Word: glees
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...predictions Hathaway's Fidelio should have been a failure. That it was certainly not. Using the Bach Society Orchestra as a base, he managed to assemble many of the best instrumentalists at Harvard; for his chorus he drew heavily from the Glee Club and the Radcliffe Choral Society. It is a tribute to his musicians' intelligence and ability to sightread, and to his own assiduity and seriousness as a conductor, that they got through the music as well as they...
...school-college 5--Possible problem 5--high school Extracurricular at Harvard Athletics at Harvard Personal 1--Crimson 1--Football S--Scholar 2--Advocate 2--Track A--Athlete 3--Yardling 3--Hockey M--Music 4--Orchestra or Bach 4--Crew D--Drama 5--Band 5--Swimming X--Exotic 6--Frosh Glee Club 6--Squash, Tennis E--Extracurricular 7--Drama 7--Soccer W-Writer 8--Freshman Debating 8--Lacrosse R--Art, Photography 9--WHRB 9--Basketball G--General excellence in two fields or more 0--Freshman Council F--Fencing B--Baseball W--Wrestling
...take him from one store-front to the next. The driver would park in a nearby dark alley and go inside to bring the Lindsayite store-manager back to the car for a hurried conference. This masquerade was kept up until election day. Then, with a school boy glee, Ungar walked into a storefront and introduced himself as both Al Ungar and Mr. Ragic...
...Harvard Glee Club and Radcliffe Choral Society are like latterday minstrels; they perform all over the world but only a few times a year in Cambridge. Perhaps this is why last Friday's concert at Sanders sounded a little hasty, like a glorified after thought. The program was a long and challenging collection of renaissance, baroque, and contemporary music, and the performance showed an excellent grasp of several styles of 20th century music. But the first half of the program, devoted to early music, was less successful, in part because of the simple unwieldiness of such a large chorus...
...problems the Glee Club encountered in Carter's Emblems were more the fault of the compose than of the performers. Carter takes a perverse delight in setting words in unnatural ways, distorting normal word and sentence rhythms. The music itself, after a pedantic first section, gets underway with a piano interlude introducing the second, the builds to an exciting climax in the third and final section. The performance followed the same patter; the first part, although competent, was somewhat static, but the rest was magnificent...