Social Good Summit: Behind The Scenes Video with Mandy Moore
In this behind the scenes video at the Social Good Summit, actress/activist Mandy Moore talks about how students and youth can use social media to help the prevention of Malaria and her trip to Cameroon where it is the #1 cause of death. You can watch all of the videos - including clips with Richard Gere, Jeffrey Sachs and Christy Turlington among others - and read recaps of this inspiring week-long event here.
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92Y Video: From the Poetry Center Archive: Seamus Heaney
The Unterberg Poetry Center opened its 73rd season of literary events with a reading by Seamus Heaney on September 26. The video above features excerpts from the end of Heaney’s reading that night—two poems from his “Clearances” sequence, then “In the Attic” and “A Kite for Aibhín.”
Heaney first appeared at 92Y more than forty years ago, and it was a thrill to welcome him back. He was introduced by Atsuro Riley, who credited Heaney’s work for “for embodying that rare wholeness and consonance we feel in a musical chord, that habitable space made & held for us within a musical chord.” He added: “I want to credit this chord that got worked up from its root-note in Mossbawn, County Derry, in the north of Ireland. The chord in which the crucial concept of ‘home-ground’ has been given by now a full sounding: the originary, the formative, the sensory; the avian and the arboreal; the archaeological, the etymological, the mineral.”
In an ongoing effort to share with our readers some of the great literary moments which the Poetry Center has presented across the decades, this blog has begun to feature regular postings of archival recordings. For access to other recordings, please click here.
Unterberg Poetry Center webcasts and access to our archive are made possible in part by the generous support of the Sidney E. Frank Foundation.
Autumn Ballroom: Welcome seasoned ballroom hosts Gene Eagle and Jeni Breen for stardust evenings of ballroom classics – fox trot, waltz, cha-cha and your favorite tangos. Cash bar with drink special available all evening.
Opus Dance Theatre: Join ODT’s Artistic Director Leonard Meek and his company of exciting young dancers for a performance that promotes the full spectrum of the Pan-African experience.
Israeliness: Join in an Israeli-style, biweekly program for families with children age 6 months-2nd grade, featuring art, music and Israeli culture, and conducted entirely in Hebrew.
Maimonides with Dr. Menahem Ben-Sasson. Maimonides is considered by many to be among the greatest Torah scholars of all time, and his lessons continue to pro-foundly influence Jewish thought, ethics and law nearly 10 centuries after his death.
Paul Lewis begins a two-part exploration into the late piano works of Franz Schubert on October 18 at 92nd Street Y. His appearance at 92Y is part of a Schubert cycle that is taking him around the world. In the following joint interview with Chicago’s Symphony Center, which presented Mr. Lewis earlier this year, he discusses his feelings toward Schubert, 92Y and the cycle approach to programming.
In a recent interview with the Chicago Sun-Times, you called Schubert “endlessly fascinating.” What distinguishes him for you?
Many things, but if I had to point to one particular aspect of Schubert, it would be the way in which he creates a sense of drama. Normally when a composer wants to convey something dramatic, it’s far more common for them to write something demonstrative which jumps off the stage at the listener—and Schubert sometimes does that too. But more often, the drama of his music is of an inward looking nature. When Schubert wants to tell you something important, he will usually lower his voice rather than raise it—he draws you into the message, rather than projects it out to you. His moments of extreme despair seem primarily to be conveyed in that way—which, for me, makes them all the more powerful.
What do you as a musician discover by exploring one composer in depth? How does it change your perspective?
That’s hard to describe, as it’s such a gradual process. Sometimes you might stumble upon a musical “solution” to something that has been eluding you via a different work by that composer. There’s one specific element of the way he writes which I’ve come to see in a different light as a result of studying some of the songs recently. Schubert often writes repeated figures, sometimes just repeated single notes, and it’s easy to see that as an accompaniment—something that shouldn’t be heard too much in the forefront.
But when you look at songs such as “Die Liebe Farbe” from Die Schöne Müllerin, or “Der Wegweiser” from Winterreise, you see that those insistent repeated notes are in fact of huge significance. There’s a sense of fate, or of not being able to escape, which of course represents a certain reality for Schubert himself after his diagnosis of syphilis in 1822-23. This has made me think again about similar passages in the solo piano music, such as the repeated notes in the first Impromptu of D. 899—every strand of Schubert’s writing has its significance, and this particular strand is, I feel, of great importance.