Word: version
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Dates: during 1950-1959
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...House's damage. The Senate Appropriations Committee voted out a $34.5 billion defense bill restoring $970 million -85%-of the real meat the House had chopped off. Prospect: passage by the full Senate this week, followed by a compromise measure a lot closer to the Senate's version than to the House...
Since January, Eastland had kept the Administration bill in a tight committee grip. Meanwhile, the House went ahead with its own version, beat off Southern attempts to enfeeble it with amendments (TIME, June 24), finally last week passed it by a vote of 286 to 126. By the usual procedure, under Senate Rule 25, the House's bill seemed headed for the Eastland committee. But California's Minority Leader William F. Knowland was ready with a fast parliamentary ploy: he invoked 80-year-old Rule 14, under which a member can request that a House-passed measure...
...death, better composers than he utilized some of his reforms, while Orfeo all but disappeared from the standard repertory (the Met revived it two years ago). Now the endless search for operatic treasure has driven the recordmakers back to Gluck; both Epic and Decca have issued nearly complete versions of the opera (and RCA Victor is recording its own version in Rome...
...recordings of Orpheus and Eurydice break with tradition by casting a male singer as Orpheus, normally sung by a contralto. (Gluck himself wrote the role for a male contralto, later rearranged it for tenor in Paris, where castrati singers were frowned upon.) Of the two versions, Epic's (in French) is more authentic historically, but less effective, chiefly because Canadian Tenor Leopold Simoneau's silver-hued voice seems less moving in the role of the suffering Orpheus than the lyric baritone of Dietrich Fischer-Dieskau, imaginatively cast by Decca in its German-language version. The supporting casts...
After a brilliantly witty commentary, Walter Piston '24, Namburg Professor of Music, conducted his own immaculate "Divertimento for Nine Instruments." Robert Brink was the fine soloist in the first local performance of the revised version of Alan Hovhaness' Concerto No.2 for Violin and String Orchestra, a rather bland neo-modal work. Carl Ruggles' extremely dissonant Angels was written for either string or brass ensemble; the performance here by strings could not equal the extraordinary effect that three trumpets and five trombones can achieve. The concert ended with Daniel Pinkham '44 conducting the combined chorus and orchestra in his new Wedding...