Word: bache
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Then there is the outer sphere of the Harvard musical universe: the Graduate Chorale, radio station WHRB, the Gilbert and Sullivan Players, the Bach Society Orchestra. The Graduate Chorale is a totally voluntary, no-auditions-required group designed to put a little enjoyment and art into the lives of library-bound grad students...
...Bach Society Orchestra is in a class by itself. Unlike the HRO, it is organized and conducted entirely by students. It is a chamber-sized group, usually performing music suited to its dimensions and wisely refraining from competing with the much larger HRO on its own terms. Nonetheless, it does have to draw from the same pool of musicians and attempt to attract the same audience, and is constantly struggling to maintain itself alongside the more prestigious HRO. When the HRO is up, the BSO is down and vice versa. Since the advent of James Yannatos as conductor...
...possessiveness with regard to personnel, resisting their involvement in any other organization or activity. Equally famous is the hauteur of the Glee Club which, as one member put it, is as much Club as it is Glee; or of WHRBies who walk around wearing "Mozart Forever," and "Back to Bach" buttons but who never deign to attend concerts, in the apparent belief that music produced by plastic discs and dials and buttons is superior to that of live performers...
...Radcliffe Music Club. Considering the near-universal interest and participation in musical activity at Harvard, there is really no need for an organization with as catholic pretensions as a title like that would indicate. At this point, the Music Club is little more than the administrative arm of the Bach Society Orchestra. In the face of the existence of another orchestra and a spontaneously active musical community, the Music Club this year sought to justify its existence by assuming a character of unbearable insularity and a more-musical-than-thou arrogance that was entirely unjustified, unnecessary and possibly even harmful...
...productions. Last year there were productions of Stravinsky's L'Histoire du Soldat. Mozart's Don Giovanni and Britten's The Turn of the Screw: this year it was hard to decide whether to be more impressed by Leverett's production of The Marriage of Figaro or the Bach Society-Music Club concert performance of Fidelio. The more ambitions these projects become, the more time, money and professional assistance are necessary to carry them off. Sometimes one of these works is lucky enough to get the intensive study and careful preparation is deserves, as in the case of Figaro. Occasionally...