American Boychoir

Boheme Opera

Concert Royale

Dryden Ensemble

Trenton Symphony

McCarter Theater

NJ Symphony

Princeton Chamber Symphony

Princeton Pro Musica

Princeton University Concerts

State Theater

Steinway Society

Westminster Choir

Corrections or additions?

This column by Elaine Strauss was published in U.S. 1 Newspaper on September 15, 1999. All rights reserved.

Elaine Strauss on Music: Fall Arts Preview

When my sister Joan listens to music at a concert,

she closes her eyes. If the performance is compelling, dancers appear

in her visual field and interpret the music. Through a process similar

to Joan’s, Mikhail Baryshnikov’s White Oak Project, appearing at McCarter

Theater in midsummer, pushed chamber music beyond men in penguin suits

by programming "The Argument," a choreographed version of

Robert Schumann’s "Fuenf Stuecke im Volkston," for piano and

cello. Mark Morris was the choreographer. Performed by four dancers

and two musicians, Morris’ inventive choreography was an epiphany

of integrated music and dance. It exemplified a welcome expansion

that could bring new vitality to chamber music and thereby attract

new audiences.

A look at the musical offerings for the 1999-2000 season reveals that

only very few events fall within the same framework as White Oak.

Among these few, and this may be stretching it, are Kronos String

Quartet and percussionist Evelyn Glennie, both of whom appear at McCarter

in the spring. Kronos wears unconventional dress and uses lighting

effects in its performances. The barefoot Glennie moves nimbly and

energetically among her various instruments, and makes her own choreography

as she performs.

In some ways the 1999-2000 season seems wayward. A fuss could be made

about the anniversaries occurring during the season, but, they get

only tepid recognition in U.S. 1’s circulating area. The 1991 season,

marking the 200th anniversary of Mozart’s death, stands out in sharp

contrast. Any breathing concertgoer could not have avoided stumbling

over reminders of the boy wonder. Indeed, the volume of Mozart may

have been overdone. There were those who were glad when the focus

on him receded.

Perhaps programming for the current season intends to correct the

excesses of the massive Mozart recognition of 1991. The year 2000

marks the 250th anniversary of the death of Johann Sebastian Bach,

but he is not feted. Kurt Weill has a double anniversary; he was born

in 1900 and died in 1950, but he is not celebrated. Neither is Aaron

Copland, born in 1900. Composers with birthdays in the 1999-2000 season

will be performed, but not adulated. The most significant anniversary

celebration may be the performance of Haydn’s 1799 oratorio, "The

Creation," in May, by the New Jersey Symphony Orchestra (NJSO),

approximately 200 years after its premiere.

Anniversary or no, Haydn occupies a featured position in the NJSO

offerings for the year. In addition to "The Creation" The

NJSO has programmed four Haydn symphonies and two violin concertos.

At the press conference introducing the season music director Zdenek

Macal referred to Haydn as the "backbone" of the season. NJSO

confirms its loyalty to the composer in all-Haydn cluster of concerts

in December.

Normally, much Beethoven is programmed in any concert

season. In this year’s wayward season Beethoven gets less than his

usual attention. Countering the standard pattern, the Princeton University

Concerts devote six concerts to his complete string quartets, three

successive evenings in November and three in April. The reappearance

of the cycle is a welcome event. Every reading of this monumental

body of work offers both performers and listeners a chance to enjoy

and re-think Beethoven’s creative journey from the heart of classicism

to visionary musical regions that compete with the boldest of contemporary

compositions. Although the Princeton Concerts office has expressed

the goal of offering all the Beethoven quartets at least once during

the four undergraduate years of every student, the last performance

of the complete cycle was that of the Tokyo Quartet in 1989.

In planning the current season, the millennium appears to have nagged

at both the organizers of the Princeton University concerts series’

and the NJSO. The Princeton announcement bills the Beethoven cycle

as "Beethoven for the Millennium." For its part, the NJSO

encourages potential subscribers to "experience the thrill into

the next millennium." Its press material cites a trio of concerts

consisting of Haydn’s "The Creation," (May), Dvorak’s Requiem

(October) and Mahler’s Symphony No. 2, "Resurrection," (May)

as having significant meaning for the end of one millennium and the

start of another. A spokesman for the NJSO refers to the "epochal"

scope of the three concerts. I do not find any of the millennial claims

particularly convincing.

Nevertheless, the devotion of an entire evening to a single work communicates

its magnitude in the eyes of the presenter. In addition, when one

considers time limitations, the selection of a particular major piece

may say something about the stance of the presenting organization.

New Brunswick’s State Theater stands behind a performance of Verdi’s

Requiem by the Moscow State Radio Symphony orchestra and chorus. The

mounting of the Italian masterpiece by Russian performers has got

to represent the point where the Slavic soul meets Italian passion,

and is a hopeful sign for east-west collaborations. The Russian-Italian

event is the opening concert in the State’s five-concert symphony

series, which features various European orchestras.

Princeton Pro Musica stands out in devoting three of

its four concerts to single works: Handel’s "Messiah" in December,

Dominick Argento’s "Jonah and the Whale" in March, and Beethoven’s

Symphony No. 9, the "Choral," in May. While the Handel and

Beethoven fall well within the classical repertoire, the other two

Pro Musica concerts contain some of the newest music scheduled for

central New Jersey during a season low on avant-garde offerings and


Frances Slade’s Pro Musica ensemble bucks the tendency to avoid new

music by including a world premiere of Princeton’s Edward T. Cone’s

"Two Psalms" in its Halloween concert, and by bringing, once

again, an Argento composition to Princeton. Argento’s "Jonah and

the Whale" calls for tenor and bass soloists. Audiences enthusiastic

about Argento’s opera "Postcard from Morocco," brilliantly

directed by Albert Takazauckas for the Opera Festival of New Jersey’s

season in July, can get a second helping of the composer’s work from

Slade’s forces.

The Princeton Chamber Symphony joins Princeton Pro Music in a season

of special recognition of 20th-century music. The Chamber Symphony’s

entire five-concert season is devoted to music since 1900. Although

the scheduled pieces are hardly avant-garde, music director Mark Laycock

is to be commended for daring to exclude the tested crowd-pleasers

of the 18th and 19th centuries. He has, nonetheless, managed to select

some of the favorite crowd-pleasers of the 20th century: an all-Bernstein

program opens the series on October 3; Weill, Copland, and Gershwin

appear during the season. Princeton’s Milton Babbitt, whose very early

"Music for the Mass" of 1940 was premieried by Princeton Pro

Musica last season, is represented by Princeton Chamber Symphony this

season with Babbitt’s "Composition for Twelve Instruments"

written about a decade later.

Another exception to the tendency to play down new music is an individual

one. Paul Hoffmann of Rutgers’ Mason Gross School, who is deeply devoted

to avant-garde music, is involved in a large enough number of concerts

to create a virtual concert series of his own. He directs three concerts

by his new music ensemble Helix (October, December, and March), directs

two programs of 20th century music (November and April), and performs

at the piano in three concerts (two in October, one in February).

Finally, in a move bound to please new music enthusiasts, Trenton’s

Carlton Wilkinson continues to marshal his independent forces to honor

the city’s 20th-century composer George "bad boy" Antheil.

In the largest effort of a series of annual Antheil birthday concerts,

the Philadelphia Virtuosi Chamber Orchestra, directed by Daniel Spalding,

will present an all-Antheil program at the War Memorial, October 3,

featuring "Ballet Mecanique" for four pianos, four xylophones,

two electric bells, two propellers, timpani, glockenspiel, and percussion,

as well as the "Symphony for Five Instruments," "Serenade

for Strings," and "Concerto for Chamber Orchestra."

While new music has, generally, a low profile in the 1999-2000 season

among presenters of varied concerts, the baroque, with an eye to authenticity,

is even rarer. The exceptions are the Bach Aria Group appearing for

Princeton University concerts (September) and countertenor David Daniels,

noted for his Handel interpretations, who appears at McCarter (May).

The baroque practice of conducting from the instrument played by the

leader of a performing group shows up in two NJSO performances. The

orchestra is modern; however violinist Pinchas Zukerman and pianist

Philippe Entremont both conduct and solo on their instruments, just

as their predecessors did in the 18th century. Still, those interested

in authentic performances should turn to the groups specializing in

pre-classical music to get the real stuff.

This is as opportune a moment as any to put in a plug

for inauthenticy, properly applied. My shining example is "Benjamin

Bagby’s Beowulf," a set of performances sponsored by Lincoln Center’s

"Great Performers" series early this year. Minstrel and storyteller

Bagby presented his version of part of the Anglo-Saxon epic, accompanying

himself on a lyre reconstructed from the remains of an instrument

excavated from a 7th-century nobleman’s grave near Stuttgart, Germany.

A student of Anglo-Saxon who also studied at Basle’s Schola Cantorum,

which specializes in pre-Renaissance music, Bagby has as good a scholarly

background as one can have for what he does. Yet he made no claims

about the ultimate accuracy of his Anglo-Saxon pronunciation or of

his performance practices. Minimizing scholarship, Bagby created a

riveting entertainment. With his vocal and narrative gifts, Bagby

gave an emotional and dramatic account of the poem, whose date cannot

be precisely pinned-down. (Estimates range from the 7th to the 11th

century). Dressed in simple trousers and shirt, dating from no particular

century, perched on a stool, his one-man show, expanding artistic

boundaries, belongs, to my mind, in a class with the White Oak’s Schumann

mentioned above.

An assortment of quirks and curiosities during the course of the 1999-2000

season are worth mentioning. There is no significance to the order

in which they appear.

Item: McCarter Theater and New Brunswick’s State Theater

have scheduled benefit performances early in the year. Tenor Jose

Carreras appeared at the State on Sunday. Flutist James Galway appears

for McCarter’s benefit evening.

Item: The New Jersey Symphony Orchestra has scheduled

a three-week Rachmaninoff mini-festival in January with three of his

four piano concertos and all three of his symphonies. The festival

follows a pattern of the past two years, which featured Brahms in

1998 and Wagner in 1999. At the press conference announcing the programs,

director Macal fielded resistance to the Rachmaninoff programs in

his usual manner, non-sequitur with a touch of the irrepressible,

done up in the Slavic word order that he sometimes lapses into. "What

you can do after Wagner?" he asked. "After this big, theatrical

Wagner, we go to pianistic playing. Rachmaninoff can go for three

weeks. January is slow in business, people are out of money, there’s

bad weather. I cannot do it myself. I need Rachmaninoff to help me."

Item: Two of the most successful programs at Rutgers SummerFest

were the rising Ying Quartet and the established Kronos Quartet. Both

turn up in Princeton in the new season. The Ying includes in its October

program for Princeton University Concerts the Ravel string quartet,

which it played to perfection in July. Kronos’ May program at McCarter

is part of a four-concert series grouped under the new moniker, "Sonic

Edge." Rutgers’ Mason Gross School, meanwhile, devotes its season

to programs featuring members of the Rutgers musical community.

Item: Pianist Krystian Zimerman plays the two Chopin Concertos

in one evening with the Festival Orchestra of Poland in both New Brunswick

and Princeton. On November 5 they appear at New Brunswick’s State

Theater; November 11, at McCarter.

Despite its omissions, the 1999-2000 season offers a full diet

of varied music. An extra dimension to listening, might come from

my sister Joan’s approach. For all concertgoers who can make dancers

appear when they close their eyes in a concert, listening pleasure

is enhanced. In addition, those dancers can also be used as an indicator

of musical excellence. The dancers, Joan reports, don’t appear unless

the musical quality is top notch. Talking about a performance that

she abandoned at intermission, she says, "Every time I closed

my eyes there were no dancers and I fell asleep. But the musicians

kept waking me up because their playing was so awful."

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American Boychoir

American Boychoir, Lambert Drive, Princeton, 609-924-5858.

The well-traveled group offers its first-ever area subscription series

for 1999-2000.

America and Denmark, Princeton University Chapel. Shared

concert with the Copenhagen Royal Chapel Choir, visiting from Denmark,

on a program featuring Haydn’s "Missa Brevis." Saturday, September


Christmas Concert, American Boychoir, Trinity Cathedral,

Trenton. The boychoir in a program of Christmas music and carols from

around the world, Friday, December 10.

A Festival of Spoken Word and Song, Princeton University

Chapel. The boychoir in a program of Christmas words, music, and carols

from around the world, Saturday, December 11.

Christmas Concert, Richardson Auditorium. James Litton

directs, Sunday, December 12.

Voices of Rachmaninoff, Princeton University Chapel. In

concert with the Russian Chamber Chorus of New York and Schola Cantorum

on Hudson, in a program of choral works by Rachmaninoff, Friday, January


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Boheme Opera

Boheme Opera, War Memorial, Trenton, 609-581-7200 or 609-581-9551.

$20 to $50.

L’Elisir d’Amore. Donizetti’s charming "The Elixir

of Love," a comic opera about a love potion sold by a quack doctor,

features Lorraine Ernest as Adina, Barton Green as Nemorino, David

Arnold as Belcore, and William Walker as Dr. Dulcamara. Directed by

Muriel von Villas and conducted by Joseph Pucciatti, it is sung in

Italian with English supertitles. Friday and Sunday, November 5 and


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Concert Royale

Concert Royal, Richardson Auditorium, Princeton University.

$18 & $25. Individual tickets, 609-258-5000; subscription brochure,


Bach 2000. The New York-based period instrument orchestra

begins it 1999-2000 season with Julianne Baird, soprano, and Sandra

Miller, flute, in works by J.S. Bach, Leclair, and Vivaldi, and arias

for soprano and flute by Handel, Purcell, Rameau, and Bach. Pre-concert

talk by Sandra Miller "On Playing the Flute." Sunday, October


Bach and the Harpsichord. James Richman, artistic director,

and international prizewinner for early keyboard instruments, presents

a recital of J.S. Bach harpsichord favorites drawn from the Partitas,

Suites, and the Well-Tempered Klavier Books I and II. Sunday, November


Bach and the Concerto, Concert Royal, Richardson Auditorium,

Princeton University, The New York-based period instrument orchestra

presents works by Corelli, J.S. Bach, and Vivaldi. Sunday, January


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Dryden Ensemble

The Dryden Ensemble, Trinity Church and Richardson Auditorium,


Fin de Siecle, Trinity Church. Season opens with a concert

of masterworks from the late 17th century performed on period instruments

in candlelit surroundings. Program features works by Buxtehude, Corelli,

Purcell, Marais, and Pachelbel. Jane McKinley is artistic director

of the ensemble that also features Colin St. Martin, Julie Brye, Mary

Hoyt, Julie Andrijeski, Nancy Wilson, David Miller, and Rachel Evans.

Sunday, October 17.

Bach for the New Millennium, Richardson Auditorium. Trumpet

virtuoso John Thiessen is the soloist in a festive program of works

by Bach featuring Laura Heimes, soprano, Lorie Gratis, alto, Timothy

Evans, tenor, and James Weaver, bass. Jane McKinley is artistic director

of the ensemble that also features Colin St. Martin, Julie Brye, Mary

Hoyt, Julie Andrijeski, Nancy Wilson, David Miller, and Rachel Evans.

Sunday, January 9.

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Trenton Symphony

Greater Trenton Symphony Orchestra, War Memorial, Trenton,

609-984-8400. $15 to $30.

Christmas Holiday Spectacular. A holiday concert of favorite

seasonal works by Tchaikovsky, Handel, and others. Russell Hoffmann

conducts. Sunday, December 12.

The Millennium Concert. John Peter Holly conducts eight

orchestral favorites from the 20th century. Friday, December 31.

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McCarter Theater

McCarter Theater, 91 University Place, Princeton, 609-258-2787.


Bobby McFerrin, the vocal original in a solo a cappella

concert, Tuesday, September 28. Dawn Upshaw, international soprano

star, Monday, November 1. Arcadi Volodos, piano, Monday, November

8. Krystian Zimmerman, the piano soloist in concert with the

Festival Orchestra of Poland performing two Chopin concertos, Thursday,

November 11.

Brandenburg Ensemble, Jaime Laredo, conductor/violin and

viola; Cho-Liang Lin, violin, Thursday, February 3.

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NJ Symphony

New Jersey Symphony Orchestra, 800-ALLEGRO. Performing

at Richardson Auditorium, Princeton University; War Memorial, Trenton;

and State Theater, New Brunswick.

Opening Night Celebration, New Jersey Performing Arts

Center, Newark. Season opening concert features soloist Yo-Yo Ma and

conductor Zdenek Macal in a program of works by Smetana, Elgar, and

Dvorak, Wednesday, September 15.

Macal Visits the Czech Republic, State Theater. Zdanek

Macal, conductor, with piano soloist Boris Krajny, in works by Smetana,

Martinu, and Dvorak, Sunday, September 19.

NJSO Goes Latin, State Theater. Maximano Valdes, conductor,

with guitar soloist Manuel Barrueco, present works by Revueltas, Ginastera,

Rodrigo, and Villa-Lobos, Thursday, September 30.

NJSO Goes Latin, War Memorial. Manuel Barrueco, guitar

soloist, in works by Revueltas, Ginastera, Rodrigo, and Villa-Lobos.

Maximiano Valdes, conductor, Friday, October 1.

Dvorak’s `Requiem’, State Theater. Zdanek Macal, conductor,

the Westminster Symphonic Choir, and soloists Oksana Krovytska, Wendy

Hoffman, John Aler, and Gustav Belacek, in Dvorak’s "Requiem,

Opus 89." Thursday, October 14.

Dvorak’s `Requiem’, War Memorial. Zdanek Macal, conductor,

the Westminster Symphonic Choir, and soloists Oksana Krovytska, Wendy

Hoffman, John Aler, and Gustav Belacek, in Dvorak’s "Requiem,

Opus 89." Saturday, October 16.

Haydn & Shostakovich, Richardson Auditorium. Zdanek Macal,

conductor, and David Geringas, cello soloist, in Shostakovich’s Concerto

No. 2 for Cello and Orchestra, Haydn’s Symphony No. 101, and Bach’s

Brandenburg No. 3. Friday, October 29.

Debussy’s `La Mer’, State Theater. David Commanday, conductor,

with Lera Auerbach, piano, in Debussy’s "La Mer," "Prelude

to Afternoon of a Faun," plus the world premiere of Auerbach’s

"Requiem for the Millennium." Sunday, November 21.

Bernstein’s `Serenade’, Richardson Auditorium. Marco

Parisotto, conductor, and violin soloist Daniel Heifetz, in Bernstein’s

"Serenade for Violin and Orchestra." Friday, November 26.

Zukerman Returns, War Memorial. Pinchas Zukerman performs

as conductor and violinist, in Haydn’s Concerto in G major, Concerto

in C major, and Symphony No. 102. Friday, December 10.

Entremont Performs Beethoven, Richardson Auditorium.

Philippe Entremont, piano soloist, also conducts Beethoven’s Concerto

No. 1. Also Ravel’s "Mother Goose Suite," and Haydn’s "Surprise"

Symphony. Friday, January 7.

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Princeton Chamber Symphony

Princeton Chamber Symphony, Richardson Auditorium, Princeton

University, 609-497-0020.

The Extraordinary Leonard Bernstein. Artistic director

Mark Laycock opens a new season devoted to 20th-century music with

a program celebrating the prodigious American composer Leonard Bernstein,

featuring mezzo-soprano Lucille Beer. Program includes "Divertimento,"

"Facsimile," "Symphony No. 1," and "Symphonic

Dances from West Side Story." Sunday, October 3.

Beauty and Power and Joy. Francine Kay, piano, is featured

in Bartok’s "Piano Concerto No. 3," with works by Hindemith,

Barber, and Shostakovich. Sunday, November 7.

Haunting and Heartwarming. Classical guitarist David Tanenbaum

is featured in the Castlenuovo-Tedesco "Concerto No. 1 for Guitar

and Orchestra," with works by Stravinsky, Schoenberg, and Weill’s

"Suite from the Threepenny Opera." Sunday, January 23.

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Princeton Pro Musica

Princeton Pro Musica, Richardson Auditorium and Princeton

Alliance Church, 609-683-5122.

Halloween Concert, Richardson Auditorium, World premiere

of Edward T. Cone’s "Two Psalms," for orchestra and six-part

chorus. Also featuring Modest Moussorgsky’s "Night on Bald Mountain,"

and Felix Mendelssohn’s "Die erste Walpurgisnacht." Soloists

are David Arnold, baritone, and Frederick Urrey, tenor. Pre-concert

lecture at 7 p.m. Saturday, October 30.

Handel’s `Messiah’, Richardson Auditorium, The Princeton

tradition continues with the Baroque masterwork, Handel’s "Messiah."

Soloists are Martha Elliot, soprano, Sharon Rhinesmith, mezzo-soprano,

Charles Reid, tenor, and Elem Eley, baritone. Friday and Saturday,

December 17 and 18.

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Princeton University Concerts

Princeton University Concerts, Woolworth Center for Musical

Studies, 609-258-2800

Bach Aria Group, Princeton University Concerts, Richardson

Auditorium. The Princeton University Concerts series, founded in 1894,

begins its 106th season with a program of great vocal and instrumental

music from the Bach Cantatas, Thursday, September 30.

An Evening at Schubert’s, Princeton University Concerts,

Richardson Auditorium, The Richardson Chamber Players present a program

of the lesser-known chamber music of Franz Schubert, Friday, October


Ying Quartet, Princeton University Concerts, Richardson

Auditorium, Music of Barber, Copland, Bartok, and Ravel, Thursday,

October 14.

The Lindsay String Quartet, Princeton University Concerts,

Richardson Auditorium, A series of six concerts by the Lindsay String

Quartet performing the complete Beethoven quartet cycle. Thursday,

Friday, and Saturday, November 18, 19, and 20; and April 6, 7, and

8, 2000.

Rafal Kwiatkowski & Albert Tiu, Princeton University Concerts,

Richardson Auditorium, Cellist Rafal Kwiatkowski and pianist Albert

Tiu perform a program of works by Chopin, Barber, de Falla, and Francoeur.

Thursday, December 2.

David Finckel & Wu Han, Princeton University Concerts,

Richardson Auditorium, Cellist David Finckel and his wife and pianist

Wu Han perform works by Schumann, Debussy, Franck, and Schnittke.

Thursday, January 13.

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State Theater

State Theater, 15 Livingston Avenue, New Brunswick, 732-246-7469

or toll-free 877-STATE 11. Website:

Moscow State Radio Symphony, Algis Zhuraitis conducts

the orchestra and chorus in Verdi’s "Requiem." Pre-performance

lecture. $30 to $50, Thursday, October 21.

Don Giovanni, The San Francisco Western Opera Theater

production of Mozart’s monumental story of seduction, murder, and

retribution. $25 to $45, Saturday, October 30.

Festival Orchestra of Poland, Krystian Zimerman is soloist

in Chopin’s Piano Concertos No. 1 and No. 2. $25 to $45, Friday, November


Canadian Brass, $20 to $38, Thursday, December 16.

Top Of Page
Steinway Society

Steinway Society, 287 Sayre Drive, 609-951-9553. $15 adults;

$5 students.

Christina Altamura. A classical performer since the age

of 13, Altamura made her Carnegie Hall debut in 1991 with the New

York Chamber Orchestra performing Gershwin’s Rhapsody in Blue. She

will play works by Bach, Beethoven, Chopin, and Ravel. Sunday, October


Eunha Kim. A faculty member of the Westminster Conservatory

of Rider University, Kim will play works by French composers Faure,

Messiaen, Roger-Ducasse and others. Sunday, November 21.

Ivo Kaltchev. A native of Bulgaria, Kaltchev began piano

at age six. He will play works by Soler, Schumann, Chopin, and Debussy.

Sunday, December 5.

Gavin Black. Noted for his excellence in both harpsichord

and organ repertoire, Black will play works by Sweelinck and Buxtehude.

Sunday, January 16.

Top Of Page
Westminster Choir

Westminster Choir College of Rider University, 101 Walnut

Lane, Princeton. Box Office, 609-921-2663; 24-hour concert information,

609-219-2001. Website: Unless noted,

most programs $10 adults; $8 students & seniors. Christmas at Westminster

tickets go on sale November 1. Advance purchase suggested as this

series customarily sells out; $18 adult; $15 students & seniors.

Faculty Recital, Bristol Chapel. Scott McCoy, tenor, with

J.J. Penna, piano, in Schumann’s "Dichterliebe." Sunday, September


The Complete Organ Works of J.S. Bach, Fisk Organ Room,

Bristol Chapel. Faculty artist Gavin Black begins the second year

of a three-year series of recitals featuring the complete organ works

of Johann Sebastian Bach. Free. Wednesday, September 29; Wednesday,

December 15; Wednesday, February 16; Wednesday, April 12.

Baroque at Westminster, Bristol Chapel. Stephen Berkelhammer,

baroque oboe, with guest artists, Free, Sunday, October 10.

Faculty Recital, Bristol Chapel. Ron Hemmel, organ, presents

"Toccatas and Gouls." Sunday, October 31.

Faculty Recital, Bristol Chapel. Margaret Cusack, soprano,

and J.J. Penna, piano, perform music from the post-Romantic German

school. Sunday, November 14.

Millennium Opera Party, The Playhouse, Dessert gala and

scenes from favorite operas. Friday and Saturday, December 3 and 4.

Handbell Holiday Concert, Bristol Chapel. First concert

in the month-long "Christmas at Westminster" series. Tickets

go on sale November 1. Advance purchase suggested as this series customarily

sells out.

A Christmas Musicfest, Bristol Chapel. The Westminster

Singers present a seasonal concert, Allen Crowell conducts. Sunday,

December 5.

Christmas at Westminster, Bristol Chapel. "The Colors

of Christmas" by the Westminster Jubilee Singers, Donald Dumpson

conductor. Sunday, December 12.

A Modern & Ancient Christmas, Bristol Chapel. Fuma Sacra

performs "The House of Winter: A Modern and Ancient Christmas,"

with music of Monteverdi, Charpentier, and Bach. Andrew Megill directs.

Sunday and Monday, December 19 and 20.

To Be Sung Upon Water, Bristol Chapel. Thomas Faracco,

tenor, Robert Annis, clarinet, and Phyllis Alpert Lehrer in music

by Argento, Schubert, Faure, and Hahn. Sunday, January 23.

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