Word: komm
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Dates: during 1960-1969
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...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...
...works by Bach (Cantata No. 65), Buxtehude (Das neugebor'ne Kindelein) and Schein (Vom Hillel hoch da komm ich her), as performed by the Glee Clubs with the Orchestra, were, in nearly every detail, an unmitigated delight...
...outstanding works in a program of nothing but major works came first and last. Bach's Cantata 161, 'Komm, du susse Todesstunde' (1715) matched the efficiency of Mlle. Boulanger's conducting with its extreme economy of harmonic movement and accompaniment. Under her restraint, the ensemble of some twenty singers and twenty instrumentalists managed to sound personal, even intimate. Tenor Karl Dan Sorenson filled the museum court-yard with his clear and accurate voice; in her second solo, Contralto Jenneke Barton did the same...