By Nancy Plum

Few would disagree that 1968 was one of this country’s most tumultuous years of the 20th century. In a decade marked by assassinations and worldwide conflict, one of the most memorable images was that of the funeral train bringing slain Robert F. Kennedy’s body to Washington, D.C., in June 1968. Mourners lined the train tracks between New York and Washington, and the momentous impression of that day inspired more than one Princetonian to create an artistic memento. Composer Frank Lewin was among the crowd at Princeton Junction, and responded to the tragedy with Requiem for Robert F. Kennedy, premiered a year later in the University Chapel.

Princeton Pro Musica brought Lewin’s Requiem back to the Chapel for the first time since its premiere this past weekend in a performance also including music of Leonard Bernstein and other American composers. Conducted by Pro Musica Artistic Director Ryan J. Brandau, Saturday afternoon’s concert at the University Chapel both celebrated the United States’ 250th anniversary and acknowledged the legacies of several prominent individuals of that era.

The 100-voice Pro Musica opened Saturday afternoon’s concert with Lewin’s reflective work, setting the tone for a program honoring the dead. Singing from the choir stalls and the steps leading up to the chancel and accompanied by Eric Plutz on the massive University Chapel Mander-Skinner organ, the choristers immediately easily found a well-blended sound in the Chapel space. The acoustics were complimentary to the ensemble, enabling lighter choral passages to carry.

Musical requiems throughout history have drawn from a variety of sources, with a core liturgy of the mass for the dead. Set in English, Lewin’s work was structured similarly to the Mozart Requiem, also sounding inspired in parts by the Requiem of Gabriel Fauré. Lewin’s ten-movement piece was mostly homophonic, ethereal on more contemplative texts and joyful on verses of praise. Soprano Jody Velloso, tenor Jonathan Hatwell, and baritone Max Brey effectively sang solo lines, with Brey well conveying the drama of the “Libera me” prayer. Throughout, Pro Musica maintained a clean choral palette, with an especially clear soprano sectional sound. The closing “In Paradisum” showed well-blended soprano and alto passages, equally answered by the tenors and basses.

Linked with the Lewin Requiem as an anchor of the of the program was Leonard Bernstein’s Chichester Psalms, composed on commission from England’s Chichester Cathedral. Pro Musica’s performance was accompanied by harpist Elaine Christy, percussionist John Ferrari and organist Plutz. The opening movement, settings of Psalms 108 and 100, was conducted by Pro Musica Conducting Fellow Josh Lisner, who led the chorus well through Bernstein’s unusual meters.

Bernstein scored the middle section for either boy soprano or countertenor, and a recent performance of the Psalms by the Princeton University Glee Cub featured a young treble. Pro Musica elected to have the words of Psalm 23 sung by counter-tenor Eric S. Brenner, a well-established performer who is particularly known for bringing music of the 17th-century Italian castrato repertory to the forefront. Clearly an established and experienced singer, Brenner projected the solo lines expressively, often accompanied solely by harpist Christy. As conducted by Brandau, the verse of “beside still waters” was especially peaceful.

Christy’s gentle harp contrasted well with the Chapel’s powerful organ in the final movement, and Brandau maintained a lyrical flow to the opening theme. A vocal quartet of soprano Jody Velloso, alto Janet Breslin, tenor Jonathan Hartwell, and baritone Kyle St. Sauveur blended well, as the chorus compellingly closed Bernstein’s work.

Pro Musica rounded out the concert with several smaller pieces highlighting the ensemble’s solid choral training and well-unified sound. Margaret Bonds’ setting of the Prayer of St. Francis, with text by St. Francis of Assisi, was composed in early 1968 but not published until decades later. Accompanied by Plutz on the piano, Pro Musica sang this chordal Prayer unpretentiously, ending in a moment of hope. Bonds’ anthem served as an appropriate companion to the Lewin Requiem as a call for reconciliation when the turbulent year of 1968 had barely begun.

Princeton Pro Musica has focused its concerts this spring on celebrating the nation’s 250th anniversary while bringing attention to American composers. The ensemble ended the season well by both commemorating a national anniversary and giving audiences musical food for thought and reflection.

Princeton Pro Musical will soon announce its 2026-27 season. Information can be obtained by visiting princetonpromusica.org.