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Philharmonic Hall Lincoln Center for the Performing Arts 19 6 2-1963 ’ a New Constituent for the Center

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Philharmonic Hall Lincoln Center for the Performing Arts 19 6 2-1963 ’ a New Constituent for the Center PHILHARMONIC HALL LINCOLN CENTER FOR THE PERFORMING ARTS 19 6 2-1963 ’ A NEW CONSTITUENT FOR THE CENTER With the structure of the New York State Theater be­ ginning to rise above the plaza level of Lincoln Center directly opposite Philharmonic Hall, plans are also begin­ ning to emerge for its use. The first of these to achieve definition has just been announced, and it calls for the creation of another constituent to join the five ^Philhar­ monic-Symphony Society, Metropolitan Opera, The Juil- liard School of Music, The Lincoln Repertory Company and the New York Public Library (which will operate the Library-Museum of the Performing Arts)—now in existence. Richard Rodgers and William Schuman Titled the New York Music Theater, the new entity will be formed as a non-profit membership corporation, and will contribute any net proceeds from its operation to Music Theater will have world importance. It will have Lincoln Center. It will be under the direction of Richard great meaning to New Yorkers. To our thousands of visi­ Rodgers, who will serve without financial compensation in tors, it will be a prime attraction. But the thing that interests the double capacity of president and producing director of me is that the New York Music Theater will be a showcase the Center’s newest constituent unit. The composer of some for an art, a kind of entertainment, keeping alive great and of America’s most beloved music, Mr. Rodgers will head cherished traditions, and hopefully, creating new ones. a unit which will be represented on the Lincoln Center Plays with music—and it may mean new kinds of plays and Council as well as by membership on the Center’s Board new kinds of music—take on new promise and opportunity of Directors. in The New York Music Theater.” Present plans call for the New York Music Theater to The New York State Theater derives its identity from present two new productions from the recognized classics the underwriting it received as part of New York State’s during its first season, to coincide with the World’s Fair participation in the 1964 World’s Fair. Its facilities will be of 1964. It is expected that the New York State Theater utilized for functions relating to that participation as host will be ready for occupancy in the spring of 1964, and the state of the Fair. Among these are a spacious Grand Foyer, opening of the Music Theater’s first attraction will occur with encircling promenade balconies, which can be used about July 4, 1964. The company will perform there until for receptions, banquets, and other functions. September when it will go on tour. It will be followed in the The Theater itself, which is designed by Philip Johnson New York State Theater by activities of other constituent Associates, will seat 2,735 on six levels—the orchestra elements to come. level and six surrounding “rings” or balconies. This total In the subsequent seasons, it is probable that new works qualifies it as larger than most of the celebrated opera will also be presented in the New York State Theater by houses of Europe, including Vienna, Covent Garden and the New York Music Theater, possibly by Mr. Rodgers Paris. On the orchestra level, the seating will extend from himself. In accepting his appointment which he described side to side with no central aisle. The pit will be ample in “the greatest honor of which I can conceive,” Mr. Rodgers size to accommodate a full size orchestra for ballet, operetta said: “An undertaking such as the projected New York or most operas. ©1962 by Saturday Review, Inc. All rights reserved. Reproduction in whole or in part of any article without permission is prohibited. Printed in the United States of America. Cover photograph by Gjon Mili. The PhilharMonic Hall Program, published by Saturday Review, Inc., 25 West 45th Street, New York 36, N. Y. Staff for the Philharmonic Hall Program: J. R. Cominsky, Publisher; W. D. Patterson, Associate Publisher; Irving Kolodin, Editorial Director; Norman Cousins Chairman of the Editorial Board, Martin Bernheimer, Managing Editor; Irving Spellens, Art Director; Richard Freed, Assistant to the Editorial Director; Joseph Gasparino, Production Manager; Robert A. Burghardt, Assistant to the Publisher; Herbert J. Teison, Advertising Director Chicago Of­ fice: Raymond W. Welch, Jr., 919 N. Michigan Ave., Chicago 11, Illinois. Detroit Office: Ben R. Donaldson, Ford Auditorium, 20 E. Jefferson Detroit 26, Michigan. West Coast Offices: Fletcher S. Udall, Fletcher Udall & Company, 1221 Hearst Building, San Francisco 3, California, and 2252 West Beverly Blvd., Los Angeles 57, California. 2 LINCOLN CENTER FOR THE PERFORMING ARTS, INC. OFFICERS AND DIRECTORS John D. Rockefeller 3rd CHAIRMAN Charles M. Spofford Arthur A. Houghton, Jr. Devereux C. Josephs VICE-CHAIRMEN William Schuman PRESIDENT Edgar B. Young EXECUTIVE VICE-PRESIDENT Robert E. Blum TREASURER Anthony A. Bliss Rev. L. J. McGinley, S.J. Gilbert W. Chapman Robert Moses John W. Drye, Jr. Irving Olds Clarence Francis Frank Stanton C. D. Jackson George D. Stoddard David M. Keiser Harry Van Arsdale, Jr. Gustave L. Levy George D. Woods EX-OFFICIO The Mayor of New York The Commissioner of Parks Reginald Allen EXECUTIVE DIRECTOR, OPERATION William F. Powers EXECUTIVE DIRECTOR, CONSTRUCTION John W. Mazzola SECRETARY LINCOLN CENTER COUNCIL Reginald Allen Carlos Moseley Rudolf Bing Mark Schubart Edward G. Freehafer Robert Whitehead STAFF FOR PHILHARMONIC HALL John J. Totten, House Manager John Scott, Assistant House Manager Louise Homer, Booking Director Vern Armstrong, Box Office Treasurer Kay Schwender, Assistant Box Office Treasurer Betty Lipton, Secretary, Lincoln Center Patrons’ Desk DIRECTORY OF STOCK FACILITIES AND SERVICES Philharmonic Hall’s Philharmonic Hall two great ESCALATORS Southeast rnrn^r [ 3t PlaZa level Southwest corner j “guest”orchestras ELEVATORS West side [" from Plaza level to-] appear every week East side Lail levels and terracesJ BOX OFFICE Plaza level . Box Office corridor onWQXR (Entrance from Columbus Avenue, America’s Number One Fine Music Station from North Plaza, or from interior of the hall, by Café area) TELEPHONE NUMBERS Box Office TR 4-2424 Philharmonic Hall TR 4-4000 Booking Manager’s Office TR 4-4000 REFRESHMENT SERVICES Café on Plaza level, facing South Bar service before and after concerts and during intermission Lunch, dinner and after-concert sup­ per service. Reservations: TR 4-2050 ORMANDY AND THE PHILADELPHIA... REST ROOMS memorable concerts at Philadel­ Plaza level, rear of Café area phia’s Academy of Music...every Auditorium levels: in East and West Thursday evening at 8:05. Promenades on all levels HOUSE MANAGER’S OFFICE Northeast corridor on Plaza level, adjacent to Columbus Ave. entrance GREEN ROOM Northwest corner of Loge Promenade LOST AND FOUND House Manager’s Office TELEPHONES, COAT ROOMS Adjacent to Café on Plaza level LEINSDORF AND THE BOSTON...in its TELEPHONES first season under its noted new Vestibules to the Rest Rooms on all Auditorium levels conductor, at Boston’s Symphony clearly... Hall... every Saturday evening at House Doctor and First Aid facilities 8:05. the dry-est are available at all performances. Ask Vermouth the nearest usher Both in dramatic FM Stereo on Doctors who expect to be called during performances may give their seat lo­ WQXR IMPORTED DRY & SWEET VERMOUTHS • BRANDIES • cations to an usher, who will advise 96.3 FM 1560 AM the House Manager Radio station of The New York Time» 6 Brahms F. Mraninsky uses body and . k a ------- - Balance! with the left hand restraining ' in the left hand, with the right In the mass, orchestras of the world have few elements to distinguish them one from another: the uniforms (tails), the instruments, the playing postures are largely identical. Visitors from Leningrad But the mass is made up of individuals and these have their distinctive traits, especially such as an in­ dividual as Eugene Mravinsky who conducted the Leningrad Philharmonic's first appearance in Philhar­ Russia’s Oldest Orchestra Visits Philharmonic Hall monic Hall. A graduate of the Kirov Theatre, Mravin­ sky has developed his own methods of communication, During Its First American Tour as depicted in the accompanying photo sequence. photos by John Ardoin A typical Sunday afternoon at the Café Figaro. Eric Leber, harpsichord, Martha Bixler, soprano recorder, and Morris Newman, bassoon, play a seldom-heard Handel sonata Eine Kleine Kaffee-Musik ver sixty city blocks separate country and this age, at least) has made the big, shiny Philharmonic Hall its impact on the local scene, bringing Oand the small, relatively dingy coffeewith it a new audience. houses of Greenwich Village. But both The quality of the music-making in­ establishments represent current links volved is surprising, as is the freshness with long-standing musical traditions. of the programming, not to mention the Though the coffee-house concerts can­ devotion and sophistication of the listen­ not compete with those of Lincoln Cen­ ers. (Coffee, by the way, is not served ter in scope, their purposes are musically simultaneously with the music, and no complementary. one is seated while the music is being It all began 250 or so years ago, made. The audiences may not be as when the coffee houses of central Eu­ well-dressed as their uptown counter­ rope functioned somehow as artistic parts — shaggy sweaters and equally meeting places as well as artistic market shaggy hairdos dominate — but their places. In Bach’s days, coffee—that manners are beyond reproach.) exotic and relatively unknown beverage The succession of events that pre­ —lured intellectuals away from their ceded the establishment of this neo­ books and learned occupations. Tinged Baroque musical development involves with the attractiveness of novelty per two kinds of struggle—one predictable, se, its serving frequently provided the and one rather surprising.
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