Word: songs
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Dates: during 1950-1959
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...best efforts last week television dropped the boy-meets-girl formula in favor of separating the sexes. The women took superb command in Maurice Evans' production of The Cradle Song, a fable about a love affair between an abandoned infant and the nuns of a Spanish convent. Visually, it was as attractive as anything seen this year, with the beautiful faces of novices hanging raptly over the child's crib and their lullabies blending with the plainsong devotions from the chapel. The play was dreamlike, as sweet as a sugar bun and scarcely more substantial...
...full of bewitching sonorities that listeners were just becoming adjusted to it when it ended. A nice antidote to this was Copland's durable old (1925) jazzy Music for the Theater. After the intermission. Hungarian Soprano Magda Laszlo. in her U.S. debut, sang solos in Dallapiccola's song trilogy, An Mathilde; its rich-hued. profoundly melancholy finale had to be repeated after a storm of applause. And Schoenberg's freewheeling arrangement of a Handel concerto grosso, Concerto for String Quartet and Orchestra (featuring the Juilliard Quartet), was just puzzling enough to make a satisfying finale...
Your April 16 article on the Washington Post refers to that paper as "celebrated in song by John Philip Sousa's march bearing its name." For years Sousa led the famous U.S. Marine Corps band quartered at Marine headquarters, Washington, D.C. - long known as the Washington post of the Marine Corps. I therefore contend that this martial air of Sousa's is the "Washington Post March" and not that of the Washington Post...
Best of the newcomers is Britain's Chris topher Logue, who brings to the naked charms of his ladylove the sensual splendors of The Song of Solomon. For other issues, Tambi hopes to secure poems from Dame Edith Sitwell and T. S. Eliot...
...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 to a rousing series of Harvardiana, in which all participated. The Freshman Glee Club sings next Tuesday. We should pray for a windless Harvard Yard...