2014 RECITAL SERIES
A NOTE FROM THE ARTISTIC DIRECTOR Last autumn, we inaugurated the reopening of the Board of Officers Room with recitals by Christian Gerhaher, one of the greatest living baritone voices for lieder. To our joy, he and the subsequent 2013 recitalists – violinist Vilde Frang and pianist Anton Batagov – could not have been more ecstatic about our new recital space and its pristine acoustics. The New York Times also agreed, proclaiming that “with the exquisite renovation of the Board of Officers room… [Park Avenue Armory] now has a space for chamber music, which marries excellent acoustics and an austerely elegant Gilded Age interior… [creating] an atmosphere of luxury and concentration.” Invigorated by this, we welcome intrepid interpreters to our 2014 recital series to perform signal works from the classical music repertoire. Igor Levit masterfully interprets some of Beethoven's most cherished sonatas, István Várdai virtuosically performs Bach's suites for solo cello, and the prodigal talents of Anna Lucia Richter will come to life as she sings some of Wolf's most sublime lieder, all while making their North American or U.S. recital debuts. And together with the fearless talents of Manhattan's very own FLUX Quartet enlivening Morton Feldman's genial String Quartet No. 2, this year’s recital series offers rare and precious opportunities to witness major new talent in New York, performing some of the most awe-inspiring music in this gem of a recital room. I hope you enjoy these intimate performances. Alex Poots Artistic Director, Park Avenue Armory
2014 RECITAL SERIES IN THE NEWLY RESTORED BOARD OF OFFICERS ROOM
thursday, october 2 at 8:00pm saturday, october 4 at 8:00pm monday, october 6 at 8:00pm
ANNA LUCIA RICHTER, soprano GEROLD HUBER, piano ALL-WOLF PROGRAM This performance is approximately one hour and forty minutes in length, including intermission and an introduction to the program by pianist Gerold Huber.
The Recital Series is supported in part by generous grants from Gwen Norton on behalf of the IKBS and The Reed Foundation. The Recital Series is made possible by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature. Support for Park Avenue Armory’s artistic season has been generously provided by The Andrew W. Mellon Foundation, Booth Ferris Foundation, The Harold and Mimi Steinberg Charitable Trust, The Shubert Foundation, the Fan Fox and Leslie R. Samuels Foundation, the Marc Haas Foundation, the Leon Levy Foundation, the Juliet Lea Hillman Simonds Foundation, and the Isak and Rose Weinman Foundation.
SEASON SPONSORS
ALL-WOLF PROGRAM Frühlingsglocken (Reinick) Blumengruß (Goethe) Liebchen wo bist du? (Reinick) Frühling übers Jahr (Goethe) Ganymed (Goethe) Verschwiegene Liebe (Eichendorff) Nachtzauber (Eichendorff) Wiegenlied im Winter (Reinick) Schlafendes Jesuskind (Mörike) Auf ein, altes Bild (Mörike) Wo find' ich Trost (Mörike) Zum neuen Jahr (Mörike) Intermission Frech und Froh I (Goethe) Begegnung (Mörike) Der Gärtner (Mörike) Gleich und Gleich (Goethe) Der Knabe und das Immlein (Mörike) Zitronenfalter im April (Mörike) Er ist’s (Mörike) Wohin mit der Freud? (Reinick) Im Frühling (Mörike) Nachtgruß (Reinick) St. Nepomuks Vorabend (Goethe) Wiegenlied im Sommer (Reinick) Abendbilder (Lenau)
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ABOUT THE PROGRAM “Auch kleine Dinge können uns entzücken” (Even small things can delight us)—thus begins one of the songs in Hugo Wolf ’s Italian Songbook. The German Lied of which Hugo Wolf (1860-1903) was a great master was often a “small thing,” and while the songs are certainly a source of great delight, they can also be deeply moving, unsettling, or transcendent—small in size, maybe, but profound in their impact. Wolf occupies a special place in the hearts of art-song lovers. In many ways, the Romantic Lied tradition reached its culmination point in his output of nearly 300 songs. He felt and understood poetry with an acuity and sophistication unmatched by any other composer. As an ardent Wagnerian, he had a broad range of dramatic devices as well as an advanced harmonic idiom at his disposal, and he deployed those artistic means in a highly personal way, developing a style that was absolutely unique to him. With only a few minor exceptions, each of Wolf ’s published song collections contains settings by a single poet. His major breakthrough as a composer came with the 53 Mörike songs, all written in 1888, soon followed by the Eichendorff and Goethe collections, similarly composed within a short period and printed in 1889 and 1890, respectively. The Italian and Spanish songbooks arrived a few years later, followed by the three Michelangelo settings in 1897, which remained the last works Wolf was able to complete before his mental breakdown due to syphilis. The present recital is unusual among programs devoted to Wolf in that, instead of selecting items from just one of the composer’s major song volumes, it intermingles the various collections, grouping the songs thematically. As a result, one may discover some general topics that attracted Wolf throughout his all-too-brief career, as well as some striking connections and parallels among the poets themselves. Many of the songs are about the joys of springtime; we will hear different poets’ evocations of flowers, bees, butterflies, and the mysteries of the night. Love, of course, is a recurrent theme, but the love scenes also tend to emphasize the natural settings in which they take place. Wolf was often drawn to texts expressing religious feelings, and several songs on tonight’s program give voice to his deep spirituality. The moods of the songs range from somber and meditative all the way to humorous and playful. Of the five poets represented on this program—all born several generations before Wolf, who never set contemporary poetry—Johann Wolfgang Goethe (1749-1832) was the greatest. Wolf set Goethe’s verse to music more than 50 times,
including both delicate shorter pieces—in turn lyrical and funny—and major poetic statements, exemplified tonight by the incomparable Ganymed. This visionary work tells of the ecstatic, and unquestionably homoerotic, feelings of the young boy, chosen by Zeus to be his cup-bearer. More than seventy years before Wolf, the poem had inspired one of Schubert’s greatest songs as well, but the late Romantic master found new meaning in Goethe’s lines. His Ganymed is more mature and more philosophical than Schubert’s, offering a distinctly postTristan interpretation of the character. Eduard Mörike (1804-1875) was able to turn the simple facts and feelings of everyday life into exquisite poetry. He is often described as a biedermeier poet—the term refers to a movement characterized by an avoidance of politics and a homespun philosophy in general. Yet Mörike transcended biedermeier clichés by the intense spirituality of some of his poems that goes beyond the more superficial religiosity of some of his contemporaries. (He was a Lutheran pastor until his early retirement). Joseph von Eichendorff (1788-1857), represented by two poems on tonight’s recital, was a major inspiration for Wolf, as he had been for Robert Schumann earlier. Some of the favorite themes of this celebrated Romantic poet included solitude in the forest, longing for a distant home, and feelings of awe under the starry skies. His linguistic magic inspired some of the most intense and intimate pages by the composers who set his poems to music. Poet and painter Robert Reinick (1805-1852) was a friend of Schumann’s and had a hand in the libretto to the latter’s only opera Genoveva. All of Wolf ’s settings of Reinick date from the composer’s early years (1882-1883); many of them were published only posthumously. Compared to the mature compositions after Mörike, Eichendorff, and Goethe, these songs may show less originality, yet they afford a good chance to trace the gradual emergence of Wolf ’s individual voice. Like Reinick, Nikolaus Lenau (1802-1850) only appears in Wolf ’s works at the beginning of the composer’s artistic life. The three odes of Abendbilder, which close the recital, are the earliest works on the whole program, written when Wolf was only 17. A leading Romantic poet, Lenau—who spent a year in America as a young man—wrote several long epic poems, including Faust and Don Juan (which inspired Liszt and Richard Strauss, respectively). Abendbilder, written in an ancient Greek meter, shows a classicizing tendency in German Romantic poetry, mirrored in the long stretches of tonal stability and the great calmness of Wolf ’s music.
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ABOUT THE ARTISTS Born in 1990, German soprano Anna Lucia Richter received her first singing lessons from her mother Regina Dohmen. Between 2004 and 2008 she studied with professor Kurt Widmer in Basel and in 2007 she became a junior student of professor Klesie Kelly-Moog at Cologne Conservatory, where she continued her studies and finished her advanced study period in the summer of 2013. Richter won the Luitpold Prize at the Kissinger Summer Festival 2011 and the Felix Mendelssohn Bartholdy Prize in 2011, as well as the International Robert-Schumann Contest in Zwickau in 2012. Despite her young age, Richter already performs often, including engagements with Cologne's Gürzenich Orchestra, the Frankfurt Radio Symphony Orchestra, the MDR Symphony Orchestra, and the Düsseldorf Symphonic Orchestra. She has appeared with the WDR Radio Orchestra under the baton of Markus Stenz, Paavo and Kristjan Järvi, Marin Alsop, Helmut Froschauer, and Christoph Altstaedt, where she sang Bach’s St. John Passion and St. Matthew Passion, Handel’s Messiah, Brahms’s Ein Deutsches Requiem, Mozart’s C-Minor Mass, Grieg’s Peer Gynt, and Mahler's Fourth and Eighth symphonies. She has also performed operatic works, including Humperdinck’s Hänsel und Gretel (Sandmann/ Taumann) as well as Mozart’s Le nozze di Figaro (Barbarina) and Don Giovanni (Zerlina) at the Deutsche Oper am Rhein in Düsseldorf. Richter is passionately fond of songs, with a wide variety of repertoire that she regularly sings in recital. She has been accompanied by Moritz Eggert, Michael Gees, Hartmut Höll, Igor Levit, Nicholas Rimmer, and Gerold Huber, as well as with András Schiff at his festival in Vicenza. Apart from the standard repertoire, she also includes contemporary compositions in her song programs, including the world premiere of Moritz Eggert´s Singet leise and the song cycle Ophelia Sings by Wolfgang Rihm, which he composed specifically for her.
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Munich-born Gerold Huber was awarded a scholarship to study piano under Friedemann Berger at the Musikhochschule in Munich. He also attended Dietrich Fischer-Dieskau’s lied class in Berlin. In 1998 he was awarded the Prix International Pro Musicis in Paris / New York together with baritone Christian Gerhaher, his regular duo partner since their joint schooldays. In 2001, he was a prize-winner at the Johann Sebastian Bach International Piano Competition in Saarbrücken. In the role of lied pianist he regularly appears at festivals such as Schubertiade Schwarzenberg, Vilabertran (Spain), Schwetzingen Festival, and the Rheingau Music Festival, and at major venues including Philharmonie Cologne, Alte Oper Frankfurt, Konzerthaus, and Musikverein in Vienna, Concertgebouw Amsterdam, Wigmore Hall London, Großes Festspielhaus Salzburg, Frick Collection in New York, and Musée d’Orsay in Paris. Mr. Huber works with a multitude of internationally renowned singers, amongst them Mojca Erdmann, Christiane Karg, Christina Landshamer, Ruth Ziesak, Maximilian Schmitt, Rolando Villazón, and FranzJosef Selig. Moreover he is the pianist of vocal ensemble Liedertafel, founded in 2002, which consists of Markus Schäfer, Christian Elsner, Michael Volle, and Franz-Josef Selig. He also performs chamber music with the Artemis Quartet, Henschel Quartet, and with Reinhold Friedrich. Apart from two solo albums with works by Beethoven and Schumann, Mr. Huber is most renowned for his outstanding recordings with baritone Christian Gerhaher. They received Echo Klassik Awards for Best Lied Recording for both Die Winterreise and Die schöne Müllerin. The Schubert CD Abendbilder was honored with the Gramophone Award in 2006. Further releases of this prestigious lied duo include Schumann’s Melancholie for RCA Red Seal (Gramophone Award in 2009), Lieder by Gustav Mahler (various awards including Jahrespreis der Deutschen Schallplattenkritik 2010), as well as Wolf ’s Italian Songbook where they were joined by Mojca Erdmann and, most recently, the compilation Ferne Geliebte—a juxtaposition of both Viennese schools with works by Beethoven/Haydn and Schönberg/Berg (all for Sony).
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TEXTS AND TRANSLATIONS Frühlingsglocken Spring Chimes (Robert Reinick) (translation by Henry S. Drinker, 1949) Schneeglöckchen tut läuten: Was hat das zu bedeuten? -Ei, gar ein lustig Ding! Der Frühling heut' geboren ward, Ein Kind der allerschönsten Art; Zwar liegt es noch im weißen Bett, Doch spielt es schon so wundernett, Drum kommt, ihr Vögel, aus dem Süd' Und bringet neue Lieder mit! Ihr Quellen all, Erwacht im Tal! Was soll das lange Zaudern? Sollt mit dem Kinde plaudern!
Snowbells sweet are ringing! Of what can they be singing? Some very merry thing! For spring is here, serene and mild, as tender as a little child, in bed of white it dreams away, yet eager soon to romp and play. So come, ye robins, come along, and let us hear again your song! Ye springs awake, in bush and brake! Whatever is the matter? Let’s hear again your chatter!
Maiglöckchen tut läuten! Was hat das zu bedeuten? Frühling ist Bräutigam: Macht Hochzeit mit der Erde heut' Mit großer Pracht und Festligkeit. Wohlauf denn, Nelk' und Tulipan, Und schwenkt die bunte Hochzeitfahn'! Du Ros' und Lilie, schmückt euch fein Brautjungfern sollt ihr heute sein! Ihr Schmetterling' Sollt bunt und flink Den Hochzeitreigen führen, Die Vögel musiciren!
Maybells bright are ringing! Of what can they be singing? Spring come and take your bride! The earth will wed you and provide a feast of beauty far and wide. So come then, pinks and daffodils, and deck the valleys, crown the hills! Come rose and lily, look your best! Bridesmaids must all be richly dressed! Ye butterflies, come fill the skies, and dancing flutter o’er us, the birds will sing the chorus.
Blauglöckchen tut läuten! Was hat das zu bedeuten? -Ach, das ist gar zu schlimm! Heut' nacht der Frühling scheiden muß, Drum bringt man ihm den Abschiedsgruß: Glühwürmchen ziehn mit Lichtern hell, Es rauscht der Wald, es klagt der Quell, Dazwischen singt mit süßem Schall Aus jedem Busch die Nachtigall, Und wird ihr Lied So bald nicht müd', Ist auch der Frühling schon ferne Sie hatten ihn alle so gerne!
Bluebells now are ringing! Of what can they be singing? Ah, it is very sad! For spring tonight must fly away. Farewell, farewell we all must say. The fireflies dart among the firs, the rivers roar, the forest stirs, beyond the field we hear the quail, and in the wood the nightingale, her sweet sad song the whole night long, the lovely spring, alas, is over, farewell to the flow’rs and the clover!
Please turn the page quietly.
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Blumengruß (Johann Wolfgang Goethe)
Flower Greeting (translation by Emily Ezust)ber
Der Strauß, den ich gepflücket, Grüße dich viel tausendmal! Ich habe mich oft gebücket, Ach, wohl eintausendmal, Und ihn ans Herz gedrücket Wie hunderttausendmal!
The bouquet that I have picked, let it greet you a thousand times! I have often bent down, ah, well over a thousand times, and pressed it to my heart maybe even a hundred thousand times!
Liebchen, wo bist du? (Robert Reinick)
bert Reinick) Sweetheart, where are you? (translation by Harry S. Drinker, 1949)
Zaubrer bin ich, doch was frommt es? Denn mein Lieb ist eine Fei, Höhnt mich mit noch ärgerm Zauber, Ruf ’ ich freundlich sie herbei: Liebchen, wo bist du?
Wizard tho’ I be, what matters? For my love is such a sprite, mocking me with stronger magic. When I ask her, so polite: “Sweetheart, where are you?”
Heute noch in Feld und Garten Ging ich, sie zu suchen, aus; Plötzlich lacht’ aus einer Rose Glühend rot ihr Mund heraus: Liebster, da bin ich!
Just this morning when I sought her in a blooming flowerbed, came her voice with teasing laughter, from a rosebud, flaming red: “Sweetheart, come find me!”
Ich nun ward ein schneller Zephyr, Küßt im Flug die Rose schon. Ach! nur eine Rose küßt’ ich, Liebchen war daraus entflohn. Liebchen, wo bist du?
I became a flying zephyr, kissed the rose that bloomed so gay, but I only kissed a rosebud, for my love had flown away: “Sweetheart, where are you?”
Horch, da sang am Waldes-Ufer Plötzlich eine Nachtigall; Wohlbekannt war mir die Stimme, Und sie sang mit süßem Schall: Liebster, da bin ich!
At the border of the forest, sudden sang a nightingale; well I know her carol ringing sweetly over hill and dale: “Sweetheart, come find me!”
Schnell zum Abendstern gewandelt, Blickt’ ich durch die grüne Nacht; Ach! den leeren Busch erblickt’ ich, Liebchen hat sich fortgemacht. Liebchen, wo bist du?
Quick I changed to star of evening, peering through the flow’ry night; but the bushes all were empty, for my love had vanished quite. “Sweetheart, where are you?”
Und so treibt sie’s alle Tage, Läßt mir eben jetzt nicht Ruh’, Während dieses Lied ich singe, Ruft sie unsichtbar mir zu: Liebster, da bin ich!
So she plagues me every minute, never seems to let me be, even while I thus am singing, secretly she calls to me: “Sweetheart, come find me!”
Liebchen, mach’ dem Spiel ein Ende, Komm nun endlich selbst herbei, Glaub’, ein einz’ger Kuß ist schöner, Als die ganze Zauberei! Liebchen, wo bist du?
Sweetheart, have an end of fooling, call a truce and peace proclaim; you will find my kisses sweeter far than all this magic game! “Sweetheart, where are you?”
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Frühling übers Jahr Perennial Spring (Johann Wolfgang Goethe) (translation by Eric Sams) Das Beet, schon lockert sichs in die Höh! Da wanken Glöckchen so weiß wie Schnee; Safran entfaltet gewaltge Glut, Smaragden keimt es und keimt wie Blut;
Already new growth is breaking up the flower-bed; snow-white snowdrop bells are swaying there, crocuses unfold their intense glow, some budding is emerald, some blood-red.
Primeln stolzieren so naseweis, Schalkhafte Veilchen, versteckt mit Fleiß; Was auch noch alles da regt und webt, Genug, der Frühling, er wirkt und lebt.
Pert primroses are on parade; roguish violets are assiduously hidden; so much else is stirring and moving; in short, Spring is here, active and alive.
Doch was im Garten am reichsten blüht, Das ist des Liebchens lieblich Gemüt. Da glühen Blicke mir immerfort, Erregend Liedchen, erheiternd Wort,
But the richest flowering in all the garden is the sweet disposition of my darling: her ever-glowing glances, stirring song, enlivening talk,
Ein immer offen, ein Blütenherz, Im Ernste freundlich und rein im Scherz. Wenn Ros und Lilie der Sommer bringt, Er doch vergebens mit Liebchen ringt.
an ever open, a blossom-heart, kindly in earnest, and pure in jest. Even though summer brings rose and lily it vies with my love in vain.
Ganymed (Johann Wolfgang Goethe)
Ganymed (translation by Emily Ezust)
Wie im Morgenglanze Du rings mich anglühst, Frühling, Geliebter! Mit tausendfacher Liebeswonne Sich an mein Herz drängt Deiner ewigen Wärme heilig Gefühl, Unendliche Schöne!
How in the morning light you glow around me, beloved Spring! With love’s thousand-fold bliss, to my heart presses the eternal warmth of sacred feelings and endless beauty!
Daß ich dich fassen möcht’ In diesen Arm!
Would that I could clasp you in these arms!
Ach, an deinem Busen Lieg’ ich, schmachte, Und deine Blumen, dein Gras Drängen sich an mein Herz. Du kühlst den brennenden Durst meines Busens, Lieblicher Morgenwind! Ruft drein die Nachtigall Liebend nach mir aus dem Nebeltal.
Ah, at your breast I lie and languish, and your flowers and your grass press themselves to my heart. You cool the burning thirst of my breast, lovely morning wind! The nightingale calls lovingly to me from the misty vale.
Ich komm’, ich komme! Wohin? Ach, wohin?
I am coming, I am coming! but whither? To where?
Hinauf! Hinauf strebt’s. Es schweben die Wolken Abwärts, die Wolken Neigen sich der sehnenden Liebe. Mir! Mir! In eurem Schosse Aufwärts! Umfangend umfangen! Aufwärts an deinen Busen, Alliebender Vater!
Upwards I strive, upwards! The clouds float downwards, the clouds bow down to yearning love. To me! To me! In your lap upwards! Embracing, embraced! Upwards to your bosom, All-loving Father! Please turn the page quietly.
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Verschwiegene Liebe (Joseph von Eichendorff)
Silent Love (translation by Emily Ezust)
Über Wipfel und Saaten In den Glanz hinein Wer mag sie erraten, Wer holte sie ein? Gedanken sich wiegen, Die Nacht ist verschwiegen, Gedanken sind frei. Errät es nur eine, Wer an sie gedacht Beim Rauschen der Haine, Wenn niemand mehr wacht Als die Wolken, die fliegen Mein Lieb ist verschwiegen Und schön wie die Nacht.
Over treetops and cornfields and into the splendor who may guess them, who may catch up with them? Thoughts sway, the night is mute; thoughts run free.
Nachtzauber (Joseph von Eichendorff)
Night Magic (translation by Emily Ezust)
Hörst du nicht die Quellen gehen zwischen Stein und Blumen weit nach den stillen Waldesseen, wo die Marmorbilder stehen in der schönen Einsamkeit? Von den Bergen sacht hernieder, weckend die uralten Lieder, steigt die wunderbare Nacht, und die Gründe glänzen wieder, wie du’s oft im Traum gedacht.
Do you not hear the spring running between the stones and flowers far toward the quiet wood lakes, where the marble statues stand in fine solitude? From the mountains, gently awakening ancient songs, the wondrous night descends and the earth gleams again as you often see in a dream.
Kennst die Blume du, entsprossen in dem mondbeglänzten Grund Aus der Knospe, halb erschlossen, junge Glieder blühend sprossen, weiße Arme, roter Mund, und die Nachtigallen schlagen und rings hebt es an zu klagen, ach, vor Liebe todeswund, von versunk’nen schönen Tagen komm, o komm zum stillen Grund! Komm! Komm!
Do you know the flower that blooms in the moonlit land, from whose buds, half-open, young limbs bloom with white arms and red mouth? And the nightingale sings, and all around, a lament is raised; alas, wounded fatally by love, by lovely days now gone forever come, o come to the silent land! Come! come!
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Only one guesses, one who has thought of her by the rustling of the grove, when no one was watching any longer except the clouds that flew by my love is silent and as fair as the night.
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Wiegenlied im Winter (Robert Reinick)
Lullaby in the winter (translation by Eric Sams*)
Schlaf ’ ein, mein süßes Kind, Da draußen geht der Wind. Er pocht ans Fenster und schaut hinein, Und hört er wo ein Kindlein schrei’n, Da schilt und summt und brummt er sehr, Holt gleich sein Bett voll Schnee daher, Und deckt es auf die Wiegen, Wenn’s Kind nicht still will liegen.
Sleep, my sweet child. Outside, the wind is blowing, it knocks on the window-pane and peers in, and if it hears a baby crying anywhere, it scolds and moans and roars and then brings its own bed of snow to cover the cradle, if baby won’t lie quiet.
Schlaf ’ ein, mein süßes Kind, Da draußen geht der Wind, Er rüttelt an dem Tannenbaum, Da fliegt heraus ein schöner Traum, Der fliegt durch Schnee und Nacht und Wind Geschwind, geschwind zum lieben Kind, Und singt von Licht und Kränzen, Die bald am Christbaum glänzen.
Sleep, my sweet child. Outside, the wind is blowing, it shakes the fir-tree and out flies a beautiful dream that comes flying through snow and night and wind so fast to my dear child and sings of the lights and the wreaths that will soon be shining on the Christmas tree.
Schlaf ’ ein, mein süßes Kind, Da draußen bläst der Wind. Doch ruft die Sonne: “Grüß euch Gott!” Bläst er dem Kind die Backen rot, Und sagt der Frühling: “Guten Tag!” Bläst er die ganze Erde wach, Und was er still gelegen, Springt lustig allerwegen. Jetzt schlaf ’, mein süßes Kind, Da draußen bläst der Wind!
Sleep, my sweet child. Outside the wind is blowing. Yet it shall blow your cheeks red when the sun cries “Good morning!” and it shall blow the whole world awake when springtime says “Good day!” and what has lain quiet until then shall leap for joy all around.
Schlafendes Jesuskind (Eduard Mörike)
Sleeping Christ-child (translation by Eric Sams)
Sohn der Jungfrau, Himmelskind! am Boden Auf dem Holz der Schmerzen eingeschlafen, Das der fromme Meister, sinnvoll spielend, Deinen leichten Träumen unterlegte; Blume du, noch in der Knospe dämmernd Eingehüllt die Herrlichkeit des Vaters! O wer sehen könnte, welche Bilder Hinter dieser Stirne, diesen schwarzen Wimpern sich in sanftem Wechsel malen! Sohn der Jungfrau, Himmelskind!
Son of the Virgin, child of Heaven, lying on the floor asleep on the wood of suffering that the pious painter has placed a meaningful allusion - under your light dreams; You flower, even in the bud, darkling and sheathed, still the glory of God the Father! O, who could see, behind this brow, these dark lashes, what softly-changing pictures are being painted! Son of the Virgin, child of Heaven!
Auf ein, altes Bild (Eduard Mörike)
On gazing at an old painting (translation from C. F. Peters edition)
In grüner Landschaft Sommerflor, Bei kühlem Wasser, Schilf, und Rohr, Schau, wie das Knäblein Sündelos Frei spielet auf der Jungfrau Schoß! Und dort im Walde wonnesam, Ach, grünet schon des Kreuzes Stamm!
Here where the reeds and rushes grow, and limpid waters gently flow, see, how the child, from sin quite free, is playing on the virgin’s knee. And close by in thr woods so green, lo, there the growing cross is seen!
*The Songs of Hugo Wolf, Indiana University Press [1961] 1992
Please turn the page quietly.
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Wo find' ich Trost (Eduard Mörike)
Where shall I find solace? (translation by Eric Sams)
Eine Liebe kenn ich, die ist treu, War getreu, solang ich sie gefunden, Hat mit tiefem Seufzen immer neu, Stets versöhnlich, sich mit mir verbunden.
I know a love that is true, and has been faithful ever since I first found it; with deep sighing ever renewed it has, always forgivingly, espoused my cause.
Welcher einst mit himmlischem Gedulden Bitter bittern Todestropfen trank, Hing am Kreuz und büßte mein Verschulden, Bis es in ein Meer von Gnade sank.
He it was who with heavenly forbearance drank the bitter, bitter drops of death, hung on the cross, and atoned for my sins until they sank in a sea of mercy.
Und was ist’s nun, daß ich traurig bin, Daß ich angstvoll mich am Boden winde? Frage: Hüter, ist die Nacht bald hin? Und: was rettet mich von Tod und Sünde?
And why is it that I am now cast down and writhe in torment on the ground? I ask “Watchman, what of the night?” and “What saves me from death and sin?”
Arges Herze! Ja gesteh’ es nur, Du hast wieder böse Lust empfangen; Frommer Liebe, frommer Treue Spur, Ach, das ist auf lange nun vergangen.
Wicked heart! yes, only confess it, you have again harboured evil pleasure; the traces of pious love, of pious faith, have vanished, alas, long ago.
Ja, daß ist’s auch, daß ich traurig bin, Daß ich angstvoll mich am Boden winde! Hüter, Hüter, ist die Nacht bald hin? Und was rettet mich von Tod und Sünde?
Yes, this is why I am cast down and writhe in torment on the ground. Watchman, watchman, what of the night? What saves me from death and sin?
Zum neuen Jahr (Eduard Mörike)
To the New Year (translation by Peter Laki)
Wie heimlicher Weise Ein Engelein leise Mit rosigen Füßen Die Erde betritt, So nahte der Morgen. Jauchzt ihm, ihr Frommen, Ein heilig Willkommen, Ein heilig Willkommen!
Like an angel, descending to earth secretly, softly, with rosy feet, Thus did dawn appear. O pious souls, greet her with joy, praise her coming, praise her coming!
Herz, jauchze du mit! In Ihm sei’s begonnen, Der Monde und Sonnen An blauen Gezelten Des Himmels bewegt. Du, Vater, du rate! Lenke du und wende! Herr, dir in die Hände Sei Anfang und Ende, Sei alles gelegt!
My heart, join in the cheer! Let the day start in Him, who moves the suns and the moons on the blue canopy of the sky. You, Father, give counsel! Guide us and steer us. Lord, let the whole world, beginning and end, be placed in your hands.
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Frech und Froh I (Johann Wolfgang Goethe)
Cheeky and cheerful (translation by Malcolm Wren)
Mit Mädeln sich vertragen, Mit Männern ‘rumgeschlagen, Und mehr Kredit als Geld, So kommt man durch die Welt.
Getting on with girls, Kicking about with men, Having more credit than cash: That’s how you get by in the world.
Mit vielem läßt sich schmausen, Mit wenig läßt sich hausen; Daß wenig vieles sei, Schafft nur die Lust herbei.
With a lot you can indulge yourself, With a little you can live; Making a little be a lot Can create pleasure.
Will sie sich nicht bequemen, So müßt ihr’s eben nehmen. Will einer nicht vom Ort, So jagt ihn grade fort.
Even if you can’t bring yourself to do it, you just have to get on with it. If somebody doesn’t want to move, just get him out of the way.
Laßt alle nur mißgönnen, Was sie nicht nehmen können, Und seid von Herzen froh; Das ist das A und O.
Let others begrudge what they can’t attain, and be cheerful at heart; that is the alpha and omega
So fahret fort zu dichten, Euch nach der Welt zu richten. Bedenkt in Wohl und Weh Dies goldne A B C.
So carry on as a poet taking your bearings from the world. Remember in joy and misery this golden A B C.
Begegnung (Eduard Mörike)
Encounter (translation by Emily Ezust)
Was doch heut Nacht ein Sturm gewesen, Bis erst der Morgen sich geregt! Wie hat der ungebetne Besen Kamin und Gassen ausgefegt!
What a storm it was last night, raging until the morning! How that unprayed-for broom swept clean the chimneys and the streets!
Da kommt ein Mädchen schon die Straßen, Das halb verschüchtert um sich sieht; Wie Rosen, die der Wind zerblasen, So unstet ihr Gesichtchen glüht.
There comes a maiden along the street who, half-scared, glances around her; like roses that the wind blows wild, so her face’s glow fluctuates.
Ein schöner Bursch tritt ihr entgegen, Er will ihr voll Entzücken nahn: Wie sehn sich freudig und verlegen Die ungewohnten Schelme an!
A handsome boy steps up toward her: he wants to approach her, full of delight: how joyful and embarrassed seems this unaccustomed rogue!
Er scheint zu fragen, ob das Liebchen Die Zöpfe schon zurecht gemacht, Die heute Nacht im offnen Stübchen Ein Sturm in Unordnung gebracht.
He appears to ask, whether his sweetheart has put to right her braids, which last night in her open chamber a storm brought into disorder.
Der Bursche träumt noch von den Küßen, Die ihm das süße Kind getauscht, Er steht, von Anmut hingerissen, Derweil sie um die Ecke rauscht.
The lad still dreams of the kisses which that sweet girl exchanged with him; and he stands, overcome by her charm, while away she rushes, around the corner.
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Der Gärtner (Eduard Mörike)
The Gardener (translation by Emily Ezust)
Auf ihrem Leibrößlein So weiß wie der Schnee, Die schönste Prinzessin Reit’t durch die Allee.
On her favorite pony as white as snow, the fairest princess rides down the avenue.
Der Weg, den das Rößlein Hintanzet so hold, Der Sand, den ich streute, Er blinket wie Gold!
On the path down which her steed so finely prances, the sand that I strewed there glitters like gold!
Du rosenfarb’s Hütlein Wohl auf und wohl ab, O wirf eine Feder, Verstohlen herab!
You rose-colored little hat, bobbing up and down, O toss a feather stealthily down!
Und willst du dagegen Eine Blüte von mir, Nimm tausend für eine, Nimm alle dafür!
And if, for that, you would like a little flower from me, take a thousand for one take all of them!
Gleich und Gleich (Johann Wolfgang Goethe)
Like to Like (translation by Emily Ezust)
Ein Blumenglöckchen Vom Boden hervor War früh gesprosset In lieblichem Flor; Da kam ein Bienchen Und naschte fein: -Die müssen wohl beide Für einander sein.
A little flower-bell had sprouted early from the ground with a lovely little flourish; there came a little bee and sipped it delicately: they must have been made for each other.
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Der Knabe und das Immlein (Eduard Mörike)
The Lad and the Bee (translation by Malcolm Wren)
Im Weinberg auf der Höhe ein Häuslein steht so windebang; hat weder Tür noch Fenster, die Weile wird ihm lang.
In a vineyard up on the hill stands a cottage that is open to the elements. It has neither door nor window and time hangs heavy on it.
Und ist der Tag so schwüle, sind all’ verstummt die Vögelein, summt an der Sonnenblume ein Immlein ganz allein.
However the sultry the day, even if all the birds have fallen silent, you will hear buzzing on the sunflower. It is a bee all on its own.
Mein Lieb hat einen Garten, da steht ein hübsches Immenhaus: kommst du daher geflogen? schickt sie dich nach mir aus?
My love has a garden in which there is a pretty beehive. Is that where you have flown from? Did she send you to me?
O nein, du feiner Knabe, es hieß mich Niemand Boten gehn; dieses Kind weiß nichts von Lieben, hat dich noch kaum gesehn.
“Oh no, you fine lad, nobody has sent me with any message. That child doesn’t know anything about love. She has hardly set eyes on you.
Was wüßten auch die Mädchen, wenn sie kaum aus der Schule sind! Dein herzallerliebstes Schätzchen ist noch ein Mutterkind.
What on earth can girls know when they have only just left school? Your dearest little treasure is still her mother’s daughter.
Ich bring’ ihm Wachs und Honig; ade! ich hab’ ein ganzes Pfund; wie wird das Schätzchen lachen, ihm wässert schon der Mund -
I’m taking her some wax and honey. Goodbye. I’ve got a whole pound. How your little treasure is going to laugh! Her mouth will be watering already!”
Ach, wolltest du ihr sagen, ich wüßte, was viel süßer ist: nichts Lieblichers auf Erden als wenn man herzt und küßt!
Oh, I wish you would tell her I know something that is much sweeter. There is nothing more loveable on earth than having a hug and a kiss.
Zitronenfalter im April (Eduard Mörike)
Butterfly in April (translation by Eric Sams)
Grausame Frühlingssonne, Du weckst mich vor der Zeit, Dem nur in Maienwonne Die zarte Kost gedeiht! Ist nicht ein liebes Mädchen hier, Das auf der Rosenlippe mir Ein Tröpfchen Honig beut, So muß ich jämmerlich vegehn Und wird der Mai mich nimmer sehn In meinem gelben Kleid.
Cruel spring sun, you wake me before my time; my delicate food does not flourish until the bliss of May! If there is no dear girl here to offer me a droplet of honey from her rosy lips, then I must perish miserably, and May will never see me in my yellow dress.
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Er ist’s (Eduard Mörike)
It’s spring! (translation by Emily Ezust)
Frühling läßt sein blaues Band Wieder flattern durch die Lüfte; Süße, wohlbekannte Düfte Streifen ahnungsvoll das Land. Veilchen träumen schon, Wollen balde kommen. Horch, von fern ein leiser Harfenton! Frühling, ja du bist’s! Dich hab ich vernommen!
Spring lets its blue ribbon flutter again in the breeze; a sweet, familiar scent sweeps with promise through the land. Violets are already dreaming, and will soon arrive. Hark! In the distance - a soft harp tone! Spring, yes it is you! It is you that I have heard!
Wohin mit der Freud? (Robert Reinick)
What shall I do with my joy? (translation by Henry S. Drinker, 1949)
Ach du klarblauer Himmel, und wie schön bist du heut’! Möcht’ ans Herz gleich dich drücken voll Jubel und Freud’. Aber ‘s geht doch nicht an, denn du bist mir zu weit, Und mit all’ meiner Freud’, was fang’ ich doch an?
Ah you blue shining heaven, you are lovely today! I am yearning to kiss you, the world is so gay! You are too far away to permit me a kiss, tell me what can I do with joy such as this?
Ach du lichtgrüne Welt, und wie strahlst du voll Lust! Und ich möcht’ gleich mich werfen dir voll Lieb’ an die Brust; Aber ‘s geht doch nicht an, und das ist ja mein Leid, Und mit all’ meiner Freud’, was fang’ ich doch an?
Ah you greem blooming world, how you sparkle so bright! How I wish I could hold you in my arms close and tight! But, alas, my two arms would not half circle you, I am bursting with joy and what can I do?
Und da sah ich mein Lieb am Kastanienbaum stehn, War so klar wie der Himmel, wie die Erde so schön! Und wir küßten uns beid’, und wir sangen voll Lust, Und da hab’ ich gewußt, wohin mit der Freud’!
Then I saw my true love by the horse-chestnut tree, fairer far than the earth is or the heaven is he, and we kissed and we kissed, and we sang and I knew that the joy in my heart was meant for us two.
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Im Frühling (Eduard Mörike)
In Spring (translation by Eric Sams)
Hier lieg’ ich auf dem Frühlingshügel: Die Wolke wird mein Flügel, Ein Vogel fliegt mir voraus. Ach, sag’ mir, all-einzige Liebe, Wo du bleibst, daß ich bei dir bliebe! Doch du und die Lüfte, ihr habt kein Haus.
Here I lie on the hill of spring; The clouds become my wings, a bird flies ahead of me. Oh tell me, one and only love, where you live, that I may dwell with you! But you and the breezes have no home.
Der Sonnenblume gleich steht mein Gemüte offen, Sehnend, sich dehnend In Lieben und Hoffen. Frühling, was bist du gewillt? Wenn werd’ ich gestillt?
Like a sunflower my mind stands open, yearning, expanding in love and hope. Spring, what is it you want of me? When shall I be stilled?
Die Wolke seh’ ich wandeln und den Fluß, Es dringt der Sonne goldner Kuß Mir tief bis in’s Geblüt hinein; Die Augen, wunderbar berauschet, Tun, als schliefen sie ein, Nur noch das Ohr dem Ton der Biene lauschet.
I see the cloud moving, and the river; the golden kiss of the sun drives deep into my veins; my eyes, wondrously enchanted, close as if in sleep. Only my ears still catch the hum of the bee.
Ich denke dies und denke das, Ich sehne mich, und weiß nicht recht, nach was: Halb ist es Lust, halb ist es Klage; Mein Herz, o sage, Was webst du für Erinnerung In golden grünen Zweige Dämmerung? - Alte unnennbare Tage!
I think of this and that, I yearn without quite knowing why. It is half pleasure, half lament. Tell me, my heart, what memories you are weaving here in the twilight shade of golden-green boughs? Old unutterable days!
Nachtgruß (Robert Reinick)
Nighttime greeting (translation by Sharon Krebs)
In dem Himmel ruht die Erde, Mond und Sterne halten Wacht, Auf der Erd’ ein kleiner Garten Schlummert in der Blumen Pracht. Gute Nacht, gute Nacht!
The earth rests in heaven, Moon and stars keep watch, Upon the earth, a little garden Slumbers in the flowers’ splendour. Good night, good night!
In dem Garten steht ein Häuschen, Still von Linden überdacht; Draußen vor dem Erkerfenster Hält ein Vogel singend Wacht. Gute Nacht, gute Nacht!
In the garden there stands a little house, Quietly covered by a canopy of lime trees; Outside before of the little bay window A singing bird keeps watch. Good night, good night!
In dem Erker schläft ein Mädchen, Träumet von der Blumenpracht; Ihr im Herzen ruht der Himmel, D’rin die Engel halten Wacht. Gute Nacht, gute Nacht!
In the bay-windowed room a maiden sleeps, Dreaming of the splendour of the flowers; Within her heart rests heaven, Wherein the angels keep watch. Good night, good night!
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St. Nepomuks Vorabend (Johann Wolfgang Goethe)
Eve of St. Nepomuk’s Day (translation from C. F. Peters edition, 1976)
Lichtlein schwimmen auf dem Strome, Kinder singen auf der Brücken, Glocke, Glöckchen fügt vom Dome Sich der Andacht, dem Entzücken.
Small lights float upon the river, children are singing on the bridges, bells great and small from the cathedral ring in accord with these devotions, this delight.
Lichtlein schwinden, Sterne schwinden; Also lös’te sich die Seele Unsres Heil’gen, nicht verkünden Durft’ er anvertraute Fehle.
The lights vanish, the stars disappear; thus did our Saint’s soul melt away, without divulging the misdeeds confessed to him.
Lichtlein, schwimmet! spielt ihr Kinder! Kinderchor, o! singe, singe! Und verkündiget nicht minder Was den Stern zu Sternen bringe!
Float, little lights! Play, you children! Sing, o sing, choir of children! And do not any the less proclaim what brings the Star to the other stars!
Wiegenlied im Sommer (Robert Reinick)
Lullaby in the Summer (translation by John H. Anderson)
Vom Berg hinabgestiegen Ist nun des Tages Rest; Mein Kind liegt in der Wiegen, Die Vögel all’ im Nest; Nur ein ganz klein Singvögelein Ruft weit daher im Dämmerschein: “Gut’ Nacht! gut’ Nacht! Lieb’ Kindlein, gute Nacht!”
Down from the mountain Steals the day’s end my child lies in the cradle, the little birds are nesting, one little songbird only sings in the twilight: Good night, good night, dear child, good night.
Die Wiege geht im Gleise, Die Uhr tickt hin und her, Die Fliegen nur ganz leise Sie summen noch daher. Ihr Fliegen, laßt mein Kind in Ruh’! Was summt ihr ihm so heimlich zu? “Gut’ Nacht! gut’ Nacht! Lieb’ Kindlein, gute Nacht!”
The cradle rocks on its rail, The clock ticks back and forth, The flies still buzz, Softly in the distance. Ye flies, leave my child in peace! Why come buzzing into his room? Good night, good night, dear child, good night.
Der Vogel und die Sterne, Und alle rings umher, Sie haben mein Kind so gerne, Die Engel noch viel mehr. Sie decken’s mit den Flügeln zu Und singen leise: “Schlaf in Ruh! Gut’ Nacht! gut’ Nacht! Lieb’ Kindlein, gute Nacht!”
The bird and the stars, And all who are all about, Surely love my child, The angels even more. They shield him with their wings And softly sing, “Sleep in peace!” Good night, good night, dear child, good night.
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Abendbilder (Nikolaus Lenau)
Evening Scenes (translation from the C. F. Peters edition)
I Friedlicher Abend senkt sich aufs Gefilde; Sanft entschlummert Natur, um ihre Züge Schwebt der Dämmerung zarte Verhüllung, und sie Lächelt, die Holde;
I A peaceful evening falls on the fields; Nature gently falls asleep. Over her features twilight casts a soft veil, and she smiles graciously.
Lächelt, ein schlummernd Kind in Vaters Armen, Der voll Liebe zu ihr sich neigt, sein göttlich Auge weilt auf ihr, und es weht sein Odem Über ihr Antlitz.
She smiles, a sleeping child in the arms of her father, who lovingly bends over her; his divine eye dwells on her, and his breath fans her face.
II Schon zerfließt das ferne Gebirg mit Wolken In ein Meer; den Wogen entsteigt der Mond, er Grüßt die Flur, entgegen ihm grüßt das schönste Lied Philomelens
II Now the far mountain-range dissolves with the clouds into a sea; the moon emerges from the waves and greets the earth, and Philomel’s ravishing song returns its greeting,
Aus dem Blütenstrauche, der um das Plätzchen Zarter Liebe heimlichend sich verschlinget: Mirzi horcht am Busen des Jünglings ihrem Zaubergeflöte.
from the flowering shrubs that secretively intertwine round the nests of tender love. Mirzi on her lover’s arms listens to that magical fluting.
Dort am Hügel weiden die Schafe beider Traulichen Gemenges in einer Herde, Ihre Glöcklein stimmen so lieblich ein zu Frohen Akkorden.
There on the hillside the sheep of both, cozily together, graze in a single pasture, their little bells charmingly joining in happy harmony.
III Stille wird’s im Walde; die lieben kleinen Sänger prüfen schaukelnd den Ast, der durch die Nacht dem neuen Fluge sie trägt, den neuen Liedern entgegen.
III It has become quiet in forest; the dear little singers, shaking the branch which bore them during the night for their new flights, try out new songs together.
Bald versinkt die Sonne; des Waldes Riesen Heben höher sich in die Lüfte, um noch Mit des Abends flüchtigen Rosen sich ihr Haupt zu bekränzen.
Soon the sun sinks; the forest giants reach higher into the air, to crown their heads a while yet with evening’s fleeting roses.
Schon verstummt die Matte; den satten Rindern Selten nur enthallt das Geglock am Halse, Und es pflückt der wählende Zahn nur lässig Dunklere Gräser.
The meadow now falls silent; the full-fed bullocks but rarely tinkle the bells at their necks, and their teeth idly pick and choose from the rich grasses.
Und dort blickt der schuldlose Hirt der Sonne Sinnend nach; dem Sinnenden jetzt entfallen Flöt und Stab, es falten die Hände sich zum Stillen Gebete.
And there the innocent shepherd thoughtfully looks at the sun; he lets fall his flute and staff and folds his hands in silent prayer.
Translations by John H. Anderson, Emily Ezust, Bertram Kottman, Sharon Krebs, and Malcolm Wren from lieder.net, reprinted by kind permission of the translators. Eric Sams’s translation of “Wiegenlied im Winter” from The Songs of Hugo Wolf, Indiana University Press [1961] 1992. Other translations by Sams from lieder.net, reprinted by kind permission of the translator’s heirs. Translations by Henry S. Drinker from Texts of the Solo Songs of Hugo Wolf in English Translation. Association of American Colleges Arts Program, 1949.
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ABOUT THE ARMORY Part American palace, part industrial shed, Park Avenue Armory is dedicated to supporting unconventional works in the visual and performing arts that need non-traditional spaces for their full realization, enabling artists to create and audiences to experience epic and adventurous presentations that can not be mounted elsewhere in New York City. In its first six years, the Armory opened its doors to visionary artists, directors, and impresarios who provided extraordinary experiences in a range of art forms. Such was its impact that in December 2011, The New York Times noted, “Park Avenue Armory … has arrived as the most important new cultural institution in New York City.” 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 $200-million renovation designed by Herzog & de Meuron.
NEXT AT THE ARMORY ST. MATTHEW PASSION
tears become … streams become …
october
douglas gordon & hélène grimaud december 9 – january 4
7–8
“Astonishing … I challenge you not to be an emotional wreck by the end of it.” – The Guardian (London) Regarded as one of the quintessential masterpieces of classical sacred music, Bach’s revered account of Christ’s Passion is ritualized by inventive director Peter Sellars, who creates a communal grieving process in a radically inclusive approach that eliminates the separation between artist and audience. Simon Rattle leads the Berliner Philharmoniker, a cast of superb singers, and extensive choral forces for the U.S. premiere of this epic production. Co-presented by Park Avenue Armory and Lincoln Center’s White Light Festival. The Berliner Philharmoniker residency in New York City is made possible by a leadership gift from the Anna-Maria and Stephen Kellen Foundation, and Marina Kellen French. Park Avenue Armory and Lincoln Center would like to thank Carnegie Hall for its collaboration in making possible these Berliner Philharmoniker performances.
“One of the most prominent artists of his generation.” – The Guardian (UK) on Douglas Gordon “Grimaud doesn’t sound like most pianists: she is a rubato artist, a reinventor of phrasings, a taker of chances.” – The New Yorker Turner Prize-winning artist Douglas Gordon takes the elemental force of water as inspiration for a large-scale visual art installation in which acclaimed pianist Hélène Grimaud will perform a program of water-themed works by Debussy, Ravel, Liszt, and others, creating a confluence of live music and visual art that allows audiences to experience this celebrated music in a refreshingly new way. The installation will be open to the public in addition to performance times for further reflection. Commissioned by Park Avenue Armory.
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OTHER HAPPENINGS AT THE ARMORY UNDER CONSTRUCTION SERIES
Get an inside look into the creative process of the Armory’s artists-in-residence, who set up studios and offer intimate public previews of works-in-progress, including dance, theater, music, and visual art. The Armory’s period rooms provide a unique backdrop for their workshops, serving as both inspiration and as a collaborator in the development of their work. Upcoming showings:
JASON AKIRA SOMMA october
SASHA FRERE-JONES 12
AGING MAGICIAN january
11 – 13, 2015
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. Upcoming lectures:
AUGUSTUS SAINT-GAUDENS’ SHAW MEMORIAL AND THE 54TH MASSACHUSETTS REGIMENT november
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STEPCHILD REGIMENT: Harlem’s Rattlers and the Struggle for Existence and Recognition in the New York National Guard november
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AN ARISTOCRACY OF WEALTH: New York’s Gilded Age Society Through the Decorative Arts december
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Held in our historic period rooms, these insightful dialogues give audiences the opportunity to hear directly from the artists, and explore the inspirations, ideas, and themes behind their work.
HISTORIC INTERIORS TOURS “[The Armory contains] the single most important collection of nineteenth century interiors to survive intact in one building.” – New York City Landmarks Preservation Commission
14 – 15
november
ARTIST TALKS
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, see rooms not regularly open to the public and learn about the design plans by acclaimed architects Herzog & de Meuron.
FAMILY PROGRAMS
Park Avenue Armory invites children and parents to participate in interactive art-making workshops in our historic period rooms. Drawing upon the Armory’s castle-like setting and unique artistic offerings, these programs are offered monthly during the school year and designed to spark the imagination of children of all ages.
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.
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BOARD OF DIRECTORS Co-Chairman Elihu Rose, PhD. Co-Chairman Adam R. Flatto President and Executive Producer Rebecca Robertson
Marina Abramović Harrison M. Bains Kent L. Barwick Wendy Belzberg Emma Bloomberg Carolyn Brody Cora Cahan Peter C. Charrington Hélène Comfort Sanford B. Ehrenkranz Michael Field David Fox Marjorie L. Hart Karl Katz Edward G. Klein, Major General NYNG (Ret.) Ken Kuchin
Pablo Legorreta Ralph Lemon Burt Manning Heidi McWilliams David S. Moross Gwendolyn Adams Norton Joel I. Picket Joel Press Genie H. Rice Janet C. Ross Jeffrey Silverman Emanuel Stern Angela E. Thompson Deborah C. van Eck Founding Chairman, 2000-2009 Wade F.B. Thompson
SUPPORTERS Park Avenue Armory expresses its deep appreciation to the individuals and organizations listed here for their generous support for its annual and capital campaigns. $1,000,000 + Charina Endowment Fund, Inc. Empire State Local Development Corporation New York City Council and Council Member Daniel R. Garodnick New York City Department of Cultural Affairs The Pershing Square Foundation Susan and Elihu Rose The Arthur Ross Foundation and J & AR Foundation Joan and Joel Smilow The Thompson Family Foundation Wade F.B. Thompson* The Zelnick/Belzberg Charitable Trust Anonymous
$500,000 to $999,999 Citi Lisa and Sandy Ehrenkranz Almudena and Pablo Legorreta The Andrew W. Mellon Foundation Adam R. Rose and Peter R. McQuillan Donna and Marvin Schwartz Liz and Emanuel Stern
$250,000 to $499,999 Michael Field and Jeff Arnstein Olivia and Adam Flatto Ken Kuchin and Tyler Morgan New York State Council on the Arts The Rockefeller Foundation Marshall Rose Family Foundation
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$100,000 to $249,999 The Achelis and Bodman Foundations Linda and Earle S. Altman American Express Historic Preservation Fund Bloomberg Philanthropies Booth Ferris Foundation Marjorie and Gurnee Hart Mr. and Mrs. Peter L. Malkin and The Malkin Fund, Inc. Mr. and Mrs. Thomas McWilliams Mr. and Mrs. Lester S. Morse, Jr. National Endowment for the Arts New York State Assembly Gwen and Peter Norton Daniel and Joanna S. Rose Stavros Niarchos Foundation Mr. and Mrs. William C. Tomson
$25,000 to $99,999 The Avenue Association Harrison and Leslie Bains Emily and Len Blavatnik Emma Bloomberg and Chris Frissora Carolyn S. Brody Burberry Paul Chan and Don Toumey Chanel, Inc. C-III Capital Partners LLC Hélène and Stuyvesant Comfort The Cowles Charitable Trust Crum & Forster Emme and Jonathan Deland Sandi and Andrew Farkas / Island Capital Group Florence Fearrington Ella M. Foshay and Michael B. Rothfeld Elizabeth Morse Genius Foundation
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Mr. and Mrs. Andrew Gundlach Roger and Susan Hertog Josefin and Paul Hilal Anna Maria & Stephen Kellen Foundation, Inc. and Marina Kellen French Kirkland & Ellis LLP Christina and Alan MacDonald Lynne and Burt Manning Cindy and David Moross Lizabeth and Frank Newman Joan and Joel I. Picket The Pinkerton Foundation Slobodan Randjelovic and Jon Stryker The Reed Foundation Rhodebeck Charitable Trust Genie and Donald Rice Rebecca Robertson and Byron Knief Janet C. Ross Fiona and Eric Rudin The Fan Fox & Leslie R. Samuels Foundation Caryn Schacht and David Fox Stacy Schiff and Marc de la Bruyere The Shubert Foundation Amy and Jeffrey Silverman Skadden, Arps, Slate, Meagher & Flom LLP Mr. and Ms. Thomas Smith Sarah Billinghurst Solomon and Howard Solomon Harold and Mimi Steinberg Charitable Trust Nanna and Daniel Stern Deborah Van Eck Anonymous (3)
$10,000 to $24,999 Lindsey Adelman Tishman Construction, an AECOM Company Adrienne Arsht Lily Auchincloss Foundation, Inc. Abigail Baratta Kelly Behun and Jay Sugarman Catherine and Robert Brawer Nicholas Brawer British Council Brown Harris Stevens Eileen Campbell and Struan Robertson Pamela and J. Michael Cline Mrs. Daniel Cowin Mary, Paul and Caroline Cronson William F. Draper Peggy and Millard Drexler Andra and John Ehrenkranz EverGreene The Felicia Fund Joseph Frank Mr. and Mrs. Richard Fuld Lorraine Gallard and Richard H. Levy Barbara and Peter Georgescu John and Kiendl Gordon Susan and Peter Gottsegen Agnes Gund Ida And William Rosenthal Foundation Brenda King Suzie and Bruce Kovner Mary Kush The Lauder Foundation / Leonard and Evelyn Lauder Fund Thomas H. Lee and Ann Tenenbaum Gail and Alan Levenstein Leon Levy Foundation Kamie and Richard Lightburn Lili Lynton and Michael Ryan Marc Haas Foundation Nancy A. Marks Larry and Mary McCaffrey Sandy and Ed Meyer Cynthia Woods Mitchell Fund of the National Trust for Historic Preservation Northern Bay Contractors, Inc., GDO Contracting Corp & Phoenix Contracting Susan Patterson and Leigh Seippel Betsy and Rob Pitts Platt Byard Dovell White Architects LLP Andrea Markezin Press and Joel Press Diana and Charles Revson Mary Jane Robertson and James A. Clark Jonathan F.P. and Diana Rose Charles and Deborah Royce Lady Susie Sainsbury William H. and Patricia Sandholm Carl Saphier Dr. and Mrs. Thomas P. Sculco Sydney adn Stanley S. Shuman Juliet Lea Hillman Simonds Foundation Jill Bokor and Sanford Smith Mr. and Mrs. Jonathan Soros Mr. and Mrs. A. Taubman Tishman Speyer Properties, LP William Morris Endeavor Entertainment Foundation World of Deco Mr. and Mrs. William Zeckendorf Anonymous (2)
$5,000 to $9,999 Akustiks, LLC Melissa Arana Jody and John Arnhold Martin Atkin and Reid Balthaser Milton and Sally Avery Arts Foundation
Hilary Ballon Diana Barrett and Robert Vila Sara and David Berman Allison M. Blinken Noreen and Kenneth Buckfire Janna Bullock Lyor Cohen Elizabeth Coleman Mr. and Mrs. Paul Collins Paula Cooper Marina Couloucoundis Carlos Couturier Mr. and Mrs. Oscar de la Renta Kathy Deane Decorating with Fabric, Inc. Antoinette Delruelle and Joshua L. Steiner Luis y Cora Delgado Jennie L. and Richard K. DeScherer Jacqueline Marie Didier Mary Ellen Dundon David and Frances Eberhart Foundation Cheryl Cohen Effron and Blair W. Effron Alice and David Elgart Inger McCabe Elliott Anna May Feige Edmée and Nicholas Firth Caitlin Fisher Mindy Papp Bart Friedman and Wendy A. Stein Samantha and John Gellert Mr. and Mrs. George J. Gillespie, III Andrea Gluck Gail Golden and Carl Icahn Valerie Gordon Johnson Marjorie and Ellery Gordon John Gore Sarah Gould and David Steinhardt Mr. and Mrs. Guenther Greiner Allen and Deborah Grubman Jessica Stedman Guff Molly Butler Hart and Michael D. Griffin Liliane and Christian Haub Mr. and Mrs. Isaac Heimbinder Elizabeth and Dale Hemmerdinger Sarah Humphreys and Ronald Collins Beth Jacobs Mike and Rachel Jacobellis Mr. and Mrs. Andrew Jarecki Nadine Johnson Nancy Josephson Nina and Bill Judson Jennie Kassanoff and Dan Schulman Florence and Robert Kaufman Mr. and Mrs. Dan Keegan Christian K. Keesee Lola Kirke Justin Kush Mr. and Mrs. Fernand Lamesch Stephen S. and Wendy Lehman Lash The Ronald and Jo Carole Lauder Foundation Levien & Company, Inc. Mr. and Mrs. Chris Liddell Aaron Lieber / Bruce Horten Ambassador and Mrs. John L. Loeb Jr. Margaret and Daniel S. Loeb / Third Point Foundation Mr. and Mrs. Merrill Magowan Shelly and Tony Malkin Diane and Adam E. Max Mr. and Mrs. Richard E. Mayberry, Jr. Rebekah McCabe Thomas McGrath Ms. and Mr. Anne McInerney Deborah Miller Zabel and William D. Zabel Antonia and Spiro Milonas Achim and Colette Moeller Whitney and Andrew Mogavero Sue and Alan Morris
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The Donald R. Mullen Family Foundation, Inc. National Philanthropic Trust Patty Newburger and Bradley Wechsler Georgiana and Eric Noll Mary Ellen and Richard Oldenburg David Orentreich, MD / Orentreich Family Foundation Beverly and Peter Orthwein Katharina Otto-Bernstein and Nathan Bernstein Oxley Gin Cynthia Hazen Polsky and Leon B. Polsky Anne and Skip Pratt Preserve New York, a grant program of Preservation League of New York Eileen and Tom Pulling David J. Remnick and Esther B. Fein David C Rich Richenthal Foundation Ellen Robinson and Reuben Gutoff Isabel Rose and Jeffrey Fagen Liz Rosen Merle Rubine and Elliot M. Glass Kathe A. Sackler Edmond Safra Nicholas and Shelley Schorsch Sara Lee and Axel Schupf Stephanie and Fred Shuman JLH Simonds David S Smith Margaret Smith Ted Snowdon Jay T. Snyder Sotheby’s Patricia Brown Specter Gayfryd Steinberg Joan and Michael Steinberg Diane and Sam Stewart Elizabeth F. Stribling and Guy Robinson Michael and Veronica Stubbs Laurie M. Tisch Merryl H. and James S. Tisch Universal Builders Supply, Inc. (UBS) / Kevin O’Callaghan - President Universal Services Group, Ltd. Ambassador and Mrs. William J. vanden Heuvel Amanda and John Waldron Susan and Kevin Walsh Isak and Rose Weinman Foundation, Inc. Patricia Wexler Marcia Whitaker Beth Windsor Valda Witt and Jay Hatfield Zubatkin Owner Representation, LLC Anonymous
$2,500 to $4,999 ABSOLUT R. Mark Adams, William Ritt, Joan Sussman Affinia Gardens & The Surrey Ghiora Aharoni and Christopher Noey Olga Aidinian Helen and Robert Appel Ark Restaurants Corp. Frances Beatty Ginette and Joshua A. Becker Judy and Howard Berkowitz Stephanie Bernheim Debra and Leon Black Torrence Boone and Ted Chapin Cynthia Brill Melva Bucksbaum and Raymond Learsy Sandra Buergi and Carol Flaton Veronica Bulgari and Stephan Haimo Marian and Russell Burke Mr. and Mrs. Jack Burnett Mr. and Mrs. Carlton Cabot Ellen Sue Cantrowitz
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Carroll M. Carpenter Mr. and Mrs. Alan Cohn Bonnie Comley and Stewart Lane Margaret Crotty and Rory Riggs Bernadette Cruz Karon and Rick Meyer Ellie and Edgar Cullman Lewis B. Cullman and Louise Kerz Hirschfeld Joshua Dachs / Fisher Dachs Associates Theatre Planning and Design Barbara and Ray Dalio Joan K. Davidson (The J.M. Kaplan Fund) Mr. and Mrs. Christopher Davis Gina and James de Givenchy Richard and Barbara Debs Jane and Michael DeFlorio Beth Rudin DeWoody Hester Diamond Dior The East Pole Anne and Joel Ehrenkranz Leland and Jane Englebardt Dr. Nancy Eppler-Wolff and Mr. John Wolff Mr. and Mrs. Robin S. Esterson Susan Ferris Michael Finkelstein Fisher Marantz Stone Foreground Conservation and Decorative Arts Amandine and Stephen Freidheim Ashley Garrett and Alan K. Jones Sallie Giordano Mr. and Mrs. Peter Goettler Mindy and Jon Gray Great Performances Jeff and Kim Greenberg Jeff Greene Paula S. Greenman Mr. and Mrs. Peter Gregory The William and Mary Greve Foundation Robert S. Grimes Mr. and Mrs. Frederick Guest Sarah and Geoffrey Gund Amy Guttman Mike & Janet Halvorson Jane Hartley and Ralph Schlosstein Nancy Hutson and Ian Williams Frederick Iseman Carola Jain Mr. and Mrs. Robert Jeffe Barbara and Donald Jonas Carol-Jeanette Jorgensen Jerri Kallam Floy and Amos Kaminski Meredith J. Kane Hon. Bruce M. Kaplan and Janet Yaseen Kaplan Karl and Elizabeth Katz Wendy Keys and Donald Pels Mr. and Mrs. William Kistler Phyllis L. Kossoff Rok Kvaternik Nina Lesevoy The Liman Foundation Mr. and Mrs. Marcel Lindenbaum John Lippert and Dawn D’Aluisio Heather Lubov The Ludwig Family Foundation / The Honorable Eugene A. Ludwig and Dr. Carol Ludwig Gina Giumarra MacArthur Benjamin and Hillary Macklowe Pat and Michael Magdol Melissa Meeschaert Joyce F. Menschel Alexandra and Les Meyers Malu and Sergio Millerman Abby and Howard Milstein Adriana and Robert Mnuchin Nina and Frank Moore Lauren and Don Morel
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$1,000 to $2,499 Carrie and Leigh Abramson Eleanor M. Alger Amsterdam Hospitality Apothic Wines Aurora Lampworks, Inc. Inma Barrero June and Kent Barwick Peace Hill Press & Susan Wise Bauer Candace and Rick Beinecke Norton Belknap Mr. and Mrs. Joel Benenson Jayne Bentzen and Benedict Silverman Deborah Berke and Peter McCann Robert D. Bielecki Friederieke and Jeremy Biggs
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$500 to $999 Megan F. Abell Noreen and Ahmar Ahmad Matthew Ailey Mr. and Mrs. Jonathan Allan Soros Amy Christine Allen Gregory Alsip and Joseph Guevara Eric Altmann Cristi Andrews Cohen Mrs. and Mr. Krista Annenberg Mr. and Mrs. Chris Apgar Natalie N. Appel Lisa Applebaum and George Haddad Louise L. Arias Louis Aronne Allison Aronne Deborah Aruta Page Ashley Mr. and Mrs. Steven Atkins Josephine A Auerback James F. Baer Baked By Melissa Diana Balmori Mitchell Banchik Peter and Tina Barnet Clay H. Barr George Beane and Patricia Begley Erich Bechtel Janet Dewart Bell Molly Bell Lorraine Bell and M. Weisdorf David Benattar Dr. and Mrs. and Mrs. Ralph Bennett Veronica Ann and Bruce Campbell Bennett Judy Locker Berger Alison & Barry Berke William A. Bermont Elaine S. Bernstein
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Yulia Yudelevich Dawn Zappetti and Patrick Sullivan Katharine Zarrella Nina Zolt and Miles Gilburne Anonymous (7) List as of September 16, 2014 *Deceased
ABOUT THE BOARD OF OFFICERS ROOM “The restoration of the Park Avenue Armory seems destined to set a new standard, not so much for its scale, but for its level of respect and imagination.” – The New York Times The Board of Officers Room is one of the most important historic rooms in America and one of the few remaining interiors by Herter Brothers. After decades of progressive damage and neglect, the room completed a revitalization in 2013 by the architecture team at Herzog & de Meuron and executive architects Platt Byard Dovell White Architects to transform the space into a state-of-the- art salon for intimate performances and other contemporary art programing. The Board of Officers Room is the third period room at the Armory completed (out of 18) and represents the full range of design tools utilized by the team including the removal of accumulated layers on the surfaces, the addition of contemporary lighting to the 1897 chandeliers, new interpretations of the stencil patterns on areas of loss, the addition of metallic finishes on new materials, new programming infrastructure, and custom designed furniture.
Cover photo by James Ewing
The room’s restoration is part of an ongoing $200-million transformation, which is guided by the understanding that the Armory’s rich history and the patina of time are essential to its character. A defining component of the design process for the period rooms is the close collaboration between architect and artisan. Highly skilled craftspeople working in wood, paint, plaster, and metals were employed in the creation of the building’s original interiors and the expertise – and hand – of similar artisans has been drawn upon for the renovation work throughout.