Friday Evening, November 22, 2019, at 7:30

The Juilliard School presents Juilliard415 Pablo Heras-Casado, Conductor

Madness and Folly: Night Music From Spain

JUAN MARCOLINI (b. 1730s, fl. 1760–70) Overture to La Dicha en la desgracia y vida campestre Allegro assai e spiritoso

FRANCESCO GEMINIANI (1687–1762) Concerto Grosso on La Follia (after Corelli)

GEORG PHILIPP TELEMANN (1681–1767) Ouverture-Suite, TWV 55:G10, Burlesque de Quixotte Ouverture. Maestoso Le Réveil de Quixotte Son Attaque des Moulins a Vent. Très vite Les Soupirs amoureux après la Princesse Dulcinée Sanche Panche berné Le Galope de Rosinante Celui d’ane de Sanche Le couché de Quixott

LUIGI BOCCHERINI (1743–1805) La Musica Notturna delle strade di Madrid, Op. 30, No. 6 (G. 324) Il campane quando suonano l’Ave Maria Il tamburo del quartier dei soldati Minuetto dei ciechi Il rosario: Largo assai—Allegro Los manolos. Modo di suono, e canto: Allegro vivo Ritirata: Maestoso

Intermission

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

Juilliard’s full-scholarship Historical Performance program was established and endowed in 2008 by the generous support of Bruce and Suzie Kovner.

Alice Tully Hall Please make certain that all electronic devices are turned off during the performance. BOCCHERINI Concerto for Cello, 2 Oboes, 2 Horns, and Strings in D major, No. 8, G. 483 Allegro moderato Andante Allegro e con moto Sydney ZumMallen, Cello

JOSÉ DE NEBRA (1702–68) Seguidillas Para obsequio a la deydad, nunca es culto la crueldad: Seguidilla Vendado es amor, no es ciego: Seguidilla Viento es la dicha de amor: Canción Donde hay violencia no hay culpa: Seguidilla (1 and 2)

CHRISTOPH WILLIBALD GLUCK (1714–87) Dances from Don Juan Sinfonia: Allegro Grazioso Moderato (Fandango) Allegro Allegretto Larghetto Allegro non troppo

Research and edition: Olivier Fourés/Ars Antiqva Special thanks to Concerto Köln, which recorded many of these works on DG ARCHIV Produktion

Performance time: approximately two hours, including an intermission Notes on the Program By Marcolini’s era, the zarzuela had migrated by Thomas May beyond the palace setting to public theaters It was with an orchestra composed in part and would soon be displaced by the shorter, of students from Juilliard—the Carnegie intermezzo-like tonadilla, of which Marcolini Hall-associated Ensemble ACJW (since likewise became a purveyor and whose renamed Ensemble Connect)—that Pablo preference for stock comic characters is al- Heras-Casado made his U.S. debut in 2008. ready apparent in La Dicha. This brief over- For this evening’s program, the Granada- ture points to the hybrid nature of zarzuela, born maestro not only reconnects with Juil- mingling Iberian sensibilities with the zesti- liard but does so in the context of period- ness of Italian opera buffa. instrument performance, from which he himself emerged as a precocious student. Concerto Grosso on La Follia (after Corelli) Early music remains a focal point for the FRANCESCO GEMINIANI maestro. In 2007 Heras-Casado cofounded Born: December 5, 1687, Lucca, Italy La Compañía Teatro del Principe in Aranjuez Died: September 17, 1762, Dublin to explore the neglected heritage of opera, The Iberian peninsula played a key role in the zarzuela, and its offshoots originating from development of that fascinating phenom- the Spanish Baroque. enon known as “la Folía” or “la Follia” (in Overture to La Dicha en la desgracia y Spanish and Italian, respectively). This is the vida campestre name of a folk dance, originating in Portugal JUAN MARCOLINI in the late Renaissance, that was associated Born: Probably in the 1730s with an improvisatory process based on a Died: Unknown, was active in the 1760s–70s given chord sequence. By the 18th century, the so-called “Follies of Spain” had taken Among the forgotten gems he and his shape as a specific eight-chord progression colleagues turned up was music by Juan in D minor, cast as a stately sarabande triple Marcolini, a composer active in Madrid in the meter. In this incarnation, it became a mad- mid-18th century. Scant information has sur- dening obsession indeed, an ear worm that vived about Marcolini, whose music is all but spread internationally. unknown today. Indeed, Heras-Casado made the world premiere recording of the piece Arcangelo Corelli used the Follia pattern in he has chosen to open this program. The the last of the group of 12 violin sonatas he overture to La Dicha en la desgracia y vida published in 1714 as his Op. 5. Designed as campestre (“Joy in Misfortune and Country a set of 25 variations on this sequence, the Life”) dates from Marcolini’s most productive sonata became particularly popular during period in the 1760s. Zarzuela is nowadays typ- the Baroque and was in turn exploited in ically associated with its 20th-century incar- many versions—not unlike a jazz standard. nation (showing the influence of French and Viennese operetta). But it originated as a form In the 1720s, Francesco Geminiani pub- of court burlesque in the mid-17th century lished six arrangements of Corelli’s Op. 5 at the Palacio Real de la Zarzuela (the word sonatas. His rearrangement of Corelli’s “La is a diminutive of “bramble bush”)—a royal Follia” Sonata as a concerto grosso gener- hunting lodge located in the woods outside ated such enthusiasm that it also became Madrid. This mixture of musical and spoken the source for later adaptations and im- theater covered a spectrum from pastoral en- provisations. Geminiani, incidentally, was tertainments to myth-centered semi-operas. tagged by his compatriot Giuseppe Tartini as “il furibondo” (“the madman”) on account separated by ten years (in 1605 and 1615, of his intense playing style as a violinist. respectively). Telemann homes in on some of the best-known episodes from part one Ouverture-Suite, TWV 55:G10, Burlesque for his suite. Without resorting to the vast de Quixotte apparatus of a Richard Strauss, Telemann GEORG PHILIPP TELEMANN finds extraordinarily effective gestures to Born: March 14, 1681, Magdeburg, Germany convey the madness of Don Quixote, in Died: June 25, 1767, Hamburg, Germany effect crafting a miniature instrumental comedy without words. Thus the overture Like Geminiani, Georg Philipp Telemann to the suite pokes fun at what were already fell into unjustified neglect despite also clichés of grand French style while simul- being widely celebrated during his life- taneously delineating his protagonist’s off- time. A master of almost every genre and kilter, delusional state of mind. far more prolific even than his contem- porary and colleague Johann Sebastian The subsequent movements evoke Don Bach, Telemann advocated an aesthetic of Quixote’s awakening, his attack on the “mixed style” (“gemischter Stil”), blending windmills, and his lovesick sighs for the different national styles into unpredictable woman he believes he is destined to serve hybrids—another thread that underlies the as a knight, Princess Dulcinea, a poor farm selections on this program. girl who lives nearby. After Quixote departs without paying for their lodging at an inn, his Telemann’s unpublished but popular (in squire Sancho Panza is humiliated by being its time) Burlesque de Quixotte offers a tossed on a blanket—a scene that elicits fascinating example of instrumental pro- a dizzying (and hilarious) play with tempo gram music from an early 18th-century changes. Telemann similarly has great fun Baroque perspective. (The precise date depicting the characteristic gaits of Quixote’s of composition is unknown.) “Ouverture” exhausted nag, Rocinante, and Sancho’s here is used to signify an orchestral suite donkey (structured as the trio section whose movements draw from a variety of framed by the horse’s “gallop”). The last dance types. movement presents wildly rushing strains over a drone—Quixote’s restless fantasy Yet in the case of J.S. Bach and other unable to be quelled even in sleep—before contemporaries, such suites had become suddenly fading away. unloosed from their theatrical origins, re- anchoring in the realm of absolute music. La Musica Notturna delle strade di Telemann’s ouverture-suites with charac- Madrid, Op. 30, No. 6 (G. 324) teristic titles go in the opposite direction, Concerto for Cello, 2 Oboes, 2 Horns, according to the musicologist Steven Zohn, and Strings in D major, No. 8, G. 483 and “more fully realize the genre’s mimetic LUIGI BOCCHERINI potential than anything written previously,” Born: February 19, 1743, Lucca, Italy showing their composer to be “a man of the Died: May 28, 1805, Madrid theater, avid reader, humorist, and keen ob- server of the physical and political world.” Spain also turned out to be an enticing des- tination for the composer and cellist Luigi Miguel de Cervantes Saavedra published Boccherini, who had been nurtured as part El ingenioso hidalgo Don Quijote de la of a successful musical family in Lucca, It- Mancha (“The Ingenious Gentleman Don aly. Early in his career, he moved to Madrid Quixote of La Mancha”) in two parts to play in the orchestra of an itinerant Italian opera company that performed in theaters distance, so that it must be played piano, frequented by the royal court. Boccherini so softly as to be barely audible.” found a patron in King Charles III’s younger brother, the Infante Don Luis. It was during Along with his immense productivity— this period that Boccherini began concen- focusing largely on chamber music and its trating on the string quintets (with two intimate details—Boccherini maintained cellos) with which his name is closely as- a very active career as a virtuoso cellist sociated. That format came about from the until late in his career. His 12 extant cello addition of his own instrument to his pa- concertos are believed to date to his early tron’s resident quartet. years, before the move to Spain. The Concerto in D major, No. 8, is particularly no- La Musica Notturna delle strade di Madrid table for the role assigned to pairs of oboes (“Night Music of the Streets of Madrid”) and horns—most obviously as they provide originated as one of the more than 150 companionship to the solo cello in the first string quintets that Boccherini produced. movement and in the orchestral tuttis of the It dates from around 1780, when the com- finale. The solo writing gives a fair indication poser was actually living outside Madrid— of the remarkable personality Boccherini his patron had been forced at the time into projected though his instrument. exile in Ávila. Boccherini’s vivid impressions of city life are remarkably varied and evoc- Seguidillas ative and quickly became famous, inspir- JOSÉ DE NEBRA ing numerous arrangements—though the Born: January 6, 1702, Calatayud, Spain composer himself was against publishing Died: July 11, 1768, Madrid the piece because he thought its musical gestures were too dependent on listeners Pablo Heras-Casado has expressed his being familiar with Madrid. Boccherini defen- high appraisal of José de Nebra, another sively noted about this C major quintet that prominent practitioner of the zarzuela in “everything here that does not comply with Madrid. On his 2013 album El Maestro the rules of composition should be pardoned Farinelli—inspired by the famous castrato for its attempt at an accurate representation during his later career, when he had be- of reality.” come an important part of the Spanish royal court and shaped Madrid’s musical As the movement titles indicate, the piece life as an impresario—Heras-Casado in- depicts the city bells sounding the Ave Maria cluded the examples we hear of seguidil- from various smaller churches; the solders’ las by Nebra, who became known as both roll-call at the barracks; the astonishingly an organist and a composer of theater and original “Minuet of Blind Beggars,” which sacred music. calls for the cellists to position their instru- ments on their sides over their knees to be The seguidilla originated as a Spanish folk- strummed, guitar-like; a slow movement for song and dance (imitated, most famously, the praying of the Rosary; a group of “mano- though not unproblematically, by Bizet in los,” uneducated young men singing and the corresponding number in Carmen) and dancing during their evening promenade; is one of the traditional Spanish forms that and ending with the march of the ritirata, Nebra incorporated side by side with Ital- the “retreat” (military tattoo) announc- ian ones in his theater works. According to ing curfew. Boccherini, well in advance of the musicologist José-Máximo Leza Cruz, Debussy, instructs the players to imagine “speech and singing alternated freely” this music “as it begins to be heard in the in these pieces, and depending on what each theater was able to provide, Nebra’s it was initially found shocking and disturb- orchestra typically included “violins and ing but soon became a popular success.” violas, and often oboes and flutes (played As with Orfeo ed Euridice, Don Juan’s “ex- probably by the same instrumentalists) as traordinary simplicity of outline and direct- well as horns and trumpets.” The pieces ness of dramatic impact” were driven by we’ll hear tonight date from the 1740s. the impetus to rethink “artistic forms that had come to be seen as theatrically inert Dances from Don Juan and encumbered by moribund traditions.” CHRISTOPH WILLIBALD GLUCK While Gluck aimed to reform Italian opera Born: July 2, 1714, Berching, Germany seria through Orfeo, his target in the ballet Died: November 15, 1787, Vienna world was “the high French ballet style, pi- oneered by Lully and subsequently dissem- The international thread that links much of inated throughout Europe.” this evening’s program continues with the concluding excerpts from one of the most Incidentally, Boccherini’s art-loving family in- important scores that Christoph Willibald cluded a sister who enjoyed success as a Gluck composed during his pivotal decade solo dancer collaborating with Gluck at Vien- as a reformer of operatic practice in the na’s Burgtheater. Boccherini himself was in- 1760s. The legend of Don Juan is of course fluenced by Gluck’s lucid style: in one of his rooted in the Spanish sources that inspired symphonies, he recycles a chaconne from Molière’s 1665 play, on which Gluck based the Enfer (“Hell”) section of Don Juan. his ballet Don Juan. Gluck’s classicizing re- form of Baroque conventions is almost al- The excerpts we hear include a fandango— ways discussed in the context of his work part of a sequence of dances given in the as an opera composer, but it had important second act during a banquet Don Juan ramifications for the sphere of ballet as well. holds for his friend—that would inspire When his Don Juan ou le Festin de Pierre Mozart a quarter-century later in his opera premiered in 1761 in Vienna, it did for ballet The Marriage of Figaro, which also takes us what his Orfeo ed Euridice, which appeared from Vienna back to Spain (via Paris). in the Habsburg capital the following year, would do for opera. Ranieri de’ Calzabigi Thomas May is the English-language editor served as Gluck’s librettist for both works. for the Lucerne Festival and writes about The choreographer was Gasparo Angiolini. the arts for a wide variety of publications. His books include Decoding Wagner and Writes Max Loppert: “Don Juan had one of The John Adams Reader. the most talked-about premières of the day: Meet the Artists also frequently conducts the Philharmonia and London Symphony orchestras, Orches- tre de Paris, Münchner Philharmoniker, Staatskapelle Berlin, Symphonieorches- ter des Bayerischen Rundfunks, Tonhalle- Orchester Zürich, Orchestra dell’Accademia Nazionale di Santa Cecilia, and Mariinsky Pablo Theatre and Israel Philharmonic orchestras. FERNANDO SANCHO Heras-Casado He has conducted the Berliner and Wiener Pablo Heras-Casado’s career encompasses Philharmonikers and recently developed a the great symphonic and operatic reper- close partnership with Verbier Festival. As toire, historically informed performances, an opera conductor, he has been on the po- and contemporary scores. Principal guest diums of the Metropolitan Opera, Festival conductor at Teatro Real in Madrid and di- d’Aix-en-Provence, Festspiel Baden-Baden, rector of the Granada Festival, Heras-Casa- and Staatsoper and Deutsche Oper Berlin. do also enjoys a long-term collaboration Musical America’s 2014 conductor of the with Freiburger Barockorchester featuring year, Heras-Casado holds the Medalla de numerous touring and recording projects. Honor of the Rodriguez Acosta Foundation, Last January, Heras-Casado conducted Medalla de Andalucia 2019, and ambassador Wagner’s Das Rheingold at Teatro Real, award of this region. He is honorary ambas- starting his firstRing cycle, which spans sador and recipient of the golden medal of four consecutive seasons. His exten- merit by the Council of Granada as well as an sive discography includes a series of re- honorary citizen of Granada, his hometown. cordings for Harmonia Mundi titled Die In December 2018 he was awarded the title Neue Romantik, featuring Mendelssohn, Chevalier de l’ordre des Arts et des Lettres Schumann, and other Romantic compos- of the French Republic by the ambassador ers, recorded with Freiburger Barock- of France in Spain, Yves Saint-Geours. As orchester and musicians such as Isabelle the Spanish charity Ayuda en Acción’s global Faust, Jean-Guihen Queyras, and Alexander ambassador, Heras-Casado supports and Melnikov. The latest recording focuses on promotes its work internationally. Mendelssohn, with Heras-Casado joined by Kristian Bezuidenhout on the forte- piano. Other releases on the label include Debussy with Philharmonia Orchestra, and Bartók with Münchner Philharmoniker and Javier Perianes; a DVD of Wagner’s Der Fliegende Holländer at Teatro Real; and Sydney Monteverdi’s Selva morale e spirituale with ZumMallen Balthasar-Neumann-Chor and Ensemble. Sydney ZumMallen started out playing modern cello in Texas, but converted to In great demand as a guest conductor with baroque cello once she met the esteemed leading orchestras, Heras-Casado is conduc- Dutch recorded player Paul Leenhouts. She tor laureate of the Orchestra of St. Luke’s, has performed with the Fantasmi baroque following his tenure as principal conductor ensemble across Peru, Puerto Rico, Ger- from 2011 to 2017, and also regularly leads many, and Austria. She later went to the the San Francisco, Chicago, and Pittsburgh Royal Conservatory of The Hague to con- symphony orchestras; Los Angeles Phil- tinue her early music studies with cellist harmonic; and Philadelphia Orchestra. He Lucia Swarts. Her next big move was to New York City, where she is in her second Cunningham. In her free time, ZumMallen year of the master’s degree program in his- enjoys baking and taking naps with her cat, torical performance with Phoebe Carrai as Gustopher Wayne. well as studying viola da gamba with Sarah Historical Performance Scholarship

About Juilliard415 Celebrating its 10th anniversary season, Juilliard415, which takes its name from the Juilliard415, the school’s principal period- pitch commonly associated with the perfor- instrument ensemble, has made significant mance of baroque music (A=415), has per- contributions to musical life in New York and formed major oratorios and baroque operas beyond, bringing major figures in the field every year since its founding, including a of early music to lead performances of both rare fully-staged production of Rameau’s rare and canonical works by composers of Hippolyte et Aricie during the 2017–18 the 17th and 18th centuries. The many dis- season. During the 2018–19 season, the tinguished guests who have led Juilliard415 ensemble presented Purcell’s Dido and include Harry Bicket, William Christie, Aeneas at Opera Holland Park in London Monica Huggett, Nicholas McGegan, and the Royal Opera House of Versailles. A Rachel Podger, and Jordi Savall. Juilliard415 frequent collaborator with Juilliard’s Dance tours extensively in the U.S. and abroad, division, Juilliard415 premiered new chore- having now performed on five continents, ography by Juilliard dancers last season in with notable appearances at the Boston an all-Rameau program led by Robert Mealy Early Music Festival, Leipzig Bachfest, and and teams up again with Juilliard Dance this Utrecht Early Music Festival (where Juil- season for a new work choreographed by liard was the first-ever conservatory in res- Andrea Miller. idence), and on a 10-concert tour of New Zealand, where it returns for a second tour Juilliard415 has had the distinction of pre- in spring 2020. With its frequent musical miering new works for period instruments, collaborator, the Yale Institute of Sacred most recently for its Seven Last Words Music, the ensemble has played through- Project, a Holy Week concert at the Cathe- out Scandinavia, Italy, Japan, Southeast dral of St. John the Divine for which the Asia, the U.K., and India. Juilliard415 made ensemble commissioned seven leading its South American debut with concerts composers, including Nico Muhly, Caroline in Bolivia, a tour sponsored by the U.S. Shaw, and Tania León. Upcoming highlights Department of State. In a concert with include performances with William Christie the Bach Collegium Japan, conducted by and Les Arts Florissants at the Philharmo- Masaaki Suzuki, Juilliard415 played a his- nie de Paris; Handel’s Rinaldo conducted by toric period-instrument performance of Nicholas McGegan in New York and at the Mendelssohn’s Elijah at the Leipzig Ge- Göttingen Handel Festival in Germany; a wandhaus in Germany. Previous seasons program of music inspired by Shakespeare have been notable for side-by-side collab- led by Rachel Podger; and another side-by- orations with Philharmonia Baroque in San side collaboration with Philharmonia Ba- Francisco, as well as concerts directed by roque in San Francisco. such eminent musicians as Ton Koopman, Robert Mealy, Kristian Bezuidenhout, and the late Christopher Hogwood. Juilliard415

Violin 1 Viola Flute Trombone Shelby Yamin Majka Demcak Kelsey Burnham Carlos Jiménez Aniela Eddy Chiara Fasani Stauffer Taya König-Tarasevich Fernández Rebecca Nelson Manami Mizumoto Cello Oboe Percussion Kako Miura Ángela Lobato Emily Ostrom Simon Herron Charlie Reed Matthew Hudgens Violin 2 (Germiniani Concertino) Harpsichord Chloe Kim Cullen O’Neil Bassoon Carl Patrick Bolleia Rachel Prendergast Catalina Guevara Viquez Natalie Rose Kress Bass Theorbo Edward Li John Stajduhar Horn Joshua Stauffer David Alexander Hannah Miller

Juilliard Historical Performance Juilliard’s full-scholarship Historical Per- ing performers and scholars in the field. formance program offers comprehensive Frequent collaborations with Juilliard’s study and performance of music from Ellen and James S. Marcus Institute for the 17th and 18th centuries on period in- Vocal Arts, the integration of modern in- struments. Established and endowed in strument majors outside of the Historical 2008 by the generous support of Bruce Performance program, and national and and Suzie Kovner, the program is open international tours have introduced new to candidates for master of music, grad- repertoires and increased awareness of uate diploma, and doctor of musical arts historical performance practice at Juilliard degrees. A high-profile concert season and beyond. Alumni of Juilliard Historical of opera, orchestral, and chamber music Performance are members of many of is augmented by a performance-oriented the leading period-instrument ensembles, curriculum that fosters an informed un- including the Portland Baroque Orches- derstanding of the many issues unique tra, Les Arts Florissants, Mercury, and to period-instrument performance at the Tafelmusik, and they have also launched level of technical excellence and musical such new ensembles as the Sebastians, integrity for which Juilliard is renowned. House of Time, New York Baroque Incor- The faculty comprises many of the lead- porated, and New Vintage Baroque. Administration Robert Mealy, Director Benjamin D. Sosland, Administrative Director Rosemary Metcalf, Assistant Administrative Director Annelise Wiering, Coordinator for Scheduling and Educational Support Masayuki Maki, Chief Tuner and Coordinator for Historical Keyboard Collection Juilliard Historical Performance Faculty

Violin Flute Continuo Skills Secondary Lessons Elizabeth Blumenstock Sandra Miller Avi Stein Nina Stern (recorder) Robert Mealy John Thiessen (trumpet) Cynthia Roberts Oboe Core Studies Todd Williams (horn) Gonzalo Ruiz Thomas Forrest Kelly Cello Robert Mealy Artists in Residence Phoebe Carrai Bassoon Peter Sykes William Christie Dominic Teresi Richard Egarr Viola da Gamba Historical Theory/ Rachel Podger Sarah Cunningham Plucked Instruments Improvisation Daniel Swenberg Peter Sykes Bass Charles Weaver Charles Weaver Douglas Balliet Harpsichord Richard Egarr Béatrice Martin Peter Sykes