Philharmonic Hall Lincoln Center for the Pf°Forming Arts
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PHILHARMONIC HALL LINCOLN CENTER FOR THE PF°FORMING ARTS 1963-1964 NEW YORK STATE THEATER Designed primarily as a home for ballet and musical One year and seven months after the opening of Philhar theater, under the direction, respectively, of George Balan monic Hall on September 23, 1962, the second unit of chine and Richard Rodgers, the New York State Theater Lincoln Center for the Performing Arts takes its place as also includes public areas of unusual spaciousness and a functioning part of the evolving operational plan. This, utility. Entrance from the plaza level brings one to the by coincidence rather than choice, is the 23rd of April, box office facilities, with corridors to either side from when New York State Day is observed at the World’s which there is access to the orchestra floor of the theater. Fair following formal opening of the Fair the day before. A pair of staircases lead to the Promenade, which faces Governor Nelson D. Rockefeller and other high officials across the plaza to the orchestral level of Philharmonic will be present for the inaugural ceremonies of the New Hall. The Promenade itself, with a floor area of 200 feet York State Theater, in which the two resident companies, by 60 feet, provides bar facilities and ample space for the New York City Ballet and the Music Theater of walking or smoking during intermissions. Each ring above Lincoln Center, will take part. opens on galleries that surround the Promenade on four Though its exterior is designed to be a congruent part sides. The Promenade can also seat 600 or more for of the total Lincoln Center complex and thus balances Philharmonic Hall, which it faces, the interior treatment banquets and other ceremonials. Back of the house arrangements of the New York State is altogether different. As may be observed from the view Theater are of a spaciousness to balance the front of the of the interior above (taken from the stage) it is a spacious house, and as functionally designed to serve totally different though compact theater layout, with an orchestra floor purposes. A completely autonomous arrangement for office seating 1,044, a series of three rings seating 329, 312, and space and rehearsal rooms makes it possible for both resi 310, with a fourth and fifth ring of smaller capacity (141 dent companies to work on future repertory even when and 32). Gallery space is provided for 551 patrons, with the auditorium is occupied by a visiting attraction. This an additional possibility of 42 standees. This brings the includes a ballet rehearsal room of a size equal to the total to 2,729. In circumstances where the full orchestra pit is not required for players, the capacity can be increased stage area, and an orchestra hall in which the largest or chestra possible for the pit (80 plus) can be seated. to 2,804. The Philharmonic Hall Program, published by Saturday Review, Inc., 25 W?stA5th EaitoHal’kD?réctor^’l^orman0'cousins? Chairman of the Program: J. R. Cominsky, Publisher; W. D. Patterson. Associate Publisher; Irving Kolodin Editor^ Rector N Robert A Bul.ghal.dt, Editorial Board; Martin Bernheimer, Managing Editor; Irving SpeHens, Art Director, Joseph Gaspanno. rroaucuon gichigan Ave., Chicago 11, Assistant to the Publisher; Herbert J. Teison, Advertising D1jec^r-T Chicago Office. Raymond W. Welchj J . Q Fletcher S. Udall, Fletcher Illinois. Detroit Office: Ben R. Donaldson, Ford Auditorium, 20 B._Jefferson, Detroit 26,Michigan, west coast uffic^^ Udall & Company, 1221 Hearst Building, San Francisco 3, California and 422 South Western Ave., Los g 2 I I LINCOLN CENTER FOR THE I these are I PERFORMING ARTS, INC. I I OFFICERS AND DIRECTORS I Garrard’ John D. Rockefeller 3rd I CHAIRMAN OF THE BOARD I William Schuman I I automatic PRESIDENT I Charles M. Spofford I Arthur A. Houghton, Jr. I turntables ■ ■■ Devereux C. Josephs VICE-CHAIRMEN OF THE BOARD I Edgar B. Young I EXECUTIVE VICE-PRESIDENT I Gustave L. Levy I TREASURER I Amyas Ames I C. D.Jackson I Hoyt Ammidon David M. Keiser I Anthony A. Bliss Rev. L. J. McGinley, S.J. I Robert E. Blum I Robert Moses I Gilbert W. Chapman Frank Stanton I John W. Drye, Jr. George D. Stoddard I I Clarence Francis Harry Van Arsdale, Jr. I George D. Woods I I EX-OFFICIO I Honorable Robert F. Wagner, Mayor of New York I Honorable Newbold Morris, Commissioner of Parks I I John W. Mazzola, Secretary of the Corporation I LINCOLN CENTER COUNCIL I Rudolf Bing, Metropolitan Opera Association Edward G. Freehafer, The New York Public Library I I Peter Mennin, Juilliard School of Music I Carlos Moseley, The Philharmonic-Symphony Society of New York I Richard Rodgers, The Music Theater of Lincoln Center I William Schuman, Lincoln Center I Robert Whitehead, The Repertory Theater of Lincoln Center I I ADMINISTRATIVE OFFICERS I I Schuyler G. Chapin, Vice-President, Programming I William F. Powers, Vice-President, Engineering I This new concept in record playing Mark Schubart, Vice-President; Executive Director, I units combines the flawless perform The Lincoln Center Fund I ance- of dynamically balanced tone Henry E. Bessire, Director of Development I arms, full-size heavy turntables and Carl Cannon, Director, Visitors Services I I the Laboratory Series® motor with the Thomas DeGaetani, Managing Director, Theaters and Concert Halls I tremendous convenience of automatic Arno C. Zeyn, Controller play when you want it. Build your com I CAMPAIGN AND DEVELOPMENT LEADERSHIP I ponent music system around a I Garrard or look for it as the hallmark Clarence Francis I CHAIRMAN of quality in the finest consoles. I Hoyt Ammidon Mrs. Robert L. Hoguet, Jr. I Anthony A. Bliss Devereux C. Josephs George S. Moore I I EX-OFFICIO The Chairman of the Board of Lincoln Center I There’s a Garrard for every high fidelity system. Type A $84.50; AT6 $59.50; Autoslim $44.50. The President of Lincoln Center For literature, write GY-1764. Garrard Division, British Industries Corp.. Port \ N.Y. From Amsterdam A Greeting April brings the opening of the 1964 World’s Fair and also a visit from a hundred or so of the most distin guished residents of Amsterdam, the Netherlands. Clearly these are representatives of old Amsterdam bearing greetings to the city originally known as New Amsterdam, which, despite a change of name, still bears Columbia Records traces of its Dutch heritage in such designations as the Hudson River, the Bronx, Harlem, Spuyten Duyvil, and Brooklyn. The greetings they bear are hearty enough, but they have even more to do with 1964 than they have with the fact that it happens to be the year in which a World’s Fair begins here. For it is written on the record that, as late as 1664, the maps described the island city as New Amsterdam, so that it is now 300 years since the Dutch influence in the most prominent settlement in the New World came to an end. It had endured since 1608 when Henry Hudson made his famous voyage of dis covery and sailed up the river (now bearing his name) as far as the present location of Albany. Old Amsterdam has little resemblance to its relative in the United States, but once seen, is hardly forget table. Typical of its life and atmosphere are the endless streams of bicyclists pedaling from home to school or office, shopping, visiting, or merely taking the air. When the rains come in from the North Sea, the streams do not Columbia Records diminish, merely change appearance as slickers and hoods appear as if by magic, and all—children as well as grown-up—pedal on. Recently the concentration of traffic flowing through the narrow, canal-bound streets and spilling over into Columbia Records the occasional “pleins” or squares has tended to in clude more and more of the automated kind. Typical at mid-day is the scene (middle picture) at the Leidse Plein, a hub for some of the principal spokes of Am sterdam life. Here at the left is the Stadsschouwburg (Municipal Theater) familiar to many Americans as the scene of theatrical presentations (opera, ballet, etc.) during the Holland Festival. to New Amsterdam in Music Like the Gewandhaus Orchestra of Leipzig, which takes its name from the “Draper’s Hall” in which it plays, the Orchestra of the Amsterdam Concertgebouw is, simply, the orchestra of the Amsterdam Concert Hall. But this is a name that transcends a mere physical identity and comprehends a history as proud and almost as long as that of the New York Philhar British Combine monic, the Vienna Philharmonic or the Boston Sym phony. The sturdy building at 98, Van Baerle Straat, which looks both ageless and timeless, has now passed its seventy-fifth birthday, with the centenary mark in prospect for 1988. Thus it is a greeting from one of Europe’s oldest concert halls to the youngest of the New World which the Amsterdam Concertgebouw brings when it performs in Philharmonic Hall on April 24, as part of the ceremonies inaugurating the World’s Fair. The orchestra will also give two concerts in Carnegie Hall, on April 25 and 26. Though the orchestra has been giving regular concert series for nearly seventy-five years, it has had only four permanent conductors in that time. The first was Willem Kes, who was succeeded in 1895 by the then twenty- four year old Willem Mengelberg. This world-famous musician, and conductor of the New York Philharmonic in the 1920s, was replaced in 1941 by Eduard Van Beinum, who remained in command until his death of a heart attack during a rehearsal in 1959.