By Nancy Plum

In a concert taking place as University students are preparing for Christmas vacation, the Princeton University Orchestra presented a program which certainly entitled its members to enjoy their holiday break. Led by conductor Michael Pratt, the Orchestra performed two large-scale Romantic symphonic works which showed the strength and power of the ensemble, even before the school year is half over. Friday night’s performance at Richardson Auditorium (the concert was also presented Thursday night) featured Sergei Rachmaninoff’s Rhapsody on a Theme of Paganini and Anton Bruckner’s Symphony No. 4 in E-flat Major. Both in the prime of their compositional lives when these works were composed, Rachmaninoff and Bruckner were archetypes of the lush orchestration and emotional drama which marked 19th-century music.

Rachmaninoff based his 1934 Rhapsody for solo piano and orchestra on a melodic theme from the last of Niccolò Paganini’s 24 violin “Caprices,” likely composed in 1807. Beyond a virtuoso violinist as well as composer, Paganini was alleged to have cut a deal with the devil in return for his extraordinary talent. In particular, “Caprice” No. 24 was considered one of the most technically difficult pieces ever composed for violin, and Rachmaninoff brought the same demonic virtuosic requirements to the piano soloist. Pratt and the Orchestra began the Rhapsody decisively, with the theme’s fiendish quirkiness evident from the outset. Precise in rhythmic punctuation, the Orchestra continually demonstrated graceful lyricism and delicate ends of phrases. more

By Nancy Plum

On the occasion of the 100th anniversary of the Westminster Choir, the renowned ensemble took the opportunity this past weekend to remind the Princeton community of its raison d’etre. Taking a line from the poetry of W.H. Auden, the 40-voice elite chorus of Westminster Choir College presented a concert of music to “Appear and Inspire” in Bristol Chapel on Sunday afternoon, reaffirming the Choir’s rich history and its connection to American musical culture.

The cornerstone piece of the concert was Benjamin Britten’s Hymn to St. Cecilia, composed to commemorate the patron saint of music and from whose text the title of the concert was derived. Setting poetry by Auden, Britten composed the three-movement work while living in America as war was breaking out throughout Europe. Westminster Choir conductor Joe Miller took the three movements of Britten’s tribute to music and interspersed them throughout the first part of the concert, surrounding Britten’s music with standard works from the Westminster Choir repertory, in many cases featured on Westminster Choir recordings or composed by individuals connected to the Choir College. more

By Nancy Plum

Despite the vast amount and popularity of liturgical music by Wolfgang Amadeus Mozart, sacred music was not the composer’s principal interest. One would have a hard time convincing the choral field of this — two works in almost every symphonic chorus’ repertory are Mozart’s deathbed Requiem and his monumental, yet incomplete, Great Mass in C minor. The 100-voice Princeton Pro Musica opened its 2019-2020 season with the Mass this past Sunday night at Richardson Auditorium, filling the stage with singers, vocal soloists, and orchestral instrumentalists, all ably led by Pro Musica Artistic Director Ryan James Brandau. Paired with Mozart’s lively Concerto for Clarinet in A Major, the Great Mass in C minor created a program unique in the fact that these were two works Mozart composed because he wanted to, not because he had to for financial reasons.

Mozart’s music for wind instruments is universally charming and captivating. The clarinet appears to have been a particular favorite, likely due to his close friendship with fellow Masonic lodge member Anton Stadler, for whom he composed the 1789 Concerto for Clarinet. The instrument for which this work was composed was likely a basset clarinet — a standard clarinet to which was affixed an extension adding notes in the lower register. Nineteenth-century published versions of this piece adjusted the lower “extension” passages to higher octaves, in some ways making the Concerto more difficult to play. To open Sunday afternoon’s Pro Musica concert, Brandau led a chamber-sized orchestra and guest clarinet soloist Pascal Archer in a spirited performance of Mozart’s three-movement Concerto. Archer, currently acting principal clarinetist for the New Jersey Symphony Orchestra, demonstrated not only his command of the instrument and the works technical demands, but also how demonic Mozart’s solo writing could be. more

By Nancy Plum

In a three-concert series entitled “Icons of Song,” Princeton University Concerts is examining both the concept of love and ways to expand the boundaries of chamber music. Composers through the centuries have explored the ups and downs of love through the solo song genre, and in the first of the “Icons of Song” series, Princeton University Concerts presented a program of two song cycles celebrating these very ideas. Accompanied by pianist Brad Mehldau, British tenor Ian Bostridge performed a contemporary song cycle by Mehldau, as well as Robert Schumann’s lyrically Romantic Dichterliebe. Throughout the more than 25 songs which made up the two cycles, the audience at Richardson Auditorium last Tuesday night listened in rapt attention as these two esteemed performers conveyed some of the most formidable yet tender poetry in literature.

A native of London, Bostridge received his musical education in England’s finest institutions, including as a choral scholar at Westminster School and a student at St. John’s College in Oxford and Cambridge. His recordings of both opera and lieder have won major international prizes and have been nominated for 15 Grammy awards. Bostridge and Mehldau have been collaborating since 2015, with Mehldau composing several works specifically for the tenor. Mehldau’s 11-song cycle, The Folly of Desire, premiered just this past January and toured by Mehldau and Bostridge this year, set the poetry of Blake, Yeats, Shakespeare, and Goethe, among others. more

By Nancy Plum

Things must have been lively in the Louisville, Kentucky, home in which Princeton University sophomore Elijah Shina grew up. He may well have been the kind of child that found rhythm in every empty box or can in the house and saw a potential drum on every surface he touched. These are the children who grow up to be great percussionists, and Shina has brought his great sense of inner rhythm to Princeton University and to the University Orchestra’s opening concerts this past weekend. A co-winner of the Princeton University Orchestra 2019 Concerto Competition, Shina showed virtuosic agility on a myriad of percussion instruments in a 20th-century concerto demonstrating a wide range of orchestral colors and effects.

Concertos for percussion were unusual in 20th-century American music. Chicago-born Joseph Schwantner, intrigued by the infinite array of timbres and sonorities available in an orchestral percussion section, composed the 1995 Concerto for Percussion and Orchestra on commission from the Philharmonic-Symphony Society of New York for the New York Philharmonic’s 150th anniversary. The resulting work, performed by the University Orchestra this past Friday and Saturday nights, was a musical collaboration between soloist and ensemble demanding the highest level of skills and techniques from an entire section of percussionists, not just the soloist. more

By Nancy Plum

Last year’s 125th anniversary season of Princeton University Concerts — with star conductor Gustavo Dudamel leading the lineup — is a hard act to follow. Princeton University Concerts began its 126th season last week with a well-respected ensemble also celebrating a milestone. New York’s Chamber Music Society of Lincoln Center, marking its 50th anniversary, brought to Princeton a program paying homage to both Americana and the longevity of Princeton University Concerts. Last Thursday night’s “New World Spirit” performance at Richardson Auditorium featured music of four composers who embodied American music in the late 19th and early 20th centuries, with one work having close ties to the University Concerts series.

Pennsylvania composer Harry T. Burleigh has been well-known in the choral world for his arrangements of spirituals and for bringing African American music to the forefront in this country, also composing a handful of instrumental pieces. A student of Czech composer Antonin Dvorák, Burleigh similarly infused his musical works with American folk tunes and atmosphere. Burleigh’s Southland Sketches for solo violin and piano was comprised of four salon pieces capturing the fresh and open outdoors through broad melodies and bits of familiar tunes. Violinist Chad Hoopes and pianist Gloria Chien showed solid communication and precise timing in performing the four Sketches, with effective double stops from Hoopes adding harmony to the solo violin part and Chien’s accompaniment well reflecting the diverse styles within the music. more

By Nancy Plum

Princeton Symphony Orchestra turned its attention to music of Russia in the second performance of the ensemble’s Classical Series this past weekend. Guest Conductor Bernhard Gueller and the Orchestra successfully delved into music of 19th-century Russian titans Mikhail Glinka, Sergei Rachmaninoff, and Pyotr Ilyich Tchaikovsky in a pair of concerts featuring guest pianist Natasha Paremski. Saturday night’s concert at Richardson Auditorium (the performance was repeated Sunday afternoon) not only showed Paremski’s virtuosic and dynamic technical skills and expressiveness, but also the lush orchestration and chromatic harmonies of 19th-century Russian symphonic music.

The central piece of Princeton Symphony’s concerts this past weekend was the second piano Concerto of late 19th-century Russian composer Rachmaninoff, bracketed by a spirited opera overture by Glinka and a monumental symphony of Tchaikovsky. Composed between the fall of 1900 and spring of 1901, Rachmaninoff’s Piano Concerto No. 2 in C Minor, Op. 18 was premiered in its entirety in November 1901, and coincidentally earned the composer the prestigious 500-ruble Glinka Award, named for the composer whose Overture to Ruslan and Lyudmila opened the Princeton Symphony program. In this work, Rachmaninoff followed the classical concerto form, but augmented it with sumptuous orchestration and a full exploitation of the piano’s Romantic capabilities. Featured as piano soloist in these performances was Moscow native Natasha Paremski, who has been playing professionally since the age of 9. After earning a degree at New York’s Mannes College of Music, Paremski embarked on an international career which has brought her musical passion and technical virtuosity to all corners of the world. more

By Nancy Plum

The New Jersey Symphony Orchestra spent last week in Princeton coaching and guiding four contemporary composers in an immersive laboratory experience through which the talented participants received musical and practical feedback about their pieces, composing for a symphonic orchestra, and getting music published and performed in today’s market. Dichotomy, conflict, and ultimate hope seemed to be the overriding themes of the pieces resulting from this year’s Edward T. Cone Composition Institute, as these works were presented in a concert entitled Scores last Saturday night at Richardson Auditorium. Led by Romanian conductor Cristian Macelaru, the New Jersey Symphony Orchestra performed four works of the Cone Institute’s composers, along with an East Coast premiere of Institute director and Princeton University professor Steven Mackey. more

By Nancy Plum

Princeton University Summer Chamber Concerts ended its 2019 season last week with a return to the classics, as Canada’s Rolston String Quartet performed the final concert of the series. Formed six years ago at the picturesque and renowned Banff Arts Center in Alberta, Canada, the Rolston String Quartet provided a fitting close to a season featuring innovation by showing the future of classical music through the masterworks of the past. Violinists Luri Lee and Emily Kruspe, violist Hezekiah Leung, and cellist Jonathan Lo dazzled the audience at Richardson Auditorium last Friday night with their musicality and energetic approach to the works of string quartet masters Franz Joseph Haydn and Ludwig van Beethoven bracketing a complex piece by 20th-century Hungarian composer György Ligeti.

“Papa” Haydn is considered the father of the string quartet genre, which Beethoven subsequently pushed to new musical boundaries. Among Haydn’s most well-known string quartet compositions are those contained in Opus 76, the last complete set of the more than 60 quartets the composer wrote. Quartet No. 63 in Bb Major, the fourth of Opus 76, acquired the nickname “Sunrise” for its depiction of the sun coming up over the horizon, and the Rolston String Quartet brought out well the diverse shadings one sees in an early sunlit sky. In the first movement “allegro con spirito,” the Rolston players placed their musical emphasis on “con spirito,” energetically moving through the allegro with clean sforzandi accents and a light violin sound from Lee’s Baroque-era instrument. Lee and Kruspe also demonstrated especially sweet thirds between the two violin parts. more

By Nancy Plum

Of the trumpet, French horn, and trombone, the most familiar is likely the trumpet, thanks to a repertory of 17th and 18th-century music featuring the instrument. The French horn is also well known though a number of concerti over several centuries. The trombone, however, is rarely featured in orchestral settings, and is a pleasure for audiences to hear and see close up. Princeton University Summer Chamber Concerts brought these three instruments together last Tuesday night at Richardson Auditorium with a performance by the New York Brass Arts Trio. Definitely an ensemble for the 21st century, the Brass Arts Trio is comprised of trumpeter Joe Burgstaller, French horn player David Jolley, and trombonist Haim Avitsur, who came together in this performance to demonstrate the power of their instruments within the finesse of ensemble playing.

Burgstaller, Jolley, and Avitsur are not only expert performers, but also imaginative arrangers; almost all of the pieces on Tuesday night’s program were arranged by one of them. The Trio presented works spanning three centuries, beginning with David Jolley’s arrangements of three sinfonias of Johann Sebastian Bach. In these short pieces, the three brass instruments were able to achieve appropriate lightness in melodic lines, as well as dynamic contrasts. Burgstaller found numerous opportunities for ornamentation in music tailor-made for a bright trumpet sound. more

By Nancy Plum

Although the violin, viola, and cello have changed little as instruments over the past century, music for this genre is continually evolving. Nowhere was this more evident this past week than in the Princeton University Summer Chamber Concerts presentation of PUBLIQuartet, an ensemble of four musicians committed to stretching the instruments of the string quartet to new boundaries and stimulating new repertoire for the field. Violinists Curtis Stewart and Jannina Norpoth, violist Nick Revel, and cellist Hamilton Berry presented a program demonstrating that in the ensemble’s less than 10-year history, PUBLIQuartet has made a solid mark on American contemporary chamber music.

PUBLIQuartet’s performance last Thursday night at Richardson Auditorium was far from the conventional string quartet concert in its focus on music from very recent decades. When the living American composer John Corigliano is the “old man” of composers represented, PUBLIQuartet’s commitment to the latest in string quartet composition was clear. more

By Nancy Plum

There is a relatively new performing ensemble in Princeton focusing on repertoire for a specific set of instruments. Founded in 2016, Princeton Symphonic Brass draws players from other area ensembles to explore music written specifically for brass instruments — horn, trumpet, trombone, euphonium, and tuba. This past Saturday night, Princeton Symphonic Brass presented a concert of “City Lights, Latin Nights” in the recently renovated Hillman Performance Hall at Westminster Choir College. Led by conductor Lawrence Kursar, the 11 brass and two percussion players of Symphonic Brass performed to an appreciative audience and showed some fancy footwork on instruments often performing from deep in the background of an orchestra. Dressed casually and sitting in a semi-circle in the hall, the members of the ensemble created an informal performance atmosphere which did not detract from achieving high technical standards.

Most of the works performed Saturday night were pieces for other instrumental combinations arranged for brass ensemble, giving the audience the chance to hear familiar or new repertoire with different orchestral colors. The program explored music of Latin American composers, as well as a few American works reflecting Spanish flavor or influence. Symphonic Brass opened the program with an iconic fanfare tailor-made for brass — Aaron Copland’s Fanfare for the Common Man, composed as a concert season-opener in World War II and arranged for this group by trumpet member Ed Hirschman. The four trumpets of the ensemble were well blended and rhythmically precise, presenting a clean dialog between upper and lower brass. more