Boston Symphony Orchestra Concert Programs, Season 93, 1973-1974

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December Wednesday, December 12, at 8:00 Friday, December 28, at 8:00 ALEXIS WEISSENBERG, Piano MODERN JAZZ QUARTET

Saturday, December 1, at 8:00 THE GHEORGHE ZAMFIR ENSEMBLE Thursday, December 13, at 8:00 Sunday, December 30, at 2:00 BOSTON SYMPHONY ORCHESTRA ROSALYN TURECK Michael Tilson Thomas, Conductor An Afternoon of Bach Sunday, December at 2, 3:00 Rose Taylor, Mezzo-Soprano Bach's "Goldberg Variations" DANIEL BARENBOIM, Piano A "Spectrum" concert: "Transcriptions" on Harpsichord at 2:00 PINCHAS Violin ZUKERMAN, Works of Cage-Harrison, Monteverdi- on the Piano at 4:30 Orff, Sibelius-Stravinsky, Schumann-Ravel, Brahms-Schoenberg (I.F.V.O.*) Sunday, December 2, at 8:00 EUBIE BLAKE and BILL BOLCOM Sunday, December 30, at 8:00 NEW YORK STRING ORCHESTRA Friday, December 14, at 8:00 VIENNA JOHANN STRAUSS Alexander Schneider, Conductor Soloists to be announced Monday, December 3, at 8:00 ORCHESTRA VLADIMIR VIARDO, Pianist Walter Goldschmidt, Conductor Winner of the Van Cliburn Piano Competition

Saturday, December 15, at 8:00 January BOSTON SYMPHONY ORCHESTRA Tuesday, December 4, at 8:00 Michael Tilson Thomas, Conductor Thursday, at RUDOLF SERKIN, Piano January 3, 8:00 Malcolm Frager, Piano Friday, January 4, at 8:00

Works of Brahms-Schoenberg, Brahms Saturday, January 5, at 8:00 Sunday, at Wednesday, December 5, at 8:00 January 6, 8:00 SHIRLEY VERRETT, MARLENE DIETRICH Mezzo-Soprano Sunday, December 16, at 2:30 ST. CECILIA CHORUS AND

ORCHESTRA Wednesday, January 9, at 8:00

Thursday, December 6, at 8:00 David Randolph, Conductor HORACIO GUTIERREZ, Piano NEW JERSEY SYMPHONY Bach's "Christmas Oratorio" ORCHESTRA Henry Lewis, Conductor Friday, January 11, at 8:00 Alexis Weissenberg, Piano JANET BAKER, Mezzo-soprano All-Rachmaninoff Program Monday, December 17, at 8:00 AMERICAN SYMPHONY Saturday, January 12, at 2:30 Friday, December 7, at 8:00 ORCHESTRA Orchestra conducted by CHARLOTTE THE MASTERWORK CHORUS AND Morton Gould, Composer/Conductor BERGEN ORCHESTRA Lorin Hollander, Piano Aaron Rosand, Violinist David Randolph, Conductor Works of Copland, Gershwin, Kenneth Cooper, Judith Norell, Harriett Handel's "Messiah" Gould,! Ivesf Wingreen, Harpsichordists I New York Premiere Works of Corelli, Bach, Mendelssohn, Schumann Saturday, December 8, at 3:00 YOUTH SYMPHONY ORCHESTRA OF NEW YORK Saturday, January 12, at 8:00 David Stahl, Conductor Wednesday, December 19, at 8:00 MUSICA SACRA To be announced Richard Westenburg, Conductor Saturday, December 8, at 7:00

THE MASTERWORK CHORUS AND Sunday, January 13, at 2:30 ORCHESTRA Piano Thursday, December 20, at 8:00 RUDOLF FIRKUSNY, Repeat of December 7th Program "Heavy Organ" Virgil Fox with Revelation Lights Monday, January 14, at 8:00 Sunday, December 9, at 2:00 STUTTGART CHAMBER THE MASTERWORK CHORUS AND ORCHESTRA ORCHESTRA Friday, December 21, at 8:00 Karl Munchinger, Conductor Repeat of December 7th Program ORATORIO SOCIETY OF NEW YORK Bach's Art of the Fugue Lyndon Woodside, Conductor Sunday, December at 8:30 9, Handel's "Messiah" "Caribbean Night" Tuesday, Soloists: Eleanor Steber, Muriel January 15, at 8:00 Greenspon, Dean Wilder, Robert Hale WARSAW PHILHARMONIC Monday, December 10, at 8:00 Edward Brewer, Harpsichord ORCHESTRA BUDAPEST SYMPHONY Witold Rowicki, Conductor ORCHESTRA Konstanty Kulka, Violin Works of Mozart, Szymanowski, Gyorgy Lehel, Conductor Saturday, December 22, at 8:00 Boguslawski, Stravinsky Ferenc Tarjani, French horn Sunday, December 23, at 8:00 Works of Bartok, Strauss, Falla (I.F.V.O.*) JUDY COLLINS (LF.V.O.*)

Tuesday, December II, at 8:00 THE NATIONAL ORCHESTRAL Monday, December 24, at 12:00 Mid. ASSOCIATION NEW YORK STRING ORCHESTRA International Festival of Visiting Orchestras Leon Barzin, Conductor Alexander Schneider, Conductor Harvey Phillips, Tuba Soloists to be announced Programs subject to change ©Lorillard 1973

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The Central Presbyterian Church, Hall performance of Handel's Messiah gan accompaniment, they could now located at the corner of Sixty- in its original Baroque form. spend about the same price and hear fourth Street and Park Avenue, boasts In a small office adjacent to the an orchestral version of the same an unusual musical tradition dating Church's pulpit, stacks of books are work. People were just not coming to back to 1899, when Charles Ives was piled in precarious piles; a bass drum, the concerts. At that time, which was the Church's organist (at a prior site). harpsichord and a sleek racing bike lie during the late fifties and early sixties, Now it is Richard Westenburg, organ- haphazardly about the room. Wear- there was not all that much interest in

ist, choirmaster and founder of Mu- ing jeans and zippered velour shirt, that type of concert. My idea was to sica Sacra, who channels secular and Westenburg sat in an overstuffed up- use the unequalled architecture and sacred streams into his programming holstered chair. Cigarette in hand, he acoustics of the church in a manner of unconventional works. talked about Musica §acra, the more interesting to music lovers. I Musica Sacra, the city's first church church and music in general. "To give wanted to do more authentic perform- concert series featuring an all-profes- you some background," began West- ances with orchestra. Needless to say sional chorus, soloists and orchestra, enburg, "I succeeded a man who had we can't do the Verdi Requiem or the has, under the leadership of West- been here nearly 30 years, and who Brahms Requiem because there simply enburg, struck a harmonious chord had a certain kind of music program isn't enough space to seat chorus and aligning secular and sacred musical that was not unlike several other orchestra. We are limited at the values. Within those hallowed stone churches. They had a professional Church in that we only can use 30 and mahogany walls and high ceilings choir and excellent soloists. But the singers, and an orchestra of not more that permit an authentically rich greatest difference between what I than that size. But the most beautiful

acoustical sound, such unchurchlike have done and what he did is less a part about this church is that we have

works as the first American perform- sign of the personalities than it is a an unusual sound. Acoustically every- ance of Benjamin Britten's Childrens sign of the changing times. At that thing works. Even with a choir of 25, Crusade and Carl OrflPs Carmina Burana time church concerts were performed you have a deep involvement in have resounded. On December 19, un- with organ accompaniment. With sound, more so than if you had five or der Westenburg's guidance, Musica recordings easily accessible, the public ten times that many singers perform- Sacra will venture unconventionally realized that instead of spending ing. in another direction with a Carnegie money to hear a concert with just or- continued on next page Next year, being the centennial of his birth, we will, of course, be giving one. Look at Ives's music. You see some works that are distinctly secular and exist only for fun, and these would be pieces I would not be apt to program. But not because they are not about God or Jesus, because they just don't seem to tap the kind of surroundings

we have here. It works better when it is a work of a thoughtful, serious nature. On the other hand, there are many Ives pieces that are sacred in every sense of the word—Psalms Settings, for example." Charles Ives, who was 25 at the time, worked at the Central Presby- terian Church on a part-time basis. He concurrently held a full-time job for the insurance firm, Mutual of New York, with whom he remained until he established the famous firm of Ives and Myrick, in 1916. "Ives grew up in an atmosphere of church music in Danbury, Connecticut," continued Westenburg. "And all of the gospel tunes and trappings of the Vesper ser- Interior of Central Presbyterian Church. vice were in him. So at that period of Within the province of the Church, liberal arm of the church we are per- his life he sought to increase his out-

Westenburg found freedom with few mitted to say that anything that is se- side income and also exercise his musi- compromises. "When I first came rious and beautiful can be accepted as cal interests by taking church jobs. here," recalls Westenburg, "I sought worthwhile." Speaking of flak, I am sure he got a

the advice of the pastors as far as pro- "Were you not accused of heresy?" I lot of it because there are existing gramming concerts. From the very be- interjected. He grinned and nodded, manuscripts of certain things he did ginning they told me to 'do what you responding: "Some people have ac- with hymns such as odd harmoniza- want to do and if it seems right to cused me of that." Sliding deeper into tions of very familiar hymns. Some you, we will defend it to any critics.' I the comfortable contours of the large people probably said things to him, have always enjoyed cooperation from chair, he remembered the reaction to like, 'was the organ in bad repair?'

the pastors in that regard. But I guess Carmina Burana. "During the perform- But he didn't mind though. To him I couldn't do any old thing I wanted ance I looked out at the audience and creativity was above everything. He

to do on Sunday morning—there is saw a whole row of nuns visibly enjoy- once said that if a piece he wrote is

some conservatism indicated there. If ing it. Presumably, they knew some of unperformable, that it is all right and we had started ten years ago with Car- the intimacies of the Latin which were doesn't make it any less a composi- mina Burana instead of the Bach Mag- not spelled out in the printed version tion. It exists as a work whether any- nificat, and if someone really read the of the English translation. They didn't body can do it or not. He felt he libretto, they would have wondered seem to mind." should try some of these things and so what it has to do with the church. We The choral literature, for West- challenged a lot of people. Nice little had to work up to the recent period enburg, is, to a large extent, sacred old ladies had to grab their hymn where we can do works that were not music. "Choirs have sung in the book hard and take it." normally performed in the church." church throughout history. There are Westenburg grew up in Min- For the 41 -year-old conductor, the exceptions. The Messiah was conceived neapolis, as a Methodist. He received

line separating sacred and secular mu- as a concert piece but is entirely bib- a Bachelor of Music Degree at Law-

sic cannot be isolated within clear- lical. So therefore it can be considered rence College (now Lawrence Univer- sighted guidelines. "As long as any- both sacred and secular at the same sity) in Wisconsin, Masters Degree in

thing is not downright profane, vulgar time. However, the bulk of the choral Music from the University of Min-

or obscene," remarked Westenburg, repertoire is sacred." nesota, and spent a year in Paris "we are allowed to do what we want "What works would you not con- studying with Nadia Boulanger. He to do. There are so many borderline sider appropriate for performance in refers to his religious training as a

pieces like the Brahms A It-Rhapsody. It church?" I queried. "liberal Protestant background."

is a piece that is not sacred in some "I don't approach the value of pro- Concerning deeper religious motiva-

definitions. It is not sanctified, and gramming a piece strictly on the basis tions and convictions, he rubbed his exactly meant for the church. Histori- of sacred and secular," answered chin for a few seconds and slowly re- cally, some parts of the Christian Westenburg. "For example, Charles - sponded: "There again, that demarca-

Church have said that nothing is sa- Ives was the organist for Central Pres- tion line between sacred and secular cred except that which is biblical or byterian during the years 1899-1902. eludes me. In many ways I feel I am from a prayer book. But being on the Every year we give an Ives concert. continued on page 30

10 .if^-"

American conductors are a rare breed -especially in America.

In the culture-conscious United States, the aged, and in other institutions where the there is a surprisingly small number of Ameri- audiences are often unfamiliar with classical can symphony conductors. music. Exxon is trying to help. We're sponsoring They're also working with smaller musi- the Exxon-Affiliate Artists Conductor program. cal groups in areas around their orchestra's This program is designed to accelerate the home city. Because one of the aims of the careers of young American conductors, and, program is to build public support for classi- at the same time, expose more Americans to cal music and symphony orchestras. fine symphonic music. And most important to them, these young The program has already placed six maestros are conducting the full orchestras young conductors in residence with the in regularly scheduled concerts several times Atlanta Symphony, the San Diego Symphony, during the season. the St. Paul Chamber Orchestra, the Pitts- We hope Exxon with Affiliate Artists, Inc. burgh Symphony, the National Symphony in will bring many hours of musical Washington, D.C., and the Milwaukee Sym- pleasure to American audiences. phony. They're getting invaluable experience By American conductors. working closely with ranking conductors for a full season. Theseyoung conductors are handling re- ETfCpU hearsals. And they're conducting "outreach" concerts for special audiences— in parks and schools for youngsters, in homes for We'd likeyou to know imm. tf youVe

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vv^^'fdlL r- Singer of Contemporary Songs

Judy Collins' two Carnegie Hall con- portive and helped her to get work. some time and it was time that I certs on December 22 and 23, are the After the film was completed I asked changed.' But all I really did was last the folk singer has on her schedule her about the obvious'frustrations she change directions. The impulse to for an indefinite period of time. After must have felt about being a pioneer make music was so strong, there was 15 years of concertizing all over the in an alien field. She said that she no way I could give up that drive. I world, she will be taking a much would have given up that odious dis- found a different outlet for myself. needed vacation to devote herself to tinction of being a pioneer just to Moving to folk music was an impor- writing and a film making project. have been a man and conduct. And tant change for me. It gave me a com- When she is not out of town, Judy the most incredible thing about the bination that I didn't have before.

Collins can be found in a spacious, movie is that she is our star. She is With classical music I didn't have the high-ceilinged apartment on the up- over 70 years old, has her own orches- lyric side of the spectrum. Learning

per west side of Manhattan. Comfort- tra in Denver and needless to say is a about folk music and discovering the ably attired in patched dungarees, an remarkable woman." way people express themselves in open necked velour shirt and high The 35-year-old folk singer said their song poetry connected me with a

leather cowboy boots, the light-blue- that it is difficult to write and tour at kind of music that I now see as synthe- eyed singer mused over her new activ- the same time. "I find that writing is sized with serious music. I didn't play ities. "This year I spent a great deal of just like any other job," says Miss Col- the piano in concerts for many years. time on the road," began Miss Collins. lins. "You just have to sit down and It took me about ten years before I

"These two Carnegie Hall concerts do it. It is the demon that seduces one cared to face my classical training. I will terminate my concertizing for a away from that activity. There is no was very intimidated by it in a way. long time. I am stopping as of the first mystery to actually sitting down and So much of my youth was spent being of the year. I want to get on with and writing. There is magic in where you professionally and classically oriented,

into projects that take a great deal of get your ideas, but there is no mystery that I developed a respect for that ap- time. Touring simply interferes with about the daily discipline of writing. proach which carried over into every- those pursuits. I want to do a lot of What it comes down to is that I just thing else. Before that time I was not writing." A broad smile crossed her can't do two things at the same time. I ready to bring the piano into folk mu- face. "And I am really excited about am a one project girl." sic because I had separated the two my first film. It seems almost surreal Looking back over her 15 years of musical schools in my own mind. It that we are talking about the film, be- performing and making recordings, was hard for me to realize that there cause we just completed it. I produced she views her early developmental were many things going on at the arid co-directed it. It is a 57-minute years as important evolutionary steps same time—so many levels of creativ- film called Antonia, A Portrait of the in her career. "As I grew," she said, "I ity. When I finally was able to bridge Woman. Antonia Brico was the first found that I had more flexibility and musical barriers and use the piano in woman to break through the male- that I could conceivably go on singing my performances, I found that it gave dominated field of conducting. She for the better part of my life. I will me more latitude. I used to think that was the first woman to conduct the never stop performing." folk music was folk music and classi- Berlin Philharmonic, in 1930, and the She turned to folk music at 16, after cal music was classical music and the first woman to conduct the New York studying the piano for eight years. two could never meet. It takes a while Symphony. She formed a women's The lure of the outside world, a rest- to get over these prejudices, to see that symphony orchestra in New York less youthful energy and a love of na- different forms of musical expression City called the New York Women's tive American music brought her to can successfully be combined." Symphony. It existed, I think, for the folk idiom. Recalling the time She finds the category of folk singer about five years. And of course people when she turned musical corners and limiting. "A singer of contemporary said she would not be able to do it. began to delve into American folk songs," is the phrase she prefers to de- Sidney Prince's wife was her patron. music, she laughed heartily and said: scribe her art. "The word folk singer," Olin Downes, at the time, one of the "I gave up the piano in a great emo- she said, "is the definition of a popu-

important critics in New York, was a tional gush. I just said, 'this is not for lar singer who deals with lyrics of sub- great fan of hers. He was very sup- me. I had been playing the piano for continued on next page

13 m^ .

stance rather than moon, June, spoon. changes in the past two decades, she stage, whether it is a recitation of This is to separate it from the Bing notes. Rock now dominates the air- Brecht or something I have concocted Crosby, Frank Sinatra school and also ways, and the entire pop music busi- for the piano. I like to be able to take to separate it from jazz. There is cer- ness has become a multi-million dol- the audience anywhere I want. To me tainly a reason for some kind of word lar venture. "The use of electrical as that is the art. I am there to move that gives you some information right opposed to acoustic instruments, the people—to make them feel themselves away of what the music is. I don't whole show business aura of rock mu- and be moved by their experience of think folk singer means now what it sic, had a great deal to do with chang- life as shared or seen individually. Ev- used to mean. For instance ten years ing the music," she added. "Of course erybody uses the stage to different ago it probably meant that you sang a one of the most wonderful qualities purpose. For instance, Joan Baez uses great deal of traditional music, and about today's music is its eclectic na- the stage as a platform for politics. you probably used a guitar or a ture. Being able to combine blues, folk That is her way of presenting music." stringed instrument—probably of eth- and classical music gives an artist a "You have also been very active po- nic origin. There would obviously be great deal of freedom." litically," I added. a gap between Jean Ritchie singing Miss Collins said that the most "I think of life as a political pro- traditional music and someone like ideal circumstances for performing are cess," she answered. "The way one

Paul Simon. Paul Simon writes his those that allow her to grow and handles love and hate, one to one, is a

own material and uses a guitar, yet his "emerge" on stage. She would rather reflection of how one handles it politi- songs belong in another category. As not confine herself to a format that cally. It is inherent in the relationships

for myself, I hope to develop the craft limits her to folk songs. Latitude is that we have with our children and to the point where I can sing a song necessary so she can easily glide from friends. So there is always the personal that you may or may not have heard a traditional folk ballad accom- political situation which I feel very

previously, and be able to have you panying herself on guitar, to an a ca- strongly about, whether it is becoming

completely understand it the very first pella song, and then move on to songs oneself as a woman or becoming one-

time you hear it. For me, that is what backed by an electric band. "I am a self as a voice against something. Poli- music should ultimately be. One performer who needs time on stage to tics has vast scope and covers all our should be touched in a very total way do all the things I want to do," she relationships with one another." by a song." went on. "This is why I rarely appear Judy Collins, folk singer, and out- Discussing folk music today and its with some other act as an opening. In spoken 20th-century balladeer, is a vi- many derivative genres, she noted my concert programs you will find a able musical force who continues to that today's folk artists are pursuing reflection of every period of my music. weave appealing melodies around new paths. There have been many I like to be able to do anything on timely lyrics. ROBERT V. WEINSTEIN

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J^aAhirnmbli}^ ijDiVtdu By Joanne Winship

December! Delicious, delirious, frantic and fun, and gaiety reigns supreme.

Some of us love it, some of us dread it, but it's here again, so take it in your stride and enjoy. Since Xmas gift giving is upon us and usually boggles the brain for many, we thought we'd devote this column to a few suggestions. Happy shopping:

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Collection." B. "Something for the boys." Big or little they will love it. Tele Concepts clear, break-resistant, acrylic, see through phone, the "Periscope." You can be sure your conversation isn't being bugged with this. From Bloomingdale's. C. Glamorous parties and opening nights. Long black matte jersey, in DuPont's lycra fabric. Transparent arms and shoul- ders, the bodice is opaque with a pattern of diamonds wrapping the body. By Giorgio Di Saint Angelo. D. For the sophisticated fellow, how about this for fun? Made from old cast iron bath tub legs, about six inches high, a hand painted one of a kind collection. From Louis Armstrong (as shown) to the old fashioned bartender, a great idea for his playroom or his office. Bloomingdale's. E. "Diamonds are a girl's best friend!" But the prices of real diamonds aren't so friendly. These fabulous fakes are the look today and at these prices men can have a field day in buying lots for milady's Xmas stocking. The 1973 version of the 1930's diamond clip in Pave Baguette's. A dazzling rope of diamonds like Austrian crystal. Great look. All these and many more by Wm. de Lilo. F. Some of the most beautiful evening

bags around. Get one for your Ms., it should keep your marriage together for another year! (Top) Ribbon clutch. Repousse design, with a handle that folds inside bag, shoulder chains can be used. (Bottom) The pearlbox, inspired by the box the sultans used to send a pearl to their ladies. By Judith Leiber (this year's Coty Award winner). G. Whether you get to the party by pogo stick or by foot, the "feet come first." Beautiful shoes are a must with beautiful clothes. Take your choice, there is plenty to choose from. Shown above: The "champagne sandal." All over Strasse on silver kid. By Beth Levine. Below: "Balloon pump." Black patent or kid balloons on clear vinyl. By Beth and Herbert Levine, winners of this year's Coty Special Award for shoe design. CH Tcqrejbrrid\fs, December, 1973 METROPOLITAN OPERA (p maK^gifts toJriends" AVERY FISHER HALL ALICE TULLY HALL -Euripides, 484-406 BC CARNEGIE HALL • Sanford L. Goldsmith Publisher

Irving Kolodin Editor

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Advertising Offices James K. Levitt & Associates, Inc. 1720 Algonquin Road Mt. Prospect, 111. 60056 (312)593-5255

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N°5 CHANEL PERFUME 1 973-1 974 SEASON V_-^^ ^ •^JP

INTERNATIONAL FESTIVAL OF VISITING ORCHESTRAS

The Carnegie Hall Corporation presents the Boston Symphony Orchestra

NINETY-THIRD SEASON 1973-1974

SEIJI OZAWA, Music Director COLIN DAVIS and MICHAEL TILSON THOMAS, Principal Guest Conductors

Thursday Evening, December 13, 1973, at 8:00

Michael Tilson Thomas conducting ROSE TAYLOR, Mezzo-Soprano SPECTRUM CONCERT Theme: "Transcriptions"

CAGE-HARRISON "Suite for Toy Piano"

MONTEVERDI-ORFF "Lamento d'Arianna"

SCHUMANN-RAVEL "Carnaval," Op. 9 (Excerpts) Preambule Valse allemande—Paganini—Valse allemande Marche des Davidsbiindler centre les Philistins

INTERMISSION

BRAHMS-SCHOENBERG Quartet for Piano and Strings in G minor, Op. 25 Allegro Allegro ma non troppo Andante con moto Rondo alia zingarese

*First New York performance The Boston Symphony Orchestra records exclusively for Deutsche Grammophon Baldwin Piano Deutsche Grammophon and RCA Records The "Lamento d'Arianna" is the only surviving fragment of Monteverdi's Arianna, the composer's second opera and NOTES ON one that used a libretto by Ottavio Rinuc- cini, a libretto based on the legend of THE PROGRAM Ariadne and Theseus. The opera was first performed in Mantua on May 28, 1608, as "Suite for Toy Piano" Cage wrote the Suite for Toy Piano in part of the wedding festivities of Fran- JOHN CAGE-LOU HARRISON 1948. It was arranged for orchestra by his cesco Gonzago, crown prince of the Man- friend and associate Lou Harrison in tuan court, and Margarethe of Savoy. To John Cage, born in Los Angeles on 1964. Harrison's score calls for regular pi- give an idea of the grandiose scope of September 5, 1912, was a pupil of Henry ano, but at this performance Michael Til- these festivities, it should be noted that Cowell and Arnold Schoenberg. The first son Thomas has chosen to use a toy piano, Monteverdi also composed a ballet, // composer to write for 'prepared piano,' he which will be amplified. balto delle ingrate, for the same occasion; is perhaps most famous for the works en- "The writing of music," Cage has said, other composers made equally elaborate, titled Radio Music and 4 Minutes and 33 Sec- "is an affirmation of life, not an attempt if not equally famous, contributions. The onds, the latter of which involves a per- to bring order out of chaos nor to suggest premiere took place in a theater that held former who sits silently before a keyboard improvements in creation, but simply a over 6,000 people, a seating capacity throughout the duration of the 'music' way of waking up the very life we're living which proved too small for the invited Mr. Cage, who has also composed with which is so excellent once one gets one's guests. The sensation of the evening—per- the assistance of / Ching sticks, is a found- mind and one's desire out of the way and haps of the century, so far as music was ing member of the New York Mycological let it act of its own accord." And, speaking concerned—was the "Lament." Count Society. to the Music Teachers National Associ- Follino, the court historian, recorded that associate and friend of ". Lou Harrison, an ation in 1957: "The coming into being of it was sung . . in such a moving man- John Cage, was born in Portland, Oregon, something new does not by that fact de- ner that all the hearers were deeply af- Cage, two of his in 1917. As with Mr. prive what was of its proper place. Each fected, and there were tears in every teachers were Henry most important thing has its own place, never takes the woman's eyes." Schoenberg. Also like Cowell and Arnold place of something else, and the more Follino's account cannot have been early became fascinated Mr. Cage, he things there are, as is said, the merrier.'-' grossly exaggerated. For one thing, we with the musical possibilities of exotic ANDREW RAEBURN know from the evidence of Monteverdi's sonorities. He has incorporated into his letters that the composer himself was ex- works such sounds as those of automobile "Lamento d'Arianna" tremely fond of the "Lament"; for an- plumber's pipes, brake drums, lengths of CLAUDIO MONTEVERDI-CARL ORFF other, Monteverdi made two important galvanized washtubs and those made by transcriptions of the music: the first, a Born at Cremona in May 1567, Monte- hitting a wooden whiskey case. Deeply in- five-part madrigal published in the Sixth verdi is renowned as a madrigalist and as terested in Esperanto, which he reads and Book Madrigals (1614), and the second, a the founder of modern opera. By some he of speaks fluently, he has given Esperanto ti- sacred parody ("Lament of the Virgin has been called the creator of modern mu- tles to many of his works. Mary") published in the Selva Morale of sic, and it is undoubtedly true that he 1640. Attesting also to the tremendous im- played a vastly influential role in the de- In a program note for The Cleveland pression made by the original piece of mu- velopment of music, of opera in particu- Orchestra, Klaus G. Roy has written: sic is the fact that shortly after its appear- lar. He may be said to have single- "John Cage has been for 30 years or so ance, the "Lament" achieved the status of handedly established the concept of opera one of the most extraordinary and contro- a musical 'type.' By the end of the 17th as music drama, and among his other con- versial figures on the musical scene. He century, hundreds of composers had writ- tributions are his pioneering use of orches- has taken the age-old concept of musical ten laments, most of them inspired by the tral coloration, his extension of instru- improvisation and incorporated it into a expressive style of the original. mental techniques and his harmonic system (if that is not a contradiction in In our own century, the "Lamento innovations, the last of which retain their terms) of 'indeterminacy,' 'unpredictabil- d'Arianna" is still a stunningly powerful vividness even for audiences of today. ity' and 'chance' with varying degrees of and attractive work, one that has com- Monteverdi composed the "Lament," conscious control. In response to a query manded the attention not only of the pub- which is the centerpiece of his opera some years ago, he said, 'I did not see that lic but of composers as well. It was last Arianna, while in the employ of the Duke we were going to a goal, but that we were performed by the Boston Symphony in of Mantua. In 1613, five years after its living in process, and that process is eter- 1924, in an arrangement by Ottorino Res- composition, he became maestro di cappella nal.' The fundamental attitude toward pighi. Carl Orff has made two arrange- at San Marco, Venice, where he remained musical materials that he has developed is ments of the "Lament": one for chamber until his death on November 29, 1643. derived from many sources, including ex- orchestra and soloist, another for full or- istentialist philosophy, Zen Buddhism, Carl Orff, born on July 10, 1895, in chestra and soloist. It is the latter version, the Theater of the Absurd and others. It Munich, was hardly known in America which dates from 1929, that is being per- has been very difficult, at times, for au- until he was almost 60 years old. Though formed at this concert. diences to determine what was seriously he is the composer of numerous works We do not know the precise nature of intended and what was pure put-on, and that have been widely performed in Eu- Monteverdi's instrumentation, but it was

it is possible that Cage means to impose rope, his fame here is based largely on Car- very likely similar to that of his first opera, no strict boundary line between the two. mina Burana, which created something of a Orfeo: two gravicembali, two contrabassi de In any event, performances of his music sensation in the United States after its re- viola, ten viole da brazzo, one arpa doppia, never fail to elicit sharp reactions, pro and lease on records in the early 1950s. Of his two violini piccoli alia francese, two chitarone, con, and this is certainly one of his objec- pronounced interest in textual matter two organi di legno, three bassi di gamba, four tives. The influence he has exerted in the from folklore, medieval poems, fairy tales tromboni, one regale, two cornetti, three trombe world of music is very strong, with num- and legends, he has said, "I do not look sordini, one flautino alia vigesima seconda and

berless disciples and admirers in many upon them as old. . . . The time element one clarino. OrfTs orchestra calls for two countries—including such recognized mas- disappears, and only the spiritual power flutes, two oboes, English horn, two basset ters as Witold Lutoslawski of Poland, who remains." In addition to the "Lamento horns, bass clarinet, contrabassoon, three attributes his own change of style to an d'Arianna," he has arranged Orfeo and // trombones, timpani and strings. encounter with Cage's music in 1961." ballo delle ingrate of Monteverdi. The words depict the plight of Ariadne,

ifA who, deserted by Theseus, her lover, It is unclear why Ravel should have un- mourns her fate on the island of Naxos. dertaken to orchestrate Carnaval for the "Carnaval," Op. 9 (Excerpts) Diaghilev Company, the troupe for ROBERT SCHUMANN-MAURICE RAVEL which, according to some writers, the work was intended. By 1910, four years Michael Tilson Robert Schumann was born at Zwickau, Music Di- before Ravel's efforts, Diaghilev already Thomas, Saxony, on June 8, 1810; he died at En- rector of the Buffalo had a complete score by Rimsky-Korsa- denich, near Bonn, on July 29, 1856. Car- Philharmonic Or- kov, Liadov, Glazounov and Tcherepnin, naval, perhaps the most popular work chestra and Princi- and the ballet he had set to this score had Schumann ever wrote, was composed in pal Guest Conduc- been immensely popular in St. Petersburg 1834, when he was 24 years old. tor of the Boston and Paris. Ravel's biographers have paid Symphony Orches- but scant attention to this transcription, tra, as well as Music Ravel born at Ciboure, near Saint- was and the score itself, published only Director of its Spec- Jean-de-Luz, Basses-Pyrenees, on March series, recently, is for the most part a difficult-to- trum studied California, 7, 1875; he died in Paris on December 28, read reproduction of the manuscript copy. at the University of Southern orchestration of three sections of where he received his B.A. and M.A. in 1937. His Ravel uses the following instrumenta- Schumann's Carnaval dates from 1914. music. He has been pianist in the classes tion: two flutes and piccolo, two oboes, of Gregor Piatigorsky and prepared the Among his other transcriptions for orches- bassoons, horns, two clarinets, two two orchestra for the Heifetz-Piatigorsky con- tra are Chabrier's Menuet pompeux, De- two trumpets, timpani, tambourine, cym- certs. During the 1966 Bayreuth Festival bussy's Danse and Sarabande, a nocturne, bals, harp and strings. and Ojai Festival the following year, Mr. of Chopin, Satie's Prelude etude and valse HARRY NEVILLE Thomas was Assistant Conductor to du fils des etoiles, portions of Mussorgsky's Pierre Boulez; he was Conductor of the Khovanshchina and, of course, Mussorgsky's Ojai Festival in 1968 and 1969. A con- Quartet for Piano and Strings Pictures at an Exhibition. ducting fellow of the Berkshire Music The 20 short pieces which make up Car- in G minor, Op. 25 Center in 1968 and 1969, he won the naval are subtitled Scenes mignonnes sur JOHANNES BRAHMS-ARNOLD SCHOEN- Koussevitzky Prize in conducting. During the past three years, Michael Tilson quatre notes ("Miniatures Based on Four BERG Thomas has conducted many of the major Notes"), but, in fact, the work is based on Brahms's "Fifth Symphony" is how described his orchestral orchestras in this country, and in Europe more than four notes. One set of notes is Schoenberg once Piano Quar- and Japan. Last season, Mr. Thomas ap- A, flat, and B, which in German are transcription of the G-minor E C peared in guest performances with the Is- tet. The public has yet to share Schoen- called A, S, C and H, spelling Asch, the rael Philharmonic, London Symphony, his handiwork, but name of the home town of Ernestine von berg's estimate of own New Philharmonia and the New York Fricken, a flame of Schumann at the time. the public has had but little opportunity Philharmonic, with which he began his Two other sets of notes are to be found in to judge: performances are scarce, if not first season as Music Director of the the "Sphinxes." Though printed in the rare, and the score was not even published Young People's Concerts; he also assumed score after "Replique," these "Sphinxes" until recently. In a letter to Alfred Frank- the position of Visiting Adjunct Professor are not meant to be played. (Rachmani- enstein, music critic of the San Francisco of music at the State University of New York in Buffalo. Among Mr. Thomas's noff' did in fact play them, and with mar- Chronicle, Schoenberg once listed his rea- recordings with the Boston Symphony Or- velous effect.) The other sets are, in Ger- sons for orchestrating the Quartet. They chestra for DGG are Stravinsky's Rite of man, AS, C and H (A flat, C and B), were: "I like this piece. It is seldom Spring, Ives's Three Places in New England, another spelling of Asch, and S, C, and played. It is always very badly played, be- H Ruggles's Suntreader, Tchaikovsky's Sym- flat, A), the letters of Schu- cause the better the pianist, the louder he A (E C, B and phony No. 1 and Debussy's Images and Pre- plays and you hear nothing from the mann's name to be found in the German lude a I'apres-midi d'unfaune. strings. I to hear everything, manner of lettering the scale. All of this is wanted once I achieved." It his intention, Rose Taylor began important, of course, for the way it gives and this was her musical studies the piece unity and cohesion, but the prin- he said, to remain strictly in the style of at the University of Brahms, "and not to go farther than he cipal interest of Carnaval is the striking dis- Southern Califor- himself would have gone if he lived to- play it provides for the incredible range of nia, Los Angeles, Schumann's fantasy. Some of the pieces day." Citing his 50 years of thorough ac- and continued them depict figures of commedia dell'arte; others quaintance with Brahms's style and his as a scholarship stu- are portraits of Schumann's friends; still principles, he said that he knew how this dent at Juilliard. others are simply mood pieces. music should sound, and that he had only She was selected to sing Baba the Turk Ravel chose to orchestrate only four of to transpose this sound to the orchestra, in The Rake's Prog- the 20 scenes of Carnaval: the "Preambule," adding, "and this is in fact what I did." ress at the opening of the American Opera suggestive of trumpets, banners and gen- For his orchestra, Schoenberg chose the Center, with Erich Leinsdorf conducting. "Valse following instrumentation: three flutes eral merrymaking; the whimsical She subsequently sang with the Metro- (third doubling piccolo), three oboes allemande," which encloses the appro- politan Opera Studio, the Augusta Opera (third doubling English horn), clarinet in priately virtuosic "Paganini" episode, and, in 1971 and 1972, with the Chicago with its off-beat rhythms and difficult (for E flat, clarinet in B flat, bass clarinet, two Lyric Opera. Active also in chamber and the pianist) oppositions of dynamics; and bassoons, contrabassoon, four horns, three concert music, Miss Taylor has performed the brilliant finale, "Marche des Davids- trumpets, three trombones and tuba, tim- with the Boston Symphony Orchestra under Seiji Ozawa and Erich Leinsdorf. An biindler contre les Philistins," a march in pani, snare drum, bass drum, cymbals, aflfiliate artist in Worcester, Massachu- 3/4 time which, during a continuous triangle, tambourine, glockenspiel, xylo- setts, she appeared this summer at the stretto, combines an old 17th-century phone and strings. HARRY NEVILLE Newport Music Festival. She has recorded theme with the music of the "Preambule." Stravinsky's Les Noces and two Wolf- Schumann's imaginary society of the Da- Stravinsky songs with Robert Craft, as vidsbundler achieves a brilliant and decisive well as Stanley Silverman's Elephant Steps Program notes copyright © 1973 by the Boston Symphony victory over the enemies of art. Orchestra Inc. with Michael Tilson Thomas. 1

lb free the serfs Alexander 1 was bribed with LIBRARY'S BERG COLLECTION Cotelette OF ENGLISH AND AMERICAN LITERATURE a la Kiev! EXHIBITS NEW ACQUISITIONS

come, The only working manuscript by William Faulkner in the New York area, the corrected typescript of his first published novel, "Soldiers' Pay" be inspired (1926), is one of the important items on display in a new exhibition featuring over 262 masterpieces acquired by The New York Public Library's THE RUSSIAN TEA ROOM the corrected typescript of his first published novel, "Soldiers' Pay" (1926), Collection: 1970-1972" opened in June in the Exhibition Room 150 57th Street West (318) of the Library's Central Building, Fifth Avenue and 42nd Street. RTO 5-0947 CO The Faulkner typescript is not the only piece of Americana on exhibit; a wealth of acquisitions in American literature includes works by Ezra Pound, Randall Jarrell, Edna St. Vincent Millay and e. e. cummings, to name a few. Pound's letters to a young poet, Helene Magaret, show him FINE FOODS at his most constructive and editorial best; his letters written from St. AND Elizabeth's Hospital in Washington, to his son-in-law. Prince Rachewiltz, SPIRITUOUS MARTELLS recall the most painful period in his life. Representing Randall Jarrell's LIQUORS later poems and his translations from the German and from the Russian OPEN DAILY FOR LUNCHEON • DINNER • AFTER are such well-known titles as "The Woman at the Washington Zoo" and THEATRE SUPPER SIDE WALK CAFE • FIREPLACE "The Lost World," and working manuscripts of his translations of "Faust" THIRD AVE. AT 83r(l ST. • UN 1-6110 and "The Three Sisters." Harper and Row's valuable gift of a 32-year pub- lishing file on Edna St. Vincent Millay tells the story of her relationship with the editors she instructed, chided and fought. Drawings from the Across from Lincoln Center pen, pencil and palette of e. e. cummings, and first editions inscribed

A haven for the hungry • a bit with his "elephant signature" to his wife, Marion Morehouse Cummings, of cheese, a crust of bread, a lend a mixed media aspect to the exhibition. glass of wine, an apple maybe. The English literary acquisitions open with the eighteenth-century po- MONK'S INN etry collection of Mr. William Rees-Mogg, editor of "The Times" (Lon- 3i W. 64 Sf. (btt B'w4$y & CPV) don). Selections from Mr. Rees-Mogg's more than 400 titles and 200 song 874-2710 sheets include rare poems by Daniel Defoe, Matthew Prior, Jonathan Swift, Nicholas Rowe and John Cay. Corrected proofs of a Charles Dickens promptbook, the text of which y ^ ^ w 9 * w he himself used in his theatrical reading; the manuscript of Mrs. Humph- COCKTAILS • DINNER rey Ward's "Robert Elsmere" (1888) and 85 letters by Sir Arthur Cohan 4 P.M.—12 faro Doyle to his sons, are illustrative of the nineteenth-century material. ^^ Closed Monday Twentieth-century England is well covered by new additions to the 72 40 West 72nd Street W Berg Collection's growing Bloomsbury archive, including letters from and EN 2-2050 to Lytton Strachey, and correspondence within the family of Sir Leslie L^utltcnttc Spanlsd Cuisine Stephen. The first and last volumes of Virginia Woolf's manuscript "A Writer's Diary" are exhibition features; the last volume of her diary is opened to her final entry (March 24, 1941), four days before she ended her life by drowning. MINUTES AWAY FROM LINCOLN CENTER AND CARNEGIE HALL When W. H. Auden, Christopher Isherwood and Stephen Spender Cafe des (A^tistes^ were young they formed part of The Croup Theatre, which performed SUPERB FRENCH CUISINE their plays at the Westminster Theatre in London. A selection from this A la carte entrees: L $3.50-$8.50; valuable Theatre archive-including a sketch of Henry D $6-$9. Comp. D $8. massive and Group Murals by Howard Chandler Christy for Dance of Death" (1933), and Robert TR 7-3343—EN 2-6700 Moore's mask Auden's "The 1 West 67th Street • Closed Sunday Medley's stage design— gives a picture of an enterprising and talented

group forced to disband with the onset of World War II. Holdings in Irish literature, a strength of the Berg Collection, have been augmented by the archive of James Joyce's translation of "Ulysses" into French, the work by a "committee" of French intellectuals for five HAMILTON GARAGE years. Adrienne Monnier, the French bookseller, who did for the French ENTRANCE ON BROADWAY work what Sylvia Beach had done for the English, kept not only Joyce's letters and the manuscript of the translation by the Breton, Auguste BETWEEN 62NO & 63RO STREETS Morel, but also subscription forms and account books. The exhibition of NEW YORK CITY her papers is in itself a literary event. TEL. au 2-81 25 Bernard Shaw and the American anarchist Benjamin Tucker had a working relationship as documented in Shaw's famous review of the German author Max Nordau's "Entartung"— a review first published in Tucker's "Liberty" July 27, 1895. The rare issue on view is Tucker's own LUNCH copy, and is accompanied by correspondence from Shaw. DINNER The exhibition will be-open free of charge, Monday through Friday, 10 COCKTAILS a.m. to 6 p.m., until January 6, 1974. A printed and illustrated catalog is LATE SUPPER available for $3.50 in the Library Sales Shop.

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Every night, thousands of the world's for the arts. They are also, without a And, unlike any other magazine, most important people—people with doubt, the world's greatest audience people open every copy of the Pro- whom it's nearly impossible to get any for advertisers. The monthly audience grams. kind of appointment—arrive at Lincoln for these Programs is not only appeal- Lincoln Center Programs offer no less Center and Carnegie Hall, expectant ing because of its quality; it's also ap- than the world's greatest audience for and relaxed. They're given our Pro- pealing because of its size. Over quality products, services and corpo- grams free, which they know contain 400,000 people in the New York area rate advertising. So it's hardly surpris- an elaborate guide to what they've read our Programs each month. ing that many of the world's greatest come to enjoy. They take their seats, If you wonder how well Lincoln Center advertisers have already discovered settle in, and open them, eager to Programs are read, the fact is, they're us. read. And there's your ad— in front of not only read—they're read twice. Put your advertising in the Lincoln America's thought shapers, business Once at the performance and then at Center and Carnegie Hall Programs. leaders and major stockholders, in the home. Lincoln Center Programs are Then come down and watch them perfect environment to reach them. read so well because they're really work on your very best prospects— And none in the audience will miss the much more than ordinary programs. 400,000 programs every month. It's a fact that you're helping to support a They are magazines as well. Each is- beautiful sight. cause that's close to their hearts: the sue contains articles by the finest performing arts. writers in the arts—articles of special A perfect blend of affluent maturity interest to the readers of each Hall. Phone or write to— and fast-rising, high income young (The performance program section it- people. And once you know who they self is several pages long and is made LINCOLN CENTER PROGRAMS are—we think you'll agree. up of interesting facts relating to that NATIONAL ARTS GROUP, Ltd. The people who come to Lincoln Cen- night's performance.) We feel our au- 1865 BROADWAY ter and Carnegie Hall are, without a dience reads our Programs because NEW YORK, N.Y. 10023 doubt, the world's greatest audience we give them every reason to do so. (212) 541-4520 / to r: Composer-Conductor Morton Gould, who will lead the American Symphony Orchestra in

its concert on December 17 at Carnegie Hall; Arthur Aaron, Orchestra Personnel Manager, and Maestro Kazuyoshi Akiyama.

A New Music Director for the American Symphony

With a new charter, and a fresh out- age of three under the tutelage of his they would probably be Vancouver look, The American Symphony Or- mother, a pianist. "While I began to and Tokyo. Twenty-two weeks of the chestra recently appointed Kazuyoshi study music at an early age," says Aki- year are spent in Vancouver, where he Akiyama to the post of Music Direc- yama, "my very early memories were is Director and Principal Conductor tor. He succeeds Leopold Stokowski of the war. It certainly wasn't the of the Vancouver Symphony Orches- who founded the Orchestra in 1962 at most ideal circumstance to study mu- tra; 12 weeks in Tokyo as Director of the remarkable age of 82. sic. Still, in spite of the war, orchestral the Tokyo Symphony Orchestra; and With mounting financial diffi- concerts continued to be given and I this season he leads the American culties, and the retirement of Sto- was fortunate enough to be taken. I Symphony Orchestra on March 25 kowski in the spring of 1972, many remember concerts being interrupted and April 29. The remainder of the feared that the new Orchestra had by constant air raids. The orchestra year he travels about the world as nat- died prematurely, after a brief, but in and the audience rushed to shelters urally as a suburbanite commutes to many respects, distinguished career. until the bombs stopped. After it was work. Spending so much of the year However, the musicians and a group all over we returned to our seats and conducting a Japanese orchestra, then of dedicated supporters decided to the concert resumed." on to Vancouver and the added re- keep the orchestra intact by restruc- He entered the Toho School of Mu- sponsibilities of the American Sym- turing it. It is now the only self-gov- sic, majoring first in piano, then in phony Orchestra create what seems erning professional orchestra in the conducting. Graduating in 1963 from like a perplexing and disconcerting

United States. And it was by a unani- Toho University, he had the distinc- schedule. Yet there is a coherent link mous vote of the membership that tion of being the only "conductor" to Akiyama's musical pursuits, in that Mr. Akiyama was elected Music Di- graduate since Seiji Ozawa in 1958. both the Tokyo Symphony Orchestra rector. From that point his career moved at a and the American Symphony Orches- Akiyama was born 32 years ago in brisk clip, building a worldwide repu- tra are self-governing. "The circum- Tokyo. The year was 1941, and the tation as one of the foremost younger stances behind the formation of the most prominent sounds he remembers conductors of the day. Tokyo Symphony and the American were those of bombs falling, devas- Home for Akiyama is not a precise Symphony Orchestra are very simi- tation, death and the 24-hour ca- location on the map. If he were to iso- lar," explained Akiyama. "When the cophony of war. Even while the war late two points on the globe that take raged he began a musical career at the on the stable characteristics of home continued on page 22

21 Ifmusic be the food of love, play on.

Ifnot, how about dinner Kazuyoshi Akiyama

atone ofthese great restaurants? continued from page 21

last Music Director of the Tokyo Symphony died, the orchestra was about to disband. The musicians met and decided to keep the orchestra together, and with the help of other mu-

sicians we made it a self-governing body. It faced the same problems the American Symphony Orchestra did when Stokowski retired. It was in American Express® knows the Cafe des Artistes grave financial difficulties and there longer most fulfilling evening at the theater I W. 67th St. 887-3343. Located in was no any more support. or at a concert includes the Hotel des Artistes near Lincoln When I was chosen unanimously by either a delicious dinner Center. Excellent French cuisine. the members of the American Sym- before the curtain, or a phony to be their Director, it seemed Isle of Capri superb supper afterwards. somewhat strange that this situation 61st St. and 3rd Ave. 752-9410. And we also know the was happening again." Great Italian home cooking. Inti- best way to pay for it—with the Due to its self-governing structure, mate surroundings and a charming American Express Card. the Tokyo Symphony Orchestra was enclosed sidewalk cafe. If you don't already have the restored to a viable and competitive American Express Card, any one of Marchi's body. It is his wish that the American these establishments will be happy 251 E. 31st St. 679-2494. Northern Symphony Orchestra will also thrive to provide you with an application. Italian cuisine since 1930. Famous under such an arrangement. "I think for "no menu—no signs outside." the self-governing concept should Henry Stampler's Filet Mignon guide all large orchestras," explained 15 Central Park West. 757-3165. II Vagabondo Akiyama. "Only under such a system One of the finest steak restaurants 351 E. 62nd St. 832-9221. Special- are the musicians' wishes respected." in New York City serving other ex- izing in Northern Italian cooking. The small, lean Japanese conductor quisite dishes. Bocce court on premises. spoke in almost a whisper about a sys- La Borsa di Roma Lair Restaurant tem that has yet to be adopted by an- 215 Pearl St. 269-6180. Intimate 69th St. and Second Ave. 861-0262. other American orchestra. "All orches- Roman atmosphere. Elegant Con- Continental gourmet dining in an tras, whether they be large or small, tinental cuisine. Free hors d'ceuvres. informal, candlelit atmosphere. should be self-governing. Not only Music nightly. Roast duck, stuffed red snapper. will the individuals be treated on a Fleur De Lis Monk's Inn more equitable basis, but they will in- evitably give themselves 141 W. 69th St. 874-9837. Excel- 35 W. 64th St. 874-2710. A haven more of in lent French cuisine in a comfortable for the hungry culturalist. Special- performances. Their role as part of the atmosphere. Moderate prices. ties in wine, bread and cheese. orchestra becomes more than just a job." orussels Sacred Cow Steak House Akiyama said that an orchestra 228 W. 72nd St. 874-8806. Prime 1 15 E. 54th St. 758-0457. Dine in does not require a tyrant to beat it aged steaks are served aspiring elegance. Superb French cuisine. by into a synchronous musical body. Exceptional wine cellar. Albert actresses. Piano nightly. "The Tokyo Symphony Orchestra Giambelli is your host. The Ginger Man and the American Symphony Orches- 51 W. 64th St. 724-7272. Top- Riverboat-Empire State Bldg. tra are not the only examples," he quality French cuisine is served in Fifth Ave. & 34th St. 765-6210. Full- continued. "Look at the Israel Phil- this delightfully pleasant relaxed course steak dinner and all you can harmonic. They have a great maestro pub near Lincoln Center. drink, continuous dancing—$11.95. and they are also self-governing. The combination of a competent conductor and an orchestra that determines

iM^ttbtMMMM^iAAlJM^bMtMlttlMKl d& its own affairs has built the Israel ©American Express Company, 1973 Philharmonic into a fine orchestra."

22 Having just become a self-governing entity, the American Symphony

Orchestra still faces severe financial problems. Sizable donations are needed for the Orchestra to go on and for it to lengthen its seasons. "For next season," says Akiyama, "we are going to do nine pairs of concerts on Sun- days and Mondays. Through my experience with the Vancouver Sym- phony and the Tokyo Symphony I m^ have found that an orchestra has to maintain a close relationship with its subscribers. There has to be an open line of communication between the orchestra's subscribers and the orchestra itself. This is one way to keep the performances relevant. Having a close relationship with the orchestra's subscribers will also help to make it a stronger orchestra. A conductor should not run the entire operation by himself. Under the self-governing plan, I alone do not make decisions as to what is going to be performed at a >//u/r^^' given concert. I make suggestions to a committee and they in turn weigh my suggestions with others, and between us we decide what will be performed. I have always wanted to be close to the ^^JZ^-^ s^ musicians. What Mr. Stokowski did for the Orchestra cannot be calcu- lated, as he started and molded its ^fi/m?/' J/.' y.'/i^m '//f // *»< ' character. But I would rather break that barrier that has traditionally existed between conductor and musi- =^n .:0*^T^Mi cians." Akiyama sees self-government for the orchestra as the ultimate answer to all its problems. Strikes and on- going labor disputes between management and its employees will, he thinks, be bypassed. Leaning forwards in his chair, the young conductor quietly asserted: "You have to under- cj/'m/A//////// ( }-jmm/ stand that money, while it is certainly an important consideration for all musicians, is not the most important factor in this situation. My musicians SPRITZER+FUHRMANN are artists the expression of each and 5 East 57th St. at Fifth Ave., 4th Floor, N.Y. ,N.Y.10022 (212) PL 2-8330 musician's creativity is of most impor- Arubo • Bonoiie • Curacao • St. Maarten • Manhattan tance. We should respect each musician as a separate creative being. If we do not do this, quality is eventually sacrificed." In coming seasons Akiyama wants to introduce more relatively unknown Japanese composers to American audiences. He hopes to schedule works by Irino, Miyoshi, and also more new compositions by Takemitsu. ROBERT V. WEINSTEIN

23 .

CARNEGIE HALL DIRECTORY OF FACILITIES AND SERVICES

Box Office (247-7459) Hours: 10 A.M. to 5 P.M.—Monday through Saturday; 12 Noon to 5 P.M.—Sunday and legal holidays. Note: The Box Office is not open on Sundays and legal holidays when there is no performance in the Hall. Box Office hours are extended to 8:30 P.M. on weekdays when there is to be a performance that evening.

Cafe Carnegie is located on the main floor to the left of the Parquet. Food, liquors and soft beverages are served before, during and after each concert. Cafe Carnegie also provides an elegant Pours more setting for receptions held in conjunc- tion with concerts and other events in Carnegie Hall. For information call 586- pleasure. RARE 6208. bars are located on the Whether the sun shines tomorrow, SCOTCH Refreshment The Pleasure Principle 2nd Tier, Dress Circle and Balcony or it rains... fioors. Whether alone, or in Elevator service to the Dress Circle and the company of friends . . Balcony is available in the foyer of the satisfying pleasure We offer one very Carnegie Hall Studio entrance at 154 you can count on. West 57th Street. J& B rare scotch. lighting of matches To celebrate or warm Smoking and the are forbidden in any part of the Main the uncertainties of life. Hall. Smoking is permitted only in the Cafe Carnegie, at the refreshment bars and in the lobbies. iiist shoji Public telephones are located off the a walk Parquet on the Seventh Avenue side, this theater in the 57th Street lobby (studio en- from ladies' on the First trance) , in the lounge Permamatic* getsyou to a and Second Tier levels. You may want another one in million Lost and found articles should be re- a at the House Man- one someday but ported or turned in restaurant. ager's Office at the 56th Street Entrance. call 265-9651. you'll probably never need Where you can get light snacks after Or a new one., the show. Or complete dinners (from Men's rest rooms are off the Parquet, 4.95). Fondues (cheese, beef, choco- on the 2nd Tier level and off the Dress late). Quiche Lorraine. Cheese, fruit Circle and Balcony. and sausage snacks. Wine. Cocktails, Rich desserts. Lots more. Ladies' rest rooms are on all levels of La Fondue. Just a few blocks away the Main Hall. on 55th Street. Between 5th and 6th may be obtained for use Avenues. As long as you're in the A wheelchair street to seat locations. For neighborhood, drop in. from the information, call House Manager's Of- Lalundue fice, 247-1350. is not responsible 43 West 55 St., N.Y.C. 581-0820 The management 23"xl7"x7y2" for personal apparel or other property In black or navy of patrons unless these items are blue nylon COLLECTOR'S ITEM checked. Patrons are advised to take financial assistance to profes- Much less than $75.00 To provide coats and wraps with them whenever sional musicians in emergency need they leave their seats. Stamp on it, pummel it, bury it at MUSICIANS FOUNDATION, INC. the bottom of the baggage cart. The (Established by "The Bohemians" in 1914) Doctors who expect to be called dur- Lark Permamatic will come out offers with a contribution of not less than ing performances may give their seat lo- looking as good as new. A unique $25.00, an exclusive limited edition LP rec- cations to an usher, who will advise the new construction makes it very du- ord: Selections from the Prades Festival 1950 House Manager. rable, yet featherlight. In short, it's and a Casals Retrospective 1915. one of the world's greatest travel in- Soloists: Pablo Casals, Isaac Stern and The taking of photographs and the use vestments. In a variety of sizes and Alexander Schneider. of recording devices is strictly forbid- coverings at better stores. Mail checks to: den. MUSICIANS FOUNDATION, INC. For rental information Call or write: y / Luggage Corp., c/o Brent Williams, Sec'y-Treas. 247-1350, Booking Manager, Suite 100, gO^^^ Empire State Building, N.Y. 200 West 55th Street I.^rk Luggage Corp. Carnegie Hall, 154 West 57th Street, Ci^" Copyright © 1971, 1972, New York, N. Y. 10019 All rights reserved. Made in U.S.A. All contributions are deductible for income tax purposes New York, New York 10019.

24 Pablo Casals, Man and Musician

Different as they were in musical disposition, Arnold Schoenberg and Pablo Casals had much in common as independent spirits. In a letter to a correspondent who had sent him a comment on Dimitri Shostakovitch in 1944, Schoenberg replied: "It is perhaps his fault that he has allowed pohtics to influence his compositional style. ... He might be no hero, but a talented musician. In fact, there are heroes and there are composers. Heroes can be composers and vice versa, but you cannot require it." Similarly, it was not required of Casals that he be anything but the great musician he had been for decades before the advent of totalitarianism. He required it of Pablo Casals photographed at his famous performance at the UN on October 24, 1958. himself io perform his heroic deeds of outspoken opposition to To Leonard Rose, whose appearance ment as Toscanini had on the orches- repressive political forces. The in Carnegie Hall on February 13 with tra ... I mean in the musical dimen- world identifies him most with The Cleveland Orchestra will cele- sion." Queried as to just how that the role of a patriot outraged by a brate his 30th year of high rank much-repeated statement expressed it- dictator's repressive acts toward among the world's cellists, Pablo Ca- self. Rose replied: "Its quite simple. the people of his own country. It sals is not only a "fantastic figure, one For generations cellists had accepted is all too often forgotten that he of the greats of the 20th century, but a the principle that in order to play a had previously renounced public man with the most profound effect on certain interval one had to approach appearances in Germany and the the playing of the cello in history. . . . it by a slide or glissando. Casals ra- when the governments in ". USSR There were," says Rose, . . great tionalized the problem perfectly by those countries were at their most cellists before him, of whom Luigi innovating the principle of 'exten- repressive. Boccherini was perhaps the first to use sion.' That is to say, by stretching fur- Casals' eminence among the the thumb on top of the string. He had ther, sometimes with the second fin- most influential instrumentalists advanced ideas about technique, as ger, sometimes with the fourth finger, of the century is discussed in an we can tell from the music he wrote, to make the interval, thus avoiding adjoining conversation with which is still a fundamental part of the slide. Then, when a shift or slide

Leonard Rose, a great one of the literature today. Then there was was absolutely necessary, he did it on today. But, for a generation Bernhard Romberg, a comtemporary the half step rather than the whole unborn when Casals was already of Beethoven, who did a great deal for step, again minimizing the in-between famous, the spiritual influence of the instrument. Take note of the high- slide. And he added further to the the man may endure even longer. lying music in Beethoven's Triple elimination of non-musical detail by Casals was, and is, a living symbol Concerto, a range Romberg devel- clever manipulation of the bow. Basi- of the possibility that the capacity oped considerably. He was, however, cally, his philosophy was: the glis- to express a noble sentiment not much as a composer, and the mu- sando should be used not because of through an artistic means may sical results of his innovations are con- technical necessity, but for musical ex- spring from a deeper source than veyed mostly by Beethoven's cello pression. He turned around the entire physical endowment or an parts. Romberg's works still are used approach to the instrument, and ev- accident of nature. The ability to for teaching purposes, and very pro- erybody who plays it today is in- do, and the ability to be, are not ductively." debted to him." often combined. They became a "But Casals," Rose continued, "was Asked whether he had ever dis- moral force in Casals; not because the man who was responsible for the cussed these points verbally with Ca- it was required of him, but be- whole modern concept of cello play- sals, or whether knowledge of them cause he required it of ing. He had, in a way, as much of an had emerged from observing his prac- himself. i.K. effect on the playing of that instru- tice, Rose said: "Oh yes. I talked with

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But I will tell you what happened the ment was so great, his instinct for it so last time we were together. It was just profound, that they functioned even

this past August in Israel. . . . We at 97, when his physical strength was (meaning Isaac Stern, Mischa all but spent." Schneider, Eugene Istomin and Ca- sals) were in Jerusalem, and we at- tended the dedication of a musical fa- cility in which Stern was interested. We played a movement or two of chamber music, and there was no thought that Casals would perform The Casals Portrait . . . but his cello was there, and Isto- (December Cover min had made an arrangement of The Alice Tully Hall) Song of the Birds and Casals said he Painted by I didn't ac- would try. It was slow, and there was him often. But become Laios Markos quainted with him until the 'fifties, not much sound from the instrument. from life In 1963 when he was already 81. The most im- But what I'll never forget is that, at Lithograph Reproduction 14 x 11 pressive thing to me about him then one point, he unintentionally began a for framing. May be obtained was that, at an age when playing a phrase on an up bow, rather than a from: string instrument is normally consid- down bow—always harder to do, of Emma Boehm-Oller ered impossible, he played impeccably course. But, for all his 97 years, he mi- 667 Madison Avenue in tune. As time went on, he slowed raculously reversed the direction of Suite 501 NewYork, N.Y.I 0021 down somewhat, of course, his great the bow, without an intervening $10 Bach performance ritarded a little. sound. His command of the instru-

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27 are magnetically reclaimed each tinning plants and ferroalloy Waste Watcher year from municipal garbage and producers. then processed in Proler plants. Mr. Proler and other waste watch- Israel Proler— Along with thousands of tons of ers are reclaiming 3 billion steel scrap from canmaking lines, the he collects cans in 20 cities by magnetic sep- used cans are then shipped to aration—the leading resource re- Arizona and New Mexico, There steel cans by covery system. Steel's unique they are used as "precipitation magnetic property makes it pos- the millions iron" in a chemical process that sible. recovers copper from low-grade Israel Proler is one of America's ore. If you would like to know more new breed of waste watchers. The about "waste watching," write to: Chairman of Texas-based Proler Israel Proler is on the prowl for Tinplate Producers, American International Corp., he is con- used steel cans which can be ec- Iron and Steel Institute, 150 East cerned about America's environ- onomically handled by his plants. 42nd Street, New York, New York mental shape. And he is doing The nation's copper mines can 10017. something about it by reclaiming use an estimated 10-billion an- everything from junked autos to nually. used tin cans. Tinplate Producers Reclaimed steel cans also are re- .0 American Iron Hundreds of millions of tin cans cycled by the steel industry, de- and Steel Institute ^cW^*" ]

young CONCERT NOTES The recent edition of a publication ti- Try something tled Symphony News (published by the American Symphony Orchestra nutty League, Inc.) devoted its cover to the

likeness of a conductor. This is hardly after dinner.

remarkable, but it was a conductor born not in Odessa or Kiev, Berlin or Bonn, but in Brooklyn. It celebrated the award of a Gold Baton to Danny Kaye for generosity above and be- yond the call, even, of charity, in conducting almost any orchestra worthy of the name on behalf of its fund-raising needs. Much more recently, Kaye was one of two public-spirited personalities who put his art onto the bal- ance scale on behalf of Israel in the — Middle East war. The other was Isaac — Stern. Wf^ORTfiD • • • Composers who come out of the ranks IrrALiAN 11 of performing musicians are rareties, JUQUEURJI but by no means unknown. Among recent instances are Glaus Adams, celebrated as cellist of the Juilliard Quartet, whose Gello Goncerto was performed by The Cleveland Orches- tra; also William Kraft, percussionist of the Los Angeles Philharmonic, and well known as a composer of specialties for his instrument(s), who has added a piano concerto to his output. Adams, incidentally, has announced that he will resign his place with the Juilliard Quartet, after an 18-year association, to devote more time to composition. His replacement is Joel Krosnick, born in New Haven, Gonn., in 1941, whose teachers have included Mr. Adams. The change will become effective at the beginning of the 1974- LIQUORE 75 season. • • * lAMARElTOi Robert Marcellus, much-admired principal clarinetist of The Cleveland Orchestra for 20 years, has been forced to give up his post because of a medical condition ("diabetic reti- nopathy") which would be "dan- gerously intensified by any further Patrician Amaretto is the de- playing," to quote the language of the lightful almond liqueur that announcement. Among those who brings a unique enchantment lamented the sudden withdrawal of to your evening. Enjoy it with Marcellus from the Orchestra were espresso, coffee or dessert. Or Lorin Maazel, its present Music Di- as your dessert. Patrician rector, who described him as "one of Amaretto, brought to you the crowning jewels" of the Orchestra, from Italy by Mediterranean and General Manager Michael Max- Importing Co., Inc., New York, without shells. LC well, who pronounced Marcellus an "outstanding artist and musician" and said "we all wish him well as he PATRICIAN settles into his new life of conducting AMARETTO and teaching."

29 im

"Musica Sacra" continued from page 10

not religious because many portions of the creed really turn me off—the old fifth-century ideas of people (his hand motioned skyward) moving that way. Those things don't interest me either, and that goes for much of the usual liturgy too. I guess I feel that people who display the qualities that result from a person being religious are then religious themselves whether they con-

sider themselves that or not. This is how I consider myself. I don't have difficulty singing the creed. There seems to be strength and value to

hearing it sung as opposed to just

merely reading it. Much of the most

beautiful music that is available from

past centuries is based upon texts which are no longer applicable to most people. Yet the beauty of them, Aperitif Lillet, Imported by Dreyfus Ashby & Co., N.Y., N.Y. their inspiration, seems to be present even if you don't believe in the details.

That is a difficult concept to understand but it is a little like certain Jesus The Atoron E. Freaks, for example. You can become Ydu1I never a Jesus Freak because the life the his- torical person of Jesus seemed to lead leave it behind seems so necessary now for the solu- tion of the world's problems. You Life's filled with don't need to accept certain theo- those "special logical doctrines, such as the trinity, moments." With the virgin birth, the ascension or the the Yashica Atoron crucifixion to be a Jesus Freak in the Electro camera they sense that you try to live the way that need not be forgotten. man lived. So if there is a general be- The smallest visual lief in the overall worth of the doc- recorder imaginable, the trine then that is religious enough. It E. fits Atoron neatly into might be an escapist cult but it is not pocket or purse. Takes black without value." & white or color pictures—even For purposes of fund raising, and to

color slides. Automatically. Sold insure its future, Westenburg recently in attractive gift box with most withdrew his musical ensemble from popular accessories. Available in the church's auspices and legally in-

two models at finer camera stores corporated it as a separate entity. "Since concert series of this nature are not money making ventures," explained Westenburg, "it was not inter- preted as a selfish gesture. During this past summer we incorporated as a YASHICA non-profit organization. Our corpo- ELECTRONIC CAMERAS. rate address is here at the church, and It's a whole new thing we are subsidized to some extent by the church. As a result of our indepen- YASHICA Inc., 50-17 Queens Boulevard, Woodside, New Y«fl< 11377 dence we don't feel that we have to do all of our concerts here."

30 It just so happens that you are Horn& hungry & thirsty— and it just so happens we have two very Hardart FOR good answers to your dilemma. ^^^^**f* /<*'" ** quick • CONVENIENCE {^Ar^nP^* • QUALITY answer and XLip In addition to Musica Sacra's per- • ECONOMY formance of the Messiah, they will be GINGER Down the block from four performing evenings of Bach can- Carnegie Hall at MAN tatas at the Metropolitan Museum of 104 W. 57 Street for the more leisurely approach.

Art during the months of March and Open daily / 7 AM to 9 PM ONEALS BALOON—€3rd St. At Columbus Ave. THE GINGER MAN—51 WEST 64th St. SC 4-7272 April. "Getting back to our performance of the Messiah," continued West- enburg, "most performances of the Handel oratorio one hears in New York are done by large amateur Hertz #1 Club. choirs. And there certainly isn't anything wrong with that. Better that It's the bis^^ little thingwe da way than not hearing a piece of music Over the years we've at all. But in terms of size the initial done a lot of little things conception is lost in a very large per- to make renting cars more pleasant. formance. Some of the conductors We call them "little" After you've called to who do these performances do the- reserve a car,just show your things, because none of license and charge card. very best they can under the circum- them have ever changed And go. Sign your name. stances. They have the chorus sing our lives, or anybody else's. with bright tempos and light vocalism But recently we had and yet there is a limit to what one an idea that we feel was can do conducting 200 voices, or how more ambitious than any idea anyone in the clean and really bright one can make rent a car business has it. The conception of the work as ever had. Handel knew it, even though it We decided to cut through all the nonsense changed 30 years after he died, was in you ordinarily have to a chamber context, using a small and put up with when you very articulate group of singers. This come to a rent a car coun- kind of event has not often been heard ter. All the questions. All the filling out of forms. in a concert hall in New York in re- We call our idea Hertz cent years. Because the singers have to Number One Club, and be so enormously skilled, the only way here's the way it works. Apply for a free mem- to do it is to use professional singers. bership card at any This doesn't invalidate the big per- Hertz counter or call formances. The only way to do it with toll-free 800-654-3131. Then, when you call 30 voices is to have 30 top notch pro- to reserve a quiet Ford fessional singers, thereby bringing it oi- othei' car from us, into a Baroque context in terms of anywhere in the country, size." just say you're a member of the Number One Club, Westenburg was recently appointed and your I'ental form will Music Director of the Collegiate Cho- be filled out and waiting. rale. He will conduct the group in two So all you'll have to do when you get to the performances of Bach's Magnificat and counter is show your Respighi's to the Laud Nativity at St. license and charge card, Thomas Church on December 14, and sigTi your name, and go. C'F-RTZ SYSTEM, INC., 1973 Handel's Israel In Egypt at Carnegie Join Hertz Number One Club. It won't Hall on March 29. change your life, but it Hertz #1 Looking ahead, he hopes to under- will change that part take more musical projects. "The one of it you've It's the little things spent waiting desire I haven't fulfilled is to do some- around rent a ^^ thing in opera. Mozart operas interest car counters. that make us big. me a great deal. Not the big enormous things yet." His eyes sparkled, "Not a Les Troyens at the moment." But who V would dare predict the future for "lioi"' Westenburg? ROBERT V. WEINSTEIN 1^ -r» . The classic stations, for classical music

WfPH1560AM 96^ FM STEREO New York City's only AM-FM stations devoted to classical music. The radio stations of the New York Times. Your theater stubs are worth $1.00 Present one pair of stubs and receive $1 credit toward your parking at any of our locations listed below. Valid on day of performance, mat. or eve. Sunday through MUiMC. ciiwe Thursday only. (This offer may be terminated without notice.) 1 T r-^ L Lunch C Cocktails D Dinner S Supper W7 i ^isxzzasi MONK'S INN, 35 W. 64 St. 874-2710. Across Broadway from Lincoln Center. Fondues, quiches, raclette Valai- Wl \\ sanne. A la carte entrees $3.25-$6.75, at L 50(1; less. Open daily noon to 1 A.M. W70 "g A E West Side o MRS. J'S SACRED COW, 228 W. 72 St. (bet. B'way & W. End) 873-4067. Moments from Lincoln Center. Superb ^' prime steaks, roast beef and seafood. Pianist and enter- I W69. BARBETTA, 321 W. 46th St. CI 6-9171. Open 'til midnight. tainment nightly. Open daily for C, D & S. A la carte en- Chamber music ensemble plays Thurs., Fri. nights, in this trees $4.25-$7.95. < elegant north Italian restaurant that serves fresh white cO truffles hunted by its own truffle hounds. Pre-theater D $11.50. O'NEALS' SALOON, 48 W. 63 St. 765-5577. A fun, jumping W68 place for hamburgers, fish 'n' chips, chili, etc. Noon to 1 LINCOLN CENTER A.M. daily. Same menu all day; from $1.15 for a hamburger ll3 to $3 for a steak sandwich. CARACALLA, 168 Amsterdam Ave. (67 St.) 799-4600. 68 Street & Amsterdam Avenue Spacious, comfortable. Superior North-Italian cuisine. L a 69 Street & Broadway la carte $2.50-$5.75; a la carte $3.25-$6.95. D Open every RED BARON, 201 Columbus (69 St.). 799-8091. Popular day. Free parking for entire evening. with show folk. Swiss brasserie with a pub decor. Serving 200 West 71 Street-874-8177 superb regional specialties, steaks and chops. A la carte 51 W. 56 Street $1 .85 to $7.90. Open noon to 2:30 A.M. daily. (1 block from Carnegie Hall) CLEOPATRA, 2527 Broadway (94 St), 749-9980, 865-3000. 140 W. 51 Street Authentic Islamic cuisine from the Middle East as served RIKYU, 210 Columbus St.). 799-7847. A new restaurant (70 (In the Theater district) by international chef Attiah. A la carte menu 1 1 AM to mid- with much promise, serving authentic Japanese special- nite; entrees $2.50-$5.50, incl. soup & salad. ties. Open daily for L, D & S until 1 A.M. Same menu all day. Comp. meals $3-$4.50, a la carte $.75-$3.50.

EL FARO 72, 40 W. 72 St. EN 2-2050. Classic Spanish ROAST BEEF & BREW, B'way at 64, Madison at 59, Madi- Ot>cof tb^ cuisine. Paellas, mariscadas. Graceful decor, pleasant son & 79. Pub L entrees $2.95-$5.95 with unlimited salad, atmosphere. Dinner 4-12, Fri.-Sat. 1 A.M., Sun. 1-12. A la pitcher of beer, wine or sangria & Fr. fries. Prime ribs of carte $4-$6. Closed Mondays. beef, regular $5.75, full rib $6.95. Other entrees $3.75- i>ice i>cw tbit>^ $8.95.

FINE & SCHAPIRO, 1 38 W. 72 St. (bet. B'way & Columbus) RUSSIAN TEA ROOM, 150 W. 57 St. 265-0948. A favorite about NewYorH.. TR 7-2721. Delicatessen & restaurant. Complete dinner & with show folk Beef Stroganoff, chicken Kiev, blini, blin- sandwich menu. Serving Jewish delicacies for nearly 50 chiki. L (entree, dessert, beverage) $3.75-$7.95; complete years. Open until midnight, Fridays till 9 P.M. sandwich L $4.25; D table d hote $7 50-$11.75; supper a la DON BERGMAN'S carte $3.50-$1 1 .50 until 1A.M. Come be inspired.

FLEUR DE LIS, 141 W. 69 St. 874-9837. Tasty French vi- TOP OF THE PARK, in Gulf & Western BIdg. 333-3800. 3 ands served in authentic Gallic ambience. Seafood, re- blocks south of Lincoln Center. 43 floors Central uJtlnJ above gional specialties, game in season. L 12-4, entrees $2.25- Park. Superb dining with NY's most magnificent view. 44 WEST 58th STREET $4.75; 4-12; Sun. 12-12, entrees $3.50-$9. Comp. D $7 95-$1 1 .50. Closed Sundays. bet. 5th & 6th Aves.

A fine new restaurant conceived GINGER MAN, 51 W. 64 St. SC 4-7272. A West Side favor- in the tradition of a bygone ite. Celebrity hangout. Publike decor. French-American East Side cuisine. Open daily until 2 A.M. A la carte only. Lunch $2- era when gracious dining $4.65; Dinner $4.85-$7.35; Supper $2-$7.25. life. THE ARARAT, 4 E. 36 St, 686-4622, Praised by all major was a way of restaurant editors. Armenian cuisine at its best, served in leisure and comfort. L, a la carte $4,75-$6.25: Comp. D LUNCH* COCKTAILS* DINNER GINGKO TREE, 199 Amsterdam Ave. (68 St.) 799-5457. A $7.75-$8.95, with a la carte $4.75-$6.25, Open daily. No American -Continental large elaborate menu featuring specialties from all the Chi- parking problems after 7 PM. nese provinces. Open daily for L, D & S until midnight; Fri. Cuisine 1 A.M.; Sat. 2 A.M.; Sun. 1 1 P.M. Free parking. CZECHOSLOVAK PRAHA, 1358 First Ave. (73 St.) YU 8- 3505. Cheerful relaxed atmosphere. Spacious, attractive. Authentic Czech cuisine. L 12-4 a la carte only, entrees Res.: 751-8897 4-11 $5-$7.95. HENRY STAMPLER'S FILET MIGNON, CPW and 61 St. PL $1.50-$5.95; complete D Music at dinner 7-3165. An old favorite in LC area. Superb steaks, chops, Wed.-Sun. Open daily. seafood. L and D daily. Present programs for after-dinner cordials. LICHEE TREE, 45 E. 8 St, GR 5-0555, An elaborate, luxurious Chinese restaurant featuring specialties from all the provinces, L $1.85-$3.50; D $3.75-$7. A la carte at L & D M^^^lUe^ JUSTIN, 44 W 58 Street (751-8897) Superior American- $3-$1 5. Sunday brunch $4.50 & $6.50. Continental cuisine served in a spacious, comfortable 43 W. 65th St. Res. 799-7600 club-like ambiance. L a la carte entrees are $3 25-$8.95, D After Lincoln Center we are open MANDARIN INN, 14 Mott St. 962-5830. In Chinatown, fea- $6.95-$9.95, including salad and potato or vegetable. for your convenience 'till 1 AM turing outstanding Szechuan, Peking, Shanghai and Man- Closed Sunday. Luncheon • Dinner • Supper darin specialties. Complete lunch $1.25-$2.25; a la carte Amer. Exp.— Diner's— Closed Sun. entrees for lunch and dinner $1.50-$3.75. Open every day. All major credit cards. LA CREPE. 57 W, 56. 247-1136; 158 W 44. CI 6-5388: 59 Nassau, RE 2-8680; 15 Greenwich Ave., CH 3-2555; 1974 THE MAGIC PAN, FAMOUS SAN FRANCISCO CREPERIE, Broadway (67 St). TR 4-6900, 110 varieties of Brittany new in New York at 149 E. 57 St. 371-3266. Cocktails, crepes, onion soup, salads, desserts, 751 to $4.25. wines, European atmosphere, lunch, dinner, late supper. Open 7 days. Moderate.

LA FONDUE, 43 W. 55 St. 581-0820. Favorite spot for au- MARTELL'S, Third Ave. at 83 St. UN 1-6110. Oldest bar in thentic Swiss fondues, cheese & sausage boards, rich 3 Blocks from LINCOLN CENTER Yorkville. desserts. Cocktails, wines. L fr $1 .95, a la carte from $2.95; Once a speakeasy during prohibition, now a fine St.) Tel. 799-5453 restaurant serving Continental cuisine. Fire- 199 Amsterdam Ave. (69th comp. D from $4.95. Until 1 A.M. Closed Sundays. American and place-sidewalk cafe. L, D & after theater. Credit cards. Open Every Day Free Parking

VILLA, St. 734-9144; LE POULAILLER, 43 W. 65 St. 799-7600. Classic French PANCHO Second Ave. at 78 145 the finest in northern Italian cooking cuisine. Large, airy. Joan Pages murals. Crepes fromage, Larchmont Ave., Larchmont, NY. (914) 834-6378. A happy mousse a cafe. Open for L, D, S until 12;30 A.M. Closed blend of Mexican food, Spanish colonial decor and stroll- Sundays. ing guitars. Dally for lunch, dinner & supper. phone 7994600 I

SIGN OF THE DOVE, 1 1 1 Third Ave. (65 St) UN 1 -8080. A

MONK'S CELLAR, 37 W 64 St 874-7781 For intimate little beautiful showplace serving delectable Continental spe- 168amsterdam(at67th st.)open every day suppers Cop au vin. steak garni, quiches. Entree & des- cialties. Cocktail lounge, entertainment nightly. A la carte sert souffles. A la carte entrees $3.25-$6. L Fridays only. only. L $3.50-$7, D $6.50-$10.50 until midnight. Closed for Closed Monday. L on Mondays. .free parking for dinner andlincoln center . 1

SEASON 1973-74; THE CARNEGIE HALL CORPORATION PRESENTS THE

International Festival of Visitiiig Orchestras

Remaining Concerts • Evenings at 8:00

Monday, December 10 Thursday, January 24 Wednesday, February 27 BUDAPEST SYMPHOIMY ST. LOUIS SYMPHONY CIWCIIMNATI SYMPHOIMY Gydrgy Lehel, conducting Walter Susskind, conducting Thomas Schippers, conducting Ferenc Tarja'ni, French horn DELIUS "A iVlass of Life," a monumental Shirley Verrett, mezzo-soprano BARTOK Music for Strings, Percussion work, drawn from the writings of Nietz- WAGNER Overture to "The Flying Dutch- and Celesta; STRAUSS Horn Concerto sche, with: Lorna Haywood, soprano; man"; WAGNER Wesendonck Songs; No. 2; FALLA Dances from "The Three- Helen Watts, contralto; Jeral Becker, WAGNER Introduction and Aria from cornered Hat" tenor; BenjaminJ Luxon, baritone. Ronald "Tannhauser", Act II; BRAHMS Sym- Arnatt Chorale and the Chorus of the phony No. 2 University of Missouri— St. Louis.

Thursday, December 13 Monday, March 1

BOSTON SYMPHOIMY Tuesday, February 5 DENVER SYMPHONY Michael Tilson Thomas, conducting THE CLEVELAND ORCHESTRA Brian Priestman, conducting Rose Taylor, mezzo-soprano John Ogdon, piano Lorin Maazel, conducting Spectrum concert: "Transcriptions." CHERUBINI Overture to "Anacreon"; Rudolf Firkusny, piano CAGE-HARRISON Suite for Toy Piano SHOSTAKOVICH Piano Concerto No. 2; (N.Y. Premiere); MONTE VERDI-ORFF MOZART Piano Concerto in D minor, K. RICHARD RODNEY BENNETT a new Lamento di Arianna (N.Y. Premiere); 466; STRAVINSKY The Firebird, com- work (N.Y. Premiere); DVORAK Sym- SIBELIUS-STRAVINSKY Canzonetta; plete ballet music phony No. 7 SCHUMANN-RAVEL Carnaval (N.Y. Pre- miere); BRAHMS-SCHOENBERG Piano Quartet in G minor

Thursday, April 4 Wednesday, February 13 MILWAUKEE SYMPHONY THE CLEVELAND ORCHESTRA Tuesday, January 15 Kenneth Schermerhorn, conducting Lorin Maazel, conducting Hilde Somer, piano Leonard Rose, cello THE WARSAW PHILHARMONIC BERLIOZ "Le Corsaire" Overture; Witold Rowicki, conducting BEETHOVEN Overture to "Egmont"; GINASTERA Piano Concerto No. 2 (N.Y. SIEGMEISTER Symphony No. 4 (N.Y. Konstanty Kulka, violin Premiere); TCHAIKOVSKY Symphony Premiere); DVOJ^AK Cello Concerto No. 5 MOZART Haffner Symphony; SZYMA- NOWSKI Violin Concerto No. 1;BOGUS- LAWSKl Capriccioso Notturno; STRA- VINSKY Suite from "Petrushka"

Thursday, April 18 Wednesday, February 20 BUFFALO PHILHARMONIC THE MINNESOTA ORCHESTRA Michael Tilson Thomas, conducting Wednesday, January 16 Stainislaw Skrowaczewski, conducting Cathy Berberian, mezzo-soprano; Jesse Martha Argerich, piano THE WARSAW PHILHARMONIC Levine, viola; Michael Wager, narrator; DRUCKMAN I ncenters (N.Y. Premiere); Wendy Hilton and Company, dancers Piano Concerto in Major; Witold Rowicki, conducting RAVEL G Spectrum concert: "Music Theater." Roger Woodward, piano BRUCKNER Symphony No. 3 MOZART Divertimento; FOSS Orpheus SZYMANOWSKI Concert Overture, Op. (N.Y. Premiere); SCHUMANN, LISZT, 12; BARTOK Piano Concerto No. 2; WEBER Three Melodramas; BERIO Re- PENDERECKI Threnody for the Victims cital — An Opera Tour-de-force for Mezzo- of Hiroshima; RIMSKY-KORSAKOF F Soprano and Orchestra (U.S. Premiere) Scheherazade

Each Concert: First Tier Boxes and Parquet $7.00; Second Tier Boxes Friday, May 10 $6.00; Dress Circle $5.00; Balcony Monday, January 21 $4.00 (front), $3.00 (rear). All prices BALTIMORE SYMPHONY are per seat. Make checks payable Sergiu Comissiona, conducting ST. LOUIS SYMPHONY and mail to Carnegie Hall Box Office, Itzhak Perlman, violin Walter Susskind, conducting 154 West 57th Street, New York, GLAZUNOV Violin Concerto in A minor; Claudio Arrau, piano SAINT-SAENS Introduction and Rondo N.Y. 10019. Please enclose a stamped WYKES Towards Time's Receding (N.Y. Capriccioso; PROKOFIEFF Symphony Premiere); SHOSTAKOVICH Symphony self-addressed envelope. No. 6; Remainder of program to be No. 1; BEETHOVEN Emperor Concerto announced.

f^ms !

l^erth sendsyou its ^estfor the Holidays

l•^^^^^*«Piii^^^*^ msM'i'' '^f-i-j^ «(..^

'- ' fci^t!> 'VI

We do not have much snow in Perth. It is said that we gave it to America to make your Holi- days brighter.

Along with the snow go our best wishes . . . and our good whisky. We don't miss the snow. And we always keep enough Dewar's "White Label" over here to toast a few friends of our own. The season would be mighty cold without that

Jiuihentic. DEWAR'S "White Lober Dewar's never varies.

» J ^1* '« y ifc»It wasn't a total loss, since it did give him a cleaner taste. 3«With Parliament, you never In the crash of '29, Just like today's Parliament, taste a filter. Just rich, clean T. W. Morford was left with with the recessed filter that's flavor. Now that's a good nothing but his cigarette holder. tucked back, away from your lips. investment.

The Parliament recessed filter* It works like a cigarette holder works.

Warning: The Surgeon General Has Determined

Mig. pfirci(jarette, Report Feb',73 That Cigarette Smoking Is Dangerous to Your Health. 1 5 mg; 'tar!' 1 .0 nig. nicoime- - 0O's: 1 9 mgl'iar," 1.3 nicuiiire av. FTC