Word: jesu
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Dates: during 1960-1969
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...Choirs sang Gabrieli's O Jesu mi dulcissime, Sweelinck's Psalm 150, and Schutz's Psalm 150 with commendable intonation, balance, dynamic nuance, and tone. The parts were defined and clearly combined rather than blended into an ermine confusion. The antiphonal Gabrieli suffered from a slight lack of vitality, but at least avoided the exaggerated vivacity which often vulgarizes his works. Schutz's great Psalm, a polychoral, instrumentally supported work in concerto style, was distinguished for its sensitive singing and generally excellent brass playing. But the Sweelinck provided the evening's finest performance. Here purity of syllable, beauty of phrase...
...boundary land between jazz and the classics by the lyrical Flugelhorn of Art Farmer and a big "baroque orchestra" bright with brasses. The mixed company of composers includes Chopin, Albéniz and Sonny Rollins (Alfie's Theme) along with Bach (Air on the G String and Jesu, Joy of Man's Desiring). Pretty wiggy...
...ensemble of 26 singers and 11 instrumentalists performed the cantatas "Der Herr denket an uns" (BWV 196), "Ich bin ein guter Hirt" (BWV 85), "Ihr Menschen, Ruehmet Gottes Liebe" (BWV 167), and the motet "Komm, Jesu, komm" (BWV 229) elegantly and unpretentiously. They produced a full but never heavy sound; the chorus's long threads of melody were sung smoothly and sensitively; the diction was inpeccable. Collins's phrasing and dynamics avoided the spectacular, but could be striking on occasion through their subtlety. He chose to take the final cadence of "Der Herr denket" simply and quietly, rather than grandly...
...Komm, Jesu, komm" was especially impressive. This motet calls for a double chorus, which was composed of those same 26 singers, who nonetheless filled Sanders with sound. In "Komm, Jesu" the contrast between full choral forte and delicate choral piano was most effective; Collins and the chorus surpassed all that they had done previously. The instrumental ensemble (strings, oboes, and harpsichord), which did not seem to be technically quite up to the level of the chorus and soloists, also came into its own and played its best in this piece...
...Genovese, Walter Carringer, and George Hoffman. The chorus had some trouble going into this gentle mood at the beginning of the "Lacrimosa", but was highly inspiring when it reached the "Amen" at the end of the movement. While they did not retain this peak of grandeur on the "Domine Jesu" or in the fugue of the "Hostias," they recaptured it during the end of the "Hostias." The base was exceptionally superb during this part and during the following "Sanctus...