The program in some ways reflected mood swings that strike us these days: melancholy, valediction, the hauntings of past ardors, and the impulse to get the hell out
PS21 was founded by the late Judy Grunberg in 1999 with the mission of presenting advanced and diverse performances of music, dance, and theater, as well as some film screenings. Under her leadership as President of the Board, local residents and some from further away enjoyed lively summer programs performed in an ingenious plastic stage-cum-shelter in the middle of a field. Before her passing in 2019, she initiated the construction of an equally ingenious and certainly more elegant permanent structure which could be used from autumn through spring. A 300-seat theater open on three sides functions as the summer venue. Its stage house can be converted into a black box theater seating 99, providing a more intimate space for performances that need it. It was designed by a local architect, Evan Stoller, son of the legendary architectural photographer, Ezra Stoller.
Ian Hobson, the internationally lauded pianist, will perform a streamed recital co-presented by SubCulture NYC, Florida State University, and Sinfonia da Camera this Wednesday, July 22nd, 5:00 p.m. EDT.
From my own perspective as a lover of Howard Hanson’s music, the best here comes last. His Fourth Symphony is subtitled “The Requiem” and was composed as a memorial to Hanson’s father. Its four movements correspond to sections of the traditional Latin mass. It was Hanson’s favorite among his symphonies, and while the melodies may not be as immediately committed to memory as those of the “Nordic” and “Romantic," the glowing consecrational quality of the work, its beautiful flow and reverential beauty, full of life and never morose, is hard to surpass in American music. The piece fades away in lovely nostalgia. Clearly Hanson knew the Vaughan Williams Fifth Symphony. Like Vaughan Williams, Hanson’s music has the ability to make sadness cozy and comforting. To his credit, Kalmar turns out here a performance finer than Gerard Schwarz’s heavy-handed take with the Seattle Symphony. It’s as good as the composer’s own, and in far better sound. I vote this release a prize of my own!