WELCOME 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. This project joins that lineage with Anne Teresa De Keersmaeker’s exploration of the movement, dance, and transcendental dimension found in J.S. Bach’s celebrated score. She is the quintessential embodiment of modern dance and expresses it as a master through the appearance of disorder that, in reality, is entrenched in heavy technique, and through her playful articulation of rhythm and reliance on mathematics. Her use of the Brandenburg Concertos is emblematic of her artistic style, as it illuminates and deepens the performative tension in modern dance between fundamentals and ornamentation, between the cerebral and the physical. This new, evening-length work embodies Bach’s polyphonic mastery by setting 16 dancers originating from different generations of her company Rosas in direct dialogue with musicians from the baroque ensemble B’Rock, who perform the concertos live under the baton of Amandine Beyer in their North American debut. The Six Brandenburg Concertos captures precisely the type of interdisciplinary work that the Armory is committed to supporting, and we are thrilled to see this cross-disciplinary production come to life in our storied space. We are excited to welcome to the Armory Anne Teresa De Keersmaeker, the visionary creative team, all of the dancers from Rosas, and conductor Amandine Beyer. We are also eager to host the musicians of B’Rock for their long overdue introduction to New York audiences as part of this momentous production. “Like no other, Bach’s music carries within itself movement and dance, managing to combine the greatest abstraction with a concrete, physical and, subsequently, even transcendental dimension,” Anne Teresa has said about Bach’s richly imaginative music. We hope that these performances make audiences think about and feel this classic composition in an entirely new way, finding their own transcendence.
Rebecca Robertson Founding President & Executive Producer Pierre Audi Marina Kellen French Artistic Director
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Thompson Arts Center at Park Avenue Armory | 643 Park Avenue at 67th Street
THE SIX BRANDENBURG CONCERTOS OCTOBER 1 – 7, 2018 North American Premiere Thompson Arts Center at Park Avenue Armory
Anne Teresa De Keersmaeker Amandine Beyer An D’Huys Jan Versweyveld Jan Vandenhouwe
Choreography Music Director Costume Designer Scenographer and Lighting Designer Dramaturg
Created with and danced by Rosas B’Rock Orchestra J.S. Bach, Brandenburg Concertos, BWV 1046–1051 This production had its world premiere on September 12, 2018 at Volksbühne (Berlin). Running Time: Approximately two hours, performed without intermission.
OTHER HAPPENINGS Armory After Hours Join us after select evening performances when the bars will be open in our historic period rooms with libations for the artists and fellow attendees. Artist Talk: The Six Brandenburg Concertos Thursday, October 4 at 6:00pm Choreographer Anne Teresa De Keersmaeker and conductor Amandine Beyer discuss Bach’s influence on the creation of their latest work set to his masterful score with RoseLee Goldberg, Founding Director and Chief Curator of Performa.
SEASON SPONSORS
The Six Brandenburg Concertos is supported in part by the Harkness Foundation for Dance. Support for Park Avenue Armory’s artistic season has been generously provided by the Charina Endowment Fund, the Altman Foundation, The Harold and Mimi Steinberg Charitable Trust, the Fan Fox and Leslie R. Samuels Foundation, the Howard Gilman Foundation, the Horace W. Goldsmith Foundation, The Shubert Foundation, The Emma and Georgina Bloomberg Foundation, the Marc Haas Foundation, The Kaplen Brothers Fund, the Juliet Lea Hillman Simonds Foundation, the Leon Levy Foundation, the May and Samuel Rudin Family Foundation, the Richenthal Foundation, and the Isak and Rose Weinman Foundation. Cover photo: Anne Van Aerschot
THE INTERSECTION OF BACH AND DE KEERSMAEKER THE SIX BRANDENBURG CONCERTOS
THE ROW (MY WALKING IS MY DANCING)
The Six Brandenburg Concertos stem from a double desire on behalf of Anne Teresa De Keersmaeker: firstly, to do something with a large group of dancers; secondly, to take the next step in her ongoing pas de deux with Bach. After her interpretation of Bach’s cello suites in Mitten wir im Leben sind—with an intimate setting, performed by a small ensemble, bathing in a dark and contemplative atmosphere— De Keersmaeker went for the Brandenburg Concertos this time around: triumphant, luminous, grand, joyous. “This is youthful music, its energy is up and away,” says De Keersmaeker.
Lined up and facing the audience, the sixteen dancers of The Six Brandenburg Concertos walk the bass line of the first of the concertos. The music is joyous and triumphant; the (unusual) use of the natural horns suggests aristocratic hunting scenes. Walking can be a war dance, too, certainly when sixteen dancers do so frontally and synchronously (think Riverdance).
As a composer, Bach was unprecedented in his experimentation with the relationship between the ripieno—the accepted term for a supporting orchestra— and the soloist, an emblem for the interaction between group and individual, foreground, and background. De Keersmaeker again managed to draft a choreography tailored to Bach’s musical score with a degree of “measure by measure” precision. But no matter how closely she insists on following the music, the translational battle is never a question of literal transposition. One could call it a meeting at counterpoint between the logic of dance and the logic of music, between the opulence of Baroque and a contemporary—and yet so atypical for our times—attempt at an extremely “exacting” form of beauty. Exacting, since it is characterized by a lack of the classical urge to please that is prevalent in performance art, and by the knowledge that freedom only flourishes in the interstices of a rule-bound, rigorous system. For a total of five times now, De Keersmaeker has carried out choreographic research into and via Bach. Still, it should come as no surprise that she hasn’t yet grown weary of the German composer who was known for his propensity to be as strict as he was frivolous. Bach’s music combines an eminently danceable character—much of his music is based on old forms of dance—with a high degree of abstraction. Bach turns a theme consisting of four notes into a musical cathedral, deploying processes of variation, inversion, and development. It compares to how Steve Reich extracts a complex rhythmic and harmonic counterpoint from a simple musical riff, for instance in Violin Phase (footnote: in the process of making her choreography of Violin Phase, De Keersmaeker had the fifth Brandenburg concerto on repeat). This approach is also characteristic of De Keersmaeker’s previous work: clear rules, basic geometric forms, and simple movement material as a foundation to arrive at a complex organization of bodies in time and space.
For this task, De Keersmaeker takes considerable time. While walking, the dancers introduce their key material: their bodies. They use the principle my walking is my dancing to enact it. The result is that the activity of dancing undergoes a reduction to what may be the most fundamental pattern inherent to human beings, which, from an evolutionary perspective, also turned them into human beings in the first place: walking erect. From a logistical standpoint, this walking must take time: sixteen dancers are engaged in the same movement and are presupposed to thereby reveal their individuality. Our gait captures us as our handwriting does: the movements not included in the choreography, that which is not described in the score, slightly leaning forward, a kink in the left knee, the right wrist touching the hip, a shoulder accentuating the movement just a little more markedly. Call them unintentional ornaments, inadvertent variations. They are superfluous movements—not strictly necessary for the accomplishing of the ultimate goal of achieving locomotion—but define the specific “sonority” of every body and are indispensable for a human being to credibly do what we call walking. Indispensable because they define the walker: “This is how I walk. This is my version of what people do when they walk.” The movements themselves do exactly what an overture is supposed to do: walking back and forth, in a mesmerizing manner, offering an invitation. As such, the movements play on the audience’s so-called “mirror neurons,” giving them an eagerness to engage in the very movement themselves: “I can do that, too,” or “That’s me.” If dance is indeed “about” something, here, it is simply “about” us.
The current Concertos require the mobilization of the largest group of dancers De Keersmaeker has ever organized in those same spatio-temporal coordinates. Sixteen dancers from three different generations of Rosas testify to De Keersmaeker’s ability to gather unique forms of talent around her. Firstly, an experienced corps, whose bodies contain the physical memory of three decades of the Rosas repertoire (amongst whom Cynthia Loemij and Samantha van Wissen, both esteemed assets to the Rosas choreographic armory since the early 1990s). Secondly, a middle generation with whom De Keersmaeker created her work from the past 10 years (for example Michaël Pomero and Marie Goudot). And finally, a younger generation stepping into the limelight with pieces and revivals such as Zeitigung (2017), A Love Supreme (2017), and Achterland (1990). “We were looking for material that fits both men and women, with the clarity, detail, and controlled refinement I see in Bach as well,” says De Keersmaeker. “But this type of material can only flourish when buttressed by a strong and clear-cut architecture. This is necessary to arrive at that articulate counterpoint to such a complex score, involving such a large group of dancers. It is far from easy to organize such a large troupe of people in space without it turning into a burdensome task. The geometric axes stipulating the dancers’ vertical and horizontal movements, the question of what counts as foreground and background—all of that has to be enunciated with extreme clarity. This is similar to Bach’s music, in fact: his language is always set out clearly in broad lines, but is very refined and rich in the detail.” Once again, De Keersmaeker set out from a geometric floor plan—spiraling pentagrams—with three basic geometric objects superimposed on that same plan: a straight line (a row), a weaving motion (the zigzag), and a circle.
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Thompson Arts Center at Park Avenue Armory | 643 Park Avenue at 67th Street
THE ZIGZAG (DELIBERATION WITHOUT PURPOSE)
THE CIRCLE (COMPLETION)
A multitude is always in need of limitation, just as a certain amount of mass calls for a gravitational pull. Bach’s music often has the allure of a musical puzzle he set himself: Where lies my freedom within this limited framework set by a few very rigid rules? De Keersmaeker similarly looks for freedom within the confines of rigorous frameworks. On top of the self-imposed limitation in the use of space achieved through a limited selection of geometric shapes and a strict floor plan, De Keersmaeker applies a few organizing principles alien to music which pleasantly disrupt too literal a translation of music into movement.
We have come full circle. As De Keersmaeker states: “A line in space always has a turning point. That turn-around-point at the end of a line injects rhythm into movement precisely due to its finite nature. As a figure, the circle knows of no such quality, since, in principle, its qualities are unending. It may very well be the most successful attempt to make something as abstract as ‘infinity’ into something concrete. Bach also manages to evoke this sense of infinity in his Brandenburg concerti. The piece’s recurring tempos instill a kind of sustained pulse in the whole score, present throughout the whole collection. It was there before the performance started and will continue—inaudibly—afterwards. It is as though for a brief moment you manage to tap into a vibration that has been going on forever and will yet never cease. On the one hand, the music is carried by its rhetorical qualities, an aspect that lends it its eloquence. On the other hand, one could also call it an explicit chant of infinity.”
Similar to Golden Hours, where Shakespeare’s As You Like It provided subtext to the movements, this time she confronted the logic of Bach’s music with the abécédaire of Gilles Deleuze, a television program in which the French philosopher improvises to an abecedarius proposed by Claire Parnet: from “a” for animal and “j” for joy to “t” for tennis and “z” for zigzag. These terms subsequently provide the inspiration for the gestures the dancers not so much act out but touch upon. They are flirting, as it were, with the boundary of not quite acting it out, and make the dance concrete without adding meaning too literally. The letter “d”—for desire—gave rise to a languorous pose, much like in the ecstatic Spanish Baroque paintings by El Greco or Zurbaran, but it draws just shy of being concrete enough to invite interpretation. “What it does do is add punctuation and rhythm,” relates De Keersmaeker, “and a sense of intent and precision.” This attention to refinement and ornamentation—also emphatically present in Bach’s work—provides eloquence without actually saying anything concrete. It invites the audience to regard the movement of the dancer from outside, from the moving body to the intention that triggered the movement in the first place. The body shows itself as something that is not only body but also possesses another component, a component that we would refer to as “spirit.” It gives a sense of deliberation, even though it lacks purpose. (Deliberation without purpose, incidentally, is how Immanuel Kant—Deleuze’s “k”—defined art.) The 26 letters/ poses are gradually dispersed throughout the various concerti and parts within the concerti to add to the development of the piece. This is always done in zigzagging, weaving patterns, both along a straight line and on the edge of an imaginary circle. “Bach possesses a formalism and a high degree of abstraction,” De Keersmaeker explains. “He likes to play around with numerology. But the thing that makes his music so transcendent and popular at the same time, is the way he combines this numerology with clear narratives and recognizable affects. Bach’s music is a clearly developed argument and, at the same time, it is filled to the brim with a sort of mysterious code language. Deleuze’s abecedary is an internal tool—you are not expected to pick up on this. Just as Bach hid mathematical figures in his music, we also have our secret language. They are private jests that give our dances color and direction.”
“What is spirituality?” This is the question André Comte-Sponville asks himself in his booklet The Book of Atheist Spirituality: An Elegant Argument for Spirituality Without God. His answer: spirituality rests on our finite relationship with the infinite, our temporary experience of the eternal, our relative access to the “absolute.” People may be marked by their ability to walk erect, but this ability is much more than a mere technical feat. Humankind decided to straighten its vertebra, and directed its gaze upward. And in that upward gaze lies a question about the condition humaine: why are we as humans so tragically (or comically, depending on perspective) wedged between the finite and infinite, the animal and the deity? What are we supposed to do with such a tragic disjunction? How are we to comprehend the incomprehensible, imagine the unimaginable? But we were completing the circle, so let us return to the question of walking. As a technical side note, we might note the horizontal movement of the vertical spine, which shifts the center of gravity by leaning forward, causing the equilibrium of stasis to be disrupted. It thereby requires the search for a new, temporarily reinstated equilibrium, in a forwardly propelling motion which immediately turns out to be a pivot point for the next state of imbalance. In this purview, walking seems to be nothing less than a constantly controlled state of “failing” to fall over. Or: nothing seems more difficult than walking. This is probably what dancers and in particular choreographers are engaged in: bringing a movement to halt, perhaps only temporarily, inverting and restyling the familiar arsenal of movements available, and thereby endowing them with special significance in the process. In short, the organization of a new access to our own physicality, as well as new modes in which this physicality can be expressed through specific movements. In his essay “Federer: Both Flesh and Not,” which relates Roger Federer’s own particular mode of playing tennis, the American essayist David Foster Wallace pauses at the beauty of the player’s movements, which he refers to as a kind of “kinetic beauty.” “What it seems to have to do with, really,” he notes, “is human being’s reconciliation with the fact of having a body.” Perhaps that is what dance does as well: it styles our movements and physicality, maybe rendering it alien, but also reigniting the miracle of having a body in the first place. Wannes Gyselinck Wannes Gyselinck is a Belgium-based dramaturg, writer, and lecturer on theater, literature, music, dance and art. He received his PhD in Ancient Greek Literature from Ghent University.
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J.S. BACH’S LIFE, MUSIC, AND CULTURAL LEGACY 1685
1721
J.S. Bach composes Concerts avec plusieurs instruments, or “concertos with several instruments,” better known as Brandenburg Concertos
1727
J.S. Bach’s St. Matthew Passion performed for the first time as part of Good Friday services at the St. Thomas Church
1750
J.S. Bach dies in Leipzig
1873
Philipp Spitta publishes a biography of J.S. Bach, considered one of the first significant composer biographies
1926
Bronislava Nijinska choreographs Etude, set to selections from the Brandenburg Concertos
1941
George Balanchine choreographs Concerto Barocco, set to J.S. Bach’s Concerto for Two Violins
1983
Twyla Tharp choreographs Bach Partita, set to J.S. Bach’s Partita No. 2 in D minor for solo violin
2008
Anne Teresa De Keersmaeker choreographs Zeitung to selections by J.S. Bach and performs with pianist Alain Franco. In 2017, she re-works the piece with choreographer Louis Nam Le Van Ho, calling it Zeitigung
2014
J. S. Bach’s St. Matthew Passion, staged by Peter Sellars, is performed by Simon Rattle and the Berlin Philharmonic at Park Avenue Armory
2017
Rosas premieres Mitten wir im Leben sind/Bach6Cellosuiten at Ruhrtriennale (Germany) to J.S. Bach’s Six Cello Suites, choreographed by Anne Teresa De Keersmaeker and performed by cellist Jean-Guihen Queyras
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J.S. Bach born in Eisenach, Germany
1723
J.S. Bach assumes the role of Cantor at the St. Thomas Church in Leipzig, a position he would hold until his death
1747
J.S. Bach travels to Potsdam and Berlin and meets Prussian King Friedrich II, to whom he dedicates the Musical Offering
1829
Felix Mendelssohn leads a revival of J.S. Bach’s St. Matthew Passion in Berlin and spurs renewed interest in the composer’s music
1905
Albert Schweitzer publishes the first of several books about J.S. Bach
1928
Doris Humphrey choreographs Air for the G String, set to a movement from J.S. Bach’s Orchestral Suite No. 3
1975
Paul Taylor choreographs Esplanade to selections from J.S. Bach’s violin concertos
1993
Anne Teresa De Keersmaeker choreographs Toccata to fugues and sonatas by J.S. Bach, which premiered at Beurs van Berlaghe (Netherlands)
2013
Anne Teresa De Keersmaeker’s Rosas premieres Partita 2 choreographed to J.S. Bach’s Partita No. 2 at Kunstenfestivaldesarts (Belgium) performed with Amandine Beyer on violin.
2015
Igor Levit and Marina Abramović debut Goldberg, an immersive interpretation of J.S. Bach’s Goldberg Variations, at Park Avenue Armory
2018
ABOUT THE COMPOSER
In the eastern region of present-day Germany, where J. S. Bach spent the majority of his life and career, the Bach name was synonymous with music making—what we might call today a trusted “brand.” For several generations, members of the Bach family had been active in a variety of musical contexts, whether church, court, or civic institutions. As there were so many different Bachs active in various places, during his lifetime Johann Sebastian Bach was known not by his more common first name but rather by his middle name Sebastian in order to avoid misunderstanding. Sebastian Bach’s career proceeded much like those of his family members and colleagues, moving from one position to another in search of better working conditions, more understanding patrons, and new musical opportunities. During his lifetime and for many years after his death, Bach was not the widely beloved and recognized composer that he is today. To many of his contemporaries and subsequent generations, his music was regarded as arcane and overly complex. In addition to shifts in taste, a few key advocates helped change opinions on Bach’s music. Perhaps most notably, in 1829 (almost 80 years after Bach’s death) the young composer and conductor Felix Mendelssohn led a revival performance of the monumental St. Matthew Passion in Berlin. From this point forward Bach’s reputation would never diminish, and today his music ranks as some of the most performed in the classical repertoire. Equally adept at writing for solo instruments, small groups, or large-scale ensembles, Bach always seemed to compose with innovation and experimentation in mind while at once displaying a clear mastery of rules and expectations, if only to push their boundaries. His Brandenburg Concertos, heard and danced at this performance, are an especially vivid example of this aspect of his compositional personality.
ABOUT THE WORK The six concertos known as the Brandenburg Concertos take their name from the person to whom Bach later dedicated and presented them, the Margrave of Brandenburg, an area of eastern Germany that surrounds Berlin and today is one of the country’s 16 federal states. Bach is said to have composed these works for instruments that he knew were available at the Margrave’s court, though the true genesis story of these works is more interesting and helps explain their unique sonic profile and compositional structure. Indeed, most evidence suggests that Bach created these works as an independent compositional project—that is, they were not written in response to a commission or with a particular patron in mind. Like some of Bach’s other striking large-scale works, such as The Art of Fugue and The Well-Tempered Clavier, the Brandenburg Concertos were thus something of a private laboratory for musical exploration. In classical music the term “concerto” refers to a work of instrumental music in which a smaller group of players—in most cases a solo instrument—is juxtaposed with a larger ensemble. The dynamism of a concerto arises from the interplay between these key components: the soloist and ensemble can join forces for extended periods, and at other times engage in quick exchanges back and forth. At some point, typically towards the end of a movement, the soloist is given an extended passage to showcase their virtuosity—often including opportunities for improvisation—although after such moments the full ensemble always returns to conclude the proceedings. The Baroque era witnessed the somewhat official codification of a three-movement structure for the concerto, with a slower middle movement providing contrast for faster outer movements. It was also common practice to use major and minor keys as a method of heightening contrasts, both among the movements and within movements themselves. A more “mournful” minor key would serve as a foil to a more upbeat “major” key, and vice versa. But the Brandenburg Concertos belong to a more specific genre of concerto unique to the Baroque era, the concerto grosso. In this mode of composing, an ensemble of instruments acts as a collective lead part, instead of being comprised of only one instrument, and as a result the “solo” and “accompanying” components are more equal in size. The concerto grosso is thus a somewhat more flexible genre and blurs the rigid lines between “chamber” and “orchestral” music that would come to be more strictly delineated in later centuries.
Anna Teresa De Keersmaeker choreographs The Six Brandenburg Concertos and tours internationally with Rosas, music director Amandine Beyer, and B’Rock Orchestra Thompson Arts Center at Park Avenue Armory | 643 Park Avenue at 67th Street
A CLOSER LISTEN
INSTRUMENTATION
The actual title given by Bach to the Brandenburg Concertos was somewhat mundane and mechanical: Concerts avec plusieurs instruments, or simply “concertos with several instruments.” This somewhat bureaucratic title belies their true innovation, as each of the six works strikes an interesting balance with respect to concerto grosso form. The works adhere to the fundamental rules and expectations of the genre while offering unique innovations in other respects, in particular regarding instrumentation. “This modest title,” as Bach scholar Christoph Wolff puts it, “does not begin to suggest the degree of innovation exhibited in the daring combinations” in these works.
Concerto No. 1 in F major BWV 1046 1.(without tempo indication) - 2. Adagio - 3. Allegro - 4. Menuetto – Trio – Menuetto – Polacca – Menuetto – Trio - Menuetto concertino: 2 corni da caccia, 3 oboes, bassoon, violino piccolo ripieno: 2 violins, viola, continuo
From beginning to end, the Brandenburg Concertos are a tour de force in instrumental experimentation. The first concerto showcases horns and woodwinds alongside a virtuosic violin part. Especially of note is the contrast between the second and third movements: after a stately slow movement in a minor key, in which the featured instruments take turns voicing lyrical melodic lines, the ensemble shifts into a quick-moving triple meter. Woodwinds also feature prominently in the second concerto, most strikingly in demanding trumpet solos, which at times clearly cut through the dense textures and at others are almost imperceptibly blended into the larger ensemble. Allowing the winds and horns a much deserved break, the third concerto is a showcase for the string section, scored for three violins, three violas, and three cellos with a harpsichord and a few other strings making up the “continuo,” as the supporting ensemble was termed. The middle movement is little more than a brief flourish structured by a progression of several chords, and after less than a minute gives way to a fleet-footed contrapuntal final movement that proceeds swiftly towards a breathtaking conclusion. In the sixth concerto the strings again take center stage, although with a twist: here the lower strings are given a central role, with the lead ensemble comprised of two violas, a cello, and two violas da gamba, a baroque string instrument smaller than a cello but larger than a viola and played “da gamba” or “on the leg.” This unlikely combination produces an especially rich texture and brings the set of concertos to a resonant conclusion.
Concerto No. 2 in F major BWV 1047 1.(without tempo indication) - 2. Andante - 3. Allegro assai concertino: trumpet, recorder, oboe, violin ripieno: 2 violins, viola, continuo Concerto No. 3 in G major BWV 1048 1.(without tempo indication) - 2. Adagio – 3. Allegro concertino: 3 violins, 3 violas, 3 cellos ripieno: continuo Concerto No. 4 in G major BWV 1049 1. Allegro - 2. Andante - 3. Presto concertino: violin, 2 ‘flauti d’echo’ (recorders) ripieno: 2 violins, continuo Concerto No. 5 in D major BWV 1050 1. Allegro - 2. Affettuoso - 3. Allegro concertino: flute (traverso), solo violin, obligato harpsichord (cembalo concertato) ripieno: violin, viola, continuo Concerto No. 6 in B-flat major BWV 1051 1. (without tempo indication) - 2. Adagio ma non troppo - 3. Allegro concertino: 2 violas, 2 viola di gambas, cello ripieno: continuo
The fourth and fifth concertos provide showcases for the flute alongside additional virtuosic parts for the violin. The fifth concerto provides a particularly vivid example of Bach’s balancing of tradition and innovation. In this concerto, the lead ensemble consists of a flute, violin, and harpsichord, a combination of instruments that was somewhat canonical and hallowed in Baroque music. The virtues of this combination are on impressive display in the exquisite, stately second movement, which recalls the dignified mood of dancing at court. In the first movement, however, Bach makes something completely iconoclastic out of this combination, at least as far as the harpsichord is concerned. In the context of the concerto grosso and Baroque music in general, the harpsichord is typically a supporting instrument, most often the anchor of the “continuo” that dutifully accompanies the lead players. Here, however, the harpsichord steals the spotlight for a lengthy solo passage that musicologist Susan McClary has memorably characterized as the “revenge of the continuo player.” Over two hundred years after its composition, this unruly passage—like the Brandenburg Concertos as a whole— stands as a striking and singular moment in the history of classical music. James Steichen James Steichen holds a PhD in musicology from Princeton University and is Director of Individual Gifts at the San Francisco Conservatory of Music. His book Balanchine and Kirstein’s American Enterprise, the real story of what happened during George Balanchine’s first decade in the U.S., is forthcoming this fall from Oxford University Press.
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COMPANY ROSAS
B’ROCK ORCHESTRA
Rosas is the company of the choreographer and dancer Anne Teresa De Keersmaeker. It was founded in 1983 during the creation of the piece Rosas danst Rosas. Since her debut in 1982 with Fase, Four Movements to the Music of Steve Reich, De Keersmaeker has been engaged in a rigorous exploration and articulation of movement, from its simplest forms to its most complex. The relationship between movement and music is essential to De Keersmaeker’s concept of dance. Rosas has expanded the art of dance as an act of writing movements in space and time, and has over the years explored choreography in partnership with other compositional forces, namely music, geometry, the visual arts, and language. De Keersmaeker’s engagement of these disciplines has involved collaborations with experts—musicians, composers, visual artists, actors, writers—who have at different times been integral participants and performers in Rosas productions.
B’Rock Orchestra was created in Ghent in 2005 in order to renew and rejuvenate the world of Early Music. The orchestra is known for a bold and innovative program of early and contemporary music, with special focus given to the first performances of new music. Early music performed in combination with theater, visual art, or video are part of the orchestra’s DNA.
Concurrently with the creation of new pieces, Rosas continues to perform and teach the existing repertoire, which now spans a period of 35 years. In this way the company’s own artistic past continues to be passed on to new generations of dancers and audiences. Ever since De Keersmaeker’s early works began to gain international attention, Rosas has built a strong and vital presence in the dance world, engaging theaters, repertoire companies, opera houses, festivals, workplaces, exhibition spaces, and educational platforms. With the partnership and support of the De Munt/La Monnaie opera house, where Rosas was in residency from 1992 to 2007, and Kaaitheater, Rosas has had a consistent home onstage in Brussels, and has worked with those organizations to foster such projects as P.A.R.T.S., Bal Moderne, and WorkSpaceBrussels. These projects, made possible and propelled with the support of Rosas, have since their inception developed into entirely independent organizations, making space for new in-house projects at Rosas such as Dancingkids and RondOmDans. The Rosas facilities in Brussels are a center of myriad artistic activities and resources in the performing arts. At present the campus is shared with P.A.R.T.S. and the contemporary music ensemble Ictus, and studios are also made available to WorkSpaceBrussels, the summer residents of Summer Studios, and the numerous companies and artists who come to work here. The site is one of the key places in Brussels where established and emerging performing artists can meet and interact in mutually enriching encounters. This production was realized with the support of the Tax Shelter of the Belgian Federal Government, in collaboration with Casa Kafka Pictures Tax Shelter empowered by Belfius.
B’Rock Orchestra does not have one fixed conductor, but instead regularly engages prominent guest conductors and soloists such as René Jacobs, Ivor Bolton, Andreas Spering, Alexander Melnikov, Dmitry Sinkovsky, Bejun Mehta and many others. The orchestra is regularly invited to major concert halls and festivals in Europe such as the Theater an der Wien, the Philharmonie in Paris, Bozar Music, the Concertgebouw Amsterdam, the BBC Proms, the Holland Festival, the Klarafestival, De Munt/La Monnaie, deSingel, the Concertgebouw Brugge, the Kölner Philharmonie, L’Auditori Barcelona, the Wiener Festwochen, the Ruhrtriennale and the Mozartwoche Salzburg. They have developed partnerships with deSingel international arts campus in Antwerp and the Opera de Rouen in France. In 2018, B’Rock Orchestra traveled to Hong Kong and Beijing, and has come to the United States to tour with Rosas, the dance company of Anne Teresa De Keersmaeker. In January 2019, they will debut at the Opera of Paris with René Jacobs and Romeo Castellucci. In the season 2019-2020, the orchestra plans to tour to Japan and South America. Amandine Beyer (violin solo), Jivka Kaltcheva, David Wish, Violin Manuela Bucher, Luc Gysbregts, Marta Páramo, Violas Rebecca Rosen, Frédéric Baldassare, Julien Barre, Cellos Frédéric Baldassare, Julien Barre, Viola da gamba Tom Devaere, Double Bass and Violone Manuel Granatiero, Traverso Paolo Grazzi, Stefaan Verdegem, Jon Olaberria, Oboe Benny Aghassi, Bassoon Fruszi Hara, Trumpet Bart Aerbeydt, Mark De Merlier, Horn Bart Coen, Benny Aghassi, Recorder Andreas Küppers, Cembalo
Rosas is supported by the Flemish Community and by the BNP Paribas Foundation. Boštjan Antončič, Carlos Garbin, Frank Gizycki, Marie Goudot, Robin Haghi, Cynthia Loemij, Mark Lorimer, Michaël Pomero, Jason Respilieux, Igor Shyshko, Luka Švajda, Jakub Truszkowski, Thomas Vantuycom, Samantha van Wissen, Sandy Williams, Sue Yeon Youn, Dancers Lav Crnčević, Concerto Announcer Lav Crnčević, Jose Paulo dos Santos, Bilal El Had, Understudies
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Thompson Arts Center at Park Avenue Armory | 643 Park Avenue at 67th Street
ANNE TERESA DE KEERSMAEKER, CHOREOGRAPHER
AN D’HUYS, COSTUME DESIGNER
In 1980, after studying dance at Maurice Bejart’s Mudra School in Brussels and NYU Tisch School of the Arts in New York, Anne Teresa De Keersmaeker created Asch, her first choreographic work. Two years later came the premiere of Fase, Four Movements to the Music of Steve Reich. De Keersmaeker established the dance company Rosas in Brussels in 1983, while creating the work Rosas danst Rosas. Since these breakthrough pieces, her choreography has been grounded in a rigorous and prolific exploration of the relationship between dance and music. She has created with Rosas a wide-ranging body of work engaging the musical structures and scores of several periods, from early music to contemporary and popular idioms. Her choreographic practice also draws its formal principles from geometry, numerical patterns, the natural world, and social structures to offer a unique perspective on the body’s articulation in space and time.
An D’Huys studied at Sint-Lukas Institute Brussels and fashion at the Royal Academy of Fine Arts in Antwerp. She was part of the design team for Ann Demeulemeester for over 11 years. D’Huys’ recent theatrical productions include: Network (The National Theatre); Obsession (The Barbican); A View from the Bridge (Young Vic, West End, Broadway and Chicago); Lazarus (London and New York Theatre Workshop); Salome, (Dutch National Opera); Cosi fan Tutte (Paris National Opera); Husbands and Wives, The Things that Pass, Othello, Opening Night, Medea, The Fountainhead, Antigone, Kleine Seelen, De stille kracht, Ibsen House, and Kings of War (Toneelgroep Amsterdam); The Damned (Comédie-Française at Avignon, Paris, and Park Avenue Armory, New York); Vu du Pont (Théâtre National de l’Odéon); The Three Sisters, Poquelin, Summerfolk, The Diary of One Who Disappeared, The Marx Sisters, and The Cherry Orchard (TG STAN Antwerp); The Misanthrope (Schaubühne Berlin); La Climenza di Tito (La Monnaie Brussels) Die Walküre, Siegfried and Götterdämmerung (Flanders Opera); and Quartet, Bitches Brew, Mitten wir im leben sind and Kassandra for Rosas. She also designed costumes for several film productions including Toto le héros (Jaco van Dormael) and Rosie (Patrice Toye).
From 1992 until 2007, Rosas was in residence in the Brussels opera house La Monnaie / De Munt. During this period, De Keersmaeker directed a number of operas and large ensemble pieces that have since been performed by repertoire companies worldwide. In Drumming (1998) and Rain (2001), both with Ictus contemporary music ensemble, complex geometric structures together with the minimal motivic music of Steve Reich created compelling group choreographies that remain iconic and definitive of Rosas as a dance company. Also during this time, De Keersmaeker created Toccata (1993) to fugues and sonatas by Johann Sebastian Bach, whose music has continued to be a recurring thread in her work. Verklärte Nacht (1995 and 2014) unfolded De Keersmaeker’s expressionist side, bringing Arnold Schönberg’s late romantic string sextet to life. She ventured into theater, text, and interdisciplinary performance with I said I (1999), In real time (2000), Kassandra—speaking in twelve voices (2004), and D’un soir un jour (2006). She highlighted the use of improvisation within choreography in pieces such as Bitches Brew / Tacoma Narrows (2003, to the music of Miles Davis) and Raga for the Rainy Season / A Love Supreme (2005). In 1995 De Keersmaeker established the school P.A.R.T.S. (Performing Arts Research and Training Studios) in Brussels in association with La Monnaie / De Munt. De Keersmaeker’s latest pieces mark a visible “stripping down” of her choreography to essential principles. In 2013 De Keersmaeker returned to Bach’s music (performed live) in Partita 2, a duet between herself and Boris Charmatz. Also in 2013 she created Vortex Temporum to the spectral music piece of the same name written in 1996 by Gérard Grisey. Vortex Temporum had a one-to-one ratio between the Rosas dancers and the live Ictus musicians, bringing the choreography and the music into meticulous dialogue. In 2015, Rosas premiered Golden Hours (As you like it), using for the first time a body of text (Shakespeare’s As You Like It) as the score for movement. Later that year, De Keersmaeker continued her research into the relationship between text and movement with Die Weise von Liebe und Tod des Cornets Christoph Rilke, a creation based on the eponymous text by Rainer Maria Rilke. In 2017 she was invited by the Paris Opera to direct Mozart’s Così fan tutte, and in the same year she created Mitten wir im Leben sind/Bach6Cellosuiten with the cellist Jean-Guihen Queyras. She brings to Park Avenue Armory her newest choreography, set to Bach’s six Brandenburg Concertos.
AMANDINE BEYER, MUSIC DIRECTOR For several years, Amandine Beyer has been recognized as a leader in the interpretation of the baroque violin repertoire. Her recording of the Sonatas & Partitas by J. S. Bach in 2012 has received a number of international awards (Diapason d’or de l’année, Choc de Classica de l’année, Editor’s choice de Gramophone, Prix Academie Charles Cros, and Excepcional de Scherzo, among others). The work on this masterpiece has continued with Partita 2 with Anne Teresa De Keersmaeker and Boris Charmatz. Beyer plays regularly in the most important halls and festivals worldwide (Theatre du Chatelet, Festival de Sablé, Innsbruck Festwochen, and Konzerthaus de Viena, among others). She shares her time between different music ensembles as well as her own ensemble, Gli Incogniti. Beyond performing, Beyer teaches at the ESMAE of Porto, Portugal, as well as international masterclasses. She has taught baroque violin at the Schola Cantorum Basiliensis in Switzerland since 2010.
JAN VERSWEYVELD, SCENOGRAPHER AND LIGHTING DESIGNER Scenographer and lighting designer Jan Versweyveld received his training at the Sint-Lucas Institute in Brussels and at the Royal Academy in Antwerp. In the 1980s, he and Ivo van Hove were two of the founders of the Flemish theater groups Akt/Vertikaal and Toneelproducties De Tijd. Versweyveld became the regular scenographer of Eindhoven’s Zuidelijk Toneel theater group in 1990, and in 2001 went on to Toneelgroep Amsterdam, where he became the head of scenography and the group’s regular designer. Versweyveld’s wide variety of production credits include: Angels in America, Cries and Whispers, Rocco and his brothers, The Antonioni Project, La Voix Humaine, Teorema, Summer Trilogy, Children of the Sun, And We’ll Never Be Parted, The Miser, The Russians!, Husbands, Macbeth, Long Day’s Journey into Night, Danton’s Dead, The Fountainhead and Mary Stuart. His oeuvre beyond theater includes dance (Rosas) and opera: Lulu and the complete Ring des Nibelungen by the Flemish Opera, I due Foscari by the Munt Opera, Fidelio at L’Opéra Palais Garnier and De zaak Makropulos, La clemenza di Tito, and Iolanta by the Netherlands Opera. In addition to his work with Ivo van Hove and Anne Teresa De Keersmaeker, he has also collaborated with many internationally renowned directors, including Johan Simons and Pierre Audi.
JAN VANDENHOUWE, DRAMATURG After studying musicology at the universities of Leuven and Berlin, Jan Vandenhouwe started working for the Belgian newspaper De Standaard as a music and opera critic. From 2005 to 2008, he was dramaturg of the Opéra national de Paris and worked closely with the artistic director Gerard Mortier. In those years, he was also responsible for the artistic program of l’Amphithéâtre Bastille. From 2009 to 2011, he was responsible for the classical and contemporary music concert program at Concertgebouw Brugge. He has worked as a freelance music dramaturg for various organizations, including Teatro Real (Madrid), Ensemble Intercontemporain (Paris), and Klarafestival (Brussels). He has collaborated with directors such as Anne Teresa De Keersmaeker (Così fan tutte in Paris, Mitten wir im Leben sind at the Ruhrtriennale), Alain Platel (C(H)ŒURS in Madrid, nicht schlafen at the Ruhrtriennale), Ivo van Hove (Macbeth in Lyon, Brokeback Mountain in Madrid, Salome in Amsterdam, Boris Godunov and Don Giovanni in Paris) and Johan Simons (Fidelio in Paris, Boris Godunov in Madrid, Das Rheingold and Alceste at the Ruhrtriennale). From 2015 until 2017 he was Executive Dramaturg (Chefdramaturg) at the Ruhrtriennale. Beginning July 2019, he will be artistic director of Opera Vlaanderen (Antwerp and Ghent).
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FINDING INSPIRATION IN BREAKING THE RULES: THE SIX BRANDENBURG CONCERTOS ARTS EDUCATION PROGRAM “Every voice is singular and unique, but Bach always casts it in terms relative to the other voices. He was extremely inventive when applying rules and then breaking them instantaneously.” –Anne Teresa De Keersmaeker Park Avenue Armory’s arts education program starts the 2018-2019 school year with a focus on the creativity of choreographer Anne Teresa De Keersmaker and composer Johann Sebastian Bach, finding kindred spirits in the artists’ recognition that the uniqueness of each voice is essential to the whole and their practices of setting up rules and then breaking them. Arts education is one of the three prime missions of the Armory, offering students from underserved New York City public schools the opportunity to express their singular voices through the rule-breaking creative process. Students are exposed to the work and practice of world class artists, explore epic works with experiences with Armory teaching artists, and express their own interpretations using a different art form. Every visual art installation extends exclusive “student only” hours and there is at least one dedicated student experience for each performing arts production. Over 700 New York City middle and high school students are participating in programming connected to The Six Brandenburg Concertos. The arts education program for The Six Brandenburg Concertos includes a pre-show workshop in classrooms, attendance at a student matinee performance of the piece, and an in-school post-show workshop. The pre-show workshops, titled “Express Yourself,” introduced students to both De Keersmaeker and Bach, and asked them to explore the idea of expressing music through contemporary movement. Listening to the concertos, students first sketched out what they heard in the music, then turned their individual circles, angles, and spirals into movement, focusing on the body, energy, space, and time. Students learned that De Keersmaeker has been listening to the concertos for 30 years, and only now was she inspired to create choreography to them. They were then asked to think about what inspires them, and how they could creatively express that inspiration. By exploring both the context for the piece, and the art forms that exist within it, the pre-show workshops primed students to attend their matinee of The Six Brandenburg Concertos. Students then attended the student-only matinee and considered the following questions: How are the movement and music in conversation with each other? What are the music and movement communicating to you? What spatial patterns do you notice? Remember that everything onstage is intentional. No matter how effortless or casual a movement or gesture may seem, the choreographer has chosen everything with deliberate intention. Why do you think the choreographer made these choices? Where do you see or hear “systems” or “rules” being established, and where do you see those being broken? A plethora of rules and systems exist for students within a school system, but the creative process is often all about breaking rules. With this in mind, the post-show workshops allowed all students the chance to reflect on their experience at the Armory by creating art of their own. Some students responded through visual art, utilizing graphic visualization or design to interpret The Six Brandenburg Concertos. Others created three-dimensional poetry responding to the point-counterpoint of “ordered chaos or chaotic order” they experienced in the piece and that they experience in their everyday lives. Still others explored the idea of personal inspiration that can develop over time, by creating unique movement pieces that ruminate on what happens when the inspiration becomes bigger than you. Through participating in The Six Brandenburg Concertos arts education program at the Armory, students were immersed in the work of an innovative choreographer and a masterful composer that span classic and contemporary forms, and link to the students' own desire to express their singular and unique voices in relation to the world around them and the need to find moments to break the rules through creative endeavors.
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Thompson Arts Center at Park Avenue Armory | 643 Park Avenue at 67th Street
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 nontraditional spaces for their full realization, enabling artists to create, students to explore, and audiences to consume epic and adventurous presentations that cannot be mounted elsewhere in New York City. Since its first production in September 2007, the Armory has organized and commissioned immersive performances, installations, and cross-disciplinary collaborations by visionary artists, directors, and impresarios in its vast Wade Thompson Drill Hall that defy traditional categorization and push the boundaries of their practice. In its historic period rooms, the Armory presents small-scale performances and programs, including its acclaimed Recital Series in the intimate salon setting of the Board of Officers Room; the Artists Studio series in the newly restored Veterans Room; and Interrogations of Form, a series of conversations which featured artists, scholars, activists, and cultural trailblazers encouraging us to think beyond conventional interpretations of and perspectives on art. The Armory also offers robust arts education programs at no cost to underserved New York City public school students, engaging them with the institution’s artistic programming and the building’s history and architecture. Built between 1877 and 1881, Park Avenue Armory has been hailed as containing “the single most important collection of nineteenth century interiors to survive intact in one building” by the New York City Landmarks Preservation Commission. The 55,000-square-foot Wade Thompson Drill Hall, with an 80-foot-high barrel vaulted roof, is one of the largest unobstructed spaces in New York City. The Armory’s magnificent reception rooms were designed by leaders of the American Aesthetic Movement, among them Louis Comfort Tiffany, Stanford White, Candace Wheeler, and Herter Brothers. The building is currently undergoing a $215-million renovation designed by Herzog & de Meuron and Platt Byard Dovell White Architects as Executive Architects.
PARK AVENUE ARMORY STAFF Rebecca Robertson, Founding President and Executive Producer Pierre Audi, Marina Kellen French Artistic Director Matthew Bird, Deputy Director of Development Jenni Bowman, Producer Hanna Brody, Special Events Coordinator Katie Burke, Individual Giving Coordinator David Burnhauser, Collection Manager Courtney F. Caldwell, Director of Rentals & Event Operations Samantha Cortez, Production Coordinator Khemraj Dat, Accountant Jordana De La Cruz, Program Manager Nathalie Etienne, Administrative Assistant, President’s Office Rafael Flores, Associate Director of Corporate Relations Melanie Forman, Chief Development Officer Alexander Frenkel, Controller Lissa Frenkel, Managing Director Sharlyn Galarza, Education Assistant Pip Gengenbach, Education Manager Chen-An Huang, Administrative Assistant, Facilities Reginald Hunter, Chief Engineer Cassidy Jones, Director of Special Projects Chelsea Emelie Kelly, Youth Corps Manager Paul King, Director of Production Allison Kline, Director of Foundation and Government Relations Nicholas Lazzaro, Technical Director Jennifer Levine, Director of Special Events Michael Lonergan, Producing Director Wayne Lowery, Director of External Operations Claire Marberg, Production Manager Anthony Merced, Database and Website Development Manager Stephanie Mesquita, Rentals Associate Lars Nelson, Technical Director Lori Nelson, Executive Assistant to the President Timothy Nim, Chief Financial and Administrative Officer Aarti Ogirala, Associate Director of Education Isabel Orbon, Associate Director of Major Gifts Brian O’Rourke, Assistant Engineer Jeff Payne, General Manager, Programming Drew Petersen, Education Special Projects Manager Charmaine Portis, Executive Assistant to the Chief Development Officer Kirsten Reoch, Director of Design and Construction Rachel Cappy Risso-Gill, Associate Director of Individual Giving William Say, Superintendent Natalie Schwich, Press & Editorial Manager Melissa Stone, Manager of Special Events Tom Trayer, Director of Marketing Brandon Walker, Technical Director Jessica Wasilewski, Senior Producer Monica Weigel McCarthy, Director of Education Avery Willis Hoffman, Program Director Nick Yarbrough, Digital Marketing Manager Olga Cruz, Leandro Dasso, Mayra DeLeon, Mario Esquilin, Carlos Goris, Cristina Moreira-Soria, Esdras Lopez Herrera, Wayne Gillyard Porters Erik Olson, Box Office Manager Cheyanne Clark, Assistant Box Office Manager Jonatan Amaya, House Manager Lucy Arnerich-Hatch, Daniel George and Terrelle Jones, Assistant House Managers
Summer 2018 Youth Corps Cohort Yao Adja, Farhana Akter, Joseph Balbuena, Adrian Barroso, Odyssey Bowser, Kianna Contreras, Leshawn Croswell, Jr., Koralys de la Cruz, Zeinebou Dia, Chamonté Greenfield, Jordan Griffin, Melina Jorge, Alliyah Melendez, Mauria Pate, Amber Skye Rose, Richard Sanchez, Rochelle Smith Youth Corps Advisory Board Habib Apo-oyin, Nancy Gomez, Jessica de la Pierre Joseph, Rabia Kahn, Oscar Montenegro, Anai Ortiz, Naomi Santiago, Cory Sierra, Darrell Thimoleon, Lucille Vasquez Teaching Artists Kate Bell, Donna Costello, Hawley Hussey, Larry Jackson, Penelope McCourty, Hector Morales, Peter Musante, Drew Petersen, Vickie Tanner Teaching Associates/Assistants Emily Bruner, Nancy Gomez, Stephanie Mesquita, Ashley Ortiz, Leigh Poulos, Neil Tyrone Pritchard, Catherine Talton, Robert Thaxton-Stevenson Production Team Femke Gyselinck, Artistic Assistant Anne Van Aerschot, Artistic coordination and planning Alban Moraud, Aude Besnard, Sound Kees van Houten, Musical Advisor Juan María Braceras, Ekachai Maskulrat, Assistant Musical Analysts Pascal Leboucq, François Thouret, Assistants set and light design Heide Vanderieck, Costumes Coordinator Viviane Coubergs, Charles Gisèle, Ester Manas, Maria Eva Rodrigues-Reyes, Sewing Ella De Vos, Wardrobe Joris Erven, Technical Director Joris De Bolle, Quinten Maes, Michael Smets, Technicians Rosas Production B’Rock Orchestra, Volksbühne (Berlin), La Monnaie / De Munt (Brussels), Opéra de Lille, Opéra National de Paris, Sadler’s Wells (London), Les Théâtres de la Ville de Luxembourg, Concertgebouw (Bruges), Hollandfestival (Amsterdam) Co-production Special thanks to Maria Portman Kelly and Stella Lauren Storr, Company Manager Wednesday Derrico, Assistant Company Manager Darrell Thimoleon, Programming Production Assistant Mark Grey, Sound Design Consultant Simon Nathan, Audio Supervisor Aaron Copp, Lighting Supervisor Kate Ashton, Associate Lighting Supervisor Cameron Hoffman, Head Audio Vaneik Echeverria, Head Carpenter Dave “Tater” Polato, Head Lighting Stephen Pucci, Head Rigger Victoria Bek, Head Wardrobe Sarah Weale, Production Assistant Production Acknowledgements The Lighting Syndicate Five OHM Productions Premier Stagehands Lighting Equipment by Production Resource Group Rigging Equipment by 4Wall Entertainment Automation by Tait Special thanks for Gli Incogniti, Inge Grognard
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NEXT AT THE ARMORY Interrogations of Form FASHION: A NEW SOCIAL AND ENVIRONMENTAL STANDARD
Artists Studio JULIANA HUXTABLE october 10
“Juliana’s voice is integral in this time, because she truly is a beacon of hope. She exists at the crux of almost every type of intersectionality, but still thrives.”—VICE The DJ and artist Juliana Huxtable will create a new work combining video, sound, spoken word, and performance in her ongoing exploration of what it means to be human and to resist the caging of people within fixed selves, private bodies, and prescribed identities. Huxtable straddles the worlds of art, fashion, and night life, exploring the intersections of race, gender, queerness, and sexuality through a mix of media including self-portraiture, text-based prints, club music and parties, poetry, and social media.
Recital Series SEVERIN VON ECKARDSTEIN, piano november 13 & 14
“A young pianist who combined a first rate technique, a probing intellect, an instinctive grasp for the feel of the music, and taste.” —Huffington Post Few other pieces showcase Schumann’s creative expression and unrestricted imagination than his fantasy works, written both early and late in his career. Making his New York recital debut, pianist Severin von Eckardstein captures the subtle variety of this dreamy music in two distinct programs that showcase his superb technique and emotional depth. He opens his residency exploring the connection between Schumann and Russian composer Nikolai Medtner through their exploration of fantastical elements, and then turns to darker myths in a program that pairs the composer’s works with those of Wagner and Liszt.
Interrogations of Form THE FIRST UNITED LENAPE NATIONS POW WOW & STANDING GROUND SYMPOSIUM sunday, november 18
Join us for a day of native art, food, dance competitions, and special performances in addition to a symposium that explores indigenous culture with Inuit (Inuk) experimental vocalist and artist Tanya Tagaq and fellow artists, writers, scholars, performers, and community leaders.
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exhibit: november 27–28 talk: november 27
Amanda Hearst and Hassan Pierre, sustainable fashion pioneers and co-founders of MAISON-DE-MODE.COM explore the power of fashion to affect social change in a conversation about the future of fashion. Also on display is an interactive exhibit demonstrating the lifecycle of ocean plastics from sea to sustainable fashion product, produced in partnership with PARLEY.
THE HEAD AND THE LOAD december 4–15, 2018
“Today’s art world is powerfully drawn to Kentridge because he’s mastered one of our period’s greatest challenges: how to create an art of cultural authority, one that takes the moral measure of our time.” — New York Magazine Renowned South African artist William Kentridge synthesizes elements of his practice to conjure his grandest and most ambitious production to date, commissioned by the Armory. The large-scale new work expressively speaks to the nearly two million African porters and carriers used by the British, French, and Germans who bore the brunt of the casualties during the First World War in Africa and the historical significance of this story as yet left largely untold.
Recital Series THOMAS OLIEMANS, baritone MALCOLM MARTINEAU, piano december 17 & 19
“Thomas Oliemans was vocally impressive, full of zing and swagger, and with pin-sharp enunciation.”—Opera Today Hailed as “one of the most renowned Dutch singers” (Volkskrant), Thomas Oliemans has been taking the opera world by storm with his dynamic vocal color and communicative singing style at major opera houses and festivals throughout Europe, including Dutch National Opera, Royal Opera House Covent Garden, Teatro Real, and the Festival d’Aix-en-Provence and Salzburg Festival. He brings his burnished baritone across the Atlantic to make his U.S. recital debut in an artfully curated program of lieder and arts songs from the late Romantic period.
Thompson Arts Center at Park Avenue Armory | 643 Park Avenue at 67th Street
OTHER HAPPENINGS AT THE ARMORY HISTORIC INTERIORS TOURS
Get an insider’s look at the Armory with a guided walking tour of the building with our staff historian. From the soaring 55,000-square-foot 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.
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.
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.
ARTISTS-IN-RESIDENCE
Launched in 2010, the Armory’s artist-in-residence program supports artists across genres in the creation and development of new work. Each artist sets up a studio in one of the Armory’s period rooms, providing a unique backdrop that can serve as both inspiration and as a collaborator in their project development. Residencies also include participation in the Armory’s arts education program with artists working closely with the Armory’s Youth Corps interns. This season’s artists-inresidence include playwright and screenwriter Lynn Nottage; Cuban installation and performance artist Tania Bruguera; social practice artist Theaster Gates; performance artists Malik Gaines & Alexandro Segade; set designer and director Christine Jones & choreographer Steven Hoggett; playwright Branden JacobsJenkins & performance artist Carmelita Tropicana; and choreographer and Flexn dance pioneer Reggie “Regg Roc” Gray. The Artist-in-Residence Program is made possible by the Andrew W. Mellon Foundation. Previous Armory artists-in-residence have included inventive theater company 600 Highwaymen; theater artists Taylor Mac and Machine Dazzle; writer, director, and production designer Andrew Ondrejcak; vocalist, composer, and cultural worker Imani Uzuri; dancer and choreographer Wally Cardona; visual artist and choreographer Jason Akira Somma; soprano Lauren Flanigan; writer Sasha Frere-Jones; Trusty Sidekick Theater company; vocalist-songwriter Somi; multidisciplinary performer Okwui Okpokwasili; choreographer Faye Driscoll; artist Ralph Lemon; visual artist Alex Dolan; Musician Meredith Monk; sound artist Marina Rosenfeld; string quartet ETHEL; playwright and director Young Jean Lee; and Shen Wei Dance Arts; among others.
JOIN THE ARMORY JOIN OR RENEW YOUR MEMBERSHIP Support Park Avenue Armory as a member and enjoy insider access to what The New York Times has called “the most important new cultural institution in New York City.” We are pleased to recognize the generous support of our members with these special benefits: friend $100 $70 is tax deductible »» Invitation to the opening night preview for visual art installations »» Free admission for you and a guest to visual art installations »» Discounts at local restaurants and hotels »» 10% discount on merchandise sales »» Discount on Armory Guided Tours »» Members only pre-sale access for performance tickets and 20% discount on Members Subscription supporter $250 $200 is tax deductible All benefits of the Friend membership plus: »» Fees waived on ticket exchanges* »» Two free tickets to guided tours *** »» Discount on tickets to the Malkin Lecture Series, Artists Talks and Public Programs* associate $500 $370 is tax deductible All benefits of the Supporter membership plus: »» Members concierge ticket service »» Free admission for two additional guests (a party of four) to Armory visual art installations »» Two complimentary passes to an art fair**
benefactor $1,000 $780 is tax deductible All benefits of the Associate membership plus: »» Recognition in printed programs »» No wait, no line ticket pick up at the patron desk »» Handling fees waived on ticket purchases* »» Invitation for you and a guest to a private Chairman’s Circle event »» Two complimentary tickets to the Malkin Lecture Series, Artists Talks and Public Programs* chairman’s circle starting at $2,500 Members of this exclusive group are offered unique and intimate opportunities to experience the Armory, including invitations to private tours and VIP receptions with world-class artists and access to priority seating. avant-garde starting at $350 The Avant-Garde is a forward-thinking group of Park Avenue Armory supporters in their 20s to 30s that offers a deeper, more intimate connection to the unique and creative concepts behind the Armory’s mission. Members receive exclusive benefits throughout the year, including priority ticketing, special receptions, viewings, talks, and VIP events. education committee starting at $5,000 The Armory’s arts education program reaches thousands of public school students each year, immersing them in the creative process of exceptional visual and performing artists and teaching them to explore their own creative instincts. Education Committee members are invited to special events, meetings, and workshops that allow them to witness the students’ progress and contribute to the growth of the program.
For more information about membership, please call (212) 616-3958; e-mail members@armoryonpark.org. For information on ticketing, or to purchase tickets, please call the Box Office at (212) 933-5812 *For same production; subject to availability **Certain restrictions apply ***Reservations required
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PARK AVENUE ARMORY BOARD OF DIRECTORS Elihu Rose, PhD. Co-Chairman
Marina Abramović Harrison M. Bains Wendy Belzberg Emma Bloomberg Martin Brand Cora Cahan Hélène Comfort Paul Cronson Tina R. Davis Emme Levin Deland Thomas J. DeRosa
Adam R. Flatto Co-Chairman Rebecca Robertson President
Sanford B. Ehrenkranz David Fox Marjorie L. Hart Edward G. Klein, Major General NYNG (Ret.) Ken Kuchin Mary T. Kush Pablo Legorreta Ralph Lemon Heidi McWilliams David S. Moross
Gwendolyn Adams Norton Joel Press Genie H. Rice Amanda J.T. Riegel Janet C. Ross Joan Steinberg Emanuel Stern Mimi Klein Sternlicht Angela E. Thompson Deborah C. van Eck
Anita K. Hersh Wendy Keys Ken Kuchin and Tyler Morgan Mary T. Kush Almudena and Pablo Legorreta Christina and Alan MacDonald Jennifer Manocherian Janet and David P. Nolan Gwen and Peter Norton Lily O’Boyle Michael D. Rhea Amanda J.T. and Richard E. Riegel
Susan and Elihu Rose Janet C. Ross Sana H. Sabbagh Sanford L. Smith Brian S. Snyder Joan and Michael Steinberg Emanuel Stern Mimi Klein Sternlicht Jon Stryker and Slobodan Randjelović Deborah C. van Eck Robert Vila and Diana Barrett Mary Wallach
Founding Chairman, 2000-2009 Wade F.B. Thompson
PARK AVENUE ARMORY ARTISTIC COUNCIL Co-Chairs Noreen Buckfire Michael Field Caryn Schacht and David Fox Heidi and Tom McWilliams
Benigno Aguilar and Gerald Erickson Wendy Belzberg and Strauss Zelnick Sonja and Martin J. Brand Elizabeth Coleman Hélène and Stuyvesant Comfort Mary Cronson Emme and Jonathan Deland Leslie and Thomas DeRosa Krystyna Doerfler Lisa and Sanford B. Ehrenkranz Adam R. Flatto Janet Halvorson
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 +
$100,000 to $249,999
Charina Endowment Fund Citi 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 Bloomberg Philanthropies Lisa and Sanford B. Ehrenkranz Marina Kellen French Almudena and Pablo Legorreta The Andrew W. Mellon Foundation Assemblymember Dan Quart and the New York State Assembly Adam R. Rose and Peter R. McQuillan Donna and Marvin Schwartz Emanuel Stern
$250,000 to $499,999 American Express Michael Field Adam R. Flatto Olivia Tournay Flatto Ken Kuchin and Tyler Morgan Leonard and Judy Lauder Fund The Pierre and Tana Matisse Foundation The Rockefeller Foundation Marshall Rose Family Foundation
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The Achelis and Bodman Foundations R. Mark Adams Linda and Earle Altman Booth Ferris Foundation Sonja and Martin J. Brand Hélène and Stuyvesant Comfort Emme and Jonathan Deland Leslie and Tom DeRosa Ford Foundation Mr. and Mrs. Andrew Gundlach Marjorie and Gurnee Hart Anna Maria and Stephen Kellen Foundation, Inc. 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 Stavros Niarchos Foundation Gwen and Peter Norton Rebecca Robertson and Byron Knief Daniel and Joanna S. Rose The Fan Fox & Leslie R. Samuels Foundation Caryn Schacht and David Fox Harold and Mimi Steinberg Charitable Trust Joan and Michael Steinberg M K Reichert Sternlicht Foundation Mr. William C. Tomson Deborah C. van Eck The Andy Warhol Foundation for the Visual Arts
$25,000 to $99,999 Karen Herskovitz Ackman Arthur R. and Alice E. Adams Foundation AECOM Tishman Benigno Aguilar and Gerald Erickson Art Dealers Association of America The Avenue Association Harrison and Leslie Bains Abigail Baratta Emily and Len Blavatnik The Emma and Georgina Bloomberg Foundation
Emma Bloomberg Noreen and Ken Buckfire Janna Bullock Marco Cafuzzi The Cowles Charitable Trust Caroline and Paul Cronson James and Gina de Givenchy Andrew L. Farkas, Island Capital Group & C-III Capital Partners Katherine Farley and Jerry Speyer Seymour Flug Lorraine Gallard and Richard H. Levy Elizabeth Morse Genius Foundation Howard Gilman Foundation Horace W. Goldsmith Foundation Deborah and Allen Grubman Anita K. Hersh Josefin and Paul Hilal Janine and J. Tomilson Hill Daniel Clay Houghton The Emily Davie and Joseph S. Kornfeld Foundation The Ronald and Jo Carole Lauder Foundation Christina and Alan MacDonald Christine & Richard Mack Marc Haas Foundation New York State Council on the Arts Frank and Elizabeth Newman David P. Nolan Foundation Donald Pels Charitable Trust The Reed Foundation Rhodebeck Charitable Trust Genie and Donald Rice Amanda J.T. and Richard E. Riegel Mrs. Arthur Ross Nicholas and Shelley Schorsch The Shubert Foundation Sydney and Stanley S. Shuman Amy and Jeffrey Silverman Skadden, Arps, Slate, Meagher & Flom LLP Peter and Jaar-mel Sloane / Heckscher Foundation Sanford L. Smith Howard & Sarah D. Solomon Foundation Jennifer and Jonathan Allen Soros Jon Stryker and Slobodan Randjelovic´ Sharzad and Michael Targoff
Thompson Arts Center at Park Avenue Armory | 643 Park Avenue at 67th Street
TEFAF NY Tishman Speyer Properties, LP Robert and Jane Toll Anonymous (4)
$10,000 to $24,999 Jamie Alter and Michael Lynton Helaine and Victor Barnett Ginette Becker Eileen Campbell and Struan Robertson Mr. and Mrs. Robert Cochran Elizabeth Coleman Con Edison Mary Cronson / Evelyn Sharp Foundation Cultural Services of the French Embassy David Dechman and Michel Mercure Jennie L. and Richard K. DeScherer Krystyna Doerfler William F. Draper Peggy and Millard Drexler The Durst Organization Ehrenkranz & Ehrenkranz LLP Andra and John Ehrenkranz Caryl S. Englander Florence Fearrington The Fribourg Family Barbara and Peter Georgescu The Georgetown Company Kiendl and John Gordon Archie Gottesman and Gary DeBode Jeff and Kim Greenberg Janet Halvorson Mr. and Mrs. Lawrence Hite Jack Shainman Gallery Rachel and Mike Jacobellis Kaplen Brothers Fund Jennie Kassanoff and Dan Schulman Kekst and Company Incorporated Randy Kemper and Tony Ingrao Suzie and Bruce Kovner Lavazza Donna and Jeffrey Lenobel Leon Levy Foundation George S. Loening Andrea Markezin Press and Joel Press Cynthia Woods Mitchell Fund of the National Trust for Historic Preservation Patty Newburger and Bradley Wechsler Lily O’Boyle Mario Palumbo and Stefan Gargiulo PBDW Architects Joan and Joel I. Picket Noel Pittman Katharine Rayner Thomas J. Reid Kimberly and Scott Resnick Michael D. Rhea Mary Jane Robertson and Jock Clark Chuck and Stacy Rosenzweig Deborah and Chuck Royce Fiona and Eric Rudin May and Samuel Rudin Family Foundation, Inc. Susan Rudin Sana H. Sabbagh Mr. and Mrs. William Sandholm Susan and Charles Sawyers Stacy Schiff and Marc de la Bruyère Dr. and Mrs. Thomas P. Sculco Brian S. Snyder Sotheby’s Michael and Veronica Stubbs Mr. and Mrs. Dave Thomas Laurie M. Tisch Illumination Fund Merryl and JamesTisch Barbara and Donald Tober Robert Vila and Diana Barrett Mary Wallach David Wassong and Cynthia Clift WME Anonymous (2)
$5,000 to $9,999 Jody and John Arnhold Milton and Sally Avery Arts Foundation Candace and Rick Beinecke Debra and Leon Black Leslie Bluhm and David Helfand Nicholas Brawer Catherine and Robert Brawer Amanda M. Burden Marian and Russell Burke Canard, Inc. CBRE
Chilton Foundation Diana Davenport and John Bernstein Elizabeth de Cuevas Richard and Barbara Debs Mary Ellen G. Dundon Eagle Capital Management, L.L.C. David and Frances Eberhart Foundation Karen Eckhoff Dr. Nancy Eppler-Wolff and Mr. John Wolff EverGreene Architectural Arts The Felicia Fund Lori Finkel and Andrew Cogan Fisher Marantz Stone Gail Flatto Ella M. Foshay and Michael B. Rothfeld Mr. and Mrs. Stephen and Amandine Freidheim Fried, Frank, Harris, Shriver & Jacobson LLP Bart Friedman and Wendy A. Stein Teri Friedman and Babak Yaghmaie Debbi Gibbs Mr. and Mrs. Tom Glocer The Francis Goelet Charitable Lead Trusts Sarah Gould and David Steinhardt Jeff Greene, Desiree Greene and Kim Lovejoy Agnes Gund Mr. and Mrs. Brian Higgins Ionian Management Sonny and Michelle Kalsi Richard Katzman Mr. and Mrs. Fernand Lamesch Stephen Lash and Wendy Lash Lazard Chad A. Leat Alexia and David Leuschen Gail and Alan Levenstein Aaron Lieber and Bruce Horten The Honorable and Mrs. Earle I Mack Shelly and Tony Malkin James C. Marlas and Marie Nugent-Head Marlas Diane and Adam E. Max Rick and Dee Mayberry Renee and David McKee Joyce F. Menschel Mr. and Mrs. Danny Meyer Elizabeth Miller and James Dinan Sergio and Malu Millerman Claire Milonas Sue Morris Mr. and Mrs. Robert Morse Beth and Joshua Nash Mr. and Mrs. Michael Newhouse Liz and Jeff Peek Gabriela Peréz Rocchiette Betsy and Rob Pitts Cynthia Hazen Polsky and Leon B. Polsky Susan Porter Anne and Skip Pratt Preserve New York, a grant program of Preservation League of New York Helaine and Michael Pruzan David Remnick and Esther Fein Richenthal Foundation Ida and William Rosenthal Foundation Reed Rubin and Jane Gregory Rubin H. Onno and Renée Ruding Saks Fifth Avenue Ms. and Mr. Nancy Sanitsky Mr. and Mrs. Stephen Schwarzman Claude Shaw and Lara Meiland-Shaw Bob and Eva Shaye Lea Simonds Patricia Brown Specter Dr. and Mrs. Eugene E. Stark, Jr. Mr. and Mrs. Michael Steinhardt Tom Strauss Elizabeth Stribling and Guy Robinson The Jay and Kelly Sugarman Foundation Ellen and Bill Taubman Michael Tuch Foundation Mr. and Mrs. Ronald Ulrich Mr. and Mrs. Jan F. van Eck Andrew E. Vogel and Véronique Mazard Anastasia Vournas and J. William Uhrig Lulu C. Wang Diana Wege Isak and Rose Weinman Foundation, Inc. Michael Weinstein Lynne Wheat Lisa Bjornson Wolf Cynthia Young and George Eberstadt Mr. and Mrs. Nathaniel Zilkha Zubatkin Owner Representation, LLC Anonymous (2)
$2,500 to $4,999
armoryonpark.org | @ParkAveArmory | #PAABrandenburg
Debra Abell Katie Adams Schaeffer Susan Heller Anderson Cristiana Andrews Cohen and David Cohen Peter Balis Vanessa Ana Barboni Laurel Beebe Barrack Tony Bechara Mr. Lawrence B. Benenson Mr. and Mrs. Jonathan Berger Stephen Berger Mr. and Mrs. Robert Birnbaum Claudia and George Bitar Hana and Michael Bitton Allison M. Blinken Donald and Vera Blinken Mr. and Mrs. Mark Bloom John Bonanno / Phoenix Interior Contracting Marc Brodherson and Sarah Ryan Stacey Bronfman Amy and Kevin Brown Veronica Bulgari and Stephan Haimo Mr. and Mrs. Arthur Carter Cartier S.A. Emy Cohenca Betsy Cohn Margaret Conklin Ellie and Edgar Cullman The Cultivist Joshua Dachs / Fisher Dachs Associates Theatre Planning and Design Virginia Davies and Willard Taylor Jacqueline Didier and Noah Schienfeld Francesca and Michael Donner Jeanne Donovan Fisher Christopher A. Duda Anne and Joel Ehrenkranz Martin and Rebecca Eisenberg Foundation Mr. and Mrs. Leonard Feinstein Mr. and Mrs. Ziel Feldman First Republic Bank Edmée and Nicholas Firth Laura Fisher Gwen and Austin Fragomen Inger McCabe Elliott Sarah Jane and Trevor Gibbons Sylvia Golden Elizabeth and David Granville-Smith Great Performances Jeanne Greenberg Rohatyn and Nicholas Rohatyn Jamee and Peter Gregory Mr. and Mrs. George Grunebaum Susan Gutfreund John Hargraves Harkness Foundation for Dance Daisy Helman Stephanie and Stephen Hessler Robert Jaffe and Natasha Silver Bell Mr. and Mrs. Morton Janklow Jeanne Kanders Meredith J. Kane & Richard T. Sharp Herbert Kasper Adrienne Katz Diana King / The Charles & Lucille King Family Foundation Erin and Alex Klatskin Phyllis L. Kossoff Mr. and Mrs. Glenn Krevlin Mr. and Ms. Douglas Krupp Justin Kush Sahra T. Lese Phyllis Levin Jane K. Lombard Liz Lubnina and Tom Sternfeldt Billy and Julie Macklowe Judith and Michael Margulies Angela Mariani Bonnie Maslin Nina B. Matis Constance and H. Roemer McPhee Mr. and Mrs. Prakash Melwani Mr. and Mrs. William Michaelcheck Sally Minard and Norton Garfinkle Sandra Earl Mintz Allen Model and Dr. Roberta Gausas Mr. and Mrs. Saleem Muqaddam Mary Kathryn Navab Mr. and Mrs. Daniel Neidich Mr. and Mrs. Jesse Newhouse Kathleen O’Grady Simon Oren David Orentreich, MD / Orentreich Family Foundation Peter and Beverly Orthwein Meredith Palmer Mindy Papp
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Madison J Papp Marnie Pillsbury Tracey and Robert Pruzan Richard Reiss Diana and Charles Revson Heidi Rieger Eric Roberts and Robianne Mackin Jonathan F.P. and Diana Rose Aby and Samantha Rosen Susan and Jon Rotenstreich Valerie Rubsamen and Cedomir Crnkovic Bonnie J. Sacerdote Jane Fearer Safer Dr. and Ms. Nathan Saint-Amand Paul H. Scarbrough / Akustiks, LLC. Sofie Scheerlinck Mr. and Mrs. Wilfred N. Schlumberger Caroline Schmidt-Barnett Victoria Schorsch Steve Schroko and Frank Webb Mr. and Mrs. Joe Schueller Sara Lee and Axel Schupf Lise Scott and D. Ronald Daniel Uma Seshamani and Jason van Itallie Jonathan Sheffer Lee Shull and Arthur Pober Stephanie and Fred Shuman Mr. and Mrs. Bill Sick Alan and Sandy Siegel Gillian Hearst Shaw Laura Skoler Margaret Smith Sara Solomon Mr. and Mrs. David Sonenberg Sonnier & Castle Daisy M. Soros Squadron A Foundation Gayfryd Steinberg and Michael Shnayerson Doug Steiner Leila Maw Straus Dorothy Strelsin Foundation / Enid Nemy Elizabeth F. Stribling and Guy Robinson Mr. and Mrs. Allen Thorpe Christopher Tsai and AndrĂŠ Stockamp / Tsai Capital Corporation Mr. and Mrs. Thomas Tuft L.F. Turner Mr. and Mrs. John Usdan Peter Van Ingen and Alexandra Oelsner Ambassador and Mrs. William J. vanden Heuvel Patrick van Maris Susan and Kevin Walsh Arete Warren Jane Wechsler David Reed Weinreb Jacqueline Weld Drake Katherine Wenning and Michael Dennis Gary Wexler Kate R. Whitney and Franklin A. Thomas Brian and Jane Williams Francis Hunnewell Williams Maria Wirth Mr. and Mrs. Glen Wood Amy Yenkin and Robert Usdan Neda Young Judy Francis Zankel Donald Zilkha Richard and Franny Heller Zorn Anonymous (4)
$1,000 to $2,499 Marina Abramović Catherine Adler Noreen K. Ahmad and Ahmar Ahmad Todd J. Albert Anka Ann Anderssen Mr. and Mrs. John Argenti David and Alatia Bach Rebecca Lynn Bagdonas Laura Zambelli Barket Hugo Barreca and Wendy Schlemm Norton Belknap Mr. Allen Bell and Mr. David Ziff Dale and Max Berger Elaine S. Bernstein Clara Bingham Katherine Birch Bluestem Prairie Foundation Dr. Suzy and Mr. Lincoln Boehm Mr. and Mrs. Sheldon Bonovitz Mr. and Mrs. Livio Borghese Mr. and Mrs. Michael Bradley Mr. and Mrs. Louis Brause Diane Britz Lotti
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Mr. and Mrs. Cliff Brokaw Gabriela Bronfman Matthew Bronfman Spencer Brownstone Mr. and Mrs. Gilbert Butler Cora Cahan and Bernard Gersten Hilary Cecil-Jordan Anna Chapman and Ronald Perelman Sommer Chatwin Racquel Chevremont and Mickalene Thomas Shirin and Kasper Christoffersen Bradley A. Connor Alexander Cooper Mr. and Mrs. Andrew Crisses Austen and Ernesto Cruz Boykin Curry Lynn Dale and Frank Wisneski Mr. and Mrs. Charles Daniels Christina R. Davis Suzanne Dawson Luis y Cora Delgado Diana Diamond and John Alschuler Ms. Elizabeth Diller and Mr. Richard Scofidio Peter Droste and Morgan Beetham Mr. and Mrs. John Dunn Mr. and Mrs. Frederick Elghanayan Jacqueline Elias Yevgeniya Elkus Mr. and Mrs. Douglas Erb Jared Feldman / Anchin Private Client Mr. and Mrs. Alessandro Fendi Mr. and Mrs. Brian Fisher Candia Fisher Megan Flanigan Paul and Jody Fleming Delia Folk Scott Fulmer and Susan Kittenplan Fulmer Shawna Cooper Gallancy Julie Geden Bruce and Alice Geismar Mr. and Mrs. Scott Gerber Alberta Gerschel and Peter Wasserman Mr. and Mrs. David Getz Mark Gimbel Kathleen and David Glaymon Nina Gorrissen von Maltzahn Marieline Grinda and Ahmad Deek Frances and Gerard Guillemot Kathleen and Harvey Guion Raymond Hannigan Herrick Feinstein LLP William T. Hillman Hodgson Russ LLP Caroline Eve Hoffman Lauran Paten Hughes John Wiley & Sons, Inc. Christopher and Hilda Jones Hon. Bruce Kaplan and Janet Yaseen Drs. Sylvia and Byram Karasu Margot Kenly and Bill Cumming Cynthia and Stephen Ketchum Hadley C. King Major General Edward G. Klein, NYNG (Ret.) Mr. and Mrs. Chris Kojima Kate Krauss Kimberly Kravis and Jonathan Schulhof Polly and Frank Lagemann Lagunitas Brewing Co. Nanette L. Laitman Gregg Lambert (co-founder), Perpetual Peace Project, CNY Humanities Co Barbara Landau Mr. and Mrs. Sheldon Landau Judith Langer Mark and Taryn Leavitt Julia Ledda Ralph Lemon Brenda Levin Ms. and Mrs. Paul Lowerre Donna and Wayne Lowery Henry Luce Foundation John D. and Catherine T. MacArthur Foundation Alexander Maldutis and Reena Russell Nasr Match 65 Brasserie Melissa Meeschaert The Meyer Family Laurent Mialhe Lauren Michalchyshyn Nicole Miller and Kim Taipale Adriana and Robert Mnuchin Whitney and Andrew Mogavero Mr. and Mrs. Pierre Mordacq Cindy and David Moross Mr. and Mrs. Mark Newhouse Sassona Norton and Ron Filler
Mr. and Mrs. Marvin Numeroff Nancy and Morris W. Offit Robert Ouimette and Lee Hirsch Mr. and Mrs. Stuart Parker Mr. and Mrs. Lee Parks Mr. and Mrs. Brian Pfeifler Mr. and Ms. Robert Pittman Mrs. and Mr. Geri Pollack Michael F. Poppo Laura Poretzky-Garcia Prime Parking Systems Mr. and Mrs. Thomas L. Pulling Martin and Anna Rabinowitz Mr. and Ms. John Rice Roberto Cavalli Mr. and Mrs. David Rogath Alexandra Lind Rose Marjorie P. Rosenthal RoundTable Cultural Seminars Whitney Rouse Julia Ryan Mr. and Mrs. Mortimer Sackler Elizabeth Sarnoff and Andrew Cohen Mr. and Mrs. Matthew Satnick Pat Schoenfeld Amy Schulman Marshall Sebring and Pepper Binkley Kimia Setoodeh Nadine Shaoul and Mark Schonberger Mr. and Mrs. Michael Shuman Neil Simpkins and Miyoung Lee Salwa J. Aboud Smith and Robert P. Smith Mary Elizabeth Snow James Spindler Emily L. Spratt Max Stafford-Glenn Mark Stamford Mr. and Mrs. Myron Stein Colleen Stenzler Allen Stevens Tricia Stevenson Studio Institute Mr. and Mrs. Phillip Summers Summit Security Services, Inc. Lee Wyndham Tardivel Jeffrey Alan Teach Vincent Teti Jennifer Tipton Lizzie and Jonathan Tisch Olivia Tyson Mr. and Mrs. Christophe Van de Weghe Joseph Vance Architects Dionysios Vlachos Mr. and Mrs. John Vogelstein Teri and Barry Volpert Mr. and Mrs. Alexander von Perfall Vranken Pommery America Annell Wald and Ivor Cummings Saundra Whitney Walter B. Melvin Architects, LLC Caroline Wamsler and DeWayne Phillips Lucy Massey Waring Lauren and Andrew Weisenfeld Mr. and Mrs. Arthur Williams Mr. and Mrs. Steven Wisch Lisa Wolfe Jon and Reva Wurtzburger Meghan and Michael Young Mr. and Mrs. Alexis Zoullas Anonymous (5) List as of September 10, 2018 * Deceased
Thompson Arts Center at Park Avenue Armory | 643 Park Avenue at 67th Street