Tuesday Evening, November 12, 2019, at 7:30

The presents Juilliard Pre-College Orchestra

Nico Olarte-Hayes, Conductor Haozhou Wang, Piano

PAUL DUKAS (1865–1935) Fanfare from La Péri

RENE ORTH (b. 1985) Chasing Light

SERGEI PROKOFIEV (1891–1953) Piano Concerto No. 3 in C major, Op. 26 Andante—Allegro Tema con variazioni Allegro ma non troppo HAOZHOU WANG, Piano

Intermission

SAMUEL BARBER (1910–81) Essay No. 1 for Orchestra, Op. 12

AARON COPLAND (1900–90) Four Dance Episodes from Rodeo Buckaroo Holiday Corral Nocturne Saturday Night Waltz Hoe-Down

Performance time: approximately 1 hour and 30 minutes, with no intermission

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. Notes on the Program Rene Orth: Chasing Light by Rene Orth (Tonight’s program notes were written by students in the Juilliard Pre-College Honors Sometimes in life we find ourselves running Seminar taught by Ira Taxin and Daniel Ott.) a seemingly impossible race, just trying to get to that light at the end of the tunnel. Paul Dukas: Fanfare from La Péri Deadlines, stress, and pressure combined by Chinmay Deshpande to create this sort of sensation during my writing of Chasing Light. The majority of the Paul Dukas was one of the most enigmatic piece depicts that frantic experience with composers of the early 20th century. Despite small glimpses of hope, but the reward a long life and outwardly successful career comes near the end, when that moment of as professor of composition at the Paris Con- relief and peace is finally achieved. servatoire, he published only 14 pieces over the 70 years of his life. He was an extraordi- Originally from Dallas, composer Rene narily self-critical man, and his perfectionism Orth is a graduate of the University of made him extremely resistant to publish- Louisville and Curtis Institute of Music. She ing, or even completing, most of his music. composed Chasing Light in 2015 for the Nevertheless, the size of his oeuvre has Curtis Symphony Orchestra. not prevented his attaining the highest rank of popularity through his piece L’apprenti Sergei Prokofiev: Piano Concerto No. 3 sorcier, whose inclusion in the Disney film in C major, Op. 26 Fantasia catapulted the work to the public by Lucas Amory consciousness. Another is the ballet La Péri, Dukas’ last surviving work, for which this fan- The young Sergei Prokofiev, then a noted fare originally served as a kind of overture. graduate of the prestigious St. Petersburg The work was written in 1911 and premiered Conservatory, left his homeland in 1917 in 1912 in Paris. The fanfare and the ballet are shortly after the Russian Revolution, seek- rather conservative in style. Largely rejecting ing to bring his compositions and pianistic the recent advances of his more avant-garde abilities to the United States. His trouble contemporaries, Dukas sticks firmly to the tri- finding a way to premiere his new opera, adic structures that had been the backbone of The Love for Three Oranges, led him to Western music for the past three centuries. move to France in early 1920. While there, The fanfare opens with a bold, dramatic in- he returned to a number of earlier works, troduction, followed by a broad melody. After including the Third Piano Concerto. Both some development, the piece transitions to a the opera and the piano concerto were softer, more expressive section, which sud- ultimately premiered in December 1921 in denly grows into a restatement of the intro- Chicago. The piano concerto was not that duction, closing this exciting introduction to well received at first. Prokofiev always com- the ballet. plained that the American public did not understand his work. However, the concer- Chinmay Deshpande, a senior at Collegiate to really took off a year later following the School in , is a second-year second performance, conducted by Serge composer at Juilliard Pre-College, where Koussevitsky in Paris. Today, it remains an he studies with Eric Ewazen. He also essential staple of the genre, popular with studies piano with Marina Obukovsky; his both pianists and audiences. Despite the in- other interests include classical languages timidating solo piano part, this concerto also and literature. elevates the orchestra to on-par status with the pianist. The two forces are almost al- for Orchestra. The successful performance ways working in tandem: In fact, Prokofiev was a large contributor to Barber’s early described the outer sections of the last international recognition. Later in his life, movement as an “argument” between the Barber wrote two other orchestral es- two. The piece begins with a lyrical clarinet says, prompting the name of the first to duet answered by hushed, glittering strings. be changed to Essay No. 1 for Orchestra. An ecstatic upward surge from the orches- Barber’s music is celebrated for its lyricism tra then leads into a lively, joyous section and use of expressive romantic styles in a with the pianist at the helm. After a witty time when these aspects of composition march with castanets, the opening material were being abandoned for more experi- returns. Prokofiev caps off the first move- mental forms. Consequently, his works ment with a flourish of the upward surge, have been criticized along those lines for pushing toward the double bar without a being conservative or not experimental cadenza. The second movement is a theme enough. The genre of an orchestral “es- and variations based on sketches from al- say,” however, is one that Barber seems to most a decade earlier. A flute and clarinet have invented: More than a decade prior to lead the orchestra in an elegant prome- composing the Essay No. 1 for Orchestra, nade, and five highly contrasting variations he had written three essays for piano. This follow before the theme is reprised. The essay begins with low strings yearningly finale starts quietly with bassoons and lower introducing the work’s dense, sustained strings tapping out a waltz. The dance soon main theme (or “thesis”). Violins soon join, grows agitated, giving way to two inner and the brass also has a chance to develop themes: one chorale-like and lyrical intro- the line before a more spirited middle duced by the winds, the other simple and section begins. Even in this more delicate childlike played by the piano. After the first portion of the piece, Barber incorporates of these themes is developed to a climax, the thesis, placing it over a moving line the agitated dance suddenly comes back in the winds. This eventually peaks be- with urgency. A virtuosic and electrifying fore another restatement of the theme, coda ensues, and at the zenith of this final finally with the entire orchestra. The piece section, the concerto triumphantly cuts off. ends on a question mark, a seemingly inconclusive note held by the violins, the Lucas Amory is a sixth-year piano major at kind of ending that leaves listeners feeling Juilliard Pre-College, studying with Julian as though they must hold their breath. Martin. A senior at Stuyvesant High School, he enjoys reading, chess, composing, Nadira Novruzov is a senior at the Bard and conducting. High School Early College in Manhattan and studies flute with Bart Feller at Juilliard Samuel Barber: Essay No. 1 for Orchestra, Pre-College. In her spare time, she enjoys Op. 12 reading, singing, and running. by Nadira Novruzov : Four Dance Episodes In 1937, renowned conductor Arturo from Rodeo Toscanini was in search of a short Ameri- by Felicia He can work for the upcoming debut season of the NBC Symphony Orchestra. Upon The rodeo calls up a classic image of Amer- consulting conductor Artur Rodzinski, a ican culture: frenzied frontier expansion, young Samuel Barber was called upon free-spirited cowboys, and the generally to write the dark, intense Essay No. 1 wild, spontaneous nature of the Old West. Few things convey this Americanism more courtliness, a calm prairie, or a foot-stomp- plainly than Aaron Copland’s Rodeo, a ing dance. For example, “Buckaroo” mimics five-section ballet composed in 1942 and re- the galloping of horses through its jazzy, syn- arranged a year later into a suite, Four Dance copated rhythms, while the brass and wood- Episodes from Rodeo, which is the work winds represent contrasts between the performed most often today. Copland was cowboys and cowgirls. “Corral Nocturne” at first reluctant to compose yet another takes further advantage of the lyrical wood- “cowboy ballet” (like his previous Billy the winds to convey the cowgirl’s unrequited Kid), but choreographer love. “Saturday Night Waltz” begins with convinced him that she would create an the familiar sound of tuning strings before unconventionally American ranch love story. the oboe introduces the innocent waltzing Rodeo’s storyline is simple, centering on of cowboys and cowgirls. The well-known a cowgirl whose tomboy persona falls “Hoe-Down” makes full use of its two away when she dons a dress and shares a borrowed folk tunes before slowing the triumphant kiss with her heartthrob, the raucousness into a big chord, marking the Champion Roper. The ballet stands out for long-awaited kiss between the cowgirl and its folksiness and raw, almost innocent in- the Champion Roper. The “Bonyparte” teractions between characters. Copland theme then returns for a bravado-filled, conveyed this in the score by incorporating Hollywood-style conclusion. The work American folk tunes and, uniquely, keep- marks Copland’s success at achieving his ing them almost fully intact. The result vision of departing from the European tra- is the emergence of easily recognizable dition: Rodeo represents the pure, unabash- songs such as “Sis Joe” and “If He’d Be a edly American style that retains a strong Buckaroo by Trade” in “Buckaroo Holiday” legacy even today. and the square dances “Bonyparte” and “McLeod’s Reel” in “Hoe-Down.” Even Felicia He is a senior at the Brearley School if one doesn’t recognize the specific folk and studies piano with Yoheved Kaplinsky tunes, Copland uses rhythms and textures at Juilliard Pre-College. Her hobbies include to convey the mood, whether it be comic reading, baking, and skiing. Meet the Artists Nico was born in Cambridge, Massachu- setts and began his musical studies with his mother at the age of three. He completed pre-college studies under cellists David Soyer and Harvey Shapiro and studied for eight years at the Perlman Music Program under Ronald Leonard. Nico then graduated with honors from the Harvard/NEC Joint Nico Olarte-Hayes Program, simultaneously earning an A.B. Recipient of the 2016-18 Leonore Annen- in physics from Harvard College, where he berg Arts Fellowship, cellist Nico Olarte- studied music with Robert Levin, and his Hayes (Pre-College ‘07) has given solo recit- M.M. from the New England Conservatory, als at Lincoln Center and the Neue Galerie where he studied with Laurence Lesser. in New York City, in Memphis’ Artists As- cending Series and New York’s Young Mu- sician’s Forum, and throughout the Neth- erlands and Japan. He has played on Live From Lincoln Center (PBS) and the Kennedy Center Honors (CBS) in tribute to violinist Itzhak Perlman, a longtime mentor, and has collaborated frequently with Perlman, Haozhou Wang most notably at the grand opening of the Haozhou Wang, who began studying piano Kennedy Center’s Family Theater. Other at age three, is enrolled in Juilliard’s Pre- collaborations include performances with College under the tutelage of Matti Raekallio. mezzo-soprano Denyce Graves in Zankel An accomplished pianist, Wang traveled to Hall, pianist Christopher O’Riley in Boston’s the Hong Kong Academy for Performing Arts Jordan Hall, and violinist Ryu Goto in sold- in 2017 by invitation of the USA Music and out tours of Japan and the U.S., broadcast Art Exchange. That same year, he won the on PBS, NPR, and Fuji TV, respectively. Juilliard Pre-College Bachauer and Nordmann Piano Competition, receiving a full-tuition Equally accomplished as a conductor, scholarship as first prize. Further accolades Olarte-Hayes won the Vincent C. LaGuardia include first prize at the 2018 William Knabe Conducting Competition and served as International Young Artist Piano Competition; music director of New York’s IconoClassic first prize at the 7th Bösendorfer and Yamaha Opera and Harvard’s Dunster House Opera, USASU International Piano Competition in leading fully staged productions of Werther 2015 (in Phoenix); grand prize at the 5th and Albert Herring. He has led the Rochester Cadenza National Cup Chinese Youth Piano Philharmonic Orchestra, Baltimore Chamber Competition in 2013; and first prize at the 2nd Orchestra, Sofia Festival Orchestra, Bohu- Italy Imola International Piano Competition slav Martinu˚ Philharmonic, Savaria Sympho- (in Beijing). A senior at the PA Leadership ny Orchestra, Camerata Antonio Soler, and Charter School, Wang enjoys playing soccer Salzburg Chamber Soloists as a conductor in and swimming when not practicing piano. In numerous international workshops, including his free time, he volunteers as an interpreter the Tanglewood Festival Conducting Seminar. at music festivals in the U.S. for students He also led the New World Symphony in a from China. workshop with Music Director Michael Tilson Thomas and has served as cover conductor for the New Jersey Symphony Orchestra. About Juilliard’s Preparatory Division The cornerstones of Juilliard’s Preparatory Division are two Saturday music programs, Juilliard Pre-College and the Music Advancement Program.

Juilliard Pre-College One of the foremost music preparatory programs in the world, Juilliard Pre-College, which celebrated its centennial last season, offers a comprehensive conservatory-style music program for students ages 8 to 18 who exhibit the talent, potential, and ambition to pursue music study at the college level. The selective program includes instruction in a chosen major, academic study of music, and solo and ensemble performances. Recognizing the importance of early development and discipline in the music field, the program provides a caring, collaborative, and challenging atmosphere where artistic gifts and technical skills can flourish. Approximately 300 students are enrolled in Pre-College, which is led by Artis- tic Director Yoheved Kaplinsky.

Music Advancement Program Juilliard’s Music Advancement Program (MAP) is an instrumental instruction program for students from New York City’s five boroughs and the tristate area who exhibit great mu- sical potential. The program actively seeks students from diverse backgrounds underrep- resented in the classical music field and is committed to enrolling the most talented and deserving students regardless of their financial background. Through a comprehensive curriculum, performance opportunities, and summer study partnerships, MAP students gain the necessary skills to pursue advanced music studies while developing their talents as artists, leaders, and global citizens. Approximately 70 students are enrolled in MAP, which is led by Artistic Director Anthony McGill.

Pre-College Orchestra The Juilliard Pre-College Orchestra is one of the Pre-College program’s three age-based orchestras. With an average age of just over 17, the Orchestra rehearses weekly and presents three concerts each season. As a leading youth orchestra training program, the Pre-College strives to prepare its members for the rigorous demands and expectations of conservatory and college orchestral programs by offering workshops and readings led by renowned guest conductors and prominent professional orchestral musicians. The Pre-College orchestras draw upon the significant resource of the College Division’s students by employing them as mentors to work alongside the Pre-College students. The repertoire is guided by a progressive curriculum beginning with the youngest String Ensemble and continuing through the Symphony and Orchestra, ensuring that all stu- dents have exposure to works from varied composers, musical styles and genres. Every orchestra concert features a concerto, providing an important opportunity to a student soloist, many of whom go on to illustrious careers. Those include Han-Na Chang, Pamela Frank, Gil Shaham, Joseph Lin, Yo-Yo Ma, Jon Manasse, Roberto Minczuk, Conrad Tao, and Joyce Yang. In the 2019-20 season, the Pre-College Orchestra is led by Adam Glaser, Nico Olarte-Hayes, and David Robertson. Past conductors have included James Conlon, Alan Gilbert, Miguel Harth-Bedoya, Itzhak Perlman, Leonard Slatkin, Robert Spano, Joshua Weilerstein, and Xian Zhang. Juilliard Pre-College Administration Weston Sprott, Dean of Preparatory Division Yoheved Kaplinsky, Artistic Director

Katya Lawson, Director of Admissions and Academic Affairs Anna Royzman, Director of Performance Activities Marguerite Jones, Admissions and Academic Affairs Coordinator Deirdre DeStefano, Performance Activities Coordinator

Pre-College Orchestra Adam Glaser, Music Director, Pre-College Orchestras

Violin Cello English Horn Timpani Aram Kim, Noah Chen, Principal MacKenzie Kim Liam McDonald Concertmaster Dara Bao Sophie McNeal Masha Lakisova, Bethany Bobbs Clarinet Nicolas Motta Principal Christy Choi Joshua Choi Nate Valsania Elizabeth Aoki Nagyeom Jang Eli Goldberger Elizabeth Cheng Jonah Kernis Christian Lee Percussion Elli Choi Soomin Kim Alice McDonald Liam McDonald Inseo Angela Choi Na Yoon Koh Yvonne Yufang Wang Sophie McNeal Dylan Hamme Heechan Alex Ku Nicolas Motta Matthew Hill Irene Lee Bass Clarinet Jakob Schoenfeld Eliana Kim Jaidyn Yihang Li Joshua Choi Sarah Kim Sarah Tindall Harp Eilene Lee Dylan Wu Bassoon Catherine Hanauer Eliana Lee Jiaxun Yao Alexander Lake Hsiang-Ling Joanne Lin William Park Piano/Celesta Jun Lin Double Bass Andrew Salaru Lucas Amory Sarah Ma Orion Johnathan Miller, Yihan Wu Enako Matsumoto Principal Personnel Managers Xin Quan Emilienne Columbus French Horn Ehren Valmé Enrique Rodrigues Braden Ellis Kiyan Daneshvar Yibiao Wang* Tristan Henry Boris Lu Angelina Garcia Semmelhack Zander McCracken Luoxian Loren He Operations Manager Thomas Shahbaghyan Justin Smith* George McLean Benjamin Keating Hanchi Shi Michaella Tufariello James Picarello Michelle Stern Cristina Vieytez Orchestra Librarians Sophia Su Flute Michael McCoy, Frank Wang Joyce Eu Trumpet Principal Librarian Sarah Wang Laura Futamura Artie Carpenter Toby Grace To Wang Anita Lin Michael Chen Daniel Gurevich Alexandra Woroniecka Nadira Novruzov Elsie DiLisio Ziman Grace Xu Emma Su Mark Murphy Tien-Lin Yang Vivian Stewart Piccolo * indicates Pre-College Viola Joyce Eu Trombone alumni Joshua Cai, Principal Laura Futamura Han-Yun Liang Rowan Bauman Swain Anita Lin Ryan Smith Italics indicate orchestra Joshua Baw Emma Su Gessberg Mu-Ze Zhang mentors from the Juil- Stella Cha liard College Division Alexis Chae Oboe Bass Trombone Nyle Garg Emily Jang Zachary Neikens* Carrie Hsu MacKenzie Kim Torron Kenneth Pfeffer Ruth Lipskar Tuba Daniel Simmons Kara Poling James Curto Daniel Son Spencer Rubin Brinja Vogler Kayla Williams Alyssa Wu Ann Zhang