MICHAEL TILSON THOMAS, SAN FRANCISCO SYMPHONY: COPLAND THE MODERNIST

I want to extend a sincere and grateful THANK YOU to Mr. Jansons, who was kind enough to allow this post of his rip!! THANK YOU MR. JANSONS. Scoredaddy

According to Virgil Thompson, jazz was Aaron Copland’s “one wild oat”. Maybe, but he sowed it with a will – and others reaped. Page after page of Music for the Theatre and its first cousin, the 1926 Piano Concerto, featured here, read like the blueprints for symphonic dance to come. Bernstein’s On the Town began here. Concert jazz with attitude, sinewy, street-smart, strident, dislocated, blowsy, bumping, grinding, shimmying like everyone’s sister Kate. But Copland arrived first, and middle America (which had mentally drawn a line under Gershwin in that regard) was taken aback – temporarily. An erstwhile succes de scandale became ‘the best roar from the roaring twenties’.

Well, at least one audacious enough to subdue the MGM lion on the opening gambit stakes. It’s a corker, this opening. A bold proclamation passed between trumpets and trombones, a ‘fanfare for...’; but before you can finish the sentence, a dramatic cut to the wide shot: a glorious lyric effusion, its sights set on yet another gleaming skyline. Brave new world or lonely town? The quizzical solo piano isn’t entirely sure, but the yearning grows: rhapsody in blue. Aren’t they all? But as muted clarinets take us in deeper, and deeper, the piano player shucks the cigarette, flicks the wrist, mindful of something snappy; snappy, as in fractured and slightly tipsy. Garrick Ohlsson kicks into this rhythm-bending mood-swing with terrific aplomb, and the San Francisco Symphony stretch every sinew to get their long limbs co-ordinated. Tilson Thomas has them well blooded in the ways of this music: it’s slick, it’s tight, but it still retains that sense of wilful precariousness. One last view of the skyline, and it’s all over.

Copland, ‘the modernist’, alludes to skylines a great deal here. The word ‘sheer’ is always springing to mind – long, tall brilliance; shining surfaces, all height and angularity. It’s hard to imagine that the Orchestral Variations were ever laid down in anything but orchestral terms, their sonority and harmony stretched from top to bottom of the score in spare, spacey chords. Copland’s very particular brand of rhetoric. And then you remember that in its ground-breaking piano original it was as if the keyboard itself had been surrealistically elongated. It has the look of a modern metropolis in sound, this music: lean, clean, oblique. Why, even the beautiful and remote slow movement of the Short Symphony is rural Copland with inner-city tensions.

But let me direct you to the tallest of these particular edifices – because I honestly don’t anticipate a better view of it. Symphonic Ode – Copland’s first big orchestral piece after the Piano Concerto – proceeds onwards and upwards in sky-scraping, octave-leaping tower blocks of sound. It’s so very much a young man’s America, alternately monolithic and toughly contrapuntal. A jazzy hint of misbegotten adolescence, a reflective heart – with solo oboe (exquisitely attended here) lending a refinement so well nursed by Nadia Boulanger – and a tremendous conclusion as proud and implacable as the US Constitution itself. A couple of sensational modulations, and MTT’s San Francisco horns are quite literally reaching for the sky. Because there is no place to go but up. The performance knows just how good it is – and that’s a fact. Deep-set, blockbusting recording. A winner.' Edward Seckerson

Concerto for Piano and Orchestra (1926)

1. Andante sustention 7:32
2. Molto moderato; Allegro assai 9:27
Garrick Ohlsson, piano

3. Orchestral Variations (1957) 13:39

Short Symphony (Symphony No. 2) (1932/33)
4. Incisivo 4:33
5. Espressivo 5:01
6. Preciso e ritmico 5:52

7. Symphonic Ode (1928/29) 20:16

San Francisco Symphony conducted by Michael Tilson Thomas
Recorded June 25, 1996 at Davies Symphony Hall, San Francisco, CA, USA

A COPLAND CELEBRATION, VOL 1: FAMOUS ORCHESTRAL AND CHAMBER WORKS

The three volumes in the “Copland Celebration” series are only available separately so you can pick and choose. Dedicated Coplanders will want all of them. Sony, who have come in for considerable stick in some quarters, have here done a regal job. Design is consistent across the three sets. The market placement is astute at mid-price. The 2 CD sets are in slimline cases.

The great attraction of these sets is the harvest of previously CD-unavailable tapes. The following receive their first CD release here (speaking of the entire three-volume series): Nonet, Vitebsk, Piano Quartet, Lincoln Portrait, Dickinson Poems (both Addison and Lipton), Old American Songs, Tender Land, In the Beginning, Dark, Nonet, Copland rehearsing Appalachian Spring. The two Billy extracts played by Oscar Levant appear for the first time on any commercial medium.

The sets were issued in Copland centenary year (2000) and merit attention here. The age of the tapes varies from 1959 to 1971 with many falling in the 1960s. The only monos are the Martha Lipton Dickinson Poems, the Warfield American Songs, the Levant Billy excerpts. These are all ADD and the sound quality is good to excellent.

Discographical documentation is good and background notes (in English only) are by Copland biographer, Howard Pollack. An obvious though hardly damning demerit is that none of the words are printed. The booklet for each set is liberally sprinkled with facsimiles of concert fliers and programme notes as well as some very natural on the fly photographs.

Though eclipsed in hifi terms there is still plenty of bass and fibrous pith in the LSO version of the Fanfare. The boozy Arnold-like Copland is evident from the second of the Rodeo dance episodes which also chimes in well with The American Songs. His orchestration which blossomed under the tutelage of Nadia Boulanger is pristine, Gallic in its transparency but American in every other way. I wasn't sure whether the LSO were quite on top of things in the final dance but otherwise things go with a swing and with galloping élan. Stravinsky scores were amongst those studied by Copland during his Parisian years and certainly The Rite surfaces with unmistakable identity throughout the orchestral works - try The Open Prairie in Billy The Kid. When that music returns at the end it has the atmosphere of a tragic scrolling effect - extremely cinematic. Playing is pointed and precise - a great orchestra in their finest confident form.

El Salon lacks the out and out zip and shudder of Bernstein's version however the accenting is sharper in the composer's version. The NYPO are probably more at home in this music and the NPO trumpets seem not completely inside the idiom by comparison with Bernstein's band. The LSO manage things more naturally with Danzon Cubano. Quiet City - that hymn to metropolitan solitude has never quite been matched in the case of this Copland version.

Appalachian Spring is a hallmark work in Copland's catalogue. Its qualities are exposed to even greater effect in its original chamber garb. A cool innocence allied of music keyed into vernal winds, rustic playfulness and the landscape. Some may miss the opulence of a full orchestra but the compensations in terms of diaphanous sounds and a glowing soundscape more than compensate. Tight rhythmic control push things along with real zing. Somehow the fact that this represents the score as it would have sounded when it was danced by the Martha Graham troupe in the murderous 1940s seems only a makeweight. Hearing the complete ballet underlines who used we have become to the orchestral suite - tracks 8, 11 and 12 seems stylistically anomalous now - rather slow, a trifle slower and Molto allegro ed agitato. The fifteen instruments are six violins, two violas, two cellos, double bass, flute, clarinet, bassoon and piano. Paul Jacobs was the pianist in this 1973 recording. We take with this more than 17 minutes of rehearsal which illustrates the care with which Copland laboured at the creation of that slender web of sound and zappy attack. Copland's direction is firm, specific but always respectful of the musicians. The sequence is not continuous with sections faded down and then faded up.

The Nonet for strings is a quite unfamiliar work. It oscillates between the poles of Bach, Tippett and neo-classicism. A no-holds-barred performance with plenty of gutsy playing compromised by 1962 sound only to the extent that it lends an unforgiving edge to the strings at forte and above. Rob Barnett

DISC ONE

1. Fanfare for the Common Man (1942) 3:16
LSO, Walthamstow, UK 26-29 Oct 1968

Rodeo (1942)
2. I. Buckaroo Holiday 7:47
3. II. Corral Nocturne 3:50
4. III. Saturday Night Waltz 4:44
5. IV. Hoe-Down 3:33
LSO, Walthamstow, UK 26 Oct 1968

Billy The Kid (1942)
6. Introduction: The Open Prairie 3:21
7. Street in a Frontier Town 6:26
8. Card Game at Night (Prairie Night) 3:45
9. Gun Battle 2:03
10. Celebration Dance (after Billy’s Capture) 2:15
11. Billy’s Death 1:28
12. The Open Prairie Again 1:45
LSO, Walthamstow, UK Nov 1969

13. El Salon Mexico (1936) 11:27
New Philharmonia, EMI Studios, London UK 31 May 1972

14. Danzon Cubano (1942)
LSO, EMI Studios, London UK 9-10 Nov 1970

15. Quiet City (1939) 9:49
William Lang (trumpet)/Michael Winfield (English Horn)/LSO, Walthamstow, UK 6 Nov 1969

16. Down a Country Lane (1965)
LSO, Walthamstow, UK 26 Oct 1968

DISC TWO
Appalachian Spring (original chamber version) (1945)
1. Very Slowly 2:44
2. Allegro 2:49
3. Moderato 3:28
4. Fast 3:25
5. Subito Allegro 2:57
6. Menos Mosso 1:58
7. Doopio movimento 2:23
8. Rather slow 1:25
9. Very deliberate 2:44
10. Poco piu mosso 1:01
11. A trifle slower 0:24
12. Molto Allegro ed agitato 3:09
13. Broadly 0:33
14. Moderato (like a prayer) 3:18
Columbia Chamber Ensemble/Columbia Studios, NYC 9-11 May 1973

Nonet (1960)
15. Slow and solemn 5:39
16. Ritmico ed un poco marcato 6:48
17. Temp as at first 5:01
Columbia String Ensemble/ 799, 7th Ave, NYC, 6 Apr 1962

18. Copland rehearses Appalachian Spring. 17:12
Columbia Studios, NYC 6 April 1962

LEONARD SLATKIN & ST. LOUIS SYMPHONY ORCHESTRA: ORGAN, DANCE, & SHORT SYMPHONIES

The Copland known to most people is the composer of scores such as El Salón México, Rodeo, Appalachian Spring, and the Third Symphony--in short, of the popular, approachably folksy works of the years 1936 to 1946. But what about the music Copland wrote before these defining pieces? Some would say it's even more important, having served to open the door, as Virgil Thomson rightly observed, to "the voice of America in our generation."

The four works on this disc show that Copland was Copland--a powerful, provocative, original, and energetic musical personality--before he was "Copland." The daring Organ Symphony of 1924, the same year as Gershwin's Rhapsody in Blue, sounds at least 20 years ahead of its time. The Dance Symphony, from 1929 (but based on material from Copland's 1922 ballet, Grohg), is permeated by the aroma of French modernism and full of the spiky grotesqueries of Stravinsky and Bartók, yet it's got a jazzy swagger that's distinctively ... Copland. Ditto for the Short Symphony of 1933, rhythmically one of the most boisterous pieces Copland ever wrote.

Even the one work that appears to be "later" Copland--the Orchestral Variations of 1957--is actually from the same youthful vintage as the symphonies. It's Copland's orchestration of his epoch-making 1930 Piano Variations, among the most powerful utterances in the history of American music. Seventy years later, the force of the musical ideas in this piece still takes listeners' breath away, and reminds us it was no accident that Copland has come to be regarded as America's greatest composer. Leonard Slatkin and the Saint Louis Symphony Orchestra play the spots off all the music on this CD, and the sound is superlative. Ted Libbey

Symphony For Organ and Orchestra (1924)
1. Andante 6:02
2. Scherzo 7:21
3. Finale: Lento 10:03
Simon Preston , organ

Dance Symphony (1929)
4. Intro: Lento, Molto Allegro 6:37
5. Adante Moderato 4:40
6. Allegro Vivo 4:51

Short Symphony (Symphony No. 2) (1932-33)
7. Incisivo 4:07
8. Espressivo 4:56
9. Presto E Ritmico 5:36

10. Orchestral Variations (1957) 12:36

St Louis Symphony Orchestra conducted by Leonard Slatkin
Recorded September 21, 1993 at Christ Church Cathedral, St Louis, MO (#1-3); February 17&18, 1995 (#4-9) & May 9, 1995 (#10)at Powell Symphony Hall, St Louis, MO USA

Upgrade to FLAC: A COPLAND CELEBRATION, VOL 2 - CHAMBER MUSIC AND RARITIES

Carl Sandburg only appears on about 14 minutes of this mid-priced two-CD set, but it's a very important 14 minutes in terms of his artistry and career. The poet/singer's four-decade association with Abraham Lincoln culminated on record in 1958 with his recording of Aaron Copland's "A Lincoln Portrait" with the New York Philharmonic under the baton of the man who commissioned the work, Andre Kostelanetz.

Sandburg's relationship to the piece went back 15 years, though he did not narrate it at its debut, but nobody ever narrated it better on record -- Sandburg quotes the lines drawn from Lincoln's speeches as though they're his, and his utterance of the framing narrative is done with the gentleness of someone who seems to have known the man, and knew the sadness of losing him; when he speaks on Lincoln being a quiet and a melancholy man, he does it as if he were describing a much-mourned friend, with all of the depth that implied in that description.

It's an illusion, but a successful one and totally natural, from a non-actor. Sandburg's voice has a natural fragility that is extraordinary in a recording like this, and separates him from the work of Henry Fonda and most other actors who have recorded this piece. The Philharmonic never played the piece with more feeling, and the recording quality is excellent. Bruce Eder

This second Copland collection focuses on unique talents of veteran performers. William Warfield lends his voice and his interpretations of Copland's Old American Songs, and he sings them as they were meant to be, not as classical diletantes felt they should be. You have authenticity here.

Martha Lipton likewise contributes an older world charm and charisma to Copland's settings for Emily Dickenson's words. Carl Sandberg's resonant reading of his own words is worth the full price of this set. And then the inimitable Oscar Levant's piano treatment of the orchestral pieces...Levant had a wry touch to his interpretations that gave him a voice all his own.
There's much more here, quite a bit that's less than familiar and therefore increases one's familiarity with Copland. Neal C. Reynolds

DISC 1
1. Vitebsk, Study On A Jewish Theme (1929)
Aaron Copland (piano)
Earl Carlyss (violin)
Claus Adam (cello)
Recorded at Columbia Records 30th Street Studio, New York City, NY on October 28, 1966

Sextet For Clarinet, Piano And String Quartet (1937)
2. I. Allegro vivace
3. II. Lento
4. III. Finale
Aaron Copland (piano)
Harold Wright (clarinet)
Julliard String Quartet:
Robert Mann (violin)
Raphael Hiller (viola)
Earl Carlyss (violin)
Claus Adam (cello)
Recorded at Columbia Records 30th Street Studio, New York City, NY on October 27, 1966

Piano Quartet (1950)
5. I. Adagio serio
6. II. Allegro giusto
7. III. Non troppo lento
Aaron Copland (piano)
Robert Mann (violin)
Raphael Hiller (viola)
Claus Adam (cello)
Recorded at Columbia Records 30th Street Studio, New York City, NY on October 28, 1966

Duo For Flute And Piano (1970-71)
8. I. Flowing
9. II. Poetic, Somewhat Mournful
10. III. Lively, With Bounce
Aaron Copland (piano)
Elaine Shaffer (flute)
Recorded at Columbia Records 30th Street Studio on December 11&14, 1972

DISC 2
1. Lincoln Portrait (1942)
The New York Philharmonic Orchestra conducted by Andre Kostelanetz.
Carl Sandburg (narrator)
Recorded in New York City, NY on March 16, 1958

Twelve Poems Of Emily Dickinson (1949-50)
2. I. Nature, The Greatest Mother
3. II. There Came A Wind Like A Bugle
4. III. Why Do They Shut Me Out Of Heaven?
5. The World Feels Dusty
6. V. Heart, We Will Forget Him
7. VI. Dear March, Come In!
8. VII. Sleep Is Supposed To Be
9. VIII. When They Come Back
10. IX. I Felt A Funeral In My Brain
11. X. I've Heard An Organ Talk Sometimes
12. XI. Going To Heaven!
13. XII. The Chariot
Martha Lipton (voice)
Aaron Copland (piano)
Recorded at Columbia Records 30th Street Studio, New York City, NY on December 22, 1950 and April 4, 1952

Old American Songs -Set 1 (1950)
14. The Boatmen's Dance (Minstrel Song, 1843)
15. The Dodger (Campaign Song)
16. Long Time Ago
17. Simple Gifts (Shaker Song)
18. I Bought Me A Cat
Old American Songs -Set 2 (1952)
19. The Little Horses (Lullaby)
20. Zion's Walls (Revivalist Song)
21. The Golden Willow Tree
22. At The River (Hymn Tune)
23. Ching-A-Ring Chaw (Minstrel Song)
William Warfield (voice)
Aaron Copland (piano)
Recorded at Columbia Records 30th Street Studio, New York City, NY on August 16, 1951 (Set 1) and August 18, 1953 (Set 2)

Billy The Kid (1938) arr. for solo piano
24. I. The Open Prairie
25. II. Street In A Frontier Town
26. V. Celebration Dance (After Billy's Capture)
Oscar Levant (piano)
Recorded at Columbia Records 30th Street Studio, New York City, NY on September 1, 1949

HE GOT GAME - MOTION PICTURE SOUNDTRACK: THE MUSIC OF AARON COPLAND

As the review below mentions, this CD soundtrack for a Spike Lee film acts as sort of Copland’s Greatest Hits and all the selections within are also available in the various composer-conducted collections that you can find in the pages of this blog. However, we do have one “new” item on this CD, and that is the reason for this posting. This disc includes the wonderful “Lincoln Portrait”, for the first time ever (to my knowledge) WITHOUT narration! The text that Copland selected for this stirring piece is essential to its very being… but, it is indeed fascinating to hear the music alone: quite beautiful and majestic. This is an excellent sampler for those who wish to quickly experience the most popular music Copland wrote in his most mainstream Americana manner. Scoredaddy

Director Spike Lee states, "When I listen to Aaron Copland's music, I hear America, and basketball is America." That may be far-fetched for those who saw Lee's film, especially when the only other music in the film was that of Public Enemy. On its own, though, this album is a welcome "greatest hits" collection of Copland's Americana. The CD and the movie start off with John Henry, a slow-building, beguiling melody that works effortlessly with Lee's montage of basketball images. More spirited numbers such as "Hoe-Down" from Rodeo and Fanfare for the Common Man are also featured on the soundtrack. Unlike many Copland compilation CDs, this collection features abridged selections, allowing for more variety of source material: symphonies, soundtracks from movies (Of Mice and Men, Our Town), and ballets. Maybe not the CD for the purist, but a welcome first album for those who were introduced to Copland's music by the film. At over 60 minutes, it's a worthwhile investment. Doug Thomas

1. John Henry (04:00)

Appalachian Spring
2. Very Slowly (02:45)
3. Calm and Flowing (Shaker melody) (03:11)
4. Moderato, Coda (03:24)

5. "Hoe-Down" From Rodeo (03:33)
6. Lincoln Portrait (without narration) (15:06)
7. "Interlude" From Music For The Theatre (05:24)
8. Fanfare For The Common Man (03:16)
9. "Pas De Trois" From Dance Panels (04:05)
10. Letter From Home (07:23)
11. "Grover's Corner" From Our Town (03:13)

Billy The Kid

12. The Open Prairie (03:21)
13. The Open Prairie Again (01:46)

Aaron Copland conducting The London Symphony Orchestra except #7 Leonard Bernstein conducting The New York Philharmonic

Total Duration: 01:00:27

NEEME JARVI & DETROIT SYMPHONY ORCHESTRA: COPLAND/HARRIS THIRD SYMPHONIES

Arguably the best American symphony coupled with arguably the best-known American symphony makes an ideal pairing on paper. Sad to report, however, I have considerable reservations. Roy Harris‘s Third is one of the most awesomely concentrated of all twentieth-century symphonic structures, but you wouldn‘t guess it from Neeme Jãrvi’s loose-limbed, disconcertingly slack conception. As the opening few minutes quickly reveal, the orchestral playing is neat but cruelly lacks bite and tension. Where’s the sense of tingling expectancy in these measures, the feeling of setting out on some fantastic musical voyage? Whither the bite of fortissimo trombones and horns on their first appearance? And whatever happened to the burgeoning lyricism of the pages that follow? In the central portion (so potently suggestive of the vast horizons of the prairies and their fields of rippling wheat) Jarvi opens out the two small cuts practised by Koussevitzky and Bernstein, but given the disinterested nature of the musicmaking, the restoration of these extra bars is not necessarily a boon. And so it goes on. The tremendous fugue barely gets off the ground, generating none of the volcanic power and implacable momentum so evident in the two Bernstein accounts (CBS, 6/76 and DG, 11/87 — both nla) and Koussevitzky’s fabulous 1939 Boston reading, while Jarvi’s brusquely impatient handling of the tolling peroration merely gives the impression that session-time was running out (and why the sudden, ugly lurch forward in tempo at the beginning of this section?). All in all, the performance is a bitter disappointment, to say the least.

Copland‘s mighty Third fares more happily, but I‘m still far from convinced that Jarvi really has this repertoire well and truly in his bloodstream. For all the agreeable security of the orchestral response, I don‘t register any especial dedication or inspirational sense of occasion about proceedings. Indeed, a certain literalness and “let‘s get on with it“ efficiency tend to scupper large portions of the symphony‘s first half; the searching string dialogue with which the slow movement opens also lacks the last ounce of eloquence (and, at the very start, the necessary icy hush). That said, Jarvi rises capably enough to the big and brazen ‘public‘ gestures of the finale, and the Chandos sound is predictably alluring in its transparent sumptuousness. In the end, though, it all boils down to conviction, the kind of extraordinary commitment to the cause that Bernstein and his New Yorkers display on their electrifying 1985 DG version; the relative dearth of those self-same qualities in Detroit is what ultimately relegates this latest account to the also-rans. AA

Roy Harris: Symphony No. 3 (1939)
1. I. Con moto: quarter note = 84 [Tragic] — - 2:06
2. II. half note = 72-80 [Lyric] — - 1:20
3. III. Poco piu mosso: half note = 94-104 [Pastoral] — - 6:27
4. IV. half note = 112 [Fugue - Dramatic] — - 3:26
5. V. Con moto: whole note = 66-72 [Dramatic - Tragic] - 3:09

Aaron Copland: Symphony No. 3 (1944-46)
6. I. Molto moderato - with simple expression - 9:41
7. II. Allegro molto - 8:00
8. III. Andantino quasi allegretto - 9:30
9. IV. Molto deliberato - 13:26

Detroit Symphony Orchestra conducted by Neeme Jarvi
Recorded at Orchestra Hall, Detroit, Michigan USA on 1-2 October 1995

LEONARD BERNSTEIN & NEW YORK PHILHARMONIC: SYMPHONY NO. 3/QUIET CITY

Late in his career, Leonard Bernstein returned to the greatest orchestral work by his lifelong friend, Aaron Copland, with a performance that eclipsed all others, including Bernstein's own previous recording of the Symphony no. 3 on Sony. Though Copland's stock still hadn't climbed back to its present height, Bernstein gave the music a grandeur that made you forget how much of a cliché the Fanfare for the Common Man--which was worked into the finale of the Third--can be. In fact, many of the world-stopping qualities Bernstein brought to his second Mahler cycle for Deutsche Grammophon seem much in evidence here, with the New York Philharmonic playing as though its collective life depended on it. David Patrick Stearns

Did they love each other? Did they hate each other? Did they respect each other? Yes, all of the above and apparently all at the same time. Aaron Copland and Leonard Bernstein were without a doubt the two most popular American composers of serious music in the twentieth century -- Gershwin's music is too much fun to be serious -- and their relationship was long and deep and filled with so many conflicting emotions as to be almost beyond comprehension, much less explication. But one thing is sure: Bernstein's recordings of Copland's music are almost unbearably exciting. His 1986 recording of Copland's Symphony No. 3 with the New York Philharmonic is the most intensely expressive and overwhelmingly emotional performance of the work ever recorded. Bernstein's conducting is ecstatically lyrical, deeply dramatic, profoundly rhetorical, and so massively monumental that the music itself all but disappears. Indeed, Bernstein's Copland's Third might sound to some listeners too much like Bernstein's Third -- a little restraint and a soupçon of dignity might not have been out of place -- but there's no denying the effectiveness of Bernstein's conducting. The New York Philharmonic plays with power, precision, and panache. Deutsche Grammophon's early digital sound is big and loud, but a bit empty. James Leonard

Symphony No. 3 (1944-46)
1. I. Molto moderato (11:01)
2. II. Allegro molto (8:04)
3. III. Andantino quasi allegretto (10:20)
4. IV. Molto deliberato (Fanfare) - Allegro risoluto (13:54)

5. Quiet City (1939) (10:35)

Leonard Bernstein conducting the New York Philharmonic
Recorded December, 1985 at Avery Fisher Hall, New York City