Répons

WELCOME Pierre Boulez was a composer and conductor that was ahead of his time, fighting for contemporary music in a world that resisted letting go of its nostalgia for the past. His innovative scores showcased his musical creativity and compositional audacity, both in their structure on the page and in their performance. Répons epitomizes his radical virtuosity as it overturns the traditional concert configuration of space and in its use of technology. But it also harkens to something deeper—his love of music and the basic questions of perception and sound. He joins a lineage of Armory artists whose work pushes their respective fields forward into new realms.

Boulez is one such creative visionary and his work Répons is a rarely performed spatial masterpiece to which the Wade Thompson Drill Hall lends itself.

We are humbled to present his magnum opus at the Armory as it was originally intended in the first performance of one of his major works since his death in early 2016. We hope Répons will provide an opportunity for New York audiences to honor this pioneering composer, who had lasting influence as a conductor and composer of music not only in New York, but nationally and internationally, and whose work will continue to impact the arts and inspire future generations of composers. I hope you will join me in immersing yourself in his sumptuous, detailed, and unique sound world.

Pierre Audi Artistic Director In 2017, Park Avenue Armory celebrates 10 years as New York’s newest cultural institution. The mission of our not-for-profit entity is to support unconventional works in the performing and visual arts that cannot be performed in a traditional proscenium theater, concert hall, or white wall gallery. With its soaring, columnfree, 55,000-square-foot Wade Thompson Drill Hall and its Gilded Age period rooms, the Armory enables artists to create, students to explore, and audiences to experience, epic and adventurous work that cannot be done elsewhere in New York.

The Armory’s evolution as a major provider of unexpected, immersive, and eclectic cultural productions began as an experiment. It has now become a fixture in the cultural life of New York. Perhaps The New York Times said it best in 2016 when they proclaimed: “…few cultural institutions have been as adept at pushing the cultural FOMO button, triggering that ‘fear of missing out’ that New Yorkers hate.”

On behalf of Artistic Director Pierre Audi and the Board of Directors of the Armory, we hope that 2017 continues to push the boundaries even further.

Rebecca Robertson President & Executive Producer

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RÉPONS Friday, October 6 at 8:00pm Saturday, October 7 at 8:00pm Wade Thompson Drill Hall Thompson Arts Center at Park Avenue Armory

Pierre Boulez (1925-2016) Répons (1981-1984/1985/2005) Intermission Répons (1981-1984/1985/2005) Please note that audiences will keep their assigned seat for the second half of the program, which will be located in a different section of the performance space.

This performance is approximately one hour and forty-five minutes, with intermission.

Pierre Boulez, Composer Ensemble intercontemporain IRCAM (Institute for Research and Coordination in Acoustics/Music) Matthias Pintscher, Music Director and Conductor Pierre Audi, Mise-en-espace Urs Schönebaum, Lighting Designer Samuel Favre, Gilles Durot, percussion Dimitri Vassilakis, Hidéki Nagano, piano Frédérique Cambreling, harp Françoise Rivalland, cymbalum

SEASON SPONSORS

PRODUCTION SPONSOR

Répons is supported in part by the Cultural Services of the French Embassy and Institut Français and by public funds from the National Endowment for the Arts.

Support for Park Avenue Armory’s artistic season has been generously provided by The Andrew W. Mellon Foundation, the Altman Foundation, The Harold and Mimi Steinberg Charitable Trust, the Achelis and Bodman Foundation, the Fan Fox and Leslie R. Samuels Foundation, the Horace W. Goldsmith Foundation, The Shubert Foundation, The Emma and Georgina Bloomberg Foundation, the Marc Haas Foundation, The Kaplen Brothers Fund, the Juliet Lea Hillman Simonds Foundation, the Leon Levy Foundation, the May and Samuel Rudin Family Foundation, and the Isak and Rose Weinman Foundation.

Thompson Arts Center at Park Avenue Armory, 643 Park Avenue at 67th Street

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ENSEMBLES

ABOUT THE WORK

ENSEMBLE INTERCONTEMPORAIN

REALITY, ITS DOUBLE, AND THE FORGOTTEN FAIRY

Matthias Pintscher, Music Director and Conductor Sophie Cherrier, Emmanuelle Ophèle, flute Didier Pateau, Philippe Grauvogel, oboes Martin Adámek, Jérôme Comte, clarinets Alain Billard, bass clarinet Loïc Chevandier*, Paul Riveaux, bassoons Jens McManama, Jean-Christophe Vervoitte, French horns Clément Formatché*, Clément Saunier, trumpets Jérôme Naulais, Benny Sluchin, trombones Jérémie Dufort*, tuba Françoise Rivalland*, cymbalum Gilles Durot, Samuel Favre, percussions Dimitri Vassilakis, Hidéki Nagano, pianos Frédérique Cambreling, harp Jeanne-Marie Conquer, Diégo Tosi, David Fulmer*, violins Odile Auboin, John Stulz, violas Pierre Strauch, Eric-Maria Couturier, cellos Nicolas Crosse, double bass *Additional musicians

The fact that we can augment reality is now taken for granted by any inhabitant of a major city who owns a smartphone: the touchscreen causes our sensory impressions to merge porously with the extensions from the software, resulting in a hybrid overall experience in which reality becomes virtual and virtual reality becomes real. Just imagine how great the astonishment must have been for music aficionados when they first heard Pierre Boulez’s Répons close to 40 years ago near the source of the Danube. In it, instruments that are played live are also transformed live and moved about the performance space by means of what at that time was new, experimental technology. All of a sudden, reality was duplicated!

The key to this fascinating new sound world was a sensitive, magical machine bearing the enigmatic name “4X.” To make its premiere, it initially had to be unscrewed and embark on a journey – only to end up in severely bad weather.

IRCAM Andrew Gerzso, IRCAM Computer Music Design Gilbert Nouno, IRCAM Computer Music Production Jérémie Henrot, IRCAM Computer Engineer

OTHER HAPPENINGS ARTIST TALK Saturday, October 7 at 6:00pm Conductor Matthias Pintscher and Ara Guzelimian (Provost & Dean, The Juilliard School) discuss the legacy of composer Pierre Boulez and the realization of his spatial work in a live performance setting.

ARMORY AFTER HOURS Join us after evening performances for libations with fellow attendees – and often the evening’s artists – at a special bar in one of our historic period rooms.

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4X The hardships that accompanied the world premiere of the first version of Répons in 1981 still resound in the memory of Tod Machover, who at the time was serving as sound assistant. “The 4X was literally a hand-made device with delicate circuits and wiring that connected to a mid-size, not-very-portable computer (there were no PCs then). Special software had been written to harness oscillators and multipliers to twist live instrumental sounds into modulations, delays, and spatial movement. Like a custom-tuned Italian sports car, the 4X exceeded all other machines in performance but had no maintenance manual, needing the personal care of Peppino [the engineer Giuseppe di Giugnto] to keep it humming along. The 4X had never left Paris, but it seemed to survive the road trip to Donaueschingen and turned on and started working – more or less – when we reached the school gymnasium concert venue.”

A great deal was at stake with that world premiere in a school gymnasium in one of the Meccas of contemporary music, Donaueschingen – especially for the composer Pierre Boulez. He had succeeded in founding an institute in Paris dedicated to research in and development of technologies for the performance of live electronic music: the Institut de Recherche et Coordination Acoustique/ Musique (abbreviated IRCAM), which to this day is headquartered underneath the Centre Pompidou. “Boulez created IRCAM and invented Répons, and only the Institut could fulfill what he had in mind,” the composer Wolfgang Rihm sardonically remarked in his eulogy for Boulez. “Museums were not his cup of tea.” A true enough statement, and truly understated: with Répons, Pierre Boulez had to produce nothing less than proof that the path he had forged would promise success and that, as director of this institution, he knew how to use these technologies to advantage. But a power failure caused by a heavy storm nearly destroyed all these efforts with one fell blow in October 1981 – just before the entrance of the electronics. “As elevated as the tension was inside the room waiting for the concert to start, the weather outside was even worse,” Machover recalls.

“Rain was pounding, and thunder and lightning were increasing in frequency.

In this atmosphere, Boulez took the podium to start the historic performance. […]. One of music’s great moments is when – after about seven minutes of acoustic instrumental scurrying – the center ensemble stops on a tremolo chord, and suddenly the six soloists come crashing in, playing forceful lines that are scattered and shattered electronically throughout the space. It is as if the heavens have opened up, and a new world has been introduced. All went well through the seven minutes of acoustic playing, although one could hear the storm growing in intensity outside. The musicians reached their tremolo chord, Boulez held the fermata, and those of us seated at the technical command center – right behind Boulez – crossed our fingers and held our breath hoping that the 4X machine would actually work as planned – or work at all since it was so fragile. At that very moment, just before Pierre cued in the six soloists, a huge clap of thunder and lightning was heard outside, a huge bang was heard, and all the electricity in the gymnasium concert hall went completely out. Not a light, not a sound, nothing.

Everyone waited in silence for the electricity to come back on, but nothing happened at all.”

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Boulez interrupted the concert and suddenly called for an intermission. His technical team, led by Giuseppe di Giugno, was in a cold sweat, while he himself seemed by contrast outwardly calm as the intermission drew to its close. “Boulez knew that he could not control nature,” observes Machover, “but had done everything possible to create the circumstances for success.”

THE WORK AS A SPIRAL The audience at this world premiere heard only a fraction of the work that we know as Répons today. Through a lengthy process of revising and continuing to work on the piece, Pierre Boulez extended Répons to more than double its original duration. This process was typical of the composer, who continued writing a large number of his works through an unfolding process of “prolifération” that lasted years, constantly searching for the ideal form for his initial idea. “It involves not merely an expansion of the concept of variation, an ornamental or radical restructuring of the musical material; it can also involve another kind of representation, a shift in illumination, a changed view of the meaning of the elements, an unprecedented confrontation, a sudden or furtive introduction of new elements,” as Boulez has described his approach. We might just as well speak of an infinite form (to adapt Wagner’s idea of infinite melody): a form that is incessantly changing and no longer requires old schemes. “This infinite form presupposes a constant transformation of goals and perspectives. […]. Utopias often lead us to reality: the work as a spiral, the work as a labyrinth – these are the two images that reflect the complexity and the infinity of the relationships between system and idea: indeterminacy is effaced by the work, and this at the same time, for the work calls it up again, so as to be able to exist.”

RESPONSORIAL SPACE Naturally, IRCAM has in the meantime also invented lighter, more transportable digital setups. Yet through all its stages, Boulez preserved the basic concept of the work, which already provides for a relationship between the audience and instrumentalists that is clearly different from the usual one. An ensemble comprising 24 musicians (strings, woodwinds, and brass) is situated with the conductor in the middle of the performance space. Placed at some distance around this ensemble are six instrumental soloists. Between the soloists and the ensemble, in another hexagon, are six loudspeakers. The audience, divided into two halves, is located in the middle of this “spatial matrix.” The listener is right in the center of what happens musically. (These musical events inevitably sound different from each seat, none of which sounds like the “ideal position” of the composing conductor.) Numerous composers in the second half of the 20th century have rediscovered space as an important component of a composition.

Think, for instance, of Karlheinz Stockhausen’s pioneering works Gruppen (1955-57) and Carré (1959-60) or of Terretektorh (1965-66) and Nomos Gama (1967-68) by Iannis Xenakis. The title Répons underscores the fact that the composer was aware of historical models. He makes use of responsorial singing from Christian ecclesiastical practice, in which one or more soloists would sing the tone, followed by the congregation’s response. Boulez also deployed this kind of antiphonal structuring in other works, for example in Rituel in memoriam Bruno Maderna. The Boulez biographer Theo Hirsbrunner additionally points to Stravinsky’s adaptation of Venetian polychorality in works like Canticum Sacrum ad Honorem Sancti Marci Nominis and the Requiem Canticles – pieces that Boulez not only had heard himself but also programmed on his Domaines Musicales series in Paris. Within Boulez’s own oeuvre, the piece Poésie pour pouvoir from 1958 is an immediate predecessor – though at that time Boulez had to content himself with tapes, as he was unable to resort to live manipulations of the instrumental sound.

further enhanced by the similarities and differences in the sonorities of harp and cymbalum, vibraphone and glockenspiel. Taking a comprehensive approach, Boulez has evidently decided here to compose not only the sound’s emergence, but its disappearance as well. “The sonic result of this ‘mix’ of instrumental sonorities and electronics is breathtaking,” as the composer Oliver aptly puts it. “Arpeggios are mirrored temporally and unfettered echoes whirl about, while pulsing chords and wide-spanning trill textures suddenly topple over into streams of sound that pour out like a cascade, large-scale crescendi become stronger and grow into vast agglomerations, and now and then the whole thing begins to veritably ‘swing’!”

THE FAIRY Répons was written at a moment when Pierre Boulez was reflecting critically on earlier radical positions of his own and his peers. “The strictness of the technical apparatus should implicitly guarantee aesthetic validity […] and the role of the composer is limited to registering the results, to a protocol function.” Répons is a work that makes the composer’s experiences in the electronic studio productive, not only in terms of technology but also aesthetically. This gave him further insight into the psychology of perception. Thinking in terms of rows, parameters, motives, and harmonies is complemented or partially replaced by the reverberation of envelope curves, signals, of musical “shapes.” All of this was not in the service of making the work allegedly easy to comprehend, but for the sake of a new way of writing that at the same time produces a new, artificial, yet profoundly human way of seeing the world: a play of similarities, modifications, re-encounters, errors, wrong tracks, of moments of isolation and community. A play of life. Where is it written that the responsorial relationship to which the title alludes should refer only to the musicians’ relationship with each other? Is it not much more the case that the response to what is played resounds in each individual listener’s prism of perception? Or is it the listener who tunes the first note? And the musicians who then give a response? “Let us keep ourselves from forgetting the arsenal provided us by eye and ear, which can come to our aid,” Boulez warned his readers. “Otherwise, as in the old stories, the fairy who has been forgotten will get her revenge. […]. Let us then learn to live out the instability of our condition to the full. As common sense teaches us, we are beings steeped in both instinct and reason. [...]. I see no advantage in getting rid of the one to benefit the other.”

Switch on all senses. Répons demands it. Altogether.

– PATRICK HAHN Patrick Hahn is a writer and dramaturg. He has been working since 2015 as the artistic programming planner for the Gürzenich Orchestra Cologne.

AN ART OF PERMANENT TRANSITIONS What is extraordinarily vivid in the Boulezian sound cosmos is its continuous expansion: a movement that the composed sound – layer by layer – in Répons paradigmatically draws out from the complesso of the middle instrumental group, over the island of soloists on the edge, into the spatial sound of the electronics that cannot be located, so as from there to be held in vibration, in constant motion between these stages: an art of permanent transition is evolved. Through its movement, the sound generates a deeply layered, different sound hidden from the very first perception, a sound whose frequency also governs between the works.

Boulez is for me an artist of quintessentially darkened, indeed dusky colors and energies. Most composers work with shades of brightness; Boulez seems to explore the shadings of darkness. There is a sound of distance, of a husky voice, sometimes of a far-away roaring. His power lies in his discretion.

– WOLFGANG RIHM

ECHO SPACES With the instrumentation and positioning he uses in Répons, Boulez creates contrasts and correspondences. Each of the six soloists behind the audience plays instruments that have a clear attack but whose sound fades and cannot be sustained or prolonged at will: two pianos (in one position an electronic organ as well), cymbalum, xylophone and glockenspiel, harp, and vibraphone are located in the six positions. Between the instrumental ensemble in the center and the soloists, Boulez produces a virtual sonic space by using loudspeakers, a space where notes are not only prolonged, delayed, modulated sonically, or altered in pitch, but also, significantly, can be spatially moved around. This is among the most uncanny moments in Répons: when you get the sense that the soloists themselves are beginning to move through the space – a sense that is

Translations by Thomas May.

Thompson Arts Center at Park Avenue Armory, 643 Park Avenue at 67th Street

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ABOUT THE ARTISTS PIERRE BOULEZ Pierre Boulez (composer) (born March 26, 1925, Montbrison, France— died January 5, 2016, Baden-Baden, Germany), was an essential part of the contemporary music world for more than six decades. His first compositions date back to the mid-1940s, when he emerged from studies in Paris with Olivier Messiaen, who encouraged his technical acumen, his intensity, and his curiosity about Asian and African as well as European music. At the same time, lessons with René Leibowitz, a Schoenberg and Webern scholar, introduced him to twelve-note composition, which he immediately adapted to his own purposes.

His Second Piano Sonata (1947-1948), a work of Beethovenian range and power, marked his creative coming of age.

The next step was a reduction, an exhaustive examination of the basic elements of music in an attempt to make rhythmic values, loudness, and nuances of touch obey serial principles: this happened in the first section of his Structures I for two pianos (1952). With this gained knowledge, he returned to larger issues in the later part of this work and in Le marteau sans maître for contralto and mixed sextet (1953-1955), whose combination of delectableness and stringency made it a classic of modern music. A further opening produced the brilliant Pli selon Pli (1957-1962), a portrait of the poet Mallarmé in music for soprano and an orchestra rich in percussion.

He more and more frequently appeared as a conductor, using at first his brilliant mental and technical skills as a conductor of contemporary music, notably with the Domaine Musical he founded in Paris, but rapidly began to be engaged to conduct a wider range of music, performing Wagner in Bayreuth, Guillaume de Machaut in Los Angeles, and Beethoven in London. His appointment in 1971 as Principal Conductor of the BBC Symphony Orchestra in London had far-reaching effects on the musical life of Britain and Europe, while his acceptance of the Musical Director position of the New York Philharmonic had an equally stimulating effect on American music, posts he held until 1975 and 1977 respectively. A few important works were achieved during this period, and seemed to thrive on his contact with the orchestra and with the art of conducting: notably Eclat/Multiples (1970) and Rituel (1974-1975).

In the mid-1970s, with the support of the French government, Boulez created and directed the experimental Institute for Research and Coordination in Acoustics/Music (IRCAM), which was housed in the Pompidou Centre in Paris, and the instrumental group, the Ensemble intercontemporain, which became one of the world’s most important contemporary music ensembles. Boulez toured with the group as its conductor until 1992 and continued as president thereafter. During this time, his contact with computer technicians and musicians brought to bear on the composition of Répons (1981-1984), followed by another electronic project, ...explosante-fixe... (1991-1993) for Midi-flute, two solo-flutes, ensemble, and electronics.

Again conducting on a regular basis, he created a close relationship with outstanding American and European orchestras. Amongst many others, he conducted the inaugural concert of the cité de la musique at La Villette, a four orchestra Boulez-Festival in Tokyo, prestigious worldwide tours with the London Symphony Orchestra celebrating his 70th, 75th, and 80th birthdays and new productions of Schoenberg’s Moses and Aron with Peter Stein, Bartok’s Bluebeard’s Castle with Pina Bausch, a De Falla-Stravinsky-Schönberg production staged by Klaus Michael Grüber, and returned to Bayreuth in 2004 and 2005 to conduct Parsifal in a staging by Christoph Schlingensief. In 2007, he conducted his renewed and highly acclaimed collaboration with Patrice Chéreau for the staging of Janaceks’ opera From the House of the Dead in Vienna, Amsterdam, and Aixen-Provence. After being the “Grand invité” of the prestigious Louvre Museum in November 2008, he was the composer-in-residence at the Mozartwoche in Salzburg. He played, together with Daniel Barenboïm, the complete symphonic works of Mahler at Carnegie Hall in May 2009 and received the Kyoto-Prize.

Conducting the most prestigious orchestras, his 85th birthday year brought him amongst others to Chicago, New York, Cleveland, Paris, Vienna, and Berlin. In 2011, he recorded with Daniel Barenboïm the Liszt piano concerts, then Mahler’s

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Klagende Lied with the Vienna Philharmonics. Again directing the Lucerne Festival Academy before conducting his prominent work Pli selon pli on tour, he received the Giga-Hertz-Prize for his electronic work. His collaboration with the Lucerne Festival continued in 2012, 2013, and 2014. In 2015, amongst many other celebrations, he received a special Grammy Award for Lifetime Achievement and was elected honorary citizen of the town of Baden-Baden, Germany, and honorary member of the SWR Symphony Orchestra.

After signing an exclusive contract with Deutsche Grammophon in 1992, Boulez devoted a considerable amount of his time recording important works of the 20th century. His recordings have won 27 Grammy Awards, including one for Lifetime Achievement, as well as many Echo, Gramophone, and Deutscher Schallplatten awards.

At the same time he continued his work as a composer, writing Incises (1994), sur Incises (1996-1998), Anthèmes 2 (1997), Notations VII (1998), Dérive 2 (2006), as well as assuming the Composer’s Chair at Carnegie Hall and the position of Conductor Emeritus of the Chicago Symphony Orchestra.

Acclaimed worldwide, many honorary doctorates were conferred upon him and he received numerous prizes including the Ernst von Siemens Music Prize, Leonie Sonning Music Prize, Praemium Imperiale, Kyoto Music Prize, Polar Music Prize, Wolf Prize, Grawemeyer Award, and BBVA Foundation Frontiers of Knowledge Award.

MATTHIAS PINTSCHER Matthias Pintscher (music director and conductor) is the Music Director of the Ensemble intercontemporain and became Principal Conductor of the Lucerne Festival Academy Orchestra at the start of the 2016-2017 season. He is currently in his eighth year as Artist-in-Association with the BBC Scottish Symphony Orchestra. In the 2017-2018 season, Pintscher makes several significant debuts including with the Royal Concertgebouw Orchestra, London Symphony Orchestra, Berlin Radio Symphony, Finnish Radio Symphony, and the Gulbenkian Orchestra in Lisbon.

In addition to the ambitious presentation of Pierre Boulez’s Répons at Park Avenue Armory, Pintscher and the Ensemble intercontemporain perform a number of concerts on tour in London (Royal Festival Hall), Vienna (Konzerthaus), and Cologne (Philharmonie). In addition, they will be joined by alumni of the Lucerne Festival in a special multi-media Messiaen project which will be performed in four cities. Return guest engagements this season include the Los Angeles Philharmonic in both a subscription week and at the Hollywood Bowl, Atlanta Symphony Orchestra, Utah Symphony, Saint Paul Chamber Orchestra (where he premieres Salvatore Sciarrino’s new piano concerto with Jonathan Biss), Orchestre de la Suisse Romande, Frankfurt Radio Symphony, and the Mahler Chamber Orchestra conducting Beethoven’s Ninth Symphony.

An enthusiastic supporter of and mentor to students and young musicians, Pintscher will also work with the Karajan Academy of the Berlin Philharmonic, culminating in a concert at the Philharmonie.

In the 2016-2017 season, Pintscher was featured as the inaugural composer-inresidence and artist-in-focus at Hamburg’s new Elbphilharmonie concert hall which opened in January 2017. He took the Ensemble intercontemporain on tour to Asia and celebrated the orchestra’s 40th anniversary. Other highlights included guest appearances with the Cleveland Orchestra, Dallas Symphony, National Arts Centre Orchestra (Ottawa), Kammerphilharmonie Bremen, and Bayerische Rundfunk, among others. Last season also saw the premiere of Pintscher’s new compositions un despertar, his second cello concerto, performed

by Alisa Weilerstein and the Boston Symphony Orchestra under the direction of François-Xavier Roth; and Shirim for baritone and orchestra, with Danish singer Bo Skovhus and the NDR Elbphilharmonie Orchestra led by Christophe Eschenbach. Pintscher began his musical training in conducting, studying with Peter Eötvös in his early twenties, during which time composing soon took a

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more prominent role in his life. He began to divide his time equally between conducting and composing, rapidly gaining critical acclaim in both areas of activity. As composer, Pintscher’s music is championed by some of today’s finest performing artists, orchestras, and conductors. His works have been performed by such orchestras as the Chicago Symphony, Cleveland Orchestra, New York Philharmonic, Philadelphia Orchestra, Berlin Philharmonic, London Symphony Orchestra, and the Orchestre de Paris. Bärenreiter is his exclusive publisher, and recordings of his compositions can be found on Kairos, EMI, Teldec, Wergo, and Winter & Winter. Pintscher has been on the composition faculty of the Juilliard School since 2014.

PIERRE AUDI Pierre Audi (mise-en-espace) is a critically acclaimed director and artistic director, serving as the Artistic Director of Park Avenue Armory. He also serves as the Artistic Director of the Dutch National Opera, a position he will hold until September 2018, when he will take over as General Director of the Festival d’Aix-en-Provence. He founded the Almeida Theatre in London, which, under his direction, has established an international reputation for producing provocative new plays and musical commissions; introducing a vast number of then-living composers to the U.K., from Cage to Schnittke and Arvo Pärt; and mounting for the first time in the U.K. works by Robert Wilson, Deborah Warner, Simon McBurney, and Robert Lepage, among others. Appointed head of the Dutch National Opera in 1988, Mr. Audi was the youngest opera leader at the time and today is the longest serving in the world. His numerous critically acclaimed performances include his staging of Wagner’s Ring cycle, in which the orchestra was set in the middle of the stage, and his now-classic Monteverdi cycle, which has been presented at the Brooklyn Academy of Music, Sydney Festival, and Los Angeles Opera. Mr. Audi has also worked as a guest director at a number of opera and theater companies, including The Metropolitan Opera, Paris Opéra, Ruhrtriennale, Salzburg Festival, and Vienna Staatsoper. From 2004 to 2014 he served as artistic director of the Holland Festival, presenting works in music, dance, theater, and visual art by such artists as William Kentridge and Ryoji Ikeda; directors Peter Sellars, Sam Mendes, and Ivo van Hove; choreographers William Forsythe, Mikhail Baryshnikov, and Anne Teresa de Keersmaeker; and contemporary composers John Adams, Nico Muhly, Kaija Saariaho, and Louis Andriessen.

URS SCHÖNEBAUM Urs Schönebaum (lighting designer) studied photography in Munich. He worked from 1995 to 1998 with Max Keller as a part of the lighting department of Münchner Kammerspiele. After being Assistant Director for Productions at Grand Theatre de Geneve, Lincoln Center, and Münchner Kammerspiele, he started in 2000 to work as a lighting designer for opera, theater, dance, art installations, and performances. Schönebaum participated in over 130 productions at major theaters including Covent Garden, London; Opéra Bastille, Opera Garnier, La Comédie Française, and Théâtre du Châtelet in Paris; La Monnaie, Brussels; Opera de Lyon; Metropolitan Opera; Staatsoper unter den Linden, Schaubühne, and Deutsches Theater in Berlin; Bayerische Staatsoper and Residenztheater in Munich; Dramaten in Stockholm; Det Norske Teatret in Oslo; Teatro dell’Opera in Rome; Festival d’Avignon; Teatro Real in Madrid; Festival d’Aix en Provence; Bolshoi Theater in Moscow; Salzburger Festspiele; NCPA and Poly Theater in Beijing; Sydney Opera House; Dutch National Opera; Bayreuth Festival; and Wiener Festwochen. He works with stage directors including Thomas Ostermeier, La Fura dels Baus, William Kentridge, Pierre Audi, Michael Haneke, Sidi Larbi Cherkaoui, Sasha Waltz, and is longtime collaborator of Robert Wilson. His work includes lighting designs for art projects with Vanessa Beecroft, Anselm Kiefer, Dan Graham, Taryn Simon, and Marina Abramović, and has designed works for installations in Karkow, Munich, Salzburg, and New York. In 2012 he directed and designed the two operas Jetzt and What Next? and in 2014 Happy Happy, all composed by Mathis Nitschke at the Opera National de Montpellier. In 2017 he created the set and lighting design for the production Bomarzo at the Teatro Real in Madrid.

SAMUEL FAVRE Samuel Favre (percussion) was born in 1979 in Lyon, France, and started percussion under Alain Londeix at the Lyon Regional Conservatory, where he won a Gold Metal in 1996. That same year saw him join the Higher National Conservatory for Music and Dance in Lyon in the classes of Georges Van Gucht and Jean Geoffroy, where he graduated in musical studies in 2000 with firstclass honors and unanimity of the jury. Along with his music course, he enrolled in the Aix-en-Provence Festival Academy, as well as the Acanthes Center for Contemporary Music. He also started to work with Camille Rocailleux, composer and percussionist, who invited him to join the ARCOSM company to create Echoa, combining music and dance, which was performed almost 400 times in France and internationally. As a member of the Ensemble intercontemporain since 2001, Favre has recorded a number of pieces, including Le Marteau sans maître by Pierre Boulez and Double Concerto pour piano et percussion by Unsuk Chin.

GILLES DUROT Gilles Durot (percussion) was a multi-instrumentalist from an early age, developing his gifts as a percussionist while studying with Jean-Daniel Lecoq at the Bordeaux Conservatoire and in Michel Cerutti’s class at the Conservatoire National Supérieur de Musique et de Danse in Paris. It was not long before he was placing these gifts in the service of Paris’s leading orchestras, notably the Orchestre National de France, the Orchestre Philharmonique de Radio France, and the Orchestre de l’Opéra National de Paris. Among the many eminent conductors with whom he has worked are Pierre Boulez, Lorin Maazel, Kurt Masur, MyungWhun Chung, Peter Eötvös, Jonathan Nott, David Robertson, and Matthias Pintscher. He joined the Ensemble intercontemporain at the end of 2007 and has also been a soloist with the Ensemble Multilatérale since its foundation in 2005 and a member of the Paris Percussion Group. In 2008 he founded the Trio K/D/M, whose other two members are the percussionist Bachar Khalifé and the accordionist Anthony Millet. Together they have created a new repertory, which they have helped to bring to the attention of an international audience with their performances at venues all over the world, including the Centre Pompidou in Paris, the Villa Medici in Rome, the Berlin Philharmonie, the Doha Opera House, and the Teatro Colón in Buenos Aires. Durot is a laureate of the Meyer Foundation for the promotion of culture and the arts and in 2010 received the Music Award of the Simone and Cino Del Duca Foundation that operates through the Académie des Beaux-Arts and that has been administered by the Institut de France since 2005. In 2016 he was appointed professor of percussion at the Paris Conservatoire, and also teaches at the Lucerne Festival Academy and at the Pôle d’Enseignement Supérieur de la Musique et de la Danse in Bordeaux.

DIMITRI VASSILAKIS Dimitri Vassilakis (piano) began his musical studies in Athens, Greece, where he was born in 1967, continuing at the Paris Conservatoire National Supérieur de Musique, in particular under Gérard Frémy, where he won First Prize for piano (unanimously), for chamber music and for accompaniment. He also studied with Monique Deschaussées and György Sebok. Since 1992 he has been a soloist with the Ensemble intercontemporain. Other composers he has worked with include Iannis Xenakis, Luciano Berio, Karlheinz Stockhausen, and György Kurtàg. His recording Le Scorpion with the Percussions de Strasbourg won the Charles Cros Academy Grand Prix du Disque in the category “Best Contemporary Music Recording 2004”.

His festival appearances include Salzburg, Edinburgh, Lucerne, the Florence Maggio Musicale, the Warsaw Autumn, the Ottawa Chamber Music Festival, and the London Proms. He has performed in concert halls such as the Berlin Philharmonic (under Sir Simon Rattle), Carnegie Hall, Royal Festival Hall, Amsterdam Concertgebouw, and Teatro Colón. His repertoire runs from Bach to emerging contemporary composers including the complete piano works by Pierre Boulez and Iannis Xenakis. His albums include, among others, the Goldberg Variations and excerpts from The Well-Tempered Clavier by Bach (with the label Quantum), etudes

by György Ligeti and Fabiàn Panisello (Neos), and Boulez’s first complete works for piano (Cybele). His recording of Incises (for which he performed the world premiere) appears in the boxed set of the complete works of Boulez published by DGG.

Thompson Arts Center at Park Avenue Armory, 643 Park Avenue at 67th Street

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HIDÉKI NAGANO

ANDREW GERZSO

Hidéki Nagano (piano) was born in 1968 in Japan, and joined the Ensemble intercontemporain in 1996. At the age of 12, he won First Prize at the National Student Competition. Following his studies in Tokyo, he continued at the Conservatoire National Supérieur de Musique de Paris, where he studied piano with Jean-Claude Pennetier and vocal accompaniment with Anne Grappotte.

After graduating with highest honors in vocal accompaniment, piano, and chamber music, he won prizes at several international competitions: Montreal, Barcelona, Maria-Canals. In 1998 he received two awards for young talents in Japan (the Muramatsu Award and the Idemitsu Award), and in 1999 obtained the Prix Samson François at the first International 20th Century Piano Competition in Orléans. Pursuing relationships with contemporary composers to perform uncommon repertoire, his soloist recordings include works by Antheil, Boulez, Messiaen, Murail, Dutilleux, Prokofiev, and Ravel. He regularly performs in France and Japan as a soloist and with chamber ensembles, and has been a guest soloist with the NHK Symphony Orchestra under the baton of Charles Dutoit.

Andrew Gerzso (IRCAM Computer Music Design) was born in Mexico City, Mexico, and studied flute and composition at the New England Conservatory in Boston, California Institute of the Arts in Los Angeles, and the Royal Conservatory in The Hague. As a member of IRCAM’s permanent staff since 1977, he has held over the years a number of positions in the areas of scientific research as well as musical research and production. In 1993 he created the IRCAM Forum (the IRCAM software user group) and in 2000 he created the “Pôle Spectacle” (a multi-disciplinary project aimed at the dissemination of IRCAM technologies in the area of the performing arts). Since 2012 he is the director of the Pedagogy and Cultural Outreach department. He currently coordinates the Ulysses (2016-2020) European Project aimed at promoting the creation and dissemination of works by young composers, and also coordinates IRCAM’s participation in the Interfaces (2016-2019) European Project coordinated by the Onassis Foundation in Athens, Greece. He is an expert for the European Commission for the H2020 scientific projects. From 1980 to 1995 he collaborated with Pierre Boulez for the annual seminars at the College de France, and from 1980 to 2011 he collaborated with Pierre Boulez at IRCAM for the electro-acoustic realization of Répons in (1981-2011), Dialogue de l’Ombre Double (1985), Explosante-fixe (1991-1995), and Anthèmes 2 (1997). The Deutsche Grammophon recordings of Explosante-fixe and Répons received Grammy Awards in 1996 and 1999 respectively. He has published articles on computer music in journals such as La Recherche, Pour la Science, Scientific American, Leonardo, Contemporary Music Review, and les Cahiers ENS Louis-Lumière.

FRÉDÉRIQUE CAMBRELING Frédérique Cambreling (harp) divides her professional life between her musical career at the Ensemble intercontemporain, which she joined in 1993, and her activity as a solo concert artist. She taught at Musikene (Spain) from 2002 to 2011, and is currently teaching at the Didactique Instrumentale at the Conservatoire de Paris (CNSMDP). She is also a member of the Salzedo trio.

Cambreling trained as a musician in France and won three major international prizes in 1976 and 1977 – 3rd prize at the Guild des Artistes Competition, 2nd prize at the Israeli Music Competition, and 1st prize at the Marie-Antoinette Cazala Competition – before being appointed solo harpist at the Orchestre National de France from 1977 to 1986. Fascinated by her instrument’s diversity of expression, Cambreling’s musical eclecticism has led her to perform extensively in concert, both in France and internationally. A number of composers have written works for her, and she has performed in the premieres of works such as Dreamtime

by Philippe Boesmans for harp, tuba, and ensemble; Die Stüke der Sängers by Wolfgang Rihm for solo harp and ensemble; Hélios by Philippe Schoeller for harp and orchestra; Concerto for three harps by Andreas Dohmen; Danzas secretas

by Luis de Pablo for harp and orchestra; Soleil Filaments by Frederic Pattar for bass, harp, and ensemble; L’horizon et la verticale by Gerard Buquet for two harps and orchestra; as well as works by Michaël Jarrell, Aurelio Edler-Copes, and Tôn-Thât Tiêt. In tribute to Luciano Berio, Cambreling was invited to the 2003 Donaueschingen festival, where she performed Chemins I with the Freiburg SWR Symphony Orchestra under the baton of Sylvain Cambreling, and again in 2011 to the Berlin Philharmonic concert hall to perform with the Berlin Konzerthaus Orchestra, conducted by Lothar Zagrosek. She has made numerous recordings covering a wide range of harp music.

FRANÇOISE RIVALLAND Françoise Rivalland (cymbalum) studied percussion with Gerard Hieronimus, Francis Branna, Gaston Sylvestre, and Jean-Pierre Drouet, the zarb with Dariush Tari and conducting with Dominique Rouits and Jean-Louis Gil. An interpreter of contemporary music, mainly in chamber music with numerous international ensembles and as a soloist, she collaborates with many composers to create and interpret their works. Since 1987, she has participated in a number of performances by Georges Aperghis, as an interpreter, assistant, and director.

Recently, she has focused her activities on cymbalum, zarb, santour, and the use of voice in solo programs and in improvisation, for different performances with composers and performers including Hans Tutschku, Rozemary Heggen, Kamilya Jubran, Jooseon Cho, Les Witches, Sylvain Prunenec, Elena Andreyev, Suzanne Doppelt, Sonia Wieder-Atherton, Jos Houben, Vincent Lhermet, Angèle Chemin, and Imke Franck. Between 2004 and 2017, she taught composition and theory at theBern University of the Arts. Since 2016, in connection with various personal works of musical composition and research in computer lutherie, she has been involved in several artistic projects including The Possible Escape with Kathy Mépuis (dancer, choreographer) and Albert Coma Fabregas (videographer), and Zamkana with Kamilya Jubran (musician, singer); two works with the aim of creating performances with links for people with disabilities, whether they be physical, cerebral or social, in order to showcase the richness of difference.

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ENSEMBLE INTERCONTEMPORAIN Ensemble intercontemporain was founded in 1976 by Pierre Boulez with the support of Michel Guy, who was Minister of Culture at the time, and the collaborator Nicholas Snowman. The Ensemble’s 31 soloists share a passion for 20th and 21st century music. They are employed on permanent contract, enabling them to fulfill the major aims of the Ensemble: performance, creation, and education for young musicians and the general public. Under the artistic direction of Matthias Pintscher, the musicians work in close collaboration with composers, exploring instrumental techniques and developing projects that interweave music, dance, theater, film, video, and visual arts. In collaboration with IRCAM (Institut de Recherche et Coordination Acoustique/Musique), the Ensemble intercontemporain is also active in the field of synthetic sound generation. New pieces are commissioned and performed on a regular basis. The new creations of the Ensemble intercontemporain are supported by Fondation Meyer. The Ensemble is renown for its strong emphasis on music education: concerts for kids, creative workshops for students, training programs for future performers, conductors, and composers. Since 2004, the Ensemble soloists have been tutoring young instrumentalists, conductors, and composers in the field of contemporary repertoire at the Lucerne Festival Academy, a several week educational project held by the Lucerne Festival. Resident of the Philharmonie de Paris, the Ensemble performs and records in France and abroad, taking part in major festivals worldwide. The Ensemble is financed by the Ministry of Culture and Communication and receives additional support from the Paris City Council.

IRCAM IRCAM (the Institute for Research and Coordination in Acoustics/Music) is directed by Frank Madlener and is one of the world’s largest public research centers dedicated to both musical expression and scientific research. This unique location where artistic sensibilities collide with scientific and technological innovation brings together over 160 collaborators. IRCAM’s three principal activities — creation, research, transmission — are visible in IRCAM’s Parisian concert season, in productions throughout France and abroad, in a yearly rendezvous, ManiFeste, that combines an international festival with a multidisciplinary academy. Founded

by Pierre Boulez, IRCAM is associated with the Centre Pompidou, under

the tutelage of the French Ministry of Culture and Communication. The mixed STMS research lab (Sciences and Technologies for Music and Sound), housed by IRCAM, also benefits from the support of the CNRS and the University Pierre and Marie Curie.

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ABOUT THE ARMORY Part American palace, part industrial shed, Park Avenue Armory is dedicated to supporting unconventional works in the visual and performing arts that need non-traditional spaces for their full realization, enabling artists to create, students to explore, and audiences to consume epic and adventurous presentations that can not be mounted elsewhere in New York City.

Since its first production in September 2007, the Armory has organized and commissioned immersive performances, installations, and cross-disciplinary collaborations by visionary artists, directors, and impresarios in its vast drill hall that defy traditional categorization and to push the boundaries of their practice.

In its historic period rooms, the Armory presents small-scale performances and programs, including its acclaimed Recital Series in the intimate salon setting of the Board of Officers Room and the Artists Studio series in the newly restored Veterans Room. The Armory also offers robust arts education programs at no cost to underserved New York City public school students, engaging them with the institution’s artistic programming and the building’s history and architecture.

Built between 1877 and 1881, Park Avenue Armory has been hailed as containing “the single most important collection of nineteenth century interiors to survive intact in one building” by the New York City Landmarks Preservation Commission. The 55,000-squarefoot Wade Thompson Drill Hall, with an 80-foot-high barrel vaulted roof, is one of the largest unobstructed spaces in New York City. The Armory’s magnificent reception rooms were designed by leaders of the American Aesthetic Movement, among them Louis Comfort Tiffany, Stanford White, Candace Wheeler, and Herter Brothers. The building is currently undergoing a $215-million renovation designed by Herzog & de Meuron and Platt Byard Dovell White Architects as Executive Architects.

BOARD OF DIRECTORS Co-Chairman Elihu Rose, PhD. Co-Chairman Adam R. Flatto President & Executive Producer Rebecca Robertson Marina Abramović Harrison M. Bains Wendy Belzberg Emma Bloomberg Martin Brand Cora Cahan

Peter C. Charrington Hélène Comfort Paul Cronson Emme Levin Deland Sanford B. Ehrenkranz David Fox Marjorie L. Hart Edward G. Klein, Major General NYNG (Ret.) Ken Kuchin Mary T. Kush Pablo Legorreta Ralph Lemon Heidi McWilliams David S. Moross

Gwendolyn Adams Norton Joel Press Genie H. Rice Amanda J.T. Riegel Janet C. Ross Joan Steinberg Emanuel Stern Mimi Klein Sternlicht Angela E. Thompson Deborah C. van Eck Founding Chairman, 2000-2009 Wade F.B. Thompson

Thompson Arts Center at Park Avenue Armory, 643 Park Avenue at 67th Street

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HEARING SOMETHING ABOUT OURSELVES Répons Arts Education Program “No artwork can be understood. It can be only perceived.

We’re listening to what we have inside ourselves…We hear or see in an artwork what we have experienced and what we want to experience…We should always stay curious and open to exploring…there is no such thing as a qualified listener. We’re all equally qualified. The people with a lot of experience and the people with zero experience. We all hear something about ourselves and this is Répons.” – Matthias Pintscher

Students are offered some questions to consider during their experience of the Répons dress rehearsal: What individual instruments can you hear when the entire orchestra is playing? What are their parts adding to the whole?

Where does it seem like the sound is coming from? Does that stay consistent throughout the performance or does it change? How does the music move throughout the space? What emotions are evoked by the music? How do you imagine your body could move to the music? Bearing in mind that Répons means “response,” do you hear moments when different instruments or parts sound like they’re responding to each other?

This sentiment is central to the ethos of Park Avenue Armory’s arts education program, and has significantly informed the Armory’s approach to student engagement with Répons. Arts education is one of three prime missions of the Armory, along with unconventional arts productions and restoration and design.

Offered at no cost to underserved New York City public schools, students are exposed to the work and creative process of world-class artists, explore epic works with experienced Armory teaching artists, and express their own interpretation using a different art form. Each visual art installation extends exclusive “student only” hours for New York City public schools and there is at least one dedicated student experience for each performing arts production. Over 700 NYC public school students are participating in the Répons arts education program.

Drawing from the idea that we are all equally qualified listeners who perceive an artwork based on who we are as individuals, in post-show workshops students discuss their perceptions of and reactions to Répons and craft a response, often by utilizing additional art forms. Some students work with a theater teaching artist to create works of spatial theater, placing actors and audience members in specific locations to impact how the piece is perceived; others work with a visual art and design teaching artist to craft a structure that reflects their perceptions of the “architecture” of Répons; and others use the work to choreograph original spatial movement pieces.

The Répons arts education program includes an in-school pre-show workshop, attendance at a dress rehearsal, and an in-school post-show workshop. Pre-show workshops entitled “Space is the Subject: Music is the Medium” introduced students to the concept of spatial music and explored perceptions of sound and music. Listening to excerpts of Répons, students drew abstract images of the sounds they heard, and then created a vocal or percussive sound – an “instrument” – to represent that image. To illustrate the idea of spatial music, each class was split into two groups, alternating between audience members and instrumentalists.

Instrumentalists were asked to perform in different parts of the classroom so that the audience could hear the same set of instruments differently depending on their vantage point. By mirroring some of the same concepts and circumstances of the composition, pre-visits primed students to attend the dress rehearsal of Répons.

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Through participating in the Répons arts education program at the Armory, students are exposed to an innovative composer who consistently pushed both musical and technological boundaries as well as a conductor who advises curiosity and exploration. It is our hope that by engaging with and reflecting on these concepts, students will in fact “hear something about themselves” in Répons that encourages their own innovation, curiosity, and exploration.

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PRODUCTION STAFF Mark Grey, Sound Consultant Didier Kersten, Assistant Director Pamela Salling, Stage Manager Ross Karre, Instrument Coordinator Mike Hill, Electrician Curtis Marxen, Light Board Operator

For IRCAM Jérémie Henrot, Sound Engineer Annaëlle Marsollier, Associate Sound Engineer Production Acknowledgements Akustiks, LLC – Paul Scarbrough, Acoustic Consultant Lighting by 4Wall and PRG Sound by Audio Production Services, Inc. Lasers by Prime Laser Systems, LLC Steinway & Sons

For Ensemble intercontemporain Hervé Boutry, General Manager Samuel Ferrand, Orchestra Stage Manager Marine Gaudry, Production Tour Manager Jean Radel, Technical Director

PARK AVENUE ARMORY STAFF Rebecca Robertson, President and Executive Producer Pierre Audi, Artistic Director Matthew Bird, Deputy Director of Development Jenni Bowman, Producer Hanna Brody, Development Assistant David Burnhauser, Collection Manager Courtney F. Caldwell, Venue Events Manager Leandro Dasso, Porter Khemraj Dat, Accountant John Davis, Facilities Director Jordana De La Cruz, Program Manager Mayra DeLeon, Porter Sam DeRubeis, Building Engineer Nathalie Etienne, Administrative Assistant, President’s Office Alexander Frenkel, Controller Lissa Frenkel, Managing Director Melanie Forman, Chief Development Officer Sharlyn Galarza, Education Assistant Pip Gengenbach, Education Coordinator Kirsten Harvey, Production Assistant Reginald Hunter, Building Mechanic Cassidy Jones, Education Director Chelsea Emelie Kelly, Youth Corps Manager Paul King, Director of Production Allison Kline, Director of Foundation and Government Relations Nicholas Lazzaro, Technical Director Jennifer Levine, Director of Special Events Michael Lonergan, Producing Director Wayne Lowery, Security Director Aidan Nelson, Production Assistant Lars Nelson, Technical Director Lori Nelson, Executive Assistant to the President Timothy Nim, Chief Financial and Administrative Officer Drew Petersen, Education Special Projects Manager Anna Pillow, Office Manager Charmaine Portis, Executive Assistant to the Chief Development Officer Morgan Powell, Individual Giving Coordinator Kirsten Reoch, Director of Design and Construction Rachel Risso-Gill, Associate Director of Individual Giving Erik Rogers, Production Coordinator

Matthew Rymkiewicz, Tessitura Database Manager William Say, Superintendent Melissa Stone, Manager of Special Events Tom Trayer, Director of Marketing Brandon Walker, Technical Director Jessica Wasilewski, Producer Monica Weigel McCarthy, Associate Director of Education Avery Willis Hoffman, Program Director Nick Yarbrough, Digital Marketing Manager porters Olga Cruz, Mario Esquilin, Carlos Goris, Victor Lora, Josthen Noboa, Candice Rushin, Antonio Sanders summer 2017 youth corps Fatima Bah, Mosammat Jannat Begum, Eliana Boyd, Alyssa Carde, Chanse Catlyn, Koralys De La Cruz, Zeinebou Dia, Saran Diawara, Luis González, Chamonte Greenfield, Rabia Khan Laraib, Oyon Lotif, Alexa Maldonado, Cindy Mendoza, Christian Montan, Anai Ortiz, Nasser Salim 2017-2018 youth corps advisory board Jonatan Amaya, Katie Burke, Lilia Chunir, Sharlyn Galarza, Nancy Gomez, Terrelle Jones, Oscar Montenegro, Alejandra Ortiz, Mercedes Samuels teaching artists Vicki Behm, Kate Bell, Donna Costello, Hawley Hussey, Larry Jackson, Penelope McCourty, Peter Musante, Hector Morales, Drew Petersen, Vickie Tanner teaching associates Emily Bruner, Ashley Ortiz, Leigh Poulos, Neil Tyrone Pritchard, Robert Stevenson, Catherine Talton teaching assistants Nancy Gomez, Stephanie Mesquita, Biviana Sanchez for rÉpons Coral Cohen, House Manager Lucy Arnerich-Hatch, Wednesday Derrico, Assistant House Managers Kara Kaufman, Erik Olson, Box Office Managers

Thompson Arts Center at Park Avenue Armory, 643 Park Avenue at 67th Street

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NEXT AT THE ARMORY PATRICIA KOPATCHINSKAJA, violin JAY CAMPBELL, cello

RASHAAD NEWSOME

NOVEMBER 7

OCTOBER 9 – 10 “…there is astonishing artistry to complement her creativity. She plays most of the time barefoot onstage. Her body and her instrument and the music she makes all seem one. She is ever thrilling alive to the moment.” — Los Angeles Times Born into a Moldavian family of musicians, violinist Patricia Kopatchinskaja is a bundle of energy known as much for the passion and virtuosity of her playing as for the fact that she often performs barefoot. The natural phenomenon comes to the Board of Officers Room with cellist Jay Campbell to perform duos from a wide ranging repertoire that perfectly showcases the pair’s extreme styles of music making, from the early music of Gibbons to classical works by Ravel and contemporary compositions by Xenakis, Ligeti, and a world premiere by Michael Hersch.

BARBARA HANNIGAN, soprano REINBERT DE LEEUW, piano

“[Newsome’s] work is irreverent and brazen. It is deeply referential. It is decisive. It is disruptive. It is king.” — Forbes Rashaad Newsome is a multidisciplinary artist whose practice is deeply invested in how images used in media and popular culture communicate distorted notions of power and status. He comes to the Armory to premiere Running, a new immersive performance evoking an abstract portrait of soul created through light and voice. Running is centered on the musicology term for a singer’s improvised embellishment; a “vocal run” is a rapid series of ascending or descending musical notes sung in quick succession. Running is a vocal effect that spans a variety of musical genres from the 19th century to today. Newsome’s stirring performance features three local New York City vocalists performing an original score composed by the artist, which incorporates samples of vocal runs by Aretha Franklin, Patti LaBelle, Whitney Houston, Marvin Gaye, B.B. King, James Brown, and Kelly Price, among others.

DOMINIQUE EADE AND RAN BLAKE with KAVITA SHAH

NOVEMBER 16 – 18

NOVEMBER 21

“Barbara Hannigan sings the songs of Erik Satie as if she’s sitting next to you, whispering and cooing across the kitchen table with sufficient breathiness, soft edges and exquisite spaciousness to match Reinbert de Leeuw’s sweetmelancholy piano chords.” —The Guardian (UK) Barbara Hannigan has made a name for herself as a muse and collaborator with a number of legendary composers, creating roles on leading opera stages around the world by adding a kind of virtuosity that contemporary music has rarely seen before. The soprano comes to the Board of Officers Room to make her U.S. recital debut with programs that showcase her versatility and superb musicianship.

She opens her residency with an artfully curated look at the Second Viennese School, where new musical language was developed through the extraordinary collaboration between composers, painters, writers, and other artists in the city’s salons and cafes at the turn of the century. She then looks to Paris to explore the work of Erik Satie, from art songs written in his early career to his magnum opus Socrate, in a unique program performed with renowned Satie interpreter Reinbert de Leeuw.

Second Viennese School (November 16): Program to include works by Schoenberg, Webern, Berg, Zemlinsky, Alma Mahler, and Wolf All-Erik Satie (November 18): Program to include art songs, solo piano works, and Socrate

“[Blake and Eade] can instantly access deep emotional and musical essences.

Each sings with an admirably unadorned purity…chilling the bones and soothing the soul.” —Downbeat “Shah’s music reflects the insatiably curious mind of an ethnographer, the soul of a poet, and the eye of a painter.” — WNPR The influences and improvisational fluidity of jazz take center stage in a thrilling double bill of artists who infuse their sets with unique musical cultures and perspectives. Known for reshaping mostly familiar melodies into art songs with their genre-blurring mastery of jazz, blues, classical, folk, and gospel music, vocalist Dominique Eade and pianist Ran Blake showcase their strikingly unique harmonies, lyrical force, and evocative atmospheres with a set that includes songs from their latest release—Town and Country—as well as other standards, originals, and tributes. Kavita Shah seamlessly weaves together diverse cultural traditions into her jazz-based repertoire, from the Indian table and West African kora to African and Brazilian rhythms, placing seemingly eclectic songs, instruments, and artists in dialogue with one another to create a new type of jazz with global sensibilities that defies categorization.

A ROOM IN INDIA (UNE CHAMBRE EN INDE)

DECEMBER 5–20 “It is a spectacle full of surprises…a joyful, funny, four hour show, even as it collides with the evil of our world…It is theater as Mnouchkine likes it: alive, dynamic, colorful, sung-danced, corporal and stylized” — Le Monde The matriarch of exploratory French theater Ariane Mnouchkine and her visionary theater company Théâtre du Soleil return for the North American premiere of this epic new work, which follows the adventures of a touring French theater company stranded in India without a director while the world around them falls into disarray. Touching on pressing issues that societies around the globe are currently facing from terrorism and religious extremism to climate change and gender equality, the expansive affair is a manifesto of the power of theater to heal a community, as well as an exploration of how to talk about the chaos of a world that has become incomprehensible.

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OTHER HAPPENINGS

JOIN THE ARMORY

INTERROGATIONS OF FORM: CONVERSATION SERIES

JOIN OR RENEW YOUR MEMBERSHIP

Held in our historic period rooms, these insightful conversations throughout the year feature artists, scholars, cultural leaders, and social trailblazers who gather to offer new points of view and unique perspectives on Armory productions, explore a range of themes and relevant topics, and encourage audiences to think beyond conventional interpretations and perspectives of art.

Support Park Avenue Armory as a member and enjoy insider access to what The New York Times has called “the most important new cultural institution in New York City.

For more information about membership, please email members@armoryonpark.org or call (212) 616-3958. We are pleased to recognize the generous support of our members with these special benefits, updates as of August 31, 2017:

MALKIN LECTURE SERIES

FRIEND $100

Each fall, the popular Malkin Lecture Series presents scholars and experts on topics relating to the Armory and the civic, cultural, and aesthetic life of New York City in the 19th and early 20th centuries. Lecture topics have ranged from history makers like Abraham Lincoln and Theodore Roosevelt to Gilded Age society’s favorite restaurants and the Hudson River painters.

$70 is tax deductible » Invitation to the opening night preview for visual art installations » Free admission for you and a guest to visual arts installations » Discounts at local restaurants and hotels » 10% discount on merchandise sales » Only at the Armory Member Newsletter » Discount on Armory Guided Tours » Member Viewing Hours during visual art installations » Member only pre-sale access for performance tickets and 20% discount on Members Subscription

ARMORY AFTER HOURS Salon culture has enlivened art since the 19th century, when friends gathered in elegant chambers to hear intimate performances and share artistic insights. Join us following select performances for libations with fellow attendees as we revive this tradition in our historic period rooms. You may also get to talk with the evening’s artists, who often greet friends and audience members following their performances.

HISTORIC INTERIORS TOURS Get an insider’s look at the Armory with a guided walking tour of the building with our staff historian. From the soaring 55,000-square-foot Wade Thompson Drill Hall to the extraordinary interiors designed by Louis Comfort Tiffany, Stanford White, Herter Brothers, and others, and learn about the design plans by acclaimed architects Herzog & de Meuron.

ARTISTS-IN-RESIDENCE Launched in 2010, the Armory’s artist-in-residence program supports artists across genres in the creation and development of new work. Each artist sets up a studio in one of the Armory’s period rooms, providing a unique backdrop that can serve as both inspiration and as a collaborator in their project development. Residencies also include participation in the Armory’s arts education program with artists working closely with the Armory’s Youth Corps interns. This season’s artists-inresidence include playwright and screenwriter Lynn Nottage, Cuban installation and performace artist Tania Bruguera, composer and guitarist Marvin Sewell, choreographer and flexn dance pioneer Reggie (Regg Roc) Gray and his company the D.R.E.A.M. Ring, and photographer and visual artist Carrie Mae Weems.

Previous Armory artists-in-residence have included inventive theater company 600 Highwaymen; theater artists Taylor Mac and Machine Dazzle; writer, director, and production designer Andrew Ondrejcak; vocalist, composer, and cultural worker Imani Uzuri; dancer and choreographer Wally Cardona; visual artist and choreographer Jason Akira Somma; soprano Lauren Flanigan; writer Sasha Frere-Jones; Trusty Sidekick Theater Company; vocalist-songwriter Somi; multidisciplinary performer Okwui Okpokwasili; choreographer Faye Driscoll; artist Ralph Lemon; visual artist Alex Dolan; musician Meredith Monk; sound artist Marina Rosenfeld; string quartet ETHEL; playwright and director Young Jean Lee; vocalist and artist Helga Davis; director, designer, and musician Julian Crouch; performance artist John Kelly; and Shen Wei Dance Arts; among others.

SUPPORTER $250 $200 is tax deductible All benefits of the Friend membership plus: » Fees waived on ticket exchanges* » Two free tickets on guided tours*** » Discount on tickets to the Malkin Lecture Series, Artists Talks and Public Programs*

ASSOCIATE $500 $200 is tax deductible All benefits of the Supporter membership plus: » Members concierge ticket service » Free admission for two additional guests (a party of four) to Armory visual art installations » Access to VIP lounge in one of the Armory’s historic rooms during performance intermissions » Two complimentary passes to an art fair**

BENEFACTOR $1,000 $780 is tax deductible All benefits of the Associate membership plus: » Recognition in 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 select programs in our historic period rooms*

CHAIRMAN’S CIRCLE STARTING AT $2,500 Members of this exclusive group are offered unique and intimate opportunities to experience the Armory, including invitations to private tours and VIP receptions with world-class artists, access to priority seating and the Armory’s concierge ticket service.

AVANT-GARDE STARTING AT $350 The Avant-Garde is a forward-thinking group of Park Avenue Armory supporters in their 20s to 30s that offers a deeper, more intimate connection to the unique and creative concepts behind the Armory’s mission. Members receive exclusive benefits throughout the year, including priority ticketing, special receptions, viewings, talks, and VIP events.

*Subject to ticket availability

**Certain restrictions apply

Thompson Arts Center at Park Avenue Armory, 643 Park Avenue at 67th Street

***Reservations required

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ARTISTIC COUNCIL Co-Chairs Noreen Buckfire Michael Field Caryn Schacht and David Fox Heidi and Tom McWilliams Wendy Belzberg and Strauss Zelnick Sonja and Martin J. Brand A. Cary Brown and Steven Epstein Elizabeth Coleman Hélène and Stuyvesant Comfort Emme and Jonathan Deland

Krystyna Doerfler Olivia and Adam Flatto Janet Halvorson Anita K. Hersh Wendy Keys Ken Kuchin and Tyler Morgan Almudena and Pablo Legorreta Chad A. Leat Aaron Lieber and Bruce Horten Christina and Alan MacDonald Elizabeth and Frank Newman Janet and David P. Nolan

Gwen and Peter Norton Slobodan Randjelović and Jon Stryker Richard and Amanda J.T. Riegel Susan and Elihu Rose Janet C. Ross Susan Rudin Joan and Michael Steinberg Liz and Emanuel Stern Mimi Klein Sternlicht Deborah C. van Eck Mary Wallach

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

$1,000,000 + Charina Endowment Fund Empire State Local Development Corporation Richard and Ronay Menschel New York City Council and Council Member Daniel R. Garodnick New York City Department of Cultural Affairs The Pershing Square Foundation Susan and Elihu Rose The Arthur Ross Foundation and J & AR Foundation Joan and Joel Smilow The Thompson Family Foundation Wade F.B. Thompson* The Zelnick/Belzberg Charitable Trust Anonymous

$500,000 to $999,999 Lisa and Sanford B. Ehrenkranz Almudena and Pablo Legorreta The Andrew W. Mellon Foundation Assemblymember Dan Quart and the New York State Assembly Adam R. Rose and Peter R. McQuillan Donna and Marvin Schwartz Liz and Emanuel Stern

$250,000 to $499,999 American Express Citi Michael Field Olivia and Adam Flatto 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 Altman Foundation Linda and Earle S. Altman Bloomberg Philanthropies Booth Ferris Foundation Sonja and Martin J. Brand The W. L. Lyons Brown Jr. Charitable Foundation Hélène and Stuyvesant Comfort Emme and Jonathan Deland Marjorie and Gurnee Hart Kirkland & Ellis LLP

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Mary T. Kush Mr. and Mrs. Peter L. Malkin and The Malkin Fund, Inc. Mr. and Mrs. Lester S. Morse, Jr. New York State Assembly David P. Nolan Foundation Gwen and Peter Norton Daniel and Joanna S. Rose Janet C. Ross Caryn Schacht and David Fox Amy and Jeffrey Silverman Harold and Mimi Steinberg Charitable Trust Joan and Michael Steinberg M K Reichert Sternlicht Foundation Mr. William C. Tomson Deborah C. van Eck

$25,000 to $99,999 Benigno Aguilar and Gerald Erickson The Avenue Association Harrison and Leslie Bains Emma Bloomberg Carolyn S. Brody Janna Bullock The Cowles Charitable Trust Caroline and Paul Cronson Mary Cronson / Evelyn Sharp Foundation Ellie and Edgar Cullman Drake / Anderson Stuart J. Ellman and Susan H.B. Ellman The Emma and Georgina Bloomberg Foundation Andrew L. Farkas, Island Capital Group & C-III Capital Partners Mr. and Mrs. Martin Geller Elizabeth Morse Genius Foundation Howard Gilman Foundation Horace W. Goldsmith Foundation Allen and Deborah Grubman Agnes Gund Mr. and Mrs. Andrew Gundlach Anita K. Hersh Josefin and Paul Hilal Daniel Clay Houghton Anna Maria & Stephen Kellen Foundation, Inc. and Marina Kellen French La Perla Chad A. Leat Leon Levy Foundation Aaron Lieber and Bruce Horten Christina and Alan MacDonald Christine & Richard Mack Marc Haas Foundation National Endowment for the Arts New York State Council on the Arts Stavros Niarchos Foundation

armoryonpark.org

Donald Pels Charitable Trust Slobodan Randjelović 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 Susan Rudin Nicholas and Shelley Schorsch The Shubert Foundation Sydney and Stanley S. Shuman Peter and Jaar-mel Sloane / Heckscher Foundation The Fan Fox & Leslie R. Samuels Foundation Sanford L. Smith Swiss Arts Council Pro Helvetia Sharzad and Michael Targoff TEFAF NY Thor Industries, Inc. Tishman Construction, an AECOM Company Robert Vila and Diana Barrett Anonymous (3)

$10,000 to $24,999 ADCO Electrical Corporation Gina Addeo AR Global Investments, LLC Ginette Becker and Joshua A. Becker* Noreen and Ken Buckfire Marco Cafuzzi Eileen Campbell and Struan Robertson Elizabeth Coleman Con Edison Mrs. Daniel Cowin Gina and James de Givenchy Jennie L. and Richard K. DeScherer Krystyna Doerfler Jeanne Donovan Fisher William F. Draper Peggy and Millard Drexler Andra and John Ehrenkranz Florence Fearrington Ella M. Foshay and Michael B. Rothfeld Kiendl and John Gordon Jeff and Kim Greenberg Janet Halvorson Molly Butler Hart and Michael D. Griffin Marlene Hess and James D. Zirin Rachel and Mike Jacobellis William and Elizabeth Kahane Kaplen Brothers Fund Erin and Alex Klatskin Suzie and Bruce Kovner Jill and Peter Kraus The Leonard and Judy Lauder Fund Mr. and Mrs. Fernand Lamesch

#PAARepons

@ParkAveArmory

Richard H. Levy & Lorraine Gallard Kamie and Richard Lightburn Lili Lynton and Michael Ryan Andrea Markezin and Joel Press Cynthia Woods Mitchell Fund of the National Trust for Historic Preservation Patty Newburger and Bradley Wechsler Elizabeth and Frank Newman Northern Bay Contractors, Inc. Nancy and Morris W. Offit PBDW Architects LLP Joan and Joel I. Picket Katharine and William Rayner Roberto Cavalli Mary Jane Robertson and James A. Clark Mr. and Mrs. Jeffrey Rosen May and Samuel Rudin Family Foundation, Inc. Mr. and Mrs. William Sandholm Oscar S. Schafer Stacy Schiff and Marc de la Bruyere Dr. and Mrs. Thomas P. Sculco Juliet Lea Hillman Simonds Foundation Skadden, Arps, Slate, Meagher & Flom LLP Sarah Billinghurst Solomon and Howard Solomon Sotheby’s Patricia Brown Specter Dr. and Mrs. Eugene E. Stark, Jr. Mr. and Mrs. Jeffrey Stevenson Michael and Veronica Stubbs Laurie M. Tisch Illumination Fund Tishman Speyer Properties, LP Barbara and Donald Tober Jane and Robert Toll Christopher Tsai and André Stockamp Mary Wallach Mike Weil and Shirley Madhere-Weil William Morris Endeavor Entertainment Foundation

$5,000 to $9,999 ABS Partners Real Estate, LLC Jody and John Arnhold Milton and Sally Avery Arts Foundation Abigail Baratta Mr. and Mrs. Victor Barnett Tony Bechara The David Berg Foundation, Inc. Sara Steinhardt Berman Debra and Leon Black Nicholas Brawer Catherine and Robert Brawer Daniel and Estrellita Brodsky Tom and Meredith Brokaw Amy Brown Amanda M. Burden

Marian and Russell Burke CBRE Betsy Cohn Sarah and Ronald Collins Margaret Crotty and Rory Riggs Constance and Gregory Dalvito Diana Davenport and John Bernstein Joan K. Davidson (The J.M. Kaplan Fund) Antoinette Delruelle and Joshua L. Steiner Liz Diller and Ricardo Scofidio Mary Ellen G. Dundon Eagle Capital Management, L.L.C. David and Frances Eberhart Foundation Karen Eckhoff Ehrenkranz & Ehrenkranz LLP Dr. Nancy Eppler-Wolff and Mr. John Wolff Alicia Ernst and John Katzman EverGreene Architectural Arts The Felicia Fund Bart Friedman and Wendy A. Stein Inger McCabe Elliott Barbara and Peter Georgescu The Georgetown Company Mr. and Mrs. Trevor Gibbons Debbi Gibbs Richard Gilder and Lois Chiles Mr. and Mrs. David Golub Sarah Gould and David Steinhardt Jamee and Peter Gregory Gunther E. Greiner Mr. and Mrs. Lawrence Hite Nancy Josephson Jennie Kassanoff and Dan Schulman Adrienne Katz Lazard Sahra T. Lese Gail and Alan Levenstein Mr. and Mrs. Aaron Levine James C. Marlas and Marie Nugent-Head Marlas Diane and Adam E. Max Véronique Mazard and Andrew Vogel Joyce F. Menschel Adriana and Robert Mnuchin Christine Moog and Benoit Helluy Mr. and Mrs. Robert Morse Mr. and Mrs. Saleem Muqaddam Mary Kathryn Navab Mr. and Mrs. Michael Newhouse Peter and Beverly Orthwein Madison J Papp Liz and Jeff Peek Ron Perelman and Anna Chapman Susan Porter Anne and Skip Pratt Preserve New York, a grant program of Preservation League of New York Mr. and Mrs. Robert Pruzan David Remnick and Esther Fein Mr. and Mrs. Matthew Ruesch Michael D. Rhea Jonathan F.P. and Diana Rose Liz Rosen and Michael Rozen Ida and William Rosenthal Foundation Chuck and Stacy Rosenzweig Deborah and Chuck Royce Valerie Rubsamen and Cedomir Crnkovic H.O. Ruding and Renee Ruding-Hekking Jeanne Ruesch Bonnie J. Sacerdote Mr. and Mrs. Mortimer Sackler Mr. and Mrs. Jeff Sagansky Susan and Charles Sawyers Claude Shaw and Lara Meiland-Shaw Stephanie and Fred Shuman Lea Simonds Daisy M. Soros Mr. and Mrs. Jonathan Soros Elizabeth Stribling and Guy Robinson The Jay and Kelly Sugarman Foundation Michael Tuch Foundation Mr. and Mrs. Ronald Ulrich Liliana Vaamonde and Richard Pretsfelder Anastasia Vournas and J. William Uhrig Isak and Rose Weinman Foundation, Inc. Mr. and Mrs. Gregory Weingarten David Reed Weinreb Valda Witt and Jay Hatfield Mr. and Mrs. David Wolf Cynthia Young and George Eberstadt Richard and Franny Heller Zorn Anonymous (3)

$2,500 to $4,999 Ark Restaurants Corp.

Patrick Baldoni, Femenella & Associates, Inc. Mr. and Ms. Jonathan Berger

Judy and Howard Berkowitz Mr. and Mrs. Robert Birnbaum Cathleen P. Black and Thomas E. Harvey Allison M. Blinken Marc Brodherson and Sarah Ryan Stacey Bronfman Veronica Bulgari and Stephan Haimo Mr. and Mrs. Donald Calder Cartier S.A. Alexandre and Lori Chemla Mr. and Mrs. David Cohen Emy Cohenca Mr. and Mrs. Tony Coles Connelly & McLaughlin Creative Artists Agency The Cultivist Sasha Cutter and Aaron Hsu Joshua Dachs / Fisher Dachs Associates Theatre Planning and Design Virginia Davies and Willard Taylor Richard and Barbara Debs Luis y Cora Delgado Francesca and Michael Donner Denise Simon and Paulo Vieiradacunha Mr. and Mrs. Christopher Duda Anne and Joel Ehrenkranz Alice and David Elgart Mr. and Mrs. Jared Feldman Laura Jane Finn Edmée and Nicholas Firth Fisher Marantz Stone, Inc. Megan Flanigan Claudia Fleming & George Bitar Amandine and Steve Freidheim Teri Friedman and Babak Yaghmaie Sylvia Golden Marjorie and Ellery Gordon Elizabeth and David Granville-Smith Great Performances Marieline Grinda and Ahmad Deek Susan Gutfreund John Hargraves Roger and Susan Hertog Augusta Hoffman and Jonathan Swygert Mr. and Mrs. Morton Janklow Hon. Bruce M. Kaplan and Janet Yaseen Kaplan Nancy Kestenbaum and David Klafter Diana King / The Charles & Lucille King Family Foundation Elizabeth Kivlan Knickerbocker Greys Phyllis L. Kossoff Justin Kush Lagunitas Brewing Co. The Ronald and Jo Carole Lauder Foundation Bonnie Englebardt Lautenberg Mr. and Mrs. Thomas Lehrman Phyllis Levin Lisson Gallery Elizabeth Lubnina Heather Lubov Judith and Michael Margulies Angela Mariani Nina B. Matis Mr. and Mrs. Richard E. Mayberry, Jr. Constance and H. Roemer McPhee Mr. and Mrs. William Michaelcheck Sergio and Malu Millerman Claire Milonas Sally Minard and Norton Garfinkle Barbara and Howard Morse Stephanie Newhouse Kathleen O’Grady David Orentreich, MD / Orentreich Family Foundation Mario Palumbo George Petrides Joseph Piacentile Cynthia Hazen Polsky and Leon B. Polsky Frank and Kimba Richardson Heidi Rieger Susan and Jon Rotenstreich Jane Fearer Safer Dr. and Ms. Nathan Saint-Amand Caroline Schmidt-Barnett Mr. and Mrs. Jonathan Schulhof Sara Lee and Axel Schupf Lise Scott and D. Ronald Daniel Alan and Sandy Siegel Laura Skoler Stephanie and Dick Solar Sara Solomon Sonnier & Castle Mr. and Mrs. Stephen Spahn Mr. and Mrs. Matthew Satnick Douglas C. Steiner Diane and Sam Stewart Angeline Straka Mr. and Mrs. Tom Strauss

Bill and Ellen Taubman Lindsey Turner Jan and Cynthia van Eck Herbert P. Van Ingen Ambassador and Mrs. William J. vanden Heuvel Susan and Kevin Walsh Diana Wege Mati Weiderpass Jacqueline Weld Drake Katherine Wenning and Michael Dennis Kate R. Whitney and Franklin A. Thomas Michael Woloz Amy Yenkin and Robert Usdan Zubatkin Owner Representation, LLC Anonymous

$1,000 to $2,499 Marina Abramović Ian and Lindsey Adelman Mr. and Mrs. John Argenti Rebecca Lynn Bagdonas Steve Bakunas Joslyn Barnes and Anita Nayar Norton Belknap Kristine Bell Dale and Max Berger Katherine Birch Hana Bitton Bluestem Prairie Foundation Dr. Suzy and Mr. Lincoln Boehm Mr. and Mrs. Sheldon Bonovitz Barbara Brandt Mr. and Mrs. Louis Brause Mr. and Mrs. Gilbert Butler Cora Cahan and Bernard Gersten Chanda Chapin Shirin and Kasper Christoffersen Alexander Cooper Jessica and David Cosloy Mr. and Mrs. Andrew Crisses Austen and Ernesto Cruz Boykin Curry Mr. and Mrs. Charles Daniels Jiggs Davis Christina R. Davis Suzanne Dawson Mr. and Mrs. Thomas de Neufville Mr. and Mrs. Maurice Deane Jeffrey Deitch Diana Diamond and John Alschuler Jacqueline Didier and Noah Schienfeld Mr. and Mrs. Marty Eisenberg Amy Grovas Elliott Leland and Jane Englebardt Mr. and Mrs. Thomas N. Farmakis Amy Fine Collins and Bradley Collins Ann Fitzpatrick Brown Dr. and Mrs. Walter Flamenbaum Paul and Jody Fleming Scott Fulmer and Susan Kittenplan Fulmer Mr. and Mrs. Scott Gerber Kathleen and David Glaymon Nina Gorrissen von Maltzahn Mr. and Mrs. Peter Greenleaf Mr. and Mrs. George Grunebaum Jessica Guff Harvey and Kathleen Guion Cheryl Haines Robert H. Haines Stephanie Hessler Maria Hidrobo Kaufman and Gabriel Kaufman William T. Hillman Susanna Hong Patrick Janelle Jennifer Joel Mr. and Mrs. David Johnson Christopher and Hilda Jones Hattie K. Jutagir The Kandell Fund / Donald J. Gordon Jeanne Kanders Drs. Sylvia and Byram Karasu Margot Kenly and Bill Cumming Hadley C. King Major General Edward G. Klein, NYNG (Ret.) Kate Krauss Kathryn Kremnitzer Katherine Kwei Polly and Frank Lagemann Nanette L. Laitman Barbara Landau Judith Langer Kate Lauprete Mark and Taryn Leavitt Lexi Lehman Ralph Lemon Brenda Levin Donna and Wayne Lowery

Thompson Arts Center at Park Avenue Armory, 643 Park Avenue at 67th Street

Liz MacNeill Alexander Maldutis and Reena Russell Nasr Mr. and Mrs. Anthony Mansour Christophe W. Mao Match 65 Brasserie Mr. and Mrs. Patrick McClymont Melissa Meeschaert Mr. and Mrs. Berk Mesta Mr. and Mrs. Anthony Meyer Laura Michalchyshyn and Richard Gilbert Abby and Howard Milstein Sandra Earl Mintz Valerie Mnuchin Whitney and Andrew Mogavero Mr. and Mrs. Pierre Mordacq Sue Morris Leslie and Curt Myers Nicholson & Galloway, Inc. Mr. and Mrs. Marvin Numeroff Ellen Oelsner Robert Ouimette and Lee Hirsch Will Palley Mr. and Ms. Joseph Patton Mr. and Mrs. Richard Petrocelli Mr. and Mrs. Brian Pfeifler Mr. and Mrs. Lyon Polk Prime Parking Systems Martin and Anna Rabinowitz Mr. and Mrs. Richard Reiss Diana and Charles Revson Mr. and Mrs. Anthony Roberts Mr. and Mrs. David Rogath Marjorie P. Rosenthal Jane Royal and John Lantis Kathy Ruland Pat Schoenfeld Francesca Schwartz Marshall Sebring and Pepper Binkley Kimia Setoodeh Nadine Shaoul and Mark Schonberger Gil Shiva Mr. and Mrs. Michael Shuman Mary Snow Ted Snowdon Jeremy Snyder and Maggie Nemser Mr. and Mrs. Michael Spies Squadron A Foundation Mr. and Mrs. Benjamin Steiner Colleen Stenzler Tricia Stevenson Leila Maw Straus Dorothy Strelsin Foundation / Enid Nemy Summit Security Services, Inc. Joseph Vance Architects Mr. and Mrs. John Vogelstein Mr. and Mrs. Alexander von Perfall Amanda and John Waldron Caroline Wamsler and DeWayne Phillips Claude Wasserstein Lauren and Andrew Weisenfeld Christina Westley Ruth Wilson Reva Wurtzburger Mr. and Mrs. Michael Young Michel Zaleski Mr. and Mrs. Adam Zurofsky Anonymous (5) List as of September 15, 2017 * Deceased

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