Word: glees
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Dates: during 1960-1969
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When the Harvard Glee Club puts together a concert, it builds on a rock-solid foundation--tradition. Since the turn of the century when it was billed as America's leading male chorus, its footing has slipped a little, but it has become a symbol of undergraduate spirit as well as the standard bearer of varsity choral singing. Last Friday evening's concert glowed all over with a warm sense of nostalgia and not infrequently caught fire with the best that 100 years of singing has to offer...
...Glee Club's sound, when broken down by sections, is a bit uneven. In particular it lacks a bass section with the rich, grounded sound found, for instance, in Orthodox liturgical choirs. The shallowness of sound and the noticable failure at the "Many Brave Hearts are Asleep in the Deep" bottom of the range are most likely the direct consequences of youth and the luck of the draw, since the club depends on an uncertain pool of transient talent. As for baritones, director Elliot Forbes seems to have struck a rich vein since the section contains at least three...
...performance exhibited the meticulous preparation that one expects from the Glee Club. Forbes is a conscientious conductor and he shapes dynamics, attack, and tone quality to create beautiful and exciting effects. In the motets by contemporary composer Rev. Russell Woolen which opened the program, Forbes drew out a line that repeatedly swelled and subsided. The effect reflects the performance practice of traditional Gregorian Chant and adds a physical dimension to the musical sensations...
...Chanson a Boire" by Francis Poulenc, dedicated to the Glee Club in 1922, was a spirited piece that ended with a hilarious barnyard of beeps, cackles, and swoops...
SINGING before a packed house at Sanders Theater Friday evening, the massed forces of the Harvard Glee Club and the 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...