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Lucinda Childs, Philip Glass & Sol Lewitt

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Lucinda Childs, Philip Glass & Sol Lewitt BAm LUCINDA CHILDS, PHILIP GLASS & SOL LEWITT ,.,.". I.U CI'O"'!o/.n •• JI"'~ LIKE MAGIC AT THE TIlE BROOKLYN ACADEMY OF MUSIC OPERA HOUSE November 29 - December 2. 1979 DANCE Choreography LUCINDA CHILDS Music PHILIP GLASS Film SOL LEWITT Lighting Beverly Emmons Costumes A. Christina Giannini tHE PHILIP GLASS ENSEMBLE Jon Gibson, Philip Glass, Iris Hiskey, Jack Kripl,Kurt Munkacsi, Richard Peck, Michael Riesman. THE LUCINDA CHILDS DANCE COMPANY Lucinda Childs, Graham Conley, Cynthia Hedstrom, Erin Matthiessen, Daniel McCusker, Susan Osberg, Judy Padow, Ande Peck, Megan Walker. Understudies Meg Har pe r, Kenn eth Pie rce Production Manager Robert Seder Stage Manager Alan Gerberg Sound Kurt Munkacsi Sound Assistant Paul Gabriel Costumes executed by Charles van de Craats Sound equipment designed by and built by Stage & Studio Constructions Produced by Perform ing Artservices In c. FILM Directed by Sol LeWitt (in collaboration with Lisa Rinzler) Camera Lisa Rinzler Editing John Neuburger Gaffer Abbie Carey Grip Bruce Devan Camera Assistant Stuart Math Second Electrician Mark Petersen Production Assistants Andy Blinx Peter Kreutzer Rosalie Winard Optical Effects '·'videart Recorded Music Music composed and arranged by Philip Glass Produced by Kurt Munkacsi and Philip Glass Musical Supervision Michael Riesman Recording Engineers Roddy Hui and Kurt Munkacsi Assistant Recording Engineer Lisa Zim its Record ed at T he Big A pple Recording Studio. New York. Publish ed by Dunvagen Music Publishers. Inc. (A SCA P) Copyright c 1979. Philip Glass. Cover photo by Nathaniel Tileston Slowly it's beginning to dawn on between business and the local people are returning to the city. people that the city just may be a sane community. Property values are on the rise . Neigh­ alternative to gasoline shortages, Creating affordable housing by borhoods are on the upswing. And the out-of-sight property taxes and encouraging private investment in outlook for business is definitely weekend marriages. neighborhoods is the key to Brooklyn's improving. Slowly it's beginning to dawn on renaissance. Cinderella, a Brooklyn But we've barely scratched the people that the city has possibilities Union and community sponsored surface of the virgin possibi lities that waiting to be developed by business restoration program is supporting exist for investment and good living. and by people who prefer the stimula­ private initiative in the restoration of Why not explore them? tion of city living. Brooklyn's wealth of 19th century Vic­ Start by calling Fred Rider, our Nowhere are these possibilities torian townhouses and the conversion Director of Cinderella projects or Mike more apparent than in Brooklyn. For of its vacant loft, factory and residen­ Teatum, our Director of Area Develop­ the past 15 years, Brooklyn has been tial structures, into affordable apart­ ment at (212) 643-3880. undergoing a transformation brought ments and co-ops. about by an enlightened partnership In the process, thousands of ~BrookIyn lnonGas Brooklyn.The new land of opportunity. TIlE BROOKLYN ACADEMY OF MUSIC Dance No. 1 THE PHILIP GLASS ENSEMBLE (Recording) THE LUCINDA CHILDS DANCE COMPANY (same far sections 3 and 5) Megan Walker Ande' Peck Susan Osberg Erin Matthiessen Judy Pad ow Graham Conley Cynthia Hedstrom Daniel McCusker *********** Dance No.2 (solo) Michael Riesman Electric Organ Lucinda Childs The music from Dance No.2 was originally commissioned by the City of Rotterdam for the tenth anniversary of the Doelen Organ and received its premiere It the Doelen Auditorium on March 12, 1971!l, IS Fourth Series 1. ••••••••••• Dance No. 3 THE PHILIP GLASS ENSEMBLE ( Recording) THE LUCINDA CHILDS DANCE COMPANY *********** Dance No.4 (solo) Philip Glass Electric Organ (recording) Lucinda Childs *********** Dance No. 5 THE PHILIP GLASS ENSEMBLE Jon Gibson Flute, Soprano Saxophone Philip Glass Keyboards Iris Hiskey Voice Jack Kripl Flute, Piccolo, Soprano Saxophone Kurt Munkacsi Electronics Richard Peck Flute, Alto SaxophGlne Michael Riesman Keyboards, Bass Synthesizer THE LUCINDA CHILDS DANCE COMPANY TIlE ARTISTS THE PHILIP GLASS ENSEMBLE Wolff. Frederic Rzewski, and Philip Glass, with whom he has performed steadily since cRe,tmunnt ~ In fill 19613, Philip Glass formed the Ensemble 1968. As a composer. Mr. Gibson has explored (amplified keyboards, voices, and winds) by ii variety of compositional approaches ranging EXPLORE WITH US THE ~ which his work is known. Participating as com­ from the highly intuitive and improvised Visita­ SECRETS OF CHINESE poser and performer, Glass and the Ensemble tions to the highly structured Melody IV. His COOKING have made eight European tours and have per­ recent solo music represents I blending in formed throughout the United States and various ways of these two extremes Equal Dis­ If you haven't been to Su-Su's Canada. tribu·tion I. He hiS given many solo and ensemble you're missing.some of New conee'rts of his music throughout Europe and Philip Glass has performed in over 200 concerts North America and was recently commissioned York's unusual Gourmet (solo and with his Ensemble) in the United to compose and perform the music for the Chinese Cuisine Stites and Europe since 1900. A graduate of Merce Cunningham dance entitled FrllCtionl, Featuring complete dinners at The Juilliard School of Music, Mr. Glass has for video Ind live performance. He has also realistic pricesl been the recipient of numerous awards, includ­ worked extensively with dancer Nancy Topf. ing a Ford Foundation composer-in-residence Gibson has .also been active as a visual artist. PRESENTED BY FOUR grant and a F41bright Grant, which brought him translating some of his ideas on music and ST ARS CHEF KING to Paris to study with Nadia Boulanger. Mr. structure into drawings and other visual media. Glass has also traveled throughout Central Asia This work has appeared in various museum and Open 7 Days for Luncheon, and India, .where he pursued his interests in gallery exhibitions. books, magazines and Cocktails and Dinner non-western music. In 1971, Glass founded catalogues. and is at times also incorporated Chatham Square Productions, organized to re­ into his live performances The Great Outdoors (Sundays, dinner only) cord his own music and music by other with Nancy Topf. A book of his drawings. en­ members of the Ensemble. His music is distin­ titled Melody 11/ Book /I was recently publish­ HIGHLY RECOMMENDED guished by a repetitive-structure, modular-form ed by Printed Matter in New York, and two BY BOB LAPE style of composition designed for the specific recordings of his music, entitled Visitations OF CHANNEL 7 resources of his Ensemble; and he is best known and Two Solo Pieces, appear on Chatham EYEWITNESS NEWS for the works of extended duration in that style Square Records. He has received grants from (e. g., the four hour Music in 12 Parts.) Gllss the Creative Artist Public Service Program (1974) and the National Endowment for the TWO HOUR received a special OBIE in 1976 for his com­ positions for the experimental theatre company, Arts (1975. 1977). FREE PARKING Mabou Mines. His opera, Einstein on the Beach, written in collaboration with director Robert Iris Hiskey is a graduate of The Juilliard School Major Credit Cards Wilson, toured widely in Europe in the summer of Music and the University of Michigan. Her Tel: 522-4531 and fall of 1976. It received its American pre­ musical background includes performances of miere at the Metropolitan Opera in New York opera. contemporary. and early music as well 60 Henry St. at Cranberry on November 21, 1976; and Mr. Glass was as Indian and Japanese music. She has appear­ awarded his second special OBIE for the music. ed with the Lake George Opera. Bronx Opera, Historic Brooklyn Heilbtl Mr. Glass' most recent commissions include the Bel Canto Opera. New York Vocal Quartet. film North Star: Mark DiSuvero; Another Look S.E.M. Ensemble. and Peter Schickele. A at Harmony, Part IV for the Hollind Festival specialist in baroque, renaissance. and medieval (June 1977); this piece Another Look at Har­ music. she is a co-founder of the Canterbury mony, Part IV was performed on June 1, 19713 Consort and has performed extensively with at Carnegie Hall together with excerpts from the Schola Antiqua and -the International Bach BROOKLYN Einstein on the Beach with Gregg Smith Singers; Society. Her recording credits include several an organ work commissioned by the Doelen albums of medieval music on the Nonesuch Hall, Rotterdam for the 10th anniversary of label and background vocals for Mike.Oldfield the Doelen Organ ; and an opera, Satyagraha, and Judy Collins. She began singing with Philip HAS IT ALLI commissioned by the City of Rotterdam for Glass in 1976 during the European tour of CALL US FOR premiere production by the Netherlands Opera Einstein on the Beach. (19130). FREE ASSISTANCE WE'LL HELP YOU LOCATE IT Jon Gibson is a composer, performer. artist Jlck Kripl, winner of the Geneva International who was born and raised in Los Angeles and Competition for Musical Performers. holds NEW YORK YELLOW PAGES. INC whose early creative involvements included Bachelor and Master degress from the Univer­ 0 work in the visual arts as well as jazz and im­ sity of Michigan. A recipient of two Fulbright provisation. In the early 1960's while earning Scholarships to Paris, he was a resident perform­ city p 110 a degree in music at San Francisco State Univer­ er at the Cite Internationale des Arts while e® sity, he was' also musically active in the Bay n under the tutelage of classical saxophonist Area with Steve Reich, Terry Riley, John Marcel Mule. He concurrenHy studied style Handy. Larry Austin and others. In 1966 he and analysis with Nadia Boulanger. In prepa­ 675·0900 first came to New York. where he has toured ration for the Geneva Competition.
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