ATLANTA Subscription Concerts SYMPHONY Thursday, Friday evenings 8:30 ORCHESTRA Sunday afternoon 3:00 ROBERT SHAW music director March 19, 20 and 22, 1970 and conductor ROBERT SF1AW, conducting

Assisting Artists:

BETHANY BEARDSLEE, soprano

ANDRZEJ HIOLSKI, baritone

ARA BERBERIAN, bass

PETER HARROWER, narrator

THE FLORIDA STATE UNIVERSITY SINGERS

AND CHAMBER CHOIR Joseph Flummerfelt, director

THE ATLANTA BOY CHOIR Fletcher Wolfe, director

KRZYSZTOF PASSIO ET MORS DOMINI NOSTRI IESU CHRISTI PENDERECKI SECUNDAM LUCAM

(The Passion and Death of Our Lord Jesus Christ According to St Luke)

There will be an intermission between Parts I and

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The use of recording devices and cameras during concerts is strictly prohibited. PROGRAM NOTES BY JOHN SCHNEIDER Music Department, irgia State University

The Passion According to St. Luke movement of specific masses of Krzysztof Penderecki (1933- ) sound. Just as our comprehension Since his graduation with distinc­ of traditional music is rooted in the tion some twelve years ago in ad­ perception of melody and harmony, vanced musical study in his native so must our acceptance of this new Poland, Krzysztof Penderecki (pro­ kind of music be based on recog­ nounced pen-der-ETS-kee) has be­ nizing these clusters of sound and come one of the most noted figures the way they move in relation to in contemporary' music. Public at­ each other. Such a sound block may tention first came in T959 when also move by seeming to "evapo­ he anonymously entered three dif­ rate" into itself, or, contrarily, to ferent compositions in a competi­ mushroom from smallness into big­ tion sponsored by the Youth Circle ness by whittling away or adding to of the Association of Polish Com­ the outside notes of a given sound posers, and won all three first prizes. block. More awards have since followed, Penderecki's Passion According including a mark of recommenda­ to St. Luke has been called "one of tion and distinction in 1961 from the most important contributions to UNESCO for his Threnody to the sacred music of our time." Commis­ Victims of Hiroshima, scored for sioned by the West German Radio fifty two string instruments. to mark the seven hundredth anni­ The impact of Penderecki's writ­ versary of Munster Cathedral, it was ing stems from his concern for and finished in 1965, after two years acute perception of the texture and in the writing. The first performance nature of sound. Contemporary took place in the famed cathedral composers are constantly seeking on March 30, 1966. to expand the spectrum of instru­ Both Passion music and Passion ments as we know them, and drama were much in vogue in the through the production of sound sixteenth, seventeenth and eight­ by artificial (usually electronic) eenth centuries. Composers of the means. Penderecki's path of explor­ pre-Baroque era were strongly at­ ation has so far been non-electro­ tracted to the subject, and music nic. Rather has he delved into new archives abound with examples of expressive possibilities of musical the Passions according to St. Mat­ instruments and of the human thew, St. Luke and St. John, in par­ voice. With string instruments, for ticular. The style and techniques of example, a wailing kind of sound this special kind of sacred music may be called for by having the en­ is a study unto itself, which inevit­ tire group of instruments effect what ably leads one to realize that the might be called a mass slide move­ summit of the art was reached in ment at varying relative pitches. the Passion According to St. Mat­ To give this new-sounding music thew of Johann Sebastian Bach. The its due, it is imperative that the lis­ few examples since that time are tener consciously put aside his ac­ clearly modeled after the supreme customed expectancy of clearly de­ work of Bach. fined melodies and harmonies. The Despite its austerely modern impact of the music is derived not sound, so is Penderecki's Passion. from these, but rather from the As a clear tribute to the great Luth- eran composer, almost the entire as Jesus is led to Calvary. The sing­ melodic structure of the present ers are sometimes required to taper work is rooted in the oft-quoted off a phrase with the highest, or German representation of the name lowest, note they are capable of BACH (in our terminology, B flat, producing, without regard for spe­ A, C, B natural). Even of this, the cific pitch. At other times, they must mere half-tone fall of either the shout, or even laugh. For certain first or second pair of notes in that words, the syllables are divided be­ representation is frequently heard tween various choral sections, giv­ throughout the oratorio, conveying ing an almost three-dimensional ef­ an aura of sadness all by itself. In fect of the space and distance occu­ Penderecki's music, that minimum pied by a babbling crowd. The re­ interval seems to suggest the slight sult is much like that of poi nti 11 ism droop of Christ's head as he hangs in painting, in which the individual on the cross. Conversely, the same dots emerge in mass to form recog­ half-tone relationship is sometimes nizable shapes. inverted, especially in the solo Two places near the end of the voices, connoting an ever-recurring oratorio are startling in their simple note of hope in its subtle upward surprise. One is on the word gloria, motion. In fact, the interval of the at the end of the section which be­ half-tone is predominant through­ gins Stabat Mater. The other comes out; many of the melodic progres­ with the very last notes of the mu­ sions as well as the accompanying sic. In both instances, Penderecki harmonies are fashioned from this deftly turns aside from the highly juxtaposing of notes as closely to­ uncommon sounds and groups the gether as possible. This, together entire gamut of performing sources with the generally slow tempi, tends onto the most fundamental major * to heighten the unhurried aspect chord. The effect is stunning, like of the sorrowful mood. TIME maga­ a shaft of blinding light from heav­ zine, commenting on the roaring en itself. success the work has had in its The main chorus is divided into European performances, said that three separate choruses, each with "Penderecki slices to the heart of its complement of sopranos, altos, the Passion, revealing through the tenors and basses. In addition, there is a boys' choir of sopranos and al­ intolerance shown to one man the tos. The text is drawn from the Cos- tragedy of all men." pel, from the Psalms, and from por­ Much of the rare individuality of tions of the Roman Catholic liturgy. the piece stems from the unconven­ Penderecki stipulates that the work tional use of both instruments and must be performed in Latin. The voices to achieve powerful, drama­ Gospel texts are narrated by a tic effects. The score is full of un- speaker, the Evangelist; the solo unusual markings instructing players singing voices assume the other to rub the back of the bow on a roles in the drama (the baritone hard surface, for instance, or to sings the words of Jesus); the chor­ uses represent the multitude, both draw across the short expanse of in active participation in the scenes string between the bridge and the of condemnation, and as commen­ tail piece. The chorus members tator for other episodes. The diffi­ whisper certain words, or prolong cult baritone role is written at one the sound at the end of a word to point all the way up to a high B flat. produce a mocking, hissing sound, The huge orchestra score calls for: four flutes (including two pic­ will tend to increase his enjoyment colos and one alto flute), bass clar­ of it. The first is not to grudge be­ inet, two alto saxophones, three cause the music sounds like noth­ bassoons, one contrabassoon, six ing one has heard before, or be­ French horns, four trumpets, four cause it seems to be "out of tune." trombones and tuba; a large per­ Penderecki uses quarter tones in cussion section comprising four both instruments and voices, which tympani, bass drum, six torn toms, at times produce sounds that might two bongos, military drum, whip, easily be called "anguished." But rattle, four wood blocks, a gui'ro (a this very anguish of the unorthodox gourd which,is scraped), claves, four sound can, if we as listeners permit cymbals (soprano, alto, tenor, bass), it, become meaningfully related to one medium and one bass tarn tarn, the anguish of the subject as a one Chinese and one Javanese gong, whole. The second decision relates chimes, harp, and vibraphone; key­ to that: not allowing the preoccu­ board instruments consisting of pi­ pation with some of the startling ano, harmonium, and organ; a full details of the score to obscure the complement of strings. overall effect of the work, which is Two deliberate and conscious de­ the anguish of the Lord's Passion. cisions on the part of the listener The text in Latin and English fol­ hearing this music for the first time lows:

PART I t O Crux, ave, spes unica, Hail, O Cross, the only hope, Hoc Passionis tempore In this time of Passion Piis adauge gratiam, Heighten the grace of religious Reisque dele crimina. souls, And do away with that which Te, forts salutis, Trinitas, is criminal. To thee, Trinity, source Collaudet omnis spiritus. of salvation, May every soul sing thy praises. f ft egressus ibat secundum consue- And going out, He went according tudinem in montem Olivarum. 5e- to His custom to the mount of cuti sunt autem ilium et discipuli. . . Olives. And His disciples also fol­ positis genibus orabat dicens: Pater, lowed Him. Kneeling down, he si vis, transfer calcem istum a me: prayed saying: Father, if Thou wilt, verumtamen non mea voluntas, sed remove this cup from me: but yet Tua fiat. Apparuit autem illi angelus not my will, but Thine, de done. de caelo, confortahs eum. Et factus And there appeared to Him an an­ in agonia prolixius orabat. Et factus gel from heaven comforting Him. est sudor eius sicut guttae sanguinis And being in agony, He prayed a decurrentis in terram. long time. And His sweat became as drops of blood falling down to the ground. f Deus, Deus meus, respice in me, O God, my God, look upon me, quare me dereliquisti? why hast Thou forsaken me? Deus, Deus, clamabo per diem, et O my God, I shall cry by day and non exaudies. Verba mea auribus Thou wilt not hear. Give ear, O percipe, Domine; intellige clamor- Lord, to my words; understand my em meum. cry. t Domine, quis habitabit in taber- 0 Lord, who shall dwell in Thy tab­ naculo tuo, aut quis requiescet in ernacle? Or who shall rest on Thy monte sancto tuo? In pace . . . dor- holy hill? I shall sleep in peace and miam . . . et caro mea requiescet in my flesh shall also rest in hope. spe. t Adhuc eo loquente ecce turba, et And while He yet spake, behold a qui vocabatur ludas, unus de duo- multitude, and he that was called decim, antecedebat eos et appro- Judas, one of the twelve, went be­ pinquavit lesu ut oscularetur eum fore them and drew near unto Jesus . . . luda, osculo Filium hominis tra- to kiss Him. Judas, do you betray dis? Quasi ad latronem existis cum the Son of Man with a kiss? As if gladiis et fustibus? . . . sed haec ho- against a thief, do you come out ra vestra et potestas tenebrarum. with swords and clubs? But this is your hour, and the power of dark­ ness. t lerusalem, lerusalem, convertere ad Jerusalem, Jerusalem be converted Dominum, Deum Tuum. to the Lord, thy God. f Ut quid, Domine, recessisti longe. Why, O Lord, has Thou withdrawn t so far? Comprehendentes autem eum dux- Apprehending Him they led Him to erunt ad domum principis sacerdo- the high priest's house. But Peter tum. Petrus vero sequebatur a longe followed at a distance. But a certain • . . Quern cum vidisset ancilla quae- maid had seen him in the light and dam sedentem ad lumen et eum had earnestly beheld him, and said: fuisset intuita, dixit: Et hie cum illo "This man was also with him." erat . . . Mulier, non novi ilium. Et "Woman, I know him not." And post pusillum alius videns eum dix­ after a little while, another, seeing it: Et tu de illis es . . . O homo, non him said: "Thou also are one of sum. Et intervallo facto quasi horae them." "O man, I am not." And af­ unius, alius quidam affirmabat di- ter a time of perhaps an hour a cer­ cens: Vere et hie cum illo erat; nam tain other man affirmed, saying: et Galilaeus est. Homo, nescio, quid "Truly, this man was also with him, dicis. Et continuo adhuc illo loquen­ for he is also a Galilean." "Man, te cantavit gallus. Et conversus 1 know not what thou sayest." And Domius respexit Petrum. Et recor- as he was yet speaking, the cock dautus est Petrus verbi Domini . . . crew. And the Lord, turning, looked Et egressus foras . . . flevit amare. on Peter, and Peter remembered the word of the Lord. And going out, he wept bitterly. t ludica me, Deus, et diserne causam Judge me, O God, and understand meam. my plight. f Et viri, qui tenebant ilium, illude- And the men who held Him, mock­ bant ei caedentes. Et velaverunt eum ed Him and struck Him. And they et percutiebant faciem eius et in- blindfolded Him and smote His face. terrogabant eum dicentes: Prophe- And they asked Him, saying: "Pro- tiza, quis est qui te percussit? . . . phesy, who is it that struck thee? Tu ergo es Filius Dei? . . . Vos dicitis, Art thou then the son of God?" quia ego sum. "It is as you say. I am." t lerusalem, lerusalem, convertere ad Jerusalem, Jerusalem, be converted Dominum, Deum Tuum. to the Lord thy God. f Miserere mei, Deus, quoniam con- Have mercy on me. O God, for man culcavit me homo, tota die impug- has abused me. All day long, accus­ nans tribulavit me. ing, he hath attacked me. t ft surgens omnis multitudo eorum And the whole multitude of them, duxerunt ilium ad Pilatum. Coeper- rising up, led Him to Pilate. And unt autem ilium accusare dicentes: they began to accuse Him, saying: Nunc invenimus subvertentem gen- "We have found this man pervert­ tem nostram et prohibentem tribu- ing our nation and forbidding to ta dare Caesari et dicentem se Chris­ give tribute to Caesar, and saying tum regem esse . . . Tu es rex ludae- that he is Christ the King." "Art orum? . . . Tu dicis . . . Nihil inven- thou the king of the Jews?" "It is as io causae in hoc homine. Et remisit thou sayest." "I find no fault in this eum ad Herodem . . . Herodes au­ man." And he sent Him away to tem interrogabat . . . eum multis Herod. Herod questioned Him at sermonibus. At ipse nihil illi respon- length, but He answered him noth­ debat . . . Sprevit autem ilium He­ ing. Herod mocked Him, putting on rodes . . . et indutum veste alba Him a white garment, and sent him . . . remisit ad Pilatum autem con- back to Pilate. Pilate, calling togeth­ vocatis principibus sacerdotum, dix­ er the chief priests, said to them: it ad illos: ecce nihil dignum morte "Behold, nothing deserving of death actum est ei. Emendatum ergo ilium has been committed by him. I will dimittam . . . Tolle hunc et dimitte chastise him and release him." nobis Barabbam . . . Iterum autem "Away with this man, and release Pilatus locutus est ad eos volens unto us Barrabas." And Pilate again dimittere lesum. At illi succlamabant spoke to them, ready to release dicentes: Crucifige, crucifige ilium Jesus. But they cried again, saying: . . . Quid enim mali fecit iste? Nul- "Crucify, crucify him." "Why? What lam causam mortis invenio in eo. evil has this man done? I find no cause for death in him."

PART II t In pulverem mortis deduxisti me. Et Thou has brought me down into the baiulans sibi crucem exivit in eum, dust of death. qui dicitur Calvariae, locum, He- And bearing His own cross, He went braice autem Golgotha. forth to the place which is called Calvary, but in Hebrew, Golgotha. f Popule meus, quid feci tibi? Aut in My people, what have I done to quo contristavi te? Responde mihi. thee? Or in what have I grieved Quia eduxi te de terra Aegypti: par- thee? Answer me. Because I have asti Crucem Salvatori tuo. led thee out of the land of Egypt, Hagios o Theos. thou has prepared a cross for thy Sanctus Deus. Saviour. Hagios ischyros. O Holy God. Sanctis fortis. Holy and mighty God. Hagios athanatos, eleison himas. Holy and immortal God. Sanctus immortalis, miserere nobis. Have mercy upon us. t Ibi cruxiferunt eum et latrones, u- And they crucified Him there, and num a dextris et alterum a sinistris. the thieves, one on the right, and the other on the left. t Crux fidelis, inter omnes arbor una O faithful cross, one and only nobilis: nulla silva talem profert, noble tree above all others: no for­ fronde, flore, germine. Dulce lig­ est offers such boughs, such blos­ num, dulces clavos, dulce pondus soms, or such seeds. Sweet wood, sustainet. Ecce lignum Crucis, in sweet nails, that bear such a sweet quo salus mundi pependit. weight. Behold the wood of the cross on which hangs the salvation of the world. t lesus autem dicebat: Pater, dimitte Jesus said then: "Father, forgive illis; non enim sciunt, quid faciunt: them, for they know not what they Dividentes vero vestimenta eius mi- do." And parting his garments, they serunt sortes. cast lots. t In pulverem mortis deduxisti me. Thou has brought me down into the Fonderunt manus meas et pedes dust of death. They have pierced meos. Dinumeraverunt omnia ossa my hands and feet, and made all mea, ipsi vero consideraverunt et my bones to be counted. They have inspexerunt me. Diviserunt sibi ves­ in truth looked upon and examined timenta mea et super vestem meam me. They divided my garments miserunt sortem. Te autem, Domi- among them, and cast lots upon my ne, ne elongaveris auxilium Tuum clothes. But Thou, O Lord, keep not a me; ad defensionem meam con- Thy help from me, and look to my spice. defense. t Et stabat populus spectans, et de- And the people stood watching and ridebant eum principes cum eis di- the chiefs with them derided Him, centes: Alios salvos fecit, se salvum saying: "He saved others, let him faciat, si hie est Christus Dei electus. save himself if he be Christ, the Illudebant autem ei et milites acce- elect of God." And the soldiers also dentes et acetum offerentes ei et mocked him, coming to Him and dicentes: Si tu es rex ludaeorum, offering Him vinegar and saying: salvum te fac. "If Thou be the king of the Jews, save thyself." t Unus autem de his qui pendebant And one of the thieves who were latronibus, blaspbemabat eum di- crucified with Him, blasphemed cens: Si tu es Christus, salvum fac Him, saying: "If thou be Christ, save temetipsum et nos. Respondens au­ thyself and us." But the other thief, tem alter increpabat eum dicens: answering him rebuked him, say­ Neque tu times Deum, quod in ea- ing: "Do you not fear God, even dem damnatione es. Et nos quidem being damned as you are? We are iuste, nam digna factis recipimus; condemned justly, and are receiv­ hie vero nihil mali gessit . . . Domi- ing the due reward of our deeds. ne, memento mei, cum veneris in But this man hath done no evil. regnum Tuum . . . Amen dico tibi: Lord, remember me when Thou Hodie mecum eris in paradiso. shalt come into Thy kingdom." "Amen, I say to thee. This day thou shalt be with me in paradise." t Stabant autem iuxta crucem lesu Now there stood by the cross of mater eius et soror matris eius Ma­ Jesus His mother, and His mother's ria Cleophae et Maria Magdalene. sister, Mary Cleophas, and Mary Cum vidisset ergo lesus matrem et Magdalene. When Jesus therefore discipulum stantem, quern dilige- had seen His mother and the disci­ bat, dicit matri suae: Mulier, ecce ple, whom He loved, He said to filius tuus. Deinde dicit discipulo: His mother: "Woman, behold thy Ecce mater tua. son." After that, he said to the dis­ ciple: "Behold thy mother." f Stabat Mater dolorosa The grieving Mother stood Iuxta Crucem lacrimosa, in tears by the cross Dum pendebat Filius. on which her son was hanging. Quis est homo, qui non fleret Who is the man who would not Matrem Christi si videret weep to see the Mother of Christ in In tanto supplicio? such anguish? Eia, Mater, tons amoris, Mother, source of love, Me sentire vim doloris Make me feel the force of your grief Fac, ut tecum lugeam. so that I may mourn with you. Fac, ut ardeat cor meum Make my heart burn with the love In amando Christum Deum, of Christ the Lord, Ut sibi complaceam. so that I may feel as one with you. Christe, cum sit hinc exire Christ, when it comes to pass that Da per Matrem me venire I depart this world, let me through Ad palmam victoriae. Thy Mother receive the palm of vic­ Quando corpus morietur, tory. When my body shall be dying, Fac, ut anumae donetur cause my spirit to be given the Paradisi gloria. glory of paradise. t Erat autem fere hora sexta, et tene- And it was almost the sixth hour, brae factae sunt in universam terram and there was darkness over all the usque in horam nonam. Et obscura- earth until the ninth hour, and the tus est sol, et velum templi scissum sun was darkened, and the veil of est medium. Et damans voce magna the temple was rent in half. And lesu ait: Pater, in manus Tuas com- crying in a loud voice, Jesus said: mendo spiritum meum. Et haec di- "Father, into Thy hands I commend cens expiravit. my spirit." And thus saying, He ex­ pired. t Consummatum est. It is finished. 10AAI I Exc'us»ve triple-motored drive system • 3 precision heads • All-pushbutton controls, A- I&UUU automatic shutoff • Unique ADD recording and stereo echo for special sound effects. Play it by ear. You'll like what you hear. And no wonder: The A-1200U is our standard four-track model, with all the famous TEAC craftmanship at an ear-boggling low cost. It's a hard-working, high-sounding, no-nonsense machine. Sure, we can say we've left the luxuries out — and the quality in. But hearing is believing.

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9 JS® B t In te, Donnine, speravi non confun- In Thee, O Lord, do I put my trust; dar in aeternum: in iustitia tua li­ never let me be ashamed. Deliver bera me. Inclina ad me aurem tuam, me in Thy justice. Bow down thine accelera ut eruas me, esto mihi in ear to me, deliver me speedily; be Deum protectorem et in domum Thou my strong rock, for an house refugii, ut salvum me facias. of defense to save me. t In manus tuas commendo spiritum Into Thy hands I commend my spir­ meum: redemisti me, Domine Deus it. Thou has redeemed me, O Lord veritatis. God of truth.

BETHANY BEARDSLEE was born in cially for her to perform. Miss Lansing, Michigan, and after com­ Beardslee, who sang the U.S. pre­ pleting her undergraduate work in miere of Penderecki's St. Luke Pas­ music at Michigan State University, sion in Minneapolis, is appearing for spent three years at the Juilliard the first time in Atlanta. School of Music in New York. Miss Beardslee's reputation as one of our ANDRZEJ HIOLSKI, a graduate of country's leading recitalists and ora­ the Conservatory of Lwow in Po­ torio singers was newly enhanced land, is the leading baritone of the last month by her highly successful Warsaw Theatre of Opera and Bal­ recital in New York's Tully Hall, let. He has toured extensively with part of the new Julliard School of that company and as soloist with Music complex in Lincoln Center. the Warsaw National Philharmonic The New York Times, as it has be­ Orchestra. In 1954, Mr. Hioski was fore, hailed Miss Beardslee's pro­ awarded first prize at the Interna­ gram as both a vocal and artistic tional Song Competition in Toulou­ triumph. The singer has made a se, France. Since 1957, he has been specialty of contemporary music, much in demand for recitals, or­ having worked personally with and chestral concerts and operatic per­ sung first performances of works by formances in Great Britain, France, many of the leading contemporary Denmark, Sweden, Belgium, the composers. She was the first to per­ Netherlands, Finland, Italy, Yougo- form Stravinsky's Threni, for exam­ slavia, East and West Germany, the ple, under the master's direction. Soviet Union, China, Czechoslova­ Miss Beardslee's latest recording, a kia, Roumania and Israel. Mr. Hiol- work written for her by Milton Bab­ ski sang the part of Christ at the bitt, will be released this spring. As world premiere of Penderecki's St. a recipient of a Ford Foundation Luke Passion at Munster Cathedral, grant for concert soloists, she her­ and since then has appeared in most self has commissioned new works performances of the work, includ­ to add to her repertory. Many other ing one of the two existing record­ works have been composed espe­ ings. ARA BERBERIAN has sung leading PETER HARROWER, a native Atlan- roles in more than seventy-five op­ tan, graduated from Georgia Tech and then decided to opt for music eras with the San Francisco Opera, instead of an engineering career. New York City Opera, New Orleans Following music study in this coun­ Opera and other companies across try and in Europe, Mr. Harrower's busy schedule as a professional the country. Born in Detroit, the singer has taken him from the opera American basso's vast oratorio rep­ houses of Rome and Vienna, to ertory has made him a favorite of those of Chicago, San Francisco, the leading orchestras in the U.S. Baltimore, Houston, Cincinnati and Sante Fe. In oratorio and solo reci­ and Canada, and his frequent ap­ tal, Mr. Harrower is as much at pearances at Lincoln Center's Phil­ home as he is on the operatic stage. harmonic Hall in New York have He has appeared as soloist with the made him a veritable resident per­ Philadelphia, Cleveland and Chica­ go symphony orchestras, among former there each season. Mr. Ber- others. His many engagements this berian has performed with more season have included a solo ap­ than forty-five American symphony pearance with the Toronto Syrrn orchestras, on both NBC and CBS phony, as well as an earlier appear­ television, as well as on the Na­ ance with the Atlanta Symphony Orchestra last fall. Later this Spring, tional Educational Television net­ he will appear under Robert Shaw's work. He has recorded for both direction at the Cincinnati May Mu­ RCA Victor and Columbia records. sic Festival. Mr. Berberian was bass soloist in When he is not fulfilling sing­ ing engagements, Mr. Harrower the Atlanta Symphony Orchestra's teaches at Georgia State University presentation of Bach's B Minor Mass here in Atlanta, where he is artist- last December. in-residence. "Che atlanta JSOJJ Choir, Inc.

FLETCHER WOLFE K. EUGENE MARTIN Conductor and Musical Director Assistant Director, Solfeggio JEANETTE ROBINSON BOBBE WOLFE Assistant Musical Director Assistant Director, Design

Lang Allen Jamie Hulsey Allan Anderson Ernest Jackson Larry Angel Michael Kehs Steve Angel Pat Kehs Baynes Bank Stephen Klamon Mike Barr Mark Lawrence Vincent Bentley Jeff May Keith Bugg Tommy Patterson Wallace Cardwell Maxwell Payne Vasili Carperos Sterling Post Jim Crane Dewell Reese Danny Craft Jay Rhodes Joel Craft Rick Richardson Greg Davis David Rosebush Dale Dreyfoos Jonathan Sangster Ronnie Duncan Dwayne Shattuck Edward Ferguson Joe Slife Bruce Griffin Chuck Taylor Eddie Harris Greg Thackston David Harris John Tyndall Scott Hill Russell Waldon Jeff Hodgson Clay Watson David Hoenig Tony White

Ito Chamber Choir

SOPRANO: ALTO: Englebright, Virginia Drumright, Nancy Gravis, Linda Kay Kunkle, Mary Logan, Catherine Lapp, Frances Polidoro, Keren Mackey, Clara Streety, Ethel Purvis, Jennie White, Sally Rideout, Sarah Senter, Lester TENOR: BASS: Andress, Will Boyles, James Coleman, David Britt, Walter Henne, David Hill, Marshall Hermetz, Robert Igney, Phillip Herrington, Albert Robertson, Edward Hopkins, James Walker, Charles •Che lilniuersitg fingers

SOPRANO: ALTO:

Allen, Patti Berky, Jo Brown, Bonnie Sue Alvarez, Cathy Calvert, Marilyn Beason, Amanda Chasin, Beth Froelich, Susan Dardar, Diane Hagerman, Cindy Day, Sally Hatfield, Annie Dezavala, Ann James, Joneen Foster, Nancy Jammes, Martie Harris, Deborah Kitterman Susan Knawss, Parry Leatherman, Karen Lindstrom, Joanne Melton, Debbie O'Neal, Mindy Metzger, Janet Padgett, Becky Meyer, Debbie Radomski, Diane Ragosta, Christine Morris, Susan Rankin, Carol Samford, Diane Sullivan, Becky Simmons, Linda Weathered, Cindy Stanley, Cheryl Webb, Linda Thornton, Barbara Womble, Jeanna Zschau, Julie TENOR: BASS: Bayless, Steve Apgar, James Burton, Steve Arbuckle, Ernie Caubin, Tedford Carbia, Joe Clark, Terry Compher, Bill Doolin, Chris Fields, Randy Fair, Rick Foster, Bill Hermetz, Robert Graming, Gary Hinton, Archie James, Lyndon Johnson, David King, Larry Mauldin, George Jones, Larry Montgomery, Robert Lee, Bob Mullen, Thomas Lund, Robbie Padgett, Jerry Mclntyre, Kris Pardo, Dan Osborne, Kent Reese, David Rex, Charles Rives, David Robinson, Charles Waddell, Robert Stewart, Brad Walper, Frank Westrip, Charles White, Lewis Young, Michael Yatsuk, Robert ?J he Women s Association is a full-time partner in the life of the Atlanta Symphony Orchestra.

^ou are invited to join this Corps of

Enthusiastic \^olunteers and to share inir the pleasure and excitement of its work.

The Women's Association offers a wide range of opportunities to work in support of the Orchestra — in small informal groups, in large groups, independently.

There s an activity for every member, compatible with her time and interest from tour-guiding to ticket-sales, from creative arts to parties for guest artists.

Membership in the Women's Association also entitles you to:

• Membership meetings with programs and social hours

• Subscription to the Women's Association Bulletin and calendar of events

• Invitations to pre-concert lectures by distinquished speakers

• Admission to the Orchestra's open rehearsals for a glimpse behind-the-scenes

• Invitations to parties in the Members' Room and to Special Events throughout the year

• The Women's Association yearbook and card of Membership

By their personal involvement in the continued growth of the At­ lanta Symphony Orchestra, members of the Women's Association be­ come a very real part of a vital community action, adding an enriching dimension to life for themselves and others.

Won't you join us?

Name

Address

Zip Phone No. Mail this coupon to Membership Chairman, Women's Association, At­ lanta Symphony Orchestra, 1280 Peachtree Street, N.E. Atlanta, Ga. 30309 ATLANTA SYMPHONY

Robert Shaw, Music Director / William L. Denton, General Manager vylxV^rlLJ I l\/\

SYMPHONY HALL, ATLANTA MEMORIAL ARTS CENTER / PEACHTREE AT 15th STREET / ATLANTA, GEORGIA 30309 / phone (404) 892-3600

Dear Friends of the Atlanta Symphony:

On February 6, 1970, Robert Shaw, Amyas Ames, President of the New Tork Philharmonic Orchestra and Izler Solomon, Music Director of the Indianapolis Orchestra testified before the House Select Committee on Education. Thus congressional appearance was to support President Nixon's request for a 100$ increase in the funds the Federal Government is presently spending in support of the Arts. The purpose of this letter is to ask that you add your voice to Robert Shaw's in support of this vital legislation.

In asking Congress to approve 1:0 million dollars in new funds, President Nixon pointed out: "At a time of severe budget stringency, a doubling of the appropriation for the arts and humanities might seem extravagent. How­ ever, I believe that the need for a new impetus to the understanding and expression of the American idea has a compelling claim on our resources. The dollar amounts involved are comparatively small. The Federal role would re­ main supportive, rather than primary.

The arts have attained a prominence in our life as a nation and in our con­ sciousness as individuals, that renders that health and growth vital to our national well-being. America has moved to the forefront as a place of creative expression. The excellence of the American product in the arts has won worldwide recognition. The arts have the rare capacity to help heal divisions among our own people and to vault some of the barriers that divide the world."

A list of the members of the Georgia delegation in Congress is attached to this letter. Seme of the most powerful and influential men in the Congress represent our state and you would be doing the arts a signal service by writing the members of Congress to add your support in this most important endeavor.

Sen. Richard B. Russell Hon. Philip M. Landrum Sen. Herman E. Talmadge Hon. Maston E. O'Neal, Jr. Senate Office Building Hon. Robert G. Stephens Washington, D. C. 205>10 Hon. W. S. Stuckey, Jr. Hon. FLetcher Thompson Hon. Ben B. Blackburn Hon. Jack T. Brinklqy House Office Building Hon. John W. Davis Washington, D. C. 20025 Hon. John J. Flynt, Jr. Hon. G. Elliott Hagan A NEW

DIMENSION

OF THE

ATLANTA ARTS ALLIANCE

Listen to THE ARTS ALLIANCE ON THE AIR, Monday through Friday night, on WGKA-FM (92.9) from 8:30-10:00 P.M. Hear music previews, interviews and reports of the activities at the Memorial Arts Center.

(please clip and mail)

IT TAKES MORE THAN APPLAUSE . . . You are cordially invited to join the music lovers who are shareholders in building an ever greater ATLANTA SYMPHONY ORCHESTRA

Miss, Mrs. or Mr

Street

City & State zip Phone Categories: Patron $1,000 and over; Donor $500 to $999; Sponsor $250 to $499; Sustaining $100 to $249; Supporting $50 to $99; Contributing $25 to $49; Single $10 to $24; Friend, under $10. Please make check payable to: Atlanta Symphony Orchestra Maintenance Fund and mail to: 1280 Peachtree Street, Atlanta, Georgia 30309 Contributions to the Atlanta Symphony are tax deductible ATLANTA CELLOS FRENCH HORNS SYMPHONY Donovan Schumacher John Henigbaum ORCHESTRA Principal Principal Edmond Basson Elwood White Assistant Principal ROBERT SHAW Jeanne Andrus Jere Flint Music Director Brice Andrus Bruce Klingbeil Christopher Scheufler and Conductor Kay Gardner Bonita Potts Michael Palmer TRUMPETS Assistant Conductor Martha Bishop Susan Reim John Head Principal FIRST VIOLINS Marilyn Schimpf Martin Sauser Eleanor Hodges Joseph Walthall Concertmaster Cecil Welch Robert Harrison BASSES TROMBONES Associate Raymond Wood Concertmaster Jane Little Richard Hansbery Co-Principals Willard Shull Principal Assistant John ZugeJ Harry Maddox Concertmaster Dale Schmidt Donald Wells Randolph Ujcich Jacqueline Anderson Richard Cohen Shalom Ben-Uri BASS TROMBONE Michael Kenady David Arenz Janice Fritz Donald Wells Frank Walton William Rusconi FLUTES TUBA Benjamin Picone Michael Moore Robert Brown Warren Little Principal Martha Reaves TIMPANI Mary McQuilkin Ernestine Whitman Benson Prichard Eugene Rehm Susan Pitard Principal Frances Henrickson Oscar Pereira PICCOLO Jack Bell Harry Robkin Benson Prichard Assistant Principal

SECOND VIOLINS OBOES PERCUSSION John Adams Joseph Robinson Jack Bell Principal Principal Principal Dennis Cleveland Jean Kavanagh William Wilder Anita Cahoon Ronda Respess ENGLISH HORN HARP Deanna Sklar Patrick McFarland Judy Beattie Kathleen Byrd Karen Stovall CLARINETS KEYBOARD Edward Scruggs Alan Baiter Michael Palmer Mary Lupton Principal Leslie Clark Norman Baker Max Langley LIBRARIAN Associate Principal Nancy Charkey Stephen Horvath Richard Robinson Robert Wingert Anne Baker ASSISTANT LIBRARIAN Stephen Horvath BASS CLARINET Frank Walton Douglas Smith VIOLAS PERSONNEL MANAGER Robert Jones E-FLAT CLARINET Martin Sauser Principal Norman Baker Mark Childs STAGE MANAGER Assistant Principal BASSOONS Jack Elrod Robert Parcells Russell Bedford Principal Enid Jones MASTER ELECTRICIAN Haskell Marrinson Daniel Dowdakin Ardath Cohen Assistant Principal Bob Spradlin Romaigne Adams Lynette Diers Edward Buchanan James Jackson Robert Bullock ludy Gienow CONTRA-BASSOON Teresa Parcells James Jackson