A NOTE FROM THE ARTISTIC DIRECTOR Park Avenue Armory strives to engage audiences with eclectic, immersive, and thought-provoking works that are in direct dialogue with the vast sweep of the Armory’s unique spaces, whether it is the soaring Wade Thompson Drill Hall or the intimate period rooms. And with its pristine acoustic 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 2017 season marks the fifth year for the recital series, which continues to showcase both classical and contemporary repertoire performed by world class artists at the height of their craft. We are thrilled to introduce to the U.S. an international star in the making – Sabine Devieilhe. One of the most talented French sopranos to emerge in recent years, she makes her North American recital debut at the Armory, after dazzling audiences at the Aix-en-Provence Festival, Dutch National Opera, and other opera houses throughout Europe. Barbara Hannigan, one of the world’s leading performers of contemporary opera, makes her U.S. recital debut with programs that showcase her extraordinary versatility, with an exploration of the Second Viennese School as well as the work of iconic French composer Erik Satie. Paired with our ongoing partnership with the Metropolitan Opera’s Lindemann Young Artist Development Program, the series will be featuring exciting new voices not seen elsewhere in New York. We continue to explore new directions with the acclaimed Wu Man and the esteemed Shanghai Quartet, who together perform new works by contemporary Chinese composers. And by using both the Board of Officers and Veterans Rooms for one recital, we are invited to enjoy the vocal artistry and multiple facets of musicianship of tenor Lawrence Brownlee in a progressive concert that presents his classical repertoire from lieder and opera to jazz songs and American spirituals, teaming up for the second part with pianist Jason Moran. In a program of works by Copland, Berlioz, Schuman, and Poulenc, we are thrilled to welcome for the first time to the Armory, the distinguished British mezzo-soprano Sarah Connolly. Finally, the electrifying violinist Patricia Kopatchinskaja, one of the most dynamic and original classical music soloists in the world, works with cellist Jay Campbell in a program of duets. 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. I hope you will join in my excitement for witnessing these magical moments in music. Pierre Audi Marina Kellen French Artistic Director
2017 RECITAL SERIES IN THE RESTORED BOARD OF OFFICERS ROOM AND VETERANS ROOM
BARBARA HANNIGAN, soprano REINBERT DE LEEUW, piano Second Viennese School thursday, november 16 at 7:30pm Erik Satie Program saturday, november 18 at 5:00pm and 8:00pm Thompson Arts Center at Park Avenue Armory
The Recital Series is supported in part by The Reed Foundation. The Recital Series is also made possible by the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature. 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.
SEASON SPONSORS
SERIES SPONSOR
NOVEMBER 16 PROGRAM Arnold Schönberg
Vier Lieder, op.2 Erwartung Schenk mir deinen goldenen Kamm Erhebung Waldsonne
Anton Webern
Fünf Lieder nach Gedichte von Richard Dehmel Ideale Landschaft Am Ufer Himmelfahrt Nächtliche Scheu Helle Nacht
Alban Berg
Sieben frühe Lieder Nacht Schilflied Die Nachtigall Traumgekrönt Im Zimmer Liebesode Sommertage
Intermission Alexander Zemlinsky
Liederen Empfängnis, op.2 Frühlingstag Tiefe Sehnsucht, op.5 Schlaf nur ein Da waren zwei Kinder, op.7 Entbietung Irmelin Rose
Alma Mahler
Die stille Stadt (Dehmel) Laue Sommernacht (Falke) Ich wandle unter Blumen (Heine) Licht in der Nacht (Bierbaum)
Hugo Wolf
Mignon Lieder Heiss mich nicht reden Nur wer die Sehnsucht kennt So lass mich scheinen Kennst du das Land
This performance is approximately one hour and forty five minutes in length, performed with intermission.
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ABOUT THE PROGRAM The Austro-German Lied was the quintessential Romantic genre. It blossomed at the beginning of the 19th century as Beethoven, Schubert, Schumann, and others were inspired by poetry to find new expressive means in music. With the dawn of modernism, the Lied lost its central position; the years around 1900 saw its last great efflorescence where a handful of great composers were able to enrich the traditional Lied with post-Wagnerian chromatic harmonies, bringing the largerthan-life sensuality of Tristan und Isolde into the miniature world of the song. The process started with Hugo Wolf (1860-1903) who offered a fresh take on Mignon, the enigmatic woman-child from Goethe's novel Wilhelm Meister (1796). Mignon's songs from the novel had been set by numerous earlier composers, but Wolf presented her as a mature and sophisticated character fully in touch with her femininity. Often declaiming rather than singing over an intensely chromatic piano part, Wolf's Mignon reveals the depths of her pain and longing to a degree never seen before. After Wolf, Lieder composers tended to turn away from the classics and focused on German poets of their own time, the most prominent of whom was, without a doubt, Richard Dehmel. Arnold Schönberg (1874-1951), whose landmark string sextet Verklärte Nacht was also inspired by a Dehmel poem, captured the poet's wide range of expression in a set of early songs published as op. 2 (1899-1900), from the mysterious serenade in “Erwartung” to the ecstasy of “Schenk mir” and “Erhebung.” The fourth song in the set is based on a poem by Johannes Schlaf, a member of the naturalist movement of which Dehmel was the leader. His verse strikes a more peaceful, idyllic tone, matched by the pure D-major sonorities of the music. Schönberg's star students Anton Webern (1883-1945) and Alban Berg (1885-1935) followed their teacher in compositional technique, adopting first free atonality around 1908 and later the twelve-tone method in the 1920s. Webern also shared some of Schönberg's literary tastes, and his admiration for Dehmel in particular. His five songs on Dehmel texts (1906-08) were not published during the composer's lifetime because they were not as stylistically advanced as the songs after Stefan George, op. 3 and 4, written soon afterwards. Yet while they may be student works, the Dehmel songs have a very special atmosphere of their own, superbly rendering the controlled passion of the poems and their meditative quality interrupted by some sudden emotional outbursts. The last song is a translation by Dehmel of a Verlaine poem (“La lune blanche”) set in the original language by Gabriel Fauré in the 1890s.
Surprisingly, Alban Berg completely avoided Dehmel's poetry in his compositions. In the seven youthful songs (1907) published in 1928, he included the two 19th-century poets Nikolaus Lenau and Theodor Storm, investing them with a true post-Romantic sensitivity. Lenau's “Schilflied” is filled with complex harmonies and elaborate piano figurations, and in Storm's “Die Nachtigall,” a simple genre painting becomes a powerful and psychologically nuanced portrait of the heroine. When he turned to contemporaneous poetry, Berg ennobled the work of minor figures such as Carl Hauptmann (brother of the famous playwright Gerhart), Johannes Schlaf, Otto Erich Hartleben, or Paul Hohenberg. Hartleben's name carries strong Schönbergian resonances, since he was the translator of the French poems of Pierrot lunaire, while Hohenberg was a friend of Berg's from high school. Rilke, one of the greatest German poets of all time, is represented by an early work, a nocturnal vision of love made memorable in the music through some exquisitely long legato phrases. Alexander Zemlinsky (1871-1942) taught Schönberg privately and later became his brother-in-law (Zemlinsky's sister Mathilde married the author of Verklärte Nacht in 1901). Having started out as a protégé of Brahms, Zemlinsky forged his own path from Romanticism to modernity. The present sampling of his extensive body of songs includes one Dehmel setting (“Entbietung”); the poet's fervent language inspired some rather complex post-Wagnerian harmonic writing. The other lyrics come from a diverse group including Paul Heyse (who won the Nobel Prize in 1910), the Danish Jens Peter Jacobsen (the poet of Schönberg's Gurrelieder), Christian Morgenstern of Gallows Songs fame, Dehmel's friend Detlev von Liliencron, and two minor figures. It has been remarked that the last three songs (from op. 7) mark a substantial stylistic advance over the two earlier opuses. Alma (Schindler) Mahler (1879-1964) had a passionate affair with her composition teacher Zemlinsky, eight years her senior, before leaving him for Gustav Mahler who was nineteen years older than she was. The selections heard tonight (four of her seventeen surviving songs) were written during the time she spent with Zemlinsky, whose own songs on our program date from the same fateful years. In addition to another Dehmel setting and two by Otto Julius Bierbaum, a then-successful poet also set by Richard Strauss, the texts also include a rather original interpretation of a well-known Heine classic. —Peter Laki
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TEXTS AND TRANSLATIONS ARNOLD SCHÖNBERG Vier Lieder, op.2
Four Songs, op.2
Erwartung Text by Richard Dehmel
Expectation Translated by Betram Kottmann
Aus dem meergrünen Teiche Neben der roten Villa Unter der toten Eiche Scheint der Mond.
The sea green pond, beside the red villa beneath the dead oak, reflects the shining moon.
Wo ihr dunkles Abbild Durch das Wasser greift, Steht ein Mann und streift Einen Ring von seiner Hand.
Where the oak's dark reflection reaches through the water, there is a man and slips a ring off his hand.
Drei Opale blinken; Durch die bleichen Steine Schwimmen rot und grüne Funken und versinken.
Three opals glint; red and green gleams from the pale gems and submerges.
Und er küßt sie, und Seine Augen leuchten Wie der meergrüne Grund: Ein Fenster tut sich auf.
And he kisses the gems, and his eyes shine like the sea green bottom: a window opens.
Aus der roten Villa Neben der toten Eiche Winkt ihm eine bleiche Frauenhand.
A woman's pale hand beckons him from the red villa beside the dead oak.
Schenk mir deinen goldenen Kamm Text by Richard Dehmel
Present me with your golden comb Translated by Betram Kottmann
Schenk mir deinen goldenen Kamm; Jeder Morgen soll dich mahnen, Daß du mir die Haare küßtest. Schenk mir deinen seidenen Schwamm; Jeden Abend will ich ahnen, Wem du dich im Bade rüstest, O Maria!
Present me with your golden comb; every morning shall remind you that you kissed my hair. Present me with your silken sponge; every night I want to have an idea for whom you prepare yourself in the bath, O Mary!
Schenk mir Alles, was du hast; Meine Seele ist nicht eitel, Stolz empfang ich deinen Segen. Schenk mir deine schwerste Last: Willst du nicht auf meinen Scheitel Auch dein Herz, dein Herz noch legen, Magdalena?
Present me with everything you have; my soul is without vanity, I receive your blessing with pride. Bestow on me your heaviest burden: don't you want to lay your heart also your heart - on my locks, Magdalen?
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Erhebung Text by Richard Dehmel
Elevation Translated by Betram Kottmann
Gib mir deine Hand, Nur den Finger, dann Seh ich diesen ganzen Erdkreis Als mein Eigen an!
Proffer me your hand, merely the finger, then I look upon the whole world as my own.
O, wie blüht mein Land! Sieh dir's doch nur an. Daß es mit uns über die Wolken In die Sonne kann!
O, how my country is full of flowers, behold it and see that it can rise with us above the clouds to the sun!
Waldsonne Text by Johannes Schlaf
Sun in the Forest Translated by Betram Kottmann
In die braunen, rauschenden Nächte Flittert ein Licht herein, Grüngolden ein Schein.
A light shimmers in the brown, rushing night, a green-golden sheen.
Blumen blinken auf und Gräser Und die singenden, springenden Waldwässerlein, Und Erinnerungen.
Flowers shine forth and grass and the singing, springing rivulets and memories.
Die längst verklungenen: Golden erwachen sie wieder, All deine fröhlichen Lieder.
All your songs of joy that faded away long ago: golden is their awakening again.
Und ich sehe deine goldenen Haare glänzen, Und ich sehe deine goldenen Augen glänzen Aus den grünen, raunenden Nächten.
And I see your lustrous golden hair, and I see your bright golden eyes shining through the green, whispering nights.
Und mir ist, ich läge neben dir auf dem Rasen Und hörte dich wieder auf der glitzeblanken Syrinx In die blauen Himmelslüfte blasen.
And I fancy I lie on the grass beside you and hear you playing the shiny syrinx again under azure skies.
In die braunen, wühlenden Nächte Flittert ein Licht, Ein goldener Schein.
A light shimmers in the brown, rolling nights -a golden sheen.
Please turn page quietly.
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ANTON WEBERN Fünf Lieder nach Gedichten von Richard Dehmel
Five Songs on Poems by Richard Dehmel
Ideale Landschaft Text by Richard Dehmel
Ideal Landscape Translated by Sharon Krebs
Du hattest einen Glanz auf deiner Stirn, und eine hohe Abendklarheit war, und sahst nur immer weg von mir, ins Licht, ins Licht und fern verscholl das Echo meines Aufschreis.
You had a radiance upon your brow, and there was a lofty evening clarity, and you only ever looked away from me, into the light, into the light and far in the distance, the echo of my outcry died away.
Am Ufer Text by Richard Dehmel
At the Shore Translated by Sharon Krebs
Die Welt verstummt, dein Blut erklingt; in seinen hellen Abgrund sinkt der ferne Tag,
The world falls silent, your blood begins to resound; into its bright abyss sinks the distant day,
er schaudert nicht; die Glut umschlingt das höchste Land, im Meere ringt die ferne Nacht,
it does not cringe; the glow embraces the highest land, in the sea wrestles the distant night,
sie zaudert nicht; der Flut entspringt ein Sternchen, deine Seele trinkt das ewige Licht.
the night does not falter; from the floodwaters springs forth a little star, your soul drinks the eternal light.
Himmelfahrt Text by Richard Dehmel
Ascension Translated by Sharon Krebs
Schwebst du nieder aus den Weiten, Nacht mit deinem Silberkranz? Hebt in deine Ewigkeiten mich des Dunkels milder Glanz?
Do you waft down from the expanses, night, with your silver wreath? Does the mild radiance of darkness lift me into your eternities?
Als ob Augen liebend winken: alle Liebe sei enthüllt! als ob Arme sehnend sinken: alle Sehnsucht sei erfüllt -
As if eyes beckon lovingly: may all love be unveiled! as if arms sink yearningly: may all yearning be fulfilled -
strahlt ein Stern mir aus den Weiten, alle Ängste fallen ab, seligste Versunkenheiten, strahlt und strahlt und will herab.
thus a star shines for me from the distances -all anxieties fall away, most blissful immersions -shines and shines and wishes to descend to me.
Und es treiben mich Gewalten ihm entgegen, und er sinkt und ein Quellen, ein Entfalten seines Scheines nimmt und bringt
And powerful forces drive me towards the star, and it sinks -and a burgeoning, a blossoming of its radiance takes and gives
und erlöst mich in die Zeiten, da noch keine Menschen sahn, wie durch Nächte Sterne gleiten, wie den Seelen Rätsel nahn.
and redeems me into the times when no people yet saw how stars glide through nights, how enigmas approach souls.
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Nächtliche Scheu Text by Richard Dehmel
Nighttime Timidity Translated by Sharon Krebs
Zaghaft vom Gewölk ins Land fließt des Lichtes Flut aus des Mondes bleicher Hand, dämpft mir alle Glut.
Tentatively from the clouds into the land flows the flood of light from out the moon’s pale hand, damping all my fervour.
Ein verirrter Schimmer schwebt durch den Wald zum Fluß, und das dunkle Wasser bebt unter seinem Kuß.
A stray shimmer wafts through the forest to the river, and the dark water trembles at its kiss.
Hörst du, Herz? die Welle lallt: küsse, küsse mich! Und mit zaghafter Gewalt, Mädchen, küsse ich dich.
Do you hear, my heart? the wave babbles: kiss, kiss me! And with tentative force, Maiden, I kiss you.
Helle Nacht Text by Richard Dehmel
Bright Night Translated by Sharon Krebs
Weich küßt die Zweige der weiße Mond. Ein Flüstern wohnt im Laub, als neige, als schweige sich der Hain zur Ruh: Geliebte du --
Softly the white moon kisses the branches. A whispering dwells in the foliage, as if the grove were inclining, were silencing itself to rest: Beloved thou --
Der Weiher ruht, und die Weide schimmert. Ihr Schatten flimmert in seiner Flut, und der Wind weint in den Bäumen: wir träumen – träumen --
The pond rests, and the willow shimmers. Its shadow flickers in the pond’s waters, and the wind weeps in the trees: we dream -- dream --
Die Weiten leuchten Beruhigung. Die Niederung hebt bleich den feuchten Schleier hin zum Himmelssaum: o hin -- o Traum -- --
The vast expanses shine calmingly. The shallow valley palely lifts its damp veil toward the border of heaven: oh to be there -- oh dream -- –
Please turn page quietly.
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ALBAN BERG Sieben frühe Lieder
Seven early songs
Nacht Text by Carl Hauptmann
Night Translated by Emily Ezust
Dämmern Wolken über Nacht und Thal, Nebel schweben. Wasser rauschen sacht. Nun entschleiert sich's mit einem Mal: O gieb acht! gieb acht!
The clouds embrown the night and valley; the mists float above, the water rushing gently. Now all at once they unveil themselves: o listen! pay heed!
Weites Wunderland ist aufgethan, Silbern ragen Berge traumhaft gross, Stille Pfade silberlicht thalan Aus verborg'nem Schoss.
A broad land of wonder has opened up. Silver mountains rise up, fantastically huge, quiet paths lit with silver lead toward the valley from some hidden place;
Und die hehre Welt so traumhaft rein. Stummer Buchenbaum am Wege steht Schattenschwarz—ein Hauch vom fernen Hain Einsam leise weht.
and the noble world is so dreamily pure. A mute beech stands by the path, black with shadows; a breeze from a distant, lonely grove wafts gently by.
Und aus tiefen Grundes Düsterheit Blinken Lichter auf in stummer Nacht. Trinke Seele! trinke Einsamkeit! O gieb acht! gieb acht!
And from the deep darkness of the valley flash lights in the silent night. Drink, my soul! Drink in this solitude! O listen! pay heed!
Schilflied Text by Nikolaus Lenau
Reed Song Translated by Emily Ezust
Auf geheimem Waldespfade Schleich' ich gern im Abendschein An das öde Schilfgestade, Mädchen, und gedenke dein!
Along a secret forest path I like to creep in the evening light; I go to the desolate, reedy banks, and think, my maiden, of you!
Wenn sich dann der Busch verdüstert, Rauscht das Rohr geheimnisvoll, Und es klaget und es flüstert, Daß ich weinen, weinen soll.
As the bushes grow dark, the reeds hiss mysteriously, and lament and whisper, and thus I have to weep and weep.
Und ich mein', ich höre wehen Leise deiner Stimme Klang, Und im Weiher untergehen Deinen lieblichen Gesang.
And I think that I hear wafting the gentle sound of your voice, and down into the pond sinks your lovely song.
Die Nachtigall Text by Theodor Storm
The Nightingale Translated by Emily Ezust
Das macht, es hat die Nachtigall Die ganze Nacht gesungen; Da sind von ihrem süssen Schall, Da sind in Hall und Widerhall Die Rosen aufgesprungen.
It happened because the nightingale sang the whole night long; from her sweet call, from the echo and re-echo, roses have sprung up.
Sie war doch sonst ein wildes Blut, Nun geht sie tief in Sinnen, Trägt in der Hand den Sommerhut Und duldet still der Sonne Glut Und weiß nicht, was beginnen.
She used to be such a wild thing, and now she walks, deep in thought; she carries her summer hat in her hand, enduring quietly the heat of the sun, not knowing what to begin.
Das macht, es hat die Nachtigall Die ganze Nacht gesungen; Da sind von ihrem süssen Schall, Da sind in Hall und Widerhall Die Rosen aufgesprungen.
It happened because the nightingale sang the whole night long; from her sweet call, from the echo and re-echo, roses have sprung up.
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Traumgekrönt Text by Rainer Maria Rilke
Crowned by a Dream Translated by Emily Ezust
Das war der Tag der weißen Chrysanthemen, Mir bangte fast vor seiner Pracht... Und dann, dann kamst du mir die Seele nehmen Tief in der Nacht. Mir war so bang, und du kamst lieb und leise, Ich hatte grad im Traum an dich gedacht. Du kamst, und leis' wie eine Märchenweise Erklang die Nacht.
That was the day of white chrysanthemums; I almost trembled before its glory... And then, then you came to me to take my soul Deep in the night. I felt so anxious, and you came so lovingly and gently; I had just been thinking about you in a dream. You came, and softly, like a fairy tale, the night resounded.
Im Zimmer Text by Schlaf
In the Room Translated by Emily Ezust
Herbstsonnenschein. Der liebe Abend blickt so still herein. Ein Feuerlein rot Knistert im Ofenloch und loht. So, mein Kopf auf deinen Knie'n, So ist mir gut. Wenn mein Auge so in deinem ruht, Wie leise die Minuten zieh'n.
Autumn sunlight. The lovely evening peers so quietly in. A little red fire crackles in the stove and flares up. And with my head upon your knee, I am contented. When my eyes rest in yours, how gently do the minutes pass!
Liebesode Text by Otto Erich Hartleben
Ode of Love Translated by Emily Ezust
Im Arm der Liebe schliefen wir selig ein, Am offnen Fenster lauschte der Sommerwind, Und unsrer Atemzüge Frieden Trug er hinaus in die helle Mondnacht.—
In the arms of love we fell blissfully asleep; at the open window the summer wind listened and carried the peacefulness of our breath out into the bright, moonlit night.
Und aus dem Garten tastete zagend sich Ein Rosenduft an unserer Liebe Bett Und gab uns wundervolle Träume, Träume des Rausches—so reich an Sehnsucht!
And out of the garden, feeling its way randomly, the scent of roses came to our bed of love and gave us wonderful dreams, dreams of intoxication, rich with yearning.
Sommertage Text by Paul Hohenberg
Summer Days Translated by Emily Ezust
Nun ziehen Tage über die Welt, Gesandt aus blauer Ewigkeit, Im Sommerwind verweht die Zeit. Nun windet nächtens der Herr Sternenkränze mit seliger Hand Über Wander- und Wunderland. O Herz, was kann in diesen Tagen Dein hellstes Wanderlied denn sagen Von deiner tiefen, tiefen Lust: Im Wiesensang verstummt die Brust, Nun schweigt das Wort, wo Bild um Bild Zu dir zieht und dich ganz erfüllt.
Now the days move through the world, sent forth from blue eternity; time dissipates in the summer wind. Now at night the Lord weaves with blessed hand wreaths of stars above the wandering wonderland. In these days, o my heart, what can your brightest wanderer's song then say about your deep, deep pleasure? In meadowsong the heart falls silent; now there are no words, and image upon image visits you and fills you entirely.
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ALEXANDER ZEMLINSKY Liederen
Songs
Empfängnis op.2 Text by Paul Wertheimer
Conception Translated by Emily Ezust
Du weiche Nacht, o komm mich zu umfangen, Mein Sehnen rundest du und reifst den Wein. Ein seliges, ein stummes Heiland-Bangen Schwellt meine Seele, zur Empfängnis rein.
You, soft night, O come and embrace me. You round out my yearning and mature the wine. A blissful, mute awe for the Redeemer swells my soul, pure and ready for conception.
Und wie ich sehnend meine Arme breite, Da ringt sich von des Himmels Früchten los Ein heller Keim und fällt aus Gottes Weite In meiner Seele betend bangen Schoß.
And as I open my arms with longing, there fights free from heaven's fruit a bright seed, and it falls from God's firmament into the womb of my soul, so devout and full of awe.
Frühlingstag Text by Carl Siebel
Spring Day Translated by Emily Ezust
Es ist so still, als wär' es Schlafenszeit, Als wär' entschlummert Not und Leid, Gestorben Angst und Qual. Kein Hauch bewegt die Bäume, Wie unschuldsvolle Kinderträume Ziehn leis die Wölklein übers Tal.
It is so quiet, as if it were time to sleep, as if suffering and pain were slumbering, and as if fear and misery have died. Not a breath stirs the trees; like the innocent dreams of children, the little clouds float gently over the valley.
Tiefe Sehnsucht, op.5 Text by Detlev von Liliencron
Deep Longing Translated by Emily Ezust
Maienkätzchen, erster Gruß, Ich breche euch und stecke euch An meinen alten Hut.
Catkins, first greeting; I break you off and stick you in my old hat.
Maienkätzchen, erster Gruß, Einst brach ich euch und steckte euch Der Liebsten an den Hut.
Catkins, first greeting, Once I broke you off and stuck you in my sweetheart's hat.
Schlaf nur ein Text by Paul Heyse
Go to sleep Translated by Emily Ezust
Ach, was bin ich aufgewacht? Ob am Haus die Liebste klopft? Leise tönt es durch die Nacht -“Schlaf nur ein, Schlaf nur ein! Regen an die Scheiben klopft.”
Ah, what has awoken me? Is it my sweetheart knocking? Softly it sounds through the night! “Go to sleep, just go to sleep! It is raindrops knocking at the window-pane.”
Warum klingt mir doch das Ohr? Spricht von mir das falsche Kind, Das mich aus dem Sinn verlor? -“Schlaf nur ein, Schlaf nur ein! Herdenglocken rührt der Wind.”
Why do I hear ringing in my ears? Is that false girl talking about me, she who thrust me out of her mind? “Go to sleep, just go to sleep! Cowbells are chiming from the wind.”
Und sie sah im Traum mich an, Und sie sprach: Du glaubst es kaum, Was ich leide, süßer Mann! -“Schlaf nur ein, Schlaf nur ein! Schlaf ihn aus, den falschen Traum!”
And she looked at me in the dream, and she said: You hardly believe what I suffer, sweet man! “Go to sleep, just go to sleep! Sleep it away - that false dream!”
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Da waren zwei Kinder, op.7 Text by Christian Morgenstern
There were two children Translated by Sharon Krebs
Da waren zwei Kinder, jung und gut, aber ihr Blut floß gar zu schnelle. Sie lachten sich zu, da warf ihre Ruh' die erste harmlose Welle.
There were two children, young and good, but their blood flowed all too quickly. They smiled at each other, at which their peace was troubled by the first, harmless wave.
Doch jeden Tag warf sie eine mehr, bis gar wild hin und her Wogen wallten. Da ging es zum Sterben, gradaus ins Verderben -sie konnten ihr Herz nicht halten.
Yet every day another came, until wildly back and forth waves surged. Thereupon it came to dying, straight into doom -they could not contain their hearts.
Entbietung Text by Richard Dehmel
Invitation Translated by Sharon Krebs
Schmück dir das Haar mit wildem Mohn, die Nacht ist da, all ihre Sterne glühen schon. All ihre Sterne glühn heut dir! Du weißt es ja: all ihre Sterne glühn in mir!
Adorn your hair with wild poppies, night is here, all of its stars are already glowing. All of its stars are glowing for you today! You know it, truly: all of its stars are glowing within me!
Dein Haar ist schwarz, dein Haar ist wild und knistert unter meiner Glut; und wenn sie schwillt, jagt sie mit Macht die roten Blüten und dein Blut hoch in die höchste Mitternacht.
Your hair is black, your hair is wild and crackles under my fervour; and when my fervour swells, with great might it drives the red blossoms and your blood high into the highest midnight.
In deinen Augen glimmt ein Licht, so grau in grün, wie dort die Nacht den Stern umflicht, Wann kommst du?! - Mein Fackeln lohn! Laß glühn, laß glühn! Schmück mir dein Haar mit wildem Mohn!
In your eyes there gleams a light, so grey in green, as yonder the night braids itself about the star, When are you coming?! - My torches are burning! Let glow, let glow! Adorn your hair for me with wild poppies!
Please turn page quietly.
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Irmelin Rose Text by Robert Franz Arnold after Jens Peter Jacobsen
Translated by Frederick Delius
Seht, es war einmal ein König, Dem die Schätze reich gedich'n, Und der beste, der ihm eigen, Hieß mit Namen Irmelin. Irmelin Rose, Iremlin Sonne, Irmelin alles, was schön war.
There was a King in days of old, many treasures rare he owned; he knew his daughter Irmelin of all to be the rarest one, Irmelin rose, Irmelin sun, Irmelin loveliest of all!
Schier von jedem Ritterhelme Wehte ihrer Farben Schein, Und mit jedem Reim der Sprache Klang ihr Name überein: Irmelin Rose, Iremlin Sonne, Irmelin alles, was schön war.
Her bright image was reflected in the helmets of all the knights, and with ev'ry rhyme and rhythm her fair name had been entwined: Irmelin rose, Irmelin sun, Irmelin loveliest of all!
Freier kamen scharenweise Hergezogen zum Palast, Und mit zärtlichen Gebärden Klang ihr Schmeicheln ohne Rast: Irmelin Rose, Iremlin Sonne, Irmelin alles, was schön ist.
Knights by hundreds, noble wooers thronged the castle of the King, wooed the maid with tender bearing and with sweet and flowered words: Irmelin rose, Irmelin sun, Irmelin loveliest of all!
Doch Prinzessin Stahlherz jagte All die Freier schnippisch fort, Fand an jedem was zu tadeln, Hier die Haltung, da das Wort. Irmelin Rose, Iremlin Sonne, Irmelin alles, was schön ist.
But the Princess would not listen, cold her heart was, cold as steel, of some she mocked the clumsy bearing and laughed at others ugly forms. Irmelin rose, Irmelin sun, Irmelin loveliest of all!
ALMA (SCHINDLER) MAHLER Die stille Stadt Text by Richard Dehmel
The silent town Translated by Sharon Krebs
Liegt eine Stadt im Tale, Ein blasser Tag vergeht. Es wird nicht lang mehr dauern, Bis weder Mond noch Sterne Nur Nacht am Himmel steht.
A town lies in the valley; A pallid day fades. It will not be long now Before neither moon nor stars But only night will be seen in the heavens.
Von allen Bergen drücken Nebel auf die Stadt, Es dringt kein Dach, nicht Hof noch Haus, Kein Laut aus ihrem Rauch heraus, Kaum Türme noch und Brücken.
From all the mountains Fog presses down upon the town; No roof may be discerned, no yard nor house, No sound penetrates through the smoke, Barely even a tower or a bridge.
Doch als dem Wandrer graute, Da ging ein Lichtlein auf im Grund Und aus dem Rauch und Nebel Begann ein leiser Lobgesang Aus Kindermund.
But as the traveller became filled with dread A little light shone out, And through smoke and fog A song of praise began, Sung by children.
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Laue Sommernacht Text by Otto Julius Bierbaum
Mid summer night Translated by Emily Ezust
Laue Sommernacht: am Himmel Steht kein Stern, im weiten Walde Suchten wir uns tief im Dunkel, Und wir fanden uns.
Mild summer night, in the sky There are no stars; in the wide woods We searched deep in the darkness And we found ourselves.
Fanden uns im weiten Walde In der Nacht, der sternenlosen, Hielten staunend uns im Arme In der dunklen Nacht.
We found ourselves in the wide woods, In the night, the starless night; We held ourselves in wonder in each other's arms In the dark night.
War nicht unser ganzes Leben Nur ein Tappen, nur ein Suchen? Da: In seine Finsternisse Liebe, fiel Dein Licht.
Was not our entire life Simply groping, simply searching? There, into its darkness Tumbled your light, Love.
Ich wandle unter Blumen Text by Heinrich Heine
I wander among the flowers Translated by Emily Ezust
Ich wandle unter Blumen Und blühe selber mit, Ich wandle wie im Traume Und schwanke bei jedem Schritt.
I wander among the flowers and blossom myself along with them; I wander as if in a dream and sway with every step.
O halt mich fest, Geliebte! Vor Liebestrunkenheit Fall' ich dir sonst zu Füßen Und der Garten ist voller Leut!
Oh hold me tightly, my beloved! Or, drunk with love, I will collapse at your feet; and the garden is full of people!
Licht in der Nacht Text by Julius Bierbaum
Light in the Night Translated by Elisabeth Siekhaus
Ringsum dunkle Nacht, hüllt in Schwarz mich ein, zage flimmert gelb fern her ein Stern! Ist mir wie ein Trost, eine Stimme still, die dein Herz aufruft, das verzagen will.
Dark night all around, enveloping me in black, Timidly a star flickers yellow from afar! It's to me like a comfort, a quiet voice, Which calls on your heart that wants to give up.
Kleines gelbes Licht, bist mir wie der Stern überm Hause einst Jesu Christ, des Herrn und da löscht es aus. Und die Nacht wird schwer! Schlafe Herz. Schlafe Herz. Du hörst keine Stimme mehr.
Little yellow light, you are like a star to me Above the house of Jesus Christ the Lord, once, And there it goes out! Und the night turns heavy! Sleep, my heart! You hear no voice any more!
Please turn page quietly.
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HUGO WOLF Mignon Lieder
Songs of Mignon
Heiss mich nicht reden Text by Johann Wolfgang Goethe
Translated by Emil Ezust
Heiß mich nicht reden, heiß mich schweigen, Denn mein Geheimniß ist mir Pflicht; Ich möchte dir mein ganzes Innre zeigen, Allein das Schicksal will es nicht.
Don't ask me to speak - ask me to be silent, for my secret is a [solemn] duty to me. I wish I could bare my soul to you, but Fate does not will it.
Zur rechten Zeit vertreibt der Sonne Lauf Die finstre Nacht, und sie muß sich erhellen; Der harte Fels schließt seinen Busen auf, Mißgönnt der Erde nicht die tiefverborgnen Quellen.
At the right time, the sun's course will dispell the dark night, and it must be illuminated. The hard rock will open its bosom; and ungrudgingly, the earth will release deep hidden springs.
Ein jeder sucht im Arm des Freundes Ruh, Dort kann die Brust in Klagen sich ergießen; Allein ein Schwur drückt mir die Lippen zu Und nur ein Gott vermag sie aufzuschließen.
Others may seek calm in the arms of a friend; there one can pour out one's heart in lament. But for me alone, a vow locks my lips, And only a god has the power to open them.
Nur wer die Sehnsucht kennt Text by Johann Wolfgang Goethe
Translated by Lawrence Snyder
Nur wer die Sehnsucht kennt Weiß, was ich leide! Allein und abgetrennt Von aller Freude Seh ich an's Firmament Nach jener Seite. Ach, der mich liebt und kennt, Ist in der Weite. Es schwindelt mir, es brennt Mein Eingeweide. Nur wer die Sehnsucht kennt Weiß, was ich leide!
Only one who knows longing Knows what I suffer! Alone and cut off From all joy, I look into the firmament In that direction. Ach! he who loves and knows me Is far away. I am reeling, My entrails are burning. Only one who knows longing Knows what I suffer!
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So lass mich scheinen Text by Johann Wolfgang Goethe
Translated by Emily Ezust
So laßt mich scheinen, bis ich werde, Zieht mir das weiße Kleid nicht aus! Ich eile von der schönen Erde Hinab in jenes feste Haus.
So let me seem, until I become so; don't take the white dress away from me! From the beautiful earth I hasten down into that solid house.
Dort ruh' ich eine kleine Stille, Dann öffnet sich der frische Blick; Ich lasse dann die reine Hülle, Den Gürtel und den Kranz zurück.
There I will repose a moment in peace, until I open my eyes afresh; then I will leave behind the spotless garment, the girdle and the wreath.
Und jene himmlischen Gestalten Sie fragen nicht nach Mann und Weib, Und keine Kleider, keine Falten Umgeben den verklärten Leib.
And those spirits of heaven do not ask whether one is `man' or `woman', and no clothes, no robes will cover my transfigured body.
Zwar lebt' ich ohne Sorg und Mühe, Doch fühlt' ich tiefen Schmerz genung. Vor Kummer altert' ich zu frühe; Macht mich auf ewig wieder jung.
Although I have lived without trouble and toil, I have still felt deep pain. Through sorrow I have aged too soon; Make me forever young again!
Kennst du das Land Text by Johann Wolfgang Goethe
Translated by Emily Ezust
Kennst du das Land? wo die Citronen blühn, Im dunkeln Laub die Gold-Orangen glühn, Ein sanfter Wind vom blauen Himmel weht, Die Myrte still und hoch der Lorbeer steht, Kennst du es wohl? Dahin! Dahin Möcht' ich mit dir, o mein Geliebter, ziehn.
Do you know the land where citrons bloom, Golden oranges glow among dark leaves, A gentle wind blows from the blue sky, The myrtle is still, and the laurel stands tall? Do you know it well? It is there! - there That I would go with you, my beloved.
Kennst du das Haus? Auf Säulen ruht sein Dach, Es glänzt der Saal, es schimmert das Gemach, Und Marmorbilder stehn und sehn mich an: Was hat man Dir, du armes Kind, gethan? Kennst du es wohl? Dahin! Dahin Möcht' ich mit dir, o mein Beschützer, ziehn.
Do you know the house? Its roof rests on pillars. Its hall is resplendent, its chambers shine; And marble statues stand and watch me: What have they done to you, poor child? Do you know it well? It is there! - there That I would go with you, my protector.
Kennst du den Berg und seinen Wolkensteg? Das Maulthier sucht im Nebel seinen Weg; In Höhlen wohnt der Drachen alte Brut; Es stürzt der Fels und über ihn die Flut. Kennst du ihn wohl? Dahin! Dahin Geht unser Weg! o Vater, laß uns ziehn!
Do you know the mountain and its cloud-covered ridge? The mule searches for its path in the mist; In caverns dwell the ancient spawn of dragons; Rocks tumble down, and over them, a rush of water! Do you know it well? It is there! - there That our path leads us! Oh Father, let us depart.
All translations from lieder.net, reprinted by kind permission. armoryonpark.org
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NOVEMBER 18 PROGRAM Erik Satie
uspud
Erik Satie
Socrate
This performance is approximately one hour and ten minutes in length, performed without pause or intermission. Pierre Audi, Mise-en-Espace Scott Bolman, Lighting Designer Hester Warren-Steijn, Assistant Director and Stage Manager Edo Frenkel, Rehearsal Pianist and Page Turner Anne Dechene, Supertitle Operator Supertitles courtesy of Winter & Winter
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ABOUT THE WORK Erik Satie Program uspud (1892) Socrate (1919) by Erik Satie (Honfleur, 1866 – Arcueil, 1925) Erik Satie was one of the greatest non-conformists in the history of music, with a deep mistrust of the establishment. He was a friend of Debussy and Ravel who both thought highly of him, yet the path that led to Pelléas and Daphnis was not for Satie. He famously said of Ravel: “Ravel refused the légion d' honneur but all his music accepts it.” Satie himself remained a life-long rebel who eschewed the “official” genres, often fooling the audience into thinking that he was nothing but a prankster. uspud (the composer pointedly spelled the name with a small “u”) was an early indication that Satie was a lot more than that. This “Christian ballet” was a collaboration with the poet Contamine de Latour, apparently planned to be performed as a piece of shadow theater at the “Auberge du Clou” (the Inn of the Nail) on Montmartre. It was probably intended as a parody of Flaubert's Temptation of St. Anthony, itself given in a shadow-theater version at this legendary Parisian night-club. In fact, the ballet seems nothing but a parody at first sight. The protagonist, uspud, persecutes and tortures Christians but converts after the Church appears to him in the form of a beautiful woman. He is rescued from thirty-three frightening creatures (listed individually in the score) by the personified Church who thrusts a knife into his chest, thereby giving him the highest ecstasy as the choir of angels, archangels, cherubim, and seraphim resounds. The hero then sees a procession of sixteen tortured saints, again listed with all their fantastic names; he is left with feelings of “ardent love and a great need to suffer.” Attacked by demons, he is torn to pieces but his soul rises to heaven where he joins Christ in eternal bliss. For all its tongue-in-cheek quality, however, the music somehow manages to sound genuine, even without all the conventional trappings of sacred music as taught in school. (A decade later, Satie enrolled at the Schola Cantorum to learn those very trappings, yet he made little use of them during the rest of his life.) Satie deliberately avoided “expressing” the script in the conventional way: for all the horrors and violence uspud experiences, the music always remains simple and calm, in slow tempo. The melodies are either played in unison or harmonized with unusual chords, derived in part from the ancient Greek harmonic system as Satie understood it. The piano score contains several absurd indications for orchestration; for instance, the passages marked “flutes” are far too low to be played by flutes.
uspud, then, was a rather serious joke, as shown by the fact that Satie and Contamine took the trouble of submitting it to the Paris Opéra, where it was flatly, and unsurprisingly, rejected. The authors did obtain an interview with the opera director, though not before Satie threatened him, again half in jest, with a duel. Thus Satie could say that his ballet had been “presented” at the Opéra; and what is this whole story if not a wicked mockery of the establishment? Fast-forward twenty-four years. No longer a denizen of the night-clubs of Montmartre, Satie had become a successful composer, respected by many younger artists. In 1916, he received a commission from the American-born Princesse de Polignac, one of the most important music patrons in Paris, to compose a work based on the life of Socrates. The Princess originally wanted music to accompany a simple reading of the text by herself and her friends, and even though Satie produced a work for singer (or singers) in the end, the syllabic setting (only one note per syllable) and steady tempo preserved something of the impression of reading aloud. The three-movement Socrate was originally conceived for four female voices who would divide amongst themselves the roles of the various interlocutors. Yet the first performance, at the Princess's salon in the elegant 16th district, featured only one singer, Jane Bathori, with the composer at the piano, and the work has been most frequently performed that way ever since. (Satie also made a version with chamber orchestra.) The texts come from three of Plato's dialogues in a 19thcentury translation by the philosopher Victor Cousin. Alcibiades's description of Socrates from the Symposium is followed by a gentle conversation between Socrates and Phaedrus from Phaedrus, and finally, by the narrative of Socrates' death from Phaedo. The first audiences were perplexed by what they perceived as the utter monotony in the music. Yet the wide range of the vocal part (almost two octaves), the careful declamation and the subtle but very noticeable emphasis on certain key words actually provide considerable variety, and produce a mesmerizing effect. The succession of physical portrayal, action, and calm acceptance of death in the respective movements creates a compelling dramatic arc in this one-of-a-kind composition. There is a still-life by the great cubist painter Georges Braque, a close friend of Satie's, in which the score of Socrate can be seen. It was a token of admiration shared by more and more listeners as the years passed. —Peter Laki
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uspud was written as a ballet with the following scenario: First Act A deserted beach: a statue in the center, the sea in the distance. Uspud draped in Persian robes. Uspud is returning after taking part in torturing the Christians. He has relics with him, which he stacks at the foot of the statue and sets on fire. The rising smoke turns into six-winged angels that vanish in the wide expanse. A mighty clap of thunder resounds. The statue topples into pieces. Uspud is appalled. Suddenly the sky changes to white. An extraordinarily beautiful woman, clad in a golden tunic and into whose heart a dagger has been plunged, appears before Uspud, stretching out her arms to him. This is the Christian Church. Uspud, unable to trust his eyes, rubs them with sand. Trumpets ring out. In the air a procession of martyrs appears; they curse Uspud, who gathers stones with which he pelts the Christian Church. The stones become fireballs. Uspud begins to boil with rage and grasps a heavy boulder. It breaks into fragments with a tremendous bang. From the inside the stone, flames lash about, and from these stars emerge. Nature is in turmoil. Second Act The house of Uspud. Uspud is absorbed in invoking his household demons, who manifest themselves as misshapen humans with the heads of animals. These include a dog, jackal, turtle, goat, fish, lynx, tiger, wolf, ox, seal, unicorn, sheep, antelope, ant, spider, wildebeest, serpent, agouti, baboon, cuckoo, crab, albatross, ostrich, goblin shark, secretarybird, old bull, red caterpillar, wild boar, sheepshead, crocodile, buffalo, etc., each disappearing just as quickly as they appear. Uspud tries to flee but is surrounded by the demons, who squeeze the life out of him, from head to foot. Uspud attempts to smash his head but blood only flows in a thin stream from his eyes. In the air appears the vision of a pagan altar. We see the sacrificial victims being tortured in front of the altar. Uspud calls upon heaven in mortal fear. The Christian Church reappears – this time she is snow white and crystal clear. At her feet sprout up lotus flowers. The Church draws the dagger from her breast and plunges it into Uspud’s, who enters a state of ecstasy. At the same time, a gigantic crucifix emerges from the earth and rises towards the heavens, taking the Christian Church with it. We hear the angels, archangels, seraphim, cherubim, and all other thrones, dominions, and powers singing hymns in honor of the Almighty. A bright light surrounds Uspud, who falls to his knees and resolutely clasps the dagger with his hands. He has converted.
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Third Act The top of a mountain, on which is seen a crucifix. Clad in a monk’s cowl, Uspud prostrates himself before the crucifix, praying and weeping for a long time. When he finally raises his head, Christ loosens his right arm from the crucifix, blesses Uspud, and disappears. Uspud is filled with the Holy Spirit. A long procession of saints appears: St. Cléophème spits his teeth into his hands; St. Micanar carries his eyes on a platter; St. Marcomir has charred legs; St. Induciomare’s body is pierced with arrows; the holy martyr Chassebaigre wears a purple robe; St. Lumore with a sword; St. Gébu with red-hot irons; St. Glunde with the torture wheel; St. Krenou with a sheep; St. Japuis with a cleft in his forehead out of which fly doves; St. Umbeuse spinning wool; the blessed St. Melou the lame; the flayed St. Véquin; St. Purine, unscathed; St. Plan, the preaching monk; St. Lenu with a hatchet. The saints summon Uspud to martyrdom. Uspud is overwhelmed by an unquenchable longing to suffer. He rends his cowl and appears in the white habit of a novice. He begins once again to pray. A swarm of demons surrounds him on all sides. They have assumed monstrous shapes again: black hounds with a golden horn on the forehead, fish bodies with birds’ heads and wings, and giants with the heads of bulls, their nostrils snorting flames. Uspud commends his spirit to the Lord and delivers himself over to the demons, who tear him to pieces in a rage. Escorted by two angels who hold palm branches in their hands, the Christian Church reappears one last time, transparently radiant. The Church clasps Uspud’s soul in her arms and rises up with his soul to Christ, whose figure shines forth in the heavens. Text translated by Thomas May
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TEXTS AND TRANSLATIONS SOCRATE Original Translation: Winter & Winter Portrait de Socrate
Portrait of Socrates
ALCIBIADE: Or, mes chers amis, afin de louer Socrate, J’aurai besoin de comparaisons: Lui croira peutêtre que je veux plaisanter; mais rien n’est plus sérieux, Je dis d’abord qu’il ressemble tout à fait à ces Silènes qu’on voit exposés dans les ateliers des sculpteurs et que les artistes représentent avec une flûte ou des pipeaux à la main, et dans l’intérieur desquels quand on les ouvre, en séparant les deux pièces dont ils se composent, on trouve renfermées des statues de divinités. Je prétends ensuite qu’il ressemble au satyre Marsyas... Et n’estu pas aussi joueur de flûte? Oui sans doute, Et bien plus étonnant que Marsyas. Celuici charmait les hommes par les belles choses que sa bouche tirait de ses instruments et autant en fait aujourd’hui quiconque répète ses airs; en effet ceux que jouait Olympos, je les attribue à Marsyas son maître, La seule différence Socrate, qu’il y ait ici entre Marsyas et toi, c’est que sans instruments, avec de simples discours, tu fais la même chose... Pour moi, mes amis n’était la crainte de vous paraître totalement ivre, je vous attesterais avec serment l’effet extraordinaire que ses discours m’ont fait et me font encore. En l’écoutant, je sens palpiter mon coeur plus fortement que si j’étais agité de la manie dansante des corybantes, ses paroles font couler mes larmes et j’en vois un grand nombre d’autres ressentir les mêmes émotions. Tels sont les prestiges qu’exerce, et sur moi et sur bien d’autres, la flûte de ce satyre...
ALCIBIADES: And now, my dear friends, in order to praise Socrates I will need to make comparisons And yet I speak not in jest; Nothing could be more serious I say that exactly like the busts of Silenus, set up in the sculptor’s studio, which the artists represent holding a flute or pipe in hand, and which, when they are opened in the middle, have images of gods inside. I also hear that he resembles Marsyas the satyr… And are you not also a flute player? No doubt you are, and far more amazing than Marsyas. He charmed the souls of men by the beautiful sounds his breath drew from his instruments and the players of his music do still; for the melodies of Olympus are derived from Marsyas who taught them. The only difference, Socrates, between Marsyas and you, is that you produce the same result with your words. For me, my friends, if I were not afraid you would think me hopelessly drunk, I would have sworn to the extraordinary influence they always had over me. For when I hear them my heart leaps stronger than that of a Corybantian reveler in his dancing frenzy. His words cause my tears to flow, and I see others affected in the same way. And this is power exercised over me and many others by this satyr’s flute playing.
SOCRATE: Tu viens de faire mon éloge: c’est maintenant à moi de faire celui de monvoisin de droite...
SOCRATES: You praised me just a moment ago: It is now my turn to praise the neighbor to my right.
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Les Bords d’Illissus
Portrait of Socrates
SOCRATE: Détournons-nous un peu du chemin, et, s’il te plaît, descendons le longdes bords de l’Ilissus. Là nous trourrons une place solitaire pour nous asseoir où tu voudras.
SOCRATES: Let us turn aside and, if you please, go along the banks of the llissus; There, we will find a quiet spot where we can sit.
PHÈDRE: Je m’applaudis en vérité d’être sorti aujourd’hui sans chaussure, car pour toi c’est ton usage. Qui donc empêche de descendre dans le courant même et de nous baigner les pieds tout en marchant? Ce serait un vrai plaisir, surtout dans cette saison et à cette heure du jour.
PHAEDRUS: I am fortunate in not having my sandals as you never have any. What prevents us from descending to the brook and cooling our feet in the water while walking? That would be a true delight, especially in this season and this time of day.
SOCRATE: Je le veux bien; avance donc et cherche en même temps un lieu pour nous asseoir.
SOCRATES: Go ahead; lead on, look out for a place to sit.
PHÈDRE: Vois-tu ce platane élevé?
PHAEDRUS: Do you see that high plane-tree?
SOCRATE: Eh bien?
SOCRATES: Oh well?
PHÈDRE: Là nous trouverons de l’ombre, un air frais, et du gazon qui nous servira de siège, ou même de lit si nous voulons.
PHAEDRUS: There we will find shade and gentle breezes, and grass which will serve as a seat or bed, if we wish.
SOCRATE: Va je te suis.
SOCRATES: Lead on, I will follow you.
PHÈDRE: Dis-moi, Socrate, n’est ce pas ici quelque part sur les bords de l’Ilissus que Borée enleva, dit on, la jeune Orithye?
PHAEDRUS: Tell me, Socrates, was it not there, from the Ilissus, where Boreas, the north wind, is said to have carried off young Orithyia?
SOCRATE: On le dit.
SOCRATES: So it is said.
PHÈDRE: Mais ne serait ce pas dans cet endroit même? Car l’eau est si belle, si claire et si limpide, que des jeunes filles ne pouvaient trouver un lieu plus propice à leurs jeux.
PHAEDRUS: And isn’t this the exact spot? The little stream is so pretty, so bright and clear, that young maidens could not find a better spot for their fair play.
SOCRATE: Ce n’est pourtant pas ici, mais deux ou trois stades plus bas, là ou l’on passe le fleuve. On y voit même un autel consacré à Borée.
SOCRATES: I believe that the spot is not exactly here, but a quarter of a mile lower down, where you can cross the river. There one sees an altar dedicated to Boreas.
PHÈDRE: Je ne me le remets pas bien. Mais dis-moi, de grâce, crois tu donc à cette aventure fabuleuse?
PHAEDRUS: I never noticed it; but I beseech you to tell me, do you believe this fabulous tale?
SOCRATE: Mais si j’en doutais, comme les savans, je ne serais pas fort embarrassé; je pourrais subtiliser et dire que le vent du nord la fit tomber d’une des roches voisines, quand elle jouait avec Pharmace, et que ce genre de mort donna lieu de croire qu’elle avait été ravie par Borée; ou bien je pourrais dire qu’elle tomba du rocher de l’Aréopage, car c’est là que plusieurstransportent la scène... ...Mais à propos, n’est-ce point là cet arbre où tu me conduisais?
SOCRATES: If I doubted it, as the servants do, I would not be extremely embarrassed; I could not rationalize and say that the north wind made her fall from those rocks when she was playing with Pharmacia and this being the manner of her death, she was said to have been carried away by Boreas; or I could say that she fell from the rock Aeropagus, however, many have transported the scene to that place… …But speaking of that, have we not reached the plane-tree?
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PHÈDRE: C’est lui même.
PHAEDRUS: Yes, this is the place
SOCRATE: Par Junon, le charmant lieu de repos! Comme ce platane est large et élevé! Et cet agnus castus, avec ses rameaux élancés et son bel ombrage, ne dirait on pas qu’il est là tout en fleur pour embaumer l’air? Quoi de plus gracieux, je te prie, que cette source qui coule sous ce platane, et dont nos pieds attestent la fraîcheur? Ce lieu pourrait bien être consacré à quelques nymphes et au fleuve Achéloüs, à en juger par ces figures et ces statues. Goûte un peu l’air qu on y respire: est-il rien de plus suave et de si délicieux? Le chant des cigales a quelque chose d’animé et qui sent l’été. J’aime surtout cette herbe touffue qui nous permet de nous étendre et de reposer mollement notre tète sur ce terrain légèrement incliné. Mon cher Phèdre, tu ne pouvais mieux me conduire.
SOCRATES: By Hera, a charming place to rest! Here is a lofty and broad plane-tree! And the agnus castus with its slender branches and its beautiful shade, isn’t it the fullest blossom, filling the air with fragrance? What could be more delightful I ask you, than the spring which flows beneath the planetree, so cool at our feet? This must be the place sacred to the nymph and the river god Achelous, judging from the figures and the statues. Taste the air that we breathe; is there anything more delicious? The chorus of the cicadas makes a sound, vast and summerlike. I love above all this bushy grass, which allows us to recline and gently rest out heads on the soft incline. My dear Phaedrus, you have been an admirable guide.
Mort de Socrate
Death of Socrates
PHÉDON: Depuis la condamnation de Socrate nous ne manquions pas un seul jour d’aller le voir. Comme la place publique, où le jugement avait été rendu, était tout près de la prison, nous nous y rassemblions le matin, et là nous attendions, en nous entretenant ensemble, que la prison fût ouverte, et elle ne l’était jamais de bonne heure... ...Le geôlier, qui nous introduisait ordinairement, vint au devant de nous, et nous dit d’attendre et de ne pas entrer avant qu’il nous appelât lui même. Quelques moments après, il revint et nous ouvrit. En entrant, nous trouvâmes Socrate qu’on venait de délivrer de ses fers, et Xantippe, tu la connais, auprès de lui, et tenant un de ses enfants entre ses bras... ...Alors Socrate, se mettant sur son séant, plia la jambe qu’on venait de dégager, la frotta avec sa main, et nous dit... L’étrange chose mes amis, que ce que les hommes appellent plaisir, et comme il a de merveilleux rapports avec la douleur que l’on prétend contraire!... N’est-ce pas dans la jouissance et la souffrance que le corps subjugue et enchaîne l’âme?... A grande peine persuaderais-je aux autres hommes que je ne prends point pour un malheur l’état où je me trouve, puisque je ne saurais vous le persuader à vous-mêmes... Vous me croyez donc, à ce qu’il paraît, bien inférieur aux cygnes, pour ce qui regarde le pressentiment et la divination. Les cygnes, quand ils sentent qu’ils vont mourir, chantent encore mieux ce jour-là qu’ils n’ont jamais fait, dans la joie d’aller trouver le dieu qu’ils servent... ...Bien que j’aie plusieurs fois admiré Socrate, je ne le fis jamais autant qu’en cette circonstance... J’étais assis à sa droite, à côté du lit, sur un petit siège, et lui, il était assis plus haut que moi. Me passant la main sur la tète, et prenant mes cheveux, qui tombaient sur mes épaules:... Demain, O Phédon dit-il, tu feras couper ces beaux cheveux; n’est-ce pas?... ...Il se leva et passa dans une chambre voisine pour y prendre le bain; Criton l’y suiv- it, et Socrate nous pria de l’attendre... En rentrant, il s’assit sur son lit, et n’eut pas le temps de nous dire grand’chose:... Car le serviteur des Onze entra Presque en même temps, et s’approchant de lui: Socrate, dit-il, j’espère que je n’aurai pas à te faire le même reproche qu’aux autres: dès que je viens les avertir, par l’ordre des magistrats, qu’il faut boire le poison, ils s’emportent contre moi et me maudissent; mais pour toi, je t’ai toujours trouvé le plus courageux, le plus doux et le meilleur de ceux qui sont jamais venus dans cette prison;
PHAEDO: Since the condemnation of Socrates we did not miss a single day of visiting him. The public court where judgement was rendered was very close to the prison, so we assembled there in the morning, and there we waited, talking together, until the prison opened, which was never very early… …The jailer who answered the door came before us and told us to wait and not to enter until he called us. He soon returned and said that we could enter. On entering we found Socrates just released from his chains, and Xanthippe at his side, holding one of his children in her arms… …Then Socrates bent his leg, which had just been freed, rubbed it with his hand and said… The strange thing, my friends, is the thing called pleasure, and how curiously related to pain, which is considered opposite!... Is it not pleasure and suffering that the body subjugates and connects with the soul?... I am not very likely to persuade other men that I do not disregard my present situation as a misfortune, if I cannot even persuade you of it… You believe, as it seems, that I am inferior to swans which have in them the spirit of presentiment and divination. The swans, when they feel they must die, sing more lustily than ever, rejoicing they are about to meet the god they serve… ...I have admired Socrates several times, but never more than on that occasion… I was close to him to his right, on a sort of stool, and he was seated a good deal higher. He stroked my hair, which fell to my shoulders… Tomorrow, Phaedo, these beautiful hairs of yours will be cut, will they not?... …He arose and went into a chamber to bathe; Crito followed him and Socrates asked us to wait… When he came out, he sat down with us again, but had no time to say much to us… The servant of the Eleven, entered and stood by him, Socrates, he says, I hope that I will not have to impute the angry feeling of others, who rage at me, when, in obedience to authorities, I bid them to drink the poison, you, whom I know to be the noblest and gentlest and the best of all who ever came to this prison;
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et en ce moment je sais bien que je suis assuré que tu n’es pas fâché contre moi, mais contre ceux qui sont la cause de ton malheur, et que tu connais bien. Maintenant, tu sais ce que je viens t’annoncer; adieu, tâche de supporter avec résignation ce qui est inévitable. Et en même temps il se détourna en fondant en larmes, et se retira. Socrate, le regardant, lui dit: et toi aussi, reçois mes adieux; je feraice que tu dis. Et se tournant vers nous: voyez, nous dit-il, quelle honnêteté dans cet homme: tout le temps que j’ai été ici, il m’est venu voir souvent, et s’est entretenu avec moi: c’était le meilleur des hommes; et maintenant comme il me pleure de bon coeur! Mais allons, Criton; obéissons-lui de bonne grâce, et qu’on m’apporte le poison, s’il est broyé sinon, qu’il le broie lui-même... Criton fit signe à l’esclave qui se tenait auprès. L’esclave sortit, et après être sorti quelque temps, il revint avec celui qui devait donner le poison, qu’il portait tout broyé dans une coupe. Aussitôt que Socrate le vit: fort bien, mon ami, lui dit-il mais que faut-il que je fasse? Car c’est à toi à me l’apprendre. Pas autre chose, lui dit cet homme, que de te promener quand tu auras bu, jusqu’à ce que tu sentes tes jambes appesanties, et alors de te coucher sur ton lit; le poison agira de luimême. Et en même temps il lui tendit la coupe... Socrate porta la coupe à ses lèvres, et la but avec une tranquillité et une douceur merveilleuse. Jusque-là nous avions eu presque tous assez de force pour retenir nos larmes; mais en le voyant boire, et après qu’il eut bu, nous n’en fûmes plus les maîtres. Pour moi, malgré tous mes efforts, mes larmes s’échappèrent avec tant d’abondance que je me couvris de mon manteau pour pleurer sur moi-même; car ce n’est pas le malheur de Socrate que je pleurais, mais le mien, en songeant quel ami j’allais perdre... ...Cependant Socrate, qui se promenait, dit qu’il sentait ses jambes s’appesantir, et il se coucha sur le dos, comme l’homme l’avait ordonné. En même temps le même homme qui lui avait donné le poison, s’approcha, et après avoir examiné quelque temps ses pieds et ses jambes, il lui serra le pied fortement, et lui demanda s’il le sentait; il dit que non. Il lui serra ensuite les jambes; et, portant ses mains plus haut, il nous fit voir que le corps se glaçait et se raidissait; et le touchant lui-même, il nous dit que, dès que le froid gagnerait le coeur, alors Socrate nous quitterait... ...Alors se découvrant, Socrate dit: Criton, nous devons un coq à Esculape; n’oublie pas d’acquitter cette dette... Un peu de temps après il fît un mouvement convulsif; alors l’homme le découvrit tout-à-fait: ses regards étaient fixes. Criton, s’en étant aperçu, lui ferma la bouche et les yeux... ...Voilà, Échécrates, qu’elle fut la fin de notre ami... ...du plus sage et du plus juste de tous les hommes.
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indeed, I am sure that you will not be angry with me; but against those which are the cause of your misfortune. Now, you know what I have to announce to you; goodbye and try to bear with resignation what is inevitable. And, while bursting into tears, he turned away. Socrates looked at him and said: I bid you adieu; I will do as you say. Then turning to us, he said: See how honest the man is. Since I have been here he has often come to see me, and at times he would talk to me, and he was as good to me as he could be now see how generously he sorrows for my sake! Crito, we must obey him, with good grace; and let the cup be brought, if the poison is prepared: if not, let him prepare it… Crito made a sign to the slave; The slave went out and returned with the jailer carrying the cup of poison. Socrates said: Good my friends, but what should I do? You must teach me. The man answered: You only have to walk until your legs are heavy, and then to lie down, and the poison will act. At the same time he handed the cup to him… Socrates raised the cup to his lips, he drank the poison with a sweet tranquility. Till then most of us had been able to control our sorrow; but now when we saw him drinking, we could no longer forbear. In spite of myself my own tears were flowing fast; so that I covered my face and wept, not for him, while I was thinking which friend I was losing… …However Socrates said his legs began to grow heavy, and then he lay on his back, and the man who gave him the poison looked at his feet and legs; he pressed his foot hard, and asked if he could feel; He says no. He tightened the legs to him, and upwards and upwards, and showed us the body was becoming cold and stiff; he told us, as soon as the coldness would reach the heart, then Socrates would leave us… …Then Socrates uncovered himself, and said: Crito, we owe a cock to Asclepius; don’t forget to pay the debt… A little later he made a convulsive moment, and so the attendant fully uncovered him; his eyes were set, and Crito closed his eyes and mouth… …This was the end Echecrates, of our friend… …the wisest and most just of all men.
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ABOUT THE ARTISTS Soprano Barbara Hannigan divides her time between singing on the world's major stages and conducting leading orchestras. The Berlin Philharmonic, Münchner Philharmoniker, Gothenburg Symphony, Orchestra dell’Accademia Nazionale di Santa Cecilia, Mahler Chamber Orchestra, and the Toronto Symphony are among the orchestras with whom she holds close relationships. Barbara has worked with the most prominent conductors, including Simon Rattle, Kent Nagano, Esa-Pekka Salonen, Andris Nelsons, Yannick Nézet-Séguin, Kirill Petrenko, David Zinman, Vladimir Jurowski, Antonio Pappano, Alan Gilbert, and Reinbert de Leeuw. Her commitment to the music of our time has led to an extensive collaboration with composers including Boulez, Dutilleux, Ligeti, Stockhausen, Sciarrino, Barry, Dusapin, and Abrahamsen. Notable operatic appearances include the title role in Pelléas et Mélisande, which she performed in two consecutive summers: Katie Mitchell’s staging at the 2016 Festival d’Aix-en-Province conducted by Esa-Pekka Salonen, as well as in Krszysztof Warlikowski’s 2017 staging of the work at Ruhrtriennale conducted by Sylvain Cambreling. Ms. Hannigan sang Lulu in Warlikowski’s acclaimed 2012 production at La Monnaie in 2012 and more recently in Christoph Marthaler’s new production at Hamburg Staatsoper in 2017, and will remount the production there in 2018 and 2020. She sang the role of Marie in Zimmermann’s Die Soldaten at the Bayerische Staatsoper—a hugely acclaimed performance directed by Andreas Kriegenburg and conducted by Kirill Petrenko, for which she won the Faust Award in Germany. Following her highly successful debut in 2015 at Opera de Paris with La Voix Humaine again directed by Warlikowski, she returns to revive the work in spring 2018. She created the role of Agnes in George Benjamin's Written on Skin, a production which has garnered rave reviews worldwide, with most recent performances at London’s Royal Opera House last season. She returns there this season to perform in the hotly anticipated new work of George Benjamin, Lessons in Love and Violence. The production also travels to the Dutch National Opera in summer 2018. Barbara has worked extensively with choreographer Sasha Waltz on productions of Hosokawa’s Matsukaze and Dusapin’s Passion. The 2016-2017 season saw Hannigan sing the world premieres of Gerald Barry’s Alice’s Adventures Under Ground and in summer 2017 she made her debut at Glyndebourne Festival as Ophelia in Brett Dean's Hamlet.
arrangement by Bill Elliott. A new film, Music is Music, directed by Mathieu Amalric accompanies the CD and it will be screened at the 2017 New York Film Festival, at the Walter Theater at Lincoln Center. Recent and upcoming conducting highlights include performances with Danish National and Swedish Radio symphony orchestras, Orchestre Philharmonique de Radio France, the Münichner Philharmoniker, and LUDWIG Orchestra, with whom she tours Europe this December. She also appears in recital tour with pianist Reinbert de Leeuw in Toronto, Washington, New York, Philadelphia, and the Vienna Konzerthaus. Ms. Hannigan’s recordings have garnered awards from Gramophone, Edison, Victoires de la Musique, and the Royal Philharmonic Society. Other awards include Singer of the Year (Opernwelt, 2013) and Musical Personality of the Year (Syndicat de la Presse Francaise, 2012). Recently appointed as a member to the Order of Canada, her life as an artist has been the subject of documentaries: Accentus Music’s acclaimed documentary I’m a creative animal, produced at Lucerne Festival 2014 where she was Artiste Étoile, Dutch television's Canadees Podiumdier (NTR 2014), as well as Mathieu Amalric's short film, C'est presque au bout du monde.
In 2017, Barbara releases her first album as singer and conductor, with LUDWIG Orchestra as the orchestral forces, on Alpha Classics, entitled Crazy Girl Crazy. The CD features works by Berio, Berg, and a specially commissioned Gershwin 24
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In the field of modern and contemporary music, Reinbert de Leeuw is widely known and a highly respected musician. Born in Amsterdam, de Leeuw's musical activities cover a wide field as a conductor, composer, and pianist. Since 1974 he has been conductor and music director of the Schönberg Ensemble. He is also author of a book on Charles Ives, a book with musical essays, and has collaborated on eight film documentary series of 20th-century composers such as Messiaen, Ligeti, Gubaidulina, Vivier, and Górecki that have been shown on Dutch television and which have won international acclaim. Reinbert de Leeuw regularly conducts Holland's foremost orchestras and ensembles, including the Royal Concertgebouw Orchestra, New Sinfonietta Amsterdam, Residentie Orchestra The Hague, and ensembles such as the Netherlands Chamber Choir, the ASKO and the Netherlands Wind ensembles, and the orchestras of the Dutch Radio. He has toured and performed in festivals worldwide. He was guest artistic director of the Aldeburgh Festival (1992) and was artistic director of the Tanglewood Festival of Contemporary Music (1994-1998). In the 19951996 season he was the center point of the Carte Blanche series in the Concertgebouw Amsterdam. He is involved in the organization of the series Contemporaries at the Concertgebouw Amsterdam. He is a regular guest in most European countries including France, Germany, England, and Belgium, and in the United States at the Tanglewood Festival, New World Symphony, the Chamber Music Society of Lincoln Center, and the St. Paul’s Chamber Orchestra in Minneapolis, and lectures at The Juilliard School of Music. He has also appeared in Japan and Australia, where he has served as artistic advisor for the contemporary music series of the Sydney Symphony Orchestra from 2000 to 2004. During that period he conducted several concerts in Sydney and the Brisbane Festival. Mr. de Leeuw has been co-founder and from 2001-2010, artistic director of the Summer Academy, the international orchestra and ensemble academy of the National Youth Orchestra of The Netherlands.
His recordings as a pianist have won many prizes, including the Dutch Edison, the Premio della critica discografica Italiana, the Grand Prix of the Hungarian Liszt Society, and the Diapason D'Or, as well as the Edison Oeuvre Prize in 2008. Some 30 recordings as a conductor have been released by Philips, teldec, DGG, Electra Nonesuch, Ovidis Montaigne, and cover a wide range of repertoire by Messiaen, Strawinsky, Janacek, Liszt, Gubaidulina, Oestvolskaya, Schönberg, Webern, Vivier, Andriessen, and Reich. In July 2006, the Schönberg Ensemble released a CD/DVD box set documenting 30 years of their concerts and recordings, most of which are conducted by Mr. de Leeuw. Reinbert de Leeuw has received the Sikkens Award (1991) and the prestigious 3M prize (1992) and in 1994 was made Honorary Doctor at the University of Utrecht and is Professor at the University of Leiden. In 2008, on the occasion of his 70th birthday, he was made a Knight of the Order of the Netherlands Lion. He received an Honorary Doctorate of the University of Leuven in 2016 to honor his unabated effort to involve a wider audience in music of the 20th and 21st century. Among his acclaimed arrangements and compositions are Im Wunderschönen Monat Mai, a cycle based on songs by Schubert and Schumann, performed with actress-singer Barbara Sukowa and more recently his work for large orchestra The Nightly Wanderer, which had its world premiere in 2014 in Amsterdam, and which premiered in the UK in 2016 during the Proms at Royal Albert Hall. The U.S. premiere took placee in April 2017 with the New World Symphony in Miami.
Reinbert de Leeuw has been involved in various opera productions at the Dutch National Opera in Amsterdam, including Stravinsky’s The Rake’s Progress, Louis Andriessen’s Rosa, A Horse Drama and Writing to Vermeer, Ligeti’s Le Grand Macabre, Vivier’s Rêves d’un Marco Polo, Rob Zuiddam’s Rage d‘Amours and Adam in Exile, Wagemans’s Legende, and the world premiere of Louis Andriessen’s La Commedia. His most recent production has been Andriessen’s Theatre of the World, which was performed in both Los Angeles and Amsterdam in 2016. armoryonpark.org
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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 Wade Thompson 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-square-foot 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 $210-million renovation designed by Herzog & de Meuron and Platt Byard Dovell White Architects as Executive Architects.
PARK AVENUE ARMORY STAFF Rebecca Robertson, President and Executive Producer Pierre Audi, Marina Kellen French Artistic Director Matthew Bird, Deputy Director of Development Jenni Bowman, Producer Hanna Brody, Special Events Coordinator 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 Wednesday Derrico, Production Assistant Sam DeRubeis, Building Engineer Melanie Forman, Chief Development Officer Rafael Flores, Associate Director of Corporate Relations Alexander Frenkel, Controller Lissa Frenkel, Managing Director 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, Director of External Operations Claire Marberg, Production Manager Aidan Nelson, Production Assistant Lars Nelson, Technical Director Lori Nelson, Executive Assistant to the President
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Timothy Nim, Chief Financial and Administrative Officer Isabel Orbon, Associate Director of Major Gifts 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 Matthew Rymkiewicz, Tessitura Database Manager William Say, Superintendent Melissa Stone, Manager of Special Events Natalie Schwich, Press and Editorial Manager 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 Olga Cruz, Mario Esquilin, Carlos Goris, Victor Lora, Josthen Noboa, Candice Rushin, Antonio Sanders, Porters Coral Cohen, House Manager Kara Kaufman, Erik Olson, Box Office Managers 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 Production Acknowledgements Sarah Billinghurst Solomon and Matthew Epstein, Artistic Consultants for Vocal Recitals Steinway & Sons Hester Warren-Steijn, Assistant Director and Stage Manager Edo Frenkel, Rehearsal Pianist and Page Turner
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NEXT IN THE RECITAL SERIES ISABEL LEONARD, mezzo-soprano TED SPERLING, piano
THE CROSSING DONALD NALLY, conductor
january 5 & 7
september 19 & 20
“Isabel Leonard is a glamorous young opera star, svelte and vivacious, whose career has rocketed into the stratosphere.” —Miami Herald
“… a chamber choir that manages to generate the power, range, blend, and accuracy of a symphony orchestra.” —WQXR
Highly acclaimed for her expressive intensity, impeccable technique, and charisma, Grammy Award-winning Isabel Leonard has thrilled audiences around the globe both in the opera house and on the concert stage at the Vienna State Opera, Paris Opera, and at the Salzburg and Glyndebourne Festivals, amongst others. Having also become an audience favorite on the Metropolitan Opera stage, the celebrated mezzo-soprano moves to a much more intimate space for a program of beloved songs and lesser-known gems by Leonard Bernstein in celebration of the centenary of his birth.
The Crossing comes to the Armory to perform an ambulatory concert that utilizes the corridors and historic rooms to create a unique kind of seamless music with fluidity of movement from room to room. The program includes world and New York premieres by David Lang, Louis Andriessen, and a new work by Ted Hearne, co-commissioned by the Armory. The new music champions are dedicated to expanding the contemporary choral music experience through commissions, collaborations, community, and performances that are characterized by a distinctive unity of sound and spirit.
NADINE SIERRA, soprano BRYAN WAGORN, piano
SEVERIN VON ECKARDSTEIN, piano november 13 & 14
february 16 & 18
“In the rarefied world of opera, 27-year-old soprano wunderkind Nadine Sierra is bringing audiences to their feet and breaking age-old traditions.”—Nylon The youngest winner ever of both the Metropolitan Opera National Council Auditions and the Marilyn Horne Foundation Vocal Competition, Nadine Sierra is being hailed as one of the most promising new talents in opera today, with impressive recent debuts at the Metropolitan Opera, La Scala, Paris Opera, and San Francisco Opera. She performs a program of art songs and arias that offers audiences the chance to get to know the seamless technique, abundant musicality, and vocal beauty of this star on the rise in one of the only spaces that could provide such a personal encounter.
“a young pianist who combined a first rate technique, a probing intellect, an instinctive grasp for the feel of the music, and taste.” —Huffington Post Few other pieces showcase Schumann’s creative expression and unrestricted imagination than his fantasy works, written both early and late in his career. Making his New York recital debut, pianist Severin von Eckardstein captures the subtle variety of this dreamy music in two distinct programs that showcase his superb technique and emotional depth. He opens his residency exploring the connection between Schumann and Russian composer Nikolai Medtner through their exploration of fantastical elements, and then turns to darker myths in a program that pairs the composer’s works with those of Wagner and Liszt.
LINDEMANN YOUNG ARTIST CONCERT march 6 & 7
With notable alumni including Stephanie Blythe, Christine Goerke, Nathan Gunn, Mariusz Kwiecien, Sondra Radvanovsky, and Dawn Upshaw, The Metropolitan Opera Lindemann Young Artists Program is considered one of the most prestigious programs for artists through training and performance opportunities on the Metropolitan Opera stage. Hear some of the next generation of opera greats from the program – mezzo soprano Emily D’Angelo, bass David Leigh, and pianists Valeria Polunina and Nate Raskin – in an evening of song in the Board of Officers Room. armoryonpark.org
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NEXT AT THE ARMORY 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.
YERMA
march 23–april 21
MYRIAD ONEOHTRIX POINT NEVER may 22-24
“As Oneohtrix Point Never, New York-based electronic composer Daniel Lopatin has often focused on the grotesque and unplaceable [with] a tendency to displace the listener—to envelop them in a world that looks a lot like the one they’re used to, but threatens to fall apart at the slightest touch.” —Pitchfork Musician, composer, and Mercury Prize nominated-producer Oneohtrix Point Never’s world-building approach to creating works spans across the mediums of film, poetry, and visual art. He comes to the Armory to create a hyperstitial concertscape imagined from the perspective of an alien intelligence. The project places the audience inside the architecture of the music itself, using the scale of the Wade Thompson Drill Hall to explore disorienting relationships between space and sound while mutating forms of live musical performance. The world premiere of myRiad is presented as a four-part epochal song cycle by the Park Avenue Armory and the Red Bull Music Festival New York City.
“A shatteringly powerful reinvention of a familiar classic” —The Independent (UK)
THE LET GO: NICK CAVE
Federico García Lorca’s 1934 devastating drama is radically reimagined into a parable of modern life by Australian director in his long-awaited New York directorial debut. His highly unusual staging serves as a strikingly effective visual metaphor to imitate life under a microscope and lived online while heightening our sense of voyeurism. Having won 2017 Olivier Awards for Best Revival and Best Actress for Billie Piper when staged at the Young Vic in London, this fullblooded production is transported to the Armory for its highly anticipated North American premiere.
“one of the most popular contemporary artists [who] turns his serious ideas into buoyant aesthetic concepts” —The New York Times
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june 7–july 1
Interdisciplinary artist Nick Cave creates a dance-based town hall to which the community of New York is invited to “let go” and speak their minds through movement. This ambitious new work—a hybrid installation, performance, gathering and dancing environment—reimagines the Wade Thompson Drill Hall with a massive, multi-colored mylar curtain, a series of live performances and soundtracks curated by some of New York’s best DJs, and dance-based encounters. Also on display in the Armory’s historic rooms are a collection of Cave’s “Up Right” soundsuits, wearable sculptures that create a second skin to conceal race, gender, and class to force the viewer to observe without judgment.
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THE DAMNED july 17–28
“A masterstroke … a dangerous, vast and virtuoso production that confronts its time and context with chilling force, showing, in the director’s own words, ‘a celebration of evil’.” —The Guardian (UK) Tony Award-winning director Ivo van Hove unleashes his visionary creativity with the prestigious Comédie- Française for the North American premiere of his adaptation of Luchino Visconti’s desperately dark drama. This sharply drawn familial chronicle combines intrigue and ambition with betrayal and murder in the insidious struggle for power, and the corruption of relationships echoes the cruelty and brutality of the political context. The historic walls of the Wade Thompson Drill Hall form the backdrop for this remarkable production, which employs video feeds projected on massive screens amongst the minimalist set to create scenography that borders on installation art.
ARTISTS STUDIO Curated by jazz pianist, composer, and MacArthur fellow Jason Moran, this series adds to the exuberance of the newly restored Veterans Room with interventions by some of today’s most creative voices who have a distinct relationship to sound with a visual aesthetic that blurs the boundaries between installation and performance. Upcoming Events:
ALVIN CURRAN
march 14
MATANA ROBERTS
april 24
CHARLEMAGNE PALESTINE
september 14
JULIANA HUXTABLE
october 10
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OTHER HAPPENINGS AT THE ARMORY ARTISTS-IN-RESIDENCE
INTERROGATIONS OF FORM: CONVERSATION SERIES
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.
MALKIN LECTURE SERIES
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.
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.
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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. Current artists-inresidence include installation and performance artist Tania Bruguera; performance artists Malik Gaines and Alexandro Segade; choreographer and flexn dance pioneer Reggie (Regg Roc) Gray and his company the D.R.E.A.M. Ring; playwright Branden Jacobs-Jenkins and performance artist Carmelita Tropicana; set designer and director Christine Jones and choreographer Steven Hoggett; playwright and screenwriter Lynn Nottage; composer and guitarist Marvin Sewell; and photographer and visual artist Carrie Mae Weems. The Artistin-Residence Program is made possible by The Andrew W. Mellon Foundation. 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.
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JOIN THE ARMORY JOIN OR RENEW YOUR MEMBERSHIP 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, updated as of April 25, 2016:
FRIEND $100
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.
SUPPORTER $250 $200 is tax deductible
All benefits of the Friend membership plus: » Fees waived on ticket exchanges* » Free admission for you and a guest to guided tours of the Armory*** » Discount on tickets to the Malkin Lecture Series* » Discount on tickets to Artist Talks and Public Programs*
All benefits of the Supporter membership plus: » Members concierge ticket service » Free admission for two additional guests to visual art installations » Two complimentary passes to an art fair**
All benefits of the Associate membership plus: » Recognition in Armory printed programs » No wait, no line ticket pick up at the patron desk » Handling fees waived on ticket purchases* » Invitation to a private Chairman’s Circle event for you and a guest » Two complimentary tickets to the Under Construction Series, Recital Series, or Artists Studio*
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.
» Members only pre-sale access for Armory performances » Invitation to the opening night preview for visual art installations » Free admission for you and a guest to Armory visual arts installations » Discounts at local partnered restaurants and hotels » 10% discount on merchandise sold during Armory performances
$370 is tax deductible
$780 is tax deductible
CHAIRMAN’S CIRCLE STARTING AT $2,500
$70 is tax deductible
ASSOCIATE $500
BENEFACTOR $1,000
EDUCATION COMMITTEE STARTING AT $5,000
The Armory’s arts education program reaches thousands of public school students each year, immersing them in the creative process of exceptional visual and performing artists and teaching them to explore their own creative instincts. Education Committee members are invited to special events, meetings, and workshops that allow them to witness the students’ progress and contribute to the growth of the program. For more information about membership, please call (212) 616-3958 e-mail members@armoryonpark.org. For information on ticketing, or to purchase tickets, please call the Box Office at (212) 933-5812 *Subject to ticket availability **Certain restrictions apply ***Reservations required
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PARK AVENUE ARMORY BOARD OF DIRECTORS Co-Chairman Elihu Rose, PhD. Co-Chairman Adam R. Flatto President 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
PARK AVENUE ARMORY ARTISTIC COUNCIL Co-Chairs Noreen Buckfire Michael Field Caryn Schacht and David Fox Heidi and Tom McWilliams
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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 Adam R. Flatto Olivia Tournay 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
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Christina and Alan MacDonald Elizabeth and Frank Newman Janet and David P. Nolan Gwen and Peter Norton Slobodan Randjelović and Jon Stryker Michael D. Rhea 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 support for 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 Adam R. Flatto Olivia Tournay Flatto Marina Keller French 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 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 Anna Maria & Stephen Kellen Foundation Kirkland & Ellis LLP 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 Art Dealers Association of America AECOM Tishman Benigno Aguilar and Gerald Erickson The Avenue Association Harrison and Leslie Bains Emma Bloomberg Carolyn S. Brody Janna Bullock Eileen Campbell and Struan Robertson Elizabeth Coleman The Cowles Charitable Trust Caroline and Paul Cronson Mary Cronson / Evelyn Sharp Foundation Ellie and Edgar Cullman Gina and James de Givenchy The Emma and Georgina Bloomberg Foundation Andrew L. Farkas, Island Capital Group & C-III Capital Partners Elizabeth Morse Genius Foundation Howard Gilman Foundation Horace W. Goldsmith Foundation Deborah and Allen Grubman Anita K. Hersh Daniel Clay Houghton Kaplen Brothers Fund Chad A. Leat Christina and Alan MacDonald Marc Haas Foundation National Endowment for the Arts New York State Council on the Arts Frank and Elizabeth Newman Stavros Niarchos Foundation 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 Mary Jane Robertson and Jock Clark Rebecca Robertson and Byron Knief Susan Rudin The Fan Fox & Leslie R. Samuels Foundation Nicholas and Shelley Schorsch The Shubert Foundation Sydney and Stanley S. Shuman Peter and Jaar-mel Sloane / Heckscher Foundation Sanford L. Smith Swiss Arts Council Pro Helvetia Sharzad and Michael Targoff TEFAF NY, Jeff Rabin and Michael Plummer Thor Industries, Inc.
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Robert Vila and Diana Barrett Anonymous (2)
$10,000 to $24,999 AR Global Investments, LLC Helaine and Victor Barnett Ginette Becker and Joshua A. Becker* Noreen and Ken Buckfire Marco Cafuzzi Joyce B. Cowin Jennie L. and Richard K. DeScherer Beth Rudin DeWoody 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 Lorraine Gallard and Richard H. Levy Kiendl and John Gordon Sarah Gould and David Steinhardt Jeff and Kim Greenberg Agnes Gund Janet Halvorson Rachel and Mike Jacobellis William and Elizabeth Kahane Jennie Kassanoff and Dan Schulman Suzie and Bruce Kovner Jill and Peter Kraus Leonard and Judy Lauder Fund Leon Levy Foundation Aaron Lieber and Bruce Horten Kamie and Richard Lightburn George S. Loening Lili Lynton and Michael Ryan Christine & Richard Mack Andrea Markezin Press and Joel Press May and Samuel Rudin Family Foundation, Inc. Cynthia Woods Mitchell Fund of the National Trust for Historic Preservation Patty Newburger and Bradley Wechsler Northern Bay Contractors, Inc. PBDW Architects Liz and Jeff Peek Joan and Joel I. Picket Kimberly and Scott Resnick Michael D. Rhea Roberto Cavalli Mr. and Mrs. Jeffrey Rosen Chuck and Stacy Rosenzweig Deborah and Chuck Royce Mr. and Mrs. William Sandholm Susan and Charles Sawyers Stacy Schiff and Marc de la Bruyère 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.
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Michael and Veronica Stubbs Mr. and Mrs. Dave Thomas Laurie M. Tisch Illumination Fund Tishman Speyer Properties, LP Barbara and Donald Tober Jane and Robert Toll Christopher Tsai and André Stockamp / Tsai Capital Corporation Mary Wallach David Wassong and Cynthia Clift Diana Wege Mike Weil and Shirley Madhere-Weil WME Foundation Anonymous (2)
$5,000 to $9,999 ABS Partners Real Estate, LLC Jody and John Arnhold Milton and Sally Avery Arts Foundation Abigail Baratta Tony Bechara Debra and Leon Black Allison M. Blinken Leslie Bluhm and David Helfand Nicholas Brawer Catherine and Robert Brawer Daniel and Estrellita Brodsky Amanda M. Burden Marian and Russell Burke CBRE Betsy Cohn Margaret Crotty and Rory Riggs Cultural Services of the French Embassy Constance and Gregory Dalvito Diana Davenport and John Bernstein Antoinette Delruelle and Joshua L. Steiner Ms. Elizabeth Diller and Mr. Richard Scofidio Christopher A. Duda Eagle Capital Management, L.L.C. David and Frances Eberhart Foundation Ehrenkranz & Ehrenkranz LLP Anne and Joel Ehrenkranz Dr. Nancy Eppler-Wolff and Mr. John Wolff Alicia Ernst and John Katzman EverGreene Architectural Arts The Felicia Fund Fisher Marantz Stone, Inc. Claudia and George Bitar Mr. and Mrs. Stephen and Amandine Freidheim Bart Friedman and Wendy A. Stein Inger McCabe Elliott Barbara and Peter Georgescu The Georgetown Company Sarah Jane and Trevor Gibbons Mr. and Mrs. David Golub Elizabeth and David Granville-Smith Jamee and Peter Gregory Molly Butler Hart and Michael D. Griffin Mr. and Mrs. Lawrence Hite Nancy Josephson Sonny and Michelle Kalsi Hon. Bruce M. Kaplan and Janet Yaseen Kaplan Adrienne Katz Erin and Alex Klatskin Mr. and Mrs. Fernand Lamesch Lazard Gail and Alan Levenstein The Honorable and Mrs. Earle I Mack
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Diane and Adam E. Max Rick and Dee Mayberry Renee and David McKee Joyce F. Menschel Sergio and Malu Millerman Adriana and Robert Mnuchin Christine Moog and Benoit Helluy Sue Morris Beth and Joshua Nash Mary Kathryn Navab Mr. and Mrs. Michael Newhouse Nancy and Morris W. Offit Peter and Beverly Orthwein Ron Perelman and Anna Chapman Susan Porter Anne and Skip Pratt Preserve New York, a grant program of Preservation League of New York Tracey and Robert Pruzan Katharine and William Rayner David Remnick and Esther Fein Michael D. Rhea Ida and William Rosenthal Foundation Valerie Rubsamen and Cedomir Crnkovic H. Onno and Renée Ruding Jeanne Ruesch Mr. and Mrs. Matthew Ruesch Sana H. Sabbagh Bonnie J. Sacerdote Mr. and Mrs. Mortimer Sackler Oscar S. Schafer Lise Scott and D. Ronald Daniel Claude Shaw and Lara Meiland-Shaw Stephanie and Fred Shuman Lea Simonds Daisy M. Soros Jennifer and Jonathan Allen Soros Debbie and Jeffrey Stevenson Elizabeth Stribling and Guy Robinson The Jay and Kelly Sugarman Foundation Merryl H. and James S. Tisch Michael Tuch Foundation L.F. Turner Mr. and Mrs. Ronald Ulrich Liliana Vaamonde and Richard Pretsfelder Jan and Cynthia van Eck Andrew E. Vogel and Véronique Mazard Anastasia Vournas and J. William Uhrig Isak and Rose Weinman Foundation, Inc. Mr. and Mrs. Gregory Weingarten Michael Weinstein and Millen Magese Katherine Wenning and Michael Dennis Lynne Wheat Valda Witt and Jay Hatfield David Wolf and Lisa Bjornson Wolf Cynthia Young and George Eberstadt Richard and Franny Heller Zorn Anonymous (3)
$2,500 to $4,999 Vanessa Ana Barboni Mr. and Ms. Jonathan Berger Mr. and Mrs. Robert Birnbaum Hana and Michael Bitton Cathleen P. Black and Thomas E. Harvey John Bonanno / Phoenix Interior Contracting Marc Brodherson and Sarah Ryan Stacey Bronfman Amy and Kevin Brown Veronica Bulgari and Stephan Haimo Cartier S.A.
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Alexandre and Lori Chemla Mr. and Mrs. David Cohen Emy Cohenca Mr. and Mrs. Tony Coles Creative Artists Agency The Cultivist Sasha Cutter and Aaron Hsu Joshua Dachs / Fisher Dachs Associates Theatre Planning and Design Joan K. Davidson (The J.M. Kaplan Fund) Virginia Davies and Willard Taylor Luis y Cora Delgado Francesca and Michael Donner Karen Eckhoff Martin and Rebecca Eisenberg Foundation Alice and David Elgart Jared Feldman / Anchin Private Client Michael Finkel Edmée and Nicholas Firth Teri Friedman and Babak Yaghmaie Sylvia Golden Great Performances Marieline Grinda and Ahmad Deek Susan Gutfreund John Hargraves Daisy Helman Roger and Susan Hertog Robert Jaffe and Natasha Silver Bell Mr. and Mrs. Morton Janklow 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. Sahra T. Lese Phyllis Levin Lisson Gallery Liz Lubnina and Tom Sternfeldt Heather Lubov Billy and Julie Macklowe Judith and Michael Margulies Angela Mariani James C. Marlas and Marie Nugent-Head Marlas Nina B. Matis Constance and H. Roemer McPhee Mr. and Mrs. William Michaelcheck Claire Milonas Sally Minard and Norton Garfinkle Mr. and Mrs. Robert Morse Mr. and Mrs. Saleem Muqaddam Stephanie Newhouse Kathleen O'Grady David Orentreich, MD / Orentreich Family Foundation Paddle8, Inc. Mario Palumbo Madison J Papp George Petrides Joseph Piacentile Cynthia Hazen Polsky and Leon B. Polsky Frank and Kimba Richardson Heidi Rieger Jonathan F.P. and Diana Rose Susan and Jon Rotenstreich Jane Fearer Safer Dr. and Ms. Nathan Saint-Amand Mr. and Mrs. Matthew Satnick Paul H. Scarbrough / Akustiks, LLC.
Mr. and Mrs. Wilfred N. Schlumberger Caroline Schmidt-Barnett Victoria Schorsch Kimberly Kravis and Jonathan Schulhof Sara Lee and Axel Schupf Lee Shull Foundation for the Arts Alan and Sandy Siegel Denise Simon and Paulo Vieiradacunha Laura Skoler Stephanie and Dick Solar Sara Solomon Sonnier & Castle Mr. and Mrs. Stephen Spahn Gayfryd Steinberg and Michael Shnayerson Doug Steiner Diane and Sam Stewart Angeline Straka Tom Strauss Bill and Ellen Taubman John Usdan Peter Van Ingen and Alexandra Oelsner Ambassador and Mrs. William J. vanden Heuvel Susan and Kevin Walsh Mati Weiderpass David Reed Weinreb Jacqueline Weld Drake Kate R. Whitney and Franklin A. Thomas Brian and Jame Williams Amy Yenkin and Robert Usdan Zubatkin Owner Representation, LLC Anonymous (2)
$1,000 to $2,499 Marina Abramović Mr. and Mrs. John Argenti David Bach and Alatia Bradley Bach Rebecca Lynn Bagdonas Steve Bakunas Femenella & Associates Laura Zambelli Barket Joslyn Barnes and Anita Nayar Julia Bator and Charles Duggan Norton Belknap Kristine Bell Dale and Max Berger Katherine Birch Bluestem Prairie Foundation Dr. Suzy and Mr. Lincoln Boehm Mr. and Mrs. Sheldon Bonovitz Barbara Brandt Mr. and Mrs. Louis Brause Diane Britz Lotti Mr. and Mrs. Gilbert Butler Cora Cahan and Bernard Gersten Chanda Chapin Sommer Chatwin 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 Suzanne Dawson Mr. and Mrs. Thomas de Neufville Mr. and Mrs. Maurice Deane Mr. and Mrs. Richard A. Debs Jeffrey Deitch Diana Diamond and John Alschuler Jacqueline Didier and Noah Schienfeld
Amy Grovas Elliott Leland and Jane Englebardt Amy Fine Collins and Bradley Collins Ann Fitzpatrick Brown Paul and Jody Fleming The Fribourg Family Scott Fulmer and Susan Kittenplan Fulmer Mr. and Mrs. Scott Gerber Mr. and Mrs. David Getz Kathleen and David Glaymon Nina Gorrissen von Maltzahn Mr. and Mrs. Peter Greenleaf Mr. and Mrs. George Grunebaum Jessica Guff Kathleen and Harvey Guion Cheryl Haines Robert H. Haines Stan Harrison Stephanie and Stephen Hessler Maria Hidrobo Kaufman and Gabriel Kaufman William T. Hillman Caroline Eve Hoffman 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 & Bill Cumming Cynthia and Stephen Ketchum 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 Julia Ledda Lexi Lehman Ralph Lemon David and Alexia Leuschen Brenda Levin Jane K. Lombard Donna and Wayne Lowery Henry Luce Foundation 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 Lauren Michalchyshyn Nicole Miller and Kim Taipale Sandra Earl Mintz Valerie Mnuchin Whitney and Andrew Mogavero Mr. and Mrs. Pierre Mordacq Leslie and Curt Myers Mr. and Mrs. Marvin Numeroff Ellen Oelsner Robert Ouimette and Lee Hirsch Mr. and Mrs. Stuart Parker
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Mr. and Ms. Robert Pittman Sheila M. and Nicholas Platt Mr. and Mrs. Lyon Polk Michael F. Poppo Prime Parking Systems Eileen and Tom Pulling Martin and Anna Rabinowitz Diana and Charles Revson Mr. and Mrs. David Rogath Alexandra Lind Rose 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 Salwa J. Aboud Smith and Robert P. Smith Mary Elizabeth Snow Ted Snowdon Jeremy Snyder and Maggie Nemser Mr. and Mrs. Michael Spies Martha S. Sproule Squadron A Foundation Mr. and Mrs. Benjamin Steiner Colleen Stenzler Mr. and Mrs. Michael Stern Tricia Stevenson Leila Maw Straus Dorothy Strelsin Foundation / Enid Nemy Summit Security Services, Inc. Vincent Teti Joseph Vance Architects Dionysios Vlachos Mr. and Mrs. John Vogelstein Monina von Opel Mr. and Mrs. Alexander von Perfall Amanda and John Waldron Walter B. Melvin Architects, LLC Caroline Wamsler and DeWayne Phillips Claude Wasserstein Lauren and Andrew Weisenfeld Christina Westley Ruth Wilson Mr. and Mrs. Steven Wisch Jon and Reva Wurtzburger Yan Yang Meghan and Michael Young Michel Zaleski Mr. and Mrs. Adam Zurofsky Anonymous (4) List as of November 10, 2017 * Deceased
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ABOUT THE BOARD OF OFFICERS ROOM
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ABOUT THE VETERANS ROOM “...the Armory, a once-crumbling landmark, has transformed itself into one of the world’s most sought-after venues for performance, music, and supersized art projects. And in a sense, the Veterans Room, of all the Armory’s opulent reception rooms, has the deepest spiritual kinship with a work of contemporary art, the feel of an installation by a young collective whose members were reacting to one another and making it all up as they went along.” – The New York Times The Veterans Room is among the most significant surviving interiors of the American Aesthetic Movement, and the most significant remaining intact interior in the world by Louis C. Tiffany and Co., Associated Artists. This newly formed collective led by Tiffany included some of the most significant American designers of the 19th century at early stages of their very distinguished careers: Stanford White, Samuel Colman, and Candace Wheeler among them. The design of the room by these artisans was exotic, eclectic, and full of experimentation, as noted by Decorator and Furnisher in 1885 that “the prepondering styles appear to be the Greek, Moresque and Celtic, with a dash of Egyptian, the Persian and the Japanese in the appropriate places.” A monument of late 19th-century decorative arts, the Veterans Room is the fourth period room at the Armory completed (out of 18). The revitalization of the room responds to the original exuberant vision for the room’s design, bringing into dialogue some of the most talented designers of the 19th and 21st centuries – Associated Artists with Herzog & de Meuron, Platt Byard Dovell White Architects, and a team of world-renowned artisans and experts in Tiffany glass, fine woodworking, and decorative arts.
The revitalization of the Veterans Room follows Herzog & de Meuron’s design approach for the Armory building, which seeks to highlight the distinct qualities and existing character of each individual room while interweaving contemporary elements to improve its function. Even more so than in other rooms at the Armory, Herzog & de Meuron’s approach to the Veterans Room is to amplify the beauty of the room’s original vision through adding contemporary reconstructions of lost historic material and subtle additions with the same ethos and creative passion as the original artisans to infuse a modern energy into a harmonious, holistic design. The room’s restoration is part of an ongoing $210-million transformation, which is guided by the understanding that the Armory’s rich history and the patina of time are essential to its character, with a design process for the period rooms that emphasizes close collaboration between architect and artisan.
The restoration and renovation of the Veterans Room was made possible by The Thompson Family Foundation, Inc., Susan and Elihu Rose, Charina Endowment Fund, Lisa and Sanford B. Ehrenkranz, Almudena and Pablo Legorreta, Assemblymember Dan Quart and the New York State Assembly, Liz and Emanuel Stern, Olivia and Adam Flatto, Kenneth S. Kuchin, R. Mark and Wendy Adams, American Express, Rebecca Robertson and Byron Knief, Amy and Jeffrey Silverman, the Cynthia Woods Mitchell Fund of the National Trust for Historic Preservation, and Anonymous (2).