Joan Forsyth and Tony Lu. Music by Lazar Weiner and his son Yehudi  Wyner\, Amy Beach\, Manuel Ponce\, Undine Smith Moore\, George Walker and Tanya Leon. Courtyard music provided by community musicians. \nA powerful communicator renowned for her musical scope and versatility\, Brazilian-American Clarice Assad is a significant voice in the classical\, world music\, pop\, and jazz genres. The Grammy–nominated composer\, pianist\, vocalist\, and educator is acclaimed for her evocative colors\, rich textures\, and diverse stylistic range. “She energetically bends music to her will and reshapes it with fascinating results” – Jazz Improv Magazine \nLazar Weiner immigrated to New York from Cherkasy\, Ukraine in 1914. An accomplished pianist\, he soon found work in the silent movie industry and the Yiddish musical milieu that had sprung up around Second Avenue in the East Village. He was a prolific composer of Yiddish art songs\, and his son\, Pulitzer Prize-winner Yehudi Wyner\, grew up in the City amidst this vibrant Yiddish cultural and intellectual tradition. We pair Lazar Weiner’s moving “Somewhere Far Away” and lively “Yoshi the Klezmer” with Yehudi Wyner’s early Psalm and Family Vaudeville songs. \nComposer Manuel Ponce (1882-1948) scandalized ardent defenders of European classical music when he gave a concert combining Mexican popular and traditional songs with European artistic genres. He became an ardent advocate for South and Latin American music\, exploring and cataloguing native music and developing its melodic and rhythmic features in his own original works. \nAmy Beach (1867-1944) moved from Boston to New York City in 1915\, attracted by its vibrant musical life. Her own compositional credo embraced folk music\, in particular the folk songs of her own ancestors\, the Irish\, Scottish and English peoples who had immigrated to America. She wanted to depict the “laments\, romances and dreams” of the Irish peoples in her Suite for Two Pianos Founded Upon Old Irish Melodies. An ardent contributor to New York’s intellectual and artistic scene\, she wrote a response in the Times to Dvorak’s call for American composers to embrace the music of indigenous and African immigrants with a reminder that the cultural legacy of the British Isles was also a strong element of American cultural heritage. The dialogue reflects the search for a truly “American” musical identity that was a strong part of early twentieth-century musical thought in the Americas\, a desire to shake off the chains of the European classical tradition and find new paths that reaffirmed new national identities. \nCuban-born Tania León’s compositional style has been influenced by Undine Smith Moore (1904-89)\, one of the most prominent African-American women composers of the 20th Century. Her Afro-American Suite (1969) sets traditional spirituals in a contemporary modern harmonic idiom. Dr Moore once said: “Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences.” \nMusic from the Courtyard program: \n\nLazar Weiner – “Somewhere Far Away\,” “Yoshi the Klezmer”\nYehudi Wyner – Psalm 112\, Family Vaudeville Songs\nAmy Cheney Beach – “Prelude” and “Finale” from Suite for Two Pianos\nUndine Smith Moore – Afro-American Suite\nManuel M. Ponce – Canciones Mexicanas\nClarice Assad – Flight of the Fairies\nTania Leon – Arenas d’un Tiempo\n\nPerformers\n Raices Negras Ensemble\nCeylon Mitchell\, flute\nErin Murphy Snedecor\, cello\nElizabeth G. Hill\, piano\nSharon Harms\, soprano\nJoan Forsyth\, piano \n\n7 pm Courtyard Prelude\n7:30 pm Concert \n\n\n			\n		\n			\n			BUY TICKETS FROM HUMANITIX
URL:https://www.thevillagetrip.com/event/david-amrams-east-village-ramble/
LOCATION:La Sala de Pepe y Foto Espacio\, 73 Avenue C\, New York\, 10009\, United States
CATEGORIES:2023 Highlights,2023 Tour
ATTACH;FMTTYPE=image/jpeg:https://www.thevillagetrip.com/festival/wp-content/uploads/2023/07/David-Amram-guided-walk-2023a.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230910T124500
DTEND;TZID=America/New_York:20230910T220000
DTSTAMP:20230818T111254Z
CREATED:20230710T081540Z
LAST-MODIFIED:20230818T111254Z
UID:10000122-1694349900-1694383200@www.thevillagetrip.com
SUMMARY:Ukraine Day
DESCRIPTION:“Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences” – Undine Smith Moore\nFrom the Courtyard first recreates the sounds of an East Village tenement courtyard\, shared by multicultural immigrant families\, then moves into the concert hall to hear how the rich legacy of folk music inspired later generations of composers. The concert features a premiere by Clarice Assad. Presented in cooperation with the Tenement Museum.\nThe concert features the innovative ensemble Raices Negras\, with flautist Ceylon Mitchell\, cellist Erin Murphy Snedecor\, and pianist Elizabeth G. Hill\, joined by soprano Sharon Harms and pianists Joan Forsyth and Tony Lu. Music by Lazar Weiner and his son Yehudi  Wyner\, Amy Beach\, Manuel Ponce\, Undine Smith Moore\, George Walker and Tanya Leon. Courtyard music provided by community musicians. \nA powerful communicator renowned for her musical scope and versatility\, Brazilian-American Clarice Assad is a significant voice in the classical\, world music\, pop\, and jazz genres. The Grammy–nominated composer\, pianist\, vocalist\, and educator is acclaimed for her evocative colors\, rich textures\, and diverse stylistic range. “She energetically bends music to her will and reshapes it with fascinating results” – Jazz Improv Magazine \nLazar Weiner immigrated to New York from Cherkasy\, Ukraine in 1914. An accomplished pianist\, he soon found work in the silent movie industry and the Yiddish musical milieu that had sprung up around Second Avenue in the East Village. He was a prolific composer of Yiddish art songs\, and his son\, Pulitzer Prize-winner Yehudi Wyner\, grew up in the City amidst this vibrant Yiddish cultural and intellectual tradition. We pair Lazar Weiner’s moving “Somewhere Far Away” and lively “Yoshi the Klezmer” with Yehudi Wyner’s early Psalm and Family Vaudeville songs. \nComposer Manuel Ponce (1882-1948) scandalized ardent defenders of European classical music when he gave a concert combining Mexican popular and traditional songs with European artistic genres. He became an ardent advocate for South and Latin American music\, exploring and cataloguing native music and developing its melodic and rhythmic features in his own original works. \nAmy Beach (1867-1944) moved from Boston to New York City in 1915\, attracted by its vibrant musical life. Her own compositional credo embraced folk music\, in particular the folk songs of her own ancestors\, the Irish\, Scottish and English peoples who had immigrated to America. She wanted to depict the “laments\, romances and dreams” of the Irish peoples in her Suite for Two Pianos Founded Upon Old Irish Melodies. An ardent contributor to New York’s intellectual and artistic scene\, she wrote a response in the Times to Dvorak’s call for American composers to embrace the music of indigenous and African immigrants with a reminder that the cultural legacy of the British Isles was also a strong element of American cultural heritage. The dialogue reflects the search for a truly “American” musical identity that was a strong part of early twentieth-century musical thought in the Americas\, a desire to shake off the chains of the European classical tradition and find new paths that reaffirmed new national identities. \nCuban-born Tania León’s compositional style has been influenced by Undine Smith Moore (1904-89)\, one of the most prominent African-American women composers of the 20th Century. Her Afro-American Suite (1969) sets traditional spirituals in a contemporary modern harmonic idiom. Dr Moore once said: “Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences.” \nMusic from the Courtyard program: \n\nLazar Weiner – “Somewhere Far Away\,” “Yoshi the Klezmer”\nYehudi Wyner – Psalm 112\, Family Vaudeville Songs\nAmy Cheney Beach – “Prelude” and “Finale” from Suite for Two Pianos\nUndine Smith Moore – Afro-American Suite\nManuel M. Ponce – Canciones Mexicanas\nClarice Assad – Flight of the Fairies\nTania Leon – Arenas d’un Tiempo\n\nPerformers\n Raices Negras Ensemble\nCeylon Mitchell\, flute\nErin Murphy Snedecor\, cello\nElizabeth G. Hill\, piano\nSharon Harms\, soprano\nJoan Forsyth\, piano \n\n7 pm Courtyard Prelude\n7:30 pm Concert \n\n\n			\n		\n			\n			BUY TICKETS FROM HUMANITIX
URL:https://www.thevillagetrip.com/event/ukraine-day/
LOCATION:NY
CATEGORIES:2023 Highlights
ATTACH;FMTTYPE=image/jpeg:https://www.thevillagetrip.com/festival/wp-content/uploads/2023/07/Ukraine-Day-Postcard-for-web.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230910T130000
DTEND;TZID=America/New_York:20230910T153000
DTSTAMP:20230805T103926Z
CREATED:20230802T124459Z
LAST-MODIFIED:20230805T103926Z
UID:10000164-1694350800-1694359800@www.thevillagetrip.com
SUMMARY:NYU & Washington Square: Changing Strategies of Growth and Design. Walking Tour with Architect Kyle Johnson
DESCRIPTION:“Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences” – Undine Smith Moore\nFrom the Courtyard first recreates the sounds of an East Village tenement courtyard\, shared by multicultural immigrant families\, then moves into the concert hall to hear how the rich legacy of folk music inspired later generations of composers. The concert features a premiere by Clarice Assad. Presented in cooperation with the Tenement Museum.\nThe concert features the innovative ensemble Raices Negras\, with flautist Ceylon Mitchell\, cellist Erin Murphy Snedecor\, and pianist Elizabeth G. Hill\, joined by soprano Sharon Harms and pianists Joan Forsyth and Tony Lu. Music by Lazar Weiner and his son Yehudi  Wyner\, Amy Beach\, Manuel Ponce\, Undine Smith Moore\, George Walker and Tanya Leon. Courtyard music provided by community musicians. \nA powerful communicator renowned for her musical scope and versatility\, Brazilian-American Clarice Assad is a significant voice in the classical\, world music\, pop\, and jazz genres. The Grammy–nominated composer\, pianist\, vocalist\, and educator is acclaimed for her evocative colors\, rich textures\, and diverse stylistic range. “She energetically bends music to her will and reshapes it with fascinating results” – Jazz Improv Magazine \nLazar Weiner immigrated to New York from Cherkasy\, Ukraine in 1914. An accomplished pianist\, he soon found work in the silent movie industry and the Yiddish musical milieu that had sprung up around Second Avenue in the East Village. He was a prolific composer of Yiddish art songs\, and his son\, Pulitzer Prize-winner Yehudi Wyner\, grew up in the City amidst this vibrant Yiddish cultural and intellectual tradition. We pair Lazar Weiner’s moving “Somewhere Far Away” and lively “Yoshi the Klezmer” with Yehudi Wyner’s early Psalm and Family Vaudeville songs. \nComposer Manuel Ponce (1882-1948) scandalized ardent defenders of European classical music when he gave a concert combining Mexican popular and traditional songs with European artistic genres. He became an ardent advocate for South and Latin American music\, exploring and cataloguing native music and developing its melodic and rhythmic features in his own original works. \nAmy Beach (1867-1944) moved from Boston to New York City in 1915\, attracted by its vibrant musical life. Her own compositional credo embraced folk music\, in particular the folk songs of her own ancestors\, the Irish\, Scottish and English peoples who had immigrated to America. She wanted to depict the “laments\, romances and dreams” of the Irish peoples in her Suite for Two Pianos Founded Upon Old Irish Melodies. An ardent contributor to New York’s intellectual and artistic scene\, she wrote a response in the Times to Dvorak’s call for American composers to embrace the music of indigenous and African immigrants with a reminder that the cultural legacy of the British Isles was also a strong element of American cultural heritage. The dialogue reflects the search for a truly “American” musical identity that was a strong part of early twentieth-century musical thought in the Americas\, a desire to shake off the chains of the European classical tradition and find new paths that reaffirmed new national identities. \nCuban-born Tania León’s compositional style has been influenced by Undine Smith Moore (1904-89)\, one of the most prominent African-American women composers of the 20th Century. Her Afro-American Suite (1969) sets traditional spirituals in a contemporary modern harmonic idiom. Dr Moore once said: “Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences.” \nMusic from the Courtyard program: \n\nLazar Weiner – “Somewhere Far Away\,” “Yoshi the Klezmer”\nYehudi Wyner – Psalm 112\, Family Vaudeville Songs\nAmy Cheney Beach – “Prelude” and “Finale” from Suite for Two Pianos\nUndine Smith Moore – Afro-American Suite\nManuel M. Ponce – Canciones Mexicanas\nClarice Assad – Flight of the Fairies\nTania Leon – Arenas d’un Tiempo\n\nPerformers\n Raices Negras Ensemble\nCeylon Mitchell\, flute\nErin Murphy Snedecor\, cello\nElizabeth G. Hill\, piano\nSharon Harms\, soprano\nJoan Forsyth\, piano \n\n7 pm Courtyard Prelude\n7:30 pm Concert \n\n\n			\n		\n			\n			BUY TICKETS FROM HUMANITIX
URL:https://www.thevillagetrip.com/event/nyu-washington-square-walking-tour/
LOCATION:Washington Square Arch at Fifth Avenue & Washington Square North\, NY\, NY 10012\, United States
CATEGORIES:2023 Tour
ATTACH;FMTTYPE=image/jpeg:https://www.thevillagetrip.com/festival/wp-content/uploads/2022/07/University-Plaza-photo-George-Cserna.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230910T130000
DTEND;TZID=America/New_York:20230910T170000
DTSTAMP:20230909T101241Z
CREATED:20230710T081707Z
LAST-MODIFIED:20230909T101241Z
UID:10000123-1694350800-1694365200@www.thevillagetrip.com
SUMMARY:Playing for Change: a Play-a-Thon for Ukraine
DESCRIPTION:“Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences” – Undine Smith Moore\nFrom the Courtyard first recreates the sounds of an East Village tenement courtyard\, shared by multicultural immigrant families\, then moves into the concert hall to hear how the rich legacy of folk music inspired later generations of composers. The concert features a premiere by Clarice Assad. Presented in cooperation with the Tenement Museum.\nThe concert features the innovative ensemble Raices Negras\, with flautist Ceylon Mitchell\, cellist Erin Murphy Snedecor\, and pianist Elizabeth G. Hill\, joined by soprano Sharon Harms and pianists Joan Forsyth and Tony Lu. Music by Lazar Weiner and his son Yehudi  Wyner\, Amy Beach\, Manuel Ponce\, Undine Smith Moore\, George Walker and Tanya Leon. Courtyard music provided by community musicians. \nA powerful communicator renowned for her musical scope and versatility\, Brazilian-American Clarice Assad is a significant voice in the classical\, world music\, pop\, and jazz genres. The Grammy–nominated composer\, pianist\, vocalist\, and educator is acclaimed for her evocative colors\, rich textures\, and diverse stylistic range. “She energetically bends music to her will and reshapes it with fascinating results” – Jazz Improv Magazine \nLazar Weiner immigrated to New York from Cherkasy\, Ukraine in 1914. An accomplished pianist\, he soon found work in the silent movie industry and the Yiddish musical milieu that had sprung up around Second Avenue in the East Village. He was a prolific composer of Yiddish art songs\, and his son\, Pulitzer Prize-winner Yehudi Wyner\, grew up in the City amidst this vibrant Yiddish cultural and intellectual tradition. We pair Lazar Weiner’s moving “Somewhere Far Away” and lively “Yoshi the Klezmer” with Yehudi Wyner’s early Psalm and Family Vaudeville songs. \nComposer Manuel Ponce (1882-1948) scandalized ardent defenders of European classical music when he gave a concert combining Mexican popular and traditional songs with European artistic genres. He became an ardent advocate for South and Latin American music\, exploring and cataloguing native music and developing its melodic and rhythmic features in his own original works. \nAmy Beach (1867-1944) moved from Boston to New York City in 1915\, attracted by its vibrant musical life. Her own compositional credo embraced folk music\, in particular the folk songs of her own ancestors\, the Irish\, Scottish and English peoples who had immigrated to America. She wanted to depict the “laments\, romances and dreams” of the Irish peoples in her Suite for Two Pianos Founded Upon Old Irish Melodies. An ardent contributor to New York’s intellectual and artistic scene\, she wrote a response in the Times to Dvorak’s call for American composers to embrace the music of indigenous and African immigrants with a reminder that the cultural legacy of the British Isles was also a strong element of American cultural heritage. The dialogue reflects the search for a truly “American” musical identity that was a strong part of early twentieth-century musical thought in the Americas\, a desire to shake off the chains of the European classical tradition and find new paths that reaffirmed new national identities. \nCuban-born Tania León’s compositional style has been influenced by Undine Smith Moore (1904-89)\, one of the most prominent African-American women composers of the 20th Century. Her Afro-American Suite (1969) sets traditional spirituals in a contemporary modern harmonic idiom. Dr Moore once said: “Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences.” \nMusic from the Courtyard program: \n\nLazar Weiner – “Somewhere Far Away\,” “Yoshi the Klezmer”\nYehudi Wyner – Psalm 112\, Family Vaudeville Songs\nAmy Cheney Beach – “Prelude” and “Finale” from Suite for Two Pianos\nUndine Smith Moore – Afro-American Suite\nManuel M. Ponce – Canciones Mexicanas\nClarice Assad – Flight of the Fairies\nTania Leon – Arenas d’un Tiempo\n\nPerformers\n Raices Negras Ensemble\nCeylon Mitchell\, flute\nErin Murphy Snedecor\, cello\nElizabeth G. Hill\, piano\nSharon Harms\, soprano\nJoan Forsyth\, piano \n\n7 pm Courtyard Prelude\n7:30 pm Concert \n\n\n			\n		\n			\n			BUY TICKETS FROM HUMANITIX
URL:https://www.thevillagetrip.com/event/play-a-thon/
LOCATION:St Mark’s in the Bowery\, 131 East 10th Street\, New York\, NY\, 10003\, United States
CATEGORIES:2023 Highlights,2023 Music,2023 Ukraine Day
ATTACH;FMTTYPE=image/jpeg:https://www.thevillagetrip.com/festival/wp-content/uploads/2023/07/tvt-playathon-facebook-graphic-sunday.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230910T140000
DTEND;TZID=America/New_York:20230910T150000
DTSTAMP:20230810T120504Z
CREATED:20230803T130144Z
LAST-MODIFIED:20230810T120504Z
UID:10000084-1694354400-1694358000@www.thevillagetrip.com
SUMMARY:Folk\, Joke\, and Hope Songs – A Concert with David Roth
DESCRIPTION:“Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences” – Undine Smith Moore\nFrom the Courtyard first recreates the sounds of an East Village tenement courtyard\, shared by multicultural immigrant families\, then moves into the concert hall to hear how the rich legacy of folk music inspired later generations of composers. The concert features a premiere by Clarice Assad. Presented in cooperation with the Tenement Museum.\nThe concert features the innovative ensemble Raices Negras\, with flautist Ceylon Mitchell\, cellist Erin Murphy Snedecor\, and pianist Elizabeth G. Hill\, joined by soprano Sharon Harms and pianists Joan Forsyth and Tony Lu. Music by Lazar Weiner and his son Yehudi  Wyner\, Amy Beach\, Manuel Ponce\, Undine Smith Moore\, George Walker and Tanya Leon. Courtyard music provided by community musicians. \nA powerful communicator renowned for her musical scope and versatility\, Brazilian-American Clarice Assad is a significant voice in the classical\, world music\, pop\, and jazz genres. The Grammy–nominated composer\, pianist\, vocalist\, and educator is acclaimed for her evocative colors\, rich textures\, and diverse stylistic range. “She energetically bends music to her will and reshapes it with fascinating results” – Jazz Improv Magazine \nLazar Weiner immigrated to New York from Cherkasy\, Ukraine in 1914. An accomplished pianist\, he soon found work in the silent movie industry and the Yiddish musical milieu that had sprung up around Second Avenue in the East Village. He was a prolific composer of Yiddish art songs\, and his son\, Pulitzer Prize-winner Yehudi Wyner\, grew up in the City amidst this vibrant Yiddish cultural and intellectual tradition. We pair Lazar Weiner’s moving “Somewhere Far Away” and lively “Yoshi the Klezmer” with Yehudi Wyner’s early Psalm and Family Vaudeville songs. \nComposer Manuel Ponce (1882-1948) scandalized ardent defenders of European classical music when he gave a concert combining Mexican popular and traditional songs with European artistic genres. He became an ardent advocate for South and Latin American music\, exploring and cataloguing native music and developing its melodic and rhythmic features in his own original works. \nAmy Beach (1867-1944) moved from Boston to New York City in 1915\, attracted by its vibrant musical life. Her own compositional credo embraced folk music\, in particular the folk songs of her own ancestors\, the Irish\, Scottish and English peoples who had immigrated to America. She wanted to depict the “laments\, romances and dreams” of the Irish peoples in her Suite for Two Pianos Founded Upon Old Irish Melodies. An ardent contributor to New York’s intellectual and artistic scene\, she wrote a response in the Times to Dvorak’s call for American composers to embrace the music of indigenous and African immigrants with a reminder that the cultural legacy of the British Isles was also a strong element of American cultural heritage. The dialogue reflects the search for a truly “American” musical identity that was a strong part of early twentieth-century musical thought in the Americas\, a desire to shake off the chains of the European classical tradition and find new paths that reaffirmed new national identities. \nCuban-born Tania León’s compositional style has been influenced by Undine Smith Moore (1904-89)\, one of the most prominent African-American women composers of the 20th Century. Her Afro-American Suite (1969) sets traditional spirituals in a contemporary modern harmonic idiom. Dr Moore once said: “Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences.” \nMusic from the Courtyard program: \n\nLazar Weiner – “Somewhere Far Away\,” “Yoshi the Klezmer”\nYehudi Wyner – Psalm 112\, Family Vaudeville Songs\nAmy Cheney Beach – “Prelude” and “Finale” from Suite for Two Pianos\nUndine Smith Moore – Afro-American Suite\nManuel M. Ponce – Canciones Mexicanas\nClarice Assad – Flight of the Fairies\nTania Leon – Arenas d’un Tiempo\n\nPerformers\n Raices Negras Ensemble\nCeylon Mitchell\, flute\nErin Murphy Snedecor\, cello\nElizabeth G. Hill\, piano\nSharon Harms\, soprano\nJoan Forsyth\, piano \n\n7 pm Courtyard Prelude\n7:30 pm Concert \n\n\n			\n		\n			\n			BUY TICKETS FROM HUMANITIX
URL:https://www.thevillagetrip.com/event/folk-joke-and-hope-songs/
LOCATION:Jefferson Market Library\, 425 6th Avenue\, NY\, NY 10011\, United States
CATEGORIES:2023 Music,Children's Events
ATTACH;FMTTYPE=image/jpeg:https://www.thevillagetrip.com/festival/wp-content/uploads/2023/08/Philip-Roth-songwriting-workshop-with-adults.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230910T153000
DTEND;TZID=America/New_York:20230910T170000
DTSTAMP:20230905T125823Z
CREATED:20230710T081835Z
LAST-MODIFIED:20230905T125823Z
UID:10000124-1694359800-1694365200@www.thevillagetrip.com
SUMMARY:Killing the Silence: A Concert for Ukraine: Special Guests Chorus Dumka
DESCRIPTION:“Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences” – Undine Smith Moore\nFrom the Courtyard first recreates the sounds of an East Village tenement courtyard\, shared by multicultural immigrant families\, then moves into the concert hall to hear how the rich legacy of folk music inspired later generations of composers. The concert features a premiere by Clarice Assad. Presented in cooperation with the Tenement Museum.\nThe concert features the innovative ensemble Raices Negras\, with flautist Ceylon Mitchell\, cellist Erin Murphy Snedecor\, and pianist Elizabeth G. Hill\, joined by soprano Sharon Harms and pianists Joan Forsyth and Tony Lu. Music by Lazar Weiner and his son Yehudi  Wyner\, Amy Beach\, Manuel Ponce\, Undine Smith Moore\, George Walker and Tanya Leon. Courtyard music provided by community musicians. \nA powerful communicator renowned for her musical scope and versatility\, Brazilian-American Clarice Assad is a significant voice in the classical\, world music\, pop\, and jazz genres. The Grammy–nominated composer\, pianist\, vocalist\, and educator is acclaimed for her evocative colors\, rich textures\, and diverse stylistic range. “She energetically bends music to her will and reshapes it with fascinating results” – Jazz Improv Magazine \nLazar Weiner immigrated to New York from Cherkasy\, Ukraine in 1914. An accomplished pianist\, he soon found work in the silent movie industry and the Yiddish musical milieu that had sprung up around Second Avenue in the East Village. He was a prolific composer of Yiddish art songs\, and his son\, Pulitzer Prize-winner Yehudi Wyner\, grew up in the City amidst this vibrant Yiddish cultural and intellectual tradition. We pair Lazar Weiner’s moving “Somewhere Far Away” and lively “Yoshi the Klezmer” with Yehudi Wyner’s early Psalm and Family Vaudeville songs. \nComposer Manuel Ponce (1882-1948) scandalized ardent defenders of European classical music when he gave a concert combining Mexican popular and traditional songs with European artistic genres. He became an ardent advocate for South and Latin American music\, exploring and cataloguing native music and developing its melodic and rhythmic features in his own original works. \nAmy Beach (1867-1944) moved from Boston to New York City in 1915\, attracted by its vibrant musical life. Her own compositional credo embraced folk music\, in particular the folk songs of her own ancestors\, the Irish\, Scottish and English peoples who had immigrated to America. She wanted to depict the “laments\, romances and dreams” of the Irish peoples in her Suite for Two Pianos Founded Upon Old Irish Melodies. An ardent contributor to New York’s intellectual and artistic scene\, she wrote a response in the Times to Dvorak’s call for American composers to embrace the music of indigenous and African immigrants with a reminder that the cultural legacy of the British Isles was also a strong element of American cultural heritage. The dialogue reflects the search for a truly “American” musical identity that was a strong part of early twentieth-century musical thought in the Americas\, a desire to shake off the chains of the European classical tradition and find new paths that reaffirmed new national identities. \nCuban-born Tania León’s compositional style has been influenced by Undine Smith Moore (1904-89)\, one of the most prominent African-American women composers of the 20th Century. Her Afro-American Suite (1969) sets traditional spirituals in a contemporary modern harmonic idiom. Dr Moore once said: “Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences.” \nMusic from the Courtyard program: \n\nLazar Weiner – “Somewhere Far Away\,” “Yoshi the Klezmer”\nYehudi Wyner – Psalm 112\, Family Vaudeville Songs\nAmy Cheney Beach – “Prelude” and “Finale” from Suite for Two Pianos\nUndine Smith Moore – Afro-American Suite\nManuel M. Ponce – Canciones Mexicanas\nClarice Assad – Flight of the Fairies\nTania Leon – Arenas d’un Tiempo\n\nPerformers\n Raices Negras Ensemble\nCeylon Mitchell\, flute\nErin Murphy Snedecor\, cello\nElizabeth G. Hill\, piano\nSharon Harms\, soprano\nJoan Forsyth\, piano \n\n7 pm Courtyard Prelude\n7:30 pm Concert \n\n\n			\n		\n			\n			BUY TICKETS FROM HUMANITIX
URL:https://www.thevillagetrip.com/event/chamber-music-for-ukraine/
LOCATION:St Mark’s in the Bowery\, 131 East 10th Street\, New York\, NY\, 10003\, United States
CATEGORIES:2023 Highlights,2023 New Music,2023 Ukraine Day
ATTACH;FMTTYPE=image/jpeg:https://www.thevillagetrip.com/festival/wp-content/uploads/2023/07/The-Ukrainian-Chorus-Dumka-of-New-York.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230910T170000
DTEND;TZID=America/New_York:20230910T190000
DTSTAMP:20230814T145905Z
CREATED:20230721T084923Z
LAST-MODIFIED:20230814T145905Z
UID:10000151-1694365200-1694372400@www.thevillagetrip.com
SUMMARY:Simeon ten Holt: Canto Ostinato
DESCRIPTION:“Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences” – Undine Smith Moore\nFrom the Courtyard first recreates the sounds of an East Village tenement courtyard\, shared by multicultural immigrant families\, then moves into the concert hall to hear how the rich legacy of folk music inspired later generations of composers. The concert features a premiere by Clarice Assad. Presented in cooperation with the Tenement Museum.\nThe concert features the innovative ensemble Raices Negras\, with flautist Ceylon Mitchell\, cellist Erin Murphy Snedecor\, and pianist Elizabeth G. Hill\, joined by soprano Sharon Harms and pianists Joan Forsyth and Tony Lu. Music by Lazar Weiner and his son Yehudi  Wyner\, Amy Beach\, Manuel Ponce\, Undine Smith Moore\, George Walker and Tanya Leon. Courtyard music provided by community musicians. \nA powerful communicator renowned for her musical scope and versatility\, Brazilian-American Clarice Assad is a significant voice in the classical\, world music\, pop\, and jazz genres. The Grammy–nominated composer\, pianist\, vocalist\, and educator is acclaimed for her evocative colors\, rich textures\, and diverse stylistic range. “She energetically bends music to her will and reshapes it with fascinating results” – Jazz Improv Magazine \nLazar Weiner immigrated to New York from Cherkasy\, Ukraine in 1914. An accomplished pianist\, he soon found work in the silent movie industry and the Yiddish musical milieu that had sprung up around Second Avenue in the East Village. He was a prolific composer of Yiddish art songs\, and his son\, Pulitzer Prize-winner Yehudi Wyner\, grew up in the City amidst this vibrant Yiddish cultural and intellectual tradition. We pair Lazar Weiner’s moving “Somewhere Far Away” and lively “Yoshi the Klezmer” with Yehudi Wyner’s early Psalm and Family Vaudeville songs. \nComposer Manuel Ponce (1882-1948) scandalized ardent defenders of European classical music when he gave a concert combining Mexican popular and traditional songs with European artistic genres. He became an ardent advocate for South and Latin American music\, exploring and cataloguing native music and developing its melodic and rhythmic features in his own original works. \nAmy Beach (1867-1944) moved from Boston to New York City in 1915\, attracted by its vibrant musical life. Her own compositional credo embraced folk music\, in particular the folk songs of her own ancestors\, the Irish\, Scottish and English peoples who had immigrated to America. She wanted to depict the “laments\, romances and dreams” of the Irish peoples in her Suite for Two Pianos Founded Upon Old Irish Melodies. An ardent contributor to New York’s intellectual and artistic scene\, she wrote a response in the Times to Dvorak’s call for American composers to embrace the music of indigenous and African immigrants with a reminder that the cultural legacy of the British Isles was also a strong element of American cultural heritage. The dialogue reflects the search for a truly “American” musical identity that was a strong part of early twentieth-century musical thought in the Americas\, a desire to shake off the chains of the European classical tradition and find new paths that reaffirmed new national identities. \nCuban-born Tania León’s compositional style has been influenced by Undine Smith Moore (1904-89)\, one of the most prominent African-American women composers of the 20th Century. Her Afro-American Suite (1969) sets traditional spirituals in a contemporary modern harmonic idiom. Dr Moore once said: “Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences.” \nMusic from the Courtyard program: \n\nLazar Weiner – “Somewhere Far Away\,” “Yoshi the Klezmer”\nYehudi Wyner – Psalm 112\, Family Vaudeville Songs\nAmy Cheney Beach – “Prelude” and “Finale” from Suite for Two Pianos\nUndine Smith Moore – Afro-American Suite\nManuel M. Ponce – Canciones Mexicanas\nClarice Assad – Flight of the Fairies\nTania Leon – Arenas d’un Tiempo\n\nPerformers\n Raices Negras Ensemble\nCeylon Mitchell\, flute\nErin Murphy Snedecor\, cello\nElizabeth G. Hill\, piano\nSharon Harms\, soprano\nJoan Forsyth\, piano \n\n7 pm Courtyard Prelude\n7:30 pm Concert \n\n\n			\n		\n			\n			BUY TICKETS FROM HUMANITIX
URL:https://www.thevillagetrip.com/event/simeon-ten-holt-canto-ostinato/
LOCATION:St Mark’s in the Bowery\, 131 East 10th Street\, New York\, NY\, 10003\, United States
CATEGORIES:2023 New Music
ATTACH;FMTTYPE=image/jpeg:https://www.thevillagetrip.com/festival/wp-content/uploads/2023/07/Kees-Wieringa-at-the-piano.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230910T193000
DTEND;TZID=America/New_York:20230910T220000
DTSTAMP:20230809T162043Z
CREATED:20230710T082024Z
LAST-MODIFIED:20230809T162043Z
UID:10000125-1694374200-1694383200@www.thevillagetrip.com
SUMMARY:From Odesa: Kommuna Lux plus special guests
DESCRIPTION:“Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences” – Undine Smith Moore\nFrom the Courtyard first recreates the sounds of an East Village tenement courtyard\, shared by multicultural immigrant families\, then moves into the concert hall to hear how the rich legacy of folk music inspired later generations of composers. The concert features a premiere by Clarice Assad. Presented in cooperation with the Tenement Museum.\nThe concert features the innovative ensemble Raices Negras\, with flautist Ceylon Mitchell\, cellist Erin Murphy Snedecor\, and pianist Elizabeth G. Hill\, joined by soprano Sharon Harms and pianists Joan Forsyth and Tony Lu. Music by Lazar Weiner and his son Yehudi  Wyner\, Amy Beach\, Manuel Ponce\, Undine Smith Moore\, George Walker and Tanya Leon. Courtyard music provided by community musicians. \nA powerful communicator renowned for her musical scope and versatility\, Brazilian-American Clarice Assad is a significant voice in the classical\, world music\, pop\, and jazz genres. The Grammy–nominated composer\, pianist\, vocalist\, and educator is acclaimed for her evocative colors\, rich textures\, and diverse stylistic range. “She energetically bends music to her will and reshapes it with fascinating results” – Jazz Improv Magazine \nLazar Weiner immigrated to New York from Cherkasy\, Ukraine in 1914. An accomplished pianist\, he soon found work in the silent movie industry and the Yiddish musical milieu that had sprung up around Second Avenue in the East Village. He was a prolific composer of Yiddish art songs\, and his son\, Pulitzer Prize-winner Yehudi Wyner\, grew up in the City amidst this vibrant Yiddish cultural and intellectual tradition. We pair Lazar Weiner’s moving “Somewhere Far Away” and lively “Yoshi the Klezmer” with Yehudi Wyner’s early Psalm and Family Vaudeville songs. \nComposer Manuel Ponce (1882-1948) scandalized ardent defenders of European classical music when he gave a concert combining Mexican popular and traditional songs with European artistic genres. He became an ardent advocate for South and Latin American music\, exploring and cataloguing native music and developing its melodic and rhythmic features in his own original works. \nAmy Beach (1867-1944) moved from Boston to New York City in 1915\, attracted by its vibrant musical life. Her own compositional credo embraced folk music\, in particular the folk songs of her own ancestors\, the Irish\, Scottish and English peoples who had immigrated to America. She wanted to depict the “laments\, romances and dreams” of the Irish peoples in her Suite for Two Pianos Founded Upon Old Irish Melodies. An ardent contributor to New York’s intellectual and artistic scene\, she wrote a response in the Times to Dvorak’s call for American composers to embrace the music of indigenous and African immigrants with a reminder that the cultural legacy of the British Isles was also a strong element of American cultural heritage. The dialogue reflects the search for a truly “American” musical identity that was a strong part of early twentieth-century musical thought in the Americas\, a desire to shake off the chains of the European classical tradition and find new paths that reaffirmed new national identities. \nCuban-born Tania León’s compositional style has been influenced by Undine Smith Moore (1904-89)\, one of the most prominent African-American women composers of the 20th Century. Her Afro-American Suite (1969) sets traditional spirituals in a contemporary modern harmonic idiom. Dr Moore once said: “Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences.” \nMusic from the Courtyard program: \n\nLazar Weiner – “Somewhere Far Away\,” “Yoshi the Klezmer”\nYehudi Wyner – Psalm 112\, Family Vaudeville Songs\nAmy Cheney Beach – “Prelude” and “Finale” from Suite for Two Pianos\nUndine Smith Moore – Afro-American Suite\nManuel M. Ponce – Canciones Mexicanas\nClarice Assad – Flight of the Fairies\nTania Leon – Arenas d’un Tiempo\n\nPerformers\n Raices Negras Ensemble\nCeylon Mitchell\, flute\nErin Murphy Snedecor\, cello\nElizabeth G. Hill\, piano\nSharon Harms\, soprano\nJoan Forsyth\, piano \n\n7 pm Courtyard Prelude\n7:30 pm Concert \n\n\n			\n		\n			\n			BUY TICKETS FROM HUMANITIX
URL:https://www.thevillagetrip.com/event/kommuna-lux/
LOCATION:DROM\, 85 Avenue A\, NY\, NY 10009\, United States
CATEGORIES:2023 Highlights,2023 Music,2023 Ukraine Day
ATTACH;FMTTYPE=image/jpeg:https://www.thevillagetrip.com/festival/wp-content/uploads/2023/07/Kommuna-Lux-2.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230911T180000
DTEND;TZID=America/New_York:20230911T200000
DTSTAMP:20230818T100210Z
CREATED:20230710T082156Z
LAST-MODIFIED:20230818T100210Z
UID:10000126-1694455200-1694462400@www.thevillagetrip.com
SUMMARY:Greenwich Village as Harlem’s Preamble and Echo: A Random Illustrated Survey: The Village Trip Lecture by Eric K Washington
DESCRIPTION:“Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences” – Undine Smith Moore\nFrom the Courtyard first recreates the sounds of an East Village tenement courtyard\, shared by multicultural immigrant families\, then moves into the concert hall to hear how the rich legacy of folk music inspired later generations of composers. The concert features a premiere by Clarice Assad. Presented in cooperation with the Tenement Museum.\nThe concert features the innovative ensemble Raices Negras\, with flautist Ceylon Mitchell\, cellist Erin Murphy Snedecor\, and pianist Elizabeth G. Hill\, joined by soprano Sharon Harms and pianists Joan Forsyth and Tony Lu. Music by Lazar Weiner and his son Yehudi  Wyner\, Amy Beach\, Manuel Ponce\, Undine Smith Moore\, George Walker and Tanya Leon. Courtyard music provided by community musicians. \nA powerful communicator renowned for her musical scope and versatility\, Brazilian-American Clarice Assad is a significant voice in the classical\, world music\, pop\, and jazz genres. The Grammy–nominated composer\, pianist\, vocalist\, and educator is acclaimed for her evocative colors\, rich textures\, and diverse stylistic range. “She energetically bends music to her will and reshapes it with fascinating results” – Jazz Improv Magazine \nLazar Weiner immigrated to New York from Cherkasy\, Ukraine in 1914. An accomplished pianist\, he soon found work in the silent movie industry and the Yiddish musical milieu that had sprung up around Second Avenue in the East Village. He was a prolific composer of Yiddish art songs\, and his son\, Pulitzer Prize-winner Yehudi Wyner\, grew up in the City amidst this vibrant Yiddish cultural and intellectual tradition. We pair Lazar Weiner’s moving “Somewhere Far Away” and lively “Yoshi the Klezmer” with Yehudi Wyner’s early Psalm and Family Vaudeville songs. \nComposer Manuel Ponce (1882-1948) scandalized ardent defenders of European classical music when he gave a concert combining Mexican popular and traditional songs with European artistic genres. He became an ardent advocate for South and Latin American music\, exploring and cataloguing native music and developing its melodic and rhythmic features in his own original works. \nAmy Beach (1867-1944) moved from Boston to New York City in 1915\, attracted by its vibrant musical life. Her own compositional credo embraced folk music\, in particular the folk songs of her own ancestors\, the Irish\, Scottish and English peoples who had immigrated to America. She wanted to depict the “laments\, romances and dreams” of the Irish peoples in her Suite for Two Pianos Founded Upon Old Irish Melodies. An ardent contributor to New York’s intellectual and artistic scene\, she wrote a response in the Times to Dvorak’s call for American composers to embrace the music of indigenous and African immigrants with a reminder that the cultural legacy of the British Isles was also a strong element of American cultural heritage. The dialogue reflects the search for a truly “American” musical identity that was a strong part of early twentieth-century musical thought in the Americas\, a desire to shake off the chains of the European classical tradition and find new paths that reaffirmed new national identities. \nCuban-born Tania León’s compositional style has been influenced by Undine Smith Moore (1904-89)\, one of the most prominent African-American women composers of the 20th Century. Her Afro-American Suite (1969) sets traditional spirituals in a contemporary modern harmonic idiom. Dr Moore once said: “Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences.” \nMusic from the Courtyard program: \n\nLazar Weiner – “Somewhere Far Away\,” “Yoshi the Klezmer”\nYehudi Wyner – Psalm 112\, Family Vaudeville Songs\nAmy Cheney Beach – “Prelude” and “Finale” from Suite for Two Pianos\nUndine Smith Moore – Afro-American Suite\nManuel M. Ponce – Canciones Mexicanas\nClarice Assad – Flight of the Fairies\nTania Leon – Arenas d’un Tiempo\n\nPerformers\n Raices Negras Ensemble\nCeylon Mitchell\, flute\nErin Murphy Snedecor\, cello\nElizabeth G. Hill\, piano\nSharon Harms\, soprano\nJoan Forsyth\, piano \n\n7 pm Courtyard Prelude\n7:30 pm Concert \n\n\n			\n		\n			\n			BUY TICKETS FROM HUMANITIX
URL:https://www.thevillagetrip.com/event/the-village-trip-lecture-2023/
LOCATION:Jefferson Market Library\, 425 6th Avenue\, NY\, NY 10011\, United States
CATEGORIES:2023 Civil Rights,2023 Highlights,2023 Talks & Comedy
ATTACH;FMTTYPE=image/jpeg:https://www.thevillagetrip.com/festival/wp-content/uploads/2023/07/J.A.-Arneaux-Astor-Place-Tragedy-Co.-Othello-comp._NY-Freeman_10Oct1885.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230911T190000
DTEND;TZID=America/New_York:20230911T203000
DTSTAMP:20230804T112440Z
CREATED:20230801T104605Z
LAST-MODIFIED:20230804T112440Z
UID:10000162-1694458800-1694464200@www.thevillagetrip.com
SUMMARY:Both Sides of Joni with Alexis Cole\, Monika Herzig and Friends
DESCRIPTION:“Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences” – Undine Smith Moore\nFrom the Courtyard first recreates the sounds of an East Village tenement courtyard\, shared by multicultural immigrant families\, then moves into the concert hall to hear how the rich legacy of folk music inspired later generations of composers. The concert features a premiere by Clarice Assad. Presented in cooperation with the Tenement Museum.\nThe concert features the innovative ensemble Raices Negras\, with flautist Ceylon Mitchell\, cellist Erin Murphy Snedecor\, and pianist Elizabeth G. Hill\, joined by soprano Sharon Harms and pianists Joan Forsyth and Tony Lu. Music by Lazar Weiner and his son Yehudi  Wyner\, Amy Beach\, Manuel Ponce\, Undine Smith Moore\, George Walker and Tanya Leon. Courtyard music provided by community musicians. \nA powerful communicator renowned for her musical scope and versatility\, Brazilian-American Clarice Assad is a significant voice in the classical\, world music\, pop\, and jazz genres. The Grammy–nominated composer\, pianist\, vocalist\, and educator is acclaimed for her evocative colors\, rich textures\, and diverse stylistic range. “She energetically bends music to her will and reshapes it with fascinating results” – Jazz Improv Magazine \nLazar Weiner immigrated to New York from Cherkasy\, Ukraine in 1914. An accomplished pianist\, he soon found work in the silent movie industry and the Yiddish musical milieu that had sprung up around Second Avenue in the East Village. He was a prolific composer of Yiddish art songs\, and his son\, Pulitzer Prize-winner Yehudi Wyner\, grew up in the City amidst this vibrant Yiddish cultural and intellectual tradition. We pair Lazar Weiner’s moving “Somewhere Far Away” and lively “Yoshi the Klezmer” with Yehudi Wyner’s early Psalm and Family Vaudeville songs. \nComposer Manuel Ponce (1882-1948) scandalized ardent defenders of European classical music when he gave a concert combining Mexican popular and traditional songs with European artistic genres. He became an ardent advocate for South and Latin American music\, exploring and cataloguing native music and developing its melodic and rhythmic features in his own original works. \nAmy Beach (1867-1944) moved from Boston to New York City in 1915\, attracted by its vibrant musical life. Her own compositional credo embraced folk music\, in particular the folk songs of her own ancestors\, the Irish\, Scottish and English peoples who had immigrated to America. She wanted to depict the “laments\, romances and dreams” of the Irish peoples in her Suite for Two Pianos Founded Upon Old Irish Melodies. An ardent contributor to New York’s intellectual and artistic scene\, she wrote a response in the Times to Dvorak’s call for American composers to embrace the music of indigenous and African immigrants with a reminder that the cultural legacy of the British Isles was also a strong element of American cultural heritage. The dialogue reflects the search for a truly “American” musical identity that was a strong part of early twentieth-century musical thought in the Americas\, a desire to shake off the chains of the European classical tradition and find new paths that reaffirmed new national identities. \nCuban-born Tania León’s compositional style has been influenced by Undine Smith Moore (1904-89)\, one of the most prominent African-American women composers of the 20th Century. Her Afro-American Suite (1969) sets traditional spirituals in a contemporary modern harmonic idiom. Dr Moore once said: “Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences.” \nMusic from the Courtyard program: \n\nLazar Weiner – “Somewhere Far Away\,” “Yoshi the Klezmer”\nYehudi Wyner – Psalm 112\, Family Vaudeville Songs\nAmy Cheney Beach – “Prelude” and “Finale” from Suite for Two Pianos\nUndine Smith Moore – Afro-American Suite\nManuel M. Ponce – Canciones Mexicanas\nClarice Assad – Flight of the Fairies\nTania Leon – Arenas d’un Tiempo\n\nPerformers\n Raices Negras Ensemble\nCeylon Mitchell\, flute\nErin Murphy Snedecor\, cello\nElizabeth G. Hill\, piano\nSharon Harms\, soprano\nJoan Forsyth\, piano \n\n7 pm Courtyard Prelude\n7:30 pm Concert \n\n\n			\n		\n			\n			BUY TICKETS FROM HUMANITIX
URL:https://www.thevillagetrip.com/event/both-sides-of-joni/
LOCATION:Pangea NYC\, 178 2nd Ave\, NY\, NY 10003\, United States
CATEGORIES:2023 Music
ATTACH;FMTTYPE=image/jpeg:https://www.thevillagetrip.com/festival/wp-content/uploads/2023/08/pg-both-sides-of-joni.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230912T100000
DTEND;TZID=America/New_York:20230912T111500
DTSTAMP:20230818T100125Z
CREATED:20230801T091659Z
LAST-MODIFIED:20230818T100125Z
UID:10000161-1694512800-1694517300@www.thevillagetrip.com
SUMMARY:In and Around Washington Square: A Story-Stroll with John Sorensen: Walking Tour
DESCRIPTION:“Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences” – Undine Smith Moore\nFrom the Courtyard first recreates the sounds of an East Village tenement courtyard\, shared by multicultural immigrant families\, then moves into the concert hall to hear how the rich legacy of folk music inspired later generations of composers. The concert features a premiere by Clarice Assad. Presented in cooperation with the Tenement Museum.\nThe concert features the innovative ensemble Raices Negras\, with flautist Ceylon Mitchell\, cellist Erin Murphy Snedecor\, and pianist Elizabeth G. Hill\, joined by soprano Sharon Harms and pianists Joan Forsyth and Tony Lu. Music by Lazar Weiner and his son Yehudi  Wyner\, Amy Beach\, Manuel Ponce\, Undine Smith Moore\, George Walker and Tanya Leon. Courtyard music provided by community musicians. \nA powerful communicator renowned for her musical scope and versatility\, Brazilian-American Clarice Assad is a significant voice in the classical\, world music\, pop\, and jazz genres. The Grammy–nominated composer\, pianist\, vocalist\, and educator is acclaimed for her evocative colors\, rich textures\, and diverse stylistic range. “She energetically bends music to her will and reshapes it with fascinating results” – Jazz Improv Magazine \nLazar Weiner immigrated to New York from Cherkasy\, Ukraine in 1914. An accomplished pianist\, he soon found work in the silent movie industry and the Yiddish musical milieu that had sprung up around Second Avenue in the East Village. He was a prolific composer of Yiddish art songs\, and his son\, Pulitzer Prize-winner Yehudi Wyner\, grew up in the City amidst this vibrant Yiddish cultural and intellectual tradition. We pair Lazar Weiner’s moving “Somewhere Far Away” and lively “Yoshi the Klezmer” with Yehudi Wyner’s early Psalm and Family Vaudeville songs. \nComposer Manuel Ponce (1882-1948) scandalized ardent defenders of European classical music when he gave a concert combining Mexican popular and traditional songs with European artistic genres. He became an ardent advocate for South and Latin American music\, exploring and cataloguing native music and developing its melodic and rhythmic features in his own original works. \nAmy Beach (1867-1944) moved from Boston to New York City in 1915\, attracted by its vibrant musical life. Her own compositional credo embraced folk music\, in particular the folk songs of her own ancestors\, the Irish\, Scottish and English peoples who had immigrated to America. She wanted to depict the “laments\, romances and dreams” of the Irish peoples in her Suite for Two Pianos Founded Upon Old Irish Melodies. An ardent contributor to New York’s intellectual and artistic scene\, she wrote a response in the Times to Dvorak’s call for American composers to embrace the music of indigenous and African immigrants with a reminder that the cultural legacy of the British Isles was also a strong element of American cultural heritage. The dialogue reflects the search for a truly “American” musical identity that was a strong part of early twentieth-century musical thought in the Americas\, a desire to shake off the chains of the European classical tradition and find new paths that reaffirmed new national identities. \nCuban-born Tania León’s compositional style has been influenced by Undine Smith Moore (1904-89)\, one of the most prominent African-American women composers of the 20th Century. Her Afro-American Suite (1969) sets traditional spirituals in a contemporary modern harmonic idiom. Dr Moore once said: “Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences.” \nMusic from the Courtyard program: \n\nLazar Weiner – “Somewhere Far Away\,” “Yoshi the Klezmer”\nYehudi Wyner – Psalm 112\, Family Vaudeville Songs\nAmy Cheney Beach – “Prelude” and “Finale” from Suite for Two Pianos\nUndine Smith Moore – Afro-American Suite\nManuel M. Ponce – Canciones Mexicanas\nClarice Assad – Flight of the Fairies\nTania Leon – Arenas d’un Tiempo\n\nPerformers\n Raices Negras Ensemble\nCeylon Mitchell\, flute\nErin Murphy Snedecor\, cello\nElizabeth G. Hill\, piano\nSharon Harms\, soprano\nJoan Forsyth\, piano \n\n7 pm Courtyard Prelude\n7:30 pm Concert \n\n\n			\n		\n			\n			BUY TICKETS FROM HUMANITIX
URL:https://www.thevillagetrip.com/event/washington-square/
LOCATION:Washington Square Arch at Fifth Avenue & Washington Square North\, NY\, NY 10012\, United States
CATEGORIES:2023 Civil Rights,2023 Tour
ATTACH;FMTTYPE=image/jpeg:https://www.thevillagetrip.com/festival/wp-content/uploads/2022/08/Washington-Square-Arch-Postcard.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230912T190000
DTEND;TZID=America/New_York:20230912T210000
DTSTAMP:20230912T082555Z
CREATED:20230710T083003Z
LAST-MODIFIED:20230912T082555Z
UID:10000130-1694545200-1694552400@www.thevillagetrip.com
SUMMARY:Terri Thal and Friends: Greenwich Village and Me
DESCRIPTION:“Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences” – Undine Smith Moore\nFrom the Courtyard first recreates the sounds of an East Village tenement courtyard\, shared by multicultural immigrant families\, then moves into the concert hall to hear how the rich legacy of folk music inspired later generations of composers. The concert features a premiere by Clarice Assad. Presented in cooperation with the Tenement Museum.\nThe concert features the innovative ensemble Raices Negras\, with flautist Ceylon Mitchell\, cellist Erin Murphy Snedecor\, and pianist Elizabeth G. Hill\, joined by soprano Sharon Harms and pianists Joan Forsyth and Tony Lu. Music by Lazar Weiner and his son Yehudi  Wyner\, Amy Beach\, Manuel Ponce\, Undine Smith Moore\, George Walker and Tanya Leon. Courtyard music provided by community musicians. \nA powerful communicator renowned for her musical scope and versatility\, Brazilian-American Clarice Assad is a significant voice in the classical\, world music\, pop\, and jazz genres. The Grammy–nominated composer\, pianist\, vocalist\, and educator is acclaimed for her evocative colors\, rich textures\, and diverse stylistic range. “She energetically bends music to her will and reshapes it with fascinating results” – Jazz Improv Magazine \nLazar Weiner immigrated to New York from Cherkasy\, Ukraine in 1914. An accomplished pianist\, he soon found work in the silent movie industry and the Yiddish musical milieu that had sprung up around Second Avenue in the East Village. He was a prolific composer of Yiddish art songs\, and his son\, Pulitzer Prize-winner Yehudi Wyner\, grew up in the City amidst this vibrant Yiddish cultural and intellectual tradition. We pair Lazar Weiner’s moving “Somewhere Far Away” and lively “Yoshi the Klezmer” with Yehudi Wyner’s early Psalm and Family Vaudeville songs. \nComposer Manuel Ponce (1882-1948) scandalized ardent defenders of European classical music when he gave a concert combining Mexican popular and traditional songs with European artistic genres. He became an ardent advocate for South and Latin American music\, exploring and cataloguing native music and developing its melodic and rhythmic features in his own original works. \nAmy Beach (1867-1944) moved from Boston to New York City in 1915\, attracted by its vibrant musical life. Her own compositional credo embraced folk music\, in particular the folk songs of her own ancestors\, the Irish\, Scottish and English peoples who had immigrated to America. She wanted to depict the “laments\, romances and dreams” of the Irish peoples in her Suite for Two Pianos Founded Upon Old Irish Melodies. An ardent contributor to New York’s intellectual and artistic scene\, she wrote a response in the Times to Dvorak’s call for American composers to embrace the music of indigenous and African immigrants with a reminder that the cultural legacy of the British Isles was also a strong element of American cultural heritage. The dialogue reflects the search for a truly “American” musical identity that was a strong part of early twentieth-century musical thought in the Americas\, a desire to shake off the chains of the European classical tradition and find new paths that reaffirmed new national identities. \nCuban-born Tania León’s compositional style has been influenced by Undine Smith Moore (1904-89)\, one of the most prominent African-American women composers of the 20th Century. Her Afro-American Suite (1969) sets traditional spirituals in a contemporary modern harmonic idiom. Dr Moore once said: “Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences.” \nMusic from the Courtyard program: \n\nLazar Weiner – “Somewhere Far Away\,” “Yoshi the Klezmer”\nYehudi Wyner – Psalm 112\, Family Vaudeville Songs\nAmy Cheney Beach – “Prelude” and “Finale” from Suite for Two Pianos\nUndine Smith Moore – Afro-American Suite\nManuel M. Ponce – Canciones Mexicanas\nClarice Assad – Flight of the Fairies\nTania Leon – Arenas d’un Tiempo\n\nPerformers\n Raices Negras Ensemble\nCeylon Mitchell\, flute\nErin Murphy Snedecor\, cello\nElizabeth G. Hill\, piano\nSharon Harms\, soprano\nJoan Forsyth\, piano \n\n7 pm Courtyard Prelude\n7:30 pm Concert \n\n\n			\n		\n			\n			BUY TICKETS FROM HUMANITIX
URL:https://www.thevillagetrip.com/event/terri-thal/
LOCATION:The Bitter End\, 147 Bleecker Street\, New York\, NY\, NY 10012-1436\, United States
CATEGORIES:2023 Books,2023 Highlights,2023 Music,2023 Talks & Comedy
ATTACH;FMTTYPE=image/jpeg:https://www.thevillagetrip.com/festival/wp-content/uploads/2023/07/Terri-Thal-Happy-Traum-Tom-Paxton-revised.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230912T193000
DTEND;TZID=America/New_York:20230912T204500
DTSTAMP:20230824T141337Z
CREATED:20230710T082841Z
LAST-MODIFIED:20230824T141337Z
UID:10000128-1694547000-1694551500@www.thevillagetrip.com
SUMMARY:Piano & Dance: Kees & Winter Wieringa: Dutch Minimalist Simeon ten Holt and Greenwich Village
DESCRIPTION:“Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences” – Undine Smith Moore\nFrom the Courtyard first recreates the sounds of an East Village tenement courtyard\, shared by multicultural immigrant families\, then moves into the concert hall to hear how the rich legacy of folk music inspired later generations of composers. The concert features a premiere by Clarice Assad. Presented in cooperation with the Tenement Museum.\nThe concert features the innovative ensemble Raices Negras\, with flautist Ceylon Mitchell\, cellist Erin Murphy Snedecor\, and pianist Elizabeth G. Hill\, joined by soprano Sharon Harms and pianists Joan Forsyth and Tony Lu. Music by Lazar Weiner and his son Yehudi  Wyner\, Amy Beach\, Manuel Ponce\, Undine Smith Moore\, George Walker and Tanya Leon. Courtyard music provided by community musicians. \nA powerful communicator renowned for her musical scope and versatility\, Brazilian-American Clarice Assad is a significant voice in the classical\, world music\, pop\, and jazz genres. The Grammy–nominated composer\, pianist\, vocalist\, and educator is acclaimed for her evocative colors\, rich textures\, and diverse stylistic range. “She energetically bends music to her will and reshapes it with fascinating results” – Jazz Improv Magazine \nLazar Weiner immigrated to New York from Cherkasy\, Ukraine in 1914. An accomplished pianist\, he soon found work in the silent movie industry and the Yiddish musical milieu that had sprung up around Second Avenue in the East Village. He was a prolific composer of Yiddish art songs\, and his son\, Pulitzer Prize-winner Yehudi Wyner\, grew up in the City amidst this vibrant Yiddish cultural and intellectual tradition. We pair Lazar Weiner’s moving “Somewhere Far Away” and lively “Yoshi the Klezmer” with Yehudi Wyner’s early Psalm and Family Vaudeville songs. \nComposer Manuel Ponce (1882-1948) scandalized ardent defenders of European classical music when he gave a concert combining Mexican popular and traditional songs with European artistic genres. He became an ardent advocate for South and Latin American music\, exploring and cataloguing native music and developing its melodic and rhythmic features in his own original works. \nAmy Beach (1867-1944) moved from Boston to New York City in 1915\, attracted by its vibrant musical life. Her own compositional credo embraced folk music\, in particular the folk songs of her own ancestors\, the Irish\, Scottish and English peoples who had immigrated to America. She wanted to depict the “laments\, romances and dreams” of the Irish peoples in her Suite for Two Pianos Founded Upon Old Irish Melodies. An ardent contributor to New York’s intellectual and artistic scene\, she wrote a response in the Times to Dvorak’s call for American composers to embrace the music of indigenous and African immigrants with a reminder that the cultural legacy of the British Isles was also a strong element of American cultural heritage. The dialogue reflects the search for a truly “American” musical identity that was a strong part of early twentieth-century musical thought in the Americas\, a desire to shake off the chains of the European classical tradition and find new paths that reaffirmed new national identities. \nCuban-born Tania León’s compositional style has been influenced by Undine Smith Moore (1904-89)\, one of the most prominent African-American women composers of the 20th Century. Her Afro-American Suite (1969) sets traditional spirituals in a contemporary modern harmonic idiom. Dr Moore once said: “Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences.” \nMusic from the Courtyard program: \n\nLazar Weiner – “Somewhere Far Away\,” “Yoshi the Klezmer”\nYehudi Wyner – Psalm 112\, Family Vaudeville Songs\nAmy Cheney Beach – “Prelude” and “Finale” from Suite for Two Pianos\nUndine Smith Moore – Afro-American Suite\nManuel M. Ponce – Canciones Mexicanas\nClarice Assad – Flight of the Fairies\nTania Leon – Arenas d’un Tiempo\n\nPerformers\n Raices Negras Ensemble\nCeylon Mitchell\, flute\nErin Murphy Snedecor\, cello\nElizabeth G. Hill\, piano\nSharon Harms\, soprano\nJoan Forsyth\, piano \n\n7 pm Courtyard Prelude\n7:30 pm Concert \n\n\n			\n		\n			\n			BUY TICKETS FROM HUMANITIX
URL:https://www.thevillagetrip.com/event/piano-dance/
LOCATION:St John’s in the Village\, 218 W 11th St\, New York\, NY\, New York\, 10014\, United States
CATEGORIES:2023 New Music
ATTACH;FMTTYPE=image/jpeg:https://www.thevillagetrip.com/festival/wp-content/uploads/2023/07/Kees-Wieringa-and-Simeon-ten-Holt.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230913T183000
DTEND;TZID=America/New_York:20230913T200000
DTSTAMP:20230805T103334Z
CREATED:20230802T130958Z
LAST-MODIFIED:20230805T103334Z
UID:10000169-1694629800-1694635200@www.thevillagetrip.com
SUMMARY:Architectonics of Music: A Conversation Between Architect Dimitra Tsachrelia and Composer Raphael Mostel
DESCRIPTION:“Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences” – Undine Smith Moore\nFrom the Courtyard first recreates the sounds of an East Village tenement courtyard\, shared by multicultural immigrant families\, then moves into the concert hall to hear how the rich legacy of folk music inspired later generations of composers. The concert features a premiere by Clarice Assad. Presented in cooperation with the Tenement Museum.\nThe concert features the innovative ensemble Raices Negras\, with flautist Ceylon Mitchell\, cellist Erin Murphy Snedecor\, and pianist Elizabeth G. Hill\, joined by soprano Sharon Harms and pianists Joan Forsyth and Tony Lu. Music by Lazar Weiner and his son Yehudi  Wyner\, Amy Beach\, Manuel Ponce\, Undine Smith Moore\, George Walker and Tanya Leon. Courtyard music provided by community musicians. \nA powerful communicator renowned for her musical scope and versatility\, Brazilian-American Clarice Assad is a significant voice in the classical\, world music\, pop\, and jazz genres. The Grammy–nominated composer\, pianist\, vocalist\, and educator is acclaimed for her evocative colors\, rich textures\, and diverse stylistic range. “She energetically bends music to her will and reshapes it with fascinating results” – Jazz Improv Magazine \nLazar Weiner immigrated to New York from Cherkasy\, Ukraine in 1914. An accomplished pianist\, he soon found work in the silent movie industry and the Yiddish musical milieu that had sprung up around Second Avenue in the East Village. He was a prolific composer of Yiddish art songs\, and his son\, Pulitzer Prize-winner Yehudi Wyner\, grew up in the City amidst this vibrant Yiddish cultural and intellectual tradition. We pair Lazar Weiner’s moving “Somewhere Far Away” and lively “Yoshi the Klezmer” with Yehudi Wyner’s early Psalm and Family Vaudeville songs. \nComposer Manuel Ponce (1882-1948) scandalized ardent defenders of European classical music when he gave a concert combining Mexican popular and traditional songs with European artistic genres. He became an ardent advocate for South and Latin American music\, exploring and cataloguing native music and developing its melodic and rhythmic features in his own original works. \nAmy Beach (1867-1944) moved from Boston to New York City in 1915\, attracted by its vibrant musical life. Her own compositional credo embraced folk music\, in particular the folk songs of her own ancestors\, the Irish\, Scottish and English peoples who had immigrated to America. She wanted to depict the “laments\, romances and dreams” of the Irish peoples in her Suite for Two Pianos Founded Upon Old Irish Melodies. An ardent contributor to New York’s intellectual and artistic scene\, she wrote a response in the Times to Dvorak’s call for American composers to embrace the music of indigenous and African immigrants with a reminder that the cultural legacy of the British Isles was also a strong element of American cultural heritage. The dialogue reflects the search for a truly “American” musical identity that was a strong part of early twentieth-century musical thought in the Americas\, a desire to shake off the chains of the European classical tradition and find new paths that reaffirmed new national identities. \nCuban-born Tania León’s compositional style has been influenced by Undine Smith Moore (1904-89)\, one of the most prominent African-American women composers of the 20th Century. Her Afro-American Suite (1969) sets traditional spirituals in a contemporary modern harmonic idiom. Dr Moore once said: “Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences.” \nMusic from the Courtyard program: \n\nLazar Weiner – “Somewhere Far Away\,” “Yoshi the Klezmer”\nYehudi Wyner – Psalm 112\, Family Vaudeville Songs\nAmy Cheney Beach – “Prelude” and “Finale” from Suite for Two Pianos\nUndine Smith Moore – Afro-American Suite\nManuel M. Ponce – Canciones Mexicanas\nClarice Assad – Flight of the Fairies\nTania Leon – Arenas d’un Tiempo\n\nPerformers\n Raices Negras Ensemble\nCeylon Mitchell\, flute\nErin Murphy Snedecor\, cello\nElizabeth G. Hill\, piano\nSharon Harms\, soprano\nJoan Forsyth\, piano \n\n7 pm Courtyard Prelude\n7:30 pm Concert \n\n\n			\n		\n			\n			BUY TICKETS FROM HUMANITIX
URL:https://www.thevillagetrip.com/event/architectonics-of-music/
LOCATION:Center for Architecture\, 536 LaGuardia Place\, New York\, 10012\, United States
CATEGORIES:2023 Talks & Comedy
ATTACH;FMTTYPE=image/jpeg:https://www.thevillagetrip.com/festival/wp-content/uploads/2023/08/Maggies-Centre-Barts-by-Steven-Holl-Architects-photo-by-Iwan_Baan.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230913T190000
DTEND;TZID=America/New_York:20230913T201500
DTSTAMP:20230818T120201Z
CREATED:20230710T083254Z
LAST-MODIFIED:20230818T120201Z
UID:10000127-1694631600-1694636100@www.thevillagetrip.com
SUMMARY:Wonderful Town – Jamie Bernstein and Janis Siegel and friends in a seventieth anniversary celebration of Leonard Bernstein’s great downtown musical
DESCRIPTION:“Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences” – Undine Smith Moore\nFrom the Courtyard first recreates the sounds of an East Village tenement courtyard\, shared by multicultural immigrant families\, then moves into the concert hall to hear how the rich legacy of folk music inspired later generations of composers. The concert features a premiere by Clarice Assad. Presented in cooperation with the Tenement Museum.\nThe concert features the innovative ensemble Raices Negras\, with flautist Ceylon Mitchell\, cellist Erin Murphy Snedecor\, and pianist Elizabeth G. Hill\, joined by soprano Sharon Harms and pianists Joan Forsyth and Tony Lu. Music by Lazar Weiner and his son Yehudi  Wyner\, Amy Beach\, Manuel Ponce\, Undine Smith Moore\, George Walker and Tanya Leon. Courtyard music provided by community musicians. \nA powerful communicator renowned for her musical scope and versatility\, Brazilian-American Clarice Assad is a significant voice in the classical\, world music\, pop\, and jazz genres. The Grammy–nominated composer\, pianist\, vocalist\, and educator is acclaimed for her evocative colors\, rich textures\, and diverse stylistic range. “She energetically bends music to her will and reshapes it with fascinating results” – Jazz Improv Magazine \nLazar Weiner immigrated to New York from Cherkasy\, Ukraine in 1914. An accomplished pianist\, he soon found work in the silent movie industry and the Yiddish musical milieu that had sprung up around Second Avenue in the East Village. He was a prolific composer of Yiddish art songs\, and his son\, Pulitzer Prize-winner Yehudi Wyner\, grew up in the City amidst this vibrant Yiddish cultural and intellectual tradition. We pair Lazar Weiner’s moving “Somewhere Far Away” and lively “Yoshi the Klezmer” with Yehudi Wyner’s early Psalm and Family Vaudeville songs. \nComposer Manuel Ponce (1882-1948) scandalized ardent defenders of European classical music when he gave a concert combining Mexican popular and traditional songs with European artistic genres. He became an ardent advocate for South and Latin American music\, exploring and cataloguing native music and developing its melodic and rhythmic features in his own original works. \nAmy Beach (1867-1944) moved from Boston to New York City in 1915\, attracted by its vibrant musical life. Her own compositional credo embraced folk music\, in particular the folk songs of her own ancestors\, the Irish\, Scottish and English peoples who had immigrated to America. She wanted to depict the “laments\, romances and dreams” of the Irish peoples in her Suite for Two Pianos Founded Upon Old Irish Melodies. An ardent contributor to New York’s intellectual and artistic scene\, she wrote a response in the Times to Dvorak’s call for American composers to embrace the music of indigenous and African immigrants with a reminder that the cultural legacy of the British Isles was also a strong element of American cultural heritage. The dialogue reflects the search for a truly “American” musical identity that was a strong part of early twentieth-century musical thought in the Americas\, a desire to shake off the chains of the European classical tradition and find new paths that reaffirmed new national identities. \nCuban-born Tania León’s compositional style has been influenced by Undine Smith Moore (1904-89)\, one of the most prominent African-American women composers of the 20th Century. Her Afro-American Suite (1969) sets traditional spirituals in a contemporary modern harmonic idiom. Dr Moore once said: “Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences.” \nMusic from the Courtyard program: \n\nLazar Weiner – “Somewhere Far Away\,” “Yoshi the Klezmer”\nYehudi Wyner – Psalm 112\, Family Vaudeville Songs\nAmy Cheney Beach – “Prelude” and “Finale” from Suite for Two Pianos\nUndine Smith Moore – Afro-American Suite\nManuel M. Ponce – Canciones Mexicanas\nClarice Assad – Flight of the Fairies\nTania Leon – Arenas d’un Tiempo\n\nPerformers\n Raices Negras Ensemble\nCeylon Mitchell\, flute\nErin Murphy Snedecor\, cello\nElizabeth G. Hill\, piano\nSharon Harms\, soprano\nJoan Forsyth\, piano \n\n7 pm Courtyard Prelude\n7:30 pm Concert \n\n\n			\n		\n			\n			BUY TICKETS FROM HUMANITIX
URL:https://www.thevillagetrip.com/event/wonderful-town/
LOCATION:The Public Theater at Joe’s Pub\, 425 Lafayette Street (at Astor Place)\, NY\, NY 10003\, United States
CATEGORIES:2023 Highlights,2023 Music
ATTACH;FMTTYPE=image/jpeg:https://www.thevillagetrip.com/festival/wp-content/uploads/2022/08/wonderful-town-cabaret.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230913T200000
DTEND;TZID=America/New_York:20230913T220000
DTSTAMP:20230807T085554Z
CREATED:20230710T083729Z
LAST-MODIFIED:20230807T085554Z
UID:10000132-1694635200-1694642400@www.thevillagetrip.com
SUMMARY:Stand Up & Be Counted! The Village Trip Comedy Night
DESCRIPTION:“Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences” – Undine Smith Moore\nFrom the Courtyard first recreates the sounds of an East Village tenement courtyard\, shared by multicultural immigrant families\, then moves into the concert hall to hear how the rich legacy of folk music inspired later generations of composers. The concert features a premiere by Clarice Assad. Presented in cooperation with the Tenement Museum.\nThe concert features the innovative ensemble Raices Negras\, with flautist Ceylon Mitchell\, cellist Erin Murphy Snedecor\, and pianist Elizabeth G. Hill\, joined by soprano Sharon Harms and pianists Joan Forsyth and Tony Lu. Music by Lazar Weiner and his son Yehudi  Wyner\, Amy Beach\, Manuel Ponce\, Undine Smith Moore\, George Walker and Tanya Leon. Courtyard music provided by community musicians. \nA powerful communicator renowned for her musical scope and versatility\, Brazilian-American Clarice Assad is a significant voice in the classical\, world music\, pop\, and jazz genres. The Grammy–nominated composer\, pianist\, vocalist\, and educator is acclaimed for her evocative colors\, rich textures\, and diverse stylistic range. “She energetically bends music to her will and reshapes it with fascinating results” – Jazz Improv Magazine \nLazar Weiner immigrated to New York from Cherkasy\, Ukraine in 1914. An accomplished pianist\, he soon found work in the silent movie industry and the Yiddish musical milieu that had sprung up around Second Avenue in the East Village. He was a prolific composer of Yiddish art songs\, and his son\, Pulitzer Prize-winner Yehudi Wyner\, grew up in the City amidst this vibrant Yiddish cultural and intellectual tradition. We pair Lazar Weiner’s moving “Somewhere Far Away” and lively “Yoshi the Klezmer” with Yehudi Wyner’s early Psalm and Family Vaudeville songs. \nComposer Manuel Ponce (1882-1948) scandalized ardent defenders of European classical music when he gave a concert combining Mexican popular and traditional songs with European artistic genres. He became an ardent advocate for South and Latin American music\, exploring and cataloguing native music and developing its melodic and rhythmic features in his own original works. \nAmy Beach (1867-1944) moved from Boston to New York City in 1915\, attracted by its vibrant musical life. Her own compositional credo embraced folk music\, in particular the folk songs of her own ancestors\, the Irish\, Scottish and English peoples who had immigrated to America. She wanted to depict the “laments\, romances and dreams” of the Irish peoples in her Suite for Two Pianos Founded Upon Old Irish Melodies. An ardent contributor to New York’s intellectual and artistic scene\, she wrote a response in the Times to Dvorak’s call for American composers to embrace the music of indigenous and African immigrants with a reminder that the cultural legacy of the British Isles was also a strong element of American cultural heritage. The dialogue reflects the search for a truly “American” musical identity that was a strong part of early twentieth-century musical thought in the Americas\, a desire to shake off the chains of the European classical tradition and find new paths that reaffirmed new national identities. \nCuban-born Tania León’s compositional style has been influenced by Undine Smith Moore (1904-89)\, one of the most prominent African-American women composers of the 20th Century. Her Afro-American Suite (1969) sets traditional spirituals in a contemporary modern harmonic idiom. Dr Moore once said: “Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences.” \nMusic from the Courtyard program: \n\nLazar Weiner – “Somewhere Far Away\,” “Yoshi the Klezmer”\nYehudi Wyner – Psalm 112\, Family Vaudeville Songs\nAmy Cheney Beach – “Prelude” and “Finale” from Suite for Two Pianos\nUndine Smith Moore – Afro-American Suite\nManuel M. Ponce – Canciones Mexicanas\nClarice Assad – Flight of the Fairies\nTania Leon – Arenas d’un Tiempo\n\nPerformers\n Raices Negras Ensemble\nCeylon Mitchell\, flute\nErin Murphy Snedecor\, cello\nElizabeth G. Hill\, piano\nSharon Harms\, soprano\nJoan Forsyth\, piano \n\n7 pm Courtyard Prelude\n7:30 pm Concert \n\n\n			\n		\n			\n			BUY TICKETS FROM HUMANITIX
URL:https://www.thevillagetrip.com/event/stand-up-be-counted-the-village-trip-comedy-night/
LOCATION:The Grisly Pear\, 107 Macdougal Street\, New York\, NY\, 10012\, United States
CATEGORIES:2023 Talks & Comedy
ATTACH;FMTTYPE=image/jpeg:https://www.thevillagetrip.com/festival/wp-content/uploads/2023/07/The-Grisly-Pear.jpg
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