2 BROOKLYN ACADEMY OF MUSIC a ABRAHAM* iA
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:SKIF.4410- BROOKLYN ACADEMY OF MUSIC 3
THE BROOKLYN ACADEMY OF MUSIC
in cooperation with the New York State Council on the Arts
presents
MERCE CUNNINGHAM
AND
DANCE COMPANY
MERCE CUNNINGHAM with CAROLYN BROWN and BARBARA LLOYD SANDRA NEELS VALDA SETTERFIELD MEG HARPER ALBERT REID GUS SOLOMONS, JR. JEFF SLAYTON
Jasper Johns: Artistic Advisor John Cage: Musical Director David Tudor: Piano and Sound System Gordon Mumma: Sound System Beverly Emmons: Lighting Designer
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4 BROOKLYN ACADEMY OF MUSIC
The Governing Committee and the Director of the Brooklyn Academy of Music take pleasure in welcoming the audience and the Opening Night Benefit Guests to the premiere of the first major New York season of Merce Cunningham and Dance Company
Holders of Benefit tickets are requested to present their cards of admission to the Champagne Reception and Rock Dance in the lobby immediately following the performance
Music by The Velvet Underground Latin American Buffet courtesy of Consulate General of Venezuela Consulate General of Mexico
Honorary Chairman-The Honorable John V. Lindsay, Mayor of the City of New York Co-Chairmen-Senora Lauro Soutello Alves, Mrs. Paul West, Mr. David Rockefeller, Jr.
Of the Benefit to assist the forthcoming Latin American tour of Merce Cunningham and Dance Company and the Dance Program of the Brooklyn Academy of Music
"Dancing has a continuity of its own that need not be dependent upon either the rise and fall of sound (music) or the pitch and cry of words (literary ideas). Its force of feeling lies in the physical image, fleeting or static. It can and does evoke all sorts of individual responses in the single spectator. These dances may be seen in this light."
Merce Cunningham BROOKLYN ACADEMY OF MUSIC 5
OPENING NIGHT PERFORMANCE
WEDNESDAY EVENING, MAY 15, 1968
MERCE CUNNINGHAM AND DANCE COMPANY
PROGRAM
Scramble (1967) Toshi Ichiyanagi (Activities for Orchestra) Merce Cunningham Carolyn Brown Barbara Lloyd Sandra Neels Valda Satterfield Meg Harper Albert Reid Jeff Slayton Decor and costumes: Frank Stella Musicians: David Behrman, John Cage, Malcolm Goldstein, Gordon Mumma, Max Neuhaus, David Tudor INTERMISSION
Rain Forest (1968) David Tudor (First New York Performance) (Rain Forest) Merce Cunningham Carolyn Brown Barbara Lloyd Sandra Neels Albert Reid Jeff Slayton Decor: Andy Warhol Musicians: Gordon Mumma and David Tudor INTERMISSION
How To Pass, Kick, Fall and Run (1966) John Cage Merce Cunningham Carolyn Brown Barbara Lloyd Sandra Neels Valda Satterfield Meg Harper Albert Reid Peter Saul Jeff Slayton Readers: John Cage David Vaughan
PROGRAM SUBJECT TO CHANGE
Mcs ,OW5 6 BROOKLYN ACADEMY OF MUSIC
THURSDAY EVENING, MAY 16, 1968
MERCE CUNNINGHAM
AND
DANCE COMPANY
PROGRAM
Variations V (1965) John Cage (Variations V) Merce Cunningham Carolyn Brown Barbara Lloyd Sandra Neels Albert Reid Peter Saul Jeff Slayton Film sequences: Stan VanDerBeek Electronics: Billy Kluver and Robert Moog Variations V was commissioned by the New York Philharmonic French-American Festival, 1965. INTERMISSION
Place (1966) Gordon Mumma (Mesa) Merce Cunningham Carolyn Brown Barbara Lloyd Peter Saul Valda Setterfield Albert Reid Sandra Neels Jeff Slayton Decor and costumes: Beverly Emmons Bandoneon: David Tudor Cybersonic console: Gordon Mumma The production of Place was made possible by a grant from the National Endowment for the Arts and Humanities. INTERMISSION
Nocturnes (1956) Erik Satie (Nocturnes) Merce Cunningham Carolyn Brown Barbara Lloyd Sandra Neels Albert Reid Jeff Slayton Decor and costumes: Robert Rauschenberg Piano: John Cage
PROGRAM SUBJECT TO CHANGE BROOKLYN ACADEMY OF MUSIC 7
FRIDAY EVENING, MAY 17, 1968
MERCE CUNNINGHAM
AND
DANCE COMPANY
PROGRAM
Scramble (1967) Toshi Ichiyanagi (Activities for Orchestra) Merce Cunningham Carolyn Brown Barbara Lloyd Sandra Neels Valda Setterfield Meg Harper Albert Reid Jeff Slayton Decor and costumes: Frank Stella Musicians: David Behrman, John Cage, Malcolm Goldstein, Gordon Mumma, Max Neuhaus, David Tudor INTERMISSION
Winterbranch (1964) LaMonte Young (2 sounds (April 1960)) Merce Cunningham Carolyn Brown Barbara Lloyd Sandra Neels Albert Reid Jeff Slayton Costumes: Robert Rauschenberg After original decor and lighting by Robert Rauschenberg-supervised by Beverly Emmons INTERMISSION
How To Pass, Kick, Fall and Run (1966) John Cage Merce Cunningham Carolyn Brown Barbara Lloyd Sandra Neels Valda Setterfield Meg Harper Albert Reid Peter Saul Jeff Slayton Readers: John Cage David Vaughan
PROGRAM SUBJECT TO CHANGE 8 BROOKLYN ACADEMY OF MUSIC
WEDNESDAY EVENING, MAY 22, 1968
MERCE CUNNINGHAM
AND
DANCE COMPANY 11
PROGRAM
Field Dances (1963) John Cage (Variations IV) Carolyn Brown Barbara Lloyd Sandra Neels Valda Satterfield Meg Harper Albert Reid Jeff Slayton Costumes: Remy Char lip PAUSE Untitled Solo (1953) Christian Wolff (For Piano I) Merce Cunningham Piano: David Tudor INTERMISSION
Walkaround Time (1988) David Behrman (First New York Performance) r. . . for nearly an hour .. .") Merce Cunningham Carolyn Brown Barbara Lloyd Sandra Neels Valda Satterfield Meg Harper Albert Reid Gus Solomons, Jr. Jeff Slayton Decor: After Marcel Duchamp's The Large Glass in the Philadelphia Museum-supervised by Jasper Johns. Musicians: David Behrman, Gordon Mumma, David Tudor
PROGRAM SUBJECT TO CHANGE BROOKLYN ACADEMY OF MUSIC 9
THURSDAY EVENING, MAY 23, 1968
MERCE CUNNINGHAM
AND
DANCE COMPANY
PROGRAM
Suite For Five (1953-1958) John (Music for Piano 4-84) Solo: At Random Solo: A Meander Trio: Transition Solo: Stillness Duet: Extended Moment Solo: Excursion Quintet: Meetings
The events and sounds of this dance revolve around a quiet center, which, though silent and unmoving, is the source from which they happen. Merce Cunningham Carolyn Brown Barbara Lloyd Sandra Neels Albert Reid Costumes: Robert Rauschenberg Pianos: John Cage and David Tudor INTERMISSION
Rain Forest (1968) David Tudor (Rain Forest) Merce Cunningham Carolyn Brown Barbara Lloyd Sandra Neels Albert Reid Jeff Slayton Decor: Andy Warhol Musicians: Gordon Mumma and David Tudor INTERMISSION
Place (1966) Gordon Mumma (Mesa) Merce Cunningham Carolyn Brown Barbara Lloyd Sandra Neels Valda Setterfield Albert Reid Peter Saul Jeff Slayton Decor and costumes: Beverly Emmons Bandoneon: David Tudor Cybersonic console: Gordon Mumma
The production of Place was made possible by a grant from the National Endowment for the Arts and Humanities.
PROGRAM SUBJECT TO CHANGE 10 BROOKLYN ACADEMY OF MUSIC
FRIDAY EVENING, MAY 24, 1968
MERCE CUNNINGHAM
AND
DANCE COMPANY
PROGRAM
Variations V (1965) John Cage (Variations V) Merce Cunningham Carolyn Brown Barbara Lloyd Sandra Neels Albert Reid Peter Saul Jeff Slayton Film sequences: Stan VanDerBeek Electronics: Billy Khiver and Robert Moog Variations V was commissioned by the New York Philharmonic French-American Festival, 1965. INTERMISSION
Winterbranch (1964) La Monte Young (2 sounds (April 1960)) Merce Cunningham Carolyn Brown Barbara Lloyd Sandra Neels Albert Reid Jeff Slayton Costumes: Robert Rauschenberg After original decor and lighting by Robert Rauschenberg-supervised by Beverly Emmons INTERMISSION
Nocturnes (1956) Erik Satie (Nocturnes) Merce Cunningham Carolyn Brown Barbara Lloyd Sandra Neels Albert Reid Jeff Slayton Decor and costumes: Robert Rauschenberg Piano: John Cage
PROGRAM SUBJECT TO CHANGE BROOKLYN ACADEMY OF MUSIC
SATURDAY EVENING, MAY 25, 1968
MERCE CUNNINGHAM
AND
DANCE COMPANY
PROGRAM
Place (1966) Gordon Mumma (Mese) Merce Cunningham Carolyn Brown Barbara Lloyd Sandra Neels Valda Setterfield Albert Reid Peter Saul Jeff Slayton Decor and costumes: Beverly Emmons Bandoneon: David Tudor Cybersonic console: Gordon Mumma
The production of Place was made possible by a grant from the National Endowment for the Arts and Humanities. INTERMISSION
Walkaround Time (1968) David Behrman (". .. for nearly an hour . . .") Merce Cunningham Carolyn Brown Barbara Lloyd Sandra Neels Valda Setterfield Meg Harper Albert Reid Gus Solomons, Jr. Jeff Slayton Decor: After Marcel Duchamp's The Large Glass in the Philadelphia Museum-supervised by Jasper Johns. Musicians: David Behrman, Gordon Mumma, David Tudor
PROGRAM SUBJECT TO CHANGE 12 BROOKLYN ACADEMY OF MUSIC
SUNDAY AFTERNOON, MAY 26, 1968
MERCE CUNNINGHAM
AND
DANCE COMPANY
PROGRAM
Collage III (1958) Pierre Schaeffer with the collaboration of Pierre Henri (Eroica, Apostrophe, and Strette from Symphonic pour un homme soul) Merce Cunningham PAUSE
Field Dances (1963) (Variationsnak) Carolyn Brown Barbara Lloyd Sandra Neels Valda Setterfield Meg Harper Albert Reid Jeff Slayton Costumes: Remy Char lip INTERMISSION
RainForest (1968) David Tudor (RainForest) Merce Cunningham Carolyn Brown Barbara Lloyd Sandra Neels Albert Reid Jeff Slayton Decor: Andy Warhol Musicians: Gordon Mumma and David Tudor INTERMISSION
Walkaround Time (1968) David Behrman
(". . . for nearly an hour . . .") Merce Cunningham Carolyn Brown Barbara Lloyd Sandra Neels Valda Setterfield Meg Harper Albert Reid Gus Solomons, Jr. Jeff Slayton Decor: After Marcel Duchamp's The Large Glass in the Philadelphia Museum-supervised by Jasper Johns. Musicians: David Behrman, Gordon Mumma, David Tudor
PROGRAM SUBJECT TO CHANGE
ABSOLUTELY NO PICTURE TAKING PERMITTED BROOKLYN ACADEMY OF MUSIC 13
A MOVEMENT, A SOUND, A CHANGE OF LIGHT
Merce Cunningham, who was for several idea of something else than itself), bril- years on the one hand a soloist in the liant (the dancers can actually move phys- Company of Martha Graham, and, on the ically, and they do not cover themselves other hand, a member of the faculty of with disguising costumes), and serene (the the School of American Ballet, has, since absence of an emotionally-driven contin- 1944, developed his own school of danc- uity brings about an overall sense of tran- ing and choreography, the continuity of quility, illuminated from time to time by which no longer relies on linear elements, feelings that are, according to the ob- be they narrative or psychological, nor server's reactions, heroic, mirthful, won- does it rely on a movement towards and drous, erotic, fearful, disgusting, sorrowful, away from climax. As in abstract painting, and angry; these eight emotions, those it is assumed that an element (a move- considered, with tranquility, the perma- ment, a sound, a change of light) is in and nent ones by Indian tradition, appear thus of itself expressive; what it communicates kaleidoscopically in this choreography). is in a large part determined by the observ- As for the individual movements, they are er himself. It is assumed that the dance both derived and discovered; in being de- supports itself and does not need support rived, they stem as much from the ballet from the music. The two arts take place as from the modern dance; in being dis- in a common place and time, but each covered, they represent the findings of art expresses this Space-Time in its own Cunningham himself, who has constantly way. The result is an activity of inter- searched and refined his sense of move- penetrations in time and space, not coun- ment. terpoints, nor controlled relationships, but Where other music and dance generally flexibilities as are known from the mobiles attempt to "say" something, this theatre of Alexander Calder. By not relying on is one that "presents" activity. This can psychology, this "modern" dance is freed be said to affirm life, to introduce an from the concerns of most such dancing. audience, not to a specialized world of art, What comes through, though different for but to the open, unpredictably changing, each observer, is clear (since one can world of everyday living. only approach it directly-not through an - John Cage
THE CUNNINGHAM DANCE FOUNDATION, INC. 75 East 55th Street New York, New York 10022 (212) HA 1-4293
Administration: Lewis L Lloyd David Vaughan Jean Rigg Director of Development: Judith F. Blinken Production Manager: James Baird Lighting Assistant: Maxine Glorsky
(Set pieces for Walkaround Time developed and fabricated by Coated Sundries, Inc., of New York.) Merce Cunningham Studio 498 Third Avenue New York, New York 10016 (212) LE 2-1540 ti
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