The Oberlin Musical Union, trained this spring by guest director Gabriela Hristova, blasted Finney last Sunday with some help from the Oberlin Chamber Orchestra and conductor Bridget Michaele-Reischl. They were accompanied by student soloists for Joseph Haydn’s Missa in angustiis, Hob. XXII: II, better known as the Lord Nelson Mass, in the second part of the program, after presenting Johannes Brahms’ Variations on a Theme by Joseph Haydn, Op. 56a in the first.

The St. Anthony Chorale theme, which, by the way, was not written by Haydn at all, gave oboist Conservatory junior Alexandra von der Embse the chance to show her skills in a thoughtful solo. When the density of the string sections joined the chamber-sized winds, a better Brahmsian spirit settled down.

Overall, the quality of the orchestra’s performance was adequate and the parts appeared well-rehearsed. The third variation, Con moto, sounded well-poised, but the fourth, Andante con moto, could have benefited from a more hushed timbre to support the darkening of the character. While the sixth variation, titled Vivace, lacked enough freedom in the interpretation of the rhythm, the following Grazioso was gasping for more breath and graciousness. The noble, well-prepared Finale reached a dynamic and structural climax, where the orchestra truly hit its stride before the intermission.

Hristova is the visiting director of ensembles and choral activities for the spring semester, managing not only the Musical Union, but also the Oberlin College Singers, College Choir and teaching an advanced choral conducting seminar at the Oberlin Conservatory. A graduate from the University of Michigan–Ann Arbor and the State Academy of Music in Sofia, Bulgaria, Hristova prepared the diverse voices of the MU, the oldest mixed choir in Oberlin’s history, for a powerful presentation of Haydn’s Nelson Mass.

Written in 1798 and presenting, in turn, supplication, jubilation, introspection, anguish and reassurance, in the traditional sequence of Kyrie-Gloria-Credo-Sanctus-Agnus Dei, Lord Nelson is probably one of Haydn’s best known masses. It presents almost equal opportunities for soloists, choir and the supporting chamber orchestra to show off.

Soprano Conservatory junior Angela Kloc showed veritable vocal quality flawed only by some inconsistencies in timbre. Conservatory first-year Caitlin Bell gave a striking debut as alto soloist and struck listeners with her colorful, well-balanced sound. Tenor Conservatory junior Joseph Turro and bass Conservatory junior Jason Eck delivered a solid performance as male counterparts.

While the strings experienced slight turbulence during the beginning of the Credo, their passionate interpretation and focused teamwork stood out during the Sanctus and the Benedictus. Organist Songsun Lee held positions through the 30-minute-long work without a flaw. When the choir had its a cappella fortissimo in the Dona nobis pacem, it became clear that the Musical Union was still as powerful as its reputation.