Tag: Bach

  • June Is Bustin’ Out at the Princeton Festival

    June Is Bustin’ Out at the Princeton Festival

    It’s June, and the performance pavilion is up at Morven Museum & Garden! Who’s ready to hear some music? Opera, cabaret, Baroque, dance, Great Ladies of Jazz, Time for Three, the Bacon Brothers, Queen Nation, and a pops concert in celebration of America’s 250th birthday – the Princeton Festival will begin on Friday and run through June 21.

    Main stage events will be held on the grounds of Morven, at 55 Stockton Street (Route 206), with Baroque concerts held across the way, at Princeton’s Trinity Church (33 Mercer Street).

    On opening night, Broadway superstar Sierra Boggess (“The Little Mermaid,” “The Phantom of the Opera”) will perform cabaret-style, with piano, sharing showtunes, songs, and personal anecdotes (Morven, Friday at 7 p.m.).


    Then will be a big treat for opera lovers, as world-renowned soprano and Metropolitan Opera star Sondra Radvanovsky will headline a program of moving arias, duets, and orchestral interludes from the Italian repertoire, including works by Puccini, Verdi, Mascagni, and Giordano. For the duets, she’ll be joined by Festival veteran Victor Starsky, who will also perform the showstopper “Nessun Dorma.” The Princeton Symphony Orchestra will be conducted by Rossen Milanov (Morven, Saturday at 8 p.m.).


    Sunday will be the Festival’s Community Day, which will include free morning Yoga in the Garden (9 a.m.) and, in the afternoon, family friendly activities, such as an Instrument Petting Zoo, a Musical Story Time, a Quilting Exhibition “Harriet Powers: American Icon,” with the Princeton Sankofa Stitchers Modern Quilt Guild, and American Repertory Ballet‘s 30-minute “Swan Lake Experience,” an accelerated story of the ballet with audience participation (12-3 p.m.).

    In the evening, Milanov and the PSO will return in support of the dancers for a program including celebrated pas de deux from Tchaikovsky masterworks (including “Swan Lake”), a ballet set to a neglected gem by Jean Françaix – his Piano Concerto, with Steven Beck the soloist – and a world premiere choreographed to music by Pulitzer Prize winner Caroline Shaw (Morven, Sunday at 7 p.m.).


    Two Baroque concerts will be offered on weeknights at Trinity Church, with The Sebastians performing a program of Bach cantatas, BWV 140 “Wachet auf, ruft uns die Stimme” (“Sleepers Awake”) and BWV 80 “Ein feste Burg ist unser Gott” (“A Mighty Fortress Is Our God”), alongside the Orchestral Suite No. 2 in B minor (Trinity, next Tuesday at 7 p.m.).


    Vivaldi’s “The Four Seasons” will highlight a program performed by the ensemble Twelfth Night that will also include works by Pietro Locatelli, Arcangelo Corelli, and Francesco Durante (Trinity, next Thursday at 7 p.m.).


    This year’s fully-staged opera will be Puccini’s “Madama Butterfly.” Soprano Toni Marie Palmertree, who really threw herself into the role (and off Castel Sant’Angelo’s parapet) last year as Tosca – and who recently sang “Butterfly” at the Met – will sing Cio-Cio-San. Victor Starsky, who gave an impassioned performance as Tosca’s lover, Cavarodossi (and, again, will sing with Radvanovksy this Saturday) – will return as Pinkerton. Once again, Milanov will conduct the PSO. The opera will be heard in two performances (Morven, Friday, June 12, at 7 p.m.., and Sunday, June 14, at 4 p.m.).


    Impassioned music-making of another sort will rock the pavilion – and you – as musicians of Queen Nation, billed as the undisputed #1 Queen Tribute Band in the United States, declare themselves the champions in iconic Queen ‘70s and ‘80s-era costumes (Morven, Saturday, June 13, at 7 p.m.).


    Grammy and Emmy Award-winning ensemble – and Festival favorites – Time for Three will return with another genre-defying program. The trio of Ranaan Meyer (double bass, vocals), Nicolas “Nick” Kendall (violin, vocals) and Charles Yang (violin, vocals) merge classical, Americana, and singer-songwriter traditions into a singular, remarkable sound. As always, in the spirit of spontaneity, as always, the group will announce its selections from the stage (Morven, Thursday, June 18, at 7 p.m.).


    The concluding weekend will be a three-day showcase of American music, in celebration of America’s Semiquincentennial, with additional family events on Sunday. The weekend will be presented in partnership with the Municipality of Princeton.

    Great Ladies of Jazz will be a tribute to Ella Fitzgerald, Sarah Vaughan, Billie Holiday, Judy Garland, and Ginger Rogers, among others, starring Capathia Jenkins and Aisha de Haas. Lucas Waldin will conduct the Princeton Symphony Orchestra (Morven, Friday, June 19, at 7 p.m.).


    A pre-concert talk, “Jazz and the Civil Rights Movement,” will be delivered by Princeton University voice teacher Dr. Rochelle Ellis. Treats will be available to sample from Tipple & Rose, and Morven’s Museum will be open with free admission from 5-7pm in recognition of Juneteenth.

    The Bacon Brothers, Emmy-winner composer Michael and A-list actor Kevin (of “Footloose” and “Apollo 13” fame), will play a mix of folk, rock, soul, and country music. Olsson’s Fine Foods will be onsite with Happy Hour Boxes filled with gourmet cheeses and sandwiches. (Morven, Saturday, June 20, at 7 p.m.).


    Finally, the Princeton Symphony Orchestra will offer a star-spangled salute with “American Fanfare,” featuring Broadway vocalist Julie Benko (“Funny Girl”). The patriotic program will include works by Aaron Copland, Valerie Coleman, Virgil Thomson, Richard Rodgers, Harold Arlen, and John Philip Sousa. America 250 flags and red, white, and blue pom-poms will be given out to the first 150 to enter the grounds (Morven, Sunday, June 21 at 3 p.m.).


    Prior to the concert, free family fun for children of all ages will be available, beginning at 1:00.

    Picnic boxes from Jammin’ Crepes may be pre-ordered up to 48 hours before each mainstage Festival performance, except the June 6 Sondra Radvanovsky concert.

    Tickets and information are available by phone at (609) 497-0020 and online at princetonsymphony.org/festival.

  • Bach in Bloom at Princeton University

    Bach in Bloom at Princeton University

    It’s Holy Week, so expect Bach’s sacred oratorios to be in bloom. But for me, give me the intimacy of the cello suites and violin sonatas. Fortuitously, Bach’s works for solo strings will be presented in their entirety in the contemplative setting of Princeton University Chapel, performed by students from the university’s music department. If you’re in the area, stop by or go the distance. The Bach marathon will take place tomorrow (Tuesday) from 3:00 to 8:30 p.m. Admission is free, so Bach ‘til you drop.

  • Telemann Has a Lot to Tell

    Telemann Has a Lot to Tell

    Poor Telemann. Every year, if I write anything laudatory about him for his birthday anniversary, following as closely as it does on the heels of the March birthdays of his great colleagues and rivals, Handel (March 5) and Bach (March 21), it seems to bring the invective raining down upon him.

    “He’s boring!” will write one.

    “He’s a notespinner!” will opine another.

    “How many times can you rewrite the same piece?” will grumble a third.

    Could it be that he was a casualty of having done his job too well?

    After all, Telemann wrote more music than Bach and Handel combined – over 3,000 works – making him one of the most prolific composers of all time. Yet nothing in his oeuvre has captured the public imagination quite like the “Brandenburg Concertos” or the “Water Music.”

    Of course, Telemann wrote “Water Music” too. Keep in mind, this was not conceived for a king’s leisurely cruise down the Thames (à la Handel), but rather to celebrate the centennial of the Hamburg Admiralty. That’s a pretty dry commission.

    The work opens with an Ouverture in C, perhaps suggestive of the movement of the water itself. Then Telemann begins to gussy it up with music representative of various mythological figures (Thetis asleep and awake, Neptune in love, Naiads at play, Triton the jokester, stormy Aeolus, and pleasant Zephir, comprising movements 2-8). The penultimate movement is a gigue inspired by the tides, and the work concludes with a suggestion of some jolly sailors.


    No one is going to argue against the fact that Handel had the more indelible tunes. As a classical music broadcaster, I’ve had more experience with this suite than most, but I still can’t say I could pick it out of a police line-up.

    Nevertheless, Telemann was a significant talent, who was recognized in his own lifetime. He was an innovator, assimilating Italian and French influences into his own style, and his contemporaries bought and studied his scores. He was offered the cantorate of the Thomaskirche in Leipzig, ahead of Bach. He counted Bach among his friends, as well as Handel. Bach even requested that he be the godfather of his son, Carl Philipp Emanuel.

    Telemann lived an unusually long life (86 years), though it was not without its miseries. His first wife died young. His second ran up gambling debts in amounts larger than his annual income. Ultimately, his friends had to bail him out. As he grew older, he suffered further indignities, including failing eyesight.

    Celebrated in his own day, by the 19th century he was dismissed as a “polygraph,” someone who had simply composed too much. In a sense, he was a victim of his own success.

    Today, he inspires renewed enthusiasm among early music specialists, who have done much to restore his reputation. At the very least, he deserves a little love on his birthday.

    Happy Birthday, Georg Philipp Telemann!*

    ——————

    One of my favorite Telemann moments, the “Air à l’Italien” from the Suite in A Minor for Flute and Orchestra:


    Always been partial to this one, too:

    ——————

    *NOTE: By the Julian calendar, Telemann was born on March 14

  • Farewell to Helmuth Rilling

    Farewell to Helmuth Rilling

    The German choral director Helmuth Rilling has died. Rilling is probably best-known for his advocacy of the music of Johann Sebastian Bach. In a career that spanned some 70 years, he established the Gächinger Kantorei, the Bach-Collegium Stuttgart, and other Bach academies around the world.

    He was the first person to prepare and record on modern instruments Bach’s complete choral works. His impressive roster of vocal soloists includes Arlene Auger, Juliane Banse, Matthias Goerne, Anne Sofie von Otter, Christophe Prégardien, Thomas Quasthoff, and Christine Schäfer. The instrumental soloists include Robert Levin, Trevor Pinnock, and Dmitry Sitkovetsky, among many others. The achievement, completed in the year 2000, encompasses over 1,000 pieces of music, documented on 170 compact discs.

    In 1970, Rilling cofounded the Oregon Bach Festival in Eugene, presented in conjunction with the University of Oregon (home of KWAX). Rilling served as artistic director there until 2013.

    His recordings, many of them issued on the Hänssler Classic label, range far beyond Bach and his contemporaries. I’ve got a few of them in my collection, including his recording of Liszt’s oratorio “Christus” (among three of the work that I own).

    His recording of Krzysztof Penderecki’s “Credo,” commissioned and performed by the Oregon Bach Festival, won the 2001 Grammy Award for Best Choral Performance.

    Rilling died yesterday at the age of 92.

    R.I.P.

    ——–

    Bach, Mass in B minor

    https://www.youtube.com/watch?v=-gw318qPDhk

    Premiere of Penderecki’s “Credo,” live from Eugene

    https://www.youtube.com/watch?v=dWOzt7zMDCo

  • Mussorgsky Flees Bach Birthday Escape

    Mussorgsky Flees Bach Birthday Escape

    Blue Mussorgsky tries to escape Bach on their shared birthday.

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