BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//Lincoln Square BID - ECPv6.15.17//NONSGML v1.0//EN
CALSCALE:GREGORIAN
METHOD:PUBLISH
X-WR-CALNAME:Lincoln Square BID
X-ORIGINAL-URL:https://lincolnsquarebid.kudos.nyc
X-WR-CALDESC:Events for Lincoln Square BID
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:20240310T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20241103T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20250309T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20251102T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20260308T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20261101T060000
END:STANDARD
END:VTIMEZONE
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251117T103000
DTEND;TZID=America/New_York:20251117T200000
DTSTAMP:20260410T020703
CREATED:20251006T173142Z
LAST-MODIFIED:20251007T190108Z
UID:10004074-1763375400-1763409600@lincolnsquarebid.kudos.nyc
SUMMARY:Syncopated Stages: Black Disruptions to the Great White Way
DESCRIPTION:Although the common nickname for Broadway\, “the Great White Way\,” refers\, historically\, to its dazzling lights\, the phrase also suggests the ways in which many histories of New York theater center white artists. Black artists\, though\, have been important shapers of musical theater in the United States before the electric light was ever used on stage. In the early 20th century\, Black composers and writers created many popular musicals in New York that helped define the genre\, setting it apart from 19th-century traditions. New forms of syncopation\, the disruption of the dominant rhythm\, and narratives composed and written by Black artists challenged the prevailing sounds and depictions of Black people on stage. These innovations were more than stylistic. They pushed back against exclusion and stereotype\, laying the groundwork for generations of Black artists whose contributions have reshaped Broadway. Syncopated Stages spotlights their work\, acknowledges the challenges they faced\, and celebrates the brilliance of what they made. We invite you to explore how Black artists transformed the New York stage and how their work still reverberates today. \nThis exhibition is organized by The New York Public Library for the Performing Arts and curated by playwright\, professor\, and scholar Michael Dinwiddie. \nPhoto credit: The New York Public Library for the Performing Arts
URL:https://lincolnsquarebid.kudos.nyc/event/syncopated-stages-black-disruptions-to-the-great-white-way/2025-11-17/
LOCATION:The New York Public Library for the Performing Arts\, 40 Lincoln Center Plaza\, New York\, 10023\, United States
CATEGORIES:Culture,Education,Free
ATTACH;FMTTYPE=image/webp:https://lincolnsquarebid.kudos.nyc/wp-content/uploads/2025/10/NYPL-Performing-Arts.webp
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251117T140000
DTEND;TZID=America/New_York:20251117T160000
DTSTAMP:20260410T020703
CREATED:20251009T194644Z
LAST-MODIFIED:20251009T194644Z
UID:10004392-1763388000-1763395200@lincolnsquarebid.kudos.nyc
SUMMARY:Schumann Charms
DESCRIPTION:Hyunah Yu soprano\nFei Fei piano\nHina Khuong-Huu violins\nFiona Khuong-Huu violin\nVadim Lando clarinet \nLouis SPOHR Duo Op. 3 No. 3 ▪ 1802–1803\n~ congenial\, lively Classical dialogue between 2 violins\, with moments of technical brilliance—lyrical and refined \nThe set of 3 violin duets was composed during a trip to Russia with Franz Eck\, his violin teacher\, and the duets were among the earliest pieces he published—in 1805. In 1799\, Duke Karl Wilhelm Ferdinand of Brunswick had given Spohr a position in his court orchestra. The Duke also paid for him to accompany Eck as a pupil on a tour to St. Petersburg in 1802–1803 to complete his training as a violinist. In 1804 Spohr made his first independent concert tour of Germany\, gaining a reputation as one of the country’s leading violinists\, and in 1805 he was invited to lead the court orchestra in Gotha. \nSpohr (1784–1859) was a dominant force in German music and was as famous as Mozart and Beethoven. Sometimes called “The Forgotten Master\,” he is considered the greatest classical violinist of his time\, and one of the most admired and respected composers in his day. He served in a number of court positions\, he was the celebrated leading violin virtuoso\, he was one of the most sought-after and prolific composers of the first half of the 19th century\, and is considered a forerunner of early Romanticism. He also was an ideas man—he invented the chin rest\, introduced the use of the baton and rehearsal numbers\, developed the double quartet after Andreas Romberg first proposed the idea\, revived the music of Bach and Handel\, and he was the author of an influential violin method\, as well as a wonderful autobiography that included details his many travels throughout Europe. In addition to his musical activities\, he was a family man who enjoyed a happy social life and varied pursuits like swimming\, ice-skating\, hiking\, gardening\, and painting. \nSCHUBERT 3 Lieder ▪ n.d.\n~ from a selection of 6 songs arranged by Carl Baermann for clarinet and piano \nBaermann’s arrangements are notable for their fidelity to the original vocal lines and their exploration of the expressive possibilities of the clarinet. They appeared as Op. 88 in Baermann’s Collected Works. \nIV “Lob der Thränen” (In praise of tears) D.711 was Schubert’s setting of August Schlegel’s eulogy to the power of tears to bring renewal and redemption (1818–1821). \nV “Gretchen am Spinnrade” (Gretchen at the spinning wheel) D.118 is based on a text from Goethe’s Faust\, depicting Gretchen’s emotions as she longs for Faust while spinning at her wheel (1814). \nII “Wohin” is the second song from the cycle Die schöne Müllerin D. 795\, which tells of a young miller who falls in love with the miller’s daughter. The cycle follows his story of unrequited love and tragic fate. \nSchumann was a great admirer of Schubert’s music and played a crucial role in promoting Schubert’s music. \nCarl Baermann (1810–1885) was the son of the famous clarinet virtuoso Heinrich Baermann\, for whom Weber composed his clarinet works. As a child he was taught the clarinet and the basset horn by his father. He played occasionally in the Munich court orchestra when he was 14 years old\, and was appointed its second clarinetist in 1832. When his father retired in 1834\, Carl succeeded him as principal clarinetist\, holding that position until he retired in 1880. During a tour in Europe in 1833\, he and his father premiered their friend Mendelssohn’s Concert Pieces Opp. 113 and 114 to great acclaim. The Pieces were composed in exchange for a culinary treat of sweet dumplings and cheese strudel. Apart from their musical prowess\, the Baermanns were renowned for their cooking. Even the royal house of Saxony craved their dumpling specialty made from flour\, yeast\, sugar\, butter\, and eggs and cooked in a wine sauce. Carl also shaped clarinet history through his pedagogical writings\, editorial articles\, and compositions that were popular with clarinet virtuosos; and for his mechanical design of the clarinet—the Baermann-Ottensteiner key system\, which he developed based on the widely-used Müller system in the late 19th century. \nPhoto credit: Wikimedia Commons
URL:https://lincolnsquarebid.kudos.nyc/event/schumann-charms/2025-11-17/1/
LOCATION:Jupiter Symphony Chamber Players\, 152 West 66th Street\, New York\, 10023\, United States
CATEGORIES:Entertainment
ATTACH;FMTTYPE=image/jpeg:https://lincolnsquarebid.kudos.nyc/wp-content/uploads/2025/10/Good_Shepherd-Faith_Presbyterian_Church.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251117T193000
DTEND;TZID=America/New_York:20251117T193000
DTSTAMP:20260410T020703
CREATED:20251009T194644Z
LAST-MODIFIED:20251009T194644Z
UID:10004393-1763407800-1763407800@lincolnsquarebid.kudos.nyc
SUMMARY:Schumann Charms
DESCRIPTION:Hyunah Yu soprano\nFei Fei piano\nHina Khuong-Huu violins\nFiona Khuong-Huu violin\nVadim Lando clarinet \nLouis SPOHR Duo Op. 3 No. 3 ▪ 1802–1803\n~ congenial\, lively Classical dialogue between 2 violins\, with moments of technical brilliance—lyrical and refined \nThe set of 3 violin duets was composed during a trip to Russia with Franz Eck\, his violin teacher\, and the duets were among the earliest pieces he published—in 1805. In 1799\, Duke Karl Wilhelm Ferdinand of Brunswick had given Spohr a position in his court orchestra. The Duke also paid for him to accompany Eck as a pupil on a tour to St. Petersburg in 1802–1803 to complete his training as a violinist. In 1804 Spohr made his first independent concert tour of Germany\, gaining a reputation as one of the country’s leading violinists\, and in 1805 he was invited to lead the court orchestra in Gotha. \nSpohr (1784–1859) was a dominant force in German music and was as famous as Mozart and Beethoven. Sometimes called “The Forgotten Master\,” he is considered the greatest classical violinist of his time\, and one of the most admired and respected composers in his day. He served in a number of court positions\, he was the celebrated leading violin virtuoso\, he was one of the most sought-after and prolific composers of the first half of the 19th century\, and is considered a forerunner of early Romanticism. He also was an ideas man—he invented the chin rest\, introduced the use of the baton and rehearsal numbers\, developed the double quartet after Andreas Romberg first proposed the idea\, revived the music of Bach and Handel\, and he was the author of an influential violin method\, as well as a wonderful autobiography that included details his many travels throughout Europe. In addition to his musical activities\, he was a family man who enjoyed a happy social life and varied pursuits like swimming\, ice-skating\, hiking\, gardening\, and painting. \nSCHUBERT 3 Lieder ▪ n.d.\n~ from a selection of 6 songs arranged by Carl Baermann for clarinet and piano \nBaermann’s arrangements are notable for their fidelity to the original vocal lines and their exploration of the expressive possibilities of the clarinet. They appeared as Op. 88 in Baermann’s Collected Works. \nIV “Lob der Thränen” (In praise of tears) D.711 was Schubert’s setting of August Schlegel’s eulogy to the power of tears to bring renewal and redemption (1818–1821). \nV “Gretchen am Spinnrade” (Gretchen at the spinning wheel) D.118 is based on a text from Goethe’s Faust\, depicting Gretchen’s emotions as she longs for Faust while spinning at her wheel (1814). \nII “Wohin” is the second song from the cycle Die schöne Müllerin D. 795\, which tells of a young miller who falls in love with the miller’s daughter. The cycle follows his story of unrequited love and tragic fate. \nSchumann was a great admirer of Schubert’s music and played a crucial role in promoting Schubert’s music. \nCarl Baermann (1810–1885) was the son of the famous clarinet virtuoso Heinrich Baermann\, for whom Weber composed his clarinet works. As a child he was taught the clarinet and the basset horn by his father. He played occasionally in the Munich court orchestra when he was 14 years old\, and was appointed its second clarinetist in 1832. When his father retired in 1834\, Carl succeeded him as principal clarinetist\, holding that position until he retired in 1880. During a tour in Europe in 1833\, he and his father premiered their friend Mendelssohn’s Concert Pieces Opp. 113 and 114 to great acclaim. The Pieces were composed in exchange for a culinary treat of sweet dumplings and cheese strudel. Apart from their musical prowess\, the Baermanns were renowned for their cooking. Even the royal house of Saxony craved their dumpling specialty made from flour\, yeast\, sugar\, butter\, and eggs and cooked in a wine sauce. Carl also shaped clarinet history through his pedagogical writings\, editorial articles\, and compositions that were popular with clarinet virtuosos; and for his mechanical design of the clarinet—the Baermann-Ottensteiner key system\, which he developed based on the widely-used Müller system in the late 19th century. \nPhoto credit: Wikimedia Commons
URL:https://lincolnsquarebid.kudos.nyc/event/schumann-charms/2025-11-17/2/
LOCATION:Jupiter Symphony Chamber Players\, 152 West 66th Street\, New York\, 10023\, United States
CATEGORIES:Entertainment
ATTACH;FMTTYPE=image/jpeg:https://lincolnsquarebid.kudos.nyc/wp-content/uploads/2025/10/Good_Shepherd-Faith_Presbyterian_Church.jpg
END:VEVENT
END:VCALENDAR