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BAM Presents the U.S. Premiere of Shelter, the Culmination of Its

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BAM Presents the U.S. Premiere of Shelter, the Culmination of Its BAM Presents the U.S. Premiere of Shelter, the Culmination of its Three-Year Commissioning Commitment to New York composers Michael Gordon, David Lang, and Julia Wolfe The multimedia music-theater event exploring sanctuary, safety, and home—created in collaboration with the innovative Ridge Theater and writer Deborah Artman—features vocal ensemble trio mediæval and German contemporary music group musikFabrik BAM 2005 Next Wave Festival is sponsored by Altria Group, Inc. Music by Michael Gordon, David Lang, and Julia Wolfe Libretto by Deborah Artman Film by Bill Morrison, Projections by Laurie Olinder Performed by musikFabrik and trio mediæval Conducted by Brad Lubman Lighting by Matt Frey Sound by Norbert Ommer Set by Jim Findlay Costumes by Ruth Pongstaphone Directed by Bob McGrath BAM Harvey Theater Nov 16—19 at 7:30pm Tickets: $20, 30, 40, 45 Call 718.636.4100 or visit www.bam.org BAMdialogue with Bob McGrath, Bill Morrison, and Laurie Olinder Nov 17 at 6pm BAM Rose Cinemas Tickets: $8 ($4 for Friends of BAM) Brooklyn, October 14, 2005—BAM’s 2005 Next Wave Festival presents the U.S. premiere of Shelter—a music-theater collaboration with New York’s Ridge Theater featuring German contemporary music ensemble musikFabrik and the Scandinavian vocalists trio mediæval. Shelter, the culmination of a three-year commissioning venture with New York composers and Bang on a Can co-founders Michael Gordon, David Lang, and Julia Wolfe, follows the acclaimed productions The New Yorkers (2003 Next Wave Festival ) and Lost Objects (2004 Shelter, 2 Next Wave). The piece—created in the same collaborative, multimedia spirit, but conceived on a more intimate scale for the composers’ first work in the BAM Harvey Theater—incorporates a spare and powerful libretto by Deborah Artman (Lost Objects), haunting projections by filmmaker Bill Morrison and visual artist Laurie Olinder (The New Yorkers), and dramatic staging by acclaimed director Bob McGrath (The Death of Klinghoffer, 2003 Next Wave) of Ridge Theater. Shelter, which received its world premiere in March 2005 in Cologne, was described by Deutschlandfunk as “an event… a gripping engagement… that takes the listener on a sonic and emotional roller-coaster ride—by turns dynamically insistent, ecstatic, and meditative.” The piece explores the physical and metaphoric meanings of sanctuary, safety, and home. With new resonance due to recent natural disasters, Shelter is, at the same time, a musical foreshadowing of current events and a therapeutic response to the environment. “It brings the listener to the heart of a natural disaster,” said WDR Fernsehen, “Dissonant notes, succinct texts, perfectly fitted to ominous images of humanity’s struggle to survive.” The piece consists of seven musical sections, ranging from the delicate to the apocalyptic, with the musicians and singers performing inside an ever-changing environment that recasts them in different physical and emotional situations. The result is a deeply resonant music-theater experience that examines the connotations of the work’s title—from the mysterious exchange between two people, to the physical structures that we build, to the spiritual architecture of our beliefs. “Shelter makes palpable the tension between the need for refuge on one hand and its permanent endangerment on the other.”— Deutschlandfunk Four performances of Shelter will take place in the BAM Harvey Theater (651 Fulton St.) Nov 16—19 at 7:30pm. Tickets, priced at $20, 30, 40, and 45, may be purchased by calling BAM Ticket Services at 718.636.4100, or by visiting www.bam.org. About the artists Michael Gordon’s compositions demonstrate a deep exploration into the possibilities and nature of rhythm and the result of layering rhythms to create a glorious confusion. John Adams, who has conducted Gordon’s works with the London Sinfonietta and Ensemble Modern, calls these raw and complicated sounds “irrational rhythms.” Gordon’s special interest in adding dimensions to the concert experience has led to frequent collaborations with artists in other media. For example, in Decasia, a multimedia orchestra piece with films by Bill Morrison and staging by Ridge Theater, the audience stands in the middle of a three-tiered, triangular structure, surrounded by an orchestra and large projection scrims. Gordon’s most significant recent project is a new CD for Nonesuch Records, Light is Calling. The music is sonic and sensual, with layers of violins, electric guitars, and voice in counterpoint to studio-based electronic creations. Other recent works include Potassium for the Kronos Quartet, Trance for Icebreaker, and Weather, written for the young Hamburg-based string orchestra Ensemble Resonanz. Gordon’s music has been presented at BAM, Lincoln Center, the Kennedy Center, Royal Albert Hall, the Bonn Oper, the Sydney 2000 Olympic Arts Festival, and the Holland, Rotterdam, Edinburgh, St. Petersburg, and Settembre Musica festivals, and in the choreography of The Royal Ballet, Eliot Feld, and Emio Greco/PC, among others. His other CDs include Decasia (Cantaloupe), Weather (Nonesuch), and Lost Objects (Teldec). “There is no name yet for this kind of music,” writes The Los Angeles Times, but audiences around the globe are hearing more and more of David Lang’s work: it has been performed by such organizations as the Santa Fe Opera, the New York Philharmonic, the San Francisco Symphony, The Cleveland Orchestra, and the Kronos Quartet. His music has been presented at BAM, Tanglewood, the BBC Proms, The Munich Biennale, the Settembre Musica Festival, the Sydney 2000 Olympic Arts Festival, and the Almeida, Holland, Berlin, and Strasbourg Festivals; and performed in theater productions in New York, San Francisco, and London. Lang’s music has been used by numerous choreographers/dance companies including Twyla Tharp, La La La Human Steps, Nederlands Dans Theater, and the Paris Opera Ballet, as well as in Susan Marshall’s The Most Dangerous Room in the House …more Shelter, 3 (1998 Next Wave), for which he received a New York Dance and Performance Award (“Bessie”) in 1999. Lang is composer-in-residence at the American Conservatory Theater in San Francisco. Recent projects include the dark and meditative amplified orchestra piece The Passing Measures; The Difficulty of Crossing a Field—an opera for the Kronos Quartet with libretto by Mac Wellman and direction by Carey Perloff; the critically acclaimed opera Modern Painters about the curious and tragic life of art critic John Ruskin; and the evening- length piano solo Psalms Without Words. Recent and current projects include Anatomy Theater, an opera with visual artist Mark Dion, director Bob McGrath, and the Ridge Theater; as well as a piece for Sting and orchestra commissioned for the opening of the Sage Gateshead Music Centre in England that premiered in June 2005. The recording of The Passing Measures was named one of the best CDs of 2001 by The New Yorker. Other recordings include the introspective chamber work Child (Cantaloupe) and CDs on the Sony Classical, Teldec, BMG, Point, Chandos, Argo/Decca, Caprice, CRI, and Cantaloupe labels. Julia Wolfe’s music is muscular and kinetic and experienced throughout the body. Wolfe’s work is distinguished by an intense focus on sound, the power of sound, the ways in which sound is related to memory and experience, the possibilities for new harmonies between familiar chords and microtonal tunings or sounds found in nature and the urban world. With a care and attention to detail that is both masterful and highly respectful, Wolfe’s music celebrates the extraordinary qualities contained within something as specific as a gesture or an inflection. Julia Wolfe’s music has been heard in performances at the Sydney Olympic Arts Festival, Settembre Musica (Italy), the Holland Festival, Théâtre de la Ville (Paris), the San Francisco Symphony, and the BBC Proms, among others. Recent works include a string quartet concerto for Kronos Quartet, a new work for the Munich Chamber Orchestra, a new work for music with film for the Asko Ensemble, and an accordion concerto commissioned by the Miller Theater. Recent collaborations include the provocative theater piece House Arrest with playwright and performing artist Anna Deavere Smith, The Carbon Copy Building with comic book artist Ben Katchor; collaborators include the Ridge Theater Company, and composers Michael Gordon and David Lang. For The Carbon Copy Building, she received the 2000 Village Voice OBIE Award for Best New American Work. Wolfe received a 2001 OBIE award for the music to Jennie Riche, a collaboration with playwright Mac Wellman and the Ridge Theater. Her recent recording Julia Wolfe - The String Quartets was released on the Cantaloupe label. Chosen as one of the top ten CDs of the year, The New Yorker stated, “Her powerful one-movement works, which combine the violent forward drive of rock music with an aura of minimalist serenity, use the four instruments as a big guitar, whipping psychedelic states of mind into frenzied and ecstatic climaxes.” Her music has also been recorded on Teldec, Universal, Sony Classical, and Argo/Decca. Librettist Deborah Artman is also a fiction writer, playwright, and poet who most recently completed Acquanetta—a new opera with composer Michael Gordon, which premiered at Theater Aachen in Germany in June 2005—and directed The Pork Chop Wars, a performance novel by Laurie Carlos, presented by the University of Austin at Texas in September. Artman worked previously with Michael Gordon, David Lang, and Julia Wolfe on the oratorio, Lost Objects, directed by François Girard in a beautiful staging that premiered at BAM’s 2004 Next Wave Festival. Past projects include Keeper, a choral piece by Wolfe (BAM, 2000), The Memoirs of Gluckel of Hameln, a theater piece with puppet-artist/chanteuse Jenny Romaine (La MaMa, 2000) and, in 1997, Music for Gracious Living, a music-theater piece for actor and string quartet with music by Lang (Merkin Concert Hall).
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