AtlantaTHE MONTHLY MAGAZINE OF THE ATLANTA ArtsMEMORIAL ARTS CENTER MAY/JUNE 1974 CAR FOR SALE Late model. Lo mi. Exclnt. cond. Owner moving to contemporary condomin­ i ium home at Snapfinger Woods. Walk to work. Golf. Tennis. Shopping. School. Stables. Pool. Lake. On 1 MARTA line. No need for car. Willing to sacrifice. Call 981-5731. I napfinger S

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She's Rich's own Penelope Penn, artist extraordinaire at solving shopping problems. There's no gift list too long, or too short for her to tackle...she'll shop through Rich's with you, or for you... take care of gift wrapping, even mail­ ing. She has a way with trousseaux', she'll give advice on hostess presents, even handle business gifts. With ease. 1 Believe us, it's an art! Give her a call or 5 see her at any of our nine Rich's stores. Penelope Penn’s the name!

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ATLANTA COLLEGE OF ART Summer Program Announced The Summer Extension Program of the Atlanta College of Art will begin June 10, offering classes for credit and noncredit in drawing, painting, photog­ For a beautiful raphy and printmaking, as well as tele­ tomorrow ..e vision as an art form. Also included Insuran< e from Cotton State*. this summer are new classes in off-the- can help take the \\ yiffies’tbutjj loom weaving, interior design, and illus­ of tomorrow . . . and leave you tration. free to enjoy every beautiful Classes are held both during the day moment. When the time come and in the evening, and the tuition will to talk to someone about be $45 for each course, plus a registra­ more life insurance, come to tion fee, and lab or model fees applic­ Cotton States. able to the course. Cotton States The Annual Summer Art Program for high school students will also be held is insurance. gg] in the art college. The program is titled, Summer Media Workshop, a Visual Arts Experience, and will include in­ struction in printmaking, photography, video imagery (television) and sculpture, in addition to drawing, design, and art analysis. The course will meet each day, Mon­ day through Friday, from 9:00 to 12:00 and 1:00 to 4:00 for four weeks be­ ginning June 10. The cost of the course will be $90 which includes the cost of some materials, use of equipment, and special access to the Atlanta College of Art Library. For further information on both the Summer Extension Classes and the Sum­ mer Art Program contact Ms. Jean Dyer, 892-3600, Ext. 234.

ATLANTA SYMPHONY ORCHESTRA Summer Season Features Promenade and Pops Concerts The Atlanta Symphony Orchestra’s summer season, beginning June 11, runs continued Afriend of thejamily for five weeks and will feature Prom­ enade concerts on Tuesday and Wednes­ day evenings at Symphony Hall and Pops concerts Friday evenings at Chastain Park and Sunday afternoons at Stone Mountain. Season tickets for the separate Prom­ enade and Pops series are on sale through the Symphony offices.

Let a professional fill your insurance Richard Hayman, arranger for the Boston Pops Orchestra and a favorite with Atlanta Symphony Pops audiences for the past two summers, returns needs. again this season to conduct the opening and closing concerts for the Summer Pops series. The sidewalk cafe atmosphere in the Galleria, so popular with last season’s audiences for the Promenade concerts, will be carried out again this summer. The Promenade programs will feature light, classical favorites. The Pops con­ certs will feature the Orchestra with popular name entertainers. Tables will be on sale at both parks for picnics and parties. A brochure detailing artists, programs and ticket information is available at the Arts Center Box Office.

HAAS AND DODD-INSURANCE Rich's FASHIONATA Symphony Hall — September 4 and 5 ALL PROCEEDS FROM TICKET Tours and Cruises ... SALES GO TO THE ATLANTA ARTS ALLIANCE—the umbrella of The At­ by Air and Steamship lanta Symphony Orchestra, The High Museum of Art, Alliance Theatre and the Atlanta College of Art. A $4.00 donation will buy a ticket at Rich’s or the Symphony Box Office ATLANTA TRAVEL AGENCY after August 1. It can also be charged P'1 217 Georgia Life & Health Building to your Rich’s account. 66 Luckie Street, N.W. continued Atlanta, Georgia 30303-Alex Hitz. Jr. an enchanted fore/t ••• Where man has not spoiled its beauty... that's Habersham today... and it will be Habersham this fall and forever. We are carefully conceiving a village within the beauty that nature provided. Most of what s here today which includes a championship golf course and the pleasures of Lake Lanier will be enhanced by our development. You might say Habersham is becoming an "enchanted forest i

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Suite 200 • 6675 Peachtree Industrial Blvd • Atlanta. Ga 30340 This year it is “THE 8TH LIVELY ART” .... a fashion show now joins Gilbert Seldes’ 7 Lively ones . . . . Vaudeville, Musical Comedy, Dance, Comic Strip, Radio, Popular Music and Spend the day at Movies.

Richard H. Rich, Chairman of the Executive Com­ mittee of Rich’s, Inc. presents President Charles R. Yates of the Atlanta Arts Alliance a check for the entire proceeds of ticket sales from FASHION- The full-size fashion store ATA 1973. at Phipps Plaza —with great FASHION ATA 1974 — a theatrical production of exciting fashions. The clothes for the whole family­ choice of words, dancing mannequins and moods projected by Sol Kent make home fashions, too, including this show a fine piece of entertainment. interesting antiques. The credits include Staging and Lighting by David Chapman, New York Set De­ And marvelous gifts we found signer (formerly of Theatre Atlanta), for you all over the world, and Margaret Perrin (New York’s Piano Playhouse) and Bob Spence (Oh many available only at Coward!) at the pianos. Lord & Taylor. Performances are held each morning at 11:00 a.m., with a Matinee at 2:30 Stay for luncheon or tea on Wednesday, and an evening perform­ ance at 8:30 on Thursday. in our enchanting Bird Cage restaurant, open every

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The permanent collection of the High and Lenox Roads—266-0600 Museum is continuing to grow through the generosity of patrons, individual Open Monday thru Saturday friends, private foundations, government 10:00 a.m. to 6:00 p.m. grants, the Museum’s Members Guild, and others, who have given both dona­ Open Monday and Thursday tions of money and works of art. With evenings until 9:00 p.m. the addition of two new exhibition spaces in the expanded Third Floor area, to be continued following program notes WORKING IN A JACK DANIEL’S WAREHOUSE has its rewards. In rhe summertime, it’s the coolest spot in the hollow. The barrels in our warehouse always rest cool, except for those up near the roof. So every now and then we move them around, making sure all of the whiskey CHARCOAL MELLOWED ages and colors the right way. You see, we’d 6 rather let our product age the old natural way DROP Mr. Jack used. And besides, we like an excuse to 6 BY DROP cool off on warm Moore County days.

lennessee Whiskey • 90 Proof • Distilled and Bottled by Jack Daniel Distillery, Lem Motlow, Prop., Inc., Lynchburg (Pop. 361), Tenn The only Distillery placed in the National Register of Historic Places by the United States Government. THE ALLIANCE THEATRE COMPANY

DAVID BISHOP, Managing Director

presents Stamen attii Slnliet by WILLIAM SHAKESPEARE

with

K. T. Baumann Davis Hall Brad Blaisdell Arthur Hammer Howard Brunner Mary Ann Hearn David Dean Dana Ivey Gary Deaton John MacEachron Mitchell Edmonds Deirdre Owens Walter Guthrie Philip Pleasants And the 1974 Studio Company

Directed by FRED CHAPPELL

Original Music Composed by DON TUCKER

Production Designer Lighting by LEWIS S. GREENLEAF, III MICHAEL STAUFFER

Costumes Executed by Production Stage Manager MASSEY JR. COLLEGE, Fashion Dept. KEITH GLOVER

Production Manager DAN B. SEDGWICK SOMETHING SPECIAL Fashion edited with taste and understanding Regensteiri$ downtown Peachtree • Buckhead North DeKalb • Perimeter Mall

The unhurried elegance of the Sheraton-Biltmore Hotel Its bravissimo. It’s that unique something that was the South, and is Atlanta. The historic charm, the current excitement. The relaxed elegance of The Sheraton-Biltmore begins the moment you check in. 600 rooms rich in old-world luxury. Attentive service that never hurries you. In an atmosphere that makes you feel wanted. Enjoy cocktails and entertainment in the Wine Cellar. Visit the Falstaff Room and enjoy a hearty meal in the tradition of an Old English chophouse. You'll like the Sheraton-Biltmore Hotel. For reservations, call (404) 875-3461. Or see your travel agent.

SheraftMi-BiltmoreEd Polo, General Hotel Manager 817 West Peachtree Street, N.E. Phone: 875-3461 Sheraton Hotels and Motor Inns. A Worldwide Service of ITT ROMEO and JULIET CAST (7n order of appearance) Balthasar ...... Thomas Capps Benvolio ...... Gary Deaton Tybalt ...... Brad Blaisdell Lord Capulet ... Mitchell Edmonds Lady Capulet .. Mary Ann Hearn Lord Montague John MacEachron Lady Montague ... Deirdre Owens Rosalind ...... Margo Kirk Prince Escalus Walter Guthrie Romeo Davis Hall Paris Howard Brunner Nurse ...... Dana Ivey Juliet ...... K. T. Baumann Mercutio ...... Philip Pleasants Friar Laurence Arthur Hammer Peter ...... David Dean Apothecary ...... John Roquemore Friar John ...... Robert Wright Sampson ...... Christopher Jones Gregory ...... Daniel Tucker Townspeople!people at the ball: Thomas Capps, Margo Kirk, Kathleen Long, Eleanor Ringel, John Roquemore, Charli Sirmans, Daniel Tucker, Robert Wright

The entire play takes place in Verona, Italy

There will be one intermission

☆ ☆ ☆

The Alliance Theatre Company would like to express sincere appreciation to the following firms and individuals for their assistance in our operations: AGNES SCOTT COLLEGE DAVID POOLE, Staged Fight Scenes Peggy Atkins, MASSEY JR. COLLEGE RINGEL & SONS ANTIQUES GENERAL RECORDING CORP., Mr. Sandy Fuller, VISCOUNT Sound Recording PRODUCTIONS HERITAGE CADILLAC, INC., WALTER T. WINN Perimeter Mall DAN YOUMANS LETTERING, INC. OLYMPIC AIRWAYS The Alliance Theatre Company is supported in part by a grant from the National Endowment for the Arts. sp KEin nov*

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1325 Peachtree at Sixteenth Sn I# K. T. BAUMANN has made a career of The Effect of Gamma Rays on Man-In-The-Moon Marigolds both on tour and in the New York City production. She created the role of “Penny” in the Buffalo Studio Arena world premiere of Lanford Wilson’s Lemon Sky and then played the role in the New York production, traveling with it to Chicago for a seven week run at the Ivanhoe Theatre. On Broadway Miss Baumann has appeared in The Penny Wars and The Prime of Miss Jean Brodie in which she played “Mary McGregor.” She also appeared in this play in stock with Kathryn Crosby and Kim Hunter. Her numerous other stock engagements include The Spider’s Web with Joan Fontaine, A Memory of Two Mon­ days, A Shot in the Dark, and Noel Coward’s Blithe Spirit and Hay Fever. She has appeared in The Guiding Light and Search For Tomorrow, two leading daytime television serials. Recently she made her film debut starring in the title role of MAXIE soon to be released nationally. ☆ BRAD BLAISDELL returned to Atlanta from Ft. Lauderdale where he appeared at the Sea Ranch Dinner Theatre in Barefoot In The Park, Cabaret, and The Fantasticks to appear with ATC as “George Gibbs” in Our Town. Mr. Blaisdell is a former member of Alliance Theatre’s Studio Company and has appeared with ATC in numerous productions including Brown Pelican, Ah, Wilderness and Hamlet. He has also appeared with Theatre of the Stars and Theatre Atlanta. ☆ HOWARD BRUNNER appeared as “Constable Warren” in this season’s production Our Town. He also portrayed “Mitch” in TOTS’ A Streetcar Named Desire with Rosemary Harris. ☆ DAVID DEAN appeared as “Sam Craig” in Our Town and “Jamie” in The Hot L Baltimore. Last season he appeared as “Jamie Thurber” in Jabberwock, the insane “Ronnie” in The House of Blue Leaves, and “Dude Lester” in Tobacco Road. ☆ GARY DEATON wishes to all a good morrow. ☆ MITCHELL EDMONDS, a 4 year veteran of ATC, is the director of the 1974 Studio Com­ pany. This year Mr. Edmonds appeared as “Hennessey” in AT’C’s smash hit production Count Dracula, “Gooper” in Cat On A Hot Tin Roof, “Bill Lewis” in The Hot L Baltimore and “Dr. Gibbs” in Our Town. Edmonds made his Broadway debut in Red, White and Maddox. ☆ WALTER D. GUTHRIE appeared in this season’s Our Town as “Professor Williard” and Cat On A Hot Tin Roof as “Big Daddy.” In past seasons he appeared in Jabberwock, This Way to the Rose Garden and Anthony Burns. ☆ DAVIS HALL, a native Atlantan and graduate of Northwestern University, spent three and a half years in England where he appeared in the British premiere of Keep Tightly Closed In A Cool, Dry Place and the world premiere of Moonchildren. During his stay overseas, he performed in Amsterdam, Edinburgh, Dublin as well as in London. Back in America, he appeared with the Milwaukee Repertory Theatre as “Proteus" in Two Gentlemen of Verona and with the new Indiana Repertory as “Ronnie” in House of Blue Leaves and “Tom" in The Glass Menagerie. He then joined the Broadway company of Butley with Alan Bates for its California tour, later playing “Joey” to James Daly’s “Butley” at the Coconut Grove Playhouse. This past summer he created the role of “Charlie Then” in the world premiere of Hugh Leonard’s DA at the Olney Theatre in Maryland, and stayed on to play “Willum" in George M. Cohen’s The Tavern. Mr. Hall just completed a very successful run of DA at Chicago’s Ivanhoe Theatre. ☆ ARTHUR HAMMER has appeared in this season’s productions Our Town (Simon Stimson), The Hot L Baltimore (Mr. Katz), Cat On A Hot Tin Roof (Rev. Tooker) and Count Dracula (Dr. Seward). After an absence of twelve years, Mr. Hammer returned to the theatre eighteen months ago and in that time has played “Barney Cashman” in Last Of The Red Hot Lovers and “the father” in Six Characters In Search Of An Author. He appeared in Atlanta last year in a tour of Happy Birthday Wanda June and in Canada in Fiddler On The Roof. Mr. Hammer has worked as a comedian in numerous nightclub engagements. In addition to acting, he is an accomplished painter/sculptor. ☆ MARY ANN HEARN most recently appeared as “Mrs. Soames" in Our Town and “Suzy the prostitute” in The Hot L Baltimore. Her other numerous ATC appearances include The Cousins Properties Incorporated and the Sea Pines Company got together at Big Canoe The rest is history. It was a meeting of minds and talents and experience that could only produce something unique. And Big Canoe is. A community being created by people whose expertise and integrity have earned them design awards and notional acclaim for their developments in Atlanta and on Hilton Head Island, S.C. A superb year-round mountain retreat just 60 minutes north of Atlanta, in the sweet green Georgia mountains. We're striving to keep Big Canoe's quiet green ambience. In Disharoon Valley, for example, there’s a 100-year-old log

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Licensed with the Georgia Secretory of State under the "Georgia Land Sales Act of 1972.” Comedy Of Errors, “Ellie May” in Tobacco Road and “Belle” in Ah, Wilderness. Miss Hearn, a past member of the Studio Company, has worked with the Atlanta Children’s The.- atre, performed for four years in Stock Theatre in Indiana, worked with Theatre-Atlanta-Off Peachtree and has completed a featured film. She also starred in the world premiere of former Atlantan Nick Hall’s comedy Three In A Tub in Ft. Lauderdale. ☆ DANA IVEY is one of Canada’s most distinguished actresses, having worked with all the major Canadian theatres, including the Stratford Shakespeare Festival, the Manitoba Theatre Centre, the St. Lawrence Centre, Theatre Calgary, Theatre London and the Centaur Theatre in Montreal. Last summer she starred in a new Canadian play at Festival Lennoxville in Quebec. She has also worked extensively in the U.S., appearing in Plaza Suite with Forrest Tucker and Betty Garrett, The Odd Couple with Tony Randall and Jack Klugmann and for several seasons with the Front St. Theatre, Hartford Stage Company and the Na­ tional Shakespeare Company. Miss Ivey won a Fulbright Grant to study acting at the Lon­ don Academy of Music and Dramatic Art in London, England. She was seen recently as “Mae” in Cat On A Hot Tin Roof here at the Alliance Theatre. ☆ JOHN MACEACHRON most recently appeared in Atlanta in A Streetcar Named Desire with Rosemary Harris. Mr. MacEachron has worked with numerous out-of-state theatres. ☆ DEIRDRE OWNES appeared as “Mrs. Webb” in Our Town and “Millie” in The Hot L Balti­ more. Her Broadway and Off-Broadway appearances include Back to Methuselah with Tyrone Power, Monique, The Chalk Garden, which she also did on National Tour, Teach Me How to Cry (Melinda) and Look Homeward, Angel (Laura). She has appeared in numerous dinner theatre productions in Florida. ☆ PHILIP PLEASANTS appeared with ATC this season as “Mr. Webb” in Our Town, “Mr. Morse” in The Hot L Baltimore and “Count Dracula” in the smash hit Count Dracula. He was critically acclaimed for his sensitive portrayal of “Jeeter Lester” in last season’s ATC production Tobacco Road and delighted ATC audiences with his hysterical por­ trayal of “Grandpa” in the outstandingly successful Jabberwock. Mr. Pleasants has also appeared with ATC in Comedy of Errors and The Devil’s Disciple. Mr. Pleasants played the role of “the first voice” in Dylan Thomas’ Under Milkwood presented by the Atlanta Association of Performing Artists. With Theatre Of The Stars he was a member of the cast of Summer and Smoke with Eva Marie Saint, Oliver with Vincent Price, Marne with Ann Miller and portrayed “Thomas Cromwell” in A Man For All Seasons with James Daly. ☆ THOMAS CAPPS, CHRISTOPHER JONES, MARGO KIRK, ELEANOR RINGEL, JOHN ROQUEMORE, MICHAEL SINGLETON, DANNY TUCKER and ROBERT WRIGHT are members of the 1974 Studio Company. ☆ FRED CHAPPELL (resident director) directed the smash hit season­ opener Oh, Coward! and Cat On A Hot Tin Roof. As an actor this season he received critical acclaim for his role as the mad “Renfield” in Count Dracula. Last season he directed highly acclaimed produc­ tions Jacques Brel Is Alive and Well and Living in Paris and Tobacco Road. Mr. Chappell has been director of the Studio Company for the past three seasons. Mr. Chappell was a member of Theatre Atlanta’s professional acting company for three seasons. He appeared on Broad­ way in the company’s controversial hit, Red, White and Maddox and served as an actor and director of the National Touring Company of Red, White and Maddox. Mr. Chappell was a member of June Havoc’s Repertory Theatre in New Orleans. He has been in close to 100 roles in his acting career and has appeared with Vincent Price in Oliver, Ann Miller in Marne and Bob Cummings and Mamie Van Doren in How To Succeed in Business Without Really Trying. In Atlanta he directed the highly successful Wits End cabaret musical revue, Circus, with music and lyrics by Don Tucker. In New York City he has directed an off-Broadway show­ case entitled “Very Dry and On the Rocks,” and for the past two seasons has directed a Christmas revue for Manhattan Savings Bank. In Ft. Lauderdale, Florida he directed the sell-out smash hits, The Fantasticks and Cabaret. Mr. Chappell will go to Cortland, New York as the Artistic Director of the Cortland Reper­ tory Theatre's 1974 summer stock season. 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1819 Peaentree Road, Northeast / Atlanta, Georgia 404 • 351-6813 ALLIANCE THEATRE COMPANY

DAVID BISHOP — MANAGING DIRECTOR

GEORGE GOODWIN, Vice Chairman DAVID COKER, Chairman Board of Trustees — Theatre Board of Sponsors

MRS. BERNARD BRYAN, President Alliance Theatre Guild

Administrative Staff: Associate Manager ...... Victoria Mooney Director of Public Relations/ Advertising ...... Sue Deer Public Relations Assistant ...... Martha Clement Administrative Assistant ...... Baxter Joy Subscription Coordinator...... Ann Prout Subscription/Box Office Manager ...... Richard Farrell Accountant...... Charles Kelley House Manager...... Steve Cucich Photographer ...... Charles Rafshoon Artist ...... Ken Ragan

Production Staff: Production Manager ...... Dan B. Sedgwick Production Stage Manager ...... Keith Glover Assistant Stage Manager ...... Dwight Creel Production Designer ...... Lewis S. Greenleaf, III Associate Designer ...... Michael Stauffer Costumer ...... Ruth Howell Technical Director Patrick Mann Properties ...... James Word Lighting Technician...... Rick Hammond Scenic Technicians ...... Erik Magnuson, Thomas Oliver, Terry Turner Wardrobe Assistant Clara Spradlin

STUDIO COMPANY TECHNICAL APPRENTICES Mitchell Edmonds, Director Carol Graebner Bonnie Huff Thomas Sanford Capps John M. Roquemore Jean L. Grimm Susan Powley Judy Fraser Michael Singleton Christopher Douglas Jones Danny Tucker ALLIANCE THEATRE SCHOOL Margo Kirk Robert Wright Fred Chappell, Director Eleanor Ringel Terrell Bennett, Administrator ALLIANCE THEATRE CLUB George Fox, President "One nice tiling after another"

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Real Estate Investment and Development First ^Atlanta^quity Corporation Real Estate Brokerage ^Lucas-Corcoran interiors Commercial and Residential cRestoration^Atlanta Inc. Fine Home Renovation First Atlanta ^Management Company Property Management ATLANTA Subscription Concerts SYMPHONY Thursday, Friday and Saturday evenings 8:30 May 2, 3 and 4, 1974 ORCHESTRA ROBERT SHAW Conducting ROBERT SHAW Music Director Assisting Artist: and Conductor LEONARD PENNARIO, Piano

PROGRAM

Mozart Symphony No. 40 in G Minor, K. 550 (1788) Allegro molto Andante Menuetto (Allegretto) Allegro assai

Liszt ’’Concerto No. 2 for Piano and Orchestra in A Major (1863)

INTERMISSION

Bernstein * “Symphony No. 2 for Piano and Orchestra ("The Age of Anxiety”) .(1947-1949) Part One The Prologue The Seven Ages The Seven Stages

Part Two The Dirge The Masque The Epilogue

“First performance at these concerts

The use of recording devices or cameras during concerts is strictly prohibited. and a gourmet dinner too! A full evening's entertainment cocktails 6:30-7:00 buffet dinner 7:00-8:00 curtain 8:30 Shows Monday thru Saturday all year Mon ■ Thurs - $9.00/Fri - $9.50/Sat ■ $ 10.00

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William E. Rudolph, A. 1. D. Helen J. McBrayer, N. S. I. D.

The Safe Place INTERIORS ANTIQUES P.O. BOX 1077 • ATLANTA, GEORGIA 30301 PROGRAM NOTES BY PAUL AFFELDER Symphony No. 40 in G Minor (K. 550) of the symphony has come into general Wolfgang Amadeus Mozart use. It seems that Brahms had a small (1756-1791) collection of original manuscripts, among The year 1788 was not a happy one which was this revision of the G Minor for Mozart. As usual, he was heavily Symphony; but for some strange reason in debt and constantly running short of he was unwilling even to let the score funds. The composer Gluck had died be copied in order that it might be the previous year, and Mozart had ex­ published. Nevertheless, about 1890, the pected to succeed him as composer to conductor Theodore Thomas managed the court of the Austrian Emperor, to secure a copy of the revision—possibly Joseph II. Instead, the thrifty monarch before it came into Brahms’ possession— appointed him “chamber composer” to so that he was several years ahead of the Emperor, and paid him an annual his colleagues in performing the sym­ stipend of 800 florins—about $400—in­ phony in the form in which we usually stead of the 2,000 florins received by hear it today. Gluck. A certain veil of sadness seems to hang It was during this period of reverses over the symphony’s opening Molto al­ and disappointments that Mozart com­ legro, but it is relieved by the poise, posed his three last and greatest sym­ elegance and beautiful proportions of phonies—No. 39 in E-flat Major (K. the ensuing Andante. Mozart called the 543), No. 40 in G Minor (K. 550) third movement Menuetto and marked and No. 41 in C Major (K. 551), the it Allegretto; but this is no graceful ball­ last being the so-called Jupiter Sym­ room minuet, nor is it a rustic Landler. phony. This trio of masterpieces, cre­ Rather, it is a movement full of energy, ated during the summer of 1788, was syncopation and clashing dissonances, completed within the incredibly short with a trio—or contrasting middle sec­ span of two months or less, and the tion—that is intentionally more placid Symphony in G Minor took only ten and less harmonically challenging. The days to write. wind instruments play an unusually sig­ The Symphonies in E-flat and C nificant role in this movement. Though certainly do not reflect the low spirits the final Allegro assai is the most spirited of their composer; but there is a deeper of the symphony’s four movements, it consciousness of melancholy underlying carries forward the work’s general mood the G Minor Symphony. It was not of seriousness. Throughout the sym­ often that Mozart wrote in a minor key; phony, but especially in the last two when he did, the composition so cast was movements, Mozart makes generous and more likely than not to be in a serious effective use of counterpoint, only one vein. And his favorite minor key for of the many devices which impart to serious works seems to have been G this composition a great inner strength. minor. In addition to the present sym­ (Copyrighted) phony, there is the earlier Symphony No. 25 (K. 183), the Quintet for Viola Concerto for Piano and Orchestra and Strings (K. 516) and the Quartet No. 2 in A Major for Piano and Strings (K. 478), all in Franz Liszt (1811-1886) G minor and all of a fairly serious na­ In the history of music, there have ture. been a number of virtuoso performers There is no record as to when any of who composed a great deal of music for these last three symphonies had its ini­ their own use. The list includes such tial performance. Evidence to support illustrious names as Bach, Handel, Mozart, the claim that the Symphony in G Minor, Chopin, Rachmaninoff, Paganini and at least, was played during Mozart’s life­ Liszt. Since it was the purpose of these time may be found in the fact that he composer-performers to write music originally scored the work for flute, two that would best serve to show off their oboes, two bassoons, two horns and individual abilities, as well as the re­ strings, later reorchestrating it by adding sources of the instruments they played, parts for two clarinets and changing the their works naturally differ widely in oboe parts to fit into the new scoring. character. It has only been since the death of Probably, the two most formidably in­ Brahms in 1897 that the later version terpretive artists of this group were Jin perfect harmony,...

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2535 Equitable Building. 100 Peachtree Street Atlanta. Georgia 30303 / 577-9500 Paganini and Liszt. Paganini's phenom­ Symphony No. 1 (“Jeremiah") makes enal technique on the violin caused use of a mezzo-soprano soloist; the Sym­ many of his contemporaries to declare phony No. 2 (“The Age of Anxiety”) that he was in league with the Devil; and includes an important part for piano, Liszt was such an extraordinary key­ and the Symphony No. 3 (“Kaddish”) board virtuoso that he was called “the calls for speaker, mezzo-soprano and Paganini of the piano.” Neither of these chorus. men, particularly Liszt, could find com­ The present symphony has a program positions by anyone else that were bril­ based on W. H. Auden's poem The Age liant enough for them. So they wrote of Anxiety: A Baroque Eclogue, pub­ their own display pieces. lished in 1946 by Random House. At But Liszt did not compose the A the time of the symphony’s premiere by Major Piano Concerto primarily for his the Boston Symphony Orchestra, with own use. It was written for and dedi­ Serge Koussevitzky conducting and cated to one of his pupils, Hans von Leonard Bernstein as piano soloist, on Bronsart, who, like his teacher, was a April 8, 1949, the composer supplied the composer and conductor as well as a following explanatory notes for the or­ pianist. Bronsart was the soloist and chestra’s program book: Liszt the conductor when the concerto “Auden’s fascinating and hair-raising was first performed at the Grand Ducal ‘eclogue’ began immediately to affect me Theatre in Weimar on January 7, 1857. lyrically when I first read it in the sum­ At that time the work was called Concert mer of 1947. From that moment the Symphonique. composition of a symphony based on The concerto was a long time taking The Age of Anxiety acquired an almost shape. Liszt first sketched it in 1839 compulsive quality; and I have been but did not complete it until ten years writing it steadily since then, in Taos, in later. Then, after the first performance, Philadelphia, in Richmond, Mass., in the composer made some further re­ Tel-Aviv, in planes, in hotel lobbies, and visions in the score, and finally had it finally (the week preceding the premiere) published in 1863. in Boston. The orchestration was made Like the Concerto No. 1 in E-flat during a month-long tour with the Major, which was written about the Pittsburgh Symphony. same time, this Second Concerto is in “I imagine that the conception of a one continuous movement with a num­ symphony with piano solo emerges from ber of subdivisions which bring about the extremely personal identification of changes in tempo and mood. The Ameri­ myself with the poem. In this sense, can critic, William Foster Apthorp, once the pianist provides an almost autobio­ remarked that if Liszt had ever seen fit graphical protagonist, set against an or­ to give the A Major Concerto “a poetic chestral mirror in which he sees himself or dramatic title, it might have been analytically, in the modern ambience. something like The Life and Adventures The work is therefore no ‘concerto,’ in of a Melody.” The reason for this re­ the virtuosic sense, although I regard mark is that the concerto is dominated Auden’s poem as one of the most shat­ by a poignant, drooping theme which is tering examples of pure virtuosity in the heard at the very outset and which un­ history of British poetry. dergoes many interesting metamorphoses "The essential line of the poem (and as the work progresses. of the music) is the record of our diffi­ Supporting the solo piano in this con­ cult and problematical search for faith. certo is an orchestra of three flutes, In the end, two of the characters enun­ piccolo, two oboes, two clarinets, two ciate the recognition of this faith—even bassoons, two horns, two trumpets, a passive submission to it—at the same three trombones, tuba, kettledrums, cym­ time revealing an inability to relate to it bals and strings. personally in their daily lives, except (Copyrighted) through blind acceptance. “No one could be more astonished Symphony No. 2 for Piano and than I at the extent to which the Orchestra (“The Age of Anxiety") programmaticism of this work has been Leonard Bernstein (1918- ) carried. I had not planned a ‘mean­ None of Leonard Bernstein’s three ingful’ work, at least not in the sense symphonies is purely orchestral. The of a piece whose meaning relied on The Childrens School 345 Tenth Street Atlanta, Georgia

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storehouse PHONE 352-1916 details of programmatic implications. I the unconscious, where most of the poem was merely writing a symphony inspired takes place. by a poem and following the general “(b) The Seven Ages. The life of form of that poem. Yet, when each sec­ man is reviewed from the four personal tion was finished I discovered, upon points of view. This is a series of varia­ rereading, detail after detail of program­ tions which differ from conventional va­ matic relation to the poem—details that riations in that they do not vary any had ‘written themselves,' wholly un­ one common theme. Each variation planned and unconscious. Since I trust seizes upon some feature of the pre­ the unconscious implicitly, finding it a ceding one and develops it, introducing, sure source of wisdom and the dictator in the course of the development, some of the condign in artistic matters, I am counter-feature upon which the next content to leave these details in the variation seizes. It is a kind of mu­ score. sical fission, which corresponds to the “For example, I recently discovered, reasonableness and almost didactic qual­ upon re-examining the Masque move­ ity of the four-fold discussion. ment, that it actually strikes four o’clock! “(c) The Seven Stages. The variation Now there is no mention of four o’clock form continues for another set of seven, in the poem; there is only the feeling in which the characters go on an inner that it is very late at night, that every­ and highly symbolic journey according one is tired, that the jokes are petering to a geographical plan leading back to a out, and that everyone is valiantly trying point of comfort and security. The four to keep them going. So we find the try every means, going singly and in music petering out, while the celesta pairs, exchanging partners, and always strikes four as naively as day and the missing the objective. When they awaken percussion instruments cheerfully make from this dream odyssey, they are closely a new stab at energetic gaiety. I was united through a common experience pleasantly surprised to find this in the (and through alcohol), and begin to score, since I had not really ‘written’ it. function as one organism. This set of It had simply been put there by some variations begins to show activity and inner sense of theatricality. drive and leads to a hectic, though in­ “If the charge of ‘theatricality’ in a decisive, close. symphonic work is a valid one, I am will­ ing to plead guilty. I have a deep “PART TWO: suspicion that every work I write, for “(a) The Dirge is sung by the four whatever medium, is really theatre mu­ as they sit in a cab en route to the sic in some way; and nothing has con­ girl’s apartment for a nightcap. They vinced me more than these new dis­ mourn the loss of the ‘colossal Dad,’ coveries of the unconscious hand that the great leader who can always give has been at work all along in The Age the right orders, find the right solution, of Anxiety. shoulder the mass responsibility, and “I have divided Auden’s six sections satisfy the universal need for a father­ into two large parts, each containing symbol. This section employs, in a har­ three sections played without pause. A monic way, a twelve-tone-row out of brief outline follows: which the main theme evolves. There is a contrasting middle section of almost “PART ONE: Brahmsian romanticism, in which can “(a) The Prologue finds four lonely be felt the self-indulgent, or negative, characters, a girl and three men, in a aspect of this strangely pompous lamen­ Third Avenue bar, all of them insecure, tation. (I sometimes feel that the most and trying, through drink to detach appropriate musical version of the Dirge themselves from their conflicts, or, at should have been a raucous blues.) best, to resolve them. They are drawn “(b) The Masque finds the group in together by this common urge and begin the girl’s apartment, weary, guilty, de­ a kind of symposium on the state of termined to have a party, each one man. Musically the Prologue is a very afraid of spoiling the others’ fun by short section consisting of a lonely im­ admitting that he should be home in bed. provisation by two clarinets, echotone, This is a kind of scherzo for piano and and followed by a long descending scale percussion alone (including harp, celesta, which acts as a bridge into the realm of glockenspiel, and xylophone) in which a ATLANTA'S Largest Record and Audio Dealer ^ranklinj^sic

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FIRST VIOLIN BASS TRUMPETS Martin Sauser, Dale Schmidt, Concertmaster John Head, Principal Principal Robert Harrison, Jane Little, Associate Concertmaster Joseph Walthall, Associate Principal Ass't Principal — Willard Shull Ralph Jones, Ass't Concertmaster Principal Second Trumpet Ass’t Principal Larry Black Oscar Pereira Randolph Ujcich Benjamin Picone Thomas Thoreson TROMBONES Patricio Salvatierra Michael Kenady Jaqueline Anderson Wiley Weaver Harry Maddox, Patricia Vas Dias John Zugel Principal Frank Walton Richard Hansbery Lorentz Ottzen FLUTES Donald Wells Martha Reaves Head Susan Pitard Warren Little, BASS TROMBONE Principal James White Donald Wells Thomas O'Donnell Paul Brittan Benson Prichard Frances Arm TUBA Shalom Ben-Uri PICCOLO Michael Moore SECOND VIOLIN Benson Prichard TIMPANI David Arenz, Principal OBOES William Wilder William Rusconi Elaine Douvas, Principal Anita Cahoon Principal Jack Bell, Alice Oglesby Elizabeth Camus Assistant Principal Ronda Respess Ass't Principal — Linda Smith Principal Second Oboe PERCUSSION Karen Matthews Patrick McFarland Jack Bell, Juan Ramirez Principal Richard Robinson ENGLISH HORN Eugene Rehm, Edward Scruggs Patrick McFarland Mary Jacobsen HARP Ruth Little Henry David CLARINETS Judy Beattie Stephen Horvath Alan Balter, Principal KEYBOARD VIOLAS Norman Baker, William F. Noll Robert Jones, Associate Principal Michael Palmer Principal Lawrence Guy Peter Bertoli no Douglas Smith PERSONNEL MANAGER Manuel Diaz Martin Sauser Enid Jones BASS CLARINET John Detrino Douglas Smith PERSONNEL MGR. EMERITUS Heidi Moss Robert Parcells E-FLAT CLARINET Harry Robkin Marion Kent Norman Baker Haskell Marrinson LIBRARIAN Ardath Cohen BASSOONS Stephen Horvath Frank Walton, Ass't CELLOS Carl Nitchie, Principal Donovan Schumacher, STAGE MANAGER Daniel Dowdakin, Principal Assistant Principal Michael Destazio Edmund Basson, Charles Nussbaum Ass't Principal MASTER ELECTRICIAN

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WALTON FESTIVAL CONCERT

*Capriccio Burlesco (1968)

’Symphony No. 2 (1960) Allegro molto Lento assai Passacaglia: Fugato: Coda-Scherzando

INTERMISSION

‘ Belshazzar's Feast," for Mixed Choir, Baritone Solo and Orchestra (1931)

’First performance at these concerts

7 he use of recording devices or cameras during concerts is strictly prohibited

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Walton Festival Concert Honoring notator, Edward Downes, called the Sir William Walton, 1902- Capriccio Burlesco “an engagingly light Since the death of Ralph Vaughan and relaxed, unpretentious piece of Williams in 1958, the title of dean of music, by a virtuoso craftsman, who contemporary British composers must be­ seems to have enjoyed himself.” Downes long to Sir William Walton, though it is then continued with this description of as difficult to think of him as a musical the music: elder statesman as it was of the octo­ “Over an airy accompaniment for genarian Vaughan Williams; for the mu­ second violins, the first violin section sic of both men is marked by such leaps upward an octave and then de­ youthful vitality. The music of both scends earthward in a graceful cascade men is also unmistakably British in of trills, grace notes and syncopated character; yet, while Vaughan Williams rhythms. This is the principal theme spent most of his long life in his native and as such it makes a prompt return land, Walton has spent a good deal of in the brilliant sonority of all the violins his on the island of Ischia, in the Bay playing in octaves. It is followed by a of Naples. The older composer, a rather jaunty, little woodwind rhythm, which prolific creative musician, gained an im­ returns for the surprise conclusion of portant part of his reputation from his the score. In between, the music for nine remarkably varied symphonies. Wal­ the most part keeps its cool: its ton, on the other hand, has been quite light touch, its gaiety and the mercurial sparing in the number of compositions he shifts of color we heard at the outset. has written, and among these are only two There is a brief interlude of quietly re­ symphonies. flective lyricism, but the composer’s Walton is best known on this side of sparkling spirits soon take over again.” the Atlantic for his great choral work The Capriccio Burlesco is scored for Belshazzar’s Feast, his violin and viola two flutes, piccolo, two oboes, English concerti, his opera Troilus and Cressida, horn, two clarinets, clarinet in E-flat, his Partita for Orchestra, his Portsmouth bass clarinet, three bassoons, contra­ Point, Scapino and Johannesburg Festival bassoon, four horns, three trumpets, overtures, his score for Sir Laurance three trombones, tuba, kettledrums, a Olivier’s film version of Shakespeare’s large percussion section, harp and Henry V, and perhaps most of all for that strings. delightfully zany musical entertainment (Copyrighted) Facade, which he wrote in collaboration with Dame Edith Sitwell. Symphony No. 2 In an article on Walton in the Sep­ Capriccio Burlesco tember 1960 issue of High Fidelity, his Capriccio Burlesco is one of the more friend Patrick Cairns Hughes wrote: “By recent of Walton’s compositions, one of its very nature as the least representative a number of works commissioned from of the arts, music perhaps reveals most various composers by the New York Phil­ clearly and immediately the character of harmonic for its 125th anniversary year. its creator. Certainly, to his friends, He began work on it in May 1968, com­ nothing is more plainly expressive of pleting it on September 9 of that year Walton’s whole personality than his at his home in the town of Forio, on the music. His natural quick-wittedness, his island of Ischia in the Bay of Naples. It intense physical vigor and masculinity, received its world premiere that Decem­ the strong romantic streak, his sense of ber 7 by the New York Philharmonic, fun and horror of pomposity—all these conducted by Andre Kostelanetz, to are ily recognizable characteristics of whom it is dedicated. his music.” In his notes for that first perform­ Many of these characteristics are to ance, the Philharmonic’s program an­ be found in Walton’s Symphony No. 2. Decatur Federal Savings, making money more. Yours.

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THE PINKERTON & LAWS COMPANY Member Associated General Contractors of America 2700 Cumberland Parkway, N.W. Atlanta 30339 / 432-0171 Commissioned by the Royal Liverpool tion of the theme then serves as the Philharmonic Society, it was sketched subject of the Fugato—or fugue that is during 1957 and 1958, worked on ex­ not fully developed — and the work tensively in 1959 and completed in July concludes with an extended, lively Coda- 1960. The symphony was given its Scherzando whose material is derived world premiere by the Liverpool Phil­ from the Passacaglia theme, the latter harmonic Orchestra, John Pritchard con­ grandiloquently proclaimed by the brasses ducting, at the Edinburgh Festival on at the very end. September 2, 1960. It was introduced The symphony is scored for a large to the United States by George Szell and orchestra, comprising three flutes, pic­ the Cleveland Orchestra on December 29 colo, three oboes, English horn, three of that year. clarinets, clarinet in E-flat, bass clarinet, After its Edinburgh premiere, the three bassoons, contra-bassoon, four symphony received this review from the horns, three trumpets, three trombones, critic of The Scotsman: “Whatever pos­ tuba, kettledrums, military drum, tenor terity and the press may say, Sir William drum, bass drum, cymbals, tambourine, has written a score which genuinely gets bell in D, xylophone, glockenspiel, vibra­ across to the public ... It is not music phone, piano, celesta, two harps and that explores new paths of tonal or strings. The score is dedicated to the rhythmic experience, but rather consol­ Royal Liverpool Philharmonic Society. idates and enriches a territory with whose (Copyrighted) salient features most concert-goers are tolerably familiar.” The symphony is in three move­ Belshazzar's Feast ments. It begins with an Allegro molto In 1931, the Leeds Festival commis­ that is vivacious though with some sioned Sir William Walton to compose serious undertones. Its two principal a choral work. The result was Belshaz­ themes have a typically Waltonian con­ zar’s Feast, which began its highly suc­ tour. The second movement, Lento cessful career with a premiere at the assai, is extremely lyrical — some have Leeds Festival, under the direction of dared to call it “romantic”—with an un­ Sir Malcolm Sargent, on October 8, 1931. derlying elegiac character. This move­ The subject of Belshazzar’s Feast has ment is notable for the continuity of attracted a number of composers over its melodic line, with each new idea the years. Among these are Handel, seeming to grow out of its predecessor. who wrote an oratorio on the theme, The final movement is marked Passa- and Sibelius, who provided incidental caglia, Fugato and Coda-Scherzando. A music to a play about the Babylonian passacaglia is a series of continuous vari­ king and his destruction. Many others ations on a constantly repeated theme, have made musical settings of the 137th usually in the bass but not always con­ Psalm, which begins: “By the waters fined there. The theme of Walton’s of Babylon.” Passacaglia, fourteen measures long, em­ The noted British author, Sir Osbert braces all twelve notes of the chromatic Sitwell, was responsible for selecting and scale, in the manner of a twelve-tone arranging the text for Belshazzar’s Feast. row, yet the music remains entirely tonal He drew his material from the 81st and in character. Analyzing the symphony in 137th Psalms, Daniel V and Revelations his book, The Music of William Walton, XVIII. Frank Howes points to the fact that this Belshazzar's Feast treats of a dra­ theme begins exactly like the tone-row matic Biblical story, the fall of Babylon upon which Alban Berg constructed his and the resultant release of the captive Violin Concerto. After presenting the Israelites; yet the text is not strictly theme in the full orchestra, Walton sub­ dramatic, nor is the music strictly sacred jects it to ten quite free variations, dur­ in concept. The story is told rather ing which the theme is often heavily than dramatized, the only soloist being disguised or altered. A further altera­ a baritone (or bass), who acts more as IT'S TODAY! Pick Something Patrons of art Beautiful! A bracelet or can appreciate the a ring. The rings are our Atlanta Internationale Hotel very timely semi­ mountings. • Exciting decor. Available with • Marquis Lounge. Las Vegas type or without the entertainment. important • Compass Points Restaurant. center stone. • Meeting and convention rooms. Any size gathering. • Camera controlled security throughout. Bailey Banks & Biddle • Underground Atlanta close by. World Renowned Jewelers Since 1832 181 Peachtree Street, N.E. • Atlanta '/ntenaatLona^e Greenbriar Center • South DeKalb Mall l/L Cz LUXURY HOTEL Perimeter Mall • Northlake Mall 450 Capitol Avenue across from the Stadium Lenox Square

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TAURUSPORSCHE I AUDI Elwyn C. Tomlinson, President 500 W. Peachtree 577-8500 a narrator than as a protagonist. And Belshazzar’s Feast calls for a sizable since Walton’s musical style here leans performing force. Besides the baritone heavily toward the secular, the work soloist and mixed chorus, there is an has found a more cordial home in the orchestra comprising two flutes, piccolo, concert hall than in the sacred precincts two oboes, English horn (optional), two of the church. clarinets, bass clarinet, alto saxophone While Walton's setting is continuous, (which may be replaced by the English it falls into three parts. Part I begins horn), two bassoons, contra-bassoon, with the prophecy of Isaiah and con­ four horns, three trumpets, three trom­ tinues with the lament of the captive bones, tuba, kettledrums, bass drum, Jews, the eight-part chorus, “By the snare drum, tenor drum, cymbals, tri­ waters of Babylon.” Part II is a descrip­ angle, tambourine, castanets, gong, slap tion of the rich, bustling city of Babylon. sticks, wood block, anvil, xylophone, Part III, in which the music reaches its glockenspiel, piano (optional), organ, climax, deals with the feast, the carous­ two harps and strings. In addition, two ing, the praise of the Babylonian gods, small brass bands are specified, each and the fateful handwriting on the wall consisting of three trumpets, three trom­ —“Mene, mene, tekel upharsin” (“Thou bones and tuba, but these have also been art weighed in the balance and found cued into the orchestral brass parts. The wanting”)—ending with a hymn of re­ score is dedicated to the British diplomat joicing over the destruction of Belshaz­ and composer, Lord Berners (Gerald zar’s kingdom and the liberation of the Hugh Tyrwhitt-Wilson). Jews. Thus spake Isaiah: For with violence shall that great city Thy sons that thou shall beget Babylon be thrown down They shall be taken away, And shall be found no more at all. And be eunuchs Babylon was a great city, In the palace of the King of Babylon. Her merchandise was of gold and silver, Howl ye, howl ye, therefore: Of precious stones, of pearls, of fine linen, For the day of the Lord is at hand! Of purple silk and scarlet, By the waters of Babylon, All manner vessels of ivory, There we sat down: yea, we wept All manner vessels of most precious wood, And hanged our harps upon the willows. Of brass, iron and marble, For they that wasted us Cinnamon, odors and ointments, Required of us mirth; Of frankincense, wine and oil, They that carried us away captive Fine flour, wheat and beasts, Required of us a song. Sheep, horses, chariots, slaves “Sing us one of the songs of Zion.” And the souls of men. In Babylon How shall we sing the Lord's song Belshazzar the King In a strange land? Made a great feast, If I forget thee, O Jerusalem, Made a feast to a thousand of his lords, Let my right hand forget her cunning. And drank wine before the thousand. If I do not remember thee, Belshazzar, whiles he tasted the wine, Let my tongue cleave to the roof of my Commanded us to bring the gold and mouth. silver vessels: Yea, if I prefer not Jerasulem above my Yea! the golden vessels, which his father, chief joy. Nebuchadnezzar, By the waters of Babylon, Had taken out of the temple that was in There we sat down: yea, we wept. Jerusalem. O daughter of Babylon, who art to be He commanded us to bring the golden vessels destroyed, Of the temple of the house of God, Happy shall he be that taketh thy children That the King, his Princes, his wives And dasheth them against a stone, And his concubines might drink therein. How to Choose Your Drinking water 1. Is it from The Mountain Valley spring is covered by a pure source! a glass dome-protecting the water even from air pollution. 2. Does it reach Mountain Valley Water is bottled only in you as it should! glass, by experts, a full-time hydrologist in charge. 3. Is it longestab-. Mountain Valley has been constantly in lished or a use for more than 100 years. "pollution baby!" 4. Is it widely Mountain Valley is the only bottled water accepted! in demand across the nation. 5. Is it always Tests covering 60 years show no appreci­ the same! able change at any time. 6. Does it When you taste Mountain Valley, you'll taste good! feel like you're drinking real water for the very first time. autumn chace 7. Can I drink If you can drink any liquids at all, you can all I want! drink Mountain Valley. It's very "light" on townhomes the system. 8. Can I drink Many people have been drinking Mountain A new community built in the it regularly! Valley for 40 to 50 years —some for 60 to 70 years. finest Bostonian tradition where In short, there's one exceptional drinking water waiting for you, Mountain Valley Water from Hot Springs, Ark. you purchase both a quality home AWr Fm (Mkhl and the land on which it rests. (404)875-5561 WRITS: 428 Armour Cir., N.E. At the corner of Mount Vernon (/Mountain Valley and Barfield Roads in Sandy from Springs. 394-1640. 'Water NRT SPRINGS, ARK.

(Sene anb (Sake’s. Slieraton’s ^Restaurant 1578 ^iebmunt .Afrenue, Furniture (Atlanta, (Georgia 38324 the best furniture store in Atlanta... ©eleplyane 878-9426 maybe the world. vn 2546 NE EXPRESSWAY. DINNER 6 P.M. - 12 MIDNIGHT & Forsyth St Downtown OPEN 7 DAYS

SHORTER COLLEGE One of America’s great small colleges Rome, GA 30161 Piano... Voice.. .Organ.. .Painting.. .Ceramics.. .Drawing... Sculpture.. .Speech.. .Drama.. .Communications... Outstanding education with a purpose Then the King commanded us: And in that same hour, as they feasted Bring ye the cornet, flute, sackbut, psaltery Came forth fingers of a man’s hand And all the kinds of music: they drank And the King saw wine again, The part of the hand that wrote. Yea, drank from the sacred vessels, And this was the writing that was written: And then spake the King: “MENE, MENE, TEKEL UPHARSIN” Praise ye "THOU ART WEIGHED IN THE The God of Gold BALANCE AND FOUND Praise ye WANTING.” The God of Silver In that night was Belshazzar the King slain Praise ye And his Kingdom divided. The God of Iron Then sing aloud to God our strength: Praise ye Make a joyful noise unto the God of Jacob. The God of Wood Take a psalm, bring hither the timbrel, Praise ye Blow up the trumpet in the new moon, The God of Stone Blow up the trumpet in Zion Praise ye For Babylon the Great is fallen, fallen. The God of Brass Alleluia! Praise ye the Gods! Then sing aloud to God our strength: Thus in Babylon, the mighty city, Make a joyful noise unto the God of Jacob. Belshazzar the King made a great feast, While the Kings of the Earth lament Made a feast to a thousand of his lords And the merchants of the Earth And drank wine before the thousand, etc. Weep, wail and rend their raiment. After they had praised their strange gods, They cry, Alas, Alas, that great city, The idols and the devils, In one hour is her judgment come. False gods who can neither see nor hear, The trumpeters and pipers are silent, Called they for the timbrel and the And the harpers have ceased to harp, pleasant harp And the light of a candle shall shine no more. To extol the glory of the King. Then sing aloud to God our strength. Then they pledged the King before the Make a joyful noise unto the God of Jacob, people, For Babylon the Great is fallen. Crying, Thou, O King, art King of Kings: Alleluia! O King, live for ever . . . (Copyrighted) chestra. Dubbed an “operatic Janus” by Opera News, Mr. Cossa is one of the few talents popular at both of New York's major opera houses. After a summer including performances of Rossini’s Barber of Seville in Central City, Col­ orado, he returned to the Metropolitan Opera in the fall of 1973, singing in Don Giovanni and L'Elisir d’A more, and to the New York City Opera where he performed in their productions of Madama Butterfly, Ariadne, La Traviata DOMINIC COSSA. “has a quality that and La Boheme, and also traveled to identifies him immediately as a singing Los Angeles with the company. aristocrat,” according to the New York Mr. Cossa has recorded for the Colum­ Post. Possessing “one of the most beau­ bia, London and RCA Victor labels, tiful baritone voices you are likely to and among his numerous successful re­ come across anywhere” (the New leases are Les Hugenots and L’Elisir d’ Yorker), he has more than proven his A more for London Records, starring versatility in opera, recital and with or­ Joan Sutherland. completed over the summer, the Museum will be able to show larger portions of its growing collection at the same time. Shown below are several outstanding ex­ amples recently acquired for the collec­ tion:

Worthington Whittredge (American, 1820-1910), Land­ scape in the Harz Mountains, oil on canvas, 1854, 46" x 63" Anonymous gift, 1973.

Juriaen van Streek (Dutch, 1632-1687), Still Life with Rug, oil on canvas, 40" x 321/2", Museum pur­ chase with special funds allocated by the Atlanta Arts Alliance Board of Trustees, 1973.

Your personality expressed in classic and contemporary jewelry designed in precious gems and gold by Martin Dubler Left to right: English, Worcester Mug, porcelain, 99 West Paces Ferry Hd., N.W. h. 7", Chelsea Gold Anchor Birds in Applebow, porcelain, ca. 1760-65, h. 71/4", and Pair of Derby Atlanta, Ga. 30305 Wine Coolers, porcelain, 18th century, h. 13". All are anonymous gifts, 1973. SA AMBROSE 8u CO. FINE CUSTOM MADE JEWELRY As unique . . . As the individual.

87 Poplar St. / Downtown 577-7688 Frank Stella (American, b. 1936), Warka III, mixed media, tilted relief, 1973, 93” x 100”, Museum pur­ chase, 1973.

k xor generations, we've had a flair for the finest: superb antiques, mellow as old brandy, Martin Johnson Heade (American, 1819-1904), Twi­ or the best of contem­ light, oil on canvas, after 1883, 2714” x 5214”, Gift in memory of Mr. Howard R. Peevy from his wife, porary furnishings. 1973. The only guide needed to our treasure house of taste is any of the fine designers who use us as a major ALLIANCE THEATRE COMPANY source for quality furniture and "Early Bird" Subscription ------accessories. Campaign Announced Alliance Theatre Company has an­ nounced its “Early Bird” special spring subscription campaign. “Early Bird” subscribers who purchase season tickets Southeast Wholesale Furniture for next year’s theatre season before Company 1065 Williams Street N.W. June 15 may save up to $22.00 on a pair Atlanta, Georgia 30309 of season tickets. David Bishop, Managing Director, has announced that the ’75 season will in­ clude six exciting plays which will be GOODMAN selected from the following: (1) A Funny Thing Happened On The Way To The Forum (2) Saint Joan by George PAINTING & Bernard Shaw (3) Jason Miller’s That WALLCOVERING Championship Season (4) Moonchildren by Michael Weller (5) Shakespeare’s A Midsummer Night’s Dream (6) The ATLANTA Member Of The Wedding by Carson 351-8922 McCullers (7) Compulsion by Meyer continued Levin (8) The Decline And Fall Of The Entire Wor Id As Seen Through The Eyes Of Cole Porter, a sparkling revue of Cole Porter’s melodies (9) The Count Of Monte Cristo (10) Eugene O'Neill’s A Moon For The Misbegotten (11) Tooth Of Crime by Sam Shepard (12) Harvey by Mary Chase. A better mixed drink The “Early Bird” special offers At­ employees who give a damn lanta theatre-goers two great plays free, and an atmosphere both six tickets for the price of four. “Early genuine and relaxed. Bird” subscribers will be given the first choice of the best seats in the house. “Early Bird” special prices are $22.00 for Section A or $16.00 for Section B. Be one of the first to take advantage of the ATC “Early Bird” offer, good only through June 15. After June 15, it’s Uantr’ii six plays for the price of five. For in­ formation, call 892-2414. Jknini tljr ijatrtj

MAY 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 & SATURDAY MAY 2, 3 & 4 Atlanta Symprony, 8:30,, SH. Subscription Series, Robert Shaw conducting. Leonard Pennario, piano. Mozart: Symphony No. 40; Liszt: Concerto No. 2 for Piano & Orchestra; Bernstein: “Age of Anxiety” Symphony No. 2 for Piano and Orchestra. UNDERGROUND ATLANTA THURSDAY, MAY 7 RESERVATIONS 577-1800 Westwood High School Band Concert, 8:00, SH. THURSDAY, MAY 16 Youth Symphony of Metropolitan Atlanta, 8:30, SH. Leonard Altieri, conducting. FRIDAY, MAY 17 Herbie Mann Show, 8:30 & 12:00 midnight, SH. THURSDAY & FRIDAY MAY 23 & 24 Atlanta Symphony, 8:30, SH. Subscription Series. Robert Shaw conducting. Assisting Artists: Dominic Cossa, baritone; Atlanta Symphony Orchestra Chorus. Walton Festival Concert. Capriccio Burlesco; Symphony No. 2; “Belshazzar's Feast."

SUNDAY, MAY 26

Atlanta Symphony, 2:30, SH. Subscription Series. Robert Shaw conducting. Assisting Artists: Dominic Cossa, baritone; Atlanta Symphony Orchestra Chorus. Walton Festival Concert. Same program as May 23 & 24 above.

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 until 10:00; closed Mon. Jr. Art Shop hours: Mon., Sat. and Sunt only, 12 noon to 5:00. Museum closed ATLANTA'S May 14 (until 3 p.m.) and on Memorial Day, May 27.

CONTINUING THROUGH JUNE 16 ACREAGE

Beyond India. HM. The William and Robert Arnett Collection of Southeast Asian Art forms an exhi­ AGENTS bition spanning twelve centuries and includes por­ celain, ceramics, and Buddhist and Hindu stone, wood, and bronze sculpture from Thailand, Burma, Java, Cambodia, South China ,and Vietnam. Cata­ logue available.

CONTINUING THROUGH MAY 19 FALK REALTY

The Architecture of Neel Reid. South Gallery and Lobby. A photographic exhibition of homes and other buildings designed by Atlanta architect Neel Reid (1885-1926) during the first quarter of the 20th 1064 W. eachtree t N.W. century. P S ., Specialists in investment Acreage David Alfaro Siqueiros. Galleria. An exhibition of paintings by Mexican muralist/artist Siqueiros, who died in January of this year. Along with Rivera and 876-1947 Orozco, Siqueiros formed the triumvirate of Mexican muralists who revived wall painting in the 1920's Developers of fine lake and profoundly influenced 20th century art. Cata­ logue available. Communities Highlights from the Organization of American States Collection. Galleria. An exhibition composed of 24 works by artists representing the 24 nations of the Organization Of American States, on the oc­ casion of the O.A.S.* General Assembly meeting in Atlanta during April and May.

OPENING MAY 25 ...... i Antwerp’s Golden Age. Galleria. This exhibition, Let us handle your supported by a special grant from the Trustees of the Atlanta Arts Alliance, interprets life in a great PEOPLE problems.. .call urban center of Western Europe during the Renais­ sance and Baroque era, and includes paintings, any of our 10 Atlanta drawings, woodcuts and engravings, books, and coins and medals. Catalogue available. offices. We’ll send out our specialists. 233-6771 CONTINUING 1974 ^norrell Special Loans from The Metropolitan Museum of Art. HM. A group of 15 paintings on special loan from the permanent collection of The Metropolitan Museum of Art including works by Pissarro, Puvis de Chavannes, Monet, Signac, Dufy, Leger, Matisse, Vuilliard, and Rouault, have been installed with works from the same period in the High Museum’s temporary genicM collection. Masterpieces in the Ralph K. Uhry Collection. HM. Works by Bresdin, Redon, Cezanne, Gauguin, Signac, Matisse, Picasso, Munch, Klee, Feininger, Beck­ mann, Motherwell, Kelly, Rauschenberg, and Johns, among others, are featured.

THURSDAY, FRIDAY, SATURDAY & SUNDAY MAY 16, 17, 18, & 19

A Bette Davis Mini-Festival. HA. Famous in movies for over forty years, Bette Davis has displayed in­ credible versatility as an actress. In this series, Miss Davis’s films during the late 30's and early 40’s are featured. 5/16 at 8 p.m.: All This, and Heaven Too (1940), and The Letter, with Herbert Marshall. 5/17 at 8 Areyoua p.m.: Elizabeth the Queen (1939), with Erroll Flynn, and Juarez (1939) with Erroll Flynn, Olivia de Havil- land, and Vincent Price. 5/18 at 8 p.m.: The Corn is Green (1945) and Dark Victory (1939), with Hum­ phrey Bogart. 5/19 at 3 p.m.: Britches Watch on the Rhine (1943) with Paul Lukas, and Jezebel (1938), the sec­ ond Academy-Award-winner for Miss Davis, with man? Henry Fonda. Museum Members/ $1; Students/ $1.50; General Public/ /$2. You won’t settle for second best under any circumstances. SUNDAY, MAY 26 Your standards won’t allow it. Movie: Antwerp’s Golden Age. HA. 3 p.m. Prepared Whether it’s the $2 handkerchief by the Belgian Government, this film examines in your pocket, or the $250 suit works and explains the history behind the exhibition, you're wearing—you demand Antwerp’s Golden Age, on view in the Galleria and a level of quality that doesn’t vary. opening there on May 25. Free. So do we. Funny, there have COMING IN THE SUMMER: always been Britches men, even before there was a Britches. The Sculpture of Louise Nevelson, a major exhibi­ tion organized by the Walker Art Center, Minneap­ olis, opening July 6 in the North Gallery and Gal­ leria.

Iburea Theatre

Britches FRIDAY, MAY 3 Romeo and Juliet, 8:30, AT, Alliance Theatre man. Company SATURDAY, MAY 4 Romeo and Joliet, 2:30 matinee & 8:30, AT, Alliance Theatre Company FRIDAY, MAY 10 Romeo and Juliet, 8:30, AT, Alliance Theatre Company

SATURDAY, MAY 11

Romeo and Juliet, 2:30 matinee & 8:30, AT, Alliance One of America's finest clothiers Theatre Company is coming to Lenox Square, FRIDAY, MAY 17 October 1. Romeo and Juliet, 8:30, AT, Alliance Theatre Company

SATURDAY, MAY 18

Romeo and Juliet, 2:30 matinee & 8:30, AT, Alliance Theatre Company JUNE AT THE CENTER

Concerts

LeFevres Golden Anniversary Concert, 7:30, June WIGGINS AND COMPANY, INC. 1, SH. Gospel Music Concert. Atlanta Symphony, 8:30, June 11 & 12, SH. Summer Season, Promenade I. Atlanta Symphony, 8:30, June 18 & 19, SH. Sum­ 3838 First National Bank Building mer Season, Promenade II. Atlanta Symphony, 8:30, June 25 & 26, SH. Summer Atlanta, Georgia 30303 Season, Promenade III.

Dance

Hutchinson Dance Academy, 8:00, June 5, 6 & 7, SH. Dance Recital. Atlanta Academy of Dance & Gymnastics, 2:00 & HOW DO YOU KEEP 8:00, June 16, SH. AN EYE ON GEORGIA BUSINESS?

IN AND AROUND ATLANTA entrepreneur All listings are based on information supplied by contributing organizations. This calendar is offered as a community service and is believed to be cor­ rect at time of printing. Organizations wishing to submit material for this column must send copy six SPIRIT weeks in advance of publication date which is the first of each month. Send copy to: Mrs. Young T. Sheffiield, Jr., 687 Longwood Dr., N.W., Atlanta, THE GEORGIA BUSINESSMAN S MAGAZINE 30305. Phone: 351-4870.

Galleries

Allison Art Acres Gallery and School of Art—3940 N. Peachtree Rd., Chamblee. 457-3080. Mixed media by Jean Allison; art classes. Art Etcetra—3349 Piedmont Rd., N.E. Work by Mary back door stereo Boh, R. W. Bragg, Ben Hyink. ATLANTA'S ONLY Atlanta Artists Club Gallery—3099 Peachtree Rd., STATE-OF-THE-ART STEREO SHOP N.E. 237-2324. Members juried show. Carol Aycock—20 13th St., N.E. 892-2086. Exhibit of posters and original graphics. Artventure—5948 Roswell Rd., N.E. 255-3319. Graph­ ics by Collectors Guild Artists, watercolors by Charles Bouras, etchings from Torah II Suite by THOKEN5 Ira Moskowitz. harman/Hard Barclay Gallery—3500 Peachtree Rd., Phipps Plaza. 233-8712. Continuing group exhibit of American & Internaticnal graphic artists; Paul Jenkins, Willen- 2065 Piedmont Rd., N.E. (404) 874-9493 becher, Richard Smith, & Peter Blake. Sharon Bennett Gallery—3150 E. Shadowlawn Ave., N.E. 233-0124. Prints, paintings, and pinhole photos by Willie Anne Sibley, Robert Vick. Where land Brentanos—229 Peachtree Center. 659-2777. Graph­ ics, prints, and posters. syndication is an art. Sarah Brown Gallery—3108 Roswell Rd., N.E. 261- 2575. New drawings, paintings, art classes. Donald J. Brundage—1222 Dresden Dr., N.E. 237- 8628. Hand antiqued Georgia historical prints and Masada Properties, Inc. Civil War prints; Chinese manuscript reproductions. Capitol Art Centre, Ltd.—6600’ Roswell Rd., N.E. Work by Jean-Claude Quillici, Alan Lazarus, Preston A Division of Masada Development Corporation Doyle. Land Syndication • Commercial Properties • Income Investment Properties • Decatur Art Center—113 Trinity Place, Decatur. 378-6441. Watercolors by Jack Thames; Walt Daugherty, Willoweise; paintings by Doris Hancock; 8004 PerimeterCenterEast Virginia Bramblett Smith, others; works by Agnes Atlanta. Georgia 30349 Scott Alumni; student and Art Center group. Marvin Isenberg, President Elson’s Sight and Sound Bookstore—3393 Peach­ tree Rd., N.E. Lenox Square. 261-2781. Changing ex­ hibits of paintings, prints, and sculpture.

Gavant Gallery—2126 N. Decatur Rd., Decatur. 634-2340. 115F Hammond Dr., Sandy Springs, 255- 6242. Group art; fine art; graphics.

Georgian Gallery—110 E. Andrews Dr., N.W. Work by Paul Miller; New England landscape watercolors.

The Golden Easel Art Gallery—60F Kenny’s Alley, Underground Atlanta. Thru May, work by Helen comera Oxford. 30 PHARR RD. N.W. Haber's Art Gallery—3493 Northside Pkwy., N.W. 233-1991 261-9691. Paintings by Joe Nooyer, 3 Holland artists, 5 German artists. Paintings & original lithos by Jon Haber of Robert E. Lee.

Ann Jacob Gallery—17 S. Rhodes Center, N.W. In­ ternational investment prints, sculpture, paintings.

Ray Ketcham Gallery—3232 Roswell Rd., N.W. 237- 0770. 18th, 19th, & early 20th century paintings. el I man's Resource Galleries—-400 Brenau Ave., Gainesville. Work by Della Roberts. CATALOG SHOWROOM Swan Coach House Gallery—3130 Slaton Dr., N.W. 261-0224. Continuous show featuring works of 19 outstanding Georgia artists. Open to public.

Twentieth Century Gallery—2289 Peachtree Rd., N.E. 355-0275. Original art, graphics, old prints.

Widens Art Galleries—349 Peachtree Hills Ave., N.E. 237-2991. Distinguished collection of fine qual­ ity original oil paintings (contemporary & antique.)

Concerts

Chattanooga Boys Choir. All Saints Church. 5/5, 4:00 p.m. Emory Concert, Ronald Carlisle, director. 5/5, 4:00 p.m. Glenn Memorial Auditorium, Emory University. Metropolitan Opera in Atlanta. Verdi: Vespri Sici- liani. 5/6, 8:00. Civic Center. Fo/tXUoAe. vuUo Metropolitan Opera in Atlanta. Offenbach: Tales of Hoffman. 5/7, 8:00. Civic Center.

app/cjejcizxle'ttte. Metropolitan Opera in Atlanta. Mozart: Don Gio­ 2489 Cheshire Bridge Rd., 633-2921 vanni. 5/8, 8:00. Civic Center. Metropolitan Opera In Atlanta. Puccini: Turandot. 2595 Candler Road (at I-20) 243-3605 5/9, 8:00. Civic Center.

2750 S. Four Lane Hwy’Smyrna 435-2661 Metropolitan Opera in Atlanta. Strauss: Der Rosen- kavalier. 5/10, 8:00. Civic Center. Metropolitan Opera in Atlanta. Rossini: d’ltaliana in Algeri, 5/11, 2:00, Civic Center. Metropolitan Opera in Atlanta. Puccini: Madame Butterfly. 5/11, 8:00. Civic Center. an interesting shop of contemporary crafts Choral Concert with Orchestra. 5/12, 8:00. Cathedral of St. Philip. Lovett Chorale, Gregory Colson conducting. 5/13, 8:15, Lovett School. mid. fa ufa Marietta Community Symphony Pops Concert. 5/18, 8:30, Kennesaw Junior College.

on the soque river at grandpa watts' mill Atlanta Music Club Community Orchestra Children’s Concerts. Joseph Kirschner conducting. 5/19, 2:30, Woodward Academy; 5/19, 4:30, Second Ponce de Leon Baptist Church. ga 197; rt. #3; Clarkesville, ga. 30523 Georgia State University Orchestra, Alan Balter con­ ducting. 5/19, 8:15, Georgia State University Re­ cital Hall. Special Exhibitions & Events

Architecture in Atlanta, Sponsored by the Atlanta Chapter of the American Institute of Architects, 2:00 to 5:00. 5/12: Cathedral of St. Philip, 2744 Peachtree Rd., N.W. & Central Congregational Church, 2676 Clairmont Rd., N.E., Ken Johnson, Architect; 6/9: Peachtree Center Shopping Gallery —Cain Tower, John Portman & Associates, Archi­ tects; 7/14: Corporate Square, Tooms, Amisano & Wells, Architects. 8/11: Fox Theater, Peachtree Street & Ponce de Leon Avenue.

Doll House Show. Thru 5/4, 10:00 am. to 6:00. Rich’s Lenox, 2nd Floor Auditorium. Proceeds go Resource Balleries, Inc. to Tullie Smith House Restoration. Sponsored by Piedmont Garden Club. 400 BRENAU AVENUE GAINESVILLE, GEORGIA 30501 Art Show, Works by Jack Mason. Thru 5/16. Dana Fine Arts Bldg., Agnes Scott College. Agnes Scott Seniors’ Art Show. 5/19 thru 6/9. 1 Dana Fine Arts Bldg. For dependable Zoological Society of Atlanta, Inc. 5/14, Reptiles; 5/20, Birds; 5/27, Mammals. Tom Blackwell, lec­ turer. 7:30, Fernbank Science Center. CRUISES* AIR TOURS Faculty-Student Georgia State University Photo­ HOTELS* RESORTS . . . . graphic Show. Thru 5/10. Call for information. Decorators’ Show House, 1080 W. Paces Ferry Rd., N.W. 4/20 thru 5/12, opens at 10:00 a.m. daily. Sponsored by the Jr. Committee of the Women’s Assoc, of the Atlanta Symphony Orchestra.

Arts Festival of Atlanta. 5/12 thru 5/19, Piedmont Park.

Theatre

Wait Until Dark. 5/9, 5/10, 5/11, 5/16, 5/17, & 5/18, 8:30, DeKalb Little Theater. Call 934-3661 for information. Agnes Scott Blackfriars Production. 5/2, 3, & 4, 8:15, Dana Fine Arts Bldg. Call 377-1200 for more Call Ruth .... information. Ms. Ruth Ferver knows the travel business. She's the experienced travel manager of S&H Travel Service, ready to handle your Films special requirements. From an airline ticket... to a round-the-world cruise. Dr. Jekyll and Mr. Hyde, 1941. Spencer Tracy, Lana Call Ruth now. Turner, Ingrid Bergman. 5/13, 7:30 & 9:30 p.m. Callanwolde. Peter Rabbit and the Tales of Beatrix Potter, 1971. TRAVEL SERVICE British Royal Ballet. 5/20, 7:30 & 9:30 p.m. Callan­ wolde. 4385 Roswell Rd., N.E. 252-7880 Elizabeth The Queen, 1939. Bette Davis, Errol Flynn, J Olivia de Haviland, Vincent Price. 5/27, 7:30 & 9:30 p.m. Callanwolde.

Children a collection of creativity Shapes: Adventure and Discovery—Junior Gallery, Memorial Arts Center. Refurbished and full of new delights. Adults, 50c; children, 25c; Museum mem­ bers free. Closes permanently on Sunday, May 19.

Fernbank Science Center—156 Heaton Park Dr., N.E. 578-4311. “All Aboard for Skylab.’’ Thru 7/1, the living image 3:00, Saturdays. photographic gallery Atlanta Public Library—Story hour and film program at all 30 branches. Contact your nearest branch for schedule information. 881-1141 876 w. peachtree st. Classic All Arabian Horse Show, Stone Mountain. 5/24 thru 5/26. Atlanta Arts Monthly magazine of the Atlanta Memorial Arts Center 1280 Peachtree Street, N.E. Atlanta Georgia 30309 MAY/JUNE, 1974 VOLUME VI ISSUE 8

THE ATLANTA ARTS ALLIANCE Charles R. Yates 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 RALEIGH SQUARE Director Ms. Paula Hancock The Location In Sandy Springs Curator of Education Considered By Many As The Most The ATLANTA COLLEGE OF ART Desirable In Metro Atlanta William Voos Dean • 2 BEDROOM TOWNHOUSES Mrs. Guthrie Foster • 2 & 3 BEDROOM GARDEN RESIDENCES Assistant Dean Are Priced Within The Reach Of Families Seeking Their First Home THE ALLIANCE THEATRE COMPANY David Bishop Managing Director 256-3713 PARKING FACILITIES Center Parking garage with covered parking directly 6700 ROSWELL RD. 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 The Memorial Center Box Office handles tickets for the Atlanta Symphony, Atlanta Children’s Thea­ tre, Alliance Theatre Company, Atlanta Music Club Membership Series, Famous Artists Series, Atlanta Hawks, Theatre Atlanta Off Peachtree; all'Ticketron events, also, on night of performance, all tickets for High Museum any event scheduled in the Memorial Arts Center. TOURS For information on regular weekday tours or group tour arrangements, call (404) 892-3600. RESTROOMS Located off the Galleria Balcony across from both Art Shop Symphony Hall and the Alliance Theatre. Also lo­ cated adjacent to the balcony lobbies inside Symphony Hall. OUR COVER — Rembrandt’s Belshazzar’s Feast is The Gifts that you buy in reproduced on the cover by special permission of The National Gallery, London. The Atlanta Sym­ The Art Shop phony’s Walton Festival Concerts on May 23, 24 and 26, honoring English composer Sir William Walton, Have been Juried for Quality will feature his choral work, “Belshazzar’s Feast.’’ ATLANTA ARTS Magazine is published for the Atlanta Memorial Arts Center, by The Conger Printing Co., Inc. in Atlanta, Georgia. All rights to Shop Hours: 10 A.M. — 4 P.M. Atlanta Arts are reserved by the Atlanta Memoriai Tuesday thru Saturday Arts Center. Reproduction from this magazine in whole or in part without permission is prohibited 12 P.M. — 5 P.M. on Sundays Editorial Office, 146 Marietta St., N.W., Atlanta 30303, Phone (404) 524-6700. L. W. CONGER, JR. LIZ GILLIAM The High Museum of Art Publisher Editor NANCY SHEFFIELD ERNEST DeVANE 1280 Peachtree St., N.E., Atlanta, Georgia In and Around Atlanta Art Director Sometimes taking people away brings them closer together. Whether it's the magic of an exotic culture or the exhilaration of a sunny day, sharing beautiful moments with someone you love is very precious. It is because we appreciate the value of these experiences that Eastern has done everything possible to make them affordable. Helping to bring people closer together is one of the things that makes us what we are.

EASTERN The Wings of Man. Atlanta Memorial Arts Center Photography by Sam Hall We believe that Atlanta is one of the most beautiful cities in the world. As Pre-Developers of real estate in the Atlanta area, we realize that it is our obligation to always enrich and never detract from the beauty that is our heritage.

KA/ coordinated financial planning I THE PRE-DEVELOPMENT COMPANY

229 Peachtree St., N W. / Peachtree Cain Tower/ Suite 2000/(404) 658-9570 J. Alan Breus, President/Stewart I Aaron, Executive Vice President