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Princeton Pro Musica wins the 2021 American Prize in Choral Performance

Community Division 


Announcement September 29 2021
David (Volosin) Katz, Chief Judge for 
The American Prize co-winner (with Trancept of Sioux Falls, SD)

Princeton Pro Musica
Artistic Director, Ryan Brandau
Princeton, NJ 

Princeton Pro Musica
Princeton Pro Musica was selected from applications reviewed recently from all across the United States.  The American Prize National Nonprofit Competition in the Performing Arts is the nation’s most comprehensive series of nonprofit competitions in the musical and theater arts unique in scope and structure, designed to recognize and reward the best performing artists, ensembles and composers in the United States based on submitted recordings.  The American Prize was founded in 2009 and is awarded annually in many areas of the performing arts.  
Princeton Pro Musica is a 100-voice chorus committed to bringing performances of the highest quality to central New Jersey. It performs major choral-orchestral works with orchestra as well as works from the chamber choir repertoire. Its dedicated and skilled musicians, who must re-audition every season, represent a wide variety of ages and professions. Princeton Pro Musica treasures its role offering important performance opportunities for the many current and former music educators and individuals holding music degrees among its ranks, and cherishes opportunities to collaborate with youth ensembles such as The Trenton Children’s Chorus and the Princeton Girlchoir.  
The singers and board of Princeton Pro Musica are honored by recognition that the ensemble fosters top-caliber music in the central NJ region. In 2020, Princeton Pro Musica received a Citation of Excellence from the New Jersey State Council of the Arts. 



Princeton Pro Musica Opens Season with All Mozart Concert

Concert November 3, 2019

Reviewed by Nancy Plum for Town Topics 

Published November 6, 2019

Despite the vast amount of 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 world 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 filling the stage with singers, vocal soloists, and orchestral instrumentalists, all ably led by Princeton 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 happens to be a particular favorite, likely due to his close friendship with his fellow Masonic lodge member, Anton Stadler, for whom he composed the 1789 Concerto for Clarinet. The instrument for which this Concerto 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 thee-movement Concerto.  Archer, currently Acting Principal Clarinetist of the New Jersey Symphony Orchestra, demonstrated not only his command of the instrument and the work’s technical demands, but also how demonic Mozart’s solo writing could be.  

Following a delicate orchestral introduction, Archer’s playing topped off the string sound like rich icing.  The solo clarinet’s quickly-moving lines emerged clearly from the orchestral texture as Archer achieved the same dynamic contrasts as the orchestra.  He maneuvered the octave melodic leaps cleanly and showed shifts in musical character that gave the impression at times that he was carrying on a humorous musical conversation with himself accompanied by the orchestra.  Brandau’s conducting was precise and stylistically informed as Archer took his time on long phrases, showing strength of air.  

The foundation of Pro Musica concerts is the chorus – featured Sunday afternoon in Mozart’s Great Mass in C Minor.  Rooted in the compositional techniques of Bach and Handel, the Mass was a peace offering from Mozart to his father, who had expressed displeasure at Wolfgang’s choice of a bride.  Completed in the early 1780’s, a period of Mozart’s greatest operatic composition, the Mass is hardly a church piece – it is opera masquerading as a liturgical work.  The vocal demands are extensive, especially for the two soprano soloists but also for the chorus.   

Mozart clearly had a penchant for sopranos – and for putting them through their vocal paces.  The writing for the two soprano soloists in the Mass is equivalent to the technical requirements of the Clarinet Concerto heard in the first half of the concert, with multi-octave skips and fierce running passages.  Pro Musica’s performance of the Mass featured soprano soloists Clara Rottsolk (a frequent performer in Princeton) and Molly Netter.  Both singers have extensive experience in music of the 18th century, but Rottsolk was the performer best able to convey the drama of the Mass.  She sang the penitent text “Christe eleison” with suitable plaintiveness and provided a dramatic edge to the “Domine Deus” duet with Netter.   She also presented the signature aria of the Mass, “Et incarnatus est” of the Credo with tenderness and devotion, gracefully accompanied by flutest John Romeri, oboist Lillian Copeland, and bassoonist William Hestand.  

In the third movement of the Mass, a soprano solo on the text “Laudamus te” is an operatic tour de force, stretching across two octaves and replete with extended trills and long passages of 16th notes.  Netter sang this aria with a light, flexible voice, but one which was lost on the lower notes and the trills.  Tenor Brian Giebler and bass-baritone Andrew Padgett joined the sopranos in one trio and a quartet, but their voices, although clean and accurate, failed to carry through the hall. 

Mozart’s Great Mass in C-Minor is a work which the Pro Musica chorus would have well in hand, and the ensemble’s singing of the homophonic choruses was strong and well-blended.  Although the sectional soprano sound became a bit diffuse in the high loud passages, Brandau has built the tenor and bass sections well, and wisely kept the choral fugues on the light side to allow all parts to be heard.  An incomplete piece, the Mass ended with an unusually dramatic “Benedictus” and “Osana” which the double chorus Pro Musica presented solidly to close Mozart’s very personal and reflective work.  


Princeton Pro Musica All Mozart Concert

Concert November 3, 2019

Reviewed by Rev. Peter E. Bauer for  

Theologian Karl Barth once wrote, ” Whoever has discovered Mozart even to a small degree and then tries to speak about him falls quickly into what seems rapturous stammering.”  I would concur that commenting about the genius of Mozart can be daunting.  His music endures and the performance November 3, 2019 of the Princeton Pro Musica at Richardson Auditorium Princeton University was indeed a sacred event. 

There were literally two concerts: first selection being the Concerto for Clarinet in A Major and the second being the Great Mass in C Minor K.427.  Here was a blend of a musical piece celebrating friendship and a piece proclaiming the glory of God.  

As noted in the Princeton Pro Musica program notes written by Artistic Director Ryan James Brandau, “Mozart wrote the Concerto for Clarinet in A Major for his close friend and Masonic lodge fellow member, Anton Stadler.”  The first half of the program featured the Princeton Pro Musica orchestra headed by Concertmaster, Namae Iwata, Artistic Director Ryan James Brandau, and Clarinet soloist, Pascal Archer.  The interplay between the orchestra and soloist was fascinating to watch.  All three movements were punctuated by sweet resonant tones and rich full sounds backed by violins and violas.  Archer was a delight to watch.  He almost swayed with Zen-like concentration as he delivered delightful runs and pastoral sequences.  There was almost a jazz-like feel to his interpretation.  You could almost imagine him playing at a jazz club in New York’s Upper West Side.  

The performance of the Great Mass in C Minor was majestic.  The soloists Clara Rottsolk and Molly Netter, Sopranos, Brian Giebler, Tenor, and Andrew Padgett, Bass-baritone, were outstanding.  All of their voices were strong, clear, and they performed the Mass with great passion and devotion.  The Mass performance was also accentuated by the strong, regal artistic skills of the orchestra and the dynamic chorus.  The blend of the strong voices and the bold horns, strings, and timpani resonated with powerful impact.  

As I listened to the performance of the Great Mass in C Minor, I thought about people I have lost: deceased family members, the recent sudden tragic death of the adult daughter of a very good friend, and the death of my good friend and editor.  Sacred music, especially when it is played well, helps to bring a balance between pain, loss, and beauty.  As Dr. Brandau wrote in his program notes, “Mozart had the uncanny ability to represent the Enlightenment balance and be also the paragon of grace.”  

For our times and for our seasons, we all need as much grace as possible.  This music and its performance were able to be a vehicle of grace for all.  May it be so.  

Rev. Peter E. Bauer* 

*The Rev. Peter E. Bauer is a longtime licensed clinical social worker and minister for the United Church of Christ.  An LCL, he is also an Army and Navy and veteran.   



Princeton University Orchestra ends season with Britten’s War Requiem

Princeton Pro Musica sang as guests of the Princeton University Orchestra and Glee Club

Concerts April 27 & 28, 2018

Reviewed by Nancy Plum for Town Topics

In a true “town and gown” collaboration, the Princeton University Orchestra presented one of its most substantial Stuart B. Mindlin Memorial Concerts ever this past weekend at Richardson Auditorium.  Joined by the University Glee Club, Princeton Pro Musica Princeton High School Women’s Choir, and three international vocal soloists, the orchestra put the crowning stroke on conductor Michael Pratt’s 40th anniversary season leading the ensemble.  In performances Friday and Saturday night, more than 300 musicians took the stage for Benjamin Britten’s War Requiem, requiring an extension to the stage at Richardson.  Friday night’s opening performance showed this piece to be a work just as timely now as at its premiere in 1962, and proved to be music that musically pulls two world conflicts into contemporary times.  In another achievement for the University Orchestra, the concert was broadcast live on local radio, and was to be rebroadcasted at a later date.

The Requiem Mass for the Dead has been set by composers since medieval times, ranging from unison chant to towering and operatic settings by 19th century composers.  When Britten was commissioned to write a major work for chorus and orchestra for the dedication of the newly-constructed Coventry Cathedral in England (which stands next to the architectural remains of the structure bombed in World War II), he looked to the mass text to create a piece mourning England’s fallen soldiers of two wars.  In Britten’s setting, the traditional Latin text is intermingled with poetry composed during World War I by English poet and soldier Wilfred Owen who was killed in action a week before the armistice in 1918.

Britten’s scoring divided the orchestra into a principal ensemble and chamber orchestra, and conductor Pratt placed the chamber group (including a second timpani) to the side of the stage.  Beginning with very subtle bells from the percussion section and scattered “Requiem” declamations from the combined Glee Club and Princeton Pro Musica, Pratt led the orchestra through mounting intensity in the opening section.  Combining Princeton Pro Musica (prepared by Ryan James Brandau) with the Glee Club (prepared by Gabriel Crouch) added a solid foundation to the sound especially in the men’s sections, and throughout the evening the chorus had no trouble projecting over the colossal orchestra.  The Princeton High School Women’s Choir, conducted by Vincent Metallo, was placed in an alcove in the balcony, and the choir’s clear and light sound conveyed prayers of heavenly praise with shades of innocence unfettered by the grief of the soloists and adult choruses.

Britten divided the text between chorus and solo singers, giving most of Wilfred Owen’s poetry to tenor and baritone soloists – William Burden and Andrew Garland respectively.  Burden, with vast operatic experience, dramatically brought Owen’s poetry to life, often joined by Garland portraying a second soldier.  Garland also presented the text mournfully, and, when the two singers came together in a closing dialog among a narrator and two corpses, the poignancy of Owen’s words and the soloists’ plaintive singing showed War Requiem to be a true memorial to England’s lost.  Burden and Garland were most often accompanied by the chamber orchestra with especially elegant solos from clarinetist Yang Song, oboist Ethan Petno, and harpists Julia Ilhardt and Sara Rapoport.  Soprano Sara Pelletier’s role was often to lead the choruses in the Latin text, well interpreting the fear and wrath of an impending day of judgement.  Pelletier effectively captured a community’s collective sense of grief as she was joined by children and adult choruses in a closing plea for consolation and eternal rest.

Britten’s setting of the Latin “Requiem” text followed the tradition of 18th and 19th century composers before him with a particular influence from Guisepe Verdi’s powerfully operatic setting.  However, prayers which previous composers had scored to lyrical and graceful melodies were set by Britten as dramatically intense, often with pulsating timpani and forceful horns.  Britten intended this work to be performed by massive forces, and the four combined ensembles in Richardson Auditorium did not disappoint.  From the podium, conductor Pratt kept the varied musical palates intact, emphasizing brass writing that could rival Mahler and allowing the Glee Club and Princeton Pro Musica to sing seated at times to accentuate subtletly.  Certain a cappella passages were sung with an even sound and little vocal color, creating starkness.  Pratt was able to bring the orchestral and choral sound to full volume as the day of wrath threatened to consume the world in ashes, yet wisely reduced conducting gestures during poetic sections to allow the soloists and accompanying instruments to find their own pace in the music.

Britten’s War Requiem stands as a monument to the scars of war and how hope can rise from the ashes.  Although the composer spent part of World War II in the United States as a conscientious objector, he felt compelled to return to England in 1942, and this work also serves as an homage to his homeland in one of the country’s darkest periods.  Loss permeates the piece – a concept not lost on Pratt and Crouch as they bid farewell to almost 25 percent of their ensembles’ membership who are graduating this year.  The Stuart B. Mindlin performances this past weekend surely gave these graduating seniors food for thought as they embark on their post-graduate journeys into the world.



Princeton Pro Musica Opens Its New Season With Concert of Remembrance

Princeton Pro Musica with Rochelle Ellis, Soprano and Paul Max Tipton, Bass-Baritone

Concert November 5, 2017

Reviewed by Nancy Plum for Town Topics

Princeton Pro Musica began its Princeton area concert series on the later side this year, with the first performance of the ensemble’s 39th season on Sunday afternoon in Richardson Auditorium. However, the concert date and piece performed went together perfectly. The 100-voice chorus presented Johannes Brahms’s Ein deutsches Requiem on All Saints’ Day, combining liturgical remembrance with Brahms’s German texts of comfort and ultimate joy. As further acknowledgment of the day, Pro Musica included an “In Remembrance” page from members of the chorus in the written program to Sunday afternoon’s concert, commemorating friends and family.

Premiered in 1868 (with a fifth movement subsequently added), Brahms’s German Requiem was rooted in the composer’s own grief over the deaths of both his mother and close friend and fellow composer Robert Schumann. Brahms drew the texts, however, not from standard Latin “Requiem” prayers but from varied passages in the Bible, including the Books of Psalms, Matthew, Peter, Isaiah, and Revelation. As Brahms himself wrote of selecting the passages, “I have chosen my texts because I am a musician, and I needed them.” In familiar German rather than church Latin, this seven-movement choral/orchestral work has served as a universal musical memorial worldwide for the past 150 years.

Brahms’s Requiem is tailor-made for an ensemble such as Princeton Pro Musica, whose performance practice is centered on crisp diction, solid preparation, and a well-blended choral sound. Pro Musica Artistic Director Ryan James Brandau found a wide range of dynamics and choral styles within the Requiem’s block chordal sections, interlaced with fugues borrowed from the Baroque era 100 years before Brahms’s time. Brandau impressively began the first movement as quietly as possible, leaving room for the sound to grow to coincide with the text. Lean sectional viola and cello lines aided in opening the Requiem in a consoling and inspiring manner. Principal oboist Stuart Breczinski provided elegant solo lines, both in this movement and throughout the piece.

The technical choral demands of Brahms’s Requiem are immense, from the long expressive lines of the fourth movement to the complex and dramatic fugal passages, which should raise the roof of the performance hall. Princeton Pro Musica held up to the choral requirements well, only occasionally sounding buried in the thick texture of full orchestra and fugues which demanded a full-bodied choral sound.

Passages that worked especially well included verses in the second movement on the text “Be patient, therefore, brethren, unto the coming of the Lord,” in which the choral sound was light and supple and the closing of the third movement, in which the chorus reassures a doubt-ridden bass soloist. Pro Musica also began the sixth movement particularly well, as Brandau kept rhythms precise to allow the chorus to regain vocal stamina.

Joining Pro Musica for this performance were soprano Rochelle Ellis and bass-baritone Paul Max Tipton. Each soloist had a specific role in the work; Ellis sang of maternal consolation in the fifth movement, while Tipton conveyed grief and doubt in two other movements. In the fifth movement, often described as Brahms’s tribute to his mother, Brandau kept the orchestra’s playing style detached to contrast with Ellis’s lyrical melodic lines. Delicately and subtly accompanying the vocal line was a solo oboe line played by principal oboist Breczinski. Ellis was comforting as a performer, singing the top registers confidently and communicating well to the audience.

Tipton was dignified in demeanor, singing with a very clean sound, and always plaintive as the violins built intensity well. The sixth movement included the familiar “trumpet shall sound” text also set by Handel in Messiah; whereas Handel’s setting of the text was mysterious and declamatory, Tipton’s singing of Brahms’s setting was exciting and anticipatory, building the sound well. Brandau kept the fugal close of this movement crisp, with a smooth musical flow which no doubt made the passages easier for the chorus to sing. Both chorus and orchestra ended the Requiem well, with decisive singing of a reassuring text and a peaceful conclusion.

Pro Musica’s introductory remarks to the performance indicated the ensemble had a number of new subscribers this season. All members of the audience were well appreciative of Sunday afternoon’s concert, providing some reassurance of its own for the chorus’ successful season this year.



Princeton Pro Musica Carmina Burana a Phenomenon

Princeton Pro Musica with the Roxey Ballet and the Princeton Girlchoir

Concert May 21, 2017

Reviewed by Tobias Grace for

The May 21st performance of Carmina Burana by Princeton Pro Musica at Richardson Hall was more than a performance – it was a phenomenon.  Enhanced by the brilliant dancing of the Roxey Ballet company, skillfully integrated with the music and by a clarity of sound created both by the chorus itself and by the outstanding acoustics and sound engineering of Richardson Hall, the production left me stunned and entranced.

Carmina Burana is perhaps the most popular secular cantata of all time and this, of course, creates a challenge for any company undertaking it. Composer Carl Orff intended this to be not only a musical but also a visual spectacular. The collection of 13th Century poems from which the lyrics are drawn celebrates the pleasures of the flesh and the lust of youth and gives a backhanded slap to the church hierarchy and conventional rectitude.  Unfortunately, the cantata is rarely performed as Orff envisioned it. Perhaps the best depiction of Orff’s vision is a film created for West German television in 1975 with the close co-operation of Orff in honor of his 80th birthday. The various stories of young lust and gluttony are quite literally brought to life. The film was banned there for decades because of this almost literal interpretation of the texts Orff had put music to.  The mixture of Christian and pagan imagery is exactly what the lyrics describe in this mixture of sacred and profane songs, but the  Miss Grundys of the time couldn’t handle it.  Some Copies of the film were destroyed, but a survivor can be seen on Youtube.

By including the ballet, Director Ryan James Brandau returned to Orff’s true vision of how this work should be staged and the Roxey Ballet’s sensual, wonderfully costumed and highly skilled performance gave life to the vision. Special mention should be made of those dancers who performed solo or in Pas de deux as they were a particular joy to behold.  I have heard Carmina Burana performed by larger choruses with full orchestras and in larger halls, including the London Proms at Royal Albert and they were very good – very good indeed – but not as good as this Pro Musica production, lacking as they did this essential visual quality brought by the ballet.

The 96 voice chorus is a powerful instrument, perfectly rehearsed and performing with a precision and clarity that was absolutely meticulous. Every element of the music, whether it was a majestic chorus or the slightest tinkling of a bell or a castanet had the same perfect rendition. Laura Kosar, (soprano) Ryland Angel, (tenor) and Will Berman (baritone) were the soloists and all three enhanced the production greatly. Ryland Angel’s acting was especially appropriate to his material. Will Berman was in excellent voice and Laura Kosar’s clear and perfect soprano voice was yet another joy in this production.

Princeton Pro Musica’s 2017- 2018 season has been announced and includes such outstanding selections as the Brahms Requiem and Benjamin Britten’s War Requiem. See for more information.

The Roxey Ballet is based in Lambertville, N.J. and information regarding its performances can be found at



Pro Musica Fuses Sound and Movement for Season Finale

By Mary Pat Robertson for U.S. 1 Newspaper and

Concert Sunday, May 21, 2017

PrincetonInfo Carmina Burana online US 1 2017



Music, Dance and Collaboration Bring Carmina Burana to Life in Princeton

By Gary Wien, for New Jersey

Concert Sunday, May 21, 2017 

New Jersey Stage Carmina Burana article May 2017



Princeton Pro Musica Presents Mendelssohn’s Immortal “Elijah”

Reviewed by: Nancy Plum for Town Topics, November 5, 2015
Concert Sunday, November 1, 2015


Felix Mendelssohn did very little in the field of opera, however, his sacred oratorios are as theatrical as any 19th-century operatic work. In particular, the oratorio Elijah, premiered in 1846, musically depicts a dramatic Biblical story through arias, recitatives, and choruses, infused with the composer’s gift for melodic writing. The more than 100-voice Princeton Pro Musica, conducted by Ryan James Brandau, presented a well-informed performance of this work to a very appreciative audience on Sunday afternoon in Richardson Auditorium, showing off the capabilities of the chorus as well as four seasoned vocal soloists.

Dr. Brandau used the full forces of Pro Musica, combined with a smaller orchestra than symphonic choruses usually use in performances of this piece. Although Mendelssohn originally scored Elijah to include a full complement of instruments as well as an ophicleide (part of the family of keyed bugles) and organ, the orchestra in Sunday afternoon’s performance had chamber-sized stringed sections with pairs of winds and brass.

Keeping the orchestra on the small side kept the performance true to Mendelssohn’s ties to the Baroque era, and removed pressure from the singers to work to be heard over the players, serving both chorus and soloists well.

Elijah is nothing without a compelling title character, and bass-baritone Dashon Burton easily fit the bill. Imposing from the first aria and able to find operatic characters in the music, Mr. Burton made it clear that when Elijah spoke, people needed to listen. One could especially hear the supplication in Mr. Burton’s recitatives from the fourth scene of the oratorio. Mr. Burton’s best operatic counterpart in the performance was soprano Laquita Mitchell, also a seasoned performer of 19th-century opera. Ms. Mitchell changed vocal style easily among the different moods and emotions of the music. In her keynote aria “Hear Ye, Israel,” Ms. Mitchell’s plaintive interpretation was perfectly matched by pairs of clarinets, oboes, and flutes.

The vocal quartet was rounded out by mezzo-soprano Sarah Nelson Craft and tenor Rexford Tester. Ms. Craft provided a solid vocal base to her opening duet with Ms. Mitchell, and came into her own in Part II as an “Angel” guiding Elijah. Mr. Tester was lyrical in his approach to conveying the text, not as operatic as the other three singers, but nevertheless effective.

Much of Mendelssohn’s best melodic writing in this work belonged to the chorus, which Dr. Brandau had prepared to be precise and crisp in numerous a cappella sections. Pro Musica excelled in the homophonic and chordal choruses (such as the closing choruses to each half of the concert), and the men’s sections were especially well blended throughout the concert. Dr. Brandau had spaced out the chorus on the stage in slightly mixed formation, enabling sections to hear one another. The women’s sections were cleaner in the gentler choruses, but the ensemble as a whole maintained good control over the music throughout this long dramatic work.

Mendelssohn wrote a small solo part specifically for a child, often cast as a boy soprano. For this role, Dr. Brandau selected a member of the Princeton Girlchoir Cantores, the ensemble under the Girlchoir umbrella for high school girls. Accompanied by single flute in her solo lines, soprano Isabella Kopits was lovely, matching the flute perfectly, and showed an innocence which did not detract from her insistence that there was no response to Elijah’s calls to God. Dr. Brandau also assigned an “angel’s trio” to the Cantores — a perfect choice in vocal tone and weight. The Cantores sang with well-tuned chords and nicely tapered phrases.

Accompanying the chorus and soloists in this performance was a well-balanced orchestra which always maintained a subtle backdrop to the chorus and soloists. The trumpets and trombones were effective in introducing Elijah, and especially in the opening orchestral introduction, one could hear that something catastrophic was to come. Oboist Carl Oswald, clarinetist Pascal Archer, and flutist Mary Schmidt provided elegant solo lines, often echoes to a vocal soloist.

Elijah is a long oratorio, and Dr. Brandau evidently felt the necessity to cut a number of small numbers (including two of the most well-known choruses in the work), but it may not really have been necessary. Dr. Brandau kept a good flow to the performance, maintaining drama which held the audience’s attention. With Pro Musica providing its customary solid work and Mr. Burton clearly a star in the making, Sunday afternoon’s performance went by in a well-performed flash.



Princeton Pro Musica Presents Musical Christmas Gift of Bach

Reviewed by: Nancy Plum for Town Topics, December 24, 2014

Concert Sunday, December 21, 2014

For many years, Princeton Pro Musica maintained a musical tradition of presenting Handel’s Messiah at Christmastime in Princeton. Traditions shifted a bit this year; Princeton’s Messiah offering was presented by the New Jersey Symphony, and Pro Musica turned its attention to Bach. Artistic Director Ryan James Brandau and the more than 100-voice chorus performed two cantatas of Bach’s Christmas Oratorio and the complete Magnificat in D in Richardson Auditorium this past Saturday night, and as the musical accolades to William Scheide keep rolling in, this concert was a fitting addition.

Bach’s Christmas Oratorio is a set of six cantatas composed for the celebratory season between Christmas and the Feast of the Epiphany in 18th-century Leipzig. Parts V and VI, the portions presented by Pro Musica on Saturday night, were composed for the Sunday after New Year and for Epiphany, respectively. As in the oratorios of the time, the narrative is sung in recitative style, and as with Bach’s Passions, much of the narrative is sung by an Evangelist. Musical commentary on the drama is found in the arias and choruses. In Pro Musica’s performance, tenor Stephen Caldicott Wilson sang the Evangelist role with tight German diction and rhythm, and a clean vocal sound which projected well into the hall, especially when accompanied by a single instrument and keyboard. The two cantatas included arias for seven soloists, with mezzo-sopranos Margaret Lias and Luthien Brackett providing the most dramatic performances of the evening. Ms. Brackett sang arias with a silky tone among all registers (which can get quite low in Bach) with an especially rich tone on the lower passages.

Soprano Justine Aronson sang with a youthful sparkle and soprano Melanie Russell sang expressively, but both sopranos seemed to be more cut out for lush Romantic lines than recitative and the light flexible lines required in Bach. In the Magnificat, Ms. Aronson was able to add expression to the soprano aria in the text,“For he hath regarded the lowliness of his handmaiden.” Baritone Christopher Herbert provided dramatic singing in both the cantatas and Magnificat, with his interpretation of Herod in Part VI of the Oratorio laden with a bit of sarcasm, and the “Quia Fecit” aria of the Magnificat sufficiently regal.

Dr. Brandau kept a light conducting touch throughout the concert, leading a stylishly small orchestra in the Oratorio and an ensemble of period instruments in the Magnificat. Adhering to the 18th-century Kantorei tradition, Dr. Brandau placed the soloists within the chorus, which helped strengthen the already well-trained chorus. A good balance was maintained between the orchestra and chorus, and most notable among the orchestra solos was Geoffrey Burgess, who played most of the oboe d’amore solos in all pieces. A trio of trumpet players, who played valveless instruments, was exceptional in adding a joyous touch to the musical color.

Dr. Brandau assigned much of the Christmas Oratorio to the chamber chorus of Pro Musica, which sang with clean diction and precise entrances following the solos. The full choruses joined on the chorales of the Christmas Oratorio, creating a full sound to close the works. Some of the trickier coloratura passages in the Magnificat were sung by the Chamber Chorus, and throughout the piece, the entire chorus demonstrated effective lilt and phrasing. Conducting effectively without a baton, Dr. Brandau built the terraced dynamics well between the orchestra and chorus.

The Bach works performed Saturday night represented the types of works Pro Musica does particularly well. The concert was a tribute to William Scheide, and showed the exact type of Baroque scholarship and thoughtfulness which he advocated.



A Bach Christmas by Princeton Pro Musica

Reviewed by Toby Grace for Out in Jersey December 22, 2014

Concert Sunday, December 21, 2014

Once again Princeton Pro Musica demonstrated its exceptional quality in this year’s Christmas offering, “A Bach Christmas.”  The sold out, December 20th performance in Richardson Auditorium gave us parts 5 and 6 of Bach’s Christmas Oratorio and the Magnificat in D Major.

The oratorio was written for performance in sections on six feast days of Christmas during the winter of 1734 and 1735. The original score also contains details of when each part was performed. It was incorporated within services of the two most important churches in Leipzig, St. Thomas and St. Nicholas. The complete work runs to bit over three hours and is rarely performed in its entirety in one sitting.

Written in 1723 and revised in 1733, the Magnificat remains one of Bach’s most popular works. A performance of the Magnificat with Christmas hymns takes about 40 t0 45 minutes. The Magnificat contains about twice as many movements as an average cantata, keeping it short by avoiding da capos in the arias, and altogether no recitatives. Also the text is in Latin (not the usual language for a Bach cantata), the architecture of the movements is fairly complex, as opposed to the fairly simple structure of an average cantata, and the choral writing is in five parts.

Pro Musica performed these complex works with an orchestra of period instruments, including the difficult to master, valveless trumpets of the 18th Century. Conducted by Ryan James Brandau, the performance was elegant and flawless. Soloists Justine Aronson, Luthien Brackett, Steven Brennfleck, Christopher Herbert, Mararet Lias, Melanie Russell and Steven Wilson each performed with the kind of clarity and precision we have come to expect of Pro Musica.

Pro Musica added real substance to the enjoyment of the Christmas Season with this magnificent production – an enjoyment obviously reflected in the audience’s  enthusiastic appreciation.

Stay abreast of Princeton Pro Musica’s schedule at



Princeton Pro Musica Journeys Through 19th-century German Music

Reviewed by Nancy Plum for Town Topics, October 29, 2014

Concert Sunday, October 26, 2014 

As Princeton Pro Musica Artistic Director Ryan James Brandau wrote in his program notes to Sunday afternoon’s concert, his first two years with the ensemble deliberately excluded the lush choral music of German Romantic music. Dr. Brandau and the 100-voice Pro Musica Chamber Chorus took a trip through this repertory on Sunday afternoon at Richardson Auditorium, showing the range of compositional style and musical emotion from the turn of the 19th century to the turn of the 20th.

Dr. Brandau warmed up the audience with a solo violinist and orchestra, as Owen Dalby played the Romance in G by Ludwig van Beethoven. Beginning with clean double-stops, Mr. Dalby made the intricate but lyrical melody sound easy, maintaining a graceful dialog with the orchestra. Dr. Brandau kept things within a Classical framework, conducting a well-balanced orchestral ensemble. With Mr. Dalby providing a rich lower register of his instrument and broad musical strokes from the orchestra, this Romance closed in a stately manner.

This season’s Pro Musica Chamber Chorus made their first appearance to sing excerpts from Johannes Brahms’ light and spirited Liebeslieder Walzer. The sound suffered a bit from the space differential; the chorus was at the back of the hall with Eric Plutz and James Sparks playing piano four-hands as Dr. Brandau conducted from the front of the hall. Dr. Brandau maintained the same Classical lilt begun in the Beethoven work, with nicely blended men beginning the first excerpt. The seven of the 18 Walzers performed were not sung too fast, and the men in particular showed precise singing in “Am Donaustrande.” Soprano Blythe Quelin was featured in one of the Walzer, singing with a self-assured rich sound, especially in the lower register. Conducting without a baton, Dr. Brandau elicited clean diction and precise cadences from the chorus.

Dr. Brandau has continued the Pro Musica tradition of presenting orchestral works on a choral program, but rather than a large orchestral piece contrasting with a choral/orchestral work, Dr. Brandau interspersed smaller works within the program. Beethoven and Felix Mendelssohn both composed programmatic pieces based on Goethe’s poem “Meeresstille und Glückliche Fahrt” (“Calm Sea and Successful Voyage”) — Beethoven for chorus and orchestra and Mendelssohn for orchestra alone. The accompanying orchestra to Pro Musica presented Mendelssohn’s Meeresstille und Glückliche Fahrt with the calm of the sea evident from the start in the strings. Mendelssohn added winds sparingly, with four-note solos speaking well from the wind players. Dr. Brandau maintained an effective flow to the music, as the sea rose and fell with a finality of a clean trio of trumpets.

In contrast, the calm of the sea in Beethoven’s setting came from the full chorus of Pro Musica, immediately setting the mood as more reverent. The singers of Pro Musica brought out the imaginative setting of the text about the lack of wind on the sea, and came to life as the “waves part and the distance draws nearer.” This piece contained a great deal of drama and tension which was difficult to maintain, especially with the sopranos on a high “A” for an extended period of time.

Dr. Brandau journeyed to the end of the 19th century with Gustav Mahler’s solo song, “Ich bin der Welt abhanden gekommen,” sung by guest mezzo-soprano Sarah Nelson Croft. Mahler wrote luxuriantly for mezzo-sopranos, and scored this song particularly sensitively with accompanying English horn, played by Nathan Mills. Mahler’s music often falls into the depths, and Ms. Croft rose well vocally out of the deep, singing reflectively yet without despair. The instrumental combination of Mr. Mills, harpist Andre Tarantiles, and bassoonist Seth Baer brought elegant sonorities to accompany the solo voice. Mahler was a master of orchestration, and the English horn was the perfect sonority to combine with Ms. Croft’s rich voice.

The full chorus of Pro Musica joined forces again to close the concert with Brahms’s orchestrally accompanied choral song Schicksalslied. The lushness of this piece was well suited for Pro Musica’s forces, and the choral sound unfolded well. Although the sopranos sounded a bit stretched in the upper registers, an a cappella cadence was well handled by the entire chorus toward the end of the piece.

This concert was somewhat unusual in that it was not totally about the whole of Pro Musica — the full chorus only sang two small pieces, with a third of the program given over to orchestral works. As this new season embarks, audiences can hopefully look forward to hearing Princeton Pro Musica at its fullest.



Israel in Egypt a Triumph for Princeton Pro Musica

Review by Nancy Plum for Town Topics, May 14, 2014

Concert Sunday, May 11, 2014

For those curious about how Dr. Brandau has developed Pro Musica’s trademark choral sound, the “horse and his rider” choruses were worth the price of admission. Dr. Brandau took these two choruses like the wind, and the singers of Pro Musica did not miss a note in the choral coloratura, bringing the work to a typically Baroque glorious close. This oratorio may have been a handful for a choral singer, but the members of Pro Musica never let on that they were anything less than ready for more.



Treasures of the English Cathedral, performed by Princeton Pro Musica

Reviewed by Toby Grace for Out In Jersey magazine

Concert Saturday, March 8, 2014

Princeton Pro Musica’a March 15th performance in the gothic majesty of Princeton University Chapel, inspired awe and standing ovation enthusiasm in the packed audience. Performed with the crystal clarity and precision Pro Musica fans know to be the standard of this world-class organization, “Treasures of the English Cathedral” was an evening of choral splendor of a type not often heard in the United States. For one thing, English cathedral choral music is an expensive art form.  The cost of maintaining a full, traditional cathedral choral program, with its organists, directors, choir school and so on can easily run to a half million dollars a year – more at the “great” churches such as St. Paul’s and Westminster, whose choirs often feature in royal occasions.

In his introduction, Artistic Director Ryan James Brandau mentioned his year of graduate work at Kings College, Cambridge and his participation in its legendary chapel choir. The inspiration he received there was clearly evident in his creation of a program that echoed the glories of that famous choir and did so in a setting that fully completed the effect. Princeton Chapel is only very slightly smaller than that of King’s College and, a Jersey boy can claim, is its equal as an architectural and aural masterpiece. Any musician will tell you there is nothing like stone for creating perfect acoustics. Indeed this effect was  evident as the choir’s beautiful sound seemed to linger in the air for moments like a mist.

The evening’s program featured works by English composers Herbert Howells,  John Rutter, Gerald Finzi and Sir John Tavener. Tavener is the best known of these composers. During his career he became one of the most popular composers of his generation, most particularly for The Protecting Veil, which as recorded by cellist Steven Isserlis became a bestselling album, and Song for Athene which was sung at the funeral of Princess Diana. Howell’s work is perhaps lesser known but  conveys a deeply personal and intimate experience that, once the listener becomes in tune with, is riveting and quite unlike any other  composer’s effect.

The chapel’s famous 1928 Æolian-Skinner organ, restored by the N.P. Mander company in 1991, is among the very finest instruments of its kind in the U.S. Masterfully played by university organist Eric Plutz, the effect can range from an overwhelming tidal wave of sound, crashing through the vast, vaulted spaces of the chapel to the most delicate and mysterious of music.

“Mysterious” is in fact a good adjective to apply to this concert as the ethereal beauty of the chorus’s work , embellished by its soloists and special soprano soloist Melanie Russell, created a mystical atmosphere that was haunting as well as deeply moving. Artistic Director Brandau gave us an evening of rare excellence.

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