The Maroon tiger. (Morehouse College, Atlanta, Georgia) 19??-current, January 01, 1927, Image 13
THE MAROON TIGER
Page Fifty-three
The Morehouse Glee Club and Orchestra, ’25
Morehouse Glee Club And Orchestra
In Pleasing 1 Concert
By O. B. Iveeler in the Atlanta “Journal”
A curious study in music was afforded by the
annual concert of the Morehouse College Glee
Club and Orchestra, Friday evening, at Sale Hall
Chapel, and the privilege of attending it was by
no means unappreciated by at least four Cauca
sians. Indeed, I (for one) can pick out a number
of points which would add to the enjoyment of
certain audiences, notably, at the City Auditori
um, if copied accurately from the entertainment
of Friday night at Morehouse. For one thing,
the audience was absolutely and unqualifiedly si
lent during the presentation of every number.
Think that over. For another thing, the demand
for an encore was never insistent. There were
three encores during the concert. Each was
properly demanded and given without undue de
lay. All were merited.
The study in music was in the evident ambi
tion of the translated citizens of these United
States to present recognized music of the Occi
dent. The program offered Rossini, and Schu-
in. nr., and Mendelssohn—of the masters—and
vieuxtemps and Hub:y and Cadman, Coates and
Speaks. And others. A well-selected program,
and a severe one, for any organization; for a
collegiate glee club, a nearly impossible one. I
think I never have heard a similar organization
which would have tackled so monumental an
evening with such admirable results.
Now, the orchestra, conducted by Kemper
Harreld, gave a thoroughly adequate reading of
two of the toughest little bits in music—Ros
sini’s march from the Semiramide Overture, and
Mendelssohn’s Overture, Midsummer Night’s
Dream. There are matters of regular music as
I have no need to inform any musician. And
they were extremely well played, especially in
the strings, which feature strongly in both com
positions. The French horns, too—most difficult
of all instruments— were admirably carried.
But it was in the vocal numbers of this re
markable program that I could trace most easi-