park avenue armory House presents Program

tune-in festival FEBRUARY 16 —20, 2011

1 www.armoryonpark.org Park Avenue Armory is New TUNE-IN MUSIC York City’s most exciting FESTIVAL SCHEDULE new arts center, dedicated to visual and performing Wednesday, February 16 Sunday, February 20 art that cannot be mounted 6:00-7:00 pm Artists’ Talk: 10:00 am-noon Educational Workshop: Paul Haas, Paul Fowler, Bora Yoon Tuning-In to the Music around Us: An Interactive Exploration of Inuksuit in traditional museums and 7:30 pm : ARCO Email [email protected] with Sympho, New York , for more information and Charles Perry Sprawls performance halls. 2:30-3:30 pm Artists’ Talk: John Luther Adams, Thursday, February 17 Doug Perkins and Lisa Kaplan 6:00-7:00 pm Artists’ Talk: Lisa Kaplan and Tim Munro (eighth blackbird) (eighth blackbird) and David T. Little 4:00 pm Concert: INUKSUIT 7:30 pm Concert: powerFUL with members of eighth blackbird, with eighth blackbird, red fish blue fish, Newspeak, red fish blue fish, and guest artists Newspeak, and guest artists

Friday, February 18 Follow the conversation on Twitter: #PAATuneIn 6:00-7:00 pm Artist Talks’: Matt Albert (eighth blackbird), This program is supported by the New York City Department of Cultural Steven Schick, and Michel Galante Affairs in partnership with the City Council, The Reed Foundation, and (Argento Chamber Ensemble) The Amphion Foundation, Inc. 7:30 pm Concert: powerLESS with eighth blackbird, Argento Chamber Ensemble, red fish blue fish, Steven Schick, and guest artists

board of directors

Chairman Marvin Chudnoff Joel I. Picket Elihu Rose, PhD. Sandy Ehrenkranz Joel Press President and CEO Michael Field Genie H. Rice Rebecca Robertson Karl Katz William D. Rondina MG Edward G. Klein, NYNG (Ret.) Janet Christine Ross Adam R. Flatto, Vice Chair Arie L. Kopelman Jeffrey Silverman Marjorie L. Hart, Vice Chair Kenneth S. Kuchin Donald J. Toumey William A. Ackman Stephen Lash Harrison M. Bains Pablo Legorreta Founding Chairman, 1999-2009 Kent L. Barwick Burt Manning Wade F.B. Thompson Cora Cahan Anne L. Millard

www.armoryonpark.org www.armoryonpark.org EIGHTH BLACKBIRD: POWERLESS? 2011 TUNE-IN Park Avenue Armory is a space like no other. With its powerLESS delights in the teeming, multifaceted world of improbably gargantuan drill hall, lavish anterior rooms, Stravinsky’s beloved “absolute music”: music with no external, eventful past and current prominence as a venue for un- explicit “meaning.” The works on this program, in the words MUSIC FESTIVAL missable artistic events, this is truly one of America’s most of Luciano Berio, “can’t stop the wars, can’t make fascinating venues. As Tune-In curators, it was important for the old younger or lower the price of bread, make tulips grow us to develop a program that matched its awesome size and in my garden and alter the flow of the ocean currents.” scope. Two compelling musical edifices bookend a marathon program “Music is, by its very nature, essentially powerless to express that traces a hypnotic path from darkness into light. anything at all.” The Armory’s vast drill hall descends into darkness for Georg Welcome. Like the many festivals dedicated to deepening The festival is underpinned by the impassioned commitment Igor Stravinsky’s provocative statement provides the seed Friedrich Haas’s otherworldly, hour-long in vain. Circling, our connection with music, Park Avenue Armory’s inau- of ensembles to various , and certainly composers for the festival. Stravinsky rejects what many take to be the spiraling wisps grope their way through the cavernous dark, gural Tune-In Music Festival joins a potent and fulsome to these ensembles. Considered altogether Tune-In is an value, meaning and purpose of art, and cuts to the very searching “in vain” for safe musical home. This is the mas- arena of expressive musical activity. And in a city that immersive and ebullient festival of purposeful intent and is heart of what we do as artistic creators. Can music only be terpiece of a sonic magician, and no American group is many define as music itself—one where we enjoy dizzying offered to all of us to an incredible range of musical “about” music? Can it have no social value? as well-qualified to play this music as New York’s Argento access to virtually every form of music imaginable—we are thought and talent. Chamber Ensemble, which has Haas’s music in its blood. thrilled to do so. The festival signals Park Avenue Armory’s Each festival event challenges Stravinsky’s statement by tak- commitment to enhancing opportunities for contemporary As you will likely experience, the festival brings together ing radical position: for the negative (powerFUL), and for Steve Reich lets the light shine in, as his Music for 18 Musi- musicians and composers, within a facility that is certainly close to 200 musicians from around the country to join the affirmative (powerLESS). The concluding event (INUK- cians, a pulsating, joyous ode to musical abstraction, leads singular. In this festival, place matters, and the unique forces in service to specific compositions and the live con- SUIT) provides musical (or spiritual) balm after the fray. listeners on a mesmerizing musical road trip. America’s finest properties of the drill hall itself are featured ingredients of cert experience. Beginning with Sympho’s world premiere young performers will be involved in this fitting tribute to the these concert experiences. of ARCO, throughout the powerFUL/LESS events, and “Art for art’s sake is just another piece of deodorized dog shit.” composer’s 75th birthday. An inventive arrangement of J.S. culminating in the New York premiere of John Luther Bach’s elaborate miracle of musical construction, the D minor The programming is informed by several values—rigor, Adams’ Inuksuit—musicians, whether soloists, ensemble Chinua Achebe’s angry dismissal inspires our musical Chaconne, introduces and leads directly into Reich’s work. idealism, great talent and connection. I want to dwell on members or as an orchestra—are in collaboration with argument for the negative, powerFUL, a concert based the latter, as connection in this context has many layers. the material and the space itself to ensure our connection around the belief that art can be a political tool. Here is Speaking with a still small voice between the twin monuments Musically, the connection between the past and present to an array of rarely performed and extraordinary works. music that gives an impassioned, disruptive clarion call of Haas and Bach/Reich is UrSonate, Kurt Schwitters’s in the repertoire is important and has informed much of for social consciousness and action. uncategorizable work for solo speaker, which makes compel- the curatorial through lines (eighth blackbird), and for Our acknowledgement and appreciation for all involved in ling musical drama out of an invented, nonsensical language. Paul Haas and Sympho, the composition itself. There are making Tune-In move from an idea to an event that won’t Frederic Rzewski’s blistering Coming Together sets a prescient Steven Schick’s virtuoso performance is the stuff of legend. connections being explored between acoustic and amplified soon be forgotten. text by a victim of the Attica prison riot, and Louis An- instrumentation, the technology of the crafted instrument driessen’s ear-shattering Workers Union combines freedom Inuksuit is a new evening-length work by John Luther and technology as instrument. —Kristy Edmunds and discipline to “express collective solidarity.” John Cage Adams that, while not explicitly political, is deeply influenced Consulting Artistic Director, Park Avenue Armory intended his percussion work Credo in US, with its satirical by the composer’s belief that “music can contribute to the use of phonograph records, as a pointed critique of American awakening of our ecological understanding. By deepening our society, while Matt Marks paints a musical portrait of Glenn awareness of our connections to the earth, music can provide Beck and David T. Little sings a love song to crude oil. a sounding model for the renewal of human consciousness and culture.” We welcome two young, virtuoso groups from opposite sides of America to help eighth blackbird throw these This colossal work for 72 percussionists will use every inch musical grenades. Newspeak is a New York-based ensemble of the Armory’s Drill Hall, utilizing the sounds of the that straddles the dividing line between music and politics, Manhattan streets to evoke a vast urban jungle. while red fish blue fish in is an experimental percussion laboratory based in San Diego and led by a musical force of —eighth blackbird nature, Steven Schick. Festival Curators, 2011 Tune-In Music Festival

4 www.armoryonpark.org www.armoryonpark.org 5 while additionally selecting pre-composed pieces for inclusion ABOUT THE COMPOSERS performed at Carnegie Hall, Weill Recital Hall, the Na- Wednesday, February 16 and inviting the other composers to create simultaneous Paul Haas (USA, b.1971) tional Concert Hall of Taiwan, and Japan’s Suntory Hall voices. The result is a multi-layered experience. According to The New York Times, Paul Haas “is surely among others, and been featured at Music from Angel ARCO on the brink of a noteworthy career.” He is the newly- Fire, Norway’s Borealis Festival, the MATA Festival, and The first section, directed by Haas, exposes the fragility of appointed Music Director of the Symphony of Northwest Belgium’s International Marimba Festival. His music has 90 minutes, no intermission the human soul in its unevolved beginnings, hopelessly Arkansas (SoNA), and his conducting engagements have been awarded the First Music Award, the ASCAP Morton lost yet haunted by the seeds of memory and the notion of included performances with the Orchestra of St. Luke’s, Gould Young Composer Award, the Louis Smadbeck Paul Haas, Paul Fowler, Bora Yoon: ARCO (2011) redemption. The audience’s spatial awareness emerges from San Antonio Symphony, and the Fort Worth Symphony Composition Award and the Swan Composer Award World premiere a point in the center of the drill hall, expanding gradually to Orchestra, among others. Recently, Paul’s performance (Honorable Mention). Fowler has degrees from Ithaca Performed by: Sympho, New York Polyphony, and include the entire breadth of this enormous space. with the National Symphony Orchestra and Itzhak College and the University of Michigan and teaches at Charles Perry Sprawls Perlman as soloist caused the Washington Post to write: Naropa University. The second section, directed by Fowler, employs the second “The young conductor Paul Haas was all about fresh movement of Beethoven’s 7th Symphony as both a point of thinking and visceral engagement … Haas is headed for Bora Yoon (USA, b.1980) ABOUT THE WORK departure and a guide. Using the most rigorous of musical a significant podium career.” As former Music Director Bora Yoon is an experimental multi-instrumentalist, com- Sympho’s ARCO is a modern creation myth that speaks of forms—imitation, canon, fugue and passacaglia—Fowler’s of the renowned New York Youth Symphony, which poser and performer, who creates architectural soundscapes the human condition, at once a musical exploration of an music witnesses mankind as he forms his singular identity, performs regularly at Carnegie Hall, Haas and the NYYS from voice, found objects, chamber instruments, and architectural icon and a sonic voyage through time and space. his perspective and his world, interrupted by the divine (deus were awarded the ASCAP-League of American Orchestras digital devices. Featured in WIRE magazine and the front Rich with metaphor, the title is the Italian word simultaneous- ex machina) as sung by New York Polyphony. As divine grace Bernstein Award for Educational Programming. Recently, page of The Wall Street Journal for her musical innovations, ly meaning “bow” as a weapon, a tool used to play a stringed pours from the balconies, man turns to covetousness and Haas was selected out of hundreds to perform in the Yoon explores where sound connects to the subliminal with instrument, and “” or “arc”. An arch represents a gateway militantly protects that which he has created. League of American Orchestras’ prestigious National modern and antiquated instruments and technologies that often symbolic of transition or transformation; an arc is a sec- Conductor Preview. Haas also enjoys an active composing plays with sensory associations and spatial idiosyncrasies tion of a circle, a universal symbol for the divine. Created The third section begins with the explosion of Fowler’s career, having received the Selden Memorial Award and with much spontaneity and little regard to the classifying in four sections, ARCO travels through the experiences of music. The soundscape is interrupted by something akin to Friends of Music Composition Prize of Yale University. genres of instrumentation. Yoon has presented her original human development, searching for meaning and purpose a classical intermezzo: a musical battle between the warlike He conducted the premiere of his Matthew Says for soundwork ( (( PHONATION )) ) at Lincoln Center, the along multiple emotional and spiritual paths. ego, personified in bass-baritone Charles Perry Sprawls, and orchestra, chorus, and two violin soloists at Carnegie Nam June Paik Museum in Seoul, Brooklyn Academy of the ecstatic realized self, performed by Yoon. These two voices Hall in 2007 and premiered three other orchestral pieces Music, Roulette Intermedium, Bang on a Can Marathon, Performing composers Paul Fowler, Bora Yoon, and personify the evolution of a being: the power and strength of in New York City during recent seasons. Other works and with Samsung, and TED Conferences. She has been Sympho Artistic Director Paul Haas are sculptors of sound the ego versus the virtues of wisdom and grace. During the include an a cappella Mass, as well as various orchestral awarded fellowships in Music/Sound from the New York whose work sonically and visually accentuates the unique height of violence, the music shifts audibly into the fourth and and chamber works. Currently, he is working on a large- Foundation for the Arts, and Asian American Arts Al- spatial design of the Armory’s vast drill hall. ARCO is final section of epiphany and ecstasy, written by Haas. scale commission from San Francisco-based Hope Mohr liance, Sorel Music, Billboard, BMI; and is published by the convergence of their distinct voices that have created a Dance, to be premiered in March 2011. Paul Haas is a Boosey and Hawkes, and the Journal of Popular Noise. She is visionary soundscape reflective of the notion of human Then, using binaural frequencies, soprano voice, and looped graduate of Yale University and the Juilliard School. He currently scoring and performing the live music for Haruki transformation and the infinite inclusivity of universal electronics, Yoon creates a phantasmic sound journey in also studied opera conducting in Dresden, Germany, at Murakami’s “Wind Up Bird Chronicle”—an interdisci- cycles: creation, reincarnation, resurrection, and the con- which hope overcomes despair. Yoon embodies a dove, flying the Hochschule für Musik. plinary multimedia theatre adaptation presented by the tinual process of redefinition. Utilizing the architecture and over the Ark as a sign of salvation and the freedom that comes Barshynikov Art Center and Asia Society, headlining the history of Park Avenue Armory with site-specific intention, when the human being achieves divine evolution. Paul Fowler (USA, b.1978) Edinburgh International Arts Festival this August 2011. ARCO at times iconographically calls forth the idea of the Sourcing materials parsed from the world’s spiritual www.borayoon.com Ark in the biblical flood as a symbol of safety, while also ARCO arrives at its end in hushed ecstasy, encompassing traditions and natural beauty, Paul Fowler’s music encountering the cavernous space of nothingness. the vastness of the drill hall and the music of multiple times occupies a unique space that invokes our shared human and places. Haas’ music envisions a state of enlightenment experience. Drawing on his fascination with esoteric sys- ABOUT THE PERFORMERS The music blends time periods and styles from Western and and pure potential, known in Indian traditions as Sama- tems of harmony and pitch theory and his regular work as Sympho Eastern Classical traditions. Old and new, each piece is contex- dhi. Having traced the lines of the arc through which the an improvising pianist, vocalist, and electronic musician, Paul Haas, Artistic Director tualized within the grand journey devised by Fowler, Haas, and archetypal life traverses, the evening’s journey culminates in Fowler’s music straddles old and new in a highly personal Sarah Kidd, Assistant Conductor Yoon. The evening begins with Arvo Pärt’s epic Cantus in Mem- a meditative silence and stillness that invites the audience to and integrative way. Recent projects for the composer Geoffrey McDonald, Assistant Conductor ory of Benjamin Britten, and weaves through music drawn from inhabit a moment of contemplation. include a work for overtone singer and orchestra, a film score composers ranging from Perotin and Monteverdi to Beethoven collaboration with Grammy winner, Robert Mirabal, and a and Byrd. Each section has been created and is directed by one —Ruth Pongstaphone large choral work for Donald Nally and The Crossing which or more of the primary composers who composed new music, ARCO Staging and Visual Design Director will be released on CD this spring. His works have been

6 www.armoryonpark.org www.armoryonpark.org 7 ABOUT THE PERFORMERS (continued) “Something important was happening, something with David T. Little (USA, b.1978) draws upon his experience Violin I Nurit Pacht, Concertmaster; Keats Dieffenbach; emotional stakes.” Sympho’s Flection and Tweetheart Thursday, February 17 as a rock drummer, fusing classical and popular idioms to Erin Benim; Heesun Shin; Chi-Young Hwang; premiered in New York City in May 2009 and 2010, respec- dramatic effect in his theatrical, often political music. His Jennifer Curtis; Kristi Helberg; Rebecca Cherry tively, to widespread acclaim. www.symphoconcerts.org powerFUL music has been performed by the London Sinfonietta, the Violin II: Victoria Paterson; Alessandra Jennings Flanagan; Baltimore Symphony under Marin Alsop, eighth blackbird, Joan Plana; Rachel Golub; Erica Dicker; Amanda Lo New York Polyphony 80 minutes, no intermission and Todd Reynolds, among others. Little’s sweet light crude Viola Jessica Meyer, Principal; David Fallo; Miranda Sielaff; New York Polyphony is establishing itself as one of the is about love and addiction; about misery; about the per- Angela Pickett; Entela Barci finest classical vocal ensembles of a new generation. With Frederic Rzewski: Coming Together (1972) versity of loving your captor. It’s a love song to oil. Cello Arash Amini, Principal; Jane Cords O’; “beautifully blended voices of individual distinction” (The (arr. Matt Albert ) Performed by: eighth blackbird Leigh Stuart; Sofia Nowik Independent), the four men deliver dynamic performances John Cage: Credo in US (1942) Stefan Weisman (USA, b.1970) creates playful and Bass Roger Wagner, Principal; Bradley Lovelace; in a wide range of styles. Their debut CD I sing the birth was Performed by: red fish blue fish brooding soundscapes, specializing in vocal pieces that Nicholas Lenchner released on Avie Records in 2007. For their second release, David T. Little: sweet light crude (2007) explore edgy and compelling topics. He has written Flute/Piccolo Sato Moughalian, Principal; Lance Suzuki; Tudor City, New York Polyphony turned to the sacred music Performed by: Newspeak two operas (Darkling and Fade) and works for Bang Andrew Rehrig of the Tudor England. The result is a compelling synthesis of Stefan Weisman: I Would Prefer Not To (2007) on a Can, Sequitur, and the Empire City Men’s Choir. Oboe James Austin Smith, Principal; Carl Oswald; ancient and contemporary vocal music that All Music Guide Performed by: Newspeak Weisman’s I Would Prefer Not To is inspired by Melville’s Nicholas Masterson calls “a very beautifully sung and considered selection.” Matt Marks: A Portrait of Glenn Beck (2009) Bartelby, the Scrivener, in which Bartelby gradually stops English Horn Nicholas Masterson Since its founding in 2006, New York Polyphony has main- Performed by: Newspeak performing his duties as a scribe, and after being fired Clarinet Todd Palmer, Principal; Nicholas Gallas; tained an active performing schedule. The ensemble has Louis Andriessen: Worker’s Union (1975) even refuses to leave the premises. Actually, Bartelby Benjamin Fingland participated in major concert series and festivals throughout Performed by: eighth blackbird, Newspeak, red fish blue never “refuses” anything… he simply and repeatedly Bass Clarinet Benjamin Fingland the U.S. and Europe, including Lincoln Center’s Mostly fish, Doug Perkins, Lisa Moore, Blair McMillen, states, “I would prefer not to.” Bassoon Rebekah Heller, Principal; Brad Balliett; Mozart, the Pipeworks Festival, Ardee Baroque and Five Josh Rubin, Kamala Sankaram, Abby Fischer, Nina Faia Natalie Pilla Boroughs Music Festival in New York City. Matt Marks (USA, b.1980) is a composer/performer of French Horn David Byrd-Marrow, Principal; emotionally manipulative pop songs and acoustic works. A Jacquelyn Adams; Jason Sugata; Rachel Drehmann Charles Perry Sprawls ABOUT THE WORKS founding member of Alarm Will Sound, he also performs Trumpet Gareth Flowers, Principal; Joshua Frank; Bass-baritone Charles Perry Sprawls, a native of Atlanta, Frederic Rzewski (USA, b.1938) writes: “Coming Together as a French hornist with ICE, Signal, and ACME. Marks’s Nathan Botts Georgia, enjoys a busy solo career as well as being in-demand was written in response to the 1971 Attica prison riot. A Portrait of Glenn Beck, based on text from Beck’s [in] Trombone Brian Mahany, Principal; Brian Reese for a wide range of operatic, choral and small ensemble Governor Rockefeller ordered state police to retake famous 9/12 Fox News special, exists as a type of theme Bass Trombone Mark Broschinsky projects. Recent performances include Beethoven’s Missa the prison, and in the ensuing violence 43 people were music for the man, his mission, and his ideals. This Tuba Dan Peck, Principal Solemnis, Raphael in Haydn’s Die Schöpfung, the Szyman- killed. Among the dead was Sam Melville, a prisoner speech in particular is a brilliant work of propaganda. Percussion Eric Beach, Principal owski Stabat Mater, and Rossini’s Petite Messe Solennelle, who helped organize the rebellion. Before the riot The music is blindly sympathetic and deliberately avoids Timpani/Percussion Jeffrey Irving, Principal the Mozart Requiem on the Great Performances series Melville wrote to a friend; this letter was published after commentary on the rightness or wrongness of Glenn Blair McMillen, Principal at St. Bartholomew’s Church, roles in Chausson’s Le Roi his death. I was impressed both by its poetic quality Beck’s politics and opinions. Piano/Laptop/Overtone Singing Paul Fowler Arthus and Dallapiccola’s Volo di notte with the American and cryptic irony: the simple language was ambiguous, Harp Kirsten Agresta Copley, Principal Symphony Orchestra, and his Carnegie Hall debut in concealing a hidden message.” Rzewski fragmented and Louis Andriessen (Netherlands, b.1939) drew inspiration Soprano/Tibetan Bowl/Sound Design Bora Yoon the Beethoven Mass in C with Oratorio Society of New re-ordered the text of this letter, which is narrated above in the 1960s and 70s from figures as diverse as Miles Davis, York. He has performed as a soloist with the Berkshire a stubborn, slowly intensifying argument. Terry Riley, Che Guevara, Igor Stravinsky, Charles Ives, Piet Sympho is dedicated to revitalizing the Bach Society and at the Bard Music Festival. In previous Mondriaan and Plato to create loud, stark, brutal musical concert experience for a modern audience. Sympho has seasons, Sprawls has performed on stage as a member of John Cage (USA, 1912-1992) composed Credo in US as protests that would “express collective solidarity.” Andries- created a new performance concept, more accessible and the associate chorus at both the Metropolitan Opera and nearly the last work in a series of revolutionary works for sen writes that “Workers Union (for any loud sounding visceral, that enriches the musical experience and connects New York City Opera. He has appeared as a member of the percussion ensemble between 1939 and 1943. Scored for instruments) was written for the orchestra De Volharding audiences to the vitality of the music itself. The success of ensemble of Sweeney Todd in Concert with the New York piano, two percussionists and a radio or phonograph player, (“Perseverance”), an ensemble comprising mainly of brass this concept was evident with the reception of Sympho’s Philharmonic and the Lincoln Center Festival production Credo has been seen variously as a comment on popular instruments. This piece is a combination of freedom and first concert production, Rewind, which was performed to of Goldenthal’s Grendel. Recent performances include the culture, a reaction to the bombing of Pearl Harbor, or a discipline: its rhythm is fixed, its pitch is approximate. It is sold-out audiences in New York City and San Francisco, Bloch Sacred Service with the Dessoff Choir and the premiere love letter to the chaos of noise. More than anything else difficult to play in an ensemble and to remain in step, like and Traces, which soon followed. According to The New York performances and recording of Harold Farberman’s Diamond though Credo, lives up to its name. Here Cage says with his organizing and carrying out political action.” Times, Sympho “refits the classical experience for a new cen- Street at the historic Hudson Opera House. famously light touch, “I believe:” in the promise of chance, tury”. “Something momentous has occurred,” rejoined the in the richness of noise, in the joy of the simple actions like San Francisco Chronicle. And Symphony magazine declared, Staging and Visual Design by Ruth Pongstaphone playing a drum or dropping a needle onto a record.

8 www.armoryonpark.org www.armoryonpark.org 9 ABOUT THE PERFORMERS New York on the Bang on a Can Festival (at Lincoln Center Kurt Schwitters (Germany, 1887-1948) called his eighth blackbird and the Henry Street Settlement), the Agora Festival (Paris), Friday, February 18 mammoth, 30-minute long UrSonate a “sonata in primal Flutes Tim Munro the Centro des Bellas Artes (Mexico City), the Los Angeles sounds.” UrSonate celebrates the human voice as a progeni- Clarinets Michael J. Maccaferri County Museum of Art, and as a regularly featured ensemble powerLESS tor of pure sound, unadulterated by meaning. In 1922, Violin & Viola Matt Albert on the Los Angeles Philharmonic’s Green Umbrella series, Schwitters might have thought he was nearly alone in the Cello Nicholas Photinos sharing a concert with percussionist Evelyn Glennie in 3 hours, two intermissions exploration of material for its own sake. He could not have Percussion Matthew Duvall the Disney Hall in Los Angeles. In 2006 red fish blue fish known then that three great concerns of late 20th and early Piano Lisa Kaplan released a 3 CD set of the percussion music of Iannis Xenkis Georg Friedrich Haas: in vain* (2000) 21st century art—percussion and electronic music and to great critical acclaim. Two DVDs—of the early percussion Performed by: Argento Chamber Ensemble video art—would follow the same path. Sound designer eighth blackbird is widely lauded for its unusual performing music of Karlheinz Stockhausen and of Roger Reynolds’s Kurt Schwitters: UrSonate (1922-32) Sharokh Yadegari, video artist Ross Karre, and performer style— often playing from memory with theatrical flair— Sanctuary—will be released by Mode Records in 2011. Vocals performed by: Steven Schick Steven Schick have created an UrSonate that reconsiders and for its efforts to make new music accessible to wider Electronics composed and performed by: Shahrokh Yadegari Schwitter’s original work through the lens of early 21st audiences. Since its founding in 1996, the sextet has actively Newspeak Video by: Ross Karre century sound and video art. New versions of old ideas commissioned and recorded new works; recent commissions Violin/Voice Caleb Burhans Johann Sebastian Bach: Chaconne from Partita in emerge through a focus on rhythm, sound manipulation, include a concerto from Jennifer Higdon and pieces from Voice Mellissa Hughes D Minor (1717-23) (arr. Matt Albert ) image, and spatialization, becoming an expression of action Steve Reich, Mark-Anthony Turnage, Steven Mackey, David Synthesizer James Johnston Performed by: eighth blackbird, red fish blue fish, and provocation. Lang, Stephen Hartke, and Bruno Mantovani. The group’s Electric Taylor Levine Lisa Moore, Josh Rubin, Blair McMillen, Mellissa Hughes, CD strange imaginary animals won two Grammy Awards in Drums David T. Little Co-director Kamala Sankaram, Nina Faia, Abby Fischer Johann Sebastian Bach’s (Germany, 1685-1750) Chaconne 2008, including one for Best Chamber Music Performance. Clarinets Eileen Mack, Co-director Steve Reich: Music for 18 Musicians (1974-76) is perhaps one of the most well-known and rigorous of Now celebrating its 15th season, eighth blackbird showcases Cello Brian Snow Performed by: eighth blackbird, red fish blue fish, violin solos. Matt Albert writes: “When we talked about music by the two most recent Pulitzer Prize-winning com- Percussion Peter Wise Lisa Moore, Josh Rubin, Blair McMillen, Mellissa Hughes, what to program alongside Music for 18 Musicians, JS Bach’s posers in its 2010-11 recording and performing repertoire, Kamala Sankaram, Nina Faia, Abby Fischer Chaconne leaped out at me as an interesting complement. featuring new and recent works (written expressly for the Newspeak is an eight-piece amplified ensemble working This set of variations over a four-bar generates a sort ensemble) by both Jennifer Higdon and Steve Reich. Other under composer David T. Little and clarinetist Eileen Mack. *Please be advised that strobe lights will be used during the of Baroque-era minimalism, and the Chaconne’s three part highlights of the ensemble’s season include performances Named after the thought-limiting language in George Or- performance of in vain. structural arc (minor-major-minor) reflects Reich’s own arc at Carnegie Hall and London’s Barbican Hall and a new well’s 1984, Newspeak explores the grey area where art and (major-minor-major). In my arrangement I preserved Bach’s CD featuring Reich’s prize-winning Double Sextet on the politics mix, seeking to reconsider, redefine, and ultimately harmonies, but strove to evoke Reich’s instrumental choices Nonesuch label, released in September 2010. Highlights of reclaim the notion of socially engaged music. By embedding ABOUT THE WORKS (alternating pulses at the first climax, using the vibraphone as past seasons have included performances in South Korea, elements of a rock band into a classical new music ensemble, Georg Friedrich Haas’s (Austria, b.1953) in vain is the trigger for each new section) and bring to the fore ideas Mexico, the UK, the Netherlands, and at nearly every major Newspeak confronts the boundaries between the classical inseparable from the special circumstance it requires in only suggested in the solo violin original.” chamber music venue in North America. eighth blackbird and the rock traditions. Utterly committed to the music of performance, that segments of the score be performed in was honored in 2007 with the American Music Center’s its time, Newspeak has commissioned, work-shopped, and total darkness. Not seeing the musicians, we may listen Steve Reich (USA, b.1936) transforms an intriguing technical Trailblazer Award and a Meet The Composer Award, and the premiered work by some of the most exciting members of differently, perhaps more intently. But also, the musicians puzzle into a celebration of communal music-making in Music group’s numerous competition wins include the Grand Prize the new generation, including Oscar Bettison, Darcy James cannot see one another—or the conductor, or, indeed, for 18 Musicians. At the heart of the piece is a cycle of eleven at the Concert Artists Guild International Competition and Argue, Corey Dargel, Ted Hearne, Caleb Burhans, Missy their parts. Moreover, the changes from light to darkness chords, tracing a path from major-key confidence, through the Naumburg Chamber Music Award. eighth blackbird has Mazzoli, Judd Greenstein, and David T. Little, as well as and back again introduce a new kind of drama, which the more disturbed, minor-key seascapes, and back. The cycle sur- recorded for the Cedille, Nonesuch and Naxos labels, and is established masters like Frederic Rzewski and Paul Lansky. music has to parallel. The title surely has something to faces first in calm waves from voices, winds and strings, which represented by Opus 3 Artists. www.eighthblackbird.com They have held multiple residencies at Princeton University, do with the music’s formal strategies: the always similar wash over mechanical pulses in the and marimbas. been featured on the MATA Festival, shared bills with The wavelets and the reappearance of those wavelets in the After this, the cycle sets out on a journey of eleven episodes, red fish blue fish Fiery Furnaces as part of Wordless Music, and performed middle and at the end, or the stepwise movement that, each based on a single chord. Reich was inspired by 12th cen- Steven Schick, Artistic Director as part of John Zorn’s Full Force festival. Their recently whether up or down, will lead back to the starting point, tury Organum, where “a single note in a chant melody might S. Leah Bowden, Eric Derr, Dustin Donahue, released album on New Amsterdam Records has been or the iron circle in which the music becomes confined at be stretched out for several minutes.” Each episode is suffused Stephen Solook, Jennifer Torrence, Bonnie Whiting Smith hailed as “fearlessly aware, insightfully political, (and) reso- the end. Though this is a score with a striking freshness with a subtly different musical character: Section 3 hums with lutely defiant.” “If more groups played music with such life, and clarity, as well as powerful forward energy, it repeats, newly minted energy and life; Section 6 careens towards an red fish blue fish is the resident ensemble of percussionists of power, and passion,” Sequenza21 proclaims, “nobody would too often for our comfort, the message that “progress” ecstatic, maracas-driven climax; Section 11 wrenches us into the University of California, San Diego. The group serves as think (classical) music is “dead.” brings us ineluctably round to where we began. The title, unexpected darkness. There is only one soloist in this wild a laboratory for the exploration of new work for percussion not only in its meaning but also in Haas’s orthography, jam-session: the vibraphone. Placed directly behind the strings and tours this work regularly. red fish blue fish has played in Visual Projections by Ann Hamilton encapsulates that idea: in vain. and winds, and inspired by the role of lead drummer in West

10 www.armoryonpark.org www.armoryonpark.org 11 African music, the vibraphone marshals the troops, playing University of California, San Diego and a Consulting Artist Inuksuit has been performed at the Banff Centre in the bell-like tones to herald each move to a new or section. in Percussion at the Manhattan School of Music. He was the Sunday, February 20 Canadian Rockies, on the campus of Furman University percussionist of the Bang on a Can All-Stars of New York City in South Carolina, and at the Round Top Festival in Texas. from 1992-2002, and from 2000 to 2004 served as Artistic INUKSUIT This performance at Park Avenue Armory, the first ever to ABOUT THE PERFORMERS Director of the Centre International de Percussion de Genève. be presented indoors, features seventy-two percussionists— Argento Chamber Ensemble Schick is founder and Artistic Director of “red fish blue fish” 85 minutes, no intermission fifty-four in the drill hall and eighteen in the smaller rooms Michel Galante, Conductor and director of the percussion music course “Roots and Rhi- on the west end of the building. Microphones located Flute Erin Lesser, Sooyun Kim zomes,” at the Banff Centre for the Arts. He is Music Director John Luther Adams: Inuksuit (2009) around the exterior bring the sounds of the surrounding Oboe Christa Robinson and conductor of the La Jolla Symphony and Chorus and the New York premiere streets into the space, turning the Armory inside out, as Clarinet Vasko Dukovski, Carol McGonnell principal guest conductor of the International Contemporary Performed by: members of eighth blackbird, Newspeak, Inuksuit becomes part of the never-ending music of this Bassoon Adrian Morejon Ensemble (ICE). In 2011 Schick became Artistic Director of red fish blue fish, and guest artists singular city. Saxophone Eliot Gattegno the San Francisco Contemporary Music Players. Horn Chad Yarbrough, Alma Liebrecht —John Luther Adams Trombone William Lang, David Nelson Shahrokh Yadegari ABOUT THE WORK Composer Percussion Matt Ward, Alex Lipowski Shahrokh Yadegari is on the faculty of the department of “…to act in the capacity of the human” Harp Jacqui Kerrod Theatre and Dance at the University of California, San Diego. Piano Taka Kigawa He has worked at Institut de Recherche et Coordination My music has always been rooted in the earth. For over ABOUT THE COMPOSER Accordion William Schimmel Acoustique/Musique (IRCAM) and is a founder of Persian thirty-five years I’ve composed music inspired by the John Luther Adams (USA, b.1953) Violin Miranda Cuckson, Elissa Cassini, Clara Lyon Arts Society and Kereshmeh Records, organizations dedicated outdoors, to be heard indoors. After hearing my percussion In his 16’x24’ cabin studio outside Fairbanks, where John Viola Stephanie Griffin, Kyle Armbrust to advancement and preservation of Persian traditional music. cycle Strange and Sacred Noise performed in the Anza-Bor- Luther Adams has worked for over two decades, the vast- Cello Karen Ouzounian, Hamilton Berry His music has been played internationally in various venues rego desert, the New England woods, and on the tundra of ness of Alaska has swept through the distant reaches of his Bass Kris Saebo such as the International Computer Music Conference the Alaska Range, I was moved to create a large-scale work imagination and every corner of his compositions. In turn (ICMC), the Institut für Neue Musik und Musikerziehung, conceived specifically to be performed outdoors. the United States Artists, Rasmuson and Nemmers Prize The Argento Chamber Ensemble is the performance arm Darmstadt, and Contemporary Museum of Art, San Diego. recipient has used any means necessary to communicate of the Argento New Music Project. Founded in 2000 to Inuksuit is inspired by the stone constructed over the power of the elemental forces he experiences daily. perform compositions embodying pressing concerns in Ross Karre the centuries by the Inuit in the windswept expanses of the Adams’ methods have included orchestras, percussion, Western music, Argento consists of nine core members Ross Karre is a percussionists and visual artist interested in Arctic. The Inuktitut word translates literally: “to act in the mixed ensembles and sound installations, as well as elegant and regularly expands to up to 30 musicians. This fall, engaging a variety of temporal arts practices. A consistent goal capacity of the human”. This work is haunted by the vision of prose in his books Winter Music and The Place Where You Argento spearheaded the Lunar Movements concert series, of his work is an organic balance of practices and protocol the melting of the polar ice, the rising of the seas, and what Go to Listen. Adams’ music is recorded on Cold Blue, New which explored modes of musical écriture stemming from from a variety of crafts in an interdisciplinary performance may remain of humanity’s presence after the waters recede. World, Cantaloupe, Mode and New Albion, and has been Schoenberg’s Pierrot Lunaire; upcoming events include context. Karre has worked with many important figures in performed by the Symphony, eighth blackbird, the a performance in the Cutting Edge Series at Symphony American and European contemporary music and perfor- How does where we are define what we do and who we are? American Composers Orchestra, So Percussion, Percussion Space. Argento has toured in festivals including the Norfolk mance artists including Pierre Boulez, Harrison Birtwistle, How do we understand the brevity of our human presence Group Cincinnati, Almeida Opera, and the Radio Nether- Chamber Music Festival, the International Festival of Helmut Lachenmann, Roger Reynolds, Fritz Hauser, in the immensity of geologic time? What does it mean to lands Philharmonic. Spectral Music (Istanbul), and the International Festival of Meredith Monk, and Mark Dresser and has participated in act creatively with and within our environment? Electro-Acoustic Music (Shanghai). The group has worked numerous venues and music festivals in the US and abroad. closely with Pierre Boulez, Beat Furrer, Georg Friedrich The musicians of Inuksuit are dispersed over a large area. THE PERFORMERS Haas, Bernhard Lang, Fred Lerdahl, Fabien Lévy, and Tristan eighth blackbird (see page 10) Listeners, too, are invited to move around freely and Doug Perkins, Director Murail. Winter Fragments, a recording of Murail’s music on red fish blue fish (see page 10) discover their own individual listening points. There is red fish blue fish Steven Schick, S. Leah Bowden, Eric Derr, the Aeon label, received Japan’s Record Geijutsu Academy no preferred listening point, no “best seat in the house”. Dustin Donahue, Steven Solook, Jennifer Torrence, Bonnie Award in 2010; Phonus (2009) features music by Philippe Visual Projections by Ann Hamilton Rather, every listening point is potentially the best seat. Whiting Smith, Ross Karre Hurel. www.argentomusic.org. You may choose to root yourself in a central location for eighth blackbird Lisa Kaplan, Matthew Duval, Tim Munro, the entire performance, listening as the music gradually Matt Albert, Nicholas Photinos, Michael Maccaferri Steven Schick expands to fill the site. Or you may choose to wander Newspeak David T. Little, Peter Wise For the past thirty years, percussionist, conductor and author freely, following wherever your ears may lead you, So Percussion Adam Sliwinski, Josh Ouillen, Eric Beach Steven Schick has championed contemporary percussion mu- discovering musical moments and spaces that no other Dartmouth Percussion Group Eric Schecter, sic by commissioning and premiering more than one hundred listener may ever hear. Annie Laurie Mauhs-Pugh, Sarah Aronson new works. He is Distinguished Professor of Music at the

12 www.armoryonpark.org www.armoryonpark.org 13 Yale Percussion Group Mike Compitello, John Corkill, TUNE-IN MUSIC FESTIVAL PARK AVENUE ARMORY STAFF Leonardo Gorosito, Adam Rosenblatt, Candy Chiu ACKNOWLEDGEMENTS Rebecca Robertson, President and Executive Producer Finance Peabody Percussion Group Tatevik Khoja-Eynatya, Kei Production Carissa Williams, Executive Assistant to the President Ted Vasquez, Chief Financial Officer Maeda, Terry Sweeney, Georgi Videnov, Saul Green, Lighting Designer Thomas Ontiveros Grace Lee, Project Coordinator Brian Arrow, Staff Accountant Catherine Lee, Wanlu Ma, Garrett Arney, Bjorn Grina Sound Engineers Ryan Ingebritsen & Chuck Moses Khemraj Dat, Accountant Stony Brook Percussion Group Steve Sehman, Chris Staging Design Fisher Dachs and Associates Programming Graham, Ryan Nestor, Levy Lorenzo, Piero Guimares, Technical Director Phil Hampton Kristy Edmunds, Consulting Artistic Director Capital Projects Rafael Alberto, Nick Woodbury Production Stage Manager Anne Dechêne Michael Lonergan, General Manager Lissa Frenkel, Project Director Mantra Percussion Mike McCurdy, Joe Bergen Assistant Stage Manager Karen Federing Phil Hampton, Technical Director Production Coordinator Anne Dechêne Isabel Martin, Production Coordinator History and Preservation Megan Arns, Michael Ward Bergman, Omar Camenartes, Production Assistant Pip Gengenbach Kirsten Reoch, Senior Project Director Sean Connors, Dennis DeSantis, Rob Esler, Matt Evans, Sympho Orchestra Contractor Sato Moughalian Education and Building Historian Amy Garapic, Nick Gleason, Justin Hines, Tom Kozumplik, Sympho Orchestra Production Antonio Tessitore Cassidy Jones, Education Director David Burnhauser, Collection Manager Payton MacDonald, Dave Mancuso, Devin Maxwell, Carson eighth blackbird Production Stage Manager Rachel Damon Monica Weigel, Education Coordinator Moody, Morris Palter, Luke Rinderknecht, David Schotzko, Argento Sound Technician Ryan Beppel Events and Rentals Melanie Sehman, Bill Solomon, Dennis Sullivan, Christopher Development Jennifer Stark, Special Projects Director Swist, Lisa Tolentino, Owen Weaver, Jan Williams powerFUL/LESS Heather Lubov, Chief Development Officer and Liz Bickley, Event Manager Program Notes: Notes are by the composers, except Vice President of Planning Special Thanks: Workers Union and Music for 18 Musicians (by Tim Munro), Barbara Giordano, Director of Membership and Facilities Zildjian Music Company for their generous contribution in vain (by Paul Griffiths), UrSonate (by Steven Schick), Special Events Jay Dority, Director of Facilities to Inuksuit and Chaconne (by Matt Albert). Notes compiled and edited Margaux Biernat, Manager of Individual Giving Cindy Barba, Facilities Operations Manager by Tim Munro. Nicole Mitzel, Manager of Institutional Giving Antonella Inserra, Office Manager Visual Projections: Ann Hamilton’s artwork for the Tune-In Christine K. McGarvey, Development Coordinator Williams Say, Superintendent Music Festival manipulates text, still photography and Daniel Park, Tessitura Application Manager Reginald Hunter, Building Mechanic video to complement and enhance the overarching theme Robyn Burgess, Development Assistant Leandro Dasso, Nancy Ramirez-Gomez, Mayra DeLeon, for the two PowerFUL/LESS concerts. Hamilton focuses Charmaine Portis, Executive Assistant to Olga Cruz, Dominic Santoro, Anthony Rosalia, Porters on the concentrated, intense physicality of eighth blackbird Chief Development Officer in this work, using video and photographs taken during Security music rehearsals prior to the festival. Wayne Lowery, Security Director

Pianos by Steinway & Sons Percussion provided by So Percussion, Inc., New York Percussion Service, and Ayers Percussion

Music for 18 Musicians by Steve Reich is published by Boosey and Hawkes in vain by Georg Friedrich Haas is published by European American Music Worker’s Union by Louis Andriessen is published by Boosey and Hawkes Inuksuit by John Luther Adams is published by Taiga Press

14 www.armoryonpark.org www.armoryonpark.org 15 PARK AVENUE ARMORY ABOUT PARK AVENUE ARMORY 2011 SEASON FIRST FLOOR INTERIORS GUIDE Part palace, part industrial shed, Park Avenue Armory In its first full season of artistic programming, fills a critical void in the cultural ecology of New York by the Armory presents: enabling artists to create, and the public to experience, 3 unconventional work that could not otherwise be mounted Tune-In Music Festival 2 in traditional performance halls and museums. With its (February 16-20, 2011) 55,000-square-foot Wade Thompson Drill Hall— A music festival curated by eighth blackbird that brings 4 reminiscent of 19th-century European train stations—and together today’s leading new music groups. array of exuberant period rooms, the Armory inspires art- 1 DRILL HALL ists to draw upon its grand scale and distinctive character Ryoji Ikeda: the transfinite and captivates audiences with its ability to provide intense, (May 20-June 11, 2011) 5 dramatic, intimate, and immersive experiences. The Armory’s third annual visual art commission is a vast and immersive landscape of digital imagery. 6 HISTORIC ROOM TOURS 7 Royal Shakespeare Company The Armory is one of America’s finest landmarks, (July 6-August 14, 2011) combining a rich social and military history with an An unprecedented six-week residency, co-presented The Wade Thompson Drill Hall, at 55,000 square feet, is 4. Library (now known as the Silver Room): The second extraordinary ensemble of 19th-century period rooms. with Lincoln Center Festival in association with The one of the largest unobstructed interiors in New York. Its room at the Armory designed by Louis C. Tiffany, The reception rooms on the first floor and the Company Ohio State University. 80-foot-high barrel vaulted roof is the oldest in America, Associated Artists with Stanford White. This room Rooms on the second floor were designed by the most featuring eleven elliptical wrought iron arches designed by is largely thought to be White’s design except for the prominent designers and artists of the day including Shen Wei Dance Arts Charles Macdonald. Since its construction over 130 years windows and lighting fixtures by Tiffany. It features a Louis Comfort Tiffany, Stanford White, Herter Brothers (November 29-December 4, 2011) ago, the drill hall has been home to a range of epic events, magnificent basketweave barrel vault originally painted and Pottier & Stymus. Artist-in-residence Shen Wei restages two seminal including the May Music Festival in 1881 conducted salmon color with silvered discs. works and presents a new work unhindered by by Leopold Damrosch; extravagant balls, including the During exhibition hours, the period rooms on the first traditional Western staging. Commonwealth Society Ball attended by a young Queen 5. Mary Divver Room (originally a ladies reception room): floor are open to the public to view in a self-guided tour. Elizabeth; and a performance by Luciano Pavarotti in One of three rooms by Herter Brothers, a top cabinet- There are printed guides available and information in each STREB: Essentialist Acts staging designed by Valentino. Since 2007, the Armory has making and interior design firm in the Gilded Age, on the room. Group tours with Kirsten Reoch, the Armory’s (December 14-22, 2011) presented art works of scale that could not otherwise be first floor. The hearth is surrounded by Minton art tiles historian, are available by appointment and last approxi- A powerful new work by MacArthur “genius” Elizabeth experienced in New York. depicting Arthurian legends after Tennyson. The room was mately 45 minutes. To request a tour, please email Streb that stretches the limitations of the human body. dedicated to Mary Divver, an orphan adopted by the Regi- [email protected] or call (212) 616-3937. 1. Hallways and Staircase: George C. Flint & Co. designed ment in the 1850s. Merce Cunningham Dance Company the entrance hall, the staircase and the corridors in the Re- (December 29-31, 2011) naissance Revival style in 1880. A massive wrought iron and 6. Board of Officers Room: This is one five Herter JOIN THE ARMORY The celebrated dance company ends its two-year farewell oak split staircase with original bronze torchère by Mitchell, Brothers interiors in the Armory. Herter Brothers Park Avenue Armory members support the continuing Legacy Tour with an engagement at the Armory. Vance & Co. at the base is in the center. Other chandeliers in also designed the Fifth Avenue mansion of William H. preservation of one of America’s historic treasures and the the halls date from 1897 when the building was electrified. Vanderbilt (now demolished). This room retains the development and presentation of groundbreaking arts and BUY TICKETS FOR original painted ceiling and woodwork though the educational programming. Join today and enjoy advanced ARTISTIC PRODUCTIONS 2. Veterans Room: Designed in 1880, this and the Library walls were overpainted in 1932. notice of ticket sales and exclusive previews of visual and next door are the only fully extant interiors by Louis C. performing art events before they are open to the public! Be the first to know when tickets go on sale! Sign up Tiffany, Associated Artists in the world. The Veterans 7. Colonel’s Reception Room: Originally designed by at www.armoryonpark.org/tickets to receive notice of Room has been described as “Greek, Moresque, and Celtic Herter Brothers, this room was redecorated in the 1930s ticket sales and keep current with what’s happening with a dash of the Egyptian, the Persian and the Japanese.” and 40s, including extensive additions to the wainscoting For more information about Park Avenue Armory at the Armory. and overpainting the original Pompeiian red walls and membership, please contact: 3. Field and Staff Room: Designed by Pottier & Stymus light blue ceiling. The room was further altered to accom- [email protected] or call (212) 616-3952. stay in touch in the Renaissance Revival style. The room’s original floral modate two important portraits, George Washington by and geometric stencilwork at the wainscoting and frieze has Rembrandt Peale and Colonel Lafayette presented by the facebook.com/ParkAvenueArmory recently been revealed. French government. @ParkAveArmory

16 www.armoryonpark.org www.armoryonpark.org 17 supporters Park Avenue Armory expresses its deep appreciation to the individuals and organizations listed here for their generous support for its annual and capital campaigns. Membership in Park Avenue Armory supports the continuing stabilization and meticulous care of the building and its innovative, immersive and ground-breaking arts programming.

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Peter Greenaway December 3, 2010 – January 6, 2011 Tune-In Music Festival February 16 – 20, 2011 Ryoji Ikeda May 20 – June 11, 2011 Royal Shakespeare Company July 6 – August 14, 2011 Shen Wei Dance Arts November 29 – December 4, 2011 STREB December 14 – 22, 2011 Merce Cunningham Dance Company December 29 – 31, 2011

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