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Home , Alice Tully, David Diamond (composer), Gerard Schwarz, Jacob Druckman, Juilliard School, Lila Acheson Wallace

Thursday Evening, October 26, 2017, at 7:30

The presents Juilliard Orchestra , Conductor Jordan Bak , Viola

DAVID DIAMOND (1915–2005) Fourth (1945) Allegretto Adagio—Andante Allegro

JACOB DRUCKMAN (1928–96) for Viola and Orchestra (1978) JORDAN BAK , Viola

Intermission

WILLIAM SCHUMAN (1910–92) Symphony No. 6 (1948) In one movement

Performance time: approximately 1 hour and 30 minutes, including one 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 Plaza, , 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 before his death, he said: “I have always thought had to have strong melodic by James M. Keller contours, good rhythmic variety and coun - terpoint, or it would make no dent on peo - Fourth Symphony ple…. Our society needs consonance; it was always a must, because of the com - Born July 9, 1915, in Rochester, New York municative power of that kind of music.” Died June 13, 2005, in Rochester, New York Diamond would call his Fourth Symphony, David Diamond’s passing a dozen years composed in 1945, “my smallest large ago, just shy of his 90th birthday, deprived symphony. Small in the sense that not only the world of one of the few then-remaining is it short...but form is never allowed to American whose life inter - exceed the needs of the material. Yet sected with such great names of interwar materials, although of a modest nature, are Paris as , Albert Roussel, expansive, [and] somewhat transcendental André Gide, and James Joyce. He was in the way they go beyond themselves.” drawn to the studio of , Certainly it is a large symphony in its with whom he worked from the summer forces, with quadruple woodwinds and six of 1937 until the outbreak of World War II horns figuring in the orchestra. (He later in 1939, when he returned to the U.S. In prepared a reduced version with triple 1951 he moved to Italy, living in Florence woodwinds and four horns, but the full ver - until 1965. This self-imposed exile was partly sion is played here tonight.) The work a response to his disdain for Senator Joseph scored solid successes at its premiere on McCarthy. The fact that he was openly gay January 23, 1948, with at a time when most such people remained conducting the Boston Symphony, and tightly locked in the closet did nothing to when it was performed a month later by the endear him to the McCarthy camp. Juilliard Orchestra, with Edgar Schenkman conducting. In a commentary penned in In 1965 he moved back to America for good. 1958, Diamond advised against approach - He chaired the composition department at ing the piece as program music, but he did the School of Music (1966–67) allow that “the entire symphony was cre - and served as composition professor at ated with the idea of life and death,— Juilliard (1973–86), continuing after his retire - Fechner’s theories of life and death—as: I, a ment as an adjunct teacher for another continual sleep; II, the alternation between decade. His later years were filled with sleeping and waking; and III, eternal wak - recognitions: the Lifetime ing. Birth being the passing from I to II and Achievement Award (1985), the Gold Medal death the transition from II to III.” of the American Academy of Arts and Letters (1991), and the Edward MacDowell Concerto for Viola and Orchestra Gold Medal for Lifetime Achievement (1991). In 1995 he was awarded the National Born June 26, 1928, in Philadelphia, Medal of Arts by President Bill Clinton. Pennsylvania Died May 24, 1996, in New Haven, His music covers broad stylistic territory, . but his voice remained grounded in tradi - tional (if chromatically spiced) tonality and Jacob Druckman earned a Pulitzer Prize stressed clarity of structure and texture. In in 1972 for his , an orchestral an interview with the Seattle Times shortly piece that marked his movement from a more-or-less orthodox mid-century abstrac - Druckman wrote his Viola Concerto in tion (including, for a while, a profound interest 1978, completing it a month before its pre - in ) to a style that incorporated miere, on November 2 of that year, with harmonic and melodic elements related to conducting the New York the more traditional mainstream of concert Philharmonic, and soloist Sol Greitzer. In a music. In 1978 (the year of his Viola Concerto) program commentary written for the pre - he was elected to the Institute of the miere, Druckman explained the structural American Academy of Arts and Letters and challenge he confronted in this piece: two years later he was named president of the Koussevitzky Foundation. From 1982 The theme of my Viola Concerto is the to 1986 he was the ’s transformation of the relationship between in residence. In that capacity he the soloist and the orchestra. The beauti - served as artistic director of the Horizons ful but slightly veiled voice of the viola is new-music series in 1983 and 1984 focus - surrounded by the terrible power of the ing on “The New Romanticism” (a popular full orchestra. There is an insistent pat - term he is widely credited for originating) tern: the viola initiates the activity, the and “Music and Theater.” orchestra at first following. The soloist gradually unleashes the force of the orches - took him on as a pupil at tra as the orchestra seizes upon moments the Berkshire Music Center in 1949, and in his discourse and imitates, underlines, that autumn he entered Juilliard, where his elaborates, and transforms them. composition teachers included , Bernard Wagenaar, and Peter Three times the orchestra builds into Mennin. He would teach at Juilliard from overwhelming blocks of sounds which 1956 to 1972. During that time he was also are not related to the material of the affiliated successively with , soloist, but to each other. These masses the Columbia-Princeton Electronic Music slowly rearrange their internal harmonies , Center, and . From 1972 to repeatedly moving from impenetrable 1976 he taught composition at Brooklyn density to a more stable clarity. They also College, and then moved to Yale, where he serve to define the larger form of the chaired the composition department and work, which is in one movement of seven directed the electronic music studio. sections: solo viola, ORCH., solo viola, ORCH., solo viola, ORCH., solo viola. His colorful but unostentatious style often reflects his interest in the sound-world of Symphony No. 6 such earlier figures as Debussy, Ravel, WILLIAM SCHUMAN Stravinsky, Mahler, and Schoenberg. Some Born August 4, 1910, in of his works include quotations from com - Died February 15, 1992, in New York City posers of the past, characteristically heard as if through a scrim, surrounded by entirely William Schuman’s exclusive passion was modern, original halos. “There are,” he baseball until, in 1930, his sister dragged said, “many things—orchestral color is a him to a concert at Carnegie Hall to hear good example—that I consider intrinsic Arturo Toscanini conduct the New York and structural in a piece that others would Philharmonic. He was captivated. Soon consider decorative. The whole concern of after he withdrew from N.Y.U.’s business orchestral coloring is as central to me as college, inquired at a neighborhood music sonata allegro form was to Mozart.” school about what one had to do to become a composer, and got a referral to works (including five string quar tets), lots of Max Persin, a former student of Anton choral music, ballets (one for , Arensky. Persin began initiating his eager four for ), and two operas, charge into the mysteries of harmony, one of which— The Mighty Casey —brought after which Schuman worked privately his infatuation with baseball into the orbit with composers Bernard Wagenaar and of his profession as a composer. He . received pretty much every honor a com - poser could receive, including two Pulitzer He became influential not only through his Prizes and the Kennedy Center Honors. compositions but also as a high-profile advocate for American composers, as an With a single movement divided into six educator, and as an arts administrator sections of contrasting tempos, Schuman’s whose visions continue to resound today. dark-hued Sixth Symphony was not well After spending a decade teaching at Sarah received at its premiere, on February 27, Lawrence College and three years as direc - 1949. Antal Dorati conducted the Dallas tor of publications for the firm of G. Symphony in a performance that Schuman Schirmer, he ascended to the presidency felt fell short in both conducting and play - of Juilliard, where he set about a profound ing. Describing the audience reaction, he overhaul. During his administration, which recalled, “Some were so incensed over lasted from 1945 through 1962, his inno - the work that they questioned whether vations included reviving the opera de - they should even complete payment of the part ment, establishing the Juilliard String commission.” Ensuing performances else - Quartet (the archetype for ensembles in where established the work’s reputation. residence which are fixtures of modern Near the end of his life, Schuman remarked conservatories), expanding the school to that “the Sixth Symphony…is the one that include theater and dance divisions, build - composers all like.” Indeed composer (and ing the prestige of the faculty in all areas, Juilliard professor) Christopher Rouse has and authoring Juilliard’s famous Literature voiced strong appreciation for this work, and Materials of Music curriculum. Only a describing it as a “stylistic crossroads” huge temptation could lure him from with “previously untapped seriousness Juilliard; but he couldn’t resist the invita - and depth of expression,” a symphony tion in 1962 to become the first president that “is not only immensely satisfying in of Lincoln Center for the , itself but is also a focal point within its which would become the model for the composer’s entire output.” multi-constituent performing-arts institu - tions that grew to dominate American high James M. Keller is the longtime program culture in the later 20th century. annotator of the New York Philharmonic (The Leni and Peter May Chair) and the San He composed all the while. When he died, at Francisco Symphony. His book Chamber the age of 81, his catalog included ten sym - Music: A Listener’s Guide , published in 2011 phonies (he withdrew the first two), numer - by Oxford University Press, is also available ous incidental orchestral pieces, chamber as an e-book and an Oxford paperback. Meet the Artists of the in 2011 following 26 years with the ensemble. In his nearly Y H

P five decades as a respected classical musi - A R

G cian and conductor, he has received hun - O T

O dreds of honors and accolades including H P

N Emmy Awards, Grammy nominations, E T

U ASCAP Awards, and the Ditson Conductor’s O H

N Award honoring his commitment to the A

V Gerard Schwarz performance of American music. He was American conductor Gerard Schwarz is the first American named conductor of the music director of the All-Star Orchestra, an year by Musical America and has received ensemble of top musicians from America’s numerous honorary doctorates. leading orchestras. The All-Star Orchestra has been featured in a dozen television pro - grams that have aired on public television throughout the U.S., streamed worldwide

on the internet, and is the basis for their E E L

Khan Academy education platform that has A N I

already reached more than 6 million students. B U

R Jordan Bak A further four episodes of this six Emmy Award –winning ensemble are currently being A native of Long Island, New York, violist televised nationwide. Mr. Schwarz is also Jordan Bak is a prizewinner in competitions music director of North Carolina’s Eastern including the Adelphi Chamber Orchestra Music Festival and the Mozart Orchestra of Solo Competition and Eastern Connecticut New York and is conductor laureate of the Symphony Orchestra Competition. He was Seattle Symphony. His book Behind the also a semifinalist in the 2016 Sphinx Baton was recently released by Amadeus Competition and the winner of the Presser Press and his discography of more than Foundation Undergraduate Scholar Award 350 albums showcases collaborations with and the Sphinx MPower Artist Grant. Mr. the , London Sym - Bak has performed in master classes with phony, Berlin Radio Symphony, Orchestre Kirsten Docter, Atar Arad, Veit Hertenstein, National de France, Tokyo Philharmonic, Lo s , Steven Tenenbom, and Angeles Chamber Orchestra, New York Nobuko Imai; and has worked with mem - Chamber Symphony, and Seattle Symphony, bers of the Borromeo, Calidore, Cavani, among others. Mr. Schwarz began his pro - Parker, Michelangelo, Juilliard, and Cleveland fessional career as co-principal trumpet of quartets, as well as with Don Palma and the New York Philharmonic and has held Renée Jolles of Orpheus. He has also leadership positions with the Mostly Mozart collaborated and performed with Colin Carr, Festival, Royal Liverpool Philharmonic, Los Ara Gregorian, Keiko Sekino, and Emanuel Angeles Chamber Orchestra, and New Gruber. He has attended the Yellow Barn York Chamber Symphony. Young Artists Program, Four Seasons Festival, Encore Festival, and Taos A renowned interpreter of 19th-century Festival, and was one of six violists invited German, Austrian, and Russian repertoire, to participate in the 2016 Lac Lema n Music in addition to his noted work with contem - Masterclasses in Blonay, Switzerland. He ha s po rary American composers, Mr. Schwarz been principal violist of the Juilliard Orchestra, completed his final season as music director New England Con servatory Symphony and Philharmonia, Cambridge Philharmonic, New of Hall, Carnegie Hall, David York All State Symphony Orchestra, and is a Geffen Hall, and Juilliard’s Peter Jay Sharp member of Symphony in C (formerly the Theater. The season opened in August with Haddonfield Symphony); and has performed a collaboration between Juilliard and Finland’s under conductors including , Sibelius Academy members conducted by Susanna Mälkki, Stefan Asbury, David Esa-Pekka Salonen with concerts in Alice Loebel, Edward Gardner, and Hugh Wolff. Tully Hall, Helsinki, and Stockholm.

Mr. Bak began playing the at age two The orchestra is a strong partner to and the viola at age eight. After initially Juilliard’s other divisions, appearing in pursuing a career as a pianist, he ultimately opera and dance productions. Under the graduated as a violist with academic musical leadership of Alan Gilbert, the honors from New England Conservatory, director of conducting and orchestral stud - studying with Dimitri Murrath. Previous ies, the Juilliard Orchestra welcomes an teachers include Melissa Howe, Simon impressive roster of world-renowned guest Shaheen, and Yeou-Cheng Ma. He is conductors this season including Thomas pursuing his degree at Adès, Joseph Colaneri, Edo de Waart, Chen Juilliard with Hsin-Yun Huang and is on the Lin, David Robertson, Speranza Scappucci, faculty of the Malverne School of Music. Gerard Schwarz, and Emmanuel Villaume, He plays a viola made in 2016 by Jon van and faculty members and Kouwenhoven. Kovner Fellowship Mr. Gilbert. The Juilliard Orchestra has toured across the U.S. and throughout Europe, Juilliard Orchestra South America, and Asia, where it was the Juilliard’s largest and most visible student first Western conservatory ensemble allowed performing ensemble, the Juilliard Orchestra, to visit and perform following the opening is known for delivering polished and pas - of the People’s Republic of China in 1987, sionate performances of works spanning returning two decades later, in 2008. Other the repertoire. Comprising more than 350 ensembles under the Juilliard Orchestra students in the bachelor’s and master’s umbrella include the conductorless Juilliard degree programs, the orchestra appears Chamber Orchestra, the Juilliard Wind throughout the 2017–18 season in more Orchestra, and the new-music groups than a dozen performances on the stages AXIOM and New Juilliard Ensemble. Juilliard Orchestra Alan Gilbert , Director of Conducting and Orchestral Studies, William Schuman Chair in Musical Studies Gerard Schwarz , Guest Conductor

Violin I Natalie Loughran Mitchell Kuhn , Principal Peter Hoyle Ashley Jeehyun Park, Bella Markham Daniel Gurevich Madison Lusby Concertmaster Jacob van der Sloot Shenae Anderson English Horn Trombone Kit Ying Cheng Cello Emily Beare Kevin Carlson , Principal Hiu Sing Fan Megan Yip, Principal Mitchell Kuhn Christopher Houlihan , Leerone Hakami David Bender Principal Diana Dohyung Kim Clare Bradford Clarinet Ethan Shrier , Principal Harriet Langley Ayoun Alexandra Kim Na Yoon Kim , Principal Colin Laursen Songhee Lee Alec Manasse , Principal Bass Trombone Xingyu Li Jonathan Lien Phillip Solomon , Ehren L. Valmé , Katherine Kyu Hyeon Lim Derek Louie Principal Principal Peter Lin Emily Mantone Kamalia Freyling Marco Gomez , Principal Mo Lei Luo Kaye Otake Kyung-Ji Min Andree Werner Bass Clarinet Tuba Hava Polinsky Na Yoon Kim Colin Benton , Principal Yue Qian Alec Manasse Giovanni S. Maraboli , Lukas Stepp Andrew Sommer, Principal Principal Bassoon II Daniel Chan Jonathan Gibbons , Timpani Sara Staples, Principal Szu Ting Chen Principal Tyler Cunningham , Annie Bender Janice Gho Soo Yeon Lee , Principal Principal Yutsuki Beppu Zachary Marzulli Jacob Wellman , Jake Darnell , Principal Yimiao Chen Fox Myers Principal Ludvig Gudim Kathryn Morgan Blair Shepperd Percussion Angela Kim Stewart Tyler Cunningham , Soo Yeon Kim Reed Tucker Contrabassoon Principal Haokun Liang Jonathan Gibbons Sae Hashimoto , Fedor Ouspensky Flute Principal Ziyao Sun Jake Chabot , Principal French Horn Leo Simon , Principal Angela Wee Giorgio Consolati , Thea Humphries , Jake Darnell Jessica Jo-Tzu Yang Principal Principal Euijin Jung Mitsuru Yonezaki Mei Stone , Principal Jasmine Lavariega , Wei Zhu JiHyuk Park Principal Harp Nathaniel Silberschlag , Madeline Olson , Viola Alto Flute Principal Principal Howard Cheng, Jake Chabot Kaci Cummings Clara Warford , Principal Principal Eric Huckins Isabella Bignasca Piccolo Vincent Kiray Piano Stephanie Block JiHyuk Park Thomas Steigerwald Kayla Cabrera Mei Stone Trumpet Barlybayeva Dariya Anthony Barrington , Joshua S. Kail Oboe Principal Esther Kim Emily Beare , Principal Marshall Kearse , Halam Kim Victoria Chung , Principal Minji Kim Principal Alex Wilborn , Principal

Orchestra Administration Adam Meyer, Associate Dean and Director, Music Division Joe Soucy, Assistant Dean for Orchestral Studies

Joanna K. Trebelhorn, Director Lisa Dempsey Kane, Principal Kate Northfield Lanich, of Orchestral and Ensemble Orchestra Librarian Orchestra Personnel Operations Michael McCoy, Orchestra Manager Matthew Wolford, Operations Librarian Deirdre DeStefano, Orchestra Manager Management Apprentice

BOARD OF TRUSTEES Ellen and James S. Marcus Institute for Vocal Arts Bruce Kovner, Chair Brian Zeger, Artistic Director J. Christopher Kojima, Vice Chair Kirstin Ek, Director of Curriculum and Schedules Katheryn C. Patterson, Vice Chair Monica Thakkar, Director of Performance Activities Pierre T. Bastid Michael Loeb Pre-College Division Julie Anne Choi Vincent A. Mai Yoheved Kaplinsky, Artistic Director Kent A. Clark Ellen Marcus Ekaterina Lawson, Director of Admissions and Academic Affairs Kenneth S. Davidson Michael E. Marks Anna Royzman, Director of Performance Activities Barbara G. Fleischman Nancy A. Marks Evening Division Keith R. Gollust Stephanie Palmer McClelland Danielle La Senna, Director Mary Graham Christina McInerney Joan W. Harris Lester S. Morse Jr. Library Matt Jacobson Stephen A. Novick Jane Gottlieb, Vice President for Library and Edward E. Johnson Jr. Joseph W. Polisi Information Resources; Director of the C.V. Starr Karen M. Levy Susan W. Rose Doctoral Fellows Program Teresa E. Lindsay Deborah Simon Enrollment Management and Student Development Sarah Billinghurst Solomon Joan D. Warren, Vice President William E.“Wes” Stricker, MD Kathleen Tesar, Associate Dean for Enrollment Management Sabrina Tanbara, Assistant Dean of Student Affairs TRUSTEES EMERITI Cory Owen, Assistant Dean for International Advisement and Diversity Initiatives June Noble Larkin, Chair Emerita William Buse, Director of Counseling Services Mary Ellin Barrett Katherine Gertson, Registrar Sidney R. Knafel Tina Gonzalez, Director of Financial Aid Elizabeth McCormack Barrett Hipes, Director, Alan D. Marks Center for John J. Roberts Career Services and Entrepreneurship Teresa McKinney, Director of Community Engagement Todd Porter, Director of Residence Life JUILLIARD COUNCIL Howard Rosenberg MD, Medical Director Mitchell Nelson, Chair Beth Techow, Administrative Director of Health and Counseling Services Michelle Demus Auerbach Sophie Laffont Holly Tedder, Director of Disability Services Barbara Brandt Jean-Hugues Monier and Associate Registrar Brian J. Heidtke Terry Morgenthaler Gordon D. Henderson Pamela J. Newman Finance Peter L. Kend Howard S. Paley Christine Todd, Vice President and Chief Financial Officer Younghee Kim-Wait John G. Popp Irina Shteyn, Director of Financial Planning and Analysis Paul E. Kwak, MD Grace E. Richardson Nicholas Mazzurco, Director of Student Accounts/Bursar Min Kyung Kwon Kristen Rodriguez Administration and Law Jeremy T. Smith Maurice F. Edelson, Vice President for Administration and General Counsel Joseph Mastrangelo, Vice President for Facilities Management EXECUTIVE OFFICERS AND SENIOR ADMINISTRATION Myung Kang-Huneke, Deputy General Counsel Carl Young, Chief Information Officer Office of the President Steve Doty, Chief Operations Officer Joseph W. Polisi, President Dmitriy Aminov, Director of IT Engineering Jacqueline Schmidt, Chief of Staff Caryn Doktor, Director of Human Resources Office of the Provost and Dean Adam Gagan, Director of Security Ara Guzelimian, Provost and Dean Scott Holden, Director of Office Services José García-León, Associate Dean for Academic Affairs Jeremy Pinquist, Director of Client Services, IT Robert Ross, Assistant Dean for Preparatory Education Helen Taynton, Director of Apprentice Program Kent McKay, Associate Vice President for Production Development and Public Affairs Dance Division Elizabeth Hurley, Vice President Taryn Kaschock Russell, Acting Artistic Director Alexandra Day, Associate Vice President for Marketing Lawrence Rhodes, Artistic Director Emeritus and Communications Katie Friis, Administrative Director Benedict Campbell, Website Director Amanita Heird, Director of Special Events Drama Division Susan Jackson, Editorial Director Richard Feldman, Acting Director Sam Larson, Design Director Katherine Hood, Managing Director Katie Murtha, Director of Major Gifts Music Division Lori Padua, Director of Planned Giving Adam Meyer, Associate Dean and Director Ed Piniazek, Director of Development Operations Bärli Nugent, Assistant Dean, Director of Chamber Music Nicholas Saunders, Director of Concert Operations Joseph Soucy, Assistant Dean for Orchestral Studies Edward Sien, Director of Foundation and Corporate Relations Stephen Carver, Chief Piano Technician Adrienne Stortz, Director of Sales Robert Taibbi, Director of Recording Tina Martin, Director of Merchandising Joanna K. Trebelhorn, Director of Orchestral Rebecca Vaccarelli, Director of Alumni Relations and Ensemble Operations Juilliard Global Ventures Historical Performance Christopher Mossey, Senior Managing Director Robert Mealy, Director Courtney Blackwell Burton, Managing Director for Operations Benjamin D. Sosland, Administrative Director; Betsie Becker, Managing Director of Global K–12 Programs Assistant Dean for the Kovner Fellowships Gena Chavez, Managing Director, Juilliard School Nicolas Moessner, Managing Director of Finance Jazz and Risk Management , Director of Juilliard Jazz Aaron Flagg, Chair and Associate Director