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Word: choir (lookup in dictionary) (lookup stats)
Dates: during 1960-1969
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Usage:

...Jacqueline Kennedy, black-draped in the pew ahead, and received an icy stare in return. Such soulful spirituals as My Heavenly Father, Watch Over Me and If I Can Help Somebody were rendered so poignantly by Contralto Mary Gurley and Mrs. Jimmie Thomas, a soprano, of the Ebenezer Church Choir that Singer Mahalia Jackson, the misty mistress of mourning, began to weep silently...

Author: /time Magazine | Title: Nation: King's Last March | 4/19/1968 | See Source »

BELL TELEPHONE HOUR (NBC, 6:30-7:30 p.m.). "Going to Bethlehem." Highlights of last spring's annual Bach Festival in Bethlehem, Pa., featuring Soprano Judith Raskin, Bass Cesare Siepi and a 200-voice choir...

Author: /time Magazine | Title: Television: Apr. 12, 1968 | 4/12/1968 | See Source »

...Radcliffe Choral Society, under the direction of Elliot Forbes, unleashed a mighty force de frappe in a program calculated to drive the audience into an unholy frenzy. The first half featured delicate works by Elizabethans William Byrd and Thomas Tallis and neo-Elizabethan Benjamin Britten. But after intermission the choir was joined by the Harvard-Radcliffe Orchestra in a performance of Carl Orff's Carmina Burana, a bacchanale celebrating the headiest side of springtime...

Author: By Lloyd E. Levy, | Title: Harvard Glee Club | 3/25/1968 | See Source »

...pieces by Britten with an exaggerated stereophonic effect. In the Choral Dances the sopranos (for the first of many times during the evening) failed to negotiate wide leaping sections in a high register. The result was a forced tone and faulty intonation. All four sections of the choir had this difficulty whenever the untrained voices moved out of comfortable singing ranges or attempted passages of uncommon technical difficulty...

Author: By Lloyd E. Levy, | Title: Harvard Glee Club | 3/25/1968 | See Source »

...both music and text Carmina Burana is about the body, and it rarely even pays lip service to the soul. Under Forbes' vigorous direction, chorus and orchestra turned every available muscle to the task and produced violently contrasting dynamics and bruising rhythmic drive. The choir commanded a seemingly inexhaustable supply of volume which swept in wave upon wave, a high powered form of the "Bolero" crescendo. The attacks of the chorus and orchestra were explosive and for the most part precise...

Author: By Lloyd E. Levy, | Title: Harvard Glee Club | 3/25/1968 | See Source »

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