The Brooklyn Academy of Music 30 Lafayette Avenue, Brooklyn, N.Y. 11217 (212)636-4100 BAM "35 Harvey Lichtenstein Executive Director THE OPERA HOUSE David Midland Director of Operations Sharon Rupert Director of Finance Leon Van Dyke Director of Development Charles Ziff Director of Promotion and Audience Development Jane Ward Production Manager Bob Lussier Theatre Manager Daniel J. Sullivan Box Office Treasurer Betty Rosendorn Children's Program Administrator Sarah Walder Group Sales Representative William Mintzer Lighting Consultant to BAM

The St. Felix Street Corporation, a non-profit organization operating the Brooklyn Academy of Music Abraham Beame, Honorary Chairman/Paul Lepercq, Chairman/Donald M. Blinken, President/Richard C. Sachs. Treasurer/Harvey Lichtenstein, Secretary and Executive Director/Martin P. Carter/ Barbara lee Diamonstein/ Donald Elliott/Mrs. Henry Epstein/Seth S. Faison/Richard M. Hexter/William Josephson/W. Barnabas McHenry/Mrs. Evelyn Ortner, ex-officio/Alan J. Patricof/David Picker/William Tobey/Edward L. Weisl, Jr.,Administrator P R.C.A. and Sebastian Leone, Brooklyn Borough President, members ex-officio. ins NEXT AT BAM... DANCE COMPANY Royal Shakespeare Company: Richard II January 9-27 with Lucia Dlugoszewski, composer Blues/Jazz Series: Odetta and the January 13 American Symphony Orchestra da camera Royal Shakespeare Company: Sylvia Plath Thome, conductor January 15-27 Joel

Filmexpo: AFI January 16, 17, 18, 23, 24, 25

Blues/Jazz Series: Elvin Jones Quintet January 27

Beverly Brown Carol Conway Nada Reagan Natalie Richman The Brooklyn Academy of Music gratefully acknowledges the support Cathy Ward Robert Yohn of the National Endowment for the Arts, the New York State Council Erick Hawkins on the Arts, and the Parks, Recreation and Cultural Affairs Adminis- tration of the City of New York. The Brooklyn Academy building is owned by the City of New York and funds for its maintenance are ad- ministered by the Parks, Recreation and Cultural Affairs Administration, Abraham Beame, Mayor, Edward L. Weisl, Jr., Administrator. Robert Engstrom, lighting designer

The taking of photographs or the use of recording devices in this theatre is strictly forbidden. Directory of Facilities and Services

Box Office Hours: Tuesday through Sunday, Noon - 9:00pm Monday Noon - 6:00pm Lost and Found: Telephone 636-4100 Lounges and Restrooms: Opera House Ladies: Orchestra and Balcony Levels Men: Mezzanine and Balcony Levels Music Hall Ladies: Orchestra Level Men: Balcony Level January Public Telephones: Main Lobby, Ashland Place Entrance 3-5

THE BROOKLYN ACADEMY OF MUSIC PROGRAM January 3 and 5

I. Angels Of The Inmost Heaven IV. Dawn Dazzled Door Premiere October 11,1971, Washington D.C. New York Premiere, October 26, 1972 Commissioned by the New York State Council on the Arts for Humphrey Noyes Commissioned by the National Endowment for the Arts 1972. Choreography Erick Hawkins Choreography Erick Hawkins Music Score for Brass Quintet Lucia Dlugoszewski Toru Takemitsu Set Robert Engstrom Sculptures Ralph Dorazio Moons: Beverly Brown Natalie Richman Nada Reagan and Natalie Richman Suns: Robert Yohn Nada Reagan Erick Hawkins and Robert Yohn Carol Conway Erick Hawkins Stars: Beverly Brown and Carol Conway Musicians of the Brass Quintet: Intent on freeing the Western body through subtly cooperating with James Stubbs-Trumpet Mark Gould-Trumpet nature, rather than conquering and violating it, the choreographer Early Anderson-Tenor Trombone Robert Biddlecombe- continues in this dance to find impetus for new movement in poetic Edward Birdwell-French Horn Bass Trombone metaphors of nature, as in SUDDEN SNAKE-BIRD, PINE TREE, RAIN/RAIN, SQUASH, NAKED LEOPARD, and BLACK LAKE. Angels of the Inmost Heaven- In this dance two Moons, two Suns and two Stars move in heavenly In heaven, Swedenborg tells us, concourse between Ralph Dorazio's sculptures Dawn and Door. Toru the garments of some of the angels glow with fire. Takemitsu's Japanese sensibility in sounding the "suchness" of Western Those of others shine with light, stringed instruments intrigues the choreographer again to illuminate But the angels of the inmost heaven are unclothed. the dynamic suchness of the body. Blake could then say "The Body is the Form of the Soul." In OF SHORT INTERMISSION LOVE and now this premiere the choreographer sensually draws the human body-soul, exploring its passionate innocence and beauty. Another exploration-of the hugeness of density leaps-is Lucia V. Classic Kite Tails Dlugoszewski's concern. Her score for brass quintet stretches dynamic New York Premiere, October 26, 1972 frontiers in DENSITIES NOVA, CORONA, CLEAR CORE, not only Commissioned by the New York State Council on the Arts 1972. through new brass-playing techniques, but also, at Nova level, by ex- plosions of energy through intense speeds; at Corona level by densities of Choreography Erick Hawkins great transparency; and at Clear Core level by solid high-density walls. Music David Diamond Sculptures Stanley Boxer SHORT PAUSE Nada Reagan Natalie Richman Beverly Brown Erick Hawkins II. Naked Leopard Carol Conway Cathy Ward First performed in New York, 1966 Robert Yohn Choreography Erick Hawkins The playfulness of pure movement and David Diamond's Music exuberant writing for strings are in the spirit of Toju Nakae's Zoltan Kodaly "The natural state of is Set man's mind delight" and Chuang-Tzu's Ralph Dorazio saying "never be at a loss for joy" and "make it be spring with everything." Inside of everyone is an animal innocence that sometimes takes a lifetime to recognize and cherish. NAKED LEOPARD is a dance celebrating this animal innocence. Erick Hawkins Dance Company Erick Hawkins The hist Dry of the Erick Hawkins Dance Company is written less in in- Jerry Grossman, 'Cellist cidents than in ideas, aesthetic revolutions shaped over two decades. In collaboration with the acclaimed composer Lucia Dlugoszweski, sculp- tor Ralph Dorazio and the exciting young conductor Joel Thome, Hawkins INTERMISSION has evolved in post-technological culture a dance theatre that reveals him to be a poet for a new generation. One of the great manly dancers, Hawkins has built his theatre on the vio- III. Geography of Noon lent clarity of experiencing beautiful form. Premiered at the American Dance Festival, New London, Conn. 1964 A prime element of the Hawkins theatre is its insistence on only live and Commissioned by the Ingram Merril Foundation contemporary music, a situation virtually unique in modern dance. Choreography Erick Hawkins In 1961, "8 Clear Pieces" sounded a new harmony with nature, which "Black Lake" (19691 deepened. One breakthrough made in "Black Lake", Music Lucia Dlugoszewski and Hawkins most original contribution to choreography, was his revol- Designs utionary approach to dynamics having the dangerous Ralph Dorazio . spontaneity of nature. The names given the dancers in GEOGRAPHY OF NOON are, purely for the sake of poetry, the names of different butterflies. The DANCE In "Classic Kite Tails" and "Dawn Dazzled Door", Hawkins innovatively is a integrated an metaphor to butterflies and is an image which becomes a poetic orchestra onstage with dancers and sculptures in a new chor- scaffold from which to gather sensuous courage to discover new and eographic whole. beautiful movement. It was decided to leave the scaffold in the form The Hawkins dancers meet the extraordinary demands of the music of the dancers' beautiful while names for the audience to see even after the fulfilling the exact choreographic requirements of speed, high dynamic "building" of the dance was finished. levels and floating technique. Mark Woodworth The MUSIC is for an orchestra of new percussion instruments invent- ed by Lucia Dlugoszewski and executed as pieces of sculpture by Ralph Dorazio. They include square drums of wood, skin, paper, Staff for the Erick Hawkins Dance Company and metal; finger drums of wood and metal; closed rattles of wood, Mark Z. Alpert, Manager skin, and paper; unsheltered rattles of paper and of cardboard, called Robert Engstrom, Lighting 'Designer "cardboard waters." Paul Butler, Production Manager The MUSIC involves the new aesthetic of "Choreographic sound" Erick Hawkins School of Dance where watching the sound made and hearing it made are both impor- 78 Fifth Avenue tant parts of the musical experience. The composer performs on stage. New York, New York 10011 Eastern Tailed Blue.. Beverly Brown The commissioning of new works (choreography, Cloudless Sulphur Robert Yohn music, design) for the Erick Hawkins Dance Company can be supported by a Spring tax-deductible con- Azure Carol Conway tribution to the FOUNDATION FOR MODERN DANCE, INC., Suite 1901, Variegated Fritillary Erick Hawkins 104 Fifth Avenue, New York, New York 10011. (212) 255-8060. The Erick Hawkins Dance Company is Represented By: INTERMISSION Sheldon Softer Management, Inc. 130 West 56th Street New York, New York 10019