Singing Brahms' German Requiem with the Boston Symphony last night, the combined full Harvard and Radcliffe groups proved that when doing the music they are suited for, they are on a par with the best amateur choral societies in the Nation. As Dr. Koussevitzky unfolded his reading of this monumental seven section work, the voices surged and glowed from the opening, hushed "Blessed are they that mourn . . ." to the triumphant closing fugue, "Worthy art Thou to be praised . . ."
Dr. Koussevitzky's interpretation may be subject to personal criticism, but it is a warm, lyric approach that does full justice to the cyclical construction and almost earthy quality of the music. For, despite name, the Requiem is not sorrowful or morbid, but confident and reassuring. Particularly fine were the male voices in the great fortissimo, "Behold, all flesh . . . ," and Radcliffe attained equal stature in the flowing fourth section and the final fugue. The impassioned soprano solos of Miss Frances Yeend lent the note of high personal achievement needed to round out a very satisfying concert.
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The Vagabond
