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IjAIVlbl1l Brooklyn Academy of Music 1996 Next Wave Festival Jim Dine, The Heart of BAM, 1996, Woodcut, 26-1/4" x 19-3/8" AtoZ Brooklyn Philharmonic Orchestra BAM 1996 Next Wave Festival and 135th Anniversary Season are sponsored by Philip Morris Companies Inc. The Brooklyn Academy of Music Brooklyn Philharmonic Orchestra Bruce C. Ratner 43rd Season 1996-97 Chairman of the Board Robert Spano-Music Director Harvey Lichtenstein Robert Spano's inaugural season President & Executive Producer is sponsored by Phifip Morris Companies Inc. Lukas Foss-Conductor Laureate Joseph Horowitz-Executive Director present to BAM Opera House December 6 & 7, 1996 at Spm Robert Spano conductor The Persuasions; The Accidentals; Gertrude Thoma Louis Andriessen Frank Zappa De Stijl (New York premiere) with The Perfect Stranger, Gertrude Thoma & The Accidentals Dupree's Paradise intermission I intermission" The Persuasions si ng: John Adams Baby, Baby I Could Love You, The Chairman Dances, Right Around the Corner, Lucille Short Ride in a Fast Machine Has Messed My Mind Up (Zappa), Hot Plate Heaven and the Green Hotel (Zappa), The Meek Shall Inherit Nothing (Zappa) (a cappella arrangements by The Persuasions) Pre-concert presentation at tpm with Robert Spano, Louis Andriessen, and Joseph Horowitz The Brooklyn Philharmonic Orchestra and Brooklyn Academy of Music gratefully acknowledge the generosity of Mr. and Mrs. Stanley H. Kaplan, whose assistance made possible the Stanley H. Kaplan Educational Center Acoustical Shell. Photos, Steve Shapiro, Deborah Feingold, Marco Borggreve "Most good art has a firm relationship with the vernacular. What's wrong with contemporary music is that it became too divorced from the vernacu­ lar. Both Mozart and Mahler are filled with the potent and accessible fla­ vors of vernacular music. It's very much the lifeblood of their art. This cen­ tury, while "serious" music has become increasingly specialized and self­ referential, popular music has exploded in a thousand different directions. We are in an interesting period where composers are finding raw material in popular culture. Other artists have been doing this for decades-think of Rauschenberg and Warhol. But contemporary music has been late to make this change." -John Adams Andriessen: De Stijl ment and magazine De Stijl, founded in 1917 by a group of Dutch artists that included Mondrian.) Born in Utrecht in 1939, Louis Andriessen grew Although Mondrian is best known for geometric up influenced by Bach and Stravinsky, and by the configurations of solid fields of color separated by American popular music that invaded The stark black lines, Andriessen is interested in the Netherlands after World War II. As a student, he murky metaphysical roots of this cool, mathemat­ was influenced by the formalism of 12-tone music. ical modernism. 'Mondrian's paintings look strict In the seventies, the minimalism of Terry Riley and and rational, but they came about under the Steve Reich fed his predilection for a "democratic" influence of weird Theosophical, Christosophical, music that "brought together highbrow and low­ and Anthroposophical drivel,' Andriessen says. brow." States Andriessen, "I think it's almost a duty, 'What struck me was the relationship between and not only for composers. I hope that the future Mondrian and a certain Dr. Schoenmaekers, a will bring us a better world in which the difference mathematician and crazy Christian philosopher between high and low, rich and poor, is smaller who had a great influence on Mondrian.' than it is now." "De Stijl, therefore, juxtaposes two totally A formidable intellect, Andriessen is today one divergent texts-Mathieu Schoenmaekers' muddled of Europe's best-known composers. If labels must theories on "The Perfectly Straight Line" and Van be applied, he is a "European minimalist," as close Domselaer-Middlekoop's touching reminiscences to Stravinsky as to Riley or Reich. Of American of Mondrian in youth and middle age. Those minimalism he has quipped: "It has a cosmic, reminiscences reveal that Mondrian, like California sound. In American there is not enough Andriessen, was an avid fan of American jazz, Angst! I'm much more aggressive, I would say." particularly boogie-woogie piano-playing. And the Tonight's De Stijl 0984-85), originally con­ boogie-woogie connection suggested that De Stijl ceived as an independent work, ultimately would be closely linked with popular music. became part of a music-theater piece, De Materie, "Andriessen has an almost medieval fascination examining the relationship between matter and with arcane formal puzzles, and so it shouldn't spirit. Twenty-five minutes long, it employs an surprise us that De Stijl, despite its impudent ensemble Andriessen likens to "the terrifying' surface, is strictly structured. What is far more inter­ 21st-century orchestra"-four female voices, esting is the audible structure of De Stijl, for it's winds, brass, keyboard, electric guitars, "heavy there that the pop music roots are most apparent. metal" percussion. In his album note for the "De Stijl rests upon an obsessively repeated Nonesuch recording, K. Robert Schwarz, recently basso ostinato, what Andriessen calls a 'disco the author of Minimalists (Phaidon Press, 1996), bass.' Initially played by amplified keyboards and writes, in part: electric bass guitar, the tricky, syncopated, 24­ "De Stijl, the third movement of De Materie, measure bass line dictates almost the entire course views the relationship between matter and spirit of the movement. 'The whole funky character of from an artistic perspective, specifically that of the the bass line is a contemporary reinterpretation Dutch abstract painter Piet Mondrian 0872-1944}. of boogie-woogie,' Andriessen says eagerly. 'You (The movement takes its title from the art move- know, I have a great sympathy for Motown; even in the 60s I thought the Supremes were much In '29 I was with him one afternoon in Paris and better than the Beatles.' met the Hoyacks in his atelier. After a while, with­ "This is music with roots in the power of pop, out saying anything, he put on a small gramo­ the repetition of minimalism, the linearity of phone (which stood as a black spot on a small Stravinsky, and the formalism of Bach-none of white tabl~ under a painting of which it seemed which cares much about coddling the ears." to be the extension) and began quietly and stiffly, with Madame Hoyack, to step around the atelier. Texts for "De Stij/" I invited him to dine with me as we used to do in the old days. Walking on the Boulevard Raspail Chorus (sung in Dutch) suddenly I had the feelings that he had shrunk. The line of a perfect ci rcle is not perfection of the It was a strange sensation. In the metro we said first order. The line of a perfect circle is perfect as goodbye; when we heard the whistle he placed a line. But it is not perfect without limitation, it his hand on my arm and embraced me. I saw is not perfect as an unending line, it is not per­ him slowly walking to the exit, his head slightly fection of the first order, it is not the perfect line. to one side, lost in himself, solitary and alone. The perfect straight line is 'the' perfect line. Why? That was ou r last meeti ng. Because it is the only perfection of the first order. Likewise its ray, the perfect eternal ray, is per­ Chorus (sung in Dutch) fection of the first order. The perfect-eternal ray ...a 'cross' relationship. This figure is really 'open'. is also 'the' perfect ray. For only it is as ray a We can prolong it on any side as long as we wish perfection of the fi rst order. without changing its essential character, and The cross-figure. however fa r we prolong th is figu re it never atta ins The figure which objectifies the concept of this pair a perimeter, it never becomes 'closed' thereby, it of perfections of the fi rst order, is the figu re of is thereby totally and utterly boundless: it excludes the perfect right-angled ness: or, in other words, all boundaries. Because this figure is born from the cross-figure. This is the figure that represents itself in our conception, it characterizes the con­ a ray-and-Iine reduced to perfection of the first cept of perfect opposites of the fi rst order, as a order. It characterizes the relationship between concept of the essential 'open', the actual and perfections of the first order as a perfect right­ real 'unbo.unded'. angled relationship, a 'cross' relationship. This figure is actually 'open'. Zappa: The Perfect Stranger and other works Actress (spoken) In those days Piet Mondrian sent a message that After reading an article in Look magazine about he was in Holland and that he could not return Sam Goody, who could even sell a record called to Paris. Mrs. Hannaert invited him to stay and Ionisation by one Edgard Varese that was all awful when one afternoon I arrived he was sitting with drums and noise, Frank Zappa, aged 15, pur­ her at the table. He made a curious impression chased his first LP-of music by Varese. The upon me because of his hesitating way of second LP he purchased was a recording of speaking and the nervous motions of his mouth. Stravinsky's The Rite of Spring, followed shortly During the summer of 1915 he stayed in Laren by a recording of Webern's Symphony Gp. 21, and rented a small atelier in the Noolsestraat. In and some of his string quartet music. Zappa was the evenings we would go to Hamdorf because in awe of all three. "I didn't know anything about Piet loved dancing. Whenever he made a date twelve-tone music then," he later said, "but I liked (preferably with a very young girl) he was notice­ the way it sounded.
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