This composer, mastermind of “Piano Puzzlers,” feared premature death: “Schubert died at 31, Mozart died at 35, Gershwin died at 39. I thought because my father died when he was 55, that I would, too.” A conversation at Steinway Hall on fathers, sons, and the neuroscience of creativity.
Music offers more than aesthetic pleasure, asserts this conductor: “Music has the power to transport its audiences to a time that no longer exists.” A gentler time, without covid or attack drones or Elon Musk. He’s founded a chamber orchestra, Parlando, on that belief.
Writer of “The Morning” newsletter for The New York Times and author of Ours Was the Shining Future, he admires A. Philip Randolph, who championed this idea: “Collective action around labor and workers is the most powerful vehicle for changing this country.” The echoes and implications of social class.
I’m against nose jobs for ordinary noses (like mine), but this journalist, who’s covered cosmetic surgery for decades, is less judgmental: “I believe everybody is free to do what they want with their body.” Incidentally, she’s just turned 96 and looks fabulous.
This former Manhattan borough historian admires the enormously accomplished, nearly forgotten, 19th-century New Yorker Andrew H. Green: “He is often compared to Robert Moses. In a favorable way.” To be fair, so is my cat, who’s destroyed only my sofa but no entire neighborhood.
As a young actor (Local Hero, Crossing Delancey, Animal House) he played Goldberg in The Birthday Party, overseen by Harold Pinter himself. One speech was particularly opaque. “I had no idea what it meant, but to say these words was to be Isaac Stern on the violin.” Learning to trust the writer. Produced with the Museum of Jewish Heritage.
This interior designer is celebrated for her work on low-income housing projects, but not universally celebrated. Sometimes a client resists: “You’re making it too nice for these people; these people will tear it up.” Bringing good design to “these people.” Music: Mireya Ramos, Sinhue Padilla. Presented with the Van Alen Institute.
This Israeli-American architect likes buildings, of course, but it’s the spaces between buildings that he loves. “It’s a blur between public and private, it’s a stage, it’s sort of an in-between territory, a threshold to the city, a place of in-between.” Produced with the Center for Architecture. Music: Liz Hanley
Some architects want their buildings to endure unchanged for all eternity, but these partners embrace transformation: “We hope our La Brea Museum, 100 years from now, will be appropriated by somebody else.” (By a mammoth with a sense of irony?) Produced with the National Academy of Design. Music: Mamie Minch.
As a kid, this mezzo soprano sang in a church choir with this implicit purpose: “To bring joy to people, and bring comfort to people, and help people feel what they need to feel.” Not a bad approach to art or, for that matter, life.
Although utopia has not arrived, racial segregation has diminished since the reopening of the Apollo Theater in 1934, so is the place still needed? Absolutely, declares its Director of New Works: “The Apollo will always be necessary as long as we have stories to tell.” Presented with the Ford Foundation and the Municipal Art Society. Music: Rashad Brown
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