THU APR 25 • 8 P m
Sat . mAy 4 , 2019 · 8 P m
bAA b A mAA l
GlobAl mUSiC AmbASSAdoR
W ith the Town H A ll e n S emble
ST even b e R n ST ein // m usi CAL d ire C tor
n el S Cline
lAK e C i A b enjA min
j T l ewi S
mAR i KA H UGH e S
mARC CARy
bR i A S Konbe RG
Ri CAR do Rod R i GU ez
S CoTT Robin S on SARA jACovino
mARCUS RojAS
mAUR o Refo SCo
C HR i ST in A Co URT in
voi C e of “ wAKA ndA” f rom G RA mmy & ACA demy AwAR d
Wi NN i N g b est o rigi NAL sCore Bl Ack PANTH eR
THE TOWN HALL PrESENTS
A ThousAnd ThoughTs
A Live DocumentAry With the Kronos QuArtet
WritteN ANd direCted bY sAm Green & Joe Bini
feAturiNg
KrONOS QUArTET
DAviD HArrinGton, vioLiN
JoHn sHerBA, vioLiN
HAnK Dutt, vioLA
sunny yAnG, CeLLo
SAm grEEN ANd JOE BiNi, fiLmmAkers
BriAN H. ScOTT, LightiNg desigN
BriAN mOHr, souNd desigN
A Thousand Thoughts: A Live Documentary by Sam Green & Kronos Quartet was commissioned by the Arts Center at NYu Abu dhabi, barbican, Center for the Art of Performance at uCLA, exploratorium, Christos v. konstantakopoulos, krannert Center for the Performing Arts at the university of illinois at urbana-Champaign, mAss moCA, melbourne festival, Wexner Center for the Arts at the ohio state university through its Wexner Center Artist residency Award program.
Additional support was received from the drumstick fund, genuine Article Pictures, Justfilms/ford foundation, Lear family foundation, Andrea Lunsford, the National endowment for the Arts, sundance documentary film Program with support from open society foundation, gottfried and Janet tittiger, and kenneth and elizabeth Whitney.
this film was supported by sundance Catalyst
THE TOWN HALL 123 W 43rd st nyc
LARRY ZUCKER , Executive director
M.A. pAppER , Artistic director
JEFF MANN , Marketing director
BILL DEHLING , technical director
CiNDY BYRAM pR , Publicity
CARl ACAMpORA , Production Manager
LEIA-LEE DORAN , Principal designer
ALEX KOVEOS , digital Media Manager
Welcome to the town Hall.
We are delighted to welcome sam green and the kronos Quartet to the town hall stage. tonight promises to be a special night.
When the hall opened in 1921, our founders tried to organized evenings where movies could be shown with an orchestra performing live on the stage. it was the silent era, so if you wanted to add sound, why not bring in an orchestra. unfortunately, in order to see the films, the stage had to be dark. so you would not actually get to see the musicians.
it turns out that New York City’s fire department never agreed to let town hall to run the movies. back then, films were made of celluloid, a highly flammable substance made from cellulose nitrate and camphor.
Let’s fast forward to tonight: no more celluloid, in fact, no more film. Yes, it is the digital age. And just a few weeks ago town hall purchased a new projector. this one doesn’t even have a bulb. inside the 31,000 lumens projector is an ultra high definition lazer. Which make it possible for us to watch movies and, at the same time, keep the stage lights on.
After all, can you imagine having the kronos Quartet on our stage and not seeing them play?
from everyone at town hall - thank you for coming, please enjoy the show.
tom Wirtshafter
marvin Leffler President President Emeritus
o scar-nominated filmmakers s am Green and Joe Bini have teamed up with g rammy-winning Kronos Quartet for a wildly creative multimedia performance piece that blends live music and narration with archival footage and filmed interviews with such prominent artists as Philip g lass, tanya tagaq, s teve reich, Wu m an and terry r iley. As g reen tells the multidecade and continent-spanning story of the groundbreaking string quartet, k ronos revisits its extensive body of work, performing music by g eorge Crumb, Aleksandra vrebalov and many others. together on stage, g reen and k ronos interact with the stirring cinematic imagery on screen to craft an important record and exploration of late 20th– and early 21st–century music. transcending the typical live music and film event, this collaboration quickly becomes a meditation on music itself – the act of listening to it closely, the experience of feeling it deeply, and the power that it has to change the world.
MUS i CA l SE l ECT i ONS
Philip Glass / string Quartet No. 2 (Company): m ovement ii *
terry riley / requiem for Adam (excerpt) *
George crumb / Selections from b lack Angels
10. g od-music
1. threnody i : Night of the e lectric i nsects (excerpt)
ryan Brown / Pinched *
John Adams / Judah to o cean from John’s b ook of Alleged d ances *
tanya tagaq (arr. Jacob g archik) / s ivunittinni (excerpt) **
Ken Benshoof / traveling m usic: i . g entle, easy *
Fodé Lassana Diabaté (arr. Jacob g archik) / s unjata’s time: 5. b ara kala ta **
terry riley / the Wheel *
David Harrington / d rone from d irty Wars *
café tacvba (arr. o svaldo g olijov) / 12/12 (excerpt) *
Philip Glass / string Quartet No. 3 ( m ishima Quartet): b lood o ath
Aleksandra vrebalov / the s ea r anch s ongs: 7. Chapel, r ainbows *
Laurie Anderson (arr. Jacob g archik) / f low +
John Zorn / m editation ( the b lue of Noon) from the d ead m an *
Pérotin (arr. k ronos Quartet) / viderunt o mnes (excerpt) + clint mansell (arr. d avid Lang) / Selections from requiem for a d ream + Lux Aeterna g hosts of a f uture Lost
John oswald / s pectre (excerpt) *
Wu man / two Chinese Paintings: ii . s ilk and b amboo (inspired by Huanlege ) **
ervin t. rouse (arr. d anny Clay) / o range b lossom s pecial (excerpt) +
* Written for kronos
** Written for kronos and composed for fifty for the future: the kronos Learning repertoire + Arranged for kronos
A bow made of wood and horsehair coated with resin from trees scrapes across a string, which makes vibrations in the hollow of the wooden instrument which travel as a series of sound waves in the subtle matter of the air and, perhaps, penetrate the labyrinth of a human ear, or a hundred or a thousand, and this vibration is interpreted by the brain or the brains as information that might have, to use a word that means such vibrations, resonance as a source of pleasure or pain or sorrow. this is one way to describe a note of music on a violin. i t is as ephemeral as the waves of the sea or ripples in water; it arises, it fades, it exists in time, and that ephemerality always speaks of mortality and the desire to transcend it, of motion that exists in time, of life that is itself a kind of motion, since we call the living animate and the un-living inanimate.
h uman beings have acknowledged and transcended mortality with culture, with rites and songs and other elaborations that can be passed on and bridge more than one human life, that can spread like ripples on a pond, like a sound, that can be reiterated. A Thousand Thoughts begins with the story of The Lost Chord , a song that was one of the first songs recorded as the technology to convert live sound into tiny impressions on a wax cylinder (and later on phonograph records [phono for sound, graph for writing; these were literally devices for writing down sound], and then on magnetic tape and then as digital data that shaved off some of the fuzz of the vibrations to make something perhaps a little pared down and cleaner than what sounded in the studio where the recording was made).
A Thousand Thoughts begins with the irony of The Lost Chord , because it was about music heard once and never recovered that offered some joy, some solution, some peace that then vanished, about the sense of loss that was tied to death and perhaps to the impossibility of hanging onto transcendent moments. Perhaps it begins with that story because in it is the desire of all art and the particular contradictions of art that unfolds in time, like music—that pleasure in the ephemeral, in sounds that can only exist in time itself, and that desire to transcend time, to shore something up against its depredations. A note is heard, it fades, it is gone. there is no music outside of time, and time itself is full of the impossibility of keeping and the inevitability of change, that force that sometimes feels like liberation and sometimes like tragedy.
k ronos founder d avid h arrington described something akin to The Lost Chord to s am g reen as a quest, saying “We have not created the bulletproof piece of music that will prevent harm from happening—you know, [that] a young child can wrap around herself or a grandparent can wrap around his family. We haven’t been able to do that yet, but i think it’s possible, and i spend every minute of my waking life trying to find that.”
A Thousand Thoughts , a thousand questions, mine, yours, ours, theirs, questions that perhaps open up things that definitive answers would only nail shut. k ronos Quartet’s long trajectory offers a series of questions that are solid and answers that are elusive: how do you find a path between predictability and instability, how do you have both a clear identity and an open door that lets in new ideas and collaborators, how do you keep the faith that what you’re doing matters, how do make an art that grows like a tree, ring by ring, year by year, and stands as a testament? h ow do you keep it alive through all the changes, how do you incorporate the change that is, as my photographic collaborator m ark k lett likes to say, the measure of time, or how do you proceed as s hunryu s uzuki- roshi said in some instructions for Zen b uddhist practice, “not too tight, not too loose,” not so tied by custom and convention and the past, not so formless that you lurch and spill into whatever the present offers?
there was an old idea of immortality as a transcendence, as a beauty, as a power that was less about living forever than about lifting someone out of themselves and the gloom and despond of mortality, and there is also a particular beauty of mortality, of this light that will never shine the same way twice, of the spring that will be devoured by the summer, the youth that will be consumed by maturity, the freshness of beginnings and the ripeness of arrival.
the live music of this live film raises other questions, about irreproducible and evanescent experience, about the water that runs through your fingers, about the events that cannot be reconstituted. h ow do you swim upstream against what film and all our digital era has become, an immersion in recordings, images, and reproductions? o nce, everything happened and was then irretrievable, though you could sketch it or describe it in words on paper or spoken aloud, and then in the late 1830s came photography, promising exact replication of the visible, and half a century later came recorded sound, promising exact replication of the audible. they had photographs, then phonographs; they thought that they had conquered time; we had even more recording technology, even more data stored, even more ease in capturing every moment.
d id we conquer time or were we conquered by substitutes for presence? d id we give up the moment itself, the things themselves, for their reproductions, did we fall into substitutes and fakes and lose our grasp on the moment, give up presence for absences and in the process lose ourselves that are also mortal, timebound, eternally changing, eternally invited to witness in the
moment? i s there a way that thinking you will never die becomes a way to never live, like the person who tries to document the moment so that in the future the past will be retrievable and only misses the present. the present, that pun in e nglish for gifts and for now.
the foundation for modern cinema was laid when e adweard m uybridge animated sequential photographs and when edison captured recorded sound on his wax cylinders. the latter man saw it as an uncanny act, a reaching into the grave, a dance with the dead.
“ i n the year 1887,” edison later remembered, “it occurred to me that it was possible to devise an instrument which would do for the eye what the phonograph does for the ear and that, by a combination of the two, all motion and sound could be recorded and reproduced simultaneously. i believe that in coming years by my own work and that of d ickson, m uybridge, m arey and others who will doubtless enter the field, that grand opera can be given at the m etropolitan o pera h ouse at New York...with artists and musicians long since dead.”
h e declares that cinema is a ghost dance, as i said somewhere else, that it is a raising of the dead or at least a fraternizing with the dead and the gone. i t is not about presence but absence and the ability to be with who and what is absent. h arrington wanted to make a music that would protect a child from harm, but edison aspired to revive the dead at least enough to make them sing for us. Perhaps in that is the difference between the present and the past recaptured.
edison’s astonishing declaration raises as well a question s am g reen has tried to answer: what is live cinema, what is it to be fully present, what is it to have the thing itself and not its representation, what is it to be here and now in an age of being anywhere but here, and every time but this irreproducible moment? What is it to have a film mixed live before you, prone to accidents and serendipities, to be each time something else, of its time, and not outside it, to hear music as a vibration of horsehair and wood and the movement of muscles traveling through the air and then into the labyrinth of your ear, with all the nuances that get sanded down and painted over by a digital recording? What is the work of art in the age of digital reproduction, and what is it to be in the presence and the present?
Photo: © Waleed Shah
sA m Green // co-Writer / Director / nArrAtor
s am g reen is a New York-based documentary filmmaker. h e received his m aster’s d egree in Journalism from u niversity of California, b erkeley, where he studied documentary filmmaking with the acclaimed filmmaker m arlon r iggs. g reen’s most recent projects are the “live documentaries” The Measure of All Things (2014), The Love Song of R. Buckminster Fuller with Yo La tengo (2012), and Utopia in Four Movements (2010). h is performance work has screened at venues such as the b arbican, the k itchen, tb A festival, f usebox festival, b righton festival, and many others. g reen’s 2004 feature-length film, the Academy Award–nominated documentary The Weather Underground , premiered at the s undance f ilm festival, was broadcast on P bs , was included in the 2004 Whitney b iennial, and has screened widely around the world.
J oe B ini // co-Writer / Director
Joe b ini is a filmmaker, writer and editor who works in both fiction and nonfiction forms. h e is best known for his twenty-year collaboration with Werner h erzog, resulting in such notable films as, Grizzly Man , Cave of Forgotten Dreams , Into the Abyss , and The Bad Lieutenant: Port of Call New Orleans . h e has also edited the groundbreaking films, We Need To Talk About Kevin and You Were Never Really Here , directed by Lynne r amsay, and American Honey , directed by Andrea Arnold, as well as Nick b roomfield’s, Tales of the Grim Sleeper . h e has lectured on and taught cinema in film schools worldwide.
K irsten J o H nson // cinemAtoGrAPHer
k irsten Johnson is one of the most notable cinematographers working in documentary cinema today, having shot Citizenfour (2014), Happy Valley (2014), Fahrenheit 9/11 (2004), The Oath (2010), The Invisible War (2012), among others. With her new visually radical memoir Cameraperson (2016), Johnson presents an extraordinary and deeply poetic film of her own, drawing on the remarkable and varied footage that she has shot and reframing it in personal ways
Photo: Kronos Quartet © Jay Blakesberg Kronos QuA rtet for more than 40 years, s an f rancisco’s k ronos Quartet – David Harrington (violin), John s herba (violin), Hank Dutt (viola), and s unny yang (cello) – has combined a spirit of fearless exploration with a commitment to continually reimagine the string quartet experience. i n the process, k ronos has become one of the world’s most celebrated and influential ensembles, performing thousands of concerts, releasing more than 60 recordings, collaborating with an eclectic mix of composers and performers, and commissioning over 950 works and arrangements for string quartet. they have won over 40 awards, including a g rammy Award and the prestigious Polar m usic and Avery f isher Prizes. the nonprofit k ronos Performing Arts Association manages all aspects of k ronos’ work, including the commissioning of new works, concert tours and home season performances, education programs, and a self-produced k ronos festival. i n 2015, k ronos launched f ifty for the f uture: the k ronos Learning repertoire, an education and legacy project that is commissioning—and distributing for free—the first learning library of contemporary repertoire for string quartet.
A THOUSAND THOUGHTS | CREDITS
Directed, written, and edited by
sam green, Joe bini
music performed by kronos Quartet: david harrington, John sherba, hank dutt, sunny Yang
cinematography by kirsten Johnson
Produced by
Janet Cowperthwaite, sam green
executive Producers
Josh Penn, maida Lynn, ken & Liz Whitney
co-Producers
thomas o kriegsmann, brendan doyle
Additional cinematography
Yoni brook
Pete sillen
raf fellner
Andrew black
david kaplowitz
Additional editing
Josh mallalieu
Assistant editor
Jonathan rapoport
Associate Producer
evan Neff
Lighting Designer, Performance
brian h scott
sound Designer, Performance
scott fraser
sound mix
rich bologna
colorist
Ayumi Ashley
Archival research
sierra Pettengill
rosemary rotondi
Anna hudak
Production sound
Claudia katanaygi
Judy karp
stephen koszler
doug dunderdale
Paul mendez
Production Assistance raf fellner
Ariel hahn
sam schnorr
mike reid
Chris Niesing
forrest Pound
tara kutz
title Design
Carl Williamson / familiar
motion Design
Work-order
Legal – Fair use
Peter Jazsi
Produced in Association with C41 media, the department of motion Pictures, Arktype
Footage
robert Ashley, “music with roots in the Aether.” Courtesy of Lovely music
gene Cohn, Courtesy of the Lucretia Little history room, mill valley Public Library the edinburgh international festival & stuart Armitt ephemeral rift
Jeppe gudmundsen-holmgreen Photography
Jennifer taylor Photography
kahn Photography
kQed the Last Party by mark benjamin and marc Levin roberto masotti / Lelli e masotti Archivio
gjon mili. © time inc. All rights reserved. News from home by Chantal Akerman screenocean/Channel 4
For the Kronos Quartet / Kronos Performing Arts Association:
Janet Cowperthwaite, Managing Director mason dille, Development Manager
dana dizon, Business Operations Manager
sarah donahue, Production Operations Manager
Lauren frankel, Development Associate scott fraser, Senior Sound Designer sasha hnatkovich, Communications Manager
sara Langlands, Community Engagement & Festival Manager reshena Liao, Creative Projects Manager
Nikolás mcConnie-saad, Office Manager
brian mohr, sound designer, Technical Manager kären Nagy, Strategic Initiatives Director
brian h. scott, Lighting Designer
Kronos Quartet/Kronos Performing Arts Association
P. o box 225340 san francisco, CA 94122-5340 usA kronosquartet.org facebook.com/kronosquartet instagram.com/kronos_quartet twitter.com/kronosquartet the kronos Quartet records for Nonesuch records
THE TOWN HALL FOUNDATION
The Town Hall’s mission is to provide affordable world-class entertainment by new and established artists to a diverse audience; to inspire the youth of our community to appreciate and participate in the arts at The Town Hall and in schools through our Educational Outreach Program; and to preserve and enhance The Town Hall as a historic landmark venue for the enjoyment and cultural enrichment of generations to come.
BOArD OF TrUSTEES
Presi D ent
tom Wirtshafter
Presi D ent e meritus
marvin Leffler
eX ecutive v ice Presi D ent
susan Zohn
t rustees
Phyllis Putter barasch
robert e evanson
Anne frank-shapiro
Alfred h horowitz
henry Johansson
ted Lambert
bruce s. Leffler
marvin Leffler
Andrew t miltenberg
rita robbins
madhu southworth
Nevin steinberg
tom Wirtshafter
susan Zohn
L i F e trustees
Leona Chanin
eugene J.t flanagan
Claire g miller
v ice Presi D ent
Alfred h horowitz
v ice Presi D ent
bruce s. Leffler
t re Asurer
Andrew t. miltenberg
s ecretA ry
Phyllis Putter barasch
A Dvisory counci L
kathleen rosenberg, Chair
Nancy berman
shauna denkensohn
sandy horowitz
elizabeth iannizzi
Zita rosenthal
rhoda rothkopf
Arts in eD uc Ation
A Dvisory counci L
dr. Charlotte k frank, Chair
michael fram dr. sharon dunn
gary hecht
ernest Logan
dr. Lisa mars
dr. eloise messineo
dr. Pola rosen
Leona shapiro george Young
THE TOWN HALL STAFF
eX ecutive Director
Lawrence C. Zucker
Artistic Director
m.A. Papper
Director o F A D ministr Ation, s u B scri P tions & m em B ers H i P helen morris
Director o F Deve Lo P ment
Jacqueline maddox
Director o F eD uc Ation
Lauren Noble
Director oF mA r K etin G
Jeff mann
Di G itAL m e D i A mA n AG er
Alex koveos
Princi PAL Desi G ner
Leia-lee doran
t ec H nic AL Director bill dehling
cH ie F e n G ineer
steve franqui
House mA n AG er richard Looney
BoX oFF ice mA n AG er Angel rodriguez
i nstitution AL Givin G
Associ Ate
b arbara m atovu
eD uc Ation AssistA nt
Lauren e xtrom
A D ministr Ative AssistA nt
britni montalbano
WArNiNg
the photographing or sound recording of any performance or the possession of any device for such photographing or sound recording inside the theatre without the written permission of the management is prohibited by law. violators may be punished by ejection and violations may render the offender liable for monetary damages.
FirE NOTicE
the exit indicated by a red light and sign nearest to the seat you occupy is the shortest route to the street. in the event of fire or other emergency please do not run, WALk to thAt eXit thoughtless persons annoy patrons and endanger the safety of others by lighting matches or smoking in prohibited areas during the performances and intermissions. this violates a city ordinance and is punishable by law.
-Fire commissioner
DirEcTOrY OF THEATrE SErVicES
AD ministr Ative o FF ices : 212.997.1003 mon-fri 9:30 am to 5 pm, for rental & membership info
B oX o FF ice : 212.840.2824 mon-sat 12 noon to 6pm. 24/7 recording
tic K etm A ster : 800.982.2787 to charge tickets by phone.online ticketmaster.com
Lost A n D F oun D: 212.997.0113
ce LL PH one P o L icy
Cell phones should be silenced prior to the performance as a courtesy to the performers and audience.
Lo BBy r e F res H ment By theatre refreshment Company of NY
This program is supported, in part by public funds from The New York City Department of Cultural Affairs in partnership with the City Council and by the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature. We would like to thank the following foundations, corporations, and government institutions for their support:
Acción Cultural española
the Achelis and bodman foundation the Actors fund
Affiliated Advisors
Apple inc.
bank of America
bruce Weber and Nan bush foundation
Consolidated edison Company of New York
daryl and steven roth foundation
robert evanson
ford foundation
dr. Charlotte k frank
garber Atlas fries & Associates
John gore/key brand entertainment
William t grant foundation
the hearst foundations, inc.
Jewish Communal fund
JP morgan Chase
Jujamcyn theaters
edythe kenner foundation
Lewis QvC trust
Local one
the mansfield family foundation
morgan stanley
Nederlander organization
Nesenoff & miltenberg, LLP
New York City department of Cultural Affairs in Partnership with the City Council
henry Nias foundation
office of the President, borough of manhattan, gale A. brewer the Pinkerton foundation
Pamela and richard rubinstein foundation
Pricewaterhouse Cooper the reed foundation the rudin foundation
s&P global the shubert foundation the shubert organization, inc.
theatre refreshments
ticketmaster
Wenner foundation
Zegar family foundation
THE TOWN HALL’S YOUNG PATRONS CIRCLE
Join the next generation of town Hall supporters! town hall’s Young Patrons Circle is a special membership group, ages 21-40, that engages in social and educational activities through exciting events, performances, and programming. We are brought together by a shared love of the arts, a deep interest in social change, civic engagement, and a desire to become part of a growing group of like-minded individuals that support town hall.
For more information about the young Patrons circle, please contact Jacquie maddox, director of development - development@thetownhall.org
YOUNG p ATRONS C i RC l E MEMBERS
Jesse Axelrod*
Julia Bates
Kevin Costello
Jenna Clark Embrey
Kate Estes*
Kathleen French
Mark Garner*
TOUR
Edward Garrity*
Vincent Iannuzzi
Marley Lewis, Yevgeny Vilensky
Greg Minogue*
Sheila O’Donoghue
Anna Pappa
Katherine McCollom Pooser
Joseph Reigadas*
Margaret Schultzberg
Jonathan Tulman*
Veronica Underhill
Benjamin Wirtshafter*
*Young Patrons Circle Executive Committee
THE HISTORIC TOWN HALL
town Hall has played an integral part in the electrifying cultural fabric of new york city for more than 90 years. A group of suffragists’ fight for the 19th Amendment led them to build a meeting space to educate people on the important issues of the day. during its construction, the 19th Amendment was passed, and on January 12, 1921 the town hall opened its doors and took on a double meaning: as a symbol of the victory sought by its founders, and as a spark for a new, more optimistic climate. in 1921, german composer richard strauss performed a series of concerts that cemented the hall’s reputation as an ideal venue for musical performances. since, town hall has been home to countless musical milestones: the us debuts of strauss, and isaac stern; marian Anderson’s first New York recital; in 1945, dizzy gillespie and Charlie Parker introduced bebop to the world; bob dylan’s first major concert in ‘63; and much much more.
LeArN more. visit tHetoWnHALL.orG/tours
Peggy van raalte & barry Abbott
shari Acebedo**
Patricia Adell & Jeffrey sussman*
Pam Africk**
mr. & mrs. Louis Aidala*
emerson Allen*
Phyllis barasch**
Justine barrett
Laurie bauman
William beck
kathleen begala & Yves-Andre istel
howard f berman**
Nancy & evan berman
Jane eisner bram*
Pat brown*
Colin A. burns*
ralph buultjens**
Claudio Cafengiu
karen & Alexander Callender**
marcy & Leona Chanin foundation**
dr. stuart Chassen*
James P. Coffey*
gloria & irwin Cohen*
mindy A Cohen*
Leah Cooper
Jamie delio**
shauna & michael denkensohn*
susan and rick derrickson
mary dettling-Wright**
greg diamond
sharon dunn
robert dwyer, Jr.*
hon. betty W. ellerin*
robert evanson**
diane fairbank**
hazel & russel fershleiser**
Caryl field
Nancy fisher
Joe flanagan*
valerie fontaine kempner*
Anonymous
dr. Charlotte frank & marvin Leffler**
dori fromer & harley frank*
matthew frank**
donna frankel
michael & Anne frank-shapiro*
bobby & vicki freeman
Adrienne frosch*
david fuchs*
susan & michael furman
Carmen gaito
Pete ganbarg*
mary ganzenmuller
simone garcon
kathleen germann
michele gerstel
matthew ginsburg*
goldfarb & fleece
roanne goldfein
barbara gottlieb*
Patricia green**
Agnes gund**
fran and richard habib*
kathleen hagen*
Cleo han*
Jill & martin handelsman*
Alan harwick
Priscilla h hoffman*
ryan holmes
sandy & Alfred horowitz*
fern hurst & Peter rubin**
dr. elizabeth iannizzi**
Adam idleberg*
Curtains up!
todd Jick*
henry Johansson*
robert m kaufman*
kathleen & richard kearns
tom king
eric krasnoff*
mr. & mrs. Paul kronish*
John kuehn & elaine Crowley
susan Lampard*
susan Lyman & Larry Lane
John Leahan
Jacqueline & bruce Leffler**
karin & marc Leffler*
John Lewin
Adam & melony Lewis**
daniel r. Lewis**
ivy Lewis**
robin & Jay Lewis**
tanner Lindsey
Local one i.A.t s e
Colleen Lynch
Jean & ken malecki**
tanya marks
gavin mcfarland
t meadow
david medlar*
keith meritz & david hurst
richard & merle milder
Paul Z. miles**
isaac mizrahi**
sean mooney
richard J moylan
Nobuko Narita*
edy Nathan*
James Naughton & Laura richards*
Chad Newman & Jared stanisci
Carol & davis Noble*
Patrick o’donnell*
dorinda J. oliver**
shelly Packer**
doris & martin Payson*
tim Peierls**
daniel & Cristina stefani-rackow
Leslie raicer*
Catherine randolph*
michael reidy
robert rene
rita robbins**
elaine roman
A. Jeffrey rosen
kathleen rosenberg**
Zita rosenthal*
rhoda rothkopf**
michael rotter**
William berndt & shima roy*
Nancy rubin
fiona howe rudin*
robert & Lynda safron**
barbara salmanson*
roberta schechter*
Joan schiavone roberta schleicher*
david schmid
robert and heidi schwartz robert score*
Alan shabot*
Patricia & brian shea** susan & victor shedlin**
Anthony shepherd
Constance silver*
melanie sloan* kimberly A. smith** hansel smyth & Caitlin freeman erik sonsteby
madhu r goel southworth** rich stanton
Nevin steinberg & Paige Price**
Judy & michael steinhardt**
Charlotte stewart
raymon f. & Carolyn A. strecker
Jason stull & steve Avery kartik subramanian & sireesha baljepalli**
Lara taubman
Abbe tiger
tom toce & Liz Portland steven trigoboff
Lawrence unger**
kara unterberg*
bruce van dusen
Jeffry vonWald*
daniel r. Wacks*
susan Jordan Wayne*
Weston Wellington*
richard Winn
karen Winslow & michael mcgovern
Carol marks & tom Wirtshafter**
matt howard & melissa Wohlgemuth*
merryl & Charles Zegar**
susan Zohn**
Anita Jaffe &
Lawrence C. Zucker**
sloan Zuckerman
gary Zych*
We invite you to support the Hall at any level, and enjoy the exclusive benefits of becoming a Town Hall Member.
Advance Ticket Access notification of Presale & discounts for concerts and Events
Member Discounts at local restaurants
Access to pATRON CiRClE SEATS
reserved seats to town hall Presents concerts and other select events ( with special pricing, when available )
Complimentary Tickets to select town hall Presents shows & Events
Complimentary Tickets to Town Hall Gala
Special invitations to Sound Check or Dress Rehearsal
Seat plaque in The Hall
Complimentary Advertisement in Town Hall Gala Journal
invitations to an Artist Meet & Greet after a select town hall Presents concert
All Members Receive Special Recognition in Town Hall programs
All
are
* More s ustaining Membership levels available at
Bank of America applauds The Town Hall for bringing the arts to all
When members of the community support the arts, they help inspire and enrich everyone. Artistic diversity can be a powerful force for unity, creating shared experiences and a desire for excellence.
Bank of America recognizes The Town Hall for its success in bringing the arts to performers and audiences throughout our community.
Visit us at bankofamerica.com/arts
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