Recital Series: Konstantin Krimmel by Park Avenue Armory

WELCOME

Park Avenue Armory strives to engage audiences with high-quality classical music, becoming a “locus for important chamber music concerts” (The New Yorker). Set in the intimate and lush surroundings of the Board of Officers Room, the Armory provides “a space for chamber music, which marries excellent acoustics and an austerely elegant Gilded Age interior. With its blood-red mahogany paneling and chandeliers that diffuse a soft caramel glow while bronzed chain curtains filter out the daylight, the room creates an atmosphere of luxury and concentration” (The New York Times).

For the 2025 Season, the Recital Series includes highly anticipated recital debuts, thoughtfully curated programs of lieder, art song, and contemporary works by some of today’s most exciting musical interpreters, and thrilling performances that explore signal works and take the art form in bold new directions.

In February, we welcome BBC Next Generation Artist baritone Konstantin Krimmel for his North American recital debut, in a program of works by Schubert, Loewe, and Ralph Vaughan Williams with pianist Ammiel Bushakevitz. Soprano Erin Morley brings her sought-after lyric coloratura to the intimate Board of Officers Room stage in April with an artfully curated program of works from her recent album Rose in Bloom, including repertoire connected to flowers, gardens, and nature from Schumann and Berg to Saint-Saëns and Rimsky-Korsakov and a song cycle by Ricky Ian Gordon.

The series continues in the fall with Samoan tenor Pene Pati following his glowing reviews at his Met Opera debut earlier this year, making his North American recital debut with pianist Ronny Michael Greenberg in September.

One of America’s foremost pianists, Jeremy Denk, gives a marathon performance in October of Bach’s Six Partitas, presumably the most famous and challenging collection of suites in music history, showcasing his virtuosic playing and sensitive musicality.

Two-time Grammy Award-winning mezzo soprano Sasha Cooke gives an updated take on her ongoing exploration of the theme “Love Letters” in November, an artfully curated program with pianist Myra Huang of works by Debussy, both Alma and Gustav Mahler, and the New York premieres of a song cycle by Scott Ordway and an Armory-commissioned work by American composer Jasmine Barnes. Finally, the Attacca Quartet closes out the 2025 Recital Series the North American premiere of “Daisy”—an Armory-commissioned new composition by David Lang alongside a wide-ranging program of classic quartets by Bartók and Felix Mendelssohn, quartet-arranged interpretations of signal works for other instrumentation.

Over the past decade of recitals at the Armory, we are proud to have held more than 130 intimate performances by almost 240 internationally renowned musicians, including 16 important North American, US, and New York debuts of dynamic artists including tenor Allan Clayton, soprano Barbara Hannigan, and pianist Igor Levit. We have also been proud to serve as the locale for 18 premieres by contemporary composers, including works by Michael Hersch, Anna Thorvaldsdóttir, John Zorn, Dai Fujikura, Michael Gordon, Jake Heggie, Chris Cerrone, Viet Cuong, and others.

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 “an invaluable place to hear unconventional singers and programs” (The Wall Street Journal)—the Board of Officers Room. We hope you join in our excitement for witnessing these magical moments in music.

Rebecca Robertson

Adam R. Flatto Founding President and Executive Producer

Pierre Audi

Anita K. Hersh Artistic Director

2025 RECITAL SERIES IN THE RESTORED BOARD OF OFFICERS ROOM

KONSTANTIN KRIMMEL, baritone

AMMIEL BUSHAKEVITZ, piano

saturday, february 22, 2025 at 8:00pm monday, february 24, 2025 at 7:30pm

SEASON SPONSORS

The Recital Series is supported, in part, by the Howard & Sarah D. Solomon Foundation. Citi and Bloomberg Philanthropies are Park Avenue Armory’s 2025 Season Sponsors. Leadership support for the Armory’s artistic programming has been generously provided by the Charina Endowment Fund, Donald A. Pels Charitable Trust, the Pinkerton Foundation, and the Thompson Family Foundation. Major support was also provided by the Emily Davie and Joseph S. Kornfeld Foundation, the Fan Fox and Leslie R. Samuels Foundation, The Harold and Mimi Steinberg Charitable Trust, the Horace W. Goldsmith Foundation, the Howard Gilman Foundation, the Marc Haas Foundation, The Shubert Foundation, and Wescustogo Foundation. Additional support has been provided by the Armory’s Artistic Council. Public support is provided by the New York State Council on the Arts with the support of Governor Kathy Hochul and the New York State Legislature as well as the New York City Department of Cultural Affairs in partnership with the City Council under the leadership of Speaker Adrienne Adams.

PROGRAM

Franz Schubert

Carl Loewe

“Der Wanderer,” op. 4 no.1 D.489

“An den Mond,” D. 193 “Hoffnung,” D.637

“Der Jüngling an der Quelle,” D.300 “Auf der Donau,” D. 553

“Herr Oluf,” op. 2 no. 2

“Der du von dem Himmel bist,” op.9 H.1 Nr.3b

“Erlkönig,” op. 1 no. 3

“Geisterleben,” op.9/4

“Der Totentanz,” op.44/3

Intermission

Ralph Vaughan Williams

Franz Schubert

Songs of Travel

1. The vagabond

2. Let Beauty awake

3. The roadside fire

4. Youth and love

5. In dreams

6. The infinite shining heavens

7. Wither must I wander

8. Bright is the ring of words 9. I have trod the upward and the downward slope

“Der König in Thule,” D.367 “Gruppe aus dem Tartarus,” D583 “Nachtstück,” D.672 “Erlkönig,” D.328

This program runs approximately 90 minutes including a 15-minute intermission.

This concert is being recorded by WQXR for future broadcast on 105.9 FM and streaming on wqxr.org.

ABOUT THE PROGRAM

Carl Loewe is sometimes thought to be only a footnote in the history of the art song, remembered mostly for composing the “other” Erlkönig—the only setting of Johann Wolfgang Goethe’s celebrated ballad that can hold its own next to Schubert’s definitive version. At this recital, we will have the privilege of hearing both Erlkönigs, and realize that in fact, Loewe’s music has a dramatic power and expressivity all its own. Loewe and Schubert were born only a year apart, and wrote their respective settings three years apart. They never met, and lived at opposite ends of the German-speaking area: Schubert in Vienna, and Loewe first in east central Germany and then for many years in Stettin (now Szczecin, Poland) on the Baltic Sea. In many instances, they found uncannily similar musical solutions to the challenges posed by Goethe’s poem. But there is more to Loewe than his Erlkönig (1818). He wrote more than 400 songs, and made a specialty of ballads, a narrative genre that typically requires the singer to impersonate more than one character. Tonight’s program will include Herr Oluf (1821), after a poem by Johann Gottfried Herder, inspired by a Danish folk ballad. The poem was a major influence on Goethe, the “Prince of Poets” as he was called, when he composed his Erlkönig Herr Oluf is another horror story involving an evil elf, but the victim this time is not a child but a grown man. Loewe’s fascination with ghosts and supernatural beings is also attested by Geisterleben (1819) and Der Totentanz (1835). The first, on a poem by the eminent Romantic Ludwig Uhland, is a love message from a dead man arising from the grave; the second, after Goethe, is one of the most bizarre danses macabres ever written. Loewe’s setting of one of two Goethe poems called Wanderer’s Night Song (1828) provides a respite with its peaceful, consoling tone.

If Loewe’s songs invite comparisons with Schubert, so do the Songs of Travel (1901-1904) by Ralph Vaughan Williams, after Scottish poet Robert Louis Stevenson. For is not the “vagabond” we meet here related to the protagonists of Die schöne Müllerin and Winterreise, who also seek their happiness in vain? The different language and the different century make a big difference, however. Vaughan Williams was steeped in English folk music, the influence of which can be strongly felt in these nine songs. The composer chose the texts freely from a volume of Stevenson poems. In an in-depth study of the work, William M. Adams writes: “There is, indeed, a story in the Songs of Travel created not by Stevenson in his poetry, but by Vaughan Williams in his ordering of the songs.” The traveler experiences, in turn, freedom, the beauty of nature, love and separation; he looks back on his life, bids farewell to the past, and thinks about his legacy before “closing the door.” The last song was cast aside during the composer’s lifetime, and was discovered and published only posthumously.

The songs vary greatly in their musical character, from upbeat to dreamy and from mysterious to heroic. The final song is an epilogue, in which quotes from the earlier songs offer a summary of the protagonist’s life.

The recital begins and ends with songs by Franz Schubert, starting with one of his most famous masterpieces, Der Wanderer (1816), that quintessentially Romantic portrait of a man who can never find a place he can call home. Throughout the song, evocations of happy memories are contrasted with the gloomy present. The otherwise obscure versifier Georg Philipp Schmidt von Lübeck found words here that resonated throughout the entire 19th century.

An den Mond (1815), after the 18th-century poet Ludwig Hölty, is both a nature idyll and a lament for lost love. Die Hoffnung (1815), after the great classic Friedrich Schiller, likewise unites light and darkness, showing how hope can prevail over doubt. Der Jüngling an der Quelle (1821), after a minor poet from Switzerland named Johann Gaudenz von Salis-Seewis, contrasts a peaceful image of a spring with the sorrow of the young man who came to seek comfort there.

The Schubert songs in the second half of the evening are more tragic in tone. Der König in Thule (1816) is an excerpt from Goethe’s Faust, where Gretchen sings it to herself as an old ballad. Schubert’s setting of the deeply moving story is extremely simple and at the same time extremely expressive. In Gruppe aus dem Tartarus (1817, after Schiller), the anguish of the damned souls in Hell inspired some of Schubert’s most daring harmonic progressions and an unprecedented declamatory style. In Nachtstück (1819, after Schubert’s friend Johann Mayrhofer), Schubert achieved nothing less than portray the process of dying in his music as the “good old man” calmly sings himself into eternal sleep. The death of the child in Erlkönig (1815), by contrast, has nothing calm about it: we are left with a shocking outcome at the end of a musical journey that has taken us through so many emotional ups and downs.

— Peter Laki

ABOUT THE ARTISTS

KONSTANTIN KRIMMEL

Konstantin Krimmel, of German-Romanian descent, received his first musical training with the St. George’s Boys’ Choir in Ulm. At age 21, he began his vocal studies with Professor Teru Yoshihara, graduating with honors in 2020. He has since been mentored by Tobias Truniger in Munich. During his studies, Krimmel developed a special love for the concert and song repertoire, which he has continuously expanded. Winning numerous competitions has significantly advanced his career. From 2021 to 2023, Krimmel was supported as a BBC New Generation Artist. In 2023, he was named Best Newcomer by Oper! Awards and Best Young Singer by Opernwelt. In 2024, he won the Opus Klassik in the “Singer of the Year” category and the Grammophone Award for his album Die schöne Müllerin (piano: Daniel Heide).

As a result, Konstantin Krimmel is already performing nationally and internationally, with song recitals at the Cologne Philharmonie, Deutsche Oper Berlin, and Konzerthaus Berlin, as well as at the Frankfurt Opera, Heidelberg Spring Festival, Schubertíada de Vilabertran, Schubertiade Schwarzenberg, in Madrid, London (Wigmore Hall), the Concertgebouw, and Oxford Lieder Festival. In the 2024-25 season, he gives nearly 30 song recitals, including in Berlin, Frankfurt, Schwarzenberg/Hohenems, London, Madrid, Stockholm, Munich, and for the first time in the US, in New York.

The young baritone is also in high demand in the concert scene. At the beginning of the season, he sings Fauré’s Requiem in Paris under the baton of Thomas Hengelbrock, and Brahms’ Requiem takes him to Düsseldorf (under the baton of Adam Fischer) as well as Luxembourg, Ludwigsburg, and Stuttgart (under the baton of Hans-Christoph Rademann).

He makes his US debut in Chicago with Mahler’s Songs of a Wayfarer, which he also performs in Karlstad under the baton of Roland Kluttig, and in Bamberg, Amsterdam, and Hamburg under the baton of Jakub Hrůša. He takes the stage as Guglielmo in a concert performance of Così fan tutte in Tokyo.

Since autumn 2021, Konstantin Krimmel has been a member of the ensemble at the Bavarian State Opera. In the 2024-2025 season, he appears there as Papageno in Mozart’s The Magic Flute, as Figaro in Le nozze di Figaro, and as Guglielmo in Così fan tutte. He also makes his role debut as Don Giovanni in Mozart’s opera of the same name.

Krimmel’s most recent album Mythos (2024, Alpha) with pianist Ammiel Bushakevitz featured songs by Schubert and Loewe. Both this album and his recording of Schubert’s Die schöne Müllerin (2023, Alpha) with pianist Daniel Heide were awarded the German Record Critics’ Prize. With Hélène Grimaud, Krimmel has release Silent Songs (Silvestrov, Spring 2023) and For Clara, songs by Johannes Brahms and piano works by Robert Schumann (Autumn 2023), both on Deutsche Grammophon. Earlier albums include his song CD Franz Liszt - Der du vom Himmel bist with Daniel Heide (Autumn 2022, Alpha) and Zauberoper in Wien (arias by Gluck, Wranitzky, Schack, Mozart, Haydn, and von Winter) accompanied by the Hofkapelle München under the baton of Rüdiger Lotter (Alpha).

AMMIEL BUSHAKEVITZ

Born in Jerusalem, Ammiel Bushakevitz began playing the piano at the age of four. As a song accompanist, soloist, and chamber musician, he has performed on six continents, including at Carnegie Hall in New York, Wigmore Hall in London, the Philharmonie de Paris, the Konzerthaus Berlin, the Concertgebouw in Amsterdam, and the Shanghai Concert Hall. His festival appearances include the Salzburg Festival, Lucerne Festival, Bayreuth Festival, Aix-en-Provence Festival, Heidelberg Spring Festival, as well as festivals in Milan, Montreal, Beijing, Brasilia, Melbourne, and the Schubertiades in Schwarzenberg, Hohenems, Vilabertran, and Tel Aviv.

Ammiel Bushakevitz grew up in South Africa and studied in Leipzig and Paris. His teachers included Phillip Moll and Alfred Brendel. Ammiel Bushakevitz has a particular love for the art song and was one of the last private students of Dietrich Fischer-Dieskau. He accompanies leading song recitalists such as Ilker Arcayürek, Christian Gerhaher, Laetitia Grimaldi, Thomas Hampson, Samuel Hasselhorn, Julia Kleiter, Katharina Konradi, Konstantin Krimmel, Dame Felicity Lott, Catriona Morison, Anna Prohaska, Anna Lucia Richter, and Nadine Sierra.

His engagements in the 2024-2025 season include concerts in the US, Canada, Iceland, Brazil, South Africa, Israel, and Japan in venues such as Wigmore Hall in London, Salle Bourgie in Montreal, Concertgebouw in Amsterdam, Palau de la Música in Barcelona, Prinzregententheater in Munich, and the concert halls of Cologne and Vienna. Ammiel Bushakevitz and baritone Konstantin Krimmel released the album Mythos (Songs and Ballads by Schubert & Loewe) in July 2024 on the Alpha label. Together with baritone Samuel Hasselhorn, he will release the second album of the “Schubert 200” project in February 2025 on the Harmonia Mundi label. The first album, Schubert’s Die schöne Müllerin, was awarded the Diapason d’or de l’année in 2024.

In 2013, Ammiel Bushakevitz released his debut solo CD, an album of piano works by Schubert. The recording became the soundtrack for the Austrian film Gwendolyn. Since then, he has released several award-winning recordings on labels such as Harmonia Mundi, Alpha, BIS, Pentatone, Hänssler, and Berlin Classics. In partnership with Hänssler Classics, Ammiel Bushakevitz is currently engaged in a project to record the complete solo piano works of Franz Schubert between 2024 and 2028.

Ammiel Bushakevitz regularly offers masterclasses for young pianists at institutions such as the Jerusalem Academy of Music and Dance, the University of Queensland in Australia, the Beijing Conservatory, the University of Barcelona, and the University of Colorado. He gives benefit concerts and masterclasses for humanitarian organizations in Ethiopia, Brazil, China, Morocco, Mexico, South Africa, and Zimbabwe. Ammiel Bushakevitz lives in Paris and is an alumnus of the German Academic Exchange Service (DAAD), a member of the Société des Arts Sciences et Lettres de Paris, an Edison Fellow of the British Library, London, and the Artistic Director of the international arts organization Les Voix d’Orphée.

TEXTS AND TRANSLATIONS

FRANZ SCHUBERT (1797-1828)

Der Wanderer op.4 no.1, D.489 (1816)

Text by Georg Lübeck (1766-1846)

Ich komme vom Gebirge her, Es dampft das Tal, es braust das Meer. Ich wandle still, bin wenig froh, Und immer fragt der Seufzer: wo?

Die Sonne dünkt mich hier so kalt, Die Blüte welk, das Leben alt, Und was sie reden, leerer Schall, Ich bin ein Fremdling überall.

Wo bist du, mein geliebtes Land? Gesucht, geahnt und nie gekannt! Das Land, das Land, so hoffnungsgrün, Das Land, wo meine Rosen blühn, Wo meine Freunde wandeln gehn, Wo meine Toten auferstehn, Das Land, das meine Sprache spricht, O Land, wo bist du?

Ich wandle still, bin wenig froh, Und immer fragt der Seufzer: wo?

Im Geisterhauch tönt’s mir zurück: „Dort, wo du nicht bist, dort ist das Glück!“

An den Mond, D. 193 (1815)

Text by Ludwig Christoph Heinrich Hölty (1748-1776)

Geuss, lieber Mond, geuss deine Silberflimmer Durch dieses Buchengrün, Wo Phantasien und Traumgestalten Immer vor mir vorüber fliehn.

Enthülle dich, dass ich die Stätte finde, Wo oft mein Mädchen sass, Und oft, im Wehn des Buchbaums und der Linde, Der goldnen Stadt vergass.

Enthülle dich, dass ich des Strauchs mich freue, Der Kühlung ihr gerauscht, Und einen Kranz auf jeden Anger streue, Wo sie den Bach belauscht.

Dann, lieber Mond, dann nimm den Schleier wieder, Und traur um deinen Freun Und weine durch den Wolkenflor hernieder, Wie dein Verlassner weint!

The migrant English Translation by Malcolm Wren

I have come here from the mountains, The valley is steaming, the sea is roaring, I walk around in silence, I am rarely cheerful, And the sigh keeps asking, ‘where’?

It seems to me that the sun is so cold here, The blossom has withered, life is old, And what they are saying in their empty noise is that I am a stranger everywhere.

Where are you, my beloved land, Sought for, yearned for and never known?

The land, the land that is so green in hope, The land where my roses bloom?

Where my friends go wandering around Where my dead come to life again; The land that speaks my language, Oh land, where are you?

I walk around in silence, I am rarely cheerful, And the sigh keeps asking, ‘where’?

I hear the sound coming back to me in a spirit’s breath: ‘There, where you are not, that is where happiness is!’

To the moon

English translation by Malcolm Wren

Pour, dear moon, pour your silver shimmering Through this green of the beech trees, Where fantasies and dream-forms always Fly past me!

Reveal yourself, so that I can find the place Where my girl often sat And often, in the sighing of the beech and lime trees, Forgot the golden town!

Uncover yourself, so that I can take pleasure in the shrub That murmured and cooled her, And sprinkle a garland onto that meadow Where she listened to the brook!

Then, dear moon, then put the veil back on, And mourn for your friend, And weep so that tears fall through the gauze of the clouds, Just as your deserted one weeps!

Hoffnung D.637 (1819)

Text by Friedrich von Schiller (1759-1805)

Es reden und träumen die Menschen viel Von bessern künftigen Tagen, Nach einem glücklichen, goldenen Ziel Sieht man sie rennen und jagen; Die Welt wird alt und wird wieder jung, Doch der Mensch hofft immer Verbesserung.

Die Hoffnung führt ihn ins Leben ein, Sie umflattert den fröhlichen Knaben, Den Jüngling begeistert ihr Zauberschein, Sie wird mit dem Greis nicht begraben; Denn beschließt er im Grabe den müden Lauf, Noch am Grabe pflanzt er die Hoffnung auf.

Es ist kein leerer schmeichelnder Wahn, Erzeugt im Gehirne des Toren, Im Herzen kündet es laut sich an, Zu was Besserm sind wir geboren, Und was die innere Stimme spricht, Das täuscht die hoffende Seele nicht.

Der Jüngling an der Quelle D.300 (1821)

Text by Freiherr von Salis-Seewis (1762-1834)

Leise, rieselnder Quell! Ihr wallenden, flispernden Pappeln! Euer Schlummergeräusch Wecket die Liebe nur auf. Linderung sucht’ ich bei euch, Und sie zu vergessen, die Spröde; Ach, und Blätter und Bach Seufzen, Luise, dir nach!

Auf der Donau D.553 (1817)

Text by Johann Mayrhofer (1787-1836)

Auf der Wellen Spiegel schwimmt der Kahn, Alte Burgen ragen himmelan, Tannenwälder rauschen geistergleich, Und das Herz im Busen wird uns weich.

Denn der Menschen Werke sinken all’, Wo ist Turm, wo Pforte, wo der Wall, Wo sie selbst, die Starken, erzgeschirmt, Die in Krieg und Jagden hingestürmt?

Trauriges Gestrüppe wuchert fort, Während frommer Sage Kraft verdorrt: Und im kleinen Kahne wird uns bang, Wellen drohn wie Zeiten Untergang.

Hope

English translation by Malcolm Wren

Humans talk and dream a great deal About better days in the future; In pursuit of a happy, golden aim That is what you can see them running for and chasing after. The world gets older and becomes young again, But humans always hope for improvement.

Hope leads them into life, It flutters around the jolly lad, It inspires the youth with its magical glow, It is not buried with the grey-headed old man; For although he comes to the end of his tired course in the grave

What he plants on that grave is still – hope.

It is no empty, flattering delusion, Conceived in the brain of a fool. It is declared aloud in the heart: “We are born for something better!” And what the inner voice is saying Does not deceive the soul that hopes.

The lad by the spring English translation by Malcolm Wren

Gentle, trickling spring! You swaying, whispering poplars; Your sleepy sounds only serve to awaken love.

I came to you looking for comfort and to forget her – the one who is hard to get.

Alas, both the leaves and the brook are sighing for you, Luise!

On the Danube English translation by Malcolm Wren

On the mirror of waves swims the boat. Old castles reach up towards the sky; Forests of fir trees rustle like ghosts, And the hearts in our breasts become soft.

For the things produced by humans all sink; Where is the tower, where the gate, where the rampart, Where are they themselves, those strong men? Those who were protected by armour And went to war and went hunting, Going on the attack. Sad undergrowth is growing rampant, Whilst pious legends’ power withers away.

And in this small boat we become anxious –

Both the waves and time threaten us with ruin.

CARL LOEWE (1796-1869)

Herr Oluf, op.2 no.2 (1821)

Text by Johann Gottfried Herder (1744-1803)

Herr Oluf reitet spät und weit, Zu bieten auf seine Hochzeitleut.

Da tanzten die Elfen auf grünem Strand, Erlkönigs Tochter reicht ihm die Hand:

„Willkommen, Herr Oluf, komm tanze mit mir, Zwei göldene Sporen schenke ich dir.“

„Ich darf nicht tanzen, nicht tanzen ich mag, Denn morgen ist mein Hochzeittag.“

„Tritt näher, Herr Oluf, komm tanze mit mir, Ein Hemd von Seiden schenke ich dir, Ein Hemd von Seiden so weiss und fein, Meine Mutter bleicht’s mit Mondenschein.“

„Ich darf nicht tanzen, nicht tanzen ich mag, Denn morgen ist mein Hochzeittag.“

„Tritt näher, Herr Oluf, komm tanze mit mir, Einen Haufen Goldes schenke ich dir.“

„Einen Haufen Goldes nähme ich wohl, Doch tanzen ich nicht darf noch soll.“

„Und willst du, Herr Oluf, nicht tanzen mit mir, Soll Seuch’ und Krankheit folgen dir.“

Sie tät ihm geben einen Schlag aufs Herz, Sein Lebtag fühlt er nicht solchen Schmerz.

Drauf tät sie ihn heben auf sein Pferd:

„Reit hin zu deinem Fräulein wert!“

Und als er kam vor Hauses Tür, Seine Mutter zitternd stand dafür.

„Sag an, mein Sohn, und sag mir gleich, Wovon du bist so blass und bleich?“

„Und sollt ich nicht sein blass und bleich?

Ich kam in Erlenkönigs Reich.“

„Sag an, mein Sohn, so lieb und traut, Was soll ich sagen deiner Braut?“

„Sagt ihr, ich ritt in den Wald zur Stund, Zu proben allda mein Ross und Hund.’

Früh Morgens, als der Tag kaum war, Da kam die Braut mit der Hochzeitschar.

Sie schenkten Met, sie schenkten Wein: „Wo ist Herr Oluf, der Bräutgam mein?“

„Herr Oluf ritt in den Wald zur Stund, Zu proben allda sein Ross und Hund.“

Die Braut hob auf den Scharlach rot, Da lag Herr Oluf und war tot.

Sir Oluf rode far through the night English translation by Richard Stokes

Sir Oluf rode far through the night Inviting his friends to his wedding; Elves were dancing on the green shore Erlking’s daughter holds out her hand.

‘Welcome, Sir Oluf, come, dance with me, Two golden spurs I’ll give to thee.’

‘I must not dance, I will not dance, For tomorrow is my wedding day.’

‘Come closer, Sir Oluf, come dance with me, A silken shirt I’ll give to thee, A silken shirt so white and fine, My mother bleached it with moonshine.’

‘I must not dance, I will not dance, For tomorrow is my wedding day.’

‘Come closer, Sir Oluf, come dance with me, A heap of gold I’ll give to thee.’

‘I’d gladly take a heap of gold, But I may not and must not dance.’

‘And if, Sir Oluf, you’ll not dance with me, Disease and sickness shall follow thee.’

She struck her hand across his heart, Never in his life did he feel such pain.

She lifted him up onto his steed: ‘Ride back to your worthy bride!’

And when at last he reached his home, His mother stood trembling outside the door.

‘Tell me, my son, tell me at once, Why are you so pale and wan?’

‘And should I not be pale and wan?

I set foot in the Erlking’s realm.’

‘Tell me, my son, so beloved and dear, What shall I say to your bride-to-be?’

‘Tell her I rode just now to the wood, There to try my horse and hound.’

At early morn, when day had scarce dawned, His bride arrived with the wedding throng.

They poured the mead, they poured the wine, ‘Where is Oluf, my husband-to-be?’

‘Sir Oluf rode just now to the wood, There to try his horse and hound.’

The bride raised up the scarlet cloth, There lay Sir Oluf, and was dead.

Der du von dem Himmel bist, op.9 H.1 Nr.3b (1828)

Text by Johann Wolfgang von Goethe (1749-1832)

Der du von dem Himmel bist, Alles Leid und Schmerzen stillest, Den, der doppelt elend ist, Doppelt mit Erquickung füllest, Ach ich bin des Treibens müde!

Was soll all der Schmerz und Lust?

Süßer Friede, Komm, ach komm in meine Brust!

Erlkönig op.1 no.3 (1818)

Text by Johann Wolfgang von Goethe (1749-1832)

Wer reitet so spät durch Nacht und Wind?

Es ist der Vater mit seinem Kind: Er hat den Knaben wohl in dem Arm, Er fasst ihn sicher, er hält ihn warm.

„Mein Sohn, was birgst du so bang dein Gesicht?“

„Siehst, Vater, du den Erlkönig nicht?

Den Erlenkönig mit Kron’ und Schweif?“

„Mein Sohn, es ist ein Nebelstreif.“

„Du liebes Kind, komm, geh mit mir!

Gar schöne Spiele spiel’ ich mit dir; Manch’ bunte Blumen sind an dem Strand, Meine Mutter hat manch gülden Gewand.“

„Mein Vater, mein Vater, und hörest du nicht, Was Erlenkönig mir leise verspricht?“

„Sei ruhig, bleibe ruhig, mein Kind: In dürren Blättern säuselt der Wind.“

„Willst, feiner Knabe, du mit mir gehn?

Meine Töchter sollen dich warten schön; Meine Töchter führen den nächtlichen Rein

Und wiegen und tanzen und singen dich ein.“

„Mein Vater, mein Vater, und siehst du nicht dort Erlkönigs Töchter am düstern Ort?“

„Mein Sohn, mein Sohn, ich seh es genau: Es scheinen die alten Weiden so grau.“

„Ich liebe dich, mich reizt deine schöne Gestalt; Und bist du nicht willig, so brauch ich Gewalt.“

„Mein Vater, mein Vater, jetzt fasst er mich an! Erlkönig hat mir ein Leids getan!“

Dem Vater grausets, er reitet geschwind, Er hält in Armen das ächzende Kind, Erreicht den Hof mit Mühe und Not: In seinen Armen das Kind war tot.

You who come from heaven English translation by Richard Stokes

You who come from heaven, Soothing all pain and sorrow, Filling the doubly wretched Doubly with delight, Ah, I am weary of this restlessness! What use is all this pain and joy?

Sweet peace!

Come, ah come into my breast

Erl king

Engish translation by Malcolm Wren

Who is riding so late through night and wind?

It is the father with his child; He has the lad there in his arms, He is holding on to him tight, he is keeping him warm.

“My son, why are you burying your face so anxiously?” –

“Father, can’t you see the Erl King?

The Erl King with his crown and tail?”

“My son, it is a streak of mist.”

“You dear child, come, go off with me!

I shall play such beautiful games with you; There are so many bright flowers on the bank, My mother has plenty of golden costumes [you can put on].”

“My father, my father, can’t you hear now

What the Erl King is quietly promising me?”

“Be calm, stay calm, my child: It is the wind rustling in the dry leaves.”

“Do you want to go with me, you fine lad?

My daughters will look after you well;

My daughters lead the line dancing at night

And they will rock you and dance and sing for you.”

“My father, my father, can’t you see over there,

The Erl King’s daughters in that gloomy spot?”

“My son, my son, I can see it clearly:

It is the brightly shining grey [bark of the] old willow trees.”

“I love you, your beautiful face appeals to me; And if you don’t consent, then I shall have to use force.”

“My father, my father, he is getting hold of me now!

Erl King has hurt me!”

The father becomes horrified, he rides at a gallop, He holds the groaning child in his arms, Having reached the courtyard exerting himself and in dire need: In his arms the child was dead.

Geisterleben, op.9 no.4 (1819)

Text by Johann Ludwig Uhland (1787-1862)

Von dir getrennet, liege ich begraben, Mich grüßt kein Säuseln linder Frühlingslüfte; Kein Lerchensang, kein Balsam süßer Düfte, Kein Stral der Morgensonne kann mich laben.

Wenn sich die Lebenden dem Schlummer übergaben, Wenn Todte steigen aus dem Schooß der Grüfte, Dann schweb’ ich träumend über Höhn und Klüfte, Die mich so fern von dir getrennet haben.

Durch den verbotnen Garten darf ich gehen, Durch Thüren wandl’ ich, die mir sonst verriegelt, Bis zu der Schönheit stillem Heiligthume.

Erschreckt dich Geisterhauch, du zarte Blume? Es ist der Liebe Wehn, das dich umflügelt. Leb wohl! Ich muß in’s Grab, die Hähne krähen.

Der Totentanz, op.44 no.3 (1835)

Text by Johann Wolfgang von Goethe (1749-1832)

Der Türmer, der schaut zu Mitten der Nacht Hinab auf die Gräber in Lage; Der Mond, der hat alles ins Helle gebracht, Der Kirchhof, er liegt wie am Tage.

Da regt sich ein Grab und ein anderes dann: Sie kommen hervor, ein Weib da, ein Mann

In weißen und schleppenden Hemden.

Das reckt nun, es will sich ergötzen sogleich, Die Knöchel zur Runde, zum Kranze, So arm und so jung und so alt und so reich; Doch hindern die Schleppen am Tanze:

Und weil hier die Scham nun nicht weiter gebeut, So schütteln sich alle, da liegen zerstreut

Die Hemdelein über den Hügeln.

Nun hebt sich der Schenkel, nun wackelt das Bein, Gebärden da gibt es vertrackte; dann klippert’s und klappert’s mitunter hinein, als schlüg’ man die Hölzlein zum Takte.

Das kommt nun dem Türmer so lächerlich vor; da raunt ihm der Schalk, der Versucher, ins Ohr: Geh! hole dir einen der Laken!

Getan, wie gedacht! und er flüchtet sich schnell nun hinter geheiligte Türen.

Der Mond und noch immer er scheinet so hell zum Tanz, den sie schauderlich führen.

Doch endlich verlieret sich dieser und der, schleicht eins nach dem andern gekleidet einher, und husch! ist es unter dem Rasen.

Nur Einer, der trippelt und stolpert zuletzt und tappet und grapst nach den Grüften; doch hat kein Geselle so schwer ihn verletzt; er wittert das Tuch in den Lüften.

Er rüttelt die Turmtür, sie schlägt ihn zurück, geziert und gesegnet, dem Türmer zum Glück, sie blinkt von metallenen Kreuzen.

A spirit’s life

English translation by Richard Stokes

Torn from you, I lie in my grave, No gentle spring breezes greet me; No lark song, no balm of sweet scents, No ray of the morning sun can refresh me.

When the living are given over to slumber, When the dead rise from their graves, I float dreaming over mountains and chasms, That have torn me from you so far.

I may now pass through the forbidden garden, Through doors that were bolted against me, To the sacred shrine of beauty.

Does a spirit’s breath appal you, tender flower? It is the breath of love winging round you. Farewell! The cocks are crowing, I must go back to my grave.

The dance of death

English translation by John Thornley

The watchman at midnight looks down Onto the orderly graves below;

The moon has shed its light on everything, The churchyard is as bright as day.

One grave stirs and then another: Out they come, a woman, a man, In long white trailing shrouds.

And now, for instant gratification, They stretch their bones in a round dance, Poor and young, rich and old,

But their cerements hinder their dancing. And as modesty here no longer applies, They all shake their bodies, and the shrouds Lie scattered over the tombs.

Thighs are now swung, legs now teeter, Bizarre gestures abound; There’s intermittent clicking and clacking, As if castanets were beating time.

All this to the watchman seems absurd; The roguish Tempter whispers in his ear: Go and seize one of the shrouds!

No sooner said than done! Swiftly He retreats behind hallowed doors.

The moon still shines down brightly

On their sinister dance.

But at last they all disperse, Slip back into their shrouds

And scurry back beneath the turf.

But one of them stumbles and shuffles there still, And gropes and fumbles at the graves;

But it’s no comrade that’s treated him ill, It’s the shroud that he scents in the air.

He rattles the tower door, it slams in his face, Fortunately for the watchman, it’s bedecked and blessed With holy crosses of shining metal.

Das Hemd muß er haben, da rastet er nicht, da gilt auch kein langes Besinnen, den gotischen Zierrat ergreift nun der Wicht und klettert von Zinne zu Zinnen.

Nun ist’s um den Armen, den Türmer, getan, es ruckt sich von Schnörkel zu Schnörkel hinan, langbeinigen Spinnen vergleichbar.

Der Türmer erbleicht, der Türmer erbebt, Gern gäb’ er ihn wieder, den Laken.

Da häckelt jetzt hat er am längsten gelebt

Den Zipfel ein eiserner Zacken.

Schon trübet der Mond sich verschwindenden Scheins, Die Glocke, sie donnert ein mächtiges Eins, Und unten zerschellt das Gerippe.

He must have the shroud, he will not rest, There’s no time for lengthy reflection, The fellow now seizes the Gothic ornament And clambers from merlon to merlon.

Alas, the poor watchman’s done for now! It soars up from turret to turret, Like a long-legged spider.

The watchman blenches, the watchman quakes, He’d willingly give back the shroud.

Then – his days are now numbered –A corner catches on an iron spike.

In the fading light the moon clouds over, The bell strikes a mighty One, And the skeleton below is dashed to pieces.

RALPH VAUGHAN WILLIAMS

Songs of Travel (1904)

(1872-1958)

Texts by Robert Louis Stevenson (1850-1894)

1.The vagabond

Give to me the life I love,

Let the lave go by me, Give the jolly heaven above, And the byway nigh me.

Bed in the bush with stars to see, Bread I dip in the river—

There’s the life for a man like me, There’s the life for ever.

Let the blow fall soon or late, Let what will be o’er me; Give the face of earth around, And the road before me.

Wealth I seek not, hope nor love, Nor a friend to know me; All I seek, the heaven above, And the road below me.

Or let autumn fall on me

Where afield I linger, Silencing the bird on tree, Biting the blue finger.

White as meal the frosty field— Warm the fireside haven—

Not to autumn will I yield, Not to winter even!

2. Let Beauty awake

Let Beauty awake in the morn from beautiful dreams, Beauty awake from rest!

Let Beauty awake

For Beauty’s sake

In the hour when the birds awake in the brake

And the stars are bright in the west!

Let Beauty awake in the eve from the slumber of day, Awake in the crimson eve!

In the day’s dusk end

When the shades ascend,

Let her wake to the kiss of a tender friend, To render again and receive!

3. The roadside fire

I will make you brooches and toys for your delight Of bird-song at morning and star-shine at night, I will make a palace fit for you and me

Of green days in forests, and blue days at sea.

I will make my kitchen, and you shall keep your room, Where white flows the river and bright blows the broom; And you shall wash your linen and keep your body white In rainfall at morning and dewfall at night.

And this shall be for music when no one else is near, The fine song for singing, the rare song to hear!

That only I remember, that only you admire, Of the broad road that stretches and the roadside fire.

4. Youth and love

To the heart of youth the world is a highwayside. Passing for ever, he fares; and on either hand, Deep in the gardens golden pavilions hide, Nestle in orchard bloom, and far on the level land Call him with lighted lamp in the eventide.

Thick as stars at night when the moon is down, Pleasures assail him. He to his nobler fate Fares; and but waves a hand as he passes on, Cries but a wayside word to her at the garden gate, Sings but a boyish stave and his face is gone.

5. In dreams

In dreams unhappy, I behold you stand As heretofore:

The unremember’d tokens in your hand

Avail no more.

No more the morning glow, no more the grace, Enshrines, endears.

Cold beats the light of time upon your face And shows your tears.

He came and went. Perchance you wept awhile And then forgot.

Ah me! but he that left you with a smile

Forgets you not.

6. The infinite shining heavens

The infinite shining heavens Rose, and I saw in the night

Uncountable angel stars

Showering sorrow and light.

I saw them distant as heaven, Dumb and shining and dead, And the idle stars of the night Were dearer to me than bread.

Night after night in my sorrow

The stars looked over the sea, Till lo! I looked in the dusk And a star had come down to me.

7. Wither must I wander

Home no more home to me, whither must I wander?

Hunger my driver, I go where I must.

Cold blows the winter wind over hill and heather: Thick drives the rain and my roof is in the dust. Loved of wise men was the shade of my roof-tree, The true word of welcome was spoken in the door— Dear days of old with the faces in the firelight, Kind folks of old, you come again no more.

Home was home then, my dear, full of kindly faces, Home was home then, my dear, happy for the child. Fire and the windows bright glittered on the moorland; Song, tuneful song, built a palace in the wild.

Now when day dawns on the brow of the moorland, Lone stands the house, and the chimney-stone is cold. Lone let it stand, now the friends are all departed, The kind hearts, the true hearts, that loved the place of old.

Spring shall come, come again, calling up the moorfowl, Spring shall bring the sun and rain, bring the bees and flowers;

Red shall the heather bloom over hill and valley,

Soft flow the stream through the even-flowing hours.

Fair the day shine as it shone on my childhood— Fair shine the day on the house with open door; Birds come and cry there and twitter in the chimney— But I go for ever and come again no more.

8. Bright is the ring of words

Bright is the ring of words

When the right man rings them, Fair the fall of songs

When the singer sings them, Still they are carolled and said— On wings they are carried—

After the singer is dead

And the maker buried.

Low as the singer lies

In the field of heather, Songs of his fashion bring The swains together.

And when the west is red

With the sunset embers, The lover lingers and sings

And the maid remembers.

9. I have trod the upward and the downward slope I have trod the upward and the downward slope; I have endured and done in days before; I have longed for all, and bid farewell to hope; And I have lived and loved, and closed the door.

FRANZ SCHUBERT (1797-1828)

Der König in Thule D.367 (1816)

Text by Johann Wolfgang von Goethe (1749-1832)

Es war ein König in Thule Gar treu bis an das Grab, Dem sterbend seine Buhle Einen goldnen Becher gab.

Es ging ihm nichts darüber, Er leert’ ihn jeden Schmaus; Die Augen gingen ihm über, So oft er trank daraus.

Und als er kam zu sterben, Zählt’ er seine Städt’ im Reich, Gönnt’ alles seinen Erben, Den Becher nicht zugleich.

Er saß beim Königsmahle, Die Ritter um ihn her, Auf hohem Vätersaale, Dort auf dem Schloß am Meer.

Dort stand der alte Zecher, Trank letzte Lebensglut, Und warf den heil’gen Becher Hinunter in die Flut.

Er sah ihn stürzen, trinken Und sinken tief ins Meer.

Die Augen täten ihm sinken; Trank nie einen Tropfen mehr.

Gruppe aus dem Tartarus D.583 (1817)

Text by Friedrich von Schiller (1759-1805)

Horch – wie Murmeln des empörten Meeres, Wie durch hohler Felsen Becken weint ein Bach, Stöhnt dort dumpfigtief ein schweres – leeres, Qualerpresstes Ach!

Schmerz verzerret

Ihr Gesicht – Verzweiflung sperret

Ihren Rachen fluchend auf.

Hohl sind ihre Augen – ihre Blicke

Spähen bang nach des Cocytus Brücke, Folgen tränend seinem Trauerlauf.

Fragen sich einander ängstlich leise, Ob noch nicht Vollendung sei?

Ewigkeit schwingt über ihnen Kreise, Bricht die Sense des Saturns entzwei.

The king in Thule English translation by Malcolm Wren

There was once a king in Thule, Totally faithful up until he went to his grave, To whom, when she was dying, his mistress Gave a golden beaker.

Nothing surpassed it for him, He emptied it at every banquet; His eyes welled up As often as he drank out of it.

And when he came to die, He counted up all the towns in his empire, He granted everyone their inheritance, But he did not include that beaker.

He sat at the royal feast, With his knights around him, In the high hall of his ancestors, Over there in the castle by the sea.

The old drunkard stood there, Drank the last glow of life, Und hurled the sacred beaker Down into the flooding waters. He watched it plunge, take in water, And then sink deep into the sea. His eyes made him sink too; And he never drank another drop.

Group from Tartarus English translation by Malcolm Wren

Listen! Like the murmuring of the rebellious sea, Like a brook crying its way through a hole in hollow rock, Deep down there in the damp you can hear the groaning of a heavy, empty

Agonised Ahh!

Pain contorts

Their faces. Despair blocks Their cursing throats. Their eyes are hollow, they look Fearfully towards the bridge over Cocytus, Tearfully following its mournful course.

Softly and anxiously they ask each other Whether or not it will come to an end.

Eternity hovers over their circle, Cutting Saturn’s scythe in two.

Nachtstück D.672 (1819)

Text by Johann Baptist Mayerhofer (1787-1836)

Wenn über Berge sich der Nebel breitet

Und Luna mit Gewölken kämpft, So nimmt der Alte seine Harfe, und schreitet Und singt waldeinwärts und gedämpft: „Du heilge Nacht: Bald ist’s vollbracht, Bald schlaf ich ihn, den langen Schlummer, Der mich erlöst von allem Kummer.“

Die grünen Bäume rauschen dann: „Schlaf süss, du guter, alter Mann“; Die Gräser lispeln wankend fort: „Wir decken seinen Ruheort“; Und mancher liebe Vogel ruft: „O lass ihn ruhn in Rasengruft!“ Der Alte horcht, der Alte schweigt, Der Tod hat sich zu ihm geneigt.

Erlkönig D.328 (1815)

Text by Johann Wolfgang von Goethe (1749-1832)

Wer reitet so spät durch Nacht und Wind?

Es ist der Vater mit seinem Kind: Er hat den Knaben wohl in dem Arm, Er fasst ihn sicher, er hält ihn warm.

„Mein Sohn, was birgst du so bang dein Gesicht?“

„Siehst, Vater, du den Erlkönig nicht?

Den Erlenkönig mit Kron’ und Schweif?“

„Mein Sohn, es ist ein Nebelstreif.“

„Du liebes Kind, komm, geh mit mir!

Gar schöne Spiele spiel’ ich mit dir; Manch’ bunte Blumen sind an dem Strand, Meine Mutter hat manch gülden Gewand.“

„Mein Vater, mein Vater, und hörest du nicht, Was Erlenkönig mir leise verspricht?“

„Sei ruhig, bleibe ruhig, mein Kind: In dürren Blättern säuselt der Wind.“

„Willst, feiner Knabe, du mit mir gehn?

Meine Töchter sollen dich warten schön; Meine Töchter führen den nächtlichen Rein Und wiegen und tanzen und singen dich ein.“

„Mein Vater, mein Vater, und siehst du nicht dort Erlkönigs Töchter am düstern Ort?“

„Mein Sohn, mein Sohn, ich seh es genau: Es scheinen die alten Weiden so grau.“

„Ich liebe dich, mich reizt deine schöne Gestalt; Und bist du nicht willig, so brauch ich Gewalt.“

„Mein Vater, mein Vater, jetzt fasst er mich an! Erlkönig hat mir ein Leids getan!“

Dem Vater grausets, er reitet geschwind, Er hält in Armen das ächzende Kind, Erreicht den Hof mit Mühe und Not: In seinen Armen das Kind war tot.

Nocturnal scene

English translation by Malcolm Wren

When the mist spreads across the mountains And Luna goes into battle against the clouds, That is when the old man takes his harp and steps forwards, And turning towards the forest sings in muffled tones: “Oh holy night!

It will soon be fulfilled. I shall soon be sleeping That long sleep

Which will release Me from all care.”

The green trees then rustle, Sleep sweetly, good old man; The blades of grass whisper as they sway, We shall cover his place of rest; And many a dear bird cries out, Oh let him rest in this trench in the turf! –

The old man pays attention, the old man remains silent –Death has bent down towards him.

Erl king

Engish translation by Malcolm Wren

Who is riding so late through night and wind?

It is the father with his child; He has the lad there in his arms,

He is holding on to him tight, he is keeping him warm.

“My son, why are you burying your face so anxiously?” –

“Father, can’t you see the Erl King?

The Erl King with his crown and tail?”

“My son, it is a streak of mist.”

“You dear child, come, go off with me!

I shall play such beautiful games with you; There are so many bright flowers on the bank, My mother has plenty of golden costumes [you can put on].”

“My father, my father, can’t you hear now

What the Erl King is quietly promising me?”

“Be calm, stay calm, my child:

It is the wind rustling in the dry leaves.”

“Do you want to go with me, you fine lad?

My daughters will look after you well;

My daughters lead the line dancing at night

And they will rock you and dance and sing for you.”

“My father, my father, can’t you see over there,

The Erl King’s daughters in that gloomy spot?”

“My son, my son, I can see it clearly:

It is the brightly shining grey [bark of the] old willow trees.”

“I love you, your beautiful face appeals to me;

And if you don’t consent, then I shall have to use force.”

“My father, my father, he is getting hold of me now!

Erl King has hurt me!”

The father becomes horrified, he rides at a gallop, He holds the groaning child in his arms,

Having reached the courtyard exerting himself and in dire need: In his arms the child was dead.

ABOUT THE RECITAL SERIES

Park Avenue Armory presents more intimate performances and programs in its acclaimed Recital Series, which showcases musical talent from across the globe in an intimate salon setting. Founded in 2013, the series has held the debuts of many world-class artists, including: the North American recital debuts of pianist Igor Levit, soprano Sabine Devieilhe, tenors Ilker Arcayürek and Allan Clayton, baritones Benjamin Appl and Roderick Williams, clarinetist Andreas Ottensamer, and cellist István Várdai; the North American solo recital debuts of tenor Michael Spyres and mezzo soprano Emily D’Angelo; the US Recital debuts of sopranos Barbara Hannigan and Anna Lucia Richter and baritone Thomas Oliemans; and the New York debuts of pianist Severin von Eckardstein and the Dudok Quartet Amsterdam

The Recital Series has programmed the world premieres of: Roger Reynolds’ FLiGHT, performed by the JACK Quartet; Michael Hersch’s “…das Rückgrat berstend,” performed by violinist Patricia Kopatchinskaja and cellist Jay Campbell; and Chris Cerrone’s Ode to Joy, performed by Sandbox Percussion and commissioned by the Armory. Actor Charlotte Rampling and cellist Sonia WiederAtherton gave the US premiere of The Night Dances on the series in 2015, which brought together Benjamin Britten’s suites for solo cello and poetry by Sylvia Plath; Wieder-Atherton returned to the Armory in 2017 for the North American premiere of Little Girl Blue, a program that reimagined the music of Nina Simone. New York premieres include: Anna Thorvaldsdottir’s In the Light of Air and Shades of Silence performed by the International Contemporary Ensemble; Dai Kujikura’s Minina, John Zorn’s Baudelaires, and a new arrangement of Messiaen’s Chants de terre et de ciel, also performed by ICE; Michael Gordon’s Rushes performed by the Rushes Ensemble; Michael Harrison’s Just Constellations performed by Roomful of Teeth; David Lang’s depart, Gabriel Jackson’s Our flags are wafting in hope and grief and Rigwreck, Kile Smith’s “Conversation in the Mountains” from Where Flames A Word, Louis Andriessen’s Ahania Weeping, Suzanne Giraud’s Johannisbaum, David Shapiro’s Sumptuous Planet, Benjamin CS Boyle’s Empire of

NEXT IN THE SERIES

ERIN MORLEY & GERALD MARTIN MOORE

APRIL 11 & 13

One of today’s most sought-after lyric coloratura sopranos, Erin Morley has stepped into the international spotlight with a string of critically acclaimed appearances in the great opera houses of the world. A recipient of the Beverly Sills Award and a graduate of the Metropolitan Opera’s Lindemann Young Artist Development Program, Morley comes to the Armory with an artfully curated program of works from her recent album Rose in Bloom, including repertoire connected to flowers, gardens, and nature from Schumann and Berg to Saint-Saëns and Rimsky-Korsakov and a song cycle by Ricky Ian Gordon.

Crystal, and Ted Hearne’s Animals (commissioned by Park Avenue Armory), all performed by The Crossing under conductor Donald Nally; John Zorn’s Jumalattaret sung by soprano Barbara Hannigan with pianist Stephen Gosling; and Viet Cuong’s Next Week’s Trees, performed by Sandbox Percussion.

Additional notable programs include performances by: baritone Christian Gerhaher with pianist Gerold Huber; the Flux Quartet; tenor Ian Bostridge with pianist Wenwen Du; pianist David Fray; soprano Lisette Oropesa with pianist John Churchwell; countertenor Andreas Scholl with harpsichordist Tamar Halperin; soprano Kate Royal with pianist Joseph Middleton; pipa player Wu Man and the Shanghai Quartet; tenor Lawrence Brownlee with pianists Myra Huang and Jason Moran; mezzo soprano Isabel Leonard with pianist Ted Sperling; soprano Nadine Sierra with pianist Brian Wagorn; soprano Rosa Feola with pianist Iain Burnside; cellist Nicolas Altstaedt; tenor Paul Appleby with pianist Conor Hanick; baritone Will Liverman with pianist Myra Huang; mezzo soprano Jamie Barton with pianist and composer Jake Heggie; new music ensemble Alarm Will Sound; French period choir and chamber orchestra Ensemble Correspondances under the direction of harpsichordist and organist Sébastien Daucé; baritone Justin Austin and pianist Howard Watkins; soprano Ying Fang with pianist Ken Noda; baritone Stéphane Degout with pianist Cédric Tiberghien; pianist Pavel Kolesnikov in a two-night residency featuring Bach’s Goldberg Variations and a program entitled Celestial Navigation, inspired by Joseph Cornell’s orrery of the same name; soprano Julia Bullock with pianist John Arida; mezzo soprano Kate Lindsey with pianist Justina Lee; soprano Jeanine de Bique with pianist Warren Jones; tenor Matthew Polenzani with pianist Ken Noda; soprano Leah Hawkins with pianist Kevin Miller; tenor Karim Sulayman with guitarist Sean Shibe; and soprano Barbara Hannigan with pianist Bertrand Chamayou.

PENE PATI & RONNY MICHAEL GREENBERG

SEPTEMBER 24 & 26

NORTH AMERICAN SOLO

RECITAL DEBUT

The first Samoan tenor to perform on Europe’s top opera stages, Pene Pati has made a name for himself on both sides of the Atlantic with an exceptional versatility in repertoire that showcases his luminous timbre, a seductively natural singing style, and perfectly nuanced articulation. Expect all the vocal power, charisma, and dramatic flair this extraordinary singer brings to the opera stage when he makes his North American solo recital debut in the Board of Officers Room with a varied program of songs traversing eras and continents that beautifully showcases his caressing colors and amber high notes.

NEXT AT THE ARMORY

DOOM

MARCH 3 – 12

WORLD PREMIERE – AN ARMORY COMMISSION

Radical art world superstar Anne Imhof takes hold of the entirety of the Armory for her largest performative work in the US to date. Utilizing the Wade Thompson Drill Hall, this all-encompassing work fuses space, bodies, sound, and sculpture in response to our present in which anxiety and hope find a fragile balance between apathy, activism, and resistance. This sequential durational performance takes audiences on a journey to ultimately find a sense of community through our own shared experiences. The culminating happening serves as a seismographic meter of our times, while projecting into our own possible futures to find a new form of hope.

CONSTELLATION

JUNE 5 –AUGUST 17

NORTH AMERICAN

PREMIERE

Diane Arbus’ stark, documentary style of capturing people outside the boundaries of ordinary society has influenced countless artists with iconic images that seem to reflect Arbus’ restless attraction to the unfamiliar in all its guises. These dynamic pictures are given an evocative new life at the Armory in an immersive installation that brings together all of the photographs—some still unpublished— from the set of more than 450 prints. Marking the largest and most complete showing of her works in New York to date, this unprecedented collection of Arbus’s works provides a diverse and singularly compelling portrait of humanity. Co-presented with LUMA Arles

MONKEY OFF MY BACK OR THE CAT’S MEOW

SEPTEMBER 9 – 20

NORTH AMERICAN PREMIERE

Centered on a stunning Mondrian-like colored grid spanning the length of the Drill Hall, choreographer, dancer, and Guggenheim fellow Trajal Harrell’s dancing runway show is turned on its head with iconography that juxtaposes everyday gestures and artificial poses with historical references, pop culture, and political rhetoric. And while drawing on the Declaration of Independence as a foundation for the US and its urgent call for freedom, this vivid mosaic of a double-edged paradigm also explores the resulting inequalities to the forebearers of the land affected by those actions while celebrating the unifying power of community.

11,000 STRINGS

SEPTEMBER 30 – OCTOBER 6

NORTH AMERICAN PREMIERE

Surrounding audiences with 50 micro-tuned pianos playing simultaneously alongside a chamber ensemble, maverick composer Georg Friedrich Haas’s spatial masterpiece, performed by Klangforum Wien, unleashes a cascade of sound that transcends traditional tonality while focusing on the human dimension in music experimentalism and creating a new way of listening. This sonically adventurous spatial work is realized as a concert installation in the Wade Thompson Drill Hall, howcases Haas’s focus on the human dimension in his experimentalism while creating a new way of listening.

THE FAGGOTS AND THER FRIENDS BETWEEN REVOLUTIONS

DECEMBER 2 – 14

NORTH AMERICAN

PREMIERE

This cult book of fables and myths serves as the starting point for a new music theater adaptation from the creative minds of composer Philip Venables and director Ted Huffman. Together they conjure up a world that takes the original text on a kaleidoscopic journey that ignores boundaries just like the characters on stage do, drawing on theater, dance, and song from the Baroque to Broadway and beyond. The performers serve as actors, storytellers, and musicians all rolled into one, continually swapping roles while doing away with gender and genre norms and replacing them with unapologetic individuality and a lust for life. The resulting cabaret-like spectacle is both vulnerable and daring, a fantastic parable hiding a political manifesto for survival that gives voice to the marginalized and oppressed everywhere.

ARTISTS STUDIO

ROBERT AIKI AUBREY LOWE

MARCH 22

Adventurous artist, curator, and composer Robert Aiki Aubrey Lowe comes to the Veterans Room with a modular synth and vocal performance in the realm of spontaneous music, blending analog synthesizers with organic vocal expression to create auditory passageways with trancelike suspensions.

SOFIA JERNBERG & SPECIAL GUESTS

TUESDAY, MAY 20

Swedish experimental singer, improviser, and composer Sofia Jernberg harnesses unconventional techniques and sounds with a focus on the human acoustic voice in durational performances that freely mix between improvisation and composed song. This singular talent is joined by some additional musicians and guests for a unique performance of some of her own pre-existing and new compositions that embrace her creative practice of communion and collaboration.

GUILLERMO E. BROWN

OCTOBER 11

Drummer, composer, and creator Guillermo E. Brown pushes music performance to new heights through musical collaborations, sound installations, and singular theatrical works. Brown comes to the Veterans Room with a cast of collaborators for an insightful overview of the past, present, and future of his work, including some of his Creative Capital projects and new compositions played on a new audio-visual musical instrument he is building as part of the Doris Duke Foundation Performing Arts Technology Lab.

SANDRA MUJINGA

NOVEMBER 20 & 21

Norwegian artist and musician Sandra Mujinga uses speculative fiction in the Afrofuturist tradition to investigate economies of visibility and disappearance, in which she typically reverses established identity politics of presence. After recent exhibitions at the Kunsthalle Basel, the Guggenheim, and the Venice Biennale, the multifaceted creator comes to the Veterans Room to broaden and expand her practice in the performative spectrum by creating an otherworldly sonic environment that plays off the architecture of the room.

MAKING SPACE AT THE ARMORY LENAPEHOKING: AN EVENING WITH BRENT MICHAEL DAVIDS

MAY 30

Marking the 400th anniversary of the start of construction of New Amsterdam on what is now lower Manhattan, this evocative evening of chamber music and storytelling by Brent Michael Davids incorporates unique Native American instruments as well as a string quartet and chorus of singers, engaging audiences with Indigenous cultural expressions to envision decolonial futures through the power of music and narrative.

BLACK THEATER ADVANCE

SEPTEMBER 6

Building on a multi-year initiative to catalyze growth and permanence for Black theaters across the nation, this dynamic salon tackles the issues facing us all in reimagining the future of American theater as a space for bold artistic expression and social change.

Co-presented with National Black Theatre

CAFTAN: STYLE AS LIBERATION AND CULTURAL EXCHANGE

SEPTEMBER 28

Inspired by the legendary fashion icon André Leon Talley, his iconic caftans, and his role in the world of fashion, this vibrant, multifaceted program explores fashion’s role in self-expression, freedom, and diasporic encounter. The day includes a panel discussion with industry historians, designers, educators, and community activists that examines the role of fashion as a tool for resistance, cultural preservation, and cross-cultural dialogue; an interactive workshop engaging participants in creating wearable art pieces; as well as pop-up exhibitions, runway shows, and more.

ABOUT PARK AVENUE ARMORY

Part palace, part industrial shed, Park Avenue Armory supports unconventional works in the performing and visual arts that cannot be fully realized in a traditional proscenium theater, concert hall, or white wall gallery. With its soaring 55,000-square-foot Wade Thompson Drill Hall—reminiscent of 19th-century European train stations—and an array of exuberant period rooms, the Armory provides a platform for artists to push the boundaries of their practice, collaborate across disciplines, and create new work in dialogue with the historic building. Across its grand and intimate spaces, the Armory enables a diverse range of artists to create, students to explore, and audiences to experience epic, adventurous, relevant work that cannot be done elsewhere in New York.

The Armory both commissions and presents performances and installations in the grand Drill Hall and offers more intimate programming through its acclaimed Recital Series, which showcases musical talent from across the globe within the salon setting of the Board of Officers Room; its Artists Studio series curated by Jason Moran in the restored Veterans Room; Making Space at the Armory, a public programming series that brings together a discipline-spanning group of artists and cultural thought-leaders around the important issues of our time; and the Malkin Lecture Series that features presentations by scholars and writers on topics related to Park Avenue Armory and its history. In addition, the Armory also

BOARD OF DIRECTORS

Chairman Emeritus

Elihu Rose, PhD

Co-Chairs

Adam R. Flatto

Amanda J.T. Riegel

President

Robertson

Vice Presidents

David Fox

Pablo Legorreta

Emanuel Stern

Treasurer Emanuel Stern

has a year-round Artists-in-Residence program, providing space and support for artists to create new work and expand their practices.

The Armory’s creativity-based arts education programs provide access to the arts to thousands of students from underserved New York City public schools, engaging them with the institutions artistic programming and outside-the-box creative processes. Through its education initiatives, the Armory provides access to all Drill Hall performances, workshops taught by Master Teaching Artists, and in-depth residencies that support the schools’ curriculum. Youth Corps, the Armory’s year-round paid internship program, begins in high school and continues into the critical post-high school years, providing interns with mentored employment, job training, and skill development, as well as a network of peers and mentors to support their individual college and career goals.

The Armory is undergoing a multi-phase renovation and restoration of its historic building led by architects Herzog & de Meuron, with Platt Byard Dovell White as Executive Architects.

Marina Abramović

Abigail Baratta Joyce F. Brown

Cahan

Hélène Comfort Paul Cronson

Edward G. Klein, Brigadier General NYNG (Ret.)

Ralph Lemon Jason Moran

Janet C. Ross

Stephanie Sharp

Joan Steinberg

Dabie Tsai

Sanford B. Ehrenkranz Roberta Garza Kim Greenberg

Samhita Jayanti

Branden Jacobs-Jenkins

Avant-Garde Chair

Adrienne Katz

Directors Emeriti

Harrison M. Bains

Angela E. Thompson*

Wade F.B. Thompson* Founding Chairman, 2000-2009

Pierre Audi

Anita K. Hersh Artistic Director

PARK AVENUE ARMORY STAFF

Rebecca Robertson Adam R. Flatto Founding President and Executive Producer

Pierre Audi Anita K. Hersh Artistic Director

ARTISTIC PLANNING AND PROGRAMMING

Michael Lonergan Senior Vice President and Chief Artistic Producer

Chris Greiner General Manager

Rachel Rosado Producer

Samantha Cortez Producer

Darian Suggs Associate Director, Public Programming

Kanako Morita Company Manager/Associate Producer

Oscar Peña Programming Coordinator

ARTISTIC PRODUCTION

Paul E. King Director of Production

Claire Marberg Deputy Director of Production

Nicholas Lazzaro Technical Director

Lars Nelson Technical Director

Mars Doutey Technical Director

Rachel Baumann Assistant Production Manager

ARTS EDUCATION

Cassidy L. Jones Chief Education Officer

Monica Weigel McCarthy Director of Education

Aarti Ogirala Associate Director of Education, School Programs

Biviana Sanchez School Programs Manager

Nadia Parfait Education Programs Manager

Ciara Ward Youth Corps Manager

Bev Vega Youth Corps Manager

Milen Yimer Youth Corps Assistant

Drew Petersen Education Special Projects Manager

Emily Bruner, Donna Costello, Alberto Denis, Alexander Davis, Asma Feyijinmi, Shar Galarza, Hawley Hussey, Larry Jackson, Drew Petersen, Leigh Poulos, Neil Tyrone Pritchard, Bairon Reyes Luna,

Vickie Tanner, Jono Waldman Teaching Artists

Daniel Gomez, Nancy K. Gomez, Maxim Ibadov, sunyoung kim, Amo Ortiz Teaching Associates

Arabia Elliot Currence, Victoria Fernandez, Sebastian Harris, Adriana Taboada Teaching Assistants

Shatisha Bryant, Alexus Heiserman, Melina Jorge, Oscar Montenegro Teaching Apprentices

Joseph Balbuena, Eden Battice, Teja Caban, Koralys De La Cruz, Fatou Diallo, AJ Volkov Youth Corps Advisory Board

Eden Battice, Melina Jorge, Nephthali Mathieu, Hillary Ramirez Perez, AJ Volkov Youth Corps, Post High School Advanced Interns

Phoenix Acevedo, Justin Amesquita, Mariela Bonilla, June Bottex, Rose Brunache, Neon Caceres, Brooke-Lynn Clarke, Matthew Deyhill, Nathaly Estrella, Leah Fernandez, Azrael Hernandez, Jahrye Jalloh, Ria Matula, Rochelin Mendoza, Armaan Pabey, Hennsy Pena, Naima Rodriguez, Layne Steede Youth Corps, High School

BUILDING OPERATIONS

Karen Quigley Vice President of Capital Projects and Facilities

Marc Von Braunsberg Director of Operations and Security

Samuel Denitz Director of Facilities

Xavier Everett Security/Operations Manager

David Burnhauser Collection Manager

Emma Paton Administrative and Office Coordinator

Williams Say Superintendent

Olga Cruz, Leandro Dasso, Mayra DeLeon, Jeferson Avila, Felipe Calle, Jose Campoverde, Edwin Fell, Jacob Garrity, Jonathan Mays, Tyrell Shannon Castillo Maintenance Staff

Jason Moran Curator, Artists Studio

Tavia Nyong’o Curator, Public Programming

DEVELOPMENT

Patrick Galvin Chief Development Officer

Alan Lane Director of Development

Caity Miret Executive Assistant to the Chief Development Officer

Jessica Pomeroy Rocca Major Gifts Officer

Chiara Bosco Manager of Individual Giving

Angel Genares Director of Institutional Giving

Hans Rasch Manager of Institutional Giving

Margaret Breed Director of Special Events

Séverine Kaufman Manager of Special Events

Michael Buffer Director of Database and Development Operations

Maeghan Suzik Manager of Development Operations

EXECUTIVE OFFICE

Lori Nelson Executive Assistant to the President

Nathalie Etienne Administrative Assistant, President’s Office

Simone Elhart Rentals and Project Manager

FINANCE, HR, AND IT

Judy Rubin Chief Financial Officer

Philip Lee Controller

Khemraj Dat Accounting Manager

Zeinebou Dia Junior Accountant

Neil Acharya Human Resources Manager

Oku Okoko Director of IT

Jorge Sanchez IT Helpdesk Administrator

MARKETING, COMMUNICATIONS, AND AUDIENCE SERVICES

Tom Trayer Chief Marketing Officer

Nick Yarbrough Associate Director of Digital Marketing

Dileiny Cruz Digital Marketing Coordinator

Allison Abbott Senior Press and Editorial Manager

Mark Ho-Kane Graphic Designer

Joe Petrowski Director of Ticketing and Customer Relations

Monica Diaz Box Office Manager

John Hooper Assistant Box Office Manager

Jordan Isaacs Box Office Lead

Victor Daniel Ayala, Fiona Garner, Sarah Jack, Matthew Kamen, Emma Komisar, Michelle Meged, Caleb Moreno, Arriah Ratanapan, Ester Teixeira Vianna Box Office Associates

Caitlin O’Keefe, Anne Wolf Tour Guides

Natasha Michele Norton Director of House Management

Clayton McInerney, Dawn Clements, Nancy Gill Sanchez, Terrelle Jones House Managers

Becky Ho, Cody Castro, Rachel Carmona, Tayler Everts Assistant House Managers

Adonai Fletcher-Jones, Aiyana Greene, Arriah Ratanapan, Beth Miller, Christina Johns, Christine Lemme, Dorsen Sween, Eboni Greene, Edwin Adkins, Eileen Rouke, Elijah Tejeda, Eliza Goldsteen, Gloriveht Ortiz, Janelyne DeVoe, John Summers, Joseph Balbuena, Kathleen Rodriguez,

Kathleen White, Kedesia Robinson, Kin Tam, Lana Hankinson, Mariel Mercedes, Melina Jorge, MJ Ryerson, Naomi Santos, Neda Yeganeh, Nephthali Mathieu, Regina Pearsall, Sandra Kitt, Sarah Gallick, Sebastian Harris, Tess Kondratiev, Yanitza Ordonez, Yao Adja, Yenupaak Konlan, Zoe Rhinehart Ushers

Resnicow + Associates Press Representatives

PRODUCTION ACKNOWLEDGMENTS

Matthew Epstein, Sarah Billinghurst Solomon Artistic Consultants for Vocal Recitals

Steinway & Sons

Schubert translations by Malcolm Wren, SchubertSong.uk

JOIN THE ARMORY

Become a Park Avenue Armory member and join us in our mission to present unconventional works that cannot be fully realized elsewhere in New York City. Members play an important role in helping us push the boundaries of creativity and expression.

FRIEND $100

$64 is tax deductible

• 10% discount on tickets to all Armory tours and performances*

• 20% discount on member subscription packages*

• Invitations to member preview party for visual art installations

• Complimentary admission for two to visual art installations

• Discounts at local partnered restaurants

SUPPORTER $250

$194 is tax deductible

All benefits of the Friend membership plus:

• Fees waived on ticket exchanges*

• Two free tickets to Armory Public Tours***

• Invitation to annual Member event

ASSOCIATE $500

$348 is tax deductible

All benefits of the Supporter membership plus:

• Complimentary admission for two additional guests (total of four) to visual art installations and member preview party

• Two free passes to annual fairs held at the Armory, such as TEFAF, The Art Show, Salon Art + Design, etc.**

• Access to the Patron Lounge at select productions

BENEFACTOR $1,000

$824 is tax deductible

All benefits of the Associate membership plus:

• Recognition in the Armory printed programs

• Access to the Membership Hotline for ticket assistance

• No-wait 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*

CHAIRMAN’S CIRCLE

starting at $2,500

Chairman’s Circle members provide vital support for the Armory’s immersive arts and education programming and the restoration of our landmark building. In grateful appreciation of their support, they are provided unique and exclusive opportunities to experience the Armory and interact with our world-class artists.

AVANT-GARDE

starting at $350

The Avant-Garde is a group for adventurous art enthusiasts in their 20s to early 40s. Members enjoy an intimate look at Armory productions, as well as invitations to forward-thinking art events around New York City.

*Subject to ticket availability **Certain restrictions apply ***Reservations required

For information on ticketing, or to purchase tickets, please contact the Box Office at (212) 933-5812 or visit us at armoryonpark.org. For more information about membership, please contact the Membership Office at (212) 616-3958 or members@armoryonpark.org. Each membership applies to one household, and one membership card is mailed upon membership activation.

ARTISTIC COUNCIL

The Artistic Council is a leadership group that champions and supports groundbreaking “only at the Armory” productions.

Chair

Lisa Miller

Anne-Victoire Auriault/Goldman Sachs Gives

Abigail and Joseph Baratta

Blavatnik Family Foundation

Jeanne-Marie Champagne

Hélène and Stuyvesant Comfort

Caroline and Paul Cronson

Courtney and Jonathan Davis

Jessie Ding and Ning Jin

Misook Doolittle

Lisa and Sanford B. Ehrenkranz

The Lehoczky Escobar Family

Adam and Abigail Flatto

Robin Fowler

Roberta Garza and Roberto Mendoza

Lorraine Gallard and Richard H. Levy

Barbara and Peter Georgescu

Joan Granlund

Kim and Jeff Greenberg

Lawrence and Sharon Hite

Samhita and Ignacio Jayanti

LEGACY CIRCLE

Wendy Keys Irene Kohn

Fernand Lamesch

Almudena and Pablo Legorreta

Christina and Alan MacDonald

Andrew Martin-Weber and Beejan Land

John and Lisa Miller

Lily O’Boyle

Valerie Pels

Amanda J.T. and Richard E. Riegel

Ben Rodriguez-Cubeñas

Susan and Elihu Rose

Janet C. Ross

Caryn Schacht and David Fox

Stephanie and Matthew Sharp

Brian S. Snyder

Sarah Billinghurst Solomon

Joan and Michael Steinberg

Emanuel Stern

Slobodan Randjelović and Jon Stryker

Saundra Whitney

Ku-Ling Yurman

Anonymous (2)

The Armory’s Legacy Circle is a group of individuals who support Park Avenue Armory through a vitally important source of future funding, a planned gift. These gifts will help support the Armory’s out-the-box artistic programming, Arts Education Programs, and historic preservation into the future.

Founding Members

Angela and Wade F.B. Thompson*

Co-Chairs

Lisa and Sanford B. Ehrenkranz

Marjorie and Gurnee Hart

Members

The Estate of Ginette Becker

Wendy Belzberg and Strauss Zelnick

Emme and Jonathan Deland

Lisa and Sanford B. Ehrenkranz

Adam R. Flatto

Roberta Garza

Marjorie and Gurnee Hart

Anita K. Hersh*

Ken Kuchin

Heidi McWilliams

Michelle Perr

Amanda J.T. Riegel

Rebecca Robertson and Byron Knief

Susan and Elihu Rose

Francesca Schwartz

Joan and Michael Steinberg

Angela and Wade F.B. Thompson*

PATRONS

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

Adam and Abigail Flatto

Marina Kellen French

Barbara and Andrew Gundlach

Anita K. Hersh Philanthropic Fund

Anna-Maria and Stephen Kellen Foundation, Inc.

Mr. and Mrs. Peter L. Malkin and The Malkin Fund, Inc.

Richard and Ronay Menschel

New York City Council and Council Member

Daniel R. Garodnick

New York City Department of Cultural Affairs

New York State Assemblymember Dan Quart and the New York State Assembly

The Pershing Square Foundation

Amanda J.T. and Richard E. Riegel

Susan and Elihu Rose

The Arthur Ross Foundation and J & AR Foundation

Joan Smilow and Joel Smilow*

Sanford L. Smith*

The Thompson Family Foundation

Wade F.B. Thompson*

The Zelnick/Belzberg Charitable Trust Anonymous (3)

$500,000 to $999,999

Bloomberg Philanthropies

Lisa and Sanford B. Ehrenkranz

Almudena and Pablo Legorreta

Office of the Manhattan Borough President under the leaership of Mark Levine

Adam R. Rose and Peter R. McQuillan

Marvin and Donna K. Schwartz

Emanuel Stern

$250,000 to $499,999

American Express

Abigail and Joseph Baratta

Michael Field and Doug Hamilton

Ken Kuchin and Tyler Morgan

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

Blavatnik Family Foundation

Booth Ferris Foundation

Hélène and Stuyvesant Comfort

Caroline and Paul Cronson Courtney and Jonathan Davis

Jessie Ding and Ning Jin

Doolittle

Garza Horace W. Goldsmith Foundation

Joan Granlund

Kim and Jeff Greenberg

Marjorie and Gurnee Hart

Samhita and Ignacio Jayanti

The Emily Davie and Joseph S. Kornfeld Foundation

Mr. and Mrs. Lester Morse

New York State Assembly

Stavros Niarchos Foundation

Donald A. Pels Charitable Trust

The Pinkerton Foundation

Rockefeller Brothers Fund

Daniel and Joanna S. Rose

Mrs. Janet C. Ross

Matthew and Stephanie Sharp

Harold and Mimi Steinberg Charitable Trust

Joan and Michael Steinberg

Mr. William C. Tomson

$25,000 to $99,999

Amy and David Abrams

Sarah Arison

Jody and John Arnhold

The Avenue Association

The Cowles Charitable Trust

Cora and Luis Delgado

Jenna Fagnan and Thomas Jacquot

Lorraine Gallard and Richard H. Levy

Elizabeth Morse Genius Foundation

Barbara and Peter Georgescu

Howard Gilman Foundation

Agnes Gund

Janet Halvorson

Howard Hughes Corporation

The Keith Haring Foundation

Kirkland & Ellis LLP

The Marie-Josée and Henry R. Kravis Foundation

Fernand Lamesch

The Lehoczky Escobar Family

Christina and Alan MacDonald

Marc Haas Foundation

Andrew Martin-Weber and Beejan Land

Lisa S. Miller and John N. Miller

National Endowment for the Arts

New York State Council on the Arts

Lily O’Boyle

Slobodan Randjelović and Jon Stryker

Rhodebeck Charitable Trust

Genie and Donald Rice

Rebecca Robertson and Byron Knief

The Fan Fox & Leslie R. Samuels Foundation

Caryn Schacht and David Fox

Orville Schell

The Shubert Foundation

Sydney and Stanley S. Shuman

Amy and Jeffrey Silverman

Denise Littlefield Sobel

TEFAF NY

Terra Foundation for American Art

The SHS Foundation

Tishman Speyer

Jane Toll

Susan Unterberg

Van Cleef & Arpels

Wescustogo Foundation

Saundra Whitney Ying Zhou and Run Ye Ku-Ling Yurman

Anonymous (5)

$10,000 to $24,999

AECOM Tishman

Judith Hart Angelo

Anne-Victoire Auriault / Goldman Sachs Gives

Milton and Sally Avery Arts Foundation

Harrison and Leslie Bains

Susan Bram

Alexandra Andrea Cahill

Susan and Jeff Campbell

Suzanne Hall and Valentino Carlotti

Cornelia T. Bailey Foundation

Jeanne Donovan Fisher

William F. Draper

Ella M. Foshay and Michael B. Rothfeld

Robin Fowler

Elliot Friman

John R. and Kiendl Dauphinot Gordon

Lawrence and Sharon Hite

Sheila and Bill Lambert

Judy and Leonard Lauder

Leon Levy Foundation

James Marlas and Marie Nugent-Head Marlas*

Danny and Audrey Meyer

Cynthia Woods Mitchell Fund of the National Trust for Historic Preservation

Stéphanie and Jesse Newhouse

Michael Peterson

Katharine Rayner

Fiona and Eric Rudin

Mrs. William H. Sandholm

Cynthia and Tom Sculco

Brian S. Snyder

Howard & Sarah D. Solomon Foundation

Agnes Hsu-Tang and Oscar Tang

Barbara D. Tober

Dabie Tsai

Michael Tuch Foundation

Diana Wege

Maria Wirth Anonymous (4)

$5,000 to $9,999

Barbara Goldstein Amster

Arthur J. Gallagher & Co.

Steve Marshall

Page Ashley

Stephanie Bernheim

The Emma and Georgina Bloomberg Foundation

Nicholas Brawer

Dr. Joyce F. Brown and Mr. H. Carl McCall

Amanda M. Burden

Mary and Brad Burnham

Cindy and Tim Carlson

Arthur and Linda Carter Michael Woloz

Judith-Ann Corrente

Baronnes Lulu Sezercan Dalkanat

David L. Klein, Jr. Foundation

Jennie L. and Richard K.* DeScherer

John H. Alschuler and Diana Diamond, Therme US

Jamie Drake

Dr. Nancy Eppler-Wolff and Mr. John Wolff

The Felicia Fund

Andrew and Theresa Fenster

Jennivée Fiorese

Dachs, and Associates

Jill and Michael J. Franco

Mary Ann Fribourg

Bart Friedman and Wendy A. Stein

Buzzy Geduld

Mrs. Heather Hoyt Georges

The Georgetown Company

Suzanne and John Golden

Great Performances

Holly and Robert Gregory

George and Patty Grunebaum

Darren Henault

Shujaat Islam and Fay Sardjono

Gregory James

Jane Kober

Brittany and Zachary Kurz

Stephen Lash and Wendy Lash

Lazarus Charitable Trust

Chad A. Leat

Gail and Alan Levenstein

William and Helen Little

Charles and Georgette Mallory

Lara Marcon

Joanie Martinez

Ellen Michelson

Virginia A. Millhiser

Perennial Roofing & Restoration

Orentreich Family Foundation / Dr. Catherine Orentreich

Claudia and Gunnar Overstrom

Sue Pernick

Joan R. and Joel I. Picket

Susan Porter

Anne and Skip Pratt

Preserve New York, a grant program of Preservation League of New York

Janine and Steven Racanelli

Richenthal Foundation

Laura and Gerald Rosberg

Ida and William Rosenthal Foundation

Marjorie P. Rosenthal

Chuck and Stacy Rosenzweig

Valerie Rubsamen and Cedomir Crnkovic

May and Samuel Rudin Family Foundation, Inc.

Jane Fearer Safer

Beatrice Santo Domingo

Susan Small Savitsky

Sara Lee and Axel Schupf

Denise Simon and Paulo Vieira da Cunha

JLH Simonds

Mamie Kanfer Stewart and Justin Stewart

Michael and Veronica Stubbs

Doris Valle Risso

Peter van Egmond Rossbach

Nina and Nicholas von Moltke

Mary Wallach

George Wang and Shanshan Xu

Gregory Annenberg Weingarten, GRoW @ Annenberg

Michael Weinstein

Beth Williams

Cynthia Young and George Eberstadt

Toni Young Anonymous (4)

$2,500 to $4,999

Carolina Abed Gaona

Allen Adler and Frances Beatty

Kenneth Ashley

Susan Baker and Michael Lynch

Bard College

Lauren and Suprotik Basu

Tony Bechara

Catherine Behrend

Candace and Rick Beinecke

Rick Berndt and Marie-Camille Havard

Elaine S. Bernstein

Melanie Bouvard and Matthew Bird

Mr. and Mrs. Richard* Braddock

Elaine and Dan Brownstein

Michael Carlisle and Sally Peterson

Natalia Chefer

Lori and Alexandre Chemla

Elizabeth Cho and Sean Bailey

David and Peri Clark

Orla Coleman and Rikki Tahta

Consulate General of Sweden Andrew and

and Rebecca Eisenberg Foundation Deborah and Ronald Eisenberg Foundation

Fein Nicholas Firth and

de Brignac Gwen and Austin Fragomen

Eleanor Friedman and Jonathan J. Cohen

Judith Garson and Steven Rappaport Tracey and Scott Gerber

and Brian Hainline

Hakim

Heitmeyer

Hirsch

Joseph C. Hoopes, Jr.

T. Jayanti

and Stephanie Kearney

Claire King Jana and Gerold Klauer Meghan and Adam Klopp

Kameron Kordestani

Douglas and Judith Ann Krupp

Lizbeth & George Krupp Camille and Dennis LaBarre

Ladd

Laffont Julia Ledda

Michael Lonergan and William Beauchamp

Jennifer Lum Jeffrey and Tondra Lynford Gina Giumarra MacArthur

Robert S. MacDonald Sher and Richard Madigan Arielle & Ian Madover Nancy Maruyama

Maslin

Mattes

Mayo-Brown Ginnie and Timothy McConn

Mr. and Mrs. Matthew McLennan

Ryan McNaughton and Anastasia Antoniev

Consulate

Christopher and Hilda Jones

Monica and Jonathan Kelemen

Brooke Kennan

Gauri Khurana, MD, MPH

Elizabeth Kipp-Giusti

Stark D. Kirby, Jr.

Brigadier General Edward G. Klein, NYNG (Ret.)

Eric and Melissa Kogan Kathryn Kremnitzer

Vinnie

McDonald and Michael Heyward

McGinn Whitney and Andrew Mogavero

Steven Neckman and Larry Rivero

Stephanie Neville & Alan Beller

Nancy Newcomb and John Hargraves

Olive Numeroff

Neha Ohri

Arlena Olsten

David O’Reilly

Robert A Press MD

Prime Parking Systems

Hanna Propst

David and Leslie Puth Martin and Anna Rabinowitz

Jennifer Reardon Nigel Redden Emily Reifel

John and Lizzie Robertshaw

Whitney Rouse Julia and John Ryan

Alexander and Sarah Saint-Amand

David and Elizabeth Saltzman Paola Saracino Fendi and Aram Ahmed

Herbert A Satzman

Jenn Savoie von Post

Paul H. Scarbrough, Akustiks, LLC.

Jonathan and Rachel Schmerin Pat Schoenfeld

Cameron Sczempka and Sarah Parker

The Binkley-Sebring Fund

Scot Sellers

He Shen & Michelle Mao

Adrianne and William Silver

Esther Simon Charitable Trust

Albert Simons III

R Brandon Sokol

Meagan Soszynski

Squadron A Foundation

Dr. Michael Stewart

Juliet Taylor and James Walsh

Claudia and Geoffrey Thompson

Robert Turner and Peter Speliopoulos

Debra Valentine

Deborah C. van Eck

Alyssa Varadhan

Iva Vukina

Kay and Sandy Walker

Sam Weinstein

Andrew and Sarah Wetenhall

Samantha Wilson

Leia and Peter Yongvanich

Meghan and Michael Young

Samiah Zafar and Minhaj Patel

Jillian Zrebiec

Bree Zucker

Anonymous (7)

List as of January 21, 2025

* In memoriam

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 programming. 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: James Ewing.