The Great French Organ Tradition With Paul Jacobs on Tuesday, September 10, 2019, at 7:30pm in Paul Hall

New York Arts’ Inaugural Event, a Concert of Baroque Chamber Music and an Exhibition of Old Master Drawings at the Fabbri Mansion

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Kenneth Cooper, Roza Tulyaganova, Paula Robison, and Frederick Zlotkin take their bows in the library of the House of the Redeemer, Jan. 29, 2013. Photo Joanna Gabler

Kenneth Cooper, Roza Tulyaganova, Paula Robison, and Frederick Zlotkin take their bows in the library of the House of the Redeemer, Jan. 29, 2013. Photo Joanna Gabler

New York Arts—a presenting organization, as well as a continually updated (2 to 5 or more times a week) online arts journal—began life in the spring of 2011 as the sister magazine of The Berkshire Review for the Arts, which itself was launched in 2007. The Berkshire Review was a response to the superb music, theater, dance, and art in North America’s oldest and finest cultural resort and the need for more acute and engaging critical voices in the region.

I am very pleased to announce some exciting changes at New York Arts—or, rather, the restoration of a program included in our initial mission statement. There it said that New York Arts would “no longer be only a critical arts journal, but a sponsor of exhibitions, concerts, and other performances.” This began with an invitational event combining a showing of old master drawings and a concert of baroque music (Bach, Handel, Telemann, et. al.) played by Paula Robison, Kenneth Cooper and others in the Fabbri Mansion (House of the Redeemer) on the Upper East Side. There followed another multi-disciplinary event, a reading of poems by W. B. Yeats, Lloyd Schwartz, Senior Editor at New York Arts, one of America’s outstanding poets, who has done extensive research on Yeats, with traditional Irish music for flute and fiddle in conjunction with an exhibition of Michael Miller’s views of the Irish landscape, monuments, and people at the Centerpoint Gallery in Chelsea. Back at the Fabbri Mansion, there was an admirable recital by Stephen Porter on the mansion’s Grotrian-Steinweg (ca. 1900), entitled “Late Style,” with works by Debussy, Beethoven, Chopin, and Schubert.

For a variety of reasons, there has been a gap in these presentations, but now they will begin again with increased frequency and energy. In addition to the diverse events—in some cases combining different arts, following the interests of the magazine: music, opera, theater, dance, art, photography, architecture and urban design, local history, and food and drink—there will also be traditional concerts like Stephen Porter’s, theatrical performances, readings, exhibitions, and symposia. Our publication will offer articles amplifying these events and the issues they raise, as well as the familiar reviews and interviews related to local as well as national and international performances and exhibitions.

With this double mission, we at New York Arts hope to to play a vital role in the arts community in the city, second to none in its energy, diversity, and level of achievement.

You can give tax-deductible contributions through Fractured Atlas, a non-profit organization founded to support the arts. Please give generously.

 

 

 

Michael Miller
Editor-in-Chief/Publisher
New York Arts

127 East 91st Street
New York, New York
10128

editor@newyorkarts.net

Twitter: @newyorknyarts
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An Arts Press Publication
http://artspress.net

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About the author

The Editor

Michael Miller, Editor and Publisher of New York Arts, an International Journal for the Arts and The Berkshire Review, was trained as a classicist and art historian at Harvard and Oxford, worked in the art world for many years as a curator and dealer, and contributed reviews and articles to Bostonia, Master Drawings, Drawing, Threshold, and North American Opera Journal, as well as numerous articles for scholarly and popular periodicals. He has taught courses in classics, the English language, and art history at Oberlin, Rutgers, New York University, the New School, and Williams. Currently, when he is not at work on New York Arts, he writes fiction, pursues photography, and publishes scholarly work. In 2011 he contributed an introductory essay to Leonard Freed: The Italians / exh. cat. Io Amo L’Italia, exhibition at Le Stelline, Milan, and wrote the revised the section on American opera houses in The Grove Dictionary of American Music. He is currently at work on a libretto for a new opera by Lewis Spratlan, Midi, an adaptation of Euripides’ Medea set in the French West Indies, ca. 1930.

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