By Nancy Plum

In a concert linking the crispness of winter to a hint of spring, New Jersey Symphony performed works of Claude Debussy, Nico Muhly, and Sergei Rachmaninoff, showing the depth of both player and conducting talent. The Symphony divided the conducting responsibilities in Friday night’s performance at Richardson Auditorium between Music Director Xian Zhang and the Symphony’s Colton Conducting Fellow Gregory D. McDaniel. A Houston native, McDaniel has conducted opera companies and orchestras nationwide, as well as in Canada.

McDaniel directed the first half of the program, leading off with André Caplet’s orchestral arrangement of Claude Debussy’s popular Clair de Lune for piano. Originally a movement in a piano suite, Clair de Lune became one of the composer’s most recognized pieces, leading to numerous arrangements, including at least six for orchestra. McDaniel began Debussy’s familiar music languidly, with a dreamy flow from the strings topped off by delicate flute passages from Bart Feller and Kathleen Nester. McDaniel built the sound well, always knowing exactly where he was going. The overall effect was lush, sustained by a subtle pair of horns.  more

By Nancy Plum

Princeton Symphony Orchestra brought three diverse compositional styles together this past weekend with a program linking music of the early 19th and 21st centuries and featuring one of this country’s most innovative and adventurous instrumental ensembles. Conducted by Music Director Rossen Milanov, the Orchestra presented Ludwig van Beethoven’s Symphony No. 6 in F Major, paired with works of American composers Carlos Simon and Viet Cuong. Joining the Orchestra in Saturday night’s concert (which was repeated Sunday afternoon) was So Percussion, a quartet of percussionists fresh off a Grammy award win and current Performers-in-Residence at Princeton University.

The four movements of Carlos Simon’s 2022 Four Black American Dances weaved dance and cultural identity into symphonic music, delving into significant and differing dance forms. The opening celebratory “Ring Shout” captured a religious ritual dating back centuries. Opening with spirited brass and wailing woodwinds, Princeton Symphony executed clean syncopation from strings and sliding effects from a trio of trumpets. Percussion played a key role in all four movements, with timpanist Jeremy Levine keeping rhythms precise.

Concertmaster Basia Danilow provided several quick-moving solo violin lines, especially contrasting a big band palette in the second movement “Waltz.” A quartet of trombones and tuba set a mysterious mood for the closing “Holy Dance,” as Milanov led the sound to a fervent clamor. Nimble cellos and double basses brought the work to a cinematic close, which the musicians drew out with effective drama.  more

By Nancy Plum

The stage at Richardson Auditorium looked a bit like an instrument warehouse last Friday night, jam-packed with chairs, percussion, two harps, and several keyboard instruments in anticipation of Princeton University Orchestra’s winter concert. With all these possible players, there might have been a potential for sound cacophony, but the University Orchestra performed its annual “Concerto Concert” with clarity and melodic refinement while showing off the immense talents of two students. Conducted by Michael Pratt, Friday night’s performance (which was repeated Saturday night) showed freshman violist Jisang Kymm and sophomore pianist Sarah Yuan to be experienced well beyond their years in the Orchestra’s presentation of Alfred Schnittke’s Concerto for Viola and Orchestra and Sergei Rachmaninoff’s Piano Concerto No. 2 in C minor.

Schnittke’s 1985 three-movement Concerto for Viola and Orchestra diverged from the traditional concerto structure of alternating fast-slow-fast sections and reversed this order, with outer “Largo” movements bracketing a central “Allegro.” Like many of his Soviet contemporaries, Schnittke collaborated with the finest performers of his day, and the virtuosity and intensity of the Concerto reflected its tribute to a leading violist of the time. Viola soloist Jisang Kymm opened Schnittke’s work with introspection and attention to detail. Taking his time in the reflective texture, Kymm effortlessly executed the numerous double stops and insisted on the score’s dissonance against an unsettled orchestral accompaniment.  more

By Nancy Plum

Over its history, Princeton University Concerts has developed strong collaborative relationships with a wide range of performing organizations specializing in specific composers, but especially the renowned string ensemble Takács Quartet, with their legendary interpretation of Ludwig van Beethoven. The innovative players returned to Richardson Auditorium last Thursday night with more Beethoven, as well as music of Johannes Brahms and British pianist/composer Stephen Hough. With the Takács seasoned artistic identity and Hough’s virtuosic technique, the full house at Richardson was treated to a performance which easily clarified why the Takács musicians have appeared on the Princeton University Concerts series more than 20 times.

Violinists Edward Dusinberre and Harumi Rhodes, violist Richard O’Neill, and cellist András Fejér opened Thursday night’s program with a string quartet from Beethoven’s early period. String Quartet in F Major, Op. 18, No. 1, full of the composer’s trademark melodic and rhythmic variety, began with chipper “question and answer” passages which the Takács Quartet played with decisive repetitions before launching into a lyrical opening theme. Throughout the movement, the Quartet made the most of uniform silences and sforzando dynamic effects, with second violinist Rhodes particularly leaning into the score.

The dramatic second movement “Adagio” featured an intense melody from first violinist Dusinberre, with Rhodes and violist O’Neill trading lyrical phrases. The rollicking “Scherzo” was played with playful ornaments, and Beethoven’s Quartet closed with the Takács musicians building intensity well, led by Dusinberre. Fejér had a chance to emerge from the texture with energetic solo playing.  more

By Nancy Plum

Fresh off its win of a fourth Grammy award, the Philadelphia-based professional chamber vocal ensemble The Crossing performed in Richardson Auditorium last Tuesday night as part of McCarter Theatre Center’s classical music series. Choruses often specialize in the works of specific composers or time periods, and The Crossing, under the direction of Donald Nally, has built a stellar reputation as an ensemble dedicated to new repertoire. Each of the 16 voices in The Crossing is not only capable of solo performance but is also able to combine with the other Crossing singers to create a unified and impeccably-tuned choral palette.

The Crossing came to Richardson to present a single work — the 14-movement poor hymnal of New York composer David Lang. A collector of old hymnals, Lang has written a piece addressing the question of whether the community messages conveyed by hymns of the past are the same as today. Lang’s a capella choral work, commissioned by both The Crossing and a chorus from the Netherlands, fused texts inspired by the Bible and contemporary writings with choral writing well suited to The Crossing’s precise vocal style and technique.

Soprano Anika Kildegaard opened the work with a solo rendition of Lang’s reflective poem on “a poor man.” Members of The Crossing require solid vocal independence and confidence to successfully contribute to this level of choral performance, and Kildegaard commanded the stage well as a lone singer controlling the pace in delivering the text.  more

By Nancy Plum

Musical ensembles often observe the significant birthdays of composers of the past or anniversaries of their leaders. Princeton Symphony Orchestra took this idea one step further by celebrating the 60th birthday of Music Director Rossen Milanov earlier in January with presentations of two monumental orchestral works. The concert on the night of Saturday, January 11 at Richardson Auditorium (the program was repeated the following afternoon) brought together Orchestra musicians, conductor Milanov, one of his long-term collaborators, and two of his favorite pieces in the ensemble’s annual Edward T. Cone commemorative events.

Joining Princeton Symphony in Igor Stravinsky’s Violin Concerto in D Major was guest soloist Leila Josefowicz, who has played with the Orchestra numerous times in past seasons. A violinist with a solid international reputation, Josefowicz clearly demonstrated a strong connection to both Milanov and the players while showing her own brand of performance fire.  more

By Nancy Plum

Princeton Pro Musica pulled out all the stops recently for a performance of international music for the season, much of which was arranged by the ensemble’s Artistic Director Ryan J. Brandau. The concert on December 15 attended by a festive full house at Richardson Auditorium brought together chorus, orchestra, and two vocal soloists for an eclectic afternoon of music spanning the globe, multiple centuries, and languages.

Brandau has established a deserved reputation as an arranger and orchestrator, and a significant part of Pro Musica’s program showed off his talents. “Mash-ups” of two or more musical numbers put together are popular in the choral world, and Brandau included several of his own in the performance. The concert opened with a combination piece of “O Come Emmanuel” and “God Rest Ye Merry, Gentlemen,” as set by Brandau. With supertitles and Pro Musica’s trademark precise diction, Brandau’s composition moved seamlessly between the medieval chant and the 17th-century English carol. Introduced by solo cellist Melissa Meell and delicately accompanied by harpist André Tarantiles, the two selections well demonstrated Pro Musica’s blended choral sound. more

By Nancy Plum

The Christmas season and choral music are practically synonymous. To many audience members, the only choral concerts attended during the year are annual Messiah performances or carol sings. The Princeton area has always had many high-quality musical Christmas events to choose from, and one of the finest this year took place this past weekend. Chanticleer, a professional men’s vocal ensemble based in San Francisco, brought its special artistry to the Princeton University Chapel on Saturday night as part of the Princeton University Concerts series. The 12-member ensemble’s music director, Tim Keeler, was a 2011 graduate of Princeton, and the chorus has maintained a close association with the community. The nearly-full house in the Chapel on Saturday night was a tribute to both Chanticleer and the region’s appreciation for choral music in the holiday season.

Saturday night’s concert featured more than 20 choral selections grouped in a variety of ways, including works on the same texts by composers of different eras sung in succession. Chanticleer opened the evening with a candlelight procession singing four settings of a ninth-century Christian hymn of praise to the Virgin Mary. Beginning with the stark open chords of early 15th-century composer Guillaume Du Fay and leading to the complex melodic writing of Renaissance master Tomás Luis de Victoria, Chanticleer’s presentation of “Ave maris stella” traced the evolution of music history at the highest level of singing. With six counter-tenors, the upper voices carried well through the expansive Chapel space as the singers made their way down the long Chapel center aisle. As with most of the music within a given “set,” the works were sung one after another without pause, and before the audience knew it, 150 years of music history had passed, and the musicians were in position on the chancel steps.  more

By Nancy Plum

It would be hard to choose who was the greater teenaged composer — Wolfgang Amadeus Mozart or Felix Mendelssohn. The prodigious musical childhood of Mozart has long been documented, but the works of the young Mendelssohn were no less remarkable. The New York City-based Renaissance String Quartet brought one of Mendelssohn’s early works to life in a concert last Thursday night at McCarter Theatre Center’s Matthews Theatre. Violinists Randall Goosby and Jeremiah Blacklow, violist Jameel Martin, and cellist Daniel Hass played Mendelssohn’s youthful String Quartet No. 1 in E-flat Major in an evening beginning with the early 19th century and ending with a composer born almost at the turn of the 21st century.

The Renaissance Quartet’s inventive approach to chamber music was evident from the moment the musicians came onstage. The Quartet began Mendelssohn’s first published work —emphasizing a sadness in the opening “Adagio” — with expressive motivic gestures which may have been meant as a tribute to the recently deceased Beethoven. The Quartet musicians kept chipper passages bright, with violist Martin bringing out lush melodic lines. The second movement “Canzonetta” reflected Mendelssohn’s ballet A Midsummer Night’s Dream, with an elfin middle section abounding with fluttering fairies in the violins. The Quartet showed its playful side in this music, but never lost the required rhythmic precision.  more

By Nancy Plum

The glee club tradition dates back to late 18th-century London, with musical groups informally gathering to perform short compositions and popular songs. Named after the Baroque-era English “glee” part song, these ensembles were until the mid-20th century comprised of male voices, with countertenors taking the upper parts. While late 19th-century glee clubs in London were superseded by large choral societies, they became very popular in U.S. high schools and universities, and more so after opening their ranks to women. A number of local collegiate institutions have glee clubs dating back to the mid-1800s, and Princeton University is no exception. The Princeton University Glee Club, founded in 1874, has grown far beyond the “short song” repertoire to become the largest choral organization in the University’s campus, with a commitment to complex works and commissioning new music.

The University Glee Club, currently under the direction of Gabriel Crouch, celebrated its 150th anniversary this past weekend with three days of concerts, rehearsals, and alumni reunions. Continuing its long-standing commitment to collaborating with world-class musical organizations, the Glee Club opened last weekend’s festivities with a join concert with The King’s Singers. Considered the “gold standard” of a cappella singing, the six-member all-male ensemble has been a pillar of choral excellence for the past 55 years. Glee Club conductor Crouch was a member of the chorus for eight years, and since then has built a solid partnership between the University choral program and the renowned vocal sextet.  more

By Nancy Plum

The works performed by Princeton Symphony Orchestra this past weekend may not have all been from the Baroque and Classical periods, but they were all tied in some way to the 18th and early 19th-centuries. The trio of pieces by Michael Abels, Sergei Prokofiev, and Ludwig van Beethoven demonstrated to the audience at Richardson Auditorium how music from these earlier eras has stood the test of time in a concert also showcasing two of the Orchestra’s own members.

Music Director Rossen Milanov and the Orchestra began Saturday night’s performance (the concert was repeated Sunday afternoon) with a compositional new twist on an old favorite. Pulitzer Prize-winning composer Michael Abels has been commended for his “unique ability to blend diverse elements.” In his 1999 More Seasons, the “elements” blended were themes from Antonio Vivaldi’s popular The Four Seasons, with Abels using motives from the “Spring” and “Summer” movements to create what he has called “Vivaldi in a Mixmaster.”  more

By Nancy Plum

Princeton University Concerts combined the 16th century with the very contemporary world last week with a presentation by a jazz singer who draws inspiration from all periods of history and all forms of music. French singer, composer, and visual artist Cécile McLorin Salvant first appeared on the University Concerts series in 2023 with a program commissioned to create a work inspired by the writings of Princeton University Professor Toni Morrison. Salvant brought her diverse talents back to Richardson Auditorium last Wednesday night as part of this year’s series to demonstrate her unique fusion of vaudeville, blues, theater, jazz and the baroque era, with a particularly new take on a traditional vocal form.

English Renaissance composer and lutenist John Dowland initially published Book of Ayres in 1597. Clearly very popular, this collection of “lute songs” for solo voice was reprinted several times in his lifetime. In Wednesday night’s performance, Salvant brought the expected harpsichord, lute and theorbo to sing her version of “Book of Ayres,” but Dowland surely would never have expected his delicate madrigals and love songs to be complemented by a 20th century synthesizer and percussion.  more