Recital Series: Benjamin Appl & James Baillieu

WELCOME Park Avenue Armory strives to engage audiences with eclectic, immersive, and thought-provoking works that are in direct dialogue with the vast sweep of the Armory’s unique spaces, whether it is the soaring Wade Thompson Drill Hall or the intimate period rooms. And with its pristine acoustic and austere elegance, the Board of Officers Room is like no other in offering the chance to enjoy the art of the recital and music-making in the most personal of settings.

The 2019 season marks the seventh year for the recital series, which continues to showcase both classical and contemporary repertoire performed by world class artists at the height of their craft. We are thrilled to introduce to North American audiences the esteemed baritone Benjamin Appl, who makes his North American recital debut with a unique residency exploring the extraordinary emotional depths of the human psyche found in the three published song cycles of Franz Schubert. And before making his U.S. operatic debut at Santa Fe Opera in summer 2019, Austrian tenor Ilker Arcayürek makes his North American recital debut with a program of Schubert lieder after emerging as one of the most exciting and versatile vocal artists in recent years following impressive debuts on opera and recital stages throughout Europe. Paired with our ongoing partnership with the Metropolitan Opera’s Lindemann Young Artist Development Program, the series will be featuring exciting new voices not seen elsewhere in New York.

Also new to New York concert-goes is the esteemed Dudok Quartet Amsterdam, who make their New York debut with programs focusing on works by Haydn and Ligeti that artfully showcase the superb musicianship of one of the most wide-ranging string quartets of our time.

We continue to explore new directions with soprano Barbara Hannigan, who follows her whirlwind U.S. recital debut at the Armory in 2017 with an artfully curated residency showcasing her versatility and musical curiosity with programs that includes the New York premiere of John Zorn’s “Jumalatteret” performed with pianist Stephen Gosling and Schoenberg’s String Quartet No. 2 featuring the famed Emerson String Quartet. Violin virtuoso and MacArthur “Genius” Fellow Leila Josefowicz curates an inventive program of modern music paired with pieces by 20th-century masters that have never sounded so contemporary in performances that will be breathtaking in their daring and excitement.

This year’s lineup offers audiences even more chances to enjoy the intimacy of a beautiful range of chamber music experiences performed by artists with a highly distinctive international profile, in one of the only spaces that could provide such a personal encounter—the Board of Officers Room. We hope you will join in our excitement for witnessing these magical moments in music.

Rebecca Robertson Founding President & Executive Producer Pierre Audi Marina Kellen French Artistic Director

2019 RECITAL SERIES IN THE RESTORED BOARD OF OFFICERS ROOM

BENJAMIN APPL, baritone JAMES BAILLIEU, piano sunday, january 6 at 3:00pm Schubert: Die schöne Müllerin

tuesday, january 8 at 7:30pm Schubert: Schwanengesang

thursday, january 10 at 7:30pm Schubert: Winterreise

Thompson Arts Center at Park Avenue Armory

The Recital Series is supported in part by The Reed Foundation. The Recital Series is also made possible by the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature.

Support for Park Avenue Armory’s artistic season has been generously provided by the Charina Endowment Fund, the Altman Foundation, The Harold and Mimi Steinberg Charitable Trust, the Fan Fox and Leslie R. Samuels Foundation, the Horace W. Goldsmith Foundation, The Shubert Foundation, The Emma and Georgina Bloomberg Foundation, the Marc Haas Foundation, The Kaplen Brothers Fund, the Juliet Lea Hillman Simonds Foundation, the Leon Levy Foundation, the May and Samuel Rudin Family Foundation, the Richenthal Foundation, and the Isak and Rose Weinman Foundation.

Additional support has been provided by the Armory’s Artistic Council.

SEASON SPONSORS

SERIES SPONSOR

JANUARY 6 PROGRAM Schubert

Die schöne Müllerin Das Wandern Wohin?

Halt!

Danksagung an den Bach Am Feierabend Der Neugierige Ungeduld Morgengruß Des Müllers Blumen Tränenregen Mein!

Pause Mit dem grünen Lautenbande Der Jäger Eifersucht und Stolz Die liebe Farbe Die böse Farbe Trockne Blumen Der Müller und der Bach Des Baches Wiegenlied

This performance is approximately one hour and ten minutes, performed without intermission.

See page 9 for the texts and translations of this program.

DIE SCHÖNE MÜLLERIN The Miller’s Beautiful Daughter (1823) poems by Wilhelm Müller (Dessau, 1794 – Dessau, 1827) “Two little words make up the entire world to me,” sings the protagonist of Schubert’s Schöne Müllerin (song no. 6, “Curiosity”). In a way, something similar could be said of the cycle as a whole. The rather meager story, about an oversensitive and, yes, somewhat nerdy young man, the object of his affections (whom we hardly get to know as a person) and his more successful rival, does make up an entire world—the protagonist sets out on a journey, finds love and ultimately death.

Wilhelm Müller (1794-1827) was a German poet three years Schubert's senior who died at the age of 33. Today, he is remembered mainly because Schubert set his poetry to music, yet he was a significant figure in his own right.

Highly regarded in his own time, he was sometimes referred to as “Griechen-Müller” (“Greek Müller”) because, like his contemporary Lord Byron, he championed the cause of Greek independence. He exerted a major influence on his contemporary Heinrich Heine (1797-1856), one of the greatest German poets of all time, and found an early English translator in Henry W. Longfellow.

Critics have sometimes been quick to dismiss Müller as a poet; yet his poetic images are often rich and evocative. In the Müllerin cycle, his portrayal of the protagonist’s feelings is full of keen psychological insights, and in Winterreise, he depicted existential despair in a way not seen before in Romantic literature. Yet it is undeniable that without Schubert’s settings, these poems would never have the effect they produce in conjunction with the music, which transports them into a completely different realm, adding whole new layers of meaning through an incredibly sensitive musical treatment of the texts.

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Ever since I first got to know Die schöne Müllerin as a child, I have never ceased to marvel at such details as the sudden turn to the minor mode in song no. 10, at the very moment when it starts raining and the girl decides to go home just when the two of them might have begun to get a little closer (hence the title “Rain of Tears”). The cycle contains some of the most compelling depictions of happiness (song no. 11, “Mine!”) and despair (song no. 17, “The Hateful Color”) in the entire art-song repertoire. And how about the gripping image of the sobbing angels in song no. 19 (“The Miller and the Brook”) which Heinrich Heine, no less, found worth picking up? (The image shows up in one of the poems Schumann included in Dichterliebe.) Schubert’s melodic line, complete with that eternal musical symbol of grief, the Neapolitan sixth, is unforgettable. Each one of the twenty songs is a perfect depiction of a state of mind or a particular place where the events unfold. One song (no. 5, “On the Restful Evening”) offers a whole dramatic mini-scene, where the protagonist, the old miller and his daughter are all present. When the daughter wishes everyone a good night, Schubert’s melodic line emphasizes the word “everyone” with a long-held high note, making us feel the young man’s bitter disappointment at not being specifically singled out in this friendly gesture.

The entire cycle moves from an upbeat, carefree folksong at the beginning to utter transcendence in the final lullaby/dirge. The cycle begins in B-flat major and ends in E major; these two keys are as far removed from one another as they can possibly be in the classical tonal system. Together, they truly encompass an entire world—even in a musical sense.

—Peter Laki

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JANUARY 8 PROGRAM Schubert

Schwanengesang Liebesbotschaft Kriegers Ahnung Frühlingssehnsucht Ständchen Aufenthalt In der Ferne Abschied Auf dem Strom, D.943 (performed with cellist Michael Katz) Der Atlas Ihr Bild Das Fischermädchen Die Stadt Am Meer Der Doppelgänger Die Taubenpost

This performance is approximately one hour, performed without intermission.

See page 21 for the texts and translations of this program.

SCHWANENGESANG Swan Song 1828 The fourteen Schubert songs known collectively as Schwanengesang did not receive their title from the composer, who never intended them as a cycle in this form. The collection was named by the publisher, Tobias Haslinger, when he published the songs a year after Schubert’s death, in 1829. It has even been debated whether the songs Nos. 1-7, on poems by Ludwig Rellstab, or Nos. 8-13, after Heinrich Heine, possess enough internal coherence to be regarded as cycles. And no one seems to have found any justification for Haslinger’s decision to tack Die Taubenpost, on a poem by Johann Gabriel Seidl, at the end of the volume—unless one thinks it reason enough that this song was the very last one Schubert composed before his death.

In spite of all this, Schwanengesang has endured as a cycle in concert practice, a fact one cannot simply attribute to the uncritical acceptance of an erroneous tradition, or to a brazen disregard for hard evidence. One has to admit that Schwanengesang, against all odds, somehow “works” as a cycle.

Even its two major portions are not as incompatible as most analysts contend. Granted, Rellstab was far from Heine’s league as a poet. Yet, although his poems are much longer and more ornate than the extremely concise Heine pieces, there are some similarities in their subject matters: both poets wrote about lost homes and lost loves, occasionally relieved by more peaceful images. In their vastly different poetic styles, they described similar tragedies. And while Schubert’s music matches the stylistic differences between the two poets, there is one harmonic device that appears with remarkable consistency throughout the “cycle”: the use of distant modulations, some of them shockingly novel at the time, to highlight crucial lines in the text.

Ludwig Rellstab (1799-1860) was a Berlin-based poet and music critic who visited Vienna in 1825. During his time there, he gave some of his poems to Beethoven, and these eventually reached Schubert, probably via Anton Schindler, Beethoven’s secretary. In the sequence adopted in the published work, the seven songs alternate between idyllic, lyrical pieces and intensely dramatic utterances.

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In Liebesbotschaft (“Message of Love”) we once again hear the brook, the wanderer’s friend from Die schöne Müllerin (“The Miller’s Beautiful Daughter”). The little stream in the forest receives the amorous confidences of the protagonist, and the thirty-second figures of the accompaniment evoke the rippling of the water. In stark contrast, Kriegers Ahnung (“Warrior's Foreboding”) is a soldier’s farewell to his sweetheart on the eve of battle. It is the only song in the cycle to consist of multiple sections in different tempos and meters to reflect the changing psychological states of the warrior. In Frühlingssehnsucht (“Longing in Spring”), the depiction of nature in springtime (again, the brook!) serves as backdrop both to the protagonist’s hope and his suffering. The sweet melody of the popular Ständchen (“Serenade”) intensifies at the end of the song where the gentle plea becomes a fervent entreaty. Aufenthalt (“Dwelling”) and In der Ferne (“In the Distance”) are both dark scenes in which the pain felt by a desperately lonely wanderer is conveyed with extraordinary dramatic force.

Abschied (“Farewell”) rounds out the Rellstab cycle; on the surface, it is a fast and happy ride, but not without some cloudy moments.

Heinrich Heine (1797-1856), one of the greatest poets in the German language, both developed and subtly subverted the Romantic sensibility. Each of the poems set by Schubert revolves around a central point, which is invariably tragic.

In the order in which the songs appear in Schwanengesang, the set opens with a cry of despair from the giant Atlas, who has to carry all the pain of the world on his shoulders. This mythological image is followed by a series of brief pieces where the protagonist laments the loss of his love; there is only one happier song, Das Fischermädchen (“The Fisher Maiden”) to interrupt the series of tragic vignettes, which culminate in the horrific vision of Der Doppelgänger (“The Double”).

Relief comes in the seemingly unrelated Taubenpost (“The Pigeon Post”), on a poem by Seidl (1804-75). In her book Schubert’s Late Lieder, musicologist Susan Youens describes this Austrian poet as “ambitious, pushy, and prolific,” and adds: “His first collection of poetry appeared in 1826 when Seidl was twenty-two years old, and the poet, desirous of musical settings, made sure that the collection found its way into Schubert’s hands immediately.” It was a felicitous choice on Haslinger’s part to include this song in his publication, as Die Taubenpost returns to the subject of the first song, Liebesbotschaft, about a non-human message carrier. The two songs are even in the same key, and their principal melodies are related. In this way, Schwanengesang, this non-cycle, did acquire a measure of cyclic unity after all.

—Peter Laki

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JANUARY 10 PROGRAM Schubert

Winterreise Gute Nacht Die Wetterfahne Gefror'ne Tränen Erstarrung Der Lindenbaum Wasserflut Auf dem Fluße Rückblick Irrlicht Rast Frühlingstraum Einsamkeit Die Post Der greise Kopf Die Krähe Letzte Hoffnung Im Dorfe Der stürmische Morgen Täuschung Der Wegweiser Das Wirtshaus Mut Die Nebensonnen Der Leiermann

This performance is approximately one hour and fifteen minutes, performed without intermission.

See page 30 for the texts and translations of this program.

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WINTERREISE A Winter’s Journey 1827 poems by Wilhelm Müller If Winterreise were merely an acute portrayal of a seemingly incurable case of depression (which it certainly is), we would hardly listen to it with the intense pleasure we feel every time a great singer presents it in concert. The sheer beauty of Schubert’s melodies is also insufficient to explain the work’s tremendous impact. It is only when we realize how sensitively the poetic imagery is expressed, even enhanced, by the music at every turn that we begin to understand the significance of this miraculous song cycle. There is no doubt that Schubert, having composed the vast majority of his 600 songs by the time he embarked on his “winter’s journey,” reached the summit of his art here.

It was his second and last cycle based on poems by Wilhelm Müller, written four years after Die schöne Müllerin (“The Miller’s Beautiful Daughter”). It is, in some ways, a sequel to the earlier work. But whereas Die schöne Müllerin tells a concrete story about the tragic, unrequited love of the miller’s apprentice, Winterreise inhabits a different dimension altogether. Instead of a storyline, we get isolated episodes of a voyage into the unknown, a desperate man’s aimless wandering in a desolate, icy landscape. Instead of real characters (the miller, his daughter, the hunter, and the personified, very human brook in the forest), we encounter chimeras like a weathervane that the protagonist thinks is speaking to him, a will-o’the-wisp that lures him down a dangerous path, or a vision of the beloved’s eyes as two extinguished suns. And we cannot be sure whether the only other human shape in the cycle, the hurdy-gurdy player of the final song, is real or merely a figment of the protagonist’s deluded imagination.

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Neither the poems nor the music was created in one fell swoop: Müller first published a set of twelve poems, and Schubert had set them to music before discovering the second half of the cycle, which had been published separately. He then proceeded to compose the rest, completing all 24 songs

by October 1827. The composer himself felt (and told his friend Joseph von Spaun) that these were “horrifying” songs, and his entire circle of friends were taken aback when they first heard them. One hundred and ninety-one years later, these songs have lost nothing of their power to shock; almost “Kafkaesque” in their merciless portrayal of a world in which all hope is lost, they prophetically anticipate many 20thcentury artistic developments. And yet, Schubert was able to couch his grim message in music of beguiling beauty: even the most horrible truths can be dealt with if given an artistic form of utter perfection.

—Peter Laki

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ABOUT THE ARTISTS BENJAMIN APPL Benjamin Appl was the Gramophone Award Young Artist of the Year 2016, a BBC New Generation Artist from 201416, and a Wigmore Hall Emerging Artist and ECHO Rising Star for the 2015-16 season. He became an exclusive SONY Classical recording artist in 2016. His first solo album of German and English song for Sony Classical Heimat won the prestigious Prix Dietrich Fischer-Dieskau (Best Lieder Singer) at the 2017/18 Académie du Disque Lyrique Orphées d’Or. In concert, he has appeared with the Akademie für Alte Musik Berlin, Gabrieli Players & Consort, Les Violons du Roy, Deutsche Kammerphilharmonie Bremen, Concerto Köln, the Symphony Orchestra of India, the Seattle Symphony, Vienna Symphony, and the major BBC orchestras, among others. Now an established recitalist, Appl was mentored by one of the greatest singers of the twentieth century, Dietrich Fischer-Dieskau, and has performed at the Ravinia, Rheingau, Schleswig Holstein, Edinburgh International, and Oxford Lieder festivals, Heidelberger Frühling, and the KlavierFestival Ruhr. He has performed at major concert venues including Festspielhaus Baden-Baden, Het Concertgebouw, Amsterdam, Elbphilharmonie, Hamburg and the Musée de Louvre, Paris, and he is a regular recitalist at Wigmore Hall and at the Schubertiade Hohenems and Schwarzenberg. He works closely with pianists Graham Johnson and James Baillieu.

The 2018-19 season will see Benjamin Appl make his professional recital debut in the United States, with a tour including performances at Park Avenue Armory, New York, and the Phillips Collection, Washington DC. At the beginning of the season Appl appeared in concert with the NHK Symphony Orchestra under Paavo Järvi, and gave a performance of Mahler and Bernstein at the Osaka-Jo Hall in Japan, broadcast by MBS TV. Other performances will include concerts with the Philharmonia Orchestra, Concerto Köln, the Nordwestdeutsche Philharmonie, and the Tonhalle Orchestra Zurich, alongside recital appearances at Wigmore Hall, the Schleswig-Holstein Music Festival, Oxford Lieder Festival, and Schubertiade Hohenems. He will sing the role of Aeneas in Purcell’s Dido and Aeneas with the London Philharmonic Orchestra and Sir Roger Norrington. His new SONY Classical recording Bach with Concerto Köln, was released in September 2018.

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JAMES BAILLIEU An accomplished chamber musician, soloist, and accompanist, Baillieu’s partnerships include Lawrence Power, the Heath Quartet, Mark Padmore, Sir Thomas Allen, Dame Kiri te Kanawa, Pumeza Matshikiza, and Marcus Farnsworth.

Venues include Wigmore Hall, Amsterdam Concertgebouw, Berlin Konzerthaus, Vienna Musikverein, Bridgewater Hall, National Concert Hall Dublin, and the Bergen, Spitalfields, Aldeburgh, Cheltenham, Bath, St. Magnus, Norfolk & Norwich, Edinburgh, Brighton, Verbier, and Aix-en-Provence Festivals. As a soloist, he has appeared with the Ulster Orchestra, the English Chamber Orchestra, and the Wiener Kammersymphonie.

Baillieu has presented his own series at the Wigmore Hall with Adam Walker, Jonathan McGovern, Ailish Tynan, Tara Erraught, Henk Neven, Iestyn Davies, Allan Clayton, and Mark Padmore, among others. This series was shortlisted for the Royal Philharmonic Society’s Chamber Music and Song Award for an outstanding contribution to the performance of chamber music and song in the UK during 2016. He appeared with Benjamin Appl and Peter Moore as part of the ECHO Rising Stars series. Recent collaborations include Marcus Werba, Jamie Barton, Tara Erraught, Lise Davidsen, and Peter Moore.

Born in South Africa, Baillieu studied in Cape Town and London. He was a Borletti-Buitoni Trust and Young Classical Artist Trust artist and was shortlisted for the Royal Philharmonic Society Outstanding Young Artist Award and the Chamber Music and Song Award. He is an International Tutor in Piano Accompaniment at the Royal Northern College of Music.

Thompson Arts Center at Park Avenue Armory | 643 Park Avenue at 67th Street

TEXTS AND TRANSLATIONS sunday, january 6 SCHUBERT Die schöne Müllerin Text by Wilhelm Müller (1794-1827) Das Wandern

Wandering

Das Wandern ist des Müllers Lust, Das Wandern!

Das muß ein schlechter Müller sein, Dem niemals fiel das Wandern ein, Das Wandern.

Wandering is the miller's joy, Wandering!

He must be a miserable miller, Who has never thought of wandering.

Wandering!

Vom Wasser haben wir's gelernt, Vom Wasser!

Das hat nicht Rast bei Tag und Nacht, Ist stets auf Wanderschaft bedacht, Das Wasser.

We've learned this from the water, From the water!

It does not rest by day or night, It's always thinking of its journey, The water.

Das sehn wir auch den Rädern ab, Den Rädern!

Die gar nicht gerne stille stehn, Die sich mein Tag nicht müde drehn, Die Räder.

We see this also with the wheels, With the wheels!

They don't like to stand still, And turn all day without tiring.

The wheels.

Die Steine selbst, so schwer sie sind, Die Steine!

Sie tanzen mit den muntern Reihn Und wollen gar noch schneller sein, Die Steine.

The stones themselves, heavy though they are, The stones!

They join in the cheerful dance, And want to go yet faster.

The stones!

O Wandern, Wandern, meine Lust, O Wandern!

Herr Meister und Frau Meisterin, Laßt mich in Frieden weiterziehn Und wandern.

Oh, wandering, wandering, my joy, Oh, wandering!

Oh, Master and Mistress, Let me continue in peace, And wander!

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Wohin?

Where to?

Ich hört' ein Bächlein rauschen Wohl aus dem Felsenquell, Hinab zum Tale rauschen So frisch und wunderhell.

I hear a brooklet rushing Right out of the rock's spring, Down there to the valley it rushes, So fresh and wondrously bright.

Ich weiß nicht, wie mir wurde, Nicht, wer den Rat mir gab, Ich mußte auch hinunter Mit meinem Wanderstab.

I know not, how I felt this, Nor did I know who gave me advice; I must go down With my wanderer's staff.

Hinunter und immer weiter Und immer dem Bache nach, Und immer frischer rauschte Und immer heller der Bach.

Down and always farther, And always following the brook, And always rushing crisply, And always bright is the brook.

Ist das denn meine Straße?

O Bächlein, sprich, wohin?

Du hast mit deinem Rauschen Mir ganz berauscht den Sinn.

Is this then my road?

O, brooklet, speak! where to?

You have with your rushing Entirely intoxicated my senses.

Was sag ich denn vom Rauschen?

Das kann kein Rauschen sein: Es singen wohl die Nixen Tief unten ihren Reihn.

But why do I speak of rushing?

That can't really be rushing: Perhaps the water-nymphs are singing rounds down there in the deep.

Laß singen, Gesell, laß rauschen Und wandre fröhlich nach!

Es gehn ja Mühlenräder In jedem klaren Bach.

Let it sing, my friend, let it rush, And wander joyously after!

Mill-wheels turn In each clear brook.

Halt!

Halt!

Eine Mühle seh ich blinken Aus den Erlen heraus, Durch Rauschen und Singen Bricht Rädergebraus.

I see a mill looking Out from the alders; Through the roaring and singing Bursts the clatter of wheels.

Ei willkommen, ei willkommen, Süßer Mühlengesang!

Und das Haus, wie so traulich!

Und die Fenster, wie blank!

Hey, welcome, welcome!

Sweet mill-song!

And the house, so comfortable!

And the windows, how clean!

Und die Sonne, wie helle Vom Himmel sie scheint!

Ei, Bächlein, liebes Bächlein, War es also gemeint?

And the sun, how brightly it shines from Heaven!

Hey, brooklet, dear brook, Was this, then, what you meant?

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Danksagung an den Bach

Giving Thanks to the Brook

War es also gemeint, Mein rauschender Freund?

Dein Singen, dein Klingen, War es also gemeint?

Was this, then, what you meant, My rushing friend?

Your singing and your ringing?

Was this what you meant?

Zur Müllerin hin!

So lautet der Sinn.

Gelt, hab' ich's verstanden?

Zur Müllerin hin!

To the Millermaid! it seems to say...

Have I understood?

To the Millermaid!

Hat sie dich geschickt?

Oder hast mich berückt?

Das möcht ich noch wissen, Ob sie dich geschickt.

Has she sent you?

Or am I deluding myself?

I would like to know, Whether she has sent you.

Nun wie's auch mag sein, Ich gebe mich drein: Was ich such', hab’ ich funden, Wie's immer mag sein.

Now, however it may be, I commit myself!

What I sought, I have found.

However it may be.

Nach Arbeit ich frug, Nun hab ich genug Für die Hände, fürs Herze Vollauf genug!

For work I asked, Now have I enough for my hands and my heart, Completely enough!

Am Feierabend

On the restful evening

Hätt ich tausend Arme zu rühren!

Könnt ich brausend Die Räder führen!

Könnt ich wehen Durch alle Haine!

Könnt ich drehen Alle Steine!

Daß die schöne Müllerin Merkte meinen treuen Sinn!

If only I had a thousand arms to move!

I could loudly drive the wheels!

I could blow Through all the groves!

I could turn All the stones!

If only the beautiful Millermaid Would notice my faithful thoughts!

Ach, wie ist mein Arm so schwach!

Was ich hebe, was ich trage, Was ich schneide, was ich schlage, Jeder Knappe tut mir’s nach.

Und da sitz ich in der großen Runde, In der stillen kühlen Feierstunde, Und der Meister spricht zu allen: Euer Werk hat mir gefallen; Und das liebe Mädchen sagt Allen eine gute Nacht.

Ah, why is my arm so weak?

What I lift, what I carry, What I cut, what I beat, Every lad does it just as well as I do.

And there I sit in the great gathering, In the quiet, cool hour of rest, And the master speaks to us all: Your work has pleased me; And the lovely maiden says "Good night" to everyone.

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Der Neugierige

Curiosity

Ich frage keine Blume, Ich frage keinen Stern, Sie können mir alle nicht sagen, Was ich erführ so gern.

I ask no flower, I ask no star; None of them can tell me, What I so eagerly want to know.

Ich bin ja auch kein Gärtner, Die Sterne stehn zu hoch; Mein Bächlein will ich fragen, Ob mich mein Herz belog.

I am surely not a gardener, The stars stand too high; My brooklet will I ask, Whether my heart has lied to me.

O Bächlein meiner Liebe, Wie bist du heut so stumm?

Will ja nur eines wissen, Ein Wörtchen um und um.

O brooklet of my love, Why are you so quiet today?

I want to know just one thing One little word again and again.

Ja, heißt das eine Wörtchen, Das andre heißet Nein, Die beiden Wörtchen schließen die ganze Welt mir ein.

The one little word is "Yes"; The other is "No", These two little words Make up the entire world to me.

O Bächlein meiner Liebe, Was bist du wunderlich!

Will's ja nicht weitersagen, Sag, Bächlein, liebt sie mich?

O brooklet of my love, Why are you so strange?

I'll surely not repeat it; Tell me, o brooklet, does she love me?

Ungeduld

Impatience

Ich schnitt es gern in alle Rinden ein, Ich grüb es gern in jeden Kieselstein, Ich möcht es sä'n auf jedes frische Beet Mit Kressensamen, der es schnell verrät, Auf jeden weißen Zettel möcht ich's schreiben: Dein ist mein Herz und soll es ewig bleiben.

I would carve it fondly in the bark of trees, I would chisel it eagerly into each pebble, I would like to sow it upon each fresh flower-bed With water-cress seeds, which would quickly disclose it; Upon each white piece of paper would I write: Yours is my heart and so shall it remain forever.

Ich möcht mir ziehen einen jungen Star, Bis daß er spräch die Worte rein und klar, Bis er sie spräch mit meines Mundes Klang, Mit meines Herzens vollem, heißem Drang; Dann säng er hell durch ihre Fensterscheiben: Dein ist mein Herz und soll es ewig bleiben.

I would like to raise a young starling, Until he speaks to me in words pure and clear, Until he speaks to me with my mouth's sound, With my heart's full, warm urge; Then he would sing brightly through her windowpanes: Yours is my heart and so shall it remain forever!

Den Morgenwinden möcht ich's hauchen ein, Ich möcht es säuseln durch den regen Hain; Oh, leuchtet' es aus jedem Blumenstern!

Trüg es der Duft zu ihr von nah und fern!

Ihr Wogen, könnt ihr nichts als Räder treiben?

Dein ist mein Herz und soll es ewig bleiben.

I would like to breath it into the morning breezes, I would like to whisper it through the active grove; Oh, if only it would shine from each flower-star!

Would it only carry the scent to her from near and far!

You waves, could you drive nothing but wheels?

Yours is my heart, and so shall it remain forever.

Ich meint, es müßt in meinen Augen stehn, Auf meinen Wangen müßt man's brennen sehn, Zu lesen wär's auf meinem stummen Mund, Ein jeder Atemzug gäb's laut ihr kund, Und sie merkt nichts von all dem bangen Treiben: Dein ist mein Herz und soll es ewig bleiben.

I thought, it must be visible in my eyes, On my cheeks it must be seen that it burns; It must be readable on my mute lips, Every breath would make it loudly known to her, And yet she notices nothing of all my yearning feelings.

Yours is my heart, and so shall it remain forever.

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Morgengruß

Morning Greetings

Guten Morgen, schöne Müllerin!

Wo steckst du gleich das Köpfchen hin, Als wär dir was geschehen?

Verdrießt dich denn mein Gruß so schwer?

Verstört dich denn mein Blick so sehr?

So muß ich wieder gehen.

Good morning, beautiful millermaid!

Why do you so promptly turn your little head, As if something has happened to you?

Do you dislike my greetings so profoundly?

Does my glance disturb you so much?

Then I must go on again.

O laß mich nur von ferne stehn, Nach deinem lieben Fenster sehn, Von ferne, ganz von ferne!

Du blondes Köpfchen, komm hervor!

Hervor aus eurem runden Tor, Ihr blauen Morgensterne!

O let me only stand from afar, Watching your dear window, From afar, from quite far away!

Your blonde little head, come out!

Come out from your round gate, You blue morning stars!

Ihr schlummertrunknen Äugelein, Ihr taubetrübten Blümelein, Was scheuet ihr die Sonne?

Hat es die Nacht so gut gemeint, Daß ihr euch schließt und bückt und weint Nach ihrer stillen Wonne?

You slumber-drunk little eyes, You flowers, troubled with dew, Why do you shy from the sun?

Has night been so good to you That you close and bow and weep for her quiet joy?

Nun schüttelt ab der Träume Flor Und hebt euch frisch und frei empor In Gottes hellen Morgen!

Die Lerche wirbelt in der Luft, Und aus dem tiefen Herzen ruft Die Liebe Leid und Sorgen.

Now shake off the gauze of dreams And rise, fresh and free in God's bright morning!

The lark warbles in the sky; And from the heart's depths, Love calls away suffering and worries.

Des Müllers Blumen

The miller's flowers

Am Bach viel kleine Blumen stehn, Aus hellen blauen Augen sehn; Der Bach, der ist des Müllers Freund, Und hellblau Liebchens Auge scheint, Drum sind es meine Blumen.

By the brook, many small flowers stand; Out of bright blue eyes they look; The brook - it is the miller's friend, And light blue shine my darling's eyes; therefore, these are my flowers.

Dicht unter ihrem Fensterlein, Da will ich pflanzen die Blumen ein, Da ruft ihr zu, wenn alles schweigt, Wenn sich ihr Haupt zum Schlummer neigt, Ihr wißt ja, was ich meine.

Right under her little window, There will I plant these flowers, There will you call to her when everything is quiet, When her head leans to slumber, You know what I intend you to say!

Und wenn sie tät die Äuglein zu Und schläft in süßer, süßer Ruh, Dann lispelt als ein Traumgesicht Ihr zu: Vergiß, vergiß mein nicht!

Das ist es, was ich meine.

And when she closes her little eyes, And sleeps in sweet sweet rest, Then whisper, like a dreamy vision: Forget, forget me not!

That is what I mean.

Und schließt sie früh die Laden auf, Dann schaut mit Liebesblick hinauf: Der Tau in euren Äugelein, Das sollen meine Tränen sein, Die will ich auf euch weinen.

And early in the morning, when she opens the shutters up, then look up with a loving gaze: The dew in your little eyes shall be my tears, which I will shed upon you.

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13

Tränenregen

Rain of Tears

Wir saßen so traulich beisammen Im kühlen Erlendach, Wir schauten so traulich zusammen Hinab in den rieselnden Bach.

We sat so comfortably together Under the cool roof of alders, We gazed so quietly together Down into the murmuring brook.

Der Mond war auch gekommen, Die Sternlein hinterdrein, Und schauten so traulich zusammen In den silbernen Spiegel hinein.

The moon was already out, The stars after her, And we gazed so quietly together In the silver mirror there.

Ich sah nach keinem Monde, Nach keinem Sternenschein, Ich schaute nach ihrem Bilde, Nach ihren Augen allein.

I sought to see no moon, Nor the star's shine; I looked only at her image, At her eyes alone.

Und sahe sie nicken und blicken Herauf aus dem seligen Bach, Die Blümlein am Ufer, die blauen, Sie nickten und blickten ihr nach.

And I saw her reflection nod and gaze Up from the blissful brook, The flowerlets on the bank, the blue ones, They nodded and gazed right back.

Und in den Bach versunken Der ganze Himmel schien Und wollte mich mit hinunter In seine Tiefe ziehn.

And into the brook seemed sunken The entire heavens; And seemed to want to pull me under Into its depths as well.

Und über den Wolken und Sternen, Da rieselte munter der Bach Und rief mit Singen und Klingen: Geselle, Geselle, mir nach!

And over the clouds and stars, There murmured the brook And called with singing and ringing: Fellow, follow me!

Da gingen die Augen mir über, Da ward es im Spiegel so kraus; Sie sprach: Es kommt ein Regen, Ade, ich geh nach Haus.

Then my eyes filled with tears, And made the mirror ripple: She spoke: “The rain comes, Farewell, I am going home.”

Mein!

Mine!

Bächlein, laß dein Rauschen sein!

Räder, stellt euer Brausen ein!

All ihr muntern Waldvögelein, Groß und klein, Endet eure Melodein!

Durch den Hain Aus und ein Schalle heut ein Reim allein: Die geliebte Müllerin ist mein!

Mein!

Frühling, sind das alle deine Blümelein?

Sonne, hast du keinen hellern Schein?

Ach, so muß ich ganz allein Mit dem seligen Worte mein Unverstanden in der weiten Schöpfung sein!

Little brook, let your gushing be!

Wheels, cease your roaring!

All you merry woodbirds, Large and small, End your melodies!

Through the grove, Out and in, Let only one song be heard today: The beloved millermaid is mine!

Mine!

Spring, are those all your flowers?

Sun, have you no brighter shine?

Ah, so I must be all alone With my blissful word, understood by no one in all of Creation!

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Thompson Arts Center at Park Avenue Armory | 643 Park Avenue at 67th Street

Pause

Pause

Meine Laute hab ich gehängt an die Wand, Hab sie umschlungen mit einem grünen Band Ich kann nicht mehr singen, mein Herz ist zu voll, Weiß nicht, wie ich's in Reime zwingen soll.

I've hung my lute upon the wall, I've tied it there with a green band; I can sing no more, my heart is too full.

I know not how to force it into rhymes.

Meiner Sehnsucht allerheißesten Schmerz Durft ich aushauchen in Liederscherz, Und wie ich klagte so süß und fein, Glaubt’ ich doch, mein Leiden wär' nicht klein.

Ei, wie groß ist wohl meines Glückes Last, Daß kein Klang auf Erden es in sich faßt?

The hot pain of my yearning I once could exhale in jesting songs; And when I complained, so sweet and fine, It seemed to me my sorrows weren't small.

Ah, but how great is my joy's weight, That no sound on earth can hold it?

Nun, liebe Laute, ruh an dem Nagel hier!

Und weht ein Lüftchen über die Saiten dir, Und streift eine Biene mit ihren Flügeln dich, Da wird mir so bange, und es durchschauert mich.

Now, dear lute, rest on this nail here!

And if a breeze flutters over your strings, And if a bee grazes you with its wings, It makes me anxious and I shudder through and through.

Warum ließ ich das Band auch hängen so lang?

Oft fliegt's um die Saiten mit seufzendem Klang.

Ist es der Nachklang meiner Liebespein?

Soll es das Vorspiel neuer Lieder sein?

Oh, why have I left that ribbon hanging there so long?

Often it stirs the strings with a sighing sound.

Is it the echo of my lovelorn pining?

Shall it be the prologue to new songs?

Mit dem grünen Lautenbande

With the Green Lute-ribbon

»Schad um das schöne grüne Band, Daß es verbleicht hier an der Wand, Ich hab das Grün so gern!« So sprachst du, Liebchen, heut zu mir; Gleich knüpf ich's ab und send es dir: Nun hab das Grüne gern!

“It's a pity for that pretty green ribbon, That it fades here on the wall; I like Green so very much!”

So you said, sweetheart, today to me; I shall untie it and send it to you: Now be fond of Green!

Ist auch dein ganzer Liebster weiß, Soll Grün doch haben seinen Preis, Und ich auch hab es gern.

Weil unsre Lieb ist immergrün, Weil grün der Hoffnung Fernen blühn, Drum haben wir es gern.

Even though your lover is white with flour, Green shall still have its praise; And I also like green.

Because our love is evergreen, Because Hope's far reaches bloom green, We are both fond of green.

Nun schlinge in die Locken dein Das grüne Band gefällig ein, Du hast ja's Grün so gern.

Dann weiß ich, wo die Hoffnung wohnt, Dann weiß ich, wo die Liebe thront, Dann hab ich's Grün erst gern.

Now pleasantly entwine in your locks This green ribbon; You are so fond of green.

Then I will know where Hope dwells, Then I will know where Love is enthroned, Then I will be really fond of green.

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15

Der Jäger

The Hunter

Was sucht denn der Jäger am Mühlbach hier?

Bleib, trotziger Jäger, in deinem Revier!

Hier gibt es kein Wild zu jagen für dich, Hier wohnt nur ein Rehlein, ein zahmes, für mich, Und willst du das zärtliche Rehlein sehn, So laß deine Büchsen im Walde stehn, Und laß deine klaffenden Hunde zu Haus, Und laß auf dem Horne den Saus und Braus, Und schere vom Kinne das struppige Haar, Sonst scheut sich im Garten das Rehlein fürwahr.

What does the hunter seek at the mill-brook here?

Remain, presumptuous hunter, in your own hunting-grounds!

There is no game for you to hunt here; Here dwells only a little doe, a tame one, for me.

And if you wish to see the tender doe, Then leave your guns in the woods, And leave your barking dogs at home, And stop the horn from blowing and hooting, And clip from your chin your shaggy hair; Otherwise the doe will hide itself away in the garden.

Doch besser, du bliebest im Walde dazu Und ließest die Mühlen und Müller in Ruh. Was taugen die Fischlein im grünen Gezweig?

Was will den das Eichhorn im bläulichen Teich?

Drum bleibe, du trotziger Jäger, im Hain, Und laß mich mit meinen drei Rädern allein; Und willst meinem Schätzchen dich machen beliebt, So wisse, mein Freund, was ihr Herzchen betrübt: Die Eber, die kommen zur Nacht aus dem Hain Und brechen in ihren Kohlgarten ein Und treten und wühlen herum in dem Feld: Die Eber, die schieß, du Jägerheld!

Or better yet, remain in the forest And leave the mills and the miller in peace!

What use are fishes in green branches?

What would the squirrel want in a blue pond?

Therefore stay, presumptuous hunter, in the meadow, And leave me with my three wheels alone!

And if you would like to make yourself liked by my sweetheart, Then know, friend, what troubles her heart: The boars, they come at night from the grove And break into her cabbage-garden And tread and wallow around in the field.

The boars - shoot them, you hunter-hero.

Eifersucht und Stolz

Jealousy and Pride

Wohin so schnell, so kraus und wild, mein lieber Bach?

Eilst du voll Zorn dem frechen Bruder Jäger nach?

Kehr um, kehr um, und schilt erst deine Müllerin Für ihren leichten, losen, kleinen Flattersinn.

To where are you going so quickly, so ruffled and wild, my dear brook?

Do you hurry full of anger for the arrogant hunter?

Turn around and scold first your millermaid, For her light, loose, little flirtatious mind.

Sahst du sie gestern abend nicht am Tore stehn, Mit langem Halse nach der großen Straße sehn?

Wenn vom den Fang der Jäger lustig zieht nach Haus, Da steckt kein sittsam Kind den Kopf zum Fenster 'naus.

Didn't you see her standing at the gate last night, Craning her neck toward the large street?

When the hunter returns gaily home from the catch, No decent girl sticks her head out the window.

Geh, Bächlein, hin und sag ihr das; doch sag ihr nicht, Hörst du, kein Wort von meinem traurigen Gesicht.

Sag ihr: Er schnitzt bei mir sich eine Pfeif' aus Rohr Und bläst den Kindern schöne Tänz' und Lieder vor.

Go, brooklet, and tell her that; but tell her not, do you hear? - tell her no word of my sad face.

Tell her: he is carving a pipe of cane And plays pretty dances and songs for the children.

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Thompson Arts Center at Park Avenue Armory | 643 Park Avenue at 67th Street

Die liebe Farbe

The favorite color

In Grün will ich mich kleiden, In grüne Tränenweiden: Mein Schatz hat's Grün so gern.

Will suchen einen Zypressenhain, Eine Heide von grünen Rosmarein: Mein Schatz hat's Grün so gern.

In green will I dress, In green weeping willows; My sweetheart is so fond of green.

I'll look for a thicket of cypresses, A hedge of green rosemary; My sweetheart is so fond of green.

Wohlauf zum fröhlichen Jagen!

Wohlauf durch Heid' und Hagen!

Mein Schatz hat's Jagen so gern.

Das Wild, das ich jage, das ist der Tod; Die Heide, die heiß ich die Liebesnot: Mein Schatz hat's Jagen so gern.

Away to the joyous hunt!

Away through heath and hedge!

My sweetheart is so fond of hunting.

The beast that I hunt is Death; The heath is what I call the grief of love.

My sweetheart is so fond of green.

Grabt mir ein Grab im Wasen, Deckt mich mit grünem Rasen: Mein Schatz hat's Grün so gern.

Kein Kreuzlein schwarz, kein Blümlein bunt, Grün, alles grün so rings und rund!

Mein Schatz hat's Grün so gern.

Dig me a grave in the turf, Cover me with green grass: My sweetheart is so fond of green.

No black cross, no colorful flowers, Green, everything green all around!

My sweetheart is so fond of green.

Die böse Farbe

The Hateful Color

Ich möchte ziehn in die Welt hinaus, Hinaus in die weite Welt; Wenn's nur so grün, so grün nicht wär, Da draußen in Wald und Feld!

I'd like to go out into the world, Out into the wide world; If only it weren't so green, so green, Out there in the forest and field!

Ich möchte die grünen Blätter all Pflücken von jedem Zweig, Ich möchte die grünen Gräser all Weinen ganz totenbleich.

I would like to pluck all the green leaves From every branch, I would like to weep on all the grass Until it is deathly pale.

Ach Grün, du böse Farbe du, Was siehst mich immer an So stolz, so keck, so schadenfroh, Mich armen weißen Mann?

Ah, Green, you hateful color, you, Why do you always look at me, So proud, so bold, so gloating, At me, poor, flour-covered man that I am?

Ich möchte liegen vor ihrer Tür Im Sturm und Regen und Schnee.

Und singen ganz leise bei Tag und Nacht Das eine Wörtchen: Ade!

I would like to lie in front of her door, In storm and rain and snow.

And sing so sofly by day and by night One little word: farewell!

Horch, wenn im Wald ein Jagdhorn schallt, Da klingt ihr Fensterlein!

Und schaut sie auch nach mir nicht aus, Darf ich doch schauen hinein.

Hark, when in the forest a hunter's horn sounds Her window clicks!

And even if she doesn’t look out for me, I can certainly look in.

O binde von der Stirn dir ab Das grüne, grüne Band; Ade, ade! Und reiche mir Zum Abschied deine Hand!

O do unwind from your brow That green, green ribbon; Farewell, farewell! And give me Your hand in parting!

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17

Trockne Blumen

Dry flowers

Ihr Blümlein alle, Die sie mir gab, Euch soll man legen Mit mir ins Grab.

Wie seht ihr alle Mich an so weh, Als ob ihr wüßtet, Wie mir gescheh?

Ihr Blümlein alle, Wie welk, wie blaß?

Ihr Blümlein alle, Wovon so naß?

All you little flowers, That she gave me, You shall lie With me in my grave.

Why do you all look At me so sadly, As if you had known What would happen to me?

You little flowers all, How wilted, how pale!

You little flowers all, Why so moist?

Ach, Tränen machen Nicht maiengrün, Machen tote Liebe Nicht wieder blühn.

Und Lenz wird kommen, Und Winter wird gehn, Und Blümlein werden Im Grase stehn.

Und Blümlein liegen In meinem Grab, Die Blümlein alle, Die sie mir gab.

Ah, tears will not make the green of May, Will not make dead love bloom again.

And Spring will come, And Winter will go, And flowers will grow in the grass.

And flowers will lie in my grave, all the flowers That she gave me.

Und wenn sie wandelt Am Hügel vorbei Und denkt im Herzen: Der meint' es treu!

Dann, Blümlein alle, Heraus, heraus!

Der Mai ist kommen, Der Winter ist aus.

And when she wanders Past the hill And thinks in her heart: His feelings were true!

Then, all you little flowers, Come out, come out, May has come, Winter is over.

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Thompson Arts Center at Park Avenue Armory | 643 Park Avenue at 67th Street

Der Müller und der Bach

The Miller and the Brook

Der Müller: Wo ein treues Herze In Liebe vergeht, Da welken die Lilien Auf jedem Beet;

The Miller: Where a true heart Wastes away in love, There wilt the lilies In every bed;

Da muß in die Wolken Der Vollmond gehn, Damit seine Tränen Die Menschen nicht sehn;

Then into the clouds must The full moon go, So that her tears Men do not see;

Da halten die Englein Die Augen sich zu Und schluchzen und singen Die Seele zur Ruh'.

Then angels shut their eyes And sob and sing to rest the soul.

Der Bach: Und wenn sich die Liebe Dem Schmerz entringt, Ein Sternlein, ein neues, Am Himmel erblinkt;

The Brook: And when Love conquers pain, a little star, a new one, shines in Heaven;

Da springen drei Rosen, Halb rot und halb weiß, Die welken nicht wieder, Aus Dornenreis.

three roses, half red and half white, which never wilt, spring up on thorny stalks.

Und die Engelein schneiden Die Flügel sich ab Und gehn alle Morgen Zur Erde herab.

And the angels cut their wings right off and go every morning down to Earth.

Der Müller: Ach Bächlein, liebes Bächlein, Du meinst es so gut: Ach Bächlein, aber weißt du, Wie Liebe tut?

Ach unten, da unten Die kühle Ruh! Ach Bächlein, liebes Bächlein, So singe nur zu.

The Miller: Ah, brooklet, dear brook, You mean so well, Ah, brooklet, but do you know, What love does?

Ah, under, yes under, is cool rest!

Ah, brooklet, dear brook, please just sing on.

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19

Des Baches Wiegenlied

The Brook's Lullaby

Gute Ruh, gute Ruh! Tu die Augen zu!

Wandrer, du müder, du bist zu Haus.

Die Treu' ist hier, Sollst liegen bei mir, Bis das Meer will trinken die Bächlein aus.

Good rest, good rest, Close your eyes!

Wanderer, tired one, you are home.

Fidelity is here, You shall lie by me, Until the sea drinks the brooklets dry.

Will betten dich kühl Auf weichem Pfühl In dem blauen kristallenen Kämmerlein.

Heran, heran, Was wiegen kann, Woget und wieget den Knaben mir ein!

I will bed you cool On a soft pillow, In the blue crystal room, Come, come, Whatever can lull, rock and lap my boy to sleep!

Wenn ein Jagdhorn schallt Aus dem grünen Wald, Will ich sausen und brausen wohl um dich her.

Blickt nicht herein, Blaue Blümelein!

Ihr macht meinem Schläfer die Träume so schwer.

When a hunting-horn sounds From the green forest, I will roar and rush around you.

Don't look in, Blue flowerets!

You make my sleeper's dreams so troubled!

Hinweg, hinweg Von dem Mühlensteg, Hinweg, hinweg, Böses Mägdelein!

Daß ihn dein Schatten nicht weckt!

Wirf mir herein Dein Tüchlein fein, Daß ich die Augen ihm halte bedeckt!

Away, away From the mill-path, Away, away, nasty girl!

That your shadow might not wake him.

Throw in to me Your fine handkerchief, That I may cover his eyes with it!

Gute Nacht, gute Nacht!

Bis alles wacht, Schlaf aus deine Freude, schlaf aus dein Leid!

Der Vollmond steigt, Der Nebel weicht, Und der Himmel da oben, wie ist er so weit!

Good night, good night, Until all awake, Sleep out your joy, sleep out your pain!

The full moon climbs, The mist fades away, and the heavens above, how wide they are!

Translation by Emily Ezust; from lieder.net, reprinted by kind permission.

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Thompson Arts Center at Park Avenue Armory | 643 Park Avenue at 67th Street

TEXTS AND TRANSLATIONS tuesday, january 8 SCHUBERT SCHWANENGESANG Liebesbotschaft

Love’s Message

Rauschendes Bächlein, So silbern und hell, Eilst zur Geliebten So munter und schnell?

Ach, trautes Bächlein, Mein Bote sei du; Bringe die Grüße Des Fernen ihr zu.

Murmuring brooklet, So silvery bright, Hurry to my beloved So fast and light, Oh friendly brooklet, Be my messenger fair, Bring my distant greetings to her.

All' ihre Blumen, Im Garten gepflegt, Die sie so lieblich Am Busen trägt, Und ihre Rosen In purpurner Glut, Bächlein, erquicke Mit kühlender Flut.

All the flowers She tends in her garden, Which she sweetly Bears on her bosom, And her roses In a purple glow, Brooklet, refresh them With cooling flow.

Wenn sie am Ufer, In Träume versenkt, Meiner gedenkend, Das Köpfchen hängt; Tröste die Süße Mit freundlichem Blick, Denn der Geliebte Kehrt bald zurück.

When on the bank, Immersed in dreams, Remembering me, She hangs her head, Comfort my sweetheart With a friendly glance, For her beloved Will soon come back.

Neigt sich die Sonne Mit röthlichem Schein, Wiege das Liebchen In Schlummer ein.

Rausche sie murmelnd In süße Ruh, Flüstre ihr Träume Der Liebe zu.

When the sun sets With reddening glow, Rock my loved one To slumber, Murmur for her Sweet sleep, And whisper dreams Of Love to her.

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21

Kriegers Ahnung

Warrior’s Foreboding

In tiefer Ruh liegt um mich her Der Waffenbrüder Kreis; Mir ist das Herz so bang und schwer, Von Sehnsucht mir so heiß.

In deep sleep my brothers-in-arms Lie around me in a circle.

My heart is anxious and heavy, So hot from longing.

Wie hab ich oft so süß geträumt An ihrem Busen warm!

Wie freundlich schien des Herdes Glut, Lag sie in meinem Arm!

How often have I sweetly dreamt On her warm bosom!

How friendly shone the glowing hearth When she lay in my arm!

Hier, wo der Flammen düst'rer Schein, Ach, nur auf Waffen spielt, Hier fühlt die Brust sich ganz allein, Der Wehmut Träne quillt.

Here, where the gloomy glow of flames Plays only on weapons, Here the breast feels all alone, And melancholy tears well up.

Herz! daß der Trost dich nicht verläßt!

Es ruft noch manche Schlacht.

Bald ruh ich wohl und schlafe fest, Herzliebste - gute Nacht!

Heart, don't let your comfort desert you!

There are many battles still to come.

Soon I shall rest well and sleep deeply, Love of my heart, goodnight!

Frühlingssehnsucht

Longing in the Spring

Säuselnde Lüfte wehend so mild, Blumiger Düfte atmend erfüllt!

Wie haucht ihr mich wonnig begrüßend an!

Wie habt ihr dem pochenden Herzen getan?

Es möchte euch folgen auf luftiger Bahn!

Wohin?

Rustling winds blow so gently, Their breath overflowing with flowers' perfume!

How lovely is the greeting you breathe to me!

What have you done to my pounding heart?

It wants to follow your airy path!

To where?

Bächlein, so munter rauschend zumal, Wollen hinunter silbern ins Tal. Die schwebende Welle, dort eilt sie dahin!

Tief spiegeln sich Fluren und Himmel darin.

Was ziehst du mich, sehnend verlangender Sinn, Hinab?

Little streams, rushing so fast, Want to drop, shimmering, into the valley.

The smooth waves, they hurry along!

Meadows and sky are mirrored deeply within.

Why do you draw me, longing, desirous spirit, Downward?

Grüßender Sonne spielendes Gold, Hoffende Wonne bringest du hold!

Wie labt mich dein selig begrüßendes Bild!

Es lächelt am tiefblauen Himmel so mild Und hat mir das Auge mit Tränen gefüllt!

Warum?

Playful gold of the beckoning sun, You tenderly bring hopeful joy!

How the sight of your blessed greeting refreshes me!

It laughs lightly within the deep blue sky And fills my eyes with tears, Why?

Grünend umkränzet Wälder und Höh'!

Schimmernd erglänzet Blütenschnee!

So dränget sich alles zum bräutlichen Licht; Es schwellen die Keime, die Knospe bricht; Sie haben gefunden, was ihnen gebricht: Und du?

The forests and hills are crowned with green!

The glint of snowy white blossoms shimmers!

Everything rushes toward the bridal light; Sprouts swell, buds open; They have found what they desire: And you?

Rastloses Sehnen! Wünschendes Herz, Immer nur Tränen, Klage und Schmerz?

Auch ich bin mir schwellender Triebe bewußt!

Wer stillet mir endlich die drängende Lust?

Nur du befreist den Lenz in der Brust, Nur du!

Restless desire, longing heart, Is it always to be only tears, complaint and pain?

I, too, know the swelling desire!

Who can finally still this burning longing?

Only you can set free the springtime in my breast, Only you!

22

Thompson Arts Center at Park Avenue Armory | 643 Park Avenue at 67th Street

Ständchen

Serenade

Leise flehen meine Lieder Durch die Nacht zu dir; In den stillen Hain hernieder, Liebchen, komm zu mir!

My songs beckon softly through the night to you; below in the quiet grove, Come to me, beloved!

Flüsternd schlanke Wipfel rauschen In des Mondes Licht; Des Verräters feindlich Lauschen Fürchte, Holde, nicht.

The rustle of slender leaf tips whispers in the moonlight; Do not fear, my love, the traitor’s evil spying.

Hörst die Nachtigallen schlagen?

Ach! sie flehen dich, Mit der Töne süßen Klagen Flehen sie für mich.

Do you hear the nightingales’ call?

Ah, they are begging you, With the sweet sound of their singing they are begging for me.

Sie verstehn des Busens Sehnen, Kennen Liebesschmerz, Rühren mit den Silbertönen Jedes weiche Herz.

They understand the heart's longing, know the pain of love, They calm each tender heart with their silver tones.

Laß auch dir die Brust bewegen, Liebchen, höre mich!

Bebend harr' ich dir entgegen!

Komm, beglücke mich!

Let them also stir within your breast, beloved, hear me!

Trembling I wait for you, Come, make me happy!

Aufenthalt

Dwelling

Rauschender Strom, Brausender Wald, Starrender Fels Mein Aufenthalt.

Rushing torrent, Howling forest, Awesome crag, My dwelling.

Wie sich die Welle An Welle reiht, Fließen die Tränen Mir ewig erneut.

Just as each wave follows upon the last, My tears flow, Eternally renewed.

Hoch in den Kronen Wogend sich's regt, So unaufhörlich Mein Herze schlägt.

High in the surging treetops' sway My heart beats incessantly;

Und wie des Felsen Uraltes Erz, Ewig derselbe Bleibet mein Schmerz.

And, like the ore within the ancient rock, My pain remains unchanged forever.

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23

In der Ferne

In the Distance

Wehe dem Fliehenden, Welt hinaus ziehenden! Fremde durchmessenden, Heimat vergessenden, Mutterhaus hassenden, Freunde verlassenden Folget kein Segen, ach!

Auf ihren Wegen nach!

Woe to the fugitive who leaves for the world!

Those who traverse foreign lands, Forgetting homeland, Hating their mother’s house, Abandoning friends, Have no blessing following their paths!

Herze, das sehnende, Auge, das tränende, Sehnsucht, nie endende, Heimwärts sich wendende!

Busen, der wallende, Klage, verhallende, Abendstern, blinkender, Hoffnungslos sinkender!

The longing heart, The weeping eye, And a never ending yearning Turning towards home!

A heaving bosom, A moan reverberating, The flickering evening star, Sinking hopelessly!

Lüfte, ihr säuselnden, Wellen sanft kräuselnden, Sonnenstrahl, eilender, Nirgend verweilender: Die mir mit Schmerze, ach!

Dies treue Herze brach Grüßt von dem Fliehenden, Welt hinaus ziehenden!

You, sighing breezes, softly rippling waves, rushing sunbeam, never tarrying: Send to her who, alas, has Painfully broken this true heart of mine Greetings from the fugitive Torn away from home!

24

Thompson Arts Center at Park Avenue Armory | 643 Park Avenue at 67th Street

Abschied

Farewell

Ade! du muntre, du fröhliche Stadt, ade!

Schon scharret mein Rößlein mit lustigem Fuß; Jetzt nimm noch den letzten, den scheidenden Gruß.

Du hast mich wohl niemals noch traurig gesehn, So kann es auch jetzt nicht beim Abschied geschehn.

Farewell! You brave, you cheerful city, farewell!

Already my horse trots keen of hoof; Now make the last, the parting greeting.

You have never seen me sad; Let it not happen now, on parting.

Ade, ihr Bäume, ihr Gärten so grün, ade!

Nun reit ich am silbernen Strome entlang.

Weit schallend ertönet mein Abschiedsgesang; Nie habt ihr ein trauriges Lied gehört, So wird euch auch keines beim Scheiden beschert!

Farewell! Your trees, your gardens so green, farewell!

Now I ride along the silvery stream My farewell song echoes far and wide.

Never have you heard a sad song, So I won't give you one on parting.

Ade, ihr freundlichen Mägdlein dort, ade!

Was schaut ihr aus blumenumduftetem Haus Mit schelmischen, lockenden Blicken heraus?

Wie sonst, so grüß ich und schaue mich um, Doch nimmer wend ich mein Rößlein um.

Farewell! You friendly young maids, farewell!

Why are you looking out of your flower-perfumed house, with impish, beckoning glances?

As always, I greet them and look around, But never will I turn my horse round.

Ade, liebe Sonne, so gehst du zur Ruh, ade!

Nun schimmert der blinkenden Sterne Gold.

Wie bin ich euch Sternlein am Himmel so hold; Durchziehn wir die Welt auch weit und breit, Ihr gebt überall uns das treue Geleit.

Farewell! Dear sun, as you go to rest, farewell!

Now the glittering Star shimmers golden.

How dear you are to me, stars in the heavens, As we travel far and wide through this world, You are always a faithful guide to us.

Ade! du schimmerndes Fensterlein hell, ade!

Du glänzest so traulich mit dämmerndem Schein Und ladest so freundlich ins Hüttchen uns ein.

Vorüber, ach, ritt ich so manches Mal, Und wär es denn heute zum letzten Mal?

Farewell! You shimmering window bright, farewell!

You glint so comfortingly in the evening light As you invite us into the hut like a friend.

So many times have I ridden past, Will today be the last time?

Ade, ihr Sterne, verhüllet euch grau! Ade! Des Fensterleins trübes, verschimmerndes Licht Ersetzt ihr unzähligen Sterne mir nicht, Darf ich hier nicht weilen, muß hier vorbei, Was hilft es, folgt ihr mir noch so treu!

Farewell! Stars, envelop yourselves in grey, farewell!

You countless stars, you can never replace, for me, The dimming light of that little window.

Since I cannot stay here and must leave, What good does it do, however faithfully you follow me!

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25

Auf dem Strom

On the river

Nimm die letzten Abschiedsküsse, Und die wehenden, die Grüße, Die ich noch ans Ufer sende Eh' Dein Fuß sich scheidend wende!

Schon wird von des Stromes Wogen Rasch der Nachen fortgezogen, Doch den thränen dunklen Blick Zieht die Sehnsucht stets zurück!

Take the last parting kiss, and the wavy greeting that I'm still sending ashore before you turn your feet and leave!

Already the waves of the stream are pulling briskly at my boat, yet my tear-dimmed gaze keeps being tugged back by longing!

Und so trägt mich denn die Welle Fort mit unerflehter Schnelle.

Ach, schon ist die Flur verschwunden Wo ich selig Sie gefunden!

Ewig hin, ihr Wonnetage!

Hoffnungsleer verhallt die Klage Um das schöne Heimathland, Wo ich ihre Liebe fand.

And so the waves bear me forward with unsympathetic speed.

Ah, the fields have already disappeared where I once discovered her!

Blissful days, you are eternally past!

Hopelessly my lament echoes around my fair homeland, where I found her love.

Sieh, wie flieht der Strand vorüber, Und wie drängt es mich hinüber, Zieht mit unnennbaren Banden, An der Hütte dort zu landen, In der Laube dort zu weilen; Doch des Stromes Wellen eilen Weiter, ohne Rast und Ruh, Führen mich dem Weltmeer zu!

See how the shore dashes past; yet how drawn I am to cross: I'm pulled by unnameable bonds to land there by that little hut and to linger there beneath the foliage; but the waves of the river hurry me onward without rest, leading me out to the sea!

Ach, vor jener dunklen Wüste, Fern von jeder heitern Küste, Wo kein Eiland zu erschauen, O, wie faßt mich zitternd Grauen!

Wehmuthsthränen sanft zu bringen, Kann kein Lied vom Ufer dringen; Nur der Sturm weht kalt daher Durch das grau gehob'ne Meer!

Ah, before that dark wasteland far from every smiling coast, where no island can be seen oh how I'm gripped with trembling horror!

Gently bringing tears of grief, songs from the shore can no longer reach me; only a storm, blowing coldly from there, can cross the grey, heaving sea!

Kann des Auges sehnend Schweifen Keine Ufer mehr ergreifen, Nun so schau ich zu den Sternen Auf in jenen heil'gen Fernen!

Ach bei ihrem milden Scheine Nannt' ich sie zuerst die Meine; Dort vielleicht, o tröstend Glück!

Dort begegn' ich ihrem Blick.

If my longing eyes, surveying the shore, can no longer glimpse it, then I will gaze upward to the stars into that sacred distance!

Ah, beneath their placid light I once called her mine; there perhaps, o comforting future! there perhaps I shall meet her gaze.

26

Thompson Arts Center at Park Avenue Armory | 643 Park Avenue at 67th Street

Der Atlas

Atlas

Ich unglücksel'ger Atlas! Eine Welt, Die ganze Welt der Schmerzen muß ich tragen, Ich trage Unerträgliches, und brechen Will mir das Herz im Leibe.

I, most wretched Atlas!

I must carry the world, an entire world of pain, I bear the unbearable, And the heart within me is about to break.

Du stolzes Herz, du hast es ja gewollt!

Du wolltest glücklich sein, unendlich glücklich, Oder unendlich elend, stolzes Herz, Und jetzo bist du elend.

Proud heart, you have wanted it thus!

You wanted to be happy, endlessly happy, Or endlessly miserable, you proud heart, And now you are miserable.

Ihr Bild

Her Image

Ich stand in dunkeln Träumen und starrt’ ihr Bildnis an, und das geliebte Antlitz Heimlich zu leben begann.

I stood in dreams of darkness, And gazed at the likeness of her; And that beloved vision Gently began to stir;

Um ihre Lippen zog sich Ein Lächeln wunderbar, Und wie von Wehmutstränen Erglänzte ihr Augenpaar.

Over her lips came creeping A wonderful magic smile, And as in sorrow breaking Her eyes wept all the while.

Auch meine Tränen flossen Mir von den Wangen herab Und ach, ich kann's nicht glauben, Daß ich dich verloren hab!

And my tears too were flowing, So that I could not see; And oh! I cannot believe it, That you are lost to me!

Das Fischermädchen

The Fisher Maiden

Du schönes Fischermädchen, Treibe den Kahn ans Land; Komm zu mir und setze dich nieder, Wir kosen Hand in Hand.

You beautiful fishermaiden, Pull your boat toward shore; Come to me and sit down, We will cuddle, hand in hand.

Leg an mein Herz dein Köpfchen Und fürchte dich nicht zu sehr; Vertraust du dich doch sorglos Täglich dem wilden Meer.

Lay your little head on my heart, And do not be too frightened; Indeed, you trust yourself fearlessly Daily to the wild sea!

Mein Herz gleicht ganz dem Meere, Hat Sturm und Ebb' und Flut, Und manche schöne Perle In seiner Tiefe ruht.

My heart is just like the sea, Having storms and ebb and flow, And many beautiful pearls Rest in its depths.

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27

Die Stadt

The City

Am fernen Horizonte Erscheint, wie ein Nebelbild, Die Stadt mit ihren Türmen, In Abenddämmrung gehüllt.

Appearing on the far horizon Like a picture in the fog, A city, with its towers Shrouded in the evening dusk.

Ein feuchter Windzug kräuselt Die graue Wasserbahn; Mit traurigem Takte rudert Der Schiffer in meinem Kahn.

A damp gust of wind eddies The course of the grey water; With a mournful rhythm The boatman rows in my boat.

Die Sonne hebt sich noch einmal Leuchtend vom Boden empor Und zeigt mir jene Stelle, Wo ich das Liebste verlor.

The sun lifts itself once more, Glowing upwards from below the horizon, And shows me that place Where I lost what was dearest to me.

Am Meer

By the Sea

Das Meer erglänzte weit hinaus Im letzten Abendscheine; Wir saßen am einsamen Fischerhaus, Wir saßen stumm und alleine.

The sea sparkled in the distance By the light of evening's last glow; We sat near the solitary fisherman's house, We sat in silence and alone.

Der Nebel stieg, das Wasser schwoll, Die Möwe flog hin und wieder; Aus deinen Augen liebevoll Fielen die Tränen nieder.

The fog gathered, the water swelled, A seagull flew back and forth; From your eyes full of love Tears fell down.

Ich sah sie fallen auf deine Hand Und bin aufs Knie gesunken; Ich hab von deiner weißen Hand Die Tränen fortgetrunken.

I saw them fall on your hand And sank to one knee; I drank the tears Off your white hand.

Seit jener Stunde verzehrt sich mein Leib, Die Seele stirbt vor Sehnen; Mich hat das unglücksel'ge Weib Vergiftet mit ihren Tränen.

Since that hour my body consumes itself, My soul is dying of longing; The unlucky woman Has poisoned me with her tears.

Der Doppelgänger

The Double

Still ist die Nacht, es ruhen die Gassen, In diesem Hause wohnte mein Schatz; Sie hat schon längst die Stadt verlassen, Doch steht noch das Haus auf demselben Platz.

The night is calm, the streets are quiet, My sweetheart used to live in this house; She left the city long ago, But the house still stands in the same place.

Da steht auch ein Mensch und starrt in die Höhe Und ringt die Hände vor Schmerzensgewalt; Mir graust es, wenn ich sein Antlitz sehe Der Mond zeigt mir meine eigne Gestalt.

A man is standing there, too, staring up into space, Wringing his hands in torment.

It horrifies me, when I see his countenance, The moon shows me my own form.

Du Doppelgänger, du bleicher Geselle!

Was äffst du nach mein Liebesleid, Das mich gequält auf dieser Stelle So manche Nacht, in alter Zeit?

You my fearful double, you pale fellow!

Why do you ape the pain of my love, That has tortured me here in this spot So many a night, in times long ago?

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Thompson Arts Center at Park Avenue Armory | 643 Park Avenue at 67th Street

Die Taubenpost

The Pigeon Post

Ich hab' eine Brieftaub' in meinem Sold, Die ist gar ergeben und treu, Sie nimmt mir nie das Ziel zu kurz Und fliegt auch nie vorbei.

I have a carrier-pigeon in my pay Who is utterly loyal and true.

She never stops short of her goal, Nor ever flies too far.

Ich sende sie viel tausendmal Auf Kundschaft täglich hinaus, Vorbei an manchem lieben Ort, Bis zu der Liebsten Haus.

Many thousand times a day I send her out To bring me news, Past many favorite places To my beloved's house.

Dort schaut sie zum Fenster heimlich hinein, Belauscht ihren Blick und Schritt, Gibt meine Grüße scherzend ab Und nimmt die ihren mit.

There she peeks secretly in the window, Watching her every move; Banteringly she conveys my greetings And brings my beloved's back to me.

Kein Briefchen brauch ich zu schreiben mehr, Die Träne selbst geb ich ihr, Oh, sie verträgt sie sicher nicht, Gar eifrig dient sie mir.

I don't even need to write another note; I even give her my tears, Oh, she will never take them to the wrong place, So eagerly does she serve me.

Bei Tag, bei Nacht, im Wachen, im Traum, Ihr gilt das alles gleich, Wenn sie nur wandern, wandern kann, Dann ist sie überreich!

By day, by night, awake or in a dream, It is all the same to her: Only when she is in flight, Then is she happy!

Sie wird nicht müd, sie wird nicht matt, Der Weg ist stets ihr neu; Sie braucht nicht Lockung, braucht nicht Lohn, Die Taub' ist so mir treu!

She never grows tired, she never feels dull, The way always feels new to her; She needs no enticement, needs no reward, So true to me is this pigeon!

Drum heg ich sie auch so treu an der Brust, Versichert des schönsten Gewinns; Sie heißt - die Sehnsucht! Kennt ihr sie? Die Botin treuen Sinns.

And so I cherish her so truly in my heart, Assured of the fairest prize; Her name is...Longing! Do you know her, That devoted messenger?

Text for Liebesbotschaft, Kriegers Ahnung, Frühlingssehnsucht, Ständchen, Aufenthalt, In der Ferne, Abschied and Auf dem Strom by Ludwig Rellstab; Der Atlas, Das Fischermädchen, Die Stadt, Am Meer, and Der Doppelgänger by Heinrich Heine; Die Taubenpost by Johann Gabriel Seidl; from lieder.net, reprinted by kind permission.

Translation for Liebesbotschaft and Kriegers Ahnung by Richard Morris; Frühlingssehnsucht, Ständchen, Aufenthalt, Der Atlas, Das Fischermädchen, Die Stadt, Am Meer, and Der Doppelgänger by Michael P. Rosewall; In der Ferne by Knut Barde; Abschied by Arthur Bullard; Ihr Bild by Robert A. Simon; Auf dem Strom and Die Taubenpost by Emily Ezust; from lieder.net, reprinted by kind permission.

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TEXTS AND TRANSLATIONS thursday, january 10 SCHUBERT WINTERREISE Gute Nacht

Good Night

Fremd bin ich eingezogen, Fremd zieh' ich wieder aus.

Der Mai war mir gewogen Mit manchem Blumenstrauß.

Das Mädchen sprach von Liebe, Die Mutter gar von Eh', - Nun ist die Welt so trübe, Der Weg gehüllt in Schnee.

As a stranger I arrived, As a stranger again I leave.

May was kind to me With many bunches of flowers.

The girl spoke of love, Her mother even of marriage, Now the world is bleak, The path covered by snow.

Ich kann zu meiner Reisen Nicht wählen mit der Zeit, Muß selbst den Weg mir weisen In dieser Dunkelheit.

Es zieht ein Mondenschatten Als mein Gefährte mit, Und auf den weißen Matten Such' ich des Wildes Tritt.

I cannot choose the time Of my departure; I must find my own way In this darkness.

With a shadow cast by the moonlight As my traveling companion I'll search for animal tracks On the white fields.

Was soll ich länger weilen, Daß man mich trieb hinaus?

Laß irre Hunde heulen Vor ihres Herren Haus!

Die Liebe liebt das Wandern - Gott hat sie so gemacht - Von einem zu dem andern.

Fein Liebchen, gute Nacht !

Why should I linger, waiting Until I am driven out?

Let stray dogs howl Outside their master's house; Love loves to wander God has made her so From one to the other.

Dear love, good night!

Will dich im Traum nicht stören, Wär schad' um deine Ruh'.

Sollst meinen Tritt nicht hören - Sacht, sacht die Türe zu !

Schreib im Vorübergehen Ans Tor dir: Gute Nacht, Damit du mögest sehen, An dich hab' ich gedacht.

I will not disturb you in your dreaming, It would be a pity to disturb your rest; You shall not hear my footsteps Softly, softly shut the door!

On my way out I'll write "Good Night" on the gate, So that you may see That I have thought of you.

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Thompson Arts Center at Park Avenue Armory | 643 Park Avenue at 67th Street

Die Wetterfahne

The weather-vane

Der Wind spielt mit der Wetterfahne Auf meines schönen Liebchens Haus. Da dacht' ich schon in meinem Wahne, Sie pfiff den armen Flüchtling aus.

The wind plays with the weathervane Atop my beautiful beloved's house.

In my delusion I thought It was whistling at the poor fugitive.

Er hätt' es eher bemerken sollen, Des Hauses aufgestecktes Schild, So hätt' er nimmer suchen wollen Im Haus ein treues Frauenbild.

If he had seen it before, The crest above the house, Then he never would have looked for A woman's fidelity in that house.

Der Wind spielt drinnen mit den Herzen Wie auf dem Dach, nur nicht so laut.

Was fragen sie nach meinen Schmerzen?

Ihr Kind ist eine reiche Braut.

The wind plays with hearts within As on the roof, but not so loudly.

What is my suffering to them?

Their child is a rich bride.

Gefror'ne Tränen

Frozen tears

Gefrorne Tropfen fallen Von meinen Wangen ab: Ob es mir denn entgangen, Daß ich geweinet hab' ?

Frozen tear drops fall from my cheeks: Can it be that, without knowing it, I have been weeping?

Ei Tränen, meine Tränen, Und seid ihr gar so lau, Daß ihr erstarrt zu Eise Wie kühler Morgentau?

O tears, my tears, are you so lukewarm, That you turn to ice like cold morning dew?

Und dringt doch aus der Quelle Der Brust so glühend heiß, Als wolltet ihr zerschmelzen Des ganzen Winters Eis !

Yet you spring from a source, my breast, so burning hot, As if you wanted to melt all of the ice of winter!

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31

Erstarrung

Numbness

Ich such' im Schnee vergebens Nach ihrer Tritte Spur, Wo sie an meinem Arme Durchstrich die grüne Flur.

I search in the snow in vain For a trace of her footsteps When she, on my arm, Wandered about the green field.

Ich will den Boden küssen, Durchdringen Eis und Schnee Mit meinen heißen Tränen, Bis ich die Erde seh'.

I want to kiss the ground, Piercing the ice and snow With my hot tears, Until I see the earth below.

Wo find' ich eine Blüte, Wo find' ich grünes Gras?

Die Blumen sind erstorben, Der Rasen sieht so blaß.

Where will I find a blossom?

Where will I find green grass?

The flowers are dead, The turf is so pale.

Soll denn kein Angedenken Ich nehmen mit von hier?

Wenn meine Schmerzen schweigen, Wer sagt mir dann von ihr ?

Is there then no souvenir To carry with me from here?

When my pain is stilled, What will speak to me of her?

Mein Herz ist wie erstorben, Kalt starrt ihr Bild darin; Schmilzt je das Herz mir wieder, Fließt auch ihr Bild dahin !

My heart is as if frozen, Her image is cold within, If my heart should one day thaw, So too would her image melt away!

Der Lindenbaum

The linden tree

Am Brunnen vor dem Tore, Da steht ein Lindenbaum; Ich träumt' in seinem Schatten So manchen süßen Traum.

By the fountain, near the gate, There stands a linden tree; I have dreamt in its shadows So many sweet dreams.

Ich schnitt in seine Rinde So manches liebe Wort; Es zog in Freud' und Leide Zu ihm mich immer fort.

I carved on its bark So many loving words; I was always drawn to it, Whether in joy or in sorrow.

Ich mußt' auch heute wandern Vorbei in tiefer Nacht, Da hab' ich noch im Dunkeln Die Augen zugemacht.

Today, too, I had to pass it In the dead of night.

And even in the darkness I had to close my eyes.

Und seine Zweige rauschten, Als riefen sie mir zu: Komm her zu mir, Geselle, Hier find'st du deine Ruh' !

And its branches rustled As if calling to me: "Come here, to me, friend, Here you will find your peace!"

Die kalten Winde bliesen Mir grad' ins Angesicht; Der Hut flog mir vom Kopfe, Ich wendete mich nicht.

The frigid wind blew Straight in my face, My hat flew from my head, I did not turn back.

Nun bin ich manche Stunde Entfernt von jenem Ort, Und immer hör' ich's rauschen: Du fändest Ruhe dort !

Now I am many hours Away from that spot, And still I hear the rustling: There you would have found peace!

32

Thompson Arts Center at Park Avenue Armory | 643 Park Avenue at 67th Street

Wasserflut

Torrent

Manche Trän' aus meinen Augen Ist gefallen in den Schnee; Seine kalten Flocken saugen Durstig ein das heiße Weh.

Many tears from my eyes Have fallen into the snow; Whose icy flakes thirstily drink My burning grief.

Wenn die Gräser sprossen wollen Weht daher ein lauer Wind, Und das Eis zerspringt in Schollen Und der weiche Schnee zerrinnt.

When the grass begins to sprout, A mild wind will blow there, And the ice will break up And the snow will melt.

Schnee, du weißt von meinem Sehnen, Sag', wohin doch geht dein Lauf?

Folge nach nur meinen Tränen, Nimmt dich bald das Bächlein auf.

Snow, you know my longing, Tell me, to where will you run?

Just follow my tears And then before long the brook will take you in.

Wirst mit ihm die Stadt durchziehen, Muntre Straßen ein und aus; Fühlst du meine Tränen glühen, Da ist meiner Liebsten Haus.

It will take you through the town, In and out of the lively streets.

When you feel my tears glow, That will be my beloved's house.

Auf dem Fluße

On the stream

Der du so lustig rauschtest, Du heller, wilder Fluß, Wie still bist du geworden, Gibst keinen Scheidegruß.

You who rushed along so merrily, You clear, wild stream, How quiet you have become, You offer no parting words.

Mit harter, starrer Rinde Hast du dich überdeckt, Liegst kalt und unbeweglich Im Sande ausgestreckt.

With a hard, solid crust You have clothed yourself.

You lie cold and motionless Stretched out in the sand.

In deine Decke grab' ich Mit einem spitzen Stein Den Namen meiner Liebsten Und Stund' und Tag hinein:

On your surface I carve With a sharp stone The name of my beloved And the hour and the day:

Den Tag des ersten Grußes, Den Tag, an dem ich ging; Um Nam' und Zahlen windet Sich ein zerbroch'ner Ring.

The day of our first meeting, The day I went away: Name and numbers entwined By a broken ring.

Mein Herz, in diesem Bache Erkennst du nun dein Bild?

Ob's unter seiner Rinde Wohl auch so reißend schwillt?

My heart, in this brook Do you recognize your own image?

Is there, under your surface, too, A surging torrent?

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33

Rückblick

Backward glance

Es brennt mir unter beiden Sohlen, Tret' ich auch schon auf Eis und Schnee, Ich möcht' nicht wieder Atem holen, Bis ich nicht mehr die Türme seh'.

A fire burns under the soles of my feet, Though I walk on ice and snow; Yet I'll not pause for a breath Until the towers are out of sight.

Hab' mich an jedem Stein gestoßen, So eilt' ich zu der Stadt hinaus; Die Krähen warfen Bäll' und Schloßen Auf meinen Hut von jedem Haus.

I have stumbled on every stone, So hastily did I leave the town; The crows threw snowballs and hailstones at my hat from every house.

Wie anders hast du mich empfangen, Du Stadt der Unbeständigkeit!

An deinen blanken Fenstern sangen Die Lerch' und Nachtigall im Streit.

How differently did you welcome me, You town of infidelity!

At your bright windows sang The lark and the nightingale in competition.

Die runden Lindenbäume blühten, Die klaren Rinnen rauschten hell, Und ach, zwei Mädchenaugen glühten. - Da war's gescheh'n um dich, Gesell !

The round linden trees were blooming, The clear streams rushed by, And, ah, two maiden eyes were glowing, Then you were done for, my friend.

Kommt mir der Tag in die Gedanken, Möcht' ich noch einmal rückwärts seh'n.

Möcht' ich zurücke wieder wanken, Vor ihrem Hause stille steh'n.

When that day comes into my thoughts I wish to glance back once more, I wish I could stumble back And stand in silence before her house.

Irrlicht

Will-o'-the-wisp

In die tiefsten Felsengründe Lockte mich ein Irrlicht hin; Wie ich einen Ausgang finde, Liegt nicht schwer mir in dem Sinn.

Into the deepest chasms A will-o'-the-wisp enticed me; How I will discover a path Does not concern me much.

Bin gewohnt das Irregehen, 's führt ja jeder Weg zum Ziel; Uns're Freuden, uns're Wehen, Alles eines Irrlichts Spiel !

I am used to going astray; Every path leads to one goal; Our joys, our woes, Are all a will-o'-the-wisp game!

Durch des Bergstroms trockne Rinnen Wind' ich ruhig mich hinab, Jeder Strom wird's Meer gewinnen, Jedes Leiden auch sein Grab.

Down the mountain stream's dry course I will calmly wend my way.

Every stream finds the sea, Every sorrow finds its grave.

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Thompson Arts Center at Park Avenue Armory | 643 Park Avenue at 67th Street

Rast

Rest

Nun merk' ich erst wie müd' ich bin, Da ich zur Ruh' mich lege; Das Wandern hielt mich munter hin Auf unwirtbarem Wege.

Die Füße frugen nicht nach Rast, Es war zu kalt zum Stehen; Der Rücken fühlte keine Last, Der Sturm half fort mich wehen.

Now I first notice how weary I am As I lie down to rest; Wandering had sustained me As I walked a desolate road.

My feet do not ask for rest, It was too cold to stand still; My back felt no burden, The storm helped me blow along.

In eines Köhlers engem Haus Hab' Obdach ich gefunden.

Doch meine Glieder ruh'n nicht aus: So brennen ihre Wunden.

Auch du, mein Herz, in Kampf und Sturm So wild und so verwegen, Fühlst in der Still' erst deinen Wurm Mit heißem Stich sich regen !

In a coal-burner's narrow hut I have found shelter.

Still, my limbs cannot rest, So fiercely my wounds burn.

You too, my heart, in struggles and storm So wild and so bold, Only now in the quiet do you feel the sharp sting of the worm that lives within you!

Frühlingstraum

A dream of springtime

Ich träumte von bunten Blumen, So wie sie wohl blühen im Mai; Ich träumte von grünen Wiesen, Von lustigem Vogelgeschrei.

I dreamt of colorful flowers Such as bloom in May; I dreamt of green meadows, Of merry bird songs.

Und als die Hähne krähten, Da ward mein Auge wach; Da war es kalt und finster, Es schrien die Raben vom Dach.

And when the roosters crowed, My eyes awoke; It was cold and dark, The ravens were shrieking on the roof.

Doch an den Fensterscheiben, Wer malte die Blätter da?

Ihr lacht wohl über den Träumer, Der Blumen im Winter sah?

But there on the window panes, Who painted those leaves?

Do you laugh at the dreamer, Who saw flowers in winter?

Ich träumte von Lieb um Liebe, Von einer schönen Maid, Von Herzen und von Küssen, Von Wonne und Seligkeit.

I dreamt of requited love, Of a beautiful girl, Of hearts and of kisses, Of bliss and happiness.

Und als die Hähne krähten, Da ward mein Herze wach; Nun sitz' ich hier alleine Und denke dem Traume nach.

And when the roosters crowed, My heart awoke.

Now I sit here alone, And think about my dream.

Die Augen schließ' ich wieder, Noch schlägt das herz so warm.

Wann grünt ihr Blätter am Fenster?

Wann halt' ich mein Liebchen im Arm ?

I shut my eyes again, My heart still beats warmly.

When will you leaves on the window turn green?

When will I hold my beloved in my arms?

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Einsamkeit

Loneliness

Wie eine trübe Wolke Durch heit're Lüfte geht, Wenn in der Tanne Wipfel Ein mattes Lüftchen weht:

As a dark cloud Passes through clear skies, When a faint breeze wafts Through the tops of the pine trees:

So zieh ich meine Straße Dahin mit trägem Fuß, Durch helles, frohes Leben Einsam und ohne Gruß.

So I make my way With heavy steps, Through bright, joyful life, Alone and ungreeted.

Ach, daß die Luft so ruhig!

Ach, daß die Welt so licht!

Als noch die Stürme tobten, War ich so elend nicht.

Ah, the air is so calm, Ah, the world is so bright!

When the tempests were raging, I was not so miserable.

Die Post

The Post

Von der Straße her ein Posthorn klingt.

Was hat es, daß es so hoch aufspringt, Mein Herz?

A posthorn sounds from the street.

What is it that makes you leap so, My heart?

Die Post bringt keinen Brief für dich.

Was drängst du denn so wunderlich, Mein Herz?

The post brings no letter for you.

Why do you surge, then, so wonderfully, My heart?

Nun ja, die Post kommt aus der Stadt, Wo ich ein liebes Liebchen hat, Mein Herz!

And now the post comes from the town Where once I had a true beloved, My heart!

Willst wohl einmal hinüberseh'n Und fragen, wie es dort mag geh'n, Mein Herz?

Do you want to look out And ask how things are back there, My heart?

14. Der greise Kopf

14. The grey head

Der Reif hatt' einen weißen Schein Mir übers Haar gestreuet; Da glaubt' ich schon ein Greis zu sein Und hab' mich sehr gefreuet.

The frost sprinkled a white coating All through my hair; It made me think I was already grey-haired, And that made me very happy.

Doch bald ist er hinweggetaut, Hab' wieder schwarze Haare, Daß mir's vor meiner Jugend graut - Wie weit noch bis zur Bahre !

But soon it thawed, Again my hair is black, And so I grieve to have my youth How far still to the funeral bier!

Vom Abendrot zum Morgenlicht Ward mancher Kopf zum Greise.

Wer glaubt's? und meiner ward es nicht Auf dieser ganzen Reise !

From dusk to dawn Many a head has turned grey.

Who would believe it? And mine has not In the whole course of this journey!

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Thompson Arts Center at Park Avenue Armory | 643 Park Avenue at 67th Street

Die Krähe

The crow

Eine Krähe war mit mir Aus der Stadt gezogen, Ist bis heute für und für Um mein Haupt geflogen.

A crow was with me From out of the town, Even up to this moment It circles above my head.

Krähe, wunderliches Tier, Willst mich nicht verlassen?

Meinst wohl, bald als Beute hier Meinen Leib zu fassen ?

Crow, strange creature, Will you not forsake me?

Do you intend, very soon, To take my corpse as food?

Nun, es wird nicht weit mehr geh'n An dem Wanderstabe.

Krähe, laß mich endlich seh'n Treue bis zum Grabe !

Well, it is not much farther That I wander with my staff in hand.

Crow, let me see at last A fidelity that lasts to the grave!

Letzte Hoffnung

Last Hope

Hie und da ist an den Bäumen Manches bunte Blatt zu seh'n, Und ich bleibe vor den Bäumen Oftmals in Gedanken steh'n.

Here and there may a colored leaf Be seen on the trees.

And often I stand before the trees Lost in thought.

Schaue nach dem einen Blatte, Hänge meine Hoffnung dran; Spielt der Wind mit meinem Blatte, Zittr' ich, was ich zittern kann.

I look for a single leaf On which to hang my hope; If the wind plays with my leaf, I tremble all over.

Ach, und fällt das Blatt zu Boden, Fällt mit ihm die Hoffnung ab; Fall' ich selber mit zu Boden, Wein' auf meiner Hoffnung Grab.

Ah! if the leaf falls to ground, My hope falls with it; And I, too, sink to the ground, Weeping at my hope's grave.

Im Dorfe

In the village

Es bellen die Hunde, es rasseln die Ketten; Es schlafen die Menschen in ihren Betten, Träumen sich manches, was sie nicht haben, Tun sich im Guten und Argen erlaben;

The hounds are barking, their chains are rattling; Men are asleep in their beds, They dream of the things they do not have, Find refreshment in good and bad things.

Und morgen früh ist alles zerflossen.

Je nun, sie haben ihr Teil genossen Und hoffen, was sie noch übrig ließen, Doch wieder zu finden auf ihren Kissen.

And tomorrow morning everything is vanished.

Yet still, they have enjoyed their share, And hope that what remains to them, Might still be found on their pillows.

Bellt mich nur fort, ihr wachen Hunde, Laßt mich nicht ruh'n in der Schlummerstunde!

Ich bin zu Ende mit allen Träumen. Was will ich unter den Schläfern säumen ?

Bark me away, you waking dogs!

Let me not find rest in the hours of slumber!

I am finished with all dreaming Why should I linger among sleepers?

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Der stürmische Morgen

The stormy morning

Wie hat der Sturm zerrissen Des Himmels graues Kleid!

Die Wolkenfetzen flattern Umher im matten Streit.

See how the storm has torn apart Heaven's grey cloak!

Shreds of clouds flit about In weary strife.

Und rote Feuerflammen Zieh'n zwischen ihnen hin; Das nenn' ich einen Morgen So recht nach meinem Sinn !

And fiery red flames Burst forth among them: This is what I call a morning Exactly to my liking!

Mein Herz sieht an dem Himmel Gemalt sein eig'nes Bild Es ist nichts als der Winter, Der Winter kalt und wild !

My heart sees its own image Painted in the sky It is nothing but winter, Winter, cold and savage!

Täuschung

Deception

Ein Licht tanzt freundlich vor mir her, Ich folg' ihm nach die Kreuz und Quer; Ich folg' ihm gern und seh's ihm an, Daß es verlockt den Wandersmann.

A friendly light dances before me, I followed it this way and that; I follow it eagerly and watch its course As it lures the wanderer onward.

Ach ! wer wie ich so elend ist, Gibt gern sich hin der bunten List, Die hinter Eis und Nacht und Graus, Ihm weist ein helles, warmes Haus.

Und eine liebe Seele drin. - Nur Täuschung ist für mich Gewinn!

Ah! one that is wretched as I Yields himself gladly to such cunning, That portrays, beyond ice, night, and horror, A bright warm house.

And inside, a loving soul. Ah, my only victory is in delusion!

Der Wegweiser

The signpost

Was vermeid' ich denn die Wege, Wo die ander'n Wand'rer geh'n, Suche mir versteckte Stege, Durch verschneite Felsenhöh'n?

Why do I avoid the routes Which the other travelers take, To search out hidden paths Through snowy cliff tops?

Habe ja doch nichts begangen, Daß ich Menschen sollte scheu'n, - Welch ein törichtes Verlangen Treibt mich in die Wüstenei'n?

I have truly done no wrong That I should shun mankind.

What foolish desire Drives me into the wastelands?

Weiser stehen auf den Straßen, Weisen auf die Städte zu.

Und ich wandre sonder Maßen Ohne Ruh' und suche Ruh'.

Signposts stand along the roads, Signposts leading to the towns; And I wander on and on, Restlessly in search of rest.

Einen Weiser seh' ich stehen Unverrückt vor meinem Blick; Eine Straße muß ich gehen, Die noch keiner ging zurück.

One signpost stands before me, Remains fixed before my gaze.

One road I must take, From which no one has ever returned.

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Thompson Arts Center at Park Avenue Armory | 643 Park Avenue at 67th Street

Das Wirtshaus

The inn

Auf einen Totenacker Hat mich mein Weg gebracht; Allhier will ich einkehren, Hab ich bei mir gedacht.

My path has brought me to a graveyard.

Here would I lodge, I thought to myself.

Ihr grünen Totenkränze Könnt wohl die Zeichen sein, Die müde Wand'rer laden Ins kühle Wirtshaus ein.

You green death-wreaths might well be the signs, That invite the weary traveler into the cool inn.

Sind denn in diesem Hause Die Kammern all' besetzt?

Bin matt zum Niedersinken, Bin tödlich schwer verletzt.

But in this house are all the rooms taken?

I am weak enough to drop, fatally wounded.

O unbarmherz'ge Schenke, Doch weisest du mich ab?

Nun weiter denn, nur weiter, Mein treuer Wanderstab !

O unmerciful innkeeper, do you turn me away?

Then further on, further on, my faithful walking stick.

Mut

Courage

Fliegt der Schnee mir ins Gesicht, Schüttl' ich ihn herunter.

Wenn mein Herz im Busen spricht, Sing' ich hell und munter.

The snow flies in my face, I shake it off.

When my heart cries out in my breast, I sing brightly and cheerfully.

Höre nicht, was es mir sagt, Habe keine Ohren; Fühle nicht, was es mir klagt, Klagen ist für Toren.

I do not hear what it says, I have no ears, I do not feel what it laments, Lamenting is for fools.

Lustig in die Welt hinein Gegen Wind und Wetter!

Will kein Gott auf Erden sein, Sind wir selber Götter !

Merrily stride into the world Against all wind and weather!

If there is no God on earth, We are gods ourselves!

Die Nebensonnen

The phantom suns

Drei Sonnen sah ich am Himmel steh'n, Hab' lang und fest sie angeseh'n; Und sie auch standen da so stier, Als wollten sie nicht weg von mir.

I saw three suns in the sky, I stared at them long and hard; And they, too, stood staring As if unwilling to leave me.

Ach, meine Sonnen seid ihr nicht!

Schaut ander'n doch ins Angesicht ! Ja, neulich hatt' ich auch wohl drei; Nun sind hinab die besten zwei.

Ah, but you are not my suns!

Stare at others in the face, then: Until recently I, too, had three; Now the best two are gone.

Ging nur die dritt' erst hinterdrein!

Im Dunkel wird mir wohler sein.

But let the third one go, too!

In the darkness I will fare better.

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Der Leiermann

The hurdy-gurdy man

Drüben hinterm Dorfe Steht ein Leiermann, Und mit starren Fingern Dreht er was er kann.

There, behind the village, stands a hurdy-gurdy man, And with numb fingers he plays the best he can.

Barfuß auf dem Eise Wankt er hin und her Und sein kleiner Teller Bleibt ihm immer leer.

Barefoot on the ice, he staggers back and forth, And his little plate remains ever empty.

Keiner mag ihn hören, Keiner sieht ihn an, Und die Hunde knurren Um den alten Mann.

No one wants to hear him, no one looks at him, And the hounds snarl at the old man.

Und er läßt es gehen, Alles wie es will, Dreht, und seine Leier Steht ihm nimmer still.

And he lets it all go by, everything as it will, He plays, and his hurdy-gurdy is never still.

Wunderlicher Alter!

Soll ich mit dir geh'n?

Willst zu meinen Liedern Deine Leier dreh'n?

Strange old man, shall I go with you?

Will you play your hurdy-gurdy to my songs?

Translation by Arthur Rishi; from lieder.net, reprinted by kind permission.

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Thompson Arts Center at Park Avenue Armory | 643 Park Avenue at 67th Street

armoryonpark.org | @ParkAveArmory

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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, students to explore, and audiences to consume epic and adventurous presentations that cannot be mounted elsewhere in New York City. Since its first production in September 2007, the Armory has organized and commissioned immersive performances, installations, and cross-disciplinary collaborations by visionary artists, directors, and impresarios in its vast Wade Thompson Drill Hall that defy traditional categorization and push the boundaries of their practice. In its historic period rooms, the Armory presents small-scale performances and programs, including its acclaimed Recital Series in the intimate salon setting of the Board of Officers Room; the Artists Studio series in the newly restored Veterans Room; and Interrogations of Form, a series of conversations featuring artists, scholars, activists, and cultural trailblazers encouraging us to think beyond conventional interpretations of and perspectives on art.

The Armory also offers robust arts education programs at no cost to underserved New York City public school students, engaging them with the institution’s artistic programming and the building’s history and architecture.

Built between 1877 and 1881, Park Avenue Armory has been hailed as containing “the single most important collection of nineteenth century interiors to survive intact in one building” by the New York City Landmarks Preservation Commission. The 55,000-square-foot Wade Thompson Drill Hall, with an 80-foot-high barrel vaulted roof, is one of the largest unobstructed spaces in New York City. The Armory’s magnificent reception rooms were designed by leaders of the American Aesthetic Movement, among them Louis Comfort Tiffany, Stanford White, Candace Wheeler, and Herter Brothers. The building is currently undergoing a $215-million renovation designed by Herzog & de Meuron and Platt Byard Dovell White Architects as Executive Architects.

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Thompson Arts Center at Park Avenue Armory | 643 Park Avenue at 67th Street

PARK AVENUE ARMORY STAFF Rebecca Robertson, Founding President and Executive Producer Pierre Audi, Marina Kellen French Artistic Director Artistic Planning and Programming Michael Lonergan, Producing Director Avery Willis Hoffman, Program Director Jeff Payne, General Manager, Programming Jessica Wasilewski, Senior Producer Jenni Bowman, Producer Jordana De La Cruz, Program Manager Samantha Cortez, Production Coordinator Design and Collections Kirsten Reoch, Director of Design and Construction David Burnhauser, Collection Manager Development Melanie Forman, Chief Development Officer Charmaine Portis, Executive Assistant to the Chief Development Officer Matthew Bird, Deputy Director of Development Allison Kline, Director of Foundation and Government Relations Jennifer Levine, Director of Special Events Rafael Flores, Associate Director of Corporate Relations Isabel Orbon, Associate Director of Major Gifts Rachel Cappy Risso-Gill, Associate Director of Individual Giving Anthony Merced, Database and Website Development Manager Melissa Stone, Manager of Special Events Katie Burke, Individual Giving Coordinator Jen Chu, Database Associate Education Cassidy Jones, Director of Special Projects Monica Weigel McCarthy, Director of Education Aarti Ogirala, Associate Director of Education Chelsea Emelie Kelly, Youth Corps Manager Pip Gengenbach, Education Manager Drew Petersen, Education Special Projects Manager Sharlyn Galarza, Education Assistant Executive Office Lori Nelson, Executive Assistant to the President Nathalie Etienne, Administrative Assistant, President’s Office

Facilities and Operations Lissa Frenkel, Managing Director Wayne Lowery, Director of External Operations Cindy Galle, Operations Manager Darrell Thimoleon, Office Manager William Say, Superintendent Reginald Hunter, Chief Engineer Olga Cruz, Leandro Dasso, Mayra DeLeon, Mario Esquilin, Carlos Goris, Cristina Moreira-Soria, Esdras Lopez Herrera, Wayne Gillyard, Porters Finance Alexander Frenkel, Controller Khemraj Dat, Accountant Marketing and Communications Tom Trayer, Director of Marketing Nick Yarbrough, Digital Marketing Manager Natalie Schwich, Press & Editorial Manager Production Paul King, Director of Production Claire Marberg, Production Manager Nicholas Lazzaro, Technical Director Lars Nelson, Technical Director Brandon Walker, Technical Director Ticketing and Event Management Courtney F. Caldwell, Director of Rentals & Event Operations Stephanie Mesquita, Rentals Associate Erik Olson, Box Office Manager Cheyanne Clarke, Assistant Box Office Manager Production Acknowledgements Sarah Billinghurst Solomon and Matthew Epstein

Artistic Consultants for Vocal Recitals Steinway & Sons

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NEXT IN THE RECITAL SERIES ILKER ARCAYÜREK, tenor SIMON LEPPER, piano february 11 & 14, 2019

“This BBC New Generation Artist sings with such freshness and sincerity that even his melancholy is sweetly compelling.” —The Times (UK) Austrian tenor Ilker Arcayürek has emerged as one of the most exciting and versatile vocal artists in recent years, making impressive debuts on opera and recital stages throughout Europe. Before making his U.S. operatic debut at Santa Fe Opera in summer 2019, hear this sumptuous tenor make his North American recital debut with a program of Schubert lieder that showcases his dynamic artistry and vocal beauty.

METROPOLITAN OPERA’S LINDEMANN YOUNG ARTISTS april 22 & 24, 2019

“This rewarding performance … offered expressive singing from a gifted cast.” —The New York Times The Metropolitan Opera’s Lindemann Young Artist Development Program is a prestigious launching pad for a new generation of celebrated American and international opera singers. Soprano Leah Hawkins and baritone Adrian Timpau join us with pianist Ken Noda to present an evening of song that beautifully showcases these stars on the rise.

BARBARA HANNIGAN, soprano october 15 & 17, 2019

“New Yorkers should be getting more regular and varied doses of such an extraordinary performer in her prime.”

—New York Magazine Following her whirlwind U.S. recital debut at the Armory in 2017, Barbara Hannigan returns with an artfully curated residency showcasing her artistic versatility and still more facets of this extraordinary musician. She opens the engagement with a program that includes the New York premiere of John Zorn’s “Jumalatteret,” and continues with a second program featuring the famed Emerson String Quartet.

LEILA JOSEFOWICZ, violin JOHN NOVACEK, piano november 21-22, 2019

“[A] violinist extraordinaire … the model musical citizen, doing her part to help the art form evolve.”

—The Washington Post From child prodigy to go-to star for major commissions, violin virtuoso and MacArthur “Genius” Leila Josefowicz curates inventive programs of modern music paired with pieces by 20th-century masters that have never sounded so contemporary in performance. She comes to the Board of Officers Room with pianist John Novacek to perform an adventuresome, daring, and sonically breathtaking program.

DUDOK QUARTET AMSTERDAM september 19 & 21, 2019

“The young Dudok Quartet Amsterdam is enthralling from start to finish.” —The Telegraph (UK) The esteemed ensemble makes their New York debut with programs focusing on compositions by Haydn and Ligeti that artfully showcase their versatility and superb musicianship.

They open their residency with an evening of works that employ contrapuntal techniques in a variety of forms, intertwined with ancient short pieces ranging from the 11th century to J.S. Bach. The dramatic qualities in the works of Haydn and Ligeti are amplified in the second program, enlightened by Mendelssohn’s final string quartet, written as a deeply personal requiem for his suddenly deceased younger sister.

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Thompson Arts Center at Park Avenue Armory | 643 Park Avenue at 67th Street

NEXT AT THE ARMORY THE LEHMAN TRILOGY

ARTISTS STUDIO

“Simon Russell Beale, Ben Miles and Adam Godley are extraordinary. Behold them with wonder, humble theatergoer… this is a ticket worth cashing in your giltedged securities for. Remarkable!” —The New York Times

Presented in dialogue with the eclectic design of the Veterans Room and curated by MacArthur “Genius” Jason Moran, the Artists Studio series features a range of contemporary performances across genres by artists who blur the lines of artistic categorization. The 2019 season features an array of experimental performances, each of which is embedded in a practice of combining multiple disciplines and performative media.

march 22–april 20

From the arrival of three brothers from Bavaria to America in search of a new life to the collapse of the firm they established triggering the largest financial crisis in history, the story of the Lehman Brothers traces the trajectory of western capitalism by following the fortunes of a single immigrant family. This vast and poetic play gets a thrilling new life at the Armory following a sold-out run at the National Theatre in London in an engrossing adaptation by Ben Power and directed by Sam Mendes. Making its highly anticipated North American premiere, this electrifying production serves as a parable of the shifting definition of the American dream.

EVERYTHING THAT HAPPENED AND WOULD HAPPEN june 3–9

“German composer and artist Heiner Goebbels is staging history… [that is] deeply experiential, fascinatingly polyphonous, and completely hypnotic.” —The Stage (UK) Having captivated Armory audiences with his hypnotic use of zeppelins, nuns, and a flock of sheep in De Materie in 2016 as well as in-motion sculptural pianos and elements from nature in his haunting production Stifter's Dinge in 2009, visionary director and composer Heiner Goebbels returns for the North American premiere of his latest highly imaginative production blending live music, performance, sound, movement, and moving image. Part-performance, part-construction site, this groundbreaking work is a poetic re-enactment of history, always on the verge of collapse and only to be rebuilt as if nothing had happened.

ROSCOE MITCHELL march 5, 2019

MIYA MASAOKA march 13, 2019

MALIK GAINES AND ALEXANDRO SEGADE may 23, 2019

INTERROGATIONS OF FORM Held in the Armory’s historic period rooms, these insightful gatherings feature artists, scholars, cultural leaders, and social trailblazers in spoken word and performance to offer new points of view and unique perspectives on Armory productions, explore a range of themes and relevant topics, and encourage audiences to think beyond conventional interpretations and perspectives of art. In addition, the Armory also hosts conversations with artists and creative thinkers whose work is showcased in its drill hall presentations.

SYMPOSIUM: CULTURE IN A CHANGING AMERICA february 17, 2019

ARTIST TALK: THE LEHMAN TRILOGY march 28, 2019

DRILL

june 20–july 21 Filmmaker and cultural critic Hito Steyerl reveals her most recent installation in the U.S. to date, utilizing both the Wade Thompson Drill Hall and historic interiors of the building in mounting both pre-existing works as well as new projects commissioned by the Armory in her ongoing illumination of the world’s power structures, inequalities, obscurities, and delights. When viewed collectively, this material allows the viewer to zoom in on and out from some of the most complex and pressing issues of our time.

SUNDAY SALON: PERFORMANCE ART april 14, 2019

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OTHER HAPPENINGS AT THE ARMORY HISTORIC INTERIORS TOURS

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

ARMORY AFTER HOURS

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

MALKIN LECTURE SERIES

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

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ARTISTS-IN-RESIDENCE

Launched in 2010, the Armory’s artist-in-residence program supports artists across genres in the creation and development of new work. Each artist sets up a studio in one of the Armory’s period rooms, providing a unique backdrop that can serve as both inspiration and as a collaborator in their project development. Residencies also include participation in the Armory’s arts education program with artists working closely with the Armory’s Youth Corps interns. This season’s artists-inresidence include playwright and screenwriter Lynn Nottage; Cuban installation and performance artist Tania Bruguera; performance artists Malik Gaines & Alexandro Segade; set designer and director Christine Jones & choreographer Steven Hoggett; playwright Branden Jacobs-Jenkins & performance artist Carmelita Tropicana; and choreographer and Flexn dance pioneer Reggie “Regg Roc” Gray. The Artist-inResidence Program is made possible by the Andrew W. Mellon Foundation.

Previous Armory artists-in-residence have included inventive theater company 600 Highwaymen; theater artists Taylor Mac and Machine Dazzle; writer, director, and production designer Andrew Ondrejcak; vocalist, composer, and cultural worker Imani Uzuri; dancer and choreographer Wally Cardona; visual artist and choreographer Jason Akira Somma; soprano Lauren Flanigan; writer Sasha Frere-Jones; Trusty Sidekick Theater company; vocalist-songwriter Somi; multidisciplinary performer Okwui Okpokwasili; choreographer Faye Driscoll; artist Ralph Lemon; visual artist Alex Dolan; Musician Meredith Monk; sound artist Marina Rosenfeld; string quartet ETHEL; playwright and director Young Jean Lee; and Shen Wei Dance Arts; among others.

Thompson Arts Center at Park Avenue Armory | 643 Park Avenue at 67th Street

JOIN THE ARMORY JOIN OR RENEW YOUR MEMBERSHIP

BENEFACTOR $1,000

Support Park Avenue Armory as a member and enjoy insider access to what The New York Times has called “the most important new cultural institution in New York City.”

For more information about membership, please email members@armoryonpark.org or call (212) 616-3958. We are pleased to recognize the generous support of our members with these special benefits:

FRIEND $100 $70 is tax deductible

»» Invitation to the opening night preview for visual art installations »» Free admission for you and a guest to visual art installations »» Discounts at local restaurants and hotels »» 10% discount on merchandise sales »» Discount on Armory Guided Tours »» Members only pre-sale access for performance tickets and 20% discount on Members Subscription

SUPPORTER $250 $200 is tax deductible

All benefits of the Associate membership plus: »» Recognition in printed programs »» No wait, no line ticket pick up at the patron desk »» Handling fees waived on ticket purchases* »» Invitation for you and a guest to a private Chairman’s Circle event »» Two complimentary tickets to the Malkin Lecture Series, Artists Talks and Public Programs*

chairman’s circle starting at $2,500 Members of this exclusive group are offered unique and intimate opportunities to experience the Armory, including invitations to private tours and VIP receptions with worldclass artists and access to priority seating. avant-garde starting at $350 The Avant-Garde is a forward-thinking group of Park Avenue Armory supporters in their 20s to 30s that offers a deeper, more intimate connection to the unique and creative concepts behind the Armory’s mission. Members receive exclusive benefits throughout the year, including priority ticketing, special receptions, viewings, talks, and VIP events. education committee starting at $5,000 The Armory’s arts education program reaches thousands of public school students each year, immersing them in the creative process of exceptional visual and performing artists and teaching them to explore their own creative instincts.

Education Committee members are invited to special events, meetings, and workshops that allow them to witness the students’ progress and contribute to the growth of the program.

All benefits of the Friend membership plus: »» Fees waived on ticket exchanges* »» Two free tickets to guided tours *** »» Discount on tickets to the Malkin Lecture Series, Artists Talks and Public Programs*

ASSOCIATE $500 $370 is tax deductible

All benefits of the Supporter membership plus: »» Members concierge ticket service »» Free admission for two additional guests (a party of four) to Armory visual art installations »» Two complimentary passes to an art fair**

*Subject to ticket availability **Certain restrictions apply

$780 is tax deductible

For information on ticketing, or to purchase tickets, please call the Box Office at (212) 933-5812

***Reservations required

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PARK AVENUE ARMORY BOARD OF DIRECTORS Marina Abramović Emma Bloomberg Martin Brand Cora Cahan Hélène Comfort Paul Cronson Tina R. Davis Emme Levin Deland Thomas J. DeRosa Sanford B. Ehrenkranz David Fox Andrew Gundlach Marjorie L. Hart Edward G. Klein, Major General NYNG (Ret.) Mary T. Kush Ralph Lemon Heidi McWilliams David S. Moross Joel Press Genie H. Rice

Co-Chairs Adam R. Flatto Elihu Rose, PhD. Vice Chairs Wendy Belzberg Amanda J.T. Riegel President Rebecca Robertson Vice Presidents Ken Kuchin Pablo Legorreta Emanuel Stern Secretary Gwendolyn Adams Norton Treasurer Harrison M. Bains

Janet C. Ross Joan Steinberg Mimi Klein Sternlicht Angela E. Thompson Deborah C. van Eck Peter Zhou Founding Chairman, 2000-2009 Wade F.B. Thompson

PARK AVENUE ARMORY ARTISTIC COUNCIL Co-Chairs Noreen Buckfire Michael Field Caryn Schacht and David Fox Heidi and Tom McWilliams

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Benigno Aguilar and Gerald Erickson Wendy Belzberg and Strauss Zelnick Sonja and Martin J. Brand Elizabeth Coleman Hélène and Stuyvesant Comfort Mary Cronson Emme and Jonathan Deland Leslie and Thomas DeRosa Krystyna Doerfler Lisa and Sanford B. Ehrenkranz Adam R. Flatto Janet Halvorson Anita K. Hersh Wendy Keys Ken Kuchin and Tyler Morgan Mary T. Kush Almudena and Pablo Legorreta Christina and Alan MacDonald

Jennifer Manocherian Janet and David P. Nolan Gwen and Peter Norton Lily O’Boyle Slobodan Randjelović and Jon Stryker Michael D. Rhea Amanda J.T. Riegel and Richard Reigel Susan and Elihu Rose Janet C. Ross Sana H. Sabbagh Sanford L. Smith Brian S. Snyder Joan and Michael Steinberg Emanuel Stern Mimi Klein Sternlicht Deborah C. van Eck Robert Vila and Diana Barrett Mary Wallach

Thompson Arts Center at Park Avenue Armory | 643 Park Avenue at 67th Street

SUPPORTERS Park Avenue Armory expresses its deep appreciation to the individuals and organizations listed here for their generous support for its annual and capital campaigns. $1,000,000 + Charina Endowment Fund Citi Empire State Local Development Corporation Richard and Ronay Menschel New York City Council and Council Member Daniel R. Garodnick New York City Department of Cultural Affairs The Pershing Square Foundation Susan and Elihu Rose The Arthur Ross Foundation and J & AR Foundation Joan and Joel Smilow The Thompson Family Foundation Wade F.B. Thompson* The Zelnick/Belzberg Charitable Trust Anonymous

$500,000 to $999,999 Bloomberg Philanthropies Lisa and Sanford B. Ehrenkranz Marina Kellen French Almudena and Pablo Legorreta The Andrew W. Mellon Foundation Assemblymember Dan Quart and the New York State Assembly Adam R. Rose and Peter R. McQuillan Donna and Marvin Schwartz Emanuel Stern

$250,000 to $499,999 American Express Michael Field Adam R. Flatto Olivia Tournay Flatto Ken Kuchin and Tyler Morgan Leonard and Judy Lauder Fund The Pierre and Tana Matisse Foundation The Rockefeller Foundation Marshall Rose Family Foundation

$100,000 to $249,999 The Achelis and Bodman Foundations R. Mark and Wendy Adams Linda and Earle Altman Booth Ferris Foundation Sonja and Martin J. Brand Hélène and Stuyvesant Comfort Emme and Jonathan Deland Leslie and Tom DeRosa Ford Foundation Mr. and Mrs. Andrew Gundlach Marjorie and Gurnee Hart Anna Maria and Stephen Kellen Foundation, Inc. Kirkland & Ellis LLP Mary T. Kush Mr. and Mrs. Peter L. Malkin and The Malkin Fund, Inc. Mr. and Mrs. Lester S. Morse, Jr. New York State Assembly Stavros Niarchos Foundation Gwen and Peter Norton Donald Pels Charitable Trust Rebecca Robertson and Byron Knief

Daniel and Joanna S. Rose Caryn Schacht and David Fox Hope and Robert F. Smith Harold and Mimi Steinberg Charitable Trust Joan and Michael Steinberg Mr. William C. Tomson Deborah C. van Eck The Andy Warhol Foundation for the Visual Arts

$25,000 to $99,999 Karen Herskovitz Ackman Arthur R. and Alice E. Adams Foundation AECOM Tishman Benigno Aguilar and Gerald Erickson Art Dealers Association of America The Avenue Association Harrison and Leslie Bains Abigail Baratta Emily and Len Blavatnik Emma Bloomberg The Emma and Georgina Bloomberg Foundation Brunello Cucinelli Noreen and Ken Buckfire Janna Bullock Marco Cafuzzi Cartier Betsy and Edward Cohen The Cowles Charitable Trust Caroline and Paul Cronson James and Gina de Givenchy Andrew L. Farkas, Island Capital Group & C-III Capital Partners Katherine Farley and Jerry Speyer Seymour Flug Lorraine Gallard and Richard H. Levy Elizabeth Morse Genius Foundation Barbara and Peter Georgescu Howard Gilman Foundation Horace W. Goldsmith Foundation Kiendl and John Gordon Deborah and Allen Grubman Janet Halvorson Anita K. Hersh Josefin and Paul Hilal Janine and J. Tomilson Hill JS Capital Management LLC Daniel Clay Houghton Hospital For Special Surgery The Emily Davie and Joseph S. Kornfeld Foundation Jo Carole and Ronald S. Lauder Christina and Alan MacDonald Christine & Richard Mack Marc Haas Foundation National Endowment for the Arts New York State Council on the Arts Frank and Elizabeth Newman David P. Nolan Foundation The Reed Foundation Rhodebeck Charitable Trust Genie and Donald Rice Amanda J.T. and Richard E. Riegel Mrs. Arthur Ross The Fan Fox & Leslie R. Samuels Foundation Nicholas and Shelley Schorsch The Shubert Foundation Sydney and Stanley S. Shuman Amy and Jeffrey Silverman Skadden, Arps, Slate, Meagher & Flom LLP

armoryonpark.org | @ParkAveArmory

Sanford L. Smith Howard & Sarah D. Solomon Foundation Jennifer and Jonathan Allan Soros M K Reichert Sternlicht Foundation Jon Stryker and Slobodan Randjelovic´ TEFAF NY Tishman Speyer Properties, LP Robert and Jane Toll Anonymous (3)

$10,000 to $24,999 Jamie Alter and Michael Lynton Helaine and Victor Barnett Ginette Becker Eileen Campbell and Struan Robertson CBRE Mr. and Mrs. Robert Cochran Elizabeth Coleman Con Edison Mary Cronson / Evelyn Sharp Foundation Cultural Services of the French Embassy David Dechman and Michel Mercure Jennie L. and Richard K. DeScherer Krystyna Doerfler William F. Draper Peggy and Millard Drexler Ehrenkranz & Ehrenkranz LLP Andra and John Ehrenkranz Caryl S. Englander Lise and Michael Evans Florence Fearrington Mr. and Mrs. Stephen and Amandine Freidheim The Fribourg Family Clinton Gartin The Georgetown Company Debbi Gibbs Archie Gottesman and Gary DeBode Jeff and Kim Greenberg Jamee and Peter Gregory Agnes Gund Mr. and Mrs. Lawrence Hite Jack Shainman Gallery Rachel and Mike Jacobellis Kaplen Brothers Fund Jennie Kassanoff and Dan Schulman Kekst and Company Incorporated Randy Kemper and Tony Ingrao Suzie and Bruce Kovner Lavazza Donna and Jeffrey Lenobel Leon Levy Foundation George S. Loening Lili Lynton and Michael Ryan The Honorable and Mrs. Earle I Mack Andrea Markezin Press and Joel Press Sylvia and Leonard Marx, Jr. Cynthia Woods Mitchell Fund of the National Trust for Historic Preservation Morgan Stanley Sue Morris Nardello & Co. LLC Patty Newburger and Bradley Wechsler Lily O'Boyle Mario Palumbo and Stefan Gargiulo PBDW Architects Michael Peterson Joan and Joel I. Picket Noel Pittman Anne and Skip Pratt

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Katharine Rayner Thomas J. Reid David Remnick and Esther Fein Kimberly and Scott Resnick Michael D. Rhea Mary Jane Robertson and Jock Clark Chuck and Stacy Rosenzweig Deborah and Chuck Royce Fiona and Eric Rudin May and Samuel Rudin Family Foundation, Inc. Susan Rudin Sana H. Sabbagh Mr. and Mrs. William Sandholm Susan and Charles Sawyers Stacy Schiff and Marc de la Bruyère Dr. and Mrs. Thomas P. Sculco Brian S. Snyder Jonathan Sobel Sotheby's Patricia Brown Specter Dr. and Mrs. Eugene E. Stark, Jr. Michael and Veronica Stubbs The Durst Organization Mr. and Mrs. Dave Thomas Laurie M. Tisch Illumination Fund Merryl and James Tisch Barbara and Donald Tober Mr. and Mrs. Jan F. van Eck Bob Vila and Diana Barrett Andrew E. Vogel and Véronique Mazard Anastasia Vournas and J. William Uhrig Mary Wallach David Wassong and Cynthia Clift Diana Wege Michael Weinstein WME Zubatkin Owner Representation, LLC Anonymous (4)

$5,000 to $9,999 Jody and John Arnhold Milton and Sally Avery Arts Foundation Candace and Rick Beinecke Mr. and Mrs. Robert Belfer Georgette Bennett and Leonard Polonsky Mr. and Mrs. Robert Birnbaum Debra and Leon Black Leslie Bluhm and David Helfand John Bonanno Nicholas Brawer Catherine and Robert Brawer Cynthia and Steven Brill Daniel and Estrellita Brodsky Amy and Kevin Brown Amanda M. Burden Marian and Russell Burke Canard, Inc. Janine Carendi MacMurray Tia Chapman Chilton Foundation Virginia Coleman and Peter Duchin Eugenia Comini Joyce B. Cowin Diana Davenport and John Bernstein Elizabeth de Cuevas Richard and Barbara Debs Mary Ellen G. Dundon Eagle Capital Management, L.L.C. David and Frances Eberhart Foundation Anne and Joel Ehrenkranz Dr. Nancy Eppler-Wolff and Mr. John Wolff EverGreene Architectural Arts The Felicia Fund Mr. and Mrs. Andrew Fenster

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Lori Finkel and Andrew Cogan Fisher Marantz Stone Gail Flatto Ella M. Foshay and Michael B. Rothfeld Fried, Frank, Harris, Shriver & Jacobson LLP Bart Friedman and Wendy A. Stein Teri Friedman and Babak Yaghmaie Gagosian Gallery Maarit and Tom Glocer Beth and Gary Glynn The Francis Goelet Charitable Lead Trusts Sylvia Golden Christine Goppel Sarah Gould and David Steinhardt Elizabeth and David Granville-Smith Jeff Greene, Desiree Greene and Kim Lovejoy Mr. and Mrs. Brian Higgins Ionian Management Sharon Jacob Sonny and Michelle Kalsi Adrienne Katz Richard Katzman Cynthia and Stephen Ketchum Younghee Kim-Wait Mr. and Mrs. Fernand Lamesch Stephen Lash and Wendy Lash William P. Lauder and Lori Tritsch Chad A. Leat Alexia and David Leuschen Gail and Alan Levenstein Daniel Lewis David and Janette Liptak Linda Macklowe Shelly and Tony Malkin James C. Marlas and Marie Nugent-Head Marlas Diane and Adam E. Max Rick and Dee Mayberry Renee and David McKee Joyce F. Menschel Mr. and Mrs. Danny Meyer Elizabeth Miller and James Dinan Sergio and Malu Millerman Claire Milonas Beth and Joshua Nash Mr. and Mrs. Michael Newhouse Gabriela Peréz Rocchiette Betsy and Rob Pitts Cynthia Hazen Polsky and Leon B. Polsky Susan Porter Preserve New York, a grant program of Preservation League of New York Mr. and Mrs. Michael Pruzan Tracey and Robert Pruzan Mr. and Mrs. Michael & Kalliope Rena Richenthal Foundation Ida and William Rosenthal Foundation Reed Rubin and Jane Gregory Rubin Valerie Rubsamen and Cedomir Crnkovic H. Onno and Renée Ruding Saks Fifth Avenue Nancy and Joseph Sambuco Ms. and Mr. Nancy Sanitsky Victoria Schorsch Mr. and Mrs. Stephen Schwarzman James Seger Bob and Eva Shaye Lea Simonds Daisy M. Soros Lisa and Mark Steinberg Doug Steiner Mr. and Mrs. Michael Steinhardt Debbie and Jeffrey Stevenson Tom Strauss Elizabeth Stribling and Guy Robinson The Jay and Kelly Sugarman Foundation Oscar Tang

Ellen and Bill Taubman Michael Tuch Foundation L. F. Turner Mr. and Mrs. Ronald Ulrich Mr. and Mrs. John Usdan Mr. and Mrs. Alexander von Perfall Lulu C. Wang The Shubert Organization, Inc. Isak and Rose Weinman Foundation, Inc. David Reed Weinreb Katherine Wenning and Michael Dennis Lynne Wheat Brian and Jane Williams Cynthia Young and George Eberstadt Mr. and Mrs. Nathaniel Zilkha Anonymous (3)

$2,500 to $4,999 Debra Abell Abigail Kirsch Catering Katie Adams Schaeffer Susan Heller Anderson Cristiana Andrews Cohen and David Cohen Susan Baker and Michael Lynch Peter Balis Vanessa Ana Barboni Laurel Beebe Barrack Frances Beatty Tony Bechara Mr. Lawrence B. Benenson Mr. and Mrs. Jonathan Berger Stephen Berger Claudia and George Bitar Hana and Michael Bitton Allison M. Blinken Donald and Vera Blinken Mr. and Mrs. Mark Bloom Marc Brodherson and Sarah Ryan Carolyn S. Brody Stacey Bronfman Veronica Bulgari and Stephan Haimo Mr. and Mrs. Arthur Carter Avna Cassinelli Sommer Chatwin Emy Cohenca Betsy Cohn Anthony P. Coles Margaret Conklin Connelly & McLaughlin Ellie and Edgar Cullman The Cultivist Joshua Dachs / Fisher Dachs Associates Theatre Planning and Design Virginia Davies and Willard Taylor Jacqueline Didier and Noah Schienfeld Francesca and Michael Donner Jeanne Donovan Fisher Peter Droste and Morgan Beetham Karen Eckhoff Martin and Rebecca Eisenberg Foundation Mr. and Mrs. Leonard Feinstein Jared Feldman / Anchin Private Client Mr. and Mrs. Ziel Feldman First Republic Bank Edmée and Nicholas Firth Laura Fisher Gwen and Austin Fragomen Inger McCabe Elliott Julie Geden Sarah Jane and Trevor Gibbons Great Performances Jeanne Greenberg Rohatyn and Nicholas Rohatyn Mr. and Mrs. George Grunebaum John Hargraves Harkness Foundation for Dance

Thompson Arts Center at Park Avenue Armory | 643 Park Avenue at 67th Street

Daisy Helman Stephanie and Stephen Hessler Mr. and Mrs. Ian Highet Stephen Trevor and Stephanie Hunt Robert Jaffe and Natasha Silver Bell Mr. and Mrs. Morton Janklow Meredith J. Kane and Richard T. Sharp Herbert Kasper Diana King / The Charles & Lucille King Family Foundation Erin and Alex Klatskin Mr. and Mrs. David Koch Phyllis L. Kossoff Kimberly Kravis and Jonathan Schulhof Mr. and Mrs. Glenn Krevlin Mr. and Ms. Douglas Krupp Julia Ledda Sahra T. Lese Phyllis Levin Jane K. Lombard Liz Lubnina and Tom Sternfeldt Billy and Julie Macklowe Judith and Michael Margulies Marian Goodman Gallery Angela Mariani Bonnie Maslin Nina B. Matis Constance and H. Roemer McPhee Beatrix and Gregor Medinger Mr. and Mrs. Prakash Melwani Mr. and Mrs. William Michaelcheck Martha and Garfield Miller Sandra Earl Mintz Allen Model and Dr. Roberta Gausas Mr. and Mrs. Robert Morse Mr. and Mrs. Saleem Muqaddam Mary Kathryn Navab Mr. and Mrs. Daniel Neidich Mr. and Mrs. Jesse Newhouse Kathleen O'Grady Simon Oren David Orentreich, MD / Orentreich Family Foundation Peter and Beverly Orthwein Meredith Palmer Mindy Papp Madison J Papp Liz and Jeff Peek Marnie Pillsbury Richard Reiss Diana and Charles Revson Heidi Rieger Eric Roberts and Robianne Mackin Jonathan F.P. and Diana Rose Aby and Samantha Rosen Robert Rosen and Dr. Dale Atkins Rosen Susan and Jon Rotenstreich Pierre Rougier Anne Beane Rudman Bonnie J. Sacerdote Jane Fearer Safer Dr. and Ms. Nathan Saint-Amand Paul H. Scarbrough, Akustiks, LLC. Sofie Scheerlinck Sabina and Wilfred Schlumberger Caroline Schmidt-Barnett Steve Schroko and Frank Webb Mr. and Mrs. Joe Schueller Sara Lee and Axel Schupf Lise Scott and D. Ronald Daniel Uma Seshamani and Jason van Itallie Jonathan Sheffer Lee Shull and Arthur Pober Stephanie and Fred Shuman Mr. and Mrs. Bill Sick Alan and Sandy Siegel

Gillian Hearst Shaw Laura Skoler Margaret Smith Sara Solomon Mr. and Mrs. David Sonenberg Sonnier & Castle Gayfryd Steinberg and Michael Shnayerson Leila Maw Straus Dorothy Strelsin Foundation / Enid Nemy Mr. and Mrs. Allen Thorpe Mr. and Mrs. Thomas Tuft L.F. Turner Peter Van Ingen and Alexandra Oelsner Patrick van Maris Ambassador and Mrs. William J. vanden Heuvel Wendy vanden Heuvel Dini Von Mueffling Susan and Kevin Walsh Caroline Wamsler and DeWayne Phillips Ian Wardropper Arete Warren Jane Wechsler Mati Weiderpass Jacqueline Weld Drake Gary Wexler Kate R. Whitney and Franklin A. Thomas Francis Hunnewell Williams Mr. and Mrs. W. Weldon Wilson Maria Wirth Valda Witt and Jay Hatfield Lisa Bjornson Wolf Connelly McLaughlin & Woloz Mr. and Mrs. Glen Wood Amy Yenkin and Robert Usdan Neda Young Judy Francis Zankel Donald Zilkha Richard and Franny Heller Zorn Anonymous (6)

$1,000 to $2,499 Marina Abramović Catherine Adler Noreen K. Ahmad and Ahmar Ahmad Dr. and Mrs. Todd Albert Anka Ann Anderssen Mr. and Mrs. John Argenti David and Alatia Bach Rebecca L. Bagdonas, MD Laura Zambelli Barket Hugo Barreca and Wendy Schlemm Norton Belknap Mr. Allen Bell and Mr. David Ziff Dale and Max Berger Mark Berman Elaine S. Bernstein Clara Bingham Katherine Birch Bluestem Prairie Foundation Dr. Suzy and Mr. Lincoln Boehm Mr. and Mrs. Sheldon Bonovitz Mr. and Mrs. Livio Borghese Mr. and Mrs. Michael Bradley Mr. and Mrs. Louis Brause Diane Britz Lotti Mr. and Mrs. Cliff Brokaw Gabriela Bronfman Matthew Bronfman Spencer Brownstone Martin Indyk and Gahl Hodges Burt Mr. and Mrs. Gilbert Butler Cora Cahan and Bernard Gersten Marissa Cascarilla Hilary Cecil-Jordan Anna Chapman and Ronald Perelman

armoryonpark.org | @ParkAveArmory

Racquel Chevremont and Mickalene Thomas Shirin and Kasper Christoffersen Christina Combe Bradley A. Connor Alexander Cooper Mr. and Mrs. Andrew Crisses Austen and Ernesto Cruz Boykin Curry Lynn Dale and Frank Wisneski Mr. and Mrs. Charles Daniels Suzanne Dawson Gena Delbridge Luis y Cora Delgado Diana Diamond and John Alschuler Ms. Elizabeth Diller and Mr. Richard Scofidio Beth Dozoretz Christopher A. Duda Mr. and Mrs. John Dunn Mr. and Mrs. Frederick Elghanayan Jacqueline Elias Yevgeniya Elkus Mr. and Mrs. Douglas Erb Mr. and Mrs. Thomas N. Farmakis Patricia & Alexander Farman-Farmaian Mr. and Mrs. Alessandro Fendi Mr. and Mrs. Jose Figueroa Mr. and Mrs. Brian Fisher Candia Fisher Megan Flanigan Barbara G. Fleischman Paul and Jody Fleming Delia Folk Betsy Frank Scott Fulmer and Susan Kittenplan Fulmer Shawna Cooper Gallancy Bruce and Alice Geismar Samantha and John Gellert Mr. and Mrs. Scott Gerber Olga Geroulanos-Votis and George Votis Alberta Gerschel and Peter Wasserman Mr. and Mrs. David Getz Mark Gimbel Kathleen and David Glaymon Katja Goldman Nina Gorrissen von Maltzahn Marieline Grinda and Ahmad Deek Jan M. Guifarro Frances and Gerard Guillemot Kathleen and Harvey Guion Susan Gutfreund Paul Hanneman Raymond Hannigan Lana and Steve Harber Alison Harmelin Stan Harrison and Margot Steinberg Herrick Feinstein LLP In memory of Maria E. Hidrobo Kaufman William T. Hillman Hodgson Russ LLP Caroline Eve Hoffman Lauran Paten Hughes John Wiley & Sons, Inc. Mr. and Mrs. David Johnson JoJo Christopher and Hilda Jones Jeanne Kanders Jennifer Kang Hon. Bruce M. Kaplan and Janet Yaseen Kaplan Drs. Sylvia and Byram Karasu Margot Kenly and Bill Cumming Cynthia and Stephen Ketchum Jana and Gerold Klauer Major General Edward G. Klein, NYNG (Ret.) Mr. and Mrs. Chris Kojima Leonard Kowalski Kate Krauss

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Geraldine Kunstadter Justin Kush Polly and Frank Lagemann Nanette L. Laitman Gregg Lambert (co-founder), Perpetual Peace Project, CNY Humanities Corridor Barbara Landau Mr. and Mrs. Sheldon Landau Barbara and Richard Lane Judith Langer Mark and Taryn Leavitt Ralph Lemon Mr. and Mrs. David Levinson Ms. and Mrs. Paul Lowerre Donna and Wayne Lowery Henry Luce Foundation John D. and Catherine T. MacArthur Foundation Susanne Mackiw Mark Magowan Jan Marks Match 65 Brasserie Melissa Meeschaert The Meyer Family Laurent Mialhe Nicole Miller and Kim Taipale Adriana and Robert Mnuchin Whitney and Andrew Mogavero Mr. and Mrs. Pierre Mordacq Cindy and David Moross Anne Cook and Charles Moss Mr. and Mrs. Mark Newhouse Annette Niemtzow and Eve Ellis Sassona Norton and Ron Filler Mr. and Mrs. Marvin Numeroff Nancy and Morris W. Offit Mr. and Mrs. David Oliver Robert Ouimette and Lee Hirsch Mr. and Mrs. Stuart Parker Mr. and Mrs. Lee Parks Mr. and Mrs. Brian Pfeifler Mr. and Ms. Robert Pittman Sheila M. and Nicholas Platt Mrs. and Mr. Geri Pollack Michael F. Poppo Laura Poretzky-Garcia Prime Parking Systems Mr. and Mrs. Thomas L. Pulling Martin and Anna Rabinowitz Milbrey Rennie Mr. and Ms. John Rice Roberto Cavalli Judi Roaman and Carla Chammas Mr. and Mrs. Anthony Roberts Alexandra Lind Rose Marjorie P. Rosenthal RoundTable Cultural Seminars Whitney Rouse Mr. and Mrs. Mortimer Sackler Elizabeth Sarnoff and Andrew Cohen Mr. and Mrs. Matthew Satnick Pat Schoenfeld Amy Schulman Francesca Schwartz Joyce Schwartz Marshall Sebring and Pepper Binkley Kimia Setoodeh Nadine Shaoul and Mark Schonberger Claude Shaw and Lara Meiland-Shaw Mr. and Mrs. Michael Shuman Albert Simons III Neil Simpkins and Miyoung Lee Salwa J. Aboud Smith and Robert P. Smith James Spindler Emily L. Spratt Squadron A Foundation Max Stafford-Glenn

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Mark Stamford Lauren Starke and Aric Domozick Mr. and Mrs. Myron Stein Colleen Stenzler Joseph Stern Mr. and Mrs. Michael Stern Allen Stevens Tricia Stevenson Melissa Stewart Studio Institute Mr. and Mrs. Phillip Summers Summit Security Services, Inc. Lee Wyndham Tardivel Jeffrey Alan Teach Vincent Teti Jennifer Tipton Lizzie and Jonathan Tisch Olivia Tyson Mr. and Mrs. Christophe Van de Weghe Dionysios Vlachos Mr. and Mrs. John Vogelstein Teri and Barry Volpert Vranken Pommery America W.B. Mason Co. Inc. / Richard Goldhair Annell Wald and Ivor Cummings Saundra Whitney Walter B. Melvin Architects, LLC Lucy Massey Waring Lauren and Andrew Weisenfeld Shelby White Mr. and Mrs. Arthur Williams Mr. and Mrs. Steven Wisch Lisa Wolfe Gigi Stone Woods Jon and Reva Wurtzburger Yan Yang Mary Young Meghan and Michael Young Mr. and Mrs. Rodney Zemmel Mr. and Mrs. Alexis Zoullas Anonymous (3) List as of November 18, 2018 * Deceased

Thompson Arts Center at Park Avenue Armory | 643 Park Avenue at 67th Street

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.

The room’s restoration is part of an ongoing $215-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.

The renovation of the Board of Officers Room was made possible through the generosity of The Thompson Family Foundation.

Cover photo by James Ewing.