Meredith Monk - White Light Festival

WhiteLightFestival.org 43

Steinway Piano David Rubenstein Atrium

Please make certain your cellular phone,pager, or watch alarm is switched off.

Thursday Evening, October 28, 2010, at 8:30

The Soul’s Messenger

Meredith Monk and Vocal EnsembleMeredith Monk, Voice and PianoAllison Sniffin, Voice and Piano

Katie Geissinger, VoiceBohdan Hilash, Woodwinds

This program is approximately 75 minutes long and will be performed without intermission.

Target is proud to sponsor Target Free Thursdays at the David Rubenstein Atrium at Lincoln Center.

This performance is made possible in part by the Josie Robertson Fund for Lincoln Center.

October 28–November 18, 2010

Lincoln Center presents

October 28–November 18, 2010

Lincoln Center presents

(Program Continued)

10-28 Monk:Layout 1 10/7/10 2:52 PM Page 1

Support for the White Light Festival is provided byRita E. and Gustave M. Hauser, The Florence GouldFoundation, The Fan Fox and Leslie R. SamuelsFoundation, Inc., The Shubert Foundation,Logicworks, Ann and Gordon Getty Foundation,Great Performers Circle, Chairman’s Council, andFriends of Lincoln Center.

Public support is provided by the New York StateCouncil on the Arts.

Corporate support is provided by BNY Mellon.

Endowment support for Symphonic Masters is pro-vided by the Leon Levy Foundation

Endowment support is also provided by UBS

Movado is an Official Sponsor of Lincoln Center,Inc.

Continental Airlines is the Official Airline of LincolnCenter, Inc.

MetLife is the National Sponsor of Lincoln Center, Inc.

General operating support for the David RubensteinAtrium at Lincoln Center has generously been pro-vided by David M. Rubenstein, Ford Foundation,The Rockefeller Foundation New York City CulturalInnovation Fund, Algin Management Co., LLC, Alt-man Foundation, Cushman & Wakefield, The MaiFamily Foundation, Xerox Foundation, The Max andVictoria Dreyfus Foundation, Inc.

American Express is the Proud Partner of the DavidRubenstein Atrium at Lincoln Center.

Target is proud to sponsor Target Free Thursdays atthe David Rubenstein Atrium at Lincoln Center.

All compositions by Meredith Monk © MeredithMonk Music/ASCAP

Upcoming White Light Festival Events:

Saturday Evening, October 30, at 7:30, in Alice TullyHallAntony and the Johnsonswith the Orchestra of St. Luke’sRob Moose, Conductorfeaturing director Chiaki Nagano’s film Mr. O’s Bookof the DeadWhite Light Lounge in at65

Tuesday–Thursday Evenings, November 2–4, at7:30, in Rose TheaterSutra (U.S. premiere)Sidi Larbi Cherkaoui, Director and ChoreographerAntony Gormley, Visual DesignSzymon Brzótska, Musicwith monks from the Shaolin TempleWhite Light Lounge in at65Pre-concert lecture on Tuesday, November 2 by KarenArmstrong at 6:15, in the Theatre at theMuseum of Arts and DesignPost-concert discussion on Wednesday,November 3 with Shi Yanhao, Shi Yanjie, SzymonBrzóska, and Sidi Larbi Cherkaoui

Tuesday Evening, November 2, at 7:30, in AliceTully HallCollegium Vocale Gent ChoirAccademia Chigiana Siena (New York debut)I Solisti del Vento (New York debut)Philippe Herreweghe, ConductorBRAHMS: Warum ist das Licht gegeben;BegräbnisgesangSCHUBERT (arr. Verhaert): Andante, from StringQuartet in D minor (“Death and the Maiden”)CORNELIUS: Requiem “Seele, vergiss sie nicht”BRUCKNER: Mass in E minorWhite Light Lounge in at65Pre-concert lecture by Ryan Minor at 6:15, in the RoseStudio

For tickets, call (212) 721-6500 or visitLincolnCenter.org. Call the Lincoln Center InfoRequest Line at (212) 875-5766 to learn aboutprogram cancellations or request a GreatPerformers brochure.

Visit WhiteLightFestival.org to view essays,interviews, and other information relating to thisseason’s programs.

We would like to remind you that the sound of coughing and rustling paper might distract theperformers and your fellow audience members.

In consideration of the performing artists and members of the audience, those who must leavebefore the end of the performance are asked to do so between pieces, not during theperformance. The taking of photographs and the use of recording equipment are not allowed inthe building.

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The Soul’s MessengerPart I

MMuussiicc ffoorr UUnnaaccccoommppaanniieedd VVooiicceeSelections from Juice (1969), Songs from the Hill (1977), and Light Songs (1988)

MONK

Part IIMMuussiicc ffoorr VVooiiccee aanndd PPiiaannoo

Gotham Lullaby (1975)Travelling (1973)

Madwoman’s Vision (1988)MONK

Part IIIMMuussiicc ffoorr TTwwoo VVooiicceess

Hips Dance, from Volcano Songs: Duets (1993)Hocket, from Facing North (1990)

MONK AND GEISSINGER

Part IVMMuussiicc ffoorr VVooiiccee,, KKeeyybbooaarrdd,, aanndd WWooooddwwiinnddss

Prayer II, from The Politics of Quiet (1996)SNIFFIN

Scared Song (1986)MONK AND SNIFFIN

epilogue and woman at the door, from mercy (2001)MONK, GEISSINGER, SNIFFIN, AND HILASH

Khaen Gao, from Songs of Ascension (2008)HILASH

Panda Chant I and Memory Song, from The Games (1984)MONK, GEISSINGER, HILASH, AND SNIFFIN

masks, from mercy (2001)MONK, GEISSINGER, HILASH, AND SNIFFIN

between song, from impermanence (2004–06)MONK, GEISSINGER, HILASH, AND SNIFFIN

All compositions by Meredith Monk.


The voice is my:

soul’s messenger

weather report

lifeline

beacon

mystery

comfort

channel

blood

The Soul’s Messenger

46

Sometime in the mid 1960s, as I was vocalizing in my studio, Isuddenly had a revelation that the voice could have the same flex-ibility and range of movement as a spine or a foot, and that I couldfind and build a personal vocabulary for my voice just as onemakes movement based on a particular body. I realized then thatwithin the voice are myriad characters, landscapes, colors, tex-tures, ways of producing sound, wordless messages. I intuitivelysensed the rich and ancient power of the first human instrument,and by exploring its limitless possibilities I felt that I was cominghome to my family and my blood.

I come from a musical family. My great-grandfather was a cantorin Russia. His son, my grandfather, was a bass-baritone who im-migrated to New York and who, along with my concert pianistgrandmother, opened a music conservatory. He also performed inconcert halls, churches, and synagogues. My mother was a pro-fessional singer who sang jingles, ballads, and swing tunes onradio and early television. My first musical training was in DalcrozeEurhythmics, but I also learned to read music before I could readwords. One of my earliest memories is singing myself to sleep.

There are events that change our lives irrevocably; that momentof discovery in the mid ’60s changed mine. From that point on,exploring my voice and what it could evoke, delineate, uncover,and ultimately give to others became the core of my work.

Right from the beginning, I was interested in primordial utter-ance: what were the first human sounds? What was the deli-cate and fluid membrane between speech and music? I knewthat notes or musical phrases did not limit me in my explorationof the voice. Like an instrument, it could be universal. I thoughtof voice as sound, as a reflection of nature, of the urban world,of the stars. I began playing with what a vocal gesture wouldbe. How would the voice jump, spin, spiral, fall? How would Iabstract the sound of a laugh, of sobbing, of shouting, into amusical phrase? I began to realize that the voice had the powerto uncover subtle shades of feeling that exist between what wethink of as emotions. It could conjure the unnamable. Comingfrom a movement as well as a musical background, I felt totallycomfortable and trusting of non-verbal communication. I senseddeeply that the voice was a language in itself: eloquent, prob-ing, and able to communicate directly to the heart.

When I began, my path seemed lonely. I was not aware of any-one working in this particular way. I had to trust my instincts.And yet, I was fortunate in that I had already built a body of work


heart

pick and shovel

footprint

gauge

wings

stream

needle

playground

radar

mirror


combining images, movement, objects, sound, and film so thatthe discipline of daily work was essential to my life. Now I coulduse the same creative principles and apply them to my vocal ex-ploration. It became immediately apparent that I had found whatwould be the soul of my work. What had been an urgent innerquest became the quiet certainty that this process would be-come my continuing and ultimate truth. The method was andcontinues to be one of exploring the possibilities, the qualities,and the mystery of my voice; of listening and trusting what it re-veals. Looking back, I am profoundly grateful for that time ofsolitude. Left to my own devices, I began a process of intenseinvestigation led by my voice, my ear, and my musical sensibility.Where did they want to go? From intuitive moments of discover-ing material, to the rigorous intellectual process of refining andweaving the material into forms, the adventure of making musichas expanded my world in miraculous ways.

For the first 10 years, I worked alone making a cappella songsand pieces for voice and keyboard. In the mid ’70s, I formed anensemble of young singers who traveled along with me on mypath and inspired me to enrich the textures, counterpoint, andcolors in my music. Because they were in their early 20s anddidn’t have a long history of musical expectation or dogma, myvocal language and approach seemed inherent and became second nature to them. This allowed for a spirit of concentratedand playful experimentation, inspiring me to create intricate andshimmering forms. Now, the interdependence and intimacy ofperforming with the radiant and extraordinary members of mycurrent vocal ensemble continue to reveal new levels of insight.

My process involves long periods of waiting. When I beginworking, I try to stay open to anything that might arise. Initially, Ihave to get through my terror of the unknown and expectationsof myself. At a certain point, after a lot of resistance and tryingto take very small steps, my curiosity and interest overtake thefear. Then questions, which are the basis of any work, begin tocome up. I have the sensation that every piece is a world thatalready exists in another dimension. My task is to find what areits principles and laws and to follow them rigorously. When I amstuck, I say to the piece: “please make yourself known!” andtry to stay out of its way. The experience of creating and per-forming are as close to meditation as anything I can think of.The combination of pinpoint focus and open relaxation to whatcomes up in the moment are fundamental principles of sittingpractice: awareness of the moment and direct experience with-out the filter of concept.

I have always been loath to codify or catalogue my vocabularyof vocal sound. That analytic process seems to take away themystery of all the shades, impulses, colors, and dynamics that


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earthquake

compass

conduit

link to the unknown

link to the always known

link to forever

link to now

arise even within individual performances of songs I have sungmany times. The commodification of these “techniques” canbecome a recipe involving mental calculation rather than an acknowledgement of the ineffable messages that are comingthrough.

In a lifetime of making work, there are a few pieces that have acertain shine. They seem to have had a life of their own rightfrom the beginning, to have been born whole. Hearing themagain after many years, I am amazed at their mystery and pres-ence. Although I remember all the meticulous and patient workof bringing them to life, I also remember the seeming inevitabil-ity of their forms and the clarity and ease of their fulfillment.How did this happen? I consider these entities gifts from alarger and wiser realm and the times of making them, bless-ings. In between periods of inspiration, I try to be a good shoe-maker, honing my craft, keeping up my discipline, beginningagain and again.

In meditation practice, the basic instruction is to repeatedlycome back to the breath (without judgment) even if the mindhas wandered off into thoughts, fantasies, or emotions. Themoment of coming back is a moment of awareness. Makingmusic is very much the same process. It consists of starting atzero every time; trusting the emptiness, the space, the gift ofuncertainty; not judging too quickly; letting the materials remainthemselves until the time is right to weave them together into aform. I try to never forget that I enjoy the privilege of engagingin an activity that affirms the spirit of inquiry and allows me tomake an offering of what I have found. I am grateful for beingpart of music, for the magic of music permeating my life.

—Copyright © 2006 by Meredith Monk, from Arcana V, edited byJohn Zorn



Late in the play A Streetcar Named Desire, Tennessee Williams hasBlanche Dubois say to Mitch a phrase that reveals the impossibility of theirmutually salvational romance. “Have you ever had anything caught in yourhead? No, of course you haven’t you dumb angel-puss…” Where Blanchelives from the images that keep her company, he turns to the factual evi-dence of her “case history.” And, the domination of fact over fantasy re-turns him to his mother and leads her offstage to the asylum of insanity.

Meredith Monk’s works protect us from the asylum. They stir the deep-est resounding images on which a vital, a sane, human life depends.Imagination may self-generate, and it may originate from a surprising con-versation, a momentary scene, phrase, sound, or even a hesitating gap,but especially, importantly, images are kindled by what leaps from a workof art, and this transmission may not be reduced to influence, tradition orthievery. Creation propagates creativity.

Meredith Monk’s images arise seismically as if out of the bedrock ofhuman nature. “I work in between the cracks where the voice startsdancing, the body starts singing…” Forms emerge into performance. De-spite, or because of, their artistry, these images get caught in our heads,causing a Stop-Look-Listen effect. We are at a crossing into primordialterrain, understanding abandoned, troubled, confused, even frightened bythe magic and uncanny beauty. No wonder her collaborators through theyears are other risk-taking originals.

Periods in the past noted for cultural vigor—in Greece, Italy, England, andhere at home—show the spark leaping also into the body politic. The cul-ture gains confidence in its imaginative powers; risk and devotion, together.An enlivened imagination emboldens. If our time suffers from a lack of con-fidence, with doubts about our dominant myths and abilities, it suffersmore fundamentally from a “failure of imagination,” a phrase many of ournation’s leaders have used to explain 9/11, the tragic mistakes of the for-eign wars since the 1960s, and the more recent economic catastrophe.

Because Meredith Monk’s instrumental music and the words, move-ments, and vocal arrangements “get caught in your head,” they vivify theintelligence of the nation, and so rightly she has been named a lasting na-tional treasure. Although her artistic discoveries rely on the unique pres-ence of her person, they are also utterly free of her person, reverberatingon and on in the collective imagination, igniting spontaneously in anyone’shead, anywhere, anytime.

—Copyright © 2010 by James Hillman

Meredith Monkby James Hillman


Memory SongText: Meredith Monk

I remember mushroomsI remember candlelightI remember early morning coffeeI remember fishIch erinnere mich an das tisch gebet (I remember saying grace)I remember newspapersI remember a black SuzukiJe pense à mon lit (I think of my bed)I remember rainI remember aspirinI am thinking of Shakespeare’s garden

between songText: Mieke van Hoek

Between the paint and the woodBetween the pen and the writing handBetween the rug and the floorBetween the hairs on her head

Between the clouds and the nightBetween the window and the streetBetween the air and the men walkingBetween the heels and the sound

Between the skull and the brainBetween the lens and the eyeBetween the tear and the lensBetween the lipstick and the lips

Between this hand and that handBetween the water and the rockBetween his hand and her handBetween your hand and my handBetween the seed and the dirt

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Meredith Monk

Meredith Monk is a composer, singer, cho-reographer, filmmaker, and creator of newopera and music theater works. During a ca-reer spanning five decades, she has beenacclaimed by audiences and critics as amajor creative force in the performing artsand a pioneer in what is now called “ex-tended vocal technique.” In 1965 she beganher innovative exploration of the voice as amultifaceted instrument and subsequentlycomposed and performed many solo piecesfor unaccompanied voice and voice/key-board. In 1978 she formed Meredith Monkand Vocal Ensemble to further expand hermusical textures and forms. Her vocalmusic is an eloquent language in and of it-self, which expands the boundaries of mu-sical composition, creating landscapes ofsound that unearth feelings, energies, andmemories for which there are no words. Inaddition to her groundbreaking vocal andmusic theater pieces (which include Book ofDays, Dolmen Music, mercy, imperma-nence, and ATLAS), she has created vitalnew repertoire for orchestra, chamber en-sembles, and solo instruments. Her musichas also appeared in motion pictures byJean-Luc Godard and the Coen brothers,among others. Celebrated internationally,her music has been presented by LincolnCenter Festival, Houston Grand Opera, Lon-don’s Barbican Centre, and at major venuesin countries from Brazil to Syria.

Her numerous honors include a MacArthur“Genius” Award, two Guggenheim Fellow-ships, and induction into the AmericanAcademy of Arts and Sciences. With adiscography featuring more than a dozenrecordings, mostly on the ECM label, her

CD impermanence was released in March2008 and nominated for a Grammy Award.In 2005 her 40th year of performing and cre-ating new music was celebrated by a four-hour marathon at Zankel Hall. Anothermarathon, Meredith Monk Music at theWhitney, was presented at the WhitneyMuseum in 2009, followed by the site-spe-cific Ascension Variations at the Guggen-heim Museum, featuring more than 120performers. Her new music theater work,Songs of Ascension, was performed atBAM’s Next Wave Festival in October 2009and recently won the Herald Angel Awardat the Edinburgh International Festival. InMarch 2010 her newest commission,WEAVE for Two Voices, Chamber Orches-tra and Chorus, had its world premiere atthe Saint Louis Symphony Orch estra, fol-lowed by an April 2010 West Coast pre-miere with the Los Angeles Master Choraleat Walt Disney Hall.

Allison SniffinMulti-instrumentalist, singer, and composerAllison Sniffin has served as both performerand engraver of many of Monk’s workssince 1996. She has performed in The Poli-tics of Quiet, A Celebration Service, MagicFrequencies, mercy, Turtle Dreams, Book ofDays, impermanence, and Songs of Ascen-sion; engraved and co-orchestrated BasketRondo, Possible Sky, Stringsongs, Night,and WEAVE for Two Voices, Chamber Or-chestra and Chorus; and edited a book ofMonk’s piano music. Ms. Sniffin’s ownmusic has received awards from Meet theComposer and Concert Artists’ Guild. Hercommissioned cantata Oyeme con los ojosfor Melodia Women’s Choir of New York Citypremiered at Merkin Concert Hall in 2006.

Katie GeissingerKatie Geissinger has been performing withMeredith Monk since 1990, at festivals andvenues worldwide, in concert, and in piecessuch as ATLAS, The Politics of Quiet (forwhich she is a Bessie recipient), mercy, the

Meet the Artists


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Grammy-nominated impermanence, and thecurrently touring Songs of Ascension. Shepremiered the Bang on a Can/Ridge The-ater/Ben Katchor collaboration The CarbonCopy Building, an Obie-winner that was re-leased on Cantaloupe, and she performed inthe world tour of Philip Glass and Robert Wil-son’s Einstein on the Beach, which was re-cently revived in concert at Carnegie Hall.Other Carnegie Hall appearances includeBach’s Magnificat with the Orpheus Cham-ber Orchestra, the Witch in Honegger’s Leroi David, and Osvaldo Golijov’s Ainadamar.

Ms. Geissinger appeared in JonathanMiller’s staged productions of Bach’s St.Matthew Passion at BAM and in JohnTavener’s The Veil of the Temple at LincolnCenter. She is a regular soloist on the Sa-cred Music in a Sacred Space series in NewYork City. Her Broadway credits include BazLuhrmann’s production of La bohème andCoram Boy, and Off-Broadway she has appeared in many Gilbert and Sullivan op-erettas. She has premiered many newmusic theater pieces, including Mark Mulcahyand Ben Katchor’s The Rosenbach Com-pany and Philip Miller’s The HottentotVenus at MASS MoCA. She recently re-turned from St. Louis and Los Angeles,where she premiered Monk’s new work,WEAVE for Two Voices, Chamber Orches-tra and Chorus, and a performance at theEdinburgh International Festival of Songs ofAscension.

Bohdan HilashClarinetist and multi-instrumentalist BohdanHilash joined the Vocal Ensemble in 2002.As part of his diverse career, he has ap-peared on four continents as a performer oforchestral and chamber music, opera, con-temporary music, jazz, musical theater, andas a soloist. Mr. Hilash has appeared as achamber and orchestral musician and as asoloist at many of the world’s preeminentconcert venues and music festivals, includ-ing those of Bayreuth, Spoleto, Tokyo,

Evian, Lincoln Center, Rome, and Aspen.As an orchestral musician, Mr. Hilash hasperformed with some of the world’s lead-ing orchestras, including the London Sym-phony Orchestra and the New YorkPhilharmonic, with conductors includingLeonard Bernstein, Kurt Masur, ZubinMehta, and Leonard Slatkin, among others.He is particularly active in the field of con-temporary music and has worked withmany of its leading practitioners, includingSpeculum Musicae, Bang on a Can, andThe Chamber Music Society of Lincoln Cen-ter. He has performed with such jazz artistsas Dizzy Gillespie, Phil Woods, Dave Hol-land, Lee Konitz, and Kenny Wheeler,among others.

In the theater Mr. Hilash has worked as afeatured performer in collaboration withseveral leading theater companies, play-wrights, and directors of the New Yorkstage, including Arthur Miller and LeeBreuer. He recently performed in CarterBurwell’s Theater of the New Ear withMeryl Streep, Philip Seymour Hoffman,Steve Buscemi, and others in sound playsby Joel and Ethan Coen and Charlie Kauf-man. Mr. Hilash’s recordings may be heardon the ECM, Chandos, RCA Victor, CRI,Mode, CBC, Finlandia, RCA, New World,CCNC, TBM, Capstone, and RP labels.

Lincoln Center’s White Light FestivalThe White Light Festival is a new multi-dis-ciplinary fall festival at Lincoln Center, fo-cusing on music’s unique emotionalcapacity to move us beyond ourselves andilluminate our larger interior universe. Inthis, its debut season, the festival exploresthe overtly spiritual manifestations ofmusic’s transcendent power as revealed indifferent cultural traditions. The inauguralfestival will present ten U.S. and New Yorkpremieres and debuts by artists and com-panies from 15 countries.



Lincoln Center for the Performing Arts, Inc.

Lincoln Center for the Performing Arts(LCPA) serves three primary roles: presen-ter of artistic programming, national leaderin arts and education and community rela-tions, and manager of the Lincoln Centercampus. As a presenter of more than 400events annually, LCPA’s series includeAmerican Songbook, Great Performers, Lin-coln Center Festival, Lincoln Center Out ofDoors, Midsummer Night Swing, and the

Mostly Mozart Festival. The Emmy Award–winning Live From Lincoln Center extendsLincoln Center’s reach to millions of Ameri-cans nationwide. As a leader in arts andeducation and community relations, LCPAtakes a wide range of activities beyond itshalls through the Lincoln Center Institute, aswell as offering arts-related symposia, fam-ily programming, and accessibility. And asmanager of the Lincoln Center campus,LCPA provides support and services for theLincoln Center complex and its 11 other res-ident organizations.

LINCOLN CENTER PROGRAMMING DEPARTMENTJane Moss, Vice President, ProgrammingHanako Yamaguchi, Director, Music ProgrammingJon Nakagawa, Director, Contemporary ProgrammingLisa Takemoto, Production ManagerBill Bragin, Director, Public ProgrammingKate Monaghan, Associate Director, ProgrammingCharles Cermele, Producer, Contemporary ProgrammingJill Sternheimer, Associate Producer, Public ProgrammingMauricio Lomelin, Associate Producer, Contemporary ProgrammingYukiko Shishikura, Production CoordinatorSheya Meierdierks-Lehman, House Program CoordinatorKimberly DeFilippi, Assistant to the Vice PresidentJulia Lin, Programming AssociateRegina Grande, Interim Programming Associate

For the David Rubenstein Atrium:Tom Dunn, Director, David Rubenstein Atrium of Lincoln CenterHillary McAndrew, Senior Manager, Meet the Artist and Community ProgrammingBrant Murray, Production Manager, David Rubenstein Atrium at Lincoln CenterJordana Phokompe, Associate Producer, David Rubenstein Atrium at Lincoln Center

For The Soul’s Messenger:Elaine Buckholtz, Lighting DesignJody Elff, Sound DesignMatt Frey, Festival Lighting Design


54

You do not have to be good.

You do not have to walk on your knees

for a hundred miles through the desert, repenting.

You only have to let the soft animal of your body

love what it loves.

Tell me about despair, yours, and I will tell you mine.

Meanwhile the world goes on.

Meanwhile the sun and the clear pebbles of the rain

are moving across the landscapes,

over the prairies and the deep trees,

the mountains and the rivers.

Meanwhile the wild geese, high in the clean blue air,

are heading home again.

Whoever you are, no matter how lonely,

the world offers itself to your imagination,

calls to you like the wild geese, harsh and exciting —

over and over announcing your place

in the family of things.

Illumination

Wild Geeseby Mary Oliver

—From Dream Work copyright © 1986 by Mary Oliver. Used by permission ofGrove/Atlantic, Inc.

For poetry comments and suggestions, please write to [email protected]



Meredith Monk/The House Foundation Administration:Meredith Monk, Artistic DirectorOlivia Georgia, Executive DirectorAmanda Cooper, Company ManagerMelissa Sandor, Development ConsultantPeter Sciscioli, Assistant ManagerLeslie Cuyjet, BookkeeperLise Soskolne, Development Associate

Meredith Monk/The House Foundation for the Arts Board of Trustees:

Frederieke Sanders Taylor, Chair Meredith Monk, Artistic Director and PresidentHaruno Arai, Secretary Linda R. SafranCathy Appel Barbara G. SahlmanLinda Golding Carol SchusterFrances Kazan Gail P. SinaiJim Hodges Micki Wesson, President EmeritaSali Ann Kriegsman

The work of Meredith Monk/The House Foundation for the Arts is made possible, in part,with public and private funds from:

The Amphion Foundation Inc. • Argosy Foundation Contemporary Music Fund •ASCAP/American Society of Composers, Authors & Publishers • Association of PerformingArts Presenters • Bloomberg L.P. • Brooklyn Academy of Music • Caplan Family Foundation •CEC Artslink • Aaron Copland Fund for Music, Inc. • Cornish College of the Arts • The GladysKrieble Delmas Foundation • The Harkness Foundation for Dance • Livet Reichard Company •Los Angeles Master Chorale • The Grand Center & St. Louis Symphony Orchestra • LowerManhattan Cultural Council • The McGraw- Hill Companies, Inc. • Meet The Composer • Mid Atlantic Arts Foundation/USArtists International • National Endowment for the Arts •New England Foundation for the Arts • New York City Department of Cultural Affairs • NewYork Community Trust • New York State Council on the Arts • The James E. Robison Foundation • The Fan Fox & Leslie R. Samuels Foundation

Meredith Monk and Vocal Ensemble’s representation:The House Foundation for the Arts, Inc.260 West Broadway, Suite 2New York, New York 10013


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Meredith Monk - White Light Festival