By Nancy Plum

In a pair of concerts this past weekend, Princeton Symphony Orchestra showcased an instrument often relegated to an accompanying role. The harpsichord, dating back to the 15th century and prominent in the Baroque era, was largely replaced in the 19th century by the piano, which offered a wider range of dynamics and effects. Led by Music Director Rossen Milanov, Princeton Symphony performed a world premiere of a work for harpsichord and small orchestra, as well as a contemporary piece by a composer familiar to Princeton audiences, and a complete ballet by the revolutionary Igor Stravinsky.

Saturday night’s performance at Richardson Auditorium (repeated Sunday afternoon) was centered around Vaudeville in Teal, a set of variations for harpsichord and chamber ensemble by British composer Julian Grant. Scoring the music for harpsichord and accompanying strings, bass clarinet, and bassoon, Grant structured the six movements to resemble a series of variety acts in a vaudeville show, and “variety” proved to be the key word for the evening.

To start off, composer Viet Cuong looked back to the Baroque era for his concerto for two oboes Extra(ordinarily) Fancy. A longtime admirer of the oboe, Cuong turned to a genre especially favored by 18th-century Italian composers to design a “sequel” to a previous composition for wind sextet. Extra(ordinarily) Fancy explored the concept of the “extra fancy” techniques instruments can produce, in particular multiphonics — effects produced when a performer uses a technically incorrect fingering to create a distorted sound with two or more pitches.

With the two soloists at the front of the stage, Extra(ordinarily) Fancy began in conventional Baroque style, but quickly veered off into unique and imaginative territory. Oboists Lillian Copeland and Erin Gustafson comically staged a “diva” battle with the solo lines, tweaked by dissonant and multiphonic notes. Conductor Milanov and the Orchestra effectively brought out the dynamic swells and humorous character of the music.

To the Richardson audience’s delight, composer Julian Grant was on hand to present Vaudeville in Teal, with an introduction just as entertaining as the music. In this piece, Grant successfully captured an old-time variety show, in which a virtuoso pianist might be followed by someone imitating bird calls. Featured as harpsichord soloist was Mahan Esfahani, whose career has ranged from reestablishing the harpsichord as a recital and concerto instrument to bringing the keyboard into the 21st century through electronics and new media. Esfahani performed on a harpsichord which was likely custom-made, with two manuals that at times seemed to be coupled, and with a rich sound.

Vaudeville in Teal began with a nod to jazz, as a solo double bass played a pizzicato opening. Esfahani immediately found Romantic drama from the harpsichord, playing powerfully and showing versatile dexterity in both hands. Bass clarinetist Pascal Archer and bassoonist Brad Balliett were often paired in the score, creating a rich wind sonority complementing Esfahani’s well-defined. Grant’s music was indeed varied, ranging from a trio among bassoon, double bass and harpsichord to a keyboard soliloquy to a delicate section for solo string quartet. With flowing cadenza-like passages played by Esfahani, Grant’s work drew to a close, returning to the jazz club atmosphere as John Grillo’s solo double bass pizzicato faded to silence.

Igor Stravinsky’s 1920 ballet Pulcinella seemed like a variety show in itself, with twenty-one short musical vignettes recalling music attributed to the 18th-century Giovanni Pergolesi, but actually from multiple sources. Pulcinella has often been heard in its “suite” form of select movements, but rarely is the complete ballet, including three vocal soloists, performed. On Saturday night, Princeton Symphony Orchestra was joined by soprano Aubry Ballarò, tenor Nicholas Nestorak and bass-baritone Hunter Enoch, singing texts inspired by the Italian commedia dell’arte.

Of the three vocal soloists, Enoch was the most commanding, projecting the text decisively and easily maneuvering dramatic tempo changes. Soprano Ballarò was best heard in her upper register, expressively singing words seeking comfort. Stravinsky’s orchestration relied heavily on precision, and the Princeton Symphony Orchestra musicians consistently delivered the required rhythmic twists and inventiveness. Violinist Basia Danilow and oboist Copeland provided several lyrical solos while winds were chipper throughout. Under Milanov’s direction, the movements flowed seamlessly into one another, leading to a clean and high energy finale. 

Princeton Symphony Orchestra will present its next classical series concerts on Saturday, May 9 at 7:30 p.m. and Sunday, May 10 at 4 p.m. at Richardson Auditorium. Conducted by Music Director Rossen Milanov, the annual Edward T. Cone performance will feature cellist Maja Bogdanovic and music of Aaron Copland, Camille Saint-Saëns, and Sergei Prokofiev. Ticket information can be obtained by visiting princetonsymphony.org.