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Buddhadharma : Summer 2005
summer 2005| 88 |buddhadharma created by the Dutch Geuzen- verzet 1940–1945 Foundation, honors the work of organiza- tions and individuals who embody the spirit of resistance against repression. The event coincided with the anniversary of the March 10 uprising against Chinese rule in Tibet in 1959. On hearing that the International Campaign for Tibet had been named as the recipient of the award, the Dalai Lama said, “It gives me great pleasure to know that the Geuzen Medal for 2005 is to be awarded to the International Campaign for Tibet. Since its inception it has made a commendable con- tribution to the promotion of human rights and democracy in Tibet and supporting my nonvi- olent efforts to find a negotiated solution to the Tibet problem.” ■ From June 12 to September 11, the exhibit TiBeT: Treasures from The roof of The World will be on display at the Asian Art Museum in San Francisco. Nearly 200 sacred objects that belonged to the Dalai Lamas will be featured in the exhibit. The objects once resided in the Potala and Norbu Lingka – the winter and summer palaces of the Dalai Lamas. ■ Melvin McLeod writes from the annual TiBeT house BenefiT at Carnegie Hall: Composer Philip Glass is the artistic director of the Tibet House benefit, and for a man well into his sixties, he has a terrific eye for young musical talent. This year baby- boomer reliables Patti Smith, Lou Reed, and Ray Davies were outshone by the brilliant young performers Glass chose to show- case. Trey Anastasio, formerly of Phish, was the big name, joined by the bluesy duo Black Keys, singer-songwriter Nellie McKay, singer Marc Anthony Thompson This year, Buddhist practitioner Meredith Monk celebrates her 40th anniversary as a vocal- ist, composer, and explorer of interdisciplin- ary performance. Highlights of her year’s schedule include the European premiere of her composition Stringsongs, performed by the Kronos Quartet at the Theatre de la Vie in Paris on May 19, and a celebra- tion of Monk’s musical life and work at Carnegie Hall in New york on November 6. Stringsongs was commissioned by the Kronos Quartet and premiered at the Barbican Theatre in London in January. According to Monk, writing a piece for strings only was no small undertaking. “It was a very different way of working for me,” she explained. “I had to go into rehearsal with a full score in my hand, which is not the way I’ve tended to work. Usually I bring in sketches of material then work directly with the voices and people in rehearsal. A string quartet doesn’t improvise so much as work very meticulously from what’s on the page.” Monk says she normally thinks of voices as instru- ments, but in this case she had to think of instru- ments as voices. “I had to find the voice of these strings, the way I do with my singers. I had to see bowing as comparable to breathing, and how all four strings could work as one breath, one organism.” At Carnegie Hall in November, in a celebratory evening entitled “Making Music: Meredith Monk,” a host of instrumental and vocal artists will perform their interpretations of Monk’s work. The lineup includes the Bang on a Can All-Stars, D.J. Spooky, John Zorn, Ursula Oppens, and Terry Riley. Meredith Monk & Vocal Ensemble will also appear. Julia Wolfe, composer and co-artistic director of Bang on a Can, describes the tremendous influence that Monk has had on the world of experimental music. “Meredith has been a major influence on how we think. Her music is incredibly intricate and care- fully constructed, and at the same time, so musical and so free. This is a rare combination. Meredith is a unique voice in our world, and a great role model since she’s carved her own path completely.” For a schedule of Monk’s performances, visit her playful website at www.meredithmonk.org. The New york Philharmonic is set to premiere World in Flower, the latest collaboration of com- poser Peter Lieberson and librettist Douglas Penick on May 24, 2006 at the Lincoln Center. World in Flower depicts the legend of Shotoku Taishi, one of four “ancestral sovereigns” who figure prominently in the Shambhala tradition. Baritone Gerald Finley will sing the role of Shotoku Taishi, the great prince of 7th-century Japan, famous for quelling the warring clans and establishing Buddhism as the state religion. Mezzo- soprano Lorraine Hunt Lieberson will sing the part of Amaterasu Omi Kami, whom Penick describes as “the quintessence of wakefulness, as nourishment and light ... the ‘progenitrix’ of the Japanese imperial line.” Lorin Maazel, who commissioned the work, will conduct. World in Flower is the third in the Lieberson and Penick tetrology of tributes to the four ancestral sov- ereigns: Shotoku Taishi, the Tibetan epic hero Gesar of Ling, the Indian emperor Ashoka, and yung-Lo, the third Ming emperor. Says Lieberson, “For many years I had been inspired to set to music the stories of the enlight- ened rulers of the Shambhala mandala, as received in a vision by the Dorje Dradul, Chögyam Trungpa Rinpoche. I had a dream in which Rinpoche asked me if I wanted to see the original copy of the Golden Sun of the Great East [a Shambhala root text]. I was overwhelmed and said yes. On the back of each page of text was the story of Gesar of Ling. When I awoke from the dream, I felt this was a sign to go ahead and compose King Gesar. “Most recently I received a commission from the New york Philharmonic, and when I asked their artistic administrator if I could do a big orchestral cantata about Shotoku Taishi, he said, ‘Sure.’ And then he said, ‘What’s a Shotoku Taishi?’” The cantata will be unlike their previous works, says Penick. “It’s more like a piece that comes from Shotoku Taishi’s world than one that is about that world. It’s about his vision, the inner sense of him as a visionary ... so it’s a display – a big, shim- mering piece.” monk aT carneGie hall, lieBerson aT lincoln cenTer By Molly De Shong ©JESSIEFROMANARIEWAPENAARDONFELIxCERVANTESROGERBURNSGEORGEGEORGAKAKOS