BROOKLYN ACADEMY OF MUSIC

PIERRE BOULEZ and ENSEMBLE INTERCONTEMPORAIN PINABAUSCH ~ZTHEArERVVUPPERLAL BROOKLYN ACADEMY OF MUSIC Harvey Lichtenstein, President and Executive Producer

BAM Majestic Theater June 16 & .17, 1988 PIEmu: BOULEZ and ENSEMBLE INTERCONTEMPORAIN Music Director and Conductor

Musicians Sopbie Cherrier, flute; EmmanueUe Ophele, flute; Didier Pateau, oboe; , ; Andre Trouttet, clarinet; Olivier Voize, clarinet; Guy Arnaud, ; Jean-Marie Lamothe, bassoon; Jacques Deleplancque, hom; Jens Mc Manama, hom; Antoine Cure, trumpet; Jean-Jacques Gaudon, trumpet; Jerome Naulais, trombone; Vincent Bauer, percussion; Michel Cerutti, percussion; Daniel Ciampolini, percussion; Jean-Guillaume Cattin, percussion; Patrice Lefevre, percussion; Philippe Mace, percussion; Pierre-Laurent Aimard, piano; Alain Neveux, piano; Marie-Claire Jamet, harp; Jeanne-Marie Conquer, violin; Jacques Ghestem, violin; Maryvonne Le Dizes-Richard, violin; Garth Knox, viola; Jean Sulem, viola; Cbrichan Larson, cello; , cello; Frederic Stocbl, bass.

Presented as part of

Support for Pierre Boulez and Ensemble InterContemporain has been provided by Association Fran~se d'Action Artistique. Additional funds have been provided by the New York State Council on the Arts and the Friends of BAM. The BAM fucility is owned by the City of New York and its operation is supported in part with public funds provided through the New York City Department of Cultural Affuirs.

The New York International Festival of the Arts, Inc. is an independent non-profit organization whose board of directors con­ sists of leaders in the arts, business, foundations, and international affuirs. The Festival and events are supported by corpora­ tions, foundations and individuals. Founding Sponsor: American Express Company; Prime and Major Corporate Sponsors: The Chase Manhattan Bank, The Hearst Corporation, The May Department Stores Company, Morgan Stanley Group Inc., Pan Am, Louis Vuitton; Prime and Major Foundation Sponsors: The Aaron Diamond Foundation, The New York TImes Com­ pany Foundation, The Rockefeller Foundation, Helena Rubinstein Foundation, The Fan Fox and Leslie R. Samuels founda­ tion; Public Services: Metropolitan Transportation Authority. PROGRAM Thursday, June 16, 1988 with soloists Pierre-Laurent Aimard, piano Garth Knox, viola Hommage a Pierre Edison Denisov (b. 1929) Diademes Marc-Andre Dalbavie (b. 1961)

Intermission

Symphonie, opus 21 Anton Webem (1883-1945) Concerto, opus 24 Anton Webem Oiseaux Exotiques (b. 1908) Friday, June 17, 1988 with soloist Sophie Cherrier, flute Desintegrations Tristan Murail (b. 1947) Derive Pierre Boulez (b. 1925) Memoriale ( ... explosante-fixe . . originel) Pierre Boulez

Intermission

Suite, opus 29 Arnold Schoenberg (1874-1951)

Contemporary music cannot rely merely on some means of luck and lots of good will to flourish. It requires a permanent ensemble whose coherence is assured through continuous rehearsing, an ensemble that would regu­ larly resume, with increasing familiarity, the works it has premiered and instigated. From this point of view, the founding of the Ensemble InterContemporain marks an important oote. Pierre Boulez ENSEMBLE INTERCONTEMPORAIN was found­ Garth Knox pursues an active career as a soloist, giv­ ed by French conduC1Dr~mposer Pierre BouIez in tm ing recitals on the radio, along with numerous cham­ as a permanent group of musicians dedicated to the per­ ber music concerts and broadcasts. He has been violist formance of twentieth century music. It works closely with the Ensemble InterContemporain since 1983. with IRCAM, the Institute for Research on Coordina­ tion of Acoustics and Music, which Pierre Boulez SOPHIE CHERRIER (flute) is a native of Nancy, created in 1970 at the request of French President , and studied at the Conservatoire de Region of Georges Pompidou, performing music from IRCAM Nancy and at the Conservatoire de . She studied composers and participating in the center's experiments. flute with and with Chris­ The Ensemble's repertoire, however, is drawn from the tian Larde. entire range of this century's music, from Debussy, She has won major first prizes in flute and chamber Ravel, Prokofiev, and Stravinsky to Cage, Carter, Glass, music and she received the fourth prize at the Jean­ and Reich. In the first ten years of its existence, the Pierre Rampal international competition. Ensemble InterContemporain achieved the unparalleled She joined the Ensemble InterContemporain in 1980 feat of performing works by over 250 twentieth cen­ and has been performing duets with Jean-Marie Cot­ tury composers. tet. She teaches flute at the Conservatory of the 12th Arrondissement (in Paris) and at the Teachers College. PIERRE BOULEZ (Music Director and Conductor) Among the many compositions she performs, her for over forty years has been active in evolving music, filvorites include Mozart's quartets for flute, violin, viola composing and conducting. Stimulated by studies with and cello, Le Marteau sans Maitre, and the Boulez Messiaen, Boulez experimented with Asian, African sonatina. and European musical influences, and influenced by Rene Leibowitz, who studied with Schoenberg and PROGRAM NarES Webern, he adapted twelve-tone composition into his Edison Denisov: Hommage a Pierre work. Boulez gradually gained prominence as a con­ Hommage d Pierre is the sign of my admiration and ductor, as with the Domaine Musical Ensemble which of my friendship for Pierre Boulez, who remains for he founded, and in 1971 he became conductor of both me always one of the greatest composers of our century. the New York Philharmonic and BBC SYmphony Orch­ The work is constructed around horn phrases and estra. From the mid 1970's he has concentrated his ener­ develops its material around the note B flat. Hommage gies on IRCAM including study of computer generated d Pierre was written for the 60th birthday of Pierre music. Boulez and premiered March 31, 1985 at Baden Baden by the Ensemble InterContemporain under the direc­ PIERRE-LAURENT AIMARD (piano), after hav­ tion of Peter Eotvos. ing obtained four first prizes at the Conservatoire The piece lasts approximately seven minutes. National Superieur de Musique of Paris, received the Edison Denisov* first prize in the Olivier Messiaen International Com­ petition (Concours International Olivier Messiaen) in Marc-Andre Dalbavie: Diademes 1973 and the second prize in the Geneva International For solo altered viola, electronic ensemble and Competition (Concours International de Geneve) in instrumental ensemble, Diademes was commissioned 1976. by the Ensemble Itineraire and first performed June A member of the Ensemble InterContemporain since 16, 1986, and "realized" at IRCAM. The portion "aide its inception, he has pursued a parallel career as a soloist II la composition" was conceived on a Macintosh in most of the countries of Europe and South America, (Apple) using the computer labguage LeLISP (Chal­ in the U.S., Canada, and New Zealand. He has played lioux) and its extension FORMES (IRCAM), permit­ with the symphony orchestras of Boston, Chicago, Lon­ ting the generation offilter processes through harmonic don (the Philharmonia), Berlin, Toronto, Leningrad, rules. Dresden, Geneva, and Paris, under the direction of such The synthesized portion was made through two conductors "as Boulez, Ozawa, Celibidache, Davis and TX816's (Yamaha) controlled by two KX88's (Yamaha). Previn. The utilization of the modulation of frequencies was entirely controlled by a Macintosh that had been set GAIirH KNOX (viola) was raised in Aberdeen, Scot­ to programs produced by IRCAM. The altered portion land. He studied viola with Frederick Riddle at the is realized through a pair of "harmonisers" computing Royal College of Music in London, where he obtained and transposing the actual sound and time. the first prize for viola, as well as several prizes for Three groups of instruments are called for in the chamber music. He subsequently studied with Peter score: an electronic ensemble; a traditional instrumen­ Schidloff and Paul Doktor and became interested in tal ensemble composed of winds (2 flutes, 1 oboe, 2 contemporary music. He plays with the Ensemble Koe­ , 1 bassoon) brass (l horn, 2 trumpets, 1 bass nig, the Fires of London, and the London Sinfonietta, trombone) percussion, and strings (3 violins, 1 double and has given numerous performances of the concertos bass); a solo viola, altered by a "harmoniser" and an of William Walton, Jonathan Lloyd and Wolfgang echo chamber (the latter affecting the joining of the two Rihm. ensembles). The piece is divided into three connect­ In 1979, Hans Werner Henze dedicated his Sonata ing movements and is of approximately Zl minutes for Viola to Mr. Knox, who played the world premiere duration. performance of the work and subsequently recorded Marc-Andre Dalbavie* it for Ricordi. *Translated from the French [Continued] Anton Webern: Symphonie, opus 21 the material of the piece, its microforms, its systems The Symphonie op. 21 was composed in 1928 and of development, has as its sO,urce analysis of some dedicated to Webern's daughter, Christine. It was decompositions or some artiftcial reconstructions of Webern's second purely instrumental piece after 12 harmonic or inharmonic spectrums. years of concentrating on production of vocal works, The greater part of the spectrums originate orches­ and was his ftrst composition for orchestra since 1913. trally; the low-pitch sounds of the piano, !he 'brass, and Compared to his last previous orchestration, this the cello have been particularly utilized. symphony reveals the evolution of Webern's concept The magnetic tape has not attempted to recreate the of instrumentation over this 15 year gap. The result sounds of instruments, which do not serve as the models sounds somewhat austere, even ascetic, with instrumen­ for the building of timbres or of harmonies or even the tation of clarinet and bass clarinet (characteristic of constructions of musical forms. Webern), two horns, harp and strings. Several varieties of' treatment of spectrums are The work is divided into two movements. The ftrst employed in the piece: is comprised of two sections and employs the traditional Fractionalizing (the splitting of sound band frequen­ reprise of the SOnata form. The second movement, "sehr cies): for example, sounds of "OOlls" at the beginning ruhig," (very calm) is based on a theme followed by and the end are obtained by fractionalizing the sounds seven variations and a coda which is performed by harp of the piano. Filtering: exaggerating or removing cer­ and strings. tain components. Spectral exploration: movements from 1.M. Lonchampt* within the sound; one hears the constituents one after the other, the timbre becomes the melody-for exam­ Anton Webern: Concerto, opus 24 ple, in the third section, the little bell sounds coming The Concerto op. 24 was composed by Anton Webern from the breaking up of the timbres of the clarinet and in 1934 for the 60th birthday of Arnold Schoenberg. the flute. The creation of linear, inharmonic spectrums: Following the example of Symphony op. 21, it is made by adding or subtracting frequencies - by analogy with up of a group of works where Webern creates music ring modulation or frequency modulation; of "non­ of scarcity and resonant asceticism, rendering disquiet­ linear" inharmonic spectrums by twisting a spectrum ing apprehension. or describing a frequency curve - for instance in the The Concerto conforms to the three-part structure next-to-last section's progressive torsion of the sound of a classic concerto (fast-slow-fast) until the more of a bass trombone. univocal and extroverted rhythmic nature of the ftnal Tape and instruments proceed from the same origin movement, while at the same time conforming to the and are in complementary rapport. Frequently, the Weberian style of time and rhythm. tape exaggerates the character of the instruments, from J.M. Lonchampt* defracting or breaking up their timbres, or amplifying orchestral effects. In order to achieve complete syn­ Olivier Messiaen: Oiseaux Exotiques chronization, it is necessary for the conductor to fol­ Almost everything in this music, composed in low a "click-track." 1955-56 for BouIez's Domaine Musical, is derived from One can distinguish eleven moments, or eleven birdsongs notated by the composer in North America, "routes" within the piece. They pass, one to the other, or, in the cases of species from India, South America, through "transition / transformation;' or through Malaysia and China, tranScribed by him from records. "uncoupling" of an "effect of threshold." Each moment They are abstracted from nature geographically, and accents the treatment of a type of dissimilar spectrums, also musically, since Messiaen adapts them to the each "route" causing the evolution from the harmonic frameworks of his own rhythms and harmonies. This to the inharmonic or vice versa. This creates movements is not a portrait drawn from the wild, but rather a con­ of shadow and oflight, which accompany the agitated course of mechanical birds, exaggerated in the violent movements of crossing and recrossing, of setting in shapes and colors of music for wind and percussion, rhythmic order to disorder. or more subtly imp'risoned in the sonorities of the piano. The synthesis on the computer was produced with The wind-percussion orchestra and the solo piano are the help of Andrew Gerszo and the ftnal editing of the ftrst heard in alternation, as if in liturgical versicles and tape with that of Didier Arditi. responses, giving way to a much longer tract from the Desintegrations was commissioned by IRCAM and orchestra and ftnally to renewed, cadential alteration. was ftrst performed at IRCAM on February 15, 1983. Among the more vociferous species are the shrieking from Tristan Murail* Indian minah (ftrst tutti), the Himalayan white-crested laughing thrush with its heavy iterations (ftrst and last Pierre Boulez: Dirive tuttis), the flamboyant Virginian cardinal (second and IfBouIez were a different sort of composer, he might third piano solos) and the Indian shama, whose calls have called this piece "Prelude and Fugue." But then in glorious E major lead the piece towards its end. it would have been a different piece. As it is, this rela­ Paul Griffiths tive miniature of seven or eight minutes refrains from any explicit identiftcation with traditional models, even Tristan Murail: Disintegrations if there is a clear division between the ornamented Desintegrations, for magnetic tape synthesized by chords of the ftrst half and contrapuntal invention of computer and 17 instruments, was composed after the second, led by the piano. extensive work on the concept of the "spectrum." All If the piece recalls anything from the past, it is likely IV to be Boulez's own eclat, since there is the same con­ Arnold Schoenberg: Suite, Opus 29 cern in both parts of the work with decorating static Arnold Schoenberg, born in Vienna, was one of the harmonies by means of trills and flurries of grace notes. dominant, most influential composers of the twentieth The difference is that the preludial part of Derive pro­ century, and in Europe was personally associated with ceeds at the same slow tempo for 26 bars, while the Alexander von Zemlinsky, Richard Strauss and Gustav second part just gradually slows down and then returns Mahler. Emigrating to the U.S. in 1933, he taught at to the opening speed. Boulez's customary flexibility is universities in Boston and Southern California, here conveyed not by unstable movement so much as influencing such composers as , Anton by an unpredictable darting of ideas among the instru­ Webern and Egon Wellesz. Through his artistic ments: flute and clarinet, violin and cello, vibraphone development, Schoenberg moved from compositions and piano. reflecting late romanticism to expressionism, and to The work 'was written as a tribute to Sir William non-traditional hannonic arrangements, twelve-tone Glock on his re~ment in 1984 as director of the Bath composition and atonality. Festival-a personal tribute, since it was Glock who Arnold Schoenberg became an American citizen in brought Boulez over to conduct the BBC Symphony 1941 and in 194The was made a member of the Academy Orchestra in 1964 and persuaded him to become its of Arts and Letters in New York. Principal Conductor seven years later. The title, as usual "With Boulez, is hard to translate. In French the work *Translated from the French retains, as it does not in English, Latinate connotations of being away from shore. We are being invited to lis­ Staff for Ensemble InterContemporain ten, perhaps, to drifting derivatives. President ...... Pierre Boulez Derive premiered with the London Sinfonietta in Musical Director . ... '...... Peter Eiitviis 1985. Principal Guest Conductor ...... Kent Nagano Paul Griffiths Artistic Advisor ...... Nicholas Snowman Pierre Boulez: MemorioJe (. . . explosanJe-jixe . .. General Manager ...... Brigitte Marger originel) Administrative Director ...... Arnaud de Mezarnat Assistant to the Director ...... Monique Jarrier This piece is, above all, a tribute and a friendship - to Assistant Artistic Director ...... Karen Spano Larry Beauregard, flutist for the Ensemble InterCon­ temporain, who disappeared in September of 1985. He Head ofAccounting ...... Eliane Wurmser Bookkeeper ...... Marie-France Britault was then working in close relationship with the com­ poser and other IRCAM researchers (Andrew Gerszo, Public Relations Director . ... • ..... Martine Levy Barry Vercof, and Xavier Chabot) in the refonnulation Education Director ...... of an already old Boulez piece, explosante-.fixe (1970) Public Relations Assistant ...... Monique Bondoux for flute and instrumental ensemble. The new project, Press Attache ...... Marie-H6lime Arbour which a perfonner fmds fascinating to interpret, con­ Receptionist ...... Marie-Laure Campo sists of finding a "junction" between the instrument and Librarian ...... Nicolas Dagan the most perfect musical computer of our century, the General Stage Manager ...... Philippe Bisquey Stage Managers ...... "machine 4X." Memoriale is made up of the original Jean Radel work for flute, which supports a small ensemble com­ FranckErny posed of three violins, two violas, one cello, and two horns. This elegy to the one who composed it, accord­ Credits ing to Boulez the "model of what should be, ideally, Piano by Steinway & Sons Piano Makers, musical the musician of the future," lasts a little less than six instruments by Carroll Musical Instruments Services minutes. Corp., sound equipment by Masque Sound and Record­ Dominique Jameux* ingCorp. -BROOKLYN ACADEMY OF MUSIC Harvey Lichtenstein, President and Executive Producer

BAM Opera House June V-July 10, 1988

PINABAUSCH TANZTHEATER WUPPERTAL

Direction and Choreography PinaBausch Performers Jakob Andersen, Mariko Aoyama, Anna Maria Benati, Benemcte Billiet, Rolando Brenes-Calvo, Antonio CaraUo, Finola Cronin, Dominique Duszynski, Lutz Forster, Barbara Hampel, Kyomi Ichida, UI'S Kaufmann, Silvia Kesselheim, Eduard Kortlandt, Beatrice Libonati-Minarik, Melanie Karen Lien, Anne Martin, Dominique Mercy, Jan Minarik, Helena Pikon, Monika Sagon, Dena Sapiro, Jean-Laurent Sasport.es, Mark Sieczkarek, Julie Anne Stanzak, Francis Viet, Mark Wilson, Hans Kernshe (extra), Kai Wlchs (extra), Reinhard Steinmeier (stunt man), Michael Mohr (stunt man), Manfred Kasak (stunt man), Gerhard Zacker (stunt man) Deputy Director General Intendent Hans I\)p Jiirgen Matthias Fabritius Technical Director Set Designer Robert Wmdecker Peter Pabst Costume Designer Sound Designer Marion Cito . Hans Jiirgen Frunder Music Coordinator, Pianist Matthias Burkert

Presented as part of

Pina Bausch 1lInztheater Wuppertal perfunnances have been made possible by a special grant from The Harkness Foundations fur Dance. Generous support has also been provided by grants from Goethe House New York and Lufthansa Airlines. Additional sup­ port has been provided by Siemens Capital Corporation, the New York Stile Council on the Arts, the Herman Goldman Foundation, the Eugenia and Henri Doll Foundation, and the Friends of BAM. The BAM fiIcility is owned by the City of New York and its opera­ tion is supported in part with public funds provided through the New York City Department of Cultural Affilirs.

The New York International Festival of the Arts, Inc. is an independent non-profit organization whose board of directors consists of leaders in the arts, business, foundations, and international allilirs. The Festival and events are supported by corporations, founda­ tions and individuals. Founding Sponsor: American Express Company; Prime and Major Corporate Sponsors: The Chase Manhat­ Ian Bank, The Hearst Corporation, The May Department Stores Compmy, Morgan Slanley Group Inc., Pan Am, Louis Vuitton; Prime and Major Foundation Sponsors: The Aaron Diamond Foundation, The New York Tunes Company Foundation, The Rockefeller Foundation, Helena Rubinstein Foundation, The Fan Fox and Leslie R. Samuels Foundation; Public Services: Metropolilan Trans­ portation Authority.

/S SUPPORTERS OF THE BROOKLYN ACADEMY OF MUSIC 1987-88 The Brooklyn Academy of Music gratefully acknowledges all contributions. Listed below are those individuals, foundations, corporations, and public agencies whose gifts or pledges of $250 or more were received between March I, 1987 and February 29, 1988. We offer sincere thanks to all whose support has ensured the continuation of BAM's many outstanding programs and services.

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WIlson Max & Victoria Dreyfus Irving One Wall Street Trust The Norman & Rosita WInston Foundation Foundation Chase Manhattan Bank Foundation Armand G. Erpf Fund Mr. & Mrs. Stanley H. Kaplan Chemical Bank Yves Saint Laurent International Mr. & Mrs. Mallory Factor Mr. & Mrs. Clem Labine Robert Sterling Clark First Boston Corporation Mr. Edgar A. Lampert Foundation. Inc. PACFSETfERS First Sterling Corpor.. tion Lord, Geller, Federico, Einstein The Coca Cola Foundation American Express Company Mr. David Geffen The New Yorker Magazine, Con Edison Rose M. Badgeley Residuary Faith Goldi~g Foundation Inc. S. J. Conway & Company, Inc. Charitable Trust Mr. Stephen R. Greenwald Mr. & Mrs. Everett H. Ortner Corporation for Public Bankers Trust Company WIlliam & Mary Greve Peerage Realty Corp. Broadcasting Citibank, N.A. Foundation Quaker Sugar Co., Inc. Educational Foundation Mr. & Mrs. Charles M. 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Mary Anne & Richard Yancey and the Cultural Services Foundation McGraw-Hili Foundation Estate of Martha Zalles of French Embassy, NY Mrs. Alex Hillman McKinsey & Co., Inc. Howard Gilman Foundation Hinduja Foundation Merrill Lynch THE NEXT WAVE Goethe House New York Home Box Office, Inc. Henry & Lucy Moses Fund PRODUCERS COUNCIL Herman Goldman Foundation Mr. Hamish Maxwell Samuel I. Newhouse Foundation The Greenwall Foundation Meet the ComIXlser, Inc. New York Magazine Chairperson Harkness Ballet Foundation, Inc. Metropolitan Life Foundation Paul , Weiss, Rifkind, Wharton Laurie Mallet The William & Flora Hewlett The Kathryn & Gilbert Miller & Garrison Vice Chairmen Foundation Fund Ms. Alice Holbrook Platt Richard Gere J.M. Kaplan Fund, Inc. Mobil Foundation, Inc. Plaza Securities Company Andree Putman Andrew & Bettina Klink New York Community Trust Nile Rodgers Productions Jacqueline and Julian Schnabel Kresge Foundation New York Times Company Evelyn Sharp Foundation Members Sydney & Frances Lewis Foundation The Seth Sprague Educational Mr. Allan Albert The Henry Luce Foundation Newsweek. Inc. Fpundation Anonymous Lufthansa Airlines Pfizer Inc. Ms. Jean Stein Ms. Leslie Appleby Mr. Jan Mitchell Republic National Bank of Tiffany & Company Mr. Michael Caretnay Bailkin Morgan Guaranty Trust New York Tourist Board - Canada Ms. Jennifer Bartlett Company Remy Martin Amerique Amber Lightfoot Walker Mr~ Om Batheja Morgan Stanley Group Inc. The Helena Rubinstein Hon. Franklin R. Weissberg Jonathan Berg National Endowment for the Arts Foundation The Williamsburgh Savings Liz Bauman & Bertil National Endowment for the Ms. Pippa Scott Bank Lundqvist Humanities Time Inc. Mr. Robert Beleson National Westminster Bank USA Michael C. 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Phyllis Holbrook Frederick N. & Michele O. Nessia Pope & Keith Sonnier Rudin Management Company, Lichtenstein Doner Mr. John M . Power.;, Jr. Inc. Mr. & Mr.;. Eugene Luntey Diandra & Michael Douglas Bonnie & Gene Pressman Norman Segal & Gail Clott R.H. Macy & Co., Inc. Regina & Asher Edelman Ms. Andree Putman Silver.;tein Properties Mr. Clark R. Mandigo Mr. William S. Ehrlich David Ramsay, M. D. Skidmore, Owings & Merrill Marine Midland.Bank, Inc. James R. Epstein Jane & Joel Rosenberg Stadtmauer & Bailkin Bruce & Susan McAllister Richard Epstein Ms. Susan Rothenberg Donald E. Talbot, CPA, PC Mr. & Mr.i. Richard L. Menschel Bob Feldman Sara Rudner & Edward Time Equities, Inc. Mr. & Mr.;. Robert Menschel Madison Finlay C. Marschner Mr. Andre Misk Lydia & Robert Forbes John B. Ryan BENEFACIORS MTV Networks, Inc. Ms. Susan K. 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Segal Company Mr. Tony Kiser Angela Westwater & Ms. Anne S. Dayton Ms. Kira Sergievsky Calviri Klein I. Peter Wol ff Adelaide de Menil The Shubert Organization, Inc. Hedy & Kent K1ineman Mr. Terry Winter.; Mr. & Mr.;. Henri Doll Mr. H.C. Bowen Smith Bettina & Andrew Klink Mary Anne & Richard Yancey The Dover Fund, Inc. Mr. & Mr.;. Arnold Smoller Tony C. Komer East New York Savings Bank Mr. & Mr.;. George Soros Charlotte & I. Stanley Kriegel BROOKLYN ACADEMY Mr. & Mr.;. Frederick Spy Publishing Partner.;, L.P. TIa Kummerfeld AND BROOKLYN Eber.;tadt The Starr Foundation Ms. Nancy Lassalle PHILHARMONIC REAL Elite Publishing Company Swiss Bank Corporation Mr. Raymond J. Lear.;y FSfATE COUNCIL Andre Emmerich Gallery Theatrical State Employees Francine Le Frak & Kenneth S. Bakst Mr. Matthew A. Epstein Local '4, I.A.T.S.E . Kirk Di\mico Banker.; Trust Company Forbes Foundation Times Mirror Ruth Lese Sidney J. Bernstein. Inc. Mr. Cecil R. Forester Triangle Industries Inc. Rosalyn & Richard Leventhal Brooklyn Union Gas Company Mr. Michael Fuchs Fred C. Trump Foundation Mr. Jacques Leviant Guy Carpenter & Company. Barbara Gladstone Gallery Inc. Mr. Stephen Vanaden Mr. Mortimer Levin Inc. Mr. Barry C. Good Mr. & Mr.;. Arne Vennema Ms. Jackie Lewis Clar Productions. LId . Ms. Louise Gund Waldorf Astoria Corp. Mr. & Mr.;. Sydney Lewis Fir.;t Sterling Corporation Mary Livingston Griggs & Warner Brothers Music Dorothy & Roy Lichtenstein Alan H . Fishman Mary Griggs Burke Weiler-Arnow Foundation Ms. Laurie Mallet Forest City Enterprises. Inc. Foundation {Continuedl )7 June 27-29, July 1-3, 1988 VIKTOR (1986) American Premiere by Pina Bausch Music from Tchaikovsky, Buxtehude, Dvorak, Khatchaturian; folk music from Lombardi, Thscany, Southern Italy, Sardinia, Bolivia; traditional Southern Italian music selected and arranged by Luigi Cinque; dance music from the middle ages, Russian waltzes, jazz, and dance music from the '30s.

Viktor will be performed with one intermission.

Stage rights by Suhrkamp-Verlag, Frankfurt

July 5, 7-10, 1988 CARNATIONS (NELKEN) (1983) American Premiere by Pina Bausch

Music from Franz Schubert, ~eorge Gershwin, Franz Lehar, Louis Annstrong, Sophie Thcker, Quincy Jones, Richard Tauber. The carnations for the staging of Carnations were imported from Bangkok by the Edmund Hintze Company of .

Carnations will be performed without intermission.

Stage rights by Suhrkamp-Verlag, Frankfurt PINA BAUSCH was born in Solingen, Staff for Thnztheater Wuppertal Germany in 1940. At the age of fifteen she began Manager ...... Hans Dieter Isenberg her studies at the Folkwang School under the Stage Manager ...... Hans Kurt Seeliger direction of Kurt Jooss. She finished her studies Propenies ' ...... Martina Irene Goy there in 1959, and received a special scholarship Technician ...... Manfred Marczewski to come to the United States. In New York she Technical Assistant . ... Johan Nestor Delaere was a special student at the Juilliard School, and Follow Spot Operator ...... Matthias Jung a member of the Dance Company of Paul Follow Spot Operator . .. '.. . Andreas Heinen Sanasardo and Danya Feuer. She worked with the »i:lrdrobe Mistress ...... Rosemarie Hess New American Ballet and the Metropolitan »i:lrdrobe Master ...... Harald Boll Opera Ballet. In 1962 she returned to Germany Wardrobe Master ...... Ralf Christmann as a soloist with the newly-formed Folkwang Inspector ...... : ...... Alexander Storzel Ballet, where she began 'to choreograph in 1968 Assistant ...... Hans Ziillig and in 1969 became director. In 1972 she was Secretary ...... Claudia Griinzner invited to stage the bacchanal in a Wuppertal Credits production of Wagner's Tannhiiuser, and her Animals provided by Dawn Animal Agency; innovative choreography won her the position of additional scenery by American Stage and Equip­ ballet director in Wuppertal in 1973. She has ment, Inc. ; additional lighting equipment by Bash remained in Wuppertal since 1973, where she has Theatrical Lighting Inc.; sound equipment by created over 20 pieces. The Tanztheater Wupper­ Masque Sound and Recording Corp; piano for tal has toured extensively internationally, and Viktor from Total Piano and Organ Rental. made its United States debut in 1984 at the Olym­ Special thanks to Chief Venditto of the New York pic Arts Festival in Los Angeles and the Brooklyn City Fire Department. Wine for the Opening Academy of Music. Night Reception was provided courtesy of H. ... Sischel Sohne . The Brooklyn Academy of Music wishes to thank Kulturstiftung (The Ruhr Cultural Foundation) for their support of the opening night reception for Pina Bausch Tanztheater Wuppertal THE RUHR CULTURAL FOUNDATION is one of the most active and most diversified cul- The Ruhr Cultural Foundation has, as one of tural centers on the European continent. its foremost tasks, the introduction abroad of In continuation of the long tradition of private some of the outstanding cultural aspects of the sponsorship and patronag~, Dr. Berthold Beitz, Ruhr Valley. chairman of the board of the Corporation The Ruhr Valley is recognized as Germany's and chairman of the Alfried Krupp von Bohlen largest industrial center. Not as well known as and Halbach Foundation, created the Kultur- that area's economic importance is the fact that stiftung Ruhr, in 1984, in , the historical it is also one of the richest cultural scenes in center of that area. It is the purpose of this foun- Europe. dation to stimulate the cultural life with new Some 5.2 million people live here in 11 big cit- impulses and to provide new yardsticks and goals. ies and 4 counties covering an area of 4,420 The foundation organizes exhibitions of interna- square kilometers. With the growth of industry tiona! importance presenting art and other histor- and business starting in the middle of the 19th ical cultural subjects. It supports scholarly century, the citizens of the Ruhr Valley initiated research into local history - in part by providing their own cultural activities. After World War II, the archives (the emphasis is placed on film and the reconstruction of the cities and the economic photography). The Foundation also promotes recovery brought along a flourishing revival of such projects in the arts, music, theater, and liter- the cultural life. ature that benefit the entire Ruhr Valley. Among the actors on this bustling cultural stage Nevertheless, one of the foremost tasks of the are 1m museums covering a wide spectrum of Foundation is to introduce some of the outstand- art, cultural and industrial history, as well as nat- ing cultural aspects of this industrial area abroad. ural sciences; 12 opera houses and legitimate For this purpose, the Foundation is proud to theaters, 16 orchestras, 6 universities, and 12 present in New York, in the fall of 1989, a cul- other institutes of higher education. They give tural offering of art, music, dance, film, and testimony that this megalopolis on the Ruhr River photography. Wertheim Schroder & Co. Mr. & Mrs. Edward A. Ms. Roslyn Braun Ms. Diana Niles King Mr. Edward Whitney Kiernan, Jr. Ms. Elyse Brill Mr. Richard King Mr. Lawrence A. Wien Mr. Robert Kosowski Mr. Samuel Mandell Brody P. Koepke World Art Co., Inc. Lehrer McGovern Bovis, Inc. 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Honorary Chainnen Edward I. Koch Howard Golden Honorary Trustees Seth Faison Leonard Garment Paul Lepercq Arne Vennema Chainnso Asher Edelman Vice Chainnen Neil D. Chrisman Rita Hillman I. Stanley Kriegel Franklin R. Weissberg Members Francis M. Austin, Jr. Sidney Kantor Elizabeth D. Bauman Andrew and Bettina Klink Warren B. Coburn Edgar A. Lampert Stephen 1. Conway Harvey Lichtenstein Beth DeWoody Roy Lichtenstein Charles M. Diker Eugene H. Luntey Chaim Edelstein Laurie Mallet Mallory Factor Bruce A. McAllister Ronald E. Feiner Evelyn Ortner Alan H. Fishman Richard M. Rosan Robert L. Forbes Robert C. Rosenberg Cecil R. Forster, Jr. Thomas Roush Michael Fuchs Mikki Shepard David Geffen Amber Lightfoot Walker Morton Gottlieb Curtis A. Wood Stephen R. Greenwald BAM DIRECTORY BAM BOX OFFICE: Open Mon.-Fri., lOam lO 6pm; Performance days until performance times: Sat. & Sun. performance times only. BAM MAJESTIC BOX OFFICE: Open at performance limes only. GROUP RATES: For information call (718) 6J6..4U6. RFSI'ROOMS: Opera House: Mewrnine level and Slit floor; handicapped­ Orchestra level. Carey Playhouse: Mezzanine level: handicapped-Orchestra level. Lepercq Space: Sth floor. BAM Majestic: Lobby level only. PUBLIC TELPHONFS: located in the Main lobby. WST & FOUND: (718) 636-4150 NO FOOD OR DRINKS PERMITTED INSIDE THE TIlEATRFS. WARNING: The photographing or sound recording of any performance or the possession of any device for such inside this theatre, without written pennission of the management, is prohibited by law. Violators may be punished by ejection and may be liable for money damages. FIRE NOfICE: The exit indicated by a red light and sign nearest to the seat you occupy is the shortest route to the street. In the event of fire or other emergency please WALK TO THAT EXIT, FOLLDWING THE DlRECfJVES OF HOUSE STAFF. Thoughtless persons annoy patrons and endanger the safety of others by lighting matches or smoking in prohibited alUS during the perfonnances and intennissions. This violates a City ordinance and is punishable by law. - Joseph £ Spil1lUJlo. Fire Commissioner The Brooklyn Academy of Music is a Charter Member of the League of Historic American Theatres. BROOKLYN ACADEMY OF MUSIC, 30 Lafayette Avenue. Brooklyn, New York 11217-l486 General inronnation: (718) 636-4100

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BAMBILL STAFF 1987-88 Editor-in-Chief ...... Douglas W. A1lan Managing Editor ...... Christopher Broadwell Designer ...... Sharon Beclcman Typesetting ...... •.. Advance Graphic The program of Brooklyn Academy of Music., is prodoced in cooperation with PLAYBaL Incorporated, N.Y.C. Cover Art: Willem ck Koooing, Untited XXJV © 1986, 88" x 71", oil on canvas, from the 1987 NEXT WAVE Festiw.1 poster, courtesy of Xavier Fourcade, Inc. New York . BROOKLYN ACADEMY OF MUSIC STAFF

OFFICERS Phil Reynolds, Membership SailyAnne Santos, Enrique Quinones Harvey LiChtenstein, President Director Project Coordinator Frank Rodriguez & Executive Producer Julia Forster, Special Sondra R. Katz, James Victor Judith E. Daykin, Executive Events Director Project Coordinator Sadie Vinson Vice President & Keith Estabrook, Benefit L. Bay ly Ledes, Project Haskell Walker Managing Director Director Coordinator Willie Walker Douglas W. Allan, Douglas Kolmar, Office Chris Christman, Office Vice President for Manager Manager BAM MAJFSfIC THEATER Marketing & Promotion Brian Conley, Development Michael Feldman, Lionel Stevens, Maintenance Richard Balzano, Officer Music Consultant and Security Supervisor Vice President & Treasurer Gillian Allard, Grants Donald Riordan , Crew Chief Samuel Bennett Karen Brooks Hopkins, Administrator Rose Ann Moran, Henry Cobb Vice President for Dave Mazzoli , Development Wardrobe Supervisor Emanuel Haze Planning & Development Assistant Jack Fuller, Head Electrician Ulysee Huling Lawrence Ward, Membership Pat McDonald, Head Gregory Lucas EXECUTIVE Assistant Propeny Man Roben Smith ADMINISTRATIVE STAFF Debbie Schaumberger, Special Cyrus Similly, Head Carpenter John Williams Michael O'Rand, General Events Associate Howard Larson, Head Electrician Errol Wilson Manager Tambra Lee Dillon, Benefit James Kehoe, Head Carpenter Elaine Cunningham, Assistant Associate James Di\damo, Assistant BOX OFFICE to President Reid Davis, Benefit Assistant Electrician Rob Bauer, Box Office Treasurer Lauren Scott, Assistant to Alicia Fisk, Benefit Intern Peter Shushkewitch, Ellen Anderson Managing Director Head Electrician Jack Drury Peter G. Thmbelston, Assistant MARKETING AND Naaman Griffin, Assistant Pat Durand General Manager PROMOTION Carpenter Leslie Scharf Ellen Dennis, Company Manager Jacques Brunswick, Director Ernest Soulherland, Maintenance Marsha Rosenberg Margaret C. Christ, Fiscal of Marketing and MIS Timothy Fuller, Assistant Coordinator Peter B. Carzasty, Director of NEXT WAVE FESTIVAL Walter Geiger, Mail Clerk Publicity and Public Relations THEATER MANAGEMENT Joseph V. Melillo, Director Anna DiStefano, Office Carol A. Willis, Director Carol Flemming, Theater Elsa Jacobson. Assistant Assistant of Ticket Services Manager Director/Company Manager Debra Drakeford, Receptionist Christopher Broadwell, Jeffrey Jenkins, Associate Roger W. Oliver, Humanities Amy Muzilla, General Director of Publications Theater Manager Director . Management Intern Harrington Wells, Director Diana Micich . Associate Rory MacPherson. Office Lynn Moffat, of Advenising Sales Theater Manager Manager Director of Operations. 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