Jazz at Lincoln Center

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      Jazz at Lincoln Center’s Season Goes Global

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      The institution will present 22 programs from late September through next June, and feature performers from five continents.Since its arrival in New York three-and-a-half decades ago, Jazz at Lincoln Center has worked to define jazz as a high art form that could only have been made in America. But in recent years, the center has increasingly embraced the music’s role on the international stage, and the ways jazz has been adopted, passed around and reshaped.That will be the focus of Jazz at Lincoln Center’s 35th season, which will present 22 programs from late September through next June, and feature performers from five continents, the center announced Tuesday.Many of the season’s headlining shows will be anchored by the Jazz at Lincoln Center Orchestra with Wynton Marsalis, who continues as Jazz at Lincoln Center’s artistic director.The band will be joined by featured performers and guest bandleaders, including Naseer Shamma, an Iraqi oud virtuoso, performing with the orchestra (Jan. 20-21); the Japanese-born pianist and big-band leader Toshiko Akiyoshi, who will play her compositions with the orchestra (March 10-11); and the Cuban pianist Elio Villafranca and the Colombian harpist Edmar Castañeda, who will each present newly commissioned works with the orchestra (April 14-15). The Jazz at Lincoln Center Orchestra will kick off the season with its own featured performance, Sep. 30 and Oct. 1: the U.S. debut of Marsalis’s “Shanghai Suite.”Some of the season’s other headliners will include the French guitarist Stephane Wrembel, paying tribute to Django Reinhardt (Nov. 4-5); the South African pianist Nduduzo Makhathini and the Brazilian mandolinist Hamilton de Holanda, performing together (Feb. 24-25); and the Brazilian vocalist and guitarist Rosa Passos, performing March 24-25 with the National Endowment for the Arts Jazz Master Ron Carter on bass and Kenny Barron on piano, plus the Brazilian percussionist Rafael Barata.A number of guiding lights from jazz’s under-40 crowd will lead their own bands, something that doesn’t always happen on Jazz at Lincoln Center’s concert stages. They include the pianist Emmet Cohen (Oct. 21), the vocalist Cécile McLorin Salvant (May 19-20) and the trumpeter Etienne Charles (June 9-10).A number of education-oriented events will serve audiences of all ages: programs celebrating the jazz legends Charles Mingus (Oct. 22) and Thad Jones (March 25), and a pair of engagements in Jazz at Lincoln Center’s Journey Through Jazz series, with the orchestra giving lessons on jazz history in the form of live performances (Nov. 17-19 and Feb. 16-18).All of the season’s shows will take place at one of the center’s two major stages: the Rose Theater or the Appel Room. Nightly bookings continue year-round at Dizzy’s Club, a more intimate venue also housed in the center. Tickets are at jazz.org. More

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      Jazz at Lincoln Center Reopens, With Four Young Players in the Spotlight

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      The Jazz at Lincoln Center Orchestra returned to indoor performance with “Wynton at 60,” a program featuring Marsalis originals and a quartet of up-and-coming trumpeters.The Jazz at Lincoln Center Orchestra was amused as four trumpet players, all but one under the age of 30, took their position in the rehearsal room late Tuesday morning.“It’s the Young Lions!” called out the baritone saxophone player Paul Nedzela, referring to the coterie of sharp-dressed, tradition-minded bop up-and-comers who rose during the Reagan and Clinton administrations while edging jazz toward a concert art with a classical-music-style repertoire.That got a laugh.“We tried that in the ’90s,” said the bassist Carlos Henriquez.Another laugh.Soon, Wynton Marsalis, once the pride of those young lions, called the band to order from his perch in the trumpet section and the orchestra lit into “Windjammers,” a Marsalis cooker arranged to showcase the quartet of guest trumpeters, some of them students. The four swapped bars, breaks and occasionally expressions of wonderment, like they couldn’t believe they were — to borrow a title from Marsalis’s own repertoire — in this house, on this morning.The occasion: the kickoff to Jazz at Lincoln Center’s 34th concert season — and the Jazz at Lincoln Center Orchestra’s first indoor New York City performance since the Covid-19 shutdowns. The season will include a tribute to Chick Corea, who died in February; a celebration of the centennial of Charles Mingus; and three concerts showcasing extraordinary women singers, Dianne Reeves, Catherine Russell and Cécile McLorin Salvant.Excitement about the reopening pulsed through the band. “To look at and see our audience, and to feel that energy, I’m going to be overwhelmed,” said Ted Nash, a saxophonist and composer. “We’ve been doing all this virtual stuff, but to create together a sound field and an energy field in person, where all the sounds meld together — this is why I do this.”From left: Carlos Henriquez, Obed Calvaire and Marsalis rehearsing earlier this week.Gabriela Bhaskar/The New York TimesMarsalis was quick to say he didn’t name this weekend’s concerts — “Wynton at 60” — which celebrate his new status as a sexagenarian with a program of his originals from four decades.Still, despite a warm, even gentle demeanor, there was no doubt he was in charge, announcing the order of soloists at rehearsal, or small tweaks to the charts. But when a soloist occasionally asked how to approach a section, he replied, “Just do what you all want.” Or, “It’s you playing it.”Freedom within a structure, of course, separates Jazz at Lincoln Center from other major performing arts institutions with a repertoire. So does Marsalis’s tradition of inviting young musicians to play on its biggest stage, the Rose Theater in the Columbus Circle complex.“It shows the generations working together,” he said. “When we started the orchestra, surviving members of Duke Ellington’s orchestra played. Marcus Belgrave played with Ray Charles. Sir Roland Hanna played with the Thad Jones-Mel Lewis Orchestra. Jerry Dodgion and Frank Wess played with Basie. They passed on a lot of the feeling of the music and its identity and meaning to us. So, this is a continuation.”Chris Crenshaw, a trombonist, composer and arranger who has been in the orchestra since 2006, said, “We have a charge to keep. We have a responsibility. There’s so many things in all traditions that have been passed down from generation to generation orally or with music.”The responsibilities that come with serving as the artistic director and public face of a major arts organization has meant that, for Marsalis, the shutdown was never truly a shutdown. He pulled out his phone and thumbed through dozens of photos of score pages for upcoming projects (a tuba concerto, a bassoon piece).Versions of the band have toured the United States and the world, taking endless Covid-19 tests and often playing music from his politically engaged “The Democracy! Suite,” which boasts song titles like “Sloganize, Patronize, Realize, Revolutionize (Black Lives Matters).” Streaming concerts, from the vault and some fresh, have abounded and will continue — this season, any concert can be streamed for a donation of $10.The work helps distract from the losses that have mounted since March 2020, including Marsalis’s musician father, Ellis, and his friend and mentor, the critic Stanley Crouch, in addition to more musicians than any institution could fully memorialize. “I tend not to dwell,” he said. “My dad, he said ‘Everybody’s losing people. And when you focus too much on yours …’” He let that thought drift away and then recalled something the pianist John Lewis once said to him. “‘To focus too much on even something negative is a form of deep ego.’”“You got to keep moving forward, keep being productive and trying to create the world you envision,” Marsalis added.The saxophonist Walter Blanding with Marsalis as the Jazz at Lincoln Center Orchestra prepared for its return to indoor performances.Gabriela Bhaskar/The New York TimesAt 60, Marsalis, who won a Pulitzer in 1997 for “Blood on the Fields,” his oratorio about slavery, sees a world in which democracy itself is imperiled, and “the intellectual class still always wants the Black man to be a fool on all levels.” His humanism, though, buoys him. “You can subvert the Constitution and make it harder for people to vote, make it more difficult for government to work,” he said. “But there’s always voices that defend the integrity of the document, which is changeable — it’s not set in stone.”He shifted quickly back to the subject upon which he has most often stirred controversy. “Music is the same. You can be glib enough to undermine the integrity of it and be successful. But there’s always just enough voices who believe in the integrity of it.”Those young trumpeters, in his estimation, count among those voices. Jazz at Lincoln Center’s mission has always focused on jazz education and advocacy, and the guest artists at “Wynton at 60” — Summer Camargo, Giveton Gelin, Tatum Greenblatt and Anthony Hervey — demonstrate the power of that outreach.Camargo caught Marsalis’s attention when her South Florida high school placed in the institution’s annual “Essentially Ellington” contest, which invites school bands to record themselves playing free Duke Ellington charts and then brings the finalists to New York City to perform. Now a Juilliard student, Camargo said she never would have attempted composition without the impetus of the contest, where, in 2018, she won awards for composing as well as for soloing.“When people ask me what was one of the best days of your life, I always go back to that moment,” she said. “Wynton took me backstage and gave me compliments and advice. He doesn’t sugarcoat it — he tells you what you need to do to get better.”Gelin, a recent Juilliard graduate who self-released his debut album, also praised Marsalis’s generosity as a mentor — and his practical advice. Visiting New York from the Bahamas during his high school years, Gelin attended a free Jazz at Lincoln Center Orchestra concert in Queens and afterward worked his way through the line to meet Marsalis. The next day, Gelin played for him at his home and was surprised that so famous a figure invested such energy in urging a kid to dig deeper into developing his own voice.“I spent a lot of time in the Haitian church,” Gelin said. “One of the first things Wynton said to me was to listen closely to the singers there and how their vocal qualities reflect where they’re from.”Marsalis nodded when reminded of this encounter. “Your sound will be organic when who you are doesn’t fight with who you want to be,” he said.“To create together a sound field and an energy field in person, where all the sounds meld together — this is why I do this,” said the saxophonist Ted Nash.Gabriela Bhaskar/The New York TimesOn opening night Thursday, the four up-and-comers got their shot onstage. The orchestra’s 90-minute set surveyed some of Marsalis’s most crowd-pleasing compositions, including big-band stompers, ballads and percolating curios marked by his fondness for musical onomatopoeia, with muted horns aping the buzz of bees and the keening of train whistles.The 15-member ensemble tackled “The Holy Ghost,” from Marsalis’s “Abyssinian Mass,” and he delivered a bracing, unamplified solo on a quartet treatment of Gordon Jenkins’s “Goodbye” that he dedicated “to all the people who have lost someone and didn’t get to tell them goodbye.”But the most boisterous crowd response came soon after those young trumpeters took the stage. Camargo’s gutsy opening solo brought patrons to their feet and inspired Marsalis — her hero — to muse afterward, “She ain’t playing around at all.”The four ringers’ joyous clamor brought the house down. Marsalis called their presence “a birthday present to myself,” but their performances suggested it’s not just a gift for him. More

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      Phil Schaap, Grammy-Winning Jazz D.J. and Historian, Dies at 70

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      His radio programs, most notably on Columbia University’s WKCR, were full of minutiae he had accumulated during a lifetime immersed in the genre.Phil Schaap, who explored the intricacy and history of jazz in radio programs that he hosted, Grammy-winning liner notes that he wrote, music series that he programmed and classes that he taught, died on Tuesday in Manhattan. He was 70.His partner of 17 years, Susan Shaffer, said the cause was cancer, which he had had for four years.Mr. Schaap was host of an assortment of jazz radio programs over the years, but he was perhaps best known as a fixture on WKCR-FM, the student-run radio station of Columbia University, where his delightfully (some would say infuriatingly) obsessive daily program about the saxophonist Charlie Parker, “Bird Flight,” was an anchor of the morning schedule for decades.On that show, he would parse Parker recordings and minutiae endlessly. In a 2008 article about Mr. Schaap in The New Yorker, David Remnick described one such discourse in detail, relating Mr. Schaap’s aside about the Parker track “Okiedoke,” which veered into a tangent about the pronunciation and meaning of the title and its possible relation to Hopalong Cassidy movies.“Perhaps it was at this point,” Mr. Remnick wrote, “that listeners all over the metropolitan area, what few remained, either shut off their radios, grew weirdly fascinated, or called an ambulance on Schaap’s behalf.”But if jazz was an obsession for Mr. Schaap, it was one built on knowledge. Since childhood he had absorbed everything there was to know about Parker and countless other jazz players, singers, records and subgenres. He won three Grammys for album liner notes — for a Charlie Parker boxed set, not surprisingly (“Bird: The Complete Charlie Parker on Verve,” 1989), but also for “The Complete Billie Holiday on Verve, 1945-1959” (1993) and “Miles Davis & Gil Evans: The Complete Columbia Studio Recordings” (1996).He did more than write and talk about jazz; he also knew his way around a studio and was especially adept at unearthing and remastering the works of jazz greats of the past. He shared the best historical album Grammy as a producer on the Holiday and Davis-Evans recordings, as well as on “Louis Armstrong: The Complete Hot Five & Hot Seven Recordings” (2000).Mr. Schaap surrounded by jazz albums at WKCR, which also houses his collection of jazz interviews.Ruby Washington/The New York TimesOver the years he imparted his vast knowledge of jazz to countless students, teaching courses at Columbia, Princeton, the Manhattan School of Music, the Juilliard School, Rutgers University, Jazz at Lincoln Center and elsewhere.“They say I’m a history teacher,” he said in a video interview for the National Endowment for the Arts, which this year named him a Jazz Master, the country’s highest official honor for a living jazz figure, but he viewed his role differently.“I teach listening,” he said.He had what one newspaper article called “a flypaper memory” for jazz history, so much so that musicians would sometimes rely on him to fill in their own spotty memories about play dates and such.“He knows more about us than we know about ourselves,” the great drummer Max Roach told The New York Times in 2001.Mr. Remnick put it simply in the New Yorker article.“In the capital of jazz,” he wrote, “he is its most passionate and voluble fan.”Philip Van Noorden Schaap was born on April 8, 1951, in Queens.His mother, Marjorie Wood Schaap, was a librarian and a classically trained pianist, and his father, Walter, was a jazz scholar and vice president of a company that made educational filmstrips.Phil grew up in the Hollis section of Queens, which had become a magnet for jazz musicians. The trumpeter Roy Eldridge lived nearby. He would see the saxophonist Budd Johnson every day at the bus stop.“Everywhere you turned, it seemed, there was a giant walking down the street,” Mr. Schaap told Newsday in 1995.By 6 he was collecting records. Jo Jones, who had been the drummer for Count Basie’s big band for many years, would sometimes babysit for him; they’d play records, and Mr. Jones would elaborate on what they were hearing.Seeing the 1959 movie “The Gene Krupa Story,” about the famed jazz drummer, fueled his interest even more, and by the time he was at Jamaica High School in Queens he was talking jazz to classmates constantly.“As much as they gave me a hard time and isolated me as a weirdo,” he told Newsday, “they knew what I was talking about. My peers may have laughed at me, but they knew who Duke Ellington and Louis Armstrong were.”Mr. Schaap became a D.J. at WKCR in 1970 as a freshman at Columbia, where he was a history major. He set out on a lifelong mission to keep jazz’s past alive.“One thing I wanted to impart,” he told the radio program “Jazz Night in America” this year, “was that the music hadn’t started with John Coltrane.”Mr. Schaap in 2012. “He knows more about us,” the great jazz drummer Max Roach once said, “than we know about ourselves.”Angel Franco/The New York TimesHe graduated from Columbia in 1974, but he was still broadcasting on WKCR half a century later. He started “Bird Flight” in 1981 and — as the “Jazz Night in America” host, the bassist Christian McBride, noted during the recent episode devoted to Mr. Schaap — he kept the show going for some 40 years, longer than Parker, who died at 34, was alive. He also hosted an assortment of other jazz programs at WKCR and other stations over the years, including WNYC in New York and WBGO in Newark, N.J.In 1973 he started programming jazz at the West End, a bar near Columbia, and he continued to do so into the 1990s. He particularly liked to bring in older musicians from the swing era, providing them — as he put it in a 2017 interview with The West Side Spirit — “with a nice last chapter of their lives.”In the “Jazz Night in America” interview, he said the West End series was among his proudest accomplishments.“A lot of them were not even performing anymore,” he said of the saxophonist Earle Warren, the trombonist Dicky Wells and the many other musicians he put onstage there.“They were my friends,” he added. “They were my teachers. They were geniuses.”Mr. Schaap, who lived in Queens and Manhattan, also did a bit of managing — including of the Countsmen, a group whose members included Mr. Wells and Mr. Warren — and curated Jazz at Lincoln Center for a time.As an educator, broadcaster and archivist, he could zero in on details that would escape a casual listener. He’d compare Armstrong and Holiday recordings to show how Armstrong had influenced Holiday’s vocal style. He’d demand that students be able to hear the difference between a solo by Armstrong and one by the cornetist Bix Beiderbecke.Mr. Schaap’s marriage to Ellen LaFurn in 1997 was brief. Ms. Shaffer survives him.His National Endowment for the Arts honor this year was the A.B. Spellman NEA Jazz Masters Fellowship for Jazz Advocacy, presented to “an individual who has made major contributions to the appreciation, knowledge and advancement of the American jazz art form.”In a 1984 interview with The Times, Mr. Schaap spoke of his motivation for his radio shows and other efforts to spread the gospel of jazz.“I was a public-school music student for 12 years and never heard the name Duke Ellington,” he said. “Now I can correct such wrongs. I can be a Johnny Appleseed through the transmitter.” More

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      25 Free Performances Come to Bryant Park Starting in June

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      The park will host events for live audiences of 200 with institutions including the New York Philharmonic, Jazz at Lincoln Center, Joe’s Pub and the Classical Theater of Harlem.With arts performances in New York slowly starting up again, one city tradition is finally set to return: free outdoor events in marquee locations.From June to September, Bryant Park will present a series of 25 programs from some of the city’s most prominent institutions and performance groups, including the New York Philharmonic, Carnegie Hall, Jazz at Lincoln Center, Joe’s Pub, the Classical Theater of Harlem, Paul Taylor Dance Company and the Town Hall.Dan Biederman, the president of the Bryant Park Corporation and the park’s longtime guardian, said the plan for the series began to take shape during the winter, when the park installed its annual ice rink and holiday market.“Thinking ahead to the summer, we thought, the concert halls are probably still going to be closed,” Biederman said in an interview. “Let’s play the same role, making Midtown more cheerful and drawing people to whatever extent we can.”City Parks Foundation’s SummerStage also announced this week that it would be returning to Central Park and other locations with in-person concerts, including a benefit show on Sept. 17 by the band Dawes.Bryant Park’s season functions as a coming-together of New York arts groups, many of which have had few opportunities for live events since the pandemic arrived.“One of the good things that has come out of the pandemic is that there has been a level of cooperation between the different arts organizations,” said Deborah Borda, the chief executive of the New York Philharmonic, which opens the season with four nights of concerts, starting June 9.The Philharmonic began putting on small-scale events throughout city last summer through its NY Phil Bandwagon program, and it is set to perform with a scaled-down ensemble this week at The Shed. Even by June, Borda said, the orchestra does not expect to be back to performing at full size. “We’re not doing Mahler symphonies,” she said.Bryant Park will limit attendance to 200 people for each performance, although producers say it is possible that state regulations could allow bigger crowds as the season progresses. The events are free, but tickets must be reserved in advance. Most events will also be livestreamed.Once arriving at the park, patrons will have their temperatures checked and be shown to their seats, which will be arranged with room for social distancing. The park does not plan to require vaccinations or proof of negative virus tests, but it is considering those as options, according to Dan Fishman, the park’s director of public events.Among the other organizations participating in Bryant Park’s series this summer are Elisa Monte Dance, Harlem Stage, National Sawdust, New York Chinese Cultural Center, Limón Dance Company and Greenwich House Music School. Singers from the New York City Opera will perform a Pride concert on June 18.Many groups and institutions have been scaled down or cocooned altogether since last year.“We’ve been in hibernation,” said Tom Wirtshafter, the president of the Town Hall, which has put on more than 60 virtual programs during the pandemic but, as with most venues, had to furlough most of its staff.Town Hall, which opened its doors in 1921, will close Bryant Park’s season on Sept. 20 with a 100th-anniversary event featuring Chris Thile, the mandolin player whose eclectic tastes range from bluegrass to Bach.Tiffany Rea-Fisher, the artistic director of Elisa Monte Dance, who also curates dance performances at the park, said her company has performed only twice in the last year. It will perform on Aug. 20 with the Paul Taylor Dance Company, and Rea-Fisher said it was not easy to find other dance groups that would be prepared.“It was challenging, finding companies that were ready, stamina-wise,” she said. “You don’t want to bring dancers back after a year and have them hit a performance — it’s just asking for injury.”But like others, she said was thrilled, “smiling ear to ear,” at the prospect of performing once again, and doing so in a prominent spot for New Yorkers.“To be able to do what you trained for,” Rea-Fisher, said, “it’s so joyful, it’s so fulfilling; it feels sublime.” More

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      Jazz at Lincoln Center Focuses on Music’s Role in Social Justice

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      #masthead-section-label, #masthead-bar-one { display: none }At HomeExplore: A Cubist CollageFollow: Cooking AdviceVisit: Famous Old HomesLearn: About the VaccineAdvertisementContinue reading the main storySupported byContinue reading the main storyJazz at Lincoln Center Focuses on Music’s Role in Social JusticeA new season of video concerts will feature a tribute to renowned jazz vocalists and include new compositions created in collaboration with Bryan Stevenson.This season, the Jazz at Lincoln Center Orchestra, led by Wynton Marsalis, will feature programs like “Freedom, Justice and Hope” and a concert focusing on John Coltrane.Credit…Vincent Tullo for The New York TimesFeb. 2, 2021With in-person concerts unlikely to return this spring, Jazz at Lincoln Center on Tuesday announced a full season of video presentations, all centered on jazz’s role in the fight for social justice.The spring programming will feature four shows, each one streaming on the center’s website for $20 a ticket. (Prices are lower for members and subscribers.) Each show will remain available for streaming over a period of days.The first concert, “Legacies of Excellence,” will premiere on Feb. 20. Featuring the vocalist Catherine Russell, it explores the contributions of jazz legends through an educational lens, and is presented as part of an initiative called Let Freedom Swing.For the remaining three shows, guests will join the Jazz at Lincoln Center Orchestra, led by Wynton Marsalis. On March 26, the ensemble will present “Voices of Freedom,” a celebration of four eminent 20th-century jazz singers: Betty Carter, Billie Holiday, Abbey Lincoln and Nina Simone. A lineup of contemporary vocalists, including Melanie Charles and Shenel Johns, will offer renditions of these figures’ famous works.The orchestra returns on May 21 with “Freedom, Justice, and Hope,” a program featuring new compositions by two rising musicians: the bassist Endea Owens, who will debut a suite honoring the pioneering Black journalist Ida B. Wells; and the trumpeter Josh Evans, who will present a work in response to the 1919 Elaine massacre in Arkansas. The compositions were written in collaboration with the racial-justice activist Bryan Stevenson, who will participate in the concert.The season concludes with a show on June 10 devoted to the music of John Coltrane, including a big-band rendition of his landmark “A Love Supreme.”AdvertisementContinue reading the main story More

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      New York City Cultural Groups Awarded More Than $47 Million in Grants

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      #masthead-section-label, #masthead-bar-one { display: none }The Best of 2020Best ComedyBest TV ShowsBest BooksBest MoviesBest AlbumsAdvertisementContinue reading the main storySupported byContinue reading the main storyNew York City Cultural Groups Awarded More Than $47 Million in GrantsThe Department of Cultural Affairs announced Tuesday that more than 1,000 of the city’s cultural organizations would receive the funds.The Apollo Theater is among the organizations that will receive a grant of more than $100,000 in this round of funding by the Department of Cultural Affairs.Credit…David Dee Delgado/Getty ImagesDec. 15, 2020, 2:16 p.m. ETIn a year filled with layoffs and budget cuts, New York City’s cultural institutions got some good news on Tuesday: The Department of Cultural Affairs announced that it would award $47.1 million in its newest round of grants, which this year will go to more than 1,000 of the city’s nonprofit organizations.The grants include $12.6 million in new investments, nearly $10 million of which is designated for coronavirus pandemic relief and arts education initiatives. Funding will increase over the prior year for grantees, including larger increases for smaller organizations, the department said.The allotment includes a $3 million increase for 621 organizations in low-income neighborhoods and those most affected by the pandemic, and $2 million for five local arts councils that will distribute the funds to individual artists and smaller nonprofits. Twenty-five organizations providing arts education programming will receive a share of $750,000 allotted for that purpose.The Apollo Theater, Jazz at Lincoln Center and the Museum of Chinese in America will be among the 93 organizations to receive some of the largest grants, in excess of $100,000 each. Both the Metropolitan Opera and the New York Philharmonic, which recently made headlines for negotiations with their unions, will receive grants over $100,000. The funding will go to 1,032 nonprofits in total.The department also made changes to its process that will make it easier for organizations to receive multiyear grants, which had previously only been available to groups with annual budgets of more than $250,000. Nearly all of the groups that received funding for the fiscal year ending in June 2021 will receive support at a comparable level for the year ending in 2022, pending the adoption of the city’s budget, the department said.A Covid-19 impact survey the department commissioned this spring found that smaller organizations were some of the hardest hit by the pandemic and that, at the beginning of May, 11 percent of arts organizations over all did not think they would survive the pandemic. Smaller organizations generally lack the endowments and wealthy donors that offer a safety net, to some degree, for larger institutions.“We can’t address the enormous challenges that lie ahead alone, but we’ve focused on providing long-term stability to the smaller organizations that are most vulnerable to the impacts of Covid-19,” Gonzalo Casals, the Cultural Affairs Commissioner, said in a statement.AdvertisementContinue reading the main story More