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Miller Theatre at Columbia University
2014-15 | 26th Season
Composer Portraits
Heart & Breath eighth blackbird
Thursday, September 18, 8:00 p.m.
Miller Theatre at Columbia University
2014-15 | 26th Season
Opening Night
Thursday, September 18, 8:00 p.m.
Heart & Breath
New York Premiere by eighth blackbird
Duo for Heart and Breath (2012) Richard Reed Parry (b. 1977)
Lamento della ninfa (1638/2013)
Claudio Monteverdi (1567 - 1643)
arr. Tim Munro
Yvonne Lam, viola and Lisa Kaplan, piano
Moro, lasso al mio duolo (1611/2013) Babys (2009/2013) Carlo Gesualdo (1566 - 1613)
arr. Munro
Bon Iver
arr. Lisa Kaplan
INTERMISSION
Colombine’s Paradise Theatre (2013) Amy Beth Kirsten (b. 1972)
libretto after the poetry of Isabella Andreini (1562 - 1604)
part one
1. death sweet breath
2. love Harlequin
“I bind her here in the moonless night I wind her
I alone can touch her pain I alone can know my Colombine again
Let me eat her Reason: let me swallow every light that blinds her
and feast upon the stars that find her”
-inspired by Sonnet 4
part two
3. bass drum moon #1 (variation 2)
4. comfort
5. my charming murderer
“what a charming fatal wound: the charming hurt is quick
the charming healing slow
I sigh and after I yearn - a delirium more handsome than ever
turns his gaze on me
then like lightening bolts… so my soul stirs - and heart breaks”
-after Madrigal 5
part three
6. bass drum moon #2 (variation 1)
7. snare / shiver
part four
8. bass drum moon #3 (Pierrot’s theme)
“one thing alone is real”
9. night swallows light (triangulation)
10. Colombine my heart come
“Colombine my heart come - I desire I love not because your brutal
beauty binds me…no, sweet siren. I desire I love because there beneath
your chest beats my heart
and I can’t live without my heart: a desire to live urges me to this a desire for life
Colombine my heart come to wander we two in the light of the moon”
-after Madrigal 51, and Variations (1904) by Théodor de Banville
part five
11. she comes undone (finale)
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. Miller Theatre is ADA
accessible. Large print programs are available upon request. For more information or to arrange
accommodations, please call 212-854-7799.
Colombine’s Paradise Theatre
Colombine: Lisa Kaplan, piano
Cast
The Harbinger: Nicholas Photinos, cello
Harlequin: Tim Munro, flute
Michael Maccaferri, clarinet
Yvonne Lam, violin
Pierrot: Matthew Duvall, percussion
Creative Team
Composer and Librettist: Amy Beth Kirsten
Director and Production Designer: Mark DeChiazza
Lighting Designer: Mary Ellen Stebbins
Costume Designer: Sylvianne Shurman
Production Stage Manager and Lighting Director: Rachel Damon
Sound Designer and Engineer: Ryan Ingebritsen
Produced by: eighth blackbird
Special thanks to:
Carroll Musical Instrument Rental; One Dream Sound; Jack Lynch; and Van Orilia
Colombine’s Paradise Theatre was generously supported by Elizabeth Liebman,
the National Endowment for the Arts, the MAP Fund, and the University of Richmond.
From the Executive Director
I first heard Amy Beth Kirsten’s music live at Miller Theatre as part of the SONiC
Festival three years ago, when Tim Munro of eighth blackbird performed her pirouette
on a moon sliver. The piece incorporated movement, vocalizations, and, of course,
flute, and it was absolutely stunning. At that point, Amy had been on my “wish list” of
composers to work with for several years, but when I saw Tim perform her work live, I
knew I had to make it happen.
The stars must have aligned that night, because Mark DeChiazza – the director and
designer of tonight’s performance – was also in the audience. It was also his first time
hearing Amy’s music live, and he had the exact same experience I did.
That first performance sparked something in both of us, and we wanted more.
That was three years ago. Following that concert, Amy and Mark became friends and
then collaborators, working together with eighth blackbird to create the theatrical
experience that is Colombine’s Paradise Theatre, the second part of tonight’s program.
From there, Mark, the members of eighth blackbird, and their creative team have built
this program, selecting works from a variety of styles and eras to complement this
amazing piece.
Tonight, we also celebrate the musicians of eighth blackbird. They are one of America’s
most important contemporary music ensembles—they are fearless and awesome, and it
is an honor to have them here to open Miller’s new season.
Thank you so much for being part of this journey by joining us tonight. As you listen,
I hope that you, too, will have your imagination sparked—and who knows what might
come out of it?
Sincerely,
Melissa Smey
Executive Director
About the Program
Notes on Heart & Breath
by eighth blackbird
The wild vagaries of the heart unite the four works on this disparate first half, which
runs without a break.
Duo for Heart and Breath by Richard Reed Parry (of indie band Arcade Fire) connects
the rhythms of the physical body to the rhythms of the musical performance. Musicians
wear stethoscopes, which enable them to play in synch with their own heartbeats. At
other times, players are in synch with their own individual breathing. According to the
composer, “The idea is less about ‘performing’ and more about directly translating into
music the subtle, naturally varying internal rhythms of the individual players.”
Two italian madrigalists sing keening laments of love and loss. Claudio Monteverdi’s
Lamento della ninfa sighs in waves of resignation, anger and hope: “I want him back,
just as he was, if not, then kill me... love mixes fire and ice,” sings the solo soprano (recast as viola) while three tenors (flute, clarinet, cello) rock her to sleep: “poor woman,
poor woman.” Carlo Gesualdo’s lament, Moro, lasso (originally written for small vocal
ensemble), is altogether darker, bleaker, as a lover sinks into the dissonant, chromatic
mire: “I die in my suffering, and she who could give me life allows me to die.”
Bon Iver’s anthem Babys shines welcome light, perhaps winking at the very different
“carnival” to come in Amy Beth Kirsten’s work:
Summer comes to multiply, and I’m the carnival of peace
I’ll probably start a fleet with no apologies
And the carnival of scenes, it grows more and more appealing
But my woman and I know what we’re for.
Director’s Note
by Mark DeChiazza
When I first began work on Colombine’s Paradise Theatre, I wondered what compelled
Amy, as a contemporary composer, to revive the iconography of the commedia
dell’arte. I noticed that she had composed the musicians’ parts so that an instrument
is sometimes the voice of a character while at other times it isn’t. For example, the
piano can be the voice of Colombine, but sometime it is simply a piano in the mix. I
came to realize that this structure is analogous to commedia—characters put on a mask,
instantly assuming an identity, and when they take of the mask they are simply an
actor. Since the mask organizes meaning, it is even possible for more than one actor to
wear the same mask simultaneously. The mask conjures a context through which we
interpret the expression of a performer’s body and voice. But there is a tension between
the identity of the performer—especially a contemporary performer—and that of the
commedia character she inhabits. To step into the shell of Colombine the performer
must surrender some of herself. Likewise, on stage Colombine occupies a luminous
world of constructed fantasy that simultaneously confines and liberates her. I think
actors, musicians, dancers all experience this unique dichotomy: the feeling of being
wildly free—free to explore even the strangest, darkest places—and the constraint of
being completely contained within and controlled by the shape of a work.
Composer’s Note
by Amy Beth Kirsten
Colombine’s Paradise Theatre (2010-2013) is a musical fantasy on a 17th-century form
of Italian theater known as commedia dell’arte and includes well-known characters
from that art form – Colombine, Harlequin, and Pierrot. Although those characters
are an essential part of the work, the piece has its own language and logic, and it is not
necessary to know the commedia tradition to follow Colombine’s Paradise Theatre.
One way to think of this work is as a “storybook poem” – “storybook” because of its
linear structure, colorful characters, and use of imagery; and “poem” because of its
associative and multifaceted relationship to meaning. In other words, information
about individual characters as well as the relationships between them are reinforced on
many levels.
Colombine’s Paradise Theatre presents a series of eleven scenes that form a whole:
Colombine is caught in a haunted repetitive loop and is lingering in a world between
death and life. As she struggles to find her way, she is torn between contrasting forces
that orbit around her – the narcissistic Harlequin aims to possess her while the
benevolent Pierrot tries repeatedly to send her a message of truth. There is a kind
of narrator throughout, the Harbinger – he serves as a guide as well as a witness to
Colombine’s struggle.
About the Program
Why commedia dell’arte?
The essential elements of commedia are these: it uses stock characters (masked and
unmasked) that have exaggerated, archetypal qualities; it is extremely physical and
virtuosic; and much of it is improvised. These elements resonate deeply with me in
the following ways: First, character is what compels me; I love to create sound worlds
that reflect specific characters and their struggles. Next, I often compose music that
asks instrumentalists to simultaneously vocalize and play. There are two important
consequences to this: the music is deeply tied to breath and also to the body – which
makes it virtuosic not in the number of notes that are played, but in what is physically
required of the performer to render it effectively. Breath and movement indeed inform
every aspect of this piece. Finally, like the commedia, Colombine’s Paradise Theatre
often has an improvisational-sounding quality, though it is all carefully notated and
structured.
Why eighth blackbird?
This is an ensemble of world-class musicians that memorizes new music, that likes to
express musical ideas by incorporating movement, and that is made up of individuals
who each embody a spirit of fearlessness. When I first heard them perform about
ten years ago, a seed of possibility was planted. The result is this new work. eighth
blackbird’s musicianship and experimentation caused me to want to dig deep and go to
unknown places – to seriously stretch myself as a composer. To me, there is no other
way to walk through the dark than with the light of possibility – light that, in this case, a
flock of blackbirds helped me find.
Colombine’s Paradise Theatre would not exist if not for the inspiring and creative
partner I found in Mark DeChiazza – a collaborator whose ability to delight in the
questions enabled all of us to push beyond what we thought was possible. Also
many thanks to pianists Paul Kerekes and Daniel Schlosberg for their help with the
development of snare.
About the Artists
eighth blackbird
Michael J. Maccaferri, clarinets
Tim Munro, flutes
Yvonne Lam, violin & viola
Matthew Duvall, percussion
Lisa Kaplan, piano
Nicholas Photinos, cello
eighth blackbird combines the finesse of
a string quartet, the energy of a rock band
and the audacity of a storefront theater
company. The Chicago-based, three-time
Grammy-winning “super-musicians” (LA
Times) entertain and provoke audiences
across the country and around the world.
Bergeman at Symphony Space. To top it
off, the group will conduct guest residencies at the New England Conservatory of
Music in Boston and a multi-visit residency at the Interlochen Center for the Arts.
The 2014/15 season’s acoustic program,
Still in Motion, features new works by
The National’s Bryce Dessner (the folkinspired Murder Ballades), Lee Hyla, Sean
Griffin and rising star Gabriella Smith.
eighth blackbird brings this show to Pennsylvania, Michigan, New York, Washington, and sunny Hawaii.
eighth blackbird holds ongoing Ensemble
in Residence positions at the Curtis Institute of Music, University of Richmond,
and University of Chicago. A decadelong relationship with Chicago’s Cedille
Records has produced six acclaimed
recordings. The ensemble has won three
Grammy Awards, for the recordings
strange imaginary animals, Lonely Motel:
Music from Slide and Meanwhile.
Other highlights include the premiere of
Hand Eye, a new work for eighth blackbird by the superstar composer collective
Sleeping Giant, their debut at Brooklyn
Academy of Music in collaboration with
LA Dance Project, and a New Orleansinspired romp with special guest singersongwriter-accordionist Michael Ward-
eighth blackbird’s members hail from
America’s Great Lakes, Keystone, Golden
and Bay states, and Australia’s Sunshine
State. The name “eighth blackbird”
derives from the eighth stanza of
Wallace Stevens’s evocative, aphoristic
poem, “Thirteen Ways of Looking at a
Blackbird.”
After spending a decade playing in clubs
and bars in Chicago, singer-songwriter
Amy Beth Kirsten entered the graduate
program in music composition at Roosevelt University in 2002. Those earlier
years as a performer and vocalist created the foundation for a compositional
language rooted in the voice, breath, and
storytelling. Many of Kirsten’s chamber works require instrumentalists to
vocalize and play simultaneously, and her
purely instrumental works often experiment with melody and timbre.
Kirsten’s current works aim to integrate music, language, and movement in
theatrical settings. In 2014-15 her “wildly
imaginative” Colombine’s Paradise Theatre, an evening-length, fully-staged work
commissioned by the Grammy-winning
ensemble eighth blackbird, premiered in
Chicago at the MCA; strange pilgrims for
string orchestra, chorus, and film commissioned by the American Composers
Orchestra premiered in February 2014 in
Carnegie Hall. Both of these works were
collaborations with director and filmmaker Mark DeChiazza. The duo are now embarking on their next theatrical collaboration, Quixote, a fully-staged work for their
own ensemble, HOWL (wearehowl.org),
which features three percussion, three
female voices, and video. Quixote will
premiere and tour in 2017.
Ms. Kirsten was the recipient of the 2011
Guggenheim Fellowship in Music Composition, a Rockefeller Foundation Artist
Fellowship, a Fromm Foundation Commission, as well as project funding from
The MAP Fund, ASCAP Foundation, The
Leonard Bernstein Family, New Music
USA, Chamber Music America, and The
National Endowment for the Arts. Also a
librettist and published poet, Ms. Kirsten
lives and works in New Haven, CT.
Mark DeChiazza is a director, filmmaker,
designer, and choreographer. Colombine’s
Paradise Theatre continues a relationship
with eighth blackbird that began in 2009
with the acclaimed production of Pierrot
Lunaire he conceived and directed for
the ensemble. His first collaboration with
composer Amy Beth Kirsten explores a
heightened interdependency between
musical and theatrical ideas in process
and performance, which they continue to
explore within their new interdisciplinary
arts collective, HOWL.
Recent projects include staging of the
premiere of John Luther Adams’ Sila at
Lincoln Center, directing a concert of
Missy Mazzoli’s work for Young People’s
Chorus of NYC and Missy’s band Victoire, creating the film component of Amy
Beth Kirsten’s strange pilgrims, which
was premiered by American Composers
Orchestra and The Crossing at Carnegie
Hall, and designing projections for Visitations: Theotokia and The War Reporter,
two chamber operas by Jonathan Berger
and presented by both Stanford Live in
California and Prototype Festival in New
York City. His film A Colloquy with God,
with New York Polyphony, was featured
on NPR Music. He is currently working with composer Steven Mackey on
ORPHEUS UNSUNG: an opera for electric
guitar, a large-scale film and music work.
Learn more at markdechiazza.com
Mary Ellen Stebbins’ recent New York
lighting design credits include The Traveling Imaginary (Orbiting Human Circus),
My Machine Is Powered By Clocks, dive,
Convergence, That Time, Hold Music, One
Arm (Sightline), Walking the Volcano
(Royal Family), A Spare Me (Waterwell),
and Roost (Ritual Theatre). Regional
design credits include Amadeus, Kite
Runner (New Rep, Boston), Tracing a Line
(Peabody Essex Museum, Salem) Lear
on the 2nd Floor (UCSD, San Diego), and
The Argument (Interrobang, Chicago),
and the touring production of The Orbiting Human Circus’ Traveling Imaginary.
She is the Lighting Director for Monica
Bill Barnes & Co. , the resident Lighting
Designer at Sightline Theater, and a CoFounder of HelikonRep. Stebbins has an
MFA from Boston University and an AB
from Harvard College. She was the 2009
Hangar Theatre Lab Company Design
Fellow and recieved the 2011 USITT Barbizon Lighting Design Award. Learn more
at maryellenstebbinsdesign.com
Ryan Ingebritsen has been the audio
engineer for eighth blackbird since 1998
when they were graduate students together at the University of Cincinnati. As
a composer and sound artist he received
his BM in composition from St. Olaf College, master’s degree from University of
Cincinnati and spent a year of study in
Poland as a Fulbright fellow in 2000-01.
He has since produced an opera in Poland,
spent a summer on a McKnight Fellowship wandering the woods of northern
Minnesota and become a dancer and live
electronic performer with Erica Mott
Productions while maintaining a full time
job at the Chicago Culture Center. Learn
more at wcawm.com/site
Costume Designer Sylvianne Shurman
is a Los Angeles-based costume designer
working in theater and film. Her recent
credits include Sila: The Breath of the
World (Lincoln Center Out of Doors),
Wingman (Ars Nova), Blind Angels
(Theater for the New City), Something
Cloudy, Something Clear (Dixon Place),
She is King (Incubator Arts- Other Forces
Festival), The Lady in Red Converses with
Diablo (Arts@Renaissance), and Inexperienced Love (NYC Fringe). She has
worked on a variety of feature films and
television. She holds a B.F.A. in Costume
Design from Carnegie Mellon University.
Learn more at sylvianneshurman.wix.
com/design
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 threetime 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
Mary Sharp Cronson*
Stephanie French*
Marcella Tarozzi Goldsmith
Karen Hagberg
Margo Viscusi*
Mr. and Mrs. George Votis*
Cecille Wasserman*
Elke Weber
I. Peter Wolff*
Mark Jackson
Eric Johnson
Philip Mindlin
Linda Nochlin
Peter Pohly
* Miller Theatre Advisory Board member
Columbia University Trustees
Jonathan D. Schiller, Chair
A’Lelia Bundles, Vice Chair
Mark E. Kingdon, Vice Chair
Esta Stecher, Vice Chair
Rolando T. Acosta
Armen A. Avanessians
Andrew F. Barth
Lee C. Bollinger,
President of the University
William V. Campbell,
Chair Emeritus
Lisa Carnoy
Kenneth Forde
Noam Gottesman
Joseph A. Greenaway, Jr.
James Harden
Marc Holliday
Columbia University School of the Arts
Carol Becker Dean of Faculty Benjamin Horowitz
Ann F. Kaplan
Jonathan Lavine
Charles Li
Paul J. Maddon
Vikram Pandit
Michael B. Rothfeld
Claire Shipman
Kyriakos Tsakopoulos
Jana Hart Wright Dean of Academic Administration
Miller Theatre Staff
Melissa Smey Executive Director
Brenna St. George Jones Director of Production
Nora Sørena Casey Marketing & Communications Associate
Katherine Bergstrom, Artistic Administrator
Rhiannon McClintock Executive Assistant
Aleba & Co. Public Relations
The Heads of State Graphic Design
Charlotte Levitt Director of Marketing & Outreach
James Hirschfeld Business Manager
Megan Harrold Audience Services Manager
Taylor Riccio Production Coordinator
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
$10,000 - $24,999
William V. Campbell
The Aaron Copland Fund for Music
Mary Sharp Cronson
$5,000 - $9,999
The Amphion Foundation
Ann and Gordon Getty Foundation
$1,000 - $4,999
Rima Ayas
Paul D. Carter
Hester Diamond
R. H. Rackstraw Downes
Claude Ghez
Marcella Tarozzi Goldsmith
Christine and Thomas Griesa
$500 - $999
Oliver Allen
Regula Aregger
Mercedes Armillas
ASCAP
Barbara Batcheler
Elaine S. Bernstein
$100 - $499
Gail and James Addiss
Qais Al-Awqati, M.D.
Edward Albee
Roger Bagnall
Sandra and Marc Bernstein
Andrew Birsh
Jim Boorstein
Alexandra Bowie and Daniel Richman
Eileen and Adam Boxer
Elizabeth and Ralph Brown
Caplan Family Foundation
Richard Carrick and Nomi Levy-Carrick
Ginger Chinn
Jennifer Choi
Gregory Cokorinos
Merry Conway
Noah Creshevsky
David Demnitz
Rosamund Else-Mitchell
Randy Ezratty
Dow Jones Foundation
H. F. (Gerry) Lenfest
Fritz Reiner Center for Contemporary Music
at Columbia University
The Gladys Krieble Delmas Foundation
National Endowment for the Arts
New York State Council on the Arts
The Fan Fox and Leslie R. Samuels Foundation
The Evelyn Sharp Foundation
Margo and Anthony Viscusi
CLC Kramer Foundation
Craig Silverstein
Carol Avery Haber / Haber Family
Charitable Fund
Karen Hagberg and Mark Jackson
Donella and David Held
Roger Lehecka
Philip Mindlin
Linda Nochlin
Jeanine and Roland Plottel
Jessie and Charles Price
Peter Pohly
Christopher Rothko
Cecille Wasserman
Janet C. Waterhouse
Elke Weber and Eric Johnson
Anonymous
Cedomir Crnkovic / Cavali Foundation
Kristine and Joseph Delfausse
Stephanie French
Mary and Gordon Gould
John Kander
Mark Kempson and Janet Greenberg
Paul J. Maddon
Marian M. Warden Fund of the Foundation
for Enhancing Communities
James Sharp
J. P. Sullivan
Cia Toscanini
Kathryn Yatrakis
Peter and Joan Faber
Marc Gilman
June O. Goldberg
James P. Hanbury
Barbara Harris
Bernard Hoffer
Alan Houston and Lisa DeLange
Frank Immler and Andrew Tunnick
William Josephson
Rebecca Kennison
L. Wilson Kidd, Jr.
Sandra Kincaid
Nikki Kowalski
Daniel Lee
Barbara and Kenneth Leish
Arthur S. Leonard
Richard H. Levy and Lorraine Gallard
Peter C. Lincoln
Sarah Lowengard
Patricia Lowy and Daniel Frank
Caroline and Anthony Lukaszewski
Gerald McGee
Bannon and Barnabas McHenry
Rolf Meyershon
Susan Narucki
Mary and Andrew Pinkowitz
Monique Rinere in honor of James F. Rinere
Carol Robbins
Esther Rosenberg and Michael Ostroff
Mariam Said
Eliisa Salmi-Saslaw
Anita Shapolsky
Gilbert Spitzer and Janet Glaser Spitzer
Rand Steiger and Rebecca Jo Plant
Peter Strauss
Jim Strawhorn
Larry Wehr
Seymour Weingarten
Ila and Dennis Weiss
Elizabeth Wheeler
as of September 5, 2014
The 2014-2015 Season
COMPOSER PORTRAITS
A cornerstone of Miller’s programming, these evening-length musical profiles
offer contemporary artists a space to explore, experiment, and make significant
contributions to the field.
Thursday, October 2
Chou Wen-chung (b. 1923)
Thursday, October 23
Chaya Czernowin (b. 1957)
Thursday, November 13
Bernard Rands (b. 1934)
Friday, December 5
Keeril Makan (b. 1972)
Thursday, February 5
Missy Mazzoli (b. 1980)
Thursday, February 19
Stefano Gervasoni (b. 1962)
Thursday, March 5
Augusta Read Thomas (b. 1964)
Thursday, April 23
Anna Clyne (b. 1980)
E A R LY M U S I C
An eclectic and fascinating tour of the musical riches of the pre-Classical era from
masters of period performance and emerging ensembles.
Saturday, October 25
Le Poème Harmonique: The Dark Hours
Saturday, November 15
New York Polyphony: Celebrations from the Mediterranean
Saturday, December 13
The Tallis Scholars: Sacred Muses
Saturday, February 28
Stile Antico: From the Imperial Court
Saturday, March 28
Les Délices: Myths & Allegories
JAZZ
High-profile artists and young virtuosos lend their own style to America’s indigenous
art form in our wide-ranging four-concert series.
Saturday, October 18
Lionel Loueke Trio
Saturday, November 1
Cyrus Chestnut Trio
Saturday, January 24
Renee Rosnes Quartet
Saturday, March 7
Aaron Diehl Quartet
BACH, REVISITED
Miller’s new twist on its ongoing Bach series celebrates J.S.’s legacy and continuing
influence by pairing Bach with contemporary composers.
Thursday, March 12
Michael Gordon + Bach
Thursday, April 9
Helmut Lachenmann + Bach
Friday, May 8
Sofia Gubaidulina + Bach
TICKETS
Visit www.millertheatre.com to purchase tickets online, call the Box Office at
212.854.7799, or stop by between noon and 6 p.m. Monday - Friday.
The 2014-2015 Season
Upcoming Events
September 20 - 27
SPECIAL EVENT
3rd Annual Morningside Lights: Odysseus on the A Train
Processional Arts Workshop
Thursday, October 2, 8:00 p.m.
COMPOSER PORTRAITS
Chou Wen-chung
Saturday, October 18, 8:00 p.m.
JAZZ
Lionel Loueke Trio
Thursday, October 23, 8:00 p.m.
COMPOSER PORTRAITS
Chaya Czernowin
International Contemporary Ensemble
Saturday, October 25, 8:00 p.m.
Church of St. Mary the Virgin
E A R LY M U S I C
The Dark Hours
Le Poème Harmonique
Vincent Dumestre, theorbo and artistic director
S TAY T U N E D I N
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