With both 65-voiced aggregations showing proudly in audience-appeal selections, last night's joint concert of the Harvard and Princeton Glee Clubs must find its comparative evaluation in the serious offerings. For ambition in his choices alone Woodworth walked off with top honors: they included three Gzastoldi madrigals together plus a set of Mozart canons.

Although the Nassau group boasted an exceptionally impressive tonor section, its frequently "late" basses often helped create the suggestion of shouting, rather than meat fortissimo, which already followed failure to use the covered tone device. This technique works for mellowness at the expense of some strength.

In its renditions of love songs from "Liebeslieder Walzer" by Brahms, the Crimson exhibited feeling and restraint which directly rested upon the use of covered-tone throughout. Similarly in the treatment of "A Lieta Vita" in the Gastoldi trie the Club's controlled vocal quality, which had to overshadow the same mechanical lack of sponaneity apparent in the opening number, "Glorius Appollo," triumphantly impressed itself.

One high spot of vocal gymnastics spoke most strongly for the Princeton Club. Barely any "falling apart" or less of unison accompanied the tricky arpeggios in Beethoven's "Oh, What Delight," the Prisoners Chorus from "Fidelio," "Maiden Fair" suffered from the basses and "My Lovely Celia" from the inarticulate delivery of the lyric.

Vachel Lindsay's Simon Legree" in Douglas Moore's choral adaption enjoyed enthusiastic competence at the hands of the Tiger unit. Adept musical comedy touches in the solo made this selection attractive enough to smother the tastes of a poorly-directed "Promised Land" from "Porgy and Bess." In any event football classics such as "Going Back" would up the program to establish a final fresh collegiate taste that spells an audience verdict of success for the annual event.