BEGIN:VCALENDAR VERSION:2.0 PRODID:-//The Village Trip - ECPv6.17.1//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-WR-CALNAME:The Village Trip X-ORIGINAL-URL:https://www.thevillagetrip.com X-WR-CALDESC:Events for The Village Trip REFRESH-INTERVAL;VALUE=DURATION:PT1H X-Robots-Tag:noindex X-PUBLISHED-TTL:PT1H BEGIN:VTIMEZONE TZID:America/New_York BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20220313T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20221106T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20230312T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20231105T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20240310T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20241103T060000 END:STANDARD END:VTIMEZONE 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 ATTACH;FMTTYPE=image/jpeg:https://www.thevillagetrip.com/festival/wp-content/uploads/2023/07/McDermott-East-Village-rock-tour.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20230915T213000 DTEND;TZID=America/New_York:20230915T230000 DTSTAMP:20230804T112617Z CREATED:20230801T110723Z LAST-MODIFIED:20230804T112617Z UID:10000163-1694813400-1694818800@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/ 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:20230914T190000 DTEND;TZID=America/New_York:20230914T210000 DTSTAMP:20230905T084853Z CREATED:20230710T084028Z LAST-MODIFIED:20230905T084853Z UID:10000133-1694718000-1694725200@www.thevillagetrip.com SUMMARY:The Village Trip GuitarFest I – "Bowery Haunt" In Memory of Scott 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/tvt-guitarfest-1/ LOCATION:Loft 393\, 393 Broadway\, New York\, NY\, 10013\, United States CATEGORIES:2023 New Music ATTACH;FMTTYPE=image/jpeg:https://www.thevillagetrip.com/festival/wp-content/uploads/2023/07/Scott-Johnson.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20230914T190000 DTEND;TZID=America/New_York:20230914T201500 DTSTAMP:20230722T131112Z CREATED:20230710T083919Z LAST-MODIFIED:20230722T131112Z UID:10000131-1694718000-1694722500@www.thevillagetrip.com SUMMARY:Mazel! Yiddish Classics Reimagined by an Unlikely Trio 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/mazel/ LOCATION:The Public Theater at Joe’s Pub\, 425 Lafayette Street (at Astor Place)\, NY\, NY 10003\, United States CATEGORIES:2023 Highlights,2023 Music ATTACH;FMTTYPE=image/jpeg:https://www.thevillagetrip.com/festival/wp-content/uploads/2023/07/Mazel-2.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20230914T180000 DTEND;TZID=America/New_York:20230914T193000 DTSTAMP:20230818T095916Z CREATED:20230731T101218Z LAST-MODIFIED:20230818T095916Z UID:10000160-1694714400-1694719800@www.thevillagetrip.com SUMMARY:To Be Heard in Print: Black Gay Writers in 1980s New York 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/black-gay-writers/ LOCATION:Zoom Webinar CATEGORIES:2023 Civil Rights,2023 Talks & Comedy ATTACH;FMTTYPE=image/jpeg:https://www.thevillagetrip.com/festival/wp-content/uploads/2023/07/Writing-by-black-gay-men-zoom-webinar.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20230914T173000 DTEND;TZID=America/New_York:20230914T203000 DTSTAMP:20230728T083828Z CREATED:20230727T103435Z LAST-MODIFIED:20230728T083828Z UID:10000157-1694712600-1694723400@www.thevillagetrip.com SUMMARY:American Boricua: Photographer Wanda Benvenutti 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/american-boricua-photographer-wanda-benvenutti/ LOCATION:La Sala de Pepe y Foto Espacio\, 73 Avenue C\, New York\, 10009\, United States CATEGORIES:2023 Art & Film ATTACH;FMTTYPE=image/jpeg:https://www.thevillagetrip.com/festival/wp-content/uploads/2023/07/Wanda-Benvenutti-American-Boricua.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20230913T200000 DTEND;TZID=America/New_York:20230913T220000 DTSTAMP:20230807T085554Z CREATED:20230710T083729Z LAST-MODIFIED:20230807T085554Z UID:10000132-1694635200-1694642400@www.thevillagetrip.com SUMMARY:Stand Up & Be Counted! The Village Trip Comedy Night DESCRIPTION:“Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences” – Undine Smith Moore\nFrom the Courtyard first recreates the sounds of an East Village tenement courtyard\, shared by multicultural immigrant families\, then moves into the concert hall to hear how the rich legacy of folk music inspired later generations of composers. The concert features a premiere by Clarice Assad. Presented in cooperation with the Tenement Museum.\nThe concert features the innovative ensemble Raices Negras\, with flautist Ceylon Mitchell\, cellist Erin Murphy Snedecor\, and pianist Elizabeth G. Hill\, joined by soprano Sharon Harms and pianists Joan Forsyth and Tony Lu. Music by Lazar Weiner and his son Yehudi  Wyner\, Amy Beach\, Manuel Ponce\, Undine Smith Moore\, George Walker and Tanya Leon. Courtyard music provided by community musicians. \nA powerful communicator renowned for her musical scope and versatility\, Brazilian-American Clarice Assad is a significant voice in the classical\, world music\, pop\, and jazz genres. The Grammy–nominated composer\, pianist\, vocalist\, and educator is acclaimed for her evocative colors\, rich textures\, and diverse stylistic range. “She energetically bends music to her will and reshapes it with fascinating results” – Jazz Improv Magazine \nLazar Weiner immigrated to New York from Cherkasy\, Ukraine in 1914. An accomplished pianist\, he soon found work in the silent movie industry and the Yiddish musical milieu that had sprung up around Second Avenue in the East Village. He was a prolific composer of Yiddish art songs\, and his son\, Pulitzer Prize-winner Yehudi Wyner\, grew up in the City amidst this vibrant Yiddish cultural and intellectual tradition. We pair Lazar Weiner’s moving “Somewhere Far Away” and lively “Yoshi the Klezmer” with Yehudi Wyner’s early Psalm and Family Vaudeville songs. \nComposer Manuel Ponce (1882-1948) scandalized ardent defenders of European classical music when he gave a concert combining Mexican popular and traditional songs with European artistic genres. He became an ardent advocate for South and Latin American music\, exploring and cataloguing native music and developing its melodic and rhythmic features in his own original works. \nAmy Beach (1867-1944) moved from Boston to New York City in 1915\, attracted by its vibrant musical life. Her own compositional credo embraced folk music\, in particular the folk songs of her own ancestors\, the Irish\, Scottish and English peoples who had immigrated to America. She wanted to depict the “laments\, romances and dreams” of the Irish peoples in her Suite for Two Pianos Founded Upon Old Irish Melodies. An ardent contributor to New York’s intellectual and artistic scene\, she wrote a response in the Times to Dvorak’s call for American composers to embrace the music of indigenous and African immigrants with a reminder that the cultural legacy of the British Isles was also a strong element of American cultural heritage. The dialogue reflects the search for a truly “American” musical identity that was a strong part of early twentieth-century musical thought in the Americas\, a desire to shake off the chains of the European classical tradition and find new paths that reaffirmed new national identities. \nCuban-born Tania León’s compositional style has been influenced by Undine Smith Moore (1904-89)\, one of the most prominent African-American women composers of the 20th Century. Her Afro-American Suite (1969) sets traditional spirituals in a contemporary modern harmonic idiom. Dr Moore once said: “Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences.” \nMusic from the Courtyard program: \n\nLazar Weiner – “Somewhere Far Away\,” “Yoshi the Klezmer”\nYehudi Wyner – Psalm 112\, Family Vaudeville Songs\nAmy Cheney Beach – “Prelude” and “Finale” from Suite for Two Pianos\nUndine Smith Moore – Afro-American Suite\nManuel M. Ponce – Canciones Mexicanas\nClarice Assad – Flight of the Fairies\nTania Leon – Arenas d’un Tiempo\n\nPerformers\n Raices Negras Ensemble\nCeylon Mitchell\, flute\nErin Murphy Snedecor\, cello\nElizabeth G. Hill\, piano\nSharon Harms\, soprano\nJoan Forsyth\, piano \n\n7 pm Courtyard Prelude\n7:30 pm Concert \n\n\n \n \n \n BUY TICKETS FROM HUMANITIX URL:https://www.thevillagetrip.com/event/stand-up-be-counted-the-village-trip-comedy-night/ LOCATION:The Grisly Pear\, 107 Macdougal Street\, New York\, NY\, 10012\, United States CATEGORIES:2023 Talks & Comedy ATTACH;FMTTYPE=image/jpeg:https://www.thevillagetrip.com/festival/wp-content/uploads/2023/07/The-Grisly-Pear.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20230913T190000 DTEND;TZID=America/New_York:20230913T201500 DTSTAMP:20230818T120201Z CREATED:20230710T083254Z LAST-MODIFIED:20230818T120201Z UID:10000127-1694631600-1694636100@www.thevillagetrip.com SUMMARY:Wonderful Town – Jamie Bernstein and Janis Siegel and friends in a seventieth anniversary celebration of Leonard Bernstein’s great downtown musical DESCRIPTION:“Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences” – Undine Smith Moore\nFrom the Courtyard first recreates the sounds of an East Village tenement courtyard\, shared by multicultural immigrant families\, then moves into the concert hall to hear how the rich legacy of folk music inspired later generations of composers. The concert features a premiere by Clarice Assad. Presented in cooperation with the Tenement Museum.\nThe concert features the innovative ensemble Raices Negras\, with flautist Ceylon Mitchell\, cellist Erin Murphy Snedecor\, and pianist Elizabeth G. Hill\, joined by soprano Sharon Harms and pianists Joan Forsyth and Tony Lu. Music by Lazar Weiner and his son Yehudi  Wyner\, Amy Beach\, Manuel Ponce\, Undine Smith Moore\, George Walker and Tanya Leon. Courtyard music provided by community musicians. \nA powerful communicator renowned for her musical scope and versatility\, Brazilian-American Clarice Assad is a significant voice in the classical\, world music\, pop\, and jazz genres. The Grammy–nominated composer\, pianist\, vocalist\, and educator is acclaimed for her evocative colors\, rich textures\, and diverse stylistic range. “She energetically bends music to her will and reshapes it with fascinating results” – Jazz Improv Magazine \nLazar Weiner immigrated to New York from Cherkasy\, Ukraine in 1914. An accomplished pianist\, he soon found work in the silent movie industry and the Yiddish musical milieu that had sprung up around Second Avenue in the East Village. He was a prolific composer of Yiddish art songs\, and his son\, Pulitzer Prize-winner Yehudi Wyner\, grew up in the City amidst this vibrant Yiddish cultural and intellectual tradition. We pair Lazar Weiner’s moving “Somewhere Far Away” and lively “Yoshi the Klezmer” with Yehudi Wyner’s early Psalm and Family Vaudeville songs. \nComposer Manuel Ponce (1882-1948) scandalized ardent defenders of European classical music when he gave a concert combining Mexican popular and traditional songs with European artistic genres. He became an ardent advocate for South and Latin American music\, exploring and cataloguing native music and developing its melodic and rhythmic features in his own original works. \nAmy Beach (1867-1944) moved from Boston to New York City in 1915\, attracted by its vibrant musical life. Her own compositional credo embraced folk music\, in particular the folk songs of her own ancestors\, the Irish\, Scottish and English peoples who had immigrated to America. She wanted to depict the “laments\, romances and dreams” of the Irish peoples in her Suite for Two Pianos Founded Upon Old Irish Melodies. An ardent contributor to New York’s intellectual and artistic scene\, she wrote a response in the Times to Dvorak’s call for American composers to embrace the music of indigenous and African immigrants with a reminder that the cultural legacy of the British Isles was also a strong element of American cultural heritage. The dialogue reflects the search for a truly “American” musical identity that was a strong part of early twentieth-century musical thought in the Americas\, a desire to shake off the chains of the European classical tradition and find new paths that reaffirmed new national identities. \nCuban-born Tania León’s compositional style has been influenced by Undine Smith Moore (1904-89)\, one of the most prominent African-American women composers of the 20th Century. Her Afro-American Suite (1969) sets traditional spirituals in a contemporary modern harmonic idiom. Dr Moore once said: “Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences.” \nMusic from the Courtyard program: \n\nLazar Weiner – “Somewhere Far Away\,” “Yoshi the Klezmer”\nYehudi Wyner – Psalm 112\, Family Vaudeville Songs\nAmy Cheney Beach – “Prelude” and “Finale” from Suite for Two Pianos\nUndine Smith Moore – Afro-American Suite\nManuel M. Ponce – Canciones Mexicanas\nClarice Assad – Flight of the Fairies\nTania Leon – Arenas d’un Tiempo\n\nPerformers\n Raices Negras Ensemble\nCeylon Mitchell\, flute\nErin Murphy Snedecor\, cello\nElizabeth G. Hill\, piano\nSharon Harms\, soprano\nJoan Forsyth\, piano \n\n7 pm Courtyard Prelude\n7:30 pm Concert \n\n\n \n \n \n BUY TICKETS FROM HUMANITIX URL:https://www.thevillagetrip.com/event/wonderful-town/ LOCATION:The Public Theater at Joe’s Pub\, 425 Lafayette Street (at Astor Place)\, NY\, NY 10003\, United States CATEGORIES:2023 Highlights,2023 Music ATTACH;FMTTYPE=image/jpeg:https://www.thevillagetrip.com/festival/wp-content/uploads/2022/08/wonderful-town-cabaret.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20230913T183000 DTEND;TZID=America/New_York:20230913T200000 DTSTAMP:20230805T103334Z CREATED:20230802T130958Z LAST-MODIFIED:20230805T103334Z UID:10000169-1694629800-1694635200@www.thevillagetrip.com SUMMARY:Architectonics of Music: A Conversation Between Architect Dimitra Tsachrelia and Composer Raphael Mostel DESCRIPTION:“Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences” – Undine Smith Moore\nFrom the Courtyard first recreates the sounds of an East Village tenement courtyard\, shared by multicultural immigrant families\, then moves into the concert hall to hear how the rich legacy of folk music inspired later generations of composers. The concert features a premiere by Clarice Assad. Presented in cooperation with the Tenement Museum.\nThe concert features the innovative ensemble Raices Negras\, with flautist Ceylon Mitchell\, cellist Erin Murphy Snedecor\, and pianist Elizabeth G. Hill\, joined by soprano Sharon Harms and pianists Joan Forsyth and Tony Lu. Music by Lazar Weiner and his son Yehudi  Wyner\, Amy Beach\, Manuel Ponce\, Undine Smith Moore\, George Walker and Tanya Leon. Courtyard music provided by community musicians. \nA powerful communicator renowned for her musical scope and versatility\, Brazilian-American Clarice Assad is a significant voice in the classical\, world music\, pop\, and jazz genres. The Grammy–nominated composer\, pianist\, vocalist\, and educator is acclaimed for her evocative colors\, rich textures\, and diverse stylistic range. “She energetically bends music to her will and reshapes it with fascinating results” – Jazz Improv Magazine \nLazar Weiner immigrated to New York from Cherkasy\, Ukraine in 1914. An accomplished pianist\, he soon found work in the silent movie industry and the Yiddish musical milieu that had sprung up around Second Avenue in the East Village. He was a prolific composer of Yiddish art songs\, and his son\, Pulitzer Prize-winner Yehudi Wyner\, grew up in the City amidst this vibrant Yiddish cultural and intellectual tradition. We pair Lazar Weiner’s moving “Somewhere Far Away” and lively “Yoshi the Klezmer” with Yehudi Wyner’s early Psalm and Family Vaudeville songs. \nComposer Manuel Ponce (1882-1948) scandalized ardent defenders of European classical music when he gave a concert combining Mexican popular and traditional songs with European artistic genres. He became an ardent advocate for South and Latin American music\, exploring and cataloguing native music and developing its melodic and rhythmic features in his own original works. \nAmy Beach (1867-1944) moved from Boston to New York City in 1915\, attracted by its vibrant musical life. Her own compositional credo embraced folk music\, in particular the folk songs of her own ancestors\, the Irish\, Scottish and English peoples who had immigrated to America. She wanted to depict the “laments\, romances and dreams” of the Irish peoples in her Suite for Two Pianos Founded Upon Old Irish Melodies. An ardent contributor to New York’s intellectual and artistic scene\, she wrote a response in the Times to Dvorak’s call for American composers to embrace the music of indigenous and African immigrants with a reminder that the cultural legacy of the British Isles was also a strong element of American cultural heritage. The dialogue reflects the search for a truly “American” musical identity that was a strong part of early twentieth-century musical thought in the Americas\, a desire to shake off the chains of the European classical tradition and find new paths that reaffirmed new national identities. \nCuban-born Tania León’s compositional style has been influenced by Undine Smith Moore (1904-89)\, one of the most prominent African-American women composers of the 20th Century. Her Afro-American Suite (1969) sets traditional spirituals in a contemporary modern harmonic idiom. Dr Moore once said: “Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences.” \nMusic from the Courtyard program: \n\nLazar Weiner – “Somewhere Far Away\,” “Yoshi the Klezmer”\nYehudi Wyner – Psalm 112\, Family Vaudeville Songs\nAmy Cheney Beach – “Prelude” and “Finale” from Suite for Two Pianos\nUndine Smith Moore – Afro-American Suite\nManuel M. Ponce – Canciones Mexicanas\nClarice Assad – Flight of the Fairies\nTania Leon – Arenas d’un Tiempo\n\nPerformers\n Raices Negras Ensemble\nCeylon Mitchell\, flute\nErin Murphy Snedecor\, cello\nElizabeth G. Hill\, piano\nSharon Harms\, soprano\nJoan Forsyth\, piano \n\n7 pm Courtyard Prelude\n7:30 pm Concert \n\n\n \n \n \n BUY TICKETS FROM HUMANITIX URL:https://www.thevillagetrip.com/event/architectonics-of-music/ LOCATION:Center for Architecture\, 536 LaGuardia Place\, New York\, 10012\, United States CATEGORIES:2023 Talks & Comedy ATTACH;FMTTYPE=image/jpeg:https://www.thevillagetrip.com/festival/wp-content/uploads/2023/08/Maggies-Centre-Barts-by-Steven-Holl-Architects-photo-by-Iwan_Baan.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20230912T193000 DTEND;TZID=America/New_York:20230912T204500 DTSTAMP:20230824T141337Z CREATED:20230710T082841Z LAST-MODIFIED:20230824T141337Z UID:10000128-1694547000-1694551500@www.thevillagetrip.com SUMMARY:Piano & Dance: Kees & Winter Wieringa: Dutch Minimalist Simeon ten Holt and Greenwich Village DESCRIPTION:“Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences” – Undine Smith Moore\nFrom the Courtyard first recreates the sounds of an East Village tenement courtyard\, shared by multicultural immigrant families\, then moves into the concert hall to hear how the rich legacy of folk music inspired later generations of composers. The concert features a premiere by Clarice Assad. Presented in cooperation with the Tenement Museum.\nThe concert features the innovative ensemble Raices Negras\, with flautist Ceylon Mitchell\, cellist Erin Murphy Snedecor\, and pianist Elizabeth G. Hill\, joined by soprano Sharon Harms and pianists Joan Forsyth and Tony Lu. Music by Lazar Weiner and his son Yehudi  Wyner\, Amy Beach\, Manuel Ponce\, Undine Smith Moore\, George Walker and Tanya Leon. Courtyard music provided by community musicians. \nA powerful communicator renowned for her musical scope and versatility\, Brazilian-American Clarice Assad is a significant voice in the classical\, world music\, pop\, and jazz genres. The Grammy–nominated composer\, pianist\, vocalist\, and educator is acclaimed for her evocative colors\, rich textures\, and diverse stylistic range. “She energetically bends music to her will and reshapes it with fascinating results” – Jazz Improv Magazine \nLazar Weiner immigrated to New York from Cherkasy\, Ukraine in 1914. An accomplished pianist\, he soon found work in the silent movie industry and the Yiddish musical milieu that had sprung up around Second Avenue in the East Village. He was a prolific composer of Yiddish art songs\, and his son\, Pulitzer Prize-winner Yehudi Wyner\, grew up in the City amidst this vibrant Yiddish cultural and intellectual tradition. We pair Lazar Weiner’s moving “Somewhere Far Away” and lively “Yoshi the Klezmer” with Yehudi Wyner’s early Psalm and Family Vaudeville songs. \nComposer Manuel Ponce (1882-1948) scandalized ardent defenders of European classical music when he gave a concert combining Mexican popular and traditional songs with European artistic genres. He became an ardent advocate for South and Latin American music\, exploring and cataloguing native music and developing its melodic and rhythmic features in his own original works. \nAmy Beach (1867-1944) moved from Boston to New York City in 1915\, attracted by its vibrant musical life. Her own compositional credo embraced folk music\, in particular the folk songs of her own ancestors\, the Irish\, Scottish and English peoples who had immigrated to America. She wanted to depict the “laments\, romances and dreams” of the Irish peoples in her Suite for Two Pianos Founded Upon Old Irish Melodies. An ardent contributor to New York’s intellectual and artistic scene\, she wrote a response in the Times to Dvorak’s call for American composers to embrace the music of indigenous and African immigrants with a reminder that the cultural legacy of the British Isles was also a strong element of American cultural heritage. The dialogue reflects the search for a truly “American” musical identity that was a strong part of early twentieth-century musical thought in the Americas\, a desire to shake off the chains of the European classical tradition and find new paths that reaffirmed new national identities. \nCuban-born Tania León’s compositional style has been influenced by Undine Smith Moore (1904-89)\, one of the most prominent African-American women composers of the 20th Century. Her Afro-American Suite (1969) sets traditional spirituals in a contemporary modern harmonic idiom. Dr Moore once said: “Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences.” \nMusic from the Courtyard program: \n\nLazar Weiner – “Somewhere Far Away\,” “Yoshi the Klezmer”\nYehudi Wyner – Psalm 112\, Family Vaudeville Songs\nAmy Cheney Beach – “Prelude” and “Finale” from Suite for Two Pianos\nUndine Smith Moore – Afro-American Suite\nManuel M. Ponce – Canciones Mexicanas\nClarice Assad – Flight of the Fairies\nTania Leon – Arenas d’un Tiempo\n\nPerformers\n Raices Negras Ensemble\nCeylon Mitchell\, flute\nErin Murphy Snedecor\, cello\nElizabeth G. Hill\, piano\nSharon Harms\, soprano\nJoan Forsyth\, piano \n\n7 pm Courtyard Prelude\n7:30 pm Concert \n\n\n \n \n \n BUY TICKETS FROM HUMANITIX URL:https://www.thevillagetrip.com/event/piano-dance/ LOCATION:St John’s in the Village\, 218 W 11th St\, New York\, NY\, New York\, 10014\, United States CATEGORIES:2023 New Music ATTACH;FMTTYPE=image/jpeg:https://www.thevillagetrip.com/festival/wp-content/uploads/2023/07/Kees-Wieringa-and-Simeon-ten-Holt.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20230912T190000 DTEND;TZID=America/New_York:20230912T210000 DTSTAMP:20230912T082555Z CREATED:20230710T083003Z LAST-MODIFIED:20230912T082555Z UID:10000130-1694545200-1694552400@www.thevillagetrip.com SUMMARY:Terri Thal and Friends: Greenwich Village and Me DESCRIPTION:“Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences” – Undine Smith Moore\nFrom the Courtyard first recreates the sounds of an East Village tenement courtyard\, shared by multicultural immigrant families\, then moves into the concert hall to hear how the rich legacy of folk music inspired later generations of composers. The concert features a premiere by Clarice Assad. Presented in cooperation with the Tenement Museum.\nThe concert features the innovative ensemble Raices Negras\, with flautist Ceylon Mitchell\, cellist Erin Murphy Snedecor\, and pianist Elizabeth G. Hill\, joined by soprano Sharon Harms and pianists Joan Forsyth and Tony Lu. Music by Lazar Weiner and his son Yehudi  Wyner\, Amy Beach\, Manuel Ponce\, Undine Smith Moore\, George Walker and Tanya Leon. Courtyard music provided by community musicians. \nA powerful communicator renowned for her musical scope and versatility\, Brazilian-American Clarice Assad is a significant voice in the classical\, world music\, pop\, and jazz genres. The Grammy–nominated composer\, pianist\, vocalist\, and educator is acclaimed for her evocative colors\, rich textures\, and diverse stylistic range. “She energetically bends music to her will and reshapes it with fascinating results” – Jazz Improv Magazine \nLazar Weiner immigrated to New York from Cherkasy\, Ukraine in 1914. An accomplished pianist\, he soon found work in the silent movie industry and the Yiddish musical milieu that had sprung up around Second Avenue in the East Village. He was a prolific composer of Yiddish art songs\, and his son\, Pulitzer Prize-winner Yehudi Wyner\, grew up in the City amidst this vibrant Yiddish cultural and intellectual tradition. We pair Lazar Weiner’s moving “Somewhere Far Away” and lively “Yoshi the Klezmer” with Yehudi Wyner’s early Psalm and Family Vaudeville songs. \nComposer Manuel Ponce (1882-1948) scandalized ardent defenders of European classical music when he gave a concert combining Mexican popular and traditional songs with European artistic genres. He became an ardent advocate for South and Latin American music\, exploring and cataloguing native music and developing its melodic and rhythmic features in his own original works. \nAmy Beach (1867-1944) moved from Boston to New York City in 1915\, attracted by its vibrant musical life. Her own compositional credo embraced folk music\, in particular the folk songs of her own ancestors\, the Irish\, Scottish and English peoples who had immigrated to America. She wanted to depict the “laments\, romances and dreams” of the Irish peoples in her Suite for Two Pianos Founded Upon Old Irish Melodies. An ardent contributor to New York’s intellectual and artistic scene\, she wrote a response in the Times to Dvorak’s call for American composers to embrace the music of indigenous and African immigrants with a reminder that the cultural legacy of the British Isles was also a strong element of American cultural heritage. The dialogue reflects the search for a truly “American” musical identity that was a strong part of early twentieth-century musical thought in the Americas\, a desire to shake off the chains of the European classical tradition and find new paths that reaffirmed new national identities. \nCuban-born Tania León’s compositional style has been influenced by Undine Smith Moore (1904-89)\, one of the most prominent African-American women composers of the 20th Century. Her Afro-American Suite (1969) sets traditional spirituals in a contemporary modern harmonic idiom. Dr Moore once said: “Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences.” \nMusic from the Courtyard program: \n\nLazar Weiner – “Somewhere Far Away\,” “Yoshi the Klezmer”\nYehudi Wyner – Psalm 112\, Family Vaudeville Songs\nAmy Cheney Beach – “Prelude” and “Finale” from Suite for Two Pianos\nUndine Smith Moore – Afro-American Suite\nManuel M. Ponce – Canciones Mexicanas\nClarice Assad – Flight of the Fairies\nTania Leon – Arenas d’un Tiempo\n\nPerformers\n Raices Negras Ensemble\nCeylon Mitchell\, flute\nErin Murphy Snedecor\, cello\nElizabeth G. Hill\, piano\nSharon Harms\, soprano\nJoan Forsyth\, piano \n\n7 pm Courtyard Prelude\n7:30 pm Concert \n\n\n \n \n \n BUY TICKETS FROM HUMANITIX URL:https://www.thevillagetrip.com/event/terri-thal/ LOCATION:The Bitter End\, 147 Bleecker Street\, New York\, NY\, NY 10012-1436\, United States CATEGORIES:2023 Books,2023 Highlights,2023 Music,2023 Talks & Comedy ATTACH;FMTTYPE=image/jpeg:https://www.thevillagetrip.com/festival/wp-content/uploads/2023/07/Terri-Thal-Happy-Traum-Tom-Paxton-revised.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20230912T100000 DTEND;TZID=America/New_York:20230912T111500 DTSTAMP:20230818T100125Z CREATED:20230801T091659Z LAST-MODIFIED:20230818T100125Z UID:10000161-1694512800-1694517300@www.thevillagetrip.com SUMMARY:In and Around Washington Square: A Story-Stroll with John Sorensen: Walking Tour DESCRIPTION:“Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences” – Undine Smith Moore\nFrom the Courtyard first recreates the sounds of an East Village tenement courtyard\, shared by multicultural immigrant families\, then moves into the concert hall to hear how the rich legacy of folk music inspired later generations of composers. The concert features a premiere by Clarice Assad. Presented in cooperation with the Tenement Museum.\nThe concert features the innovative ensemble Raices Negras\, with flautist Ceylon Mitchell\, cellist Erin Murphy Snedecor\, and pianist Elizabeth G. Hill\, joined by soprano Sharon Harms and pianists Joan Forsyth and Tony Lu. Music by Lazar Weiner and his son Yehudi  Wyner\, Amy Beach\, Manuel Ponce\, Undine Smith Moore\, George Walker and Tanya Leon. Courtyard music provided by community musicians. \nA powerful communicator renowned for her musical scope and versatility\, Brazilian-American Clarice Assad is a significant voice in the classical\, world music\, pop\, and jazz genres. The Grammy–nominated composer\, pianist\, vocalist\, and educator is acclaimed for her evocative colors\, rich textures\, and diverse stylistic range. “She energetically bends music to her will and reshapes it with fascinating results” – Jazz Improv Magazine \nLazar Weiner immigrated to New York from Cherkasy\, Ukraine in 1914. An accomplished pianist\, he soon found work in the silent movie industry and the Yiddish musical milieu that had sprung up around Second Avenue in the East Village. He was a prolific composer of Yiddish art songs\, and his son\, Pulitzer Prize-winner Yehudi Wyner\, grew up in the City amidst this vibrant Yiddish cultural and intellectual tradition. We pair Lazar Weiner’s moving “Somewhere Far Away” and lively “Yoshi the Klezmer” with Yehudi Wyner’s early Psalm and Family Vaudeville songs. \nComposer Manuel Ponce (1882-1948) scandalized ardent defenders of European classical music when he gave a concert combining Mexican popular and traditional songs with European artistic genres. He became an ardent advocate for South and Latin American music\, exploring and cataloguing native music and developing its melodic and rhythmic features in his own original works. \nAmy Beach (1867-1944) moved from Boston to New York City in 1915\, attracted by its vibrant musical life. Her own compositional credo embraced folk music\, in particular the folk songs of her own ancestors\, the Irish\, Scottish and English peoples who had immigrated to America. She wanted to depict the “laments\, romances and dreams” of the Irish peoples in her Suite for Two Pianos Founded Upon Old Irish Melodies. An ardent contributor to New York’s intellectual and artistic scene\, she wrote a response in the Times to Dvorak’s call for American composers to embrace the music of indigenous and African immigrants with a reminder that the cultural legacy of the British Isles was also a strong element of American cultural heritage. The dialogue reflects the search for a truly “American” musical identity that was a strong part of early twentieth-century musical thought in the Americas\, a desire to shake off the chains of the European classical tradition and find new paths that reaffirmed new national identities. \nCuban-born Tania León’s compositional style has been influenced by Undine Smith Moore (1904-89)\, one of the most prominent African-American women composers of the 20th Century. Her Afro-American Suite (1969) sets traditional spirituals in a contemporary modern harmonic idiom. Dr Moore once said: “Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences.” \nMusic from the Courtyard program: \n\nLazar Weiner – “Somewhere Far Away\,” “Yoshi the Klezmer”\nYehudi Wyner – Psalm 112\, Family Vaudeville Songs\nAmy Cheney Beach – “Prelude” and “Finale” from Suite for Two Pianos\nUndine Smith Moore – Afro-American Suite\nManuel M. Ponce – Canciones Mexicanas\nClarice Assad – Flight of the Fairies\nTania Leon – Arenas d’un Tiempo\n\nPerformers\n Raices Negras Ensemble\nCeylon Mitchell\, flute\nErin Murphy Snedecor\, cello\nElizabeth G. Hill\, piano\nSharon Harms\, soprano\nJoan Forsyth\, piano \n\n7 pm Courtyard Prelude\n7:30 pm Concert \n\n\n \n \n \n BUY TICKETS FROM HUMANITIX URL:https://www.thevillagetrip.com/event/washington-square/ LOCATION:Washington Square Arch at Fifth Avenue & Washington Square North\, NY\, NY 10012\, United States CATEGORIES:2023 Civil Rights,2023 Tour ATTACH;FMTTYPE=image/jpeg:https://www.thevillagetrip.com/festival/wp-content/uploads/2022/08/Washington-Square-Arch-Postcard.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20230911T190000 DTEND;TZID=America/New_York:20230911T203000 DTSTAMP:20230804T112440Z CREATED:20230801T104605Z LAST-MODIFIED:20230804T112440Z UID:10000162-1694458800-1694464200@www.thevillagetrip.com SUMMARY:Both Sides of Joni with Alexis Cole\, Monika Herzig and Friends DESCRIPTION:“Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences” – Undine Smith Moore\nFrom the Courtyard first recreates the sounds of an East Village tenement courtyard\, shared by multicultural immigrant families\, then moves into the concert hall to hear how the rich legacy of folk music inspired later generations of composers. The concert features a premiere by Clarice Assad. Presented in cooperation with the Tenement Museum.\nThe concert features the innovative ensemble Raices Negras\, with flautist Ceylon Mitchell\, cellist Erin Murphy Snedecor\, and pianist Elizabeth G. Hill\, joined by soprano Sharon Harms and pianists Joan Forsyth and Tony Lu. Music by Lazar Weiner and his son Yehudi  Wyner\, Amy Beach\, Manuel Ponce\, Undine Smith Moore\, George Walker and Tanya Leon. Courtyard music provided by community musicians. \nA powerful communicator renowned for her musical scope and versatility\, Brazilian-American Clarice Assad is a significant voice in the classical\, world music\, pop\, and jazz genres. The Grammy–nominated composer\, pianist\, vocalist\, and educator is acclaimed for her evocative colors\, rich textures\, and diverse stylistic range. “She energetically bends music to her will and reshapes it with fascinating results” – Jazz Improv Magazine \nLazar Weiner immigrated to New York from Cherkasy\, Ukraine in 1914. An accomplished pianist\, he soon found work in the silent movie industry and the Yiddish musical milieu that had sprung up around Second Avenue in the East Village. He was a prolific composer of Yiddish art songs\, and his son\, Pulitzer Prize-winner Yehudi Wyner\, grew up in the City amidst this vibrant Yiddish cultural and intellectual tradition. We pair Lazar Weiner’s moving “Somewhere Far Away” and lively “Yoshi the Klezmer” with Yehudi Wyner’s early Psalm and Family Vaudeville songs. \nComposer Manuel Ponce (1882-1948) scandalized ardent defenders of European classical music when he gave a concert combining Mexican popular and traditional songs with European artistic genres. He became an ardent advocate for South and Latin American music\, exploring and cataloguing native music and developing its melodic and rhythmic features in his own original works. \nAmy Beach (1867-1944) moved from Boston to New York City in 1915\, attracted by its vibrant musical life. Her own compositional credo embraced folk music\, in particular the folk songs of her own ancestors\, the Irish\, Scottish and English peoples who had immigrated to America. She wanted to depict the “laments\, romances and dreams” of the Irish peoples in her Suite for Two Pianos Founded Upon Old Irish Melodies. An ardent contributor to New York’s intellectual and artistic scene\, she wrote a response in the Times to Dvorak’s call for American composers to embrace the music of indigenous and African immigrants with a reminder that the cultural legacy of the British Isles was also a strong element of American cultural heritage. The dialogue reflects the search for a truly “American” musical identity that was a strong part of early twentieth-century musical thought in the Americas\, a desire to shake off the chains of the European classical tradition and find new paths that reaffirmed new national identities. \nCuban-born Tania León’s compositional style has been influenced by Undine Smith Moore (1904-89)\, one of the most prominent African-American women composers of the 20th Century. Her Afro-American Suite (1969) sets traditional spirituals in a contemporary modern harmonic idiom. Dr Moore once said: “Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences.” \nMusic from the Courtyard program: \n\nLazar Weiner – “Somewhere Far Away\,” “Yoshi the Klezmer”\nYehudi Wyner – Psalm 112\, Family Vaudeville Songs\nAmy Cheney Beach – “Prelude” and “Finale” from Suite for Two Pianos\nUndine Smith Moore – Afro-American Suite\nManuel M. Ponce – Canciones Mexicanas\nClarice Assad – Flight of the Fairies\nTania Leon – Arenas d’un Tiempo\n\nPerformers\n Raices Negras Ensemble\nCeylon Mitchell\, flute\nErin Murphy Snedecor\, cello\nElizabeth G. Hill\, piano\nSharon Harms\, soprano\nJoan Forsyth\, piano \n\n7 pm Courtyard Prelude\n7:30 pm Concert \n\n\n \n \n \n BUY TICKETS FROM HUMANITIX URL:https://www.thevillagetrip.com/event/both-sides-of-joni/ LOCATION:Pangea NYC\, 178 2nd Ave\, NY\, NY 10003\, United States CATEGORIES:2023 Music ATTACH;FMTTYPE=image/jpeg:https://www.thevillagetrip.com/festival/wp-content/uploads/2023/08/pg-both-sides-of-joni.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20230911T180000 DTEND;TZID=America/New_York:20230911T200000 DTSTAMP:20230818T100210Z CREATED:20230710T082156Z LAST-MODIFIED:20230818T100210Z UID:10000126-1694455200-1694462400@www.thevillagetrip.com SUMMARY:Greenwich Village as Harlem’s Preamble and Echo: A Random Illustrated Survey: The Village Trip Lecture by Eric K Washington DESCRIPTION:“Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences” – Undine Smith Moore\nFrom the Courtyard first recreates the sounds of an East Village tenement courtyard\, shared by multicultural immigrant families\, then moves into the concert hall to hear how the rich legacy of folk music inspired later generations of composers. The concert features a premiere by Clarice Assad. Presented in cooperation with the Tenement Museum.\nThe concert features the innovative ensemble Raices Negras\, with flautist Ceylon Mitchell\, cellist Erin Murphy Snedecor\, and pianist Elizabeth G. Hill\, joined by soprano Sharon Harms and pianists Joan Forsyth and Tony Lu. Music by Lazar Weiner and his son Yehudi  Wyner\, Amy Beach\, Manuel Ponce\, Undine Smith Moore\, George Walker and Tanya Leon. Courtyard music provided by community musicians. \nA powerful communicator renowned for her musical scope and versatility\, Brazilian-American Clarice Assad is a significant voice in the classical\, world music\, pop\, and jazz genres. The Grammy–nominated composer\, pianist\, vocalist\, and educator is acclaimed for her evocative colors\, rich textures\, and diverse stylistic range. “She energetically bends music to her will and reshapes it with fascinating results” – Jazz Improv Magazine \nLazar Weiner immigrated to New York from Cherkasy\, Ukraine in 1914. An accomplished pianist\, he soon found work in the silent movie industry and the Yiddish musical milieu that had sprung up around Second Avenue in the East Village. He was a prolific composer of Yiddish art songs\, and his son\, Pulitzer Prize-winner Yehudi Wyner\, grew up in the City amidst this vibrant Yiddish cultural and intellectual tradition. We pair Lazar Weiner’s moving “Somewhere Far Away” and lively “Yoshi the Klezmer” with Yehudi Wyner’s early Psalm and Family Vaudeville songs. \nComposer Manuel Ponce (1882-1948) scandalized ardent defenders of European classical music when he gave a concert combining Mexican popular and traditional songs with European artistic genres. He became an ardent advocate for South and Latin American music\, exploring and cataloguing native music and developing its melodic and rhythmic features in his own original works. \nAmy Beach (1867-1944) moved from Boston to New York City in 1915\, attracted by its vibrant musical life. Her own compositional credo embraced folk music\, in particular the folk songs of her own ancestors\, the Irish\, Scottish and English peoples who had immigrated to America. She wanted to depict the “laments\, romances and dreams” of the Irish peoples in her Suite for Two Pianos Founded Upon Old Irish Melodies. An ardent contributor to New York’s intellectual and artistic scene\, she wrote a response in the Times to Dvorak’s call for American composers to embrace the music of indigenous and African immigrants with a reminder that the cultural legacy of the British Isles was also a strong element of American cultural heritage. The dialogue reflects the search for a truly “American” musical identity that was a strong part of early twentieth-century musical thought in the Americas\, a desire to shake off the chains of the European classical tradition and find new paths that reaffirmed new national identities. \nCuban-born Tania León’s compositional style has been influenced by Undine Smith Moore (1904-89)\, one of the most prominent African-American women composers of the 20th Century. Her Afro-American Suite (1969) sets traditional spirituals in a contemporary modern harmonic idiom. Dr Moore once said: “Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences.” \nMusic from the Courtyard program: \n\nLazar Weiner – “Somewhere Far Away\,” “Yoshi the Klezmer”\nYehudi Wyner – Psalm 112\, Family Vaudeville Songs\nAmy Cheney Beach – “Prelude” and “Finale” from Suite for Two Pianos\nUndine Smith Moore – Afro-American Suite\nManuel M. Ponce – Canciones Mexicanas\nClarice Assad – Flight of the Fairies\nTania Leon – Arenas d’un Tiempo\n\nPerformers\n Raices Negras Ensemble\nCeylon Mitchell\, flute\nErin Murphy Snedecor\, cello\nElizabeth G. Hill\, piano\nSharon Harms\, soprano\nJoan Forsyth\, piano \n\n7 pm Courtyard Prelude\n7:30 pm Concert \n\n\n \n \n \n BUY TICKETS FROM HUMANITIX URL:https://www.thevillagetrip.com/event/the-village-trip-lecture-2023/ LOCATION:Jefferson Market Library\, 425 6th Avenue\, NY\, NY 10011\, United States CATEGORIES:2023 Civil Rights,2023 Highlights,2023 Talks & Comedy ATTACH;FMTTYPE=image/jpeg:https://www.thevillagetrip.com/festival/wp-content/uploads/2023/07/J.A.-Arneaux-Astor-Place-Tragedy-Co.-Othello-comp._NY-Freeman_10Oct1885.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20230910T193000 DTEND;TZID=America/New_York:20230910T220000 DTSTAMP:20230809T162043Z CREATED:20230710T082024Z LAST-MODIFIED:20230809T162043Z UID:10000125-1694374200-1694383200@www.thevillagetrip.com SUMMARY:From Odesa: Kommuna Lux plus special guests DESCRIPTION:“Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences” – Undine Smith Moore\nFrom the Courtyard first recreates the sounds of an East Village tenement courtyard\, shared by multicultural immigrant families\, then moves into the concert hall to hear how the rich legacy of folk music inspired later generations of composers. The concert features a premiere by Clarice Assad. Presented in cooperation with the Tenement Museum.\nThe concert features the innovative ensemble Raices Negras\, with flautist Ceylon Mitchell\, cellist Erin Murphy Snedecor\, and pianist Elizabeth G. Hill\, joined by soprano Sharon Harms and pianists Joan Forsyth and Tony Lu. Music by Lazar Weiner and his son Yehudi  Wyner\, Amy Beach\, Manuel Ponce\, Undine Smith Moore\, George Walker and Tanya Leon. Courtyard music provided by community musicians. \nA powerful communicator renowned for her musical scope and versatility\, Brazilian-American Clarice Assad is a significant voice in the classical\, world music\, pop\, and jazz genres. The Grammy–nominated composer\, pianist\, vocalist\, and educator is acclaimed for her evocative colors\, rich textures\, and diverse stylistic range. “She energetically bends music to her will and reshapes it with fascinating results” – Jazz Improv Magazine \nLazar Weiner immigrated to New York from Cherkasy\, Ukraine in 1914. An accomplished pianist\, he soon found work in the silent movie industry and the Yiddish musical milieu that had sprung up around Second Avenue in the East Village. He was a prolific composer of Yiddish art songs\, and his son\, Pulitzer Prize-winner Yehudi Wyner\, grew up in the City amidst this vibrant Yiddish cultural and intellectual tradition. We pair Lazar Weiner’s moving “Somewhere Far Away” and lively “Yoshi the Klezmer” with Yehudi Wyner’s early Psalm and Family Vaudeville songs. \nComposer Manuel Ponce (1882-1948) scandalized ardent defenders of European classical music when he gave a concert combining Mexican popular and traditional songs with European artistic genres. He became an ardent advocate for South and Latin American music\, exploring and cataloguing native music and developing its melodic and rhythmic features in his own original works. \nAmy Beach (1867-1944) moved from Boston to New York City in 1915\, attracted by its vibrant musical life. Her own compositional credo embraced folk music\, in particular the folk songs of her own ancestors\, the Irish\, Scottish and English peoples who had immigrated to America. She wanted to depict the “laments\, romances and dreams” of the Irish peoples in her Suite for Two Pianos Founded Upon Old Irish Melodies. An ardent contributor to New York’s intellectual and artistic scene\, she wrote a response in the Times to Dvorak’s call for American composers to embrace the music of indigenous and African immigrants with a reminder that the cultural legacy of the British Isles was also a strong element of American cultural heritage. The dialogue reflects the search for a truly “American” musical identity that was a strong part of early twentieth-century musical thought in the Americas\, a desire to shake off the chains of the European classical tradition and find new paths that reaffirmed new national identities. \nCuban-born Tania León’s compositional style has been influenced by Undine Smith Moore (1904-89)\, one of the most prominent African-American women composers of the 20th Century. Her Afro-American Suite (1969) sets traditional spirituals in a contemporary modern harmonic idiom. Dr Moore once said: “Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences.” \nMusic from the Courtyard program: \n\nLazar Weiner – “Somewhere Far Away\,” “Yoshi the Klezmer”\nYehudi Wyner – Psalm 112\, Family Vaudeville Songs\nAmy Cheney Beach – “Prelude” and “Finale” from Suite for Two Pianos\nUndine Smith Moore – Afro-American Suite\nManuel M. Ponce – Canciones Mexicanas\nClarice Assad – Flight of the Fairies\nTania Leon – Arenas d’un Tiempo\n\nPerformers\n Raices Negras Ensemble\nCeylon Mitchell\, flute\nErin Murphy Snedecor\, cello\nElizabeth G. Hill\, piano\nSharon Harms\, soprano\nJoan Forsyth\, piano \n\n7 pm Courtyard Prelude\n7:30 pm Concert \n\n\n \n \n \n BUY TICKETS FROM HUMANITIX URL:https://www.thevillagetrip.com/event/kommuna-lux/ LOCATION:DROM\, 85 Avenue A\, NY\, NY 10009\, United States CATEGORIES:2023 Highlights,2023 Music,2023 Ukraine Day ATTACH;FMTTYPE=image/jpeg:https://www.thevillagetrip.com/festival/wp-content/uploads/2023/07/Kommuna-Lux-2.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20230910T170000 DTEND;TZID=America/New_York:20230910T190000 DTSTAMP:20230814T145905Z CREATED:20230721T084923Z LAST-MODIFIED:20230814T145905Z UID:10000151-1694365200-1694372400@www.thevillagetrip.com SUMMARY:Simeon ten Holt: Canto Ostinato DESCRIPTION:“Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences” – Undine Smith Moore\nFrom the Courtyard first recreates the sounds of an East Village tenement courtyard\, shared by multicultural immigrant families\, then moves into the concert hall to hear how the rich legacy of folk music inspired later generations of composers. The concert features a premiere by Clarice Assad. Presented in cooperation with the Tenement Museum.\nThe concert features the innovative ensemble Raices Negras\, with flautist Ceylon Mitchell\, cellist Erin Murphy Snedecor\, and pianist Elizabeth G. Hill\, joined by soprano Sharon Harms and pianists Joan Forsyth and Tony Lu. Music by Lazar Weiner and his son Yehudi  Wyner\, Amy Beach\, Manuel Ponce\, Undine Smith Moore\, George Walker and Tanya Leon. Courtyard music provided by community musicians. \nA powerful communicator renowned for her musical scope and versatility\, Brazilian-American Clarice Assad is a significant voice in the classical\, world music\, pop\, and jazz genres. The Grammy–nominated composer\, pianist\, vocalist\, and educator is acclaimed for her evocative colors\, rich textures\, and diverse stylistic range. “She energetically bends music to her will and reshapes it with fascinating results” – Jazz Improv Magazine \nLazar Weiner immigrated to New York from Cherkasy\, Ukraine in 1914. An accomplished pianist\, he soon found work in the silent movie industry and the Yiddish musical milieu that had sprung up around Second Avenue in the East Village. He was a prolific composer of Yiddish art songs\, and his son\, Pulitzer Prize-winner Yehudi Wyner\, grew up in the City amidst this vibrant Yiddish cultural and intellectual tradition. We pair Lazar Weiner’s moving “Somewhere Far Away” and lively “Yoshi the Klezmer” with Yehudi Wyner’s early Psalm and Family Vaudeville songs. \nComposer Manuel Ponce (1882-1948) scandalized ardent defenders of European classical music when he gave a concert combining Mexican popular and traditional songs with European artistic genres. He became an ardent advocate for South and Latin American music\, exploring and cataloguing native music and developing its melodic and rhythmic features in his own original works. \nAmy Beach (1867-1944) moved from Boston to New York City in 1915\, attracted by its vibrant musical life. Her own compositional credo embraced folk music\, in particular the folk songs of her own ancestors\, the Irish\, Scottish and English peoples who had immigrated to America. She wanted to depict the “laments\, romances and dreams” of the Irish peoples in her Suite for Two Pianos Founded Upon Old Irish Melodies. An ardent contributor to New York’s intellectual and artistic scene\, she wrote a response in the Times to Dvorak’s call for American composers to embrace the music of indigenous and African immigrants with a reminder that the cultural legacy of the British Isles was also a strong element of American cultural heritage. The dialogue reflects the search for a truly “American” musical identity that was a strong part of early twentieth-century musical thought in the Americas\, a desire to shake off the chains of the European classical tradition and find new paths that reaffirmed new national identities. \nCuban-born Tania León’s compositional style has been influenced by Undine Smith Moore (1904-89)\, one of the most prominent African-American women composers of the 20th Century. Her Afro-American Suite (1969) sets traditional spirituals in a contemporary modern harmonic idiom. Dr Moore once said: “Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences.” \nMusic from the Courtyard program: \n\nLazar Weiner – “Somewhere Far Away\,” “Yoshi the Klezmer”\nYehudi Wyner – Psalm 112\, Family Vaudeville Songs\nAmy Cheney Beach – “Prelude” and “Finale” from Suite for Two Pianos\nUndine Smith Moore – Afro-American Suite\nManuel M. Ponce – Canciones Mexicanas\nClarice Assad – Flight of the Fairies\nTania Leon – Arenas d’un Tiempo\n\nPerformers\n Raices Negras Ensemble\nCeylon Mitchell\, flute\nErin Murphy Snedecor\, cello\nElizabeth G. Hill\, piano\nSharon Harms\, soprano\nJoan Forsyth\, piano \n\n7 pm Courtyard Prelude\n7:30 pm Concert \n\n\n \n \n \n BUY TICKETS FROM HUMANITIX URL:https://www.thevillagetrip.com/event/simeon-ten-holt-canto-ostinato/ LOCATION:St Mark’s in the Bowery\, 131 East 10th Street\, New York\, NY\, 10003\, United States CATEGORIES:2023 New Music ATTACH;FMTTYPE=image/jpeg:https://www.thevillagetrip.com/festival/wp-content/uploads/2023/07/Kees-Wieringa-at-the-piano.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20230910T153000 DTEND;TZID=America/New_York:20230910T170000 DTSTAMP:20230905T125823Z CREATED:20230710T081835Z LAST-MODIFIED:20230905T125823Z UID:10000124-1694359800-1694365200@www.thevillagetrip.com SUMMARY:Killing the Silence: A Concert for Ukraine: Special Guests Chorus Dumka DESCRIPTION:“Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences” – Undine Smith Moore\nFrom the Courtyard first recreates the sounds of an East Village tenement courtyard\, shared by multicultural immigrant families\, then moves into the concert hall to hear how the rich legacy of folk music inspired later generations of composers. The concert features a premiere by Clarice Assad. Presented in cooperation with the Tenement Museum.\nThe concert features the innovative ensemble Raices Negras\, with flautist Ceylon Mitchell\, cellist Erin Murphy Snedecor\, and pianist Elizabeth G. Hill\, joined by soprano Sharon Harms and pianists Joan Forsyth and Tony Lu. Music by Lazar Weiner and his son Yehudi  Wyner\, Amy Beach\, Manuel Ponce\, Undine Smith Moore\, George Walker and Tanya Leon. Courtyard music provided by community musicians. \nA powerful communicator renowned for her musical scope and versatility\, Brazilian-American Clarice Assad is a significant voice in the classical\, world music\, pop\, and jazz genres. The Grammy–nominated composer\, pianist\, vocalist\, and educator is acclaimed for her evocative colors\, rich textures\, and diverse stylistic range. “She energetically bends music to her will and reshapes it with fascinating results” – Jazz Improv Magazine \nLazar Weiner immigrated to New York from Cherkasy\, Ukraine in 1914. An accomplished pianist\, he soon found work in the silent movie industry and the Yiddish musical milieu that had sprung up around Second Avenue in the East Village. He was a prolific composer of Yiddish art songs\, and his son\, Pulitzer Prize-winner Yehudi Wyner\, grew up in the City amidst this vibrant Yiddish cultural and intellectual tradition. We pair Lazar Weiner’s moving “Somewhere Far Away” and lively “Yoshi the Klezmer” with Yehudi Wyner’s early Psalm and Family Vaudeville songs. \nComposer Manuel Ponce (1882-1948) scandalized ardent defenders of European classical music when he gave a concert combining Mexican popular and traditional songs with European artistic genres. He became an ardent advocate for South and Latin American music\, exploring and cataloguing native music and developing its melodic and rhythmic features in his own original works. \nAmy Beach (1867-1944) moved from Boston to New York City in 1915\, attracted by its vibrant musical life. Her own compositional credo embraced folk music\, in particular the folk songs of her own ancestors\, the Irish\, Scottish and English peoples who had immigrated to America. She wanted to depict the “laments\, romances and dreams” of the Irish peoples in her Suite for Two Pianos Founded Upon Old Irish Melodies. An ardent contributor to New York’s intellectual and artistic scene\, she wrote a response in the Times to Dvorak’s call for American composers to embrace the music of indigenous and African immigrants with a reminder that the cultural legacy of the British Isles was also a strong element of American cultural heritage. The dialogue reflects the search for a truly “American” musical identity that was a strong part of early twentieth-century musical thought in the Americas\, a desire to shake off the chains of the European classical tradition and find new paths that reaffirmed new national identities. \nCuban-born Tania León’s compositional style has been influenced by Undine Smith Moore (1904-89)\, one of the most prominent African-American women composers of the 20th Century. Her Afro-American Suite (1969) sets traditional spirituals in a contemporary modern harmonic idiom. Dr Moore once said: “Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences.” \nMusic from the Courtyard program: \n\nLazar Weiner – “Somewhere Far Away\,” “Yoshi the Klezmer”\nYehudi Wyner – Psalm 112\, Family Vaudeville Songs\nAmy Cheney Beach – “Prelude” and “Finale” from Suite for Two Pianos\nUndine Smith Moore – Afro-American Suite\nManuel M. Ponce – Canciones Mexicanas\nClarice Assad – Flight of the Fairies\nTania Leon – Arenas d’un Tiempo\n\nPerformers\n Raices Negras Ensemble\nCeylon Mitchell\, flute\nErin Murphy Snedecor\, cello\nElizabeth G. Hill\, piano\nSharon Harms\, soprano\nJoan Forsyth\, piano \n\n7 pm Courtyard Prelude\n7:30 pm Concert \n\n\n \n \n \n BUY TICKETS FROM HUMANITIX URL:https://www.thevillagetrip.com/event/chamber-music-for-ukraine/ LOCATION:St Mark’s in the Bowery\, 131 East 10th Street\, New York\, NY\, 10003\, United States CATEGORIES:2023 Highlights,2023 New Music,2023 Ukraine Day ATTACH;FMTTYPE=image/jpeg:https://www.thevillagetrip.com/festival/wp-content/uploads/2023/07/The-Ukrainian-Chorus-Dumka-of-New-York.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20230910T140000 DTEND;TZID=America/New_York:20230910T150000 DTSTAMP:20230810T120504Z CREATED:20230803T130144Z LAST-MODIFIED:20230810T120504Z UID:10000084-1694354400-1694358000@www.thevillagetrip.com SUMMARY:Folk\, Joke\, and Hope Songs – A Concert with David Roth DESCRIPTION:“Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences” – Undine Smith Moore\nFrom the Courtyard first recreates the sounds of an East Village tenement courtyard\, shared by multicultural immigrant families\, then moves into the concert hall to hear how the rich legacy of folk music inspired later generations of composers. The concert features a premiere by Clarice Assad. Presented in cooperation with the Tenement Museum.\nThe concert features the innovative ensemble Raices Negras\, with flautist Ceylon Mitchell\, cellist Erin Murphy Snedecor\, and pianist Elizabeth G. Hill\, joined by soprano Sharon Harms and pianists Joan Forsyth and Tony Lu. Music by Lazar Weiner and his son Yehudi  Wyner\, Amy Beach\, Manuel Ponce\, Undine Smith Moore\, George Walker and Tanya Leon. Courtyard music provided by community musicians. \nA powerful communicator renowned for her musical scope and versatility\, Brazilian-American Clarice Assad is a significant voice in the classical\, world music\, pop\, and jazz genres. The Grammy–nominated composer\, pianist\, vocalist\, and educator is acclaimed for her evocative colors\, rich textures\, and diverse stylistic range. “She energetically bends music to her will and reshapes it with fascinating results” – Jazz Improv Magazine \nLazar Weiner immigrated to New York from Cherkasy\, Ukraine in 1914. An accomplished pianist\, he soon found work in the silent movie industry and the Yiddish musical milieu that had sprung up around Second Avenue in the East Village. He was a prolific composer of Yiddish art songs\, and his son\, Pulitzer Prize-winner Yehudi Wyner\, grew up in the City amidst this vibrant Yiddish cultural and intellectual tradition. We pair Lazar Weiner’s moving “Somewhere Far Away” and lively “Yoshi the Klezmer” with Yehudi Wyner’s early Psalm and Family Vaudeville songs. \nComposer Manuel Ponce (1882-1948) scandalized ardent defenders of European classical music when he gave a concert combining Mexican popular and traditional songs with European artistic genres. He became an ardent advocate for South and Latin American music\, exploring and cataloguing native music and developing its melodic and rhythmic features in his own original works. \nAmy Beach (1867-1944) moved from Boston to New York City in 1915\, attracted by its vibrant musical life. Her own compositional credo embraced folk music\, in particular the folk songs of her own ancestors\, the Irish\, Scottish and English peoples who had immigrated to America. She wanted to depict the “laments\, romances and dreams” of the Irish peoples in her Suite for Two Pianos Founded Upon Old Irish Melodies. An ardent contributor to New York’s intellectual and artistic scene\, she wrote a response in the Times to Dvorak’s call for American composers to embrace the music of indigenous and African immigrants with a reminder that the cultural legacy of the British Isles was also a strong element of American cultural heritage. The dialogue reflects the search for a truly “American” musical identity that was a strong part of early twentieth-century musical thought in the Americas\, a desire to shake off the chains of the European classical tradition and find new paths that reaffirmed new national identities. \nCuban-born Tania León’s compositional style has been influenced by Undine Smith Moore (1904-89)\, one of the most prominent African-American women composers of the 20th Century. Her Afro-American Suite (1969) sets traditional spirituals in a contemporary modern harmonic idiom. Dr Moore once said: “Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences.” \nMusic from the Courtyard program: \n\nLazar Weiner – “Somewhere Far Away\,” “Yoshi the Klezmer”\nYehudi Wyner – Psalm 112\, Family Vaudeville Songs\nAmy Cheney Beach – “Prelude” and “Finale” from Suite for Two Pianos\nUndine Smith Moore – Afro-American Suite\nManuel M. Ponce – Canciones Mexicanas\nClarice Assad – Flight of the Fairies\nTania Leon – Arenas d’un Tiempo\n\nPerformers\n Raices Negras Ensemble\nCeylon Mitchell\, flute\nErin Murphy Snedecor\, cello\nElizabeth G. Hill\, piano\nSharon Harms\, soprano\nJoan Forsyth\, piano \n\n7 pm Courtyard Prelude\n7:30 pm Concert \n\n\n \n \n \n BUY TICKETS FROM HUMANITIX URL:https://www.thevillagetrip.com/event/folk-joke-and-hope-songs/ LOCATION:Jefferson Market Library\, 425 6th Avenue\, NY\, NY 10011\, United States CATEGORIES:2023 Music,Children's Events ATTACH;FMTTYPE=image/jpeg:https://www.thevillagetrip.com/festival/wp-content/uploads/2023/08/Philip-Roth-songwriting-workshop-with-adults.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20230910T130000 DTEND;TZID=America/New_York:20230910T170000 DTSTAMP:20230909T101241Z CREATED:20230710T081707Z LAST-MODIFIED:20230909T101241Z UID:10000123-1694350800-1694365200@www.thevillagetrip.com SUMMARY:Playing for Change: a Play-a-Thon for Ukraine DESCRIPTION:“Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences” – Undine Smith Moore\nFrom the Courtyard first recreates the sounds of an East Village tenement courtyard\, shared by multicultural immigrant families\, then moves into the concert hall to hear how the rich legacy of folk music inspired later generations of composers. The concert features a premiere by Clarice Assad. Presented in cooperation with the Tenement Museum.\nThe concert features the innovative ensemble Raices Negras\, with flautist Ceylon Mitchell\, cellist Erin Murphy Snedecor\, and pianist Elizabeth G. Hill\, joined by soprano Sharon Harms and pianists Joan Forsyth and Tony Lu. Music by Lazar Weiner and his son Yehudi  Wyner\, Amy Beach\, Manuel Ponce\, Undine Smith Moore\, George Walker and Tanya Leon. Courtyard music provided by community musicians. \nA powerful communicator renowned for her musical scope and versatility\, Brazilian-American Clarice Assad is a significant voice in the classical\, world music\, pop\, and jazz genres. The Grammy–nominated composer\, pianist\, vocalist\, and educator is acclaimed for her evocative colors\, rich textures\, and diverse stylistic range. “She energetically bends music to her will and reshapes it with fascinating results” – Jazz Improv Magazine \nLazar Weiner immigrated to New York from Cherkasy\, Ukraine in 1914. An accomplished pianist\, he soon found work in the silent movie industry and the Yiddish musical milieu that had sprung up around Second Avenue in the East Village. He was a prolific composer of Yiddish art songs\, and his son\, Pulitzer Prize-winner Yehudi Wyner\, grew up in the City amidst this vibrant Yiddish cultural and intellectual tradition. We pair Lazar Weiner’s moving “Somewhere Far Away” and lively “Yoshi the Klezmer” with Yehudi Wyner’s early Psalm and Family Vaudeville songs. \nComposer Manuel Ponce (1882-1948) scandalized ardent defenders of European classical music when he gave a concert combining Mexican popular and traditional songs with European artistic genres. He became an ardent advocate for South and Latin American music\, exploring and cataloguing native music and developing its melodic and rhythmic features in his own original works. \nAmy Beach (1867-1944) moved from Boston to New York City in 1915\, attracted by its vibrant musical life. Her own compositional credo embraced folk music\, in particular the folk songs of her own ancestors\, the Irish\, Scottish and English peoples who had immigrated to America. She wanted to depict the “laments\, romances and dreams” of the Irish peoples in her Suite for Two Pianos Founded Upon Old Irish Melodies. An ardent contributor to New York’s intellectual and artistic scene\, she wrote a response in the Times to Dvorak’s call for American composers to embrace the music of indigenous and African immigrants with a reminder that the cultural legacy of the British Isles was also a strong element of American cultural heritage. The dialogue reflects the search for a truly “American” musical identity that was a strong part of early twentieth-century musical thought in the Americas\, a desire to shake off the chains of the European classical tradition and find new paths that reaffirmed new national identities. \nCuban-born Tania León’s compositional style has been influenced by Undine Smith Moore (1904-89)\, one of the most prominent African-American women composers of the 20th Century. Her Afro-American Suite (1969) sets traditional spirituals in a contemporary modern harmonic idiom. Dr Moore once said: “Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences.” \nMusic from the Courtyard program: \n\nLazar Weiner – “Somewhere Far Away\,” “Yoshi the Klezmer”\nYehudi Wyner – Psalm 112\, Family Vaudeville Songs\nAmy Cheney Beach – “Prelude” and “Finale” from Suite for Two Pianos\nUndine Smith Moore – Afro-American Suite\nManuel M. Ponce – Canciones Mexicanas\nClarice Assad – Flight of the Fairies\nTania Leon – Arenas d’un Tiempo\n\nPerformers\n Raices Negras Ensemble\nCeylon Mitchell\, flute\nErin Murphy Snedecor\, cello\nElizabeth G. Hill\, piano\nSharon Harms\, soprano\nJoan Forsyth\, piano \n\n7 pm Courtyard Prelude\n7:30 pm Concert \n\n\n \n \n \n BUY TICKETS FROM HUMANITIX URL:https://www.thevillagetrip.com/event/play-a-thon/ LOCATION:St Mark’s in the Bowery\, 131 East 10th Street\, New York\, NY\, 10003\, United States CATEGORIES:2023 Highlights,2023 Music,2023 Ukraine Day ATTACH;FMTTYPE=image/jpeg:https://www.thevillagetrip.com/festival/wp-content/uploads/2023/07/tvt-playathon-facebook-graphic-sunday.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20230910T130000 DTEND;TZID=America/New_York:20230910T153000 DTSTAMP:20230805T103926Z CREATED:20230802T124459Z LAST-MODIFIED:20230805T103926Z UID:10000164-1694350800-1694359800@www.thevillagetrip.com SUMMARY:NYU & Washington Square: Changing Strategies of Growth and Design. Walking Tour with Architect Kyle Johnson DESCRIPTION:“Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences” – Undine Smith Moore\nFrom the Courtyard first recreates the sounds of an East Village tenement courtyard\, shared by multicultural immigrant families\, then moves into the concert hall to hear how the rich legacy of folk music inspired later generations of composers. The concert features a premiere by Clarice Assad. Presented in cooperation with the Tenement Museum.\nThe concert features the innovative ensemble Raices Negras\, with flautist Ceylon Mitchell\, cellist Erin Murphy Snedecor\, and pianist Elizabeth G. Hill\, joined by soprano Sharon Harms and pianists Joan Forsyth and Tony Lu. Music by Lazar Weiner and his son Yehudi  Wyner\, Amy Beach\, Manuel Ponce\, Undine Smith Moore\, George Walker and Tanya Leon. Courtyard music provided by community musicians. \nA powerful communicator renowned for her musical scope and versatility\, Brazilian-American Clarice Assad is a significant voice in the classical\, world music\, pop\, and jazz genres. The Grammy–nominated composer\, pianist\, vocalist\, and educator is acclaimed for her evocative colors\, rich textures\, and diverse stylistic range. “She energetically bends music to her will and reshapes it with fascinating results” – Jazz Improv Magazine \nLazar Weiner immigrated to New York from Cherkasy\, Ukraine in 1914. An accomplished pianist\, he soon found work in the silent movie industry and the Yiddish musical milieu that had sprung up around Second Avenue in the East Village. He was a prolific composer of Yiddish art songs\, and his son\, Pulitzer Prize-winner Yehudi Wyner\, grew up in the City amidst this vibrant Yiddish cultural and intellectual tradition. We pair Lazar Weiner’s moving “Somewhere Far Away” and lively “Yoshi the Klezmer” with Yehudi Wyner’s early Psalm and Family Vaudeville songs. \nComposer Manuel Ponce (1882-1948) scandalized ardent defenders of European classical music when he gave a concert combining Mexican popular and traditional songs with European artistic genres. He became an ardent advocate for South and Latin American music\, exploring and cataloguing native music and developing its melodic and rhythmic features in his own original works. \nAmy Beach (1867-1944) moved from Boston to New York City in 1915\, attracted by its vibrant musical life. Her own compositional credo embraced folk music\, in particular the folk songs of her own ancestors\, the Irish\, Scottish and English peoples who had immigrated to America. She wanted to depict the “laments\, romances and dreams” of the Irish peoples in her Suite for Two Pianos Founded Upon Old Irish Melodies. An ardent contributor to New York’s intellectual and artistic scene\, she wrote a response in the Times to Dvorak’s call for American composers to embrace the music of indigenous and African immigrants with a reminder that the cultural legacy of the British Isles was also a strong element of American cultural heritage. The dialogue reflects the search for a truly “American” musical identity that was a strong part of early twentieth-century musical thought in the Americas\, a desire to shake off the chains of the European classical tradition and find new paths that reaffirmed new national identities. \nCuban-born Tania León’s compositional style has been influenced by Undine Smith Moore (1904-89)\, one of the most prominent African-American women composers of the 20th Century. Her Afro-American Suite (1969) sets traditional spirituals in a contemporary modern harmonic idiom. Dr Moore once said: “Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences.” \nMusic from the Courtyard program: \n\nLazar Weiner – “Somewhere Far Away\,” “Yoshi the Klezmer”\nYehudi Wyner – Psalm 112\, Family Vaudeville Songs\nAmy Cheney Beach – “Prelude” and “Finale” from Suite for Two Pianos\nUndine Smith Moore – Afro-American Suite\nManuel M. Ponce – Canciones Mexicanas\nClarice Assad – Flight of the Fairies\nTania Leon – Arenas d’un Tiempo\n\nPerformers\n Raices Negras Ensemble\nCeylon Mitchell\, flute\nErin Murphy Snedecor\, cello\nElizabeth G. Hill\, piano\nSharon Harms\, soprano\nJoan Forsyth\, piano \n\n7 pm Courtyard Prelude\n7:30 pm Concert \n\n\n \n \n \n BUY TICKETS FROM HUMANITIX URL:https://www.thevillagetrip.com/event/nyu-washington-square-walking-tour/ LOCATION:Washington Square Arch at Fifth Avenue & Washington Square North\, NY\, NY 10012\, United States CATEGORIES:2023 Tour ATTACH;FMTTYPE=image/jpeg:https://www.thevillagetrip.com/festival/wp-content/uploads/2022/07/University-Plaza-photo-George-Cserna.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20230910T124500 DTEND;TZID=America/New_York:20230910T220000 DTSTAMP:20230818T111254Z CREATED:20230710T081540Z LAST-MODIFIED:20230818T111254Z UID:10000122-1694349900-1694383200@www.thevillagetrip.com SUMMARY:Ukraine Day DESCRIPTION:“Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences” – Undine Smith Moore\nFrom the Courtyard first recreates the sounds of an East Village tenement courtyard\, shared by multicultural immigrant families\, then moves into the concert hall to hear how the rich legacy of folk music inspired later generations of composers. The concert features a premiere by Clarice Assad. Presented in cooperation with the Tenement Museum.\nThe concert features the innovative ensemble Raices Negras\, with flautist Ceylon Mitchell\, cellist Erin Murphy Snedecor\, and pianist Elizabeth G. Hill\, joined by soprano Sharon Harms and pianists Joan Forsyth and Tony Lu. Music by Lazar Weiner and his son Yehudi  Wyner\, Amy Beach\, Manuel Ponce\, Undine Smith Moore\, George Walker and Tanya Leon. Courtyard music provided by community musicians. \nA powerful communicator renowned for her musical scope and versatility\, Brazilian-American Clarice Assad is a significant voice in the classical\, world music\, pop\, and jazz genres. The Grammy–nominated composer\, pianist\, vocalist\, and educator is acclaimed for her evocative colors\, rich textures\, and diverse stylistic range. “She energetically bends music to her will and reshapes it with fascinating results” – Jazz Improv Magazine \nLazar Weiner immigrated to New York from Cherkasy\, Ukraine in 1914. An accomplished pianist\, he soon found work in the silent movie industry and the Yiddish musical milieu that had sprung up around Second Avenue in the East Village. He was a prolific composer of Yiddish art songs\, and his son\, Pulitzer Prize-winner Yehudi Wyner\, grew up in the City amidst this vibrant Yiddish cultural and intellectual tradition. We pair Lazar Weiner’s moving “Somewhere Far Away” and lively “Yoshi the Klezmer” with Yehudi Wyner’s early Psalm and Family Vaudeville songs. \nComposer Manuel Ponce (1882-1948) scandalized ardent defenders of European classical music when he gave a concert combining Mexican popular and traditional songs with European artistic genres. He became an ardent advocate for South and Latin American music\, exploring and cataloguing native music and developing its melodic and rhythmic features in his own original works. \nAmy Beach (1867-1944) moved from Boston to New York City in 1915\, attracted by its vibrant musical life. Her own compositional credo embraced folk music\, in particular the folk songs of her own ancestors\, the Irish\, Scottish and English peoples who had immigrated to America. She wanted to depict the “laments\, romances and dreams” of the Irish peoples in her Suite for Two Pianos Founded Upon Old Irish Melodies. An ardent contributor to New York’s intellectual and artistic scene\, she wrote a response in the Times to Dvorak’s call for American composers to embrace the music of indigenous and African immigrants with a reminder that the cultural legacy of the British Isles was also a strong element of American cultural heritage. The dialogue reflects the search for a truly “American” musical identity that was a strong part of early twentieth-century musical thought in the Americas\, a desire to shake off the chains of the European classical tradition and find new paths that reaffirmed new national identities. \nCuban-born Tania León’s compositional style has been influenced by Undine Smith Moore (1904-89)\, one of the most prominent African-American women composers of the 20th Century. Her Afro-American Suite (1969) sets traditional spirituals in a contemporary modern harmonic idiom. Dr Moore once said: “Art preserves life in a very special way. Our memories die with us\, but art preserves the values and experiences.” \nMusic from the Courtyard program: \n\nLazar Weiner – “Somewhere Far Away\,” “Yoshi the Klezmer”\nYehudi Wyner – Psalm 112\, Family Vaudeville Songs\nAmy Cheney Beach – “Prelude” and “Finale” from Suite for Two Pianos\nUndine Smith Moore – Afro-American Suite\nManuel M. Ponce – Canciones Mexicanas\nClarice Assad – Flight of the Fairies\nTania Leon – Arenas d’un Tiempo\n\nPerformers\n Raices Negras Ensemble\nCeylon Mitchell\, flute\nErin Murphy Snedecor\, cello\nElizabeth G. Hill\, piano\nSharon Harms\, soprano\nJoan Forsyth\, piano \n\n7 pm Courtyard Prelude\n7:30 pm Concert \n\n\n \n \n \n BUY TICKETS FROM HUMANITIX URL:https://www.thevillagetrip.com/event/ukraine-day/ LOCATION:NY CATEGORIES:2023 Highlights ATTACH;FMTTYPE=image/jpeg:https://www.thevillagetrip.com/festival/wp-content/uploads/2023/07/Ukraine-Day-Postcard-for-web.jpg END:VEVENT END:VCALENDAR