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~Lag(8Ill BAM 2000 Spring Season Is Sponsored by B~ ~L1 Snri Og Sp;:),On March 2000 Brooklyn Academy of Music 2000 Spring Season BAMcinematek Brooklyn Philharmonic 651 ARTS Saint Clair Cemin, L'lntuition de L'lnstant, 1995 ~lAG(8Ill BAM 2000 Spring Season is sponsored by B~ ~L1 Snri og Sp;:),on Brooklyn Academy of Music Bruce C. Ratner Chairman of the Board Karen Brooks Hopkins Joseph V. Melillo President Executive Producer in association with Pomegranate Arts Inc. presents Philip on Film Running times: BAM Howard Gi lman Opera House Anima Mundi & Anima Mundi & Music for Film March 21, 2000, at 7:30pm Music for Film will Koyaanisqatsi/Live! March 22, 2000, at 7:30pm run for approximately Powaqqatsi/Live! March 23 & 24, 2000, at 7:30pm 90 minutes, with one Dracula: The Music and Film March 25, 2000, at 7:30pm & 20-minute intermis­ March 26, 2000, at 3pm sion; Koyaanisqatsi will run for approxi­ Original Music by Philip Glass mately 85 minutes, with no intermission; Performed by Philip Glass Powaqqatsi will run and the Philip Glass Ensemble: Lisa Bielawa , Dan Dryden , for approximately Jon Gibson , Philip Glass , Richard E. Peck Jr., Michael Riesman , 102 minutes, with no Eleanor Sandresky, & Andrew Sterman intermission; Dracula: The Music and Film with guest musicians will run for approxi­ Frank Cassara , Alexandra Montano, Valerie Naranjo, & Peter Stewart mately 80 minutes, with no intermission. Sound Design Kurt Munkacsi Musical Director Michael Riesman Production Management Pomegranate Arts, Inc. 17 Philip on F;ilm For the Philip Glass Production Stage Manager Doug Witney Ensemble Live Monitor Mix Steve Erb Assistant Sound Engineer Kevin Reilly Music Production Euphorbia Productions Music Publishing Dunvagen Music Publishing Press Representation Annie Ohayon Media Philip Glass and the Ensemble wish to thank Ladd Temple, Uoyd Trammel, John Fera, and the Peavey Corporation for their generous support and the use of the DPMC8X keyboards. Recordings of Philip on Film scores are available on Nonesuch Records. For more information: www.philipglass.com&wwwkoyaanisqatsi.com. For Pomegranate Director Linda Greenberg-Brumbach Arts , Inc. Associate Director Alisa E. Regas New York, NY Business Manager Kaleb Kilkenny Company Manager Jim Woodard Anima Mundi & Original Music by Philip Glass Music for Film Featuring the U.S. premiere of the live concert of Anima Mundi Director Godfrey Reggio Editor Miroslaw Janek Sound Design Kurt Munkacsi Conductor Michael Riesman Film Producers IRE Production Management Pomegranate Arts, Inc. Philip Glass and Godfrey Reggio wish to acknowledge the vision and su{f port of the Bulgari Family for the production of Anima Mundi. The program will be selected from the following film scores: Mishima (Paul Schrader, 1984); Hamburger Hill (John Irwin, 1987); The Thin Blue Une (Errol Morris, 1988); The Secret Agent (Christopher Hampton, 1996); Kundun (Martin Scorsese, 1997); The Truman Show (Peter Weir, 1998); and Evidence (Godfrey Reggio, 1995). Following a 20-minute interm ission will be the U.S. concert premiere of Anima Mundi. Godfrey Reggio's film short is a poetic combination of music and images designed to celebrate biological diversity. The title refers to an ancient mythological concept of a controlling principle structuring the laws of life on earth and the interrelation­ ships of nature's forms. Natural order and beauty are based on the differ­ ences between, and the endless variety of, species, elements, beings, and systems, which together form a balanced whole. The film was created from existing naturalist film footage interwoven with original images, and Phil ip Glass' score is based on traditional ethnic rhythms and music. Reggio was commissioned by Bulgari to create Anima Mundi as a special project for the World Wide Fund for Nature Intemational Campaign for Biological Diversity. 18 Program I\lotp, Koyaa nisqatsi/Live! Original Music by Philip Glass Director Godfrey Reggio Photography Ron Frickle Sound Design Kurt Munkacsi Editors Alton Walpole & Ron Fricke Performed by Philip Glass & the Philip Glass Ensemble Conductor Michael Riesman Film Producers IRE Production Management Pomegranate Arts, Inc. The bass voice heard in this performance is provided by Albert de Ruiter, and has been electronically replicated. Ko-yaa-nis-qa-tsi (from the Hopi language) n. 1. Crazy Ufe. 2. Ufe in turmoil. 3. Ufe disintegrating. 4. Ufe out of balance. 5. A state of life that calls for another way of living. Koyaanisqatsi was conceived by Godfrey Reggio as a film integrating images, music, and ideas (not words) and is the first film of the Oatsi trilogy. It describes an apocalyptic vision of the collision of two differ­ ent worlds-urban life and technology versus the natural environment. Reggio spent seven years making the film, working with cinematographer Ron Fricke, who uses high-powered time-lapse photography to manipulate our perceptions of movement and time . Reggio spent two years working on the integration of music with Philip Glass. Francis Ford Coppola assisted in the film 's release, and, after its U.S. premiere at Radio City Music Hall in 1983, it won the Audience Award for Best Feature Film at Filmex, and Glass' score was voted Best Original Score by the Los Angeles Film Critics. Koyaanisqatsi has been presented at numerous festivals throughout the world , garnering Best Film at the Sao Paulo Film Festival , The Critics Award at the Lisbon Film Festival , and the City of Madrid Award at the Madrid Film Festival. Powaqqatsi/Live! The Cannon Group Inc. A Francis Ford Coppola and George Lucas Presentation Original Music by Philip Glass Director Godfrey Reggio Photography Graham Berry & Leon idas Zourdoumis Sound Design Kurt Munkacsi Editors Iris Cahn & Alton Walpole Performed by Philip Glass and the Philip Glass Ensemble Conductor Michael Riesman Film Executive Producers Menahem Golan & Yoram Globus Film Producers Mel Lawrence, Godfrey Reggio, & Lawrence Taub Production Management Pomegranate Arts, Inc. Po-waq-qa-tsi (from the Hopi language; powaq "sorcerer" + qatsi "life") n. 1. An entity, a way of life, that consumes the life forces of other beings in order to further its own life. Powaqqatsi is the second part of the Reggio/Glass Oatsi trilogy. It examines life on our planet from a more global perspective than Koyaanisqatsi, focusing on the negative transformation of land-based , human­ scale societies into technologically driven, urban clones. Powaqqatsi is about 19 Program I\lotp, contrasting ways of life, and how the lure of technology and mega-cities are affecting small-scale indigenous cultures. The overall focus is on the people of the Third World and how they express themselves through work and traditions. It shows how "progress" is luring more and more people into a pattem of meaningless consumption in place of real values. Pre-production began in September 1995, with a five-month expecition in search of locations. The pro­ ducers joumeyed to ten countries on five continents, including Brazil, Egypt, Kenya, Peru , India, Hong Kong, Israel, France, Nepal, and Berlin, selecting both urban and rural locations to support the film's theme. To research and develop the score, Glass himself went to Peru, Brazil, and West Africa. It is a departure from his earlier works in the use of many indigenous instruments and a Hispanic children's choir, as well as the integration of African, Latin, Indian, and Middle Eastem rhythms. More than 90 musicians and singers were involved in the recording of the score. The world premiere of Powaqqatsi/Uve! took place at Alice Tully Hall in July 1990 as part of Serious Fun! at Lincoln Center Festival. Dracula: The Music Music Philip Glass and Film Performed by Philip Glass and the Philip Glass Ensemble To the Universal Pictures' 1931 film classic Dracula Conductor Michael Riesman Sound Design Kurt Munkacsi Production Management Pomegranate Arts, Inc. Dracula: The Music and Film has been made possible by the generous support of Universal Family & Home Entertainment Productions. Film sound equipment donated by Dolby Laboratories, Inc. Towering ominously among the shadows of the Carpathian Mountains, Dracula's castle strikes fear in the hearts of the Transylvanian villagers below. After a naive real estate agent succumbs to the will of the Count, the two head to London, where the vampire hopes to stroll among respectable society by day and search for potential victims by night. Definitively portrayed by the actor Bela Lugosi in Universal's classic 1931 film , directed by Tod Browning and produced by Browning and Carl Laemmle Jr., the Count Dracula the world has grown to love arose from the legends fused by Irish writer Bram Stoker in the pages of his Gothic horror novel Dracula : The Dread Lord of the Dead. Published in 1897 and hailed by critics as the last of the great gothic romances, Dracula caused a sensation among turn-of-the-century readers . Stoker, who never set foot in Transylvania , fused the legend of VI ad Dracula (a.k.a. VI ad Tepes or "Vlad the Impaler"), a 15th-century Romanian prince whose family crest of arms bore the Order of the Dragon ("Dracul" is the Romanian word not only for Dragon, but for the Devil) and who made a name for himself with the rather gruesome practice of impaling his enemies on stakes surrounding his castles, with the peasant myths and folk songs that spoke of the "etemal vampire" and devils that could take the form of bats and wolves. He also incorporated the Romanian religious superstition that anyone who was excommunicated from the Eastern Orthodox Church could not die and was destined to roam the world "undead" until a stake was driven through his heart. 20 (continued on page 45) Digit;;::tl ThrQ~boldc: As new technology transforms art Unless you're one of those stubbom Luddites clinging to your typewriter, it's safe to say that and performance, BAM is in the you're having less personal contact-and, para­ eye of the digital storm.
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