Friday Evening, February 8, 2019, at 7:30

The Juilliard School presents Juilliard Orchestra Barbara Hannigan , Conductor Meghan Kasanders , Soprano Emma Resmini , Flute

RICHARD STRAUSS (1864 –1949) “Salome’s Dance” from Salome , Op. 54

JOSEPH HAYDN (1732 –1809) Symphony No. 96 in D major, Hob. 1:96 (“The Miracle”) Adagio—Allegro Andante Menuet: Allegretto Vivace

Intermission

CLAUDE DEBUSSY (1862 –1918) Syrinx EMMA RESMINI , Flute

JEAN SIBELIUS (1865 –1957) Luonnotar MEGHAN KASANDERS , Soprano

BÉLA BARTÓK (1881 –1945) Suite from The Miraculous Mandarin

Performance time: approximately 1 hour and 25 minutes, including an intermission

The taking of photographs and the use of recording equipment are not permitted in this auditorium.

Information regarding gifts to the school may be obtained from the Juilliard School Development Office, 60 Lincoln Center Plaza, New York, NY 10023-6588; (212) 799-5000, ext. 278 (juilliard.edu/giving).

Alice Tully Hall Please make certain that all electronic devices are turned off during the performance. Notes on the Program and they “subdue the wild rhythm instantly and lead on to a soft and swaying tune” as by Frank Villella she begins her dance. As the music reaches its climax, “Salome seems to faint “Salome’s Dance” from Salome, Op. 54 for a moment, but pulls herself together RICHARD STRAUSS with new strength,” before finally “throw - Born June 11, 1864, in Munich, Germany ing herself at Herod’s feet.” Died September 8, 1949, in Garmisch, Germany Symphony No. 96 in D major, Hob. I:96 (“The Miracle”) After the failures of his first two attempts— JOSEPH HAYDN Guntram (1894) and Feuersnot (1901)— Born March 31, 1732, in Rohrau, Austria Strauss shocked the operatic world with Died May 31, 1809, in Vienna, Austria his adaptation of Oscar Wilde’s Salome, a “study in obsession … nightmare intensity Haydn was first employed by the [and] relentless build-up of horror, ” accord - Esterházy family in 1761, and for nearly 30 ing to biographer Michael Kennedy. years his talent flourished in their court. After the death of Prince Nicholas in 1790, A brief synopsis: upon hearing the offstage Nicholas’ son Anton dismissed most of the voice of the imprisoned Jochanaan, Salome musicians but retained the composer at a defies her stepfather King Herod and reduced salary. Haydn returned to his beloved orders the prophet brought to her. Salome Vienna that year and soon received an invi - confesses her desire for Jochanaan, but he tation from the impresario Johann Peter curses and refuses her advances. Herod Salomon to visit London. The composer’s has promised Salome whatever she wants music, already widely distributed by English if she dances for him, and she obliges, publishers, was tremendously popular there, slowly removing her seven veils until she and he accepted the offer. is naked. She then demands Jochanaan’s head on a silver platter, and after her Haydn arrived in England on January 1, request is fulfilled, the ecstatic Salome 1791, and immediately began work on a kisses it on the lips. Horrified, Herod new symphony. Salomon presented the orders his guards to kill the princess. first concert on March 11 at the Hanover Square Rooms during which Haydn led the Strauss’ orchestration for the opera calls orchestra in his new symphony in D major, for more than 100 players, including ex - billed as a “New Grand Overture.” panded string and brass sections, heckel - phone (in essence, a baritone oboe), The following day the Morning Chronicle re - celesta, harmonium, organ, and a barrage ported that the symphony was “pronounced of percussion. In “Salome’s Dance,” he by every scientific ear to be a most won - weaves together the primary motifs from derful composition; but the first move - the opera (“a hodgepodge of all the rest,” ment in particular rises in grandeur of according to Alma Mahler) in a brilliant subject, and in the rich variety of air and study of rhythm, color, and texture. passion, beyond any even of his own pro - ductions … and the Band performed it According to the stage directions in the with admirable correctness.” score, the musicians begin a “wild dance” as Salome stands motionless. After a Haydn would compose four symphonies, moment, she gives the musicians a sign nos. 93–96, for this first visit to London, including “The Surprise” (no. 94). For his his dying lamentation. This offstage flute second visit during the 1794–95 season, solo would be Debussy’s only contribution, he premiered eight more, nos. 97–104 . and Mourey never completed his play. (Although later cataloged as no. 96, “The Miracle” was the first of the London sym - Originally titled Flûte de Pan, the work was phonies composed and performed.) dedicated to Louis Fleury, who gave the first performance in Paris on December 1, But why the nickname “The Miracle”? At a 1913. The name was changed to Syrinx 1795 performance in the Hanover Square when it was published by Jobert in 1927, Rooms, several in the enthusiastic audi - likely not to conflict with the song of the ence rushed to the front of the hall to get same name in Debussy’s song cycle a better view of Haydn as he took his posi - Chansons de Bilitis . In barely three min - tion at the pianoforte, just before a huge utes, this staple of any flutist’s repertoire chandelier fell from the ceiling. Miraculously, explores the instrument as well as a per - no one was injured. The story was long former’s full capability of range, tone, and recounted in connection with a performance dynamics. To the listener, Syrinx feels like of the Symphony No. 96; however, it was an improvisation, as a simple motif is actually No. 102 on the program. Despite repeated and developed in contrasting reg - the misattribution, the nickname stuck. isters. It has since been transcribed for a parade of other instruments, including clar - Syrinx inet, saxophone, bassoon, trumpet, trom - CLAUDE DEBUSSY bone, and even the tuba. Born August 22, 1862, in Saint-Germain- en-Laye, France Luonnotar Died March 25, 1918, in Paris, France. JEAN SIBELIUS Born December 8, 1865, in Tavastehus, Debussy’s ballet Jeux —what would be the Finland composer’s final orchestral work—premiered Died September 20, 1957, in Järvenpää, on May 15, 1913, at the new Théâtre des Finland Champs-Élysées in Paris. Kullervo —a five-movement work for orches - Also that year Gabriel Mourey was at work tra, men’s chorus, and soloists—was on a three-act dramatic poem, Psyché, an Sibelius’ breakthrough success, and the adaptation of the Greek mythological story. composer led the premiere in Helsinki on He and Debussy had begun collaboration April 28, 1892. Emmy Ackté, a star of Finnish on a number of projects, and he again con - opera, was the mezzo-soprano soloist, and tacted his friend for incidental music for his her 16-year-old daughter Aino, an aspiring play. One of Mourey’s requests was a flute singer, was in the audience. solo to be performed from the wings dur - ing the final act, the last music played by After studying with her mother and at the the god Pan. In Mourey’s version, Pan Paris Conservatory, Aino Ackté made her hopelessly falls in love with and pursues debut as Marguerite in Gounod’s Faust at the nymph Syrinx, who does not return his the Paris Grand Opera in 1897, launching her affections. She flees from him, turning her - international career. Marguerite would also self into a water reed and hiding in the be the vehicle for her Metropolitan Opera marshes. In his desire to express the debut in 1904, and she performed the role a depth of his emotion, Pan cuts the reeds— dozen times with the company in New York killing his love—to make his pipes and play and on tour. Ackté later per formed Strauss’ Salome for the work’s premieres in Leipzig began sketches in August of that year. The in 1907 and London in 1910, and following piano score was completed by 1919 and the first performance in London, the com - revisions of the orchestration were incor - poser invited her to sing the part in porated by 1924 (he would put finishing Dresden and Paris. touches on the work in 1931).

In 1894 Sibelius began thinking about the After the Hungarian State Opera refused to Finnish mythological character of Luonnotar produce the premiere because of the risqué and by 1909 began sketches. Ackté had plot, the work was first given in Cologne repeatedly requested new works from the on November 27, 1926. It was nothing composer, and in 1913 (between work on short of a scandal. Most of the audience the Fourth and Fifth symphonies), he walked out and the production was imme - finally completed Luonnotar, a tone poem diately banned by mayor Konrad Adenauer for soprano and orchestra. The text is (the future first chancellor of West Germany). derived from the first section of the Future stagings were planned but ulti - Kalevala, which describes the creation mately canceled due to objections to the myth, and Luonnotar is the “Nature-Spirit” graphically violent and erotic story. In 1927 which existed before creation. Bartók created a suite— basically the first two-thirds of the pantomime—in hopes of Sibelius sent the completed score to Ackté future concert performances. in late August 1913; they rehearsed it together on September 3; and the premiere The composer’s 1919 summary of the plot: was given at the Three Choirs Festival in “Three thugs force a beautiful girl to lure men Gloucester, England, on September 10. into their den so that they can rob them. The Luonnotar illustrates a clear idea of Ackté’s first is a poor youth, the second is not bet - abilities, as it places extraordinary demands ter off, but the third, however, is a wealthy on the soprano, requiring superior breath Chinese. He is a good catch, and the girl control, the ability to negotiate frequent leaps entertains him by dancing. The Mandarin’s and drops, and a more than two-octave desire is aroused, he is inflamed with passion, range extending up to multiple high C-flats. but the girl shrinks from him in horror. [The suite ends here.] The thugs attack him, rob Suite from The Miraculous Mandarin him, smother him in a quilt, stab him with a BÉLA BARTÓK sword—but their violence is of no avail. Born March 25, 1881, in Nagyszentmiklós, They cannot cope with the Mandarin who Hungary continues to look at the girl with love and Died September 26, 1945, in New York City longing in his eyes. Finally, feminine instinct helps, and the girl satisfies the Mandarin’s Bartók first encountered Menyhért Lengyel’s desire; only then does he collapse and die.” libretto for the one-act pantomime The Miraculous Mandarin in the Hungarian liter - Bartók subsequently concentrated exclu - ary magazine Nyugat in 1917, just as he sively on concert works, and The Miraculous was completing his ballet The Wooden Mandarin was his final work for the theater. Prince and a few short months before the premiere of his opera Bluebeard’s Castle. Frank Villella is director of the Chicago He immediately contacted the author and Symphony Orchestra’s Rosenthal Archives. Texts & Translations Luonnotar The Nature-Spirit Lyrics: Jean Sibelius, based on the first Translation: Pietari Tamminen and poem of the Kalevala by Elias Lönnrot Richard Stanley © Kroma 2010

Olipa impi Ilman tyttö, Once a beauteous maid, kave, Luonnotar korea. virgin Daughter of the Ether.

Ouostui elämätään Forlorn and burdened, aina yksin ollessansa dwelling ever alone avaroilla autioilla. in the vastness of space.

Laskeusi lainehille, Descending on the swell, aalto impeä ajeli, waves bore the virgin onward, vuotta seitsemänsataa. seven hundred years.

Vieri impi, veen emona. Being mother of the waters. Uipi luotehet, etelät. Swam nor’west, south. Uipi kaikki ilman rannat. Swam the air’s every shore.

Tuli suuri tuulen puuska. Came mighty gusts, Meren kuohuille kohotti. Foaming the sea.

”Voi poloinen päiviäni. “Oh my wretched days. Parempi olisi ollut Better had I been Ilman impenä elää. maid of the Ether. Oi, Ukko Ylijumala, Oh Ukko, God on high, käy tänne kutsuttaissa.” hasten here I call.”

Tuli Sotka suora lintu, A seabird beauteous flew, lenti kaikki ilman rannat, straight o’er all air’s shores, lenti luotehet etelät. flew nor’west, south. Ei löyä pesän sioa. No nest she found.

”Ei, ei, ei. “No, no, no. Teenkö tuulehen tupani, Shall I nest upon the wind, aalloille asuinsijani. dwelling on the waves. Tuuli kaatavi, The wind shall overturn, aalto viepi asuinsijani.” The waves taking my dwelling.”

Niin silloin veen emonen Then the mother of the waters nosti polvea lainehesta. Did lift her knee from the billows. Siihen sorsa laativi pesänsä. The seabird on it set her nest, Alkoi hautoa. her eggs to hatch.

Impi tuntevi tulistuvaksi. The maid felt burning, Järkytti jäsenensä. Her limbs were quaking. Pesä vierähti vetehen. The nest slipped waterward, Katkieli kappaleiksi. and fell splintered.

Muuttuivat munat kaunoisiksi. Wondrous things the egg became. Munasen yläinen puoli The shell’s top dome ylhäiseksi taivahaksi. became the vault of heaven. Yläpuoli valkeaista The upper albumen, kuuksi kuumottamahan. the bright shining Moon. Mi kirjavaista tähiksi taivaalle. The motley parts, the firmament. Ne tähiksi taivaalle. Heavenly starlight.

Meet the Artists Gershwin. This season also sees the launch of her groundbreaking mentorship initiative, Equilibrium Young Artists, which also includes Hannigan conducting her first opera, The Rake’s Progress . She will be music director S A A

H of the Ojai Festival in California this summer,

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and in 2019 –20 she begins her tenure as R E

M principal guest conductor of the Gothenburg L E Barbara Hannigan Symphony in Sweden. Hannigan’s first album Embodying music with an unparalleled dra - as singer and conductor, Crazy Girl Crazy matic sensibility, soprano and conductor (Alpha Classics)—featuring works by Berio, Barbara Hannigan has collaborated with Berg, and Gershwin—won the 2018 Grammy directors and conductors such as Christoph for best classical solo vocal album, the 2018 Marthaler, Simon Rattle, Sasha Waltz, Kent Opus Klassik award for best solo vocal per - Nagano, Vladimir Jurowski, John Zorn, formance, the 2018 Klara award for best Andreas Kriegenburg, Andris Nelsons, international classical album and the 2018 Reinbert de Leeuw, David Zinman, Antonio Juno Award for classical album of the year. Pappano, Katie Mitchell, Kirill Petrenko, and She continues her relationship with Alpha Krszysztof Warlikowski. Hannigan opened Classics and long- time collaborator and the 2018 –19 season by singing the title rol e mentor, Dutch pianist Reinbert de Leeuw, in the world premiere of Michael Jarrell’s on the album Vienna: Fin de Siècle . The Bérénice at Paris Opera, conducted by Canadian musician holds honorary doctor - Philippe Jordan and directed by Claus Guth . ates from the University of Toronto and Hannigan continues her season singing let Mount Allison Uni versity and was appointed me tell you by Hans Abrahamsen, which to the Order of Canada in 2016. she premiered with the Berliner Philhar - moniker in 2013 and has now performed with 11 orchestras worldwide. She will be con - ducting Orchestre Phiharmonique de Radio

France, Cleveland Orchestra, Gothenburg N E H C Symphony, LUDWIG, Danish Symphony G

N Meghan

Orchestra, Toronto Sym phony Orchestra, A Y I Münchner Philharmoniker, and London J Kasanders Symphony Orchestra in programs including Meghan Kasanders is a second-year artist Haydn, Sibelius, Strauss, Berg, Bartók, and diploma in opera studies candidate at Juilliard, studying with Edith Wiens. Last performances of Schoenberg’s Pierrot spring she sang Oenone in Juilliard’s Lunaire in New York, Philadelphia, and Hippolyte et Aricie and will premiere the Washington, D.C. As an advocate of emerg - role of Donna Anna in this spring’s Don ing composers, she has given the world Giovanni . This past year, she made her premieres of more than 40 new works. Carnegie Hall debut singing in Bernstein’s She is pursuing her M.M. at Juilliard, study - Songfest under the direction of Marin ing with Jeffrey Khaner. She received her Alsop and made her role debut as Magda B.M. from the Curtis Institute of Music. Sorel in Opera Saratoga’s production of The Kovner Fellowship Consul . As a winner of the Metro politan Opera National Council Auditions and Mildred Juilliard Orchestra Miller International Voice Competition, she Juilliard’s largest and most visible student has worked with Opera Theatre of Saint performing ensemble, the Juilliard Orchestra, Louis, Des Moines Metro Opera, Opera is known for delivering polished and pas - Saratoga, Union Avenue Opera, and the sionate performances of works spanning Institute for Young Dramatic Voices. She the repertoire. Comprising more than 350 holds a master’s degree from Rice University. students in the bachelor’s and master’s Risë Stevens Scholarship, Barbara Rogers degree programs, the orchestra appears Agosin Scholarship, Hardesty and Beverley throughout the season in concerts on the Peck Johnson Fund stages of Alice Tully Hall, Carnegie Hall, David Geffen Hall, and Juilliard’s Peter Jay Sharp Theater. The orchestra is a strong partner to Juilliard’s other divisions, appear - D

R ing in opera and dance productions, as well A G

O as presenting an annual concert of world B

W premieres by Juilliard student composers. E R

D The Juilliard Orchestra welcomes an impres - N

A Emma Resmini sive roster of world-renowned guest conduc - Flutist Emma Resmini became the Hartford tors this season including John Adams, Marin Symphony Orchestra’s principal flutist in Alsop, Joseph Colaneri, Steven Osgood, 2018 and has performed as substitute Peter Oundjian, and Gil Rose, as well as flutist in the Philadelphia Orchestra. She faculty members Jeffrey Milarsky, Matthias has appeared as soloist with the National Pintscher, and David Robertson. The Juilliard Symphony Orchestra, Philadelphia Orchestra, Orchestra has toured across the U.S. and Dallas Symphony, Pittsburgh Symphony, throughout Europe, South America, and and Shenandoah Valley Bach Festival Asia, where it was the first Western con - Orchestra. She is a founding member of servatory ensemble allowed to visit and the Arcana New Music Ensemble, SoundLAB perform following the opening of the Ensemble, and Triacanthos Woodwind People’s Republic of China in 1987, return - Quintet. She was a 2016 NPR Performance ing two decades later, in 2008. Other Today young artist in residence. At the ensembles under the Juilliard Orchestra Curtis Institute of Music, Resmini was a umbrella include the conductorless Juilliard featured soloist in a tribute concert for Chamber Orchestra, the Juilliard Wind composer Kaija Saariaho, and as a member Orchestra, and the new-music groups of the Curtis 20/21 Ensemble she gave AXIOM and New Juilliard Ensemble. Juilliard Orchestra Barbara Hannigan , Guest Conductor

Violin Marco Sabatini Oboe Trombone Ashley Jeehyun Park, Taylor Shea Robert Nunes, Principal Kevin Carlson, Principal Concertmaster Lauren Siess Kate Wegener, Principal Carlos Jiménez Valerie Kim, Principal Elijah Spies Gabriel Young, Principal Fernández, Principal Second Sophia Sun Zeynep Alpan English Horn Bass Trombone Phoenix Avalon Cello Robert Nunes Aaron Albert Gabrielle Despres Yifei Li, Principal Gabriel Young Tal First Mari Coetzee Tuba Isabella Geis Zlatomir Fung Clarinet David Freeman Randall Goosby Ayoun Alexandra Kim Alec Manasse, Principal Jeremy Lap Hei Hao Derek Louie Keeheon Nam, Principal Percussion Sean Hsi Emily Mantone Ning Zhang, Principal Harrison Honor, Yigit Karatas Sung Moon Park Sydney Lusby Principal Stephen Kim Mark Prihodko Stella Perlic, Principal Heewon Koo Joseph Staten E-flat Clarinet Omar El-Abidin Sayuri Kuru Juliet Geraldine Wolff Keeheon Nam Toby Grace Eunsae Lee Simon Herron In Ae Lee Double Bass Bass Clarinet Euijin Jung Katherine Kyu Hyeon Lim Markus Lang, Principal Sydney Lusby Yibing Wang Yi Hsin Cindy Lin Yi-Hsuan Annabel Chiu Mai Matsumoto Michael Gabriel Bassoon Timpani Nathan Meltzer Jacob Kolodny Joshua Elmore, Principal Toby Grace Oliver Neubauer Zachary Marzulli Kyle Olsen, Principal Simon Herron Yaegy Park Dimitrios Mattas Steven Palacio, Principal Euijin Jung Grace Rosier Fox Myers Stella Perlic Jin Wen Sheu Justin Smith Contrabassoon Yibing Wang Sophia Steger Joshua Elmore Naoko Tajima Flute Harp Katherine Woo Viola Chan, Principal French Horn Deanna Cirielli, Principal Mira Yamamoto Hae Jee Ashley Cho, Jason Friedman, Principal Lenka Petrovic, Hikaru Yonezaki Principal Vincent Kiray, Principal Principal Chener Cherry Yuan Emma Resmini, Jaimee Reynolds, Principal Principal Piano Viola Cort Roberts, Principal Jiaying Ding Lisa Sung, Principal Piccolo Rae Gallimore Viola Chan Trumpet Celeste Hannah Geisinger Hae Jee Ashley Cho Wyeth Aleksei, Principal Jiaying Ding Lydia Grimes Emma Resmini Brandon Bergeron, Chang Wang Joshua Kail Principal Jeremy Klein Benjamin Keating Organ Emily Liu Alexander Pattavina

Administration Adam Meyer, Director, Music Division, and Deputy Dean of the College Joe Soucy, Assistant Dean for Orchestral Studies

Joanna K. Trebelhorn, Director Lisa Dempsey Kane, Principal Adarsh Kumar, Orchestra of Orchestral and Ensemble Orchestra Librarian Personnel Manager Operations Michael McCoy, Orchestra Geoffrey Devereux, Orchestra Matthew Wolford, Operations Librarian Management Apprentice Manager Daniel Pate, Percussion Coordinator

Preparation Coaches Diane Richardson, Music Preparation Kasperi Sarikoski, Finnish Language Consultant