Recital Series: Pavel Kolesnikov

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

armoryonpark.org | @ParkAveArmory

2023 RECITAL SERIES IN

THE RESTORED BOARD OF OFFICERS ROOM

PAVEL KOLESNIKOV, piano

monday, may 22, 2023 at 7:30pm wednesday, may 24, 2023 at 7:30pm

Support for Park Avenue Armory’s artistic season has been generously provided by The Thompson Family Fund, the Charina Endowment Fund, the Donald A. Pels Charitable Trust, The Shubert Foundation, the Harold and Mimi Steinberg Charitable Trust, 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 is provided by the New York State Council on the Arts with the support 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

MAY 22 PROGRAM

J.S. Bach (1685-1750) Goldberg Variations, BWV 988

Aria

Variatio 1. a 1 Clav.

Variatio 2. a 1 Clav.

Variatio 3. Canone all’Unisono. a 1 Clav.

Variatio 4. a 1 Clav.

Variatio 5. a 1 ô vero 2 Clav.

Variatio 6. Canone alla Seconda. a 1 Clav.

Variatio 7. a 1 ô vero 2 Clav. al tempo di Giga

Variatio 8. a 2 Clav.

Variatio 9. Canone alla Terza. a 1 Clav.

Variatio 10. Fughetta. a 1 Clav.

Variatio 11. a 2 Clav.

Variatio 12. a 1 Clav. Canone alla Quarta in moto contrario

Variatio 13. a 2 Clav.

Variatio 14. a 2 Clav.

Variatio 15. Canone alla Quinta. a 1 Clav.: Andante

Variatio 16. Ouverture. a 1 Clav.

Variatio 17. a 2 Clav.

Variatio 18. Canone alla Sesta. a 1 Clav.

Variatio 19. a 1 Clav.

Variatio 20. a 2 Clav.

Variatio 21. Canone alla Settima

Variatio 22. a 1 Clav. alla breve

Variatio 23. a 2 Clav.

Variatio 24. Canone all’Ottava. a 1 Clav.

Variatio 25. a 2 Clav.: Adagio

Variatio 26. a 2 Clav.

Variatio 27. Canone alla Nona. a 2 Clav.

Variatio 28. a 2 Clav.

Variatio 29. a 1 ô vero 2 Clav.

Variatio 30. a 1 Clav. Quodlibet Aria da Capo

This program is approximately 85 minutes with no intermission.

ABOUT THE PROGRAM

According to Bach’s first biographer, Johann Nikolaus Forkel, the composer wrote this monumental set of variations for his young student Johann Gottlieb Goldberg who was employed by an insomniac Russian diplomat named Count Keyserling, who wanted to listen to music during his long sleepless nights. The veracity of the story is doubted by some experts today. In any case, the work far exceeds these practical expectations suffered from insomnia. It is nothing short of an encyclopedia of musical forms, styles, and keyboard techniques existing in Europe in Bach’s time, and one of the towering works of the entire keyboard literature.

The “theme” for the 30 variations is a richly ornamented “Aria.” Every third variation is a two-part canon, and in each the answering voice enters one step higher in relation to the first voice. In other words, No. 3 is at the unison (both voices at the same pitch), No. 6 at the second, No. 9 at the third, and so on, until No. 27 at the ninth. In all but the last one there is a third voice in addition to the two canonic voices, to play the bass line of the original theme. The variations preceding the canons are usually two-part inventions, while those following the canons share little in common and have therefore been called “free” variations. (Exceptionally, in the first two variations this pattern is reversed: No. 1 is a two-part piece and No. 2 is “free.”)

Stylistically and in terms of emotions expressed, the variations run an extremely wide gamut. The playful first variation introduces hand-crossing, a technique Bach rarely used in his other works but that returns often in the Goldberg. In No. 2, a lively movement containing some fugal imitation, the meter changes from 3/4 to 2/4. It is followed by the first canon (No. 3), whose expansive melody recalls the slow movement of the concerto for two harpsichords in C minor (BWV 1060). In No. 4, four voices skip merrily along, imitating a brief three-note figure. No. 5 is an exercise in hand-crossing (a harpsichordist would have the option of using two manuals).

In No. 6, the canonic voices are only one measure apart. No. 7 is a gigue dance, No. 8, another virtuosic duet with handcrossings, followed by a quieter No. 9 and a terse fughetta (No. 10).

In the duet No. 11, the motion speeds up to sixteenth-triplets, to go back to regular sixteenth-notes in the canon No. 12. Nos. 13, 14, and 15 expand the cycle in different ways, each introducing novelties that will return later in the variations: No. 13 is the first of several lavishly ornamented slow movements; in the duet No. 14 pianistic virtuosity is raised to a level not seen previously here or in any other work by Bach, for that matter; finally, the canon No. 15 is the first variation

in the minor mode. It also happens to be a mirror canon, in other words, the second voice turns the melody upside down. These three remarkable movements close the first half of the Goldberg.

The second half begins with an elaborate overture in the French style as No. 16. No. 17, is another duet with frequent hand-crossings. The canon No. 18 is strict almost to the point of austerity; No. 19 resembles a passepied dance (a kind of faster minuet), while No. 20 takes the now-familiar type of duets with hand-crossings to dizzying heights of technical difficulty. In No. 21, the canon at the sevenths in the minor mode, the bass line is filled out with chromatic passing tones, a change that profoundly affects the harmonic profile of the piece. No. 22 again contains fugal elements. In No. 23, another display of virtuosic fireworks, the rhythmic motion speeds up again as thirty-second notes appear in both hands.

No. 24, the canon at the octave, has the lilting 9/8 meter of the famous “Jesu, Joy of Man’s Desiring.” The stunning Adagio variation No. 25 is an intensely chromatic and highly ornate instrumental aria. Variation 26 is filled with hand-crossings and fast runs; No. 27, the last canon of the set, is a pure twopart canon, without an added third voice.

Nos. 28 and 29 are among the most technically difficult movements Bach ever wrote. The rapid double trills of No. 28, and the alternating chords of No. 29 were clearly intended to crown the entire composition.

Or almost. For Bach has a final surprise in store for his last variation, a Quodlibet. The dictionary defines this term as “a composition based on a collage of pre-existing and usually familiar melodies.” Bach ingeniously combined two German folksongs, with one another and with the bass line underlying the variations. One of the folksongs was traditionally used to signal the end of a wedding party. Its inclusion as the last of the Goldberg variations is surely symbolic. After the Quodlibet, the original Aria is repeated to close the monumental work.

—Peter Laki

MAY 24 PROGRAM, “CELESTIAL NAVIGATION”

Louis Couperin (1626-1661) Pavane in F-sharp minor

Olivier Messiaen (1908-1992) Vingt regards sur l’enfant Jésus, no. 2 “Regard de l’étoile”

Frédéric Chopin (1810-1849) Nocturne in D-flat major, op. 27, no. 2

Olivier Messiaen Vingt regards sur l’enfant Jésus, no. 2 “Regard de l’étoile” [fragment]

Olivier Messiaen Préludes pour piano, no. 1 “La Colombe”

Frédéric Chopin Nocturne E minor, op. 72, no. 1

Olivier Messiaen Préludes pour piano, no. 2 “La Colombe” [fragment]

Olivier Messiaen Prelude (1964)

Frédéric Chopin Nocturne in C-sharp minor, op. 27, no. 1

Olivier Messiaen Prelude (1964) [fragment]

Maurice Ravel (1875-1937) Miroirs, no. 3 “Une barque sur l’océan” Thomas Adès (b. 1971) Darkness Visible

Intermission

Franz Schubert (1797-1828) 4 Impromptus, D935/op. 142

1. Allegro moderato (F minor)

2. Allegretto (A-flat major)

3. Theme and five variations (B-flat major)

4. Allegro scherzando (F minor)

This program is approximately 1 hour and 40 minutes with a 15-minute intermission.

ABOUT THE PROGRAM

Assembling a concert program is an art unto itself. The piece we just heard is still resonating in our mind when the artist moves on to the next work, and the subsequent compositions enter into all kinds of relationships amongst themselves, illuminating, amplifying, or contrasting with one another as the case may be.

In intermingling works by Frédéric Chopin and Olivier Messiaen, Pavel Kolesnikov reveals some hidden connections between the two composers, so different on the surface. In a particularly intriguing move, he does not simply juxtapose their works but literally intertwines them, repeating a bit of the Messiaen piece we heard earlier after playing some Chopin. The result is a unique amalgam where the borderlines between the 19th- and the 20th-century masters are all but erased.

The Messiaen works on the program include an early prelude (the first of eight written in 1928-29 at the age of 20), a late one from 1964 discovered after Messiaen’s death, as well as a movement from the monumental Vingt regards sur l’EnfantJésus (“Twenty Contemplations of the Baby Jesus,” 1944), one of Messiaen’s signature works. Listening to these works from Messiaen’s early, middle, and late periods, we become aware not only of the artistic evolution of this great composer, but also what remained constant: his ceaseless exploration of new sounds and new harmonies in the service of a profound spirituality.

Messiaen was a great poet of the piano, and that is where his kinship with Chopin becomes apparent. Kolesnikov chose three nocturnes by the Polish master. Of the two haunting masterpieces published in 1837 as Op. 27, the first one, in C-sharp minor, is a seemingly endless melody hovering high over the left-hand accompaniment. The music erupts in a powerful middle section, only to return to the initial music with even more nostalgia than before. The companion piece in D-sharp major is another expansive instrumental song of unspeakable delicacy. The E-minor nocturne (Op. 72, No. 1) was the first one Chopin ever composed, though it was not published during his lifetime. In this remarkable piece, written when the composer was only sixteen, Chopin’s unmistakable style is already fully in evidence.

The Messiaen/Chopin blend will be prefaced by a work by one of the most distinguished French clavecinistes (harpsichord composers) of the 17th century, Louis Couperin (uncle of François Couperin “le Grand”). The Pavane was originally a slow dance, but here it has lost most of its dance character and retained only its serious, dignified bearing. It is likely that, like Ravel’s “Pavane for a Dead Princess” more than 200 years later, the present work was meant as an in memoriam, perhaps for the father of the composer.

After Messiaen and Chopin, we will actually hear some Ravel, namely “Une barque sur l’océan” (“A Boat on the Ocean”) from the cycle Miroirs (“Mirrors,” 1904-05). In the present context, Ravel will probably be perceived as a bridge of sorts between Chopin and Messiaen, both of whom he resembles in the way the marries extreme technical demands to a novel harmonic language.

The first half of the program will conclude by an early work by Thomas Adès of England, who burst on the scene as a veritable wunderkind—composer, pianist, conductor—in the early 1990s. In Darknesse Visible, the 21-year-old Adès reimagined John Dowland’s lute song In Darkness Let Me Dwell (1610). Dowland’s melancholy melody reaches our ears through a fog, as it were, its notes dispersed across the entire keyboard. Adès uses a special technique for very fast note repeats, which helps create a truly magical atmosphere.

In the second half, we shall hear the second and final set of Schubert impromptus, written a year before his untimely death. When this set was first published (ten years after the composer’s death), Robert Schumann wrote an enthusiastic review in which he suggested that the four impromptus were organized like the four movements of a sonata. Indeed, the Allegro moderato first movement (F minor), the slightly slower second piece (A-flat major), the variation movement (B-flat major), and the finale (F minor) do seem to form a unified cycle, coherent both in the choice of keys and in the succession of tempo characters. Yet the work is organized much more loosely than Schubert’s real sonatas.

For instance, the opening Allegro avoids any kind of real sonata-like development in favor of a self-contained, songlike “movement within a movement” in the middle. The second impromptu has the characteristic rhythmic pattern of a Baroque sarabande, but gentle theme soon intensifies to a powerful fortissimo on an unexpected harmony; there is also a middle section of an entirely different nature, moving in rapid triplet notes.

The third impromptu is a set of five variations on a theme that is closely related to the intermezzo from Rosamunde. In the course of the variations, the theme undergoes some rather radical transformations.

Finally, the fourth impromptu is lively and playful, yet there is a mysterious shadow hanging over it. All the fast runs cannot quite conceal a certain bittersweet quality and even a slight hint of tragedy.

—Peter Laki

ABOUT THE ARTIST

In 2012 pianist Pavel Kolesnikov became a sensation at the Honens International Piano Competition when he took home the world’s largest piano prize. The London-based pianist was born in Siberia into a family of scientists. He studied both the piano and violin for ten years, before concentrating solely on the piano. Following his Wigmore Hall debut in 2014, The Daily Telegraph gave his recital a rare five-star review and called it “one of the most memorable of such occasions London has witnessed for a while.”

Celebrated for his imaginative, thought-provoking programming which offers the listener a fresh, often unexpected perspective on familiar pieces, Kolesnikov has given recitals at the BBC Proms, Wigmore Hall and Queen Elizabeth Hall, Carnegie Hall, Berlin’s Konzerthaus, the Louvre and Salle Gaveau in Paris, Suntory Hall in Tokyo, and the Muziekgebouw in Amsterdam. In recent years he also performed at La Roque d’Antheron festival, the Musiq3 Festival in Brussels, and the Piano aux Jacobins in Toulouse. Kolesnikov is a resident artist at the 2023 Aldeburgh Festival, where he has curated a series of seven concerts.

An avid ensemble player, Kolesnikov regularly performs in piano duo with Samson Tsoy and collaborates with other musicians such as cellist Narek Hakhnazaryan, the Hermes String Quartet, and the Calidore String Quartet. In 2019 he performed the complete cycle of Brahms violin and viola sonatas with Lawrence Power. He formed Trio Aventure with Elina Buksha and Aurelien Pascal.

Kolesnikov records for Hyperion, with repertoire ranging from rarely heard harpsichord pieces by Louis Couperin to Tchaikovsky’s The Seasons. His Chopin Mazurkas album won the Diapason d’Or de l’annee, and his 6th album, Bach’s Goldberg Variations, was released in Autumn 2020. He collaborated with legendary Belgian dancer Anne Teresa de Keersmaeker on a new choreographic work based on the Goldberg Variations, which premiered in August 2020 at the Wiener Festwochen and is currently touring the world.

In 2019, together with Samson Tsoy, Kolesnikov started Ragged Music Festival at the Ragged School Museum, the former “ragged school” of Dr. Barnardo in London’s East End. In the same year Kolesnikov was honored with the Critics’ Circle Young Talent Award 2019 for piano.

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.

armoryonpark.org | @ParkAveArmory

NEXT IN THE RECITAL SERIES

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.

SANDBOX PERCUSSION

october 1 & 3

Sandbox Percussion has established themselves as a leading proponent of this generation of contemporary percussion chamber music, captivating audiences with performances that are both visually and aurally striking while showcasing the imagination, integrity, and courage of their music making. Their unique mix of youthful energy with the precision of a well-established group is on full display in the Veterans Room with a lively program that vibrantly underscores their solid technique, rhythmical musicality, and lively showmanship.

KATE LINDSEY & JUSTINA LEE

october 16 & 17

Mezzo soprano Kate Lindsey is one of the most promising voices of her generation, receiving ovations from audiences in the world’s most prestigious opera houses including the Metropolitan Opera, Royal Opera House Covent Garden, Vienna State Opera, and Salzburg, Glyndebourne, and Aixen-Provence festivals. She performs on a far more intimate stage with a chamber program that beautifully highlights her vivacious musicality, agile technique, and unmatched command of an audience. The program will include works by Schumann and Fauré.

NEXT AT THE ARMORY

MAKING SPACE AT THE ARMORY 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.

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 CORPUS DELICTI

october 7

At a moment of maximum anxiety and backlash over the fundamental human rights to autonomy, expressivity, modification, and self-transformation of the body, this convening of artists, activists, and intellectuals imagines and enacts transgender art and music as a vehicle for dialogue across differences.

MUTANT;DESTRUDO

october 2023

World Premiere, A Park Avenue Armory Commission

Arca has made her indelible mark by developing a transcendent, transgressive body of work that has collapsed long-standing barriers between artist and art, human and technology, avant-garde and pop, and many disciplines from music to visual art to fashion and beyond. Her creative evolution has elevated her from an icon of the experimental fringe into a full-blown cultural phenomenon.

Directed by Arca, Mutant;Destrudo congregates her close friends and collaborators around a shared vision of creating space to allow for deconstruction of preconceptions. This ambitious new project is steeped in electronic music sound design to induce various states of embodied physicality and synthesize new ways to mediate both the ego and identity at large. The resulting Armory commission continues her ongoing practice of creating instances which merge all forms of creative practice, reexamining the ritual of the concert as a moment of heightened connection between those present.

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

Avant Garde Chair

Adrienne Katz

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, Isabelle Graham, Meghan Lara Hrinkevich, Sarah Jack, Tyra Jefferson, Max Komisar, John Henry Malone, Mary McDonnell, Michelle Meged, Elisabeth Oliveri, Maeghan Suzik Box Office Associates

Resnicow + Associates, Inc. Press Representatives

PRODUCTION ACKNOWLEDGMENTS

Sarah Billinghurst Solomon Artistic Consultant for Vocal Recitals

Steinway & Sons

JOIN THE ARMORY

Support Park Avenue Armory as a member and join us in our mission to enable diverse artists to create, students to experience, and audiences to consume epic and adventurous presentations that cannot be fully realized in a traditional proscenium theater, concert hall, or white wall gallery.

FRIEND $100

$64 is tax deductible

» Members-only pre-sale or preferred access for performance tickets

» Free admission for you and a guest to visual art installations

» Invitations to visual art VIP preview parties, plus admission to installations for two

» Discounts on Armory Historic Interiors Tours***

» Discounts at local partnered restaurants

» 20% discount on member subscription packages*

SUPPORTER $250

$194 is tax deductible

All benefits of the Friend membership plus:

» Fees waived on ticket exchanges*

» Two free tickets to Armory Historic Interiors Tours***

» Discount on tickets to the Malkin Lecture Series, Artist Talks, and Public Programming*

ASSOCIATE $500

$348 is tax deductible

All benefits of the Supporter membership plus:

» Access to concierge ticket service

» Free admission for two additional guests (a party of four) to visual art installations

» Two free art fair passes**

BENEFACTOR $1,000

$824 is tax deductible

All benefits of the Associate membership plus:

» Recognition in the Armory printed programs

» No wait, no line ticket pick up at the patron desk

» Handling fees waived on ticket purchases*

» Invitation for you and a guest to a private Chairman’s Circle event

» Two complimentary tickets to the popular Malkin Lecture Series*

CHAIRMAN’S CIRCLE STARTING AT $2,500

Chairman’s Circle members provide vital support for the Armory’s immersive arts and education programming and the restoration of our landmark building. In grateful appreciation of their support, they are provided unique and exclusive opportunities to experience the Armory and interact with our world-class artists.

AVANT-GARDE STARTING AT $350

The Avant-Garde is a group for individuals from their 20s to 40s. An Avant-Garde membership offers a deeper, more intimate connection to the unique and creative concepts behind the Armory’s mission.

For information on ticketing, or to purchase tickets, please contact the Box Office at (212) 933-5812 or visit us at armoryonpark.org.

For more information about membership, please contact the Membership Office at (212) 616-3958 or members@armoryonpark.org.

Each membership applies to one household, and one membership card is mailed upon membership activation.

*Subject to ticket availability **Certain restrictions apply ***Reservations required

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

The Artistic Council is a leadership group that champions and supports groundbreaking “only at the Armory” productions.

$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

Phyllis Hyde

Laura Isenberg

Kamila Islam

Shujaat Islam and Fay Sardjono

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

Claudia and Gunnar Overstrom

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

Femenella & Associates, Inc.

Walter and Judith Flamenbaum

Frances Fontaine and Anthony Chedid

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.