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Home , American Garage, Bright Size Life, Brooklyn Philharmonic, Electric Counterpoint, New York Counterpoint, The Desert Music

EMYOFMUSIC

ANNE TERESA DE KEERSMAEKER • THE MUSIC OF TIlE PHILHARMONIC BROOKLYN ACADEMY OF MUSIC Harvey Lichtenstein, President and Executive Producer and THE BROOKLYN PHILHARMONIC SYMPHONY Lukas Foss, Music Director and Conductor

BAM Opera.House November 5-7, 1987 at 8:00 pm November 8, 1987 at 2:00 pm

present THE MUSIC OF STEVE REICH

THREE MOVEMENTS World Premiere New York Premiere

KENT NAGANO, guest conductor THE BROOKLYN PHILHARMONIC , guest soloist

Electric Counterpoint was commissioned by the Brooklyn Academy of Music and The Brooklyn Philharmonic.

The music events of the NEXT WAVE Festival are made possible, in part, with a grant from the MARY FLAGLER CARY CHARITABLE TRUST. The opening night reception for STEVE REICH is sponsored· by NEWSWEEK.

BROOKLYN ACADEMY OF MUSIC I ; 111Ir----FE;~AL SPONSORED.BY PHILIP MORRIS COMPANIES INC.

The 1987 NEXT WAVE Festival is sponsored by PHILIP~ORRIS COMPANIES INC. The NEXT WAVE Production and Touring Fund and Festival are supported by: the NATIONAL ENDOWMENT FORTHE AR1S, THEROCKEFELLER FOUNDATION, THE FORD FOUNDATION, THE ELEANOR NAYWR DANA CHARITABLE TJlUST, PEW CHARITABLE TRU~ the Boom FERRIS FOUNDATION, THE HENRY LUCEFOUNDATION, INC., the AT&lfFOUNDATION, THEHOWARD GILMAN FOUNDATION, THEWILLIAMAND FLORA HEWLETT FOUNDATION, theMAllYFLAGLER CARY CHARITABLETRUST, THEHlNDUJA FOUNDATION, THEEDUCATIONAL FOUNDATION OFAMERICA, the MORGAN GUARANTY TRUST COMPANY,ROBERT W. WllSON, THE REED FOUNDATION INC., theEMMA A. SHEAFERCHARITABLE TRUST, SCHWMBERGER, YVES SAINT LAURENT INTERNATIONAL,andthe NEW YORK. STATE COUNCIL ON THE ARTS. Additional funds for the NEXT WAVE Festival are provided by: THEBEST PRODUCIS FO~ATION, COCA-COLA ENTERfAINMENT, INC., MEET THE COMPOSER, INC., the CIGNA CORPORATION, THEWILLIAM AND MARY GREVE FOUNDATION, INC., the SAMUEL I. NEWHOUSE FOUNDATION, THE ARMAND G. ERPF FUND, the ARTHUR ROSS FOUNDATION, the HARKNESS BALLET FOUNDATION, INC., THEWEILER-ARNOW FOUNDATION, AIR INDIA, REMYMARI1N AMERIQUE, the BAM Committee for THE MAHABHARATA, and the BAM NEXT WAVE ProducenCouncU. WNYC-FM is the official radio station ofthe NEXT WAVE Festival. The Producers Council provides annual private patronage for BAM's NEXT WAVE Festival and also organizes and sponsors seminars, exhibitions, publications, and special events for this program throughout the year. The Brooklyn Academy ofMusic wishes toexpress its appreciation toTheatre Development Fund for its support oftbis season. The BAM facility is owned by the City ofNew York and its operation is supported, in part,with public funds providedthrough the NEW YORK CITYDEPARTMENT OFCULTURAL AFFAIRS. Theprincipal capital . funding forthe BAM MAJESTIC THEATER was provided by the City ofNew York through the Department ofCultural Affairs with the special assistance of the ·Brooklyn Borough President's Office and the Office ofthe Mayor. Joseph V. Mellllo, Director Michael O'Rand, General Manager Philip Bither, Associate.Director/Music Curator STEVE REICH (Composer) was born in 1936 and Boston Symphony Orchestra in both Symphony raised in New York and California. As a youngster Hall, Boston and , New York in 1973. he began studying , and at fourteen studied (1984), Mr. Reich's largest work Western rudimental with Roland to date, was a co-commission from the Brooklyn Kohloff, principal tympanist with the New York Academy of Music and the West German Radio in Philharmonic. In 1957 he graduated with honors in Cologne. Scored for large orchestra and chorus, it philosophy from Cornell University. From 1957-58 is set to text by William Carlos Williams. The he studied composition with Hall Overton, and Desert Music received its world premiere March from 1958-61 he studied at the Juilliard School of 17, 1984 in Cologne by the West -German Radio Music with William Bergsma and Vincent Orchestra and Chorus conducted by Peter Eotvos. Persichetti. He received his M.A. in music from The American premiere took place at BAM in Mills College in 1963, where he studied with October 1984 with con­ Darius Milhaud and Luciano Berio. During the ducting the Brooklyn Philharmonic. The British summer of 1970, with the help of a travel grant premiere took place during the Proms Concerts in from the Institute for, International Education,·he summer 1985 at Royal Albert Hall by the BBC studied drumming at the Institute for African Symphony and Chorus conducted by Peter Eotvos. Studies at the University of Ghana in Accra. The chamber version, toured by the BAM NEXT During the summers of 1973 and 1974 he studied WAVE Production and Touring Fund in January Balinese Gamelan Semar Pegulingan and Gamelan 1986, was also performed by the San Francisco Gambang with Balinese teachers at the American Symphony in October 1986, the)Ensemble Society for Eastern Arts in Seattle and Berkeley. Intercontemporian in November)986 at the From 1976-77 he studied the traditional forms of Festival DJ\utomne in Paris and Metz ;and the cantillation (chanting) of the Hebrew Scriptures in Schoemberg Ensemble in Amsterdam in June '1987 New York and Jerusalem. In 1966 he formed his as part of the Holland Festival. Steve Reich has own ensemble with three musicians. Since that received commissions from the Holland Festival time Steve Reich and Musicians, which presently (1978); 'Radio Frankfurt (1979); the San Francisco numbers up to 40 musicians, has performed Symphony (1980); South German Radio, Stuttgart throughout the U.S., Canada and Europe. Between (1981); the Rothko Chapel (1981); flutist Ransom 1971 and 1985 the group completed 16 European Wilson (1984); the Fromm Music Foundation for and American tours, playing more than 300 con­ clarinetist (1985); the St. ,Louis certs. In addition to performances by his own Symphony in commemoration of their 75th ensemble, Mr. Reich's music has been performed anniversary (1986); the Brooklyn Academy of by major worldwide. In October 1987 Music for guitarist Pat Metheny (1987); Betty Michael Tilson Thomas conducted the world pre­ Freeman for the (1988); Festival miere of The Four Sections with the San Francisco DJ\utomne in Paris in honor of the French Revolu­ Symphony Orchestra, and Zubin Mehta will tion (1989); the Ensemble Intercontemporain, Paris perform the same work with the New York (1990); and the Los Angeles Philharmonic (1991). Philharmonic in January 1988. The world premiere Many important choreographers have used Mr. of the orchestral version of 1ehillim was performed Reich's music for their works. Jerome Robbins by the " Zubin Mehta, choreographed set to Mr. Reich's com­ conductor, at the opening concerts of the 1982-83 position of the same name for the New York City subscription season. Mr. Mehta led the Israel Ballet which premiered in early 1985 and Mr. Philharmonic in six performances of the work in Reich has recently collaborated with Laura Dean Israel, October 1986, to mark the 50th anniversary on Impact for her company which premiered dur­ of the orchestra. Major performances have also ing the 1985 NEXT WAVE Festival and for which been given by the Concertgebouw Orchestra Mr. Reich and Ms. Dean received a Bessie Award conducted by Edo de Waart, the Los Angeles in 1986. Among other choreographers using Mr. Philharmonic conducted by Neal Stulberg, the San Reich's work are Anne Teresa De Keersmaeker, Francisco Symphony conducted by Edo de Waart, Elliot Feld, Alvin Ailey, Lucinda Childs, Maurice the BBC conducted by Peter Eotvos, the St. Louis Bejart, The Paris opera, and Lar Lubovitch. In Symphony conducted by Leonard Slatkin, members 1974, Steve Reich was awarded a grant from the of the Chicago Symphony conducted by Dennis New York State Council on the Arts, and in that Russell Davies, the Southwest German Radio, year was also Artist-in-Residence in Berlin at the Stuttgart, and West German Radio, Cologne, c9n­ invitation of the DAAD. He is the recipient of three ducted by Peter Eotvos, the Ensemble Rockefeller Foundation Grants (1975, 1978 and Intercontemporain and the Netherlands Winds 1981) and two grants from the National Endowment Ensemble. As early as 1971 Phase Patterns was for the Arts (1974 and 1976). In 1978 he was performed in Pierre Boulez' first series of the New awarded a Guggenheim Fellowship and in 1981 York Philharmonic Prospective Encounter Concerts he received an award from the Koussevitzy and was performed with Michael Foundation. Tilson Thomas, Steve Reich and members of the KENT NAGANO (Conductor) Kent Nagano's Brecker, , Billy Higgins, Ornette rapid appearance among the front ranks of conduc­ Coleman and Milton Nascimento. In 1979, he was a tors on the international music scene has brought member of Joni Mitchell's stellar backing group for him engagements with major orchestras. and opera her Shadows and Light tour. With keyboardist Lyle houses around the world as well as appointments to Mays, his frequent writing partner in the Pat several major European musical posts. Beginning Metheny Group, he wrote the score'for the nine­ in September 1989 he will be Music Director and part Public Television science documentary Search Chief Conductor of France's renowned Opera de for Solutions, which aired nationwide in April Lyon. He is currently. Principal Guest Conductor of 1979. Pat Metheny has also composed the sound both The Dutch Radio Orchestra and of Pierre track to The Falcon and the Snowman, directed by Boulez' Paris-based Ensemble Intercontemporain. John Schlesinger and starring Timothy Hutton and Mr. Nagano first received worldwide recognition Sean Penn. The soundtrack featured the hit This is after triumphantly conducting Mahler's Symphony Not America performed by David Bowie and the No.9 with The Boston Symphony on one day's . He composed and performed notice without rehearsal and without ever having the music for an episode of Steven Spielberg's pteviously conducted the work. Subsequently he Amazing. Stories, entitled Grandpas Ghost, was named one of two co-winners of the first directed by Timothy Hutton, and he scored the Seaver/NEA Conductors Award, which consists of 1985 film Twice in a Lifetime, produced and the largest cash prize in the music world- $75,000. directed by Bud Yorkin and starring Gene Hack­ He made his La Scala debut conducting a new man, Ellen Burstyn and Ann-Margaret. In the past production of Salome with Montserrat Caballe, and eleven years Pat Metheny has recorded thirteen LP has conducted four new productions at The Paris , , Watercolors, Pat Metheny Opera-Elektra, Salome, Kbzzeck, and, for his Group, New Chatauqua, , 80181, debut, .conducted and assisted Ozawa in preparing As Falls Wichita, So Falls Wichita Falls, O!framp, the world premiere of Olivier Messiaen's St. Travels, Rejoicing, First Circle, The Falcon and the Francis ofAssisi. Among the orchestras he has Snowman, and Song X, from which he has gar­ conducted are The Boston Symphony at Symphony nered two Grammy Awards. Hall and Tanglewood, The Los Angeles THE BROOKLYN PIDLHARMONIC, led by its Philharmonic, The London Symphony, The renowned Music Director and Conductor Lukas Orche~tra de Paris, The Orchestra National de Foss, is the resident orchestra at the Brooklyn France, The Orchestra di Santa Cecilia in Rome, Academy of Music, where it presents two major The Amsterdam Concertgebouw, The New Japan subscription series each season. Acclaimed for Philharmonic, The Los Angeles and St. Paul incorporating contemporary music into the main­ Chamber Orchestras, and various other orchestras stream of the symphonic repertoire, .the Brooklyn throughout Europe. Future engagements include his Philharmonic h~s received four prestigious ASCAP debuts with The New York Philharmonic and awards from the American Symphony Orchestra Houston Symphony in America and The Royal League for "Adverturesome Programming of Philharmonic, London Philharmonic & RAI Contemporary Music" and three for "Creative Symphony in Milan. He will appear during the Orchestral Programming." Now in its 34th season, next three seasons with the London ·Symphony and the Brooklyn Philharmonic has grown from a The Amsterdam Concertgebouw, and will debut sinele-series community orchestra into a nationally with the orchestras of Monte Carlo, Norway, recognized ensemble of increasing scope. In addi­ Portugal and Australia, and will make his tion to its subscription concerts, the Orchestra Aix-e.n-Provence debut with The Opera de Lyon in presents several major educational programs and Prokofiev's wve for Three Oranges, later to be community-oriented concerts and has made three repeated in Lyon. tours of Mexico. During the 1987-88 season, the PAT METHENY (Guitarist) 33, is a virtuoso ,six program, eighteen concert "Command , guitarist, composer, and guitar synthesizer pioneer. Performance" series will feature masterworks of the Born in Lee's Summit, Missouri, he has been a traditional concert literature, including music of professional musician for half his life. He was Beethoven, Brahms, Mendelssohn, Debussy, instructor, while still in his teens, at the University Prokofiev, and Tchaikovsky, as well as premieres of Miami and in Boston. by such leading 20th c~ntury composers as John At nineteen he joined 's band and was Corigliano, Morton Gould, and Steve Reich. Fea­ featured on three of the vibist's -ECM albums tured guest artists on this series have included (Ring, Dreams So Real apd Passengers). Mr. , Nathan 1. Milstein, Jessye Metheny has performed and recorded with many Norman, , Andres Segovia, and of the most innovative musicians such as Gary Janos Starker; this season, pianists Emanuel Ax Burton, Paula Bley, Sonny Rollins, Steve Swallow, and Andre Watts and violinists Shlomo Mintz and Dewey Redman, Paul Motian, Hubert Laws, Roy Nadja Salerno-Sonnenberg fill out the roster of Haynes, Miroslav Vitous, Dave Liebman, Eberhard distinguished guest artists. The "Command Weber, Julius Hemphill, Jack DeJohnette, Michael Performance" series is broadcast twice yearly on WNCN-FM radio. Celebrating its fifteenth ELECTRIC COUNTERPOINT is in three move­ anniversary this season, the Brooklyn Philhar­ ments: fast, slow, fast, played one after the other monic's acclaimed "Meet the Modems" series was without pause. The first movement, after an created by Maestro Foss and has presented more introductory pulsing section where the harmonies than 100 U.S. and world premieres of works by of the movement are stated, uses a theme derived such notable contemporary composers as from Central African hom music that I became Blitzstein, Cage, Carter, Penderecki, Reich, and aware of through the ethnomusicologist Simha Stockhausen. Highlights of this year's four-concert Arom. That theme is built up on eight voice canon, season include fourteen premieres of instrumental and while the remaining two guitars and bass play and vocal works by Antoniou, Bazelon, Berger, pulsing harmonies the soloist plays melodic pat­ Colgrass, Huggler, Larsen, MacCombie, Miroglio, terns that result from the contrapuntal interlocking Vine, Wen-chung, Wilson, Wyner, and of those eight pre-recorded guitars. The second who is ·writing a piece especially for this series. movement halves the tempo, changes key and The Brooklyn Philharmonic's extensive overall pro­ introduces a new theme which is.then slowly built gram of education further enriches the musical life up in nine guitars in canon. Once again two other of the varied communities of Brooklyn and the guitars and bass supply harmony while the soloist greater New York area. Its "Family-Community" brings out melodic patterns that result from the series, which is directed by Tania Leon and has overall contrapu'ntal web. The third movement been hailed by the National Endowment for the returns to the original tempo and key and Arts, brings contemporary music by black and introduces a new pattern in triple meter. After Latin American composers to neighborhood building up a four guitar canon, two bass guitars audiences. In addition, directs enter suddenly to further stress the triple meter. educational programs for schoolchildren: free The soloist then introduces a new series of schooltime concerts presented at BAM, and in­ strummed chords that are built up in three guitar school concerts, a free performance and instruction canon. When these are complete, the soloist program presented at Brooklyn schools. Each sum­ returns to melodic patterns that result from the mer, the Orchestra gives free concerts in parks overall counterpoint when suddenly the basses . throughout Brooklyn. Conductor Lukas Foss has begin to change both key and meter back and forth been Music Director of the Brooklyn Philharmonic between E minor and C minor and between 3/2 since 1971, and this season celebrates his 65th and 12/8 so that one hears first three groups of four birthday. A moving force in the world of music for eighth notes, then four groups of three eighth over 40 years, he is equally renowned as a com­ notes. These rhythmic and tonal changes alternate poser, conductor, pianist, and educator. Mr. Foss more and more rapidly until, at the end, the basses has been Music Director of the Buffalo Philhar­ slowly fade out and the ~biguities are finally monic and the Milwaukee Symphony, and has re~olved in 12/8 and E' minor. guest conducted major orchestras throughout the THE FOUR SECTIONS refers to the four sections United States, Europe, and Asia. While a fervent of the orchestra: strings, woodwinds, brass and champion of contemporary music, he is acclaimed percussion. It also refers to the four movements of as well for his vibrant interpretations of the the piece: slow for strings (with woodwinds and traditional repertoire. During his tenure with the brass), slow for percussion, moderate for wood­ Brooklyn Philharmonic, he has created a tightly winds and brass (with strings), and fast for the full knit ensemble of virtuoso musicians and has been orchestra. The title also refers to the. four harmonic hailed for his consistently innovative programming. sections each of the movements is divided into. Since each of the movements focuses on one or two of the orchestral sections, one might be tempted to PROGRAM NOTES think of the piece as a concerto for orchestra. However, the focus here is on the interlocking of ELECTRIC COUNTERPOINT Commissioned by voices within the sections rather than displaying the BAM 1987 NEXT WAVE Festival and the their virtuosity against the rest of the orchestra. Brooklyn Philharmonic for guitarist Pelt Metheny, Those faffiiliar with my other pieces will recognize Electric Counterpoint is the third in 'a series of this interlocking of similar instruments to produce pieces for a soloist playing against a pre-recorded a contrapuntal web filled with melodic patterns. In tape of himself. My earlier pieces were Vermont contrast to all my other pieces, The Four Sections Counterpoint, created for flutist Ransom Wtlson, begins slowly and gradually increas~s tempo. The and , for clarinetist Richard first movement begins in the first violins in three Stoltzman. In Electric· Counterpoint the soloist pre­ part canonjoined shortly by the second violins and records as many as ten guitars and two electric then violas, also divided in three canonic parts. bass parts and then plays the final eleventh guitar The r,ellos, joined by woodwinds, then b~ing out part live against the tape. I would like. to thank Pelt some of the melodies resulting from this nine voice Metheny for showing me how to improve the piece canon. Below and around all of this the brass, syn­ in terms of making it idiomatic for the guitar. thesizers and double basses add long held chords. The second movement begins abruptly with two they were put in their usual position in the rear of , two and two bass drums. the orchestra the time delay between what the rest Although the tempo remains slow, the of the orchestra heard from them and what they and piano accent against the two interlocking vibra­ saw of the conductor's beat would. not be in sync. phones creating an extremely angular and irregular By placing them directly in front of the conductor percussive music in sharp contrast to the first the full orchestra hears and sees one unified rhyth­ movement. The third movement begins somewhat mic direction. The string orchestra is completely faster using the triplet rhythm at the end of the divided into two equal string orchestras, right and preceeding movement as its eighth note. As men­ left, somewhat as in Bartok's Music for Strings, tioned earlier, each movement is divided into four Percussion and Celeste. The purpose here is to harmonic sections and in this movement each of clarify the counterpoint between the two string those ~ections is devoted to a different instrumental orchestras. Each group can bow together and the grouping. The first is for a trio of interlocking listener can hear each group more clearly. In the with resulting patterns played by and opening pulse section of the piece each gradual two solo violins, and with pulsing chords from the change in harmony is alternated in a gently over­ other woodwinds and horns. The second is cen- lapping way between the two string groups. This tered around a trio of smoothly inteflocking clari­ slow change from chord to chord may suggest the nets while the third is for a double trio oftrumpets changing light as clouds move slowly across the and . The tempo increases in the fourth sky or, in musical terms, it may recall the middle section with the old quarter note equaling the new piece of Shoenberg's Five Pieces for Orchestra, dotted quarter. Here a double trio of flutes and "Farben" or "Summer morning by a lake." The clarinets is harmonized by the full string section opening harmonies are mostly altered dominant while trumpets and oboes play resulting patterns. chords with their roots moving in minor thirds E, The fourth movement begins abruptly with the Db, Bb, G and back to E, outlining the ambiguous vibraphones, and pianos at a fast tempo, diminished seventh chord. This harmonic move­ arrived at by shifting the basic meter from a dotted ment is used throughout the piece until, at the very quarter note to a quarter note. The firSt violins, end, it finally resolves to A minor.' The three violas and vibraphones gradually construct a rapid movements, fast, slow, fast, are played without repeating pattern while at the same time a high pause. The tempo of the slow middle movement is melody is built up, a note at a time, in the second exactly half that of the first movement, and the violins and flutes. Suddenly, the pianos, bass final third movement resumes the tempo of the drums, basses and cellos begin adding low accents opening movement. After the opening pulse section to re-interpret the metric stress. When this orches­ of the first movement, it gradually moves from tral build-up is completed, it modulates through the I pulse to melodic patterns in such a way that it may four harmonies mentioned earlier, changing metri­ be difficult to say when the pulses end and when the cal accent and melodic shape as it goes. Finally the melodic patterns begin. The second movement full ensemble cadences on F#. The total duration com,es directly from my earlier (1985). In of the piece is about 25 minutes. The Four Sections the fourth movement of that piece I used syn­ was commissioned·by The San Francisco Sym­ thesizers for slow melodic patterns in two part phony in honor' of its 75th Anniversary. That canon that seemed to suggest oboes and clarinets. orchestra presented its World Premiere in San Here one can hear those woodwinds along with Francisco on October 7, 1987 conducted by quiet violins playing this material supported by two Michael Tilson Thomas, to whom the piece is vibraphones, bass drum and low strings and winds. dedicated. The European Premiere will be at the Eventually the woodwinds and violins fade away Frankfurt Opera with Gary Bertini conducting on and the accompaniment of vibraphones, bass drum October 11, 1987. In January, 1988 Zubin.,M:ehta and low strings and winds becomes the new will conduct the piece with The New Yotk 'Philhar­ melodic focus. The final fast movement draws monic and in April of that year Laura Dean will upon both my Sextet and New York Counterpoint choreograph it for The New York City 'Ballet. (1985). After the upper voices of the orchestra have built up a two- part canonic texture, the lower THREE MOVEMENTS for orchestra was commis­ voices begin accenting this material so that it is sioned by the St. Louis Symphony. It was begun in perceived first as three groups of four beats each late summer 1985 and completed in March 1986. It and then as four groups of three beats each. This is scored for a normal orchestra of triple winds and kind of rhythmic ambiguity has been a mark· of my is approximately sixteen minutes long. The music for over 20 years, and is also found widely arrangement.of the orchestra on stage is somewhat in West African music. The piece concludes with a unusual and follows the layout of the orchestra for kind of mensuration canon- with the subject being· my piece, The Desert Music (1984). The mallet a rhythmic pattern found in the high bell part of percussion, consisting of two marimbas and two West African music. This canon in the entire vibraphones, as well as two pianos are placed orchestra moves upward, leaving the bass behind directly in front of the conductor and play cons­ until it reaches its cadence on a high A minor. tantly to supply the ongoing rhythm of the piece. If Steve Reich, 19lf7 OFFICERS OF THE BROOKLYN PIDLHARMONIC BOARD OF DIREcroRS

Stanley H. Kaplan, Chairman ofthe Board Michael A. Armstrong Lucille R. Grossman Craig G.· Matthews Robert C. Rosenberg, President Arnold Badner Philip W. Gundy Dr. Melvin Moore Robert A. Galletta, Executive Vice President Richard V. Campagna William L. Harris Mrs. Jay B. Polonsky Craig G. Matthews, Executive Vice President Gail R. Clott Nicholas M. Infantino Jonathan Rose Vincent A. Finamore, Vice President James Costley Hesper Jackson, Jr. Robert C. Rosenberg Henry J. Foner, Vice President Isaac E. Druker -Jerry Jacobs Arnold L. Sabin Nicholas M. Infantino, Vice President Melvin Epstein Stanley H. Kaplan Peter J. Senatore Jerry Jacobs, Vice President Vincent A~ Fi~ore Mrs. Stanley H. Kaplan Joseph R. Small Dr. V. Pe~r Mastrorocco, Vice President Henry 1. Foner I. Stanley Kriegel Nicholas John Stathis Dr. Melvin Moore, Vice President Robert A. Galletta Jack Litwack Donald L. Thomas Arnold L. Sabin, Vice President Mark Gastoll Dr. V. Peter Mastrorocco Bruce Wittmer Jonathon Rose, Treasurer Louis H. Gordon Joanne Witty Joanne Witty, Secretary STAFF FOR TIlE BROOKLYN PIDLHARMONIC HONORARY CHAIRPERSONS Maurice Edwards, Executive Director Hon. Edward I. Koch Anne Scott, Director ofDevelopment Hon. Howard Golden Michael Jonnes, Operations Manager Hon. Elizabeth Holtzman David Samuels, Director ofMarketing I. Stanley Kriegel Stephanie Cheek, Director ofAudience Development Rabbi Eugene J. Sack Scotti Harwood, Business Manager Mariana Kahn, Administrative Assistant HONORARY DIREcroRS Shuman Associates, Inc., Public Relations Jonathan 'Thylor, Orchestra Personnel Manager Bernard S. Barr Mrs. Bernard S. Barr V9LUNTEERS Daniel Eisenberg The Brooklyn- Philharmonic appreciates the tremendous efforts and enthusiasm ofall ADVISORY BOARD its volunteers who provide assistance throughout the season: Mrs. Seymour Besunder Lillian Besunder, Shelly Ferber Harriett Safian Schuyler Chapin Chairman Ellen Harold Edythe Sauler Dr. Arthur Lapovsky Michael Booker Sydelle Hermalin Linda Schreiber Salomon C. Lowenstein Michael Cirillo Shoshana Kahn Adelaide Seer Hon. Charles Schumer Ruth Cohen Cassandra Price-Sterling David Slominsky Joseph Scorcia Dorothy Elliott Evelyn Ramirez Lillian Weinman Penny Rosen

BROOKLYN PHILHARMONIC ORCHESTRA PERSONNEL 1987/88 SEASON

VIOLIN I VIOLA Richard Rood, concertmaster* Lois Martin, principal* Henry Schuman,' principal Theodore Toupin, principal Yuval Waldman Karl Bargen David Kossof Clifford Haynes Davis Brooks Stephanie Fricker Melanie Feld Vernon Post Lenard Rivlin Mary Helen Ewing Robert Botti, ~nglish horn Mark Johansen, bass trombone Diane Bruce Ira Weller Jilll..evy Veronica Salas Jeffrey Lee Daniel Seidenberg Laura Flax, principal Carl Kleinsteuber Rebekah Johnson Karen Ritseher John Michael'Cipolla MingYeh Ron Lawrence Mort Silver* PERCUSSION Lisa Brooks Denis Smiley, Richard Fitz, principal Nancy Ditto CELW Russ Hartenberger* Rena Isbin Melissa Meell, principal James Preiss* David Calhoun Harry Searing, principal David Frost VIOLINn Lanny Paykin Bethany Horton Gary Kvistad* Dale Stuckenbruck, principal Michael Rudiakov Jeff MjU"Chand, contra-bassoon Bob Becker* Sebu Siriman Peter Rosenfeld Kim Laskowsky, contra-bassoon Carolyn Wenk Sally Cline KEYBOARD Yang Joon Kim Kenneth Bowen, principal Luellen Abdoo BASS Paul Ingraham, principal Nurit Ttlles* Katherine Hannauer Marji Danilow, principal Stewart Rose Joe Kubera* Maria Parisella Louis Bruno Francisco Donaruma Ed Niemann* Ruth ZUmstein Paul Harris Sandra Walker Yong Kim Janet Conway Barbour LffiRARIAN Christiane Pors Steve Rubenstein TRUMPET Patrick McCarty Jeffrey Ellenberger Kenichi Shimizu . Ray Mase, principal* Wende Namkung Philip Ruecktenwald ORCHESTRA Carl Sakofsky PERSONNEL MANAGER Katherine Fink, principal Wayne du Maine Yuval Waldman David Wechsler Florence Nelsol!,.piccolo Wendy Stem, piccolo

*Member of Steve Reich & Musicians