January 9, 10 and 12.

On this, the opening night of the Bermuda Festival's 20th Anniversary, we were presented with a rich historical tapestry of choral music sung by King's College, Cambridge with conductor Stephen Cleobury.

In a programme encompassing 400 years of great choral tradition, the evening began with a stylistic performance of the Motet and Mass "O Magnum Mysterium'' by Tomas Luis de Victoria.

Victoria was, apart from the illustrious Palestrina, the most important composer of the 16th century Roman school. He came to Rome from his native Spain in 1565 and studied with Palestrina.

His exclusively sacred compositions, though in style very like the great Italian master, are infused with a mystical intensity and drama which makes them essentially Spanish, and therefore his own very personal creations.

The choir displayed in this difficult unaccompanied motet and mass, as it did throughout the evening, a superb mastery of style. This it combined with a wonderful quality of sound, and a mighty discipline, to produce church music which must be considered the quintessence of European refinement.

An organ soli, "Passacaglia in D'' by Buxtehude played by James Vivian followed. Unfortunately some members of the large congregation, mystified by the invisible soloist playing behind them and up-aloft, insisted on chattering throughout, much to the chagrin of the audience in general and the soloist in particular.

Playing on an electronic organ could not have been the most rewarding experience in the world for a soloist of Mr. Vivian's background. Happily he endured, if only to give the choir a much needed respite.

Given the limitations of his instrument one can well understand his change of programme after the intermission from two solos, arrangements of "In Dulci Jubilo'' by Dupres and Bach to the single short "O Mensch, bewein dein Sunde gross'' also by Bach.

The first part of the choral programme ended with Buxtehude's "Magnificat quintii toni.'' Here there was some lovely illumination in the interpolations of two famous carols "In dulci jubilo'' and "Joseph, lieber.'' After the intermission, the choir continued in rather sombre fashion with "Requiem aeternam'' Plainsong, and two works by twentieth century composers, "Funeral Ikos'' by John Tavener and "Faire is the Heaven'' by William Harris. This group was unfortunately too subdued, and though well sung, one really did long for some contrast and a departure from a relentlessly pedestrian andante.

The German motet reached its peak in the six motets of Bach. The word motet in Bach's time signified a composition for chorus without obbligato instrumental parts. The vocal parts were considered sufficient unto themselves. Of the six surviving motets of Bach, one of the most popular is the brilliant "Komm Jesu Komm'' with which the choir, supported in a most sensitive fashion by James Vivian, chose to end their programme.

Written for eight-part chorus, this is a demanding work and one had to marvel in performance at the expertise of some very young choristers.

There is no doubt that King's College Choir thoroughly deserves its world-wide reputation for excellence. This was a very fine concert, much enjoyed by the capacity audience, with congratulations due to all those who made it possible.

-- Marjorie Pettit.

KING'S COLLEGE CHOIR -- Four hundred years of great choral tradition.