Unexpected twists impress audience

The Chadron Arts Center was lit by sunlight filtered through stained glass windows and white Christmas lights strewn across leafless trees as two choral ensembles performed for an estimated audience of 77 community members.
Una Taylor, music professor and chair for the music department, directed the Arioso. Taylor is also involved in the Community Choir, Graduate Council, and Teacher Education Committee.
The choir began with a Renaissance piece, “Ave Maris Stella,” by Jacob Obrecht (1450-1505), in a capella. Bobby Pace, CSC accompanist, accompanied the choir on the piano for the second piece, “Stabat Mater Dolorosa,” by Giovanni Battista Pergolesi (1710-1736).
Pace was joined by Brooks Hafey, assistant professor, on the piano for the third song, “Liebeslieder Walzer,” by Johannes Brahms (1833-1897). This piece was more moving than the first two, but not near as much as one to follow.
“The Seal Lullaby,” by Eric Whitacre (b. 1970) highly contrasted the upbeat melody of the previous. Whitacre’s piece was much slower, though not with a sorrowful tone.
Lee Kesselman’s (b.1951) “Mbiri Kuna Mwari” was unique compared to the other songs on the program. While it started out less than extraordinary with two soloists, Nikki Bunnel, senior of Alliance, singing soprano, and Dara Edwards, senior of North Platte, singing alto, it soon took a surprising change. With Pace on drums, Taylor using a shaker and Edwards, claves—a percussion instrument made of two wooden sticks—the song had a jungle feel.
Asha Mullins, sophomore of Chadron, sang soprano for the final piece, “Makedonska Humoreska,” by Todor Skalovski (1909-2004). Since the final song was in another language, Taylor explained it was about marriage before the song began. There was also a description in the program which said, “Hey! We always squabble; we always fight. This is love!? Since we got married, we spent all our money; we squandered everything, for heaven’s sake!”
The Arioso left to applause and the men’s ensemble entered.
Joel Schreuder, music professor, directed them,and in contrast to Taylor who positioned herself in front of the Arioso, stood among the men’s ensemble and participated in the choir.
Before the pieces began, Schreuder explained that it was hard to find music for a choir with little variation in tone. “There’s basically seven baritones here, so I had to look in some interested places for music,” Schreuder said.
The first piece, “Missa in honorem sancti Caroli Borromaei,” by C. Hegmann, was found in the public domain, Schreuder said. The song was in another language but the translation in the program showed that it was a hymn-like song, giving several references to God and the Lamb.
Schreuder did not conduct the entire performance, rather he would start the choir and Pace off, and then sing along with the other men.
“Things That Never Die,” by Lee Dengler (b. 1949), “Stopping by Woods on a Snowy Evening,” by Randall Thompson (1899-1984) and “The Pasture,” also by Thompson, were both slow and deep, caving to the baritone limitations of the choir.
“When I Fall in Love,” by Victor Young, arranged by Jay Giallombardo, stretched the tone a bit, some of the men bordering along the line of tenor. The romantic lyrics and shifting tone gave the song the feel of a serenade, something that may be heard in a Shakespearean play to woo a young lady.
The final piece, “Spirit,” by Greg Simon (b. 1985), was the most moving song of the selections and the piano was much more involved. Before the choir began, Schreuder explained that the song was about the earth and spirits in it, giving another religious feel to the music.
After the performance, the ensemble left with loud applause from the audience.
“Both ensembles were excellent,” John Axtell, of Chadron, a member of the Community Chorus, said.