Miller Theatre at Columbia University 2014-15 | 26th Season

Early Music From The Imperial Court Stile Antico

Saturday, February 28, 8:00 p.m. Church of St. Mary the Virgin From the Executive Director

It is a pleasure to bid farewell to February with Stile Antico. They are rightfully counted among the world’s best performers of , with a gorgeously blended sound that is even more impressive when you consider that the ensemble works without a conductor. Like a string quartet, their precision and unity has been built up over years of watching, listening, and collaborating together. It’s remarkable that the members of Stile Antico are able to bring this approach to complex polyphony, and the result is an active style of music-making that I love.

After tonight, only one more performance remains in this season’s series. Les Délices will join us at Miller Theatre on March 28, for a gorgeous evening of Baroque works inspired by Homer’s Odyssey. This program, Myths & Allegories, weaves together a selection of Baroque works to illuminate the story of Ulysses. Works by Jean- Féry Rebel, Thomas-Louis Bourgeois, and Elisabeth Jacquet de la Guerre (the first French woman to compose an opera) paint a fascinating picture of how artists across the centuries have connected to this story of homecoming.

March begins with a Portrait of Augusta Read Thomas, who brings together a selection of amazing works inspired by the sun, moon, and earth. The repertoire includes the world premiere of her new octet Selene (named after the Greek goddess of the moon), a string quartet from her Sun Threads series, and her magnificent Resounding Earth. Written for Third Coast Percussion, Resounding Earth demands a very specific and gorgeous collection of over 125 bells from around the world, which the ensemble will drive to New York from Chicago to make this performance possible. I can’t wait for these pieces to come to life on the Miller stage.

March also marks the start of this year’s Bach, Revisited series. In the first concert, Bang on a Can co-founder Michael Gordon pairs his work with Bach concertos. Gordon’s work strikes me as a natural fit with Bach: his propulsive sound is built on carefully crafted structure and formal underpinnings—and, of course, brilliance. Plus, we’re thrilled to welcome Ensemble Signal back to Miller for the series residency.

I look forward to welcoming spring with an amazing lineup of concert at Miller. Thank you for being a part of it!

Melissa Smey Executive Director Miller Theatre at Columbia University 2014-15 | 26th Season

Early Music Saturday, February 28, 8:00 p.m. Church of St. Mary the Virgin From The Imperial Court Stile Antico

Jubilate Deo Cristóbal de Morales (1500-1553)

Mille Regretz (1451-1521)

Andreas Christi famulus (c. 1505-1557)

Loquebantur variis linguis (c. 1505-1585)

Absalon fili mi (c. 1452-1518)

Magnificat “primi toni” (c. 1490-c. 1556)

INTERMISSION

Gloria from Missa Puer natus est Tallis

Carole magnus eras Jacobus Clemens non Papa (c. 1510- c. 1556)

Mille Regretz Gombert

Versa est in luctum (1555-1617)

Virgo prudentissima (c. 1450-1517)

This program runs approximately two hours, including intermission.

Please note that photography and the use of recording devices are not permitted. Remember to turn off all cellular phones and pagers before tonight’s performance begins. The Church of St. Mary the Virgin is wheelchair accessible. Large print programs are available upon request. For more information or to arrange accommodations, please call 212-854-7799. About the Program

One of Europe’s most extraordinary ruling dynasties, the Hapsburgs ruled greater or lesser portions of Europe from the 11th century until 1918, their heyday coinciding with the supreme musical flourishing of the 16th century. Their rule saw a particular increase during the reign of Maximilian I (son of Fredrick III, Duke of Austria, King of Germany and Holy Roman Emperor)—secured first by his marriage to in 1477 and then by the union of their son Philip “the Handsome” with Joanna “the Mad” of Castille. Thus his grandson Charles V essentially ruled , Germany, Austria, Burgundy, and the Low Countries, before he in turn divided his territories between his son Philip II and his brother Ferdinand of Austria in 1555-56. As these successive generations enlarged their power and territory, they gathered around themselves the leading of the day.

Maximilian’s most notable court was Heinrich Isaac, whom he appointed in 1497 and who remained in his employment until the composer’s death in 1517. Though he was often overshadowed in his lifetime by the renowned Josquin, a famous letter advising the Duke of Ferrara on the appointment of a court composer in 1503 is revealing: “[Isaac] is of a better disposition… and he will compose new works more often. It is true that Josquin composes better, but he composes when he wants to and not when one wants him to.” Duke Ercole favoured prestige over reliability and hired Josquin; meanwhile, in Maximilian’s service, Isaac’s Virgo prudentissima is a good example of a piece written to order: it was composed for the Reichstag of 1507 which confirmed Maximilian’s position as Holy Roman Emperor, and was performed under the direction of a certain “Georgius”—Jurij Slatkonja, who was Maximilian’s first Kapellmeister and can therefore be considered the founding director of what is now the Vienna Boys’ Choir. Rather unusually, he even receives a mention in the , the text of which is a somewhat unwieldy one written for the occasion—and one at which a less obliging composer might perhaps have protested! Isaac’s motet is a work of stunning grandeur, employing a musical language which is both strikingly individual, yet self-consciously influenced by the music of the previous generation: full sections with monumental block chords and slow-moving harmony alternate with florid, virtuosic passages for reduced forces. Meanwhile at the Burgundian court, the Grande Chapelle had in 1492 acquired a new member: the Flemish composer Pierre de la Rue. He remained when, two years later, Maximilian relinquished his regency and his son Philip assumed control of the Burgundian lands. Philip was to die young in 1506, and it is thought that this was the occasion upon which Absalon fili miwas composed. The text of this motet, taken from the Old Testament account of King David’s lament upon the death of his son Absalom, was a text often chosen to lament a deceased prince (an interesting comparison can be made with the numerous settings of When David heard by English composers upon the death of Prince Henry in 1612). De la Rue’s setting is striking in its dark harmonic colours, reaching for the distant chords of D-flat and A-flat at points of particular emotional intensity. The common misattribution of this piece to Josquin indicates that it was popular in its day. De la Rue stayed on for two years in the employment of Philip’s increasingly insane widow Joanna for the purpose, it seems, of comforting her with his soulful music.

Maximilian died in 1519, having outlived his son, and his court and titles passed directly to his grandson Charles V. Charles was comparatively uninterested in maintaining his grandfather’s court musicians, preferring to focus his patronage on his father’s Grande Chapelle. The Grande Chapelle (or “” as the Spaniards knew it) certainly flourished during Charles’s reign. At this point the Low Countries produced the bulk of Europe’s finest musicians, and the fact that this entourage accompanied Charles on his travels ensured that the Flemish musical style was influential throughout the empire, while theCapilla became known as the finest musical establishment of its day. One of its most gifted composers during this period was Nicolas Gombert, a chapel singer from 1526 until his abrupt removal from post in 1540. One account gives the rather unsavory explanation that he was sentenced to penal labour in the galleys for violating a child in his care, but that he eventually managed to gain Charles’s pardon by composing his “swansongs”— supposedly a reference to his settings. This account is not unproblematic (could he have found the time or place to compose while in the galleys?) but the eight Magnificat settings—one for each of the church modes—are certainly works of distinction. As was common in such settings, the Magnificat “primi toni” consists of polyphonic verses alternating with plainsong; in this instance Gombert uses textural variation to give the work an overarching sense of structure; after two four-voice verses, he reduces the forces to three parts, before rebuilding the texture, adding an additional part for each verse, until the grandiose conclusion of the Gloria in sumptuous six-part polyphony.

About the Program It was said that Josquin’s Mille Regretz was one of Charles’ favourite songs. Indeed, when the music teacher to Charles’ children made a arrangement of the song, he entitled it La canción del emperador (“The Emperor’s Song”). That Gombert also wrote a setting of the same is perhaps further evidence of the song’s popularity in Charles’ household, not least as Gombert’s version is essentially a six- voice re-working of Josquin’s original. Gombert replaces the powerful simplicity of the earlier composer’s work with a more involved contrapuntal texture spread over a wider range of voice parts, and some affectingly luminous harmonies. Charles’s tastes may or may not have been influenced by those of his aunt, Marguerite of Austria, who was responsible for his upbringing after his father’s death; apparently she had a keen penchant for mournful .

One work whose occasion is in no doubt is Cristóbal de Morales’ festive motet Jubilate Deo, commissioned in 1538 by his employer Pope Paul III, to celebrate the peace treaty signed that year between Charles and Francis I, King of . Whoever wrote the text ensured that the Pope received plenty of credit for the two parties’ reconciliation. The motet employs a consisting of the word “gaudeamus” (the incipit of the plainsong Gaudeamus omnes in Domino), repeated in the first tenor part throughout the motet – eight times in the first part and ten times (of which six are in diminution – at double speed) in the second part of the piece. Around this weaves varied and exuberant polyphony giving thanks for the “lasting peace” brought about by the treaty. Sadly the treaty was to be short-lived, but Morales’ ceremonious piece is one of enduring appeal.

Even more opulent is Crecquillon’s festive motet Andreas Christi famulus, which seems likely to have been written for a meeting of the Order of the Golden Fleece (of which Charles was a member) in 1546. That year a new ceremonial rubric had been introduced stating that a motet should be sung after Vespers and Compline on the feast of St. Andrew (the Order’s patron saint); Crecquillon, as Charles’ court composer at the time, was as likely as anyone to have been called upon to compose something suitable. The glorious eight-part texture, with its rich harmonies and a plethora of ingratiating false relations, would doubtless have befitted such an occasion, as would the text, a compilation of for the feast of St. Andrew.

Clemens’ motet Carole magnus eras was most probably composed three years later for the enacting of the Pragmatic Sanction of 1549, whereby Charles determined that the Seventeen Provinces of the Low Countries would be inherited by his son Philip II. Although cast in the form of a motet, there is nothing sacred about this ceremonial text, which addresses Charles in fairly unmeasured terms of adulation and speaks of the increase of his rule through his son, who, as part of the deal, would of course also inherit the revered Capilla Flamenca. Somewhat ironically, given the jingoistic spirit of the text, a significant part of Charles’s Kingdom passed not to Philip but to Ferdinand, and Philip’s rule over the Netherlands was to prove neither happy nor peaceful, though in his beloved Spain he presided over a period of unrivalled prosperity.

On British soil, Philip II is best remembered for nearly making England a Hapsburg nation through his marriage to Mary Tudor. In the event, their union proved childless and on Mary’s death the throne passed to her half-sister Elizabeth, whose Navy defeated Philip’s Armada three decades later. Nonetheless this connection may provide a link with Thomas Tallis’s much-loved motet Loquebantur variis linguis: one theory holds that Loquebantur is amongst a small number of pieces intended for performance by the joint forces of the Capilla Flamenca and Mary’s Chapel Royal. Its unusual seven-part scoring (shared in Tallis’s oeuvre with only the large scale motet Suscipe quaeso and Missa Puer natus est, whose Gloria is included in this programme) hints at forces larger than the usual Chapel Royal configuration. Meanwhile the text­—at first glance a Pentecost responsory concerning the giving of the Holy Spirit as related in Acts—could alternatively be read as a witty depiction of the singers’ difficulty understanding each other! Likewise, the constant stream of clichéd false relations—the work’s most striking feature—could either be seen as a colourful depiction of the clamour of Pentecostal tongues, or as a friendly jibe at the Flemish compositional style. It’s a plausible theory, but unproven. Returning to Philip, Alonso Lobo’s sublimely beautiful motet Versa est in luctum takes us to the end of his life: it was composed for the occasion of his funeral in 1598.

Program notes by Matthew O’Donovan

About the Program Texts and Translations

Jubilate Deo Jubilate Deo omnis terra, cantate omnes, Rejoice in God, all ye lands, sing all ye jubilate et psallite quoniam suadente people, rejoice and sing , because Paulo Carolus et Franciscus principes – persuaded by Paul – the earthly princes terrae convenerunt in unum et pax de Charles and Francis have united, and caelo descendit. peace has descended from Heaven. O felix aetas, O felix Paule, O vos felices O happy age, O happy Paul, O ye happy principes qui christiano populo pacem princes, who have delivered peace to the tradidistis. Vivat Paulus! Vivat Carolus! Christian people. Long live Paul! Long live Vivat Franciscus! Vivant simul et pacem Charles! Long live Francis! Long may they nobis donent in aeternum! live together, and may they give us peace for ever! Mille Regretz Mille regretz de vous abandonner, et A thousand regrets at leaving you and d’eslonger vostre fache amoureuse. J’ay being parted from your loving face. I have si grand dueil et peine douloureuse, qu’on such great sadness and painful sorrow that me verra brief mes jours definer. it seems to me my days will shortly come to an end. Andreas Christi famulus Andreas Christi famulus dignus Deo Andrew, servant of Christ and God’s worthy Apostolus germanus Petri et in passione Apostle, brother of Peter and companion in socius. Dilexit Andream Dominus, in his passion. The Lord delighted in Andrew odorem suavitatis. O Iesu Christe, fili Dei, in a pleasing aroma. O Jesus Christ, Son of ora pro nobis. God, pray for us.

Loquebantur variis linguis Loquebantur variis linguis apostoli, The apostles spoke in different tongues, al- alleluia; magnalia Dei, alleluia. leluia; the great works of God, alleluia. Repleti sunt omnes Spiritu sancto, et They were filled with the Holy Spirit and ceperunt loqui. …Magnalia Dei, alleluia. began to speak. …the great works of God, Gloria Patri et Filio et Spiritui Sancto. alleluia. Glory be to the Father, and to the Alleluia. Son, and to the Holy Spirit. Alleluia. Absalon fili mi Absalon fili mi quis det ut moriar pro te, O Absalom, my son! Would that I had died Absalon? Non vivam ultra, sed descendam for thee. I shall live no more, but descend to in infernum plorans. the grave weeping.

Magnificat Magnificat anima mea Dominum, et My soul magnifies the Lord, and my spirit exsultavit spiritus meus in Deo salvatore rejoices in God my Saviour; for he has meo, quia respexit humilitatem ancillae looked upon the lowliness of his handmaid. suae.

Ecce enim ex hoc beatam me dicent For behold, from henceforth all generations omnes generationes, quia fecit mihi will call me blessed; for he who is mighty magna, qui potens est, et sanctum nomen has magnified me, and holy is his name, eius, et misericordia eius in progenies et and his mercy is on those who fear him progenies timentibus eum. from generation to generation.

Fecit potentiam in brachio suo, dispersit He has shown strength with his arm; he has superbos mente cordis sui; deposuit scattered the proud in the imagination of potentes de sede et exaltavit humiles; their hearts; he has put down the mighty esurientes implevit bonis et divites from their thrones and exalted the humble; dimisit inanes. he has filled the hungry with good things, and sent the rich away empty. Suscepit Israel puerum suum, recordatus He has helped his servant Israel, in re- misericordiae, sicut locutus est ad patres membrance of his mercy, as he spoke to our nostros, Abraham et semini eius in fathers, to Abraham and to his offspring saecula. forever.

Gloria Patri et Filio et Spiritui Sancto. Glory be to the Father, and to the Son, Sicut erat in principio et nunc et semper and to the Holy Spirit. As it was in the et in saecula saeculorum. Amen. beginning is now and ever shall be, world without end. Amen. Gloria in excelsis Deo Et in terra pax hominibus bonae Glory be to God on high, and on earth peace, voluntatis. Laudamus te. Benedicimus good will towards men. We praise thee, we te. Adoramus te. Glorificamus te. Gratias bless thee, we worship thee, we glorify thee, agimus tibi propter magnam gloriam we give thanks to thee for thy great glory. tuam. Domine Deus, Rex caelestis, Deus O Lord God, heavenly King, God the Father

Texts and Translations Pater omnipotens. Domine Fili unigenite, Almighty. O Lord, the only-begotten Son, Jesu Christe. Domine Deus, Agnus Dei, Jesus Christ; O Lord God, Lamb of God, Filius Patris. Qui tollis peccata mundi, Son of the Father, that takest away the sins miserere nobis. Qui tollis peccata mundi, of the world, have mercy upon us. Thou that suscipe deprecationem nostram. Qui takest away the sins of the world, receive sedes ad dexteram Patris, miserere nobis. our prayer. Thou that sittest at the right Quoniam tu solus Sanctus. Tu solus Do- hand of God the Father, have mercy upon minus. Tu solus Altissimus, Jesu Christe. us. For thou only art holy; thou only art the Cum Sancto Spiritu, in gloria Dei Patris. Lord; thou only art most high, O Christ, Amen. with the Holy Ghost, in the glory of God the Father. Amen. Carole magnus eras Carole magnus eras cum solus regna Charles, you were mighty when only a king, tenebas, major ab imperio, maximus a mightier as emperor, mightiest through puero. Rex multos Caesar plures ditione your son. As king you ruled much, and tenebas. Nunc omnes nato tu regis a more as emperor. Now you rule all by your puero. Roma tua est, Europa tua est, Asia, son. Rome is yours, Europe is yours, Asia Africa tota. Quid plus ultra? non potes: and all of Africa. What more? You cannot: omnia habes. you have everything.

Mille Regretz See previous text.

Versa est in luctum Versa est in luctum cithara mea, et orga- My is turned to mourning, and my num meum in vocem flentium. Parce mihi instrument to the voice of weeping. Spare Domine, nihil enim sunt dies mei. me, O Lord, for my days are as nothing.

Virgo prudentissima Virgo prudentissima quae pia gaudia When the wisest Virgin, who brought holy mundo attulit, ut sphaeras omnes joy into the world, rose above all the spheres transcendit et astra sub nitidis pedibus and left the stars beneath her shining radiis, et luce chorusca liquit et ordinibus feet in gleaming, radiant light, she was iam circumsepta novenis ter tribus atque surrounded by the ninefold Ranks and ierarchiis excepta. Supremi ante Dei received by the thrice three Hierarchies. faciem steterat, patrona reorum. She, the protectress of sinners, stood before the face of the supreme God. Dicite qui colitis splendentia culmina Say - you who inhabit eternally the daz- Olimpi: Spirituum proceres, Anchangeli zling lights of Heaven: Archangels, leaders et Angeli et alme Virtutesque Throni of the spirits, and Angels, and sustain- vos Principum, et agmina sancta, ing virtues, and you thrones of princes, vosque Potestates, et tu dominatio caeli and you holy armies and you powers, and flammantes Cherubin, verbo Seraphinque you dominions of Heaven, and you fiery creati, an vos laetitiae tantus perfuderit Cherubim, and you Seraphim, created from unquam sensus, ut aeterni Matrem the Word – whether such a feeling of joy has vidisse tonantis consessum. ever overwhelmed you as when you saw the assembly of the Mother of the everlasting Almighty. Caelo, terraque, marique potentem She is the queen, powerful in Heaven, on Reginam, cuius nomen modo spiritus land and at sea; every Spirit and every hu- omnis et genus humanum merito man being rightly praises and adores her veneratur adorat. divine majesty.

Vos, Michael, Gabriel, Raphael testamur You, Michael, Gabriel and Raphael, we ad aures illius, ut castas fundetis vota beg you to pour out to her chaste ears our precesque pro sacro Imperio, pro Cae- prayers and entreaties for the sacred Em- sare Maximiliano. Det Virgo omnipotens pire and for Maximilian the Emperor.May hostes superare malignos: restituat popu- the all-powerful Virgin grant that he may lis pacem terrisque salutem. conquer his wicked enemies and restore peace to the nations and safety to the lands. Hoc tibi devota carmen Georgius arte With faithful skill Georgius, the emperor’s ordinat Augusti Cantor Rectorque Precentor and Kapellmeister, rehearses Capellae. Austriacae praesul regionis, this anthem for you. The Governor of the sedulus omni, se in tua commendat studio Province of Austria, diligent in all things, pia gaudia mater. earnestly commends himself to your holy pleasure, mother. Praecipuum tamen est Illi quo assumpta The highest place, however, belongs to Him fuisti, quo tu pulchra ut luna micas electa by whom you were taken up, so that you es, et ut sol. shine beautiful as the moon, excellent as the sun. Cantus firmus: Virgo prudentissima, quo progrederis, O most wise virgin, where do you go, shin- quasi aurora valde rutilans? Filia Sion. ing brightly like the dawn? Daughter of Tota formosa et suavis es: pulchra ut luna, Sion, you are entirely beautiful and sweet, electa ut sol. fair as the moon, bright as the sun.

Texts and Translations About the Artists

Stile Antico most prestigious venues and festivals. Helen Ashby, soprano The group enjoys a particularly close Kate Ashby, soprano association with the Wigmore Hall, Rebecca Hickey, soprano and has appeared at the BBC Proms, Emma Ashby, Buckingham Palace, the Amsterdam Eleanor Harries, alto Concertgebouw, the Cité de la Musique, Katie Schofield,alto the Palais des Beaux-Arts and the Benjamin Clark, tenor Luxembourg Philharmonie. Stile Antico is Andrew Griffiths, tenor frequently invited to perform at Europe’s Benedict Hymas, tenor leading festivals: highlights include the James Arthur, bass Lucerne Easter Festival, the Rheingau, Will Dawes, bass Schleswig-Holstein and Wrocław Thomas Flint, bass Festivals, and the Antwerp, Barcelona, Bruges, Granada, Utrecht, and York Early Stile Antico is firmly established as one Music Festivals. of the world’s most accomplished and innovative vocal ensembles. Working Since making its critically acclaimed without a conductor, its twelve members North American debut at the Boston have thrilled audiences throughout Early Music Festival in 2009, Stile Europe and North America with their Antico has returned frequently to the fresh, vibrant and moving performances U.S. and Canada, performing regularly in of Renaissance polyphony. Its bestselling Boston and in New York’s Music Before recordings on the Harmonia Mundi 1800 and Miller Theatre series. Further label have earned accolades including appearances include Washington’s the Gramophone Award for Early Library of Congress, the Chan Centre in Music, the Diapason d’or de l’année, the Vancouver, the Quebec Festival of Sacred Edison Klassiek Award and the Preis der Music, at Duke, Michigan, and Yale deutschen Schallplattenkritik, and have Universities, and in concert series across twice received Grammy® nominations. nineteen U.S. states. In 2010 Stile Antico made its debut at the Cervantino festival Based in London, Stile Antico has in Mexico. performed at many of the world’s Stile Antico is renowned for the commit- ted and expressive performances that arise from its uniquely collaborative style of working: its members rehearse and per- form as chamber musicians, each contrib- uting artistically to the musical results. The group is also noted for its intelligent programming, drawing out thematic connections between works to shine new light on . In addition to its core repertoire, Stile Antico has given world premieres of works by John McCabe and Huw Watkins, and recently juxtaposed the music of and James MacMillan to great acclaim. Its di- verse range of collaborations has included performances with consort Fret- work, pianist Marino Fomenti, orchestra B’Rock, and Sting.

Alongside its concert and recording work, Stile Antico is passionate about sharing its repertoire and working style with the widest possible audience, and its masterclasses and workshops are much in demand. The group regularly leads courses at the Dartington International Summer School, is often invited to work alongside ensembles at universities, festivals and early music forums, and is preparing to expand its education work in schools under the auspices of the newly-created charitable Stile Antico Foundation.

Stile Antico looks forward to celebrating its tenth anniversary season in 2015.

About the Artists About Miller Theatre

Miller Theatre at Columbia University is the leading presenter of new music in New York City and one of the most vital forces nationwide for innovative programming. In partnership with Columbia University School of the Arts, Miller is dedicated to producing and presenting unique events, with a focus on contemporary and early music, jazz, and multimedia. Founded in 1988, Miller has helped launch the careers of myriad composers and ensembles, serving as an incubator for emerging artists and a champion of those not yet well known in the U.S. A four- time recipient of the ASCAP/Chamber Music America Award for Adventurous Programming, Miller continues to meet the high expectations set forth by its founders—to present innovative programs, support new work, and connect creative artists with adventurous audiences.

Advisory Committee Paul D. Carter Mark Jackson Margo Viscusi* Mary Sharp Cronson* Eric Johnson Mr. and Mrs. George Votis* Stephanie French* Philip Mindlin Cecille Wasserman* Marcella Tarozzi Goldsmith Linda Nochlin Elke Weber Karen Hagberg Peter Pohly I. Peter Wolff* * Miller Theatre Advisory Board member Columbia University Trustees Jonathan D. Schiller, Chair Lee C. Bollinger, Benjamin Horowitz A’Lelia Bundles, Vice Chair President of the University Ann F. Kaplan Noam Gottesman, Vice Chair William V. Campbell, Jonathan Lavine Mark E. Kingdon, Vice Chair Chair Emeritus Charles Li Esta Stecher, Vice Chair Lisa Carnoy Paul J. Maddon Rolando T. Acosta Kenneth Forde Vikram Pandit Armen A. Avanessians Joseph A. Greenaway, Jr. Michael B. Rothfeld Andrew F. Barth James Harden Claire Shipman Marc Holliday Kyriakos Tsakopoulos Columbia University School of the Arts Carol Becker Dean of Faculty Jana Hart Wright Dean of Academic Administration Miller Theatre Staff Melissa Smey Executive Director Charlotte Levitt Director of Marketing & Outreach Brenna St. George Jones Director of Production James Hirschfeld Business Manager Nora Sørena Casey Marketing & Communications Associate Megan Harrold Audience Services Manager Katherine Bergstrom, Artistic Administrator Taylor Riccio Production Coordinator Rhiannon McClintock Executive Assistant

Aleba & Co. Public Relations The Heads of State Graphic Design Thanks to Our Donors Miller Theatre acknowledges with deep appreciation and gratitude the following organizations, individuals, and government agencies whose extraordinary support makes our programming possible.

$25,000 and above Francis Goelet Charitable Lead Trusts H. F. (Gerry) Lenfest National Endowment for the Arts Dow Jones Foundation

$10,000 - $24,999 William V. Campbell Fritz Reiner Center for Contemporary Music The Fan Fox and Leslie R. Samuels Foundation The Aaron Copland Fund for Music at Columbia University The Evelyn Sharp Foundation Mary Sharp Cronson The Gladys Krieble Delmas Foundation Margo and Anthony Viscusi New York State Council on the Arts $5,000 - $9,999 The Amphion Foundation CLC Kramer Foundation Craig Silverstein Ann and Gordon Getty Foundation

$1,000 - $4,999 Rima Ayas Carol Avery Haber / Haber Family Jessie and Charles Price Barbara Batcheler Charitable Fund Peter Pohly Susan Boynton Karen Hagberg and Mark Jackson Christopher Rothko Paul D. Carter Donella and David Held Cecille Wasserman Hester Diamond Roger Lehecka Janet C. Waterhouse R. H. Rackstraw Downes Philip Mindlin Elke Weber and Eric Johnson Marcella Tarozzi Goldsmith Linda Nochlin Anonymous Christine and Thomas Griesa Jeanine and Roland Plottel

$500 - $999 Oliver Allen Stephanie French Marian M. Warden Fund of the Foundation for Regula Aregger Claude Ghez Enhancing Communities Mercedes Armillas Mary and Gordon Gould Katharina Pistor ASCAP James P. Hanbury James Sharp Elaine S. Bernstein John Kander J. P. Sullivan Cedomir Crnkovic / Cavali Foundation Mark Kempson and Janet Greenberg Cia Toscanini Kristine and Joseph Delfausse Paul J. Maddon Kathryn Yatrakis

$100 - $499 Gail and James Addiss June O. Goldberg Mary and Andrew Pinkowitz Edward Albee Richard Gray Edmée B. Reit Roger Bagnall Barbara Harris Monique Rinere in honor of James F. Rinere Sandra and Marc Bernstein Frances and Raymond Hoobler Carol Robbins Andrew Birsh Bernard Hoffer Esther Rosenberg and Michael Ostroff Jim Boorstein Alan Houston and Lisa DeLange William Ryall Alexandra Bowie and Daniel Richman Frank Immler and Andrew Tunick Mariam Said Elizabeth and Ralph Brown Sandra and Malcolm Jones Eliisa Salmi-Saslaw Caplan Family Foundation William Josephson James Schamus and Nancy Kricorian Richard Carrick and Nomi Levy-Carrick Rebecca Kennison Elliot Schwartz Rashmy Chatterjee L. Wilson Kidd, Jr. Anita Shapolsky Ginger Chinn and Reggie Spooner Sandra Kincaid Timothy C. Shepard and Andra Georges Gregory Cokorinos Barbara and Kenneth Leish Gilbert Spitzer and Janet Glaser Spitzer Merry Conway Arthur S. Leonard Peter Strauss Norma Cote Richard H. Levy and Lorraine Gallard Jim Strawhorn David Demnitz Peter C. Lincoln Larry Wehr Vishakha Desai and Robert Oxnam Patricia Lowy and Daniel Frank Seymour Weingarten Rosamund Else-Mitchell Caroline and Anthony Lukaszewski Ila and Dennis Weiss Peter and Joan Faber Marghretta McBean Elizabeth Wheeler Ruth Gallo Gerald McGee Anonymous Marc Gilman Susan Narucki as of January 20, 2015 Upcoming Events

Thursday, March 5, 8:00 p.m. COMPOSER PORTRAITS Augusta Read Thomas Third Coast Percussion JACK Quartet

Saturday, March 7, 8:00 p.m. JAZZ Aaron Diehl Quartet

Thursday, March 12, 8:00 p.m. BACH, REVISITED Michael Gordon + Bach Ensemble Signal

Tuesday, March 24 doors at 5:30 p.m., music at 6:00 p.m. POP-UP CONCERTS Yarn/Wire

Saturday, March 28, 8:00 p.m. EARLY MUSIC Myths & Allegories Les Délices

STAY TUNED IN Want to learn about new concerts, special announcements, and more? Join our mailing list at millertheatre.com or scan the QR code below.

www.millertheatre.com • 212-854-7799 www.facebook.com/millertheatre • @millertheatre on Twitter 2960 Broadway at 116th Street, MC 1801, New York, NY 10027