AtlantaTHE MONTHLY MAGAZINE OF THE ATLANTA MEMORIALArts ARTS CENTER JANUARY 1973 American comfort, European handling. They meet in Monte Carlo.

Monte Carlo S Coupe at Glen Haven, Michigan. Monte Carlo has always ment panel reflect Monte been a car unlike any other. Carlo's individuality. Yet, our 73 Monte Carlo S The new flow-through is even more unique. power ventilation system Chassis, frame and sus­ adds to its quietness. pension geometry were Power front disc brakes, extensively redesigned to power steering and a big V8 achieve special handling are standard of course. traits like those found in the A power-operated sky roof great road cars of Europe. can be added. Coach windows, molded Monte Carlo S. We think full foam seats, rich uphol­ you'll find it one of the best stery and a classic instru­ road cars you've ever driven.

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More than a repository, The Atlanta Memorial Arts Center continues its forward thrust, its dedicated presentation of the arts as a force in today's life, an inspiration for tomorrow's. Rich's salutes the gifted men and women who have made this so. r r I mH 1 . 1 ; ■s-S :

JEWELRY COMPANY 195 Mitchell Street, S.W., Phone (404) 522-2150 and now our second location 107 Peachtree Street. N.E., Phone (404) 522-4786 Atlanta. Georgia 30303 Of Special interest AT THE CENTER

ALLIANCE THEATRE COMPANY Don’t go "Jacques Brel" is 1973 through Season Opening Play Subscriptions to Alliance Theatre Com­ life pany's 1973 play season are now avail­ without able and can be purchased through Jan­ uary 27. Season subscribers receive a your own number of VIP benefits this year in addi­ personal tion to the savings off regular box office prices — such things as discount parking, life a subscription to “Stage Center” mag­ azine, and invitations to special social events at the theatre. Subscribers may pre-select the evenings they would like to attend and obtain permanent seats, or they may obtain a book of coupons which can be exchanged for the perform­ TOM FLOURNOY, III ances of their choice. Season tickets are $17.50 and $25.00. The opening show will be JACQUES BREL IS ALIVE AND WELL AND LIVING IN PARIS, playing January 11 through January 27. From its thunder­ ously successful opening in New York A NEIGHBOR TO in 1968 “Jacques Brel” continued to draw thronged, delighted audiences for THE ARTS over four years, proving itself to be the most innovative musical of many years. And just who is Jacques Brel and why have so many audiences been interested in his health? He is the chansonnier who became the voice of Paris in the 50’s and 60’s evoking better than any­ one else since Edith Piaf that city’s dim- lit cabarets, the strange, haunting poetry of its night life. Brel wrote and sang his songs, a troubadour-composer, hymning such subjects as love and loneliness and death and hypocrisy and pity and joy. Brel is a poet and a philosopher. In the words of a London critic, he is anti­ militarist and anti-Establishment. “He attacks humbug, small-mindedness and bigotry. What puts him in a class of his own are his vigor, honesty and sym­ pathy even for his victims.” His songs are the most dazzling example of what continued symbol of a quest

As surely as lite rose from the sea, the future of life depends on it. It is the salient feature of the globe. Its fate is ours. With population rising, some scientists talk of farming the oceans. Others speak of extracting products from igneous rock and seawater. But whatever men may evolve, the role of the sea in the chemistry and health of our planet is crucial. The better we understand it, the better our chances of protecting the ecological balance among all of earth's creatures—from marine life to man. Yet, even while fact displaces mystery, our awe of the sea endures. The pecten shell is an emblem for companies known around the world. But its beauty is no less in its origin than its form. And it reminds us to keep a sense of urgency in the quest for knowledge of our environment. AT THE CENTER, continued is happening in popular music through­ out the world today. Translators Eric Blau and Mort Shuman captured an au­ thentic, vivid and impassioned poetry in their version of the lyrics and created the most popular and influential musical in recent American stage history. It is a show to stab your conscience, mock your memories and force you to reassess the entire spectrum of human experience. “Jacques Brel” will be directed by Fred Chappel who recently directed the highly successful musical GYPSY at the Springer Opera House in Columbus, Georgia, and also directed the Wit’s End smash hit satirical cabaret, CIRCUS.

ATLANTA SYMPHONY ORCHESTRA

Cab Calloway to Appear With Symphony Superstar Cab Calloway will join the Atlanta Symphony this month when the orchestra mounts its second effort in the newly established Opera Series presenting a concert version of George Gershwin’s beloved PORGY AND BESS. Most com­ monly referred to as a folk opera and conceived by Gershwin himself as a sort of “Negro Scheherazade,” the three act tale of Negro life stands a perennial favorite of audiences and critics alike throughout the entire world. Porgy and Bess was Gershwin’s last serious work and embraces the hitherto unique Gershwin characteristics of hu­ manity and compassion, and reveals a mature and profound dramatic instinct on the part of the composer. The dom­ inant influence of the Negro spiritual inextricably threaded throughout the score provides a sobering humility and Tours and Cruises ... is contrasted pungently by the spontan­ eity of ethnic chants and virgin di­ by Air and Steamship alogue. The forthcoming Atlanta production features an all black cast with the Spel- man College Choir, Morehouse Glee Club and full symphony orchestra under the direction of Robert Shaw. Reminiscent ATLANTA TRAVEL AGENCY in concept to last year’s highly successful P ' 217 Georgia Life & Health Building revival of the Treemonisha Opera, Porgy 66 Luckie Street, N.W. continued Atlanta, Georgia 30303-Alex Hitz. Jr. You have great ideas about fashion and they come to life at Sears AT THE CENTER, continued stands to be one of the top pleasers of the new year and may be considered indicative of the orchestra’s ever ex­ Spend the day at panding repertory and resolve to provide a fully comprehensive musical influence in the area. Veteran Cab “Sporting Life” Calloway will be supported by Claudia Lindsey as Bess, McHenry Boatwright as Porgy and William Dempsey as Crown. Other prin­ cipals cast at this writing include Janette Moody as Clara, Jerry Laws as Mingo, Phyllis Bash as Serena and Lassaye Van Buren Holmes as Maria.

The full-size fashion store at Phipps Plaza —with great clothes for the whole family­ home fashions, too, including interesting antiques.

Cab Calloway will appear as Sporting Life in the Atlanta Symphony’s production of PORGY AND BESS. And marvelous gifts we found The January production of PORGY for you all over the world, AND BESS marks Calloway’s Symphony Hall debut and his first Atlanta appear­ many available only at ance since his resounding success here Lord & Taylor. with Pearl Bailey in the HELLO DOLLY company which played the Civic Center Stay for luncheon or tea two years ago. Interestingly, Gershwin had first tailored the role of the swagger­ in our enchanting Bird Cage ing Sporting Life for Calloway, but restaurant, open every conflicts precluded his acceptance, and vaudeville giant John Bubbles opened shopping day. the show in its 1935 Boston test engage­ ment. Finally, with the 1952 revival of Lord & Taylor, Phipps Plaza Porgy, the curtain rose on the perfect Peachtree Road between Wieuca principal trio for this classical master­ piece of Americana: Cab Calloway in and Lenox Roads—266-0600 the coveted role of Sporting Life, Leon­ Open Monday thru Saturday tyne Price as Bess and William Warfield as the ill-fated Porgy. So successful was 9:30 a.m. to 5:30 p.m. this production that it ran four years, made two tours of the United States, Open Monday and Thursday three European tours and one tour of evenings until 9:00 p.m. South America. The Atlanta Symphony production opens Jan. 25 and will be repeated Jan. continued following program notes Concert Season In Europe If you cannot be in Europe this season you can still enjoy the sound of Europe’s greatest musicians performing in the Con­ tinent’s most superb concert halls. London Imports magnifi­ cent recordings offer everything you might hear and more! IMPORTS

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Simon House RECORDS SOUTHEAST Edward Jarman Branch Manager CTV*lWUMr/ DISTRIB UTING CORPORA TION Sales Manager ATLANTA Subscription Concerts SYMPHONY Thursday, Friday and Saturday evenings 8:30 January 18, 19 and 20, 1973 ORCHESTRA ALDO CECCATO Conducting ROBERT SHAW Music Director and Conductor

PROGRAM

Haydn *Symphony No. 75 in D major (before 1782) Grave — Presto Andante con variazione Menuetto — Trio Finale: Vivace

Stravinsky *Symphony No. 1 in E-flat major, Op. 1 (1905-1907) Allegro moderato Scherzo: Allegretto Largo Finale: Allegro molto

INTERMISSION

Tchaikovsky Symphony No. 2 in C minor, Op. 17 (“Little Russian”) Andante sostenuto; Allegro vivo Andantino marziale Scherzo: Allegro molto vivace Finale: Moderato assai; Allegro vivo

*First performance at these concerts.

The use of recording devices or cameras during concerts is strictly prohibited.

IF YOU CANNOT USE YOUR TICKETS FOR A SINGLE PERFORMANCE please call our Box Office—892-2414 NO LATER THAN 5:00 P.M. ON THE DAY OF THE CONCERT and release your location for resale for the benefit of the Symphony. Tickets thus released constitute a TAX DEDUCTIBLE CONTRIBUTION for Fed­ eral and State Income tax purposes. You may request a receipt for your tax records. The Permamatic' You may want another one someday but you'll probably never need a new one.

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Symphony No. 75 in D Major the jolly type that Haydn used so often to Joseph Haydn (1732-1809) close his symphonies. It even has a typically Haydnesque surprise ending. When a composer writes more than one hundred symphonies, it is almost impossible One of the reasons why Haydn may have for the average music lover to acquaint him­ taken this symphony with him to London is self with all of them, even in a lifetime of its scoring, ususually full for that period. The concertgoing. After all, he is at the mercy orchestra called for includes flute, two oboes, of conductors and orchestras, and they seem bassoon, two horns, two trumpets, kettle­ to focus their attention on perhaps two dozen drums and strings. The trumpet and kettle­ of these symphonies, at the most. As a mat­ drum parts, however, may have been added ter of fact, it is only very recently that all of by him at a later date. these works have become available on phono­ (Copyrighted) graph records. One of the symphonies that receives less attention than the others is the Symphony No. 75 in D Major, though at one time it was somewhat better known. The exact date of Symphony No. 1 in E flat Major, Op. 1 its composition has never been determined, Igor Stravinsky (1882-1971) but most authorities agree that it was before 1781 or 1782. Haydn was approaching the Stravinsky’s Symphony No. 1 in E flat peak of his powers as a composer; and al­ Major, though it is marked Op. 1, was actually though most of his music was still being not his first published work, though it is the written for his music-loving employer, Prince earliest of his compositions to retain a place Nicholas Esterhazy, his fame was beginning in the concert repertoire. It was written be­ to spread across all of Europe. tween 1905 and 1907 in Ustilug, a village in western Russia that is now a part of Poland. Apparently, Haydn thought enough of this The work was created under the close super­ symphony to include it among those he took vision of Rimsky-Korsakov, with whom Stra­ with him on his first visit to England. Ap­ vinsky was studying; but musically, it shows parently, too, its slow movement, a hymn­ the influence of Glazunov, whom Stravinsky like Andante with variations, had a particular admired very much as a young man. appeal. In Germany, someone even put words to the melody. That it had a profound effect In the book Memories and Commentaries, on at least one listener is attested to by this which he wrote in collaboration with Robert curious account that Haydn recorded in his Craft, Stravinsky recalled: “Rimsky attended London diary in 1792: my first two premieres with me. The first of these pieces, the Symphony in E Flat, is ded­ “On the 26th of March at Mr. Barthele- icated to him (the manuscript is still with his mon's Concert, an English clergyman was family). It was performed in St. Petersburg present who fell into the most profound mel­ on April 27, 1907; I remember the date be­ ancholy on hearing the Andante, because the cause my Uncle Irelachitch presented me with previous night he had dreamed of this An­ a medal commemorating it. Rimsky sat next dante and that this place was a premonition to me and, from time to time, made critical on his death. He left the company imme­ remarks: ‘This is too heavy; be more careful diately and took to his bed. Today, the when you use trombones in their middle regis­ 25th of April, I heard from Herr Barthele- ter,’ etc. As the concert took place at noon, mon that this Protestant clergyman had died.” and as the audience was not a paying one, I cannot say whether the applause I heard sig­ Like many of his later symphonies, includ­ nified a success. The only bad omen was ing all but one of his last works in this form Glazunov, who came to me afterward, saying, —the so-called Salomon or London Sym­ ‘Very nice, very nice.’ The Imperial Kapell­ phonies—the Symphony No. 75 begins with a meister, Varlich, a general in uniform, con­ slow introduction, a solemn, rather imposing ducted the performance.” Grave. It is only the foil, however, for the main body of the first movement, a gay, The first public performance of the sym­ sometimes explosive Presto. The aforemen­ phony was at one of Belaiev’s Season of tioned Andante con Variazioni consists of the Russian Symphony Concerts, in St. Petersburg hymn-like theme, four variations and a coda. on January 22, 1908, the conductor on that The variations themselves, however, are any­ occasion being Felix Blumenfeld. Later, thing but hymn-like. Particular attention Stravinsky made some slight revisions in the should be called to the third variation, which score, and in this form it was first presented includes an obbligato for a solo cello. The under Ernest Ansermet’s direction at Mon­ ensuing Menuetto is of the more animated, treux on April 2, 1914. vigorous variety—good for listening but too fast for dancing. Its trio—or contrasting Listeners familiar with some of Stravinsky’s middle section—is of a more delicate charac­ other compositions may think that the or­ ter. The Finale, Vivace, is a lively rondo of chestra’s librarian made a mistake and passed POPPING UP A BATCH OF CORN is a nice way to pass the long winter hours at the Jack Daniel Visitor House. It’s also nice for our visitors. About this time of year the number of folks visiting our distillery tends to drop off somewhat. But we’d like to tell you to come right ahead in spite of the cold weather. Or, if you’re driving to a warmer spot, CHARCOAL to stop in on your way. MELLOWED We’ll be glad to show you 6 around The Hollow and DROP tell you about Jack Daniel’s 6 Tennessee Whiskey. Besides, you might walk BY DROP in on a freshly popped batch of corn.

© 1972, Jack Daniel Distillery, Lem Motlow, Prop., Inc. TENNESSEE WHISKEY • 90 PROOF DISTILLED AND BOTTLED BY JACK DANIEL DISTILLERY . LYNCHBURG (POP. 361), TENNESSEE out the wrong music, for it bears no re­ 1873, at a concert of the Imperial Musical semblance whatsoever to what was to emanate Society, conducted by Nicholas Rubinstein. from the composer’s pen within only a few The following day, the composer wrote to short years. In addition to Glazunov, the the critic, Vladimir Strassov, in St. Petersburg: opening movement, Allegro moderato, its “My symphony was performed yesterday, themes clearly outlined in sonata form, also and met with great success: so great in fact shows traces of the influence of Tchaikovsky that N. Rubinstein is repeating it at the tenth and Wagner. The bustling Scherzo, Alleg­ concert ‘by general request.’ To confess the retto, again is dominated by Glazunov, truth, I am not altogether satisfied with the though with strong echoes also of the Scherzo first two movements, but the finale on The from Borodin’s Second Symphony. A more Crane theme has turned out admirably. lyrical section in the middle of this move­ . . . I should like to make a few improve­ ment, marked Pocliissimo meno mosso, does, ments in the orchestration, and I must con­ however, give a faint hint of future Stra­ sider how long this will take. . . .” The vinsky, for it makes use of a Russian folk Crane, to which Tchaikovsky referred, is a song quite similar to the one he was to use folk song from Little Russia that he used as in the Dance of the Nursemaids in Pe- the principal theme of the finale. trouchka. The third movement is an ex­ pressive, sometimes impassioned Largo, the At the second performance Tchaikovsky inspiration again coming from Glazunov and was obliged to bow after each movement, Tchaikovsky. The Finale is an exuberant and was presented with a laurel wreath and Allegro molto, once more with Glazunov a silver goblet. The symphony was also given coloring. In his valuable book Stravinsky, a warm reception at its first hearing in St. the Composer and His Works, Eric Walter Petersburg, on March 9, 1874; but the com­ White points out an episode in the middle of poser Cesar Cui picked it apart rather un­ this movement, under which in the score are mercifully in his criticism in the St. Peters­ printed the words of a nonsense rhyme, burg Viedomosti. Although he took Cui’s re­ "Tchitcher Yatcher.” “Words and tune,” marks rather hard, Tchaikovsky was inclined says White, “are identical with the third of to agree with him, and he resolved to revise the Thee Little Songs (Recollections of my the work completely. Childhood) written in 1913. This was prob­ ably one of the themes Stravinsky used as a It was not until 1879, however, when he basis for improvisation in his early years; was in Rome, that he had the opportunity to and in the song it accompanies words that make the revisions in the score. By that poke fun at an old usher who used to force time he had already composed his Third and pupils to attend certain concerts as part of Fourth Symphonies. Back in 1872 or early the school curriculum. Its insertion in the in 1873, he had given the score of the Second Symphony may be regarded as a kind of pri­ Symphony to the publisher Bessel; but for vate joke.” some unknown reason, that firm had never published it. The symphony is scored for three flutes, piccolo, two oboes, three clarinets, two bas­ Before he had even reached Rome, Tchai­ soons, four horns, three trumpets, three trom­ kovsky had written to his benefactress, bones, tuba, kettledrums, bass drum, cymbals, Nadezhda von Meek, from Paris on Decem­ triangle and strings. ber 15, 1879: “If I succeed in working stead­ ily in Rome, I shall make a good work out (Copyrighted) of my immature, mediocre symphony.” And from Rome, on December 30, he reported: “Today I set out to remodel my Second Sym­ phony. It went so well that before lunch I made a rough draft of nearly half the first Symphony No. 2 in C Minor, Op. 17 movement. How I thank the fates that Ca (“Little Russian”) caused Bessel to fail in his contract and Piotr Ilyitcli Tchaikovsky never print this score! How much seven (1840-1893) years can mean when a man is striving for progress in his work! Is it possible that seven Tchaikovsky’s Fourth, Fifth and Sixth Sym­ years hence I shall look upon what I write phonies have long been so popular that his today as I look now at my music written in other works in this form are too often neg­ 1872?’ I know it is possible because per­ lected. One of the most admirable of his fection—the ideal—is boundless, and in seven early symphonies is the Second. It was be­ years I shall not yet be old.” gun at Kamenka in June 1872. In July Tchaikovsky went to Kiev and from there to The Second Symphony, in its revised form, Ussovo, where he visited his invalid pupil, was performed by the Musical Society in St. Vladimir Shilovsky. It was while he was at Petersburg on February 2, 1881, but not one Ussovo that he composed the major part of of the critics noticed that the score had been the symphony; the finishing touches were put greatly altered and the first movement com­ on it when he returned to Moscow for the pletely rewritten. fall season. The symphony’s first movement begins with The first performance of the C Minor Sym­ a slow introduction, Andante sostenuto, which phony took place in Moscow on February 7, leads into the main section, Allegro vivo. The meet umbari

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ALDO CECCATO — A native of Milan, the major American symphonies. He made Aldo Ceccato, entered the conducting field his New York Philharmonic debut in the in his early twenties after a prominent career fall in 1970 and rejoined the orchestra this as a pianist in his teens. A concert in Milan past summer for their concerts in the parks at which he conducted seven Vivaldi concerti and at the Garden State Festival. quickly established him as one of the exciting new conducting talents on the European Dividing his time between the United scene. Engagements with the leading orch­ States and Europe, he also conducts regularly estras and opera houses of Italy followed in­ in England, where this year he will lead cluding the Santa Cecilia in Rome, La Scala, Falstatf and Simon Boccanegra at Covent La Fenice in Venice and the Florence Mag­ Garden, and conduct the London Philhar­ gio Musicale. Soon he found himself con­ monic and The New Philharmonia in con­ ducting as well on the German, French, Eng­ certs. lish and South American scene. His North American debut took place with a perform­ Mr. Ceccato is married to the former ance of I Puritani at the Lyric Opera of Eliana de Sabata (daughter of the late dis­ Chicago in 1969. His extraordinary success tinguished conductor Victor de Sabata) and catapulted him virtually overnight into being with their two small sons makes his home in one of the most sought-after conductors of Milan and in Bergamo.

The Women’s Association of the Atlanta Symphony Orchestra is pleased to an­ nounce that Jerry Dilts, formerly of the Lion’s Head, will be serving dinner in the Members’ Room before every subscription concert beginning with the series January 18, 19 and 20 and “Porgy and Bess” on January 25, 27 and 28. Dinner will be served promptly at 7:00 p.m. for the 8:30 p.m. concerts, 6:30 p.m. for “Porgy and Bess” which begins at 8:00 p.m. and brunch will be served at 1:15 p.m. for the 2:30 p.m. Sunday concerts. The cost of the dinner is $6.50 per person; Sunday brunch is $4.50 per person. We invite you to join us in an evening of gourmet food and exciting music by filling out the blank below and mailing it to 1280 Peachtree Street, N.E., Atlanta, Georgia 30309. Make your check payable to Women’s Association, Atlanta Symphony Orchestra. Your check is your reservation and must be received at least four days before a concert.

I would like to have □ DINNER □ BRUNCH in the Members’ Room

on------Enclosed is my check for $______

| to cover______meals. Phone ______| I Name______I

Address______L ______I GALLERY OF ART ON PEACHTREE Reflections. Prism-like. Casting a multi-faceted brilliance of colors, designs, images, dimensional shapes. Contemporary oils, graphics, sculpture. The Impressionists. Old Masters prints. Works by 'Picasso... Dali . Max. . Chagall... Calder. Miro. The greats. The promising unknowns. Some international. Some local.

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2630 The Equitable Building 1973 TRAVELOGUE SERIES

PARIS OF THE PARISIANS presented by Doug Jones

Le Sacre Coeur

Sunday, January 21 2:30 P.M. and 7:00 P.M.

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PART I

SUNDAY Paris asleep, the Cathedral of Notre Dame, Sunday in the parks, a day at the races, and a boat trip on the Seine River.

MONDAY Getting to work, buses, the Metro, parking, and a delightful taxi ride around the Arch of Triumph. Ride an elevator to work — The Eiffel Tower. Paris at work —■ The Goeblin Tapestry Factory.

TUESDAY Montmartre and the artists of Paris, the Louvre, and an artist at work in her studio.

WEDNESDAY Bastille Day, Place de la Bastille, Versaille, The Concergerie, The Saint Chapelle, Place de la Concorde and the Military Parade fea­ turing the President of France.

Intermission

PART II

THURSDAY A day with the Gallois family, breakfast, shopping at the street market, Madame Gallois fixing dinner, the children playing, dinner with friends.

FRIDAY Paris through the eyes of the young. A romantic look at the “City of Love” with Francois Fizet and Natalie Chazelle.

SATURDAY Shopping with the Delaloy’s at a perfume shop, glove shop, Christian Dior, and an antique shop. Dinner at Grand Vefour and finally the nightlife of Paris featuring The Folies Bergere. Mb’resort of between the Governor’s Mansion and Neiman-Marcus. Which is precisely where erators with ice makers, and you would expect to find individual washer/dryer units Atlanta's most convenient and are conveniences which posi­ attractive rental residences — tion The Paces far above every The Paces. other Atlanta rental property. Situated in the heart of Thus we feel confident that Northwest Atlanta, the advan­ overall convenience, privacy, tages of Paces' living begin with and attractiveness are present its proximity to the finest throughout every aspect of life shopping areas, the most at The Paces. If you find such a distinctive residential neighbor­ lifestyle personally appealing, hoods, and downtown Atlanta. we invite you to call 237-7759 or All of this location conven­ come to visit The Paces between ience is enhanced still further by 10:00 a.m. and 5:00 p.m. week­ the quiet, relaxed atmosphere days, and on Sundays beginning and styling of The Paces. The one hour later. beautifully landscaped grounds are immaculately kept by a truly professional staff, as is the se­ cluded pool and garden house area. Two- and three-bedroom styles are ready for occupancy. Many feature large wood­ burning fireplaces and hand­ some dens,and even the smallest Paces residence offers over 1500 square feet of functional and yet graceful living space. Large separate-entrance foyers, nine- foot ceilings, frost-free refrig­ Seventy-seven East Andrews Drive. N.W. ATLANTA Opera II SYMPHONY Thursday, Saturday and Sunday evenings 8:00 lanuary 25, 27 and 28, 1973 ORCHESTRA ROBERT SHAW Conducting ROBERT SHAW Music Director and Conductor

PROGRAM

PORGY AND BESS Opera in Three Acts by George Gershwin in concert version

Characters

Porgy, a cripple ...... McHENRY BOATWRIGHT, Bass-baritone Crown, a tough stevedore ...... WILLIAM DEMPSEY, Baritone Bess, Crown’s girl...... CLAUDIA LINDSEY, Soprano Robbins, an inhabitant of Catfish Row ...... LAWRENCE S. WEAVER, Tenor Serena, his wife PHYLLIS BASH, Soprano Jake, skipper of a fishing boat KENNETH HAMILTON, Baritone Clara, his wife JANNETTE MOODY, Soprano Maria, proprietress of the cookshop LASSAYE HOLMES, Contralto Sporting Life, a dope peddler CAB CALLOWAY, Tenor Mingo JERRY LAWS, Tenor Peter, the Honey Man OLIVER SUEING, Tenor Lily, the Strawberry Woman, Peter’s wife HUELLEN MORGAN JONES, Mezzo-Soprano Frazier, a Negro “lawyer” HARDING EPPS, Baritone Annie ...... SYLVIA LEE JONES, Soprano Jim, a cotton picker ...... DARWIN WHITE, Baritone Undertaker ...... WILLIAM T. DARGAN, Baritone

C Alan Archdale WALLACE McLEOD Detective ...... CHARLES HAMILTON Speaking Policeman ...... CLAYTON FARNHAM parts Coroner...... FRANK BOGGS Scipio ...... DARRELL McGHEE

The use of recording devices and cameras during concerts is strictly prohibited. A polished performance in aluminum with amber glass. "One nice thing after another "from

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Lyrics by DuBose Heyward and Ira Gershwin As might be imagined, all he manages to do Music by George Gershwin is make the baby cry. Born September 26, 1898, in Brooklyn, N.Y. Died July 11, 1937, in Beverly Hills, Calif. Peter, the honeyman, passes by, calling out his wares. Then along comes Porgy, a crip­ Porgy and Bess was George Gershwin’s pled beggar; unable to stand or walk unaided, last major composition. He had long cher­ he goes around in a little goat-cart. Some of ished the idea of writing a truly American the people tease Porgy good-naturedly, ac­ opera, one that would utilize an American cusing him of being sweet on Crown’s girl theme, but his search for a suitable story had Bess. Though he denies having any affection been unsuccessful. for Bess, Porgy is quick to defend her when her reputation is attacked. Presently, Crown, Then he came across the play Porgy, about a tough, powerful stevedore, comes in with Negro life in Catfish Row in Charleston, Bess. He is drunk and obstreperous, but South Carolina, written by DuBose and insists on joining the crap game. Since he is Dorothy Heyward, and produced with great too drunk to read the dice properly, it is not success in New York by the Theatre Guild long before Crown has lost his money to the in 1927. This was the play for which he others, especially Robbins. This infuriates had been looking. He became so absorbed Crown, who begins to fight with Robbins, in the idea of making an opera out of Porgy, attacking him with a cotton hook and killing and was so sincere in his effort to put au­ him. As everyone stands by in horror and thentic flavor into the music, that he took Robbins’ widow, Serena, throws herself DuBose Heyward down to a little island near screaming to his body, Bess shakes Crown to Charleston, where the two spent several his senses, tells him to get going before the months making a firsthand study of the police arrive, and gives him some money. music of the Southern Negro. This observa­ When Crown asks her what she will do, she tion at close range enabled Gershwin to inject assures him that some man will always be into the music for Porgy and Bess, as he willing to take her in. Crown warns her called the opera, a note of folklike authen­ that any arrangements like that will be only ticity. temporary; he plans to return when all the fuss has blown over. Sporting Life, the local Returning from Charleston, Gershwin dope peddler, offers to take her with him to worked for nearly two years on his folk New York, but for the time being she settles opera. ..Porgy and Bess, with a libretto by for a bit of his “happy dust” and seeks shel­ DuBose Heyward, lyrics by Heyward and ter with Porgy. Ira Gershwin, and music by George Gersh­ win, received its initial performance in a pro­ Scene 2: The following night in Serena’s duction by the Theatre Guild on September room, Robbins’ body is lying on the bed 30. 1935, in Boston, and was an immediate with a saucer on its chest for the purpose of hit. After its Boston tryout, Porgy and receiving contributions toward the cost of the Bess, with an all-Negro cast, opened at the burial. As everyone sits around singing a Alvin Theatre in New York on October 10. spiritual. Porgy and Bess enter and put There its reception was just as warm. It ran money in the saucer. A detective comes in for 124 performances, and was heard by more and accuses Peter of the murder, knowing people than had ever listened to an American that that will get the others to say who really opera before. Since then, the work has had did it. When Peter says he saw Crown com­ a number of revivals, each of which has mit the crime, he is taken into custody as a played to capacity houses. It has toured with material witness. As he leaves, the detective great success as far as the Soviet Union, and warns Serena that she had better have the has been made into a motion picture. body buried by the next day, otherwise it will # # # be turned over to the medical students. Serena sings the haunting lament, My Man’s With the exception of one scene, all the Gone Now. When the undertaker arrives, action takes place in and around Catfish she persuades him, to bury Robbins for the Row, described in the score as “a former fifteen dollars that has been collected in the mansion of the aristocracy, but now a Negro saucer. tenement on the waterfront of Charleston, South Carolina.” The time is the recent ACT II past. Scene 1: A month has passed. Jake and other fishermen are repairing their nets ACT I preparatory to going out on the Blackfish Scene 1: Inside the court at night, people Banks. As they work they sing It Take a are singing and dancing, a crap game is in Long Pull to Get There. Clara warns Jake progress, while across the way Clara is try­ that it is time for the September storms, BUSINESS IS OUR ONLY BUSINESS.

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1801 Piedmont Avenue, N.E. Atlanta, Georgia 30324 but he persists in his plan to set out to sea. For his part, Porgy promises to give her that Across the way, Porgy leans out of his win­ protection. Out on the wharf, Clara stands dow and sings I Got Plenty o’ Nuttiri. He is watching the water apprehensively. Her fears in a happy frame of mind now that Bess has are well-founded. Suddenly, the hurricane come to live with him. Lawyer Frazier comes warning bell sounds, and Clara faints. by looking for Porgy. He succeeds in selling Porgy a “divorce” for Bess, freeing her from Scene 4: In Serena’s room, all have gathered her bonds to Crown. The cost is a dollar; and are huddled together singing spirituals but when he discovers that Bess and Crown as a terrible storm rages outside. A loud were never married, he convinces the gullible knock is heard at the door, and Peter fears Porgy that it costs more to obtain a divorce that it is Death himself. Some men try to for someone who isn’t married, and bilks hold the door shut, but finally Crown bursts another half dollar from him. Another visitor into the room. He has come for Bess, and is Mr. Archdale, who informs Porgy and the when Porgy tries to come between them, he others that since Peter’s folks once belonged is knocked to the ground by his bigger, to his family, he will go the old man’s bail. stronger adversary. Serena warns Crown A buzzard flies overhead, and Porgy sees it against starting any trouble; God, she says, as a bad omen if the bird alights on anyone’s may strike him dead in this storm. Crown house. His superstitions are expressed in the replies that if God wanted to strike him dead, Blizzard Song. he had plenty of opportunities while he was on his way from Kittiwah Island. Crown ob­ Sporting Life tries to induce Bess to go to jects- to the singing and praying. To counter­ New York with him and offers her some act the gloom, he sings a lively number, "happy dust.” When she says she hates the A Red-Headed Woman Makes a Choochoo sight of him and tries unsuccessfully to make Jump Its Track. He is interrupted by a scream him leave, Porgy reaches out the window and from Clara, who has been anxiously watch­ grabs his wrist with such force that he fright­ ing at the window. She has spied Jake’s boat ens the dope peddler. Porgy tells him to floating in the river upside down. Handing keep away from Bess. Everyone is preparing her baby to Bess, she rushes out into the for a big picnic on Kittiwah Island, but Bess storm. Bess urges some man to follow her, says she won’t leave Porgy, who is unable to and Crown, hurling a nasty taunt at Porgy go. Left alone, the two sing a tender love and promising to return for Bess, plunges out duet, Bess, You Is My Woman Now. Now after Clara. the crowd starts assembling for the picnic. Finally, aided by Porgy’s urging, Bess agrees ACT III to join them. Scene 1: The following night in the court, everyone is mourning for those lost in the Scene 2: At the picnic on Kittiwah Island, storm. They believe that Crown is among everyone is having a jolly time. Sporting the dead, for he has not returned. But sud­ Life regales them with the humorously skep­ denly he appears at the gate to Catfish Row. tical song, It Ain’t Necessarily So. As the Silently, he drops to the ground and crawls crowd leaves to catch the boat back to the toward Porgy’s door. As he passes under the mainland, Bess, hesitating for a moment, is window of Porgy’s house, the shutter opens, confronted by Crown, who appears from the an arm extends with the hand grasping a long thicket. Bess protests that she has found a knife, which is plunged into Crown’s back. new, decent life with Porgy. Crown only The knife is then thrown into the center of laughs at her and takes her in his arms, the court. As Crown staggers to an upright at which point all her resistance vanishes. position. Porgy leans from the window, She stays behind with Crown as the boat seizes him around the throat with both hands, leaves without her. strangling him with his iron grip. Hurling Scene 3: Before dawn a week later, Jake the dead man to the center of the court, and the fishermen say goodbye to the women Porgy exclaims: “Bess, you got a man now. and put out in their boat. Peter, having You got Porgy!” been released from jail, returns home. From Scene 2: The next afternoon, the police inside Porgy’s house, Bess is heard raving and the coroner come to investigate Crown’s deliriously. She had been lost in the jungle murder. Their first suspect is Serena, since on Kittiwah Island and did not return home it was Crown who had killed her husband, for two days. Peter suggests that Porgy send Robbins. But Serena has an airtight alibi: her to the white folks’ hospital, but when she has been sick in bed for three days, a fact Porgy objects, Serena agrees to offer up a to which the women attending her swear. prayer for her recovery. The strawberry The coroner then recognizes Porgy, who is woman and the crab man come by, advertis­ asked if he knows Crown. When he admits ing their products in song. Then Bess is that he does, he is dragged off to identify the heard calling for Porgy. Serena’s prayers body, though he is deathly afraid to look at have worked, and she has recovered. Porgy Crown’s face. Sporting Life tries to console tells Bess he knows she' has been with Bess by offering her a packet of “happy dust.” Crown, but he still w’ants her to stay here At first, she refuses, then accepts it. He tries with him. In the duet. / Loves You, Porgy, to persuade her to come away with him, Bess repeats her expressions of love for the singing There’s a Boat That’s Leavin’ Soon cripple but also asks him to protect her for New York. As he goes off, he leaves a from Crown, whom she has trouble resisting. second packet of dope on her doorstep, and the stereo shop

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McHENRY BOATWRIGHT, acclaimed in­ ber Chorus, Mr. Dempsey did solo work in ternationally as one of America’s great bass­ Bach’s B Minor Mass, under the baton of baritones, is also an accomplished pianist. Mr. Robert Shaw. This was performed at Conductors are not surprised at the six-foot- Kent State University, home of the Blossom three singer’s musicality when they learn of School. his extensive preparation in the two fields of endeavor. Born in Tenille, Georgia, Boat­ CLAUDIA LINDSEY — New York born wright grew up in a music-loving family. As Soprano Claudia Lindsey has made a number a young lad he found great pleasure in ac­ of solo concert tours throughout the United companying his older sister who was a tal- States and Canada and has performed with enter singer. His first degree from The New major opera companies, across the country, England Conservatory was in piano. How­ including the Metropolitan Opera National ever, he was invited to sing at a friend’s wed­ Company, the New York City Opera, the ding and this event changed the course of his Spring Opera of San Francisco, Western musical career. That wedding solo led to Opera Theater of San Francisco, and the vocal study, the winning of the Arthur Opera Society of Washington. Among her Fiedler voice contest and further study plus roles were Mimi in La Boheme, Fiordiligi in a degree in voice at the same conservatory Cosi Fan Tutte and the Countess in Marriage which had graduated him in piano. In quick of Figaro. In concert, she has performed succession he won four international vocal with the Little Orchestra Society, the Albany competitions, sang for the President of the Symphony, the Schenectady Symphony, the United States, won the Chicagoland contest Chautaqua Festival and has appeared at the and appeared on the Ed Sullivan Show as the National Gallery in Washington, D.C. For singing discovery of the year. He also won two seasons, she appeared as soprano soloist the National Federation of Music Clubs with the New York Lyric Quartet, which biennial award which led to his formal entry under the aegis of Columbia Artists Com­ into the ranks of America’s leading singers. munity Concerts has toured extensively His orchestral debut was with Eugene Or- through the U.S. and Canada. A graduate of mandy and the Philadelphia Orchestra in a Brandeis University, where she majored in performance of Beethoven’s Ninth Symphony. political science, Miss Lindsey has won nu­ His opera debut was with the New England merous awards for her vocal talents, among Opera Theatre. Since then he has appeared them a Marion Anderson Scholarship, Milton with almost every major symphony orchestra Cross Scholarship by the Liederkrantz Foun­ in the country and he is increasingly recog­ dation, the Metropolitan Opera National nized as one of our leading opera singers. Council's Stoughton Award, a Whitney Foun­ His performances in the role of Boris have dation Honorarium, Sullivan Musical Founda­ been hailed as among the best ever. tion Award and a contract with the National Music League. WILLIAM DEMPSEY, Bass-Baritone, is a graduate of Dillard University. He com­ PHYLLIS BASH received her formal musical pleted advance work in vocal performance training from the Manhattan and Julliard at Kent State University under the tutelage Schools of Music. A leading and versatile of Dr. James Stuart, performing in many Mezzo-soprano, Miss Bash divides her time productions including those of the Gilbert three ways between concerts, television and and Sullivan Summer Repertory Light Opera grand opera. Miss Bash toured nationally Company. Mr. Dempsey has also performed with Harry Belafonte as lead mezzo and has in Opera with the Lake Erie Opera Theater, appeared in numerous City Center produc­ the Cleveland Institute of Music Opera tions including Carmina Burana, Porgy and Theater, and at Oglebay Park Opera Work­ Bess, Carousel, and Aida. Now residing in shop. He has appeared with the New Orleans New York City, Miss Bash keeps a busy Philharmonic Orchestra, and the Cleveland schedule performing there and travels out of Philharmonic Orchestra. While studying the city regularly for concert engagements as with Pauline Thesmacher of the Cleveland time permits. Music School Settlement he was heard with numerous choral societies and appeared fre­ JANETTE MOODY — Soprano Janette quently as an oratorio soloist at Chataqua, Moody was born in Savannah, Georgia. She New York. As a part of the Blossom Cham­ graduated from Fisk University in Nashville, Building with* Atlanta It takes more than sticks and stones to build a great city It takes foresight, planning and faith Any city is only as great as its people, their homes and communities Since 1946. the Roy D Warren Company has helped to build Atlanta not with sticks and stones but with planning and financing We develop land, build homes, provide mortgage money and home-owner insurance to buyers all from the same source The Roy D Warren Company helping to build the greatness of Atlanta

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TAURUSPORSCHE I AUDI Elwyn C. Tomlinson, President 500 W. Peachtree 577-8500 Tennessee, with a degree in voice and in 1966 ment world lured him from the start, but, to was recipient of a Martha Baird Rockefeller please his father, he attended Crane Law grant for further study. Prior to embarking School in Chicago. Making ends meet was on her chosen career of opera and concert, a problem, however, and he was soon moon­ Miss Moody entered the musical comedy field lighting at a south side night club, emceeing and was seen on Broadway in joint singing and at first, then, by turns, writing, singing and dancing roles in such hits as Sweet Charity producing. The legal tomes were shelved and Funny Girl. The operatic role of Queen when he was induced to take over the baton of the Night in Mozart’s Magic Flute served of a Chicago band known as the Alabamians. to introduce Miss Moody to three separate The success of this venture brought the group opera houses: the New York City Opera, the to New York, where Mr. Calloway accepted Cologne Opera, and the Vienna Volksoper — a starring role in his first Broadway show, and she currently divides her time between Connie’s Hot Chocolates. On the strength opera and concert performances in the United of his nightly high-stepping show-stopping, States and Europe. he was signed to headline Harlem’s Cotton Club — and a legend in New York nightlife LASS AYE VAN BUREN HOLMES was born began. Over the years Hollywood has often in Durant, Mississippi and holds an A.B. tapped his talents, beginning with featured in Music Education from Hamline University role in the first of “The Big Broadcast” series, and a M.A. n Music from Tennessee State and including such films as The Singing Kid, University. Miss Holmes has appeared on with Al Jolson, Stormy Weather, St. Louis national television and as the former director Blues, and more recently, The Cincinnati Kid. of the Russ College A’Capella Choir, has re­ To date, he has cavorted in more than 250 corded with a number of outstanding opera television shows. He is also one of the stars including Leontyne Price. As a com­ all-time favorites of supper club audiences in poser Miss Holmes has written songs for Europe, as well as in the United States. To­ Charlie Pride and currently maintains a busy night’s appearance marks Mr. Calloway’s de­ schedule performing as a leading concert but with the Atlanta Symphony. artist. Miss Holmes was voted in “Outstand­ ing Personalities of the South, 1970-71,” is a JERRY LAWS — An accomplished actor as member of the Mississippi Educators Con­ well as vocalist, Mr. Laws impressive list of ference and was presented a citation “for credits include several films and numerous outstanding artistic service” by Mayor Ste­ television appearances, including guest shots phen May of Rochester, New York. on the Ed Sullivan Show, Studio I, Zane Grey Theatre and Alfred Hitchcock Presents. CAB CALLOWAY — Indisputably one of Broadway credits include The Great White the greats of twentieth century show business, Hope, Brownskin Models, St. Louis Woman Cab Calloway was born in Rochester, New and Finian's Rainbow. Mr. Laws was Asso­ York, on Christmas night, 1907, and re­ ciated with the original Broadway production ceived most of his education in Baltimore, of Porgy and Bess and later with the 1952 re­ where the family moved when he was still a vival which took him from Broadway to 46 toddler. The bright lights of the entertain­ foreign countries.

ATLANTA UNIVERSITY CENTER COMMUNITY CHOIR WENDELL P. WHALUM, Director HAROLD DEAN TRULEAR, Asst. Director HARDING EPPS, Accompanist

1ST SOPRANO Bessie P. Williams Mary D. Bryant Rodney L. Howard Evelyn Taylor Gayle Davis Georganne T. Sanders Charles Wallace Lillian M. Dunn Huellen Jones TENOR I Gregory King Marilyn Jackson Mary A. Clark Douglas Haynes Benson Cooke Haroldeen S. Murray Hollis Askew Claude Jones Isaac Miller Janet Harris Gloria W. Locke Ernest Council Kenneth M. Hamilton Ruth Pace Sylvia L. Jones Darrel McGhee Greg Morris Robin A. Brown 1ST ALTO Mario Lightfoote Harold Dean Trulear Nadine Dobbins Ophelia Y. Taylor Daryl Allen BASS II Alta King Icey L. Johnson Gregory Stanford John Dameron 2ND SOPRANO Dorothy A. Johnson Ralph Freeman Andrew Jackson Bettye Marable Marian L. Baker TENOR II J. Henry Hopkins III Greta Marable Louise V. T. Flint Philbert Herndon Darwin White Evelyn Sutton Essie J. Eason Paul White Arthur Griggs Roselind Falana Mary V. Amos Donald Swift Harold Henderson Carolyn Irwin Brenda G. Chester John Harris, Jr. Adam Jones III Lynn O'Neal Sharon M. Watson Milton Jones Lewis Lindsey Lenoa A. Great Renee Wilford Von Brown Willie Woodruff Fleda M. Mask Pat Patterson John Willis Danny Chapman Lydia D. Barnette Marilyn Masingale Oliver R. Sueing Lawrence R. Albert Jacqueline Paige Karen Coley Harding Epps, Jr. Ellis R. Mack Janet McCall 2ND ALTO Gregory D. Andrews Carol Upshaw Patrice Jack BASS I Montee Brown Constance Moore Hilda Jenkins Willie Wells, Jr. Willis Bolton Hilda Evans Terrye Barron James Albert Robert Bolton, Jr. D. Ann Turnipseed Lynne Howard Robert Eaton Michael Emerson Hart Angelique B. Banks Pauline M. Clark Myron Jackson Theodore Jones THORNDIKE, DORAN. PAINE LEWIS, INC.

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FIRST VIOLIN BASS TRUMPETS Martin Sauser, Dale Schmidt, John Head Concert master Principal Principal Robert Harrison, Jane Little, Joseph Walthall Associate Concertmaster Associate Principal Larry Black David Arenz John Zugel Oscar Pereira Randolph Ujcich TROMBONES Beniamin Picone Thomas Thoreson Harry Maddox Patricio Salvatierra Michael Kenady Principal Jaqueline Anderson Wiley Weaver Richard Hansbery Barbara Beck Harvey Kaufman Donald Wells Frank Walton Judy Berman Benedict FLUTES BASS TROMBONE Martha Reaves Head Warren Little Donald Wells Susan Pitard Principal TUBA Mary Kay Robinson Paul Brittan James White Benson Prichard Michael Moore Lorentz Otzen TIMPANI Shalom Ben-llri PICCOLO Benson Prichard Eugene Rehm Principal SECOND VIOLIN OBOES Jack Bell Willard Shull, Joseph Robinson Assistant Principal Principal Principal PERCUSSION William Rusconi Eric A. Barr Anita Cahoon Ass't Principal- Jack Bell Alice Oglesby Principal Second Oboe Principal Ronda Respess Patrick McFarland William Wilder Linda Smith HARP Karen Matthews ENGLISH HORN Valerie Gardner Patrick McFarland Judy Beattie Richard Robinson KEYBOARD CLARINETS Edward Scruggs William F. Noll Frances Henrickson Alan Balter Michael Palmer Leslie Clark Principal Frances Arm Norman Baker PERSONNEL MANAGER Stephen Horvath Associate Principal Martin Sauser Robert Wingert VIOLAS Douglas Smith PERSONNEL MGR. EMERITUS Harry Robkin Robert Jones, BASS CLARINET Principal Douglas Smith LIBRARIAN Peter Bertolino Stephen Horvath Enid Jones E-FLAT CLARINET John Detrino Norman Baker STAGE MANAGER Heidi Moss Michael Destazio Robert Parcells BASSOONS Marion Kent Carl Nitchie MASTER ELECTRICIAN Haskell Marrinson Principal Robert Spradlin Ardath Cohen Daniel Dowdakin Assistant Principal CELLOS Charles Nussbaum Donovan Schumacher CONTRA BASSOON Principal Daniel Dowdakin Edmund Basson, Ass’t Principal FRENCH HORNS Jere Flint John Henigbaum Nan Barker Principal Paul Warner Jeanne Andrus Kathleen Kee John Keene Kay Lortz Brice Andrus Bonita Potts Christopher Scheufler Bruce Klingbeil Eleanor Hodges AT THE CENTER, continued 27 & 28 at 8:00. Tickets are on sale now at the Arts Center Box Office. For information phone 892-2414.

THE HIGH MUSEUM OF ART

Museum Presents Exhibition of German Expressionist Graphics An exhibition organized by the Ger­ man Foreign Office, GRAPHIC ART OF GERMAN EXPRESSIONISM will open 'RMpk-Spuh, to the public on Saturday, January 13. German Consul General Roland H. A. 279 EAST PACES FERRY ROAD, N.E. Gottlieb cooperated with the High Mu­ ATLANTA, GEORGIA 30305 seum in making this exhibition, which 233-1179 is currently circulating to museums in the U.S., available in Atlanta.

William E. Rudolph, A. I. D. Helen J. McBrayer, N. S. I. D.

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DUNCAN PEEK INC. Interior with Two Nudes, 1918, a woodcut by Ger­ man artist Heinrich Campendonk (1889-1957). Cam- 1270 TECHWOOD DR., N.W. 'Yf pendonk is represented in the High Museum’s per­ manent collection. ATLANTA, GA. 30318 PHONE: 404 873-1092 The exhibition consists of a group of l 18 woodcuts, etchings, and lithographs, executed between 1906 and 1931 by German artists active during the first half of the 20th century, among them: INSURANCE Lyonel Feininger, Max Beckmann, Otto FINANCIAL SERVICES Dix, Paul Klee, George Grosz, Wassily Kandinsky and Oskar Kokoschka. A fully illustrated catalogue of the ex­ hibition will be on sale at the Museum.

ATLANTA SCHOOL OF ART

First-Year Scholarships Competition Announced The School’s Trustee Operating Com­ mittee has approved a First-Year Schol­ arships Competition for students who THE PINKERTON & LAWS COMPANY will enter the School’s degree program in Member Associated General Contractors of America 2700 Cumberland Parkway, N.W. the 1973-74 academic year. The pur­ Atlanta 30339 / 432-0171 pose of the scholarships is to encourage and enable visually gifted and motivated students to begin their higher-education preparation for careers in the visual arts. Rules for the competition are: CALL US to acquire or dispose of Atlanta land. • Completion of application for admis­ It's what we do best. sion to the School, including port­ folio and all documentation, to be sub­ mitted by Feb. 15. • A statement that the application is for the Scholarship Competition, as well Galen Kilburn & Co. REALTORS as for admission, must accompany 2335 Equitable Bldg . Atlanta. Ga. 30303 each application. Telephone 404/577-8568 • Financial need must be documented by submitting a Parents Confidential Statement to the College Scholarship Service, not later than January 31, 1973, with instructions to the College Scholarship Service to provide analysis of the statement to the Atlanta School of Art, Institution No. 5014. • Only those students who would be primarily first-year students in the School, during 1973-74, will be elig­ ible for the Scholarships Competition. Other scholarships and student finan­ cial aid are available to upper-level students, including transfer students, 4090 ROSWELL RD. who merit such aid. • Finalists will be selected strictly on the basis of merit by the School’s Ad­ missions Committee. All elements of the application for admission will be A better mixed drink considered. The amount of each employees who give a damn award will be determined by the doc­ and an atmosphere both umented need of each finalist—-final­ genuine'and relaxed. ists with no need will be awarded at least a half-tuition grant, while final­ ists with need may be awarded full­ tuition grants plus other financial aid Sant Ls sufficient to meet their total need. All finalists will be announced on or £huim about March 15, 1973. Accredited by both the Southern Asso­ ciation of Colleges and Schools and the National Association of Schools of Art, the Atlanta School of Art is Georgia’s only fully-accredited professional college of the visual arts. Students in the degree­ program earn the Bachelor of Fine Arts degree with possible concentrations in drawing, graphic design, painting, pho­ tography, printmaking or sculpture. For admission applications and information, write Director of Admissions, Atlanta UNDERGROUND ATLANTA School of Art, 1280 Peachtree St., N.E., RESERVATIONS 577-1800 Atlanta, Georgia 30309. (892-3600) Srfud/ie-ndic •fleurdt JANUARY AT THE CENTER SH: Symphony Hall AT: Alliance Theatre a/moojiJieie and ruiaixe HM: High Museum HA: H.ll Auditorium ST: Studio Theatre G: Galleria Dinner For ticket information, call the box office at 892-2414 Mon. — Sat. 6 — Midnight Concerts

FRIDAY. JANUARY 5

(Gospel Singers), • Banquets Andrae Crouch and the Disciples • Parties 8:00, SH. Sponsored by the God’s Forever Family. • Catering FRIDAY, JANUARY 12

Carlos Montoya. 8:30, SH. Famous Artists Series. 60-B Kenney's Alley • Underground Atlanta • 523-6251 SATURDAY, JANUARY 13

Preservation Hall Jazz Band, 8:30, SH. Famous Art­ ists Series.

THURSDAY, FRIDAY AND SATURDAY Crow, Pope and Land Enterprises... JANUARY 18, 19 & 20 Atlanta Symphony, 8:30, SH. Subscription Series. meeting the special needs and Aldo Ceccato, guest conductor. Haydn: Symphony No. 75 in D Major; Stravinsky: Symphony No. 1 in requirements of owners and E-flat Major, Op. 1; Tchaikovsky: Symphony No. 2 in C minor, Op. 17 (“Little Russian”).

investors for successful TUESDAY, JANUARY 30

development and Youth Symphony of Atlanta, 8:00, SH. Peggy Neuen management of conducting.

• Apartments Opera • Condominiums THURSDAY, SATURDAY & SUNDAY • Retail shopping centers JANUARY 25, 27 & 28 Atlanta Symphony. 8:00, SH. Opera II. Robert Shaw • Office buildings and parks conducting. Gershwin: “Porgy & Bess,” concert version. Cast: McHenry Boatwright as Porgy; • Hotels Claudia Lindsey as Bess; Cab Calloway as Sporting Life; Phyllis bash as Serena; Jannette Moody as • Total living communities Clara; Jerry Laws as Mingo; William Dempsey as Crown; Lassaye Holmes as Maria, and the More- house-Spelman Chorus, Wendell Whalum, Director. Crow, Pope & land Condominium Enterprises Crow, Pope & Land Services, Inc. Crow, Pope & Land Management Company High Museum Events Crow, Pope & Land Construction Company High Museum hours: Mon. thru Sat., 10:00 to 5:00; Enterprise Realty & Mortgage Company Sun., 12 noon to 5:00; Thursday evenings until 10:00. Art Shop hours: Tues, thru Sat., 10:00 to CROW, POPE & LAND ENTERPRISES, INC. 4:00; Sun., 12 noon to 5:00; Thursday evenings un­ Executive Offices: 1100 Spring St., N.W., Atlanta, Ga. 30309 til 10:00; closed Mon. Jr. Art Shop hours: Mon., 14041 875-7431 10:00 to 4:00; Sat. and Sun., 12 noon to 5:00; closed Tuesday thru Friday.

CONTINUING THROUGH JANUARY 7

Great American Prizefighters and Other Heroes. HM. An exhibition of recent drawings and watercolors by Atlanta artist Bruce Hafley.

OPENING JANUARY 11 HOUSE /THEBAUT INC. Ed Ross—Investigation and Discovery, HM. A new series of paintings by this noted Atlanta artist. HEDY THEBAUT WILLIAM L. THEBAUT MAY 17, 1971 OPENING JANUARY 13

We Specialize in Graphic Art of German Expressionism. HM. Wood­ Beautiful Lamps and Shades cuts, etchings, and lithographs by German artists Repairing—Custom Styling active during the first half of the 20th century, in­ cluding Paul Klee, George Grosz, Wassily Kan­ dinsky, Max Beckmann. ACCESSORIES - WEDDING GIFTS CUSTOM FLORAL DESIGNS CONTINUING 1973 Telephone 261-4166 Shapes: Adventure and Discovery. HM. Junior Ac­ 3718 Roswell Road, N. W. — Atlanta, Ga. 30305 tivities Center. An exhibition aimed at giving young people a chance to experience how shapes affect space. Open to the public on Saturdays and Sun­ days, 12 noon to 5:00. Adm.: adults, 50c, children, 25c. The exhibition is reserved during the week for GIFTS* CHRISTMhS SHOP«CKAFTS JAC scheduled programs only; closed to the public Mon.-Fri. 5 SUNDAY, JANUARY 7 5 Program of free films, including films by Christo and Smithson. 3:00, HA.

MONDAY, JANUARY 8

Lecture by Dr. Henri Dorra, Professor of Art History at the University of California, Santa Barbara. 8:15. s HA. Free. Subject: “Corot: Poet and Realist.”

THURSDAY, JANUARY 11 3756 ROSWELL ROAD m & r? Lecture by Martin Friedman, Director of the Walter at 2,37-5!1 Art Center, Minneapolis. 8:15. HA. Free. Sponsored by the Atlanta School of Art as part of its Visiting •c/bidldi/oniura in >inf» Artists and Scholars Program. Subject: Contem­ porary trends in the Visual Arts.

WEDNESDAY. JANUARY 17

Perspectives/Architecture — lecture series dealing with the history of church architecture and archi­ tecture of the private dwelling. 8:00, HA. Series Adm.: Members, $5.00; General, $8.00.

THURSDAY, FRIDAY, SATURDAY, SUNDAY JANUARY 25, 26, 27, & 28

Sixth and Seventh International Tournees of Anima­ tion / film festival. Thurs-Sat, 7:30 & 9:30; Sun, 1:30 & 3:30. Adm.: Members, $1.00; students, $1.50; General, $2.00. THERE ARE SO MANY WAYS TO WEDNESDAY, JANUARY 31 COME INTO MONEY

Perspectives / Architecture lecture series. 8:00, HA. Series Adm: Members, $5.00; General, $8.00. ONE IS CERTAIN TO HAPPEN TO YOU.

Theatre When you SATURDAYS, JANUARY 6, 13, 20 & 27 come into money Hansel and Gretel, 11:00 a.m. and 2:00, HA. Pre­ sented by the Vagabond Marionettes. Adm.: $1.00. come into Opening January 6 is a benefit performance with party for the Atlanta Humane Society, adm., $2.00.

THURSDAY, FRIDAY & SATURDAY ANUARY 11, 12 & 13

Jacques Brel Is Alive and Well and Living in Paris, 8:00. AT. Alliance Theatre Company. 1 SUNDAY, JANUARY 14

Jacques Brel Is Alive and Well and Living in Paris, ” The Safe Place 2:30, AT. Alliance Theatre Company. P.O. BOX 1077 • ATLANTA, GEORGIA 30301 TUESDAY THRU SATURDAY JANUARY 16 THRU 20

Jacques Brel Is Alive and Well and Living in Paris, 8:00, AT. Alliance Theatre Company.

SUNDAY, JANUARY 21

Jacques Brel Is Alive and Well and Living in Paris, 2:30, AT. Alliance Theatre Company.

TUESDAY THRU SATURDAY JANUARY 23 THRU 27 Let Cotton States

Jacques Brel Is Alive and Well and Living in Paris, 8:00, AT. Alliance Theatre Company. protect your world.

Films Cotton States

SUNDAY, JANUARY 14 is insurance.

Inside Germany, 2:30 & 7:00, SH. Travelogue Series. SUNDAY, JANUARY 21

Paris of the Parisians, 2:30 & 7:00, SH. Travelogue Series.

ATLANTA'S FEBRUARY AT THE CENTER ACREAGE Concerts

AGENTS Atlanta Symphony, 8:30, Feb. 1 & 2; 2:30, Feb. 4. SH. Subscrpition Series. Georg Semkow, guest con­ ductor. Mozart; Lutoslawski; Wagner; Schumann.

Atlanta Symphony Young People’s Concerts, 10:30 & 12:30, Feb. 5-9; 26 & 27, SH. Michael Palmer con­ FALK REALTY ducting. World’s Greatest Jazz Band, 8:30, Feb. 10, SH. Famous Artists Series.

Atlanta Symphony, 8:30, Feb. 15, 16 & 17, SH. Sub­ 1064 W. Peachtree St., N.W. scription Series. Robert Shaw conducting. Assist­ ing Artists: Janet Stewart, soprano; Seth McCoy, tenor; Barry McDaniel, baritone; The Atlanta Boy Specialists in investment Acreage Choir, Fletcher Wolf, Director; The Atlanta Sym­ 876-1947 phony Orchestra Chorus. Britten: “War Requiem.’’ Developers of fine lake High Museum Events Communities The Washington and Lee Collection of Chinese Ex­ port Porcelain, opening on February 24.

Theatre

The Glass Menagerie, 8:00, Feb. 1-3, 6-10 & 13-17; 2:30, Feb. 4 & 11. AT. Alliance Theatre Company.

The House of Blue Leaves, 8:00, Feb. 22-24 & 27-28; 2:30. Feb. 25. AT. The Alliance Theatre Company. Skye, 2:30, Feb. 3, 10 & 17, AT. Atlanta Children’s Theatre.

Dance

Joffrey II Ballet, 8:30, Feb. 9, SH. Famous Artists.

Films Home of Arizona, 2:30 & 7:00, Feb. 18, SH. Travelogue Series. Regency, Grieco Nepal. 2:30 & 7:00, Feb. 25, SH. Travelogue Series. Middleton Fine Clothes for Men Meetings & Lectures

Frank Bros. Shoes Sales & Marketing Executives’ “Sales Rally,’’ 7:30, B&B Clothes for Young Men Feb. 6, SH. Church of Jesus Christ Latter-Day Saints, 10:00 Miss B&B Sportswear a.m., Feb. 25. SH. Quarterly Conference. for Ladies IN AND AROUND ATLANTA All listings are based on information supplied by contributing organizations. This calendar is offered Parks-Chambers as a community service and is believed to be cor­ ESTABLISHED 1896 rect at time of printing. Organizations wishing to submit material for this column must send copy six DOWNTOWN • LENOX SQUARE weeks in advance of publication date which is the W. PACES FERRY • PERIMETER MALL first of each month. Send copy to: Mrs. Christopher Lee Marshall, 79 Roswell Ct., N.E., Atlanta, 30305. Phone: 266-0194, after 3:00 p.m., Mon.-Fri. Galleries We hove it! Allison Art Acres Gallery and School of Art—3940 N. Peachtree Rd., Chamblee. 457-3080. Paintings in small media; art classes. /omething Artists Associates Gallery—1105 Peachtree St., N.E, 892-7681. Ceramics, graphics, sculpture, and paintings by local and southeastern artists. worth coming Atlanta Artists Club Gallery—3099 Peachtree Rd., 237-2324. 1 /14-21—Special Merit Member Show; 1 /28-2/29—Juried General Membership show. home to...»

Barclay Gallery—3500 Peachtree Rd., Phipps Plaza, 233-8712. Original graphics by modern masters and contemporary artists; Eskimo Stonecuts. 266-2560 Sarah Brown Studio Gallery—3108 Roswell Rd., 3330 PEACHTREE RD.. N.E./ ATLANTA. GA 30326 N.W., 233-1800, 261-2575. New drawings, paintings.

Cathreen's Gallery—516 E. Paces Ferry Rd., 261- 1960. Oils and water colors by award winning con­ temporary artists. Portraits in oils, water colors, pastels by appt. .pRank aLarx me. Creative Cancer Art Gallery—133 Nassau St., N.W., “A new concept in gift giving” 525-3600. Sculpture, oils, lithographs, prints, screens, woodcuts. Professional framing.

Decatur Art Center—113 Trinity Place, Decatur, 378-6441. Thru Jan.—works by Doris Hancock, Walt Dougherty, Louise Ingram, and Willoweise.

The Drexel Gallery—2285 Peachtree Rd., N.E., 351- 1616. Original works by Picasso, Miro, Caider, Hundertwasser. Contemporary graphics; Also 18th. and 19th century oils, and water colors.

Gallerie lllien—123 14th St., N.E., 892-2696. Thru Jan.—paintings by Vincencia Blount.

Gavant Gallery—2126 N. Decatur Rd., Decatur, 634-2340. 115-F Hammond Dr., Sandy Springs, 255-6341. Original graphics, by Chagall, Picasso, Boulanger. Dali, and others.

The Golden Easel—60-F Kenney's Alley, Under­ ground Atlanta, 577-3669. Thru Jan.—paintings of Mickey Burton.

Haber's Art Gallery—3493 Northside Pkwy., N.W., W. Paces Ferry Plaza, 261-9691. Popular name or­ iginal oils and graphics. Art classes, framing. Functional and decorative European crystal is our forte. We have contemporary footed Image South Gallery—1931 Peachtree St., N.W., egg jars and traditionally cut fruit bowls . . . 351-3179. 1/11-2/1—paintings of Herbert Creecy. napkin rings, knife rests, stemware, and Ann Jacob Gallery—8 Woodlawn Dr., Marietta, 971- decanters . . . Crystal for any occasion, 8302. Thru Jan., paintings by James Yarborough, or no occasion. jewelry and enamel paintings by George Garner. NORTHLAKE MALL PHIPPS PLAZA Ray Ketcham Gallery—3232 Roswell Rd., N.W., 237- 934-2957 233 2809 0700. Pre-1930 paintings by Bensell, Bridgman, B. L. Brown. Harrison, Herzog, Inness Jr., Kost, Lewis, Murphy, Ochtman, Robbins, and others.

Eugene O’Karma, Inc.—1050 Spring St., N.W., 874- 9461. Piranesi and Rossini etchings, thru Jan.

Period Pictures, Ltd.—2277 Peachtree Rd., N.E., 355-2431. Thru Jan.—works of Christopher Murphy, 1920-1930—impressionism of South Georgia scenes.

Picture House, Inc.—1109 West Peachtree Rd., N.E,. 875-9341. Fine antique paintings and prints by Audubon, Gould, Redmore Watson, and Schwanfel- der, contemporary graphics by Coudrain, Dali, Cleveland, Moti, Thompson, and Volpe.

Reflections—3445 Peachtree Rd., N.E., Suite One, 262-3800. Specialists in art leasing. Thru Jan., paintings, prints by Pablo Picasso. GOURMET DINNER 7:00 P.M. - SHOWTIME 8:30 P.M. TERRELL MILL RD. OFF MARIETTA 4 LANE HWY. 41 Scott Gallery—525 Pharr Rd., N.E., 233-4994. Thru BY RESERVATIONS ONLY - TELEPHONE 436-6262 Jan., group of 40 artists featuring Mike Greene. The Signature Shop—3269 Roswell Rd., N.W., 225 Peachtree St., N.E., 237-4426. Continuation of Es­ kimo 4; pottery, hand-blown glass, jewelry, toys.

Swan Coach House Gallery—3130 Slaton Dr., N.W., plant lovers 261-0224. Continuous gallery open -to public; juried show of 24 of best Georgia artists.

Twentieth Century Gallery—2289 Peachtree Rd., N.E., 355-0275. Custom framing, original art, rejoice graphics. Old and new prints. W.liens Galleries—349 Peachtree Hills Ave., N.E., 237-2991. Original oils, contemporary and antique, Now, you can select beautiful in a broad range of subjects, periods. live plants and trees from Heath Gallery—34 Lombardy Way, N.E., 892-2277. Thru Jan., prints of Adolph Gottlieb. Plantscape House, Atlanta's completely professional indoor planting specialist. Be sure Special Exhibitions to see our plants performing Agnes Scott College—Dalton Galleries. Dana Fine Arts Bldg., E. College Ave., Decatur, 377-1200. in the main lobby. 1/14-2/21, Student Art Exhibit.

DeKalb College—Fine Arts Bldg., 555 N. Indian Creek Dr., Clarkston, 292-1520. 1 /12-19, paintings of Nancy Rogers. Atlanta Antiques Show—1/6-1/10, Civic Cenler.

Emory University—1/18-19, exhibition and sale of graphics, prints, drawings by Lakeside Studio. Annex B, Clifton Rd.

Georgia Institute of Technology—Student Center Art Gallery. Thru Jan., works of students of Faye Plantscape House Gold. 432-7157 Oglethorpe University — University Art Gallery — Lowry Hall. Thru Jan., Artists Choice—Ben Smith selects paintings and sculpture by area artists.

Theatre

Barn Dinner Theatre—1690 Terrell Mill Rd., S.E., Marietta, 436-2662. Dinner at 7:00, performance at 8:30. Boys in the Band, 12/28-1/21; Half Way up a Tree, 1/24-2/18.

No, No, Nanette—1/9-1/14, 8:30. Civic Center. Famous Artists.

Academy Theatre—3213 Roswell Rd., N.E., 261-8550. Coming Together, by Susan Yankowitz in collabora­ tion with the Academy Theatre Ensemble. Directed by Frank Wittow; designed by Richard Hamner. 1/18-2/24, Thurs-Sat, 8:30.

Jesus Christ Superstar — 1/23-1/25, 8:30. Civic Center.

STRIKE A HE A L THY NOTEh

The Atlanta Nutrition Centers, Inc.

571 Peachtree St., N.E. 872-2297 1385 Oxford Rd., N.E. South DeKalb Mall 373-2032 243-1681 Winter Play Season—Peachtree Playhouse, 1150 Peachtree St., 252-8960. Summer and Smoke, starring Eva Marie Saint—1/23-28; The Effect of Gamma Rays on Man-in-the-Moon Marigolds, star­ ring Shelley Winters—1/30-2/4. Performances Tues.- Fri. 8:30, Sat. 3:00 & 8:30. Sun. 3:00 & 8:00. IT PAYS TO BUY “BLUE CHIP” Known for more than a Concerts century for its personal­ ized service to policyhold­ Emory University's Festival of Music—All perform­ ers, Connecticut Mutual ances at Glenn Memorial Auditorium except Cornell Glee Club. 1/7—Baroque Trio, 4:00; 1/14-—organist Life is the “Blue Chip” John Piser, 4:00; 1/14—organist John Kiser, 4:00; 1/16—Cornell Glee Club, 8:15, Alumni Memorial Company. Our sole pur­ University Center; 1/19—pianist Allen Kindt, 8:15; pose is to provide the 1 /26—Vocal Chamber Music of Handel and Haydn, 8:15; 1 /30—Concerto Soloists of Philadelphia, 8:15, finest possible life insur­ Flora Glenn Candler Concert Series. ance at the lowest pos­ Georgia State University—Recital Hall. 1/16—Irene Callaway, soprano, and Peter Harrower, bass-bari­ sible cost. tone, 8:15, Faculty Series; 1/21—Virginia Hutch­ ings, pianist, 3:30; 1/23—Chamber music, 8:15 Fac­ So when you think of ulty Series. life insurance, think “Blue Ferrante & Teicher—1/20, 8:30. Civic Center. Fam­ Chip” . . . think Con­ ous Artists. necticut Mutual. All Saints’ Episcopal Church—634 W. Peachtree St. 1/21—Organist Gregory Colson and members of the Atlanta Symphony Orchestra conducted by Michael Palmer, 4:00. James T. Mills, General Agent Agnes Scott College—Presser Hall. 1/26—Piano 705 Fulton Federal Bldg., recital by Jay Fuller, 8:15. Atlanta, Georgia 30303 Liberace—1/27, 8:30; 1/28, 3:00. Civic Center. Famous Artists. Connecticut Mutual Life 1/31. 8:30. Civic Center. All Star Joan Sutherland— THE BLUE CHIP COMPANY . SINCE 1846 Concert Series.

Dance

Ballet Folklorico of Mexico—1 /26, 8:30. Civic Cen­ ter. Famous Artists. Mt WRECKING BAK INC. Children

DeKalb College—Fine Arts Auditorium. 1/16—De­ Kalb College Symphony Orchestra children’s con­ cert. 8:00.

Fernbank Science Center—156 Heaton Park Dr., N.E. Planetarium program for January, “Panorama ’73,’’ a preview of astronomical events in 1973, Sat. 11 & 3, Sun. 2 & 4. Tues.-Fri. 8:00, closed Mon. Adults $1.00, students 50c. -Also, observatory (Fri. nights), bookstore, library, exhibits. Informa­ tion: 378-4311. Arc h i t e c t u ? al Antiau.es

EUROPEAN & providing indoor comfort for Atlantans since 1898 DOMESTIC we specialize in air conditioning hard-to-cool homes & offices 292 Moreland Ave., N.E. 935 Chattahoochee Atlanta, Georgia Phone 351-3611 404 - 524-7117 Illi Atlanta Arts Monthly magazine of the Atlanta Memorial Arts Center 1280 Peachtree Street, N.E. Atlanta Georgia 30309

JANUARY 1973 VOLUME V ISSUE 4

THE ATLANTA ARTS ALLIANCE William C. Herring President James K. Griffeth Controller THE ATLANTA SYMPHONY ORCHESTRA Frank Ratka General Manager Richard W. Thompson Assistant Manager THE HIGH MUSEUM OF ART Gudmund Vigtel Director Miss Paula Hancock WIGGINS AND COMPANY, INC. Curator of Education THE ATLANTA SCHOOL OF ART John H. Rogers Dean Mrs. Guthrie Foster 3838 First National Bank Building Assistant Dean THE ALLIANCE THEATRE COMPANY Atlanta, Georgia 30303 David Bishop Managing Director

PARKING FACILITIES Center Parking garage with covered parking direct­ ly adjacent to Center, entrances on Peachtree and Lombardy Way; also commercial parking across from Peachtree entrance to Center, and north of First Presbyterian Church. BOX OFFICE Telephone: (404) 892-2414 Hours: Monday 9:30 a.m. - 5:30 p.m.; Tuesday thru Friday noon - 8:00 p.m.; Saturday noon - 8:00 p.m.; Sunday noon - 3:00 p.m. The Memorial Center Box Office handles tickets for the Atlanta Symphony, Atlanta Children’s Thea­ tre, Alliance Theatre Company, Atlanta Mus.c Club Membership Series, Famous Artists Series, Atlanta -'FlNeTLAMTATTON SPECIALTIES Hawks, Theatre Atlanta Off Peacniree; all I iCKeiron events, also, on night of performance, all tickets for ikThe. Best tradition of the. any event scheduled in the Memorial Arts Center. OLP South- - Noon BUFFET1 - MON -B'r.T- TOURS For information on regular weekday tours or group - Special Sunday'Buffet tour arrangements, call (404) 892-3600. - Banquet FTlcilitibs Tor roups rom I5-G5O RESTROOMS G F Located off the Galleria Balcony across from both Symphony Hall and the Alliance Theatre. Also lo­ cated adjacent to the balcony lobbies inside Symphony Hall.

OUR COVER — Alliance Theater Company’s Season 73 opens January 11 with “Jacques Brel Is Alive GOODMAN and Well and Living in Paris.” Season tickets now on sale.

ATLANTA ARTS Magazine is published for the Atlanta Memorial Arts Center, by The Conger PAINTING & Printing Co., Inc. in Atlanta, Georgia. All rights to WALLCOVERING Atlanta Arts are reserved by the Atlanta Memorial Arts Center. Reproduction from this magazine in whole or in part without permission is prohibited. Editorial Office, 146 Marietta St., N.W., Atlanta 30303, Phone (404) 524-6700. ATLANTA L. W. CONGER, JR. LIZ GILLIAM 872-5846 Publisher Editor GAIL MARSHALL ERNEST DeVANE In and Around Atlanta Art Director ^k A picturesque background / ^k I flBSB^ .fl combining a nature-filled river terrain, the * quiet enchantment | °f the small town of ■ fl ■ ■ ■ fl’fl “ Vinings and an ex- ■■ W elusive New

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