Word: preger
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Dates: during 1950-1959
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...were lacking. The motet, "Non vos relinquam," by Byrd, should probably have to tempi, although the remarkable voice registrations, involving a very high tenor, were brought out well when the wind obliged. Even the Maelstrom, however, could not have drowned out the rhythmic and almost percussive phrases of the Preger "Sanctus," a work of dubious musical worth, and even less liturgical relevance. Completing the serious part of the program were Dvorak's charming "Maiden in the Wood," and Milhaud's "Psalm 121," a rather nondescript work sung in a nondescript manner. A humorous song, "Casey Jones," provided the transition...
...contemporary works on the program provided an interesting contrast. Three movements of a Mass for Three Men's Voices by Leo Preger, receiving their first performance anywhere, showed that Preger's style is stark, powerful, and extremely difficult. The Harvard Glee Club's performance was excellent, bringing out the drama of the music without sacrificing good tone in the process. The Smith chorus gave an equally fine performance of Richard Winslow's Huswifery. This piece was more singable and less dissonant than the Preger, but was still a forceful work, with a wonderful melismatic climax on the words "Thee Glorify...
Beginning of the End. Then, for another $150,000. Schlesinger offered to sell half interest in an option he claimed his mother held on another Louisiana oilfield. McCulloch was more cautious this time. He told Schlesinger that he wanted Mrs. Williams' financial adviser, Paul Preger, to confirm an agreement whereby Mrs. Williams would indemnify McCulloch if the deal fell through. Schlesinger. who was vacationing in Mexico, flew to Dallas, spoke to McCulloch's confidential aide, Joseph Hegener, on the phone, pretending he was Preger, confirmed the deal and sent a wire signed "Preger...
McCulloch sent along his check for $150,000, part of which Schlesinger turned over to Van Cleef & Arpels. Then Hegener, trying to recheck some details with Preger, reached him at a St. Louis hotel, found that he had not been in Dallas and listened in horror while the real Preger told him that Mrs. Williams had no interest in the oil properties. McCulloch stopped payment on the check. Thus, when Van Cleef & Arpels tried to deposit Schlesinger's check, it bounced -and Hogan's office started to investigate. At week's end Hogan was still looking...
...conveyed this sense of restriction. Set to poems by Charles D'Orleans, a medieval courtier-poet, the chansons caught the naivete, humor, as well as the basically tragic outlook which characterizes much of the courtly literature. The only contemporary works on the program, a group of motets by Leo Preger, effectively dramatized some familiar Scriptural quotations...