Word: vocalizing
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Dates: during 1950-1959
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...self-conscious style which underlines the primitive qualities of the blues with malice, aforethought. Characteristics: an unrelenting, socking syncopation that sounds like a bull whip; a choleric saxophone honking mating-call sounds; an electric guitar turned up so loud that its sound shatters and splits; a vocal group that shudders and exercises violently to the beat while roughly chanting either a near-nonsense phrase or a moronic lyric in hillbilly idiom...
...Mass, into the happy and festive key of D-Major. Performance enormously impressive. First two parts conducted by Cornelia Davenport, last three by Allan Miller. Choristers obviously very carefully rehearsed; tone lacked full-bodied resonance, but mustn't expect from them the quality of Mr. Woodworth's varsity singers. Vocal soloists adequate for the most part. No small amount of the overall impressiveness due to the marvelous parts for trumpets and timpani-now menacing, now jubilant. James Armstrong at the organ a most effective substitute for string orchestra...
...minutes of the Mozart anniversary concert. All but one of the works paled beside the Haydn Mass, but worth hearing anyway. Fleet performances by Laurence Berman and Richard Friedberg of two four-hand piano works, almost as much fun to listen to as to play. Group of pieces by vocal nonet: opening canon pretty insecure, but singers got better as they went along, and the motet Ave Verum came off very well. The celebrated "Dissonant" Quartet suffered at the hands of the Cambridge Quartet from raggedness and faulty violin intonation. If only all the players had been up to 'cellist...
...Francis Boott Prize has been given to John C. Crawford 1G for a composition for mixed chorus and strings, entitled "Magnificat." The prize, open to all University students, is awarded to the composer of the best composition in concerted vocal music. It must be between three and eight parts, and require not more than ten minutes for performance...
Living up to its name, the orchestra also played two Bach cantatas. The first was a solo cantata for baritone, strings, oboe, and continue, Ich hab genug (No. 82.). The orchestra was beautifully conducted by Greenebaum, but soloist Gary Gaines was clearly unequal to the taxing vocal line. His voice lacked support, volume, and depth; and his breath control was insufficient to sustain the phrases. The other cantata, Wachet auf (No. 140), fared better. The chorus, numbering only twelve, was well trained by Edward Lloyd, and bass soloist Thomas Beveridge sang with feeling. The soprano soloist was Sara-Jane Smith...