For its spring tour this year, the Harvard Glee Club concocted a potpourri of all the songs it used to--and still does--know. The choice of works was excellent (ranging from the 16th to the 20th centuries); and, in fact, the whole program proved a fine prolegomenon to any future tour plans.

The Glee Club is undoubtedly one of the most impressive collegiate groups in the country. The sound they can produce is large, magnificently controlled and very exciting. Occasionally, particularly in the early motets, their tone is somewhat overpowering, but when the music is as aggressive as the members of the Glee Club--as in a series of Hungarian soldier's songs arranged by Bartok, or in the coronation scene from Moussorgsky's Boris Goudounov--the effect is electric.

The single most dazzling work was the Moussorgsky. Perhaps not the most appropriate tribute to Maj. Yuri Gagarin, the coronation scene nevertheless emerged triumphantly Russian--strong, coherent and assured. But this is not to disparage the Glee Club's numerous achievements during the rest of the program. Three Mozart choruses, themselves rather uninteresting, three songs of students and street cries by the early 17th century Italian composer, Adriano Banchiere--all these were handled with skill, ease and assurance.

Archie Epp,s a tenor, was principal soloist of the evening, and he is as versatile as the Glee Club itself. Mr. Epps was required to sing both Mozart recitative and American spiritual; this he did very creditably. Frederick Ford, another tenor, whose voice is pleasant and relaxed if slightly husky, sang one of the evening's few folk songs.

Elliott Forbes' direction was properly energetic and good-humored. The program was, in fine, wondrous merry; I am full of admiration.