By Nancy Plum

Although unable to appear live in Princeton this summer as part of Princeton University Summer Chamber Concerts, Manhattan Chamber Players did not want to miss out on Beethoven’s 250^th anniversary, and made the most of technology by presenting an online performance last Wednesday night in a continuation of  the Chamber Concerts “Chamber Music Wednesdays” series. 

A collective of 22 New York-based musicians, Manhattan Chamber Players performs in a variety of flexible combinations — in Wednesday night’s performance, as a string trio. A true family string ensemble, violist Milena Pajaro-van de Stadt; her husband, cellist Brook Speltz; and his brother, violinist Brendan Speltz, presented Ludwig van Beethoven’s String Trio in G Major, Opus 9, No. 1, recorded during the current pandemic in a private home in Philadelphia. In an online performance introduced by the ensemble’s Artistic Director Luke Fleming, van de Stadt and the Speltz brothers presented a clean and unified performance of this work, showing why Beethoven’s string trios can easily stand up against his more substantial and more well-known string quartets.

Beethoven arrived in Vienna in 1792 to study with Franz Josef Haydn, quickly embracing the courtly Viennese chamber music style of Haydn and wunderkind Wolfgang Amadeus Mozart. String Quartet in G Major was the first of three string trios comprising Beethoven’s Opus 9, composed between 1797 and 1798. String Trio No. 1 showed the clear influence of Mozart’s 1788 Divertimento in E-flat Major, a sizeable work considered the first piece in the string trio genre by any composer, but also demonstrated Beethoven’s forward-thinking Romantic musical ideas.   more

By Nancy Plum

Princeton Summer Chamber Concerts continued its series of “Chamber Music Wednesdays” this past week with a performance shared by the Argus and Craft string quartets of a notable chamber work by an underrated woman composer.

Based in New York City, the Argus Quartet is dedicated to encouraging the joys of human connection, community, and discovery by bringing wide-ranging repertoire to life. Since its founding in 2013, the ensemble has collaborated with a number of contemporary composers and has earned a number of awards and commissions nationwide. The Boston-based Craft Quartet has made its reputation pairing undiscovered works from the past with masterpieces from our time. In this era of focus on music of women composers, it was fitting that these two chambers shared performance responsibilities in presenting a work of the early 19^th-century composer Fanny Mendelssohn, whose works were often overshadowed by those of her more renowned brother Felix. 

Fanny Mendelssohn composed an astounding amount of music in her short life of 42 years (she died of a stroke less than six months before Felix died in a similar manner). Her repertory numbers more than 450 pieces, including 250 lieder — a popular genre of the early 19^th century and one in which Fanny’s works were often attributed to her brother. The battle to be a woman composer at this time was such that Fanny’s father wrote to her that while music may be the profession of her brother, for Fanny, it “can and must be only an ornament.” Fanny and Felix shared not the sibling rivalry usually found in families but a sibling artistry — influencing each other’s works and supporting each other’s careers. The truly extensive repertory of this lesser-known composer has been coming more to light in recent decades, and Princeton Summer Chamber Concerts’ “Chamber Music Wednesdays” presentation last week featured the Argus and Craft quartets playing Fanny Mendelssohn’s 1834 String Quartet in E-flat Major.  more

By Nancy Plum

Despite the closing of performance halls in the area, Princeton Summer Chamber Concerts was not about to let its 53^rd season go by. The long-standing presenting organization, which usually stages four chamber concerts in the month of July, has designed a series of “Chamber Music Wednesdays,” in which the performers scheduled for Richardson Auditorium this summer are featured in online mini-concerts. 

In the interest of giving area audiences something to look forward to each week, Chamber Concerts has created five Wednesday night offerings which include not only musical presentation, but also the additional elements of history, analysis, and demonstration. The first of these online performances took place last Wednesday night, featuring the young and innovative Diderot String Quartet.   

Founded in 2012, the Diderot String Quartet was named after 18^th-century French philosopher Denis Diderot, also an enthusiast of the courtly and galante music of the Baroque Italian composer Luigi Boccherini. The ensemble prides itself on taking a “fresh approach to the works of the 18^th and 19^th centuries,” bringing a shared background for historically informed performance and a passion for the string quartet genre to every concert. For Wednesday evening’s online concert/demonstration, violinists Adriane Post and Johanna Novom, violist Kyle Miller, and cellist Paul Dwyer shared with listeners how the ensemble came together; Post, Novom, and Dwyer met at Oberlin Conservatory, later adding Miller to the Quartet via the Juilliard Historical Performance program. All four of these musicians were interested early on in period stringed instruments, historically informed performance, and whether music from any time period could be played on instruments made in the 18^th century.   more

By Nancy Plum

Three months after the Princeton performing arts arena essentially shut down, it is clear the 2020-2021 season will require major adjustments from performers, administrators, audience members and donors alike.  Princeton Festival, whose month-long June season usually fills area halls with opera, recitals, chamber music, and lectures, quickly adjusted this year to create a “season” of virtual vocal showcases, podcasts, lectures, and archival performances.  The Festival’s third week of “Virtually Yours on Demand”  included a live online panel discussion last Tuesday afternoon with leaders from Princeton area music organizations discussing how the COVID-19 pandemic has impacted performing ensembles and how organizations will fine-tune a summer traditionally jammed-packed with planning, but with no idea how and when live performances will be able to happen.

Hosted by Princeton Festival Artistic Director Richard Tang Yuk, the online conversation included Princeton Pro Musica Executive Director Mary Trigg; Trenton Children’s Chorus Executive Director Kate Mulligan; Princeton Singers Executive Director John Cloys; David Osenberg, development director of WWFM; Jerry Kalstein, chair of Boheme Opera NJ’s Board of Trustees; and Hilary Butler, executive director of Westrick Academy, the home of the Princeton Girlchoir and Boychoir. The discussion focused on the future of the performing arts in the Princeton area, including how ensembles are navigating the times ahead and what next season might look like.

All of these organizations have adjusted to a “non-live” performance format which has gone on much longer than anyone imagined. Performances (including a Princeton Girlchoir tour to Spain and Portugal) were canceled or postponed to early fall, only to be postponed again when it was unclear if venues would be open.  All participants in the discussion have developed some sort of digital presence, ranging from music theory classes to online voice lessons, but it has become clear to choruses in particular that current technology allows neither ensemble accuracy in real time nor a sense of unity in performing. However, as Mulligan was quick to point out, the ability of Trenton Children’s Chorus members to connect to one another was in many cases more important to the young choristers than trying to sing simultaneously. Several ensembles have created “virtual choirs” by having individual singers record themselves with “click-tracks,” but all recognize the massive amount of work involved in editing numerous audio pieces and synching with video to create an acceptable finished product.   more

By Nancy Plum

This past January, singer Alicia Keys opened the Grammy awards telecast reminding the audience that “music changes the world.” What has changed the world since then is the coronavirus (COVID-19), and music has transformed how people are coping with the pandemic.

Across the board, Princeton area music-makers have canceled the balance of their 2019-20 seasons, and area universities have sent their students home to finish the semester by virtual instruction, canceling musical and theatrical productions. However, musicians are never ones to sit idle, and area performers have found creative ways to get their musical fix in these days of staying home.

Needless to say, area critics now have nothing to review; besides all the great concerts which were scheduled, here’s what this writer has missed this spring: I was scheduled to play in a national tennis tournament in Florida the first week in April, and when that was canceled, I was fortunate to “hop into” a series of performances of Beethoven’s Symphony No. 9 with The Philadelphia Orchestra and Westminster Symphonic Choir in Philadelphia’s Kimmel Center and New York’s Carnegie Hall. These performances were also canceled, as were church choir and a performance of John Rutter’s Gloria in South Jersey. My program notes for The Philadelphia Orchestra have gone unread by a non-existent audience, and summer performances remain in doubt throughout the area. more

By Nancy Plum

The Princeton University Music Department is understandably proud of the depth of talent within its “Orchestra family.” In these days when student activism often leads to political change, the University Orchestra staged a “Student Takeover” this past weekend by featuring an undergraduate conductor and graduate student composer, as well as two student instrumental soloists, in a pair of concerts at Richardson Auditorium. Friday night’s performance (the concert was repeated Saturday night) included two high-spirited concerti, a contemporary work by a University graduate student, and an opera overture conducted by a University senior.

Each of the four works on Friday night’s program was equally significant in showcasing the University’s talented musicians. Senior Reilly Bova, a conductor as well as principal timpanist for the University Orchestra, led the ensemble in Carl Maria von Weber’s 1821 “Overture” to the opera Der Freischütz. Revolutionary in its roots in German folklore and orchestral effects, this “Overture” provided Bova with the opportunity to maintain firm control over the ensemble and the dramatic changes in mood. Conducting from memory, Bova brought out a gentle pastoral nature from a quintet of horns and built suspense well throughout the piece. Throughout the “Overture,” Bova demonstrated solid capabilities from the podium, showing the training from his numerous music department activities during his Princeton career. more

By Nancy Plum

Like many performing arts organizations this year, Princeton University Concerts has joined the worldwide celebration of the 250th anniversary of the birth of Ludwig van Beethoven. Last week, Princeton University Concerts presented the New York-based Calidore String Quartet in a concert linking Beethoven with the 21st century with a performance of a newly-commissioned piece and one of Beethoven’s most monumental chamber works.

Celebrating its 10th season, the Calidore Quartet has received significant international acclaim, especially after winning the inaugural M-Prize Chamber Arts Competition in 2016. Violinists Jeffrey Myers and Ryan Meehan, violist Jeremy Berry, and cellist Estelle Choi brought their technical virtuosity to Richardson Auditorium last Thursday night to pay tribute to Beethoven, contemporary interpretation of his music, and the Baroque form of the fugue. Featured in this program was the world premiere of a string quartet commissioned by Princeton University Concerts through Music Accord — a partnership among U.S. presenters dedicated to not only commissioning new works, but also ensuring the very necessary repeat performances of these pieces. more

By Nancy Plum

Princeton Symphony Orchestra combined two of its outreach missions in one concert last week with a presentation at the Princeton University Art Museum of the New York-based chamber ensemble Music From China. Princeton Symphony has a long history of partnering with the University Art Museum, and last Wednesday’s concerts continued this tradition of pairing music with the art in the exhibits. Presented in conjunction with the exhibition “The Eternal Feast:  Banqueting in Chinese Art from the 10th to the 14th Century,” Wednesday’s concerts provided Music From China with the opportunity to introduce the audience to traditional Chinese instruments and repertoire stretching back centuries.

Wednesday afternoon’s concert (the performance was repeated that evening) featured three musicians playing the Chinese erhu, pipa, and zheng. The erhu, a spike fiddle with two silk strings and a small hexagonal sound box covered with snakeskin, is played with a bow threaded between the strings as the player stops the strings with finger pressure to change the pitch. Music From China Artistic Director Wang Guowei has made a career performing on this instrument worldwide and currently conducts the Westminster Choir College Chinese Music Ensemble. The pipa, a pear-shaped fretted lute, has four strings and up to 24 frets, and is plucked or strummed with fingernails to produce a variety of musical effects. Player Sun Li studied the pipa at the Shenyang Music Conservatory and has appeared with U.S. orchestras nationwide. The foundation of the Music From China ensemble sound was the zheng, a zither with 16 metal strings tuned to three pentatonic octaves. Wang Junling learned the instrument in her family, subsequently founding a Zheng Music School in Flushing, New York, to carry on its tradition. more

By Nancy Plum

Nothing says a dark winter’s night like the more sinister music of 19^th-century German composer Richard Wagner, and New Jersey Symphony Orchestra took full advantage of Wagner’s rich orchestration and lush harmonies in a concert in Princeton this past weekend. Conducted by NJSO Music Director Xian Zhang, Friday night’s concert at Richardson Auditorium introduced the audience to both an innovative approach to the operatic Wagner and a virtuosic pianist from one of Europe’s more unknown regions. Zhang led the Orchestra in two principal works, which although significantly different in length were equal in impact. Lorin Maazel’s orchestral reduction of Wagner’s towering Ring cycle made up the entire second half, yet Franz Liszt’s Piano Concerto No. 2, even though a third as long as the Wagner piece, was just as mesmerizing for the audience.  

In 1987, former Cleveland Orchestra conductor Lorin Maazel created an hour-long “greatest hits” orchestral arrangement from Wagner’s four operas which make up Der Ring des Nibelungen, a musical tetralogy more than 20 years in the making. Based on Nordic legend and the medieval epic poem “Nibelungenlied,” Wagner’s Ring cycle has been renowned for its characters and their arias, but the dramatic motion is often carried by the orchestra. In The Ring Without Words, Maazel recreated nine musical scenes with a storyline drawing from all four operas. Beginning in the lowest of the strings, NJSO’s performance of Maazel’s Ring presented much of the most recognizable music, and Zhang kept the musical thread moving along with steady tempi and effective use of silences. Especially in leading up to the familiar “Ride of the Valkyries,” Zhang and the Orchestra set the drama well.   more

By Nancy Plum

In a concert taking place as University students are preparing for Christmas vacation, the Princeton University Orchestra presented a program which certainly entitled its members to enjoy their holiday break. Led by conductor Michael Pratt, the Orchestra performed two large-scale Romantic symphonic works which showed the strength and power of the ensemble, even before the school year is half over. Friday night’s performance at Richardson Auditorium (the concert was also presented Thursday night) featured Sergei Rachmaninoff’s Rhapsody on a Theme of Paganini and Anton Bruckner’s Symphony No. 4 in E-flat Major. Both in the prime of their compositional lives when these works were composed, Rachmaninoff and Bruckner were archetypes of the lush orchestration and emotional drama which marked 19th-century music.

Rachmaninoff based his 1934 Rhapsody for solo piano and orchestra on a melodic theme from the last of Niccolò Paganini’s 24 violin “Caprices,” likely composed in 1807. Beyond a virtuoso violinist as well as composer, Paganini was alleged to have cut a deal with the devil in return for his extraordinary talent. In particular, “Caprice” No. 24 was considered one of the most technically difficult pieces ever composed for violin, and Rachmaninoff brought the same demonic virtuosic requirements to the piano soloist. Pratt and the Orchestra began the Rhapsody decisively, with the theme’s fiendish quirkiness evident from the outset. Precise in rhythmic punctuation, the Orchestra continually demonstrated graceful lyricism and delicate ends of phrases. more

By Nancy Plum

On the occasion of the 100th anniversary of the Westminster Choir, the renowned ensemble took the opportunity this past weekend to remind the Princeton community of its raison d’etre. Taking a line from the poetry of W.H. Auden, the 40-voice elite chorus of Westminster Choir College presented a concert of music to “Appear and Inspire” in Bristol Chapel on Sunday afternoon, reaffirming the Choir’s rich history and its connection to American musical culture.

The cornerstone piece of the concert was Benjamin Britten’s Hymn to St. Cecilia, composed to commemorate the patron saint of music and from whose text the title of the concert was derived. Setting poetry by Auden, Britten composed the three-movement work while living in America as war was breaking out throughout Europe. Westminster Choir conductor Joe Miller took the three movements of Britten’s tribute to music and interspersed them throughout the first part of the concert, surrounding Britten’s music with standard works from the Westminster Choir repertory, in many cases featured on Westminster Choir recordings or composed by individuals connected to the Choir College. more

By Nancy Plum

Despite the vast amount and popularity of liturgical music by Wolfgang Amadeus Mozart, sacred music was not the composer’s principal interest. One would have a hard time convincing the choral field of this — two works in almost every symphonic chorus’ repertory are Mozart’s deathbed Requiem and his monumental, yet incomplete, Great Mass in C minor. The 100-voice Princeton Pro Musica opened its 2019-2020 season with the Mass this past Sunday night at Richardson Auditorium, filling the stage with singers, vocal soloists, and orchestral instrumentalists, all ably led by Pro Musica Artistic Director Ryan James Brandau. Paired with Mozart’s lively Concerto for Clarinet in A Major, the Great Mass in C minor created a program unique in the fact that these were two works Mozart composed because he wanted to, not because he had to for financial reasons.

Mozart’s music for wind instruments is universally charming and captivating. The clarinet appears to have been a particular favorite, likely due to his close friendship with fellow Masonic lodge member Anton Stadler, for whom he composed the 1789 Concerto for Clarinet. The instrument for which this work was composed was likely a basset clarinet — a standard clarinet to which was affixed an extension adding notes in the lower register. Nineteenth-century published versions of this piece adjusted the lower “extension” passages to higher octaves, in some ways making the Concerto more difficult to play. To open Sunday afternoon’s Pro Musica concert, Brandau led a chamber-sized orchestra and guest clarinet soloist Pascal Archer in a spirited performance of Mozart’s three-movement Concerto. Archer, currently acting principal clarinetist for the New Jersey Symphony Orchestra, demonstrated not only his command of the instrument and the works technical demands, but also how demonic Mozart’s solo writing could be. more