AtlantaTHE MONTHLY MAGAZINE OF THE ATLANTA MEMORIALArts ARTS CENTER FEBRUARY 1973 American comfort, European handling. They meet in Monte Carlo.

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More than a repository, The Atlanta Memorial Arts Center continues its forward thrust, its dedicated presentation of the arts as a force in today's life, an inspiration for tomorrow's. Rich's salutes the gifted men and women who have made this so. and now our second location 107 Peachtree Street. N.E.. Phone (404) 522-4786 Atlanta, Georgia 30303 Of Special interest AT THE CENTER

ATLANTA SCHOOL OF ART Don’t go School Strides Toward National Recognition through The Atlanta School of Art has ac­ life cepted an invitation to entry-year mem­ without bership in the Union of Independent Colleges of Art (U.I.C.A.), beginning your own with the next academic year. The U.I.C.A. is an educational consortium, personal which was formed in 1966 to serve the life special needs of the professional college of visual arts. Its present membership consists of the following nationally-recog­ nized colleges: California College of Arts & Crafts, School of the Chicago Art Insti­ tute, Cleveland Art Institute, Kansas City Art Institute, Maryland Institute College of Art, Minneapolis College of Art and Design, Philadelphia College of Art, Rhode Island School of Design and San Francisco Art Institute. Goals of the U.I.C.A., as set down by its Board of Directors—the chief exec­ utives of the member institutions, are to A NEIGHBOR TO facilitate communications on matters of mutual concern; to create joint programs which serve common needs; to develop new instructional and operational re­ sources; to encourage basic research in the disciplines of art and design educa­ tion; and to secure broad-based support for professional education in the visual arts. Much is being done by the consort­ ium to achieve these goals. The programs now in operation serve a plurality of needs such as cooperative support for curriculum development, summer grants for individual faculty, faculty and stu­ dent inter-campus work, joint-use film center, exchange of library resources, professional personnel development, and cooperative admissions work, including the Mutual Application Plan (MAP). Advantages of the School’s membership in U.I.C.A. and participation in its nu­ merous programs are obvious. The Atlanta School of Art is Georgia’s continued symbol of a quest

As surely as lite rose from the sea, the future of life depends on it. It is the salient feature of the globe. Its fate is ours. With population rising, some scientists talk of farming the oceans. Others speak of extracting products from igneous rock and seawater. But whatever men may evolve, the role of the sea in the chemistry and health of our planet is crucial. The better we understand it, the better our chances of protecting the ecological balance among all of earth's creatures—from marine life to man. Yet, even while fact displaces mystery, our awe of the sea endures. The pecten shell is an emblem for companies known around the world. But its beauty is no less in its origin than its form. And it reminds us to keep a sense of urgency in the quest for knowledge of our environment. only fully-accredited professional college of visual arts. Applications for ad­ mission to its degree program will be received until June 30. The deadline for the First-Year Scholarships program is February 15. For further information, write or call the School’s Director of Admissions.

ALLIANCE THEATRE COMPANY

"The Glass Menagerie" to Feature Actress Kim Hunter “The Glass Menagerie” will be pre­ sented by the Alliance Theatre Company February 1 through February 17. “The Glass Menagerie” opened in New York in 1944 winning the N. Y. Critics Circle Award for the finest play of the year and continued to run on Broadway for almost two years. It was Tennessee Williams’ first big success and many con­ sider “The Glass Menagerie” to be the finest of his works. Its merits have not diminished over nearly three decades. “The Glass Menagerie” remains the simplest, closest to the heart, most ap­ pealing, and to some, the most poetic of Williams’ creations.

Kim Hunter will appear in “The Glass Menagerie.” Much has been made of the fact that Tours and Cruises ... this drama is autobiographical. Williams, of course, frankly admits that the charac­ by Air and Steamship ters of the fading Southern mother living in her magnolia-scented past, and her shy daughter Laura dwelling in her world of glass animals derive from his sister and mother. The author himself, with mod­ ATLANTA TRAVEL AGENCY ifications, is the restless Tom. I’ ' 217 Georgia Life & Health Building One of America’s foremost actresses, 66 Luckie Street, N.W. continued Atlanta, Georgia 30303-Alex Hitz. Jr. You have great ideas about fashion and they come to life at Sears Miss Kim Hunter, who won an Acad­ emy Award (1952) for her portrayal of Stella Kowalski in “A Streetcar Named Desire,” will play the role of Amanda Spend the day at in ATC’s production of “The Glass Menagerie.”

ATLANTA SYMPHONY ORCHESTRA

Subscription Programs Offer Variety for February Subscription programs planned for February will bring an interesting mix­ ture of musical taste ranging through Schumann’s 4th Symphony, Lutoslaw- ski’s Musique Funebre and the complete War Requiem by Benjamin Britten. Polish conductor Georg Semkow conducts the first subscription concert on February The full-size fashion store 1, 2 and 4. at Phipps Plaza —with great clothes for the whole family­ home fashions, too, including interesting antiques.

And marvelous gifts we found for you all over the world, many available only at Georg Semkow, Guest Conductor for Atlanta Sym- Lord & Taylor. phony.

Formerly Artistic Director of the Stay for luncheon or tea Royal Opera House in Copenhagen and today an esteemed guest conductor the in our enchanting Bird Cage world over, Semkow has held numerous restaurant, open every positions internationally, including posts with the Bolshoi Opera in Moscow and shopping day. at the National Opera of Warsaw. Mak­ ing his U.S. debut in 1968, the maestro Lord & Taylor, Phipps Plaza has conducted the New York Philhar­ Peachtree Road between Wieuca monic as well as the Boston, the Chicago and the Cleveland Symphony Orchestras. and Lenox Roads—266-0600 Semkow’s program will feature Mozart’s Open Monday thru Saturday Divertimento in D Major; Lutoslawski’s Musique Funebre; Wagner’s Prelude and 9:30 a.m. to 5:30 p.m. Liebestod from “Tristan and Isolde” and Open Monday and Thursday Schumann’s Symphony No. 4 in D minor. evenings until 9:00 p.m. The 10th subscription concert on Feb­ ruary 15, 16 ad 17 will feature Benjamin continued following program notes Concert Season In Europe If you cannot be in Europe this season you can still enjoy the sound of Europe's greatest musicians performing in the Con­ tinent's most superb concert halls. London Imports magnifi­ cent recordings offer everything you might hear and more! JONpONJ IMPORTS CARMINA BURANA VOLUME FZ DAS KVNWl’ENWERK COMPLETE CANTATAS VOLUME 5

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presents KIM HUNTER

Tennessee Williams’ THE GLASS MENAGERIE with NIKI MERCER FLACKS HARRIS and JAMES SECREST

Directed by DELBERT MANN

Scenic & Lighting Designer LEWIS S. GREENLEAF, III

Costumes by RUTH HOWELL

Production Manager ROBERT J. FARLEY

DAVID BISHOP — MANAGING DIRECTOR The ^2^4 Per mam atic You may want another one someday but you'll probably never need a new one.

Stamp on it, pummel it, bury it at the bottom of the baggage cart. The Lark Permamatic will come out looking as good as new. A unique new con­ struction makes it virtually in­ destructible, yet featherlight. In short, it’s one of the world’s greatest travel investments. In a variety of sizes and cover­ 23" x 17" x 7%" In black or ings at better stores. navy blue nylon 155.00 ® ' Luggage Corp., Empire State Building, N.Y. Copyright 0 1971, 1972, I^ark Luggage Corp. All rights reserved. Made in U.S.A. THE GLASS MENAGERIE by Tennessee Williams CAST The Mother...... KIM HUNTER Her Son ...... JAMES SECREST Her Daughter ...... NIKI FLACKS The Gentleman Caller MERCER HARRIS SCENE: AN ALLEY IN ST. LOUIS Part I: Preparation for a Gentleman Caller. Part II: The Gentleman Calls TIME: Now and The Past

---- THERE WILL BE ONE INTERMISSION ----

DELBERT MANN, a director and producer of motion pictures, TV and stage, received an Academy Award and the Directors’ Guild Award for his first film assignment, Marty, in 1955. A graduate of Vanderbilt University and a student at the Yale School of Drama, Mr. Mann’s numerous other directorial awards include “Filmdom’s Famous Five” directors (Film Daily ’55 & ’62) and “Top Money-making Director of 1962” for Lover Come Back and That Touch of Mink. His stage experience includes Director, of A Quiet Place, starring Tyrone Power; Speaking of Murder, Broadway suspense drama; opera version of Wuthering Heights at the New York City Center. He has directed over 100 TV shows, including productions for Omnibus, Playhouse 90, Ford Jubilee, Philco Playhouse, and Playwrights ’56, Our Town starring Frank Sinatra and The Plot to Kill Stalin. Mr. Mann has directed many of the finest actors in this country and Britain. His very impressive and extensive list of motion picture directorial credits reflects his outstanding versatility and talent: Marty (Ernest Borgnine); Desire Under the Elms (Sophia Loren, Anthony Perkins, Burl Ives); Separate Tables (David Niven, Deborah Kerr, Burt Lancaster); Middle of the Night (Frederic March, Kim Novak); The Dark At the Top of the Stairs (Robert Preston, Dorothy McGuire); The Outsider (Tony Curtis, James Franciscus); Lover Come Back (Rock Hudson, Doris Day); That Touch of Mink (Cary Grant, Doris Day); Dear Heart (Geraldine Page, Glenn Ford); Heidi (Michael Redgrave, Jean Simmons, Maximilian Schell); David Copperfield (Laurence Olivier, Ralph Richardson, Dame Edith Evans) Jane Eyre (George C. Scott, Susannah York) Kidnapped (Michael Caine, Trevor Howard) and most recently The Man Without A Country, TV special which will be aired April 10th.

☆ ☆ ☆

The Alliance Theatre Company would like to express sincere appreciation to the following firms and individuals for their assistance in our operations: HANS FRABEL BENTLEY OFFICE EQUIPMENT CO. — Augusta, Ga. ATLANTA COSTUME COMPANY GOODWILL INDUSTRIES THE TURNAGE HOUSE LTD. OF ATLANTA BLAIR’S FLORIST Unicorns designed by D. LILLIE — Underground Atlanta ABB DICKSON PRODUCTIONS THE JACK DANIEL’S MAINTENANCE CREW puts in a lot of overtime to help give our Tennessee Whiskey its rare, sippin’ smoothness. Mainly, they see that our whiskey equipment is kept in good condition. And, since some of this machinery dates back to Lem Motlow’s day, you can be sure it needs some looking after. But we’re not about CHARCOAL MELLOWED to change our machinery until we simply have to. You see, we might unwittingly change 6 DROP the way we make whiskey. And neither the maintenance crew nor anyone else would 6 BY DROP want to take a chance on that.

C 1972, Jack Daniel Distillery, Lem Motlow, Prop., Inc. TENNESSEE WHISKEY • 90 PROOF DISTILLED AND BOTTLED BY JACK DANIEL DISTILLERY • LYNCHBURG (POP. 361), TENNESSEE KIM HUNTER

KIM HUNTER is one of America’s foremost actresses. Her triumphant Broadway debut as Stella Kowalski in A Streetcar Named Desire won her a Donaldson Award and the Variety New York Drama Critics Poll. Four years later she repeated that memorable performance for the motion picture version, again opposite Marlon Brando, and was the recipient of an Academy Award for her performance. Her Broadway roles include outstanding performances as Luba in Darkness At Noon, Karen Wright in the revival of Lillian Hellman’s The Children’s Hour, Sylvia Crewes in The Tender Trap, Julia Sturrock in Write Me A Murder, and Wilson in Gore Vidal’s Weekend. Last year she played Catherine in the National Tour of And Miss Reardon Drinks A Little. Dozens of other stage roles include Rosalind in As You Like It, Helen in Troilus and Cressida and the first witch in Macbeth at the American Shakespeare Festival; Cora in The Dark at the Top of the Stairs; Lady Torrence in Orpheus Descending; Billie Dawn in Born Yesterday; Jere Halliday in The Disenchanted; Alma Wine­ miller in Summer and Smoke; Hester in Hello and Goodbye and Emily Dickinson in Come Slowly, Eden for the ANTA Matinee Series at the Theatredelys; Marsha in The Three Sisters—For the past several years, she has been kept busy filming the extraor­ dinarily successful futuristic films, Planet of the Apes, Beneath the Planet of the Apes, and Escape From the Planet of the Apes. Among her many other films are Stairway To Heaven, Deadline: USA, Anything Can Happen, The Young Stranger, Storm Center, Lilith, and The Swimmer. Her television appearances over the years are many and varied, including Requiem For A Heavyweight, The Prodigal, and the oft-repeated Give Us Barabbas. Within the past year or so she was seen as guest performer on Columbo, Cannon, Night Gallery, Medical Center, Owen Marshall, Attorney At Law, Dr. Kildare, The Evil Touch, Mission Impossible, Love American Style. She has just returned from California filming of the NBC-TV Mystery Movie, The Magician, to be aired March 24, this year. meet umbari

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™Travelworld is a registered trademark. I______NIKI FLACKS, who is making her first appearance with ATC, joined the famed Tyrone Guthrie resident company in Min­ neapolis immediately upon graduation from Northwestern Uni­ versity and played the Step-daughter in Six Characters In Search of an Author directed by Dr. Guthrie; Way of the World and Caucasian Chalk Circle. She has since played many leading roles in other major repertory theatres across the country including Juliet in Romeo and Juliet at the Detroit Classic Theatre, Ger­ aldine in What the Butler Saw at Arena Stage in Washington, D.C.; The Rivals at Long Wharf and Once Upon A Mattress at the Front Street Playhouse. Miss Flacks made her Broadway debut in the all-star revival of Dinner At Eight and has played numerous national tours including West Side Story (Maria) with Richard Chamberlain, Fiddler on the Roof (Hodel) with Leonard Nimoy and Company (Amy). Soap opera lovers will remember her as Karen Martin on “One Life to Live,” a role which she played for two years; and, Cindy Stevens in “The Nurses.” Miss Flacks was just ap­ pointed Affiliate Artist for Woodstock, Illinois and is currently part of an improviza- tional comedy group, “Off The Wall” performing in cabarets around New York City.

MERCER HARRIS, a native Georgian, is making his first ap­ pearance with ATC this season. Mr. Harris recently appeared in Don Tucker’s hit cabaret musical Circus at the Wit’s End. Prior to that he was on the coast acting in television and film. He has appeared in numerous network television shows including The Virginian, Ironsides, Marcus Welby, M.D., Dragnet, and Name of the Game. His feature film credits include Death of A Gunfighter with Richard Widmark, Hail Hero with Arthur Kennedy, Devil’s Brigade with Leslie Nielson, and Thousand Plane Raid. Mr. Harris has an impressive background in theatre including repertory and summer stock productions all over the country as well as Atlanta productions. Local theatre-goers will remember him from Theatre Atlanta productions as Riccardo in The Deputy, Eugene in Look Homeward Angel and a Player in Oh, What a Lovely War. At the Arizona Theatre Festival he played Hal in Picnic and Paul in Barefoot In the Park. At the Carousel Theatre he appeared as Matt in The Fantasticks, and as Jimmy in The Rainmaker, and at the Circle Theatre he played major roles in Summer and Smoke and Look Back in Anger. Mr. Harris has studied theatre at Baylor University, H. B. Studios in New York, and the American Conservatory Theatre in San Francisco, as well as with Estelle Harman, Uta Hagen, Marion Rich, and Jeff Corey. JAMES SECREST has appeared at the Arena Stage, Washington, D.C., Stage West, Springfield, Mass, and leading stock com­ panies throughout the country. He appeared in the Los Angeles revival of Come Back, Little Sheba with Shirley Booth and was Pulver in Mr. Roberts with Robert Wagner and also with Robert Stack. He toured in Paul Shyre’s A Whitman Portrait and co­ starred with Zina Bethune in Barefoot in the Park. A graduate of UNC, Secrest lists The Girl in the Freudian Slip as his first Broad­ way assignment, a role he repeated with Alan Young in Chicago and with Don Ameche in Florida. Television audiences have seen him on Rawhide, Dr. Kildare, 12 O'Clock High, as Andy Cummings on Another World and most recently in the Frank McCarthy production, Fireball Forward for ABC’s Movie of the Week. Secrest appeared in the movies Fate is the Hunter with Glenn Ford and Fear No Evil with Louis Jourdan. Among his favorite roles are Nick in Who’s Afraid of Virginia Woolf? Geoffery in The Lion in Winter and Joe in The Only Game in Town. GALLERY OF ART ON PEACHTREE Reflections. Prism-like. Casting a multi-faceted brilliance of colors, designs, images, dimensional shapes. Contemporary oils, graphics, sculpture. The Impressionists. Old Masters prints. Works by Picasso... Dali.. Max.. Chagall... Calder.. Miro. The greats. The promising unknowns. Some international. Some local.

Reflections. A most extraordinary gallery of art. Casting a brilliance of imagination.

______3445 Peachtree Rd., N.E., Suite One/Atlanta, Ga. 30396/(404) 933-1912 ___

Ballet, theatre, music —the performing arts contribute immeas­ urably to the cultural richness that enhances the quality of life in Atlanta. At The Baier Corporation, we seek to contribute to Atlanta's quality of life through the "building arts"... by offering fine construction and careful preserva­ tion of the natural environment... in all of our developments, from the sylvan beauty of our new "Woods Mill" apartment community in Cobb County to the spacious luxury of our "Lions Gate" condominium townhouses in Druid Hills. Make an appointment to see The Baier Corporation's contribution to the finest art of all—the art of living.

2630 The Equitable Building ALLIANCE THEATRE COMPANY DAVID BISHOP — MANAGING DIRECTOR

Administrative Staff: Director of Special Projects ...... Victoria Mooney Public Relations Director ...... Micki Hobson Public Relations Assistant ...... Sue Deer Secretary ...... Barbara Steele Subscription/Box Office Manager...... Tom McGrane House Manager/Adm. Asst...... Michael Malloy Photographer ...... Charles Rafshoon

Production Staff: Production Manager ...... Robert J. Farley Stage Manager ...... Dan B. Sedgwick Designer ...... Lewis S. Greenleaf, III Costumer ...... Ruth Howell Technical Director ...... Dwight Creel Properties ...... Edward Rosendahl Lighting Technician ...... Rick Hammond Sound Engineer ...... Winston S. Cunningham Carpenters ...... Chick Miller, Kenneth Wilson, James Word Production Assistant ...... Keith Glover Wardrobe Assistant...... Clara Spradlin

STUDIO COMPANY ALLIANCE THEATRE SCHOOL Fred Chappell, Director Fred Chappell, Director Cathy Friedman Bonnie Huff Patti Miller Susan Orpin, Administrator Ellanor Cullens Baxter Joy Robert Pagliaro Judy Fraser John McCorkle David Traylor John Averyt Corry McCrary

FLOWERS FOR THE ALLIANCE THEATRE WERE DONE BY Fairtieri Florier Shop SINCE 1917

FLORAFAX — FTD/AFS

1026 Sycamore Drive, Decatur — 378-1721 1094 Green Drive, Roswell — 993-6861 Ackerman & Company. We’re helping turn the vi­ sions of a greater Southeast into something concrete. And steel. And glass. Whether it’s brokerage or development, whether it’s Charlotte's newest bank building, Orlando’s newest office park, or Atlanta/Deca- tur’s West Court Square, you’ll find us at work. Ackerman & Company and the new Southeast. We can’t think of a nicer place to grow. ackerman & co. brokers and developers Atlanta, Charlotte and Orlando

checks and stripes in Hemisphere cloth ... The Atlanta Wine Society polyester/wool worsted, Tastings, Gourmet Dinners, Magazines, here in Romano styling. Wine Tours, Wine of the Month Program. Lapels wider, flaps deeper, For information, write: center vent higher, image P.O. Box 1 3451, Station K, Atlanta, faultless. 140.00 to 150.00, Georgia, 30324. at all Atlanta Davison’s. Over 1 300 members. ATLANTA Subscription Concerts SYMPHONY Thursday and Friday evenings 8:30 February 1 and 2, 1973 ORCHESTRA Sunday afternoon 2:30 ROBERT SHAW February 4, 1973 Music Director GEORG SEMKOW Conducting and Conductor

PROGRAM

Witold Lutoslawski *‘“Musique funebre,” for String Orchestra (1958) Prologue—Metamorphoses—Apogee—Epilogue

Wagner Prelude and Liebestod from “Tristan und Isolde” (1857-59)

INTERMISSION

Mozart Divertimento in D major for String Orchestra, K. 136 (1772) Allegro Andante Presto

Schumann Symphony No. 4 in D minor, Op. 120 (1841, revised 1851) Ziemlich langsam — Lebhaft (Un poco lento — Vivace) Romanza: Ziemlich langsam (Un poco lento) ( Scherzo — Trio: Lebhaft (Vivace) j Finale: Langsam — Lebhaft (Lento — Vivace) (Played without pause)

* First performance at these concerts.

The use of recording devices or cameras during concerts is strictly prohibited.

IF YOU CANNOT USE YOUR TICKETS FOR A SINGLE PERFORMANCE please call our Box Office—892-2414 NO LATER THAN 5:00 P.M. ON THE DAY OF THE CONCERT and release your location for resale for the benefit of the Symphony. Tickets thus released constitute a TAX DEDUCTIBLE CONTRIBUTION for Fed­ eral and State Income tax purposes. You may request a receipt for your tax records. Vve re sort of between the Governor’s Mansion and Neiman-Marcus. Which is precisely where erators with ice makers, and you would expect to find individual washer/dryer units Atlanta's most convenient and are conveniences which posi­ attractive rental residences — tion The Paces far above every The Paces. other Atlanta rental property. Situated in the heart of Thus we feel confident that Northwest Atlanta, the advan­ overall convenience, privacy, tages of Paces' living begin with and attractiveness are present its proximity to the finest throughout every aspect of life shopping areas, the most at The Paces. If you find such a distinctive residential neighbor­ lifestyle personally appealing, hoods, and downtown Atlanta. we invite you to call 237-7759 or All of this location conven­ come to visit The Paces between ience is enhanced still further by 10:00 a.m. and 5:00 p.m. week­ the quiet, relaxed atmosphere days, and on Sundays beginning and styling of The Paces. The one hour later. beautifully landscaped grounds are immaculately kept by a truly professional staff, as is the se­ cluded pool and garden house area. Two- and three-bedroom styles are ready for occupancy. Many feature large wood­ burning fireplaces and hand­ some dens,and even the smallest Paces residence offers over 1500 square feet of functional and yet graceful living space. Large separate-entrance foyers, nine- foot ceilings, frost-free refrig­ PROGRAM NOTES BY PAUL AFFELDER

Musique funebre for String Orchestra pear in Musique funebre are unintentional. Witold Lutoslawski (1913- ) And if these resemblances do really exist, then this proves once again the undeniable fact that Witold Lutoslawski, regarded by many as studying the works of Bartok has been one of Poland’s foremost living composer, wrote his the fundamental lessons to be taken by the ma­ musical work at the age of nine. Taking up jority of composers of my generation. the study of the violin when he was eleven, he switched to the piano three years later. He "Musique funebre is a work in one move­ studied at the Warsaw Conservatory between ment, composed of four successive sections: 1933 and 1937, earning diplomas in piano and Prologue — Metamorphoses — Apogeum—Epi­ composition. Following a struggle for exis­ logue. The Prologue, which is constructed in tence during World War II, Lutoslawski came the form of alternating several-part canons (2, into his own as a composer in the decade be­ 3, 4, 6 and 8-part), is based on the 12-tone tween 1945 and 1955. During that period, his row. This series, which only includes two in­ work was strongly influenced by folk music. tervals (tritone and minor second), guarantees In using folk material, however, he did not the harmonic homogeneity of the work. follow the trend of his musical forebears in “The Metamorphoses begin with the slow neighboring Russia, who transcribed folk songs rhythm of the Prologue, but as they unfold, and dances in fairly straightforward fashion; they attain a violent presto, due to the division instead, he transformed folk music often quite of rhythmical values. radically, somewhat in the manner of Bela Bartok. “The Apogeum, the culminating point of the work, is characteristic in its harmonic structure, Bartok, as a matter of fact, was one of based on chords comprising all the twelve Lutoslawski’s musical idols. Between 1956 tones of the scale. The twelve parts are grad­ and 1958, he composed his Musique funebre ually drawn toward the middle reg’ster where (Funeral Music) for String Orchestra and ded­ they form a unison, and it is with this that the icated it to the memory of the Hungarian Epilogue commences, fortissimo. master, who died in 1945. This is one of the works that has brought the name of Lutoslaw­ “This final section, in which the structure ski to American audiences. Others are the is analagous to that of the Prologue, returns Concerto for Orchestra, written between 1950 to the initial slow rhythm. The canons appear and 1954 and still his most-performed com­ here first in their most complex form (8-part), position; the early variations on a Theme and then simplify by degrees (becoming 6, 4 of Paganini for two pianos, which dates from and 2-part respectively) and finally leave the 1941, and Jeux Venitiens (Venetian Games), last work to a solo violoncello. written in 1961, the first work in which he “The work was written for a normal string made use of aleatoric—or chance—techniques. orchestra (44-66 musicians) divided into 10 The man himself has paid two visits to our sections: violins I, II, III, IV, violas I, shores, once during the summer of 1962, when II, cellos I, II, and double basses I, II.” he taught composition at the Berkshire Music Center in Tanglewood, Lenox, Massachusetts, (Copyrighted) and again for two weeks in the summer of 1966, when he was composer-in-residence at Dartmouth College’s Hopkins Center Congre­ Prelude and Finale from Tristan und Isolde gation of the Arts in Hanover, New Hamp­ Richard Wagner (1813-1883) shire. For many years, there has existed a general The composer himself wrote the following misunderstanding and misnaming of the two notes on his Musique funebre. They are in­ most famous excerpts from Wagner’s great cluded in a book about Lutoslawski and his music-drama about the two immortal lovers, music, a collection of essays by and about the Tristan and Isolde. Practically every concert composer, edited by Ove Nordwall. The pres­ program lists the Prelude and Finale of this ent notes, written in French, were translated opera as “Prelude and Liebestod.” by Christopher Gibbs. When Wagner conducted these two excerpts “In dedicating my Musique funebre to the at a concert in Vienna in 1863—the same year memory of Bela Bartok, I have wished, within in which he completed the opera—he pro­ the limits of my capabilities, to honor the grammed them as Vorspiel (Liebestod) and tenth anniversary of the death of the great Schluss (Verklarung)—Prelude (Love Death) composer. While writing this piece I have not and Finale (Transfiguration). William Ashton sought inspiration among Bartok’s own music, Ellis has translated the program note that and any eventual resemblances which may ap­ Wagner himself wrote on that occasion: A polished performance in aluminum with amber glass. "One nice thing after another "from

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They love each other. turned from their second successful tour of From the first stifled moan of speechless long­ Italy, and they were to leave again in the fall ing, from the faintest tremor to unpent avowal of 1772 for their third visit. It was Einstein’s of a hopeless love, the heart goes through each opinion that Mozart planned to take these phase of unvictorius battling with its inner three works with him to Milan where, if some fever, till, swooning back upon itself, it seems additional symphonies were needed, he could extinguished as in death. convert them into “instant symphonies” “(b) Finale (Transfiguration). merely by adding parts for oboes and horns to double and reinforce the string parts. “Yet, what Fate divided from this life, in death revives transfigured; the gate of union Regardless of its name or its intention, the opens. Above the body of Tristan, dying Divertimento in D Major (K. 136) is a de­ Isolde sees transcendent consummation of lightful work full of good musical ideas and their passionate desire, eternal union in un­ quite remarkable for a lad of only sixteen. measured realms, nor bond nor barrier, in­ Either by design or accident, there is a the­ divisible!” matic relationship between the opening Allegro and concluding Presto. Though the first violins It was Franz Liszt who was responsible for dominate the entire composition, there is a transferring the name Liebestod from the Pre­ short fugal development in the latter move­ lude to the Finale. In preparing his piano ment. The middle movement is a rather transcription of the Finale, he used as an in­ stately Andante. troduction a brief passage from the Love Duet in the second act, in which the word Liebestod (Copyrighted) appears. Consequently, he called his tran­ scription of the Finale Liebestod, and the mis­ nomer has stuck to this day. Symphony No. 4 in D Minor, Op. 120 The music of the Prelude, compounded Robert Schumann (1810-1856) from themes in the music-drama, soars to great On May 31, 1841, Clara Schumann wrote heights of ecstasy. Ending on a sombre note, in the joint diary kept by her and her husband: it presages the tragic but beautiful story that "Robert began yesterday another symphony, is to unfold on the stage. which will be in one movement, and yet con­ In the Finale, Isolde arrives too late to save tain an Adagio and a finale. I have heard the dying Tristan; calling her name, he falls nothing about it, yet I see Robert’s bustle, and lifeless at her feet. Oblivious of all around I hear D minor sounding wildly from a dis­ her, Isolde bends tenderly over her dead lover, tance, so that I know in advance that another and sings of the eternal rapture that shall be work will be fashioned in the depths of his theirs as she joins him in death. soul. Heaven is kindly disposed toward us; Robert cannot be happier in. the composition (Copyrighted) than I am when he shows me such a work.” But Schumann was not altogether happy with his new symphony, which he completed and presented to Clara on her birthday, Sep­ tember 13. His First—or Spring—Symphony Divertimento for Strings in D Major (K. 136) had appeared the preceding January, shortly Wolfgang Amadeus Mozart (1756-1791) after he and Clara were married. The D Minor Symphony, which followed, still shows At the beginning of 1772, Mozart, just signs of the joy he felt on having finally won turned sixteen, composed three so-called diver- her hand. But this work was very cooly re­ timenti (K. 136-8). The words “so-called” are ceived at its premiere, which took place at a used advisedly, since authorities have doubted Gewandhaus Concert in Leipzig, conducted by that Mozart himself named them divertimenti. Ferdinand David, on December 4, 1841. Schu­ In the eighteenth century a divertimento im­ mann offered it for publication two years later plied a composition of six or seven movements, as his “Second Symphony, Op. 50,” but with­ two of which were minuets. Each of the out success, and the score ultimately fell into present group is in only three movements, the hands of Johannes Brahms. none of which is a minuet. One edition of Mozart’s works goes so far as to group them No more was heard of the D Minor Sym­ with his string quartets, though their style phony until 1851, when Schumann made cer­ would not indicate that they were intended for tain revisions in the score and did a consider­ that medium either. able amount of reorchestrating. In the mean- BUSINESS IS OUR ONLY BUSINESS.

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Behind the Sculpture 1801 Piedmont Avenue, N.E. Peachtree Center Atlanta, Georgia 30324 time, however, he had composed his Sym­ Schumann first called this symphony a “sym­ phonies in D Major, Op. 61, in 1846, and E phonic fantasia,” and when it finally was pub­ flat Major (Rhenish), Op. 97, in 1850. Con­ lished it bore the title, Introduction, Allegro, sequently, when this revised version of the D Romanze, Scherzo and Finale, in One Move­ Minor Symphony was published in 1851, it ment. The four movements of the work, then, became the Symphony No. 4, Op. 120. The are meant to be played without pause, which composer himself conducted the work for the was rather a novelty in Schumann’s day. But first time in its new form at a concert of the the composer has given the symphony much Allgemeine Musikverein in Dusseldorf on greater unity than that. The theme of, the March 3, 1853, and this time it met with a Introduction is heard again as the middle sec­ most favorable reception. It is in this revised tion of the Ronianze and again as the trio—or form that the symphony is always played to­ contrasting middle section—of the Scherzo, day. while a theme from the first Allegro figures as a harmonic underlay in the Scherzo and as the The earlier version bore no dedication, nor basis for the principal subject of the Finale. does the printed score of the revised version; Closer examination of the score will reveal but on the autograph of this later score Schu­ other thematic relationships, but the ones mann wrote: “Sketched in the year 1841, mentioned will serve as a rough guide to the newly orchestrated in 1853. When the first listener. strains of this symphony were conceived, Joseph Joachim Was a little fellow. Since The symphony is scored for two flutes, two then the symphony, and still more the little oboes, two clarinets, two bassoons, four horns, fellow, has grown; wherefore I dedicate it to two trumpets, three trombones, kettledrums him—though in secret.” In this way, Schu­ and strings. mann paid his respects to one of the greatest violinists of the nineteenth century. (Copyrighted)

GEORG SEMKOW — Born in Radomsk, ances on the podiums of the major orchestras Poland, Semkow began his musical education and opera houses in Europe and the United at the Conservatory of Music in Crakow. In States and toured Japan and the Far East with 1950, he received a scholarship award as the the London Philharmonic in addition to its result of which he became an assistant to performances in England, and made record­ Eugene Mvravinsky, the celebrated conductor ings including that of Scriabin’s Second Sym­ of the Leningrad ensemble and then became phony. Mr. Semkow made his United States a leading conductor of the Bolshoi Opera in debut in December, 1968 with the Boston Moscow, directing over 100 performances dur­ Symphony Orchestra to great acclaim. Subse­ ing the three year tenure. Returning to his quent appearances in that country have been native Poland in 1959, he was appointed per­ with the New York Philharmonic (April, 1969) manent conductor and artistic director of the and the Chicago Symphony Orchestra. He National Opera of Warsaw and pursued further made his debut with the Cleveland Orchestra studies with Tullio Serafin in Rome and Bruno in December of 1970 and conducted a tour of Walter in Vienna. Since 1966 he has been the Eastern United States climaxing with an Artistic Director of the Royal Opera House in appearance at New York’s Carnegie Hall. Copenhagen, Denmark and has made appear­ the stereo shop

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ROBERT SHAW Music Director and Conductor William F. Noll Ass’t to the Music Director Michael Palmer John Head Alan Balter Associate Conductor Assistant Conductor Apprentice Conductor

FIRST VIOLIN BASS TRUMPETS Martin Sauser, Dale Schmidt, John Head Concertmaster Principal Principal Robert Harrison, Jane Little, Joseph Walthall Associate Concertmaster Associate Principal Larry Black David Arenz John Zugel TROMBONES Oscar Pereira Randolph Ujcich Benjamin Picone Thomas Thoreson Harry Maddox Patricio Salvatierra Michael Kenady Principal Jaqueline Anderson Wiley Weaver Richard Hansbery Barbara Beck Harvey Kaufman Donald Wells Frank Walton FLUTES BASS TROMBONE Judy Berman Benedict Martha Reaves Head Warren Little Donald Wells Susan Pitard Principal TUBA Paul Brittan Mary Kay Robinson Michael Moore James White Benson Prichard Lorentz Otzen PICCOLO TIMPANI Shalom Ben-Uri Benson Prichard Eugene Rehm Principal SECOND VIOLIN OBOES Jack Bell Willard Shull, Joseph Robinson Assistant Principal Principal Principal PERCUSSION William Rusconi Eric A. Barr Jack Bell Anita Cahoon Ass't Principal- Principal Alice Oglesby Principal Second Oboe William Wilder Ronda Respess Patrick McFarland Linda Smith ENGLISH HORN HARP Karen Matthews Judy Beattie Valerie Gardner Patrick McFarland Richard Robinson KEYBOARD Edward Scruggs CLARINETS William F. Noll Frances Henrickson Alan Balter Michael Palmer Leslie Clark Principal Frances Arm Norman Baker PERSONNEL MANAGER Stephen Horvath Associate Principal Martin Sauser Robert Wingert PERSONNEL MGR. EMERITUS VIOLAS Douglas Smith Harry Robkin Robert Jones, BASS CLARINET Principal Douglas Smith LIBRARIAN Peter Bertolino Stephen Horvath Enid Jones E-FLAT CLARINET John Detrino Norman Baker STAGE MANAGER Michael Destazio Heidi Moss BASSOONS Robert Parcells MASTER ELECTRICIAN Marion Kent Carl Nitchie Haskell Marrinson Principal Robert Spradlin Ardath Cohen Daniel Dowdakin Assistant Principal CELLOS Charles Nussbaum Donovan Schumacher CONTRA BASSOON Principal Daniel Dowdakin Edmund Basson, Ass't Principal FRENCH HORNS Jere Flint John Henigbaum Nan Barker Principal Paul Warner Jeanne Andrus Kathleen Kee John Keene Kay Lortz Brice Andrus Bonita Potts Christopher Scheufler Bruce Klingbeil Eleanor Hodges Building with Atlanta It takes more than sticks and stones to build a great city It takes foresight, planning DO SOMETHING and faith Any city is only as great as its people, their homes and communities. Since BEAUTIFUL 1946. the Roy D Warren Company has helped to build Atlanta ’ not with sticks and stones Diamond dinner but with planning and financing. We develop land, build homes, provide rings in bark finish mortgage money and home-owner insurance 18 karat yellow gold. to buyers . all from the same source. The Roy D Warren Company helping to build the greatness of Atlanta

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HIGH MUSEUM OF ART

High Museum to Present Collection of Chinese Export Porcelain Chinese export porcelains from the Reeves Collection at Washington and 'RMpk-Sfuki, 3m. Lee University will receive their first 279 EAST PACES FERRY ROAD, N.E. major showing in an exhibition opening ATLANTA, GEORGIA 30305 on February 24, and continuing through 233-11 79 April 8. Approximately 300 pieces of Chinese export porcelain have been chosen for the exhibition, which was or­ ganized by the Museum’s Curator of William E. Rudolph, A. I. D. Decorative Arts, Mrs. Clayton H. Farn­ Helen J. McBrayer, N. S. I. D. ham, and Mrs. J. Ray Efird of Atlanta. The porcelain collection of Mr. and Mrs. Euchlin Dalcho Reeves of Provi­ dence, Rhode Island, was a gift to the INTERIORS ANTIQUES university in 1967, and while the col­ lection includes outstanding and rare ex­ amples of English and Continental pro­ duction, the collectors clearly concen­ trated on Chinese export porcelain. DUNCAN PEEK INC.

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FEBRUARY AT THE CENTER SH: Symphony Hall AT: Alliance Theatre HM: High Museum HA: Hill Auditorium ST: Studio Theatre G: Galleria For ticket information, call the box office at 892-2414

Concerts

THURSDAY, FRIDAY AND SUNDAY FEBRUARY 1, 2 & 4

Atlanta Symphony, 8:30 Feb. 1 & 2; 2:30 Feb. 4, SH. Subscription Series. Georg Semkow, guest conduc­ tor. Mozart: Divertimento in D Major, K. V. 136; Lutoslawski: Musique Funebre; Wagner: Prelude and Liebestod from “Tristan and Isolde;” Schumann: Symphony No. 4 in D minor, Op. 120. MONDAY THRU FRIDAY 4090 ROSWELL RD. FEBRUARY 5 THRU 9

Atlanta Symphony Young People’s Concerts, 10:30 & 12:30, SH. Michael Palmer conducting.

FRIDAY, FEBRUARY 9 A better mixed drink Pro-Mozart Society concert, 8:30, HA. employees who give a damn SATURDAY, FEBRUARY 10 and an atmosphere both World’s Greatest Jazz Band, 8:30 SH. Famous Artists. genuine and relaxed. THURSDAY, FRIDAY & SATURDAY FEBRUARY 15, 16 & 17

Atlanta Symphony, 8:30, SH. Subscription Series. Robert Shaw conducting. Assisting Artists: Janet Stewart, soprano; Seth McCoy, tenor; Peter Harro- Santes wer, bass-baritone; The Atlanta Boy Choir, Fletcher Wolfe, Director; The Atlanta Symphony Orchestra Chorus. Britten: War Requiem, Op. 66.

MONDAY & TUESDAY FEBRUARY 26 & 27

Atlanta Symphony Young People's Concerts, 10:30 & 12:30, SH. Michael Palmer conducting.

High Museum Events

High Museum hours: Mon. thru Sat., 10:00 to 5:00; Sun., 12 noon to 5:00; Thursday evenings until 10:00. Art Shop hours: Tues, thru Sat., 10:00 to 4:00; Sun., 12 noon to 5:00; Thursday evenings un­ til 10:00; closed Mon. Jr. Art Shop hours: Mon., 10:00 to 4:00; Sat. and Sun., 12 noon to 5:00; closed Tuesday thru Friday.

CONTINUING THROUGH FEBRUARY 4

Ed Ross: Investigation and Discovery. HM. A series UNDERGROUND ATLANTA of eight paintings presented as a projection of Ross' large canvas in the recent Georgia Artists 2 RESERVATIONS 577-1800 exhibition. CONTINUING THROUGH FEBRUARY 18

Graphic Art of German Expressionism. HM. Wood­ cuts, etchings, lithographs by German artists active during the first half of the 20th century: Paul Klee, George Grosz, Wassily Kandinsky, Max Beckmann.

OPENING FEBRUARY 24

The Washington and Lee University Collection of Chinese Export Porcelain. HM. The first major showing of this porcelain collection, made up of over 300 pieces including American market wares and “special order” dinner services.

OPENING FEBRUARY 25

New Prints In Atlanta Collections. HM. Prints by Frank Stella, Josef Albers, Louise Nevelson, Jasper Johns, and Helen Frankenthaler. Organized by the Museum from Atlanta’s private collections.

THURSDAY, FEBRUARY 1

Vampire Film Series: “Nosferatu,” 1922, the first Dracula film; “Horror of Dracula,” 1958, with Chris­ topher Lee, Peter Cushing. 8:00, HA. Adm.: Mem­ Crow, Pope and Land Enterprises... bers, $1.50; Students, $1.75; Gen., $2.00. meeting the special needs and FRIDAY, FEBRUARY 2 Vampire Film Series: “Dracula” with Bela Lugosi; requirements of owners and “Vampyr,” directed by Carl Dreyer. 8:00, HA. Adm.: investors for successful Members, $1.50; Students, $1.75; Gen., $2.00. SATURDAY, FEBRUARY 3 development and Vampire Film Series: “Horror of Dracula,” 1922, the first Dracula film; Atlanta premier of “Vampir,” management of 1972 documentary on the making of a Dracula film. 8:00, HA. Adm.: Members, $1.50; Students, $1.75; • Apartments Gen., $2.00. • Condominiums SUNDAY, FEBRUARY 4 Lecture by Dorothy Fletcher, guest lecturer at Em­ • Retail shopping centers ory U. Department of Art History. 2:30, HA. Free. • Office buildings and parks “German Expressionism.” Metropolis, classic German Expressionist film of • Hotels 1926 directed by Fritz Lang. 4:00, HA. Free. • Total living communities WEDNESDAY, FEBRUARY 7

Perspectives/Architecture lecture by Prof. Arthur rrow, Pope & Land Condominium Enterprises F. Beckum, Jr., of Georgia Tech. 8:00, HA. Adm.: Crow, Pope & Land Services, Inc. Members, $1.50; Gen., $2.00. “Houses, Part I.” Crow, Pope & Land Management Company SUNDAY, FEBRUARY 11 Crow, Pope & Land Construction Company Enterprise Realty & Mortgage Company Two German Expressionist Plays: “Murderer, the Women’s Hope” by Oskar Kokoschka, and “Cry In The Street” by Rolf Lauckner. Directed by Kelly CROW, POPE & LAND ENTERPRISES, INC. Morris. 2:30 and 4:00, HM. South Gallery. Free. Executive Offices: 1100 Spring St., N.W., Atlanta, Ga. 30309 14041 875-7431 WEDNESDAY, FEBRUARY 14

Perspectives/Architecture lecture by Prof. Arthur F. Beckum, Jr., of Georgia Tech. 8:00, HA. Adm.: Members, $1.50; Gen. $2.00. “Houses, Part II.”

TUESDAY, FEBRUARY 20

Lecture by Dr. Verle Mickish of Georgia State Uni­ HOUSE o w thebaut versity. HA. 10:30 a m. Free. Subject: “Encouraging P C Children’s Creativity through the Magical ‘Y’.” INC. HEDY THEBAUT WILLIAM L. THEBAUT SATURDAY, FEBRUARY 24 MAY 17, 1971 Opening to the public of the exhibition, “The Wash­ TVs Specialize in ington and Lee University Collection of Chinese Beautiful Lamps and Shades Export Porcelain.” 10-5 p.m. HM. Repairing—Custom Styling SUNDAY, FEBRUARY 25

ACCESSORIES - WEDDING GIFTS Opening to the public of the exhibition, “Prints in CUSTOM FLORAL DESIGNS Atlanta Collections.” 12-5 p.m. HM. Telephone 261-4166 Tour of The Washington and Lee University Collec­ 3718 Roswell Road, N. W. — Atlanta, Ga. 30305 tion of Chinese Export Porcelain, conducted by Mrs. J. Ray Efird, guest lecturer. 2:00, HM. Free. GIFTS*CHRISTMAS SH0P*CRAH5 Theatre

THURSDAY THRU SATURDAY FEBRUARY 1 THRU 3

The Glass Menagerie, 8:00, AT, Alliance Theatre Company.

SATURDAY, FEBRUARY 3 & 10

Hansel and Gretel, 11:00 & 2:00, HA. Presented by the Vagabond Marionettes. Adm: $1.00. SATURDAYS, FEBRUARY 3, 10, 17 375fe ROSWELL ROAD m Skye, 2:30, AT. Atlanta Children’s Theatre. cC 2.37-518h SUNDAY, FEBRUARY 4 & 11 in The Glass Menagerie, 2:30, AT. The Alliance Theatre Company.

TUESDAY THRU SATURDAY FEBRUARY 6 THRU 10 & 13 THRU 17

The Glass Menagerie, 8:00, AT, Alliance Theatre Company.

SATURDAY, FEBRUARY 17 & 24

Aladdin, 11:00 & 2:00, HA. Presented by the Vaga­ bond Marionettes. Adm: $1.00.

THURSDAY THRU SATURDAY FEBRUARY 22 THRU 24

The House of Blue Leaves, 8:00, AT. Alliance The­ THERE ARE SO MANY WAYS TO atre Company. COME INTO MONEY SUNDAY, FEBRUARY 25 ONE IS CERTAIN TO HAPPEN TO YOU. The House of Blue Leaves, 2:30, AT. Alliance The­ atre Company.

TUESDAY & WEDNESDAY FEBRUARY 27 & 28 When you The House of Blue Leaves, 8:00, AT. Alliance The come into money atre Company. come into Dance

FRIDAY, FEBRUARY 9 Joffrey II Ballet, 8:30, SH. Famous Artists Series. ► Federal ^Savings Films

SATURDAY, FEBRUARY 17

Audubon Society film and lecture, “Communicating P.O. BOX 1077 • ATLANTA, GEORGIA 30301 with the Wild,’’ 8:15, HA. Students, $1.25; Gen., $1.75.

SUNDAY, FEBRUARY 18

Arizona, 2:30 & 7:00, SH. Travelogue Series.

SUNDAY, FEBRUARY 25

Nepal, 2:30 & 7:00, SH. Travelogue Series. Let Cotton States MARCH AT THE CENTER protect your world.

Concerts Cotton States

Atlanta Symphony, 8:30, Mar. 8 & 9; 2:30, Mar. 11, SH. Subscription Series. Jacques Houtmann, guest is insurance. conductor. Assisting artist: Mayumi Fujikawa, violin. Cherubini; Lalo; Casanova; R. Strauss. Atlanta Symphony, 8:30, Mar. 22, 23 & 24, SH. Sub­ scription Series. Robert Shaw conducting. Assist­ ing artist: Natalie Hinderas, piano. Handel; Gin- astera; Prokofieff.

United Methodist Church Children’s Choir Festival, 7:30, Mar. 30, SH. ATLANTA'S Dave Brubeck Group, 7:00 & 10:00, Mar. 31, SH. Famous Artists Series.

Opera Sampler, 8:30, Mar. 27, SH. Junior League of ACREAGE Atlanta. AGENTS High Museum Events

Lecture by Clement Conger, Chairman of Fine Arts Committee of Department of State, Curator of the FALK REALTY White House, Mar. 6. Children’s Spring Festival, Mar. 24.

Ingmar Bergmann Film Series, beginning Mar. 15. 1064 W. N.W. Peachtree St., Theatre Specialists in investment Acreage 876-1947 Sleuth, 8:30, Mar. 1 & 2, SH. Famous Artists Series James Whitemore in “Will Rogers U.S.A.”, 8:30, Developers of fine lake Mar. 10, SH. Famous Artists. The House of Blue Leaves, 8:00, Sun. Matinees, Communities 2:30, Mar. 1-10, AT, Alliance Theatre Company

Heartbreak House, 8:00, Sun. Matinees, 2:30, Mar. 15-31, AT, Alliance Theatre Company

Dance

Jacques D’Amboise “Ballet Encounter,” 8:30, Mar. 3, SH. Famous Artists.

The Atlanta Ballet and The Atlanta Symphony, 8:30, Mar. 15, 16, & 17; 2:30, Mar. 18, SH. Night & Day. The Atlanta Ballet, Robert Barnett, Director. The Atlanta Symphony, John Head conducting.

Films

A Lumberjack in Alaska, 2:30 & 7:00, Mar. 4, SH. Travelogue Series. Home of The Soul of Japan, 2:30 & 7:00, Mar. 25, SH. Regency, Grieco Travelogue Series. Middleton Fine Clothes for Men Frank Bros. Shoes B&B Clothes for Young Men IN AND AROUND ATLANTA All listings are based on information supplied by contributing organizations. This calendar is offered Miss B&B Sportswear as a community service and is believed to be cor­ rect at time of printing. Organizations wishing to for Ladies submit material for this column must send copy six weeks in advance of publication date which is the first of each month. Send copy to: Mrs. Christopher Lee Marshall, 79 Roswell Ct., N.E., Atlanta, 30305. Parks-Chambers Phone: 266-0194, after 3:00 p.m., Mon.-Fri. ESTABLISHED 1896 Galleries DOWNTOWN • LENOX SQUARE W. PACES FERRY • PERIMETER MALL Allison Art Acres Gallery and School of Art—3940 N. Peachtree Rd., Chamblee. 457-3080. Paintings and small media; art classes. Aronson Gallery—Midtown—798 Peachtree St., N.E., 873-3616. Thru Feb.—French paintings—19th, 20th centuries. Ule hove it! Artists Associates Gallery—3099 Peachtree Rd., 237- 8724. Thru Feb.—Juried General Membership show.

Atlantis Studios—169 Currier St., N.E., 872-4674. /omething Thru Feb.—Annabelle Bond, contemporary portraits of stars of the “silver screen.’’

Barclay Gallery—3500 Peachtree Rd., 233-8712. Thru worth coming Feb.—European and American signed, limited edi­ tion graphics. home to... Sarah Brown Studio Gallery—3108 Roswell Rd., N.W., 233-1800. New drawings, paintings; art classes. Cathreen’s Gallery—516 E. Paces Ferry Rd., 261- RfMTOR/ 1960. Oils, water colors by contemporary artists. 266-2560 Portraits in oils, water colors, pastels by appt. 3330 PEACHTREE RD.. N.E./ ATLANTA. GA 30326

Creative Cancer Art Gallery—133 Nassau St., N.W., 525-3600. Sculpture, oils, lithographs, prints, screens, woodcuts. Professional framing. Decatur Art Center—113 Trinity Place, Decatur, fRank aLan, me. 378-6441. Thru Feb—works by Doris Hancock, Walt Dougherty, Louise Ingram, and Willoweise. “A new concept in gift giving” The Drexel Gallery—2285 Peachtree Rd., N.E., 351- 1616. Works by Picasso, Miro, Calder, Hundertwasser, the surrealists; contemporary gaphics; 18th and 19th century oils, water colors.

Gavant Gallery—2126 N. Decatur Rd., 634-2340. 115 F Hammond Dr., 255-6341. Graphics by Chagall, Picasso, Boulanger, Dali, others.

The Golden Easel—60-F Kenney’s Alley, Under­ ground Atlanta, 577-3669. Thru Feb.—paintings of Jerry Hester. Haber’s Art Gallery—3493 Northside Pkwy., N.W., W. Paces Ferry Plaza, 261-9691. Original oils and graphics. Art classes, custom framing.

Image South Gallery—1931 Peachtree St., N.W., 351-3179. 2/1 - 2/22—paintings by Ed Ross. 2/23- 2/28—paintings by Jim Herbert.

Ray Ketcham Gallery—3232 Roswell Rd., N.W., 237- 0700. Pre-1930 paintings by Bensell, Bridgman, B. L. Brown, Harrison, Herzog, Inness Jr., Kost, others. Period Pictures, Ltd.—2277 Peachtree Rd., N.E., 355-2431. 17th, 18th, & 19th century paintings. Functional and decorative European crystal is our forte. We have contemporary footed Picture House, Inc.—1109 West Peachtree Rd., N.E,. egg jars and traditionally cut fruit bowls . . . 875-9341. Antique paintings, prints by Audubon, Gould, Redmore, Watson, Schwanfelcer; contem­ napkin rings, knife rests, stemware, and porary graphics. decanters . . . Crystal for any occasion, or no occasion. Scott Gallery—525 Pharr Rd., N.E., 233-4994. Thru Feb.—works of Jerry Chappell. NORTHLAKE MALL PHIPPS PLAZA 934 2957 233-2809 The Signature Shop—3269 Roswell Rd., N.W., and 225 Peachtree St., N.E., 237-4426. Continuation of Eskimo 4; pottery, hand blown glass, jewelry, toys.

Swan Coach House Gallery—3130 Slaton Dr., N.W., 261-0224. Continuous gallery open to public; juried show of 25 Georgia artists.

Twentieth Century Gallery—2289 Peachtree Rd., N.E., 355-0275. Custom framing, original art, graphics. Old and new prints.

Widens Galleries—349 Peachtree Hills Ave., N.E., 237-2991. Oils, contemporary and antique.

Heath Gallery—34 Lombardy Way, N.E., 892-2277. Thru Feb.—prints of Adolph Gottlieb.

Special Exhibitions GOURMET DINNER 7:00 P.M. - SHOWTIME 8:30 P.M. TERRELL MILL RD. OFF MARIETTA 4 LANE HWY. 41 Atlanta University — Oils, graphics, watercolors, BY RESERVATIONS ONLY - TELEPHONE 436-6262 prints, African artifacts, and sculpture. Agnes Scott College—Dana Fine Arts Bldg., E. Col­ lege Ave., Decatur, 377-1200. Thru 2/21—Student art exhibit. 2/23 & 2/24, sculpture by John Kehoe; paintings by Joe Strother and Barbara Boren. Dekalb College—555 N. Indian Creek Dr., Clarkston, plant lovers 292-1520. 2/2 - 2/16—paintings by Eve Macie. 2/22 -3/2—paintings, architectural bas reliefs by Work­ master, Smith. Emory University—377-2411. Thru Feb.—Sale: post­ rejoice ers & graphic art by Gremur Original Graphic Art Co. Morris Brown, Student Union Bldg., 525-7831. 2/10 Now, you can select beautiful -2/17—graphic arts and performing arts pageant— live plants and trees from in conjunction with Negro History Week. Lenox Square Association, 3393 Peachtree Rd., N.E., Plantscape House, Atlanta's 2/19-2/24—Lenox Square Art and Artist Show. completely professional indoor planting specialist. Be sure Films to see our plants performing Atlanta Public Library—126 Carnegie Way, N.W., Noonday FJm Production, Assembly 2nd. floor, every in the main lobby. Mon., 2:15. Senior Citizens Film Program, 2nd. and 4th Tues. 2:30. Programs for adults and children at all 26 branches.

Theatre

Academy Theatre—3213 Roswell Rd., N.E., 261-8550. Acts of Love. Every Thurs., Fri. and Sat., 1/18-2/24, 8:30. Barn Dinner Theatre—1690 Terrell Mill Rd., S.E., Marietta, 436-6262. Dinner at 7:00, perfomance at Plantscape House 8:30. The Fantastiks, 1/24-2/18; Teahouse of the August Moon, 2/21-3/18. 432-7157 Winter Play Season — Peachtree Playhouse, 1150 Peachtree St., 252-8960. Last of the Red Hot Lovers, with Jerry Stillner, Anne Meara—2/6-11; Norman, Is That You?, with Hans Conreid—2/12-18; A Man for All Seasons, with James Daly—2/20-25; The Coun­ try Girl, with Jack Klugman—2/27-3/4. Tues.-Fri. 8:30, Sat. 3:00 & 8:30, Sun. 3:00 & 8:00. Agnes Scott College—One-act plays by Blackfriars, 2/16 & 23, 8:15, Dana Fine Arts bldg., Le Treteau de Paris presents Moliere’s Le medecin malgre lui, 2/21, 8:15, Presser Hall. Emory University—Alumni Memorial University Cen­ ter. The Pirates of Penzance—2/16-17, 8:15. Georgia State U.—Student Activities Bldg. Bieder- mann and the Firebugs, by Max Frisch, 2/19-24 & 2/26-3/3, 8:00.

Concerts

Emory University’s Festival of Music—All perform­ ances at Glenn Memorial Auditorium except Club

STRIKE A HEA L THY hNOTE WITH

The Atlanta Nutrition Centers, Inc. 571 Peachtree St., N.E. 872-2297 1385 Oxford Rd., N.E. South DeKalb Mall 373-2032 243-1681 Cabaret. 2/2—Club Cabaret, with the Emory Wo­ men's Chorale and Emory Glee Club, 8:15, Alumni Memorial University Cenier; 2/9—Atanta-Emory Or­ chestra, conducted by William Lemonds, 8:15; 2/18 —Emory String Quartet, 4:00; 2/23—Emory Women’s IT PAYS TO BUY “BLUE CHIP” Chorale and Emory Glee Club, 8:15; 2/27—Emory Wind Ensemble, conducted by Charles Bradley, 8:15. Known for more than a Fred Waring and the Pennsylvanians—2/3, 8:30. Civic century for its personal­ Center. Famous Artists. ized service to policyhold­ Georgia State University—Recital Hall. 2/6—Betty Boone, soprano; Florence Kopleff, contralto; Peter ers, Connecticut Mutual Harrower, bass-baritone; John Schneider, piano, 8:15; 2/13—contemporary chamber music, 8:15; Life is the “Blue Chip” 2/25—Concert Band, conducted by John Demos, Company. Our sole pur­ 8:15; 2/27—chamber music, 8:15. pose is to provide the Perry Como—2/10, 8:30. Civic Center. finest possible life insur­ All Saints’ Episcopal Church Choir—Anglican church music, conducted by Gregory Colson, 4:00, 2/11. ance at the lowest pos­ sible cost. Agnes Scott College—Presser Hall. 2/20—Violin re­ cital by John Adams, ass’t. prof, of music, 8:15. So when you think of Cathedral of Christ the King—Gregory Colson, or­ ganist, with Colson Chorale, 2/20, 8:15. life insurance, think “Blue Chip” . . . think Con­ Sandler and Young—2/23, 8:30. Civic Center. necticut Mutual. Burt Bacharach—2/24, 8:30. Civic Center.

Atlanta Music Club—Community Orchestra concert, 2/25, 3:00. Norths.de High School Theatre. James T. Mills, General Agent 705 Fulton Federal Bldg., Children Atlanta, Georgia 30303

Shapes: Adventure and Discovery—Junior Activities Connecticut Mutual Life Center, Memorial Arts Center. Exhibition giving young people a chance to experience how shapes THE BLUE CHIP COMPANY . SINCE 1846' affect space. Open to the public Sat. and Sun., 12-5. Adults 50c; children 25c.

Fernbank Science Center—156 Heaton Park Dr., N.E. Planetarium program, “Panorama 1973,’’ through February views the sky throughout 1973. Sat. rl and 3, Sun. 2 and 4, Tues.-Fri. 8:00, closed Mon. Adults $1.00, students 50c. Also, observatory, li­ brary, exhibit hall. Me, WRECKING BAK Academy Theatre—3213 Roswell Rd., N E., 261-8550. INC. “Time Out,” a physical journey through different lands—Laughland, Cryland, etc. Thru 3/3, Sat. 1:30; group performances weekdays. For children 8-11.

Ringling Bros., Barnum & Bailey Circus—The Omni, 2/14-25. Vagabond Marionettes will present “Hansel and G retel” Feb. 3 and 10, and “Alladin,” Feb. 17 and 24. 11:00 and 2:00, HA, Atlanta Memorial Art Cen­ ter. Adm: $1.00.

Atlanta Children’s Theatre will present “Skye’’ on Feb. 3, 10 and 17 at 2:30, AT. Atlanta Memorial Art Center. Arc hitec t u pal Antiques

EUROPEAN & providing indoor comfort for Atlantans since 1898 DOMESTIC we specialize in air conditioning hard-to-cool homes & offices 292 Moreland Ave., N.E. Atlanta, Georgia 935 Chattahoochee 404 - 524-7117 Phone 351-3611 Illi Atlanta Arts Monthly magazine of the Atlanta Memorial Arts Center 1280 Peachtree Street, N.E. Atlanta Georgia 30309

FEBRUARY 1973 VOLUME V ISSUE 5

THE ATLANTA ARTS ALLIANCE William C. Herring President James K. Grille th Controller THE ATLANTA SYMPHONY ORCHESTRA Frank Ratka General Manager Richard W. Thompson Assistant Manager THE HIGH MUSEUM OF ART Gudmund Vigtel Director Miss Paula Hancock WIGGINS AND COMPANY, INC. Curator of Education THE ATLANTA SCHOOL OF ART John H. Rogers Dean Mrs. Guthrie Foster 3838 First National Bank Building Assistant Dean THE ALLIANCE THEATRE COMPANY Atlanta, Georgia 30303 David Bishop Managing Director

PARKING FACILITIES Center Parking garage with covered parking direct­ ly adjacent to Center, entrances on Peachtree and Lombardy Way; also commercial parking across from Peachtree entrance to Center, and north of First Presbyterian Church. BOX OFFICE Telephone: (404) 892-2414 Hours: Monday 9:30 a.m. - 5:30 p.m.; Tuesday thru Friday noon - 8:00 p.m.; Saturday noon - 8:00 p.m.; Sunday noon - 3:00 p.m. The Memorial Center Box Office handles tickets for the Atlanta Symphony, Atlanta Children’s Thea­ 5644 MEMORIAL PR.. STONE MOUNTAIN,GA.,30083 , PO. BOX 857 TEL 404 292-8181 tre, Alliance Theatre Company, Atlanta Music Club Membership Series, Famous Artists Series, Atlanta -Arre"Plantat?ton Specialties HawKs, Theatre Atlanta Off Peachtree; all Ticketron in”the "Best tradition of the. events, also, on night of performance, all tickets for OLP South- . . any event scheduled in the Memorial Arts Center. - FTooist BUFFET - MOM -Vbi TOURS - Special Sunday "Buffet For information on regular weekday tours or group - Banquet facilities "For. tour arrangements, call (404) 892-3600. Groups From <5-t>5o RESTROOMS Located off the Galleria Balcony across from both Symphony Hall and the Alliance Theatre. Also lo­ cated adjacent to the balcony lobbies inside Symphony Hall.

OUR COVER — A color photo-montage of student activity in the Atlanta School of Art. By Lucinda GOODMAN Bunnen.

ATLANTA ARTS Magazine is published for the Atlanta Memorial Arts Center, by The Conger PAINTING & Printing Co., Inc. in Atlanta, Georgia. All rights to WALLCOVERING Atlanta Arts are reserved by the Atlanta Memorial Arts Center. Reproduction from this magazine in whole or in part without permission is prohibited. Editorial Office, 146 Marietta St., N.W., Atlanta 30303, Phone (404) 524-6700.

ATLANTA L. W. CONGER, JR. LIZ GILLIAM Publisher Editor 872-5846 GAIL MARSHALL ERNEST DeVANE In and Around Atlanta Art Director VZTOP

I MOUNTAIN TOP CONDOMINIUMS ABOVE HIGHLANDS NORTH CAROLINA (404) 688-3313 (704) 526-3838 ^■FABRAP —■ShFAD DEVELOPERS • REAl ESTATE CONSULTANTS • 44 BROAD 5TREE I. N.W . ATLANTA 30303 Home. Acapulco, Mexico Freeport. Bahamas Omaha, Neb. Akron, Ohio Gainesville. Fla. Orlando, Fla. Allentown, Pa. Greensboro, N.C. Ottawa, Ont. Ashland, Ky. Greenville, S.C. Pensacola, Fla. Atlanta, Ga. Hamilton. Bermuda Philadelphia, Pa. Augusta, Ga. Hartford, Conn. Pittsburgh, Pa. Baltimore, Md. High Point, N.C. Portland, Ore. Bethlehem, Pa. Houston. Texas Providence, R.l. Birmingham, Ala. Huntington. W.Va. Raleigh, N.C. Boston. Mass. Huntsville. Ala. Richmond, Va. Bradenton, Fla. Indianapolis. Ind. Roanoke. Va. Buffalo. N.Y. Jacksonville, Fla. St. Croix, Virgin Is. Canton, Ohio Kingston. J amaica St. Louis, Mo. Charleston, S.C. Lexington, Ky. St. Paul, Minn. Charleston, W.Va. Los Angeles. Calif. St. Petersburg, Fla. Charlotte, N.C. Louisville, Ky. St.Thomas, Virgin Is. Chattanooga, Tenn. Macon. Ga. San Antonio, Texas Chicago, 111. Melbourne, Fla. SanJuan. P.R. Cincinnati, Ohio Memphis, Tenn. Sarasota, Fla. Clearwater, Fla. Mexico City. Mexico Scranton. Pa. Cleveland, Ohio Miami. Fla. Seattle. Wash. Cocoa. Fla. Milwaukee, Wis. Spartanburg, S.C. Columbia, S.C. Minneapolis, Minn. Springfield. Mass. Columbus, Ga. Mobile, Ala. Syracuse, N.Y. Columbus. Ohio Montego Bay. Jamaica Tacoma. Wash. Corpus Christi. Tex. Montgomery, Ala. Tallahassee, Fla. Dallas, Texas Montreal, Que. Tampa. Fla. Daytona Beach, Fla. Nashville, Tenn. Titusville, Fla. Denver, Colo. Nassau, Bahamas Toledo, Ohio Detroit, Mich. New Haven, Conn. Toronto, Ont. Durham, N.C. New Orleans, La. Vero Beach, Fla. Easton, Pa. New York. N.Y. Washington, D.C. Evansville, Ind. Newark, NJ. West Palm Beach, Fla. Ft. Lauderdale, Fla. Ocala. Fla. Wilkes-Barre, Pa. Ft. Worth. Texas Wilmington, Del. Frankfort, Ky. Winston-Salem, N.C.

From the largest to the smallest, all of the cities Eastern serves, have this in common: each one is home to someone. And we think bringing people home is one of the most important things we do. Maybe that’s why we fly more people than any other airline in the free world but one. EASTERN The Wings of Man. “The Wings of Man" is a registered service mark of Eastern Air Lines, Inc.