THEAtlanta MONTHLY MAGAZINE OF THE ATLANTA MEMORIALArts ARTS CENTER MAY/JUNE 1975 LEONARD BERNSTEIN

A Theatre Piece For Singers, Players and Dancers

Presented bv ATLANTA SYMPHONY ORCHESTRA Becouse you cared... we care.

yemorialpark^

201 Mount Vernon Road N.W. Atlanta, Georgia

A Development of Executive Equities, Inc.

ons Island A Priceless Work of Art

St. Simons Island, nestled on the coast of Georgia, is a cultural environment of amazing natural beauty. Like all creations of worth, man must delicately and tastefully exhibit art treasures for the enjoyment of those lucky enough to appreciate their aesthetic value. And on this island abundant in American history, natural wildlife, and inherent charm, there are two distinctive and elegant year-round resorts, both tastefully enriching the artistic habitat of the island.

There's the majestic King and Prince Beach Hotel dating back to the 30's and now elegantly refurbished with antiques, stained glass windows, and bright colors. Add to that superb dining, gracious service, easy entertaining, and one of the most gentle stretches of beach in Georgia and you'll find your special retreat at the King and Prince.

For golf and tennis enthusiasts, the Sea Palms Resort is a masterpiece of sporting artistry. A sculptured championship golf course sheltered by liveoaks and bordered by winding waterways and tennis courts nestled among a hedge of island greenery add to the scenic enjoyment of both games. The Sea Palms accommodations range from a room at the Inn, to appealing villas, to elegantly appointed homes. And it's all perfect for families and conventioneers alike.

Also, for those who wish to invest in this Georgia island, there are villas, homes, homesites, and other property available for development. And, ready to open in late Fall is The Island Club, an exciting Country Club development of refined residences.

So, come to St. Simons Island for a weekend, a week, or a lifetime; and enjoy one of Georgia's most majestic year-round works of art.

King and Prince Reservations (912)638-3631 Sea Palms Reservations (912)638-3351 Real Estate Information, Jack Minter (912)638-3351 Convention Information, Bert Wise (404) 892-6800 King and Prince /SE4 B4IMS BEACH HOTEL / RESORT GOLF & RACQUET CLUB

ST. SIMONS COMPANY 238 Arnold Rd. / St. Simons Island, Georgia 31522 / (912) 638-9948 Of Sp eciai interest For a more AT THE CENTER beautiful tomorrow.

ALLIANCE THEATRE COMPANY Season Ends With A Midsummer Night's Dream Alliance Theatre Company will pre­ sent Shakespeare’s A Midsummer Night’s Dream May 2 through May 17 with student matinees on weekdays and public performances on Friday and Sa­ turday evenings only. One of Shakespeare’s earliest come­ dies, A Midsummer Night’s Dream is a play of rhythmic motion—the poetry has a shimmering loveliness intertwined in a rough-house romp of slapstick characters. It is a luxuriant fantasy about fairies, country bumpkins and mortal fools set in an enchanted wood. The comedy contains four light-heart­ Cotton States ed stories: one deals with the quarrel of the king and queen of the Fairies; a is insurance. 5=1 second with the mix-ups of the four romantic “mortals” resulting from mis­ chievous Puck’s having given a love

potion to the wrong man; a third with If you like Rockefeller Center, the rehearsals of the immortal buffon, Georgetown, Bottom and his fellow-clowns of their Park Avenue and mock tragedy; and the fourth with the the San Francisco wedding party of the Duke of Athens Fairmont Hotel, and his bride. This midsummer mad­ you’ll love living ness adds up to the airiest and most at Colony Square. light-footed of Shakespeare’s comedies. The Alliance Theatre Company plans a traditional production using the music COLONY SQUARE IE of Mendelssohn. Fred Chappell will Peachtree and 14th in Atlanta direct A Midsummer Night’s Dream with set design by Lewis Stone Green­ leaf, III. David Bishop, Producing Director of The Alliance Theatre Company, has an­ nounced that ATC is conducting its “Early Bird” season subscription cam­ paign for the 1976 Theatre season. Subscriptions are available at $24.00 and $18.00 through July 1, representing a substantial savings. 1976 will be a bicenntenial year with six great Amer­ ican plays to celebrate for Early Bird information please call 892-2797. continued We make house calls Whatever your home improvement needs . . . from custom draperies to central air-conditioning, Sears can make it easy. We’ll come to you with samples of materials and expert advice. We’ll measure and give you free estimates at no obligation and we’ll handle all the details from start to finish. Phone your convenient Sears right away. for home improvement!

PONCE DE LEON THE MALL WEST END PEACHTREE-BUCKHEAD 885-2121 758-4511 261-6700

CUMBERLAND COLUMBIA MALL NORTHLAKE MARIETTA SEARS, ROEBUCK AND CO. 434 22 ’' 284-8200 934-3511 427-4211

FOUR GREAT LOCATIONS TO SERVE YOU

195 Mitchell at Forsyth Street, S.W. Phone 522-2150

107 Peachtree at Broad, N.E. Phone 522-4786

2950 S. Hwy 41, next to Cumberland Mall Phone 435-2361 Citizens, where you’ll find a complete selection of diamonds, fine jewelry, famous name sterling silver 4070 LaVista Road at flatware, watches, appliances, cameras, sound com­ Northlake Mall ponents and unusual gifts, always at prices far be­ low nationally advertised or manufacturer’s list. Phone 939-8515 ATLANTA SYMPHONY ORCHESTRA Atlanta Symphony Announces Summer Series Schedule The Atlanta Symphony Orchestra is presenting a wide array of programs in its three series of summer concerts be­ ginning with eight performances of Leonard Bernstein’s monumental “Mass, a Theatre Piece for Singers, Players and Dancers.” All performances will be conducted by Robert Shaw and will begin at 8:30 p.m. in Symphony Hall June 5, 6, 7, 10, 11, 12, 14 and 15. A series of five Promenade Concerts will begin Tuesday and Wednesday, June 17 and 18, with Michael Palmer conducting three favorites by Russian composers: Borodin’s Polovetsian Dances from Prince Igor, Tchaikovsky’s Concerto No. 1 for Piano and Or­ chestra and Moussorgsky’s Pictures at an Exhibition. Assisting artist in the concerto will be Balint Vazsonyi. The next Promenade Concerts will be June 24 and 25 and will feature Atlanta’s own Gregory Schatten as piano soloist in Chopin’s Piano Con­ certo No. 1 in E minor. Also on the program are Mendelssohn’s “Fingal’s Cave” Overture; Smetana’s “The Moldau,” and Ravel’s “Daphnis and Chloe,” Suite No. 2.

Tours and Cruises ... by Air and Steamship

Atlanta pianist. Gregory Schatten will be featured soloist in the Atlanta Symphony Promenade Con­ certs of June 24 and 25 at 8:30 p.m. in Symphony Hall. The concerts of July 1 and 2 will ATLANTA TRAVEL AGENCY consist of four works of Italian in­ spiration: Rossini’s Overture to “L’ltal- I ■ 235 Peachtree St., N.E. - Suite 1115 iana in Algeri”; Mendelssohn’s Sym- Atlanta, Georgia 30303 — Alex Hitz, Jr. continued You know what you ought to do tonight? You ought to sit down at a hibachi table and treat yourself to hibachi steak, hibachi shrimp or hibachi chicken— that’s what you ought to do tonight. BEnmnnn of t o k vo 2143 Peachtree Road N.E. (404) 355-8565 We honor the American Express, Diners Club and Carte Blanche credit cards.

SS a PROFESSIONAL — SOUND SERVICE SOUND S RECORDING Specializing in Theatrical Sound for ^THE THEATER ^THE DANCE ^THE CONCERT Growing with the Arts, and Atlanta for 15 years ALTEC “ACOUSTA VOICED” SOUND SYSTEMS • (404) 261-4947

Capital Automobile Company 796 West Peachtree Street. N. W. phony No. 4 (“Italian”); Ibert’s Escales (Ports of Call), composed when he was in Rome; and Respighi’s Tone Poem, “The Pines of Rome.” Murry Sidlin, resident conductor of the National Symphony Orchestra in Spend the day at Washington, D.C., will conduct the next concerts, July 8 and 9. Pianist Pamela Levy will be featured soloist in Mozart’s Piano Concerto No. 21. Also on the program are Brahms’ Academic Festival Overture and Rimsky-Korsa­ kov’s Symphonic Suite, “Scheherazade.” The final concerts of the Promenade Series will be July 15 and 16, Michael Palmer conducting. The program will begin with Mozart’s Symphony No. 39, “Linz,” and will also include Wagner’s “Prelude and Liebestod” from Tristan und Isolde, featuring soprano Barbara Dean. Pianist Arthur Tollefson will be soloist in the Concerto No. 2 for Piano and Orchestra by Rachmaninoff. The full-size fashion store All Promenade concerts will be in at Phipps Plaza —with great Symphony Hall and will begin at 8:30 clothes for the whole family­ p.m. home fashions, too, including The Symphony Pops Concerts in the interesting antiques. Park offer an exciting combination of And marvelous gifts we found for you all over the world, many available only at lord & Taylor.

Stay for luncheon or tea in our enchanting Bird Cage restaurant, open every shopping day. Richard Hayman of the Boston Pops and an At­ lanta favorite will lead the orchestra in two of its summer Pops series concerts. Lord & Taylor, Phipps Plaza big-name entertainment and local talent. Peachtree Road between Wieuca The series offers five different programs and Lenox Roads —266-0600 on Friday evenings at 8:30 at Chastain Park and Sunday afternoons at 2:30 at Open Monday thru Saturday Stone Mountain Park. 10:00 a.m. to 6:00 p.m.

The George Shearing Quintet will Open Monday and Thursday open the series June 13 and 15. At­ evenings until 9:00 p.m. lanta singer Sharon Scott will also par­ ticipate in a program of both classical and popular music. Atlanta Symphony continued following program notes Almost a century ago, a maitre d’ will welcome Atlantans French chef serving at the and their guests with the same Imperial Russian court develop­ warmth he has shown to such ed a rare and extravagant dish notables as the Queen of England. called Pheasant Souvar- Sir Winston Churchill and off. Encased in a clay dish, President Eisenhower. the pheasant was prepared The Coromandel is a with truffles, goose liver and port small restaurant, intimate, wine. When presented to the gracious, lit by the glow of candle court, the dish was embellished light. Those who dine will enjoy with ribbons and the Czar was re­ an experience which will live with quired to break the clay with a them. A luncheon or dinner in special hammer before savoring surroundings where crystal is the delicacy. crystal, the china is china the linen The clay for your Pheasant is linen and the silver is sterling. Souvaroff is being imported from Those who prefer to simply France. It. along with your ham­ relax and converse over drinks will mer, will be waiting for you at the find comfort and entertainment Coromandel. in the Coromandel Lounge. The Coromandel will offer The Coromandel takes its name to Atlanta classic French cuisine, unparalleled from the huge, twelve-paneled Chinese screen, in this part of the country. The Executive Chef depicting ancient Chinese court scenes, will oversee the preparation of the Coro- that becomes the restaurant’s focal point. mandel s specialties with the same critical eye Its decor is plush elegantly comfortable. and palate that won him renown at Paris’ Its cuisine and ceremonies go back to famed Le Grand Vefour. and Europe’s Louis XV. Its traditions goback to the highest, most coveted honors, the age of the grand hotel. And its future Guide Michelin award and the < >\ wiuueassuieuuywill be assured by Thei nei Fairmont. ainnuiu.. Taittinger Cup. The Coromandel’s T For more information call 892-6000. COKOflVUWEL RESraiRAHT

Colony Square Hotel Peachtree and Fourteenth Streets Atlanta Symphony Orchestra Robert Shaw, Music Director and Conductor

Thursday, Friday and Saturday evenings 8:30, May 15, 16 and 17, 1975 ROBER1 SHAW Conducting LORNA HAYWOOD, soprano ELIZABETH MANNION, mezzo-soprano GORDON GREER, tenor SETH McCOY, tenor WILLIAM WARFIELD, baritone PETER HARROWER, bass-baritone ATLANTA SYMPHONY ORCHESTRA CHORUS MOREHOUSE COLLEGE GLEE CLUB UNIVERSITY OF GEORGIA MEN’S GLEE CLUB

PROGRAM SCHOENBERG *“GurreIieder” for Solo Voices, Chorus and Orchestra (1900—1901)

Part I

INTERMISSION

Part II

Part III

*First performance at these concerts

This concert will be broadcast on a delayed basis by Atlanta Public Radio, WABE-FM 90.1, Monday evening at 8:00 p.m. by special permission of the Atlanta Federation of Musicians, Local 148-462, the Atlanta Symphony Players’ Association, and with the support of the Georgia Council for the Arts and the National Endowment for the Arts.

The use of recording devices or cameras during concerts is strictly prohibited THIS OLD IRON GATE is the closest iron will ever get to the water we use for making Jack Daniel’s Whiskey. Our limestone cave spring runs at 56° year-round and is completely free of iron. That’s why Jack Daniel built his distillery right alongside it in 1866. And why folks from neighboring counties still bring jugs to our Hollow and haul water CHARCOAL MELLOWED home for making coffee. You see, Jack 6 Daniel always said iron was murderous DROP to the taste of sippin’ whiskey. And from 6 what our neighbors report, it doesn’t BY DROP do coffee a speck of good either.

Tennessee Whiskey*90 Proof • Distilled and Bottled by Jack Daniel Distillery, Lem Motlow, Prop., Inc., Lynchburg (Pop. 361), Tennessee 37352 Placed in the National Register of Historic Places by the United States Government. PROGRAM NOTES BY LEONARD BURKAT Gurrelieder succeeded in getting a large cash grant Arnold Schoenberg (1874-1951) for Schoenberg and a professorship at Schoenberg’s Gurrelieder (“Songs of the Stern Conservatory in Berlin. At Gurre”) is one of those climactic works last he could withdraw from the mean in the history of music, like Bach’s pressures of hack work in the com­ Saint Matthew Passion and perhaps mercial theater, and in 1911, Gurre­ Beethoven’s Ninth Symphony, that are lieder was done. The work’s first per­ without equal or sequel. It is the last formance, in Vienna in 1913, was a and the greatest masterpiece in the tra­ triumph, a glorious success with both dition of Wagner, a gigantic work. Yet audience and critics, but Schoenberg re­ it is of such almost infinite subtlety ceived this unaccustomed acclaim with that an analysis by the composer Alban some bitterness, saying, “For years Berg, Schoenberg’s disciple and friend, they refused to recognize me. Why became a 100-page book that opens should I thank them now?” with the statement, “This guide makes no claim to completeness; it is unat­ ❖ ❖ ❖ tainable.” Gurrelieder is set for gigantic forces For most listeners, the key to the that had and that set no precedent. understanding and appreciation of Gur­ There are six vocal soloists: Waldemar, relieder is not in Berg’s important study tenor; Tove, soprano; the Wood Dove, of its structure but in a sentence that mezzo-soprano or alto; Peasant, bass; the critic Paul Rosenfeld wrote after Klaus the Fool, tenor; and a speaker. the American premiere of the work in A male chorus, written as three four- 1932, “It is a magical score, rich in the part choirs, represents King Waldemar’s elusively mysterious, sensuous, melting retinue. The closing section is sung by and bewitching sort of expression, which an eight-part mixed chorus. —drawn with a fineness no completely In the original orchestration, the in­ waking condition can achieve—flows struments required are four flutes, four from some enchantment in the subject piccolos, three oboes, two English itself.” ♦ * ♦ horns, five clarinets, two bass clarinets, three bassoons, two contrabassoons, ten Schoenberg wrote most of the Gurre­ horns (of which four alternate with lieder music in Vienna, in March 1900, Wagner tubas), six trumpets, bass trum­ but had to put it aside, incomplete, to pet, alto trombone, four tenor trom­ earn some money. In the spring of bones, bass trombone, contrabass trom­ 1901, he finished the composition and bone, contrabass tuba, six timpani, snare ordered special paper printed, about drum, tenor drum, bass drum, tam-tam, double the largest usual size, with space cymbals, triangle, glockenspiel, rattle, enough to write the music for the huge xylophone, large iron chain, celesta, forces his conception required. In four harps, and a string section large August he began the orchestration but enough for first and second violins to be was frequently interrupted by the divided into ten parts each, and violas other labors he felt obliged to under­ and cellos into eight parts each. Schoen­ take in order to support his family. In berg’s pupil Erwin Stein later prepared 1903 he gave up completely and put a reduced version for conventional Gurrelieder aside. He had become the large orchestra. turn-of-the-century Viennese equivalent In a letter to Berg, Schoenberg pointed of our arrangers and conductors of out that during the gap of almost ten Broadway musical shows—but without years between the start and the com­ their fame and fortune—and he or­ pletion of his orchestration of Gurre­ chestrated some 6,000 pages of music lieder, his style and method of com­ for the producers of popular operettas. position had changed completely. He Finally, in 1910, Richard Strauss made only a few small changes in the When you come into money, keep the money coming in. Come into FTuito^ ► Federal <

P.O. Box 1077 Atlanta. Georgia 30301 music itself, he said, but his orchestral closely linked to all the others. The writing in Part III is entirely different glorious, wide-spaced melodies of Gur­ from that in Parts I and II. relieder resemble those of Wagner, brought forward a generation in ex­ pressivity—but not in the direction of The Gurrelieder are songs of the vain bombast and empty rhetoric, which castle of Gurre, on the northern tip of generally mark the works of his lesser the island of Zealand in Denmark, not followers. It is directly moving love­ far from the modern city of Helsingor, music, which, if it reminds us of any­ which was Hamlet’s Elsinore. thing, reminds us of Tristan und Isolde. The poems were distantly derived :’s =:= from ancient folk ballads by Jens Peter Part I is a dialogue in song: Walde- Jacobsen (1847-1885), a botanist who mar and Tove alternate in singing of became one of Denmark’s greatest their love until, at the end, the Wood writers. They were probably completed Dove tells of Tove’s death. It opens in 1868 and were first published in with a prelude for orchestra, a musical German in 1899. Because there are picture of northern twilight, and then some discrepancies between the text set the songs begin. to music and that in the three-volume First are a pair of evening songs. German edition of Jacobsen’s works, it Waldemar sings, “Nun ddrnpft die is thought that the translator, Robert Ddmm’rung jeden Ton von Meer und Franz Arnold, a Viennese professor of Land” (“Now the twilight stills all literature who also translated Milton, sound on sea and land”), and Tove may have shown Schoenberg his work replies, in richly textured music re­ in progress quite some time before it flecting the references to clouds, water was ready for publication. and waves, “O, wenn des Mondes Jacobsen’s poems about Gurre give Strahlen leis legeiten, und Friede sich us not the historic saga but the at­ und Ruh durchs All verbreiten" (“Oh, mosphere and the myth of the place and when moonbeams fall lightly and peace its time. They tell of the pursuit of and calm spread everywhere”). youth and beauty, and of the love that Next are songs of the pursuit of love. endures beyond the grave. Waldemar sings, “Ross! Mein Ross! The characters, but not the events, Was schleichst du so trag!” (“Steed! My are rooted in history. They are Walde- steed! Why creep so slowly!”), as he mar (or Volmer) IV, King of Denmark rushes toward the castle at Gurre, to from 1340 to 1375, and Tove, who Tove. She sings, “Sterne jubelin, das had probably been the lover of Walde- Meer, es leuchtet . . (“Stars rejoice, mar I two centuries earlier. the sea gleams . . . until my princely Schoenberg’s method of applying hero comes to my open arms”). music to the text is worth noting. He Songs of love and rapture make up sets the words of each song continuous­ the third pair. They are the emotional ly and to continuous music. No words climax of Part I and the core of the are repeated for dramatic or other ef­ entire work. Waldemar sings to Tove, fect. The effects are all contained in “So tanzen die Engel vor Gottes Thron the music itself, and the music at once nicht, wie die Welt nun tanzt vor follows and takes its meaning from the mir . . (“The angels at God’s throne words. Each line, each word, each do not dance as the world now dances syllable has its own music, and almost for me; the music of their harps not every line of poetry is a separate, com­ so lovely as my soul’s for you”). Tove’s plete musical phrase. melody is an exquisite invention that This work is often thought ,of as a recurs throughout the work as love­ cantata or oratorio, but it is in fact, as motif, “Nun sag ich dir zum ersten Mai: its title tells us, a song cycle, a care­ ‘Konig Volmer, ich liebe dich!’” (“Now fully ordered and arranged set of sep­ 1 tell you, for the first time, ‘King arate songs, each complete in itself yet Volmer, I love you!’”). . impeccably tailored cuts and fabrics /X Sure, styles change. Waists may X \ taper, lapels may widen, but the qual- consistent. \ . ity never varies. Tasteful, stylish. That’s how we run Muse's. » X_. elegant, consistent. We cany the finest lines in f 'j Just a few more reasons why menswear; names like . even in Robert E. Lee’s day, they Hickey-Freeman and Louis W* called us the style center of the South Roth in a stunning array of ’ .■.Jw ; '■

Northlake • Cumberland Greenbriar • Perimeter ? Downtown • Lenox

FOR THE FINEST IN FOREIGN TRAVEL ARRANGEMENTS ■/ "Ask the man who's been there" OSBORNE TRAVEL SERVICE 3379 Peachtree Road, N.E. Atlanta, Georgia 30326 Telephone: 404 ■ 261-1600

Montag & Caldwell incorporated / Investment Counsel

John Hunsinger & Company 2901 FIRST NATIONAL BANK TOWER ATLANTA, GEORGIA / 404 658-1190 Commercial and Industrial Real Estate 1819 Peachtree Road, Northeast Atlanta, Georgia 30309 404»351»6813 Chicago, Denver, San Francisco, Dallas, Tokyo In the fourth pair of songs we hear back to Gurre. the music of night, foretelling the end Next, a peasant sings, “Deckel des of love and life. Waldemar sings, “Es Sages klappert und klappt" (“The cof­ ist Mitternachtzeit, und unsel’ge Ge- fin cover rattles and knocks”), and he sschlechter steh’n auf aus vergess’nen describes the phantom cavalcade. eingesunk’nen Grdbern” (“It is the hour Waldemar’s retainers, their voices di­ of midnight, and the unblessed are ris­ vided into three four-part choruses, ing from forgotten, sunken graves”). sing, “Gergriisst, o Konig, an Gurre- Tove replies, “Du sendest mir einen Seestrand! . . (“Hail, oh King, on Liebesblick und senkst das Auge . . .” Gurre’s sea beach! . . . We are hunting (“You sent me a look of love and with empty eye sockets . . . but wish then lowered your eyes . . . Smiling we we could sleep in peace”). go to the grave, dying in a blessed The ghost of Waldemar then sings a kiss!”). lament for his lost love, “Mit Toves Next is a love song for Waldemar, Stimme fliistert der Wald . . (“The “Du wunderliche Tove! . . (“Thou woods are whispering with Tove’s wondrous Tove! In having you, I am voice . . . The stars are shining with so rich I wish for nothing more”). Tove’s smile”). An interlude for orchestra follows, a Klaus the Fool now offers a kind of meditation on love and a musical de­ comic relief to these great expressions velopment of all that has preceded it. of grief and pain, “Ein seltsamer Vogel The last song of Part I is an epilogue ist so’n Aal” (“A rare bird is the eel”), to the poetic drama of love. The voice he sings, recalling a nonsense song he now is the Wood Dove’s, bringing news had often performed to amuse drunken from the castle: “Tauben von Gurre! guests at court, but he would much Sorge qudlt mich, vom Weg uber die rather have remained in his peaceful, Insel her! Kommet! Lauschet! . . jester’s grave than join the men on this (“Doves of Gurre! I am burdened with wild night ride. grief as I come here across the island! But Waldemar again addresses God Come! Listen! Tove is dead . . . but the in anger: “Du Strenger Richter droben, King lives on ... I saw him carry her du lachst meiner Schmerzen . . bier on his royal shoulders, while the (“Stern judge above, you laugh at my vengeful Queen watched by torchlight pain . . . Tove and I are one ... If from the ramparts ... I flew far, sought I am for Hell and she for Heaven, my sorrow and found death!”). wild huntsmen and I will destroy your Part II is brief: Waldemar’s angry watching Angel and storm into Para­ song of mourning so deep that he dares dise”). offer reproof to God Himself: “Her- Now Waldemar’s retainers see that gott, weisst Du, was Du tatest, als klein morning is coming and sing “Der Hahn Tove mir verstab? . . (“Lord God, erhebt den Kopf zur Kraht” (“The cock do You know what You were doing raises his head and crows”). It is time when litle Tove died? ... To dare re­ to return to the grave. buke You, let me wear your court The two final sections of Part III are jester’s cap, Lord!”). given the title “The Summer Wind’s Part III opens with an orchestral Wild Hunt.” They are a melodrama— movement called “The Wild Hunt,” rich properly so called, a recitation with or­ in musical reminiscence of Part I and chestra—and then a closing chorus. setting the spectral scene for this last After an orchestral prelude, the part of Gurrelieder. speaker is heard, in a kind of song­ The ghost of Waldemar calls from speech. The exact duration of each the tomb, “Erwacht, Konig W aide mars syllable is specified by the composer but Mannen wert!" (“Arise, King 'Walde­ the exact “notes” are only approxi­ mar’s worthy retainers!”) and bids them mated, the relatively high-pitched gird their rusty swords, rise from their sounds distinguished from the relatively graves, mount their horses and rush low. Queen Anne chairs from Ireland, circa 1830 In natural oak, marvelously Standard Federal reproduced with bargello Savings & Loan Association seats. Set of 8 at Davison's 11 Convenient Offices to Serve You 180 Peachtree only . . . 3900.00 Main Office: 44 Broad St./Atlanta E3 Telephone: 688-6619 (dept. 191) Corner Shop

DUNCAN PEEK INC.

1132 W. PEACHTREE ST., N.W. VT ATLANTA. GA. 30309 PHONE: 404 -873-1092

INSURANCE FINANCIAL SERVICES 4090 ROSWELL RD.

Fine jewelry has been the Maier family’s profession for four generations. Our name is your assurance of quality and service. JlAIERV BERKELE ** Jewelers to the South since 1887

NORTHSIDE/DOWNTOWN/DECATUR/CUMBERLAND MALL Jlulhentic.

77/ie world’s best judges of whisky have pinned lots of medals on T)ewars. It’s still happening every day. Any

Scotch-lover, sipping a Dewar’s Brussels, 1893 “White Label” for the first time, will mentally pin still another gold medal on its famous label. Antwerp, 1894

London, 1888

Paris, 1889 te Label Zurich, 1930 21 Dew ar s . Ten d ed Sc o t c h Wh is k y » SCOTCH WHISKIES JOUCT OF SCOTLAND •UNDID ANO BOTTltO

®®-8* PROOF

Edinburgh, Sckp.i . Sol< OiMribwiora in US A m V ® 1890 Company. New YorK

Dewars-’ BLENDED SCOTCH WHISKY • 86.8 PROOF ©SCHENLEY-IMPORTS CO.. N. Y„ N. Y. never varies.

The facts in this advertisement have been authenticated by the management ofJohn Detvar & Sons, Ltd., ‘Perth, Scotland The sensibleness of as follows: Oil change and our uppermost IT RUNS LEANER. chassis lube—every six Chevrolet. months or 7,500 miles. We couldn’t expect you IT RUNS CLEANER. Oil filter change—first 7,500 to change your standards. miles, then every 15,000 So we’ve changed Caprice. IT SAVES YOU MONEY miles. Automatic transmission Caprice Classic for 1975 fluid change—every still provides you with EVERY MILE. 30,000 miles. the elegance and style your All that and taste demands. Plus economy; thanks to the Chevrolet's new catalytic cleaner air. Chevrolet’s new Efficiency new Efficiency System, new converter, are designed to We’ve met the new System with some very engine tuning and easy- make the’75 Chevrolets Federal emission reductions: important engineering rolling GM-Specification better performers than the Exhaust hydrocarbons improvements designed to steel-belted radial ply tires. cars of the last few years. down 50% from 1974, work together to clean the Surer starting. Our new catalytic carbon monoxide reduced air and save you money. High Energy Ignition, converter allows Chevrolet 46% from 1974- Run leaner? Run standard on all 1975 engines to go back to doing Things that make cleaner? What’s that Caprice Classics, delivers a what you’ve always Caprice Classic, classic. mean? spark that’s up to 85% expected them to do: We don't want you to Run leaner means Perform smoothly, think for a minute that Caprice is designed to responsively, efficiently. we’ve forgotten the things run more economically. Fewer and simpler that have made Caprice By run cleaner, we mean tune-ups. our uppermost Chevrolet. the 1975 Caprice Classics With High Energy We haven’t. In fact, we’ve are designed to meet Ignition, there are no points added to Caprice Classic’s the stiffer new Federal to replace, and there’s no traditional elegance with a emission standards, with ignition condenser to new front grille, new tail­ engines that stay cleaner replace. Spark plugs, light arrangement and new internally because of hotter than conventional instead of lasting 6,000 rear quarter window design. no-lead fuel. ignition systems deliver. miles, should now last up Plus special sound We wanted to make it easy to 22,500 miles. insulation designed to make for you to approach your Tune-ups will be Caprice quiet and Caprice with greater con­ simpler and further apart. comfortable on the road. fidence on cold, wet See your Chevrolet dealer mornings. soon. See just how sensible Faster warm-ups. our uppermost Chevrolet is for 1975. Caprice for'75 features Early Fuel Evaporation as part of the new Efficiency CHEVROLET Improved fuel System. EFE efficiently uses economy. exhaust gases to give you MAKES SENSE For 1975, Caprice's a smoother, shorter FOR AMERICA standard V8 engine is warm-up period. More miles between designed for better fuel Better performance. oil changes and chassis r Chevrolet j The features we’ve lubes. listed so far, combined with We’ve extended our recommended maintenance The melodrama is a commentary on ended too soon? Spring blooms, sum­ the endless cycles of life and of the mer dreams long turned to dust?” the seasons. The spoken text begins, "Herr music sweetly, sadly recalls Tove’s love­ Giinsefuss, Frau Gansekraut, nun duckt theme. It is Schoenberg’s way of telling euch nur geschwind, den des sommer- us that, as summer must follow spring, lichen Windes wilde Jagd beginnt” death must follow love. (“Mr. Gander-Foot, Mrs. Goose-Weed, Finally, the great mixed chorus sings hurry and hide, for the summer wind’s “Seht die Sonne!" (“See the sun!”), wild hunt is beginning”). When the in a monumental greeting to a new day. speaker asks, “What can the wind want? Can it be looking for something that (All rights reserved)

PETER HARROWER, a native of brilliant and many-faceted artist. Atlanta, began his musical training after During the 1972-1973 season, he graduation from Georgia Tech. He was returned to the Lyric Opera of Chicago a pupil of the late Viennese soprano, (his fourth season there) and made his Margaret Hecht, and spent four years first appearance with the National Sym­ in Italy and Austria as the recipent of phony under Antal Dorati in Washing­ two Fulbright awards and a Rockefeller ton, D. C. He also was soloist with the grant. Atlanta Symphony Orchestra. He is a While in Europe he carved for him­ member of the Voice Faculty at Geor­ self an enviable reputation as a gifted gia State University. interpreter in both the operatic and the oratorio repertoire. His operatic debut LORNA HAYWOOD was born in at Spoleto, Italy, led to appearances in Birmingham, England, and was grad­ many of the leading opera houses of uated from the Royal College of Music, the Continent, including those of Rome, winning every award offered. She then Munich, Stuttgart, and Vienna. He was studied at the Juilliard School of Music heard as soloist with the orchestras of in New York City, after which she re­ Florence, Milan, Turin and with the turned to England for her Covent Gar­ Orchestra of Santa Cecilia in Rome. den debut. Miss Haywood launched her His return to the United States has American concert career as soprano brought appearances throughout the soloist in the Messiah with the Robert country. He has sung with the Lyric Shaw Chorale. Opera of Chicago, the San Francisco These performances mark the eighth Spring Opera, the Cincinnati Summer series of concerts in which Miss Hay­ Opera, the Houston Grand Opera, the wood has been soloist with the Atlanta Baltimore Civic Opera, and for seven Symphony Orchestra. She has also ap­ consecutive seasons at the Santa Fe peared with many other major orches­ Opera, in roles that run the gamut of tras in this country, including the the bass-baritone repertoire. Boston Symphony, the Houston Sym­ In the field of concert and oratorio phony, the St. Louis Symphony, the he is in constant demand and is espe­ Minnesota Orchestra, the Cleveland cially noted as a gifted interpreter of Orchestra, and the Denver Symphony. Bach and Haydn. He has been a fre­ quent soloist with many of the leading ELIZABETH MANNION is profes­ orchestras of the United States, includ­ sor of voice at the Indiana University ing those of Philadelphia, Cleveland, School of Music. She studied in Co­ Chicago, Los Angeles and Atlanta. logne, Germany, on a Fulbright Schol­ His appearances at the Cincinnati arship, and was first prize winner in the May Festival, the Hollywood Bowl, the National Federation of Music Clubs Caramoor Festival, and in Canada with 1963 Young Artist Auditions. the Toronto Symphony and the Canad­ In New York she was a member of ian Broadcasting Company, serve to the Metropolitan Opera Studio, the point up the broad experience of this New York City Center Opera Company and guest artist with the Schola Can- dame Butterfly. He has signed a three- torum, the Oratorio Society and the year contract with the Deutsche Oper Litle Orchestra Society. Before joining am Rhein beginning in August 1975. the Indiana University School of Music faculty in 1968, she taught at the Uni­ SETH McCOY’S professional career versity of Michigan and at Bowling began somewhat late. Early years of Green University in Ohio. study were completed at the A. and T. She has sung as guest soloist with College in North Carolina, and for many major orchestras, including the some years he sang with the famous NBC, Seattle, Cincinnati, Indianapolis Jubilee Singers. This Negro choral and Minnesota symphonies. Recent en­ group toured widely in the United gagements have included a performance States, South America and Europe. It of Bach’s B Minor Mass at the Berea was also a popular program for the (Ohio) Bach Festival and the Christ­ broad cross-section of audiences in the mas Oratorio with the Indianapolis years when radio entertainment was at Symphony. In February 1973 she sang its height. the Verdi Requiem with Robert Shaw Seth McCoy continued with vocal conducting the Minnesota Orchestra study in Cleveland and for several years and the University of Minnesota appeared as soloist in church and Chorus. She appeared with Robert synagogue; he was given leading roles Shaw and the Atlanta Symphony in for many performances in Cleveland’s last season's performances of Berlioz’s unique Karamu Lyric Theatre. The pro­ “Romeo and Juliet.” fessional career began in 1963 when he GORDON GREER began his mus­ was chosen by Robert Shaw, then asso­ ical training after 4 ¥2 years in Anchor­ ciate conductor of the Cleveland Or­ chestra, as soloist with the Robert Shaw age Alaska, where he served in the U.S. Air Force. His last summer in Chorale. Since then the artist has built a firm, Alaska was spent on a raft trip funded by the National Endowment for the broad career and he has won the highest acclaim for performances Arts, which carried a show of folk music, arts and crafts and mime throughout the U.S. in recital, in ora­ theater into fourteen Eskimo villages torio and in opera. He appears fre­ accessible only by water. quently as soloist with our leading or­ In May of 1973 he won third place chestras—Philadelphia, Chicago, Cleve­ in the Third International Madame land, Cincinnati, Minnesota, Detroit, Butterfly Competition held in Japan. Atlanta, Baltimore, O'akland and many He won the 1974 Southern Indiana Dis­ others. trict Metropolitan Opera Auditions and Mr. McCoy had the great honor of received second place at the 1974 Tri­ being chosen to appear during the in­ state Regional Metropolitan Opera Au­ augural week of the new Kennedy Cen­ ditions. Later that year he opened the ter for the Performing Arts in Washing­ Centennial Season of the 1974 Chau­ ton, D.C. He has sung on many oc­ tauqua Opera Association as Alfredo in casions with the Atlanta Symphony, in­ La Traviata. cluding an appearance in what has now At the 23rd Internationaler Musik- been declared the first American opera, wettbewerb (Music Competition) held Scott Joplin’s “Treemonisha.” in Munich he won second prize in the Seth McCoy’s other recent appear­ Voice Category, Men’s Division. This ances have been with the Washington was the highest award given, as no first National Symphony, the Richmond prize was awarded. He appeared with Symphony, the Toronto Symphony, the the San Diego Opera Company’s pro­ Philadelphia Orchestra and the Ottawa duction of Lucia di Lammermoor in National Arts Centre Orchestra. He November and December of last year, has also sung at two of the great Amer­ and last month appeared in the Deuts­ ican summer festivals, Grant Park and che Oper am Rhein production of Ma­ Saratoga Springs. WILLIAM WARFIELD is one of in the theater in the role of “Porgy” in this country’s most sought after and the Gershwin opera “Porgy and Bess.” versatile singers, having served as He has recorded this role and many United States cultural ambassador on others and has appeared on several six different occasions. He has sung popular television shows, including the oratorio roles with all the major or­ Ed Sullivan Show, the Tonight Show, chestras of the United States and in the Bell Telephone Hour, and the Edgar 1962 was invited by Pablo Casals to Bergen Show. appear as soloist with the Orchestra of Warfield was born in West Helena, the Casals Festival in Puerto Rico. Arkansas, and moved to Rochester, New Casals chose him to create the leading York, while still a small child. He won role in his new oratorio “El Pesebre” a scholarship to the Eastman School both at the Festival and in New York's of Music of the University of Ro­ Carnegie Hall. chester, where he earned both B.A. and Warfield enjoyed his greatest success M.A. degrees.

Gurrelieder by Arnold Schoenberg

Enter Teil Part one

WALDEMAR WALDEMAR Nun dampft die Damm'rung jeden Ton Now stills the twilight Von Meer und Land, Ev'ry sound on land and sea, Die fliegenden Wolken lagerten sich The far-sailing clouds are anchor'd Wohlig am Himmelsrand. Now in harbour by heaven's lee. Lautloser Friede schloss dem Forst Silently, peace hath closed Die luftigen Rforten zu, The woodland portals at night's behest, Und des Meeres klare Wogen And the sea's long rolling waves Wiegten sich selber zur Ruh. Have cradled themselves to their rest. Im Westen wirft die Sonne The westward skies are golden, Von sich die Purpurtracht Day sheds his dying beams, Und traumt im Flutenbette The morrow's radiant glory; Des nachsten Tages Pracht. On ocean's bed he dreams. Nun regt sich nicht das kleinste Laub No sigh is borne from out the forest, In des Waldes prangendem Haus, And silent stand leaf and bough, Nun tont auch nicht der leiseste Klang, Nor falls the faintest sound on the ear; Ruh aus, mein Sinn, ruh aus! Rest now, my soul, rest thou. Und jede Macht ist versunken All pow'r is lost in the magic In der eignen Traume Schoss, Of the dreams that float o'er me, Und es treibt mich zu mir selbst zuriick, Ev'ry thought within my heart is still, Stillfriedlich, sorgenlos. All peaceful, sorrow-free.

TOVE TOVE O, wenn des Mondes Strahlen leise gleiten, Now, where the moonbeams' tender light is glowing Und Friede sich und Ruh durchs All verbreiten, And quiet peace o'er all the world is flowing, Nicht Wasser diinkt mich dann des Meeres Raum, No more like waves I see the ocean lie, Und jener Wald scheint nicht Gebusch und Baum. No more like foliage stands the forest high. Das sind die Wolken, die den Himmel schmucken, No clouds are they that float in splendour o'er me, The Arts In Atlanta * - *%/ 107!: ma y 1975

CONTINUING 1975 SATURDAY, MAY 17

THE CITY Exhibition. HM. Junior Gallery. An ex­ Orson Welles Film Series: “Journey into Fear.” Special Events hibition showing Atlanta as a place composed of HA. 8:00. A war thriller set in the Near East, the elements of design. Admission fee charged, starring Joseph Cotton, Agnes Moorehead, and and special hours, see above. Everett Sloane. $1/Members; $1.50/Students; memorial arts center $2/General; Free to Museum Patron Members. WEDNESDAY, MAY 14 Prints of the Seventies. Ralph K. Uhry Print Room, 1st floor. SUNDAY, MAY 18 Atlanta Symphony Pre-Concert Lecture, 6:00-8:00 Alliance Theatre p.m., Walter Hill Auditorium. Open Rehearsal American Works from the Permanent Collection. Free Film Program. HA. 3:00. Three films on I AT: ------with Chorus, 8:00-11:00 p.m., SH. Sponsored by SH’ Symphony Hall HA: Hill Auditorium North Gallery, 1st floor. architecture, “Louis I. Kahn, Architect,” “I. M. HM: High Museum the Women’s Association of the Atlanta Symphony G: Galleria!_:* - Pei,” and “Cities for People.” ST; Studio Theatre The William and Robert Arnett Collection of An­ , call the box office at 892-2414 Orchestra. For ticket information. tique Chinese Jades. McBurney Gallery, 3rd floor. THURSDAY, MAY 22 THURSDAY, MAY 29 Selections from the Permanent Collection of Miss Teen Metro Atlanta Pageant, 7:00-11:00 p.m., African Art. McBurney Gallery, 3rd floor. Experimental Films. HA. 8:00. A program of short films including “The Riddle of Lumen” by Stan SH. Brakkage and “Autumn Equinox” by Hollis Concerts THURSDAY, MAY 1 Frampton, among others. Co-sponsored by the Department of the History of Art at Emory Uni­ Parades and Changes, a two-part performance versity. Free.’ THURSDAYj^FRIDAY & SATURDAY film made in 1965 by the Dancers’ Worshop of San Francisco. HA. 8:00. Free. Co-sponsored by FRIDAY, MAY 23 High Museum Events Emory University’s Department of the History of Atlanta Symphony, 8:30, SH. Subscription Series. Michael Palmer conducting; Assisting Artist: Art. Orson Welles Film Series: “The Lady from Janos Starker, cello; Haydn: Cello Concerto in C Shanghai.” HA. 8:00. With Welles, Rita Hayworth, major; Tchaikovsky: “Variations on a Rococo High Museum hours: 10-5 Mon. thru Sat., 12-5 FRIDAY, MAY 2 & SATURDAY, MAY 3 and Everett Sloan. The climax scene in an Sun.: closed evenings. Art Shop hours: 12-5 Tues, amusement park “fun house” is one of the Theme”; Stravinsky: “Petrouchka.” thru Sat., closed Mon. and evenings. THE CITY Sherlock Holmes Movies Return! HA. 8:00. Basil most famous film endings. $1/Members; $1.50/ and Jr. Art Shop hours: Mon. thru Fri., 3-5 p.m., Students; $2/General; Free to Museum Patron SUNDAY, MAY 4 Rathbone & Nigel Bruce return in “Sherlock and Sat. & Sun. 12-5 through May 25. Open every Holmes and the Voice of Terror” and “The Pearl Members. Atlanta Symphony DeKalb Family Concert, 3.00 day 12-5 beginning May 27. Donation: 25c chil­ of Death,” both from the early 1940's. Admission: p.m., Stone Mountain. Michael Palmer conducting. dren, 50c adults, Museum Members free. The $1/Members; $1.50/Students; $2/General; Mu­ SATURDAY, MAY 24 Haydn: Symphony No. 104 in D major (“Lon­ Museum will be closed on Monday, May 26, for seum Patron Members Free. don”); Copland: Four Dance Episodes from Orson Welles Film Series: “The Third Man.” HA. Memorial Day. “Rodeo "; Rachmaninoff: Rhapsody on a Theme of THURSDAY, MAY 8 8:00. A thrilling mystery story of a writer who Paganini for Piano and Orchestra. returns to Vienna to renew an old friendship, but OPENING MAY 10 arrives in time for his friend’s funeral. $1 /Mem­ Orson Welles Film Series: “Citizen Kane.” HA. MONDAY THRU FRIDAY Sol LeWitt: 50 Drawings, 1964-1973. HM. New I bers; $1.50/Students; $2/General: Free to Mu­ 8:00, Welles directed, produced and acted in seum Patron Members. MAY 5-9 Gallery, 3rd floor. A group of drawings by artist this devastating biography, acclaimed as a mas­ Sol LeWitt, whose work has been cited as the terpiece of cinematic techniques. Guest lecturer beginning of the movement called “conceptual Candace Kaspars will introduce the film. Ad­ FRIDAY, MAY 30 art.” Through June 23. mission is free. FRIDAY, MAY 9 Orson Welles Film Series: “Touch of/ Evil.” HA. OPENING MAY 17 SUNDAY, MAY 11 8:00. With Welles, Charlton Heston, Janet Leigh, An Evening with Chick Corea, _8:30J>H. Dennis Weaver, and Marlene Dietrich. $1 /Mem­ American Photographers: Seven Portfolios. New bers; $1.50/Students; $2/General; Free to Mu­ Slide Talk on Conceptual Art and Sol LeWitt. SATURDAY, MAY 10 Gallery, 3rd floor. A special installation of photo­ seum Patron Members. graphic portfolios from the Museum’s permanent HA. 2:30. Clark Poling, Assistant Professor of the History of Art at Emory University, will be collection, including work by such masters of SUNDAY, JUNE 8 All-State Chorus, 8.00-9:30, SH. photography as Edward Weston and Walker the guest lecturer. Free. THURSDAY,^FRIDAY A SATURDAY Evans. Through June. WEDNESDAY, MAY 14 Tour of the Kress Collection by Triska Loftin, guest lecturer. 2 p.m. Free. CONTINUING THROUGH MAY 4 Atlanta Symphony, 8:30, SH. Subscription Series. Lecture by Barry Gaither. HA. 8:00. Gaither, who Concert of Renaissance music by Musica Nova Robert Shaw conducting. Assisting Artists: Lorna • Ohio and Kentucky. is Director and Curator of the Museum of the of the University of Kentucky. HA. 3:15. Free. Haywood, soprano; Elizabeth Mannion, mezzo- Western Shaker Furniture:■ 3rd floor. From the National Center of Afro-American Artists in Bos­ soprano; Gordon Greer, tenor; Seth McCoy, HM. McBurney GalGalleries,'er^®’ j5'Bookout, Associate ton, will lecture on "The Rainbow of Con­ tenor; William Warfield, baritone; Peter Harrower, private collection cfof Tim g University, temporary Black Art.” Co-sponsored by the Arts SUNDAY, JUNE 15 bass-baritone; Atlanta Symphony Orchestra Professor of Design and poster available. Festival of Atlanta. Free. Chorus; Morehouse College Glee Club; Univer­ Illustrated catalogue Tour of selections from the permanent collec­ sity of Georgia Men's Glee Club. Shoenberg: FRIDAY, MAY 16 tion of African Art by Evelyn Mitchell, guest CONTINUING THROUGH MAY 6 lecturer. 2 p.m. Free. “Gurre-Lieder.” Dutch Life in the Golden Century. HM. New Orson Welles Film Series: “The Magnificent Am­ FRIDAY, MAY 30 Gallery, 3rd Floor. A small but selective exhibi­ bersons.” HA. 8:00. Welles’s vivid imagination SUNDAY, JUNE 22 m., SH, A con- tion of 17th century Dutch Master paintings from fuels this story of the declining magnificence of The Young Ambassadors, 8:00 p.i important public and private collections, includ­ an American dynasty. $1/Members; $1.50/Stu­ Tour of the Robert & William Arnett Collection cert of gospel music. ing Rembrandt van Ryn’s Portrait of a Man on dents; $2/General; Free to Museum Patron of Antique Chinese Jade by William Arnett, col­ loan from the Metropolitan Museum of Art, New lector. 2:00. Free. SATURDAY, MAY 31 Members. York. Catalogue available. Atlant? Christian Chorus, 8:00-10:30 p.m, SH. Louis XV two drawer commode reproduced from an original in our Walter furniture museum collection.

&:o volume 400 page Baker Book, $10.00. 430 eMerchandise eMart, Chicago 60654- “Distinguished manufacturer and distributor through your interior designer or furniture retailer. Showrooms in cAtlanta, Chicago, Cleveland, “Dallas, Qrand “Rapids, “tftigh “Point, Houston, Cos Angeles, eMiami, Mew york, “Philadelphia, San tyrancisco.

A Thought for a Permanent Gift A 513 0K FROM GEORGIA

1) Atlanta Cooks for Company...... $ 5.00 Atlanta’s official cookbook by the Atlanta Music Club 2) Sketching and Etching Georgia...... $30.00 a limited edition of drawings by Ledlie W. Conger 3) Roswell: Historic Homes and Landmarks...... $12.50 a collection of drawings by Ernest E. DeVane, text by Clarece Martin 4) Historic Clayton County, home of Gone With the Wind . . . $12.50 a pictoral history by Terry Bakken & Historic Jonesboro, Inc. 5) Georgia Recipes & Food...... $ 5.50 compiled from Georgia families by the Women’s Auxil. to the Medical Assn, of Atlanta

These books may be purchased from your local book store, or send a check, including 75

WALDEMAR WALDEMAR Ross! Mein Ross’ Was schleichst du so trag! Steed, my steed! Why lagging so slow? Nein, ich seh's, es flieht der Weg Nay, I see the road doth go Huttig unter der Hufe Tritten. Swiftly under thy hoofbeats flying, Aber noch schneller musst du eilen, Faster and faster still must bear me, Bist noch in des Waldes Mitten, See the wood yet round us lying. Und ich wahnte, ohn' Verweilen I had thought, did I not tarry, Sprengt ich gleich in Gurre ein. Now would I in Gurre be. Nun weicht der Wald, schon seh ich dort die Burg, The wood grows light, now I behold the tower Die Tove mir umschliesst, That Tove doth enfold, Indes im Rucken uns der Forst zu finstrem Wall And see behind our feet the wood into one gloomy zusammenfliesst; barrier roll'd. Aber noch weiter jage du zu! But ever faster hasten thou on! Sieh! Des Waldes Schatten dehnen See! The forest shadows wider Uber Flur sich weit und Moor! Spreading over moor and lea! Eh' sie Gurres Grund erreichen, Ere to Gurre's land they reach forth, Muss ich stehn vor Toves Tor. Tove's portal I must see. Eh' der Laut, der jetzo klinget, Ere that call that now is sounding Ruht, um nimmermehr zu tonen, Dies, never more to waken, Muss dein flinker Hufschlag, Renner, By thy ringing hoofs, my charger, Uber Gurres Brucke drohnen; Gurre's arches must be shaken. Eh' das welke Blatt — dort schwebt es — Ere that wither'd leaf—dost see it?— Mag herab zunj Bache fallen, Falls into the stream to vanish. Muss in Gurres Hof dein Wiehern Shall in Gurre's court thy neighing Frohlich widerhallen . . . Loud the silence banish. Der Schatten dehnt sich, der Ton verklingt, The shadows lengthen, the sound is hush'd. Nun falle, Blatt, magst untergehn: So fall thou leaf and die alone, Volmer hat Tove gesehn! Volmer [Waldemar] hath Tove beheld!

TOVE TOVE Sterne jubeln, das Meer, es leuchtet, Stars are singing, the sea is shining, Presst an die Kiiste sein pochendes Herz, Waves are caressing the shore's open breast. Blatter, sie murmeln, es zittert ihr Tauschmuck, Hear the leaves murmur, the dew shines upon them, Seewind umfangt mich in mutigem Scherz, Sea-wind enfolds me in rude laughing jest; Wetterhahn singt, und die Turmzinnen nicken, Weathercock sings, in the tow'r a light dances; Burschen stolzieren mit flammenden Blicken, Lads go a-wooing with fire in their glances, Wogende Brust voll uppigen Lebens Maidenly hearts with longing are beating; Fesseln die blijhenden Dirnen vergebens, Life is too brief, and our youth all too fleeting. Rosen, sie muhn sich, zu spahn in die Feme, Roses awaken, their lovliness showing, Fackeln, sie lodern und leuchten so gerne, Torches alight through the darkness are glowing; Wald erschliesst seinen Bann zur Stell', Wide the portals of wood and park— Horch, in der stadt dort Hundegebell. Lo, in the town I hear a dog bark. Und die steigenden Wogen der Treppe And the waves of the stairway that soar aloft. Tragen zum Hafen den fiirstlichen Held, To the harbour shall carry my King, Bis tr auf alleroberster Staffel Till on the summit, here on the height, Mir in die offenen Arme fallt. My hero at last to my arms they bring.

WALDEMAR WALDEMAR So tanzen die Engel vor Gottes Thron nicht, So danc'd never angels before the great throne, Wie die Welt nun tanzt vor mir. As the spheres now dance 'fore me. So lieblich klingt ihrer Harfen Ton nicht, So glad was never their golden harp-tone Wie Waldemars Seele dir. As Waldemar's soul for thee. Aber stolzer auch sass neben Gott nicht Christ Not so proudly our Lord took His place on high, Nach dem harten Erldsungsstreite, When His sacrifice here was over, Als Waldemar stolz unu und koniglich ist As Waldemar proud can the heavens outvie An Tovelilles Seite. As Tovelille's lover. Nicht sehnlicher mochten die Seelen gewinnen No weary soul has ever sought life immortal, Den Weg zu derSeligen Bund, So, longingly, pining for rest, Als ich deinen Kuss, da ich Gurres Zinnen As I long'd for thee, when I saw thy portal Sah leuchten vom Oeresund. From Oresund's noble crest Und ich tausch' auch nicht ihren Mauerwall I'd not change a stone of thy ramparts strong, Und den Schatz, den treu sie bewahren, Nor the gem that safe they are holding, Fur Himmelreichs Glanz und betaubenden Schall For joys of hereafter, their glory of song, Und alle der Heiligen Scharen! In splendour of heaven unfolding. TOVE TOVE Nun sag ich dirzum erstenmal: Now this first time, I say to thee, "Konig Volmer, ich liebe dich!" "Royal Volmer [Waldemar], I love but thee." Nun kuss ich dich zum erstenmal, Now this first time, I kiss thee too, Und schlinge den Arm um dich. And fold loving arms round thee. Und sprichst du, ich hatt' es schon fruher gesagt And say'st thou, "Oh, had I but told thee ere now, Und je meinen Kuss dir geschenkt, And long ago yielded my lips," So sprech' ich: "Der Konig ist ein Narr, So sing I "The King is but a fool Der fliichtigen Tandes gedenkt." Who recks not of why nor of how," Und sagst du: "Wohl bin ich solch ein Narr," And say'st thou, "True, I am such a fool," So sprech' ich: "Der Konig hat recht;" Then say I, "The King hath said truth." Doch sagst du: "Nein, ich bin es nicht," But say'st thou, "Nay, so am I not," So sprech' ich: "Der Konig ist schlecht." Then say I, "The King says not sooth," Denn all meine Rosen kiisst' ich zu Tod', For all my fair roses kissed I to death, Dieweil ich deiner gedacht. The while I thought on my King.

WALDEMAR WALDEMAR Es ist Mitternachtszeit, Tis the hour of midnight, Und unsel'ge Geschlechter When unholy spirits do arise Stehn auf aus vergessnen, eingesunknen Grabern, From their long-forgotten resting places; Und sie blicken mit Sehnsucht They are gazing with longing Nach den Kerzen der Burg und der Hiitte Licht. On the lamps of the hall and the arbour-light. Und der Wind schiittelt spottend And the wind scatters, mocking, Nieder auf sie Downward to them, Harfenschlag und Becherklang Harper's tones, a song of wine, Und Liebeslieder. And lover's music. Und sie schwinden und seufzen: And they vanish in sighing: "Unsre Zeit ist um." "All our day is o'er." Mein Haupt wiegt sich auf lebenden Wogen, My head rests upon waves, rising, falling. Meine Hand vernimmt eines Herzens Schlag, Mine own hand may know how thy heart doth beat; Lebenschwellend stromt auf mich nieder Life and rapture flow o'er my spirit, Gluhender Kiisse Purpurregen, Rapt in the glow of royal kisses. Und meine Lippe jubelt: And mine own lips are crying: "Jetzt ist's meine Zeit!" "Life is come to me!" Aber die Zeit flieht, Brief is my life's day, Und umgehn werd' ich And I must perish Zur Mittnachtsstunde At midnight's coming, Dereinst als tot, And then, as dead, Werd' eng um mich das Leichenlaken ziehn Shall draw o'er me my shroud of linen white, Wider die kalten Winde Fearing the cold wind's anger; Und weitermich schleichen im spaten Mondlicht And on my way I go by night, by moonlight, Und Schmerzgebunden Of grief a captive; Mit schwerem Grabkreuz With sorrow's emblem, Deinen lieben Namen Thy beloved name In die Erde ritzen When in the earth I've graven, Und singen und seufzen: I sing then, a-sighing: "Unsre Zeit ist um!" "Now our day is gone."

TOVE TOVE Du sendest mir elnen Liebesblick Thine eyes meet mine in a lover's glance, Und senkst das Auge, Then close their eyelids, Doch der Blick presst deine Hand in meine, And thy hand was press'd in mine, with that glance; Und der Druck erstirbt; Now thy clasp is faint, Aber als liebeweckenden Kuss But like a love-awakening kiss, Legst du meinen Handedruck mir auf die Lippen. Thou layest again my hand-clasp on mine own lips. Und du kannst noch seufzen um des Todes willen, And thou canst yet sigh as thou wert death foreboding Wenn ein Blick auflodern kann Though a glance shines in thine eyes, Wie ein flammender Kuss? Like a bright flaming kiss? Die leuchtenden Sterne am Himmel droben The light of the stars in the heavens Bfleichen wohl, wenn's graut, Yonder pales before the dawn, Doch lodem sie neu jede Mitternachtszeit But ever anew when the night is at hand In ewiger Pracht. They shine still as bright. So kurz ist der Tod, So brief is our death, Wie ruhiger Schlummer Like calm breathed slumber, Von Damm'rung zu Damm'rung, From twilight to twilight; Und wenn du erwachst: And when thou aw'ak'st, Bei dir auf dem Lager Thine eyes will behold me, In neuer Schonheit In new-won beauty rob'd, Siehst du strahlen And glowing, Die junge Braut. Thy fair young bride. So lass uns die goldene Then pour out the gold-foaming wine Schale leeren And quaff to him, the mighty, Ihm, dem machtig verschonenden Tod: The brave-smiling death: Denn wir gehn zu Crab To the grave we go brave-eyed, Wie ein Lacheln, ersterbend Smiling; our dying is rapture — Im seligen Kuss! A kiss!

WALDEMAR WALDEMAR Du wunderliche Tove! Thou'rt wonderful, my Tove! So reich durch dich nun bin ich, So rich, so proud hast made me, Dass nicht einmal mehr ein Wunsch mir eigen. Nought in the world do I prize beside thee. So leicht meine Brust, So light is my heart, Mein Denken so klar, My spirit so free, Ein wacher Frieden uber meiner Seele. A new-born peace within my soul is reigning Es ist so still in mir, My thought is all at rest, So seltsam Stille. So strangely quiet, Auf der Lippe weilt briickeschlagend das Wort, To my lips there come words that almost break forth, Doch sinkt es wieder zur Ruh. Yet sink again into silence. Denn mir ist's, als schliig in meiner Brust Tis as though there beat within my breast Deines Herzens Schlag, Only thy dear heart — Und als hobe mein Atemzug, As were mine the breath, Tove, deinen Busen. Breathing in, Tove, to thy bosom. Und unsre Gedanken seh ich And thy thought and mine, Entstehn un

STIMME DER WALDTAUBE VOICE OF THE WOOD-DOVE Tauben von Gurre! Sorge qualt mich, Wood-doves of Gurre! Woeful tidings Vom Weg uber die Insel her! I bear over the island sea! Kommet! Lauschet! Come then! Listen! Tot ist Tove! Nacht auf ihrem Auge, Dead is Tove! Night hath closed her eyelids, Das der Tag des Konigs war. That was day for Tove's King! Still ist ihr Herz, Still is her heart, Doch des Konigs Herz schlagt wild, But the King's own heart is strong, Tot und doch wild! Dead and yet strong! Seltsam gleichend einem Boot auf der Woge, Strangely, like unto a boat on the water, Wenn der, zu dess' Empfang That comes in to the shore, Die Planken huldigend sich gekrummt, And hands reach out to welcome it there; Des Schiffes Steurer tot liegt, No boatman steers, he lies dead, Verstrickt in der Tiefe Tang. And seaweed hath bound him fast. Keiner bringt ihnen Botschaft, No man may bring him greeting, Unwegsam der Weg. Lonely lies he there. Wie zwei Strome waren ihre Gedanken. Like two water-brooks their thought flow'd together, Strome gleitend Seit' an Seite. Streams that glided side by side then. Wo stromen nun Toves Gedanken? Where flow they now, fair thoughts of Tove? Die des Konigs winden sich seltsam dahin, And the King's thought wanders alone on its way, Suchen nach denen Toves, Seeking to twine with Tove's, Finden sie nicht. Finding it not. Weit flog ich, Klage sucht' ich, fand gar viel! Far flew I, sorrow sought I, grief I found. Den Sarg sah ich auf Konigs Schultern, The bier saw I on kingly shoulders. Henning stiitzt' ihn; Henning stayed it: Finster war die Nacht, Gloomy was the night. Eine einzige Fackel brannte am Weg; Only one lifted torch-flame shone by their way; Die Konigin hielt sie, hoch auf dem Soller, The Queen herself held it, high on the rampart, Rachebegierigen Sinns. Vengeance aflame in her heart. Tranen, die sie nicht weinen wollte, Tears she strove to hold back from falling Funkelten im Auge. Shone bright on her eyelids. Weit flog ich, Klage sucht' ich, fand gar viel! Far flew I, sorrow sought I, grief I found! Den Konig sah ich, mit dem Sarge fuhr er, The King did I see, with the bier beside him, Im Bauernwams. In peasant smock. Sein Streitross, das oft zum Sieg ihn getragen, His war-horse that oft in battle had borne him Zog den Sarg. Drew the bier. Wild starrte des Konigs Auge, suchte Wild flashing, the King's bright eye Nach einem Blick, Did seek the beloved glance. Seltsam lauschte des Konigs Herz Strangely hearken'd the King's sad heart Nach einem Wort. For one dear word. Henning sprach zum Konig, Henning spoke and falter'd. Aber noch immer suchte er Wort und Blick. Striving to find a word and a kindly glance. Der Konig offnet Toves Sarg, The King then opened Tove's bier, Starrt und lauscht mit bebenden Lippen, Stared and listen'd, trembling and silent— Tove ist stumm! Tove is mute! Weit flog ich, Klage sucht' ich, fand gar viel! Far flew I, sorrow sought I, grief I found. Wollt ein Monch am Seile ziehn, Evensong the monk would ring, Abendsegen lauten; Held in hand the bell rope; Doch er sah den Wagenlenker Then he saw the bier come slowly. Und vernahm die Trauerbotschaft: And he heard the mournful tidings; Sonne sank, indes die Clocke Sank the sun, the bell rang out Grabgelaute tonte. In solemn tone of mourning. Weit flog ich, Klage sucht' ich und den Tod! Far flew I, sorrow sought I, and found death! Helwigs Falke war's, der grausam Helwig's falcon it was, oh cruel, Gurres Taube zerriss! That Gurre's dove hath slain!

Zweiter Teil Part two

WALDEMAR WALDEMAR Herrgott, weisst du, was du tatest, Know'st Thou, Cod, how Thou didst wound me Als klein Tove mir verstarb? When fair Tove pined and died? Triebst mich aus der letzten Freistatt, From the last stronghold dost drive me. Die ich meinem Gluck erwarb! Where I hope and joy descried! Herr, du solltest wohl erroten; Lord, a shameful wound Thou makest, Bettiers einz'ges Lamm zu toten! Poor man's one ewe-lamb Thou takest! Herrgott, ich bin auch ein Herrscher, Lord God, I too rule my people, Und es ist mein Herrscherglauben: Never yet for mine own pleasure Meinem Untertanen darf ich From a servant did I take away Nie die letzte Leuchte rauben. His last remaining treasure. Falsche Wege schlagst du ein: False Thy way, and false Thy heart: Das heisst wohl Tyrann, nicht Herrscher sein! Thine a tyrant sway, ho Lord art Thou. Herrgott, deine Engelscharen Lord God, all the hosts of Thy bright angels, Singen stets nur deinen Preis, Singing, praise Thy name, Doch dir ware mehr vonnoten Thou hast rather need of one before Thy face, Einer, der zu tadeln weiss. To tell Thy shame. Und wer mag solches wagen? And who so bold as dare it? Lass mich, Herr, die Kappe deines Hofnarr'n tragen! Give me, Lord, Thy fool's cap, 'fore Thy throne I'll wea

Drifter Teil Part three

WALDEMAR WALDEMAR Erwacht, Konig Waldemars Mannen wert! Arouse ye, hear Waldemar's royal word! Schnallt an die Lenden das rostige Schwert, Gird now on your loins the rusty-red sword; Holt aus der Kirche verstaubte Schilde, Take from their holy place shields all batter'd, Graulich bemalt mit wustem Gebilde. Fly on your standard colours all tatter'd. Weckt eurer Rosse modernde Leichen, Wake from the tomb your mouldering horses, Schmiickt sie mit Gold, und spornt ihre Weichen; Spur them with gold to new living courses. Nach Gurrestadt seid ihr entboten, To Gurre town ride thro' the valley, Heute ist Ausfahrt derToten! There to-day shall dead men rally!

BAUER PEASANT Deckel des Sarges klappert und klappt, Hark to the rattling coffin, oh hark! Schwer kommt's her durch die Nacht getrabt. Slow on its way, and the night is dark. Rasen nieder vom Hugel rollt, Down from hillsides, great rocks are roll'd, Uber den Griiften klingt's heil wie Gold. Over the valley they ring like gold. Klirren und RasSeln durchs Rusthaus geht, Clatters and rattles the arsenal, Werfen und Rijcken mit altem Gerat, Lances and cannon in warring heaps fall; Steinegepolter am Kirchhofrain, Stones of the grave o'er the churchyard fly, Sperber sausen vom Turm und schrei'n, Howling hawks on the spire do cry, Auf und zu fliegt's Kirchentor. To and fro the church door flies. ATLANTA SYMPHONY ORCHESTRA LEAGUE OFFICERS David Goldwasser, President James J. Doherty, John A. Wallace, Washington Falk, III, Vice President Vice Presiden t Secretary Robert G. Edge, Mrs. Charles Watkins, Jr., Mrs. Drew R. Fuller, Vice President Vice Presiden t Treasurer

BOARD OF SPONSORS Peter Abreu Bob P. Gordon Lawrence J. McEvoy, Jr. Dr. Sanford Atwood Stanley K. Gamble Tom McLain A. Leigh Baier Joseph F. Haas N. Barnard Murphy Tom M. Brumby Mrs. John R. Hall Mrs. William E. Schatten Dr. Dan Burge Dr. J. Rhodes Haverty Shouky A. Shaheen Mrs. Henry Chanin Mrs. J. Rhodes Haverty Dr. Grace B. Smith Edward S. Croft, Jr. Mrs. W. Stell Huie H. Hamilton Smith Bradley Currey, Jr. Alfred Kennedy, Jr. Maynard Smith Paul A. Ebbs, Jr. J. W. Kercher Charles L. Towers Herbert R. Elsas Louis Kunian Mrs. Ralph K. Uhry Edward E. Elson Dr. Noah Langdale Mrs. Robert Wells Richard C. Everett John B. Lawhorn L. Neil Williams Robert Forrestal Mrs. Nathan I. Lipson Robert M. Wood Mrs. Henry Geigerman, Jr Mrs. Edwin Lochridge, Jr. Larry Gellerstedt Mrs. Mason Lowance

LIFE SPONSORS Mrs. Murdock Equen Charles Jagels Richard H. Rich Mrs. Lon Grove C. K. Liller Samuel Rothberg Mrs. Granger Hansell Michael McDowell Mrs. T. Erwin Schneider Byron Harris Mrs. Lawrence J. McEvoy Mrs. Howard C. Smith Mrs. Julian Hightower Mrs. Louis H. Mo s s Charles R. Yates Mrs. Lewis Hirsch Mrs. Bernard Neal Eugene Young Frank Ratka, General Manager All season ticket holders are members of the Orchestra League

Empire Dinner Showcase nNDEKMUND llTIflNffl as, for everyone in Underground Atlanta. Just strolling along gaslit streets amid an 1890's atmosphere is an experience not quickly forgotten. This is where Atlanta was born, and Underground Atlanta fairly echoes with the drama of history made here. In some places you can actually see firelines left by General Sherman's monumental bonfire Underground Atlanta is the past-and much more. It’s a vibrant and fun place to visit, where the mystique of yesterday combines with the excitement of today. Take the food. A visitor can tickle the palate with delights that run the gamut from exotic foreign fare to fresh homemade soft pretzels. Entertainment is just as varied. Choose from the soft See the funniest show in Atlanta. music of an intimate lounge, a folk combo, solid rock, a And enjoy all you can eat at Dixieland jam session, or maybe an hour of nostalgia at an old time penny arcade. ourfabulous Buffet Dinner—7pm. You’ll soon discover the importance of exploring each Only $10.50 per person, plus tax. and every doorway and passageway in Underground Atlanta. Because they always lead to something new. Dinner show Tuesday through like specialty shops with unique merchandise Saturday. Late show Saturdays imported from all over the world, and special attractions enjoyed by kids of all ages. 11:15pm —$3.50 per person Discover Underground Atlanta entertainment charge. Special Mati­ for yourself. Visit “The Historic City Beneath the Streets" for a nee Show every Tuesday—only delightful experience you'll $4.95 per person. Includes Buffet treasure for a long time to come. Luncheon at 12 noon and Show at 1:30pm. Free parking. For reservations, call 892-2227. Special Group Rates available. UNDERGROUND ATLANTA Hunter Street and Central Ave. Shei’aton-Biltmore Phone 522-4801 Hotel SHERATON HOTELS & MOTOR INNS WORLDWIDE Si 7 West Peachtree Street. N E Atlanta Ga 404/881-9500 Folks around here work up hearty appetites hiking our nature trail, or sailing our lakes. So they really enjoy the home-style mountain cooking in our Chimneys’ Restaurant.

The buttermilk biscuits are already famous.

Our tennis center, which has both indoor and outdoor courts, is just up the hill from Our town is a complete community. We’ve even our Country Store in Ublfscratch Village. got our own 24-hour fire department, security force and ambulance service.

Our town, a private mountain community, with so much more to do. Very close to where you are. Developed by Cousins Properties Incorporated. Look into it.

Please send me more information about Big Canoe, Georgia.

Name

A championship golf course is set right into our beautiful Address valleys. NOTE: User fees are charged for use of all facilities. City .State------Zip------Brokerage Center, Big Canoe. Obtain HUD property report from developer and read it Georgia 30143. (404) 893-2733 or (404) 522-8437. before signing anything. HUD neither approves the merits of the offering nor the value, if any, of the property. MANNERCHOR MALE CHORUS Holla? Holla?

BAUER PEASANT Da fahrt's vorbei! Rasch die Decke ubers Ohr! It passes by! Stop the ears and close the eyes! Ich schlage drei heilige Kreuze geschwind I draw threefold sign of the cross on my breast Fur Leut' und Haus, fur Ross und Rind, For home and kin, that they be blest; Dreimal nenn' ich Christi Namen, Thrice be Aves now recited. So bleibt bewahrt der Felder Samen, That so the harvest be not blighted, Die Glieder noch bekreuz ich klug. I cross my hands, my feet, my head. Wo der Herr seine heiligen Wunden trug, Where the holiest wounds of our Saviour bled. So bin ich geschiitzt vor der nachtlichen Mahr, So am I defended from ghosts of the night. Vor Elfenschuss und Trolls Gefahr. From elfin darts and goblins' might. Zuletzt vor die Tur noch Stahl und Stein. Then bolted and barr’d be door and gate. So kann mir nichts Boses zur Tur herein. So am I protected from evil fate.

WALDEMARS MANNEN WALDEMAR S VASSALS Gegrusst, o Konig, an Gurre-Seestrand! O King, we greet thee, by Gurre's sea-strand! Nun jagen wir uber das Inselland, Now hunt we all, over the sea-girt land. Holla! Vom stranglosen Bogen Pfeile zu senden, Holla! Unstrung are our bows, our arrows unfeather'd, Mit hohlen Augen und Knochenhanden, Our eyes are sightless and bones our fingers, Zu treffen des Hirsches Schattengebild, Our quarry the stag's intangible shade. Holla! Dass Wiesentau aus der Wunde quillt. Holla! Let dew flow out from the wound we've made. Holla! Der Walstatt Raben Holla! The warring raven Geleit uns gaben, His aid hath given, Uber Buchenkronen die Rosse traben, Over highest tree-tops our steeds have striven Holla! So jagen wir nach gemeiner Sag' Holla! So hunt we now in our olden way. Eine jede Nacht bis zum jungsten Tag. All and ev'ry night till the Judgment Day. Holla, Hussa Hund! Hussa Pferd! Holla, hie on hound, hie on steed! Nur kurze Zeit das Jagen wahrt! Our time is brief, so make good speed! Hier ist das Schloss, wie einst vor Zeiten! As long ago, here stands the castle! Holla! Lokes Hafer gebt den Mahren, Holla! Loki's oats shall feed our horses. Wir wollen vom alten Ruhme zehren. Still as of old shall we ride our courses.

WALDEMAR WALDEMAR Mit Toves Stimme flustert der Wald, Tis Tove’s voice I hear through the wood, Mit Toves Augen schaut der See, With Tove's bright eyes shines the lake, Mit Toves Lacheln leuchten die Sterne, 'Tis Tove's smiling laughs in the starlight. Die Wolke schwillt wie des Busens Schnee. The clouds from her all their whiteness take. Es jagen die Sinne, sie zu fassen, My spirit is longing to behold her, Gedanken kampfen nach ihrem Bilde. My heart is weary for her dear image, Aber Tove ist hier und Tove ist da, But my Tove is there, and Tove is here, Tove ist fern und Tove ist nah. Tove is far and Tove is near. Tove, bist du's, mit Zaubermacht Thou, my Tove, dost hold me fast Gefesselt an Sees und Waldespracht? By thy magic pow’r, though life is past; Das tote Herz, es schwillt und dehnt sich, Though dead my heart, it glows and calls thee, Tove, Tove, Waldemar sehnt sich nach dir! Tove, Tove, Waldemar longs yet for thee!

KLAUS-NARR KLAUS THE FOOL ''Ein seltsamer Vogel ist so'n Aal, "How strange is the bird we call an eel, Im Wasser lebt er meist, Tis water he likes best, Kommt doch bei Mondschein dann und wann Yet now and then when moons are bright, Ans Uferland gereist." He comes to land to rest." Das sang ich oft meines Herren Gasten, That sang I oft, while the guests were drinking. Nun aber passt's auf mich selber am besten, Now, of myself, when I sing rt, I'm thinking. Ich halte jetzt kein Haus und lebe ausserst schlicht I have nor house nor hall, and live as best I may. Und lud auch niemand ein und prasst' und larmte nicht, No guest may I invite about my board to stay, Und dennoch zehrt an mir manch unverschamter Wicht, Yet shameless wights there be, would take my crust away; Drum kann ich auch nichts bieten, ob ich will oder nicht, So have I nought to offer, would I yea, would I nay. Doch — dem schenk ich meine nachtliche Ruh, Yet I would give away my night's repose. Der mir den Grund kann weisen, To any man who tells me Warum ich jede Mitternacht What is't that ev'ry midnight Den Tiimpel muss umkreisen. Round this pool to roam compels me. Dass Palle Glob und Erik Paa That Palla Glob and Eric Paa Es auch tun, das versteh' ich so: Must wander, that I understand; Sie gehorten nie zu den Frommen; They were never counted as holy; LEONARD BERNSTEIN

ATheatre Piece For Singers, Players and Dancers

Presented oy ATLANTA SYMPHONY ORCHESTRA ROBERT SHAW, conducting

JUNE 5, 6, 7,10,11,12,14,15 8:30 p.m. SYMPHONY HALL

$6.50 - $5.00 - $4.00 - $2.75 TICKETS AVAILABLE AT SYMPHONY BOX OFFICE 892 2414 MAIL ORDER ADDRESS: 1280 PEACHTREE STREET, N.E. ATLANTA, GA. 30309 (Please enclose self addressed stamped envelope) Jetzt wurfeln sie, wiewohl zu Pferd, They'll throw the dice, still as of old, Um den kuhlsten Ort, weit weg vom Herd, For the coolest place, far from the crowd, Wenn sie zur Hoile kommen. When they go down to Hela. Und der Konig, der von Sinnen stets, sobaid die Eulen And the King there, he was always made, klagen, Whene'er the owls were crying, Und stets nach einem Madchen ruft, das tot seit Jahr und For aye would call one maiden's name, Tagen, Who long ago lay dying; Auch dieser hat's verdient und muss von Rechtes wegen He too has earned his lot, his never-ending nightly jagen. hunting; Denn er war immer hochst brutal, For he was always harsh, unfair, Und Vorsicht gait es allemal And we, his people, did beware, Und offnes Auge fur Gefahr, Of blows had each man had his share; Da er ja selber Hofnarr war He was himself the Court Fool there, Bei jener grossen Herrschaft uberm Monde. To yonder noble Lordship in the Heavens. Doch dass ich, Klaus-Narr von Farum, But that I, Klaus, Fool of Farum, Ich, der glaubte, dass im Grabe I, who sought my grave, believing Man vollkommne Ruhe habe, There would be an end to grieving, Dass der Geist beim Staube bleibe, That my soul would be at rest there, Friedlich dort sein Wesen treibe, Still as birds within their nest there. Still sich sammle fur das grosse Calm, preparing for the last great Court feast, Hof-Fest, wo, wie Bruder Knut Where, as Brother Knut tells, Sagt, ertonen die Posaunen, Are noble trumpets blaring, Wo wir Guten wohlgemut Where we watch the bad men roasting Sunder speisen wie Kapaunen.— The while we're nobly faring, Ach, dass ich im Ritte rase, Ah—still I ride, never ending. Gegen den Schwanz gedreht die Nase, Face to my horse's tail I'm bending, Sterbensmud im wilden Lauf, Deathly sweat upon my brow, War's su spat nicht, ich hinge mich auf. Wer't not too late, I'd hang myself now. Doch, o wie suss soli's schmecken zuletzt, But oh, how sweet to know this all past, Werd' ich dann doch in den Himmel versetzt! When I may find my heav'nly home at last! Zwar ist mein Sundenregister gross, Great sinner tho' I be, yet have I Allein vom meisten schwatz ich mich los! Oft-times escaped through some ready lie! Wer gab der nackten Wahrheit Kleider? Who gave the naked truth its clothing? Wer ward dafiir geprugelt leider? Who'll suffer punishment and loathing? Ja, wenn es noch Gerechtigkeit gibt, Ah, right will yet prevail at the last. Dann muss ich eingehn in Himmels Gnaden . . . And I shall go home to heaven's garden Na, und dann mag Gott sich selber gnaden. Then—and then may heav'n, not I, seek pardon!

WALDEMAR WALDEMAR Du Strenger Richter droben, Thou Judge enthron'd in harshness, Du lachst meiner Schmerzen, Thou laugh'st o'er my sorrow, Doch dereinst, beim Auferstehn des Gebeins But that day, when we shall rise from the tomb, Nimm es dir wohl zu Herzen: Do Thou beware that morrow; Ich urid Tove, wir sind eins. I and Tove, we are one; SO zerreiss auch unsre Seele nie, If our soul should e'er divided be, ZUr Hoile mich, zum Himmel sie, And I to hell, to heaven she— Denn sonst gewinn ich Macht, Then shall I rise in might, Zertrummre deiner Engel Wacht Destroy Thy heav'nly angels bright, Und sprenge mit meiner wilden Jagd And break through, with my unearthly horde Ins Himmelreich ein. Thy paradise gate.

WALDEMARS MANNEN WALDEMAR'S VASSALS Der Hahn erhebt den Kopf zur Kraht, Now Chanticleer hath rais'd his voice, Hat den Tag schon im Schnabel, And the day is proclaiming, Und von unsern Schwertern trieft From our weary sword-blades drips Rostgerdtet der Morgentau. Rust-encarmin'd the morning dew. Die Zeit ist um! Our time is over! Mit offnem Munde ruft das Grab, With gaping maw the grave now calls, Und die Erde saugt das lichtscheue Ratsel ein. Earth receives again the light-fearing shades of night. Versinket! Versinket! Now sink we! Das Leben kommt mit Macht und Glanz, For life is full of shining pow'r, Mit Taten und pochenden Herzen. Of great deeds, of hearts that beat loudly. Und wir sind des Todes, And we are but shadows, Der Sorge und des Todes, Of death and bitter sorrow. Des Schmerzes und des Todes. Of death and bitter grieving. Ins Grab! Ins Grab! Zur traumeschwangern Ruh. O grave! thy rest is full of dreams. O, konnten in Frieden wir schlafen! O could we in silence be sleeping! Des Sommerwindes wilde jagd (Melodram) The summer wind's wild hunt (Melodrama) SPRECHER SPEAKER Herr Gansefuss, Frau Gansekraut, nun duckt euch nur Sir Canderfoot, dear Mother Goose, now hide you, geschwind, quickly hide, Denn des sommerlichen Windes wilde Jagd beginnt. Now th'unruly summer wind sets out upon his ride. Die Mucken fliegen angstlich durch den The crickets flee in terror from the meadow newly mown schilfdurchwachsnen Hain, And the wind on the water his silvern threads hath sewn. In den See grub der Wind seine Silberspuren ein. More woeful doom is nigh than any man conceives Viel schlimmer kommt es, als ihr euch nur je gedacht; Hark! that shudder in the trembling forest leaves! Hu, wie’s schaurig in den Buchenblattern lacht! That was Saint John's dragon, Das ist Sankt Johannrswurm mit der Feuerzunge rot. See how his fiery tongue is red; Und die schweren Wiesennebel, ein Schatten bleich und And the meadow mists low-lying tot! Are shadows pale and dead! Welch Wogen und Schwingen! What waving and swinging! Welch Ringen und Singen! What dancing and singing! In die Ahren schlagt der Wind in leidigem Sinne. In the oak trees hear the wind go by like a rider, Dass das Kornfeld tonend bebt. Till the cornfield, sighing, bends. Mit den langen Beinen fiedelt die Spinne, With her slender legs now fiddles the spider, Und es reisst, was sie muhsam gewebt. And the web she was weaving she rends. Tonend rieselt der Tau zu Tai, Dew drips loud to the vale below, Sterne schiessen und schwinden zumal, Stars shoot downward, and silently go. Fluchtend durchraschelt der Falter die Hecken. Water birds affrighted break the tall sedges. Springen die Frosche nach feuchten Verstecken. Startling the frogs to their watery ledges. Still! Was mag der Wind nur wollen? Still! What may the wind be seeking? Wenn das welke Laub er wendet, As the wither'd bough he bended. Sucht er, was zu fruh geendet: Sought he, what too soon hath ended: Fruhlings blauweisse Blutensaume, Springtime's blossoming tlow'rs a-gleaming. Der Erde fluchtige Sommertraume The dear Earth's fugitive summer-dreaming— Langst sind sie Staub! Long ago, dust’ Aber hinauf, uber die Baume But look above, see the wind flying, Schwingt er sich nun in lichtere Raume, Over the tree-tops, heavenward hieing! Denn dort oben, wie Traum so fein, Surely, as in a dream he knows Meinter, mussten die Bluten sein! Always there a new fragrance blows. Und mit seltsamen Tonen And with strange music ringing In ihres Laubes Kronen He hears the blossoms singing, Grusst er wieder die schlanken schonen. Greets them tenderly, swaying, swinging. Sieh! Nun ist auch das vorbei, See, now has he pass'd them by; Auf luftigem Steige wirbelt or frei On white spreading wings he hies him to smooth Zum blanken Spiegel des Sees, The white mirror of the lake, Und dort, in der Wellen unendlichem Tanz, And there, in the laughing waves' unending dance, In bleicher Sterne Widerglanz In paling stars' be-mirror'd glance, Wiegt er sich friedlich ein. Cradles himself to sleep. Wie Stille ward's zur Stell'! How still were all things there! Ach, war das licht und hell! Ah, how clear was the air! O schwing dich aus dem Blumenkelch, Marienkaferlein, Oh, ladybird, come hie thee forth from out thy flow'ry Und bitte deine schone Frau um Leben und nest, Sonnenschein! And ask of thy dear Lady, life artd laughter, and sunlight Schon tanzen die Wogen am Klippenecke, blest! Schon schleicht im Crase die bunte Schnecke; White horses all over the lake are prancing Nun regt sich Waldes Vogelschar, And through the meadow are crickets dancing; Tau schuttelt die Blume vom lockigen Haar The woodland singers all arise, Und spaht nach der Sonne aus. And from their shining locks the flow'rs shake the dew, | Erwacht, erwacht, ihr Blumen, zur Wonne! And raise to the sun their eyes. Awake, awake, ye blossoms, to gladness!

GEMISCHTER CHOR MIXED CHORUS Seht die Sonne! See the sun rise! Farbenfroh am Himmelssaum, Golden-hued in heav'n he gleams, Ostlich grusst ihr Morgentraum! Lights the East with morning dreams. Lachelnd kommt sie aufgestiegen Smiling climbs he high and higher Aus den Fluten der Nacht, O'er the waters of night; Lasst von Itch ter Stirne fliegen Decks his shining brow with flying Strahlenlockenpracht! Golden locks of light I

Text reprinted by arrangement with Belmont Music Publishers, Los Angeles. No Strings.

o

Every other month you can receive some­ thing special from Germaine Monteil." Free. It's our way of introducing you to our products. We believe in our cosmetics and are confident once you try them you'll be a believer, too. So, every two months you can get an attractive, exact replica of one of our Acti-Vita® products: moisturizer, cleanser, toner, cream and foundation and many more. Each sample is large enough for several applications. So you can judge them thoroughly, leisurely and objectively. In the privacy of your own home. If you want to join our sampling pro­ gram visit your Germaine Monteil Beauty Consultant at Saks Fifth Avenue. She'll enroll you in the Saks Beauty Register...their guest book for special members. Stop by the Saks store nearest you. Try our samples six times a year. They're free. All Canadians are not

CANADIAN WHISKY Seagram’s V.O. A B1.EIVO Canadian is a OF RARE SELECTED WHiSWES “tt'UEO AGED. BLENDED AND BOTTLED UH*’ one-of-a-kind creation. * SUPEUVISSON OF THE CANADIAN GOVL’** The First Canadian

THIS WHISKY IS SIX YEARS OLD in smoothness.

BLENDED AND BOTTLED BY „ The First Canadian JOSEPH E SEAGRAM E SONS. I'*'1® in lightness. The ^iOO ONTARIO -CANADA • DISTILLERS S^*-‘ First Canadian in 86.8 PROOF popularity throughout the world. All the others come after. Only V.O. is V.O. The First Canadian.

CANADIAN WHISKY-A BLEND OF SELECTED WHISKIES, 6 YEARS OLD. 86.8 PROOF. SEAGRAM DISTILLERS CO., N.Y.C. Atlanta Symphony Orchestra Chorus

ROBERT SHAW, Director WILLIAM NOLL, Accompanist

SOPRANO I Mary Rand Larry Hogan Cheryl Bray Regina Ray Glen Howard Jeanne Brown Marian Robertson Nicholas Jones Elizabeth Cochran Suzanne Shull William McDaniel Donna Cowart Anna Styron Harold McManus Sandra Crawford Alice Tyler Lee Madison Barbara Delon Caroline Varner Rollin Mallernee Drue Dobbs Margaret Walker James Riley Dennis Samchok Susan Foster ALTO II Nola Frink Hagan Thompson Jill Fullerton Alice Cordes Donald Vann Gloria Garrett Lynn Cox Harry Weisgerber Elizabeth Imig Joyce Culpepper Derek Wilsden Ella Harris Kathy Irwin BASS I Marilynn Jackson Sylvia Kaier Elizabeth Kimble Joan Maki James Burton Donna Mesnick Christy Miller Edward Catherwood Louise Perkins Frances Orowski Charles Claiborne Patricia Perry Kathleen Reece Philip Cordes Diane Strawn Elizabeth Rice Wilkes Davis Carol Schwartz Geran Dodson SOPRANO II Pauline Shields Delbert Hart Dawna Abel Edith Skinner Dudley Hinds Sandra Burroughs Carolyn Snead Andrew Hoeckele Amanda Dunn June Stewart Hampton Kicklighter Judith Flint Mary Tewell Robert Lower Jo-Anne Graham Debra Weed Thomas Matthews Emily Harris Alice Weisgerber Henry Rhodes Rose Hicks Hiroko Yamashita James Robinson Patricia Leake TENOR I Kendric Smith Jean Lower Thomas Underwood Clarence Armstrong Eda Mathews Edward Watkins John Beebe Jeanne McCord Harris Wheeler Katharine Meacham Robert Brendsel Karl Day BASS II Anna Prickett Hugh Deen Althea Robinson Frederick Axelson Phoebe Snow Hugh DeSaram William Boggs Richard Felner Betsy Sterner Gordon Carson Carolyn Thomas Wayne Grinstead Lawrence Cobb Lola Watson Randall Mann John Cooledge Robert Mathis Kevin Culver ALTO I Michael O'Neal John Currie Malla Barker Ponzi Pennington Michael Dennison Rita Bissell Harland Ragle John Evans Shirley Burk George Starke Randall Fields Amelia Clements Tom Tracy Alan Gould Barbara Coury TENOR II William Gunter Bette Culver Elbert Gurley Dorothy Davis Marc Burcham Charles Hamilton Edward Caldwell Donna Foster Ernest Plunkett Beverly Greene Harry Clark Mark Swanson Gerald Clemetson Angela Gunter Michael Thomas Peggy Harper Mike Donehoo David Webster Clayton Farnham Donald Wilson Frances Harrold Joseph Gegan JoAnn Hunsinger j.p. Allen ATLANTA'S setting the fashion pace ACREAGE in Atlanta since 1 908 . . . AGENTS

FALK REALTY

1064 W. Peachtree St., N.W. Specialists in investment Acreage 876-1947 Developers of fine lake DOWNTOWN, > Communities LENOX SQUARE, NORTHLAKE, GREENBRIAR AND CUMBERLAND

PINKERTON & LAW BUILDS THINGS. REMEMBER THAT.

THE PINKERTON & LAWS COMPANY Member Associated General Contractors of America 2700 Cumberland Parkway, N.W. Atlanta 30339 / 432-0171 SAVE with the @iousandaires INTERIOR DESIGN •SPACE PLANNING at Alan L. Ferry mum Designers Inc FEDERAL

34 Eleventh Street, N.E. Atlanta, Georgia 30309 SAVINGS Offices All Around Town • Mam Office Marietta at Broad University of Georgia Men's Glee Club PIERCE ARANT, Director TED GUERRANT, Accompanist

TENOR I Rusty Ricketson Stephen Sheppard Ric Anderson Michael Tilson Richard Stephens Peter Cummin Charles Vaughn Tim Tootle Thomas Davis Mo Wright Junichi Torii Mark Wolfe Jeff Johnson BARITONE Eric Klarer Philip Ystueta Jim Braden David Krueger BASS Mike Lacher James Brown Henry Martin Dean Brown Ron Anderson Doug Powell Doug Burrell Reuben Beverly Earl Robinson John Butler Stewart Callahan John Tsao Mark Chambers Frank Cole Steve Gester Chip Dale Robert Wayne Richard Gnann Bill Floyd TENOR II Tom Granum Christian Hesler Steve Bryant Robert Graves David Jones Dale Campbell Tom Grenier Randy Kirk David Castles Bill Hankins Kent Lester Randy Christian Billy Hendricks Charles McGhee David Cogdell David Hoge Kenneth Robertson James Doran David Hudson Fred Schneider Paul Evelyn Burch Johnson John Shurley Mike Gay David King Logan Smith Joe May Kevin Klein Blake Stiles Dan McCall Tom May Drew Thomas Gerard Poole Bill Parsons Douglas Thrasher Edward Ricketson Rick Poole Paul Viliosis

Morehouse College Glee Club

OFFICERS

Benson Cooke Ike Miller President, Business Manager Chaplin, Librarian Lawrence Albert Wendell Whalum, Fuller E. Callaway Professor of Music, Vice President Director Gregory Morris Uzee Brown, Jr. Secretary Accompanist and Assistant Director Von Brown Harold D. Trulear Asst. Secretary Student Director

GLEE CLUB MEMBERS

TENOR I Darrell Robbins Ernest Ogundipe Von Brown Duane Robinson Andrew Pittman Michael Corker Marvin Robinson Clayton Powell, Jr. Simmie Dean Edward Wallace Craig Sasser Jerry Gaffney Delrick White Ezzard Snell Wayne Thompson Douglas Haynes BARITONE Ben Johnson, Jr. Gregory Tillman Claude Jones James Albert Harold Dean Trulear Harold Knight Paul Booth Kenneth Whalum, Jr. Mario Lightfoote Randy Buford Theodore Jones Phillip Crowder Fred Ralston BASS Scott Sampson Duane Davis Alan Sills Jeffrey Dugas Lawrence Albert Vincent Toles Robert Eaton Keith Chadwell Lawrence Foster John Dameron TENOR II Claude Ford, Jr. Tony Dolphus Daryl Allen Willie Francis Rickie Green Benson Cooke William Guess George Little Everett Cordy Forrest Hackney Ellis Mack Keith Daniels William Hampton Marvin Miller Derek East Rodney Howard Norman Mitchell Walter Green Myron Jackson Robert Page Richard Harris, Jr. John H. Johnson, Jr. Jerry Roberts Philbert Herndon Theodore Lester Stephen Stafford Milton Jones Keith Martin Paul Sullivan Joseph Linton Ike Miller Bailey Walker Donald Morrow Robert Miller Willie Woodruff Eugene Palmore Horace Moore Stanley Rosier Thomas Pinson Gregory Karl Morris A or Decatur Federal rormance Savings, making Complete your evening with dinner, dessert or late supper at the Magic Pan. Featuring money more. French crepes with delicious fillings ... excellent wines ... and a delightful continental Yburs. atmosphere.

Lenox Square Cumberland Mall 266-8424 432-3115 open Sundays til midnight

Master Charge BankAmericard • American Express

The Finest in Men's Clothing for Atlanta's WIGGINSAND COMPANY, INC. Finest People

1630 First National Bank Building Behind the Atlanta, Georgia 30303 Sculpture Peachtree Center The Atlanta Symphony Orchestra presents Pops in the Parks

Pops concerts in the parks are a party under the stars or a family picnic gathering. The park gates open 2 hours before the concerts. Each concert will spotlight an Atlanta entertainer. _L CHASTAIN PARK AMPHITHEATRE 5 Friday Evenings, 8:30 p.m. £3 STONE MOUNTAIN PARK COLISEUM 5 Sunday Afternoons, 2:30 p.m.

JUNE 13 GEORGE SHEARING and the GEORGE SHEARING IUNE 15 QUINTET open the POPS with a mixture all the way from Bl* ’ jazz to Mozart. Atlanta spotlight on SHARON SCOTT. JOHN HEAD conducting.

JUNE 20 RICHARD HAYMAN, arranger and conductor for the IUNE 22 Bos,on PoPs is back again with his Solid Gold Hits of the Bl* ’ Pops. Atlanta spotlight on the DICK DREW TRIO.

JUNE 27 PETER NERO, pianist, composer and conductor, brings POPS 3 blending of classical and rock which has a

Bl* IUNE 29 to ' reach to all. Atlanta spotlight on CY TIMMONS.

JULY 4 The DUKES OF DIXIELAND match the holiday spirits with IULY 6 {beir own brew of great music; Dixieland-Ragtime- Bl* J Broadway. Atlanta spotlight on the PAUL MITCHELL TRIO. JOHN HEAD conducting.

JULY 11 RICHARD HAYMAN conducts and gets off on his own trip with some heavy harmonica in his own special way. Bl* JULY 13 Atlanta spotlight on MIGUEL CRUZ.

JULY 18 SUMMER POPS SPECIAL — CHASTAIN PARK ONLY 8:30 THE ATLANTA RHYTHM SECTION and MAC FRAMPTON, pianist. For the first time ever this dynamic duo featured together in Atlanta. JOHN HEAD conducting. 1975 Season park stickers, required for entry into Stone Mountain Park are available at the park gates for a one-time annual fee of $5.00. Pops Series (all prices include 4% sales tax)

Chastain Park Seat Location Series Price Pops Special Total A. Table for 6 $90.00 $22.50 $112.50 B. Box 20.00 5.00 25.00 C. Center Terrace 15.00 3.75 18.75 D. Right & Left Terrace 12.00 3.00 15.00 E. Rear Terrace 11.00 2.75 13.75 STAGE

Stone Mountain F. Tables 1—96 75.00 G. Tables 97—200 60.00 H. Box 16.00 1. Bleachers 10.00 6 CONCERTS FOR THE PRICE OF 5 (When Pops Special is purchased.) Dine at an Atlanta landmark. CONNOISSEURS CALL IT A MASTERPIECE . . . Anthony's is a re­ stored 18th Century plantation mansion with elegant dining facilities throughout. Make your next dining occasion a memo­ rable one at Anthony's

Yes, the Ellman's catalog is like music to the ears. Our low catalog prices are the reasons why so many people say over -and over again, "You can afford something better at Ellman's." el I man's

HOURS: Monday-Saturday 6:00-11:00 P.M. Closed Sunday 2489 Cheshire Bridge Road, N.E. RESERVATIONS RECOMMENDED AND HONORED HOM PIEDMONT RD , N E CALL 233-7129 Free Parking 2595 Candler Road 2750 S. Four Lane Highway

Southwick

a tradition among gentlemen.

H. STOCKTON - ATLANTA INC. 80 Fo r sy t h St r e e t , N.W. Le no x Sq ua r e

American Express is your Cruise Headquarters For Just About Any Cruise You Can Dream Of. Stop By And Talk It Over With The Experts.

100 Colony Square, 1175 Peachtree St., N.E. 30309 (892-8175) Lenox Square Shopping Center, 3393 Peachtree Rd., N.E. 30326 (262-7561)

-JU Cruise Headquarters American Express Co. The Atlanta Symphony Orchestra presents Promenades in the Hall

SYMPHONY HALL MEMORIAL ARTS CENTER 5 Tuesday Evenings, 8:30 p.m. 5 Wednesday Evenings, 8:30 p.m.

JUNE MICHAEL PALMER conducting; BALINT VAZSONYI, 17 & 18 P'anl5t; Borodin Polovetsian Dances from “Prince Igor”; Tchaikovsky Concerto No. 1 for Piano and Orchestra; Moussorgsky Pictures at an Exhibition.

JUNE MICHAEL PALMER conducting; GREGORY SCHATTEN, 24 & 25 pianist; Mendelssohn Overture to "Fingal’s Cave”; Chopin Concerto No. 1; Smetana “The Moldau”; Ravel “Daphnis and Chloe” Suite No. 2.

JULY MICHAEL PALMER conducting; Rossini Overture to “L’ltaliana in Algeri”; Mendelssohn Symphony No. 4; 1 & 2 Ibert Escales (Ports of Call); Respighi "Pines of Rome”.

JULY MURRY SIDLIN conducting; PAMELA LEVY, pianist: Academic Festival Overture; Piano 8 & 9 Brahms Mozart Concerto No. 21; Rimsky-Korsakov "Scheherazade”.

JULY MICHAEL PALMER conducting; BARBARA DEAN, 15 & 16 soprano; ARTHUR TOLLEFSON, pianist, Mozart Symphony No. 39; Wagner "Prelude and Liebestod” from Tristan and Isolde; Rachmaninoff Piano Concerto No. 2.

Enjoy the “OPERA HOUSE” and the “SIDEWALK CAFE” during intermission in the Galleria.

BONUS: To subscribers of season tickets for either the Pops or the Promenades a two for one bonus (2 seats for the price of one) to the Mass performances on June 10, 11, 12 & 15. Promenade Series (all prices include 4% sales tax)

Seat Location Series Price A. Orchestra A—D $20.00 B. E-Q 26.00 C. R—Y 20.00 D. Loge 26.00 E. Dress Circle 20.00 F. Balcony A—F 16.00 G. G—K 11.00

5 CONCERTS FOR THE PRICE OF 4 Atlonto Symphony Orchestra ROBERT SHAW Music Director and Conductor MICHAEL PALMER Associate Conductor and EXXON/Arts Endowment Conductor John Head Assistant Conductor Alan Balter Conducting Assistant

The Mr. & Mrs. Howard R. Peevy Concertmaster Chair is endowed by the Tommie & Howard Peevy Foundation

VIOLIN* Larry LeMaster CONTRA BASSOON William Steck Kay Lortz Daniel Dowdakin Concertmaster Nan Maddox Martin Sauser Bonita Potts FRENCH HORN Co-Concertmaster Donovan Schumacher John Henigbaum Robert Harrison Paul Warner Principal Thomas Witte Associate Concertmaster BASS* Willard Shull Brice Andrus Assistant Concertmaster Dale Schmidt Christopher Scheufler Principal David Arenz TRUMPET Principal Second Violin Jane Little Oscar Pereira Associate Principal John Head Assistant Principal Ralph Jones Principal Second Violin Assistant Principal Joseph Walthall Jacqueline Anderson Harvey Kaufman Assistant Principal Frances Arm Michael Kenady Prin. Second Trumpet Shalom Ben-Uri Thomas Thoreson Larry Black Anita Cahoon Randolph Ujcich Wiley Weaver TROMBONE Piotr Haase Harry Maddox Martha Reaves Head FLUTE Principal Stephen Horvath Warren Little Richard Hansbery Ruth Little Donald Wells Karen Matthews Principal Paul Brittan BASS TROMBONE Thomas O'Donnell Assistant Principal Alice Oglesby Prin. Second Flute Donald Wells Lorentz Ottzen Benson Prichard Benjamin Picone TUBA Ann Pinney PICCOLO Michael Moore Susan Pitard Benson Prichard Carol Ramirez TIMPANI Juan Ramirez OBOE William Wilder Ronda Respess Elaine Douvas Principal Richard Robinson Principal Jack Bell Patricio Salvatierra Elizabeth Camus Assistant Principal Edward Scruggs Assistant Principal Eugene Rehm Linda Smith Prin. Second Oboe Assistant Principal Patricia Vas Dias Patrick McFarland PERCUSSION Frank Walton ENGLISH HORN Jack Bell VIOLA* Patrick McFarland Principal Robert Jones Eugene Rehm Principal CLARINET Peter Bertolino Alan Balter HARP Ardath Cohen Principal Judy Beattie John Detrino Norman Baker KEYBOARD Manuel Diaz Associate Principal Enid Jones Douglas Smith William F. Noll Marion Kent Robert Wingert Alice Oglesby Haskell Marrinsor PERSONNEL MANAGER Heidi Moss BASS CLARINET Robert Parcells Douglas Smith Martin Sauser PERSONNEL MGR. EMERITUS CELLO* E-FLAT CLARINET Robert Marsh Norman Baker Harry Robkin Principal BASSOON LIBRARIAN Edmund Basson Carl Nitchie David Hinshaw Assistant Principal Stephen Horvath, Ass't. Jere Flint Principal Eleanor Hodges Charles Nussbaum STAGE MANAGER Assistant Principal Kathleen Kee Michael Destazio Bruce Klingbeil Prin. Second Bassoon Daniel Dowdakin MASTER ELECTRICIAN Robert Spradlin •Players listed alphabetically

ADMINISTRATIVE STAFF Frank Ratka, general manager William W. Brown, director of public relations Richard W. Thompson, assistant manager Mrs. Alexa Selph, asst. dir. of public relations Peter Stelling, director of audience development Mrs. Nancy Burke, director of season tickets Miss Nola Frink, choral secretary Miss Pat Perry, secretary, women's association Mrs. Julia Crawford, executive secretary Miss Betty Davenport, secretary Mrs. Kay Cromartie, receptionist Steve Cucich, symphony hall house manager Tony Burton, head usher Elson’s Sight and Sound Bookstore—3393 Peach­ SUNDAY, JUNE 29 tree Rd., N.E. Lenox Square. 261-2781. Changing exhibits of paintings, prints, sculpture. Free Film Program of Humorous Short Films, in­ cluding “Frank Film,’’ "Frogs,’’ “Up & Down,” The Golden Easel Art Gallery—60-F Kenny’s “Braverman's Condensed Cream of Beatles," and Alley, Underground Atlanta. Thru March, acrylic “The Running, Jumping, Standing Still Film." paintings, charcoal drawings by Toba Schwartz. HA. 3 p.m. Galerie lllien—123 14th St., N.E. —892-2696. Continuing thru March, “A Selection of Works" by Santon Bruno. Theatre Haber's Art Gallery—3493 Northside Pkwy., N.W., W. Paces Ferry Plaza. 261-9691. Lithographs, drawings and watercolors by Jon Haber. FRIDAY & SATURDAY MAY 2, 3, 9, 10, 16 & 17 Ray Ketcham Gallery—3232 Roswell Rd., N.W. 237-0770. 19th and early 20th century paintings, A Midsummer Night’s Dream. 8:30, AT. Alliance American and European. Theatre Company Saturdays 8:30 and 2:30. Swan Coach House Gallery—3130 Slaton Dr., N.W. 261-0224. Continuous show featuring works of 19 outstanding Georgia artists; open to public. Dance Targa Fine Arts—2218 Peachtree Rd., N.W., 351- 9229. Works by gallery and internationally recog­ nized artists. MONDAYS, MAY 5 & 12 Twentieth Century Gallery—2289 Peachtree Rd., N.E. 355-0275. Original art, graphics, old prints. Carl Ratcliff Dance Theatre. 8:30, ST. Ad­ mission: $2.50. Widens Art Galleries—349 Peachtree Hills Ave., N.E., 237-2991. Original oils (contemporary & antique).

IN AND AROUND TOWN Exhibitions & Events

This information is offered as a community service by the Members Guild of the High Museum. Or­ Callanwolde Arts Center—980 Briarcliff Rd., N.E. ganizations should send copy 6 weeks prior to 872-5338. 5/12, poetry reading at 8:15, wine and publication date (the first of each month) to: Mrs. cheese reception following, $1.50 adults, 75c Young T. Sheffield, Jr., 687 Longwood Dr., N.W., students. 5/9, Southern Poets Theatre, evening Atlanta, 30305. (351-4870) of folk music and dancing, also a drama, “Frog Mountain Talk" at 8:00. Emory University Lecture Series—Rollo May, 20th century socialist. 5/5, Glenn Memorial Audi­ Galleries torium, Emory University. Fernbank Science Center. 156 Heaton Park Dr., N.E., 378-4311. Yearly exhibits: 1. Apollo 6 Space Capsule used in NASA’s last unmanned space Allison Art Gallery and School of Art—3940 N. flight; 2. Collection of 21 paintings of space sub­ Peachtree Rd., Chamblee. 457-3080. Mixed media jects (mostly executed in the ’50s) by Chesley by Jean Allison, Candace Allison; art classes. Bonestall; 3. "The Sights & Sounds of the Oke- fenokee Swamp.” Aronson Gallery—3136 Habersham Rd., N.W. 262- 7331. By appointment only. Paintings, sculpture, graphics of 19th and 20th century. Atlanta Artists Club and Gallery—3099 Peachtree Road, N.E. 237-2324. Annual Members Juried Show' and Traveling Show. Thru 4/19. Concerts Barclay Gallery—3500 Peachtree Rd.. Phipps Plaza. 233-8712. Continuing group show of major Ameri­ can and European printmakers; also featuring Emory Baroque Trio—5/4 at 4:00. Tull Auditorium, watercolorist Malcolm Brown, AWS. Emory University. Sarah Brown Studio Gallery—3108 Roswell Rd., DeKalb Family Concert—5/4 at 3:00. Atlanta Sym­ N.W. 233-1800, 261-2575. Drawings, paintings, art phony, Michael Palmer conducting. Free. Stone Mountain Coliseum. classes. Donald J. Brundage—4079 Peachtree Rd.. N.E. Georgia State University Faculty Concert—5/12 237-8628. Hand antiqued Georgia historical prints & 5/19 at 8:15, Recital Hall, Georgia State and Civil War Prints. University. Katherine Burke Studio-Workshop—2291 N. Druid Emory Wind Ensemble—5/13 at 8:15. Glenn Hills Rd., N.E., Toco Hills Shopping Center. 636- Memorial Auditorium, Emory University. 9911. Art classes in painting and drawing; 4 10-week sessions. Emory Consort, Emory Chamber Singers, Agnes Scott Dance Goup—5/17 at 8:15. Alumni Me­ Dalton Galleries—Dana Fine Arts Bldg., Agnes morial University Center, Emory University. Scott College, Decatur. 377-1200. Students show. Flora Gienn Candler Concert Series—Atlanta Decatur Art Center—113 Trinity Place, Decatur. Emory Orchestra, Atlanta Boy Choir. Mahler: 378-6441. Paintings by Doris Hancock, Walt Symphony No. 8. 5/21 & 5/23 at 8:15. Glenn Dougherty, Willoweise and others. Memorial Auditorium, Emory University. a/'nu>±ft/t#*€ cooks corner and cuidne Handling quality cookware Dinner for the serious cook. Mon. — Sat. 6 — Midnight Lessons in BASIC AND ADVANCED fflanquets, {follies FRENCH COOKING Rue de Paris 3140 E. SHADOWLAWN AVE. N.E TfatooAaAlt '^A^rtca^j BUCKHEAD 60-B Kenney's Alley • Underground Atlanta • 523-6251 233-1144 315 E. Paces Ferry Rd., N.E. • Buckhead • 261-9600

We invite you to our own Art Cen­ For sound ter: the art of interior design which advice takes its place with music, litera­ ture, painting as expressions of to help taste and continuing beauty. you realize From the magnificence of antique treasures to skillful variations of your the contemporary style and the charm of imported accent pieces, personal ours is the outstanding center for furniture and furnishings as art goals forms.

Southeast Wholesale Furniture Co.

Through designers 1065 Williams Street, Atlanta 30309 TOM FLOURNOY, III Open 9:30 a.m. to 6:00 p.m., C.L.U. Monday through Friday 2 Peachtree Street / Atlanta Marietta Community Symphony—Formal Spring Academy Theatre—3213 Roswell Rd., N.E., 261- Concert, Betty Shipman Bennett conducting, 5/22 8550. The Fantastiks, performances on Thurs., at 8:00, Powers Ferry United Methodist Church; Fri. & Sat. evenings thru 5/31 at 8:30. Pops Concert, 5/24 at 8:00, Kennesaw Junior College. DeKalb Little Theatre, Inc.—St. Luke’s Episco­ pal Church, 435 Peachtree St., N.E. 934-3661. Atlanta Community Orchestra—Greek dinner and Once Upon a Mattress, 5/2 & 5/3 at 8:00; 5/4 concert, 5/25 at 7:00, Atlanta Hellenic Center. at 2:30. Kelley's Seed & Feed Theater, Inc.—166 Garnett Georgia State University Orchestra—Alan Balter St., S.W., 525-3962. A Song for All Saints. Opens conducting; William Masselos, pianist. 5/25 at 5/16. Every Fri., Sat. & Sun. at 8:00 thru 6/8. 8:15, Recital Hall, Georgia State University. $1.00. Decatur Civic Chorus Concert—5/25 at 2:00, Memorial Hall. DeKalb College Band Concert—5/26 at 2:00, The Riverboat. Children Stone Mountain Carillon Concerts—at the carillon ampitheater, weekdays 12 noon & 4:00; Sundays at 1:00, 3:00 & 5:00. THE CITY. New exhibit for children. High Museum of Art. Call 892-3600 for information. Also, see Memorial Arts Center Calendar for more concise description of exhibition. Fernbank Science Center. 156 Heaton Park Dr., Opera N.E., 378-4311. 1. Observatory in Fernbank Forest open year round. 2. “Here, There and Every­ where,” Sat. program throughout the year. 3. Autumn walk thru Fernbank Forest daily. Metropolitan Opera—Siege of Corinth, 5/5; Caval- leria Rusticana, 5/6; Romeo and Juliet, 5/7; Atlanta Public Library. Call your local branch for La Forza del Destino, 5/8; Falstaff, 5/9; La information concerning films, lectures, etc. Boheme, 5/10. All performances at 8:00, Civic Center. Cator Woolford Memorial Garden. Wildflower trail and greenhouses. 1815 Ponce de Leon. Sponsored by Fernbank Science Center. Call 378-4311 for info. Tullie Smith House Restoration. 3136 Slaton Dr., N.W. Call 262-1067 for info. Stone Mountain Memorial Park. Park open year Theatre ’round, Mon.-Sat., 10:00-5:00; Sun. 10:00-6:30. Kennesaw Memorial Park. Open year ’round. 10-5. 428-0502. Empire Suite Showcase, featuring the Wits End Players, Sheraton-Biltmore Hotel, 817 W. Peach­ Stone Mountain Memorial Park—Park open year tree, N.E. Buffet dinner served Tues.-Sat. at 7:00, ’round. Mon.-Sat., 10:00-5:00; Sun., 10:00-6:30. followed by show at 9:00. Late show on Satur­ 5/17, WPLO Fishing Derby; 5/9-11, Dixie Cup day, no dinner, at 11:30. Matinee lunch each Morgan Classic; 5/23-25, Classic Arabian Horse Tues, at 12 Noon. For reservations, call 892-2227. Show; 5/31, Apaloosa Show.

"DON’T BE A NO-SHOW" If you cannot come to a concert in your series, please avoid leaving your seat empty. Please turn your unused ticket in to the box office for resale. You will help the Orchestra, someone else will have a chance to hear the concert, the house will be full and you will obtain a tax credit for the amount of the ticket resold. To release your ticket, simply call the number below, preferably before 5 P.M. on the day of the concert, and give your name and seat location. 892-2414 Assistant Conductor John Head will conduct. Richard Hayman of the Boston Pops, an Atlanta favorite from past summer programs, will conduct the next pro­ gram June 20 and 22. The Dick Drew Trio will join in the musical festivities.

Peter Nero will conduct and perform at the next program June 27 and 29. The concerts will feature the Paul Mitchell Trio. John Head will conduct and the Dukes of Dixieland will per­ form at the holiday celebration concerts In Historic Roswell Square July 4 and 6. Atlanta singer Cy Tim­ For The Gift That Will Become A Keepsake mons will also perform. Many Unique Gift Ideas Richard Hayman will return to con­

Louise Davis duct the final program of the Pops Series July 11 and 13. Atlanta pianist Miguel Cruz will be assisting artist at these concerts. A summer pops special will be of­ fered one time only July 18 at Chas­ tain Park. John Head will conduct the 589 Atlanta St., Roswell, Ga. / 993-6502 program, which will feature the Atlanta Rhythm Secion and Mac Frampton, pianist. 1117 Alpharetta Street Roswell P/, Season Tickets Still Available for 1975-76 Season The Atlanta Symphony’s 1975-76 Season offers twenty-four concerts fea­ Picture turing a star-spangled array of musical Frames talent. *• Of Fra^** Season tickets are still available for all four series of concerts. In addition 993-8106 to having an assured seat at all the con­ certs in a particular series, the season ticket holder becomes a member of the Atlanta Symphony Orchestra League The Snappy Turtle and receives the orchestra’s quarterly newsletter. A Certain Look For The season ticket price reflects sav­ People With Distinctive ings of up to 37% over the price of single tickets. They may be obtained Taste.. n*) by calling Mrs. Nancy Burke, director LILLY PULITZER,'etc. ZL of season tickets, at 892-3600, ext. 253, or by sending in the coupon from the

IN CATES CENTF R red, white and blue 1975-76 season 1 10 E. ANDREWS DR., N.W. brochure, available at the counter near the box office. HIGH MUSEUM OF ART

Sol LeWitt Exhibition to A better mixed drink Open on May 10 employees who give a damn An exhibition entitled Sol LeWitt: and an atmosphere both. Fifty Drawings, 1964-1973, will open genuine and relaxed. at the High Museum on Saturday, May 10, and will be on view through Sun­ day, June 23, in the Museum’s New Dan tris Gallery located on the third floor,

LeWitt’s work has been cited as the Skimn beginning of the movement called “con­ ceptual art” in which the idea is the art, and the resulting object, if in fact one does exist, is only that—an illustra­ tive object with no aesthetic or artistic value. This is highly cerebral art, but in the graphic art of Sol LeWitt the ideas do produce work that is quite beautiful and serene.

UNDERGROUND ATLANTA RESERVATIONS 577-1800

Barent Avercamp (Dutch, 1612-1679), Games on the Ice, oil on panel, 11-1/4” x 17-1/2”. From the Collection of The High Museum of Art, Gift of R. Roland, 1961. Featured as part of the exhibition, Dutch Life in the Golden Century.

The exhibition will consist of fifty drawings using only four colors: the three primaries plus black, which is the fourth primary in graphic art. Included will be working drawings for structures LeWitt has made, drawings that involve mathematical systems to explain the pieces, and what LeWitt terms “mistake drawings,” i.e., drawings in which the Industrial, Warehouse logic was apparent but not real and so and was abandoned. Office Development Born in Hartford, Connecticut, in 1928, LeWitt received his B.F.A. at Syracuse University in 1949 and now SHAHEEN & COMPANY lives in New York City. He has had a 681-1234 total of 36 one-man exhibitions since 1965, and has been included in numer­ ous selected group exhibitions. Permanent Collection to be Featured During the Coming Months

With the opening of the new third floor galleries last fall the Museum has increased its exhibition areas by some 26%, thus making it possible to show larger portions of the permanent col­ lection at one time. While the new galleries will be reserved primarily for special exhibitions such as Dutch Life in the Golden Century and Sol LeWitt: 50 Drawings on view in May, the first and second floor galleries—and parts of the third—will house works from the permanent collection and selected loans, on view for longer periods of time.

Current new installation include a group of 18th, 19th, and early 20th century American works in the North You are cordially invited to attend the fifth annual Gallery, first floor, and “Prints of the Seventies,” an important group of graphics by some of the principal fig­ ures in contemporary art in the Ralph DECORATORS’ K. Uhry Print Room. SHOW HOUSE

MAYFAIR ATLANTA CHILDREN'S THEATRE The Atlanta Children’s Theatre, the latest member of the Atlanta Arts Al­ 10 Habersham Way, N.W. liance, is one of the largest professional Atlanta, Georgia children’s theatres in operation in Am­ erica, performing for as many as a quar­ ter of a million children a year. April 19 - May 11,1975 The ACT started out its first year with the Alliance with a production of Monday thru Saturday 10:00 a.m.-4:00 p.m. Arthur Fauquez’s Reynard The Fox, a Tuesday and Thursday 10:00 a.m.-9:00 p.m. collection of animal fables. This fea­ Sunday 1:00 p.m.-4:00 p.m. tured one of Atlanta’s finest actors, Phil No Children Under 8 Free Parking Pleasants, in the role of the rascally Reynard, arch trickster and trouble­ maker. After finishing its run at the Donation $3.50 Art’s Center, Reynard went out on an extended tour of the state.

Reynard was followed by Robert Sponsored by Lewis Stevenson’s classic tale of ad­ THE JUNIOR COMMITTEE venture, Treasure Island. Using a script of the Women’s Association especially adapted by ACT director Chuck Doughty, Treasure Island filled To benefit the stage with startling scenic effects. ATLANTA SYMPHONY ORCHESTRA Cannons exploded, antique rifles filled the air with gunfire, and stockades turn­ ed into islands and back again with Award Winning & solid professional precision. Compli­ Recommended by menting the technical magic of the show was the real magic generated by all who know the Ben Jones in his portrayal of the most culinary arts including famous pirate in literature, Long John HOLIDAY MAGAZINE Silver. Then came the play with the long COACH & SIX title, Holley and the Jolly Gorilla or RESTAURANT Don’t Monkey Around with the Law 1776 Peachtree St., NW or Don’t Wear Long Red Underwear 872-6666 Unless You Want to be a Hero, an orig­ inal melodrama with olios written es­ pecially for the ACT by Rinaldo Ca- pillupo. An olio is a musical number that appeared before, during and after the performance of a melodrama. Mr. Capillupo wrote the lyrics and compos­ ed the melodies for the olios performed in this production. He also directed it.

Holley and the Jolly Gorilla con­ cerned the mis-adventures of the Jolley Family as they patiently await the re­ turn of the head of the family, the long lost Solley Jolley. Their wait is compli­ cated by the arrival of a lost gorilla and two more-than-slightly dishonest lawyers, determined to nab the beast and sell him to a circus. The melodra­ (Atlanta (HI|ina matic style of acting and presentation has been preserved, keeping the pro­ & (^lass Outlet duction true to the memory of the hun­ dreds of melodramas that have gone be­ NAME BRAND CHINAS, fore it. Now on tour, there is the pos­ IRONSTONES AND GIFTS sibility that Holley and the Jolly Gorilla will be chosen to tour Georgia’s prisons DISCOUNT ON MOST ITEMS this summer. 1845 Piedmont Rd. The Atlanta Children’s Theatre has 876-5387 continued its apprentice program, en­ abling high school students to take ad­ vantage of open quarter and work with a professional theatre company. Work­ Thanks to you shops are held for the apprentices, cov­ Its working ering all aspects of the theatre. One such series of workshops eventually culminated in an evening of student- written one-acts at North Fulton High School. This has been a good year, a strong year for the ACT, a proud and dynamic theatre, a proud and dynamic part of the Atlanta Arts Alliance. The United Wdy <^ba*i?eau flewile li.i Atlanta Arts Elegant Dining • Classic Cuisine Monthly magazine of the Atlanta Memorial Arts Center 1280 Peachtree Street, N.E. Atlanta Georgia 30309 1974 HOLIDAY Award-Winning Restaurant MAY, 1975 VOLUME VII ISSUE 8 We Honor American Express &• THE ATLANTA ARTS ALLIANCE Other Major Credit Cards Charles R. Yates 2470 Cheshire Bridge Rd.. X.I.. • Ph. 633-26.33 President James K. Griffeth Controller William D. Shippen Facilities Manager THE ATLANTA SYMPHONY ORCHESTRA Frank Ratka General Manager Richard W. Thompson Assistant Manager THE HIGH MUSEUM OF ART Gudmund Vigtel Director Ms. Paula Hancock Curator of Education THE ATLANTA COLLEGE OF ART William Voos Dean Mrs. Guthrie Foster Assistant Dean THE ALLIANCE THEATRE COMPANY AND BEAUTIFUL FABRICS • ASK YOUR INTERIOR DESIGNER David Bishop Managing Director THE ATLANTA CHILDREN’S THEATRE Charles L. Doughty Director PARKING FACILITIES: Center Parking garage with covered parking directly adjacent to Center, en­ trances on Peachtree and Lombardy Way; also com­ mercial parking across from Peachtree entrance to Center, and north of First Presbyterian Church. BOX OFFICE: (404) 892-2414. Hours: Mon. through Fri. 9:30-5:30 (or until curtain); Sat. noon-4:00 (or until curtain); Sun. noon-3:00. The Memorial Center Box Office handles tickets for the Atlanta Symphony, Atlanta Children’s Theatre, Alliance Theatre Company, Atlanta Music Club Membership Series, Famous Artists Series, Theatre Atlanta Off Peachtree; Vagabond Marionettes; Travelogue Film Series; also on night of performance, all tickets for any event scheduled in the Arts Center. TOURS: For information on regular weekday tours or group tour arrangements, call (404) 892-3600. RESTROOMS: Located off the Gallleria Balcony across from both Symphony Hall and the Alliance Theatre. Also located adjacent to the balcony lobbies inside Symphony Hall. OUR COVER: Leonard Bernstein s Mass, a theatre piece for singers, players, and dancers will be presented in Symphony Hall on June 5, 6, 7, 10, 11, 12, 14, and 15. ATLANTA ARTS Magazine is published for the Atlanta Memorial Arts Center, by The Conger Printing Co., Inc. in Atlanta, Georgia. All rights to Atlanta Arts are reserved by the Atlanta Memorial Arts Center. Reproduction from the magazine in whole or in part without permission is prohibited. Editorial Office, 1619 Chattahoochee Ave., N.W., Atlanta 30318. Phone (404) 352-2039 L. W. CONGER, JR. LIZ GILLIAM Publisher Editor NANCY SHEFFIELD ERNEST DeVANE In and Around Town Art Director Sometimes taking people away brings them closer together. Whether it’s the magic of an exotic culture or the exhilaration of a sunny day, sharing beautiful moments with someone you love is very precious. It is because we appreciate the value of these experiences that Eastern has done everything possible to make them affordable. Helping to bring people closer together is one of the things that makes us what we are. EASTERN The Wings of Man.