By Nancy Plum

The piano quartet is an unusual form of music. Leaving out the second violin part of the string quartet, piano quartets create opportunities for unusual combinations of musical colors and timbres from violin, viola, cello, and keyboard. The performance collective known as Manhattan Chamber Players sent a “subset” of its musical roster to Richardson Auditorium last Friday night to present two piano quartets demonstrating the quick evolution and popularity of the form.

As Wolfgang Amadeus Mozart was reaching his compositional peak in the 1780s, the piano was in its infancy — mostly appearing in concerti and salon pieces. There was little use of the instrument in chamber music, and when Mozart was commissioned to write a set of piano quartets, the first was deemed “too difficult” by the publisher. Little did the composer know that the form would take off in the 19th century, and the two quartets not successful in his lifetime would later become quite popular.

The ensemble of musicians from Manhattan Chamber Players presented the second of Mozart’s two piano quartets Friday night. Violinist Brendan Speltz, violist Luke Fleming, cellist Brook Speltz, and pianist David Fung performed Piano Quartet in E-flat Major with all the grace and elegance one would expect from Mozart, expertly mastering the virtuosity which apparently rendered the work too challenging for the average 18th-century instrumentalist.

The Manhattan Chamber Players began Mozart’s Quartet with ensemble refinement from the outset, aided by especially fluid keyboard passages from Fung. Violin and piano had a number of well-played duets, with subtle accompaniment from viola and cello. Brendan Speltz and Fleming played well-tuned intervals between violin and viola in the first movement, while the second movement Larghetto was marked by clarity from the piano. The string instruments played a bit of musical tag in the closing movement, while Fung skillfully maneuvered fiendish piano lines. Throughout this movement, the piano dared the strings to supply elegant answers to its musical “questions.” more

By Nancy Plum

It is difficult to get audiences indoors on a summer afternoon, but Princeton University Summer Chamber Concerts was able to entice a good crowd into Richardson Auditorium this past weekend. For the second performance of the 2022 season, the Chamber Concerts series presented the Diderot String Quartet, a 10-year-old ensemble with a well-established commitment to historical performance. Violinists Johanna Novom and Adriane Post, violist Kyle Miller, and cellist Paul Dwyer came to Richardson Sunday afternoon to present eight of Johann Sebastian Bach’s most complex fugal compositions and an elegant string quartet by Felix Mendelssohn on period instruments.

J.S. Bach’s The Art of the Fugue was comprised of 14 canons based on a single short theme. Bach subjected this melodic fragment to a combination of contrapuntal treatments, including setting the theme backwards, upside-down, and in varying speeds. The Diderot String Quartet performed eight of these settings, each showing a different side of Bach’s compositional genius.

Although likely conceived for harpsichord, The Art of the Fugue has been adapted well to various combinations of instruments. “Contrapunctus I” opened with second violinist Adriane Post presenting the theme, followed by all instruments in fugal fashion. The Quartet’s period instruments provided a more understated and refined sound than modern instruments might have, requiring the audience to listen harder to the intimate ensemble sound. Throughout the Bach work, the Diderot Quartet paid a great deal of attention to dynamics, swelling and decreasing the sound together. 

Each “Contrapunctus” treated the theme in an altered way, often opening with a different instrument and pairing the strings in varied combinations of color. Violist Miller and cellist Dwyer were particularly well matched in sound, and violinists Post and Novom often provided extended passages of well-tuned intervals. The eight short movements became more complex as the work went on, with faster-moving lines for the players and dotted rhythms with varying degrees of Baroque “swing.” Dwyer played melodic sequences in “Contrapunctus III” sensitively, with the closing movement requiring expert technical facility from all the instrumentalists.  more

By Nancy Plum

Princeton Festival took on an immense operatic production this past weekend to start the second week of the Festival’s cornucopia of activities. Benjamin Britten’s 1946 comic chamber opera Albert Herring was mammoth not just because of cast size or length but in its complexity of vocal demands and orchestration. The Festival opened Albert Herring Friday night (the opera was repeated Sunday night) to an extremely appreciative audience in the Festival’s performance tent at Morven Museum and Gardens. 

Although the storyline of Albert Herring could be as silly as Gilbert and Sullivan at times, this opera required heavy-duty singing. For this production, Princeton Festival assembled a cast of well-trained and experienced singers to handle some very challenging roles. Three standout performers were tenor Joshua Stewart in the title role, soprano Ann Toomey as the upper crust Lady Billows, and mezzo-soprano Melody Wilson as Herring’s mother. 

Educated at Philadelphia’s Curtis Institute of Music, Stewart has been making his mark in the opera world internationally. As the grocer Albert Herring, Stewart was a subtle lead character at first, turning his vocal prowess and full comedic skills loose in the second act dinner scene and third act soliloquy, complemented by animated facial expressions. In his operas, Britten composed rich and complex lead tenor roles, and Stewart met every musical and dramatic challenge. 

Soprano Ann Toomey has also had considerable success in the opera world and made an immediate impact on the Festival stage both with her singing and her character’s sufficiently snooty demeanor. With a commanding soprano voice, Toomey lit up over the prospects for the annual May Queen festival, and then proceeded to tear the roof off vocally when things did not go her way. When discussing the May Queen prize, Toomey’s singing was especially elegant and courtly while accompanied by harpist André Tarantiles.  more

By Nancy Plum

Talk about the rooms where things happen. Princeton Festival presented two one-act operas this past weekend, each taking place in a single room, but the amount of action in that one space captivated the audience in the Festival’s new home at Morven Museum & Gardens.

Princeton Festival has always included opera as part of its month-long season of activities, and this year, there are two presentations — a double bill of two shorter operas and a full-length work by English composer Benjamin Britten. What has changed is the venue for these events; rather than being inside a large hall, the Festival constructed a 500-seat state-of-the-art performance tent at Morven Museum & Garden to create a “performing arts extravaganza.” With the singers, orchestra pit, and audience all under one tent, this is a new experience for Princeton Festival attendees.

The Festival’s opera series opened this past Saturday night with a performance of Wolfgang Amadeus Mozart’s The Impresario and Derrick Wang’s Scalia/Ginsburg, and although these two comedic operas may seem to be unrelated, they were tied together by plotlines involving very strong and influential personalities, both fictional and real. Mozart’s 1786 Der Schauspieldirektor (The Impresario) has been described as a parody on the vanity of singers who argue over just about everything, but mainly money. This comic singspiel, with as much spoken dialog as sung music, may have only contained four arias, but the musical material was as technically complex as Mozart’s more monumental works.

Featuring only five characters (one of which was a speaking role), The Impresario took place in a fictional theatrical office in Vienna, where a hapless opera producer struggled with a conniving stage manager, underhanded banker, diva well past her prime and scheming up-and-coming singer over the potential success of a new opera. Princeton Festival’s production, which opened last Friday night (with additional performances the following Sunday and this coming week), was presented in English, accompanied by the Princeton Symphony Orchestra led by Music Director Rossen Milanov. more

By Nancy Plum 

New Jersey Symphony Orchestra (NJSO) wrapped up its 2021-22 Richardson Auditorium concert series with a program ranging from sublime to sprightly and highlighting three members of the Orchestra as soloists. Associate concertmaster and violinist Brennan Sweet, assistant principal violist Elzbieta Weyman, and assistant principal flute Kathleen Nester were featured in works by Wolfgang Amadeus Mozart and Antonio Vivaldi, with performances that demonstrated their own soloistic talents and presented rarely-heard sides of these composers. Led by NJSO Music Director Xian Zhang, the musicians of New Jersey Symphony found the perfect musical vehicle to close the season and launch summer.

Friday night’s concert at Richardson Auditorium began with a nimble and humorous opera overture by a youthful Gioachino Rossini. Even at a young age, Rossini knew how to create an operatic showstopper, and his 1813 “Overture” to L’Italiana in Algeri contained all the elements necessary to energize a 19th-century audience. One of Rossini’s compositional signatures was a slowly rising crescendo to a full orchestral sound, and Zhang led the New Jersey Symphony well through these dynamic swells while allowing teasing wind solos to emerge from the texture. Like many opera overtures of this time period, Rossini’s “Overture” took off in tempo after a graceful start. Wind solos conveyed saucy melodic themes, including from oboist Robert Ingliss, clarinetist Andrew Lamy, and flutist Bart Feller. The three wind soloists had quick lines to maneuver, all of which were well executed.  more

By Nancy Plum

Princeton Symphony Orchestra closed the 2021-22 season this past weekend with a classical violinist who is making his mark worldwide. Led by PSO Music Director Rossen Milanov, the Orchestra and guest violinist Stefan Jackiw performed a lesser-known and somewhat underrated 20^th-century concerto, bracketed by a very contemporary work and a symphonic classic.

American violinist Jackiw began playing violin at age 4, eventually earning concurrent degrees from Harvard University and New England Conservatory of Music. In Saturday night’s performance (the concert was repeated Sunday afternoon), Jackiw showed himself from the opening measures of Erich Wolfgang Korngold’s Violin Concerto in D Major to be a very physical player, leaning into solo lines with a youthful and fresh sound. Korngold’s Concerto (nicknamed the Hollywood Concerto when it first premiered) was definitely cinematic, full of lush music designed to pull at listeners’ emotions. Korngold’s colorful orchestration provided numerous solo opportunities for the wind and brass players, including oboist Lillian Copeland and hornist Gabrielle Pho.

The solo violin part in Korngold’s Concerto was continuous, and Jackiw showed impassioned violin playing throughout the piece. In the second movement “romance,” he was joined in an elegant duet by English horn player Gilles Cheng, with the solo line well complemented by flutists Armir Farsi and Mary Schmidt. Jackiw’s solo line immediately took off in the third movement “finale,” for which Korngold borrowed heavily from his own film scores. The principal theme of this song-like movement sounded as though it should be familiar, but as it was passed around among the players, the tune was jazzed up and altered (especially by the brass), leading to a spirited conclusion to the Concerto. more

By Nancy Plum

Last Thursday night’s concert by the Tetzlaff String Quartet in Richardson Auditorium was a new beginning on several levels. Not only was this a reschedule of Tetzlaff’s premiere performance on the University Concerts series from two years ago, but it was also the Quartet’s first appearance in the United States in five years. Violinists Christian Tetzlaff and Elisabeth Kufferath, violist Hanna Weinmeister, and cellist Tanja Tetzlaff brought a program of Haydn, Berg, and Schubert to Princeton last week, demonstrating a unique approach to chamber music and why the ensemble is one of the most popular quartets worldwide.

Led by first violinist Christian Tetzlaff, the Tetzlaff Quartet showed a consistently amazing ability to build drama in a piece through dynamics — often collectively bringing the ensemble sound down to almost nothing to disclose a side of the piece not otherwise heard. Opening with Franz Joseph Haydn’s String Quartet in F Minor, Op. 20, No. 5, the Tetzlaff musicians played phrase repetitions delicately and allowed repeated notes to gracefully and stylistically taper away. Christian Tetzlaff well maneuvered the technically demanding first violin part, which Haydn had composed for the particularly gifted concertmaster of his court orchestra. 

Throughout Quartet No. 5, the Tetzlaff players well captured the nickname of this set of pieces as the “Sun” quartets, but also showed that the sun can be dark and obscure as well. Especially in the second movement “Minuet-Trio,” sequential passages were always played with direction, and the musicians well captured Haydn’s folk-like and outdoorsy atmosphere in the “Trio.” First violinist Tetzlaff remained the musical leader throughout the work, executing especially complex and heavily ornamented passages, but always with the solid support of the other three players.  more

By Nancy Plum

Princeton University Chamber Choir returned to live performance last Saturday night making a statement. Led by conductor Gabriel Crouch, the 48-voice chorus presented a program originally scheduled for April 2020, but which was just as profound today, both in perseverance of the singers and the creativity the canceled concert generated during the University’s shutdowns. Past and present came together in the Chamber Choir’s concert at Richardson Auditorium as the choristers emerged from the pandemic to find even more meaning in the works of Francis Poulenc and Mary Lou Williams. As a further acknowledgement of current times, the Chamber Choir presented this performance in collaboration with “02.24.2022,” a student-driven initiative supporting students on campus affected by the war in Ukraine and raising funds to provide local currency to refugees. 

Princeton University graduate Allison Spann is no stranger to University musical ensembles; her compositions have been played on campus before. Having lost a chunk of her senior year to the spring 2020 shutdown, Spann took the opportunity to create a work for the Chamber Choir which explored the connections between Poulenc’s Figure Humaine and Williams’ St. Martin de Porres, honoring both composers and their pursuit of divine liberation through music.

Spann commanded the stage herself for the Chamber Choir’s performance of her piece Before the light is gone. The Choir’s presentation of Spann’s work had the atmosphere of a jazz club, with Spann singing the soprano solo accompanied by the expert jazz piano accompaniment of Cherry Ge and Phillip Taylor. Spann’s work is mostly for solo voice (representing liberty, freedom or earth), with reaffirmation of text by the chorus (as mankind). Following a recited opening verse, Spann reached effectively into her upper register with a scatt singing effect, soaring above smooth homophonic chords sung by the Chamber Choir. An octet singing from the front of the stage showed Spann’s skill at writing music for close harmonies, with tricky dissonances well-handled and all singers conveying Spann’s wish to “pave the way for hope through rest, generosity, and compassion.”  more

By Nancy Plum

The World War II account of Anne Frank, with its immortal story of hope amid a harsh reality, seems particularly timely in these days of current events. As a result, Princeton Pro Musica may find that its presentation this past weekend of a choral setting of Anne Frank’s diary has more impact now than its original performance date two years ago, especially as the chorus returns to live performance.  Originally scheduled for the spring of 2020 to mark the 75^thanniversary of the end of World War II, British composer James Whitbourn’s oratorio Annelies not only honors the life and legacy of Anne Frank but also finds parallels with current fears and anxiety of uncertain realities. 

Anne Frank wrote in her diary, “It seems like years since Sunday morning. So much has happened. It’s as if the whole world had suddenly turned upside down.” Princeton Pro Musica Artistic Director Ryan James Brandau referenced these words when welcoming the audience back to a live Pro Musica performance after a two-year hiatus. With music by Whitbourn and a libretto by author Melanie Challenger, Annelies is a “musical portraiture” for chorus, orchestra, and soprano soloist providing a snapshot of Frank’s life. Joining Pro Musica and the accompanying orchestra last Sunday afternoon at Richardson Auditorium was Princeton graduate and operatic soprano Lily Arbisser. 

The voice of Anne Frank was not confined to the soprano voice, but could be heard throughout the piece from orchestra, chorus, and soloist. Whitbourn incorporated musical references to the sights and sounds of 1940s Amsterdam into the work, beginning with an “Introit” capturing bells and a vibrant city atmosphere. In this opening movement, Arbisser sang as a cantor while the women of Pro Musica presented a subtle unison line. Whitbourn used choral monophony and unharmonized wordless lines sung by the chorus as a vehicle for certain words of the text, and Pro Musica’s presentation of these passages in the opening movement set well a sense of foreboding for what was to come. more

By Nancy Plum

Princeton Symphony Orchestra coupled a contemporary symphonic work with a beloved 19th-century Czech composer this past weekend with a pair of performances in Richardson Auditorium on the campus of Princeton University. Led by PSO Music Director Rossen Milanov, the ensemble presented a piece recently premiered, as well as works by Antonín Dvorak and Igor Stravinsky, both of whom made their homes in the United States at some point. Joining the Orchestra in these “Edward T. Cone” performances was magnetic Spanish cellist Pablo Ferrández.

Saturday night’s concert (the performance was repeated Sunday afternoon) opened with the one-movement Amer’ican of Michigan-born composer James Lee III. Composed in 2019, Amer’ican was inspired by Dvorak’s New World Symphony, along with 18th-century artwork of Indigenous Americans. Lee’s piece began serenely, with Scott Kemsley’s solo flute introducing an orchestral palette in which the instruments seemed to be on their own. The winds, especially a pair of clarinets, were effective in executing swirling passages, with a varied percussion section providing musical effects evoking Americana. Flutists Kemsley and Mary Schmidt carried much of the melodic material in the work, with elegant solos provided by other winds and brass, including oboist Gilles Cheng and trombone player Carlos Jiménez Fernández. Lee was inspired by Dvorak when writing this piece, and shades of the Czech composer could be heard in the solo clarinet lines, gracefully played by Andy Cho. Conductor Milanov well-handled the work’s transitions between lyricism and driving rhythms. 

Prize-winning cellist Pablo Ferrández has been acclaimed as being a captivating performer, complete with technique, spirit and expressivity. Ferrández was featured in Dvorak’s 1895 Cello Concerto in B Minor, written while the composer was living in the United States, and subsequently revised in response to the death of a family member.  more

By Nancy Plum

Princeton University Orchestra returned to the Richardson Auditorium stage last week with a concert featuring both guest conductors and soloist winners of the University Orchestra Concerto Competition. The performance Friday night (the concert was repeated Saturday night) showed convincingly the impact of University Orchestra conductor Michael Pratt’s long tenure with the Orchestra and the depth of the University music program.

Soprano Marley Jacobson, a University senior who had a leading role in last season’s  “pandemic” virtual opera La Calisto, led off the evening with a performance of a concert aria by Wolfgang Amadeus Mozart. Mozart composed the orchestrally accompanied “Vorrei spiegarvi, oh Dio!” for soprano voice and oboe obbligato for his sister-in-law and as an interpolation into another composer’s opera in which she was performing.

Orchestra conductor Michael Pratt led the ensemble in this work, demonstrating well-blended winds and horns, with an especially elegant oboe solo by Vedrana Ivezic. Jacobson sang Mozart’s concert aria of plaintiveness and emotional confusion with the lyrical poise and vocal self-assuredness of the Countess in The Marriage of Figaro. Ivezic’s contrasting oboe solo line was equally vocal in character, and the two instruments together were often delicately answered by pizzicato playing from the lower strings. From a 21st-century viewpoint, Mozart seemed to like torturing sopranos with huge intervallic skips, and Jacobson was well prepared for the technical challenges of this piece.

The classical music tradition of Armenia has been represented for the past 100 years by composer Aram Khachaturian. Originally intending to become a biologist, Khachaturian turned instead to music and composed works capturing the exotic colors and rhythms of the region, as well as the Mugham melodic themes which fascinated him as a child. Khachaturian composed the Adagio pas de deux as part of his 1956 ballet Spartacus, and the movement contained some of the most memorable melodies in the entire ballet. Conducting this piece in Friday night’s concert was University senior Montagu James, also a violinist and composer who has had several works commissioned by Princeton University Sinfonia.   more

By Nancy Plum

With a 22-appearance history of performing with Princeton University Concerts, the Takács Quartet has made a home at Richardson Auditorium and has become a good friend of the series. The four members of the string ensemble — violinists Edward Dusinberre and Harumi Rhodes, violist Richard O’Neill, and cellist András Fejér — returned to Richardson Auditorium last week after a nearly two-year hiatus performing in the area for an eclectic program featuring music for string quartet and an instrument rarely heard in Princeton. Joining the ensemble for last Thursday night’s concert celebrating the series’ return to live performance was bandoneón and accordina virtuoso Julien Labro, and the five musicians together created an impressive evening of innovative classical music.

Born in France, Labro has brought music for the Argentine bandoneón to the forefront of the classical and jazz arenas. Most often heard in tango ensembles, the bandoneón creates its sound by pulling and pushing actions forcing air through bellows as the player routes air through reeds by pressing buttons on either side of the instrument. Labro has been applauded for his brilliant technique and imaginative arrangements, several of which he presented with the Takács Quartet. He connected with American composer Bryce Dessner when performing on Dessner’s score to the film The Two Popes, and when composer and performer were further introduced to the Takács Quartet, the seed for an imaginative commission was planted. Dessner’s Circles, performed by Labro and the Takács Quartet, interweaved rhythms and polyphonies of all five instruments, with a great deal of free expression from all the musicians.

Dessner’s Circles was co-commissioned by Princeton University Concerts and the consortium Music Accord, of which University Concerts is a member. The work began with the bandoneón contrasted with a chipper string accompaniment, and Labro showed particularly fast fingers on repeated motives and offbeat rhythms. The melodic ostinato became more ornamented as the piece went on, and the players together were able to cohesively move the music into other colors and shadings.  more

By Nancy Plum

Princeton Symphony Orchestra (PSO) began 2022 with a lush “new beginning,” performing music of the late 19th and early 20th centuries to open the New Year in an opulent orchestral way. Led by guest conductor Kenneth Bean and featuring guest solo violinist Alexi Kenney, the PSO presented three works which captured the musical atmosphere of the lives and times of each of the composers.

Currently assistant conductor of the PSO, Kenneth Bean has an extensive career leading both adult and youth orchestral ensembles. Bean’s conducting strength throughout the concert was clearly finding dynamic variety, drama, and theatricality in the three pieces performed. The works presented of Coleridge-Taylor, Sibelius, and Dvorak provided ample opportunity for an imaginative approach to orchestral color, and Bean took advantage of every possibility.

Beginning with Samuel Coleridge-Taylor’s 1898 Ballade in A minor, PSO demonstrated an ability to play from refined to lush and with dynamics ranging from rich and powerful to almost imperceptible. London-born Coleridge-Taylor became well-known as a composer from at an early age, drawing the attention of 19th-century compositional powerhouse Sir Edward Elgar. Coleridge-Taylor’s Ballade was premiered through a commission by Elgar, immediately showing the work to be cinematic and attention-getting. Bean and the PSO began the piece in dramatic fashion, with very steady horns coupled with a lean unison string color. Bean allowed the orchestral sound to develop gradually, and the ensemble shifted musical moods well. Equal parts fanfare and simplicity, this one-movement multi-section work was played with characteristic lushness. A duet between clarinetist Andy Cho and bassoonist Brad Balliett showed elegance and precision, with flutist Julietta Curenton and Mary Schmidt adding a fluttering musical icing on the orchestral texture.

Finnish composer Jean Sibelius’ 1904 Violin Concerto in D minor fit right into the opulent late 19th-century concerto tradition, but rather than being an equal partnership between orchestra and soloist, this work was clearly for the soloist. Guest violinist Alexi Kenney was well up to the challenge, leaning into melodic lines and demonstrating physical playing. Throughout his career, Kenney has been active as both soloist and commissioner of new works; his most recent recording is accompanied by a “visual album” pairing music with contemporary sculpture.  more

By Nancy Plum

The musical world may still be celebrating the 250th birthday of Ludwig van Beethoven, but no composer has stood the test of time better than Johann Sebastian Bach. The Chamber Music Society of Lincoln Center has traditionally proven this almost every year in Princeton by presenting a concert of Bach’s joyous 1720 Brandenburg Concertos. The 20-member Chamber Music Society returned to McCarter Theatre Center last week to perform these complex, well-crafted yet accessible works. Thursday night’s performance in McCarter’s Matthews Theatre both dazzled the audience with the players’ technical abilities and created a festive musical mood suitable for the holiday season.  

Bach elevated the Baroque concerto form to new heights with the six works for solo instruments and orchestra compiled and dedicated to the Margrave of Brandenburg. Each concerto featured a different combination of instruments, and the Chamber Music Society was able to augment the variety by showcasing different musicians in each work. The ensemble grouped Bach’s concertos by orchestration, with the rich instrumental palette of Brandenburg Concerto No. 1 in F Major opening the program. Violinist Daniel Phillips effectively led the ensemble in quick tempi in the opening and closing movements, with oboist Stephen Taylor and bassoonist Marc Goldberg leading the dialogs between the winds and strings. The pair of oboes were well matched in the second movement “adagio,” with the closing dance movements showing graceful dynamic swells among the instruments and especially adroit playing from violinist Arnaud Sussman.

Consistent throughout the six three-movement pieces was a “continuo” ensemble of cello, double bass, and harpsichord. The three cellists of the Chamber Music Society rotated through the concertos, but double bass player Joseph Conyers and harpsichordist Kenneth Weiss unfailingly provided a solid foundation to all six works. Weiss had the opportunity to show the capabilities of the harpsichord in Brandenburg Concerto No. 5 in D Major, in which the harpsichord doubles as continuo and soloist. The Chamber Music Society began this concerto in a fast and light tempo, with the orchestral color augmented by the addition of flutist Ransom Wilson. Although the harpsichord was hard to hear at times when with the rest of the ensemble, Weiss’ fast runs and nimble playing were clear when the instrument was on its own, especially in the first movement cadenza. Wilson provided a subtle icing to the instrumental sound, maintaining a delicate dialog and precise dynamic swells with violinist Sean Lee. more

By Nancy Plum

New Jersey Symphony Orchestra launched the second of its online fall performances last Wednesday night with a multi-media presentation of 19th-century music. Recorded last May at the New Jersey Performing Arts Center and led by NJSO Music Director Xian Zhang, this concert focused on “A Woman’s Voice” in programmatic music, performance, and poetry. Although the Orchestra presented only three works, last Wednesday night’s performance was dense with text and backstories to the music, accompanied by poetry of local writers. Joining the Orchestra was one of opera’s great legends, soprano Renée Fleming.

French composer Georges Bizet’s four-movement suite L’Arlésienne (The Girl from Arles) originated as incidental music to a failed theatrical play.  New Jersey Symphony Orchestra performed the third movement “Adagietto,” scored for strings alone. Under Zhang’s direction, the strings of the Orchestra began the movement introspectively; with a smaller than usual ensemble of strings, the violins reached the heights of phrases well, with an especially lean melody from the first violins. The performance of this piece was preceded by a reading of the poem “Elizabeth, NJ” by New Jersey poet and artist Michelle Moncayo. 

New Jersey Symphony Orchestra introduced Richard Wagner’s romantic Siegfried Idyll with the poem “Convergence” by New Jersey native, poet and educator Jane Wong. Wagner, one of the towering composers of the 19th century, composed the one-movement Idyll as a “Symphonic Birthday Greeting” to his wife at the time. Zhang and the Orchestra began the piece with the same light touch heard in the Bizet work, with more strings and the addition of winds and brass. A solo line from flutist Bart Feller soared above the orchestral palette, complemented by pastoral solo playing from oboist Alexandra Knoll. Clarinetist Pascal Archer also provided expressive solo passages as the strings gracefully maneuvered repeated melodies and rhythmic patterns. A quartet of principal string players presented melodic lines well punctuated by solo horn player Christopher Komer, and conductor Zhang and concertmaster Eric Wyrick added a playful character to the music. Zhang brought the Idyll to a joyous close, aided by rich orchestration and playing of the German trumpets for which Wagner’s music is known.    more

By Nancy Plum

Westminster Choir, the flagship choral ensemble of Westminster Choir College of Rider University, returned to live performance this past weekend. Led by conductor Lynnel Joy Jenkins, the 35-voice mixed chorus presented a program centered on “Returning to Joy” in Rider University’s Gill Memorial Chapel on Sunday afternoon. The program of a cappella and lightly accompanied choral works featured music both past and present and took the audience at Gill Chapel from “mourning” through “singing and new song” and “comfort” to “celebration,” capturing the myriad of feelings and atmospheres over the past 18 months. As Jenkins explained, this concert musically depicted “a tumultuous journey of returning to our beloved choral singing after a storm of life.”

Conductor and music educator Lynnel Joy Jenkins has built a successful career on cultivating community in the choral classroom while inspiring artistry. Her local connections range from a Westminster Choir College degree to conducting the Resident Choir of The American Boychoir School to her current position as artistic director of the Westrick Music Academy and conductor of the Princeton Girlchoir Ensemble and Concert Choir. From her worldwide choral clinical experiences, Jenkins has brought to choral programming a multicultural approach well evident in Sunday afternoon’s concert.

Jenkins opened the performance with three choral pieces of grief from three different time periods. The text of 16th-century composer Tomás Luis de Victoria’s “O Vos Omnes” was derived from the biblical book of Lamentations, and Westminster Choir sang Victoria’s a cappella Latin motet with clear harmonies and a well-focused sound. Westminster Choir has been renowned for a number of choral strengths, including solid blend, impeccable tuning, and the ability to produce an endless stream of choral sound, all of which were in evidence throughout this concert.  more

By Nancy Plum

Princeton Symphony Orchestra (PSO) presented the second of its live fall 2021 concerts this past Thursday night. Under the direction of Music Director Rossen Milanov, the Symphony performed a program centered on two Viennese masters at McCarter Theatre Center’s Matthews Theatre. Joined by guest piano soloist Shai Wosner, the ensemble performed music of Wolfgang Amadeus Mozart and Franz Schubert, as well as a 21st-century piece by American composer Evan Williams.

PSO opened Thursday night’s concert with Williams’ one-movement The Dream Deferred for string orchestra and harp. Williams’ 2017 piece draws attention to the school-to-prison pipeline of individuals whose dreams are deferred by a derailed education and subsequent prison experience. With melodies written by New York area youth incorporated into the music, The Dream Deferred was inspired by the poetry of American author Langston Hughes. 

The symphony began the work with a dark unison from the strings and sharp accented jabs against a dissonant palette. Principal violist Stephanie Griffin played agitated viola passages depicting conflict and harpist André Tarantiles added to the intensity with precision and a percussive effect. The overall musical impression was one of tragic lost lives, contrasted by a melodic duet between the two violin sections. Conductor Milanov led the orchestra well through this accessible piece, effectively conveying the musical question of a provocative social issue in today’s world. 

Israel-born pianist Shai Wosner has been known for pairing classical masterpieces with contemporary works, so it was no surprise to hear Williams’ piece followed by a standard from Mozart’s piano concerto repertory. Mozart composed his 1784 Piano Concerto No. 15 in B-flat Major in a concertante style, with wind solos complementing the solo keyboard playing. The wind sections of PSO spoke well in the McCarter acoustic, with principal oboist Roni Gal-Ed elegantly carrying a great deal of the secondary melodic material of the first movement. Wosner displayed a light touch on the piano from the outset, with crisp unisons in tandem with the orchestra. Wosner kept the ornamental figures clean (especially an extended trill and playful cadenza) and played in a detached style to match the resonance of the hall. more

By Nancy Plum

After eighteen months, students at Westminster Choir College of Rider University were able to perform choral music live this past weekend. In a short but certainly welcome concert at Trinity Cathedral in Trenton on Saturday afternoon, the 75-voice Westminster Symphonic Choir performed a single work well representing the profoundness and solemnity of the past year and a half. Although usually directed by James Jordan, the Symphonic Choir concert his past weekend was led by guest conductor James Bagwell and accompanied by the Westminster Festival Chamber Orchestra. 

Composers have been creating works from the Mass for the Dead “Requiem” text for centuries. Settings by such composers as Verdi and Berlioz were full of apocalyptic terror, but the 1947 Requiem for chorus, soloist, orchestra and organ by French composer Maurice Duruflé has served as a musical standard for the opposite — full of forgiveness and comfort. Through this piece, conductor Bagwell led the chorus and chamber-sized orchestra to convey the devastation of this past year and offer peace and resolution for the coming season. Princeton, Duruflé and Trinity Cathedral have come together once before, when in 1972, Duruflé helped prepare the Princeton High School chorus for a performance of his Requiem at the Cathedral, with his wife, Marie-Madeleine as organist. 

Conductor Bagwell began the nine-movement Requiem in a quick-moving tempo, with the Symphonic Choir women singing ethereally as if angels were leading the dead on their journey. Bagwell maintained good control over the cadences, leading the ensemble to the high point of the movement on the text “et lux perpetua luceat eis.” This movement flowed effortlessly into a second movement showing a solid sound from the alto section leading the melodic material. Duruflé based much of the music in this work on Gregorian chant, and organist Clara Gerdes brought out well the chant lines through the registration combinations on Trinity’s four-manual organ.  more

By Nancy Plum

This season, New Jersey Symphony Orchestra (NJSO) has been putting its toes into the waters of live performance slowly, presenting concerts in select halls in the state while maintaining an online presence. The Orchestra will be returning live to Princeton after the first of the year, but area audiences were able to enjoy a high-quality digital performance by the Orchestra players last week. Led by Music Director Xian Zhang and joined by superstar violinist Joshua Bell and soprano Larisa Martínez, NJSO launched an online concert of three composer prodigies: Felix Mendelssohn, Wolfgang Amadeus Mozart, and Henryk Wieniawski.

Violinist Bell was a prodigy himself, debuting with The Philadelphia Orchestra at age 14 and setting concert stages ablaze ever since with virtuosic technique and passionate musical expressionism. Bell and his wife, soprano Larisa Martínez, were a musical power couple during the last 18 months of the pandemic, exploring new arrangements of existing repertoire and creating imaginative digital content. In the NJSO concert, recorded at New Jersey Performing Arts Center in May 2021 and launched last Wednesday night, Bell and Martínez joined the Orchestra for two elegant concert arias by Mendelssohn and Mozart.

Mendelssohn’s concert aria “Ah, ritorna, età dell’oro,” was part of a commission of Mendelssohn from the Philharmonic Society of London and was published after the composer’s death. Composed in the “scena and aria” form popular at the time, Mendelssohn’s work features a soprano conveying the text with violin obbligato. Mendelssohn often composed two melodic paths in the same piece, bringing them together toward the end, and this work was no exception. Against a subtle orchestral accompaniment, Bell began the violin part with grace and sensitivity. Singing from memory, Martínez performed expressively in a clear soprano tone, with an especially light and translucent top register well matched by the violin. The text, beginning with “Return, golden age, to the abandoned earth,” certainly has a connection to these times, and Martínez well captured both the words and Mendelssohn’s refined classical roots.  more

By Nancy Plum

After more than a year and a half, Princeton University Orchestra has resumed live performance in Richardson Auditorium, so one would think the musical world has returned to normal — but not quite. More than 100 strong, the University Orchestra performed two concerts this past weekend, but with players in masks (including the winds), no formal intermission, and ushers reminding audience members to keep their masks up and not congregate in the hallways, it was clear that things were slightly different than before the University shut down last spring. It was also evident that multi-page printed programs may be a thing of the past — audiences on Friday and Saturday night could refer to cards listing the program with a QR code to scan for more detailed information.

Some things never change, despite an 18-month “Luftpause” in the Orchestra’s performing life. The Richardson space on Friday night’s first of the Orchestra’s Peter Westergaard Memorial Concerts was full of students eagerly waiting to see their friends onstage and Princeton residents who turned out to hear the full orchestra resonate in the Richardson acoustics. Under the direction of conductors Michael Pratt and Mariana Corichi Gómez, the University Orchestra delivered a performance of both elegant and opulent symphonic music.

To celebrate the return to Richardson, Pratt opened the concert with a violin concerto by Wolfgang Amadeus Mozart which brought out the composer’s playful side. The chamber-sized Orchestra was joined in Mozart’s Violin Concerto No. 3 in G Major by recent Princeton University graduate Hana Mundiya. A member of the class of 2020 who has an incredible number of performance credits for someone her age, Mundiya fit right into the light and refreshing orchestral texture which conductor Pratt elicited from the ensemble. Pairs of flutes and horns added color to the orchestral palette but were not overpowering, with the oboes demonstrating particularly well-tuned thirds throughout the work. Mundiya’s solo violin emerged elegantly from the musical texture in the first movement, with repetitions of phrases stylistically delicate. The ornamental figures in the solo line were clear, and Mundiya effectively took her time in the cadenza closing the first movement.  more

By Nancy Plum

After a year of innovative and imaginative outdoor and online programming, Princeton Symphony Orchestra invited audiences back to hear the ensemble in person and indoors this past weekend at McCarter Theatre Center’s Matthews Theatre. Joined by solo violinist Simone Porter, Princeton Symphony, at full strength and led by Music Director Rossen Milanov, performed music of Beethoven and Mendelssohn, as well as a piece by contemporary American composer Jessie Montgomery. 

Orchestras often begin the first concert of the new season with the “Star-Spangled Banner.” In this celebration of restarting indoor concerts with a live audience, Milanov chose to open Sunday afternoon’s performance with a contemporary setting of this country’s national anthem — one which represents the wide diversity of populations within this nation with musical inspirations drawn from a variety of American sources. 

New York native Jessie Montgomery is one of this country’s most prominent up-and-coming composers and one with strong local connections. Currently a graduate fellow in music composition at Princeton University, she has been commissioned extensively by musical organizations nationwide. Montgomery’s 2014 Banner was commissioned to commemorate the 200th anniversary of the American national anthem “The Star-Spangled Banner.”  In this piece, Montgomery created a rhapsody on the anthem, designed to capture what Montgomery describes as the “contradictions, leaps and bounds, and milestones that allow us to celebrate and maintain the tradition of our ideals.” 

Princeton Symphony Orchestra began Montgomery’s work with shimmering in the violins, contrasted with fragments of the familiar national anthem melody from other instruments. The violins were lean, and the lower winds well-blended, and the ensemble played cleanly in the acoustic of Matthews Theatre. A string quintet within the orchestra, comprised of the principal players of each string section, conveyed melodic material well, and an understated brass color was provided in some passages by hornist Jonathan Clark.  more