Recital Series: Paul Appleby & Conor Hanick by Park Avenue Armory

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WELCOME Park Avenue Armory strives to engage audiences with eclectic, immersive, and thought-provoking works that are in direct dialogue with the Armory’s unconventional spaces, whether it is the soaring Wade Thompson Drill Hall or the intimate period rooms. And with its pristine acoustics and austere elegance, the Board of Officers Room is like no other in offering the chance to enjoy the art of the recital and music-making in the most personal of settings. Our celebrated Recital Series returns this fall with a slate of virtuosic performances by world-class artists and musicians. We open the series with tonight’s program by “essentially lyric” (Opera News) tenor Paul Appleby and “brilliant” (The New York Times) pianist Conor Hanick, who are making their Armory debuts with a program of German lieder. Admired for his interpretive depth, vocal strength, and range of expressivity, Appleby showcases his strong commitment to the repertoire with songs by Schubert, Schumann, Beethoven, and Berg. Baritone Will Liverman brings his “velvet voice” (NPR) and “nuanced, heartfelt storytelling” (The Guardian) to the Armory on October 10 and 11 alongside pianist Myra Huang for a program highlighting Black composers and writers as well as works from the classical music canon. Liverman will perform songs by Black composers Brian McKnight, Damien Sneed, and Alma Androzzo. The program also includes works by Ravel, Rachmaninoff, and Strauss. Charismatic American mezzo-soprano Jamie Barton partners with the incomparable Warren Jones on a program of Brahms, Schubert, and Heggie, with special attention to women composers, on November 19 and 21. Recipient of the Beverly Sills Artist Award, Richard Tucker Award, BBC Cardiff Singer of the World competition's main and song prizes, and a Grammy nomination, Barton is navigating a huge career on the opera and recital stage. “Leader of a new generation of opera stars” (The New York Times), Barton brings this leadership to what promise to be stirring and engaging performances. After a challenging year and a half, it will be special to once again fill the Armory’s resplendent Board of Officers Room with music, art, and life. We hope you enjoy these magical moments in music. Rebecca Robertson Founding President and Executive Producer Pierre Audi Marina Kellen French Artistic Director

2021 RECITAL SERIES IN THE RESTORED BOARD OF OFFICERS ROOM

PAUL APPLEBY, tenor CONOR HANICK, piano monday, september 20, 2021 at 7:30pm wednesday, september 22, 2021 at 7:30pm

The Recital Series is supported in part by The Reed Foundation and the Howard & Sarah D. Solomon Foundation. Support for Park Avenue Armory’s artistic season has been generously provided by the Charina Endowment Fund, The Harold and Mimi Steinberg Charitable Trust, the Fan Fox and Leslie R. Samuels Foundation, the Howard Gilman Foundation, the Horace W. Goldsmith Foundation, The Shubert Foundation, The Emma and Georgina Bloomberg Foundation, the Marc Haas Foundation, the Juliet Lea Hillman Simonds Foundation, the Leon Levy Foundation, the May and Samuel Rudin Family Foundation, the Richenthal Foundation, and the Isak and Rose Weinman Foundation. The artistic season is also made possible by the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature. Additional support has been provided by the Armory’s Artistic Council.

2021 SEASON SPONSORS

Thompson Arts Center at Park Avenue Armory

PROGRAM Robert Schumann

“An den Mond,” op. 95, no. 2 “Aufträge,” op. 77, no. 5 “Meine Rose,” op. 90, no. 2 “Loreley,” op. 53, no. 2 “Einsamkeit,” op. 90, no. 5 “Geisternähe,” op. 77, no. 3

Ludwig van Beethoven

An die ferne Geliebte, op. 98 1. Auf dem Hügel sitz ich spähend 2. Wo die Berge so blau 3. Leichte Segler in den Höhen 4. Diese Wolken in den Höhen 5. Es kehret, der Maien, es blühet die Au 6. Nimm sie hin denn, diese Lieder

Franz Schubert

“An den Mond,” D. 259 “An die Entfernte,” D. 765 “Der Zwerg,” D. 771

Intermission Alban Berg

Fünf Orchesterlieder nach Ansichtskarten von Peter Altenberg, op. 4 1. Seele, wie bist du schöner 2. Sahst du nach dem Gewitterregen 3. Über die Grenzen des All 4. Nichts ist gekommen 5. Hier ist Friede

Franz Schubert

“Im Frühling,” D. 882 “Alinde,” D. 904 “Abendlied für die Entfernte,” D. 856 “Willkommen und Abschied,” D. 767

Robert Schumann

“Sängers Trost,” op. 127, no. 1 “Die Sennin,” op. 90, no. 4 “Abendlied,” op. 107, no. 6

This performance is approximately 90 minutes including a 15-minute intermission.

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ABOUT THE PROGRAM This program began with my desire to perform Beethoven’s An die ferne Geliebte and Berg’s op. 4, the Altenberg Lieder—two song cycles that address ways of coping with unfulfilled wishes, with dreams that did not come true. All of the songs on this program describe different reactions to loss. Some are stuck in the past—uncontrollably zurückhaltend (“held back”)—some bathe in present pain, some choose the comfort of numb nihilism. My favorites are honest about the pain but unwilling to give up hope. They acknowledge both die Liebe (“Love”) and das Leid (“Sorrow”). Schumann wrote most of the songs on this program in the last four years of his life. Particular favorites of mine include “An den Mond,” his setting in German translation of Lord Byron’s “Sun of the Sleepless” from the poet’s collection Hebrew Melodies. The cold light of the moon illuminates a landscape of loss as the singer is accompanied by some ancient zither-like instrument. “Einsamkeit” employs a winding, downward chromatic accompaniment to articulate a literal feeling of depression, which is transformed into a balm of empathy in Schumann’s beautifully simple piano writing. In “Geisternähe,” I find a hopefulness that is brave, because it is not naive. I hear Schumann’s strength and love persisting through the pain of loss. My second Schumann set includes the latest of his works on this program, “Sängers Trost.” The poem speaks of the fate of the loner after his death: to go unmourned. It is not hard to attach feelings of despair, resentment, or loneliness to this text, and yet Schumann imbues his setting with transcendent dignity. Finally, we end the program as it began, with a song about the moon. The exhortation in “Abendlied,” to “cast off that which troubles you,” is offered compassionately. The twoagainst-three rhythmic dynamic between the voice and the piano illustrates the slow, steady pace of nature that overcomes loss with its cycles of renewal. There is a majesty and a comfort in its constancy. Although the notion of a “song cycle” can be traced back to the troubadour tradition of the Middle Ages, Beethoven’s 1816 An die ferne Geliebte marks the institution of the liederzyklus in 19th-century German art song. The form Beethoven innovated in these six songs inspired the great song cycles of composers such as Schubert and Schumann—the cornerstones of the lieder repertoire. Beethoven took the notion of the “cycle” more literally than most of his successors in the form. In the final song of An die ferne Geliebte, he recapitulates the melody of the first song to bring the musical and emotional journeys full circle. Each song segues into the next—they don’t end so much as flow into each other—such that the harmonic

architecture of the cycle is secured and reinforced by the relationships between keys as well as their poetic through line. In my musical analysis of the work, the key relationships among the six songs illustrate the understanding of the text that Beethoven sought to express. Although the first and last songs are in the key of E-flat, the tonic (or “home” key) of the cycle is A-flat, the key of the middle two songs. The persona speaking these verses begins and ends in the dominant key, a place of unresolved tension. He gazes back to his distant beloved, to his lost home from the cloudy, distant hill. His love lives eternally, but eternally unfulfilled and unresolved. Schubert’s setting of the Gothic ballad “Der Zwerg” illustrates his complex relationship with Beethoven. Beneath the disturbing surface of this grotesque tale, there is also a political/musical allegory to Napoleon/Beethoven. When Schubert repeats the famous opening four-note phrase of Beethoven’s Fifth Symphony—the Schicksals-Motiv (“fate motif ”)—throughout this grim song, he is evoking both the towering composer as well as the freedom-fighter-turnedtyrant in the diminutive French emperor. Schubert (on the short side himself ) loved and admired Beethoven, but also felt dwarfed and doomed by the great composer’s stature. Schubert acknowledges a desire to surpass him, to vanquish his idol. The destruction of the thing one loves is a terrifying aspect of human nature, indeed. In the second Schubert set, “Im Frühling” strikes me as a kind of homage to An die ferne Geliebte. The speaker, sitting alone on a hill, observes the peaceful beauty of spring, unable to share in it because his heartbreak will not permit him to embrace a new beginning. “Alinde” is a folk tale and a dream with a happy ending—a fantasy, perhaps. The earnest joy of “Willkommen und Abschied” demonstrates why letting go of such memories is sometimes an unbearable task. “Abendlied für die Entfernte” is an expression of acceptance opposite that found in “Der Zwerg.” Schubert winds through the sad, wise words of this poem by passing through at least nine different keys as the steady thrum of his barcarolle marches forward like time itself, “if not in joy, then at least in peace.” Alban Berg was so embarrassed by the audience’s riotously negative reaction to the 1913 premiere of Fünf Orchesterlieder nach Ansichtskarten von Peter Altenberg, op. 4, that he never published the songs or had them performed again during his lifetime. The score was published in 1953, nearly 20 years after Berg’s death. The editor of that score, the Berg student and composer Hans Erich Apostle, also created the piano reduction of the orchestral songs we will be performing on this program. The original, massive orchestration would easily overwhelm

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my voice. The vocal part was originally conceived for a mezzo soprano, and it is hard to imagine a male voice successfully navigating the a range of more than two octaves with the vocal heft the dense orchestration requires. The clear, light-weight texture that this piano version provides, however, permits even a tenor to scale the vast range by employing vocal colors and effects that would not fly in the orchestral context. Unlike the recalcitrant and reactionary audience at the premiere of these songs, I find them deeply lyrical and expressive. To my mind, Berg is a worthy heir to Schubert and Schumann in his creative ability and technical skill in realizing a poetic text in musical form with intellectual and emotional specificity. The opening song, “Seele, wie bist du schöner” begins with a perfectly described snowstorm that establishes both a literal vision of the text as well as the emotional and spiritual space in which the text resides. After the storm of grief, there arrives a stillness and wonder that invites the existential questioning of these poems. —Paul Appleby

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

ABOUT THE ARTISTS PAUL APPLEBY

Admired for his interpretive depth, vocal strength, and range of expressivity, tenor Paul Appleby is one of the most sought-after voices of his generation. Opera News claims, “Paul Appleby has all the components of an accomplished recitalist. His tenor is limpid and focused, but with a range of color unusual in an instrument so essentially lyric: it’s a sound that can give pleasure over a recital’s two-hour span … Appleby is a singer with a full-throttle commitment to the song repertoire.” Performances of the current season are scheduled to include Metropolitan Opera productions of Die Meistersinger von Nürnberg and Rodelinda, the title role in Béatrice et Bénédict in a new production at Oper Köln, a North American recital tour, and presentations with the American Modern Opera Company throughout the U.S. Appleby’s operatic performances span both world premieres and beloved classics, and he has bowed on many of the world’s greatest opera stages, including at Dutch National Opera, Festival d’Aix-en-Provence, Glyndebourne, Metropolitan Opera, Oper Frankfurt, San Francisco Opera, and Washington National Opera. No less impressive is his symphonic career, which includes performances under the batons of John Butt, Gustavo Dudamel, Manfred Honeck, Philippe Jordan, and David Zinman, amongst many others. His discography includes Nico Muhly’s Two Boys, released by Nonesuch, recorded live at the Metropolitan Opera; DVDs of Glyndebourne’s acclaimed presentation of Handel’s Saul and Berlioz’s Béatrice et Bénédict released commercially by Opus Arte; Dear Theo, the first album dedicated solely to works by composer Ben Moore released by Delos; and Songs and Structures, a portrait album of recent vocal and chamber works by composer Harold Meltzer released on Bridge Records.

CONOR HANICK

Pianist Conor Hanick “defies human description” for some (Concerto Net) and recalls “a young Peter Serkin” for others (The New York Times). He has performed to acclaim throughout the world with some of music’s leading ensembles, instrumentalists, and conductors, including Pierre Boulez, Alan Gilbert, Ludovic Morlot, and David Robertson. A fierce advocate for the music of today, and the “soloist of choice for such thorny works” (The New York Times), Hanick has premiered more than 200 works to date and worked with musical icons like Steve Reich, Kaija Saariaho, and Charles Wuorinen, while also championing important voices of his own generation, including Caroline Shaw, Eric Wubbels, Nina Young, and Marcos Balter. Hanick has recently appeared with the Seattle Symphony, the Juilliard Orchestra, the Alabama Symphony Orchestra, the Boston Modern Orchestra Project, the Lucerne Academy Orchestra for the 2016 New York Philharmonic Biennial, and he has been presented at Carnegie Hall, the Mondavi Center, the Kennedy Center, and the Metropolitan Museum of Art. He collaborates regularly with Jay Campbell, Joshua Roman, Miranda Cuckson, and Augustin Hadelich, and is a founding member of the American Modern Opera Company, where he will be a co-director of the Ojai Festival in 2022. Hanick is the director of solo piano at the Music Academy of the West and a graduate of Northwestern University and The Juilliard School, where he serves on the chamber music and keyboard faculty.

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TEXTS AND TRANSLATIONS SCHUMANN “An den Mond,” op. 95, no. 2 (1849) Sun of the Sleepless Original text by Lord Byron (1788-1824) Translation by Paul Appleby German translation by Karl Theodor Körner (1791-1813) Schlafloser Sonne! melanchol’scher Stern! Dein tränenvoller Strahl erzittert fern, Du offenbarst die Nacht, die dir nicht weicht— O wie du ganz des Glücks Erinn’rung gleichst!

Sun of the sleepless! melancholy star! Your tear-stained rays tremble afar, You revealed the darkness that you cannot dispel— O how you are the image of remembered bliss!

So glänzt auch längst vergangner Tage Licht, Es scheint, doch wärmt sein schwaches Leuchten nicht, Der Gram sieht wohl des Sterns Gestalt, Scharf, aber fern, so klar, doch ach! wie kalt!

So gleams the light of distant days now past It shines, but gives no warmth with its faint gleam; Sorrow observes the shape of that star, Distinct but distant, so clear but ah! how cold!

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“Aufträge,” op. 77, no. 5 (1850) Orders Original text by Carl Julius Grüel (1809-unknown), Translation by Paul Appleby under the pseudonym Christian L’Egru Nicht so schnelle, nicht so schnelle! Wart ein wenig, kleine Welle! Will dir einen Auftrag geben An die Liebste mein. Wirst du ihr vorüberschweben, Grüsse sie mir fein!

Not so fast, not so fast! Wait a second, little wave! I want to instruct you to say something for my sweetheart. If you glide past her, Greet her fondly for me!

Sag, ich wär mitgekommen, Auf dir selbst herab geschwommen: Für den Gruss einen Kuss Kühn mir zu erbitten, Doch der Zeit Dringlichkeit Hätt es nicht gelitten.

Tell her I would have come along, Floating down you, yourself: For my greeting, a kiss You must boldly request in exchange, But time was pressing And would not permit it.

Nicht so eilig! halt! erlaube, Kleine, leichtbeschwingte Taube! Habe dir was aufzutragen An die Liebste mein! Sollst ihr tausend Grüsse sagen, Hundert obendrein.

Not so hasty! Stop! Allow me, My little light-winged dove! I have a something I need you to tell To my sweetheart! Give her a thousand greetings, and a hundred on top of that.

Sag, ich wär mit dir geflogen, Über Berg und Strom gezogen: Für den Gruss einen Kuss Kühn mir zu erbitten; Doch der Zeit Dringlichkeit Hätt es nicht gelitten.

Tell her I would have flown with you, Pulled along over mountain and stream: In exchange for my greeting, You would have boldly requested a kiss, But time was pressing And would not permit it.

Warte nicht, dass ich dich treibe, O du träge Mondesscheibe! Weisst’s ja, was ich dir befohlen Für die Liebste mein: Durch das Fensterchen verstohlen Grüsse sie mir fein!

Do not wait for me to push you, You lazy, round moon! You know well what I commanded you To do for my sweetheart: Steal in through her little window And greet her fondly for me!

Sag, ich wär auf dich gestiegen, Selber zu ihr hinzufliegen; Für den Gruss einen Kuss Kühn mir zu erbitten, Du seist schuld, Ungeduld Hätt mich nicht gelitten.

Tell her I would have climbed up on you To fly to her myself: In exchange for my greeting, You would have boldly requested a kiss, But time was pressing And would not permit it.

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“Meine Rose,” op. 90, no. 2 (1850) Original text by Nikolaus Lenau (1802-1850)

My Rose Translation by Paul Appleby

Dem holden Lenzgeschmeide, Der Rose, meiner Freude, Die schon gebeugt und blasser Vom heissen Strahl der Sonnen, Reich ich den Becher Wasser Aus dunklem, tiefen Bronnen.

To the dear jewel of Spring, To the rose, my joy, Already bowed and pale From the hot rays of the sun, I extend a cup of water from a dark, deep well.

Du Rose meines Herzens! Vom stillen Strahl des Schmerzens Bist du gebeugt und blasser; Ich möchte dir zu Füssen, Wie dieser Blume Wasser, Still meine Seele giessen! Könnt ich dann auch nicht sehen Dich freudig auferstehen.

You rose of my heart! From the silent beam of pain You are bowed and pallid; I would like to, upon your feet, As water for a flower, Silently pour my soul out for you, Even though I may not get to see Your joyful resurrection.

“Loreley,” op. 53, no. 2 (1840) Original text by August Wilhelmine Lorenz

Lorelai Translation by Paul Appleby

Es flüstern und rauschen die Wogen Wohl über ihr stilles Haus. Es ruft eine Stimme: „Gedenke mein! Bei stiller Nacht im Vollmondschein! Gedenke mein!“ Und flüsternd ziehen die Wogen Wohl über ihr stilles Haus. „Gedenke mein!“

The waves whisper and rustle Just above her silent house. A voice calls out: "Remember me! In the quiet, full moon-lit night Remember me!" And the whispering waves flow along Just above her silent home. “Remember me!”

“Einsamkeit,” op. 90, no. 5 (1850) Original text by Nikolaus Lenau (1802-1850)

Loneliness Translation by Paul Appleby

Wild verwachs’ne dunkle Fichten, Leise klagt die Quelle fort; Herz, das ist der rechte Ort Für dein schmerzliches Verzichten!

A wild overgrowth of dark spruce, Softly, the spring shares it lament; Heart, this is the proper place For your painful letting go!

Grauer Vogel in den Zweigen, Einsam deine Klage singt, Und auf deine Frage bringt Antwort nicht des Waldes Schweigen.

A grey bird in the branches Sings your lonely song, And to your question The silent forest provides no answer.

Wenn’s auch immer Schweigen bliebe, Klage, klage fort; es weht, Der dich höret und versteht, Stille hier der Geist der Liebe.

Even if silence remained eternally, Sing your lament, sing on; The ghost of love blows silently here, It hears and understands you.

Nicht verloren hier im Moose, Herz, dein heimlich Weinen geht, Deine Liebe Gott versteht, Deine tiefe, hoffnungslose!

Here among the moss, Heart, Your secret tears are not lost. God understands your love, So deep and so hopeless!

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“Geisternähe,” op. 77, no. 3 Original text by Friedrich Halm (1806-1871)

The Nearness of Your Spirit Translation by Paul Appleby

Was weht um meine Schläfe Wie laue Frühlingsluft, Was spielt um meine Wangen Wie süsser Rosenduft?

What wafts about my temples Like a balmy Spring breeze, What plays around my cheeks Like the sweet scent of roses?

Es ist dein holder Gedanke, Der tröstend mich umspielt, Es ist dein stilles Sehnen, Was meine Schläfe kühlt!

It is your dear thoughts Playing about me, comfortingly, It is your silent yearning That refreshes my head!

Und was wie Harfen klänge Um meine Sinne schwirrt, Mein Name ist’s, der leise Von deinen Lippen irrt.

And like the Harp’s sound Buzzes around my senses, My own name softly From your lips escapes.

Ich fühle deine Nähe! Es ist dein Wunsch, dein Geist, Der mich aus weiter Ferne An deinen Busen reisst.

I feel you near me! It is your desire, your spirit, Which from so far a distance Draws me to your heart.

BEETHOVEN An die ferne Geliebte, op. 98 (1816) Text by Alois Jeitteles (1794-1858)

To the Distant Beloved Translation by Richard Stokes

1. Auf den Hügel sitz ich spähend Auf dem Hügel sitz ich spähend In das blaue Nebelland, Nach den fernen Triften sehend, Wo ich dich, Geliebte, fand. Weit bin ich von dir geschieden, Trennend liegen Berg und Tal Zwischen uns und unserm Frieden, Unserm Glück und unsrer Qual. Ach, den Blick kannst du nicht sehen, Der zu dir so glühend eilt, Und die Seufzer, sie verwehen In dem Raume, der uns teilt. Will denn nichts mehr zu dir dringen, Nichts der Liebe Bote sein? Singen will ich, Lieder singen, Die dir klagen meine Pein! Denn vor Liebesklang entweichet Jeder Raum und jede Zeit, Und ein liebend Herz erreichet Was ein liebend Herz geweiht!

1. I sit on the hill, gazing I sit on the hill, gazing Into the misty blue countryside, Towards the distant meadows Where, my love, I first found you. Now I’m far away from you, Mountain and valley intervene Between us and our peace, Our happiness and our pain. Ah, you cannot see the fiery gaze That wings its way towards you, And my sighs are lost In the space that comes between us. Will nothing ever reach you again? Will nothing be love’s messenger? I shall sing, sing songs That speak to you of my distress! For sounds of singing put to flight All space and all time; And a loving heart is reached By what a loving heart has hallowed!

2. Wo die Berge so blau Wo die Berge so blau Aus dem nebligen Grau Schauen herein, Wo die Sonne verglüht, Wo die Wolke umzieht, Möchte ich sein! Dort im ruhigen Tal Schweigen Schmerzen und Qual. Wo im Gestein Still die Primel dort sinnt, Weht so leise der Wind,

2. Where the blue mountains Where the blue mountains From the misty grey Look out towards me, Where the sun’s glow fades, Where the clouds scud by – There would I be! There, in the peaceful valley, Pain and torment cease. Where among the rocks The primrose meditates in silence, And the wind blows so softly – Please turn page quietly. armoryonpark.org | @ParkAveArmory

Möchte ich sein! Hin zum sinnigen Wald Drängt mich Liebesgewalt, Innere Pein. Ach, mich zög’s nicht von hier, Könnt ich, Traute, bei dir Ewiglich sein!

There would I be! I am driven to the musing wood By the power of love, Inner pain. Ah, nothing could tempt me from here, If I were able, my love, To be with you eternally!

3. Leichte Segler in den Höhen Leichte Segler in den Höhen, Und du, Bächlein klein und schmal, Könnt mein Liebchen ihr erspähen, Grüßt sie mir viel tausendmal. Seht ihr, Wolken, sie dann gehen Sinnend in dem stillen Tal, Laßt mein Bild vor ihr entstehen In dem luft’gen Himmelssaal. Wird sie an den Büschen stehen, Die nun herbstlich falb und kahl. Klagt ihr, wie mir ist geschehen, Klagt ihr, Vöglein, meine Qual. Stille Weste, bringt im Wehen Hin zu meiner Herzenswahl Meine Seufzer, die vergehen Wie der Sonne letzter Strahl. Flüstr’ ihr zu mein Liebesflehen, Laß sie, Bächlein klein und schmal, Treu in deinen Wogen sehen Meine Tränen ohne Zahl!

3. Light clouds sailing on high Light clouds sailing on high, And you, narrow little brook, If you catch sight of my love, Greet her a thousand times. If, clouds, you see her walking Thoughtful in the silent valley, Let my image loom before her In the airy vaults of heaven. If she be standing by the bushes Autumn has turned fallow and bare, Pour out to her my fate, Pour out, you birds, my torment. Soft west winds, waft my sighs To her my heart has chosen – Sighs that fade away Like the sun’s last ray. Whisper to her my entreaties, Let her, narrow little brook, Truly see in your ripples My never-ending tears!

4. Diese Wolken in den Höhen Diese Wolken in den Höhen, Dieser Vöglein muntrer Zug, Werden dich, o Huldin, sehen. Nehmt mich mit im leichten Flug! Diese Weste werden spielen Scherzend dir um Wang’ und Brust, In den seidnen Locken wühlen. – Teilt ich mit euch diese Lust! Hin zu dir von jenen Hügeln Emsig dieses Bächlein eilt. Wird ihr Bild sich in dir spiegeln, Fließ zurück dann unverweilt!

4. These clouds on high These clouds on high, This cheerful flight of birds Will see you, O gracious one. Take me lightly winging too! These west winds will playfully Blow about your cheeks and breast, Will ruffle your silken tresses. – Would I might share that joy! This brooklet hastens eagerly To you from those hills. If she’s reflected in you, Flows directly back to me!

5. Es kehret der Maien, es blühet die Au Es kehret der Maien, Es blühet die Au, Die Lüfte, sie wehen So milde, so lau, Geschwätzig die Bäche nun rinnen. Die Schwalbe, die kehret Zum wirtlichen Dach, Sie baut sich so emsig Ihr bräutlich Gemach, Die Liebe soll wohnen da drinnen. Sie bringt sich geschäftig Von kreuz und von Quer Manch weicheres Stück Zu dem Brautbett hieher, Manch wärmendes Stück für die Kleinen. Nun wohnen die Gatten Beisammen so treu, Was Winter geschieden, Verband nun der Mai,

5. May returns, the meadow blooms. May returns, The meadow blooms. The breezes blow So gentle, so mild, The babbling brooks flow again, The swallow returns To its rooftop home, And eagerly builds Her bridal chamber, Where love shall dwell. She busily brings From every direction Many soft scraps For the bridal bed, Many warm scraps for her young. Now the pair lives Faithfully together, What winter parted, May has joined,

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Was liebet, das weiß er zu einen. Es kehret der Maien, Es blühet die Au. Die Lüfte, sie wehen So milde, so lau; Nur ich kann nicht ziehen von hinnen. Wenn alles, was liebet, Der Frühling vereint, Nur unserer Liebe Kein Frühling erscheint, Und Tränen sind all ihr Gewinnen.

For May can unite all who love. May returns, The meadow blooms. The breezes blow So gentle, so mild; I alone cannot move on. When spring unites All lovers, Our love alone Knows no spring, And tears are its only gain.

6. Nimm sie hin den, diese Lieder Nimm sie hin denn, diese Lieder, Die ich dir, Geliebte, sang, Singe sie dann abends wieder Zu der Laute süßem Klang! Wenn das Dämmrungsrot dann ziehet Nach dem stillen blauen See, Und sein letzter Strahl verglühet Hinter jener Bergeshöh; Und du singst, was ich gesungen, Was mir aus der vollen Brust Ohne Kunstgepräng erklungen, Nur der Sehnsucht sich bewußt: Dann vor diesen Liedern weichet Was geschieden uns so weit, Und ein liebend Herz erreichet Was ein liebend Herz geweiht!

6. Accept, then, these songs Accept, then, these songs I sang for you, beloved; Sing them again at evening To the lute’s sweet sound! As the red light of evening draws Towards the calm blue lake, And its last rays fade Behind those mountain heights; And you sing what I sang From a full heart With no display of art, Aware only of longing: Then, at these songs, The distance that parted us shall recede, And a loving heart be reached By what a loving heart has hallowed!

SCHUBERT “An die Entfernte,” D. 765 (1822) To the Distant Beloved Original text by Johann Wolfgang von Goethe (1749-1832) Translation by Richard Wigmore So hab’ ich wirklich dich verloren? Bist du, o Schöne, mir entflohn? Noch klingt in den gewohnten Ohren Ein jedes Wort, ein jeder Ton.

Have I really lost you? Have you fled from me, fairest love? Every word, every tone still sounds in my well-accustomed ears.

So wie des Wandrers Blick am Morgen Vergebens in die Lüfte dringt, Wenn, in dem blauen Raum verborgen, Hoch über ihm die Lerche singt:

As in the morning the traveller’s gaze searches the heavens in vain when, concealed in the blue firmament, the lark sings high above him:

So dringet ängstlich hin und wieder Durch Feld und Busch und Wald mein Blick; Dich rufen alle meine Lieder: „O komm, Geliebte, mir zurück!“

So my gaze searches anxiously back and forth through field, thicket and woodland; all my songs call out to you: ‘Come back to me, beloved!’

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“Der Zwerg,” D. 771 (1822) Original text by Heinrich von Collin (1771-1811)

The Dwarf Translation by Richard Wigmore

Im trüben Licht verschwinden schon die Berge, Es schwebt das Schiff auf glatten Meereswogen, Worauf die Königin mit ihrem Zwerge.

In the dim light the mountains already fade; the ship drifts on the sea’s smooth swell, with the queen and her dwarf on board.

Sie schaut empor zum hochgewölbten Bogen, Hinauf zur lichtdurchwirkten blauen Ferne; Die mit der Milch des Himmels blass durchzogen.

She gazes up at the high arching vault, at the blue distance, interwoven with light, streaked with the pale milky way.

„Nie, nie habt ihr mir gelogen noch, ihr Sterne,“ So ruft sie aus, „bald werd’ ich nun entschwinden, Ihr sagt es mir, doch sterb’ ich wahrlich gerne.“

‘Stars, never yet have you lied to me’, she cries out. ‘Soon now I shall be no more. You tell me so; yet in truth I shall die gladly.’

Da tritt der Zwerg zur Königin, mag binden Um ihren Hals die Schnur von roter Seide, Und weint, als wollt’ er schnell vor Gram erblinden.

Then the dwarf comes up to the queen, begins to tie the cord of red silk about her neck, and weeps, as if he would soon go blind with grief.

Er spricht: „Du selbst bist schuld an diesem Leide, Weil um den König du mich hast verlassen, Jetzt weckt dein Sterben einzig mir noch Freude.

He speaks: ‘You are yourself to blame for this suffering, because you have forsaken me for the king; now your death alone can revive joy within me.

„Zwar werd’ ich ewiglich mich selber hassen, Der dir mit dieser Hand den Tod gegeben, Doch musst zum frühen Grab du nun erblassen.“

‘Though I shall forever hate myself for having brought you death by this hand, yet now you must grow pale for an early grave.’

Sie legt die Hand aufs Herz voll jungem Leben, Und aus dem Aug’ die schweren Tränen rinnen, Das sie zum Himmel betend will erheben.

She lays her hand on her heart, so full of youthful life, and heavy tears flow from her eyes which she would raise to heaven in prayer.

„Mögst du nicht Schmerz durch meinen Tod gewinnen!“ Sie sagt’s, da küsst der Zwerg die bleichen Wangen, D’rauf alsobald vergehen ihr die Sinnen.

‘May you reap no sorrow from my death!’ she says; then the dwarf kisses her pale cheeks, whereupon her senses fade.

Der Zwerg schaut an die Frau, von Tod befangen, Er senkt sie tief ins Meer mit eig’nen Handen. Ihm brennt nach ihr das Herz so voll Verlangen, An keiner Küste wird er je mehr landen.

The dwarf looks upon the lady in the grip of death; he lowers her with his own hands deep into the sea. His heart burns with such longing for her, he will never again land on any shore.

BERG Fünf Orchesterlieder nach Ansichtskarten von Peter Altenberg, op. 4 (1911) Original texts by Peter Altenberg (1859-1919)

Five Orchestral Songs on Postcards from Peter Altenberg Translation by Anne Ozorio

1. Seele, wie best du schooner Seele, wie bist du schöner, tiefer, nach Schneestürmen. Auch du hast sie, gleich der Natur. Und über beiden liegt noch ein trüber Hauch, eh’ das Gewölk sich verzog!

1. Soul, how beautiful you are Soul, you’re more beautiful, deeper, after snowstorms Like nature, you have storms, too. And over both still lie a melancholy air like clouds that disperse but slowly!

2. Sahst du nach dem Gewitterregen Sahst du nach dem Gewitterregen den Wald? Alles rastet, blinkt und ist schöner als zuvor. Siehe, Fraue, auch du brauchst Gewitterregen!

2. Did you see after the rainstorm Have you seen the woods after rainstorms? Everything reposes, gleams and is lovelier than before See, women, rainstorms are necessary too!

3. Über die Grenzen des All Über die Grenzen des All blicktest du sinnend hinaus; Hattest nie Sorge um Hof und Haus! Leben und Traum vom Leben, plötzlich ist alles aus - - -. Über die Grenzen des All blickst du noch sinnend hinaus!

3. Beyond the borders of all Beyond the borders of all we know, you ponder thoughtfully, You’d never worry about hearth and home. Yet life, and the dream of life – it can suddenly vanish. Beyond the borders of all we know, you ponder thoughtfully.

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

4. Nichts ist gekommen Nichts ist gekommen, nichts wird kommen für meine Seele. Ich habe gewartet, gewartet, oh - gewartet! Die Tage werden dahinschleichen, und umsonst wehen meine aschblonden seidenen Haare um mein bleiches Antlitz!

4. Nothing comes Nothing comes, nothing will ever come for my soul. I have waited, waited, oh waited! The days are creeping past, they flutter away. My ash-blond silken hair blows pointlessly over my sallow face!

5. Hier ist Friede Hier ist Friede. Hier weine ich mich aus über alles! Hier löst sich mein unfaßbares, unermeßliches Leid, das mir die Seele verbrennt ... Siehe, hier sind keine Menschen, keine Ansiedlungen. Hier ist Friede! Hier tropft Schnee leise in Wasserlachen ...

5. Here is peace Here is peace. Here I can cry my heart out! Here is the incomprehensible immense pain that burns my soul can find release. See, here there are no people, no settlements. Here is peace! Here the snow falls gently into flowing water.

SCHUBERT “Im Frühling,” D. 882 (1826) Text by Ernst Schulze (1789-1817)

In Spring Translation by Richard Wigmore

Still sitz ich an des Hügels Hang, Der Himmel ist so klar, Das Lüftchen spielt im grünen Tal, Wo ich beim ersten Frühlingsstrahl Einst, ach, so glücklich war.

I sit silently on the hillside. The sky is so clear, the breezes play in the green valley where once, in the first rays of spring, I was, oh, so happy.

Wo ich an ihrer Seite ging So traulich und so nah, Und tief im dunkeln Felsenquell Den schönen Himmel blau und hell, Und sie im Himmel sah.

Where I walked by her side, so tender, so close, and saw deep in the dark rocky stream the fair sky, blue and bright, and her reflected in that sky.

Sieh, wie der bunte Frühling schon Aus Knosp’ und Blüte blickt! Nicht alle Blüten sind mir gleich, Am liebsten pflückt’ ich von dem Zweig, Von welchem sie gepflückt.

See how the colourful spring already peeps from bud and blossom. Not all the blossoms are the same to me: I like most of all to pluck them from the branch from which she has plucked.

Denn alles ist wie damals noch, Die Blumen, das Gefild; Die Sonne scheint nicht minder hell, Nicht minder freundlich schwimmt im Quell Das blaue Himmelsbild.

For all is still as it was then, the flowers, the fields; the sun shines no less brightly, and no less cheerfully, the sky’s blue image bathes in the stream.

Es wandeln nur sich Will und Wahn, Es wechseln Lust und Streit, Vorüber flieht der Liebe Glück, Und nur die Liebe bleibt zurück, Die Lieb’ und ach, das Leid!

Only will and delusion change, and joy alternates with strife; the happiness of love flies past, and only love remains; love and, alas, sorrow.

O wär ich doch ein Vöglein nur Dort an dem Wiesenhang! Dann blieb’ ich auf den Zweigen hier, Und säng ein süsses Lied von ihr, Den ganzen Sommer lang.

Oh, if only I were a bird, there on the sloping meadow! Then I would stay on these branches here, and sing a sweet song about her all summer long.

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“Alinde,” D. 904 (1827) Original text by Johann Rochlitz (1769-1842)

Alinde Translation by Richard Wigmore

Die Sonne sinkt ins tiefe Meer, Da wollte sie kommen. Geruhig trabt der Schnitter einher, Mir ist’s beklommen.

The sun sinks into the deep ocean, she was due to come. Calmly the reaper walks by. My heart is heavy.

„Hast, Schnitter, mein Liebchen nicht gesehn? Alinde, Alinde!“ „Zu Weib und Kindern muss ich gehn, Kann nicht nach andern Dirnen sehn; Sie warten mein unter der Linde.“

‘Reaper, have you not seen my love? Alinde! Alinde!’ ‘I must go to my wife and children, I cannot look for other girls. They are waiting for me beneath the linden tree.’

Der Mond betritt die Himmelsbahn, Noch will sie nicht kommen. Dort legt der Fischer das Fahrzeug an, Mir ist’s beklommen.

The moon entered its heavenly course, she still does not come. There a fisherman lands his boat. My heart is heavy.

„Hast, Fischer, mein Liebchen nicht gesehn? Alinde, Alinde!“ „Muss suchen, wie mir die Reusen stehen, Hab nimmer Zeit nach Jungfern zu gehen, Schau, welch einen Fang ich finde.“

‘Fisherman, have you not seen my love? Alinde! Alinde!’ ‘I must see how my oyster baskets are, I never have time to chase after girls; look what a catch I have!’

Die lichten Sterne ziehn herauf, Noch will sie nicht kommen. Dort eilt der Jäger in rüstigem Lauf, Mir ist’s beklommen.

The bright stars appear, she still does not come. The huntsman rides swiftly along. My heart is heavy.

„Hast, Jäger, mein Liebchen nicht gesehn? Alinde, Alinde!“ „Muss nach dem bräunlichen Rehbock gehen, Hab nimmer Lust nach Mädeln zu sehn; Dort schleicht er im Abendwinde.“

‘Huntsman, have you not seen my love? Alinde! Alinde!’ ‘I must go after the brown roebuck, I never care to look for girls; there he goes in the evening breeze!’

In schwarzer Nacht steht hier der Hain, Noch will sie nicht kommen. von allen Lebendgen irr ich allein, Bang und beklommen.

The grove lies here in blackest night, she still does not come. I wander alone, away from all mankind, anxious and troubled.

„Dir, Echo, darf ich mein Leid Gesten: Alinde, Alinde!“ „Alinde,“ liess Echo leise herüberwehn; Da sah ich sie mir zur Seite stehn: „Du suchtest so treu, nun finde!“

‘To you, Echo, I confess my sorrow: Alinde! Alinde!’ ‘Alinde’, came the soft echo; Then I saw her at my side. ‘You searched so faithfully. Now you find me.’

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

“Abendlied für die Entfernte,” D. 856 (1825) Evening Song for the Distant Beloved Original text by August Wilhelm von Schlegel (1767-1845) Translation by Richard Wigmore Hinaus mein Blick! hinaus ins Tal! Da wohnt noch Lebensfülle; Da labe dich im Mondenstrahl Und an der heil’gen Stille. Da horch nun ungestört, mein Herz, Da horch den leisen Klängen, Die, wie von fern, zu Wonn’ und Schmerz Sich dir entgegen drängen.

Gaze out, eyes, gaze out to the valley! There abundant life still dwells. Refresh yourself there in the moonlight, and in the sacred peace. Listen, heart, now undisturbed, listen to the soft sounds that press upon you, as from afar, for joy and for sorrow.

Wenn Ahnung und Erinnerung Vor unserm Blick sich gatten, Dann mildert sich zur Dämmerung Der Seele tiefster Schatten. Ach, dürften wir mit Träumen nicht Die Wirklichkeit verweben, Wie arm an Farbe, Glanz und Licht Wärst du, o Menschenleben!

When presentiment and memory are joined before our eyes, then at twilight the soul’s deepest shadows grow softer. Ah, if we could not interweave reality with dreams, how poor you would be, human life, in colour, lustre and light!

So hoffet treulich und beharrt Das Herz bis hin zum Grabe; Mit Lieb’ umfasst’s die Gegenwart, Und dünkt sich reich an Habe. Die Habe, die es selbst sich schafft, Mag ihm kein Schicksal rauben; Es lebt und webt in Wärm’ und Kraft, Durch Zuversicht und Glauben.

Thus the heart remains constant, hoping faithfully unto the grave; with love it embraces the present, and deems itself rich in possessions. The possessions which it creates itself no fate can snatch from it. It lives and works in warmth and strength, through trust and faith.

Und wär in Nacht und Nebeldampf Auch Alles rings erstorben, Dies Herz hat längst für jeden Kampf Sich einen Schild erworben. Mit hohem Trotz im Ungemach Trägt es, was ihm beschieden. So schlummr’ich ein, so werd’ ich wach, In Lust nicht, doch in Frieden.

And if all around lies dead in night and mist, this heart has long ago won a shield for every battle. In adversity it endures its fate with lofty defiance. And so I fall asleep, so I awake, if not in joy, yet in peace.

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“Willkommen und Abschied,” D. 767 (1822) Greeting and Farewell Original text by Johann Wolfgang von Goethe (1749-1832) Translation by Richard Stokes Hinaus mein Blick! hinaus ins Tal! Da wohnt noch Lebensfülle; Da labe dich im Mondenstrahl Und an der heil’gen Stille. Da horch nun ungestört, mein Herz, Da horch den leisen Klängen, Die, wie von fern, zu Wonn’ und Schmerz Sich dir entgegen drängen.

My heart pounded, quick, to horse! No sooner thought than done; Evening already cradled the earth, And night clung to the hills; The oak-tree loomed in its misty cloak, Towering like a giant, there, Where darkness peered from bushes With a hundred jet-black eyes.

The moon gazed from a bank of cloud Mournfully through the haze, The winds softly beat their wings, Whirred eerily about my ears; Night brought forth a thousand monsters, Yet I was buoyant and bright: What fire in my veins! What ardour in my heart!

I saw you, felt the gentle joy Of your sweet eyes flood over me; My heart was wholly at your side And every breath I took for you. A rose-red light of spring Framed her lovely face, And tenderness for me – O gods! This I had hoped but never deserved!

But alas, with the morning sun, Parting now constricts my heart: In your kisses what delight! In your eyes what pain! In went, you stood there gazing down, And gazed moist-eyed after me: And yet, what joy to be loved! And to be in love, O gods, what joy!

SCHUMANN “Sängers Trost,” op. 127, no. 1 (1840) Original text by Justinus Kerner

Singer’s Consolation Translation by Paul Appleby

Weint auch einst kein Liebchen Tränen auf mein Grab, Träufeln doch die Blumen Milden Tau hinab;

Although one day no love Will weep over my grave, Flowers, however, will trickle Gentle dew upon it.

Weilt an ihm kein Wandrer Im Vorüberlauf, Blickt auf seiner Reise Doch der Mond darauf.

No travelers will linger there As they pass by, Yet on its journey, the moon Will gaze down on it.

Denkt auf diesen Fluren Bald kein Erdner mein, Denkt doch mein die Aue Und der stille Hain.

Soon, along this passage No earthly creature will think of me, But the pasture will remember me, And the silent grove.

Blumen, Hain und Aue, Stern und Mondenlicht, Die ich sang, vergessen Ihres Sängers nicht.

Flowers, grove and pasture, Stars and moonlight Of whom I sang, will not forget Their singer.

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“Die Sennin,” Op. 90 No. 4 (1850) Original text by Nikolaus Lenau (1802-1850)

The Cowgirl Translation by Paul Appleby

Schöne Sennin, noch einmal Singe deinen Ruf ins Tal, Dass die frohe Felsensprache Deinem hellen Ruf erwache.

Lovely cowgirl, once more Sing out your call into the valley, So that your clear call Awakes the cliff’s cheerful echo.

Horch, o Sennin, wie dein Sang In die Brust den Bergen drang, Wie dein Wort die Felsenseelen Freudig fort und fort erzählen!

Listen, cowgirl, how your singing Has penetrated the heart of the mountains, How the souls of those rocks Joyfully repeat your words!

Aber einst, wie Alles flieht, Scheidest du mit deinem Lied, Wenn dich Liebe fortbewogen, Oder dich der Tod entzogen.

But one day, as all things pass away, You will depart with your song, When love has pulled you away Or death has taken you.

Und verlassen werden stehn, Traurig stumm herübersehn Dort die grauen Felsenzinnen Und auf deine Lieder sinnen.

And there will stand abandoned— Looking down in silent sadness— The grey, rocky heights, Will think back to your songs.

“Abendlied,” Op. 107 No. 6 (1851) Original text by Johann Gottfried Kinkel (1815-1882)

Evening Song Translation by Paul Appleby

Es ist so still geworden, Verrauscht des Abends Weh’n; Nun hört man aller Orten Der Engel Füsse geh’n. Rings in die Tiefe senket Sich Finsterniss mit Macht; Wirf ab, Herz, was dich kränket Und was dir bange macht!

It has grown so quiet; The evening’s noise has faded; Now one can hear all about The footsteps of the angels. All around, into the depths Darkness sinks down with power; Cast off, heart, that which makes you unwell And that which troubles you!

Nun steh’n im Himmelskreise Die Stern’ in Majestät; In gleichem, festem Gleise Der goldne Wagen geht. Und gleich den Sternen lenket Er deinen Weg durch Nacht; Wirf ab, Herz, was dich kränket Und was dir bange macht!

Now in the circle of the heavens stand The stars in their majesty; Along the same, unchanging track The golden carriage rolls. And, like the stars, It guides your path through the night; Cast off, heart, that which makes you unwell And that which troubles you!

armoryonpark.org | @ParkAveArmory

ABOUT PARK AVENUE ARMORY Part palace, part industrial shed, Park Avenue Armory fills a critical void in the cultural ecology of New York, supporting unconventional works in the performing and visual arts that cannot be fully realized in a traditional proscenium theater, concert hall, or white wall gallery. With its soaring 55,000-square-foot Wade Thompson Drill Hall and an array of exuberant period rooms, the Armory enables a diverse range of artists to create, students to explore, and audiences to experience epic, adventurous, relevant work that cannot be done elsewhere in New York. When the pandemic set in, the Armory dedicated itself to continue to provide support to the artistic community. By taking advantage of the vast expanse of the Wade Thompson Drill Hall, the Armory created a very safe Social Distance Hall, for which it commissioned four new works by Bill T. Jones and the Bill T. Jones/Arnie Zane Company; David Byrne, Christine Jones, and Steven Hoggett; Jason Moran and Laurie Anderson; and Robert Icke. The works were presented between March and July 2021 and provided thousands of hours of creativity and employment to a devastated cultural sector, which had lost 70% of its job base. Programmatic highlights from the Wade Thompson Drill Hall include Ernesto Neto’s anthropodino, a magical labyrinth extended across the Drill Hall; Bernd Alois Zimmermann’s harrowing Die Soldaten, in which the audience moved “through the music”; the event of a thread, a site-specific installation by Ann Hamilton; the final performances of the Merce Cunningham Dance Company on three separate stages; an immersive Macbeth set in a Scottish heath with Kenneth Branagh; WS by Paul McCarthy, a monumental installation of fantasy, excess, and dystopia; a radically inclusive staging of Bach’s St. Matthew Passion staged by Peter Sellars and performed by Sir Simon Rattle and the Berliner Philharmoniker; eight-time Drama Desk-nominated play The Hairy Ape, directed by Richard Jones and starring Bobby Cannavale; Hansel & Gretel, a new commission by Ai Weiwei, Jacques Herzog, and Pierre de Meuron that explored publicly shared space in the era of surveillance; FLEXN and FLEXN Evolution, two Armorycommissioned presentations of the Brooklyn-born dance-activist group the D.R.E.A.M. Ring, created by Reggie “Regg Roc” Gray and director Peter Sellars; Simon Stone’s heralded production of Yerma starring Billie Piper in her North American debut; The Let Go, a site-specific immersive dance celebration by Nick Cave; Satoshi Miyagi’s stunning production of Antigone set in a lake; Sam Mendes’ critically acclaimed production of The Lehman Trilogy; and the Black Artists Retreat hosted by Theaster Gates, which included public talks and performances, private sessions for the 300 attending artists, and a roller skating rink. In its historic period rooms, the Armory presents more intimate performances and programs, including its acclaimed Recital Series, which showcases musical talent from across the globe within the intimate salon setting of the Board of Officers Room; the Artists Studio series curated by MacArthur “Genius” and jazz phenom Jason Moran in the newly restored Veterans Room, which features a diverse array of innovative artists and artistic pairings that reflect the imaginative improvisation of the young designers and artists who originally conceived the space; and Interrogations of Form, a public talks program that brings diverse artists and thoughtleaders together for discussion and performance around the important issues of our time. Among the performers who have appeared in the Recital Series and the Artists Studio in the Armory’s restored Veterans Room and the Board of Officers Room are: Christian Gerhaher; Ian Bostridge; Jason Moran; Lawrence Brownlee; Barbara Hannigan; Lisette Oropesa; Roscoe Mitchell; Conrad Tao and Tyshawn Sorey; Rashaad Newsome; and Krency Garcia (“El Prodigio”). Highlights from the public programs include: symposiums such as Carrie Mae Weems’ daylong event called The Shape of Things, whose participants included Elizabeth Alexander, Theaster Gates, Elizabeth Diller, and Nona Hendryx; a daylong Lenape Pow Wow and Standing Ground Symposium held in the Wade Thompson Drill Hall, the first congregation of Lenape Elders on Manhattan Island since the 1700s; salons such as the Literature Salon hosted by Branden Jacobs-Jenkins, whose participants included Lynn Nottage, Suzan Lori-Parks, and Jeremy O. Harris, and a Spoken Word Salon co-hosted with the Nuyorican Poets Cafe; and most recently, 100 Years | 100 Women, a multiorganization commissioning project that invited 100 women artists and cultural creators to respond to women’s suffrage.

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

Current Artists-in-Residence at the Armory include two-time Pulitzer Prize-winning playwright Lynn Nottage; Obie winner and Pulitzer short-listed playwright Branden Jacobs-Jenkins and Carmelita Tropicana; Reggie “Regg Roc” Gray and the D.R.E.A.M. Ring; singer and composer Sara Serpa; Tony Award-winning set designer and director Christine Jones and choreographer Steven Hoggett; and Mimi Lien, the first set designer to receive a MacArthur Fellowship. The Armory also supports artists through an active commissioning program including such artists as Bill T. Jones, Lynn Nottage, Carrie Mae Weems, Michael van der Aa, Tyshawn Sorey, Raashad Newsome, Julian Rosefeldt, Branden Jacobs-Jenkins, and others. The Armory also offers creativity-based arts education programs at no cost to thousands of students from underserved New York City public schools, engaging them with the institution’s artistic programming and outside-the-box creative processes. The Armory has undertaken an ongoing $215-million renovation and restoration of its historic building designed by architects Herzog & de Meuron, with Platt Byard Dovell White as Executive Architects.

PARK AVENUE ARMORY BOARD OF DIRECTORS Chairman Emeritus Elihu Rose, PhD Co-Chairs Adam R. Flatto Amanda J.T. Riegel President Rebecca Robertson Vice Chair Wendy Belzberg Founding Chairman, 2000–2009 Wade F.B. Thompson

Vice Presidents Ken Kuchin Pablo Legorreta Emanuel Stern Treasurer Gwendolyn Adams Norton

Marina Abramović Sir David Adjaye OBE Abigail Baratta Martin Brand Joyce F. Brown Cora Cahan Hélène Comfort Paul Cronson Tina R. Davis Marc de La Bruyère Emme Levin Deland Sanford B. Ehrenkranz David Fox Andrew Gundlach Marjorie L. Hart Branden Jacobs-Jenkins

armoryonpark.org | @ParkAveArmory

Edward G. Klein, Major General NYNG (Ret.) Mary T. Kush Ralph Lemon Heidi McWilliams Jason Moran Joel Press Janet C. Ross Joan Steinberg Mimi Klein Sternlicht Deborah C. van Eck Peter Zhou Directors Emeriti Harrison M. Bains, Jr. Angela E. Thompson

PARK AVENUE ARMORY STAFF Rebecca Robertson, Founding President and Executive Producer Pierre Audi, Marina Kellen French Artistic Director ARTISTIC PLANNING AND PROGRAMMING Michael Lonergan, Producing Director Seth Shepsle, General Manager, Programming Jessica Wasilewski, Senior Producer Jenni Bowman, Producer Samantha Cortez, Program Coordinator

Zipporah Aguasvivas, Jacqueline Babek, Emma Buford, Catie Carlisle, Stephanie Cobb, Sarah Gallick, Daniel Gomez, Eboni Green, Nariah Green, Kevin Joyce, Saygin Karadurak, Sandra Kitt, Christine Lemme, Beth Miller, Drew O'Bryan, Katy O'Connor, Regina Pearsall, Kedesia Robinson, Eileen Rourke, Heather Sandler, Jessica Sandler, Kin Tam, Kathleen White, Ushers

ARTISTIC PRODUCTION Paul King, Director of Production Claire Marberg, Deputy Director of Production Nicholas Lazzaro, Technical Director Lars Nelson, Technical Director

Liz Bickley, Sheree Campbell, Ryan Chapman, James Clements, Wednesday Derrico, Lauren Graneto, Kristi Hess, Lisa Lamothe, Patricia Roques, Bleu Santiago, Julie Tadlock, Covid Compliance Team

ARTS EDUCATION Cassidy L. Jones, Chief Education Officer Monica Weigel McCarthy, Director of Education Aarti Ogirala, Associate Director of Education, School Programs Chelsea Emelie Kelly, Director of Youth Corps Pip Gengenbach, Education Manager, Youth Corps Sharlyn Galarza, Special Projects Coordinator Drew Petersen, Education Special Projects Manager Kate Bell, Donna Costello, Alexander Davis, Asma Feyijinmi, Hawley Hussey, Larry Jackson, Hector Morales, Peter Musante, Drew Petersen, Leigh Poulos, Neil Tyrone Pritchard, Vickie Tanner, Teaching Artists Emily Bruner, Nancy Gomez, Stephanie Mesquita, Ashley Ortiz, Biviana Sanchez, Catherine Talton; and Teaching Assistants, Rosemarie Albanese, Wilson Castro, Daniel Gomez, Maxim Ibadov, Cynthia Lopez, Paola Ocampo, Teaching Associates Anai Ortiz, Ashley Guerrero Soriano, Brian Espinal, Brianna Trivino, Dorsen Sween, Hillary Ramirez Perez, Janneurys Colon, Jason Quizhpi, Jo(anne) Melo, Mariama Bah, Melina Jorge, Mohamed Adesumbo, Nassim White, Raven Garcia, Taylor Maheia, Terry Beaupierre, Widlany Ferol, Yao Adja, Youth Corps BUILDING AND MANAGEMENT OPERATIONS Jenni Kim, Chief Operating Officer Marc Von Braunsberg, Director of Building Operations Aurelio Roman, Director of Facilities Patricia English, Security Director Darrell Thimoleon, Office Manager William Say, Superintendent Chris Sperry, Assistant Building Engineer Leandro Dasso, Mayra DeLeon, Mario Esquilin, Jeferson Avila, Olga Cruz, Jazmin Dominguez, Howard Johnson, Kariema Levy, Cristina Moreira, Maintenance Staff Dion Bullock, Chief Information Officer Oku Okoko, Network Engineer Bobby Wolf, Senior House Manager Daniel George, House Manager

CAPITAL PROJECTS AND COLLECTIONS Kirsten Reoch, Director of Capital Planning, Preservation, and Institutional Relations David Burnhauser, Collection Manager DEVELOPMENT Melanie Forman, Chief Development Officer Charmaine Portis, Executive Assistant to the Chief Development Officer Allison Kline, Senior Director of Institutional Giving Rachel Risso-Gill, Director of Individual Giving Michael Buffer, Database Manager Kaitlin Overton, Manager of Institutional Giving Jennifer Ramon, Manager of Individual Giving Yejin Kim, Special Events Coordinator Adithya Pratama, Individual Giving Coordinator EXECUTIVE OFFICE Lori Nelson, Executive Assistant to the President Nathalie Etienne, Administrative Assistant, President’s Office Simone Elhart, Project Manager FINANCE Susan Neiman, Chief Financial and Administrative Officer Christy Kidd, Controller Khemraj Dat, Accountant MARKETING, COMMUNICATIONS and BOX OFFICE Lesley Alpert-Schuldenfrei, Director of Marketing Nick Yarbrough, Senior Digital Marketing Manager Allison Abbott, Press and Editorial Manager Joe Petrowski, Director of Ticketing and Customer Relations Monica Diaz, Box Office Manager Stephanie Scherr, Nicholas Maggio, Tony Tirador, Sara Salt, Alex Allwine, Janel Ridley, Mary McDonnell, Box Office PRESS REPRESENTATIVES Resnicow + Associates, Inc. PUBLIC PROGRAMMING Tavia Nyong’o, Curator, Public Programming Darian Suggs, Associate Director, Public Programming PRODUCTION ACKNOWLEDGEMENTS Sarah Billinghurst Solomon and Matthew Epstein, Artistic Consultants for Vocal Recitals

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

NEXT IN THE RECITAL SERIES WILL LIVERMAN, BARITONE MYRA HUANG, PIANO october 10 & 11

Baritone Will Liverman brings his “velvet voice” (NPR) and “nuanced, heartfelt storytelling” (The Guardian) to the Armory’s Board of Officers Room alongside pianist Myra Huang for a program highlighting Black composers and writers as well as works from the traditional classical music canon. Liverman will perform songs by Black composers Brian McKnight, Damien Sneed, and Alma Androzzo. The program also includes works by Ravel, Rachmaninoff, and Strauss.

JAMIE BARTON, MEZZO-SOPRANO WARREN JONES, PIANO november 19 & 21

Charismatic American mezzo-soprano Jamie Barton partners with the incomparable Warren Jones on a program of Brahms, Schubert, and Heggie, with special attention to women composers. Recipient of the Beverly Sills Artist Award, Richard Tucker Award, BBC Cardiff Singer of the World competition's main and song prizes, and a Grammy nomination, Barton is navigating a huge career on the opera and recital stage. “Leader of a new generation of opera stars” (The New York Times), Barton brings this leadership to what promise to be stirring and engaging performances. Barton will showcase the sheer beauty of her voice in the intimate Board of Officers Room.

NEXT AT THE ARMORY DEEP BLUE SEA september 28 – october 9

ARTISTS STUDIO

Following this spring’s sold-out run of Afterwardsness, renowned director, choreographer, and dancer Bill T. Jones returns to Park Avenue Armory to present and perform in the world premiere of his massive new work, Deep Blue Sea, which revolves around the interplay of single and group identities. Jones, Janet Wong, and the Bill T. Jones/Arnie Zane Company conceived this highly personal work in pursuit of the elusive “we” during these fractious times through a cast of 100 dancers/community members, and a deconstructed text from Martin Luther King Jr.’s “I Have a Dream” and Herman Melville’s Moby Dick. Conceived for the Wade Thompson Drill Hall, Deep Blue Sea magnifies the vast space through a visual environment by Elizabeth Diller of the architectural firm Diller Scofidio + Renfro in collaboration with projection designer Peter Nigrini. An original vocal score by composer Nick Hallett and electronic soundscape by Hprizm aka High Priest, Rena Anakwe, and Holland Andrews echo the words of King and Melville. In addition to choreographing and directing, for the first time in over 15 years, Jones himself performs.

“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 UPCOMING PERFORMANCE

CAROL SZYMANSKI & JAIMIE BRANCH october 13

One of today’s outstanding avant-garde trumpeters, jaimie branch, and Rome Prize-winning sculptor Carol Szymanski team up for the first time to present the Phonemophonic Alphabet Brass Band. Szymanski and her obsession with the shape of sound will fill the intricate architecture of the Veterans Room with a collection of instrument sculptures consisting of 26 brass horns whose shapes are based on the alphabet. The aural animation of this installation will be led by branch and joined with a large ensemble of fellow brass musicians.

For more information and to purchase tickets, please visit armoryonpark.org armoryonpark.org | @ParkAveArmory

PARK AVENUE ARMORY ARTISTIC COUNCIL Co-Chairs Noreen Buckfire Caryn Schacht and David Fox Heidi and Tom McWilliams

Anne-Victoire Auriault/ Goldman Sachs Gives Abigail and Joseph Baratta Wendy Belzberg and Strauss Zelnick Sonja and Martin J. Brand Elizabeth Coleman Hélène and Stuyvesant Comfort Caroline and Paul Cronson Emme and Jonathan Deland Jennie L. and Richard K. DeScherer Krystyna Doerfler Lisa and Sanford B. Ehrenkranz The Lehoczky Escobar Family Adam R. Flatto Kim and Jeff Greenberg Barbara and Andrew Gundlach Anita K. Hersh Wendy Keys Ken Kuchin and Tyler Morgan

Almudena and Pablo Legorreta Christina and Alan MacDonald Jennifer Manocherian Kim Manocherian Gwen and Peter Norton Lily O’Boyle Valerie Pels Amanda J.T. and Richard E. Riegel Susan and Elihu Rose Janet C. Ross Stacy Schiff and Marc de La Bruyère Diane and Tom Smith Joan and Michael Steinberg Emanuel Stern Mimi Klein Sternlicht Jon Stryker and Slobodan Randjelović Deborah C. van Eck Mary Wallach Peter Zhou and Lisa Lee

Wendy Belzberg and Strauss Zelnick Emme and Jonathan Deland Adam R. Flatto Ken Kuchin Heidi McWilliams Gwen Norton

Amanda Thompson Riegel Rebecca Robertson and Byron Knief Susan and Elihu Rose Francesca Schwartz Joan and Michael Steinberg

LEGACY CIRCLE Founding Members Angela & Wade F.B. Thompson Co-Chairs Lisa and Sanford B. Ehrenkranz Marjorie and Gurnee Hart

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 Citi Empire State Local Development Corporation Marina Kellen French Barbara and Andrew Gundlach Anna-Maria and Stephen Kellen Foundation, Inc. Mr. and Mrs. Peter L. Malkin and The Malkin Fund, Inc. Richard and Ronay Menschel New York City Council and Council Member Daniel R. Garodnick New York City Department of Cultural Affairs

New York State Assemblymember Dan Quart and the New York State Assembly 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 Bloomberg Philanthropies Lisa and Sanford B. Ehrenkranz Almudena and Pablo Legorreta The Andrew W. Mellon Foundation Adam R. Rose and Peter R. McQuillan Donna and Marvin Schwartz Emanuel Stern

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

$250,000 to $499,999 American Express Michael Field and Doug Hamilton Adam R. Flatto Ford Foundation Ken Kuchin and Tyler Morgan The Pierre and Tana Matisse Foundation The Rockefeller Foundation Marshall Rose Family Foundation

$100,000 to $249,999 The Achelis and Bodman Foundations R. Mark and Wendy Adams Linda and Earle Altman Abigail and Joseph Baratta Booth Ferris Foundation Sonja and Martin J. Brand Hélène and Stuyvesant Comfort Howard Gilman Foundation Marjorie and Gurnee Hart Kirkland & Ellis LLP Mary T. Kush Leonard & Judy Lauder Fund Mr. and Mrs. Lester Morse National Endowment for the Arts New York State Assembly New York State Council on the Arts Stavros Niarchos Foundation Gwendolyn Adams Norton and Peter Norton Donald Pels Charitable Trust Daniel and Joanna S. Rose Mrs. Arthur Ross Caryn Schacht and David Fox Stacy Schiff and Marc de La Bruyère Harold and Mimi Steinberg Charitable Trust Joan and Michael Steinberg M K Reichert Sternlicht Foundation Mr. William C. Tomson Deborah C. van Eck The Andy Warhol Foundation for the Visual Arts

$25,000 to $99,999 The Avenue Association Emma Bloomberg The Emma and Georgina Bloomberg Foundation Noreen and Ken Buckfire The Cowles Charitable Trust Caroline and Paul Cronson Emme and Jonathan Deland Krystyna Doerfler The Lehoczky Escobar Family

Lorraine Gallard and Richard H. Levy Elizabeth Morse Genius Foundation Andrew L. Farkas, Island Capital Group & C-III Capital Partners Horace W. Goldsmith Foundation Janet Halvorson Anita K. Hersh Kaplen Brothers Fund The Emily Davie and Joseph S. Kornfeld Foundation Christine and Richard Mack Marc Haas Foundation Andrea Markezin Press and Joel Press NewYork-Presbyterian Lily O'Boyle Katharine Rayner Rhodebeck Charitable Trust Genie and Donald Rice Amanda J.T. and Richard E. Riegel Rebecca Robertson and Byron Knief The Fan Fox & Leslie R. Samuels Foundation The Shubert Foundation Sydney and Stanley S. Shuman Amy and Jeffrey Silverman Sanford L. Smith Howard & Sarah D. Solomon Foundation Jon Stryker and Slobodan Randjelović TEFAF NY Tishman Speyer Robert and Jane Toll Mary Wallach Peter Zhou and Lisa Lee Anonymous (5)

$10,000 to $24,999 AECOM Tishman Anne-Victoire Auriault / Goldman Sachs Gives Milton and Sally Avery Arts Foundation Harrison and Leslie Bains Marian and Russell Burke Elizabeth Coleman Con Edison Jennie L. and Richard K. DeScherer William F. Draper Teri Friedman and Babak Yaghmaie Barbara and Peter Georgescu Kiendl and John Gordon Kim and Jeff Greenberg Karen Herskovitz Lawrence and Sharon Hite The Charles & Lucille King Family Foundation Suzie and Bruce Kovner

Leon Levy Foundation George S. Loening Christina and Alan MacDonald Steve and Sue Mandel Kim Manocherian Danny and Audrey Meyer Cynthia Woods Mitchell Fund of the National Trust for Historic Preservation The Donald R. Mullen Family Foundation, Inc. Nardello & Co. Michael Peterson Joan and Joel I. Picket Fiona and Eric Rudin May and Samuel Rudin Family Foundation, Inc. Mrs. William H. Sandholm Lise Scott and D. Ronald Daniel Dr. and Mrs. Thomas P. Sculco Brian S. Snyder Michael and Veronica Stubbs Barbara Tober and Donald Tober* Anonymous (4)

$5,000 to $9,999 Jody and John Arnhold Franklin and Marsha Berger Leslie Bluhm and David Helfand Nicholas Brawer Catherine and Robert Brawer Arthur and Linda Carter Mayree Clarke and Jeff Williams Betsy Cohn Jessie Ding Jeanne Donovan Fisher Martin and Rebecca Eisenberg Foundation Leland and Jane Englebardt Dr. Nancy Eppler-Wolff and Mr. John Wolff Mike and Beth Fascitelli The Felicia Fund Andrew and Theresa Fenster Mary Ann Fribourg Bart Friedman and Wendy A. Stein The Georgetown Company George and Patty Grunebaum Agnes Gund Molly Butler Hart and Michael D. Griffin Bill Lambert Fernand and Nicole Lamesch Chad A. Leat Denise Lefrak Robert Lehman Foundation Gail and Alan Levenstein Shelly and Tony Malkin James C. Marlas and Marie Nugent-Head Marlas Moncler USA Inc. Beth and Joshua Nash Enid Nemy, Dorothy Strelsin Foundation

armoryonpark.org | @ParkAveArmory

Jesse and Stéphanie Newhouse Michael and Elyse Newhouse David Orentreich, MD / Orentreich Family Foundation PBDW Architects Susan Porter Anne and Skip Pratt Preserve New York, a grant program of Preservation League of New York The Ripple Foundation Ida and William Rosenthal Foundation Chuck and Stacy Rosenzweig Deborah and Chuck Royce Reed Rubin and Jane Gregory Rubin Seymour and Robyn Sammell Eva Sanchez-Ampudia and Cyrille Walter Susan and Charles Sawyers Claude Shaw and Lara MeilandShaw Lea Simonds Ted Snowdon Patricia Brown Specter Dr. and Mrs. Eugene E. Stark, Jr. Beatrice Stern The Jay and Kelly Sugarman Foundation Allen and Meghan Thorpe Michael Tuch Foundation L.F. Turner Ronald and Christie Ulrich Mr. and Mrs. Jan F. van Eck Anastasia Vournas and J. William Uhrig Saundra Whitney Isak and Rose Weinman Foundation, Inc. Gary and Nina Wexler Francis H. Williams and Keris A. Salmon W. Weldon and Elaine Wilson Maria Wirth Cynthia Young and George Eberstadt Judy Francis Zankel Bruce and Lois Zenkel Anonymous

$2,500 to $4,999 Abigail Kirsch Catering David and Amy Abrams Allen Adler and Frances Beatty Susan Heller Anderson Jonathan and Marjaleena Berger Stephanie Bernheim Carolyn S. Brody Amanda M. Burden Mary and Brad Burnham Marissa Cascarilla Sommer Chatwin Dominick Coyne and Michael Phillips Ellie and Edgar Cullman

Richard and Barbara Debs Antoinette Delruelle and Joshua L. Steiner Anne Delaney Anne and Joel Ehrenkranz Deborah and Ronald Eisenberg Foundation Edmée and Nicholas Firth Megan Flanigan Ella M. Foshay and Michael B. Rothfeld Gwen and Austin Fragomen Eleanor Friedman and Jonathan J. Cohen Emanuel E. Geduld Martin and Lauren Geller Sylvia Golden and Warren Friedman Robert S. Gregory Ian and Lea Highet Johanna Hudgens and Matthew Wilson Judith Jadow Ann Jones Jeanne Kanders Rita J. and Stanley H. Kaplan Family Foundation Nancy Kestenbaum and David Klafter The David L. Klein, Jr. Foundation Kameron Kordestani Douglas and Judith Krupp George & Lizbeth Krupp John Lambert and Ramona Boston Barbara and Richard Lane Lazarus Charitable Trust Phyllis Levin Gina Giumarra MacArthur Charles and Georgette Mallory Iris Z Marden Judith and Michael Margulies Marian Goodman Gallery Joanie Martinez-Rudkovsky Bonnie Maslin Nina B. Matis Diane and Adam E. Max* Peter and Leni May Constance and H. Roemer McPhee Robert and Stacey Morse Saleem and Jane Muqaddam Nancy Newcomb and John Hargraves Peter and Susan Nitze Kathleen O'Grady Robert Ouimette and Lee Hirsch Madison J. Papp Lee and Lori Parks Richard and Rose Petrocelli Phyllis Posnick and Paul Cohen Diana and Charles Revson Richenthal Foundation Alexandra Robertson Marisa Rose and Robin van Bokhorst Marjorie P. Rosenthal

Bonnie J. Sacerdote Jane Fearer Safer Susan Savitsky Paul H. Scarbrough, Akustiks, LLC. Louisa Serene Schneider Benjamin Schor & Isabel Wilkinson Schor Nicholas and Shelley Schorsch Sara Lee and Axel Schupf Stephanie and Fred Shuman Denise Simon and Paulo Vieiradacunha Laura Skoler Shelley Sonenberg Daisy M. Soros Stephen and Constance Spahn Michael and Marjorie Stern Leila Maw Straus Studio Institute Ellen and Bill Taubman Thomas and Diane Tuft Union Square Events Christine van Itallie Ambassador William J. vanden Heuvel* and Mrs. Melinda vanden Heuvel Kate Whitney and Franklin Thomas Toni Young Zubatkin Owner Representation, LLC Anonymous (4)

$1,000 to $2,499 Marina Abramović Katie Adams Schaeffer Eric Altmann Diane Archer and Stephen Presser John and Jennifer Argenti Assouline-Lichten Foundation Jenny & Michael Baldock Diana Barco Stephen Berger and Cynthia Wainwright Judy and Howard Berkowitz Richard Berndt and MarieCamille Havard Elaine S. Bernstein Katherine and Marco Birch Hana and Michael Bitton Boehm Family Foundation Jill and Sheldon Bonovitz Richard and Susan Braddock Mark and Anne Brennan John and Elaine Brouillard Dr. Joyce F. Brown and Mr. H. Carl McCall Mr. and Mrs. Kevin Brown Spencer Brownstone Cora Cahan Thomas and Ann Charters Alexandre and Lori Chemla Orla Coleman and Rikki Tahta Alexander Cooper Krista and James Corl

Sophie Coumantaros Mimi Ritzen Crawford Andrew and Abby Crisses Charles and Norris Daniels John Charles and Nathalie Danilovich Richard and Peggy Danziger Luis y Cora Delgado Linda L Dennery David desJardins and Nancy Blachman Thomas and Elizabeth Dubbs Christopher Duda David and Frances Eberhart Foundation Inger McCabe Elliott Patricia Ellis Cristina Enriquez-Bocobo Dasha Epstein Femenella & Associates Robert and Kimia Finnerty Walter and Judith Flamenbaum Gail Flatto Barbara G. Fleischman Kristin Gamble Flood Michael and Jill Franco Betsy Frank Peter Frey and Carrie Shapiro Bruce and Alice Geismar Heather Hoyt Georges Sarah Jane and Trevor Gibbons Ryan Gillum Gregory Gilmartin Steven and Jan Golann Carol Gold Nina DeKay Grauer Jan M. Guifarro Frances and Gerard Guillemot Kathleen and Harvey Guion Nohra Haime Lana and Steve Harber In memory of Maria E. Hidrobo Kaufman William T. Hillman Bruce Hoffman Lily and Joel Hoffman Mr. Joseph C. Hoopes, Jr. Peter Hunt William and Weslie Janeway Morton and Linda Janklow Alan K. Jones Christopher and Hilda Jones Hon. Bruce M. Kaplan and Janet Yaseen Kaplan Adrienne Katz Jordan Katz Peter Kendall and Lisa Kelland Kay Kimpton Walker and Sandy Walker Claire King Jana and Gerold Klauer Major General Edward G. Klein, NYNG (Ret.) Phyllis L. Kossoff Kate Krauss Barbara Landau Judith Langer Christopher and Alida Latham

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

Ralph Lemon John D. and Catherine T. MacArthur Foundation Match65 Larry and Mary McCaffrey Rebecca Gold Milikowsky Naveen and Courtney Nataraj Stephanie Neville and Alan Beller Deborah Nevins Lisbeth Oliver Dr. Catherine Orentreich Peter and Beverly Orthwein Katherine Peabody Sally Peterson and Michael Carlisle Brian and Emilia Pfeifler Geri and Lester Pollack Natalya Poniatowski David and Leslie Puth Martin and Anna Rabinowitz Jennifer Reardon Jill Reiter and Eric Riha Anthony and Susan Roberts David and Meg Roth Susan Rudin Nathalie Solange Regnault Jonathan and Rachel Schmerin Pat Schoenfeld Amy Schulman Laura Schwartz and Arthur Jussel Stephen and Amy Shapiro Gil Shiva Chia-jen Siao Sheree Silvey Bonnie Simon Albert Simons III Richard Smith Squadron A Foundation Stacy, Passionate about the Arts Colleen Stenzler Tricia Stevenson Bonnie and Tom Strauss Stella Strazdas and Henry Forrest Elizabeth Stribling and Guy Robinson Jos Stumpe and Karen van Bergen Maria Vecchiotti Alexander and Ashley von Perfall Caroline Wamsler and DeWayne Phillips Michael Weinstein Lauren and Andrew Weisenfeld Katherine Wenning and Michael Dennis Henrietta Whitcomb Shelby White Anonymous (6) List as of August 31, 2021 *Deceased

ABOUT THE BOARD OF OFFICERS ROOM “The restoration of the Park Avenue Armory seems destined to set a new standard, not so much for its scale, but for its level of respect and imagination.” —The New York Times The Board of Officers Room is one of the most important historic rooms in America and one of the few remaining interiors by Herter Brothers. After decades of progressive damage and neglect, the room completed a revitalization in 2013 by the architecture team at Herzog & de Meuron and executive architects Platt Byard Dovell White Architects to transform the space into a state-of-the-art salon for intimate performances and other contemporary art programming. The Board of Officers Room is the third period room at the Armory completed (out of 18) and represents the full range of design tools utilized by the team including the removal of accumulated layers on the surfaces, the addition of contemporary lighting to the 1897 chandeliers, new interpretations of the stencil patterns on areas of loss, the addition of metallic finishes on new materials, new programming infrastructure, and custom-designed furniture.

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

The renovation of the Board of Officers Room was made possible through the generosity of The Thompson Family Foundation. Cover photo by James Ewing. armoryonpark.org | @ParkAveArmory

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