July 23, 2014

For eleven years, a musical treasure has been taking place in Princeton in the summer. The Golandsky Institute has been presenting a symposium and International Piano Festival each summer, training artists in a specific technique known as the Taubman Approach, which develops virtuosity while preventing the injuries affecting highly-accomplished players. As part of the symposium, the Institute has presented public concerts to show off the faculty and talented students.

With the generosity of William and Judith Scheide, the Golandsky Institute took a journey through the history of the piano concerto in a performance last week at Richardson Auditorium. Last Thursday night’s “Scheide Concerto Evening,” offered two of the Institute’s long-time faculty members and two other talented participants in the Institute in four concerti spanning 200 years. Prominently featured were works by two of the biggest names in 18th-century keyboard music — Johann Sebastian Bach, who transcribed virtuosic works for other instruments to the keyboard; and Wolfgang Amadeus Mozart, who took the keyboard concerto form to new heights with an instrument that was still evolving.

Father Seán Duggan, a performance expert on the music of Bach, paid tribute to the hosts of the evening Bach’s Keyboard Concerto in E Major a work originally for harpsichord and which was based on Bach cantatas first recorded by William Scheide with the Bach Aria Group. Concerti in Bach’s time were beginning to take the shape known today, with keyboard concerti characterized by virtuoso requirements usually seen from string instruments. Performing this concerto on a modern piano created a more powerful interpretation than Bach would have imagined, but Father Duggan’s playing was every bit as clean and precise as Bach would have expected. With graceful mordents and trills, Father Duggan well handled the virtuosity required of the work, especially in the extremely quick third movement. Conductor Mark Laycock kept the accompanying orchestra appropriately in the background, building tension between the strings and keyboard and elegantly bringing the music down to nothing to close the second movement Siciliano.

The other Golandsky faculty member featured in this concerto evening was Ilya Itin, a pianist with facility in all centuries of music. By Mozart’s time, the concerto placed certain expectations on the performer in terms of structure, and in Mozart’s case, melody. Mr. Itin’s performance of Mozart’s Piano Concerto No. 12 in A Major used similar orchestration to the Bach Concerto, but the lower strings in particular served a very different role, and all orchestral parts were responsible for line and drama. Mr. Itin perfectly matched the orchestral colors of the opening introduction and showed that he was capable of both a delicate touch and a forceful style within a graceful framework. The dialog between pianist and ensemble was exact, and Mozart’s humor was well brought out in the third movement interplay among the players.

Russian composer Dmitri Shostakovich composed for a piano that was capable of conveying a full range of emotions and musical styles. An experiment by Shostakovich in neo-Baroque orchestration, Concerto in C minor for Piano, Trumpet and String Orchestra added the color of a brass instrument to the light instrumental character, with Mr. Itin again playing solo piano. The first movement seemed to incorporate a Russian folk tale, with a walking bass line and a musical atmosphere that was not as dense as other Shostakovich works. The violins of the New Jersey Symphony provided mournful tunes in the second movement, but with lean playing to accompany the Mr. Itin’s pounding left hand in the keyboard part.

The combined third and fourth movements were the most dramatic of the concerto, with the most virtuosic requirements of the soloist, and more technically demanding playing required of all the musicians. Shostakovich’s humor could be heard in the col legno playing from the strings, while Mr. Laycock kept the musical action moving right along. Shostakovich seemed to throw everything but the kitchen sink into these two combined movements, and the players of the New Jersey Symphony Orchestra, as well as Mr. Itin, had it all well in hand.

The two Golandsky faculty members were joined by two younger members of the Institute in the closing work of the concert: Bach’s Concerto for Four Pianos in A Minor. Originally scored for four harpsichords, this work was a transcription of a work by Antonio Vivaldi in its day, and in Thursday’s concerto showed all four players to be of equal artistry. Nathan Grabow and Sakura Myers both clearly have futures as concert pianists, and as the melodic material traveled among the keyboards, all players knew their roles as either featured soloists or harmonic background. Ms. Myers in particular showed a great deal of style at the keyboard as the concert closed with typically Vivaldi harmonic drive and intensity.

 

July 16, 2014

What is enjoyable about the Princeton University Summer Concerts Series is that people tend to come as they are on a warm summer evening — anything goes with attire and the audience has an upbeat summery attitude. Apparently the Summer Concerts committee has also taken an “anything goes” attitude toward the ensembles presented, particularly stretching the imagination of the audience in last week’s performance of the Donald Sinta Quartet. Comprised of four highly-accomplished saxophone players, the Sinta Quartet took the instrument out of its more familiar jazz setting and showed that the saxophone can be just as virtuoso a classical instrument as the violin or flute. Last Wednesday night’s concert in Richardson Auditorium took a “Then and Now” approach to the repertoire presented, alternating classical works (some arranged for saxophone quartet) and newly-commissioned pieces.

The combination of four saxophones is well known in jazz, and an element of casualness carried over as Dan Graser, Zach Stern, Joe Girard, and Danny Hawthorne-Foss sauntered onto the Richardson stage with their instruments. Freed by a lack of music stands, the members of the Sinta Quartet stood tightly together and communicated well throughout the concert, especially when passing musical fragments around among the players. The opening Quartettsatz in C minor of Franz Schubert was originally composed for string quartet, and Mr. Graser carried the long melodic lines well with the soprano saxophone. This instrument could reach quite high in register, and seemed to have two distinct colors — one for the upper register and one for the lower and richer range. The sound from the four players together was most remarkable when they played softly, capturing the Viennese flavor and subtlety of Schubert’s music.

The Sinta Quartet turned again to the string repertoire with a transcription of Barber’s timeless Adagio from String Quartet, Op. 11. In his introductory remarks, Mr. Graser described the saxophone quartet as made up like a choir (with soprano, alto, tenor, and baritone instruments) with the sound of an organ. The quartet began the Adagio almost imperceptibly, as the melodic line flowed from Mr. Graser’s soprano sax. The dynamic builds in the music were all the more dramatic because there was air behind them, and the quartet could uniformly break the lines with breath. One could hear a pin drop in the house during the rests, and tenor saxophonist Joe Girard combined with Mr. Graser for a smooth melodic duet.

The “Now” portion of the concert came from several very contemporary composers, including one commissioned by the quartet through a composition competition. Natalie Moller’s Phantoms began as if from afar, with a sound so well unified the instruments easily resembled horns. A haunting melody was played by alto saxophonist Zach Stern and one could hear more of the baritone sax from Danny Hawthorne-Foss than in previous pieces. A tenor cadenza played by Mr. Girard was definitely borrowed from jazz as Ms. Moller’s piece became sharper and more cutting toward its close.

David Maslanka’s 2006 Recitation Book draws on music from old sources for each movement, in the case of movement V, the 16th-century chorale tune “Durch Adams Fall ist ganz verderbt,” set multiple times by J.S. Bach. Mr. Maslanka’s “Fanfare/Variations on the Chorale ‘Durch Adams Fall’” recalled the majestic style of Giovanni Gabrieli, with superimposed jazz precision. Bach could never have imagined the sound of a saxophone ensemble re-interpreting his music or the musical idioms which followed the 18th century as this set of variations combined more 250 years of music history. The Sinta Quartet easily handled Baroque ornamentation, passing motives among all four instruments.

The Sinta Quartet has included film music in its repertory, with transcriptions of two selections from The Piano, scored by British composer Michael Nyman. “Here to There” and “The Promise” were played with chipper and bright attention to detail and smooth melodies. Speed Metal Organum Blues, which closed the concert, was a mix of several musical styles within the span of a minute, and one could hear the medieval organum influence, while the “blues” was led by soprano and baritone saxophones. This quick survey of musical history showed all the best aspects of the instruments and the polished manner with which the Sinta players work together.

No doubt many in the audience had not heard a saxophone quartet before, and certainly not in classical repertoire. The Princeton University Summer Concert series, known for the excellent string quartets in its series, stretched its range with this foray into saxophone ensembles, and the audience clearly enjoyed the ride.

The Princeton University Summer Concerts series concludes on Monday, July 21 with the Harlem Quartet, at 7:30 p.m. in Richardson Auditorium. Tickets are free and can be picked up at 6 p.m. the night of the performance.

 

July 2, 2014
SCOUNDRELS IN COMPETITION: Lawrence Jameson (Steve Lobis, right) and his protégé ­Freddy Benson (Travis Przybylski) wager over who can first win over and extract $50,000 from a rich American soap heiress, in Off-Broadstreet Theatre’s revival of the musical comedy “Dirty Rotten Scoundrels,” playing in Hopewell.

SCOUNDRELS IN COMPETITION: Lawrence Jameson (Steve Lobis, right) and his protégé ­Freddy Benson (Travis Przybylski) wager over who can first win over and extract $50,000 from a rich American soap heiress, in Off-Broadstreet Theatre’s revival of the musical comedy “Dirty Rotten Scoundrels,” playing in Hopewell.

“What you lack in grace, you certainly make up for in vulgarity,” the suave con-man Lawrence Jameson advises his young rival Freddy Benson, as the two compete for supremacy in the swindling of rich heiresses on the French Riviera in the musical comedy Dirty Rotten Scoundrels, playing through July 26 at The Off-Broadstreet Theatre in Hopewell.

A Broadway hit of 2005 starring John Lithgow and Norbert Leo Butz, based on a 1988 movie starring Michael Caine and Steve Martin, Dirty Rotten Scoundrels re-emerges here with a cast of seasoned area professionals along with a contingent of young and talented Rider College performers — all under the able direction of Robert Thick.

Dirty Rotten Scoundrels, book by Jeffrey Lane and music and lyrics by David Yazbek, is funny and engaging. But, like its main characters, a couple of scurrilous international charlatans, the show, under a veneer of suaveness and style, does at times lack grace, and it does occasionally push the boundaries of good taste with an abundance of silly shtick and bawdy humor. Mr. Thick and company have taken on a big, challenging, difficult production.

So this week you’ll get two reviews, two perspectives.

The Good News

The protagonist explains his philosophy of the art of the con in his opening number. “Give Them What They Want,” he says, and last Saturday night’s sold-out audience appeared to be thoroughly entertained from pre-curtain desserts to final bows, responding with frequent loud laughter and applause. The show is at times hilarious, as Lawrence and Freddy take on multiple guises and disguises in pursuing their romantic and financial interests. There is much clever dialogue, with richly inventive, amusing, and outrageous song lyrics.

The cast of ten is well rehearsed, extremely versatile — with most taking on multiple roles — and skilled in acting, singing, and dancing. The older veterans blend well with the energetic, attractive younger performers. The motley array of characters is interesting and engaging, the plot takes a number of intriguing twists and turns, and the evening passes swiftly and pleasantly.

Mr. Thick knows his craft and directs with a swift pace and a deft touch. The simple, brightly colored set design serves to move the action by spinning a large staircase and wall through 18 scenes, as the action shifts to different interior and exterior locales throughout the elegant Riviera resort town.

The music, though hardly memorable, is mostly tuneful, with at least three or four strikingly clever and entertaining numbers. The pit band, under the direction of Philip Orr, with three keyboards, a bass and a percussionist, is thoroughly professional and consistently strong in support of the soloists and ensemble members.

There are abundant reasons why this show was nominated for 10 Tony Awards and 10 Drama Desk Awards and ran for a year and a half, followed by a year-long national tour from 2005 to 2007. But,

The Less Positive Perspective

There are also problems, with both the show itself and the Off-Broadstreet production. The humor misfires at least as often as it hits the target — sometimes just through inanity, sometimes in a tiresome flatness, sometimes in its tastelessness. The lyrics are often more corny than clever, the musical score fails to offer a single number that resonates in the memory, and there is some unevenness in the power and quality of the voices here.

Though Mr. Thick has indeed staged the action resourcefully, the seams sometimes show in this frugal production, as performers spread themselves a bit thin in taking on many different roles; the scenery — literally and figuratively — at times creaks; and what should pass for the luxury and polish of the rich and famous on the Riviera sometimes looks a bit shabby here.

Dirty Rotten Scoundrels opens with the debonair Jameson (Steve Lobis) in the process of working his art on Muriel Eubanks (Melissa Rittman), a bejeweled American heiress. Posing as a prince and aided by his friendly local gendarme, Andre Thibault (Michael Lawrence), Jameson has no difficulty in quickly acquiring the lady’s jewels and affections. “What Was a Woman to Do?” Muriel laments in chorus with a small support group of sympathetic women.

Jameson then decides to take on the coarse, brash, young Freddy (Travis Przybylski) as an apprentice con artist, and Jameson proceeds to demonstrate his craft on an Oklahoma oil heiress, Jolene (Milika Cheree Griffiths). In order to extract himself from an imminent marriage, he enlists the services of his protégé to play the role of the prince’s mentally defective brother.

Next to arrive on the scene is purported American soap heiress, Christine Colgate (Ally Hern), and the bet is on. Who can be the first to extort $50,000 from her? The battle of the two scoundrels quickly comes to a head in a dramatic Act One finale, as Freddy poses as a paralyzed wheelchair veteran in need of a $50,000 operation from a distinguished Viennese doctor. And who should suddenly appear at the Riviera resort, but Jameson in the guise of the illustrious Dr. Shuffhausen himself.

Both scoundrels are taxed to their limits in the ongoing deceptions, stings, and desperate battles for one-upmanship. No spoilers here, but more than a few twists and turns ensue, and the action-packed second act even features a comically romantic subplot, with Muriel and Andre, before it reaches its surprising finale.

As the aging virtuoso con man, Mr. Lobis is convincing, comical, poised, and consistently in character, with relentless resourcefulness and the requisite “supreme confidence.” His voice is sturdy and strong. His expressive reactions are fun to watch in his varied interactions.

He delivers his most memorable number, however, when caught in an uncharacteristic, serious, vulnerable moment in the second act, as he confesses, in a romantic ballad, that “Love Sneaks In.”

The rivalry between Lawrence and Freddy is especially entertaining, fast-moving and rich in bristling repartee:

“Freddy, what I am trying to say is know your limitations.”

“Which are?”

“You’re a moron.”

Mr. Przybylski’s Freddy, pink-cheeked and youthful in an over-the-top, rock-star mode with bouffant hair and aggressive demeanor, lives up to his billing of “Great Big Stuff,” as his hilarious signature number is titled. He threatens to steal the show with his energy and comical, larger-than-life persona (though his scene as the “prince’s” mentally defective, lascivious brother crosses the boundaries of good taste). He and Ms. Hern provide another highlight of the evening, accompanied by the vibrant, sure-footed chorus, in “Love is My Legs,” one of several amorous encounters during the evening.

Ms. Hern’s Christine is appropriately charming and focused, though not always strong enough vocally to embrace fully this powerful leading lady role. More successful, albeit in a supporting role, is Ms. Griffith’s Jolene, who plays to the hilt the bright-eyed, straight-from-the-prairie, husband-seeking Oklahoma oil heiress, complete with a chorus of country-and-western line dancers and a spoof on the musical “Oklahoma.”

Ms. Rittman’s Muriel and Mr. Lawrence’s Andre supply further strong support, some deft footwork, and a diverting, romantic second-act interlude.

Emily Elliott, Sarah Whiteford, Sean Magnacca, and Robert Risch, all first-rate Rider College-trained performers, make up the talented, attractive ensemble, taking on four, five, six, even seven different roles apiece throughout the evening. Julie Thick has choreographed the enjoyable dance numbers here, and, though occasionally spread thin — needing perhaps another member or two, this ensemble is vocally, dramatically and physically, kinesthetically up to the challenges of the demanding show.

Ultimately, Off-Broadstreet Theatre’s spirited, ambitious, at times scintillating production of this flawed musical romp provides a diverting evening. You might not find yourself humming the tunes, and you might not care too deeply about these two-dimensional scoundrels and their shenanigans. But, especially with Princeton Summer Theater dark this season, fans of musical comedy will find it worth the short trip to Hopewell to see Dirty Rotten Scoundrels and to celebrate Off-Broadstreet’s 30years (and 238 shows!) of popular, entertaining theater — and delicious desserts too.

Dirty Rotten Scoundrels” runs through July 26, with performances at 8 p.m. on Fridays and Saturdays, 2:30 p.m. Sundays, and dessert served from an hour before curtain time. Call (609) 466-2766 for reservations and further information or visit www.off-broadstreet.com.

 

Princeton Festival is many things during its month-long season, including opera, jazz, and instrumental genres. Last Saturday night was the Festival’s chance to be choral, with a presentation of one of the region’s most successful youth choirs. The Keystone State Boychoir, based in Philadelphia, maintains a musical education and performance program for 190 boys (its sister Pennsylvania Girlchoir is equally as active), and 47 of these boys came to Princeton’s Trinity Church to perform a sampling of their core repertoire. Conductor Steven Fisher and accompanist Joseph Fitzmartin (also an arranger for the choir) led the trebles, tenors, and basses through an engaging program which thoroughly entertained the audience at Trinity.

Keystone State Boychoir prides itself on diversity of repertoire, and the program Saturday night was billed as an “Americana Program.” Perhaps acknowledging the concert venue, the Boychoir opened with a verse from Percy Buck’s “Oh, Lord God” sung by a clear-voiced soloist, together with one of the international anthems of boychoirs — C. Hubert Parry’s “Jerusalem.” The “Evening Prayer” from Engelbert Humperdinck’s Hansel and Gretel, led by two soloists, showed a free and open tone in the upper registers of the singers. The Boychoir recently paid tribute to 90-year-old American composer Ned Rorem, and the excerpt from Rorem’s What is Pink? was sung at a sprightly tempo, with a tricky piano part effectively played by Mr. Fitzmartin.

Mr. Fisher divided the concert repertoire into music for trebles, then music for the changed voices, and the remainder of the first portion of the program included familiar works for treble chorus, sung with a well-blended full sound and good diction. Alan Naplan’s arrangement of “Al Shlosha” demonstrated some of the best tuning of the concert, and Mr. Fisher used the acoustics of Trinity Church well in Michael Scott’s arrangement of the American folktune “Dance, Boatman Dance.” The Keystone State Boychoir clearly emphasizes showmanship in performance, which could be seen in their rendition of “Food, Glorious Food” from the musical Oliver.

The “Graduate Choir,” comprised of the changed voices, showed both creative programming and singing through selections from Broadway to old pop music. The young men of this chorus displayed good animation in a clever arrangement of the Everly Brothers hit “Hello, Mary Lou,” with Mr. Fitzmartin maintaining good command over the jazz elements, as well as a unique vocal treatment of the Arabic change “Zikr.” Several soloists in particular proved themselves to be well-trained singers throughout the performance, including Nick van Meter and Colman Cumberland.

The impact of participating in a children’s choir goes way beyond the music, and the members of the Keystone State Boychoir showed that text can be equally as meaningful. A set of South African music sung by the entire choir and dedicated to the memory of Nelson Mandela, gave the singers a chance to point the way to a global future through music. The Boychoir’s rendition of “The Circle of Life” was quick and smooth, with Mr. Fitzmartin once again revealing himself to be an amazing pianist. More poignant was Mr. Fitzmartin’s arrangement of Dan Heymann’s “Weeping,” which the Boychoir had augmented with added rap written by choristers.

As the Keystone State Boychoir prepares for its upcoming tour to Australia, the energy of the singers was infectious and their commitment to choral performance confirmed.

The Boychoir’s performance Saturday night also fit well with the mission of the Princeton Festival to identify talent and create the musicians of tomorrow.

 

June 25, 2014
“SUMMERTIME, AND THE LIVING IS EASY”: Clara (Brandie Sutton) sings a lullaby to the baby cradled in her arms in the opening scene of the opera “Porgy and Bess,” while the people living in Catfish Row go about their business in the early summer evening.(Photo by Costa Papastephanou)

“SUMMERTIME, AND THE LIVING IS EASY”: Clara (Brandie Sutton) sings a lullaby to the baby cradled in her arms in the opening scene of the opera “Porgy and Bess,” while the people living in Catfish Row go about their business in the early summer evening. (Photo by Costa Papastephanou)

Princeton Festival continued its season this past Sunday afternoon with a sultry performance of George Gershwin’s immortal opera Porgy and Bess at the Matthews Theater of the McCarter Theater Centre for the Performing Arts. Considered the first completely successful and truly American opera, Porgy and Bess was revolutionary in its palette of American musical styles and influences. Although its 1935 premiere was on the Broadway stage, this work’s operatic vocal demands ask much of the singers, but leave the audience with some of the great tunes of early 20th-century America. Despite its length (productions often cut material, mostly in the first act), Porgy has remained a continued hit on operatic stages.

Princeton Festival Artistic Director Richard Tang Yuk took a brisk tempo for the musical introduction to the opening scene (often pared down in other productions), and a set bathed in purple combined with sinuous dance sequences (choreographed by Graham Lustig) created a steamy atmosphere marking the South Carolina setting. Porgy and Bess has a number of signature songs, the first of which heard was “Summertime,” sung on Sunday afternoon by soprano Brandie Sutton as the content and matronly Clara. “Summertime” recurs several times in the opera (including in a poignant duet with Clara’s husband Jake) and each time Ms. Sutton sang with a full rich voice often accompanied by a sinewy flute solo.

For an almost four-hour opera, the plot to Porgy and Bess is a bit thin, and much of the work serves as a blend of American musical idioms — including jazz, gospel, and parable-in-song — and opportunities for phenomenal singers to present lush melodies and snappy rhythms. Princeton Festival seemingly spared no expense in bringing talent to this production, and soprano Janinah Burnett brought her experience at the Metropolitan Opera to create the role of Bess. Deliberately dressed indecorously, in contrast to Marie Miller’s subdued costuming for the first act, Ms. Burnett demonstrated a full command of dramatic and forceful singing while floating notes in the upper register. Most intense was her Act II duet with the dock-loader Crown, commandingly sung by baritone Michael Redding.

As Porgy, Richard Todd Payne brought a full sense of both jazz and passion to the role of the gentle crippled competing with Crown for the affections of Bess. Both he and Ms. Burnett sought to “bend the rhythm” of Gershwin’s luxuriant melodies, with both voices synchronizing well to create a heavenly duet in another signature song, “Bess, You is my Woman Now.” Mr. Payne also effectively found the spirited syncopated effects in “I Got Plenty o’ Nuttin,” with a small battle of musical wills between Mr. Payne’s desire to stretch the rhythm and the Festival Orchestra’s quest for exact precision.

Bess’ attempts to follow the straight and narrow are not only thwarted by Crown, but also by the drug dealer Sportin’ Life, sung with animation and character by tenor Robert Mack. Dressed like the proverbial fox in one of the few costumes of color in the first act, Mr. Mack drew on physicality and comedic timing as he continually tried to lure Bess back to the dark side. Mr. Mack’s rendition of “It Ain’t Necessarily So” was full of lively animation, physical presence, and precise timing with the orchestra.

From chorus member through the principal leads, all singers in Porgy and Bess were required to produce, and the singers of this production did not disappoint. Soprano Reyna Carguill sang “My Man’s Gone Now” with luxuriance, while Kenneth Overton provided sassiness and attitude to “A Woman is a Sometime Thing.” As Crown, Mr. Redding was sufficiently menacing when he needed to be, showing a rich voice that would make one want to hear his next Don Giovanni performance. At full force there was a full assembly of people on the stage, with the chorus providing the fullest sound heard in a Princeton Festival production. Clearly allowed to sing with color and expression, the many singers of the “Residents of Catfish Row,” prepared by Gail Blache-Gill, showed power and solidity; even when humming, the chorus was vocally strong. The adult chorus was joined by an equally as strong contingent from the Trenton Children’s Chorus, prepared by Dawn Golding.

Mr. Tang Yuk kept the action flowing well as conductor, leading the Princeton Festival Orchestra through a score that was as complex as any orchestral score from the early 20th century. Gershwin incorporated a number of effects characteristic of the time, including the use of banjo, played on Sunday by Patrick Mercuri. A number of elegant instrumental solos and unique colors could be heard, including from violist Julie DiGaetani, flutist Kim Reighley, clarinetist Rie Huebner, and a trio of saxophones played by Jay Hassler, Josh Kovach, and Robert Huebner. Costume designer Marie Miller used a wide range of dress to convey the times and lighting designer Norman Coates complemented John Farrell’s practical and effective sets with lighting nuance. This production of Porgy and Bess was more than a handful for Princeton Festival to take on, but the singers and instrumentalists down to the last were fully committed to bringing this story to life.

 

June 18, 2014

It is summer in Princeton, and one again, William and Judith Scheide are in a sharing mood. To the delight of Princeton choral aficionados, the Scheides brought the renowned Monteverdi Choir and English Baroque Soloists, led by the equally as renowned conductor Sir John Eliot Gardiner, to New Jersey. But, as Judith Scheide explained in her pre-concert remarks, this performance was about more than the music.

Sunday afternoon’s concert in Richardson Auditorium was in part inspired by a portrait of J.S. Bach, painted by Elias Gottlob Haussmann in the 1740s and lost to obscurity after Bach’s death in 1750. The portrait resurfaced in the early 1800s, and like the legendary red violin was passed down through generations until it was smuggled out of pre-World War II Germany to England, where it hung in the home of Sir John Eliot Gardiner. In 1951, William Scheide bought the portrait for his own home, and in Judith Scheide’s view, Sunday’s concert brought together all parties in this painting story to one place to celebrate the musical master himself. Also celebrating the 50th anniversary of the Monteverdi Choir, Mr. Gardiner presented an identical program to one performer earlier this year at London’s Buckingham Palace.

Mr. Gardiner is known for 18th-century performance practice, and his choice of Bach and Handel was right in the wheelhouse of the two performing ensembles involved. Bach’s double-chorus motet Singet dem Herrn ein neues Lied requires singers to perform as instruments, executive coloratura passages at top speed, simultaneously phrasing lyrical melodic lines high in the vocal register. With counterpoint that was so clear one could take dictation from it, the thirty members of the Monteverdi Choir presented Bach’s music with precision and transparency. Throughout the motet, Mr. Gardiner led the choir through smooth transitions among the movements, emphasizing key words in the text while maintaining an overall orchestral character. Accompanied by two celli, double bass, and keyboard continuo, the soprano parts of the two choirs were equal in suppleness, and a gentler tempo to the middle movement made the closing “Alleluia” all that more effective.

Bach’s Cantata #4, Christ lag in Todesbanden, may have seemed a dark work to pair with the joyful Singet dem Herrn, but under Mr. Gardiner’s leadership, the cantata became dramatic and full of emotion not seen in choral music until 50 years after Bach. Beginning with the opening Chorale, in which repeated phrases were sung with innovative dynamics, the eight movement cantata became at times a quiet conversation between singers and instrumentalists, rising in volume on such text as “er ist wieder erstanden” (“He has risen again”). The players of the English Baroque Soloists played every phrase with character, often reducing the sound to almost nothing, together with the chorus, at the “Alleluia” which closed each movement.

Rather than use individual vocal soloists for some of the movements, Mr. Gardiner used the full choral sections. Most impressive were the tenor and bass sections, which sang with completely unified sound among the six singers in each of the sections, with the violins playing passages that would rival any of Bach’s most intricate instrumental music. In the fifth movement’s mostly a cappella chorus, one could easily hear the struggle between Life and Death, as the closing “Alleluia” dissipated as if overseeing carnage on a battlefield.

The music of G.F. Handel was innately more vocal than that of Bach, due to Handel’s extensive work in opera. However, as Mr. Gardiner pointed out in his comments, Handel could also require great virtuosity of string players, and the 1707 Dixit Dominus was a true concerto for voices in its time. With the Monteverdi Choir, Mr. Gardiner took a symphonic approach to the piece from the outset, with a first movement full of operatic nuance and dynamic variety. The top soprano choral sound had a fierce edge that could well have taken paint off the wall with its intensity, and such phrases as “conquasabit capita” were sung with such brutality one could hear the smiting of the enemy.

The performance included five vocal soloists, all of whom sang with the clarity for which British choirs are known. Sopranos Katy Hill and Emilia Morton sang with refined color, with Ms. Hill never seeming to run out of air in her triplet-filled aria. Soprano Esther Brazil sang the mezzo-soprano solos expressively, and with Ms. Morton, sang a duet full of sharp intensity. Tenors Guy Cutting and Peter Harris, along with bass Alexander Ashworth rounded out a vocal quintet which had both solo and choral lines well in hand. The dramatic close to the work brought the audience to its feet, showing the great appreciation for choral music which exists in the Princeton area, and in particular for this small sampling of the rich palette the British choral tradition has to offer.

 

June 11, 2014

Over the past decade, Princeton Festival has grown to include a wide range of performance genres, from orchestra, to opera, to jazz. Just as diverse is the music presented by the ensembles which are part of Princeton Festival. The Festival kicked off its month-long jam-packed season this past weekend with the Greater Princeton Youth Orchestra’s (GPYO) concert of operatic, vocal, and orchestral selections Saturday night in Richardson Auditorium. The annual spring concert of the Youth Orchestra featured the Concert and Symphonic Orchestras, with an evening clearly about the young musicians who take part in the GPYO program.

Dr. Arvin Gopal, conductor of the middle through high school level Concert Orchestra, presented works that capitalized on the army of violins in the Concert Orchestra. Following a humorous start in which Dr. Gopal sang along with an unanswered cell phone in the audience, the Concert Orchestra launched into the 20th-century Chant and Joyous Dance of American composer Eliot del Borgo. The unison strings provided a heavy and dark sound against well-unified and pulsating trombones. Dr. Gopal maintained a solid driving rhythm through the piece and showed himself to be a steady and easy-to-follow conductor.

Modest Mussorgsky’s fantasia Night on Bald Mountain featured impressive lower trombones and tuba from within the Concert Orchestra, and Dr. Gopal was able to find numerous tempi within the one-movement piece. A pair of flutes demonstrated clean tuning, with Shannon Lu playing graceful solo lines.

The more advanced young musicians of the GPYO perform with the Symphonic Orchestra, conducted by Kawika Kahalehoe. The Symphonic Orchestra focused their portion of the program largely on opera, with two orchestral selections from 19th-century operas and four arias featuring tenor Jon Darios. The two operatic orchestra excerpts — the overture from Johann Strauss’ Der Zigeunerbaron and an intermezzo from Pietro Mascagni’s Cavalleria Rusticana featured numerous oboe solos, elegantly played by Kaitlyn Walker. Ms. Walker showed a great deal of physicality in her playing, taking her time on the long Alpine-like lines. The horn section of the orchestra showed a very smooth blend in the overture to Carl Maria von Weber’s Der Freischütz, with clean melodic lines played by the clarinets.

Well-blended upper strings marked the intermezzo, as extended string melodies were spun out against pizzicato playing from the double basses. A very nice touch was added to the end of the piece by harpist Alyssa Caffrey. Tenor Jon Darios, a veteran of musical theater and opera, sang arias of 19th-century operatic composers Donizetti, Tosti, and Califano, showing himself to be a more decisive singer in the faster selections. He wore a microphone on stage, which probably was not necessary and did not seem to match the acoustic palette of the players, but he was nonetheless entertaining as a performer.

An internal star of the Symphonic Orchestra stepped out in front with a movement from Mozart’s Concerto No. 1 in G Major for Flute and Orchestra. Katarzyna Dobrzycka, heading to Rutgers in the fall, played a chipper solo line with clean scales as the reduced orchestra of strings, oboes, and horns accompanied her. One could hear every turn in the melodic line, and the episodes within the rondo were evenly played with detached effect as if in an 18th-century court parlor.

The theme of Princeton Festival this year is “The New World: Voices of the Americas.” Greater Princeton Youth Orchestra’s concert Saturday night fit right in with not only repertory of the Americas but also the “voices” of its young musicians performing together.

 

June 4, 2014

The Princeton Girlchoir pulled out all the stops this past weekend for its 25th Anniversary concert. Founded by music educator Jan Westrick and currently under the leadership of Artistic Director Lynnel Joy Jenkins, the Princeton Girlchoir (PGC) has provided an incomparable performance outlet to hundreds of Princeton area girls in its history. All six choirs of the PGC program performed in Sunday afternoon’s concert at Trenton War Memorial’s Patriot’s Theater, with all conductors and accompanists also taking part. There were 30 selections on the program, which may seem like a large number, but the range of repertoire both covered the varied musical taste of PGC’s history and captured the overriding message of PGC throughout the years to celebrate the power of girls’ voices.

The 250 girls of the PGC program are divided into six choruses ranging from youngest to oldest, and the training ensemble Grace Notes started things off Sunday afternoon. Conductor Melissa Malvar-Keylock introduced the clear and youthful sound of this younger choir with her own co-arrangement (with Jill Fridersdorf) of the technically difficult “Laudamus Te” from Mozart’s Mass in C minor. This aria is a hard enough piece for an accomplished soloist, but this arrangement removed some of the tougher coloratura and left Mozart’s long melodic lines to the chorus, accompanied by pianist Todd Simmons and flutist Jessica Renshaw. These young singers showed in their selection’s crisp endings an open and free sound.

Each chorus in the PGC program sang a few selections, some in combination with each other, with pieces showing technical difficulty and supporting the goal of fostering in the choristers a lifelong love of music. The Quarter Notes, conducted by Fred Meads, reaffirmed a message of youth in Mac Huff’s arrangement of David Mallet’s “The Garden Song,” made famous in the folk music world by Pete Seeger. Accompanied by Ms. Renshaw’s obbligato flute, the choristers of the Quarter Notes sang with the trademark PGC clear sound, easily maintaining two separate parts.

The complexity of music for Sunday afternoon’s concert proved to be commensurate with the age of the chorister. Ms. Malvar-Keylock returned to the stage with the Semi-tones, showing the same clarity of tone which runs through all the ensembles. Tom Shelton, conductor of the upper-high school age Cantores, showed himself from the outset to be a clear and demanding conductor, leaving no doubt as to what he wanted from the singers. He drew a strong sound from the Cantores, with a rich and pure sound from the top sopranos and exact tuning in the arrangement of Schumann’s lieder “Widmung.” The Hungarian “Fülemüle” was sung with typical Eastern European speed of text and precision more characteristic of a college choir.

The older choristers in the PGC family perform in Cantores, as well as the more advanced Concert Choir and the select Ensemble, both conducted by Lynnel Joy Jenkins. With the Ensemble, Ms. Jenkins showed her choral pedagogy to be a shared experience between conductor and singer by standing not in front of the chorus but to the side, joining the choristers in singing the music. Ms. Jenkins sang alto with the Ensemble in Duruflé’s motet “Tota pulchra es,” stepping in only to close the piece, and the Ensemble showed particular vocal independence in Victor Young’s “When I Fall in Love.” The Concert Choir showed pure intervals with the “Flower Duet” (“Dôme Épais”) from Delibes’ opera Lakmé, and Ms. Jenkins showed that she has clearly imparted a good sense of rhythm to the singers in a saucy performance of Leadbelly’s “Bring me Little Water, Silvy.”

As with many Princeton Girlchoir performances, alumnae join the Girlchoir for final selections, in this case, a piece commissioned from PGC accompanist Ryan Brechmacher for the 25th anniversary. “A Life of Song,” sung by the all the girls in the Girlchoir and the Alumnae Choir, summarized the PGC mission in its text “I want to live a life of song,” and as conducted by Ms. Jenkins, showed the precision and choral blend of the choirs. A performance of the duet “For Good” from the musical Wicked, conducted by founding director Jan Westrick, was also an appropriate choice to acknowledge the bonding experience of being part of the Princeton Girlchoir.

 

May 14, 2014

Princeton Pro Musica took a musical journey back to the world of George Frideric Handel this past weekend with a concert which was historically accurate, both in instrumentation and presentation.

Presented Sunday afternoon in Richardson Auditorium, Pro Musica’s performance of Handel’s oratorio Israel in Egypt was not programmed on the most spring-like of Mother’s Day themes (unless Mom is interested in plagues, pestilence and frogs), but the clarity of the performance and the orchestral music performed along with the oratorio certainly evoked the sprightliness of the season.

Pro Musica Artistic Director Ryan James Brandau programmed the concert to recreate a performance of Handel’s time, in which the two halves of the oratorio would be separated by an orchestral work, usually one of Handel’s own concertos. Israel in Egypt was first performed in 1739, and its oratorio form was a natural outgrowth of Handel’s very successful career as a composer of opera. This oratorio draws its text principally from the Old Testament’s book Exodus, with the chorus principally carrying the action of hailstones, darkness, and the smiting of the firstborn in the first part. Accompanied by a period instrument orchestra, the singers of Pro Musica began with a well-unified choral sound, especially showing how the men’s sections have developed under Dr. Brandau’s leadership. The eight-part opening chorus had a good choral foundation in the bass sections, with a tenor section which has also developed impressively over the past few years. The sectional soprano sound started off a bit fuzzy, but certainly cleaned up as the piece went on.

There were two small solos in the first part, as the chorus was joined by mezzo-soprano Kate Maroney and tenor James Kennerley. Mr. Kennerley showed himself throughout the performance to be especially expert at recitative, telling the story well and balancing Ms. Maroney’s elegant singing well in their second part duet. Ms. Maroney had a tough job with the register of the alto solos (these solos are often sung by a counter-tenor), but presented smooth melodic lines and especially nice ornamentation as well as adeptly-handled runs.

Handel’s oratorios tend to be on the long side, and different conductors cut different things, depending on their taste. Dr. Brandau reversed the performing focus in the second part, allowing a number of solo and duet movements to flow together without choral interruption. Soprano soloists Melanie Russell and Sarah Brailey were well-matched, with Ms. Brailey showing an especially rich sound which rang with bell-like quality in the upper register. Ms. Russell added the icing on the vocal cake with a lighter sound, and the two colors blended together particularly well in a duet for two sopranos of equal register.

In “The Lord is a man of war” Handel may have composed the only duet for two basses in oratorio repertory, and Mr. Brandau brought together two bass-baritones who often sang the same musical passages in succession but with different vocal textures (Handel often composed for forces on hand — there must have been some great basses in early 18th-century London). Accompanied by a lithe pair of oboes in Priscilla Jerreid and Geoffrey Burgess, Christopher Dylan Herbert climbed well into the higher register of the duet, while Jonathan Woody demonstrated the richer and more defiant sound — when he sang of Pharaoh’s chosen captains, also drowned, one was certainly convinced that they drowned.

The interpolated Concerto Grosso in G Major proved to be a good contrast against the dark nature of the oratorio. The five movements flowed together well, and the string orchestra, accompanied by harpsichordist Raphael Fusco, played with a consistently light and clean touch. Suspensions between the two violin sections blended well, and the solo trio of violinists Owen Dalby and Nanae Iwata, joined by cellist Katie Rietman, provided seamless contrasting textures.

For those curious about how Dr. Brandau has developed Pro Musica’s trademark choral sound, the “horse and his rider” choruses were worth the price of admission. Dr. Brandau took these two closing choruses like the wind, and the singers of Pro Musica did not miss a note in the choral coloratura, bringing the work to a typically Baroque glorious close. This oratorio may have been a handful for a choral singer, but the members of Pro Musica never let on that they were anything less than ready for more.

 

May 7, 2014

The clarinet does not often come out from its customary orchestral place behind the flutes and next to the bassoons. Mozart, as well as a few Romantic composers and Benny Goodman made the instrument a star in the “swing” world, but one does not often hear the range of musical styles from the clarinet heard from soloist Anthony McGill and the New Jersey Symphony Orchestra this past weekend. NJSO conductor Jacques Lacombe programmed a concert on the theme of freedom and heroism, with clarinetist Mr. McGill representing the voice of Martin Luther King, Jr. in a newly-commissioned work by American composer Richard Danielpour.

Friday night’s performance in Richardson Auditorium was centered on aspects of heroism and continued a theme of the legacy of Dr. King which has been recurring throughout the season. The connection of Beethoven’s Leonore Overture to the freedom theme was immediately apparent; derived from Beethoven’s opera Fidelio, the overture reflected the hero Florestan’s emerging into the light for the first time after a long imprisonment. Mr. Lacombe began the overture with a stately walk by the strings, taking the music to its inevitable conclusion in triumph. Mr. Lacombe cleanly emphasized the sforzandi characteristic of Beethoven’s style, contrasting musical force with the delicate combination of flutist Bart Feller’s spool lines and light strings. Conducting from memory, Mr. Lacombe was able to focus on instrumental sections as necessary, moving quickly between sections and teasing with flute and oboe leading to the closing Presto.

Mr. Lacombe cited Richard Danielpour as one of his favorite American composers, and under his leadership, the NJSO has presented several of Mr. Danielpour’s works. The NJSO commission of Danielpour’s clarinet concerto From the Mountaintop was a three-way project, with the Kansas City Symphony and Philadelphia’s Orchestra 2001 taking part. Through this work, Danielpour depicted the life of Martin Luther King, Jr., especially centered on the “Mountaintop Speech” of April 1968.

In this programmatic concerto, the clarinet soloist was cast as a “minister in a Southern Baptist church” telling the life story of Dr. King. The soloist was expected to be a storyteller, and Mr. McGill clearly took the role very seriously. Beginning with a musical soliloquy, McGill evoked an atmosphere of mid-20th century jazz, with a seamless clarinet line amid Bernstein-esque rhythms. McGill demonstrated a solid feel for the music, which often pulsated among different instruments within the orchestra. His solo clarinet line was often in duet with percussion, including the unique color of the marimba and a cadenza duet with timpanist David Fein. With an ostinato from the harp and refined sound of English horn from Andrew Adelson, the music was often poignant and always in support of the soloist. McGill found a wide range of emotions from the clarinet, accompanied by varied orchestral colors, including a unified horn section and elegant cello solo commenting on the action from Jonathan Spitz.

Besides its well-known connection to Beethoven, the Symphony No. 1 in C minor of Johannes Brahms fit well into the theme of the concert with the sense of liberation conveyed in the Finale. Lacombe began the work with a commanding introduction to the first movement, marked by a steady timpani and an oboe solo from Robert Ingliss which built in intensity. The Allegro of the movement settled into a gentle flow, as the influence of Beethoven on Brahms became more evident.

Ingliss was featured again in the hymnlike and stately second movement, rising over the rest of the orchestral sound. This movement maintained a great deal of flow, led by the sensitivity of the winds. Clarinetist Karl Herman and concertmaster Eric Wyrick were also featured in the gentler inner movements. Mr. Lacombe brought out well the great string melody in the final movement, bringing the symphony to a triumphant Finale. A brisk performance of Brahms’ famous Hungarian Dance No. 5 as an encore reminded the audience at Richardson of what a spirited year it has been for the New Jersey Symphony as the orchestra’s Princeton season came to a close.

 

April 30, 2014
TOWERING TALENT: Young members of DanceVision, which is based at the Princeton Dance and Theatre studio in Forrestal Village, are appearing on a program of “A Midsummer Night’s Dream” and “Graduation Ball,” (shown here) this weekend and next.

TOWERING TALENT: Young members of DanceVision, which is based at the Princeton Dance and Theatre studio in Forrestal Village, are appearing on a program of “A Midsummer Night’s Dream” and “Graduation Ball,” (shown here) this weekend and next.

Among the many performances at Communiversity last Sunday was an excerpt from the ballet A Midsummer Night’s Dream, under a tent on Witherspoon Street just

outside the Princeton Public Library. The young dancers, from the DanceVision Performance Company, made a few concessions due to the asphalt that was serving as a stage floor, scrapping the traditional pointe shoes in favor of less precarious soft-soled footwear.

Injuries would have been especially unwelcome, since the company is set to appear this weekend at the College of New Jersey’s Kendall Theater, and the following Saturday in Neptune. A Midsummer Night’s Dream is artistic director Risa Kaplowitz’s take on the Shakespeare play. Also on the program is her version of the comedic ballet Graduation Ball.

The double bill is a repeat of one that debuted last spring. But those who were in the audience last year can expect to see some changes, according to Ms. Kaplowitz. “When you write something, you get to reread and edit it. When you are choreographing, you don’t get to see it until everybody else does,” she said last week. “Until you actually see it on stage, you don’t even know what you have yet. So the first year is always challenging. The second is relief, because you are able to tweak and edit and fix. It’s so much better this year.”

Joining the production as guest artists are Rickey Flagg II, from the professional training program of Dance Theatre of Harlem; and Charles Way, a member of the Lustig Dance Theatre Company. Ms. Kaplowitz is just as enthused about the dancers she has trained at the company’s Princeton Dance and Theatre studio in Forrestal Village, which she opened with former American Ballet Theatre (ABT) star Susan Jaffe in 2005. She is especially proud of 15-year-old Max Azaro, who recently won a full scholarship to ABT’s Jackie Kennedy Onassis School in New York City.

“I’m so happy for him,” she said “I’ve been teaching him since he was four-and-a-half. He’s so talented, and so are the other dancers. It’s really the cream of the crop of pre-professional dancers in this area.”

Set to Mendelssohn’s score, the one-act A Midsummer Night’s Dream opens the program. “I pieced it together so that it really follows the text,” Ms. Kaplowitz said. “A lot of middle school kids will be coming, and I think the way I’ve done it makes it understandable for them. It’s very, very funny. Thankfully, our guest artists know how to be funny without being silly — how to make it real and authentic. It’s hilarious.”

Graduation Ball, which has music by Johann Strauss II and was originally choreographed by David Lichine in 1940, “… is also very funny,” Ms. Kaplowitz said. “It’s a really fun dance, not your typical ballet.”

DanceVision members recently performed with Boheme Opera Company, and Ms. Kaplowitz has presented them in choreography she has created for programs with the New Jersey Symphony Orchestra. She recently spoke at a meeting of the Princeton Merchants Association, using visual aids to demonstrate her dancers’ abilities. “They were blown away,” she said. “Whenever we have professional dancers appearing with our [pre-professional] dancers, people always want to guess which ones are the professionals. And they always guess it wrong. It happens all the time.”

Performances of A Midsummer Night’s Dream and Graduation Ball are Saturday, May 3 at 7 p.m. and Sunday, May 4 at 2 p.m. at the College of New Jersey’s Kendall Theater, 2000 Pennington Road, Ewing; and Saturday, May 10 at 7 p.m. at Neptune High School Performing Arts Center, 55 Neptune Boulevard, Neptune. Tickets are $20-$25 in Ewing; $15 in Neptune. Visit www.DancevisionNJ.org or call (609) 520-1020.

 

Princeton University Orchestra conductor Michael Pratt introduced this year’s Stuart B. Mindlin concert as a journey. For this past weekend’s concerts, the University Orchestra girded its musical loins and performed Gustav Mahler’s abstract, complex, and ultimately romantic Symphony No. 3 in D minor. Joined by the American Boychoir and the women of the Princeton University Glee Club, the more than 180 musicians on stage and in two balconies embarked on a 90-minute voyage through what Mr. Pratt described as Mahler’s “extraordinary vision and imagination.”

For Friday night’s performance in Richardson Auditorium (the concert was repeated Saturday night), Mr. Pratt suggested the audience think of the six-movement work as a movie. Mahler certainly had a great deal of musical action in mind when he conceived this work in the mid-1880s. Mahler wrote that a symphony “must be like the world. It must embrace everything,” and in the case of his third symphony, “everything” included nature and its relationship to the world and human emotion.

Mahler’s symphonic works are marked by pointed and expressive use of brass, and the eight horns of the University orchestra did not disappoint in the opening fanfare. Answered by sharp bowings from the expanded string sections, the brass sections collectively maintained a sense of suspense well through the first movement, especially in the trumpets’ muted extended suspensions. Mr. Pratt and the orchestra players brought out the melodic quirkiness often found in Mahler’s works, aided by strong trumpet lines and sweet instrumental solos from oboist Katrina Maxcy and concertmistress Kate Dreyfuss. Mahler asks a tremendous amount from players of his music, and Mr. Pratt guided the instrumentalists well with careful and well-planned transitions among sections. He also emphasized the Romantic tunefulness in what seemed at times like musical chaos. Throughout the movement, there was always clarity among the players and the music always sounded fresh, with clean cellos and double basses, four well-unified piccolos and solos from hornist Kimberly Fried, English horn player Alexa McCall, and clarinetist Paul Chang.

The second through sixth sections are abstract character pieces, through which Mahler depicts his perception of nature. The second movement, subtitled “What the flowers in the meadow tell me,” was well led off by Ms. Maxcy, with violins which were lush but as clean as if playing lieder. Solos chased one another around a bit within the orchestral fabric, including violinist Ms. Dreyfuss, flutist Lilia Xie, and Ms. Maxcy, and transitions were always graceful. Bassoonist Luisa Slosar steadily held the rhythm of the third movement with trumpeter Nicolas Crowell providing the work’s signature posthorn solo from the balcony.

Mahler revolutionized symphonic writing by incorporating voices, and in the fourth and fifth movements of Symphony No. 3 a solo mezzo-soprano voice and two treble choirs joined the orchestra. Mezzo-soprano Barbara Rearick a member of the voice faculty at Princeton, settled well into the text of Nietzsche’s poem after sitting quite a while before singing, and her voice effectively built in intensity as she sang of man’s suffering. In depicting “what the morning bells tell me,” the women of the University Glee Club and the 40-voice American Boychoir served effectively as angels. Although the text of “Bimm Bamm” might not lend itself to dramatic interpretation, the American Boychoir’s singing was laser-like, with impressive strength in the alto part. The women of the Glee Club, singing from across the balcony, lithely presented the “Poor Children’s Begging Song” from Das Knaben Wunderhorn with equal clarity from both soprano and alto sections.

As the Romantic lushness of the symphony flourished toward the close of the work, Ms. Maxcy effectively led the audience toward the end of the evening’s musical odyssey. Ms. Xie’s flute solos flowed seamlessly into those of other winds, and the University orchestra brought the symphony to a grand close as a testament to their collective achievement this year.

The orchestra’s presentation of Mahler’s Symphony No. 3 was certainly a journey, but as Mr. Pratt mentioned in his introductory remarks, there were a number of journeys being embarked upon that night. Twenty-five seniors graduated from the orchestra this year (but with an apparently huge pool of players ready to step in next year), with a number of Glee Club singers also graduating from Princeton and the eighth grade of the American Boychoir preparing for their journey into high school. These students’ collective final performances at Richardson will no doubt stay with them as a reminder of the all-encompassing power of music and the written word.

 

April 16, 2014

For the past 15 years, the Brentano String Quartet, comprised of violinists Mark Steinberg and Serena Canin, violist Misha Amory and cellist Nina Lee, has been Ensemble-in-Residence at Princeton University. As part of this residency, the Brentano has assisted with classes and workshops, and has presented concerts to the public each year, many of them free. The last of these public performances took place last Friday night at Richardson Auditorium, as the quartet played a fond musical farewell to an extremely fruitful relationship with the Princeton University department of music. 

For this performance, the Brentano selected music of two composers who would at first seem unrelated. Wolfgang Amadeus Mozart was one of the founders of the string quartet genre, certainly taking the form to new heights with elegant melodies and courtly dance styles. Composer Dmitri Shostakovich may have had access to the traditional classical music forms, but under the repression and censorship of early 20th-century Russia. The two Mozart chamber works presented by the Brentano Friday night to the full house at Richardson were replete with grace and late 18th-century sophistication, while the Shostakovich quartet was based on the same form, but infused with melancholy and idioms rooted in the Russian church tradition.

Mozart’s String Quartet No. 21 in D Major, K. 575 came relatively late in his career (although “late” is relative for a person who only lived to be 35) and showed the composer’s full command of melodies which could pull at the heartstrings of any generation. Mozart composed this quartet (intended as part of a set of six) for the King of Prussia, Friedrich Wilhelm II, and one could easily hear elements of the 18th-century court in the piece’s delicate figures and tapered ends of phrases. Friedrich Wilhelm was an amateur cellist, and Brentano cellist Nina Lee was featured extensively in the four movements.

The Brentano Quartet played from the outset with style and precise conversation among the instruments. Trills were well-heard in the hall, and the sound often collectively dissipated away, such as in the return to the exposition in the first movement. This movement in particular was conversational, with Ms. Lee leading the four-way chat.

Ms. Lee also showed elegance of phrase in the more lyrical sections of the work.

For the other Mozart piece on the program, the Brentano String Quartet added a fifth instrumentalist. Violist Hsin-Yun Huang, a soloist with numerous credits and awards of her own, added a light touch and crisp playing to Mozart’s String Quintet No. 4 in G Minor. A product of one of Mozart’s more trying years, this four-movement work showed the dark color of the composer’s other works in the same key, enhanced by rich viola lines and interplay between the two violins. This quintet reflected the frustration of Mozart’s year in a relentless ostinato in the opening movement, but occasionally moments of joy came through. The five players brought out well the drama in the music, and in the third movement Adagio, one could easily hear the tenderness of Mozart’s operas. In the closing movement, Mr. Steinberg played a graceful and aria-like violin line, and all five players brought the work to a close with finesse.

The chamber work which contrasted with the elegance of Mozart’s style was Shostakovich’s String Quartet No. 11 in F Minor, composed in 1965, 200 years after Mozart. Shostakovich dedicated this quartet to a member of the Moscow Conservatory Quartet which had premiered most of his string quartets and who had recently died, and the structure of the work showed how far the form had come in 200 years. Shostakovich incorporated into the piece musical forms popular throughout the 19th century, tying them together to both pay homage to a colleague and create an eloquent musical palette.

The seven movements flowed seamlessly as the players of the Brentano found both the plaintive melodies of the work and its occasional sense of peace and calm. Mr. Steinberg in particular exhibited a persistent musical figure in the second movement, both on single string and in double stops. Ms. Canin drew an especially rich tone from the second violin in the closing movement, sounding almost like a wind instrument at times.

The Brentano String Quartet may be ending their formal residency relationship with Princeton University, but the players are certainly not going far; they are scheduled to return in recital next February with mezzo-soprano Joyce DiDonato. As the Brentano takes up its new residence at Yale, Princeton will welcome the innovative So Percussion Quartet as the Edward T. Cone Ensemble-in-Residence. This group of young musicians will no doubt bring a new style of music to the University as music at Princeton moves further into the 21st century.

 

April 9, 2014

The Richardson Chamber Players focused its final program of the season on “words in the English language that carry poetic promise,” and decided “England” was one of those words. The music selected for Sunday afternoon’s concert in Richardson Auditorium also emphasized spring, and fortunately the weather cooperated. Those who chose to come inside on Sunday afternoon heard pieces which not only evoked England and spring, but also demonstrated the Chamber Players’ mission of bringing lesser-known masterpieces of unusual combinations of instruments to the forefront. 

Few countries take their countryside more seriously than England, and composer Ralph Vaughan Williams’ song cycle Along the Field used solo violin and voice to depict a pastoral atmosphere. Soprano Rochelle Ellis and violinist Anna Lim presented five of these songs with both expressiveness and simplicity.

Ms. Ellis made her first entrance in the opening “We’ll to the Woods no More” with a great deal of resonance and fullness of sound. The pentatonic scale from Ms. Lim’s violin line gave the song an Eastern feel, and the two performers gave this first song a tapered finish. Throughout the five songs, Ms. Ellis and Ms. Lim brought out the folk elements of the set, from a Scottish bagpipe-type drone from the violin and clarity in the poignant text from Ms. Ellis. Ms. Ellis showed solid composure singing extensive a cappella passages, holding her own well against a violin line which was often contrary.

Tenor David Kellett also chose to present a song cycle of a British composer, but with a much different musical palette. Benjamin Britten composed a large amount of vocal music for British tenor Peter Pears, who possessed a unique tenor voice. In 1976 Britten was commissioned by Queen Elizabeth II to write a piece for the Queen Mother’s 75th birthday. The resulting A Birthday Hansel (“hansel” is a Scottish word for “gift”) combined the tenor voice with the intricacies and distinctive colors of the harp. Mr. Kellett was joined in selections from A Birthday Hansel by harpist Elaine Christy, harp instructor at Princeton University.

Like Vaughan Williams, Britten drew from Scottish influences for this song cycle, stretching the limits of both the tenor voice and the harp. As Ms. Christy explained to the audience, Britten composed extensively for the harp, but demanded unorthodox patterns, fingerings, and intervals. Ms. Christy showed no trouble at all with the Scottish bagpipe and drum impressions, flowing lines and repeated patterns extending into the highest register of the instrument. She achieved effects rarely heard from the harp, an instrument often buried in orchestral texture. Mr. Kellett, despite his protestations of the challenges of singing music composed for the unique voice of Peter Pears, sang with lyricism and clean diction.

Two instrumental works rounded out the program: a Folk Tale in G Minor for Cello and Piano by early 20th-century British composer Arnold Bax and Edward Elgar’s Quintet for Piano and Strings in A Minor. Bax composed his Folk Tale on the heels of World War I, and the work clearly reflects the impact of the war on England. Cellist Susannah Chapman and pianist Jennifer Tao brought out Bax’s fascination with Ireland in the long melodic lines for the cello and precisely-timed keyboard accompaniment. One could easily imagine meandering in the countryside as different life events and weather pass by. Ms. Chapman in particular showed a very pure sound in the higher register of the cello while sustaining the extended melodic lines well.

Elgar’s Quintet also dates from 1918 and claims not to reflect World War I, but one can easily hear poignancy and nostalgia in the lush music. Violinists Anna Lim and Stephanie Liu, violist Shmuel Katz, cellist Ms. Chapman and pianist Ms. Tao blended together seamlessly to create a smooth musical ambiance, becoming particularly lush in the first movement. The five musicians built in ferocity toward the end of the first movement, tempered with sweet duets between first violin and cello, and second violin and violist. The second movement Adagio was rich and hymnlike, as one could hear a cathedral rising in the distance of the countryside. With a majestic close to the work, the musicians of the Richardson Chamber Players succeeded in capturing a reflective side of England. 

 

April 2, 2014

Musical dream sequences often occur in opera, but symphonic works conveying dreams are less common. Princeton Symphony Orchestra (PSO) presented a concert of “Nights and Dreams” this past weekend, exploring three pieces which musically told stories of dreams and things that go bump in the night. The Princeton Symphony Orchestra Edward T. Cone Concert on Sunday afternoon in Richardson Auditorium showed the orchestra in more than fine form — tackling a very challenging and intriguing repertoire. 

Princeton composer Julian Grant was described in the concert program as specializing in opera and “experimental music theater.” Commissioned by Princeton Symphony Orchestra for a new work, Mr. Grant looked back to his own 1998 opera to create Dances in the Dark, a four section work depicting scenarios one might run into after dark. Incorporating a musical potpourri, including classical piano works, jazz and instrumental impressionism, this work resembled speeding in a time warp through New York City after midnight. While conveying musical tidbits and sounds of hypothetical random recitals, Mr. Milanov always found direction in the music, and the overall orchestral effect in this world premiere was very clean. Intriguing scenarios were created from a solo English horn (elegantly played by Nathan Mills) with sectional cellos, and a bit of jazz cacophony from the trumpets. Principal flutist Chelsea Knox was kept busy with quick passages, but Mr. Milanov seemed to always be aware of where the piece was going.

Benjamin Britten’s Serenade for Tenor, Horn and Strings, Opus 31 is a set of six poems preceded and followed by a solo horn. Britten drew poetry from four centuries for this setting, including both familiar and lesser-known writers. For this work the Princeton Symphony was joined by horn soloist Eric Ruske, professor of horn at Boston University; and tenor Dominic Armstrong, a soloist with a great deal of experience with the music of Britten. Mr. Ruske opened the work with a clear tone in the Fanfare and effectively matched the moods of the poetry throughout the piece, whether bugle calls, providing a distant effect, or calling forth from purgatory. Britten set the six poems with serenity, evoking the English countryside and the grand stature of castle architecture. Mr. Armstrong matched the quality of the poetry well, especially the relentlessness of the anonymous 15th-century Dirge.

All composers surely dream, but no one’s dreams were more beyond the edge of reality than those of 19th century French composer Hector Berlioz. His 1830 Symphonie Fantastique, (an “Episode in the Life of an Artist, in Five Parts”) was programmatic, like many symphonic works of that period, but Berlioz provided the story of a fantasy well contrasting with the 19th-century focus on romance and melodrama. Mr. Milanov began the complex orchestral work with clarity, painting a dreamy picture while allowing instrumental soloists to present the idée fixe of the heroine cleanly. Musical ideas took a long time to spin out in this work, but Mr. Milanov consistently maintained control over the dramatic tension. Melodies were kept chipper, especially from horn soloist Douglas Lundeen and oboist Nicholas Masterson.

Mr. Masterson and English horn player Mr. Mills played a poignant duet in the third movement Scene in the Country, as Berlioz’s story develops continually more anguish. Throughout this movement, Mr. Milanov never rushed the tempo, creating a musical study in intensity at the close as a high flute blended well with the upper strings. The eccentricity of the story culminated in the final movement, as Berlioz sees himself at his own funeral, musically depicted by quirky clarinets, oboes and bassoons. This was likely the most familiar movement to the audience, with the medieval Dies Irae theme punctuated by bells coming from the balcony. Raw sounding col legno (playing with the wooden part of the bow) from the strings added to the creepiness of Berlioz’s thinking, but precision from the orchestra closed the symphony in 19th-century clarity.

 

March 26, 2014

It has been a season of musical birthdays in Princeton, and the Dryden Ensemble added to the mix with two concerts celebrating Bach’s 329th birthday this past weekend. Sunday afternoon’s venue in the Dryden Ensemble’s Trinity Church, Solebury home (the concert was also performed the night before in Princeton Seminary’s Miller Chapel) proved to be both an intimate chamber performance space and equally as musically appropriate a site for the ensemble as its Princeton base. 

The four members of the Dryden Ensemble — violinist Vita Wallace, viola da gamba player Lisa Terry, oboist Jane McKinley, and harpsichordist Webb Wiggins — clearly found Trinity Church a space in which it was easy to communicate, and all four of their instruments spoke well in the sanctuary. Sunday afternoon’s concert, dedicated to the memory of long-time Dryden supporter Mardi Considine, principally featured music of J.S. Bach, as well as that of his son and a predecessor.

The Dryden Ensemble explored two works of Bach originally composed for organ and transcribed for chamber string and wind ensemble. The players of the Dryden themselves transcribed BWV 525, originally an organ sonata in E-flat, to feature oboe d’amore and violin, accompanied by viola da gamba and harpsichord and retitled Trio in D Major. The Baroque oboe d’amore is not as rich and mellifluous as its modern counterpart, but Ms. McKinley was able to achieve both a smooth melody in the second movement and clean rapid lines in the closing passages. Ms. Wallace provided a crisp second voice in this instrumental dialog, and all four players maintained Bach’s intricacy within complex Baroque counterpoint.

Bach was preceded in history by Dietrich Buxtehude, primarily known for his keyboard works, but also a big fan of the viola da gamba. Gamba player Lisa Terry capitalized on the great musical variety found in Buxtehude’s instrumental sonatas, in this case Sonata in G minor for violin and viola da gamba. Crisply accompanied by Mr. Wiggins, Ms. Terry and violinist Ms. Wallace sustained both the rhythmic drive of the fast movements and the sensitive lines of the slower sections. In the penultimate Grave, Ms. Terry especially showed that she had complete control over the entire range of her instrument.

Mr. Wiggins introduced a new member of his keyboard family to the Dryden’s audiences this past weekend in a harpsichord built by William Dowd on the model of early 18th-century German builder Michael Mietke. Mr. Wiggins’ new harpsichord was a large instrument with a particularly rich lower register and capable of producing a substantial sound for what one thinks of from a Baroque instrument. Interpolated into Sunday’s program was a keyboard suite of Buxtehude, featuring Mr. Wiggins showing off the William Down harpsichord. As two voices chased each other on the keyboard in one of the quicker movements, the upper register of the harpsichord showed a well-rounded sound. Mr. Wiggins ably handled the challenge of the very fast lines, and was more than successful in finding sensitivity and lyricism in an instrument primarily heard accompanying or in continuo style.

In the closing work of the program, Bach’s Sonata in D Major for Viola da Gamba and Harpsichord, Mr. Wiggins’ quick right hand matched the elegance of the melodic lines drawn out by Ms. Terry. Throughout this work, repeating sequences were exactly timed, and as the two instruments traded roles in a question-and-answer dialog, Mr. Wiggins and Ms. Terry seemed to enjoy the musical repartee.

 

March 19, 2014

Superstar instrumentalists rarely come to Princeton, and New Jersey Symphony Orchestra (NJSO) presented a real treat to the community this past weekend with violinist Hilary Hahn. Playing Johannes Brahms’ demanding Violin Concerto in D Major, Ms. Hahn brought the audience at Richardson Auditorium down to pin drop level several times with her fiery playing, tempered with lyrical melodic lines.

Guest conductor Yan Pascal Tortelier, himself a violin prodigy as a child, seemed to be from the old school of conductors, taking command of the podium with little fanfare, but at the same time maintaining absolute control over the performance. Mr. Tortelier began Friday night’s performance of the concerto by immediately building drama with the horns in sync with the celli and violas, and winds nicely enmeshed in the orchestral texture. Ms. Hahn’s violin solo emerged from this palette with fire, and Ms. Hahn proved from the start that she is one fierce, intense, and powerful performer.

Ms. Hahn was able to create graceful cadences amidst continuous action for the soloist and mesmerized the audience with extended solo passages and a cadenza during which one could hear a pin drop in the audience. She used the full weight of her body while playing, while the musicians of the NJSO were perfectly timed with her. When not playing, Ms. Hahn often watched the orchestral players, showing that she was never for a moment disengaged from the music. Several players excelled at solo passages during the concerto, including oboist Robert Ingliss, bassoonist Robert Wagner, and concertmaster Eric Wyrick. Throughout the work, Mr. Tortelier wisely allowed Ms. Hahn to lead the way, with the musicians perfectly in tandem. Following the concerto, Ms. Hahn further delighted the audience with a solo encore of a “Loure” from J.S. Bach’s Partita No. 3 in E Major.

Mr. Tortelier paired the Brahms work with two smaller 20th-century works. Finnish conductor Esa-Pekka Salonen, former music director of the Los Angeles Philharmonic, has turned his attention to composing in recent years. His 1981 Giro (which he revised in 1997) combined many small instrumental parts into a cohesive musical whole, with coloristic effects provided by solo instruments. The title of this symphonic poem can be translated as “turn,” and the work showed many twists and turns as the musicians seemed to be in their own worlds but clearly part of something larger. English hornist Andrew Adelson provided elegant solo lines, as did oboist Mr. Ingliss, bassoonist Mr. Wagner, E-flat clarinetist Andrew Lamy, and violist Frank Foerster. An unusual orchestral palette was added with the extensive use of harp and marimba.

Igor Stravinsky composed several versions of the Suite from the ballet The Firebird, the last of which was in 1945. The ten movements of the Suite flowed together well, as conducted from memory by Mr. Tortelier. Musical effects such as the “walking-like” ostinato from the celli and double basses reminded the audience that this music was originally composed for the dance, and the characters of the Russian Firebird folktale could be heard in the melodic wind fragments. Mr. Ingliss was kept very busy on Friday night, as he provided graceful solos in several movements. Flutists Bart Feller and Kathleen Nester played crisply against precise pizzicato writing in the strings, and clarinetists Karl Hermann and Mr. Lamy added a silky color to the “Pantomimes” which glued the movements together. Piano accompaniment, played by Elizabeth DeFelice, was well-timed with the winds, and hornist Lawrence DiBello provided a comforting melody following the chaos of the “Infernal Dance of King Kastchei.” Conducting this work from memory, Mr. Tortelier showed himself to be a very energetic conductor, tying the movements together well with effective builds of intensity.

Usually in the spring, the NJSO takes a moment to acknowledge the educational component of the orchestra’s activities. At the start of the concert, a string quartet of NJSO’s Greater Newark Youth Orchestra — violinists Rachel Seo and Winifred Waters, violist Melissa Holfelder, and cellist Danielle Lee — proved, with their performance of an excerpt from Antonin Dvorak’s American String Quartet, that they could hold the stage and the audience’s attention as well as the professional NJSO members behind them.

 

March 12, 2014

The Princeton University Orchestra concerts this past weekend had something for everyone, featuring two student instrumental soloists, one faculty vocalist, and two conductors. The music spanned close to 200 years, with a variety of ensemble combinations.

Saturday night’s performance in Richardson Auditorium (the concert was also presented Friday night) focused on student talent in the first half, with two exceptional underclassmen who were winners of this year’s University Orchestra Concerto Competition. Australian junior Nicholas Stead took on one of the most difficult piano concerti in the repertory — Maurice Ravel’s Piano Concerto for the Left Hand. Composed as a single movement concerto for a performer who had lost his right arm, this work presented Mr. Stead with the unique challenge of avoiding the temptation to add his right hand to the full keyboard range of the music. The strength required of the left hand was substantial to sustain the slow and intense dynamic and harmonic crescendo as the piece seemed to rise from the sea.

Conductor Michael Pratt led a smooth and flowing Allegro, emphasizing the many coloristic effects and percussive orchestration. The solo piano part required the same dexterity from the left hand as the most difficult works for two hands, and Mr. Stead showed no difficulty handling the intricate lines. Timing between piano and clarinets was exact, and the concerto was enhanced by elegant instrumental solos from English hornist Tiffany Huang and bassoonist Louisa Slosar. No one created musical sunrises better than Ravel, and as the University Orchestra reached full force at the end of the piece, the effect was dramatic.

Sophomore violinist Jessie Chen selected his solo challenge from the late 19th century, with the four-movement Scottish Fantasy of Max Bruch. Each movement incorporated a different folk song with its own unique character. The late 17th-century tune “Auld Rob Morris” was set for plaintive violin solo and orchestral accompaniment, giving the impression of the broad landscape of Scotland. Mr. Chen maintained a very folk-song style while conveying the tuneful theme against the broad string strokes of the orchestra. Mr. Chen was decisive when he needed to be, as the orchestra, led by Ruth Ochs, built the intensity of the movement well. The second movement country dance included numerous double stops for the violin soloist, and Mr. Chen was joined in a playful duet by flutist June Yoon. The most virtuosic passages for the violin solo came in the fourth movement, which Mr. Chen played against an elegant harp accompaniment.

In commemoration of the 100th anniversary of Benjamin Britten’s birth, the University Orchestra presented the composer’s dramatic cantata Phaedra, based on the mythological story of the daughter of Minos of Crete. Mezzo-soprano Barbara Rearick, a member of Princeton’s voice faculty, dramatically conveyed the text with its minimalistic accompaniment provided by a small orchestra including harpsichord. Britten sought a Baroque approach to this piece, but the harpsichord in this case had a more percussive and pointillist effect than the usual accompanying chords heard in Baroque music. Ms. Rearick worked effectively to present a vocal line that was not always melodic, accompanied by graceful accompaniment, especially from cellist Bradley Berman. Mr. Berman played an especially poignant melody toward the end of the work, as a commentary on the death of Phaedra, as conductor Mr. Pratt allowed the piece to fade away. The concert closed on a chipper note, with a spirited performance of Mozart’s Symphony No. 38 in D Major. The University Orchestra had no trouble finding the drama in Mozart’s music and the six wind players providing flute, oboe and bassoon accompaniment were especially strong in the Finale.

 

March 5, 2014

Richardson Chamber Players presented a concert this past weekend entitled “Quiet City,” named for incidental theatrical music by Aaron Copland, but devoted to the music of several 20th-century composers. The Sunday afternoon concert at Richardson Auditorium featured regular Richardson Chamber Player performers, and also included a number of Princeton University students who added great depth to the performance of the final Copland piece. In his introductory remarks, Music Director Michael Pratt commented that the five composers represented on Sunday’s program all lived at the same time, but “each could not have had a more different voice.” The musicians of the Richardson Chamber Players had no trouble finding the uniqueness in each composer.

No one is more identifiable in 20th-century American music than Leonard Bernstein, who composed some of the most recognizable tunes of the century. Bernstein composed Sonata for Clarinet and Piano on the edge of World War II and at a very young age, and the work clearly showed the beginnings of the innovative musical ideas which emerged in his musicals and orchestral music throughout the mid-20th century. Clarinetist Jo-Ann Sternberg and Elizabeth DeFelice both worked with Bernstein during his lifetime, and each had a good command of the composer’s rhythmic drive and jazz influence. Ms. Sternberg played with a mellow instrumental sound, finding direction in the very melodic lines and bringing out the tenderness in the lyrical melodies especially well.

Ms. DeFelice and Ms. Sternberg moved exactly together into the faster sections, and created quite a substantial sound in certain sections. One could hear in the piano accompaniment that Bernstein was quite a keyboard artist, and Ms. DeFelice executed well the precision required in the accompaniment, especially in the second movement.

Shortly before Bernstein wrote his clarinet sonata, Samuel Barber composed String Quartet in B minor, Opus 11. Barber intended the piece to be premiered by a string quartet ensemble from his alma mater, Philadelphia’s Curtis Institute of Music, but the work was not completed in time for the designated premiere event. When the String Quartet finally was premiered, the second movement Adagio exceeded Copland’s own description of it as a “knockout” — “Barber’s Adagio” has become one of the most beloved pieces in orchestral repertoire and certainly one of the most recognizable.

Following the first performances of String Quartet in B minor, Copland arranged the Adagio for string orchestra, and it became an instant hit through a national radio broadcast by the NBC Symphony Orchestra. However, as performed in its original form, this piece offered a more intimate and personal opportunity for string quartet musicians. Violinists Anna Lim and Sophia Mockler, violist Kyle Armbrust, and cellist Alistair MacRae presented a starker and less luxurious interpretation than audiences might be used to from hearing this piece in film scores, but one could clearly discern the counterpoint and dialogues among the players. The bulk of the musical drama fell on first violinist Ms. Lim, who played consistently with a light vibrato. This piece has many resting places, and the four musicians arrived at cadences together, making these points all the more poignant.

The Players moved into a more contemporary musical genre with Roy Harris’ Abraham Lincoln Walks at Midnight, a “Cantata of Lamentation” setting the poetry of American poet Vachel Lindsay. The 1914 poem “Abraham Lincoln Walks at Midnight” links Lincoln’s torment of the tragedy of the Civil War with the horrors of World War I, and Harris brought both of these times to life through instrumentation of violin, cello, piano, and soprano voice. Ms. Lim, Mr. MacRae, Ms. DeFelice, and soprano Sarah Pelletier conjured numerous images of Abraham Lincoln through their collective performance. Ms. Pelletier sang with a rich and clear sound as if she were setting the scene of Lincoln’s life, telling the story well and paying particular attention to the poetic details of the text. One could hear Lincoln’s insomnia in the restless strings, and Ms. Lim and Mr. MacRae particularly achieved lyrical sonorities. Effectively accompanying the players was Ms. DeFelice, allowing the piano to “walk” through the score with harmonic chords.

Ms. Pelletier also performed Elliott Carter’s song cycle Tempo e Tempi, accompanied by oboe, clarinet, violin, and cello. Carter’s tribute to Italian culture was both song cycle and quintet, with all instruments being of equal importance. Premiered in 2000 when Carter was 90 (he was active through most of his incredible 103 years), Tempo e Tempi combined Carter’s settings of varied Italian poets into a work which explored a wide range of instrumental combinations and effects. Ms. Sternberg doubled on both clarinet and bass clarinet, and Matt Sullivan played both oboe and English horn as the other players handled syncopations and ostinato well. With instruments often in competing meters, this piece was described before the performance as “redefining what it means to play together,” and the Richardson Chamber Players’ performance found the complexities within the piece.

The Players closed the concert with Aaron Copland’s Quiet City, bringing together an ensemble of both professional and student musicians. Even though no longer connected to a play in its format as a concert piece, Copland’s work was programmatic in its dialogue between trumpet and English horn, played by Wayne du Maine and Matt Sullivan, respectively. The play for which the piece was written was not successful, but Copland’s depiction of a “nocturnal cityscape” was effective in capturing the broad spaciousness of music found in other Copland works. Mr. du Maine showed his vast experience in jazz, complemented by Mr. Sullivan’s lyrical English horn playing. Perfectly matched in pitch and timbre, these two artists, accompanied by the large ensemble of strings, painted a broad palette of colors and moods to bring the concert to a close.

 

February 6, 2014

The musical birthday accolades to scholar and philanthropist William H. Scheide just keep coming in honor of his 100th birthday; the latest was a tribute concert of the Dryden Ensemble presented this past weekend in Solebury, Pennsylvania and Princeton. Sunday afternoon’s performance at Princeton Theological Seminary’s Miller Chapel (the concert was also performed Saturday night in Solebury) was devoted to Bach, paying tribute to both Mr. Scheide’s Bach expertise and his long-time support of the Dryden Ensemble. Nine instrumentalists and four vocalists presented a Bach “CantataFest” — two complete cantatas and several excerpts from other cantatas.

Joining the Dryden Ensemble were four more than excellent singers, each with a long history of Baroque performance practice. Soprano Teresa Wakim, mezzo-soprano Kristen Dubenion-Smith, tenor Jason McStoots, and baritone Mischa Bouvier were individually featured in arias and joined together for the opening and closing chorales of the cantatas. Ms. Wakim demonstrated a glorious top register, quickly finding the optimum resonance of the space in Miller Chapel. She had a real ring to her voice within a Baroque context, elegantly handling melismas on specific words, such as “freundlich” in her opening aria. Ms. Dubenion-Smith sang with a remarkably smooth register, especially in the aria “Wie furchstam wankten meine Schritte” of Bach’s Cantata 33 — an aria loaded with octave skips. Conceived more instrumentally than vocally, Bach’s arias can be difficult for mezzos because of range and register, but not for this mezzo. Ms. Dubenion-Smith handled the tough intervals and figures with a voice as smooth as silk and her Cantata 33 aria was particularly gracefully accompanied by violinist Vita Wallace and Daniel Swenberg playing theorbo.

Tenor Jason McStoots demonstrated a lyrical and lighter sound, singing expressively with clean diction. Mr. McStoots’ aria “Woferne du den edlen Frieden,” from Cantata 41, was a complex dialog between voice and violoncello piccolo, played by Lisa Terry. In this aria the musical roles were almost reversed, with the cello taking on most of the melodic movement and the voice serving in more of an obbligato role. Mr. McStoots also provided a complementary voice to baritone Mr. Bouvier, with whom he sang a duet toward the end of Cantata 33. Mr. Bouvier had his opportunity to shine in the aria excerpt from Cantata 62, “Streite, siege, starker Held.” Mr. Bouvier clearly had the potential for a great deal of vocal firepower, with well-handled and articulate coloratura on the words “Streite” (“struggle”) and “kräftig” (“mighty”). The closing Cantata 97 featured each soloist in an aria, with Ms. Wakim’s voice like icing on the cake over the counterpoint of the other three soloists.

As instrumentalists, the Dryden players stayed true to the Baroque character of the music. The concerto-like opening Sinfonia contained delicate swells in the music with clean trills, with sequential phrases which were always going somewhere. Organist Webb Wiggins provided bell-like passages on a chamber organ and the ensemble as a whole maintained a clean texture, even when at full sound. Ms. Wallace had several opportunities for obbligato playing with one of the vocal soloists, playing especially sensitively in the tenor aria of Cantata 97. Oboists Jane McKinley and Julie Brye provided chipper playing, often in thirds, and were particularly supple in accompanying Ms. Wakim in her Cantata 97 aria. Cellist Lisa Terry, bassoonist Sue Black, theorbo player Mr. Swenberg (also playing Baroque lute) and Mr. Wiggins provided solid continuo playing throughout the performance, allowing each of the instruments to speak well in the space.

The Dryden Ensemble has devoted itself to music of the 17th and early 18th century, and Sunday afternoon’s all-Bach performance was particularly appropriate for its dedication to Mr. Scheide. On first glance, Dryden Ensemble concerts may not seem to have a great number of pieces on the program, but Sunday’s performance was well-informed with nuance, and introduced four great singers to a Princeton audience.

The Dryden Ensemble will present a birthday concert to J.S. Bach on Saturday, March 22, 2014 at Miller Chapel on the campus of Princeton Theological Seminary. This concert, in honor of Bach’s 329th birthday, will feature chamber music by Buxtehude, C.P.E. Bach, and J.S. Bach. Ticket information can be obtained by visiting www.drydenensemble.org.

 

January 29, 2014

Joy comes in many forms and has been represented in music in many ways. Joy was definitely the overriding theme of the annual William H. Scheide “Birthday Benefit” concert held last Saturday night to a full house attendance at Richardson Auditorium. What was special about this concert was its celebration of Mr. Scheide’s 100th birthday (his actual birthday was January 6). Born on the edge of World War I, Mr. Scheide has seen a century of tumultuous events, larger-than-life personalities, and great music. William and Judith Scheide brought together honorees of past Scheide birthday concerts, as well as many old friends, to celebrate Mr. Scheide’s music, philanthropy, and humanitarianism.

This year’s “Ode to Joy” concert benefitted Westminster Choir College, honoring the Choir College’s model of “how to work together in harmony for the service of others.” Featured in performance was Westminster’s renowned Symphonic Choir, which clearly enjoyed its role in the celebrations. One of the vocal soloists for the keynote piece, Beethoven’s Symphony No. 9 in D minor, also had a past connection with Westminster.

Conductor Mark Laycock began the festive evening in a first half dedicated to Mr. Scheide’s former academic life, with J.S. Bach’s setting of Philipp Nicolai’s 1598 hymn which became Cantata BWV 140, “Wachet auf.” The Westminster Symphonic Choir, accompanied by the Vienna Chamber Orchestra, set the tone for the evening with the words “Gloria to you be sung with human and angelic voices.” As Mr. Scheide’s scholarly and performing reputation has been rooted in Bach, this was an appropriate way to open the concert. The Symphonic Choir, prepared by Joe Miller, presented a serene yet majestic sound, with the soprano section singing with an appropriately light Baroque timbre. Mr. Laycock maintained a broad tempo throughout the short selection, building the orchestra and chorus to a fortissimo in the closing lines of the chorale setting.

Johannes Brahms’ Academic Festival Overture seems to characterize academic youth, especially in its closing “Gaudeamus Igitur,” a popular student song in its day. The work’s emphasis on “rejoicing while we are young” was demonstrated in the brisk tempo with which the Vienna Chamber Orchestra began the piece. The strings of the orchestra presented a smooth and unified sound, accompanied by rippling clarinets and very clean horns. The brass sections throughout the concert were as well blended as an a cappella chorus. With Brahms’ compositional roots in Vienna, this music would be in the Vienna Chamber Orchestra’s blood, and the graceful melodic lines and playful winds showed that this overture is much more than a silly drinking song at the end.

Mr. Scheide’s own compositional skills were honored by a premiere public performance of a work he composed while a student at Princeton. Pianists Marian Nazarian and Andrew Sun performed Mr. Scheide’s 1936 Prelude, clearly inspired by the orchestral concerti of Bach, with high-spirited humor and clean counterpoint. Ms. Nazarian has long been a Scheide collaborator, bringing expertise to the keyboard in other birthday performances, and Mr. Sun proved why he is an up-and-comer to watch.

Forces came together in a variety of ways for the Beethoven Symphony No. 9, a work which holds a strong historical place in Westminster’s history and surely fits well into the Vienna Chamber Orchestra’s repertory. The orchestra began the open fifths of the first movement with sharp attacks, punctuated by well-timed timpani, in a tempo that was not too fast. Mr. Laycock kept things moving steadily along, with lyrical wind parts, allowing the orchestra to reach full volume until the recapitulation of the movement.

Mr. Laycock and the orchestra began the second movement Molto Vivace in a brisk tempo, with entrances lightly handled by the players. The wind section’s rhythmic lines were especially clean, as were the melodic lines played by the horns. Mr. Laycock created numerous small builds in the music, enabling the tricky wind entrances of the third movement to seem that much more serene.

In the third movement, the players kept the long lines smooth, with particularly rich second violin and viola sectional playing. Sections of the movement sounded quite hymn-like in tranquility as the orchestra overall played with a very lean sound. The players presented the familiar “Ode to Joy” theme of the fourth movement with very little vibrato, enabling all parts, especially during the presentation by the strings, to be heard.

The Westminster Choir and Vienna Chamber Orchestra were joined by four vocal soloists with strong operatic backgrounds, which were a necessity, even with only 18 minutes or so of music in the movement. Bass-baritone Mark Doss was dramatic and forceful, and well answered by the men of the chorus. Mr. Doss was a good vocal partner for tenor William Burden, who handled the quick pace of the “Turkish march” section well. Mezzo-soprano Leah Wool and soprano Ah Young Hong rounded out the quartet, handling the demanding quartets at the end of this challenging symphony well. An equal star of this movement is the chorus, providing a solid sound in the thematic sections, while being somewhat haunting and ethereal on the text “Do you bow down before Him, you millions?” Mr. Laycock (who conducted the entire program from memory) led the orchestra and chorus through the transitions well, wisely allowing at times to let the music play itself.

As Judith Scheide noted in her introductory remarks to the concert, Mr. Scheide begins each day with music. She also shared with understandable pride a letter received from President Barack Obama congratulating Mr. Scheide on reaching his 100th birthday and commending his “unique and important contributions to American culture and society.” For those unable to attend this past weekend’s celebratory concert, it was taped for later broadcast on PBS, and it is only 342 days until William Scheide turns 101.

—Nancy Plum

 
January 22, 2014

A floral supplies store would seem an odd place to shop for musical instruments, but in preparation for New Jersey Symphony Orchestra’s (NJSO) recent North American premiere of Tan Dun’s Earth Concerto, members of the ensemble’s percussion section found themselves looking at planters of varying sizes and materials to serve as drums. Audience members at NJSO’s concert last Friday night at Richardson Auditorium peered with great interest at the three sets of multiple planters, not necessarily realizing that the three percussionists were creating amazing music on items available at the neighborhood gardening emporium.

NJSO Music Director Jacques Lacombe programmed Friday night’s concert of the Tan Dun concerto and Gustav Mahler’s Das Lied von der Erde as part of the orchestra’s Winter Festival theme of the relationship between music and the elements of nature. Both the Tan Dun and Mahler works were “songs to earth” concerning man and nature. In a type of “chicken and egg” cycle, Chinese composer Tan Dun drew his inspiration for Earth Concerto from Mahler’s Das Lied von der Erde, while Mahler found inspiration for this work in Hans Bethge’s poetic translation of Tang dynasty poetry.

NJSO programmed Earth Concerto as a closing bookend to Tan Dun’s Water Concerto, performed in the Winter Festival of 2011. The complete title of the work is Earth Concerto for Stone and Ceramic Percussion With Orchestra, and the three-movement work is scored for 99 ceramic and stone instruments with large orchestra. The concerto had its premiere in 2009, and what made NJSO’s North American premiere unique was its use of local instruments. The terra cotta, ceramic, and metal planters played by David Cossin, James Neglia, and James Musto provided scales, bell-like tones, and a somewhat rustic effect which Mr. Cossin noted “brings people back to a quieter and less distracting time.”

Understandably, most of the focus during the performance of Earth Concerto was on the three percussionists, as well as guest artist Zhang Meng, who played three traditional Chinese instruments — ceramic horn, xun, and flute. The most melodic of these instruments was the xun, a globular ocarina-type instrument providing a rich and mellow sound, especially when accompanied by harp. Adding to the percussive effects of the piece was the ceramic horn, which Mr. Zhang blew into, not unlike the indigenous Australian didgeridoo. The ceramic flute, used primarily in the third movement, contrasted with the ostinato played by the three percussionists and a slightly tipsy string sound to match the movement’s title: The Drunkard in Spring.

Tan Dun’s concerto was a work of innovation, as was Mahler’s Das Lied von der Erde in its time. Composed in 1907-08, the six-movement work straddled the genres of orchestrated song cycle and symphony, while musically addressing Mahler’s obsession with mortality. Beginning with the trademark Mahlerian horn calls, Mr. Lacombe and the NJSO kicked off the piece majestically. Mahler changes musical moods on a dime, and throughout the work the players had no trouble navigating the composer’s very complex and evolutionary imagination.

American tenor Russell Thomas, who presented the first, third, fifth and final movements, sang with bright and sometimes fierce sound which was necessary to be heard over the thick orchestration. A nice Viennese flow from both singer and instrumentalists marked the reflective third movement, and like its companion third movement of the Tan Dun concerto, the fifth movement of the Mahler was sufficiently tipsy.

Mezzo-soprano Elizabeth Bishop displayed exactly the rich vocal tone and sensitivity to the text required for Mahler’s pensive approach to Bethge’s poetry. Both of these vocal soloists were necessarily operatic, and Ms. Bishop was in no hurry to rush the text, providing a bit of sauciness in the fourth movement. In the closing movement, in which both soloists sang, Ms. Bishop floated text describing the peaceful earth as Robert Ingliss’ oboe solo combined with undulating violas to depict a brook that “sings loudly through the darkness.”

The mid-19th century was a heyday for horns, and the horn section of the NJSO showed clarity and unified sound throughout. Mahler exploited almost every instrument of the orchestra in his larger-than-life musical concepts, and NJSO’s wind players in particular demonstrated both grace and strength. A pair of clarinets “wandered” through eternal love and English hornist Andrew Adelson provided supple melodic lines periodically throughout the movements. Mahler’s unique orchestration of piccolo solos, played by Kathleen Nester, added to the playfulness of the Drunk in Springtime fifth movement, and Bart Feller’s sensitive flute playing added to the pathos of the final farewell. Mahler’s underlying optimism was conveyed by the celeste, played by Elizabeth Difelice, as the New Jersey Symphony Orchestra brought the substantial yet poignant work to a close.

 

January 15, 2014

The academic year goes by quickly, especially with a holiday break half-way through. The Princeton University Opera Theater always takes on a challenging opera to be presented shortly after the winter break, but it is hard to imagine Princeton’s operatic students and faculty undertaking a production as testing as Claudio Monteverdi’s TheCoronation of Poppea so soon after break. Fifteen singers, accompanied by harpsichords, strings, lutes, and theorbo presented Monteverdi’s final opera this past weekend, demonstrating the depth of vocal and instrumental talent in an opera which even the Metropolitan Opera would find daunting.

Friday night’s performance in Richardson Auditorium (the opera was repeated on Saturday night) was staged with pairs of musicians on either side onstage and a small string ensemble in the pit. The directorial team led by conductor Michael Pratt and director Ethan Heard sought to complement a production of the same opera in 2001, featuring countertenor and Princeton student Anthony Roth Costanzo, now on the roster of the Metropolitan Opera. This year’s production featured a number of University singers also headed for promising careers in music.

The Coronation of Poppea harks back to opera’s beginning; with an Italian libretto by Giovanni Francesco Busenello, it was one of the first operas to use historical events and real people as subject material. Princeton University’s production was primarily in English (with translation by Peter Westergaard, Wendy Heller, and Arthur Jacobs), with the original Italian retained at specific moments, such as in a late duet between Nero and Poppea. The singers were accompanied by an appropriate combination of harpsichords, played by Nicholas Lockey and Jason Nong; as well as lute and theorbo, played by Charles Weaver and Daniel Swenson alternating among instruments. All of these period instruments spoke well in the hall, with the lute and theorbo accompaniment easily balancing the singers as solo instruments.

The description of the opera’s Prologue could easily be used to describe the state of the world today: “Fortune and Virtue argue about who holds the true power of the world; Love proclaims his supremacy.” Accompanied by a nice light touch from the strings, Fortune and Virtue, sung by Allegra Wiprud and Sarah Cooper, respectively, solidly opened the production. Ms. Wiprud, costumed a bit like Lady Gaga, showed a voice with a good ring in the hall and well handled the extensive recitative text. Ms. Cooper deftly handled the extensive runs of Virtue’s role. Varshini Narayanan joined Future and Virtue onstage as the character of Love, bringing an energetic and nymph-like interpretation to her role throughout, with consistently impressive movement and singing.

The Coronation of Poppea revolves principally around the illicit love affair between Nero and Poppea, both married to others. Contrary to Italian morality of the time, the adulterous relationships prevail, with Nero’s wife Octavia and Poppea’s husband Otto banished in exile. The two students cast as the leads Nero and Poppea have worked very hard toward probable careers in singing. Countertenor Aryeh Nussbaum Cohen has proven his scholarly and performance command of music of the 17th and 18th centuries, and soprano Katie Buzard has been refining her vocal skills both at Princeton and the Royal College of Music in London. Mr. Cohen took command of the stage immediately, showing that the extensive vocal runs (precursors to the coloratura fireworks of the subsequent decades) were squarely in his wheelhouse, showing no trouble at all with the vocal demands of Nero’s role. Ms. Buzard demonstrated a sparkling top register, also keeping the 17th-century Italianate style well in hand. Monteverdi’s music, revolutionary for its melody and humanism, served the text and the emotions conveyed by the singers, and both of these performers never lost sight of the connection among these elements.

The two hapless spouses of these conniving individuals were also well performed. Countertenor Michael Manning sang the music of Otto, deliberately composed to show Poppea’s husband as tentative and timid, lyrically, and demonstrating despair well. Marie-Gabrielle D’Arco, singing the role of Nero’s wife Octavia, sang with incredible richness and maturity and showed that she will have no trouble pursuing her chosen career in opera as she powerfully executed the almost exclusively dramatic recitative-style. Operas of the early 17th century feature upper voices, and the one significantly lower voice in this production was Jonathan Choi’s interpretation of the philosopher Seneca. Seneca’s music is bold and wide-ranging, and Mr. Choi was especially effective in the extreme lower register. In addition to the onstage Baroque instruments, conductor Michael Pratt effectively led a small ensemble of strings to support the singers. Most impressive among the strings was cellist Nathan Haley, who provided a great deal of specific accompaniment to arias and extensive solos.

Following its premiere in the mid-17th century, The Coronation of Poppea was neglected until the late 1800s and achieved new popularity in the second half of the 20th century. For a university opera company to take this production on could have been an invitation for difficulties and frustration, but the Princeton University Opera Theater provided itself to be more than up to the task.

 

January 8, 2014
BILL SCHEIDE AT 100: At his 100th birthday party, which he celebrated on Sunday, January 5, Bill Scheide, shown above with his wife Judy, entertained 22 children, grandchildren, and great grandchildren. He recited Lewis Carroll’s “The Walrus and the Carpenter,” played a Bach prelude, and said “I’d rather be 80.” At the upcoming birthday concert in honor of Mr. Scheide at Richardson auditorium, the program will feature a piano piece by Mr. Scheide, as well as works by Bach, Brahms, and Beethoven. Performers include the Westminster Symphonic Choir and the Vienna Chamber Orchestra. Tickets for “Ode to Joy: Celebrating the 100th Birthday of William H. Scheide” are available from www.scheideconcerts.com or University ticketing, (609) 258.9220.

BILL SCHEIDE AT 100: At his 100th birthday party, which he celebrated on Sunday, January 5, Bill Scheide, shown above with his wife Judy, entertained 22 children, grandchildren, and great grandchildren. He recited Lewis Carroll’s “The Walrus and the Carpenter,” played a Bach prelude, and said “I’d rather be 80.” At the upcoming birthday concert in honor of Mr. Scheide at Richardson auditorium, the program will feature a piano piece by Mr. Scheide, as well as works by Bach, Brahms, and Beethoven. Performers include the Westminster Symphonic Choir and the Vienna Chamber Orchestra. Tickets for “Ode to Joy: Celebrating the 100th Birthday of William H. Scheide” are available from www.scheideconcerts.com or University ticketing, (609) 258.9220.

Princeton philanthropist William H. Scheide, known affectionately as “Bill,” turned 100 on Monday. For the past six years, the ever youthful music lover, Bach scholar and bibliophile, whose name is associated with numerous educational institutions, has celebrated his birthday with an annual concert of music conducted by former music director of the Princeton Symphony Orchestra Mark Laycock. 

This year, “Ode to Joy: Celebrating the 100th Birthday of William H. Scheide” will take place Saturday, January 25, at 7:30 p.m. at Richardson Auditorium in Alexander Hall, on the campus of Princeton University.

As befits the special occasion, the concert will feature a stellar line up that includes the local and the international: Westminster Symphonic Choir, the Vienna Chamber Orchestra (Wiener KammerOrchester), soloists Ah Young Hong (soprano), Leah Wool (mezzo-soprano), William Burden (tenor), and Mark S. Doss (bass-baritone), and pianists Mariam Nazarian and Andrew Sun.

Several of the performers have strong connections to the Princeton area. Ms. Wool received her Bachelor of Music magna cum laude from Westminster Choir College and Mr. Sun, who is currently pursuing his Master’s degree at New York University, was born in West Windsor.

Many local residents will recall a small recital held at Jasna Polana in which Mr. Scheide joined Ms. Nazarian at the piano. Ms. Nazarian made her U.S. debut in 1995 with a solo recital in Princeton as well as in Washington, D.C., New York and Philadelphia. At age 16, she was the youngest pianist in the history of Carnegie Hall to have performed J.S. Bach’s Goldberg Variations, BWV 988. She is associate director of the Scheide Fund and has also served as programming advisor to the Arts Council of Princeton (incidentally, she recently coached Elijah Wood for his role in the upcoming thriller, Grand Piano).

The concert, which Mr. Scheide will attend, pays tribute to his love of Bach by opening with the composer’s “Gloria sei dir gesungen” from Cantata BWV 140. Brahms’ Academic Festival Overture (Op 80) will follow and then a work composed by Mr. Scheide in his student days: Prelude for Piano Four Hands. The evening will culminate with a performance of Beethoven’s Ninth Symphony, “Choral,” with Mr. Laycock conducting the Wiener KammerOrchester for the third time at a birthday celebration for Mr. Scheide.

Known for his work with Opera New Jersey, especially a concert of Mendelssohn’s rarely performed Symphony No. 2, Lobgesang, with the New Jersey Symphony Orchestra, Mr. Laycock was music director of the Princeton Symphony Orchestra for more than 20 years. He is credited with transforming what was a small chamber orchestra into a full and critically acclaimed professional symphony orchestra.

Westminster Symphonic Choir, led by conductor Joe Miller, is considered among the world’s leading choral ensembles and is composed of all juniors and seniors and half of the graduate students at the college.

Each year, proceeds from the annual Scheide birthday concert go to a worthy cause. In past years, lsles, Centurion Ministries, The Arts Council of Princeton, Princeton HealthCare Foundation, Princeton Public Library, and the Princeton Recreation Department have benefited. This year, Westminster Choir College of Rider University has been chosen as the local institution to receive funding that will be used for renovations to rehearsal space that has seen some of the world’s greatest conductors, including Leonard Bernstein, Kurt Masur, and Simon Rattle.

“I have a deep and abiding belief in the critical role that Westminster Choir College plays in our community, bringing the joy of music into our lives,” said Mr. Scheide in a letter that accompanies the concert program. Mr. Scheide has had long and faithful relationships with Westminster Choir College where he served on the Board of Trustees.

Born in Philadelphia on January 6, 1914, Mr. Scheide is the only child of John Hinsdale Scheide and Harriet Hurd. He grew up in a household that was passionate about music, culture, rare books, and the well-being of humanity. His father played the piano, and his mother sang. At the age of six, he began piano lessons.

In a “This I Believe” essay broadcast in New York during the 1950s, Mr. Scheide said that his early love of music has made him “sensitive to values that cannot be expressed in language.”

Mr. Scheide attended Princeton University (Class of 1936) where he majored in history simply because at that time there was no music department. He went on to earn an MA in music at Columbia in 1940 and became the first American to be published in the Bach Jahrbuch journal of Bach scholarship. In 1946, he founded and directed the Bach Aria Group, a vocal and instrumental ensemble that performed and recorded for 34 years.

The Scheide Library, now housed in Firestone Library at Princeton University, contains books and manuscripts that Mr. Scheide, his grandfather, Willam T. Scheide, and his father, John H. Scheide (Class of 1896) acquired. It holds copies of the first four Bibles ever printed; materials on the invention and history of printing; books and manuscripts on the early voyages to the Americas; and musical manuscripts of J.S. Bach, Beethoven, Schubert, and many others.

Mr. Scheide’s long life has been dedicated to fostering the arts, education, civil rights, health, and poverty relief programs. In his “This I Believe” essay he stated his own credo: “When Bach set to music the words “Credo in Unum Deum,” — I believe in one God — he did not express a pious ideal or a devout or romantic aspiration. The here and now poured out of him. What inspired was simply the basic material of his life. That, he recognized, was his belief. And that, I think, is any man’s belief if the word is to have any actual substance that can be grasped.”

His own words from over half a century ago bear repeating in this his centennial year. “I believe that a democratic society must be ultimately founded on love for enemies, real and fancied enemies, who daily and inevitably trample our personalities and threaten to destroy our innermost beliefs — that is, our essential natures. I believe also that a love for enemies, as I conceive it, is impossible without that vague but deep thing which is usually called belief in God …. Belief in an ultimate absolute makes love and tolerance possible in a group of creatures seen through a glass darkly …. My faith is both that which I am and that which I feel I ought to be. It represents the energy — sometimes more, sometimes less — with which I cling to life, but which also confers the apprehension of a higher and more perfect life. When I am at my best, I work on the problem of bringing this higher life to realization.”

Mr. Scheide’s essay can be heard by visiting: http://thisibelieve.org/essay/16961/.

“Ode to Joy: Celebrating the 100th Birthday of William H. Scheide” will take place Saturday, January 25, at 7:30 p.m. at Richardson Auditorium. General admission tickets are $35 each from University ticketing, (609) 258.9220, or online from www.scheideconcerts.com.

 

December 18, 2013

As a professor in Princeton University’s music department specializing in Russian and Soviet music and dance, Simon Morrison is an expert on the famed Bolshoi Theatre. The Moscow arts institution has been frequently in the news since the bizarre acid attack last January that left Sergei Filin, the artistic director of the Bolshoi Ballet company, nearly blind.

Mr. Morrison, who is writing a history of the 227-year old theatre, has been frequently called upon by The New York Times and other news outlets to comment on the volatile situation, especially since Russian dancer Pavel Dmitrichenko was found guilty this month for his role in the attack. A Moscow judge ruled that the dancer and two co-defendants had intentionally caused grievous bodily harm to Mr. Filin, who had a jar of acid thrown in his face by a masked assailant.

Mr. Dmitrichenko, who maintained that he wanted Mr. Filin roughed up but didn’t expect acid to be hurled in his face, was sentenced to six years in prison. Yuri Zarutsky, convicted of carrying out the attack, got 10 years.

“The horrible part of Dmitrichenko’s defense is that he said what happened to Filin wasn’t so bad,” Mr. Morrison said during a recent interview in his office at the University’s Woolworth Center of Musical Studies. “But I was in Moscow in October and I met Filin, and what was done to him is ghastly. He has crimson lines on his face from the battery acid that was used.”

The attack last January left Mr. Filin writhing in pain in the snow outside his apartment building. The incident revealed the bitter behind-the-scenes rivalries that exist at the Bolshoi. Mr. Dmitrichenko was reportedly angry with Mr. Filin for denying him and his girlfriend, a ballerina, important roles in Bolshoi productions. Mr. Filin said that Mr. Dmitrichenko had spread false rumors about him having affairs with ballerinas. Defense witnesses portrayed Mr. Filin as imperious and Mr. Dmitrichenko as a champion of those afraid to speak out against the artistic director.

“The problems are multi-layered,” Mr. Morrison said. “It seems clear that there were favorites. There was no proper collective agreement. No union represented the dancers properly. So if you got sick or got pregnant, you were in trouble. That absence of a proper collective bargaining agreement is the cause of the problem, and it needs to be fixed.”

The Russian government dismissed the Bolshoi Theatre’s longtime director Anatoly Iksanov last July. The new director, Vladimir Urim, is trying to make things more equitable. “He’s a no-nonsense guy,” Mr. Morrison said.

Mr. Morrison has lectured and written articles on numerous topics related to Russian and Soviet music and dance. He is the author of the book Lina and Serge: The Love and Wars of Lina Prokofiev, which was published by Random House this year. He plans to return to Moscow next month to do more research on his history of the Bolshoi Theatre. He has done extensive studies of the works of composers Shostakovich and Prokofiev, both of whom were involved in the Bolshoi.

“I’ve loved ballet for many years,” Mr. Morrison said. “I took some classes as an adult, just to know what I’m talking about. I’ve been involved in staging historic projects on campus. And it has become a real addiction, through research.”

Mr. Morrison said he was surprised that Mr. Dmitrichenko was sentenced to six years in prison instead of the 12 that Mr. Filin’s lawyer requested. “Given how volatile he is, he will have a hard time,” he said of Mr. Dmitrichenko. “He’ll go to a ‘strict regime’ prison, and he’ll be made to work a lot.”

The recent scandal will play a minor but important part in Mr. Morrison’s upcoming book. “It’s not the main part of the book, but something I have to mention,” he said. “And it’s relevant, because it’s reflective of the system of the past.”