-I Friday, October 16 at 8pm I Saturday, October 17 at 8pm Sunday, Octob~ 18 at 2pm n-1 TRISHA BROWN

SON OF GONE FISHIN' (World Premiere) Choreography by Trisha Brown z Music by Robert Ashley

Commissioned in part by BAM with other funding provided by the New York State Council on the Arts, the National Endowment for the Arts and various private sources.

GLACIAL DECOY Choreography by Trisha Brown Costumes and visual presentation by Robert Rauschenberg

OPAL LOOP/CLOUD INSTALLATION #72503 Choreography by Trisha BrdWn Cloud sculpture by

Thursday, October 29 at 8pm

MUSIC + NEW RESOURCES: COMPUTERS & BEYOND

THE BROOKLYN PHILHARMONIA Lukas Foss, Music Director and Conductor

New works by Morris Cotel (Yetzirah); Vladimir Ussachevsky (Celebration); Morton Subotnick (Ghost Piece) and others using the latest innovations in computer, electronic valve and microtuning techniques.

Friday, October 30 at 8pm Saturday, October 31 at 8pm Sunday, November 1 at 2pm

LAURA DEAN

TYMPANI (New York Premiere) Choreography and music by Laura Dean Scored for two grand pianos and tympani

Co-commissioned by BAM, the Walker Arts Center and the American Dance Festival.

DANCE Choreography and music by Laura Dean Scored for two amplified autoharps

plus other works . Friday, November 6 at Spm Saturday, November 7 at 7pm Thursday, November 12 at Spm Saturday, November 14 at Spm Sunday, November 15 at 7pm

SATYAGRAHA (New York Premiere)

An opera in three acts by Philip Glass

libretto by Constance De Jong (adapted from the Bhagavad-Gita) book by Philip Glass and Constance De Jong

Brooklyn Philharmonia conducted by Christopher Keene sets and costumes by Robert Israel lighting by Richard Riddell

staged by Hans Nieuwenhuis after the production by the Netherlands Opera

Thursday, December 17 at Spm

MUSIC + MOVEMENT

THE BROOKLYN PHILHARMONIA Lukas Foss, Music Director and Conductor

New Mime, modern dance and ballet, plus marionettes, featuring works by Miriam Degan (shadow play); Daryl Gray (ballet); Satoru Shimazaki and Toby Armour (modern dance) set to new music by Robert Cornman, George A. McGuire, Lukas Foss and others.

Friday, December 18 at Spm Saturday, December 19 at Spm Sunday, December 20 at 2pm

LUCINDA CHILDS

RELATIVE CALM (U.S. Premiere) Choreography by Lucinda Childs Music by Jon Gibson Decor by Robert Wilson

Commissioned by BAM. ROBERT ASHLEY is a pioneer in the development of music theater and large-scale collaborative performance forms. Landmark re- cordings such as She Was A Visitor and In Sara, Mencken, Christ co and Beethoven There Were Men and Women, point the way to new rn uses of language in a musical setting. Much of his work is dis- tinguished by unique uses of visual media. As a member of the legendary ONCE Group (1964-69) and the Sonic Arts Union (1966-76) ~ and as a soloist, he has performed throughout the United States and Europe in over 300 concerts. )> L/) Since 1975 he has developed a style of "portrait" performance in various techniques and media: Night Sport (simultaneous mono- I logues); Over the Telephone (remote/live audio installations); I The Great Northern Automobile Presence (lighting ''accompaniments" rn for other composers' music); Music with Roots in the Aether (video portraits of composers and their music); and Automatic Writing -< (closed circuit improvisations).

His current work is an opera for performance and for television production, created with composer "Blue" Gene Tyranny, entitled

Perfect Lives (Private Parts). He ~s collaborating with composers

David Behrman and Jacques Bekaert on a multi-media performance work for television, A History of the World in Flashes, using speech in many languages with computer-controlled sound and images. DISCOGRAPHY:

The Bank (from Perfect Lives/Private Parts) Lovely VR 4903 The Bar (from Perfect Lives/Private Parts) Lovely VR 4904 Interiors Without Flash Giorno Poetry Systems Christopher Columbus ... (Sonata) Lovely VR 1062 Automatic Writing Lovely VR 1002 Private Parts Lovely LML 1001 In Sara, Mencken, Christ and Beethoven There Where Men and Women Cramps CRSLP 6103 Purposeful Lady Slow Afternoon Mainstream MS 5010 She Was A Visitor CBS Odyssey 3216 0158 TRISHA BROWN, choreographer, was born in Aberdeen, Washington, and received her BA in dance from Mills College in Oakland,

California. She has taught at Mills and Reed Coll~ges, and from

1967-71 she served as Adjunct Assistant Professor at New York

University. In 1975, Ms. Brown received a Guggenheim Fellowship in choreography. She has participated in the National Endowment for the Arts Dance Touring Program for four years and has received grants from the Endowment and the New York State Council on the Arts.

A founding member of the Judson Dance Theater (1962) and the Grand

Union (1970), Trisha Brown formalized her own company in 1970.

Since its inception, the Trisha Brown company has performed annu- ally in and has toured the United States, Canada,

Europe and Japan. Performances have been given at the Brooklyn Academy of Music, Jacob's Pillow Dance Festival, Walker Arts z Center, Festival d•Automne/Centre Georges Pompidou, Riverside

Studios in London, and the Louisiana Museum in Denmark.

In May 1980, the Trisha Brown company was featured in the PBS series DANCE IN AMERICA in a nationally broadcast program on post- modern dance, "Beyond the Mainstream." In the fall of 1980, WGBH-TV

(PBS, Boston) completed a half-hour program on the Brown Company.

In the summer of 1980, Michael Blackwood released his documentary,

MAKING DANCES, which featured seven major choreographers including

Trisha Brown. Among publications which discuss Ms. Brown's work is Sally Banes' TERPSICHORE IN SNEAKERS (Houghton Mifflin, 1980). I

LUCINDA CHILDS, choreographer, was an original member of the c Judson Dance Theater in 1963, following graduation from Sarah

Lawrence College in 1962. She received formal modern dance n training at the Merce Cunningham studio. Miss Childs formed her own dance company in 1972, which made its first appearance at z the Whitney Museum in 1973. She has collaborated as choreographer and performer with Robert Wilson and Philip Glass on the opera

EINSTEIN ON THE BEACH, presented throughout Europe and at the

Metropolitan Opera House in New York City.

Miss Childs has toured in Europe both with her company and as a n solo performer. Her appearances in New York include performances I of DANCE, a collaboration with Philip Glass and Sol LeWitt, which premiered at the Brooklyn Academy of Music in 1980. She has also r- appeared with Robert Wilson in his two-act play, I WAS SITTING ON 0 MY PATIO THIS GUY APPEARED I THOUGHT I WAS HALLUCINATING, which un toured the United States for six months after its premiere in 1977.

Since 1975, Lucinda Childs has collaborated with three film-makers to create films of three of her works, and in 1977 received a grant from the National Endowment for the Arts to complete the project. She has also been awarded Creative Artists Public Service grants, a Village Voice OBIE Award, National Endowment for the Arts

Choreography Fellowships and a Guggenheim Fellowship (1979-80).

In March, 1981, Miss Childs appeared at Marymount Manhattan

College where she previewed two xections of her new full length work, RELATIVE CALM, which will premiere at BAM in December, 1981. I )> LAURA DEAN, choreographer/composer, was born and grew up on Staten c Island, N.Y. She trained with Lucas Hoving, Muriel Stuart, ;::o Norman Walker, Mia Slavenska, Francoise Martinet, Paul Sanasardo, Matt Mattox, Paul Taylor, and Merce Cunningham. )>

Miss Dean has been the recipient of fellowships in choreography from the Guggenheim Foundation, the National Endowment for the Arts, 0 and the Creative Artists Public Service Program. Her work has been I I I supported by the New York State Council on the Arts since 1973. )> Dance and music works by Laura Dean have been commissioned by the Brooklyn Academy of Music, the American Dance Festival in z Durham, N.C., Walker Arts Center, Minneapolis, Minn., and the

Jaffrey Ballet. Miss Dean's work for the Jaffrey Ballet, NIGHT, with a score for two grand pianos and eight dancers, premiered during the Jaffrey's 1980 fall season in New York City. Works per- formed at BAM include SPIRAL, performed in 1977, and MUSIC, which premiered in 1980.

Miss Dean served on the Dance Panel of the New York State Council on the Arts during 1974 and 1975, and is currently a member of the Inter-Arts Panel of the National Endowment for the Arts. Her writing has appeared in DRAMA REVIEW, DANCE SCOPE, and CONTEMPORARY

DANCE. Two of her choreographic scores were a part of the 1980

Venice Biennale. Miss Dean is listed in the 1980 and 1981 editions of WHO'S WHO IN AMERICA. At the age of 18, LUKAS FOSS was widely known as a music "wunder- kind" and was already a graduate of the Curtis Institute of Music, where he studied conducting with Fritz Reiner. Shortly thereafter he was taken under the wing of Serge Koussevitzky, with whom he worked at the Berkshire Music Center at Tanglewood. Foss also studied at the Yale School of Music under Paul Hindernith, and at 23 was the youngest composer to be awarded a Guggenheim Fellowship.

A "renaissance" musician, Foss is equally at horne as composer, con­ I I ductor, teacher, and concert pianist. He has continually been at the forefront of contemporary music, yet the broad range of programs he conducts offers a fresh view of music from the renaissance, classical, and romantic periods up to the present day. He was Music Advisor and

Conductor of the Jerusalem Symphony in Israel for four years, an~ has guest conducted the Berlin Philharmonic, the Leningrad Symphony, the Philharmonic, and the Santa Cecilia Orchestra in Rome, among others. In the U.S. he has conducted almost all the major or- chestras, including the Chicago Symphony, New York Philharmonic,

Boston Symphony, and Cleveland Orchestra. As Music Director of the

Buffalo Philharmonic from 1963-70, he made the city a focus of na- tional attention and a mecca for composers and performers. Prior to this, he had the honor of being named successor to Arnold Schoenberg as Professor of Composition at UCLA, a post he held for ten years.

Foss has been Music Director of the Ojai Festival in California, has directed twelve marathon concerts at the Hollywood Bowl with the

Los Angeles Philharmonic, was active in the Mostly Mozart Festival at Lincoln Center. Beginning in the 1981/82 season he will be Music

Director of the Milwaukee Symphony while continuing his commitment to the Brooklyn Philharmonia, which he has brought into national pro- minence over the past ten years. \,

JON GIBSON, composer, performer and artist, was born (1940) and 0 raised in and whose early creative involvements in- z eluded work in the visual arts as well as jazz and improvisation. In the early 1960's, while earning a degree in music at San Fran- CJ cisco State University, he was also musically active in the Bay Area with Steve Reich, Terry Riley, John Handy, Larry Austin and others. In 1966 he first came to New York, where he has toured and worked ~ with numerous composers, including Steve Reich, La Monte Young, Christian Wolff, Frederic Rzewski, and Philip Glass, with whom he 0 has performed steadily since 1968. As a composer, Mr. Gibson has z explored a variety of compositional approaches ranging from the highly intuitive and improvised ("Visitations") to the highly struc- tured ("Melody IV"). His recent solo music represents a blending in various ways of these two extremes ("Equal Distribution 1").

He has given many solo and ensemble concerts of his music throughout

Europe and North America and was recently commissioned to compose and perform the music for the Merce Cunningham dance entitled "Frac- tions," for video and live performance. He has also been active as a visual artist, translating some of his ideas on music and struc- ture into drawings and other visual media. This work has appeared in various museum and gallery exhibitions, books, magazines and cat- alogues, and is at times also incorporated into his live performances

("The Great Outdoors" with Nancy Topf). A book of his drawings, en- titled Melody III Book II was recently published by Printed Matter in

New York, and two recordings of his music, entitled "Visitations" and

"Two Solo Pieces," appear on Chatham Square Records. He has received grants from the Creative Artist Public Service program (1974) and the

National Endowment for the Arts (1975, 1977). SS, composer, has performed in over 200 concerts (solo

a w1 h his ensemble) in the United States and Eu~ope since 1968.

A ~raduate of the Juilliard School of Music, Mr. Glass has been I the recipient of numerous awards including a Ford Foundation com-

poser-in-residence grant, and a Fulbright Grant which brought him

to Paris to study with Nadia Boulanger. Mr. Glass also traveled

througlout Central Asia and India, where he pursued his interests

l non- tern music. In 1971, Glass founded Chatham Square Pro-

ductions, organized to record his own music and music by other

members of his Ensemble. His music is distinguished by a repetitive-

structure, modular-form style of composition designed for the spe-

ci ic resources of his Ensemble; and he is best known for the works

of extended duration in that style (e.g. the four hour "Music in

12 Parts) . Glass received a special OBIE Award in 1976 for his

composit1ons for the experimental theater company, Mabou Mines.

His op ra EINSTEIN ON THE BEACH, written in collaboration with

Robert Wilson, toured widely in Europe in 1976 and received its

American premiere at the Metropolitan Opera in November of 1976;

and Mr . Gl ss received his second OBIE for the music. His most re-

cent compositions and commissions include the film "NORTH STAR:

MARK DISUVERO" ; ANOTHER LOOK AT H~RMONY, PART IV, created for the

Holland Festival in 1977 and performed on June 1, 1978 at Carnegie

Hall with excerpts from EINSTEIN ON THE BEACH; and his collabora-

tion with Lucinda Childs and Sol LeWitt for DANCE, seen at the

Brooklyn Academy of Music in 1980. His opera SATYAGRAHA, which will

receive its American premiere at Artpark in Lewiston, N.Y. in the summer of 1981 and its New York City premiere at BAM in November of 1981, was commissioned by the City of Rotterdam in 1980. ROBERT ISRAEL, designer and visual artist, was educated in per-

forming arts and art history at the University of Michigan. He

has designed sets and costumes for raore than 25 opera productions in the u.s. and Europe, including works by Hilhaud, Satie, Britten, Prokofiev, Mozart, and Monteverdi. His work has been seen in

world premieres of music and opera works by Lukas Foss, Ullmann,

Blitzstein, and Philip Glass. Israel's work in opera design began

at the Guthrie Theater in Minneapolis in 1966. His show of pain-

tings at the Walker Arts Center attracted the attention of the

Guthrie's Mark Freedman, who asked him to do the designs for

GOOD SOLDIER SCHWEIK, by Kurka. After several seasons at the Guthrie,

Israel moved first to New York and then to Europe where he had commissions from the Dutch Opera Foundation, the National Opera of

Belgium, and the Opera of Frankfurt to design for such productions as Berg's LULU and Glass' SATYAGRAHA. Israel has since returned to the States, designing productions for the Michigan Opera Theater

in Detroit and the San Francisco Opera Company. His work, inclu- ding drawings as well as costume and set designs, has been shown

frequently throughout the country and exhibited at the Museum of

Modern Art in New York. City. Mr. Israel is currently on the faculty at the University of California at San 9iego. n CONSTANCE DE JONG is one of the post-modern writers who has made performance a natural extension of her work as a writer. The music 0 composed especially for her performances associates musical material with particular characters and events, thus forming a parallel z structure between sound and speech. The mode of presentation is not one we are used to encountering from an author. The work is not ~ "read" but spoken, acted by the author as well as "heard" in the voices of unseen actors. This shift from pre-recorded to spoken material contributes to the strong narrative flow which distinguishes her work and gives it its unique and recognizable style. The longest and p~rhaps best known work to date is "Modern Love" an hour long n solo performance which combines her presence with pre-recorded in music and voices, props and special lighting. Adapted from the novel of the same name, "Modern Love" was first presented at The 0 Kitchen in New York, January, 1976. Since then, performances have in taken place in Paris, London, Buffalo, Toronto, and Montreal, and then presented as an 80 minute radio play produced at ZBS Foundation.

Scripted for two central characters and two narrators, the four member cast consisted of: David Warrilow, P.J. Orte, Charles Eliot Bell and 0 Constance De Jong; with music written and played by Philip Glass. Her recent work includes SCIENCE, her forthcoming novel, and THE LUCY

AMARILLO STORIES, which appeared in 1978. She was a 1979-80 recipient of a National Endowment for the Arts Literature Award. Ms. De Jong's most recent project, SATYAGRAHA, involved adaptation of sections of the Bhagavad-Gita with the book for the opera written in collaboration with Philip Glass. California-born Christopher Keene, Music Director and Conductor of SATYAGRAHA, has been acclaimed as one of the most brilliant young American conductors to emerge in the last decade. He is also Music Director of the Syracuse Symphony and the recently- formed Long Island Philharmonic, and formerly Director of the

Festival of Two Worlds in Spoleto, Italy, and Husic Director of

Spoleto USA, Charleston, S.C. Keene made his debut with the New

York City Opera in 1971, conducting Ginastera's DON RODRIGO, and has since conducted more than 250 performances there including new productions of ANDREA CHENIER, and revivals of FAUST, THE LOVE

FOR THREE ORANGES and MEDEA. Keene also made his Metropolitan Opera debut in 1971 with CAVALLERIA RUSTICANA and PAGLIACCI, which he will also conduct at ARTPARK, where he conducted the American premiere of

SATYAGRAHA, and conducts more than a score of opera and concert per- formances each season. He has also conducted for the Sante Fe Opera, the Philadelphia, San Francisco, Houston, Hamburg, Berlin and Vienna

Operas and the Royal Opera at Covent Garden. Keene divides his time equally between the opera and the concert hall, and among U.S. Orches- tras he has conducted are the Chicago Symphony, the Cleveland, Utah and Detroit Symphony, and the Buffalo Philaharmonic. Keene also conducted the Grammy Award-winning score by John Corigliano for the film ALTERED STATES, and is the author of a number of translations and libretti. Sal) tgrah tlf 1011/ force p11re and umple, and u.heneter and to u hatet er exte/11 there u 1oom for the we of anm or pb) fiCa! force or bulle f rce, there and to thett e>:tent II there JO much less porJrbilil) for ro11/ force. These .ue pmel} antagonistic forcer i11 1ll) t~et , cmd I h td fllll re tlization of this antagomsm et en at the tiJ•u of the euh en/ of Sal)agraha. -M. K. Gamlhr•

Philip Glass' opera SATYAGRAHA portrays the time (from 1893-

1913) in South Africa when Gandhi developed his ideas of non-violence, practic1ng them as a means for opposing European racial discrimination

~1ainst the Indians living in South Africa. Historically, this was the first large-scale and successful employment of non-violent civil disobed1ence. The word Satyagraha comes from the Sanskrit words for

"truth" (satya) which implies love, and "firmness" (agraha) which engenders and serves as a synonym for force. Thus, Satyagraha means

"the force which is born of truth and love," or non-violence. This was the word Gandhi chose from the Sanskrit to represent his movement in South Africa.

Each of the opera's three acts has a figurative counterpart above stage-level, witness to the story below and suggesting the historical continuity of Satyagraha. The three are: Count Leo Tolstoy, an 1nspirational figure for the young Gandhi, and, throug~1 his letters, a source of support and guidance; Rabindranath Tagore, Gandhi's con- temporary and the only living moral authority acknowledged by Gandhi; and Martin Luther King, Jr., who furthered the premise of non-violence in the American Civil R1ghts movement.

SATYAGRAHA was commissioned by the Rotterdam Arts Foundation of the City of Rotterdam in Holland and premiered there in November of

1980. It traveled to Utrecht, Scheveningen and Amsterdam and was brought to the United States 1n a joint production by Artpark, where it had its American premiere in August, and the Brooklyn Academy of

Music, where it will have its New York City premiere in November. I I FUJIKO NAKAYA was born in , Japan and graauated from c Northwestern University in 1959. After a year of graduate work at

Northwestern, she studied for two years at the Sorbonne in Paris.

She has had several one-person shows of her paintings in Chicago and Tokyo and has participated ~n group shows. Nakaya began working with cloud sculptures in 1969. She worked with Thomas Mee to research and develop the pure water cloud sculpture that surroun- ded the Pepsi-Cola Pavilion at Expo '70, Osaka, Japan, as a colla- borator on the E.A.T. project to design and program the Pavilion.

In 1976 Fujiko Nakaya was commissioned to create a cloud sculpture for the 1976 Biennale in Sydney, Australia, for which she received a cultural award from the Australian government. The sculpture has been acquired for the permanent collection of the National Museum of

Art in Cambera.

In 1972, Nakaya co-founded Video Hiroba, the first artist group in

Japan to work with portable video equipment. In addition to her projects, she has used video in two interdisciplinary research projects funded by the Japanese government: the Regional

Development Research Group and the City Planning ConfBrence. Her video projects include a series of interviews with elderly people to record and preserve the culture and traditions of the Meiji period which are disappearing in present day Japan and a series of programs recording self re-development programs in rural communities, including an exchange of these video tapes between villages, and a cable television network linking the villages. ROBERT RAUSCHENBERG was born in Port Arthur, Texas in 1925 and was educated at the Kansas City Art Institute, the Academie

Julien in Paris, the Art Students League in New York (where he studied with Vytlacil and Kantor) and Black Mountain College in North Carolina where he worked with Josef Albers. His work

(including paintings, etchings, collages, drawings, photographs and graphics) has been shown in the United States and Europe in group shows and one-man exhibitions since 1951. He has received many prizes and awards and was the third American ever to win the Grand Prize at the Venice Biennale. Rauschenberg is active in the politics of art, having founded Found Change, Inc., a founda- tion aiding artists in coping with financial emergencies. He has also lobbied in Washington in favor of tax-exempt status tor works donated by artists to non-profit institutions. He is closely asso- ciated with the dance world, primarily through his eight year relationship with the Merce Cunningham Dance Company, where he worked as set and costume designer as well as technical director from 1955-63. During those years he was associated with composer

John Cage, pianist David Tudor and during this time he met Jasper

Johns and Marcel Duchamp. Since then, he has designed decor for works by Trisha Brown and has collaborated on a video/performance project with Viola Farber. Rauschenberg has had several shows at the Museum of Modern Art and a major retrospective at the National

Collection of Fine Arts in Washington, DC, which traveled to New

York, Buffalo, San Francisco and Chicago. He is now at work on a second, more current retrospective which will open in Europe and travel around the world, having its American opening at the new museum now being built in Los Angeles. ROBERT WILSON has written and directed more than twenty theatre and dance pieces since 1965. Wilson, who has a BFA from Pratt

Institute and apprenticed with Paolo Soleri, brings a background

in art and architecture to his work in theatre and dance. His

first major piece THE KING OF SPAIN was presented in 1969 at the

Anderson Theatre in New York and was then incorporated into the longer THE LIFE AND TIMES OF SIGMUND FREUD and presented at the

Brooklyn Academy of Music. In 1970, Wilson was invited to work with the Iowa University Theatre, and there created DEAFMAN GLANCE, which subsequently performed at BAM and toured Europe. In 1972, following this success, Wilson was invited by the Iranian govern- r­ ment to create a piece for the Festival of Shiraz-Persepolis. Thus, un KA MOUNTAIN AND GUARDenia TERRACE: A STORY ABOUT A FAMILY AND SOME PEOPLE CHANGING was presented over a seven day period on Haft Tan 0 Mountain in Shiraz. Upon his return to the States, Wilson presented THE LIFE &~D TIMES OF JOSEPH STALIN at BAM and on tour in Europe and z South America. Awards received by Robert Wilson include the Drama

Desk Award for Direction (DEAFMAN GLANCE); an Obie Special Citation

Award (THE LIFE AND TIMES OF JOSEPH STALIN) ; and a TONY nomination for Best Score and Lyrics (A LETTER FOR QUEEN VICTORIA). His work as a visual artist has been exhibited in New York and in Europe.

Wilson has collaborated with Philip Glass on the opera EINSTEIN ON

THE BEACH, which toured Europe and had its American premiere at the

Metropolitan Opera in New York in 1976. Most recently, he has presented

MEDEA (as a work-in-progress) at the Musical Theatre Lab at the

Kennedy Center in Washington, DC and has created the decor for

Lucinda Childs' RELATIVE CALM, which has its World Premiere in Strass- burg, France in November 1981. MUSIC + MOVEMENT COMPOSERS

ROBERT CORNMAN, born in Brooklyn, recently returned to the u.s. after 30 years in Paris and Geneva, where he pursued a highly active career as pianist, composer, and conductor. As soloist, recitalist, and conductor, he has given concerts in the U.S., Europe, and Israel, and he has appeared with, among others, the Philadelphia Orchestra, the New York Phil­ harmonic, the Spoleto Festival, the Geneva Opera, Orchestre de la Suisse Romande, and Radio Milan Symphony. In addition, he has served as Music Director and Conductor of the Maurice Bejart Ballet, and the Katherin Dunham Dance Company. He has also made first recordings of the complete piano sonatas of Prokofiev and Scriabin.

GYORGY LIGETI,studied composition with Sandor Veress and Ferenc Farkas at the Budapest Music Academy and became instruc­ tor there in 1950. In 1956 he left Budapest and worked in the Studio for Electronic Music in Cologne until 1959. He taught and lectured throughout Europe and in the States until he was appointed professor of composition at the Hochschule fur Musik in Hamburg. In his bold and imaginative experimentation with musical materials and parameters, Ligeti endeavors to bring together all aural and visual elements in a synthetic entity, making use of all conceivable effects, employing homely kitchen utensils and plebeian noise makers or grandiose electronic blasts, alternating tremendous sonorous upheavals with static chordal masses and shifting dynamic colors. + t-IUSIC + NEW RESOURCES z rT1 MORRIS COTEL studied composition at the Juilliard School with W1ll1am Bergsma, Vincent Persichetti and Roger sessions and at Aspen with Mieczyslaw Munz. He began composing at an early age, and at 13 wrote a large symphony for full orchestra. In 1966, Cotel won the American Rome Prize and spent two years in Italy during which he composed and performed his Piano Concerto with the RAI Symphony Orchestra of Rome. After 1968, Mr. Cote! resided in Israel, composing, performing and teaching. His compositions include works for orchestra, chorus, various chamber ensembles and piano. Cotel's compositions have been performed and broadcast throughout the United States as well as in Europe and Israel. In 1978, Cotel's work August 12, 1952: The Night of the Murdered Poets premiered with actor Richard Dreyfuss narrating and the composer conducting. The p1ece was later recorded with Eli Wallach narrating and has won critical acclaim. Last season, Cotel's string orches~ra work, Harmony of the World was premiered by the Baltimore Symphony Orchestra with Sergiu Cornrnissiona conducting. Cote! is currently a member of the music compostion faculty at the Peabody Institute of The Johns Hopkins University and is at work on an opera based upon the Dreyfus Affair.

VLADIMIR USSACHEVSKY was born in Russia in 1930 and educated at Pomona College and the Eastman School of Music. Without knowledge of parallel experiments in Europe, he began experimenting with electronic music in 1951. His experiments were heard by Otto Luening, and the two men worked together to found the first elec­ tronic music studio in the United States (the Columbia Princeton Electronic Music Center). Together they created several joint works, including a commission by the New York Philharmonic, and appeared on national television to arouse interest in their experiments. Ussachevsky has continued to create electronic and computer works, including Pentagram for oboe and tape which was given its world premiere on BBC last fall.

MORTON SUBOTNICK was born in 1933 and educated at the University of Denver and then at Mills College where he studied with Darius Milhaud. He subsequently taught at Mills College and was in charge of the Intermedia Program at the School of Arts at NYU; he also directed exhibits at the Electric Circus in Greenwich Village. In 1969 he was appointed Associate Dean and Director of Electronic Music at the School of Music at the California Institute of the Arts in Los Angeles. He is at his best in multimedia theatrical presenta­ tions, with emphasis on electronic devices and has composed inciden­ tal music for the plays GALILEO, THE BALCONY and THE CAUCASIAN CHALK CIRCLE.