Notre Dame Academy - Tryst Yearbook (Washington, DC)

Page 77 text:

mn jefifivaf efiouncl .Again in I0 ' g 4- rv -ws' y IJ. 'l fi 4384! KATHLEEN FEALY Polka - 1870 Capturing the spirit of the nineteenth century, narrator Anne Gallagher introduced the second part ol' the Festival by describing the great west- ward surge of settlers that made America a country bounded by two seas. The songs of the arch included rollicking sea chanteys, familiar melodies by Stephen Foster, nation on the m both plaintive and lively Negro spirituals, and 2? fl ,ruff ' X ' 1 ff if ELAINE DELISI Carriage Trade - 1890 the great classic of Civil XVar days, When ylohmzy Comes A1!l'l'!'lIfllg Home. To portray the amuse- ments of the men and women who faced the dangers of frontier life, students danced the ever-popular square dance. Fashionable East- erners of the period were pictured as dancing the lively polka, an importation from Europe to the strains of native American music. 1

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ufiicaf Womenfd of Jgmericaii cuff .-f,..f -s X . , AN. .wx CAROL SCHMIDT Skipping Along - 1740 And Free Hearts Sing . . 1955's Spring Festival, highlighted in songs and dances mo- ments from America's singing past. ln the open- ing narration, senior Myrna Meyer, speaking as a Pilgrim who came to the New XVorld in 1620, set the theme ol' the program hy noting that with freedom and natural wealth, America gave the settlers the priceless gilt ol song. The 72 ANNE DAHLSTEDT Gavotte 1775 , fM,a-Wt ss:- ,Q3sn ',-Q, . ,-- ,d,ff . ge.: Q 1 V' if it 7 1 .4 , 1 9 z w V . ' F 5' .xi Y f , -1 . 1:41 Q . ,, I K if F 'tt in-,N s. . ga A p 2 n, -, 'ff .My 2 ff :lift 5-7 M , i yi tips 5 iw J r T ff - J 'K fi . f-f .f me -l , yn, ,a , hifi! s, .K f.-,A 'A ' , tg 'att A 'll ' .' lf - 1 asfff' - 5 7 1 R. I . . ' 'ff ' tl A 3- , iv my . fin, qs W gt' iv- ' . 1 'ft .-.mtl ft 'TR ia? Lrkibtk Qi L3 r ll is xiii tw .- rf, -K QQ -H.. a' at if A Q. 1 lt 2 K wt e nh- ,x ,WWI ,. sl ., S uare Dance 1840 members of the glee club hailed this gift in Elliott's One Melodiom Song. In the stately measures of the gavotte and the interpretive dancing of Carol Schmidt, the lighter moments of colonial life were pictured. Yankee Glory, a rousing patriotic chorus, completed the story of the period, catching in martial rhythm the early Americans' love of liberty. sax ia +L tb.. . 4' till: 'ltlg . ' mx-5' 'x MARY E. RUSK it ll XE

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jree earfri praide jlliff Jan iff? v F X -,E M.: fx 'Q' ,.'i . mf , ha? ft , .x P , f' 5. K J tty H c A v .I 1 1- . 1 A . ,Q ef - Q - ,. . 4. W I' is + K .f', ' A A-3 0 0 2. V f' x z 'gt f ,f O'CONNELL e Waltz - 1890 y Q., W r ,, X, i A .i The frivolous, glittering, slightly absurd Gay Nineties came to life again in the third division of the program. In her introductory narration, -Ieannette Cantwell stressed the carefree com- placence that marked the period. Agnes Bailey in a vocal solo presented one of the Nineties' best-loved melodies, My Rosary. A Bicycle WWW MARGARET t ' CAROLE CLARKE Q f nik. ',v-ft. 9 f f ,K , . J . A. 1. if, f ' f . f HELEN By the Sea - 1890 Ten O'Clock Scholars 1900 Built for Two, After the Ball, and In The Shade of the Old Apple Tree were sung by the glee club. In the dances representative of the period, elegant ladies strolled in the park with dainty parasols to shield them from the sun, bathers romped by the sea, and couples glided to the waltz.