October 2005 2005 Next Wave Festival Mary Heilmann, Last Chance for Gas Study (delail), 2005 BAM 2005 Next Wave Festival is sponsored by: The PerformingNeonEArts Magazine Altria 2005 ~ext ')Na')Le EeslliLaL Brooklyn Academy of Music Alan H. Fishman William I. Campbell Chairman of the Board Vice Chairman of the Board Karen Brooks Hopkins Joseph V. Melillo President Executive Producer presents Orion Approxi mate BAM Howard Gilman Opera House running time: Oct 4,6-8, 2005 at 7:30pm 1 hour and 30 minutes, no Composed by Philip Glass intermission in collaboration with Mark Atkins, Ashley Macisaac, Wu Man, Ravi Shankar, Foday Musa Suso, and UAKTI Performed by Philip Glass and the Philip Glass Ensemble Conducted by Michael Riesman With featured guests Eleftheria Arvanitaki, Mark Atkins, Kartik Seshadri, Ashley Macisaac, Wu Man, Foday Musa Suso, and UAKTI Philip Glass Ensemble-Philip Glass, Ted Baker, Lisa Bielawa, Frank Cassara, Dan Dryden, Stephen Erb, Jon Gibson, Richard Peck, Michael Riesman, Mick Rossi, Andrew Sterman Music director Michael Riesman Produced by Pomegranate Arts in association with Arts, Dance and Music Productions Executive producer Linda Brumbach Orion was commissioned by the Cultural Olympiad 2001-2004 World Premiere-June 3, 2004, Herod Atticus Theatre, Athens, Greece BAM 2005 Next Wave Festival is sponsored by Altria Group, Inc. Support for BAM Music provided by The Aaron Copland Fund for Music, Inc. The 2005 Next Wave Festival Kick-Off Party is sponsored by Altria Group, Inc. and AngloGold Ashanti, with additional support from Friends of NIDA in America Foundation. The IN:NYCsM Card from American Express is the presenting sponsor for BAMfans young donors club. Wine for the Kick-Off Party is provided courtesy of the Charmer Sunbelt Group. ErogramL..-- _ Australia Mark Atkins, Didgeridoo Interlude One China Wu Man, Pipa Canada Ashley Macisaac, Violin Interlude Two Gambia Foday Musa Suso, Kora and Nyanyer Brazil UAKTI Artur Andres Ribeiro, Flute Paulo Sergio Dos Santos, Percussion Decio De Souza Ramos Filho, Percussion Interlude Three India Kartik Seshadri, Sitar Composed by Ravi Shankar/Philip Glass Greece Eleftheria Arvanitaki Traditional arranged by Philip Glass The Treasure (Tzivaeri) Ah, a foreign land enjoys Ah, cursed foreign land, (0 my treasure) (0 my treasure), My fragrant flower You and your benefits (Gently and humbly). (Gently and humbly). Ah, I sent it there Ah, you took my child (0 my treasure) (0 my treasure), By my own will And made it yours (Gently I tread the earth). (Gently I tread the earth). Lyrics from "Greece" Translated by Jeffrey Carson and Nicos Sarris Wb~o Who's _ Philip Glass (composer, keyboards) was born co-founded, and for his own performing group, in Baltimore, MD on January 31,1937, and the Philip Glass Ensemble. This period culminated discovered music in a line of records his father's in Music in 12 Parts, a three-hour summation radio repair shop carried in addition to servic- of Glass' new music. In 1976 Glass reached an ing radios. To figure out why recordings of great apogee in his collaboration with Robert Wilson, chamber works sold poorly, Ben Glass would take creating the opera Einstein on the Beach, a five­ them home to play for his three children. Philip hour epic (performed at BAM in 1984 and 1992) rapidly became familiar with Beethoven quartets, that is now seen as a landmark in 20th century Schubert sonatas, Shostakovitch symphonies, and music-theater. Glass then decided to make Ein­ other music then considered "offbeat." It was not stein part of a trilogy that resulted in the creation until he was in his late teens that Glass encoun­ of the operas Satyagraha (BAM, 1981) and tered more "standard" classics. At six, Glass began Akhnaten. Over the years, Glass and Wilson have music lessons and at eight, took up the flute. But worked together on several other projects: CIVIL by the time he was fifteen, he became frustrated warS (Rome)-Act V of the multi-composer epic with the flute's limited repertoire as well as with which was written for the 1984 Olympics, White musical life in post-war Baltimore. During his sec­ Raven-an opera commissioned by Portugal to ond year in high school, he applied for admission celebrate its history of discovery wh ich prem iered to the University of Chicago, passed, and with his at EXPO '98 in Lisbon and was performed as part parent's encouragement, moved to Chicago where of the 2001 Lincoln Center Festival, and Monsters he supported himself with part-time jobs waiting of Grace-a digital 3-D opera (BAM, 1997). tables and loading airplanes at airports. He ma­ Glass has also collaborated with a variety of artists jored in mathematics and philosophy, and during in a range of projects and expanded his repertoire off-hours practiced piano and concentrated on to include music for opera, dance, theater, cham­ such composers as Ives and Webern. At nineteen, ber ensemble, orchestra, and film. His coopera­ Glass graduated from the University of Chicago tive recording projects include Songs from Liquid with majors in mathematics and philosophy. Days with lyrics by David Byrne, Paul Simon, Determ ined to become a com poser, he moved Laurie Anderson, and Suzanne Vega, as well as to New York and attended The Juilliard School. a collaboration with Ravi Shankar, Passages. His By then he had abandoned the twelve-tone tech­ operas include The Making of the Representa- niques he had bee'n using in Chicago and began tive for Planet 8 and Marriages Between Zones gravitating toward American composers like Aaron Three, Four and Five with librettos written by Copland and William Schuman. By 23, Glass had Doris Lessing and based on her novels; Hydrogen studied with Vincent Persichetti, Darius Milhaud, Jukebox (BAM, 1991), libretto by Allen Ginsberg and William Bergsma. Rejecting serialism, Glass and based on his poetry; The Voyage, based on preferred such maverick composers as Harry the exploration of Christopher Columbus, written Partch, Charles Ives, Moondog, Henry Cowell, by David Henry Hwang; The Fall of the House of and Virgil Thomson-but still had not found his Usher, based on the Edgar Allen Poe short story; own voice. He then moved to Paris and spent two and the "pocket opera," In the Penal Colony, a years of intensive study under Nadia Boulanger. musical theater work based on the short story In Paris, he was hired by a filmmaker to transcribe by Franz Kafka. His most recent opera, Galileo the Indian music of Ravi Shankar into notation Galilei, a collaboration with Mary Zimmerman, readable to western musicians. In the process, he premiered (and performed at BAM) in 2002. discovered the techniques of Indian music. After Glass' orchestral works include the large-scale researching music in North Africa, India, and the work for chorus and orchestra such as Itaipu and Himalayas, he returned to New York, renounc- Symphony NO.5 (BAM, 2000), a work based on ing his previous music, and applying eastern text from wisdom traditions throughout the world; techniques to his own work. By 1974, Glass had Symphony No.2, Symphony No.3, Symphony composed a large collection of new music for both NO.6 (Plutonian Ode), with text by Allen Gins­ the Mabou Mines Theater Company, that Glass berg; and Low and Heroes Symphonies (BAM Who's Wb~o _ 1992), both based on the music of David Bowie David Henry Hwang and the upcoming 2005 pre­ and Brian Eno. Glass also has produced concertos miere of Waiting for the Barbarians, based on the for violin and orchestra, saxophone quartet and book by J.M. Coetzee. In 2001, Glass premiered orchestra, two timpanists and orchestra, and the live film and music concert event Philip on harpsichord and orchestra. His Tirol Concerto for Film, a 25-year retrospective of his scores for Piano and Orchestra premiered in 2000 at the film featuring commissioned film shorts by Atom Klanspuren Festival in Tirol, Austria and his Con­ Egoyan, Peter Greenaway, Shirin Neshat, Michal certo for Cello and Orchestra, which premiered in Rovner, and Godfrey Reggio. This past January, 2001 at the Beijing Festival, was commissioned Glass premiered The QATSI Trilogy, featuring the for Julian Lloyd Webber's 50th Birthday. In 2004, three films-Koyaanisqatsi, Powaqqatsi, and Glass premiered the new work Piano Concerto No. Naqoyqatsi-reinvented with live musical 2 (After Lewis and Clark) with the Omaha Sym­ accompaniment by the Philip Glass Ensemble, at phony Orchestra, and Symphony No. 7-A Toltec the Sydney Opera House in Sydney, Australia. Symphony with the National Symphony Orchestra. While Glass has written for dance such as In the Michael Riesman (conductor, keyboards) is a Upper Room, choreographed by Twyla Tharp, composer, conductor, keyboardist, and record and A Descent into the Maelstrom, his work also producer, and has been a member of the Philip involves a set of unclassifiable theater pieces such Glass Ensemble since 1974. He has conducted as The Photographer (BAM, 1983), The Myster­ recordings of a great number of Glass works ies, and What's so Funny?, and 1000 Airplanes including Einstein on the Beach (both record­ on the Roof with a libretto by David Henry Hwang ings), Glassworks, The Photographer, Songs From and designs by Jerome Sirlin. Glass has also Liquid Days, Dance Pieces, Music in 12 Parts created a trilogy of musical theater pieces based (both recordings), and Passages, and almost every on the films of Jean Cocteau-Orphee, La Belle Glass film soundtrack including Koyaanisqatsi et La Bete, and Les Enfants Terribles (at BAM (both recordings), Mishima, Powaqqatsi, The in, respectively, 1993, 1994, 1996). Glass film Thin Blue Line, Anima Mundi, A Brief History of scores include Godfrey Reggio's trilogy Koyaan­ Time, Candyman, Kundun, The Truman Show, isqatsi, Powaqqatsi, and Naqoyqatsi; Errol Morris' Naqoyqatsi, The Fog of War, Secret Window, Tak­ The Thin Blue Line, A Brief History of Time, The ing Lives, and Undertow.