University Chorale from Pacific Lutheran University photo provided by NWRS |
UniversityChorale performed first. From the moment Dr. Brian Galante stepped up to
conduct his choir he showed a charismatic presence. The group began without
accompaniment on “Jauchzet dem Herrn” by Felix Mendelssohn-Bartholdy, followed
by Claudio Monteverdi’s “Cantate Domino,” so full of exuberance.
This problem made it impossible for the choir to perform the next piece on their program, Heinrich von Herzogenberg’s Op. 22 from “Vier Notturnos.” Eskokina left the stage to the sound of heartfelt applause. Undaunted, Galante made the decision to substitute “Give Me Jesus”—touching with its simple sincerity. They followed it with “The Word Was God” by Rosephanye Powell. This piece captivated me with syncopated rhythm and intense repetition as the male voices repeatedly throbbed out the words “In the beginning was the word and the word was God.” Then the female voices came weaving in, the two seeming to urge each other on to a powerful conclusion.
When it ended, the crowd responded with vigor. But the gracious Galante turned the attention on his accompanist, now seated off to the side, and audience and choir alike applauded her valiant perseverance during the piano’s failure. I look forward to another chance to hear her play. In spite of the piano, this choir impressed.
Galante
shared these thoughts with me later: "In rehearsal, we talk a
great deal of the collaborative nature of choral singing--that we participate
in an art form that creates something far greater than any one of us could
produce alone. It was an honor for us to take that a step further and
collaborate with two other fine choirs during the concert on Saturday night.
These collaborations remind us not only to cherish the moments of profound
beauty created during a concert, but also to celebrate a lifelong passion for
music and choral singing."
The show must go on
While Dr Paul Schultz, artistic director of Northwest Repertory Singers, spoke to the audience,
some of the male choir members went to work moving the invalid piano off the
stage and rolling up another that happened to be in the room. By this time, we
were all in it together, eager for whatever might happen as long as the singing
we craved continued.
The Dorian Singers from University of Puget Sound photo provided by NWRS |
Under the
direction of their dynamic conductor, Dr. Anne Lyman—with accompaniment by Lucas
Perry—the all-female Dorian Singers launched their program beautifully with
“Tota pulchra es” by Maurice Duruflé.
Next was a traditional Korean folk song called “Nodle Kangbyon,” arranged by
Wallace Hornady. It began with the gentleness of spring, then swelled with
emotion and transported me to a pastoral landscape with blossoming trees.
Adding another surprise to the
evening, Lyman presented a piece not on the program—“AFRICA” by the 18th
century American composer William Billings. She had arranged it herself for
women’s voices, and her ladies sang a cappella with a clean, clear sound. Next
came “Buttterfly” by August Read Thomas, invoking images of flight through a
sense of fluttering, moments of dissonance, pauses, and tumbling and cascading
notes, some hanging in the air until they finally settled to rest.
“The Singing Place” by Joan Szymko
made me think of falling rain as piano chords progressed behind voices that
hummed and echoed. It ended with a lovely piano run. Foot stomping and vocal
trills introduced “Norwegian Triology,” arranged by Margaret King, followed by moments
of haunting beauty in a minor key before a more vigorous ending. I thought of
fading light in the land of the midnight sun. The Dorian Singers added drama to
Giuseppe Verdi’s “Witches Chorus” with their facial expressions and body
language, while singing a cappella, for a fun conclusion to the program.
Lyman has this to say about the experience: "I speak for both myself and my singers when I say that we were very grateful to Paul for the invitation of perform with his outstanding Northwest Repertory Singers. He has allowed us not only the opportunity to give our program a test run before the performance at the American Choral Director's Convention, but to be able to share our music with the wider Tacoma community. This was an especially meaningtul performance for me to see my students peform in front of their PLU peers. They thrive in both the process and the product that comes from participating in choral opportunities such as this one, and—even in the midst of midterms, brought their absolute best to the evening! I hope we are able to do it again."
Lyman has this to say about the experience: "I speak for both myself and my singers when I say that we were very grateful to Paul for the invitation of perform with his outstanding Northwest Repertory Singers. He has allowed us not only the opportunity to give our program a test run before the performance at the American Choral Director's Convention, but to be able to share our music with the wider Tacoma community. This was an especially meaningtul performance for me to see my students peform in front of their PLU peers. They thrive in both the process and the product that comes from participating in choral opportunities such as this one, and—even in the midst of midterms, brought their absolute best to the evening! I hope we are able to do it again."
Northwest Repertory Singers performed with authority
All three choirs excelled at their art, but the
more mature voices of the host choir, Northwest Repertory Singers led by Artistic
Director Paul Schultz, moved me most profoundly from the first note on Ola
Gjello’s version of “Tota pulchra es,” not only because of the quality of the
singing and the beauty of the piece, but also the dynamics. The soft voices of
the women eased into it, and then the men joined them, with the rich blend of
voices causing it to swell in volume and emotion before fading softly again,
ending on a long, drawn-out “Maria.” The
entire piece carried depth, color, and drama. Schultz’s conducting—as well as
the choir’s rapt attention—impressed me, and obviously others as well. Not so
much as a breath could be heard from the audience.
Northwest Repertory Singers photo provided by NWRS |
Schultz featured Ted Fahy, bass, and
Ross Aker, tenor, and only the men of NWRS on the rousing “Vive L’Amour,
arranged by Alice Parker and Robert Shaw. “Love live love; Long live life” they
sang with gusto and delicious harmonies. I could imagine the clink of glasses
in the pub. Not to be outdone, the women of NWRS followed this with a
surprising “Song of Perfect Propriety,” Dorothy Parker’s words set to music by
Carol Barnett. The lyrics told of female fantasies of life as pirates,
returning to reality with the words, “But I am writing little songs, as little
ladies will.” It began with the piano’s growls and swaggers and contained just
enough dissonance to feel edgy. The women got into it in a big way, stomping
their feet and trying to look a mean as pirates.
NWRS ended their individual program
with “Battle of Jericho” arranged by Moses Hogan. Schultz had known him
personally and remembers Hogan with great admiration and fondness. Syncopated
rhythm, repetition, and texture created excitement and tension, the women’s
voices becoming almost shrill as it built to a powerful finish.
But the best was yet to come
No matter what else was being
performed, I would have come to this concert just to hear the Danish American
composer Morten Lauridsen’s “Sure on This Shining Night.” Lauridsen once told
Schultz, after a previous performance of his work, “You and your choir have
raised my music to a new level.” That level was surely maintained or surpassed
when the combined choirs, at this concert, treated the audience to an
unforgettable experience. The tears I had held back all evening filled my eyes.
The lyrics of this piece, from JamesAgee’s 1934 poem “Description of Elysium,” when set to music by Lauridsen
seemed sacred, so sacred in fact, that when it ended, Schultz, continued to
hold his arms in a raised position with his back to the audience for at least
30 seconds, before he lowered them and turned around. During that time, no one
in room even stirred.
Then people began to applaud. And the
applause grew louder. And we all rose to our feet in a standing ovation.
“This has truly been a ‘shining
night,’” Schultz told me after the concert. “Tacoma should be very proud.” He
spoke of the two “truly skilled” conductor teachers from University of Puget
Sound and Pacific Lutheran University and added, “It absolutely thrills me.”
Later, he had this to say: “To collaborate with two
outstanding university choirs was very special for members of NWRS. It brought
back memories for most of our people who sang in college choirs, experiencing
tours, and the lifetime friendships that happen. Several of the married couples
in NWRS met while singing with the Adelphian Concert Choir under my direction.
The final combined number, Lauridsen's ‘Sure on this Shining Night,’ had
members of the three choirs standing side-by-side and realizing there is a
‘singing life’ after college.”
And in reference to the thirty
seconds of silence following the final release of sound, Schultz said that it
“demonstrated, once again, the power music has over our emotions.” Then he
shared this quote:
“After silence that which
comes nearest to expressing the inexpressible is music.”
Aldous HuxleyDon't miss the Northwest Repertory Singers next concert, coming up in June and featuring the Total Experience Gospel Choir.
How Sweet the Sound Saturday, June 2, 2012 - 7:30 pm
Sunday, June 3, 2012 - 3:00 pm
Mason United Methodist Church
The Total Experience Gospel Choir joins NWRS for two concerts that you will not want to miss. Pastor Patrinell Wright founded the choir in 1973 and has led them to become one of the finest soulful choirs in the United States. The choirs will combine for a grand finale that should shake the walls of the concert hall.
Click here to order tickets online or call (253) 265-3042.
Ticket prices: General $18, Seniors/Students/Military $15, Children Under 12 free
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