["The First Noel . . . . . . . . . . . . . . . . . . .

become standard favorites. SHENANDOAH is one of Mr. Bartholomew's best loved settings and has been sung throughout the world. This music expresses the longing which the men at sea feel for their home "across the wide Missouri" and has been passed down through generations in slightly different versions.

DIDN'T MY LORD DELIVER DANIEL? (Negro Spiritual)....................................................arr. Fenno Heath
The rhythmic excitement of this rather unfamiliar spiritual is emphasized by the constant syncopations accompanying the melody. The arrangement becomes progressively more exhilarated until the final cadence, "then why not every man?" is reached. One can imagine the kind of hand clapping and shouting that would accompany the singing of this spiritual at a revival meeting?

THERE IS A BALM IN GILEAD (Negro Spiritual) Tenor Solo: Robert D. Hughes, IV, '66....................arr. William Dawson
The reflective longing of the Negro race is embodied in this haunting melody. The soloist and chorus sing of the balm that will "heal the sin-sick sour" when the day of salvation arrives. William Dawson teaches at Tuskegee Institute in Tuskegee, Alabama and is well-known for this and many fine arrangements of Negro spirituals.

THIS OL' HAMMER (Negro Work Song) Soloist: Richard Nessen '67....................................................arr. John W. Work
The contest between John Henry and the steel driving machine is preserved in a well known legend and this work song depicts the insistent rhythm of the hammer's strokes. The music carries with it a poignancy, and sense of sorrow but reveals a fervent, determined spirit as the words proclaim "this old hammer killed John Henry but it won't kill me!". John Work teaches at Fiske University in Atlanta.

THIS TRAIN (Negro Spiritual) Baritone Solo: Marshall A. Portnoy, '67....................................................arr. Fenno Heath
is a recent arrangement by Fenno Heath and is a rhythmic negro spiritual which begins "This train is bound for glory, if you ride it you must be holy" and goes on to state that the only way to get into heaven is to avoid frivolous activities such as dancing, gambling, and smoking. The tune has an infectious kind of humor and the arrangement gathers more and more momentum as each new verse is added.

## SONGS OF YALE

ELI YALE.................................... Solo: Charles B. Kaufmann, III, '66
tells the story of undergraduate life from freshman year until the moment when, "the saddest tale we have to tell is when we bid old Yale farewell".

SWITZER BOY (Triple Yodel) Soloist to be announced
is one of many yodels brought to Yale from Bavaria by Gustave Stoeckel. Yodeling has become a Yale tradition and there are always two or three members of the Glee Club who can master this art!

MELODY OF FOOTBALL SONGS....................................................................................arr. Fenno Heath
No Yale Glee Club concert would be complete without the singing of BULLDOG and other famous football songs. In the melody at the end of this concert several Yale songs are included as well as melodies from Harvard, Princeton, and Amherst.

BRIGHT COLLEGE YEARS.................................................................................... words by H. A. Durant, '81 - arr. Gustave H. Stoeckel

## HISTORY

The Yale Glee Club, now in its second century, continues to expand the reputation which began in 1813. Choral music at Yale emerged early in the nineteenth century, with the formation in 1813 of the Yale Musical Society. This group of twelve men limited itself to performing sacred music, and in 1826 the Beethoven Society, a much larger group of nearly fifty members, was organized in order that secular as well as sacred music be performed at Yale. In 1860 thirteen members of the Class of 1863 formed the Yale Glee Club, giving its first concert in Guilford on February 27, 1861, and the following summer inaugurated a lasting tradition of Glee Club tours with an expedition through the White Mountains of New Hampshire.

Much of the early growth and success of the Club was due to the efforts of Gustav Stoeckel, an outstanding Bavarian musician who joined the Yale faculty in 1855. Many of his compositions and arrangements are still popular today; his familiar arrangements of 'NEATH THE ELMS' is sung at virtually every Yale Glee Club concert. He was succeeded as the director of the Club by Thomas G. Shepard in 1873, and then by G. Frank Goodale until 1921, when Marshall Bartholomew became director.

Under Mr. Bartholomew's leadership, the group achieved the national prominence by winning the National Championship in the Intercollegiate Glee Club contest of 1924 and 1925. The Glee Club appeared in many of the principal cities in the United States in subsequent years, winning numerous regional contests. The Yale Glee Club soon became synonymous with male chorus singing at its finest.

Under Mr. Heath's direction, the Glee Club embarked upon four additional summer tours, three to Europe (1954, 1958, 1963) and one to South America (1961). In 1941, the Club traveled to South America, the first student chorus from North America to travel south of the equator - twenty years later the Club returned to South America to renew old friendships left behind by the '41 Club in the form of singing groups begun then in LaPlata, Argentina and Santiago, Chile. During the 1958 tour of Europe the group traveled behind the Iron Curtain in Poland and Czechoslovakia for the first time since the outbreak of World War II. On the Eighth European Tour, during the summer of 1963, the Club visited Yugoslavia and Italy for the first time. In Belgrade they sang with the Branko Krasmanovic Chorus and while in Turin, Italy sang with choirs from Norway, Italy, Wales, and Bulgaria during the Festival there. The Glee Club sang in the Holland Festival in Amsterdam as well. They also performed in Hengelo, Holland; Munster, Heidelberg and Munich, Germany; Linz, Vienna and Graz, Austria; Trieste, Rome and Fiesole, Italy; Llangollen, Wales; and Royaumont and Fontainebleau, France.

This past summer, the Glee Club embarked on the longest and most ambitious tour it has ever planned. On June 17 the Glee Club left New York bound for Hawaii, Japan, Hong Kong, the Philippines, Malaysia, Thailand, India, Russia, and Sweden. In the course of the next two months they traveled over 35,000 miles by plane, sang over 40 concerts to audiences varying in size from 250 in Russia to over 9,000 in the final concert in Tokyo. The tour itself had been conceived by the students as more than a concert or sightseeing tour, but was to provide a means of better understanding and friendship during a period of overwhelming world tension. Glee Club members lived with students and families throughout Japan and in some of the other countries, and beyond all doubt this was the most rewarding and satisfying part of the tour.

Three Blake Songs . . . . . . . . . . . Fenno Heath (1961)
Poems by William Blake

1 Jerusalem

2 The Tiger

3 The Lamb

Baritone Solo: Donald Barnum, '66

This music was composed in 1961 especially for the Yale Glee Club by Fenno Heath, and is one of the many compositions and arrangements which Mr. Heath has written for male voices. The three poems present interesting contrasts to each other and the music reflects this fact. *Jerusalem* is stately and serene; *The Tiger* is nervous, excited, strong; *The Lamb* is simple, pure, sweet. The three pieces are a cappella and are designed to be performed as a unit, with only a small pause between sections.

IV. MADRIGALS

How Merrily We Live . . . . . . . . . . Michael Este (1600)
is taken from a collection called *Ten Glees, Madrigals, and Airs*
edited by Marshall Bartholomew, conductor of the Yale Glee Club
from 1921 until 1953. All of the pieces in this collection are written
in three parts for tenor, baritone, and bass voices. The glee club tra-
dition as we know it today stems from the influence of the "glees"
which were sung by The Gentlemen's Catch Club of London in the
17th Century.

April Is In My Mistress' Face . . . . Thomas Morley (1557-1603)
Thomas Morley was an English organist, theorist and composer and was a pupil of William Byrd. He composed motets, anthems, services, and many canzonets and madrigals for two, three, four, five, and six voices. *April Is In Thy Mistress' Face* is from a collection of madrigals for four mixed voices published in 1594. In this performance it is sung in a transcription by Archibald Davison, formerly director of the Harvard Glee Club.

The Nightingale . . . . . . . . . . Thomas Weelkes ( -1623)
Semi-chorus

Is a rhythmic, humorous madrigal describing the calls of several
birds and ending with a descriptive setting of the song of the cuckoo,
stating that the cuckoo is the bird "that bears the bell". Weelkes was
an English organist and composer whose compositions included serv-
ices, anthems and madrigals for three, four, five, and six voices pub-
lished in 1597, 1598, and 1600. *The Nightingale* comes from a collec-
tion called airs of Fantastic Spiritis for Three Voices (1608).

V. CHRISTMAS MUSIC

Angels O'er The Fields Were Flying . . arr. Archibald T. Davison
The well known French carol is also known by the title, "Angles We
Have Heard On High". Davison's strophic arrangement preserves
the simplicity of the original tune.

Lo, How A Rose E'er Blooming . . . . arr. Archibald T. Davison
This old German melody has been used in organ chorale preludes
by Bach, Brahms and many other composers. The harmonization by
Praetorius is especially beautiful and the Davison arrangement has
a pure, transparent quality which enhances this version.

*I MOTHER OF MEN..................(Words by Brian Hooker, '02) Seth Bingham '04
This stirring song has opened most of the concerts sung by the Yale Glee Club. It has stood the test of time and is known and loved
by generations of Yale men.

SACRED MUSIC

II TENEBRAE FACTAE SUNT..................Giovanni da Palestrina (1562-1612)
shows well the expressive quality of Palestrina's style as it vividly depicts the scene of the Crucifixion and tells of Christ's agony
as he cries "My God, why has thou forsaken me?". The ending of the motet is particularly effective as the music describes the
words "he bowed his head, and was gone". Through a series of descending chords the actual bowing of the head is pictured and the
music dies away on a soft, low major triad.

THE LAST WORDS OF DAVID..................Randall Thompson
was originally written as a piece for mixed voices and orchestra and first performed at the Berkshire Music Center in Lenox,
Massachusetts (Tanglewood) in 1949. Mr. Thompson later made the transcription for male chorus and piano which is being per-
formed on this program.

SALVATION BELONGETH TO OUR LORD..................Paul Tchesnovok
This is a transcription made by Archibald Davison from a piece for mixed chorus by the great Russian Composer Tchesnovok. In
this music we find the deep sonorities and wide dynamic contrasts so typical of Russian liturgical settings. Tchesnovok is best
known for his many dramatic and impressive choral pieces.

III THE BROKEN MELODY..................Jean Sibelius
(Sung in commemoration of the 100th anniversary of the composer's birth)

Sibelius wrote several compositions for male voices of which this is one of the best known. Its dramatic sweep is climaxed with
the words "sorrow has destroyed my singing", and the extremely high placement of the voices is suddenly contrasted with the low
grouping and quiet mood of the final cadence; "sorrow steals all my song away". The Yale Glee Club had the pleasure of visiting
Sibelius in his home outside of Helsinki on the European tour of 1939.

YUYAKE KOYAKE..................(Japanese Folk Song) Soloist: Thomas Fiorito '66
This lullaby is a souvenir of the round-the-world tour taken by the Yale Glee Club during the past summer. One of the outstanding
visits of this tour included an 18 day stay in Japan where the Club sang with thirty-three Japanese choruses in joint concerts. The
arrangement of this children's song is the one sung by the Doshisha University Glee Club from Kyoto.

THREE BLAKE SONGS..................(Poems by William Blake) Fenno Heath (1961)
This music was composed in 1961 especially for the Yale Glee Club by Fenno Heath, and is one of the many compositions and
arrangements which Mr. Heath has written for male voices. The three poems present interesting contrasts to each other and the
music reflects this fact. JERUSALEM is stately and serene; THE TIGER is nervous, excited, strong; THE LAMB is simple, pure,
sweet. The three pieces are a cappella and are designed to be performed as a unit, with only a small pause between sections.

IV MADRIGALS

HOW MERRILY WE LIVE..................Michael Este (1600)
is taken from a collection called TEN GLEES, MADRIGALS, AND AIRS edited by Marshall Bartholomew, conductor of the Yale
Glee Club from 1921 until 1953. All of the pieces in this collection are written in three parts for tenor, baritone, and bass voices.
The glee club tradition as we know it today stems from the influence of the "glees" which were sung by The Gentlemen's Catch
Club of London in the 17th Century.

APRIL IS IN MY MISTRESS' FACE..................Thomas Morley (1557-1603)
Thomas Morley was an English organist, theorist and composer and was a pupil of William Byrd. He composed motets, anthems,
services, and many canzonets and madrigals for two, three, four, five, and six voices. APRIL IS IN THY MISTRESS' FACE is
from a collection of madrigals for four mixed voices published in 1594. In this performance it is sung in a transcription by Archi-
bald Davison, formerly director of the Harvard Glee Club.

THE NIGHTINGALE (Semi-chorus)..................Thomas Weelkes ( -1623)
is a rhythmic, humorous madrigal describing the calls of several birds and ending with a descriptive setting of the song of the
cuckoo, stating that the cuckoo is the bird "that bears the bell". Weelkes was an English organist and composer whose composi-
tions included services, anthems and madrigals for three, four, five, and six voices published in 1597, 1598, and 1600. THE
NIGHTINGALE comes from a collection called airs of Fantastic Spiritis for Three Voices (1608).

V CHRISTMAS MUSIC

ANGELS O'ER THE FIELDS WERE FLYING..................arr. Archibald T. Davison
The well known French carol is also known by the title, "Angels We Have Heard On High", Davison's strophic arrangement pre-
serves the simplicity of the original tune.

LO HOW A ROSE E'ER BLOOMING..................arr. Archibald T. Davison
This old German melody has been used in organ choral preludes by Bach, Brahms and many other composers. The harmonization
by Praetorius is especially beautiful and the Davison arrangement has a pure, transparent quality which enhances this version.

THE FIRST NOEL Soloist: Donald Barnum '66..................arr. Fenno Heath
Fenno Heath's new arrangement of this beloved carol is being sung this year for the first time by the Yale Glee Club. The third
verse is reached by a rather unexpected modulation and a solo voice is added to add variety. The final cadence underlines the
words, "Born Is The King Of Israel!".

VI THE WHIFFENPOOFS OF 1966

VII FOLK SONGS

SHENANDOAH (Sea Chanty)..................arr. Marshall Bartholomew
The singing of folk songs and negro spirituals represents an important part of the singing tradition at Yale. Both Marshall Bartholo-
mew and Fenno Heath have contributed a large number of folk song arrangements to the Glee Club repertoire of which many have

PROGRAM

I. MOTHER OF MEN . . . . . . . . . . . Seth Bingham, '04

Words by Brian Hooker, 02

II. SACRED MUSIC

Tenebrae Factae Sunt . . . . Giovanni da Palestrina (1562-1612)

Shows well the expressive quality of Palestrina's style as it vividly depicts the scene of the Crucifixion and tells of Christ's agony as he cries "My God, why hast thou forsaken me?". The ending of the motet is particularly effective as the music describes the words "he bowed his head, and was gone". Through a series of descending chords the actual bowing of the head is pictured and the music dies away on a soft, low major triad.

The Last Words Of David . . . . . . . . . Randall Thompson

Was originally written as a piece for mixed voices and orchestra and first performed at the Berkshire Music Center in Lenox, Massachusetts (Tanglewood) in 1949. Mr. Thompson later made the transcription for male chorus and piano which is being performed on this program.

Salvation Belongeth To Our God . . . . . . . Paul Tchesnokov

This is a transcription made by Archibald Davison from a piece for mixed chorus by the great Russian Composer Tchesnokov. In this music we find the deep sonorities and wide dynamic contrasts so typical of Russian liturgical settings. Tchesnokov is best known for his many dramatic and impressive choral pieces.

III.

The Broken Melody . . . . . . . . . . . . Jean Sibelius

Sibelius wrote several compositions for male voices of which this is one of the best known. Its dramatic sweep is climaxed with the words "sorrow has destroyed my singing", and the extremely high placement of the voices is suddenly contrasted with the low grouping and quiet mood of the final cadence: "sorrow steals all my song away". The Yale Glee Club had the pleasure of visiting Sibelius in his home outside of Helsinki on the European tour of 1939.

Yuyake Koyake (Japanese Folk Song)

Tenor Solo: Thomas Fiorito, '66

THE COMMUNITY CONCERT ASSOCIATION

PROUDLY PRESENTS

THE YALE GLEE CLUB
MR. FENNO HEATH, DIRECTOR

UNITED CHURCH
on the Green

NEW HAVEN, CONNECTICUT

DECEMBER 5, 1965

ORDER OF WORSHIP

ORGAN: Two Preludes Based on Old German
Chorales P. JORDAN

CHORAL INTROIT: "Every Word and Thought"
(Sonata and Tutti) DIETRICH BUXTEHUDE

HYMN NO. 69: O Come, O Come, Emanuel

CALL TO PRAISE:

Minister: Sing, O heaven, and be joyful, O earth;
for the glory of the Lord shall be
revealed, and all flesh shall see it
together; for the mouth of the Lord has
spoken it!

People: Rejoice greatly, O daughter of Zion;
shout, O daughter of Jerusalem; behold
thy King cometh unto thee; he is just
and having salvation.

Minister and People: Blessed be the Lord God of
Israel; for He has visited and redeemed
his people.

TODAY WE ARE DELIGHTED TO WELCOME the Smith College
Choir and the Yale Apollo Glee Club to our Service.
There are approximately 130 voices in this singing
group, this morning, which is under the direction
of Mr. Donald Barnum, our own Bass Soloist, and
student at Yale. The Soloists are: Erica Spurdle,
Soprano, and James Gardner, Baritone. A full string
orchestra with continuo is accompanying the combined
choir in their presentation of the Buxtehude Cantata,
"Every Word and Thought." Lily Soong is the Concert
Mistress; Paul Jordan, the continuo player. We are
very appreciative of this addition to our Morning
Worship during the season of Advent.

Yale-Harvard Glee Clubs

Friday, November 19, 1965

Conductors:

FENNO HEATH, Yale

ELLIOT FORBES, Harvard

PROGRAM

I

Cantate Domino .................... Hans Leo Hassler (1564-1612)

Petites Prieres de Francois d'Assise .................... Francis Poulenc

Glory to God from Joshua .... Jakob (Gallus) Handl (1550-1591)

Soloist: James Jones

HARVARD GLEE CLUB

II

Tenebrae Factae Sunt ....... Giovanni da Palestrina (1526-1594)

The Broken Melody .................................... Jean Sibelius
(Sung in commemoration of the 100th anniversary of the composer's birth)

Yuyake Koyake (Japanese Folk Song) ............

Tenor Solo: James G. Manor, Jr., '67

Three Blake Songs .................................... Fenno Heath (1961)

Poems by William Blake

1. Jerusalem

2. The Tiger

3. The Lamb

YALE GLEE CLUB

III

Bordal (Drinking Song) .................................... Zoltan Kodaly

YALE-HARVARD GLEE CLUBS

INTERMISSION

-3-

United States
Yale University
Yale Glee Club
Fenno Heath, Conductor

Ride The Chariot (Negro Spiritual)

Soloists: Donald Barnum and Robert Hughes

Tenebrae Factae Sunt

Soon-ah Will Be Done (Negro Spiritual)

Arr. William Henry Smith

Giovanni Pierluigi da Palestrina
Arr. Archibald T. Davison

Arr. William L. Dawson

**********

Yugoslavia
University of Skopje
Academic Chorus "Mirce Acev"
Dragan Suplevski, Conductor

A Ca (A Cha)

Makedonsko Oro (Macedonian Folk Song)

Rum, Dum, Dum (Macedonian Folk Song)

Humoreska

Borivoje Simic

Todor Skalovski

Arr. Dragan Suplevski

Zivko Firfov

**********

## MASSED CHORUSES

Gaudeamus igitur

Arr. Marshall Bartholomew for International University Choral Festival

Marshall Bartholomew, Conductor

Alleluia

Na gorushke, na gore

Russian Song, Ed. by R. S. Beckwith for the Festival

My Lord, What a Mornin'

Dona Nobis Pacem (B-minor Mass)

Randall Thompson

Arr. O. P. Kolovski

Arr. John W. Work

Johann Sebastian Bach

G. Wallace Woodworth, Conductor
Music Director for International University Choral Festival
Philharmonic Hall, New York

Allan Birney, Organ

YALE UNIVERSITY

YALE GLEE CLUB

and

THE INTERNATIONAL STUDENT CENTER

present

INTERNATIONAL UNIVERSITY CHORAL CONCERT

WOOLSEY HALL

Saturday, October 2, 1965

8:00 P. M.

V

Shenandoah (Sea Chantey) .................... arr. Marshall Bartholomew

This Train (Negro Spiritual) .................... arr. Fenno Heath
Donald Barnum, soloist

There is a Balm in Gilead (Negro Spiritual) .. arr. William Dawson
Robert Hughes, soloist

Away to Rio (Sea Chantey) .................... arr. Marshall Bartholomew

This Ol' Hammer (Negro Work Song) .................... arr. John Work
Richard Nessen, soloist

Didn't My Lord Deliver Daniel? .................... arr. Fenno Heath
(Negro Spiritual)

VI

We Meet Again Tonight .................................... Traditional

Shall I Wasting .................................... arr. Marshall Bartholomew

Eli Yale .................................................... Traditional
Charles Kaufmann, soloist

Medley of Football Songs .................................... arr. Fenno Heath

Yale Glee Club -- Commencement Concert

Sunday, June 12, 1966

PROGRAM

I

<table><tr><td>Mother of Men</td><td>Seth Bingham</td></tr><tr><td>Tenebrae factae sunt</td><td>Giovanni da Palestrina</td></tr><tr><td>Salvation Belongeth to our God</td><td>Paul Tchesnokov</td></tr></table>

II

<table><tr><td>A Lieta Vita<br/>Viver Lieto Voglio</td><td>Giacomo Gastoldi</td></tr></table>

III

<table><tr><td>The Last Words of David</td><td>Randall Thompson</td></tr><tr><td></td><td>Robert Ulery, accompanist</td></tr><tr><td>Yuyake Koyake</td><td>Japanese Folk Song</td></tr><tr><td></td><td>Thomas Fiorito, soloist</td></tr><tr><td>Three Blake Songs</td><td>Fenno Heath</td></tr><tr><td></td><td>(Text by William Blake)</td></tr></table>

Jerusalem

The Tiger

The Lamb

Donald Barnum, soloist

INTERMISSION

IV

THE WHIFFENPOOFS OF 1966

Robert Darrell Augusta

George Clifford Brown

Robert Thomas Farrell

Thomas Frederick Fiorito

Mark H. Greene

Bingham Kennedy

Andrew Robert Lear

Terrance John Mullen

Robert Lawrence Pratter

William Russell Robertson

James Blakely Rule

E. Baldwin Self, Jr.

CONCERT PROGRAM

1. Arise, All Ye Servants of the Lord......Sweelinck
Jesu Rex Admirabilis..................Palestrina
Sanctus..................................Chesnekoff
Psalm CL..................................Kodaly
Mount Holyoke Glee Club

11. Hospodi Pomilui..................Lvovsky-Weaver
Agnus Dei II from
Missa Pange Lingua............Josquin des Pres/
arr. Barnum
Laudati Pueri...................Lotti/arr. Spratlan
Yale University Concert Choir

111. Missa Brevis in F (k. 192)............Mozart
Gloria
Agnus Dei
Combined Choirs

IV. INTERMISSION

V. Canticos de Navidad..................Orrego-Salas
Villancico I
Aleluya
Danza
Cantares de Pascula..................Santa Cruz
Villancico Dialogado
Ronda
Mount Holyoke Glee Club

VI. Frostiana..................Randall Thompson
The Road Not Taken
The Pasture
Come In
The Telephone
A Girl's Garden
Stopping By Woods
Choose Something Like a Star
Combined Choirs

PROG

I

<table><tr><td>PSALLITE</td><td>Praetorius</td></tr><tr><td>THE NIGHTINGALE</td><td>Weelkes</td></tr><tr><td>TOQUEN ARPAS Y GUITARRAS</td><td>Santa Cruz</td></tr><tr><td>LLEGO, LLEGO</td><td>Santa Cruz</td></tr></table>

* * *

<table><tr><td>QUESTIONS</td><td>Brahms</td></tr><tr><td>THE BRIDE</td><td>Brahms</td></tr><tr><td>THE BRIDEGROOM</td><td>Brahms</td></tr><tr><td colspan="2">S.C.S.C. Girls Glee Club</td></tr></table>

* * *

II

<table><tr><td>GLORIUS APOLLO</td><td>Webbe</td></tr><tr><td>HOSPODI POMILUI</td><td>Lvovsky-Weaver</td></tr><tr><td>AGNUS-DEI II; MISSA PANGE LINGUA</td><td>Josquin des Prez<br>arr. Barnum</td></tr><tr><td>LAUDATE PUERI</td><td>Lotti-Spratlan</td></tr><tr><td colspan="2">Apollo Glee Club</td></tr></table>

* * *

III

<table><tr><td>LAUDATE DOMINUM</td><td>Mozart</td></tr><tr><td colspan="2">Ann Diers, soprano</td></tr><tr><td colspan="2">Combined Glee Clubs</td></tr></table>

* * *

intermission

## Southern Connecticut State College Girls Glee Club

H. HARMON DIERS, Director

NORMAN V. HALL, Faculty Accompanist

MARIE HETHERINGTON, Student Accompanist

<table><tr><td>ELSIE SCHULTE</td><td>President</td></tr><tr><td>DEBORAH DORSETT</td><td>Vice-President</td></tr><tr><td>SUZETTE EIFRIG</td><td>Secretary</td></tr><tr><td>JACQUELINE WHITE</td><td>Historian</td></tr><tr><td>SUSAN FITZGERALD, JUDY IRWIN</td><td>Librarians</td></tr><tr><td>ROBIN HARRISON, SIGNE HOFFMAN</td><td>Robe Chairmen</td></tr></table>

## Yale Apollo Glee Club

DONALD BARNUM, Director

M. ANDREW JOHNSTON, Accompanist

<table><tr><td>PHILIP HUBER, JR.</td><td>President</td></tr><tr><td>PAUL MACHLIN</td><td>Vice-President</td></tr><tr><td>HENRY JACOBS, NICHOLAS HERMAN</td><td>Managers</td></tr></table>

## Coming Events

* Connecticut Intercollegiate Chorus Concert, Central Connecticut State College, Welte Auditorium, 8:30 p.m. March 29, 1966

* Lelia Gousseau, pianist, Engleman Hall, 8:30 p.m. March 30, 1966

* Benefit Choral Concert (SCSC College Choir and eight other choruses), Woolsey Hall, 8:00 p.m. April 3, 1966

* "Pops" Concert, SCSC Choral Groups, Engleman Hall, 8:30 p.m. April 13, 1966

* Spring Concert, SCSC Choral Groups, Engleman Hall, 8:30 p.m. May 4, 1966

["The Sermon", "The Offertory . . . . . . . . . . . . . . . . .