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.
For the 2024 Season, the Recital Series focuses on the sheer power and beauty of the human voice, with thoughtfully curated programs of lieder, art song, and contemporary works that take the art form in bold new directions in the hands of some of today’s most exciting musical interpreters.
February welcomes Trinidadian soprano Jeanine De Bique to the Armory for a rare New York appearance; joined by pianist Warren Jones, she displays her artistic versatility and endless wealth of color and nuance with a global program of French melodies, American art songs, and folk songs from the Caribbean. One of the most gifted and distinguished lyric tenors of his generation, American tenor Matthew Polenzani comes to the Board of Officers Room in May with pianist Ken Noda for a program of lieder and art songs by Schubert, Finzi, Schumann, and Ives.This fall, soprano Leah Hawkins returns to the Armory to showcase her global journey with a collection of folk songs and proverbs from various cultural and religious traditions, including works by composers and arrangers including Jasmine Barnes, Peter Ashbourne, Robert De Cormier, and a thrilling world premiere. Lebanese American tenor Karim Sulayman brings his inventive programming to the Armory this September; featuring wide ranging works from Monteverdi, Britten, and Purcell to Takemitsu, Layale Chaker, and traditional Sephardic songs, this intimate recital with guitarist Sean Shibe inspects the artists’ own ethnic identities through song that at once was seen to exotify but through playful juxtaposition subverts that narrative into one of celebration. Finally, soprano and conductor Barbara Hannigan makes her highly anticipated return to the Veterans Room to close out the 2024 Recital Series; she will perform a program of works by Scriabin, Messiaen, and Zorn with pianist Bertrand Chamayou that is sure to captivate Armory audiences once again.
Over the past decade of recitals at the Armory, we are proud to have held more than 120 intimate performances by almost 250 internationally renowned musicians, including 16 important North American, US, and New York debuts including the North American recital debuts of pianist Igor Levit and tenor Allan Clayton as well as the US recital debut of soprano Barbara Hannigan. We have also been proud to serve as the locale for 17 premieres by contemporary composers, including works by Michael Hersch, Anna Thorvaldsdóttir, John Zorn, Dai Fujikura, Michael Gordon, Jake Heggie, Chris Cerrone, Viet Cuong, and others.
This year’s lineup offers audiences even more chances to enjoy the intimacy of a beautiful range of chamber music experiences performed by artists with a highly distinctive international profile, in some of the only spaces that could provide such a personal encounter—the Board of Officers and Veterans Rooms. We hope you join in our excitement for witnessing these magical moments in music.
Rebecca Robertson
Adam R. Flatto Founding President and Executive Producer
Pierre Audi
Anita K. Hersh Artistic Director
SEASON SPONSORS
2024 RECITAL SERIES IN THE
RESTORED VETERANS ROOM
BARBARA HANNIGAN, soprano BERTRAND CHAMAYOU, piano
Thursday, december 12, 2024 at 7:30pm
The Recital Series is supported, in part, by the Howard & Sarah D. Solomon Foundation.
Support for Park Avenue Armory’s artistic season has been generously provided by the Thompson Family Foundation, Charina Endowment Fund, the Donald A. Pels Charitable Trust, The Shubert Foundation, Wescustogo Foundation, the Harold and Mimi Steinberg Charitable Trust, the Fan Fox and Leslie R. Samuels Foundation, the Howard Gilman Foundation, the Horace W. Goldsmith Foundation, the Marc Haas Foundation, Mary W. Harriman Foundation, the Reed Foundation, the Leon Levy Foundation, the May and Samuel Rudin Family Foundation, Gregory Annenberg Weingarten, GRoW @ Annenberg, The Emma and Georgina Bloomberg Foundation, the Richenthal Foundation, and the Isak and Rose Weinman Foundation. Additional support has been provided by the Armory’s Artistic Council. Public support is provided by the New York State Council on the Arts with the support of Governor Kathy Hochul and the New York State Legislature as well as the New York City Department of Cultural Affairs in partnership with the City Council under the leadership of Speaker Adrienne Adams.
Cover image by James Ewing.
PROGRAM
Olivier Messiaen
Alexander Scriabin
John Zorn
Chants de Terre et de Ciel for soprano and piano
1. Bail avec Mi (pour ma femme)
2. Antienne du silence (pour le jour des Anges gardiens)
3. Danse du bébé-Pilule (pour mon petit Pascal)
4. Arc-en-ciel d’innocence (pour mon petit Pascal)
5. Minuit pile et face (pour la Mort)
6. Résurrection (pour le jour de Pâques)
Poème-nocturne, op. 61 Vers la Flamme, op. 72
Jumalattaret
Proem—opening invocation
1. Päivätär (sun goddess)
2. Vedenemo (mother of waters)
3. Akka (queen of the ancient magic)
4. Louhi (hostess of the underworld)
5. Mielikki (the huntress)
6. Kuu (moon goddess)
7. Tellervo (forest spirit)
8. Ilmatar (air spirit)
9. Vellamo (goddess of the sea)
Postlude
This program runs approximately 75 minutes with no intermission.
This concert is being recorded by WQXR for future broadcast on 105.9 FM and streaming on wqxr.org.
ABOUT THE PROGRAM
John Zorn’s Jumalattaret, first performed by Barbara Hannigan and Stephen Gosling in Lisbon in 2018, quickly became legendary in new-music circles. (There is even a documentary film, by Mathieu Amalric, about how the performers learned to meet the almost superhuman challenges posed by the piece.) This sensational composition by the extraordinarily versatile and prolific New York musician will be heard after some music from the first half of the 20th century, in which we find the same relentless search for unprecedented sounds, combined with a sense of transcendent mystery. Messiaen recognized Scriabin as an important predecessor; and Zorn paid tribute to both of them as early as 1992, when he and his band Naked City recorded selections from their work, in highly innovative arrangements, on the album Grand Guignol.
One of his biographers—Paul Griffiths—called Olivier Messiaen (1908-92) “a musician apart,” and with good reason. Who else but this French master could have written a book, at age 36, with the title Technique of My Musical Language? He had indeed developed, by this time, an original harmonic and rhythmic system that was entirely his own, in which he extended classical theory incorporating elements derived from ancient Greek and Indian music. And he placed these new compositional means in the service of a 2,000-year-old tradition, as his entire life’s work was infused with his deep Catholic faith. (Later in life, Messiaen became an avid ornithologist, deriving major inspiration from the songs of a wide variety of birds from all over the world.)
Chants de terre et de ciel (“Songs of Earth and Heaven,” 1938) was written years before Messiaen embarked on the systematic study of birdsong. This cycle of six songs, on the composer’s own texts, was written soon after the birth of his son Pascal–his only child–in 1937. Messiaen’s wife, Claire Delbos, was a gifted violinist, composer, and painter; his nickname for her was “Mi.”1 In 1936, he had written a song cycle entitled Poèmes pour Mi (with piano, later orchestrated), in which he celebrated their marriage as a spiritual union. In the present work, a kind of sequel, the arrival of new life makes the religious mysteries even deeper. After affirming his sacred covenant with his wife in the first song, Messiaen turns to celebrating the birth of his son, appropriately named for the Easter miracle, which in turn brings the Resurrection to his mind. Even when playing with the baby, he feels the awe before the divine power that made this gift possible. Death, the necessary stage we must pass through between birth and resurrection, is inevitably a part of this chain of associations. Messiaen expresses all this through a harmonic language saturated with lush chords consisting of six or more simultaneous pitches, and a characteristically fluid rhythm that escapes conventional meter by elongating certain notes and shortening others. The many exuberant “Alleluias” come across as some kind of re-imagined Gregorian chant, filtered through Messiaen’s novel compositional methods. The extremely demanding vocal line demands great vocal power in the high register as well as extreme flexibility and expressivity across the entire range of the voice.
The pairing Messiaen-Scriabin brings together the two most famous composers to have experienced synesthesia: both consistently heard music in color, a perception that had a major influence on their creative work. But this is not the only connection between these two masters, who were from different countries and belonged to different generations. Alexander Scriabin’s (1872-1915) visionary music exerted a lasting influence upon Messiaen.
The Russian composer’s turn to mysticism around 1903 propelled him in novel harmonic directions and took him almost to the verge of atonality. The Poème-nocturne, Op. 61 (1911), is a case in point. Scriabin had inherited the genre of the nocturne from Chopin and composed four works with that title earlier in life.
The word “poem,” on the other hand, appears in a rather large number of his compositions (both for piano and for orchestra); he even appended an actual poem to go with his Sonata No. 4.
Scriabin’s musical poems “speak” as if they used verbal language. In Poème-nocturne, he combines the dreamy mood of the nocturne with a dramatic ebb-and-flow where the music gets “more and more passionate,” as the composer instructs, in three successive surges of intensity. Based on Scriabin’s so-called “mystic chord” (a six-note sonority that dominates much of the composer’s later music), the work evokes, in the words of commentator Simon Nicholls, “the evanescent images and indistinct sounds of a dream, or the state between waking and sleep.”
Vers la Flamme (“Toward the Flame,” Op. 72), written in 1914, is one of Scriabin’s last works, and one of his most astonishing creations. It was also published as a “poem,” though Scriabin originally intended it as his Sonata No. 11. According to the legendary pianist Vladimir Horowitz, who had played for Scriabin as a child and whose uncle was a friend of the composer’s, the piece was inspired by Scriabin’s fear that “a constant accumulation of heat would ultimately cause the destruction of the world”—a notion that would have struck people as utterly crazy 100 years ago.
The music approaches the “flame” very gradually: the first half of the piece consists of slow, static chords. But then things become more and more “animated” and “tumultuous” (according to the instructions in the score). An enormous explosion inevitably ensues…
— Peter Laki
1 Following the death of his wife, Messiaen married the pianist Yvonne Loriod, one of the foremost interpreters of his music.
JUMALATTARET
A PROGRAM NOTE BY JOHN ZORN AND BARBARA HANNIGAN
Using pieces of texts from the epic Finnish tale the Kalevala, Jumalattaret (2012) is a song cycle in praise of nine Finnish Goddesses out of Sami Shamanism: Päivätär, goddess of summer—Vedenemo, the mother of waters—Akka, goddess of the underworld—Louhi, a powerful witch and shapeshifter— Mielikki, the goddess of the hunt—Kuu, the moon goddess— Tellervo, goddess of forests—Ilmatar, the virgin spirit of air—Vellamo, the goddess of water. The music uses a variety of musical techniques and genres, and moves from lyrical folk-like simplicity to more complex atonal and textural pyrotechnics.
John Zorn: Barbara Hannigan was in New York City performing George Benjamin’s Written on Skin at Lincoln Center in the summer of 2015. We met for the very first time, introduced by mutual friends, for a memorable lunch at the Thai restaurant Som Tum Der on Avenue A. We stayed for hours talking candidly about music, life, collaboration, improvisation, the classical world, conductors, and so much more. It was deeply inspiring—and we began to imagine a path forward. Remembering Jumalattaret, I sent her the score and proposed it as our first adventure together.
Barbara Hannigan: Meeting John back in 2015 was a turning point in my life as a creative person. The connection between us as musicians was immediate and magnetic. I began working on Jumalattaret in 2016 and 2017, but realized quite quickly, that I’d met my “Waterloo” in its virtuosic demands. I was not sure I would manage it, even though I had tacked many “impossible” pieces before. Finally I mustered the courage to write to John with my concerns. I was hoping he might make a few corners of it a little more “possible” for me to manage.
We exchanged several emails, and John was incredibly deep in his response to the vulnerabilities I was sharing with him. I’d never experienced anything like this kind of support with a composer. He was not offended. He was really with me in the struggle. John wrote the following to me:
one cannot transcend anything by staying on safe ground and it is in these intense moments that we can find deeper truths, bring mind and heart together - and begin to understand the soul and its workings in that courageous moment of letting go and going for it, the music will become alive in a special and heroic way - a way that is beyond just the notes on paper
JZ: The long journey toward Barbara’s mastery of the piece is beautifully told in Mathieu Amalric’s insightful documentary Zorn III, which is focused on our back and forth communications, and the long process of Barbara learning, struggling, rehearsing, and performing Jumalattaret.
BH: Because of John’s belief in me, I felt overcome with a new energy and summoned all my strength to throw myself into the music until I was completely immersed in it and it became a part of me. I have performed it many times now on festivals celebrating John Zorn’s music, and wanted to put it into a new performance context, programming it together with Messiaen’s song cycle Chants de terre et de ciel. Both works are deeply spiritual, mysterious, tender, and ecstatic. While the Messiaen cycle has a more male dominated focus, (the God of the Catholic faith) the Zorn is inspired by female power, as are many of John’s compositions.
John has gone on to write another five works for my voice, with various combinations of instruments and not a season goes by that I am not singing his music, somewhere. He has become a very dear friend and inspiring mentor.
ABOUT THE ARTISTS
BARBARA HANNIGAN
Embodying music with an unparalleled dramatic sensibility, soprano and conductor Barbara Hannigan is an artist at the forefront of creation. More than 30 years since her professional debut, Hannigan has had the honor to create magical working relationships with world class musicians, directors, and choreographers, for audience worldwide. Her artistic colleagues include John Zorn, Krszysztof Warlikowski, Simon Rattle, Sasha Waltz, Kent Nagano, Vladimir Jurowski, Andreas Kriegenburg, Andris Nelsons, Esa Pekka Salonen, Christoph Marthaler, Antonio Pappano, Katie Mitchell, and Kirill Petrenko. The late conductor and pianist Reinbert de Leeuw has been an extraordinary influence and inspiration on her development as a musician.
The Grammy Award winning Canadian musician has shown a profound commitment to the music of our time and has given the world premiere performances of nearly 100 new creations. Hannigan has collaborated extensively with composers including Boulez, Zorn, Dutilleux, Ligeti, di Castri, Stockhausen, Khayam, Sciarrino, Barry, Dusapin, Dean, Benjamin, and Abrahamsen.
A passionate musician of unique and courageous choices, Hannigan is renowned for creating innovative orchestral programs, combining new and older repertoire in a highly dramatic and authentic manner. Having begun her career as a soprano, tackling some of the most difficult and virtuoso roles in the repertoire, she then turned her hand to conducting, with her debut at age 40 at the Chatelet in Paris, and, more than 10 years on, balances her engagements as singer or conductor on a free and original path.
In recent years she has been conducting world class orchestras including the Concertgebouw and Cleveland Orchestras, Montreal Symphony, Rome’s Accademmia Nazionale di Santa Cecilia, has ongoing relationships with festivals including Aix-en-Provence and Spoleto, and has had starring soprano roles on opera stages including London’s Covent Garden, Teatro San Carlo in Naples, Paris Opera’s Palais Garnier, New York’s Lincoln Center, and the opera houses of Berlin, Hamburg, and Munich.
The past few seasons have brought a new presentation of Poulenc’s opera La Voix Humaine, in which she both sings and conducts from the podium, interacting with live video cameras. The acclaimed production had its premiere with l’Orchestre Philharmonique de Radio France and has toured to various orchestras and halls including Copenhagen, Gothenburg, London, Rotterdam, Reykjavik, Montreal, and Munich. Recent world premieres include Golfam Khayam’s I am not a tale to be told with Iceland Symphony Orchestra, John Zorn’s Split the Lark and Star Catcher, Zosha di Castri’s In the Half Light with the Toronto and Montreal Symphony Orchestras, new works by Sandström and Sciarrino, and a project with pianists Katia et Marielle Labeque inspired by the life and music of Hildegard von Bingen with new music from David Chalmin and Bryce Dessner.
The 2024-25 season brings return conducting engagements to Gothenburg Symphony, London Symphony, Munich Philharmonic, Orchestre Philharmonique de Radio France, Danish
Radio Symphony Orchestra, Iceland Symphony, l’Orchestre de Chambre de Lausanne, and Kollegium Musicum Winterthur, a vocal recital tour with Bertrand Chamayou (works by Messiaen, Scriabin, and Zorn), a music theater production with director Romeo Castelluci at the Cathedral of Geneva (works by Pergolesi and Scelsi), as well as masterclasses throughout Europe and North America. She holds several Principal Guest and Associate Artist positions, and in 2026 will take the helm of Iceland Symphony Orchestra as their Chief Conductor and Artistic Director.
As an acclaimed recording artist, Barbara Hannigan’s fruitful relationship with Alpha Classics began in 2017 with the release of Crazy Girl Crazy, which won the 2018 Grammy Award for Best Classical Solo Vocal album, as well as an Edison (The Netherlands) and a Juno (Canada). Six critically acclaimed recordings followed, including: Vienna: fin de siècle with pianist Reinbert de Leeuw; La Passione featuring works by Nono, Haydn and Grisey; Infinite Voyage, joining her colleagues of the Emerson String Quartet for their final album, in works of Schoenberg, Hindemith, Berg and Chausson; and MESSIAEN featuring works of Olivier Messiaen with pianist Bertrand Chamayou. Hannigan Sings Zorn Volume One, a live recording of John Zorn’s compositions with pianist Stephen Gosling was released on the label Tzadik in August 2024. Hannigan is also featured on many other recordings and DVDs, including: Abrahamsen’s let me tell you with the Bayerischen Rundfunk Orchestra conducted by Andris Nelsons; an album of vocal works of Satie with pianist Reinbert de Leeuw; works by Ligeti and Berg with London Symphony Orchestra and Sir Simon Rattle; Unsuk Chin’s Le silence des sirènes with the Berlin Philharmonic and Rattle; and several operas including George Benjamin’s Written on Skin, Poulenc’s La Voix Humaine and the title role in the iconic Warlikowski production of Berg’s Lulu Hannigan’s commitment to the younger generation of musicians led her to create the mentoring initiatives Equilibrium Young Artists (2017), and Momentum: our Future Now (2020), both initiatives offering both guidance and performing opportunities to young professional artists. She was recently named the Reinbert de Leeuw Professor of Music at London’s Royal Academy of Music and has been visiting professor at the Juilliard School in New York. Her recent album of chamber works by Stravinsky in collaboration with young musicians of the Royal Academy and Juilliard will be released in autumn 2024 on the Linn label.
Her awards and honors include the Order of Canada (2016), Officier des Arts et des Lettres in France (2022), and Gramophone Magazine’s 2022 Artist of the Year, Germany’s Faust Award (2015), Sweden’s Rolf Schock Prize for Musical Arts (2018), and the 2021 Stena Foundation’s Cultural Scholarship, Dresdener Musikfestspiele Glashütte Award (2020), Denmark’s Léonie Sonning Music Prize (2021), and Canada’s De Hueck and Walford Career Achievement Award (2023).
Hannigan resides in Finistère, on the northwest coast of France, looking over an inlet which leads directly across the Atlantic to where she grew up in Waverley, Nova Scotia.
BERTRAND CHAMAYOU
Bertrand Chamayou is one of today’s most strikingly brilliant pianists, recognized for his revelatory performances at once powerfully virtuosic, imaginative, and breathtakingly beautiful. A leading interpreter of French music, his vast repertoire includes major bodies of work such as the complete piano works of Ravel, Liszt’s Etudes and Années de pèlerinage, and Messiaen’s Vingt regards sur l’enfant-Jésus. At the same time the French pianist possesses a deep passion for new music, having worked with composers including Pierre Boulez, Henri Dutilleux, György Kurtág, Thomas Adès, Bryce Dessner, and Michael Jarrell. This season sees him appear the London Symphony Orchestra in Gstaad and La-Côte-Saint-André; play a chamber music evening at Wigmore Hall; and perform with the Seattle Symphony Orchestra, Orchestre de la Suisse Romande, Basel Chamber Orchestra, Chamber Orchestra of Europe, BBC Philharmonic Orchestra, Basel Symphony Orchestra, Les Siècles Orchestra, Gürzenich Orchestra, Belgian National Orchestra, and Detroit Symphony Orchestra. A tour with Barbara Hannigan will take the two musicians to Montreal, Toronto, Vancouver, Victoria, La Jolla, Rochester, Philadelphia, New York, Ottawa, Washington, and Paris with duo recitals. Duo recitals with Sol Gabetta will take place at the Vienna Konzerthaus, the Gewandhaus Leipzig, the De Doelen Rotterdam, and in Trieste and Bologna. This season, Bertrand Chamayou will give solo recitals in ClermontFerrant, Metz, Bordeaux, Poitiers, Perth, Paris, Dijon, Lyon, Aix-en-Provence, Toulouse, Lille, and Oeiras.
Bertrand Chamayou performs with the most prestigious orchestras: the Vienna Philharmonic; New York Philharmonic; the orchestras of Cleveland, San Francisco, Pittsburgh, Chicago, Atlanta, Montreal, Vienna, and London; the Orchestre de Paris; the Tonhalle Orchestra Zurich; the Orchestre National de France and the Orchestre Philharmonique de Radio France; the Gewandhaus Orchestra Leipzig; the Deutsche Kammerphilharmonie Bremen; the radio orchestras in Munich, Frankfurt, Cologne and Copenhagen as well as the NHK Symphony Orchestra; the Seoul Philharmonic Orchestra; and the Orchestra dell’Accademia Nazionale di Santa Cecilia. He has had the privilege of playing under the baton of Pierre Boulez and Sir Neville Marriner and works with conductors such as Esa-Pekka Salonen, Herbert Blomstedt, Semyon Bychkov, Charles Dutoit, Mikko Franck, Santtu-Matias Rouvali, Krzysztof Urbanski, Philippe Herreweghe and Gianandrea Noseda, Philippe Jordan, Andris Nelsons, François-Xavier Roth, Tugan Sokhiev, Sir Antonio Pappano, and Elim Chan.
A highly regarded chamber musician, his partners include such renowned artists as Sol Gabetta, Barbara Hannigan, Vilde Frang, Renaud and Gautier Capuçon, Leif Ove Andsnes, the Quatuor Ebène, and Antoine Tamestit. He is very committed to new repertoire and has also worked with Henri Dutilleux and György Kurtág and, more recently, with Thomas Adès, Bryce Dessner, and Michaël Jarrell, who dedicated his last piano concerto to him.
Bertrand Chamayou published a large number of highly successful recordings, including a Naïve CD of music by César Franck, which was awarded several accolades. For his recording of Camille Saint-Saëns’ Piano Concertos Nos. 2 and 5 he was awarded the Gramophone Recording of the Year Award 2019. The only artist to win France’s prestigious Victoires de la Musique on five occasions, he has an exclusive recording contract with Warner/Erato and was awarded the 2016 ECHO Klassik for his recording of Ravel’s complete works for solo piano. His new album Letter(s) to Erik Satie pairs the music of Satie and Cage.
Bertrand Chamayou was born in Toulouse; his musical talent was quickly noted by pianist Jean-François Heisser, who later became his professor at the Paris Conservatoire. He completed his training with Maria Curcio in London. Since 2021, Chamayou has been Co-Artistic Director of Festival Ravel, the major new international festival celebrating Maurice Ravel, situated in France’s Basque country.
OLIVIER MESSIAEN (1908–1992)
Chants de Terre et de Ciel (1938)
Text by the composer
1. Bail avec Mi (pour ma femme)
Ton oeil de terre, mon oeil de terre, nos mains de terre, Pour tisser l’atmosphère, la montagne de l’atmosphère.
Étoile de silence à mon coeur de terre, à mes lèvres de terre,
Petite boule de soleil complémentaire à ma terre.
Le bail, doux compagnon de mon épaule amère.
2. Antienne du silence (pour le jour des Anges gardiens)
Ange silencieux, écris du silence dans mes mains, alléluia.
Que j’aspire le silence du ciel, alléluia.
3. Danse du bébé-Pilule (pour mon petit Pascal)
Pilule, viens, dansons.
Malonlanlaine, ma.
Ficelles du soleil.
Malonlanlaine, ma.
C’est l’alphabet du rire aux doigts de ta maman.
Son oui perpétuel était un lac tranquille.
Malonlanlaine, ma, ma.
Douceur des escaliers, surprise au coin des portes.
Tous les oiseaux légers s’envolaient de tes mains.
Oiseaux légers, cailloux, refrains, crème légère.
En poissons bleus, en lunes bleues
Les auréoles de la terre et de l’eau,
Un seul poumon dans un seul roseau.
Io, io, malonlaine, ma, malonlaine etc.
L’oeil désarmé, un ange sur la tête, ton petit nez levé
Vers le bleu qui s’avale, ourlant de cris dorés
Les horizons de verre, tu tendais ton coeur si pur.
Chanter, chanter, chanter, ah ! chanter, Glaneuses d’étoiles, tresses de la vie,
Pouviez-vous chanter plus délicieusement ?
Le vent sur tes oreilles, malonlanlaine, ma, Joue à saute-mouton, malonlanlaine, ma.
Et la présence verte et l’oeil de ta maman.
En effeuillant une heure autour de mon sourire.
Malonlanlaine, ma.
Autour de mon sourire.
Malonlanlaine, ma, ma, ma, ma, io ! Ha, ha, ha, ha, ha ! Io, io !
Songs of Earth and Heaven
English translation by Richard Stockes
1. A pact with Mi (for my wife)
Your eye of earth, my eye of earth, our hands of earth, To weave the atmosphere, the mountain of the atmosphere. Star of silence for my heart of earth, for my lips of earth, Little ball of sun complementary to my earth. The pact, sweet companion of my bitter shoulder.
2. Antiphon of silence (for the feast of guardian angels)
Silent angel, inscribe some silence in my hands, alleluia. That I might breathe the silence of heaven, alleluia.
3. Dance of my Baby Pilule (for my little Pascal)
Pilule, come, let’s dance, Malonlanlaine, ma.
Strands of the sun, Malonlanlaine, ma.
It’s the alphabet of laughter on your mother’s fingers. Her perpetual Yes was a peaceful lake. Malonlanlaine, ma, ma.
Sweetness of stairs, surprise behind doors.
All the light birds fluttered from your hands.
Light birds, pebbles, refrains, light cream. Shaped like blue fish, like blue moons, Haloes of earth and water,
A single lung in a single reed.
Io, io malonlaine, ma, malonlaine etc.
A disarmed eye, an angel on your head, your little nose lifted up Towards the low blue which is swallowed up, hemmed with golden cries
The glass horizons, you held out your heart so pure. To sing, to sing, to sing, ah! to sing, Gleaners of stars, tresses of life, Could you have sung more deliciously?
The wind over your ears, malonlanlaine, ma, Is playing leap-frog, malonlanlaine, ma.
And the green presence and your mother’s eye. An hour shedding its petals around my smile. Malonlanlaine, ma.
Around my smile, Malonlanlaine, ma, ma, ma, ma, io! Ha, ha, ha, ha, ha! Io, io!
4. Arc-en-ciel d’innocence (pour mon petit Pascal)
Pilule, tu t’étires comme une majuscule de vieux missel,
Tu es fatigué ; regarde ta main.
Jouet incassable, les ressorts fonctionnent toujours ; Mais on ne peut pas le lancer par-dessus bord
Comme la jolie poupée en coton.
Rêve aux plis de l’heure ; Tresse, tresse des vocalises autour du silence :
Le soleil t’écrira sur l’épaule du matin
Pour lancer des oiseaux dans ta bouche sans dents.
Sourire, sourire, ce que tu chantes, chanter, chanter, T’a appris à sourire.
Ce que tu ne vois pas, sauras-tu en rêver ?
Viens, que je te catapulte dans le jour
Comme la libellule aviateur !
Te voilà plus haut que moi ;
Quel plaisir de dominer tous ces géants !
Attache à tes poignets fins les arcs-en-ciel d’innocence
Qui sont tombés de tes yeux,
Fais-les frémir dans les encoignures du temps.
Très loin, très près ;
Recommençons cent fois le jeu !
Où est-il ? Si haut qu’on ne le voit plus ?
Saute, mon bilboquet Pilule !
Tu t’agites comme un battant de cloche pascale.
Bonjour, petit garçon.
5. Minuit pile ou face (Pour la mort)
Ville, oeil puant, minuits obliques,
Clous rouillés enfoncés aux angles de l’oubli.
Agneau, Seigneur !
Ils dansent, mes péchés dansent !
Carnaval décevant des pavés de la mort.
Grand corps tout pourri des rues, sous la dure lanterne.
Carrefour de la peur !
Couverture de démence et d’orgueil !
Rire, aiguise-toi, rire, avale-toi ! :
Ces flambeaux sont des montagnes de nuit.
Noeuds bien serrés de l’angoisse.
Bête inouïe qui mange.
Qui bave dans ma poitrine.
Tête, tête, quelle sueur !
Et je resterais seul à la mort qui m’enroule !
Père des lumières, Christ, Vigne d’amour, Esprit consolateur,
Consolateur aux sept dons !
Cloche, mes os vibrent, chiffre soudain, Décombres de l’erreur et des cercles à gauche, Neuf, dix, onze, douze.
Oh ! M’endormir petit !
Sous l’air trop large, dans un lit bleu, La main sous l’oreille, Avec une toute petite chemise.
4. Rainbow of innocence (for my little Pascal)
Pilule, you stretch like the first letter of an ancient missal
You are tired; look at your hand.
Unbreakable toy, the springs are still working;
But you can’t discard this one
Like some pretty rag-doll.
Dream in the folds of the hour;
Weave, weave vocalises around silence:
The sun will write to you on the shoulder of morning
To cast birds into your toothless mouth.
Smile, smile, that which you are singing, sing, sing, Has taught you to smile.
That which you do not see, can you dream of it?
Come, let me catapult you into the day
Like an aviator-dragonfly!
There you are, higher than me:
How lovely to dominate all these giants!
Tie to your little wrists rainbows of innocence
That have fallen from your eyes,
Make them quiver in the corners of time.
Very distant, very near;
Let’s play the game a hundred times over!
Where is he? So high he cannot be seen?
Jump, my cup-and-ball Pilule!
You jump around like the clapper of a paschal bell.
Hello, little boy.
5. Midnight heads or tails
City, stinking eye, oblique midnights, Rusty nails driven into the corners of oblivion.
Lamb, Lord!
They dance, my sins dance!
Carnival of disillusion of death’s cobblestones.
The streets a great rotting corpse, beneath the lantern’s harsh light. Crossroad of fear!
Blanket of madness and pride!
Laughter, grow more shrill! laughter, swallow yourself!
These torches are mountains of night.
Tightly pulled knots of anguish.
Unknown beast that devours
That drools on my chest
Head, head, such sweat!
And I’ll be left alone to the death that envelops me!
Father of lights, Christ, Vine of love, Comforting spirit, Comforter of the seven gifts!
Bell, my bones vibrate, a sudden cypher, Ruins of error and circles on the left, Nine, ten, eleven, twelve.
Oh! Fall asleep, little one!
Beneath the too broad air, in a blue bed, The hand under the ear, With a tiny night-shirt on.
6. Résurrection (pour le jour de Pâques)
Alléluia, alléluia.
Il est le premier, le seigneur Jésus.
Des morts il est le premier-né
Sept étoiles d’amour au transpercé, Revêtez votre habit de clarté.
«Je suis ressuscité, je suis ressuscité,
Je chante : pour Toi, mon Père, pour Toi, mon Dieu, alléluia.
De mort à vie je passe.»
Un ange
Sur la pierre il s’est posé.
Parfum, porte, perle, azymes de Vérité. Alléluia, alléluia.
Nous l’avons touché, nous l’avons vu.
De nos mains nous l’avons touché.
Un seul fleuve de vie dans son côté, Revêtez votre habit de clarté.
«Je suis ressuscité, je suis ressuscité.
Je monte : vers Toi, mon Père, vers Toi, mon Dieu, alléluia.
De terre à ciel je passe.»
Du pain.
Il le rompt et leurs yeux sont dessillés.
Parfum, porte, perle, lavez-vous dans la Vérité.
6. Resurrection (for Easter Day)
Alleluia, alleluia.
He is the first, the Lord Jesus.
He is the first-born of the dead.
Seven stars of love for the pierced one,
Put on your garment of light.
‘I have risen again, I have risen again; I sing: for Thee, my Father, for Thee, my God, alleluia. I pass from earth to sky.’
An angel.
He has alighted on the stone.
Perfume, gate, pearl, unleavened bread of Truth. Alleluia, alleluia.
We have touched Him, we have seen Him.
With our hands we have touched Him.
A single stream of life in His side, Put on your garment of light.
‘I have risen again, I have risen again.
I ascend: to Thee, my Father, to Thee, my God, alleluia. I pass from death to light.’
Bread.
He breaks it and their eyes are opened.
Perfume, gate, pearl, wash yourselves in Truth.
JOHN ZORN (1953 –)
Jumalattaret (2012)
Sacred texts from the Kalevala compiled by John Zorn
Proem
Mieleni minun tekevi, aivoni ajattelevi lähteäni laulamahan, saa’ani sanelemahan, sukuvirttä suoltamahan, lajivirttä laulamahan. Sanat suussani sulavat, puhe’et putoelevat, kielelleni kerkiävät, hampahilleni hajoovat. ylistykseksi jumala
3. Akka
Viel’ on muitaki sanoja, ongelmoita oppimia:
4. Louhi siitti siivet sulkinensa kuuhuen käsin tavoitti
7. Tellervo
Keksi piirtämän kivessä, valeviivan kal
8. Ilmatar
Parempi olisi ollut ilman impenä elää,
Postlude
Ellös täältä ilman pääskö,nousko, kuu, kumottamahan, pääskö, päivä, paistamahan, kun en käyne päästämähän, itse tulle noutamahan yheksän orihin kanssa, yhen tamman kantamalla!”
The Goddesses
English translation by the artist
Opening invocation
Mastered by impulsive desire, by a mighty inward urging, I am now ready for singing, ready to begin the chanting in praise of the goddesses!
3. Queen of the ancient magic there are other words of magic, incantations I have learned
4. Hostess of the underworld made a pair of feathered wings, with her bare hands by her magic
7. Forest spirit secret sign drawn on the rock
8. Air spirit better had it been for me to have stayed the airy virgin Postlude
Moon of gold and Sun of silver, Hide your faces in the caverns Of Pohyola’s dismal mountain; Shine no more to gladden Northland, Till I come to give ye freedom, Drawn by coursers nine in number, Sable coursers of one mother!
ABOUT THE RECITAL SERIES
Park Avenue Armory presents more intimate performances and programs in its acclaimed Recital Series, which showcases musical talent from across the globe in an intimate salon setting. Performed in the restored Board of Officers Room—which The New York Times has called “one of the most intimate and ideal spaces for vocal recitals”—these enchanting musical moments utilize the pristine acoustics and intimate scale intended by many composers while invoking the Salon culture of the Gilded Age. The 2024 Recital Series focuses on the sheer power and beauty of the human voice, with thoughtfully curated programs of lieder, art song, and contemporary works that take the art form in bold new directions in the hands of some of today’s most exciting musical interpreters. Since its inception in 2013, the series has held the debuts of many world-class artists, including: the North American recital debuts of pianist Igor Levit, soprano Sabine Devieilhe, tenors
Ilker Arcayürek and Allan Clayton, baritones Benjamin Appl and Roderick Williams, clarinetist Andreas Ottensamer, and cellist István Várdai; the North American solo recital debuts of tenor Michael Spyres and mezzo soprano Emily D’Angelo; the US Recital debuts of sopranos Barbara Hannigan and Anna Lucia Richter and baritone Thomas Oliemans; and the New York debuts of pianist Severin von Eckardstein and the Dudok Quartet Amsterdam
The Recital Series has programmed the world premieres of: Roger Reynolds’ FLiGHT, performed by the JACK Quartet; Michael Hersch’s “…das Rückgrat berstend,” performed by violinist Patricia Kopatchinskaja and cellist Jay Campbell; and Chris Cerrone’s Ode to Joy, performed by Sandbox Percussion and commissioned by the Armory. Actor Charlotte Rampling and cellist Sonia Wieder-Atherton gave the US premiere of The Night Dances on the series in 2015, which brought together Benjamin Britten’s suites for solo cello and poetry by Sylvia Plath; WiederAtherton returned to the Armory in 2017 for the North American premiere of Little Girl Blue, a program that reimagined the music of Nina Simone. New York premieres include: Anna Thorvaldsdottir’s In the Light of Air and Shades of Silence performed by the International Contemporary Ensemble; Dai Kujikura’s Minina,
NEXT IN THE SERIES
KONSTANTIN KRIMMEL & AMMIEL BUSHAKEVITZ
FEBRUARY 22 & 24
Capturing several competition prizes early in his career as well as being named a BBC New Generation Artist, baritone Konstantin Krimmel has graced some of the finest concert and operatic stages in Europe with a richness of nuance schooled in lieder singing and a naturalistic interpretive approach. Krimmel makes his North American recital debut with a program of lieder by Schubert and Loewe.
John Zorn’s Baudelaires, and a new arrangement of Messiaen’s Chants de terre et de ciel, also performed by ICE; Michael Gordon’s Rushes performed by the Rushes Ensemble; Michael Harrison’s Just Constellations performed by Roomful of Teeth; David Lang’s depart, Gabriel Jackson’s Our flags are wafting in hope and grief and Rigwreck, Kile Smith’s “Conversation in the Mountains” from Where Flames A Word, Louis Andriessen’s Ahania Weeping, Suzanne Giraud’s Johannisbaum, David Shapiro’s Sumptuous Planet, Benjamin CS Boyle’s Empire of Crystal, and Ted Hearne’s Animals (commissioned by Park Avenue Armory), all performed by The Crossing under conductor Donald Nally; John Zorn’s Jumalatteret sung by soprano Barbara Hannigan with pianist Stephen Gosling; and Viet Cuong’s Next Week’s Trees, performed by Sandbox Percussion
Additional notable programs include performances by: baritone Christian Gerhaher with pianist Gerold Huber; the Flux Quartet; tenor Ian Bostridge with pianist Wenwen Du; pianist David Fray; soprano Lisette Oropesa with pianist John Churchwell countertenor Andreas Scholl with harpsichordist Tamar Halperin; soprano Kate Royal with pianist Joseph Middleton; pipa player Wu Man and the Shanghai Quartet; tenor Lawrence Brownlee with pianists Myra Huang and Jason Moran; mezzo soprano Isabel Leonard with pianist Ted Sperling; soprano Nadine Sierra with pianist Brian Wagorn; soprano Rosa Feola with pianist Iain Burnside; cellist Nicolas Altstaedt; tenor Paul Appleby with pianist Conor Hanick; baritone Will Liverman with pianist Myra Huang; mezzo soprano Jamie Barton with pianist and composer Jake Heggie; new music ensemble Alarm Will Sound; French period choir and chamber orchestra Ensemble Correspondances under the direction of harpsichordist and organist Sébastien Daucé; baritone Justin Austin and pianist Howard Watkins; soprano Ying Fang with pianist Ken Noda; baritone Stéphane Degout with pianist Cédric Tiberghien; pianist Pavel Kolesnikov in a two-night residency featuring Bach’s Goldberg Variations and a program entitled Celestial Navigation, inspired by Joseph Cornell’s orrery of the same name; soprano Julia Bullock with pianist John Arida; and mezzo soprano Kate Lindsey with pianist Justina Lee.
ERIN MORLEY & GERALD MARTIN MOORE
APRIL 11 & 13
One of today’s most sought-after lyric coloratura sopranos, Erin Morley has stepped into the international spotlight with a string of critically acclaimed appearances in the great opera houses of the world. A recipient of the Beverly Sills Award and a graduate of the Metropolitan Opera’s Lindemann Young Artist Development Program, Morley comes to the Armory with an artfully curated program of works from her recent album Rose in Bloom, including repertoire connected to flowers, gardens, and nature from Schumann and Berg to Saint-Saëns and RimskyKorsakov and a song cycle by Ricky Ian Gordon.
NEXT AT THE ARMORY
IN WAVES
JANUARY 9 – 12
Forward-thinking beatmaker, producer, and Mercury Music Prize-winner Jamie xx returns to the Armory following his unforgettable residency with the xx in 2014 after 25 sell-out performances to kick off the world tour of his new release In Waves, his first solo album in 10 years. Reflecting the life- and world-changing events of the past decade—waves everyone has experienced both together and alone—the album encapsulates fun, joy, and introspection all at once in a way that can best be experienced on the dance floor.
Co-presented with Bowery Presents
WISH TREE
FEBRUARY 14 – 17
Yoko Ono is a groundbreaking and influential artist and activist, with a multidisciplinary career spanning conceptual art, film, and performance. A trailblazer of participatory work, a celebrated musician, and a formidable campaigner for world peace, her practice centers on ideas over objects, often expressed in poetic, humorous, profound, and radical ways. The Armory presents the largest installation to date in North America of Ono’s ongoing work Wish Tree for her 92nd birthday, inviting visitors to contribute by tying personal wishes to the trees, creating a large scale, civic activation of her social practice work.
DOOM
MARCH
3
– 12
WORLD PREMIERE – AN ARMORY COMMISSION
Radical art world superstar Anne Imhof takes hold of the entirety of the Armory for her largest performative work in the US to date. Utilizing the Wade Thompson Drill Hall, this all-encompassing work fuses space, bodies, sound, and sculpture in response to our present in which anxiety and hope find a fragile balance between apathy, activism, and resistance. This sequential durational performance takes audiences on a journey to ultimately find a sense of community through our own shared experiences. The culminating happening serves as a seismographic meter of our times, while projecting into our own possible futures to find a new form of hope.
CONSTELLATION
JUNE 5 –AUGUST 17
NORTH
AMERICAN PREMIERE
Diane Arbus’ stark, documentary style of capturing people outside the boundaries of ordinary society has influenced countless artists with iconic images that seem to reflect Arbus’ restless attraction to the unfamiliar in all its guises. These dynamic pictures are given an evocative new life at the Armory in an immersive installation that brings together all of the photographs—some still unpublished—from the set of more than 450 prints. Marking the largest and most complete showing of her works in New York to date, this unprecedented collection of Arbus’s works provides a diverse and singularly compelling portrait of humanity.
Co-presented with LUMA Arles
MONKEY OFF MY BACK OR THE CAT’S MEOW
SEPTEMBER 9 – 20
NORTH AMERICAN
PREMIERE
Centered on a stunning Mondrian-like colored grid spanning the length of the Drill Hall, choreographer, dancer, and Guggenheim fellow Trajal Harrell’s dancing runway show is turned on its head with iconography that juxtaposes everyday gestures and artificial poses with historical references, pop culture, and political rhetoric. And while drawing on the Declaration of Independence as a foundation for the US and its urgent call for freedom, this vivid mosaic of a double-edged paradigm also explores the resulting inequalities to the forebearers of the land affected by those actions while celebrating the unifying power of community.
11,000 STRINGS
SEPTEMBER 30 – OCTOBER 6
NORTH AMERICAN PREMIERE
Surrounding audiences with 50 micro-tuned pianos playing simultaneously alongside a chamber ensemble, maverick composer Georg Friedrich Haas’s spatial masterpiece, performed by Klangforum Wien, unleashes a cascade of sound that transcends traditional tonality while focusing on the human dimension in music experimentalism and creating a new way of listening. This sonically adventurous spatial work is realized as a concert installation in the Wade Thompson Drill Hall, howcases Haas’s focus on the human dimension in his experimentalism while creating a new way of listening.
THE FAGGOTS AND THEIR FRIENDS BETWEEN REVOLUTIONS
DECEMBER 2 – 14
NORTH AMERICAN PREMIERE
This cult book of fables and myths serves as the starting point for a new music theater adaptation from the creative minds of composer Philip Venables and director Ted Huffman. Together they conjure up a world that takes the original text on a kaleidoscopic journey that ignores boundaries just like the characters on stage do, drawing on theater, dance, and song from the Baroque to Broadway and beyond. The performers serve as actors, storytellers, and musicians all rolled into one, continually swapping roles while doing away with gender and genre norms and replacing them with unapologetic individuality and a lust for life. The resulting cabaret-like spectacle is both vulnerable and daring, a fantastic parable hiding a political manifesto for survival that gives voice to the marginalized and oppressed everywhere.
MAKING SPACE AT THE ARMORY A DREAM YOU DREAM TOGETHER: A SYMPOSIUM CELEBRATING
YOKO ONO
FEBRUARY 15 & FEBRUARY 16
Explore the multidisciplinary career of trailblazing artist Yoko Ono and her enduring legacy of arts activism for peace and creativity in this two-day symposium. This convening assembles a host of scholars, artists, writers, and activists for a series of panels and performances that explore and highlight Ono’s message to think globally and act locally. Visitors can activate the imagination through realizations of other performative works from Grapefruit and her Wish Tree installation in the Wade Thompson Drill Hall as a collective call to action to change the world, one wish at a time.
LENAPEHOKING: AN EVENING WITH BRENT MICHAEL DAVIDS
MAY 30
Marking the 400th anniversary of the start of construction of New Amsterdam on what is now lower Manhattan, this evocative evening of chamber music and storytelling considers the myth of Manhattan’s purchase while celebrating the enduring presence of Lenape and other Indigenous nations. Featuring captivating compositions by Brent Michael Davids, this memorable musical journey, incorporating unique Native American instruments as well as a string quartet and chorus of singers, engages audiences with Indigenous cultural expressions to envision decolonial futures through the power of music and narrative.
ARTISTS STUDIO
ROBERT AIKI AUBREY LOWE MARCH 22
Adventurous artist, curator, and composer Robert Aiki Aubrey Lowe creates hypnotic sound worlds that blur the boundaries between live performance and installation. His signature style builds upon the call-and-response tradition in African American music that can be traced from sacred hymnals to the secular work songs that inform the 20th century continuum of the blues, jazz, and soul. This veteran sound artist comes to the Veterans Room with a modular synth and vocal performance in the realm of spontaneous music, blending analog synthesizers with organic vocal expression to create auditory passageways with trancelike suspensions.
SOFIA JERNBERG & SPECIAL GUESTS TUESDAY, MAY 20
Swedish experimental singer, improviser, and composer Sofia Jernberg harnesses unconventional techniques and sounds with a focus on the human acoustic voice in durational performances that freely mix between improvisation and composed song. She has developed a broad repertoire ranging from overtone singing to guttural lutes, including childlike wailing and soft, intimate melodies that touch on themes of identity, internationality, origin, and belonging. This singular talent is joined by some additional musicians and guests for a unique performance of some of her own pre-existing and new compositions that embrace her creative practice of communion and collaboration.
ABOUT PARK AVENUE ARMORY
Part palace, part industrial shed, Park Avenue Armory supports unconventional works in the performing and visual arts that cannot be fully realized in a traditional proscenium theater, concert hall, or white wall gallery. With its soaring 55,000-square-foot Wade Thompson Drill Hall—reminiscent of 19th-century European train stations—and an array of exuberant period rooms, the Armory provides a platform for artists to push the boundaries of their practice, collaborate across disciplines, and create new work in dialogue with the historic building. Across its grand and intimate spaces, the Armory enables a diverse range of artists to create, students to explore, and audiences to experience epic, adventurous, relevant work that cannot be done elsewhere in New York.
The Armory both commissions and presents performances and installations in the grand Drill Hall and offers more intimate programming through its acclaimed Recital Series, which showcases musical talent from across the globe within the salon setting of the Board of Officers Room; its Artists Studio series curated by Jason Moran in the restored Veterans Room; Making Space at the Armory, a public programming series that brings together a discipline-spanning group of artists and cultural thought-leaders around the important issues of our time; and the Malkin Lecture Series that features presentations by scholars and writers on topics related to Park Avenue Armory and its history. In addition, the Armory also has a year-round Artists-in-Residence program, providing space and support for artists to create new work and expand their practices.
BOARD OF DIRECTORS
Chairman Emeritus
Elihu Rose, PhD
Co-Chairs
Adam R. Flatto
Amanda J.T. Riegel
President Rebecca Robertson
Vice Presidents
David Fox
Pablo Legorreta
Emanuel Stern
Treasurer
Emanuel Stern
The Armory’s creativity-based arts education programs provide access to the arts to thousands of students from underserved New York City public schools, engaging them with the institutions artistic programming and outside-the-box creative processes. Through its education initiatives, the Armory provides access to all Drill Hall performances, workshops taught by Master Teaching Artists, and in-depth residencies that support the schools’ curriculum.
Youth Corps, the Armory’s year-round paid internship program, begins in high school and continues into the critical post-high school years, providing interns with mentored employment, job training, and skill development, as well as a network of peers and mentors to support their individual college and career goals.
The Seventh Regiment Armory is undergoing a multi-phase renovation and restoration of its historic building led by architects Herzog & de Meuron, with Platt Byard Dovell White as Executive Architects.
Marina Abramović
Abigail Baratta
Joyce F. Brown
Cora Cahan
Hélène Comfort
Paul Cronson
Jonathan Davis
Tina R. Davis
Jessie Ding
Sanford B. Ehrenkranz
Roberta Garza
Kim Greenberg
Samhita Jayanti
Branden Jacobs-Jenkins
Edward G. Klein, Brigadier General NYNG (Ret.)
Ralph Lemon
Jason Moran
Janet C. Ross
Stephanie Sharp
Joan Steinberg
Dabie Tsai
Avant-Garde Chair
Adrienne Katz
Directors Emeriti
Harrison M. Bains
Angela E. Thompson*
Wade F.B. Thompson* Founding Chairman, 2000-2009
Pierre Audi
Anita K. Hersh Artistic Director
PARK AVENUE ARMORY STAFF
Rebecca Robertson Adam R. Flatto Founding President and Executive Producer
Pierre Audi Anita K. Hersh Artistic Director
ARTISTIC PLANNING AND PROGRAMMING
Michael Lonergan Senior Vice President and Chief Artistic Producer
Chris Greiner General Manager
Rachel Rosado Producer
Samantha Cortez Producer
Darian Suggs Associate Director, Public Programming
Kanako Morita Company Manager/Associate Producer
Oscar Peña Programming Coordinator
ARTISTIC PRODUCTION
Paul E. King Director of Production
Claire Marberg Deputy Director of Production
Nicholas Lazzaro Technical Director
Lars Nelson Technical Director
Mars Doutey Technical Director
Rachel Baumann Assistant Production Manager
ARTS EDUCATION
Cassidy L. Jones Chief Education Officer
Monica Weigel McCarthy Director of Education
Aarti Ogirala Associate Director of Education, School Programs
Biviana Sanchez School Programs Manager
Nadia Parfait Education Programs Manager
Ciara Ward Youth Corps Manager
Bev Vega Youth Corps Manager
Milen Yimer Youth Corps Assistant
Drew Petersen Education Special Projects Manager
Emily Bruner, Donna Costello, Alexander Davis, Asma Feyijinmi, Hawley Hussey, Larry Jackson, Drew Petersen, Leigh Poulos, Neil Tyrone Pritchard, Vickie Tanner Teaching Artists
Shar Galarza, Daniel Gomez, Nancy K. Gomez, Maxim Ibadov, Amo Ortiz Teaching Associates
Arabia Elliot Currence, Victoria Fernandez, Sebastian Harris Teaching Assistants
Shatisha Bryant, Delisha James, Melina Jorge, Oscar Montenegro, Adriana Taboada Teaching Apprentices
Joseph Balbuena, Eden Battice, Teja Caban, Koralys De La Cruz, Fatou Diallo, Melina Jorge Youth Corps Advisory Board
Imani Arias, Terrelle Jones, Blue Price, Naomi Santos Youth Corps, Post High School Advanced Interns
Phee Acevedo, June Bottex, Jordan Busey, Kaylani Ellington, Moon Emigli, Leah Fernandez, Chelsea Garcia, Mya Garcia, Jennifer Guevara Reyes, Besa Hasanovic, Azrael Hernandez, Anabella Martinez, Armaan Pabey, Hennsy Pena, Love Surlin, Kendra Velasquez Youth Corps, High School
BUILDING OPERATIONS
Karen Quigley Vice President of Capital Projects and Facilities
Marc Von Braunsberg Director of Operations and Security
Samuel Denitz Director of Facilities
Xavier Everett Security/Operations Manager
David Burnhauser Collection Manager
Emma Paton Administrative and Office Coordinator
Williams Say Superintendent
Olga Cruz, Leandro Dasso, Mayra DeLeon, Jeferson Avila, Felipe Calle, Jose Campoverde, Edwin Fell, Jacob Garrity, Jonathan Mays, Tyrell
Shannon Castillo Maintenance Staff
Jason Moran Curator, Artists Studio
Tavia Nyong’o Curator, Public Programming
DEVELOPMENT
Patrick Galvin Chief Development Officer
Alan Lane Director of Development
Caity Miret Executive Assistant to the Chief Development Officer
Jessica Pomeroy Rocca Major Gifts Officer
Chiara Bosco Manager of Individual Giving
Angel Genares Director of Institutional Giving
Hans Rasch Manager of Institutional Giving
Margaret Breed Director of Special Events
Séverine Kaufman Manager of Special Events
Michael Buffer Director of Database and Development Operations
Maeghan Suzik Development Coordinator
EXECUTIVE OFFICE
Lori Nelson Executive Assistant to the President
Nathalie Etienne Administrative Assistant, President’s Office
Simone Elhart Rentals and Project Manager
FINANCE, HR, AND IT
Judy Rubin Chief Financial Officer
Tejal Patel Controller
Khemraj Dat Accounting Manager
Zeinebou Dia Junior Accountant
Neil Acharya Human Resources Manager
Oku Okoko Director of IT
Jorge Sanchez IT Helpdesk Administrator
MARKETING,
COMMUNICATIONS, AND AUDIENCE SERVICES
Tom Trayer Chief Marketing Officer
Nick Yarbrough Associate Director of Digital Marketing
Dileiny Cruz Digital Marketing Coordinator
Allison Abbott Senior Press and Editorial Manager
Mark Ho-Kane Graphic Designer
Joe Petrowski Director of Ticketing and Customer Relations
Monica Diaz Box Office Manager
John Hooper Assistant Box Office Manager
Jordan Isaacs Box Office Lead
Victor Daniel Ayala, Fiona Garner, Meghan Lara Hrinkevich, Sarah Jack, Matthew Kamen, Emma Komisar, Michelle Meged, Caleb Moreno, Arriah Ratanapan, Ester Teixeira Vianna, Miciah Wallace Box Office Associates
Caitlin O’Keefe, Anne Wolf Tour Guides
Natasha Michele Norton Director of House Management
Clayton McInerney, Dawn Clements, Nancy Gill Sanchez, Terrelle Jones House Managers
Becky Ho, Cody Castro, Rachel Carmona, Tayler Everts Assistant House Managers
Adonai Fletcher-Jones, Aiyana Greene, Arriah Ratanapan, Beth Miller, Christina Johns, Christine Lemme, Dorsen Sween, Eboni Greene, Edwin Adkins, Eileen Rouke, Elijah Tejeda, Eliza Goldsteen, Gloriveht Ortiz, Janelyne DeVoe, John Summers, Joseph Balbuena, Kathleen Rodriguez, Kathleen White, Kedesia Robinson, Kin Tam, Lana Hankinson, Mariel Mercedes, Melina Jorge, MJ Ryerson, Naomi Santos, Neda Yeganeh, Nephthali Mathieu, Regina Pearsall, Sandra Kitt, Sarah Gallick, Sebastian Harris, Tess Kondratiev, Yanitza Ordonez, Yao Adja, Yenupaak Konlan, Zoe Rhinehart Ushers
Resnicow + Associates Press Representatives
PRODUCTION ACKNOWLEDGMENTS
Steinway & Sons
JOIN THE ARMORY
Become a Park Avenue Armory member and join us in our mission to present unconventional works that cannot be fully realized elsewhere in New York City. Members play an important role in helping us push the boundaries of creativity and expression.
FRIEND $100
$64 is tax deductible
• 10% discount on tickets to all Armory tours and performances*
• 20% discount on member subscription packages*
• Invitations to member preview party for visual art installations
• Complimentary admission for two to visual art installations
• Access to the Membership Hotline for ticket assistance
• Discounts at local partnered restaurants
SUPPORTER $250
$194 is tax deductible
All benefits of the Friend membership plus:
• Fees waived on ticket exchanges*
• Two free tickets to Armory Public Tours***
• Invitation to annual Member event
ASSOCIATE $500
$348 is tax deductible
All benefits of the Supporter membership plus:
• Complimentary admission for two additional guests (total of four) to visual art installations and member preview party
• Two free passes to annual fairs held at the Armory, such as TEFAF, The Art Show, Salon Art + Design, etc.**
• Access to the Patron Lounge at select productions
BENEFACTOR $1,000
$824 is tax deductible
All benefits of the Associate membership plus:
• Recognition in the Armory printed programs
• No-wait ticket pick up at the patron desk
• Handling fees waived on ticket purchases*
• Invitation for you and a guest to a private Chairman’s Circle event
• Two complimentary tickets to the Malkin Lecture Series*
CHAIRMAN’S CIRCLE
starting at $2,500
Chairman’s Circle members provide vital support for the Armory’s immersive arts and education programming and the restoration of our landmark building. In grateful appreciation of their support, they are provided unique and exclusive opportunities to experience the Armory and interact with our world-class artists.
AVANT-GARDE
starting at $350
The Avant-Garde is a group for adventurous art enthusiasts in their 20s to early 40s. Members enjoy an intimate look at Armory productions, as well as invitations to forward-thinking art events around New York City.
*Subject to ticket availability **Certain restrictions apply ***Reservations required
For information on ticketing, or to purchase tickets, please contact the Box Office at (212) 933-5812 or visit us at armoryonpark.org. For more information about membership, please contact the Membership Office at (212) 616-3958 or members@armoryonpark.org. Each membership applies to one household, and one membership card is mailed upon membership activation.
ARTISTIC COUNCIL
The Artistic Council is a leadership group that champions and supports groundbreaking “only at the Armory” productions.
Chair
Lisa Miller
Anne-Victoire Auriault/Goldman Sachs
Gives
Abigail and Joseph Baratta
Noreen Buckfire
Jeanne-Marie Champagne
Hélène and Stuyvesant Comfort
Caroline and Paul Cronson
Courtney and Jonathan Davis
Jessie Ding and Ning Jin
Misook Doolittle
Lisa and Sanford B. Ehrenkranz
The Lehoczky Escobar Family
LEGACY CIRCLE
Adam R. Flatto
Roberta Garza and Roberto Mendoza
Lorraine Gallard and Richard H. Levy
Barbara and Peter Georgescu
Joan Granlund
Kim and Jeff Greenberg
Lawrence and Sharon Hite
Samhita and Ignacio Jayanti
Wendy Keys
Irene Kohn
Fernand Lamesch
Almudena and Pablo Legorreta
Christina and Alan MacDonald
Andrew Martin-Weber and Beejan Land
John and Lisa Miller
Lily O’Boyle
Valerie Pels
Amanda J.T. and Richard E. Riegel
Ben Rodriguez-Cubeñas
Susan and Elihu Rose
Janet C. Ross
Caryn Schacht and David Fox
Stephanie and Matthew Sharp
Brian S. Snyder
Joan and Michael Steinberg
Emanuel Stern Slobodan Randjelović and Jon Stryker
Saundra Whitney
Ku-Ling Yurman
Anonymous (2)
The Armory’s Legacy Circle is a group of individuals who support Park Avenue Armory through a vitally important source of future funding, a planned gift. These gifts will help support the Armory’s out-the-box artistic programming, Arts Education Programs, and historic preservation into the future.
Founding Members
Angela and Wade F.B. Thompson*
Co-Chairs
Lisa and Sanford B. Ehrenkranz
Marjorie and Gurnee Hart
Members
The Estate of Ginette Becker
Wendy Belzberg and Strauss Zelnick
Emme and Jonathan Deland
Lisa and Sanford B. Ehrenkranz
Adam R. Flatto
Roberta Garza
Marjorie and Gurnee Hart
Anita K. Hersh*
PATRONS
Ken Kuchin
Heidi McWilliams
Michelle Perr
Amanda J.T. Riegel
Rebecca Robertson and Byron Knief
Susan and Elihu Rose
Francesca Schwartz
Joan and Michael Steinberg
Angela and Wade F.B. Thompson*
Park Avenue Armory expresses its deep appreciation to the individuals and organizations listed here for their generous support for its annual and capital campaigns.
$1,000,000 +
Charina Endowment Fund
Citi
Empire State Local Development Corporation
Adam and Abigail Flatto
Marina Kellen French
Barbara and Andrew Gundlach
Anita K. Hersh Philanthropic Fund
Anna-Maria and Stephen Kellen Foundation, Inc.
Mr. and Mrs. Peter L. Malkin and The Malkin Fund, Inc.
Richard and Ronay Menschel
New York City Council and Council Member
Daniel R. Garodnick
New York City Department of Cultural Affairs
New York State Assemblymember Dan Quart and the New York State Assembly
Pershing Square Foundation
Susan and Elihu Rose
The Arthur Ross Foundation and J & AR Foundation
Joan Smilow and Joel Smilow*
Sanford L. Smith*
The Thompson Family Foundation
Wade F.B. Thompson*
The Zelnick/Belzberg Charitable Trust
Anonymous (3)
$500,000 to $999,999
Bloomberg Philanthropies
Lisa and Sanford B. Ehrenkranz
Almudena and Pablo Legorreta
Adam R. Rose and Peter R. McQuillan
Marvin and Donna K. Schwartz
Emanuel Stern
Anonymous
$250,000 to $499,999 American
Samhita
$100,000 to $249,999
The
R.
Linda
Mr.
The
$25,000 to $99,999
Abrams
Sarah Arison
Jody and John Arnhold
The Avenue Association
Melanie Bouvard and Matthew Bird
Jeanne-Marie Champagne
The Cowles Charitable Trust
Dalio Philanthropies
Cora and Luis Delgado
Andrew L. Farkas & Island Capital Group LLC
Lorraine Gallard and Richard H. Levy
Elizabeth Morse Genius Foundation
Barbara and Peter Georgescu
Howard Gilman Foundation
John R. and Kiendl Dauphinot Gordon
Mindy and Jon Gray Agnes Gund
Janet Halvorson
Robert and Monica Hanea
Anita K. Hersh*
Lawrence and Sharon Hite
The Keith Haring Foundation
The Marie-Josée and Henry R. Kravis Foundation
Fernand Lamesch
The Lehoczky Escobar Family
Christina and Alan MacDonald
Christine and Richard Mack
Marc Haas Foundation
Andrew Martin-Weber and Beejan Land
Lisa S. Miller and John N. Miller
New York State Council on the Arts
Rhodebeck Charitable Trust
Genie and Donald Rice
The Fan Fox & Leslie R. Samuels Foundation
Orville Schell
The Shubert Foundation
Sydney and Stanley S. Shuman
Amy and Jeffrey Silverman
Denise Littlefield Sobel TEFAF NY
Terra Foundation for American Art
Tishman Speyer
Jane Toll and Robert Toll*
Dance Reflections by Van Cleef & Arpels
Mary Wallach
Wescustogo Foundation
Anonymous (5)
$10,000 to $24,999
AECOM Tishman
Anne-Victoire Auriault / Goldman Sachs Gives
Gabrielle S Bacon Foundation
Harrison and Leslie Bains
Agnieszka and Witold Balaban
Amanda M. Burden
Tim Cameron
Susan and Jeff Campbell
Suzanne Hall and Valentino Carlotti
Con Edison
Cornelia T. Bailey Foundation
Jeanne Donovan Fisher
William F. Draper
Elliot Friman
Harkness Foundation for Dance
Claire King
Suzie and Bruce Kovner
Judy and Leonard Lauder
Leon Levy Foundation
James Marlas and Marie Nugent-Head Marlas
Danny and Audrey Meyer
Milton and Sally Avery Arts Foundation
Cynthia Woods Mitchell Fund of the National Trust for Historic Preservation
Stéphanie and Jesse Newhouse
Lily O’Boyle
O’Donnell-Green Music and Dance Foundation
Michael Peterson
Joan R. and Joel I. Picket
Kathryn Ploss
Katharine Rayner
Valerie Rubsamen and Cedomir Crnkovic
Fiona and Eric Rudin
Mrs. William H. Sandholm
Christine Schwarzman
Cynthia and Tom Sculco
Brian S. Snyder
Howard & Sarah D. Solomon Foundation
Barbara D. Tober Dabie Tsai
Michael Tuch Foundation
Susan Unterberg
Deborah C. van Eck
Saundra Whitney
Maria Wirth
Ku-Ling Yurman
Anonymous (4)
$5,000 to $9,999
Gina Argento
Page Ashley
Stephanie Bernheim
The Emma and Georgina Bloomberg Foundation
Nicholas Brawer
David Bruson
Mary and Brad Burnham
Cindy and Tim Carlson
Arthur and Linda Carter
Orla Coleman and Rikki Tahta
Judith-Ann Corrente
David L. Klein, Jr. Foundation
David Schwartz Foundation, Inc.
FX and Natasha de Mallmann
Jennie L. and Richard K. DeScherer
John H. Alschuler and Diana Diamond, Therme US
Anne and Joel Ehrenkranz
The Felicia Fund
Andrew and Theresa Fenster
Nicholas Firth and Sophie de Brignac
Ella M. Foshay and Michael B. Rothfeld
Jill and Michael J. Franco
Mary Ann Fribourg
Bart Friedman and Wendy A. Stein
Buzzy Geduld
The Georgetown Company
Barbara
Ji
Preserve New York, a grant program of Preservation League of New York
Janine and Steven Racanelli Richenthal Foundation
Laura and Gerald Rosberg
Ida and William Rosenthal Foundation
Marjorie P. Rosenthal
May and Samuel Rudin Family Foundation, Inc.
Jane Fearer Safer
Beatrice Santo Domingo
Susan S. Savkitsky
Philip Schmerbeck, Herzog & de Meuron USA
Sara
Samiah Zafar and Minhaj Patel
Anonymous (4)
$2,500 to $4,999
Allen Adler and Frances Beatty
Enrica and Fabrizio Arengi Bentivoglio
Arthur J. Gallagher & Co.
Kenneth Ashley
Ate Atema and Angela Sun
Bard College
Tony Bechara
Behrend
Jason Berger
Katherine and Marco Birch
Mr. and Mrs. Richard* Braddock
Barbara Brandt
Jordan and Blythe Brock Stacey Bronfman
Elaine and Dan Brownstein
Vineet Budhraja and Rebecca Bagdonas James C. Buresh
Michael Carlisle and Sally Peterson Lori and Alexandre Chemla
The Clarence Westbury Foundation
and Peri
Sana and
Clegg
Conklin and David Sabel Consulate General of the Federal Republic of
M. Disman
and David Domina
Drucker and Joseph Ortiz
and Rebecca Eisenberg Foundation
Deborah and Ronald Eisenberg Foundation
Max Ember
Dr. Nancy Eppler-Wolff and Mr. John Wolff
Dasha Epstein
Fiona Morgan Fein
Gwen and Austin Fragomen
Amandine Freidheim
Eleanor Friedman and Jonathan J. Cohen
Judith Garson and Steven Rappaport
Heather and Andrew Georges
Phillip Roland Gulley
Pascale and Brian Hainline
Henault and Michael Besset
Hyde Anuradha T. Jayanti Jeanne Kanders Adrienne Katz James and Stephanie Kearney
Kern
Jana and Gerold Klauer
Meghan and Adam Klopp
Kameron Kordestani
Douglas and Judith Ann Krupp
Lizbeth & George Krupp
Camille and Dennis LaBarre
Dominique Laffont
Sophie Laffont
Lane Associates HVAC
Harrison T. LeFrak
Michael Lonergan and William Beauchamp
Kim Lovejoy, EverGreene Architectural Arts
Diller Scofidio & Renfro
Jennifer Lum
Jeffrey and Tondra Lynford
Gina Giumarra MacArthur
Robert S. MacDonald
Arielle & Ian Madover
Nancy Maruyama
Bonnie Maslin
Mr. and Mrs. Matthew McLennan
Ryan McNaughton and Anastasia Antoniev
Constance and H. Roemer McPhee
Joyce F. Menschel
Virginia A. Millhiser
Saleem and Jane Muqaddam
Anthony Napoli and Gary Newman
New England Foundation for The Arts
Susan and Peter* Nitze
Gwendolyn Adams Norton and Peter Norton
Stephen Novick
Susan Numeroff
Ellen Oelsner
Kathleen O’Grady
Olsten
Dr. Catherine Orentreich/ Orentreich Family Foundation
Peter and Beverly Orthwein Gregory Ostling and Angela Tu
Ouimette and Lee Hirsch
Lori and Lee Parks
Sanjay and Leslie Patel
Dennis Paul
and Barbara Perlmutter Michéle and Steve Pesner
Richard and Rose Petrocelli
Marnie Pillsbury
Stan Ponte
Phyllis Posnick and Paul Cohen
Rajika and Anupam Puri
Jennifer Reardon
The Reed Foundation
Diana and Charles Revson
Dale Riedl and Adam Dworkin
Susan Rudin
Danielle Ryan
Kevin and Pascaline Ryan
Leslie Rylee
Wells
Susan and Charles Sawyers
Benjamin Schor & Isabel Wilkinson Schor
Nicholas and Shelley Schorsch
Victoria Schorsch
Lisa Schultz Shelley Sonenberg
Constance and Stephen Spahn
Squadron A Foundation
Michael and Marjorie Stern Leila Maw Straus Stella Strazdas and Henry Forrest
Alfred Taubman Foundation
Felicitas Thorne
Mr. and Mrs. David Tomasello
$1,000 to $2,499
Levin
Francine Levine
Linda Lindenbaum
Jane Lombard
Bill Luby
Bill and Jane Macan
The Divine Charlotte Match65
Joanie Martinez
Diane L. Max
Larry and Mary McCaffrey
Charles McDonald
Whitney and Andrew Mogavero
Julia Moody
David and Casey Moore Roseline Michael and Dennis Neveling
Stephanie Neville & Alan Beller
Nancy Newcomb and John Hargraves
Lynn Nottage and Tony Gerber
Laura Peck and Russell Bradley Snyder
Harlan Peltz
Marc Alexander Perruzzi
John and Marie-Noëlle Pierce
Candace Platt
Robert A Press MD
Prime Parking Systems
David and Leslie Puth
Constanza Quezada
Pierre-Antoine Raberin
Martin and Anna Rabinowitz
Milbrey Rennie and David Taylor
Joseph Risico
David Ritter
John and Lizzie Robertshaw
Richard and Elisa Rosen
Chuck and Stacy Rosenzweig Jaclyn and Dan Rottenstreich
Whitney Rouse
Julia and John Ryan
Will W. Sachse and Carolyn M. Hazard
John and Shelby Saer
Alexander and Sarah Saint-Amand
David and Elizabeth Saltzman
Andres and Lauren Santo Domingo
Herbert A Satzman
Paul H. Scarbrough, Akustiks, LLC. Benjamin and Louise Schliemann
Jonathan and Rachel Schmerin
Pat Schoenfeld
Halsey Schroeder
David and Whitney Schwartz
Laura Schwartz and Arthur Jussel
The Binkley-Sebring Fund
He Shen & Michelle Mao
Lauryn Siegel
Adrianne and William Silver
Esther Simon Charitable Trust
Albert Simons III
Brooke and William Sinclair
Ileene Smith and Howard Sobel
Charlotte and Doug Snyder
Andre Spears and Anne Rosen
Consuelo Pierrepont Spitler
Marianna and Angelos Stergiou
Michael Stewart
Bonnie and Tom Strauss
Robert W. Taft and J. Philip Moloney
Danielle Taubman
Juliet Taylor and James Walsh
Jennifer Tipton
Debra Valentine
Marisa and Robin van Bokhorst
Jennifer Von Post
Iva Vukina
Kay and Sandy Walker
Mindy White
Shelby White
Francis H. Williams and Keris A. Salmon
Eve Yohalem and Nicholas Polsky
Dan and Olivia Zacchei
Jillian Zrebiec
Anonymous
List as of October 11, 2024
* In memoriam
ABOUT THE VETERANS ROOM
“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 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. The 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 artists 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 Byrd 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 materials 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 $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, 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 Thopson 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, Emanuel Stern, Adam R. Flatto, Olivia Tournay 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).
(8)
