Word: chorales
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Dates: during 1950-1959
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Unfortunately, having launched a top-notch series, the sponsor (Lincoln) marred it by ill-chosen sales pitches. In the midst of Beethoven's biggest score was a commercial with slick, whiny music (written by a freelance arranger named Mitch Lee). And immediately after the triumphant choral movement, while the timpani had scarcely stopped vibrating and the listener was still under the spell of the music, an oily announcer's voice heralded a "visit with Mrs. Igor Cassini," who then proceeded, on film, to demonstrate the charms of the new Lincoln Continental...
...Choral Voice. While their words spread out across their world, John, 59, and Mike Cowles, 55, hold two or three half-hour phone calls a week, brief each other on their sessions with distinguished friends. They seldom need to coordinate editorial viewpoints. John may be closer to the famous-Nehru, Eden, Eisenhower -and Mike may lead a more spectacular private life: his present wife is his fourth; his third was tempestuous Fleur Cowles, editor of the avant-gaudy monthly Flair, which failed after twelve issues in 1951. But with identical backgrounds (Exeter, Harvard, Des Moines city rooms), the two brothers...
...Requiem proved to be a long, elaborately orchestrated work, so sprightly that it seemed better suited to a festival than a funeral. The choral parts suggest passion rather than piety; the orchestra skips and trips along with a fine comic invention. The work is at its most exuberant in the solo parts, which are as warmly melodic as the love songs of Italian street singers. Many an Italian requiem, including Verdi's, is shot through with operatic overtones, but Cimarosa's work verges on opera so closely that it requires only the substitution of a bedroom plot...
...particular interest was the first appearance in Cambridge of Elliot Forbes as conductor of the Glee Club, although he led the Radcliffe Choral Society here recently. The inevitable comparisons between him and Professor Woodworth will probably be being made for some time to come, for their approach to choral singing and style of conducting are quite different. The emphasis on diction which was a trademark amounting almost to a fetish in past years has been relaxed, allowing for a smoother, more fluid performance, but sacrificing the percussive element to some degree. There seems to be less attempt at choral "effects...
...Choral Society came back for six shorter numbers, including two charming German pieces, Brahms' "Der Brautigam" and Dvorak's "Das Voglein." Soloist Vivian Thomas performed capably in Moussorgsky's "Chanson D'Enfant," and Kodaly's "The Angels and the Shepherds" provided a nice finish to a long evening. Judging from Thursday night, this year is not an off-year for either singing or dancing at Radcliffe...