PHILHARMONIC HALL LINCOLN CENTER F O R T H E PERFORMING ARTS 1968-1969 MARQUEE The Chamber Music Society of Lincoln Center is Formed A new PERFORMiNG-arts institution, The Chamber Music Society of Lincoln Center, will begin its first season of con­ certs next October with a subscription season of 16 concerts in eight pairs, run­ ning through early April. The estab­ lishment of a chamber music society completes the full spectrum of perform­ ing arts that was fundamental to the original concept of Lincoln Center. The Chamber Music Society of Lin­ coln Center will have as its home the Center’s new Alice Tully Hall. This intimate hall, though located within the new Juilliard building, will be managed by Lincoln Center as an independent Wadsworth Carmirelli Treger public auditorium, with its own entrance and box office on Broadway between 65th and 66th Streets. The hall, with its 1,100 capacity and paneled basswood walls, has been specifically designed for chamber music and recitals. The initial Board of Directors of the New Chamber Music Society will com­ prise Miss Alice Tully, Chairman; Frank E. Taplin, President; Edward R. Ward­ well, Vice-President; David Rockefeller, Jr., Treasurer; Sampson R. Field, Sec­ retary; Mrs. George A. Carden; Dr. Peter Goldmark; Mrs. William Rosen- wald and Dr. William Schuman. The Chamber Music Society is being organ­ ized on a non-profit basis and, like other cultural institutions, depends upon voluntary contributions for its existence. Charles Wadsworth has been ap­ pointed Artistic Director of The Cham­ ber Music Society of Lincoln Center. The Society is the outgrowth of an in­ tensive survey of the chamber music field and the New York chamber music audience, conducted by Mr. Wadsworth on behalf of Lincoln Center over the past three years. Not since the New Friends of Music went out of existence in the mid-Fifties has there been a broad, across-the-board activity to which one might become habituated as a sub­ scriber. continued on page 31 Amer de Peyer Goode Cover photo by Sandor Acs 1969 by Saturday Review, Inc. All rights reserved. Reproduction in whole or in part of any article without permission is prohibited. Printed in the United States of America. The Philharmonic Hall Program, published by Saturday Review, Inc.. 380 Madison Avenue, New York 17,N.Y. Staff for the Philharmonic Hall Program: W. D. Patterson, Publisher; Richard L. Tobin, Associate Publisher; Irving Kolodin, Editorial Director; Norman Cousins, Chairman of the Editorial Board; Robert Jacobson, Managing Editor: Irving Spellens, Art Director; Joseph Gasparino, Production Manager; Herbert J. Teison, Advertising Director. I LINCOLN CENTER FOR THE I I PERFORMING ARTS, INC. I I BOARD OF DIRECTORS I John D. Rockefeller 3rd I CHAIRMAN Charles M. Spofford Devereux C. Josephs VICE-CHAIRMEN I Amyas Ames I CHAIRMAN, EXECUTIVE COMMITTEE I I Gustave L. Levy I TREASURER I Hoyt Ammidon Goddard Lieberson Francis J. Bloustein William F. May Robert E. Blum Rev. L. J. McGinley, S.J. I Gilbert W. Chapman George S. Moore I Richard M. Clurman Frank Stanton John W. Drye, Jr. George D. Stoddard Lauder Greenway Harry Van Arsdale, Jr. Harry Helmsley Lawrence A. Wien Robert L. Hoguet George D. Woods I David M. Keiser Edgar B. Young I EX-OFFICIO Honorable John V. Lindsay, Mayor of New York I Honorable August Heckscher, Commissioner of Parks William Schuman PRESIDENT EMERITUS I Clarence Francis Mrs. Lytle Hull Robert Moses DIRECTORS EMERITUS ADMINISTRATION John W. Mazzola, Executive Vice-President and General Manager Henry E. Bessire, Vice-President, Development I Mark Schubart, Vice-President, Education I Robert P. Brannigan, Director for Productions Carl Cannon, Director, Visitors Services I Joseph Gorman, Jr., Controller George H. Henderson, Secretary and Counsel I Thomas R. Mathews, Director, Editorial Services After dinner, I John O’Keefe, Director, Public Information THE LINCOLN CENTER FUND light up a BOARD OF TRUSTEES Hoyt Ammidon CHAIRMAN I R. Manning Brown, Jr. George G. Montgomery, Jr. Mrs. Robert L. Hoguet Crocker Nevin Howard B. Johnson William M. Rees Garrard I Devereux C. Josephs Andrew Y. Rogers Edwin S. Marks George Weissman When your mood calls for the deep William F. May Lawrence A. Wien satisfaction that only music, per­ LINCOLN CENTER COUNCIL fectly performed, can provide, it’s George Balanchine, New York City Ballet time to relax with Garrard's great Rudolf Bing, Metropolitan Opera Association SL 95 Automatic Turntable. Enjoy the Edward G. Freehafer, The New York Public Library utmost in reproduction quality; per­ Jules Irving, The Repertory Theater of Lincoln Center fect tracking;cueing and anti-skating John W. Mazzola, Lincoln Center Peter Mennin, The Juilliard School controls; trouble-free performance; Carlos Moseley, New York Philharmonic and safety for your records, both in Richard Rodgers, The Music Theater of Lincoln Center manual and automatic play. The Julius Rudel, New York City Opera unfailing accuracy of synchronous Mark Schubart, Lincoln Center speed assures that the music you Norman Singer, City Center of Music and Drama, Inc. hear is always on pitch as recorded. LINCOLN CENTER COUNCIL The SL 95 is priced at $129.50, | ON EDUCATION PROGRAMS less base and cartridge. It is shown | Mark Schubart, Lincoln Center on the Garrard Power-Matic Base, j CHAIRMAN $15.95, which automatically shuts off | Philip Hart, The Juilliard School the entire music system when the | John Gutman, Metropolitan Opera last record is played. Seven other | Mrs. George A. Carden, New York Philharmonic fine Garrard models, from $37.50. I Mrs. Norman Lassalle, City Center of Music and Drama, Inc. ■ Mrs. Jean Godfrey, T/ie New York Public Library For complimentary literature, ! Alan Mandell, The Repertory Theater of Lincoln Center write Garrard/Westbury, N.Y. 11590. j Ronald Bruguiere, The Music Theater of Lincoln Center British Industries Co., a division of Avnet. Inc. Vital facts about the Hall With several rows of seats re­ moved and the elevators depressed, an orchestra pit can be provided. The stage is also equipped with a center-stage elevator to facilitate the delivery and removal of a concert grand piano when it is required. Capacity 2,836 Stage dimensions 61 feet wide Orchestra 1,502 40 feet deep Loge 406 With additional 1st Terrace 480 elevator space 2nd Terrace 448 48 or 56 feet deep Max Abramovitz, Architect STAFF FOR PHILHARMONIC HALL Patrick B. McGinnis Manager Louise Homer Booking Director Robert L. Turner Assistant Manager Delmar D. Hendricks House Manager Charles Whiteman Box Office Treasurer Charles Peck Assistant Box Office Treasurer Gigot d’agneau George Cree Assistant House Manager Tickets for performances at Philhar­ monic Hall, the New York State Thea­ ONLY at Lord & Taylgr, ter and the Vivian Beaumont Theater this sleek, doubleknit may be purchased at six off-location box offices: at Bloomingdale’s, 59th white wool, signed by Street and Lexington Avenue in Man­ hattan, and at the branch in North VALENTINO: our own Hackensack, New Jersey; and at Abra­ ¡superlative copy of ham & Straus stores located in Brook­ lyn, Huntington, Hempstead and Man­ Silver the original we chose hasset. in Rome. 125.00 Associations for the Contessa collections, advancement of dining The Steinway is the official piano of pleasure. in Contempora, Third Philharmonic Hall Rosenthal Studio-Haus in FIRE NOTICE. The exit indicated by a New York at 584 Fifth Ave. red light and sign nearest to the seat you Telephone 757 6164 occupy is the shortest route to the street. In the event of fire or other emergency please do not run—WALK TO THAT EXIT. Frank Lloyd Wright’s Last Monument At first impact, standing there in the course, is Grady Gammage Auditorium, and enlisted the assistance of the in­ flatlands of this section's Arizona State which celebrated its fifth anniversary of comparably vigorous and mentally com­ University, it looks slightly monstrous use on March 8 and perhaps the last petent nonagenarian, Wright. with its towering circular constructions, monument to the architectural genius of Once embarked on a free tour of the upper rows of slender pillars supporting the incomparable Frank Lloyd Wright. building (guided every half hour, in­ a pavilion-like roof and cut-away stone Oddly enough, it is one with a num­ cluding Sundays, by an alert young stu­ semicircles suggesting draperies. And the ber of similarly magnificent structures dent expert), the inspired vision of sloping ramps with their oversized globes around the world in being a masterpiece Wright begins to glow and to grow. A for illumination have a suggestion of whose creator saw it only in his mental few steps up a ramp and into a side some kook’s idea of how to jazz up a vision. Wright died at the patriarchal entrance from the handsome lobby, one simple, if immense, construction. age of 90 just a decade ago; and so did is at Row 22 of a vast semicircular Once inside the structure and in a Grady Gammage (at a much younger sweep of the auditorium seating over position to judge the logic of form and life term), president of this University 3,000. What this means, really, is that function which dominates its design, the for 27 years. It was he who had the much of the capacity has been dug out monstrous gives way to the memorable vision of a magnificent auditorium for of the earth rather than constructed and the kookie to the clear-eyed solution the performing arts in this less-than-well- above it. Anyone who has been to of a far-from-simple problem. “It,” of favored area of Arizona (culturally) Richard Wagner’s theater at Bayreuth Ground plan of the structure, with public areas at the right, facilities for classroom work at the left.