Thursday Evening, October 25, 2018, at 7:30
The Juilliard School presents Juilliard415 With Juilliard Dance Robert Mealy , Director and Violin
Chaos and Order: The Dance Music of Jean-Philippe Rameau
With new choreography by Ethan Colangelo, Maddie Hanson, and Moscelyne ParkeHarrison
JEAN-PHILIPPE RAMEAU (1683 –1764)
Ouverture from Zaïs (1748) Air tendre from Les fêtes d’Hébé (1739) Dances from Les Paladins (1760) Entrée très gaye des Troubadours Gigue vive Gavotte Menuet et contredanse
Ouverture from Zoroastre (1749) Dances from Zoroastre Air tendre Menuets I - II Sarabande Rigaudons I - II Chaconne from Castor et Pollux (1737) MOSCELYNE PARKEHARRISON, Choreographer ; CHASE BUNTROCK, CLARISSA CASTAÑEDA, MIO ISHIKAWA, MOSCELYNE PARKEHARRISON, MATTHEW QUIGLEY, Dancers
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. 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. Ouverture from Naïs (1749) Dances from Naïs Sarabande Rigaudons I - II Menuets I - II Air gay Entrée des Lutteurs—Chaconne—Air de triomphe MADDIE HANSON, Choreographer ; MADDIE HANSON, ZOE HOLLINSHEAD, JENNIE PALOMO, ANCA PUTIN, CHRISTINA ZUCCARELLO, Dancers
Ouverture from Les fêtes de Polymnie (1745) Dances from Dardanus (1737) Air pour les Plaisirs Gavotte vive Rigaudons I - II Tambourins I – II Chaconne from Dardanus ETHAN COLANGELO, Choreographer ; MATTHEW GILMORE, MIRANDA-MING QUINN, SIMON RYDÉN, JACOB THOMAN, CAN WANG, Dancers
Performance time: approximately two hours, including one intermission
Notes on the Program We open with the overture from Rameau’s Zaïs, a pastoral opera about the loves of by Robert Mealy gods and goddesses. Its overture is far from gentle, however; with it, Rameau JEAN-PHILIPPE RAMEAU declared that he wanted to “paint the Born September 25, 1683, in Dijon, France unravelling of chaos” and the creation of Died September 12, 1764, in Paris, France the world, as the various elemental spirits are awoken. Its striking fortissimo opening Jean-Philippe Rameau astonished his con - was too much for some contemporaries. temporaries with a late blooming of spectac - One review noted that Rameau made such ular talent that began when he composed an effective depiction of chaos “that it was his first opera, Hippolyte, at age 50. Never unpleasant … happily Adam was not had so much sheer music been heard in around to hear the creation of the world, the French opera house. Critics exclaimed and God spared the first man from an over - of Hippolyte that “there was enough for ture which would have burst his ear ten operas” in the score. Rameau poured drums.” Today we can revel in Rameau’s all his theoretical and practical experience vision of radical disorganization. into these scores, since his years before Hippolyte had been spent writing harmonic Then we move to music from Rameau’s treatises and working as a composer for Les fêtes d’Hébé. Each act of this opera the Théatre de la Foire, the street fairs of celebrates a different art: poetry, music, Paris. (It’s a little as if Milton Babbitt, after and dance. Our Air tendre is better known teaching theory at Princeton and writing as a harpsichord solo, where its original Broadway shows, should have started a title is L’entretien des muses , or “the con - new career writing hugely popular full-length versation of the muses.” We then hear a operas for the Met.) suite of dances from Rameau’s late opera Les Paladins , a fractured fairy tale about a seven years of international war, which troubadour rescuing a damsel in distress, here is allegorically recast as the assault of thanks to the intervention of a gender- the Titans on Olympus. Naïs has one of neutral spirit whose mysterious form is Rameau’s most spectacular overtures “equivocal, neither male nor female.” For depicting this literally titanic battle: a bruit Les Paladins , Rameau made virtuoso use de guerre with drums thundering and of a pair of German horn players who had trumpets blaring in ferocious offbeat syn - recently arrived in Paris. copations. Among the dances of Naïs are a series of up-tempo numbers danced by the Another magic opera is Rameau’s Zoroastre . Zephyrs and the Nymphs who follow Flora; Here, as with many of his later operas, “under their steps one sees the birth of the overture depicts plot elements of the flowers and foliage.” There is also a large opera to follow. This one falls into three ballet figuré depicting a kind of Olympic parts, as described in one of the opera’s Games held in honor of Neptune. In the manuscripts: “the first part is a vivid pic - original choreography for the Entrée des ture of King Abramane’s barbarous rule Lutteurs and the following chaconne and and the groans of his oppressed people. Air triomphante , “six athletes compete for A gentle calm follows, as hope is born the prize; this dance is interrupted by two again. [The overture ends with] a bright athletes who dispute with them. They are and joyous image of Zoroastre’s powers followed by a third who challenges all the of good, and the happiness of people others to combat. They refuse, and he freed from oppression.” dances proudly his own entrée. ”
Of the dances that follow, the Air tendre is The overture to Les fêtes de Polymnie is another orchestration of a harpsichord another of Rameau’s striking conceptions. solo, this one called Les tendres plaintes — Rameau scholar Graham Sadler com - the tender laments of love. Our other dances mented that “the piled-up dissonances of from Zoroastre are taken from the diver - the first section have the character of a tissements at the ends of acts, when (for a magnificent organ improvisation [in fact, while!) the forces of good seem to be win - Balbatre later arranged it for organ] while ning. The one thing missing from Rameau’s the second section would not seem out of later operas is a big concluding chaconne , place in a contemporary German sym - the great dance form organized around a phony.” Next comes a series of dances repeating harmonic pattern . To end the from Dardanus . The Air gracieux pour les first half we return to Rameau’s second Plaisirs appears in the opera’s prologue, tragedy, Castor et Pollux , where the final where “the Pleasures dance, but they are chaconne celebrates “la fête de l’univers”— troubled by Jealousy and her suite.” The the party of the universe—where the stars evening closes with the great chaconne and planets all dance together. from Dardanus, with its magical moments where time stands still. Our second half opens with music from Naïs, the opéra pour la paix which Rameau Robert Mealy has been director of Juilliard’s wrote in 1750. This celebrated the end of Historical Performance Program since 2012. Notes from the exam ining the spatial relationships of the dances, which I then used to inform how I Choreographers composed the space and created relation - ships among the dancers. Ultimately I was In exploring and researching the music that focused on how Rameau’s music could I chose from this program, there was a suffuse and inspire my own contemporary clear initial thought of juxtaposing the take on dance today in partnership with music against its original dance style. The music of the past, to create something that relationships that my dancers and I will be would demonstrate the beauty and univer - working with deal immensely with the sality of his music. strong musical aspects of the Baroque —Maddie Hanson scores, but the movement is in direct con - trast in terms of physicality and dynamics. I explored the idea of lineage in the process In creation, the way in which I can spatially of creating a dance based on Rameau’s and physically break up the norms of the operatic compositions. My dancers and I meter and timing of the score is some - studied the instructions for Baroque dances, thing that I am highly interested in. This as well as the guidelines for the comport - juxtaposition will demonstrate a contem - ment of the performers of these dances. In porary movement vocabulary with a com - addition to abstracting the instructions and plex classical score. maps of Baroque dances, I worked with —Ethan Colangelo the lineage of Rameau’s compositions. Zoroastrianism was a major influence for a In approaching the creative process for portion of the sections I choreographed to. this collaboration, I was particularly inter - Thus I referenced the idea of orientalism ested in the duality concept of chaos and and fascination with the “other.” Chase, order: how that could be explored and Clarissa, Matthew, Mio, and I studied the represented in the music-dance relation - trails of traditional lineage and created our ship, and also within the generation of own contemporary take on the kinetic and movement. I also looked at materials and sonic scores of days past. guidelines on Baroque dance, specifically —Moscelyne ParkeHarrison
Meet the Artists Tafelmusik, and has since recorded and toured with a wide range of distinguished early music ensembles and led orchestras for Masaaki Suzuki, William Christie, R
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R Robert Mealy Smithsonian and curating a medieval music Robert Mealy began exploring early music series for New York’s TENET ensemble. A in high school, first with the collegium of frequent leader and soloist, he is principal UC Berkeley and then at the Royal College concertmaster at Trinity Wall Street, which of Music in London, where he studied recently completed a multiyear survey of the harpsichord and baroque violin. While an complete Bach cantatas, and he is orchestra undergraduate at Harvard College, he director of the Boston Early Music Festival joined the Canadian baroque orchestra Orchestra, which he has led in festival per formances , tours, and Grammy-winning In 2018 Colangelo presented works at the recordings. He regularly appears at interna - Peridance 2018 APAP showcases and tional music festivals from Berkeley to recently was one of nine choreographers Belgrade and Melbourne to Edinburgh; he selected to present work at the Copen- recently performed at the Dans les Jardins hagen International Choreography Com- de William Christie festival in France. A petition in Denmark. devoted chamber musician, he co-directs the 17th-century ensemble Quicksilver, whose debut recording, Stile Moderno , was hailed as “breakthrough recording of the year” by the Huffington Post . He has been director of Juilliard’s Historical Performance Program since 2012. From 2003 to 2015 he taught Maddie Hanson at Yale, directing the postgraduate Yale Baroque Ensemble and the Yale Collegium Canadian dance artist Maddie Hanson is a Musicum; he also taught at Harvard, full-time student in her senior year at where he founded the Harvard Baroque Juilliard, accepted as an early admission Chamber Orchestra. In 2004 he received student at age 16. Her choreographic work Early Music America’s Binkley Award for has been presented in Juilliard’s Choreo - outstanding teaching and scholarship. He graphic Workshops and was selected for has recorded more than 80 CDs on most the Choreographic Honors Performances major labels. He still likes to practice. in 2016, 2017, and 2018. She was selected to create a new work at the San Francisco Conservatory of Dance Summer Choreo- graphic Residency 2017, which was also performed at the APAP 2018 Conference in New York City. She presented two pieces as part of the 2017 DUMBO Dance Festival, where she was awarded the 2017 DDF Ethan Colangelo Award to present work at the 2018 Detroit A native of Toronto, Ethan Colangelo is in City Dance Festival. She also choreo - his fourth year at Juilliard. In 2016 three of graphed for Juilliard’s Composers and his student choreographic workshop pieces Choreographers Concert in fall 2017, and were selected to be performed at the was selected to choreograph for Juilliard’s Choreographic Honors Showcase at the Senior Production Concert in 2019. end of the year, and he was selected for a choreographic residency at the San Francisco Conservatory of Dance Gaga Summer Intensive, where he created a work for six women. He was also selected to present work at Reverb Dance Festival NYC, where Moscelyne a classmate performed a solo work. In ParkeHarrison 2017 Guillaume Côté (associate choreogra - pher of the National Ballet of Canada) Moscelyne ParkeHarrison is a senior dance invited Colangelo to Côté’s Montreal festi - major who began her dance training in the val, Festival des Arts de Saint-Sauveur, thriving artistic atmosphere of the Berkshires. where he presented two separate pieces. In her time at Juilliard she has had the pleasure of performing new works by Helen of her workshop creations have been Simoneau, Katarzyna Skarpetowska, and selected for the Juilliard Choreographic Roy Assaf, as well as the repertoire of Honors concert, and this past summer she José Limón, Nacho Duato, and Crystal Pite. attended the Creative Composition Lab for In addition to mainstage performances she Music and Dance as a part of the Creative partakes in outreach programs. She is a Gesture Program at Banff. She also chore - Gluck Community Fellow, and a volunteer ographed and performed in the play He & for Dance for Parkinson’s Disease. During She at the New York Theater Summerfest her summers she has trained and performed Festival. Her creation Tour of a Reverie , with Jacob’s Pillow Contemporary Ensemble , originally choreographed for ChoreoComp, as well as the composing principles of was performed as part of the Triskelion Iztok Kovac at Dock 11 in Berlin. In addition Arts CollabFest in September. to performing she enjoys choreographing Edward John Noble Foundation Scholarship, and collaborating with other artists. Two Rebekah Harkness Scholarship in Dance
Violin 1 Cello Horn B.F.A. Class of 2019 Robert Mealy Morgan Little Harry Chiu Chin-pong Dancers Rachell Ellen Wong Madeleine Bouissou David Alexander Chase Buntrock Ruiqi Ren Jin Nakamura Clarissa Castañeda Chloe Kim Sydney ZumMallen Trumpet Matthew Gilmore Keats Dieffenbach J. Adam Young Michael Chen Maddie Hanson Chiara Fasani Stauffer Clinton McLendon Zoe Hollinshead Double Bass Mio Ishikawa Violin 2 Jonathan Luik Percussion Jennie Palomo Naomi Dumas Simon Herron Moscelyne Shelby Yamin Flute/Piccolo ParkeHarrison Manami Mizumoto Bethanne Walker Harpsichord Anca Putin George Meyer Taya König-Tarasevich Francis Yun Matthew Quigley Sarah Jane Kenner Miranda-Ming Quinn Oboe Theorbo Simon Rydén Viola 1 Andrew Blanke, Joshua Stauffer Jacob Thoman Yi-Hsuan Ethan Lin Principal (first half) Can Wang Sergio Munoz Leiva Welvin Potter, Principal B.F.A. Class of 2019 Christina Zuccarello (second half) Choreographers Viola 2 Matthew Hudgens Ethan Colangelo Costume Coordinator/ Rebecca Nelson Gonzalo Ruiz Maddie Hanson Designer Alana Youssefian Moscelyne Amanda Bouza Bassoon ParkeHarrison Georgeanne Banker Steven Palacio Cornelia Sommer
About Juilliard415 Koopman, Nicholas McGegan, Rache l Since its founding in 2009, Juilliard415, the Podger, Jordi Savall, and Masaaki Suzuki. school’s principal period-instrument ensem - Juilliard415 tours extensively in the U.S. and ble, has made significant contributions to abroad, having performed on five continents musical life in New York and beyond, bring - with notable appearances at the Boston ing major figures in the field of early music Early Music Festival, Leipzig Bachfest, and to lead performances of both rare and Utrecht Early Music Festival (where Juilliard canonical works of the 17th and 18th cen - was the first-ever conservatory in resi - turies. The many distinguished guests who dence), and on a ten-concert tour of New have led Juilliard415 include Harry Bicket, Zealand. With its frequent musical collabo - William Christie, Monica Huggett, Ton rator, the Yale Institute of Sacred Music, the ensemble has played throughout Italy, 2017 –18 season was notable for the Japan, Southeast Asia, the U.K., and India. Juilliard debuts of the rising conductor Juilliard415, which takes its name from the Jonathan Cohen and the Belgian vocal pitch commonly associated with the perfor - ensemble Vox Luminis, a side-by-side col - mance of Baroque music, A=415, has per - lab oration with Philharmonia Baroque in San formed major oratorios and fully staged pro - Francisco, as well as return visits by Rachel ductions: Handel’s Agrippina and Radamisto ; Podger, William Christie, an all-Bach concert Bach’s Matthew and John Passions; Cavalli’s with Maestro Suzuki, and the rare opportunity La Calisto ; and performances in the U.S. and to see a fully staged production of Rameau’s Holland of Bach’s Mass in B minor conducted Hippolyte et Aricie . This season’s international by Ton Koopman. The ensemble’s most schedule includes performances in Canada, recent international appearances were in London, Athens, Versailles, and throughout Bolivia, in a tour sponsored by the U.S. Scandinavia. In New York , Juilliard415 wel - Department of State that marked the comes Paul Agnew and Alfredo Bernardini ensemble’s South America debut. The for their Juilliard debuts.
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 Beatrice Martin John Thiessen (trumpet) Cynthia Roberts Oboe Peter Sykes Todd Williams (horn) Gonzalo Ruiz Cello Continuo Skills Artists in Residence Phoebe Carrai Bassoon Avi Stein William Christie Dominic Teresi Monica Huggett Viola da Gamba Core Studies Rachel Podger Sarah Cunningham Plucked Instruments Thomas Forrest Kelly Jordi Savall Daniel Swenberg Robert Mealy Bass Charles Weaver Douglas Balliett Historical Theory Charles Weaver
Juilliard Dance In addition to the daily ballet and modern Now under the direction of Alicia Graf Mack, technique classes, every dancer participates Juilliard Dance aims to create true contem - in classical and contemporary partnering, porary dancers—trained equally in classical dance composition, anatomy, acting, dance ballet and modern dance. Established in 1951 history, stagecraft, production, music theory, by William Schuman during his tenure as repertory, and elements of performing. president of The Juilliard School, with the Dancers are encouraged to present their guidance of founding division director own choreographed works in informal con - Martha Hill, Juilliard became the first major certs and workshop presentations. Each fall teaching institution to combine equal every class has the opportunity to work instruction in both contemporary and ballet with established choreographers in premiere techniques. Each year 24 new dancers are dances as part of the New Dances perfor - accepted into the four-year B.F.A. program. mances. Recent commissions include work s by Bryan Arias, Roy Assaf, Gentian Doda, Andrea Miller, Ohad Naharin, and Paul John Heginbotham, Matthew Neenan, Taylor. Juilliard dancers are currently Gustavo Ramírez Sansano, Katarzyna dancing in Nederlands Dans Theater, Skarpetowska, and Pam Tanowitz. Spring Nederlands Dans Theater 2, Ballet BC, performances give dancers the opportu - Aspen/Santa Fe Ballet, BJM_Danse, L.A. nity to perform in established works from Dance Project, Limón Dance Company, repertory. Recent repertory performances GöteborgsOperans Danskompani, Ballett included works by Nacho Duato, William des Saarländisches Staatstheater, Kidd Forsythe, Martha Graham, Ji rˇí Kylián, José Pivot, and Batsheva Dance Company, Limón, Mark Morris, Crystal Pite, Paul among many others, as well as in several Taylor, and Twyla Tharp. Juilliard Dance Broadway productions. The Dance Division alumni include, among many others, the was the proud recipient of the 2015 choreographers and directors Robert Battle, Capezio Award and was the first educa - Pina Bausch, Jessica Lang, Lar Lubovitch, tional institution to receive the honor.
Administration Alicia Graf Mack , Director Taryn Kaschock Russell , Associate Director Katie Friis , Administrative Director Hilary Tanabe , Dance Division Coordinator Alexandra Tweedley , Administrative Associate Keith Michael , Production Coordinator Renata Almeida , Assistant Production Coordinator
Faculty Ballet Dance Composition Acting Tap Jeff Edwards Janis Brenner Richard Feldman Ray Hesselink Linda Gelinas Hilary Easton Orlando Pabotoy Charla Genn Rosalind Newman Voice Espen Giljane Ballroom Dance Badiene Magaziner Alicia Graf Mack Alexander Technique Yvonne Marceau Francisco Martinez Jane Kosminsky Yoga and Mindfulness Taryn Kaschock Russell Elements of Francisco Martinez Deborah Wingert Anatomy Performing and guests Irene Dowd Risa Steinberg Production Coordinator Modern Dance Contact Improvisation Hip-Hop Keith Michael Terese Capucilli K.J. Holmes Ms. Vee (Valerie Ho) Jean Freebury Faculty Emeriti Linda Kent Dance History Jazz Lawrence Rhodes, Alicia Graf Mack Rachel Straus Joe Lanteri Artistic Director Milton Myers Emeritus Bobbi Smith Music Studies for Repertory Carolyn Adams Risa Steinberg Dance Francesca Harper Laura Glenn and guests Jerome Begin, Music Elizabeth Keen Advisor Stagecraft Héctor Zaraspe Thomas Cabaniss Leslie Smith