THUNDERSTORM

... Then shall emerge Fair stalks, fair leaves, fair flowers, And they shall ripen. Song from the Rainmaking Ceremony.

THE TUCSON COMMUNITY SYMPHONY continued from page fifteen

He done his noble part. It was possible to raise more money. The following spring the Symphony Society undertook a drive to raise $10,000 for a $15,000 budget. In June, 1952, they signed an agreement with the union. They had fulfilled its last requirement: at the April meeting the Tucson Symphony Society accepted the recommendation of a special committee, whose ramrod was Dean Crowder, and became the employers of a full-time conductor, Hungarian-born Frederic Balazs (rhymes with goulash). It was a happy choice and a happy tribute to a gallant group whose greatest asset might well be their unfailing ability to rally, to put Symphony above self.

Frederic Balazs was the musical director of the Wichita Falls, Texas, Symphony and teaching music at Midwestern University when the call came. In the eight years he has led the Tucson Symphony the improvement has been so great that, as one member puts it, "It is impossible to put it into words." Fred Balazs is a softspoken, youthful-appearing (he is 42) violinist and conductor, an honor graduate of the Budapest Royal Academy of Music, a veteran of four years in the U.S. Field Artillery, a registered Democrat. Accepting the challenge of organizing a community orchestra from scratch in Wichita Falls, one of his rewards was his marriage to the beautiful Ann Goodwin, a pianist. They have four children.

Among his other credits he lists having been a guest conductor of the Lewisohn Stadium Symphony in New York City; the Grant Park Symphony, Chicago; the Oklahoma City Symphony and ensembles of the Los Angeles and Dallas Symphonies; beyond the borders of the United States he has conducted in Canada, Norway and Sweden, Italy, Germany and most recently at the Palacio de Bellas Artes in Mexico City.

Frederic Balazs, who is a 1959 Arizona Federation of Music Clubs Award of Merit winner, is obviously a man of many talents. Respected by his fellow professionals as a musician of extraordinary talent and sensitivity, his patience and sympathy makes his touch with beginners and amateurs as one of magic (whenever he works with the Junior Symphony the kids love it). Few will forget one of the early Balazs concerts when he brought the orchestra to a complete halt and then quietly, without reproof, started them all over again.

"They are fortunate to have a conductor such as yourself," Leopold Stokowski wrote him, "because you are a born musician."

As a born musician, he is a self-made punster. Punning in a foreign language he is sometimes unconsciously led astray. In Oklahoma City he once announced a Christmas carol as, "Oh, Come You All Faithful." One of the most ingenuous and charming persons on the Tucson scene, he is not a man to underestimate himself and once wrote if he weren't a musician he would very probably be president of General Electric, a statement that is not easy to prove or disprove. Punctuality is not his strong suit. Appointments often escape his memory altogether. Quipped guest artist Paul Whiteman who was once left to wait with the rest, "Why doesn't somebody buy him a watch?" A local businessman, who had been waiting for a week for Balazs to keep an important appointment, when told that Balazs was leaving the next day for Europe, commented drily, "He'll never make it."

Goal directed, Fred Balazs doesn't like criticism. His spirited rejoinder to the charge of unpunctuality was once written, "However, he [referring to himself] never missed being on time for rehearsals, concerts, professional engagements; for social engagements, perhaps, since time is always spent with last minute instructions, arrangement-makings, telephone calls, etc., all in line with what he considers a 'spiritual duty.' He considers social amenities 'ornaments' only to the real thing, and not vice-versa."

Frederic Balazs is a composer himself and devoted to contemporary music; he tries to include some of it in every concert. ("They are not afraid anymore of what

ARIZONA its people and resources University of Creates Books

Arizona: Its People and Resources proves how correct was McCormick's vision of the future. For the story that unfolds in this book is of accomplishments in less than one hundred years far greater than even McCormick dreamed were possible. Published in November, 1960, by the University of Arizona Press, this 400-page volume provides a delightful, highly readable look at Arizona's past, present, and future. Written in sprightly, nontechnical fashion by men and women who are experts in their fields, the articles in Arizona: Its People and Resources provide authoritative information on virtually every facet of the state. The book was edited by Jack L. Cross, Elizabeth Shaw and Kathleen Scheifele-all on the staff of the University Press. Taking the writings of the seventy-eight contributors, they have combined the essays into a smoothly flowing narrative which is divided into five major sections of history, resources, government, economy, and culture. The text is complemented by black and white reproductions of photographs and paintings, as well as maps, charts, a statistical appendix and aselected bibliography of writings on Arizona. A large share of the credit for the handsome design and organization of Arizona: Its People and Resources must be given to the staff of the Department of Publicationsthe department which is responsible for all publications which carry the imprint of the University of Arizona Press.

Arizona Press of Major Interest

This staff is unusual for the diversity of experience which its members possess. Editor and head Jack L. Cross, a man of boundless enthusiasm, is a historian with a Ph.D. from the University of Chicago who has written and edited numerous publications. After five years with the Central Intelligence Agency he was on the faculty of Wisconsin State College and Texas Western College at El Paso. Cross moved to Tucson and took over the editorship of the Press in June of 1960.

The other members of the staff possess equally varied backgrounds. Associate Editor Elizabeth Shaw is a former reporter and editor for the Tucson Daily Citizen and the Arizona Daily Star, and has done extensive freelance writing, editing, and publicity work. AssistantEditor Kathleen Scheifele, trained in both anthropology and history, has served as Assistant Curator of the Heard Museum, Phoenix, managed the reservations office of a resort hotel, and also has experience in writing and advertising. Production and Design Assistant Douglas Peck, a skilled artist who is happiest when he is designing a new publication, is a former editor of Hughesnews, has worked for several major publishing houses in New York, and was at one time Director of Publications for the American Petroleum Institute.

Like many university presses, the University of Arizona Press has no printing-plant facilities, nor does it intend to acquire any. Contracts for typography (type-setting), printing, and binding are let on a bid basis after the volume has been designed by the Press staff. Most of the books are printed in Arizona. The graphic arts business has grown enormously in recent years and the Press is pleased with the high quality of work produced by Arizona printing establishments. Although the University has issued numerous publications in the seventy-six years of its existence, the University of Arizona Press is only three years old. It is, however, quickly establishing itself among the university presses of the nation. Volumes published during the first two years include the revised version of Will C. Barnes' Arizona Place Names, edited by Byrd C. Granger; A Pima Remembers, by George Webb; Douglas D. Martin's The Lamp in the Desert, the history of the University of Arizona; and four numbers in a monograph series, Anthropological Papers. These include "Excavations at Nantack Village," by David A. Breternitz; "Yaqui Myths and Legends," by Ruth Warner Giddings; Roger C. Owen's "Marobavi: A Study of an Assimilated Group in Northern Sonora"; and "A Survey of Indian AssimiIn the third year several noteworthy publications were issued, their diversity indicative of the widespread interests of the University community and of the Press. In the fall of 1960 the Press issued Trio in a Mirror, a collection of poems by prize-winning poetess Dorothy Donnelly of Michigan, and The Recent Mammals of Arizona: Their Taxonomy and Distribution, by E. Lendell Cockrum, Professor of Zoology at the University. This definitive index provides a synopsis of species and sub-species covering the entire state, and includes 112 maps showing distributions.

In the spring of 1961 came an important volume in the field of art criticism, R. M. Quinn's Fernando Gallego and the Retablo of Ciudad Rodrigo. The retablo-or altar-piece-was painted for the Cathedral of Ciudad Rodrigo and is considered to be the climactic work by Gallego, the finest painter of the Hispano-Flemish period of Renaissance Spain. The surviving panels of the retablo, which were severely damaged during red during the Peninsular wars, were finally acquired by the Samuel H. Kress Foundation of New York and presented to the University of Arizona in 1960. In this book, Dr. Quinn, Associate Professor of Art, undertakes a critical appraisal of the masterpiece and the school of which it is so important an example. Included are twenty-six full page duotone reproductions of the panels, and one four-color plate. Published in September was Philosophical Theory and Psychological Fact: An Attempt at Synthesis, in which Charles F. Wallraff, head of the Department of Philosophy at the University, attempts to lessen the breach between epistemology and the psychology of cognition. Also issued in September was The Traditional Chinese State in Ming Times, an interpretative essay by Charles O. Hucker, head of the Oriental Studies program at Michigan State University-Oakland. Forthcoming shortly are two other contributions to Far Eastern studies. Japanese Character and Culture is a volume of selected readings edited and amplified by Bernard S. Silberman, Associate Professor of Oriental Studies at the University. The Far Eastern Studies Reference Guide, an exhaustive bibliogIn September there also appeared What Is Geology? This is the first in a new popular series on geology written in nontechnical language by faculty members of the University's Department of Geology. Other titles planned include Rocks of Arizona, Volcanoes of Arizona, and Prehistoric Animals of Arizona.

The story of the growth of the University of Arizona Press is necessarily the story of the growth of the University, but the Press does not confine itself exclusively to Arizona authors. Published this month is Lord of Beasts: The Saga of Buffalo Jones, by two California historians, Robert Easton and Mackenzie Brown. This biography of one of the West's most colorful and littleknown characters is reviewed elsewhere in this issue. Scheduled for winter release is The Administration of Water Resources in Arizona, by Dean Mann of the Brookings Institution, Washington, D.C. This volume, revised and updated, was Dr. Mann's doctoral dissertation at the University of California, Berkeley, and won a prize as the best dissertation in the field of political science during 1959.

Students of politics and historians will find much invaluable, stimulating new material in A Many-Colored Toga: The Diary of Henry Fountain Asburst. United States Senator from Arizona for many years, Ashurst was critic and friend of Wilson, Bryan, LaFollette, and the elder Lodge. His journal, which spans the period from 1910 to 1937, provides penetrating, incisive portraits of many of America's best-known political figures. To be published in the spring of 1962, the volume includes introductory comments by Arizona Senators Carl Hayden and Barry Goldwater.

A significant contribution to the understanding of the problems of the peoples emerging from colonialism is Edward H. Spicer's Cycles of Conquest: The Impact of Spain, Mexico, and the United States on the Indians of the Southwest, 1533-1960. Carefully detailed are the techniques of colonialism exercised by the three powers during four centuries, and their effects on the cultures of Indian tribes on both sides of the Mexican border.

But the Press has not confined itself solely to publications pertaining to terra firma. The most unusual-and perhaps the most exciting-publication to be issued thus far by the Press is the Orthographic Atlas of the Moon, edited by Gerard P. Kuiper, internationally famed astronomer and Director of the newly established Lunar and Planetary Laboratory at the University of Arizona. The Atlas consists of twenty-nine photographs of the surface of the moon (limb regions excluded) from the plate collections of such major observatories as Lick, Mount Wilson, and Yerkes. Overprinted on these plates is an orthographic grid, established from a control net of 5,000 points, which precisely locates lunar topographic features. An index plate shows the relative position of the mapped areas, while another plate indexes named formations. Two text plates outline the history of lunar cartography and the Atlas. Issued as Supplement Number One to the Photographic Atlas of the Moon published earlier by the University of Chicago, the Atlas comes in two editions-A and B. The latter has an additional overprinted grid which shows longitude and latitude and is printed on a special plastic sheet. The Atlas is bound in a loose-leaf post-binder which will accommodate additional supplements. Professional astronomers throughout the world have acclaimed the Atlas as an invaluable tool in lunar research. However, it is not only the professionals who will use the Atlas; the unusual clarity of the plates makes it of