Word: minors
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Dates: during 1940-1949
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...minor part of an unsatisfactory situation remained. As chief of the Fourteenth Air Force, Claire Chennault was still under the command of Lieut. General Joseph W. Stilwell, who is no airman, yet has no other fighting command in China. But airmen could see that the situation was much improved...
Happily enough, the at best spotty program started off well, with Malcolm Holmes conducting the "Let Us Now Praise Famous Men" of Vaughan-Williams. The choruses were together and the orchestra was with them. The horns made one or two minor mistakes but if the rest of the evening had been foreseen, a minor victory would have immediately been registered. Immediately following this, G. Wallace Woodworth led the Radcliffe group through the oft-repeated Purcell "Nymphs and Shepherds," two choruses of Bela Bartok and the Schubert "Valses Nobles," the latter being one good reason why transcriptions should be made with...
Following a surprisingly capable performance of Purcell's "Andante in F Sharp Minor" and a more than welcome ten minute respite, the Brahms Requiem, minus one chorus, was heard. The music was written from 1867 to '72 in memory of his mother's death. Brahms disliked religious dogmatism the religious mysticism so common to Bach. The Requiem is expressive in a manner peculiar to Brahms, and all its beauty and emotional intensity was seen in a few scattered passages of the performance, such as the solos by Miss Marjorie Rice and Paul Tibbetts. But in general the effect was tiring...
...lack any structural form and wandered aimlessly through a series of cacophonous variations on the first subject. The second movement, valse, combined an absurdly technical display by the soloist with a weak background on the strings. Several abrupt pauses in the final movement punctuated the variations on the G-minor theme. Noel Coward's description of Dukelsky's operetta "Yvonne" as "Yvonne the Terrible" might well be extended to include this concerto...
...there were no redeeming features in the other two selections on the program. Burgin's direction of Haydn's C-minor Symphony lacked the lustre and precision of a Koussevitsky' performance; the first movement of Mahler's Third Symphony was nearly as oppressive as the full six movements would have been. The evening proved conclusively that it takes more than a good soloist and a good orchestra to make a good program...