Recital Series: Allan Clayton & James Baillieu

WELCOME

Park Avenue Armory strives to engage audiences with eclectic, immersive, and thought-provoking works that are in direct dialogue with the Armory’s unconventional spaces, whether it is the soaring Wade Thompson Drill Hall or the intimate period rooms. And with its pristine acoustics and austere elegance, the Board of Officers Room is like no other in offering the chance to enjoy the art of the recital and music-making in the most personal of settings.

The 2023 season marks the tenth year of the Armory’s celebrated Recital Series. Over the past ten years, we have held over 100 intimate performances by 230 internationally renowned musicians, including important North American, US, and New York debuts like the North American recital debut of pianist Igor Legit and the US recital debut of soprano Barbara Hannigan. We have also been proud to serve as the locale for 15 premieres by contemporary composers, including works by Michael Hersch, Anna Thorvaldsdóttir, John Zorn, Dai Fujikura, Michael Gordon, Jake Heggie, and others.

The 2023 Recital Series continues the tradition of offering the chance to hear internationally renowned vocalists in a close and personal setting. Tenor Allan Clayton returns to New York after his appearance in the title role of Peter Grimes at the Met last fall for his North American recital debut at the Armory performing with pianist James Baillieu. American soprano Julia Bullock showcases her versatile artistry and probing intellect in recitals this September, returning to the Armory following her critically acclaimed performance in Michel van der Aa’s Upload. Other vocal recitals include an intimate evening with baritone Stéphane Degout and pianist Cédric Tiberghien and performances by mezzo soprano Kate Lindsey with pianist Justina Lee.

“Poet of the piano” Pavel Kolesnikov appears in a two-program residency this May. He opens the residency with Bach’s towering classical keyboard masterpiece, the Goldberg Variations, and follows with a program of inspired by artist Joseph Cornell’s orrery Celestial Navigation. Finally, leading contemporary percussion ensemble Sandbox Percussion take the Recital Series to the Veterans Room in October for a spirited program that vibrantly showcases their solid technique, rhythmical musicality, and lively showmanship.

This year’s lineup offers audiences even more chances to enjoy the intimacy of a beautiful range of chamber music experiences performed by artists with a highly distinctive international profile, in one of the only spaces that could provide such a personal encounter—the Board of Officers Room. We hope you join in our excitement for witnessing these magical moments in music.

Rebecca Robertson

Adam R. Flatto Founding President and Executive Producer

Pierre Audi

Marina Kellen French Artistic Director

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THE RESTORED BOARD OF OFFICERS ROOM

2023 RECITAL SERIES IN

ALLAN CLAYTON, tenor JAMES BAILLIEU, piano

thursday, april 27, 2023 at 8:00pm saturday, april 29, 2023 at 8:00pm

Support for Park Avenue Armory’s artistic season has been generously provided by The Thompson Family Foundation, the Charina Endowment Fund, the Donald A. Pels Charitable Trust, The Shubert Foundation, the Fan Fox and Leslie R. Samuels Foundation, the Howard Gilman Foundation, the Horace W. Goldsmith Foundation, the Marc Haas Foundation, the Prospect Hill Foundation, the Reed Foundation, Wescustogo Foundation, the Leon Levy Foundation, the May and Samuel Rudin Family Foundation, Gregory Annenberg Weingarten, GRoW @ Annenberg, The Emma and Georgina Bloomberg Foundation, the Richenthal Foundation, and the Isak and Rose Weinman Foundation. Additional support has been provided by the Armory’s Artistic Council. Public support for this program is provided, in part, by the New York State Council on the Arts with the support of the Office of Governor Kathy Hochul and the New York State Legislature.

The Recital Series is supported in part by the Howard & Sarah D. Solomon Foundation.

Cover photo: James Ewing.

2023 SEASON SPONSOR

PROGRAM

Robert Schumann (1810-1856) Kerner Lieder, op.35

Lust der Sturmnacht

Stirb, Lieb’ und Freud’ Wanderlied Erstes Grün

Sehnsucht nach der Waldgegend Auf das Trinkglas eines verstorbenen Freundes Wanderung

Stille Liebe

Frage

Stille Tränen

Wer machte dich so krank?

Alte Laute

Intermission

Benjamin Britten (1913-1976) Canticle I: My beloved is mine and I am his, op. 40

Priaulx Rainier (1903-1986) Cycle for Declamation

“We cannot bid the fruits”

“In the Wombe of the Earth”

“Nunc, lento, sonitu dicunt, morieris”

Nico Muhly (b. 1981) “The Map Of The World”

Michael Tippett (1905-1998) Songs for Ariel

Come unto these yellow sands Full fathom five Where the bee sucks

Benjamin Britten (1913-1976) “Sally in our Alley”

“There’s none to soothe”

“I wonder as I wander”

“The Crocodile”

This program is approximately 80 minutes with a 15-minute intermission.

ABOUT THE PROGRAM

The first half of this recital will be devoted to a single set of songs by Schumann, published together as one opus. The second half, by contrast, will explore English-language vocal works by four different composers from the 20th and 21st centuries, in many styles and using many different sources of inspiration.

Robert Schumann devoted an entire year—1840—to the writing of songs, completing no fewer than 138 between January and December, or about two and a half songs per week. Next to such better-known cycles as Dichterliebe and Frauenliebe und -Leben, or the two Liederkreise after Heine and Eichendorff, respectively, the twelve songs after Justinus Kerner stand as another stellar product from this prodigious Liederjahr. Kerner, a writer and physician, often leans towards the humoristic and the grotesque, but the twelve songs Schumann chose form a rather tragic cycle (a German analyst reads op. 35 as an “encoded novella”). This set contrasts strikingly with the Eichendorff Liederkreis, composed in the same year. In spite of its dark moments, the latter work ends on an upbeat note, while the Kerner cycle, whose happiest pieces are at the beginning, sink deeper and deeper into melancholy and end with the image of death.

The opening song, “Lust der Sturmnacht,” sets the tone by presenting happiness against a stormy backdrop. The intensely tragic “Sterb, Lieb’ und Freud!” (a kind of Baroque chorale fantasy sen through a Romantic lens), the energetic “Wanderlied,” the uncomplicated “Erstes Grün” and the passionate “Sehnsucht nach der Waldgegend” evoke a whole range of contrasting emotions. The horizon begins to darken with “Auf das Trinkglas,” a funeral march. “Wanderung” doesn’t quite manage to recapture the enthusiasm of the earlier “Wanderlied.” Love and nature inspire peaceful meditations in “Stille Liebe” and “Frage,” but the silent tears grow to a veritable torrent in the next song, “Stille Tränen.” The final two songs, which share the same musical material (only the tempo becomes slower the second time), are filled with deep resignation.

The English part of the program begins with the first of five short vocal works called “Canticles” by Benjamin Britten “My Beloved Is Mine and I Am His” (1947) is based on a poem by the 17th-century poet Francis Quarles, freely based on a line from the Song of Songs. It is at once a metaphysical poem and a love song. Written for the great English tenor Peter Pears, with whom Britten gave the premiere as well as many subsequent performances, the work is also a declaration of love for the composer’s life partner.

Priaulx Rainier, a South African-born composer who spent most her life in England, was commissioned by Pears to write the present set of three songs after John Donne’s meditations. Composed in 1954, Cycle for Declamation dispenses with all instrumental accompaniment, to astonishing dramatic effect.

Nico Muhly, a real star among the millennial generation of American composers, refuses to recognize any boundaries between so-called “classical” and so-called “popular” genres. In “The Map of the World” (2011), he brings together three early English poets (Chaucer, John Weever—a Shakespeare contemporary—and the Bard himself), but the three texts are treated as a single poem; the work is one song, not three. Although Muhly has written two full-length operas to date (both performed at the Met), this song is not “operatic” in any sense of the word. The melodies and harmonies are rather simple, even if perhaps not quite as simple as they might appear at first sight. In any case, the lines of communication are always direct, and nothing can distract from the pure expression of the poets’ love for the objects of their admiration.

The eminent English composer Sir Michael Tippett (knighted by Queen Elizabeth II in 1966) wrote his three Songs for Ariel in 1962 for a production of The Tempest at the Old Vic theater in London. The airy spirit from Shakespeare’s play can be in turn playful, seductive, and mysterious. Tippett’s music expresses all those emotions, and more, in his whimsical, yet profoundly expressive settings.

Britten arranged dozens of folk songs for voice and piano, most of them for his recitals with Peter Pears. Out of this rich and varied material, Mr. Clayton has chosen four (dating from the 1940s and ‘50s) for tonight’s program. “Sally in Our Alley” was originally an English popular tune, written by Henry Clay in 1725. “There’s None to Soothe My Soul” is Scottish, and “I Wonder as I Wander,” by John Jacob Niles, American. Finally, “The Crocodile” comes from English County Songs, edited by Lucy Broadwood and J. A. Fuller Maitland in 1893.

—Peter Laki

ABOUT THE ARTISTS

ALLAN CLAYTON, tenor JAMES BAILLIEU, piano

The flexibility and consistency of Allan Clayton’s vocal range, combined with a magnetic stage presence, have led to international acclaim in music from Baroque to contemporary. This breadth is demonstrated in recent title roles, which range from Peter Grimes and Hamlet to Faust and Candide.

He has worked in leading opera houses around the world, singing the title role in the US premiere of Brett Dean’s Hamlet for his debut at the Metropolitan Opera; David in Die Meistersinger von Nürnberg at the Royal Opera House and Bayerische Staatsoper, Ferdinand in Miranda at Paris’ Opéra Comique, and in several Barrie Kosky productions for the Komische Oper Berlin, such as Tamino in Die Zauberflöte, Castor in Castor et Pollux, Jupiter in Semele, and the title role in Candide. His performances as Peter Grimes have led to great critical acclaim at the Royal Opera House Covent Garden, Teatro Real Madrid, the Met, and the Palais Garnier in Paris. Recent performances include H.K. Gruber’s Frankenstein at the Royal Opera House, Covent Garden, Glyndebourne’s Garden Opera series with In the Market for Love, an updated version of Offenbach’s Mesdames de La Halle, and the role of Jim Mahoney in Barrie Kosky’s new staging of Weill’s The Rise and Fall of the City of Mahagonny for Komische Oper Berlin.

Clayton has appeared at the BBC Proms ten times since his first visit in 2008. His world premiere performance of Gerald Barry’s Canada from 2017 was shown as part of the revised 2020 BBC Proms, for which he also sang Britten’s Nocturnes in a live broadcast. In recent concerts at Barbican Hall, he has sung in The Dream of Gerontius and Britten’s Spring Symphony with the London Symphony Orchestra under Sir Mark Elder and Sir Simon Rattle respectively, and in Mendelssohn’s Elijah with BBC Symphony Orchestra and Sakari Oramo. He has given lied recitals around the world, with repertoire including works such as Schubert’s Winterreise and Die schöne Müllerin, Vaughan Williams’ On Wenlock Edge, and songs by Strauss, Wolf, Duparc, and Tippett. Several composers have written song cycles specifically with his voice in mind, including Mark-Anthony Turnage with Refugee and Josephine Stephenson with Une saison en enfer. An advocate of contemporary music, he has appeared in world premieres of George Benjamin’s Written on Skin, Jonathan Dove’s The Adventures of Pinocchio, and Gerald Barry’s Alice’s Adventures Underground. His rich discography ranges from Handel, Mozart, and Beethoven to Liszt, Britten, and Lukaszewski.

Described by The Daily Telegraph as “in a class of his own,” James Baillieu is one of the leading song and chamber music pianists of his generation. He has given solo and chamber recitals throughout the world and collaborates with a wide range of singers and instrumentalists including Benjamin Appl, Jamie Barton, Ian Bostridge, Allan Clayton, Annette Dasch, Lise Davidsen, the Elias and Heath Quartets, Dame Kiri te Kanawa, Adam Walker, and Pretty Yende. As a soloist, he has appeared with the Ulster Orchestra, English Chamber Orchestra, and the Wiener Kammersymphonie.

James Baillieu is a frequent guest at many of the world’s most distinguished music venues including Carnegie Hall, Wigmore Hall, Concertgebouw Amsterdam, Berlin Konzerthaus, Vienna Musikverein, Barbican Centre, and the Pierre Boulez Saal, amongst others. At the invitation of John Gilhooly CBE OSI, James Baillieu has presented his own programming series at Wigmore Hall. An innovative programmer, he has stewarded many song and chamber music series for the Brighton Festival, BBC Radio 3, Verbier Festival, Bath International Festival, and Perth Concert Hall.

Highlights of the 2022-23 season include a recital with violinist Tamsin Waley-Cohen in a program of CPE Bach presented by San Francisco Performances; tour dates across North America; a fully-produced staged presentation of Winterreise with Benjamin Appl at the Gran Teatre del Liceu designed by Spanish painter Antonio López; a pair of recitals with Allan Clayton at Park Avenue Armory; recitals with Lise Davidsen at the Bergen International Festival; a European tour with Veronique Gens; and performances in the UK and Spain with violist Timothy Ridout.

James Baillieu is a Professor at the Royal Academy of Music, a coach for the Jette Parker Young Artist Program at the Royal Opera House, and head of the Song Program at the Atelier Lyrique of the Verbier Festival Academy.

TEXTS AND TRANSLATIONS

ROBERT SCHUMANN (1810-1856)

Kerner Lieder, op.35 (1840)

Text by Justinus

Lust der Sturmnacht

Kerner

Wenn durch Berg und Tale draussen Regen schauert, Stürme brausen, Schild und Fenster hell erklirren, Und in Nacht die Wandrer irren,

Ruht es sich so süss hier innen, Aufgelöst in selges Minnen; All der goldne Himmelsschimmer Flieht herein ins stille Zimmer:

Reiches Leben, hab’ Erbarmen! Halt’ mich fest in linden Armen!

Lenzesblumen aufwärts dringen, Wölklein ziehn und Vöglein singen.

Ende nie, du Sturmnacht, wilde! Klirrt, ihr Fenster, schwankt, ihr Schilde, Bäumt euch, Wälder, braus’, o Welle, Mich umfängt des Himmels helle!

Stirb’, Lieb’ und Freud’!

Zu Augsburg steht ein hohes Haus, Nah’ bei dem alten Dom, Da tritt am hellen Morgen aus Ein Mägdelein gar fromm; Gesang erschallt, Zum Dome wallt Die liebe Gestalt.

Dort vor Marias heilig’ Bild

Sie betend niederkniet, Der Himmel hat ihr Herz erfüllt, Und alle Weltlust flieht:

„O Jungfrau rein!

Lass mich allein Dein eigen sein!“

Alsbald der Glocken dumpfer Klang

Die Betenden erweckt, Das Mägdlein wallt die Hall’ entlang, Es weiss nicht, was es trägt; Am Haupte ganz Von Himmelsglanz, Einen Lilienkranz.

Twelve Poems by Justinus Kerner

Translation by Richard Stokes

Joy in a Stormy Night

When, outside, over hill and vale Rain streams and tempests rage, House-emblem, window, rattle loud And in the darkness travellers stray, Here inside it is so sweet to rest And give oneself to blissful love; The whole of Heaven’s golden gleam Flees hither to this quiet room:

Have compassion, O abundant life, Hold me fast with gentle arm. The flowers of spring thrust up, Clouds are scudding and birds sing.

Never end, wild night of storm, Rattle, house-emblems and windows, Rear up, forests. Roar, O wave. Locked am I in Heaven’s bright embrace!

Die, Love, and Joy

In Augsburg stands a lofty house By the old cathedral, And out into the shining morn Comes a pious maid. Hymns ring out, To the cathedral goes That lovely one.

By Mary’s blessed image

She kneels to pray, Her heart is filled with Heaven, All earthly joy flees: ‘O Virgin pure, Grant that I be Yours alone.’

And as muffled bells Call the worshippers, Down the aisle walks the maid, Not knowing what she wears: Upon her head, All Heavenly bright, A lily crown.

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Mit Staunen schauen all’ die Leut’ Dies Kränzlein licht im Haar. Das Mägdlein aber wallt nicht weit, Tritt vor den Hochaltar: „Zur Nonne weiht Mich arme Maid! Stirb’, Lieb’ und Freud’!“

Gott, gib, dass dieses Mägdelein Ihr Kränzlein friedlich trag’, Es ist die Herzallerliebste mein, Bleibt’s bis zum jüngsten Tag. Sie weiss es nicht, Mein Herz zerbricht, Stirb’, Lieb’ und Licht!

Wanderlied

Wohlauf, noch getrunken Den funkelnden Wein!

Ade nun, ihr Lieben! Geschieden muss sein. Ade nun, ihr Berge, Du väterlich Haus! Es treibt in die Ferne Mich mächtig hinaus.

Die Sonne, sie bleibet Am Himmel nicht stehn, Es treibt sie, durch Länder Und Meere zu gehn. Die Woge nicht haftet

Am einsamen Strand, Die Stürme, sie brausen Mit Macht durch das Land.

Mit eilenden Wolken

Der Vogel dort zieht, Und singt in der Ferne Ein heimatlich Lied. So treibt es den Burschen Durch Wälder und Feld, Zu gleichen der Mutter, Der wandernden Welt.

Da grüssen ihn Vögel

Bekannt überm Meer, Sie flogen von Fluren Der Heimat hieher; Da duften die Blumen Vertraulich um ihn, Sie trieben vom Lande Die Lüfte dahin.

Die Vögel, die kennen Sein väterlich Haus, Die Blumen, die pflanzt’ er Der Liebe zum Strauss, Und Liebe, die folgt ihm, Sie geht ihm zur Hand: So wird ihm zur Heimat Das ferneste Land.

All gaze and marvel

At that bright crown in her hair. But the maid does not go far, To the high altar she steps: ‘Make me a nun, Poor maid that I am! Die, love and joy!’

God grant that maid Wear her crown in peace; My true love she is, And may she still be till Judgement Day. She does not know My heart breaks Die, love and light!

Song of Travel

Come, one more draught Of sparkling wine! Farewell, loved ones! It’s time to part. Farewell, mountains, My father’s house! I’ve a great urge To journey afar.

The sun, it does not Stand still in the sky, But is urged To go over land and sea. The wave does not cling To the lonely shore, Storms rage mightily Over the land.

With the racing clouds, There the bird flies, And in a distant land Sings a homely song. So is the young man urged In forest and field To match his mother, The journeying earth.

Birds greet him, Over the sea, as friends, Flown from the fields Of his native land; The scent of flowers Around him he knows, Brought from that land they were, By the winds.

Those birds, they know His father’s house. Those flowers he grew once For his love’s bouquets, And love, it follows him, Is always to hand: Thus a home to him Is the most distant land.

Erstes Grün

Du junges Grün, du frisches Gras! Wie manches Herz durch dich genas, Das von des Winters Schnee erkrankt, O wie mein Herz nach dir verlangt!

Schon wächst du aus der Erde Nacht, Wie dir mein Aug’ entgegen lacht! Hier in des Waldes stillem Grund Drück ich dich, Grün, an Herz und Mund.

Wie treibt’s mich von den Menschen fort! Mein Leid das hebt kein Menschenwort, Nur junges Grün, ans Herz gelegt Macht, dass mein Herze stiller schlägt.

Sehnsucht nach der Waldgegend Wär’ ich nie aus euch gegangen, Wälder, hehr und wunderbar! Hieltet liebend mich umfangen Doch so lange, lange Jahr!

Wo in euren Dämmerungen Vogelsang und Silberquell, Ist auch manches Lied entsprungen Meinem Busen, frisch und hell.

Euer Wogen, euer Hallen, Euer Säuseln nimmer müd’, Eure Melodien alle Weckten in der Brust das Lied.

Hier in diesen weiten Triften Ist mir alles öd’ und stumm, Und ich schau in blauen Lüften Mich nach Wolkenbildern um.

Wenn ihr’s in den Busen zwinget, Regt sich selten nur das Lied: Wie der Vogel halb nur singet, Den von Baum und Blatt man schied.

Auf das Trinkglas eines verstorbenen Freundes Du herrlich Glas, nun stehst du leer, Glas, das er oft mit Lust gehoben; Die Spinne hat rings um dich her Indes den düstren Flor gewoben.

Jetzt sollst du mir gefüllet sein Mondhell mit Gold der deutschen Reben! In deiner Tiefe heil’gen Schein Schau ich hinab mit frommem Beben.

Was ich erschau’ in deinem Grund Ist nicht Gewöhnlichen zu nennen. Doch wird mir klar zu dieser Stund’, Wie nichts den Freund vom Freund kann tren-nen.

Auf diesen Glauben, Glas so hold! Trink’ ich dich aus mit hohem Mute. Klar spiegelt sich der Sterne Gold, Pokal, in deinem teuren Blute!

First Green

Young green, fresh grass, How many a heart you have healed That fell ill from winter’s snow, How great my heart’s desire for you!

Already from earth’s night you grow, How my eye laughs to greet you! Here, in the forest’s silent depths, You, green, I press to heart, to lips.

How great my urge to quit humankind! No human word will lift my grief, Only green grass, put to my heart, Will make my heart beat calmer.

Longing for Woodland

Would I had never gone from you, Majestic, wondrous forest! You embraced me lovingly For so many a long, long year!

Where, in your twilight places, Was birdsong and silver stream, There sprang also many a song Fresh and bright from my breast.

Your surging, your echoing, Your never-tiring murmur, Your melodies, all of them, Awoke within me song.

Here, in these wide pastures, All is desolate and mute, And in the blue air I search For cloudy shapes.

If you force it into your breast, Song but seldom stirs: Like the mere half-song of the bird Parted from tree and leaf.

To the wineglass of a departed friend Glorious glass, now you are empty, Glass he raised often with delight; Around you the spider has spun Meanwhile his sombre crape.

Now shall you be filled for me Moonbright with the gold of German vines! Into the sacred lustre of your depths I gaze, devoutly trembling.

What I behold in those depths, To ordinary mortals cannot be told. Yet at this hour grows clear to me How nothing can part friend from friend.

To that belief, then, glass so fair, I drain you in exalted mood! The stars’ gold is clear mirrored, Goblet, in your precious blood!

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Still geht der Mond das Tal entlang. Ernst tönt die mitternächtge Stunde. Leer steht das Glas! Der heilge Klang Tönt nach in dem kristall’nen Grunde.

Wanderung

Wohlauf und frisch gewandert Ins unbekannte Land!

Zerrissen, ach zerrissen, Ist manches teure Band.

Ihr heimatlichen Kreuze, Wo ich oft betend lag, Ihr Bäume, ach, ihr Hügel, O blickt mir segnend nach.

Noch schläft die weite Erde, Kein Vogel weckt den Hain, Doch bin ich nicht verlassen, Doch bin ich nicht allein,

Denn, ach, auf meinem Herzen Trag’ ich ihr teures Pfand, Ich fühl’s, und Erd und Himmel Sind innig mir verwandt.

Stille Liebe

Könnt’ ich dich in Liedern preisen, Säng’ ich dir das längste Lied. Ja, ich würd’ in allen Weisen, Dich zu singen nimmer müd’!

Doch was immer mich betrübte, Ist, dass ich nur immer stumm Tragen kann dich, Herzgeliebte, In des Busens Heiligtum.

Dieser Schmerz hat mich bezwungen, Dass ich sang dies kleine Lied, Doch von bitterm Leid durchdrungen, Dass noch kein’s auf dich geriet.

Frage

Wärst du nicht, heil’ger Abendschein!

Wärst du nicht, sternerhellte Nacht!

Du Blütenschmuck! Du üpp’ger Hain! Und du, Gebirg’ voll ernster Pracht!

Du Vogelsang aus Himmeln hoch!

Du Lied aus voller Menschenbrust, Wärst du nicht, ach, was füllte noch In arger Zeit ein Herz mit Lust?

Stille Tränen

Du bist vom Schlaf erstanden Und wandelst durch die Au’, Da liegt ob allen Landen Der Himmel wunderblau.

So lang du ohne Sorgen Geschlummert schmerzenlos, Der Himmel bis zum Morgen Viel Tränen niedergoss.

Silent the moon moves through the vale. Gravely sounds the midnight hour. Empty is the glass! Those solemn tones Echo in its crystal depths.

Wandering

Come, briskly tramp

To the unknown land! Severed, ah severed Is many a true bond.

Homely crucifixes, Where often I lay in prayer, You trees, ah, you hills, Gaze after me and bless me.

Still the wide world sleeps, No bird wakes the wood, Yet I am not forsaken, Yet I am not alone,

For, ah, upon my heart I wear her precious pledge, I feel it, and earth and sky Are kith and kin to me.

Silent Love

If in song I could extol you, I’d sing you my longest song. To all the tunes there are, I’d Never tire of praising you!

But my trouble’s always been, That always mutely only Am I able, beloved, to carry you In the shrine of my heart.

By the agony of this I’m forced To sing this little song, Yet am filled with bitter grief That none to you has yet succeeded.

Question

If you, holy evening star, were not, And you, star-illumined night, Adorning blossoms, luxuriant wood, You, mountains, filled with solemn glory, You, song of birds from heaven on high, You, song from a full human heart, If you were not, ah, what still would fill A heart with joy in adversity?

Silent Tears

From sleep you have risen And walk through the meadow. Everywhere lies Heaven’s wondrous blue.

As long as, free of care, you have Been slumbering, free of pain, Heaven has, till morning, Poured down many tears.

In stillen Nächten weinet Oft mancher aus den Schmerz, Und morgens dann ihr meinet, Stets fröhlich sei sein Herz.

Wer machte dich so krank? Dass du so krank geworden, Wer hat es denn gemacht?

Kein kühler Hauch aus Norden Und keine Sternennacht.

Kein Schatten unter Bäumen, Nicht Glut des Sonnenstrahls, Kein Schlummern und kein Träumen Im Blütenbett des Tals.

Dass ich trag’ Todeswunden, Das ist der Menschen Tun; Natur liess mich gesunden, Sie lassen mich nicht ruhn.

Alte Laute Hörst du den Vogel singen? Siehst du den Blütenbaum? Herz! kann dich das nicht bringen Aus deinem bangen Traum?

Was hör’ ich? alte Laute Wehmüt’ger Jünglingsbrust, Der Zeit, als ich vertraute Der Welt und ihrer Lust.

Die Tage sind vergangen, Mich heilt kein Kraut der Flur; Und aus dem Traum, dem bangen, Weckt mich ein Engel nur.

BENJAMIN BRITTEN (1913-1976)

Often on silent nights Many a man weeps his grief away, And in the morning you imagine His heart is ever happy.

Who made you so ill? That you are so ill, Who is then the cause? No cool north wind, No starry night.

No shade of trees, No sunbeam’s glow, No slumbering, no dreaming In the valley’s blossom bed.

That I bear mortal wounds, That is the work of men; Nature let me recover, They do not let me rest.

Sounds from the past Do you hear the bird singing? Do you see the blossoming tree? Heart, can that not bring you Out of your fearful dream?

What do I hear? Old sounds Of a melancholy youthful breast, From that time when I trusted The world and its joy.

Those days have gone, No meadow herb will heal me; And from the fearful dream, Only an angel will wake me.

Canticle I: My beloved is mine and I am his, op. 40 (1947)

Text by Francis Quarles

Ev’n like two little bank-divided brooks, That wash the pebbles with their wanton streams, And having rang’d and search’d a thousand nooks, Meet both at length at silver-breasted Thames, Where in a greater current they conjoin: So I my best-beloved’s am; so he is mine. Ev’n so we met; and after long pursuit, Ev’n so we joyn’d; we both became entire; No need for either to renew a suit, For I was flax and he was flames of fire: Our firm-united souls did more than twine; So I my best-beloved’s am; so he is mine. If all those glitt’ring Monarchs that command The servile quarters of this earthly ball, Should tender, in exchange, their shares of land, I would not change my fortunes for them all: Their wealth is but a counter to my coin: The world’s but theirs; but my beloved’s mine.

Nor Time, nor Place, nor Chance, nor Death can bow My least desires unto the least remove; He’s firmly mine by oath; I his by vow; He’s mine by faith; and I am his by love; He’s mine by water; I am his by wine, Thus I my best-beloved’s am; thus he is mine. He is my Altar; I, his Holy Place; I am his guest; and he, my living food; I’m his by penitence; he mine by grace; I’m his by purchase; he is mine, by blood; He’s my supporting elm; and I his vine; Thus I my best beloved’s am; thus he is mine. He gives me wealth; I give him all my vows: I give him songs; he gives me length of days; With wreaths of grace he crowns my longing brows, And I his temples with a crown of Praise, Which he accepts: an everlasting sign, That I my best-beloved’s am; that he is mine.

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PRIAULX RAINIER (1903-1986)

Cycle for Declamation (1954)

Text by John Donne

We Cannot Bid the Fruits

We cannot bid the fruits come in May, nor the leaves to stick on in December. There are of them that will give, that will do justice, that will pardon, but they have their own seasons for all these, and he that knows not them, shall starve before that gift come. Reward is the season of one man, and importunity of another; fear is the season of one man, and favour of another; friendship the season of one man, and natural affection of another; and he that knows not their seasons, nor cannot stay them, must lose the fruits.

In the Wombe of the Earth

In the womb of the earth, we diminish, and when she is delivered of us, our grave opened for another, we are not transplanted, but transported, our dust blown away with profane dust, with every wind.

Nunc, lento, sonitu dicunt, morieris

Nunc, lento, sonitu dicunt, morieris. The bell doth toll for him that thinks it doth. Morieris. Who casts not up his eye to the sun when it rises? but who takes off his eye from a comet when that breaks out? Who bends not his ear to any bell, which upon any occasion rings? Morieris. But who can remove it from that bell which is passing a piece of himself out of the world? Nunc, lento, sonitu dicunt, morieris. No man is an island, entire of itself; no man is an island, entire of itself; every man is a piece of the continent, a part of the main. If a clod be washed away by the sea, Europe is the less, as well as if a promontory were, as well as if a manor of thy friends or of thine own were. Morieris. Any man’s death diminishes me, because I am involved in mankind. Morieris. And therefore never send to know for whom the bell tolls; it tolls for thee. Nunc, lento, sonitu dicunt, morieris.

NICO MUHLY (b. 1981)

The Map Of The World (2011)

MICHAEL TIPPETT (1905-1998)

Songs for Ariel (1962)

Text by William Shakespeare’s The Tempest

Come unto these yellow sands

Come unto these yellow sands, And then take hands: Courtsied when you have and kiss’d The wild waves whist, Foot it featly here and there; And, sweet sprites, the burthen bear. Hark, hark!

The watch-dogs bark! Hark, hark! I hear The strain of strutting chanticleer Cry, Cock-a-diddle-dow.

Full fathom five

Full fathom five thy father lies; Of his bones are coral made; Those are pearls that were his eyes: Nothing of him that doth fade But doth suffer a sea-change

Into something rich and strange. Sea-nymphs hourly ring his knell Hark! now I hear them, – Ding-dong, bell.

Where the bee sucks

Where the bee sucks. there suck I: In a cowslip’s bell I lie; There I couch when owls do cry. On the bat’s back I do fly

After summer merrily.

Merrily, merrily shall I live now Under the blossom that hangs on the bough.

Text by Geoffrey Chaucer (Translated by Forrest Hainline), John Weever, William Shakespeare

My dame, you be of all beauty the shrine, As far as is circled the mappa mundi, For just as the crystal glorious you shine And like ruby your cheeks be round Therewith you be so merry and so jocund! And though I weep a tyne of tears, Yet may that woe my heart not wound… Suffice me to love you, Rosamund.

Honey tongued Shakespeare, when I saw thine issue, I swore Apollo got them and none other;

Their rosy-tinted features clothed in tissue, Some heaven born goddess said to be their mother… My mistress’ eyes are nothing like the sun; Coral is far more red than her lips’ red… I love to hear her speak, yet well I know That music hath a far more pleasing sound; I grant I never saw a goddess go; My mistress, when she walks, treads on the ground And yet by heaven, I think my love as rare As any she belied with false compare

BENJAMIN BRITTEN (1913-1976)

Folksong Arrangements (1940s-1950s)

Traditional Texts

Sally in our Alley

Of all the girls that are so smart, There’s none like pretty Sally! She is the darling of my heart, And she lives in our alley!

There’s not a lady in the land That’s half so sweet as Sally, She is the darling of my heart And she lives in our alley.

Her father he makes cabbage nets, And through the street does cry’ em; Her mother she sells laces long To such as please to buy’ em

How could such folks the parents be Of such a girl as Sally! She is the darling of my heart And she lives in our alley.

When she is by, I leave my work, I love her so sincerely; My master comes like any Turk, And bangs me most severely: But let him bang his bellyful, I’ll bear it all for Sally; She is the darling of my heart, And she lives in our alley.

Of all the days that’s in the week, I dearly love but one day, And that’s the day that comes between The Saturday and Monday, For then I’m drest all in my best To walk abroad with Sally. She is the darling of my heart And she lives in our alley.

My master carries me to church, And often am I blam’d Because I leave him in the lurch As soon as text is nam’d; I leave the church in sermon-time And slink away to Sally; She is the darling of my heart, And she lives in our alley.

When Christmas comes about again, O, then I shall have money; I’ll hoard it up, and box it all, I’ll give it to my honey: I would it were ten thousand pound, I’d give it all to Sally; She is the darling of my heart, And she lives in our alley.

My master and the neighbours all Make game of me and Sally, And but for her I’d better be A knave, and row a galley; But when my seven long years are out, Oh! Then I’ll marry Sally; She is the darling of my heart And she lives in our alley.

There’s none to soothe

There’s none to soothe my soul to rest, There’s none my load of grief to share, Or wake to joy this lonely breast, Or light the gloom of dark despair.

The voice of joy no more can cheer, The look of love no more can warm Since mute for aye’s that voice so dear, And closed that eye alone could charm.

I wonder as I wander I wonder as I wander out under the sky how Jesus the Saviour did come for to die for poor ordn’ry people like you and like I I wonder as I wander out under the sky

when Mary birthed Jesus ‘twas in a cow stall with wise men and farmers and shepherds and all but high from the Heavens a star’s light did fall and a promise of ages it then did recall

If Jesus had wanted for any wee thing

A star in the sky or a bird on the wing; Or all of God’s angels in Heav’n for to sing, He surely could have it ‘cause he was the King!

The Crocodile

Now listen you landsmen unto me, To tell you the truth I’m bound, What happened to me by going to sea, And the wonders that I found: Shipwrecked I was once off Perouse, And cast upon the shore, So then I did resolve to roam, The country to explore.

To my rit fal lal li bollem tit! To my rit fal lal li dee!

To my rit fal lal li bollem tit! To my rit fal lal li dee!

‘Twas far I had not scouted out When close alongside the ocean

I saw something move which at first I thought Was all the world in motion; But steering up close alongside I found ‘twas a crocodile; And from his nose to the tip of his tail He measured five hundred mile.

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‘Twas a crocodile, I plainly could see He was not of a common race, For I was obliged to climb a high tree Before I could see his face; And when he lifted up his jaw Though perhaps you may think ‘tis a lie, He reached above the clouds for miles three score, And almost touched the sky.

While up aloft the wind was high, It blew a gale from the south. I lost my hold and away did fly Right into the crocodile’s mouth. He quickly closed his jaws on me, And thought he’d got a victim, But I ran down his throat, d’ye see? And that’s the way I tricked him. I travelled on for a month or two, Till I got into his maw, Where I found of rum-kegs not a few, And a thousand fat bullocks in store. Of life I banished all my care, For of food I was not stinted, And in this crocodile I lived ten years And very well contented.

This crocodile being very old, One day, alas he died. He was ten long years a-getting cold, He was so long and wide. His skin was eight miles thick, I’m sure, Or very near about, For I was full ten years or more A-cutting my way out.

And now I am once more got on earth I’ve vowed no more to roam, In a ship that passed I got a berth, And now I’m safe at home.

And if my story you should doubt, Should you ever travel the Nile, It’s ten to one you’ll find the shell Of the wonderful crocodile.

ABOUT THE RECITAL SERIES

Park Avenue Armory presents more intimate performances and programs in its acclaimed Recital Series, which showcases musical talent from across the globe in an intimate salon setting. Now celebrating its tenth season, the series has held the debuts of many world-class artists, including: the North American recital debuts of pianist Igor Levit, soprano Sabine Devieilhe, tenor Ilker Arcayürek, baritones Benjamin Appl and Roderick Williams, clarinetist Andreas Ottensamer, and cellist István Várdai; the North American solo recital debuts of tenor Michael Spyres and mezzo soprano Emily D’Angelo; the US Recital debuts of sopranos Barbara Hannigan and Anna Lucia Richter and baritone Thomas Oliemans; and the New York debut of pianist Severin von Eckardstein and the Dudok Quartet Amsterdam.

The Recital Series has programmed the world premieres of Roger Reynolds’ FLiGHT performed by the JACK Quartet and Michael Hersch’s “…das Rückgrat berstend” performed by violinist Patricia Kopatchinskaja and cellist Jay Campbell. Actor Charlotte Rampling and cellist Sonia Wieder-Atherton gave the US premiere of The Night Dances on the series in 2015, which brought together Benjamin Britten’s suites for solo cello and poetry by Sylvia Plath; Wieder-Atherton returned to the Armory in 2017 for the North American premiere of Little Girl Blue, a program that reimagined the music of Nina Simone. New York premieres include: Anna Thorvaldsdottir’s In the Light of Air and Shades of Silence performed by the International Contemporary Ensemble; Dai Kujikura’s Minina, John Zorn’s Baudelaires, and a new arrangement of Messiaen’s Chants de terre et de ciel, also performed by ICE; Michael Gordon’s Rushes performed by the Rushes Ensemble; Michael Harrison’s Just Constellations performed by Roomful of Teeth; David Lang’s depart, Gabriel Jackson’s Our flags are wafting in hope and grief and Rigwreck, Kile Smith’s “Conversation in the Mountains” from Where Flames A Word, Louis Andriessen’s Ahania Weeping, Suzanne Giraud’s Johannisbaum, David Shapiro’s Sumptuous Planet, Benjamin CS Boyle’s Empire of Crystal, and Ted Hearne’s Animals (commissioned by Park Avenue Armory), all performed by The Crossing under conductor Donald Nally; and John Zorn’s Jumalatteret sung by soprano Barbara Hannigan with pianist Stephen Gosling.

Additional notable programs include performances by: baritone Christian Gerhaher with pianist Gerold Huber; the Flux Quartet;; tenor Ian Bostridge with pianist Wenwen Du; pianist David Fray; soprano Lisette Oropesa with pianist John Churchwell countertenor Andreas Scholl with harpsichordist Tamar Halperin; soprano Kate Royal with pianist Joseph Middleton; pipa player Wu Man and the Shanghai Quartet; tenor Lawrence Brownlee with pianists Myra Huang and Jason Moran; mezzo soprano Isabel Leonard with pianist Ted Sperling; soprano Nadine Sierra with pianist Brian Wagorn; soprano Rosa Feola with pianist Iain Burnside; cellist Nicolas Altstaedt; tenor Paul Appleby with pianist Conor Hanick; baritone Will Liverman with pianist Myra Huang; mezzo soprano Jamie Barton with pianist and composer Jake Heggie; new music ensemble Alarm Will Sound; French period choir and chamber orchestra Ensemble Correspondances under the direction of harpsichordist and organist Sébastien Daucé; baritone Justin Austin and pianist Howard Watkins; and soprano Ying Fang with pianist Ken Noda.

NEXT IN THE RECITAL SERIES

PAVEL KOLESNIKOV, PIANO

may 22 & may 24

Hailed as “a poet of the piano” (Bachtrack), Pavel Kolesnikov opens his residency with one of the most challenging works for a pianist—J.S. Bach’s the Goldberg Variations—and then looks upward with a program of works by Scarlatti, Chopin, Scriabin, Messiaen, and others theatrically curated in an homage to artist Joseph Cornell’s orrery Celestial Navigation.

JULIA BULLOCK, SOPRANO

september 11 & september 13

Known for “communicat[ing] intense, authentic feeling, as if she were singing right from her soul” (Opera News), American soprano Julia Bullock most recently dazzled Armory audiences in the North American premiere of Michel van der Aa’s technologically ambitious chamber opera Upload in 2022. The acclaimed vocalist returns in a much more intimate space—the Board of Officers Room—with a program that beautifully showcases her versatile artistry and probing intellect.

armoryonpark.org | @ParkAveArmory

ABOUT PARK AVENUE ARMORY

Part palace, part industrial shed, Park Avenue Armory supports unconventional works in the performing and visual arts that cannot be fully realized in a traditional proscenium theater, concert hall, or white wall gallery. With its soaring 55,000-square-foot Wade Thompson Drill Hall—reminiscent of 19th-century European train stations—and an array of exuberant period rooms, the Armory provides a platform for artists to push the boundaries of their practice, collaborate across disciplines, and create new work in dialogue with the historic building. Across its grand and intimate spaces, the Armory enables a diverse range of artists to create, students to explore, and audiences to experience epic, adventurous, relevant work that cannot be done elsewhere in New York.

The Armory both commissions and presents performances and installations in the grand Drill Hall and offers more intimate programming through its acclaimed Recital Series, which showcases musical talent from across the globe within the salon setting of the Board of Officers Room; its Artists Studio series curated by Jason Moran in the restored Veterans Room; Making Space at the Armory, a public programming series that brings together a discipline-spanning group of artists and cultural thought-leaders around the important issues of our time; and the Malkin Lecture Series that features presentations by scholars and writers on topics related to Park Avenue Armory and its history. In addition, the Armory also has a year-round Artists-in-Residence program, providing space and support for artists to create new work and expand their practices.

The Armory’s creativity-based arts education programs provide access to the arts to thousands of students from underserved New York City public schools, engaging them with the institution’s artistic programming and outside-the-box creative processes. Through its education initiatives, the Armory provides access to all Drill Hall performances, workshops taught by Master Teaching Artists, and in-depth residencies that support the schools’ curriculum. Youth Corps, the Armory’s year-round paid internship program, begins in high school and continues into the critical post-high school years, providing interns with mentored employment, job training, and skill development, as well as a network of peers and mentors to support their individual college and career goals.

The Armory is undergoing a multi-phase renovation and restoration of its historic building led by architects Herzog & de Meuron, with Platt Byard Dovell White as Executive Architects.

PARK AVENUE ARMORY BOARD OF DIRECTORS

Chairman Emeritus

Elihu Rose, PhD

Co-Chairs

Adam R. Flatto

Amanda J.T. Riegel

President

Rebecca Robertson

Vice Presidents

David Fox

Pablo Legorreta

Emanuel Stern

Treasurer Emanuel Stern

Marina Abramović

Sir David Adjaye OBE

Abigail Baratta

Joyce F. Brown

Cora Cahan

Hélène Comfort

Paul Cronson

Jonathan Davis

Tina R. Davis

Jessie Ding

Sanford B. Ehrenkranz

Roberta Garza

Andrew Gundlach

Samhita Jayanti

Branden Jacobs-Jenkins

Edward G. Klein, Brigadier General NYNG (Ret.)

Ralph Lemon

Jason Moran

Janet C. Ross

Joan Steinberg

Peter Zhou

Founding Chairman, 2000–2009

Wade F.B. Thompson

Pierre Audi, Marina Kellen French Artistic Director

Directors Emeriti

Harrison M. Bains, Jr.

Angela E. Thompson

PARK AVENUE ARMORY STAFF

Rebecca Robertson Adam R. Flatto Founding President and Executive Producer

Pierre Audi Marina Kellen French Artistic Director

ARTISTIC PLANNING & PROGRAMMING

Michael Lonergan Chief Artistic Producer

Kevin Condardo General Manager, Programming

Rachel Rosado Producer

Samantha Cortez Producer

Darian Suggs Associate Director, Public Programming

Kanako Morita Associate Producer/Company Manager

Oscar Peña Programming Coordinator

ARTISTIC PRODUCTION

Paul King Director of Production

Claire Marberg Deputy Director of Production

Nicholas Lazzaro Technical Director

Lars Nelson Technical Director

Aidan Nelson Technical Director

Rachel Baumann Production Coordinator

ARTS EDUCATION

Cassidy L. Jones Chief Education Officer

Monica Weigel McCarthy Director of Education

Aarti Ogirala Associate Director of Education, School Programs

Nadia Parfait School Programs Coordinator

Ciara Ward Youth Corps Manager

Bev Vega Youth Corps Manager Drew Petersen Education Special Projects Manager

Kate Bell, Emily Bruner, Donna Costello, Alexander Davis, Asma Feyijinmi, Hawley Hussey, Larry Jackson, Hector Morales, Peter Musante, Drew Petersen, Leigh Poulos, Neil Tyrone Pritchard, Vickie Tanner Teaching Artists

Wilson Castro, Shar Galarza, Daniel Gomez, Nancy K. Gomez, Maxim Ibadov, Stephanie Mesquita, Paola Ocampo, Amo Ortiz Teaching Associates

Arabia Elliot Currence, Victoria Fernandez, Sebastian Harris, Melissa Velasquez Teaching Apprentices

Kenny Amesquita, Darling Batista, Eden Battice, Victoria Braga Dos Santos Casey, Britney Carryl, Issbel Collado, Aya Elfatihi, Laisha Estevez, Deborah Figueroa, Annalisa Fortune, Safinaz Ishrar, Alan Munoz, Denivia Rivera, Naomi Santos Youth Corps

BUILDING & MANAGEMENT OPERATIONS

Jenni Kim Chief Operating Officer

Ashlee Willaman Director of Human Resources

Marc Von Braunsberg Director of Operations and Security

Paul Sutter Director of Facilities and Capital Projects

Chris Sperry Facilities Manager

Williams Say Superintendent

Leandro Dasso, Mayra DeLeon, Mario Esquilin, Jeferson Avila, Olga Cruz, Kariema Levy, Cristina Moreira, Tyrell Shannon Castillo Maintenance Staff

Jason Moran Curator, Artists Studio

Tavia Nyong’o Curator, Public Programming

Oku Okoko Director of IT

Ethan Cohen IT Administrator

Bobby Wolf Senior House Manager

Alejandra Ortiz House Manager

Drew O’Bryan Assistant House Manager

Jacqueline Babek, Emma Buford, Sarah Gallick, Daniel Gomez, Eboni Green, Nariah Green, Maxim Ibadov, Sandra Kitt, Christine Lemme, Beth Miller, Gloriveht Ortiz, Jon Ovadia, Regina Pearsall, Ava Probst, Shimel Purnell, Eileen Rourke, Michael Simon, Kin Tam, Kathleen White Ushers

CAPITAL PROJECTS & ARCHIVES

Kirsten Moffett Director of Capital Planning, Preservation, and Institutional Relations

David Burnhauser Collection Manager

DEVELOPMENT

Melanie Forman Chief Development Officer

Charmaine Portis Executive Assistant to the Chief Development Officer

Sarah Rodriguez Director of Development

Rachel Risso-Gill Senior Director of Individual Giving

Jennifer Ramon Associate Director of Individual Giving

Chiara Bosco Individual Giving Coordinator

Angel Genares Manager of Institutional Giving

Kelly Carr Associate Director of Special Events

Rose Cole-Cohen Special Events Manager

Michael Buffer Database Manager

EXECUTIVE OFFICE

Lori Nelson Executive Assistant to the President

Nathalie Etienne Administrative Assistant, President’s Office

Simone Elhart Rentals and Project Manager

FINANCE

Jim McGlynn Chief Financial Officer

Christy Kidd Controller

Khemraj Dat Accounting Manager

Zeinebou Dia Junior Accountant

MARKETING, COMMUNICATIONS & BOX OFFICE

Tom Trayer Chief Marketing Officer

Nick Yarbrough Senior Digital Marketing Manager

Allison Abbott Press and Editorial Manager

Joe Petrowski Director of Ticketing and Customer Relations

Monica Diaz Box Office Manager

Ashley Brooks, John Hooper Box Office Leads

Victor Daniel Ayala, Meghan Lara Hrinkevich, Sarah Jack, John Henry Malone, Mary McDonnell, Michelle Meged, Elisabeth Oliveri, Box Office Associates Resnicow + Associates, Inc. Press Representatives

PRODUCTION ACKNOWLEDGMENTS

Sarah Billinghurst Solomon Artistic Consultant for Vocal Recitals

Steinway & Sons

Duncan Holzhall Etude Arts LLC

Iain Handyside Maestro Arts

NEXT AT THE ARMORY

THE DOCTOR

june 3 – august 19

North American Premiere

Visionary director and playwright Robert Icke returns to the Armory with the North American premiere of this gripping moral thriller following lauded runs at London’s Almeida Theatre and West End. This striking reimagining of the 1912 play Professor Bernhardi by Arthur Schnitzler utilizes the lens of medical ethics to examine urgent questions of faith, identity, race, gender, privilege, and scientific rationality. Olivier Awardwinner Juliet Stevenson stars as the doctor at the center of the drama where nothing is quite what – or who – it seems. This galvanizing piece of theater serves as a stark health warning for an increasingly divided nation, where clashing views about the way we see ourselves and the world we live in today only magnify the complexities of life.

DOPPELGANGER

september 22 – 28

World Premiere, A Park Avenue Armory Commission

Franz Schubert’s Schwanengesang (Swan Song) traverses a myriad of emotions, from despair and delusion to ecstasy and love, to form a series of masterful snapshots of all that life can offer. These emotive works are given a thrilling new life in the world premiere of a theatrical staging by Claus Guth. Performed by tenor Jonas Kaufmann with pianist Helmut Deutsch, the heart-melting collection of songs is amplified by additional Schubert repertory, an evocative soundscape, and transformative light and video projections to create a production that is part performance and part installation art. Named for the last song “Der Doppelganger,” in which a soldier comes to terms with death, this Armory commission explores the hunger for life and the idea that death is not a sudden moment but a last journey.

MAKING SPACE AT THE ARMORY

HAPO NA ZAMANI (BLACK ARTS MOVEMENT PAST AND PRESENT)

may 20

The Black Arts Movement was a cultural movement in the 1960s and 1970s led by Black artists, activists, and intellectuals that shaped the ideologies of Black identity, political beliefs, and African American culture. Past and present meet to reflect, examine, and point to the full experience and culture of the Black Arts Movement in a celebratory concert hosted by Carl Hancock Rux with musical direction by Vernon Reid Co-presented with Harlem Stage as part of their Black Arts Movement: Then and Now Conference.

SALON: HIDDEN CONVERSATIONS

june 18

In celebration of Juneteenth Day, Park Avenue Armory partners with National Black Theatre to illuminate and share the wisdom of the forebearers of culture and society. This event will create cultural awareness and fresh excitement around hidden cultural moments that shaped thoughts, experiences, and visions for the future.

PARK AVENUE ARMORY ARTISTIC COUNCIL

Co-Chairs

Noreen Buckfire

Lisa Miller

Anonymous (2)

Anne-Victoire Auriault/Goldman Sachs

Gives

Abigail and Joseph Baratta

Noreen and Ken Buckfire

Helene and Stuyvesant Comfort

Caroline and Paul Cronson

Courtney and Jonathan Davis

Jessie Ding and Ning Jin

Lisa and Sanford B. Ehrenkranz

The Lehoczky Escobar Family

Adam R. Flatto

LEGACY CIRCLE

Roberta Garza

Lorraine Gallard and Richard H. Levy

Barbara and Peter Georgescu

Kim and Jeff Greenberg

Barbara and Andrew Gundlach

Anita K. Hersh

Samhita and Ignacio Jayanti

Wendy Keys

Kameron Kordestani

Fernand Lamesch

Almudena and Pablo Legorreta

Christina and Alan MacDonald

Lily O’Boyle

Valerie Pels

Amanda J.T. and Richard E. Riegel

Susan and Elihu Rose

Janet C. Ross

Caryn Schacht and David Fox

Brian S. Snyder

Joan and Michael Steinberg

John and Lisa Miller

Emanuel Stern

Jon Stryker and Slobodan Randjelović

Merryl and James Tisch

Saundra Whitney

Peter Zhou and Lisa Lee

The Armory’s Legacy Circle is a group of individuals who support Park Avenue Armory through a vitally important source of future funding, a planned gift. These gifts will help support the Armory’s outside-the-box artistic programming, Arts Education Programs, and historic preservation into the future.

Founding Members

Angela and Wade F.B. Thompson

Co-Chairs

Lisa and Sanford B. Ehrenkranz

Marjorie and Gurnee Hart

PATRONS

The Estate of Ginette Becker

Wendy Belzberg and Strauss Zelnick

Emme and Jonathan Deland

Lisa and Sanford B. Ehrenkranz

Adam R. Flatto

Roberta Garza

Marjorie and Gurnee Hart

Ken Kuchin

Heidi McWilliams

Michelle Perr

Amanda Thompson Riegel

Rebecca Robertson and Byron Knief

Susan and Elihu Rose

Francesca Schwartz

Joan and Michael Steinberg

Angela and Wade F.B. Thompson

Park Avenue Armory expresses its deep appreciation to the individuals and organizations listed here for their generous support for its annual and capital campaigns.

$1,000,000 +

Charina Endowment Fund

Citi

Empire State Local Development Corporation

Adam R. Flatto

Marina Kellen French

Barbara and Andrew Gundlach

Anna-Maria and Stephen Kellen Foundation, Inc.

Mr. and Mrs. Peter L. Malkin and The Malkin Fund, Inc.

Richard and Ronay Menschel

New York City Council and Council Member

Daniel R. Garodnick

New York City Department of Cultural Affairs

New York State Assemblymember Dan Quart and the New York State Assembly

Pershing Square Capital Management, L.P.

Susan and Elihu Rose

The Arthur Ross Foundation and J & AR Foundation

Joan Smilow and Joel Smilow*

The Thompson Family Foundation

Wade F.B. Thompson*

The Zelnick/Belzberg Charitable Trust Anonymous

$500,000 to $999,999

Bloomberg Philanthropies

Lisa and Sanford B. Ehrenkranz

Almudena and Pablo Legorreta

The Andrew W. Mellon Foundation

Adam R. Rose and Peter R. McQuillan

Donna and Marvin Schwartz

Emanuel Stern

Anonymous

$250,000 to $499,999

American Express

Abigail and Joseph Baratta

Michael Field

Roberta Garza

Ken Kuchin and Tyler Morgan

The Pierre and Tana Matisse Foundation

The Rockefeller Foundation

Marshall Rose Family Foundation

$100,000 to $249,999

The Achelis and Bodman Foundations

R. Mark and Wendy Adams

Linda and Earle Altman

Booth Ferris Foundation

Hélène and Stuyvesant Comfort

Courtney and Jonathan Davis

Jessie Ding and Ning Jin

Howard Gilman Foundation

Marjorie and Gurnee Hart

Samhita and Ignacio Jayanti

Kirkland & Ellis LLP

Leonard & Judy Lauder Fund

Mr. and Mrs. Lester Morse

New York State Assembly

New York State Council on the Arts

Stavros Niarchos Foundation

Donald Pels Charitable Trust

Daniel and Joanna S. Rose

Mrs. Janet C. Ross

Caryn Schacht and David Fox

Stacy Schiff and Marc de La Bruyère

Harold and Mimi Steinberg

Charitable Trust

Joan and Michael Steinberg

Mr. William C. Tomson

Peter Zhou and Lisa Lee

$25,000 to $99,999

Arthur R. and Alice E. Adams Charitable Foundation

Anne-Victoire Auriault / Goldman Sachs Gives

The Avenue Association

Christine and Turner Batty

Sonja and Martin J. Brand

The Cowles Charitable Trust

Caroline and Paul Cronson

Davis Polk & Wardwell LLP

Emme and Jonathan Deland

Andrew L. Farkas & Island Capital Group LLC

Lorraine Gallard and Richard H. Levy

Elizabeth Morse Genius Foundation

Barbara and Peter Georgescu

Horace W. Goldsmith Foundation

Kim and Jeff Greenberg

Agnes Gund

Janet Halvorson

Anita K. Hersh

Kaplen Brothers Fund

The Emily Davie and Joseph S. Kornfeld Foundation

Jill and Peter Kraus

The Marie-Josée and Henry R. Kravis Foundation

The Lehoczky Escobar Family

George S. Loening

Christine and Richard Mack

Marc Haas Foundation

Meta Open Arts

National Endowment for the Arts

Slobodan Randjelovic´and Jon Stryker

The Reed Foundation

Rhodebeck Charitable Trust

Genie and Donald Rice

Amanda J.T. and Richard E. Riegel

Rebecca Robertson and Byron Knief

The Shubert Foundation

Sydney and Stanley S. Shuman

Amy and Jeffrey Silverman

Sanford L. Smith

Mimi Klein Sternlicht

TEFAF NY

Tishman Speyer

Robert and Jane Toll

Deborah C. van Eck

Wescustogo Foundation

Anonymous (4)

$10,000 to $24,999

AECOM Tishman

Jody and John Arnhold

Milton and Sally Avery Arts Foundation

Harrison and Leslie Bains

Debra and Leon Black

Emma Bloomberg

Noreen and Ken Buckfire

Tim Cameron Coach

Ania Coffey Con Edison

William F. Draper

Jill and Michael J. Franco

Teri Friedman and Babak

Yaghmaie Kiendl and John Gordon

Ralph and Cornelia Heins

Herzog & de Meuron

Lawrence and Sharon Hite

Kameron Kordestani

Suzie and Bruce Kovner

Fernand Lamesch

Julia Ledda and Hassan Taher

Leon Levy Foundation

Christina and Alan MacDonald

James Marlas and Marie NugentHead Marlas

Danny and Audrey Meyer

John and Lisa Miller

Cynthia Woods Mitchell Fund of the National Trust for Historic Preservation

Elyse and Michael Newhouse

Lily O’Boyle

Michael Peterson

Joan and Joel I. Picket

The Polonsky Foundation

Anne and Skip Pratt

The Prospect Hill Foundation

Katharine Rayner

Esther Rosenberg

Fiona and Eric Rudin

May and Samuel Rudin Family Foundation, Inc.

Mrs. William H. Sandholm

Philip Schmerbeck/Herzog & de Meuron USA

Cynthia and Tom Sculco

Brian S. Snyder

Howard & Sarah D. Solomon Foundation

Jean and Gene Stark

Michael and Veronica Stubbs

Merryl and James Tisch

Barbara D. Tober

Andrew and Purva Tsai

Susan Unterberg

Saundra Whitney

Michael Weinstein

Maria Wirth

Samiah Zafar and Minhaj Patel

Anonymous (6)

$5,000 to $9,999

Amy and David Abrams

Judy Hart Angelo

Arthur J. Gallagher & Co.

Candace and Rick Beinecke

Mortimer Berkowitz III

Sara and Mark Bloom

The Emma and Georgina Bloomberg Foundation

Nicholas Brawer

Catherine and Robert Brawer

Mary and Brad Burnham

Michael Clifford and Robert Levy

Ben Cohen

Betsy Cohn

Consulate General Of The Kingdom Of The Netherlands

Joyce B. Cowin

Irene Danilovich

David Schwartz Foundation, Inc.

Jennie L. and Richard K. DeScherer

Krystyna Doerfler

Jeanne Donovan Fisher

Peggy and Millard Drexler Family Foundation

Douglas and Susanne Durst

J. Christopher and Violet Eagan

Martin and Rebecca Eisenberg Foundation

Carla Emil and Rich Silverstein

Caryl S. Englander

Dr. Nancy Eppler-Wolff and Mr. John Wolff

The Felicia Fund

Andrew and Theresa Fenster

Bart Friedman and Wendy A. Stein

Martin and Lauren Geller

Heather & Andrew Georges

The Georgetown Company

Elizabeth and David GranvilleSmith

Dedrea and Paul Gray

Great Performances

Guenther Greiner

Allen and Deborah Grubman

George and Patty Grunebaum

Tania Higgins

Claire King

The David L. Klein, Jr. Foundation

Sheila and Bill Lambert

Kate Lauprete

Chad A. Leat

Gail and Alan Levenstein

Shelly and Tony Malkin

Charles and Georgette Mallory

Marian Goodman Gallery

Arthur J. Gallagher & Co

Mr. and Mrs. Matthew McLennan

Joyce F. Menschel

Helen Nash

James and Margo Nederlander

Jesse and Stéphanie Newhouse

Anna Nikolayevsky

Lynn Nottage and Tony Gerber

Arlena Olsten

David Orentreich, MD / Orentreich Family Foundation

PBDW Architects

Susan Porter

Preserve New York, a grant program of Preservation League of New York

Frances A. Resheske

Frank Richardson and Kimbra Wood

Richenthal Foundation

Robert Rosen and Dr. Dale Atkins Rosen

Ida and William Rosenthal Foundation

Valerie Rubsamen and Cedomir Crnkovic

Robyn and Seymour Sammell

Susan Savitsky

Carol and Chuck Schaefer

Sara Lee and Axel Schupf

David Schwartz Foundation Inc.

Matthew and Stephanie Sharp

Cohen

Julie Geden

Emanuel E. Geduld

Rosalind and Eugene Glaser

Sylvia Golden and Warren Friedman

Robert and Trudy Gottesman

Robert S. Gregory

Phillip Gulley

Ian and Lea Highet

Andrea Hirsch

Johanna Hudgens and Matthew Wilson

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Laura Isenberg

Kamila Islam

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Judith Jadow

Tianyue Jiang

Jim and Leslie Johnson

Jeanne Kanders

Jennie A. Kassanoff and Daniel H. Schulman

Adrienne Katz

Lee Kern

Timothy and Jessica Kisling

Meghan Klopp

Douglas and Judith Krupp

Lizbeth & George Krupp

Theodore and Adeline Kurz

Jerome and Sara Lande

Heidi and Christian Lange

Lazarus Charitable Trust

Les Yeux Art Foundation Inc.

Lili Lynton and Michael Ryan

Gina Giumarra MacArthur

Joanie Martinez-Rudkovsky

Bonnie Maslin

Nina B. Matis

Peter and Leni May

Claudia and Eduardo Mazzi

Peter D. McCann, MD

Ryan McNaughton and Anastasia

Antoniev

Constance and H. Roemer

McPhee

Saleem and Jane Muqaddam

Leslie and Curt Myers

Susan and Peter* Nitze

Stephen Novick

Susan Numeroff

Kathleen O’Grady

Peter and Beverly Orthwein

Robert Ouimette and Lee Hirsch

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Lee and Lori Parks

The Pass Family

Sanjay and Leslie Patel

Louis and Barbara Perlmutter

Richard and Rose Petrocelli

Pistachio Culinary Studio & Experiences

Natalya and Nicolas Poniatowski

Phyllis Posnick and Paul Cohen

Jennifer Reardon

Laura and Gerald Rosberg

Tamika Rose

Marjorie P. Rosenthal

Deborah and Chuck Royce

Susan Rudin

John and Shelby Saer

Jane Fearer Safer

Susan and Charles Sawyers

Benjamin Schor & Isabel Wilkinson Schor

Nicholas and Shelley Schorsch

Stefan and Heidi Selig

Douglas Sills

Denise Simon and Paulo Vieira

da Cunha

Laura Skoler

Shelley Sonenberg

Stephen and Constance Spahn

Robert & Amy Stavis

Susan Stockel

Leila Maw Straus

Stella Strazdas and Henry Forrest

Geri Thomas

Thomas and Diane Tuft

Union Square Events

United States Tennis Association

Mrs. William J. vanden Heuvel

Mary Wallach

Robert Warshaw and Debbie Schmidt

Jacqueline Weld Drake

Amy Yenkin and Robert Usdan

Anonymous (9)

$1,000 to $2,499

Diane and Arthur Abbey

Marina Abramović

Travis Acquavella

Gina Addeo

Benigno Aguilar and Gerald

Eric Altmann Ksenia Anisimova

Lora Aroyo Page Ashley

Catherine S.G. Atterbury

Joe Baio & Anne Griffin

Barbara and Jude Barbera

Laurie G Beckelman

Stefan Beckman

Richard Berndt and MarieCamille Havard

Elaine S. Bernstein

Bluestem Prairie Foundation

Boehm Family Foundation

Maegan Boger

Jill and Sheldon Bonovitz

Polly Shih Brandmeyer

Daniel and Estrellita Brodsky Spencer Brownstone Hugh Burns and Molly Duffy

Cora Cahan Janel Anderberg Callon Sana Clegg Christine Connolly Dr. and Mrs. Bradley A. Connor

Andre Cornelius

Marina Couloucoundis

Sophie Coumantaros

Abby and Andrew Crisses

Austen and Ernesto Cruz

Sasha Cutter and Aaron Hsu

John Charles and Nathalie

Danilovich

Richard and Peggy Danziger

Richard and Barbara Debs

David desJardins & Nancy Blachman

Amy and Tony Downer

Eleanor and Jack Dunn

Eamon Early

Marla Eisbruck

Patricia Ellis

Cristina Enriquez-Bocobo

Dasha Epstein

Darice and Jason Fadeyi

Patricia Falkenberg

Mr. and Mrs. Thomas N. Farmakis

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Walter and Judith Flamenbaum

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Melanie and Robert Forman

Kristin Gamble

Sayuri Ganepola and Jeff Kaczynski

Bruce and Alice Geismar

DeNora Getachew

David and Susan Getz

Katja Goldman

Mitch Gordon and Julie Appel

Notoya Green and Fred Mwangaguhunga

Karen and Jeff Groeger

Jan M. Guifarro

Frances and Gerard Guillemot

Yen Ha and Richard Tesler

Kathleen Harrison and Edward Flinn

ABOUT THE BOARD OF OFFICERS ROOM

The Board of Officers Room is one of the most important historic rooms in America and one of the few remaining interiors by Herter Brothers. After decades of progressive damage and neglect, the room completed a revitalization in 2013 by the architecture team at Herzog & de Meuron and executive architects Platt Byard Dovell White Architects to transform the space into a state-of-the-art salon for intimate performances and other contemporary art programming.

The Board of Officers Room is the third period room at the Armory completed (out of 18) and represents the full range of design tools utilized by the team including the removal of accumulated layers on the surfaces, the addition of contemporary lighting to the 1897 chandeliers, new interpretations of the stencil patterns on areas of loss, the addition of metallic finishes on new materials, new programming infrastructure, and custom-designed furniture.

The room’s restoration is part of an ongoing $215-million transformation, which is guided by the understanding that the Armory’s rich history and the patina of time are essential to its character. A defining component of the design process for the period rooms is the close collaboration between architect and artisan. Highly skilled craftspeople working in wood, paint, plaster, and metals were employed in the creation of the building’s original interiors and the expertise and hand of similar artisans has been drawn upon for the renovation work throughout.

armoryonpark.org | @ParkAveArmory

“The restoration of the Park Avenue Armory seems destined to set a new standard, not so much for its scale, but for its level of respect and imagination.”

—The New York Times

The renovation of the Board of Officers Room was made possible through the generosity of The Thompson Family Foundation.