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Atlanta Symphony Guild, Inc For over 28 y,ear& ] modern S y m p h o n i e s in Store Design and Commercial Construction i II. ABRAMS, II. contractors and designers 362 JONES AVENUE, N. W. CYpress 1541 OFFICERS - ATLANTA SYMPHONY GUILD, INC. President — James C. Malone Vice Presidents Executive Committee Musical Director James V. Carmichael Charles H. Jagels, Chairm an Henry Sopkin Mrs. Rembert Marshall Vice-Chm n. Bruce F. Woodruff, M a n a g er Marvin McDonald Jackson P. Dick, Sr. Leslie C. White Secreta ry Mrs. Lon Grove Ralph Williams Richard Schwab Treasurer Joseph Seitz Joseph E. Birnie and officers Comptroller H. Ashlin Dykes BOARD OF DIRECTORS Mrs. Robert F. Adamson Mrs. Lon Grove Mrs. Maurice Pepper Ivan Allen, Jr. Mrs. Evans Hall, Jr. Mrs. Charles T. Pottinger Philip H. Alston, Jr. Mrs. Charles Hardy (Gainesville) Mrs. Clifford N. Ragsdale Mrs. Louis Aronstam Arthur Harris, Jr. Col. Charles A. Rawson Marcus Bartlett Mrs. Arthur Harris, Jr. Mrs. J. D. Robinson, Sr. Russell Bellman William B. Hartsfield Sam Rothberg George C. Biggers Rawson Haverty Mrs. James O'Hear Sanders Joseph E. Birnie Mrs. Lewis I. Hirsch Mrs. T. Erwin Schneider Herbert Bondurant Hugh Hodgson Richard Schwab Harllee Branch, Jr. Mrs. Lindsey Hopkins, Sr. Joseph Seitz Mrs. J. Bulow Campbell Clark Howell Mrs. Albert Selig Mrs. C. H. Candler, Sr. Charles H. Jagels Jesse M. Shelton James V. Carmichael Miss Ira Jarrell John A. Sibley Mrs. Julian Carr Mrs. A. Thornton Kennedy Mrs. Robert Chambers Mrs. Alex King Mrs. Howard C. Smith Mrs. Ryburn G. Clay C o dy Laird Robert R. Snodgrass Erie Cocke Mills B. Lane, Jr. Miss Helen Knox Spain Mrs. Harold N. Cooledge T. C. Lanier Mrs. Walter B. Spivey Joseph W . Cooper, Jr. Dr. Clarence L. Laws Peter J. Stelling Mrs. Edward F. Danforth Earle R. Lewis Julian N. Trivers Mrs. Hal Davison C. K. Liller Fred J. Turner Malcolm H. Dewey James C. Malone Mrs. Ralph Uhry Jackson P. Dick Mrs. Dan Manget (Newnon) J. Prince Webster Jesse Draper Mrs. Rembert Marshall Miss Ruth Weegand Mrs. Lewis M. Dugger Ben J. Massed Paul D. West H. Ashlin Dykes Devereaux McClatchey Mrs. Goodrich White Herbert Elsas Marvin McDonald John A. White Carl L. Fox, Sr. A. O. Mitchell David Goldwasser Mrs. John O. Mitchell R. C lyd e W illiam s Ben Gordon Arthur L. Montgomery Ralph Williams John C. Grabbe Mrs. Bernard Neal (Rome) Stuart Witham W. King Grant Miss Anne Grace O'Callaghan Bruce F. Woodruff Claude Grizzard, Jr. Del Paige Eugene Young \ s ^ c d t\e»s , 0 S * e t °* \ca<' A®®° i\\o p o '® eS po**® p o ® ' ;W p>us*e So?'d\'e'rft fc®*s VA. fcet»® Jot®cS V\otV C'f \,esV'e ►Ao’ US'® ►A»\9**r(' po* • V e te o'** Jeo® S e ^ SV\e'^ do Ge®e M*’ e d<3e St"® 5itfc i d V\o do’ ® po® Vdovt® t<! G t® '® dc YCo’ e' NINTH SEASON Nineteen Hundred Fifty-three and Fifty-four THE ATLANTA SYMPHONY GUILD, INCORPORATED presents THE ATLANTA SYMPHONY ORCHESTRA HENRY SOPKIN, Conductor and THE ATLANTA SYMPHONY CHORUS HASKELL BOYTER, Director in A REQUIEM MASS by GIUSEPPE VERDI (1813-1901) I. Requiem and Kyrie II. Dies Irae INTERMISSION III. Offertorio IV. Sanctus V. Agnus Dei VI. Lux Aeterna VII. Libera Me Guest Soloists FRANCES YEEND, Soprano DAVID LLOYD, Tenor BEVERLY WOLFF, Contralto JAMES PEASE, Baritone TENTH SUBSCRIPTION CONCERT SEASON 1953-1954 March 30, 1954 8:30 P. M. Atlanta Municipal Auditorium All concerts begin at 8:30 P. M. Late-comers will be admitted only at intervals between numbers. If necessary to leave early, please do so between numbers. ' P ' t a e y i a m Program Notes by Homer F. Edwards, Jr. A Requiem Mass Giuseppe Verdi (1813-1901) Alessandro Manzoni was one of the greatest writers of Italy during the 19th century. He is best known in this country through his authorship of I Promessi Sposi (The Promised Bride), and through the Manzoni Requiem by Verdi. Verdi idealized Manzoni as representative of the highest expression of the Italian spirit, and by the Requiem, he paid homage to Manzoni as both a writer and a man. A great deal has been said concerning the theatrical and dramatic aspects of the Requiem Mass in Verdi’s setting by those who adhere to strict rules of church music. Verdi’s interpretation is not entirely liturgically accurate but he expressed beautifully his deep, personal sorrow at the death of a friend in terms most familiar to him through long years of writing for stage and opera. The best way to approach Verdi’s Mass is to think of it as a kind of oratorio, a sacred opera, of the Last ludgment, with Manzoni’s soul as the objective theme of the drama. Much of the music suggests visual interpretation. In the beginning, one can imagine the kneeling chorus in whispered prayer for the repose of the soul; the Kyrie is a definite appeal for mercy. Darkness and despair are suggested by the orchestral coloring and the shouting chorus. The in­ tensity of the trumpets and the chorus basses acclaim the Last Trumpet on a particularly effective chord. The bass soloist declaims a Mors stupebit. Verdi described this section as extremely difficult. It has more significance than the notes seem to ( Continued) The Baldwin Piano is the official piano for the Atlanta Symphony Orchestra LANIER PIANO COMPANY EXCLUSIVE DEALERS . BALDWIN PIANOS . LESTER PIANOS KOHLER & CAMPBELL . IVERS & POND Atlanta's Oldest Locally Owned Piano Store 64 Pryor Street, N. E. • Telephone WAInut 6866-7 ATLANTA 3, GEORGIA 628 Lee St., S. W ., at Gordon • Telephone FR 2168 Again this year Colonial Stores invites you and your family to enjoy its special series of five Colonial-sponsored SUNDAY AFTERNOON FAMILY CONCERTS with the Atlanta Symphony Orchestra directed by Henry Sopkin and featuring well-known guest artists Dates: N ovem ber 29, 1953; December 13, 1953; January 10,1954; February 28, 1954; March 28, 1954 Tim es: Sunday at 3:30 p. m. Doors open 2:30 p. m. P la ce : Atlanta Municipal Auditorium Tickets: Free from your Colonial Store Manager COLONIAL& STORES A SOUTHERN INSTITUTION FOR OVER HALF A CENTURY PROGRAM N O T E S ................................... # Continued suggest, the soloist not only acting the surprise of death but commenting upon it. The contralto soloist describes the book of records wherein the deeds of men are recorded to the accompaniment of the chorus muttering Dies Irae. The avalanche of terror is followed by the lovely trio and lament of unworthiness. , The Judge takes his seat, greeted by that magnificent Rex tremendae majestatis,” which is followed by pleas for salvation, and acclaim to the King of Heaven. Of particular interest is the composer s dramatization of two aspects of prayer for salvation, one, piteous; the other fearful. Once more the Dies Irae descends to give place to the Lacrymosa, de­ picting the pathos of resignation. The movement ends in the liturgical, de­ votional atmosphere of the opening Dona eis requiem. The next movement is designated as the Offertorium and it shares with the Agnus Dei the distinction of containing the most ecclesiastical music of the score. Between these two movements is the Sanctus, a vivid contrast to the rest of the work, with two choirs singing the entire Sanctus, Pleni, Benedictus and Hosanna in one unbroken double fugue. The final movement of the Requiem is the Libera M e. The Dies Irae phrases are reintroduced; again the fugue, the most important feature, pos­ sesses an emotional intensity unassociated with the form. The final section suggests conspiracy and supplication. The beginning is recalled with the choir kneeling and whispering Libera me, Domine, de morte aeterna. Only appeal for mercy remains, now so abject it is spoken rather than sung. ( Continued) ????????????????????? ????????????????????? ?? IS YOUR PROPERTY ?? W WISELY INSURED 9 9 ????????????????????? 999999999999999999999 • •••••••••••••••••••• •••••••••••••••••••a* • •••••• , _ ••••••• YORK 9• 9•••••• 9 9 9 9 9 IZSffilOTi— — — —-I 9_______ 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 • • • • • • • *•••••• Refrigeration 9 9 9 9 9 9 9 9 9 9 9 9 9 9 • • • • • • • ••••••• 9 9 9 9 9 9 9 - -••••• ??????? 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Main Street PROGRAM NOTES Continued The following passages contain a translation of the Latin text to a Requiem Mass and an indication of the vocal forces employed by Verdi. I. Requiem and Kyrie (Chorus and soloists) Requiem aeternam dona eis Domine: Grant them eternal rest O Lord: and let ever- et lux perpetua luceat eis. lasting light shine on them. Te decet hymnus, Deus, ex Sion, et To thee, O God, praise is meet in Sion, and tibi reddetur votum in Jerusalem. unto thee shall the vow be performed in'Jerusa- Exaudi orationem meam: ad te omnis lem.
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