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BROOKLYN ACADEMY OF MUSIC ABRAHAM VI X C VI SEQUINS! STIR I CIVIC FOR GLITTER GALS!

'qw-;76 Sequins.., hack and more beguiling than f ever because they're in today's blazers, tiny-topped dresses and slouchy sensational cardigan jackets! NOVEMBER, 1971 / BROOKLYN ACADEMY OF MUSIC / 3

THE BROOKLYN ACADEMY OF MUSIC

presents Gisela May

Star of the from the D.D.R.

November 2-7, 1971

Accompanied by Henry Krischil

Artistic Consultant: Wolfgang Roth

Dagar Brothers

Raga Singers of India

November 11-14, 1971

NASIR AMINUDDIN DAGAR

ZIA FARIDUDDIN DAGAR

ACCOMPANISTS:

MME. SURAIYA DAGAR

MADEMOISELLE ALAKA NANDY

MR. RAJA CHATRAPATI SINGH

Produced in association with Mel Howard Productions and Madame Ninon Tallon Karlweis. The Brooklyn Academy of Music wishes to thank the National Endowment on the Arts and the New York State Council on the Arts for their support. Baldwin is the official piano of the Brook lyln Academy of Music. The unauthorized use of cameras or recording equipment is strictly prohibited during performances. 4 / BROOKLYN ACADEMY OF MUSIC / NOVEMBER, 1971

The Brooklyn Academy of Music

The St. Felix Street Corporation Administrative Staff Board of Directors: Harvey Lichtenstein, Director Seth S. Faison, Chairman Donald M. Blinken, President Becky Hannum, Assistant to the Director John V. Lindsay, Honorary Chairman Sylvia Rodin, Administrative Assistant Martin P. Carter Barbara lee Diamonstein Lewis L. Lloyd, General Manager Mrs. Henry Epstein Charles Hammock, Asst. General Manager Hon. August Heckscher, Ex-officio Richard M. Hexter David Midland, Production Manager Peter C. R. Huang Michele Kelsey, Administrative Secretary Gilbert Kaplan Hon. Sebastian Leone, Ex-officio Thomas Kerrigan, Assistant to the Director Harvey Lichtenstein Alan J. Patricof Ruth Lipton, Associate Press Representative David Picker Diane Oliver, Assistant Press Representative Richard C. Sachs Adele Allen, Secretary to the Press Office William Tobey Jane Biral, Manager of The St. Felix Street Corporation is responsible for programming at the Brooklyn Academy Audience and Community Development of Music. Jan Hash, Assistant Manager of Audience House Staff and Community Development Alfredo Saimaggi, Jr., House Manager Jane Yockel, Comptroller James Hillary, Box Office Treasurer Frances M. Seidenburg, Financial Secretary Bill Griffith, Assistant Treasurer Robert Blum, Assistant Treasurer Pearl Light, Administrative Assistant John Cooney, Stage Crew Chief Betty Rosendorn, Administrator, Education Program John Van Buskirk, Master Carpenter Sarah Walder, Education Program Edward Cooney, Assistant Carpenter Evelyn August, Staff Assistant Donald Beck, Master Electrician Joseph Moseley, Staff Assistant Louis Beck, Assistant Electrician Thomas Loughlin, Master of Properties Debby Shaw, Dance Center Registrar Peta Ullmann, Wardrobe Supervisor Mimi Johnson, Stage Translator Charles Brette, Custodian Joseph Moseley, Staff Assistant

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NOVEMBER, 1971 / BROOKLYN ACADEMY OF MUSIC / 5

GISELA MAY: Sing Along With

Were she French, you'd call her Giselle. America with some of its productions - But she's not; she's German - and one of especially since some Broadway and Off- the stars of the Berliner Ensemble. So, Broadway versions had met with disaster. although her first name is Gisela, what one hears Now, however, through the auspices of the are both names, first and family, Brooklyn Academy of Music, welded together like a slogan: "Gisela Americans May!" can come to know the artistry and person- ality of Gisela May. Some of her person- "Do you want to hear my Gisela May ality shines through even in an interview, records?" That was one of the first questions and her comments on Brecht and his com- asked me on a recent visit to Hungary. "Are posers certainly can give an idea of her you coming to the Gisela May Concert?" understanding as an artist. And what, now Almost the first question on an even more that an American trip for Miss May is a recent visit to Denmark. And, when I reality, does Miss May think about it? visited East last summer and asked "I'd love to visit America. . my own Gisela May question Love it . ." - "Do you Miss May pauses, a bit uncertain of the have any Gisela May records for sale?"- right word, even though I should have known she is speaking what the answer her native German. "But I have a would be. little Angst." - "Oh, I'm sorry! There's such a demand "Anxiety? for them. You are afraid of America? But let me see if I can't find Of Americans? We don't bite you one album someplace in our - except per- stock- haps in excesses of passion. Why this room." Fortunately, I got my record, and Angst?" found some more in, of all places, Vienna. She And then I had the opportunity to meet smiles disarmingly, then grows Gisela May after one serious. "We hear about the monster suc- of her exciting con- cesses of cert programs of Brecht, Weill, Eisler, Des- Broadway. Then we read the sau, and plays, and we can't understand why they other German poets and com- should posers. have any success at all . . . Broad- way is something The late Helene special, even for us. And Weigel, Brecht's widow whether our brittle, special way and the leader of his Berliner Ensemble, of playing had will be understood . . told me the . " She leaves her company was eager to visit doubts hanging in the air. 6 / BROOKLYN ACADEMY OF MUSIC / NOVEMBER, 1971

"But couldn't the Berliner Ensemble give Americans - especially New Yorkers - some idea of how Brecht thought his works should be played? After all, Mahagonny has become something of a classic in Eu- rope, while in New York last season it was more to be pitied than censured." "Oh? But did they do it as an opera? No? Ah, but it's actually written like an opera. The problem is to find opera singers who are able not only to make beautiful tones but who can also embody the charac- ters, project the text. Such performers one v must have! And then one must produce it in an opera house. It is orchestrated as an opera. And I think you must respect the wishes of a composer of Weill's stature. You can't play it with an ensemble of ten or fifteen musicians. You have to play the original arrangement." "Some critics objected that Brecht's text was either nonsense or an allegory with no reality to which it could be related." "They thought Brecht had written a tends to imagine her having really lived stupidity? Oh, no, no! Certainly not! But the events and emotions about which she one shouldn't take it too literally. It's a sings with such anguish and fury? Whatever fantasy. The Berliner Ensemble has made her past may have been, however, it has an experiment. We have played the play, not left her looking sad or hard. There is but with only a few songs taken from the a strength and attractiveness which dominate score. The large work, Die Grosse Ma- both her features and her manner. hagonny, is only for opera-stages. Our And how does an actress become a singer? It is version is called Kleine Mahagonny. "Brecht demanded singing actors. So I a play for actors, not for opera-singers. The after all that training as an actress, in began, songs are ones that can easily be done to concern myself with singing. But I came a legitimate theatre. The original can only to singing through the path of acting, be sung in an opera house." through the dramatic theatre. I studied with "The music is too difficult? Even for , who helped me very much. you?" He composed music to many of Brecht's "Oh ja! Very difficult! I can't do the works and poems. He helped me as an original. It's impossible for my vocal range. artist, as a politically engaged man, and as It demands opera-trained singers. Also, an a teacher. He was a wonderful man." excellent translation is needed when it's not "What roles do I play in the Ensemble? done in German. And who can judge if a At the moment, I'm playing in Brecht's translation is really good? I can under- Die Tage der Commune-Madame Cabet. stand that a foreign production will be We're especially pleased that last year was more like the life of the land where it is the 100th jubilee of the Paris Commune. done - and less like our German produc- Then I play the shopkeeper Kopecka in tion. That's right, but what is specially Schweik im Zweiten Weltkrieg. And in a Brecht should also survive." piece called The Messingkauf Dialogues. That Gisela May is so well known in It's not, in fact, a Brecht play, but a dia- Europe, both East and West, is due more logue he wrote. A team in our theatre pre- to her appearances as a singer of Brecht pared it for acting. It's a conversation: than to her work as an actress in his plays. a discussion among a philosopher, an ac- Yet she did not begin as a singer. She tress - that's me!, and the dramaturg began as an actress at the Deutsches Theater (literary manager) of a theatre. It's about in Berlin, a theatre made famous by Max Brecht's theories, and the philosopher has Reinhardt, and before him, Otto Brahm, the lead in presenting them. In between the father of German naturalism. For ten years discussions come demonstrations of the she was a member of that company, join- points, from our own work in the En- ing the Berliner Ensemble in 1961. semble. Or rehearsal pieces for actors, as As she speaks, her gestures are forceful, Brecht thought them out. A very inter- direct. Even shaking her hair, she seems to esting evening. When you've seen it, you be punctuating a thought. She looks like understand much more about Brecht's a woman who has been through a lot, theories." through experiences which have made her "Doubtless. But there may be some who sadder, wiser, perhaps a bit harder. Or feel that one can know too much about is that just guilt-by-association? That one Brecht, just as one can about penguins. How NOVEMBER, 1971 / BROOKLYN ACADEMY OF MUSIC / 7

is it possible, with the tight performance "But I've never found audiences who schedule of the Berliner Ensemble, to make couldn't understand Brecht's songs, with tournees in foreign countries? Doesn't that Weill's music. They love them! And that's interfere?" not just because of Weill's way with melo- "Oh, it's difficult because of my obliga- dies, but also because so many people know tions. But it has been arranged so that the songs now. They've heard them often every two months I can make a trip outside before. It's the kind of music that, when to sing and recite. But it can't be longer one hears it again, one likes it even more. than that, for I'm needed in the repertoire Oh, there is a point where one has heard -and not only at the Ensemble. I act it too often, and one doesn't want to hear also at the State Opera Unter den Linden. it at all, then, But Weill wrote very popu- I do Brecht and Weill's The Seven Deadly lar music, wonderful melodies." Sins, this beautiful ballet with songs. But "And why haven't Eisler and Dessau be- not Mahagonny at the Opera! No, not come more popular? Hasn't the association that." with Brecht helped them to win a public?" Gisela May becomes quite serious sud- "Eisler's inspiration comes more from the denly. She has a point she must make: German folk-song, and from simplicity. His "I have many performances in Berlin which principle was,: The text must always be I Must do. And I want to keep it so. dominant; the music, merely suited to it. Mainly because I need - quite simply - Therefore, as an artist, he was always a the contact that a performing collective bit in the background, a bit withdrawn." offers. I don't want to go endlessly through "Paul Dessau, on the the other hand, is very world alone! I want to be together with intellectual, and so is his music. So that artists who work in an ensemble. That when you hear it the makes me first time, it's pos- feel good. I need that very sible you may not understand it. You have much. When you are working on a new to hear it a number of times. Then you role, rehearsing a new song, you need will discover great beauties in it." friends who can tell you how it is going. You can't "Then Dessau is much more difficult to judge that yourself; you can't sing?" stand apart and look at yourself. But you need to know that your help comes from "Oh yes! Much more so than Weill or fellow artists who understand what is being Eisler. For one thing, he writes rhythmically done. Who have the courage to say what in a very complicated style. To perform it, is needed - and yet the friendliness to one has to study it a long, long time, to respond with enthusiasm to something know it precisely. And it's just as difficult worthwhile. That's complicated. Because for the audience to appreciate these subtle- one has his own opinions - even of the ties and rhythmic complexities. Once is advice offered. As for critics! One writes not enough. Witt Weill, one hears the this, and the other writes that - exactly the melodies once, and he has them fixed in his opposite. About the same performance. And memory." one begins to wonder what they are writ- Miss May speaks of Dessau's operas, The ing about - and why?" Trial of Lucullus and Puntila - the (I tell Miss May of Hermann Prey's solu- former a Brecht libretto, the latter adapted tion, which he has just shared with me. Of from a Brecht play - with admiration. His having his wife read all the reviews, passing new work, Lancelot, she also praises: "An on only the good ones to him. amazing opera! He uses electronic effects, "SchOn! A good plan.") everything possible that modern music of- fers." Part of the success of the Dessau On her foreign tours, Gisela May often operas in includes some of production Miss May credits to Brecht's less well known Ruth Berghaus. She was recently poems, scenes from his plays, and appointed even Assistant Director of the Berliner Ensemble, the writings of other German authors she to admires. aid the late Frau Weigel. Miss Berg- In Denmark, many of the older haus, she points out, people in her audiences understand came from the Brecht German school, through acting and drama, and first quite well, having had a Nazi Occupation to worked deal with. But at the Ensemble, going to direct at a number of the younger the Opera only later. Her spectators do not, and, yet, they have affinity for the no tasks of operatic staging, especially of Des- difficulty following The Jewish Wife, one sau's of the collection of operas, may be partly explained by sobering scenes from the fact that she is, Brecht's The Private Life of the Master in private life, Mrs. Race Paul Dessau - and thus, when in doubt, (Furcha and Elend im Dritten Reich). can ask It's in her acting. him what he meant. Gisela May obviously "Yes," she says, recalling the electric enjoys her work as response of a Brecht singer quite as much as she en- her audience, "I had the feel- joys her life ing they understood me wonderfully. They as an actress. With the result reacted even to that she brings the best of her vital gifts individual words. One saw to both careers. that. But in a country where I know they And now she is able to won't share these gifts with Americans at the understand me, I leave the poems, Brooklyn the scenes out of the program entirely." Academy of Music. GLEN M. LONEY

INN Let Sabena fly you to beautiful Belgium.

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1 *Fri . -11., 4 ; i., 41.,:. -,,,,j ' - IC ,,--. The Grand Place of Brussels.Victor Hugo called it "the world's most beautiful square." It epitomizes Belgium: historic, artistic, attractive; a delightful place by day or night. -r7

Come, visit Belgium via - 7-7-, -." - .._ .10 Sabena.Two non-stop flights r.-_-:ii,:.,, - to Brussels every day. SABENA f2'" Belgian World Airlines. 1q-nf. omk) NOVEMBER, 1971 / BROOKLYN ACADEMY OF MUSIC / 9

November 2-7, 1971, 8:00 p.m.

Brooklyn Academy of Music

Gisela May

and Instrumental Group gY

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BRECHT EVENING - "FROM FOUR DECADES"

Music by

Kurt Weill, Paul Dessau and Hanns Eisler

Accompanied by Henry Krischil

Artistic Consultant: Wolfgang Roth 10 / BROOKLYN ACADEMY OF MUSIC / NOVEMBER, 1971

From "HAPPY END" - Brecht/Weill Sailor Tango Bilbao Song Surabaya Johnny From "RISE AND FALL OF THE CITY OF MAHAGONNY" - Brecht/Weill "As You Make Your Bed - You Lie In It." Song of the Fort Donald Railroad Gang - Brecht/Werzlau From "THE THREE PENNY OPERA" - Brecht/Weill Ballad about Sexual Dependency Barbara Song Song of Pirate Jenny In Potsdam under the Oaks. - Brecht/Weill From "MOTHER COURAGE" - Brecht/Dessau Solomon Song Song of the Great Capitulation Courage Song

INTERMISSION

Scene from "THE PRIVATE LIFE OF THE MASTER RACE" - Brecht The Jewish Wife Ballad about the Jewish Whore Marie Sanders - Brecht/Eisler Lullabies for a Proletarian Mother - Brecht/Eisler From "THE GOOD WOMAN OF SEZUAN" - Brecht/Dessau Song of the Eighth Elephant From "THE GOOD SOLDIER SCHWEYK" - Brecht/Eisler The Moldau Song Song of the Small Wind Song of the Chalice The Soldier's Wife Ballad of the Woman and the Soldier - Brecht/Eisler A Horse Accuses - Brecht/Eisler From the poem "TO POSTERITY" - Brecht PEACE SONG - Neruda/Brecht/Eisler NOVEMBER, 1971 / BROOKLYN ACADEMY OF MUSIC / 11

Program Notes

This evening is devoted to Bertolt Brecht, the poet of the scientific age. With him we make a journey of more than forty years from the period fol- lowing the First World War to our own times.

Gisela May is an actress, a member of the Berliner Ensemble, the theatre founded by Brecht. Together with an instrumental group led by Henry Krit- schil, Gisela May will sing the songs, stories and poems of Brecht.

Happy End is a Brecht/Weill collaboration. Miss May sings Sailor, Bilbao, and Surabaya Jenny, all of which have become popular in America.

Song of the Fort Donald Railroad Gang is from the "Hauspostille," the first collection of Brecht's poems. It tells the tale of brave men who laid the first railroad across America and were drowned in Lake Erie. Brecht suggested that this ballad was suitable for singing and Joachim Werzlau wrote the music.

From "" are the "Barbara Song", then, in the character of Mrs. Peachum, wife of the king of beggars, continually under the influence of alcohol and religion, she reports on her experience of sexual de- pendence. This is followed by "Song of the Pirate Jenny," which has the sig- nificant subtitle "Dreams of a Kitchen-Maid."

"Potsdam Under the Oaks" is an anti-militarist song. Brecht wrote it after a demonstration held by war cripples in 1928. The demonstrators carried a coffin on which they had written in red paint: "A Home for Every Soldier." The police brutally beat down the demonstrators.

During his period in emigration Brecht wrote the great plays of his classical 1 period, including "Mother Courage." He wrote this play before the outbreak of the Second World War. "Mother Courage" is a chronicle from the time of the Thirty Years War in Germany in the 17th Century. It tells the story of Anna Fier ling with her sutler's wagon, with which she followed the armies, trying to live from war and do business with war. She loses her three children and is stricken with poverty. In the "Solomon" song Mother Courage begs for a bowl 12 / BROOKLYN ACADEMY OF MUSIC / NOVEMBER, 1971 of soup on an icy winter day. The "Song of the Great Capitulation" reports on the inadequacies of human behavior in time of war. With the "Mother Courage" song on her lips she drags her supply wagon through the war, selling the soldiers shoes so that they shall not die bare-footed.

The monologue "The Jewish Wife" is from the series of playlets "The Private Life of the Master Race," which had their world premiere in the United States during the Nazi period. Judith Keith, the wife of a non-Jewish German doctor, is emigrating so that her husband's career shall not be harmed. In a frequently-interrupted monologue she attempts to assemble the arguments she will use to explain to her husband why she is leaving.

In the "Ballad of Marie Sanders, the Jew's Whore," Brecht tells of 'a non- Jewish girl whose boy-friend 'had hair that was too black.' Her 'crime' comes to light, and Marie is paraded through the town with shorn head, in her shift.

, . "Lullabies for a Proletarian Mother" is one of a revolutionary cycle.

"The Song of the Eighth Elephant" is from the play "The Good Woman of Sezuan." This is a parable about a time elephant who is appointed to watch over his hard-working brothers, and is compared to the speed-up overseer.

There are four songs from "The Good Soldier Schweyk." The female lead is Widow Kopecka who runs the "Flagon Inn" in Prague. She sings for her guests, as a warning about the SS and as a comfort until better times come.

In "The Ballad of the Woman and the Soldier" the woman warns the sol- diers not to march off to the wars. But the soldiers disregard her warning, become enthusiastic about the arts of war, and finally drown in the icy waters when crossing a river.

"A Horse Accuses" is one of Brecht's most moving warnings against in- humanity and brutality.

"To Posterity" is the poem which may be regarded as his political testament.

"PEACE SONG" is simple, as a children's song should be. 3 .4

The Brooklyn Academy of Music Announces Special Associate Memberships 1971-72 Season Four Major Theatre Events for S10

As an Associate Member, you will receive a coupon book with coupons for any 4 events you have chosen from the list below. Each coupon is redeemable by mail or at the box office for one free ticket. You will receive best available seats on a first-come, first-served basis. If you order early, this will almost certainly mean orchestra seats. Send today so you can select your dates as soon as possible.

(Nov. 2-7) Ten different tribes 1 NATIONAL DANCE COMPANY OF MOROCCO are represented including the acrobats of Marrakash, the Berbers and the famous "Blue Men" of the Western Sahara.

2 GISELA MAY (Nov. 2-7) This star of the Berliner Ensemble is famous throughout Europe as one of the foremost interpreters of the songs of Bertolt Brecht and . In this first appearance in the U.S., she will perform an entire Brecht-Weill evening.

3 RITUAL ACROBATS OF PERSIA (Nov. 9-14) The powerful all-male troupe of thirty in a combination of pure athletics, gymnastics, acrobacy, poetry, prayer, music and ritual dance going back to the beginning of Persian history. 4 DAGAR BROTHERS-RAGA SINGERS OF INDIA (Nov. 11-14) They repre- sent one of India's most famous musical families and are considered masters of the Dhrupad, a style of raga-like Indian singing. This is their first U.S. appearance.

16-21)At the New York 5 SIERRA LEONE NATIONAL DANCE COMPANY (Nov. World's Fair in 1964 the company received the Gold Plaque as best dance ensemble.

6 MURRAY LOUIS DANCE COMPANY/NIKOLAIS DANCE THEATRE (One Event) (Jan. 18-30) "With wildly beautiful stage effects and compelling multi-media switch-ons, he (Alwin Nikolais) Is in my opinion, the greatest pure showman in American theatre."-Clive Barnes, N.Y. Times. Writing about Murray Louis in the N.Y. Post, Frances Herridge said, "Louis works wonderously, ...riotous and ridiculous and immensely funny."

7 MERCE CUNNINGHAM AND DANCE COMPANY (Feb. 1-13) A collage of art- ists including Andy Warhol and Jasper Johns, of composers such as David Tudor and John Cage and of course, the great choreographer-dancer himself, Merce Cunningham.

8 NETHERLANDS DANCE THEATRE (Mar. 28-Apr. 9) "It has established itself as one of the most interesting and fascinating companies in the world."- Clive Barnes, N.Y. Times. During this exclusive New York engagement, the company will feature the Glen Tetley-Hans van Manen famous nude ballet "Mutations."

Steinberg, 9 SYMPHONY OF THE NEW WORLD (Dec. 19 or Mar. 5) Benjamin music director. The first major inter-racial orchestra in the United States.

Enter the number of the 4 events you wish to see. Mail with check/money order and a large self-addressed envelope. Make checks payable to Brooklyn Academy of Music or charge stamped, fee is to your ASS, Bloomingdale's or Master Charge number. No portion of the membership refundable. Eves: 8:00 p.m., Mats: 2:00 p.m., Sun. Eves: 11/7:30 p.m. Membership Office, 30 Lafayette Ave., Brooklyn, N. Y. 11217 (212) 783-6700

Number of Associate Memberships @ S10 Total

List below the numbers of the 4 events you wish to see.

11 12 14 13 I Enclosed is my check/money order for

Please charge my memberships to my A & S Account #

or to my Bloomingdale's Account # -I or to my Master Charge No. (2 or more) Name Address

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BROOKLYN ACADEMY OF MUSIC - (212) 783-6700 or 783-2434 14 / BROOKLYN ACADEMY OF MUSIC / NOVEMBER, 1971

The Dagar Brothers, Raga Singers of India e

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Aminuddin and Fariduddin Dagar with accompanist Mrs. Suraiya Dagar playing the Tampura.

The Dagar Brothers are the present repre- Nasiruddin Khan Dagar, court musicians of sentatives of one of the most famous fami- Indore, are renowned for their performances lies of musicians in India. Their family, and creations with the traditional music of which has produced a number of remarkable India. musicians since the 18th century, has main- tained the highest tradition of the Dhrupad, After the death of Moinuddin, the elder brother, in 1967, a style of which the Dagars are today the Aminuddin Dagar took indisputable masters. over the direction of the group which con- sists of two singers, Aminuddin himself and Moinuddin and Aminuddin Dagar are the his younger brother Fariduddin Dagar, and descendants of a very old family of mu- three instrumentalists: Mrs. Suraiya Dagar sicians. The particular style of Dhrupad of (Tampura), Miss Alaka Nandy (Pakhavaj, which they preserve the tradition dates back double-headed drum), Mr. Chatrapati Singh to Vrija Chanda, a contemporary and rival (Northern Vina). of Tansen, Vrija Chanda was called Daguri, because he was born in the village of Dagar The Dhrupad is the most austere style of near Delhi. Gopal Dasa Dagar, who was Indian singing; it must strictly adhere to one of the heirs of this tradition, is a direct the form of the mode, and elaborate vo- ancestor of the Dagar brothers. Their grand- calization and ornamentation are forbidden. father Alla Bande Khan and their father Most of the Dhrupad-s which are sung NOVEMBER, 1971 / BROOKLYN ACADEMY OF MUSIC / 15

today were composed by poets and mu- tribute to establish the atmosphere the raga sicians of the fifteenth and sixteenth cen- is trying to create. turies. It is important to remember that the is similar to that Dhrupad is the noblest style of Indian structure of Indian music develops classical music. Dhrupad-s consist of two of spoken language. The melody a scale, but each of these parts: a long prelude which establishes the on the notes of meaning defined mode, the raga, which is today called alapa notes has an independent or "conversation" but was formerly termed by its relation to the tonic, as given by the is not. Dhruva, and a poem or pada which is sung. tampura. The important sequence therefore, the melodic one but a series of The alapa, which forms the first part of successive sounds which have an independ- any classical improvisation, is in a slow ent relation to the tonic and an independent tempo which is not organized into a meaning. This is why the development can- rhythmic pattern. The improvisation is free not be memorized as a melodic form; all and descriptive. songs and music have to be improvised. The meaning of a musical phrase appears The alapa is essential in creating the only gradually as it unfolds itself, just like mood or atmosphere of the mode. Time has a sentence in spoken language. Since memo- to be taken before the minute variations ry plays an important role here, listening on each note of the modal scale can reveal to Indian music requires some training. This their expressive values and the significance training is, however, quite easy. of each note can be established and assimi- lated by the audience. Only then can the During their European tour in 1964, the musician begin faster, more brilliant and Dagars performed in Italy, France, Ger- lighter variations, and also omit some of many, Belgium, and were invited by the the elements of the scale without affecting Venice, Paris and Berlin Festivals. In Paris the raga. The mood of the mode has to the "Centre d' Etude des Musiques Orien- be firmly established with all its deeper tales" suggested that they should give a significance before the musician can feel series of lecture-recitals. free to display vituosity in vocal arabesques, ALAIN DANIELOU which take on their real meaning only within the emotional background of a par- ticular raga. The alapa is the most diffi- cult part of the improvisation. More Music News alapa, In the poem which is sung after the The Brooklyn Philhar- with complex rhythms. the drum intervenes monia is making music its verses The poem itself is very short and news and (perhaps music are repeated many times. It is sometimes history) with the an- antara, divided into two parts, sthayi and nouncement of the ap- which are sung in forms that differ slightly pointment of Lukas Foss from each other. j as Music Advisor and The Dhrupad is a much neglected art in Conductor for the 1971 - India today, where the public demand is for Lukas Foss 72 season. lighter and easier musical forms. There Mr. Foss has scheduled an innovative are very few Dhrupad singers today. series of four "marathon" concerts - one each devoted to Bach, Mozart and Beetho- The raga-s or musical modes of Indian ven, and the fourth to various American composers from Ives to current rock. music are based on a scale, said to cor- and con- respond to a particular type of sentiment. Performances will begin at 6:00 tinue until 10:30-thus, the term "Mara- There are two main notes in the scale on thon." which the melody can rest. Each raga also has different ways of utilizing notes in as- Subscriptions are available from $20. to $12. cending and descending phrases, as well as special ornaments and attacks which all con- Single tickets are $6.00 - $2.50.

Fr, 16 / BROOKLYN ACADEMY OF MUSIC / NOVEMBER, 1971 It's Happening in Brooklyn

The Afro-Asian Festival continues in November at the Academy with the two different troupes pictured here. Tickets for most performances are available at the box office.

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Sierra Leone NOVEMBER, 1971 / BROOKLYN ACADEMY OF MUSIC / 17

II company will be opening at the Academy after returning from its third engagement at The Young Vic in London. Performances start at 3:00 p.m. Ticket prices are $2.00, $1.00. Group rates are available. For fur- ther information call Betty Rosendorn at (212) 783-6700.

Chelsea Season Begins The Chelsea Theater Center of Brooklyn opens its 4th season in residence at the Brooklyn Academy of Music with the first of its Brown Bag productions, Four Americans, introducing the work of four young American playwrights: Stephen Fore- man, David Kranes, Michael Weller and David Wiltse.

Brown Bag is the name given to Chelsea's experimental workshop series "for the in- troduction of new forms, new ideas and ' Ci new writers without spending a fortune." The Paper Bag Players David Wiltse's Tall and Rex and David Kranes' Things will be seen on November Are Coming 3, 4, 5, and 6. The internationally known Paper Bag at p.m. in Players will be giving a series of Saturday All performances are 8:30 afternoon performances in the Chelsea the Academy's Third Theatre. Admission Theatre at the Academy, starting February is by donation. Reservations can be made 12 and continuing through April 29. They by calling 783-6700, ext. 49 between 9:30 feature songs, dances and stories strung a.m. and 5:00 p.m. together especially for children. In this Saturday series, they will be performing Subscriptions to the Chelsea season, which "Hot Feet", conceived, designed and di- rected by Judith Martin, with music com- includes the American premiere of Jean posed and played by Donald Ashwander. Genet's The Screens, Allen Ginsberg's Kad- dish, John Gay's The Beggars Opera and In place of typical sets and costumes, The Paper Bag Players use easily available Stanislaw Witkiewicz' The Water Hen are everyday things - paper bags, cardboard still available at $10 or $18. Complete in- boxes, plastics and household objects. The formation is at the lobby information desk.

r-re'!aia"'2610' ?),/ JUNIOR INSIGHT 4

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on fifth floor 18 / BROOKLYN ACADEMY OF MUSIC / NOVEMBER, 1971 DIRECTORY OF FACILITIES AND SERVICES

Academy Dance Center Express Buses - Manhattan to BAM Classes for ages 6-15 in ballet/modern Direct buses for most evening events leave dance. Please call 783-6700, Ext. 33. S.W. corners unless otherwise noted. No reservations necessary. Return: 15 minutes Bar after performance. Fare: $1.50 round trip, A bar serving liquor and soft drinks is $1.00 return (if available). Schedule for located in the Academy's Main Lobby. 8:00 curtain. Buses leave one-half hour Service is available one hour prior to cur- earlier for 7:30 curtain. tain and during intermissions. East Side Lexington Ave. & 86th St. - 6:54 p.m. Box Office Lexington Ave. & 72nd St.-6:58 p.m. Ticket booth in Main Lobby Lexington Ave. & 60th St.-7:02 p.m. Telephone: 783-2434 Lexington Ave. & 42nd St.-7:07 p.m. Hours: Second Ave. & 14th St.-7:17 p.m. Second Ave. & E. 5th St.-7:20 p.m. Monday through Saturday Academy of Music arrival-7:40 p.m. 10 a.m. to 9 p.m. West Side Sunday performance days Broadway & 86th p.m. 1 p.m. to 9 p.m. St.-6:52 Broadway & 72nd St.-6:56 p.m. Check Boom B'way & 58th St. (N.W. Corner)-7:00 p.m. 7th Ave. & 42nd St.-7:05 p.m. Located in the Main Lobby next to the bar 7th Ave. & 14th St. (N.W. Cor.)-7:13 p.m. W. 8th St. & Avenue of Americas Drinking Fountains (S.E. Corner)-7:18 p.m. Located in the restrooms in both the Opera Academy of Music arrival-7:40 p.m. House and the Music Hall Transportation Elevators Subways: (All stops one block from the Academy) Atlantic Two Avenue Stop: IRT elevators from Main Lobby to Opera B'way-7th Ave. (#2 & 3); IRT Lex. Ave. House Balcony and Third Theater (#4 & 5); and D, QB, QJ Trains; Pacific St. Stop: B, N. RR Trains; Fulton St. Stop: Information GG Train; Lafayette Ave. Stop: A Train. Desk in Main Lobby near front entrance Brooklyn Busses: B25 Fulton, B-26 Putnam, or at box office B38 De Kalb Ave., B52 Gates, B19 Carlton Ave., B41 Flatbush, B45 St. John's Pl., B67 Lost and Found 7th Ave., B37 3rd Ave., B63 5th Ave. House Manager's Office, Third Floor Manhattan Busses: Special busses op- Telephone: 783-6700, Ext. 25. perate from the East and West Sides of Manhattan direct to the Academy. Round Lounges and Restrooms trip $1.50. One way return fare $1.00. Opera House Schedule on request. Ladies, Orchestra and Balcony Levels Long Island Railroad: Flatbush Terminal Men, Mezzanine and Balcony Levels located one block from the Academy. Music Hall Ladies, Orchestra Level Bloomingdale's, Abraham & Straus Men, Balcony Level and Ticketron Outlets Public Telephones Tickets for most events at the Brooklyn Academy of Music Main Lobby, Ashland are Place Entrance available at all Abraham & Straus stores and at Bloomingdale's in Man- Refreshments hattan and Hackensack, New Jersey. Available in Main Lobby Customers may charge tickets to their during intermis- accounts. sions. Please do not bring refreshments into the Auditoriums. Tickets may also be purchased through Ticketron. For Ticketron out- Smoking lets, call (212) 644-4400. In Main Lobby, Lounges & Restrooms only

The Brooklyn Academy building is owned by the City of New York maintenance are administered by the and funds for its Parks, Recreation and Cultural Affairs Adminis- tration, John V. Lindsay, Mayor; August Hecksher, Administrator, ...... -.-.-,1.- _ -Mrronor

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