' BROOKLYN ACADEMY OF MUSIC ljY2-1 D)Do_c._

BOARD OF TRUSTEES

Hon. Edward I. Koch. Hon. Howard Golden. Seth Faison. Paul Lepercq. Honorary Chairmen: Neil D. Chrisman, Chairman: Rita Hillman. I. Stanley Kriegel. Ame Vennema. Franklin R. Weissberg. Vice Chairmen: Harvey Lichtenstein. President and Chief Executive Officer: Harry W Albright. Jr.. Henry Bing. Jr., Warren B. Coburn. Charles M. Diker. Jeffrey K. Endervelt. Mallory Factor. Harold L Fisher. Leonard Garment. Elisabeth Gotham. Judah Gribetz. Sidney Kantor. Eugene H. Luntey, Hamish Maxwell. Evelyn Ortner, John R. Price. Jr.. Richard M. Rosan. Mrs. Marion Scotto. William Tobey. Curtis A. Wood. John E. Zuccotti: Hon. Henry Geldzahler. Member ex-officio.

OFFICERS Harvey Lichtenstein President and Chief Executive Officer Judith E. Daykin Executive Vice President and General Manager Richard Balzano Vice President and Treasurer Karen Brooks Hopkins Vice President for Planning and Development Micheal House Vice President for Marketing and Promotion ADMINISTRATIVE OFFICE STAFF Ruth Goldblatt Assistant to President Sally Morgan Assistant to General Manager David Perry Mail Clerk FINANCE Perry Singer Accountant Jack C. Nulsen Business Manager Pearl Light Payroll Manager MARKETING AND PROMOTION BARI Marketing Nancy Rossell Assistant to Vice President Susan Levy Director of Audience Development Jerrilyn Brown Executive Assistant Jon Crow Graphics Margo Abbruscato Information Resource Coordinator Press Ellen Lampert General Press Representative Susan Hood Spier Associate Press Representative Diana Robinson Press Assistant PLANNING AND DEVELOPMENT Jacques Brunswick Director of Membership Denis Azaro Development Officer Philip Bither Development Officer Sharon Lea Lee Office Manager Aaron Frazier Administrative Assistant MANAGEMENT INFORMATION Jack L. Hickethier Director Lee Chizman Assistant to the Director COMMUNITY DEVELOPMENT Mikki Shepard Director Mahmoudah All Assistant to the Director Rudy Stevenson Music Consultant Jennie Gonzalez Secretary PERFORMING ARTS PROGRAM FOR YOUNG PEOPLE Leonard Natman Director Hessie McCollum Program Coordinator Sara Warder Sales Coordinator PRODUCTION Malcolm J. Waters Production Manager William Mintzer Lighting Consultant to BAM Robert L. Foreman Assistant Production Manager Sarah Stuart Production Assistant Martin Green Crew Chief Robert Sniecinski Wardrobe Supervisor Fuller, Naaman Griffin. Steve Greer, John II William Horton. James Kehoe. Howard Larson, Patrick McDonald, Bernard Gilmartin, Donald Riordan THEATRE MANAGER John J. Miller Theatre Manager Leonard Natman Associate Theatre Manager Ken Farris, Lauren Scott, Alan Tongret BUILDING MANAGEMENT Stan Mongin Building Manager Norman MacArthur Assistant Building Manager Lazarro Curato Parking Facilities Supervisor Frank Abbruscato, Leonard Abbruscato, Jahue Cooper, Nick Curato. Ray Dorso, Donald Farr, Angel Guadalupe, Steve Lanza, Bernard Lawrence, Michael Marayentano, Sheral Moustafa, Nunzio Orlando. Joseph Patterson, Frank Percaccia. James Postell, Gloria Simon, Sadie Vinson James Victor, Angelos Voudouris, Robert Wells BROOKLYN BOX OFFICE Saheed Baksh Box Office Treasurer Michael Glassman, Joseph Nekola ACADEMY DIRECTORY Box Office: Monday through Friday, 10:00am to 6:00pm; Performance days till 9:00pm; OF MUSIC Saturday and Sunday. Performance times only. Lost and Found: Telephone 636-4150 Restroom: Opera House Women and Men: Mezzanine level and 5th floor; Handicapped: Orchestra level. Lepercq Space: Women and Men: Theatre level 5th floor. Public Telephones: Main lobby. Felix Street Entrance. For information about group rates on tickets call 636-4126. The taking of photography or the use of recording devices in this theatre is strictly forbidden. Brooklyn Academy of Music, 30 Lafayette Ave.. Brooklyn, NY 11217. (212) 636-4100. The Brooklyn Academy of Music is a Charter Member of The League of Historic American Theatres. [ BROOKLYN ACADEMY OF MUSIC BROOKLYN ACADEMY OF MUSIC Harvey Lichtenstein, Producer Judith Daykin, Associate Producer

EXECUTIVE PRODUCERS PATRONS $1,00002,499 Ms. Joan Bieder & Mr. William Josephson BALLET 1982-83 Mary Griggs Burke DUTCH NATIONAL Mary Livingstone Griggs and The Brooklyn Academy of Music is Mary Griggs Burke Foundation owned by the City of New York and Richard W Hulbert administered by the Brooklyn Acad- The Irvine Foundation emy Founder: of Music, Inc. The Brooklyn I. Stanley Kriegel Dantzig Academy of Music's operation is Phyllis Holbrook Lichtenstein Artistic Director and Choreographer: Rudi van supported in part with public funds Hamish Maxwell Choreographer and Regisseur: provided through the New York The Netherlands America Community Association. Inc. and Designer: lber van Schayk City Department of Cultural Affairs Choreographer Frederick W. Richmond Foundation Masters: Christine Anthony, Reuven Voremberg and with grants from the National Richard & Dorothy Rodgers Ballet Endowment for the Arts and the Foundation. Inc. Assistant Ballet Master: Sonja Marchiolli New York State Council on the Arts. The Starr Foundation Musical Director and Conductor: Adam Gatehouse In addition, the Board of Trustees William Tobey Director: Anton Gerritsen wishes to thank the following foun- Michael Tuch Foundation Administrative dations, corporations, and individ- John T Underwood Foundation uals who, through their leadership The Vinmont Foundation Harold Weitz and support make these programs The Robert and Mari I lyn Wilson possible. Foundation MARIA ARADI-LAUREL BENEDICT ALEXANDRA RADIUS-MONIQUE SAND INDIVIDUALS AND PRODUCERS JEANETTE VONDERSAAR FOUNDATIONS $500-5999 Robert H. Arnow LUC AMYOT-HAN EBBELAAR-CLINT FARHA Neil D. Chrisman LEADERSHIP $25,000 and above Robert Davenport HENNY JURRIENS-FRANCIS SINCERETTI Ms. Virginia Dwan Louis Calder Foundation Mr. Jeffrey K. Endervelt Edna McConnell Clark Foundation The Henry Goldberg Foundation Beaujean-Aina Bilkins-Coleen Davis-Caroline Iura Doll Lepercq International Dance Fund Rachel Mr. & Mrs. Philip S. Jessup Simarka Run Foundation Judith James-Karin Schnabel-Valerie Valentine Mr. Jack Lawrence J.M. Kaplan Fund. Inc. Zimmerman Mr. & Mrs. Richard Menschel Mea Venema-Joanne Andrew W. Mellon Foundation Mr. & Mrs. Martin Segal National Endowment for the Arts Fred Berlips-Barry Watt Mr. & Mrs. Norman Segal New York City Youth Board Mrs. Dan Seymour The New York Community Trust The Zeitz Foundation Geys New York State Council for the Arts Amanda Beck-Sarit Beker-Katalene Borsboom-Josiane Mr. Sanford J. Zimmerman Edward John Noble Foundation Veronique Kruijswijk-Liliane Kuyer-Renee Kuypers Rockefeller Brothers Fund Barbara Leach-Jane Lord-Jane Matty-Cathy Nussbaumer Mr. & Mrs. Ame Vennema ASSOCIATE PRODUCERS Susan Pond-Esther Protzman-Monica Quigley $250-$499 Myriame Schoenmaeckers-Julie Stanzak-Vicki Summers PACESETTERS Mr. & Mrs. M.R. Berman Kerry Szuch -Trudy Tol-Louise Vine $10,000-$24,999 Brooklyn College Institute for Retired Professionals & Executives Bruno Berbers-Sjoerd van den Berg-Leo Besseling Charles Ulrick & Josephine Bay Barat-Ad Mr. Steven H. Case Foundation Wim Broeckx-John Brown-Peter Buil-Giuseppe Canale Mr. & Mrs. Donald H. Elliott Henri & Eugenia Doll Foundation Mr. & Mrs. Paul Esserman Daniel Derderian-Lindsay Fischer-Charles Flanagan Alex Hillman Family Foundation Mr. & Mrs. Al Kronick Raimondo Fornoni-Leon Koning-Alan Land Henry & Lucy Moses Fund Christopher LiGreci & Norwegian Information Service Jan Linkens-Reinbert Martijn-Simon de Mowbray Robert Ohlerking Shubert Foundation Mikko Wawra Dr. & Mrs. James McGroarty Nissinen-Robert Poole-Daniel Reily-Alexandre Bernard M. Manuel John Wisman-Rob van Woerkom Rev. Francis J. Mugavero BENEFACTORS Mr. & Mrs. Arthur J. Radin 52.500-59,999 Mr. & Mrs. Rubin Raskin Suzanne Arbabzadeh-Isabel van Boetzelaer-Anne-Marie Cabri Philippe Braunschweig Stephen H. Scheuer Nathalie Caris-Valerie Clark-Caroline Gruber-Nathalie Heris Max and Victoria Dreyfus Foundation Mr. & Mrs. Irwin Schneiderman Anja Leeflang-Petra van de Pas- Nicol a Tranah - Plonia van de Vijver Mallory Factor Joanna & Norman Sher The Hochschild Fund. Inc. Mr. & Mrs. Harry Silverstein Ted Brandsen-Uko Gorter-Hein Hazenberg-Maarten van de Pas The Heckscher Foundation for Children Mr. & Mrs. Robert K. Smith Col Prevoo-Peter Schetters-Margus Valerie Manuel Spekkers The National Opera Institute Mr. & Mrs. Everett Ortner SPONSORS Alice Holbrook Platt $100-$249 Prospect Hill Foundation Martha Baird Rockefeller Fund for Music Dr. Edward W. Altman R. Steven & The Helena Rubinstein Foundation Jan C.K. Anderson Mrs. Anne Barsky The Scherman Foundation Mr. & Mrs. Werner Barusek Seth Sprague Educational and Charitable BALLET INTERNATIONAL is presented by the Brooklyn Academy William & of Music Foundation Julia Beadenkopf in association John Beaton with the Doll-Lepercq International Dance Fund and made Swedish Council of America Mr. Walter E. possible in part by grants from MORGAN GUARANTY TRUST COMPANY, the Uris Brothers Foundation Beer Mr. & Mrs. H. Gerald Bissinger. II New York State Council on the Arts, the National Endowment for the Arts Dr. Robert D. Blank and the New York City Department of Cultural Affairs. This presentation Jean Marie & Neita Blondeau of the is an officio' part of the celebration of 200 Dr. & Mrs. Martin Bodian years of Dutch/American friendship and is made possible in part by Eddo William B. Bolton and Maggie Bult, the Netherlands-Arnetica Mr. & Mrs. John Castaldi Community Association and Mrs. John Chancellor Rabobank Nederland. Arthur W. Cohen Special thanks to Leopold Quarles van Ufford, Consul General of the Mr. & Mrs. Ira Cohen Netherlands, Johann Dr. & Mrs. A. Norman Cranin Brinckmann and Jan Stuyt of Amro Bank, Heineken Judith Daykin U.S.A. Inc., and Droste's Chocolates. Thomas A. Donnelly Very special thanks to Ben Van Meerendonk (U.S. Bureau Chief, Televizier Mr. & Mrs. Issac E. Druker Magazine/Avrobode), Mr. & Mrs. Jerome Dubroff Ian Woodner, Wouter Germans, Joseph Gerritse, and the Netherlands Lorin Duckman National Tourist Office: the hosts of the Dutch National Ballet for the Gala Reception Dinner on December 1, 1982.

(continued on inside back cover) 08.21' 0106.3_ DUTCH NATIONAL BALLET

Program A Wednesday, December 1 at 7 pm Thursday, December 2 at 8 pm Tuesday, December 7 at 7 pm This season at the Brooklyn Academy of Music marks Friday, December 10 at 8 pm 11 2 pm & 8 pm 1. our company's third visit to New York, a fact to be happy Saturday, December at ti Sunday, 12 2 pm and grateful about: the dialogue continues! The world is chang- December at ing rapidly, circumstances now are very different from only six years ago, when we first came to perform in America. Our world seems and feels much more threatened; insecurity A GARDEN UNKEMPT and fear are all around. People who feel threatened seem to withdraw, pull back into their own 'still safe' circles. To keep our eyes and ears, and our minds open for others is a very necessary and urgent matter, even if we do not always Choreography Toer van Schayk agree with each other or if things seem alien to us. Therefore Music Wolfgang A. Mozart (String quartet I am happy that we can talk to you, and that you will talk no. 15 in D minor, KV 421) to us: the exchange of spiritual matter will stay open. Scenery and costumes Toer van Schayk Dance-history has, I think, great beauty and is an exam- World premiere October 11, 1979 (Oslo, Norway) ple of fruitful international giving and taking. In 1533 Premiere by the March 19, 1980, Catherine de Medici brought, through marriage, a balletic Dutch National Ballet fashion from Italy to France, where it became firmly rooted; Running time 28 minutes the Frenchman Marius Petipa, finding no employment in his This piece was inspired partly by the truly haunting beauty own country, went to work in Russia and brought through of Mozart's D minor quartet, the richness of its sound which his choreographic influence dance-development from France seems, even at its most ecstatic moments, to filter through an to Russia. In 1909 Serge Diaghilev in his turn exported overlaying film of deep, yet mild melancholy. dance from Russia back to the western world where the art of The sight, one day, of an old abandoned garden provided ballet had withered away. Martha Graham and George another part of the inspiration. Vacant and sad in late Balachine, in the early years after World War II, gave life-giving September, the rusty fence disintegrating under withering injections of American dance-spirit and -inventiveness to weeds, the green fading, the leaves falling, it was a stage set- culture-starved audiences in Holland. ting by itself, and only imagination was needed to introduce Both Martha Graham, who in her earlier works seemed- the players, the people who might, at one time, have lived in it. like Emily outlook of a quiet, Dickinson-to represent the Five women and seven men, who are not only in the but tense and sensitive individual, and Balanchine, who garden, but also are the garden itself, and like the garden, they of community, of many individuals brought the excitement are slightly forlorn and lonely. creating joyous, dazzling works together: 'singing bodies and Among them is an older couple, frightened at feeling their minds electric, brought stimulating shocks of the single souls dry up in the routine of their life together. They see the mind and the whole body. younger people around them, yearning for and seeking contacts Both, I hope and think, had a lasting effect on the that do not materialize; it does not prevent them from joining dance-world in Holland as had, later, to name a few: Jooss, in this search, in a hope can only be vain. Tomaszewski, Bausch; we were offered a fertile soil from that Toer which we could eagerly and seriously grow. That inspiration -by van Schayk is, thank God, still very vivid. To believe in dance is to believe in the human being, wher- Cast ever and whatever he may be. The way ahead of all of us is a December 1, 2, 11 mat. and 12: long and urgent one, a way of giving and taking, inspiring Jeanette Vondersaar, Liliane Kuyer, Coleen Davis, and vitalizing, and of forcing frontiers, human and geograph- Karin Schnabel and Jane Lord ical, wide open. Henny Jurriens, Ad Berbers, Lindsay Fischer, -Rudi van Dantzig, Artistic Director Charles Flanagan, Reinbert Martijn, John Wisman and Daniel Reily

December 7,10 and 11: Karin Schnabel, Liliane Kuyer, Coleen Davis, Caroline Iura and Renee Kuypers Alan Land, Ad Berbers, Sjoerd van den Berg, Fred Berlips, Bruno Barat, John Brown and Wim Broeckx The quartet: Jean Ingraham: Violin I, Ronald Oakland: Violin II, Ronald Carbone: Viola, and Gary Fitzgerald: Cello. (intermission) FOUR LAST SONGS PYRRHIC DANCES II

Choreography Toer van Schayk Choreography Rudi van Dantzig Music Jean-Baptiste Lully, Music Richard Strauss (Four Last Andre Danican-Philidor and Songs, 1950) Francois Couperin Sets, costumes Toer van Schayk Scenery, costumes Toer van Schayk and light design and light design Premiere by the May 16, 1977, Amsterdam Premiere by the November 16, 1977, Amsterdam Dutch National Ballet Dutch National Ballet (world premiere) (world premiere) time 22 minutes Running Running time 34 minutes Four Last Songs has been choreographed by Rudi van Pyrrhic dances II is the second of a series of three ballets, to Richard Strauss' swansong, which resigns to Dantzig different in style and period, but all three based on the an- as and natural happening that will death an unavoidable cient Greek Pyrrhic dance, or Pyrrhikos. This was originally peace and rescue, in line with the four German poems bring a war dance, which developed later into a display of strength used. In the first three poems, by Hermann Hesse, nature and physical skill, in which girls took part as well as men. leave of world, symbolized by the succession of takes the The ballet Pyrrhic dances II focuses on of coming of the night; whereas 'In the the art war in the seasons and the the times of the seventeenth century French court. The music glow,' by Josef van Eichendorff, gives the presenti- sunset by Lully, Philidor and Couperin was composed in the same of approaching, final loneliness. Thankfulness for times ments period, mostly for the musicians at the court of Louis XIV. the longing for peace of mind resound in of happiness and Although war is the theme of the ballet, the concern Four Last Songs, as well as melancholy, is these well-balanced not with its glorification, as was the case with Pyrrhic fear of the obscure. the because of the inescapable farewell and dance of Greek antiquity. If these emotions and adds an any doubts remain that warfare The choreography accentuates could have been glorious in any period of history, our century to ending of everything by re- extra dimension as it refers the has put paid to any such thoughts, and in spite of its rousing According to Van Dantzig, peatedly breaking up relationships. music and colourful costumes, this notion lies at the root of ballet is expressed by Hesse's Autumn, in the essence of this Pyrrhic dances II. -by Toer van Schayk which the tired summer takes leave of a dying garden. But the structure of the ballet mainly reflects Eichendorff's poem Cast begins 'Through troubles and joy we have gone hand that `Introduction' in hand-how tired we are of wandering, can this somehow be death?' Amanda Beck - Judith James -Joanne Zimmerman The themes of each poem are expressed by four couples, Katalene Borsboom, Liliane Kuyer, Renee Kuypers, while a male figure, a wandering angel of death, connects Barbara Leach, Jane Lord, Julie Stanzak and Vicki Summers the different moods. He joins all eight individuals as he finally leads them away into a world of unity. `Before the battle' -by Luuk Utrecht Maria Aradi -Jeanette Vondersaar - Valerie Valentine Cast Clint Farha - Francis Sinceretti - Barry Watt December 1, 2, 11 mat. and 12: Leo Besseling - Charles Flanagan - Rob van Woerkom Fred Berlips Wim Broeckx Jan Linkens Robert Poole 1st pas de deux Karin Schnabel & Barry Watt - - - 2nd pas de deux Valerie Valentine & Lindsay Fischer `Conflict with the puppets' 3rd pas de deux Alexandra Radius & Han Ebbelaar (also Dec. 11) Francis Sinceretti - Jeanette Vondersaar - 4th pas de deux Coleen Davis & Henny Jurriens Cathy Nussbaumer and Clint Farha `The victims and their dreams' December 7,10 and 11: Maria Aradi, Clint Farha and the ensemble Jane Lord & Barry Watt December 7,10 and 11 there will be the following cast changes: Valerie Valentine & Lindsay Fischer Maria Aradi & Fred Berlips (Dec. 7 and 10) Maria Aradi will be replaced by Karin Schnabel Joanne Zimmerman & Henny Jurriens Joanne Zimmerman by Rachel Beaujean and Alan Land Judith James by Coleen Davis Julie Stanzak by Josiane Geys Poot Soprano: Sonja Clint Farha by Mikko Nissinen Rob van Woerkom by Sjoerd van den Berg (intermission) Jan Linkens by John Brown Fred Berlips by Bruno Barat Wim Broeckx by Ad Berbers DUTCH NATIONAL BALLET TOURS AND GUEST ARTISTS Classical and Modern The company is often invited to go abroad. This has led to (notes and bios by Luuk Utrecht, Dutch dance critic) visits to most Western-European countries: specifically to dance festivals in Berlin, Hamburg, Monte Carlo, Nervi, in 1961 out of the the The Dutch National Ballet originated and London. Eastern-European countries visited by Mascha ter Weeme) fusion of the Amsterdam Ballet (directed include Poland, Yugoslavia, Hungary and the Soviet Union and the Netherlands Ballet. Sonia Gaskell, founder of the Furthermore, the company toured the principles (Leningrad and Moscow). latter company, was the first person to lay down America extensively and has been to Canada twice. In the Dutch National Ballet. South that still justify the existence of November 1976 the Dutch National Ballet made its New Her efforts, starting with Ballet Recital (1948-1954) and the official cultural representative of The finally re- York debut as followed by the Netherlands Ballet (1954-1961), for the USA's Bicentennial, with a repertory is Netherlands sulted in the creation of a national company which com- of ballets by its three Dutch choreographers only. and the munici- consisting pletely subsidized by the State government A second New York season followed in 1978. In that year 85 dancers among pality of Amsterdam, and now counts over the company also performed (with as guest- its 135 members. For its 140 performances every year, the Chicago and San Francisco. Although Netherlands Ballet artist) in St. Louis, company is mostly accompanied by the the policy of the company is to work without guest-dancers, of Gaskell and Orchestra. First under the direction Sonia few appeared should be mentioned: Margot Fonteyn, artistic director, the the that since 1968 with Rudi van Dantzig as Natalia Makarova, Ekaterina Maximova, Anatoli Nisnevitch, Dutch National Ballet has contributed to the flourishing Vladimir Vassiliev and Evelyn Hart. Rudolf Nureyev gave dance culture in The Netherlands. The Dutch National with the Dutch National Ballet belief that a in 1969 his first performance Ballet derives its specific character from the and Van Dantzig's Monument for a Dead Boy. There- solid traditions of in Giselle should be based upon the after Rudi van Dantzig created for him The Ropes of Time to new approaches. classical choreography and stay susceptible by Boerman) at and, with the con- (1970, music The Dutch National Ballet has thus been able to attract Dutch National Ballet, Blown in a Gentle Wind (1975, music tinuously growing audiences, an achievement which can only II Strauss), About a Dark House (1978) and Ulysses the austere influ- by Richard be fully appreciated if one takes into account for the Vienna State Opera (1980)- both to music by ence of a calvinistic ethos, rendering the Dutch suspicious Haubenstock-Ramati-whereas Toer van Schayk made Faun was identified with of a form of art that for a very long time (1978, music by Debussy) for him. For his return visits (1970, sensuality and frivolity. 1971,1972,1975,1976 and 1978) Rudolf Nureyev also danced La Bayadere, a number of pas de deux, Petrouchka, Apollon DANCE MUSEUM Manen's Four Schumann Pieces. For his of national Musagete and Van In order to fill the gap caused by the lack calls on Alexandra Radius, one of Ballet has built up a own tours Nureyev often dance traditions, the Dutch National the leading ballerinas of the Dutch National Ballet. repertory including many of the finest works of dance his- tory. The company keeps alive the oldest ballet still existing, RESIDENT CHOREOGRAPHER Les Caprices du Cupidon (1786); romantic classics like La Beauty and La RUDI VAN DANTZIG Sylphide, Giselle, , Sleeping influ- Diaghilev period like Les Sylphides, Rudi van Dantzig's teacher and most important Bayadere, ballets of the her first company, and La Boutique Fantasque; as well as ence was Sonia Gaskell. In 1952, he joined Firebird, Petrouchka Gaskell commissioned his first highlights of the international repertory of both classi- Ballet Recital, as a dancer. later which was premiered in 1955. In 1959 cal and modern dance, for example Kurt Jooss' The Green ballet, Night Island, These historic dance he was among those dancers that left Gaskell's company to Table and Antony Tudor's Dark Elegies. Within preserved by regularly inviting for- start the newly-formed Netherlands Dance Theatre. pieces are all carefully Ballet, which formed eign specialists to coach the company. a year he returned to the Netherlands the core of the founding of the Dutch National Ballet in REPERTORY 1961. Van Dantzig was awarded the 'Prix de la critique' in MODERN of The Contemporary choreography has always been essential Paris and in 1970 he was honoured with the 'Prize National Ballet, which is shown by ballets such City of Amsterdam'. Abroad he has staged ballets for Harkness to the Dutch Bat Dor and Lander's Etudes. The large pro- Ballet, , Ballet Rambert, as Ashton's , the portion of ballets by George Balanchine constitutes one of Dance Company, , its modern repertory. In 1954 Sonia National Ballet of Canada, the Royal Ballet, the Royal the strongest pillars of Opera. started this collection with La Somnambule, in later Danish Ballet, and the Hungarian State Gaskell almost always displayed years to be followed by masterpieces like Concerto Barocco As a choreographer, Van Dantzig has of the individual. In (1956), Serenade (1960), (1960), concern for the psychological conflicts Apollon Musagete (1966), Episodes the treatment of his basic theme, which is the universal Symhony in C (1962), there has been a (1974). In 1981 the company acquired Theme problem of acceptance of life's imperfections, (1973), and Agon oppos- a total amount of seven- steady development. His first ballets focus upon the and Variations, thus arriving at to renders the Dutch National Ballet one of ing forces of good and evil within one individual, who tries teen ballets. This later topics the largest Balanchine-strongholds in Europe. For the sec- recover a lost ideal of purity and innocence; as the inevitable result of ond pillar of its modern repertory the Dutch National Ballet concern the acceptance of death three internationally acclaimed life's struggles. Both topics are elaborated in ballets which is most fortunate in having aggres- September 1973, when Rudi show an interest in the relationship between people; resident choreographers. Since aggression Toer van Schayk were joined by Hans van sion born of frustration and fear of another's van Dantzig and each of these themes the Dutch National Ballet has had at its disposal often are predominant. In all his ballets Manen, and Van Dantzig always three of the most interesting Dutch choreographers, who returns with different emphasis fluid idiom which is not devoid of contribute to the specific character of the company. This devel- states them in a very opment is also appreciated outside The Netherlands. Van symbolism. asked to Dantzig, Van Manen and Van Schayk are regularly RESIDENT CHOREOGRAPHER stage their ballets abroad; Monument for a Dead Boy (1965, Van Dantzig/music by Boerman) and Adagio Hammerklavier HANS VAN MANEN (1973, Van Manen/music by Beethoven) are probably the Hans van Manen began his career in 1951 as a member best known examples. of Sonia Gaskell's Ballet Recital. In 1952 he joined the Netherlands Opera Ballet, directed by Francoise Adret, where he created his first ballet, Feast Ordeal, in 1957. He later joined Roland Petit's company in Paris; returning in 1960 to join, as a choreographer and a dancer, the Netherlands Dance Theatre and, between 1961 and 1971, as artistic direc- tor and choreographer. The image of the Netherlands Dance Theatre has thus been shaped to a large extent by the almost THE BROOKLYN PHILHARMONIC 40 ballets Van Manen created for them. For the following two years he worked as a free lance choreographer, until SYMPHONY ORCHESTRA his appointment as choreographer/regisseur to the Dutch National Ballet in 1973. In 1975 Van Manen was awarded Lukas Foss, Music Director the 'Prize of the critics' by the Association of Dutch Theatre Critics, in view of way in which he Orchestra Personnel the outstanding made for Dutch modern ballet popular without giving up a high artistic National Ballet level. In 1976 the Holland Festival awarded him the 'H. J. Violin I Clarinet Reinink-medal', which honours those persons who have Jean Ingraham, concertmaster Mitchell Estrin, principal improved the cultural relations between The Netherlands Ronald Oakland, assistant Fred Loeb and other countries. Abroad he has staged his ballets for concertmaster Paul Gallo (bass clarinet) the Berlin Opera, Houston Ballet, the National Ballet of Robert Chausow Raymond Kunicki Bassoon Canada, , the Royal Ballet, the Royal Grigory Zaritzky Danish Ballet, the State Opera in Munich, the State Frank Morelli, principal Opera Martin Stoner Harry Searing in Vienna, Tanzforum' in Cologne, and this season for Alvin Sander Strenger Jeffrey Marchand (contra bassoon) Ailey. Van Manen brought 5 of his works to piano-music Carol Havelka Horn together in a full-length program, called Piano Variations. Violin II In his ballets Hans van Manen shows a preoccupation with Robert Carlisle, principal Lenard Rivlin, principal Sandra Walker interpersonal relationships. These are always erotically col- Joel Pitchon ored, in Scott Temple accordance with the two recurring main themes of Miohisa Takada Natalia Aldea attraction and repulsion. The general impression left by his Robert Schubert choreography is one of strong emotion that is controlled Bernard Zeller Trumpet and Marjorie Kransberg cooled by optimistic reasoning. It is in this sense that Van Neil Balm, principal Manen is a moralist. The favorable tone is also furthered Viola Lorraine Cohen Jeffrey Silberschlag by the playfulness of his ballets. Van Manen is averse to story Ronald Carbone, principal telling, message-sending and symbolism; his main interest Karl Bargen Trombone lies in form and pattern. Accordingly, of Misha Braitberg the structure his Charles L. Baker, principal ballets is so Stephanie Fricker mathematical that they appear to be governed Samuel Belich Theodore Toupin by laws of logic. In these lucid and sober pieces he has inte- Jenny Hanson Koch Lawrence Benz grated the classic vocabulary of academic dance with every- day movements, emphasizing an elegant courtliness. Cello Tuba Gary Fitzgerald, principal Andrew Seligson RESIDENT CHOREOGRAPHER Michael Rudiakov Natasha Rubinstein Timpani TOER VAN SCHAYK Peter Rosenfeld Richard Fitz Toer van Schayk joined in 1955 as a dancer the Nether- Joan Spergel lands Ballet, directed by Sonia Gaskell who strongly influ- Percussion enced him in his artistic development. During the period Bass James Preiss 1958-1965 he studied as a sculptor at of Joseph Bongiorno, principal the Academy Art in Barbara Fitzgerald Keyboard The Hague. On completing his studies he rejoined his for- Paul Harris mer company, now renamed the Dutch National Ballet. As a Joseph Kubera dancer Van Schayk has always attracted attention because Flute Harp of his deepened, often moving characterizations. He also works Alan Cox, principal Karen Lindquist as a painter, sculptor and, for ballets by Van Dantzig as David Wechsler Laura Conwesser Librarian well as for his own pieces, as a stage designer. As a stage Barbara Maksymkow designer and sculptor Van Schayk had expositions in Amster- David Frost dam, Athens, London and New York. Abroad he has choreo- Oboe Orchestra Personnel Manager graphed for Scottish Theatre Ballet, the Bat Dor Dance Henry Schuman, principal Company and the Opera in Oslo. The Opera of Frankfurt Stephen G. Taylor Samuel Levitan presented a whole program of his work, as did the Opera of Wesley Nichols (English horn) Cologne with ballets by Van Manen. Vienna, Budapest and in the near future the Paris Opera bring evenings of the three choreographers combined. Van Manen, Van Schayk and Van Dantzig created one ballet together, Collective Symphony (Stravinsky) and made a full-length program called Live-Life. Van Schayk's first full-length enterprise is called Landscape. In 1971 he made his choreographic debut with Past Imperfect, a ballet commissioned by Rudi van Dantzig. His first bal- lets often display an inhospitable world that is doomed by the tendencies of destruction, most notably the self-destruction of its inhabitants. These pieces have in general the drypoint qualities of etchings, emphasizing sculptural groupings of dancers. His later works are more fluid although Van Schayk still uses the limbs of his dancers to build up a transparent texture of angular and broken lines that give his dance pat- terns striking and vital features. In the choice of his sub- ject matter Van Schayk is always surprising, also when he gets his inspirations from dance history, lately from Nijinsky- ballets of the . His bold imaginative power also shows in the way he works out his topics with a dry or ironic sense of humor. DUTCH NATIONAL BALLET STAFF ON TOUR

Artistic director and choregrapher: Rudi van Dantzig Resident choreographer and regisseur: Hans van Manen Resident choreographer and designer: Toer van Schayk Administrative director: Anton Gerritsen Musical director: Adam Gatehouse Ballet master: Reuven Voremberg Assistant ballet master: Sonja Marchiolli Director of planning and publicity: Dick Hendriks Production director: Dhian Siang Lie Stage manager: Hans Dowit CHAM ER Technical director/chief technician: Jan Hofgtra Master carpenter: Henk Koegler First electrician / sound master: Jos Janssen Jean-Pierre Custers MUSIC Property master: Wardrobe: Annemieke Diderich and Juliette de Haan at the Pianist: Paul Patton rooklyn Academy of Music Music Advisor for Ballet International: Michael Feldman

Estate Wines of Italy are the house wines of the Brooklyn Academy of Music. SCHEDULE OF EVENTS

December 11 at 8:30pm/December 12 at 2:00pm PAULA ROBISON, flute LAURENCE LESSER, cello a YEFIM BRONFMAN, piano 414 December 18 at 8:30pm/December 19 at 2:00pm rclia CUE WILLEM/I BEAUX ARTS TRIO 0 REMITIVIRT- BRft DELI -WITMERIE January 22 at 8:30pm/January 23 at 2:00pm laTiqr"-"4 BEVERLY HOCH, soprano STEPHEN BURNS, trumpet DANIEL PHILLIPS, violin The only café in New York where ROBERT COHEN, cello you can enjoy a KENNETH COOPER, harpsichord - deliciously different dessert each day of the year. February 5 at 8:30pm/February 6 at 2:00pm Our pastries & cakes MIRIAM FRIED, violin are the winners of the NATHANIEL ROSEN, cello "Grand Prix" award GARRICK OHLSSON, piano at New York's International Culinary Exposition. We also feature 19 20 at 2:00pm exotic coffees March at 8:30pm/March from around the world. EMERSON QUARTET SCOTT NICKRENZ, viola CAFE GALLERIA COLIN CARR, cello a great place anytime- before, during or after the performance. .. April 9 at 8:30pm/April 10 at 2:00pm MARVIS MARTIN, soprano

Open seven days . MASUKO USHIODA, violin Mon-Thurs 8.11, Fri 8.12, Sat 8.1, Sun 9.10 SCOTT NICKRENZ, viola 174 Montague St., Bklyn Heights LAURENCE LESSER, cello Reservations (212) 625-7883 RUTH LAREDO, piano ALL MAJOR CREDIT CARDS

April 30 at 8:30pm/May 1 at 2:00pm THE WAVERLY CONSORT BROOKLYN ACADEMY OF MUSIC BAM CHAMBER MUSIC WNYC-FM 94 BROADCASTS SPONSORS $1004249, con't. THE CORPORATE Mr. & Mrs. Albert H. Eaton FUND FOR BAM The Valhal Pub Dr. Eugene Edelman Mr. Stephen D. Edelman LEADERSHIP $25,000 and above Mr. & Mrs. Robert Ehrenbard Richard Engquist American Telephone and Telegraph This season BAM's Chamber Music concerts will be Gail Erickson Bankers Trust Company Sergio Escuadra Consolidated Edison Company broadcast on WNYC-FM 94 on of New York Thursday evenings at 8 Arthur T. Farhood Morgan Guaranty Trust Company pm, beginning December 2, 1982. Mr. & Mrs. Frank Finnel Sponsored by Warner Communications. Inc. Banker's Trust Richard B. Fisher Company, the BAM Chamber Music Dr. & Mrs. Leonard I. Flog PACESETTERS $ I0.000- $24,999 broadcasts are hosted by Martin Bookspan. Mr. & Mrs. Dark. V Frank Derene Frazier Abraham & Straus Dr. & Mrs. Herbert Freedner Brooklyn Union Gas Company Mr. & Mrs. John T. Gallagher Chase Manhattan Bank Mr. & Mrs. Daniel Geller Pfizer Foundation The Gilmour Foundation Philip Morris Incorporated Mr. Lawrence Goodstein Schlumberger-Horizons Mr. & Mrs. Sheldon S. Gordon Swiss Bank Corporation Mr. Ronald Greene Broadcast dates: Mr. Herman Greitzer $5,000-$9,999 Kenneth Griffin American Express Foundation Rev. & Mrs. Howard G. Hageman CBS Inc. Scott M. Hand Chemical Bank Ms. Elizabeth Hanson Citibank, N.A. Mr. & Mrs. Richard C. Hayes Ciba-Geigy Mr. & Mrs. J. K. Hendricks Freeport McMoRan. Inc. Concert #1 December 2, 1982 John P Hodgkin Hoffmann-La Roche Marvin Hoffman IBM Mr. & Mrs. Alfred H. Horowitz International Paper Company Concert #2 December 9, 1982 Calvin House Foundation John W. James. III Manufacturers Hanover Trust Concert #3 December Mr. William F. Jankun Company 23, 1982 Mr. Alex Jay Marsh & McLennan Companies Inc. Charles N. Johnson Mobil Foundation, Inc. Concert #4 December 30, 1982 Mary E. Jollon New York Times Company Foundation Frank Kazeroid New York Telephone Mr. John Kindred. III Newsweek Inc. Concert #5 April 7, 1983 Mr. & Mrs. Samuel Klein Sandoz, Inc. Mr. & Mrs. James Konkel Time Inc. Mr. & Mrs. Roland A. Labine Vereins-Und Westbank A.G. Concert #6 April 14, 1983 Bruce Lacher New York Office Mr. & Mrs. Irwin Lainoff Mr. & Mrs. Seymour Lampert $2,500-$4,999 Dr. Robert L. Leslie Concert #7 April 21, 1983 Exxon Corporation Steven H. Lipsitz Grace Foundation Dr. Edmund Lipton Metropolitan Life Foundation Dr. Esther Lopato Concert #8 April 28, 1983 RCA Norman MacArthur & John Wiley & Sons, Inc. Bill Novak Mr. & Mrs. Anthony Manheim Concert #9 May 5, 1983 $1,000-$2,499 Tom Massotti Edward F McDougal Avon Products Foundation Concert #10 May 12, 1983 Barbara Metzger Bank of New York Mr. & Mrs. John Mullins, III Cities Service Foundation Dr. Tatsuji Namba Columbia Pictures Industries Dick Netzer Conoco. Inc. Mr. Marvin Numeroff Dime Savings Bank of New York Donald Owings International Telephone & Telegraph Samuel J. Paul. III Corporation Arthur Pinchuck Irving One Wall St. Foundation Ms. Gertrude Reich Johnson & Higgins Edward Reid Macy's New York Stephen M. Reid McGraw-Hill Foundation Beginning September 4, 1983, the BAM Chamber James Q. Riordan Nordic American Banking Corp. concerts will be broadcast nationally on the Dr. Robert & Margaret Wenig Penn Central Corporation Music Ruberstein Rabobank Nederland stations of the American Public Radio Network, Mr. & Mrs. William Ruder Readers Digest Foundation Salomon Brothers Inc. 6:00pm. Reade H. Ryan Sunday evenings at Henry Sabatell Western Electric Fund Dr. & Mrs. Hershel Samuels Mr. Paul F Sanders $100-$999 Mr. & Mrs. Henry A. Schaeffer Amax Foundation Mr. & Mrs. Jerome Schlapik Amstar Corporation Mr. & Mrs. Irwin Schniederman Anchor Savings Bank Mr. & Mrs. Sol Schreiber Barclays Bank International Ltd. Mr. William E Seegraber Bowery Savings Bank May Shandalow Capezio Foundation Mr. & Mrs. John Sharnik Constitution Reinsurance Corporation Mr. & Mrs. Theodore Shen Cullen & Dykman Ms. Barbara Simmons East New York Savings Bank Marion Smith Eugene Doll & Novelty Company Roland Stebbins. Jr. I.A.T. S.E. Mr. & Mrs. Herb Steiner Independence Savings Bank WNYC Ms. Mary H. Swift Hospital Center Kings Highway Utopia Lodge-400 New Brooklyn Magazine Knight of Pythias J. Henry Schroder Bank and Trust Co. Mr. & Mrs. John S. Wadsworth. Jr. Seaman's Bank for Savings Drs. Stanley & Eleanor Wallace J.B. Slattery and Brothers, Inc. Dr. Andrew B. Weinberg Stash Records. Inc. Mr. & Mrs. Earl D. Weiner Stern Bros. Fuel Oil Co. Mr. & Mrs. Erwin Weisberg William Morris Agency The Esther & Morton Wohlgemuth Williamsburgh Savings Bank Foundation. Inc. Peter J. Yanello