In presenting a program which G. Wallace Woodworth described as "a grand cycle of moods," the Harvard Glee Club and the Radcliffe Choral Society adapted their voices to the "sacred joy" of Bach, the tense drama of Holst and Stravinsky, and the light "profane joy" of Lambert.

A rather dead, determined performance of Bach's "Herr Gott, Dich Loben Wir" smothered the exuberance of the "sacred joy." Much more satisfying were the two choruses from Handel's "Solomon." Delicacy and perfect balance characterized the lyric invocation "Music Spread Thy Voice Around." The second, more dramatic chorus, performed with skill and sensitivity, enabled an easy transition to the tragic mood of the two following works.

The Radcliffe chorus alone presented Gustav Holst's "Hecuba's Lament" with the contralto, Eunice Alberts, as soloist. Miss Alberts gave a flawless performance; her voice never lost the rich color heard in the sustained "Lo" which opens the work. Expressive phrasing endowed her cry to Priam with genuine tragedy. The highly dramatic character of the "Lament" was maintained throughout by the carefully controlled voices of the Radcliffe chorus.

The feature work of the concert was Igor Stravinsky's "Oedipus Rex," written to the Latin verse of Jean Cocteau. The Glee Club made it appropriately the most impressive event of the evening. "Oedipus" is dominated by strong dramatic tension created by the jarring chords of the piano, the roll of the kettledrums, and the vocal crescendos of the chorus.

Paul Tibbetts' strong bass voice appeared to excellent advantage in the role of Creon. While Oscar Henry's lyric tenor lacked the force required by the dramatic role of Oedipus, it was none the less appealing. Miss Alberts made Jocasta's fascinating aria one of the evening's high points. The "Oedipus" was marred only by a badly written narration which broke up the tenseness of the work.

After the intermission, the entire Harvard-Radcliffe chorus performed the engaging "Rio Grande" by Constant Lambert with suitable vigor and gaiety. The continued excellence of the chorus and Miss Alberts, and the well-executed piano solos by Robert Wolverton closed the concert in the mood of "profane joy."