Goldberg

GOLDBERG P E R F O R M E D BY

igor levit M E T H O d f o r l i s t e n i n g t o m u s i c by

MARINA ´ ABRAMOVIC

W E L C O M E

Since our first production in 2007, the ­Armory has opened its doors to artists, ­directors, and visionaries who have ­provided audiences with immersive performances and installations that could not happen elsewhere in New York. This production joins that lineage with a collaboration between world class artists that challenges our ­pre-conceived ­notions of the concert-going experience in a thrilling new use of our space.

We are thrilled to welcome back the ­enchanting pianist Igor Levit, who so dynamically made his U.S. recital debut in our newly restored Board of Officers Room.

And who could forget the groundbreaking

Welcome to the Armory and to the final production before I move on (with a heavy heart) from this New York treasure.

The idea of “staging” concerts is something I’ve been interested in for over a decade.

Zaha Hadid’s temporary chamber music hall with soloists such as Alina Ibragimova; Hélène Grimaud’s recital envisioned

by Douglas Gordon; and Stockhausen’s ­OKTOPHONIE staged by Rirkrit Tiravanija are a few ­examples of such work.

Very occasionally you are lucky enough to come across a performer who is not only a true virtuoso, but also open to exploring new ways of presenting their work. Igor is one of these rare artists. At our first meeting, Igor spoke of his passion for the ­music of ­Stockhausen and Bach. He ­suggested that both of these composers had an ­underlying metaphysical power (something I also

­ roduction chronicling Marina Abramovp ic’s life and death, a visually stunning event staged by Robert Wilson that featured Willem Defoe and Antony alongside Marina in the drill hall in 2013. We are delighted to have both of these brilliant artists return to the Armory together to unlock a new way to experience the intricacy and expressiveness of Bach’s Goldberg Variations, some of the most challenging yet beautiful music ever written for keyboard.

Rebecca Robertson President & Executive Producer

­ elieve). His thoughts reminded me of long b conversations I’d had with Marina Abramović whilst we developed “Marina Abramović Presents” with Hans-Ulrich ­Obrist for the 2009 Manchester International Festival; conversations about the power of performance, presence, and concentration. So I tentatively suggested Marina as a potential artist with whom Igor could share and explore their ideas and the three of us met soon after. That was two years ago. Since then, it has been a privilege to support these innovative artists in developing this performance of Bach’s magnum opus.

I very much hope you enjoy this evening’s performance.

Alex Poots Artistic Director

G O L D B E R G World Premiere I G O R

M A R I N A U R S

Piano

L E V I T ´ A B R A M O V I C

Visual artist Lighting designer

S C H Ö N E B A U M

P E R F O R M A N C E S Monday, December 7 at 7:00pm Wednesday, December 9 at 8:00pm Friday, December 11 at 8:00pm Sunday, December 13 at 3:00pm Tuesday, December 15 at 8:00pm Thursday, December 17 at 8:00pm Saturday, December 19 at 3:00pm A R T I S T

T A L K

Sunday, December 13 at 5:00pm A moderated discussion with Marina Abramović and Igor Levit Running time: 1 hour and 50 minutes without intermission Commissioned and produced by Park Avenue Armory

Season sponsors

Production sponsors

Support for this production has been provided by Agnes Gund, the Reed Foundation, and by the Charles H. Revson Foundation.

The production is supported in part by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.

Goldberg 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.

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A B O U T

T H E

W O R K

Goldberg Variations, BWV 988 (1742)

By Johann Sebastian Bach (1685–1750) The Goldberg Variations (published in 1741 or 1742 as the fourth and last volume of Bach’s Clavier-Übung or ‟Keyboard Practice”) is nothing short of a complete encyclopedia of musical forms, styles, and keyboard techniques existing in Europe in Bach’s time. It also marks, along with Part 2 of The WellTempered Clavier and The Art of Fugue (if the latter was indeed meant for solo keyboard as some authorities claim), the culmination point of Bach’s harpsichord music.

According to the well-known story, Bach composed this piece for his student Johann Gottlieb Goldberg, who (at the age of fourteen) went to work for a certain Count Keyserling as a house musician. The Count, who suffered from insomnia, required the young man to play for him through the night, and Bach provided his pupil with ample material for these lengthy vigils.

The theme for the 30 variations is a richly ornamented “Aria” that follows the pattern of a French minuet. As many commentators have pointed out, it is not the melody of the aria but only its bass line and underlying harmonies that are being varied; in other

words, the aria itself is one of the “variations” on that bass line. Through the 30 variations on this “variation” runs a series of two-part canons (Nos. 3, 6, 9, 12, 15, 18, 21, 24, 27).

In each of these, the answering voice enters at a different interval in relation to the first voice; No. 3 is at the unison (both voices at the same pitch), No. 6 at the second, No. 9 at the third, and so on until No. 27 at the ninth).

In all but the last one, there is a third voice in addition to the two canonic voices, to repeat the bass line of the theme. The variations preceding the canons are usually two-part inventions, while those following the canons share little in common and have therefore been called “free” variations. (Exceptionally, in the first two variations this pattern is ­reversed: No. 1 is a two-part piece and No. 2 is “free.”)

Stylistically and in terms of emotions ­expressed, the variations run a wide gamut. Many require a dexterity that surpasses anything found in Bach’s other works, often ­involving hand-crossing. There are some lavishly ornamented slow movements (No. 13 and especially No. 25), and several variations take the form of dance movements, such as the gigue or the passepied. One of the variations (No. 10) is a short fugue; No. 16, which opens the second part of the set, is an elabo-

rate French overture (it has been ­remarked that all four volumes of the Clavier-Übung have French overtures in the middle). Nos. 28 and 29, the final two virtuoso variations, are among the most technically difficult movements Bach ever wrote. The rapid double trills of No. 28, and the alternating chords of No. 29 were clearly intended to crown the entire composition.

Or almost. For Bach has a final surprise in store for his last variation, which is not a ­canon at the tenth as one might expect, but rather a Quodlibet, which the ­dictionary ­defines as “a composition based on a ­collage of pre-existing and usually familiar ­melodies.” In this case, the two familiar ­melodies are two German folksongs, “Kraut und Rüben haben mich vertrieben” (“Cabbage and carrots have driven me away”) and “Ich bin so lang nicht bei dir g’west” (“It’s been so long since I’ve been with you”), ingeniously combined with one another and with the bass line. The second of the folksongs was known as a Kehraus dance, used to signal the end of a wedding party. Its inclusion as the last of the Goldberg variations is surely symbolic. After the Quodlibet, the original Aria is repeated to close the monumental work.

For musicians and listeners alike, the ­Goldberg Variations has long been an iconic work, on account of its sheer size and its intricate structure, with the intertwining series of canons, inventions, and free movements, where a single fundamental idea gives rise to the greatest diversity. It offers extraordinary challenges on every level, and ­constantly invites new interpretive approaches. There have been arrangements for many instruments and instrumental groupings. The work has been choreographed, and it lent its name to a Hungarian movie in 1992. It also figures prominently in Richard Powers’s 1991 novel The Gold Bug Variations, where a molecular biologist and computer scientist finds in it the key to his groundbreaking research, while also meeting the love of his life as they listen to the music together, in a perfect synthesis of intellect and emotions.

There is no end to the creative responses this masterpiece may yet inspire; our present production is only the latest chapter in the amazing afterlife of the Goldberg Variations. © 2015 by Peter Laki

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“Over the course of many years I was able to live with and experience the Goldberg ­Variations. To play this work, to love it and to ­listen to it is an experience second to none.

It is a deeply human and therefore incredibly ­important work. Every aspect of ­human ­nature can be relived. At the end words ­cannot describe it. We shouldn’t discuss this work. We should and indeed can experience it. What a p ­ leasure!”

Igor Levit

“The modern world we live in is one of­ constant distraction, where taking the time to connect to ourselves and having the ­patience to do so is becoming more and more ­difficult. It is precisely for this reason that I have ­designed a method for contemporary audiences to experience classical music, which I believe to be the most immaterial form of art.”

Marina Abramovic´

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Marina Abramović The Drill Whitworth Art Gallery Manchester International Festival 2009 Š Marco Anelli

´ METHOD FOR ART ABRAMOVIC

The Abramovic´ Method is a synthesis of ´ ­Marina Abramovic’s research and­ experience over the course of her 40-year career.

It is an exploration of being present in both time and space.

The Method incorporates aspects of the Cleaning the House workshop and ´ desire to provide a simple way ­Abramovic’s for the public to reconnect with themselves and with the present moment. Cleaning the House ­workshops have traditionally been used to prepare performers to undertake long ­durational performances.

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Marina Abramović 512 hours Performance Duration: 512 hours The Serpentine Gallery, London 2014 Photography © Marco Anelli Courtesy of the Marina Abramović Archives and Serpentine Gallery, London 11

´ METHOD FOR MUSIC ABRAMOVIC

The Abramovic´ Method for Music was developed by ­Marina Abramovic´ based on the Abramovic´ Method and designed specifically to prepare an audience for ­listening to c­ lassical music. The development of this method came from a desire to experience classical music from the ­perspective of contemporary art.

Upon entering the space, the audience will ­deposit ­personal belongings, such as watches, cell phones, and cameras into lockers. They will then be provided with noise-canceling headphones. The headphones are ­important for eliminating distractions, and for plunging audience ­members into a sonically neutral and calming state before ­listening to the concert, like cleansing the palette before the next course of a rich meal. Each audience member will then sit in a lounge chair much ­unlike the typical concert or theater chairs we normally ­enco­unter.

The audience will sit in silence for a period of time prior to the start of the concert and embrace the unfamiliar sensation of ­doing nothing. Once a gong sounds, signaling that audience members are to remove their headphones, the concert will begin.

Marina Abramović Untitled, (Study for the Armory) Graphite on paper 2015 © Marina Abramović Courtesy of the Marina Abramović Archives

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Marina Abramović The Abramović Method, Rice Counting (previous page), Chamber of silence (this page) Private Archaeology, Museum of Old and New Art, (MONA) Hobart, Tasmania, 2015 Courtesy of the Marina Abramović Archives

INSTRUCTIONS · Deposit all personal belongings into your locker including watches, cell phones, and cameras. · Take a pair of noise canceling headphones. · Find a lounge chair inside the space. Sit down and find stillness and silence. If you like, you can close your eyes. · When you hear the gong, place your headphones on. · When you hear the second gong, remove your headphones. · Listen.

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“How to light Bach’s Goldberg Variations?

Within the simplicity of Bach’s masterpiece exists such an overwhelming richness and complexity that absorbs all the attention of the listener, that it was clear from the beginning that any illustration of the music using lighting effects would be distracting, ludicrous, hideous, unthinkable.

Framing the space using light gives a focus point for the audience and the the freedom for the music to go beyond.”

Urs Schönebaum

U R S S C H Ö N E B A U M I N C O N V E R S A T I O N ´ W I T H M A R I N A A B R A M O V I C

Marina Abramović: When you first visited the Park Avenue Armory, how did you visualize your lighting concept in relation to Bach’s Goldberg Variations and the enormous space, which is so overwhelming?

Urs Schönebaum: For me, it was clear that we would need to take an approach deviating from the traditional concert experience. First of all the space is so vast. The music, which is completely immaterial, is like our main character. How do you light music? Do you illustrate it? Are you most interested in the music, the pianist, or the space? My idea was to really have the attention on the music and Igor playing, meaning that we see his hands on the keyboard, as the main source from which everything erupts into the space. But then at the same time, in such a large space I do think the audience needs a focus point or a frame in order for the music to go beyond it. We are using this line of light around the whole space and around Igor playing like a border, or a horizon if you like. One can also think of it as a roof. So you have a horizontal space where everything is happening and the music is something that is piercing through that roof or that goes beyond these restrictions.

M: This line you’re talking about can mean so many things. It can be infinite, because music in certain ways is infinite. So you create with light this infinite space where the music can happen.

U: Yes, that’s the idea. That through the defined horizon we create a kind of infinity.

M: How far you can go in your experiments with light? What is the end?

U: You can’t get quite more minimal than this. It is not a lighting design in the conventional sense.

M: You are suggesting the light. It is not even a metaphor?

U: I know, it is actually a contradiction. Light is immaterial but here we are trying to materialize it in the form of that line, or with these boxes in the beginning. The boxes are much more dominant and create a kind of a „magnetic field“ or „noise“.

The line of light is much more of a frame that becomes a partner to the music. Since the music is also immaterial I am trying to use it like a manifestation of light in a materialistic sense.

M: Classical music concerts have always been the same for centuries. With this experiment, the public is conditioned differently – just entering the space, putting away their technological devices into lockers so they are free from distractions. All of these elements together bring a completely new experience to the audience.

U: What I like about it is that each element can exist independently and makes sense in its own way. By putting all of these elements together it’s a little bit like a purifying process. I hope the audience can concentrate on the most essential elements of a concert. You concentrate on the music and not on the flowers that are normally next to the piano, or however other people are dressed…

M: So you are not adding things, you are reducing them to the absolute bare minimum.

U: Next time he has to play in darkness.

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Drawing by Urs Schรถnebaum 2015

Drawing by Urs Schรถnebaum 2015 21

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Drawing by Urs Schรถnebaum 2015

GOR LEVI

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Photo by Marco Anelli, 2015

I G O R

L E V I T

Igor Levit is an internationally acclaimed pianist, who made his U.S. recital debut in 2014 at Park Avenue Armory. His 2015– 16 season focuses on three of the piano ­literature’s most paramount cyclic works—­ Johann Sebastian Bach’s Goldberg ­Variations, Ludwig van Beethoven’s Diabelli Variations and Frederic Rzewski’s variation cycle The People United Will Never Be Defeated. ­Levit performs all three variation cycles at ­Frankfurt’s Alte Oper in September before presenting ­Goldberg at the Armory in ­collaboration with Marina Abramović, Diabelli in London’s Wigmore Hall and Rzewski’s The People in Hamburg and in Birmingham. In October 2015, Sony Classical releases Igor Levit’s third solo album for the label featuring all three variation works in cooperation with the Festival Heidelberger Frühling. The season marks the finale of his Beethoven Sonata cycle at the Schubertiade, spanning over three years, and will see him perform all Beethoven sonatas at Tonhalle Düsseldorf. Further solo recitals bring Igor Levit to the Lucerne Festival, the Musikverein Vienna, Bilbao’s Philharmonic Society, and to the U.S. in a multi-city tour. The season marks his debuts with the Israel Philharmonic Orchestra, National Symphony ­Orchestra, Tonhalle-Orchester Zurich, and NDR ­Sinfonieorchester, and return engagements with Deutsche Kammerphilharmonie Bremen, Deutsches Symphonieorchester Berlin and the Royal Scottish National Symphony (Thomas Søndergård). Igor Levit continues his close relationship with the Heidelberger Frühling as the Artistic Director of the ­Festival’s Chamber Music Academy in April 2016.

An exclusive recording artist for Sony Classical, Levit’s debut disc of the five last Beethoven sonatas won the BBC Music ­Magazine Newcomer of the Year 2014 Award, the Royal Philharmonic Society’s Young Artist Award 2014, and the ECHO 2014 for Solo Recording of the Year (19th Century Music)/ Piano. His second recording for Sony—­ Johann Sebastian Bach’s Six Partitas—was released in August 2014.

Born in Nizhny Novgorod in 1987, Igor ­Levit moved at age eight with his family to ­Germany where he completed his piano studies at Hannover Academy of Music, ­Theatre and Media in 2009 with the highest academic and performance scores in the ­history of the institute. Levit has studied ­under the tutelage of Karl-Heinz Kämmerling, Matti Raekallio, Bernd Goetze, Lajos Rovatkay, and Hans Leygraf. As youngest participant in the 2005 Arthur Rubinstein Competition in Tel Aviv, Igor Levit won the Silver Prize, the Prize for Best Performer of Chamber Music, the “Audience Favorite” Prize, and the Prize for Best Performer of Contemporary Music.

Previously, he had won the First Prize of the International Hamamtsu Piano Academy Competition in Japan. Igor Levit has been a scholarship student at Studienstiftung des DeutschenVolkes as well as at Deutsche Stiftung Musikleben. In Hannover, where he makes his home, Igor Levit is playing on a Steinway D Grand Piano kindly lent to him by the Trustees of Independent Opera at Sadler’s Wells.

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Photo by Paola + Murray, 2015

M A R I N A

´ A B R A M O V I C

Since the beginning of her career in Belgrade during the early 1970s, Marina Abramović has pioneered performance as a visual art form. The body has always been both her subject and medium. Exploring her physical and mental limits in works that ritualize the simple actions of everyday life, she has ­withstood pain, exhaustion, and danger in her quest for emotional and spiritual transformation. From 1975 to 1988, Abramović and the German artist Ulay performed ­together, dealing with relations of duality.

Abramović returned to solo performances in 1989.

Abramović has presented her work at major institutions in the U.S. and Europe, including the Stedelijk Van Abbemuseum, Eindhoven, 1985; Centre Georges Pompidou, Paris, 1990; Neue National Galerie, Berlin, 1993; and the Museum of Modern Art, ­Oxford, 1995. She has also participated in many large-scale international exhibitions including the Venice Biennale (1976 and 1997) and Documenta VI, VII, and IX, Kassel (1977, 1982, and 1992). Performances include The House with the Ocean View at Sean Kelly Gallery, New York in 2002, and the Performance 7 Easy Pieces at Guggenheim Museum, New York in 2005. In 2010, Abramović had her first ­major U.S. retrospective and simultaneously performed for over 700 hours in The Artist is Present at the Museum of Modern Art, New

York. Using herself and the public as medium, Abramović performed for three months at the Serpentine Gallery in London, 2014; the piece was titled after the duration of the work, “512 Hours”.

Recent projects include the theater piece The Life and Death of Marina Abramović ­directed by Robert Wilson, which premiered and toured Europe beginning in 2011, and was performed in 2013 at the Park Avenue Armory. Her collaboration with the Paris Opera for the restaging of Bolero premiered in May 2013. Abramović founded the ­Marina Abramović Institute (MAI), a platform for immaterial and long durational work to ­create new possibilities for collaboration among thinkers of all fields. The institute inhabited its most complete form to date in 2015 as part of the exhibition Terra Comunal, SESC Pompeia, São Paulo, Brazil.

Abramović was awarded the Golden Lion for Best Artist at the 1997 Venice Biennale for the video installation and performance Balkan Baroque. In 2008 she was decorated with the Austrian Commander Cross for her contribution to art history. In 2013, the French Minister of Culture accepted her as an Officer to the Order of Arts and Letters. In addition to these and other awards, Abramović also holds multiple honorary doctorates from institutions around the world.

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Photo by Gunnar Lillehammer

U R S

S C H Ö N E B A U M

Urs Schönebaum studied photography in Munich and worked with Max Keller as a part of the lighting department of Münchner Kammerspiele from 1995 until 1998. After being Assistant Director for Productions at Grand Theatre de Geneve, Lincoln Center, and Münchner Kammerspiele he started in 2000 to work as a lighting designer for opera, theater, dance, installations, and performances.

He participated in over 120 productions at major theaters including Covent Garden in London; Opéra Bastille, Opera Garnier, La Comédie Française, and Théâtre du Châtelet in Paris; La Monnaie Bruxelles; Opera de Lyon; Metropolitan Opera in New York; Staatsoper unter den Linden, Schaubühne et Deutsches Theater in Berlin; Bayerische Staatsoper and Residenztheater in Munich; Dramaten Stockholm; Det Norske Teatret Oslo; Teatro dell’Opera Roma; Fes-

tival d’Avignon; Teatro Real Madrid; Festival d’Aix en Provence; Bolshoi Theater Moscow; Salzburger Festspiele; NCPA and Poly ­Theater in Beijing; Sydney Opera House; Dutch ­National Opera; Bayreuth Festival; and Wiener Festwochen.

He regularly works with stage directors ­including Thomas Ostermeier, La Fura dels Baus, William Kentridge, Pierre Audi, Michael Haneke, and is long-time collaborator of Robert Wilson. His works also include lighting designs for art projects with ­Vanessa Beecroft, Anselm Kiefer, Dan Graham, and Marina Abramović. He has designed works for installations in Karkow, Munich, Salzburg, and New York. In 2012, he directed and designed the two Operas Jetzt and What Next?, and in 2014, Happy Happy composed

by Mathis Nitschke at the Opera National de Montpellier.

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A B O U T

T H E

A R M O R Y

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

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

A R M O R Y

Rebecca Robertson, President & Executive Producer Pierre Audi, Artistic Director Katrina Berselius, Executive Assistant to the President Liz Bickley, Director of Special Events David Burnhauser, Collection Manager Courtney Caldwell, Venue Events Manager Rebecca Cribbin, Director of Production Olga Cruz, Porter Leandro Dasso, Porter Khemraj Dat, Accountant Jordana De la Cruz, Special Projects Coordinator Mayra DeLeon, Porter Jay T. Dority, Director of Facilities Marcia Ebaugh-Pállan, Manager of Special Events Melanie Forman, Chief Development Officer Lissa Frenkel, Managing Director Peter Gee, Chief Financial and Administrative Officer Pip Gengenbach, Education Coordinator Reginald Hunter, Building Mechanic Antonella Inserra, Office Manager Cassidy Jones, Education Director Chelsea Emelie Kelly, Youth Corps Coordinator Nicole Kidston, Director of Individual Giving Allison Kline, Director of Foundation and Government Relations Nicholas Lazzaro, Associate Technical Director Michael Lonergan, Producing Director Wayne Lowery, Security Director Jason Lujan, Operations Manager Ryan Hugh McWilliams, Digital Marketing Manager Rebecca Mosena, Coordinator, Membership and ­Development

S T A F F

Walter Nin, Security Manager Maxine Petry, Development Coordinator Charmaine Portis, Executive Assistant to Chief Development Officer Cristian Ramirez, Porter Kirsten Reoch, Director of Design and Construction Candice Rushin, Porter Matthew Rymkiewicz, Tessitura Database Manager Antonio Sanders, Porter William Say, Superintendent Brittany Sherrod, Porter Jennifer Smith, Manager of Corporate Relations Tom Trayer, Director of Marketing Ted Vasquez, Finance Director Brandon Walker, Associate Technical Director Jessica Wasilewski, Producer Monica Weigel, Education Manager Avery Willis Hoffman, Program Director Youth Corps Donavon Bembridge, Santiago Budier, Rachel Calabrese, Logan Delgado, Joselin Flores, Lizmarie Garcia, Isatu Jalloh, Sinaia Jones, Terrelle Jones, Destiny Lora, Leidy Dania Carrasco Paulino, Angela Reynoso, Rafael Rosario, Cory Sierra, Keshawn Wallace, Maegan Wright For Goldberg Davison Scanduch, Production Manager Anne Dechine, Stage Manager Coral Cohen, House Manager Wednesday Derrico, Rachel Cappy, Assistant House Managers

Kara Kaufman, Box Office Manager Erik Olson, Art Lowe, Box Office Assistant Managers Production Acknowledgements Steinway & Sons Martin Purwin

Kristin Schuster, IMG Artists Giuliano Argenziano and Allison Brainard Ideatree Promos Tiburon Lockers USA Daedalus Design & Production Inc. Production Resources Group

A R T S E D U C A T I O N A T T H E G O L D B E R G U N P L U G G E D Arts education for underserved New York City ­public school students has found a special niche at the ­Armory. Using its unique assets – a castle-like setting and adventurous work in performing and visual arts by world-class artists – the Armory has developed a creativity-based program that gives students the tools to think creatively and to learn how to trust their own judgments.

One initiative of the arts education program is the Youth Corps which provides paid, mentored internships for high school students from partner schools.

In addition to working as ushers for productions (including Goldberg performances), assisting artists, and helping to plan all education programs, each Youth Corps cohort completes a capstone project. Inspired by Goldberg the fall capstone project asks: What is worth unplugging for (and how do we do it)? As a generation intimately familiar with the benefits and complications of technology, Youth Corps interns have been investigating its complex relationship to art.

Early on in the process, Youth Corps interns met with Marina Abramović and Igor Levit to understand their vision for Goldberg. With Marina in a lounge chair and Igor at the piano, it was an intimate crash course in the art of being present and how this presence may impact one’s ability to experience Bach’s beloved ­Goldberg Variations. Subsequent research led interns to experience this “slow movement” in various forms – slow food, slow art, and even slow TV. They researched the artists at length – Abramović, Levit, and Bach, discussed the artistic process before and after the use of “modern” technology, and even embarked on a ­tech-free ­commute challenge.

This challenge recently steered Terrelle – a member of the Youth Corps – to an interesting experience on the L train, the first leg of his commute to the Armory after school. On any normal day, he would be zoned out with his ear buds in place but he found himself completely tech-free this day, having not looked at his phone

A R M O R Y :

since the minute he left school. It was not easy. Looking around, most people were absorbed in the security of their own solitary bubble. An exchange with a baby, an absorbing conversation with an elderly woman, and one missed stop later, Terrelle took a moment to reflect. On that train ride, he was completely unplugged, fully present, and engaged with the world around him.

These are not things typically associated with the modern teenager, except if you are a Youth Corps member performing critical research.

This research culminated in the creation of a “Guide to Unplugging.” Like each artistic program at the Armory, Goldberg will have a full house of underserved New York City public school students in attendance for a matinee. Every student will receive the Guide, which offers a way for students to extend their “unplugging” after Goldberg and beyond the walls of the Armory.

So what was worth unplugging for – and how does one do it? The Guide offers an answer from each Youth Corps intern. In it, we learn that for Lizmarie, it is worth it to “marvel at the wonders of life around us” by taking a slow, focused walk in the park and that for Destiny, unplugging means performing a ritual of locking her phone and putting it in her bag in order to be fully unplugged for a conversation with a friend. The experience of Goldberg shows us that Marina Abramović believes that the Goldberg Variations are best experienced while unplugged, and offers clear directions for how to achieve such a state.

If Goldberg and indeed the Guide have been successful, we might all find ourselves digging deeper to determine what’s worth unplugging for in our own lives and giving careful consideration of just how we might make space for those ephemeral, fully present moments whenever we can.

You can view the Guide at armoryonpark.org/youthcorps. To learn more about the Armory’s arts education programs, please visit armoryonpark.org/education.

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O T H E R

H A P P E N I N G S

UNDER CONSTRUCTION SERIES “A residency like the Armory’s can be life changing for an artist. With unlimited access to studio space and total creative freedom, even the wildest idea can be attempted.” —(The Wall Street Journal) 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. The series is curated by Meiyin Wang.

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

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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FAMILY PROGRAMS Park Avenue Armory invites parents and children to participate in interactive art-making workshops in our historic period rooms. Drawing upon the Armory’s castle-like setting and unique artistic offerings, these programs are offered monthly during the school year and designed to spark the imagination of children of all ages.

MALKIN LECTURE SERIES Each fall, the popular Malkin Lecture Series presents scholars and experts on topics relating to the Armory and the civic, cultural, and aesthetic life of New York City in the 19th and early 20th centuries. Lecture topics have ranged from history makers like Abraham Lincoln and Theodore Roosevelt to Gilded Age society’s favorite restaurants and the Hudson River painters.

HISTORIC INTERIORS TOURS Get an insider’s look at the Armory with a guided walking tour of the building with our staff historian.

From the soaring 55,000-square-foot Drill Hall to the extraordinary interiors designed by Louis Comfort Tiffany, Stanford White, Herter Brothers, and others, and learn about the design plans by acclaimed architects Herzog & de Meuron ARTIST TALKS 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.

J O I N

T H E

A R M O R Y

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

Friend $100 - Exclusive access to the best seats for Armory performances through members-only presale - Invitations to opening night previews for Armory visual art installations - Free admission for member plus one guest to Armory visual art installations - Discounts on Artist Talks - Invitations to select open rehearsals - Special members-only viewing hours for select exhibitions - Invitation to the annual Members event - Discount on tickets to the Malkin Lecture Series - Free admission for guided tours of the Armory Family Circle $225 All benefits of the Friend membership plus: - Pre-registration for educational workshops - Special access to talks, programs, and tours Benefits extend to children in household under 18 years of age.

Supporter $250 All benefits of the Family Circle membership plus: - Up to two ticket exchanges per season* - One complimentary pass to an art fair** Associate $500 All benefits of the Supporter membership plus: - Free admission for two additional guests to Armory visual art installations - Access to VIP lounge in one of the Armory’s historic rooms during performance intermissions

- Recognition in Armory printed programs - One additional complimentary pass to an art fair** Benefactor $1,000 All benefits of the Associate membership plus: - Members concierge ticket service - Two complimentary tickets to the Under Construction series Armory Avant-Garde $350 or $600 This exciting group invites forward-thinking individuals in their 20s through early 40s to experience new, surprising, and innovative ideas in art, and provides access to the Armory and its artists through exclusive events designed for younger supporters.

Chairman ’s Circle starting at $2,500 Members of this exclusive group are provided unique and intimate opportunities to experience the Armory, including invitations to private tours and VIP receptions with world class artists; priority seating and concierge ticket service; and an invitation for two to the annual Chairman’s Circle Reception.

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 on membership, go to armoryonpark.org/join, email members@armoryonpark.org, or call (212) 616-3958. *For same production; subject to availability. **Certain restrictions apply. All memberships are subject to various levels of tax deductibility.

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B O A R D / S U P P O R T E R S

BOARD OF DIRECTORS Co-Chairman Elihu Rose, PhD. Co-Chairman Adam R. Flatto President and Executive Producer Rebecca Robertson Marina Abramović Harrison M. Bains Wendy Belzberg Emma Bloomberg Carolyn Brody Cora Cahan Peter Clive Charrington Hélène Comfort Paul Cronson Sanford B. Ehrenkranz Michael Field David Fox Marjorie L. Hart Karl Katz Edward G. Klein, Major General NYNG (Ret.) Ken Kuchin Mary Kush Pablo Legorreta Ralph Lemon Heidi McWilliams David S. Moross Gwendolyn Adams Norton Joel I. Picket Joel Press Genie H. Rice Amanda J.T. Riegel Janet C. Ross Jeffrey Silverman Joan Steinberg Emanuel Stern Angela E. Thompson Deborah C. van Eck Founding Chairman, 2000-2009 Wade F.B. Thompson

SUPPORTERS Park Avenue Armory expresses its deep ­appreciation to the ­individuals and organizations listed here for their generous ­support for its annual and capital campaigns. $1,000,000 + Charina Endowment Fund Empire State Local Development Corporation Richard and Ronay Menschel New York City Council and Council Member Daniel R. Garodnick New York City Department of ­Cultural Affairs The Pershing Square Foundation Susan and Elihu Rose The Arthur Ross Foundation and J & AR Foundation Joan and Joel Smilow The Thompson Family Foundation Wade F.B. Thompson* The Zelnick/Belzberg Charitable Trust Anonymous $500,000 to $999,999 Citi 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 American Express Michael Field and Jeff Arnstein Lisa and Sanford B. Ehrenkranz Olivia and Adam Flatto Ken Kuchin and Tyler Morgan The Rockefeller Foundation Marshall Rose Family Foundation $100,000 to $249,999 The Achelis and Bodman Foundations

Wendy and Mark Adams Linda and Earle S. Altman Bloomberg Philanthropies Booth Ferris Foundation Hélène and Stuyvesant Comfort Marjorie and Gurnee Hart Kirkland & Ellis LLP Mr. and Mrs. Peter L. Malkin and The Malkin Fund, Inc. David Monn Mr. and Mrs. Lester S. Morse, Jr. National Endowment for the Arts New York State Assembly New York State Council on the Arts Gwen and Peter Norton The Reed Foundation Daniel and Joanna S. Rose Caryn Schacht and David Fox Amy and Jeffrey Silverman Stavros Niarchos Foundation Harold and Mimi Steinberg Charitable Trust Joan and Michael Steinberg Mr. and Mrs. William C. Tomson Deborah van Eck $25,000 to $99,999 The Avenue Association Harrison and Leslie Bains Emily and Len Blavatnik Emma Bloomberg and Chris Frissora BMW of Manhattan Carolyn S. Brody Janna Bullock Eileen Campbell and Struan Robertson The Cowles Charitable Trust Caroline and Paul Cronson Crum & Forster Emme and Jonathan Deland Sandi and Andrew Farkas, Island Capital Group & C III Capital Partners Elizabeth Morse Genius Foundation The Grand Marnier Foundation Agnes Gund Mr. and Mrs. Andrew Gundlach Josefin and Paul Hilal Max MF Power Jacobellis

Anna Maria & Stephen Kellen Foundation, Inc. and Marina Kellen French Wendy Keys Mary Kush Aaron Lieber and Bruce Horten Kamie and Richard Lightburn Marc Haas Foundation Cindy and David Moross Liz and Frank Newman Joan and Joel I. Picket The Pinkerton Foundation Slobodan Randjelovic and Jon Stryker Katharine and William Rayner Rhodebeck Charitable Trust Genie and Donald Rice Janet C. Ross Deborah and Chuck Royce May and Samuel Rudin Family Foundation, Inc. Fiona and Eric Rudin The Fan Fox & Leslie R. Samuels Foundation The Shubert Foundation Sydney and Stanley S. Shuman Skadden, Arps, Slate, Meagher & Flom LLP Peter and Jaar-mel Sloane / Heckscher Foundation Jill Bokor and Sanford Smith Sarah Billinghurst Solomon and Howard Solomon Mr. and Mrs. Eugene E. Stark, Jr. Nanna and Daniel Stern Mr. and Mrs. Barry Sternlicht Tishman Construction, and AECOM Company David Wassong and Cynthia Clift Michael Weil Anonymous (2) $10,000 to $24,999 American Realty Capital Arup Abigail Baratta Mr. and Mrs. Victor Barnett Candace and Rick Beinecke Nicholas Brawer Catherine and Robert Brawer British Council Mrs. Daniel Cowin Dom Pérignon

William F. Draper Peggy and Millard Drexler Andra and John Ehrenkranz Florence Fearrington Amandine and Stephen Freidheim Barbara and Peter Georgescu Kiendl and John Gordon Jeff and Kim Greenberg Mr. and Mrs. Martin Gruss Molly Butler Hart and Michael D. Griffin Elizabeth and Dale Hemmerdinger Herzog & de Meuron Daniel Clay Houghton Mr. and Mrs. William Kahane Jennie Kassanoff and Dan Schulman Erin and Alex Klatskin Suzie and Bruce Kovner Thomas H. Lee and Ann Tenenbaum Leon Levy Foundation Richard H. Levy & Lorraine Gallard Lili Lynton and Michael Ryan Christina and Alan MacDonald Sylvia and Leonard Marx, Jr. Diane and Adam E. Max Mr. and Mrs. Richard E. Mayberry, Jr. Larry and Mary McCaffrey Renee and David McKee Claire Milonas Cynthia Woods Mitchell Fund of the National Trust for Historic ­Preservation Adriana and Robert Mnuchin Mary Kathryn Navab David P. Nolan Foundation Northern Bay Contractors, Inc. PBDW Architects Andrea Markezin and Joel Press The Prospect Hill Foundation Mary Jane Robertson and James A. Clark Ida And William Rosenthal Foundation Lady Susie Sainsbury Mr. and Mrs. William Sandholm Oscar S. Schafer Stacy Schiff and Marc de la Bruyere Dr. and Mrs. Thomas P. Sculco Juliet Lea Hillman Simonds Foundation JLH Simonds Josh Struzziery and Beth Carney Michael and Veronica Stubbs

Claudia and Geoffrey Thompson Laurie M. Tisch Illumination Fund Barbara and Donald Tober Robert Vila and Diana Barrett William Morris Endeavor Entertainment Foundation Anonymous (3) $5,000 to $9,999 Noreen K. Ahmad and Ahmar Ahmad Jody and John Arnhold Jamie Atler and Michael Lynton Mr. and Mrs. Jonathan Auerbach Milton and Sally Avery Arts ­Foundation Hilary Ballon Ginette and Joshua A. Becker Sara and David Berman Daniel and Estrellita Brodsky Mr. and Mrs. Kenneth Buckfire Veronica Bulgari and Stephan Haimo Amanda M. Burden Marian and Russell Burke Mr. and Mrs. Chase Coleman Elizabeth Coleman Sarah and Ronald Collins Mr. and Mrs. Carl A. Contiguglia Mary Cronson / Evelyn Sharp Foundation Margaret Crotty and Rory Riggs Diana Davenport and John Bernstein Luis y Cora Delgado Jennie L. and Richard K. DeScherer The Max and Victoria Dreyfus Foundation Mary Ellen Dundon East Side House Settlement David and Frances Eberhart Foundation Cheryl and Blair Effron Anne and Joel Ehrenkranz Inger McCabe Elliott The Felicia Fund Ella M. Foshay and Michael B. Rothfeld Teri Friedman Debbi Gibbs Gail Golden and Carl Icahn Susan and Peter Gottsegen 35

Great Performances Marieline Grinda and Ahmad Deek Anne Grissinger Allen and Deborah Grubman Claire and Christian Gudefin Anita K. Hersh Hon. Bruce M. Kaplan and Janet Yaseen Kaplan The Rachel and Drew Katz Foundation Phyllis L. Kossoff Mr. and Mrs. Fernand Lamesch The Lauder Foundation / Leonard and Evelyn Lauder Fund Robert Lehman Foundation Gail and Alan Levenstein Levien & Company, Inc. Foreground Conservation & Decorative Arts Mr. and Mrs. Francois Maisonrouge Alexandra and Les Meyers Sergio and Malu Millerman Achim and Colette Moeller Whitney and Andrew Mogavero Barbara and Howard Morse Saleem Muqaddam Ali Namvar National Philanthropic Trust James C. Marlas and Marie Nugent-Head Marlas Nancy and Morris W. Offit Peter and Beverly Orthwein Susan Porter Anne and Skip Pratt Preserve New York, a grant program of Preservation League of New York Timothy and Coco Quinlan David J. Remnick and Esther B. Fein Carolyn Risoli and Joseph Silvestri Jonathan F.P. and Diana Rose Jane Gregory Rubin and Reed Rubin Mr. and Mrs. Kevin Ryan Mr. and Mrs. Andrew Saul Mr. and Mrs. Nicholas Schorsch Mr. Leigh Seippel Stephanie and Fred Shuman The Six Four Foundation Margaret Smith Daisy M. Soros Sotheby’s Patricia Brown Specter

Mr. and Mrs. Michael H. Steinhardt Elizabeth F. Stribling and Guy Robinson The Jay and Kelly Sugarman Foundation Bill and Ellen Taubman Paul Travis and Mark Fichandler Anastasia Vournas and J. William Uhrig Isak and Rose Weinman Foundation, Inc. Myra and Frank Weiser, M.D. Katherine Wenning and Michael Dennis Valda Witt and Jay Hatfield Cynthia Young and George Eberstadt Richard and Franny Heller Zorn Zubatkin Owner Representation, LLC Anonymous $2,500 to $4,999 Roswitha and A.J. Agarwal Ghiora Aharoni and Christopher Noey AKF Group LLC Ark Restaurants Corp.

Norma Ketay Asnes Aurora Lampworks, Inc. Mr. and Mrs. Timothy Barefield Allison M. Blinken Cynthia and Steven Brill Amy Brown Fay Chang Joyce Chelberg Alexandre and Lori Chemla Neil and Kathleen Chrisman Christian Dior Shirin and Kasper Christoffersen Mr. and Mrs. David O. Cohen Betsy Cohn Stewart F. Lane and Bonnie Comley Central Park Conservancy Marina Couloucoundis Ellie and Edgar Cullman Sasha Cutter and Aaron Hsu Joshua Dachs / Fisher Dachs Associates Theatre Planning and Design Constance and Gregory Dalvito Joan K. Davidson (The J.M. Kaplan Fund) Mary and Maxwell Davidson III

Elizabeth de Cuevas Gina and James de Givenchy Hester Diamond Krystyna Doerfler Mr. and Mrs. Robert J. Easton Alice and David Elgart Loren Eng and Dinakar Singh Dr. Nancy Eppler-Wolff and Mr. John Wolff Victoria Ferenbach Susan Ferris EdmĂŠe and Nicholas Firth Mr. and Mrs. Brian Fisher Fisher Marantz Stone, Inc. Megan Flanigan Claudia and Fleming & George Bitar Bart Friedman and Wendy A. Stein Samantha and John Gellert Robert and Joyce Giuffra Kathleen and David Glaymon Gary & Beth Glynn Marjorie and Ellery Gordon Noah and Maria Gottdiener Archie Gottesman and Gary S. DeBode Sarah Gould and David Steinhardt Elizabeth and David Granville-Smith Francine Du Plessix Gray Mindy and Jon Gray Mr. Jeff Greene and Ms. Kim Lovejoy The William and Mary Greve Foundation Mike & Janet Halvorson John Hargraves Jane Hartley and Ralph Schlosstein Jay Herman Barbara Hoffman Margaret Hunt istar Financial Inc. Mr. and Mrs. Robert A. Jeffe Caron and Geoffrey Johnson Barbara and Donald Jonas Floy and Amos Kaminski Mr. and Mrs. Paul Kanavos Meredith J. Kane Karl and Elizabeth Katz Mr. and Mrs. Rene Kern Nancy Kestenbaum and David Klafter Knickerbocker Greys Chad A. Leat Mr. and Mrs. Chris Liddell Shirley Lord Rosenthal Heather Lubov

The Ludwig Family Foundation / The Honorable Eugene A. Ludwig and Dr. Carol Ludwig Shelly and Tony Malkin Sherry Mandell Lynne and Burt Manning Judith and Michael Margulies Juliana and Jon May Melissa Meeschaert Joyce F. Menschel Marcia and Richard Mishaan Mr. and Mrs. Robert Morse Mr. and Mrs. James Murdoch Patty Newburger and Bradley Wechsler Anne Niemeth and Chuck Niemeth Francesca and Dick Nye MC & Eric Roberts Ellen Oelsner Kathleen O’Grady David Orentreich, MD / Orentreich Family Foundation Will Palley Marnie Pillsbury Anne Prentice Eileen and Tom Pulling Elissa QuerzÊ Mr. and Mrs. Robert C. Quinlan Heidi Rieger Isabel Rose and Jeffrey Fagen Liz Rosen Chuck and Stacy Rosenzweig Clifford Ross Susan and Jon Rotenstreich Merle Rubine and Elliot M. Glass Valerie Rubsamen and Cedomir Crnkovic Bonnie J. Sacerdote Jane Fearer Safer Nathan E. Saint-Amand Caroline Schmidt-Barnett Sara Lee and Axel Schupf Mr. Barry Schwartz / M&F Worldwide Corp.

Lise Scott and D. Ronald Daniel Uma Seshamani and Jason van Itallie Thomas and Patricia Shiah Alan and Sandy Siegel Donna Kohn Snow and Michael Rubinoff Stephanie and Dick Solar Sara Solomon Donna Soloway

Mr. and Mrs. David Sonenberg Melissa Schiff Soros and Robert Soros Mr. and Mrs. Tristam Steinberg Gayfryd Steinberg Douglas C. Steiner Jeremy E. Steinke Diane and Sam Stewart Angeline Straka Rob Teeters and Bruce Sherman Ambassador and Mrs. William J. vanden Heuvel Mr. and Mrs. Alexander von Perfall Susan and Kevin Walsh David Reed Weinreb Karla Wheeler Richard and Diana Whelan Kate R. Whitney and Franklin A. Thomas Mr. and Mrs. Malcolm H. Wiener Shannon Wu Amy Yenkin and Robert Usdan Judy Francis Zankel Zubatkin Owner Representation $1,000 to $2,499 Lindsey Adelman Frank Ahimaz and Steven Barr Mr. and Mrs. Herbert Allen Amira Salaam Amro Mr. and Mrs. Charles Anderson Patrick Baldoni, Femenella & Associates, Inc. Tina and Peter Barnet June and Kent Barwick Norton Belknap Dale and Max Berger Deborah Berke and Peter McCann Mark and Randi Berman Tama and Brad Bernstein Nymrata Advani Bickici Hana Bitton Cathleen P. Black and Thomas E. Harvey Bluestem Prairie Foundation Boehm Family Foundation Marianne Boesky Gallery Mr. and Mrs. Sheldon M. Bonovitz Mr. and Mrs. Alvin Brown Mr. and Mrs. Gilbert Butler Butterfield Market & Catering Judith Byrd Mr. and Mrs. Jeff Campbell Chanda Chapin

Sommer Chatwin Pamela and J. Michael Cline Mr. and Mrs. Robert Cochran Ranika Cohen Emy Cohenca Courtney Corleto Jessica and David Cosloy Jennifer Coyne Mr. and Mrs. Andrew M. Crisses Boykin Curry and Celerie Kemble Carol Lynne Cushman Norris Daniels James Danner Virginia L Davies and Willard B Taylor Suzanne Dawson Marguerite De La Poer Sebastien de la Selle Maria Teresa De Mata Richard and Barbara Debs Jane and Michael DeFlorio Anne Bevis Detwiler Diana Diamond and John Alschuler Jacqueline Didier and Noah Schienfeld Mr. and Mrs. Michael Donner Jane Draizen Nancy J. Drosd and Charles Schwartz Gertrude and Philip Dub Lonti Ebers Karen Eckhoff Jacqueline Elias Mr. and Mrs. Alec Ellison Mr. and Mrs. Chris Errico Mr. and Mrs. Marc Feigen Richard L. Feigen and Isabelle Harnoncourt-Feigen Frederic Fekkai and Shirin von Wulffen Fig & Olive Restaurant Laura Jane Finn Heather Fullerton Mr. and Mrs. Scott Gerber Mr. and Mrs. David Getz Mr. and Mrs. Trevor Gibbons Jenny Slayton Green Jamee and Peter Gregory Marie-Line Grinda and Ahmed Deek Barbara Grodd and The Ostgrodd Foundation Leonard Groopman Jessica Guff Jan M. Guifarro 37

Addie J. Guttag Robert H. Haines Jennifer Hand and Thomas Tierney Elizabeth Harned Steven Harris and Lucien Rees Robertson Stan Harrison Kitty Hawks and Larry Lederman Rolf Heitmeyer Stephanie Hessler Mr. and Mrs. Brian Higgins William T. Hillman Susan Hirschhorn and Arthur Klebanoff Dr. and Mrs. Richard Hoffman Mary Anne Hunting and Thomas H Remien Invisible North Beth Jacobs Mr. and Mrs. David Johnson The Kandell Fund / Donald J. Gordon Jeanne Kanders Daniel and Renee Kaplan Drs. Sylvia and Byram Karasu Frances Kazan Margot Kenly and Bill Cumming Jana and Gerold Klauer Kathleen and Reha Kocatas J. Allen Kosowsky, CPA & Lenore M. Kosowsky Danai Kougiouli Kate Krauss Kimberly Kravis Schulhof Leah Kremer Mr. and Mrs. Ron Krolick Geraldine Kunstadter Nanette L. Laitman Barbara Landau Judith Langer and Arthur Applebee Mr. and Mrs. John Lauto Mark and Taryn Leavitt H. Kate Lee Ann Leibowitz Sahra T. Lese Brenda Levin Phyllis Levin Lieta and Helene Ambassador and Mrs. John L. Loeb Jr. Lisa Ann Lori Diane Britz Lotti The Honorable and Mrs. Earle Mack

Liz MacNeill Arielle & Ian Madover Pat and Michael Magdol Mr. and Mrs. Chris Mailman Mr. and Mrs. Marc Malek Match 65 Brasserie Polly McCaffrey Constance and H. Roemer McPhee Beatrix and Gregor Medinger Sibel Mesta Mr. and Mrs. Sylvester Miniter Allen Model and Dr. Roberta Gausas Liz and Chips Moore Nina Morton Mr. and Mrs. Oliver T. Moses Mr. and Mrs. Stuart Nelson The New York Community Trust Mr. and Mrs. Brent Nicklas Peter and Susan Nitze Mr. and Mrs. Marvin Numeroff Addison O’Dea Victoria Orlin Robert Ouimette Mindy Papp Madison J Papp The Par Group Lynn Passy and Lewis Friedman Suzanne Peck and Brian P Friedman Mr. and Mrs. Brian Pfeifler Jordan Phillips Christopher J. Piccinich Sheila M. and Nicholas Platt Mr. and Mrs. Douglas Present Prime Parking Systems Jonelle Procope and Fred Terrell Anna Rabinowitz Alan Ravandi and Avisheh Avini Milbrey Rennie Diana and Charles Revson Rodgers & Hammerstein Foundation Mr. and Mrs. David Rogath Mark Roppel and Nurelene Sahadat Jim Rosenfield and Charlotte Rosenblatt Marjorie P. Rosenthal Jane Royal and John Lantis Rudin Management Co., Inc. Elizabeth Sarnoff and Andrew S. Cohen Sabina and Wilfred Schlumberger Joyce Pomeroy Schwartz Tatiana Serafin Mr. and Mrs. Bradley Settelman

Gil Shiva Mr. and Mrs. Arthur T. Shorin Mr. and Mrs. Michael A. Shuman Lindy Shuttleworth Laine Siklos Denise Simon and Paulo Vieiradacunha Mr. and Mrs. Vinayak Singh Laura Skoler Barbara Slifka Salwa Smith Denise Littlefield Sobel Squadron A Foundation Lili L. Stawski John Strasswimmer Bonnie and Tom Strauss Dorothy Strelsin Foundation / Enid Nemy The Studio In A School Association Allison & Stephen Sullens Summit Security Services, Inc. Rabbi Malcolm Thomson Suzanne Tick Jane Toll Mr. and Mrs. Remy W. Trafelet Mr. and Mrs. John Troiano R.T. Vanderbilt Trust / Mr. and Mrs. Hugh B. Vanderbilt, Jr. Mr. and Mrs. John L. Vogelstein Monina von Opel Mr. and Mrs. Richard Wagman Amanda and John Waldron Mr. and Mrs. Stanford Warshawsky Mr. and Mrs. Robert Wheeler Michaela Williams Mr. and Mrs. David Wolf Reva Wurtzburger Eleanor Ylvisaker Jason Zubatkin Anonymous (4) $500 to $999 Marina Abramović Jennifer Argenti Louise L. Arias Michael Ashby Mr. and Mrs. Steven Atkins Raymond Baron Susan Wise Bauer & Peace Hill Press Frances Beatty Mr. and Mrs. Guillaume Bebear Liddy Berman

Elaine S. Bernstein Sue Birnbaum Dr. Stanley Blaugrund and Dr. Annette Blaugrund Arabella Bowen and Tyler Cole David P. Boynton Mr. and Mrs. Alexander Brodsky Kimberly Brown Cora Cahan and Bernard Gersten Capital Strategies Investment Group Mr. and Mrs. Nicholas Carlozzi Lea Carpenter Thomas Carrier Pilar Castro Kiltz Ronni and Ronald Casty Meryl and Mel Cherney Oya Christopher CleanTech Michael Clinton and Tom Devincentis Mrs. George Colettis Janis Conner Alexander Cooper Jon and Jenny Crumiller Christina R. Davis Mr. and Mrs. Maurice Deane Mr. and Mrs. Stephen Dellosso Christine DiCrocco Mr. and Mrs. Daniel Dubin Amy Grovas Elliott Michael Ellis Heidrun Engler Mr. and Mrs. Alexander Ercklentz Mr. and Mrs. Anthony B. Evnin Mr. and Mrs. Thomas N. Farmakis Joan and William Felder George Fellows Mr. and Mrs. Sander A. Flaum Martha J. Fleischman Clare and John Fraser Stephanie French Emily T Frick Dr. and Mrs. Alan Friedman P. Gayle Fuguitt and Thomas Veitch Agata and Sumeer Sath Mr. and Mrs. Thomas Garbutt Peter P. Gates Rosalie Y Goldberg Alexander Goldberg Mr. and Mrs. Stuart Goldman Parisa Golestaneh Pedro Gonzalez de Cosio Susan Grant and Lawrence C Maisel

Mr. and Mrs. Stephen Greene Paula S. Greenman Dr. and Mrs. Jeffrey Groeger Harvey and Kathleen Guion John H. and Susan K. Gutfreund Lynn and Martin Halbfinger Karee Hanifan Donna Harkavy and Jonathan Price Cassandra Harris Mr. and Mrs. Horacio Herzberg Mr. and Mrs. Michael Ho Pamela Howard James and Edwina Hunt Mr. and Mrs. Alan Ilberman Heatherlyn Ingenito James Iorio and Audrey Chen Ann W. Jackson Elise Jaffe + Jeffrey Brown Jacqueline Jones and John Wilfred Gassett Hilda Jones Patricia S. Joseph Evelyn Kenvin Dr. Hootan Khatami & Mr. Daryl Fox Jennifer Kinderman Hadley C. King Mr. and Mrs. Jason Klein Major General Edward G. Klein, NYNG (Ret.) Gary Knisely Gloria and Richard Kobrin Kathryn Kremnitzer Steven and Arlene Lazarus Ralph Lemon Bonnie Levinson and Donald Kay Jane K. Lombard Donna and Wayne Lowery Monique Lowitt Mr. and Mrs. Glenn Lowry Joan L. Lynton Susan Dickey MacArthur Susan Madden Meylin Maldonado Mr. and Mrs. Anthony Mansour Theresa Martinez and Maureen Martinez Erin Harkness McKinnon Martha B. McLanahan Shawn McLaughlin and Kieran McMahon Mr. and Mrs. John Miller Diane Compagno Miller Sally Minard and Norton Garfinkle

Claudia and Douglas Morse Kenneth R. Nassau Nicholson & Galloway, Inc. Sophie Nitkin John Orberg Mr. and Mrs. Richard Petrocelli Elizabeth Peyton and Tony Just Stefani Phipps Max Pine Mrs. Nancy Piraquive Eden W Rafshoon Tara K Reddi Victoria Reese and Greg Kennedy Sheila Johnson Robbins Mr. and Mrs. Tony Roberts Joel Rosenkranz Elizabeth Roxas-Dobrish Marie Salerno and Sam Roberts Pat Schoenfeld Francesca Schwartz Nadine Shaoul and Mark Schonberger Kimberly Ayers Shariff Angelo and Constance Silveri Albert Simons III Andrew Clifford Skewes Mr. and Mrs. Arnold Smoller Eileen Solomon Martha S. Sproule Kathryn Steinberg Mr. and Mrs. Benjamin Steiner Frank Sullivan Shining Sung Robert Taff and J. Philip Moloney Whitney Topping Lee Traub Ms. Patricia L. Truscelli and Mr. E.N. Ellis Adrian Ulrich Mr. and Mrs. Tony Ursano Amelia & Steven Usdan Ashley Waghorne and Geoff Collette Karen E. Wagner and David Caplan Mr. and Mrs. William Warren Paula Weinstein Gabriella Wiener Kenneth J. Witty Susan Yarnell Mr. and Mrs. Michael Young Michael Young and Debra Raskin Tim Zietara Anonymous (7)

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Photo by Marco Anelli, 2015