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Home , Cynthia Phelps, Jeffrey Milarsky, Maurice Delage, Pribaoutki, Werner Reinhart

Friday Evening, November 1, 2019, at 7:30

The presents AXIOM Jeffrey Milarsky, Music Director and Conductor Hanlin Chen, Lisa Sung, Viola Libby Sokolowski, Soprano Kyle Miller, Baritone

IGOR STRAVINSKY (1882–1971) Three Pieces for Solo Clarinet (1918) Sempre piano e molto tranquillo: quarter (crotchet) = 52 Quarter (crotchet) = 168 Quarter (crotchet) = 160 HANLIN CHEN, Clarinet

STRAVINSKY Three Japanese Lyrics (1912–13) Akahito Mazatsumi Tsaraïuki LIBBY SOKOLOWSKI, Soprano

TORU TAKEMITSU (1930–96) Archipelago S. (1994)

Intermission

STRAVINSKY Élégie for Solo Viola (1944) LISA SUNG, Viola

STRAVINSKY (1914) Kornílo (Uncle Armand) Natashka (The Oven) Polkovnik (The Colonel) Starets i zayats (The Old Man and the Hare) KYLE MILLER, Baritone

HARRISON BIRTWISTLE (b. 1934) Silbury Air (1977)

Performance time: approximately 1 hour and 20 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 a single melody instrument. No mere scraps by Matthew Mendez from the workbench, today they are corner- stones of the clarinet literature. Three Pieces for Solo Clarinet Towards the end of his Swiss years, Born: June 17, 1882, Lomonosov, Russia Stravinsky began taking cues from the Died: April 6, 1971, sounds of ragtime and early jazz, which became all the rage in Europe’s capitals In the early 1960s, Venezuelan left-wing in- after the Armistice. There has long been surgents hatched a plot to kidnap a major speculation that the Three Pieces were public figure in hopes that the ensuing prompted by an encounter with the playing media coverage would draw international of the legendary clarinetist-saxophonist attention to their cause. Though they ended Sidney Bechet. Although Richard Taruskin, up abducting a soccer star, their original the leading English-language Stravinsky choice was a rather more unlikely figure— expert, has discounted this hypothesis, Igor Stravinsky, then on tour in Caracas. That what is clear is that the Three Pieces are a the rebels even considered Stravinsky a suit- characteristic refraction of what their com- able target speaks volumes about his cultural poser took to be more or less authentic standing then. A man who helped change African-American sources. Hence it may the course of concert music multiple times be possible to hear the first piece, as reed- during a long career that took him from tsa- ist Kenneth Radnofsky does, as a blues-in- rist St. Petersburg and roaring-’20s to spired call-and-response, between the the of ’s Golden Age, clarinet’s matte low register and its higher Stravinsky was virtually synonymous in the throat register. By contrast, the whirligig public imagination with “modern composer.” second piece is a slice of what Taruskin And for good reason: Perhaps no single fig- calls “instrumental prosody,” featuring the ure after 1900 had a more enduring impact sorts of flexible, irregular rhythms preva- on the subsequent course of new music. To lent in Stravinsky’s Swiss-period works. As be sure, Stravinsky was also a mythomaniac for the concluding piece, for the brighter self-publicizer, given to inflating his achieve- B-flat clarinet, it orbits continuously ments, but his continuing influence remains around a handful of tiny melodic cells, undisputable, even pervading the sound of splitting the difference between the riff- some of today’s popular music. based forms of early jazz and the “mod- ular” rhythmic techniques Stravinsky first Conceived during the closing days of the developed in his pre-1914 scores. First World War, the Three Pieces for Solo Clarinet were composed in Switzerland, Three Japanese Lyrics where Stravinsky lived in exile until 1920 STRAVINSKY (due first to the European conflict, then the Bolshevik Revolution). They were a token “An interesting experiment, but one that of gratitude for the financial support of the violated every canon of Russian taste,” great music patron and amateur clarinetist writes Taruskin of the domestic response , without which Stravinsky to Stravinsky’s Three Japanese Lyrics, likely would not have composed his land- composed in late 1912 and 1913 as work mark L’Histoire du soldat. Brief as they are, on was winding down. the Three Pieces see Stravinsky exploring Nor, for that matter, have these com- new concepts with all his usual conscien- pact songs for voice and small chamber tiousness, under the constraint of writing for ensemble failed to arouse their share of perplexity abroad, with Western commenta- Also reflectingjaponiste attitudes was the tors long wondering at their perceived lack of decision to title each song after the author “Russianness.” Yet such a narrow view of of its respective poem—something hard the ways “Russianness” can be expressed to imagine Stravinsky doing with Russo- musically overlooks the historical back- European writers. (Adding insult to injury, drop against which Stravinsky composed Stravinsky misspelled two of the poets’ them—a time when the memory of Imperial names.) Setting an eighth-century waka by Russia’s humiliating defeat in the Russo- the traveling court poet Yamabe no Akahito, Japanese War of 1904-5 was still fresh. the tantalizingly brief, incantatory “Akahito” is cut from the same cloth as the Rite’s Stravinsky’s Lyrics have typically been more placid passages. On the other hand, imputed to the lingering influence of turn- “Masatzumi” (the correct spelling is of-the-century French japonisme, with its “Masazumi”) begins with a substantial vogue for all things Japanese (real or imag- instrumental introduction, its darting ges- ined). Later on, Stravinsky highlighted the tures inspired by ’s stimulus of his Parisian composer friends, Pierrot lunaire, which Stravinsky heard and Maurice Delage, al- soon after its premiere. Finally, “Tsaraïu- though it would be a mistake to assume ki” uses a text by the tenth-century writer Stravinsky simply borrowed from the “Ori- Ki no Tsurayuki, to sparer effect than its sib- entalist” tropes of French Impressionism. lings, with less “instrumental jewelry,” to The arts in Russia had their own longstand- borrow Stravinsky’s felicitous phrase. ing traditions of japonisme, which retained their fascination during, and even after, the Archipelago S. Russo-Japanese conflict. Stravinsky would TORU TAKEMITSU have been well aware of these currents via Born: October 8, 1930, Tokyo his teacher Rimsky-Korsakov—though the Died: February 20, 1996, Tokyo pupil’s brand of Russianist japonisme was a far cry from that of the mentor. “My music is composed as if fragments were thrown together unstructured, as in dreams,” A setting of Russian translations of three Toru Takemitsu once explained. “You go to classical waka, long ’s most presti- a far place and suddenly find yourself back gious poetic genre, the Lyrics followed a home without having noticed the return.” highly premeditated compositional con- These lines, so typical of their author’s poetic ceit. Unusually, Stravinsky set his texts— sensibility, say much about Japan’s most all treating the coming of spring—in such successful compositional export in the post- a way that their metrical stresses would war years. For one, they describe the gently not correspond with the music’s rhythmic episodic, stream-of-consciousness manner stresses. The idea was that the two would so often favored by the prolific Takemitsu. cancel each other out, thereby emulating In this, the resolutely nondevelopmental what Stravinsky called “the unique linear scores of were an early perspective of Japanese declamation.” and enduring stimulus—although there was Though the conceit very much rested on a always something uniquely ironic about this caricature of spoken Japanese, subsequent fact. After all, Debussy had been a product Stravinsky works would cultivate similar of japonisme, and his formal approach bor- “estrangements” of Russian prosody, rowed from Japanese expressive princi- until it became his default way of setting ples, as they were then understood in the all languages. West. Yet Takemitsu long refused to engage with the “real thing,” the rich traditions of authentic Japanese classical music: for him, on from the 1960s international avant-garde: they evoked memories of the country’s instrumental spatialization and nontraditional wartime past, when they were used as na- seating arrangements. The 21 players of tionalist propaganda. Indeed, Takemitsu’s Archipelago S. are therefore divided into five breakthrough work, 1957’s Requiem for entities—two heterogeneous onstage sep- Strings—made famous through Stravinsky’s tets flanking a central brass quintet, and in the intercession—is arguably “Western” back of the hall, a pair of offstage . through and through. But in a complex loop In this way, Takemitsu fashions instrumental of exchange typical of cultural diffusion islands that indeed “call out to each other,” in a globalizing century, it was ultimately with the concert space, its ambience, and via Western models just like Debussy’s— even the audience members its “watery” themselves projections of European fanta- medium. The islands’ calls take various sies about Japan—that Takemitsu came to guises, from hushed brass musings and a kind of rapprochement with the native tra- lonely woodwind echoes, to the occasional ditions he once rejected, thus “finding him- passionate lapping of full ensemble sound. self back home without having noticed the Resonating throughout, though, is a descend- return,” in a different sense. ing figure first offered by one of the clarinets (its last three notes were a signature motive While Takemitsu never tired of comparing his in Takemitsu’s water-themed pieces). Though music to the experience of strolling through it recalls Debussy, Ravel, and even some a Japanese garden, this was not the only Stravinsky, the figure seems to be a déjà kind of landscape that exerted a pull on his entendu of Takemitsu’s own devising, em- imagination. He was particularly drawn to anating numinously as if from the space of oceanic imagery, and by the late 1970s he a dream. was even speaking of what he called a “sea of tonality.” By the time of Archipelago S., Élégie for Solo Viola one of Takemitsu’s final large-scale scores, STRAVINSKY the “sea of tonality” had begun to take on an almost cosmic significance. The “S” refers Although not entirely absent from concert to a series of locations linked solely through stages (Juilliard faculty member Misha Amory Takemitsu’s fancy: the islands off Stockholm performed it at his recent Paul Hall recital), the and Seattle, those in Japan’s Seto Inland Sea, Élégie for solo viola remains shrouded in a cer- and even Snape Maltings, home to the Alde- tain amount of mystery. Written in the wake burgh Festival, the score’s commissioning or- of another emigration, this time following the ganization. This imagined archipelago directly onset of the Second World War, questions informed the way Takemitsu set about writ- surround the year of its composition. While ing the piece: it is customarily dated to 1944, Stravinsky’s amanuensis once conjectured In this work the islands, while existing in- that it could have had a provenance of two dividually apart from each other, attempt or three years earlier. The circumstances of to form a whole. I wanted to create a the commission may support Craft’s theory. place wherein the islands’ calling out to Stravinsky offered the Élégie to Germain each other across the great distances Prévost, violist for the Pro Arte Quartet, in separating them could be experienced as response to a memorial request for the en- a metaphor for the universe. semble’s founder, Alphonse Onnou, who had died prematurely in 1940. Given the hard- To bring this imagery to musical life, Takemit- ships of the war years, Prévost could spare su employed techniques he first picked up a fee of only $100—a pittance considering Stravinsky’s stature as well as the fact that he too urgency—now he seemed determined to was in financial straits. Although Stravinsky’s take a different tack. Instead, he would distill confidante Nadia Boulanger was able to con- Russian musical customs down to an “imag- vince him to fulfill the commission, it would ined” essence, evolving new forms and starkly have been perfectly in character for the com- modern means of utterance in the process. poser (a notorious penny-pincher) to do so using an unpublished sketch. Some have looked for autobiographical rea- sons for Stravinsky’s attraction to these Also uncertain is the instrumentation for limerick-like texts, taken from a 19th- which the Élégie was first envisioned. century anthology compiled by the folklorist Sketches exist indicating the music may Alexander Afanasyev. Much later, Stravinsky originally have been conceived in terms of even mused, uncharacteristically: “Do the two instrumental voices, and that at some songs betray any homesickness for Russia?” point, it dawned on Stravinsky to assign Yet the 1914 conflict was supposed to be both to a single viola. The result has there- a brief affair. At the time, he could scarcely fore been described as a sort of two-part have predicted that he would not set foot on invention, loosely reminiscent of Bach’s un- Russian soil again for another half-century. accompanied string works. Nor is that the Stravinsky’s interest in these nonsense syl- Élégie’s only plausibly “archaizing” feature: lables must therefore have been based in Stravinsky instructs the performer to play something other than nostalgia. At play was with the mute on throughout, lending the instead what he looked back upon as “one of viola something of the somber sonority of the most rejoicing discoveries of my life”— an early Baroque viol. Likewise, Stravinsky his recognition that pribautka texts were is known to have made a study of Bach’s tailor-made for his compositional aesthet- fugues in the early 1940s, an influence that ics. As he understood it, the texts’ prosodic comes to the fore in the Élégie’s tightly con- stresses were ignored—manipulated freely, structed central fugal section. The overall even—in traditional sung performance. Clearly impression made by this music, though, is a continuation of the concerns at work in one of unremitting lament—strikingly so for Three Japanese Lyrics, this freed Stravinsky a composer who once famously asserted to treat the verses as what Taruskin calls that music was “essentially powerless to “pure ‘mouth music’,” which could be disso- express anything at all.” ciated “cubistically” from linguistic meaning.

Pribaoutki Also like the Lyrics, the Pribaoutki were STRAVINSKY composed for a small chamber band, while the sung part, when taken by a contralto, It may not be coincidental that the passage was to be delivered in what Stravinsky from Stravinsky’s memoirs containing that dubbed a “tomcat voice.” A vignette of famous claim immediately precedes his first a drunken boor, “Kornílo” sets its text in mention there of his Pribaoutki (“Nonsense ironic, nonsequitur fashion to a folk song Rhymes”). Written in Switzerland in late associated with marriage rituals. (Sergei summer 1914, they were the first completed Prokofiev heard “the gurgling of an empty- fruits of what would become a radically new ing bottle” in the bizarre -and-clarinet approach to his Russian roots. If previously codetta.) “Natashka” offers a different kind Stravinsky had imported Russianist tech- of “nonsense,” splicing together two unre- niques into what were still essentially lated rhymes—one about porridge, the other European “containers”—albeit with un- musical fowl. Though deceptively simple, precedented piquancy and “neonationalist” “Polkovnik” is arguably most perverse of all: not only does it “deform” the text’s nat- mystery you never want to have explained. ural stresses with particular doggedness, but … Silbury for me is all about the mystery of Taruskin indicates that its playful syllables not knowing what it is.” Silbury Air captures are set, in part, to a folk lament. If there is something of this sense of inexplicable, a real lament here, it does not come until monolithic “formality” (Birtwistle’s adjective) the closing “Starets i zayats,” whose stark, by stripping its material down to an absolutely solemn chorale textures presage so much of primeval level—basic, unadorned pulsation. Stravinsky’s subsequent output. Like the fragments of quarried chalk that built Silbury Hill, these snippets of rhythm Silbury Air gradually combine into larger, Stravinsky- HARRISON BIRTWISTLE like sonic objects. (Birtwistle was trained as Born: July 15, 1934, Accrington, U.K. clarinetist, and the first of Stravinsky’s Three Pieces left an indelible imprint on his compo- One of Britain’s preeminent creative fig- sitional language.) ures in any medium, Harrison Birtwistle has long been celebrated for the almost single- Emerging from the strings’ nervous ticking, minded determination with which he has the music proceeds as a series of constantly pursued his craft. Beginning with his opus 1, shifting metrical-proportional relationships, 1957’s Refrains and Choruses, and continu- evolving according to deliberately “arcane” ing to the present day, Birtwistle has been rules established by Birtwistle. (If much con- remarkably consistent in his enthusiasms, temporary music has been criticized for its from the puzzlelike forms of early music structural imperceptibility, Birtwistle would and the archetypal structures of myth and likely welcome the charge: the better to pre- ritual to the fragmented, multiple perspec- serve that “magical quality.”) To coordinate tives of cubism and its sonic analogs in those shifts, Birtwistle provides the conduc- Stravinsky. Having served as music director tor with what he calls a “pulse labyrinth”—a at London’s National Theatre from 1975 to visual representation of the score’s tempo re- 1983, Birtwistle is especially admired for his lationships. Birtwistle’s word choice is telling, uncompromisingly stark dramatic work— since he once explained: though even in his strictly instrumental offerings, his idiom is typified by a kind of When Silbury was excavated, it was shamanic theatricality. Critic Lee Sandlin put found to have a labyrinth of hides or an- it aptly in a 1998 review, hailing Birtwistle’s imal skins that created a sort of three- music for its “primal intensity, like a pagan dimensional spider’s web. They used to ceremony at Stonehenge—that is, if the pa- think that there was some sort of god gans had had a lot of percussion and a taste or burial tomb in the middle. But there for advanced chromatic harmony.” was nothing.

That description is especially pertinent to This absent center is what Silbury Air is fi- Silbury Air, named for one of Britain’s oldest nally “about.” Even the emergence, around prehistoric structures, the massive chalk the piece’s halfway point, of the titular mound Silbury Hill. Constructed after 2400 “air,” offers no release, although it does give BCE, Silbury Hill is comparable in size to the score the character of a “mechanical some of the pyramids at Giza, the difference pastoral” (the subtitle of another Birtwistle being that the reasons for its construction re- work). The composer has long emphasized main unaccounted for. Yet it was this very fact that Silbury Air was not an exercise in land- that attracted Birtwistle: “There’s a magical scape illustration, of the sort favored by quality when things have secrets, and it’s the earlier generations of English composers. Where they hoped to achieve transfiguration Matthew Mendez is a New Haven-based crit- through nature, Birtwistle finds only a horri- ic and musicologist with a focus on 20th- and fying void, a maze of putrification. Instead, 21st-century repertoire. A graduate of Har- Silbury Air beats and buffets us onwards, vard University and a Ph.D. student at Yale, compelled by the authority of some inscru- Mendez was the recipient of a 2016 ASCAP table power, according to a logic that was Foundation Deems Taylor/Virgil Thomson perfectly unknowable to begin with. Award for outstanding music journalism.

Texts and Translations Three Japanese Lyrics

Akahito By Akahito Yamanobe, Kokka Taikan No. 1426 (Manyo-shu)

Я белые цветы в саду I have flowers of white. тебе хотела показать. Come and see where they grow in my garden. Но снег пошёл. Не разобрать, But falls the snow: где снег и где цветы! I know my flowers from flakes of snow.

Mazatsumi By Masazumi Miyamoto, Kokka Taikan No. 12 (Kokin-shu)

Весна пришла. Из трещин ледяной The Spring has come! коры запрыгали, играя в речке Through those chinks of prisoning ice the white пенные струи: они хотят быть floes drift, foamy flakes that sport and play in первым белым цветом радостной весны. the stream. How happily they pass, first flowers bearing tidings that Spring is coming. Tsaraïuki By Tsurayuki Ki no, Kokka Taikan No. 59 (Kokin-shu)

Что это белое вдали! What shimmers so white far away? Повсюду, словно облака между холмами. Thou would’st say ‘twas nought but cloudlet То вишни разцвели; in the midst of hills. пришла желанная весна. Full blown are the cherries! Thou are come, beloved Springtime!

English translations by Robert Burness

© by Hawkes & Son (London) Ltd. Reproduced by permission of Boosey & Hawkes Music Publishers Ltd. Pribaoutki

Kornílo Uncle Armand Нутко, дядюшка Корнило, Console yourself, old Uncle Armand, Запрягай-ко ты кобылу, you worry unduly. У Макаря на песку Let your mare go straight Приразмыч горе тоску: to the White Horse Inn. Стоит бражка в туяску, There you will find a white wine, Бражка пяная пяна, like liquid sunshine, Весела хмелная голова! That soothes the heart; Бражку помяй выпивай! and so drown your sorrow.

Natashka The Oven Наташка, Наташка! Louise, come quickly, Сладёнка кулажка, Come quickly, my daughter, Сладка медовая The dough has risen … В печи не бывала, Run to the kitchen, dear, Жару не видала. For flour is expensive … Заиграли утки в дудки. The ducks begin to blow their toy . Жиравли пошли плясать, The rooster answers them, Долги ноги выставлять, and the chickens go ’round and ’round. Долги шеи протягать.

Polkovnik The Colonel Пошёл полковник погулять, The colonel goes hunting. Поймал птичку перепёлочку; He shoots at a woodcock; he misses his Птичка перепёлочка пить похотела, woodcock. Поднялась полетела, He shoots at a partridge; the partridge flies away. Пала пропала, под лёд попала, He falls and breaks his rifle. Попа поймала, попа поповича, He calls his dog, his dog doesn’t answer at all: Петра Петровича. His wife gas taken in the dog, His wife has beaten the dog. The colonel will never hunt again.

Starets i zayats The Old Man and the Hare Стоит град пуст, In a town in the air, А во граде куст; an old man is seated on the ground. В кусте сидит старец And there he cooks his soup without fire. Да варит изварец; A hare on the road asks him for his soup. Прибежал косой заяц And the old man spoke thus: И просит изварец: the hunchback shall stand erect, И приказал старец The one-armed shall stretch out his arms, Безновому бежать, and the mute shall speak more softly. А безрукомы хватать, А голому в пазуху класть.

English texts by Sonia Toubin Meet the Artists performed and recorded with the , Philadelphia Orchestra, and Pittsburgh Symphony and has recorded ex- tensively for Angel, Bridge, Teldec, Telarc, New World, CRI, MusicMasters, EMI, Koch, and London records.

PETER KONERKO Jeffrey Milarsky American conductor Jeffrey Milarsky (B.M. ’88, M.M. ’90, percussion) is music director of Juilliard’s AXIOM ensemble and senior lecturer in music at , where he is music director and conductor

NING-YUAN LI Hanlin Chen of the Columbia University Orchestra. While studying at Juilliard, he was awarded the Pe- Born in Hefei, Anhui province, China, ter Mennin Prize for outstanding leadership clarinetist Hanlin Chen is completing his and achievement in the arts. In recent sea- master’s at Juilliard, studying with Jon sons, he has worked with ensembles includ- Manasse. Chen received his BM at the ing the New York Philharmonic, San Francis- Cleveland Institute of Music, studying co Symphony, Los Angeles Philharmonic, with Franklin Cohen. He received his high Milwaukee Symphony, American Compos- school diploma from Idyllwild Arts Acade- ers Orchestra, MET Chamber Ensemble, my, where he studied with Yehuda Gilad. Bergen Philharmonic, Chamber Music Soci- Chen won the concerto competitions at ety of Lincoln Center, New World Sympho- Idyllwild and Cleveland. He performed ny, and Tanglewood Festival Orchestra. In the Francaix concerto with the Idyllwild the U.S. and abroad, he has premiered and Arts Academy Orchestra and the Weber recorded works by many groundbreaking concertino with the Cleveland Institute of contemporary composers in Carnegie Hall, Music Orchestra. He has won numerous Zankel Hall, Davies Symphony Hall, Alice prizes in China and America, including win- Tully Hall, Walt Disney Concert Hall, and ning first prize at the Hong Kong Young Boston’s Symphony Hall, and at IRCAM in Musician Competition (Group 7) in 2007, Paris, among others. Milarsky has a long his- second prize at the Guang Zhou Interna- tory of premiering, recording, and perform- tional Clarinet Competition in 2009, third ing American composers and throughout his prize at the Bei Jing International Clarinet career has collaborated with John Adams, Competition in 2010, and second prize at , John Cage, , the Vandoren Competition in 2016. Chen John Corigliano, George Crumb, Mario (whose father and grandfather are also Davidovsky, Jacob Druckman, Michael clarinetists) began his musical studies on Gordon, David Lang, Steven Mackey, the piano at age four. He began studying Christopher Rouse, , Morton the clarinet at age eight and has been pur- Subotnick, , and an entire suing his passion ever since. generation of young and developing com- George H. Gangwere Scholarship, Helen P. posers. In 2013, he was awarded the Dit- Houle Music scholarship, Irene Diamond son Conductor’s Award for his commitment Graduate Fellowship to the performance of American music. Milarsky has been the principal timpanist for the Santa Fe Opera since 2005. He has artist, where she performed in several con- certs, including a performance with the Nürnberger Symphoniker led by Michael Hofstetter. She is in the second year of her bachelor’s studies with Edith Wiens. Mitzi Scholarship, Olia and Michael Zetkin KIM STUDIO SYDNEY Lisa Sung Scholarship, New York Community Trust/ Australian-Korean violist Lisa Sung is a spe- Anna Schoen-René Fund cial prizewinner of the 2016 Lionel Tertis International Viola Competition and a top prizewinner of the 2019 Vienna Interna- tional Music Competition. She serves as the associate principal violist of Symphony in C and is a guest violist with the New York Philharmonic, Saint Paul Chamber Or- Kyle Miller chestra, and Jupiter Chamber Players. Her Originally from San Francisco, baritone festival appearances include the Verbier Kyle Miller is pursuing his M.M. at Juilliard, Festival Academy, Music@Menlo Interna- studying with Robert White. Miller recently tional Program, Perlman Chamber Work- performed at Carnegie Hall as the baritone shop, Taos Festival, and Norfolk Chamber soloist in Stravinsky’s . Other Music Festival. Originally from Sydney, concerts include a recital with Ricky Ian Australia, she is pursuing her master’s de- Gordon singing his music and the baritone gree at Juilliard with Paul Neubauer and soloist in Brahms’ Ein Deutsches Requiem. Cynthia Phelps. She is a principal violist of Other operatic roles include Demetrius in the Juilliard Orchestra. A Midsummer Night’s Dream and Moralès Kovner Fellowship in Carmen with the Chautauqua Institu- tion, Marquis de la Force in Dialogues des Carmélites, Conte Almaviva in Le Nozze di Figaro, and Vincenzo Biscroma in Viva la Mamma! with Oberlin Opera Theater, and Giampaolo Lasagna in Le Astuzie Femminili in Arezzo, Italy. As a boy soprano, Miller Libby Sokolowski performed in eight San Francisco Opera Born and raised in the Hudson Valley, productions in the children’s chorus. He soprano Libby Sokolowski has performed was awarded the Louis and Marguerite opera and musical theater throughout the re- Bloomberg Greenwood Prize from the gion. Most recently, she appeared as Lillian Oberlin Conservatory of Music, where Russell in The Mother of Us All (Hudson he received his bachelor’s degree. This Opera House, directed by R.B. Schlather). season, he will play Chris the Citizen in She has also sung several concert works The Mother of Us All at the Metropolitan and new premieres, both upstate and at Museum of Art with Juilliard vocalists Juilliard. In 2018 Sokolowski placed first in and the New York Philharmonic, and will both the Schmidt and National Hal Leonard sing the role of Customhouse Sergeant in competitions as well as second in the Clas- La Bohème at Juilliard in addition to cover- sical Singer competition. The 2019 summer ing the role of Marcello. season brought her to the Internationale Toulmin Foundation Scholarship Meistersinger Akademie as an apprentice AXIOM AXIOM is dedicated to performing the included Alan Gilbert, Susanna Mälkki, and masterworks of the 20th- and 21st-century David Robertson. Later this season AXIOM repertoire. Since its debut in 2006, the will perform the music of Elliott Carter, group has established itself as a leading George Lewis, Morton Feldman, Philip Glass, ensemble in New York City’s contemporary Toru Takemitsu, Melinda Wagner, Pierre music scene with performances through- Boulez, and Thomas Adès. AXIOM opened out Lincoln Center, in addition to frequent the 2018–19 season with a concert that was appearances at Columbia University’s part of the New York Philharmonic’s The Art Miller Theatre and Le Poisson Rouge in of Andriessen festival, followed by a perfor- Greenwich Village. AXIOM is led by music mance celebrating both John Corigliano’s director Jeffrey Milarsky and is grounded 80th birthday and Nico Muhly on the occa- in Juilliard’s curriculum. Students receive sion of the Metropolitan Opera’s production a credit in chamber music for performing of his opera Marnie and a season-closing in the ensemble, and during any four-year concert of music by Iannis Xenakis, Caro- period, AXIOM members will have the op- line Shaw, and Steve Reich. The 2017–18 portunity to perform works by John Adams, season comprised programs featuring the Harrison Birtwistle, Magnus Lindberg, and music of former Juilliard faculty members Arnold Schoenberg, among other com- Jacob Druckman and Luciano Berio as well posers. Guest conductors of AXIOM have as Hans Abrahamsen’s complete Schnee.

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

Joanna K. Trebelhorn, Director of Orchestral and Ensemble Operations Matthew Wolford, Operations Manager Daniel Pate, Percussion Coordinator Lisa Dempsey Kane, Principal Orchestra Librarian Michael McCoy, Orchestra Librarian Adarsh Kumar, Orchestra Personnel Manager Michael Dwinell, Orchestral Studies Coordinator Nolan Welch, Orchestra Management Apprentice AXIOM Jeffrey Milarsky, Music Director and Conductor Matthew Wolford, Manager

STRAVINSKY TAKEMITSU STRAVINSKY BIRTWISTLE Three Japanese Lyrics Archipelago S. Pribaoutki Silbury Air LIBBY SOKOLOWSKI, KYLE MILLER, Baritone Soprano Flute/Alto Flute Flute/Piccolo/ Viola Chan Flute Alto Flute Flute 1 Yiding Chen Yiding Chen Yiding Chen Oboe/Oboe d’amore Bobby Nunes Oboe/English Horn Oboe/English Horn Flute 2/Piccolo Bobby Nunes Pablo O’Connell Viola Chan Clarinet 1 Hector Noriega Othon Clarinet Clarinet/Bass Clarinet Clarinet 1 Bum Namkoong Hector Noriega Othon Bum Namkoong Clarinet 2 Bum Namkoong Bassoon/ Clarinet 2/Bass Clarinet Emmali Ouderkirk Contrabassoon Hector Noriega Othon Bassoon Emmali Ouderkirk Emmali Ouderkirk Violin Piano Abigail Hong French Horn Chang Wang French Horn 1 Lee Cyphers Lee Cyphers Viola Violin 1 Jay Julio Trumpet Abigail Hong French Horn 2 Clinton McLendon Alana Yee Violin 2 Raphael Boden Trombone Yigit Karatas Trumpet Ethan Shrier Clinton McLendon Double Bass Viola Vincent Luciano Percussion Joseph Donald Peterson Trombone 1 Stella Perlic Carlos Jiménez Cello Fernández Piano Raphael Boden Jiaying Ding Trombone 2 Ethan Shrier Harp Miriam Ruf Percussion 1 Stella Perlic Violin 1 KJ McDonald Percussion 2 Omar El-Abidin Violin 2 Abigail Hong Celesta Chang Wang Viola Jay Julio Harp Miriam Ruf Cello Erica Ogihara Violin Abigail Hong Double Bass Yigit Karatas Vincent Luciano

Viola Joseph Donald Peterson Jay Julio

Cello Raphael Borden Erica Ogihara

Double Bass Vincent Luciano