Miller Theatre at Columbia University

2014-15 | 26th Season

Early Music

Myths & Allegories

Les Délices

Saturday, March 28, 8:00 p.m.

 Miller Theatre at Columbia University

2014-15 | 26th Season

Early Music
Saturday, March 28, 8:00 p.m.

Myths & Allegories

Les Délices
Clara Rottsolk, soprano
Debra Nagy, baroque oboe & recorder
Julie Andrijeski, violin
Emily Walhout, viola da gamba
Michael Sponseller, harpsichord

Sisième Sonate “L’Immortelle” Jean-Féry Rebel (1666-1747)

Selections from Ulysse Rebel

Suffriray-je toujours
Sarabande
Beaux lieux, vous ne sçauriez me plaire

Cinquième Suite François Chauvon (c.1690-c.1740)

Sicilienne La Rêveuse
Allemande La St. Germain
Caprice Le Cury
Gavotte en rondeau
Chaconne en rondeau La Besson

Les Sirènes Thomas-Louis Bourgeois (1676-1750)

INTERMISSION
 Miller Theatre at Columbia University

2014-15 | 26th Season

La Fidelle Rebel

Le Sommeil d’Ulisse Elisabeth Jacquet de la Guerre (1665-1729)

Selections from Ulysse Rebel

C’est vous, mon cher Ulysse
Chaconne
Que c’est un plaisir extreme

This program runs approximately ninety minutes,

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
Homer’s Odyssey endures as one of the best-loved adventure tales of our time. The
famous epic follows its hero Ulysses on a ten-year adventure as he returns home
to Ithaca in the wake of the Trojan War. Along the way, he and his crew encounter
lethargic Lotus Eaters and the monstrous Cyclops, Polyphemus. Ulysses must also
resist the not-so-friendly feminine wiles of the witch Circe, the deadly Sirens, and
the nymph Calypso, who keeps him and his men captive for seven years. All the
while, the goddess Minerva (also known as Pallas Athena) serves as Ulysses’ guide
and protector, helping him to avert disaster and overcome the many obstacles that
separate Ulysses from his long-faithful wife, Penelope. The Odyssey’s central theme—
and the source of its universal appeal—is the enduring strength of love, hope, and
fidelity, and their ability to withstand tests of time and tribulation.

Scholars believe that Homer’s epic was a song sung to a rapt audience before it was
ever written down, so it is fitting that we return his story to music by creating a
program featuring French Baroque retellings.

Jean-Féry Rebel (1666-1747) studied both composition and violin with Lully, and
steadily climbed the professional ladder at Versailles: by the turn of the eighteenth
century he was performing in the opera orchestra, becoming its conductor (batteur de
mesure) by 1705. In 1718, he assumed the post of chamber composer to the King.

Despite its beautiful music and attractive subject, Rebel’s Ulysse suffered the same
fate as virtually every other opera written between the time of Lully and Rameau.
That is, it saw only a few performances and was never revived (though excerpts
from Ulysse did get recycled into a later operatic pastiche). The libretto for Ulysse
loosely adapts Homer’s text, creating a tangled love triangle between Circe, Ulysses,
and Penelope. We present two airs from the Act 1: Souffriray-je toujours (in which
Penelope pleads with her long-absent husband to return) and the lilting Beaux lieux,
where Penelope explains that beautiful gardens and other pleasant distractions
will fail to distract her from her longing. By the end, however—with the help of the
goddess Minerva—Penelope is happily reunited with Ulysses in Ithaca (which we
witness with two airs from Act 5 of Ulysse: C’est vous, mon cher Ulysse, and Que c’est
un plaisir extreme). We’re happy to present these excerpts from Ulysse for the first
time, which we’ve edited from the surviving short score.

Rebel’s earliest works are his violin sonatas and trios, which date from the last decade
of the seventeenth century. Many of his sonatas bear evocative titles, such as the trio
L’Immortelle (the Immortal one) and La Fidelle (Faithful one), which, in the context
of this program, is meant to evoke the enduring hope and faith of Penelope. La
Fidelle’s searching, improvisatory opening over a bass pedal note sets the stage for a
series of contrasting sections that range from a brilliant, fast-paced fugue, to a simple
elegant air that devolves into heart-wrenching suspensions, to a regal lentement
consisting entirely of double-stops on the violin, and finally a virtuosic fantasy that
recalls the musical sighs and chromaticism of the sonata’s opening.

Though François Chauvon’s Cinquième Suite contains no direct reference to the

Homerian tale, we might imagine the different movements—from the dreamy
Sicilienne (La Rêveuse) to the final, hypnotic Chaconne en rondeau—as evocative of
Odysseus’s seven years on the island of Ogygia under the spell of the goddess Calypso.
The pervasive use of rondeau form in this suite enhances its bewitching quality, while
traces of the pastoral (heard in the Sicilienne, the pesante Gavotte, and even in the
lilting rhythms of the Chaconne) echo Homer’s own description of this entrancing
island: “Thickets of alder, black poplar, and cypress, with horned owls, falcons, and
garrulous sea-crows roosting in their branches, sheltered Calypso’s great cavern. A
grapevine twisted across the entrance. Parsley and irises grew thick in an adjoining
meadow, which was fed by four clear streams.” A student of François Couperin,
Chauvon (c.1690-1740) had a rich imagination and a distinctive, witty voice that
shines through each of his few, extant works.

Thomas-Louis Bourgeois (1676-1750) is hardly a household name, but he made a

major contribution to the genre of the French cantata. At the time of Les Sirènes’
publication, Bourgeois could regularly be heard singing countertenor at Paris’s
Opéra. Following six years as surintendant de musique in the service of the Duke of
Bourbon, he appears to have struggled to hold onto professional appointments in
various provincial cities (Lyons, Poitiers, Dijon), ending his career in obscurity and
poverty. Les Sirènes (1708) dates from the beginnings of his success as a composer.
The music is concise and strong, effectively conveying the tantalizing allure of the
sirens (L’Amour par nos voix vous appelle) and the dangerous peril should Ulysses and
his crew fall prey to them.

About the Program

In the course of the Odyssey, Ulysses and his men also encounter the dreaded
Cyclops, Polyphemus. (Alas, Rameau’s harpsichord solo—with its repeated “ham-
mering” figures probably refers to a different group of Cyclops who forged lightening
bolts for Zeus). Ulysses escapes Polyphemus’ clutches by blinding him with a wooden
stake, though he makes the terrible mistake of boastfully revealing his identity. As a
result, Ulysses and his crew are forced to confront the wrath of Neptune (Polyphe-
mus’s father), God of the Seas.

In vain, Ulysses attempts to conceal his fleet of ships from Neptune, which is where
Le Sommeil d’Ulisse by Elisabeth Jacquet de la Guerre (1665-1729) picks up the
story. Neptune whips up a terrifyingly dangerous storm, complete with thunder and
lightening in the violin’s swirling Tempête. Minerva sweeps in to protect Ulysses,
offering him refuge and respite by way of a deep, magical sleep (this sommeil is
evoked with lilting dotted rhythms, slow-moving harmonies, and the unreal, fused
sound of muted violin and recorder).

La Guerre rose to prominence as a child prodigy, when, at the age of five, she was
already performing on the harpsichord and singing at the court of Louis XIV. She was
the first woman to compose an opera in France, and one of the very few to publish her
own compelling, creative compositions. Le Sommeil d’Ulisse is included in her final
collection of Cantates françoises (1715), published fifteen years before her death.

The cantata became enormously popular in early eighteenth-century France.

Borrowing both form and function from opera, French cantatas include Italianate da
capo arias, extravagant and dramatic instrumental interludes adapted from the stage
(such as the tempest scene in La Guerre’s Sommeil d’Ulisse), and metrically-flexible
French recitatives. As in most Tragédie Lyrique (the French operatic form pioneered
by Jean-Baptiste Lully), allusions honoring King Louis XIV frequently appear in the
cantata repertory (in tonight’s program, the story of the benevolent King Alcinous
is a clear reference) and a Deus ex machina frequently sweeps in at the end to save
the day (cue: Minerva). Sometimes, the final aria in a cantata may offer a moral to
the audience. In the case of Les Sirènes, the temptation of Beauty cannot and will be
denied – resistance to Love is futile!

– Program notes by Debra Nagy

Texts and Translations
Selections from Ulysse
Souffriray-je toujours
Souffriray-je toujours les riguers de
l’absence?
Ulysse, revenez! Hâtez vôtre retour.
Abandonnez la gloire, en faveur de
l’Amour,
Venez de mes ennuis calmer la violence,
Penelope vous doit posseder à son tour;
Mille amans empressez attaquent ma
constance,
De leurs soins importuns Je me plains
chaque jour,
Et vous me laissez sans deffence,
Dans ce triste sejour
Telemaque vous cherche avec impatience,
Vos etats en danger veulent vôtre
présence,
Ulysse, revenez! Hâter vôtre retour!
Beaux lieux, vous ne sçauriez me plaire
Beaux lieux, vous ne sçauriez me plaire,
Vous aviez pour moy des appas;
Quand Ulysse suivoit mes pas,
Vous étiez les temoins de nôtre ardure
sincere;
Mais Ulysse est absent, vous ne me l’offrez
pas;
Beaux Lieux, vous ne sçauriez me plaire.
Shall I forever suffer the hardship of your
absence?
Ulysses, come back! Hasten your return!
Give up on glory in favor of Love,
Come to calm my troubled heart.
Penelope must have you in her turn.
A thousand lovers challenge my fidelity -
Surrounded by their unwelcome proposals,
I cry every day.
And you leave me without defenses
In this sad place.
Telemacus seeks you with impatience,
Your troubled dominion wishes you were
here.
Ulysse, come back! Hasten your return!
Lovely place, you could not please me
If you had more appeal.
When Ulysses should follow my footsteps,
You could bear witness to our true love;
But Ulysse is gone, you can not replace him.
Lovely place, you could not please me.
Les Sirenes
Récit
Après avoir vaincu les peuples de
Phrigie
Et vengé Menelas d’un lâche ravisseur
Ulisse trumphant se flatoit du Bonheur
De revoir dans Itaque une epouse cherie.
Pour hâter son retour Eole dans les airs
Conduisoit ses vaisseaux sur les humides
plaines
Quand les dangereuses Syrenes
l’arresterent par ces concerts.
Air
L’amour par nos voix vous apelle
Rendés vous a nos chants cedes fameux
heros
Après avoir aquis une gloire immortelle
Sur ces bords fortunes goustés un doux
repos
Voyés voler sur ces heureux rivages
Les aimables zephirs et les tendres
amours
Les aquilons et les orages
N’en chassent jamais les beaux jours
Récit
La flotte d’Ulisse charmée par le secret
pouvoir de ces tendres accords
S’empresse d’aprocher de ces funestes
bords
Quand la sage Pallas pour Ulisse allarmée
Degage sa raison de ce charme trompeur
Honteux du trouble de son Coeur
De Venus irritée il reconnoît l’ouvrage
The Sirens
After having vanquished the people of
Phrigia
And avenged Meneleas of a dastardly
kidnapper, triumphant Ulysses – urged on
by his success – yearns to see his beloved
wife again in Ithaca.
Hastening his return, Aeolus’ winds drive
Ulysses’ vessels across the seas
When the dangerous Sirens stop him with
their songs.
Love, by our voices, calls to you.
Surrender yourself to our songs – Stop! –
famous hero!
After having acquired immortal glory,
Succumb to sweet rest on these happy
shores.
Come and see, on our happy beaches,
The kind zephyrs, and tender loves.
The north winds and the storms
Can never drive away these lovely times.
Ulysses’ crew, charmed by the secret power
Of these tender strains, was eager to ap-
proach these deadly shores.
When wise Pallas, alarmed on Ulysses’ be-
half, restored his senses from the deceitful
charm. Ashamed of the trouble in his heart,
he recognized there the work of Venus,
who is not on his side.
Fuyons amis dit-il aux siens
Les Dieux protecteurs des Troyens
Nous attirent sur ce rivage
Air
Fuyés, fuyés éloignés vous d’un peril
dangereux
qui vous paroit aimable.
Il est cent fois plus redoubtable que les
vents et flots
irritées contre nous
C’est un trespas inevitable Qui s’offre a
nos regards
sous les traits les plus doux.
Et nos malheurs n’ont pas epuisé le
couroux de la fortune impitoyable.
Récit
Par ces sages conseils a sa flotte seduite
Ulisse rendit la raison et scut par
une prompte suite Sauver son Coeur d’un
funeste poison.
Air
Belles dans vos yeux l’Amour met ses
armes
Qui craint les allarmes Des coeurs
amoureux Doit fuir de vos charmes
L’ecüeil dangereux
En vain le plus sage vous a resisté
L’Amour irrité punit cet outrage par le
prompt naufrage de sa liberté swift storming of her liberty.
Le Sommeil D’Ulisse
Récit
Apres mille travaux, L’infatigable Ulisse a
Neptune irrité, croit cacher son vaisseau.
Mais, ses efforts sont vains, ce Dieu veut
“Let’s flee, friends,” he told his crew.
“The gods – Troy’s protectors – lure us by
trickery to these shores!”
Flee! Flee! Escape from this dangerous
peril
That appears friendly.
It is a hundred times worse than the winds
and waves
Unleashed against us.
Inevitable death offers itself to us
In the guise of sweetness.
And our misfortunes have not exhausted
the wrath of merciless fortune.
By this sage advice, Ulysses restored reason
to his seduced crew.
By swift action, he was able to save his
heart from deadly poison.
Beauties, in your eyes, Love sets her
weapons.
He who fears the cries of amorous hearts
should flee from the dangerous temptations
of your charms
In vain, the most wise have resisted you.
Provoked Love punishes this insult by the
Ulysses’s Slumber
Following a thousand trials, the tireless
hero, Ulysses believed he could conceal
his ships from irritated Neptune. But his
Texts and Translations
qu’il périsse, et qu’un gouffre soit son
tombeau.
Air
Sur une mer orageuse et profonde, Il
l’apercoit guidé par les zephirs voguer au
gré de ses desirs; et regner comme lui sur
l’onde.
Récit
Il en frémit, une injuste fureur s’empare
de ses sens, et les remplit d’horreur
La Tempeste (Récit)
Pour perdre ce guerrier, Il se livre a sa rage
De tonnerres bruiants de foudroyants
éclairs; Il foit briller, Gronder les Airs;
L’univers allarmé craint un nouveau
naufrage, Tous les vents déchaînés lutent
contre les flots; Le vaisseau renversé,
cede a l’affreux orage, disparoît et la Mer
engloutit ce Heros
Air
Venés Minerve bien faisante,
Vous qui prenés soin de ses jours; Hatez-
vous Déesse puissante, volez a son sec-
ours. Quand il vit la troupe immortelle sur
Ilion se partager, a vos leçons toujours
fidele sous vos loix il sçut se ranger.
Récit
Nos voeux sont éxacuez; une si chere
tête échape en fin à la tempête; Un azile
delicieux du Dieu qui le poursuit rend la
colere vaine; par un sommeil misterieux,
la Déesse adoucit sa peine.
efforts were in vain – the God wished that
he should die engulfed in an abyss.
On a deep and stormy sea, Neptune
perceived Ulysses being steered by the
zephyrs – as though Ulysses reigned over
the sea.
He shuddered – an unjust fury took hold of
his senses, filling them with horror.
To destroy this warrior, Neptune releases
his rage of clamorous thunder and ter-
rifying lightening. He sets ablaze, rumbles
the airs; the universe – alarmed – believes
there’s a new shipwreck. All the winds un-
leashed against the waves, the vessel cap-
sized, ceding itself to the ferocious storm,
disappeared, and the sea engulfs our Hero.
Come, beneficent Minerva,
You who take care of his days.
Hurry, powerful goddess, fly to his aid.
When he saw the immortal crew on Ilion
divided, he was ever faithful to your les-
sons; by your direction, he was able to
retreat.
Our wishes are granted: a very dear head
finally escaped the storm. Providing a
charming refuge, the Goddess assuaged
Ulysses’ pain with a mysterious slumber,
rendering Neptune’s anger vain.
Air
Dormés, dormés.
Ne vous deffendés par d’un Sommeil
si rempli de charmes; Ah! Que le re-
pos à d’appas; quand il succède, à tant
d’allarmes.
Aux plus laborieux expoits, il est beau
qu’un Heros s’expose. Mais, il faut aussi
quelque fois, que ce même Heros repose.
Récit
Mais, quel songe se mêle à cet enchante-
ment? Minerve à son esprit presente du
Destin qui l’attend une image riante, et lui
tient ce discours charmant
Alcinoüs ce Roy que l’univers admire, en
ces heureux climates exerce son empire,
en vain mille ennemis, dans leurs jaloux
transports, ont fait contre lui seul, les
plus puissants efforts, contraint d’armer
son bras, il n’a pris son tonnerre, que pour
mieux affermir le repos de la terre. Ce
monarque atentif au Bonheur des hu-
mains, se plait à proteger les droits des
souverains, Il est des affligé la plus ferme
espérance, vos voeux seront comblés par
sa magnificance; et malgré les destins à
vous perdre animés, Il vous rendra vain-
queur a des peuples aimés.
Air
Ulisse que la gloire appelle triomphe en
ces aimables lieux. Il y voit finir la que-
relle qui troubla si longtems les Dieux.
Lorsqu’un Heros suit la sagesse, et qu’il
la prend pour son appui a son parti tout
s’interesse, tout agit, tout combat pour lui.
Sleep, sleep.
Don’t defend yourself from a slumber so full
of charms. Ah! How enticing is
rest, when it follows so many alarms.
It’s good that a hero exposes himself to the
most laborious challenges,
but sometimes, a hero must also rest.
But, what dreams together with this
enchantment? Minerva presents to Ulysses
imagination a happy image of the fate
that awaits him, and speaks to him in this
charming fashion:
Alcinous, the universally-admired king,
reigns in these happy climes. In vain, a
thousand enemies – carried away by their
jealousy – ganged up against him. Forced
to defend himself, he only used thunder to
better maintain peace on earth. For this
monarch was sensitive to the well-being of
mankind and wished to protect the rights of
sovereigns. Alcinous is the most solid hope
to the afflicted; your wishes will be fulfilled
by his magnanimousness, and despite fates
which are animated to destroy you, he will
returns you triumphant to your beloved
people.
Ulysses, who glory calls, triumphs in these
pleasant places. He sees there the end of
the quarrel that has for so long troubled the
Gods. For when a hero follows wisdom and
takes it for his support, his course becomes
of interest to all – all act, all fight for him.
Texts and Translations
Selections from Ulysse
C’est vous, mon cher Ulysse
C’est vous, mon cher Ulysse, et le Ciel
vous rameine; Je vous revois victorieux;
Nous devons la victoire aux Dieus, Ils ont
vangé vôtre gloire et la mienne. Je sens
un feu nouveau qui revient m’animer,
ma bouche ny mes yeux ne peuvent
l’exprimer.
Que c’est un Plaisir Extreme
Que c’est un plaisir extreme, de revoir ce
que l’on ayme? Tout comble aujourd’huy
nos voeux, Les Dieux nous offrent des
jours heureux. Ranimons nôtre tendresse,
L’Amour regne dans ces lieux; D’Ulysse
sans cesse, vantez les exploits glorieux,
Qu’a chanter son nom tout s’empresse,
qu’il vole jusqu’aux Cieux.
It’s you, my dear Ulysses, and the Heavens
brings you back to me; I see you again,
victorious. We owe victory to the Gods.
They have avenged your glory and mine.
I sense a spirit is newly rekindled in me;
neither my eyes nor words can express it.
What an extreme pleasure it is to see the
one I love again! Today, our wishes have
been granted; the Gods have offered us
happy days. Let us rekindle our affections.
Love reigns in these places. Extol the
glorious exploits of Ulysses unceasingly;
Let everything be compelled to sing his
name. Let him fly up to the heavens
About the Artists
Les Délices
Clara Rottsolk, soprano
Debra Nagy, baroque oboe & recorder
Julie Andrijeski, violin
Emily Walhout, viola da gamba
Michael Sponseller, harpsichord
Les Délices’ (pronounced Lay day-lease)
polished, expressive, and dynamic
performances of masterpieces and little-
known works from the French Baroque
have been garnering critical acclaim. Les
Délices’ debut CD The Tastes Reunited
was named one of the “Top Ten Early
Music Discoveries of 2009” (NPR’s
Harmonia), and their performances have
been called “a beguiling experience”
(Cleveland Plain Dealer), “astonishing”
(ClevelandClassical.com), and “first class”
(Early Music America Magazine).
Founded in Cleveland in 2009, Les Délices
performances on period instruments
allows them to explore a rich tapestry
of tone colors, and the group’s name
conveys their approach to the music
of this era: a delight, a fine delicacy,
sumptuous, and exciting. Les Délices
has been featured on WCPN, WCLV, and
WKSU in Ohio, WQXR in New York, and
NPR’s syndicated Harmonia and Sunday
Baroque.
Les Délices made its New York debut
before a sold-out audience at the
Frick Collection in May 2010, and has
performed for Music Before 1800 (New
York), Early Music in Columbus, and
San Francisco Early Music Society in
recent seasons. In addition to touring
engagements, Les Délices presents its
own annual three-concert series in
Cleveland art galleries and at Plymouth
Church, where the group is Artist in
Residence. Les Délices released their
second CD, Myths & Allegories, in
November 2012.
A native of Seattle, the soprano Clara
Rottsolk has been lauded by The New
York Times for her “clear, appealing voice
and expressive conviction” and by The
Philadelphia Inquirer for the “opulent
tone [with which] every phrase has such
a communicative emotional presence.”
Solo appearances with ensembles includ-
ing American Bach Soloists, the Virginia
Symphony, American Classical Orchestra,
the Carmel Bach Festival, and Seattle
Baroque Orchestra have taken her across
the United States, the Middle East, Japan,
and South America.
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
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Brenna St. George Jones Director of Production James Hirschfeld Business Manager
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Thanks to Our Donors
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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, April 9, 8:00 p.m.
BACH, REVISITED
Helmut Lachenmann + Bach

Tuesday, April 14
doors at 5:30 p.m., music at 6:00 p.m.
POP-UP CONCERTS
Ensemble Signal

Thursday, April 23, 8:00 p.m.

COMPOSER PORTRAITS
Anna Clyne

Friday, May 8, 8:00 p.m.

BACH, REVISITED
Sofia Gubaidulina + Bach

Monday, May 11
doors at 5:30 p.m., music at 6:00 p.m.
POP-UP CONCERTS
Daedulus Quartet with Benjamin Hochman

S TAY T U N E D I N
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2960 Broadway at 116th Street, MC 1801, New York, NY 10027