Board of Trustees CONTENTS

Year ending june 30, 1985

Honorary Chairmen Board Members

Hon. Edward I. Koch Elizabeth D. Bauman Eugene H. Luntey Hon. Howard Golden Shearma11 & Sterli11g Chainna11 a11d ChiefExectttive Seth Faison Officer Leonard Garment Henry Bing, )r. Brookly11 U11i1m Gas Co. Paul Lcpercq Corporate Residmt Mamrger IBM Corporatum Lauric Mallet Chairman President mrd Chief Exewtive Officer Warren B. Coburn Wr11i Wear Ltd. Neil D. Chrisman Vice Presidmt Smior Vice Presidmt Co11 Edison-Brookly11 Divisum Bruce McAllister Morga11 Guara11ty Trust Compa11y Attorney 2 Letter from the Chainnan Charles M. Dikcr President and Chaimra 11 of the Board Evelyn Ortner Chief Executive Officer The Dico Group Chairnrmr of the Bonrd 3 Letter from the President St. A mr Cmter for Restoratum a11d Harvey Lichtenstein Mallory Factor the Arts, brc. President Vice Chairmen Mallory Factor brc. Richard M. Rosan 4 Next Wave Festival Presidmt Mrs. Alex H illman Harold L. Fisher The Real Estate Board ofNew York, Preside11t Part11er lire. 8 Dance Altx Hillma11 Family Foundatimz Fisher & Fisher Robert C. Rosenberg I. Stanley Kriegel Michael Fuchs President Presidmt Chaimra11 mrd ChiefExerntive Grmadier Realty Corp. 10 Music I. Stanley Kriegel & Co., PC. Officer Home Box Office, brc. Marion Scotto Arne Vennema Director of Special Evmts 12 Community Relations Retired Chairmmr of the Exeetttive David Geffen Brooklyn Borough President's Office Committee David Geffm Co. Schlrmrberger Limited Willian1 Tobey (1909- 1985) Sidney Kantor Comultam 14 Goings on at BAM Franklin R. Weissberg Chief Exec11tive Officer Smior Partner Raftque Inc. Curtis A. Wood Colton, l*i

Roy Lichtenstein Artist

Officers

Han•cy Lichtenstein Presidmt mrd ChiefExe cutive Officer

judith E. Daykin Exectttive Vice President mrd Gmeral Manager

Richard Balzano Vice Presidmt a11d Treasurer

Karen Brooks Hopkins Vice Presidmt, Plamri11g a11d Developmmt

john Howlett Vice Presidem, Marketi>rg and Promo tum

On the cover: Albert Ei11stei11 graphic, Doublespace; EINSTEIN ON THE BEACH a11d SECRET PASTURES photos by Tom Garavaglia; BAM i11terior photo by Dmr Perdue; BANI Gardeu photo by Kate D. Ler>in Letter frotn Letter frotn the Chairman the President

ucing the P'" ym, BAM's pecfonning sp•ces 'Te1984-85 se.,on m"ked the cctum of Robccc Dhoused a combined total of 264 events which were seen by Wilson to BAM after a long absence. In the early 1970s, Bob's more than 258,442 audience members. Clearly, BAM is productions at the Academy were landmarks of new theater. thriving as a vital and innovative cultural institution. The task The culmination of his work at BAM was the 12-hour of sustaining the quality and variety of BAM's activities-both production of The Life and Times ofjoseph Stalin, which ran for on stage and off-falls to a group of artists, administrators and four performances in December of 1973. It was a massive, donors who share a commitment to the importance of the rolling work, which indelibly entered the consciousness of performing arts, and a belief in the meaningful difference they those who allowed themselves to be open to its imagery and can make in our society. 'time sense? Although it did not have the public impact that 1984-85 was truly a breakthrough season for BAM. The Einstein on the Beach had in 1976 and in 1984, it was an Academy's progranuning, led by the fall NEXT WAVE Festival, continued to make its mark on unforgettable experience for those of us who lived through it. The remounting of Einstein on.the the cultural present, while the essential work of securing BAM's future viability saw several Beach in December of 1984 at BAM reaffirmed Wilson's extraordinary artistry. It was also an important successes. occasion to celebrate Philip Glass's musical mastery, the choreographic and acting ability of The BAM Challenge Fund, created to meet the 3 to 1 match required by the National Lucinda Childs, and Sheryl Sutton's return to BAM. In dedicating the performances to the Endowment for the Arts' Challenge Grant awarded BAM in 1983, made important strides. The memories of Ninon Tallon Karl we is and Edwin Denby, BAM was privileged to acknowledge the Fund must raise $1.8 million by September 1987 to receive the $600,000 match from the NEA, contribution to the creation of Einstein by these two extraordinary people. and this critical fundraising drive will be the means of establishing a cash reserve for the first time We are also pleased to have co-produced a one-hour documentary, "Einstein on the Beach) The in the Academy's 124-year history. The Fund is over half way towards its goal, with the Seat and Changing Image of Opera," with WNET's Great Performances and London Week-End Television. Space Endowment campaigns combining to name over 125 seats in BAM's Opera House, and It will be seen this season on the P.B.S. network. My thanks to BAM Board member Sidney rechristen one of the Academy's principal rehearsal spaces the Richard Alan Hillman Studio. Kantor, for joining us as an Executive Producer, and thanks to Jac Venza, Rhoda Grauer, and Peter On behalf of the Board, I want to express our thanks and gratitude to the community of Weinberg of Great Performances, the Corporation for Public Broadcasting, the National corporations, foundations, government agencies and individuals that support our efforts. I Endowment for the Humanities, and the Howard Gilman Fotmdation. Also, thanks to the particularly want to recognize the involvement of the National Endowment for the Arts and the director, Mark Obenhaus, and the producer, Chris Verges. National Endowment for the Humanities, the New York State Council on the Arts, Mayor Koch Of course, Einstein was not the extent of BAM activity in 1984-85, as you can see by reading and the New York City Department of Cultural Affairs, and the Office of Brooklyn Borough through this report. Along with the contemporary performing arts, BAM presented dance events President Howard Golden. that ranged from ballet to popular, local to international ; music programming that embraced It gives me great pleasure to report that BAM's President Harvey Lichtenstein was presented Mrican as well as classical sounds; and some of the best children's theater in the nation. with the coveted Mayor's Award of Honor for Arts and Culture on June 3, 1985, in recognition of In other "offstage" activity, the Office of the Mayor of New York and the Brooklyn Borough the profound impact of the Academy's activities and artistic vision on New York's cultural life. President's Office have been instrumental in maintaining the momentum of BAM's Local In a year of success in reaching out to new audiences and reaffirming the loyalty of old friends, Development Corporation, created to stin1Ulate urban renewal in the Academy's surrounding area. we suffered some losses too. William Tobey, one of our longest-serving members of the BAM As a result of their participation, along with the exemplary support of Brooklyn Union Gas Board of Trustees, passed away on March 30, 1985. Bill's enthusiasm, dedication and expertise will Company, BAM has a new "vest pocket'' park, a redesigned and rebuilt sidewalk and parking lot, be sorely missed by all of us. and work is moving ahead on various other exciting neighborhood redevelopment projects. The Academy has fulfilled certain important goals: we have a balanced budget for the fourth In another example of community involvement, Abraham & Straus, Brooklyn's premiere year in succession, our long term debt has been eliminated, and, through the Challenge Fund, we department store, was host to BAM's armual corporate benefit in the Fulton Mall store for the are moving ahead to ensure the institution's financial future. These achievements are also second year in a row. We were delighted and proud to honor Harnish Maxwell, Chairman and rewarding because they make possible the intangibles of artistic inspiration and renewed Chief Executive Officer of Philip Morris Incorporated and a former BAM Board member, for his imagination, enabling the Academy's programming to be developed with unprecedented outstanding efforts on behalf of the arts. dynamism. BAM is particularly blessed with wonderful friends, supporters and staff, who make this institution alive and unique. But so much of what happens in Brooklyn is unique. We intend to keep BAM that way. Thanks for making it possible.

Neil D. Chrisman Harvey Lichtenstein 2 Chairman, Board ofTrustees President, Brooklyn Academy of Music NEXT WAVE

The Games Ocrobtr 9 ro~ Opcrn H oust

Remy Charlip Ocrobtr 17-ZJ porary performing arts move· Optrn Houst Stn.lft NEXT WAVE Festival consoli· mcnt as a whole. In articles datT.ed the groundwod'"""''-breaking ranging from the New Yo~·k Tim Miller achievements of the first fcs· October 24-28 NEXT V\4VE Fl .;'TIV.41 Times' "New Opera is Thriving Ltpercq Spnce (•.j,ir.\lof. / \fl • '·L rival, demonstrating the eager· Mtcr Years of Neglect" to "favc PROHtVIIACADf\IY M.l ness of audiences and critics to Wave" in Ballet News, critics The Desert Music sec the works of this country's discussed a body of work whose Octobrr zr ·Z7 finest established and emerging audience and cultural influence Optrn Houst contemporary performing art· have increased dramaticall v. The Elisa Monte Dance Company ists. Along with the substantial recurrent mention of the NEXT Nm'tmbtr 1 - o~- artistic achievements of the Fcs· WAVE as a catalvst and focal Optrn Homt rival, the NEXT WAVE con· point for much ~ f this activity Richard Landry firmed BAM's instin1tional confirms the Festival's success as X m•tmbtr J, identity as "unquestio nably the an artistic initiative with pro· Cnr~v Pln_rboust 1984 Fmrml Book A'ft!J cm.w art by Parnassus of the experimental found and far-reaching impact. Frmru.sco Ormmu performance world," according Secret Pastures The 1984 Festival continued to Noo•embrr tf r8 to Stephen Holden o f the New foster and present collaborative Oprrn H orar ''In the last three York Times. work among artists from dif· The three-month Festival, ere· fcrcnt disciplines. The NEXT Mark Morris Dance Group months, the Brooklyn Nol'ember z8 December z atcd to produce, present and WAVE Humanities Program Ltpercq Spnce Academy of Music's tour works embracing the spec· made the Festival artists and Mrrrduh Alonk and mtmbtn t(THE GAt\1ES rompan.v Penguin Cafe Orchestra second annual NEXT trum of activity in the contcm· their work accessible through photo by Tom Carnmglia porary performing arts, is the magazines, discussions, cxhibi· Dtcmrbe~· 8 ·9 Cnr~v Pln.\•bor

pany should be one of the trail­ reaching a new stage of creative pictures and "irresistably pro­ blazers of tl1e late 2oth century.'' maturitv, and an institutional pelled by Glass' ecclectic, electri­ Saxophonist and composer showcase tl1at could command fying score," according to News­ Richard Landry joined the the exposure his work deserved. week. In addition, Lucinda Childs NEXT WAVE for one special Indeed, Jennifer Dunning of the rechoreographed the two dance concert in the H elen Carey Play­ New York Times saw Morris' par­ sections and performed tl1em house. T he New York Times ticipation "in the Brooklyn along with her company. Hailed praised Mr. Landry's solo on Academy of Music's prestigious by the Wall Street ]oun1al's Dale tenor sax using a quadraphonic NEXT WAVE Festival (as) rec­ Harris as "not onlv a wonderful delay system, saying, "free-form ognition of the fact that Mr. dancer, but a vivid 'actress," Ms. in1provisations rarely earn their Morris is now considered one of Childs was joined by Sheryl lengtll as well as Mr. Landry's tl1e most gifted choreographers Sutton and Samuel M. Jolmson did," and tl1e program con­ of his era!' His stint in the Le­ in recreating tl1eir original roles. cluded with a swinging and en­ percq Space included an exten­ On viewingthe BAM production, ergetic jazz piece, In the Middle sively revised version of Morris' Alan Rich of Newsweek pro­ of, with guest percussionists earlier Gloria to the music of claimed tl1at, "with its stams as a David Van Tieghem and Tony Antonio Vivaldi; the world pre­ masterpiece assured, 'Einstein' Williams. miere of Championship Wrestling will endure." Bill T. Jones and Arnie Zane's After Roland Barthes with an The production's score was Secret Pastures combined NEXT original score by Herschel Gar­ performed by the Philip Glass fein and lighting design by Phil Ensemble, the lighting design WAVE clements of commission­ TEN MEN fJ:1 Rtm.v Omrlrp Mark Mornl CIIAMPIONSHII' WRESTLING AFTER ROLA,'IJ) BARTI IES Sandstrom; and the New York was by Beverly Emmons, with photo by Tom Cnrttl'flglur ing and collaboration into "the PIJoro !J:I folm 11111/p most exciting new dance piece premiere of 0 Rangasayee, a solo musical direction by M ichael I've seen in a long time," accord­ performed by Mark Morris to R.iesman, sound design by Kurt interviews assembled from esuch Records. In addition, The ing to Deboral1 Jowitt of the traditional Indian music by Sri Munkacsi and spoken text by around the country. Commis­ Desert Music will embark on a Village Voice. Choreographed Tyagaraja . T he diverse program Christopher Knowles. In a par­ sioned in part by BAM, s-city tour of the Northeast in and performed by Jones and and flu id intensity of Morris' ticularly exciting development, Democracy In America's choreog­ January 1986. Zane and their company, this company led the New Yorker to BAM co-produced a one-hour NEXT WAVE's efforts to intro­ raphy/video/text and direction The Elisa Monte Dance Com­ chronicle of an expedition to an call Morris "the clearest illustra­ documentary entitled «Einstein duce--or restore- this country's were supplied by Miller, with pany's participation in the Fes­ uncharted continent featured Pe­ tion we have ... of the principle on the Beach, The Changing Im­ contemporary artists to their au­ decor by visual artist Mike Glier tival embodied another of the ter Gordon's galvanizing score, of succession and how it works age of Opera" with WNET's diences. In successfully master­ and photography by Dona NEXT WAVE's primary pur­ Keitl1 Haring's fanciful and in dance: each new master as­ Great Peifornumces and London ing the technical complexity and McAdams. Under the auspices poses: this BAM engagement funky set design, and fasliion similates tl1e past in aU its variety Week-End Television, which will enormous expense of the pro­ of the NEXT WAVE Production was the company's first major designer Willi Smith's fantasy and becomes our guide to the be seen on the PBS net\vork duction, the NEXT WAVE af­ and Touring Fund, Dmwcracy In New York season. The com­ costumes. Playing to packed fun1re." during the 1985-86 season. firmed its ability to undertake America toured California, pany's work included the world houses, Secret Pastures was seized England's Penguin Cafe Or­ As a pioneering work of the and execute projects as bound­ where Lewis Segal of the Los premiere of Set In Stone, choreo­ on by critics as a major example chestra followed in the Plav­ American avant-garde, Einstein less as the creative imaginations Angeles Times pronounced the graphed by Elisa Monte, with of the contemporary perfor­ house, as this popular new' on the Beach's inclusion in the at work in the contemporary "multilayered, multimedia, mul­ decor and costumes by visual mance esthetic, fus ing work music ensemble, led by Simon 1984 Festival symbolized the performing arts. tigeneration extravaganza" to be artist Marisol and music ar­ from different disciplines into a Jeffes, made its American debut. "a theater event of remarkable ranged and produced by Adrian piece that was challenging, ac­ Sell-out crowds enjoyed what resonance and power!' Shenvood. Clive Barnes of the cessible and entertaining. Stephen Holden of the New York Steve Reich's symphony The New York Post applauded tl1e T he Mark Morris Dance Times described as a "blend of Desert Music epitomized the company's sinuous, kinetic style, Group's appearance in the Fes­ the folkloric and the classical," NEXT WAVE's mission of en­ saying, "Elisa Monte- a name tival was a classic case of perfect and pronow1eed to be "one of suring that major work by wortl1 remembering. Her com- timing: a young choreographer tl1e most likable and eccentric American artists is not only pro­ cross-fertilizations of the last de­ duced in Europe but also in this cade." country. Co-commissioned by After months of excited antic­ BAM and West German Radio, ipation, the 1984 Festival soared Cologne, this orchestral work to its climax witl1 the recreation with choms, inspired by and of the momm1ental Philip Glass/ incorporating the poetry of Robert Wilson opera, Einstei~l William Carlos Williams, was on the Beach. Seen in this cowl- hailed by Newsweek as "unques­ try for only two performances in tionably (Reich's) masterpiece to 1976, the Festival's production of date!' Michael Tilson Thomas this seminal music-theater work conducted Reich's 18-member had John Rockwell of the New ensemble with choms and mem­ York Times asking, "would the bers of the Brooklyn Philhar­ 1984 revivial ... be as good as monic Symphony Orchestra in the original? The answer is no, the Am erican premiere of this it's better." T he four-and-a-half­ work, and a recording was made hour work was comprised of 6 shortly after for release on Non- Wilson's snmningly beautifi.Jl stage 7 Tlx Penguin Cnft Orrlusrrn DEMOCRACY IN AMERICA photo !J:I Tom Cnrnm,qlrn DANCE

1985 Prix de Lausanne Jan uary 24- z- The Basel Ballet Febm ary 19-24 ,t· \' The Hamburg Ballet AM''"'d;,;onof Mrican and Ncar-Eastern candi­ March 12- 24 Bpresenting significant and inno­ dates in Lausanne, and tl1en flew \'.' j Pennsylvania Ballet vative dance events was re­ the fifteen semi-finalists and tl1e Ma.v 7-12 affirmed in 1984-85, as the distinguished a-member jury to Academy hosted a series of dis­ New York. Eliminations were tinguished national and interna­ held at BAM for dancers from tional companies. Nortl1 and Soum America and BAM has consistently pursued the Far East, and men born ~~ the twin goals of providing New groups were joined together to York audiences with the chance compete in me semifinals and to see work that would not finals. Wim four full-year schol­ otherwise be available, and giv­ arships at a choice of me finest ing dance companies the impor­ international ballet schools as tant exposure of a major New me Prix's penultimate prizes, tl1e York engagement. In tl1e spring competition has encouraged me Posrer for the 1985 Prix de LartJamJt of1985, the "New Traditions" careers of many of the foremost The Hamburg Bailer;, MAHLER'S SIXTH SYMPHONY series presented BAM audiences dancers in me world. Held for photo by Holger Batkkou> ' ''John Neumeier's witl1 a unique group of ballets, me first tin1c in a city mat is a Hamburg Ballet, one of choreographers and com­ center for ballet students as well plauded by Anna Kisselgoff of was sufficiently impressive for Europe's finest, ended panies-as well as a major in­ as professionals, me Prix drew me NeJV York Times for its "excel­ me New Yorkers Arlene Croce to its second New York ternational dance competition. an avid audience as me young lent" dancers and "spectacular" remark on "how lovely it would The prestigious Prix de contestants from 14 different scenery. be if the dancers of every com­ engagement ... Lausanne, founded tl1irteen countries-including the initial John Newncicr's Hamburg pany were of Pennsylvania Ballet .. . Neumeier is, at years ago by Swiss industrialist appearance of dancers from me Ballet, which was also a part of cal iber~' Philippe Braunschweig and tra­ People's Republic of China­ BAM's Ballet International, re­ Dance activities at BAM also least in the United ditionally held in Lausanne, presented tl1c results of mcir dedi­ mrned for a 2-week engagement included an all-new edition of States, a controversial Switzerland, this year for the cated and demanding training. with guest artist Marcia Haydcc, the popular "Sweet Sanrrday choreographer, but his first time spanned two conti­ The event attracted much and, "as one of Europe's top Night" revue of black street and nents. Designed as a teaching favorable attention in tl1e dance handful of.dancc companies it is social dance. The DanccMrica is the kind of contro­ competition for young dancers world, and Jennifer Dunning's ... particularly welcome," ac­ festival returned for its cightl1 versy that makes between the ages of 15 and 19 article in the New York Times cording to Clive Barnes of the annual celebration of Mrican history." who have not yet embarked on entitled ''This Competition Docs New York Post. The company's music and dance. In addition, professional careers, the Prix More Than Give Prizes" dis­ large and varied repertoire in­ many dance works were pre­ CLIVE BARNES held eliminations through tl1e cussed tl1c uniquely positive cluded three of the fu ll-lengm miered or presented as part of New York Post semi-final rounds for European, contributions which me Pri.:x plotless ballets Neumeier has set the 1984 NEXT WAVE Festival. makes towards dance education. to Mahler symphonies- and Choreographers included Mere­ The enormous complexities which confirm him, in Barnes' dim Monk, Rcmy Charlip, involved in presenting mis bi­ opinion, as "one of the most Tin1 Miller, Elisa Monte, Bill T. significant choreographers of tl1e Jones, Arnie Zane, Mark Morris The Pmmylva11ia Boiler's LA SY LPH !DE continental event were par­ piJoto by SteJJell Caras ticularly well-rewarded by me cenmry:" The American premiere and Lucinda Childs. outstanding quality of the final­ of Mahlers Sixth Symphony, witl1 ists, one of whom, 17-year-old its urgent and dramatic anti-war American Edward Sticrle, was theme, was particularly well re­ awarded a rare and coveted Prix ceived. Kissel goff in me Times de Lausanne Gold Medal. found the dancers "marvelous Mter me Prix's preview of and tl1e choreography ... in- ballet's future stars, BAM au­ ventive, even tantalizing .. . diences got a second look at (Neumeier is) a master of ren­ several of today's finest com­ dering tl1e abstract in dramatic panies. The Basel Ballet, which form~' made its American debut at BAM also turned its attention BAM two seasons ago as part of more locally-to the Pennsyl­ me acclaimed Ballet Interna­ vania Ballet, which appeared in tional Series, presented a pro­ Peter Martin's exciting new stag­ gran1 of mi.:xed repertoire and a ing of La Sylphide, described by full-lengtl1 production of Cop­ tl1e Times as "one of the best pelia. Choreographed- and radi­ progran1s (the company) has cally reinterpreted- by the ever brought to New York. Go company's artistic director see it." Taken together wim the 8 H einz Spoerli, Coppelia was ap- mixed repertoire, the company 9 TIJr Bast/ Bailer's COPPEL!A Girls' dan duri''B t!Je Prix fk Lausamre competiti

Chamber Music October-May Scan N ic kre~z, Music Director

Artists: Music programming was se­ Emerson String Quartet M;,prog,=- Miriam Fried ming in the 1984- 85 season lected for the third year in a row Beverlv Hoch brought a number of outstand­ for broadcast locally on WNYC­ Julliard String Q uartet ing performers in a variety of FM and nationally over the sta­ Leon Kirchner styles to the Academy. tions of the American Public Laurence Lesser Seymour Lipkin BAM's eleventh annual Cham­ Radio Network. Francis Menoni ber Music Series, under music The Brooklyn PhiU1armonic Sca n Nickrenz director Scott Nickrenz, pre­ Symphony Orchestra opened its Garrick Ohlsson sented eight concerts from Oc­ thirty-first season with soprano Menachem Pressler TilE DESERT MUSIC album tom· tober through May to a loyal Roberta Peters as guest artist. Paula Robison CourUS)' of Nontsucb Records Nathaniel Rosen and enthusiastic audience in the Under the baton of the Joseph Swensen Lepercq Space. With the signifi­ Brooklyn Philharmonic's music Jean· Yves Thibaudet cant growth in the popularity of director ru1d conductor Lukas Trio di Milano " . . . last Snnday the Dawn Upshaw chamber music in this country Foss, the program of songs by Masuko Ushioda Brooklyn Philhannonic during the past few years, Franz Schubert and Richard The Waverly Consort Symphony Orchestra, BAM's Series has become re­ Strauss was a triumph for both nown for presenting important orchestra and singer, with Tim The Brooklyn Philhannonic conducted by Lukas N11Vember-May new artists alongside established Page of the New York Times Produced by rhe Brooklyn Philliar· Foss, filled (BAM's groups in programs that en­ remarking, "this is the sort of Lukm Foss, Alicia de Lnrrocha atJd the Brooklyn Philharmonic monic Symphony Orchestra, Inc. Lukas Foss, Music Director and Opera House) with compass the variety of chamber music that the Brooklyn Philhar­ photo by Km Howard repertoire. Thus, in 1984-85, in­ monic docs best: romping, Conductor joyful noise" Maurice Edwards, Managing ternationally acclaimed artists in­ buoyant ru1d full o f virtuosic Director cluding cellist Nathaniel Rosen, opportunities fo r first-desk play­ Conducted by Michael Tilson Stone's music arranged and pro­ flutist Paula Robison and the ers:' The Orchestra's Major Thomas, the Orchestra per­ duced by Adrian Sherwood, Pe­ Major Concert Series Guest Artists TIM PAGE J ulliard String Quartet were Concert Series also included fo rmed the demanding, mczmer­ ter Gordon's exuberant score fo r Lynn Harrell Eugene lstomin The New York Times joined by exciting young talent, guest appearances by the legend­ izing piece "magnificently," Secret Pastures, Richard Lru1dry's Alicia de Larrocha such as pianist Jean-Yves ary pianist Alicia de Larrocha according to tl1e New York Times. performance on tenor saox­ Roberta Peters Thibaudet and vio linist Masuko and cellist Lynn Harrell. The ophone, H erschel Garfein's work Paula Robison Ushioda. BAM's Chamber Mu­ "Meet the Moderns" Series was The NEXT WAVE provided with Mark Morris, the jazzy, Young Uck·Kim sic Series was particularly proud particularly exciting, opening other new-music highlights, ccclectic Penguin Cafe Orchestra Meet the Modems to include a twentieth rumiver­ with the world premiere of com­ including Meredith Monk's in tl1eir Americru1 debut, and January-April sary concert by the celebrated poser Morris Moshe Corel's op­ score for The Games, Stuart Philip Glass and his Ensemble in renaissance chamber group, the era, Dreyfus, which dramatized Dempster's accompaniment to tl1e rowering Einstein on the DreyfiiS Music + Visuals Waverly Consort. In recognition the people and events involved Growing Up In Public, Set In Beach. Bach of the Series' tmique mixture of in an infan1ous case of anti­ Narratives superb artistry and adventurous semitism and espionage in nine­ programming, BAM's Chrunber teenth century France. The Family/Ommzu11ity Series February-April 16 "Moderns" featured premieres Conducted by Tania Leon and included a unique 300th birthday tribute to Bach: a pro­ Free Schooltime Series gram of contemporary music March inspired by the old master, in­ Conducted by David Amram cluding works composed by Pe­ ter Mao'\·well Davies, George Rochberg ru1d Mr. Foss. The BPO also presented free park concerts and cducational/com­ mw1ity programs throughout the year. In a most appropriate and happy partnership, the Brooklyn Philharmonic, lauded by the Times for being "responsible for some of the most imaginative progran1ming in New York," joined forces with BAM's NEXT WAVE Festival to present one of the major music events of the fall: the American premiere of 10 Steve Reich's The Desert Music. II

The Julliard Srriug Q uartet SteJ~C Reich, ftficbae/ Tilson Thomas and members ofth e Brooklyn Pbillmm10nie at tbe Amerium prmtiere of pboto by Colbert Artists Managemmt h JC. THE DESERT MUSIC hoto by Tom Cara~~a lin COMMUNITY RELATIONS

Sweet Sarurday Night February J- To Featuring: Chuck Cissel Bunny Briggs Ruth Brown AM'"onunitrn

Consolidated Balance Sheet Year Ended June 30, 1985 FYI984## FY I985# Assets: Current: Cash s 100,411 s 379,616 family of actisrs, 'udiencrs wd donms ace Cash in Reserve Account 82,372 363,720 TBAM Accounts Receivable vital in sustaining the Academy's activities throughout the year. 90,100 67,047 Grants Receivable 855,848 731,709 Pictured here are some of the individuals and events that Prepaid Expenses 185,648 691,978 played an essential role in BAM's endeavours during the 1984-85 Total Current Sl,314,379 $2,234,070 season. Non-Current: Grants Receivable s 285,000 157,500 Dmuer/cb(lrtographm AnJit Zane and Bill T. jones with Htm~.Y and Phy/lis Lichrmsrein at the Bttub and s Fixed Assets (Net of Depreciation) 1,388,468 1,308,027 Ballooning party at Ocean Estates, Amagansett 011 ju~y 28, 1984,1Jil•tn to kick off the 1984 NEXT 'NAVE. photo by Adnm Sm/1 Total Assets: S2,987,847 $3,699,597 Liabilities: Current: Notes Payable, Short Term s 100,000 s 100,000 Capital Lease Obligation 4,78 1 4,448 Accounts Payable 263,472 354,820 Grants for Furure Periods 1,227,648 1,358,534 Ad,•ancc Box Office & Rentals 24,444 244,049 Total Current $1,620,345 52,061,851 Long Tenn: Grants for Furure Periods s 240,000 20,000 Notes Pavablc 100,000 -0- Capital Lease Obligation 4,448 -0- Total Liabilities: $1,964,793 S2,081,851 Fund Balance: Unrestricted & Challenge Fund Balances Combined s (356,185) s 3 14,167 Fixed Assets 1,379,239 1,303,579 Total $1,023,054 S1,617,746 Han,ey Licbtensteh1, Philip Glass, Kurt Mtmkacsi and Robert Wilson at auditimJJ jbr EINSTEIN ON THE BEACH in BAM's Richard Alan Hillman Studio photo by Tom Carm~aglia Excess of Re,·enue & Public Support Over Expenses' 477,180** 594,692 # Summfll)' ofprcliminnry finnncinl statements. .. ##Summnry of mtditcd finnncinl srntcmmts by tbc indtpmdtlll CI'A fimt, Lutz n11d Cnrr. . . . • Tbt excess ofrco>emtt oooer rxpti/Sts rtjltcts tbe Nntionnl Emlonmtmt for tbc Arts' Clmllwgc Grnlll mtd 11mtclmtg fimds, oviJicb nrc restricted to dificir rtduction nnd the csrablisbmmt ofn cruh rcscn-. fimd. • • Cbmoged for compnrntil't purposes from prelimi11nry nudit.

Consolidated Statement of Operations Year Ended June 30, 1985 FY1984## FY1985# Revenue: Box Office, Rentals, Concessions $2,575,359 $2,160,5 15 Appropriations & Contributions: New York City 1,252,880 1,549,332 New York State 303,000 307,000 Federal Support 496,965 588,600 Private Support 1,61 1,102' 1,967,250* Capital Additions 31,074 5,926 NEA Challenge & Match 475,331 718,546 Hamish M1U'1Vtl1 Chairmn11 aud Chief E:ucutivt Hal Prinugilvs Mayor Edn•ard I. Koch a piano Ntil Cl.wisman, Chaimza11 of BtL\1's Board of 1 Total Revenue & Public Support: S6,745,7ll S7,298,169 Offic

Excess (Deficit) of Re,·enuc over Expenses After Capital Additions: • ' 477,180*** 594,692 Han".Y Licbcmsreiu rtCtll'fS the Ma.vor's Award of Homw for Arts and Culture on June 5, 1985, # Srmmuny ofprtliminnry finn ncin/ srntemeuts. fl.,•ktd by Ronny Menschtl, Chnir oftht AdvislJry ## Summnry ofnudittd fiumocinl srnremcnts by tbe iudepmdcm CI'A finu, Lutz mod Cnrr. Commission f()r Cultural Affnin; • T/Jis i11cludes bmifit iucomt mt oftxpusses Ma.v()r K(J(IJ. Laz1rit Anderson. and Cultural • • T/Je excess ofrto'tllltt oo>er expttsses rtj/tcts t/Jt Nntionnl Eudonmtmt for the Arts' C/Jnllmge Grmot mtd mnrc!Ji>og fimds, wbic/J nrc restricted ro Aff'irin CommissUmer Bers A(renon dificit rcductiou nud tbt estnblislmttllt ofn crub resm•t fimd. 14 photo by Tom Carnmglia • • • C/Jmogtd for compnrntio•e purposes from prtlimiunry nudit. 15