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

By Nancy Plum

The Princeton University Orchestra launched its 2024-25 season this past weekend with a unique combination of works from Ukraine, the U.S., and Russia, demonstrating that music knows no political boundaries. Led by conductor Michael Pratt, the more than 100-member Orchestra showed in the annual concerts honoring former faculty member Peter Westergaard what could be accomplished in the few short weeks since the University semester started.

Sunday afternoon’s performance in Richardson Auditorium (the concert was also presented Saturday night) began with the American premiere of a piece with a University connection. Princeton graduate Hobart Earle has achieved great success conducting Ukraine’s Odesa Philharmonic Orchestra, leading the ensemble through the sounds of artillery in the background and against incredible odds. In 2023, Earle and the Philharmonic commissioned noted Ukrainian composer Evgeni Orkin, and the resulting Elegy in the Memory of the Victims in Odessa captures the horrors of war both in mournful darkness and hopeful light.  more

By Nancy Plum

Princeton Symphony Orchestra opened its 2024-25 classical series this past weekend with two performances at Richardson Auditorium. Led by Orchestra Music Director Rossen Milanov, the ensemble presented music of two 19th-century compositional giants, as well as a contemporary piece with a Princeton connection.

Saturday night’s performance (the concert was repeated Sunday afternoon) opened with an unusual work by New Zealand composer Gemma Peacocke, currently a Ph.D. fellow in composition at Princeton University. Peacocke has been commissioned by ensembles worldwide, including New Zealand’s Orchestra Wellington and Arohanui Strings. These two organizations commissioned Peacocke in 2023 to create the one-movement Manta, a musical description of the oceanic manta rays which migrate to the seas around Peacocke’s native Aotearoa region. Perceived as solitary creatures, manta rays are in reality quite active, demonstrating acrobatic movements which would translate well to musical composition.  more

By Nancy Plum

On the 55th anniversary of man landing on the moon, it was fitting that New Jersey Symphony showed Princeton the future of musical composition. As part of its commitment to contemporary works, the Symphony sponsored its annual, weeklong, tuition-free Institute devoted to “enhancing the careers of four emerging composers” who, through in-depth coaching and rehearsals with the Symphony, were able to hone their craft and “move the ball forward” with orchestral music. This year’s culminating Edward T. Cone Composition Institute concert was held last Saturday night at Richardson Auditorium, featuring new pieces exploring a wide range of ideas. Conducted by Christopher Rountree, the performance brought well-deserved attention to four distinctive individuals with clear futures in the performing arts.

Composer Leigha Amick believes that music has the potential to “reflect on both the current and the timeless human experience, to provide grounds for intellectual fascination, and to quench the need for emotional expression.” Her extensive repertory, for both instrumental and vocal ensembles as well as electronics, has been performed nationwide. Amick’s Cascade, inspired by a composition by American Carl Stone for electronics, bagpipes and organ, was built around an altered passacaglia in which the character changed with each of a series of harmonic cycles.  more

By Nancy Plum

Princeton University Summer Chamber Concerts continued its 2024 season this past week with a presentation by three instrumentalists who have put their collective talents together to create an exciting new experience for their audiences. Violinist Friedemann Eichorn, cellist Peter Hörr, and pianist Florian Uhlig each have had successful international solo careers and have joined forces in the past five years to explore chamber repertory as the Phaeton Piano Trio. Named for a mythological character but performing with solid down-to-earth musicianship, the Trio came to Richardson Auditorium last Monday night for an evening of Franz Joseph Haydn, Felix Mendelssohn, and Antonin Dvorák. The ensemble may be relatively new, but its playing style is rooted in centuries-old performance practice and interpretation of the classics. more

By Nancy Plum

Audiences usually identify the saxophone with such jazz and blues superstars as Charlie Parker and John Coltrane, but New Century Saxophone Quartet has shattered that image. For more than 30 years, this ensemble has shown that four saxophones can well match the pitch and dynamic range of a string quartet, amassing an impressive repertory for this combination of instruments along the way. The four members of New Century Saxophone Quartet brought their combination of “skillful artistry and down-home fun” to Richardson Auditorium last Tuesday night as part of the 57th season of the Princeton University Summer Chamber Concerts series. Performing music spanning more than 270 years, the Quartet well demonstrated the saxophone’s abilities to emerge from smoky jazz clubs to the forefront of the classical concert stage.  more