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LiiiooliiCentei (J / incoln Center for the Performing Arts January ' 75 IT LETS YOU INDULGE YOURSELF WHILE STILL BEING SENSIBLE.

Until now, if you and comfortably. And elegantly as it looks. It's There are no wanted to indulge your handsomely; the new particularly quiet on the Caprice sort-of- classics desire for luxuriousness in Caprice grille, taillight road, with its radial-tuned Other car companies an automobile, you might assembly and rear window suspension and built-in are currently offering have expected to sacrifice treatment more than meet Quiet Sound insulation to lesser versions of their efficiency. the most demanding ideas get you from place to place traditional top models. This year, you can of luxuriousness. So smoothly and quietly. But there is only one have both improved effi- does the deep, cut-pile Indulge. uppermost Chevrolet. ciency and luxuriousness carpeting which extends New efficiencies. Caprice Classic is upper- in the same automobile: up the lower door panels Caprice Classic for most in quality, in Caprice Classic for 1975. and the available 50/50 '75 is a more sensible auto- luxuriousness and in Lots of reclining front seat. mobile than ever. The new quiet elegance. And for luxuriousness. Indulge. standard engine is a 350-2 1975, Caprice Classic is Caprice Classic trans- Quiet elegance. V8, replacing last year's uppermost in overall ports six adults smoothly Caprice rides as 400-2. And the combina- operating economy com- tion of this new smaller pared to Caprice models o V8 and Chevrolet's new recent years. We think Efficiency System lets that for '75, Caprice offers Caprice go substantially you the best of two world; farther on a gallon of in allowing you to indulge

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LaForza delDesliiio The Metropolitan rediscovers "A Powerful, Singular, and Vast Drama on January 17th.

The Metropolitan is probably the only Levine, its conductor, plan to achieve great opera house in the world which, this something closer to the drama of Verdi's

season, is allowing a rest to the "popular" intention. The Eugene Berman scenery Verdi—to Rigoletto, II Trovatore and La of 1952-53 will be used once again, for

Traviata , to Un Ballo in Maschera, to Aida there is life in it still. The costumes will and Otello. And, instead, is bringing into be new (the old ones went up in a fire). prominence (besides Falstaff) Verdi's first The Inn scene will be restored, and so will full essay in grand opera, Les Vepres Sici- as much as possible of the other music liennes (or in Italian translation, / Vespri formerly cut. And only when La Forza

Sicilian!), and the "powerful, singular, and del Destino is given complete or nearly

vast drama" which is La Forza del Desti- complete does it "make sense"—not just no. In one sense, this month's new staging on the simple narrative level (which, hea- of Forza should be a discovery. But in ven knows, poses problems enough—and another, of course, New York is the city was a source of continuing concern to

where Forza is most familiar. It was first Verdi himself) but as a vast Dramma sce- done here in 1865, little more than two nic o-musicale years after its premiere. There was a That term for it is Verdi's own. It occurs Mapleson production in 1880. Then at in a letter where he writes of a perform- the Metropolitan it was first done (with ance of Forza in which the individual a young debutante called Rosa Ponselle, singers had been marvelously good, and Caruso, and Giuseppe De Luca) in 1918, the solos and duets superbly well execu- and held the bills, seldom absent, for ted—but not "the varied, ampler scenes twenty-seven seasons. That must be a re- that fill half the opera and really consti-

cord. In 1942 it was revived (with Zinka tute the Dramma Musicale . . . Despite

Milanov), and stayed for two seasons. The the eulogies that you all have lavished on

1952-53 season brought a new production, this performance, I believe, I am con- which was seen a good deal during the vinced, that the solo pieces succeeded ad- next two decades. mirably, but that the opera—understand,

And yet there is a Forza that awaits I mean the Opera, or Dramma scenico- rediscovery—for the earlier Metropolitan musicale—was but imperfectly realized." staging was of a Forza shorn and altered: That was in 1869; and in this year also be- the Overture was misplaced; the Inn scene gan the series of letters to a Neapolitan was omitted, and so were some important friend in which Verdi consciously formu- episodes later in the action. John Dexter, lated his belief that in La Forza del Des- director of the new version, and James tino, Don Carlos and then Aida, he had byAndrewPorter .'. .'-.*• . .

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composed operas of a new kind. He calls Above: A scene from Verdi's La Forza del Des- tino, designed by Eugene Berman. Right: Ver- them "modern operas" and insists that di in 1886 (from a portrait by G. Boldoni.) they should not be undertaken except by companies that can provide a complete casting, the rehearsals, and the execution, ensemble. The best singers- and players and where he could hope to impose his in the world are not enough; they need a ideas on the public, rather than pay court single directing intelligence to supervise to them. Indeed, it seems that La Forza every detail of the scenery, the props, the del Destino was not quite what the St. movements, the staging, and then to in- Petersburg audience, familiar with his ear- tegrate all these with a complete musico- lier pieces, had expected. We read that: dramatic conception. "In place of a light opera in the ordinary La Forza del Destino was composed for Italian manner, the composer of Rigolet- St. Petersburg, Don Carlos for the Paris to has given us on this occasion a work Opera, and Aida for Cairo (with La Scala more akin to the production of Meyer- and Paris Opera performances in prospect) beer and Halevy." By now, Verdi was accepting only special In everything but language, La Forza commissions where he could be sure that del Destino is indeed a. grand opera, con- great trouble would be taken over the ceived on a very large scale, with puissant

8 choruses, a variety of picturesque settings, and plenty of local color to provide a "three-dimensional" background to the predicaments of the principals. But where

Verdi differs from Meyerbeer is in his ap- proach to those individual predicaments and in the purpose of his backgrounds. Meyerbeer characters are for the most part puppets, and his plots are concocted to provide extreme situations and exotic or piquant spectacles. (There is also more merit in him than is often allowed; Verdi perceived this merit, and sought to turn Meyerbeerian devices to his own nobler purposes.) But Verdi was drawn to the Spanish play Don Alvaro, o la Fuerza del Sino in the first place by the genuinely interesting predicament of a hero, forced by a series of mischances to do just those things against which his noble spirit re- belled. Most of his operas find their start- ing-point in some such personal plight: in Rigoletto, the jester's schizophrenic blend of paternal tenderness and his jeer- ing at another father whose daughter has been dishonored; in // Trovatore, Azu- cena's maternal care for Manrico mingled with the realization that he is the son of the man who burnt her own mother at, the stake. Such things aroused Verdi's dra- matic instincts and set music stirring with- in him. Very few of his operas are com- posed to "original librettos;" behind most of them is a play involving a rent character that fired his imagination— and prompted his marvelous identification with human suffering. The play Don Alvaro, o la Fuerza del Sino, was influential and admired in its day. Its author, Don Angel Saavedra,Duke of Rivas, was a liberal who spent much of his career in exile. {Don Alvaro was writ- ten in France), though eventually he be- came a respected statesman, Spanish Am- bassador to France and then Naples, and lived to see the production of La Forza del Destino that was given in Madrid three months after its St. Petersburg premiere. (Verdi was also there.) Rivas may have intended to expose the monstrous pre- mises behind the Spanish code of family honor. He certainly intended the contrast member of the Calatrava family, leaps between its blind, unquestioning ferocity over a precipice, while thunder and light- and gentler Christian precepts that forms ning rage and the assembled monks sing an important element in both play and a Miserere! Verdi conflated the brothers, opera. A subsidiary moral seems to be but kept this ending in his original version that it is not much use expecting help of the opera. He revised it later. The long, from God; "destiny" proves more power- complicated story of his revision need not ful. The action concerns two people who concern us here. In brief, Verdi set his try to behave well and forgive their ene- original Forza aside until he had composed mies, and a third who will have none of Don Carlos, a grand opera in which the in- such meekness, and is abetted in his blood- teraction of personal and political desti- thirsty designs, over and over again, by nies becomes more explicit, and the fate "destiny." In Rivas' play, Leonora actu- of suffering people turns on private de- ally has two vengeful brothers; Don A1-. cisions. Then, for a Scala production in varo kills the elder, Don Carlo, in the 1869, he reshaped the Forza that we know earlier duel, and so Don Alfonso arrives today. to take up the family feud— and be killed It is a passionate personal drama played by Alvaro at the close. After which Al- out against a background of martial and varo, having brought destruction to every monastic life across two countries, Spain

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and Italy. A comparison with // Trovatore proves revealing. In // Trovatore (based on a Spanish play that had been influenced by Rivas' Don Alvaro), the gypsies are stage-gypsies the soldiers are stage- kibster and soldiers; each group sings a tuneful cho- rus that has nothing to do with the main action. But in Forza, as Verdi said, genre withview scenes not only "fill half the opera" but

"really constitute the music-drama." It was at his suggestion that Act III was am- $ plified with a scene of military life not taken from Rivas, but lifted from Schil- 795 ler's Wallenstein's composer Camp. The One of New York's most persistent said several other interesting things about myths is that high prices attend the King's his work. Vocal virtuosity, he declared, Wharf Restaurant. After all, it's on Central Park South, was far less important than that the sing- it's in a grand hotel, it's smashingly elegant. ers should have soul, and the ability to It should be a King's ransom. Well, a fresh, understand and express the words. He al- whole Maine lobster, complete with a view sosaid that the piece wasnot awork about of The Park, is $7.95. Sometimes the truth doesn't hurt war. Attempts to stage it as if it were a at all. set of tableaux from Goya's Desastres de la Guera, hung on a thread of preposter- KINGSWHARF ous coincidence, have not succeeded. But, In Marriott's Essex House on Central Park South on the other hand, attempts to trim it 247-0300 for reservations down to the drama of the principals, plus some light relief from Preziosilla, the mer- ry vivandiere, have proved equally mis- guided. In the new Metropolitan production, we may hope to rediscover the full force of

La Forza del Destino. Heaven knows, it is not a "well-made play" but it does have a shape. Act I is an exposition; and then the scene moves out from a castle room to the wide world. The tragic hero seeks the distractions of war; both he and the LUNCHEON/DINNER/SUPPER heroine seek the consolations of religion, and cloister themselves away from the world. But in vain. Such escape is not AUNT FISH possible. As so often in Verdi, the bari- seafood restaurant tone is the active figure. He and "destiny" oyster bar conspire to force confrontation and pre- Just across from Lincoln Center cipitate the final catastrophe. And La 63rd St. on Broadway • Res 799-7200 Forza del Destino becomes a personal drama played out— as that of // Trovatore is not—amid the variegated tumult of the real world, where the calm of cloister or hermitage proves illusory. 43 W. 65th St. 799-7600 For Your Dining Convenience at Lincoln Center Andrew Porter is music critic of the York- New Luncheon • Dinner • Supper er Magazine Amer. Exp. -Diner's — Closed Sun. Catch it big!" United wide-bodies to Chicago.

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The friendly skies ofyour land. iPuniTED AiRLines PremierePreview Works by Harrison Birtwistle, Jacob Druckman, Carman Moore, Donald Harris, Elliott Carter and Lucia Dlugoszewski contribute to the New York Philharmonic's 1975 Repertoire.

The major activity of a full-time, big-league posers, including some of the least con- symphony orchestra like the New York servative, have notgiven up thesymphony

Philharmonic is, on the face of it, to work orchestra as a lost cause. toward the best possible performance of Already this season the Philharmonic's

the best available music. And as it is with audiences in- Avery Fisher Hall have had the greatclassical drama, opera, and dance a chance to hear the first New York per- companies of the world, most of the best formances of the late Bernd-Alois Zim- available art-works are by masters no long- mermann 'sPho top tosis, a sumptuous and er around to send in their latest manu- often cataclysmic piece with much col- scripts, chew their finger-nails at every re- lage in it, and the world premieres of Pe- hearsal and greet the standing ovations ter Mennin's Eighth Symphony as well as from that perch up there on the left arm Charles Wuorinen's Second Piano Con- of the First Terrace. certo, with the composer at the electroni-

But if an orchestra, or opera company, cally amplified piano. But this month is or any performing arts organization, no particularly busy with premieres, one be- matter how great, confines itself exclu- ing scheduled for each of three consecu- sively to the tested and accepted master- tive weeks. pieces, or mere curiosities, of the past and The first to arrive is Harrison Birtwis-

admits nothing of its own time into its de's The Triumph of Time, which New

schedule, then it is not even a museum, York will first hear on January 9, 11 and

as some proponents of the old-and-safe 14. Birtwistle is a 40-year-old Englishman

repertory would say. It is a tomb. whose music has not yet had much ex- The New York Philharmonic, thank God posure here in comparison with such of

and Boulez, is not a tomb. (In years past, his contemporaries and countrymen as we would also have had to thank Mitro- Peter Maxwell Davies and Richard Rod- poulos and Bernstein.) It performs more ney Bennett. Some music of his that has contemporary music than most American reached these shores, particularly the op- orchestras. In fact, a couple of years ago, era, Punch and Judy, has been famous, at

it led the field in that respect. Moreover, least superficially, for its high decibel despite the fact that many composers are count. The Triumph of Time, which Pi-

finding more available outlets among such erre Boulez will conduct, is reported to first-class smaller groups as Speculum Mu- have been inspired by Breughel's paint- sicae and theContemporary Chamber En- ing of Father Time surrounded by figures

semble, the evidence is still strong in New of death. First performed in 1972, the York, Chicago, Boston, San Francisco and work seems to have impressed at least other musical centers that today's com- some listeners with its explorations into by Leighion Kernor

13 sonoritiesandits homogeneity of textures. the 38-year-old Mr. Moore, who composes The following week's Philharmonic con- in a freely atonal, absolutely undoctri- certs (January 16, 17, 18, and 21) find Bou- naire syntax. He has also conducted mu- lez conducting the New York premiere sic by himself and by his fellow black of Jacob Druckman's 1972 Pulitzer Prize composers, written a biography of Bessie winner, Windows. This is a full-sounding Smith, taught music and done time as a virtuoso work-out for large orchestra, and critic. According to the composer, the the title refers to the fact that as the piece wildfires of the title are "formal outbursts proceeds, the curtains of seemingly im- of clusters of musical activity," and the penetrable music of the present part ev- field songs are the cries of black freedmen ery so often to let the listener "view" as they work. The music, lasting about with his or her ears a bit of presumably twenty minutes, calls for fewer strings well-loved music from the past. than customary but a bigger percussion Not just a first New York performance section, including both standard and Af- rican instruments. Mr. Moore tells us that "melodic instruments will join in the mak- ing of rhythm with a percussive sense to it" in th<* first of the three movements. To start the second movement, the solo trumpet will play a long field-song that undergoes variations involving blues and

a post-Webern sound. The final section is

a variation of all that has gone before.

The composer sums it up by saying, "I tried to arrive at a by-passing of the usu- almodern procedures, to fuse pop and clas- sical things, and include fleeting references to music people think they know." The rest of the Philharmonic's premi-

eres will take place at its Prospective En- counters down at the Cooper Union in the East Village. On January 17, we have the first New York performance of Ludus II by Donald Harris. (Mr. Harris, born in

1931 in St. Paul, is vice-president of the New England Conservatory.) On March 21, there will be two world premieres that New York contemporary-music audiences Clockwise, from top left: Charles Wuorinen; Pierre Boulez with Peter Mennin; Pierre Bou- are awaiting with intense curiosity and lez with Elliott Carter at an Informal Evening anticipation. in February 1974; Lucia Dlugoszewski. One is Elliott Carter's Duo for Violin but a world premiere comes with the pro- and Piano, to be performed by Paul Zu- grams of January 23, 24, 25 and 28, and kofsky and Gilbert Kalish, respectively. with it is the added significance that the Composed last winter and spring, the Duo new work, Carman Moore's Wildfires and was recendy described by Elliott Carter Field Songs, was commissioned by the as involving a contrapuntal and metric New York Philharmonic in association complexity even more formidable than w;r h the New York State Council on the that of his Third String Quartet. "The Arts. piece," -said the composer, "consistendy This will mark the first time that the plays the piano off against the violin, and Philharmonic has played any music by there's no long separation or rest for ei- (Continued on page 25) 14 .

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JnfciB>H>OWI0»%6IUMWIIi|tUTIIM.gWTi -^^br^ Fisher Hall Lincoln Center for the Performing Arts

Boston Symphony Orchestra

SEIJI OZAWA, Music Director COLIN DAVIS, Principal Guest Conductor

NINETY-FOURTH SEASON 1974-1975

Wednesday Evening, January 15, 1975, at 8:30

Friday Evening, January 1 7, 1975, at 8:30

COLIN DAVIS, Conductor

BERLIOZ Overture to 'Waverley' Op. 2b

MENDELSSOHN Symphony No. 4 in A, 'Italian'

Allegro vivace Andante con moto Con moto moderato Saltarello: Presto

Intermission

ELGAR Serenade in E minor for String Orchestra Op. 20 Allegro piacevole Larghetto Allegretto

SIBELIUS Symphony No. 7 in C Op. 105 (in one movement)

The Boston Symphony Orchestra records exclusively for Deutsche Grammophon Baldwin Piano Deutsche Grammophon & RCA Records

The taking of photographs and the use of recording equipment are not allowed in this auditorium.

Members of the audience who must leave the auditorium before the end of the

concert are earnestly requested to do so between numbers, not during the performance. .

To ihose wonderful folks who brought me to

Lincoln Center . .

I've finally arrived. . .and it's fantastic!

I'm seeing and being seen by an average monthly audience of 310,000 of the most desirable people.

Desirable and very special because they are the affluent, prestigious theatergoing audiences that throng the Metropolitan Opera House, Avery Fisher Hall (formerly Philharmonic Hall) and Alice Tully Hall.

And whata lifestyle these theatergoers enjoy! They're goers in the best sense of the word. They're involved, active. They wine, dine and entertain well and often. They travel. They dress up smashingly, and, with equal style, really know how to dress down with casual elegance! They come here to see, listen, enjoy. And at home, too, they relax and listen to the music they love on the finest equipment

By the way, I'll be a goer myself because tonightl'll be going home wiih most of the audience in STAGEBILL's Lincoln Center Program /Magazine.

I like my new lifestyle. From Madison Avenue to Lincoln Center to a cqffeetable of my own.

Incidentally, you wonderful folks on Madison Avenue,

if you want to be in touch wrA\ me, call STAGEBILL (212) 686-7740.

Love,

£y'frUA. /{a(

A property of *—^ B & B Enterprises, Inc. 275 MADISON AVENUE, NEW YORK, NEW YORK 10016

18 Notes on the Program

Overture to 'Waverley' Op. 2b use of that institution's concert hall. He HECTOR BERLIOZ was able to secure an orchestra through (1803-1869) the newly founded Societe des Concerts du Conservatoire, an organization whose The overtures to Waverley and Les purpose, was, in part, to perform new Francs-Juges are Berlioz' earliest purely music. And he ensured publicity in the orchestral works. They date from 1827, Paris newspapers by means of several when the twenty-four-year-old composer shrewdly written letters to influential was in the throes of his celebrated (and critics. totally one-sided) passion for Henrietta The concert took place on May 26, Smithson, a beautiful young English ac- 1828, and it was a brilliant triumph in all tress whom he had as yet beheld only respects but one. Not only did Miss across the footlights of the Theatre de Smithson not attend, but she seems not l'Odeon. The two overtures and some even to have known of the event. The other recently completed works became critics were generally enthusiastic and the part of a desperate scheme to bring Waverley Overture received unreserved himself to her attention, a scheme to give praise, possibly because in form and sub- a concert entirely of his own music, a stance it was the most traditionally con- one-man show, so to speak, which was at ceived work on the program. Berlioz pref- that time an unheard of thing in France. aced the score with some lines from The obstacles were many, not least his Chapter V of Sir Walter Scott's novel of virtually penniless financial situation, but the same name — his determination and resourcefulness ...dreams of love and lady's charms overcame everything, even the reluc- Give place to honor and to arms, tance of the dyspeptic Cherubini, Direc- —a couplet vaguely paralleled in the tor of the Conservatoire, to grant him the music by the dramatic opposition of the

19 two principal themes, one gentle and Symphony No. 7 in C Op. 105 lyric, the other martial and assertive. -^Harry Neville JEAN SIBELIUS (1865-1957)

The last three symphonies of Sibelius pro- Serenade in E minor for gressed by slow stages to their comple- String Orchestra Op. 20 tion. In a statement made to Karl Ekman, his authentic biographer, Sibelius said: EDWARD ELGAR "My work has the same fascination for (1857-1934) me as when I was young, a fascination bound up with the difficulty of the task.

The Serenade was one of Elgar's earliest Let no one imagine that composing is successes. He wrote it in 1893 when he easier for an old composer, if he takes his was thirty-six years old, an age by which art seriously. The demands one makes on Beethoven had his Sixth Symphony himself have increased in the course of behind him and Richard Strauss, his con- years. Greater sureness makes one scorn, temporary, had established himself as one in a higher degree than formerly, solu- of Europe's most important musical tions that come too easily, that follow the figures. The late-blooming Elgar, however, line of least resistance. One is always had just begun to feel his strength at that faced with new problems. The thing that age. He would quickly produce some of has pleased me most is that I have been his most important works, and yet after abel to reject. The greatest labour I have the 'Enigma' Variations, the Introduction expended, perhaps, was on works that and Allegro and the Dream of Gerontius, have never been completed." all of which would follow within the next The Fifth Symphony was begun in the ten years, he could still say of the first months of the World War, complet-

Serenade, 'I like it as well as anything I ed and performed in December, 1915. have done.' It is indeed one of his hap- The composer revised it in 1916 and, piest inspirations, small-scaled and simple after a performance, rewrote the entire enough to be playable by moderately score in late 1918 and 1919. Regretting talented musicians, yet finely crafted and perhaps the commitment of his score subtle enough to compel the admiration before it had met the final requirements of professionals. of this most exacting of composers, The Serenade is a brief three- Sibelius did not relinquish for perfor- movement work, simple in structure, rich mance his Sixth and Seventh Symphonies and subtle in texture, and in much of it until he had given years of careful the later Elgar is apparent: the rising and thought to them. His letter of May 20, falling melodic contours, for example, 1918, quoted by Karl Ekman, projects and the flowing cantabile character of the the Fifth Symphony in its second re- Larghetto. The mood, though sometimes vision, and further symphonies as well— plaintive, seems to reflect something of each of which he characterizes in a few the serenity Elgar found in the Malvern words. The Seventh he calls "joy of life countryside. The first movement (Allegro and vitality with appassionato passages. piacevole), makes a simple contrast In three movements— the last an 'Hellen- between a lilting six-eight theme in E ic rondo.' . . . minor and an expansive second theme "By all this I see how my innermost self which manages to be wistful despite its has changed since the days of the Fourth major mode. The succeeding Larghetto is Symphony. And these symphonies of frequently performed as an isolated mine are more in the nature of pro- piece, its broad 'Elgarian' outpouring of fessions of faith than my other works." melody having made it a favorite of both And in the same letter he says: "It looks listeners and performers. The Allegretto as if I was to come out with all these three presents a new theme at the oi'tset, then symphonies at the same time." brings matters full circle by re erting to But the Sixth Symphony was not com- the first movement's second subject. pleted until January 1923, nor was the —Harry Neville Seventh ready until March, 1924. "On

20 the second of March 1924, at night, as I entered in my diary, I completed fantasia sinfonica— that was what I at first AVERY FISHER HALL thought of calling my Seventh Symphony Directory of Facilities and Services in one movement." Booking Information All persons and organiza- These disclosures about the progress of tions interested in using Avery Fisher Hall auditorium his creative thoughts should not be taken or public areas should contact the Booking Manager at as open proclamations. Sibelius, while TR 4-4000. always maintaining a quiet assurance Box Office Plaza level, North. Telephone TR about his achievements, was never given 4-2424. Coat rooms Plaza level. East and West. to vaunting them. It seems more likely Elevators One elevator East, two elevators West. that his friend extracted his diary notes Escalators Southeast and Southwest comers of Plaza from him and pushed his assent into using and Grand Promenade levels. them. His work in itself reveals the ten- Gift Shop Plaza level, North. dency here described toward rejecting Green Room Loge Promenade, Northwest comer. conclusions that come too easily, House Doctor Contact nearest usher. especially observable in his increasing Lost and Found Reception Room, Northeast comer need of revision through the years. The of Plaza level. Telephone TR 4-4000. transformation which had taken place be- Public telephones Vestibules to rest rooms on all tween the First Symphony which was levels. Refreshment services Philharmonic Cafe, Plaza composed at the age of thirty-four and level.-TR 4-7000. the Seventh, composed in his sixtieth Rest rooms All levels, East and West. year, is a sort of progress in reverse. The Tour Guide Service Plaza level, North. Information last is about half the length of the First. It TR 4-4010, Reservation TR 4-401 1. is orchestration, it is more modest in con- Wheelchair accommodations Call TR 4-4000. centrated and close-knit, sober in com- parison to the former emotional ex- uberance and flamboyant color. The "na- tionalism" which was once over-ascribed to the earlier music of Sibelius has quite \nrvinnrnnn given way to a personal idiom. It was Staff Robert L. Turner, General Manager often remarked in the 'twenties that Delmar D. Hendricks, Booking Manager Sibelius in his last four symphonies was Jack L. Kirkman and Edmund T DeBodes, Associate courting a modest, almost an austere Managers aesthetic, while composers elsewhere George Cree, House Manager were expansive, employing ambitious George Jaffie, Box Office Treasurer programs, seeking to overwhelm. At that Tickets for performances in Avery Fisher Hall, the time they did not even write symphonies. New York State Theater, the Metropolitan Opera This made Sibelius an individual, a lone House, Alice Tully Hall, the Vivian Beaumont Thea- artist "of the North." Subsequent "Neo- ter and the Mitzi E. Newhouse Theater may be purch- classic" trends have since proved him to ased at twelve off-location box offices: at have been a prophetic one. Bloomingdale's in Manhattan and in North Hacken- sack, New Jersey and at all Abraham & Straus stores.

The Steinway is the official piano N. —John Burk of Avery Fisher Hall

Since Lincoln Center is located in the midst of a residential community, we kindly ask our patrons who drive cars to and from Lincoln Center to observe the rules governing noise. The ruling of the Department of Traffic of the City of New York

states: "It is unlawful to sound a vehicle horn except when

' necessary to warn a person or animal in danger. ' Thank you for your cooperation.

Doctors who expect to be called during performances may Cafe du Centre give their seat locations to an usher, who will advise the

152 Columbus Ave. 799-2254 Manager's office. Continental Cuisine French FIRE NOTICE. The exits indicated by a red light and the sign thru Sun. 11:30 A.M. to 12:00 P.M. Opened Mon. nearest to the seat you occupy are the shortest routes to the Late Supper Served street. In the event of fire or other emergency, please do not Wine Cocktails run—WALK TO THAT EXIT.

21 "... a year 'round festival of dance, music, opera, theater and exciting people," says John W. Mazzola, Lincoln Center's Managing Director, who extends a warm welcome to New Yorkers and visitors. Explore the magnificent buildings that house the lively arts and see some of the world's most renowned per- formers at their creative work: Avery Fisher Hall, New York State Theater, Vivian Beaumont Theater and The Metropolitan Opera House. Tours take about 1V4 hours and begin from the Plaza level of Fisher Hall at frequent intervals every day from 10 am to 5 pm. Occasionally a building may be omitted from the tour because of a special rehearsal or event. The Opera

House is not included on matinee days. Adults $2.50*; Students $1.75*; Children $1.25*. Reservations, please, for groups of 10 or more. Group rates available for 20 or more*. Inquiries at Visitors' Services, Lincoln Center Plaza, Broadway at 64th Street, N.Y.C. 10023. Phone: (212) TR 4-4010.

*Commissionable

22 Colin Davis, Princi- Symphony. He directed the Berlin Phil- pal Guest Conductor harmonic in the German premiere of of the Boston Sym- Britten's War Requiem, and in the phony Orchestra, is 1969-1963 season led the London Sym- Musical Director of phony in a tour of Europe, Japan and Au- the Royal Opera stralia. In 1967 Colin Davis took up his House, Covent Gar- appointment as Chief Conductor of the den. His conducting BBC Symphony Orchestra, which he re- career began in linquished at the end of the 1970-1971 1949, and his early season to take up his duties at Covent experience was with Garden. He now divides his time in Eng- the Kalmar Chamber Orchestra, the land among Covent Garden, the London Chelsea Opera Group, the Festival Ballet Symphony Orchestra where he was re- and the Ballet Russe. In 1957 he became cently appointed Principal Guest Con- assistant conductor of the BBC Scottish ductor, and guest appearances with the Orchestra. Two years later he was called B.B.C. Among the world's leading orches- at short notice to take the place of Otto tras he has conducted are the Israel Phil-

KJemperer, who became ill, in a concert harmonic, the Philadelphia, the Montreal performance of Don Giovanni. This Symphony, the Toronto Symphony, the marked a turning point in Colin Davis' Los Angeles Philharmonic and the New career: he was shortly afterwards ap- York Philharmonic. At the Metropolitan pointed Musical Director of the Sadler's Opera he has conducted performances of Wells Opera, made his debut with the Peter Grimes, Wozzeck, and Pelle'as et CBC Symphony in Canada, and appeared Melisande. Colin Davis records exclusive- for the first time in the United States as ly for Phonogram. guest conductor with the Minneapolis

MOZART: COSI FAN TUTTE Caballe, Baker, Gedda, Ganzarolli, Cotrubas, Van Allan; Chorus & Orchestra of the Royal Opera House, Covent Garden 6707.025 TIPPETT: CONCERTO FOR ORCHESTRA; FOUR RITUAL DANCES FROM "THE MIDSUMMER MARRIAGE" Orchestra of the Royal Opera House; London Symphony Orchestra 6580.093 BERLIOZ: SYMPHONIE FANTASTIQUE Concertgebouw Orchestra 6500.774 Cass. 7300.313 BERLIOZ: LA DAMNATION DE FAUST Gedda, Bastin, Veasey; London Symphony Orchestra 6703.042 COLIN DAVIS O.R. 43042 " BEETHOVEN: "The Composer's Choice SYMPHONIES NOS. 5 & 8 BBC Symphony Orchestra 6500.462 Cass. 7300.252 O.R. L 45462 TIPPETT: SYMPHONY NO. 3 Harper, soprano; London Symphony Orchestra 6500.662

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23 Boston ! Symphonji Orchestra

SEIJI OZAWA, Music Director

COLIN DAVIS, Principal Guest Conductor

Joseph Silverstein, Assistant Conductor

first violins cellos bassoons Joseph Silverstein Jules Eskin Sherman Walt concerimasler Philip R. Allen chair Edward A. Taft chair Charles Munch chair Martin Hoherman Ernst Panenka Emanuel Borok Mischa Nieland Matthew Ruggiero Max Hobart Jerome Patterson Rolland Tapley Robert Ripley contra bassoon Roger Shermont Luis Leguia Richard Plaster Max Winder Carol Procter Harry Dickson Ronald Feldman horns Gottfried Wilfinger Joel Moerschel Charles Kavaloski Fredy Ostrovsky Jonathan Miller Helen Sagoff Slosberg chair Leo Panasevich Manha Babcock Charles Yancich Sheldon Rotenberg Harry Shapiro basses Alfred Schneider David Ohanian Henry Portnoi Stanley Benson Richard Mackey Harold D. Hodgkinson chair Gerald Gelbloom Ralph Pottle William Rhein Raymond Sird Joseph Hearne Ikuko Mizumo trumpets Bela Wurtzler Cecylia Arzewski Armando Ghitalia Amnon Levy Leslie Martin Andre Come John Salkowski Rolf Smedvig John Barwicki second violins Gerard Goguen Robert Clarence Knudson Olson Lawrence Wolfe Fahnestock chair trombones Marylou Speaker William Gibson Michel Sasson flutes Ronald Barron Ronald Knudsen Doriot Anthony Dwyer Gordon Hallberg Leonard Moss Walter Pislon chair William Waterhouse James Pappoutsakis tuba Laszlo Nagy Paul Fried Chester Schmitz Michael Vitale Spencer Larrison piccolo timpani Darlene Gray Lois Schaefer Everett Firth Ronald Wilkison Sylvia Shippen Wells chair Harvey Seigel oboes Bo Youp Hwang Ralph Gomberg percussion Victor Yampolsky John Holmes Charles Smith Jerome Rosen Wayne Rapier Arthur Press assistant timpanist violas english horn Thomas Gauger Burton Fine Laurence Thorstenberg Frank Epstein Charles S. Dana chair

Reuben Green clarinets harps Eugene Lehner Harold Wright Bernard Zighera

George Humphrey Ann S. M. Banks chair Ann Hobson Jerome Lipson Pasquale Cardillo Robert Karol Peter Hadcock librarians Bernard Kadinoff Eb clarinet Victor Alpert Vincent Mauricci William Shisler Earl Hedberg bass clarinet Joseph Pietropaolo Felix Viscuglia stage manager Robert Barnes Alfred Robison Michael Zaretsky

personnel manager Williarr Moyer

24 .

(Cont. from 14) ther side, as in the Quartet." has expanded in structural idea and in-

The other March 21 world premiere is strumental technique. that of Lucia Dlugoszewski's Abyss and The former is too involved to go into Caress, a concerto for trumpet and a in an article of this limited size, but as an seventeen-piece orchestra, with Gerard example of the latter, she and her per- Schwarz, co-principal trumpet of the Phil- formers can make a high, soft trumpet harmonic, as soloist. Miss Dlugoszewski's glissando sound like a violin. More im- previous music has been concerned with portant in her music, however, has been building elaborate, deep-rooted structures a unique sense of sheer energy in tones. of intensity, repose and sudden tangents Recent scores of hers such as Space Is a and also with exploring fresh, new sounds Diamond, Angels of the Inmost Heaven and techniques in quite standard instru- and Fire Fragile Flight have shown an in- ments. Her "timbre piano," involving the creasing intensity in that energy. Thus the application of various materials and tech- great expectations for Abyss and Caress. niques to the piano strings, makes John Leigh ton Kerner is a music critic for The Vil- Cage's "prepared piano" seem even more lage Voice and contributes to Opera News and primitive than it is. But her recent work other magazines.

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DISTILLED FROM AMERICAN GRAIN • 90 AND 86 PROOF THE FLEISCHMANN DISTILLING CORP t Soap^Education

The Arts Institution has been caught in the frustrating bind ofjustifying its programs in quantitative rather than qualitative terms.

"Soap and education are not as sudden questions the institutionsareposingthem- as a massacre, but they are more deadly selves. At this point, most of the deepest in the long run." soul-searching is over; the institutions have

Mark Twain said it way back in 1900. committed themselves to perform some But the irreverent crack really belongs, active function in the arts education of framed and gilded, on the walls of every the young. But the definition and imple- arts institution in the country—just to re- mentation of that function are still wide mind them what they're up against. open to trial, error, and change. In the

What is the role of the performing arts words of Mark Schubart, Director of Edu- institution in the education of young peo- cation for Lincoln Center, "Everything ple? Does it even have a role? What steps we are doing is one bloody research pro- should it take to fulfill its responsibilities? ject." Lincoln Center's education pro-

When is a step an overstep? Shall we tip- grams take their shape from the institu- toe, or shall we dance? tion's identity as a force in the communi-

Although they may be couched in more ty and in its active alliance with educa- decorous language, these are precisely the tors, school administrators, and commu-

byMarilyn Si jtsio

27 fc-L .

1 • M v. (

i J

el. ^ ^l\

he says. "The result of re-thinking exact- ly what we're trying to teach. We're trying to re-focus on teaching kids the percep- tion of the arts, how to see and feel and respond." "Numbers are not important, we've

concluded. What is important is to really make contact with the kids we do reach. In the beginning, we did a lot of perfor- mance programs in school auditoriums. Now we're working with smaller numbers of kids in less awesome surroundings, like libraries, cafeterias, and gyms. Our pro- grams are different, too; we do more struc- tured lecture-demonstrations. We also try to pursue ongoing programs, like sending Top left: Students with Kathleen Hearney dur- ing Juilliard School's drama workshop. Right: artists, our Resource Professionals, into Leslie Parnas, cellist, with students during con- the classroom to work directly with school cert by Chamber Music Society. Below: Herald administrators, teachers, and the kids." Brass Quintet at Queens Village J. H.S. 109. In addition to sending artists from the nity agency leaders. Since 1960, the Lin- institution into the community; Lincoln coln Center Student Program has worked Center is investigating other routes in directly with educators on a "two-way broadening traditional notions of the arts street" concept; that is, on sending per- institution's role in educating young peo- forming groups into the schools at the ple. Artists have been commissioned to same time students were being welcomed create works especially for performances at Lincoln Center through special admis- in schools. Experiments are underway for sion programs. developing new kinds of educational teach- According to Schubart, the greatest ad- ing aids. Radio and television are under vance the Student Program has made to study as possible breakthrough areas for date is its drastic overhaul of itself. This solving "the numbers game" and reaching year, 500 productions will go into the children in large groups. And an impor- schools, the lowest number in ten years— tant liaison has been established with and Schubart is delighted. "It was a con- teacher-training institutions, to enable scious educational decision on our part," more seminal work with the teachers and

28 Richard Chamberlain is

* the _ Count of Monte Cristo also starring Trevor Howard "^

Louis Jourdan • Donald Pleasence and Tony Curtis, as'Mondego" Bell System Family Theatre

Friday January 10, 8p.m. EST NBC-TV

For those of you who hunger after culture. education administrators of tomorrow. "We're now actively pursuing the train- ingand retraining of teachers— because the m*m'0W- teachers are the great multipliers," Schu- bart says. "Aesthetic education is what we're all about, and that is still a novel concept. Our training programs for teach- ers help them to look at the performing arts in a different way. Our basic notion is to bring the artist and the educator FORTHE35TH closer together, through ongoing projects, and thus reach the kids on their own CONSECUTIVE YEAR ground. TEXACO BRINGS YOU In devising specific educational programs LIVE for Lincoln Center, Schubart acknow- BY RADIO THE ledges that he is often plagued by com- plex influences that have nothing at all to do with children or art. These he sees as a kind of stone-around-the-neck legacy from the past. Before Lincoln Center or any other arts center can effectively open the window of the performing arts for young people, it must first break down outmoded traditional notions and rede- fine itself and its goals. To Schubart, the most crippling aspect of this legacy is the "uneasy feeling that the performing arts really are entertain- ment and, as such, are not altogether de- serving of public or philanthropic sup- port—or that they rate only the lowest TIME (E.T.) of priorities on the scale of human needs."

Faced with this notion, which Schubart ROMEO ET JULIETTE-GOUNOD Dec. 14 DEATH IN VENICE (New)-BRITTEN believes is still held by a vast portion of Dec. 21 JENUFA (New)-JANACEK Dec. 28 TURANDOT-PUCCINI the public, the arts institution is forced 1975 it to justify every step of progress makes. Jan. 4 L'lTALIANA IN ALGERI-ROSSINI Jan. 11 MADAMA BUTTERFLY-PUCCINI Invariably, the arts complex finds itself Jan. 18 CAVALLERIA RUSTICANA-MASCAGNI rationalizing its own existence by mas- I PAGLIACCI-LEONCAVALLO Jan. 25 BORIS GODUNOV (New)-MUSSORGSKY querading as a public spirited social work- Feb. 1 DON GIOVANNI-MOZART Feb. 8 TOSCA-PUCCINI er. "By playing this role," Schubart says, Feb. 15 DAS RHEINGOLD-WAGNER Feb. 22 BLUEBEARD'S CASTLE (New)-BARTOK "the arts institution earns the right to GIANNI SCHICCHI-PUCCINI Mar. 1 DIE WALKUERE-WAGNER 1:00 philanthropic dollars it could not other- Mar. 8 MANON LESCAUT-PUCCINI 2:00 wise claim." Mar. 15 SIEGFRIED-WAGNER 1:00 Mar. 22 LA FORZA DEL DESTINO (Revised)-VERDI Mar. 29 DIE GOETTERDAEMMERUNG-WAGNER The institution is thus caught in the Apr. 5 FALSTAFF-VERDI frustrating bind of initiating and justify- Apr. 12 I VESPRI SICILIANI-VERDI Apr. 19 L'ASSEDIO Dl CORINTO (New)-ROSSINI ingitsprogramsinquantitativerather than qualitative terms. The art institution with Schedule subject to change Please check your local newspaper for radio station an impressive list of statistics—on a cer- tain number of school children exposed Please send quiz questions to Texaco Opera Quiz, 135 East 42nd Street, New York, N.Y. 10017 to a certain number of ballet performances during a certain fiscal year— has a much

30 I hese live broadcasts, heard throughout the United States over the Texaco-Metropolitan Opera Radio Network, and in Can- ada over the CDC English and French Radio Networks, are proudly presented by Texaco for the pleasure of opera lovers everywhere. You are cordially invited to tune in.

ABOUT THE OPERAS IN JANUARY

LTTALIANAINALGERI- MADAMA BUTTERFLY ROSSINI PUCCINI What happens when a Puccini came ro this shipload of Italians is counrry for rhe firsr per- pulled ashore ofrer formance of Modomo being sunk off rhe Dar- Burrejfly at the Metro- bary Coosr? The Bey polian. That was 1907 would add Isabella ro with Farrar, Homer, Car- his harem by marrying uso, and Scorti. It hos her ro his slave, Lindoro. never lost its hold on the ro whom she happens public. As of the close of ro be engaged any- business lost season it way. How rhey ger had had 392 perform- around this is rold ro ances here, ranking ir some of Rossini's liveliesr seventh in the Metropol- music. He was rwenry- ian repertoire, barely a one, rossed ir off in notch below Tosco which rwenry-seven days. had 095.

CAVALLERIA IRUSTICANA— iMASCAGNI lond I PAGUACCI— ILEONCAVALLO BORIS GODUNOV- MUSSORGSKY FThe marriage of rhese When Chaliapin did the [two was made in (heaven. They are guilt-crazed czar or the Metropolian he would •known as Cov 'n Po o lapse inro Russian and ir (say ir as one word), didn't much matter "rhe rwins," and "ham what language the and eggs.'' They were others sang. A genera- nor, however, always tion lorer Pinzo made ir performed as a double o hundred per cent Ita- bill. Pogliacci has rhe lian. This season in a slighr edge, ranking new producrion this renrh ro Covollerio's gianr masterpiece is eleventh in rhe Metro- politan repertoire, heard for rhe first time in its original version, both based on number of language and music. performances. Dorh are grear. 32jwo—— JSincotn oq. firmer grip on the cornucopia of public funds that the arts institution working in 65 St & B'way facing Lincoln Center a more subtle fashion to influence the Brand new 37 sty apt tower nature of a single child's perception. Indoor Tennis Court Faced with this problem, the arts insti- A/C Doorman Security System ONE & TWO tution usually solves it by tangling itself BEDROOM APTS in a deeper dilemma. According to Schu- At Attractive Rentals bart, the need for statistical justification Immediate Occupancy of their programs dissuades institutions LANDAU-BANKER Owner/Builder from experimental programs, encouraging them instead to follow the most tradition-

Before or After the Performance al routes. The result, he says, constricts the public's attitude toward art and edu- Zclctik cation. "As a rule, the programs initiated Superb Viennese-Hungarian Cuisine by the arts institutions are heavy on the Imported & Domestic Beer & Wine Continental Pastry Shop literature, on the. facts of the arts, because

• Dinner • Snacks Luncheon these are the easiest things to 'teach,' in 141 W 72nd Street TR 3-7700 the conventional sense of the word. There

is nothing active in this kind of teaching. The institution simply makes itself a pas-

sive place to be used, and the nature of its

educational programs is equally passive. AT "We're trying to go beyond this. Instead -WffW of just making the arts available to child- ren, and calling that educational, we're trying to influence the nature of their perception. That kind of education can't

Cocktails, late night snacks, be measured so easily. It has to do with just or desserts influencing artistic values at the root. It's Central Park West at 61st Street easy to establish our own highly organized PL 7-3165 (Just South of Lincoln Center) sets of values, based on experiences and achievements of the past, and then dole

_^»»-»>->; them out to young people in measured The only Italian Restaurant doses. We're trying to help young people

in the Lincoln Center Area ! J- discover their own values in the artistic ristoranteCARACALLA experience—whether that's rock or Rach- I maninoff. We want them to develop their 168 Amsterdam Avenue (at 67 Street) vj; Superior Italian Cuisine-Open every day-799r46'00 Y own capacities to perceive and evaluate Free Parking for Dinner and Lincoln Center Goers y, -'" art." v';

to be a signal of sorts that the day is past when children are simply "exposed" to something their elders perceive as good for them, like cod liver oil. "The arts in- Charming, unique stitutions can no longer function as a pas- restaurants serving sive place to be used," Schubart says.

7 10 varieties of "The time has come when we must now authentic French crepes think of ourselves as playing an active, at moderate prices. participatory role in education."

Marilyn Stas-io is drama critic for Cue Magazine, B'way at 67 St./ 57 W. 56St. Losers. 1 58 W. 44St./3rd Ave. nr.58 St. and author of Broadway's Beautiful 1 5 Greenwich Ave./59 Nassau St.

32 Lincoln Center for the Performing Arte, Inc.

OFFICERS

Amyas Ames, Chairman of the Board Charles M. Spofford, Lawrence A. Wien, Vicc-Chairmen

Gustave L. Levy, Treasurer John W. Mazzola, Managing Director

BOARD OF DIRECTORS Amyas Ames David M. Keiser Martin E. Segal Hoyt Ammidon Francis Keppel Grant G. Simmons, Jr. Eli M. Black Gustave L. Levy Charles M. Spofford Richard M. Clurman William F. May Frank Stanton Richard W. Couper Rev. L.J.McGinley.S.J. Frank E. Taplin Mrs. Lewis W. Douglas George S. Moore Franklin A. Thomas Mrs. Irving Mitchell Felt Edward J. Mortola Miss Alice Tully Sampson R. Field Crocker Nevin Lowell Wadmond Richard L. Gelb Joseph Papp Edward R. Wardwell Harry B. Helmsley John D. Rockefeller 3rd George Weissman Mrs. Leon Hess William Rockefeller Lawrence A. Wien Mrs. Robert L. Hoguet Edgar B. Young

EX OFFICIO Honorable Abraham D. Beame, Mayor of New York

Honorable Edwin L. Weisl, Jr., Administrator of Parks, Recreation & Cultural Affairs William Schuman, President Emeritus

ADMINISTRATION

John W. Mazzola, Managing Director John Goberman, Director, Media Development Mark Schubart, Director, Education Delmar D. Hendricks, Booking Director, Andre Mirabelli, Corporate Secretary; Concert Halls Director, Buisness Affairs Arthur J. Howard, Director, James R. Bjorge, Associate Director, Education General Services Joseph Caron, Director, Public Services William W. Lockwood, Jr., Director, Leonard de Paur, Director, Programming Community Relations John O'Keefe, Director, June Dunbar, Associate Director, Education Public Information Frank S. Gilligan, Director, Development Alexander J. Rygiel, Controller

THE LINCOLN CENTER FUND BOARD OF TRUSTEES Hoyt Ammidon, Chairman

R. Manning Brown, Jr. William F. May Andrew Y. Rogers George Weissman Mrs. Robert L. Hoguet Crocker Nevin Robert E. Rubin Lawrence A. Wien Edwin S. Marks William M. Rees Francis B. Shepard

LINCOLN CENTER COUNCIL

Schuyler G. Chapin, Metropolitan Opera Joseph Papp, New York Shakespeare Festival John Mackenzie Cory, The New York at Lincoln Center Public Library Julius Rudel, New York City Opera Lincoln Kirstein, New York City Ballet Mark Schubart, Lincoln Center Joanne Koch, The Film Society of Lincoln Center Martin J. Oppenheimer, City Center of Music John W. Mazzola, Lincoln Center and Drama, Inc. Peter Mennin, The Juilliard School Charles Wadsworth, The Chamber Music Society Carlos Moseley, New York Philharmonic of Lincoln Center

LINCOLN CENTERCOUNCIL ON EDUCATIONAL PROGRAMS

Mark Schubart, Lincoln Center, Chairman William Nix, Metropolitan Opera Bernard Gersten, New York Shakespeare Festival Irwin Scherzer, The Chamber Music Society at Lincoln Center of Lincoln Center Edwin S. Holmgren, The New York Public Library Dr. Leon Thompson, New York Philharmonic Wendy Keys, The- Film Society of Lincoln Center Dr. Gideon Waldrop, The Juilliard School Mrs. Norman Lassalle.Ciry Center of Music and Drama, Inc. Ifmusic be the food of love, play on. Ifnot. how about dinner at one ofthese great restaurants?

American Express® knows 799-4600. Located near Lincoln the most fulfilling evening Center, this restaurant is rated for at the theater or a concert its size, decor and food. Excellently includes a great dinner. And prepared Italian cuisine. Closed we know the best way to pay for it Sun. Free parking. —with the American Express Card. Le Poulailler. 43 W. 65th St., If you don't already have the 799-7600. Exquisite, well-prepared American Express Card, any one of French cuisine. Treat yourself to these establishments will be happy delicious chicken in cream sauce to provide you with an application. or sauerkraut in champagne. Cocktails and fine wines. Special places. Tre Amici Ristorante. 1294 Aunt Fish. One Lincoln Plaza Third Ave., 535-3416. Excellent South. New to the West Side. An Italian cuisine. Enjoy a cocktail at elegant West Side restaurant fea- the piano bar and lounge. Open turing superior fresh seafood. seven days for dinner only. Proof of the Pudding. 1165 First Ave., 421-5440. Sparkling A good steak. Continental restaurant with a .Henry Stampler's Filet glassed-in garden terrace. Mignon. Central Park West at 61st Top of the Park. 1 Gulf & St., 757-3165. One of the top steak Western Plaza, 333-3800. Spectacu- restaurants in the city, serving lar view of the city from this superb finest quality steaks, seafood and rooftop restaurant. International other specialties. cuisine at its finest. Marty's Bum Steer. 334 E. From around the world. 73rd St., 879-1040. Romantic, candlelit new steak house with the Caracalla. 168 Amsterdam finest aged prime steaks and Ave. (between 67th-68th Sts.), incomparable roast beef. Patrons of Lincoln Center for the Performbig Arts

Lincoln Center gratefully acknowledges the support of those individuals, foundations and corporations whose gifts to the capital drive helped build Lincoln Center and those new patrons who help to make possible its continuing operations. Fol- lowing is a chronological list:

JohnD. Rockefeller, Jr. Mr. and Mrs. David Hunter McAlpin Chemical Bank Mr. and Mrs. David M. Reiser Mr. and Mrs. Douglas Dillon Morgan Guaranty Trust Company Mrs. Felix M. Warburg Mr. and Mrs. Lawrence A. Wien of New York Arthur A. Houghton, Jr. The Family of Carl H. Pforzheimer James Foundation of New York, Inc. Mr. and Mrs. John D. Rockefeller 3rd Mr. and Mrs. W. Van Alan Clark Bankers Trust Company Mr. and Mrs. Pierre David-Weill Mr. and Mrs. Harry B. Helmsley The Commonwealth Fund Mrs. V. Beaumont Allen Mr. and Mrs. Eugene Ferkauf The Equitable Life Assurance Society Mrs. John T. Pratt Mr. and Mrs. Nathan Cummings of the United States Mrs. Richard Charlton Mr. and Mrs. Andre Meyer Lazard Freres &: Co. Frasier W. McCann David and Irene Schwartz IBM Mrs. Joseph V. McMullan Mr. and Mrs. Edwin S. Marks Texaco Inc. Mrs. Arthur Lehman Mr. and Mrs. Richard Rodgers Metropolitan Life Insurance Company Mrs. Alfa Rockefeller Prentice Mr. and Mrs. Gardner Cowles New York Life Insurance Company Mrs. Robert Walton Goelet Mr. and Mrs. Roger L. Stevens Juilliard Musical Foundation Francis Goelet Mr. and Mrs. Louis Calder Bell System Companies in Mr. and Mrs. John Goelet C. Michael Paul New York City Robert G. Goelet Mr. and Mrs. Samuel Lemberg Union Carbide Corporation Mr. and Mrs. Hayward F. Manice Mr. and Mrs. Samuel H. Golding United States Steel Foundation Alfred P. Sloan, Jr. Mr. and Mrs. Shelby Cullom Davis Consolidated Edison Company Mr. and Mrs„ Frank Altschul The Family of John F. Kennedy of New York, Inc. Mr. and Mrs. Robert E. Blum The Mazer Family Carnegie Corporation of New York Mr. and Mrs. David Rockefeller James P. Warburg New York Foundation Mr. and Mrs. Walter H. Annenberg The Family of Solomon and Columbia Broadcasting System Mr. and Mrs. Louis J. Horowitz Rose S. Lasdon Shell Companies Foundation, John S. Newberry Mrs. Edsel Ford Incorporated Barbara Hutton The Fribourg Family RCA Corporation Lauder Greenway Irving Geist Bloomingdale's Mr. and Mrs. Francis Kernan Mr. and Mrs. Joseph A. Neff Reader's Digest Association, Inc. Mrs. Thomas J. Watson Enid Annenberg Haupt Old Dominion Foundation Mr. and Mrs. Thomas M. Evans Mr. and Mrs. Lester Francis Avnet The John A. Hartford Foundation, Inc. Family of Cornelius N. Bliss Mrs. Lytle Hull The Bodman Foundation The Fa"-> ;, y of Julius Rosenwald Mr. and Mrs. Leonard Block Mobil Oil Corporation Mr. and Mrs. Kenneth Appleton Ives Mr. and Mrs. Joseph L. Mailman The Heckscher Foundation for Children James Donahue Mr. and Mrs. Harold L. Fierman Schenley Industries, Inc. Robert Lehman Mr. and Mrs. Richard Salomon Revlon Foundation Audrey Love Mr. and Mrs. Frank E. Taplin,Jr. Charles and Rosanna Batchelor Mr. and Mrs. O. Roy Chalk Mr. and Mrs. Herbert M. Singer Memorial, Inc. Nancy Susan Reynolds Stavros S. Niarchos Standard Oil Company of California Huntington Hartford Bernice Chrysler Garbisch Rockefeller Brothers Fund The Family of Edward H. and The Family of Erwin S. Wolfson Consolidated Natural Gas Company Mary W. Harriman Carl A. Morse Samuel H. Kress Foundation ' Mr. and Mrs. John N. Irwin II Mr. and Mrs. Jack Linsky Bethlehem Steel Corporation The Family of Carl M. Loeb The Durst Family Vivian B. Allen Foundation, Inc. i Mr. and Mrs. Albert A. List Mr. and Mrs. Saul Jeffee Irving Trust Company Mrs. Charles V. Hickox Mr. and Mrs. Sol Kittay The Spiros G. Ponty Foundation Mr. and Mrs. Henry Ittleson.Jr. Mr. and Mrs. Charles H. Dyson Charles Ulrick and Josephine Bay Mr. and Mrs. John Hay Whitney Lila Acheson Wallace Foundation, Inc. Mrs. John D. Rockefeller, Jr. Mr. and Mrs. Bruce L. Zenkel Josephine Bay Paul and C. Michael Paul Mr. and Mrs. Owen Robertson Cheatham Richard J. Schwartz Foundation, Inc. Mr. and Mrs. Leon Hess Mr. and Mrs. Milton Petrie Wertheim & Co. Mrs. Charles W. Engelhard Evlynne and Max M. Low Firestone Foundation Mr. and Mrs. Irwin Hamilton Kramer The Family of Ethel S. Mehlman William S. Paley Foundation, Inc. Mr. and Mrs. Lansdell K. Christie Aye Simon The Howard Johnson Foundation Mr. and Mrs. Cornelius Vanderbilt Mrs. Jean Mauze Lehman Brothers Whitney Mr. Louis Marx W. H. Charities Mr. and Mrs. Percy Uris Charles H. Revson The George F. Baker Trust Mr. and Mrs. Harold D. Uris Mr. and Mrs. Howard Lipman D. S. and R. H. Gottesman Foundation Mrs. Ambrose jll Harry Lebensfeld Glen Alden Corporation Mrs. Hazel Hopkins Ford Minna and Benjamin M. Reeves The Philip and Janice Levin Foundation The Family of Clarence and Anne Dillon Mr. and Mrs. Irving Mitchell Felt Carl Marks & Company, Inc. Alice Bigelow Tully Mr. and Mrs. Edouard L. Cournand Beinecke Foundation Mr. and Mrs. John R. Kimberly Benjamin C. Zitron and Family Bear, Stearns & Co. Mr. and Mrs. Charles Shipman Payson Miss Julie A. Spies J. P. Stevens & Co., Inc. Foundation Mr. and Mrs. Willis H. Booth Selma and Frank Kalisch The First Boston Foundation Trust Mrs. Vincent Astor Three anonymous donors Korvettes-Division of Aden Realty & Harold Stirling Vanderbilt Development Corporation Mrs. Josephine Lawrence Graeber The Rockefeller Foundation The New York Times Allan P. Kirby The Ford Foundation The Samuel & David Rose Fund Mr. and Mrs. Walker G. Buckner Exxon Corporation Sterling National Bank of New York Mr. and Mrs. Amyas Ames Avalon Foundation Van Munching & Co., Inc.Heineken Mr. and Mrs. Gustave L. Levy First National City Educational and Holland Beer Mr. and Mrs. Henry J. Heinz II Charitable Foundation United Brands Foundation Margaret Mellon Hitchcock The Chase Manhattan Bank Foundation Rapid- American Corporation Mr. and Mrs. Seymour H. Knox Manufacturers Hanover Trust Company The Siegfried and Josephine Bieber Mr. and Mrs. Frank Stanton Corning Glass Works Foundation Foundation

Patron's desk 765-5100, Mrs. Terry Mark The arts have proved themselves more durable than scandals,wars and oil shortages. — Osborn Elliott Editor, Newsweek

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Alcoa Foundation First National City Bank New York Telephone Co. American Express Company General Foods Corporation The New York Times Foundation, Inc. American Telephone and General Telephone & Electronics RCA-NBC Telegraph Co. Corporation The Reader's Digest Atlantic Richfield Company W.R. Grace & Co. Real Estate, Construction Bankers Trust William Randolph Hearst Foundation & Hotel Council Beneficial Corporation ICM/International Carbon and Minerals Rockefeller Center, Inc. Bristol-Myers Company International Business Machines Company Helena Rubinstein Foundation CBS Inc. International Telephone & The S & H Foundation, Inc. The Chase Manhattan Bank Telegraph Corporation Standard Oil Company of California Chemical Bank Jonathan Logan, Inc. The Starr Foundation Cities Service Company Manufacturers Hanover Trust Texaco, Inc. Consolidated Edison Company Carl Marks & Co., Inc. Texasgulf Inc. of New York, Inc. Mobil Oil Corporation Time Inc. Edison Parking Corporation Morgan Guaranty Trust Company United Brands Co. Educational & Cultural Trust of New York Fund of the Electrical Industry National Distillers and Chemical Exxon Corporation Corporation Two Anonymous

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Allied Chemical Foundation General Electric Company J.C. Penney Company, Inc. B. Altman & Company General Motors Corporation Pfizer Inc. American Broadcasting Companies, Inc. Goldman, Sachs & Co. Philip Morris Incorporated American Can Co. Gulf & Western Industries, Inc. Plessey Incorporated, Garrard Division American Electric Power Company, Inc. International Ladies' Garment Pullman-Standard, Angel Records Workers' Union a Division of Pullman Incorporated The Bank of New York Irving One Wall Street Foundation St Regis Paper Co. Bethlehem Steel Corporation Johnson & Higgins Salomon Brothers Lanvin-Charles of the Ritz, Inc. Burlington Industries, Inc. J. P. Stevens & Co., Inc. C.I.T. Financial Corporation Lazard Freres & Co. Touche Ross & Co. Continental Can Company, Inc. Macmillan Foundation Union Carbide Corporation Diesel Construction Macy's New York United States Steel Foundation, Inc. a Division of Carl A. Morse, Inc. Marine Midland Bank-New York United States Trust Company Doubleday & Co., Inc. Marsh & McLennan, Inc. of New York Empire State Building Co. The Merck Company Foundation Wertheim & Co., Inc. The Firestone Foundation Metropolitan Life Insurance Company Western Electric Fund Ford Motor Company Fund Mutual of New York Xerox Corporation The Garcia Corporation Newsweek, Inc. Three Anonymous

TnrpnratP r-nnf rihntnrc nf $1 nnfl tn $4 QQO, rlnring 1973-74

ACF Industries, Inc. Deering Milliken, Inc. New York Stock Exchange, Inc. ARA Services, Inc. Dollar Savings Bank of New York Newmont Mining Corporation Abraham & Co. Dow Chemical Company Norton Simon, Inc. Airco, Inc. Durso Supermarkets Inc. Ogilvy & Mather, Inc. Alexander's, Inc. Empire Hotel Olin Corporation Charitable Trust American Airlines, Inc. Ernst & Ernst One Lincoln Associates American Cyanamid Company Ethyl Corporation Oppenheimer & Co. American Metal Climax Foundation, Inc. European-American Bank & Trust Otis Elevator Company American Natural Gas Company Company Owens-Corning Fiberglas Corporation American Re-Insurance Company The First Boston Foundation Trust The Paige Company American Society of Composers, Fribourg Foundation, Inc. Joy Hirshon Parkinson Foundation, Inc. Authors and Publishers G A F Corporation Peat, Marwick, Mitchell & Co. American Standard Inc. General Instrument Corporation Pellon Corporation Amstar Corporation General Mills Foundation PepsiCo, Inc. Arthur Andersen & Co. Gimbel Brothers, Inc. The Perkin-Elmer Corporation Arabian American Oil Company Henry L. Goldberg & Co. Phelps Dodge Foundation Arnhold and S. Bleichroeder, Inc. Great Northern Nekoosa Corporation Price Waterhouse & Co. Ashland Oil, Inc. The Greenwich Savings Bank The Prudential Insurance Company Asiel & Co. HRH Construction Corporation of America Avnet, Inc. Haskins & Sells Reliance Group Incorporated E.W. Axe & Co., Inc. Hills Supermarkets Richardson-Merrell Inc. Bache & Co. Incorporated Hunt-Wesson Foods, Inc. Rose Beaton & Rose A.G. Becker & Co. Incorporated The International Nickel Company, Inc. L. F. Rothschild & Co. Beecham Inc. International Paper Company Foundation St. Joe Minerals Corporation Belding Hemingway Company, Inc. The Interpublic Group of Companies, Inc. The St. Moritz Hotel Bloomingdale's Jaros, Baum & Bolles Salant Corporation Blyth Eastman Dillon Inc. Kane-Miller Corporation Schering-Plough Corporation

Book-of-the-Month Club, Inc. Lasker, Stone & Stern J. Henry Schroder Banking Corporation Borden Foundation, Inc. S.D. Leidesdorf & Co. Joseph E. Seagram & Sons, Inc. The Bowery Savings Bank Lever Brothers Company The Seamen's Bank for Savings in the Broadcast Music Inc. Foundation, Inc. City of New York The Brooklyn Union Gas Company LIN Broadcasting Corporation Sears, Roebuck and Co. E. Segal Bunge Corporation Thomas J. Lipton, Inc. Martin & Co. Capital Cities Broadcasting Corp. Lord & Taylor Shell Companies Foundation, Central Savings Bank in the City of N.Y. MCA Inc. Incorporated Chrysler Corporation Fund McGraw-Hill, Inc. Shopwell, Inc. Ciba-Geigy Corporation McKinsey & Company, Inc. Simmons Company Cluett, Peabody & Co., Inc. Melville Shoe Corp. Simplicity Pattern Co. Inc. Colgate-Palmolive Company MEM Co., Inc. The Singer Company Foundation Colt Industries Inc. Mercedes-Benz of North America, Inc. Skidmore, Owings & Merrill Commercial Credit Company Merrill Lynch, Pierce, Fenner & Smith Smith, Barney & Co., Inc. Consolidated Natural Gas Company Foundation, Inc. Sonnenblick-Goldman Corp. Continental Oil Company Metromedia, Inc. Spearin, Preston & Burrows, Inc. Coopers & Lybrand Miller Brewing Company Sperry Rand Corporation The Cranston Foundation Millmaster Onyx Corporation Squibb Corporation William L. Crow Construction Company Mitsui &Co. (U.S.A.), Inc. Standard Brands Incorporated Crum & Forster N L Industries Foundation Inc. Standard Motor Products, Inc. Cushman & Wakefield, Inc. Neuberger & Berman Stepan Chemical Company D'Agostino Supermarkets The New York Bank for Savings Stewart, Smith & Co., Inc. Dart Industries Inc. New York Life Insurance Company Stewart Stamping Corporation Deblinger Sales & Marketing Corporation New York News Inc. Sugar Foods Corp. I

CORPORATE SUPPORT FOR THE PERFORMING ARTS AT LINCOLN CENTER t on tinned from preceeding page

Syska & Hennessy, Inc. Walsh Construction Company Wheelabrator-Frye Inc.

J. Walter Thompson Company Warner Communications Inc. White, Weld & Co. Trans World Airlines The Warner-Lambert Charitable Witco Chemical Corporation Turner Construction Company Foundation F. W. Woolworth Co. UMC Industries, Inc. Waterman Steamship Corporation Arthur Young & Company Uni royal. Inc. Weiss, Peck & Greer Young & Rubicam International Inc. Universal Oil Products Co. Weyerhaeuser Company Foundation Ten Anonymous

Corporate contributors of $100 to $999 dur inr, 1Q73-74

A.B.D. Securities Corporation Doyle Dane Bernbach Inc. The National Reinsurance Corporation ASI Communications Dreier Hotel Management Corp. Navarro Hotel Company Harry N. Abrams, Inc. Dry Dock Savings Bank The Nestle Company Inc. Ackman Brothers Incorporated Dun & Bradstreet Foundation, Inc. The Nikko Securities Co. Alexander & Alexander, Inc. E & B Supermarkets, Inc. International, Inc. Ethan Allen Inc. The East New York Savings Bank North American Philips Corporation Allis-Chalmers Foundation, Inc. Esquire, Inc. John Nuveen & Co., Incorporated Amerace Corporation EuroPartners Securities Corporation The Ornstein Brothers American Stock Exchange Excess & Treaty Management Corporation Ken J. Pezrow Corp. The Atlantic Companies Fahnestock & Co. The Pittston Company Baker, Weeks & Co., Inc. Federal Paper Board Company, Inc. The Pleasant Street Foundation Banco Nacional De Mexico, S.A Feldman Wood Products Co., Inc. RBH/Reid & Carr Inc. Bank of Commerce Firmenich Incorporated RKO General, Inc. Bank or Montreal — New York Franklin Savings Bank of New York Reich & Co. Inc. Barclays Bank International Limited Fritzsche Dodge & Olcott Inc. Republic National Bank of New York Benton & Bowles, Inc. Gold Seal and Henri Marchant Wineries Schiff Terhune Inc. Bergdorf Goodman Grey Advertising, Inc. The Seagrave Corporation Best Manufacturing Inc. The Guardian Life Insurance Company Seidman & Seidman Bigelow-Sanford, Inc. of America Slattery Associates, Inc. John Blair & Company Harlem Savings Bank SoGen International Fund, Inc. Bowne & Co., Inc. Hirsch-Werner Corporation Sothcby Parke Bernet Inc. The Buckingham Corporation Iroquois Brands, Ltd. Stern, Lauer & Co. The C T Foundation Iselin Jefferson-Woodside, Paul Stuart Canadian Imperial Bank of Commerce Division of Dan River Inc. Swiss American Securities Inc. Cantella & Co. Keene Corporation Swiss Bank Corp. Capezio Ballet Makers Kenyon & Eckhardt Advertising Talcott National Corporation Career Club Shirt Co. Kipnis & Karchmer The Taylor Wine Company, Inc. Chubb & Son Inc. Lamston's Variety Stores Thyssen Steel Corporation Cinema 5, Ltd. Lane Bryant, Inc. Ulano Companies Collins & Aikman Laventhol Krckstein Horwath & Horwath Union Dime Savings Bank Compton Advertising, Inc. The Lexington Hotel United Mutual Savings Bank Croscill Curtain Co., Inc. The Lowell Hotel United States Lines, Inc. Cunningham & Walsh Inc. M. Lowenstein & Sons, Inc. Vernitron Corporation DHJ Industries Inc. D. Maldari & Sons, Inc. Volkswagen of America, Inc. Davis-Delaney-Arrow, Inc. The Manhattan Savings Bank Warburg-Paribas, Inc. Deltown Foods, Inc. Mitchel, Schreiber, Watts & Co. S. R. Weltz, Jr. & Company Diener/Hauser/Greenthal Company The Mitsubishi Bank, Ltd. Dean Witter & Co., Inc. Incorporated Muzak Corporation Thirteen Anonymous

Each corporate gift to the Consolidated Corporate Fund Drive benefits all of the performing arts companies at Lincoln Center:

Metropolitan Opera New York Philharmonic The Juiliiard School Chamber Music Society of Lincoln Center

City Center of Music and Drama (New York City Opera and New York City Ballet)

New York Shakespeare Festival at Lincoln Center Film Sock ty of Lincoln Center, Inc.

Lincoln Center for the Performing Arts, nc.

Soups, Sandwiches, Salads and NOW!

Dinner 3 Blocks from LINCOLN CENTER 199 Amsterdam Ave (69th St.) Tel 799-5457 Quiche Open Every Day Free Parking Veal Stew in Pastry Shell Chicken Liver Risotto THE APPEL FARM Pot Roast Beef Stew ARTS & MUSIC CENTER Chili Con Came with Rice Famous Summer Camp: Coed 6-18 July, August. Cocktails & if Homemade Highest level music and arts programs Desserts balanced with strong sports program. Special programs for first time Res. 877-1119 campers. APC, ACA approved. Bro- cijJk&JUU chure! Early reservation a must! Come and visit. CONFERENCE CENTER: SEPT. - JUNE. BROCHURE! 43 West 64 Street

( Next to The Ginger Man) Appel Farm Arts & Music Center Elmer 33, N.J. 08318 (609) 358-2472 — DEWAK'S PBOFILES (Pronounced Do-ers "White Label")

N. Y„ N. Y EVE QUELER BlENOfO SCOTCH WHISKY .. B6 8 PROOF • ©SCHENIEY IMPORTS CO .

HOME: New York, N.Y. AGE: 37 PROFESSION: Conductor s attending concerts. HOBBIES: Playing the piano; i^V hM^K'I . 1 Wmw- wi m MOST MEMORABLE BOOK: Dante's "Divine Comedy" r i . t ©»^«**^ Recently >^-i&j\ * LAST ACCOMPLISHMENT: 'White Label" • fs^k • lr\ %. DewaFs. „ conducted the Opera Orchestra of New York ^^EOScpTCHWHIS" at Carnegie Hall in Bizet's "Pearl Fishers," /J **niJ'ewar'4Sonsl- /Ami critics. receiving raves from New York music "^'^z.ISs^ / > « ^**~^ «. " i. •'" J JSjfssSJjS / JQ \ n x<

^rffffT^ ' QUOTE: "I think all young American W' • conductors should have the opportunity to come if up the way many European conductors have through opera. It gives you fantastic back- ground and absolute mastery of your materials." ^\ UtflCTltlC. There are more than a thousand ways to blend whiskies in Scotland, but few are PROFILE: Vigorous. Chic. Exciting. Conducts authentic enough for Dewar's "White Label." The with a sure command of her music and her quality standards we set down in 1846 have never musicians. varied. Into each drop go only the finest whiskies from the Highlands, the Lowlands, the Hebrides. SCOTCH: Dewar's "White Label"® Dewar's never varies. . ,

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