De Materie Program

WELCOME In just eight short years, Park Avenue Armory has reimaged itself as a home for unconventional works in the performing and visual arts that are not best realized in traditional theaters or museums. Since our first production in 2007, the Armory has opened its doors to artists, directors, and impresarios who have provided audiences with immersive performances and installations that could not happen elsewhere in New York and are still revered as major and unique happenings in the cultural life of New York City. One such event was Stifter’s Dinge, presented by Lincoln Center’s Great Performers series in association with Park Avenue Armory in 2009, and staged by the inspiring composer and director Heiner Goebbels. Inspired by the writings of the 19th-century Romantic author Adalbert Stifter, Goebbels’s extraordinary meditation on how to enter the unknown and the unfamiliar included five pianos as in-motion sculptural works with no performers, songs from Papua New Guinea, haunting projected imagery, and wind and mist to create a unique, fantastical environment. Enthralling both audiences and critics alike, this avant-garde spectacle was monumental in the growth of our organization and would become a hallmark of the work that takes place here.

We are delighted to welcome Heiner Goebbels back to the Armory to lend his imaginative vision to yet another iconic and important work, Louis Andriessen’s De Materie. As much a series of visions as a piece of musical theater, this highly-imaginative production utilizes our space to breathtaking effect with floating zepplins and a flock of sheep. This epic work reminds us all of the power of creativity and imagination, especially when manifested in a scale of epic proportions.

Rebecca Robertson President & Executive Producer, Park Avenue Armory

With a unique aesthetic built from a mix of Stravinsky, jazz, rock, and minimalism, Dutch composer Louis Andriessen is one of the boldest and most innovative composers of our time. I have commissioned, presented, or directed many of his groundbreaking works, including ROSA, a Horse Drama (1994), Writing to Vermeer (1999), and La Commedia (2008), as well as the upcoming Theater of the World this summer. But none have had the enduring impact of De Materie, which premiered in Amsterdam at the Dutch National Opera under my tenure in 1989.

I am thrilled that this monument to Dutch history has been given a new 21st century life by the visionary director Heiner Goebbels. His new interpretation gives space to the composition, allowing the sonic landscape to fully envelop the listener. Originally mounted at the former power plant the Jahrhunderthalle in Bochum, Germany, as part of the 2014 Ruhrtriennale, this expansive production can now make its long awaited North American stage premiere in one of the few spaces in the world where such a vast production could occur.

In addition to the distinguished creative team, I hope you will join me in welcoming to the Armory the marvelous singers, actors, dancers, chorus, and sheep, as well as the International Contemporary Ensemble (ICE) under the baton of maestro Peter Rundel. It is truly remarkable when artists of this caliber have the room to create epic works that know no limits. And to see one such work take shape in a room like the Wade Thompson Drill Hall is truly remarkable. I hope you find this extraordinary production as inspiring as I did.

Pierre Audi Artistic Director

park avenue armory presents

DE MATERIE North American Stage Premiere

Composer Conductor Director Stage and Lighting Designer Costume Designer Sound Designer Choreographer Dramaturg Scenography Collaboration Costumes Collaboration Dramaturgy Collaboration Assistant Director

Louis Andriessen Peter Rundel Heiner Goebbels Klaus Grünberg Florence von Gerkan Norbert Ommer Florian Bilbao Matthias Mohr Anne Kuhn Sayyora Muinova Stephan Buchberger Lisa Charlotte Friederich

Tuesday, March 22 at 7:30pm Thursday, March 24 at 7:30pm Friday, March 25 at 8:00pm Saturday, March 26 at 8:00pm Tuesday, March 29 at 7:30pm Wednesday, March 30 at 7:30pm Wade Thompson Drill Hall Running time: 1 hour and 50 minutes without intermission

By arrangement with Boosey & Hawkes, Inc., published and copyright owner This production had its world premiere at Ruhrtriennale – Festival of the Arts in August 2014.

A production of the Ruhrtriennale – Festival of the Arts.

Adapted by Park Avenue Armory.

SEASON SPONSORS

PRODUCTION SPONSOR

De Materie is made possible by the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature Support for Park Avenue Armory’s artistic season has been generously provided by The Andrew W. Mellon Foundation, The Harold and Mimi Steinberg Charitable Trust, the Fan Fox and Leslie R. Samuels Foundation, The Shubert Foundation, the Marc Haas Foundation, The Kaplan Brothers Foundation, the Juliet Lea Hillman Simonds Foundation, the Leon Levy Foundation, the May and Samuel Rudin Family Foundation, and the Isak and Rose Weinman Foundation

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COMPANY Pascal Charbonneau Gorlaeus Tenor Evgeniya Sotnikova Hadewijch Soprano Catherine Milliken Dancer, Madame Curie Voice Gauthier Dedieu, Niklas Taffner Boogie-Woogie Dancers

ChorWerk Ruhr Anja Scherg, Ulrike Hellermann Sopranos Luisa Kruppa, Johanna Krödel Altos Fabian Strotmann, Jörg Deutschewitz Tenors

Performance Ensemble Shay Bares, Ernesto Breton, Marissa Brown, Genna Carey, Rivkins Christopher, Jason Collins, Brandon Cournay, Joanna Futral, Sarah Haarmann, Kile Hotchkiss, Doug LeCours, Ainesh Madan, Jessica McCarthy, Nahum McLean, Natalie Powers, Alex Rodabaugh, Jen Roit, Leigh Schanfein, Amanda Treiber, Connor Voss

Performance Ensemble: Final Tableau

Christian Walter, Julian Popken Basses Albert Baker, Christopher Caines, Josh Christopher, Jason Collins, Brandon Cournay, Lawrence Dubin, John Foy, Andrew Hunt Gordon, James Hansen, Kile Hotchkiss, Honey Jernquist, Richard Paul Kline, Vadim Kroll, Andy Kuncl, Ryan Hugh McWilliams, Jess Prichard, Alexander Reed, Lance Rosenthal, Henning Rübsam, Alex Tissiere, Richard Topper, Connor Voss, Chandler James Waggoner

and 100 sheep from the Pennsylvania countryside

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International Contemporary Ensemble (ICE) Flute Claire Chase, Alice Teyssier, Brandon George

On Stage Percussion Levy Lorenzo, Bonnie Whiting

Oboe, English Horn Nick Masterson, Julia DeRosa, Nathan Mills, Christa Robinson

Synthesizer Blair McMillen, Conor Hanick

Clarinet Joshua Rubin, Katherine Schoepflin, Rane Moore, Benjamin Fingland, Wojtek Komsta Bass Clarinet, Saxophone Ken Thomson, Evan Ziporyn Bass Clarinet, Contrabass Clarinet Campbell MacDonald Alto Saxophone, Baritone Saxophone Ryan Muncy Tenor Saxophone Geoff Deibel, Erin Rogers Horn Michael P. Atkinson, Adam Krauthamer, Pat Pridemore, Rachel Drehmann Trumpet Peter Evans, Joseph Boga, Stephanie Richards, Matt Mead Trombone Michael Lormand, David Nelson, Nate Mayland Bass Trombone Max Seigel Tuba Dan Peck

Piano Jacob Greenberg, Ning Yu Upright Piano Conor Hanick Guitar Daniel Lippel, Travis Reuter Bass Guitar Greg Chudzik Violin Jennifer Curtis, Gabriela Diaz, Asmira Woodward-Page, Josh Modney Viola Kyle Armbrust, Wendy Richman Cello Kivie Cahn-Lipman, Katinka Kleijn Double Bass Tony Flynt Harp Nuiko Wadden Chorus repetiteur Jacob Greenberg Orchestra Manager Amirtha Kidambi

Percussion Ross Karre, Dustin Donahue, Russell Greenberg, Eric Derr, Ian Antonio

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OTHER HAPPENINGS IMPROVISATIONS: LOUIS ANDRIESSEN AND JASON MORAN Wednesday, March 23 at 8:00pm Artists Studio curator and pianist Jason Moran hosts Louis Andriessen for an artfully-curated evening spotlighting the jazz influences found in the production while exploring contemporary approaches to musical improvisation.

DE MATERIE: MATTER & SPIRIT Thursday, March 24 at 6:00pm WNYC personality John Schaefer engages director Heiner Goebbels, Columbia University Professor of Music George E. Lewis, and composer Missy Mazzoli in a conversation about the complexities of themes in De Materie.

FOUR DIFFERENT WAYS: CELEBRATING LOUIS ANDRIESSEN Friday, March 25 at 6:00pm Bang on a Can co-founder Julia Wolfe, composer Nathan Michel, and Princeton University Professor of Music Donnacha Dennehy join John Schaefer to discuss the wide-ranging impact composer Louis Andriessen has made on contemporary music.

ARTIST TALK Saturday, March 26 at 6:00pm Composer Louis Andriessen, director Heiner Goebbels, conductor Peter Rundel, and Park Avenue Armory Artistic Director Pierre Audi discuss the creation of the production with dramaturg Cori Ellison.

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SYNOPSIS Comparable to a four-movement symphony, De Materie (Matter) consists of four independent works each about twenty-five minutes long.

Each section deals with the way spirit relates to matter, and, with one exception, historical examples relating to Dutch culture.

Part 1

Part 3

After a hammering orchestral introduction the choir (eight solo singers) comes in with two pieces based on Plakkaat van Verlatinghe.

This is the official document of 1588 in which loyalty to the Spanish ruler was renounced and the United Dutch Republic was proclaimed.

The third part is about Mondrian and the artistic movement De Stijl.

The choir sings texts by the mathematician and theosophist M. H. J. Schoenmaekers about "the pure straight line". A dancer conjures up images of Mondrian, and reciting the text to the rhythm of a boogie-woogie, she relates how infatuated Mondrian was by dancing.

The choir continues with Schoenmaekers’ text.

There follows a detailed text about the Dutch ship-building industry, written by Nicolaes Witsen in 1690. The main protagonist in this movement is David van Goorle (1591–1612) – known as Gorlaeus – who was a Dutch scientist, and in the seventeenth century, one of the first early modern atomists. Accompanied by the choir singing ship-building texts, he explains that matter consists of infinitesimally small particles. Part one ends with the same hammer blows as in the beginning. The choir enumerates the ship-carpenter’s tools.

Part 2 This part consists of a long solo for soprano with orchestra. The piece begins with a long, slow orchestral introduction. After the highly strung quality of the text in the beginning, the movement gradually resolves into the slow, subdued conclusion. The text is the Seventh Vision of Hadewych, the 13th-century mystic poetess, and is a remarkable mixture of religious mysticism and eroticism: “The He approached close to me, took me completely in His arms, and pressed me to Him …”

Part 4 Stark chords announce the beginning of the fourth movement.

Slowly the music develops into a stately pavane. The choir comes in one more time with fragments from sonnets by the Dutch poet Willem Kloos: “Dream of beautiful death and eternal desire …”

Towards the end, the opening chords return. Polish-French scientist Madame Curie (1864–1934) appears. She reminisces a combination of her Nobel Prize-winning speech (1911) and fragments from a diary she kept after her husband Pierre died in 1906.

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ABOUT THE WORK Composed: 1985-1988 In the preface to his classic study Music in the Renaissance, musicologist Gustav Reese lamented the lack of “polyphony in prose” to clarify and reconcile the chronological development of an idea with its simultaneous diffusion. Some sort of literary counterpoint would certainly help in dealing with the intricately interlocking musical, thematic, and symbolic elements of a monumental and non-linear work such as De Materie. While the work could be considered a non-narrative opera in four acts or a dramatic symphony in four movements, De Materie is perhaps best thought of as four musical essays exploring the relationship between matter and spirit. “I wanted to show, in four different ways, how the mind, the person, deals with tangible surroundings,” Andriessen says.

In Biblical numerology, four relates to the earth and matter, as three signifies unity and perfection; both numbers figure importantly in De Materie. In 4/4 meter throughout, Part I is the most “four,” the most earthy and physical of the sections. This is immediately apparent in one of the most striking – literally – openings in any music: 144 repeated fortissimo chords that gradually accelerate to the vocal entrances. The small choir picks up the accelerated hammering with a 17th-century Dutch text on shipbuilding (by Nicolaas Witsen). “My musical metaphor for the eruption of intellectual, and also physical, violence was shipbuilding,” Andriessen says. He also looks at nation building with text drawn from the Dutch declaration of independence from Spain, the Plakkat van Verlatingen (Act of Abjuration) of 1581.

In marked contrast to this machine-like declamation, the tenor soloist offers a lyrical interpretation of passages from Idea Physicae, a book by the precocious Dutch physicist Gorlaeus (David van Goorle) that renewed ancient Greek atomic theory. As matter is built from atoms, a ship is built bit by small bit, and a democratic nation is built person by person. The music reflects this in its intervallic and rhythmic construction.

Not surprising, perhaps, for music supporting concepts of elemental construction, Part I of De Materie is based on Bach, specifically the proportions of the E-flat Prelude from Book I of The Well-Tempered Clavier. Andriessen thinks of this prelude as a combination of a toccata (more hammering) and a ricercare (contrapuntal searching).

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Those 144 chords equal the number of beats in the toccata section of the prelude, and are also numerologically significant: (3 x 4)2.

The ricercare section is reflected when the choir takes up the Act of Abjuration text. According to his analysis of the prelude, Bach used a variation of the ancient tune “L’homme armé,” beloved of late Medieval and Renaissance composers, so Andriessen also uses that – further altered – as counterpoint in the orchestra.

If De Materie were a symphony, Hadewijch (Part II) would be its slow movement, a rapt, expansive, linearly yearning arioso treatment of a poetic vision by the 13th-century mystic (in the original, archaic Dutch). Hadewijch was a Beguine, a woman who lived a devotional life of service and contemplation, but without formal religious vows.

She was a prolific writer of poems and letters, including a volume of ecstatic visions in which spiritual union with God or Christ is expressed in very earthy, physical terms. “The seventh vision, which I have set in its entirety to music, is an account of a development from physicality to spirituality by way of a few meetings which very much resemble erotic encounters,” Andriessen says.

And if Part I is “four” music, Part II is “three”: 3/4 meter, mostly subdivided into triplets, and the harmonies are chords of three, six, and nine notes. Bach appears again, through the famous BACH motif (B-flat, A, C, B-natural), which is also a musical symbol for the cross; this is also intensely contrapuntal music.

But where Part I was built over a musical plan, Hadewijch is modeled on an actual structure. “The composition is organized to mirror the architectural plan of the cathedral of Reims in France,” Andriessen writes. “The intervals of time between the chords of the pianos, tuned percussion, and guitars, which ring through the canvas at set points, have the same proportional relationship as the distance in space between the cathedral’s pillars.”

Part III, De Stijl, would be the scherzo of this hyper-symphony. It was the first section of De Materie to be composed, for the combination of Andriessen’s Volharding and Hoketus ensembles at the 1985 Kaalslag (Demolition) festival. It was also Andriessen’s first musical project after his book on Stravinsky, The Apollonian Clockwork (written with Elmer Schönberger), and it reveals much of Stravinsky’s objectivism and preference for wind instruments.

Also known as neoplasticism, De Stijl (The Style) was a Dutch artistic movement that flourished between World Wars I and II; it was also the title of a journal devoted to the movement. Primary colors or monochrome black and white, straight lines and rectangular planes and areas, avoidance of symmetry, and balance and rhythm enhanced by relationships of proportion and location were important elements of “The Style.” Andriessen wrote the following note in July 1985: “De Stijl is a musical image of Piet Mondrian’s ‘Composition with Red, Yellow, and Blue’ from 1927, but exclusively on a conceptual basis. Just like in a painting, five colors are confronted with each other in this work: the four sopranos and the trumpets, the five saxes, the trombones and guitars, the piano solo, and the lower instruments.

The low instruments play a disco-like theme of 24 measures, structurally related to the boogie-woogie that Mondrian loved so much.

Mondrian himself plays the piano solo, escorted by a dancer. After all, Mondrian still took dancing lessons when he was 70 years old. He danced erect, with his head slanted upwards taking ‘stylized’ steps.

In the work there are many references to dance music, and not only from Mondrian’s time. Although the style is adapted to the musicians of Kaalslag, it definitely does not intend to fall for a ‘lighter’ way of composing music. Much as Mondrian recognized the progressive quality of the American jazz bands (he used to express this in French ‘chasse-bande’), he also wrote an extensive letter about Neo-Plasticism to Nelly van Desburg (July 17, 1921): ‘I don’t think dance music may yet be counted as serious music.’ The text sung in the work is a fragment from Schoenmaeker’s Beginselen der Beeldende Wiskunde (Principles of Visual Mathematics). This chapter about absoluteness of the first order has in my opinion been of a decisive influence on Mondrian’s development towards abstract painting. In any case, Schoenmaeker’s way of thinking and writing has directly influenced Mondrian’s articles for De Stijl.”

De Stijl picks up where Hadewijch left off; literally, in terms of pitches. It is also a wild mingling of “three” and “four” elements and symbols. Bach, of course, also turns up, referenced in the ostinato basses (also characteristic of boogie-woogie) and the BACH motif.

(The cross was an important symbol for Mondrian, as a “T” shape of two perpendicular lines, and in staged performances Andriessen asks for the female speaker to make a “T” with her arms, reflected above the audience by mirrors and a laser.)

The climax of De Stijl recalls harmonies from Hadewijch, which also link it to Part IV. Andriessen’s original concept for the final section of De Materie was an examination of music itself. But the director Robert Wilson, who would stage the premiere of the complete De Materie for Netherlands Opera in 1989 (conducted by Reinbert de Leeuw), suggested using texts by the great scientist Marie Curie. That would be the only explicit non-Dutch text, but Andriessen accepted the idea and paired excerpts from Curie’s Nobel Prize acceptance speech, and from the diary she kept after her husband Pierre died, with lines from two sonnets by the Dutch Symbolist poet Willem Kloos. This connected the themes of matter and spirit in a rumination on love and death, the final separation of spirit and matter.

The music is timeless in the suspended, floating sense, slowly oscillating and pealing like a more massive manifestation of Arvo Pärt’s tintinnabulation. It does quicken, playing with musical expressions of time, but after the mostly unison choral voices evaporate with the Kloos lines (“United with you, journeying with you to eternity”), the speaker picks up Curie’s thoughts in a sort of sonic and emotional limbo. As the previous sections made reference to earlier music and styles, Part IV alludes to the stately 16th-century pavane through quotation of a solo piano Pavane that Andriessen’s father Hendrik had composed in 1927 to be choreographed by his oldest daughter. (When asked about why/how he became a composer, Louis Andriessen has said that he simply entered the family business.)

“The large measure of formalism which forms the basis of De Materie does not in itself offer any guarantee that the work will be beautiful,” Andriessen says. “I don’t want to say ‘on the contrary’ because that isn’t true either. I believe that, in art, there is a need for some sort of organization; organization is, in fact, the friend of chaos and chaos is an essential characteristic of art. A work like De Materie in particular is put together quite strictly and yet it often sounds as though it has been hurled onto the canvas in a joyous, Karel Appel-ish sort of way.

[Christiaan Karel Appel (1921-2006) was a Dutch avant-garde painter and sculptor.] Appel did, of course, take a quick look to see where the mess would land before he allegedly threw the paint on the canvas.

There was no question of his ‘just making a mess’.”

– John Henken Courtesy of the Los Angeles Philharmonic © 2014

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DIRECTOR’S NOTE Science still debates if matter actually exists, but the opera by Louis Andriessen with the same title De Materie (The Matter) certainly does - thank God! This composer inspired me with his music as early as the 1970s: with its power, its reduction to the essential, with his political attitude, as well as his closeness to theater. And the biggest compliment that I, dear Louis, can give you: “You’ve composed many pieces I wish I had composed!” One such piece is this opera that, after its premiere in 1989 under the direction of Robert Wilson, was never brought back to the stage. Not just because the requirements on the voices and the orchestra are not easily compatible with the opera apparatus, but because it is not what we generally associate with and expect from an opera. Andriessen himself says: “This piece really has nothing to do with an opera. There might be a soprano and a tenor, but the soprano is not in love with the tenor and there’s no baritone who finds that boring.”

Photograph of the Solvay Conference in 1911 at the Hotel Metropole, a turning point in the world of physics that focused on raditation and quanta. Seated (L-R): W. Nernst, M. Brillouin, E. Solvay, H. Lorentz, E. Warburg, J. Perrin, W. Wien, M. Skłodowska-Curie, and H. Poincaré. Standing (L-R): R. Goldschmidt, M. Planck, H. Rubens, A. Sommerfeld,

This large scale musical-philosophical-theater work appears as a Copernican turning point in the history of opera, because not everything evolves around the human being at the center. Instead – and this is what makes this piece so modern and urgent – it can sensitize us towards the other powers of nature which we do not govern.

By putting the relationship between spirit and matter instead of the human being on stage, it confronts us with forces bigger than us.

That is why the Armory is the right place to show such a piece.

Starting in the first act with a ship construction and the effort to rule the seas – which we still fail at today – until the discovery of radioactivity in the last act, it is an opera which tells a story of emancipation and discovery but at the same time also shows limits of an idea of total feasibility.

And even if the title De Materie sounds stable, as if carved into stone, and the first chords do ring out like that, (144 times!), most of all this is a music theater work about the unpredictability and instability of the world that precedes all catastrophes, but precedes all progress as well.

F. Lindemann, M. de Broglie, M. Knudsen, F. Hasenöhrl, G. Hostelet, E. Herzen, J.H. Jeans, E. Rutherford, H. Kamerlingh Onnes, A. Einstein and P. Langevin.

Louis Andriessen makes this excitingly possible to fully experience, transforming it into musical states in which this feigned stability quickly dissolves. And it is by no means an opera without conflict and feeling; in fact it is the opposite. The difference is that these feelings aren’t illustrated or represented, but are provoked in the audience. Here, music isn’t emotion in itself, but rather architecture; it builds a room for our experience and imagination, a room in which we can meet the themes of opera and are challenged to think about them ourselves.

When we, the stage and lighting designer Klaus Grünberg and myself, first started thinking about this work, we didn’t have much more than two or three ideas that we wanted to pursue: he was interested in a huge double pendulum and I in sheep. Why? Back then we didn’t discuss this much, but it was rather an intuition; probably because both of them react unpredictably: when the double pendulum reaches the top, we don’t know if it will fall to the left or right, and neither do we know what the sheep will do – which one of the sheep will make the decision and why.

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Later we found the answer with the quantum physicist Hans Peter Dürr. In fact, in a text about matter he uses the double pendulum as an example. And he calls the moment in which the pendulum is all the way at the top the “point of highest sensitivity … At this point our pendulum feels what happens in the entire world…here the pendulum is ‘alive’ – for the pendulum the instability is the requirement for any evolution.” And what that means Dürr explains in a beautifully simple way: “If all of us humans had three legs we wouldn’t fall down any more. Then we’d actually be stable. But we also wouldn’t be able to move forward any more” That’s why he wishes for “the principle of instability to stabilize”!

This is actually a good metaphor for the arts as well. Because many art institutions stand on three legs or even on five. They are too stable to be suitable as a laboratory for theater or music theater of the future. Art is not satisfied with how the world is; in its essence it’s utopian. It can even be beautiful, because we already know that the world is not.

And I still remember the first rehearsal three years ago very well: a shepherd brought a herd of sheep for the very first time into the hall – we were entirely excited – and the shepherd said he’d go off to eat something first. I wanted to call after him, asking him how the sheep might react to contemporary music, but he was already gone and we were alone with the flock. And we looked at them. And then we had the most beautiful two hours of rehearsal I’ve ever had in my career as a theater-maker. Theater as experience.

So beware of prejudice, because sheep are by no means stupid but very smart. After I analyzed the pitch of their bleating with which they reacted to the music by Louis Andriessen, I suspect they might even be musical….

– Heiner Goebbels, February 2016 Translated by Tessa Keimes

Therefore art, and theater too, should not imitate reality nor represent it, but it should insist on the difference to empirical reality: on this “point of highest sensitivity.”

Nevertheless, our visual solutions for this piece – tents in the first act, benches in the second, the pendulum in the third, and the sheep in the fourth act – aren’t symbols for something that needs to be deciphered or understood. They all are what they are: tents, benches, pendulum, and sheep – and zeppelins. But what you feel or imagine about them – that is your business alone.

Just don’t underestimate the sheep. The BBC reported about an extraordinary feat of intelligence by a herd of sheep in England: the animals overcame a three-meter-wide cattle guard, usually a safe barrier for cattle, by simply sliding across it on their backs – basically barrier-breaking. “If stupid means the inability of learning from your experiences,” said Juan Villalba, a prominent zoologist at Utah State University, “then sheep are by no means stupid.”

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The Time and Space to Think: De Materie Education Program As with all of the Armory’s artistic programs, there will be a matinee performance of De Materie offered free of charge exclusively to an audience of middle and high school students from New York City public schools. All students who attend the matinee participate in teaching artist-led workshops in their school both before and after the show.

At the core of the Armory’s education program is the notion that each person has within him or her self all the skills needed in order to experience a work of art. So then each person’s experience is valid no matter what feelings or reactions are evoked. This core idea of nurturing students’ intuitive responses so that they trust their aesthetic judgment was central in the pre-visit workshop students participated in before attending De Materie.

In planning the preshow workshop, teaching artists strove to capture the essence of Goebbels’s work as director of this piece: conceiving of visuals and staging inspired by personal reactions to Andriessen’s music. Taking on this role as director, students were introduced to the style, art forms, and creative process of this production of De Materie. To speak of the style, teaching artists drew a connection between the piece and the circumstances of a dream: it’s abstract, you can’t control it, it doesn’t always make sense, time seems to move differently, and a linear progression isn’t necessarily discernable.

Considering the work as a symphony in four parts and a gallery with four pictures, teaching artists led students through the process of listening to the four movements of the piece and creating visuals – evolving stage pictures – based on their intuitive reaction to the music. Starting with an unfinished framing mat as their “stage,” students shaped these stage pictures by adding color (in the form of fabric swatches, textured paper, lighting gels), “uncontrollable objects” (spinning tops, an hourglass, animal figurines), and words (generated by the students on strips of paper in response to how the music made them feel). In this, the students would approach the experience of the De Materie student matinee having already had the opportunity to “direct” a work of visualized music themselves.

Building from the foundation of that experience, students from one of the Armory’s partner schools had the opportunity to meet Heiner Goebbels to discuss his vision for De Materie at the Armory.

This access to the creative processes of world-class artists is an extraordinary learning opportunity and is a hallmark of the Armory’s education program.

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If they were directors in the pre-show workshop, it may be said that students became dreamers – philosophers even – in the post-show workshop. After discussing their observations of and reactions to De Materie, students reflected on the relationship between matter and spirit as well as the visualization of things beyond a human’s control. Musing on their own ideas and connections to subjects present in the piece such as independence, spirituality, art, love, and science, students turned their philosophies into artistic creations.

As is typical in the education program’s approach, students created their responses in several different art forms including theater, dance, and poetry: some created a series of tableaus as physicalizations of their interpretations of the work, other choreographed short movement sequences that captured their desire to control some of the uncontrollable forces they perceive, while others approached the task by using the images Goebbels created in De Materie as inspiration for original poetry. Regardless of what form their responses took, each workshop included a “performance” of the work that students created.

In all of this, the hope is that the De Materie education program echoed the “space” in Andriessen’s composition and the pace of Goebbels’s stage images to give students an opportunity that is rarely available to them: the time and space to think. As a student in a New York City public school, space is a precious commodity. As consumers of modern TV, film, and internet media, students are bombarded by ever-shifting visuals, so the time spent with each of Goebbels’s stage images, sometimes with just one picture evolving over the course of an entire movement of music, is a stark but perhaps welcome contrast.

The experience of De Materie – for its gifts of time, space, and freedom to think – is not one the students will soon forget.

To learn more about the Armory’s arts education program, visit armoryonpark.org/education.

ABOUT THE ARTISTS Louis Andriessen (Composer) is widely regarded as the leading composer working in the Netherlands today and is a central figure in the international new music scene.

From a background of jazz and avant-garde composition, Andriessen has evolved a style employing elemental harmonic, melodic, and rhythmic materials, heard in totally distinctive instrumentation. His acknowledged admiration for Stravinsky is illustrated by a parallel vigor, clarity of expression, and acute ear for color. The range of Andriessen’s inspiration is wide, from the music of Charles Ives in Anachronie I, the art of Mondriaan in De Stijl, and medieval poetic visions in Hadewijch, to writings on shipbuilding and atomic theory in De Materie (Part I). He has tackled complex creative issues, exploring the relation between music and politics in De Staat, the nature of time and velocity in De Tijd and De Snelheid, and questions of mortality in Trilogy of the Last Day. Andriessen’s compositions have attracted many leading exponents of contemporary music, including the two Dutch groups named after his works De Volharding and Hoketus, as well as Asko|Schoenberg, the San Francisco Symphony, Los Angeles Philharmonic, BBC Symphony Orchestra, Kronos Quartet, London Sinfonietta, Ensemble Modern, MusikFabrik, Icebreaker, and the Bang on a Can All Stars.

Collaborative works with other artists include a series of dance projects and three works created with Peter Greenaway: the film M is for Man, Music, Mozart, and the stage works ROSA Death of a Composer and Writing to Vermeer, which premiered at the Netherlands Opera in 1994 and 1999 respectively. Collaborations with film maker Hal Hartley have included The New Math(s) in 2000 and La Commedia, an operatic setting of Dante for Netherlands Opera which premiered at the Holland Festival in 2008. Nonesuch Records has released a series of recordings of Andriessen’s major works, including the complete De Materie, ROSA Death of a Composer, and Writing to Vermeer.

Commissions since 2010 include the music theater piece Anaïs Nin for singer Cristina Zavalloni and 8 musicians, La Girò for violinist Monica Germino and large ensemble, Mysteriën by the Royal Concertgebouw Orchestra conducted by Mariss Jansons, and Tapdance for percussion and large ensemble with Colin Currie in

the ZaterdagMatinee series in Amsterdam. His new opera Theatre of the World receives first performances in Los Angeles and Amsterdam in 2016.

Louis Andriessen held the Richard and Barbara Debs Composer’s Chair at Carnegie Hall and was awarded the Composer of the Year Award by Musical America in 2010. He won the 2011 Grawemeyer Award for Music Composition for his opera La Commedia, which was released on CD and DVD by Nonesuch in 2014. His work is published by Boosey & Hawkes.

Peter Rundel (Conductor) is one of the most sought-after partners for leading European orchestras. He is regularly invited to guest conduct the Bavarian Radio Orchestra, DSO and RSO Berlin, RSO Stuttgart, WDR Symphony Orchestra Cologne, as well as the radio orchestras of Hamburg, SWR Baden-Baden, Frankfurt, Saarland, the ORF Vienna and the Orchestra Nazionale della RAI Torino.

Rundel has conducted the world premieres of opera productions at the Bavarian State Opera, Wiener Festwochen, Deutsche Oper Berlin, Bregenz Festival, and Schwetzinger SWR Festspiele, collaborating with such widely respected directors as Peter Konwitschny, Peter Mussbach, Philippe Arlaud, Heiner Goebbels, Reinhild Hoffmann, Carlus Padrissa (La Fura dels Baus), and Willy Decker. His work in opera includes traditional repertoire including Die Zauberflöte at the Deutsche Oper Berlin and König Kandaules, Hansel and Gretel, and The Marriage of Figaro at the Volksoper Vienna, as well as groundbreaking contemporary music theater productions such as Stockhausen’s Donnerstag from LICHT, Massacre

by Wolfgang Mitterer, Andriessen’s De Materie at the Ruhrtriennale, and the world premieres of Georg Friedrich Haas‘s Nacht, Isabel Mundry’s Ein Atemzug – die Odyssee, and Emmanuel Nunes’s operas Das Märchen and La Douce. The spectacular production of Prometheus, which he conducted at the Ruhrtriennale, was awarded the Carl-Orff-Preis in 2013.

Rundel studied violin and was a violinist from 1984 until 1996 in Ensemble Modern, to which he remains closely affiliated as a conductor. In the contemporary music world, he has enjoyed long associations with Ensemble Recherche, the Asko|Schönberg Ensemble, and Klangforum Wien. He is also a regular guest with Ensemble intercontemporain and Ensemble musikFabrik.

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Peter Rundel has been awarded many prizes for his recordings of 20th-century music, including the prestigious Preis der deutschen Schallplattenkritik (Nono, Prometeo; Kyburz, Ensemble- und Orchesterwerke; Reich, City Life; Furrer, Piano Concerto), the Grand Prix du Disque (Barraqué, complete work), the Echo Klassik (Sprechgesänge with the Ensemble Musikfabrik) and is a Grammy Award nominee (Heiner Goebbels, Surrogate Cities).

ECM Records has released recordings of many of his compositions.

Routledge recently published the anthology Aesthetics of Absence: Texts on Theatre in 2015.

Klaus Grünberg (Stage and Lighting Designer) was born in Hamburg and studied set design with Erich Wonder in Vienna. He works as a freelance set and lighting designer at theaters and opera houses throughout Europe, and in Buenos Aires and Kuwait.

Heiner Goebbels (Director) is a German composer and director that lives in Frankfurt/Main. Born in 1952, he graduated with degrees in sociology and music. As a composer, he creates music theater works, staged concerts, radio works, and compositions for small ensemble and for big orchestras, collaborating with the finest ensembles, orchestras, and conductors.

Since the beginning of the 1990s, Goebbels has composed and directed unique and celebrated music theater works, which have been presented at the most important festivals around the world.

Many of those have made their way to audiences in New York City over the years. After concerts with his art-rock band Cassiber at The Kitchen 1988, his first New York production was The Man in the Elevator at the BAM Next Wave Festival 1989, and was followed by several productions at Lincoln Center Festival: Black on White in 2001, Eislermaterial in 2003, Eraritjaritjaka in 2006, and his celebrated production of Harry Partch’s Delusion of the Fury in 2015.

Sir Simon Rattle presented some of Goebbel‘s orchestral work with the Berliner Philharmoniker at Carnegie Hall in 2003. Stifters Dinge was presented at Park Avenue Armory in association with Lincoln Center as part of their 2009-2010 Great Performers season, Songs of Wars I Have Seen was performed by the London Sinfonietta and the Orchestra of the Age of Enlightenment in its New York premiere at the 2011 Tully Scope Festival, and I went to the house but did not enter was performed by the Hilliard Ensemble as a part of the White Light Festival in 2012.

Goebbels has created installative works for the Centre Pompidou Paris, Museé d’Art Contemporain Lyon, Mathildenhöhe Darmstadt, Documenta Kassel, and recently for the Albertinum in Dresden.

He is a Professor at the Institute for Applied Theatre Studies of the Justus Liebig University in Giessen and President of the Theatre Academy Hessen. He has received numerous international awards, among them two Grammy Award nominations, the International Ibsen Award 2012, and an honorary doctorate by Birmingham City University. He served as the Artistic Director of the Ruhrtriennale – International Festival of the Arts from 2012-2014, during which time he also directed the rarely staged Europeras 1&2 by John Cage.

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He has worked on various productions with director Tatjana Gürbaca for opera houses in Berlin, Düsseldorf, Antwerp, and Zürich. He has designed many plays and operas with director Barrie Kosky at Komische Oper Berlin and other venues. And in addition to Andriessen’s De Materie, he has developed music theater pieces with Heiner Goebbels which are shown around the world, which recently include John Cage’s Europeras 1 & 2, and Partch’s Delusion of the Fury.

Grünberg opened MOMOLMA (Museum of More or Less Modern Art) in 1999. He was nominated for the German theater prize Der Faust in 2011, and for the International Opera Award in 2015.

Florence von Gerkan (Costume Designer) was born in Hamburg and studied costume design at the University of Arts in Berlin. She has created costumes for many opera productions around the world, including Alcina, Le Nozze di Figaro, Don Giovanni, Cosi fan tutte, Haydn’s Lànima del Filosofo, Schubert’s Alfonso und Estrella, La traviata, The Abduction of the Seraglio, Wozzeck, Fidelio, King Roger, Dido and Aeneas, La Perichole, and Handel’s Il trionfo del tempo e del desinganno, the world premiere of Friedrich Cerha and Peter Turini’s Der Riese vom Steinfeld at the Wiener Staatsoper, the world premiere of Cesare Lievi‘s Schlafes Bruder at the Zürich Opera, the world premiere of Philippe Hersant’s Der schwarze Mönch at the Leipzig Opera, and the world premiere of Sarah Nemtsov’s Làbsence during the Munich Biennale.

She has worked with director Jürgen Flimm and stage designer Erich Wonder on productions of Tschechow’s Onkel Wanja, Ibsen’s Wildent, and Wagner’s Der Ring des Nibelungen. She has had a longstanding relationshop developing productions with Heiner Goebbels and Klaus Grünberg for Ensemble Modern and Hilliard Ensemble, including the world premieres of Hashirigaki and Canetti at the Théatre Vidy Lausanne, Landscapes with Distant Relatives at the Grand Théatre Genève, Eraritjaritjaka, and I went to the house but did not enter.

During the Ruhrtriennale 2012-2014, she also worked with Goebbels on productions of John Cage`s Europeras I & II, Harry Parch`s Delusion of the Fury, and Louis Andriessen`s De Materie.

She is currently working with Jürgen Flimm on Louis Andriessen‘s Theater of the World, which premieres at the Staatsoper Berlin in 2016, with performances to follow at the Walt Disney Concert Hall in Los Angeles and at the Ducth National Opera with Pierre Audi.

Norbert Ommer (Sound Designer) studied piano and clarinet in Cologne followed by studies of music and telecommunication engineering at the Robert Schumann Hochschule in Düsseldorf, where he graduated as an image and sound engineer.

Starting in 1990 to the present, Ommer has been a regular collaborator with the Ensemble Modern as director of sound. He also works with the WDF (West Deutscher Rundfunk) Big Band and the HR (Hessischer Rundfunk) Big Band and Symphony Orchestra.

Ommer became known internationally for his work as sound designer and director of sound for world premieres of pieces by Frank Zappa (The Yellow Shark, Greggory Peccary and Other Persuasions), Heiner Goebbels (Surrogate Cities, Schwarz auf Weiss, Industry and Idleness, Eislermaterial, Walden, Landschaft mit entfernten Verwandten), Steve Reich (Proverb, City Life, Three Tales, You Are, The Cave), Michael Brecker (Some Skunk Fun), Patti Austin (Avant Gershwin), Joe Zawinul (Brown Street), Michael Gordon (Decasia, Shelter), Ryuichi Sakamoto and Carsten Nicolai (Utp), and Helmut Lachenmann and Robert Wilson (Das Mädchen mit den Schwefelhölzern).

In November 2002 Ommer was received the first Golden Bobby award by the VDT (Verband Deutscher Tonmeister) for outstanding accomplishments in sound design and sound direction. In October 2004 he received the Echo Klassik award together with the Ensemble Modern.

Florian Bilbao (Choreographer) was born in 1979 in Libourne, France, and studied contemporary dance in Montpellier and Angers (Centre National de danse contemporaine). He has lived and worked in Berlin since 2002, where he founded the company A+B Tanzbau with Mercedes Appugliese.

He has worked with Xavier Le Roy, Felix Ruckert, Dieter Heitkamp, Rubato, Tino Sehgal, Sommer Ulrickson, Christoph Winkler, and Nir de Volff . Since 2007 he was responsible for the choreographic adaptation for City Maquette created by Mathilde Monnier and the Berliner Philharmoniker with music be Heiner Goebbels, which has been recreated in in Paris, Reims, Montpellier, and Lille (France); Woking (UK), and Guimaraes (Portugal).

Together with Livia Patrizi Bilbao founded the young company of the education project TanzZeit with whom he choregraphed the piece Brief an LF, co-produced by Radialsystem, Berlin and Theater Massalia, Marseille. His piece Love, Death & Rock’n’ Roll has been part of the repertoire of the Ilkhom Company in Tashkent (Uzbekistan). He has worked as choreographer on projects with Heiner Goebbels since 2012.

Matthias Mohr (Dramaturg) studied at the Institute of Applied Drama at the Justus Liebig University. His works move between music, sound art, installation and performing arts, as well as composing music for the stage and sound designs for numerous theater productions and installations. He has collaborated with Heiner Goebbels on Stifter’s Dinge, Industry and Idleness, the sound and video Installation Genko-On 64287, Europeras 1 & 2, and as a dramaturg for When the Mountain changed its clothing and Delusion of the Fury.

Pascal Charbonneau (Gorlaeus, Tenor) studied at McGill University

In early 2003, Ommer began working with the Berliner Philharmoniker under the direction of Sir Simon Rattle, a collaboration that continues today. He also is a lecturer for sound directing at the International Ensemble Modern Academy and Hochschule für Musik und Darstellende Kunst in Frankfurt am Main and leads conducting seminars for sound design in Tokyo for Tokyo Wonder Site and in Schwaz/Innsbruck for Klangspuren.

Ommer has worked with numerous international festivals, including Wien Modern, Frankfurt Feste, Festival d’ Automne, Ars Musica Brüssel, Holland Festival, Salzburger Festspiele, BBC Proms, Donaueschinger Musiktage, Montreal Jazz Festival, Edinburgh International Festival, Lincoln Center Festival, North Sea Jazz Festival Amsterdam, and the Adelaide Festival.

and the Atelier Lyrique de l’Opéra de Montréal, and was awarded the Oratorio/Lied prize at the Julian Gayarre International Singing Competition.

Recent and future engagements include Tamino in Die Zauberflote (Opéra de Quebec)‚ Castor in Castor et Pollux (Dijon, Lille)‚ David in David et Jonathas (Aix-en-Provence‚ Edinburgh Festival‚ Opéra Comique‚ Brooklyn Academy of Music, Caen)‚ Aljeja in From the House of the Dead (Royal Opera House, Opera National du Rhin, Théâtre de la Monnaie)‚ Jack in Into the Woods (Châtelet)‚ Brighella in Ariadne auf Naxos (Nationale Reisopera)‚ Tobias in Sweeney Todd (Vancouver Opera, Munich, Châtelet), and Prince Saphir in BarbeBleue (Opéra National de Lorraine).

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Further appearances include Acis in Acis and Galatea (La Fenice and Aix)‚ Paolino in Il matrimonio segreto (Rennes‚ Art in Knight Crew (Glyndebourne)‚ Jaquino in Fidelio and Flute in A Midsummer Night’s Dream (Garsington)‚ Ziggy in Starmania‚ Beppe in I Pagliacci‚ and Brighella in Ariadne auf Naxos (Opéra de Montréal), Medoro in Orlando Paladino and Freddy in My Fair Lady (Châtelet)‚ and Janácek’s The Diary of One Who Vanished (Aspen Music Festival).

Notable concerts include Le Jardin des Voix (Les Arts Florissants‚ Händel’s Joshua (Calgary Festival Chorus)‚ Bach’s Magnificat and Mozart’s Mass in C Minor (Notre Dame Cathedral‚ l’Orchestre de Chambre de Paris)‚ Handel’s Messiah and Mozart’s Requiem (Orchestre Symphonique de Montréal)‚ Bach’s St. John Passion (Washington National Cathedral)‚ Bach’s B Minor Mass (Tafelmusik), and Bach’s Christmas Oratorio (Toronto Bach Consort).

Evgeniya Sotnikova (Hadewijch, Soprano) graduated from the Rimsky-Korsakov State Conservatory in St. Petersburg in 2008, and in the same year, made her debut at Tatyana in Tchaikovsky’s Eugene Onegin at the Kolobov Novaya Opera Theatre in Moscow.

Sotnikova was a member of the Opera Studio at the Bayerische Staatsoper in 2009-2010. Since then, she has made appearances as part of the ensemble including First Nymph in Rusalka, Taumännchen in Hänsel und Gretel, Barbarina in Le Nozze di Figaro, Jano in Jenufa, Anna in Nabucco, La Bergère/Le Rossignol in L’Enfant et les sortileges, and Blumenmädchen in Parsifal.

Other notable engagements include her UK debut where she sang First Nymph in Rusalka during the 2012 Glyndebourne Tour, Ilia in a new production of Idomeneo and Leila in a concert performance of Les Pecheurs de Perles (Stadttheater Klagenfurt), Jemmy in Guillaume Tell (Munich Opera Festival), the title role in Rimsky-Korsakov’s The Snow Maiden (Estonian National Opera), and in Stravinsky’s Les noces (Zurich Tonhalle, Accadmia Nationale di Santa Cecilia). In 2016 she will make debut in Opera Malmö as Countess in Le Nozze di Figaro and returns to Bayerische Staatsoper as Jemmy in 2017.

She has worked with such conductors as Vladimir Fedoseyev, Kirill Petrenko, Peter Rundel, Sergey Skripka, Kent Nagano, Thomas Hengelbrock, Asher Fisch, Paolo Carignani, Constantinos Carydis, Karel Mark Chichon, Teodor Currentzis, Dan Ettinger, Stefan Soltesz, and with stage directors including Árpád Schilling, Antú Romero Nunes, Martin Kušej, and Heiner Goebbels.

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Catherine Milliken (Dancer, Madame Curie Voice) studied music in Australia and Germany, majoring in performance (piano and oboe).

Later, as a founding member of the renowned group Ensemble Modern, she worked with leading composers and conductors of this century including Heiner Goebbels, Peter Eötvös, Elena Kats, Frank Zappa, György Ligeti, and Karlheinz Stockhausen.

Since 1990, she has composed for theater, opera, radio, film, and installations and has been commissioned by the South Bank Centre London, the Berliner Saatsoper, Staatstheatre in Darmstadt, the ZKM (Centre for New Media) Karlsruhe, the CCMIX(enakis) Centre in Paris, as well as Bavarian Radio Orchestra, Ensemble Resonanz, Iceland Symphony Orchestra, and other international contemporary music festivals such as Tectonics Festival. Awards include the Prix Marulic and Prix Italia for composition.

She is a sought after performer and improvisor using voice, oboe, and electronics. Her other passion involves collaborative social art which is the subject of her present doctoral study. As director of the Education Program of the Berliner Philharmoniker from 2005 to 2012, she was engaged in many creative participatory contexts and is internationally recognized as a leading creative director and composer. She is currently part of the creative team for the Munich Biennale for Music Theatre in 2016.

ChorWerk Ruhr, founded in 1999, is a professional and highly flexible vocal ensemble with a repertoire that stretches from early Western homophony and polyphony to the important oratorios and beyond. Award-winning conductor Florian Helgath has been artistic director of ChorWerk Ruhr since 2011, following in the steps of his predecessors Frieder Bernius and Rupert Huber. His work spotlights new choral music in the context of traditional musical forms, thus allowing them to have an impact on the listener against the backdrop of a rich music history. Together with this first class ensemble of young and flexible voices, he is able to produce choral music of the highest quality.

ChorWerk Ruhr has become one of the top artistic trademarks of the Ruhr Region and one of North Rhine-Westphalia’s top choruses. Since its founding, the ensemble has performed concerts, ranging from early music to new music and working with prominent conductors such as Sylvain Cambreling, Reinhard Goebel, Robin Gritton, Susanna Mälkki, Kent Nagano, Peter Neumann, Emilio Pomarico, Peter Rundel, Bruno Weil, and Hans Zender.

In concerts with prominent orchestras like Deutsche Kammerphilharmonie Bremen, Concerto Köln, Ensemble Resonanz, Ensemble Musikfabrik, Schönberg Ensemble, Cappella Coloniensis, Ensemble Modern, Junge Deutsche Philharmonie, Sinfonieorchester Baden-Baden und Freiburg, and Symphonieorchester des Bayerischen Rundfunks. ChorWerk Ruhr has thrilled audiences again and again and has been enthusiastically received by the critics. Frequent collaborations with WDR and DLF and participation in music festivals in Germany and abroad reflect the popularity of the excellent ensemble. Each year, ChorWerk Ruhr cooperates with Ruhrtriennale in a special way.

In 2011, with lead support from The Andrew W. Mellon Foundation, ICE created the ICElab program to place teams of ICE musicians in close collaboration with emerging composers to develop works that push the boundaries of musical exploration. ICElab projects have been featured in more than one hundred performances from 2011 to 2014, and are documented online through ICE’s blog, and DigitICE, its online library of performance videos. In 2014, The Andrew W. Mellon Foundation renewed its leadership support to launch the OpenICE initiative, which brings the full scope of ICE’s programming and educational activities for free to broader audiences around the world.

Gauthier Dedieu (Boogie-Woogie Dancer) is a contemporary dancer.

He studied at the Conservatoire National Superieur de Musique et de Danse de Paris, and went on join their Junior Ballet. He has also worked with Staatsballett Berlin, under the direction of Vladimir Malakhov.

ICE’s staff is a unique Artist Partner model that puts musicians into key leadership positions, including Claire Chase and Joshua Rubin (Co-Artistic Directors), Jacob Greenberg (Director of Recordings and Digital Outreach), Jonathan Harris (Director of Finance and Operations), Rebekah Heller (Director of Individual Giving), Ross Karre (Director of Production/digitICE.org), Maciej Lewandowski (Production and Operations Associate), Ryan Muncy (Director of Institutional Giving and Co-Director OpenICE), Alice Teyssier (Artistic Operations Associate and Co-Director OpenICE), with Vanessa Rose as Executive Director. You can learn more at iceorg.org.

Niklas Taffner (Boogie-Woogie Dancer) is a contemporary dancer specializing in swing dance, and founder of the Lindy Hop Saarbrücken academy. He travels around the world to spread the spirit of the original Afro-American swing dance known as Lindy Hop, in addition to his work with movie and theater companies in order to bring the importance of swing dance to the modern lexicon.

The International Contemporary Ensemble (ICE) is dedicated to reshaping the way music is created and experienced. With a modular makeup of 35 leading instrumentalists, performing in forces ranging from solos to large ensembles, ICE functions as performer, presenter, and educator, advancing the music of our time by developing innovative new works and new strategies for audience engagement.

ICE redefines concert music as it brings together new work and new listeners in the 21st century.

The Ruhrtriennale is the festival of the arts in Germany’s Ruhr region. Each summer over a period of six weeks, the festival presents music theater, theater, dance, installations, and concerts in spectacular post-industrial sites. World premieres and new works are the essence of the program. Every season, festival productions go on tour around the world. The artistic director of the Ruhrtriennale 2012-2014 was Heiner Goebbels, and this production of De Materie opened the 2014 season. The artistic director of the Ruhrtriennale for 2015-2017 is Johan Simons.

Since its founding in 2001, ICE has premiered over 500 compositions – the majority of these new works by emerging composers – in venues spanning from alternative spaces to concert halls around the world. The ensemble has received the American Music Center’s Trailblazer Award for its contributions to the field, the ASCAP/Chamber Music America Award for Adventurous Programming, and was most recently named Musical America Worldwide’s Ensemble of the Year in 2013.

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ABOUT THE ARMORY Part American palace, part industrial shed, Park Avenue Armory is dedicated to supporting unconventional works in the visual and performing arts that need non-traditional spaces for their full realization, enabling artists to create and audiences to consume epic and adventurous presentations that can not be mounted elsewhere in New York City. In its first eight years, the Armory opened its doors to visionary artists, directors, and impresarios who provided extraordinary experiences in a range of art forms. Such was its impact that in December 2011, The New York Times noted, “Park Avenue Armory… has arrived as the most important new cultural institution in New York City.”

The Armory’s arts education initiative offers programs at no cost to underserved New York City public school students and includes Production-based Programming, in which students attend major productions of music, theater, dance, and visual art, and participate in pre- and post-visit workshops with the Armory’s talented corps of teaching artists; the School Partnership Initiative, in which deeper relationships with underserved public schools are created through attendance at productions, in-school residencies, workshops, and end-of-term events in the Armory’s historic rooms; and the Armory Youth Corps, a paid and closely-mentored internship program focusing on at-risk high school students.

Built between 1877 and 1881, Park Avenue Armory has been hailed as containing “the single most important collection of nineteenth century interiors to survive intact in one building” by the New York City Landmarks Preservation Commission. The 55,000-square-foot Wade Thompson Drill Hall, with an 80-foot-high barrel vaulted roof, is one of the largest unobstructed spaces in New York City. The Armory’s magnificent reception rooms were designed by leaders of the American Aesthetic Movement, among them Louis Comfort Tiffany, Stanford White, Candace Wheeler, and Herter Brothers. The building is currently undergoing a $210-million renovation designed by Herzog & de Meuron with Platt Byard Dovell White Architects.

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PRODUCTION STAFF Georg Bugiel, Technical Production Manager

Uwe Sinkemat, Stage Supervisor

Production Acknowledgements

Jeremy Lydic, Technical Director

Christian Buhr, Dimitar Evtimov, Stefan Frenzel,

Akustiks, LLC – Paul Scarborough

Monique Stolz, Tour Manager

Christian Hahn, Karl Loader, Andreas Semmler,

Fisher Dachs Associates

Klaas Stok, Chorus Rehearsal Manager

Stage Technicians

The Lighting Syndicate

Lisa Charlotte Friederich, Stage Manager

Stefan Holtz, Sound Supervisor

BNW Rigging

Pamela Salling, Assistant Stage Manager

Delil Al-Abdul Aziz, Video Supervisor

Yamaha Pianos

Elisabeth Krefta, Assistant Director

Roman Fliegel, Lighting Supervisor

All-Tame Animals, Inc.

Cori Ellison, Supertitles

Torus Robertson, Lighting Board Operator

Carroll Music

Lily Arbisser, Lisa Jablow, Supertitle Operators

Lukas Graap, Electrician

Carol Blanco, Company Manager and Casting Manager

Désirée Pagel, Props Supervisor

The original production at the Ruhrtriennale was supported by

Erik Rogers, Steven Rowe, Production Assistants

Coral Cohen, House Manager

the Kunststiftung NRW, with the friendly assistance of Ernst von

Dorothee Meyer, Costume Supervisor

Jonathan Amaya, Rachel Cappy,

Siemens Musikstiftung and the Rudolf Augstein Stiftung.

Sybille Ridder, Hair and Make-up Supervisor

Assistant House Managers

Victoria Bek, Wardrobe Supervisor

Kara Kaufman, Box Office Manager

Azalea Fairley, Will Porter, Michelle Villada,

Erik Olsen, Box Office Assistant Manager

Katherine Williams, Dressers Lani Barry, Caitlin Boland, Sara Donovan, Mallory Pace, Hair and Make-up Artists

PARK AVENUE ARMORY STAFF Rebecca Robertson, President and Executive Producer

Peter Gee, Chief Financial and Administrative Officer

Cristian Ramirez, Porter

Pierre Audi, Artistic Director

Pip Gengenbach, Education Coordinator

Kirsten Reoch, Director of Design and Construction

Jennie Herreid, Ticket Services Manager

Candice Rushin, Porter

Katrina Berselius, Executive Assistant to the President

Reginald Hunter, Building Mechanic

Matthew Rymkiewicz, Tessitura Database Manager

Liz Bickley, Director of Special Events

Antonella Inserra, Office Manager

Antonio Sanders, Porter

Jenni Bowman, Producer

Cassidy Jones, Education Director

William Say, Superintendent

David Burnhauser, Collection Manager

Chelsea Emelie Kelly, Youth Corps Coordinator

Jenney Shamash, Production Coordinator

Courtney Caldwell, Venue Events Manager

Nicole Kidston, Deputy Director of Development

Jennifer Smith, Manager of Corporate Relations

Rebecca Cribbin, Director of Production

Allison Kline, Director of Foundation

Tom Trayer, Director of Marketing

Olga Cruz, Porter

and Government Relations

Brandon Walker, Associate Technical Director

Leandro Dasso, Porter

Nicholas Lazzaro, Associate Technical Director

Jessica Wasilewski, Producer

Khemraj Dat, Accountant

Michael Lonergan, Producing Director

Monica Weigel, Education Manager

Jordana De La Cruz, Special Projects Coordinator

Wayne Lowery, Security Director

Avery Willis Hoffman, Program Director

Mayra DeLeon, Porter

Jason Lujan, Operations Manager

Jay T. Dority, Director of Facilities

Ryan Hugh McWilliams, Digital Marketing Manager

Youth Corps

Marcia Ebaugh-Pallán, Manager of Special Events

Rebecca Mosena, Coordinator,

Shaibrielle Barrett, Mekhyi Bristol, Santiago Budier, Logan

Mario Esquilin, Porter

Membership and Development

Delgado, Luis Casado Rodriguez, Sinaia Jones, Terrelle Jones,

Melanie Forman, Chief Development Officer

Walter Nin, Security Manager

Cynthia Lopez, Destiny Lora, Anai Ortiz, Sebastian Ortiz,

Caelan Fortes, Individual Giving Assistant

Maxine Petry, Manager of Individual Giving

Manuella Owosu, Angela Reynoso, Rafael Rosario, Cory Sierra,

Lissa Frenkel, Managing Director

Charmaine Portis, Executive Assistant to the

Guycardine St Victor, Lucille Vasquez

Chief Development Officer

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NEXT AT THE ARMORY HOPELESSNESS: ANOHNI

TARYN SIMON

May 18-19

September 13–25

“Hopelessness is the genius of Anohni and her masterful songwriting. The long low sexy beats, the skittering colorful and playful rhythms surround her voice, which is the silky center.

Anohni has replaced the stories of abandonment, pain and desire with the biggest issues of our time. This revolutionary move is truly astounding.” — Laurie Anderson

“One of the leading artists to understand our moment in history.” —Interview Magazine

Park Avenue Armory and Red Bull Music Academy present the world premiere of Anohni’s live show for her new album Hopelessness on two consecutive evenings in New York. Featuring original films co-directed by Anohni and Australian artist Lynette Wallworth, the celebrated singer, composer, and visual artist will bring her politically charged masterpiece to audiences in an environment unlike any other. With her haunting work in Antony and the Johnsons and her flooring contributions to the Hercules & Love Affair project, Anohni has established herself as one of the most fragile and fiercest vocalists around. Expect to see another breathtaking chapter to her story take shape for the first time ever.

THE BACK DOOR: MARTIN CREED June 8–August 7

“Clever, dumb, smart and stupidly gorgeous. Whatever Creed does ...he brings a joyousness, lightness and objectivity to the task.” —The Guardian (UK) Turner Prize-winning, British artist Martin Creed continues his ongoing exploration into rhythm, scale, and order in his largest installation in the U.S. to date, a survey of his work from its most minimal moments to extravagant, larger-than-life installations.

Crossing all media including painting, drawing, music, dance, theater, film, sculpture, fashion, and more unclassifiable items such as runners or lights going on and off, his practice transforms the everyday into surprising meditations on existence and the invisible structures that shape our lives.

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Groundbreaking artist Taryn Simon creates an immersive new work unlike any other, in which the subjects themselves become the objects of exhibition. Simon directs and designs both an environment and experience created specifically for the drill hall that defies mediums and the lines between performer and viewer. Experienced after sundown under the cover of darkness, this multifaceted work – at once intensely solitary and somberly communal – blends performance, sound, and architecture.

CIRCLE MAP October 13–14

“To journey into Saariaho’s music is to be confronted with the darkest and most dazzling dimensions of your subconscious.”

—The Guardian (UK) The revered New York Philharmonic returns to the Armory for the New York premiere of Finnish composer Kaija Saariaho’s Circle Map, a new work for orchestra and electronics that builds out from six stanzas by the 13th-century Persian poet Rumi, and D’om la Vrai Sens. The evening also includes the U.S. premiere of Lumiére et Pesanteur as well as Lonh, a work that combines medieval love poetry sung by rising soprano Jennifer Zetlan with an electronic score that manipulates sounds from nature to evoke a distant, luminous landscape.

RECITAL SERIES

ARTISTS STUDIO

“The Board of Officers Room in the Park Avenue Armory has worked hard to carve out a niche for chamber music programming that is every bit as distinct as the monumental talk-of-the-town productions that take place in the Drill Hall.”

—The New York Times

“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.” – Decorator and Furnisher, 1885

Lauded for becoming “a locus for important chamber-music concerts” (The New Yorker), this series in the restored Board of Officers Room offers audiences the chance to enjoy the intimacy of music-making in the most personal of settings with thrilling North American recital debuts, artfully curated programs by intrepid interpreters at the height of their craft, and thrilling programs that explore signal works and take the art form in exciting new directions.

Upcoming Recitals:

ROOMFUL OF TEETH March 31–April 1

KRISTÓF BAR ÁTI, violin KLÁR A WÜRTZ, piano April 27–28

ANDREAS SCHOLL, countertenor TAMAR HALPERIN, harpsichord May 21–22

When the Veterans Room opened in 1881, it was hailed by The New York Times as “unique in its appointments and decorations, and is undoubtedly the most magnificent apartment of the kind in this country.” With its exquisite melding of styles and mediums evident in the creative collaboration of Louis C. Tiffany and Associated Artists in the new Aesthetic Movement style, this room represents the exuberance and innovation of exceptional young artisans approaching the decorative arts with a new vision.

Jazz pianist, composer, and MacArthur Fellow Jason Moran curates a new series of events inspired by the exotic beauty of the newly-reopened space and the inventive spirit of the designers who conceived it. These cutting-edge performances feature a diverse mix of contemporary classical, performative art, and an improvisational approach to jazz by dynamic artists and artistic pairings that harken back to the imagination present at the room’s inception, while testing the limits of the space and pushing their art forms in bold, new directions.

Upcoming Events:

PAULINE OLIVEROS & IONE April 1–2

ANDREAS OTTENSAMER, CLARINET JOSÉ GALLARDO, PIANO

CONR AD TAO & TYSHAWN SOREY

September 7—9

May 20

SONIA WIEDER-ATHERTON, CELLO BRUNO FONTAINE, PIANO

June 13

MILFORD GR AVES & DEANTONI PARKS

October 7—8

TALES OF LOVE AND FEAR: LUCY R AVEN JACK QUARTET

September 29—30

October 30—31

CAMILLE NORMENT AND CR AIG TABORN K ATE ROYAL, SOPR ANO JOSEPH MIDDLETON, PIANO November 18—20

October 16

RYAN TRECARTIN AND LIZZIE FITCH November 21

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OTHER HAPPENINGS UNDER CONSTRUCTION SERIES

ARTIST TALKS

“A residency like the Armory’s can be life changing for an artist.

With unlimited access to studio space and total creative freedom, even the wildest idea can be attempted.”

Held in our historic period rooms, these insightful dialogues give audiences the opportunity to hear directly from the artists, and explore the inspirations, ideas, and themes behind their work.

—The Wall Street Journal Get an inside look into the creative process of the Armory’s artistsin-residence, who set up studios and offer intimate public previews of works-in-progress, including dance, theater, music, and visual art. The Armory’s period rooms provide a unique backdrop for their workshops, serving as both inspiration and as a collaborator in the development of their work.

Previous artists-in-residence have included director and designer Julian Crouch, choreographers Faye Driscoll and Wally Cardona, soprano Lauren Flanigan, artist Ralph Lemon, maverick musician and composer Meredith Monk, post-classical string quartet ETHEL, writer and critic Sasha Frere-Jones, playwright and director Young Jean Lee, performance artist Okwui Okpokwasili, Trusty Sidekick Theater Company, and Shen Wei Dance Arts.

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

FAMILY PROGRAMS Park Avenue Armory invites parents and children to participate in interactive art-making workshops in our historic period rooms.

Drawing upon the Armory’s castle-like setting and unique artistic offerings, these programs are offered monthly during the school year and designed to spark the imagination of children of all ages.

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MALKIN LECTURE SERIES Each fall, the popular Malkin Lecture Series presents scholars and experts on topics relating to the Armory and the civic, cultural, and aesthetic life of New York City in the 19th and early 20th centuries.

Lecture topics have ranged from history makers like Abraham Lincoln and Theodore Roosevelt to Gilded Age society’s favorite restaurants and the Hudson River painters.

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

Join The Armory MEMBERSHIP Become a member of Park Avenue Armory and support the presentation of epic, unconventional arts and educational programming in the Armory’s landmarked building. Members have access to the best seats for Armory productions during exclusive presales, and are invited to experience the Armory and its artists through preview parties, open rehearsals, members-only viewing hours, building tours, and the special events.

FRIEND $100

CHAIRMAN’S CIRCLE STARTING AT $2,500

EDUCATION COMMITTEE STARTING AT $5,000 The Armory’s arts education program reaches thousands of public school students each year, immersing them in the creative process of exceptional visual and performing artists and teaching them to explore their own creative instincts. Education Committee members are invited to special events, meetings, and workshops that allow them to witness the students’ progress and contribute to the growth of the program.

SUPPORTER $250 All benefits of the Friend membership plus: » Pre-registration for educational workshops » Special access to talks, programs, and tours » Up to two ticket exchanges per season*

ASSOCIATE $500 All benefits of the Supporter membership plus: » Access to VIP lounge in one of the Armory’s historic rooms during performance intermissions » Recognition in Armory printed programs » Two complimentary passes to an art fair**

All benefits of the Associate membership plus: » Members concierge ticket service » Two complimentary tickets to the Under Construction Series

This exciting group invites forward-thinking individuals in their 20s through early 40s to experience new, surprising, and innovative ideas in art, and provides access to the Armory and its artists through exclusive events designed for younger supporters.

Members of this exclusive group are provided unique and intimate opportunities to experience the Armory, including invitations to private tours and VIP receptions with world class artists; access to premium seats and concierge ticket service; and an invitation for two to the annual Chairman’s Circle Reception. Members at the $5,000 level and above are invited to join the Armory travel program.

» Exclusive access to seats for Armory performances through members-only presale » Invitations to opening night previews for Armory visual art installations » Free admission to Armory visual art installations » Discounts on Artist Talks » Invitations to select open rehearsals » Special members-only viewing hours for select exhibitions » Discount on tickets to the Malkin Lecture Series » Free admission for guided tours of the Armory

BENEFACTOR $1,000

ARMORY AVANT-GARDE $350 OR $600

OTHER OPPORTUNITIES STARTING AT $7,500 The Armory has a menu of options to engage those who are looking to delve more deeply into the artistic process. These programs also provide access to the creative minds behind the Armory’s unconventional work. For more information, please contact Nicole Kidston at (212) 616-3952.

Memberships are subject to various levels of tax deductibility.

For more information about membership, please email members@armoryonpark.org, call (212) 616-3952 or visit armoryonpark.org/join.

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board of directors Co-Chairman Elihu Rose, PhD. Co-Chairman Adam R. Flatto President and Executive Producer Rebecca Robertson

Marina Abramović Harrison M. Bains Wendy Belzberg Emma Bloomberg Carolyn Brody Cora Cahan Peter C. Charrington Hélène Comfort Paul Cronson Sanford B. Ehrenkranz David Fox Marjorie L. Hart

Karl Katz Edward G. Klein, Major General NYNG (Ret.) Ken Kuchin Mary T. Kush Pablo Legorreta Ralph Lemon Heidi McWilliams David S. Moross Gwendolyn Adams Norton Joel Press Genie H. Rice

Amanda J.T. Riegel Janet C. Ross Jeffrey Silverman Joan Steinberg Emanuel Stern Angela E. Thompson Deborah C. van Eck

Harold and Mimi Steinberg Charitable Trust Joan and Michael Steinberg Mr. and Mrs. William C. Tomson Deborah van Eck

The Pinkerton Foundation Andrea Markezin and Joel Press Slobodan Randjelovic and Jon Stryker The Reed Foundation Rhodebeck Charitable Trust Genie and Donald Rice Janet C. Ross The Fan Fox & Leslie R. Samuels Foundation The Shubert Foundation Sydney and Stanley S. Shuman Skadden, Arps, Slate, Meagher & Flom LLP Peter and Jaar-mel Sloane / Heckscher Foundation Sarah Billinghurst Solomon and Howard Solomon Nanna and Daniel Stern Michael and Veronica Stubbs Tishman Construction, an AECOM Company Anonymous (2)

Founding Chairman, 2000-2009 Wade F.B. Thompson

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

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

$500,000 to $999,999 Citi 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 Liz and Emanuel Stern

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$250,000 to $499,999 American Express Michael Field and Jeff Arnstein Olivia and Adam Flatto Ken Kuchin and Tyler Morgan 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 S. Altman Bloomberg Philanthropies Booth Ferris Foundation Hélène and Stuyvesant Comfort Marjorie and Gurnee Hart Kirkland & Ellis LLP Mary T. Kush Mr. and Mrs. Peter L. Malkin and The Malkin Fund, Inc. Mr. and Mrs. Lester S. Morse, Jr. National Endowment for the Arts New York State Assembly New York State Council on the Arts Gwen and Peter Norton Daniel and Joanna S. Rose Caryn Schacht and David Fox Amy and Jeffrey Silverman Stavros Niarchos Foundation

$25,000 to $99,999 The Avenue Association Harrison and Leslie Bains Emily and Len Blavatnik Emma Bloomberg and Chris Frissora BMW of Manhattan Jill Bokor and Sanford Smith Carolyn S. Brody Mr. and Mrs. Kenneth Buckfire The Cowles Charitable Trust Mary Cronson / Evelyn Sharp Foundation Caroline and Paul Cronson Emme and Jonathan Deland Sandi and Andrew Farkas, Island Capital Group & C III Capital Partners Elizabeth Morse Genius Foundation Horace W. Goldsmith Foundation Golub Capital LLC Agnes Gund Josefin and Paul Hilal Kaplen Brothers Fund Anna Maria & Stephen Kellen Foundation, Inc. and Marina Kellen French Wendy Keys Aaron Lieber and Bruce Horten Christina and Alan MacDonald Marc Haas Foundation Cindy and David Moross National Philanthropic Trust Liz and Frank Newman Joan and Joel I. Picket

$10,000 to $24,999 Gina Addeo American Realty Capital Jody and John Arnhold Milton and Sally Avery Arts Foundation Abigail Baratta Ginette and Joshua A. Becker Candace and Rick Beinecke Sara and David Berman British Council A. Cary Brown / The W.L. Lyons Brown, Jr. Charitable Foundation Veronica Bulgari and Stephan Haimo Janna Bullock Marian and Russell Burke Eileen Campbell and Struan Robertson

Mr. and Mrs. Chase Coleman Margaret Crotty and Rory Riggs Crum & Forster The Cultivist William F. Draper Peggy and Millard Drexler David and Frances Eberhart Foundation Andra and John Ehrenkranz Mr. and Mrs. Michael Evans Florence Fearrington Ferrari Ella M. Foshay and Michael B. Rothfeld Amandine and Stephen Freidheim Barbara and Peter Georgescu Kiendl and John Gordon The Grand Marnier Foundation Jeff and Kim Greenberg Mr. and Mrs. Martin Gruss Mike & Janet Halvorson Elizabeth and Dale Hemmerdinger Herzog & de Meuron Daniel Clay Houghton Max MF Power Jacobellis Mr. and Mrs. William Kahane Erin and Alex Klatskin Suzie and Bruce Kovner Leon Levy Foundation Richard H. Levy & Lorraine Gallard Kamie and Richard Lightburn Lili Lynton and Michael Ryan Mr. and Mrs. Richard Mack Diane and Adam E. Max Renee and David McKee Cynthia Woods Mitchell Fund of the National Trust for Historic Preservation Adriana and Robert Mnuchin Mary Kathryn Navab David P. Nolan Foundation Northern Bay Contractors, Inc. Peter and Beverly Orthwein PBDW Architects The Prospect Hill Foundation Katharine and William Rayner Charles H. Revson Foundation Mary Jane Robertson and James A. Clark Rebecca Robertson and Byron Knief Deborah and Chuck Royce May and Samuel Rudin Family Foundation, Inc. Fiona and Eric Rudin Jil Sander Mr. and Mrs. William Sandholm Stacy Schiff and Marc de la Bruyere Dr. and Mrs. Thomas P. Sculco Mr. Leigh Seippel Juliet Lea Hillman Simonds Foundation JLH Simonds Patricia Brown Specter Mr. and Mrs. Eugene E. Stark, Jr. Mr. and Mrs. Barry Sternlicht The Jay and Kelly Sugarman Foundation Claudia and Geoffrey Thompson Laurie M. Tisch Illumination Fund Tishman Speyer Properties, LP Barbara and Donald Tober

Robert Vila and Diana Barrett David Wassong and Cynthia Clift William Morris Endeavor Entertainment Foundation Cynthia Young and George Eberstadt Anonymous (3)

$5,000 to $9,999 Benigno Aguilar and Gerald Erickson Noreen K. Ahmad and Ahmar Ahmad Jamie Alter and Michael Lynton Mr. and Mrs. Jonathan Auerbach Mr. and Mrs. Victor Barnett Debra and Leon Black Nicholas Brawer Catherine and Robert Brawer Amanda M. Burden Elizabeth Coleman Sarah and Ronald Collins Mr. and Mrs. Carl A. Contiguglia Mrs. Daniel Cowin Ellie and Edgar Cullman Joshua Dachs / Fisher Dachs Associates Theatre Planning and Design Diana Davenport and John Bernstein Krystyna Doerfler The Max and Victoria Dreyfus Foundation Mary Ellen Dundon East Side House Settlement Cheryl and Blair Effron Inger McCabe Elliott Dr. Nancy Eppler-Wolff and Mr. John Wolff Alicia Ernst and John Katzman The Felicia Fund Debbi Gibbs Gail Golden and Carl Icahn Great Performances Jamee and Peter Gregory Marie-Line Grinda and Ahmed Deek Allen and Deborah Grubman Mr. and Mrs. George Grunebaum Molly Butler Hart and Michael D. Griffin Anita K. Hersh istar Financial Inc. Nancy Josephson Jennie Kassanoff and Dan Schulman The Rachel and Drew Katz Foundation Mr. and Mrs. Fernand Lamesch Chad A. Leat Robert Lehman Foundation Gail and Alan Levenstein Levien & Company, Inc. Mr. and Mrs. François Maisonrouge Judith and Michael Margulies Mr. and Mrs. Robert Martin Mr. and Mrs. Richard E. Mayberry, Jr. Larry and Mary McCaffrey Ali Namvar Mr. and Mrs. Michael Newhouse

Kathleen O’Grady David Orentreich, MD / Orentreich Family Foundation Susan Porter Anne and Skip Pratt Preserve New York, a grant program of Preservation League of New York Mr. and Mrs. Robert Pruzan David J. Remnick and Esther B. Fein Heidi Rieger Carolyn Risoli and Joseph Silvestri Ida And William Rosenthal Foundation Susan and Jon Rotenstreich Jane Gregory Rubin and Reed Rubin Mr. and Mrs. Kevin Ryan Bonnie J. Sacerdote Caroline Schmidt-Barnett Sara Lee and Axel Schupf Mr. Barry Schwartz / M&F Worldwide Corp.

Lise Scott and D. Ronald Daniel Stephanie and Fred Shuman Alan and Sandy Siegel The Six Four Foundation Margaret Smith Daisy M. Soros Sotheby’s Diane and Sam Stewart Angeline Straka Elizabeth F. Stribling and Guy Robinson Bill and Ellen Taubman Jane Toll Mr. and Mrs. Ronald Ulrich Ambassador and Mrs. William J. vanden Heuvel Anastasia Vournas and J. William Uhrig Isak and Rose Weinman Foundation, Inc. Amy Yenkin and Robert Usdan Richard and Franny Heller Zorn Anonymous

$2,500 to $4,999 Roswitha and A.J. Agarwal AKF Group LLC Ark Restaurants Corp.

Norma Ketay Asnes Aurora Lampworks, Inc. Allison M. Blinken Amy Brown Joyce Chelberg Alexandre and Lori Chemla Neil and Kathleen Chrisman Mr. and Mrs. David Cohen Emy Cohenca Betsy Cohn Central Park Conservancy Sasha Cutter and Aaron Hsu Constance and Gregory Dalvito Joan K. Davidson (The J.M. Kaplan Fund) Mary and Maxwell Davidson III Elizabeth de Cuevas Gina and James de Givenchy

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Megan del Valle Jennie L. and Richard K. DeScherer Hester Diamond Mr. and Mrs. Robert Easton Anne and Joel Ehrenkranz Alice and David Elgart Loren Eng and Dinakar Singh Victoria Ferenbach Edmée and Nicholas Firth Mr. and Mrs. Brian Fisher Fisher Marantz Stone, Inc. Jeanne Donovan Fisher Megan Flanigan Claudia and Fleming & George Bitar Foreground Conservation & Decorative Arts Melanie and Robert Forman Susan Freedman and Richard J. Jacobs Bart Friedman and Wendy A. Stein Teri Friedman Samantha and John Gellert Mr. and Mrs. Scott Gerber Robert and Joyce Giuffra Gary & Beth Glynn Marjorie and Ellery Gordon Noah and Maria Gottdiener Archie Gottesman and Gary S. DeBode Sarah Gould and David Steinhardt Elizabeth and David Granville-Smith Francine Du Plessix Gray Mindy and Jon Gray Mr. Jeff Greene and Ms. Kim Lovejoy The William and Mary Greve Foundation Anne Grissinger Claire and Christian Gudefin John Hargraves Jane Hartley and Ralph Schlosstein Jay Herman Barbara Hoffman Margaret Hunt Barbara and Donald Jonas Mr. and Mrs. Paul Kanavos Meredith J. Kane Hon. Bruce M. Kaplan and Janet Yaseen Kaplan Mr. and Mrs. Rene Kern Nancy Kestenbaum and David Klafter Diana King / The Charles & Lucille King Family Foundation Knickerbocker Greys Phyllis L. Kossoff The Ronald and Jo Carole Lauder Foundation Mr. and Mrs. Chris Liddell Maria Lilien Heather Lubov Shelly and Tony Malkin Sherry Mandell Lynne and Burt Manning Angela Mariani Constance and H. Roemer McPhee Joyce F. Menschel Alexandra and Les Meyers Sergio and Malu Millerman Claire Milonas

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Marcia and Richard Mishaan Achim and Colette Moeller Dr. Frank Moore Mr. and Mrs. Robert Morse Barbara and Howard Morse Saleem Muqaddam Patty Newburger and Bradley Wechsler Anne Niemeth and Chuck Niemeth James C. Marlas and Marie Nugent-Head Marlas Francesca and Dick Nye MC & Eric Roberts Ellen Oelsner Mario Palumbo Christos Petranis Mr. and Mrs. Brian Pfeifler Marnie Pillsbury Anne Prentice Eileen and Tom Pulling Elissa Querzé Mr. and Mrs. Robert Quinlan Timothy and Coco Quinlan Jonathan F.P. and Diana Rose Chuck and Stacy Rosenzweig Clifford Ross Valerie Rubsamen and Cedomir Crnkovic Jane Fearer Safer Nathan E. Saint-Amand Mr. and Mrs. Andrew Saul Mr. and Mrs. Nicholas Schorsch Uma Seshamani and Jason van Itallie Thomas and Patricia Shiah Sara Solomon Donna Soloway Mr. and Mrs. David Sonenberg Sonnier & Castle Food Melissa Schiff Soros and Robert Soros Mr. and Mrs. Tristam Steinberg Douglas C. Steiner Jeremy E. Steinke Ambassador and Mrs. Liangang Sun Mary Ann Tighe Paul Travis and Mark Fichandler Mr. and Mrs. Alexander von Perfall Susan and Kevin Walsh David Reed Weinreb Katherine Wenning and Michael Dennis Richard and Diana Whelan Kate R. Whitney and Franklin A. Thomas Mr. and Mrs. Malcolm H. Wiener Shannon Wu Judy Francis Zankel Zubatkin Owner Representation, LLC Anonymous

$1,000 to $2,499 Lindsey Adelman Mr. and Mrs. Herbert Allen Mr. and Mrs. Charles Anderson Patrick Baldoni, Femenella & Associates, Inc. June and Kent Barwick Norton Belknap Kristine Bell

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Dale and Max Berger Mark and Randi Berman Elaine S. Bernstein Nymrata Advani Bickici Hana Bitton Cathleen P. Black and Thomas E. Harvey Bluestem Prairie Foundation Dr. Suzy and Mr. Lincoln Boehm Marianne Boesky Gallery Mr. and Mrs. Sheldon Bonovitz Barbara Brandt Mr. and Mrs. Louis Brause Mr. and Mrs. Alexander Brodsky Mr. and Mrs. Alvin Brown Mr. and Mrs. Gilbert Butler Mr. and Mrs. Jeff Campbell Chanda Chapin Shirin and Kasper Christoffersen Pamela and J. Michael Cline Mr. and Mrs. Robert Cochran Ranika Cohen Struan H. Coleman, MD Courtney Liu Corleto Marina Couloucoundis Mr. and Mrs. Andrew Crisses Boykin Curry and Celerie Kemble Norris Daniels Virginia L Davies and Willard B Taylor Virginia Louise Davies Suzanne Dawson Sebastien de la Selle Maria Teresa De Mata Mr. and Mrs. Maurice Deane Richard and Barbara Debs Luis y Cora Delgado Jacqueline Didier and Noah Schienfeld Jane Draizen Nancy J. Drosd and Charles Schwartz Karen Eckhoff Jacqueline Elias Amy Grovas Elliott Mr. and Mrs. Alec Ellison Gretchen Englander Mr. and Mrs. Chris Errico Mr. and Mrs. Marc Feigen Frederic Fekkai and Shirin von Wulffen Fig & Olive Restaurant Laura Jane Finn Heather Fullerton Mr. and Mrs. David Getz Mr. and Mrs. Trevor Gibbons Rosalie Y Goldberg Dr. and Mrs. Jeffrey Groeger Jessica Guff Jennifer Hand and Thomas Tierney Steven Harris and Lucien Rees Robertson Kitty Hawks and Larry Lederman Stephanie Hessler William T. Hillman May Ho Dr. and Mrs. Richard Hoffman Invisible North Mr. and Mrs. David Johnson Caron and Geoffrey Johnson Patricia S. Joseph

Mr. and Mrs. Kenneth Julian The Kandell Fund / Donald J. Gordon Jeanne Kanders Daniel and Renee Kaplan Drs. Sylvia and Byram Karasu Karl and Elizabeth Katz Frances Kazan Lauren Kenny Jana and Gerold Klauer Major General Edward G. Klein, NYNG (Ret.) Kathleen and Reha Kocatas Beth Kojima J. Allen Kosowsky, CPA & Lenore M. Kosowsky Danai Kougiouli Kimberly Kravis Schulhof Mr. and Mrs. Kenneth Krueger Nanette L. Laitman Barbara Landau Judith Langer Mr. and Mrs. John Lauto Mark and Taryn Leavitt Ann Leibowitz Phyllis Levin Lieta and Helene Jane K. Lombard Lisa Ann Lori The Honorable and Mrs. Earle Mack Liz MacNeill Mr. and Mrs. Marc Malek Nancy A. Marks Match 65 Brasserie Polly McCaffrey Martha B. McLanahan Melissa Meeschaert Sibel Mesta Mr. and Mrs. Anthony Meyer Sally Minard and Norton Garfinkle Whitney and Andrew Mogavero Liz and Chips Moore Mr. and Mrs. Pierre Mordacq Nina Morton Mr. and Mrs. Oliver Moses Mr. and Mrs. James Murdoch Mr. and Mrs. Stuart Nelson The New York Community Trust Mr. and Mrs. Brent Nicklas Peter and Susan Nitze Mr. and Mrs. Marvin Numeroff Addison O’Dea Victoria Orlin Robert Ouimette Will Palley The Par Group Lynn Passy and Lewis Friedman Suzanne Peck and Brian P Friedman Christopher J. Piccinich Max Pine Mr. and Mrs. Lyon Polk Prime Parking Systems Anna Rabinowitz Victoria Reese and Greg Kennedy Diana and Charles Revson Rodgers & Hammerstein Foundation

Mr. and Mrs. David Rogath Isabel Rose and Jeffrey Fagen Joel Rosenkranz Jane Royal and John Lantis Elizabeth Sarnoff and Andrew S. Cohen Mr. and Mrs. David Schiff Sabina and Wilfred Schlumberger Mr. and Mrs. Bradley Settelman Gil Shiva Mr. and Mrs. Arthur Shorin Mr. and Mrs. Michael Shuman Laine Siklos Denise Simon and Paulo Vieiradacunha Mr. and Mrs. Vinayak Singh Laura Skoler Phyllis Smith Denise Littlefield Sobel Stephanie and Dick Solar Squadron A Foundation John Strasswimmer Mr. and Mrs. Tom Strauss Dorothy Strelsin Foundation / Enid Nemy The Studio In A School Association Summit Security Services, Inc. Rabbi Malcolm Thomson Suzanne Tick Mr. and Mrs. Remy Trafelet Stephen Trevor and Stephanie Hunt R.T. Vanderbilt Trust / Mr. and Mrs. Hugh B. Vanderbilt, Jr. Monina von Opel Amanda and John Waldron Mr. and Mrs. Robert Wheeler Michaela Williams Reva Wurtzburger Mr. and Mrs. Michael Young Anonymous (4)

$500 to $999 Marina Abramović Mr. and Mrs. Ronald Ahrens Simin Allison Eric Altmann Louise L. Arias Michael Ashby Mr. and Mrs. Steven Atkins Rebecca Lynn Bagdonas MD Tina and Peter Barnet Raymond Baron Carol Beaumier Mr. and Mrs. Guillaume Bebear Cheryl Bergenfeld Liddy Berman Sue Birnbaum Drs. Annette and Stanley M. Blaugrund Michele R. Bourgerie David P. Boynton Diane Britz Lotti Cora Cahan and Bernard Gersten Thomas Carrier Pilar Castro Kiltz Ronni and Ronald Casty Sommer Chatwin Jennifer Chen

Meryl and Mel Cherney Oya Christopher Sana Clegg Michael Clinton and Tom Devincentis Donald G. Clinton Janis Conner Alexander Cooper Jessica and David Cosloy Aleksandra Maja Cragg Jennifer R. Curry Sasha Cutter James Danner Christina R. Davis Mr. and Mrs. Stephen Dellosso Kate DelPizzo and Roberto Mastrigli Christine DiCrocco Kristin DiCunzolo Mr. and Mrs. Michael Donner Michael Ellis Heidrun Engler Mr. and Mrs. Alexander Ercklentz Mr. and Mrs. Anthony Evnin Mr. and Mrs. Thomas N. Farmakis Stephen P. Farrell Joan and William Felder George Fellows Laurel D Fitts Susan and Arthur Fleischer Martha J. Fleischman Stephanie French Emily T Frick P. Gayle Fuguitt and Thomas Veitch Nelsa L. Gidney and Jordan Ringel Gregory Gilmartin Alexander Goldberg Parisa Golestaneh Pedro Gonzalez de Cosio Susan Grant and Lawrence C Maisel Jenny Slayton Green Paula S. Greenman Maggie Gresio Barbara Grodd and The Ostgrodd Foundation Jan M. Guifarro Harvey and Kathleen Guion John H. and Susan K. Gutfreund Yen Ha and Richard Tesler Linda L Hackett and Russell W. Munson Jr. Robert H. Haines Lynn and Martin Halbfinger Karee Hanifan Cassandra Harris Stan Harrison Dana E. Hart Susannah Heyworth Mr. Joseph C. Hoopes, Jr. (B.E.L.T. Trust) James and Edwina Hunt Sonjia Hyon and Eric Lin Heatherlyn Ingenito Nadine Iskenderian Elise Jaffe + Jeffrey Brown Jacqueline Jones and John Wilfred Gassett Hilda Jones Rick D. Kaye

Mr. and Mrs. Brian Kelly Dr. Hootan Khatami & Mr. Daryl Fox Hadley C. King Mr. and Mrs. Jason Klein Gary Knisely Gloria and Richard Kobrin Kathryn Kremnitzer Geraldine Kunstadter Lagunitas Brewing Co. Steven and Arlene Lazarus H. Kate Lee Ralph Lemon Joyce Lowinson Donna and Wayne Lowery Monique Lowitt Mrs. and Mr. Susan Lowry Susan Dickey MacArthur Susanne Mackiw Susan Madden Meylin Maldonado Mr. and Mrs. Anthony Mansour Joanie Martinez Theresa Martinez and Maureen Martinez Marie C. Masterson Rebekah McCabe Taylor McKenzie-Jackson Shawn McLaughlin and Kieran McMahon Mr. and Mrs. David Meneret Laurent Mialhe Mr. and Mrs. John Miller Diane Compagno Miller Christine Moog and Benoit Helluy Mr. and Mrs. David Namerow Barbara A. O’Connell Robert S. O’Hara, Jr. John Orberg Mindy Papp Madison J Papp Samantha Park Annie Pell Michelle Perlin Mr. and Mrs. Richard Petrocelli Elizabeth Peyton and Tony Just Stefani Phipps Mrs. Nancy Piraquive Sheila M. and Nicholas Platt Mr. and Mrs. William A. Platt Mr. and Mrs. Michael Polemis Gary Portadin Alan Ravandi and Avisheh Avini Mr. and Mrs. John Reboul Tara K Reddi Milbrey Rennie Mr. and Mrs. Tony Roberts Alexandra Robertson Marisa Rose Marjorie P. Rosenthal Mr. and Mrs. Eric Roth Elizabeth Roxas-Dobrish Merle Rubine and Elliot M. Glass Olivia Sabine Marie Salerno and Sam Roberts Wendy B. Samuel Susan Savitsky Mr. and Mrs. Bruce Schlechter

Mr. and Mrs. Gregorio Schneider Pat Schoenfeld Joyce Pomeroy Schwartz Francesca Schwartz Kimia Setoodeh Nadine Shaoul and Mark Schonberger Kimberly Ayers Shariff Georgia Shreve Mr. and Mrs. Edward Shufro Lindy Shuttleworth Angelo and Constance Silveri Albert Simons III Andrew Clifford Skewes Salwa Smith Eileen Solomon William Spiegel and Lisa Kadin Martha S. Sproule Lili L. Stawski Mr. and Mrs. Benjamin Steiner Ilysa Sternberg Frank Sullivan Shining Sung Robert Taff and J. Philip Moloney Barbara Taff and Allan Sacks Mr. and Mrs. Brendan Tansill Heather Thompson and Ryan Wangner Whitney Topping Lee Traub Ms. Patricia L. Truscelli and Mr. E.N. Ellis Zachary Kress Turner Adrian Ulrich Amelia & Steven Usdan Elizabeth Vasarhelyi Annemarie Victory Karen E. Wagner and David Caplan Christine Walsdorf Larry Wehr Suzanne S. Weil Seymour Weingarten Mr. and Ms. Anthony Weldon Susan Yarnell Michael Young and Debra Raskin Tim Zietara Anonymous (10) List as of March 7, 2016 * Deceased

Cover Photo: Wonge Bergmann for the Ruhrtriennale 2014