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Lincoln Center presents

October 28November 18, 2010

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

The Souls Messenger

Meredith Monk and Vocal Ensemble

Meredith Monk, Voice and Piano
Allison Sniffin, Voice and Piano
Katie Geissinger, Voice
Bohdan Hilash, Woodwinds

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

(Program Continued)
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.
Steinway Piano

David Rubenstein Atrium

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

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Support for the White Light Festival is provided by

Rita E. and Gustave M. Hauser, The Florence Gould
Foundation, The Fan Fox and Leslie R. Samuels
Foundation, Inc., The Shubert Foundation,
Logicworks, Ann and Gordon Getty Foundation,
Great Performers Circle, Chairmans Council, and
Friends of Lincoln Center.
Public support is provided by the New York State
Council on the Arts.
Corporate support is provided by BNY Mellon.
Endowment support for Symphonic Masters is provided 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 Lincoln
Center, Inc.
MetLife is the National Sponsor of Lincoln Center, Inc.
General operating support for the David Rubenstein
Atrium at Lincoln Center has generously been provided by David M. Rubenstein, Ford Foundation,
The Rockefeller Foundation New York City Cultural
Innovation Fund, Algin Management Co., LLC, Altman Foundation, Cushman & Wakefield, The Mai
Family Foundation, Xerox Foundation, The Max and
Victoria Dreyfus Foundation, Inc.
American Express is the Proud Partner of the David
Rubenstein Atrium at Lincoln Center.
Target is proud to sponsor Target Free Thursdays at
the David Rubenstein Atrium at Lincoln Center.
All compositions by Meredith Monk Meredith
Monk Music/ASCAP

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Upcoming White Light Festival Events:

Saturday Evening, October 30, at 7:30, in Alice Tully

Hall
Antony and the Johnsons
with the Orchestra of St. Lukes
Rob Moose, Conductor
featuring director Chiaki Naganos film Mr. Os Book
of the Dead
White Light Lounge in at65
TuesdayThursday Evenings, November 24, at
7:30, in Rose Theater
Sutra (U.S. premiere)
Sidi Larbi Cherkaoui, Director and Choreographer
Antony Gormley, Visual Design
Szymon Brztska, Music
with monks from the Shaolin Temple
White Light Lounge in at65
Pre-concert lecture on Tuesday, November 2 by Karen
Armstrong at 6:15, in the Theatre at the
Museum of Arts and Design
Post-concert discussion on Wednesday,
November 3 with Shi Yanhao, Shi Yanjie, Szymon
Brzska, and Sidi Larbi Cherkaoui

Tuesday Evening, November 2, at 7:30, in Alice

Tully Hall
Collegium Vocale Gent Choir
Accademia Chigiana Siena (New York debut)
I Solisti del Vento (New York debut)
Philippe Herreweghe, Conductor
BRAHMS: Warum ist das Licht gegeben;
Begrbnisgesang
SCHUBERT (arr. Verhaert): Andante, from String
Quartet in D minor (Death and the Maiden)
CORNELIUS: Requiem Seele, vergiss sie nicht
BRUCKNER: Mass in E minor
White Light Lounge in at65
Pre-concert lecture by Ryan Minor at 6:15, in the Rose
Studio

For tickets, call (212) 721-6500 or visit

LincolnCenter.org. Call the Lincoln Center Info
Request Line at (212) 875-5766 to learn about
program cancellations or request a Great
Performers brochure.
Visit WhiteLightFestival.org to view essays,
interviews, and other information relating to this
seasons programs.

We would like to remind you that the sound of coughing and rustling paper might distract the
performers and your fellow audience members.
In consideration of the performing artists and members of the audience, those who must leave
before the end of the performance are asked to do so between pieces, not during the
performance. The taking of photographs and the use of recording equipment are not allowed in
the building.
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The Souls Messenger

Part I
Musi c fo r Un a ccomp a n ie d Vo i ce
Selections from Juice (1969), Songs from the Hill (1977), and Light Songs (1988)
MONK

Part II
Musi c fo r Vo ice a n d P ia n o
Gotham Lullaby (1975)
Travelling (1973)
Madwomans Vision (1988)
MONK

Part III
Mu si c fo r Two Voi ce s
Hips Dance, from Volcano Songs: Duets (1993)
Hocket, from Facing North (1990)
MONK AND GEISSINGER

Part IV
Mu si c fo r Vo ice , Ke y b oa rd , a n d Wo o d win d s
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 (200406)

MONK, GEISSINGER, HILASH, AND SNIFFIN

All compositions by Meredith Monk.

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The Souls Messenger

The voice is my:

souls messenger

Sometime in the mid 1960s, as I was vocalizing in my studio, I

suddenly had a revelation that the voice could have the same flexibility and range of movement as a spine or a foot, and that I could
find and build a personal vocabulary for my voice just as one
makes movement based on a particular body. I realized then that
within the voice are myriad characters, landscapes, colors, textures, ways of producing sound, wordless messages. I intuitively
sensed the rich and ancient power of the first human instrument,
and by exploring its limitless possibilities I felt that I was coming
home to my family and my blood.

weather report

lifeline

I come from a musical family. My great-grandfather was a cantor

in Russia. His son, my grandfather, was a bass-baritone who immigrated to New York and who, along with my concert pianist
grandmother, opened a music conservatory. He also performed in
concert halls, churches, and synagogues. My mother was a professional singer who sang jingles, ballads, and swing tunes on
radio and early television. My first musical training was in Dalcroze
Eurhythmics, but I also learned to read music before I could read
words. One of my earliest memories is singing myself to sleep.

beacon
There are events that change our lives irrevocably; that moment
of 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.

mystery

comfort

channel

blood

Right from the beginning, I was interested in primordial utterance: what were the first human sounds? What was the delicate and fluid membrane between speech and music? I knew
that notes or musical phrases did not limit me in my exploration
of the voice. Like an instrument, it could be universal. I thought
of voice as sound, as a reflection of nature, of the urban world,
of the stars. I began playing with what a vocal gesture would
be. How would the voice jump, spin, spiral, fall? How would I
abstract the sound of a laugh, of sobbing, of shouting, into a
musical phrase? I began to realize that the voice had the power
to uncover subtle shades of feeling that exist between what we
think of as emotions. It could conjure the unnamable. Coming
from a movement as well as a musical background, I felt totally
comfortable and trusting of non-verbal communication. I sensed
deeply that the voice was a language in itself: eloquent, probing, and able to communicate directly to the heart.
When I began, my path seemed lonely. I was not aware of anyone 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

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heart

pick and shovel

footprint

gauge

wings

stream

needle

playground

radar

mirror

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combining images, movement, objects, sound, and film so that

the discipline of daily work was essential to my life. Now I could
use the same creative principles and apply them to my vocal exploration. It became immediately apparent that I had found what
would be the soul of my work. What had been an urgent inner
quest became the quiet certainty that this process would become my continuing and ultimate truth. The method was and
continues to be one of exploring the possibilities, the qualities,
and the mystery of my voice; of listening and trusting what it reveals. Looking back, I am profoundly grateful for that time of
solitude. Left to my own devices, I began a process of intense
investigation led by my voice, my ear, and my musical sensibility.
Where did they want to go? From intuitive moments of discovering material, to the rigorous intellectual process of refining and
weaving the material into forms, the adventure of making music
has expanded my world in miraculous ways.
For the first 10 years, I worked alone making a cappella songs
and pieces for voice and keyboard. In the mid 70s, I formed an
ensemble of young singers who traveled along with me on my
path and inspired me to enrich the textures, counterpoint, and
colors in my music. Because they were in their early 20s and
didnt have a long history of musical expectation or dogma, my
vocal language and approach seemed inherent and became
second nature to them. This allowed for a spirit of concentrated
and playful experimentation, inspiring me to create intricate and
shimmering forms. Now, the interdependence and intimacy of
performing with the radiant and extraordinary members of my
current vocal ensemble continue to reveal new levels of insight.
My process involves long periods of waiting. When I begin
working, I try to stay open to anything that might arise. Initially, I
have to get through my terror of the unknown and expectations
of myself. At a certain point, after a lot of resistance and trying
to take very small steps, my curiosity and interest overtake the
fear. Then questions, which are the basis of any work, begin to
come up. I have the sensation that every piece is a world that
already exists in another dimension. My task is to find what are
its principles and laws and to follow them rigorously. When I am
stuck, I say to the piece: please make yourself known! and
try to stay out of its way. The experience of creating and performing are as close to meditation as anything I can think of.
The combination of pinpoint focus and open relaxation to what
comes up in the moment are fundamental principles of sitting
practice: awareness of the moment and direct experience without the filter of concept.
I have always been loath to codify or catalogue my vocabulary
of vocal sound. That analytic process seems to take away the
mystery of all the shades, impulses, colors, and dynamics that

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arise even within individual performances of songs I have sung

many times. The commodification of these techniques can
become a recipe involving mental calculation rather than an
acknowledgement of the ineffable messages that are coming
through.

compass

conduit

link to the unknown

In a lifetime of making work, there are a few pieces that have a

certain shine. They seem to have had a life of their own right
from the beginning, to have been born whole. Hearing them
again after many years, I am amazed at their mystery and presence. Although I remember all the meticulous and patient work
of bringing them to life, I also remember the seeming inevitability of their forms and the clarity and ease of their fulfillment.
How did this happen? I consider these entities gifts from a
larger and wiser realm and the times of making them, blessings. In between periods of inspiration, I try to be a good shoemaker, honing my craft, keeping up my discipline, beginning
again and again.
In meditation practice, the basic instruction is to repeatedly

link to the always known come back to the breath (without judgment) even if the mind

link to forever

link to now

has wandered off into thoughts, fantasies, or emotions. The

moment of coming back is a moment of awareness. Making
music is very much the same process. It consists of starting at
zero every time; trusting the emptiness, the space, the gift of
uncertainty; not judging too quickly; letting the materials remain
themselves until the time is right to weave them together into a
form. I try to never forget that I enjoy the privilege of engaging
in an activity that affirms the spirit of inquiry and allows me to
make an offering of what I have found. I am grateful for being
part of music, for the magic of music permeating my life.

Copyright 2006 by Meredith Monk, from Arcana V, edited by

John Zorn

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Meredith Monk
by James Hillman
Late in the play A Streetcar Named Desire, Tennessee Williams has
Blanche Dubois say to Mitch a phrase that reveals the impossibility of their
mutually salvational romance. Have you ever had anything caught in your
head? No, of course you havent you dumb angel-puss Where Blanche
lives from the images that keep her company, he turns to the factual evidence of her case history. And, the domination of fact over fantasy returns him to his mother and leads her offstage to the asylum of insanity.
Meredith Monks works protect us from the asylum. They stir the deepest resounding images on which a vital, a sane, human life depends.
Imagination may self-generate, and it may originate from a surprising conversation, a momentary scene, phrase, sound, or even a hesitating gap,
but especially, importantly, images are kindled by what leaps from a work
of art, and this transmission may not be reduced to influence, tradition or
thievery. Creation propagates creativity.
Meredith Monks images arise seismically as if out of the bedrock of
human nature. I work in between the cracks where the voice starts
dancing, the body starts singing Forms emerge into performance. Despite, or because of, their artistry, these images get caught in our heads,
causing a Stop-Look-Listen effect. We are at a crossing into primordial
terrain, understanding abandoned, troubled, confused, even frightened by
the magic and uncanny beauty. No wonder her collaborators through the
years are other risk-taking originals.
Periods in the past noted for cultural vigorin Greece, Italy, England, and
here at homeshow the spark leaping also into the body politic. The culture gains confidence in its imaginative powers; risk and devotion, together.
An enlivened imagination emboldens. If our time suffers from a lack of confidence, with doubts about our dominant myths and abilities, it suffers
more fundamentally from a failure of imagination, a phrase many of our
nations leaders have used to explain 9/11, the tragic mistakes of the foreign wars since the 1960s, and the more recent economic catastrophe.
Because Meredith Monks instrumental music and the words, movements, and vocal arrangements get caught in your head, they vivify the
intelligence of the nation, and so rightly she has been named a lasting national treasure. Although her artistic discoveries rely on the unique presence of her person, they are also utterly free of her person, reverberating
on and on in the collective imagination, igniting spontaneously in anyones
head, anywhere, anytime.
Copyright 2010 by James Hillman

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Memory Song
Text: Meredith Monk
I remember mushrooms
I remember candlelight
I remember early morning coffee
I remember fish
Ich erinnere mich an das tisch gebet (I remember saying grace)
I remember newspapers
I remember a black Suzuki
Je pense mon lit (I think of my bed)
I remember rain
I remember aspirin
I am thinking of Shakespeares garden
between song
Text: Mieke van Hoek
Between the paint and the wood
Between the pen and the writing hand
Between the rug and the floor
Between the hairs on her head
Between the clouds and the night
Between the window and the street
Between the air and the men walking
Between the heels and the sound
Between the skull and the brain
Between the lens and the eye
Between the tear and the lens
Between the lipstick and the lips
Between this hand and that hand
Between the water and the rock
Between his hand and her hand
Between your hand and my hand
Between the seed and the dirt

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Meet the Artists

Meredith Monk
Meredith Monk is a composer, singer, choreographer, filmmaker, and creator of new
opera and music theater works. During a career spanning five decades, she has been
acclaimed by audiences and critics as a
major creative force in the performing arts
and a pioneer in what is now called extended vocal technique. In 1965 she began
her innovative exploration of the voice as a
multifaceted instrument and subsequently
composed and performed many solo pieces
for unaccompanied voice and voice/keyboard. In 1978 she formed Meredith Monk
and Vocal Ensemble to further expand her
musical textures and forms. Her vocal
music is an eloquent language in and of itself, which expands the boundaries of musical composition, creating landscapes of
sound that unearth feelings, energies, and
memories for which there are no words. In
addition to her groundbreaking vocal and
music theater pieces (which include Book of
Days, Dolmen Music, mercy, impermanence, and ATLAS), she has created vital
new repertoire for orchestra, chamber ensembles, and solo instruments. Her music
has also appeared in motion pictures by
Jean-Luc Godard and the Coen brothers,
among others. Celebrated internationally,
her music has been presented by Lincoln
Center Festival, Houston Grand Opera, Londons Barbican Centre, and at major venues
in countries from Brazil to Syria.
Her numerous honors include a MacArthur
Genius Award, two Guggenheim Fellowships, and induction into the American
Academy of Arts and Sciences. With a
discography featuring more than a dozen
recordings, mostly on the ECM label, her
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CD impermanence was released in March

2008 and nominated for a Grammy Award.
In 2005 her 40th year of performing and creating new music was celebrated by a fourhour marathon at Zankel Hall. Another
marathon, Meredith Monk Music at the
Whitney, was presented at the Whitney
Museum in 2009, followed by the site-specific Ascension Variations at the Guggenheim Museum, featuring more than 120
performers. Her new music theater work,
Songs of Ascension, was performed at
BAMs Next Wave Festival in October 2009
and recently won the Herald Angel Award
at the Edinburgh International Festival. In
March 2010 her newest commission,
WEAVE for Two Voices, Chamber Orchestra and Chorus, had its world premiere at
the Saint Louis Symphony Orchestra, followed by an April 2010 West Coast premiere with the Los Angeles Master Chorale
at Walt Disney Hall.

Allison Sniffin
Multi-instrumentalist, singer, and composer
Allison Sniffin has served as both performer
and engraver of many of Monks works
since 1996. She has performed in The Politics of Quiet, A Celebration Service, Magic
Frequencies, mercy, Turtle Dreams, Book of
Days, impermanence, and Songs of Ascension; engraved and co-orchestrated Basket
Rondo, Possible Sky, Stringsongs, Night,
and WEAVE for Two Voices, Chamber Orchestra and Chorus; and edited a book of
Monks piano music. Ms. Sniffins own
music has received awards from Meet the
Composer and Concert Artists Guild. Her
commissioned cantata Oyeme con los ojos
for Melodia Womens Choir of New York City
premiered at Merkin Concert Hall in 2006.

Katie Geissinger
Katie Geissinger has been performing with
Meredith Monk since 1990, at festivals and
venues worldwide, in concert, and in pieces
such as ATLAS, The Politics of Quiet (for
which she is a Bessie recipient), mercy, the
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Grammy-nominated impermanence, and the

currently touring Songs of Ascension. She
premiered the Bang on a Can/Ridge Theater/Ben Katchor collaboration The Carbon
Copy Building, an Obie-winner that was released on Cantaloupe, and she performed in
the world tour of Philip Glass and Robert Wilsons Einstein on the Beach, which was recently revived in concert at Carnegie Hall.
Other Carnegie Hall appearances include
Bachs Magnificat with the Orpheus Chamber Orchestra, the Witch in Honeggers Le
roi David, and Osvaldo Golijovs Ainadamar.
Ms. Geissinger appeared in Jonathan
Millers staged productions of Bachs St.
Matthew Passion at BAM and in John
Taveners The Veil of the Temple at Lincoln
Center. She is a regular soloist on the Sacred Music in a Sacred Space series in New
York City. Her Broadway credits include Baz
Luhrmanns production of La bohme and
Coram Boy, and Off-Broadway she has
appeared in many Gilbert and Sullivan operettas. She has premiered many new
music theater pieces, including Mark Mulcahy
and Ben Katchors The Rosenbach Company and Philip Millers The Hottentot
Venus at MASS MoCA. She recently returned from St. Louis and Los Angeles,
where she premiered Monks new work,
WEAVE for Two Voices, Chamber Orchestra and Chorus, and a performance at the
Edinburgh International Festival of Songs of
Ascension.

Bohdan Hilash
Clarinetist and multi-instrumentalist Bohdan
Hilash joined the Vocal Ensemble in 2002.
As part of his diverse career, he has appeared on four continents as a performer of
orchestral and chamber music, opera, contemporary music, jazz, musical theater, and
as a soloist. Mr. Hilash has appeared as a
chamber and orchestral musician and as a
soloist at many of the worlds preeminent
concert venues and music festivals, including those of Bayreuth, Spoleto, Tokyo,

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Evian, Lincoln Center, Rome, and Aspen.

As an orchestral musician, Mr. Hilash has
performed with some of the worlds leading orchestras, including the London Symphony Orchestra and the New York
Philharmonic, with conductors including
Leonard Bernstein, Kurt Masur, Zubin
Mehta, and Leonard Slatkin, among others.
He is particularly active in the field of contemporary music and has worked with
many of its leading practitioners, including
Speculum Musicae, Bang on a Can, and
The Chamber Music Society of Lincoln Center. He has performed with such jazz artists
as Dizzy Gillespie, Phil Woods, Dave Holland, Lee Konitz, and Kenny Wheeler,
among others.
In the theater Mr. Hilash has worked as a
featured performer in collaboration with
several leading theater companies, playwrights, and directors of the New York
stage, including Arthur Miller and Lee
Breuer. He recently performed in Carter
Burwells Theater of the New Ear with
Meryl Streep, Philip Seymour Hoffman,
Steve Buscemi, and others in sound plays
by Joel and Ethan Coen and Charlie Kaufman. Mr. Hilashs recordings may be heard
on the ECM, Chandos, RCA Victor, CRI,
Mode, CBC, Finlandia, RCA, New World,
CCNC, TBM, Capstone, and RP labels.

Lincoln Centers White Light

Festival
The White Light Festival is a new multi-disciplinary fall festival at Lincoln Center, focusing on musics unique emotional
capacity to move us beyond ourselves and
illuminate our larger interior universe. In
this, its debut season, the festival explores
the overtly spiritual manifestations of
musics transcendent power as revealed in
different cultural traditions. The inaugural
festival will present ten U.S. and New York
premieres and debuts by artists and companies from 15 countries.

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Lincoln Center for the

Performing Arts, Inc.
Lincoln Center for the Performing Arts
(LCPA) serves three primary roles: presenter of artistic programming, national leader
in arts and education and community relations, and manager of the Lincoln Center
campus. As a presenter of more than 400
events annually, LCPAs series include
American Songbook, Great Performers, Lincoln Center Festival, Lincoln Center Out of
Doors, Midsummer Night Swing, and the

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Mostly Mozart Festival. The Emmy Award

winning Live From Lincoln Center extends
Lincoln Centers reach to millions of Americans nationwide. As a leader in arts and
education and community relations, LCPA
takes a wide range of activities beyond its
halls through the Lincoln Center Institute, as
well as offering arts-related symposia, family programming, and accessibility. And as
manager of the Lincoln Center campus,
LCPA provides support and services for the
Lincoln Center complex and its 11 other resident organizations.

LINCOLN CENTER PROGRAMMING DEPARTMENT

Jane Moss, Vice President, Programming
Hanako Yamaguchi, Director, Music Programming
Jon Nakagawa, Director, Contemporary Programming
Lisa Takemoto, Production Manager
Bill Bragin, Director, Public Programming
Kate Monaghan, Associate Director, Programming
Charles Cermele, Producer, Contemporary Programming
Jill Sternheimer, Associate Producer, Public Programming
Mauricio Lomelin, Associate Producer, Contemporary Programming
Yukiko Shishikura, Production Coordinator
Sheya Meierdierks-Lehman, House Program Coordinator
Kimberly DeFilippi, Assistant to the Vice President
Julia Lin, Programming Associate
Regina Grande, Interim Programming Associate
For the David Rubenstein Atrium:
Tom Dunn, Director, David Rubenstein Atrium of Lincoln Center
Hillary McAndrew, Senior Manager, Meet the Artist and Community Programming
Brant Murray, Production Manager, David Rubenstein Atrium at Lincoln Center
Jordana Phokompe, Associate Producer, David Rubenstein Atrium at Lincoln Center

For The Souls Messenger:

Elaine Buckholtz, Lighting Design
Jody Elff, Sound Design
Matt Frey, Festival Lighting Design

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Illumination

Wild Geese
by Mary Oliver

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.

From Dream Work copyright 1986 by Mary Oliver. Used by permission of

Grove/Atlantic, Inc.

For poetry comments and suggestions, please write

to programming@LincolnCenter.org

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Meredith Monk/The House Foundation Administration:

Meredith Monk, Artistic Director
Olivia Georgia, Executive Director
Amanda Cooper, Company Manager
Melissa Sandor, Development Consultant
Peter Sciscioli, Assistant Manager
Leslie Cuyjet, Bookkeeper
Lise Soskolne, Development Associate
Meredith Monk/The House Foundation for the Arts Board of Trustees:
Frederieke Sanders Taylor, Chair
Haruno Arai, Secretary
Cathy Appel
Linda Golding
Frances Kazan
Jim Hodges
Sali Ann Kriegsman

Meredith Monk, Artistic Director and President

Linda R. Safran
Barbara G. Sahlman
Carol Schuster
Gail P. Sinai
Micki Wesson, President Emerita

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 Performing
Arts 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 Gladys
Krieble Delmas Foundation The Harkness Foundation for Dance Livet Reichard Company
Los Angeles Master Chorale The Grand Center & St. Louis Symphony Orchestra Lower
Manhattan 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 New
York 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 Ensembles representation:

The House Foundation for the Arts, Inc.
260 West Broadway, Suite 2
New York, New York 10013

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