Word: gastoldi
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Dates: during 1940-1949
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...that the cadenees of Allegri's "Mjserero" were well-defined, she said "cadence, shmadence," so we let it go at that. In addition to this work, the Glee Club sang three canons of Mozart, "To Thee Alone Be Glory" by J. S. Bach, and selections of Paine, Webbe, Allegri, Gastoldi, and Piston, all of them with precision and clearness, but they were partly wasted in the Yard, where acoustics are conspicuous by their absence...
...renditions of love songs from "Liebeslieder Walzer" by Brahms, the Crimson exhibited feeling and restraint which directly rested upon the use of covered-tone throughout. Similarly in the treatment of "A Lieta Vita" in the Gastoldi trie the Club's controlled vocal quality, which had to overshadow the same mechanical lack of sponaneity apparent in the opening number, "Glorius Appollo," triumphantly impressed itself...
...concerts will consist of the following selections: "Harvard Hymn" by William Howard Payne '69; "On Thou the Central Orb" by Gibbons; "Three Italian Madrigals," one by Mounteverdi and two by Gastoldi; "Pianola D'Amore" from "Four Choral Patterns from the New Yorker" by Irving G. Fine '38 with verse by David McCord '21; and choruses from "Patience" by Gilbert and Sullivan...
Harvard's portion of the program featured two madrigals by Gastoldi and choruses from "Patience," by Gillbert and Sullivan. After several offerings by the Smith Glee Club, the two groups combined to sing three pieces by Hindemith and a selection from Handel's "Solomon." There was a dance after the performance...