A NOTE FROM THE ARTISTIC DIRECTOR Park Avenue Armory strives to engage audiences with eclectic, immersive, and thought-provoking works that are in direct dialogue with the vast sweep of the Armory’s unique spaces, whether it is the soaring Wade Thompson Drill Hall or the intimate period rooms. And with its pristine acoustic and austere elegance, the Board of Officers Room is like no other in offering the chance to enjoy the art of the recital and music-making in the most personal of settings. The 2018 season marks the sixth year for the recital series, which continues to showcase both classical and contemporary repertoire performed by world class artists at the height of their craft. We are thrilled to introduce to New York pianist Severin von Eckardstein, who showcases his superb technique and emotional depth with a unique residency at the Armory with programs that explore the fantastical elements connecting Schumann and a range of other composers. And having performed at major opera houses and festivals throughout Europe, baritone Thomas Oliemans makes his U.S. recital debut with an artfully curated program of German lieder and French arts songs from the late Romantic period. Paired with our ongoing partnership with the Metropolitan Opera’s Lindemann Young Artist Development Program, the series will be featuring exciting new voices not seen elsewhere in New York. We continue to explore new directions with the acclaimed choral group The Crossing, who perform an ambulatory concert that utilizes the corridors and historic rooms in New York premieres of thrilling new works, including one co-commissioned by the Armory, that continues the Armory’s commitment of nurturing cutting edge contemporary composers. We are also thrilled to welcome to the Armory for the first time two dynamic young singers taking the opera world by storm. Mezzo-soprano Isabel Leonard brings her impeccable technique and vocal artistry to a program of beloved favorites and lessen known gems of Leonard Bernstein in a program celebrating the legacy of the influential composer in honor of the centenary of his birth. Soprano Nadine Sierra performs a wide ranging program of art songs from Schumann and Strauss to Barber and Bernstein that offers audiences the chance to get to know the seamless technique, abundant musicality, and vocal beauty of this star on the rise in one of the only spaces that could provide such a personal encounter—the Board of Officers Room This year’s lineup offers audiences even more chances to enjoy the intimacy of a beautiful range of chamber music experiences performed by artists with a highly distinctive international profile. I hope you will join in my excitement for witnessing these magical moments in music. Pierre Audi Marina Kellen French Artistic Director
2018 RECITAL SERIES IN THE RESTORED BOARD OF OFFICERS & VETERANS ROOMS wednesday, september 19 at 7:30pm thursday, september 20 at 5:00pm & at 7:30pm Thompson Arts Center at Park Avenue Armory
THE CROSSING DONALD NALLY, conductor with ALEXANDER HERSH, ARLEN HLUSKO, and THOMAS MESA, cello
The Recital Series is supported in part by The Reed Foundation. The Recital Series is also made possible by the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature. Support for Park Avenue Armory’s artistic season has been generously provided by the 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.
SEASON SPONSORS
SERIES SPONSOR
PROGRAM Of Arms and the Man Act 1: Board of Officers Room Prelude David Lang
depart (2002, New York Premiere)
Scene 1 Gabriel Jackson
Our flags are wafting in hope and grief (2014, New York Premiere)
Scene 2 Kile Smith Scene 3 Toivo Tulev
Conversation in the Mountains from Where Flames A Word (2009, New York Premiere) † A child said, what is the grass? (2015, New York Premiere) †
Scene 4 Louis Andriessen
Ahania Weeping (2016, New York Premiere) †
Scene 5 Ted Hearne
Animals (2018, New York Premiere) †*
Intermission: Please proceed to the hallway. Act 2: Veterans Room Entr’acte Suzanne Giraud
Johannisbaum (2011, New York Premiere)
Scene 1 David Shapiro
Sumptuous Planet (2016, New York Premiere) †
Scene 2 Sebastian Currier
Sanctus from Night Mass (2003)
Scene 3 Gabriel Jackson
Rigwreck (2013, New York Premiere) †
Scene 4 Benjamin CS Boyle
Empire of Crystal (2016, New York Premiere) †
Scene 5 David Lang
last spring (2015)
† Written for The Crossing * Commissioned by Park Avenue Armory and The Crossing This performance is approximately one hour and thirty minutes in length, including one intermission.
2
Thompson Arts Center at Park Avenue Armory | 643 Park Avenue at 67th Street
ABOUT THE PROGRAM Where are Whitman’s wild children, where the great voices speaking out with a sense of sweetness and sublimity, where the great new vision, the great world-view, the high prophetic song of the immense earth and all that sings in it And our relations to it This was Lawrence Ferlinghetti’s call to poets in 1976. The United States was celebrating its bicentennial; war-free for over two years, things seemed OK, but Ferlinghetti wasn’t buying it: Don’t wait for the Revolution or it’ll happen without you, Stop mumbling and speak out These words ring in my ears when I think about the Rage that surrounds us today. I felt that Rage had to be a part of the story we tell here in our Armory recital, and I kept it in mind as I wrestled with forming a recital program that makes sense for these rooms. A recital is conventionally a series of smaller works that show a wide range of technique and expression. But, The Crossing migrates toward longer works that tell stories over broad landscapes. Storytelling is at the heart of what we do together; range is less important. What story do we tell here, and how does it relate to this moment in time? Rage continued to speak; maybe if we could make a program of shorter works that acknowledges our confusion, we might better understand it— even just a little? These fantastic rooms evoke so many ironies. The dedication of the building in post-Civil-War United States, a time of hope, a reaffirmation of democracy. The absence of aristocracy in our military today aligned with the post-Vietnam dissolution of the Guard as a safe haven for the elite. Our current, continued participation in, by many accounts, the longest war in our nation's short history. And, the rooms themselves, as a backdrop to what we actually do in such facilities, which is train people to kill other people. Here, I keep feeling Virgil's opening line: “Of arms and the man I sing” – or, less poetically translated, “I sing of warfare and a man of war.” The beginning of a journey, born of conflict and sorrow – a story that attempts to make sense of out the confounding. A literary masterpiece in which Rage is everywhere. Rage supplies arms. Next to Rage in Aeneid lies “Courage,” equally omnipresent in Virgil’s view of the world. These two neighbors inspired our meandering journey through The Armory, reflecting on conflict and loss, our relationship to the earth, to each other, and to money. Money is certainly in these rooms, and is the apex to this journey, in Gabriel Jackson’s monumental Rigwreck (written for us in 2011). This setting of a poem from Pierre
Joris based on a personal story from the Deepwater Horizon disaster is one of the only works I know in which Rage wins. Toivo Tulev’s A child says, what is the grass? (written for us in 2015) leaves Rage behind and meditates on life and death; here, the fearful and spiritual coexist closely. It finds Whitman responding to the child with typical paradoxes, first stating he’s not up to the task, then spending thirty lines attempting to do just that, and, finally, marvelously, forming his own question; what do you think has become of those lying under the grass? Lying at the center of the recital is our new work from Ted Hearne, Animals. Ted has written us a number of works, and we make great partners. He likes words, like we do, and he likes to find out what it means to sing words of other people – people that may differ greatly from us – in an attempt to understand more about them, and about us. Animals does that. Let me rage before I die. The bookends of the concert differ from these angst-inspired works. We begin, like Virgil, in media res, literally, in the middle of a work written for those left behind. David Lang's depart was not intended for live performance, but as a looped recording for the morgue at a hospital in Garches, France. For years I have wanted to present it live; The Armory, with its free flow between reception rooms and Great Hall is the right place and time, inviting us to move into a particular place at a particular time. What I think is most noble about this project is not that the space or the music can really make the pain any easier to bear, but that the doctors felt morally compelled to try everything in their powers to ease the suffering around them. It's a beautiful idea. A beautiful idea lies behind our closing work as well, David’s memorial to Kippy Stroud. The text, based on a Norwegian poem set by Grieg, is a moving description of an old man watching Winter change into Spring, not knowing if he will live to see another. The voices, marking time like a clock that occasionally skips, gradually disappear. In between these bookends, we journey through the mountains and the universe, the ancient and modern, in a concert loosely inspired by Virgil’s observations and Ferlinghetti’s warnings. We don’t propose any answers to the questions posed; we just think it’s worth asking them. The trees are still falling and we’ll to the woods no more. No time now for sitting in them As man burns down his own house to roast his pig —Donald Nally, August 28, 2018 (Quotations are from Aeneid, Ferlinghetti’s “Populist Manifesto No. 1,” and David Lang)
armoryonpark.org | @ParkAveArmory
3
ABOUT THE ARTISTS The Crossing is a professional chamber choir conducted by Donald Nally and dedicated to new music. It is committed to working with creative teams to make and record new, substantial works for choir that explore and expand ways of writing for choir, singing in choir, and listening to music for choir. Many of its over seventy commissioned premieres address social, environmental, and political issues. Highly sought-after for collaborative projects, The Crossing’s first such partnership was as the resident choir of the Spoleto Festival in Italy, in 2007. Since then, collaborators include the International Contemporary Ensemble (ICE), American Composers Orchestra, Network for New Music, Lyric Fest, PRISM Saxophone Quartet, Beth Morrison Projects, Pig Iron Theatre Company, Los Angeles Philharmonic, Lincoln Center for the Performing Arts, Mostly Mozart Festival, National Gallery of Art, Kennedy Center for the Performing Arts, Metropolitan Museum of Art, Cleveland Museum, Institute for Advanced Study, Carnegie Hall, National Sawdust, and Northwestern University. The Crossing holds an annual residency at the Warren Miller Performing Arts Center in Big Sky, Montana. With a commitment to recording its commissions, The Crossing has issued 14 releases, receiving a Grammy Award for Best Choral Performance in 2018—its second nomination in as many years. The Crossing, with Donald Nally, is the American Composers Forum’s 2017 Champion of New Music. They are the recipients of the 2015 Margaret Hillis Award for Choral Excellence, three ASCAP Awards for Adventurous Programming, and the Dale Warland Singers Commission Award from Chorus America.
Donald Nally is responsible for imagining, programming, commissioning, and conducting The Crossing. He is also the director of choral organizations at Northwestern University where he holds the John W. Beattie Chair of Music. Nally has served as chorus master at the Lyric Opera of Chicago, Welsh National Opera, Opera Philadelphia, and for many seasons at the Spoleto Festival in Italy. With The Crossing, Nally was the American Composers Forum 2017 Champion of New Music; he received the 2017 Michael Korn Founders Award from Chorus America and is the only conductor to have two ensembles receive the Margaret Hillis Award for Excellence in Choral Music. This season, Nally is visiting resident artist at the Park Avenue Armory, music director of The Mile-Long Opera on the High Line, and chorus master for Julia Wolfe’s Fire in my Mouth and David Lang’s prisoner of the state, both at the New York Philharmonic. Nally, with The Crossing, won the 2018 Grammy Award for Best Choral Performance. The Crossing Katy Avery Julie Bishop Karen Blanchard Steven Bradshaw Colin Dill Will Doreza Robert Eisentrout Ryan Fleming Joanna Gates Steven Hyder Michael Jones Heidi Kurtz Chelsea Lyons Rebecca Myers Daniel O’Dea Rebecca Oehlers Jack Reeder James Reese Alissa Ruth Daniel Schwartz Daniel Spratlan Rebecca Siler Elisa Sutherland Shari Wilson Donald Nally, conductor John Grecia, keyboards
4
Thompson Arts Center at Park Avenue Armory | 643 Park Avenue at 67th Street
TEXTS depart (New York Premiere) music by David Lang (b. 1957)
Conversation in the Mountains from Where Flames a Word (New York Premiere) music by Kile Smith (b. 1956) words by Paul Celan (1920-1970)
wordless
Our flags are wafting in hope and grief (New York Premiere) music by Gabriel Jackson (b. 1962) words by Doris Kareva (b. 1958) trans. Miriam McIlfatrick-Ksenofontov (b. 1961) Our flags are wafting in hope and grief, through turmoil we are silent and stern. A moment has come – a moment so brief, perhaps a point of no return. We live with regret, we live with doubt, our roots are tangled and ancient. The timidest heart that never spoke out now breaks into song, impatient. Whatever we had, whatever we lost, whether valued or taken for granted, a voicing of freedom at whatever cost cannot now be recanted.
Commissioned by The Crossing and Donald Nally for The Celan Project at the annual festival of new music, The Month of Moderns. Premiered June 5, 2009 at the Presbyterian Church of Chestnut Hill. “You’ve come a long way, have come all the way here…” “I have. I’ve come, like you.” “I know.” “You know. You know and see: The earth folded up here, folded once and twice and three times, and opened up in the middle, and in the middle there is water, and the water is green, and the green is white, and the white comes from even farther up, from the glaciers, and one could say, but one shouldn’t, that this is the language that counts here, the green with the white in it, a language not for you and not for me—because, I ask you, for whom is it meant, the earth, not for you, I say, is it meant, and not for me—a language, well, without I and without You nothing but He, nothing but It, you understand, and She, nothing but that.” “I understand, I do. After all, I’ve come a long way, I’ve come like you.” “I know.” From Paul Celan: Collected Prose, translation from the German by Rosmarie Waldrop, The Sheep Meadow Press, Riverdale-on-Hudson, N.Y. Translation © 1986 by Rosmarie Waldrop. Used by permission.
Please turn page quietly. armoryonpark.org | @ParkAveArmory
5
A child said, what is the grass? (New York Premiere) music by Toivo Tulev (b. 1958) words by Walt Whitman (1819-1892)
They are alive and well somewhere; The smallest sprouts show there is really no death, And if ever there was it led forward life, and does not wait at the end to arrest it, And ceased the moment life appeared.
Commissioned by The Crossing and Donald Nally for The Month of Moderns and premiered June 21, 2015 at the Presbyterian Church of Chestnut Hill.
All goes onward and outward. . . .and nothing collapses, And to die is different from what any one supposed, and luckier.
A child said, What is the grass? fetching it to me with full hands; How could I answer the child?. . . .I do not know what it is any more than he.
—from Song of Myself, Leaves of Grass; bracketed text omitted by the composer
I guess it must be the flag of my disposition, out of hopeful green stuff woven. Or I guess it is the handkerchief of the Lord, A scented gift and remembrancer designedly dropped, Bearing the owner’s name someway in the corners, that we may see and remark, and say Whose? Or I guess the grass is itself a child. . . .the produced babe of the vegetation. Or I guess it is a uniform hieroglyphic, And it means, [Sprouting alike in broad zones and narrow zones, Growing among black folks as among white, Kanuck, Tuckahoe, Congressman, Cuff, I give them the same, I receive them the same.] And now it seems to me the beautiful uncut hair of graves. Tenderly will I use you curling grass, It may be you transpire from the breasts of young men, It may be if I had known them I would have loved them; It may be you are from old people and from women, and from offspring taken soon out of their mother’s laps, And here you are the mother’s laps. This grass is very dark to be from the white heads of old mothers, Darker than the colorless beards of old men, [Dark to come from under the faint red roofs of mouths. O I perceive after all so many uttering tongues! And I perceive they do not come from the roofs of mouths for nothing. I wish I could translate the hints about the dead young men and women, And the hints about old men and mothers, and the offspring taken soon out of their laps.] What do you think has become of the young and old men? What do you think has become of the women and children?
6
Ahania Weeping (New York Premiere) a Jeff Quartet music by Louis Andriessen (b. 1939) words by William Blake (1757-1827) Commissioned by The Crossing and Donald Nally for Jeff Quartets, its legacy project honoring the life of co-founder Jeff Dinsmore. Premiered July 8, 2016 at the Presbyterian Church of Chestnut Hill. Jeff Quartets was made possible by the support of the Ann Stookey Fund for New Music. 1. The lamenting voice of Ahania, Weeping upon the Void! And round the Tree of Fuzon, [Distant in solitary night,] Her voice was heard, [but no form Had she; but] her tears from clouds Eternal fell round the Tree. 2. And the voice cried: ‘Ah, Urizen! Love! [Flower of morning! I weep on the verge Of Nonentity—how wide the Abyss Between Ahania and thee!] 6. [‘Where is my golden palace? Where my ivory bed? Where the joy of my morning hour?] Where the Sons of Eternity singing, 7. ‘To awake bright Urizen, my King, [To arise to the mountain sport, To the bliss of eternal valleys;] 14. [‘But now alone! over rocks, mountains, Cast out from thy lovely bosom! Cruel Jealousy, selfish Fear, Self-destroying!] how can delight Renew in these chains of darkness, [Where bones of beasts are strown On the bleak and snowy mountains,] Where bones from the birth are buried Before they see the light?’ —excerpt from The Book of Ahania (Chapter 5, verses 1, 2, 6, 7, 14); bracketed text omitted by the composer
Thompson Arts Center at Park Avenue Armory | 643 Park Avenue at 67th Street
Animals (New York Premiere) music by Ted Hearne (b. 1982) Commissioned by Park Avenue Armory and The Crossing, Donald Nally, conductor
Sanctus from Night Mass music by Sebastian Currier (b. 1959) words from the Preface of the Eucharistic Prayer in the Mass, based on Isaiah 6:3 Sanctus, Sanctus, Sanctus Dominus Deus Sabaoth. Pleni sunt cæli et terra gloria tua. Hosanna in excelsis. Benedictus qui venit in nomine Domini. Hosanna in excelsis.
These aren’t people. These are animals.
Johannisbaum (New York Premiere) music by Suzanne Giraud (b. 1958) words by Pascal Quignard (b. 1948) Rosée de soir devant laquelle même le chat hésite, étrange humidité comme l'oeil dans la paupiére comme sexe se recroqueville sur son museau encore humide. Un jour comme il longeait la mer de Galilée il vit les pêscheurs qui jetaient l'épervier dans la mer. Nous n'entendons pas le souffle de la terre qui tourne.
Holy, holy, holy Lord God of Hosts. Heaven and earth are full of your glory. Hosanna in the highest. Blessed is he who comes in the name of the Lord. Hosanna in the highest.
Evening dew, in front of which even the cat hesitates, strange humidity, like the eye in the eyelid, like sex cowering on his still-wet muzzle. One day, as he was walking along the sea of Galilee, he saw the fishermen throwing their nets into the sea. We do not hear the breath of the earth turning.
Sumptuous Planet (New York Premiere) a Jeff Quartet music by David Shapiro (b. 1969) words by Richard Dawkins (b.1941) Commissioned by The Crossing and Donald Nally for Jeff Quartets and premiered July 8, 2016 at the Presbyterian Church of Chestnut Hill. The Commissioning of the Jeff Quartets by the Crossing was made possible by the support of the Ann Stookey Fund for New Music. After sleeping through a hundred million centuries we have finally opened our eyes on a sumptuous planet, sparkling with colour, bountiful with life. Within decades we must close our eyes again. —From Unweaving the rainbow: science, delusion and the appetite for wonder, Houghton Mifflin Company, 1998, © Richard Dawkins; used by kind permission of the author.
Please turn page quietly. armoryonpark.org | @ParkAveArmory
7
Rigwreck (New York Premiere) music by Gabriel Jackson words by Pierre Joris (b. 1946) Commissioned by The Crossing and Donald Nally for The Gulf (between you and me), a project exploring the effects of the Deepwater Horizon disaster. Premiered at The Month of Moderns on June 30, 2013 at the Presbyterian Church of Chestnut Hill. A THROW what do we know, what can we know? OF THE DICE of science, of love? only the facts, that is to say only effects NEVER can this happen NEVER even if, can this happen in science, in love EVEN WHEN CAST Indra’s net of love, EVEN WHEN CAST money’s net of stone what do we know, what can we know? What has caused this gulf between water & oil, you & me IN ETERNAL CIRCUMSTANCES (no circumstances are eternal, AT THE HEART OF of this rigwreck What will we know? We know only effects / have to choose the causes A SHIPWRECK at the heart that the gulf widens between water & oil, you & me fish & water, me & you that the Abyss between water & water, you & you me & me, oil & fish widened then whitened there is slack growing raging underwater in the heart underheart in the water on the brain what we know is oil & water don’t mix what we know is fish & oil don’t mix what we know is you & I have to mix what we know is you & I have to live under an incline clinamen of a warming clime an angle not an angel tells us me & you want to live even if despair desperately soars & gets an angry rise form the phantom pain of its own planet’s sore
broken wing
8
a second-hand angel singing Ecce Homo, Ecce Homo, though not so Sapiens, conscious liar, beforehand relapsed, liar, liar, not released from wrongly steering the flight of this planetary love affair no use repressing the outbursts of this lethal love affair cleaving the bounds of this oily love affair at the root of greed set the rig afloat a ship finally a ship the impossible change for deep inside weighs the admission of impending disaster the shadow hidden in the depth by this by this arrogance this arrogance at the root of greed this arrogance at the root of arrogance this love this love for more a more always spelled out in money blows the rig up this morning will blow the world up tomorrow there is no alternate sail ship earth in space / space ship earth the only raft for dumb sapiens who has to learn to love this imperfect raft there is no alternate sail dumb sapiens has to learn love has to learn to adjust has to learn to look to the spread the spreading of disaster has to learn to jump its yawning depth as great as any abyss between you & me the hull of a rig the hull of a ship careening from side to side turns over & is for a moment cathedral burning church of the worship of money brightly floating death flaunting love rigwreck rigwreck a catastrophe here now, the circumstances local & global not eternal only this now cannot grasp the hawser opens a gulf between life & death a millimeter uncrossable a BP centipede monster at the heart of this rigwreck abolish abolish abolished responsibility Moloch, Moloch Moloch — rules, Moloch rules all rules broken when Moloch rules.
Thompson Arts Center at Park Avenue Armory | 643 Park Avenue at 67th Street
Empire of Crystal (New York Premiere) a Jeff Quartet music by Benjamin C.S. Boyle (b. 1979) words by Italo Calvino (1923-1985) tr. William Weaver (1923-2013) Commissioned by The Crossing, Donald Nally, conductor for Jeff Quartets and premiered July 8, 2016 at the Presbyterian Church of Chestnut Hill. The Commissioning of the Jeff Quartets by the Crossing was made possible by the support of the Ann Stookey Fund for New Music. “And yet I know,” [he would say], “that my empire is made of the stuff of crystals, [its molecules arranged in a perfect pattern]. Amid the surge of the elements, a splendid hard diamond takes shape, an immense, faceted, transparent mountain. Why do your [travel] impressions stop at disappointing appearances, [never catching this implacable process]? Why do you linger over inessential melancholies? Why do you hide from the emperor the grandeur of his destiny?” —excerpt from Invisible Cities (Chapter 4), translated by William Weaver; bracketed text omitted by the composer
last spring words and music by David Lang, after Aasmund Olavsson Vinje (1818-1870) one more time I saw the spring one more time I saw the cherries blossom one more time I heard the ice break one more time I saw the snow melt more time one more time I saw the grass becoming green one more time I saw the flowers start to bloom one more time I heard the birds begin to sing one more time I saw the butterflies I had missed the spring so long would this be the last spring I would see? I had had more than my share more time one more time I saw the spring, it filled my eyes one more time I saw the sun, as it grew stronger one more time I heard the music it filled my eyes, it filled my eyes
—after Aasmund Olavsson Vinje
armoryonpark.org | @ParkAveArmory
9
ABOUT THE ARMORY Part American palace, part industrial shed, Park Avenue Armory is dedicated to supporting unconventional works in the visual and performing arts that need non-traditional spaces for their full realization, enabling artists to create, students to explore, and audiences to consume epic and adventurous presentations that 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.
10
Thompson Arts Center at Park Avenue Armory | 643 Park Avenue at 67th Street
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 Sam DeRubeis, Building Engineer 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 Myles Kehoe, Director of Facilities 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 Anna Pillow, Office & IT 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 Clarke, Assistant Box Office Manager Jonatan Amaya, House Manager
armoryonpark.org | @ParkAveArmory
11
NEXT IN THE RECITAL SERIES SEVERIN VON ECKARDSTEIN, piano november 13 & 14
THOMAS OLIEMANS, baritone MALCOLM MARTINEAU, piano
“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
“Thomas Oliemans was vocally impressive, full of zing and swagger, and with pin-sharp enunciation.”—Opera Today
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.
12
december 17 & 19
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
NEXT AT THE ARMORY THE SIX BRANDENBURG CONCERTOS october 1–7, 2018
“Anne Teresa De Keersmaeker has helped define contemporary dance as we know it…” —The Independent (UK) Anne Teresa De Keersmaeker explores the movement, dance, and transcendental dimension found in J.S. Bach’s iconic masterpiece in a new, evening length work. Making its North American premiere, this new dance piece embodies Bach’s polyphonic mastery by setting 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 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.
ARTISTS STUDIO Curated by jazz pianist, composer, and MacArthur fellow Jason Moran, this series adds to the exuberance of the newly restored Veterans Room with interventions by some of today’s most creative voices who have a distinct relationship to sound with a visual aesthetic that blurs the boundaries between installation and performance. Upcoming Events:
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.
armoryonpark.org | @ParkAveArmory
13
OTHER HAPPENINGS AT THE ARMORY INTERROGATIONS OF FORM: CONVERSATION SERIES
Held in our historic period rooms, these insightful conversations throughout the year feature artists, scholars, cultural leaders, and social trailblazers who gather to offer new points of view and unique perspectives on Armory productions, explore a range of themes and relevant topics, and encourage audiences to think beyond conventional interpretations and perspectives of art.
MALKIN LECTURE SERIES
Each fall, the popular Malkin Lecture Series presents scholars and experts on topics relating to the Armory and the civic, cultural, and aesthetic life of New York City in the 19th and early 20th centuries. Lecture topics have ranged from history makers like Abraham Lincoln and Theodore Roosevelt to Gilded Age society’s favorite restaurants and the Hudson River painters.
ARMORY AFTER HOURS
Salon culture has enlivened art since the 19th century, when friends gathered in elegant chambers to hear intimate performances and share artistic insights. Join us following select performances for libations with fellow attendees as we revive this tradition in our historic period rooms. You may also get to talk with the evening’s artists, who often greet friends and audience members following their performances.
HISTORIC INTERIORS TOURS
Get an insider’s look at the Armory with a guided walking tour of the building with our staff historian. From the soaring 55,000-square-foot Wade Thompson Drill Hall to the extraordinary interiors designed by Louis Comfort Tiffany, Stanford White, Herter Brothers, and others, and learn about the design plans by acclaimed architects Herzog & de Meuron.
14
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. Current artists-inresidence include installation and performance artist Tania Bruguera; performance artists Malik Gaines and Alexandro Segade; choreographer and flexn dance pioneer Reggie (Regg Roc) Gray and his company the D.R.E.A.M. Ring; playwright Branden Jacobs-Jenkins and performance artist Carmelita Tropicana; set designer and director Christine Jones and choreographer Steven Hoggett; playwright and screenwriter Lynn Nottage; composer and guitarist Marvin Sewell; and photographer and visual artist Carrie Mae Weems. The Artistin-Residence Program is made possible by The Andrew W. Mellon Foundation. Previous Armory artists-in-residence have included inventive theater company 600 Highwaymen; theater artists Taylor Mac and Machine Dazzle; writer, director, and production designer Andrew Ondrejcak; vocalist, composer, and cultural worker Imani Uzuri; dancer and choreographer Wally Cardona; visual artist and choreographer Jason Akira Somma; soprano Lauren Flanigan; writer Sasha Frere-Jones; Trusty Sidekick Theater Company; vocalist-songwriter Somi; multidisciplinary performer Okwui Okpokwasili; choreographer Faye Driscoll; artist Ralph Lemon; visual artist Alex Dolan; musician Meredith Monk; sound artist Marina Rosenfeld; string quartet ETHEL; playwright and director Young Jean Lee; vocalist and artist Helga Davis; director, designer, and musician Julian Crouch; performance artist John Kelly; and Shen Wei Dance Arts; among others.
Thompson Arts Center at Park Avenue Armory | 643 Park Avenue at 67th Street
JOIN THE ARMORY JOIN OR RENEW YOUR MEMBERSHIP Support Park Avenue Armory as a member and enjoy insider access to what The New York Times has called “the most important new cultural institution in New York City.” For more information about membership, please email members@armoryonpark.org or call (212) 616-3958. We are pleased to recognize the generous support of our members with these special benefits, updated as of April 25, 2016:
FRIEND $100
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
$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 » Only at the Armory Member Newsletter » 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**
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. Each membership applies to one household, and one membership card is mailed upon membership activation.
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 *Subject to ticket availability **Certain restrictions apply ***Reservations required
armoryonpark.org | @ParkAveArmory
15
ABOUT THE BOARD OF OFFICERS ROOM PARK AVENUE ARMORY BOARD OF DIRECTORS
Pablo Legorreta Marina Abramović Ralph Lemon Harrison M. Bains Heidi McWilliams Wendy Belzberg David S. Moross Co-Chairman Emma Bloomberg Gwendolyn Adams Norton Adam R. Flatto Martin Brand Joel Press Cora Cahan Genie H. Rice President Hélène Comfort Amanda J.T. Riegel Rebecca Robertson Paul Cronson Janet C. Ross Tina R. Davis Joan Steinberg Emme Levin Deland Emanuel Stern Thomas J. DeRosa Sanford B. Ehrenkranz Mimi Klein Sternlicht David Fox Angela E. Thompson Marjorie L. Hart Deborah C. van Eck Edward G. Klein, Major General Founding Chairman, 2000-2009 NYNG (Ret.) Ken Kuchin Wade F.B. Thompson The room’s restoration is part of an ongoing $210-million The Board of Officers Room is one of the mostMary important T. Kush Co-Chairman Elihu Rose, PhD.
“The restoration of the Park Avenue Armory seems destined to set a new standard, not so much for its scale, but for its level of respect and imagination.” – The New York Times
transformation, which is guided by the understanding that the Armory’s rich history and the patina of time are essential to its character. A defining component of the design process for the period rooms is the close collaboration between architect and artisan. Highly skilled craftspeople working in wood, paint, plaster, and metals were employed in the creation of the building’s original interiors and the expertise – and hand – of similar artisans has been drawn upon for Jennifer Manocherian Co-Chairs Benigno Aguilar and Gerald the Erickson renovation work throughout. The Board of Officers Room is the third period room at the Janet and David P. Nolan Noreen Buckfire Wendy Belzberg and Strauss Zelnick Armory completed (out of 18) and represents the full range Gwen and Peter Norton Michael Field Sonja and Martin J. Brand of design utilized by theFox team including the removal of Lily O’Boyle Caryntools Schacht and David Elizabeth Coleman accumulated on the surfaces, the addition of and Stuyvesant Comfort Slobodan Randjelović and Jon Stryker Heidi andlayers Tom McWilliams Hélène contemporary lighting to the 1897 chandeliers,Mary newCronson Michael D. Rhea interpretations of the stencil patterns on areas of loss,and the Jonathan Deland Emme Richard and Amanda J.T. Riegel addition of metallic finishes on new materials, Leslie new and Thomas DeRosa Susan and Elihu Rose programming infrastructure, and custom designed furniture. Janet C. Ross Krystyna Doerfler historic rooms in America and one of the few remaining interiors by Herter Brothers. After decades of progressive damage and neglect, the room completed a revitalization in 2013 by the architecture team at Herzog & de Meuron and executive architects Platt Byard Dovell White Architects to transform the space into a state-of-the-art salon for intimate performances and other contemporary art programing.
PARK AVENUE ARMORY ARTISTIC COUNCIL
Lisa and Sanford B. Ehrenkranz Adam R. Flatto Janet Halvorson Anita K. Hersh Wendy Keys Ken Kuchin and Tyler Morgan Mary T. Kush Almudena and Pablo Legorreta Christina and Alan MacDonald
Sana H. Sabbagh Sanford L. Smith Brian S. Snyder Joan and Michael Steinberg Emanuel Stern Mimi Klein Sternlicht Deborah C. van Eck Robert Vila and Diana Barrett Mary Wallach
The renovation of the Board of Officers Room was made possible through the generosity of The Thompson Family Foundation. 16
Cover photo by James Ewing. 20
Thompson Arts Center at Park Avenue Armory | 643 Park Avenue at 67th Street
armoryonpark.org | @ParkAveArmory
ABOUT THE BOARD OF OFFICERS ROOM SUPPORTERS
Park Avenue Armory expresses its deep appreciation to the individuals and organizations listed here for their generous support for its annual and capital campaigns. $1,000,000 +
Charina Endowment Fund Citi Empire State Local Development Corporation 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
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
$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 $25,000 to $99,999 Con Edison Mary Cronson / Evelyn Sharp Foundation Arthur R. and Alice E. Adams Foundation Cultural Services of the French Embassy AECOM Tishman David Dechman and Michel Mercure Benigno Aguilar and Gerald Erickson Jennie L. and Richard K. DeScherer Art Dealers Association of America Krystyna Doerfler The Avenue Association William F. Draper Harrison and Leslie Bains Peggy and Millard Drexler Abigail Baratta The Durst Organization Emily and Len Blavatnik Ehrenkranz & Ehrenkranz LLP The Emma and Georgina Bloomberg Foundation Andra and John Ehrenkranz Emma Bloomberg Caryl S. Englander Noreen and Ken Buckfire $500,000 to $999,999 Mr. and Mrs. Israel Englander Janna Bullock Florence Fearrington Marco Cafuzzi Bloomberg Philanthropies The room’s restoration is part of an ongoing $210-million The Board of Officers Room is one of the mostThe important The Fribourg Family Cowles Charitable Trust Lisa and Sanford B. Ehrenkranz transformation, which is guided by the understanding that Barbara and Peter Georgescu historic rooms in America and one of the few remaining Caroline and Paul Cronson Marina Kellen French The Georgetown Company James and Gina de Givenchy the Armory’s rich history Almudena and PabloBrothers. Legorreta After decades of progressive and the patina of time are essential interiors by Herter Kiendl and John Gordon Andrew L. Farkas, Island Capital Group & C-III The Andrew W. Mellon Foundation to its character. A defining component the design process damage and neglect, room completed in Archie Gottesman and GaryofDeBode Capital Partners Assemblymember Danthe Quart and the New York a revitalization Jeff and Kim Greenberg for the period rooms is the close collaboration between Katherine Farley and Jerry Speyer 2013 byState theAssembly architecture team at Herzog & de Meuron and Janet Halvorson Seymour Flug Adam R. Rose and Peter R. McQuillan and artisan. skilled craftspeople working in executive Platt Byard Dovell White Architects to and Richard H.architect Mr. Highly and Mrs. Lawrence Hite Lorraine Gallard Levy Donnaarchitects and Marvin Schwartz Jackand Shainman Gallery wood, paint, plaster, metals were employed in the Morse Genius Foundation Emanuelthe Stern transform space into a state-of-the-art salonElizabeth for intimate Rachel and Mike Jacobellis Howard Gilman Foundation creation of the building’s original interiors and the expertise performances and other contemporary art programing. Kaplen Brothers Fund Horace W. Goldsmith Foundation $250,000 to $499,999 – and hand – of similar artisans has been drawn upon for Jennie Kassanoff and Dan Schulman Deborah and Allen Grubman Kekst and Company Incorporated Anita K. Hersh the renovation work throughout. AmericanofExpress The Board Officers Room is the third periodJosefin roomandatPaul theHilal Randy Kemper and Tony Ingrao Michael Field Suzie and Bruce Kovner Armory completed (out of 18) and represents the full range Janine and J. Tomilson Hill Adam R. Flatto Leonard and Judy Lauder Fund Daniel Clay Houghton Olivia Tournay Flatto of design tools utilized by the team including the removal of Lavazza The Emily Davie and Joseph S. Kornfeld Ken Kuchin and Tyler Morgan accumulated layers on the surfaces, the addition ofFoundation Donna and Jeffrey Lenobel The Pierre and Tana Matisse Foundation Leon Levy Foundation Ronald and Jo Carole Lauder Foundation contemporary lighting to the 1897 chandeliers,The new The Rockefeller Foundation George S. Loening Christina and Alan MacDonald Marshall Rose Family Foundation interpretations of the stencil patterns on areas of loss, the Andrea Markezin Press and Joel Press Christine & Richard Mack Cynthia Woods Mitchell Fund of the National addition of metallic finishes on new materials, Marc new Haas Foundation $100,000 to $249,999 Trust for Historic Preservation New York State Council on the Arts programming infrastructure, and custom designed furniture. Patty Newburger and Bradley Wechsler Frank and Elizabeth Newman The Achelis and Bodman Foundations Lily O'Boyle David P. Nolan Foundation R. Mark Adams Mario Palumbo and Stefan Gargiulo Donald Pels Charitable Trust Linda and Earle Altman Joan and Joel I. Picket The Reed Foundation Booth Ferris Foundation Noel Pittman Rhodebeck Charitable Trust Sonja and Martin J. Brand Katharine and William Rayner Genie and Donald Rice Hélène and Stuyvesant Comfort Thomas J. Reid Amanda J.T. and Richard E. Riegel Emme and Jonathan Deland Kimberly and Scott Resnick Mrs. Arthur Ross Leslie and Tom DeRosa Michael D. Rhea Nicholas and Shelley Schorsch Ford Foundation Mary Jane Robertson and Jock Clark The Shubert Foundation Mr. and Mrs. Andrew Gundlach Chuck and Stacy Rosenzweig Sydney and Stanley S. Shuman Marjorie and Gurnee Hart Deborah and Chuck Royce Amy and Jeffrey Silverman Anna Maria and Stephen Kellen Foundation, Inc. Fiona and Eric Rudin Skadden, Arps, Slate, Meagher & Flom LLP Kirkland & Ellis LLP May and Samuel Rudin Family Foundation, Inc. Peter and Jaar-mel Sloane / Heckscher Mary T. Kush Susan Rudin Foundation Mr. and Mrs. Peter L. Malkin and The Malkin Sana H. Sabbagh Sanford L. Smith Fund, Inc. Mr. and Mrs. William Sandholm Howard & Sarah D. Solomon Foundation Mr. and Mrs. Lester S. Morse, Jr. Susan and Charles Sawyers Jennifer and Jonathan Allen Soros National Endowment for the Arts Stacy Schiff and Marc de la Bruyère Jon Stryker and Slobodan Randjelovic´ New York State Assembly Dr. and Mrs. Thomas P. Sculco Sharzad and Michael Targoff Stavros Niarchos Foundation Brian S. Snyder TEFAF NY Gwen and Peter Norton Sotheby's Tishman Speyer Properties, LP Rebecca Robertson and Byron Knief Michael and Veronica Stubbs Robert and Jane Toll Daniel and Joanna S. Rose Mr. and Mrs. Dave Thomas Anonymous (4) The Fan Fox & Leslie R. Samuels Foundation Laurie M. Tisch Illumination Fund The renovation of the Board of Officers Room was made possible through the generosity of The Thompson Family Foundation. Caryn Schacht and David Fox
“The restoration of the Park Avenue Armory seems destined to set a new standard, not so much for its scale, but for its level of respect and imagination.” – The New York Times
Cover photo by James Ewing. 20
armoryonpark.org | @ParkAveArmory
armoryonpark.org | @ParkAveArmory
17
ABOUT THE BOARD OF OFFICERS ROOM
Mr. and Mrs. Ziel Feldman Preserve New York, a grant program of First Republic Bank Preservation League of New York Edmée and Nicholas Firth David Remnick and Esther Fein Laura Fisher Richenthal Foundation Gwen and Austin Fragomen Ida and William Rosenthal Foundation Inger McCabe Elliott Reed Rubin and Jane Gregory Rubin Sarah Jane and Trevor Gibbons H. Onno and Renée Ruding Sylvia Golden Saks Fifth Avenue Elizabeth and David Granville-Smith Ms. and Mr. Nancy Sanitsky $5,000 to $9,999 Great Performances Mr. and Mrs. Stephen Schwarzman Jeanne Greenberg Rohatyn and Nicholas Claude Shaw and Lara Meiland-Shaw Jody and John Arnhold Rohatyn Bob and Eva Shaye Milton and Sally Avery Arts Foundation Jamee and Peter Gregory Lea Simonds Debra and Leon Black Mr. and Mrs. George Grunebaum Patricia Brown Specter Leslie Bluhm and David Helfand Susan Gutfreund Dr. and Mrs. Eugene E. Stark, Jr. Nicholas Brawer John Hargraves Mr. and Mrs. Michael Steinhardt Catherine and Robert Brawer Harkness Foundation for Dance Tom Strauss Amanda M. Burden Daisy Helman Elizabeth Stribling and Guy Robinson Marian and Russell Burke Stephanie and Stephen Hessler The Jay and Kelly Sugarman Foundation Canard, Inc. Robert Jaffe and Natasha Silver Bell Ellen and Bill Taubman CBRE Mr. and Mrs. Morton Janklow Michael Tuch Foundation Diana Davenport and John Bernstein Jeanne Kanders Mr. and Mrs. Ronald Ulrich Elizabeth de Cuevas Meredith J. Kane & Richard T. Sharp Mr. and Mrs. Jan F. van Eck Richard and Barbara Debs Herbert Kasper Andrew E. Vogel and Véronique Mazard Mary Ellen G. Dundon Adrienne Katz Anastasia Vournas and J. William Uhrig Eagle Capital Management, L.L.C. Richard Katzman Lulu C. Wang David and Frances Eberhart Foundation Diana King / The Charles & Lucille King Family Diana Wege Karen Eckhoff and Rose Weinman Foundation, Inc. Dr. Nancy and Mr.isJohn The room’s restorationFoundation is part of an ongoing $210-million The Board ofEppler-Wolff Officers Room oneWolff of the mostIsak important Erin and Alex Klatskin Michael Weinstein EverGreene Architectural Arts transformation, which isL.guided historic rooms in America and one of the few remaining Phyllis Kossoff by the understanding that Lynne Wheat The Felicia Fund Mr. and Mrs. Krevlin of time are essential Lisa Bjornson Wolf the Armory’s rich history andGlenn the patina Lori Finkel and Andrew Cogan After decades of progressive interiors by Herter Brothers. Mr. and Ms. Douglas Krupp Cynthia Young and George Eberstadt Fisher Marantz Stone to its character. A defining component of the design process damage and neglect, the room completed a revitalization in Justin Kush Mr. and Mrs. Nathaniel Zilkha Gail Flatto Sahra T. Lese Zubatkin Owner Representation, LLC for the period rooms is the close collaboration between Foshay and Michaelteam B. Rothfeld 2013Ella byM.the architecture at Herzog & de Meuron and Phyllis Levin Anonymous (2) Mr. and Mrs. Stephen and Amandine Freidheim architect and artisan. Highly skilled craftspeople working in executive architects Platt Byard Dovell White Architects to Jane K. Lombard Fried, Frank, Harris, Shriver & Jacobson LLP wood, paint, plaster, and metals were employed in the Liz Lubnina and Tom Sternfeldt transform the space into a state-of-the-art salon for intimate Bart Friedman and Wendy A. Stein $2,500 to $4,999 Billy and original Julie Macklowe Teri Friedman and Babak Yaghmaie creation of the building’s interiors and the expertise performances and other contemporary art programing. Judith and Michael Margulies Debbi Gibbs Debra Abell – and hand – of similar artisans has been drawn upon for Angela Mariani Mr. and Mrs. Tom Glocer Katie Adams Schaeffer Bonnie Maslin The Francis Goelet Charitable Lead Trusts Susan Heller Anderson the renovation work throughout. The Board of Officers Room is the third period room at the Nina B. Matis Sarah Gould and David Steinhardt Cristiana Andrews Cohen and David Cohen Armory completed (out of 18) and represents the full range Constance and H. Roemer McPhee Jeff Greene, Desiree Greene and Kim Lovejoy Peter Balis Mr. and Mrs. Prakash Melwani Agnes Gund Vanessa Ana Barboni of design tools utilized by the team including the removal of Mr. and Mrs. William Michaelcheck Mr. and Mrs. Brian Higgins Tony Bechara accumulated layers on the surfaces, the addition Sally Minard and Norton Garfinkle Ionian Management Mr.ofLawrence B. Benenson Sandra Earl Mintz Sonny and Michelle Kalsito the 1897 chandeliers,Mr. and Mrs. Jonathan Berger contemporary lighting new Allen Model and Dr. Roberta Gausas Mr. and Mrs. Fernand Lamesch Stephen Berger interpretations of the stencil patterns on areas of loss, the Mr. and Mrs. Saleem Muqaddam Stephen Lash and Wendy Lash Mr. and Mrs. Robert Birnbaum Mary Kathryn Navab addition new and George Bitar Lazardof metallic finishes on new materials, Claudia Mr. and Mrs. Daniel Neidich Chad A. Leat Hana and Michael Bitton programming infrastructure, and custom designed furniture. Mr. and Mrs. Jesse Newhouse Alexia and David Leuschen Allison M. Blinken Kathleen O'Grady Gail and Alan Levenstein Donald and Vera Blinken Simon Oren Aaron Lieber and Bruce Horten Mr. and Mrs. Mark Bloom David Orentreich, MD / Orentreich Family The Honorable and Mrs. Earle I Mack John Bonanno / Phoenix Interior Contracting Foundation Shelly and Tony Malkin Marc Brodherson and Sarah Ryan Peter and Beverly Orthwein James C. Marlas and Marie Nugent-Head Marlas Stacey Bronfman Meredith Palmer Diane and Adam E. Max Amy and Kevin Brown Mindy Papp Rick and Dee Mayberry Veronica Bulgari and Stephan Haimo Madison J Papp Renee and David McKee Mr. and Mrs. Arthur Carter Marnie Pillsbury Joyce F. Menschel Cartier S.A. Cynthia Hazen Polsky and Leon B. Polsky Mr. and Mrs. Danny Meyer Emy Cohenca Tracey and Robert Pruzan Elizabeth Miller and James Dinan Betsy Cohn Richard Reiss Sergio and Malu Millerman Margaret Conklin Diana and Charles Revson Claire Milonas Ellie and Edgar Cullman Heidi Rieger Sue Morris The Cultivist Jonathan F.P. and Diana Rose Mr. and Mrs. Robert Morse Joshua Dachs / Fisher Dachs Associates Theatre Aby and Samantha Rosen Beth and Joshua Nash Planning and Design Susan and Jon Rotenstreich Mr. and Mrs. Michael Newhouse Virginia Davies and Willard Taylor Valerie Rubsamen and Cedomir Crnkovic PBDW Architects Jacqueline Didier and Noah Schienfeld Bonnie J. Sacerdote Liz and Jeff Peek Francesca and Michael Donner Jane Fearer Safer Gabriela Peréz Rocchiette Jeanne Donovan Fisher Dr. and Ms. Nathan Saint-Amand Betsy and Rob Pitts Christopher A. Duda Paul H. Scarbrough / Akustiks, LLC. Susan Porter Anne and Joel Ehrenkranz Mr. and Mrs. Wilfred N. Schlumberger Anne and Skip Pratt Martin and Rebecca Eisenberg Foundation Schmidt-Barnett and Mrs. Leonard Feinstein The renovation of the Board of Officers Room wasMr. made possible through the generosity of The Caroline Thompson Family Foundation. Merryl and JamesTisch Barbara and Donald Tober Robert Vila and Diana Barrett Mary Wallach David Wassong and Cynthia Clift WME Anonymous (2)
“The restoration of the Park Avenue Armory seems destined to set a new standard, not so much for its scale, but for its level of respect and imagination.” – The New York Times
18
Cover photo by James Ewing. 20
Thompson Arts Center at Park Avenue Armory | 643 Park Avenue at 67th Street
armoryonpark.org | @ParkAveArmory
ABOUT THE BOARD OF OFFICERS ROOM
Match 65 Brasserie Spencer Brownstone Victoria Schorsch Melissa Meeschaert Mr. and Mrs. Gilbert Butler Mr. and Mrs. Joe Schueller The Meyer Family Cora Cahan and Bernard Gersten Sara Lee and Axel Schupf Laurent Mialhe Anna Chapman and Ronald Perelman Lise Scott and D. Ronald Daniel Lauren Michalchyshyn Sommer Chatwin Uma Seshamani and Jason van Itallie Nicole Miller and Kim Taipale Racquel Chevremont and Mickalene Thomas Jonathan Sheffer Adriana and Robert Mnuchin Shirin and Kasper Christoffersen Lee Shull and Arthur Pober Whitney and Andrew Mogavero Bradley A. Connor Stephanie and Fred Shuman Mr. and Mrs. Pierre Mordacq Alexander Cooper Mr. and Mrs. Bill Sick Cindy and David Moross Mr. and Mrs. Andrew Crisses Alan and Sandy Siegel Mr. and Mrs. Mark Newhouse Austen and Ernesto Cruz Gillian Hearst Shaw Mr. and Mrs. Marvin Numeroff Boykin Curry Laura Skoler Nancy and Morris W. Offit Lynn Dale and Frank Wisneski Margaret Smith Robert Ouimette and Lee Hirsch Mr. and Mrs. Charles Daniels Sara Solomon Mr. and Mrs. Stuart Parker Christina R. Davis Mr. and Mrs. David Sonenberg Mr. and Mrs. Lee Parks Suzanne Dawson Sonnier & Castle Mr. and Mrs. Brian Pfeifler Luis y Cora Delgado Daisy M. Soros Mr. and Ms. Robert Pittman Diana Diamond and John Alschuler Squadron A Foundation Mrs. and Mr. Geri Pollack Ms. Elizabeth Diller and Mr. Richard Scofidio Gayfryd Steinberg and Michael Shnayerson Michael F. Poppo Mr. and Mrs. John Dunn Doug Steiner Laura Poretzky-Garcia Mr. and Mrs. Frederick Elghanayan Leila Maw Straus Prime Parking Systems Jacqueline Elias Dorothy Strelsin Foundation / Enid Nemy Mr. and Mrs. Thomas L. Pulling Yevgeniya Elkus Elizabeth F. Stribling and Guy Robinson Martin and Anna Rabinowitz Mr. and Mrs. Douglas Erb Mr. and Mrs. Allen Thorpe Mr. and Ms. John Rice Jared Feldman / Anchin Private Client Christopher Tsai and André Stockamp / Tsai Roberto Cavalli Mr. and Mrs. Alessandro Fendi Capital Corporation Mr. and Mrs. David Rogath Mr. and Mrs. Brian Fisher Mr. and Mrs. Thomas Tuft Alexandra Lindof Rose Candia Fisher L.F. Turner The room’s restoration is part an ongoing $210-million The Board of Officers Room is one of the most important Marjorie P. Rosenthal Megan Flanigan Mr. and Mrs. John Usdan transformation, which is guided bySeminars the understanding that historic in and America and one of the few remaining RoundTable Cultural Paul and Jody Fleming Peterrooms Van Ingen Alexandra Oelsner Whitney Rouse Delia Folk Ambassador and Mrs. William J.After vandendecades Heuvel of progressive the Armory’s rich history and the patina of time are essential interiors by Herter Brothers. Julia Ryan Scott Fulmer and Susan Kittenplan Fulmer Susan and Kevin Walsh to its character. A defining component of the design process damage neglect, the room completed a revitalization inGallancy Mr. and Mrs. Mortimer Sackler Shawna Cooper Areteand Warren Elizabeth Sarnoff and Andrew Cohenbetween Julie Geden Jane Wechsler for the period rooms is the close collaboration 2013 by the architecture team at Herzog & de Meuron and Mr. and Mrs. Matthew Satnick Mr. and Mrs. Scott Gerber David Reed Weinreb architect and artisan. Highly skilled craftspeople working in executive architects Platt Byard Dovell White Architects to and Peter Wasserman Pat Schoenfeld Alberta Gerschel Jacqueline Weld Drake wood, paint, plaster, and metals were employed Marshall Sebring and Pepper Binkley in the Mrs. David Getz Katherine Dennis transform theWenning space and intoMichael a state-of-the-art salonMr.forandintimate Kimia Setoodeh Mark Gimbel Gary Wexler creation of the building’s original interiors and the expertise performances andand other contemporary Nadine Shaoul and Mark Schonberger Kathleen and David Glaymon Kate R. Whitney Franklin A. Thomas art programing. – and hand – of similar artisans has been drawn upon for Mr. and Mrs. Michael Shuman Nina Gorrissen von Maltzahn Brian and Jane Williams Neil Simpkins and Miyoung Lee Marieline Grinda and Ahmad Deek Francis Hunnewell Williams throughout. The Board of Officers Room is the third periodFrances roomand at Gerard the Guillemot the renovation work Salwa J. Aboud Smith and Robert P. Smith Maria Wirth Armory completed (out of 18) and represents the full and range Mary Elizabeth Snow Kathleen Harvey Guion Mr. and Mrs. Glen Wood Emily L. Spratt Raymond Hannigan Amy Yenkin Robert by Usdan of design toolsand utilized the team including the removal of Mark Stamford Herrick Feinstein LLP Neda Young accumulated of T. Hillman Mr. and Mrs. Myron Stein William Judy Francislayers Zankelon the surfaces, the addition Colleen Stenzler Donald Zilkhalighting to the 1897 chandeliers,Hodgson contemporary new Russ LLP Allen Stevens Caroline Eve Hoffman Richard and Franny Heller Zorn interpretations of the stencil patterns on areas of loss,Paten theHughes Tricia Stevenson Lauran Anonymous (4) Mr. and Mrs. Phillip Summers addition of metallic finishes on new materials, John newWiley & Sons, Inc. Summit Security Services, Inc. Christopher and Hilda Jones $1,000 to $2,499 programming infrastructure, and custom designed furniture. Lee Wyndham Tardivel Drs. Sylvia and Byram Karasu Jeffrey Alan Teach Margot Kenly and Bill Cumming Catherine Adler Vincent Teti Cynthia and Stephen Ketchum Noreen K. Ahmad and Ahmar Ahmad Jennifer Tipton Hadley C. King Todd J. Albert Lizzie and Jonathan Tisch Major General Edward G. Klein, NYNG (Ret.) Anka Ann Anderssen Mr. and Mrs. Christophe Van de Weghe Mr. and Mrs. Chris Kojima Mr. and Mrs. John Argenti Joseph Vance Architects Kate Krauss David and Alatia Bach Dionysios Vlachos Kimberly Kravis and Jonathan Schulhof Rebecca Lynn Bagdonas Mr. and Mrs. John Vogelstein Polly and Frank Lagemann Laura Zambelli Barket Teri and Barry Volpert Lagunitas Brewing Co. Norton Belknap Mr. and Mrs. Alexander von Perfall Nanette L. Laitman Mr. Allen Bell and Mr. David Ziff Vranken Pommery America Gregg Lambert (co-founder), Perpetual Peace Dale and Max Berger Annell Wald and Ivor Cummings Project, CNY Humanities Co Elaine S. Bernstein Saundra Whitney Barbara Landau Clara Bingham Walter B. Melvin Architects, LLC Mr. and Mrs. Sheldon Landau Katherine Birch Caroline Wamsler and DeWayne Phillips Judith Langer Bluestem Prairie Foundation Lucy Massey Waring Mark and Taryn Leavitt Dr. Suzy and Mr. Lincoln Boehm Lauren and Andrew Weisenfeld Julia Ledda Mr. and Mrs. Sheldon Bonovitz Mr. and Mrs. Arthur Williams Ralph Lemon Mr. and Mrs. Livio Borghese Mr. and Mrs. Steven Wisch Brenda Levin Mr. and Mrs. Michael Bradley Lisa Wolfe Ms. and Mrs. Paul Lowerre Mr. and Mrs. Louis Brause Jon and Reva Wurtzburger Donna and Wayne Lowery Diane Britz Lotti Meghan and Michael Young Henry Luce Foundation Mr. and Mrs. Cliff Brokaw Mr. and Mrs. Alexis Zoullas John D. and Catherine T. MacArthur Foundation Gabriela Bronfman Maldutisthrough and Reenathe Russell Nasr of The Anonymous Matthew Bronfman The renovation of the Board of Officers Room wasAlexander made possible generosity Thompson(5)Family Foundation. List as of August 20, 2018 * Deceased armoryonpark.org | @ParkAveArmory 19
“The restoration of the Park Avenue Armory seems destined to set a new standard, not so much for its scale, but for its level of respect and imagination.” – The New York Times
Cover photo by James Ewing. 20
armoryonpark.org | @ParkAveArmory
ABOUT THE BOARD OF ABOUT THE BOARD OF OFFICERS ROOM OFFICERS ROOM “The restoration of the Park Avenue Armory seems “The restoration of the Park Avenue Armory seems destined to set a new standard, not so much for its scale, destined to set a new standard, not so much for its scale, but for its level of respect and imagination.” but for its level of respect and imagination.” – The New – The NewYork YorkTimes Times The Board of Officers Room is one of the most important The Board of Officers Room is one of the most important historic rooms in America and one of the few remaining historic rooms in America and one of the few remaining interiors by Herter Brothers. After decades interiors by Herter Brothers. After decadesofofprogressive progressive damage and and neglect, thethe room completed damage neglect, room completeda arevitalization revitalizationin in 20132013 by the team at at Herzog by architecture the architecture team Herzog&&dedeMeuron Meuronand and executive architects Platt Byard Dovell White executive architects Platt Byard Dovell WhiteArchitects Architectsto to transform the space into a state-of-the-art salon transform the space into a state-of-the-art salonfor forintimate intimate performances other contemporary programing. performances andand other contemporary artartprograming. The Board of Officers Room is the thirdperiod periodroom roomatatthe the The Board of Officers Room is the third Armory completed of 18) and representsthe thefull fullrange range Armory completed (out(out of 18) and represents of design utilized team includingthe theremoval removal of of of design toolstools utilized by by thethe team including accumulated layers on the surfaces, the addition of accumulated layers on the surfaces, the addition of contemporary lighting to the 1897 chandeliers, new contemporary lighting to the 1897 chandeliers, new interpretations of the stencil patterns on areas of loss, the interpretations of the stencil patterns on areas of loss, the addition of metallic finishes on new materials, new addition of metallic finishes on new materials, new furniture. programming infrastructure, and custom designed programming infrastructure, and custom designed furniture.
The room’s restoration is part of an ongoing $210-million
The room’s restoration is part of an ongoing $210-million transformation, which is guided by the understanding that transformation, which is guided by the understanding that theArmory’s Armory’srich richhistory history and patina of time are essential the and thethe patina of time are essential to its character. A defining component of the design process to its character. A defining component of the design process for the period rooms is the close collaboration between for the period rooms is the close collaboration between architectand andartisan. artisan.Highly Highly skilled craftspeople working architect skilled craftspeople working in in wood,paint, paint,plaster, plaster,and and metals were employed in the wood, metals were employed in the creationofofthe thebuilding’s building’s original interiors the expertise creation original interiors andand the expertise –– and artisans hashas been drawn uponupon for for andhand hand––ofofsimilar similar artisans been drawn the renovation work throughout. the renovation work throughout.
The renovation of the Board of Officers Room was made possible through the generosity of The Thompson Family Foundation.
The renovation Board of Officers Room was made possible through the generosity of The Thompson Family Foundation. Cover photoofbythe James Ewing. 20
Cover photo by James Ewing. 20
armoryonpark.org | @ParkAveArmory
armoryonpark.org | @ParkAveArmory
ABOUT THE VETERANS ROOM “...the Armory, a once-crumbling landmark, has transformed itself into one of the world’s most sought-after venues for performance, music, and supersized art projects. And in a sense, the Veterans Room, of all the Armory’s opulent reception rooms, has the deepest spiritual kinship with a work of contemporary art, the feel of an installation by a young collective whose members were reacting to one another and making it all up as they went along.” – The New York Times The Veterans Room is among the most significant surviving interiors of the American Aesthetic Movement, and the most significant remaining intact interior in the world by Louis C. Tiffany and Co., Associated Artists. This newly formed collective led by Tiffany included some of the most significant American designers of the 19th century at early stages of their very distinguished careers: Stanford White, Samuel Colman, and Candace Wheeler among them. The design of the room by these artisans was exotic, eclectic, and full of experimentation, as noted by Decorator and Furnisher in 1885 that “the prepondering styles appear to be the Greek, Moresque and Celtic, with a dash of Egyptian, the Persian and the Japanese in the appropriate places.” A monument of late 19th-century decorative arts, the Veterans Room is the fourth period room at the Armory completed (out of 18). The revitalization of the room responds to the original exuberant vision for the room’s design, bringing into dialogue some of the most talented designers of the 19th and 21st centuries – Associated Artists with Herzog & de Meuron, Platt Byard Dovell White Architects, and a team of world-renowned artisans and experts in Tiffany glass, fine woodworking, and decorative arts.
The revitalization of the Veterans Room follows Herzog & de Meuron’s design approach for the Armory building, which seeks to highlight the distinct qualities and existing character of each individual room while interweaving contemporary elements to improve its function. Even more so than in other rooms at the Armory, Herzog & de Meuron’s approach to the Veterans Room is to amplify the beauty of the room’s original vision through adding contemporary reconstructions of lost historic material and subtle additions with the same ethos and creative passion as the original artisans to infuse a modern energy into a harmonious, holistic design. The room’s restoration is part of an ongoing $210-million transformation, which is guided by the understanding that the Armory’s rich history and the patina of time are essential to its character, with a design process for the period rooms that emphasizes close collaboration between architect and artisan.
The restoration and renovation of the Veterans Room was made possible by The Thompson Family Foundation, Inc., Susan and Elihu Rose, Charina Endowment Fund, Lisa and Sanford B. Ehrenkranz, Almudena and Pablo Legorreta, Assemblymember Dan Quart and the New York State Assembly, Liz and Emanuel Stern, Olivia and Adam Flatto, Kenneth S. Kuchin, R. Mark and Wendy Adams, American Express, Rebecca Robertson and Byron Knief, Amy and Jeffrey Silverman, the Cynthia Woods Mitchell Fund of the National Trust for Historic Preservation, and Anonymous (2).