Word: second
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Dates: during 1870-1879
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PROFESSOR PAINE'S piano recitals will begin on the second Thursday after vacation, in Boylston Hall, at half past seven o'clock...
...both sides, and the first round was given to Mr. Bryant. After an interval of two minutes, they again came forward; the round was well contested, Mr. Bryant showing great skill in his cross-counters. This round and bout were decided in Mr. Bryant's favor. Then followed the second fencing-bout between Messrs. Cushing, '78, and Churchill, '79. The contestants being smaller men, and nearer of a size than the preceding pair, handled the foil more gracefully. The bout was given to Mr. Cushing...
Next came the second bout of the middle-weight sparring, between Messrs. Wiley, '77, and Blaine, '78. Although Mr. Wiley was pitted against a man considerably taller and heavier than himself, he proved himself the more scientific boxer of the two, and, after the first round being hotly contested, was awarded to him. In the second round some very heavy blows were exchanged, and a good deal of science displayed in face parries. As the judges disagreed about this round, it was fought over again, and after much hard work on both sides, the round and bout were decided...
...third bout of the middle-weight sparring, and appeared the most evenly matched in size and weight of all the pairs. This round was very spirited, and both contestants showed a familiar knowledge of the gloves. The round was won by Mr. Bryant, as was also the second round and the bout. It remained to decide the last bout of the middle-weight sparring between Messrs. Bryant and Wiley. This first round was by all odds the most interesting feature of the day's sports. Mr. Wiley was very cool and collected. The contestants closed and did lively work, which...
...orchestral pieces, the March from Mendelssohn, at the beginning of the second part, was in our opinion by far the best. The peculiarly calm, finished, and classical style of the author was rendered in a style which showed careful practice and artistic appreciation on the part of the orchestra; but to Jungmann's "Heimweh" we cannot conscientiously say justice was adequately done. The rich sweet chords of Fesca's trio for piano, violin, and 'cello by Messrs. Deane, Taussig, and Apthorp were happily expressed, though more practice would undoubtedly be followed by greater proficiency...