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DTSTART;TZID=America/New_York:20230923T160000
DTEND;TZID=America/New_York:20230923T190000
DTSTAMP:20230922T135502Z
CREATED:20230710T093418Z
LAST-MODIFIED:20230922T135502Z
UID:10000148-1695484800-1695495600@www.thevillagetrip.com
SUMMARY:Bringing It All Back Home to Washington Square. Free concert with the Peace Poets\, People of Earth\, & BETTY
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/bringing-it-all-back-home/
LOCATION:Washington Square Arch\, Washington Square Park\, New York\, NY\, NY\, 10012\, United States
CATEGORIES:2023 Highlights,2023 Music
ATTACH;FMTTYPE=image/jpeg:https://www.thevillagetrip.com/festival/wp-content/uploads/2023/07/BETTY-by-Gene-Reed.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230923T130000
DTEND;TZID=America/New_York:20230923T153000
DTSTAMP:20230805T101354Z
CREATED:20230802T133259Z
LAST-MODIFIED:20230805T101354Z
UID:10000167-1695474000-1695483000@www.thevillagetrip.com
SUMMARY:In the Wake of the High Line:  New Architecture in the Far West Village and Hudson Square. 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/in-the-wake-of-the-high-line/
LOCATION:The plaza between the Whitney Museum and the south end of the High Line\, 99 Gansevoort Street\, New York\, NY\, NY 10014\, United States
CATEGORIES:2023 Tour
ATTACH;FMTTYPE=image/jpeg:https://www.thevillagetrip.com/festival/wp-content/uploads/2023/08/High-Line-tour.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230923T100000
DTEND;TZID=America/New_York:20230923T120000
DTSTAMP:20230922T151136Z
CREATED:20230802T095746Z
LAST-MODIFIED:20230922T151136Z
UID:10000165-1695463200-1695470400@www.thevillagetrip.com
SUMMARY:Picture Book Bohemia: A Children’s-Book Walking Tour of Greenwich Village Led by Historian and Critic Leonard Marcus
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/picture-book-bohemia-walking-tour/
LOCATION:Opposite the Forbes Building\, Fifth Avenue & 12th Street\, NY\, NY 10011\, United States
CATEGORIES:2023 Books,2023 Tour,Children's Events
ATTACH;FMTTYPE=image/jpeg:https://www.thevillagetrip.com/festival/wp-content/uploads/2022/08/Picture-Books-Walking-Tour.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230922T213000
DTEND;TZID=America/New_York:20230922T230000
DTSTAMP:20230804T112826Z
CREATED:20230802T142046Z
LAST-MODIFIED:20230804T112826Z
UID:10000092-1695418200-1695423600@www.thevillagetrip.com
SUMMARY:David Mills:  Glamour + Despair
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-mills-glamour-despair-2/
LOCATION:Pangea NYC\, 178 2nd Ave\, NY\, NY 10003\, United States
CATEGORIES:2023 Talks & Comedy
ATTACH;FMTTYPE=image/jpeg:https://www.thevillagetrip.com/festival/wp-content/uploads/2023/08/pg-david-mills.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230922T193000
DTEND;TZID=America/New_York:20230922T210000
DTSTAMP:20230809T130021Z
CREATED:20230710T093143Z
LAST-MODIFIED:20230809T130021Z
UID:10000146-1695411000-1695416400@www.thevillagetrip.com
SUMMARY:Lafcadio Hearn Project: Four ghost stories for speaker and pianist
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/lafcadio-hearn-project/
LOCATION:Tenri Cultural Institute\, 43A West 13th Street\, NY\, NY 10011\, United States
CATEGORIES:2023 New Music
ATTACH;FMTTYPE=image/jpeg:https://www.thevillagetrip.com/festival/wp-content/uploads/2023/07/Lafcadio-Hearn.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230922T190000
DTEND;TZID=America/New_York:20230922T203000
DTSTAMP:20230728T123930Z
CREATED:20230710T093300Z
LAST-MODIFIED:20230728T123930Z
UID:10000147-1695409200-1695414600@www.thevillagetrip.com
SUMMARY:Julie Gold: Closing the Distance
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/julie-gold/
LOCATION:Greenwich House Music School\, 46 Barrow Street\, New York\, NY\, 10014\, United States
CATEGORIES:2023 Highlights,2023 Music
ATTACH;FMTTYPE=image/jpeg:https://www.thevillagetrip.com/festival/wp-content/uploads/2023/07/Julie-Gold.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230922T180000
DTEND;TZID=America/New_York:20230922T200000
DTSTAMP:20230731T110929Z
CREATED:20230731T095333Z
LAST-MODIFIED:20230731T110929Z
UID:10000159-1695405600-1695412800@www.thevillagetrip.com
SUMMARY:The 2nd Birthplace: Hip-Hop at 50 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/hip-hop-tour-evening/
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/2023/07/Hip-Hop-Tour.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230922T180000
DTEND;TZID=America/New_York:20230922T200000
DTSTAMP:20230814T150044Z
CREATED:20230710T093033Z
LAST-MODIFIED:20230814T150044Z
UID:10000145-1695405600-1695412800@www.thevillagetrip.com
SUMMARY:Loisaida\, My Love
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/loisaida-my-love/
LOCATION:Third Street Music School\, Third Street Music School\, New York\, NY\, 10003\, United States
CATEGORIES:2023 New Music
ATTACH;FMTTYPE=image/jpeg:https://www.thevillagetrip.com/festival/wp-content/uploads/2023/07/duo-mundi-and-Jesse-Montgomery.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230922T150000
DTEND;TZID=America/New_York:20230922T170000
DTSTAMP:20230731T110842Z
CREATED:20230731T093252Z
LAST-MODIFIED:20230731T110842Z
UID:10000158-1695394800-1695402000@www.thevillagetrip.com
SUMMARY:The 2nd Birthplace: Hip-Hop at 50 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/hip-hop-tour-afternoon/
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/2023/07/Hip-Hop-Tour.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230921T193000
DTEND;TZID=America/New_York:20230921T220000
DTSTAMP:20231220T175305Z
CREATED:20230710T092922Z
LAST-MODIFIED:20231220T175305Z
UID:10000144-1695324600-1695333600@www.thevillagetrip.com
SUMMARY:Let Freedom Ring! Music and Voices of the March for Civil Rights\, Then and Now
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/let-freedom-ring/
LOCATION:Great Hall at Cooper Union\, 7 East 7th Street\, NY\, United States
CATEGORIES:2023 Civil Rights,2023 Highlights,2023 Music
ATTACH;FMTTYPE=image/jpeg:https://www.thevillagetrip.com/festival/wp-content/uploads/2023/07/Martin-Luther-King.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230921T190000
DTEND;TZID=America/New_York:20230921T203000
DTSTAMP:20230807T142335Z
CREATED:20230802T141800Z
LAST-MODIFIED:20230807T142335Z
UID:10000094-1695322800-1695328200@www.thevillagetrip.com
SUMMARY:Zora Rasmussen at Pangea
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/zora-rasmussen/
LOCATION:Pangea NYC\, 178 2nd Ave\, NY\, NY 10003\, United States
CATEGORIES:2023 Music,2023 Talks & Comedy
ATTACH;FMTTYPE=image/jpeg:https://www.thevillagetrip.com/festival/wp-content/uploads/2023/08/pg-Zora-Rasmussen.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230920T200000
DTEND;TZID=America/New_York:20230920T220000
DTSTAMP:20230807T085709Z
CREATED:20230710T092809Z
LAST-MODIFIED:20230807T085709Z
UID:10000143-1695240000-1695247200@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-2/
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
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230920T193000
DTEND;TZID=America/New_York:20230920T210000
DTSTAMP:20230908T092626Z
CREATED:20230710T092708Z
LAST-MODIFIED:20230908T092626Z
UID:10000142-1695238200-1695243600@www.thevillagetrip.com
SUMMARY:Uncommon Women: Celebrating Joan Tower
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/uncommon-women/
LOCATION:Greenwich House Music School\, 46 Barrow Street\, New York\, NY\, 10014\, United States
CATEGORIES:2023 New Music
ATTACH;FMTTYPE=image/jpeg:https://www.thevillagetrip.com/festival/wp-content/uploads/2023/07/joan-tower-event.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230920T190000
DTEND;TZID=America/New_York:20230920T210000
DTSTAMP:20230911T163432Z
CREATED:20230824T161157Z
LAST-MODIFIED:20230911T163432Z
UID:10000171-1695236400-1695243600@www.thevillagetrip.com
SUMMARY:Statuesque: A Drag Celebration of BIPOC LGBTQ+ Trailblazers
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/statuesque-a-drag-celebration/
LOCATION:The Stonewall Inn\, 53 Christopher Street\, New York\, NY\, 10014\, United States
CATEGORIES:2023 Civil Rights,2023 Music
ATTACH;FMTTYPE=image/jpeg:https://www.thevillagetrip.com/festival/wp-content/uploads/2023/08/Harmonica-Sunbeam.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230920T160000
DTEND;TZID=America/New_York:20230920T190000
DTSTAMP:20230811T074845Z
CREATED:20230710T092507Z
LAST-MODIFIED:20230811T074845Z
UID:10000141-1695225600-1695236400@www.thevillagetrip.com
SUMMARY:The Renee & Chaim Gross Foundation Open House
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/renee-chaim-gross-open-house/
LOCATION:The Renee & Chaim Gross Foundation\, 526 Laguardia Place\, New York\, NY\, 10012\, United States
CATEGORIES:2023 Art & Film,2023 Tour
ATTACH;FMTTYPE=image/jpeg:https://www.thevillagetrip.com/festival/wp-content/uploads/2023/07/Gross-Foundation-sculpture-studio-Photo-by-Elizabeth-Felicella.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230919T190000
DTEND;TZID=America/New_York:20230919T210000
DTSTAMP:20230824T084116Z
CREATED:20230824T083932Z
LAST-MODIFIED:20230824T084116Z
UID:10000079-1695150000-1695157200@www.thevillagetrip.com
SUMMARY:Plays and Playwrights of 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/plays-and-playwrights-of-greenwich-village/
LOCATION:HB Playwrights Theatre\, 124 Bank St\, New York\, NY\, 10014\, United States
CATEGORIES:2023 Talks & Comedy
ATTACH;FMTTYPE=image/jpeg:https://www.thevillagetrip.com/festival/wp-content/uploads/2023/08/Cherry-Lane-Theater.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230919T190000
DTEND;TZID=America/New_York:20230919T203000
DTSTAMP:20230907T121305Z
CREATED:20230726T094618Z
LAST-MODIFIED:20230907T121305Z
UID:10000156-1695150000-1695155400@www.thevillagetrip.com
SUMMARY:Simic Colors at Salmagundi: baritone Joseph Keckler\, 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/simic-colors/
LOCATION:Salmagundi Club\, 47 Fifth Avenue\, New York\, NY\, 10003\, United States
CATEGORIES:2023 Highlights,2023 New Music
ATTACH;FMTTYPE=image/jpeg:https://www.thevillagetrip.com/festival/wp-content/uploads/2023/07/Simic-Colors-Joseph-Keckler.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230918T193000
DTEND;TZID=America/New_York:20230918T210000
DTSTAMP:20230822T083420Z
CREATED:20230710T092012Z
LAST-MODIFIED:20230822T083420Z
UID:10000140-1695065400-1695070800@www.thevillagetrip.com
SUMMARY:So Surreal - Anarchy Under the Arch! Innovators\, Radicals\, Mavericks and Game-changers
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/so-surreal/
LOCATION:Salmagundi Club\, 47 Fifth Avenue\, New York\, NY\, 10003\, United States
CATEGORIES:2023 Civil Rights,2023 Highlights,2023 New Music
ATTACH;FMTTYPE=image/jpeg:https://www.thevillagetrip.com/festival/wp-content/uploads/2023/07/so-surreal-image.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230918T180000
DTEND;TZID=America/New_York:20230918T193000
DTSTAMP:20230913T132205Z
CREATED:20230710T091823Z
LAST-MODIFIED:20230913T132205Z
UID:10000139-1695060000-1695065400@www.thevillagetrip.com
SUMMARY:Public/Private: Gail Papp\, in conversation with George C Wolfe
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/public-private/
LOCATION:The Public Theater at Joe’s Pub\, 425 Lafayette Street (at Astor Place)\, NY\, NY 10003\, United States
CATEGORIES:2023 Books,2023 Highlights,2023 Talks & Comedy
ATTACH;FMTTYPE=image/jpeg:https://www.thevillagetrip.com/festival/wp-content/uploads/2023/07/public-private-gail-papp.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230917T193000
DTEND;TZID=America/New_York:20230917T220000
DTSTAMP:20230817T092603Z
CREATED:20230710T085509Z
LAST-MODIFIED:20230817T092603Z
UID:10000138-1694979000-1694988000@www.thevillagetrip.com
SUMMARY:Shanah Tovah! A Joyous New Year's Musical Celebration with Avram Pengas\, David Amram & 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/shanah-tovah/
LOCATION:DROM\, 85 Avenue A\, NY\, NY 10009\, United States
CATEGORIES:2023 Highlights,2023 Music
ATTACH;FMTTYPE=image/jpeg:https://www.thevillagetrip.com/festival/wp-content/uploads/2023/07/David-Amram-and-Avram-Pengas-revised.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230917T190000
DTEND;TZID=America/New_York:20230917T203000
DTSTAMP:20230807T123412Z
CREATED:20230802T141154Z
LAST-MODIFIED:20230807T123412Z
UID:10000170-1694977200-1694982600@www.thevillagetrip.com
SUMMARY:Living In Twilight with Carol Lipnik and Gordon Beeferman
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/living-in-twilight/
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-Carol-Lipnik-by-Albie-Mitchell.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230917T150000
DTEND;TZID=America/New_York:20230917T163000
DTSTAMP:20230905T085925Z
CREATED:20230710T085344Z
LAST-MODIFIED:20230905T085925Z
UID:10000137-1694962800-1694968200@www.thevillagetrip.com
SUMMARY:Seeking Refuge: Sounding loss and displacement
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/seeking-refuge/
LOCATION:St John’s in the Village\, 218 W 11th St\, New York\, NY\, New York\, 10014\, United States
CATEGORIES:2023 Civil Rights,2023 Music,2023 New Music
ATTACH;FMTTYPE=image/jpeg:https://www.thevillagetrip.com/festival/wp-content/uploads/2023/08/Mascha-Kaleko-poet.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230917T120000
DTEND;TZID=America/New_York:20230917T140000
DTSTAMP:20230809T150232Z
CREATED:20230804T092130Z
LAST-MODIFIED:20230809T150232Z
UID:10000075-1694952000-1694959200@www.thevillagetrip.com
SUMMARY:The Avant Garde Moves East:  East Village Art and History Walk with 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/the-avant-garde-moves-east-east-village-art-and-history-walk-with-marc-kehoe/
LOCATION:The Cube at Astor Place\, at Lafayette 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/Marc-Kehoe-walks.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230917T110000
DTEND;TZID=America/New_York:20230917T130000
DTSTAMP:20230801T083133Z
CREATED:20230722T142701Z
LAST-MODIFIED:20230801T083133Z
UID:10000155-1694948400-1694955600@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/2023-09-17/
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:20230916T200000
DTEND;TZID=America/New_York:20230916T214500
DTSTAMP:20230905T085157Z
CREATED:20230807T133546Z
LAST-MODIFIED:20230905T085157Z
UID:10000077-1694894400-1694900700@www.thevillagetrip.com
SUMMARY:The Village Trip GuitarFest III – Finding Beauty in Small Things – Mel Powell to Chester Biscardi
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/guitarfest-3/
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/2023/08/GF3-David-Leisner.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230916T193000
DTEND;TZID=America/New_York:20230916T223000
DTSTAMP:20230818T111431Z
CREATED:20230710T085235Z
LAST-MODIFIED:20230818T111431Z
UID:10000136-1694892600-1694903400@www.thevillagetrip.com
SUMMARY:Jazz for Justice: Freedom First – We Are With You / Estamos Contigo
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/jazz-for-justice/
LOCATION:Nuyorican Poets Café\, 236 East 3rd Street\, NY\, NY 10009\, United States
CATEGORIES:2023 Civil Rights,2023 Highlights,2023 Music
ATTACH;FMTTYPE=image/jpeg:https://www.thevillagetrip.com/festival/wp-content/uploads/2023/07/jazz-for-justice-keith-lamar-event.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230916T180000
DTEND;TZID=America/New_York:20230916T194500
DTSTAMP:20230905T085031Z
CREATED:20230710T085109Z
LAST-MODIFIED:20230905T085031Z
UID:10000135-1694887200-1694893500@www.thevillagetrip.com
SUMMARY:The Village Trip GuitarFest II – Mel Powell Centenary – My Guy’s Come Back
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/tvt-guitarfest-2/
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/GF2-Mel-Powell-and-Benny-Goodman.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230916T160000
DTEND;TZID=America/New_York:20230916T173000
DTSTAMP:20230722T154533Z
CREATED:20230710T084935Z
LAST-MODIFIED:20230722T154533Z
UID:10000134-1694880000-1694885400@www.thevillagetrip.com
SUMMARY:Wonderful Town – A Walking Tour with Jamie Bernstein
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-walk/
LOCATION:Northwest corner of 14th Street and 7th Avenue\, Northwest corner of 14th Street and 7th Avenue\, New York\, NY\, NY 10011\, United States
CATEGORIES:2023 Tour
ATTACH;FMTTYPE=image/jpeg:https://www.thevillagetrip.com/festival/wp-content/uploads/2022/08/wonderful-town-walk.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230916T130000
DTEND;TZID=America/New_York:20230916T153000
DTSTAMP:20230805T103213Z
CREATED:20230802T125803Z
LAST-MODIFIED:20230805T103213Z
UID:10000166-1694869200-1694878200@www.thevillagetrip.com
SUMMARY:Modern Architecture and Adaptive Re-Use in the West Village and Meatpacking District. 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/modern-architecture/
LOCATION:MacDougal St. & MacDougal Alley\, NY\, NY 10011\, United States
CATEGORIES:2023 Tour
ATTACH;FMTTYPE=image/jpeg:https://www.thevillagetrip.com/festival/wp-content/uploads/2022/07/Lenox-Health-Copyright-Chris-Cooper-Photographer-Courtesy-Perkins-Eastman.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230916T130000
DTEND;TZID=America/New_York:20230916T150000
DTSTAMP:20230801T083051Z
CREATED:20230722T142214Z
LAST-MODIFIED:20230801T083051Z
UID:10000153-1694869200-1694876400@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/2023-09-16/
LOCATION:105 Second Avenue at 6th Street\, 105 Second Avenue at 6th Street\, New York\, NY\, 10003\, United States
CATEGORIES:2023 Tour
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