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ATLANTA SYMPHONY ORCHESTRA Summer Season 'Seventy-Seven Includes Mostly Music and Pops The 1976-77 series of subscription concerts will come to a dramatic close on May 19, 20, and 21. at 8:30 p.m. in Symphony Hall when conducts the Atlanta Symphony Orchestra, the ASO Chorus and soloists in Verdi’s Mass. The soloists will be Betty Jones, soprano; Elizabeth Mannion, mezzo- soprano; Gordon Greer, tenor; John Cheek, bass-baritone. Yet, the close of the 1976-77 subscription concert season only marks the beginning of the ever-popular and pleasurable summer series of concerts. There are two different series offered during the summer—Mostly Music at Symphony Hall, and the Pops concerts in Chastain Park. For seven weeks concert-goers will enjoy the Atlanta Symphony Orchestra with guest artists such as , conductor; Jacques D’Amboise, ballet star; Garrick Ohlsson, pianist; Sergio "Since 1908, we've been making Mendes and Brasil ’77; Peter Nero, pianist; the women of Atlanta our busi­ and others. ness/ View our collections of active, classic and pacesetting sportswear separates to coordi­ nate for your lifestyle. Visit any of our five stores.

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PLEASE SEE YOUR TELEPHONE DIRECTORY FOR MORE Jacques D'Amboise Leonard Pennario SPECIAL SERVICES INCLUDING . Jacques D’Amboise, who was one of last summer’s most spectacular performers will SEARS CARPET CLEANING return to present an all new “Ballet call 351-4082 Encounter” on June 29 and 30. And while SEARS DRAIN & SEWER SERVICE featuring dance performers the Symphony call 892-6565 will bring the most unusual dance company, Les Ballets Trockadero de Monte SEARS DRIVING SCHOOL Carlo, on July 6 and 7. As a travesty dance call 352-3400 company they are not only amusing, they are an adventure into ballet satire. Variety FLOWERS BY SEARS magazine praised them as “The hottest call 325-0337 (Atlanta) dance company in America,” and the or 422-0656 (Marietta) Washington Post headlined them as “The SEARS MEAT & FROZEN FOOD Troupe that Dances to a Different Drummer.” call 325-5359 July 13 and 14 will bring Ms. Clamma SEARS RENT-A-CAR Dale, the star of the acclaimed successful call 261-6700 (Buckhead) national production of Porgy and Bess, to or 659-5010 (Downtown) Symphony Hall. The Mostly Music series will close on SEARS TERMITE & PEST CONTROL July 20 and 21 with pianist, Leonard call 351-4082 Pennario, who after his performance with the orchestra this past spring brought Atlanta’s audiences to their feet, cheering and applauding for an “Encore.” All Mostly Music concerts are held in Symphony Hall and they begin at 8:30 p.m. One but not alone. The solitaire diamond stands alone, symbolizing the oneness of a love that will last a lifetime long for two people who will never be alone again. We have a very complete collection in many shapes, many sizes. Come in and look. Together. Something Beautiful for Everyone.SM Bailey Banks & Biddle World Renowned Jewelers Since 1832 181 Peachtree Street, N.E. • Atlanta Greenbriar Center • South DeKalb Mall Perimeter Mall • Northlake Mall Lenox Square Also Macon Mall • Macon m______And Pops Imagine having a picnic in Chastain Park with such well-known musicians as Sergio Mendes and Brasil ’77, Ferrante and Teicher, Peter Nero, and Henry Mancini appearing with the Atlanta Symphony Orchestra to provide all your favorite music. Well, you needn’t imagine, because that is exactly what the Atlanta Symphony’s Chastain “Pops” is all about. For seven Fridays throughout the months of June and July the Symphony will offer informal evening concerts in Chastain Park with a line-up of guest artists to please both the youngest and oldest music listeners.

Sergio Mendes Peter Nero and Brasil '77 to come to our collections The guest artists who are scheduled to perform for the Pops concerts to date are of fashion for the the following: June 10—Sergio Mendes & Brasil ’77; June 17—Marvin Hamlisch, entire family, the home, the composer whose credits include the music from The Sting and the Broadway gifts and antiques too. music Chorus Line: June 24— Peter Nero, Do stay for luncheon pianist; July 1—Henry Mancini, composer, conductor, and musician of or tea at our Bird Cage world-wide fame; July 8—to be announced; July 15—Michel Legrand, restaurant, open every one of the world’s great composer­ conductors, who has been responsible shopping day. Lord & Taylor, for the scores of “Ice Station Zebra,” “Wuthering Heights,” “How To Save a Phipps Plaza, Peachtree Marriage,” “The Umbrellas of Road between Wieuca Cherbourg,” etc. Other famous songs which he composed include “What Are and Lenox Roads. 266-0600 You Doing the Rest of Your Life?,” “Brian’s Song,” theme from /.Wr Sings the Monday through Blues, “Pieces of Dreams,” and two songs for which he won Oscars: “The Windmills Saturday 10:00 a.m. to of Your Mind” and “The Summer of’42” (“The Summer Knows”); July 22— 6:00 p.m., Monday and Ferrante and Teicher, pianists. Thursday evenings until

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Sunday, May 8, 1977, 8:30 p.m. MICHAEL PALMER MEGUMI FUJITA, Pianist ROBBIE LYNN HUNSINGER, Oboist

PROGRAM

GLINKA Overture to Russian and Ludmilla (1842)

PROKOFIEV Lieutenant Kiji, Op. 60 (1934) The Birth of Kiji (Allegro) Romance (Andante) Kije’s Wedding (Allegro Fastoso) Troika (Moderato) The Burial of Kije (Andante Assai)

HAYDN Concerto in D major, Op. 21 (1783) (Only the first movement will be performed) Vivace

MOZART Concerto in C major, K. 314 (Only the second and third movements will be (performed) Adagio non troppo Rondo allegretto

INTERMISSION

TCHAIKOVSKY Symphony No. 2 in C minor, Op. 17 (1872) (“Little Russian”) Andante sostenuto; allegro vivo Andantino marziale Scherzo: Allegro molto vivace Finale: Moderato assai; Allegro vivo This concert will be televised on a delayed basis by WXIA-TV, 2:00 p.m., Sunday, June 5; also simulcast by the Georgia Public Television Network and WETV Channel 30 Atlanta, 8:00 p.m., Sunday, June 19.

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Overture to Russian and Ludmilla homeland. He was in and out of grace with Mihail Ivanovich Glinka (1803-1857) the Soviet government on several Following the success of his first opera, occasions, but fortunately he was in at the Glinka was urged by his patron Prince time of his death in 1953, and is today Chakkovsky to write Russian and considered the foremost Soviet composer. Ludmilla. The author Pushkin consented Lieutenant Kije was the first music he to adapt his poem in dramatic form for wrote after his permanent return to Russia. operatic treatment. He never completed At the time he composed it, originally as his plans, for he was killed in a duel in incidental music to a film, he was well- February, 1837. Four other poets worked established as a composer, was something on the libretto before its completion. of a Russian hero, and was working hand­ The music was gathered by Glinka from in-glove with the government. With these the peasants as he travelled Russia in undeniable advantages, he could well search for singers for the Imperial Chapel afford to ridicule the overthrown Imperial Choir. The first performance took place on Russia and all it had represented. The December 10, 1842. However, it did not absolute power of the old Czars was long a receive the accolades which his first opera, source of fear to those in close contact with A Life for the Czar, did. Nonetheless it did them, but often a source of great humor to receive fifty-two performances during the outsiders. The tale of Lieutenant Kiji was following two seasons before falling into based on an anecdote about Czar Nicholas obscurity for fifteen years. 1. The story goes that the monarch misread The material used in the Overture was a military report and concocted the taken primarily from the finale which is the entirely non-existant character of one wedding of Russian and Ludmilla. The “Lieutenant Kije.” To save the Czar form generally follows the sonata allegro embarrassment (and possibly their own type—exposition, development, necks!), his courtiers refrained from recapitulation, coda. showing him his error and instead The work is scored for pairs of winds, fabricated any number of exploits and contrabassoon, four horns, two trumpets, adventures of this imaginary soldier. three trombones, timpani, and strings. Inevitably, the time came when the Czar, Notes by David Hinshaw by now greatly interested in Kije, asked to meet him—a situation requiring the Lieutenant Kije Sergei Prokofiev courtiers to report the death and burial (1891-1953) of the Lieutenant. Prokofiev was born on April 23, 1891, in Sontsovka, Russia. He received his The film Lieutenant Kije was produced earliest musical training from his mother; in 1934. The following year, Prokofiev later he studied both privately and in the adapted his soundtrack into a five- St. Petersburg Conservatory with such movement suite. The music is typically musical figures as Gliere, Rimsky- Prokofiev: witty, satirical, tongue-in- Korsakov, and Tcherepnin. Eight years cheek; sometimes so mild as to be after his graduation from the plaintive; sometimes so sardonic as to be Conservatory, in 1918, he came to the almost cruel. Prokofiev is certainly best . It was during his five-year known for his whimsical and ironical style, stay here that he wrote the well-known as beautifully exemplified in Kije, but it ballet The Love for Three Oranges. In 1923 would be a grave error and an injustice to he travelled to Paris, in which city his the composer to assume that all his music musical reputation was firmly established. lacks substance. Quite the contrary—he is He might have lived on in Paris capable of great dramatic power and much indefinitely, or at least in the Western sensitivity. Even his lightest works, (such world, had not the as Kije, Peter and the Wolf Love for Three persistently courted him and finally Oranges, and some of the earlier convinced him, in 1933, to return to his concertos) must be assumed to be static in J7 ,. r/ &XU' one t/te Oaryest

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their whimsy. Prokofiev had the ability to enter with the main theme, alternating with inject delight and surprise into his music, the tenox sax and a flute obligato, and the and although he often repeated himself in movement comes to a wistful close. this technique, it is not a tiresome kind of III. Kije’s Wedding (Allegro fastoso). It repetition. Rather, the listener tries' to is a help, in the appreciation of this anticipate the curious, light-hearted mood movement, to know the term “fastoso,” for invoked by these musical stunts. it is the Italian word for “pompous”—and The adventures of Lieutenant Kije— this movement is. Possibly the greatest always brilliant, always soldierly—are satire in the entire Kije suite is found in the depicted chronologically: wedding music: almost stuffy in its military I. The Birth of Kije (Allegro). A distant dignity, it is nevertheless hardly a wedding trumpet call heralds the noble birth of processional, but rather is reminiscent of Lieutenant Kije—noble because its Slavicpost-wedding festivities. It begins, of conception was in the mind of the Czar. course, with a brass fanfare; this is The creation of as sterling a character as absorbed with a light-hearted, yet ever Kije demands soldierly music, yet music stately, trumpet melody, interspersed with that is joyous—hence, a charming little fife the “Kije” motif played by the tenor and a drum march. The gaiety of the march saxophone. eventually mellows: there is a modulation IV. Troika (Moderato). This movement to a minor key, the shrill of the fife is indicates the human element of the replaced by delicate woodwinds, the tempo hitherto rather distant Kije. Any red- slows, and the beat becomes more solemn. blooded Russian soldier, traditionally, Now the oboe enters, and for the first time likes his drink and his outdoor sport—and we hear the Kije motif (a theme that is used our Lieutenant is no exception. The in every movement but the second). This sleighing music is so vivid that one can first movement is constructed like a actually feel the stinging cold of the palindrome. After the slow section we Russian winter, and the bite of the wind as again hear the fife and drum for a few the three-horse sleigh flies over the crusty measures, then far off in the distance, the snow. Simultaneously, within the warm bugle call echoes and dies out. tavern, one can become a bit light­ II. Romance (Andante). This movement headed with the gay, noisy drinking begins in a most unusual manner with a song. This is without doubt the most string bass solo in the upper register. A comical movement in the suite. The bass solo in itself is unlikely; add to this the occasional highly dissonant chords, and very difficult position of fingering in a high the unusual combinations of middle­ register, and it is easy to understand why register instruments playing the blatant this is a traditional bete noire of bass melody, enhance the vibrancy of the players. Melodically, this is the most Troika. worthwhile movement of the entire suite. V. The Burial of Kije (Andante assai). The mood is distinctly Slavic, the opening There is no new music in this movement; it melody plaintive and lovely. The tenor is merely a recapitulation of the high points saxaphone soon moves in to relieve the of Kije’s existence, a medley of the main bass of the melodic line, playing what was themes. We are conscious of’ the full in the original film a love song for baritone military honors accorded our hero; yet we voice. About halfway through the feel no grief for his passing, but rather Romance movement the music becomes understand the courtiers’ feeling of relief more lively and astringently sarcastic. One that the elaborate farcical pretense can of Prokofiev’s ever-delightful, ever- once and forever be abandoned. The four unexpected tricks is used here in the form main themes mingle haphazardly with the of an odd, irrelevant little oboe passage ubiquitous “Kije” motif; often in new rising quizzically at the end of an ordinary modes, tempos, rhythmical patterns, and eight-bar phrase. Finally the strings re­ textures. The trumpet fanfare, heard at the

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very beginning of the first movement, him, and he resolved to revise the work concludes the suite, and the cycle of one completely. man’s life is completed with the final fading It was not until 1879, however, when he note. was in Rome, that he had the opportunity Notes bv Judith G. Mann to make the revisions in the score. By that time he had already composed his Third Symphony No. 2 in C minor, Op. 17 and Fourth Symphonies. Back in 1872 or ("Little Russian") early in 1873, he had given the score of the Piotr Ilyitch Tchaikovsky Second Symphony to the publisher Bessel; (1840-1893) but for some unknown reason, that firm Tchaikovsky’s Fourth, Fifth, and Sixth had never published it. Symphonies have long been so popular Before he had even reached Rome, a that his other works in this form are too Tchaikovsky had written to his often neglected. One of the most admirable benefactress, Nadezhda von Meek, from of his early symphonies is the Second. It Paris on December 15, 1879: “If I succeed was begun at Kamenka in June, 1872. In in working steadily in Rome, I shall make a . July Tchaikovsky went to Kiev and from good work out of my immature, mediocre there to Ussovo, where he visited his symphony.” And from Rome, on invalid pupil, Vladimir Shilovsky. It was December 30, he reported: “Today I set out while he was at Ussovo that he composed to remodel my Second Symphony. It went j the major part of the symphony; the so well that before lunch I made a rough finishing touches were put on it when he draft of nearly half the first movement. returned to Moscow for the fall season. How 1 thank the fates that Ca caused The first performance of the C Minor Bessel to fail in his contract and never print * Symphony took place in Moscow on this score! How much seven years can February 7, 1873, at a concert of the mean when a man is striving for progress in Imperial Musical Society, conducted by his work! Is it possible that seven years Nicholas Rubinstein. The following day, hence I shall look upon what I write today the composer wrote to the critic, Vladimir as I look now at my music written in 1872? Strassov, in St. Petersburg: “My I know it is possible because perfection— symphony was performed yesterday, and the ideal—is boundless, and in seven years met with great success: so great in fact that I shall not yet be old.” ' N. Rubinstein is repeating it at the tenth The Second Symphony, in its revised concert ‘by general request.’ To confess the form, was performed by the Musical truth, I am not altogether satisfied with the Society in St. Petersburg on February 2, first two movements, but the finale on The 1881, but not one of the critics noticed that Crane theme has turned out admirably. ... the score had been greatly altered and the 1 should like to make a few improvements first movement completely rewritten. in the orchestration, and 1 must consider The symphony’s first movement begins how long this will take....” The Crane, to with a slow introduction, Andante which Tchaikovsky referred, is a folk song sostenuto, which leads to the main section. from Little Russia that he used as the Allegro vivo. The principal theme of this principal theme of the finale. section is a folk song, Down by Mother At the second performance Tchaikovsky Volga. Tchaikovsky departs from was obliged to bow after each movement, tradition by restating part of the slow and was presented with a laurel wreath and introdetion at the end of the movement, a silver goblet. The symphony was also bringing it to a quiet conclusion. given a warm reception at its first hearing The second movement, Andantino in St. Petersburg, on March 9, 1874; but marziale, is a delightful little march; it is the composer Cesar Cui picked it apart based upon the wedding march from the rather unmercifully in his criticism in the last act of Tchaikovsky’s opera Undine, * St. Petersburg Viedomosti. Although he which he composed in 1869 and later took Cui’s remarks rather hard, destroyed. Tchaikovsky was inclined to agree with The Scherzo, Allegro molto vivace, is THE WITS END

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4070 LaVista Road at Northlake Mall Phone 939-8515 NOTES (continued) lively and gay. The main section is in triple nickname of Little Russian. The meter, but the trio—or contrasting middle movement, despite its moderate tempo section—changes to two-to-the-bar. indication, is fast-moving and brilliant. As has already been noted, the finale, Particularly appealing is the melodious Moderato assai, uses as its main theme the second theme, which is given considerable Little Russian folk song. The Crane, and it prominence. is from this that the symphony gets its

This performance of the Atlanta Symphony Youth Orchestra is being video-taped for playback by a joint production of the Georgia Public Television Network and WXIA-TV Atlanta. The performance will be televised on WXIA-TV, 2:00 p.m., Sunday, June 5; also simulcast by Georgia Public Television Network and WETV Channel 30 Atlanta, 8:00 p.m., Sunday, June 19. Our thanks go to these public minded mediae for their dedication and contribution.

ARTISTS MICHAEL PALMER Michael Palmer, the works of Mahler, and by enlarging the brilliant young Ameri­ scope and structure of the Atlanta can conductor, at age Symphony Orchestra’s Young Peoples 31, is already establish­ Concerts. ed as one of the finest In 1974 Mr. Palmer was appointed young conductors in conductor and music director of the newly the country today. His founded Atlanta Symphony Youth performances continu­ Orchestra, a division of the Atlanta ally meet with wide Symphony Orchestra, which has critical acclaim and great public and performed to critical praise. The Youth professional enthusiasm. The Washington Orchestra was honored by being Post labeled his recent performances at nominated for an Emmy Award, as the Kennedy Center with the National result of a state-wide telecast of one of their Symphony Orchestra as “brilliant and concerts. memorable.” Also in 1974 Michael Palmer was named Mr. Palmer graduated from Indiana one of six outstanding young American University where he studied conducting conductors by the National Endowment with opera conductor Wolfgang Vacano for the Arts and Exxon Corporation to and piano with the Chilean pianist Afonso participate in the Exxon / Arts Endowment Montecino. He also studied with the Conductor’s Program. He was renamed to distinguished musician and conducting this program for the third consecutive year teacher Julius Herford, whose students in September, 1976. have included such eminent musicians as Beginning the 1977-78 season, Robert Shaw, Leonard Bernstein and Palmer will be leaving the Atlanta Lukas Foss. Symphony to assume the position of music Coming to the Atlanta Symphony at the director and conductor of the Wichita invitation of music director and Symphony Orchestra. Our audiences will conductor Robert Shaw in 1967, Palmer’s miss this fine conductor, who has become duties as associate conductor with the an integral part of the Atlanta music scene orchestra have included subscription and whose work here may be summed up concerts, children’s concerts, family in a review of one of his performances by concerts, and tours. Atlanta Journal music critic, John Duing his years as associate conductor, Schneider, in which he wrote, “Palmer Palmer has greatly expanded Atlanta’s conducts with stunning brilliance, drama musical experience by premiering many and lyricism.” Life Insurance is the most personal product you'll ever buy ... make sure your agent is a professional who cares about you. Tom Flournoy,lll,CLU 2 Peachtree St. Atlanta

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MEGUMI FUJITA At eleven years of age which is produced by Atlanta’s NBC Megumi Fujita has been affiliate—WSB-TV. labeled a “Piano Besides being a pianist, Miss Fujita also Prodigy.” Miss Fujita composes. She just won the competition, has been studying the in her age category, for Young People’s piano since she was five Original Composition Contest, which was years of age. Currently sponsored by the Atlanta Music Teachers she is studying under Association. the direction of John In May, Miss Fujita will present a Chagy—pianist, composer, teacher, and a performance of two fifteen part inventions graduate of Juilliard. by Bach for the National Guild of Piano Miss Fujita recently appeared on the Teachers. Miss Fujita is a student at local program “The Sound of Youth” Montgomery School.

ROBBIE LYNN HUNSINGER At sixteen years of After leaving the Highlander Band, she age Robbie Lynn Hun­ was accepted by the Atlanta Symphony singer has been playing Youth Orchestra and now serves as co­ the oboe since she was principal oboist for the ASYO. She in the third grade. She received one of the ASYO’s Scholarships first studied oboe under in 1976 and was accepted by audition to the direction of Joe the Interlochen National Music Camp in Robinson, one-time . Against competition from all principal oboist of the over the country, she maintained her Atlanta Symphony Orchestra, and position with the World Youth Orchestra, currently she is studying under Elaine the top orchestral group at Interlochen. Douvas, principal oboist of the Atlanta In addition to the oboe, Miss Hunsinger Symphony Orchestra. has been studying the piano for nine years. An outstanding student at E. Rivers She is a member of the St. Luke’s Junior School in Atlanta, she was accepted to Choir, the Lovett Madrigal Singers, the Highlander Band at an early age. Miss Lovett Orchestra, and the Football “Pep” Hunsinger was awarded many medals in Band. Ensemble and Band Competition at Miss Hunsinger plans to study oboe in Highlander, and on numerous occasions college with the hopes of becoming a she was the featured soloist. concert musician.

------ADVISORY BOARD------OF ATLANTA SYMPHONY YOUTH ORCHESTRA

Dr. Herbert Karp, Chairman John Lawhorn EX-OFFICIO MEMBERS Gary Alter Boyd McKeown David Goldwasser, President Karl Bevins Dr. Eric Maddox Board of Sponsors, ASO Dr. Dan Burge Ellis Mills Mrs. L. Neil Williams Mrs. Frank Crockett Mrs. Howard C. Smith Women's Association. ASO Miss Kathleen DeBerry Lloyd Tarpley Richard A. Sabino, Manager Jere Flint Dr. Robert Waggoner Michael Palmer, Conductor and Mrs. Henry Geigerman Harold Warner Music Director, ASYO Mrs. John R. Hall Mrs. William Welch Robert Shaw, Conductor and Mrs. Lu Haverty Donald Wilkes Music Director, ASO Mrs. Jesse Hill, Jr. Mrs. William Wylly Frank Ratka. General Manager, Joseph D. Kirschner ASO WORD FROM WASHINGTON . .. a public service of ACA/ ADVOCATES FOR THE ARTS and those who bring you this publication

The federal arts budget remains on an even keel. President Carter has kept the same fiscal '78 budget for the National Endowment for the Arts as proposed in January by President Ford—$94.5 million, plus an added $18 million for challenge grants and $2 million for a Bicentennial Film and Photography Project. Earlier, Congress authorized more—$117.5 million for fiscal '78, plus the $20 million for the added projects. The budget is in committee hearings on Capitol Hill before going to the full Congress. NOTE: THERE IS STILL TIME FOR CONGRESS TO INCREASE FUNDING. Endowment appropriations determine size of block grants to every state, plus other grants. A statement by ACA, parent organization of Advocates for the Arts, calls for action from the new administration to speed the placement of the arts “on a par with other essential services,” hitting hard at two areas affecting the arts and the economy—employment and public construction projects. ACA notes the irony of 11 out of 22 recent recipients of the Medal of Freedom being artists while at the same time unemployment among artists Is higher than In any other professional category.

ACA wants legislation aimed at putting artists to work on public construction projects—and involvement of artists from the first planning stages of Economic Development Admini­ stration projects, as in federal construction in the 30’s. And ACA urges a mandatory 1% of the total construction cost of any federal building be spent on works of art. The Comprehensive Employment and Training Act (CETA) was originally drafted with the average American worker in mind. ACA says: “CETA and Job Training legislation should be analyzed to question whether enough is being done to take advantage of the services that artists uniquely offer.” ACA wants to see painters, actors, singers, dancers and craftspeople working with citizens on projects of every description to enrich community life. Major copyright and tax packages completed by the 94th Congress did not give necessary consideration to performing and visual artists. Revision of the current copyright law to ensure the right of performing artists to receive compensation for the commercial use of their recorded works is still needed. A conference of lawyers, government officials, accountants, artists and others familiar with the unique tax problems of artists will be convened by ACA to develop an agenda for remedial legislation.

ACA also pledges to support “preservation and expansion of tax provisions that encourage Individual giving”—a recognition that the arts, more than any other area, need private dollars to keep arts institutions healthy, and free of total dependence on government sponsorship.

For more information, contact ADVOCATES FOR THE ARTS, 570 Seventh Avenue, NY 10018 Based on material provided by Jack Golodner Associates, consultants to ACA/Advocates for tha^ts?X^^^y ts.

I CARE. Please enlist me as a member of ADVOCATES FOR THE ARTS,the membership program Of ACA concerned with political, economic and legal action for the arts. I understand that as a member I will receive for one year all newsletters and special "ACTION” bulletins. Enclosed Is my tax-deductible membership fee of $15.* Support over and above the membership fee will make for more effective advocacy for the arts nationally.

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City------State. Zipl •Make checks payable to: ACA and mail to Advocates for the Arts, 570 Seventh Avenue, New York, NY 10018 atlanta symphony youth orchestra MICHAEL PALMER, Conductor RICHARD A. SABINO, Manager A Division of the Atlanta Symphony Orchestra Robert Shaw, Music Director Frank Ratka, General Manager

1ST VIOLIN CONTRABASS TRUMPET Lisa Agnor Dick Bell Joe Bader Lisa Crockett Principal Principal Co-Concertmistresses Ron Alexander Mark Hughes Kathy Chahrouri Scott Harris Keith Jeffords Craig Frankel Michael Hightower Amy Mullen Patti Gouvas Robert Joyce Charles Johnson Don Robison TROMBONE Gary Kapheim Don Gardo Cecelia Kirkman FLUTE Principal Kathryn Padgham Camille Watts Greg Dailey Alicia Rutledge Principal Guy Smith Donna Sarratt Rebecca Price Ray Splawn Andrew Waggoner Jane Berkner Leigh Walker Lib Crain BASS TROMBONE Ray Splawn 2ND VIOLIN PICCOLO Sammy Song Peggy Pitts TUBA Principal Mark Smith Susan Bennett OBOE Sarah Boles Robbie Lynn Hunsinger TIMPANI Odrie Chapman Melanie Wilsden Timothy Adams Donald Corina Co-Principals Joan Dailey Beverly Butts PERCUSSION Martha Davis Deana Moore Timothy Adams Tama Joyce Principal Kristine Oleson ENGLISH HORN Scott W. Brown Linda Sinanian Deana Moore Chris Cunningham Debbie Tucker David Lasley Mary Turcotte CLARINET Karen Wilson Chip Hill Principal HARP Roberto Diaz Mark Butcher Bette Chambless Principal John Gibert Cathy Cline Richard Grimes KEYBOARD Megan Humphreys Carrol Morgan Megumi Fujita Allison Jones Lucy Younger Terry McEntyre BASS CLARINET Lee Mahavier Mark Butcher LIBRARIAN Maria Makris-Gouvas Lee Mahavier Michael Powell BASSOON Debbie Stanton Susan Splawn STAGE MANAGER Principal Steve Jones Steve Byess Jeff Schoyen Laura Collins Principal Bruce LaGravinese Brooke Beazley Kimberly Branan FRENCH HORN Suzanne Manseau Stephen Alperin Jennifer McSweeney Principal Marcy Rodgers Steve Jones Worth Williams Ass't. Principal The players are listed Karen Zboyousky Cynthia Coe alphabetically. Ellen DiBono

PARENTS' ASSOCIATION EXECUTIVE COMMITTEE

Mrs. Frank Crockett, Chairman Mrs. Richard Agnor, Telephone Committee Mrs. Derek Wilsden, Co-Chairman Ed Bell, Scholarship Committee Richard Agnor, Treasurer Mrs. Maurice Turcotte, Reception Committee Mrs. Herbert Alperin, Secretary Atlanta Symphony Orchestra

ROBERT SHAW Music Director and Conductor MICHAEL PALMER Associate Conductor and EXXON/Arts Endowment Conductor John Head Assistant Conductor John Naskiewicz Conducting Fellow

The Mr. & Mrs. Howard R. Peevy Concertmaster Chair is endowed by the Tommie & Howard Peevy Foundation VIOLIN* Kay Gardner FRENCH HORN William Steck Kathleen Kee Brice Andrus Concertmaster Bruce Klingbeil Principal Martin Sauser Larry LeMaster John Henigbaum Co-Concertmaster Nan Maddox Assistant Principal Robert Harrison Bonita Potts Thomas Witte Associate Concertmaster Paul Warner Christopher Scheufler Willard Shull TRUMPET Assistant Concertmaster BASS* David Arenz Dale Schmidt John Head Principal Second Violin Principal Principal Oscar Pereira Jane Little Joseph Walthall Assistant Principal Associate Principal Assistant Principal Second Violin Ralph Jones Prin. Second Trumpet John Adams Assistant Principal Larry Black Jacqueline Anderson Harvey Kaufman TROMBONE Frances Arm Michael Kenady Thomas Thoreson Harry Maddox Sharon Berenson Principal Alan Ellsworth Randolph Ujcich Wiley Weaver Richard Hansbery Piotr Haase Donald Wells Martha Reaves Head FLUTE Homer Holloway Warren Little BASS TROMBONE Stephen Horvath Principal Donald Wells Mary Jacobson Paul Brittan Ruth Little Assistant Principal TUBA Karen Matthews Prin. Second Flute Michael Moore David Myford Thomas O'Donnell Angela Allen TIMPANI Alice Oglesby PICCOLO Paul Yancich Lorentz Ottzen Principal Benjamin Picone Angela Allen William Wilder Susan Pitard Assistant Principal Carol Ramirez OBOE Juan Ramirez Elaine Douvas PERCUSSION Ronda Respess Principal Jack Bell Richard Robinson Elizabeth Camus Principal Patricio Salvatierra Assistant Principal Eugene Rehm Edward Scruggs Prin. Second Oboe William Wilder Ann Pinney Steck Patrick McFarland HARP Patricia Vas Dias ENGLISH HORN Frank Walton Judy Beattie Patrick McFarland VIOLA* KEYBOARD CLARINET Robert Jones Alice Oglesby Norman Baker Principal PERSONNEL MANAGER Peter Bertolino Acting Principal Assistant Principal William Rappaport Martin Sauser Douglas Smith Ardath Cohen PERSONNEL MGR. EMERITUS John Detrino BASS CLARINET Harry Robkin Manuel Diaz Douglas Smith Enid Jones LIBRARIAN Marion Kent BASSOON David Hinshaw Haskell Marrinson Carl Nitchie Stephen Horvath, Ass't. Heidi Moss Nitchie Principal Robert Parcells Charles Nussbaum STAGE MANAGER Michael Destazio CELLO* Assistant Principal Prin. Second Bassoon Patrick Noon, Ass't. Robert Marsh Daniel Dowdakin Principal Edmond Basson CONTRA BASSOON 'PIa yers Lis ted A Ip habe tically Assistant Principal Daniel Dowdakin Jere Flint

ADMINISTRATIVE STAFF FRANK RATKA, General Manager PETER J. STELLING, Assistant Manager ROBERT A. HOLZER, Assistant Manager Audience & Concert Development Operations & Administration WILLIAM W. BROWN, Director of Public Relations MS. DEE-DEE WALTERS, Director of Season Tickets & Promotion RICHARD SABINO, Administrative Assistant MRS. IRENE MOORE, Asst. Dir. of Public Relations MISS NOLA FRINK, Choral Secretary MS. PAT PERRY, Fund Raising Coordinator MRS. MARILYN HAASE, Secretary, Women’s Assn. MS. MARY WALTON, Secretary MS. HILDA EVANS, Secretary MS. JANIS SMITH, Receptionist/Secretary Atlanta Symphony Orchestra Robert Shaw, Music Director and Conductor

Thursday, Friday, & Saturday, 8:30 p.m„ May 12, 13, 14, 1977 ROBERT SHAW Conducting , Pianist

PROGRAM

STRAUSS *Metamorphosen, for 23 Solo Strings (1944-1945)

STRAUSS * in D minor for Piano and Orchestra (1885)

INTERMISSION

HINDEMITH *“The Four Temperaments,” Theme and Variations for Piano and (1940) Melancholic Sanguine Phlegmatic Choleric

HINDEMITH Symphonic Metamorphosis on Themes of Carl Maria von Weber (1943) Allegro Scherzo (“Turandot”) Andantino March

* First performance at a subscription concert

This concert will be broadcast on a delayed basis by Atlanta Public Radio, WABE-FM. Tuesday evening at 8:30 p.m.

The use of recording devices or cameras during concerts is strictly prohibited. 1975 Commonwealth of Puerto Rico In tonight's martini the part of gin and vodka will be * played by white rum.

White rum from Puerto Rico in a nationwide test. That’s because will finally play the role its distinctive all white rum from Puerto Rico is clarity and smoothness have so well aged for at least a year—by law. prepared it for. White rum is ready to take a In fact, white rum has already leading role in the martini. proven itself in rehearsal. It beat gin Like any new star, all it and vodka on taste and smoothness needs is a chance. PUCRTO RICRfl Rums PROGRAM NOTES

Metamorphosen, for 23 Solo Strings introduction begin the first idea which is (1864-1949) ultimately transfigured into a phrase from Tonight’s concert features the works of the slow movement of Beethoven’s Third two of the giants of the late Romantic and Symphony. It is this idea which concludes early Contemporary eras. Represented are the work and is labeled “In Memoriam.” not only works by the same composer in Other themes are reminiscent of Wagner’s different styles (especially the two Strauss Tristan und Isolde and Strauss’s own works), but also represented are pieces in . The work is a marvelous blending contrasting moods. In the Strauss Burleske of the four fragments weaving together and the Hindemith Four Temperaments throughout as if each were independent the listener will hear moments but responsive to the others. approaching levity. In the Symphonic Metamorphosis and the Metamorphosen moments of somber sobriety and rich "Burleske" for Piano & Orchestra, in D intensity are to be heard. minor Richard Strauss (1864-1949) Metamorphosen for 23 Solo Strings was At the age of twenty-one Strauss had written shortly after the fire bombing of entered the service of the famous Hans von Dresden, an act which deeply affected the Bulow at Meiningen. His duties as mood of the aging Strauss. With the fall of assistant conductor began on October 1, Dresden virtually every major opera house 1885. By October 18th he had conducted and concert hall throughout Germany was the symphony at a concert where he also destroyed. An insight into Strauss’s mood appeared as piano soloist in Mozart’s C is revealed in his letter to a friend. “I, too, minor Piano Concerto. After the am in a mood of despair, ” he wrote. “The performance Brahms, who was at Goethehaus, the world’s greatest Meiningen to attend the rehearsals of his sanctuary, destroyed! My beautiful own Fourth Symphony, congratulated Dresden—Weimar—, all gone!” Strauss and urged him to study the dances During these terrifying months, Strauss of Schubert as an aid to melodic invention. had busied himself by reading the complete Shortly thereafter the young German works of Goethe, which dealt with the set about writing his “Burleske" for Piano introspection of old men, deeply affected and Orchestra. During the creation he kept Strauss. It is therefore thought that von Bulow in mind for the potential piano Metamorphosen does not mean the soloist. Y et following a reading of the work musical treatment of the themes, but it at a rehearsal von Bulow proclaimed the implies the changes of Strauss as he found piano part “unplayable.” Strauss also was himself old and without the cities and less than enthusiastic proclaming the work buildings which he had come to love so “utter nonsense.” Disappointed with the dearly. failure of this work, Strauss laid it aside. Strauss originally began sketching an Four years later it was played at a festival adagio to express his sorrow, but as he concert at Eisenach. The publisher wrote he realized the work had to be longer Hainauer was so impressed with the work and more soloistic than a conventional that he immediately offered the composer adagio. When the conductor of an a handsome price. During the four years orchestra in Zurich commissioned him to between the composing and first write a work Strauss immediately set about performance, Strauss had already turned expanding the adagio into its present form. from his creative imitations of Schubert, In this single movement piece for ten Schumann, and Brahms and had solo violins, five solo , five solo , embarked on the creative innovations that and three solo contrabasses four distinct had already led to his producing Death fragments can be heard. Each of these and Transfiguration and . So the flower into long extended melodies with question of whether he should sell a piece harmonies reminiscent of Wagner. The about which he felt so indifferent was one rear two violas after a nine bar which troubled him greatly. a

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Von Biilow mellowed enough toward Hindemith presents three themes and the piece to conduct a performance of it on varies each of them in each variation. October 10, 1891. Yet he still had Theme one is presented by the violins at the reservations. He is reputed to have said very beginning; while theme two appears in that the pianist was “admirable in the piece the piano. Theme two has been called “a of Strauss, which is as interesting as it is for muscular but emotionally vacant subject” the most part ugly.” To Brahms he wrote and theme three, presented by the solo that it was “decidely ingenious, but on the violin, has been called “a melody of other hand horrifying.” noncommittal and graceful reflection, in the composer’s favorite pastoral Siciliano “The Four Temperaments," Theme and rhythm. Four Variations for Piano and Strings Klaus G. Roy in his notes for the (1895-1963) ’s performances offers Most music lovers divide music into the the following description of the four two categories of absolute music and variations. program music. Yet there is a third kind Variation I, Melancholic. Melody no. i is which has existed since the middle ages. distorted, “broken up”; the piano’s exchange This is the character piece—that which with the muted solo violin aims for utmost tells no story, but describes in specific expressiveness. Tension—harmonic and musical terms the character of man. personal—is high; the future looks bleak. The four elements of man which have [Melody] ii, a scurrying Presto, shows us the existed from the middle ages through Dr. nagging worry to which a person of Samuel Johnson, through D.H. Lawrence, melancholy cast may fall prey. These are shadows, oppressive by their very and lately through the Swiss psychiatrist elusiveness. [Melody] iii is varied in a slow Carl Jung are Sanguine—Air; Choleric— march, grimly serious; the outlook on life is Fire; Phlegmatic—Water; Melancholy— that of a convinced pessimist, however Earth. The ancient alchemist believed that resigned. the varying types of moisture in the human Variation 11, Sanguine. Theme i becomes body were responsible for the a waltz of romantic exuberance, of temperament of the individual. In a more optimistic and open-hearted joy in living. modern sense Jung believed there were [Theme] ii, on the other hand, brings into four parts of the personality. His theory view the determined, almost swaggering was drawn greatly from his study of masculinity of the sanguine person, the man alchemy. of action whose blood flows rich and fast; he may be waltzing some of the time, but there Hindemith’s interest in the four are things to be achieved, problems to be temperaments began in 1934 when he set conquered. [Theme] iii carries us further to about writing the music for a ballet. The his generous warmth, his sincerity and ballet project was set aside until six years pleasure in constructive activity. after the completion of the music. Variation 111, Phlegmatic. A person of this trait is disturbed by nothing. Theme i is now In The Four Temperaments we see placid, nonchalantly strolling along. Hindemith’s humorous side. As his Virtually all rhythm has been drawn from biographer Heinrich Strobel has written, the tune—it is now a succession of tones. In this work “is the musical echo of the ii, the non-hero’s Weltanschauung—or lack composer’s humoristic side, in which a of it—takes the form of idle improvisation smiling kindness is mixed with an with touches of jazz; quite charming, and extraordinarily sharp gift of observation. equally shallow. In iii, he rouses himself Hindemith has hardly written anything enough to become a bon vivant. else that blends wit and human honesty in Variation IV, Choleric. We face a so gracious a fashion as this.” veritable explosion. The violence and impatience with the thematic material shown As the title suggests this is a work of by this unstable personality are unbridled, in theme and four variations. Yet, instead of the course of section i. Soon he is sorry, and the usual one theme with the variations, apologizes, but his remorse is short-lived Atlanta’s leading designers and makers of fine jewelry

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cI^oom HSR Atop the Colony Square Hotel Peachtree and Fourteenth Streets NOTES (continued)

before we bear the brunt of his anger once in the pitch or rhythms of Weber’s more. In ii he barely suppresses his fury melodies. (vivace, string pizzicato) and snaps at us in a The first movement is a march-like piece sudden and fortissimo A major chord. Then based on the fourth of Weber’s Eight he breaks out into an impassioned version of Pieces for Piano Four Hands. The main iii—a sob of utter abandon, a marvelous caricature of hysteria. element is the treatment of syncopation. The subordinate theme, first played by the One of the most discerning and witty oboe, is in marked contrast to the moments of the score finds the choleric’s prevailing sturdiness of the texture. split personality (piano as against strings) The second movement is a scherzo engaging in a vituperative argument about subtitled “Turandot.” It is in this Chinese one note: which one is right. B-flat or A? For an instant, they find agreement on B natural. flavored movement that Hindemith This unification of the personality having indulges in the most prolific percussion been achieved, it is time to depart; the coda, writing ever in his career. From the built on the material of iii. bows us out in a statement of the famous melody by the magniloquent C major. bells in the beginning the theme is worked out climaxing in a fortissimo trill in the winds. A jazz-like tune follows which upon examination reveals that it is a Symphonic Metamorphoses on Themes of metamorphosis of the Chinese melody. Carl Maria von Weber The “Turandot” theme returns in its Paul Hindemith (1895-1963) original form again with the percussion Paul Hindemith is regarded by many section featured in soloistic fashion. leading composers to be the “composers’ The slow movement is a quiet and lyrical composer.” His craftsmanship—in design, melody taken from Weber’s Six Easy in , in orchestration—has Pieces. The first idea is heard from the become almost legendary. These technical clarinet while the second appears in the qualities coupled with his sense of humor cellos. A polyphonic combination of the and his exuberant spirit have caused some two is soon presented. A long and musicologists to coin the phrase “the three ornamented flute solo marks the return of Hs—Handel, Haydn and Hindemith.” the first melody. Unlike many modern composers The finale is a march which resembles Hindemith believed that music must be for certain sections in the symphonies of the heart, not the eyes. . A fanfare answered by The themes of Carl Maria von Weber suspended cymbal begins the movement. (1786-1826) are not the best known themes The four horns introduce the subordinate of Weber which appear in his great operas. theme which has the character of a German Hindemith chose, instead, themes from student song. It is this secondary idea Weber’s Eight Pieces for Piano Four which is symphonically developed. Hand, Turandot, Six Easy Pieces, and Immediately before the conclusion the March, Op. 60, no. 7. Consequently, he brass choir repeats a last flourish of the had no hesitation in making minor changes fanfare.

The broadcast of tonight’s concert, which can be heard on Atlanta Public Radio, WABE-FM, 90.1, at 8:30 p.m., on Tuesday evening, is made possible by the 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. Guffey’s of Atlanta Low price time Atlanta’s Finest clock helps small Clothing § for Men companies meet DOWNTOWN: N strict requirements PEACHTREE CENTER £ (BEHIND THE SCULPTURE) of wage-hour law UPTOWN: TOWER PLACE (AT PIEDMONT ENTRANCE) N

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JAMES TOCCO This young - served as artist-in-residence for three years born musician is one at the University of Wisconsin. of the few American During his seasons of concertizing, pianists to win eight Tocco has performed extensively in the major international U.S., Europe, South America, the Middle competitions, including East, and Russia. There was a Command First Prize at the 1973 Gala Performance for the Shah of Iran Munich International with the Tehran Philharmonic and Andre Music Competition. Kostelanetz. He has appeared with the Chicago Symphony, the Detroit The youngest of thirteen children, Symphony, the National Symphony of Tocco began his piano studies at an early age. After winning a number of Washington, and other major American competitions in his native state, Tocco won orchestras; Tocco was the first pianist to be a scholarship for a summer of study at the invited by President and Mrs. Ford to Salzburg Mozarteum. He then continued perform at a state dinner at the White his studies in Paris, and while there Tocco House. He made his New York recital won a scholarship which enabled him to debut in Tully Hall in 1972 and since then remain in Paris a second and third year. has played there regularly. He is a favorite These events awarded him a recital tour of with summer audiences at Wolf Trap France and a debut in Paris at the Salle Center near Washington and was one of Cortot. thirteen young American pianists chosen to commission a work from an American Tocco has won a number of inter­ composer and perform it in the Kennedy national competitions: bronze medals Center during the bicentennial season. at the Queen Elizabeth of Belgium This young pianist from Detroit is Competition and the Tchaikovsky already an international figure in the world Competition in Moscow, first prizes in of music, and in the words of Musical the International Competition of the America Tocco is “a commanding Americas in Rio de Janeiro and the technician with a bold, forthright style and Munich International Competition. He a full-blooded sonority.”

The recording Chopin: Complete Preludes—James Tocco, pianist was produced by Mills College alumnae following Mr. Tocco’s acclaimed debut at Alice Tully Hall, , in 1972. The records will be available at the Atlanta Symphony Auditorium on May 13. 14. and 15 for $5.00 or may be ordered through the mail for $5.50 from:

Mrs. Nils Wennerholm 95 Blackland Road, N.W. Atlanta, Georgia 30342 All proceeds go to the Mills College Scholarship Fund. Overall, the Atlanta Symphony is offering a fine way to spend your summer. No matter what your pleasure is, whether opera, ballet, piano, classical or contemporary music, or just good ol’ Southwick humor, the Atlanta Symphony is where to spend your days for summer pleasure and a tradition among gentlemen. entertainment.

H. STOCKTON - ATLANTA INC. Up-Date on the Individual 80 Forsyth Street, N.W. Lenox Square Gifts Campaign In order to keep everyone informed as the success of this year’s 1976-77 Individual Gifts Campaign, here is a report on the latest totals: $92,240 of the $ 115,000 goal has been received or pledged. This amount represents 80% of the anticipated goal. New donations amounted to $24,620, and a total of 3,150 donors contributed. These figures do not represent the final , funds collected for the 1976-77 Individual Gifts Campaign, but only those received to date. Contributions are still being received. Campaign chairman Mrs. William Izlar r expressed her deepest thanks to all those who contributed and to all “the devoted workers who have done an absolutely phenomenal job for this year’s campaign.”

Summer Reminders for Your 1977-78 Calendar Don’t forget to purchase your season tickets for next year as soon as possible. A variety of subscription series are available Harper’s Flowers and by acting now, one can save up to 41 % 1201 West Peachtree Street, N.E. and receive up to 10 free concerts. 876-5766 To receive a brochure outlining the We accept all major credit cards. details of next year’s concerts, or for information on the various series , available, phone the season ticket director, A ROMANTIC RESTAURANT Ms. Dee-Dee Walters, at 892-3600, ext 253.

ATLANTA CHILDREN'S THEATRE Atlanta Art Community Container Saddened by Loss of , GOURMET FOOD • SPIRITS • GIFTS ACT's Director LENOX SQUARE Charles L. Doughty, director of the behind Davison's at E. Paces Ferry Atlanta Children’s Theatre since its Sun.-Thurs. Frl. & Sat. inception in 1968 and an internationally 11 am.—11 p.m. 11 a.m.—1 a.m. respected master of children’s theatre, 262-7872 suffered a fatal heart attack, Wednesday, ATLANTA SYMPHONY ORCHESTRA LEAGUE

President Robert G. Edge Lawrence J. McEvoy, Jr. LIFE SPONSORS David Goldwasser Herbert R. Elsas Tom M. McLain, Jr. Mrs. Frank L. Burns Vice Presidents Mrs. Edward E. Elson George K. McPherson, Jr. Mrs. Murdock Equen Dr. Dan Burge Richard C. Everett Paul E. Manners Mrs. Lon Grove Bradley Currey, Jr. Washington Falk, III F. W. Nichols Mrs. Granger Hansell Mrs. Charles E. Watkins, Jr. Arthur G. Foster H. Burke Nicholson, Jr. Byron Harris Mrs. L. Neil Williams Ms. Shirley Franklin Dr. Marvin B. Perry, Jr. Mrs. Julian Hightower Secretary Mrs. Henry Geigerman, Jr. Mrs. Theophile Raphael Mrs. Lewis Hirsch Paul A. Ebbs, Jr. L. L. Gellerstedt, Jr. Mrs. David A. Reinach * Charles Jagels Treasurer Mrs. John R. Guy Mrs. William E. Schatten C. K. Liller Mrs. Drew R. Fuller * Joseph F. Haas Shouky A. Shaheen Mrs. Mason Lowance Mrs. John R. Hall Grant G. Simmons, Jr Michael McDowell BOARD OF SPONSORS Dr. J. Rhodes Haverty Dr. Grace B. Smith Mrs. Lawrence J. McEvoy Peter Abreu Mrs. J. Rhodes Haverty H. Hamilton Smith Mrs. Louis Moss A. Leigh Baier Lee H. Henkel, Jr. W. Rhett Tanner Mrs. Bernard Neal James E. Barnett Mrs. Jesse Hill, Jr. Mrs. Ralph K. Uhry Mrs. T. Erwin Schneider John M. Bragg Samuel E. Hudgins John A. Wallace G. Maynard Smith Tom M. Brumby Mrs. Bunnie Jackson L. Neil Williams Mrs. Howard C. Smith Mrs. Robert W. Chambers Dr. Herbert Karp Murray D. Wood * Charles L. Towers William F. Clark Louis Kunian Robert M. Wood * Charles R. Yates Dr. B. Woodfin Cobbs, Jr. Dr. Noah Langdale, Jr. Mrs. William B. Wylly Eugene Young Dr. John W. Cooledge Mrs. Elizabeth Lochridge Edward S. Croft, Jr. Frank Ratka, General Manager *Past Presidents

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Charles L. Doughty April 6. He was 48 years old. Under his guidance the Atlanta -/ronklin Children’s Theatre has entertained more than one million youngsters at the Atlanta Memorial Arts Center and on tour through the state of Georgia. The theatre program has received wide acclaim for its spectacular productions of classic and contemporary drama, and for its The world's finest record. innovative educational programs. A graduate of the University of Denver, stereo and music dealer Doughty has had a varied career as an actor, writer, producer and director, but his special gift was in staging plays for young audiences. He began that career as The legend of executive director of the Portland, Maine, Children’s Theatre. Later he served for Lalique. $70. eight years as director of the Nashville For the serious Lalique collector, Children’s Theatre before coming to a limited edition book. Illustrated Atlanta. are many original creations and Doughty has served as an advisor and designs. 300 paqes, hard bound, consultant for theatre projects across the 9-3/4" x 12”, 260 nation and has served on many panels, pages in full color. regarding all phases of theatre. In 1965 he $70.00. was a member of the American delegation for the International Theatre Conference held in Paris, France. In 1972 the Atlanta Children’s Theatre Lalique was named one of five outstanding theatre groups performing for young people in the par United States and represented this country in Albany, N.Y., at the International Lalique Congress for Children and Young People attended by representatives of 34 countries. Doughty is survived by two children, the museum shop daughter Cris and son Bix Doughty, the THE HIGH MUSEUM OF ART company manager of A.C.T. Memorial contributions may be made to the Atlanta master charge, bankamericard Children’s Theatre or the American and C&S accepted Diabetes Foundation. < Successful Atlanta Premiere HIGH MUSEUM OF ART Noah and the Great Auk, the original Art World Speaker play written by A.C.T. company manager Series Lecture by Bix Doughty, enjoyed a successful Atlanta Lawrence Halprin, May 9 < premiere and currently is on tour around Lawrence Halprin, the dynamic and Georgia. widely influential landscape architect, The subject of endangered species, environmental designer, town planner, presented in a dramatic production geared and author, will be the next guest in the for a young audience, sparked interest in Members Guild Art World Speaker Series. several environmentalist and conser­ Halprin’s fame rests upon an astonishing vation groups. The Chief of Public range of achievements. He has repeatedly Affairs for the U.S. Fish and Wildlife helped strike fresh, convincing, and Service taped the show to be sent to interesting bargains between groups of Washington, D.C. for possible use as an people and their shared environments. He educational tool. has done pioneer work in ecological approaches to regional and town planning Three high school apprentices are (Sea Ranch, California), in recycling old among the crew members who help get Noah and the Great Auk on the road. Duncan Moran of Paideia School, Carlton * Horton, North Fulton High School, and Donald Griffin of Washington High School are working with the Atlanta Children’s Theatre as part of the Atlanta Public School’s Exploration Quarter. The three are on leave from their schools but earn a quarter’s elective credits while - learning theatre first hand. While the show was in the Alliance Theatre the apprentices learned how to run the light board, the how-to's of set design and construction, « and how to set up and strike the set. During the road tour to Griffin, Jackson, Cobb County Civic Center, Newman, and Cartersville the apprentices face long hours, after reporting at 6 a.m. for travel to a town to set up the show. They learn the importance of constructing a set which can break down into small units for travel, how to re-block scenes to fit smaller stage areas in school auditoriums or cafeterias and wardrobe maintenance. - Following the tour the apprentices will receive more formal instruction in classes taught by the A.C.T. professional staff. The schedule includes stage voice, stage * conventions, set costume and lighting design, make-up and mime. Students in grades 10 through 12 are . eligible for this apprentice program. For information on application procedure, call ■ 892-7607.

* SINCE 1948 buildings and urban spaces (Ghirardelli Dine Square, San Francisco), in redesigning Nearby downtown for pedestrians (Nicollet Mall, before the Minneapolis), in humanizing city cores show (the beautiful fountain and plaza projects at in Portland, Oregon), and in urban park design (Manhattan Square Park in / CROSSROADS Rochester, New York). His most recently yjl restaurant and lounge completed project is the Seattle Freeway 1556 peachtree st. Park. Halprin is presently at work on the open every day — 875-6375 Franklin Delano Roosevelt Memorial in Washington, commissioned by Congress. In addition, he has written a number of seminal books, including Cities, RSVP Cycles: Creative Processes in the Human Tours and Cruises ... Environment, New York, New York, and by Air and Steamship Freeways. The lecture, free and open to the public, will begin at 8 p.m. in the Alliance Theatre. Seating may be limited. The lecture will be followed by a Members-only reception. ATLANTA TRAVEL AGENCY Ferdinand Warren Early Works Exhibit I 235 Peachtree St., N.E. — Suite 1817 At High Museum May 28 Atlanta, Georgia 30303 — Alex Hitz, Jr. An artist who has been active in Georgia for nearly three decades, Ferdinand Warren lived in New York for more than twenty years. With solid training and a particularly sensitive response to urban landscape, Warren produced a series of powerful and expressive paintings of the New York scene related to the sympathetic observations by the artists of the Ash Can WILLIAM TRAPNELL ASSOCIATES School and their followers. The exhibition INTERIOR DESIGNERS includes a number of the first examples 141 WALTON STREET. N W.. ATLANTA. GEORGIA 30303 from Warren’s New York years during a time when the artist won numerous honors 404 523 2794 and sold a number of works to collections including the Metropolitan Museum of Art. The exhibition will be on view through June 26 in the New Gallery, third floor.

Visual Arts Symposium—May 12 A symposium dealing with the state of the visual arts today will be held in the Hill Auditorium on May 12, beginning at 8 p.m. The event, a question and answer session with a panel of five, is being presented under the auspices of the Arts Festival of Atlanta, The High Museum of Art, and Contemporary Art Southeast magazine. Panel members will include the im______three judges for the Arts Festival 'll in Piedmont Park; Thomas Armstrong, III, Director of the Whitney Museum of American Art; Betty Pierson Parsons, Director of the Betty Parsons Art Gallery in New York City; and Paul Smith, Director of the Museum of Contemporary Crafts in New York City. Gudmund Vigtel, Director of The High Museum of Art, and David Heath of the Heath Gallery in Atlanta will also be on the panel. The symposium is free and open to the public.

Art Experiences for Children Offered at the Museum and Award-winning CITY exhibition at museum. Piedmont Park Beginning June 13 THE CITY exhibi­ ALLIANCE THEATRE tion will be open from 12:00 noon to Big Spring Discount 4:45 p.m. seven days a week. The High on Season Tickets Museum will also offer art awareness For 1977-78 Season— activities for preschool and elementary Subscribe by May 31 age children this summer at PLAYSCAPES And Save 33'/3% in Piedmont Park. For information call the Department of Children’s Education, You have only a short time left to take 892-3600, Ext. 228. advantage of our Spring discount on

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A $1,700 000 building program in progress to be completed in the school year 1977 $1,000,000 Fine Arts Center — Middle School New Library Addition — 7 New Tennis Courts New Administration Building For information on all schools and programs write or call: Admissions Director, (404) 761-8881 P. 0. Box 87190-K COLLEGE PARK, GEORGIA 30337 Woodward Academy Administers a Non-Discriminatory Admissions Policy For Boys and Girls Boarders and Day Students season tickets for the brand new 1977-78 theatre based on the actual files of the season. McCarthy Hearings; The Good Doctor, Here are some of the bonuses for those /Anton Chekov—the perfect who subscribe before May 31: match. A celebration of the highs and lows A Tremendous Savings and the Best of that most joyful experience—life. Seats in the House. You save up to 26.40 Remember by subscribing now, you get on a pair of season tickets by subscribing two plays free, priority seating, and six NOW. You get two plays free, or 33'/3% unforgettable evenings at the Alliance off the regular price. Plus, by subscribing Theatre. Prices go up substantially after early, you have priority on the best seats. May 31—So subscribe TODAY. A Christmas Play For the Whole Family. Our 1977-78 season will begin in ATLANTA COLLEGE OF ART November, and our second play will be Tara Auction Charles Dickens’ beloved story of the To Benefit College holiday spirit, A Christmas Carol. Season ticket holders will receive first chance to The fifth annual Tara Auction will be order additional single tickets for their telecast live from the Georgia World families and friends before tickets go on Congress Center on Thursday, May 26 and sale to the public. Friday, May 27. WATL/TV Channel 36 A New Play. Each season we produce will pre-empt all regular programming one new play which we think has the from 4:00 until 10:00 to cover this exciting promise of becoming one of the event which benefits the Atlanta College of outstanding plays of our time. Alliance Art, a founding member of the Atlanta Theatre audiences have been among the Arts Alliance. In a cooperative effort, first in the country to see The Hot L WXIA/TV Channel 11 will simultaneous­ Baltimore, The Last Meeting of the ly telecast the auction at selected times Knights of The White Magnolia, and this during both evenings. year, the greatest success in our history, Tara Auction offers television viewers Come Back to the 5 and Dime Jimmy twelve hours of spirited bidding on Dean, Jimmy Dean. We are already hundreds of donated gifts, from luxury reading scripts for next season. You may items to dinners for two, with items for see the production of a major playwright of every interest and budget. It’s an the future here on the Alliance stage. opportunity to bid on things you need, or Four More Outstanding Productions. have always wanted, and also support the Among plays now being considered for Atlanta College of Art, a fully accredited production in 1977-78 are Streamers, four-year institution making a continuing David Rabe’s scorchingly honest and sensitive probe of young Americans in uniform; Private Lives, Noel Coward’s sophisticated comedy about two people unable to live together yet equally unable to live apart; For Colored Girls Who have Considered Suicide When The Rainbow Is Enuf, Ntozake Shange’s touchingly raw examination of the sorrow, the joys, and the determination of contemporary black women; Look Homeward, Angel, Ketti Frings’ hauntingly beautiful treatment of Thomas Wolfe’s novel about the artist growing up in North Carolina; Julius From left to right: Mrs. John C. Rieser, president Caesar, by ; Indians, of the Associates of the college, Mrs. Daniel Arthur Kopit’s powerful play about the Parker, chairman of the 1977 Tara Auction, Mr. brutal taming of our native land; Are You Michael P. Rich, Acquisitions chairman and Mrs. Now Or Have You Ever Been? Eric Hugh M. Dorsey, Jr., president of the Board of Bentley’s accurately documented piece of Sponsors of the Atlanta College of Art. Award winning Restaurant since 1962

Coach 8c Six Restaurant 1776 Peachtree St.. N.W. 872-6666 r People Who Care About People Care About Gittings Colour Portraits GITTINGS THE PORTRAIT PHOTOGRAPHERS OF ATLANTA I PHIPPS PLAZA 261-5550 i -J contribution to the cultural life of Atlanta delta shoe salesman recounting his days of and the entire Southeast. glory; Talk to Me Like the Rain and Let More than 600 patrons make the 1977 Me Listen revealing a mis-matched young Tara Auction possible through their couple only half-wanting to break out of generous donation of goods, services and monetary consideration. The 1977 Tara Auction is chaired by Mrs. Daniel Parker. Aiding her are Mr. Michael Rich, chairman of the Acquisitions Committee; Mrs. John C. Rieser, president of the Associates of the Atlanta College of Art; Mrs. Hugh M. Dorsey, Jr., president of the Board of Sponsors of the College and Mr. William J. Voos, president of the College. Ted Martin THEATRE PROJECT/ATLANTA the life their weaknesses have trapped them into. Scenic design is by the Luis Maza Three by Tennessee

Opens May 23 at the Studios. Performed at the Studio Theatre, the production runs each evening at 8:30 Studio Theatre from May 23 through May 28. This Under the artistic direction of Ted production was made possible, in part, by Martin, Theatre Projects/Atlanta presents a grant from the Bureau of Cultural and three of Tennessee Williams’s fine one-act International Affairs, City of Atlanta, plays: The Lady of Larkspur Lotion, about Maynard Jackson, mayor. All seats are two characters resolutely living in a fantasy free on Monday, May 23. Seats for world too often shattered by a hard and Tuesday through Saturday may be realistic landlady; The Last of My Solid purchased at the door or the Alliance box- Gold Watches with an old-time Mississippi office for $3.50 each. Open a Presto today!

THURSDAY, FRIDAY, & SATURDAY ______MAY 12, 13, & 14______MAY Atlanta Symphony Orchestra, 8:30, SH. Robert Shaw, conducting; James Tocco, pianist. Strauss: Metamorphosen; Strauss: Burleske for Piano and 1977 Orchestra; Hindemith: The Four Temperaments; Hindemith: Symphonic Metamorphosis on Weber Themes. THURSDAY, FRIDAY, & SATURDAY MEMORIAL ARTS CENTER ______MAY 19, 20, & 21______Atlanta Symphony Orchestra, ASO Chorus, 8:30, SH. Robert Shaw, conducting; Betty Jones, soprano; Elizabeth Mannion, mezzo-soprano; ACA: Atlanta College HMA: High Museum of Gordon Greer, tenor; John Cheek, bass-baritone. of Art Art ACT: Atlanta Children's MR: Member's Room Verdi: Requiem Mass. Theatre PR: Paneled Room AT: Alliance Theatre RH: Rehearsal Hall ATC: Alliance Theatre SH: Symphony Hall Company ST: Studio Theatre ASO: Atlanta Symphony WHA: Walter Hill Orchestra Auditorium Exhibitions GAL: Galleria For ticket information, call the box office at 892-2414. For other information, call 892-3600. High Museum hours: 10:00 to 5:00 Mon. through Sat., 12:00 to 5:00 Sun., closed evenings. Art Shop hours: open during regular High Museum hours. > THE CITY and Jr. Art Shop hours: 3:00 to 4:45 Mon. through Fri. 12:00 to 4:45 Sat. and Sun. Donation: 254 Children, 50

Special Lectures THURSDAY & FRIDAY 0______MAY 26 & 27 Tara Auction to Benefit College. WATL/TV, MONDAY, MAY 9 Channel 36 will telecast Auction live 4:00 p.m - Art World Speaker Series Lecture, 8:00 p.m , AT. 10:00 p.m. WXIA/TV, Channel 11 will simulcast Lawrence Halprin. guest speaker. Free. selected periods during both evenings. Join the bidding by phone!

Theatre Films

THURSDAY, FRIDAY, & SATURDAY MAY 5, 6, & 7 St______SUNDAY, MAY 1______Henry IV, Part I, 8:00, AT. Alliance Theatre Films on Alexander Calder, 3:00, HMA, WHA. production. A King, a prince, and a buffoon-while Free. Mary carouses with Mistress Quickly, 22 THURSDAY, MAY 5 ' ~ ~ galant young Prince Hal saves England from the usurper's sword. Shame. 7:00 & 9:00. WHA. HMA Bergman Film Series $1 Museum Members with cards, $1.50 Students with ID's, $2 General.______FR ID AY, M A Y 6 The Passion of Anna, 7:00 & 9:00, WHA. HMA ■S Bergman Film Series. $1 Museum Members with cards, $1.50 Students with ID’s, $2. General. Buy a ~ SATURDAY. MAY 7 » Cries and Whispers, 7:00 & 9:00, WHA. HMA BOOK from Bergman Film Series. $1 Museum Members with ® cards, $1.50 Students with ID’s, $2 General. GEORGIA 3Z Z Tuesday" may 10 (A vailable at your local book store) Jim Herbert Presentation, 8:00, WHA. Jim Herbert c will show and discuss his work. Free. - SUNDAY? MAY 15 Nureyev's , 3:00 p.m., SH. Bill IORG1A Herring's World Films & Dance Atlanta. hMEN

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congerPRINTING AND PUBLISHING COMPANY 1619 CHATTAHOOCHEE AVENUE. N.W. ATLANTA, GEORGIA 30318 TELEPHONE (404) 352-1910 IIH Atlanta Arts Monthly magazine of the Atlanta Memorial Arts Center 1280 Peachtree Street, N.E. Atlanta Georgia 30309 MAY, 1977 VOL. XII ISSUE 9

THE ATLANTA ARTS ALLIANCE Charles R. Yates President James K. Grlffeth Controller William Shippen Facilities Manager 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 President THURSDAY, FRIDAY, & SATURDAY Anthony Greco MAY 12, 13, & 14 Academic Dean Mrs. Guthrie Foster Henry IV, Part I, 8:00, AT. Dean of Students THURSDAY, FRIDAY, & SATURDAY THE ALLIANCE THEATRE COMPANY MAY 19, 20, & 21 David Bishop Producing Director Who's Afraid of Virginia Wolfe?, 8:00, AT. Alliance Fred Chappell Theatre production. As the drinks flow faster, Artistic Director George, Martha, Nick and Honey lose their THE ATLANTA CHILDREN’S THEATRE inhibitions, exposing the secret sadness beneath Charles L. Doughty their outrageous, edgy banter. Director SUNDAY, MAY 22 PARKING FACILITIES: Center Parking garage with Who’s Afraid of Virginia Wolfe?, 2:30, AT covered parking directly adjacent to Center, entrances on Peachtree and Lombardy Way; also commercial parking Three by Tennessee, 8:30 ST. Theatre Projects across from Peachtree entrance to Center, and north of Atlanta, Inc. production. Three one-act plays by First Presbyterian Church. Tennessee Williams, Funny, sad and bittersweet. Vintage Williams with characters as only he can BOX OFFICE: (404) 892-2414. Hours: Mon. through Fri. draw them. Ted Martin, director. 10-6 pm (or until curtain); Sat. noon-4:00 (or until curtain); Sun. noon-3:00. The Memorial TUESDAY, WEDNESDAY, THURSDAY, Arts Center Box Office handles tickets for the Atlanta FRIDAY, & SATURDAY Symphony, Atlanta Children’s Theatre, Alliance Theatre MAY 24, 25, 26, 27, & 28 Company, Dance Atlanta, Theatre Atlanta Off Peachtree; Vagabond Marionettes; Travelogue Film Series; also on Who's Afraid of Virginia Wolfe? 8:00, AT night of performance, all tickets for any event scheduled in the Arts Center. Three by Tennessee, 8:30, ST. TOURS: For information on regular weekday tours or SUNDAY, MAY 29 group tour arrangements, call (404) 892-3600. Who’s Afraid of Virginia Wolfe?, 2:30, AT. RESTROOMS: Located off the Galleria Balcony across TUESDAY, WEDNESDAY, THURSDAY^ from both Symphony Hall and the Alliance Theatre. Also located adjacent to the balcony lobbies inside Symphony FRIDAY, & SATURDAY Hall. ___ MAY 30, JUNE 1, 2, 3, &J Who's Afraid of Virginia Wolfe?, 8:00, AT. OUR COVER The cover reflects the offerings of the Atlanta Symphony summer season, which will consist of the MOSTLY MUSIC series in Symphony Hall and the POPS concerts in Chastain Park—a summer of singers, dancers, concert pianists, conductors, and popular artists. 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 Children 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) 352-1910. THE CITY Exhibition—for Children and Adults— in the High Museum of Art. Open to the public L. W. CONGER, JR. SANDRA HAISTEN Mon.-Fri., 3:00-4:45; Sat. & Sun., 12:00-4:45 p.m.; Publisher Editor COCO CONGER ERNEST DeVANE 25$ Children, 50$ Adults, Free HMA Members. Advertising Director Art Director mg'tai! This is more than just low 'tar! This is ultra-low 'tar! This is Now, a cigarette with only 1 mg.'tar! If you want to be sure ^you're getting ultra-low 'tar,' count all the way down to Now's number 1

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