I am proud to welcome you for the North American premiere of composer Georg Friedrich Haas’s 11,000 Strings, an extraordinary act of experimentation that harnesses the vast acoustics and sweep of the Wade Thompson Drill Hall to immerse Armory audiences in the full power of sound. Featuring 50 micro-tuned pianos and chamber orchestra, this innovative and immersive concert installation pushes the boundaries of traditional tonality and unlocks new ways of listening. This production of 11,000 Strings engages the next generation of music makers in this unique musical environment. Emerging and established pianists from across New York City’s pre-eminent local conservatories, including The Juilliard School, Manhattan School of Music, Mannes School of Music, New York University, and Columbia University, have come together to perform Haas’s masterpiece with the expert musicians of the Vienna-based Klangforum Wien. 11,000 Strings also continues the unique vision of our late Artistic Director Pierre Audi to utilize the Armory as a place for composers and their collaborators to fully realize ambitious spatial compositions, which includes Karlheinz Stockhausen’s Inside Light from 2024, Tyshawn Sorey’s Monochromatic Light (Afterlife) from 2022, and Pierre Boulez’s Répons from 2017, and many more. This ambitious new composition joins that lineage by creating an immersive sound world that envelops listeners in a variety of sonic environments, while showcasing Haas’s focus on the human dimension in his experimentalism.
Rebecca Robertson
Adam R. Flatto Founding President and Executive Producer
SEASON SPONSOR
11,000 STRINGS
SEPTEMBER
30 – OCTOBER 7, 2025
WADE THOMPSON DRILL HALL
Georg Friedrich Haas Music Klangforum Wien
Bas Wiegers Music Direction Brian H. Scott Lighting Design
Originally commissioned by the Ferruccio Busoni – Gustav Mahler Foundation With the support of the Ernst von Siemens Music Foundation Exclusive Project Partner Hailun Piano Co., Ltd.
World premiere by the Busoni-Mahler Foundation on August 1, 2023 in Bolzano, Italy
PUBLIC SUPPORT
11,000 Strings is made possible with support from Joan Granlund. In-kind support is provided by Apple.
Bloomberg Philanthropies is Park Avenue Armory’s 2025 Season Sponsor. Leadership support for the Armory’s artistic programming has been generously provided by the Anita K. Hersh Philanthropic Fund, Charina Endowment Fund, Donald A. Pels Charitable Trust, the Pinkerton Foundation, the Starr Foundation, and the Thompson Family Foundation. Major support was also provided by the Emily Davie and Joseph S. Kornfeld Foundation, the Fan Fox and Leslie R. Samuels Foundation, The Harold and Mimi Steinberg Charitable Trust, the Horace W. Goldsmith Foundation, the Howard Gilman Foundation, the Marc Haas Foundation, The Shubert Foundation, the SHS Foundation, and Wescustogo Foundation. Additional support has been provided by the Armory’s Artistic Council. Public support is provided by the New York State Council on the Arts with the support of Governor Kathy Hochul and the New York State Legislature as well as the New York City Department of Cultural Affairs in partnership with the City Council under the leadership of Speaker Adrienne Adams.
OTHER HAPPENINGS
ARMORY AFTER HOURS
Join us after evening performances when the bar will be open in one of our historic rooms for libations with the artists and fellow attendees.
ARTIST TALK: GEORG FRIEDRICH HAAS
FRIDAY, OCTOBER 3, 2025 AT 6:30PM
Composer Georg Friedrich Haas in conversation with artist, composer, and director of Columbia University Computer Music Center Seth A. Cluett
2025 ARMORY GALA: SOUND WAVE
MONDAY, OCTOBER 6, 2025
Park Avenue Armory’s 2025 Gala: Sound Wave celebrates the Armory’s artistic programming and commitment to providing critical arts education programs in underserved New York City public schools. The evening features a performance of 11,000 Strings followed by an elegant Gala Dinner in the center of the performance space.
COMPANY
KLANGFORUM WIEN
Vera Fischer Flutes
Wendy Vo Cong Tri Flutes
Markus Deuter Oboe
Hugo Queirós Clarinets
Bernard Zachhuber Clarinets
Lorelei Dowling Bassoon
Christoph Walder French Horn
Anders Nyqvist Trumpet
Michael Büttler Trombone
Mikael Rudolfsson Trombone
Gerald Preinfalk Saxophone
Alex Lipowski Percussion
Lukas Schiske Percussion
Florian Müller Cembalo
Johannes Piirto Celeste
Krassimir Sterev Accordion
Miriam Overlach Harp
Annette Bik Violin
Gunde Jäch-Micko Violin
Karen Kim Violin
Paul Beckett Viola
Dimitrios Polisoidis Viola
Benedikt Leitner Violoncello
Andreas Lindenbaum Violoncello
Evan Hulbert Double Bass
PIANISTS
Elena Ananyeva*
Walter Aparicio
Kristhyan Benitez
Julian Bennett Holmes
Efrat Berestizhevsky
William Cabison
Hongbo Cai
Robert Carlson
Ivan Chen
Michael Chinworth*
Annelyse Combitsis
Erika Dohi
Carol Féliz
Thomas Feng
David Friend
Rodrigo García Vargas
Max Hammond
Julia Hananel
Nicholas Hrynyk
Pokie Huang
Saul Ibarra Ramos
Xinchen Jia
Helen Jiang
Markus Kaitila
Maya Keren
T.C. Kincer
Michael Lapinsky
Manuel Laufer
Tiffany Leard*
Julie Lee
Mirna Lekic*
Zheng Liu
Giancarlo Llerena
Blair McMillen
Lisa Moore
Alice Nissen
Isabelle O’Connell
Bryan Ojeda-Chevres
Eleonor Sandresky
Matthew Schultheis*
Sarah Senior
Eva Sharman*
Kathleen Tagg
Adam Tendler
Anu Uranchimeg
Jie Qun Jessica Wang
Josh Wexler
Andrew Wilson
Michele Wong
Chandra Xu
Jixue Yang
Jarod Yap
Zheng Yue
Yike Zhang
Tara Zhong
Zoey Xinyue Zhou
*Cover
ABOUT THE PROGRAM
When Peter Paul Kainrath called me and asked if I wanted to compose music for 50 pianos, I was trapped in a house in Morocco that I wasn’t allowed to leave because of COVID. In this cramped and oppressive situation, a composition for this seemingly utopian ensemble worked like a greeting from another world, like a ray of hope.
I had asked for a week to think about it – but after just two hours, I called back and agreed.
The very next day, I knew the pianos’ tunings. When a violin tunes its strings in perfectly intoned fifths, this interval is a tiny fraction (almost exactly one-fiftieth of a semitone) higher than the piano’s fifth. If each of the 50 pianos is tuned higher by this very small interval, then an absolutely perfect fifth is created, for example, between the C of the first piano and the G of the second piano. The same applies between the C of the second and the G of the third piano (one-fiftieth of a semitone higher), between the C of the third and the G of the fourth piano, and so on.
After 50 pianos, the circle closes, and the fifth has risen by a semitone. The distance between the same pitch on adjacent pianos is extremely small: a hundredth of a tone. This is at the limits of human perception. Therefore, in this tuning, the composer has access to all the pitches usable in music – with sufficient accuracy.
11,000 Strings is not an experiment. It is music for the people who play the piece and for the people who hear it. You don’t experiment with people.
At the beginning, a simple tonal cadence (with triple dominant) sounds in the traditional equal-tempered tuning that Western audiences are most familiar with. A few minutes later, this cadence is repeated many times – in just tuning, much softer. The C major chord gradually becomes deeper, slowly drifting through the space.
If a traditional orchestra were to play a unison in perfect purity, the resulting sound would be disappointing. It is only through the beats, which oscillate due to the subtle differences in pitch between the instruments, that the sound comes to life. I remember a study according to which the Moscow Philharmonic Orchestra supposedly intoned a unison within a range of four hundredths of a tone, and the Vienna Philharmonic within a range of 16 hundredths of a tone. Applied to the tuning of 11,000 Strings: If three adjacent pianos play the same note, it would correspond to the sound of the Moscow Philharmonic; if nine adjacent pianos play the same note, it would correspond to the sound of the Vienna Philharmonic. But I choose to go even further and, for example, imitate an imaginary giant orchestra with 200 cellos, all of which (each differently) producing huge vibratos.
The tones of the overtone series can be achieved with a good approximation – admittedly not as precisely as specialized ensembles like the JACK Quartet or the vocal ensemble Ekmeles Vocal Ensemble; however, the limited approximation achievable by tuning in hundredths of a tone develops its own quality.
Ivan Wyschnegradsky (born 1893 in St. Petersburg, Russia, died 1979 in Paris, France) is, in my opinion, one of the most important composers of the twentieth century. Among other things, he developed a harmony of stacked major sevenths (and minor ninths,) which he divided into exactly equal intervals. He needed quarter tones to halve them, sixth tones to divide them into thirds, and twelfth tones to divide them into six equal intervals. This creates metallic, vibrating chords. I quote his technique and extend it to the division into seven parts – admittedly in what Wyschnegradsky calls an “imperfect” grid of hundredths of a tone.
Plasmatic Music (Arash Yazdani)
In his dissertation “Plasmatic Music – A System of Music Making Based on Acoustics and Psychoacoustics,” submitted to the University of Huddersfield in 2025, the Tallinn-based Iranian composer Arash Yazdani expanded on a term coined by Horatio Radulescu: plasmatic music. Physically, plasma is created under high pressure and high temperature. This creates a fourth state of matter beyond solid, liquid, and gas. Comparing the high temperature with the high density of many simultaneously occurring musical events and the increased pressure with the simultaneity of many closely spaced pitches creates a musical plasma. Yazdani uses this technique in his fascinating compositions.
I have come to realize that I have been composing “plasmatic music” for more than 40 years. However, before Yazdani’s dissertation, I didn’t have a term for it.
Plasmatic sounds also exist in traditional music, for example, in the unison of a string orchestra or in the abundant use of piano pedals.
Some aspects of 11,000 Strings may remind listeners of electronic music, but to me, the sound has a unique character. In my opinion, the effect of plasmatic music can only be reproduced electronically to a limited extent. The magic of billions of vibrations buzzing through space, of an incalculable variety of resonances and echoes, will likely continue to overwhelm the capacities of even the most advanced sound systems at least for next decades to come.
The pianists cannot be conducted. They have the instrument in front of them. To see the conductor, everyone would have to have either a mirror or a monitor in front of them. That would be absurd.
Synchronization is done via iPads. The page turn is precisely programmed, with each instrument at a different time. The parts themselves are relatively traditional – chromatic and diatonic scales, tonal triads and triad divisions, and simple chord- or pitch-repetitions. You do not have to be a specialist in new music to be able to realize these parts.
The chamber orchestra is organized differently. Klangforum Wien specializes in new music. The musicians are capable of realizing complex rhythms – coordinated only by timers. They can also adopt the pitches of the pianos in their immediate vicinity and amplify them like loudspeakers. Klangforum Wien has 25 members. There is one between every two pianos. As the composer, my invitation to you is: be present, open minded, and listen. Listen with your whole body, feel the vibrations, the spirituality. In troubling times coming together in art is a light. It is my honor and privilege to join you in this ritual of hope through sound.
Georg Friedrich Haas
ECLECTIC INSPIRATION: ARTS EDUCATION AT THE ARMORY
Park Avenue Armory’s Arts Education programs provide unique artistic engagements and educational programming free of charge to underresourced New York City public schools, offering opportunities for students to think creatively and trust their own aesthetic judgments, while encouraging the arts as an avenue for reflection, expression, criticality, and action.
Where does inspiration come from? How does the individual contribute to collective creation? How does the act of intentional noticing change our perceptions? These questions and more are explored through the sonic experience of 11,000 Strings, the second student engagement with Wade Thompson Drill Hall programming in the 2025-2026 school year. 600 New York City public middle and high school students are engaging with the work through the Armory’s Production-Based Program, attending a student-only matinee, which includes a Q&A with composer Georg Fredrich Haas and Peter Paul Kainrath of Klangforum Wien and Armory Teaching Artists leading both pre- and post-matinee in-school workshops, allowing students to reflect on their experience with 11,000 Strings and create their own artistic responses. In pre-visit workshops students are asked to examine how they take in sound—what does it make them think about? What does it make them feel? Does it inspire them to move? When does sound turn into music? How does live music differ from music coming from a speaker? What sounds do you encounter in your day-to-day life that make you happy, that inspire you? After discussing the unique aspects of the composition they are experiencing, students create their own communal stringed instruments that are “played” to evoke a collaborative composition that’s open for exploration, discovery, and that challenges concepts of sound and our understanding of music.
Post-matinee explorations take place in schools through the lenses of music and the visual arts. Students participating in the music workshop dive further into the origin story of 11,000 Strings and explore the inspiration made possible by active rather than passive listening. To some, the sound of many pianos being tuned at the same time could have been something to endure; but to Kainrath, it was the spark of inspiration. Using objects they encounter every day, students create their own micro-compositions in small groups that are performed for their class, turning what might initially be perceived as ordinary into something more. In the visual arts workshop, students translate the concept of microtuning into the visual sphere, exploring how the smallest memories, impressions, and inspirations can cause a bigger effect through the design of individual puzzle pieces that come together to create a visual composition unique to the sonic palate of each class.
New York City is full of sounds. The streets and the subways, parks and front stoops, schools and homes. Music can be found blasting out of cars, pumping through headphones, or playing on the corner. The cacophony can sometimes be so consuming that it is instinctive to try and shut it out or let it wash over you like white noise. But 11,000 Strings invites us to remember that there are possibilities inherent in the in-between and overlooked, as long as you are present enough to notice and be inspired.
ABOUT THE TEAM
GEORG FRIEDRICH HAAS MUSIC
Georg Friedrich Haas (born 1953 in Graz, Austria) taught at the University of Music and Performing Arts Graz (lastly as associate professor) and at the Music Academy in Basel. In 2013 he was appointed MacDowell Professor of Music at Columbia University in New York and since then has taught composition there.
Haas feels both rooted in the European tradition and strongly influenced by the aesthetic freedom of American composers like Charles Ives, Harry Partch, John Cage and James Tenney. He also has repeatedly made reference to the musical concepts of the composers Giacinto Scelsi and Ivan Wyschnegradsky.
In a survey published in the January 2017 issue of the Italian music periodical Classic Voice, 100 esteemed experts were asked to choose “the most beautiful music composed since 2000.” By a wide margin, they awarded first place to Haas.
His wide-ranging output, including numerous works for large orchestra, for chamber orchestra, instrumental concertos, eight operas, eleven string quartets, a variety of other chamber music and vocal works, etc., is constantly finding new audiences worldwide – and not only at special new music events; his compositions are also reaching a traditionally schooled public.
Haas has devoted his work to the utopian ideal of creating a new music that is both expressive and beautiful – not despite but because of the fact that it is new.
BRIAN H. SCOTT LIGHTING DESIGN
Brian H. Scott is a lighting designer based in New York City. With Rude Mechs, he has designed: Stop Hitting Yourself, Now Now Oh Now, Method Gun, I’ve Never Been So Happy, How Late It Was How Late, Lipstick Traces, Requiem for Tesla, and Match Play. At Park Avenue Armory he created lighting for: Oktophonie and for Ann Hamilton’s The event of a thread. Landfall with Laurie Anderson and Kronos Quartet, Jackie and How The World Began with The Women’s Project, Oh Guru Guru Guru and Death Tax with Actors Theatre of Louisville. With SITI Company: Cafe Variations, Trojan Women, American Document, Under Construction, WhoDoYouThinkYouAre, Hotel Cassioepia, Death and the Ploughman, bobrauschenbergamerica (Henry Hewes Design Award 2004), War of the Worlds Radio Play.
KLANGFORUM WIEN
Open-minded, virtuosic in performance and aurally perceptive, Klangforum Wien – one of the internationally most renowned ensembles for contemporary music – devotes itself to the artistic interpretation and expansion of experiential space. A performance of Klangforum Wien is an event in the best sense of the word; it offers a sensual experience, immediate and inescapable; and the novelty in its music speaks, acts and beguiles.
Since its founding by Beat Furrer in 1985, the ensemble – which, over the years, has received a great number of awards and distinctions – has written music history: It has presented around 600 world premieres of works by composers from four continents; it boasts an extensive discography of more than 90 releases, and is part of the major music festivals in Europe, America and Asia: Salzburg Festival, Wiener Festwochen, Wien Modern, Holland Festival, Ruhrtriennale, Darmstadt, Donaueschingen, Biennale di Venezia, Festival d’Automne Paris, and Festival d’Aix-en-Provence, among others.
Klangforum Wien frequently performs at the most important concert and opera venues such as the Pierre Boulez Saal (Berlin), Elbphilharmonie (Hamburg), Muziekgebouw aan’t IJ (Amsterdam), Teatro alla Scala (Milan), Teatro Real (Madrid), Opéra national de Paris, Library of Congress (Washington DC), Suntory Hall (Tokyo), or Tongyeong Concert Hall.
In a mutually rewarding collaboration with many of the world’s leading composers, the ensemble has formed a great number of formative artistic friendships, and it enjoys working with the most eminent conductors of our time – including Sylvain Cambreling, Péter Eötvös, Pablo HerasCasado, Susanna Mälkki, Ingo Metzmacher, Kent Nagano, Matthias Pintscher, Simone Young – as well as with leading stage directors like Luc Bondy, Frank Castorf, Claus Guth, Jan Lauwers, Christoph Marthaler, or Peter Sellars.
Since 2009, the musicians of Klangforum Wien have devoted themselves to sharing their comprehensive mastery of playing techniques and forms of expression with a new generation of artists in the context of their collective professorship at the University of Music and Performing Arts Graz.
Klangforum Wien is made up of 25 musicians from Austria, Australia, Bulgaria, Germany, Finland, France, Greece, Italy, Portugal, Sweden, Switzerland, the United Kingdom and the United States. From the start of the 2018/19 season until summer 2022, Bas Wiegers was Klangforum Wien’s Principal Guest Conductor, taking over from Sylvain Cambreling who, however, has maintained a close relationship with the ensemble as its Principal Guest Conductor Emeritus. Per 1 January 2024, Elena Schwarz and Vimbayi Kaziboni serve as the new Conductors in Residence. Peter Paul Kainrath has been the ensemble’s new director since 1 January 2020. Klangforum Wien has its own annual concert series at the Wiener Konzerthaus. Every year, the ensemble commissions composers and gives numerous world and territorial premieres. Honorary members of Klangforum Wien are Georges Aperghis, Sylvain Cambreling, Friedrich Cerha, Barbara Fränzen, Beat Furrer, Georg Friedrich Haas, Lothar Knessl, Bernhard Lang, Olga Neuwirth, Peter Oswald, Enno Poppe, Rebecca Saunders, Salvatore Sciarrino.
BAS WIEGERS MUSIC DIRECTION
With captivating energy and remarkable openness, Bas Wiegers is at the cutting edge as a conductor. A guest of European symphony orchestras, soloist ensembles, and opera houses, he masterfully spans the spectrum from Baroque to the music of today. This programmatic range is also expressed in his successful work as Associated Conductor of the Munich Chamber Orchestra – in their third joint season, they are not only regularly performing in Munich, but can also be seen at the Now! Festival Essen and the Mozartfest Würzburg.
In his homeland of the Netherlands, Bas Wiegers has worked with all major orchestras. In addition, he has been a guest with the Klangforum Wien,
Ensemble Modern, Asko Schönberg Ensemble, Royal Concertgebouw Orchestra, the SWR Symphonieorchester, the Rundfunk-Sinfonieorchester Berlin, and the Slovenian Philharmonic Orchestra, Belgian National Orchestra, Trondheim Symphony Orchestra, Polish National Radio Symphony Orchestra, Estonian National Symphony Orchestra, Konzerthausorchester Berlin, Ensemble Resonanz, Britten Sinfonia, and SWR Vokalensemble. He has conducted at the Cologne Opera, Opéra national de Lorraine (Britten, Mozart), Theatre Bern, the Klagenfurt Theater (Haas, Sciarrino), and Festspielhaus Erl, and has appeared at festivals including Salzburg Festival, Musikfest Berlin, Wiener Festwochen, Tongyeong International Music Festival, Aldeburgh Music Festival, Avanti! Summer Sounds, Prague Spring, and Ruhrtriennale. Bas Wiegers is a treasured musical partner for composers such as Georges Aperghis, Georg Friedrich Haas, Helmut Lachenmann, Salvatore Sciarrino, and Rebecca Saunders.
Peter Paul Kainrath Artistic Director and CEO
Bettina Mirus Head of Artistic Administration
Klangforum Wien performs with the kind support of Erste Bank
Additional worldwide performances of 11,000 Strings by Klangforum Wien.
PRODUCTION STAFF
Amanda Harris, Andreas Pichler, Matthias Meinharter Stage Managers
Madeleine Blossom Assistant Stage Manager
Maximilian Gehmacher Technical Director
Leyla Schmidlin Tour Manager
Kanako Morita Company Manager
Janneurys Colon, Yuki Sato Assistant Company Managers
Eden Battice, Naomi Santos, Hillary Ramirez Perez, Felipe Aguirre
Production Assistants, Programming
Megan Hanlon Production Assistant, Production
Nicholas Houfek Lighting Supervisor
Dave “Tater” Polato Production Electrician
David Orlando Lighting Programmer
Jordan Smith Light Board Operator
James Tullos Production Rigger
Theodore Sarge Seating Supervisor
HAILUN PIANO
Sisi Ye Hailun Piano
Zhongbao Zhang, Zhenhe Duan, Caijiali La Piano Tuners
PRODUCTION ACKNOWLEDGMENTS
BNW Rigging
Odeum Labor Services
M Stevens Production Consultants
Lighting and Rigging Equipment by 4Wall Entertainment
Keyboard Express
Newzik
Ricordi (Berlin)
ABOUT PARK AVENUE ARMORY
Part palace, part industrial shed, Park Avenue Armory supports unconventional works in the performing and visual arts that cannot be fully realized in a traditional proscenium theater, concert hall, or white wall gallery. With its soaring 55,000-square-foot Wade Thompson Drill Hall—reminiscent of 19th-century European train stations—and an array of exuberant period rooms, the Armory provides a platform for artists to push the boundaries of their practice, collaborate across disciplines, and create new work in dialogue with the historic building. Across its grand and intimate spaces, the Armory enables a diverse range of artists to create, students to explore, and audiences to experience epic, adventurous, relevant work that cannot be done elsewhere in New York.
The Armory both commissions and presents performances and installations in the grand Drill Hall and offers more intimate programming through its acclaimed Recital Series, which showcases musical talent from across the globe within the salon setting of the Board of Officers Room; its Artists Studio series curated by Jason Moran in the restored Veterans Room; Making Space at the Armory, a public programming series that brings together a discipline-spanning group of artists and cultural thought-leaders around the important issues of our time;
BOARD OF DIRECTORS
and the Malkin Lecture Series that features presentations by scholars and writers on topics related to Park Avenue Armory and its history. In addition, the Armory also has a year-round Artists-in-Residence program, providing space and support for artists to create new work and expand their practices.
The Armory’s creativity-based arts education programs provide access to the arts to thousands of students from underserved New York City public schools, engaging them with the institutions artistic programming and outside-the-box creative processes. Through its education initiatives, the Armory provides access to all Drill Hall performances, workshops taught by Master Teaching Artists, and in-depth residencies that support the schools’ curriculum. Youth Corps, the Armory’s year-round paid internship program, begins in high school and continues into the critical post-high school years, providing interns with mentored employment, job training, and skill development, as well as a network of peers and mentors to support their individual college and career goals.
The Armory is undergoing a multi-phase renovation and restoration of its historic building led by architects Herzog & de Meuron, with Platt Byard Dovell White as Executive Architects.
(Ret.)
PARK AVENUE ARMORY STAFF
Rebecca Robertson Adam R. Flatto Founding President and Executive Producer
Pierre Audi* Anita K. Hersh Artistic Director
ARTISTIC PLANNING AND PROGRAMMING
Michael Lonergan Senior Vice President and Chief Artistic Producer
Chris Greiner General Manager
Rachel Rosado Producer
Samantha Cortez Producer
Darian Suggs Associate Director, Public Programming
Kanako Morita Company Manager/Associate Producer
Oscar Peña Programming Coordinator
ARTISTIC PRODUCTION
Paul E. King Director of Production
Claire Marberg Deputy Director of Production
Nicholas Lazzaro Technical Director
Lars Nelson Technical Director
Mars Doutey Technical Director
Rachel Baumann Assistant Production Manager
ARTS EDUCATION
Cassidy L. Jones Anita K. Hersh Chief Education Officer
Monica Weigel McCarthy Director of Education
Naima Warden Associate Director of School Programs
Biviana Sanchez School Programs Manager
Nadia Parfait Education Programs Manager
Ciara Ward Youth Corps Manager
Bev Vega Youth Corps Manager
Milen Yimer Youth Corps Assistant
Drew Petersen Education Special Projects Manager
Emily Bruner, Donna Costello, Alberto Denis, Alexander Davis, Asma Feyijinmi, Shar Galarza, Hawley Hussey, Larry Jackson, Drew Petersen, Leigh Poulos, Neil Tyrone Pritchard, Bairon Reyes
Luna, Vickie Tanner, Jono Waldman Teaching Artists
Daniel Gomez, Nancy K. Gomez, Maxim Ibadov, sunyoung kim, Amo Ortiz Teaching Associates
Arabia Elliot Currence, Victoria Fernandez, Sebastian Harris, Oscar Montenegro, Adriana Taboada Teaching Assistants
Shatisha Bryant, Han Bumanlag, Alexus Heiserman, Melina Jorge Teaching Apprentices
Eden Battice, Teja Caban, Koralys De La Cruz, Azrael Hernandez, Nephthali Mathieu, Blue Price, AJ Volkov Youth Corps Advisory Board
Felipe Aguirre, Eden Battice, Terry Beaupierre, Andrew Duer, Hillary Ramirez Perez, Naomi Santos, Brianna Trivino Youth Corps, Post High School Advanced Interns
Mariela Bonilla, Adriana Bottex, Kaylani Ellington, Gabi Gonzalez, Besa Hasanovic, Ria Matula, Alejandro Mayorquin, Jacy Melendez, Steven Merino, Gabe Morris, Tirso Reyna Youth Corps, High School Interns
BUILDING OPERATIONS
Marc Von Braunsberg Chief of Building Operations
Samuel Denitz Director of Facilities
Xavier Everett Security/Operations Manager
Emma Paton Administrative and Office Coordinator
Williams Say Superintendent
Olga Cruz, Leandro Dasso, Mayra DeLeon, Jeferson Avila, Felipe Calle, Jose Campoverde, Edwin Fell, Jacob Garrity, Jonathan Mays, Tyrell Shannon Castillo Maintenance Staff
Jason Moran Curator, Artists Studio Tavia Nyong’o Curator, Public Programming
DEVELOPMENT
Patrick Galvin Chief Development Officer
Alan Lane Director of Development
Caity Miret Executive Assistant to the Chief Development Officer
Jessica Pomeroy Rocca Major Gifts Officer
Chiara Bosco Manager of Individual Giving
Angel Genares Director of Institutional Giving
Hans Rasch Manager of Institutional Giving
Margaret Breed Director of Special Events
Séverine Kaufman Manager of Special Events
Michael Buffer Director of Database and Development Operations
Nick Yarbrough Associate Director of Digital Marketing
Dileiny Cruz Digital Marketing Coordinator
Allison Abbott Senior Press and Editorial Manager
Mark Ho-Kane Graphic Designer
Joe Petrowski Director of Ticketing and Customer Relations
Monica Diaz Box Office Manager
John Hooper Assistant Box Office Manager
Jordan Isaacs Box Office Lead
Victor Daniel Ayala, Fiona Garner, Sylvie Goodblatt, Sarah Jack, Matthew Kamen, Emma Komisar, Michelle Meged, Caleb Moreno, Arriah Ratanapan, Ester Teixeira Vianna Box Office Associates
Caitlin O’Keefe, Anne Wolf Tour Guides
Natasha Michele Norton Director of House Management
Adonai Fletcher-Jones, Aiyana Greene, Beth Miller, Billie Martineau, Blue Price, Christina Johns, Christine Lemme, David Lawson, Denise Williams, Eboni Greene, Edwin Adkins, Eileen Rourke, Elijah Tejeda, Eliza Goldsteen, Emmett Pryor, Felipe Aguirre, Glori Ortiz, Heather Sandler, Hector Rivera, Hillary Ramirez Perez, John Summers, Kathleen Rodriguez, Kathleen White, Kedesia Robinson, Kin Tam, Konlan Yenupaak, Lana Hankinson, Mae Cote, Maria Inkateshta, Mariel Mercedes, Mathew Tom, Melina Jorge, MJ Ryerson, Myren Mandap, Naomi Santos, Regina Pearsall, Sandra Kitt, Sarah Gallick, Sebastian Harris, Shannon Wallace, Tess Kondratiev, Yesenia Mayers, Zulay
Calamari Ushers
Resnicow + Associates Press Representatives
NEXT AT THE ARMORY
THE FAGGOTS AND THER FRIENDS BETWEEN REVOLUTIONS
DECEMBER 2 – 14
NORTH AMERICAN PREMIERE
This cult book of fables and myths serves as the starting point for a new music theater adaptation from the creative minds of composer Philip Venables and director Ted Huffman. Together they conjure up a world that takes the original text on a kaleidoscopic journey that ignores boundaries just like the characters on stage do, drawing on theater, dance, and song from the Baroque to Broadway and beyond. The performers serve as actors, storytellers, and musicians all rolled into one, continually swapping roles while doing away with gender and genre norms and replacing them with unapologetic individuality and a lust for life. The resulting cabaret-like spectacle is both vulnerable and daring, a fantastic parable hiding a political manifesto for survival that gives voice to the marginalized and oppressed everywhere.
RECITAL SERIES
JEREMY DENK
OCTOBER 8 & 9
Jeremy Denk is one of America’s foremost pianists, receiving acclaim from audiences and critics alike for his nuanced performances on both the recital and orchestral stage. Denk gives a marathon performance of what is considered the most famous and challenging collection of suites in music history—Bach’s Six Partitas—large musical canvases that follow the basic form of the Baroque dance suite and beautifully showcase virtuosic playing.
SASHA COOKE & MYRA HUANG
NOVEMBER 13 & 15
Two-time Grammy Award-winning mezzo-soprano Sasha Cooke comes to the Board of Officers Room for a new program titled “Of Thee I Sing,” including an artfully curated set of works by Copland, Barber, Ives, Weill, Jake Heggie, Sondheim, and more, as well as the New York premiere of an Armory-commissioned work by American composer Jasmine Barnes.
ATTACCA QUARTET
DECEMBER 16 & 18
Attacca Quartet are recognized as one of the most versatile and outstanding ensembles of the moment, gliding through traditional classical repertoire to electronica, video game music, and contemporary collaborations. They come to the Armory with a wide-ranging program of classic quartets by Bartók and Felix Mendelssohn, quartet-arranged interpretations of signal works for other instrumentation, and the North American premiere of “Daisy”—a new Armory-commissioned composition by David Lang.
ARTISTS STUDIO
GUILLERMO E. BROWN
OCTOBER 11
Drummer, composer, and creator Guillermo E. Brown pushes music performance to new heights through musical collaborations, sound installations, and singular theatrical works. Brown comes to the Veterans Room with a cast of collaborators for an insightful overview of the past, present, and future of his work, including some of his Creative Capital projects and new compositions played on a new audio-visual musical instrument he is building as part of the Doris Duke Foundation Performing Arts Technology Lab.
SANDRA MUJINGA
NOVEMBER 20 & 21
Norwegian artist and musician Sandra Mujinga uses speculative fiction in the Afrofuturist tradition to investigate economies of visibility and disappearance, in which she typically reverses established identity politics of presence. After recent exhibitions at the Kunsthalle Basel, the Guggenheim, and the Venice Biennale, the multifaceted creator comes to the Veterans Room to broaden and expand her practice in the performative spectrum by creating an otherworldly sonic environment that plays off the architecture of the room.
JOIN THE ARMORY
Become a Park Avenue Armory member and join us in our mission to present unconventional works that cannot be fully realized elsewhere in New
an important role in helping us push the boundaries of creativity and expression and enjoy the following exclusive benefits.
CHAIRMAN’S CIRCLE STARTING AT $2,500
Chairman’s Circle members provide vital support for the Armory’s immersive arts and education programming and the restoration of our landmark building, and receive unparalleled access to the Armory, including exclusive experiences and intimate engagements with our world-class artists.
AVANT GARDE STARTING AT $350
The Avant Garde is a dynamic group for adventurous art enthusiasts in their 20s to early 40s. Members enjoy an intimate look at Armory productions, as well as exclusive invitations to forward-thinking art events around New York City.
