Princeton University Choral Ensembles Bring Britain’s Coronations to Richardson
The coronation of a monarch is not an event to which the American public has much exposure. However, throughout the past four centuries, these events in England have produced some of the greatest choral music ever written. Several of Princeton University’s choral ensembles took the opportunity this past weekend to musically honor both the tradition and some of the monarchs in the annual Walter L. Nollner Memorial Concert.
2014 marked the 300th anniversary of the coronation of King George I, but Princeton University Glee Club conductor Gabriel Crouch paid tribute to monarchs starting from 1685 and leading up to the most recent, that of Queen Elizabeth II in 1953. Mr. Crouch began Friday night’s concert at Richardson Auditorium with this most recent coronation, graciously handing over the podium to student conductor James Walsh, who led the University Glee Club in Ralph Vaughan Williams’ O Taste and See. With fluid conducting gestures, Mr. Walsh elicited a well-blended sound from the chorus, with soprano Kaamya Varagur singing intermittent solo lines with a pure voice perfectly in tune.
Taking the podium back, Mr. Crouch led the chorus, with organ accompaniment, in a crisp performance of William Walton’s Coronation Te Deum. Alternating the full choir with two semi-choruses, this anthem was sung by the Glee Club with a clean and well-contained choral sound. The men’s sections were especially well-blended, answered by equally as precise soprano and altos. The third composition in honor of Elizabeth II’s coronation was Herbert Howells’ Behold, O God our Defender, sung as a study in choral color, with one lush chord after another.
The music of Henry Purcell is synonymous with royal events, and there was plenty of Purcell’s joyous and majestic music to be had in Friday night’s concert. Although C. Hubert Parry’s I Was Glad is the most recognizable setting of the Psalm text, Purcell also composed an a cappella setting for the 1685 coronation of James II. Sections of the piece corresponded to the choreography of the event, and the Princeton University Chamber Chorus Choir kept the joyful dotted rhythms crisp and clean. Again, the tenor and bass sections were lean, with phrases well tapered by the whole ensemble and the words appropriately stressed. The vocal clarity of the closing Doxology made it easy to imagine the architecture and acoustics of Westminster Abbey. Purcell’s My Heart is Inditing served the same role in royal choreography for James’ Queen Mary; accompanied by the Nassau Sinfonia, the Chamber Choir demonstrated a light choral texture and effective phrase echoes. Two semi-choruses were heard clearly through the orchestral texture.
The 1714 coronation of George I also inspired William Croft’s The Lord is a Sun and a Shield, for chorus and counter-tenor, tenor, and bass soloists. Princeton alumnus and counter-tenor Tim Keller was joined by tenor James Kennerley and bass-baritone Jacob Kinderman to provide a smooth male semi-chorus of soloists against the Glee Club. The Nassau Sinfonia, including valveless trumpets, captured the Baroque flavor of this piece well.
The Glee Club would never have let the evening go by without Parry’s monumental I Was Glad, composed for Edward VII in 1902 and revised for George V in 1910. For this performance, the Glee Club was joined by the newest addition to Princeton’s choral program: the William Trego Singers. As organist Eric Plutz cranked up the onstage instrument (which rang well throughout the hall), the combined choruses brought out well the strong melodic lines and lush harmonies.
Mr. Crouch closed the concert with one of royalty’s musical highpoints — the 1727 coronation of George II, for which Georg Frideric Handel composed four coronation anthems. The Glee Club closed the concert with Handel’s stately Zadok the Priest, which Mr. Crouch began with restrained choral sound to maintain the suspense until the piece reached its zenith. The coloratura runs in the piece were well executed by the chorus (most impressively from the bass section), and the spaces in the choral texture were well articulated.
This performance by the Princeton University Glee Club, Chamber Choir, and Trego Singers combined history, royalty, and music, offering a bit of something for everyone in the audience. What was consistent was the flexibility of the ensembles and the secure knowledge that Mr. Nollner would have enjoyed the repertoire and the concert.