Friday Evening, March 29, 2019, at 7:30

The Juilliard School presents Juilliard415 Rachel Podger , Violin and Director

FRANCESCO MARIA VERACINI (1690 –1768) Ouverture No. 1 in B-flat major Largo—Allegro—Largo—Allegro Menuett Sarabande Aire. Allegro

J.S. BACH (1685 –1750) Harpsichord Concerto in A major, BWV 1055 Allegro Larghetto Allegro ma non tanto FRANCIS YUN, Harpsichord

ANTONIO VIVALDI (1678 –1741) Concerto in C major for Two Flutes, RV 533 Allegro Largo Allegro BETHANNE WALKER and TAYA KÖNIG-TARASEVICH, Flutes

Intermission

Juilliard's full-scholarship Historical Performance program was established and endowed in 2009 by the generous support of Bruce and Suzie Kovner.

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

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Alice Tully Hall Please make certain that all electronic devices are turned off during the performance. GEORGE FRIDERIC HANDEL (1685 –1759) Concerto grosso in B-flat major, Op. 3, No. 1, HWV 312 Allegro moderato Largo Allegro RACHEL PODGER and RACHELL ELLEN WONG, Violins SYDNEY ZUMMALLEN, Cello

PIETRO ANTONIO LOCATELLI (1695 –1764) Concerto for Four Violins in F major, Op. 4, No. 12 Allegro Largo Allegro RACHEL PODGER, CHIARA FASANI STAUFFER, SHELBY YAMIN, and MANAMI MIZUMOTO, Violins JIN NAKAMURA, Cello

J.S. BACH Orchestral Suite No. 1 in C major, BWV 1066 Ouverture Courante Gavotte I, II Forlane Menuett I, II Bourrée I, II Passepied I, II

Approximate running time: 1 hour and 35 minutes, including an intermission

Notes on the Program violins he named St. Peter and St. Paul. “Veracini and Vivaldi had the honor of by Georgeanne Banker being thought mad for attempting in their works and performance what many a Ouverture No. 1 in B-flat major sober gentleman has since done un - FRANCESCO MARIA VERACINI censured,” Burney wrote, “but both these Born February 1, 1690, in Florence, Italy musicians, happening to be gifted with Died October 31, 1768, in Florence, Italy more fancy and more hand than their neighbors, were thought insane.“ Virtuosic, innovative, and cavalier, Francesco Veracini was anything but dull. “Veracini His Ouverture No. 1 in B-flat was premiered was so foolishly vain-glorious as frequently in Venice in 1716, while Prince Friedrich to boast that there was but one God and Augustus was in town recruiting singers and one Veracini ,” wrote Charles Burney in instrumentalists for his father’s court in 1789. Veracini leaves not only a dazzling Dresden. Impressing the prince with his catalog of vocal, instrumental, and theoretical artful writing, Veracini secured himself a brief works but also intriguing tales of his yet ill-fated position at his court, which ended competitive and colorful personality. Known with the aforementioned window incident. by his contemporaries as capo pazzo , or Perhaps with foreign tastes in mind, the crazy head, he survived both a shipwreck first movement opens with a glittering and a leap out of a second-story window, French overture fit for a king; the grandiose dabbled in alchemy, and performed across introduction is rife with expansive dotted Europe to great acclaim on the Stainer rhythms that give way to an enthusiastic fugal allegro. The sprightly gavotte features violinist known across Europe, Antonio dialogue between the strings and a trio of Vivaldi enjoyed a long tenure as maestro di two oboes and bassoon. In the minuet, violino of the Venetian Ospedale della Veracini creates an atmosphere redolent of Pietà, an orphanage for girls famous for the French countryside as the strings and stellar performances by its all-female bands double reeds engage in a pleasant dance. of musicians. It allowed Vivaldi to compose prolifically for international audiences. The Harpsichord Concerto in A major, celebrated flutist Johann Joachim Quantz, BWV 1055 who visited Venice in 1726, was inspired J.S. BACH by Vivaldi’s works. After hearing his violin Born March 31, 1685, in Eisenach, Germany concertos in Pirna in 1714, Quantz reflected, Died July 28, 1750, in Leipzig, Germany “as a then completely new species of musical pieces, they made more than a The exact provenance of Bach’s Harpsichord slight impression on me.” Concerto in A major is difficult to pinpoint. Copied between 1737 and 1739 during his Although the exact date of composition is tenure as director musices in Leipzig, this unknown, the Concerto for Two Flutes work appears fourth in a collection of may have originated in the 1720s, when seven keyboard concertos. At this same the transverse flute appeared by name in time, while on a two-year hiatus from his several other Vivaldi works. The flute had directorship of the Collegium Musicum, by then grown more fashionable than its Bach produced seminal keyboard works, counterpart, the recorder. Though it was including his Clavier-Übung III . Considering widely popular for centuries, some found this context and the idiosyncrasies of the the facial contortion necessary to play it to writing, scholars speculate that this concerto be unsightly and salacious. “Don’t drive us may have its origins as a solo keyboard mad with talk about recorders,” Isabella work or, as musicologist Donald Tovey d’Este wrote to her instrument builder in suggests, as a work for solo oboe d’amore. 1497. “We don’t want it.” The concerto opens as the flutes intertwine in heated This concerto is a textural smorgasbord discussion before joining the strings in that explores the lyrical capabilities of the gentle repose. The dreamy Largo offers harpsichord. The second movement features soloists and audience a moment of calm a lament bass, employed by Bach in other release before the final Allegro engages the works including Weinen, Klagen, Sorgen, flutes in one last display of rustic virtuosity. Zagen (1714). Here, it is shared by the violins and the continuo, whose sorrow is Concerto grosso in B-flat major, Op. 3, heightened as they move to the keys of No. 1, HWV 312 C- sharp minor, B minor, and A major. GEORGE FRIDERIC HANDEL Born February 23, 1685, in Halle, Concerto in C major for Two Flutes, Germany RV 533 Died April 14, 1759, in London, England ANTONIO VIVALDI Born March 4, 1678, in Venice, Italy Handel’s Concerti Grossi, Op. 3, teaches Died July 28, 1741, in Vienna, Austria us to not judge a work by its cover page. It was published by John Walsh in 1734 in “If acute and rapid tones are evils, Vivaldi London, yet it is plausible that this has much of the sin to answer for,” Burney compendium was neither assembled nor wrote. An ordained priest and virtuoso approved by the composer. Nicknamed the “hautboy concertos” for their use of the and performed at the chapel of Cardinal oboe, this collection was likely a slapdash Ottoboni, one of Handel’s patrons whose compilation of Handel’s extant operatic and orchestra had once been led by Corelli. In instrumental music. Walsh may have been 1723 he set off to showcase his talents capitalizing on both Handel’s fame and the across Italy and Germany. Adorned in blue explosive popularity of Corelli’s Concerti silk with a sword at his side, Locatelli Grossi, Op. 6, an edition of which he had performed to the delight of the European published nearly 20 years before. aristocracy before settling in Amsterdam three years later. There, he spent the final Scholars associate the music of the decades of his life performing privately, Concerto Grosso No. 1 in B flat major with composing, and publishing music. Handel’s brief engagement in Hanover in 1710. There, he composed for the court’s The Concerto for Four Violins was published ensemble of 18 musicians, including a in Amsterdam in 1735. It is the final work group of oboists and three bassoonists. of his curious Op. 4 that juxtaposes six Scored for violin I and II, viola I and II, two introduzione teatrali , or Neapolitan opera oboes, two recorders, two bassoons, and overtures, with six concerti grossi. Dedicated basso continuo, this work offers the to the wealthy administrator and amateur listener an orchestral potpourri of colors musician Abraham Vermeeren, the motivic and textures. The oboes emerge like material and engaging instrumentation of trumpets, heralding the beginning of a the 12th concerto was perhaps inspired by buoyant, conversational Allegro . The Largo the eighth and tenth concertos of Vivaldi’s presents a soft and melancholic G minor L’Estro Armonico , published in Amsterdam in introduced by two recorders and the 1711. The four solo violins enjoy an egalitarian bassoons. The final Allegro is in a resolute platform throughout the work. Ideas bounce G minor. Bolstered by their orchestral around the group, and the closing Allegro backup band, a double reed trio, a solo features spirited, if not mischievous, play violin, and two chattering bassoons pull among the soloists. It is delightful to picture this brief movement to an athletic close. a band of friends convening together one evening to perform this work as much for Concerto for Four Violins in F major, one another as for their listeners. Op. 4, No. 12 PIETRO ANTONIO LOCATELLI Orchestral Suite No. 1 in C major, Born September 3, 1695, in Bergamo, Italy BWV 1066 Died March 30, 1764, in Amsterdam, J.S. BACH Netherlands “Even if it cannot be said that the Germans Pietro Locatelli’s legacy is still felt within have produced an individual style different the left hands of present-day violinists. from that of other nations, they are all the Known for their pyrotechnic virtuosity, more capable in taking whatever they like Locatelli’s performances thrilled European from another style,” Quantz wrote in 1752, listeners, his works pushed the boundaries “and they know how to make use of the of violin technique, and his legacy inspired good things in all types of foreign music.” future generations of violinists, including Assuming the form of a French dance Niccolò Paganini, to embrace the limitless suite, orchestral suite, or ouvertüre (as it is possibilities that lie at the fingertips. At age called after its first movement) was 16 Locatelli headed southward to Rome, popularized in Germany by the disciples of where he studied with Giuseppe Valentini Jean Baptiste Lully. No autograph manuscrip t of Bach’s Orchestral Suite No. 1 survives, while the double reeds assume the melodic and though the work was copied in re sponsibilities. The forlane, a Friulian folk Leipzig, scholarship suggests that it dance, evokes the atmosphere of a bustling instead dates from his years in C öthen Italian metropolis as the strings buzz over between 1717 and 1723. the buoyant continuo. Featuring only the double reed trio, the second bourrée The work is a musical Grand Tour: French stands in striking contrast to the first, dance forms are laced with Italianate idioms, foreshadowing the minuet and trio form creating a glorious sound that is so distinctly embraced by later composers including Bach’s, and by extension, German. Despite Haydn and Mozart. Bach condenses the having had a dramatic street fight with a writing to three main voices in the second bassoonist earlier in his life, here Bach writes passepied: The violins join forces with the brilliantly for the bassoon and oboes, who violas to sing an alto melody as the oboes return throughout the suite with dazzling soar above in florid unison, grounded by lines that are as engaging for the listener as the repeated figures in the continuo. they are for the performers. This magnificent suite explores the boundless possibilities of First-year baroque bassoonist Georgeanne the orchestra. The second gavotte includes Banker holds a Historical Performance an intriguing horn call played by the strings scholarship.

Meet Rachel Podger with Robert Levin, Jordi Savall, Masaaki Suzuki, Kristian Bezuidenhout, Robert Hollingworth and I Fagiolini, European Union Baroque Orchestra, English Concert, Or-

L chestra of the Age of Enlightenment, Aca- A W

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E Berwick Academy, Handel and Haydn H T Society, Berkeley Early Music, Oregon Bach Rachel Podger has established herself as a Festival, and Phil harmonia Baroque Or- leading interpreter of the Baroque and chestra. She has won numerous awards, Classical. She was the first woman to be including two Baroque Instrumental Gramo - awarded the prestigious Royal Academy of phone Awards for La Stravaganza (2003) Music/Kohn Foundation Bach Prize in 2015 and Biber Rosary Sonatas (2016), Diapason and is the 2018 Gramophone Artist of the d’Or de l’année in the Baroque Ensemble Year. A creative programmer, she is the category for her recording of the La Cetra founder and artistic director of Brecon Vivaldi concertos (2012), and BBC Music Baroque Festival and her ensemble Brecon Magazine awards in the instrumental cate- Baroque. The 2018 –19 season features gory for Guardian Angel (2014) and the con- per formances with Västerås Sinfonietta, certo category for the complete Vivaldi L’Estro Trondheim Barokk, Juilliard415, and an East Armonico concertos (2016). Podger and Asia tour with the Orchestra of the Age Brecon Baroque released the album Vivaldi Le Enlightenment; in 2020 there will be a tour of Quattro Stagioni on Channel Classics in 2018. Bach’s cello suites transposed for violin in A recording of Bach’s cello suites transposed the Netherlands and performances of for the violin will be released this year. A Beethoven sonatas. As a director and as a dedicated educator, Podger holds honorary soloist, Podger has enjoyed collaborations positions at the Royal Academy of Music, where she holds the Micaela Comberti Chair where she holds the Jane Hodge Foundation for Baroque Violin (founded in 2008), and the International Chair in Baroque Violin. She is Royal Welsh College of Music and Drama, an artist in residence at Juilliard.

Juilliard Historical Performance Juilliard’s full-scholarship Historical Per- performers and scholars in the field. formance program offers comprehensive Frequent collaborations with Juilliard’s study and performance of music from Ellen and James S. Marcus Institute for the 17th and 18th centuries on period Vocal Arts, the integration of modern- instruments. Established and endowed in instrument majors outside of the Historical 2009 by the generous support of Bruce Performance program, and national and and Suzie Kovner, the program is open to international tours have introduced new candidates for master of music, graduate repertoires and increased awareness of diploma, and doctor of musical arts historical performance practice at Juilliard degrees. A high-profile concert season of and beyond. Alumni of Juilliard Historical opera, orchestral, and chamber music is Performance are members of many of the augmented by a performance-oriented leading period-instrument ensembles, curriculum that fosters an informed including the Portland Baroque Orchestra, understandin g of the many issues unique Les Arts Florissants, Mercury, and to period-instrument performance at the Tafelmusik, and they have also launched level of technical excellence and musical such new ensembles as the Sebastians, integrity for which Juilliard is renowned. House of Time, New York Baroque In- The faculty comprises many of the leading corporated , and New Vintage Baroque.

Administration Robert Mealy , Director Benjamin D. Sosland , Administrative Director Rosemary Metcalf , Assistant Administrative Director Annelise Wiering , Coordinator for Scheduling and Educational Support

Faculty Violin Flute Harpsichord Secondary Lessons Elizabeth Blumenstock Sandra Miller Richard Egarr Nina Stern (recorder) Robert Mealy Béatrice Martin John Thiessen Cynthia Roberts Oboe Peter Sykes (trumpet) Gonzalo Ruiz Todd Williams (horn) Cello Continuo Skills Phoebe Carrai Bassoon Avi Stein Artists in Residence Dominic Teresi William Christie Viola da Gamba Core Studies Monica Huggett Sarah Cunningham Plucked Instruments Thomas Forrest Kelly Rachel Podger Daniel Swenberg Robert Mealy Jordi Savall Bass Charles Weaver Douglas Balliett Historical Theory Charles Weaver About Juilliard415 Since its founding in 2009, Juilliard415, the American debut with concerts in Bolivia, a school’s principal period-instrument en - tour sponsored by the U.S. Department of semble, has made significant contributions State. The 2017 –18 season was notable to musical life in New York and beyond, for a side-by-side collaboration with Phil- bringing major figures in the field of early harmonia Baroque in San Francisco, as music to lead performances of both rare well as return visits by Rachel Podger, and canonical works of the 17th and 18th William Christie, and Maestro Suzuki, and centuries. The many distinguished guests the rare opportunity to see a fully staged who have led Juilliard415 include Harry production of Rameau’s Hippolyte et Bicket, William Christie, Monica Huggett, Aricie . In a concert together with the Bach Ton Koopman, Nicholas McGegan, Jordi Collegium Japan, the ensemble played a Savall, and Masaaki Suzuki. Juilliard415 historic period-instrument performance tours extensively in the U.S. and abroad, of Mendelssohn’s Elijah at the Leipzig having performed on five continents with Gewandhaus in Germany. In an innovativ e notable appearances at the Boston Early departure from past seasons, new works Music Festival, Leipzig Bach Fest, and for period instruments are a focus for Utrecht Early Music Festival (where 2018 –19. With the Yale Schola Cantorum, Juilliard was the first-ever conservatory in Juilliard415 tours Scandinavia, where it residence), and on a ten-concert tour of performs a new oratorio by Paweł New Zealand. With its frequent musical Łuskaszewski, who was commissioned collaborator the Yale Institute of Sacred for the occasion by Yale. The ensemble Music, the ensemble has played throughout performed alongside new choreography Italy, Japan, Southeast Asia, the U.K., and for Juilliard dancers in an all-Rameau India. Juilliard415, which takes its name program led by Robert Mealy and plays from the pitch commonly associated with newly commissioned works for period the performance of Baroque music (A=415), string quartet in The Seven Last Words has performed major oratorios and Baroque Project , a Holy Week concert at the operas every year since its founding. This Cathedral of St. John the Divine. This season the ensemble presents Dido and season also welcomes return visits of Aeneas at Opera Holland Park in London William Christie, Monica Huggett, and and the Royal Opera House of Versailles. Masaaki Suzuki, and the Juilliard debuts of The ensemble recently made its South Paul Agnew and Alfredo Bernardini.

Juilliard415 Rachel Podger , Director and Violin

Violin 1 Viola Flute Harpsichord Rachel Podger Rebecca Nelson Bethanne Walker Caitlyn Koester Shelby Yamin Sergio Munoz Leiva Taya König-Tarasevich Keats Dieffenbach Theorbo Manami Mizumoto Cello Oboe/Recorder Joshua Stauffer Ethan Lin Sydney ZumMallen Andrew Blanke Jin Nakamura Matthew Hudgens Violin 2 Welvin Potter Rachell Ellen Wong Double Bass Chloe Kim Jonathan Luik Bassoon Chiara Fasani Stauffer Georgeanne Banker Ruiqi Ren BOARD OF TRUSTEES Jazz Wynton Marsalis, Director of Juilliard Jazz Bruce Kovner, Chair Aaron Flagg, Chair and Associate Director J. Christopher Kojima, Vice Chair Katheryn C. Patterson, Vice Chair Ellen and James S. Marcus Institute for Vocal Arts Julie Anne Choi Ellen Marcus Brian Zeger, Artistic Director Kent A. Clark Greg Margolies Kirstin Ek, Director of Curriculum and Schedules Kenneth S. Davidson Nancy A. Marks Monica Thakkar, Director of Performance Activities Barbara G. Fleischman Stephanie Palmer McClelland Keith R. Gollust Christina McInerney Lila Acheson Wallace Library and Doctoral Fellows Program Mary Graham Lester S. Morse Jr. Jane Gottlieb, Vice President for Library and Information Resources; Joan W. Harris Stephen A. Novick Director of the C.V. Starr Doctoral Fellows Program Matt Jacobson Susan W. Rose Jeni Dahmus Farah, Director, Archives Edward E. Johnson Jr. Jeffrey Seller Alan Klein, Director of Library Technical Services Karen M. Levy Deborah Simon Teresa E. Lindsay Sarah Billinghurst Solomon Pre-College Division Laura Linney William E. "Wes" Stricker, MD Yoheved Kaplinsky, Artistic Director Michael Loeb Yael Taqqu Ekaterina Lawson, Director of Admissions and Academic Affairs Vincent A. Mai Damian Woetzel Anna Royzman, Director of Performance Activities

Evening Division Danielle La Senna, Director TRUSTEES EMERITI Enrollment Management and Student Development June Noble Larkin, Chair Emerita Joan D. Warren, Vice President Kathleen Tesar, Associate Dean for Enrollment Management Mary Ellin Barrett Elizabeth McCormack Barrett Hipes, Associate Dean for Student Development Sidney R. Knafel Sabrina Tanbara, Assistant Dean of Student Affairs Joseph W. Polisi, President Emeritus Cory Owen, Assistant Dean for International Advisement and Diversity Initiatives William Buse, Director of Counseling Services Katherine Gertson, Registrar JUILLIARD COUNCIL Tina Gonzalez, Director of Financial Aid Teresa McKinney, Director of Community Engagement Mitchell Nelson, Chair Camille Pajor, Title IX Coordinator Michelle Demus Auerbach Terry Morgenthaler Todd Porter, Director of Residence Life Barbara Brandt Howard S. Paley Howard Rosenberg MD, Medical Director Brian J. Heidtke John G. Popp Beth Techow, Administrative Director of Health and Counseling Services Gordon D. Henderson Grace E. Richardson Peter L. Kend Jeremy T. Smith Development Younghee Kim-Wait Alexander I. Tachmes Alexandra Wheeler, Vice President and Chief Advancement Officer Sophie Laffont Anita Volpe Stephanie Gatton, Acting Director of Special Events Jean-Hugues Monier Katie Murtha, Director of Major Gifts Lori Padua, Director of Planned Giving Ed Piniazek, Director of Development Operations Edward Sien, Director of Foundation and Corporate Relations EXECUTIVE OFFICERS Rebecca Vaccarelli, Director of Alumni Relations AND SENIOR ADMINISTRATION Public Affairs Damian Woetzel, President Maggie Berndt, Acting Director of Public Affairs Benedict Campbell, Website Director Office of the President Thiago Eichner, Design Director Jacqueline Schmidt, Vice President and Chief of Staff Jessica Epps, Marketing Director Kathryn Kozlark, Special Projects Producer Susan Jackson, Editorial Director

Office of the Provost and Dean Office of the Chief Operating Officer and Corporate Secretary Ara Guzelimian, Provost and Dean Lesley Rosenthal, Chief Operating Officer and Corporate Secretary José García-León, Dean of Academic Affairs and Assessment Christine Todd, Vice President and CFO Cameron Christensen, Associate Vice President, Facilities Management Dance Division Kent McKay, Associate Vice President for Production Alicia Graf Mack, Director Betsie Becker, Managing Director of K-12 Programs Taryn Kaschock Russell, Associate Director Michael Kerstan, Controller Katie Friis, Administrative Director Irina Shteyn, Director of Financial Planning and Analysis Nicholas Mazzurco, Director of Student Accounts/Bursar Drama Division Nicholas Saunders, Director of Concert Operations Evan Yionoulis, Richard Rodgers Director Tina Matin, Director of Merchandising Richard Feldman, Associate Director Kevin Boutote, Director of Recording Katherine Hood, Managing Director Administration and Law Music Division Maurice F. Edelson, Vice President for Administration and General Adam Meyer, Director, Music Division, and Deputy Dean of the Counsel College Myung Kang-Huneke, Deputy General Counsel Bärli Nugent, Assistant Dean, Director of Chamber Music Carl Young, Chief Information Officer Joseph Soucy, Assistant Dean for Orchestral Studies Steve Doty, Chief Technology Officer Mario Igrec, Chief Piano Technician Dmitriy Aminov, Director of IT Engineering Joanna K. Trebelhorn, Director of Orchestral and Ensemble Jeremy Pinquist, Director of Client Services, IT Operations Caryn G. Doktor, Director of Human Resources Adam Gagan, Director of Security Historical Performance Helen Taynton, Director of Apprentice Program Robert Mealy, Director Benjamin D. Sosland, Administrative Director; Assistant Dean for the Kovner Fellowships