Word: choruses
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Dates: during 1950-1959
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...concession to the inadequacies of the organ, timpani were used with powerful and at times terrifying effect. But the apocalyptic climaxes were achieved at the price of turning the second chorus into a kettledrum concerto, and the theatricality of this novel compromise did not blend well with the rest of the performance...
...chorus showed signs of the strain of singing against the organ, and the big sections were loud without being rich and full. The quieter sections were much better; the pianissimos of the opening chorus proved far more dramatic than the fortissimos of the brawling final chorus...
...soloists, two of the chorus' old reliables, also had a rough evening. Thomas Beveridge was the victim of miscasting: his voice is too light for this particular part. O'Brien Nicholas struggled with the bewildering problem of keeping on pitch under the doubtful guidance of an organ. Her intonation difficulties were redeemed by the charm of an incredibly lovely voice which seemed to take on a personality of its own amid the weird atonality...
...marred the performance (at one point the entire performance had to stop and start some measures back), there was also a great deal of beauty. The Requiem is long, even with two movements omitted, and often repetitive. Professor Woodworth did not allow it to fall asleep. He used the chorus in such a way as to provide the greatest possible contrast to the organ; and even if the chorus has sometimes sounded more polished, its performance was, under the conditions, nothing to be ashamed...
...only complaint is that such an experienced group with a traditionally high standard ought not to attempt such a large work on the side, so to speak, while it was preparing for the Boulanger concert. The Brahms Requiem deserves the full attention of any chorus. It also deserves an orchestra...