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THE POWER Projecf the RETURN of the NATIVE BROOKLYN ACADEMY OF MUSIC THE POWER PROJECf THE RETURN OF THE NATIVE BROOKLYN ACADEMY OF·MUSIC Harvey Lichtenstein, President and Executive Producer , presents BAM Opera House November 3-5, 1988 THE RETURN OF THE NATIVE A performance of music and video by Peter Gordon and Kit Fitzgerald Video by Kit Fitigerald Music by Peter Gordon Libretto extracted from the table of contents of The Return ofthe Native by Thomas Hardy with additional lyrics by Edwin Gordon Music performed by Catherine Fiasca (soprano) Steve Elson (woodwinds) Peter Gordon (woodwinds) Peter Ecklund (trumpet) Peter Zummo (trombone) Kenny Kosek (violin) Ronald Robboy (cello) Dennis Masuzzo (double bass) "Blue" Gene lYranny (piano) Ned Sublette (guitar) Bill Ruyle (percussion) Mustafa Ahmed (percussion) Conducted by Peter Gordon Players in the landscape choreographed and performed by Bill T. Jones and Arnie Zane Production Design Script Direction Sound Design Michael Nishball Virlana Tkacz Eric Liljestrand Associate Lighting Designer Video Engineer Video Consultant Karl E., Haas Joseph Napodano Eric Spiegel These performances are made possible, in part, by grants from THE HENRY LUCE FOUNDATION, INC. and MEET THE COMPOSER, INC. B o 0 K YN A C- A 0 MY o MUS c F E s T v A L 9 8 8 S P 0 N S 0 RED PHLI M 0 R I OMPANIES Ie'. The ,.NEXT WAVE Festival is spoiBnd by PHILIP MORRIS COMPANIES INC. The NEXT WAVE ProU:tion and TOII'ing l11li is ........,.. NATIONAL ENDOWMENT FOR THE ARTS. THE ROCKEFELLER'FOUNDATION. THE FORD FOIIIDATION. THE HErilY LUCE RJUmA.. TlON.INC•• PEW CHARITABLE TRUSTS. THE WILLIAM AND FLORA HEWLm FOUNDATION, the W. ALTON J..ES ........ INC., the AT&T FOlJI)ATlON. the NATURAL HERITAGE TRUSf. THE CUYAHOGA lRUST. the MARY RAGLER CARY atARlTAlUlIIISJ. THE HOWARD GILMAN FOUNDATION. the MORGAN GUARANTY TRUST COMPANY. ROBERT W. WILSON. THE HARKlESS RIa DATIONS FOR DANCE and the NEW YORK STATE COUNCIL ON THE ARTS. MIIinI..far1heIEXTWAVEFesIiRI ........,&lII_ 1C.,1he CIGIA allPlllATIOI THE WIlLIAM AID MARY lIVE FOUIDATIOI, IIC., TIE BEST·PRKIS FOUIDA1IOI, TIl ARIMO G. ERPF RJID.1IIe MILL ~_ tile BMlIEXTWAVEPIIODUIBIS aua. the BMlIEXTWAVEASSOCIATfS.t1hefRlEIDS II BAM. The NEXT WAVE ProU:ers CcIlId jI1JVidesm BMI'sror.lEfelili lIIdaisollgilimsllldspoosassmm, exIiiOOns, ~ lIIlI spec8 Mltsfwdis IIograRItIrourjout the ye;r. The NEXT WAVE Asuiates, l:OIJ1IrisIIofJflDd JIOfessD*, is1he ... of the NEXT WAVE Festiv;t BAM wo'*I ike to ackrMMhIgethe tftMARD GILMAN RlI4DATION fw their saptiI til aealioo of the NEXT WAVE Ye Ardive. Previews of NEXT _VE ~ .. the WIRD FINANaAL CENTER ARTS &EVENTS PROORAM. WNYCfM is the official rail staOOn of the NEXT WAVE Festivlt The· Brooklyn Academy rl Music wishes to ..is 11Pi1i11111"~ FtnI fw its sawcrt of dis _ The BAM fdty isOWllll by the City of New Ylrk lIIlI its opnion is sqJpOrtII i1111t with 16hnIs IflJVidII through the NEW YB DTY IIPARIIBT If 121....... Joseph V. Melillo, Director, NEXT WAVE Festival THE RETURN OF THE NATIVE A performance of music and video created by Peter Gordon and Kit Fitzgerald I. Ireland II. Three Places in Poland Ill. Dorset, England IV. The Southwest and Beyond The Return ofthe Native is performed without intermission. Places visited: Ireland - Dunquin; Ballyferriter; Dingle Peninsula; County Kerry Poland-Bielsk-Podlaski; Orla; Warsaw; Krakow; Stepina; Frysztak Dorset, England-Puddletown; Upper Bockhampton; Wimborne Minster Southwest, USA-White Sands, New Mexico; Almogordo, NM; Monument Valley, Utah; Very Large Array Telescope, Soccorro, NM In memoriam Frances Hiney Fitzgerald 1898-1988 Hattie Schnall 1900-1988 Arnie Zane 1948-1988 t 8 ~ ~ 1> @ @ -a e-0 ~ u: ~" ~ PETER GORDON has performed hundreds of Center for Contemporary Music at Mills Col­ concerts internationally at venues as diverse as lege. Gordon has received grants from NEA, concert halls, nightclubs, art museums and NYSCA, the Beards Fund and was a 1988 fel­ theaters. He founded and co-directed (with David low ofthe DAAD Berlin Artists Program. Peter Van Tieghem) the Love ofLife Orchestra. He has Gordon's recordings include: Star Jaws (Lovely composed music for numerous off-Broadway Records 1978), Innocent (CBS 1986), Otello plays and music-theater works, winning an Obie (ROIR 1987), and Brooklyn (CBS 1987). award for his score for Falso Movimento's Otello. Gordon's music has also been featured in the work KIT FITZGERALD has produced a series of of leading choreographers, receiving a Bessie video works in the past ten years that have pro­ (NY Dance and Performance) Award for his foundly influenced progressive television and score for Bill T. Jones/Arnie Zane's Secret video art. Beginning her career as a painter, she Pastures (BAM NEXT WAVE Festival 1984). quickly adopted the newly-invented Sony porta­ Last year Gordon and Fitzgerald performed pak in the mid- '70s. From 1977 to 1984 she was Speetaccolo for La MaMa's 25th anniversary sea­ artist-in-residence at the Television Laboratory son. He also has frequently worked with the at WNETII3 New York. Her approach to elec­ fashion design house WilliWear. Gordon was tronic image-making has always been similar to born in New York City and grew up in Virginia that ofa musician creating sound. She began her and Europe. He received his BA in music from work in live video performance in 1985 with The u.c. San Diego and did graduate work at the Passion ofPassion, a collaboration with Peter Gordon. Later that year she created two more STEVEELSON's (woodwinds) playing has been performances: one with composer Ryuichi featured with some ofthe most influential musi­ Sakamoto and video artist Paul Garrin on the cal personalities in the rock, jazz, and new music Sony JumboTRON, a 14-story high television at worlds, including David Bowie, Talking Heads, the Tsukuba Expo in Japan;. the other with the Sam and Dave, and Scott Johnson. He is co­ legendaryjazzdrummer MaxRoach at La MaMa founder of the Borneo Horns .and the Slick­ ETC. In 1987, she and Peter Gordon performed aphonics. His music hasbeen heard onradio sta~ a new work at La MaMa, Speetaccalo, which the tions WNYC and WBAI, at the Joyce Theater, Village Voice called "a candidate for the best art the Walker Art Center, the Pyramid Club, atthe ofthe '80s." She has also c9llaborated with chor­ Central Park SummerStage, St. Mark's Church eographers Twyla Tharp, Stephanie Woodard, and on video and film soundtracks. and BartCookofthe New York City Ballet. Ms. Fitzgerald is the recipient of grants from the CATHERINE FIASCA (soprano) has been a National Endowment for the Arts, the New York soloist with the Gregg Smith Singers, Steve State Council on the Arts and the Rockefeller Reich's Tehillim, and has sung Sophie in Der Foundation. Her 1986 videowork, Adelic Pen­ Rosenkavalier. She has performed Hugo Wolf guins, produced by Sony Corporation/Japan, is songs with the Feld Ballet internationally. Most available on laser disc and video cassette. Her recently, Catherine completed a reading ofTul­ video tapes are distributed by Electronic Arts worth directed by Martin Charninwith musicby Intermix and The Kitchen, NY. Christopher Berg. MUSTAFA AHMED (percussion) has recorded KENNY KOSEK (violin) has brought his fid­ and performed in Europe and throughout the dling to the Broadway productions ofBig River, United States witQ Peter Gordon's Love of Life Foxfire, and The Robber Bridegroom!' He is the Orchestra, Arthur Russell, James Mason, and author ofBluegrass Fiddle Styles and the instruc­ Peter Zummo. He recently collaborated with tion tape series Learning Country Fiddle. actress Robbie McCauley and hermusician hus­ band Ed Montgomery in the premier presenta­ DENNIS MASUZZO (double bass) wasbom tion of Congo, NY, a musical drama examining in Norfolk, Virginia. He received his BM and American political influence in Africa. He is MM degrees from The Juilliard School, where presently working on his own musical autobiog­ he was a student ofDavid Walter. Hecanbeheard raphy, Son ofthe Drum Song, to be premiered in performance on Columbia, Elektra-Asylum, in 1989. Sony Digital, MMG, Grenadilla, Musical Her­ itage, CRI and Opus One Records. Heis a mem­ PETER ECKLUND (trulnpet) is from Connect­ ber ofMusical Elements and lastyear appeared icut and studied music at Yale. He plays tradi­ at BAM's NEXT WAVE Festival as part ofThe tional jazz and new music. He has played with Peter Zummo Orchestras. Gregg Allman, David Bromberg, and now plays with Vince Giordano Nighthawks. RONALD ROBBOY (cello) plays cello in the [Continued] San Diego Symphony and is the violinist/emcee lyrics also appear on Peter Gordon's latest album for Robboy's Jewish Orchestra. His recent work Brooklyn. Scruples ofMyrrh probed the relationship ofthe Rabbi Motel of Chernobyl to post-Zoharic BILL T. JONES (choreography), began his Guadalajara and other Iberian power centers. dance training at State University of New York at Binghamton, where later he co-founded the BILL RUYLE (percussion) has played for American Dance Asylum. Before forming Bill numerous theater, dance and new music projects, T. Jones/Arnie Zane & Company in 1982, Mr. including Music Theatre Group's The Garden of Jones choreographed and performed as a solo­ Earthly Delights and The Hunger Artist. He has ist .and duet company with his partner, Arnie played in the ensembles of Peter Zummo, A. Zane, touring nationally and internationally. He Leroy, Scott Johnson, Jon Gibson; Gretchen is the recipient of a CAPS Award, and several Langheld, Andy Tierstien, Steve Elson, the Feet­ Choreographic Fellowships from the NEA. The warmers and the Manhattan Marimba Quartet. 1985-86 Bessie was awarded to Mr. Jones and Most recently, he composed themusic for cho­ Arnie Zane for their season at the Joyce Theater. reographer Joanne Fregalette-Jansen presented at the Whitney Museum of American· Art at MICHAEL NISHBALL (production designer) Equitable Center. has been the production designer for many of Kit and Peter's concerts in Holland, Germany, NED SUBLETTE (guitar)· was born in Lub­ Italy and at La MaMa Annex.
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