Word: adieu
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Dates: during 1920-1929
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...program for Friday is as follows: Break Forth, O Beauteous Heav'nly Light Bach Adoramus Te Palestrina We Praise Thee Schvedov Fire, Fire, My Heart Morley Russian Folk Songs Song of the Lifeboat Men Fireflies At Father's Door Adieu, Sweet Amarillis Wilbye Drake's Drum Coleridge-Taylor Pirate Song Gilbert The Hunter's Farewell Mendelssohn Ye Watchers and Ye Holy Ones 17th Century German Melody
...program is as follows: 1. Adoramus Te Palestrina Cherubic Hymn Tschesnokov Break Forth, O Beauteous Heav'nly Light Bach The Harvard Glee Club 2. Fantasia, F minor Chopin Prelude (Posthumous) Chopin Mazurka Chopin Etude Chopin Mlle Novaes 3. Adieu, Sweet Amarillis Wilbye Vieille Priere Bouddhique Boulanger Now is the Time of Christymas Bax (Flute-obligato by Georges Laurent) Choral Hymns from the Rig-Veda Holst Hymn to Manas--Hymn to Soma --To Agni The Harvard Glee Club 4. El Albaicin Albeniz Mephisto Valse Liszt Mlle, Novaes 5. Pirate Song Gilbert...
...program will be as follows: Adoramus Te, Palestrina Cherubic Hymn, Tschesnokov Break Forth, O Beauteous Heav'nly Light, Bach Fire, Fire, My Heart, Morley Vieille Priere Bouddhique, Boulanger Soloist, George Renwick '24. Adieu, Sweet Amarallis, Willdye Choral Hymns from the Rig-Veda, Holst Hymn to Manas Soloist, L. R. Ring 1G. Hymn to Soma To Agni Pirate Song, Gilbert Soloist, M. L. Brown '25. Russian Folk Songs Song of the Lifeboat Men Soloist, J. E. Mitchell 1L. Fireflies At Father's Door Drake's Drum, Coloridge-Taylor
...Mitchell 1L. will be the soloists. The program will be as follows: Crucifixus Bach We Praise Thee Schvedov Tenbrae Factae Sunt Palestrina Break Forth, O Beauteous Heav'nly Light Bach Fire, Fire, My Heart Morley Salamaleikum, from the "Barber of Bagdad" Cornelius Soloist, C. M. Hastings '25. Adieu, Sweet Amarillis Wilbye Drake's Drum Coleridge-Taylor...
...until he has gone far afield in search of new Molochs. And the blushing maiden, too, is not satisfied until she has set on a pedestal an idol, at which she may gaze with fond adoration. A Farrar, who made the flappers shriek with grief as she bade them adieu from the stage of the Metropolitan Opera House, or a passionate twentieth century Valentine, who makes his audience stare with awe as he wrecks the lives of tearful cinema ladies, may easily become, the objects of feminine idolatry...