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...Harvard Glee Club is scheduled today to approve the appointment of Eliot Forbes as acting conductor next year during G. Wallace Woodworth's sabattical next year. Nominations for Friday's election of officers will be made at the same meeting...

Author: NO WRITER ATTRIBUTED | Title: Glee Club to Approve Forbes as Conductor | 5/13/1958 | See Source »

...spite of all the mishaps which marred the performance (at one point the entire performance had to stop and start some measures back), there was also a great deal of beauty. The Requiem is long, even with two movements omitted, and often repetitive. Professor Woodworth did not allow it to fall asleep. He used the chorus in such a way as to provide the greatest possible contrast to the organ; and even if the chorus has sometimes sounded more polished, its performance was, under the conditions, nothing to be ashamed...

Author: By Paul A. Buttenwieser, | Title: Brahms' Requiem | 5/6/1958 | See Source »

...finest choral groups in the U.S. The man who started to lead the Harvards to serious music in 1912 (despite the anguished protests of many an old alumnus) was Conductor Archibald Thompson Davison. The man who has kept them up to the mark is G. Wallace ("Woody") Woodworth, and last week he too celebrated an anniversary: his 25th year as glee club conductor. Woody himself went out for the club as a Harvard freshman, was firmly turned down by Conductor Davison, who told him: "With your ear, you ought to be playing drums in the band." He nevertheless wangled...

Author: /time Magazine | Title: Music: Bye, Champagne Charlie | 3/24/1958 | See Source »

Much of the glee club's effectiveness derives from Woody Woodworth's genius for making the choral literature exciting. A sharp-featured, intense man, he throws himself into his work with such flamboyant enthusiasm that one Boston Symphony musician watching him conduct last week said wonderingly: "Who does he think he is-Koussevitzky?" Conductor...

Author: /time Magazine | Title: Music: Bye, Champagne Charlie | 3/24/1958 | See Source »

Randall Thompson avoided the language problem in the Alleluia, as Woodworth observes in his notes, by using only the single word of the title. But he met it squarely in setting his mass to an English text, and he emerges triumphant. Except for an excessive diminuendo on "invisible," every word is perfectly set forth in the music, especially in the Gloria and the Credo, while each of the various parts is uniquely treated, the mass remains a unified and very beautiful whole...

Author: By Daniel Field, | Title: Carols and a Mass | 11/25/1957 | See Source »

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