The Richardson Chamber Players continued its “Patronage Appreciated” concert series in Richardson Auditorium on Sunday afternoon with an unusual and eclectic program. In a series honoring America’s lesser-known, but just as influential, music patrons, this concert focused on the daughter of Isaac Singer, recognized as the inventor of the sewing machine. What better way to honor a “Singer” than with a series of “songs.” This particular program displayed a wide range of University faculty and student talent, augmented with members of local professional ensembles. The works built in complexity and instrumentation, starting with straight-forward arias from Bach cantatas with obbligato and piano continuo accompaniment, leading to instrumental and vocal song cycles of the 19th and 20th centuries.
The flow of the opening Bach set was smooth, with all singers and instrumentalists coming out at once. Mezzo-soprano Barbara Rearick chose to present two praises to God, “Hochgelobter Gottes Sohn” from Cantata Number 6 and “Lobe den Herren” from Cantata Number 137. Accompanied by a very elegant English horn played by Matthew Sullivan and a buoyant violin played by Sunghae Anna Lim, Ms. Rearick gave a smooth reading of both arias. Mr. Sullivan was especially subtle, knowing when to cut back and let the singer come through. Ms. Lim’s lightness, together with the fluidity of pianist Elizabeth DiFelice, brought these arias together well.
Tenor David Kellett, also on the faculty of the University, approached “Das Blut, so meine Schuld,” from Cantata Number 78, with a great deal of drama, choosing not to bring out the lightness and joy of the resolution of the piece. Mr. Kellett demonstrated good long vocal lines, well accompanied by Ms. DiFelice and flutist Jayn Rosenfeld.
Patroness Winnaretta Singer actually knew Claude Debussy and Sunday afternoon’s concert paid tribute to this connection with Debussy’s En Blanc et Noir for two pianos (played by Ms. DiFelice and Margaret Kampmeier. At opposite ends of two concert grands, Ms. DiFelice and Ms. Kampmeier maintained solid uniformity and precise unison rhythm. Both keyboard parts are of equal importance, and Ms. DiFelice and Ms. Kampmeier were able to communicate well across the vastness of strings the necessary changing of mood and timbre.
The second movement of this work, a musical dedication to a French lieutenant killed in World War I, required the pianists to present the plaintive melody in tandem, then shift to warring musical forces as one pianist provided the drums of battle against a rendition of the German chorale, Ein’ Feste Burg heard from the other pianist. The third movement, demonstrating the quick technique of each pianist, was typically Debussy-esque in its fragmentation and flow of musical ideas between the two instruments.
French composer Vincent D’Indy’s connection to Sunday afternoon’s concert came from his founding of a Schola Cantorum, which was supported by Ms. Singer and her French Prince husband. D’Indy’s Chanson et Danses, scored for a wind ensemble of flute, oboe, two clarinets, horn and two bassoons, was clearly suited for the French salon. The Chamber Players drew from the professional arena to augment the winds in this ensemble, with bassoonists Robert Wagner from the New Jersey Symphony and Seth Baer, a 2002 graduate and regular player with the Philadelphia Orchestra, joining the other Princeton University faculty members for this piece.
With an almost Alpine melody in the clarinet, played by Jo-Ann Sternberg, the piece is refreshing and not as impressionistically abstract as one would expect from a composer who died in 1931. The ensemble collectively formed a well-blended sound, with a precise underpinning from the bassoons and horn (played by Daniel Grabois). Mr. Sullivan’s oboe could have been the only potentially penetrating sound in an ensemble of otherwise mellow instruments, but Mr. Sullivan kept the oboe’s sound on the rich side to match the other players.
Ms. Sternberg’s fellow clarinetist, Benjamin Fingland, together with Mr. Sullivan, provided a quick and lively rendition of the first “danse.” This is clearly music which was exciting and certainly should be played more often,
Living in Paris and hanging around artists’ circles in the early 20th century, it would have been natural for Ms. Singer and composer Igor Stravinsky to cross paths, and Ms. Singer apparently took a great interest in the transplanted Russian composer and his collaborations with choreographer Serge Diaghilev. Stravinsky’s Duo Concertant for violin and piano was officially premiered in Paris in December 1932, but Ms. Singer hosted a “pre-premiere” of the work in her home the night before. The five-movement work was performed on Sunday by violinist Sunghae Anna Lim and pianist Elizabeth DiFelice.
Ms. Lim played the opening “Cantilene” decisively, with solid and percussive piano accompaniment by Ms. DiFelice. The piano accompaniment was almost non-stop, and the long sustained notes in the second movement “Eclogue” were played without vibrato. Shades of The Rite of Spring and Stravinsky’s other percussive works can certainly be heard in this piece, with the closest thing to a melody in the closing Dithyrambe, which was played serenely by Ms. Lim and accompanied with sensitivity and nuance by Ms. DiFelice.
A song set of early to mid 20th century French composers captured the essence of the Parisian musical scene. As capable as she was in her earlier Bach set, Ms. Rearick shone in the Faure selections, “Mandoline” and “En Sourdine,” demonstrating languid vocal lines and a good sensitivity to the text.
Mr. Kellett’s rendition of Duparc’s “Colloque Sentimental” was pensive and clean, with pianist Margaret Kampmeier subtle providing accompaniment, especially the rolling and shimmering passages toward the end of the song. Ms. Kampmeier and Mr. Kellett were especially precise in their timing of Poulenc’s short and lively “Avant le Cinema.”
The Grand Salon of Ms. Singer’s Parisian home was capable of holding 200 guests — the number invited to the premiere of the Chamber Players’ closing work, Reynaldo Hahn’s Le Bal de Beatrice d’Este. Reynaldo Hahn is not a name which comes to the forefront of 20th century French composers. Actually born in Venezuela, Hahn moved to Paris as a child and studied with all the greats of the time. Hahn looked to the past for his musical inspiration, and program notes for Sunday afternoon’s concert indicated that Le Bal may have been inspired by the wind music of Mozart. Scored for an ensemble of flutes, oboe, clarinets, bassoons, trumpet, horns, harps, piano and percussion, this work brought together Princeton faculty and students, led by University Orchestra conductor Michael Pratt.
The work had a royal feel to it, suitable for a performance in a very elaborate and wealthy private home. Mozartean in its rhythmic precision, a pair of flowing harps drew the piece closer to the 20th century. Flutist Jayn Rosenfeld was joined in her section by student Ben Smolen, both providing a light and airy effect. Melodies abounded in this work, punctuated by the other winds and light brass. Hahn’s South American roots were evident in the fourth movement “Iberienne,” with its mariachi brass feel. Mr. Pratt kept tempi moving along, with a smooth ensemble sound from all the winds. Percussion was ably provided by Rana Rathore and Andrew Schran, both University students.
It was hard to believe that all these instruments and 200 listeners fit into someone’s house, but this music no doubt had appeal for amateur musicians; these were tunes they could play themselves. Added to the other works on Sunday afternoon’s program, this concert re-created an era gone by from a previous century.