Hit a High Note in Savings

DIME SAVINGS BANK- FLOWERS Brooklyn Academy of Music al/ suns (Se) 7 AirTrATil n _ Vtlit it+ 0 ruiivia./ms O -s mai" ©11.4/ dilaW Sorter)/ f ry 1 Ai; j I = 1 1 1 1 1 A &.-- _ ...saw --.... aid wars 4E41 241f 15" F tau stis9 4 ± CAINE r_.-- -A ------=_ ---.= L_W-L_LLi Ri-& 0 Erre4 pier Sr ford 44911 0 / Rik tR ism. neer I 7 .1 bTr; A nICli-lolf ) -AL J r. 11111 SIP J i , ) r.mmimnil , .- 61c last figriE4 ar% ) Dime 4050 Via 374 .U1 it Ent ai Walk RALLi, 0 (FD6=.1 EDS (42°11 You hear this music when you watch the Dime TV commercials. © Ron Lockhart, Inc. used by his permission Hit a high note in savings. THE DIME SAVINGS BANK OF NEW YORK MEMBER FDIC ABRAHAM 0755, 0016)_- cn 3`>1 C 1 THE BROOKLYN ACADEMY OF MUSIC presents Drumming Laura Dean and Dance Company Steve Reich and Musicians choreography - 1975 WATERCOLOR music - 1971 ETCHINGS Painterly in feeling ... alive with color an and etched print. on abstract This program was made possible through funding from the New Just two from our Sun 'n Sea Collection! York State Council on the Arts, The National Endowment for the Arts, the Meet the Composer program, and the Brooklyn Academy of Music. Drumming, together with Six Pianos and Music for Mallet Instruments, Voices and Organ has been recorded by Steve Reich and Musicians on Deutsche Grammophon's recently released 3 1p boxed set, DG 2740-106. Program Thursday, April 3, 1975 (7:30pm)/Lepercq Space Friday, April 4, 1975 (8:00pm)/Lepercq Space Steve Reich Saturday, April 5, 1975 (8:00pm)/Lepercq Space and Sunday, April 6, 1975 (2:00pm)/Lepercq Space Musicians THE BROOKLYN ACADEMY OF MUSIC Drumming presents "DRUMMING" Six Pianos 1 LAURA DEAN and DANCE COMPANY for Music Mallet Instruments, STEVE REICH and MUSICIANS Voices and Organ choreography - 1975 111111 Steve Reich music - 1971 Drumming Music for Mallet Instruments Voices and Organ Six Pianos Dancers Laura Dean Joan Durkee Sarah Edgett Susan Griss Grethe Holby STEVE REICH Diane Johnson 4.% Kathy Kramer .".""---11r, MUSICIANS Dee McCandless E; Musicians 42Ordt t 0 W AY Bob Becker / N fod; .10003 Steve Chambers Jay Clayton LISA Pamela Fraley Ben Harms Russ Hartenberger James Preiss Steve Reich Gary Schall Leslie Scott David Van Tieghem Glen Velez 3 LP BOXED SET DG 2740 - 106 AT ALL RECORD STORES Notes on the Music Drumming (1971) took more than a year to compose and rehearse. It runs continuously for about 1% hours, and is divided into four sections played together without pause. The first section is for eight small tuned drums and male voices, the second for three marimbas and female voices, the third for three glockenspiels, whistling and piccolo, and the last section for all instruments and voices combined. The basic assumption about the voices in Drumming was that they "Drumming" the sound of the would not sing words, but would precisely imitate instruments. The vocalists sing melodic patterns resulting from the combination of two or more sets of drums, marimbas, or glockenspiels playing the identical pattern one or more quarter notes out of phase with each other. By exactly imitating the sound of the instruments, and by gradually fading in the patterns the singers cause them to rise gradually to the surface of the music and then, by fading out, to subside slowly allowing the listener to hear these patterns along with many others, actually sounding in the instruments. In the case of the drums this has necessitated using the male voice singing syllables like "tuk," "tok," "duk," and so on. For the voice was needed using consonants like a soft Notes on the Dance marimbas, the female as in "you" vowel steady pulse, repetitive movement "b" of "d" with a more or less constant "u" I've been working with spinning, range of I was case of the glockenspiels the extremely high patterning since 1968. From 1966 until 1968 sound. In the and geometric and precluded any use of the voice as such and necessi- works with characterization, sets and costumes, the instrument creating theatre this form of vocal production proved impos- which were not thought out before execu- tated whistling. Even improvised movements was played in its higher ranges, and this with this situation. The root of the activity sible when the instrument tion. I was dissatisfied this conceptually interesting, created the need for a more sophisticated form of whistle; in was not clear. The theatre works, although The improvised case the piccolo. In the last section of the piece these vocal tech- emotionally self-indulgent audience exposures. were physically niques are combined simultaneously with each imitating its partic- , lacked self-conscious clarification and were movements ular instrument. dissatisfying. for are joined together by the new instruments doubling and worked alone in a studio in San Francisco These sections I left New York The sitting had come the exact pattern of the instruments already playing. Thus, at the most of 1968 and 1969. I began with sitting. a mono- the drum section there are three drummers playing the same when I thought out end of I 1967 out of a theatre work did in work gave 2 quarter notes out of phase with each other. The marimbas of speaking it to the audience. The theatre pattern logue instead con- softly with the exact same pattern played by three players explore the multi-dimensional layers of body enter the impetus to of phase with each other. The drummers while performing the piece. ) also 2 quarter notes out that I experienced sciousness gradually fade out so that the same rhythm and pitches are con- Walking was the physical connection I Out of sitting came walking. with a gradual change in timbre. At the end of the marimba and continued to ex- tinued sensation I was experiencing lowest range exactly to the pulsing first in section three glockenspiels played in their and sitting. I began walking perience when completely still double three marimbas played in their highest range so that the and back, then in circles. I walked in circles straight lines forward process of maintaining rhythm and pitch while gradually changing letting mybody weight lean in toward the for about two months timbre is repeated. into a spiral which brought my body center of the circle leading last section of the the focus inwards for about 3 The transition from the glockenspiels to the I was spinning, keeping 11 into a spin. voices combined is made through suspended me between the waking piece for all the instruments and hours a day. This movement and reduction. The and was the first a new musical process I have called construction states, a most pleasant place to be, and sleeping piece begins with two drummers constructing in movement for me. Spinning is a direct very beginning of the major breakthrough piece from a single drum the mind that I the basic rhythmic pattern of the entire physical connection to the whirling motion of in a cycle of twelve beats with rests on all the other while sitting. beat, played experienced drum beats are substituted for the rests, a series beats. Gradually additional to New York in early 1970 I performed process After I returned a until the pattern is completed. The reduction a straight line, one at time, solos. The first was singing while sitting, walking substituted for beats, of on is simply the reverse where rests are gradually phrase with all activities on a steady pulse doing a repetitive one at a time, until only a single beat remains. The reduction at a 6' by 6' square. the end of the glockenspiel section leads to a reconstruction for the was stamping in a The second solo was a few months later and glockenspiels, marimbas, and drums simultaneously. phrase, and singing with all square, spinning, a repeated diagonal one basic rhythmic pattern for all of Drumming: Reich in late 1970 There is, then, only activities on the same steady pulse. I met Steve to work with a com- after expressing a desire to a dancer friend pulse. She mentioned the f7 poser who was working with steady 11: -1\r, 7 el, 1 I .1\ Steve was interested music of Steve Reich which I had not heard. V that we . a choreographer. We met and realized in working with phase position, pitch, and timbre, and I with dance. This pattern undergoes changes of were working in the same area, he with music in my mind but all the performers play this pattern, or some part of it, through- The choreography for Drumming has been brewing and the problems out the entire piece. since 1972 but because of financial difficulties were not -Steve Reich of conflicting performance and touring schedules we Steve Reich and I able to begin work until late fall of last year. discussing the struc- worked in close collaboration on Drumming in the four ture of the music and our concept of energy expressed beginning of work between sections of the work. Drumming is the and me and should be viewed as work-in-progress. Steve Reich -Laura Dean Laura Dean and Dance Company Experimental Theater. Dance training includes the School of the Boston Ballet, Tatjana Baboushkina and the American Ballet Center (Joffrey). She has been a member of Laura Dean and Dance Com- Laura Dean was born on Staten Island, New York, on December 3, pany since January 1974. 1945. Her early dance training was with Lucas Hoving from 1952 through 1956 and at the School of American Ballet in 1955 and Kathy Kramer majored in dance at SUNY Brockport.

Load more