University of Utah - University Combined Choirs

Saturday, March 1, 2014, the University of Utah School of Music presented a snap-shot of the work of its three choirs thus far. Each of the three choirs gave roughly a 20-minute performance highlighting their work thus far in the semester.

Fresh-off a performance with the Utah Symphony and Chorus, the A Cappella Choir, conducted by graduate student Eric Schmidt, entered Libby Gardner Concert Hall at the UofU and gave an encore performance of the "Kyrie" and "Gloria" of Mozart's "Trinity" Mass (KV 167). Schmidt had a clear yet minimal conducting style that proved effective for the choir as they relived the music, this time with even more enthusiasm and energy. Also conducting the A Cappella Choir were graduate students Sonja Sperling and Matt Robertson.

The Women's Chorus, conducted by Jessica Nápoles presented a varied program spanning many styles, something for everyone. The women sang "Lux Aeterna" by Z. Randall Stroope, accompanied on the organ. They had a mature sound and comprehension of the work that was their standout piece.

Ko Matsushita

Conducted by Dr. Barlow Bradford, and having performed Brahms' Requiem earlier this week with Utah Chamber Artists, the Chamber Choir finished the concert opening with a mystical and reserved performance of "O Quam Gloriosum" by Tomás Luis de Victoria. Bradford's interpretation was deliberate, cautious and poignantly executed, solidly establishing the Chamber Choir as the premier group and the University. Following that was Japanese composer Ko Matsushita's "O Lux Beata Trinitas," a marvelous, exhilarating and difficult work. Unfortunately the piece was ill-prepared with sloppy intonation and rhythm errors; and though eventually the group found it's footing again the piece never took off and recieved its resounding excitement.

Langston Hughes

For Black History month, Dr. Barlow Bradford programmed the first and last movements of Dark Like Me by French composer Thierry Machuel. A daring and intense work that invokes the text of Langston Hughes and Dr. Martin Luther King Jnr., the work utilizes speaking, whistling, and singing to create a fantastically original work. The choir was extremely well-prepared and sang with excellent precision and nuance for this complex and evocative work. Their performance was intriguing and flawless: each audience member completely engrossed in this incredible experience. I hope they intend to program the entire piece in the future, as it could provide a powerful experience to honor the great writer of the Harlem Renaissance and our rich African American History. I would love to see a collaboration with the Diversity Department to create a rich experience for students and audiences alike (admittedly revealing this reviewers high interest in African-American studies). This, along with the Matsushita, showed a daring turning point in the U's Chamber Choir to more modern and challenging works that we hope to see more of alongside the more traditional choral catalogue that they continue to share with their appreciative audience.

The concert concluded with two fine arrangements by Bradford, both incorporating his trademark for interesting rhythmic and harmonic originalities.

The next opportunity to see the University of Utah Choirs perform is April 2, 2014 for the Women's Choir Festival followed by a concert of the A Cappella Choir on April 7, both in Libby Gardner Hall at the University of Utah.