October 2000 BAMcinematek 2000 Next Wave Festival philharmonic

Robert Frank, Laura, 1998

BAM Next Wave Festival sponsor:

PHILIP MORRIS ~lA~fBlll COMPANIES INC. Brooklyn Academy of Music and Brooklyn Philharmonic Bruce C. Ratner 47th Season 2000-2001 Chairman of the Board Liebestod-Program 1

Alan H. Fishman , Music Director Chairman of the Campaign for BAM , Conductor Laureate Karen Brooks Hopkins President Craig G. Matthews, President

Joseph V. Melillo Executive Prod ucer

present Symphony NO.5 Requiem, Bardo, Nirmanakaya*

Running time: BAM Howard Gilman Opera House approximately 1 hour October 4, 6, and 7, 2000, at 7:30pm and 45 minutes, with no intermission Brooklyn Philharmonic Orchestra Conductor Soprano Kimberly E. Jones Mezzo-soprano Milagro Vargas Baritone Andre Solomon-Glover Bass-baritone Stephan Macleod Tenor John McVeigh

The Dessoff Choirs , Music Director Brooklyn Youth Chorus Dianne Berkun, Artistic Director

Visual Consultant and Designer Anne C. Patterson Lighting Designer Matthew Frey

*North American premiere

Major corporate sponsor: Dime Savings Bank of , FSB.

Baldwin is the official piano of BAM and the Brooklyn Philharmonic Orchestra.

The Brooklyn Philharmonic Orchestra gratefully acknowledges Mr. and Mrs. Stanley H. Kaplan, whose generous support made possible the Stanley H. Kaplan Education Center Acoustical Shell.

Commissioned by Salzburg Festival with the support of ASCII Corporation. Additional support provided by Brooklyn Academy of Music.

As a courtesy to others, please turn off watches, phones, and other electronic devices.

29 Philip Glass Symphony NO.5 Requiem, Bardo, Nirmanakaya 1. Before the Creation 7. Suffering 2. Creation of the Cosmos 8. Compassion 3. Creation of Sentient 9. Death Beings 10. Judgment and 4. Creation of Human Beings Apocalypse 5. Joy and Love 11. Paradise 6. Evil and Ignorance 12. Dedication

Statement by The symphony was commissioned and Philip Glass conceived as a millennium celebration work for the Salzburg Festival. My plan has been for the symphony to repre­ sent a broad spectrum of many of the world's great "wisdom" traditions. Working together with the Very Reverend James Parks Morton of the Interfaith Center of New York and '" ,"-. Professor Kusumita P Pedersen of St. ~ Francis College, we synthesized a vocal text that begins before the world's cre­ ation, passes through earthly life and paradise, and closes with a future dedication. We are looking at the moment of the millennium as a bridge between the past (represented by the Requiem and embodying the first nine movements up to the moment of Death), the present (the Bardo representing the "in between"), and culminat­ ing in Nirmanakaya (rebirth as manifestation of enlightened activity).

We have elected to present the original texts (Greek, Hebrew, Sanskrit, Arabic, Chinese, Japanese, and indigenous languages) in one language, English, to show the commonalities with which all these traditions resonate. For a work of this scale it seemed fitting to add chorus, children's choir, and soloists to the usual symphonic ensemble, thereby giving it ample breadth and dramatic capability.

Besides being a compendium of reflection on the process of global transformation and evolution, it is hoped that the work will serve as a strong and positive celebration of the millennium year.

Portrait of Philip Glass by Chuck Close. 30 by Juerg Stenzl

This essay originally appeared in the program of the world-premiere performances at the 1999 Salzburg Festival. Translation by Steve Wilder.

Ph iii P Glass' 1975 opera entitled Einstein on the Beach, com posed inclose cooperation with Robert Wilson, ushered in "a new age of opera." The combination of various theatrical elements (images, dance, music, language, singing, and choir) were united in an almost five-hour, four-act montage, a type of ritual vision focusing on the physicist Albert Einstein. Einstein on the Beach was a great suc­ cess in Europe and at the Metropolitan Opera in New York, and later at BAM. But this work, according to the composer, is "not something that's trying to illustrate Einstein the way the history books do, it's trying to present a political interpretation of this man" with audible images. Furthermore, a narrative libretto was dispensed with. For Glass, it signaled not only a new age of music theater, but also the "end of minimalism."

A quarter of a century has passed since then, but Glass still bears the "minimalist" label and is considered-next to fellow Americans La Monte Young, Terry Riley, and Steve Reich-one of the leading composers of that style. But what is minimal music? In contrast to other main genre designations applied to 20th-century music such as 12-note composition, Neoclassicism, , and taped music, the term minimal originally referred not to a style or a compositional technique as much as to a group of characteristics and a number of methods that could be quite antithetical at times.

This type of music first emerged in North America; after its great breakthrough, minimal music began to appear virtually around the world. (While some of it demonstrated originality, a majority proved to be obvious imitations of the style's originators,) It may be that the first genre belonging to "classical" music originating in the United States is repetitive minimal music. This style first appeared in the early 70s in reaction to the European avant-garde, which budding composers in the United States had adopted. The difference between the two styles was the repetition of short elements ("patterns") in rigid sequences with little or no change, thereby producing a type of music intended to be "audible art" with no "extra­ musical" messages. The models for this style are found in jazz and traditional music from India and Africa. There was also a close resemblance to popular Western musical forms, especially rock. (The fact that minimal music tended to be crossover from the very beginning, serving as a link between widely varying musical styles, is not coincidental.) Minimal music tended to adhere to tonality in con­ trast to avant-garde music. In the course of the last decade, this term has also come to refer to a wide spectrum of styles currently popular in musical youth culture which are superficially similar to the works composed by the fathers of minimal music such as Glass or Reich. Examples of these similarities are the sustained repetition of identical or extremely similar melodic and rhythmic patterns.

Glass, like the above-mentioned composers, grew away from nascent forms of minimal music in the early 80s. This has often resulted in hefty criticism, though his international success did not suffer as a result. The end of minimalism, he declared, should not obscure the fact that essential characteristics of early minimal music can still be found in his works. Even his Symphony No.5, which was conceived as a "Peace Symphony," demonstrates the central role played by repetitions of patterns after only a few bars.

Glass was born on January 31, 1937, in Maryland. His father repaired radios and sold record albums, providing the young Philip with exposure to a variety of music. He learned to play the flute and began studying music at the University of Chicago. While there, and later in New York, he concentrated on the musical style in fashion at the time, 12-note music or Neoclassicism, depending on his teacher's preferred style. On scholarship, he went to Paris to study with Nadia Boulanger from 1963 until 1965. However, it was not Boulanger who caused a major change in the direction of his interests; in 1965,

31 Glass met the Indian musicians Alia Rakha and Ravi Shankar, the latter for whom he worked. He began to develop a new style of music in the form of "additive processes" with reduced harmonies and repetitions. When he returned to New York in 1966 after visits to India and North Africa, he met Reich and Arthur M.urphy, two former fellow students who were following similar paths. (In 1965-66, Reich composed his first repetitive taped pieces with phase shifts, It's Gonna Rain and Come Out). In 1968 Glass formed his own Philip Glass Ensemble in the same way as Reich and La Monte Young, for the purpose of performing his compositions in New York art galleries and museums. In 1971 he founded his own record label with gallery owner Klaus Kertess.

Glass' breakthrough came not in America but after performances in Holland and Germany, particularly with musical theater productions: Einstein on the Beach in Avignon in 1976; Satyagraha, an opera about the early life of Mahatma Gandhi, in Rotterdam in 1980; and Achim Freyer's production of the same piece in Stuttgart in 1981 (conducted by Dennis Russell Davies). Satyagraha attained cult status for followers of the various peace movements, opponents of nuclear power, and religiously motivated drop-outs. In 1984 Achim and Ilona Freyer produced the Stuttgart premiere of the pharaonic opera Akhnaten. Glass worked his way toward these extensive scenic works with a cycle lasting more than four hours, Music in 12 Parts (1971-74), a compendium of his previous techniques (repeated pat­ terns, additive processes, uniform movement in fourths and eighths, static harmony with unexpected modulations, gradual exchange of melodic patterns) with a new method of linking the parts according to a "strictly regulated scheme of keys" (Michael Struck). Glass made use of this cycle again for Einstein. As early as 1980 Glass was described in the leading English music encyclopedia as "perhaps the most popular serious composer"-and he has remained so. With his opera trilogy, Philip Glass has reached a wide audience around the world and, according to the composer himself, skillfully shaped his career in a "more businesslike" way. In response to the charges-especially from European sources-that he had become a "crossover composer," he simply turned them around by saying, "I began writing in a certain way because I've always been interested in the grammar of music, in the way it fits together. I'm a serious composer, but I'm working at a time when audiences no longer assume strong and exclusive allegiances to one musical style. The significant thing isn't what's hap­ pening to me, it's what's happening to audiences." Considering the level of his success, it is hardly surprising that in 1992 New York's Metropolitan Opera commissioned Glass to write The Voyage in commemoration of Columbus' discovery of America; he received the highest fee ever paid for the com­ position of an opera to that point: $325,000.

A millennium celebration work

The approaching new millennium seems to have had the same effect as a shot of adrenaline for many people around the world. The desire for peace and harmony is understandably enormous, and peace and "harmony" often evoke music-elassical music, of course, especially Mozart. As a result, a handful of resourceful people in Salzburg, Tokyo, and New York resolved to express through music the age-old dream for peace. A generous Japanese sponsor was to help commission a symphonic work; the Music for Peace organization was founded; and a number of projects were launched. Philip Glass was pre­ pared to create a "millennium celebration" which would be performed at the end of the Salzburg Festival in 1999 with a subsequent world tour. When the Tokyo stock market fell, the sponsor disap­ peared, followed by the influential participants.

Symphony NO.5 is the name Philip Glass chose for his work in 12 parts, composed in 1998-99. (Its original subtitle, "Choral Symphony," refers to another symphony with choir, Beethoven's Ninth,) At the start of its fourth movement, the first three movements are quoted before terrifying fanfares prepare the stage for the composer's objection: a baritone sings, "0 friends, no more these sounds!" The sounds that should replace them are those of the "Ode to Joy," a vision of the future: "All men become brothers under the sway of thy gentle wings." Beethoven's Ninth is not only the first symphony which is resolved in its finale, it is for the first time an independent composer/citizen's public address to humanity.

32 Because of its earth-shaking topic, such a call must at once be of high artistic quality and upopular" in order to reach a wide audience. Thus it is no coincidence that Beethoven's uOde to Joy" employs a catchy dance melody, a contredanse which recalls the songs of the French Revolution. A large number of people should unite under the banner of an idea, joy and fraternity. In Beethoven's uChoral Symphony" a social ethic is bound together with an appropriate aesthetic plan. The music transcends the notes, becoming no less than an expression of human culture. (For this reason, this work was often instrumentalized for political purposes,) The Bayreuth Festival was opened and re-opened with the Ninth, and it was used by the National Socialists, Hans Eisler, and in East Germany, with various politi­ cal slants. Concepts from Beethoven's Ninth Symphony were also employed in Glass' work, including that of a symphony that addresses all of humanity-although this phrase can be interpreted as world culture. Glass claims that he intended to urepresent a broad spectrum of many of the world's great 'wis­ dom' traditions." Indeed: the text upon which the 12 movements of the symphony are based was taken from no less than 24 different sources, epochs, and cultures. They were assembled not because of the variety they represent but because they could easily be integrated into an underlying concept, a spiritual uworld history"-from our earliest past to the distant future; from pre-creation (first movement) to the birth of the cosmos; life forms and man (second to fourth movements); life between joy and evil (fifth and sixth movements); suffering and compassion (seventh and eighth movements); to death, the final judgment, and uBardo," the intermediate state (ninth to eleventh movements); and the concluding uNirmanakaya," a future enlightened existence (twelfth movement).

Philip Glass' Fifth Symphony is arranged for five solo voices, a children's and a mixed choir, and a large orchestra (triple winds), strings, and several other instruments often used by Glass: electric organ, piano, celesta, glockenspiel, xylophone, and harp. The texts, sung in English by the soloists and choirs, are set to music (homophonous choirs) so the proximity to the rhythm of normal speech facilitates comprehen­ sion. As is typical of vocal minimalist music-not just the compositions of Glass-the music, rather than simply reflecting the text, is strongly influenced by its structure or form. While the singers recite their texts, the orchestra weaves an acoustic foundation with repeated minimalist motifs to carry the words.

In Symphony NO.5 motifs are not elaborated upon and developed; repetitive patterns remain more or less uniform within a section. This is the fundamental difference in comparison to symphonies in the 19th and part of the 20th century; a relationship is created by returning to a particular theme or from the similarity between different themes. This occurs on a thematic or rhythmic level and not through variation or stringent harmonic processes. The thoroughly tonal, even simple harmonies remain static for relatively long passages. Each of the 12 movements, which last between six and eight minutes, is clearly organized into several sections, and these sub-movements correspond to the accompanying texts. The tempi, the patterns, and the instrumentation usually vary from one section to the next. Soloists are primarily employed in some movements, such as the second, fourth, ninth, and eleventh (the Paradise movement). In others, there is a regular alternation between solo parts and choir (e.g. the switch between the women's choir and the mezzo-soprano or baritone in the fifth). Finally, new and characteristic combinations are formed with soloists, choirs, or parts thereof, and orchestral groups. In Glass' work, musical form is constituted by a sequence of mainly closed sections; usymphonic," in the sense of a vocal symphony as defined by works from Beethoven to Shostakovich, refers primarily to intention and instrumentation. The formal model is the 19th-century symphonic cantata or oratorio. That such historical genre conventions can be applied to his latest work is quite significant with regard to Glass and his attitude toward new music in the second half of the 20th century. It is one of the pri­ mary prerequisites for the popularity of his music and to reach a wide audience.

On the other hand, it "is quite a different kind of popularity than that which Beethoven intended to achieve with his uChoral Symphony" at the beginning of the 19th century, or what had in mind with his Eighth at the beginning of this century.

Reprinted with permission from Juerg Stenzl and Steve Wilder.

32A THE DESSOFF Music Director Kent Tritle CHOIRS Accompanist Steve Ryan Manager Monica Kuth Russell SOPRANOS ALTOS TENORS BASSES Reba Adler Marietta Benevento Steven J. Bizzell Neil Atkinson Tina Fairweather Shelley Brown Steve Brautigam Gregory Brail Amy Fi nnerty Christine Cipriani Rem i Castonguay Luis Ferran Yonah Gershator Cathy Douglass Guy Glass Stephen Herschkorn Christine Hoffman Charlotte Ford William Higgins Dan McCrary Therese M. Honda Tina Girardi Steve Kass Delano McFarlane Jacqueline Jones Marilyn Horowitz Steve Lanser Michael Meltzer Sarah Kerr Meg Lamm Leo Laurenson Paul Murphy Judith Kineke Deborah Hoffman Sabino Losco Jerry Nussenblatt Patricia Kornfield Lanser Jeff Lunden Stan Pajewski Miriam Lewin Lisa Madsen Alan Marsh Christopher Platt Kristen Lindberg Marcia K. Miller Stuart Pressman Tom Pniewski Sarah Manguso Erin Mittelstaedt Rich Putter Anthony Poole Cathy Markoff Liege Motta Dan Rosenbaum Robert P. Rainier Maureen McCarthy Myrna Nachman Henry Stroke Dale Rejtmar Kate Monaghan Anna Pomykala Dan Stewart Erika Rohrbach Barbara Scharf Laurence Sutter Olivia Sohmer Schamest Frank Tafuri Rosenbaum Nancy Schnell Steve Winn Monica Kuth Russell Gwendolyn Simmons Kathleen Sheehan Cyndee Socci Julie Siegmund Susan T. Sommer Kath ryne Si ngleton Laurie Yorr Abigael Upton Margaret Young

BROOKLYN YOUTH CHORUS Artistic Director Dianne Berkun

CHORISTERS Alysia Dagrosa Quinn Kostman Danai Pointer Ismail Amin Gillian DeLucia Martine Lessage Jessica Rios Jennifer Barber Ekela Dixon Katheri ne Lewi n Molly Ruben-Long Khadijah Bermiss Katherine Dutko Gabriela Martinez Umi Shakti Zya ire Boyce Madeleine Ehrlich Monisha Matheson Renee Stiell Daria Branch Ashley Finigan Brenda Mathisen Zanella Taylor Hannah Brodlie Shimeeka Foy Rachel McCullough Anneka Turner Margaret Cassetto Anna Goldblatt Dexter Mckenzie Vilana Viteri Melanie Charles Shelly R. Hall Xavier Moses Gloria Viveros Christopher Choudhry Stacia Harrison Lyn Muhleisen Da niel Wentworth Emma Conroy Denise Hughes Sasha Nutgent Shavonne Williams Mary Liz CritchlOW Khadeja Jallo Karen O'Donoghue Melanie Willis Desiree Cummings Cassidy Knowlton Elizabeth Perley Sarah Amalia Woo

32B ~A/bo', \ALbo _

Philip Glass (composer, keyboards), born in Nirmanakaya was commissioned by and premiered Baltimore in 1937, discovered music in his father's at the Salzburg Festival in August 1999 with sup­ radio repair shop. He began playing the violin at port from BAM. Philip Glass is managed by age six, and became serious about music upon tak­ Dunvagen Music. ing up the flute at eight. During his second year in high school, he applied and was accepted to the Dennis Russell Davies (conductor) served as princi­ University of Chicago. With his parents' encourage­ pal conductor of the Brooklyn Philharmonic ment, he moved to Chicago and supported himself Orchestra from 1990-96. He is one of the most with part-time jobs waiting tables and loading air­ innovative and adventurous conductors in the clas­ planes, eventually earning degrees in mathematics sical music world, and has succeeded in challeng­ and philosophy. By the time he was 23, he had ing and inspiring audiences on both sides of the studied with Vincent Persichetti, Darius Milhaud, Atlantic. He is currently chief conductor of the and William Bergsma and had rejected serialism in Vienna Radio Symphony Orchestra, chief conductor favor of such maverick composers as Harry Partch, of the Stuttgart Chamber Orchestra, professor of , , Henry Cowell, and Virgil orchestral conducting at the Salzburg Mozarteum, Thomson. Sti II sea rch ing for his own voice, he and is concluding his tenure as music director of moved to Paris for two years of intensive study with the American Composers Orchestra. Nadia Boulanger. There, he was hired by a film­ maker to transcribe the Indian music of Ravi Dennis Russell Davies' 2000-2001 season is high­ Shankar into notation readable by French musi­ lighted by fall appearances opening the Bruckner cians, and in the process discovered the techniques Festival in Linz and guest conducting the of Indian music. Promptly renouncing his previous Concertgebouw in Amsterdam. Later in the season music, he began applying Eastern techniques to his he conducts the world premiere of Kurt Schwertsik's own work. By 1974 he had composed a large col­ opera Katzlmacher at the Vienna Festival. At lection of new music for the theater company , he continues his three-year/eleven­ Mabou Mines (which he co-founded) and for his concert project reflecting his view of the 20th own performing group, the Philip Glass Ensemble. century through American themes. With the This period culminated in Music in 12 Parts, a four­ Stuttgart Chamber Orchestra he continues his ongo­ hour summation of his new music, and reached its ing ten-year project performing and recording all apogee in 1976 with Einstein on the Beach, a four­ 107 Haydn symphonies in partnership with and-a-half hour epic opera with Robert Wilson, now Mercedes-Benz. seen as a landmark in 20th-century music-theater. Since Einstein he has composed operas, film Among Davies' prolific recordings are Philip Glass' scores, symphonrc works, string quartets, and recently released Symphony No.5, as well as two music for dance and theater pieces. Current and additional CDs of works by Glass. recent projects include: Monsters of Grace and White Raven, both collaborations with Robert The Brooklyn Philharmonic Orchestra, under Wilson; Les Enfants Terribles, a dance/theater work the artistic vision of music director Robert Spano, with choreographer Susan Marshall and the third has emerged as one of the nation's premier and final piece in his operatic Cocteau trilogy; music ensembles and continues to be a vital "Heroes" Symphony, a new work based on the presence in the cu Itu ra IIife of the New York met­ music of David Bowie and Brian Eno also used for ropoitan area. "Robert Spano's innovative pro­ a ballet choreographed by Twyla Tharp; and film gramming has turned the Brooklyn Philharmonic scores including Martin Scorsese's Kundun and an Orchestra from a respected ensemble in an outer original score for the re-release of the 1930s classic borough into an essential contributor to the cul­ film Dracula, starring Bela Lugosi. Dracula: The tural life of greater New York," (Anthony Music and Film premiered live in 1999 with Philip Tommasini, the New York Times, February 9, Glass and the , and was performed 2000). Audiences have embraced the Brooklyn in that year's Next Wave Festival. In spring of 2000 Philharmonic Orchestra's commitment to the BAM presented Philip on Film, a mini-festival concept of the orchestra as a contemporary per­ featuring the Godfrey Reggio films Koyaanisqatsi formance ensemble, emphasizing-as in the and Powaqqatsi. Symphony NO.5 Requiem, Bardo, decades of Beethoven and Brahms-important 32C ~I\Lbo', ~I\Lbo:...-.-- __

present-day music. The Philharmonic has per­ received a nomination from the NAACP Awards for formed more than 150 premieres, including 60 her moving portrayal as Clara in Houston Grand commissions. Opera's production of Porgy &Bess, which trav­ elled to San Francisco, La Scala, the Bastille, In addition to its regular season of subscription Tokyo, and elsewhere. She made her debut at Alice concerts, the Brooklyn Philharmonic Orchestra Tully Hall with the Little Orchestra Society's evening serves New York's most populous borough with of Vivaldi arias. In addition to receiving rave diverse programs, including symposiums, educa­ reviews for Chicago Opera Theater's Jewel Box, she tional programs, and free community concerts. was also selected by Bruno Bartoletti, Lyric Opera's The Brooklyn Philharmonic Orchestra was founded former artistic director, to appear with the Orchestra by conductor Siegfried Landau in spring 1955. della Toscana. She was chosen as one of four Landau programmed many premieres during his Opera Center artists to be showcased at the tenure, and from the beginning embraced the Ch~Helet in Paris. She was awarded the Richard Brooklyn tradition of new and adventurous pro­ Gold Career Grant from Lyric Opera, was selected gramming dating back a century to the era of for Opera Now's IlWho's Hot in Opera," and has Theodore Thomas. received various grants from several competitions.

These concerts are the first of the Philharmonic's Stephan Macleod (bass-baritone) was born in 2000-2001 season. Entitled Liebestod, the six Geneva. After studying violin and piano for ten years programs explore music of love and loss, ecstasy at the Conservatoire de Musique de Geneve, he and pain, passion and abandonment. began vocal lessons with Michele Moser, and has Information on the season is available at studied singing with Ursula Buckel (Geneva) and www.brooklynphilharmonic.org. Kurt Moll (Koln, Musickhochschule). He currently studies with Gary Magby (Lyon). He has won Matthew Frey (lighting designer) recently numerous competitions in Switzerland, including the designed the premiere of Maria Irene Forne's new Migros prize (Zurich, 1994) and the FVS prize play Letters. from Cuba at the Signature Theatre. (Hamburg), and performed solo in many cities in He worked last season with the Brooklyn Europe and Japan. MacLeod has sung as a soloist Philharmonic Orchestra on Strings of War, Nixon with many noted groups, including Musica Antiqua in China, and Afterhours, as well as the Koln, Bach Collegium Japan, Freiburger 1997-98 semi-staged production of The Barokorchester, the Royal Philharmonic Orchestra of Damnation of Faust. He designed Steve Reich Flanders, and l'Orchestre de Chambre de Lausanne. and Beryl Korot's Hindenberg at BAM and at the His repertoire extends from Renaissance through Spoleto Festival USA; and The Cave in New York, Baroque to Honegger, and includes lieder and operas Tokyo, and Irvine, California. Other credits include such as Purcell's King Arthur, Britten's A Madame Butterfly, Tales of Hoffmann, and the Midsummer Night's Dream, and Monteverdi's Orfeo. American premiere of Ligeia directed by Edward He has made a number of radio and CD recordings. Berkeley at the Aspen Opera Theatre. Frey collab­ orates regularly with the New York Theatre John McVeigh (tenor), a Connecticut native, made Workshop, Shakespeare Theater, Center Stage, his Metropolitan Opera debut in Turandot (997), Dallas Theatre Center, Long Wharf Theatre, and and soon after sang in Carlisle Floyd's Susannah Jewish Repertory Theatre, among others. there. He performed in Billy Budd (Los Angeles Music Center Opera; Houston Grand Opera) and Kimberly E. Jones (soprano) is an alumnus of the has sung in numerous Handel operas, including Lyric Opera Center for American Artists. Her roles Partenope (Glimmerglass Opera, at the prestigious Lyric Opera of Chicago include: Opera, and in his forthcoming European opera the slave girl, Margru, in Anthony Davis' world pre­ debut at the Gottingen Handel Festspiele in miere of Amistad; the feisty Olga in Fedora; Germany). McVeigh has sung in Mozart's Idomeneo princess Xenia in Boris Godunov; and student mati­ in his Santa Fe Opera debut, where he returns next nee performances of the spitfire Despina in Cosl summer in Richard Strauss' Die aegyptische fan tutti. At Grant Park she portrayed Adele in Die Helena. He is a graduate of the Houston Grand Fledermaus and Zerlina in Don Giovanni. Jones Opera Studio, where he performed in Romeo and

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Juliet, Die Zauberfl6te, and Michael Daugherty's 1997 he appeared as guest soloist with the Boston Jackie 0; McVeigh created the role of Will Tweedy Pops for its nationally televised Fourth of July cele­ (composed for the artist) in the world premiere of bration. He has also been a guest artist at the Carlisle Floyd's Cold Sassy Tree this past season. Marlboro Chamber Music Festival for two years, the Munich Biennale, the Savonlinna Opera Festival in Upcoming opera appearances include Billy Budd Finland, and the Chicago Jazz Festival. Solomon­ (Lyric Opera, Chicago) and Otello (Florida Grand Glover recently starred as Joe in Hal Prince's Tony Opera). He will reprise a role from A Little Night Award-winning national tour of Showboat. His stir­ Music at the Utah Opera in 2002, and will perform ring rendition of 1101' Man River" caused a sensation in Cold Sassy Tree in his San Diego Opera debut for two years in the same production on Broadway. next season. McVeigh has made extensive concert Last season he appeared at Carnegie Hall as bari­ appearances and is a graduate of the Eastman tone soloist in Hindemith's When Lilacs Last in School of Music. He studies with Rita Shane. the Dooryard Bloom'd with conductor Dennis Russell Davies and the American Composers Anne C. Patterson (visual consultant/designer) has Orchestra, and at Avery Fisher Hall with the collaborated with the Brooklyn Philharmonic Concordia Orchestra as baritone soloist in Richard Orchestra on sets and costumes for the production Einhorn's Voices of Light. In July 2000 he was of by Thomas Ades, and the con­ chosen to perform at the dedication ceremony of certs Strings of War, Nixon in China, and the Aaron House. As a student of art Afterhours. She has designed operas at the Aspen song, Solomon-Glover has studied with Virgil Opera Theater Center, including the American pre­ Thomson, Adele Addison, , Jorma mieres of Ligeia (Augusta Read Thomas), King of Hynninen, and Robert McFerrin, among others, Hearts (Michael Torke), and Belladonna (Bernard and won the Joy in Singing prize in 1990. Rands). In New York her work has been seen at Alice Tully Hall, the Joyce Theater, and BAM, Milagro Vargas (mezzo-soprano) was a soloist with among others. She has designed for a number of the Stuttgart Opera until 1992. She also appeared organizations, including Pacific Northwest Ballet, at Berlin's Komische Oper, the Heidelberg Houston Ballet, the Kennedy Center, and the Schlossfest, Opera de Paris Bastille, and Moscow's National Theatre in London. Patterson has collabo­ Bolshoi Theater. Orchestral engagements include rated with many such leading artists as Michael the Philadelphia Orchestra, , Los Moschen, Edward Berkeley, Terrence McNally, and Angeles Philharmonic, Beethoven Halle Orchestra, Wendy Wasserstei n. Staatsorchester Stuttgart, and Saint Luke's Chamber Orchestra. An avid proponent of vocal chamber Patterson received a bachelor's degree in architec­ music, her appearances include Da Camera of ture from Yale University and a master of fine arts Houston, Chicago Chamber Players, the Folger degree in theater design from The Slade School of Consort, and festivals at Aspen, Marlboro, and Art in London. Bard. Vargas has recorded Zimmermann's (Teldec), Maderna's Satyricon (Harmonia Andre Solomon-Glover (baritone) has developed an Mundi), Glass' Akhnaten (CBS/Sony), Penderecki's international career singing repertoire that ranges Credo (Haenssler), and most recently received criti­ from the roots of American opera and song to cal acclaim for her recording of Ma Moss in groundbreaking contemporary works. His diverse Copland's for Koch, also per­ operatic roles have included Escamillo in Carmen, formed this summer at the Cabrillo Festival. the title role in Rigoletto, Porgy in a 35-city North American tour of Porgy and Bess, and numerous Highlights from recent seasons include Bach's leading roles written specifically for him. Solomon­ B-minor Mass with the Real Filharmonia and

Glover, an American cited by critics as lIa remark­ , Copland's Emily Dickinson Songs ably communicative performer," has made solo with Orpheus Chamber Orchestra, and appearances in major halls throughout the United Hindemith's When Lilacs Last in the Dooryard States and Europe and has performed with such Bloom'd with Amercan Composers Orchestra ensembles as the Leipzig Gewandhaus Orchestra under Dennis Russell Davies. A native of New and the Philadelphia Orchestra. In the summer of York, Vargas completed her undergraduate degree at 33 \I\/bo'c: \1\/001.----__ the Oberlin School of Music with Helen Hodam and Bach's Magnificat and Handel's Israel in Egypt, to master's degree at the Rachmaninoff's Liturgy of Sf. John Chrysostom with Jan DeGaetani. Vargas joined the University of and Arvo Part's Miserere. In 1999 The Dessoff Oregon School of Music faculty in 1992. Choirs received the ASCAP/Chorus America Award for adventurous programming. Dessoff is also noted The Brooklyn Youth Chorus (BYC), now in its ninth for its world-premiere performances, including Paul season, was founded with a mission to help young Moravec's Songs of Love and War, which is fea­ people of all backgrounds realize their potential as tured on the chorus' recently released recording musicians and as individuals. Reflections. Last spring at Alice Tully Hall the ensemble performed the world premiere of Marshall The Chorus has performed at , Coid's Whitman Cantata, the winner of The Dessoff Carnegie Hall, Madison Square Garden, Abyssinian Choirs' 75th-Anniversary Prize, an invitational com­ Baptist Church, St. Patrick's Cathedral, City Hall, petition for new choral work. The White House, and England's Canterbury Cathedral. Last year BYC performed with the Dessoff is heard frequently in New York concert Orchestre Symphonique de Montreal at Carnegie halls in performances with such world-class Hall and will do so again this season. In the past as the , Mostly year BYC has performed with popular singers Mozart Festival Orchestra, American Symphony Barbra Streisand, Judy Collins, and Brandy, and has Orchestra, , and the appeared on The Rosie O'Donnell Show and The Cleveland Orchestra. Last May the ensemble per­ Later Today Show. Tours and honors include artists­ formed with Marilyn Horne as part of a benefit for in-residence at the CME Institute for Choral the Diller-Quaile School of Music. In May 1999 Education in Canterbury, England, 1996; a silver the Choir appeared at BAM with the Brooklyn medal for artistic and technical merit at the Des Philharmonic Orchestra for performances of Moines International Children's Choir Festival, Mahler's Second Symphony. 1997; a two-week tour of Russia, 1999; and the International Choral Kathaumixw in British This season Dessoff will present three concerts: a Columbia with a tour of Vancouver Island, 2000. program of German Baroque masterpieces, featuring works by the Bach family and Heinrich Schutz; an Dianne Berkun, founder and artistic director of the afternoon devoted to 20th-century American com­ Brooklyn Youth Chorus, is active as a guest con­ posers, including Persichetti, Argento, Paulus, and ductor and master teacher for workshops and festi­ Lauridsen; and Ode to Music, featuring works by vals. She has been director of music for Brooklyn Vaughan Williams, Britten, Kodaly, and Hoiby. Visit Friends School, and served as a consultant in the www.dessoff.org for information. public schools. Berkun earned a bachelor's degree in music education and piano, magna cum laude, Kent Tritle, since his appointment as music director from New York University. She studied conducting of The Dessoff Choirs in 1996, has prepared the and theory at the Mannes College of Music, and Symphonic Choir for concerts with Leonard Slatkin, holds a graduate diploma in the Kodaly Concept Gerard Schwarz, Robert Spano, Michael Tilson from the University of Calgary, as well as an artist­ Thomas, and . He is music director of teacher diploma from the CME Institute. Berkun the Sacred Music in a Sacred Space concert has been honored by the YWCA of Brooklyn as a series, which he founded ten years ago at the Woman of Distinction. Church of St. Ignatius Loyola, where he is director of music ministries. Tritle is principal organist of the The Dessoff Choirs, founded in 1924 by American Symphony Orchestra and has performed Margarethe Dessoff, has established a reputation for with the New York Philharmonic and many of the pioneering and acclaimed performances of choral conductors on that orchestra's roster since 1994. works from the pre-Baroque through the 20th cen­ He has made numerous recordings, tours Europe tury. Kent Tritle, in his fifth season as music director, regularly as an organ recitalist, and has served on has continued the Dessoff tradition of presenting a the faculty of The since 1996. diverse and challenging repertoire, from C.P.E.

34 Brooklyn Academy of Music Henry Christensen III John Lipsky Ex-Officio Beth Rudin DeWoody Laurie Mallet Hon. Rudolph Giuliani Chairman Charles M. Diker Cathy-Ann Martine Hon. Howard Golden Bruce C. Ratner Robert W. Donohue Martin F. Mertz Hon. Herbert E. Berman Vice Chairman Brendan J. Dugan Sarah G. Miller Hon. Schuyler G. Chapin Alan H. Fishman Mallory Factor John Morning Rona Id E. Fei ner, Esq. Jonathan Newcomb BAM Archive Chairman President Thomas A. Florio Timothy U. Nye Barbara B. Haws, C.A. Karen Brooks Hopkins Susan Foote Evelyn Ortner Chairman of the Robert L. Forbes Steven C. Parrish BAM Endowment Trust Executive Committee Michael Fuchs David L. Ramsay, M.D., William I. Campbell Robert M. Greenberg M.Ed. Chairman Charles J. Hamm Jonathan F.P. Rose Richard B. Fisher Secretary Rita Hillman Samuel H. Scripps Joseph V. Melillo Dr. Edison O. Jackson John C. Simons Vice Chairman Mary Kantor Paul Smith, D.Min. Norman L. Peck President Emeritus Stanley H. Kaplan Nora Ann Wallace Harvey Lichtenstein James E. Kelly Franklin R. Weissberg Members Manny Kladitis Vaughn C. Williams, Esq. Henry Christensen III Members Andrew K. Klink Anthony T. Dean Robert J. Baker Dan Klores Honorary Trustees Alan H. Fishman Jerome Brunei I. Stanley Kriegel Seth Faison Charles J. Hamm Norman J. Buchan Edgar A. Lampert Leonard Garment, Esq. Elizabeth Holtzman Neil D. Chrisman Katherine C. Linder Nora Ann Wallace

Karen Brooks Hopkins Executive Producer's Office Harriet L. Wei! James Kehoe President Stonie Darling Fiscal Manager Head Carpenter, HT Joseph V. Melillo Assistant to the Mario LaMothe Lewis Resnick Executive Producer Executive Producer Project Manager Head Electrician, HT Alice Bernstein Yasmin Lauz Greg Picard Bill Horton Jr. Executive Vice President & Administrative Assistant Project Coordinator Master of Properties, HT General Manager Charisse Williams Henry Beckman Nancy Blechman Education and Humanities Administrative Assistant Utility Man Vice President for Finance Jayme Koszyn Alison Dabdoub and Chief Financial Officer Director of Education Production Sound Engineer, HT Peter Gee and Humanities Colman Rupp Ernest Southerland Vice President for Lynne M.H. Hutton Director of Production House Maintenance Operations Assistant Director John McGovern Jeffrey Levine Joe Salvatore Associate Production Artist Services Vice President for Marketing Education and Manager Mary Reilly and Communications Humanities Manager Don Coleman Director of Artist Services Lynn M. Stirrup Harold Lehman Assistant Production Danielle Dybiec Vice President for Planning Program Associate Manager Ch risti na Wa Ish and Development Joel Alleyne Holly Drastal Artist Services Alicia House Laura Steib Representatives Interns Production Coordinators President's Office Theater Management Kimberly Reynolds Betsy Carroll Programming and Curatorial Bob Riordan Assistant to the President Production Office Manager Lane F. Czaplinski Theater Manager Michele Abeles Program Manager Stage Crew Christine Gruder Executive Manager, Wayne Ash ley Thomas Paulucci Associate Theater Manager BAMcinematek Manager of New Media Crew Chief Sonia Clayton Cyrus Similly BAM Rose Cinemas Adrienne Mancia Jacqueline David Film Curator at Large Head Carpenter, OH Bernadine Thomas Efi Shahar Timothy Fuller Cinema Manager Florence Almozini Theater Staff Supervisors Associate Film Curator Flyman,OH Patrick Conlon Michelle Puissant James D'Adamo Assistant Cinema Manager Limor Tomer BAMbus Manager BAMcafe Programming Head Electrician, OH Heava Lawrence Finance and Administration Danny Kapilian Jack Gelbart Associate Cinema Manager Andrea Scala Nellis Music Consultant Electrician, OH James Hicklin Controller Sharon Lehner Howard Larson Michael Katz Katina Jackson Archivist Master of Properties, OH Jeff Winfield Carl Wurzbach Director of Human Projection ists General Management Sound Engineer Resources Patrick J. Scully Mary Lou Houston Claudette Griffith Associate General Manager Wardrobe Supervisor Accounting Manager 41 James Patrick Matthew James Tamara McCaw Henriette Huldisch Budget Manager Ron Rathan Audience Development Sponsorship Intern Cynthia Smith Winston Smith Coordinator Payroll Manager Kila Packett Fiscal Unit Tonya Cobb Harvey Theater Publicity Associate Edward J. Dixon Tiffany Nguyen Barry Jackson Susan Yung Fiscal Manager Fiscal Coordinators Building Services Publications Manager Robin Bowie Gregoriana Isaac Supervisor Fiscal Administrator Ticket and Customer Services Administrative Assistant! Rendell Blount Irene Chow G. Scott Kubovsak Human Resources Associate Ismael Colon Fiscal Coordinator Director of Ticket and Alexanne Pemberton Shawn David Claudia V. Bailey Customer Services Accou nts Paya ble Richard James Fiscal Intern Robert M. Speck Bookkeeper Dave Smith Ticket Services Manager Membership Latasha White Lionel Stevens Jose Noel Vega Barbara Olsen Intern Abram Wilson Telemarketing Manager Director of Individual Giving Diana Frazier Information Technologies Royda C. Duncan Aimeelyn Calandria Receptionist and Lloyd Nesbitt Tickets Services Membership Manager Administrative Assistant Director Assistant Manager Kozue Oshiro Diana Harris Patrick Moody Jessica Desmond Membership Coordinator Intern Technical Support Manager Wendell Francis Jeong-Yeun Yang Operations Roger Gray Stacyann Gibson Membership Assistant Jack Dobson Silvio Niculescu Angela Johnson Patron Services Director of Operations Analysts Michael Mitchell John W. Holmes Sanya Beard Sheronda Nicks Capital Projects Trainer Patron Services Manager Albert Reefer Gaytrina Odom Alexander Nizich Brian Grundstrom Lillian Odom Construction Coordinator Programmer Patron Services Coordinator Joseph O'Hara Sharell Rogers Rachel Feinberg Ki rtley Thorne Fiscal Coordinator Marketing and Daman Harun Communications Ticket Services Patron Services Assistants Building Operations Box Office Rep resentatives Israel Moreno Ellen O. Anderson Audrey Ali Special Events Director of Security Treasurer Trina Evans Lori O'Keefe Victor Navarro Fred Dorso Sam Gordon Special Events Manager Facilities Manager First Assistant Treasurer Dominique Jeudy Levke Haas Eddie Morales Marsha Rosenberg Eric Levy Courtney Reilly Security Operations Manager Victor A. Jouvert Janet McMannis Special Events Coordinators Daniel J. Dier Kevin McLoughlin Don Pellone Building Services Assistant Charlie Dolce Telemarketers Accountants Assistant Treasurers Deloitte and Touche LLP HVAC and Repair Services Planning and Development Lazzaro Curato Elizabeth Bias Bookseller HVAC Supervisor Design Jason Ring Development Assistant Shakespeare & Co. Angel Ova lies Deborah Bowie Anthony Shields Di rector of Design Design Consultant James Harley Receptionist!BAMart Pentagram Courtney Harris Coordinator Brett Wood Senior Designer Camilo Rojas-Lavado Richard Serrano House Photographer Security Junior Designer Research Manager Stephanie Berger Melvin Patterson Matthew Buchholz Endowment Shirley Phillips Immigration Counsel Project Manager Denis Azaro Supervisors Jonathan Ginsburg, Endowment and Kenneth Aguillera Marketing Fettman, Tolchin and Majors, PC Development Director Damon Armstrong Shana Mathur Nanette Fuentes Insurance Egerton Kelly Director of Marketing Campaign Coordinator and Marsh USA Inc. Dwight Richardson Lucinda Montgomery Office Manager Senior Attendant Guards Marketing Manager Legal Counsel Albert Brown Charlotte Brathwaite Grantwriting Kaufmann, Feiner, Yamin, Terrence Caldeira Marketing Associate Matthew Bregman Gildin & Robbins Collie Dean Communications Institutional Giving and Theophilus Johnson Development Di rector Medical Consultant Elena Park Jonathan Lorch, M.D. Tanya Odom Director of Communications Anna Kalbitzer Dennis Santiago Melissa Cusick Grants Coordinator Restauranteur Sharon Underwood Senior Public Sarah Burtis TENTATION K. Williams Relations Manager Grants Assistant Attendant Guards Dewonnie Frederick Sponsorship Custodial Services Public Relations Assistant! M. Lourdes Marquez Ramon Cabassa Bazaar Coordinator Sponsorship Director Barry Jackson Amy Hughes Angie Comiteau Supervisors Publicity Manager Sponsorship Manager Calvin Brackett Nicki Lilavois Cecile Campy Franklin Fernandes Cinema Press and Sponsorship Assistant Harold Heath Promotion Manager

42 The Campaign for BAM was initiated in 1992 to create Phase Two (1996-2000) has combined operating, endow­ Brooklyn Academy of Music's first endowment. Phase One ment, institutional development, and building renovation (1992-95) established a $12 million nucleus which has needs into one unified effort. The continued expansion of provided BAM with a strong financial foundation and sup­ the endowment is critical to the success and future of ports all BAM operations through annual distributions of BAM. BAM sincerely thanks the many contributors who interest income. have made major gifts to the endowment effort.

Endowment

$1,000,000 and above Jonathan F.p. & Diana Independence Community The Isak and Rose Doris Duke Charitable V.C. Rose Bank Weinman Foundation Foundation Annie Leibovitz & Studio in honor of Emily H. Fisher $250,000 and above Leo Burnett, USA Madame Lilliana Teruzzi Richard B. Fisher The Bohen Foundation The Morgan Stanley Dean Anonymous The Ford Foundation Fund The Charles and Valerie Witter Community and to Support Collaborative Diker Dance Educational Fund $25,000 and above Creativity Among U.S. Endowment Fund J.P. Morgan & Co. Amanda M. Burden Artists The Horace W. Goldsmith Incorporated Gerard Conn & Carol Yorke The Howard Gilman Foundation May & Samuel Rudin Brendan & Barbara Dugan Foundation Alex Hillman Family Family Foundation Mr. & Mrs. G. Martin Fell Philip Morris/Next Wave Foundation Mr. & Mrs. Ame Vennema Forbes, Inc. Forward Fund Maxwell Family Fund in Verizon Communications William & Mary Greve Bruce C. Ratner Community Funds, Inc. Anonymous Foundation The Peter Jay Sharp Fund The Andrew W. Mellon Mr. & Mrs. Sidney Kantor for Opera and Theater Foundation $50,000 and above Miriam E. Katowitz & Lila Wallace-Reader's Robert & Joan Catell Arthur J. Radin Digest Endowment Fund $100,000 and above Kathleen & Neil Chrisman Rosemarie & Francis J. for Community, Michael Bailkin, Marvin Mr. & Mrs. Henry Kazeroid Educational, & Levine, Jesse Masyr, Christensen III Charlotte & Stanley Kriegel Public Affairs Programs David Stadtmauer European American Bank Ticket Assistance Fund William I. Campbell & HSBC Bank USA Mr. & Mrs. Edgar A. $500,000 and above Christine Wachter Rita J. & Stanley H. Kaplan Lampert Judith R. & Alan H. The Harkness Foundation Foundation, Inc. W.P. McMullan & Fishman for Dance KeySpan Foundation Rachel McPherson Michael Bancroft Goth Francena T. Harrison John Lipsky & Zsuzsanna S. Robert C. Rosenberg Endowed Annual Performance Fund Karasz The Marion Petschek Smith Performance Fund William Randolph Hearst Evelyn & Everett Ortner Fund for Choreographers Mary & Jim Ottaway Jr. in Endowment for Arthur Ross Foundation honor of Ruth Education and Lindsay & Brian Shea Listing as of Blackburne Ottaway Humanities Programs The Starr Foundation August 1, 2000

The Ford Foundation Challenge In May 2000 The Ford Foundation awarded BAM a new Please help BAM to achieve the matching goal by calling $1 million grant to support the endowment campaign, to BAM Membership at 718.636.4194 and making a special establish a cash reserve, and to help fund the commission­ three-year pledge over and above your current giving to BAM. ing and presentation of new works by American artists. Gifts of appreciated stock are very welcome and can save To earn the $1 million grant from The Ford Foundation, you from capital gains tax. Ask our Membership represen­ BAM must raise matching funds totaling $3 million by June tative to fax or mail you details and a stock transfer form. 2003. Most importantly, the matching funds must be raised from new and/or increased gifts from individuals. Thank you in advance for considering a special gift to help BAM meet The Ford Foundation Challenge and secure BAM's future!

43 BAM sincerely thanks its many contributors listed below whose notation (E). BAM VIP individual supporters are noted (NS) for gifts over the past year are greatly appreciated. This listing pri­ Next Society. Members of BAM Patron Councils are identified marily recognizes support for BAM's annual operating needs as Chairman's Circle (CC) and Producers Council (PC). and also acknowledges endowment contributions with the

$500,000 or more The Chase Manhattan Bank (E) Dime Savings Bank Jean and Louis Dreyfus Brooklyn Borough President Citigroup of NewYork, FSB Foundation, Inc. Howard Golden Robert Sterling Clark Etant donnes, the French­ Max & Victoria Dreyfus Brooklyn Delegation of the Foundation American Fund for the Foundation NewYork City Council Con Edison Performing Arts Eastern Exterior Wall Doris Duke Charitable Credit Lyonnais Mr. & Mrs. G. Martin Fell Systems Inc. Foundation (E) The Gladys Krieble Delmas (E) (NS) Fidelity National Title The Ford Foundation (E) Foundation Senator Roy M. Goodman Finlay Printing The Howard Gilman Charles & Valerie Diker (NS) Charles Hayden Foundation Mr. Michael Fuchs (PC) Foundation (E) The Educational Foundation of Kaufmann, Feiner, Yamin, The Georgetown Company Lucent Technologies America Gildin & Robbins Ann and Gordon Getty New York City Department of Fleet Bank Rosemarie & Francis J. Foundation Cultural Affairs Agnes Gund & Daniel Kazeroid (E) GGMC Parking, LLC New York City Department of Shapiro (NS) Dan Klores (NS) Goethe-Institut New Design and Construction The Francena T. Harrison J.P. Morgan & Co. Incorporated York/German Cultural Center Jonathan F.P. & Diana V.C. Foundation Trust E. Nakamichi Foundation Goldman, Sachs & Co. Rose (E) (NS) The Hearst Foundation, Inc. (E) Michael Palm Foundation Jonathan M. Goldsmith (E) (CC) The Peter Jay Sharp HSBC Bank USA Jeffry M. & Barbara Picower The Green Fund Inc. Foundation (E) KeySpan Foundation Foundation The Greenwall Foundation The Lepercq Foundation The Barbro Osher Pro-Suecia William & Mary Greve $100,000 or more John Lipsky & Zsuzsanna S. Foundation Foundation (E) (CC) Andersen Consulting Karasz (E)(NS) The Righteous Persons The Helen Hotze Haas AT&T MAT Foundation Foundation Foundation Deutsche Bank The Joyce Mertz-Gilmore River Cafe Buck Henry (NS) European American Bank Foundation May and Samuel Rudin Family Heritage Air Systems, Inc. Richard B. Fisher & Metropolitan Life Foundation Foundation, Inc. The Hyde & Watson Foundation Jeanne Donovan Fisher (NS) The Ambrose Monell Foundation The Scherman Foundation, Inc. Integrated Services Corp. Judith R. & Alan H. Morgan Stanley Dean Shaya B. Developers JLS Industries Inc. Fishman (NS) Witter & Co. The Silverweed Foundation Mr. William Josephson & Forest City Ratner Companies National Endowment for The Harold and Mimi Steinberg Ms. Barbara Hawes French Ministry of Foreign the Arts Charitable Trust Mary Yung Kantor (E) (CC) Affairs through AFAA and Natural Heritage Trust Joseph and Diane Steinberg Rita J. and Stanley H. Kaplan the Cultural Services of the The New York Israel Cultural Foundation Foundation French Embassy in New York Cooperation Commission & E.M. Warburg, Pincus Lehman Brothers The Horace W. Goldsmith The Consulate General of & Co., LLC Lehrer McGovern Bovis Foundation Israel in New York, Office of The Foundation for The Dorothea L. Leonhardt The Florence Gould Cultural Affairs Music, Inc. Lehrer McGovern Bovis Foundation The Edward John Noble The Robert W. Wi Ison Foundation, Inc. The Harkness Foundation for Foundation Foundation, Inc. Liberty Marble, Inc. Dance (E) RIGA Interactive Madison Magazine Rita Hillman (NS) Mr. & Mrs. Samuel H. Scripps $10,000 or more Mark Asset Management Corp. Independence Community Serge Sorokko Gallery A. Williams Construction Mr. & Mrs. Hamish Foundation Time Warner Inc. Academy Foundation Maxwell (NS) The Andrew W. Mellon Verizon Communications The Aeroflex Foundation Sarah Gaines Miller (E) (NS) Foundation (E) The Isak and Rose Weinman Allstate Insurance Company Edward S. Moore Foundation MetroTech Downtown Fund Foundation, Inc. (E) American Friends of Les Arts Henry & Lucy Moses Fund, Inc. New York Marriott Brooklyn Nora Ann Wallace & Jack Florissants Nastasi & Associates, Inc. New York State Council Nusbaum (NS) American Stevedoring, Inc. National Foundation for Jewish on the Arts Lila Wallace-Reader's Digest Asia Society Culture and the UJA The New York Times Company Opera for a New America, a Asian Cultural Council Federation Foundation, Inc. project of OPERA America ASM Mechanical Systems New England Foundation for Jim & Mary Ottaway (E) (NS) The Joseph LeRoy & Ann C. AXA Foundation the Arts Philip Morris Companies Inc. Warner Fund The Barker Welfare Foundation New York Land Services, Inc. The Rockefeller Foundation Bear Stearns & Co., Inc. The New Yorker The Fan Fox & Leslie R. $25,000 or more BMG Entertainment Laura Pels Foundation Samuels Foundation, Inc. British Airways The Bohen Foundation Pfizer Inc. The Shubert Foundation, Inc. British Council USA Neil & Kathleen Chrisman (NS) PLN Contracting, Inc. The Starr Foundation (E) The Louis Calder Foundation Mr. & Mrs. Henry Christensen III David L. Ramsay, M.D., The Norman & Rosita Winston William I. Campbell & (E) (CC) M.Ed. (NS) Foundation Christine Wachter (NS) Coca Cola Enterprises of Arthur Ross Foundation, Inc. (NS) $50,000 or more Mary Flagler Cary Charitable New York Helena Rubinstein Foundation The Vincent Astor Foundation Trust The Fund for Schindler Elevator Company Estate of Bettina Bancroft (NS) The Eleanor Naylor Dana Music, Inc. Schroder & Co (NS) Bloomberg Radio AM 1130 Charitable Trust Discover General Contracting Schulte Roth & Zabel, LLP Bowne of New York The Irene Diamond Fund, Inc. Donaldson Acoustics Co. Inc. The Evelyn Sharp Foundation

44 Liliane Soriano (E) New York Stock Exchange Beth Rudin DeWoody & Paolo RG. Peterson & Ellen Flamm Titleserv NY Foundation Marco Pellegrini (CC) (E) (CC) Trust for Mutual The New York Times Frederick N. Doner (CC) The Polen Foundation (E) Understanding Advertising Department Ms. Susan S. Egan (E) John M. Powers Jr. (CC) Michael C. Tuch Foundation, Inc. Eliot Nolen & Tim Bradley Dwight & Ann Ellis (E)(CC) Prince Carpentry, Inc. Turner Construction Company (E) (NS) Empire City Iron Works Anne S. Richardson Charitable Universal Family and Home Norcross Wildlife Foundation Christina Enriquez-Bocobo & Trust Entertainment and Universal Nortel Networks Cody Smith (CC) Ripco Real Estate IV Corp. (E) Studios Home Video Mr. & Mrs. Everett H. Ortner (NS) Seth S. & Sara R Faison (PC) David Rockefeller (CC) Viacom Inc. Perkins Eastman Architects, P.C. Federal Electrical Supply Mr. & Mrs. Theodore C. Vibe Magazine William E. Phillips & Barbara Corporation Rogers (CC) Lila Wallace-Reader's Smith (E) Ronald E. Feiner, Esq. Mr. & Mrs. Clifford Ross (CC) Digest Fund Plaza Construction Corporation Barbara J. Fife (CC) Martha A. & Robert S. Rubin Vaughn C. Williams, Esq. (NS) Quebec Government House Ronald Finkelstein (CC) (CC) Woodcock Foundation (E) (CC) Regal Cinemas Thomas Florio & Lori Saks Fifth Avenue (CC) Wurth U.S.A., Inc. James E. Robison Foundation Zelikow (CC) Severud Associates Estate of Martha Zalles Billy Rose Foundation, Inc. Rona & Joseph Forstadt (CC) P.J.S. Simpson (CC) Zwicker Electric Co., Inc. Mr. & Mrs. Richard J. Fred Geller Electrical Brian &Lavinia Snyder(CC) Schwartz (NS) Betty Freeman (CC) Melissa & Robert Soros (CC) $5,000 or more Securities Industry Automation Fresh Meadow Mechanical Corp. Ronald P. Stanton (CC) ABC, Inc. Corporation Future Tech Consultants Leslie A. Stevens (E) Stanley & Suzanne Arkin Showman Fabricators, Inc. of NY, Inc. Duncan & Susan Stewart (CC) Atlantic-Heydt Corp. Elizabeth Sidamon-Eristoff (NS) Egon Gerard (CC) Virgil Thomson Foundation Avon Contractors Jean Stein Goodkind & O'Dea, Inc. Thornton-Tomasetti Axe-Houghton Foundation Jules and Doris Stein Robert M. Greenberg & Coralie S. Toevs (CC) Battle Fowler LLP Foundation Corvova Choy Lee (CC) James Truman (CC) Roger & Brook Berlind (NS) Sterns Department Store Stephen R Greenwald & The Alice Tully Foundation Judith W. Blumert (E) (CC) Swanke Hayden Connell Rebecca A. Sullivan (CC) Judge Franklin R Weissberg & Breeze Carting Corp. Architects (E) Charles J. & Irene Hamm (CC) Judge Marylin G. Diamond (CC) Amanda M. Burden (E) Consulate General of Sweden Hugh Hardy (PC) Whispering Voice, Inc. CBS, Inc. (E) in New York Frederick B. Henry (CC) Ms. Cornelia T. Winthrop & Liz Claiborne Inc. The Tides Foundation (E) (PC) Diana & John Herzog (CC) Ms. Margaret Stillman (E) Cosentini Associates John & Narcissa Titman (NS) William T. Hillman (CC) James D. Wolfensohn (CC) Dance Theater Workshop John T. Underwood Foundation Peter & Divonne Holmes I. Peter Wolff (CC) Anne E. Delaney (E) (CC) Union EuropEenne de CIC aCourt (CC) Wooden Nickel Foundation (CC) Edwards and Zuck, P.C. Wendy vanden Heuvel (NS) Barbara W. Howard (E) (CC) Mary Anne & Richard Yancey Ericsson, Inc. Village Voice Mr. & Mrs. Richard Hulbert (CC) (E) (PC) Mallory Factor (NS) Charlene Magen Weinstein Charles Ingham (CC) L. Marshall Zeigen (PC) Fiduciary Trust Company (E) (CC) ICM (CC) InternationaI Western Union Financial Johnson & Higgins $1,500 or more Richard J. Furman (E) Services International Jessie M. Kelly (CC) Ace Wire & Cable Co., Inc. Susan C. & William D. Goold (E) Winthrop, Stimson, Putnam & Anthony Kiser (CC) Diane L. Ackerman (PC) Ms. Regina M. Griffin (E) Roberts Bruce R. Kraus (CC) Allee King Rosen & Fleming Inc. Mary Livingston Griggs & Carol Yorke & Gerard Conn Jud Kinberg (CC) Mark Allison &Stephanie Mary Griggs Burke Foundation (E) (CC) Dr. Monica Kinberg Ph.D (CC) Holmquist (PC) Groves Development Group Matthew & Myra Zuckerbraun Kenneth S. Kuchin (CC) American Architectural Inc. H&L Electric, Inc. (E) (PC) Mark Lane (CC) Arent Fox Kintner Plotkin & Jane Holzka & Mark Winther LeBoeuf, Lamb, Greene & Kahn, PLLC (E) (PC) $2,500 or more MacRae, L.L.P. (CC) Atkinson Koven IATSE-Theatrical Stage Chris Ahearn &Marla Mayer (E) Leucadia Foundation Fei nberg/Engi neers Employees Local 4 Alex Figliolia Plumbing Co. Inc. Amala & Eric Levine (E) (CC) Ms. Sarah Jean Avery (E) Into Graphics Donald Allison & Sumiko Ito (CC) Frances A. Lewis (CC) AVIREAL New York Inc. The Ives Group Almar Plumbing & Heating Corp. Robert Lide (CC) Ms. Rima Ayas (E) JAM Consultants Inc. Alberta Arthurs (CC) Lincoln Center for the Antoinette Ayres Joseph E. Seagrams & Sons Anne H. Bass (CC) Performing Arts (CC) Bankers Trust Foundation (PC) Miriam Katowitz & Arthur Radin Jayne Bentzen & Benedict LLWW Foundation (E) Theodore S. Bartwink (PC) (E) (CC) Silverman (CC) Scott C. McDonald (E) (PC) Jane Bayard (PC) KAZUKO.COM (E) (CC) Berger & Sons (PC) Mr. & Mrs. Richard L. Menschel Catherine & Jonathan Bell (PC) Kelley Drye & Warren LLP Brooklyn Lager Beer Metrotech Contracting Corp. Alan & Leslie Beller (PC) Charlotte & Stanley Kriegel (NS) Canadian Consulate General Jonathan Newcomb Belrose Fire Suppression Inc. Robin & Edgar Lampert (NS) Marcello & Alexandra Castro (E) Howard H. Newman (CC) George E. Berger, P.E. (PC) Mr. Harvey Lichtenstein (NS) Chanel, Inc. New York Community Trust (CC) Geoffrey C. Bible (PC) R.H. Macy's & Co., Inc. Collins Brothers Moving Bella Meyer & Martin Kace (PC) Charles R Bjorklund (PC) Marsh & McLennan Companies Corporation Niko Entertainment Ltd. Ms. Dianne Bleil (PC) Hale Matthews Foundation Columbus Construction Corp. Gary & Marci Nusbaum (CC) Michael R Bloomberg (PC) McGraw-Hili, Inc. Conde Nast Publications (CC) United Technologies/Otis The Bloomingdale's Fund of Dr. James & Jane McGroarty (E) The Cowles Charitable Trust Elevator, Ken Snowden, the Federated Department Merrill Lynch &Co. Ms. Catya Craig Regional Manager Stores Foundation Foundation, Inc. Dorothy & Lewis B. Susan & Alan Patricof (CC) Sallie &Martin Blumenthal (PC) Robert Mondavi Winery Cullman (CC) The Laura Pels Foundation (CC) Mr. Jonathan S. Bowers (PC) New York Fire Detection, Inc. Mrs. Catherine G. Curran (CC) Etta Brandman, Esq. (PC)

45 JerOme Brunei (PC) Cheryl Henson (PC) N&W Electrical Appliances Emily & Jerry Spiegel (E) Robert & Julie Jenson Marieluise Hessel (PC) Tayla Nevo-Hacohen (E) (PC) Ellen & Sam Sporn (E) (PC) Bryan (PC) Michael J. Hirschorn & Peter Norton (PC) Ms. Nancy Bressler Starn Norman & Terri Buchan (PC) Jimena Martinez (PC) Sasha Cutter Nye (PC) Axel & Lili Stawski (PC) Gerald J. Butters (PC) David Hockney (PC) Timothy U. Nye (PC) Chip Sullivan, Dreamworks Robert B. Catell (PC) Barbara Hoffman (PC) Harold & Elinor Oertell (PC) LLC (PC) Theodore S. Chapin (PC) Joel & Lily Hoffman (PC) Gus & Liz Oliver (PC) Fred B. Tarter (PC) Charles Samelson, Inc. Constance Howlett (PC) The George Oliver Family (E) Tate Access Floors, Inc. Chelsea Garden Center Robert Hurwitz (PC) Option Metal and Glass Inc. (E) Diana L. 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Joseph Foundation (PC) Antonia Pew (PC) Virga Commercial Contractors Inc. Constance A. Cranos (PC) K&M Architectural Window Pfizer Inc. (E) (PC) Terilynn & Jeff Walsh (E) G.M. Crocetti, Inc. Products Frank W. Piasecki (PC) Joan Waricha (PC) Candace P. Damon (PC) Jordan Kane Floors Barbara G. Pine (PC) WDF/Greene Royal Danish Consulate General Paul Kellogg (PC) Port Morris Tile & Marble Corp. Weidlinger Associates Max Dannis & Linda Gutter (PC) Kel-Mar Construction LLC Eugene & Maxene Posman (PC) Barry Weiner (PC) Elizabeth de Cuevas (PC) Manny Kladitis (PC) Mrs. Marie D. Powers (PC) Sandra & Joel Weinstein (PC) Deloitte & Touche LLP (PC) Edward & Norma Kleinbard (PC) Pronto Design & Production, Inc. Weiskopf & Pickworth Rohit & Katharine Desai (PC) Kelvin & Kathryn Kostohryz (E) Mr. & Mrs. David Puth (E) Consulting Engineer Mark di Suvero & Kate D. Jay Kriegel & Kathryn Rael Automatic Sprinkler John Wendell (PC) Levin (PC) McAuliffe (PC) Company, Inc. Mr. Alain Wertheimer Robert W. 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(PC) Mr. Jack Levy Ms. Mary Ferrari (E) Peggy Lebenson (E) Lynn Schneider & Nathan Ms. Carol Bellamy Ronald E. Feiner, Esq. (PC) Robert E. Lee III (E) Joseph (PC) Bellkey Maintenance Corp. Neil Feldman (PC) Marie Louise & M. Michael Gerald & Pat Schoenfeld (PC) Mr. Gordon L. Berlin & Joan Fields (E) Lerner (E) Amy Schulman & David Ms. Kathryn Haslanger Charles H. & Seena Fish (E) Lincoln Electric Products Co., Inc. Nachman (PC) Frederick Bland/Beyer Peter Fitzpatrick (PC) Francois Letaconnoux (PC) Eleanor Schwartz (PC) Blinder Belle Flack & Kurtz Consulting John Lichtenstein (PC) Dr. & Mrs. Thomas Sculco (E) Big Apple Wrecking & Engineers, LLP Katherine C. Linder (PC) Roger & Catheri ne Construction Corp. Arthur & Susan Fleischer (PC) Kristin Linklater (E) (PC) Seasonwein (E) Mr. Jeffrey B. Bishop Mary F. Foster & Steven Jones Mr. Anthony Lockwood & Martin E. Segalrrhe Segal David Bither & Elizabeth Bailey (PC) Ms. Ruth Keating Company (PC) Mr. James P. Bodovitz Andrew J. 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Hoffman David C. Olstein Ms. Ellynne Skove Pamela J. Hoiles (E) The Moses L. Parshelsky The Siovin Foundation

Planned Giving-BAM Angels BAM Angels recognizes individ- Estate of Bettina Bancroft Judith R. & Alan H. Fishman Phyllis Holbrook Lichtenstein uals who have made planned Robert & Joan Catell Rita Hillman Evelyn & Everett Ortner gifts to the BAM endowment. Neil D. Chrisman William Josephson Frank J. & Adeline Pannizzo For information call Denis Azaro Mr. & Mrs. Henry Christensen III Charlotte & Stanley Kriegel Judge Franklin R. Weissberg at 718.636.4193. Mallory Factor Harvey Lichtenstein

47 Robert Frank, regarded as one of the most significant photographers of the 20th century, has influenced artists of al~ genres for over 50 years with his powerful photographs and films. Frank was born in Zurich, Switzerland, in 1924, emigrated to the U.S. in 1947, and became a citi­ zen in 1963. He first made a name in fashion photography, then applied his keen eye to photographing America. He was awarded Guggenheim Fellowships in 1955 and 1956. Frank was the first European photogra­ pher to receive the honor and traveled the country to document its vari­ ous facets. In the resulting tome, The Americans (l958)-which was first criticized, then lauded-Frank captured not just the riches of post-war Robert Frank America, but the profound alienation and angst that lurked beneath the Laura, 1998 surface. He turned his talents to filmmaking in 1959 with Pull My Daisy Gelatin silver print enlarged (made with Alfred Leslie, Jack Kerouac, Allen Ginsberg, and Gregory from Polaroid negative Corso), a first in improvisational film, and since has explored alternative 20" x 16" paths in film and video, at times enchaining fictional scenes with docu­ © Robert Frank, courtesy mentary ones to reveal underlying truths. He returned to still photography pacel.-MacGili Gallery, in the 1970s while continuing to make films, creating complex construc­ New York tions of multiple prints, in black and white and color, and stills from video For BAMart information and film. Through both forms, Frank eloquently chronicles his insights­ contact Deborah Bowie at at once personal and universal, always without compromise-transforming 718.636.4111 ext. 380 the course of art in the process.

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